Smothering insanity. That’s probably the best way to describe Shroud of the Heretic in a really quick, to-the-point manner. They’re like a hell storm of locust and other insects swarming toward your town, blackening the sunlight, and promising nothing but misery.

In just a few years as a band, Shroud of the Heretic already have put together an EP “Boiled to Death” two impressive full-length efforts—last year’s eye-opening “Revelations in Alchemy” and their punishing new album “Unorthodox Equilibrium” that we’re here to discuss today. This new record is comprised of four mammoth songs spread out over 42 minutes, and inside the chaos is soot-black death metal that will twist your brain and your insides while experiencing it. It’s like being inserted in the middle of a horrible, oppressive nightmare where you can’t get any measure of control and all you can do is hang on and pray for a modicum of survival.

The band has only been around for the past four years, but they’ve already made a severe impact. Shroud of the Heretic is based in Portland, OR, and they are comprised of bassist/vocalist Thom (Sempiternal Dusk), guitarist JT (Symptom), and drummer Lauren, who have culled a massive amount of chaos and hellish fury into their world. This is impenetrable darkness that hangs overhead and makes you see the true misery and hopelessness of the world. The muck and grime you face is terrifying, but in the best possible way, and when this thing is over there’s no question you’re going to be hurting.

The title cut opens with dark noises wafting and the things being torn completely apart sonically. There is a massive serving of drubbing, with the vocals sounding sooty and infernal and the pace completely sickening. The entire scene is draped in filth, with mucky madness lurking beneath your feet, suffocating intensity riding high, and after a brief period of calm, there’s yet another tear in the Earth’s crust. Colossal damage is done, the vocals rumble, and a bell rings out signaling the carnage is over. “Metempsychosis” starts in serenity, but it’s not long before that’s destroyed. It begins to storm massively all over, with the melodies sounding like a dirge for the universe and the vocals gurgling blood. There is monstrous horror afoot, but also somber, doom-filled guitars, and much of the pace crawls and burns heavily. The back end of the track stomps hard with unforgiving force, while sorrowful melodies return and drag the song into the dark.

“Sprawling Black Mass Consummation” might as well be the way this band’s sound is described, but it’s also the name of this heavy, lurching beast that’s packed with savage punishment. The song goes cold and cosmic, letting cold air blow over and chill your blood, with textured lead lines and eerie sentiments spreading their wings. Just when you think things can’t get more unsettling, the song erupts, ghostly growls pair with strong guitar leads, and a mean, dark smearing absolutely crushes you. Closer “Omega Apeiron” has a really strange, unsettling start, with airy sounds leaking, the drums rattling, and the gates torn open for the band’s ferocious sound to ignite. The growls swarm around you, filling you with fear and anxiety, while the band keeps churning, with terrifying guitar work, a dizzying pace, and doomy carnage making one final push before the song dissolves into a pocket of sweltering noise.

Shroud of the Heretic will grab a stranglehold of your mind and twist you into submission, which isn’t a terrible fate to be honest. “Unorthodox Equilibrium” is a fantastic, crushing death metal record, and it will beat the hell out of you. They’ve been putting out tremendous music for the past few years, and hopefully they get the attention and respect they deserve with this album. This will make your soul feel sick and warped, and hopefully it gives you the dose of true, maddening death metal you deserve.

For more on the band, go here: https://www.facebook.com/shroudoftheheretic

To buy the album, go here: http://shop.ironbonehead.de/en/

For more on the label, go here: http://www.ironbonehead.de/

Last week’s, NASA’s New Horizon spacecraft passed Pluto and gave us a better idea of what exists on that faraway world that no one in our lifetime, barring a miracle of epic proportions, ever will visit. It was fascinating to see what was captured as the craft flew by, and in my head, I couldn’t help but wonder what a soundtrack to that experience would be. Funny, but I later realized I had that collection of music right there on my iPhone.

It’s not that Locrian make space music. Not intentionally anyway. But their dream-inducing soundscapes and charging forays into cosmic darkness really are perfect for gazing at the first visions of a planet tucked deep into our solar system, or simply staring a hole into the night sky. For years now, the band has been weaving doom, ambiance, black metal, post-rock, and all kinds of mesmerizing sounds to create a sci-fi friendly world that could help you take journeys in your mind. Over their countless releases, the Chicago-based band has been a go-to act when it comes to indulging in experimental sounds that have a human (or is that alien?) heart that gets inside of you. Unless you need your music down the middle and by the numbers, it’s impossible not to get swept away, and that definitely is the case with their new full-length “Infinite Dissolution,” the follow-up to 2013’s incredible “Return to Annihilation.”

The three heads that come together to make this exemplary, characteristic sound are André Foisy (guitars, electronics, piano), Terrence Hannum (myriad Moog synths and other electronic goodies), and Steven Hess (drums percussion, electronics). On this album, they stretch their cinematic visions further than ever before, dressing these nine tracks with oxygen-infused wonder, stabbing chaos when the need strikes, caterwauling atmosphere, and strange melodies. It’s an album that might take some time and a few visits to really set itself in your heart and mind, but you’re bound to appreciate and relish each journey, finding new layers every time you dive inside.

“Arc of Extinction” begins the album with a colorful synth haze, with drone clouds rolling, beats dropping slowly, and the temp taking its time to build in full. The track then opens fully, with screaming situated in the background, ominous riffs arriving, and guitars dizzying and burning as a dose of speed arrives to crash land at the finish line. “Dark Shales” feels cold and of the stars, with moody playing, guitars bustling, and a calm settling over. Everything goes into a chill, almost like you can see ice capsules forming, and that trickles into the first of three “KXL” tracks, this one initially feeling windy and mechanical. Charnel gusts push in, with thick synth lines leading the way, guitars blending in with them, and distortion charging up and bursting. Wild pockets of noise shriek in the distance, with the beats churning, and the song spilling right into “The Future of Death.” This one is another that could have you questioning your state on consciousness, as a lather of keys spark thoughts of mid-1980s Rush, a more rock-oriented tempo arrives, and howled vocals give the track and extra shove.

“An Index of Air” is driven by deliberate drumming, with zaps stinging and the swirls gathering overhead. The first half of the track has a long, carefully constructed build, as screams erupt, the assault begins to pound without remorse, and the guitars light brighter, more unpredictable fire. A mist settles in, with the emotions at a high point, muted singing sits on the horizon (sounding a bit like Mike Patton underground), and a gust of noise floods over the scene and eventually fades away. “KXL II” arrives, with chirps and static charges comprising its DNA, and then it’s into “The Great Dying,” a track that moves disarmingly serenely when it arrives. Voices call out, as if ghosts stuck in time, and guitars gaze behind the scene, creating the texture. As the song goes, it gains more and more life, with cool melodies bustling and chant-like vocals echoing out at the song’s close. “Heavy Water” has glimmering synth, noises pumping, and shrieks tearing out of the middle of the picture. A heavy psychedelic storm pushes through, causing the skies to jolt with light and the ground to become saturated. When it’s over, the song will be so thick, you’ll have to work your way through blind. Closer “KXL III” feels like an alien transmission, a hopeful signal sent out across the universe hoping someone will hear and respond. Its static and electronic impulses are the final things you hear on the record, making you wonder if someone from another world hears this music, if they’d know what to make of the experience.

Locrian’s music keeps morphing into deeper, stranger corners, and “Infinite Dissolution” is one of their highest peaks. This collection is like none other in their catalog (granted you can say pretty much that same thing about most of their work), and as noted, it’s perfect for looking deep into the night skies and wondering what’s boiling on worlds we’ll never know exist. Locrian’s music always promises something that takes you into the beyond, and they’ve yet to disappoint us.

For more on the band, go here: https://www.facebook.com/LocrianOfficial

To buy the album, go here: http://www.relapse.com/store.html

For more on the label, go here: www.relapse.com/

Being able to slip into a band’s headspace simply by absorbing their name is something that is a pretty cool thing. You hear the name and immediately get an idea of what’s in front of you, which makes the ride a little more fun because you’re already equipped with some surface knowledge.

There’s no way to hear the name Lifetime Shitlist and not have an instant idea of what’s ahead. The Baltimore-based band has been making a name for themselves the past three years playing shows and flattening audiences (they’re regular visitors to my hometown of Pittsburgh), and their interesting blend of hardcore and doom makes you instantly feel like you’re on the receiving end of a venomous rant. You get steamrolled by their sound, the hair on your arms gets burned off by their intensity, and the vocals make it feel like you’re being ridiculed in front of people, with your face growing beat red in embarrassment. Or instead, maybe you identify with the anger and frustration you’re hearing and realize it’s the same thing going on inside of you.

This is a really interesting band as their sound is as beholden to Black Flag and Poison Idea (who they cover on this album) as it is to Saint Vitus, Motorhead, and High on Fire on their new full-length album “Pneumaticon.” The quartet—vocalist Dave Pennington, guitarist “Metal” Matt Crocco, bassist Ryan Larkin, and drummer/vocalist Ryan Glaiser— are awash in filth and create a sound that is dirty and hefty but also punk-fueled and organically violent. The 10 tracks on this record will give newcomers to Lifetime Shitlist’s sound a nice dose of their blistering power, and it will cement what those of us have known about them for years in that they’re one of the more intriguing, smothering bands on the East Coast.

“Flag Draped Coffins” rips open with a furious blast, gruff vocals spilling out, and a trudging, menacing pace. Pennington’s barks are gruff and mean, later evolving into spirited shouts, and the track thrashes to a finish. “Burned at the Stake” is a sludgy, doomy assault, with the group heading right into the mud, with more howled vocals and everyone tossing fuel on the fire. The back end has a killer solo that sounds classic metal-influenced. “Blood Money” is a quick one, galloping all over, feeling a lot like it was inspired by Matt Pike’s work, as guitars burn and fade. “Horse Drawn” has drums driving hard, riffs bringing thunder, and harsh vocals that sound like accusations. Melodies hide and slip underneath all the chaos, while massive guitars bring the track to an end. “Psychic Vampires” is complete demolition, with a punk-style tirade unleashed and an otherwise mangling good time being had by all.

“Unhinged” is based on a meaty riff, with gurgly howls, music catching fire and burning fast, and more darkened doom moments that add the perfect morbid edge. “Give It Up” is their take on the Poison Idea original, with them delivering this gem with complete, utter violence. “Lip Service Rituals” piles on the mucky guitars, as the music scathes and the playing brings even more treachery to the proceedings. It’s a cool instrumental that gives Pennington a breath and proves the band has some neat tricks up their sleeves. “Negative Polarity” is bashed heavily from the start, with the drums rumbling, the band hitting a thrashy pace, and the vocals being emitted by savage yelp. Sludge meets hardcore later on, with sticky riffs arriving and the band having face-smashing fun. “Another Charade” ends the record with sickening blasts, deep growls that collect dirt, intense chugging, and a fast pace that kicks up dust, leaves you choking, and takes off without a trace.

Lifetime Shitlist’s new album is a clubbing, fierce record, making “Pneumaticon” one you need to check out if you’re into both hardcore and doom, or even just one of those. Their sound is caked with soot, they hit you with one body blow after another, and their reign of horror is only just beginning. If you catch these guys live, watch your ass.

For more on the band, go here: https://www.facebook.com/pages/Lifetime-Shitlist/153625221342098

To buy the album, go here: https://grimoirerecords.bandcamp.com/album/pneumaticon

For more on the label, go here: https://www.facebook.com/GrimoireRecords

It’s been a while since we traveled to the Outer Edges on this site, the place where we take a look at releases that, while not exactly metal, sure have their place in the DNA of the stuff. Look, very few people worth their salt listen to only metal all day long. I sure don’t. Obviously I love metal since I devote an entire website to it, but there are plenty of other things out there, some of which darkens some of the edges of the music form we all love.

A couple of years ago, darkwave pioneers Lycia made a triumphant, unexpected return after a decade of silence when they released their ninth album “Quiet Moments” on Handmade Birds. Hell, since we’re on the subject of metal fans being able to immerse themselves in other things, that label is the embodiment of the way of thinking. So it wasn’t a shock to find Lycia recording there, and it sure made a ton of sense when a package from the label that arrived recently in my mailbox contained the heavily anticipated 10^th Lycia album “A Line That Connects.” Naturally, this was a release that had to go on immediately, as I wanted to sink into these 14 tracks (well, 15 if you count the brief outro), and what I found was a dark world with water trickling down black walls and the same morbid charm we’ve come to expect from this band. It’s pretty damn drab, but it’s a great listen that will arrest you and hold you hostage. Not against your will, oddly enough.

Mike VanPortfleet remains at the helm of the band he founded in 1988 as a solo project. Along with him on the album is longtime musical companion Tara Vanflower (who contributes her ghostly vocals) as well as returning member David Galas (he handles a slew of duties on this record). They bring with them some guests including Sera Timms (Ides of Gemini, Black Math Horseman, Black Mare) and Michael Irwin to flesh out the songs, and as a whole, it’s a weighty, involved recording that requires your participation. You need to engage and bleed along with these songs to really appreciate what’s going on here, and their mix of post-punk bleakness and doom darkness is an engaging, fascinating listen.

“The Fall Back” opens the record with a doomy glaze and a ton of murk, with the vocals softly delivered, even hushed at times, with the line, “Today’s the day,” driven home repeatedly. “Monday Is Here” is a line that could bring anyone into the doldrums, and the song is built on liquid guitar dripping, gloomy fog casting its spell, and lovely vocal harmonies adding a dash of color to lines such as, “Lights fade away.” This is a really great track awash in total sorrow and hopelessness. “Silver Leaf” follows, and it moves very slowly, with smooth, yet quivering vocals carrying the line. The song also has a spacey psychedelic feel (sorry to drop the Floyd reference, but I can hear it a little) with lyrics that spin inside your head and make you think about life cycles. “A Trade Out” takes its time setting the stage, with a thick haze in the background and a hypnotic loop of the line, “Slow motion,” causing hypnosis. “Blue” finds Vanflower taking lead vocals, as she weaves what sounds like a dim lullaby that she absolutely commands, later calling, “I’m turning blue.” Beautiful, arresting cut. “An Awakening” is a short, chilly instrumental that’ll feel most at home in damp mid-autumn, and “The Rain” follows, actually kicking up the tempo a bit. Parts of this feel a little poppy, which is a nice change of pace, with VanPortfleet’s dry drawl admitting, “Waited all my life for you.”

“Bright Like Stars” then emerges, with Vanflower taking over again and delivering a dizzying performance that may leave you gasping. The song is honest and raw emotionally and then makes way for “The Light Room.” This one’s a little brighter, with bells chiming and both VanPortfleet and Vanflower singing together, blending ideally even when they’re owning up to, “I don’t understand what you say,” as guitars cut and the song buzzes out. “Illuminate” churns during its run with ominous tones, pounding doom, and beats cracking as the track unfurls its horrific wings. The song drones wonderfully, just enough to balance emotion and anxiety. “A Ghost Ascends” is cosmic, with the vocals feeling a little Bowie-ish in their showmanship. This cut really opens up and charges forward, which helps it stand out, and it rattles right over to “Hiraeth,” a slow, dreamy song that Vanflower owns. The track feels like it enters into your dreams, with her wondering aloud, “Where did you all go? Don’t let time touch me,” almost as if she’s a lost soul read to take a journey into the unknown. “Autumn Moon” fades in, an oddly breezy song that seems designed for you to let down your guard. The singing is deep and rich, while the emotional layers added on top agitate your mind. Finally, “The Only Way Is Out” lands, with quivering feelings, thick and dark playing, and melodic singing that feels like it’s trying to let you in on some intergalactic secret that you must fully uncover yourself. It’s a bit of a cliffhanger of an ending that only spits out a few more seconds of silence in a hidden track that only has a child speaking softly in the background.

Lycia have inspired many, gone through enough changes over time to make up for several bands, and still remain today making vital music that should identify with every dark spirit in your heart. “A Line That Connects” is another great, spiritually-punishing entry into their vast catalog, and it’s something that more daring, emotions-bleeding-on-our-sleeves listeners likely will devour as a whole. Great to hear this band still pumping dark, oil-thick plasma through their powerful veins.

For more on the band, go here: https://www.facebook.com/OFFICIAL.LYCIA

To buy the album, go here: http://www.handmadebirds.com/store/

For more on the label, go here: http://handmadebirds.com/

Writing about music all the time and indulging in each aspect of that subject matter regularly sometimes takes you outside of what real people know about this stuff. That’s a weird sentence, but what I mean is there are things that are commonplace for me, such as owning an operating record player and still buying and listening to cassettes, that are gigantic surprises for some people when they walk into my music room.

That’s a long-winded way of saying that we’re going to be talking about cassettes today, but I think the point stands. There are many people who don’t know the medium still exists and that tapes are bought regularly by some people. I just moved recently, and I was putting my collection of tapes in alphabetical order in my cases, and I was surprised by how many recent releases dot the lineup. So I’m one of those people, and labels such as Sol y Nieve keeps that collection growing with their myriad releases. We have two of those today to discuss, and while you can have either digitally, holding this cassettes in my hand, hearing them rattle inside their cases, took me back to summer raiding the tape bins at Hills and Kmart trying to get my hands on any metal releases I could find. All hails to Sol v Nieve for keeping the format alive and continually finding great artists with which to work.

First up is Essene, a really interesting, peculiar band hailing from Kansas City. I can tell you almost nothing about the band as they really don’t have a social media presence, Metal Archives has nothing on them, and they only have a shadowy Bandcamp page to give you any hint. No matter, because what counts is the music, and their weird, bending take on black metal on quite interesting and really doesn’t sound much like anything else out there (your closest comparison is Bosse-de-Nage). The band’s music can be jangly and post-punk in spots, a little bit indie rock in others, and full-scale, gruff black metal elsewhere. Their demo, originally released in autumn 2013, now is out on pro-dubbed, pro-printed cassette in a limited amount of 100 that are hand numbered. It’s a really nice package, with a sturdy in-lay card and a great-sounding tape. I’m always one to eschew digital for physical, so if this sounds like your thing, put down some cash and get something you can hold in your hands.

The tracks are untitled, though they get Roman numerals on the band’s originally digital release, so we’ll go with that. “I” twists and churns, with guitars ringing out and racing, the drums being pelted, and even a surfy vibe to the whole thing before it tears into blackness and fierce vocal rants. It’s moody and strange and spills into “II” that has a similar guitar style and is fairly unhinged. The growls are harsh, as the pace erupts and goes into overdrive, with liquid melodies, passionate wails, and an atmospheric twist that eventually chimes out. “III” trickles from the start and sounds cosmic, with a weepy haze taking hold and a move deeper into tranquility. Then, the closer “IV” tears open like a summer storm, punishing with gazey guitars, strange and echo-rich guitar work, and a cascade of sound that builds and builds, finally dissipating into a strange fog. Essene is a band that has its own vision when it comes to black metal, and further developments from this project are highly anticipated.

For more on the band, go here: https://essene.bandcamp.com/

The second album is by Vancouver black metal squad Kafirun, a band with which we visited earlier this year on their monstrous “Glorification of Holy Death” EP. That independently issued mauler sure opened our eyes and took us back to their 2014 demo “Death Worship” that preceded it. Now, Sol y Nieve is giving cassette treatment to that demo (same type of details as the Essene), giving beastly, meaty new life to these three songs that will smother you with filth. The band takes on pseudonyms with Luzifaust on vocals, Hanephi on guitars, Hypnocrotizer on bass, and Corpus Vile on drums, and this demo recording provided a first glimpse into the band’s warped, volcanic world of black metal that’s anything but by the numbers and could leave you totally brutalized when all is said and done.

Things start off with “Beyond the Flesh Vessel,” a weird, damaged track that spirals and leaves you dizzy after just a few minutes. The vocals go from titanic howls to throat-buzzing agony within seconds, splashing you with the reality that things are different in their world and they’re not going to do anything to make it more comfortable for you. “Death of All Man” should not be too hard to comprehend just from its title, and as promised, this thing hammers you with violence. The track rips right open, with the riffs causing havoc, harsh shrieks emanating and chilling, and an ominous vibe swimming through the center of this cut. The guitars sear and then cause your skin to go cold, while the infernal vocals provide a breath of fire from below, later turning into hypnotic chants that the music wraps around and sends into the stars. Closer “Thousand Spears” punishes from the start, lacing you with punches and letting the vicious growls spill over you like locust. Things hit a vortex, with the guitars chewing at you and the vocals dissolving into weird cries of agony. The back end is raw and furious, eventually giving way to a clean finish that finally gives you a drink of cool air. Kafirun’s might already is well known on this site, but it’s nice to finally dig into their origins and find the band’s first blast of terror.

For more on the band, go here: https://www.facebook.com/KafirunBand

To buy the albums (physical), go here: http://solynieve.bigcartel.com/

Or here: https://solynieve.bandcamp.com/

For more on the label, go here: http://www.solynieverecords.com/

Slipping into the murk of dreams is one of the reasons I look forward to going to sleep each night. Your brain telling you stories based on your thoughts and experiences is a strange way to spend several hours every day, but it’s something I anticipate greatly because there’s no way to predict what will happen. And it’s going on in my very head.

I relish in taking on music from UK doom/death leviathans Indesinence for the similar reasons as why I count down to my slumber. Their long, elegant, dramatic passages make me think of a perfect soundtrack to what could be roiling in my brain when I am dreaming, especially if the visions are dark and foreboding. Over the course of three records and a decade and a half together, Indesinence have grabbed me by the hand—not unlike the way the hooded figure on their 2012 gem “Vessels of Light and Decay” that invites that vulnerable child into a mystery lair—and pulled me into their world. Their new record, the gargantuan “III,” is their finest collection to date and a legitimate contender for best doom/death album of the year. They unravel greater, more expansive adventures, they mix mystery and texture into their grandiose compositions, and they capture the imagination in a way few others can. The fact this band isn’t yet deemed doom and death royalty is an indefensible crime, though hopefully “III” changes that.

This massive, world-toppling band is comprised of three players, with Ilia Rodriguez (Binah) on guitars and vocals; Andy McIvor (also of Binah, as well as Code and Blutvial) on bass; and Paul Westwood (Fen, Landskap) on drums. The band’s ambitions always have been huge, but on “III,” the trio climbs to its highest peak yet. Over the course of seven tracks and 70 minutes, Indesinence create worlds of shadowy wonder, death-like mystery, and astonishing adventure. While the songs are unquestionably heavy and seeped in death and doom, there also is plenty of melody and colorful twists and turns that add even more substance to their already rich sounds. If you commit, you might find yourself lost in the middle of this journey, unable to see the beginning or end, and riding on the waves to wherever fate takes you.

“Seashore Eternal” begins the record (there certainly is a nautical feel on much of this album), a slow-driving intro piece that picks up steam as it goes, hammering away and establishing a thick atmosphere. Then it’s into “Nostalgia,” a cut that starts with Rodriguez wailing, “It breeds deep inside, every season, every night,” as guitars begin to soar and the entire piece swells with power. The melodies are thick, jarring, and strong, with lush arrangements arriving to provide some air, and then it’s into a dreamy death sequence that continues to pound at the corrosion done by memories and feelings. The tides get a little proggy, sections crush and pummel like the planet’s four corners collapsing, and sorrowful playing takes the song to its sunset. “Embryo Limbo” then settles in, with clean guitars washing over, hitting on gushing energy, and thriving on slowly meted out drubbing that gets quite the musical sheen over top. As you delve deeper into the song, the track really opens up and gets heavier, twisting, and morphing around you, tearing through sinewy muscle, and finally fading into a mystical finish that feels like cold mist on your face.

“Desert Trail” comes up next and parches your throat with unforgiving heat and a journey into the void. Pianos drip over the surface and open into sorrowful melodies and lurching doom. While sheets of mystery rain down, the band chugs and grinds through the sands, dragging you into heavy, chunky terrain before it hammers shut and is swept off in the winds. “Mountains of Mind” is the first serving of a 15:15-long epic that is absolutely enthralling. It starts slow-clubbing and mucky, with melodies slithering and the guys taking time to unfurl their majesty. The song gets heavier and heavier as it builds, smothering and weavings its tales, and eventually it grows moody and psychedelic, with the vocals spilling out in whispers. The back end of the first half is thrashy and menacing and then … it spills into one of the most unexpected covers in some time, their excellent, post-punk-infused take on “Five Years Ahead (Of My Time),” a lost classic by The Third Bardo (released in 1967, which stands as their only single). The transition is seamless, fun even, and makes for the most surprising moment on this record. Then we approach deep water on “Strange Meridian,” a 17:30 trip over furious waves, murk, and an unknown destination. The vocals are more of a forceful yell, a doom-like presentation, and at times it feels unhinged and losing control. Organs sprawl in, warm guitars arise, and harsh vocals have their way, driving toward drenching melodies and a deeply involved, moving section of playing. The final moments enter a haze that is fluid and trance-inducing. The closing title cut is a partially ambient instrumental track, with each dreamy, strange sequence interrupted by a chime, almost as if it’s signaling you into new planes of consciousness. The track acts like a perfect sequence to bring you out of deep slumber, with laughter from a crowd, applause, and a slamming door jarring you awake, stuck to your sheets in sweat.

Undoubtedly you will go on a journey with Indesinence on “III,” their mightiest album to date. It also should be pointed out that while the band conjures vivid dream-state imagery, it’s rarely serene and without danger. Be it on land or on sea, conscious or deep in exploration in the back of the mind, the band is always churning, building new layers, and proving to be one of metal’s most peculiar storytellers. This is one of doom and death’s best, most daring artists, and it’s about time they get the respect and adulation they deserve. Otherwise, maybe they’ll snatch you into the night and immerse you in a world from which you’ll never return.

For more on the band, go here: https://www.facebook.com/Indesinence

To buy the album, go here: https://www.profoundlorerecords.com/products-page/

For more on the label, go here: https://www.profoundlorerecords.com/

I have these dreams now and again that my face is being obscured by a fog or something like a blanket, forcing me to gasp for air and become terrified I am being smothered. I am claustrophobic, which I think explains it, but every time that dream strikes, it makes me erupt into a cold sweat and sit up in bed.

This reminds me just a bit of the music played by Vorage. While dabbling in death metal but bending it to their insane will, this band’s debut self-titled EP (released on cassette last year in limited numbers) is a warped, deranged bit of punishment. At three tracks and just over 20 minutes, this band should remind of groups such as Portal, Impetuous Ritual, Mitochondrion, and Aevangelist, who also blur the line between creativity and madness. The two who comprise this music—vocalist Al-Xul, and multi-instrumentalist A.H.S (also of Adversary)—do so almost ritualistically, with the music sprawling and stunning with evil precision and the vocals sounding like they scrape from the throat, through the skin, and into your ears. This is charnel misery that pounds you with horror and torment, and even at a shorter run time, you’ll still feel like you’ve been in a psychological battle at the end.

“Paradisiac” opens the record with imposing noise and smeary guitars, almost scowling at you from the floor and threatening to take you down with the chaos. This is where the comparisons to Portal feel most relevant, as the band compounds smothering terror and mind-boggling musical dexterity that will make their technical work sometimes go unnoticed amid all the smoke. The pace is dizzying and humid, with the growls slithering in the dark, the melodies lashing at you with monstrous repetition, and infernal vocals digging even deeper toward the end, eventually fading into a hiss.

“Deatheodidact” has strange, drama-rich riffs raining down upon you, with guitars spiraling out of control and a layer of soot gathering beneath. The melodies keep lapping, with the vocals burning in Al-Xul’s throat and the rest of the band clubbing you heavily. Every element continues to surge and stab as it moves along, sitting in heavy mud beds, leading into wind-milling noise, and slipping into frosty sound. The closing title track (band track?) launches into flames and tarry riffs, with intense and agitated noise and guttural growls that sound painful. Some of the music gets rubbery and disorienting, drilling a mystical hole in your chest and eventually disappearing into a noise haze that scrapes and chills over the track’s final few minutes. The stretch is eerie, cosmic, and an ideal way to finish this album.

Terror is abound, nightmares become reality, and yeah, you might feel like a million tons are sitting on your chest cavity when you take on this release. The filth and hell are impenetrable in Vorage’s sound, and as you find yourself dragged through the darkness on these three songs, in the back of your mind you’ll be begging to wake up. You will, but you’ll be psychologically altered once the experience is over.

For more on the band, go here: https://www.facebook.com/vorageband

To buy the album, go here: http://hellthrasher.com/shop/

For more on the label, go here: http://www.hellthrasher.com/

Anytime I get an e-mail from Hellthrasher Productions, it generally means there are some nasty records waiting for me to dig into the violence. A few weeks back a new promo package arrived, and like many of the ones that came before them, they are jam-packed with death metal filth that have provided hours of terrifying enjoyment.

The most recent communications from Hellthrasher contains two fine death metal offerings, each one standing far apart from each other even if they rightfully belong in the same sub-genre quadrant. One of the bands offers up a more traditional style of death metal albeit with their own weird twists and turns to the sound, while the other travels darker paths and takes you on a trip into madness that you won’t soon forget. These are two strong albums that demonstrate just how powerful underground death metal is at the moment, and over the next two days, we’ll take a closer look at each of these albums.

First up is Ectovoid, a trio hailing from Birmingham, AL., that has been doing their thing for the past five years. Their style is twisted and vicious, sometimes mind-altering, and often basking in doom. Their approach isn’t exactly direct, but it should appeal to those who prefer their death sounding like it just crawled out of a swamp, blood and mud running all over it, slithering over the Earth’s crust. This band put out their first full-length “Fractured in the Timeless Abyss” in 2012, and now they return with their massive, devastating new record “Dark Abstraction.” The band—bassist/vocalist C.B., guitarist M.S., and drummer C.M.—all play together in thrash band Conduktor, but what they do here is meaner, deadlier, and a furious charge of feral power.

“Obscure Altars” grinds into the body of the album, with the music penetrating and pounding and the vocals sounding vicious. The guitars set a dizzying haze, with ominous playing adding muscle to this sinewy death. “Visions of Reflective Decay” burns right along with the line, “Twisted thoughts course through me,” giving you a deep look into the terrible void. The track has a strong, slow-smothering, old-school death feel that goes down right. “Mental Netherworlds” drives hard and violently, crushing as the tone gets guttural and hellish. The band churns away, applying the pressure and watching your eyes pop out. “Precipice of Absolute Chaos” feels doomy and lurching, getting stormy and shadowy before it launches into madness. The drums are just crushed, with a gruesome display unloaded before you, guitars stymying your brain, and your sanity pushed to its limits. Soloing is unleashed as the song blazes to its ending.

“Rituals of Hallucination” is aptly named as it induces nightmare visions and brutality. The tempos tease you, going back and forth but always pummeling, while the band chugs hard, grinding up bone and flesh in its gears. “The Expanse Between Slumber and Death” charges out of the gates, feeling like it’s much closer to the death spectrum than sleep. The vocals evoke mind-altering imagery, while the music sends shockwaves to both your body and your mind. “A Prisoner of Paradox” tears apart right away, with brutal heaviness smashing your guts, the vocals sounding massive and threatening, and the guitar work taking on a Sabbathy twist before an abrupt conclusion. Closer “Spawned From Unending Mystery” lets guitars rumble at will, the vocals add another layer of terror, and the pace achieves a level of fluidity and melody that adds texture to an otherwise bleak, hopeless conclusion.

Hellthrasher keeps the good shit coming, and anytime their music arrives in my inbox, I’m tearing right into it. Ectovoid’s “Dark Abstraction” is a great reason for that, because it’s another unearthed death metal gem that should be revered. The band is the right amounts of vicious and visceral, and they are threatening to break through the Earth’s crust and into more people’s worlds.

For more on the band, go here: https://www.facebook.com/ectovoid

To buy the album, go here: http://hellthrasher.com/shop/

For more on the label, go here: http://www.hellthrasher.com/

This month has been a strange one for metal, or maybe just for my ears. Perhaps the new global release date switching to Friday has something to do with this, and some of the good stuff is being saved, but man it’s been a meager month. A few really good releases and a bunch of blah.

Therefore we have to dig a little deeper to find some interesting music (a venture I totally don’t mind doing), and we have one today with “Bliss,” the first release from Danish death metal troupe Reverie. Now, don’t go jumping into the death pool with both feet, because there is a lot more to their music than a simple sub-genre tag. Like Tiamat before them, and alongside contemporaries such as Tribulation and Morbus Chron, this band is throwing all kinds of new paint swatches into that sound. It isn’t just an exercise in brutality; rather you get well-thought-out, interesting compositions that dare to go elsewhere and ultimately do. On this record are nine tracks and 35 minutes that are exciting, dangerous, and always willing to go into corners that many other bands are not inhabiting. Good for Reverie because they’re already more intriguing than the vast bit of death metal’s current offerings.

As for the artists who make up this band, we have Halfdan Holden Venlov on vocals; Andreas Bunin Trap-Jensen on guitars; Andreas Nielsen on bass; and Adam Kjær Nielsen on drums. Not that this is necessarily a relevant fact when it comes to their music, but it is worth pointing out none of the members have reached their 20^th year. So you have youthful fire, incredible exuberance, and music that keeps adding gallons of fuel to their fires. I really hope this is just a beginning point, not just for albums but for their development, because we could be looking at one of the more exciting death metal bands over the coming decade. Time will tell if that promise pays off.

The record opens with “Dust and Dirt,” which pretty much tears through the doors with molten aggression, wild shrieks that sound like they emanate from a man lost in the wilderness, and strong thrashing to show the muscle of their sound. The song calms and enters into a smear, but then it’s full on attack mode the rest of the way. “Fall Apart” opens with slinky bass and a shadow of mystery, and then it’s onto a hammering pace and raw vocals that tear apart your senses. The elements keep piling on top of each other, making this more and more massive, with a fiery solo taking this home. The title track then slips in, a disarming collection of quiet acoustic guitars and flutes that feel like they’re heading into the mouth of madness. Yet that doesn’t occur until is spills into “Blood in the Sea” and Venlov’s howl of, “I will never die!” The guitars churn and char, as the band takes you on a fluid adventure that ramps the tempo up and drags it back, displays animalistic vocals that take on the vibe of a diatribe, and later lets acoustic slip behind the din almost like they snuck into the room. Great track. “Gennem Dine Ar” charges forward, with the howls sounding very much like a young Tom G. Warrior, the pace sweltering, and drums causing a ruckus. There is devastation in the air, with colorful sprawling giving this song a deep pool of texture from which to draw.

“First Reverie” opens the second serving with nice riffs leading the way and a feeling that’s more classic thrash than it is death. The vocals are menacing, with mad howls bursting out, and the band marches forward with a purpose and intent to maim. “Circles” makes no bones about wanting to do damage early and often, with the tempo launching and Venlov observantly wailing, “Circles never end!” Much of the song feels chilly and damaging, with the band unloading late in the track and the song coming to a fiery, yet wooshy finish. “From Sea to Shore” gets off to another strong start, with the band continuing their effort to keep you in the dark as to where the road is taking you and them paying off the intrigue with spirited playing, flattening assaults, and vocals that sound like they’re trying to undo some of the screws in your brain. Closer “Blind at Heart” is thrash-fed from the start, with Venlov’s patented shouts tearing open your eyelids. There is so much going on beneath the surface, from the steely bass work, to the scraping guitars that take on a peculiar haze, to the serene flutes that arrive to soothe you before one final trip into the volcano for a last dose of scorching lava.

Reverie breathe new life into death metal on “Bliss,” and they should be on anyone’s radar who wants to hear something new, exciting, and daring. This band has the goods to be something special, and a few more years under the belt, who knows what Reverie is going to sound like? As long as they keep things feral and ferocious, there are no limits for them.

For more on the band, go here: https://www.facebook.com/eirever

To buy the album, go here: http://www.invictusproductions.net/shop/

For more on the label, go here: http://invictusproductions.net/

When Immortal Bird swooped out of the sky in December 2013, it was a really strange revelation. Here was this really different, compelling EP “Akrasia” coming out of nowhere, almost defiant of the fact we writers want our music earlier than that so we can make our self-congratulatory end-of-year lists. How dare they burn down convention?!

No matter, “Akrasia” took hold, and as Immortal Bird played surgically targeted tours around the country, they brought people to their knees with their odd mix of death, black metal, grind and overall weirdness that really sounded like nothing else out there. There was something really special in the dark, swampy stew they were brewing, and hearing the songs played live brought an extra level of intensity to the mix. Now, with the dawning of their debut full-length “Empress/Abscess,” their story unfurls ever further. What you hear on this five-track, 31-minute album is a band—vocalist Rae Amitay, guitarist Evan Berry, bassist John Picillo, drummer Garry Naples— growing into a more dangerous machine. There are precise strikes, yes, but what’s really interesting are two things: The unique, fresh compositions that always take unexpected turns and demand your attention, and Amitay’s tortured nightmare poetics and organs-bleeding growls and screams that rupture you. Every song stands on its own and is its very own foray into emotional tumult.

Opener “Neoplastic” is a perfect track to tear the doors off this bastard, with the band mixing violence and melody, and Amitay sounding like a vicious beast, as gnarly and dangerous as she ever has before. Weekend Nachos’ John Hoffman lends his wild bark to the muck, with the band swirling like a storm. “Saprophyte” has two faces, with the first simmering and smothering with punishment, with the pace getting more raucous, teasing a bursting open. The back end blows into polar ice cap black metal, with riffs sending whipping winds that blister your lips and the vocals driving the nails. “Sycophant” has a little bit of filthy black n roll bend to it, a nice change-up for the middle of the album and a track that should blacken eyes in a live setting. “To a Watery Grave” continues to show new shades of the band, as the misery and chaos conjured goes into a quiet, serene section where Amitay plays glock (-enspiel, not, like, the weapon thing) and calm breeze sifts through your hair. But then it’s back into bustling panic, albeit with shades of atmospheric rock and prog wonder that’s super exciting to hear.

Closer “And Send Fire” is my favorite of the bunch, a 10:29 epic that just might hint at the band’s musical future. I’m not trying to stand on a hill yelling, “They’re Opeth now!” because it’s a totally different kind of journey, but they do an expert job stretching their canvas. The first part is clean, moody, and sorrowful, almost as if the music begs for singing. Yet Amitay chooses the rougher path, which turns out to be the right call, letting loose her frustration that bleeds rivers, while the band colors in all kinds of nighttime textures. Before the rousing finale, the band pulls back again, reaching into a space that, dare I say, reminds me of Rush’s calmer moments, before everything is set ablaze again, with Amitay wailing, “Burn it all down!” The band crushes and thrashes to accentuate each of her words, like they’re setting off final charges that should send jolts down your spine. The final minutes are noise-drenched crackles, hissing and sparking as you can imagine that, indeed, fire has been sent.

We sat down with Amitay over Skype and talked many things Immortal Bird, from how the record came together, to her stepping away from the drum kit for this album, to the darkness behind these songs, to how the band has grown in her time together. Thanks a ton to Rae for her time and hails to her cat Wynnie for screaming through half the goddamn interview.

MEAT MEAD METAL: When did you start writing the new record “Empress/Abscess,” and how long did it take for everything to come together?

RAE AMITAY: We started writing it pretty much after we finished “Akrasia,” and we wrote “Neoplastic” and “To A Watery Grave” pretty right much off the bat, and the rest took a while. We were writing and finishing stuff up right up until we went into the studio, which was about 4 or 5 months ago … the end of February. It didn’t take too long, about a year-ish to write.

MMM: Have you played any of the songs live yet?

RA: Most of them we have. On the last tour, we played three out of the five. We’re going to add another one for the upcoming tour. We’re still figuring out how to play “And Send Fire” live, but I have a feeling we won’t be able to play all of them live.

MMM: Talk about how the songs came together musically. You and Evan primarily wrote the music, right?

RA: Business as usual. I figured out some riffs, he figured out some riffs. We arranged everything. He did more of the arranging than I do because he is actually a guitarist. Garry played drums this time just because he’d been playing so much of the material live for the last year already, it just made more sense. His chops are at a higher level than mine right now, especially in a recording situation. I probably could’ve pulled it off, but it would’ve been more time and financially more consuming than necessary.

MMM: Being that you do write much of the music, did you play any of the guitar on the record?

RA: No, but I did all the vocals this time except for that one guest spot that John from Weekend Nachos did. Whereas on “Akrasia,” Evan did some of the backing vocals, but I did everything this time.

MMM: Well, let’s get into Garry, then … was it tough for you to give up that spot? I mean, being that you’ve played the drums all your life, what did that take for you?

RA: It was really hard. But, you know, he did a phenomenal job. In the future, I think I want to get back behind the kit for a recording, but, I mean, he did a great job. I have zero regrets having him do it. It was a little tough to step away from the kit, but you have to do what’s best for the music. It’s not about being able to put your name on something, as much as it’s about being able to put out a good album.

MMM: Were you around when he was recording? I can imagine you there wringing your hands. “No, Garry!”

RA: Garry wants to do a good job. If I have any feedback, I’d just give it to him. He’s not overly sensitive. I could be like, “That part needs to not sound like that; it needs to sound like this.” And he’d be like, “Oh, OK!” That happens more in a practice; I can’t remember anything in the studio being shitty. (laughs) He did a good job.

MMM: Do you consider him to be the drummer of the band?

RA: He’s definitely the live drummer. I think that he and I are the drummers of the band. I played on the first record, he played on this. I come up with most of the drum parts. I’d say we’re both the drummers of the band, but as far as the new album is concerned, he’s the drummer.

MMM: We’ve talked off the record a little bit about the lyrics, and you mentioned these songs you consider dark and sad. Lyrically, what are some of the things you explore on this one?

RA: This one got a little bit darker. The first album, the tracks were about someone in particular that I had very strong, angry, or resentful feelings toward. This album isn’t like that. It’s a little bit more introspective except for “Sycophant” is about a specific person. But, the other songs are more reflective about things that have really affected me in my life, and that I’ve seen affect other people and their lives. It’s less of a Taylor Swift breakup record and more delving into some topics that I’ve avoided in the past.

MMM: Anything you feel like talking about?

RA: Uh, pretty much the usual. Dealing with depression and self-loathing and addiction themes, and abuse stuff that I try to talk about. There are “akratic” themes carried over from the last album. This album is angrier and sadder at the same time.

MMM: It sounds a lot like you’ve gone through a lot to write these words, and perhaps it can be something with which other people can relate. Do you hope that people can hear these things and maybe identify with some of these universal issues?

RA: I hope so, because I’ve never been someone who flatters myself into thinking that my experiences are unique to me. I think that everyone goes through the same set of universal struggles throughout their lives and that’s why it can be so easy to relate to certain songs and to hear something and think, “This song is about me!” I mean, it’s not, but sometimes the experiences are so hyper-specific but are also so applicable to so many people that it can really feel like that. There are songs I hear, and I think, “How was this song not written about what I’m dealing with right now?” It’s because other people have gone through the same exact thing you’ve gone through, and people will go through it, and you’ll get through it. We’re all on the same sinking ship.

MMM: How did the title “Empress/Abscess” come about, and what’s the meaning behind it to you?

RA: I came up with it. I was thinking about how those words are vaguely similar, but completely different in meaning. I was thinking about how you have these people in positions of power, people who are put on a pedestal who are ugly inside. I was thinking about an empress, but an abscess is such a disgusting thing. I like the duality of it. We hadn’t been able to think of an album title. We thought we were going to do a self-titled. But I mentioned it to Evan, and he is an amazing person, and a great musician, but he is very non-committal. Typically when I come to him with something, I end up talking at him and then figuring it out on my own. But I asked him about this name, and he said, “That’s fucking awesome.” and I was like, “OK, well, we got a reaction out of you. Cool. We’re going to go with that.”

MMM: The album art certainly is gripping, and maybe it’s a total coincidence, but it does sort of reflect the album title.

RA:  It was definitely semi-intentional. It shows a little girl, and she’s all sorts of fucked up. It does have a bird, which is nice. (laughs) It fits in … I don’t want to assign it more meaning than it deserves because the art, I think, functions independently of the album title. I think that I came up with the album title after we already had the art, but I think I noticed that it fit well. It was a good accident. But I don’t think I would’ve chosen a title that was completely in opposition to the artwork and vice versa.

MMM: “Akrasia” was released independently, but for “Empress/Abscess” you’re also working with Broken Limbs for the cassette and vinyl versions. Why did you decide to pursue that relationship with Broken Limbs?

RA: Well, I was fine with doing the whole thing independently. The one thing that was bothering me was that we’ve had so many people show a lot of enthusiasm about vinyl, and that was something that I wasn’t financially ready to take on. I thought it was not the best move for us when we had an EP, but I knew that if we did a full-length that we probably need to do it. And we had been talking to several labels, but it didn’t feel quite right, so I went shopping on my own. I really like Pete’s (Browne of Broken Limbs) work; I think the albums he’s helped put out are all great. I’ve never heard a bad thing about him from any of the bands who’ve worked with him. I reached out to him, and said, “Hey, I know I follow you on Instagram, and I have this shitty band if you want to maybe put out our shit.” (laughs) He’s been wonderful so far. I guess time will tell, like, if our vinyl gets out on time or whatever. (laughs) He’s very passionate about the music, which means a lot to me. He’s always around to answer questions and show support. I think it’s going to be a good thing, a cool relationship.

MMM: You mentioned “And Send Fire,” the longest song on the record. It’s the track I like the most, and I’m really curious as to how that one came to life.

RA:   Well, here’s the thing: It wasn’t 10 minutes. It was seven minutes, and it was still our longest song, and we didn’t go into thinking that it was going to be like that. So we sent it to Colin (Marston, who mastered the album), and when he sent it back, it was 10 minutes. I was like, “What the fuck happened?” and he said, “Oh, I did some shit.” I was like, “What?!” So all the weird, ambient, creepy fucking noise shit at the end? He did that. He recorded a fire, an actual, roaring fire and reversed it. He did a bunch of cool stuff all on his own. On the album credits, it says, “Additional fire, on And Send Fire, by Colin Marston.” He put his own little stamp on it, and I am so grateful that he did, because it helped our runtime. (laughs) And it also sounds really neat. It makes listening to the record more of an experience. It’s creepy, dark, and awesome. I love what he did.

MMM: It sounds like at the end of that song there’s a word repeating?

RA: I think it might be the word “burn” and repeated it a bunch of times? I’m not sure. It sounds like “burn” to me. I say, “Burn it all down” four times at the end, and then I think he just took the word “burn” and fucked it all up.

MMM: As I said, I really like that song, it sounds like there’s a huge progression upward from the EP to this. Do you feel, musically, the progression that I’m hearing as a listener?

RA: It’s a combination of playing a lot and being an actual band. With the first EP, we were like, alright, we need to sound like a band. We can’t sound like a random configuration of weird ideas. We were trying to develop a sound we could build off of. And I think that we did. But now with “Empress/Abscess,” I think that with the songwriting, we knew what we were doing a little bit more. We knew what we were going for. We got the whole grind genre tag thrown onto us after “Akrasia,” and we were like, so be it, but we’re going to do a lot more intricate songwriting this time around. That’s why we have a piano passage on one track this time, and I played live glockenspiel. That’s not midi glock. I did the glockenspiel! I want everyone to know that. I played glockenspiel.

MMM: That’s the beginning of “And Send Fire,” right?

RA: And I think it’s on “To a Watery Grave,” too. We didn’t give a fuck. We were going to make the record we want, micro-genre tags be damned.  We kind of know what we want to sound like now. It is more of a cohesive effort. Evan and I worked together even better on this one than we did on “Akrasia.” I think it’s a progression. I think all bands hope for that.

MMM: Having been around you all a bit, everyone in the band seems to genuinely enjoy each other. That or you’re all amazing liars and actors. (laughs) What are your thoughts on that, and how does it help strengthen what the band does artistically?

RA: We are all friends, and it’s fun touring with those dudes. John and I don’t really fight; Garry and I get into one fight a year. We’ve had multiple guitarists tour with us, but it’s never been a problem. Evan and I write together really well. It’s a group of people who have a lot of respect for each other musically. We all joke around, but at the end of the day, I know everyone cares about Immortal Bird and cares about each other, which is really cheesy. But they’re some of my best friends, and I get stoked to go on the road with them. I really like and respect what they’re all doing musically and personally. It’s a good group of people, and I feel really lucky, because I know that it’s hard. It’s easy to find people who can play music well, but it’s hard to find people that you want to spend time with.

MMM: It’s funny, because this afternoon, I was reading the latest shit about Van Halen, and how Eddie and David Lee Roth hate each other, and all of that. It got me thinking that, well, that’s a business. Not really a band. They get paid a ton of money to deal with each other. Considering what you have with Immortal Bird, is that something you ever could see yourself enduring?

RA: I can’t imagine being in a situation where I’m being promised a lot of money. There a lot of genres of music I enjoy playing that are less about camaraderie and brotherhood, and are more about making a dollar. I like playing pop rock and country, and I’m sure that if I’m ever in a band like that as a session player or guest musician, we’re not all going to best pals. We probably won’t speak when we’re not in a rehearsal. I’m fine with that. I get a lot of personal fulfillment out of just playing my instrument. I’m honestly not much of a team player. I’m an only child. I was a figure skater, which is a very solitary sport. With my band, yeah, we’re a team, we’re a family, but like, at my very core, I’m cool with being a hired gun. I’m cool with solo projects. I’m cool with all that stuff, just because, I don’t know, I didn’t start playing music to make friends. I just started playing music because I felt compelled to do so. I guess maybe that’s shitty attitude. (laughs)

MMM: Well, all of this being said, and all the stuff we talked about with the music and how the band has progressed, what have you learned about yourselves? What do you realize looking back on when “Akrasia” first was released, to touring, to now pitting out your first full-length?

RA: I guess I’ve learned that I don’t want it to be just a one-off thing. I thought maybe Immortal Bird would be a one-time EP sort of project, and then I would move on and figure something else out. Now, I think I would like for it to be my main creative outlet. I always knew I liked touring, but I thought that maybe I’d tour as a hired gun, and Immortal Bird could be a recording project. But now I know that I like touring with my own band. I’d like to continue doing that.

For more on the band, go here: https://www.facebook.com/immortalbirdband

To buy the album, go here (CD/digital): http://immortalbird.bandcamp.com/

Or here: http://brokenlimbsrecordings.com/shop/

For more on the label, go here: http://brokenlimbsrecordings.com/