Good to Die Records is excited to announce newest signing: Seattle doomsayers Old Iron. The label will release Old Iron’s second full-length album, “Lupus Metallorum,” on August 18th, and the group will respond by playing as many shows as possible at home and throughout the U.S including Northwest Terror Fest.
Engineered and produced by Matt Bayles (Mastodon, ISIS, The Sword) at Red Room Studios in Seattle WA, “Lupus Metallorum” captures the full weight of a band whose megalithic sound had previously best been experienced live and in the flesh. Good To Die Records comments:
“The tritone — also known as ‘the Devil’s interval’ — is a pairing of notes that are three whole steps apart. It’s simply an interval between two frequencies, but for whatever reason, the human brain translates that pairing as sounding evil. Western composers avoided the note combination for centuries. The church frowned upon its use. It’s strange that two notes could elicit such negative reactions. But this is part of the magic of music — that certain combinations of frequencies trigger specific human emotions.
“We take for granted that every musician is tapping into some ancient wizardry, practicing some mysterious art we don’t fully understand. Seattle’s amplifier-worship dirge trio Old Iron certainly don’t shy away from the tritone or any other malicious note combination, and their explorations of the emotional implications of dissonance run parallel to their navigation of altered states and archaic sciences.
“From the opening riff of ‘Friday Glendale,’ the precedent is set for the trio’s no-frills combination of ruthless noise rock and bottom-heavy sludge. Old Iron’s weighty riffs and malevolent stomp taps into the same adrenaline-producing frequency as a battle cry, with guitarist/vocalist Jesse Roberts’ howl summoning the same primitive visceral response as the Western Huns’ harrowing call-to-arms.
“If Roberts and his cohorts Jerad Shealey (bass) and Trent McIntyre (drums) were merely interested in using their tactics as a study in Pavlovian conditioning, ‘Lupus Metallorum’ would succeed in making us salivating over their riffs.
“Rock music and psychoactive drugs have always played well together, yet in an age where chemical enhancement of music seems reduced to stoned lethargy and molly-induced bump-and-grind, Old Iron’s combination of doomsday riffage and high-grade hallucinogens aims for a far more traumatizing experience, as is evident in the cataclysmic rise-and-fall of the ayahuasca-referencing climax ‘Banisteriopsis Caapi.'”
“There was never any intended theme,” Roberts says of the muse behind Old Iron’s music, “but in hindsight half of the songs were inspired by experiences I’ve had with ayahuasca and DMT.”