My Dying Bride to Release Macabre Cabaret EP Nov. 20; New Video Posted

Posted in Whathaveyou on September 28th, 2020 by JJ Koczan

By way of a bit of a mishap, the original promo version of When you need a smart help with any kind of essays, leave the writing job to http://www.plurmac.mx/evaluation-of-phd-dissertation/ company. Number of years of experience together with well My Dying Bride‘s 2020 album, How to choose the Evaluate An Expression Homework Help, and which paper companies are good choices. The lost art of writing on paper. The Ghost of Orion (review here), that went out not-cool-enough-to-get-it-when-the-print-mags-do press such as myself contained three extra tracks, and those three, “Macabre Cabaret,” “A Secret Kiss” and “A Purse of Gold and Stars,” happen to be the three songs now listed on the forthcoming see it here eBooks Best Essay Writing Service Yahoo Answers is available on PDF, ePUB and DOC format. You can directly Macabre Cabaret EP. As someone who’s heard them, I’ll say there’s no real dip in quality from the album. The songs shift arrangements, but the record was just too long with everything on there and they (whether it was band or label) were right to hold some of it back for a release such as this.

And not that http://www.altepost-gastein.at/?term-papers-on-gmos offer many benefits, but students should know where to find them. Browse the Internet for possible solutions and choose the My Dying Bride were about to hit the road for an 18-month touring cycle anyway, but in a year with virtually no touring — also the advent of “virtual touring,” just ask Are you a lawyer in need of assistance? When you need see thiss and assistance with legal research, Better Briefs is here to help. We serve Nuclear Blast labelmates Buy Term Papers ó Avoid Low Grades (and Be Happy) Youíre smart. You know that when you need to Phd Dissertation Help Defense, you should pay attention to a variety Enslaved — a roughly concurrent outing makes sense to keep momentum from the full-length going as year-end whatnot begins to be considered.

The cover below is for the single “A Secret Kiss,” which you can hear in the lyric video below. For what it’s worth, I have no idea what the “hidden gem” might be on the physical editions that the PR wire discusses. Live track, maybe? Another holdover? Acoustic version? The possibilities are as limitless as¬† custom feature box thesis help writing a apa research paper order argumentative essay how to write good application essay My Dying Bride‘s own melancholy.

Info follows:

my dying bride a secret kiss

MY DYING BRIDE ANNOUNCE NEW EP “MACABRE CABARET,” OUT ON NOVEMBER 20TH

Action That Counts: Use Us As Your my review here. Youíve spent all this time, money and mind power working toward a doctorate. So why would WATCH LYRIC VIDEO FOR NEW SINGLE “A SECRET KISS”

No rest for one of Britain‚Äôs most melancholic exports: Just half a year after MY DYING BRIDE returned from their break with their haunting and successful (German Album Charts #12) masterpiece “The Ghost Of Orion”, the kindred of Yorkshire raise the curtains to the “Macabre Cabaret” – their new MLP that will be released on November 20th via Nuclear Blast.

The new EP of the band offers three new songs (plus a hidden gem on the physical editions) ‚Äď dark luscious Death Doom ear candies that will dive their victim into a sensual world of darkness and temptation and conceal the borders between sweet pain and destructive illusion.

Order “Macabre Cabaret” here:
http://nblast.de/MDB-MacabreCabaret

Singer Aaron Stainthorpe states:
‚Äú’Macabre Cabaret’ delves into the shadow empire of dark love and the consequences of unchecked sexuality. The deep passion of physical desire and its all-conquering rage over pure love is written bleakly here. A destructive essence within the soul can‚Äôt help but rear its ugly head.

‘A Secret Kiss’ is the final and lasting mark on the soul any human will feel when the lights have dulled and nothing meaningful remains for them. All religion features a shadow creature who arrives at the point of extinction and the release of the human soul, to either guide them to majesty or allow them do fall eternally into the ether.

‘A Purse of Gold and Stars’ is where we keep our hopes and desires and affection, perhaps in a dreamlike state, unattainable yet we still reach out for them. The trinkets and shiny baubles we call happiness and love are what we try so hard to keep close and protect. But it is never quite like that in real life and is often a struggle tainted with sadness but still, we hold the purse close and in tight cold hands.‚ÄĚ

The EP was produced mixed and mastered by maestro Mark Mynett and crowned with a beautiful and sinister artwork from Bunker Artworks.

It comes as:
– Jewelcase CD, digital version
– Black Gatefold LP, Black And Blue Splatter LP [US exclusive – limited to 300 p.]
– Blue Sparkle LP [Mailorder Exclusive – limited to 300 p.]
– White and Grey Splatter [Mailorder and Wholesale Exclusive – limited to 300 p.]
– Marigold LP [EMP Exclusive – limited to 300 p]
– White LP [US – Revolver Magazine Exclusive – limited to 300 p].

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My Dying Bride, “A Secret Kiss” lyric video

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My Dying Bride Post “To Outlive the Gods” Video

Posted in Bootleg Theater on March 11th, 2020 by JJ Koczan

my dying bride

The new clip for ‘To Outlive the Gods’ is the third song-based video to come from My resume visit here lead you in the right direction. What service will you hire? The decision will be easy once you read my unbiased reviews. My Dying Bride‘s newly-issued Our Telecommunications Phd Thesis will help you create business plan and pitch deck if you intend to start a new business or The Ghost of Orion (review here) — their first for Steps Of Writing An Essay. Transcription City provides expert copy editing and proofreading services. Contact us for copy editing of document such as articles Nuclear Blast after spending nearly 30 years as a flagship act for Product descriptions: http://cortedeibrut.com/?common-application-essay-help-maximum-words. This article was written by 121eCommerce. 121eCommerce is a certified Magento development agency that loves Peaceville — arriving as it does behind a lyric video for “Tired of Tears” (posted here) and the mud-covered clip for album opener “Your Broken Shore” (posted here). That seems like plenty in and of itself, but there have been a host of other videos as well that would seem to be culled from an interview with band founders Are you seeking best http://www.tempus-help.uns.ac.rs/?write-persuasive-essay-service in the UK, so that you can write a custom coursework solution to submit to your college or university? We Aaron Stainthorpe (vocals) and http://www.musik-meyer.com/?essays-on-othellos Business Services Writing Letter. The classic guide. Letter Resume For Sales Associate Objective Writing Services. Andrew Craighan (guitar) talking about various aspects of making the record, constructing the band, and so on. As these have basically arrived piecemeal, one question at a time — because attention spans — it’s safe to say that both band and label are laying it on fairly thick when it comes to promotion.

Reasonably so.¬† Demarcation Theory Rogers Thesis Masters will assist you with writing papers, get your high grade college and university papers. Just visit our website and and we'll discuss all The Ghost of Orion earns it, both in emotional weight and in the quality of its songwriting and of course in the masterful poise with which¬† My Dying Bride present their particular take on doom, once groundbreaking and still affecting. With much of its material based around the horror of¬†Stainthorpe‘s then-five-year-old daughter being diagnosed with cancer, it’s the kind of work you’d have to be a sociopath not to feel on some level, but melodically and in terms of its brutal moments, the band don’t lose sight of songcraft either, as tracks like “To Outlive the Gods” showcase well. If “Your Broken Shore” told the audience there were gonna be death growls on the record and “Tired of Tears” was a gut-wrencher of a single, then “To Outlive the Gods” is the string-laced flowing melodic side of¬†The Ghost of Orion coming to bear. Still based around a memorable chorus, the song unfolds across eight minutes or so of¬†My Dying Bride‘s signature melancholy.

My only question at this point is when they’re going to hit the road, where, and for how long.

Guess we’ll see.

You can check out the video below — it’s got¬†acting! — followed by more from the PR wire.

Enjoy:

My Dying Bride, “To Outlive the Gods” official video

Doom legends MY DYING BRIDE unleashed their new album The Ghost Of Orion last week and today the band are releasing the official video for ‘To Outlive The Gods’. Directed by Hal Sinden, the video features frontman Aaron Stainthorpe and tells the tale of a doomed love story.

Aaron¬†commented on the track:¬†“When passion is so strong and so driven, even the Gods will be put to shame.”

Order The Ghost Of Orion on CD, black 2LP Gatefold, white 2LP Gatefold, red 2LP Gatefold and picture disc 2LP Gatefold here: nblast.de/TheGhostOfOrion

My Dying Bride‚Äôs three decades of misery almost came to an end several years ago. Following 2015‚Äôs universally lauded Feel the Misery album, vocalist Aaron Stainthorpe‚Äôs daughter, just five years old at the time, was diagnosed with cancer. Shocked and heartbroken, Stainthorpe put all band activities on hold while he, his immediate family, and My Dying Bride put their collective energies into eradicating what Stainthorpe called, ‚Äúthe cruellest of God’s bitter and loveless creations.‚ÄĚ The high hurdles, however, didn‚Äôt stop with cancer. In 2018, returning original member and guitarist Calvin Robertshaw texted his departure, effective immediately. No reason was given or explanation provided to anyone.

Then, just as My Dying Bride had regrouped after positive news that his daughter was effectively cancer free, returning drummer Shaun Taylor-Steels departed right before the band were slated to enter Mark Mynett’s studio, Mynetaur Productions. Down two members but feeling right as rain, My Dying Bride moved on, mastered the doldrums, recording magnificent new album, The Ghost of Orion, to the joyful tears of fans across the globe, in the process.

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My Dying Bride, The Ghost of Orion: Mending Shores

Posted in Reviews on February 25th, 2020 by JJ Koczan

my dying bride the ghost of orion

While it’s true that¬†The Ghost of Orion is¬†My Dying Bride‘s 14th album in a career that hits the 30-year mark in 2020, it’s also their first in a half-decade. That is a longer break between full-lengths than they’ve ever had, and in addition to signing to¬†Nuclear Blast after issuing 2015’s¬†Feel the Misery (review here) and each of its predecessors through¬†Peaceville Records, the distance from one LP to the next might be found in vocalist¬†Aaron Stainthorpe dealing with an illness in his family. More specifically, his child, and even more specifically, his five-year-old daughter got cancer. This is something addressed directly in the material itself, and as the eight-song/58-minute offering passes between the opener “Your Broken Shore” and its brief choral counterpart, the finale “Your Woven Shore,” the theme is writ large throughout, perhaps most directly in “Tired of Tears,” which remains an exceptionally beautiful work of songcraft despite its tragic lyrical origin — it is also equal parts sorrowful and catchy — and a piece like “The Solace,” where¬†Wardruna‘s¬†Linda Fay-Hella steps in on lead vocal joined only by the guitar of Stainthorpe‘s fellow¬†My Dying Bride founder¬†Andrew Craighan. Fay-Hella is one of two guests alongside¬†cellist¬†Jo Quail, and as Lena Ab√©‘s bass and¬†Jeff Singer‘s drums and¬†Shaun MacGowan‘s keyboards and violins flesh out arrangements, the encompassing whole remains characteristic with the particular style of emotive death-doom that Craighan and¬†Stainthorpe helped pioneer in the band’s landmark early work. The Ghost of Orion, to put it as simply as possible, is the work of masters.

That’s evident from the first strains of guitar and the first thuds of drums that introduce “Your Broken Shore,” and as that track unfolds with its blended death-growl chorus and melodic-vocal verse, its string accompaniment and its unadulterated feeling of rhythmic force, there’s no mistaking My Dying Bride for anyone else among the minimum-two generations of acts they’ve influenced and no doubt will continue to influence, not the least because of the work they do here. As gutturalism and melody come together in the crescendo, “Your Broken Shore” gives way to strings in a fluid transition to the quick keys at the outset of “To Outlive the Gods,” which will return in both the midsection and at the finish, while in between, what plays out is an immersive shift between the leadoff and “Tired of Tears,” of which the immediacy is not at all dulled by the fact that it’s nearly nine minutes long. It is a signature hook for¬†The Ghost of Orion, more so even than “Your Broken Shore,” while and seems very much intended to standout from what surrounds. The fact that it comes situated next to “The Solace” might have something to do with that as well, since that at-least-partial-departure-from-form is also a chance to digest the proceedings up to that point even as they progress through a new stage, but that only adds another level of consideration to how effective¬†The Ghost of Orion is on the whole. Again, the work of masters.

my dying bride

“The Solace” also functions as a transition into the remaining tracks, which take a somewhat different approach than the album up to that point, though perhaps one might look at the structure of “To Outlive the Gods,” with its breaks into clearly-defined sections, as something of a precursor. Positioned as the final cut on side B, “The Solace” itself is stark for its lack of drums and inherently folkish with¬†Fay-Hella‘s vocals standing alone overtop the layers of guitar leads, and what it lends to¬†The Ghost of Orion in terms of atmosphere isn’t out of character certainly with what’s come before, but is definitely built upon in what comes after, as the shape of the second LP moves between the most extreme moments in “The Long Black Land” and the penultimate “The Old Earth” — both of which top 10 minutes long — and the shorter pieces that accompany in the tense but ultimately quiet piano/guitar interlude title-track and the aforementioned closer “Your Woven Shore,” which shifts smoothly in its two-minute stretch between a choir of voices either organic or synthesized and a movement of strings that seems to represent the resolution so much of the album has been begging for — its second half doing so in especially visceral fashion. Though neither wants for overarching lushness or dynamic, they nonetheless represent the darkest reaches of¬†The Ghost of Orion, and even as¬†Stainthorpe self-harmonizes in an especially mournful lower register in the later portion of “The Long Black Hand,” the emotional weight is no less grueling than that of the tone or rhythm surrounding.

Likewise, after “The Ghost of Orion” leaves off its brief passage, the quiet introduction of “The Old Earth,” subtly building to a cymbal-wash-and-stop as the full-thickness riff joins in, the ensuing roll is a setup for the punishment of the record’s harshest, sound-like-they-physically-hurt-to-deliver-in-the-studio growls.¬†Stainthorpe plays back and forth almost in a call and response as “The Old Earth” lumbers through its midsection, and it’s not until after six and a half minutes into the total 10:52 that the tempo picks up to a more kinetic chug. The drums also join that build, and thus drive it, and it seems like¬†My Dying Bride will ride that chug to the song’s finish, but they turn to a more angular section derived from earlier, the strings and guitar continuing to mount tension before finally letting go somewhere just before the final minute begins,¬†Craighan holding on through the last fade from which “Your Woven Shore” emerges to underscore the death-and-life-from-death-and-life thematic that all of¬†The Ghost of Orion has been working through on at least one level for its duration, and usually more than that. Taken individually, its initial salvo feels poised to capture the listener and engage the beginning of the story the band are telling, while everything thereafter answers that by deepening and enriching the plot as it unfurls. An interchange between beauty and pain is not by any means new aesthetic territory for¬†My Dying Bride, and one must allow for the context in such a consideration here perhaps more than one otherwise might, but rarely has their turmoil ever sounded so genuine, and rarely has their triumph through it felt so resonant.

My Dying Bride, “Tired of Tears” lyric video

My Dying Bride, “Your Broken Shore” official video

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My Dying Bride Post “Tired of Tears” Lyric Video

Posted in Bootleg Theater on February 13th, 2020 by JJ Koczan

my dying bride

It seems strange to think of¬†My Dying Bride — a band who’ve been around for 30 years as of 2020 — as prospects, but I really look at their new album,¬†The Ghost of Orion, as one that is particularly rife with potential to be one of this year’s best doom records. And it’s not just excitement for an LP from a good band. It’s different. With their signing to¬†Nuclear Blast, they’ve got a chance to capitalize on new focus and energy and reach different listeners than they otherwise might in a way that could turn new heads in their direction. I’m going to be interested in how it all plays out when¬†The Ghost of Orion¬†arrives on March 6.

“Tired of Tears” is the second bit of audio unveiled from the release behind the single “Your Broken Shore” (video posted here), and it comes in the form of a new lyric video, which highlights what seems to be the emotional core from which¬†The Ghost of Orion stems, in the despair and horror felt by founding vocalist¬†Aaron Stainthorpe in relation to his daughter — his only child, as he says below — having her life threatened by illness. It is this raw cosmic wrongness, the child passing before the parent, that “Tired of Tears” puts into poetry and a flowing song structure, and though it’s totally incongruous with the theme, the track itself is damn near a sing-along for its catchiness and the effectiveness which which Stainthorpe self-harmonizes atop the sorrowful riffs of his fellow founder, guitarist Andrew Craighan.

I have not yet heard the entirety of¬†The Ghost of Orion, which means I probably won’t until it’s out, largely I expect because I’m not cool enough, but even if I have to wait for the CD as opposed to a link down the PR wire, the mastery on display here only makes me want to dig in more.

And not at all on a side note, I hope exploring this situation through lyrics at least brought¬†Stainthorpe some strength or clarity or resolve, because it’s one thing to perform despair — and certainly¬†My Dying Bride are no strangers to that — and another thing to live it to the kind of degree he talks about below.

Video follows:

My Dying Bride, “Tired of Tears” lyric video

The cold fingers of “The Ghost Of Orion” reach out for the world to wrap it in desperate misery, heavy melodies and hopeless misery: MY DYING BRIDE release their new album on March 6th via Nuclear Blast.

The track has a particularly special meaning for frontman Aaron Stainthorpe, as he explains:

“The track touches upon the most terrifying, stressful and harrowing period of my entire life – the near death of my only child. I have been down before but it never hurt like this. This was true darkness and I was not sure my mind could take it. My entire world looked like it was going to implode but I was determined to fight all the way. Tired of tears was exactly how I felt. They had been flowing freely from me for months and I was a shadow of my former self. It is sad that this will continue for many others. Innocent people. so very tired of tears.”

Pre-order “The Ghost Of Orion” here:
https://nblast.de/TheGhostOfOrion

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My Dying Bride Post “Your Broken Shore” Video

Posted in Bootleg Theater on January 14th, 2020 by JJ Koczan

my dying bride

As threatened when My Dying Bride released the song as a digital single and announced the March 6 landing of their first album in five years, The Ghost of Orion, there’s now an accompanying video for “Your Broken Shore.” The big difference here, of course, is that it means those without a Spotify account — I actually re-signed up for one (had one, but seem to have lost it somewhere along the way) just for the song — or who don’t feel like shelling out the 99 cents for Apple Music or Amazon or whoever can hear the track, but the video is well-produced and directed as well, so it’s not like it’s a hardship to watch. I kind of like the dueling Aaron Stainthorpes, one lurking in black water or dressed in a monk’s robes screaming at the sky and the other brooding melancholically with a furrowed brow at the microphone, and the rest of the band appear in front of a wall of Marshall stacks that I imagine are just kind of around in founding guitarist Andrew Craighan‘s living room. “Oh that? That’s just my 35th guitar cab. More tea?” and so on. A splendid afternoon had by all.

So if the song was already out there to some extent, why am I posting the video? Well, the democratization of the track and the atmosphere inherent to a visual representation aside — though either of those would be reason enough, or just the fact that it’s My Dying Bride and I felt like it — it reinforces two key points about¬†The Ghost of Orion I put forth when the release date was announced. First, I think the record’s going to be really good. I haven’t heard it yet (tear), so I’m only going on “Your Broken Shore” and my own anticipation, but it’s been half a decade and the band have now signed to¬†Nuclear Blast, so they’ve got a whole new reason to bring their top-level game to the proceedings. Second point, the label’s going to really give this album a push. It’s kind of a risk because while¬†My Dying Bride¬†are legends in doom and hugely influential, I don’t think they’ve ever been a break-the-bank commercial band with mass appeal, but just from the fact that they’ve spaced out the track and video releases over two separate announcements means¬†Nuclear Blast are looking to build momentum going into the arrival of¬†The Ghost of Orion, and with preorders up now, I’d only expect that to continue.

That is to say, more to come.

Enjoy “Your Broken Shore”:

My Dying Bride, “Your Broken Shore” official video

After returning with a giant strike and announcing their new album, the British doom death legend underlines its words with stunning pictures: MY DYING BRIDE release the video for”Your Broken Shore” today, taken from the upcoming album “The Ghost Of Orion” which will be out on 6th March.

The new record of MY DYING BRIDE is the product of a vibrantly creative band that is more than willing to build on their successes in the past. Singer Aaron Stainthorpe about “Your Broken Shore”:

“The first song from MY DYING BRIDE for five years comes laced with passion, power and their unyielding desire to create the most thoughtful and heavy music possible.

‚ÄėYour Broken Shore‚Äô is recognizably theirs despite an evolution spanning 30 years, it‚Äôs new and fresh but with unmistakable provenance and production surpassing anything they have previously released.

This track represents just a taster of things to come as the new LP ‚ÄúThe Ghost of Orion‚ÄĚ is upon the horizon containing seven further compositions of deliciously crushing gothic doom/death metal.”

Pre-order “The Ghost Of Orion” here:
https://nblast.de/TheGhostOfOrion

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My Dying Bride to Release The Ghost of Orion March 6; New Single Streaming

Posted in Whathaveyou on January 7th, 2020 by JJ Koczan

my dying bride

Coming up on five years since¬†My Dying Bride‘s last record, Feel the Misery (review here), came out in 2015, and when it was announced that the UK doom legends’ awaited Nuclear Blast debut was done back last August, I posited a mid-February release date. Well, first week of March isn’t that far off, so I’m gonna take a second and feel alright about that. Look at me, noticing how stuff works sometimes.

More importantly than the I-told-you-so that I just told, well, myself despite a lack of actual accuracy on the matter in question, My Dying Bride‘s new full-length, dubbed The Ghost of Orion, will be out March 6 and there’s a new single on the Spotifies and other streaming services of the digital universe that’ll be followed by a video later this week. If I may be so bold as to make another prediction? I think this album is going to be one of 2020’s best doom releases. Think about it. They’re touting death metal vocals in the single, which is something longtime fans have wanted, and hinting at more accessible material overall, which seems primed to grab the attention of a waiting new generation of listeners who maybe caught onto Paradise Lost with their Medusa outing a few years ago — also on Nuclear Blast, it’s worth noting — and are hungry for more from the grim masters of the style. Well folks, here come My Dying Bride. Keep an eye out for that video and we can go from there and see if I’m right. It’s not the kind of call I’m totally comfortable making less than 10 days into January, but I’ll put it out nonetheless: I’m betting this record is going to smoke.

From the PR wire:

my dying bride the ghost of orion

MY DYING BRIDE ANNOUNCE NEW ALBUM, “THE GHOST OF ORION” FOR MARCH 2020

MUSIC VIDEO FOR “YOUR BROKEN SHORE” TO BE RELEASED ON JANUARY 10TH

Like a phoenix from the ashes, a legend rises again in 2020: MY DYING BRIDE went through tough some times in last years and fought many struggles along their way, but now the British doom metal band are proud to announce their new studio album “The Ghost Of Orion” for 6th March, 2020.

The new record of MY DYING BRIDE is the product of a vibrantly creative band that is more than willing to build on their successes in the past.

Singer Aaron Stainthorpe about”The Ghost Of Orion”:

“A new album for a new era of MY DYING BRIDE with fresh faces and a more accessible style compared to some of their past, highly technical releases. ‘The Ghost of Orion’ features compositions not only of epic proportions but of intimate quality too, from death metal vocals to the pained cries of a vocalist in longing, the L.P. will raise and fall like the beautiful landscape of Yorkshire in which it was recorded. With layer upon layer of guitars both heavy and harmonic, Andrew Craighan has created a rich soundscape that is beautifully epic, enhanced with violins and keys from Shaun MacGowan along with the ominous murmur of cello from acclaimed cellist Jo Quail. And speaking of guest artists, the wondrous voice of Lindy-Fay Hella (WARDRUNA) adds an ethereal beauty to the album. Adding his particular style of drumming this time round is Jeff Singer whose percussion exploits have elevated the bands‚Äô rhythm section to another level aided by the effortlessly stylish Lena Abe on bass guitar. Aaron Stainthorpe delivers a compelling and often disturbing performance with his own particular style of vocals offering sincere eulogies along with the visceral carnage of a soul in pain, with poetic lyrics of a quality not often seen in this genre. This collection of songs is the band’s most brilliant yet, honing 30 years of experience into the well crafted offering that is ‘The Ghost of Orion’.”

Pre-order “The Ghost Of Orion” here:
https://nblast.de/TheGhostOfOrion

Today, “The Ghost Of Orion” will be targeting our souls in form of the first single “Your Broken Shore” – a haunting, gloomy piece driven by melancholy and deep, dark emotions. A music video for this stunning masterpiece will be released on 10th January.

Check out the single here:
https://nblast.de/MDB-YourBrokenShore

The album will be available as CD, black 2LP in Gatefold, white 2LP in Gatefold, red 2LP in Gatefold and picture 2LP in Gatefold.

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My Dying Bride Finish Work on New Album

Posted in Whathaveyou on August 5th, 2019 by JJ Koczan

So the masters are with Nuclear Blast now. That’s great. You figure they’re going to want at least three months of lead-time to promote it, right? Lock down the magazine covers, special features, track reveals, maybe a video, tour announcement if that’s in the offing, etc. All that stuff takes time, and you gotta space it out with preorders to build awareness as part of any self-respecting promotional campaign. Plus this is My Dying Bride‘s first record for Nuclear Blast, so it’s a safe bet they’re going to want to make a splash. It’s an event.

Accordingly, a November release is pushing it. It could happen, but the title details, maybe album art, would have to be out like this week in order to to make that go, because it would need to be early November. By the time the holidays hit, which is always earlier, it seems, the year is done for releases of this scale. There’s always going to be stuff coming out, but something like My Dying Bride‘s label debut on Nuclear Blast? They could take the big risk and do December, but you miss out on best-of lists and not as many people are paying attention, so you probably lose some sales. January, everyone’s broke or in debt. Mid-February is when things start really picking up again, and if that’s when the My Dying Bride record happens, I wouldn’t be surprised.

Seems like a long time from now, but it’s already been four years since 2015’s Feel the Misery (review here), so a little longer won’t kill anybody. Since the band signed with Nuclear Blast in 2017, I’m just glad there’s an update about the record at all, and bonus that the update is, “it’s done.” That’s a good update to get.

So here it is. When I hear about the release date, I’ll let you know:

MY DYING BRIDE

It is complete! The new album from My Dying Bride! It has taken quite some time to put together but it is now finished and is with Nuclear Blast as I write this. There is no release date as yet but rest assured we will let you know once we find out. This album is a luxurious journey into a realm only MDB know how to create. It has the most lavish production of any of our past offerings and the sound is utterly stunning; aggressive, beautiful and layered with harmonic melancholy like never before. There is beauty here with slender moments of delicate hope enriched with violins and cello and the stunning voice of special guest Lindy-Fay Hella from Wardruna. And there is utter madness and anger with visceral death metal vocals lending a fearful edge to this dramatic opus. You will not be disappointed!! Cheers, Aaron.

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ROADBURN 2017 Day Three: And Yet it Moves

Posted in Features, Reviews on April 22nd, 2017 by JJ Koczan

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04.22.17 — 22.23 — Sat. night — Hotel room

I don’t mind telling you I was a total wreck this morning. There we were, finishing up the third issue of Weirdo Canyon Dispatch (get the PDF here), and holy macaroni, I just couldn’t hack it. I’d gone to sleep at a semi-reasonable time, circa 2AM — which is pretty good, considering — but woke up at around three and was up past 4:30. Just up. Weirdo Canyon Dispatch Saturday issue.Brutally, brutally awake. I could’ve cried.

Instead, I put my head down on the desk in the¬†013 office while we waited for the test-print of today’s ‘zine and was granted a generous reprieve from the folding process that followed. I folded three copies of today’s¬†WCD: my own. After that, I made the most of my special dispensation and high-tailed it back to the hotel to sleep for another two and a half hours, at the end of which time I pounded water, a protein bar and ibuprofen and it was enough to temporarily trick my body into believing it was human. This weekend has been pure madness, and there’s one day yet to go.

By the time I got back to the¬†013, I knew I’d missed my chance to hit the photo pit for day-openers¬†The Bug vs. Dylan Carlson of Earth, the somewhat cumbersomely-named collaboration between, well,¬†The Bug and¬†Dylan Carlson, but I still had plenty of opportunity to be assaulted by their combined volume of drone and beats, soundscapes thick enough to swim through and handed out with enough force to vibrate the plugs in my ears and the teeth in my skull. Really. I think I lost a filling. They were very, very loud.

Two experimentalists like that working together, even as a one-off, carried an air of being something special to start the day, and so it was.¬†The Bug‘s rig, flanked on either side by bass cabinets with two more laid down in front in such a manner as to make¬†Carlson half-stack look positively minimalist in comparison, shook the upstairs The Bug vs. Dylan Carlson (Photo by JJ Koczan)balcony where I set up shop for the duration, and the clear impression that came through was that although they used different means of expression —¬†Carlson with his guitar,¬†The Bug with his laptop and mixing board — their work together was way less of a¬†“vs.”-type situation than the name led one to believe. They were very definitely on the same side, but while they played, spotlights slowly hovered over Main Stage crowd, feeding the air of suspicion and paranoia in such a way that was eerily appropriate for what they were doing.

Speaking of collaborations, over at the Patronaat,¬†Razors in the Night — AKA¬†John Dyer Baizley of¬†Baroness and¬†Scott Kelly of¬†Neurosis playing oldschool punk and hardcore covers — were just getting started. I stayed put in the big room, however, because I knew I didn’t want to miss a second of¬†Oranssi Pazuzu. The Finnish progressive/psychedelic black metallers have been an increasingly steady presence at¬†Roadburn over the last five years, and after their own slots at the church, they managed to pack out the Main Stage to an admirable degree. People stood outside the open doors for not the last time today in order to catch a glimpse of their malevolent, ultra-deep swirl.

As immersive as it was dark, I couldn’t argue. Oranssi Pazuzu, who released their fourth album,¬†V√§r√§htelij√§¬†(review here), in 2016, may have conjured the finest blackened psychedelia I’ve ever seen. It was so much of both, so chaotic and yet purposeful, that to Oranssi Pazuzu (Photo by JJ Koczan)consider it anything less than the work of masters would be completely underselling it. When I was done taking photos, I went out into the hallway to walk around to the other side of the room and I couldn’t believe it was still daytime. And more over, the sun had come out! Something so cosmically abysmal just seemed like it should be swallowing any and all light around it, but so it goes. Stately and ferocious, they cast their waves of of bleakness over a sea of nodding heads, and after years of missing them here, I was finally glad to have been clued in, even if I seemed to be the last one in the entire Main Stage space to have caught on. Which I probably was, because that’s the kind of hip I am. Which is to say, not at all.

Maybe it was partially a case of going easy on myself, but I once again didn’t budge from the Main Stage following the conclusion of¬†Oranssi Pazuzu. Today was minimal back and forth, actually, which suited me just fine after two busy days of¬†Roadburn 2017 bouncing from this venue to that one. I’d hit the Green Room twice before my evening was over, but was at the¬†013 the whole day, which after all the¬†Extase and¬†Het Patronaat yesterday almost made me feel insecure and restless — “Don’t you have somewhere you need to be, sir? Oh yeah, here,” and so on. Sometimes this festival plays tricks on your mind.

My reasoning in staying put was more than justified, though, with¬†Warning coming on to play 2006’s¬†Watching from a Distance in its entirety. I knew some of what to expect from a¬†Patrick Walker performance after seeing him front¬†40 Watt Sun here in 2012, but of course¬†Warning brought a presence all their own in addition to his melancholic emotionalism. They struck¬†a hard balance between sonic weight and sheer heft-of-sadness, and yet as morose as they were, and as understated as their aura was on stage, they were never anything but engaging. Rare band, rare album,¬†rare set. Warning (Photo by JJ Koczan)This¬†Roadburn has had its share of special moments, and¬†Warning fit that bill as well. There was something empowering about them, or at least validating, and as deep into their own headspace as they went, they never seemed to get lost there.

It’s not often you see a band play a full album and then want to go and put on that album directly afterward, but¬†Warning doing¬†Watching from a Distance had that effect. I can’t claim to know the record inside and out, but I felt fortunate to have had the chance to see the band bring it to life, which much to their credit, they did without losing the heart-wrenching resonance of the studio versions of the material.

Next door in the Green Room, the focus would soon be about an entirely different kind of crushing execution, as Belfast dual-guitar three-piece¬†Slomatics made ready to take the stage. I got there about 20 minutes before they went on and was still too late to get a spot right up front. Should’ve figured. I’d heard people talking about how stoked they were to see them, and after being lucky enough to see them in Norway last September at¬†H√łstsabbat (review here), I also knew they weren’t to be missed. My timing being what it was, I still got there to see¬†Jon Davis from¬†Conan soundcheck the guest vocals he’d provide for closer “March of the 1,000 Volt Ghost,” and it was good to know that was coming.

Davis also released¬†Slomatics‘ fucking excellent 2016 album,¬†Future Echo Returns (review here), on Slomatics (Photo by JJ Koczan)his¬†Black Bow Records imprint, so all the better to have him there alongside guitarists¬†Chris Couzens and¬†David Majury as well as drummer/vocalist¬†Marty Harvey, who even before¬†Davis showed up stomped out the most pummeling tones I’ve heard over the course of the last three days. “Electric Breath,” “Return to Kraken,” “And Yet it Moves,” “Supernothing” — this is the stuff of lumbering, rolling, molten doom supremacy, and as they’re five records deep into a tenure that one hopes continues into perpetuity,¬†Slomatics know how to wield these weapons to glorious effect. I felt like I was going to pass out and ran downstairs to hammer down¬†a quick dinner — chicken in some kind of tomato-based sauce with green and red peppers, jalapenos and cheese over lettuce; two plates in about five minutes — and was back in the Green Room in time to catch¬†Davis‘ guest spot from the side of the stage and jump up to take a picture of the band when they were done playing. I never do that kind of thing, but¬†Slomatics¬†were nothing if not an occasion worth savoring.

Shit would only get more doomed from there. Like I said yesterday, everyone here makes their own¬†Roadburn, and I knew how I wanted my night to go. I wanted it to go doom. That meant hanging out in the Green Room more for¬†Ahab, which I was more than happy to do. The nautically-themed German funeral doomers were not a band I ever really expected to be able to see, and knowing how packed it got for¬†Slomatics, I assumed much the same would ensue. I was right.¬†Ahab probably Ahab (Photo by JJ Koczan)could’ve filled the¬†Patronaat if the press of the crowd behind me half an hour¬†before they even went on was anything to go by, but as it was they beat the Green Room into submission with their guttural, ultra-slow lurch and churning devastation.

It was by no means the same kind of¬†grind that¬†Memoriam¬†were doling out on the Main Stage, but watching¬†Ahab play was like witnessing the giant, five-foot-thick gears of some industrial revolution shipyard turning the assembled audience into powder. The very means of production brought to bear on all of our caved-in skulls. Yes, they were hyperbole-level heavy. Unremittingly so, and to a claustrophobic degree. I don’t know if it was during “Old Thunder” or “To Mourn Job,” but there was a point at which I had to remind myself that I’d actively wanted to be so brutally overwhelmed and so overwhelmed by brutality. Did that make the effect any less punishing? Not in the slightest, but thanks for asking.

There was only one place left to go to continue my downer trajectory: back to the Main Stage for¬†My Dying Bride. Having the UK doom legends play 1993’s Turn Loose the Swans¬†in full made an awful lot of sense after special sets in 2016 from¬†Paradise Lost and in¬†2015 from¬†Anathema and¬†Fields of the Nephilim¬†— I’m keeping my fingers crossed for¬†Katatonia in 2018; never seen them and they’d seem to be next in line, despite not being British — and the drama unfolded early as frontman¬†Aaron Stainthorpe hit the stage with violinist/keyboardist¬†Shaun Macgowan for “Sear Me MCMXCIII.” Soon enough, founding guitarists¬†Andrew Craighan and¬†Calvin Robertshaw, bassist¬†Lena Ab√© and drummer¬†Shaun Taylor-Steels¬†would join, and the full fray would be unleashed. Chances are I don’t need to tell you how influential¬†My Dying Bride have been on the trajectory of the last two decades of doom, but suffice it to say I’m not sure I could’ve found a darker way to round out myMy Dying Bride (Photo by JJ Koczan)¬†Roadburn¬†2017 Saturday night than to watch them deliver that level of scathe with that level of professionalism.

And no, I’m not just saying that because¬†Stainthorpe wore a tie. With animation by¬†Costin Chioreanu behind them,¬†My Dying Bride were the consummate headliners.¬†Mysticum were still to follow on the Main Stage with a production I’d caught in soundcheck earlier in the day that was probably the most elaborate I’ve ever seen in the¬†013 venue, but for me,¬†My Dying Bride marked a culmination of what I wanted the evening to be, and so I knew my night was done. There’s always more to see at¬†Roadburn. Always something you don’t get to. Always someone who, years down the road, you wonder, “What the hell was I doing that I missed that?” but sometimes when you’re in Tilburg, you’ve crafted your experience in such a way that makes sense at the time, and that was me tonight. Would’ve been hard pressed to find anything to top¬†My Dying Bride anyway.

One day left in¬†Roadburn 2017, which is something I know to be true because I only have two protein bars remaining — one for before the show, one for after. Tomorrow’s another early start to fold¬†Weirdo Canyon Dispatch issues, so I’ll leave it there once again and say thank you for reading and if you’re so inclined, you can check out more pics after the jump.

Which is right frickin’ here:

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