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The Flenser has a number of new releases planned for 2017 by Street Sects, Low Estate, Sutekh Hexen & Hissing and as well as reissues by Sannhet and Have a Nice Life.
Pre-orders will go live Friday August 4th at 10am PT
nowflensing.com for US/World
Throatrunier for Europe.
Austin, TX duo Street Sects have returned with a 12-inch record titled Rat Jacket. Rat Jacket is not a direct follow-up to 2016’s End Position. While still maintaining the sample-based foundation that is the core of the band’s sound, Rat Jacket experiments with melody and organic instrumentation. Thematically, the record deals with loyalty, trust, betrayal, paranoia, and the sadness and regret that comes with the acceptance of our own selfish nature. If End Position was a bullet to the head, then Rat Jacket is a knife in the back.
Out on vinyl and digital formats on October 6th 2017
On their debut full-length, The Covert Cult of Death, Low Estate deal in heaviness that exists somewhere near the low-end of black metal, with a healthy dose of 90’s hardcore and a dash of Jesus Lizard stirred in for good measure.
Splitting their time between Austin, TX and Brooklyn, NY, Low Estate consists of Brendan Tobin (Red Sparrows) on bass, Geoff Garlock (Orchid) on guitar, Jimmy Hubbard (The Year is One) on vocals, and Christopher Todd (Sannhet) on drums. The Covert Cult of Death features appearances by Integrity’s Dwid Hellion, David Castillo of Primitive Weapons, and Zachary Lipez of Publicist UK. It is a winding and propulsive meditation on the world as it is, as it has always been.
Out on vinyl, CD, and digital formats on October 22nd 2017
The Flenser will be releasing a split 12-inch between Bay Area ambient masterminds Sutekh Hexen and Seattle’s death metal abomination Hissing. Each band contributes one long track with artwork by Timo Ketola (Deathspell Omega, Antaeus, Sunn O))), Dead Congregation).
Hissing is a death/black metal group based out of Seattle, WA. Founded in 2014 out of a mutual interest in exploring dissonant, deranged, and punishing sounds, and inspired by artists such as Portal and Blut Aus Nord, Hissing have released two EPs through Disorder Recordings and Southern Lord Records, and have a full-length record forthcoming.
Since 2008 Sutekh Hexen have turned the paradigm of black metal completely on its ear. The band can be described as a rapture of tonal intricacies and sonic densities that erect, brick by brick, into a tapestry that is rich with innovative layers of sound construction. The results are fresh, unique, unparalleled compositions that cultivate further interest upon each listen.
Sutekh Hexen/Hissing will be released vinyl and digital formats on October 6th.
Sannhet “Known Flood” LP:
The Flenser will be reissuing a vinyl edition of Sannhet’s long out of print debut album, Known Flood. Originally released on Sacrement records in 2013, Known Flood, set the tone for the band’s signature blend of instrumental transcendent black metal and post-metal. Recorded by Colin Marston (Krallice) and Mastered by Carl Saff.
Out on vinyl November 3rd 2017.
Have a Nice Life “Deathconsciousness” DLP:
A new pressing of Have a Nice Life’s classic double album is in the works on both black and orange vinyl.
White Suns new album Psychic Drift is out today. Get it!
Psychic Drift be streamed and downloaded on iTunes, Spotify, Amazon, and everywhere else.
Heinali and Matt Finney are a transcontinental avant-garde electronic music project consisting of Ukranian composer Oleg Shpudeiko (Heinali) and Alabama-based spoken word poet Matt Finney. Their new album, How We Lived (their first for The Flenser), sees the duo return with their first release since 2011. Like their prior collaborations, Heinali provides a lush, foreboding soundtrack to Matt Finney’s bleak narrations, but How We Lived demonstrates a more considered approach. The result is four long tracks which are denser and more cogent than anything they’ve released in the past. Matt Finney provides his most intimate and harrowing words to date, evoking the type anguish and enmity that only someone who has probed the depths of despair can.
The duo first met online in 2010 and immediately began collaborating on their first EP. From there they established a prolific working relationship, recording and releasing a series of albums and EPs over the next two years. After the release of 2011’s Ain’t No Night, Matt Finney found himself in a bad place. A series of misfortunes, including familial illness, the death of his biological father, a miscarriage, and the failed release of their follow up album, drove him to drugs and alcohol. For the next two years he lived in a trailer as far away from society as he could get, where he languished in misery and rage. He gave up writing and human contact entirely. Eventually, his head cleared enough for him to realize how much his past work with Heinali had helped him deal with life’s seemingly endless disappointments, and he emerged from his self-imposed exile eager to feel that catharsis again. The duo reconnected and began collaborating on new material. How We Lived is the result of those missing years. How We lived will be released digitally and as a limited edition vinyl LP by The Flenser on August 11th 2017.
Back in 2011, experimental upstarts Wreck and Reference self-released their debut EP, Black Cassette. Drawing on the blown out intensity of black metal and the angularity of noise rock, Black Cassette was a radical vision that captivated the underground music scene, including The Flenser. It was immediately apparent that Wreck and Reference operated in their own intriguing realm of heavy music, representing an existential challenge to genre orthodoxy. Their crashing riffs and abrasive noise, fraught with themes of determinism and Cormac McCarthy-esque isolation, were a breath of apocalyptic air in the often stagnant world of metal music. But the most surprising aspect of their artfully constructed sound was that the duo utilized only samples and live drums to create it.
Recorded in a garage in the “Howling Wastelands” of California, Black Cassette was originally self-released by the band as a limited cassette in 2011, then as a limited CDr on Music Ruins Lives. Later that year it was remastered for a vinyl release by The Flenser. That version is long sold out and has become a sought after collectors item. Now, Black Cassette is set to be re-pressed on vinyl from the original master for the first time since its initial run with brand new artwork.
‘Matawan — Collected Works’ will include freshly remastered unreleased tracks and rarities from the band’s vast catalog.
With nearly a decade of music making behind him, Planning For Burial’s Thom Wasluck has hidden away countless “lost children,” extravagant slow burn post-rock tracks in need of homes. This July those works will finally be unearthed with the release of Matawan — Collected Works 2010-2014, a double-album of unreleased tracks and rarities recorded between Planning For Burial’s first and second albums, all freshly remastered.
During the four-year interval between Planning for Burial’s first full-length Leaving (2010, Music Ruins Lives) and his second album Desideratum (2014, The Flenser), Thom Wasluck was hard at work collaborating with like-minded artists on over a dozen EPs and splits. Matawan – Collected Works 2010-2014 is a compilation of the now out-of-print and sought-after material from this period, including several previously unreleased tracks.
Since the beginning of his prolific career, Planning For Burial has been an ambitious solo endeavor, constantly defying boundaries and genre. A true luminary, Thom Wasluck has been producing music by himself and touring extensively as a one-man band, sharing the stage with acts like Deafheaven, King Woman and Chelsea Wolfe. Both incredibly loud and intimate, Planning for Burial plays with an unrivaled passion and funereal grace that is equally captivating and daunting.
Matawan – Collected Works 2010-2014 will be available digitally and as a double CD on July 14th 2017 via The Flenser.
PLANNING FOR BURIAL ON TOUR
May 26 — Los Angeles, CA @ The Airliner
May 27 — San Francisco, CA @ Bottom Of The Hill
May 28 — Portland, OR @ Tonic Lounge
June 2 — Allentown, PA @ Good Weekend
June 17 — Norfolk, VA @ Charlie’s Cafe
June 24 — Boston, MA @ The Middle East Upstairs w/ HANL (SOLD OUT)
July 7 — Pittsburg, PA @ TBA
July 8 — Louisville, KY @ TBA
July 9 — Chattanooga, TN @ JJ’s Bohemia
July 10 — Birmingham, AL @ TBA
July 11 — Little Rock, AR @ The Hawtbox
July 12 — Dallas, TX @ Texas Theater
July 13 — Austin, TX @ Barracuda
July 14 — Tulsa, OK @ Josey Records
July 15 — Wichita, KS @ Psychfest
July 16 — Omaha, NE @ West Wing
July 18 — Milwaukee, WI @ TBA
July 19 — Moline, IL @ The Island
July 20 — Chicago, IL @ The Empty Bottle
July 21 — Grand Rapids, MI @ Cabrini Green
Matawan Collected Works 2010-2014 Track Listing
1:44:44 total running time
1. Sleeping In Separate Rooms
2. If I Knew What To Say
3. Boring Domesticated Life
4. Parking Lot Mosh
5. Leaves Will Bloom Long After We Are Gone
6. I Hope You’ll Pick Me Out
9. Late Twenties Blues
10. I Put Red House Painters on a Mixtape For You
11. Rest Your Head (Reprise) [Extended]
1. Heaven Or Atlantic City
2. Everything Is So Disappointing
3. Glowing Windows _ Walk Alone
4. Unsafe Sex
7. Mischief Night
8. Without You
Total running time: One hour forty five minutes.
Toby Driver “Avignon” Video. Read a new interview with Driver on CLRVYNT.
Succumb’s self-titled debut full-length is out today.
San Francisco’s Succumb plumbs the depths of modern death metal with primitive elegance, but what sets them apart from their peers is vocalist Cheri Musrasrik. The juxtaposition of death metal riffing and propulsive drums with Musrasrik’s cavernous howl and sophisticated lyrics make a unique listening experience in today’s crowded landscape.
Toby Driver: Madonnawhore CD/LP now shipping.
On the heels of Kayo Dot’s 2016 album Plastic House On Base Of Sky, New York City based avant-garde musician Toby Driver sustains his inexhaustible output with a solo album titled Madonnawhore.
After exploring a retro-futurist noir sound on Kayo Dot’s 2014 album Coffins On Io then delving even further into electronic music with his aforementioned last album, Driver was eager to write a different kind of song. Madonnawhore represents a foray into traditional songwriting, stripped of the progressive flourishes and unpredictability of Driver’s band. These six austere tracks are sparse and atmospheric, evoking empty spaces and the beauty sometimes inherent in death. They occupy a heretofore unexplored place in Driver’s oeuvre, and were recorded primarily as a solo effort but share some lyrical contributions from Jason Byron, who also writes for Kayo Dot.
Although not a concept album, Madonnawhore is united by its exploration of the “madonna-whore complex,” a psychological neurosis first identified by Sigmund Freud whereby a man feels he can only love a woman who maintains a saint-like purity, but desires to be intimate with someone he considers to be debased. This sacred/profane dichotomy has far reaching effects that are seemingly inescapable in modern society and ripe for examination.
Kayo Dot “Hubardo” CD version now shipping. 3LP will be ready in the next couple of weeks.
Finally back in print, the seventh studio album by the veteran avant-garde band Kayo Dot. Meaning “lantern” or “lamp” in the Enochian language of 16th century magicians John Dee and Edward Kelley, Hubardo follows the epic and heartbreaking narrative of a meteor falling to earth and the alchemical transformation of a lonely poet observer.
This album displays aspects of the band’s many forms, even moments that hark back to the act’s former identity, Maudlin of the Well (including an appearance by MOTW vocalist Jason Byron). It is a dizzying trip through genres and moods that blossoms in wild directions, an out-of-control chemical reaction. From beautiful post-rock passages and demented ballads to tripped-out 70s prog fusion, jazz and black metal, Hubardo masterfully incorporates just about every style imaginable during its nearly 100 minute run time.
New York City’s noise duo White Suns have existed since 2006 and have released three full-length albums – Waking In The Reservoir (UgExplode, 2011), Sinews (Load, 2012) and Totem (The Flenser, 2014) – along with a handful of small-run releases. Their material has received accolades from the New Yorker, SPIN, Pitchfork, and Tiny Mix Tapes among others, and they’ve extensively toured the U.S. and garnered a reputation as a threatening and intense live act. This summer, White Suns will release their challenging fourth album, Psychic Drift, via label partner The Flenser, and today, they’ve premiered the album’s first single “A Year Without Summer” on TinyMixTapes.
Following the deconstructed rock instrumentation of 2014’s Totem, White Suns’ Dana Matthiessen and Kevin Barry continue their inexorable plunge into sonic abstraction. Psychic Drift consists of four long-form compositions where synthesizers, field recordings, cut-up samples and lurching rhythms form a tapestry of shifting layers. The focus here is on texture and atmosphere, utilizing repurposed aspects of drone, industrial and harsh noise to create claustrophobic soundscapes that ripple and groan. Look for Psychic Drift to be released June 16th and stay tuned for more songs to premiere soon.
White Suns, Psychic Drift track listing:
3. A Year Without Summer
4. Medicine Walk
“The ostensible soundtrack for the apocalypse.” – Dusted
“…subverting the lines between noise-rock, metal, and the electronic avant-garde with aural assaults that render those distinctions irrelevant.” – Pop Matters
“Every so often a band comes along whose music is so disturbing and jarring on the first initial listen that it prompts you to just stop halfway through their record. But then, you immediately keep playing and delve deeper into the record because it intrigues you and stirs your overall senses, redefining what it means to play heavy music that straddles a very thin line with noise and cacophony.” – The 1st Five