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"Beneath Oblivion have put out their best record to date... blindsided by how far the band has come..." — Decibel Magazine
"it’s killer; denser than the earth’s crust, the whole thing oozes coagulated sludge, abject horror, and the sweat of a hundred post-apocalyptic marauders..." — AV Club
"it's profound... From Man to Dust is as nauseating as it is hypnotic, tapping into the part of your brain that knows you’re not supposed to look but can’t stop yourself..." — MetalSucks
"Doom metal is taking new shapes in the fans' conscious, and Beneath Oblivion are leading the way to a nirvana of ruin..." — Exclaim!
"Unquestionably asphyxiating, and definitely a test of one’s resolve, From Man to Dust is sadistic, corrupt and endlessly pitiless—everything great heavy metal should be..." — Pop Matters
Scott T. Simpson:
Keith Messerle: bass
Allen L. Scott II: guitar/samples
Nate Bidwell : drums
“I want to stand with pride… waiting for the end to arrive” he proclaims, as a tremendous struggle is about to unfold within us all and before us all. Inwardly, outwardly. Consumed by devastation and the somber reality of a world of ash and a brain full of worms. Ruins. Ruined. From Man To Dust is an 80 minute journey through the deepest chasms of grief in a post-apocalyptic wasteland of nuclear fallout. The war inside is responsible for the war outside. Beneath Oblivion trudges onward through the 8 tracks that make up the album in an utterly ferocious manner. Crushing all preconceived notions of “devastation” as they bludgeon ahead amidst all the contempt and misery we’ve all caused one another. “Flush it away, I care no more… perhaps I never did” vocalist/guitarist Scott Simpson realizes on the albums second track. With the shriek of a man on fire, he condemns society and questions how we process thoughts as human beings. In a world where nobody else cared, would you? The album is as introspective as it is globally inquisitive. Detailing the direct correlation between our inner thoughts and the direct actions of man in a fractal universe. “Love is madness, and madness is inspiration”. The fragile human psyche presents the hardest struggle of man, few can hold the stretching fabrics of sanity together for more than mere presentation to others. “Easy to forget, and totally permanent”. With its focus on stark imagery and the contrasting beauty of destruction, the album arcs through each movement with terrifying strength. “I’m still alive, that’s all I know”. The lyrical composition further deals in the metaphorical sense of wordplay – detailing accounts of an apocalypse that is never completely revealed to be internal or planetary… or both. “To journey miles… over the smoldering dead… who turn to soil which yields no growth”. The guitar work of Allen Lee Scott and Simpson is like shovels digging graves for all of us and they dig with the conviction and confidence of a band thats rediscovered themselves. They are fighting for it on From Man To Dust, as the rhythm section of Keith Messerle (bass) and Nate Bidwell (drums) churn through each track with the tightness of a duo that’s performed together for years, though it’s Messerle’s first album with the band. It also marks the bands first recorded output as a four piece, creating a dense environment capable of seizing the air from your puny lungs. “Death is a being, she has inevitable tow”.
The album was recorded during a sweltering heat wave in a massive, formerly abandoned warehouse in Cincinnati, OH by Andy Perkins, with samples, mixing and additional tracking done at his own Perkins Ranch in Erlanger, KY. The natural reverb from the multitude of room microphones in the gargantuan space further conveys the ambitious grandeur of the record. After the mixing of the album was completed, the whole thing was sent off to the legendary engineer/producer Billy Anderson to master (Neurosis, High On Fire, Melvins), the resulting sound confidently captures the devastating nature of the material itself. In describing the sound in terms of something relatable for people that haven’t heard the album, I suppose you could say Beneath Oblivion combine the hypnotic, churning crunch of Sleep and Electric Wizard, with the raw, broken down contempt of Grief and Buzzoven and the monolithic heaviness of Zoroaster and YOB, but also has moments containing the more eclectic elements of Agalloch-esque folk-metal and Skepticism-esque funeral doom keys. Simpson’s vocals range from head splitting shrieks, more akin to black metal than doom, to guttural growls, and even into clean singing. Mix it all together with a considerably European flavored atmosphere and a twist of southern rock swagger and you’re getting an idea of what the band sounds like. Artwork design for the album was handled by the bands own Allen Lee Scott with layout duties taken care of by N.Shumaker/Northerlightsindustries.com. The vinyl version of the 80 minute epic will be a 2xLP on colored vinyl with heavy, thick gatefold jackets containing spot gloss and a lyrics insert. The CD will come in a thick, recycled stock five inch cardboard gatefold jacket. The album will be released worldwide September 27th via The Mylene Sheath. “Inner and outer conflicts have grown, mental, global, crumbling and too far gone.”