Tuesday, 19 September 2017

ALBUM PREMIERE: Deadsmoke’s new record “Mountain Legacy” comes crashing down like the heavens themselves have cracked


You like your doom loud and vicious?  Then ask no more because today you shall receive it, indeed straight out of the ethereal haze and armed with a tone that could rupture the tectonic plate, Deadsmoke’s new record “Mountain Lagacy” comes crashing down like the heavens themselves have cracked. 

“Mountain Legacy” is set for release via Heavy Psych Sounds on 29th September and is the natural evolution for the band, whilst the album retains their archetypal deep fuzz guitar tone and the snarl of the bass, as a follow up to their 2015  self titled debut, “Mountain Legacy” ups the stakes and takes the listener on  a aural journey their debut only dared touch upon, a perfect juxtaposition of light and shade, this album is ultimately cavernous scale and could literally reduce mountains to dust.   


Taking cues from the likes of Conon, Monolord and the mighty Sleep, stylistic it may be rudimentary metal, but this is bludgeoning stuff and maddeningly effective doomentia, that will infect your mind and rattle your soul.  “Mountain Legacy” is available for preorder/buy here and you can check out the album in full below. 



Band info: bandcamp || facebook

ALBUM REVIEW: With The Dead - "Love From With The Dead"

By: Charlie Butler


Album Type: Full Length
Date Released: 22/09/2017
Label: Rise Above Records




The opening quartet of tracks here offers up a relentless onslaught of earth-shaking doom. Tim Bagshaw is on fine form, unleashing an endless stream of mammoth riffs and lead guitar that channel the hazy evil of his finest moments in Ramesses.  Lee Dorrian’s half spoken, half roared vocals work well in amongst the carnage and are a breath of fresh air in the modern doom landscape.


 


“Love From With The Dead” CD//DD//LP track listing:




1). Isolation
2). Egyptian Tomb
3). Reincarnation of Yesterday
4). Cocaine Phantoms
5). Watching the Ward Goes By
6). Anemia
7). CV1

The Review:

The future of With The Dead seemed bleak following the sudden dismissal of Mark Greening shortly after the release of their debut. New LP “Love From With The Dead” shows there is plenty of life left within these undead servants of the riff.

It’s noticeable even from the bowel-churning opening notes of “Isolation” that “Love From With The Dead” is a different proposition from the band’s debut. Fortunately there is no change on the punishing heaviness front, but the strange atmosphere of their first album has been supplanted by a more conventional production and sound that befits the development of With The Dead from a studio project to a full live band. 

The opening quartet of tracks here offers up a relentless onslaught of earth-shaking doom. Tim Bagshaw is on fine form, unleashing an endless stream of mammoth riffs and lead guitar that channel the hazy evil of his finest moments in Ramesses, particularly during the epic churn of “Egyptian Tomb”. Lee Dorrian’s half spoken, half roared vocals work well in amongst the carnage and are a breath of fresh air in the modern doom landscape. The new rhythm section of Leo Smee and Alex Thomas do a grand job of laying down an unshakeable foundation of low-end filth. 

With The Dead could probably draw upon an infinite well of sludged-up ragers like “Reincarnation Of Yesterday” and “Anemia” but it’s the deviations from the script that lead to the album’s finest moments. “Watching The Ward Go By” is a haunting and crushing dirge built around a single, desolate chord sequence. It emerges from a fog of eerie faraway sounds as a hushed, funereal hymn with Lee Dorrian’s spoken intonations heightening the dread. Around the mid-point the track erupts into a distorted nightmare that wrings maximum torment from the glorious monotony.

The best is saved for last in the form of the monstrous 17 minute “CV1”. It begins in familiar territory with lumbering riffs acting as a perfect foil to Dorrian’s impassioned rant about the sad decline of his home of Coventry. Around the mid-point the band lock into a minimal droning groove that the band hammer into oblivion. This acts as the backdrop for swirling psychedelic sounds and a rising tide of harsh electronic squall that finds With The Dead moving into a higher dimension of dark, mind-expanding noise.

“Love From With The Dead” could probably do with trimming some of its mammoth sixty minute plus duration to maximise impact but this is a minor complaint. This is a massive offering from With The Dead that demonstrates the band are still a force to be reckoned with in terms of heaviness and hints at a weirder future ahead.  

“Love From With The Dead” is available here




Band info: facebook

Monday, 18 September 2017

ALBUM REVIEW: Myrkur - "Mareridt"

By: Ernesto Aguilar


Album Type: Full Length
Date Released: 15/09/2019
Label: Relapse Records


 


Rarely does a recording embody the dynamism of heavy music, while being legitimately artful and musically resplendent, "Mareridt," just happens to be one such album and with it, all your expectations will be exceeded.




"Mareridt" CD//DD//LP track listing


1. Mareridt
2. Måneblôt
3. The Serpent
4. Crown
5. Elleskudt
6. De Tre Piker
7. Funeral (featuring Chelsea Wolfe)
8. Ulvinde
9. Gladiatrix
10. Kætteren
11. Børnehjem

The Review:

What metal fan hasn't had the talk with a friend, partner or acquaintance? You know the talk? It is that moment of judgment. It is at once an inquiry of a sound as it is a question about you are as a person. What attracts you to this howling? Implicitly, because it is less polite, is the query: what in you is broken that prompts you to listen to this?

It is a thematic inquiry too of course. Extreme music's foreboding images and confrontational sound are disquieting for listeners of many other styles of music. Like the ghosts in our stories, the specter of Tipper Gore and the Parents Music Resource Center hangs heavy. For every genuinely curious question, there are three value-laden ones, which probe scarring of listeners to such noxious aural assaults.

Without a doubt, plenty of metal is proudly noxious. The music is by its very definition bellicose. So, when a recording appears that embodies the dynamism of heavy music, while being legitimately artful and musically resplendent, it is singular. Such is the case with the return of Myrkur's new release, "Mareridt."

The one-woman project of multi-instrumentalist and vocalist Amalie Bruun, Myrkur has specialized in the classic sound of black metal with folkloric as well as orchestral flourishes. Bruum's 2014 debut drew much praise for its virtuosity. "M," the 2015 follow-up, saw assists from members of Mayhem, Arch Enemy and Ndingr and received international awards. Buoyed by a live record last year, interest in Myrkur has only grown since "M."

You will have every high expectation exceeded with "Mareridt," Myrkur's latest. Its title is Danish for "nightmare." It is anything but.

With the title track opening the new record, tinges of folk metal with its waves of ceremony and menace wash over your mind. In addition to being a fantastic start to the many moods you catch across 11 tracks; it is simply an impeccably composed song. Outstanding vocals and exemplary instrumentation make it a great beginning, lolling into crisp guitar work of the fast but understated second wave of black metal. Like some other cuts on the recording, such as "Gladiatrix" and "De Tre Piker," the title track sets a blueprint for a blend of metal snarling and otherworldly singing. Many artists have employed this mode of attack over the years. Myrkur just happens to do it exceedingly well.

Back to the talk. To many people, this style of metal is unexpected. For a mainstream that associates most metal with volume and corpse paint, the variants like this will challenge opinions. Most labels and more observant fans recognize the potential for music like this is break boundaries and attract new audiences. Consider the regard for French act Alcest when it surged to prominence in the mid-2000s with a black metal style that engulfed shoegaze and pop strands at points. Having a sound that is at once bold yet divergent is a blessing and a curse, certainly. By "The Serpent," your internal conversation may be quite active, as you may ponder if there is no limit, in truth. It and the following track, "Crown," are easily the most accessible on the album. Both are appreciable for their artistry. They're also unlikely to be considered metal by American hardcore fans or the mainstream. Regardless these cuts, and several other moments, are sure to make you step back, beyond extreme music, and appreciate their creativity and fearlessness.

Myrkur deserves much praise for presenting a fully imagined release, one that goes from gauzy to portent in the blink of an eye. From the efficaciously strong "Funeral," with singer-songwriter Chelsea Wolfe, or the closer, "Børnehjem," a supernatural first-person tale, Bruun is sure to prompt you, and the friends wanting to have the talk, to think about extreme music in a renewed way.

"Mareridt" is available here




Band info: facebook || bandcamp

Friday, 15 September 2017

FOR THOSE ABOOT TO ROCK: Riffs of Canada introducing Völur (Toronto, Ontario)

By: Mark Tremblay

Album Type: Full Length
Date Released: 02/06/2017
Label: Prophecy Productions



“Ancestors” CD//DD//LP track listing:

1). Breaker of Silence
2). Breaker of Skulls
3). Breaker of Oaths
4). Breaker of Famine

The Review:

Völur are a doom 3 piece from Toronto, Ontario whose approach to doom is stripped down and re-imagined. Gone are the redundancy's of guitar riff worship, and what you are left with is a completely refreshing approach to the sub-genre. Utilizing violin, bass, and drums, Völur capture a primal form of Doom Metal for a modern audience.

“Ancestors” is an emotional journey from front to back. The album is broken into 4 movements; “Breaker of Silence”, “Breaker of Skulls”, “Breaker of Oaths”, and “Breaker of Famine”. The absence of guitar on this record opens up an entire world of tortured violin feedback and noise; filling in a much more textured experience. The addition of chamber vocals also helps the band achieve “heavy” and is what truly separates this band and their record from the rest of the pack. Let “Ancestors” consume you, in what is likely the most refreshing and sophisticated doom records of the year.

“Ancestors” is available here




Band info: bandcamp || facebook

INTERVIEW: Owlcrusher - "Apocalyptic, Hateful and Nihilistic Blackened Sludge since 2008".



Sludge, doom, funeral doom and all the many sub genres within it could easier be viewed as the easier versions of metal and your average half baked pipple faced journalist will probably try to argue that point, but to me the counter point to bands such as Rings of Saturn is that technicality is one thing, but often what is lacking is that all important “feel”.  Does the overall experience of an album with mechanical dexterity leave you feeling cold or does the power of a slow Sleep like dirge make you feel all warm and fuzzy?

For me low and slow gets my vote and when songs are played with the ferocious intensity and terrifying precision of a group as remarkable as today’s guest Owlcrusher, their combination of glacial riffing, blistering vocals, and sludge is every bit technical as the best shredders, because it feels cathartic, invigorating and plain addictive, which your average tech band just can’t replicate.    

From the opening of Owlcrusher’s debut full length, the whole mammoth affair has a delightfully unsavory flavor: even the ambient tones recall the scuzzy industrial planetscapes of Eraserhead.  But when the trio comes to life, the sheer scope is undeniably menacing.  With three tracks spread across 45 minutes, each song embraces sprawl and space: the reverb heavy drum tone pounds like the pulse of a leviathan.  The low end guitar tone crackles with fuzz, while the bass rumbles so menacingly that, with the right sound system, you may get your guts churning like you’ve just been forced to smoke a whole pack of unfiltered cigarettes – you’ve got the cold sweats, your insides feel poisoned, and you’re probably gonna puke, but god damn it you’re not hooked.

Today after many months of delay (e.g. my own tardiness), I can present a short and yet insight interview with bassist/shouty person Steve Hobson from the band. A band we rate very highly indeed.  So check it out below and don’t forget to like, follow and share their music. 



So when you’re not heading up funding raising events for the annual Ornithology convention, can you give us an insight into how you guys started playing music, leading up to the formation of Owlcrusher?

Well, for a start, it’s probably worth saying at this stage before some fucker sicks PETA on us; we’re not as anti-owl as the name suggests. Thats reference to Moloch; the Owl from the Bohemian Grove Cremation of Care ceremony, which might or might not be a real thing. Not for us to say. We don’t condone any harm coming to birds or animals. Especially not spooky ones that have a reputation for scaring the shit out of people.

As for the band, it’s a bit of a saga. Me and Andy have known each other since we were kids. We lost touch for a while but started hanging out together when we started drinking under bridges in our home town. By that stage he’d started playing guitar and jamming with Damo. I’d been playing in bands for a while at that point and we tried to get something going between us. This was about 2001 and I moved away shortly after that and joined Bad Boat (Me and Andys other band), while Andy and Damo formed Throat Locust. Over time Throat Locust turned into Dwell in Sun, who changed their name to Owlcrusher around the time I took over the vacant bass slot, so it kind of came full circle eventually. That sort of brings us to now.

Although you released “Owlcrusher” (your debut full length), nearly 10 years after your inception, for folks unfamiliar with your band, is there any bands on the scene past and present that you would use as a reference point bands to describe your band, and who or what continues to inspire you and push you to try new things?

I suppose it would be different for each of us where that’s concerned. I think on the whole its stuff like Burning Witch, Goatsnake, Moss, and so on who would be obvious reference points, but after 10 years hopefully there’s other things going on in there as well. I’ve always thought there was a bit of a Godflesh feel to it; and threes definitely nods towards a black metal aesthetic. Not in a huge way, because if your Black Metal record is sounding like us, your record player might be fucked, but threes a coldness to it, especially in Andys vocals, that leans us that way a bit I think.

As for what inspires us, musically there’s not really anything you could call a unifying band or style. We’d be here all day listing the stuff we’re into; it’s different for each of us these days and a comparatively small amount would be anything like Owlcrusher in the strictest sense. Owlcrusher’s more of a way of processing negativity and making the ugliest noise we can so we don’t go spare at the horror of it all. Catharsis is a word that gets bandied about a lot, and can sound a bit trite, but I think we’re all a little more well-adjusted and approachable from day to day because Owlcrusher sounds the way it does. 

Does anything spring to mind when you think about the completion of your new record and how is the mood in the camp at present

I think the fact that it took a year to the day to get it finished made us feel a bit daft. Moods good though. We’ve just signed to Seeing Red Records and they're sorting the kind of physical release we could probably not have afforded, as well as actually having enough faith in us to make us want to be a bit more proactive in return. We've definitely a lot more fire in our bellies to put some effort into touring and the like.



What stands out as your overarching memory from the recording sessions?

Amp Porn. We were greeted at the studio by walls lined with old and new equipment for every conceivable sound we could have wanted, so we indulged ourselves a bit. I played through a bass rig that was taller than me, Andy had a Matamp and Mesa Boogie setup to record into two different channels at once and Damo got to experiment with a bunch of cymbal setups (even though he settled on his own original one in the end) and Niall (Doran, the engineer at Start Together Studio who recorded us) astounded the shit out of us by being equal to any stupid suggestion we may have had. If we said "I want to play that left handed twelve string and have it sound like seagulls he'd say "ok. How many seagulls?"

Couldn't ask for a better way to record really.

With a new record in the bag, how is your schedule shaping up over the next 12 months?

We're not really looking too far ahead quite yet. We want to get the CD out, do some launch shows, then hopefully get some touring done in support of it should the opportunity present itself. We've already started into writing the next one, so that should be out by 2027 all being well.

Finally, do you last words?

I imagine my last words will be "stop pointing that at me" or "yes I can catch it". Something like that.

 The End

Owlcrusher” is available digitally here and on limited CD here

Band info: bandcamp || facebook

REVIEW & TRACK PREMIERE: Outsideinside - "Sniff A Hot Rock"


By: Ernesto Aguilar

Album Type: Full Length
Date Released: 29/09/2017
Label: Machine Age Records |
Sixteentimes Music





"Sniff a Hot Rock" track listing

1. Pretty Thing
2. Shot Me Down
3. Empty Room
4. Misled
5. Can't Say Nothin'
6. Eating Bread
7. Ten Years
8. Say Yeah

The Review:

Hard rock is such a complicated subgenre. It walks that line between metal and mainstream rock, and it is so very easy to flop colossally straight into Creed-ville. Or cover-ville. Neither is particularly pretty.

Pittsburgh group Outsideinside first popped on the musical landscape via a 2013 split EP with “Old Head”. That appearance followed a few years of live shows and studio work. Now, the quartet is out in force with its premiere full length, "Sniff a Hot Rock."

Although billed as a hard rock act, Outsideinside is heavy with the funk, rock and other influences. Singer/guitarist Dave Wheeler flashes some killer blues chops on "Ten Years" and hits a modern rock vibe on "Can't Say Nothin'." Bassist Jim Wilson and drummer Panfilo Dicenzo definitely craft that hard rock edge, but are talented at flirting with other techniques as well. A strong rhythm section with clarity on its sound makes or breaks a hard rock performer. Dicenzo and Wilson pair up well to make Outsideinside's music sound brash, but smart.

"Sniff a Hot Rock" further deserves acknowledgment for when Wheeler and company exhibit a self-awareness enough that the band can meld diverse inspirations. This is critical, but often unnoticed. Hard rock fans can feel a band when it starts losing itself or panders to trends. Outsideinside's full length avoids these traps quite well.

The outfit has some particularly forceful songs. The base of "Empty Room" may remind you a bit of, oddly, early music by Inside Out, the group that would later evolve into Rage Against the Machine. "Pretty Thing" has got a brawny riff that elevates the track, along with some classic elements to top it off. And the same can be said of "Shot Me Down," where the group's harkening to legends like Jimi Hendrix and Humble Pie is most evident.

While doing a yeoman's task to represent its ethos fully on disc, one has to believe the live experience of Outsideinside is particularly excellent. If hard rock is your bag, Outsideinside may well be worth a stream.

"Sniff a Hot Rock" is available here


Band info: facebook

Thursday, 14 September 2017

ALBUM REVIEW: Boris - "Dear"

By: Mark Ambrose

Album Type: Full Length
Date Released: 14/07/2017
Label: Sargent House |
Daymare Recordings 


From the opening track, “D.O.W.N. –Domination of Waiting Noise–“, Boris conveys punishing volume so effectively that your ears will ache at practically any level.  Every note and every layered vocal has been obsessed over, placed perfectly in the mix, and acts as a distillation of twenty-five years of intense collaborative synthesis.

Dear CD//DD//LP track listing

1. D.O.W.N. –Domination of Waiting Noise–
2. DEADSONG
3. Absolutego
4. Beyond
5. Kagero
6. Biotope
7. The Power
8. Memento Mori
9. Dystopia –Vanishing Point–
10. Dear


The Review
                 
There is a unique feeling of terror when diving into the sprawling works of prolific musicians: where do you start with a catalog as huge as say, Frank ZappaAni DiFrancoNapalm Death or Earth or Neurosis – bands that have entire ERAS that are written off or championed?  What are the agreed-upon masterpieces?  The overrated tracks?  The overlooked gems?  If you wade into the world of jazz or jam bands or any other artist where specific performances are dissected just as intensely as studio cuts, you may as well surrender yourself to a hermetic life of obsessive collecting and analysis.  Imagine the trepidation, then, for any newbie to Japanese avant-garde metal / electronic / rock / experimental legends Boris, who have, to date, released over twenty full-length records – not counting their live and studio works with fellow musical outlier Merzbow, collaborative efforts with SUNN O))), splits, rarities, remixes, and  compilation albums.  “Dear”, their twenty-fourth offering, was originally intended as a farewell record, marking 25 years since the band’s inception.  It’s also my first introduction to their unique blend of droning, buzzing, melodic, invigorating, and crushing mastery.  God help me… I may need to do a full dive into their discography.
               
From the opening track, “D.O.W.N. –Domination of Waiting Noise–“, Boris conveys punishing volume so effectively that your ears will ache at practically any level.  The sheer amount of space between chords leaves room for sickening, pulsating feedback, brilliantly complimented with the clean vocals.  Remarkably, Boris manages to retain undeniable heft when blasting uplifting, major key progressions.  The turns to sinister, minor key melodies and softy, whispered vocals in tracks like “DEADSONG” or “Beyond” is even more powerful when juxtaposed with the cathartic, rocking crescendos that punctuate the record.

When Boris edges toward the ethereal balladry of Sigur Ros, their dark instincts to destruction and dissonance always pulls the band away from the precipice of twee post-rock.  The sheer filth of the riffs on “Kagero” and “Memento Mori” earn every falsetto phrase, making passages that could be cliché totally sublime instead.  “Absolutego” is the closest to a lead single on the record – a grunge rocker that shares its name with their 1996 debut album.  But then Boris eschew any of this pop rock sensibility on droning, doom instrumental “The Power” or the sludgy title track, opting for sheer sonic bombardment that will rattle the fillings right out of your teeth.  Yet there’s always an uncanny feeling that despite the idiosyncratic rhythms, the synthesized noises sputtering at seemingly random intervals, the feedback so furious the whole band sounds like it may just keel over and fall apart, this is a meticulous production.  Every note and every layered vocal has been obsessed over, placed perfectly in the mix, and acts as a distillation of twenty-five years of intense collaborative synthesis.

If there’s one complaint you can lob at “Dear”, it’s the unwieldy runtime.  At nearly seventy minutes, there are moments that drag slightly.  A two disc version appends three more tracks and over twenty more minutes.  It’s hard to imagine, but enough songs were recorded on top of these for at least two more full-length albums.  At times you can’t help but wonder what the editing process even looks like for Boris when the album itself is so huge, so disparate, and, truth be told, so consistently compelling.  I’m certain that well after Boris puts out that FINAL final album, there will be plenty of outtakes, demos, alternate remixes, and live versions for completists to pore over for years.  With “Dear” as my first entry into their legendary, sublime canon, I may one day count myself among the obsessive’s.

“Dear” is available here



Band info: bandcamp || facebook

ALBUM REVIEW: Spirit Adrift - "Curse of Conception"

By: Conor O’Dea

Album Type: Full Length
Date Released: 06/10/2017
Label: 20 Buck Spin


“Curse of Conception” is a glorious success and a dazzling evolution of an already excellent band. 


“Curse of Conception” CD//DD//LP track listing:

1). Earthbound
2). Curse Of Conception
3). To Fly On Broken Wings
4). Starless Age (Enshrined)
5). Graveside Invocation
6). Spectral Savior
7). Wakien
8). Onward, Inward

The Review:

I tend to approach reviews with a fair degree of two things: reservation and resolve. Reservation, because it is actually pretty tough to write about music you love and try to convey the message of why you love it to a broad audience without jumping to superlatives in every sentence. It is a task I always approach with trepidation, and this anxiety is in direct positive correlation with how much I love the music in question. Resolve is obviously a corollary of this: one has to steel oneself to 'analyze' what one really just wants to 'experience'. How can I accurately convey not just my enjoyment of art someone else has created, but ultimately, share my profound appreciation with not just other potential fans, but the artist or artists themselves? Particularly without either missing the interpretive boat or engaging in sloppy ellipsis? 

When I was lucky enough to convince THE SLUDGELORD to let me review Spirit Adrift'sChained to Oblivion”, I had already been listening to it almost non-stop for several weeks. It was one of the albums of 2016 that I was most excited about, that I found most profoundly moving. It had and still has all the makings of a genre classic. That genre being heavy metal, not one of the vast and ever- propagating subgenres. My love of the debut album actually intensified some of my reservations about reviewing “Curse of Conception”: was I going to like it? Had Nate changed direction substantively? Was it still going to be the band I had grown to love? And here I default to throwing around superlatives: “Curse of Conception” is a glorious success and a dazzling evolution of an already excellent band. 

I would actually be hard pressed to say what 'element' I like most about Spirit Adrift on this album, but the vocals are again what truly set the band apart. Nate's harmonies are epic in every sense of the word, and they are brilliantly punctuated here by cresting on top of a guitar tone that somehow retains the doom-heavy fuzz of “Chained to Oblivion”, yet brings in a razor-sharp brightness that calls to mind the Metallica with whom I first fell in love. The switch from Orange to the EVH tonal palate works flawlessly, letting Spirit Adrift remain deeply true to everything that made the first album stand out while allowing an adventurous, exciting sonic reframing. Sabbathian elements are retained in vocal passages like the title track without every descending into copy-catting or worship. Spirit Adrift take their influences seriously and respectfully, but there is never a sense of retread or anachronism; this album is grounded in tradition but massively innovative in approach. On tracks like “Starless Age”, this growth expresses itself as a mature fusion of some beloved and sacred moments in the metal cannon with a clear, decisive compositional voice. 

And lest I forget: the album is joyous, fun, revels in the interplay of the aforementioned harmonies with spectacular riffage and never-without-purpose soloing. Check out a burner like “Graveside Invocation”; you know Nate knows he's knocking it out of the park here. The peaks and troughs and dramatic build from song to song work like the best film scripts: pacing is everything. Case in point: the wonderful acoustic country-tinged psychedelia build of “Walkien”. I literally laughed out loud at how perfect the change was here at 1:59. Epic, indeed. I've wasted enough of your time: you should be listening to this album and not reading reviews about it. Go get it. Remember why metal is awesome.


“Curse Of Conception” is available here



Band info: bandcamp || facebook

VIDEO PREMIERE: "Akte VI" by mysterious doom conquistadors B R I Q U E V I L L E


Briqueville is a band shrouded in mystery. On stage, they create an instrumental mantra of spooky guitars, modified field recordings and eerie sampled chants. These meditative build-ups, based on the perseverant element of repetition, are contrasted with and ripped apart by sudden, unforeseeable outbursts of the purest and sheerest heaviness.

Upon release of their debut album in 2014, the band buried 20 copies at various locations across the country, and gradually released the coordinates on their facebook page, animating fans to dig them up from the soil. The idea was met with great enthusiasm among their quickly growing fan base, and will be revisited and extended for the release of Briqueville's mesmerizing 2nd album, appropriately titled “II“, which is to be released on September 29th via Pelagic Records and today you can check out the new video for the track "Akte VI" below. Preorders are available here


Band info: facebook ||bandcamp