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Blood Incantation comments:

Originally conceived as an acoustic interlude in the tradition of ‘Meticulous Soul Devourment’ and ‘(Mirror of the Soul)’, ‘Luminescent Bridge’ quickly became something entirely different upon entering Rocky Mountain Recorders in March 2023. Compelled by a tangible air of creativity, we forwent acoustic instruments entirely and ended up implementing several spur-of-the-moment ideas – such as drums, grand piano and even trombone – to create a vast, dynamic tapestry of textures both alien and familiar, yet remaining quintessentially Blood Incantation in feeling and atmosphere. Drenched in analog and digital synthesizers, multiple tape echoes and soaring electric guitar, this intended outro to a subsequently abandoned 7” EP became a towering landscape of otherworldly sonics, earning its place as the title track for our latest maxi-single release.

With this expansive energy in mind, we knew the eventual music video would similarly have to be something completely new for us, further evolving our imagery and aesthetic into new realms as we make our way towards our imminent third album. Thanks to the masterful VFX and cinematography of our friends Miles Skarin and Alex Pace who also worked on the music videos ‘Inner Paths (to Outer Space)’ and ‘Obliquity of the Ecliptic’, and the ‘Timewave Zero’ live Blu-Ray, respectively  – we are able to present to you the official video for ‘Luminescent Bridge’.

Director and visual effects artist Miles Skarin comments:

When the Stargate Research Society asked us to help visualise a recent extrasolar communication they had received, we knew this would be a project of epic proportion. The data packet they sent to us from Colorado contained footage of Blood Incantation’s interstellar expedition to a distant star system. What we saw after decompressing the video stream blew us away, not only had they captured a beautiful cinematic exploration of the exoplanet’s sand dunes, but we can see their journey across the expanse of space was successful. Alex Pace’s cinematography from this location was stunning and provided us with everything we needed. Due to the solar radiation exposure, the data from the interstellar voyage was difficult to decipher, so we have used our artistic abilities in VFX and 3D animation to reconstruct the visual of crossing the Luminescent Bridge, first depicted by the artist Steve R Dodd.

The band previously released a music video for the A-side of the maxi-single, “Obliquity of the Ecliptic”:

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Blood Incantation’s next live dates are this weekend at Roadburn:

Blood Incantation Live Dates:

Apr 19: Tilburg, NL – Roadburn Festival (performing Timewave Zero) – Tickets
Apr 20: Tilburg, NL – Roadburn Festival (performing from rest of catalog) – Tickets

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Follow the band and get more info on Luminescent Bridge here.

Now, although their future plans are still shrouded (except for a lot of upcoming tour dates – see below), Sonja has signed to Century Media and released a new single to mark the occasion. “Discretion for the Generous” comes with a pulpy music video to go along with its neon-soaked rock and metal.

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Moore comments:

It’s a potent experience to write, record, film a video at my home, and immediately release a song that is literally encompassing my life right now.

Sonja is our Goddess and she despises compromise. We exist for her extreme desire and as such we are full-on at all times. To create the art worthy of her name we rip through our realities into the new planes of existence she demands.  We are grateful for those who join us on this path of serving her.

Escaping to Portugal to write the lyrics, I attempted to articulate some of the insanity back in Philly. When I returned home, we turned the volume UP.

Century Media became our new sugar daddy.

We stare into each other’s souls with an unhinged need to push each other over the edge. It’s pointless to even try to predict what kind of fucked up situations we are all going to end up in.

Some knowledge can only be found in the dark.

Mike Gitter, VP of A&R at Century Media Records adds on welcoming Sonja:

When we first heard Sonja’s Loud Arriver, it was as full of heaviness, angst, sexuality and heart as a rock record could be. Like the band itself, it both challenged and waved a bloody sword for the classic and the contemporary. ‘Discretion For the Generous,’ in true Sonja fashion, occupies the space where Manowar, Danzig and Mercyful Fate conjure and conquer at the best late night party you can imagine. Century Media is proud to be Sonja’s new label home.

Below, find Sonja’s upcoming tour dates.

Tour Dates:

EUROPE

• 16/04 – Ghent, BE – Asgaard
• 17/04 – Tilburg, NL – Roadburn
• 18/04 – Leeuwarden, NL – Alternative Rockcafé Mukkes
• 20/04 – Hambug, DE Bambi calore
• 21/04 – Berlin, DE – Urban Spree
• 23/04 – Leipzig, DE – Black Label
• 24/04 – Bochum DE – Die Trompete
• 25/04 – Kassel, DE – Goldgrube
• 26/04 – Göppingen, DE – Zille
• 27/04 – Lauda-Konigshofen, DE – Keep It True Festival

NORTH AMERICA w/ Wayfarer

• 4/30 – Portland, OR – Mississippi Studios
• 5/01 – Sacramento, CA – Cafe Colonial
• 5/02 – Oakland, CA – Stork Club
• 5/03 – Los Angeles, CA – Knucklehead
• 5/04 – Phoenix, AZ – Nile Underground
• 5/05 Gallup, NM – The Juggernaut Music
• 5/06 – Albuquerque, NM – Sister
• 5/08 – Austin, TX – Mohawk (indoors)
• 5/09 – New Orleans, LA – Siberia
• 5/10 – Atlanta, GA – Boggs Social & Supply
• 5/11 – Asheville, NC – Eulogy
• 5/12 – Washington DC – Atlas Brew Works
• 5/13 – Philadelphia, PA – Johnny Brenda’s
• 5/14 – Brooklyn, NY – Market Hotel
• 5/15 – Boston, MA – Middle East (upstairs)
• 5/16 – Montreal, QC – Piranha Bar
• 5/17 – Toronto, ON – The Garrison
• 5/18 – Youngstown, OH – Westside Bowl
• 5/19 – Indianapolis, IN – Black Circle
• 5/21 – Chicago, IL – Reggies Rock Club
• 5/22 – Milwaukee, Wl – X-Ray Arcade
• 5/23 – St Paul, MN – Turf Club
• 5/24 – Lincoln, NE – Cosmic Eye
• 5/25 – Denver, CO – Hi-Dive*
• 5/26 – Salt Lake City, UT – Aces High*
• 6/07 – Richmond, VA – Richmond Music Hall*

*Sonja Only

Their new single “Spellcraft” comes accompanied by a wild music video of heroic clips and even a relevant reference to this week’s eclipse. That’s in conjunction with some silly green screen effects featuring band members in either precarious or generally odd situations, making this all the more fun. 

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Vocalist Sebastian Campbell had this to say regarding the video:

‘Spellcraft’ is my favorite so far of what we’ve done. My love of fantasy roleplaying games really came alive in this song, leaning heavily towards the celebration of fantasy through old films like ‘Mio, My Son,’ ‘Conan,’ and ‘The Sword and the Sorcerer.’ I’ve dungeon mastered a lot, and I loved writing it. Performing this song makes my whole self energized like nothing else.

So, soldier on through a nearly two-minute journey to the heavy and bizarre with this new video and be sure to catch them live opening for Cult Leader this Saturday 4/13 at Hus 7 in Stockholm and peep the new self-released EP on May 10^th. 

Coffman’s view on art is that he does not want to give listeners any leeway. He asks them to pay attention and, ideally, would reward them with scraps. It’s an approach he was turned on to by former Glassing drummer Jason Camacho, who introduced him to the experimental rock group Oneida. Coffman calls it anti-songwriting, and it supersedes meditative post-rock, of which he’s an ardent fan. 

Those who are listening often fumble their words when trying to pin down Glassing’s genre. Is it post-blackened sludge screamo? Coffman doesn’t care. As he puts it, “ We’re into all kinds of music, but we don’t want to play those genres specifically. We just want to play the stuff we do like from them. We can write a good song, but I think it’s more important to make sure we stay out of any identifiable genre.”

Given this, it’s surprising how easily one can parse a Glassing track. For as much as Coffman wants to push what can be tolerated, he’s brought back to reality by guitarist Cory Brim, who is largely responsible for the group’s monumental riffs. Ironically, the pair’s dynamic has never been as accessible as it is on From the Other Side of the Mirror, a more commanding effort than their previous record, 2021’s Twin Dream, with the first three tracks aiming to punch your teeth out. “Circle Down,” the album’s third single, dials down the muscle to writhe in the gaps between post-hardcore, screamo, and black metal, at least at the onset. Halfway through, Glassing can’t help but shovel more of their overpowering riffs into your mouth.

Read through our conversation with Coffman to find out more about the recording with the new album, their recent tours, and his approach to songwriting. You can also check out the video for “Circle Down,” which dropped today.

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So, you guys just finished touring with Author & Punisher and you toured with City of Caterpillar right before that. Glassing is quite different musically from those two acts, but it makes sense why you’d tour with them, at least on an artistic level. How was playing with them and what’d you learn from them that you didn’t learn from metal bands?

Both Author and Punisher and City of Caterpillar were so cool. Very different crowds. One thing about our band is that we are a middle ground between different acts. We can play a show with This Will Destroy You or with meth.. We don’t try to tailor our shows to different audiences, we just play what we play. Although, we could. 

For instance, with City of Caterpillar and Saetia, these old-school screamo bands who are going through a resurgence these days. And their crowds are young now. We were surprised that most people in the crowds were under 21. But their music has a youthful rebellion in it that kids gravitate towards, and I guess that’s why we gravitated toward it when we were kids. But it’s funny, in the same instance, Author & Punisher will get industrial fans and we spoke to Tristan about it, and he said, “You go out and sometimes you see doom guys, hardcore guys, but then you see the industrial goth kids come out.” We were just excited to be part of it and play in front of all types of people. We know our music isn’t for everybody.

To put on my music critic hat, you’re a “post-genre” band in that you take bits from multiple styles but you don’t have enough of any to fit into any of them. Everything I read about Glassing describes you as a different band. How do you feel when you read that Glassing is a “post-blackened sludge screamo whatever”? Does that even resonate with you?

No. I get that they’re trying to describe it, but I think when you’re making art, you’re doing something right if they have to search to describe it. If they say something like post-rock then grindcore, those two genres are so widely apart that it’s clear that they’re trying to describe it. But, we have screamo elements, black metal things here and there, hardcore stuff, so It’s always some strange amalgamation.

The artists don’t consciously think about what band they’re trying to be. It’s not your job to think of the descriptors someone would use for your music. 

No, it’s mostly that I want to make music with a specific feeling. Sometimes, if we’re three or four songs into an album, we may notice that the album has a lot of this or that, particular qualities, so we make something different than that. Or if we’re being ambitious, we’ll make something that’s completely out of our wheelhouse. We take a lot of inspiration from early post-rock. That’s the most common thread. If someone were to call us a post-rock band, I’d see how they reached that conclusion. 

I love this band called Bowery Electric. They’re trip-hop post-rock. I highly recommend them. They haven’t been around for a while, but pick any album, play it, and go on a long drive. They make the coolest shit in the world. I try to put shit like that in the record because we have the screaming loud shit all the time but I think a good record needs ebb and flow between both sides. 

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The new album is much more compact than Twin Dream. What led to that change to make them punchier?

Probably our new drummer, Scott (Osment). He’s in a band called Deaf Club and he’s used to making minute-and-a-half long songs with extremely fast drumming. I used to think Glassing was a fast band and that we played hard. Then I saw Deaf Club play, and I realized we were the slow band. Scott has to play slowly for us. 

Cory (Brim) and I went to a house show Scott was playing in Austin, Texas once to see his band, and when I saw it, I couldn’t believe how quickly he was playing. I didn’t know he could play that fast. He just came through and started playing quickly with us, forcing us to up our ante. 

The funny thing is, he mentioned that he has to challenge himself to play more creatively with us and not just blast the whole time. He tries to channel our original drummer Jason Camacho. They’re old buddies, so it was one of those situations where if anyone were going to replace Jason, it’d be Scott, cause he knows how Jason plays. So for certain songs like “Nothing Touches You,” Scott said that he was channeling Camacho a little bit. If you compare that beat to the one of “Twin Dream,” you realize they’re similar cause they’re tom-heavy and tribal, in a sense. That’s how Camacho plays and it was a big staple of the band. 

Scott has been trying to channel that and put his own spin on it, and it’s cool cause every time he tries it, it becomes my favorite beat on a record. He’s so impressive with the fast hard shit. We’re lucky to have him. 

You’re cultivating an environment where everyone has to step up and challenge themselves, it’s just funny that Scott’s challenge is slowing down.   

The slow part is funny cause he’s just never played that slowly in his life. There’s slow shit on the record for sure, but we erred on the side of pushing the tempo more than we normally do. I’d want to expand on the monotonous, post-rock drums. The longer tracks where nothing happens and it induces a trance-like meditative state because I like music like that. That was one of Camacho’s big things. He was a fan of a band called Oneida and they’ll do 10 minutes of the same riff. 6 minutes in, they’ll change something, but it’ll be a little thing, like the drummer will hit a tom instead of a cymbal. I think that’s interesting artistically.

What you guys do that’s cool is you put in these big riffs that reward people for sitting through the more challenging sections. People can make it through, because they know they’re gonna hear the sickest riff on the other end. 

It’s weird cause Cory and I have very different styles of songwriting. We couldn’t be further from each other; we’re just lucky that we both like the same music. I’m in the mentality that I don’t want to give the listener anything. I would love to write an album where it’s just a beat and nothing cool, just to disappoint people. Cory is on the opposite spectrum; he likes people to like his music. He’s actually the smart one. So together, we can make good music. 

There have been a lot of times where I’ll say that we need to do a beat for five minutes and we can’t change it, and Cory will tell me that everyone will walk out of a show if we do it. To which I say, “Whatever, dude. Fuck it, dude.” That’s the point of art. You can spend your artistic career trying to make stuff that people will like, but have you ever tried making stuff people won’t like? That could be the thing that’s most interesting to me right now–making stuff that people won’t enjoy. Who knows, maybe they will, and if they do, that’s great. 

It’s pushing the boundaries of taste to make it an experiment for the listener. 

It’s the concept of harsh noise. If you listen to it, at first, you’ll think it’s awful. I was exposed to a Japanese harsh noise artist, and the first song is this intense high-pitched squeal. I was determined to find out why this stuff was cool or interesting. Maybe that’s a fool’s errand because you could listen to an entire harsh noise album and think it’s boring, or annoying, or that anyone could make it. When I listened to it, though, I ease myself into it. I put it at a medium volume, then slowly increased the volume, because you can’t start at max volume. By the time I was at max volume, I was in pain, but I think that’s why they make that music, to inflict pain, but sometimes, pain is interesting. I learned a lot from that. 

Was it a pursuit of a different feeling from art? Because, usually, you don’t go to art for pain.

Art can instill any type of emotion ever, and we usually only focus on the emotions we want to feel. If it were up to me, I’d only listen to Charli XCX and blink-182 non-stop. And sometimes I’ll go three weeks only listening to pop punk and feel-good shit, but then I realize I’m not challenging myself artistically, I’m not trying to change anything, I just want brain candy. 

Do you think those experiments, like the one you conducted with harsh noise, could make you better at making “brain candy” music? 

I don’t really know. When you get the brain candy music, it comes out of the blue and you think it’s too cool not to do. I don’t think I’ll ever get so jaded that I’ll throw away cool riffs, or I’ll tell Cory that some of his riffs are too good that we can’t use them. I don’t know the relationship between them; you have to know the relationship between the intent. Sometimes, the music can reveal the intent. Sometimes, the riff can tell you what the song should be about. A lot of time, it will do that. The riff or composition will describe the feel of what the music should be. That’s how we go about it. 

Cory will have a riff he wants to fuck with and I’ll shoot it down. We got to the point where Cory has to come in with at least 10 riffs cause I’d shoot 9 of them down. 

Do you want something more challenging?

No, I’m just a shithead. We talk about this all the time, but I’m the guy who’s never satisfied with the song. Cory, bless his heart, comes to practice with what he thinks is cool and I say it’s not cool and that it’s trash. I don’t want to be that guy, but I am. I don’t like that it’s me, but it is. I’ve always been that guy. I’ve always thought shit was lame. I tried fighting it for many years and saying things were cool, but it wasn’t me. But that’s good because I’m wrong a lot of the time. Sometimes, a month later, I realize an idea is cool, it’s just that I wasn’t thinking about it in the right way. 

And I love that energy and that enthusiasm for creativity. 

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Twin Dream was written and recorded during the pandemic when you were laid off and found solace in the studio. From the Other Side of the Mirror isn’t like that, of course. How did your mindsets differ between albums?

We were forced into a different writing style because Scott lives in Cali and we live in Texas. We flew him out in week-long stints where we’d write, then we’d book studio time at the end of the month, which is a stressful way to do things, cause if we didn’t write anything during that week or we weren’t creative, we still had studio time booked. Luckily, we were able to figure it out. That’s how we did that. 

The pandemic writing process was so weird because Camacho and I lived together and had nothing to do. We tried to be as careful as we could but it was a whole different process because we had all the time in the world for it. But that’s a bad thing sometimes because we don’t have a million dollars to pay for studio time. We use that as a limitation for writing. But, for this one, we flew Scott down, wrote some songs, had some rough ideas on concepts, and all manifested halfway through, and, in that way, it was done in short bursts rather than a longer process. I think you can tell if you listen to both records. You can hear the writing process in both albums, which is something you don’t think about when you’re making the album. 

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“From the Other Side of the Mirror” releases April 26th via Pelagic Records.

The record is set to release June 7th, with a release show taking place that same day at Sleeping Village with Without Waves and Anatomy of Habit. Tickets go on sale for that on April 5th here.

Watch a teaser trailer for the new album below and follow the band here.

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More details on the record follow:

Speaking on the album announcement, Ray Bueno-Knipe (drums and vocals) comments: “We are incredibly grateful to announce the release of our third full length record with our Prosthetic Records family, The Dry Land. This album is about being stuck between two opposites, echoing the collective uncertainty and confusion we’ve all felt for the past few years, and that can be heard and felt in the metallic heft and delicate stillness throughout the record. We wrote this for us to vent our anger and frustrations, to heal our wounds, and grieve our losses. We hope this can help others to do the same.”

Of the release show, Marc Stranger-Najjar (bass and vocals) adds: “After a couple of years of writing and arranging, we are overwhelmed with excitement to finally share The Dry Land with the world on June 7, including a live performance of the record in its entirety at Sleeping Village. We look forward to the incredible supporting bands (our friends Without Waves and Anatomy Of Habit), as well as sharing the experience with our dearest friends in Chicago.”

Following the release of their sophomore full-length, Mandala of Fear, in 2020 and The Dying Pines EP in 2022 HUNTSMEN’s intervening years between studio albums were marked with devastatingly contrasting highs and lows. Whilst their body of studio work continued to garner acclaim from fans and critics alike, chronic illness would become a recurring uphill battle for the ensemble. As these jarring mixed fortunes reached their apex towards the end of 2022, the band reached towards each other outside of their craft as old friends. Taking stock of four years of tribulations and through the fire, HUNTSMEN find themselves reborn on The Dry Land.

Though the band’s output during this time period didn’t spawn multiple subgenres or become an almost obnoxious fixation for a subsection of doom metal fans (instead, it’s an obnoxious fixation for folks like myself), it’s killer heavy metal that shows Iommi’s riff-crafting taking on new forms while remaining as memorable as always, and Tony Martin’s vocals are fantastic across the board (and what he did afterwards on his own is worth hitting too). If you need a refresher on this era complete with cheesy 1980s metal stylings, the band also released a remastered version of the “Headless Cross” music video:

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Pre-order Anno Domini: 1989-1995 on CD and LP here. Below, read more information about the release, taken from the aforementioned link:

Black Sabbath’s history with singers Ozzy Osbourne and Ronnie James Dio has been chronicled extensively through the years in multiple collections. Until now, no boxed set has focused on Black Sabbath’s time with Tony Martin, the band’s second-longest-serving singer.

Rhino explores this prolific period from the godfathers of heavy metal in a new collection that brings four albums back into print after an extended absence. The ANNO DOMINI 1989-1995 4LP and 4CD sets contain newly remastered versions of HEADLESS CROSS (1989), TYR (1990), and CROSS PURPOSES (1994), plus a new version of FORBIDDEN (1995) that guitarist Tony Iommi remixed specially for the collection.

Several albums make their vinyl debut in the LP version of ANNO DOMINI, while the CD version contains three exclusive bonus tracks: the B-side “Cloak & Dagger” and the Japan-only releases “What’s The Use” and “Loser Gets It All.” A booklet comes with the set featuring photos, artwork, and liner notes by Hugh Gilmour. The collection also contains a Headless Cross poster and a replica concert book from the “Headless Cross Tour.” 

ANNO DOMINI picks up Black Sabbath’s story in 1989, two decades and multiple lineup changes into the band’s groundbreaking career as metal originators. At the time, membership had solidified around riffmaster and founding member Tony Iommi, legendary drummer Cozy Powell (Jeff Beck, Rainbow, Whitesnake), singer Tony Martin, and longtime Black Sabbath collaborator and keyboardist Geoff Nicholls (Quartz, Bandy Legs).

The group originally released HEADLESS CROSS in 1989 on I.R.S. Records, the first of four albums Sabbath recorded for the label. Praised by fans and critics alike, the band’s 14th studio release produced three singles: “Devil And Daughter,” “Call Of The Wild,” and the title track. Bassist Neil Murray (Whitesnake, Gary Moore) joined for the “Headless Cross Tour” and stayed to record Sabbath’s next album, 1990’s Tyr. Named for the Norse god of war, the album explores similar mythological themes in songs like “The Battle Of Tyr” and “Valhalla.” On “The Sabbath Stones,” the band channels Old Testament fire and brimstone into a classic bruiser.

In 1992, following a successful world tour, this incarnation of Black Sabbath was put on hold when the band reunited temporarily with Ronnie James Dio. Two years later, Martin and Nicholls were back in the studio with Iommi to record 1994’s CROSS PURPOSES. The band was completed with the addition of founding Sabbath bassist Geezer Butler and drummer Bobby Rondinelli of Rainbow. 

The Tyr-era Black Sabbath lineup reunited in 1995 when Powell and Murray returned to record FORBIDDEN. It was the band’s 18th studio album, and its last for nearly 20 years. (In 2013, Iommi, Osbourne and Butler released Black Sabbath’s final studio album, 13.) FORBIDDEN, produced by Ernie C of Body Count, the hard rock band fronted by rapper/actor/Sabbath fan Ice-T, who appears on the song “Illusion Of Power.” Since its release, sonically improving the album has been one of Iommi’s pet projects.

He explains, “I was never happy with the guitar sound, and Cozy was definitely never happy with the drum sound… So, I thought it would be nice to do it for him in a way.” He adds, “I just felt that, without changing any of the songs, there was an opportunity to go back and bring out some of the sounds and make it more what people would expect Sabbath to sound like.”

The Rat Queen had a few things to say about the song and music video:

’Fresh Fur’ is a rebirth. It is the ability to unearth the strength to rise above those seeking any opportunity to cut you down, control you, or bury you. It is becoming so self-assured and secure within yourself that the sheer magnitude of your own existence can ward off anyone’s attempt to take you down—without the need to brandish any weapon of your own.

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This is definitely our most DIY video to date. The music video was accomplished by commandeering the apartment of our friend and tour manager, Olivia. We nailed a bright-blue dollar store bedsheet to her living room wall and borrowed a tiny treadmill for walking in place in front of our makeshift green screen. We had our manager, Marty, crouched on the floor blasting me and Franco with a hair dryer through every take for that quintessential, glamorous, hair-in-the-breeze effect. There was also a lot of Johnson’s baby oil involved… 

We shot the whole thing on my iPhone, which is also what I used to edit the entire video, as I do not own a computer. I chose background imagery to elicit a sense of movement through a portal of time and space with glimpses of alternate realities and elements along the journey into another realm. There are also visual representations of each line of lyrics featured during each verse. 

I came down with the flu within an hour after shooting and harnessed all my fever-dream energy to greatly inform the imagery throughout the editing process while sick in bed across the next three days. Fortunately, no one else got sick during filming because Marty was continuously blasting my own germs back into my face using the hair dryer. All in all, this mission was a complete success from start to finish.

All together it makes for a perfect encapsulation of the band’s music and aesthetic, one that shouldn’t be missed. Make sure to check out the new record, Into The Realm, out April 12 on King Volume Records.

Everything that made the first album such a success returns for Dark Sky Sanctuary. Catchy and anthemic vocals, stunningly gorgeous guitar melodies, propulsive drumming, a wonderful sense for when to move from more sensitive sections of hard rock into heavier more old-metal inspired ones, and dynamic songwriting all combine to make something that’s, if not unique, extremely compelling and comforting. The band’s own claim of being united by a shared interest in “dollar-bin Canadian hard rock records and poorly ripped recordings of NWOBHM they’ll never afford” makes a lot of sense when listening to “Can’t Deny Destiny” (I dunno if the band would appreciate the comparison, but NWOBHM legends Praying Mantis come especially to mind!), which you can listen to below while watching their groovy music video for it here:

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As a related side note, Freeways were excellent when I saw them last year and I highly recommend catching them in concert if you get a shot. “Can’t Deny Destiny” hits even harder when it’s screaming at you through a stack of amps and a PA instead of through your speakers or headphones at home. 

Read the band’s statement on this song below:

“Can’t Deny Destiny” was the first song we all did together when Matt joined the band and has been a mainstay in our live set ever since. So it felt most natural to have it be our first video off of the new album.

The song’s a bit of a fuck you to the big city and all the bullshit that comes with it and the unrealistic daydream of getting away from it all.

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Dark Sky Sanctuary comes out worldwide on April 26th on Dying Victims Productions. 

Pairing their immense musicianship–some of vocalist/synthesist Terence Hannum’s, guitarist André Foisy’s, and drummer/electronics performer Steven Hess’ most ambitious performances to date–with a book of art, stories, and even a bibliography (of invented future texts, very cool), End Terrain takes from each Locrian era. With influences dating back to Hannum and Foisy’s days as a duo (over fifteen years ago now, wow) and through their vast discography as a trio with Hess, End Terrain is a cumulation of ideas, sounds, and a decade-plus of camaraderie as now-displaced experimental musicians. The explosive album opener, “Chronoscapes,” leads End Terrain on an intense footing, with large riffs and expansive soundscapes carefully pieced together to craft something larger than life. When paired with an intense video, which can be viewed below, we join the Seer as they remotely view a horrific future of humanoid creatures destroying, well, everything.

Watch “Chronoscapes” below.

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End Terrain releases April 5th via Profound Lore Records.