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There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

Der armenische Klaviervirtuose Tigran Hamasyan kehrt mit Manifeste zurück – eine kraftvolle Fusion aus Jazz, Progressive Rock und armenischer Folklore. Das Album wurde in fünf Ländern aufgenommen und verbindet rhythmische Komplexität, kinematografische Tiefe und spirituelle Intensität.
Tigran Hamasyan gilt als einer der einzigartigsten Pianisten und Komponisten seiner Generation, der Jazz und Rock miteinander verbindet. Als Klaviervirtuose mit einem einzigartigen Gespür für Groove verbindet Hamasyan mühelos Jazzimprovisation, Progressive Rock und die reiche Folkloretradition seiner armenischen Heimat.

Preisgekrönt und von Kritikern gefeiert hat sich Tigran Hamasya eine treue Fangemeinde auf der ganzen Welt aufgebaut und die Anerkennung von Herbie Hancock, Brad Mehldau und Chick Corea gewonnen.

GAVIAL sind zurück. Deutlicher. Verletzlicher. Größer als je zuvor. Fast drei Jahre sind vergangen, seit Gavial mit "VOR" ein kraftvolles Statement abgegeben haben. Drei Jahre voller politischer Brüche, gesellschaftlicher Abgründe und persönlicher Erschütterungen. Drei Jahre, die Spuren hinterlassen haben - hörbar, fühlbar, unausweichlich. Jetzt kehrt das Quartett aus Dresden/Leipzig/Berlin mit einem neuen Album zurück. Hier prallen Soul und Gospel auf Country, Psychedelic-Blues auf pure, unverstellte Emotion. Gavial erschaffen Klangwelten, in denen Gitarren, Bass und Stimme zu etwas Größerem verschmelzen. Melancholie, die nachhallt. Hypnose durch Klang. Energie, die nicht mehr loslässt. Mit Vehemenz präsentieren sich Gavial so roh und kompromisslos wie noch nie. Ihre Songs sind Spiegel - von allem, was brennt: Eine Welt, die sich selbst zerfrisst. Gesellschaften, die verlernt haben zuzuhören. Technologien, die uns überholen. Militarismus, der zurückkehrt. Menschenrechte, die zu Worthülsen verkommen. Institutionen, die versagen. Und Egoismus, der gedeiht. "Thanks, I Hate It" ist keine Kapitulation. Es ist ein Soundtrack zu einer Zeit, die uns täglich prüft. Gavial sind hier, um uns zu erinnern: Wir sind noch da. Wir fühlen noch. Wir hören noch zu. Und manchmal lautet die einzig ehrliche Antwort auf diese Welt: Thanks, I Hate It.

The hotly anticipated follow-up to 2007"s Horizons, Deep Blue raised the bar in every conceivable way. While maintaining the band"s uncompromising metallic-hardcore style at its core, it pushed into exciting new realms, drawing from a wider scope of influence, incorporating everything from anthemic pop-punk to bloodcurdling death metal. With improved musical abilities and a thoroughly inspired approach to songwriting, Parkway Drive has tied the music and lyrics together into one all-encompassing concept. "It"s basically about the search for truth in a world that seems to be devoid of that," says vocalist and lyricist Winston McCall, explaining the narrative running through Deep Blue. "The story is told through the eyes of a man who wakes up and realizes that his life is a lie and nothing he believes in is real. So he tries to find the truth within himself and his journey takes him to the bottom of the ocean and back again."

2x12" Repress

AGE's "The Orion Years" finally reissued to celebrate his 30th Anniversary/Hybride Sentimento invites Thomas P. Heckmann with one of his most prolific project; An ode to 60's German sci-fi TV Serie: "Raumpatrouille Orion". Deluxe Edition with new artwork + bonus tracks.

Gelobt sei das allmächtige Riff! Triumphaler, großartiger, schwerer und kraftvoller Stoner Metal.Das Debütalbum von King Zog aus dem Jahr 2017
führte einen neuen Titanen in die Unterwelt des Doom ein und erntete einseitige Fangemeinde und Kritikerlob für sein hingebungsvolles Opfer an die
Götter des Metal. Songs wie Temple's Temple, Man-sized Rotisserie und Witchsmoker klangen so, wie das ikonische Album-Artwork von Dominic
Sohor aussah: feurig und grausam.Seit dem Erscheinen dieses musikalischen Leviathans haben King Zog an einer unermüdlichen Mission gearbeitet.
Daniel Durack (Gesang/Gitarre), Connor Pitts-West (Gitarre), Martin Gonzalez (Bass) und Sean Ryan (Schlagzeug) haben keinen einzigen Tag
vergeudet, sich während der Pandemie in die Kisten gekauert, um Album Nr. 2 zu schreiben, und nach Aufhebung der Sperren unermüdlich performt.
Die Belohnung für ihre Mühen steht kurz bevor: „Second Dawn“ soll Anfang 2024 auf Hammerheart Records erscheinen. Größer, schwerer und
doomiger als sein Vorgänger, ist King Zogs zweites Album alles, was Fans sich wünschen: ein wütender Stier aus iommischen Riffs, seismischen Bässen
und donnernden Rhythmen. Downtuned und verzerrt, das erdrückende Gewicht.

Das Wesen, das als Adversarial bekannt ist, hat erneut das Portal zu einem zeitlosen Reich des Erstickens und der Qualen geöffnet. Während sich der Leviathan auf sich selbst zurückzieht, steigt an der Kreuzungsstelle Sulfer auf, ein Strauß aus fauligem Dotter. Diese faulige Chemikalie wird Nigredo aufrechterhalten, während das Metall, schwarz wie die Mitternacht, unter der Macht der Atombombe gehärtet wird.

Das Wesen, das als Adversarial bekannt ist, hat erneut das Portal zu einem zeitlosen Reich des Erstickens und der Qualen geöffnet. Während sich der Leviathan auf sich selbst zurückzieht, steigt an der Kreuzungsstelle Sulfer auf, ein Strauß aus fauligem Dotter. Diese faulige Chemikalie wird Nigredo aufrechterhalten, während das Metall, schwarz wie die Mitternacht, unter der Macht der Atombombe gehärtet wird.

--Erste neue Veröffentlichung seit neun Jahren! Der atemberaubende Nachfolger von "D.E.N.A.T.B.K.O.N." von 2015.
--Beste Produktionsarbeit bis heute! Aufgenommen und gemischt von Vadim Balanyuk. Gemastert von Damian Herring in den Watchtower Watchtower Studios
-Schlängelnder, düsterer Death Metal, der sicherlich die Ohren von Immolation, Antediluvian, Archgoat und Tetragrammacide zufriedenstellen wird

CLEARxCUT is out there to spread the message of total liberation. (Former) Members of HEAVEN SHALL BURN, IMPLORE, and KING APATHY/THRÄNENKIND started this collective, because they are dedicated to the vegan straight edge (XVX) and want to confront listeners with inconvenient thruths and todays harsh reality. The German band addresses their songs and convictions to all people who are prepared to stand up for a better, fairer future - but especially to all anarchists, anti-fascists, feminists, primitivists and indigenous peoples of the world. Or to put it brief: to all defenders of our earth. The stylistic choice of means falls on metallic hardcore, which is rooted in a strong DIY ethic. Having released their first two albums "For The Wild At Heart Kept In Cages" (2019) and "Songs of Desire Armed" (2022) for Catalyst X Records (Gather, Nueva Ethica, Abnegation, Birthright, Maroon, Point Of No Return, Forward To Eden), "Age Of Grief" now marks CLEARxCUTs debut for LIFEFORCE RECORDS. Started in the mid-1990ies as label with mainly vegan and straight edge bands, the German Label has an impressive history with XVX bands such as ARKANGEL, DAY OF SUFFERING, RANCOR, UNCONQUERED, UNBORN, FAULT, or DEADLOCK. Being a collective that is outspoken in its message and keeps the vegan straight edge banner high, CLEARxCUT continue this tradition. Also besides having switched their label, "Age Of Grief" marks a fresh start for CLEARxCUT. After a big shift in their ranks, before the global pandemic hit, the band moved from two (female) vocalists to one (male) frontman. This is accompanyed by a change of sound. On their third full lenght album, the German band is diving into the realms of metallic hardcore, leaving behind their early hardcore punk influences. Noone should be surprised by this move, as CLEARxCUT was conceived as a collective where members, names, or styles wouldn’t matter, but one and only the final goal of spreading a positive message in defense of animal rights and sober living. "Age Of Grief", in this respect, is extremely consistent.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

I am thrilled to share with you the upcoming release of Live Life and Tell Stories, the new album by Figub Brazlevic & John Robinson set to release in the spring of 2023. This album is a celebration of John Robinson's love for storytelling, which has been evident since he was a young child, and his passion for hearing epic storytelling from many of his favorite emcees of the golden era of hip hop.

The connection between Figub Brazlevic and John Robinson is far from a fly-by-night or simply another international internet collaboration. The two met in 2009 during Robinson’s first time touring in Germany, and shortly after, Figub remixed J.R.’s group Scienz Of Life’s Leviathan album for the love and respect of the music. The remixes, which have yet to be released, impressed J.R. and his SOL crew, and he knew he would work together in the future with Figub. That time has come, and the message is clear: Live Life and Tell Stories is a seamless blend of Robinson’s thought-provoking narratives and Brazlevic’s abstract jazzy boombap soundscapes.

This album promises to take listeners on a sonic journey of dope grooves and ill storytelling, where Robinson's unique storytelling abilities are masterfully interwoven with Brazlevic's jazzy, boombap beats. From start to finish, Live Life and Tell Stories is sure to captivate audiences and keep them grooving to its infectious beats.

In an era where the music industry is dominated by short-lived trends, it is refreshing to see two seasoned artists come together to create music that is both timeless and meaningful. This album is a perfect example of what can happen when artists come together to create something truly unique, and I can't wait for its release in the spring of 2023.

So mark your calendars, because Live Life and Tell Stories is set to release in the spring of 2023. This is an album you won't want to miss, so be sure to push play and let Figub Brazlevic & John Robinson take you on a sonic journey of dope grooves and ill storytelling. Let's go!

Following the release of his third album Dans cent ans (2023), which brought to a close the pop trilogy begun with Léviathan (2015) and Contre-temps (2018), Flavien Berger returns with a now classic 'counter-album': contrebande 02. le disque de l'été

Conceived as mirror albums to the trilogy, the counter-albums tell another side of Flavien Berger's creative process. Like contrebande 01. le disque de noël (2016) and radio contre-temps (2019), Flavien navigates between sonic experimentation (gervase weatherboy type beat), encounters (magie vermeille with Pomme), previously unreleased songs (sapon, plongereuse) and interludes (music 2000 beat titi poisson skit) reflecting an alternate itinerary of the making of his latest studio album Dans cent ans.

Vinyl Reissue des 2009 erschienenen zweiten Albums von Revocation. REVOCATION verbinden Weltklasse-Musik mit einem ausgeprägten
technischen Flair; die Songs drehen, wenden und stoppen auf der Stelle, während schwindelerregende Soli mit der rasiermesserscharfen Präzision
des Thrash Metals tanzen. Existence is Futile transzendiert alle Subgenres des modernen Metals und etabliert REVOCATION als eine der besten neuen
Metalbands des 21. Jahrhunderts. Vinyl als Custom Galaxy Edition.

Taking the 2nd half of 2022 to start setting this album up, BILL released singles like "Once Upon A Time In Canarsie", "Leviathan", "Smarten Up", "Root For The Villain", and "Time To Go". The album boasts features from the likes of Vinnie Paz, Kool G Rap, Rittz, Immortal Technique, Nems, Sick Jacken, Slaine, Lord Goat, Tragedy Khadafi, OT The Real, Q-Unique and more.

The hotly anticipated follow-up to 2007"s Horizons, Deep Blue raised the bar in every conceivable way. While maintaining the band"s uncompromising metallic-hardcore style at its core, it pushes into exciting new realms, drawing from a wider scope of influence, incorporating everything from anthemic pop-punk to bloodcurdling death metal. Including classic songs such as "Karma" and "Sleepwalker".

Glasgow's Work For Love have once again descended deep into the cellars of Thee J Johanz early 90’s DAT recordings and pulled a companion selection to 2017's Declassified EP.

This time they've come back up the ladder clutching a sultry yet sturdy triple-tracker, a little snapshot detailing the full spectrum of house and techno hybridisation that was rife in the rave at the time. The EP kicks off lovingly lamenting the second summer of love with the proto house jam of Tender Tales which features Johanz himself giving his best Sleazy D impression on vox whilst masterfully tickling the 303 to several squelchy climaxes.

Flip over for Desire, a curled-lip 4am weird and wonky warehouse destroying techno leviathan that captures the stark minimalism of yer best Axis records and ads a real touch of John Carpenter esque menace to the affair. Bringing things to a close is the refreshing twinkly pulse of Prophet to say goodnight

“Before becoming a producer, I grew up with labels such as Cenobite, K.N.O.R., Cold Rush and Ruffneck Records; this emblematic 1990s hardcore sound has influenced me heavily, even though it has never explicitly featured in my music. But I feel it’s time to return from exile, and so I have started to dig up the relics and present my interpretation of that great style: The energetic kicks, the sweeping sounds, the samples. Enjoy my piece of modern arkaeology!”

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

Most people know Omar Doom as an actor developed a close friendship with famed director Quentin Tarantino in the late Nineties, who eventually cast him for a small role in his 2007 thriller, Death Proof. Doom then earned a more prestigious performance as one of the eight basterds in Tarantino's 2009 hit, Inglourious Basterds.

Twice Mercury Prize nominated, 5 time Ivor Novello nominated and
critically acclaimed, Everything Everything launch their new forthcoming
studio album 'Raw Data Feel'
On Raw Data Feel, Everything Everything set about revolutionising modern pop
music, with Higgs abandoning his own brain and letting technology do at least
some of the thinking: feeding LinkedIn T&Cs, Beowulf, 4Chan forum text and the
teachings of Confucius into A.I. automation processes and using its responses
as a basis for the record's lyrics, song titles and artworking.
Produced by Everything Everything guitarist Alex Robertshaw and production
partner Tom Fuller (aka Kaines and Tom A.D), Raw Data Feel follows 2020's REANIMATOR which charted at #5 in the Official Albums Chart.
This new phase is a rapturous return and - staying true to form - sees the band
continue to push the ribbon on melody & rhythm with a heavy helping of
electronic exploration.

To celebrate the tenth anniversary of the iconic HELP album a new generation of artists came together to create, at the time, the fastest recorded album ever. They recorded Help! A Day In The Life on Thursday 8th September 2005 which the record available for download just 32 hours later.Help! A Day In The Life is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

To celebrate the tenth anniversary of the iconic HELP album a new generation of artists came together to create, at the time, the fastest recorded album ever. They recorded Help! A Day In The Life on Thursday 8th September 2005 which the record available for download just 32 hours later.Help! A Day In The Life is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

Die experimentierfreudigen US-Metaller EIGHT BELLS aus Portland, Oregon haben ihr Songwriting im dritten Anlauf stark gestrafft und verfeinert. Dieser Soundtrack für das Ende der Welt unter dem Namen "Legacy of Ruin" bietet aber auch Kontinuität der besten Elemente wie die für das Trio typischen Gesangsharmonien, die zusammen mit mal schrillen, mal impressionistischen Gitarrenriffs eine eindringlich berauschende Atmosphäre aus Licht und Dunkelheit schaffen. Inhaltlich liegt der Fokus von "Legacy of Ruin" auf Themen wie die Natur des Menschen, Umweltzerstörung, Tod,, Verlust, Bösartigkeit und Rache.

EIGHT BELLS wurden im Jahr 2010 als Songwriting-Projekt von Melynda Jackson gegründet. Die Gitarristin und Sängerin benannte ihre neue Band nach dem letzten Album ihrer vorherigen Wirkungsstätte SUBARACHNOID SPACE. Nachdem bei dem Trio zu Anfang die Besetzung mehrfach wechselte, wird Melynda mittlerweile von Sänger und Bassist Matt Solis (CORMORANT, URSA) und Brian Burke (NO SHORES, CAVE DWELLER) am Schlagzeug unterstützt.
Nach der amerikanischen Veröffentlichung der "Isosceles"-EP (2011) erlangten EIGHT BELLS bald auch internationale Anerkennung für ihr Debütalbum "The Captain's Daughter (2013)". Das Trio tourte anschließend als Support für SUBROSA durch Nordamerika. Mit ihrem zweiten Album "Landless" (2016) festigten EIGHT BELLS ihren Ruf als heißer Underground-Tipp. Die folgenden Einladungen von VOIVOD für eine US-Tour an und zum Psycho Las Vegas Festival nahm das Trio gerne an.

Nun sind EIGHT BELLS reif für den nächsten großen Schritt auf der Karriereleiter und die weite Welt. "Legacy of Ruin" wurde von keinem Geringeren als Billy Anderson (AMENRA, BELL WITCH, LEVIATHAN, SWANS) produziert, wodurch sich dem Trio eine neue Dimension der Klangqualität eröffnet hat.

"Legacy of Ruin" bestätigt eindrucksvoll, dass zeitgenössischer Metal sowohl künstlerisch anspruchsvoll als auch gleichzeitig frisch und eingängig in seinem Ausdruck sein kann. Höchster Zeit, um sich zurückzulehnen, die Augen zu schließen und sich mit EIGHT BELLS eindringlichem Abgesang auf einen sterbenden Planeten von wundervollen Klangwellen überrollen zu lassen.

Cardinal Fuzz are pleased to announce the new LP from Mienakunaru – ‘Blood Sun’. After Mienakunaru's debut brain crusher 'Lost Bones Of The Holy Butterfly' that came via esteemed label Drone Rock Records (and reissued in the USA via Echodelick) - Cardinal Fuzz and Feeding Tube Records bring you 'Blood Sun' - A ferocious throb of of 3 people losing themselves in the beauty of fuzz, sizzle and noise.
Mienakunaru are a throbbing face melting power trio made up of Mike Vest, Junzo Suzuki and Dave Sneddon and if we were to write up the list of bands these artists have been involved with there would be no room to write more – Just believe me when I say that the list reads like a who’s who of cult underground hardcore and psychedelic bands. For those that may not have been listening to anything associated with these leviathans of heady, psychedelic noise – What we have here is fuzz drenched, waster infused and pounding like jack hammer freak-outs. Over four tracks of which the title track takes up the whole of one side you are treated to forty minutes of heavy cosmic amplifier worship, where the hypnotic nature of the music created within, unfolds and time and space begins to distort. Prepare to have your body shaken as Mienakunaru lay waste.