Sparse, haunting chords are what greets you during the opening of Widowmaker. It’s a million miles away from the dirty and crusty doom that acted as your entry into Dragged into Sunlight‘s debut Hatred For Mankind, but in the build up to the release of this album, this Liverpudlian nightmare were adamant that it was not to be considered a follow-up and the next 15 minutes show you exactly why. ‘Part I‘ is comprised solely of haunting violin, brooding atmospherics and a dark, twanging guitar that’s more reminiscent of Earth‘s latest output than anything else. It’s minimalist and mournful, but incredibly hypnotic as the tension builds before ebbing away into the murky depths of ambiance.
Halloween is approaching fast and what better soundtrack to have than the latest effort from the deranged minds that make up Dragged Into Sunlight? Stirring a potent mix of death metal, black metal and doom into one of the weirder albums you’ll hear this year, Widowmaker is a bold step even for this band but it’s one that deserves your time and attention. Split into three 10+ minute sections that range from dark and moody to blistering and crushing, DIS were quick to mark this as a new beginning for the band as fans of their previous work will find an entirely different beast here. Thankfully, you can form your own opinion thanks to Terrorizer who have the entire album available to stream.
Dragged into Sunlight’s Widowmaker will be out November 5th on Prosthetic Records.
Liverpool isn’t normally associated with dark and evil occult music (you have to go to Newcastle for that), but there must be something wrong with the water to have spawned the bastard children that make up Dragged Into Sunlight, whose seedy mix of death, black and sludge is as unique as it is horrifying.
The mysterious four piece have been slowly working on their new album Widowmaker, spreading the recording over 3 different sessions in the 3 years since the release of their debut, and details have begun to emerge. The album will be comprised of 3 tracks and nearly 40 minutes of music and the band stress that it not to be considered a ‘follow-up’ to Hatred For Mankind. Listening to the above preview, you can understand their point of view, it’s less ‘swirling tempest of hatred’ and more ‘dark and brooding slow-burn’, suggesting that maybe the band have decided to take a slightly new direction. Either way, we’ll know for sure on November 6th when Prosthetic Records release it.
Grimey blackened hardcore group Dragged Into Sunlight are one of the most fascinating live bands I’ve ever seen, and their stage presence is no doubt as dark and intense as their recorded music. Their 2010 debut Hatred for Mankind was heavy in both musical brutality and emotion. Their debut was re-issued last year by Prosthetic Records, and since then, the band has reached acclaim and a great deal of hype.
Now, all eyes in extreme metal are on Dragged Into Sunlight as they are set to release their sophomore record Widowmaker. A press-release of sorts (above) was posted to the band’s Facebook page, and it captures the bleakness that the band have promised. Widowmaker contains three tracks, clocking in at 40-minutes. Here’s a cut from Prosthetic’s own press release:
“Widowmaker” was produced by Tom Dring during three recording sessions over the course of two years and includes additional guitars by an unnamed member of UK cult metal band Bossk. The grueling 40-minute, three-track album has been described by the band as “everything heavier and everything louder than everything else” with “an oppressing overtone of complete misery, depression, and isolation” in true DRAGGED INTO SUNLIGHT form.
Widowmaker sounds absolutely devastating and I can’t wait to hear it. More information will become available in the coming weeks. Widowmaker is due out November 6th on Prosthetic Records.
Dragged into Sunlight, if you aren’t familiar, are absolutely filthy. This is music of nightmares, and is like the aural equivalent of tetanus. I’m excited to see them perform at Maryland Deathfest this year — not because I’m a huge fan in particular, but mostly because their live shows are supposedly fairly intense. There are YouTube videos of them performing on a dark stage and facing away from the crowd for most of the show before turning around for a ferocious finale. Who knows if it’ll end up working out as such at a festival venue, but I’m excited either way.
After their appearance at Maryland Deathfest, they’ll be hitting up the US with Cough (also appearing at MDF) and Wolvhammer supporting on select dates, below. Make it out if you can!
5/26 - Baltimore, MD – Maryland Deathfest, Club Sonar
5/28 – Richmond, VA – Strange Matter #
5/29 - Raleigh, NC – Slim’s #
5/30 - Atlanta, GA – The Earl #
5/31 - Panama City Beach, FL – C-Level #
6/1 - New Orleans, LA – Siberia #
6/2 - Houston, TX – Walter’s on Washington #
6/3 - Austin, TX – Hotel Vegas, Chaos in Tejas #
6/4 - Dallas,TX – La Grange #
6/5 - Little Rock, AR – Downtown Music #
6/6 - Nashville, TN – The End #
6/7 - Johnson City, TN – The Hideaway #
6/8 - Lexington, KY – Al’s Bar
6/9 - Chicago, IL – Ultra Lounge %
6/10 - Indianapolis, IN – Melody Inn %
6/11 - Pittsburgh, PA – 31st Street Pub %
6/12 - Rochester, NY – The Bug Jar %
6/13 - Philadelphia, PA – TBA %
6/14 - Brooklyn, NY – Saint Vitus %
01. Boiled Angel/Buried With Leeches
02. Volcanic Birth
03. To Hieron
04. Lashed To The Grinder And Stoned To Death
05. I, Aurora
06. Totem Of Skulls
It’s November the 11th, 2011. It’s around 5pm and I’m at Damnation Festival, killing time inbetween bands. I’m drunk. Naturally.
And then the in-house music shuts off and the lights go down. The smoke machines begin to work overtime, pushing out gallon upon gallon of dry ice into the already cloudy room. Where there was only murmurs , an intro-tape suddenly lurches into life with a dry vinyl hiss and mechanical screeching jostling for space. I’ve never before seen such a large group of people snap into such a relentless concentration but all eyes are fixed expectantly on the cloudy haze that was once a stage.
At this point the only thing separating this from some kind of psychological torture scenario is the few sources of light emanating from the candles on stage. The buzzing and hissing becomes more violent. A metronomic low pulse pushes to the forefront, testing the ear drums of everyone present. Minutes go by whilst the endless aural abuse continues before suddenly 4 silhouettes make their way onto the stage and face away from the crowd.