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Perfecting their unique balance of savagery and poignancy, Purulences showcases a band that masters their game of attraction and repulsion like no other.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e01. Cavalier Seul\u003cbr\u003e02. Sans Conviction\u003cbr\u003e03. Mortes Promesses\u003cbr\u003e04. Grand-Guignol\u003cbr\u003e05. Juste Cruel\u003cbr\u003e06. Langues Fourchues\u003cbr\u003e07. 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Veterans of the scene, the band has built a strong following since their formation in 2009, touring extensively and gracing stages of impressive festivals like Dour festival, Roadburn and ArcTanGent while maintaining true to their DIY ethics and community-minded practices. \u003c\/p\u003e\n\u003cp\u003eHailing from the industrial techno scene, Franco-American techno duo Maelstrom and Louisahhh have been close collaborators since 2013, releasing their debut album in 2023 on their own label, RAAR,‘making techno for punks’. Built upon a fierce belief in evolving processes of creation and the trust and courage that requires, the creative partners have carved a unique, powerful niche in the world of electronic music, globally touring in many forms: as an electronic hybrid act, as celebrated DJs, as solo performers and as a live band. Whatever the form, the musical and lyrical focus of comforting the disturbed and disturbing the comfortable remains steadfast. \u003c\/p\u003e\n\u003cp\u003eThe collision of these two worlds happened by near-accident, a ‘let’s see what happens’ studio session in the dead of winter, and evolved from a single track into an entire album written over the course of sixteen days. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eTrack \u003cmeta charset=\"utf-8\"\u003eListing :\u003c\/strong\u003e\u003cbr\u003e1. Violent God\u003cbr\u003e2. Weak and Predatory \u003cbr\u003e3. Dead Meat \u003cbr\u003e4. Nice Guy \u003cbr\u003e5. Magic \u003cbr\u003e6. Like a Storm \u003cbr\u003e7. Choke Points \u003cbr\u003e8. A Good Hunter \u003cbr\u003e9. Bastion \u003cbr\u003e10. Horse Song \u003cbr\u003e11. 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Pursuing that same intent, vocals appear more versatile and nuanced than ever, while the striking work on sound design and production unveils new details with every listen. \"Privation\" is nothing but a tour-de-force in a now rock-solid discography, from a band that ignores how to play it safe, nor how to fulfill anything else than their own desires.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack Listing :\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e1. À La Racine\u003cbr\u003e2. Sang-Vinaigre\u003cbr\u003e3. Les Crocs Limés\u003cbr\u003e4. Né Pour Trahir\u003cbr\u003e5. Enfers Inoculés\u003cbr\u003e6. Portes D'Ivoire\u003cbr\u003e7. Extrême-Onction\u003c\/p\u003e\n\u003c!-- split --\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/WnTaimYBHmY\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Throatruiner","offers":[{"title":"Compact Disc","offer_id":52190874468616,"sku":"F\"-FC-D12","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0980\/6299\/1624\/files\/CoverWeb_d6d3c63c-37ce-40dd-b7d1-8f1694154c3b.jpg?v=1754004339"},{"product_id":"fange-perdition-cd","title":"Fange \"Perdition\" CD","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eFrance's FANGE has navigated through their most active year yet defending \"Privation\", engaging in two European tours and making multiple appearances at festivals throughout 2023. Far from dampening their creative fire, the band was in parallel writing \"Perdition\" — six new tracks and a creeping cover of Bernard Lavilliers. The entire recording and production process was executed by the band, with mixing and mastering duties once again handled by Cyrille Gachet and Alan Douches.\u003cbr\u003e\u003cbr\u003eConceived as a spiritual successor to 2020's machine-driven \"Poigne\", \"Perdition\" expands upon the concept of a less riff-focused release while also embracing the cleaner, more desolate atmosphere explored on \"Privation\". Built and refined during the summer of 2023 upon foundations made of mutilated death industrial loops and grievous melodic guitars, the album serves as a testament to the band's distinctive identity, placing emphasis on the gloom and the martial — spleen and discipline.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e01. Césarienne Au Noir\u003cbr\u003e02. Mauvais Vivant\u003cbr\u003e03. Toute Honte Bue\u003cbr\u003e04. Foudres Fainéantes\u003cbr\u003e05. La Haine (Bernard Lavilliers)\u003cbr\u003e06. Lèche-Béton\u003cbr\u003e07. 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Commuters Part 2\u003cbr\u003e3. Hypnograms\u003cbr\u003e4. Machines of Sleep\u003cbr\u003e5. Plug-in Citizens\u003cbr\u003e6. Submarine Warfare Anthem\u003cbr\u003e7. Minkowski Manhattan Distance\u003cbr\u003e8. Blunderbuss Committee\u003cbr\u003e9. 21 Almonds a Day\u003cbr\u003e10. Flippists \/ Privateers\u003cbr\u003e11. 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Anchorite\u003cbr\u003e2. Deletionism\u003cbr\u003e3. Millennials\u003cbr\u003e4. Spectrogram\u003cbr\u003e5. Music Circus Clown Care\u003cbr\u003e6. Ménière's\u003cbr\u003e7. Wind Machines for Company\u003cbr\u003e8. Self Employment Scheme\u003cbr\u003e9. Blackboxing\u003cbr\u003e10. The Screening\u003c\/p\u003e","brand":"Humus Records","offers":[{"title":"Compact Disc","offer_id":52234249175304,"sku":"D01.CM.HMS.45138.CD","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0980\/6299\/1624\/files\/MillennialsFrontCover.jpg?v=1755618596"},{"product_id":"coilguns-watchwinders-cd","title":"Coilguns \"Watchwinders\" CD","description":"\u003cp\u003eCoilguns’ self-sufficient riffing engine ticks like a swiss watch. Right in the middle of their Millennials tour, the band has gathered enough time and life points to craft their loudest record to date. 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Our music has always been a sane yet intense way to process all the light and deep things we were going through in ou personal lives. Oddness is our normality and love is our motor to achieve it. It took us a long time to fit somewhere in a scene, since we never believed and cared so much about scenes. Our drive was to get on stage and tore it down, and we found out pretty quickly that it would be hard to turn this energy into a business plan. Through the years we tried to cherish this strangeness while adapting to this gigantic chaos that is music today.  This has for instance seen us start our own label and create most of our tools from scratch. 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All songs were tracked and mixed during the same session, with the helping ears and hands of Nicolas Pittet on drums, Louis Jucker on arrangements and Kevin Galland on mixing and mastering. From the heavy distortion-soaked climaxes of Save the World and Castle to the naked acoustic intimacy of The Field and Little Hand, elie zoé’s longtime favorites elements are all there, accompanying us throughout a new step in the emotional journey that started with Hello Future Me.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e1. Dinosaurs\u003cbr\u003e2. Castle\u003cbr\u003e3. Little Hand\u003cbr\u003e4. Save the World\u003cbr\u003e5. 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After nearly infinite touring promoting The Very Start and a couple of records born from spontaneous collaborations (Pigeons with Christian Garcia-Gaucher, \/A\\ with Franz Treichler, Ossuaire with Abraham), it was time to take the next steps, elie zoé’s own sequel. \u003c\/p\u003e\n\u003cp\u003eWritten with nothing else than grit, Hello Future Me is the result of 18 months of work between an apartment and a rehearsal room, looking for the imperfectly personal sound worthy of the name and to create vertiginous landscapes to get lost in. Self-produced and self-exploratory, this album expresses elie zoé’s inner wanderings, delicately crafted with elie’s favourite tools: a guitar that just turned 60, a sturdy hand-made guitar amp, a dusty organ from a flea market and a broken piano.\u003c\/p\u003e\n\u003cp\u003eThis is also a collaborative effort, with a close team of cherished friends who have been there forever, at every step and every doubt in the process. Nicolas Pittet’s drums and voice here again support and raise elie zoé’s bluesy riffs and melodies. Louis Jucker’s touch can be felt in every speck of arrangement and behind every squeaky button. Next to the old wood board flooring of the living room and the bedroom carpet, one can also taste the acrid air of the cavernous offices of Humus Records, Kevin Galland’s care behind the small dying console, the ribbon microphones, the tapes rolling, the piles of dirty punk amps and synthesizers.\u003c\/p\u003e\n\u003cp\u003eWith Hello Future Me, elie zoé takes a moment to meticulously rummage through a backpack full of thoughts and songs. 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It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eBesides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. 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This is a sweat-drenched album about dispersion, about spreading, about the collective relieving of burdens through shared experience: you don’t have to go through everything alone. \u003cbr\u003e\u003cbr\u003eWhen Scarcity’s debut album Aveilut was written in early 2020, Randall-Myers and vocalist Doug Moore (Pyrrhon, Weeping Sores, Glorious Depravity, and Seputus) never expected to be able to play their songs live. The cathartic experience of playing something that came from a place of isolation out to people in a live setting is the root of the intensity in The Promise of Rain. The Promise of Rain begins where the craziest climaxes of Aveilut end, and is the first Scarcity record to include Tristan Kasten-Krause (Sigur Ros, Steve Reich, LEYA) on bass, Dylan Dilella (Pyrrhon) on guitar and Lev Weinstein (Krallice) on drums. Rather than building density with the quasi-orchestral layering on Aveilut, Scarcity challenged themselves to document what five people in a room could do, recording most of The Promise of Rain in one or two takes, capturing the physical effort and urgency of a live performance. \u003cbr\u003e\u003cbr\u003eScarcity forges a completely fresh sound in The Promise of Rain with their alarming guitar work and melodic arpeggiating, shedding dead skin and breaking ground with sheer vulnerability. The lyrics for The Promise of Rain were inspired by a trip Moore took to the high deserts of southern Utah in 2023. “To thrive in the desert is an act of abnegation –” he observes, “you do right by the land and receive its gifts, or it does away with you.” The necessity of adaptation is as evident in the desert as it is to the landscape of the human experience. The transformation of ideas and beliefs, the grief of losing relationships that had to end, and the fear involved in forming new ones under the grip of mental illness is conjured over and over again on this panoramic album. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e1. In The Basin Of Alkaline Grief\u003cbr\u003e2. Scorched Vision\u003cbr\u003e3. Subduction\u003cbr\u003e4. Undertow\u003cbr\u003e5. Venom \u0026amp; Cadmium\u003cbr\u003e6. 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Formed in 2000 by duo Dan Barrett and Tim Macuga, the Middletown, CT-based pair would, throughout the 00s, self-release and share a number of demos and home recordings via early social media channels as well as establish its in-house label ENEMIES LIST HOME RECORDINGS. These first steps set in motion Have A Nice Life’s rise to renown as an icon of underground music in the internet age, culminating with the release of its pivotal 2008 debut album, Deathconsciousness. Through word of mouth and online discussion, Deathconsciousness became subject to viral praise thanks to its synthesis of bleak post-punk, lo-fi shoegaze, and carpets of hypnotic drone music. Eventually, this humble self-released project would attain the status of a post-internet cult classic, amassing Have A Nice Life a fervent online following that the band would interact with in kind.\u003cbr\u003e\u003cbr\u003eIn an effort to thank and continue to engage with Have A Nice Life’s internet cult following, Barrett and Macuga would regularly share links to old demos, works in progress, and outtakes from the recording of Deathconsciousness. Over time, a group of fans would compile these demos into an unofficial release. Dubbed Voids, this fan-made compilation several alternate takes of tracks from Deathconsciousness, as well as a handful of early versions of songs that would appear on Have A Nice Life’s two following albums, The Unnatural World and Sea of Worry. While undeniably reminiscent of their final album version counterparts, the earlier versions of these tracks each feel distinct in a way that makes the moody, decidedly lo-fi aura of Voids an essential slice of the Have A Nice Life discography. Hungry for more from the enigmatic duo, fans swarmed around this compilation, accompanied by loud calls for it to receive a physical release. Seeing that demand and with the band’s blessing, a pair of fan-made tape pressings of Voids would be released via Music Ruins Lives, a DIY label run by Have A Nice Life superfan Thom Wasluck, also known for his band Planning for Burial. Between both instances of the tape swiftly selling out and the compilation’s long absence from streaming services, Voids has historically been an elusive release to track down, only available in the obscurest corners of the internet or physically on the secondary market at eye-wateringly high prices.\u003cbr\u003e\u003cbr\u003eOver a decade since its initial, unofficial release in 2011, The Flenser is proud to reissue Have A Nice Life’s Voids for the first time ever in an official capacity in physical form. Originally released digitally in early 2023 and freshly remastered for the occasion, this reissue of the beloved compilation will receive its first-ever wide release on physical formats (CD\/LP\/Cassette). This release also marks the first time fan-favorite tracks from Voids “Sisyphus”, “I’m Doctor House”, and “Human Error” will be available on vinyl and CD. Like a symbolic passing of the torch, the physical versions of the 2023 Voids reissue come with a foreword essay written by Wasluck, the previous custodian of Voids during the Music Ruins Lives days.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e1. The Big Gloom\u003cbr\u003e2. Waiting for Black Metal Records to Come in the Mail\u003cbr\u003e3. The Future\u003cbr\u003e4. Earthmover\u003cbr\u003e5. Who Would Leave Their Son Out in the Sun?\u003cbr\u003e6. Human Error \u003cbr\u003e7. Trespassers W \u003cbr\u003e8. Defenestration Song \u003cbr\u003e9. I’m Dr. House \u003cbr\u003e10. Sisyphus\u003cbr\u003e11. 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The band signed with The Flenser in late 2022 and now announce their forthcoming debut LP for the label, Desolation’s Flower.\u003cbr\u003e\u003cbr\u003eOn Desolation’s Flower, Ragana draws upon a number of influences from the flora and fauna of their Pacific Northwest origins to the darkly nostalgic folk of Mt. Eerie and, yes, their Olympian forebears Wolves In The Throne Room, synthesizing them into an experimental, highly idiosyncratic take on black metal. Held together by an intense focus on raw emotion and haunting atmospherics, Ragana shifts seamlessly from tender, mesmerizing vocal harmonies to piercing, heart-ripping screams and back again, yielding music that is heavy, beautiful and punishing all at once.\u003cbr\u003e\u003cbr\u003eWritten over the past few tumultuous years, Desolation’s Flower is the band’s most devastating effort to date, containing seven incantations of loss, rage, pain and hope. Expertly engineered by the masterful Nicholas Wilbur at the Unknown Studio in Anacortes, Washington (Planning For Burial, drowse, Divide and Dissolve, Have a Nice Life), the album serves as the culmination of the past decade plus of the band's ethos and execution. \u003cbr\u003e\u003cbr\u003eThe album’s eponymous album opener sets the theme for the record and embodies the spirit of Ragana: “a hymn of gratitude for queer and trans ancestors, known or unknown, by blood or affinity, whose joy and survival make our lives possible, and whose memory inspires and helps us resist the tide of increasingly visible hatred and oppression,” the band explains. Pain mourns and celebrates a childhood best friend lost to an overdose, excavating beneath shame and sadness, to stand in the pain and the joy together. Side B opener “DTA,” an acronym for “Death To America,” starts as a questioning whisper and ends in a crying scream. The song fuses together the sounds of a riot unfolding in the streets of Oakland, emphasizing the message that this song is a zeitgeist of the times. Death is an inspiration for the album from start to finish and the Desolation’s Flower examines all facets of it; “Death is a new beginning, just a word to inspire a different vision of a future,” Ragana comments. Album closer “In the Light of the Burning World” brings Desolation’s Flower all together: the final lyric laments “We live in the light of the burning world,” cascading from rage and survival into catharsis and compassion.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e1. Desolation's Flower\u003cbr\u003e2. Woe\u003cbr\u003e3. Ruins\u003cbr\u003e4. DTA\u003cbr\u003e5. Winter's Light Pt. 2\u003cbr\u003e6. Pain\u003cbr\u003e7. 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If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.\u003cbr\u003e\u003cbr\u003eHaving lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut LP. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over 40 minute runtime, God’s Country displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like. God’s Country is out via The Flenser.\u003cbr\u003e\u003cbr\u003eIn just a couple of years, Oklahoma City’s Chat Pile has made nothing short of a profound impression on the underground music discourse. Formed in the spring of 2019 by Raygun Busch (vocals), Luther Manhole (Guitar), Stin (Bass), and Captain Ron (Drums), the noise-rock quartet would release two EPs that same year, titled This Dungeon Earth and Remove Your Skin Please respectively. Spurred on by both a hearty run of live performances and a swiftly growing online fanbase, Chat Pile became a staple name among its genre contemporaries thanks to its hellish synthesis of noise rock, sludge, industrial, and mid 90’s nu-metal. In 2020, the band would sign with San Francisco underground music label, The Flenser, to put out its upcoming full length debut. That following year, Chat Pile kept its roll going, with accolades including composing the score for the indie film, Tenkiller, as well as releasing a 7” split with portrayal of guilt in the summer. Despite its creation only a couple of years ago, Chat Pile has already played alongside a number of acclaimed underground acts, including Street Sects, portrayal of guilt, Psychic Graveyard and Distorted Pony.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e1. Slaughterhouse\u003cbr\u003e2. Why\u003cbr\u003e3. Pamela\u003cbr\u003e4. Wicked Puppet Dance\u003cbr\u003e5. Anywhere\u003cbr\u003e6. Tropical Beaches, Inc.\u003cbr\u003e7. The Mask\u003cbr\u003e8. 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Now, longtime HANL collaborator The Flenser will re-issue Deathconsciousness with deluxe packaging, including the lengthy accompanying zine and colored vinyl. Have A Nice Life commented, “Working with Flenser lets us keep things comfortable on our end, while also pressing enough copies to actually meet the need and not creating an artificially-inflated collector’s market, as happened with some of our past releases.\"\u003c\/p\u003e\n\u003cp\u003eThe Flenser’s reissue of Deathconsciousness will be accompanied by a 75-page booklet detailing the dark and forgotten history of the Antiochean cult. Blurring the lines between novella, liner notes, and academic text, the zine itself presents an engrossing narrative. The album is rhythmic, primal and expansive and is a gloomy-post-punk masterpiece; a mediation on death, loss and unrequited love. Deathconsciousness feels more fresh and engaging with every listen and has held up as a remarkable piece of art. Fans of Have A Nice Life exhibit both cultic thought and action for good reason. It is perhaps a fanbase as dark and mysterious as the Antiochean’s, the album itself revolves around. Now The Flenser is honored to rerelease Deathconsciousness a gorgeous and disarming contribution to the modern lexicon for a larger audience.\u003c\/p\u003e\n\u003cp\u003eAll variations of the album come with the 70+ page zine made from the same files as earlier editions.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e01. A Quick One Before The Eternal Worm Devours Connecticut \u003cbr\u003e02. Bloodhail \u003cbr\u003e03. The Big Gloom \u003cbr\u003e04. Hunter \u003cbr\u003e05. Telefony \u003cbr\u003e06. Who Would Leave Their Son Out in the Sun \u003cbr\u003e07. There is No Food \u003cbr\u003e08. Waiting For Black Metal Records To Come in The Mail \u003cbr\u003e09. Holy Fucking Shit: 40,000 \u003cbr\u003e10. 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The albums in its ambitious discography are all about plants and flowers in some way, seen through the eyes of a botanist gone insane from witnessing the destruction of the natural world at the hand of man.\u003cbr\u003e\u003cbr\u003eThe latest chapter in Botanist’s wondrous evolution, Photosynthesis (out October 30th on The Flenser), is a concept album about how plants convert sunlight into energy, how they transform carbon dioxide into the oxygen that all fauna need to breathe. The album’s eight tracks each deal with an aspect of photosynthesis, from the macro to the micro, and its core visual theme depicts the world’s forests as a functioning lung system’s individual cells, scattered throughout the globe. \u003cbr\u003e\u003cbr\u003ePhotosynthesis is the fourth “collective” album in Botanist’s greater discography, meaning it is composed of a group of individuals. Band originator Otrebor (hammered dulcimers, vocals, keyboards) composed the music and lyrics to the drums of returning member Daturus (the project’s live drummer since 2017, who played on 2019’s Ecosystem). The album marks the debut contributions of Tony Thomas (who plays with Daturus in Bay Area death metal acts Dawns Of Ouroboros and Sentient Ignition). Thomas’ bass style brings a newfound prog flavor to Botanist’s noted avant-garde, experimental style that has expanded on the genre of black metal, challenging the foregone conclusion that such music must be centered around guitars. \u003cbr\u003e\u003cbr\u003ePhotosynthesis was recorded in the Verdant Realm in California. The album production was handled by Dan Swanö whose creative genius in more artistic, avant-garde areas of the metal spectrum is a match of dreams for Botanist, resulting in an album that achieves a new level of the project’s expanding vision with production excellence. 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Named after the ancient Greek philosopher, Pythagoras represents the band’s ongoing commitment to innovation, and the perpetual juxtaposition of the delicate and the devastating, embracing complex musical structures and rhythms that both challenge and captivate the listener. At the heart of the album lies an intricate balance between aggressive blast beats and the syncopated pulse of reggaeton’s signature dembow rhythm—a concept born from founder Rich Loren Balling’s own immersion in both extreme music and pop genres.  \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eTo bring the album’s vision to life, Pyramids enlisted vocalist Emy Smith, whose neoperreo-influenced vocals add a haunting, ethereal layer to the dense soundscape. The album's cover art, created by Miami-based nail artist Kro Vargas (aka Krocaine), further captures the ominous yet captivating essence of the music, hinting at the fusion of genres and cultures that defines Pythagoras.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003ePythagoras is not just a sonic evolution—it is an exploration of the cycles of musical extremes. Balling believes that genres, like metal, evolve towards greater intensity until they reach a point of such sonic density and noise that they return to something beautifully melodic and transcendent. This concept is reflected in the album’s dense, layered compositions and its ability to both overwhelm and soothe the listener. The album’s rhythm is a complex mathematical interplay, where the familiar blast beat and pounding dembow rhythm intersect, creating a sound that is both chaotic and hypnotic.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eWith Pythagoras, Pyramids are once again poised to redefine the future of extreme music. As one of the most forward-thinking forces in contemporary music, the band will forge a path that transcends genre and time. Pythagoras is not just an album; it is a statement—a daring, innovative work that challenges convention and leads the listener through the unknown into new realms of sonic possibility.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e1. Fools Gold (Mi Vida Ha Ido Pa Atras)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e2. Pretty Pigs\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e3. Bones and Eggshells\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e4. Mira Mirame Brillar\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e5. Brine\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e6. Cracks\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e7. 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XXI sees an allegorical look at the elements and their related mythologies. Talks about Lilith, the Orphic poems, ocean and nature deities, Dionysus, Arthurian literature, fly agaric as soma, the cosmic egg, and the Boxer Rebellion.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn XXI, Succumb set out to make an album that feels more immediate \u0026amp; unpredictable, with a more aggressive production and the vocals much more front \u0026amp; center.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eXXI is titled after The World—final tarot card in the Major Arcana. Its imagery typically features a tetramorph that refers to the four directions or the four elements. Its upright meaning represents completion. Its reversal represents fixity. The album art is Stefan Thanneur’s interpretation of the album’s allegorical treatment of the elements and the alchemical union of opposites.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSuccumb was formed in 2014 by a group of friends with diverse musical backgrounds who share a common love for Canadian death metal, war metal, and 1990s Napalm Death. That same year they released a demo under the name Cloak and played a handful of local shows, attracting the attention of The Flenser.  The following year they were joined by Harry Cantwell (Bosse-de-Nage, ex-Slough Feg) on drums and got to work writing their self-titled debut album. \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecorded with Bay Area luminary Jack Shirley (Deafheaven, Bosse-de-Nage, Botanist, Oathbreaker, etc.) -- also at the helm for the new album XXI -- Succumb released their self-titled debut album in May of 2017 and received praise from publications around the globe.  Blocland called it \"one of the year’s most intriguing metal listens\" and PopMatters named it one of the best metal albums of the year, citing: “Musrasrik's insane delivery makes Succumb one of the strongest metal debuts to come out in 2017.”  The 8 new tracks that comprise XXI are sure to continue this arc of praise\u003c\/span\u003e.\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003cbr\u003e1. 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True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost.\u003c\/p\u003e\n\u003cp\u003eAri May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid.\u003c\/p\u003e\n\u003cp\u003eLike the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. 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