Conceived and recorded between the Autumnal Equinox of 2006 and Easter of 2009 in Waterbury Center, Vermont; Westminster, Colorado; Penafiel, Portual; and vienna and Preßbaum, Austrial. Source recording (“Dragon Sun Summer”) by Bobby Beausoleil recorded at Tracy Prison, California, 1976; adapted by kind permission of the artist. Mastered by the House Of Absinthe, Westminster, Colorado.
The LPs come in 3-panel gatefold sleeve with 12-paged 12″ booklet.
Limited edition of 700 copies on black vinyl
The Brown brothers emerge from the depths of California with a new collection of oozing drone centred on heavy visions of negative west coast mythology.
Darkness is never far away from a Robedoor session, and their first album in four years finds Alex and Britt Brown dealing with multiple seismic life events. Naturally this results in quite a powerful listen, Robedoor’s sludge even denser and mired in more pain and crepuscular mysticism.
The brothers craftily let the gloom seep in slowly over the course of opener Low Life, a distant scream edging ever closer over the enveloping crush of riffs. This gloom soon defines ‘New Age Sewage’ however, the Browns conjuring some demonic form of cannibalistic sludgery on The Tunnel whilst the pummelling Mage Image sounds like fellow West Coast mystic Pod Blotz getting chopped and screwed.
“Black Origami” is driven by a deep creative thirst which she describes as “this driving feeling that I wanted to do something different, something that challenged me to my core. Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I’m replacing paper with sound. I chose to title the album “Black Origami” because like “Dark Energy” I still create from the beauty of darkness and blackness. The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity.”
Spirituality and movement are both at the core of “Black Origami”, inspired largely by her ongoing collaborations with Indian dancer/movement artist Avril Stormy Unger whom she met and collaborated with at her debut performance for the Unsound festival – ”There is a fine line between me entertaining a person and my spirituality. Avril, who collaborates with me by means of dance, feels the exact same way. Movement played a great role in Black Origami. The track “Carbon 7” is very inspired by the way Avril moves and dances. Our rhythms are so in sync at times it kind of scares us. When there is something I can’t quite figure out when it comes to my production, it’s like she senses it. Her response to me is always “You’ll figure it out”. Once I figure it out it’s like time and space no longer exist.”
Similar time shifting/folding/disrupting effects can be heard throughout the record – especially on “Holy Child” an unlikely collaboration with minimalist legend William Basinski. She also collaborates again with Holly Herndon on “1%”, while Halcyon Veil producer Fawkes’ voice is on “Calcination“ and Cape Town rapper Dope Saint Jude provides vocals for “Never Created, Never Destroyed“
tape version of the criminally underrated black death monster from france. just take the violence of early deicide and the tom-heavy drumming of de mysteriis dom sathanas set to a contemporary but timeless sense of french satanist expression and you have what is destined to be an underground grail. true french black death metal! co- release with of crawling shadows records.
edition of 100.
Manufactured and Distributed exclusively by Mount Analog for Downwards Records. Limited to 300 copies, clear vinyl. First time vinyl release of Black Dollars, from Justin Broadrick of Godflesh’s ambient leaning alias FINAL, arguably Justins’ finest moment, with “filtering interstellar guitar tones, pristine drone passages and meditative vocal melodies through layers of frost and fog”.
BLACKDEATH keeps fighting, living life as war. Wildness and violence have hardened into an idiosyncratic and cracked style: manic vocals that switch from a black rasp to psychotic singing; Nordic riffs bent into a weapon with sharper angles; and song progression equal parts percussive brawl and wide-eyed revelation. Black metal stubbornly focused on quality of riff and refinement of composition. Potent.
I Shall Die Here is the fourth full-length album by The Body. Sharing their moribund vision for I Shall Die Here with Bobby Krlic (aka The Haxan Cloak), the tried and true sound of The Body is cut to pieces, mutilated by process and re-animated in a spectral state by the newly minted partnership.
The Body’s brutal musical approach, engraved by drummer Lee Buford’s colossal beats and Chip King’s mad howl and bass-bladed guitar dirge, becomes something even more terrifying with Krlic’s post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal’s already unidentifiable corpse and splays it amid tormented voices in shadow.
Formed in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. A handful of precursor releases readied the band for seasoned explorations across their debut self-titled album (Moganano, 2003) and on the widely-acclaimed All the Waters of the Earth Turn to Blood (At A Loss, 2011).
The Body’s curtailing of formal classification figured heavily onAll the Waters. The album’s employment of the Assembly of Light Choir’s classical chorales alongside more industrial music techniques such as vocal sampling and drum programming in turn prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.
The earnestly experimental undertaking of I Shall Die Here is expertly aided by Seth Manchester and Keith Souza, The Body’s longstanding engineers and creative collaborators, and noted producer Krlic. Krlic’s own work as The Haxan Cloak struck a similarly despairing chord to The Body with last year’s celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife.
I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory. On album opener “To Carry the Seeds of Death Within Me”, a dramatic pause partitions the seismic caterwauling and savage whump of the first half from the ambient, suffocating ripple of the second. From there, the dimensional doom marches on in procession, ceaselessly alternating between shape and shadow.
“Alone All the Way” is an iconic take from I Shall Die Here. An anonymous, distorted voice ruminates on the moral dilemma of suicide, (to paraphrase: escape from suffering, perhaps, but only by unleashing it on those close), before an oscillating snare / crash pattern enters stage augmented by overdriven guitar and fully throttled rage. Dispatches of electronic color complexly fill in the gaps before Buford’s beat transitions into a tribal, Burundi-esque rumble.
King’s strychnine scream serves less as a lyrical conduit and more as a caustic, flammable element to the overall fabric on “The Night Knows No Dawn”, the harsh, droning midpoint of the album. “Hail to Thee, Everlasting Pain” follows, wherein the album’s earlier unbridled bleakness is reignited by guest vocalistBen Eberle and then tweaked in a masterful combination of pounding doom and techno drum patterns.
Nine-minute closer “Darkness Surrounds Us” sends off I Shall Die Here with the prophetic event horizon. A metered stanza of spoken lines booms in hollow space, introducing a passage of thin, searing textures of strings and mutating bass rhythms. Where Buford’s drums are triggered, they pose the final stages of the album’s bitter resolve. The guitar, so indistinguishable here from over-gained bass, proceeds with King’s vocal into inevitable oblivion.
According to the band themselves, they sought to create something wholly experimental with I Shall Die Here. In the course of its creation and recreation, they have attained that rare artistic goal: an album with few precedents and a paradigm shift richly realized. Bobby Krlic’s downcast electronic visions laces seamlessly into The Body’s already volatile mix of fissured doom metal and fused verbal spaces. The onset of a new music emerges with I Shall Die Here, and in its shifts, shadows, and reeling voices, the darkest possible formulation of electronic music has been realized.
Limited triple LP box set. Fantastic soundtrack to the film BLACK MASS RISING directed by Shazzula.
|The Rising – Part I|
|A1||Master Musicians Of Bukkake –||Durga||6:56|
|A2||Entrance Band, The* –||Juicy’s Last Dance||4:36|
|A3||Bobby Beausoleil –||Hellion Rebellion||6:30|
|A4||Makoto Kawabata –||Black Lucifer Rising Son Of A Bitch||3:43|
|The Rising – Part II|
|B1||Shazzula –||Apocalyptic Dream||5:47|
|B2||Sylvester Anfang II –||Embryo’s Dochter II||6:00|
|B3||In Zaire –||Owl’s Path||4:27|
|B4||Mourning Ring –||Chant Of The Invisible Builders||3:41|
|The Rising – Part III|
|C1||Rose Croix –||Towers Of Deimos||4:21|
|C2||Ga’an –||Living Tribunal||8:12|
|C3||Mater Suspiria Vision –||Four Horsemen Of The Apocalypse||5:52|
|The Black Mass – Part I|
|D1||Horror Illogium –||Luxus Magus||4:36|
|D2||L’Acéphale* –||Passing Into Sleep||6:02|
|D3||Cultus Sabbati –||Mouth Of The Beast||8:45|
|D4||Sayona –||First Element||2:40|
|The Black Mass – Part II|
|E1||Sum Of R.* –||Without Erika||6:06|
|E2||Kinit Her –||His Traces In Us||5:58|
|E3||Yoga (5) –||Greys||8:12|
|E4||Aluk Todolo –||Schwarzesonne||6:00|
|The Black Mass – Part III|
|F1||Burial Hex –||Backwards Curse||5:25|
|F2||Menace Ruine –||Feu Bon (Soundtrack Vinyl Version Long Edit)||7:57|
|F3||Demonologists –||Mistress Of Decay||7:12|