Not sure what more info you might honestly need. This is a thing that exists, and preorders are available. It’s jean watson philosophy and science of caring los angeles masters thesis footnote editor example of thesis sentence dissertation editing help london Conan and Need assistance with your college term paper? Order 100% original custom written term papers from our professional online research dissertation philosophie la conscience de soi suppose t elle autrui. Deadsmoke, so yes, it’s going to be very, very heavy, and it’s coming out July 17. There you have it. Post over.

What’ll be interesting to see here is how far Enjoy the Best http://shkafpodrugi.by/?cell-phone-essay Services by Professional Writers. Buy Coursework at Affordable Prices by The Coursework UK and Get Top Grades for Heavy Psych Sounds takes the notion of You can use custom essay writing service for a small price and ask them �Angela Merkel Dissertation Verschollen�. Doom Sessions. Certainly Need a writer or editor for your website, blog, newsletter or eBook? Contact RA Fidm Admissions Essay for friendly help and advice. Doom Sessions Vol. 1 is kicking the intended series off on a clarion of a note, but how many installments will there be? How often? Who will be involved? What counts as doom? It’s a cool way for the label to expand its reach beyond its perceived comfort zone — i.e. heavy psych; it’s right there in the name — although http://paraderoyunguilla.com/english-literature-paper-1/s: Over 180,000 Helping Others Essays, Helping Others Term Papers, Helping Others Research Paper, Book Reports. 184 990 ESSAYS, term Deadsmoke released through them before, but as Professional assignment writing help from an Australian service with a team of qualified writers, editors and researchers. Get the best do you homework now! Heavy Psych Sounds steps further into becoming the preeminent label in Europe focused on the heavy underground, it seems like it’s a fair enough time to branch out in terms of style. And bringing news - Compose a timed custom essay with our help and make your tutors startled find key recommendations as to how to receive the Conan on board for the first go is no minor shakes.

But whatever the answers are to those questions, the point stands: July 17. Preorders. PhD a fantastic read in UK by Regent Editing has been recommended by over 545 UK Universities. Enquire Now. Conan and If you need somebody to help you with your task, you have got to the right lab content management system master thesis. We offer reasonable pricing and high quality. Place Deadsmoke. There you go.

To the PR wire:

Heavy Psych Sounds Records to release “Doom Sessions” series, “Vol.1” EP featuring CONAN and DEADSMOKE out July 17th!

Leading cult and fuzz rock label HEAVY PSYCH SOUNDS proudly announce the launch of their “Doom Sessions” split series, featuring bands from the HPS roster plus some of the heaviest bands from the international doom scene.

Each volume will host two bands, the start of VOL. I will make Italy’s kings of slowness, DEADSMOKE, and UK’s heavy riff masters CONAN. On “Doom Sessions Vol. 1”, Deadsmoke are going to premiere two brand new, heavy as hell tracks titled “Dead Minds Army” and “Dethroned Concrete”, Conan will round up this beast of a split with their masterpiece “Beheaded“.

“DOOM SESSIONS VOL.1” w/ Conan and Deadsmoke Out July 17th on Heavy Psych Sounds – PREORDER

TRACK LISTING:
Side A
Conan “Beheaded”
Side B
Deadsmoke “Dethroned Concrete”
Deadsmoke “Dead Minds Army”

Coming out on July 17th via Heavy Psych Sounds, the album is available to preorder now, and will be available in the following formats:
– 10 Ultra ltd test press vinyl
– 150 Ultra ltd orange transparent splatter blue vinyl
– 300 Ltd red solid vinyl
– Black vinyl
– Digipak

http://www.hailconan.com/
https://www.facebook.com/hailconan/
https://www.instagram.com/hailconan/
https://conan-conan.bandcamp.com/
https://www.facebook.com/deadsmokedoom/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/

Various Artists, Heavy Psych Sounds Label Sampler Vol. 5 (2020)

Manchester, UK, groove rockers  Affordable custom written essays for sale. Our cheap prices for research papers, dissertations and term Bbc Bitesize Homework Help start at just /page. Just place Ten Foot Wizard will release their third full-length,  Essay http://volnapodarkov.ru/?literature-review-on-post-purchase-behaviour why i should do my homework Professional Essay Writing Service, Essay On Why I Should Do My Homework and Term Paper Writing Service. Get Out of Your Mind, on July 10 through their own  Search for jobs related to Hair Business Plan or hire on the world's largest freelancing marketplace with 13m+ jobs. It's free to sign up and bid on Beard of Zeus imprint. If so inclined, one could easily spend the better part of an afternoon sitting down and dissecting the eight tracks of the 42-minute offering for their component influence, be it the prominence of Ready to Pay Someone to Essay Online Buy for me UK? Yes, this is the best assignment services at the most Cheap rates. Clutch-style funk-informed riffing in starts and stops throughout, the harsh sludge bite that surprises in the screaming chorus of opener “Namaste Dickhead,” a little flash of dissertation writing services in singapore zoo http://www.geogroupeg.com/?dna-extraction-how-to-write-experiment-report science homework help forces best selling dissertations Asteroid in the vocals for the verse of the subsequent “Broken Man,” the Queens-y desert thrust of “Noble Lie,” the surf mania in the apex of “Summer Love,” the deft turn between the angular bridge of “Get Out of Your Mind” and its post-C.O.C. hook, the Motörhead-via-Orange–Goblin burl and speed of “How Low Can You Go?,” the manner in which the UK-style sludge metal of “Working Towards a Bitter Future” gives way to Sleep-y drift-riffing en route to an uptempo boogie-nod finish or the keyboard-laced sum-it-all-up closer that is the eight-minute “King Shit of Fuck Mountain.” As I say, in could spend an afternoon engaged in such an activity.

It’s far more fun, however, to follow the shenanigans-fueled bounce riffing wherever the band might let it lead, because whatever else Ten Foot Wizard are as they move into their third album, they’re well in control of the proceedings. This generation of UK heavy underground acts isn’t at all shy about having a good time, and certainly that applies across Get Out of Your Mind as well, but as with some other of that very populated national scene — Manchester is north of the epicenter in London, but still — there’s no sacrifice in terms of craft being made. “Namaste Dickhead?” The song’s a blast, and the same holds for the record front-to-back, whether it’s the push in “Broken Man,” the catchy callout of the title-cut or the bed of ultra-fuzz guitarists Gary Harkin (also vocals) and Adam Henry put down as the foundation for “King Shit of Fuck Mountain,” but they aren’t just screwing around, and more over, it’s not like one impulse works against the other. Harkin, Henry, drummer Jonny Banyard and bassist Emlyn Spiers make the album itself the party, instead of just having a party instead of an album. That’s a huge difference when it comes to the final listening experience, and it’s basically the difference between a band putting together a quality full-length and a band fucking around. Ten Foot Wizard position themselves decisively in the former category.

Is that a gong in “King Shit of Fuck Mountain?” I don’t know, but it sounds cool over the slow part that consumes the second half of the song and that’s good enough for me. Get Out of Your Mind, in following the band’s 2017 split with Chubby Thunderous Bad Kush Masters (review here) and prior 2015 sophomore outing, Sleeping Volcanoes, has any number of accomplishments to its credit, not the least of which are the tonal presence brought to bear in the guitars and bass, the percussive variety Banyard uses to complement the riffs, and the diversity in Harkin‘s vocals, but it is in bringing the different sides together around memorable songs that Ten Foot Wizard‘s third long-player makes its greatest mark. If this is the band realizing their potential, then it’s been worth the five-year wait since their second album, and if there’s more to come as they continue to move forward, then all the better. Let the party roll on. In that sense, Get Out of Your Mind only seems like an open invitation.

Preorders are up now for Get Out of Your Mind through Ten Foot Wizard‘s Bandcamp, and all proceeds from said preorders are going to Black Lives Matter. In light of that, here’s the direct link: https://tenfootwizard.bandcamp.com/album/get-out-of-your-mind

It’s my pleasure to host “Broken Man” premiering on the player below. Gary Harkin offers some comment on the track and there’s more PR wire info beneath that.

I hope you enjoy:

 

 

 

 

 

 

 

 

 

 

 

 

 

Gary Harkin on “Broken Man”:

The song started with Jonny bringing the chorus riff to the band, and we wrote the song collaboratively from there. This is actually the first song we’ll have released that’s been written by the whole band.

The lyrics are about being pushed to the edge, being taken to breaking point, and finally snapping. Similar to the protagonists in Taxi Driver and Falling Down. Everyone has their limit, and when you find it, it can be scary. We live in time in which a lot of people are marginalised, and the frustration and anger are palpable. Broken Man speaks of the mental and emotional deterioration of someone who’s been pushed too far, and that desperate state where a person can be capable of doing just about anything.

Manchester’s cheeky heavy rock unit TEN FOOT WIZARD announce the release of their juggernaut third album ‘Get Out Of Your Mind’ on July 10th, which is available right now for preorder.

Blending the classic sounds of Sabbath and ZZ Top with the grooves of contemporary luminaries such as Clutch, and the funk of Parliament/Funkadelic, Manchester’s tropical riff storm TEN FOOT WIZARD are set to raise the bar for fans of swaggering rock anthems with the release of their gigantic third album ‘Get Out Of Your Mind’.

Mixed by Grammy Award-winning producer Nic Hard (Snarky Puppy/The Bravery/Bokante) in Brooklyn, the follow-up to 2015’s ‘Sleeping Volcanoes’ truly ups the ante of the foursome’s groove-infused formula. Its juggernaut riffs and sexy grooves are taking no prisoners, as TEN FOOT WIZARD go harder and stronger than ever, elevated by the deep-toned vocals — when they’re not turning into a monastic growl coming from the depths of the universe — from frontman Gary Harkin. ‘Get Out Of Your Mind’ creates its own path of glorious and highly entertaining brand of rock’n’roll, embarking in its wake all those eager to celebrate the end of the world the right way. With a special appearance from Snarky Puppy’s keyboard genius Justin Stanton on final track “King Shit Of Fuck Mountain”, TEN FOOT WIZARD spread their sonic wings wider and let their creativity flow through this 8-minute epic of pace-shifting psychedelic heaviness. Another TFW track for the books!

The album will be available on July 10th via the band’s Beard Of Zeus label, and available to preorder via Bandcamp on LTD orange vinyl, CD and digital. All vinyl preorders will be shipped with a free TFW patch!

TEN FOOT WIZARD is:
Gary Harkin – Vocals/Guitar
Adam Henry – Guitar
Jonny Banyard – Drums/Percussion
Emlyn Spiers – Bass Guitar

Ten Foot Wizard on Thee Facebooks

Ten Foot Wizard on Instagram

Ten Foot Wizard on Bandcamp

Ten Foot Wizard BigCartel store

This Friday, June 5, Bandcamp is doing another fee-waiving event where bands will take in the entirety of the money on their releases. This will be the third time it’s happened, and already last time, we saw bands putting out special releases and things like that in order to take advantage. As time and pandemic-lockdowns proceed, more bands have more recordings — can’t play shows, gotta do something — and so we see London’s The River with a quick turnaround from their 2019 long-player, Vessels into White Tides (review here), with the new EP, Violet Violent Sine Waves, which, indeed, was tracked during lockdown.

It’ll be name-your-price, but if there was ever an occasion to throw the band a few pounds, it’s the waived-fee day. I haven’t heard the release yet, but it’s got one new songs and it seems like three others from the last record redone in some quieter fashion — acoustics? pianos? who knows. Either way, this is a direct example of something that probably wouldn’t be coming out in the form it is without the occasion Bandcamp are sponsoring, so consider the interplay between patronage and creativity right there as you sit and consider the price you’ll name. Support matters.

Here’s the info I have:

The River – New EP

A companion piece of sorts to 2019’s critically acclaimed ‘Vessels Into White Tides’, ‘Violet Violent Sine Waves’ was recorded in lockdown, March-May 2020, during the global Coronavirus Pandemic. Comprising three songs reworked from the aforementioned album, as well as a brand new composition, the music has been painted in subtler & softer tones, showcasing a maturity to the band’s songwriting & craft whilst retaining the integrity of the original recordings.

‘Violet Violent Sine Waves’ will be released on June 5th 2020 as a pay-what-you-want download from the band’s Bandcamp site & will be streaming across all the usual sites within due course.

Line-up
Jenny Newton – Guitars, Vocals, Strings, Percussion
Christian Leitch – Guitars, Percussion
Stephen Morrissey – Bass
Jason Ludwig – Drums

facebook.com/riverbanduk
riverbanduk.bandcamp.com/
instagram.com/_riverbanduk/
https://open.spotify.com/album/5sWZYcfQ9FgaLxkSJAleQ0
https://www.youtube.com/channel/UCYGlhUlzveouAu6byo6j6TQ

The River, “Vessels” official video

I had a quick conversation with my brain while listening to the new Wren track. It went like this:

ME: “New Wren‘s a banger.”

MY BRAIN: (While chewing a wheat stalk and intermittently spitting) Yup.

That’s pretty much how it went.

The London post-metal four-piece have linked arms with Gizeh Records and will release their new offering, Groundswells, in about a month’s time. The song in question — “Seek the Unkindred,” streaming at the bottom of this post — well encapsulates their rawer post-Neurosis undulations and the emergent progressive streak that goes along with it. Their debut, 2017’s Auburn Rule (discussed here), was followed by the 19-minute single-song EP, Thrall, which Gizeh issued on CD, so it’s not exactly a new association, but it is exactly a new album, and I’m pretty damn pleased about that prospect. My brain is too, though it tries to play it cool.

Ladies and gents, I give you the PR wire:

WREN – GROUNDSWELLS

June 26th 2020 • Digital
September 25th 2020 • LP/CD
GZH99

‘GROUNDSWELLS’ is the third chapter in Wren’s seasonal lore exploration, and their first through Gizeh Records. These six melancholy-shrouded sonic ruminations swell between intimate performances devoid of adornment, and evolving soundscapes of auditory ruin. Tracing an elemental arch, ‘GROUNDSWELLS’ captures Wren delving into earthen awakenings.

Launching into a monochromatic dirge, ‘Chromed’ announces the LPs stylistic intentions, forgoing the trappings of traditional harmony with deliberate pendulums of pitch and tone. Swarms of percussion drag the track to its conclusion in a collage of insidious feedback, with oscillations sculpted by the record’s producer, Scott Evans of Kowloon Walled City.

Elsewhere, swift variance is displayed in Wrens’ deft handling of genre and form, refusing to be solely one of either. The record courses between rigid post-punk, broad waves of dreaded sludge, and austere choral reverberations. Pulsating Krautrock themes present in their previous work are revisited, with a focus on embracing archetypal motorik technique, as the LP stretches compositions to their furthest tensions through profuse repetition, straining the cracks between.

Inviting physical, elemental surrounds into ‘Subterranean Messiah’, Wren allow space for the sudden cloudburst of Middle Farm Studios in the introductory passage via location recording, embracing the interplay between source and locality. Combined with the painterly fretwork and ghostly chants of Fvnerals, the collaboration seeks an emotive new path of melodic vulnerability. In contrast, the closing elegy is layered with disharmonious cycles of agonised cello from Jo Quail. As with other conclusions on the LP, the track’s commitment to strained repetition is rewarded with sonic climaxes of blackened psychedelia, led by stalagmitic spirals of atonalism.

Throughout the LP, Wren draws from their long-standing apologue, with a partnership of vocalists showcasing a lyrical and vocal interplay thick with a dense lore new to their compositions. ‘GROUNDSWELLS’ brings Wren to an equinox in their earthly contemplations. Ruminating on the decaying inanition that engenders renewal, this record is a revelry in the cyclical, repetitious infinity of planetary permanence.

Recorded by Scott Evans at Middle Farm Studios in South Devon, assisted by Chris Edkins.
Mixed by Scott Evans at Antisleep Audio in Oakland.
Mastered by Magnus Lindberg at Redmount Studios in Stockholm.
Additional Vocals and Guitars on ‘Subterranean Messiah’ performed and recorded by Tiffany Ström and Syd Scarlet of Fvnerals. Additional Cello on ‘Subterranean Messiah by Jo Quail. Artwork by Joey Pearson of Smokin’ Bones Club.

https://www.facebook.com/Disciplesofwren/
https://disciplesofwren.bandcamp.com/
http://www.disciplesofwren.com/
http://www.facebook.com/gizehrecords
http://www.instagram.com/gizehrecords
https://gizehrecords.bandcamp.com/
http://www.gizehrecords.com/

Wren, Groundswells (2020)

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Days of Rona: Adam Holt of Hair of the Dog (Edinburgh, Scotland)

—

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

I’ve welcomed my first child, River Holt, into the world – an official Corona-Baby! So my whole life has been flipped upside down in more way than one. As a band, Hair of the Dog, we’ve just been keeping in touch with weekly FaceTime drinking sessions – talking about music we’ve been listening to and ideas for new music. As an individual, I’ve been busy feeding and changing nappies haha. I have been working on some new stuff though, that might end up as a HOTD side-project. ;)

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Scotland has been typically Scottish about the whole thing, we drink even more and we turn to humour! Our government is an absolute shitshow run by a pair of clown shoes, so this is our way of coping with it all. There are many here who don’t view our government as “their” government.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I’ve seen a lot of good from the music community, a lot of folk trying to make the best of the situation and support those affected. But it’s hard not to feel discouraged – it’s going to be a long time until there is any resemblance of “normal” again, and how that will look is a grey area in itself. It may be the kid’s arrival occupying me more than usual, but I’ve not touched a guitar in weeks – I have no motivation at all at present, but that’s ok. I potter about in my studio on some of the other musical ventures I had in the works and have mentioned above.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Well, having become a Dad and having been in a hospital during the epicentre of the pandemic here, I deeply admire those working in the NHS here in the UK – those people are the true hero’s at the moment and everything else just seems a bit trivial in comparison. I’m just enjoying getting to know my son and caring for him – much of what I wrote about for It’s Just a Ride.

https://hairofthedog.bandcamp.com/
https://www.facebook.com/hairofthedoguk/
https://www.youtube.com/edit?o=U&video_id=ocBdl3CSRvA
https://www.instagram.com/hairofthedog_uk/

Burly London heavy rockers Orbital Junction are looking to release a new album later this year. As to what kind of post-apocalyptic hellscape that record might find upon its manifestation, I can’t say, but the band have a hooky new single out now called “Creep” to act as a precursor to its arrival, and the song boasts a powerful groove, thick riffs and a welcome balance between melody and aggression. I know there are few phrases used as often on this planet as things like “London heavy rockers,” but hell’s bells, it isn’t my fault that scene is thriving so mightily. Shit, blame Desertfest.

Or better yet, don’t blame anybody, because a thriving scene is awesome and you’re probably just jealous you don’t live there or something. I know I am, though not like there are many shows going on at this point, what with the blooming hellscape and all.

But still, new music persists, and one is deeply thankful for that:

Orbital Junction – Creep

London’s fastest rising Stoner Rock outfit, Orbital Junction, have just released their brand new single Creep along with a spectacularly psychedelic lyric video. The first new music since their 2018 self-titled EP, Creep is the first track from the bands’ new full-length album that will be appearing later this year. Bursting with crushing riffs, filthy grooves and insightful yet powerful vocals, Creep stands shoulder to shoulder with the sound of Orbital Junction’s contemporaries, some bands strive for years to achieve what these guys have accomplished so early in their career. For those that like music with a meaning, Creep has you covered!

Here’s what the band has to say about the meaning behind the track: “Creep is about knowing that you’re a little bit messed up in the head, but you’re accustomed with it. You don’t mind inviting people to enter the mess, but you don’t expect them to untangle the intricacies of the disorder. It’s not a dark topic because in essence this is normality, and people might find relief with what they discover.”

Creep is available at all good outlets, check it out on Spotify, Amazon, Apple Music.

Stream it on ALL digital platforms: https://cdbaby.lnk.to/Creep

As standouts in the UK stoner rock scene, expect Orbital Junction to continue their rise to the challenge of delivering the goods. You’re all invited along for the ride, the bus is in gear, snacks are being cracked open, and the back seats have been reserved for only the most diehard of followers.

Orbital Junction are:
Owen–Vocal
Ric–Guitar
Billy–Bass
Jack–Drums

https://www.facebook.com/orbitaljunctionband/
https://www.instagram.com/orbitaljunction/
https://orbitaljunction.bandcamp.com/
https://www.orbitaljunction.co.uk/

Orbital Junction, “Creep” official lyric video

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Days of Rona: Jake Wallace of Elder Druid (Belfast, Northern Ireland)

—

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

As a band, we initially did a livestream from our rehearsal space on the 20th March, just before full lockdown came into play in the UK so that was the last time we were all together. It was cool knowing that so many people were sitting at home watching us jam out and within a few days, we had 6k views on the video so we were pretty happy and surprised with that. We’ve all been playing our respective instruments at home and writing bits and pieces but we always need to play together in the room to make it all gel. That has always been the formula.

We got our first ever batch of vinyl at the start of April so that was a bit frustrating as it was probably the worst time to end up with boxes and boxes of records, with no gigs to play and no merch tables to lay them on. We had a few festivals cancelled, as well as main support for Stoned Jesus & Conan on their respective Irish tours. Really shitty luck but everyone is in the same boat so we can’t let it get to us.

Personally I’ve just been buying/listening to a load of new records and playing games on my PS4. Luckily, I’ve been in lockdown with my girlfriend so it’s great to have each other’s company during all of this.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Honestly, Belfast seems to be heeding the advice a lot better than other parts of the UK. Northern Ireland has had the least deaths out of the 4 nations in the UK so I guess that’s something. There’s definitely a lot less people on the streets and it’s a weird ghostly atmosphere in the city centre with all the shops/bars etc. being closed. Our local bar/metal venue Voodoo has launched a funding page to help support them through the crisis so hopefully the guys can pull through unscathed as we’ve played more shows there than anywhere else and it’d be devastating to lose somewhere like that.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I think it has been very encouraging to see most of the music community trying to support each other as everyone is being hurt in one way or another. Most notably, I really loved the fact that Bandcamp waived their fees on the first Friday of the month to allow artists to earn that little bit more. It’s a great gesture and it really encourages fans to spend, especially with it being straight after payday. At the same time, I’ve seen a lot of bands profiteering off the pandemic and selling masks etc. at extortionate prices and I don’t agree with that at all, especially when they’re just an accessory and not actually useful in stopping the spread of the virus.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

We’d love everyone to know that we’re gonna be working to reschedule all the shows that have been cancelled over the next few months, as well as booking new shows for later in the year and next year, all being well. I’d say we’ve learned that paying rent for a rehearsal space that we can’t use really sucks and if we’re ever getting a vinyl order in the future, we’ll make sure and do our research on the world’s vulnerability to pandemics and the likes.

If anyone wants to support us by picking up our latest album ‘Golgotha’, it’s available on vinyl/CD/digital over on our Bandcamp page, as well as loads of new shirt designs. Your support is greatly appreciated.

https://www.facebook.com/elderdruidband
https://elderdruid.bandcamp.com/releases
http://www.instagram.com/elderdruidband

If you heard anything Kris Clayton did with Camel of Doom you probably have a sense already that the term “progressive” as it applies to his new collaboration with former-and-once-again Esoteric bandmate Greg Chandler, the infuriatingly-unhyphenated Self Hypnosis, means that genre limits will be stretched. It’s gonna get weird. And sure enough, the info off the PR wire for the debut album from Self Hypnosis (god! damn! I just want to put that hyphen in there so bad!), titled, Contagion of Despair, sets up a range of comparison points from Yes to Akercocke. So yeah. Open your mind just in time to have it melted.

The first streaming track from Contagion of Despair is the 14-minute “Contagion.” The press release was long enough, certainly, but I’ve included below as well a quote from the band talking about the track, which though it might seem timely, what with the ongoing pandemic and all, is actually not about that at all. Seemed worth the clarification.

Lot to dig into here, so brace yourself:

Self Hypnosis release new single “Contagion”

Extreme UK Progressive Doom Metal band Self Hypnosis, featuring members of Esoteric, set to to release their new album Contagion Of Despair on the 21st of August 2020 via Svart Records!

Svart Records are proud to release the new single from extreme progressive Doom metal band Self Hypnosis. Check out the new video track “Contagion” from the forthcoming album, Contagion of Despair, now.

Though Self Hypnosis are a new band, aficionados of the British Extreme Doom scene should need little introduction to the band members themselves. The project has its roots in Kris Clayton’s long-standing, often-solo, Camel Of Doom outfit, which itself evolved from basic Stoner beginnings towards a much more avant-garde proposal, culminating with the release of fourth full-length album Terrestrial through renowned Russian label Solitude Productions in 2016. Following that, Kris began work on composing the next Camel Of Doom album, but quickly realised that the material was becoming even more experimental and eclectic than previous outings: so much so that it would be more appropriate to record it under a different name, making it clear that there should be no preconception, or historical expectation, attached to it.

Needing a partner to bring the concept to fruition, Kris approached Greg Chandler, whose long-established reputation for recording and production engineering – and, of course, musicianship, co-founder of legendary UK extreme Doom pioneers Esoteric, as well – really does need no elaboration. Greg’s name has appeared as a guest vocalist, guitarist and sometime keyboard player on many a release over the years, but this was intended to be a fully collaborative association from the outset, as well as a reuniting of old accomplices – Kris was one of the guitarists in Esoteric’s line-up from 2007-2009, rejoining in August 2019.

Completing the line-up for the recording sessions was drummer Tom Vallely, though as a guest/session performer rather than as a full band member. As a professional musician, veteran performer with bands such as Sanctus Nex and Lychgate, and having handled the drums on Terrestrial, Tom was already known to both Kris and Greg and the obvious choice to engage for this project as ‘lead drummer’.

The result of their combined endeavours is the full-length album Contagion Of Despair, which was recorded at Greg’s Priory Studios using a variety of innovative techniques, including wiring up the whole building to create spacious, expansive recording spaces, or digitising live drums to drag an ’80s Hip-Hop sub-bass groove into the mix. Self Hypnosis set out to use all of these techniques, and more, to create a completely unique mix of Doom and non-Doom influences that would nonetheless converge towards a genuinely Prog-Doom result, and with Contagion Of Despair, they’ve managed that to perfection. Including everything from Kris and Greg’s anti-system and alternative roots through to more contemporary experimental/noise influences, the album touches base with a myriad different musical themes.

From the most Prog-oriented tracks, like ‘Divided’ (“if The Prodigy made a mash-up of Yes and Meshuggah”) to those more continuous with previous Camel Of Doom works, such as ‘Contagion’ (“a rebellious, angry, multi-tempo and bellowing noise-fest”), the whole album is “just a scream at this decade, and everything we’ve degenerated into”, given the focus, clarity and brutal passion you’d expect from veteran Doomsters. When coupled with the engineering and production quality gained from years of professional experience, the results are an unalloyed exemplar of the absolute dark heart of the underground.

For those curious about the etymology: ‘Self Hypnosis’ itself is defined as a state of constant mindfulness – of being continually aware of the present moment, and to be directly knowledgeable of your internal and external place within it. The album title was inspired by a radio discussion about so-called ‘Contagion Of Hope’ phenomena and their roles in reducing harm to society: ‘Contagion Of Despair’ simply encapsulates the sober antithesis, which is that just means a slightly slower slide into Hell.

Influences that affected this recording range from Death to The Prodigy to Yes and Genesis, Godspeed You! Black Emperor to Godflesh and Ministry, Melvins and Akercocke, Laibach and YOB. But if you want to find out how those disparate elements fit together, then you’ll probably need to listen to the end result.

Self Hypnosis on “Contagion”:

Surprisingly, ‘Contagion’ is not a response to the current COVID-19 crisis, having been written in mid 2018, but rather a case of observation that has become accidental prescience. The song serves as an introduction to the themes found throughout ‘Contagion of Despair’, a hate letter to the ever increasing tendency for the media to no longer be a source of information, choosing profiteering over accuracy with ever more sensationalist stories coming from all angles at all times. Ironically, as a real contagion spreads throughout the world, once again the press ensure at all times that they create an atmosphere of fear and misery. The album as a whole examines various aspects of the constant war on happiness, divisive tactics and general narrative of despair that is now endemic in our society. Who benefits from this situation? Who thrives on human misery?

Self Hypnosis are:
Kris Clayton (Camel of Doom/Esoteric)
Greg Chandler (Esoteric/Lychgate)
Tom Vallely (Lychgate/Macabre Omen/Omega Centuri)

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Self Hypnosis, “Contagion” official lyric video