Textured depths of sound

A few recent and not so recent things to wrap your ears around……..

Wet Drag are a post punk trio from Oakland, California comprising Max Nordile – Bass/Vox , Marissa Magic – Guitar/Vox and Lillian Maring – Drums/Vox.  They released this little beauty in February and it’s rather lovely.

Loscil is back with a new release on Kranky on 17th November. Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time on the new album. Musically, the album consists a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks , such as album opener Ahull, make rhythm their focus by using subtle poly-rhythms and periods of repetition with evolving variation to create a hypnotic effect. Though electronic at its core, instruments such as vibraphone and piano make an appearance, and layers of live playing with improvisation emerge within the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the Loscil “ensemble”, some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead‘s Elaine Reynolds who provides violin on Catalina 1943, and Ashley Pitre contributing vocals on the stand out track Bleeding Ink. Seattle pianist Kelly Wyse, who collaborated with Loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks Sea Island, Murders and En Masse. At times the music sounds like Tortoise, which is no bad thing. Generally reflective and ambient the album is the best of Scott Morgan’s releases under this brand to date. There are some genuine aural surprises here, and a degree of inventiveness that moves this particular genre of music forward considerably.

31st October saw the release, again on Kranky, of Liz Harris’s latest Grouper album. Entitled Ruins she says of the album “…..it was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Ze´ dos Bois. I recorded everything there except the last song, which I did at mother’s house in 2004. I’m still surprised by what I wound up with. It was the first time I’d sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track ,Sony stereo mic and an upright piano. When I wasn’t recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”  This a stunning album. Found sounds, field recordings weave in between sparse and delicate songs with Harris’ vocal barely audible over the piano. PJ Harvey‘s White Chalk immediately comes to mind when listening to this beautiful collection of songs.

Turning to matters a little louder Phoenix, Arizona sludge doom outfit Gale have self-released their debut, Vol. 1. Recorded in nearly one take by Jalipaz Nelson at Audioconfusion in Mesa, Arizona, while not a concept record, the album and its lyrical basis primarily deals with existentialism and the darkness that can be revealed from self-analysis. With a brutal tone likely  to grab the ears of fans of other Arizona bands Godhunter, Sorxe, Methra and the like, the ultra-amplified output of the  group reflects, but does not copy,  the works of Yob, Melvins, Crowbar, Neurosis and Sleep.  Each member of the four-piece line-up contributes a different style of vocals to the mix,  in addition to their respective instruments. A physical version of Vol. 1 will be released in the future and the band has already begun the planning stages on additional material which will see release through several new works throughout 2015.

Six Organs of Admittance‘s Ben Chasny has devised his very own system of musical composition, The Hexadic System, which is the basis for an upcoming new album, entitled Hexadic and to be released on Drag City in February 2015. Ben Chasny’s restless intellect has regularly guided the progress of his creation. A lyrical mastery of acoustic finger-picking would be enough to build a body of work for most musicians; this is just the stepping-off point for Ben. From the earliest days of private-press psych home recordings, Six Organs of Admittance has sought out alternative spaces in which to make music and challenge audiences to keep up with his rapid advances into new areas. Over the last two years Ben has been assembling a comprehensive system of musical composition. Designed to free sound and language from rational order and replace calculation with indeterminacy, The Hexadic System is a catalyst to extinguish patterns and generate new means of chord progressions and choices. Though it was not his intention upon creating this unique system, the structures it was generating were so compelling, they soon became the bones of the next Six Organs record. This is the longest time between Six Organs records since Ben started making them in 1998.

Michigan punk/metal misfits, Child Bite, release their Strange Waste EP via Housecore Records on 25th November.  Their self-proclaimed “music for losers,” nine-track was recorded at Russian Recording in Indianapolis, Indiana and produced by the band.  They extract elements  from various extreme ends of metal, noise, and hardcore without falling squarely into any of those genres. Refusing to slide comfortably into your neatly ordered collection, the music can lurch from synth-driven punk to yelping, sax-soaked art-rock to thundering, ugly sludge. It’s breathless stuff, squeezing every mode and expression out of the music and exhausting it before moving on to the next track. This is truly heavy rock music, saved from any namby-pamby genre qualifiers.  Despite clocking in at a mere nineteen minutes, Strange Waste contains so many twisted riffs, biting, guitar solos, clanking, chugging bass lines, splattering drum blasts and yowling vocals, that repeated listening is necessary. Fans of The Jesus Lizard, Black Flag, Faith No More, and Dead Kennedy’s will appreciate what is going on here. It made me smile any way.


Out on Small Stone records on October 7th was a new one from Long-running Ohio riff rock peddlers, Lo-Pan,  called Colossus. Named after the Colossus of Rhodes — a ninety-six-foot statue of the Greek titan-god of the sun, Helios, constructed in 280 BC to mark a failed siege and the indomitable nature of the Greek city of Rhodes itself — their fourth album  mixes a heavy rock background with the more accessible vocals associated with indie bands like Amplifier together with a blues feel. In the three years since of the release of third long-player, Salvador, the Columbus four-piece have logged countless miles, crossing the USA multiple times over on headlining tours and supporting the likes of Torche, High on Fire, KENmode, Whores, Fu Manchu and Weedeater.  For the first time in their near decade-long existence, they knew exactly what they wanted when they hit the studio. They’d road-tested songs like “Eastern Seas” and the title track for over a year, and partnering with producer/engineer Andrew Schneider (Unsane, Rosetta, East Of The Wall et al) at his Translator Audio studio in Brooklyn they have recorded a great set of songs with an accessible feel which may allow them to cross-over to a wider audience. They cite their influences as Kyuss, Tool, Dozer, Torche, Disengage, Sabbath, Thin Lizzy, and Helmet – which I think gives you a sense of what they sound like.


In the lead up to completing fresh material for release in 2015, Southampton (UK) based alternative rock outfit Circle Of Reason are generously issuing a free download single each month from their catalogue of EP releases. They have selected their track ‘Silver Scene’ as November’s offering. Taken from their debut EP A Favour For A Stranger, the track was instrumental in bringing the British rock quartet to the attention of rock fans nationwide. Achieving early support from Kerrang! TV and Scuzz TV etc, ‘Silver Scene’ delivers guitar driven melodic alt – rock reminiscent of their peers – The Smashing Pumpkins, QOTSA, Muse and Biffy Clyro. Despite the present focus on writing & recording a new EP, they return to the live stage this November. Adding to an already impressive list of support slots with established artists (Marmozets, InMe, Neck Deep, Feed The Rhino etc) C.O.R shall be opening for Irish alternative/grunge legends ‘Kerbdog’ on 19th November at Talking Heads in Southampton (UK). You can get the free download at www.soundcloud.com/circleofreason/silver-scene


You will be able to hear most if not all of this music on upcoming podcasts at : http://bobosbornespodcasts.wordpress.com/

One door closes…..another one opens

Another particularly busy week, either I am a victim of my own success, or the summer is drawing to a close and people are getting busy. This selection, described below, is a demonstration, I think, that there is still interesting and varied music out there should you be minded to track it down – if I was to believe the nonsense a national newspaper sends me each week about what is hip and happening I think I would become quickly disillusioned. The variety and continuity of change here also perhaps reflecting my own mood and the desire to move on and away from one thing and transfer my attention to another. Recent decisions in respect of responsibilities have lifted a great weight allowing more time to absorb and enjoy this excellent music. Onwards!

First up is the new one from Ides of Gemini which is called “Old World New Wave”. It is released on Neurot on 15th September.  The three band members—Sera Timms (vocals/bass), Kelly Johnston-Gibson (drums/backing vocals), and Jason Bennett (guitar/backing vocals) have managed to create something which hangs between Siouxsie Sioux inspired goth, and, metal.  The follow-up to the band’s critically-adored “Constantinople” debut, was recorded at Valley Recording in Burbank, California, engineered and mixed by Chris Rakestraw (Danzig), mastered by Grammy award winning producer Matt Hyde (Slayer) and boasts the striking hand-drawn cover art of Johnston-Gibson. Here’s a preview track called Fememorde, i’d embed it to save you clicking but in this instance that facility appears to have been denied me. It’s not grabbing me the way that “Constantinople” did but it’s still a good listen.


A new EP from Manchester band Ill is about and around called “The Housewives’ Trilogy”.  Originally a special session recorded for Jeff Grainger’s Dandelion Radio show, the release comprises three (obviously!) previously unreleased tracks and features the usual genre bending and obscene rhetoric that fans of ILL have come to expect. Hysteria, Diazepam and Secret Life noisily combat the myth of marital bliss and gender role satisfaction. Great for doing the ironing to allegedly. The groups development is palpable on this release, I am not sure about ironing more perhaps a desire to do a few groovy moves to some of this. Get it!

Old Man Gloom, the self-confessed experimental hardcore ‘supergroup who don’t suck’, are back with their sixth full-length, “The Ape of God”, due for a release on Profound Lore on November 17th. Their first record since the esteemed 2012 release, “No”, the experimental quartet have since cracked on with their quest to dismantle, disrobe and derail heavy progressive music as we know it. Apparently “The eight tracks on The Ape of God are laden thick with amorphous tone, seething noise and Mobius Strip riffs, deftly balancing colossal heaviness with ambient pedigree”. Formed in the late ‘90s in  Santa Fe, New Mexico by Aaron Turner (Isis, Mamiffer) and drummer Santos Montano, Old Man Gloom was conceived as sonic experiment of sorts. Their “Meditations In B” debut was just a glimpse into the noisier and more experimental side within Turner’s musical repertoire, enabling him to explore his musical range a bit beyond what he was doing with Isis at the time (which was a time even before Isis really took off). Shortly after Nate Newton of Converge and Caleb Scofield of Cave In would join the band (with Luke Scarola on electronics), and Kurt Ballou of Converge would end up serving as the band’s longtime spomd engineer. The results of this union culminated in the “Seminar I” and “Seminar II” releases and the 2004 follow-up album “Christmas”, which helped in defining the band as one of the most influential in the genre of post-hardcore, alongside the band members’ main musical outlets who were obviously already heavyweights in the genre respectively. An extended period of inactivity for eight or so years would then commence with the band members focusing on their main bands at the time. That is until Turner (who by now had put Isis to rest), Montano, Newton, and Scofield secretly conspired Old Man Gloom’s resurrection unbeknownst to pretty much everyone, where in 2012, almost unannounced, they released their No album to an unsuspecting audience. The band would go on to do a series of sold out live shows and then immediately began writing and creating their massive follow-up. Old Man Gloom’s “reunion” wasn’t just a one-off thing, and here’s a taster to demonstrate why!

Insanely fast and somewhat barking mad the new album from Rings of Saturn  “Lugal Ki En” is released  October 17th in Europe via Unique Leader Records. It’s a cataclysmic, relentless nearly forty-five-minute display of  text-book death metal/deathcore with some serious fast beats and guitar work. A conceptual release based on a story in which the Aliens wage war on the angels and demons of the universe after having conquered humanity, it was produced by Brette Ciamarra at Studio 344 (Kamikabe, Those Who Fear, Trophies) in Pittsburgh, Pennsylvania. The custom cover artwork was commissioned to Mark Cooper of Mind Rape Art, who also crafted the art for the band’s seminal “Dingir” album.  Comments guitarist, Lucas Mann of the album concept, “The concept of the album in a nutshell is that long after the Aliens conquer humanity, they evolve to a point where they transcend space, time and reality to take their conquest into the realm of the gods where they wage war on angels and demons. The album title Lugal Ki En translates from ancient Sumerian cuneiform to mean ‘King Of The Earthlings, Lord Of The Cosmic World.’ The Sumerian cuneiform is visible behind the English pronunciation of the album title.”  I have no doubt the unique vocal stylings and hyper-fast guitar sounds will alienate some – it’s a tad over the top in places – but well worth a listen if you are a fan of this genre.


Rings of Saturn - photo by Alex Reinhard
Rings of Saturn – photo by Alex Reinhard

Nazoranai comprises three gentleman, three friends and three fans of each others creative output. ‘the most painful time happens only once has it arrived already..?’ is their second release , the band members are  Haino Keiji, Oren Ambarchi and Stephen O’Malley. Recorded by Chris Fullard at CCSO, Birmingham 9th July 2013 ‘the most painful time…’ expands the trio’s devastating explorations of improvised rock based shapes.  Keiji Haino (of Fushitsusha) is a big part of the history of the experimental music of Japan with work spanning free improvisation, rock, noise, singer-songwriter, psychedelia, minimalism and drone. Working mostly with guitar and vocals his performances are intensely cathartic sonic events. Stephen O’Malley is the guitarist and founder of numerous seminal groups including Sunn O))), Khanate and Burning Witch. Oren Ambarchi is a multi-instrumentalist performer working outside conventional approaches to instruments and structure. He has collaborated with the likes of Jim O’Rourke, Sunn O))), Charlemagne Palestine, John Tilbury. Here’s a preview:

Grouper‘s new album “Ruins” is set to be released on October 31st via Kranky, and in anticipation of its release a new track entited “Call Across Rooms” has surfaced. In a brief interview with Vogue magazine Liz Harris explains the meaning behind this heady, gentle and beautifully subtle song…”Call Across Rooms was being about equal parts love and loss. The song is on one level very plain and literal, about a letter I wrote for someone I loved and could not get along with…One a more subconscious, poetic level, it is a letter to myself, as aspiration to love better.”  About the album, Harris says…”Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother’s house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”  

The culmination of four years writing and editing, Anjou marks the first collaboration between Labradford’s Robert Donne and Mark Nelson since the release of that group’s “fixed:context” LP. Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture. Guitar, bass and Steven Hess’ (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming. The product of twenty plus years of friendship, Anjou is refined and challenging. An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes firmly focusing on the future. A delightful set of ambient/mood pieces which mixes textures, tones and glitches and which is both impressive and emotionally fulfilling. Highly recommended.

Anjou artwork 300dpi


On September 15th Southern Lord will release all the recorded  material from late 1980s Seattle hardcore band, Brotherhood, collecting the influential act’s demos and 7″ releases in one remastered, cohesive anthology entitled “Till Death”.

Brotherhood was formed during the West Coast Hardcore surge in the same days of Insted, Bl’ast, Chain Of Strength and Uniform Choice, the members all bred in the Northwest on The Accused, Poison Idea, The Melvins, and with East Coast threads born of SSD, DYS, Corrosion Of Conformity and Straight Ahead all  woven into their sound. A straightedge hardcore band that confronted racism, sexism and intolerance, both in their lyrical delivery and on stage , Brotherhood was a rare band of that scene as they were accepted in all of the subgenres of punk rock and hardcore. The band was founded in Seattle by Greg Anderson in 1987, who recruited former False Liberty drummer Victor Hart, friend Ken Hagel on bass and East Coast transplant and Open Your Eyes fanzine editor, John White on vocals. After years as a singer in False Liberty and Inner Strength, Greg picked up the guitar and started writing songs built upon the aforementioned influences. Following local shows and the opportunity to open for such legends as Youth Of Today, Angry Samoans and Fugazi, Brotherhood began to gain recognition on a much wider scale in the hardcore community. This initial lineup was not to last, as in 1988, Ron Guardipee Of Hateful Youth took over on vocals and Nate Mendel of Diddly Squat joined on bass. Having played many times together in their previous bands things quickly came together for this new and much more solid Brotherhood lineup and in November of that year the Music Bank recording session was conducted. Debuting this new lineup on the Pushead curated Thrasher Magazine’s Skate Rock Vol. 7 compilation Brotherhood soon also released their Of Friends demo, their No Tolerance For Ignorance 7″ on Skate Edge Records and Words Run… As Thick As Blood! 7″ on CR Records, all released in 1988 and 89. Playing throughout the Northwest as well as a North American tour with (quite possibly the bands biggest influence) Seattle’s The Accused, by the end of 1989 Brotherhood came to an end. Their relatively short-lived run went on to inspire many of the seminal bands that have followed in Hardcore and Straight Edge such as Undertow, Unbroken, Champion, No Tolerance and many more. Members of Brotherhood have since forged numerous other musical endeavours including, but by no means limited to, Christ On A Crutch, Sunny Day Real Estate, Foo Fighters, Resolution, Digh Down, Burning Witch, Engine Kid, Sunn O)) and Goatsnake. Southern Lord will release Till Death in deluxe LP and digital download packages.

Brotherhood 300dpiRGB


Forget Nostalgia – Listen To New Music

Some very good new things have arrived already this week……a mixed bag of genre’s which suits me

Vancouver’s Baptists share the first new track from their upcoming second album, Bloodmines, which is due for release via Southern Lord on 13th October.

Arriving at the album’s mid point, ‘Harm Induction’ is a volatile, high speed, turbo-charged rager. As the guitar riffs scale to an ear-splitting climax, the vocals also reach the peak of absolute seething anger. Harm Induction is unrelenting, near suffocating, and highly cathartic.

Le Butcherettes have joined Ipecac Recordings’ roster and will release their second album release, Cry Is For The Flies, on Sept. 29 via the label in conjunction with Nadie Sound.

“Since I created Le Butcherettes in Guadalajara, I’ve always yearned for the band to be part of a label/community that helps and supports artists to act fearlessly and help serve the music.” explained fiery Le Butcherettes front-woman Teri Gender Bender. “So happy beyond words that we’ve found a family in Ipecac. Dream come true.”

“We are EXTREMELY excited to be working with Le Butcherettes,” said Ipecac Recordings Co-Owner Greg Werckman. “Teresa is a dynamic front person and a perfect fit with the Ipecac family. Not a band to miss on record or live.”

The eleven-song release had previously been available exclusively as a digital download via producer Omar Rodriguez-Lopez’s label Nadie Sound’s website but, as of September 29th, will be made available on physical formats (CD/vinyl) as well as through various digital service providers including iTunes.

In a recent interview with the Los Angeles Times, Teri said of the subject matter on Cry Is For The Flies: “There are so many demons I have inside – they’re little gods. There’s a god of evil, the god of good, the god of sex, the god of lust. With music, I tap into those god demons. It’s therapy.”

Cry Is For The Flies was recorded at Infrasonic and Kingsize Studios in Los Angeles. The album features guests Henry Rollins (“Moment of Guilt”) and Shirley Manson (“Shame, You’re All I’ve Got”). Le Butcherettes is Teri Gender Bender (vocals, guitar, keys) and Lia Braswell (drums). They shall be touring the album in support of Omar Rodríguez-López and Cedric Bixler-Zavala’s band Antemasque.

Black Earth are a four piece band from Sheffield whose influences includes Joy Division and QOTSA. Heavy drumbeats and strong guitar riffs are the perfect back drop for a dark and often mysterious vocal creating a sound that draws you in. Three tracks are available via their Bandcamp page – worth checking out…..

At long last a new album from Monster Island – a band always worth checking out if only for Stephen Waddicor’s particular utterings about the world – they do not disappoint with their latest offering called The House of Lancaster  which appears on first hearing to be even more unhinged than previous releases. Bloomin’ marvellous say I. They will be playing songs from the new album etc. on 3rd September at The Castle, Oldham Street, Manchester with Locean (who I must check out)  and Un Deux Trois.

Philadelphia, Pennsylvania-based demolition union, Die Choking , is prepared to shove their second wave of hyperactive, earthmoving grind/thrash down the world’s collective throat, with II on September 29th – expect some airplay on the Sonic Attack Podcast around and about that time.  Five tracks in 5m 57s gives a sense of the content – scabrous vocals, impossibly fast D-Beat drumming and confrontational bass and guitar make for fascinating listening.

New Born, the debut album from Moscow’s Sounds of Sputnik, is a kaleidoscope of reverb-soaked guitar, calculated drums, thick bass, and angular guitars intertwined with ethereal vocals. This is extraordinary noise-pop, with layered harmonies, interlacing synth and distorted guitars. Sounds of Sputnik paired up with Canadian-Ukrainian duo Ummagma to co-write, produce, and record this album, to be released on UK label Ear to Ear Records. Ummagma’s Shauna McLarnon and Alexx Kretov both contribute mesmerizing vocals.

Following their 2013 reunion, the Californian hardcore/thrash metal crossover band Excel have since teamed up with Southern Lord and are reissuing their debut album, Split Image (originally released through Suicidal and Caroline records). Widely regarded as a classic album, Split Image was produced by Randy Burns (Death, Possessed, Megadeth, Kreator, Suicidal Tendencies). The reissue shall be officially released on 29 September.

Remastered by Brad Boatright (Bl’ast!, Sleep, Obituary, Black Breath) the Split Image Southern Lord issue comes with a massive amount of bonus material including the Welcome to Venice comp tracks, Personal Onslaught Demo & Refuse to Quit Demo). The LP Includes a 32 page 7”X7” booklet with tons of photos from the era and a 11” x 17” poster of the original Michael Seiff album cover artwork. The CD contains bonus demo material (Personal Onslaught & Refuse to Quit Demos). Also including a booklet with many rare/unseen photos. A crucial documentation of an essential crossover band.

Having formed in 1984, they released three studio albums as well as a number of demos and singles.  Equally informed by punk rock’s attitude and heavy metal’s riffs, their  fast, grinding and heavy sounds, combined with their intelligent lyrics, set them apart as a genre defining band of the era.    The current line-up includes Dan Clements on vocals, Shaun Ross on bass, Mike Cosgrove on drums and Alex Barreto (Chain Of Strength) on guitar.

A new Grouper album is news, highly anticipated and  best introduced in Liz Harris’ own words, here’s the story…

 “Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother’s house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.”

“The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”


As the release of  Yob‘s forthcoming album Clearing The Path To Ascend dawns, the band reveal one of the four tracks on it, the brutally heavy “Unmask The Spectre”. The band have already revealed snippets of the track via their album trailer, now it is time to hear the whole thing. Here’s what Mike Scheidt has to say about the song…”This part of the album gets dark, but it also has a sense of beauty and resolve. The mood and atmosphere nod equal parts to old and new YOB. It’s one of my favorite things we’ve ever done.


(photo credit: David Lee Dailey)

In celebration of Old World New Wave, the impending new release from Ides Of Gemini, here is the first official sampling of the record with “The Chalice & The Blade.”

Relays singer/bassist Sera Timms of the tune, “The main riff [guitarist] J [Bennett] brought in for ‘…Chalice…’ marches in as a transcendent assault with [drummer] Kelly [Johnston-Gibson]’s oppressive, jagged beat moving it forward like some re-animated corpse. A mechanized shamanic trance that sent me straight into the underworld lyrically.”

The follow-up to the band’s 2012 Constantinople debut, Old World New Wave was recorded at Valley Recording in Burbank, California, engineered and mixed by Chris Rakestraw (Danzig), mastered by Grammy award winning producer Matt Hyde (Slayer) and boasts the striking hand-drawn cover art of Kelly Johnston-Gibson.