As their first tour through Japan wraps up this week, Philadelphia-based metallic hardcore outfit JESUS PIECE announces a run of late-January West Coast North American dates in support their vicious debut LP, Only Self, which saw release through Southern Lord in August.

JESUS PIECE recorded Only Self at Bricktop Recording Studio in Chicago with Andy Nelson (Weekend Nachos, Like Rats, Dead In The Dirt), after which the album was mastered by Brad Boatright at Audiosiege (Integrity, Nails, Xibalba) and completed with artwork by Dom Pabon. The album has ranked with the year’s heaviest hardcore releases and is now appearing on year-end lists abroad, including being crowned the #1 hardcore album of 2018 by Stereogum.

JESUS PIECE has toured mercilessly alongside Darkest Hour, Comeback Kid, Burn, Knocked Loose, Terror, Vein, Year Of The Knife, and many more across North America, Europe, and Japan this year. The new set of West Coast Demonstration 2019 tour dates is booked from January 22nd through 27th, with shows in Vancouver, Portland, Berkeley, Fullerton, and Las Vegas. JESUS PIECE will be joined by Gag and Vamachara on the US dates.

Only Self is out now on CD, LP, and digital formats through Southern Lord. Find physical order options at the label shop HERE and digital at Bandcamp HERE, iTunes HERE, and through all other digital providers.

JESUS PIECE West Coast Demonstration 2019:
1/22/2019 333 – Vancouver, BC
1/23/2019 Watershed PDX – Portland, OR w/ Gag, Vamachara
1/25/2019 924 Gilman – Berkeley, CA w/ Gag, Vamachara
1/26/2019 Riff Mountain – Fullerton, CA w/ Gag, Vamachara
1/27/2019 American Legion Post 8 – Las Vegas, NV w/ Gag, Vamachara

JESUS PIECE is quickly developing a reputation as one of the heaviest, most uncompromising acts both on record and on the stage. With the brutalizing grooves of Disembodied, Turmoil, Harm’s Way, and labelmates Xibalba, the band incorporates elements of noise, ominous tones, and haunting atmospheres into their dynamic songwriting. With crushing, modern production, the eleven new tracks on their Only Self debut LP place JESUS PIECE among the scene’s darkest and heaviest acts and delivers one of the most anxiously-awaited albums of the hardcore/metal underground this year.

“JESUS PIECE rage at the nexus of hardcore, death metal, industrial, and ’90s metalcore. They’re part of a new metalcore movement that proves that experimentation and succinct, clobbering riffs can not only coexist, but make for natural partners. On their first full-length, Only Self, they make the case that such should be the new tradition.” – Pitchfork

“Through clenched teeth, vocalist Aaron Heard sounds like an unhinged animal, ferociously tearing through drop tuning, d-beats, blasts and exaggerated breakdowns to create the ideal pied piper to lead us all down this path of hate and frustration.” – Revolver Magazine

“It’s unclear what’s in the American water these days (or perhaps the current political tenor makes it quite obvious…), but the United States is producing some of the best hardcore the country ever has. And Philadelphia’s JESUS PIECE might as well be the poster boys for the movement.” – Kerrang

“They’ve got a fat, bass-heavy attack that favors pure brutality over complexity. It’s the kind of thing that can seem like it exists just so angry kids have an excuse to go to a show and slam their bodies into each other for twenty minutes, but further listens reveal Only Self to be an album that’s a little more tasteful than that.” – Brooklyn Vegan

For review copies of Only Self and interviews/coverage of JESUS PIECE in The Americas contact dave@earsplitcompound.com and internationally contact lauren@rarelyunable.com.

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Southern Lord Recordings presents Cease & Decease, a double-LP discography by oppressive sludge juggernaut, TOADLIQUOR, released as part of Southern Lord’s 20th Anniversary series. The unreleased newly-recorded song included on the record, “(Closing Sections Of) Inter-Stellar Space,” is now streaming at Cvlt Nation.

The mysterious TOADLIQUOR continues to hold its position as one of the most crushing sludge outfits from the ’90s, while maintaining a shroud of mystery and diehard cult following two decades later. Not only does the collection encapsulate the entire 1993-released Feel My Hate – The Power Is The Weight – R.I.P. Cain LP as well as some unearthed extremely scarce and previously-unreleased recordings, it also includes a newly recorded song that was especially prepared, written and documented for this release. Cease & Decease also marks the first time the band’s entire four-part “Inter-Stellar Space” opus is pressed together; the first three sections were found on different releases, and the closing section had never been recorded before now.

Several of the initial recordings were originally recorded by Tim Green (The Fucking Champs, The Nation of Ulysses) and some of the resurrected tracks on Cease & Decease have here been remastered by Brad Boatright at Audiosiege. Housed in a deluxe gatefold Stoughton sleeve which includes existing as well as brand new artwork, Cease & Decease is pressed on two massive slabs of vinyl, with a full black pressing and a limited silver pressing strictly exclusive for the label’s subscription series.

Cvlt Nation is now streaming the newly-recorded and previously unreleased “(Closing Sections Of) Inter-Stellar Space,” stating of the track, “TOADLIQUOR were all about creating timeless fucking doom laced with crust. The vocals from this band sound like tortured mental patients screaming to be heard. TOADLIQUOR had the whole Sabbath riff thing, but flipped it with more distorted vibe, plus their sound had an undertone of sinister and brutal crust… To say that it’s an honor to share this with you is a HUGE understatement.”

Stream TOADLIQUOR’S “(Closing Sections Of) Inter-Stellar Space” at Cvlt Nation HERE.

Find Cease & Decease at the Southern Lord USA shop HERE and Bandcamp HERE.

Cease & Decease Track Listing:
LP 1 – The Complete Sections Of Inter-Stellar Space
A1. (Opening Sections Of) Inter-Stellar Space
A2. (Continuing Sections Of) Inter-Stellar Space
B1. (Second Continuing Sections Of) Inter-Stellar Space: Love
B2. (Closing Sections Of) Inter-Stellar Space
LP 2 – The Feel My Hate – The Power Is The Weight – R.I.P. Cain LP
C1. Gnaw
C2. Swarm
C3. Charred
D1. Fratricide: A Requiem
D2. Survival Is The Fittest
D3. Tenderloin
D4. Nails

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Following their Northeast US Coast headlining mini-tour as well as their set at The Power Of The Riff in Los Angeles, Washington, DC-based DARKEST HOUR announces new tour through Canada for early 2019. The Canadian leg of the Death To False Metalcore Tour will see the band performing across Eastern Canada from January 31st through February 8th, co-headlining with Unearth with support from The Agony Scene.

The new dates precede the previously-announced European leg of Death To False Metalcore, which will see DARKEST HOUR and Unearth co-headlining with support from Misery Signals, Malevolence, and Left Behind, from March 21st through April 1st.

Produced by Kurt Ballou (Converge), DARKEST HOUR‘s eleventh LP, Godless Prophets & The Migrant Flora, continues to solidify the band’s legacy as a major metal powerhouse. Raw, complex, melodic, yet cutting with razor blade precision, Godless Prophets & The Migrant Flora is a fierce album which shows the long-running band as lethal and ravenous as ever. Following its 217 release through Southern Lord, the band has continued to tour regularly throughout North America and Europe.

Godless Prophets & The Migrant Flora is available on CD, black vinyl LP, picture disc LP, and all digital platforms via Southern Lord; find ordering options at the label’s webstore HERE, via Bandcamp HERE, and through all digital providers.

Stream DARKEST HOUR’s Godless Prophets & The Migrant Flora LP HERE and see their video for “Enter Oblivion” HERE.

DARKEST HOUR – Death To False Metalcore Tour:
1/31/2019 L’Anti – Quebec City, QC *
2/02/2018 Brass Monkey – Ottawa, ON *
2/03/2019 Foufounes Electriques – Montreal, QC *
2/05/2019 Overtime – Kingston, ON *
2/06/2019 The Foxx – Barrie, ON *
2/07/2019 Rum Runners – London, ON *
2/08/2019 Hard Luck – Toronto, ON *
3/21/2019 Essigfabrik – Köln, DE #
3/22/2019 Het Entrepot – Brugge, BE #
3/23/2019 ULU – London, UK (no Malevolence) #
3/24/2019 Tivoli Pandora – Utrecht, NL #
3/25/2019 Schlachthof – Wiesbaden, DE #
3/26/2019 Markthalle – Hamburg, DE #
3/27/2019 SO36 – Berlin, DE #
3/28/2019 Backstage – Munich, DE #
3/29/2019 Conne Island – Leipzig, DE #
3/30/2019 Futurum – Prague, CZ #
3/31/2019 A38 – Budapest, HU #
4/01/2019 Arena – Vienna, AU #
* w/ Unearth, The Agony Scene
# w/ Unearth, Misery Signals, Malevolence, Left Behind

For DARKEST HOUR coverage requests in North America contact dave@earsplitcompound.com and in Europe contact lauren@rarelyunable.com.

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CASPAR BRÖTZMANN is one of the most unique and innovative guitarists of the last forty years. With his Berlin-based trio MASSAKER, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental “sonic waste” such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving.

Even today, as the art of noise has reached a level of sophistication that no one could have imagined thirty years ago, CASPAR BRÖTZMANN MASSAKER‘s music is resoundingly singular. Ultra-heavy riffs and beats, ominous tribal chants, and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.

Southern Lord will reissue CASPAR BRÖTZMANN MASSAKER‘s The Tribe on CD, LP, and digital platforms and Black Axis on CD, 2xLP, and digital platforms on January 18th, 2019. Watch for preorders to post shortly.

Born in 1962 in a post-war divided Germany, CASPAR BRÖTZMANN started out playing the piano, his main inspirations included, Hanns Eisler, singer Ernst Busch, his mother’s “Hausmusik” (German tradition where the family gathers to play their instruments together), and also by the roaring sounds of his father, a virtuoso saxophonist aka “The Teutonic Axe” – a key player in the European free jazz movement, Fluxus artist, and ideologically adamant communist.

CASPAR lived in fear and awe of his strict father, and he took to the guitar knowing that his father and his peers sneered at Americanized music, and especially electric guitars and the hard rock sounds that appealed to him, the likes of Ritchie Blackmore, Jimmy Page, and Jimi Hendrix. The guitar became, CASPAR says, “his shield against the unsettling world,” also noting, “It wasn’t about virtuosity, rather the love of the instrument.”

BRÖTZMANN didn’t have any formal training, but Hans Reichel — a family friend and an avant-garde guitarist who built his own instruments — showed him the ropes. Hans taught him how to manipulate the workings and mechanics of the guitar. CASPAR’s left-handed instrument is less of a nod to left-handed Hendrix and more of a technical improvement to his own playing, allowing for a stronger low end, better access to the volume control, and the vibrato bar, all of which gives CASPAR BRÖTZMANN MASSAKER‘s music an unparalleled dynamic range.

The Tribe was CASPAR BRÖTZMANN MASSAKER‘s first album. Recorded at Jost Gebers’ legendary jazz studio FMP in Berlin. To Gebers, who was far from being a fan of amplified music, BRÖTZMANN recalls, MASSAKER‘s music sounded “honest”. The iconic sleeve was designed by CASPAR BRÖTZMANN‘s father. Prior to this record, CASPAR honed his craft as a solo artist opening for the likes of Nick Cave. It is now reissued as it was originally released, remastered for LP and CD.

MASSAKER lineup for The Tribe:
Caspar Brötzmann – guitars/vocals
Eduardo Delgado Lopez – bass
Jon – drums

Julian Cope once stated that CASPAR BRÖTZMANN MASSAKER was, “The trio to end all power trios.” Like The Tribe, Black Axis was recorded at Jost Gebers’ FMP tudios in Berlin. Black Axis came to life in a rehearsal room so small with a ceiling so low that BRÖTZMANN, at nearly six-and-a-half feet tall, could barely stand up straight. The artwork was created by Brötzmann himself. The album is here reissued as it was originally release, remastered for 2xLP and CD.

MASSAKER lineup for Black Axis:
Caspar Brötzmann – guitars/vocals
Eduardo Delgado Lopez – bass
Frank Neumeier – Drums

For press inquiries in The Americas contact dave@earsplitcompound.com and elsewhere contact lauren@rarelyunable.com.

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