MORDOM: No Clean Singing Premieres “Betrayed” From San Diego Death/Doom Duo Featuring Members Of... 

photo by Thomas Laviolette

No Clean Singing is currently streaming the gutting sounds of “Betrayed” from San Diego, California-based death/doom duo MORDOM. The hymn comes by way of the band’s Cry Of The Dying World full-length, set to drop next week via Transylvanian Recordings.

Notes the band of the track, “‘Betrayed’ is about the mass deception of the ultra-rich. They’re able to buy the truth and feed whatever lies they want to the lower classes and frame it however they want. They use this to try and convince everyone else that what’s in their best interests is in everyone’s best interests, even though they’re destroying the earth. They hoard more money than they could ever possibly need and leave billions in poverty. They turn us against each other and divide society, all while they remain unaffected. This is a betrayal of the worst kind imaginable. ”

Adds No Clean Singing in part, “’Betrayed’ lumbers like a massive, shaggy beast. The ultra-slow bass riffing crackles with catastrophic levels of distortion, matched by skull-cracking drum blows and ringing cymbal strikes. The combined effect is crippling in both its massive weight and its feeling of oppressiveness and disgust, an impact made even more intense by the harrowing roars that seem to well up from a fathomless abyss.”

Read more and stream MORDOM’s “Betrayed” at THIS LOCATION.

MORDOM, featuring members of funeral doom goliaths Cessation, was forged in 2018 by bassist/vocalist Max Hoffman and drummer Nathan Gonzalez. Though Gonzalez didn’t play on the band’s 2020 Eternal Solitude demo — crowned a “grave monument of a demo” by Decibel Magazine for its “original and soul-stirring sound, quite unlike anything we’ve heard before” — Hoffman sought him out specifically to assist in the manifestation of latest offering, Cry Of The Dying World. Together, the pair reworked the band’s sound, dropping guitars entirely and blending Finnish death/doom influences with sludge, crust punk, and post rock. Above all, the pair seeks to create metal that is simultaneously bleak, punishing, and emotionally moving, expressing living in a world being torn apart by hatred, greed, and climate change.

Recorded, mixed, and produced by Ethan Camp and mastered by Adam Gonsalves with cover art by Caue Piloto, Cry Of The Dying World will be released on CD, cassette, and digitally December 10th. Find preorders at THIS LOCATION.

“Combining the leaden misery of funeral doom, the hideous unconventional songwriting of death metal and the monomaniacal disgust of black metal, MORDOM prove themselves to be preternaturally gifted at transmuting their darkest moods into monstrous moments of crushing sonic majesty.” – Decibel Magazine

The post MORDOM: No Clean Singing Premieres “Betrayed” From San Diego Death/Doom Duo Featuring Members Of Cessation; Cry Of The Dying World Full-Length Nears Release Via Transylvanian Recordings first appeared on Earsplit Compound.

GREAT AMERICAN GHOST To Release Torture World EP January 20th, 2022 Via MNRK Heavy; Punishing... 

Photo by Chris Klump

Boston’s GREAT AMERICAN GHOST will release their anticipated Torture World EP on January 20th, 2022 via MNRK Heavy, today unveiling its cover art, track listing, and first single, “Kingmaker.”

Produced by Will Putney (A Day To Remember, Knocked Loose, The Amity Affliction), who handled the band’s critically-adored 2019 full-length, Power Through Terror, with Torture World, the band directs old-school hardcore wrath at hypocrisy, apathy, and self-loathing, delivered in a dark cloud of relentlessly bludgeoning riffs. The EP’s title track blends atmospheric melodies with unrelenting heaviness, maneuvering swiftly between classic death metal, crushing hardcore, and double bass-fueled fury. “Womb” is as fast and severe as anything originating from the frozen forests of Scandinavia, swinging wildly back and forth between blackened death and slow, bludgeoning sludge. “Death Forgives No One” concludes the proceedings, with a progressive bent, equal parts driving and haunting, with an almost esoteric quality beneath it all.

Vocalist Ethan Harrison and guitarist Niko Gasparrini spoke about their shared love of Nine Inch Nails and industrial, resulting in Torture World’s first single, “Kingmaker.” The very metal but angular, sharply percussive EP opener showcases the band’s attention to detail in crafting instrumentation, carefully weaving through choruses, breakdowns, and bludgeoning riffs.

“‘Kingmaker’ is a song I wrote at the height of the QAnon hysteria,” elaborates Harrison on the theme driving the pummel. “It was my own observation on the kind of people that allow something so clearly based in racism and bigotry, that has been propagated for hundreds of years just to be repackaged and resold as something new and original, to fuel their every choice and how much that disgusts me. Some things should be rejected on their face.”

A punishing video for “Kingmaker” is currently playing at Metal Injection, noting, “It’s the kind of song that your neighbors really ought to hear, and maybe even feel depending on your sound system.”


Torture World will be released on CD, LP, cassette, and digitally. Find preorders at THIS LOCATION.

Torture World Track Listing:

    1. Kingmaker
    2. Torture World
    3. Womb
    4. Death Forgives No One

It was the first GREAT AMERICAN GHOST show in eighteen months, and there was no guarantee there’d even be an audience. The Ghost Inside, Every Time I Die, The Acacia Strain, and Currents filled out a bill booked for the outdoor parking lot stage at the Palladium in Worcester, Massachusetts. GREAT AMERICAN GHOST, hailing from nearby Boston, went on earliest, with lots of daylight left on the clock. “I was nervous,” frontman Ethan Harrison confesses. “I figured nobody was going to come early to watch us. I’ll always find a way to be anxious in those situations. It was the most people we’ve ever played in front of before and the most people I’ve ever stood in front of personally.”

The triumphant post-pandemic return in front of 10,000 enthusiastic people was a testament to just how successfully GREAT AMERICAN GHOST connected through a steady stream of furious music. The group Metal Injection calls, “always hateful, always pissed,” steadily built a devoted following with the bleak and punishing Everyone Leaves (2015), Hatred Stems From The Seed (2017), the Don’t Come Back EP (2016), and Power Through Terror (2019).

Even as the worldwide shutdown and personal adversities big and small threatened to derail the band, perseverance ultimately prevailed, resulting int he four-song Torture World EP poised to take the band’s vicious bile in new directions.

“We were excited about Power Through Terror and ready to hit the road as much as humanly possible,” Harrison recalls. “We had a bunch of touring ready to roll when the record came out in February. Then we were locked down in March. It was a really long eighteen months for us, like most people. There were a lot of points where really bad things happened, and we thought, ‘Well, maybe we just don’t want to do the band anymore.’ My mental health was going downward. We had a really horrible year, honestly.”

But as the light began to creep in toward the end of the tunnel, with plans for shows and even touring on the horizon, Harrison and his bandmates – guitarist Niko Gasparrini and drummer Davier Perez – began to feel some glimmers of hope. “The conversations started to feel more real. It gave me a feeling that I hadn’t had in a long time. I missed the band even more than I realized.”

“We didn’t have any pressure or expectations in terms of how Torture World should sound,” Harrison says. “We did what we wanted, and this is what came from it. There’s a larger scope of sound happening than on our earlier releases. Bells, percussion, a lot of extra instrumentation.” And the riffs are still there.

Early releases tackled feelings of hopelessness, thoughts of suicide, and bitterness about broken relationships with naked aggression. On Power Through Terror, Harrison turned his poison pin outward as well, going after government complicity in sex trafficking and abuse; a friend’s debilitating struggle with alcoholism; the fear of failure that keeps so many bound up in apathy. Torture World tackles several issues with urgency and passion, not the least of which is the struggle for equality and the resulting social unrest magnified in recent years. “As a white cisgender male, I’m not in a position to say that I am oppressed. It’s not my story to tell,” Harrison cautions. “But I have a huge problem with the disparity that occurs inside of this civilization that we occupy.”

Torture World has a dual meaning,” he continues. “Some songs on the EP are extremely political and there are some extremely personal songs. Both things bleed into each other.”

It’s an approach to the lyrical side of the band that continues to apply to their music. Since the first time a punk rocker palm-muted a guitar, there’s been a debate about what constitutes “true” hardcore, crossover, thrash, metalcore, ad nauseam. GREAT AMERICAN GHOST is comfortably beyond that conversation. “I’m so sick of the whole subgenre thing,” says Harrison. “We’ve always been in this middle ground. Some people who listen to metal don’t see us as a metal band. We’ve never been a straight-up hardcore band. So, we don’t really care. I only care whether or not people get it. As long as they get it, or it changes them or touches them emotionally in some way? Call us whatever you want.”

Ethan Harrison – vocals
Niko Gasparrini – guitar
Davier Perez – drums
Grayson Stewart – guitar


The post GREAT AMERICAN GHOST To Release Torture World EP January 20th, 2022 Via MNRK Heavy; Punishing “Kingmaker” Video Now Playing At Metal Injection + Preorders Available first appeared on Earsplit Compound.

THE RESONANT ROGUES: North Carolina-Based Folk Duo Releases Installment Of Anti-Corporate Music’s... 

photo by Ericka Poore

The second season of Anti-Corporate Records’ beloved The Magnolia Sessions continues this month, with the release of a new recording from THE RESONANT ROGUES, out today. Alongside its release, the album’s “Misery Is My Company” is now playing at The Sleeping Shaman.

The first season of The Magnolia Sessions delivered a new record the first week of every month from its launch in September 2020 through May of 2021. The series showcases bluegrass, dark country, and folk singer/songwriter acts, recorded in an intimate outdoor setting by a large magnolia tree at the Anti-Corporate Music/Black Matter Mastering headquarters in Nashville, Tennessee, by owner Dan Emery. The first season yielded heartfelt releases from Matt Heckler, Jason Dea West, Johno Leeroy, Cristina Vane, Nick Hans, Casper Allen, Jeff Loops, Angela Autumn, and Austin Stambaugh, many of which debuted on the Billboard Bluegrass Charts. Following a break over the Summer, the new season of The Magnolia Sessions relaunched in September, having since delivered albums from The Lost Dog Street Band, The Hill Country Devil, and Joe Wunderle.

The fourth installment of the new season now sees release, with a record from THE RESONANT ROGUES, whose dark Appalachian folk paints a picture of their lives in the mountains of Western North Carolina and on the road. Anchored by the songwriting duo of Sparrow (banjo, accordion) and Keith Smith (guitar), the duo has traveled the byways and highways of America and crossed the oceans with instruments in tow. From riding freight trains to building their own homestead, the pair are no strangers to blazing unconventional trails. At once rooted and adventurous, each song tells a story of real experiences, friendships, and challenges.

With THE RESONANT ROGUES‘ installment of The Magnolia Sessions, the band writes, “Through the darkness of isolation, music was the light that kept us going through 2020. This live, stripped-down collection of new original tunes captures our special connection, as musical collaborators and sweethearts.”

Adds Anti-Corporate Music and Black Matter Mastering engineer Dan Emery, “We did this session early in the 2021 series. The insects had just started coming out. The only other one that we had recorded at this point was the first attempt to record The Hill Country Devil, and we had to scrap that one because the atmosphere was just not there. I was actually pretty nervous about doing this one because of how early it was, and how the other one had turned out. Thankfully, we had just enough background sounds to fill it out and Keith and Sparrow were nailing take after take, which is a very good thing because within a few minutes of finishing what would be our last take all the insects had gone silent.”

Stream THE RESONANT ROGUES’ “Misery Is My Company” via The Sleeping Shaman now at THIS LOCATION.

The Magnolia Sessions titles are available directly through Anti-Corporate Music’s webshop HERE.

Watch for additional installments of The Magnolia Sessions to post the first week of the month from now through late Spring

THE RESONANT ROGUES’ The Magnolia Sessions Track Listing:
1. Ridgelines
2. How Far We’ve Come
3. Misery Is My Company
4. What Makes Me Think
5. Fool Of The Rules
6. Old Friends
7. Things I Said
8. When The World Slows Down
9. The Blackest Crow

The post THE RESONANT ROGUES: North Carolina-Based Folk Duo Releases Installment Of Anti-Corporate Music’s The Magnolia Sessions; “Misery Is My Company” Playing At The Sleeping Shaman first appeared on Earsplit Compound.

AMORPHIS Presents Music Video For New Digital Single, “The Moon;” Halo Preorders Now Available 

Photo by Sam Jamsen

AMORPHIS — who stand among Northern Europe’s leading dark metal acts, hitting #1 on the Finnish charts five times — have been captivating fans and critics for over thirty years with their melancholic, yet heavy soundscapes. After announcing their upcoming fourteenth studio album, Halo, out on February 11th, 2022 through Atomic Fire, last month, the sextet presents the world with the record’s first single, “The Moon.”

Comments lyricist Pekka Kainulainen, “I have done several drawings and paintings on this subject over the years. Now I complementary wrote some heavy metal lyrics… This is a song of love.”

Adds guitarist Esa Holopainen, “It’s a very atmospheric and catchy song that represents what AMORPHIS sound like in 2021 well.”

View AMORPHIS’ “The Moon” video, created by renowned director Patric Ullaeus (rEvolver Film), at THIS LOCATION.

Once again adorned by artwork provided by Valnoir (Alcest, Paradise Lost etc.), Halo was recorded, produced, and mixed Jens Bogren (Fascination Street Studios) while mastering duties were handled by Tony Lindgren.

Halo will be available as a CD digipak, 2xLP gatefold in multiple exclusive color variants, box set (includes 2xLP in multiple color variants, exclusive Live In Europe 2018-2019 bonus CD, flag, slipmat, and button), and cassette.

Preorder the album physically, pre-save it, or preorder it digitally to receive “The Moon” instantly now at THIS LOCATION.

Halo Track Listing:

  1. Northwards
  2. On The Dark Waters
  3. The Moon
  4. Windmane
  5. A New Land
  6. When The Gods Came
  7. Seven Roads Come Together
  8. War
  9. Halo
  10. The Wolf
  11. My Name Is Night

Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads AMORPHIS have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On Halo, their staggering fourteenth studio effort, the Finns underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes.

In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos Kalevala into their songs and interpreting them in a timeless way, AMORPHIS combines the role of ancient minstrels and luminaries of the modern world, honoring tradition without getting stuck in the past.

The vibrant, lively, and touching beauty that is Halo highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio, vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness, Pekka Kainulainen, and a selected group of world class audio professionals led by renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how AMORPHIS manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s Under The Red Cloud followed by 2018’s Queen Of Time.

“It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, Halo sounds both familiar and different. “It is thoroughly recognizable AMORPHIS from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates.

Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerizing lullabies, adds, “To me, Halo sounds a little more stripped down compared to Queen Of Time and Under The Red Cloud. However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental.

That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs AMORPHIS offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this cooperation has carried AMORPHIS significantly forward.”

Indeed. Setting off with the stormy grandeur of opener “Northwards,” AMORPHIS takes us on an epic journey through the lands of the north, their rich cultural and historical heritage, and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark.

However, no AMORPHIS album would be complete without the imaginative and poetic storytelling of renowned lyricist and Kalevala expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for AMORPHIS,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s Silent Waters, Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For Halo, he outdid himself once again. “Halo is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.”

Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, AMORPHIS still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With Halo, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality.

12/04/2021 John Smith Rock Frozen – Jyväskylä, FI
3/01/2022 GlavClub – Moscow, RU
3/02/2022 Cosmonavt – St. Petersburg, RU
6/04/2022 Rockfest – Hyvinkää, FI
6/18/2022 Z7 Wild Dayz – Pratteln, CH
6/19/2022 Graspop Metal Meeting – Dessel, BE
6/24-25/2022 Rock Imperium Festival – Cartagena, ES
7/1-3/2022 Tuska – Helsinki, FI
7/08/2022 Wolf Fest – Chelopech, BG
7/07-10/2022 Masters of Rock – Vizovice, CZ
8/05/2022 Porispere – Pori, FI
8/06/2022 Himos Metal Festival – Jämsä, FI
8/17 – 20/2022 Summer Breeze Open Air – Dinkelsbühl, DE

Tomi Joutsen – vocals
Esa Holopainen – guitars
Tomi Koivusaari – guitars
Santeri Kallio – keyboards
Olli-Pekka Laine – bass
Jan Rechberger – drums

The post AMORPHIS Presents Music Video For New Digital Single, “The Moon;” Halo Preorders Now Available first appeared on Earsplit Compound.

Märvel Release Music Video for New Single “Lizard’s Tongue” – Announce New LP ‘Graces Came With... 

Swedish Garage Rockers Märvel Release New Single

"Lizard's Tongue" - WATCH

New Album, 'Graces Came With Malice', Coming in 2022!

Swedish garage rock trio Märvel turns it down a notch on their new single and music video! "Lizard's Tongue" is a laid-back and classic-sounding rock track, featuring Märvel's signature mixture of strong vocals and memorable melodies. It also features a Black Sabbath reference.
The band comments:
"'Lizard’s Tongue' is about going through some hard shit and in the end trying to maintain a positive outlook on life. It’s about finding your way out of a really dark hole. The outro paraphrases “Behind the Wall of Sleep” by Black Sabbath, and pays homage to Bill Ward, one of the most soulful rock ’n’ roll drummers around."
"Lizard's Tongue" is the third single leading up to Märvel's ninth album 'Graces Came With Malice'. The new album will be released on The Sign Records in 2022 to celebrate the band’s 20-year anniversary. "Lizard's Tongue" is out now and accompanied by a music video.

Märvel - "Lizard's Tongue" (Music Video)

Märvel Bio:
Märvel was formed in 2002 when John Steen (The King), Ulrik Bostedt (Speedo), and Tony Samuelsson (The Vicar) spent a high school exchange year in Colorado, USA. Ditching classes, drinking beer, and playing rock n roll in the garage gave the world “Marvellous”, their first EP. The band got airtime on several college radio stations before they left the USA and returned to Sweden with lousy grades, but high spirits. Two other vinyl EP’s (“Heroine Tracks” & “Bedlam at the Embassy”) were released the following years through Swedish indie labels.
Between 2003 and 2011, the band started honing their skills and image by playing live and recording three albums. Constant touring and airplay during the period helped the band to build a very loyal fanbase in Europe.
With the release of their third full-length album “Warhawks of War”, Märvel went through some changes. The earlier superhero gimmick was abandoned in favor of new and more iconic personas, The King, The Vicar, and Speedo. A second live bass player, The Aviator, was also added to the lineup. The band fully stepped into the new characters by also adopting them live on stage. “Warhawks of War” was released in 2011 and marked a big step forward for the band in terms of sound and strong material. It also featured the guest stars Strings (Dundertåget, Hellacopters) and Dregen (Backyard Babies, Hellacopters, Michael Monroe).
In 2012, Speedo (Ulrik Bostedt) was replaced by Burgher (Ulrik Bostedt). Filled with youthful raw energy, and with a unique style, Burgher helped catapult the band even further while touring Germany, France, and Spain to promote the Warhawks album.
After touring with Dregen in 2013, the band returned to the studio to record “Hadal Zone Express”. The album was released 28th of March 2014 to a never-ending stream of praise. In the fall, the band recorded a mini-album, with Fred Estby, “The Hills Have Eyes”. The title track along with a cover of W.A.S.P’s L.O.V.E. Machine made a big fuzz and got frequent air time.
In 2017, the band partnered with The Sign Records, and the first release was the seventh album “at the Sunshine Factory”, the first Märvel album to be recorded fully by themselves in their own newly established studio, Solskensfabriken. The second release was a cheeky cover album, “Guilty Pleasures”, featuring songs from a wide spectrum of artists such as Dire Straits, Agnetha Fältskog, REO Speedwagon, and Monster Magnet.
It is now 2021, and with a year and a half of the pandemic, the band still has had the opportunity to spend time together. The outcome will be a new album to be released in the near future. As always, the songs are in focus, and the release sees Märvel back at the height of their creativity, blending all their eclectic influences into a melodic piercing piece of high-energy rock n roll!
Looking slightly into the future, 2022 marks the 20th anniversary for the band, and apart from a new album, this accomplishment will be acknowledged throughout the year with exclusive releases, gigs, and other surprises.
Märvel is:
The King - Guitars, Lead Vocals
The Vicar - Drums
The Burgher - Bass