ROCKSOUND – 8/10 review (Nov issue) “Astounding, yet chilling.”
ROCKSOUND – Damnation live preview (Nov issue) “A thundering sonic combustion of hurricane proportions.”
KERRANG – 3/4 review (19 Sept) “This is focused on song-craft and what unfolds is a majestically epic and intimidating soundscape. A haunting, bleak and impressive record.”
ROCK A ROLLA – Oct/Nov issue) “A resounding triumph.”
ZERO TOLERANCE – ONE PAGE FEATURE (Oct/Nov issue) “A powerful trio thoughtfully exploring a wide plateau of styles… whose power and oppression is derived from a newfound sense of direction.
SUBBA CULTCHA – review (21/09/09) “This time round the riffs seem even more titanic, the grooves even more grinding, and the arrangements more ambitious and spacious…this record is more than simply a worthy successor to their debut. With “Forgive…”, A Storm Of Light have transcended the “side project” tab and become something very special indeed.”
METAL REVIEWS – review (21/09/09) “Starting with intense percussion and gradually building melodically until before you know it the Doom riffage is in the driving seat and the melancholic beast is striding slowly towards the sunset.”
METAL IRELAND – 4.5/5 review and ALBUM OF THE MONTH(21/09/09) “It’s refreshing to hear something that is totally rooted in the band’s sound and aesthetic while moving it on substantially. It’s a fantastically open album that at the same time is utterly punishing at it’s most focused moments. It demands to be spun again and again, both for its accessibility and its slow burn.”
The video was shot in HD at an undisclosed location in Brooklyn and directed by ASOL guitarist/keyboardist/vocalist Josh Graham. The hauntingly textured, black and white performance video reflects the lyrics of the song, which essentially revolve around the inevitable contamination of the air, sea and earth.
We are pleased to now be working with EarSplit PR in North America.
They will be handling all press and promotion for the upcoming release of Forgive Us Our Trespasses, coming out soon on Neurot Recordings.
Official European release date is Septemer 21st, and the North American date will be two weeks later, the first week of
Earsplit works with some great bands and labels, including Southern Lord, Wolves in the Throneroom, Pelican, Sunno: Translation Loss, Bloodhorse; Exhile on Mainstream, etc.
Brooklyn’s A Storm of Light have posted the new track “Midnight” from their upcoming Double LP/CD full-length effort, entitled Forgive Us Our Trespasses. The album finds its power through a dense bringing together of melodies, moods and textures, ensuring that while things are as heavy and cataclysmic as fans would expect, the devastating effects rely on interwoven melodies and graceful shifts in timbre, instead of a stream of identikit riffs.
Comprised of Josh Graham, Domenic Seita, Andy Rice and Joel Hamilton – Storm is joined by a host of carefully-chosen collaborators including vocalist Nerissa Campbell (Primitive North), the unique talents of Jarboe (Swans, World Of Skin, J2), the otherworldly spoken word segues of singer, poet and author Lydia Lunch and the mournful strings of Carla Kihlstedt (Book Of Knots, Sleepytime Gorilla Museum, 2 Foot Yard) and Marika Hughes (2 Foot Yard).
Forgive Us Our Trespasses will see a street date in September 2009 through Neurot Recordings, distributed by Revolver USA and Southern in Europe.
As always, our North American based webstore is with Blue Collar Distro.
For those of you in Europe, we are now working with Black Ape. This should ease shipping costs as well as speed delivery up.
Both stores have unique items, so if you want something that only one store has,
you’ll have to get it directly from that site.
A Storm of Light return to the UK and Europe co-headlining with Relapse recording artists, Minsk. Storm will be supporting their upcoming full length release entitled Forgive Us Our Trespasses, coming out on Neurot this September. Look for new songs to be posted soon, as well as an official release date.
More dates to follow…
sat 24 oct LEEDS UK DAMNATION FESTIVAL
sun 25 oct GLASGOW SCT IVORY BLACKS
mon 26 oct NEWCASTLE UK TRILLIANS
tue 27 oct SHEFFIELD UK CORPORATION
wed 28 oct LONDON UK BAR ACADEMY
thu 29 oct BRIGHTON UK FREEBUTT
fri 30 oct GRONINGEN NL SIMPLON
sun 1 nov ROTTERDAM NL BAROEG
thu 5 nov GENEVA SWTZ PTR – USINE
fri 6 nov BULLE SWTZ EBULLITION
Sat Nov 7 DEN BOSCH NL W2
Sun Nov 8 WIESBADEN GERMANY SCHLACHTHOF
Mon Nov 9 HAMBURG GERMANY HAFENKLANG
By Devon Tincknell June 8, 2009
Nature is fucking crazy. No really, it is. Hippies and Greenpeace types attempt to paint it as some serene, peaceful thing filled with sunny days and baby seals, but spend an afternoon watching National Geographic documentaries and you’ll see: Mother Nature can be one bloody, brutal bitch.
Though Olympia’s Wolves In The Throne Room has long promoted its close ties with the natural world, it was opening act A Storm Of Light who really nailed down the connection between the turbulent chaos of the untamed wilderness and the churning guitars of modern metal. Lead by guitarist Josh Graham, long time visual director for Oakland apocalypse metal act Neurosis, Storm Of Light played before a towering video montage devoted to the awe of the natural world: Beating hearts, stormy seas, and collapsing glaciers bled together on the screen while the group plowed through a sweeping dirge of down-tempo doom. Though it hails from NYC, a veritable stronghold for urban America, ASOL’s heavy growls and pulsing drums conjured a much more barren landscape.
At first the pairing seems a bit odd—heavy metal and the great outdoors. Metal is supposed to be a modern, electric creation, more concerned with gory morbidity than camping and canoeing. But truly, what’s more frightening: the imaginary monsters man has created for himself, or the very real ones lurking on the borders of civilization? Although black metal’s roots are anchored in the dark, icy wastes of Scandinavia, the genre’s devotion to evil, borderline clownish stage attire has lead it away from its initial, sunless inspiration. Grown men in makeup taking Satan way too seriously turned metal into a cartoonish parody of itself and left its ideology feeling hollow. After all, doesn’t belief in the devil imply faith in the Christian theology? And really, just how “evil” is penning songs about corpse-fucking while you live in an Orlando apartment complex?
Nestled in the lush, rain-drenched Pacific Northwest, Wolves In The Throne Room tap into a more realistic source of savage terror: the one right outside its back door. Transmuting the misty, overcast gloom of their environment into grandiose, ambient ballads and blasting arias of brutality, Wolves In The Throne Room craft a back-to-basics metal that does away with all those unnecessary codpieces and corpse paint. Much like the Puritans of colonial America, Wolves discard the pompous pageantry of its European brothers to stake out an austere existence in the unsettled wilderness.
Shrouded in fog and lit by candle flame, Wolves obviously haven’t given up the notion of showmanship entirely, but it was determined to let the music deliver the message. With nary a word spoken the entire run of its set, Wolves In The Throne Room tore through 10-minute-plus odes to primitive abandon with all the ferocity of a hungry lion taking down a lone gazelle. Nathan Weaver’s guitar chords hung in the air like thunderclaps while his brother Aaron beat the drums in a torrential downpour. The crowd was a cramped mass of long hair and black shirts, nodding solemnly along to the squall, but by the time Wolves In The Throne Room left the stage, they were howling and baying, hungry for more. The lone cricket chirp of a lingering guitar loop echoed through an amp, and Wolves opted to leave the stage alone for the time being, delaying its return until July (when it’ll be back at Emo’s, opening for Pentagram). That’s just how nature runs its course.