The inaugural Death To False Metal Festival will be taking place on May 1, 2015 on August 14 and 15, 2015 at The Outer Space & Ballroom in Hamden, CT. The event is sponsored by Earsplit PR and Metal Insider. The lineup will feature the following artists:
Presented by Annihilvs Power Electronix in association with Abstract, Black Horizons, Crucial Blast, Cyclic Law, Earsplit PR, Handmade Birds, Heathen Harvest, Heaven Street, Malignant Records and M.A.P.S., the APEX VI gala will take over Trans Pecos in Ridgewood, Queens, including sets from Portland doom cult, The Body (including guest collaborators to be announced), the second stateside performance from Dutch maniac Gnaw Their Tongues, the first appearance from Sweden’s IRM in ten years, Menace Ruine, Trepaneringsritualen, Burial Hex, Sutekh Hexen, Svartsinn, Jarl, Omei, Article Collection, Arbiter, Barren Harvest, Sophia + Karjalan Sissit, Northaunt, Havan, Funerary Call and more, in addition to short films and visual works presentations, exclusive merch/vendor wares and much more.
Sunday, October 19th, 4:00 PM. Sundays have a very distinct feel to them. Many a song and poem have been written about this undefinable quality, and while there are many perspectives on exactly what that might be, there appears to be a thread that strings most of them together. That is, Sundays feel the like the end of something, both literally in terms of it being the last day of the week, but also in a more esoteric way. So when afternoon on the last day of Southwest Terror Fest rolled around, that feeling of ending was very evident. Downtown had a lazy feel to its movement, no one was in much of a hurry. The scene in and around the Rialto Theatre was a bit more upbeat, what with staff and bands loading in gear and attending to all of the other behind the scenes minutiae that make an event such as Terror Fest run.
When the venue opened and the fans gathered for one final stretch of time with the final four bands, the mood was anything but lazy. Tucson hardcore stalwarts Sex Prisoner got a bit of a mosh pit going with their raw and abrasive tunes, and Obliterations took their cue from that beginning by delivering a smashing set of blistering songs made from a coarse blend of Black Flag and Black Sabbath. Well into their ripping set, the vocalist for Obliterations took a moment during one song to remark that “We’re not finishing this song until everyone gets on the fucking stage!” He then proceeded to help drag the front line mosh participants onto the stage until it was crowded to the nines, and then they finished the fucking song, complete with a circle pit swirling all around the stage. This was another one of those highlights from the fest that will be remembered for some time to come. To see a band perform in the midst of such non-choreographed madness with effortless ease is pretty damned neat.
Following the fury of Obliterations, Baptists, hailing from Vancouver, Canada, put the finishing touches of power and speed onto a night already productive of much along those lines. With crusty hardcore and a plethora of D-beats, the band commanded attention throughout their nonstop, pummeling assault. The band as a whole is excellent at what they do, but drummer Nick Yacyshyn is the most absolutely crucial element to their sound. His incredible energy, lightning quick fills, and his fresh take on punk/hardcore drumming is something that needs to be noted for posterity’s sake.
Once Baptists were done playing, things got a little tense and anxious around the venue. Everyone knew what was next. Here it was, finally about to happen…Sunn O))), live and with the full glory of the Omega Quartet. What may not have been apparent to all during the evening could not be overlooked any longer once all of the gear from Baptists was removed from the stage. The gigantic rig of cabs and amps, so crucial to Sunn’s sound, had been an imposing presence on the backline all day and night. After some tantalizing amount of time, the conditions were finally just right for Sunn to do what they do best. As the house lights fell and the fog machines began to fill the entire venue up with copious amounts of the cloyingly sweet stuff, a series of eerie horror movie music kept going on and on while the dense crowd awaited the coming of the drone. It seems as if Sunn O))) were messing around with the crowd and delaying their appearance with a few extra teases. Finally, when the robed ones walked out from stage right and left, shrouded in fog and purplish blue light, it was time to burn.
It is nearly impossible to accurately relay just how monumentally insane the sound of a Sunn performance is to someone who has not heard and felt it. The sheer output of energy from all of their gear floods the senses, shakes the internal organs, rattles the roots of teeth, and even vibrates the marrow within bones. It feels like a rift in reality is going to be torn wide open and a doorway to another dimension opened. As the band is projecting out this incredible mix of tones, they look as if they are invoking the rites of some occult ritual. Between the hooded robes and bladed mirror costumes, the raising of hands and guitars to the sky, or the overly reverent way in which a note is played and sustained, Sunn live is not a concert, but a true exhibition of theatrical performance art. It only grew more grandiose once vocalist Attila Csihar (Mayhem) joined the rest of the band on stage and added the throaty distinction of his voice to the cacophony. Watching the evolution of the set from one point to the next was almost timeless in a sense, as if a bubble of some otherworldly stasis was created around the Rialto Theatre for who knows how long. The set was more of one gigantic piece of music with some obvious composition behind it, but otherwise completely unconventional and unlike anything else on earth. When it finally ended and normal reality came back into focus, the feeling was probably not unlike that of someone who had just been through the experience a tornado or hurricane churning through their life, albeit a very slowly moving one. Completely surreal and unforgettable, the druids of doom that call themselves Sunn met and exceeded all of the hype that had come attached with their name. The records will never sound the same again after seeing them live. One just does not compare to the other.
So, thus Southwest Terror Fest III: The Western Front came to an appropriate end. The entire four days were a joy and the lineup was incredible not just due to the big names, but because it gave the excellent selection of smaller regional bands a chance to show that they too have something to offer and can hold their own alongside the veteran acts on the bill. There were no obvious points of conflict among the crowd, no major technical issues, or any other glaring problems that can make some festivals more of a hassle to deal with than is necessary. The only real gripe was the sound and the cramped conditions over at The District, which were unavoidable realities due to the design limitations of the building, but tolerable enough to be only a minor concern. This year was definitely the best one yet, by far. A huge leap was taken in streamlining the lineup to a “quality over quantity” way of thinking and by securing the historic and professionally run Rialto Theatre as the main venue. So what will they do in October of 2015? You never can tell, but after the success of this year, it seems that the only way to go is bigger, louder, and even more terrifically terrifying.
(Editor’s Note:) For the second year in a row Ghost Cult is pleased to bring you coverage of the premier doom, sludge, and avant-garde heavy music event on American soil west of the Mississippi river. Thanks to our friends at Violent Resonance, we have full coverage of the fest from the eyes, ears and lenses of these fine purveyors of heaviness. This post focuses on days 2 and 3 of the festival. The final chapter will appear soon, so stay tuned)
The Second Day: One Fest, Two Venues
Downtown Tucson may not be as large and sprawling as similar areas in other cities, but it surely is a bustling place around rush hour at the end of the working week and the beginning of the first full on day of Southwest Terror Fest. Located just a short walk up Congress Street from The District Tavern, the impressive Rialto Theatre, with a capacity of well over one thousand people, is a great venue with a real box office, multiple bars, and a wide stage located beneath a cavernous ceiling in the main part of the building. The marquee on the theatre’s front face was impressive as well, and it could be clearly read from over a hundred yards down the street. Twice as impressive, at least to the gathering masses of black clad fans milling around on the noisy street beneath it, were the names written upon that marquee in large block letters. Goatsnake. Neurosis. Sunn O))). A potent trinity with few equals.
Beneath the projected image of the stark white and black logo of Southwest Terror Fest, an upside down cross imposed over the drawn shape of the state of Arizona, the stage was set for one hell of a night. Kicking in some teeth with their rumbling sludge grooves, Tucson based Godhunter got the show rolling and were followed by Utah’s doom duo, Eagle Twin. Laying down devastating waves of heavy riffs and off kilter song structures, the band simply nailed it with an intense energy one could feel out in the crowd. Even more on top of their live game, instrumental titans Pelican played a simply perfect set of material from across their catalog. Watching them live was much like observing the internal workings of the cogs and gears of a well-oiled machine running at full power. Relentless and heavier than a thousand pounds of uranium, Pelican was a hard act to follow.
Perhaps another band may have balked at being that following act, but Goatsnake, Friday night’s headliner, played a set that turned out to be one of the crowning moments of the entire weekend. The heavy, bluesy rock and metal in combination with the soulful vocals and high energy stage antics of vocalist Pete Stahl really set the place on fire. Pete even jumped into the crowd at one point during the performance and sang along with the crowd. It was a special moment for many people who have been huge fans of the band for years, but had never gotten a chance to see them live on the stage or right there in the crowd with them until that Friday evening.
With the main show of the day at the Rialto Theatre ending high up on the lofty point carved out by Goatsnake’s performance, the crowd began drifting out of the venue with smiles and cheers as they headed down the street to check out the after show at The District. Another diverse lineup awaited their ears, with the doomy jams of Spiritual Shepherd inaugurating night two at the second venue. Destroyer of Light from Austin, TX brought some upbeat, driving stoner influenced rhythms, and Phoenix act Take Over and Destroy sounded like the blackened metal version of a horror film score with some gothic elements thrown into the mix. Closing out the after show, The Atlas Moth broke out the keyboards and lasers as they built up an incredible, cinematic atmosphere of sound that is all their own. A great band with great studio albums, The Atlas Moth is even better live, and seems to be growing more powerful each time they emerge from the creative cocoon of an album cycle.
Friday night could have been a standalone event and it would have been worth the admission price all by itself, but it was just one day out of four. That seemed to be the unspoken, pervasive thought that was gleaming in the eyes of many attendees at the end of the after show. It was only the beginning.
Nght Three: Moving Mountains with Sound That Defies Boundaries
Saturday,: Perhaps the most anticipated night of Southwest Terror Fest began at the Rialto Theatre with impressive performances from Sorxe and Author & Punisher. Sorxe, who hail from Phoenix, AZ, play a style of metal that is hard to classify. The band seems to wander through the grey areas where styles like doom, grunge, and experimental both intersect and diverge. Regardless of labels, the band split the air with a restrained, properly channeled fury that was quite memorable and a good mood setter for the rest of the show. Next up was one of the most unique and utterly fascinating live performances of recent memory, and it was all due to one man who performs under the name Author & Punisher.
Using homemade instruments and other electronic equipment, Author & Punisher resembled a maddened cyborg going off on a deafening, industrial music tirade. Simultaneously using all four limbs to keep the beat, to set off sound chains, or to press buttons, plus performing vocals through a strange voice apparatus cannot be an easy feat by any means, but it was pulled off with flying colors and seemingly in sync with the distorted, mind blowing visuals rolling on the projection screen during the performance. Luckily, the audience was given a few minutes of recovery time after this half hour of delectable but sanity wrenching music. The Body, yet another duo amongst the lineup of the event, stabbed the knife right back into the previously opened wound with their stripped down, extremely raw riffs and terrifying screams. The music was pain itself; translated into notes and chords that made one shudder and enjoy them at the same time, it was indeed a complete musical catharsis.
Where does one begin in describing what it is like to observe Neurosis in a live setting? How do you relate the feeling of a packed crowd waiting for the band to hit the stage? It simply is not an easy task, but most people would probably agree that Neurosis live is simply awe inspiring and beyond the realm of normal live performance standards. Neurosis becomes their music and draws the crowd into the experience with them. The headlining performance on this Saturday night of Southwest Terror Fest was no exception. Opening with ‘A Sun That Never Sets’, Neurosis tore off the roof with their masterful mix of titanic heaviness and beautiful ambiance. Much like watching a mountain collapsing in slow motion, the music is more an observation of the elements themselves in action. The set list was a very nice mix of older and newer material, and Neurosis weaved it all into a triumphant narrative that had the crowd enraptured for its entirety.
At the concert’s end, there were some people who literally had eyes brimming with tears, including a couple of longtime fans that we spoke with who had never had the chance to see their favorite band live before, and a man who drove over a thousand miles to see the band for the first time and it just happened to be on his birthday. It’s quite a thing to see people living a dream they’ve held for a long time with the hope of it becoming a reality.
Now nearly 11 PM, the after show at The District kept the music going strong, albeit with more of a “lets party!” attitude versus the soul searching intensity just concluded by Neurosis up the street at the Rialto Theatre. Windmill of Corpses brought the higher tempos of grind and crust to the shindig, and California’s Secrets of the Sky performed their textured, sludgy doom with confidence and precision. Tucson’s own North fit in perfectly right after Secrets of the Sky, continuing the expansive, melodic jams of alternating turbulence and tranquility. The final band of the evening, Primitive Man, were a different story altogether. Hitting the stage with boundless energy, Primitive Man delivered another of the fest’s highlight moments with a set of pure blackened sludge rage. The crowd, though packed tightly in the venue and tired from a long night of music, found a second wind and The District simply detonated into a sort of controlled riot. As it turns out, Primitive Man couldn’t have had a more apt band name at that late hour on Saturday night. They owned and rushed that little stage and no one could have asked for a better finale to a massive day of music and the final after show of the festival at The District.
USBM evil conjurers Sahhr have released their new video ‘Slay The Savior’ from their just released debut self-titled EP. Birthed into the world on Halloween, this California based group is made of members of notable bands such as Skull And Bullets, Dowager, Scarecrow and Unwritten Law. Ghost cult has partnered with our eternally devious comrades over at Earsplit PR for the premiere.
Watch the video below:
The impressive video was Co-Directed by Jamie Phillips & Dale Pavinski for “GORILLA Punk Productions”.
Guitarist Aarsoth says of the video—
“The video was shot in one day in an abandoned warehouse in the ghettos of LA. where a known serial killer had brought victims. There was dried blood and syringes everywhere. We broke in and just shot guerrilla style. It stunk of death, was over 100 degrees..all the cameras stopped working and the candles melted. Several of us were arrested as we finished..brilliant.”
Official Press Release:
With the official unveiling of their debut, self-titled three-track EP looming, Cvlt Nation offers up a taste of “Altar Of Maggots” from Los Angeles blackened death miscreants,SAHHR, for mass consumption.
Written by vocalist Ryllyeh and guitarist Aarsoth and recorded at Lot 54 Studio in Huntington Beach, California by Dylan-James Ehren Brock (Ghost Of Abel, Skull And Bullets, Dowager, Intestinal Buffet), SAHHR combines all the primary rudiments of black metal, death metal and metalcore into an infernal mix of unrepentant audio plague fit for fervent devotees of Watain, 1349, Goatwhore and Lamb Of God.
Relays Ryllyeh of the heinous hymn on deck, “‘Altar Of Maggots’ is a diabolical epic of anger, delivered in a concise, blackened package. An anti-theological anthem shouted to the war gods of old.”
Adds Cvlt Nation, “This song delivers a vastness of filth surround by melodic ghosts head banging to the pound of their grim drums!”
Featuring past and current members of Skull And Bullets, Dowager, Scarecrow and Unwritten Law, SAHHR formed earlier this year by singer/songwriter Ryllyeh. A veteran of the New York City punk and metal scenes since the early 1980s, Ryllyeh’s (AKA-Joe Truck, also a world renowned tattoo artist) past musical endeavors include time spent in ‘80s deathrock bands Scarecrow and Braineaters, the latter of which included ex-Samhain guitarist, Damien. He also plays bass and screams in doom heavyweights-Dowager. Ryllyeh united with guitarist Aarsoth earlier this year and instantly began composing what would become the trio of tracks occupying the EP.
“Blackened is the end, but in the case of California’s SAHHR, that doesn’t mean a narrow artistic vision in getting there. Their debut self-titled EP deftly blends an unlikely mix of influences; each track begins in a completely different place than where it ultimately ends… Groove and grimness come together in a very cohesive way here. ‘Blackened’ can allow for far more experimentation and exploration of influences than committing fully to the corpse-painted antics of full-on black metal, and SAHHR are throwing an exciting combination of sounds at the wall. Luckily, all of it sticks, and we’re eager to hear where this band takes their sonic assault in the future.”– Metal Insider
Sahhr will be released digitally on October 31st, 2014 at THIS LOCATION and on CD via Domestic Genocide in November. A host of special Halloween in Hell.
(Editor’s Note:) For the second year in a row Ghost Cult is pleased to bring you coverage of the premier doom, sludge, and avant-garde heavy music event on American soil west of the Mississippi river. Thanks to our friends at Violent Resonance, we have full coverage of the fest from the eyes, ears and lenses of these fine purveyors of heaviness. We seriously take little notice of the competition (other websites you cheat on us with) here at Ghost Cult, but if you love this great noise we call metal in its many forms, check out their sick in-depth interviews, and killer reviews. Thanks you guys!
A First Taste of Doom in the Desert
As dusk fell over Tucson, AZ on Thursday, October 16th, the third and thus far most prestigious iteration of the Southwest Terror Fest commenced with a whole new look and feel to it. Having moved further into the colorful warrens of the downtown area and expanded to two venues this year, The District Tavern and the historic Rialto Theatre, it felt as if this festival had achieved something admirable even before the first note of the first chord from the first band was played. Downtown Tucson possesses the kaleidoscopic atmosphere of many different types of art and culture mixing together in a melting pot that provides the sustenance of entertainment for people of every stripe, and for four days this month, the most widely imbibed audio brews were the twenty four various shades and vintages of the bands who brought the dark and heavy vibes of punk and metal to that scenery.
Much like the precursor shock to a devastating quake, the fest kickoff show at The District Tavern packed enough of a wallop to send one sprawling around the room a bit, but not enough to blow the place apart. Local Tucsonans Conquer Worm began the night with their brand of minimalist doom and were followed by Twingiant, the Phoenix, AZ based purveyors of roaring galactic sludge. In between these sets of ear shattering heaviness came another new aspect of the festival this year: the guerrilla troubadour known as Amigo The Devil. Performing his first of several impromptu sets of what can best be described as acoustic “murder folk”; Amigo hopped up onto the bar with a banjo and serenaded the tightly packed crowd with some tongue in cheek tales of woe. This brought a nice new element to the event, by breaking up the usual cycle of one band playing, a set change, and another band playing.
The final two bands of the kickoff show, Oryx and -(16)-, ended the first night of the fest on a pretty high note. Oryx, a two person psychedelic doom crew from New Mexico, brought a depth and intensity far out of proportion to the number of band members, and veteran sludge metal practitioners -(16)- riled the crowd up with an impressive set that showed they haven’t lost any steam after twenty-two years on the scene.
The long, narrow dive bar shtick of The District brought the music up close and personal, and despite the cramped conditions at times, the environment and music transported the crowd to another place of pure enjoyment. Without looking out the front windows of the venue, someone could even imagine that this show was taking place in a tucked away alley of Manhattan or Chicago. The sound was fair to good considering the dimensions of the venue, but this was more than made up by the proximity of the stage to the crowd: neck to neck and about as personal as it can get.
Overall, the first evening of the fest was satisfying and the mood of concert goers was one of anticipation for the upcoming days of the event. The sense of community and diversity among the attendees was fascinating as well. One could hear accents from all across the Unites States and the world. There were fans from Germany, Israel, and France right there in the desert town of Tucson, AZ. Build it and they will come, indeed.
Los Angeles Death Metal emissaries Annihilated are preparing to drop their brutal début manifesto, XIII Steps To Ruination from Unique Leader Records on October 28th (next Tuesday). Featuring former members of Abysmal Dawn, Grotesque, Excretion, and Arkaik the band may be new, but has the pedigree of hardened musical killers. Ghost Cult is proud to partner with Earsplit PR to bring you this great new band!
Listen to ‘Global Enslavement’ now!
Official Press Release:
California-based extreme death metal perpetrators, Annihilated — who features within its ranks, current and former members of Abysmal Dawn, Grotesque, Excretion, and Arkaik — will spread their sonic sickness across the lands this Fall with the release of debut full-length, XIII Steps To Ruination.
Set for official unleashing via brutality powerhouse, Unique Leader Records, later this Fall, Annihilated’s XIII Steps To Ruination was produced by drummer Scott Fuller (Abysmal Dawn) and boasts eleven pounding, methodically-crafted tales of torment bedecked in hailstorm riff sequences, homicidal blasts, maniacal vocal onslaughts, and strategically composed percussive syncopation all fueled, conceptually, by political/corporate disgust and societal revulsion. As an added bonus, XIII Steps To Ruination features guest appearances by Sven De Caluwe (Aborted), Monte Pittman (Prong), Peter Truax (Vesterian, Eyes Of Fire) and Eric Stobel (Plaguereaper, P.O.R.).
Comments Fuller of Annihilated’s union with Unique Leader: “We are psyched to be a part of the Unique Leader family. With such a notable roster of brutal death metal bands and awesome releases, we feel right at home.”
XIII Steps To Ruination Track Listing: 1. Global Enslavement 2. Eyes In The Sky 3. This Fear I Speak Of 4. XIII Steps To Ruination 5. Eradication Profits 6. Divide Distract Deceive 7. For The Ignorant 8. Wastelands 9. Creations Of Man 10. Throne Of Eternity 11. Putrifacation
Annihilated was forged in 2008 by guitarists Eric Matranga and Robert Fimbres shortly following the demise of Los Angeles’ Excretion. Intent on composing music with a purpose, Annihilated stands resolutely against the prevalent “sheep mentality” of society in favor of rational thought, questioning the motives of government and news media outlets though debilitating auditory domination.
XIII Steps To Ruination will see release via Unique Leader Records on October 28th, 2014 North America, October 31st,2014 in Europe and November 3rd, 2014 in the UK. Preorder your copy today at THIS LOCATION.
Ghost Cult is proud to present, in cooperation with Earsplit PR, a much sought after, yet heard too little track: ‘Earthwork Misthill’ from venerable British black metal experimentalists Emit. The consistently evil Crucial Blast Records is putting out the official re-release of Spectre Music of Antiquary, which has been long out of print, yet living in the memory and mythology of obsessed fans. This album is essential for those who delve into the bleak, ambient past of black metal, thick with atmospherics. This release was so limited and rare in its initial pressing that this re-issue will see the music seep into the psyche of fervent fans for the first time ever, in many cases. ‘Earthwork Misthill’ is creepy as hell, but like all of Emit’s output, never feels contrived.
Listen to ‘Earthwork Misthill’
Official Press Release:
This October, American purveyors of the extreme musical underworld Crucial Blast Records will officially re-release Spectre Music Of An Antiquary, the sought out-of-print 2012 album from UK ambient/black/noise metal entity, EMIT.
A full-length collection of murky ambiance, deranged ‘80s-style synthesizer-driven, ritualistic black drift, and stranger sound forays into black noise, Spectre Music Of An Antiquary was first released as an extremely limited cassette on Glorious North, marking the first new material from EMIT in over five years. This British outfit has been creating their unique brand of experimental blackened delirium since the late 1990s, branching out of a low-fi UK black metal band called Ante Cryst. With EMIT, the members began to explore a creepy, synth-heavy sound that was unmistakably descended from black metal but supremely more deformed, combining harsh electronic noise, horror-movie soundtrack atmospherics, droning keyboards, wrecked and fractured black metal guitars, and bizarre vocals that would often push the collective’s music into a strange realm of hallucinatory, ghastly psychedelia.
Though on Spectre Music Of An Antiquary, EMIT’s sound has morphed into something that more resembles some mutated, primitive ‘80s darkwave being completely taken over by malevolent spirits, with eerie electronic drones and distant moaning vocals often taking over; very different from past recordings, though no less weird or phantasmagoric. And as with other offerings, Spectre is concerned more with the occult lore and hidden history of the British Isles than Satanism or goat worship or any of the other over-used black metal tropes, which all serves to enhance the wraith like vibe of these songs.
A must-hear for anyone into the murky surrealistic blackness of artists like Reverorum Ib Malacht (a band that has shared members with Emit in the past), Yoga, Occultation, Uno Actu, Utarm, and Dapnom, Spectre Music Of An Antiquary will see official re-release via Crucial Blast on both digital download and digipak featuring evocative, all-new artwork on October 28th, 2014.
Monumental forces of post-metal, doom, and blackened sludge take over Tuscon, AZ next week for the third edition of the Southwest Terror Fest a.k.a Southwest Terror Fest III: The Western Front or SWTFIII. The fest takes place from Arizona from October 16th through 19th. The four day event includes headliners like Neurosis, Sunn O))), Goatsnake, -16- as well as other top line acts such as Pelican, Oryx, The Atlas Moth, The Body, Baptists, Primitive Man, Author And Punisher, Obliterations and many, many more more. Plenty of tickets for all stages are still available. As we did last year, Ghost Cult with bring you coverage of fest courtesy of our friends at Violent Resonance. Those guys rule, so please go check them out!
Ticket packages for Southwest Terror Fest are still available RIGHT HERE.
The lineup and running order for the massive Southwest Terror Fest III: The Western Front aimed to overthrow Tucson, Arizona from October 16th through 19th has been finalized and announced.
With four nights of action between both the historic Rialto Theatre for the main stage events, and nearby The District Tavern for the kickoff and after-shows, the third and by far most massive installment of Southwest Terror Fest takes this now annual extreme metal gathering up to an entirely new level.
Headlining acts for Southwest Terror Fest III: The Western Front include Neurosis,Sunn O))) and Goatsnake. Since previous announcements, both The Fucking Wrath and Night Demon have left the lineup and replaced by Chicago’s The Atlas Moth and New Mexico-based Oryx, respectively. Additionally, Miami-based soloist Amigo The Devil has been added as the festival’s wandering troubadour for the weekend with impromptu sets at both venues throughout the event. The diverse lineup rounded out with and also locked into the itinerary.
Additionally, SWTF III was prominently discussed in a massive cover feature for the Tucson Weekly with one of its creators, Godhunter‘s David Rodgers,HERE.
Southwest Terror Fest was founded in 2012 by members of Tucson-based underground acts Godhunter, Inoculara, Diseased Reason and Great American Tragedy in conjunction with local venues and businesses, in order to bring a full-bore event to underground music fans the Southwestern portion of the country. 2013’s event doubled in size from the maiden voyage, and now the third installment of the crushing event will bring an exceptional amount of additional new fans to the festival than ever before.
Doom laden hardcore group Godhunter have collaborated with anthemic folk group Amigo The Devil, the two track Ep features one original track entitled ‘Weeping Willow’ as well as a cover of Nirvana’s ‘Something in the way’. The EP is scheduled for release for the Black Friday event on the 28th November.
As Tucson’s Godhunter takes their confrontational auditory demolition back out on the road this week for a twelve-city West Coast run with Sorxe, the band announces yet another new set of recordings destined to see release this Fall.
After the release of their debut album, City Of Dust and the more recent GH/0ST:S split LP with Oakland’s Secrets Of The Sky both released this year, Godhunter now announces a collaborative EP with Miami-based Amigo The Devil . While all of Godhunter’s 2014 releases have shown their generally crushing sludge/crust-influenced hardcore grooves giving way to more ethereal, organic rock influences, expanding the use of keys and acoustic instruments, the newly completed collaboration presents an incredible new sound completely.
The charismatic murderfolk of Amigo The Devil , currently calling Miami, Florida home, features the soulful vocals and Americana-based anthems of one Danny Kiranos, who here unites with Godhunter, who provides virtually all instrumentation on these two incredibly accessible, somber and beautiful yet ominous tracks. The collaboration, The Outer Dark, includes one original tune, “Weeping Willow,” paired with an awesome cover of Nirvana’s “Something In The Way” on the B-side.
As with City Of Dust and GH/0ST:S, The Outer Dark will see release through a union of Godhunter -co-owned Battleground Records and Earsplit’s label The Compound, who will release the album on 7″ vinyl on Black Friday, November 28th. Preorders audio from the release and more will be released in the near future. Nearly all of Godhunter’s prior releases are available via The CompoundHERE.
Later this month, both bands will perform at Southwest Terror Fest III: The Western Front — the massive Tucson-based musical gathering co-created by members of Godhunter among others — with Godhunter performing at the Rialto Theatre on Saturday, October 17th with Eagle Twin, Pelican and Goatsnake, and Amigo The Devil performing sporadically and randomly at both The Rialto Theatre and the nearby The District Tavern over the entire four-day event. Leading up to the fest, Godhunter will torch the West Coast alongside Phoenix-based Sorxe, the tour beginning this Thursday, October 2nd. Both bands will perform at the two-day Lucifest II with Demon Lung, Reproacher, Secrets of the Sky and others, and will join the likes of Graves At Sea and more along the way before closing the tour down at SWTF.
Stream all of GH/0ST:S via Revolver HERE, and check out a recent video interview with Godhunter right HERE.
Godhunter Tour Dates: 10/02/2014 The Hive – Flagstaff, AZ w/ Sorxe 10/03-04/2014 Mojo’s Music Venue – Odgen, UT @ Lucifest II w/ Sorxe, Secrets of the Sky, more 10/05/2014 Lion’s Lair – Denver, CO w/ Sorxe 10/06/2014 TBA – Casper, WY w/ Sorxe 10/07/2014 The Shredder – Boise, ID w/ Sorxe 10/08/2014 The Hop – Spokane, WA w/ Sorxe 10/09/2014 The Shakedown – Bellingham, WA w/ Sorxe 10/10/2014 Victory Lounge – Seattle, WA w/ Sorxe 10/11/2014 The Know – Portland, OR w/ Graves At Sea, Sorxe 10/12/2014 Hemlock Tavern – San Francisco, CA w/ Sorxe, Secrets Of The Sky 10/13/2014 Black Flame Collective – San Bernadino, CA w/ Sorxe 10/17/2014 Rialto Theatre – Tucson, AZ @ SWTF III w/ Goatsnake, Pelican, Eagle Twin
Amigo The Devil Live: 10/16-19/2014 Southwest Terror Fest – Tucson, AZ