#Redmount Studios

[trevlad-sounds]

Featured track from "Unknown Magic" mix dropping 20-12-2023. 16:30 CET.

[mysteriis-moon666]

KARRAS - We Poison Their Young

Le power-trio Karras  constitué de Diego Janson (Chant, Basse),    Yann Heurtaux (Guitare) et d'Etienne Sarthou (Batterie) avait sorti leur premier album destructeur « None More Heretic » en 2020 via Verycords, leur segmentation sonique se constitue autour du punk-crust, thrash, grindcore et death metal. Leur nom est un hommage au père Damien Karras du film L'Exorciste.

Ce second « We Poison Their Young » sortira internationalement le 29 Septembre via le label américain M-Theory Audio, avec 13 titres toujours aussi véloces, violents, venimeux ! Il  a été produit, enregistré et mixé par Etienne Sarthou au Hemlig Studio (Paris), masterisé par Magnus Lindberg au Redmount Studios (Suède). Voici un disque estival hyper turgescent dont l’épée aiguisera sur vous la chaude lame en plein cœur. C'est l'été 2023 et Karras vous assoie sur des oursins cul nu, et en plus il vous fouette la tronche avec. Les breakdowns crépitent dans le feu ardent, ça bastonne dru, les gaziers ne lâchent rien, jamais, c'est un bombardier le bordel. Les morceaux sont courts, tendu à mort, efficaces, sans fioriture. Le sang glacé peint les ombres plus noires. Il y a parfois un mood plus étouffant comme avec le titre «  Negatice Life ».

Sinon le seul regard éternel est dirigé vers les étoiles de l'enfer où Slayer, Carcass et Napalm Death tapent le carton.

Le label commente : « Le deuxième single de l’album « WE POISON THEIR YOUNG » raconte l’histoire vraie d’un adolescent qui a été victime d’une possession démoniaque et à qui on a donné le pseudonyme de « ROLAND DOE ». Ce jeune garçon est descendu dans les catacombes parisiennes avec Karras. Voici son histoire, redéfinie. »

Encore plus vicieux que son prédécesseur, l'opus est enflammé, martial, accrocheur, un véritable cloaque d’agression sonique pure et dure. Karras n'en finit de jeter de la terreur nocturne en plein jour !

[riffrelevant]

THE MOTH GATHERER 'Esoteric Oppression' Album Due Feb.; Official Video

THE MOTH GATHERER ‘Esoteric Oppression’ Album Due Feb.; Official Video

Article By: Pat ‘Riot’ Whitaker, Senior Writer/Journalist ‡ Edited By: Leanne Ridgeway, Owner/Chief Editor

Stockholm, Sweden’s prolific quartet of atmospheric doom and post-metal magnificence, THE MOTH GATHERER, unveils an official video connected to their upcoming album release. (more…)

[m3t4ln3rd]

The Moth Gatherer detail new full-length Esoteric Oppression

Official press release:

Sweden’s The Moth Gatherer, an atmospheric doom/sludge/post metal band based in Stockholm, will release its third studio album, successor to critically acclaimed The Earth Is The Sky (2015) on February 22nd via Agonia Records. The new album is titled Esoteric Oppression. Its cover artwork and track listing are available below, in anticipation of a new single, due out…

[christofferzakrisson]

Nifty control panel for Magnus Lindberg (@mlprod_vrtkl ). Re-housed Presonus faderport (with SSL-style transport buttons!). Sits nicely in a Crookwood-rack! (på/i Redmount Studios) https://www.instagram.com/p/B9Rt6qLHb_s/?igshid=1cvfezw5yv5vu

[schwermetallisch]

VOKONIS - Grasping Time VOKONIS were formed in 2015 in Borås, Sweden and they play heavy progressive Stoner and Doom Metal, it’s a pretty transition overall. With their new and third album, ‘Grasping Time’, VOKONIS debut dual vocals, greater dynamic shifts and heavier, more complex songs which are drenched in blasting distortion, melody and menace. With influences ranging from BARONESS and PINK FLOYD to ELDER, VOKONIS utilizes every colour in their palette to create something wholly unique. The music for ‘Grasping Time’ was written over a period of one year and features the last contribution by Emil on drums before he left the band.  The album was recorded and mixed at Studio Underjord with Joona Hassinen and mastered by Magnus Lindberg at Redmount Studios. The album art was once again drawn by Kyrre Bjurling. VOKONIS are clearly determined to conquer and force to reckon with. I was convinced by their sheer power and mastery of the melodic kick-in-the-face after only a minute in the powerful experience that is ‘Grasping Time’. You can ask anyone, when it comes to vocals I’m not easy to impress but VOKONIS does it pretty fast and pretty convincing. I may have to add an influence to the ones mentioned above: CONAN, if CONAN would be heavily melodic and had the ability to push my buttons. The vocals range from rough shouting to clear and epic vocals like that of WITCHCRAFT, BELOW or even MAGIC CIRCLE (bands that I really love right now). That range in the vocals and the power in melody and rhythm (thanks to singing guitarist Simon Ohlsson and singing Bass Beast Jonte Johansson and of course the master of the sticks Emil Larsson). I fell immediately in love with song number two, ‘Sunless Hymnal’, what an emotional and melodic monster of a song! At times the music is very dodgy and rhythmically challenging but hey this ain’t easy listening my fellow readers, this is heavy as a heart attack. Check these dudes out and support the living hell out of them because I sure as fuck will. #schwermetallisch #reviews #picoftheday #nwothm #nwobhm #heavymetal #metal #rock #music #metalhead #hardrock #thrashmetal #guitar #metalmusic #metalband #rocknroll #metalheads #headbanger (hier: Avengers Tower) https://www.instagram.com/p/B0BsF4eCzr6/?igshid=yea9byxdaymf

[gigsoupmusic]

Dool announce new album 'Summerland' / Listen to new single 'Sulphur & Starlight’

DOOL - ANNOUNCE NEW ALBUM ‘SUMMERLAND 'RELEASED 10TH APRIL (PROPHESY PRODUCTIONS) “Sulphur & Starlight” is a song about dualism. The reflection and the reflected, two sides of the same mirror. What is left of one Self in the eye of the Other and vice versa? It is the opening track of “Summerland” and makes a great starting point for the journey through the album’s theme.’ Ryanne van Dorst (singer, guitarist, songwriter, lyricist) Founded in 2015 in Rotterdam, the Netherlands, with a name derived from the Dutch word for "wandering," dark rockers Dool embarked on an ongoing spiritual and musical journey that took them far within a short amount of time on the strength of just one album. However, hearing the sophomore "Summerland," you can't help but think its successful predecessor (ranked #13 among the "Best 100 Albums Of The New Millennium" by German magazine Rock Hard) was just a warm-up. https://youtu.be/hALtNhlVpCM "Our debut 'Here Now, There Then' was a big experiment because we could not foresee at all how the band would sound," reveals singer, guitarist and overall powerhouse Ryanne van Dorst. "I took the skeletons of songs I had written to the other members, and we just started to jam, seeing what would happen. That was what we recorded, but we only found our own style while playing gigs during the last few years. The material kept growing on stage, so on the "Love Like Blood" EP, you could already hear that we had become more confident." "Summerland" encapsulates the meaning behind the quintet's monicker. Expansive and more varied on all fronts, it represents the constant evolution that goes along with the soul's quest for ascension, resulting in a bedazzling mix of classic and post rock, Midde Eastern flourishes, psychedelia and metal. Each track displays its own identity within a loose thematic frame as summarized in the climactic title track: the struggle to find a place in this world, reaching some ultimate state mind, ecstatic pleasure and reincarnation, also inspired by Richard Matheson's novel "What Dreams May Come" as a modern take on the Biblical cycles of hell. "The term 'summerland' comes from paganism and refers to heaven, nirvana or whatever else you'd like to call it," the lyricist explains. "Since I usually write from experience and about what keeps me awake at night, I was asking myself what makes me happy on this existential plane and how the ideal afterlife would look like. This became a recurring motif throughout the lyrics in the shapes of sex, magic, psychedelics and many other means to invoke this 'summerland' in the here and now.” The group recorded "Summerland" at DAFT Studios in Malmédy, Belgium, and Studio Cobra in Stockholm, Sweden, with Martin Ehrencrona (Tribulation, In Solitude). Mix and mastering were handled by Cult Of Luna's drummer Magnus Lindberg in Redmount Studio Stockholm. As guests, Dool invited Per Wiberg (Opeth, Spiritual Beggars, Candlemass) on Hammond organ, backing vocalist Farida Lemouchi (The Devil's Blood) and Okoi Jones (Bölzer), who contributed spoken words to 'The Well's Run Dry'. After taking Europe by storm, Dool keep following their path to world domination with seven-mile boots, doing what they do best - devastating venues with their energetic performance, which, as Ryanne promises, "will look a bit bigger in every respect …" "Summerland" is available as Digipak CD, 2CD artbook (hardcover with golden hotfoil embossment, 30x30cm, with expanded artwork and two bonus tracks; 1.000 copies available), gatefold 2LP (180g, black and ltd. coloured vinyl) and complete box set (incl. 2CD artbook, gatefold 2LP with exclusive colour, bonus 12", music box and two posters; 1.000 copies available). Pre-order - https://prophecy.lnk.to/dool-summerland/ Read the full article

[simuladorblog]

LABIRINTO - Divino Afflante Spiritu

São Paulo's LABIRINTO are not the spearheads of a vivid local scene, but to stay within the realms of post-rock metaphory, more of an isolated island within a vast ocean of nothingness. There is not much contemporary instrumental heavy music anywhere in South America. There are hardly any record labels and international bands seldomly make it over on tour. All the more surprising that this island of LABIRINTO has been releaseing records for 13 years already.

"They have crafted an epic post-rock album in the truest sense of the word - six songs, 70 minutes running time, but none of it wasted“, Rock-A-Rolla wrote about their debut album „Anatema“, and Rolling Stone praised their live show as "one of the most powerful experiences in the Brazilian independent scene". „Divino Afflante Spiritu“ is already the band's 10th release, but only the 3rd full-length album. The band's back catalogue is made up of a number of EPs and splits (with THISQUIETARMY among others), a detail which showcases the band's strong roots in the DIY scene. Guitarist Erick Cruxen and drummer Muriel Curi, a long-married couple, have learned how take control of every aspect of the band's universe themselves: from running their own record label to booking their own tours to running their own recording studio, the internationally renowned Dissenso Studios in São Paulo. The band flew in Billy Anderson for the prodcution of previous album „Gehenna“.This time, Cult Of Luna's Magnus Lindberg was hired, but the entire production happened via the internet, exemplary for this time we live in, without Magnus ever setting foot on Brazilian soil. „Since the pre-production phase, Muriel kept in touch with Magnus“, Cruxen comments. „We talked a lot to him about our plans and ideas for the tracking sessions. He did an online support video session during the recording sessions, and we were aligning ideas for technical decisions. He was monitoring the whole recording process, basically. At the end, we sent him the audio files and he mixed and mastered the album at his own Redmount Studios in Stockholm.“ The result is an album of dense and menacing atmospherics, textural drones carefully layered over and blended into the heavy guitar riffs's shimmering, beautiful distortion-scapes – and for the first time ever, vocals make their debut on a LABIRINTO album, on opening track „Agnus Dei“. „We invited Elaine Campos, she's been singing in Brazilian punk and crust bands for over 20 years“, comments Curi. „It's a huge pleasure for us to have such a veteran from the punk scene, a feminist and anarchist, guest on the track.“ It's clear from the first synth drones inaugurating the opening track that doom lurks on the horizon, that „Divino Afflante Spiritu“ is not going to be a soundtrack to a tropical paradise – it's a dark, cold record. „This album has a great emotional weight, explains Cruxen. „It flourished during a very difficult phase in which we lost a very dear entity. It was a whirlwind of emotions that are materialized whenever we play the songs. This album, more than anything, represents for us loss and suffering, but also, passion and friendship.“

Repost Pelagic Records

[mysteriis-moon666]

DELIVERANCE - Neon Chaos In A Junk-Sick Dawn

Un premier EP « Doomsday, please » (2013) puis un premier album « CHRST » (2017) et un 6 titres « Holocaust 26:1-46 » (2020) permettront de statuer la sculpture sonique et l’ossature du quatuor Deliverance, composé désormais de Pierre Duneau (Chant, clavier, ex-Memories of a dead man) et Etienne Sarthou (Guitare et choeurs, ex-AqME), Sacha Février à la basse et Fred Quota (Batterie, ex-BLVL).

Dans ce second long format via les Acteurs de l’ombre, la musique est composée par Etienne Sarthou, les textes sont de Pierre Duneau, l’enregistrement et le mixage ont été réalisés par Etienne Sarthou au Hemlig Studio de Saint-Ouen. Le mastering a été réalisé par Magnus Lindberg (Cult of Luna) au Redmount Studio à Stockholm. L'artwork est l’œuvre de Pauline Talarn.

Deliverance va puiser dans les profondeurs sludgy de son black metal, et vient peroxyder des contrastes de styles musicaux tel que le rock psychédélique des 70's, directement dans la fusion de sa musique. Le groupe se donne l’ambition avant-gardiste de repousser ses limites, pour donner corps et vie à sa centrifugeuse créatrice. Le groupe vient happer à son paroxysme « ce reflet complexe d’une vision intime de l’enfer sous le prisme de l’addiction » comme il le nomme à propos de "Neon chaos in a junk-sick dawn"

L’album est porteur d’un post-Black Metal expérimental jusqu'au-boutiste. Si l’écriture des textes s’est déroulée dans un lieu clos durant de longues nuits d'insomnie au 4ème étage d'un immeuble, dans une pièce isolée, la musique, elle, apporte une impression d’ouverture, d’immersion, et cette intériorité est une lutte intestine par rapport aux textes. Une sensation diffuse tout au long d’un opus passionnant, qui fait allégeance aux brumes de l’inconnu et à la blessure insistance des addictions et tentatives de désintoxication.

Ce disque calcine profondément en une immense expérience sensorielle, comme des forêts et des terres de brousse s'étendant sur des milliers de kilomètres brûlées jusqu'aux os, de la terre à la mer. II corrode une lune sans miel, et catapulte une kyrielle de monstrueux cailloux qui dérivent dans le ciel. 

Le groupe vient nous apporter la charge d’une existence terrassée, pauvres crânes menacés que nous sommes dans la nuit de nos tourments, et c’est bien là que Deliverance vient butiner son corps musical pendant 1H02, dans cette flétrissure de mort lente, sublimant dans chacun de ses titres une bataille de démons tortueux, de tempête en pleine obscurité, prêt à broyer la noirceur dans les ténèbres rugissants, accordant dans son délire ascensionnel l’imposante capacité de vous faire ployer à son élévation musicale. 

Il y a un très gros travail sur la densité, sur la palette sonore avec notamment plusieurs effets sonores, et même parfois sur la voix dans « Neon Chaos ».

« Neon Chaos In A Junk-Sick Dawn » est un astre de brisure fauve, strié de branches obscures et minérales. L’album suit la figure mystique des ténèbres car elle lui montre la lumière des étoiles, avec la morsure de l’obscurité. Un peu comme si de gros nuages lourds et sombres monopolisaient le ciel, dans des teintes de gris et de bleu nuit, et que ce vaste magma nuageux était percé en son sein d'une trouée de bleu océane épousant l'éther, et à son pourtour le scintillement d'une écaille de lumière divine.