Empty Body, the crushing new full-length from Wellington, New Zealand-based post-metal unit SPOOK THE HORSES is out now via Pelagic Records. Following the calm and sublime People Used To Live Here, Empty Body rears its head with distortion levels cranked up, tempos sped up, and songs condensed and stripped down to the bare, ugly essentials. Indeed, Empty Body comes as a brutal wake-up call within the rampant COVID-19 fatigue and an unexpected surprise in almost every regard. “We’ve always been both a heavy and a quiet band. An entire album of our prettier, more bittersweet inclinations demands a reply of our most aggressive and confrontational. The pendulum must swing back the other way,” comments multi-instrumentalist Callum Gay. Stream Empty Body at THIS LOCATION.
View the band’s previously released videos for “Inheritance” and “Cell Death” HERE.Empty Body is available on CD, LP, and digital formats HERE. Fans of Breach, Cult Of Luna, Converge, Trap Them, Old Man Gloom, and Baptists, pay heed. Imagine a band where members can rotate between instruments, because every band member can play every instrument. SPOOK THE HORSES are such a band. And it is perhaps this multi-instrumentalism and virtuosity that explains the vast musical territory that is explored across the band’s four albums. While 2011’s debut album Brighter was defined by sweet post-rock crescendos, 2015’s Rainmaker was a much heavier affair. People Used To Live Here (2017) created an atmosphere of quiet desolation, raw and real, desperate and unsettling: the post-apocalyptic soundtrack to abandoned places, where people used to live, at one point in time, long ago.”Since we started work on People Used To Live Here years ago we knew the album would need a follow-up that was radically different – almost spitefully different – if only to utterly refuse any trite suggestion that we might be “maturing” or mellowing out with time,” Gay explains. “We’d written the song ‘Self Destroyer’ (off Empty Body) somehow concurrently with the early People Used To Live Heredemos and it had a sense of momentum to it that immediately engaged us. Once that energy was there it was an obvious choice for the next record, compressing our intuitive emotive peaks into raw forward motion. We all wrote collectively with the new focus in mind.”
3/06/2020 The Regent – Los Angeles, CA
3/08/2020 The Regency Theater – San Francisco, CA
3/10/2020 Metro Music Hall – Salt Lake City, UT
3/11/2020 Oriental Theater – Denver, CO
3/13/2020 Fine Line – Minneapolis, MN **
3/14/2020 Red Flag – St. Louis, MO **
3/15/2020 House Of Blues – Chicago, IL
3/17/2020 The Agora – Cleveland, OH
3/18/2020 St. Andrews Hall – Detroit, MI
3/19/2020 Roxian Theatre – Pittsburgh, PA
3/20/2020 The Palladium – Worcester, MA
3/21/2020 Warsaw – Brooklyn, NY
** No Visions Of Atlantis
This week’s featured artist is JJ Wilde. Hailing from Canada, this powerhouse of talent is an individual that should not be overlooked. In 2018 the young singer decided to fulfill her passion by pursuing music. Wilde, knowing she was at a crossroads with her life, took the plunge into the unknown. Such an endeavor has been surely paying off. Recently she has toured with “The Struts” and “The Blue Stones”. Serenading audiences with her raw songs makes for an impactful performance and thus gaining her new life long fans along the way.
Check out her EP “Wilde Eyes and Steady Hands”. The EP is an unfiltered story from a young woman who’s putting her experiences and emotions into music.
Constantly touring around the USA, Sawyer Fredericks shows no signs of stopping on spreading his musical talent across the country. Though only 20 years of age, this remarkable individual is authentic and raw with his deliverance when it comes to his performance. With a slue of close musicians accompanying him on this tour, you have Gannon Ferrell on bass, Jerome Goosman on guitar, and Chris Thomas on drums. These adroit fellows all work in harmony. The set consisted of old and new material. Mixed in with songs from his upcoming album “Flowers For You”, his most recent full-length release “Hide Your Ghost”, and older material from “A Good Storm”. He also did a few covers throughout the night, which in my opinion, blew out of the water.
You would think just based on listening to the studio albums alone, it would be purely folk/blues-based. Oh, how we’re dead wrong. Put together the instruments that are used for the live performance(s), and holy cannoli. It’s like rock folk in the best way possible. The storytelling within the songs is that of a seasoned veteran songwriter. I cannot fathom enough how much I would recommend seeing him in person.
All in and all, Sawyer’s performances keep getting better and better. The first time I saw him was back in 2018. He was fantastic then, he’s even more potent with energy now. To top it off, he’s a genuinely sweet individual and down to Earth. Fame can be overwhelming to most, but for this young man, it’s made him work harder and want to spread his unquestionable devotedness to keep true to himself and his music.
Sawyer is soon to be releasing his upcoming album “Flowers for You” in the spring of 2020. Check out his socials and Patreon down below!
Imperial Crystalline Entombment) and mastered by Dan Swanö at Unisound Studios (Edge Of Sanity, Bloodbath, Witherscape), and completed with artwork by AZURE EMOTE‘s Mike Hrubovcak (Megadeth, Six Feet Under, Cattle Decapitation).