Oathbreaker has returned with a new single ‘Ease Me’. Originally released as part of the Adult Swim “Metal Swim 2” compilation last year, ‘Ease Me’ has now been remixed and remastered, and will see a proper physical release in May via Deathwish Inc. The track has been remixed/reinterpreted by incredible artists Jesu, Chelsea Wolfe, WIFE, and Michael A. Muller, and recorded by Michael Neyt at Jetson and later mixed and mastered by Jack Shirley at Atomic Garden. Listen + share the ‘Ease Me (Jesu Remix)’ here.
Underground cult hip-hop trio Dälek have created a new album due out this April from Profound Lore on April 22nd. Asphalt For Eden will be their first full-length album since 2009s Gutter Tactics (Ipecac). They have released 5 other albums and performed with KRS One, Tomahawk, The Melvins, TOOL, Grandmaster Flash, Jesu, Dillinger Escape Plan, Pharcyde, RJD2, DeLa Soul, Prince Paul, Lovage, ZU, Black Heart Procession, Gaslamp Killer, Earth, Flying Lotus, The Bug, Mastodon, Fantomas among others.
Dälek – Asphalt For Eden track listing:
2. Guaranteed Struggle
3. Masked Laughter (Nothing’s Left)
7. It Just Is
They have booked a record release show in Brooklyn on April 22nd. Support will come from Dreamcrusher and Psalm Zero.
Dälek record release party, with Dreamcrusher and Psalm Zero
The Bell House
Brooklyn, New York
$12.00 – $15.00
This Event Is 21 And Over
Doors: 8:00 PM – show: 9:00 PM
MC Dälek -vocals/producing
DJ rEk on turntables
Mike Manteca – samplers, effects and co-producer
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In a post online yesterday Justin K Broadrick (Godflesh, JK Flesh) announced the next album from his JESU project will be a collaborative album with Sun Kill Moon and come out in early 2016.. Releasing on February 19th from Caldo Verde Records, the album is expected to appear in CD, LP and digital formats.
Hex Inverter is streaming “The Mission Statement” off of their self titled debut here. The album was recorded by the band’s own Mick Mullin (Intronaut, Woe) and mastered by James Plotkin (Khanate, Palms). The record’s stunning layout and design was created by artist Brian Azer (Sun Kil Moon, Jesu). The band has upcoming tour dates with Kayo Dot and Giant Squid.
01: Led to This Place
02: Even for No One
03: The Mission Statement
05: Into the Hills
06: Beneath the Weeds
08: Something It’s Not
HEX INVERTER tour dates:
May 20: BAR New Haven – New Haven, CT (w/ Kayo Dot)
May 21: The Paper Box – Brooklyn, NY (w/ Kayo Dot)
Jun 24: TBA – New Haven, CT
Jun 25: Lucky 13 Saloon – Brooklyn, NY (June 24-27 w/ Giant Squid)
Jun 26: Kung Fu Necktie – Philadelphia, PA (June 24-27 w/ Giant Squid)
Jun 27: Machines with Magnets – Pawtucket, RI
Those who have ever witnessed Godflesh performing live in the past, could not have been more delighted after the announcement of upcoming UK tour in August. The release of well-received A World Lit Only by Fire, one of the most anticipated returns in alternative music, whetted fans appetites even further.
When I entered Sound Control in Manchester, I am greeted with a pleasing view of crowd, consisting of metal heads, industrial and core fans, shoulder to shoulder gathered in great anticipation.
Clouds of vapour embrace the equipment on stage, and here they are – two men who influenced bands like Faith No More or Korn, but have forever remained in the music underground.
And it is Godflesh at their best – G.C. Green operates his bass with industrial tool precision, and the legend himself, Justin Broadrick, shreds his guitar in uncompromising manner, filling the room with unmistakable vicious and razor-sharp riffs.
A laptop connected to stage equipment plays ruthless beats that can only means one – a hell of a performance. Around 200 other people rhythmically headbang in approval.
First half of the gig contains purely of new material. And the performance is even better than on the album! The greatest difference make Justin’s vocals. He apologises for throat infection that cause him problems to perform clean vocal parts, but the audience does not mind at all – vocals are much more harsh and brutal than on studio recordings. A delightful and unexpected occurrence.
After performing six songs from the latest album, fans become more animated after hearing familiar notes of ‘Christbait Rising’, ‘Streetcleaner’ or ‘Crush My Soul’.
The gig finishes with encore, long-demanded ‘Like Rats’, on which the audience responds with wild pogo dance. To wrap up Godlfesh great performance, Justin Broadrick give improvised display of guitar cacophony. Combining with creative stage lighting this turns into a spectacular finale.
Mr. Broadrick nods and discretely exits the stage. A monster in average Joe skin.
But satisfied fans, slowly leaving the club, are left with fantastic memories of one of the most non-average performances in Manchester this year.
Godflesh are back, and they are better that ever.
Godflesh is too cool for Facebook
WORDS: ARMEN HACZMERIAN
PHOTOS: KIRSTEN HEL
The four track EP includes remixes from Justin Broadrick (of Godflesh, Jesu), Aaron Harris and Bryant Clifford Meyer of ISIS/Palms, and, for only the second time in their fourteen year career, vocals. Allen Epley (Shiner, The Life and Times) will be contributing his voice once again. He previously contributed to “Final Breath” on 2009’s What We All Come To Need. Listen to “The Cliff” (vocal version) here.
The Cliff Track Listing:
1. The Cliff (Vocal Version)
2. The Cliff (Justin K. Broadrick remix)
3. The Cliff (AH & BCM remix)
4. The Wait
Throughout his career, Justin K. Broadrick has never been willing to compromise his artistic vision. From the beginning Godflesh laid the groundwork for everyone from Fear Factory to Isis, carving out harsh landscapes of metallic industrial noise steeped in the grim and filth of the Birmingham factories that surrounded them. Since the band’s hiatus from 2002 to 2010 Broadrick indulged his creative muse by lending his talents to ambient music (Final), Techno Animal (Hip Hop) and shoegazing post metal act Jesu.
A World Lit Only By Fire (Avalanche Records) is as bleak and apocalyptic as its title suggests. Swan song record Hymns may have used real drums and incorporated further melodies but this is the sound of Broadrick returning to the harrowing, coldness of old with just his old running mate G.C. Green and their trusty drum machine for company.
The crushing landscapes of Streetcleaner are recalled in the merciless dehumanised beats yet the harshness of the eight string guitar has taken this unforgiving creation an even blacker more disturbing feel.
While this approach will undoubtedly excite fans of the band’s early works this is no mere exercise in nostalgia. The use of eight string guitar has aided the development of the band’s penchant for dissonant minor key melodies strung out over visceral minimalist beats which drive the band’s point home perfectly.
The churning riffs of ‘Life Giver, Life Taker’ and ‘Carrion’ give whole new meaning to relentless nihilistic aggression harnessing the atmosphere of their earliest works while retaining a feel which is unmistakably contemporary.
No quarter is given through this punishing ten song assault. The brutal repetition and feeling of emptiness is embodied greatly on closer ‘Forgive Our Fathers’ where Broadrick alternates from drill sergeant brutal screams to wails of torment that echo true desperation in a way that is almost too close for comfort.
The momentum never lags throughout this fearsome monolith feeling urgent and vital throughout. It may be their first full length in thirteen years but every fibre of the bands DNA has mutated into an even more virulent strain of post-Sabbath paranoia whose icy claws cannot be escaped.