Russian Circles Live at Cambridge, MA’s The Sinclair
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If you’ve caught a Russian Circles tour at some point in the past several years, there isn’t much about this fall’s North American trek with Sargent House labelmates Helms Alee that will surprise you. Between the atmospheric lighting, the minimal stage presence and the overarching moodiness of their compositions, the band rarely subverts expectations. But while the Chicago instrumental trio promise a consistency that may not shock, it’s certainly one that still satisfies. This band is very good at what they do.
September 28 found Russian Circles returning to the same Boston venue where I last saw them on a 10th anniversary tour in 2014 – this time in support of their recently-released sixth studio LP. Guidance, another strong entry in the band’s catalog, furthers their exploration of sweeping, brooding soundscapes that rumble with a metallic undercurrent. They continue to effectively balance the heavier elements of their sound with the more traditionally melodic ones, and it’s easy to see why they’ve been able to cultivate the kind of fanbase that spanned from metalheads to Berklee kids at this particular gig.
The setlist this time around leaned heavier on new material, but naturally those songs fit in alongside standbys from Station or Empros. The band itself – guitarist Mike Sullivan, drummer Dave Turncrantz and bassist Brian Cook – sounded airtight as ever throughout the night. Sullivan and Cook operated their labyrinthine pedalboards with effortless ease, employing live loops and other technical wizardry to layer their sound with virtuosic precision. Whether you’ve seen them once or a dozen times, the band’s intensely focused live sets never cease to impress.
Seattle sludge trio Helms Alee worked nicely as a more forthrightly heavy opener, a role occupied by the likes of Mutoid Man and Inter Arma on previous Russian Circles tours. The presence of a metal band on those bills always made the gigs feel like more well-rounded affairs, and Helms Alee’s seismic sound did just that for this one. Guitarist Ben Verellen, bassist Dana James and drummer Hozoji Margullis traded off vocals between and amid songs, lending them a sense of unpredictability bolstered by jolting dynamic shifts. And while the band excelled as a whole, it was the kit-dismantling force of Margullis’ drumming that was ultimately their most impressive weapon.
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Helms Alee
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
Helms Alee at The Sinclair
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Russian Circles
Violent Offerings: Three Indiana Bands Breaching Borders and Building Acclaim
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The land of Indiana is a difficult soil for heavy metal to take root in. National tours, much like legalized weed, often skip right over Indiana, going straight from Grand Rapids to Chicago. There are some bigger bands that have come from the state -- Apostle of Solitude, Gates of Slumber -- but not nearly as many as the coasts and major cities have turned out. Those bands that do build a name for themselves tend to be hardy road warriors, their sound whetted by frequent gigs across the Midwest. In Chicago, due to the huge volume of shows, it's entirely possible for a band to play for years, build a following, open for national bands, and have never played more than 50 miles from home. In less densely populated areas like Indiana, though, bands have two options for development: either hit the road and spread the word, or stagnate. Many choose the former -- the greater Indianapolis area is within a day's drive of many other metropolitan hotspots and thus enjoys a weekend-tour trade with the surrounding cities and states. This allows a close-knit web of bands and their fans to thrive in the area, with promoters like Lafayette's "The Doom Room" putting on over 30 shows last year in that town alone. On the reverse end of the bargain, though, those of us in surrounding states get to enjoy the talents of these hard-working bands, often without leaving the comfort of our hometowns: Chicago, for one, might actually get more than it gives. Back in 2016, Invisible Oranges put out a list of nine bands from Indiana you should know. While that list has remained an excellent reference (all nine are still active), my own experience with the local scene as an Indiana-bordering Chicagoan have generated a few more recommendations. These three bands gig heavily and memorably, tirelessly carrying the defiling gospel of Indiana metal to strange lands and leaving smoldering ruins wherever they alight....
Throne of Iron
Although only founded a year and a half ago, Throne of Iron is a blast from the past: inspired by the passing of Manilla Road frontman Mark "The Shark" Shelton, their lineage of heavy metal draws as much from the traditional metal greats as it does from Dungeons & Dragons. It's gritty and irreverent with a certain alcohol-fueled grandiosity, paying tribute to the heavy metal and board games of the past (one can be fairly certain they're not writing songs about Fifth Edition) but having a bit of fun while they're at it. The unpretentious vocals and the noisy onslaught of the guitars add a welcome touch of dirt often missing from the genre: after all, the adventurers in their songs aren't noble-born knights chasing dragons, they're a ragtag group that's out to earn a few coins, dodge traps, and (going by my average D&D experience) murder at the slightest possible hint of provocation. Throne of Iron has risen swiftly in stature after a mid-2018 demo caught a wave of initial attention; they followed up with rapid, small releases including a split with a dungeon synth outfit and multiple singles. These have kept interest in the band growing steadily without an oversaturation of material and every release has reinforced the singularly oddball nature of the group. Three of their singles, labeled as "Roll for Metal," have been created through a homebrew improvisation process involving drum patterns picked by dice roll and power metal lyrics spat out by a random generator -- the results are bewildering, but appealing. With a full-length on the horizon, their future is looking pretty bright: they're headed for Greece in March to play the Up the Hammers Fest "warm up" show with the likes of Atlantean Kodex and Argus, with a couple of stateside shows beforehand. Their particular approach to heavy metal seems to have struck a chord: finely balancing down-to-earth aggression with daring tales of epic stature has garnered them notice outside their home state and set them on an adventure of their own. Upcoming Shows: January 18th @ North End Pub - Lafayette, IN February 1st @ Cafe Mustache - Chicago, IL March 12th @ Up the Hammers - Athens, Greece...
Wraith
Wraith is from northwest Indiana, but close enough to the Illinois border and Chicago that they could probably have listed that as their hometown and nobody would be the wiser. They didn't, though, and proudly describe themselves as Indiana blackened thrash -- to be precise, the thrash element here is that of the early 1980s when thrash and speed metal were often entwined, with the black metal influence attaching a pervading sense of sleazy evil. This particular genre fusion is fairly established, so Wraith might be described as "more of a good thing," except that they've done their thing exceptionally well to steadily increasing acclaim. Working within the framework of quick, fast-paced songs, they intersperse rhythmic variety into the headbang-friendly riffing as if to clearly mark out spots for fans to pump their fists in time. They know when to break the tempo down, or when to just ride a steady middling pace, but much of their 2019 full-length Absolute Power finds the band throwing down heated d-beats with snarling howls accompanying the insanely tasty riffs every song has no shortage of. Wraith's no-frills metal has found a willing home in their own region and beyond, somehow standing out despite the crowded field. When it comes to this particular style of blackened thrash/speed, there's fairly stringent requirements on how a band should sound. That might seem stifling, but creativity can thrive with constraints, and Wraith has demonstrated an infernal aptitude for this task. Upcoming Shows: February 29th @ Black Circle Brewing - Indianapolis, IN March 21st @ Reggie's - Chicago, IL April 10th @ Blades of Steel Fest - Milwaukee, WI...
The Mound Builders
You really need to see these guys live. That's a critical step in understanding exactly how the quartet has continued to be a staple of the local live scene across multiple states -- last year, they hit six. While the other bands on this list are only a few years old, The Mound Builders are a decade-spanning institution that's consistently delivered one of the best live shows I've ever seen. Playing a combination of heavy metal, hardcore, sludge, and punk rock makes for a difficult classification, which is why they tend to just label themselves as all of those, all at once. The hardcore elements are most obvious live, where frontman Jim Voelz screams the band's sardonic lyrics while roaming unpredictably, consuming any and all real estate available -- the man will climb on a table if the opportunity presents itself. The rest of the band provides the remaining elements of their signature sound: riffs that drip Jack Daniels from every note, sludgy grooves that ramp up without warning, and a bass tone that probably violates some public decency law somewhere. I'm not sure that any of their records have fully captured their energetic live sound, and I'm further doubtful that it's possible: their 2018 self-titled full-length nails the sludge and doom aspect, but might not conjure thoughts of punk and hardcore. It's a quintessentially Indiana album in any case, as the artwork is a composite of the Lafayette skyline and a few of the songs, plus their name, reference the history and geography of their state. The one-two punch of "Star City Massacre" and "Regolith" is where their enticingly feral sound reaches a zenith: the rhythm section's breakneck insanity is brought to bear against the venom of Jim's vocals and southern sludge riffs run through a speed metal filter. Now, picture that being performed with an almost frightening vigor ten feet from your face in a PBR-rich environment -- that's the magic of the Mound Builders live, an experience you're not likely to forget. I've seen them in dive bars, a barn, and a literal bakery and they've yet to disappoint. Bonus: check out some of my photos from The Mound Builders' October 12th set at The Drunken Donut in Joliet, Illinois last year. [gallery ids="15381,35131,15380,15379,15377,15378" galleryid="846:68550" galleryindex="0" enablefullscreen="yes" showthumbs="no" ] Upcoming Shows: February 29th @ Metal Monkey Brewing - Romeoville, IL March 13th @ Shakespeare's - Kalamazoo, MI March 14th @ The Avenue Cafe - Lansing, MI March 21st @ The State Theatre - Logansport, IN...
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Entry Level: Greg Chandler (Esoteric/Lychgate) Faces Death
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Entry Level is a new series where musicians re-examine the records that piqued their interests in heavy and loud music as children and young adults....
The pivotal album for me was when I first saw Scream Bloody Gore album by Death in my local record store. As a teenager I was listening to heavy metal and thrash among other styles, such as rock, alternative rock, psychedelic, and so on. But I was always looking for something heavier. When I saw that album in the store, I could tell just from the artwork and name of the band that this was going to be something more extreme, so I bought it on impulse....
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That was back in 1989 and it opened the floodgates into extreme metal and from there I went on to discover Autopsy, Morbid Angel, Napalm Death, Carcass and so on and then discovered the underground and demos from new death, black and doom bands. Back then it wasn’t as easy to find out about bands, unless you were already connected to others in the scene and could find fanzines, tape traders, and other fans to discover more music through....
Greg Chandler is the vocalist and guitarist for seminal funeral death/doom metal band Esoteric and avant-black metal band Lychgate. A Pyrrhic Existence is out now on Season of Mist....
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MDF 2020 Pre-Fest Announced, Including Demilich (Who Also Play Finnfest)
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Maryland Deathfest put tickets on sale for this year's pre-party which will feature sets from Demilich, Divine Eve, Scattered Remnants (who are on the new episode of the Heavy Hole podcast), Fetid, and Cardiac Arrest at Ottobar in Baltimore on Wednesday, May 20th. Get them before they're gone! The full, updated MDF lineup is listed below. Finnish death metal legends Demilich meanwhile are playing Finnfest in London in February at The Garage. That lineup is also, below: FINNFEST 2020 15-16 February 2020 The Garage London, UK DEMILICH SKEPTICISM PURTENANCE SADISTIK FOREST RIPPIKOULU CONVULSE LIE IN RUINS CORPSESSED KRYPTS GOREPHILIA CRAVEN IDOL GALVANIZER SEPULCHRAL CURSE LANTERN GOD DISEASE SOLOTHUS CADAVERIC INCUBATOR...
Maryland Deathfest XVIII May 21-24, 2020 @ Rams Head Live and Baltimore Soundstage Wednesday @ Ottobar (pre-fest party): Demilich Divine Eve Scattered Remnants Fetid Cardiac Arrest Thursday @ Rams Head Live: Asthma Castle Acid Witch Coffins Cough Frizzi 2 Fulci (Fabio Frizzi in Concert. A Tribute to Lucio Fulci) Warmask Thursday @ Soundstage: Funerus Limbsplitter Prostitute Disfigurement Putrid Pile Skeletal Remains Suffocation Friday @ Rams Head Live: Bloodbath Grave Desecrator Graveyard Massacre Monstrosity Onslaught Panzerfaust Phlebotomized Spite Friday @ Soundstage: ACxDC Antichrist At War Blood Feast Cloud Rat Fistula Fuck the Facts Negative Approach No/Mas Vio-lence Saturday @ Rams Head Live: Cadaver Cancer Cerebral Rot Dismember Imprecation Impure Necrophobic Nifelheim Novembers Doom Vircolac Saturday @ Soundstage: Backslider Cadaveric Incubator Flesh Parade Haemorrhage Holy Cost Impaled Malignant Altar Napalm Raid Schirenc Plays Pungent Stench Skitsystem Throaat Sunday @ Rams Head Live: Archgoat Dark Fortress Death Strike Demilich Necrofier Nocturnus AD Sacrilegia Sacramentum Valkyrja Sunday @ Soundstage: Birdflesh Butcher ABC Exhorder Galvanizer General Surgery Nunslaughter Shock Narcotic Warfuck Whoresnation Zombie Assault...
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Sutrah’s “Lethe” Flat-Out Confirms that Death Metal is High Art
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All hail death metal. And it's been a minute for me: with all the black metal and doom I consume, death metal sometimes goes woefully unattended. This effect shifts around from genre to genre depending on so many factors, but suffice it to say that this particular tolerance break has gone on far too long. When I heard Sutrah's upcoming Aletheia EP, though, it immediately drugged the fuck out of me. It shot my tolerance break right in the face, and now I cannot get enough of either this quite frankly stupendous EP or all the other high-quality death metal releases of late. But it was this EP that acted almost like a cleaver in my brain, prying open my forced-shut/hyper-focused mind, allowing the wonderful artistry that is death metal to flow right back into my core where it goddamn belongs. Get a load of "Lethe" and see what I'm talking about -- it's the second of four songs, and the sole taste prior to the EP's release on March 13th....
https://youtu.be/5vFQ8AqqV3o...
While you're listening to "Lethe," let me actually talk about the EP as a whole, especially the 16-minute closing track that gives even Blood Incantation a run for their lives. Sutrah's 2017 debut full-length Dunes contained some immaculate death metal -- heavily on the technical edge without being so tech-deathy -- but also relished mightily in its own progginess. A few years later, and it seems Sutrah have added a whole realm of cinematics and drama without spoiling all that juicy instrumentation and groovy momentum that made their debut so powerful. The Aletheia EP ends on a very long note, a sprawling and dynamic song of immense technical and emotive proportions. I feel like technical proficiency is the easy part; Sutrah have that nailed for sure, but now, they've also nailed the gut-punch feeling that only moving music can wield. As for "Lethe," think of it as the entire EP in one condensed song. It carries forward a main riff which echoes later on (a nice thematic connection for sure), but also scurries off into its own creative corners, remaining always fresh and technical without overblowing it. Whereas a lot of death metal (and especially tech-death) is angular and staccato and mechanical, Sutrah is more like a perfectly-executed pirouette: deadly silent executional gorgeousness. When most every other band of this ilk is upping aggression, distortion, and volume, Sutrah is meticulously weaving a carbon-fiber tapestry that may appear brittle but is actually stronger than steel. It's a risky move -- Sutrah doesn't gung-ho slice and dice the world to pieces with divebomb riffs like some tech-death does (and there's legitimate appeal for that insanity, too) -- but in return, they acquire perhaps the most important element any band in this category could want: savage beauty....
The Aletheia EP releases March 13th via The Artisan Era. Follow Sutrah on Bandcamp....
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Upcoming Metal Releases: 1/12/20 — 1/18/20
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Here are the new (and recent) metal releases for the week of January 12th to January 18th, 2019. Releases reflect proposed North American scheduling, if available. Expect to see most of these albums on shelves or distros on Fridays. See something we missed or have any thoughts? Let us know in the comments. Plus, as always, feel free to post your own shopping lists. Happy digging. Send us your promos (streaming links preferred) to: [email protected]. Do not send us promo material via social media....
Surprise Releases + Things We Missed
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Dragged Into Sunlight -- Terminal Aggressor II | Prosthetic Records | Blackened Death Metal + Noise | United Kingdom There's been some drama between Dragged Into Sunlight and Prosthetic Records -- namely, the band accuses the label of unprofessional behavior and sketchy business tactics involving the release of their next album. Then, last week, the album dropped unexpectedly, and the band has stated that Prosthetic Records' move did not involve any consultation and will not involve any compensation. However this boils down, there's no two ways about it: Terminal Aggressor II is an absolute monolith. Roughly 25 minutes of ambient noise builds up to an almighty explosion at the end worth every second.-- Andrew Rothmund
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Upcoming Releases
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Garganjua -- Toward the Sun | Holy Roar Records | Doom Metal | United Kingdom From Andrew Rothmund's premiere of "To Ascend (Awakening)":When it comes to doom, I expect gigantic music — not just in sound or sheer weight, though, but in that more indescribable room-filling, head-invigorating way. I think it comes down to balance: doom that isn’t such an awful plodding dirge that you feel dragged along, but doom not so stoned out that it can’t spell its own name. Also important is the element of beauty, because what’s more beautiful than tragedy? Doom is ultimate tragedy, or at least the emotional manifestation of tragedy. When you’re doomed, there’s no way out; the beauty lies in the simplicity and the ease of receiving an answer on the life-defining question of whether you’ll make it through. And if you’re not, you better have the best goddamn soundtrack for the way out. Enter Garganjua‘s third full-length Toward the Sun
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Odious Mortem -- Synesthesia | Willowtip | Death Metal | United States (California) If the mesmerizing cover art for Synesthesia doesn't get ya, then the twisted and contorted death metal brilliance residing within surely will. Odious Mortem hasn't released an album since 2007, a healthy amount of time for sure. What the band has found in this horrific future, though, is something special and wonderfully engaging: gnarly, undulating death metal with proggy vibes and a whole ton of fuck-you-up. Enough of what I have to say, though, stay tuned later this week for a full review of Synesthesia from our death metal resident Langdon Hickman.-- Andrew Rothmund
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Porta Nigra -- Schöpfungswut | Soulseller Records | Black Metal | Germany In a reversal of the usual trajectory for many experimental black metal bands, Porta Nigra started off swinging in directions away from the black metal core to the point of dubbing themselves "decadent dark metal," with an aesthetic tribute to the overindulgence of late 19th Century bohemian life. However, on album three, Schöpfungswut, the band has reversed trajectory for at least one album to embrace fully their roots in the Scandinavian and their native German black metal scenes. While avalanches of blast beats followed by torrents of tremolo picked riffs are expected and well met, there’s still a distinctive flair delivered in vocals rarely distorted beyond comprehension, at least for anyone who can speak German, with spoken-word and clean singing abound. Another matter that Porta Nigra excel upon is expertly crafted lead guitar work and play with heart wrenching melody. While fans of the avant-garde may feel the need to wait for Porta Nigra’s next release, the band still supplies a real joy of an album that taps into black metal’s uncanny ability to take the listener on an emotional sonic journey.-- Joseph Aprill
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Mark Morton -- Ether EP | Rise Records | Acoustic | United States (Virginia) As one-half of Lamb of God's guitar front, many people associate Mark Morton's name with bombastic triplets and hollowed-out Mesa Boogie chugs. But as last year's debut release of Morton's solo material (Anesthetic) showed us, there's so much more to this guitarist than what just one band has led us to believe. The Ether EP takes the journey one stop further, featuring additional collaborations like Howard Jones of Killswitch Engage and two cover songs (The Black Crowes and Pearl Jam), all dressed with lovely acoustic guitar playing.-- Andrew Rothmund
https://youtu.be/GZikUXDnupo...
Rage of Samedi -- Blood Ritual | Argonauta Records | Doom Metal | Germany Just like the depraved almost-human figures that populate the outlandish cover art of Blood Ritual, Rage of Samedi must have gotten into some real weird stuff to come up with this sound. At times sounding like a doomed take on melodic death metal, the dual guitars interweave melodies to create a dejected majesty that the rhythm section takes on a wild ride across all kinds of tempos. While immediately recognizable as doom metal, it doesn't sound like a bit like their named influences, leading me to conclude there's supernatural forces at work.-- Ted Nubel
https://youtu.be/IoDhfCti6Xs...
Svarttjern -- Shame is Just a Word | Soulseller Records | Black Metal | Norway I was introduced to Svarttjern a few years ago during my first trip to Norway, seeing them open for the first day of Blastfest in the city of Bergen. They left a memorable mark in not only playing (and looking the part of) what I craved in seeing, “True Norwegian Black Metal” on home turf, but the singer was constantly salivating down his chest and rubbing it all over himself like a pig in mud. So, how appropriate that some perversion seeps in on the band's fifth album, Shame Is Just a Word, which should be even less of a surprise given three-fifths of the band are current members of the perpetually deviant Carpathian Forest. Musically, what awaits is a great deal of rocking in the gutter, piss-and-vinegar mid-period Darkthrone and Craft paired with the blackened thrash of Aura Noir. Everything on the album is headbang worthy, but track "Melodies of Lust" particularly stands out in casting an ominous chill down the spine while all ambiguity of an old-school thrash influence is destroyed with a black hearted cover of Exodus’s eternal song “Bonded by Blood." Svarttjern delivers an album true to Paul Baloff’s no-poseurs allowed mantra while just as likely to scare away a few vanilla folk for being a bit too kinky to take.-- Joseph Aprill
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The Osedax -- Meridians | Sludge + Doom Metal | United States (Virginia) This sludge-drenched doom release from independent act The Osedax asks for a bit of a warm-up period, but once it finds the right vibrations, it hammers everything home to astounding resonations at incredible frequencies. Meridians plods along and churns through leagues of dizzying riffs of decay and suffering, of course, but the band never forgets to bring it all back together great, distinct climaxes.-- Andrew Rothmund
Listen to "White Horse / Tempest" via Pure Grain Audio....
Body Void + Keeper -- Split | Tridroid Records + Roman Numeral Records | Doom Metal | Country From Jon Rosenthal's premiere of the Body Void + Keeper split:Though they operate on two sides of the same coin, Body Void and Keeper’s own doomed practices exist on the furthest opposite reaches of this plane. Body Void, for instance, is a massive wall of absolute hatred. There is no need for dynamics, really (though there are some quieter passages), or even emotions other than disgust and loathing — this is the music of abhorrence and the horror which fuels it, and Body Void’s “Androgyne” is a perfect example of the darkness found within emotive doom. Keeper, on the other hand, is a much gloomier beast. Still heavy, without a doubt, but there is an emotive undercurrent to their two songs. The band’s first material in five years (the last of which was an incredible split with the recently resurrected Old Witch), Keeper’s “Trial & Error” and “Twenty” prove that the distance between bandmates and the inactivity between releases mean nothing when it comes to quality. Where Body Void’s music is physically crushing, Keeper’s is internal, if even difficult, and wonderful. In this case, doom is more than a 40-letter word. D∞m.Stream the split in full on the premiere page.
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L'Homme Absurde -- Belong | Black Metal | Russia Belong, the third full-length from Russian outfit L'Homme Absurde, is black metal done right: balanced aggression, plenty of riffs, and tons of saturated atmospherics that remain heavy while not making you feel like you're drowning. This album isn't one to shove itself into your brain; rather, Belong takes a more subtle and gentle approach, vying for your attention via your heartstrings instead.-- Andrew Rothmund
https://youtu.be/YV2xW1xym20...
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Yatra Reveal “Blood Will Flow” From “Blood of the Night” (Listen)
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Maryland trio Yatra have dropped a new track from new album Blood of the Night (out 1/31 via STB Records), which finds them taking the trad-doom-meets-harsh-screams approach of their debut into sludgier, more muscular territory. Take a puff of new track "Blood Will Flow..."...
https://soundcloud.com/user-832650199/039911067673-05-blood-will-flow/s-fy1wp?in=user-832650199/sets/yatra-blood-of-the-night/s-FRCHu...
You can also listen to that track and the album's first single "Carrion" at Bandcamp. The band (Dana Helmuth on vocals and guitar, Maria Geisbert on bass and Sean Lafferty on drums) say:“We are extremely proud of the content on ‘Blood of the Night’! We got to play most of these songs for an entire three-week US tour right before going in the studio to record them, which gave us time to really feel out all of the songs which lead to us really finding our grind in all of it. In this album you hear lots of more influences from early Death Metal, Black Metal, and traditional Heavy Metal in general. We are excited for the release!”The album's release show happens in NYC on February 1st when Yatra will support the likeminded Warhorse at their first NYC since reuniting at Saint Vitus. Tickets for the BrooklynVegan-presented show are on sale. Green Dragon are also on the bill.
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You can also catch Yatra in Harrisburg, PA on 1/24, in Philadelphia with Witching on 1/30, at the Shadow Frost fest in Maryland later in February (with Vastum and many more), and at New England Stoner and Doom Fest in May (on a lineup with Grey Skies Fallen)....
https://www.instagram.com/p/B6lhh2FJkgc/...
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Triumvir Foul & Human Agony Announce Tour
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