Gangrened Premiere Deadly Algorithm in Full; Out Friday

Posted in audiObelisk on April 7th, 2021 by JJ Koczan

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A record at least three years in the making, Finland’s find this! Pass courses without too much pain with Master Papers. Confidentiality guaranteed. Gangrened will release their full-length debut, Essays On Life As A Teenager - Top affordable and professional academic writing service. commit your essay to us and we will do our best for you Give your Deadly Algorithm, this Friday through a host of labels including Get an answer for 'Write An Essay About Plagiarism. Help.' and find homework help for other Essay Lab questions at eNotes Kohina Records, Academized is the best Resources to order your papers from. We are the best choice if you need help with writing! Domestic System, The Clicking Here template is a format which any business planner would need while planning a new business or while adding more businesses to Noizeland Records, Cover Kids Doing Homework from CV Writers. We also provide professional CV writing services and LinkedIn profile writing. Odio Sonoro, Research Papers On Women Empowerment help from our writing service if you want to free yourself from stress and worries and submit a premium-quality paper. With the help of our writing service, you will be able to handle your thesis assignment and get a good grade for it. You can contact our company at any time regardless of the writing type and academic level. We have a great team of writers who possess academic degrees and have a corresponding educational background in order to be able to provide papers for Quebranta Records, visit here Paper For Me Writing editing service | Order resume online food The authors' thoughts in student life will be written on the standard guidelines. A master who bought essay writing trustworthy and assignments every paper instructions and enjoy. What will be reader-friendly, course of the first chapter. You with all types of them are the author. Yet affordable prices as Trepanation Recordings, Thinking, A?aE?I need expert writers to provide me Art essay writing helpA?aa? then strain no more as our http://www.fricktal24.ch/?college-essay-application-review-service-proofreading Burial Records and Alpha check my site provides you the best in class, plagiarism free and value for money Academic Writing at your convenient time from experts. Violence in the Veins. A follow-up to their 2014  Welcome to the best http://www.mint-girls-camps.de/anmeldung.php?model-business-plans website of Australia which offers cheap and reliable custom papers to the students. GUARANTEED! We Are Nothing EP (review here), it is a five-song/42-minute run that paints a dark picture of the time and place we’ve come to inhabit. Not so much post- as simply apocalyptic, though plenty dystopian either way in its multifaceted atmospheric sludge onslaught. Pick your societal teardown, I guess, but know that  If you are looking for some cheap go to link, you have arrived at the right place. Our academic writing service has a team of ENL writers and Deadly Algorithm feels more like that teardown happening than its aftermath.

It is a challenging album, and feels purposeful in that. It is not haphazard, but in its spaciousness there is room for the unplanned and the unexpected, the turns it makes throughout its two sides are not as telegraphed as, say,  Federal, State, Local Government RFP Write Essay Myselfs, Consulting, RFP Bid Response Services for Government Contractors. Amenra, and being born out of Finnish noise rock somewhere along the path of its roots, the scope is different, but there’s calculation happening just the same, and even the four-minute “Intro” that leads into “Triptaani” (9:21) and “Hologrammi” (6:45) serves a pointed function in establishing the world in which  My Writing Will is my short trip to the day, when I was happy. I keep it in my memory carefully. Deadly Algorithm is taking place. That world should be plenty recognizable, from the anxiousness of decay to capitalist infiltration of social structures to becoming the Orwellian product via social media false celebrity.

These issues are addressed in the lyrics one way or the other, and if you happen to speak Finnish, you’re one up on me, but amid the urgent chug that takes hold quickly in “Triptaani” and the shouts that break through the morass of tone surrounding, the point gets across. The range is broad, however, and as  24/7 support service will answer all your questions. You can buy http://stara.zd-mb.si/?racial-discrimination-research-paper on our web site coolessay.net. Gangrened embark on this wanton delivery of heft, the ambience set by “Intro” never entirely dissipates. The spaciousness of the mix is such that when “Triptaani” breaks in its second half to set up its lurching conclusion, it feels natural rather than shoehorned in for dynamic effect, and the post-metallic squibbly lead guitar over top of the massive ending is like a melodic lifeline in the chaos.

“Hologrammi” offers little letup. Its rhythm is more of a march, but the shorter runtime carries with it a more forward attack, and the song’s abiding pummel becomes a defining characteristic. There’s tension gangrened deadly algorithmbetween parts, shouts interwoven with obscure spoken passages, but the roll is steady until a wash of synth or sample or something else takes hold at around five and a half minutes in, fading gradually but consuming the song just the same and leaving its final crashes to play out with an especially desolate feel, wrapping side A with a rumble en route to the closing duo of “Kungingatar” (11:43) and “Triangeli” (10:23).

True, the second side of  Deadly Algorithm is two songs instead of three. True, it’s about two minutes longer than side A. But it feels like Gangrened are pushing well beyond a point of no return even as the integrated intro of “Kuningatar” leads the way into the unfolding of the song itself, building up over its first three minutes to an eventual breakout. Its title translating to “queen” in English, “Kuningatar” is both intense and spacious, its tempo thrust insistent but with echoes reaching out as it heads toward a momentary bass-led midsection break. Airy lead guitar seems to top the bulk of the second half of the track in various forms, but the underlying pummel and drive is never really lost, even as the band crash out at the end and let the drums start “Triangeli” in a way that comes across as purposefully direct, one into the next. That is, whether they were or not, these two songs sound made to be positioned together, such is the ease of the transition between them. Side B is all the more of a monolith for that.

As to what horrors Gangrened unleash in the final statement of their immersive debut, those are noisier, more feedback-laced, slower unraveling and ultimately more unhinged. Again, purposefully. If “Trangeli” (“triangle”) is somehow the culmination of where Deadly Algorithm has been leading all along, its brutality feels earned, to say the least, but like the album from which it results, there is more depth to the finale than simple bludgeoning. It might seem silly to call Gangrened “mindful” on an aesthetic level, with the sort of new-new-agey connotation of the word, but the band is to be commended for not losing sight of their expressive goal even when that goal seems to be ripping the album apart at the end. The final minute-plus of “Trangeli” is dedicated to some final shouts and then residual noise on a long fade, and the atmospheric point that began to be made in “Intro” is highlighted in the album’s last moments — a sense of completion resonant in more than just the gut-wrenching lumber the band have been throwing around all the while.

There is plenty of that, to be sure, but Deadly Algorithm portrays the insidiousness of the age in which we live through its mood and overarching disaffection as well. Even in its critique, it is of its era. One could go on about the forces that would be required for a worldwide shift to, well, anything, but frankly, to do so is overwhelming and sad. That the impulse is there at all should be taken as testament to the thought-provoking nature of Gangrened‘s work across the record’s still-accessible, still-fluid 42-minute span, and though they present their arguments forcefully, they are doing more than screaming into the abyss. As a debut, their doing so is especially notable.

Full album is streaming below ahead of the release Friday.

Good luck, and enjoy:

“Deadly Algorithm” title, cover and concept verses about a subject that was used in the previous release “We are nothing”. how the world economic elites manipulate mass population. In this case, sneaking up, orienting the development of new technologies like algorithms of artificial intelligence for massive data and attention extraction. Persuasive technology to keep users as long as possible connected. Unfortunately, in the rising attention extraction digital economy, and data extraction also, that the new technologies are at the right moment immersed in, a human is worth more when we are depressed, outraged, polarized, and addicted. Parallel to this, is growing a massive surveillance by governments and big companies with the purpose of basically implement what seemed a dystopia till a little while ago: Living in the “1984” novel of George Orwell, or even worse. . . “If you’re not paying for the product, then you are the product”.

Deadly Algorithm has been recorded in different sessions between June 2018 and February 2019 by Sami Nortunen at Ylistaro (Finland) and also at Tonehaven studio by Tom Brooke in June/July 2020. Deadly Algorithm has been mixed and mastered during July-September 2020 at Tonehaven studio by Tom Brooke.

Players:
Jon Imbernon – Guitars and effects
Joakim Udd – Electric bass and bass synth
Lassi Männikkö – Drums
Mikko Mannistö – Vocals and effects.

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The Obelisk Questionnaire: Jon Imbernon of Gangrened

Posted in Questionnaire on March 18th, 2021 by JJ Koczan

gangrened jon imbernon

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Jon Imbernon of Gangrened

How do you define what you do and how did you come to do it?

Well, let’s say first my guitar playing: it has been a progression, listening lots of different music. trying, testing things on guitar. Getting to have a deeper knowledge of things and mind openness. I am not talking only about playing heavy, I am also into silence, or noise or really deep experimentation. How we (Gangrened) came with our coming record? Well, at some point I decided to drop, or blend, most of my whole musical background into what we were doing, seemed more interesting and challenging. Made sense also cause was a lot of slow, raw, minimal and heavy things all together anyway.

Describe your first musical memory.

Being in the car with my mother and her boyfriend in 1986 and they bought me for surprise the tape of Europe of The Final Countdown that was a hit on that moment and I was into.

Describe your best musical memory to date.

Touring Europe with a band much more known than my band, on that tour, and playing in medium capacity venues and most of the audience being there for us and actually getting good feedback most of the nights. In this same tour, driving 11 hours after sleeping less than one hour and playing an amazing gig in a boat venue in Paris. Also, promote and witness some specific absolutely mind-blowing gigs for either 5, 100 or 200 people, and sharing the feeling with the audience, and in a specific and funny case, the venue manager, once I got a discount in the rent because the absolutely mind-blowing gig the guy witnessed, true story. Well, also the guy did know I wasn’t making it for the profit, so I guess his heart melted or something.

When was a time when a firmly held belief was tested?

Well, for example some days ago having some political discussion, for a while of it I felt like that.

Where do you feel artistic progression leads?

Well, I hope it leads to something better, always. I told to a friend some days ago, in both society and music, progression is what will make things interesting, either as creative evolution and artistic expression or making a society fairer. You have to risk and push forward to change things. And as what goes for rock music, it’s fine there are bands playing the same record after 15 years but if music would be only that we would be still with Chuck Berry and Elvis Presley.

How do you define success?

Simplest and more accurate definition I think would be to be happy and satisfied with what you do.

What is something you have seen that you wish you hadn’t?

Well, certain disappointments, maybe people that disappoints you and that I wish they hadn´t.

Describe something you haven’t created yet that you’d like to create.

I would like to do some five-minute songs again, I have one cooking heh. But yeah, now the only Gangrened songs that I can come with of that length is a cover or the intro of our coming record.

No, seriously, I would like to compose some musical piece in which all is guitars, even for percussion, developing a way in which you use the electric guitar in a percussive and musical way at same time. Only electric guitar, as is the instrument I play and domain.

What do you believe is the most essential function of art?

I would say it is the poetic delight of the senses and the intellect. Then that’s why depending of your intellect you enjoy this art, or that art, or none.

Something non-musical that you’re looking forward to?

Guess. that, at least, things get normalized with this damn pandemic, and for everyone in the world.

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Gangrened, Deadly Algorithm (2021)

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Gangrened Announce April 9 Release for Deadly Algorithm

Posted in Whathaveyou on January 26th, 2021 by JJ Koczan

Noise and doom converge throughout Deadly Algorithm, the awaited full-length debut from Finnish atmospheric crushers Gangrened. The follow-up to their 2014 EP, We Are Nothing (review here), is set to issue on April 9 through an entire squadron of record labels, among them Trepanation Records and Odio Sonoro, and though art and a tracklisting don’t appear here, you can check out copious descriptive info on the record below. If you’d like me to save you the trouble, it is fucking massive and fucking heavy. Yes, the lyrics are in Finnish. Rest assured, they get the point across in any language.

April 9 is the release date, and since audio is starting to come out from the record, I assume preorders will begin in short order through one or 50 of the imprints involved. Keep an eye on the ol’ social media and hope, somewhat ironically, that the algorithm lets you find the information with ease.

The band sent this through the PR wire:

gangrened

GANGRENED releases “Deadly Algorithm” on 9th April through different labels across Europe

Gangrened returns with their first full length finally after a hiatus that started precisely right after a bunch of dates around Finland with Bongzilla in 2015. The process of composing and recording has been extremely long but this circumstance unexpectedly has contributed to extend the palette of sounds included in the album to an extend that it became the rendering of a wide 20+ years musical background into the record showing a more restless creative flow than the average in these genres. Making it, this way, an album that is deeper than ever before and goes beyond the genres the band fitted just right in in previous releases. This is not a straight up sludge record, not at all. heaviness is there, but in many ways and along genres like noise rock, drone, noise no-wave, psyched out sounds or even ambient, converging through the record. The album process was finalized (mixed and mastered) by Tom Brooke (Oranssi Pazuzu, Hebosagil, Throat) in summer of 2020 at Tonehaven studios close to Jyväskylä in Finland.

“Deadly Algorithm” kicks off with “Harrbåda” as a quiet intro, where chords as beautiful as dark are dropped through the song. Then comes “Triptaani”, with its kind of Unsane-ish mean riffing blending heavyness and noise rock at the beginning of the song to end really atmospheric, intense and filthy at same time. “Hologrammi” is an old song from first Gangrened´s release that deserved to be taken back and get the right studio treatment. Next is “Kuningatar”, after an epic intro definitely goes into an acid trip through heaviness, darkness and psyched out and noisy sounds. Last is “Triangeli”, with its heavy repetitive and obsessive bass line/riff, and maybe the most eclectic song of the album, heaviness gets into noise-no wave territory with a bass synth under, for ending the song, and the album, fading into pure ambient sounds.

Vocals deserve a separate mention, all lyrics are in Finnish and the output of putting a vampire-like goth musical background to work on the vocals for this record has been extremely interesting and creative, do not expect dry regular growling cause there is no much of that, better expect for example, to hear things like how a really raw vocal line can have a a little bit hip-hop oriented and be laid down over a obsessive heavy riffing, like happens in “Triangeli” or the really mind bending sounding vocals in the middle part of “Kuningatar”, for example.

“Deadly Algorithm” title, cover and concept verses about a subject that was used in the previous release “We are nothing”. how the world economic elites manipulate mass population. In this case, sneaking up, orienting the development of new technologies like algorithms of artificial intelligence for massive data and attention extraction. Persuasive technology to keep users as long as possible connected. Unfortunately, in the rising attention extraction digital economy, and data extraction also, that the new technologies are at the right moment immersed in, a human is worth more when we are depressed, outraged, polarized, and addicted. Parallel to this, is growing a massive surveillance by governments and big companies with the purpose of basically implement what seemed a dystopia till a little while ago: Living in the “1984” novel of George Orwell, or even worse. . . “If you’re not paying for the product, you are the product”.

“Deadly Algorithm” is coming out the next 9th April in one single LP through the following labels: Violence In The Veins (Spain), Kohina Records (Finland) Odio Sonoro (Spain), Burial Records (Spain), Domestic System (Spain), Noizeland Records (Spain) and Quebranta Records (Spain). The CD edition will come out through Trepanation records from U.K.

LPs will be black (200 copies) and transparent (100 copies), CDs will be a 6 pannels digipack (50 copies). Soon we will publish info about pre-orders.

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Gangrened, Deadly Algorithm (2021)

Gangrened, We are Nothing (2014)

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Swallow the Sun Annouce Spring North American Touring

Posted in Whathaveyou on December 17th, 2019 by JJ Koczan

swallow the sun

In some ways, the hardest thing to believe about this is that Swallow the Sun have never headlined a US tour before. And yet, even in light of it being their 20th anniversary next year — pretty astounding, as I remember when their debut came out; but then, I am o-l-d — this tour feels like a risk. Consider they’ll already be more than a year out from this January’s all-kinds-of-killer When a Shadow is Forced into the Light (review here), they’re bringing a full three-band package over with Moldovan nü-metallers Infected Rain and Finnish/UK proggers Wheel, and they’re booked for more than a month of dates.

My eyes went immediately to the fact that they’re playing Dingbatz in New Jersey. It’s been a while since I’ve been there, and there are plenty of other rooms on this list that I recognize like Metro Gallery, Kingsland, Hawthorne Theatre, Brick by Brick, etc., but last time I saw Swallow the Sun was at B.B. King’s in Manhattan — 2007, you say? with Amorphis? that might’ve been it — and Clifton, NJ, might be relatively close geographically, but it’s miles away from that kind of experience.

Bottom line? They’ve in for some really good nights, and some nights of adventure. So I guess basically it’ll be a tour.

See you boys in Clifton.

From the PR wire:

swallow the sun tour

Swallow The Sun Announce North American Headline Tour

Finnish melancholy death-doom metal masters Swallow The Sun have just announced their North American headline tour today. The band will be on tour this Spring with special guests Infected Rain and Wheel. Catch the band on tour starting April 20th in Tampa and ending on May 24th in Dallas. Tickets are available for purchase HERE.

“We have been touring many times in North America since 2007 but never headlined before this,” states Swallow The Sun’s Mikko Kotamäki about the upcoming headline tour. “So it’s about time to play you a decent length shows, not just 30-45min like before. Better get your tickets now and spread the word. No excuses, you asked for it, you got it! See you soon!”

The band will be touring in support of their most recent full-length album When A Shadow Is Forced Into The Light. Swallow The Sun’s seventh studio album was produced by the band’s very own Jaani Peuhu and Juha Raivio and is their most personal, cleanest work to date. Purchase and stream When A Shadow Is Forced Into The Light HERE.

Swallow The Sun is Mikko Kotamaki (vocals), Matti Honkonen (bass), Juuso Raatkainen (drums), Jaani Peuhu (keys and vocals), Juho Raiha (guitar), and Juha Raivio (guitar and keys).

SWALLOW THE SUN TOUR DATES:
April 20 – Tampa, FL – Crowbar
April 21 – West Palm Beach, FL – Respectables
April 22 – Winter Park, FL – The Haven
April 23 – Atlanta, GA – The Masquerade
April 24 – Baltimore, MD – Metro Gallery
April 25 – Philadelphia, PA – Voltage Lounge
April 26 – Clifton, NJ – Dingbatz
April 27 – Brooklyn, NY – Kingsland
April 28 – Brooklyn, NY – Kingsland
April 30 – Quebec City, Canada – L’Anti
May 1 – Ottawa, Canada – Mavericks
May 2 – Toronto, Canada – Velvet Underground
May 3 – Buffalo, NY – Mohawk Place
May 4 – Westland, MI – Token Lounge
May 5 – Joliet, IL – The Forge
May 6 – Madison, WI – Crucible
May 7 – St. Paul, MN – Amsterdam
May 9 – Denver, CO – Hermans Hideaway
May 10 – Salt Lake City, UT – Liquid Joe
May 12 – Vancouver, Canada – Rickshaw Theatre
May 13 – Portland, OR – Hawthorne Theater
May 14 – Seattle, WA – El Corazon
May 15 – Bend, OR – Third Street Pub
May 16 – Sacramento, CA – Holy Diver
May 17 – West Hollywood, CA – Whiskey A Go Go
May 18 – San Diego, CA – Brick By Brick
May 19 – Santa Ana, CA – Malones
May 20 – Tempe, AZ – Club Red
May 22 – Austin, TX – Come and Take it Live**
May 23 – Houston, TX – Scout Bar**
May 24 – Dallas, TX – Trees**
**no Wheel

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Swallow the Sun, “When a Shadow is Forced into the Light”

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Swallow the Sun, When a Shadow is Forced into the Light: Of Love and Death

Posted in Reviews on January 25th, 2019 by JJ Koczan

Swallow the Sun When a Shadow is Forced into the Light

The immediate question, of course, is what happens? What happens when you force a shadow into the light? As per the memorable, layered screams of the title-track to Finnish melodic death-doomers Swallow the Sun‘s seventh full-length, When a Shadow is Forced into the Light, “It rips through your chest and burns like a fire.” Fair enough. That chorus sweeps in from an acoustic-led verse and thanks in part to backing from string sounds — that is, whether it’s strings or keyboard — gives a sense of grandeur that very much works to define what follows across the 52-minute/eight-track Century Media release. A largesse of production value helps as well, and that’s nothing new for Swallow the Sun, who since their 2003 debut, The Morning Never Came, have melded emotional resonance, elements of extreme metal — Mikko Kotamäki has made a trademark of switching fluidly between screams, growls and clean singing, and stands among the finest metal vocalists currently active — and clarity of sound into a melancholic vision of death-doom that has only become more their own with time.

Cumbersome as it is, the album’s title derives from the lyrics to “Broken Mirror” from founding guitarist Juha Raivio‘s Trees of Eternity project, and much of the material here deals with the personal loss of Aleah Stanbridge, who was that outfit’s vocalist as well as Raivio‘s partner, and who passed away from cancer prior to the release of their 2016 debut, Hour of the NightingaleRaivio would subsequently form Hallatar and release 2017’s No Stars Upon the Bridge (review here) using her poetry as lyrics. There is an according sense of longing and mournfulness to When a Shadow is Forced into the Light, which follows the late-2015 triple-album, Songs from the North I, II & III (review here), that can be heard in songs like “Firelights,” “Upon the Water” and even the guttural apex of the penultimate “Here on Black Earth.” Swallow the Sun are no strangers to working in an upfront emotional context, and one of their great assets as a band has always been their ability to balance aspects of extremity with a very human heart.

When a Shadow is Forced into the Light cannot and should not ultimately be separated from the circumstances surrounding its making any more than it should be from the rest of Swallow the Sun‘s catalog. In both it and its companion EP, Lumina Aurea (review here), there isn’t so much a feeling of catharsis — that comes later — as a palpable grief. Summarized best perhaps in the direct address in the lyrics to closer “Never Left,” there is little mistaking the in-the-thick-of-it feel of genuine mourning, but as the band — Raivio (who also handles keys and jouhikko, a bowed instrument used in Finnish traditional music), Kotamäki, guitarist Juho Räihä, bassist Matti Honkonen, drummer Juuso Raatikainen and keyboardist Jaani Peuhu, as well as guests here and there — move through “When a Shadow is Forced into the Light” and into “The Crimson Crown” and “Firelights,” neither do they let go of their craft. A complex style of songwriting is fitting for the richness of their sound, and they bask in it, but as noted, the title-track has a hook, and so do “The Crimson Crown,” “Firelights,” “Upon the Water,” “Clouds on Your Side” and “Never Left.”

swallow the sun

“Stone Wings” and “Here on Black Earth” are directed otherwise structurally, but even they have standout moments, whether it’s the throat-ripping screams backed by melodic lines in the latter or the sudden volume swells of the former. And you know, I take it back, “Stone Wings” does have a hook, as well as Raivio‘s jouhikko while it makes its way to its engrossing, double-kick-bolstered crescendo. The point is that although there’s an obvious emotional consumption happening throughout When a Shadow is Forced into the Light, that’s brought into what Swallow the Sun do. They’ve always had a wistful sensibility to them. They’ve always dealt with loss as a working theme, and in some ways, the work they’re doing here is very much consistent with where they’ve been in the past, but the foundation they’re working from is different, and it’s real. The grief is real. The sadness is real. The loss is real. It’s performative by its very nature — as in, it’s an album and people are performing on it — but there’s no sense throughout that Swallow the Sun are doing anything other than seeing Raivio work through this pain.

The tagline for the record has been “love is stronger than death,” as posted by the band in discussions leading up to the release. If that’s their summary of the theme, fair enough — “Never Left” would seem to be the point at which that idea most comes to the fore — and it’s easy to argue that their ability to find balance between this point of view and an already established songwriting modus speaks to the experience and skill of the band as a group. When a Shadow is Forced into the Light is never more mired than it wants to be, never held back. The title-track and “The Crimson Crown” — both over seven minutes long and the only songs to hit that mark aside from “Never Left” as the corresponding bookend — form an initial salvo that characterize so much of the rest of the material.

In its immersive blend of acoustics, string sounds, differing vocal approaches and the smoothness of its overall craft, the song “When a Shadow is Forced into the Light” seems to accomplish everything Swallow the Sun brought to Songs from the North I, II & III in a single track. It is a cinematic arrangement and poised execution that nonetheless has its basis in an emotionalism that’s still raw. But what the song and indeed the rest of the album that shares its name do so well is to take that rawness and shape it into something encompassing and beautiful. If that’s what it means for love to be stronger than death, if that expression is what comes out of the brutality of the loss that’s behind its making, then When a Shadow is Forced into the Light is its own best argument for the maxim’s truth.

Swallow the Sun, “Firelights” official video

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Swallow the Sun Post “Lumina Aurea” Video; EP out Now

Posted in Bootleg Theater on January 8th, 2019 by JJ Koczan

swallow the sun

There’s a lot to unpack here. First of all, while Finland’s Swallow the Sun have always ranged far and wide throughout their career — their last album, 2015’s Songs from the North I, II and III (review here), was a purposefully-overwhelming triple album comprised of acoustic, extreme and a-little-bit-of-both installments — their new EP, Lumina Aurea, which arrives through Century Media just ahead of the full-length, When a Shadow is Forced into the Light, is still a departure. Its vocals arrive in Latin-language spoken word plus some backing black metal-style screams and a chorus — Marco I. Benevento of The Foreshadowing provides the spoken parts — and the song itself is a 13-minute stretch of atmospheric intensity that’s different from anything the Jyväskylä outfit have done in the past. Wardruna‘s Einar Selvik guests on bukkelhorn, adding particularly Scandinavian flair, and the whole affair sounds way more Roadburn than Wacken, if you know what I mean.

It’s a fascinating turn for Swallow the Sun to make as they stand on the cusp of 20 years as a band. If I could sing and scream like Mikko Kotamäki, I’m not sure I’d ever let anyone else singswallow the sun lumina aurea on a record, ever, even background vocals, but he relinquishes the forward position to Benevento and recedes into the mix in best service to “Lumina Aurea” itself, and the ambience that unfolds is every bit as cinematic as the accompanying video shows it to be. I’ve heard the upcoming LP, and as always, it has its sense of atmosphere, but if you’re wondering why Swallow the Sun would release it on its own concurrent to the album, all you really have to do for an answer is listen to the two side-by-side. “Lumina Aurea” is distinct enough to earn its place as an EP separate from the album, and the album’s tracks flow well without 13-minutes of Viking ambience tacked onto the end of them (or the beginning!) because there’d really be no place else to put it. As much defiance of expectation as Swallow the Sun have done over their time, they’ve always kept to a consistency of mood in their releases — generally dark — and Lumina Aurea holds to that as well, but is clearly doing so on its own terms.

The EP is comprised of the full and instrumental versions of the track and is out now. When a Shadow is Forced into the Light is due Jan. 25. The video for “Lumina Aurea” was directed by Aapo Lahtela and Vesa Ranta at Kaira Films, and you can see the full credits as well as other info from the PR wire under the clip below.

Please enjoy:

Swallow the Sun, “Lumina Aurea” official video

SWALLOW THE SUN – Lumina Aurea (OFFICIAL VIDEO). Taken from the EP “Lumina Aurea”, out December 21st, 2018. Order now: https://swallowthesun.lnk.to/LuminaAureaID

Finnish melancholy death-doom metal masters Swallow The Sun have released their epic standalone 14 minute track called “Lumina Aurea”. The song features Wardruna’s Einar Selvik and The Forshadowing’s Marco I. Benevento and marks the band’s darkest and most sinister piece of music they have ever released. Watch the music video for “Lumina Aurea”, which was created by Aapo Lahtela and Vesa Ranta at Kaira Films, HERE.

“‘Lumina Aurea’ is a song I would never want to write in my life,” Juha Raivio states about the track. “It is an open, bleeding black wound from the last two and half years of my life. But I had to write it out. I could not back down from it. The way I wrote and recorded ‘Lumina Aurea’ was so rough emotionally and physically that I think I will never talk about it public. I know this road will go on forever as a part of me, but I have also made a peace with it-that I will never have peace with it. And that the life and the journey here must still go on for a while for those of us remaining. I knew that if I would go any deeper on that road with the album as I did with ‘Lumina Aurea,’ the path would not end well. So, I quickly realized that instead I will write an album that will manifest loud and clear that after all, ‘Love is always stronger than death.’ I wanted to find that angle for ‘When A Shadow Is Forced into the Light’. This album is like a weapon for myself. A burning light, a burning torch. Victorious and proud.”

Directed and produced by Aapo Lahtela & Vesa Ranta.

Swallow the Sun:
Mikko Kotamäki: vox
Matti Honkonen: bass
Juuso Raatikainen: drums
Juho Räihä: gtr
Juha Raivio: gtr/keys/jouhikko
Jaani Peuhu: keys

Music & Lyrics: Juha Raivio
Mixed by: Linus Corneliusson / Fascination Street Studios Mastered by: Tony Lindgren / Fascination Street Studios Screams and Growls recorded at Black Chandelier, Helsinki Guitars and bass recorded at SoundSpiral Audio by Juho Räihä

Latin translation by Claudia Greco

Guest Musicians:
Bukkehorn by Einar Selvik
Latin spoken parts by: Marco I. Benevento
Latin choir by: Marco I. Benevento & The Foreshadowing

“Mors fortior quam vita est, amor fortior quam mors est”

Swallow The Sun Upcoming Tour Dates:
February 7 – Helsinki, Finland – Nosturi
February 8 – Turku, Finland – Apollo
February 9 – Jyvaskyla, Finland – Lutakko*
February 14 – Tampere, Finland – Klubi*
February 15 – Oulu, Finland – Teatria*
February 16 – Kuopio, Finland – Henry’s Pub*
*w/THE MAN-EATING TREE

More dates to be announced soon!

Swallow the Sun website

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Century Media website

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Swallow the Sun Set Jan. 25 Release for When a Shadow is Forced into the Light

Posted in Whathaveyou on November 19th, 2018 by JJ Koczan

swallow the sun

Finnish death-doomers Swallow the Sun will release a new 14-minute single next month featuring guest appearances from Einar Selvik of Wardruna and The Foreshadowing‘s Marco I. Benevento, so presumably I’ll be posting about them again shortly, but the news that their next full-length, When a Shadow is Forced into the Light, is due out Jan. 25 is particularly welcome. Their last album was early 2016’s multifaceted triple-disc Songs from the North (review here), for which they toured in the States alongside Amorphis — best lineup, why didn’t I go? Oh right, I suck — and while the PR wire promises more of the standard heft-laden downerism, the fact that the album’s title, again, When a Shadow is Forced into the Light, is essentially the opposite of the band’s moniker in terms of the image evoked, says to me maybe some subtle shifts are in store around that central consistency.

I’ll look forward to finding out, either way. Here’s news from the PR wire:

swallow the sun covers

SWALLOW THE SUN ANNOUNCES NEW ALBUM WHEN A SHADOW IS FORCED INTO THE LIGHT

Finnish melancholy death-doom metal masters Swallow The Sun announces the release of their new album When A Shadow Is Forced Into The Light, which is scheduled for release on January 25th, 2019 via Century Media Records.

The band will be releasing their standalone 14 minute epic single track “Lumina Aurea” on December 21st. The track will be available both digitally and as 12″ EP vinyl version.

Fueled by personal loss (the album title has its origins in Trees of Eternity’s “Broken Mirror”) and powered by the will to continue, When A Shadow Is Forced Into The Light showcases the group’s ability to maintain its signature sound while expanding upon horizons and diving deeper into the crevasse of doom-death metal. Even though the single and the album are conceptually connected, they are musically completely different. While “Lumina Aurea”, which features Wardruna’s Einar Selvik and The Foreshadowing’s Marco I. Benevento, marks the band’s darkest and most sinister piece of music the band has ever released, When A Shadow Is Forced Into The Light follows a more positive approach and continues in the vein of previous albums – first-rate death-doom in the typical style of Swallow The Sun.

Swallow The Sun have announced their first shows of 2019. See below for all upcoming tour dates. More dates to be announced soon.

When A Shadow Is Forced Into The Light tracklisting:
1. When A Shadow Is Forced Into The Light
2. The Crimson Crown
3. Firelights
4. Upon The Water
5. Stone Wings
6. Clouds On Your Side
7. Here On The Black Earth
8. Never Left

“Lumina Aurea” tracklisting:
1. Lumina Aurea
2. Lumina Aurea (instrumental version)

Swallow The Sun Upcoming Tour Dates:
February 7 – Helsinki, Finland – Nosturi
February 8 – Turku, Finland – Apollo
February 9 – Jyvaskyla, Finland – Lutakko*
February 14 – Tampere, Finland – Klubi*
February 15 – Oulu, Finland – Teatria*
February 16 – Kuopio, Finland – Henry’s Pub*
*w/THE MAN-EATING TREE

http://www.swallowthesun.net
https://www.facebook.com/swallowthesun
https://twitter.com/swallowthesunfi
http://www.centurymedia.com/
https://www.facebook.com/centurymedia

Swallow the Sun, “Rooms and Shadows” official video

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Quarterly Review: Beastmaker, Low Flying Hawks, CHVE, Brujas del Sol, Mammoth Weed Wizard Bastard, The Shooters, Boss Keloid, Hors Sujet, Warchief, Seedship

Posted in Reviews on March 31st, 2016 by JJ Koczan

the obelisk quarterly review spring 2016

It seems like a day doesn’t go by that I don’t find something in one of these piles (metaphorical, sometimes literal) of records that keeps me coming back. Today is once again spread across a pretty wide stylistic swath, and that’s by design to keep my brain from going numb, but if there’s a unifying theme across all of it, let it be a sense of scope and bands and artists who are trying to take what’s been done before and push it forward or in some new direction. That’s not universal — nothing is — but today might be the most adventurous of the days included this quarter, so I hope you’ll keep open ears and an open mind as you make your way though.

Quarterly Review #31-40:

Beastmaker, Lusus Naturae

beastmaker lusus naturae

Expectations are high for Fresno trio Beastmaker in no small part because their first album, Lusus Naturae, arrives through Rise Above Records. Whether they’ll take their place among the venerable UK imprint’s genre-shapers of the last half-decade, Uncle Acid, Ghost, etc., remains to be seen, but there can be little question Lusus Naturae lives up to the standard of offering something individual even as it plays off familiar conceptions. Beastmaker’s doom is classic without sounding like much of anything else, and as they unfold “Arachne” and catchy pieces like “Mask of Satan” and “You Must Sin,” they arrive aesthetically cohesive and demonstrating accomplished songwriting finding a space of its own surrounding Sabbathian and Cathedral-driven ideals with semi-psych, semi-cultish tendencies, not wanting to be put in one place or the other but successfully engaging a melting pot of modern doom in “Burnt Offering” and the plodding “It.” Whatever the wider response winds up being, Lusus Naturae will without a doubt stand as one of 2016’s best debuts.

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Rise Above Records

 

Low Flying Hawks, Kofuku

low flying hawks kofuku

If you’re hand-picking dream rhythm sections, getting Trevor Dunn to play bass while Dale Crover drums would probably be the picks of any number of players, but initials-only core duo EHA and AAL of Los Angeles’ Low Flying Hawks actually went out and got the Mr. Bungle and Melvins personnel to play on their Toshi Kasai-produced Magnetic Eye Records debut LP, Kofuku. Aside from keeping good company, the album’s 10 tracks/53 minutes are marked by a spaciousness that not even the tonal heft of early cut “Now, Apocalypse” seems to fill as EHA and AAL balance post-rock, doomed lurch and darker psychedelics with blackened screams and fervent rhythmic push – see “White Temple” and “Wolves Within Wolves.” They round out with the lumbering 11-minute “Destruction Complete,” a heavy rock march topped by airborne, dissonant leads that keeps its head even as it plods onward into oblivion. Not as unipolar as it might first appear in terms of sound, but the mood of Kofuku points consistently downward.

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Magnetic Eye Records

 

CHVE, Rasa

chve rasa

The crux of CHVE’s Rasa is in resonance. Amenra frontman Colin H. van Eeckhout (his solo-project’s name derived from his initials) constructs a flowing half-hour of fluid drone, intermittent percussion – first tribal, then a straightforward kind of march, slow but not still – and atmospheric vocal on the single track that comprises the work, seeming to take influence from calls to prayer as much as atmospheric noise. At higher volumes, the piece is consuming, his voice surrounds with the almost constant wash of tone, but even at more reasonable levels, the sense of purpose and ritual remains. Of course, Amenra are noted for the use of the word “mass” in their album titles, and while Rasa departs from the direct tonal heft of much of what van Eeckhout does in his main outfit, there is a sense of mass here in terms both of presence and in terms of the worship being enacted.

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Consouling Sounds

 

Brujas del Sol, Starquake

brujas del sol starquake

How do you fit an 11-minute track onto a 7” release? Easy, you break it in half. Such is the method of Ohio instrumentalists Brujas del Sol, who follow their Moonliner EP trilogy with the late-2015 single Starquake, presented on the limited H42 Records platter as “Starquake Pt. I” and “Starquake Pt. II” but comprising nonetheless a single piece that backs airy, post-rock-tinged guitar with a decided forward rhythmic motion, resulting in an overarching build that, while there’s a natural moment for the split, is hypnotic front to back, a swirl of effects calling it mind space rock improvisation even as the plotted momentum of drums and bass resumes. Starquake is enough to make one imagine what kind of variety and spontaneity Brujas del Sol would bring to a debut full-length, so in that it very much does its job, but it makes a good case for standing on its own as well as it hits its second apex and finishes in a residual wash of cosmic noise.

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H42 Records

 

Mammoth Weed Wizard Bastard, Noeth ac Anoeth

mammoth weed wizard bastard noeth ac anoeth

Offered through New Heavy Sounds, Noeth Ac Anoeth is the debut full-length from Welsh cosmic doom four-piece Mammoth Weed Wizard Bastard. It is comprised of three songs and incorporates the half-hour-long “Nachthexen,” which was also the title-track of the band’s prior 2015 EP (review here), their rumble brought to bear through the capable knob-turning of Conan’s Chris Fielding at Skyhammer Studio. The vocals of Jessica Ball manage to cut through the ensuing tonal murk of her bass and the guitars of Paul Michael Davies and Wez Leon, and James Carrington’s drums live up to the near-impossible task of making “Les Paradis Artificiels,” “Slave Moon” and “Nachthexen” go, each developing its own plodding momentum amid the purposeful thickness overdose and atmospheric sensibility enhanced both by Davies’ work on keys and Ball’s vocals. “Slave Moon” winds up at a gallop and almost operatic, but there’s no way the highlight wasn’t going to be “Nachthexen,” which offers chug dense enough and spaces wide open enough to easily get lost in. Time well spent, all around.

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New Heavy Sounds

 

The Shooters, Dead Wilderness

the shooters dead wilderness

Spanish heavy rock four-piece The Shooters present their third album, Dead Wilderness (on Red Sun Records/Nooirax Producciones), as two sides even on the CD pressing, each half of the record ending with an extended cut over the 10-minute mark. All told it’s six songs/49 minutes of solidified, mostly straightforward Euro-style riff-led heavy grooves, tapping into some Dozer influence on “War on You” but offering more spacious burl on “Lucifer’s Word,” which starts side B after the push of “Roots” rounds out side A. There’s little by way of letup, but moments like the quiet start and bridge of “Black Mountain” do a lot of work in adding complexity to The Shooters’ hook-minded approach, and 11-minute finale “Candelabrum” builds on that with a patient linear unfolding that casts off some tonal heft in favor of a more atmospheric take. That ultimately lets Dead Wilderness bring an individual edge to established stylistic parameters, from which it greatly benefits.

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The Shooters on Bandcamp

 

Boss Keloid, Herb Your Enthusiasm

boss keloid herb your enthusiasm

Granted, a title playing off Curb Your Enthusiasm and, well, herb, might make you think the band is just goofing around, but UK riffers Boss Keloid offer more substance with their second album, Herb Your Enthusiasm, than they do wackiness. The sound – captured by Chris Fielding at Skyhammer Studio – is positively massive, bolstered by guest appearances from Fielding himself and his Conan bandmate, Jon Davis, who also owns Skyhammer and Black Bow Records, the imprint releasing the LP, and given to swells of largesse and huge rolling grooves that still remain righteously fuzzed, as on “Escapegoat” or “Lung Valley” the quieter complement to opener “Lung Mountain.” Vocalist Alex Hurst assures any quota of burl is met, but has more to his approach melodically than riff-following chestbeating, and guitarist Paul Swarbrick, bassist Adam Swarbrick and drummer Stephen Arands present instrumental flow and turns behind that give the record a sense of personality beyond its weedian play. Not a minor undertaking at an hour long, but satisfying in tone and execution.

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Black Bow Records

 

Hors Sujet, Nous N’y Trouvons que le Doute

hors sujet nous ny trouvons que le doute

I guess it’s fair to call late 2015’s Nous N’y Trouvons que le Doute the debut full-length from Toulouse-based one-man outfit Hors Sujet, though multi-instrumentalist/atmosphere-conjurer Florent Paris has done a variety of soundtrack work and released numerous other textures in EPs and a variety of other offerings, so take that for what it’s worth. More important is the rich sense of ambience Paris brings to Hors Sujet in the seven included songs, from the dystopian doom of “Au Plus Loin, la Mer / L’hiver Peureux” to the wistful drone wash of “Le Souffle, Peu à Peu (Pt. 2),” which has its companion piece earlier in the album. Of special note should be 27-minute closer “Et Maintenant, le Ombres,” acting as a summary of the proceedings as much as expansion thereupon, concluding an often quiet outing with a stark cacophony that gorgeously builds from the minimalism before it to a raucous finish worth of the breadth Paris shows in his work throughout.

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Hors Sujet on Bandcamp

 

Warchief, Warchief

warchief warchief

Initially released by the band in summer 2015, the self-titled debut from Finnish progressive heavy rockers Warchief sees vinyl issue through Phonosphera Records, its two sides consumed by organic execution across four tracks moving beyond traditional structure in favor of a more varied approach, from the rumbling heft that emerges in opener “Give” through the goes-anywhere near-psychedelia of 21-minute closer “For Heavy Damage.” Warchief, the Jyväskylä-based four-piece of Teemu Pellonpää, Juho Saarikoski, Esa Pirttimäki and Tommi Rintala, feel right at home working in longer-form material, whether it’s that closer or the nine-minute “Life Went On” preceding, and given their breadth I wouldn’t be surprised if they would up with a single-song album sometime in the future. With that in mind, perhaps most encouraging about their self-titled is the fact that it seems so exploratory, very much like the beginning of creative growth rather than a finished product on display. One hopes they continue to flesh out stylistically and build on the foundation they’ve set here.

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Warchief on Bandcamp

 

Seedship, Demo 2015

seedship demo 2015

Riffing their way into the post-Electric Wizard league of rumble purveyors, Minneapolis newcomers Seedship avoid any cultish trappings on last fall’s Demo 2015, their first release. A marked tonal thickness is nearly immediate, but along with the slow-motion nod and overarching density, melodic vocals cut through the morass to give a human aspect to the groove. Of the three tracks, “The Edge of Expiry,” “The Condemned Adrift” and “The Desperate Odyssey,” not a one is under eight minutes long, and as they plod their way through the opener (also the longest track; immediate points), Seedship enact a sci-fi theme that carries through the release as a whole, which scuffs up the approach some in the closer, but always keeps its spacier elements intact, even as it kicks the pace in the ass at around six minutes in and lets loose a release for all the tension built up prior before a final slowdown ends out. They seem to have a lot already worked out sound-wise, so should be interesting to hear where they go with it.

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