May 19 – Baltimore, MD – Ottobar (SUFFOCATION, REVOCATION only)

May 20 – Greensboro, NC – Arizona Pete’s (SUFFOCATION, REVOCATION only)

May 22 – Tallahassee, FL – The Side Bar (SUFFOCATION, REVOCATION only)

May 23 – Orlando, FL – The Beacham

May 24 – Tampa, FL – The Orpheum

May 25 – Atlanta, GA – The Masquerade

May 26: Nashville, TN – Exit In (SUFFOCATION, REVOCATION only)

May 28 – Boston, MA – Brighton

May 29New York NY – The Gramercy Theater

May 30: Syracuse, NY – Lost Horizon (SUFFOCATION only)

May 31 – Pittsburgh, PA – Small’s

Jun. 01 – Cleveland, OH – House of Blues

Jun. 02 – Detroit, MI – The Crofoot

Jun. 03 – Chicago, IL – The Metro

Jun. 04 – Minneapolis, MN – Cabooze

Jun. 06 – Fayetteville, AR – George’s Majestic

Jun. 07 – Lawrence, KS – Grenada

Jun. 08 – Denver CO – Bluebird

June 9: Colorado Springs, CO – The Black Sheep (no MORBID ANGEL)

Jun. 10Salt Lake City, UT – The Complex

June 11: Idaho Falls, ID – The Gem Venue (SUFFOCATION, REVOCATION only)

Jun. 12 – Seattle, WA – Studio Seven

Jun. 13 – Portland, OR – Dame’s

Jun. 15San Francisco, CA – The Social Hall

Jun. 16Los Angeles, CA – The Regent

Jun. 17 – Pomona, CA – Glasshouse

Jun. 18 – San Diego, CA – House of Blues

June 19: Flagstaff, AZ – The Green Room (no MORBID ANGEL)

Jun. 20 – Phoenix, AZ – Marquee

Jun. 21 – Albuquerque, NM – Sunshine

June 22: El Paso, TX – Tricky Falls (no MORBID ANGEL)

Jun. 23 – Dallas, TX – House of Blues

Jun. 24 – Austin, TX – Grizzly Hall

Jun. 25 – Houston, TX – House of Blues

Jun. 27New Orleans, LA – House of Blues

June 29: Richmond, VA – The Broadberry (SUFFOCATION, REVOCATION only)

June 30: Philadelphia, PA – Kung Fu Necktie (SUFFOCATION, REVOCATION only)

A good four years separate rager Pinnacle of Bedlam from new killer Of the Dark Light. But it wasn’t always like this. Back in the ‘90s, Suffocation maniacs waited, at most, two years between old and new fixes of New York-styled brutality. Landmark full-length Effigy of the Forgotten was only two years removed from debut EP, Human Waste. Likewise, Breeding the Spawn slayed posers and pretenders a year and a half after Effigy of the Forgotten blueprinted Suffocation into the history books. And Pierced from Within, the wickedest death metal put to tape in the mid-‘90s, slammed fist first into mediocrity and mundanity two years after Breeding the Spawn. Clearly, there were times when Suffocation’s march towards total annihilation was fast and furious.


“There’s a reason we don’t put out records every two years now,” asserts long-time Suffocation guitarist and primary songwriter Terrance Hobbs. “For one, we don’t need to. Two, we tour more now than we did in the early days. And three, we’re no longer in our twenties. We all have lives and families now. Plus, I enjoy writing things and letting them organically mature. For example, I started writing songs for Of the Dark Light right after Pinnacle of Bedlam.”


“Ever since I joined, Suffocation’s been on pretty heavy album and tour cycles,” bassist and lyric writer Derek Boyer agrees. “Sometimes the charisma was there, sometimes it wasn’t. We’d be on the road for a year, and only after that, we’d think about putting songs together. Then, we’d get pulled back on the road. That would delay the album cycle. So, our album cycle went from every two years to every three years to now every four years. Pinnacle of Bedlam came out in 2013. That’s a long time ago.”


Indeed, it was. When Pinnacle of Bedlam hit store shelves in the winter 2013, the world was proverbially on its knees. North Korea was conducting underground nuclear tests, a meteor hit a city in Russia’s South Urals, and Benedict XVI resigned as Pope, the first to intentionally do so since 1294. All this pandemonium occurred the same month Suffocation unfurled Pinnacle of Bedlam unto the world. Harbinger of doom it was. Four years later, the blue marble we inhabit is certifiably nuttier and more violent. It’s the perfect vehicle for Of the Dark Light, a full-length that not only welcomes new members—drummer Eric Morotti and guitarist Charlie Errigo—but also sees Hobbs writing the craziest, cruelest Suffocation material since Effigy of the Forgotten.


“Now, bands are very cutting edge,” Hobbs observes. “So, we felt we had to step up our game a little bit. Still be unique, but I will say we’re still using the same formula we’ve been using since Suffocation formed. It’s just ramped up. There are some new things in there that I hope the fans will hear. They’ll have to really listen to the album to hear it though. With the new guys, I had to consider their input. Really, in a nutshell, it came down to the chemistry I had with Charlie and Eric. It was a bonus, to me, that I had players that were really into it.”


“Terrance is the majority songwriter, where I’m the majority lyric writer,” offers Boyer. “I’ll get Hobbs to help me out with some lyrics or he’ll ask me to for my input on his songwriting ideas. We collaborate really well together. Now that we have some newer cats, we started playing live. We immediately thought, ‘Fuck, we need to have a new record out.’ So, we slammed everybody into the same room to finalize the album. Sure, we could’ve put out the album a long time ago, but the chemistry is so good now, I can’t imagine what this album would’ve sounded like without them.”


Written over a four-year span but finalized in the studio—“bells and whistles”, Hobbs calls it—Of the Dark Light ups Suffocation’s already ridiculous ante. The first song written, ‘The Warmth within the Dark’, is just as powerful, technical, and savage as the last song written, ‘Caught between Two Worlds’. It’s hard to believe members Frank Mullen and Hobbs were doing this in their teens. Now, almost three decades later, Suffocation are more intense, have more fire, and can still out-riff, out-growl, and out-blast younger bands mimeoed off classics like Despise the Sun and Blood Oath.


“I like ‘Some Things Should Be Left Alone’ and ‘Of the Dark Light’,” Hobbs reveals. “People should take into consideration when driving into work and playing this record. I don’t want people out road raging too much. There’s no need to plow into somebody at 155 miles per hour while playing this record. This album has a lot of gas to it. Listen to it on your headphones at the gym instead. I think the Suffocation fan are really going enjoy it.”


“A band like Suffocation isn’t going to introduce clean vocals or synthesizer,” says Boyer. “That’s just not who we are. This is Suffocation’s formula. This is the Suffocation fans have known to come and love. We’re not going to stray too far off that path. We have a focal point. We’re a death metal band. We’ve always been kind of quick and technical. We didn’t want to lose that. We just wanted to make all that more exciting, more alive on Of the Dark Light.”


To put Of the Dark Light to so-called ‘tape’, the band holed up—for the fifth time—at Joe Cincotta’s Full Force Studios (Waking the Cadaver, Mortal Decay) in Long Island, New York. From the beginning of December 2016 to just after Christmas, Suffocation mercilessly laid down tracks like ‘Your Last Breaths’, ‘Return to the Abyss’, ‘Some Things Should Be Left Alone’, and a re-make of Breeding the Spawn bruiser ‘Epitaph of the Credulous’. To make sure everything was “tight”, Suffocation rehearsed for almost a month before hitting up Cincotta’s studio. Old habits, turns out, are hard to break.


“Where I come from, everybody has to sit down and learn the material,” Hobbs levels. “Practice it. Once we have it locked down as a band, then we can think about approaching the studio to record it. For us, we tried to take that same approach. It took a little more time than usual. Also, we wanted an organic sound. There’s so much you can do with technology these days. Any band can sit behind a computer and piece together songs and it’ll probably sound pretty great. We wanted Of the Dark Light to sound like Suffocation not a computer.”


“Joe goes back to Souls to Deny,” Boyer remembers. “He was a buddy. It was after that album where we started touring the world, going to places Suffocation had never been to before. On those tours, Joe was the soundman. It’s likely if we had a slamming and heavy sound in the 2000s, it’s because our soundman was our producer. He knew the band, he knew the material, so it’s clear he knew how it should sound in a live setting. From Souls to Deny to Of the Dark Light, we’ve done our music with Joe at Full Force.”


To perfect Of the Dark Light, Suffocation shipped off the recordings to Chris ‘Zeuss’ Harris to mix and master. Suffocation wanted a clear yet punishing sound. So, as with Pinnacle of Bedlam so too with Of the Dark Light. Having recently worked with death metal legends Six Feet Under, hardcore heroes Hatebreed, and tech-thrashers Revocation, Zeuss knew exactly what to put in and extract out of Suffocation for the group’s eighth full-length. Songs like ‘Clarity through Deprivation’, ‘Return to the Abyss’, and ‘The Violation’ have a particularly strong bite.


“We knew, as a friend of the band and a fellow East Coaster, Chris would get what we were aiming for,” says Hobbs. “I’d say this is a full Suffocation endeavor with some outside help, particularly where it concerned Zeuss. It turned out great working with him.”


“We had Zeuss doing the mixing and mastering for Pinnacle, so it made sense for him to reprise his role on Of the Dark Light,” Boyer states. “I thought Pinnacle sounded great, but after I compared it to Of the Dark Light, it smokes Pinnacle.”


But if there’s one thing that’s different about Of the Dark Light, it’s the vocals. Founding member and vocalist Frank Mullen is the main vocalist, but his successor, contributing vocalist Kevin Muller (The Merciless Concept / ex-Pyrexia), also has skin the Suffocation game. That being said, Mullen’s contributions were almost not meant to be. The story goes Mullen voiced his concerns about appearing on the follow-up to Pinnacle of Bedlam while hanging at a local bowling alley with Hobbs, Boyer, new guitarist Charlie Errigo, and a few friends. Frank said to his bandmates, ‘Yo, I don’t think I’m going to do the new record!’ They were quick to respond, ‘Come on, Frank!’ A little coercing later, Mullen and Muller would brutalize their way through Boyer’s transcendental death-wish lyrics.


“Frank will always be part of Suffocation,” assures Hobbs. “He can come in and record just fine. It’s the touring. He can’t be gone for five-six weeks at a clip. That’s not good for his job or his family. If you trace this back to the when the economy crashed in 2008, the likelihood of Frank getting out on tour became less of an option. I give him credit. He does what’s right for Frank and his family. He’s been a part of the band since the beginning. And he’ll always be a part of the band.”


“Frank always comes in with a few jabs,” Boyer laughs. “Like for this record, he said, ‘What in the hell did you idiots put together on this one?!’ He’s funny. Every time, he’s like, ‘I’m not doing this again!’ Then, after it all comes together, he’s like, ‘Ah, this is so sick!’ But Frank isn’t always going to be able to play live with us. So, we’ve brought on Kevin. He actually appeared on a lot of parts on Of the Dark Light. Long-time fans may not even notice there are parts with Kevin singing. He sounds just like Frank. Frank actually called me right after we got the master and said, ‘Fuck! Does Kevin sing on every goddamned song?!’ I was like, ‘No, not all of them.’ Kevin knocked it out of the park on this record.”


As for respite, there is no respite with Suffocation. Musically or lyrically. Conceptually, Of the Dark Light deals with transcendence, the shedding of the physical skin to achieve another plane of existence. But the lyrics originate not from a land of colors, incense, and feel-good vibes. Former labelmates Cynic have already covered that to great success. No, Suffocation, as expected, sourced their metaphysical prose from the depths of darkness.


“I wrote a lot about transcendence, leaving the physical body,” tells Boyer. “There are planes of existence you can’t go with the physical body. The only way to escape it is to end your life, not just of natural causes. There’s a suicidal theme to Of the Dark Light. But it’s not like we sit around thinking about or promoting suicide. No, we’re really talking about transcendence and what happens after.”


“There are a few songs on Of the Dark Light that are about loosely, I think, horror movie topics,” Hobbs adds. “We’re a death metal band. But the majority of the lyrics deal with transcending everything through death. Transcending our physical form. There’s touches of the Tibetan Book of the Dead to the lyrics. I mean, we prepare our whole lives to just pass away. What happens next? I don’t know, but I’m sure I’ll find out sooner or later.”


Australia’s AVERSIONS CROWN are coming to PITTSBURGH to make U.S. debut w/ OCEANO

Like a cataclysmic storm making landfall, the brand new album Xenocide from crushing Brisbane outfit Aversions Crown is here to destroy everything in its path. Off the back of a long touring cycle for their Nuclear Blast Entertainment debut, Tyrant, which saw Aversions Crown playing alongside Soilwork, Thy Art Is Murder, Attila, Parkway Drive, Psycroptic, Rings Of Saturn and The Acacia Strain, hitting festivals like Unify Gathering and Taste Of Anarchy as well as selling out headline shows on the other side of the world in Germany and the UK, the band refined and sharpened their already potent mix of brutal death metal speed and violence with eldritch atmospherics, audio manipulation and vocalist Mark Poida’s otherworldly vocal range and ability into a new level of destruction.

With teaser tracks “Parasites” and “Erebus” released over the course of 2016 hinting at the new direction, the band teamed up with frequent collaborators Adam Merker at Studio Anders Debeerz in Brisbane and Mark Lewis from Audio Hammer in Florida to create Xenocide. On the goal in mind when writing Xenocide, guitarist mastermind Chris Cougan says “we wanted to accentuate our strengths as Aversions Crown; the extreme drumming, the guitar interplay, Mark’s awesome vocals and really work on the arrangements instead of having a bunch of riffs on top of some blasts.”

With a loose conceptual framework at play across Xenocide’s tales of destruction, revenge, reanimation and murder, Poida enthuses “I really got an awesome brutal canvas to paint a horrible evil lyrical picture on. We pushed it to the limits of our songwriting ability and are very proud of the record.”

Aversions Crown will take Xenocide to stages around the world in 2017. Get in the pit or get out of the way.

 was tracked by Adam Merker at Studio Anders Debeerz in Brisbane and mixed and mastered by Mark Lewis (WHITECHAPEL, DEVILDRIVER, THE BLACK DAHLIA MURDER) from Audio Hammer.
Apr 05   Big Shots – Valparaiso, IN

Apr 06   The Rave Bar – Minneapolis, MN

Apr 07   The Cabooze – Minneapolis, MN

Apr 08   Aftershock – Merriam, KS

Apr 09   Lookout Lounge – Omaha, NE

Apr 12   Marquis Theater – Denver, CO

Apr 13   Loading Dock – Salt Lake City, UT

Apr 14   The Pin – Spokane, WA

Apr 15   Real Art – Tacoma, WA

Apr 16   Analog Theater – Portland, OR

Apr 18   DNA Lounge – San Francisco, CA

Apr 19   The Catalyst – Santa Cruz, CA

Apr 20   Whiskey – Los Angeles, CA

Apr 21   Chain Reaction – Anaheim, CA

Apr 22   Soma – San Diego, CA

Apr 23   Joe’s Grotto – Phoenix, AZ

Apr 25   Launchpad – Melrose, NM

Apr 26   89th St Collective – Oklahoma City, OK

Apr 27   The Dirty 30 – Dallas, TX

Apr 28   Grizzly Hall – Austin, TX

Apr 29   Jack’s Bar – San Antonio, TX

Apr 30   Walter’s Downtown – Houston, TX

May 02 O’Malley’s – Margate, FL

May 03 Backbooth – Orlando, FL

May 04 Masquerade – Atlanta, GA

May 05 Ground Zero – Spartanburg, SC

May 06 Warehouse – Clarksville, TN

May 07 Trixie’s Entertainment Complex – Louisville, KY

May 09 Canal Club – Richmond, VA

May 10 Stanhope House – Stanhope, NJ

May 11 Webster Hall – New York, NY

May 12 Revolution Bar and Music Hall – Amityville, NY

May 13 The Webster Underground – Hartford, CT

May 14 Palladium Upstairs – Worcester, MA

May 16 Cattivo – Pittsburgh, PA       

May 17 Pike Room at Crofoot – Pontiac, MI

May 18 The Wire – Berwyn, IL

May 19 Agora Ballroom – Cleveland, OH


More on Xenocide:
Prismatic Abyss” music video
The Soulless Acolyte” drum play-through video
Album trailer #1:
Album trailer #2:
Album trailer #3
Album trailer #4
Ophiophagy” lyric video:
Erebus” lyric video:

Erebus” drum play-through:

Visit AVERSION CROWN online:


Sept. 12 PGH…Counting Crows with Matchbox Twenty: A Brief History of Everything Tour (presale code)


Starting today at 10AM local time get first access to VIP Packages and Tickets to “A Brief History of Everything Tour 2017” with Matchbox Twenty – PASSWORD CROWS17 – Get your VIP & Tickets TODAY!

Vancouver, BC, Canada
Nashville, TN
Jacksonville, FL
Toronto, ON, Canada
Cuyahoga Falls, OH
Kansas City, MO


GRAMMY® Award-nominated artist JAMES BLAKE has announced that Vince Staples and Moses Sumney will join him for select dates on his recently announced Fall headlining tour. Staples will join the New York and Los Angeles dates while Sumney joins all dates minus Santa Barbara and Los Angeles. Tickets are available nowHERE.

BLAKE hits the road beginning September 23 at House of Blues in Dallas, TX and will then make stops in major cities across the country, wrapping up the tour at The Hollywood Palladium in Los Angeles on October 20. Full tour routing is below.

BLAKE is no stranger to working with Vince Staples, having recently lent his production talents for two tracks on Staples’ latest EP, “Prima Donna”. Staples also recently appeared at Glastonbury with BLAKE on a version of his track “Timeless” from his critically acclaimed third full-length offering, The Colour In Anything [Republic Records]—which is out now. Get it HERE.

BLAKE’s touch can be felt throughout the modern music landscape. He lent his inimitable voice and production to “Forward” on Beyoncé’s chart-dominating #1 blockbuster Lemonade. In addition, he co-wrote the opener “Pray You Catch Me.” Blake has also recently collaborated with Frank Ocean, both on The Colour In Anything and onOcean’s latest offering Blond.

Following the release of 2013’s OvergrownBLAKE garnered a “Best New Artist” nomination at the 2014 GRAMMY® Awards, and he received a nod for “British Male Solo Artist” at the 2014 BRIT Awards. He’s graced the stage at Coachella, Bonnaroo, Governors Ball, and countless other festivals as well as performing sold out headline tours.

9/23     Dallas, TX                   House of Blues w/ Moses Sumney
9/24     Houston, TX                House of Blues w/ Moses Sumney
9/25     Austin, TX                   ACL Live at the Moody Theater w/ Moses Sumney
9/27     New Orleans, LA        Orpheum Theatre w/ Moses Sumney
9/28     Atlanta, GA                 Tabernacle w/ Moses Sumney
9/30     Philadelphia, PA          Electric Factory w/ Moses Sumney
10/1     Washington, D.C.        Lincoln Theatre w/ Moses Sumney – SOLD OUT
10/3     New York, NY             Radio City Music Hall w/ Vince Staples & Moses Sumney
10/4     Boston, MA                 House of Blues w/ Moses Sumneys – SOLD OUT
10/5     Montreal, QC              Metropolis w/ Moses Sumney
10/7     Toronto, ON                Massey Hal w/ Moses Sumney
10/8     Royal Oak, MI            Royal Oak Music Theatre w/ Moses Sumney
10/9     Chicago, IL                  Cadillac Palace Theater w/ Moses Sumney
10/12   Seattle, WA                 Moore Theatre w/ Moses Sumney
10/13   Vancouver, BC           Orpheum Theatre w/ Moses Sumney
10/14   Portland, OR               Roseland Theater w/ Moses Sumney – SOLD OUT
10/18   Santa Barbra, CA       Arlington Theatre w/ Moses Sumney
10/20   Los Angeles, CA         Hollywood Palladium w/ Vince Staple – SOLD OUT
10/21   Los Angeles, CA         Hollywood Palladium w/ Vince Staples


1.         Radio Silence
2.         Points
3.         Love Me In Whatever Way
4.         Timeless
5.         F.O.R.E.V.E.R
6.         Put That Away and Talk To Me
7.         I Hope My Life
8.         Waves Know Shores
9.         My Willing Heart
10.       Choose Me
11.       I Need A Forest Fire (Ft. Bon Iver)
12.       Noise Above Our Heads
13.       The Colour In Anything
14.       Two Men Down
15.       Modern Soul
16.       Always
17.       Meet You In The Maze

Detroit Noise Rock Eccentrics Kick Off Tour With Lord Dying/ Live @SmilingMoose 8/30

Detroit noise rock eccentrics/perpetual road demons CHILD BITE are set to ravage US streets again, this time supporting Lord Dying. The massive thirty-six date journey will commence tonight and run through September 29th. Additional support will be provided by Black Fast and Joel Grind!
CHILD BITEw/ Lord Dying, Black Fast, Joel Grind:
8/19/2016 The Panic Room – Portland, OR
8/20/2016 Highline – Seattle, WA
8/21/2016 The Pin – Spokane, WA
8/22/2016 The Shredder – Boise, ID
8/23/2016 Metro Bar – Salt Lake City, UT
8/24/2016 The Marquis Theater – Denver, CO
8/25/2016 Lookout Lounge – Omaha, NE
8/27/2016 El Club – Detroit, MI
8/28/2016 The Foundry – Lakewood, OH
8/30/2016 The Smiling Moose – Pittsburgh, PA
8/31/2016 Bugjar – Rochester, NY
9/01/2016 Trickshots – Albany, NY
9/02/2016 Great Scott – Boston, MA
9/03/2016 Saint Vitus Bar – Brooklyn, NY
9/04/2016 The Pinch – Washington DC
9/05/2016 Kung Fu Necktie – Philadelphia, PA
9/06/2016 Riffhouse Pub – Chesapeake, VA
9/07/2016 The Pour House – Raleigh, NC
9/08/2016 New Brookland Tavern – Columbia, SC
9/09/2016 The Haven – Orlando, FL
9/10/2016 Crowbar – Tampa, FL
9/11/2016 Churchill – Miami, FL
9/12/2016 1904 – Jacksonville, FL
9/13/2016 The Masquerade  – Atlanta, GA
9/15/2016 Siberia – New Orleans, LA
9/16/2016 Walters – Houston, TX
9/17/2016 Dirty Dog Bar – Austin, TX
9/18/2016 Tomcats West – Fort Worth, TX
9/20/2016 Depot Obar Live – Lubbock, TX
9/22/2016 Pub Rock – Scottsdale, AZ
9/23/2016 White Oak Music – Los Angeles, CA
9/25/2016 The Dive Bar – Las Vegas, NV
9/27/2016 The DNA Lounge – San Francisco, CA
9/28/2016 Old Nick’s Pub – Eugene, OR
9/29/2016 3rd Street Pub – Bend, OR
CHILD BITE continues to astound ears with the apocalyptic sounds of Negative Noise, out now on Housecore Records. The wild, forty-seven-minute ride was produced by label head Philip H. Anselmo, mastered by Scott Hull (Pig Destroyer), and is where the Venn diagram of Black Flag, Voivod, and The Jesus Lizard truly overlaps.
The Sludgelord notes, “CHILD BITE creates an idiosyncratic racket, a chaotic collision of off-kilter punk, the weirder end of ’80s hardcore and rumbling post-punk. Negative Noise is an invigorating blast of dissonance, a blend of familiar influences twisted into their warped vision. Shawn Knight’s hyperactive drawl makes a compelling foil to the band’s manic yet inventive playing, as his Jello Biafra via Mike Watt drawl varies in intensity to match the song’s twists and turns.” New Noise Magazine calls CHILD BITE‘s Negative Noise, “…an adventurous slice of loud rock…They have the aggressive force of hardcore, but it’s filtered through grimy noise rock…Negative Noise showcases a band firing on all cylinders.” Brave Words observes, “The danger with this sort of artsy punk is that it can skirt a line between really interesting and creative and just really annoying and grating, really fast. Most bands who do this sort of thing end up being in the latter category, but CHILD BITE stay listenable, thanks to a ton of interesting and cool guitar work (check out ‘Video Blood’) and an ability to keep things toe-tapping and relatively rockin’, even if it’s rarely with a straight beat and is certainly never with an expected twist or turn,” adding, “References within the sphere of metal are hard to come by, but imagine if the first Mr. Bungle album wasn’t annoying circus music, and then remember that this band once did a 5″ record of Anal Cunt covers with Phil Anselmo on vocals, and you’re getting there.” Punk News concurs, “This is for the open minded punk, headbanger or weirdo. If you like your music a little on the ugly side, you owe it to yourself to check them out. (Especially if you get a chance to see them live.) Negative Noise can be a hard record to love, but ultimately it’s worth the effort.” No Clean Singing notes, ” Negative Noise possesses a brilliance and individuality all its own and is a refreshing breath of fetid air in an era saturated with a d-beat-only approach to punk and hardcore,” while KNAC hails, “…an all-over-the-place shitstorm of punk/hardcore, metal, noise/post rock, prog and even surf music in Brandon Sczomak’s shrill guitar jangle…it sounds sorta like someone stuffed Mr. Bungle/Fantomas, Voivod, old Clutch (especially in Shawn Knight’s husky baritone and seemingly extemporaneous delivery), Black Flag and The Jesus Lizard into a blender, pushed ‘grind’ and then forget to turn it off.”
Get weird with Negative Noise available at the Housecore Store HERE.