I londinesi Row Of Ashes hanno dato annuncio della collaborazione con le etichette Thrid-I-Rex e The Braves Records al fine di rilasciare il debut album Let The Long Night Fade. L’album è stato registrato da Joe Garcia ai Joe’s Garage Studios di Bristol (Sonance, Husk, Vails, ecc.).
Il progetto vede nel suo organico membri di Sonance, Wild Dogs Winter, Executive Distraction Tasks ed è guidato dalla voce di Eliza Gregory, già con Necro Deathmort, Ladyscraper e Pleura.
Questo il comunicato ufficiale di presentazione della band:
“Let The Long Night Fade was the first description of the record by a friend of Row of Ashes, and no comparison could be more on-point. This debut collection of songs shares a tense atmosphere which all vary dramatically in dynamics. Owing as much to a Phil Spectre-style wall of undulating, apocalyptic-noise channeled through stack amps, as to the emotional honesty of T.S. Eliot’s Wasteland, it could be the sonic equivalent of helplessly watching a storm develop, destroy everything around you, and finally, assessing the devastation once it has passed.
It would be usual to expect a singular modus operandi from a band who are predominantly seasoned in the heavier and less mainstream end of the musical spectrum, drawing from and playing in Death Metal, Grind, Sludge and Hardcore outfits for the majority of their careers (a rough roll call of projects you can see next to each member’s name). Yet there’s more to RoA album than the traditions attributed to these genres, as there are influences called upon way outside of their musical origins making for a highly creative milieu, and the results near-defy categorisation.
That’s not to say LTLNF is a complete departure. As the debt to the dark and heavy side of music is palpable in the eye of the proverbial storm: in the death growls and furious droning riffs that pinpoint crescendos. But its presence in the atmospherics and more delicate, imperfect, where-do- we-go- from-here chanteuse vocals, strings, keyboards and piano parts which wouldn’t be out of place in a dank Berlin jazz club or an update on a Da-Da Art-house soundtrack, is faithfully retained and almost beautiful in its bleak outlook.
