Mesmur’s atmospheric, frozen funeral doom heads deep into cosmos on mesmerizing opus ‘S’

Ever since I was a kid, I’ve had a deep fascination with outer space. I talk about it a lot in the pieces I write on this site, often because I strive to find music that makes me think of that giant black blob of infinity in which we all live. It enthralls and frightens me, and I usually find myself gazing into the stars at night when I’m taking my dog out to do her universal business.

The second I looked at the cover of “S,” the new opus from funeral doom maulers Mesmur, I thought about the mysterious vastness that surrounds everything. Digging into the music, that very thing plays out a million-fold, as the band’s slow-driving music feels like it’s dressed in stardust. The record also is a pretty significant shift from their 2014 self-titled debut, one that ups the imagination and torment and keeps pulling you back into their cosmic adventure. The band—vocalist Chris G, guitarist/synth player Jeremy L, bassist Michele M, and drummer John D—has members spread across the globe, which is pretty amazing when taking on their music, considering how tight and natural it sounds. Funeral doom has a special place in our hearts, so we tend to be a little protective, and that’s a major reason why Mesmur’s two albums have had such significant impacts. This collection is one that, hopefully, turns more heads, because Mesmur is a really fantastic band, and it’s time more people take notice.

The record opens with 15:06-long “Singularity,” a track that infuses the darkness with air, as creaky growls lurch, and the band hits its trademark ultra-slow-driving tempo. Spacey keys glaze while a cavernous assault opens, and keys plink like giant raindrops. Doom drapes are pulled over everything, while the guitars trudge and later turn cold. The track enters a dream state while spacey noises well up, and the sounds soar toward the sun. “Exile” runs 14:36 and has a chilling, somber beginning. The band eases into a long psychedelic jam, but then the growls rumble, and then we’re into a slow-gripping, emotional stretch. You can feel it in your gut as the voices echo into space, and the song bathes in gothy waters. Cosmic synth spreads, as the track opens in full and crushes. The growls gurgle, steely melodies lap onto the shore, and the music adds color to the blackness.

“Distension” is the longest cut, a 16:24 pounder that’s bled into from the previous cut and that lets guitars drip like an early autumnal rain. The melodies sprawl while noises pierce, and then a rugged riff begins to chew, the growls churn, and the melodies sprawl. Talky growls spread their arms while the band unleashes its power and drives as slowly, but heavily, as can be. Emotion pours from the band. The guitars cry out in the night, the blackness floods everything, and the song comes to a stormy end. “S = k ln Ω” is the record-ending instrumental, one that should flood your mind with all kinds of bizarre visions.  A synth cloud rises while static picks at your wounds. The song feels like floating into space and beyond, as mystical dreams flood your mind, a well of keys drums up a strange aura, and the record ends on a zapping, charging note.

Mesmur’s transition into the stars is a strong one, and “S” is a record that should amplify their status, if there’s any justice in this world. The music slowly grinds your soul into the dirt and makes you appreciate the incredible space that envelops everything. It’s a big statement and a major subject matter, and after absorbing these songs, you might shift the way you think of funeral doom and the cosmos.

For more on the band, go here: https://www.facebook.com/mesmurdoom/

To buy the album, go here: https://solitudestore.com/shop/en/product/mesmur-2017-s/

For more on the label, go here: https://solitude-prod.com/

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Psyche doom titans Ufomammut push even deeper into space on carefully monikered journey ‘8’

I rarely ever think about numbers. I’m a word person, as that’s probably easy to figure out since this is a blog, and even when I went into college, I did as much as I could to avoid having to work with numbers. I’m just not wired that way, for some reason.

That said, when getting into “8,” the new record from Italian doom dreamers Ufomammut, I had to change that a little bit. Poring through the bio materials helped, as the band took great interest in the digit for some pretty obvious reasons. First, “8” is the band’s eighth full-length effort, and the music contained on these …you guessed it … eight tracks all stick together like a creature joined from mouth to tail. Titling the 8 on its side, you have the symbol for infinity, and this record operates in much the same way as that sign. It also took me about eight minutes to write what you have so far, so let’s just get into the music. As usual, the band—bassist/keyboardist/vocalist Urlo, guitarist/keyboardist Poia, drummer Vita—creates a psychedelic vortex dressed in stoner vibe and deep doom thinking. Their music is great for gazing into the distance and doing some heavy thinking or, the opposite, putting your racing mind to rest. The music is a solid next turn from the band based on what they produced on 2015’s “Ectate,” and this spacey adventure will penetrate your dreams.

“Babel” starts the story with noise boiling as the band begins to rumble into space. Washed-out singing joins the mold, as the track reverberates, and a voice speaks out from underneath the waves. The band achieves a heavy Pink Floyd vibe, though that folds into industrial planetary chaos. “Warsheep” lets melodies turn on themselves, as robotic singing and a trance atmosphere makes heads spin. The pace gets trudging and machine-like, while heavy keys entrance, and the power switch gets turned on higher. The brain is mauled heavily, while wild cries join as the back end is blown to bits. “Zodiac” is the longest song, spreading over 9:24 and starting with yowled words and heavy drubbing. As we drive back toward the start, the bass lumbers and leaves bruising, while the guitars blaze, and noise spirals through the whole thing. Sounds hang in the air, as a level of calm is introduced, but that’s temporary. Out of that, a riff picks up steam, loops forever, and keeps increasing in volume and aggression as the song grinds to a finish. “Fatum” immediately lands doom gut punches, while watery singing swims, and a dark psyche cloud hovers overhead. The track aims to knock out teeth, hitting and clubbing its way through.

“Prismaze” bleeds out of the other end, as static-filled thrashing and mind-altering singing deliver the messages. The song gets burlier and meatier in its second half, as the guitars take on a new thickness, and noise zaps into the universe and right into “Core.” There, the initial serenity is torn apart by crazed cries and a rhythmic tempo that is impossible to shake. Soloing catches fire and let’s off thick, poisonous smoke, while the noise lathers every physical object in its path and leaves your synapses tingling. “Wombdemonium,” the shortest of the set at 3:02, trudges into weird, scary terrain, as the vocals sound delivered by mental transmissions, and that strangeness pulls us toward the final chapter “Psyrcle.” Organs unload and give off a witchy feel, while a calculated pace feeds into the thought that you may be doomed. A female voice joins and slips right underneath the entire structure, while the guitars spiral off, and a bizarre synth fog is achieved. As we keep spinning into space, the female voice returns more prominently, putting a dream-like glaze over the song’s final moments.

Ufomammut are one of the most adventurous bands in all heavy music, something they prove again on “8.” For a record playing heavy games with numbers, it doesn’t try to get too smart on you and, instead, lets you slip into the folds of their music and see stars. At the end of nearly two decades together, this band’s creative juices remain bubbling and flowing.

For more on the band, go here: http://www.ufomammut.com/website/

To buy the album, go here: https://neurotrecordings.merchtable.com/

For more on the label, go here: https://www.neurotrecordings.com/

PICK OF THE WEEK: Siberian edges scrape Yellow Eyes’ psyche on cold ‘Immersion Trench Reverie’

When one thinks of Siberia, often the assumption of the worst, most desolate place in the world comes to mind. We hear stories of Russian criminals being sent there for extended periods after being found guilty of crimes, and the thought of never-ending winter and unforgiving terrain is what makes up most of the imaginations so many of us have about the place.

Brothers Will and Sam Skarstad might give you a little bit of a different view of the place on their amazing new Yellow Eyes record “Immersion Trench Reverie.” You’re not going to get tales spun about that dreaded part of Russian on these six songs. But woven into the music are field recordings from the brothers’ trip to Siberia before they recorded their seventh release (fourth full-length) earlier in the spring. I always listen to the music before reading through the biographical material accompanying a record, and on first encounter, I felt like the music was colder and more abrasive than what was on “Sick With Bloom.” Those recordings that Skarstads (they are joined on the record by bassist Alex DeMaria and drummer M. Rekevics) gathered helped make that huge impression, as bells chime, the ground is crunched by footsteps, and dogs bark in the distance. It feels like battling against winds that are encased with freezing intent, and wrapped within all of that is their psychedelic haze they conjure with their tornadic black metal. This record is the further evolution of Yellow Eyes, and all this combined creates arguably the most memorable black metal record of 2017.

“Old Alpine Pang” slowly comes to life, as noise lingers, before things tear open in earnest with wild shrieks and sweltering riffs that spiral and infect your blood. That music keeps looping and attacking, later leading to a panic assault that jars the blood pressure. That furious pace lasts until the melody line rounds back, leading to a dizzying final minute. “Blue As Blue” begins in a haze, with strings plucked, and the tempo finally hitting a crescendo. A vocal fury shreds, as the song spins and spits fire, and then the soloing lathers the track in a thick fog. Melodies stun and cause vertigo, before a heavy mist and eerie chant singing take the song away. “Shrillness in the Heated Grass” has riffs piercing, while a trance-inducing pace lets loose. The shrieks scrape, while the playing keeps looping and enveloping, leading into a doomy stretch. Vibrant riffs arrive and soak the ground, as the music heavily mesmerizes, chills set in, and we hear calm settling, birds chirping, and chimes giving off a surreal vibe.

“Velvet on the Horns” lets off humid guitar work that floats and then ignites. Raspy howls rain down, while riffs bring thickening storms that settle over the area. The sound and power well up, while darkness bleeds out of the seams. The song laps like waves, while the song fades, and the final minutes are packed with footsteps cracking through the soil, bells ringing, dogs barking, and what feels like life on a frosty farmland. The title cut has riffs splattering, as the song boils to a head, and morbid tones bring soot. The guitars stab out, while the storm the music creates saturates the ground, the drums destroy, and shrieks tear away at the flesh. Closer “Jubilat” is the longest track, spilling over 10:40 that starts with chirps and chimes, leading toward savage strikes. Melody gushes, while the song creates a thick mist that makes it tough to see in front of you, and that only amplifies the intensity. Wrenching shrieks lash out, while the music digs deeper into your cells, strange lights penetrate the darkness, and the music bleeds out into the familiar sound of chimes ringing in the distance.

Yellow Eyes remain one of the most engaging, jarring bands in all of black metal, and their wintry glaze they sprinkle on “Immersion Trench Reverie” creates some of the finest music they’ve ever crafted. The band continues to add building blocks on their unique foundation, one that houses one of the strangest structures in all of black metal. There is no other experience quite like a Yellow Eyes record, and this is their most enthralling accomplishment.

For more on the band, go here: https://www.facebook.com/Yellow-Eyes-659862920738821/

To buy the album, go here (preorder up soon): https://gileadmedia.bandcamp.com/

For more on the label, go here: http://gileadmedia.net/

And here: http://www.sibirrecords.com/

Gigan’s psyche death metal rips another huge hole in cosmos on crushing ‘…Rainbiotic Iridescence’

It’s probably no secret that we’re big sci-fi fans around here. Half the movies we own and half that toys lining the office walls are from that genre (it’s probably a tie with pro wrestling), so any time that genre winds up ensconced in metal, we’re definitely willing to take it on. Plus, it always has as a bit of an escape from daily life and its many frustrations.

Chicago-based death metal bruisers Gigan always serve the sci-fi aspects generously in their music. While many death metal bands are obsessed with death, violence, and hatred, this band always steered the other direction and stood out for it. Not only are we dealing with fantastical material lyrically, but the music the band makes also sounds like it was dreamt and translated by aliens from worlds away. Their new record “Undulating Waves of Rainbiotic Iridescence” is another captivating journey into the Gigan universe, a place with intergalactic wonders and beasts you could not even imagine are woven into these monstrous tales. Led by primary visionary Eric Hersemann (guitars, bass, theremin, weird sounds, lyrics, concept, etc.) and backed up by new vocalist Jerry Kavouriaris and drummer Nathan Cotton, the band whips up eight tracks and more than 55 minutes of psychedelic madness that crushes and captivates. It’s a really strong effort, one that easily tops their last record, 2013’s “Multi-Dimensional Fractal-Sorcery and Super Science,” a record that fell kind of flat. This one is an awesome return to form, and it’s an album that’s been on repeat for months now.

“Wade Forward Through Matter and Backwards Through Time” is as strange and challenging as its title hints. A slurry intro takes us into a sprawl of sound that’s joined by guitar work going all over the place, vocals scorching, and an all-around sense of zaniness. The guitars then go into a haze, as a space trance spreads, only to be interrupted by a final burst of madness. “Elemental Bronchography” has dizzying guitars that cause your head to spin, and they’re joined by a pace that rips open your chest cavity. The vocals crush, while the music smears itself all over the place, leading into volcanic outbursts and a gargantuan conclusion. “Plume of Ink Within a Vacuum” punches itself out of its box, betraying the sea-borne calm the title seems to lean toward. Riffs ripple, while the growls roar, and the guitar work goes into cartoonish insanity that’s both fun to hear and physically challenging to digest. “Ocular Wavelengths’ Floral Obstructions” opens with burly mashing, guitars racing and trampling, and throaty growls that convey pain. The tempo twists into tricky, then testy waters, as things catapult into space, and everything thickens all over again. The back end of the song mauls over and over, leaving you a putrid mess.

“Hideous Wailing of the Ronowen During Nightshade” sounds like a horrifying situation, and it opens in psyche noise, cosmic zaps, and slow sludging. As things progress, the track begins to drub heavily, taking on a monstrous stance and spewing the bones of strange creatures everywhere. Then the song goes into a mental fog, bleeding out into static. “Hyperjump-Ritual Madness” is utter insanity at the start, as heaviness unloads, the growls gargle, and weird, loopy guitar lines spiral overhead, entangling you. The band grinds its assault, unloading in a calculated manner, though the final minutes find the guitars slicing through stars, and the song taking you on a playful trip toward destruction. “Clockwork With Thunderous Hooves” has noises striking, hellish growls, and a gritty, muddy pace that feels like it would claim your boots if you tried walking through it. The drums begin to decimate, while mind-bending heaviness crushes, and the sound devastates you. More cartoon violence erupts from the guitars, as the track comes to a rough, sinewy end. Closer “In Between, Throughout Form and Void” runs just over 10 minutes, and it starts off huffing alien gasses and letting melodies spin through the headspace. Much of the track remains odd, which is no surprise, and gasps of ugly death switch gears and head right into the cosmos. An extended section of playing keeps your brain at work, but also numb, and when the band returns to clubbing you minutes later, it’s a combination of flying asteroid parts and dreamy crunching that lead you to the final destination.

Gigan’s journey through imagination rather than death and bloodshed always has been a refreshing beacon among death metal’s murk, and “Undulating Waves of Rainbiotic Iridescence” finds the band firing with great passion and precision. Their sci-fi leanings are a fantastic dose of escapism, and it sure helps that the music packs a cosmic punch. This band has their creativity back at its apex, and with more music like what we find here, we’ll be happy to take these sojourns into the stars for years to come.

For more on the band, go here: https://www.facebook.com/Giganmusic/

To buy the album, go here: https://www.willowtip.com/store/

For more on the label, go here: https://www.willowtip.com/home.aspx

French drone masters Monarch! inject more atmosphere, melody into sorrowful ‘Never Forever’

Doom is mostly burly and ugly, a form of music that allows the creepiest and grimiest elements to bleed to the surface. Yet, not every corner of it is that way, and with some digging into other sections of terrain, one can find beauty, elegance, and even vulnerability.

French drone crushers Monarch! have been carving their own path through doom and drone for 15 years now, putting a unique spin on the sounds and crafting a formula very much their own. They’ve taken their time building their name and live reputation, as well as putting out some of the most thought-provoking music in all extreme music, the latest being their eighth full-length record “Never Forever.” On this album, the follow-up to 2014’s “Sabbracadaver,” Monarch! push their agenda even further into the atmosphere. While there are undoubtedly scathing and heavy fits of destruction on this five-track behemoth, there also are some of the band’s more reflective, pained moments. We hear even more melody worked through the record, and vocalist Emilie Bresson pushes her singing to new levels. She still unleashes scathing and chest-caving screams, but she also adds dream-state singing and calling to the mix, making the band’s music even more haunting and captivating.

“Of Night, With Knives” is the 15:03 opener, a track that dumps buckets of drone as Bresson whispers amid the haze. The drubbing then begins, as Bresson speaks in French over the din, and then the song dissolves into eerie chants. The drums reawaken out of that, as dreamy singing spreads, the pace surges for a spell, and then things settle into clean calling and a blitz of sound. “Song to the Void” has noise seeping through the seams, while drums begin knocking, and an ouroboric melody spreads out and attaches the front of the song to the back. Bresson’s transmissions sound like messages from the void, as she observes, “When the stars are falling,” which is fitting as it feels like what the song actually is depicting. Static glaze builds, as the song simmers and floats off into outer space.

“Cadaverine” has a smashing open, as guitars wail, and the singing floats into Bresson’s brutal growls. The band hits a nice bit of riffing that gets your blood flowing, while wrenching growls and mournful melodies combine and drizzle blackness. Sounds slice, and the drone boils, leading to feedback crushing souls, wild cries decimating, and the noise smearing out. “Diamant Noir” has a serene start, as Bresson speaks over the rising tide, and powerful melodies that remind of Pallbearer unfurl and swallow you whole. Bresson delivers softer singing, while the soloing is emotive and deep, and that outpouring continues as the passion hits a high mark and eventually dies in agony. Closer “Lilith” runs a second short of 20 minutes, and it’s a stunner. The track slowly comes to life, as keys bleed, and the sound starts its march. The plot moves slowly but steadily, as it swims in somber waters, and Bresson trades off from quiet singing to wild howls. Anguished wails bruise the skin, as the doom hammers drop heavily and steadily, and Bresson whispers amid the drone storm. The playing is funereal and scathing, while Bresson thrashes over the misery, with the track eventually fading into nothingness.

Monarch! long have been one of doom’s most interesting, captivating bands, and they further solidify that on “Never Forever.” This record proves that this band isn’t satisfied simply adding new layers of hurt on an already impressive stack of accomplishments. They’re still looking for new creative avenues and ways to set your heart and soul afire.

For more on the band, go here: https://www.facebook.com/Monarch-121146434822/

To buy the album, go here: https://profoundlorerecords.merchtable.com/

For more on the label, go here: http://www.profoundlorerecords.com/

PICK OF THE WEEK: Timms focuses on struggles women battle in society on ‘Death Magick Mother’

Photo by Kristin Cofer

Go online and try to post a blog or a comment in support of women and watch the backlash come rolling in from the keyboards of cowards. You can guess all the buzzword insults that will get hurled your way (we’ve been treated to all of them on this site) because apparently the idea of a strong woman, or one that’s simply treated like a human being is just too much for some people’s comfort.

And that’s just on the Internet, where faceless people troll. That meanness and outright hostility toward women exist in real life. Especially in this country, women’s access to basic health care, especially if they’re living in poverty and with lower income levels, their access to fair pay, and their negative positioning politically is baffling. It’s 2017. You’d think we’d be way beyond this by now. But our society continues to devolve, and Sera Timms absorbs that very emotionally and personally. Under her Black Mare banner, she is taking on those volatile topics on “Death Magick Mother.” This current political climate is particularly troubling, as one political party essentially looks to rip basic services from women, and Timms stares that right in the eye. Oddly, the music is not angry or violent or vicious. Instead, it delves more in the deathrock realm, coming off as darkly reflective and aware. It’s her not having to show sharpened teeth or making threats. Instead, it’s a direct psychological shot to those who actively work against her, as she sees you, follows your every step, and poisons you with her words.

“Ingress to Form” has guitars spiraling, dark bass leaving oil slicks, and a definite deathrock vibe. Timms slips into dreamscape singing, as the sounds seem to vibrate around your head, and the music brings on the deep nighttime. The final moments have a nice flow, with soaring singing and the sound bleeding away. “Femme Couverte” has a dark vibe, as the singing flutters, chunky guitars veer in, and the whole thing takes on a grimy film. The music is cool and trickles, as it breaks down and opens the door for deep singing to mix into the feverish oddness. “Death By Desire” has piercing guitars as it works into slow, moody terrain. Guitars gush strains of death, as the intensity picks up, and the playing pounds your flesh.

“Coral Vaults” starts with thick basslines recoiling, as an off-kilter melody is unleashed, and the guitars begin to threaten. Singing floats over the din, as weird sound interference bubbles to the surface, the riffs cut through that, and a slightly surfy curve leads to the end. “Babylon’s Field” is poked open with cold guitars that make it feel like a freezing drizzle. The riffs continue to sharpen, leading into foggy, gazey playing and melodies that aim to cut you down. “Kala” unleashes ominous guitars, as moody tones meet with powerful singing. The music feels like ink sinking through the sea, as darkness rises up and envelops all. Closer “Inverted Tower” begins with a dialog where Timms imagines putting out a fire between the eyes of an oppressor before the music surges and vibrates. Dark waves lap over the ground as noise settles in, and static chars. Desperate calls rip from Timms’ mouth, as if she’s tearing through fire for answers, while the song reverberates and fades away.

Timms has had an extensive career with bands including Black Math Horseman and Ides of Gemini, but “Death Magick Mother” is her most striking, from-the-bloody-heart recording of her life. She is not letting anyone steamroll her or others, and she is using Black Mare as a means of protest and warning. This is a moving, shadowy record that not only sounds amazing but should have like-minded people rising up and fighting alongside her.

For more on the band, go here: http://theblackmare.com/

To buy the album, go here: https://magicbulletrecords.bandcamp.com/album/black-mare-death-magick-mother

For more on the label, go here: http://www.magicbulletrecords.com/site/

Doom smashers Usnea take sci-fi nightmare, apply to modern hell on violent ‘Portals Into Futility’

We are living in what could become a great era of escapism. Look around you. We’re living in a dark, most volatile time, while those who run the world are pretty much at their absolute worst. Or at least our country’s is. Every day, things seem to get more inexplicably stupid, and it seems it can’t be long until we’re all wondering how things go as bad as they did (that is if free thought is still a thing).

Portland, Ore., doom crushers Usnea aren’t exactly going to lift you out of your doldrums on their crushing third record “Portals Into Futility,” but you might be able to revel in the fact that we still have a chance to avoid the worst. The band sunk back into science-fiction dystopian stories, which all-too-frighteningly capture a lot of what’s going on today, and pour that into this 5-track, 56-minute monster. The songs are long, crushing, agonizing portraits that mix funeral doom, death metal, sludge, and many other elements into stories that dreamed of a time when humanity was at a crisis of being, something that might not be that far in our future. So, maybe it’s not as escapist as one might hope for, but you at least can get lost in the music and float in the thick waves that look at a way of life we don’t have to accept yet, as long as people stay awake and fight. That last part might not totally be in the band’s—guitarist/vocalist Justin Cory, bassist/vocalist Joel Williams, guitarist Johnny Lovingood, and drummer Zeke Rogers—motivations, but that’s certainly floating in the bloody water if anyone cares to reach out grab the last sliver of hope.

“Eidolons and the Increate” is the 11:57 opener, the second-longest song on the record, one that has a rain-smeared start. Droning singing collects before the song barrels open, and terrifying cries unleash punishment. The track stomps through mud, while deep growls rumble, the fires build to a rage, and the intensity floods over. The track later goes cold, feeling like a deathrock chill, while fog envelops the senses, warbled singing melts into shrieks, and the track has a crushing finish. “Lathe of Heaven” drubs for 9:45, though it begins in a heavy pocket of atmosphere that slowly gives way to panic. Melodies snake through the chaos, as gargantuan growls bring fury. Unhinged wails, including a cry of, “Nothing is certain!” pummel as anguish bleeds hard and noise spirals away.

“Demon Haunted World,” named after Carl Sagan’s book (at least I assume), is the shortest cut, as It’s bled into from the song prior, and noise begins to ache. Liquid melodies trickle into the madness, as energy spits, wheels spin in the mud, and the track absolutely gushes. Shrieks mix with growls, as moodiness blazes, and that violent blast packs the final minutes with fear. “Pyrrhic Victory” is like a stomping giant decimating villages with no mercy. The vocals are terrifying as usual, and even as the tempo plods along, it never fails to land devastating blows. Mournful melodies swim in tears before the bottom drops, the heaviness is crushing, and the soloing that ends the song torches the flesh. Closer “A Crown of Desolation” is the longest cut, stretching over 19:04, and doing so with trickling pianos and simmering sounds at first. Of course, the gates drop hard, and doom beasts roam the land, as the singing goes from growls and screeches to bellowing clean vocals, while the band lays waste. Later, some psychedelic colors are smeared into scene, as sadness forces you to take a deep drink, and emotional guitars cascade. The drums rattle and crush your teeth, the track heads into deeper waters, and darkness swallows everything whole.

Humanity might be heading right into the gears of a combine, and perhaps the music we hear on Usnea’s “Portals Into Futility” can help us prepare for that reality. For now, it’s a morbid look into a future dressed in hatred, fear, and death, something that is just in our imagination. For now, it’s a dose of escapism bordering on real life, a way of being we still have a chance to stop.

For more on the band, go here: https://www.facebook.com/usneadoom/

To buy the album, go here: http://www.relapse.com/usnea-portals-into-futility/

For more on the label, go here: https://www.facebook.com/RelapseRecords/