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This is 'Liberation through Amplification.'
“Utopioid” is beautiful, challenging, at times catchy, and more
emotionally resonant that a great deal of music I hear in a given year. But if you’re measuring for sheer heaviness –
aural, conceptual, even spiritual – “Utopioid” is heavy as a dying star, and
just as terrifying in its beauty.
“Utopioid” CS//CD//DD//LP track listing
1. Amnion
2. Intrapartum
3. Neophyte Visionary
4. King Ivory Tower
5. 54543
6. Détente
7. Hypnagogic
8. Qohelet
9. Intramortem
The Review:
We’ve all heard that anecdote that the Eskimo
have a huge number of words for “snow”, supposedly for each subtle variation
only people surrounded by frozen tundra would notice on a regular basis. If only there was a similar glossary for
types of “heaviness” that could serve as a sort of musical Esperanto for metal
enthusiasts. We tend to flatten out the
term so much that it becomes kind of meaningless – the tri-tone opening of “Black Sabbath”, the breakneck shred of Converge’s “Concubine”,
and the menacing rainfall of Slayer’s “Raining Blood” are all quintessentially
“heavy” moments in metal music. It can
be an easy shorthand in some cases, denoting dissonance, harsh vocals, or low
end guitar riffing, but by boxing “heavy” or “metal” into some confined
structure, we’d eliminate some truly haunting, melodic, beautiful, but
undeniably heavy outliers. Case in
point: Philadelphia’s Rosetta, who have been
crafting “metal for astronauts” for over a decade. On their sixth release, “Utopioid”, Rosetta push the
emotional limits of melodic post-metal without abandoning their heavy bona
fides, albeit in ways that may be so alien to some metalheads that they’ll
flatly reject the metal tag whatsoever.
Make no mistake, Rosetta
lurks at the periphery of metal orthodoxy.
Interludes and codas like “Amnion”,
“54543” and “Intramortem” are more Sigur Ros than Neurosis. The clean
vocals, in both their register and placement in the mix, almost subsumed by
mirrored guitar harmonies at some points, are akin to the earlier waves of emo
– I was consistently thinking of Christie Front Drive, Mineral, and Sunny Day Real Estate. But just when the pathos threatens to turn
sour or twee, the progressions often turn sour, introducing dissonance, minor chords,
or gut-wrenching screamed vocals. “Intrapartum”, in particular, vacillates
between ethereal and eerie, with a gang vocal closing that is intense and
triumphant.
The prevalence of vocals on “post” anything can
be a barrier to entry for some enthusiasts, but the members of Rosetta seem to be keenly aware of economy and the
qualities of a voice as an instrument – the majority of the hour-plus album is
dominated by guitars and effects, while even the screamed vocals seem precisely
“composed” within the strictures of each track.
Each ragged syllable seems a part of a symphonic whole, while the
guitars often track the clean vocal progressions, especially in verses.
The whole “metal for astronauts” tag feels
kind of silly, but it’s remarkably apt.
The reverb-laden, echoey feel of everything screams “space”, while the
emotional heft feels outside of temporal concerns – there’s something almost
spiritual (I found myself writing down “cinematically cosmic”) at work in the
balance between angelic singing and primitive shouts. Maybe it’s just the sheer amount of time and
exploratory leeway Rosetta grants their
respective components that feels untethered from gravity. Occasionally the explorations veer off
unsuccessfully, like the meandering ambient coda of “Hypnagogic” that is begging for a triumphant reprise. But then a track like “Qohelet” crashes through a finale as effective and thrilling as any
I’ve heard in 2017 and the whole experiment works. Particular praise has to be given to the
rhythm section of Dave Grossman and Bruce McMurtrie Jr., whose precise bass
work and drumming, respectively, anchors the band through numerous space rock
outbursts. Without steady hands at the
wheel, the dual guitar lines of Eric Jernigan and Matt Weed could meander into
incoherence – instead of the near transcendence they achieve on track after
track.
Of course, the drawback to any “post-metal”
album is the tendency to overstay its welcome, and “Utopioid” does that for exactly seven minutes and fifty-three
seconds on the final track, “Intramortem”. It isn’t a bad number, per se, but has the
distinct disadvantage of following the natural climax of the record, “Qohelet”. The resulting ambience and repeated builds
has a lot of potential but never has that moment of resolution that makes the
piece worth sticking around for. Rather,
it feels like a neat bonus track that should be absorbed well after you’ve
caught your breath from the remarkable ending of “Qohelet”.
So is “Utopioid”
a “metal” release? I can’t say for
certain. It’s beautiful, challenging, at
times catchy, and more emotionally resonant that a great deal of music I hear
in a given year. But if you’re measuring
for sheer heaviness – aural, conceptual, even spiritual – “Utopioid” is heavy as a dying star, and just as terrifying in its
beauty.
“Utopioid” is available
digitally here
via bandcamp (CS//DD//CD) here and LP here
“Showcasing a consistent
ebb and flow of heavy riffs mixed with spacey passages, harsh to vicious vocals
throughout, and a rhythm section who can stand up to just about any I’ve heard,
“Throes” is a rock solid album and Allochiria are set to make a name for
themselves in the international post metal scene.”
“Throes” CD//DD//LP track listing:
1).
Thrust
2).
Little Defeats, Tiny Victories
3).
Cracking Fractals
4).
Lifespotting
5).
Counting Fives
6).
Denouement
The Review:
Allochiria is a post sludge metal band from
Athens, Greece. Their new album is called “Throes” and it is set to be
released on March 17th, 2017. Fans of Isis, Rosetta, Cult of Luna, and Red Sparowes should definitely grab a copy of this
recording. The opening track almost immediately ‘thrusts’ you into a
mesmerizing groove that doesn’t let up for over seven minutes. Some clever
playfulness between the bassist and drummer are prominent as they join forces
to make this one stand out right away and serve as a perfect opener. The song
swells and fades continuously, never staying with one dynamic for very long
which works well to keep the listener interested.
Second
track, “Little Defeats, Tiny Victories,” starts off with an ominous yet
groovy bass line that eventually brings us to a point where the whole band
joins in and takes us to a much darker place which the first track had only
touched on previously. The middle section of the song also has a nice passage
where the bassist is given the lead spot and he rightfully owns it. The heavy
stomp part at the end of the song leads into some pummeling double kick and
then takes the listener into some soaring, celestial guitar work. With the
third track, “Cracking Fractals,” we continue down the dark path we entered
in track two and also receive a slight twist of fate in which the drummer takes
center stage for the first time since the album’s beginning, and he nails it to
the floor like a boss. His fluttering hi-hat work is impressive and a perfect
accent to the dark jazz flavor of the song. After a couple minutes of spacey
groove, everything kicks in and rocks the listener to his knees in a stunning
disarray. The ending riff of this song is as heavy as anything you’ll ever
hear. The vocalist, who up until now has remained rock solid and ever steady,
rightfully answered the unrelenting call to change her tones in accommodation
of this heightened viciousness.
On
track four, “Lifespotting,” we begin with a smooth groove which makes good
use of some impressive ghost notes on the snare drum before the guitars begin
to weep and mourn as they draw us in to becoming a part of this congregation. A
mid-song break in the action gives way to more depressing guitars which sound
like tortured spirits of regret, yearning for their story to be told. Track
five, “Counting Fives,” begins with some swelling Moog like sounds
which act as the harbingers of something monolithic that is about to unfold, as
it undeniably does within the first minute of the song. More ghost notes and
tasteful hi-hat eventually bring the slow boil to a violent head. The bassist
is ever plodding along as the guitars soar and fade into oblivion. The mid-song
break in this one gives way to some soul searching guitar chords before the
heft returns to hit you in the face like a brick and slam you back into a full
on attack of the senses.
The
sixth and final track is titled “Denouement” and starts off with a
very rhythmic guitar passage as the drums join in shortly after. The drumming
in this one is nothing short of brilliant and the melody is unshakable. The
sheer grandeur of this song does not disappoint. The middle section has some
very nice heavy chugging going on and sounds increasingly maniacal as if
something is about to give way, but at over ten minutes in length, this levee
does not break as easily as one might foolishly anticipate. Finally, the outro
of the song strips away everything but the main driving force behind the entire
album; the rhythm section, who have painstakingly proven to keep things punchy and
interesting throughout the entire forty-six minutes of total running time. This
staggering duet between bass and drums is a fitting and impressive way to end
the album. Showcasing a consistent ebb and flow of heavy riffs mixed with
spacey passages, harsh to vicious vocals throughout, and a rhythm section who
can stand up to just about any I’ve heard, “Throes” is a rock solid album and Allochiria are set to make a name for themselves in the
international post metal scene.
Album Type: Full Length Date Released: 19/08/2016 Label: Magnetic Eye Records
Meantime
(Redux)” is a face-melting reinterpretation of what many consider Helmet’s
finest hour, it pulls off the tricky
balance of paying respectful tribute to a classic album while being an
excellent listen in its own right. Hopefully it will introduce long-term Helmet
fans to some exciting new bands and make any other people with their ears stuck
in the underground realise that Helmet were great all along.
“Meantime (Redux)” DD//LP track
listing:
01 – I Am Become Death
– “In The Meantime”
02 – Earthship – “Ironhead”
03 – Ironweed – “Give It”
04 – Sunflo’er – “Unsung”
05 – KEN mode – “Turned Out”
06 – Kings Destroy – “He Feels Bad”
07 – Meek Is Murder – “Better”
08 – Ironweed – “You Borrowed”
09 – The Glorious Rebellion – “FBLA II”
10 – Fuck The Facts – “Role Model”
The influence of Helmet seems particularly strong in the
current heavy underground. Their brand of noise rock-indebted alt metal can be
detected in a number of 2016’s finest releases, the relentless adrenaline rush
of Wrong’s
self-titled LP being a good example. It feels like the time is right for Magnetic Eye
Records to unleash “Meantime (Redux)”
into the world. A track-for-track recreation of Helmet’s 1992 major label debut
“Meantime” by ten contemporary amp
abusers, it demonstrates that the impact of the bands 90’s output is still felt
almost 25 years into the future.
I’ve got to come clean and confess I am not the world’s
biggest Helmet
fan. They were always a band I meant to check out but from the mid-90s to the
mid 2000’s I knew them only as the band with the guy who does a killer guest
solo on Therapy?’s
“Troublegum”. I finally heard them
in 2005 when I caught a tepid set at Download festival. This put me off listening
further until now. “Meantime (Redux)”
is a face-melting reinterpretation of what many consider Helmet’s finest hour which has
given me the opportunity to go back and give the band the respect they deserve.
All the bands here deliver the goods and sound like they are
having a blast getting to grips with such classic riffs. I Am Become Death kick things
off with a filthy and feral run-through of “In The Meantime”. It’s a faithful reproduction of the original with
a throat-shredding vocal performance and distortion levels well into the red. Earthship
and Sunflo’er
also stick fairly close to the script and deliver excellent versions of “Ironhead” and “Unsung” respectively. Ironweed, Kings Destroy and The Glorious Rebellion also
don’t deviate too far from the source material but bring the latent stoner rock
undertones in “Give It”, “He Feels Bad” and “FBLA II” to the surface.
The highlights of “Meantime
(Redux)” come when the original tracks are bent almost out of recognition. Meek Is Murder
transform “Better” into a searing
blastbeat-riddled beast of a track in the vein of Converge while Fuck The Facts
achieve similarly brutal results by recreating “Role Model” as two minutes of fearsome grind. Although not as
shockingly different as these two belters, KEN mode
manage to inject enough of their trademark sound into “Turned Out” to give it an angular Botch-style makeover.
Not content with a full recreation of “Meantime”, “Meantime
(Redux)” also features six bonus tracks where more bands tackle songs from
the Helmet
back catalogue. The cream of these extras come from Fashion Week and Heads.
Fashion Week
inject some burly riffage into “I Know”
from “Betty” but also bring a
welcome dose of synth-assisted melody. Heads’ classic Shellac/Jesus Lizard style
rumble is a great contrast to the metallic sound of the majority of bands on “Meantime (Redux)”. They stretch “Blacktop” from “Strap It On” into six minutes of taut, dark menace.
“Meantime (Redux)”
pulls off the tricky balance of paying respectful tribute to a classic album
while being an excellent listen in its own right. Hopefully it will introduce
long-term Helmet
fans to some exciting new bands and make any other people with their ears stuck
in the underground realise that Helmet were great all along.
Today's guests released one of the albums of the year
in 2014 with the brilliant “12 Areas”, indeed
Colchester-based instrumental sludge/post-metal band Telepathy are one of
the underground's best kept secrets.
They play unique and ambitious music, not so much songs, rather complex compositions,
music to get
lost in, the perfect juxtaposition of beautifully mellow and hideously brutal
passages which they execute with a remarkable intelligence. Telepathy are musical
conjurors, employing masterful tricks within the construct of their music,
which they deploy in unpredictable ways throughout their art and that is indeed
what they create, art in the truest sense, you never know what’s coming around
the corner but you can’t wait to find out.
With their demo EP "Fracture" and 2014 debut album "12 Areas" (Devouter Records/Tartarus Records)
receiving rave reviews, the band are on the cusp of creating their masterpiece
and their dedication to do things DIY, subscribing to their own rules, the band
are in a unique position of being embraced by fans of post-metal, hardcore,
sludge and progressive music alike, which is testament to the bands imaginative,
off-kilter and ambitious musical expressionism.
With Telepathy having
begun recording their second album and with a short European Tour set to kick off
next week, as we enter the final quarter of 2016, the band are confident that
they’re sonically better and in the throes of some much needed momentum than will
catapult their unquestionable talent to become one of the biggest and best
talents the UK has produced. Let us get
Amped & Doomed with the instrumental transcendents that are Telepathy.
SL: Can you give us an insight
into how you started playing music, leading up to the formation of Telepathy
Rich
(Guitars): I began playing music back when I was around 12/13,
I remember vividly my mother gifting me with a boxset of the first 8 Black Sabbath albums
for doing my 11+ (British school exam) and wanting to do nothing else but learn
to play the guitar and write music after that!
From there I learnt to play, and went through the
usual high school bands playing Kyuss covers and some formative original material. My first
semi-serious band was playing local shows and recorded a two track demo whilst
I was studying music technology at college, but ended soon after. That’s when
three of us in Telepathy
met and began working towards something more experimental, and representative
of our collective taste in music.
Piotr
(Guitars): Myself and everyone in the band, were always
interested in and inspired by all sorts of music. From classical, electronic
and dance to the heaviest metal. I
believe it took specific characters to meet and start creating the music that
this band plays. We all definitely have a love of instruments and sound, from
guitar to the synthesiser and of course, the belief that there is no such thing
as impossible.
Ted (Bass): I’ve been
interested in performing since I was very young. I used to write plays and
perform them for my parents; I sang in the school choir and also took acting
classes for several years. I actually started playing guitar when I was around
11 years old. My step-grandfather had a room full of vintage Fenders that I was
fascinated with. It was a jingle on a kid’s after school TV show that inspired
me to ask him to teach me. The jingle was just someone ripping a rad bluesy
solo and I thought it was so cool. I actually hadn’t played bass guitar in a
band at all until I joined Telepathy.
SL: Can you remember who or what inspired you to pick up
the guitar, bass? Are there any bands, guitarists, bassists currently on the
scene that continue to inspire you and push you to try new things?
Ted: I’m not necessarily impressed by a player’s technical prowess, what
matters to me most is how hard the player throws down. I caught Slabdragger at Red Sun Festival in
Cardiff a couple of weeks ago and Yusuf’s performance blew me away. I play
pretty hard but he’s on another level. Glenn from Grand Collapse is probably one of the best
drummers in the UK right now for me; that man can shred.
Piotr: It was
simply the love of the sound of heavy guitars and epic melodies. Since I was a little kid it has always grabbed
my attention. Guitar wasn’t my first choice, it was thanks to my parents and
older brother who introduced me to playing guitar, and the fact that people
around me listened to good music. During
that period I heard many bands and artists for the first time like Jimi Hendrix, Black Sabbath, Led Zeppelin and Pantera.
Rich:Sabbath,
Soundgarden, Kyuss and the Melvins were my
earliest inspirations to play guitar and write music. Out of the current active
bands, we’re of course inspired by the bands we get to share the stage with,
recently we’ve really enjoyed Svalbard and Conjurer, always tight and giving 100% each time. I’m also
really loving SubRosa
and JK Flesh
at the moment.
SL: Whilst we’re
on the subject of inspiration or heroes for example, do you have 5 records that stand out as favourites, what influence did
they have upon you and what is it about those records that particular resonates
amongst others?
Rich: Here’s a few favourites and one new discovery. The list is always expanding.
Mamiffer: “Mare Decendri”
I had the
good fortune to catch Mamiffer
along with JK Flesh
and Sumac in
London recently and they really stole the show for me. This album is a masterpiece: beautiful
arrangements, a deep and rich sound and a haunting atmosphere.
Beach
Boys:
“Pet Sounds”
The
density of the arrangements and how experimental the song structures are still
amazes me and continues to be an influence on how I craft songs. It’s an
eye-opening album for me, in the sense that music can be so inventive, dynamic
and compositionally experimental and still pack a huge emotional punch.
The
Cure:
“Pornography”
An
incredible album. Darkness permeates through every song, it could have only
contained “One Hundred Years” and it would still be one of my all-time
favourite records. Robert Smith is one of the most under-rated guitar players
of all time for me.
Botch: “We are the
Romans”
A classic.
“C Thomas Howell as the Soul Man” is one of the best hardcore songs
ever. Hydrahead Records
in particular has been, and continues to be, a big inspiration for me.
Fall
of Efrafa:
“Owsla”
A genius
first chapter in a conceptual discography. This record opened up a whole world
of underground crust and post-metal for me, along with the DIY subculture it
was birthed out of.
Piotr: It’s hard to choose only five, so I’ll only name rock albums.
Metallica -
“...and Justice For All“,
A big
inspiration on song structure
Pink
Floyd
- “Dark side of the moon“
Without a
doubt, amazing melodies.
Tool - “Lateralus“
Just
genius, isn’i it?!
Deftones - “White pony“
Atmospheric,
great drum beats, it is what I would call romantic metal, if that makes sense.
Micheal
Jackson
- “Bad“
Because it
needs to be mentioned as one of my first musical influences.
Ted: There are too many albums that I could list in my top 5. These are just
a few that spring to my mind immediately.
Pentagram- “First Daze
Here”
Led
Zeppelin-
“IV”
Black
Sabbath-
“Sabbath Bloody Sabbath”
Fleetwood
Mac-
“Rumours”
Converge- “Jane Doe”
SL: Can remember your first
electric guitar, bass?
Piotr: Yes, and it’s still on my bedroom wall, an Epiphone Les Paul.
Ted: Yes, It was an old Encore
Strat copy that my Dad bought for me I think. Pretty standard but it
did the job for a few years.
Rich: Yes. It was
a Stagg, in that old ZZ Top shape. Truly a
terrible guitar, The neck broke within a couple of months!
SL: What guitar(s) bass (s) are
you using today and how did you gravitate towards the guitar you currently use?
Rich
& Piotr: We both use Ltd Ec1000’s. We both really love Les Pauls and humbuckers, and the
Ltd’s are great, hold low tunings really well and are fairly light for Les Paul style guitars.
You can also pick them up at a reasonable price second-hand which is a massive
plus. In all honestly we are both continually expanding our sound, and for sure
there will come a time for different guitars and pickups
Ted: In Telepathy I use an Epiphone Explorer bass.
SL: What do you like about the
guitars you currently use and has there been any specific modifications to
it?
Rich
& Piotr: No modifications currently other than a basic
set-up to allow us keep our low tuned strings stable. We’re both toying with
idea of adding a single coil pickup though at the moment.
Ted: I love it because I’ve never seen anyone else use one and it’s just a
massive, gnarly lump of wood that looks rad when slung nice and low. I’m going
to have to change the pickups in it at some point because it runs so hot that
you get a lot of feedback if you play too close to your rig, so playing on a
small stage can be problematic.
SL: What amps and pedals do you
currently use? Do you use a combination of
amps, or a full half stack? Talk us through your set up both in the studio and
in the live environment?
These are all in a constant state of flux, but here
are our current set-ups..
Rich:
Guitar > Tuner - Vox Delaylab - Maxon od808 - Empress Heavy – Little Big Muff - Boss RV-5 > Orange Rockerverb 100
and Orange PPC412
cabinet
Piotr:
Guitar > Tuner – Digitech Whammy – Empress Heavy – EHX Micro Synth – EHX B9 Organ Machine – MXR Analog Delay – TC Electronic Flashback Delay
(mini) – EHX
Super Ego > Fender
MH Head and Cab.
In the studio, we’ve been tracking with Jaime Gomez
at Orgone Studios
who has a wealth of vintage gear. We’ve tracking with an 80’s Marshall JCM800 and Peavey 5150 blended for
heavy guitars and a silver
face Fender Twin Reverb for cleans. We’ve used our own boards and
guitars, except for some clean passages on which we’ve used a hybrid super
strat Gomez has knocking about. We’ve also used an old EPIPHONE acoustic Ted
has which sounds amazing. For bass we used a vintage Ampeg SVT and Fender P Bass.
SL: What one pedal could not live
without and why?
Ted: My Boss TU-2
Chromatic Tuner. Can’t go wrong with it.
Rich: Aside from a tuner, my Empress Heavy. It has two great, responsive gain channels
and has added in a lot of the low end that my Rockerverb was missing on its gain channel,
via its brilliant weight control. It’s also been great to EQ to different rooms
with.
Piotr: Tough one... I guess it must be
my Mxr Analog Delay
– it’s just too good!
SL: What are your amp/ pedal settings?
Rich:Orange
clean channel, bass about 2 o’clock, mids and treble around 12 (dependent on
what room we’re playing). Very loud. I use the Heavy Empress for both a crunch channel and
distorted channel
Piotr:As of this moment I’m using
my Fender MH
amp, my settings are around 12 o’clock for clean gain, with a lot of bass,
little treble and about half on the mid channel. When it comes to pedals, it is
the Heavy Empress
that adds all the heaviness, with similar settings to the amps just with less
bass and more gain.
SL: What tunings do you use and
why, and as a result is there a specific brand / gauge of string you prefer ?
We tune to BEDGBE for guitars. Ted tunes toBEAD, it’s like standard 5 string tuning but without
the high G. He prefers that tuning because it allows him the freedom to move
through the scales without having to worry about any dropped strings. We all use
Ernie Ball strings generally.
Piotr:Ernie Ball
Heavy top Slinky Bottom
Rich: I use Power
Slinky’s but exchange the two lowest strings with a .42 and .54
Ted: I recently switched to Ernie Ball Power Slinky, they’re 110’s and I was using
130’s before. They’re just a lot better to play than the heavier ones SL: Do you have any
advice for up and coming guitars players, bands?
Practice, do whatever the hell you want musically
and most importantly play from the heart.
SL: Do feel
there are deeply held misconceptions about being in a band?
I’m sure there are many, most of which are based on
70’s excess and the boom years of the industry.
SL: Moving on a little then, what
can you tell us about any of your current projects, tours, cds, etc and anything
else band related we should know about?
We can tell you our next record is nearing
completion. We have been recording periodically throughout the year with Jaime
Gomez Arellano (Cathedral,
Paradise Lost,
With the Dead,
Sunn O)))
& Ulver,
etc)
We’re about to hit the road in Europe and have some
great off-shows coming up around the UK, including Noizfest in Manchester in October.
SL: What springs to mind when you think about the completion of your upcoming
record and how is the mood in the camp at present?
Well, currently we’re
demo-ing overdubs and textures to add when we return to the studio on 23rd
August. We’re all incredibly proud of this new work, and the mood in camp has
never been better, especially after the addition of Ted on bass. We’re
currently buzzing to get back on the road in Europe for some headline shows and
a performance at Incubate
2016 in Tilburg.
SL: Who are some your favourite bands you have toured with and what have been
your proudest moments and/or performance of your playing career?
It’s tough to name just a few moments or shows, but
playing Desertfest
this year was pretty insane, there was a queue out to the street to catch our
set at the Black Heart
which was pretty crazy.
Incubate in 2014 was a similar situation, we ended up headlining our stage due to
a cancellation, and playing to packed room in Tilburg at such a prestigious
festival was an honour.
More recently, it’s been rad playing shows with Rosetta, Svalbard, Conjurer, Grand Collapse (two
words: water) and Latitudes.
However,
the thing we take most pride in is that everything we’ve achieved up until this
point has been 100% our own work, and we have never compromised our vision in
any way.
SL: What can
fans look forward to from you over the
next 12 months? How is your schedule
shaping up?
The release of a new record and A LOT of live shows.
Watch this space.
SL:Finally, do you have any final comments/word of wisdom you’d like to bestow upon
us?
A big thanks to The Sludgelord for the continued support!
Formed
in 2010, KYOTY (short for Keep Your Opinion To Yourself) a
post metal band from Dover,
New Hampshire are set to unleash
their latest record "Geomancy I"
on September 5. Having plied their
trade playing dozens of shows throughout the New England area with bands like Rosetta,
Howl,
Today is the
Day and Doomriders, KYOTY released their debut
full-length album the imaginatively titled ‘Undiscovered Country Of Old Death And Strange Years In The Frightful Past’ through Tokyo Jupiter Records
(Japan) in 2012 and a subsequent split 7" with Host through Hydrogen Man
Records (Philadelphia) the same year. After a 3 year hiatus, KYOTY
are back and have forged their own brand with the inception of their Deafening
Assembly Label imprint for the sole purpose of facilitating their
newest material, which will form the basis of the first chapter in a
three-record series entitled "Geomancy".
Today
at The Sludgelord it gives us great
pleasure to present the debut video for their track ‘Carcer’ taken from their ‘Geomancy
I’ EP. Physical copies of the record
and download will be available on September 5, so in the meantime show your
support to the band, check out this killer track and visit their bandcamp page
to familiarise yourself with their discography.
This is a record that fans of Pelican, Russian Circles, Disappearer will not want to
miss. Track listing and preorder links
below
