{"title":"Metal","description":null,"products":[{"product_id":"there-were-wires-somnambulists","title":"There Were Wires 'Somnambulists'","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere Were Wires were an underground hardcore\/metal band from Boston, MA that formed in the late 90s. They quickly gained notoriety in New England for their intense and chaotic live shows. The band played regularly throughout the early 2000’s, sharing stages with prominent bands like Mastodon, Converge, and The Dillinger Escape Plan, along with successful tours with Daughters (Ipecac Records) and Zombi (Relapse Records).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere Were Wires were an early pioneer of the moody, atmospheric metal genre, and became an influential giant that would pave the way for a wave of slow, heavy music that would follow after the band’s demise. 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Somnambulists was not only a dramatic departure from the punchy abruptness of their earlier sound, but a welcomed one, as well - the record was met with much acclaim from fans and critics alike. Somnambulists is a full album experience that combines heavy, droning, and bluesy riffs with atmospheric interludes. The album follows a theme of loss, regret, sleep walking, and darkness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIodine Recordings and Tor Johnson Records are excited to present \"Somnambulists\" on vinyl for the first time ever. The album has been remastered for optimal listening and contains all new artwork in a gatefold jacket. The record also includes a previously unreleased cover of Tunic by Sonic Youth. 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Their blend of harshly emotive dissonance and punchy, anthemic songs pulled inspiration from bands like Converge, Portraits of Past, and Unbroken. Though it’s true that TWW’s live shows were a powder keg of chaos, the true gooey center of the band revealed an honest vulnerability that belied the tough crowd of contemporaries, which gained them a small but devoted cult following in the New England scene.\u003c\/p\u003e\n\u003cp\u003eAfter several self-released demo tapes and CD’s, TWW teamed up with Iodine Recordings for a professional version of their debut S\/T record (including a live radio set), as well as their final 2003 record ‘Somnambulists’, which tread into darker, moodier, and more atmospheric territory than ever before. 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The classic genre-defining album now remastered with the original sequence!\u003c\/p\u003e","brand":"Relapse Records","offers":[{"title":"Blood \u0026 Sea 2xLP","offer_id":47846469730475,"sku":"RR7504v1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":47846469763243,"sku":"RR7504cd","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0550\/1642\/3595\/files\/CaveIn-UYHS-Cover.jpg?v=1789100833"},{"product_id":"converge-hum-of-hurt","title":"Converge 'Hum Of Hurt'","description":"\u003cp\u003eCONVERGE “Hum of Hurt” by J. Bennett\u003c\/p\u003e\n\u003cp\u003eYou feel it before you hear it. And once you hear it, you can’t unhear it. A low, persistent noise throbbing in the background. Scientists say it registers between 30 and 40 hertz. It’s been heard in Ipswich, Massachusetts; Auckland, New Zealand; and Windsor, Ontario. It has haunted the population of Taos, New Mexico, for decades. It’s been linked to suicides in the UK. Not everyone can hear it. No one knows where it’s coming from. They call it\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Hum\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eConverge have taken this mysterious real-world phenomenon and reimagined it as a physical manifestation of human suffering. I read on the phenomena while researching my own tinnitus. Then an idea struck. “What if the Hum is the culmination of all the pain in the world, creating an audible signal across the universe?” vocalist and lyricist Jacob Bannon posits. “Something noticeable to others operating on a similar emotional plane.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHum of Hurt\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efollows\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLove Is Not Enough\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eas Converge’s second full-length release of 2026. Like its predecessor, the album offers a bleak yet empathetic assessment of the human condition and its ongoing deterioration. With this album, the songs are more raw and exposed. “When we came together to write, we ended up with a wealth of material,” Bannon says. “As work progressed we realized we had created two separate albums, and treated them as such.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHum of Hurt\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis distinct from\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLove Is Not Enough\u003c\/i\u003e, but just as volatile and potent. “It’s not a sequel,” Bannon explains. “The unifying musical idea early on was, ‘Let’s make a noise rock album.’ But we never really did. The first one wasn’t. This one touches on that spirit, but it’s much more dynamic than that descriptor. To me, it leans more into being an emotional hardcore album, while\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLove Is Not Enough\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efeels more metal leaning album. In the end, we simply gave creative birth to another Converge record with its own unique identity and character.”\u003c\/p\u003e\n\u003cp\u003eOpener “Slip the Noose” erupts with a furious cannonade from drummer Ben Koller before launching into a short, grinding frenzy that would feel at home on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eJane Doe\u003c\/i\u003e. “Doom in Bloom” is raw and bloody, as guitarist Kurt Ballou’s spiky riffs scrape against Nate Newton’s bass and Koller’s drums. You can practically hear Bannon’s throat tearing apart in every scream. “It’s dark and pointed right at you,” he says. “Lyrically, I’m exploring how my own middle-aged introspection doesn’t always bring a brighter light. I see my own trappings reflected in those around me. Here I am imploring them to slip the noose to see another day.”\u003c\/p\u003e\n\u003cp\u003e“Dream Debris” is a gripping, doomy epic born from a single bass note that builds to a booming crescendo. “It has a lot of twists and turns, yet starts off incredibly simple. The slow build was driven by Nate’s vision and bass tone,” Bannon says. “We kept asking ourselves ‘Does it need anything else?’ In the end, it didn’t. It was just so heavy, encapsulating everything we wanted in the song.\"\u003c\/p\u003e\n\u003cp\u003eThe menacing track “Detonator” delivers a powerful line that will linger: There’s nothing to win if there’s no one to lose. “I go on a bit of a rant here,” Bannon says. “The idea is that when passion withers, the broken and beaten often remain in discomfort. The song ends with the line, ‘Don't be blown apart by your mistakes,’ which sums up the stark mentality on this one.”\u003c\/p\u003e\n\u003cp\u003eThe title track stands as one of the most propulsive and emotional songs of their career. Thematically, Bannon examines the price of the lives we pursue. “I’ve given 35 years of my life to creating art and music,” he says. “I appreciate the creative home and support this community has given, yet rarely is space left for anything else. These lyrics are me looking in a mirror, recognizing that I am not the man I want to be. I need change, and still have work to do.”\u003c\/p\u003e\n\u003cp\u003eThe album also features a new rendition of “I Won’t Let You Go,” originally recorded for the 2020 video game Cyberpunk 2077. “When we recorded the first version, Ben tracked drums in California and we assembled it here,” Bannon explains. “It was good, but we knew we could do better. This version has everything the previous one was missing. It now feels right.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHum of Hurt\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Bannon and renowned UK artist Thomas Hooper collaborated on the album artwork.\u003c\/p\u003e\n\u003cp\u003e“For the cover, I had a vision of an EKG signal fusing with some kind of volatile seismography. This amalgamation represents the conditions that would theoretically create a ‘Hum.’ Specifically the heart skips beats before dissolving into static. The signal is then interrupted by a seismic event at the center point of the cover. 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Justin Broadrick originally envisioned the material as part of the same larger body of work, later returning to reshape the songs into an album of its own.\u003c\/p\u003e\n\u003cp\u003eWhere Purge leaned into hypnotic repetition and mechanical force, Decay pushes further into bleak, stripped-down territory. The massive opening track “Master and Slave” and crawling closer “Consume Me” form the record’s conceptual center, surrounding a series of dense, grinding songs built from the unmistakable collision of Broadrick’s guitar and voice with Ben Green’s bass.\u003c\/p\u003e\n\u003cp\u003eFor Broadrick, Decay also arrives as GODFLESH approaches the end of its active life. 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Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.\u003c\/p\u003e\n\u003cp\u003eBesides being the name of a largely forgotten (and panned) 90s film, \u003cem\u003eCool World\u003c\/em\u003e makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “\u003cem\u003eCool World\u003c\/em\u003e covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.\u003c\/p\u003e\n\u003cp\u003eThough very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on \u003cem\u003eCool World\u003c\/em\u003e not only compliments the broader experimentations it employs with their songwriting, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt\/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to \u003cem\u003eGod’s Country\u003c\/em\u003e to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with \u003cem\u003eCool World\u003c\/em\u003e, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound, \u003cem\u003eCool World\u003c\/em\u003e is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.\u003c\/p\u003e\n\u003cp\u003eThe proverbial thread tying all of the experimentation on \u003cem\u003eCool World\u003c\/em\u003e together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, \u003cem\u003eCool World\u003c\/em\u003e is an apocalyptically bleak record. Sure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on \u003cem\u003eCool World\u003c\/em\u003e is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. 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If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.\u003c\/p\u003e\n\u003cp\u003eHaving lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut LP. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over 40 minute runtime, God’s Country displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like. God’s Country is out via The Flenser.\u003c\/p\u003e\n\u003cp\u003eIn just a couple of years, Oklahoma City’s Chat Pile has made nothing short of a profound impression on the underground music discourse. Formed in the spring of 2019 by Raygun Busch (vocals), Luther Manhole (Guitar), Stin (Bass), and Captain Ron (Drums), the noise-rock quartet would release two EPs that same year, titled This Dungeon Earth and Remove Your Skin Please respectively. Spurred on by both a hearty run of live performances and a swiftly growing online fanbase, Chat Pile became a staple name among its genre contemporaries thanks to its hellish synthesis of noise rock, sludge, industrial, and mid 90’s nu-metal. 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Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about \u003cem\u003eWho Loves The Sun \u003c\/em\u003efeels synthetic.\u003c\/p\u003e\n\u003cp\u003eWhereas their debut album \u003cem\u003eGod’s Country\u003c\/em\u003e depicted a particularly American flavor of dread, and the follow up \u003cem\u003eCool World\u003c\/em\u003e showed a cruel planet defined by global systemic violence, \u003cem\u003eWho Loves The Sun\u003c\/em\u003e peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse.\u003c\/p\u003e\n\u003cp\u003eAs with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of \u003cem\u003eWho Loves The Sun\u003c\/em\u003e is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground.\u003c\/p\u003e\n\u003cp\u003eThe album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. 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