They’ve been called doomcore, sludge and stoner rock, survived line-up shuffles, label hassles and a short-lived split. And after more than a decade of creating some of the most corrosive, vile music known to man, EyeHateGod still hasn’t lost the piss and vinegar that fueled them back in ’88. www.myspace.com/eyehategod
Totimoshi carve out their own path with explosive performances, dark emotive lyrics and hypnotic sound…truly a force and new direction for music made by musicians who follow no trend but their own. Deftly combing heroic sludge rock with epic guitar squalor and smart discordant noise. Grungy guitar noise is met with vocal lunacy that Oxbow fans wouldn’t nudge aside and crunchy doom-riddled metal with just a hint of old school punk rock.
‘Three-piece groove assault straight outta Birmingham combining heavy riff-mongering
a la Melvins with guttural, tortured vocals and occasional stoner and math-rock
moments. For those who dig Iron Monkey, Dystopia and the afforementioned Melvins.’
The music is naturally majestic, with MONO’s trademark wall of noise crashing beautifully against the largest chamber orchestra the band has ever enlisted. The instrumentation is vast, incorporating strings, flutes, organ, piano, glockenspiel and tympani into their standard face-melting set-up.
Recorded to analog tape with long-time friend and producer Steve Albini, there is an intimacy captured here that is at once beautiful and a little terrifying. The creaking of old wooden chairs as the orchestra rocks in their seats (both literally and figuratively), puckered lips rolling along flutes, and even the conductor’s opening cue can be heard during the hauntingly quiet opening moments
While Hymn continues to mine the cinematic drama inherent in all of MONO’s music, the dynamic shifts now come more from dark-to-light instead of quiet-to-loud. The maturity to balance these elements so masterfully has become MONO’s strongest virtue.
Rose’s unique powerful vocal is sometimes operatic, sometimes fierce but equally haunting, her musical style is extremely difficult to categorize. Folk-esque /heavy rock has previously been cited but doesn’t really sum up this exceptional album. Woven together with multi hook harmonies and quality instrumentation, this album slowly buries itself under your skin. Lyrically the songs are compelling and their content somewhat mysterious but backed up with heavy rock guitar, oversized drums and old Synths and organs, they are infectious and thought provoking. Her influences are numerous but include the classic rock of Black Sabbath and stoner rock legends Melvins, Drone artists such as Earth and Om. She is also influenced by classic Black Metal, Doom and 70’s prog right through to timeless songwriters including Kate Bush and Tom Waits, amongst many others.
Part of folk-rock heritage, Rose is the daughter of Maddy Prior and Rick Kemp from seminal, Pioneering British Folk-Rock band Steeleye Span. As a young teenager she sang and toured and occasionally wrote with her parents various different projects including Steeleye Span (who still gig today), and her life on the road began when she was knee-high, accompanying her parents on tour.
Isis create their own universe and rules, they are compromisingly heavy, slow and brutal, but apply a deftness of touch that so many other bands using the quiet/loud dynamic miss completely. They are hard to categories, but all the more interesting for it, using vocals sparingly they approach the idea of a voice as another instrument in their cannon, they want to bludgeon you but they also want you to see the inherent beauty in all that is ugly and while you imagine that a band playing ten minute slow burning epics would be boring to watch they are hypnotising and entrancing and above all exciting. http://www.sgnl05.com/
FINAL serves as an undefinable and experimental interpretation of Justin Broadricks more recognised music ; encompassing the brutal and the dark to the beautiful and the melodic, the term ‘ambient’ is often used to describe the sound of FINAL, but the music is not at all intended to function purely as background as the term ‘ambient’ generally implies…..
SUNN O))) is proud to present their 7th studio album, after 10 years of existence, entitled Monoliths & Dimensions. The album showcases the core guitar duo – Stephen O’Malley and Greg Anderson – incorporating influences from a plethora of guest musicians, bringing the SUNN O))) sound to epic new levels. The band also collaborated with composer Eyvind Kang (notable for his work with John Zorn, Marc Ribot, Bill Frisell, etc.) on various acoustic ensembles, in addition to the Helios fueled electric guitars and basses. Key players on the album include Australian guitar genius Oren Ambarchi, enigmatic Hungarian vocalist Attila Csihar (Mayhem, Tormentor, etc.) and slow music godfather Dylan Carlson (Earth), as well as Julian Priester (worked with Sun Ra in the 50s, John Coltrane’s African Brass band, and Herbie Hancock’s Sextant band) and new-music horn player Stuart Dempster. There’s also an upright bass trio, French & English horns, harp & flute duo, piano, brass, reed & strings ensembles, and a Viennese woman’s choir led by Persian vocal savant Jessika Kenney.
The album is not “SUNN O))) with strings” or “metal meets orchestra” material. The band took an approach concentrating on more of allusion toward the timbre of feedback and the instruments involved, so the piece is really illusory, beautiful and not entirely linear, stating that the end product is “the most musical piece we’ve done, and also the heaviest, powerful and most abstract set of chords we’ve laid to tape” www.southernlord.com/band_SUN.php
Om cuts out all the unnecessary sonic frills, and removes two strings from the aforementioned setup, operating in a bass/drums format. Nevertheless, the music of singer/bassist Al Cisneros (formerly of stoner-metal gods Sleep) and drummer Emil Amos is as raw, loud, and heavy as that of bands with two or three guitarists among their ranks. www.myspace.com/variationsontheme
Efterklang make music for the inspired. But don’t feel left out, for Efterklang inspire all. Otherworldly pop songs, both magnificently ambitious and engagingly intimate. Breathtaking panoramas of sound with few clear antecedents. This is music with no boundaries.
Childhood friends Casper Clausen, Mads Brauer and Rasmus Stolberg grew up on the small Danish island of Als, close to the German border. Fuelled by youthful ambition, the trio moved to Copenhagen where they were joined by Rune Mølgaard and Thomas Husmer, forming Efterklang in December 2000.
Early on, the band instituted a self-sufficient working method that they still apply to everything they do: writing, recording, producing and organizing every element of their music and performance from their Copenhagen bunker.
Efterklang are well-known for their stunning live shows. Following the release of Parades the band took their eight-piece live band on the road, the tour established Efterklang as one of the most fascinating and uplifting live acts in the world.
Manchester dwelling musician, born and brought up in the beautiful rolling landscape of Wigan, Nancy Elizabeth is a lover and creator of songs and instrumental music. The first release was an E.P. called ‘The Wheel Turning King’, which came out on Manchester label, Timbreland. That led to her hiring a cottage in the middle of nowhere, where she created her first album ‘Battle and Victory’.