LORD DYING Announce North American Headline Tour

LORD DYING has been on the road non-stop since the release of their critically acclaimed debut Summon the Faithless earlier this year via Relapse Records. Next year the band will be heading to Europe for the first time for an extensive tour with label mates Red Fang and TeePee Records artist The Shrine.  LORD DYING will also be appearing at the 2014 Roadburn Festival.


In between the European tours, LORD DYING will be back stateside for a headline tour including select dates with Pallbearer, The Body, Subrosa, and Eagle Twin.   The tour begins February 11th in Portland, OR and wrapping up March 7th in Boise, ID.  A complete list of all dates can be found below.


Guitarist/Vocalist Erik Olson commented on the upcoming dates:


“We’ve got a lot of dates coming up this winter, both in the U.S and across the pond.  We plan to be crushing many beer cans and skulls.  So come out and stay warm, it’s time to get awesome!”


LORD DYING‘s video for the song  “Dreams of Mercy”, directed by Whitey McConnaughy (Red Fang, ZZ Top) can be seen HERE.


LORD DYING‘s debut Summon the Faithless is available now on Relapse Records.  The album is available in CD and LP formats which can be purchased HERE and digitally via iTunes.


Summon the Faithless can be streamed in full on LORD DYING‘s band camp page.


The LORD DYING song “In a Frightful State on Gnawed Dismemberment” is available for free download as part of The Relapse Records 2013 SamplerHERE.


LORD DYING European Tour With Red Fang and Shrine:


1/18/14: Geneve CH @ Usine PTR

1/19/14: Orleans FR @ Astrolabe

1/20/14: Nantes FR @ Ferraileur

1/21/14: Bordeaux FR @ Krakatoa

1/22/14: Bilbao ESP @ Kafé Antzoki

1/23/14: Oporto PT @ Club

1/24/14: Lisbon PT @ Music Box

1/25/14: Madrid ESP @ Sala Copérnico

1/26/14: Barcelona ESP @ Bikini      

1/28/14: Toulouse FR @ Connexion

1/29/14: Clermont-Ferrand FR @ Wild Festival

1/30/14: Mezzago IT @ Bloom

1/31/14: Livorno IT @ The Cage Club Theatre

2/1/14: Bologna IT @ Locomotiv Club

2/2/14: Ljubljana SLO @ Channel Zero      

2/4/14: Rijeka CROATIA @ Palach

2/5/14: Budapest HU @ Dürer Kert

2/6/14: Prague CZ @ Futurum

2/7/14: Athens GR @ Gagarin 205

2/8/14: Thessaloniki GR @ Eightball


Lord Dying Headline Tour:

2/11: Portland, OR @ Rotture

2/12: Sacramento, CA @ Press Club

2/13: San Francisco, CA @ TBA

2/14: Los Angeles, CA @ Complex

2/15: Tucson, AZ @ The Rock

2/16: Albuquerque, NM @ Launch Pad

2/17: Marfa, TX @ Padres

2/18: Austin, TX @ Hotel Vegas

2/19: Texarkana, TX @ Silver Dollar

2/20: Little Rock, AR @ Vino’s

2/21: Memphis, TN @ HiTone

2/22: New Orleans, LA @ Siberia

2/23: Atlanta, GA @ The Earl

2/24: Raleigh, NC @ The Maywood

2/25: Washington, DC @ TBA

2/26: Philadelphia, PA @ Kung Fu Necktie

2/27: Brooklyn, NY @ St. Vitus

2/28: Boston, MA @ O’Briens’

3/1: Syracuse, NY @ TBA

3/2: Cleveland, OH @ Now That’s Class

3/3: Chicago, IL @ Empty Bottle (Free Monday)

3/5: Denver, CO @ 3 Kings Tavern

3/6: Salt Lake City, UT @ Urban Lounge

3/7: Boise, ID @ The Shredder


LORD DYING European Tour With Red Fang and Shrine:

3/14/14: Köln GER @ Essigfabrik

3/15/14: Hasselt BEL @ Muziekodroom  

3/16/14: Paris FR @ Divan Du Monde

3/17/14: Sheffield UK @ Corporation

3/18/14: Manchester UK @ Sound Control

3/19/14: Glasgow UK @ Classic Grand

3/20/14: Birmingham UK @ Institute Temple

3/21/14: London UK @ Islington Academy

3/22/14: Eindhoven NL @ Effenaar

3/23/14: Nijmegen   NL @ Doornroosje       

3/25/14: Hamburg GER @ Knust

3/26/14: Gothenburg SWE @ Truckstop Alaska

3/27/14: Oslo NOR @ John Dee

3/28/14: Stockholm SWE @ Debaser Strand

3/29/14: Copenhagen DK @ Pumpehuset

3/30/14: Berlin GER @ Lido

3/31/14: Warsaw POL @ Basen

4/1/14: Wien AT @ Arena       

4/3/14: München GER @ Backstage

4/4/14: Leipzig GER @ Taubchenthal

4/5/14: Stuttgart GER @ LKA

4/6/14: Wiesbaden GER @ Schlachthof


For More Info Visit:






The Body Beyond Redemption

There is a way to make something beautiful and noteworthy out of something unexpected and unorthodox. Noise is a tough element in music to use well, but there are some ambitious artists who can shove distortion to the front lines and actually make something wonderful. The same mantra can be applied to grindcore, death metal or any other metal subgenre that really on roughness, heaviness and a lack of melody; there are ways to make them appealing. It’s not easy, but it’s possible and it’s always nice to see something once classified as cacophony pioneer music into something valuable and culturally essential.

The Body’s Christs, Redeemers doesn’t do that. It doesn’t do anything good. Nothing at all. You can call them “avant-garde” till the cows come home, but that makes no difference when their music is this drained of personality, creativity or any trace of likability.

While the fundamentals of doom metal are slow, lurching rhythms and downtuned melodic instruments, The Body bring this concept into criminal excess in “An Altar or a Grave” and “Failure to Desire to Communicate.” These two songs sluggishly drag their feet for eight minutes with no change in tempo or sampling. They are the same smashing cymbals, super-low riffs and heavily distorted vocals for the entire two tracks. It cannot be overstated how grating this becomes; two minutes into “An Altar…” and you’re already sick of it, but it continues in the exact same pattern. Right when the songs end and you get the okay interlude of “Night of Blood in a World Without End”, it goes right back to the same pattern. It’s disgustingly repetitive to the point of not even being listenable.

Every now and then you’ll hear a new vocal style or the occasionally refined use of metal noise, but these moments are brief, so brief that you might not even recognize them at all. “Prayers Unanswered” features a muffled spoken-word segment while the opener “I, the Mourner of Perished Days” actually can sound majestic, but they’re just not enjoyable. These moments aren’t good for what they truly are; their value simply comes from taking a break from every other pathetic musical notion the album throws at you. They are noteworthy only because they’re not like the rest of the record, not because they themselves are good.

But is The Body a brutal band? They sure do pitch themselves as such, but no, they’re not. Christs, Redeemers isn’t heavy or threatening in the least; the guitars are mindlessly distorted, the rhythms simplistic to the point of basic metronomic pacing, and the cinematic qualities absolutely buried. The most successful doom metal bands make something elegant out of something lurching and brooding; the task of metamorphosis is the genre’s most crucial feature. The Body don’t make any effort to do any of that.

Christs, Redeemers doesn’t sound like music. While you can argue that there are bands that do similar things, but this is experimentalism in its most putrid and abused form. The Body offer compositions on the lowest common denominator possible; they use their walls of noise in very random and unintegrated ways, all while using the same tactics throughout the entire album. Christs, Redeemers sounds like one huge song stretched across ten tracks, but not in any way a good song. It’s monotonous. It’s noisy. It’s unorganized. It’s one thing to challenge the status quo of music and try to be experimental, but it’s another to cite something boring and poorly designed as experimental. Artists use the excuse of experimentalism to justify their work as something viable and creative when it’s not (the “you just don’t get it” or Lulu paradigm). Whether or not The Body are implying this idea may be up in the air, but rest assured that Christs, Redeemers is so devoid of any sense of quality that you’re better off eating your money instead of spending it on this. Do not, I repeat, do NOT listen to this album.

Avant-doom duo The Body in Pittsburgh October 27th at The Shop

“There’s heaviness. There’s brutality. Then there’s The Body.” – Metal Sucks

Appearing Oct. 29 at The Shop in Pittsburgh

The Body’s music is dense and uncompromising, and while it is not for the faint of heart, it is an incredibly rewarding and cathartic listen for those brave enough to take the plunge.  The band tours as a duo, creating more sound with just guitar, drums, and samples than most bands could achieve with three times that. For a good idea of the band’s negative aesthetic and confrontational style, you can check out this new video for “An Altar or A Grave,” which the Fader called, “the most horrifying thing we’ve seen all year.”
The Body – “An Altar or A Grave” video:

<p><a href=”http://vimeo.com/74247961″>The Body – An Altar or A Grave</a> from <a href=”http://vimeo.com/thrilljockey”>Thrill Jockey Records</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

It has been said by more than a few intrepid listeners that The Body is the most brutal band on the planet. With ravishing grimness and impenetrable walls of noise, the duo of Chip King and Lee Buford create music that goes beyond what is normally considered harsh and violent, advocating a doctrine of misanthropy to those brave enough to take the plunge. Since their recording career began in earnest in 2004, The Body has expanded the definition of what it means to be a metal band, incorporating elements of noise, avant-garde composition, and experimental electronic music into their crushing doom and searing black metal foundation. Christs, Redeemers, the duo’s latest transmission of loathing and revulsion, finds King and Buford pushing even further into the horrifying unknown.
Christs, Redeemers conjures this atmosphere of foreboding and isolation sonically, lyrically, and visually. The album opens with washes of sound and one forlorn voice penetrating the ether before launching into the brutal, ghostly dirge of “To Attempt Openness,” featuring frequent collaborators the Assembly of Light Choir. Unexpected bursts of noise, generated by guitars and electronics, puncture any sense of comfort or complacency and eerie samples float from the ether. King and Buford masterfully use the spectral space between the sounds to create almost unimaginable tension, employing silence as effectively as they do cacophony. This restraint, the knowledge of when to punish with volume and when to punish with the absence thereof, bestows the moments of fury with gravity.
King’s screams are the centerpiece of the band’s aesthetic: panic-stricken and distraught, constantly on the verge of breaking. His lyrics are no less unhinged. On the album’s colossal closer “Bearer of Bad Tidings,” he shrieks “Life worthless and devoid of any meaning…all the world a grave.” Buford’s drums act as both a stabilizer and instigator of the madness, at times pushing the proceedings further into oblivion and others providing a lifeline for the listener as the guitars and electronics deliberately push you toward the brink.
The album was recorded at Machines With Magnets in Pawtucket, RI, where The Body has recorded all previous album releases. During the recording process King and Buford play the double role of players and auteurs, bringing in a diverse group of collaborators, from the aformentioned Assembly of Light Choir to noise musician Work/Death and Ryan Seaton of Callers, to realize their hellscapes. They will be touring the US extensively in the fall.
…[One} of the most remarkable acts bubbling up from the extreme-metal underground.” – The New Yorker