Following the release of their acclaimed album Love In Shadow, SUMAC will be embarking on a West Coast tour throughout the month of January 2019, joined by Divide & Dissolve and Tashi Dorji. SUMAC plan to tour Europe later this winter.
Ahead of the September 21st release of their album Love In Shadow, SUMAC have shared the album’s epic 15-minute-long single “Attis’ Blade.” The track traverses through thundering passages, waves of dirge-like contemplation, and barrages of spontaneous chaos.
Ahead of the release of their new album Love In Shadow on September 21st, SUMAC will be touring throughout the U.S. midwest and east coast. Love In Shadow, the band’s third full-length album, delves into the innate warmth of human magnetism and the cold realities of corrupted love. The trio explore these complexities by employing minimal tools and the tactile immediacy of abstract expressionists, juxtaposing intricately composed arrangements against unbridled improvisations.
On September 21st, SUMAC – the trio of Aaron Turner (ISIS, Old Man Gloom, Mamiffer), Nick Yacyshyn (Baptists, Erosion), and Brian Cook (Russian Circles) – will be releasing new album Love In Shadow. Earlier this year, SUMAC released their acclaimed collaborative effort with legendary Japanese artist Keiji Haino, American Dollar Bill – Keep Facing Sideways, You’re Too Hideous To Look At Face On.
Six years since their self-titled debut, the trans-Atlantic project Split Cranium have returned with their sophomore album I’m The Devil and I’m OK. Guitarist/vocalist Aaron Turner (SUMAC, Old Man Gloom) and guitarist Jussi Lehtisalo (from legendary Finnish shapeshifters Circle) are joined by Faith Coloccia (keyboards/vocals – Mamiffer, Mara), Nate Newton (bass – Converge, Doomriders) and Tomi Leppänen (drums – Circle, K-X-P) making I’m The Devil and I’m OK simultaneously more sonically rounded and more visceral and vicious than the band’s debut album. “We wanted to make a record that was less straightforward than the first one,” Turner says. “Jussi loves melody and I love dissonance and noise, so that is probably the healthy creative contrast that made this record what it is.”