Emma Ruth Rundle Live Review for Metal Assault // Los Angeles Oct. 7 

Emma Ruth Rundle, clad in an elegant black dress, took the stage and through a simple and minimal setup of a microphone, guitar and pedalboard, she successfully held the entire room captive with a tender singing voice and melancholic guitar play. While she tuned her guitar between songs, she filled silences with ambient loops and samples. ‘Shadows Of My Name’ off of her 2014 full-length Sargent House Records release ‘Some Heavy Ocean’ is one of the simplest yet most captivating musical compositions I have come across in recent years, and it was also the highlight of this set as Emma Ruth Rundle strummed on the guitar with added intensity and vocally broke out of the tenderness to hit soaring highs. Another notable segment of her set was when she was joined by Alcest frontman Neige, as he walked onto the stage with no prior announcement or introduction by her, and garnered a huge cheer from a pleasantly surprised audience as a result. 

Emma Ruth Rundle’s music is not hard rock or heavy metal, and many, including the artist, might wonder why she is being written about on this site, but there is no denying that her dark, melancholic musical expression is akin to that of some variants of heavy metal, and is more engaging and powerful than a lot of things that do get categorized as metal. Fans of latter-years Alcest, and the post/atmospheric/ambient/progressive rock realm in general, would find Emma Ruth Rundle’s artistry worthwhile, and ticket holders of the remaining shows on this tour are strongly encouraged to turn up early enough to watch her set.

Video footage of Emma Ruth Rundle performing with Neige of Alcest at this show:

To read full review on Metal Assault click HERE

And So I Watch You From Afar // Audiotree Session Up Now 

Check out the second full Audiotree Live session of And So I Watch You From Afar, and don’t miss them as they finish their North American headlining tour with Mylets and Blis. before they headline AMFest and play a few shows in Spain & Portugal.

Get your tickets HERE, and see an upcoming list of shows below.


10/08 - Redding, CA @ The Dip
10/09 - San Francisco, CA @ Bottom of the Hill
10/10 - San Diego, CA @ The Casbah
10/12 - Los Angeles, CA @ The Teragram Ballroom w/Swollen Brain (feat. Nick Reinhart from Tera Melos + Eric Gardner from Dot Hacker )


Nov 04 - Lisbon, PT @ Musicbox
Nov 05 - Porto, PT @ Hard Club
Nov 06 - Madrid, ES @ Teatro Barceló
Nov 07 - Barcelona, ES @ AMFest


Marriages Interview w/ Noise Speaks at ArcTanGent Festival 

photo by Greg Burns

During ArcTanGent, NoiseSpeaks got to joke around with the members of Marriages between sets. Guitarist/vocalist Emma Ruth Rundle, bassist Greg Burns, and drummer Andrew Clinco poke fun at Silicon Valley, talk recent tours, and go in depth about their album, Salome.

This isn’t your first trip to the UK to tour, correct?

Emma: We were here earlier this year. We did a tour in Europe with Wovenhand and we finished it up with a show in London. Not sure when that was exactly.

Greg: About four months ago in April.

Emma: Was it that long ago?

So right after you released Salome?

Greg: Yeah, about two weeks after it had come out.

Emma, you’ve got the solo tour coming up with Alcest. Congratulations, by the way, that should be a fantastic tour. How was your headline tour in the US for Salome?

Emma: We just finished the headline tour for Salome before coming out here. We literally finished it and came here a few days after.

That’s right, the San Francisco date was that festival, Phono Del Sol. How did the tour go?

Emma: It was great. We became really good friends with Creepoid, and met a lot of new people and saw a lot of friends. We were able to realize the songs from the record in a positive way. It was a good experience.

Greg: It was also our first tour that we’ve done as a headlining tour. It was interesting to break that milestone. We had a good time.

Between Kitsune and Salome, there was not only a large time gap and also that Marriages’ sound changed quite a bit. Can you talk about the process of how your sound evolved? I think a lot of fans were shocked when Salome came out. They were expecting something more similar to the first EP.

Greg: Well, as far as the sound evolving, Kitsune was written right out of a Red Sparowes’ frame of mind. We didn’t write it with a drummer. We had Dave Clifford, a friend, play on the EP, but we wrote it and recorded it within six months of starting the band. So it was very stream of consciousness. Very little thought went into it, for good or bad. Dave played on the record and did some shows with us, and then shortly after that Andrew joined the band full time.

I think a big part of the evolution was just having Andrew as a permanent drummer. He plays a lot of instruments, he’s very musical and we enjoyed having him as part of the song writing process. But also, we payed a lot more attention to the songs themselves and really thought through the songs, almost to the point, that it slowed us down more than we wanted it to. That was part of the reason for the gap.

After that, the actual recording process took close to a year. It was really long. There were some challenges that were a bit unfortunate, but I won’t get into that. Normally for us to record a record, we’re done in a month. This time it took a year. That’s sort of the reason, which we won’t do again.

I saw you guys with Boris on some of the West Coast dates last year, so how was the tour with Boris?

Emma: We’ve toured with Boris a few times. And with Red Sparowes, we toured with Boris. I feel like Boris is one band we’ve probably toured more than any other band. So we’ve had a chance to see their daughter grow up and I always love touring with them and they are the nicest people. They’re hilarious and they put on an amazing show every time. They are all really kind.

Greg: Atsuo speaks English well, so there’s not really a language barrier. Surprisingly there are these weird ways to break through that where I personally don’t even think about it after the first or second day.

You guys are known in Japan a bit, are you hoping to tour Japan one day?

Greg & Emma: Yes!

Emma: I would love to go to Japan. I didn’t know we had any sort of presence there.

Some of the people I’ve talked to know you. Maybe Boris talked you guys up a little bit more. I noticed in a few of record shops, I saw Kitsune multiple times.

Emma: Maybe having the Japanese name was helpful.

Andrew: We didn’t do a Daymare release for Salome, though did we?

Emma: I don’t think so.

Andrew: I know they did for Kitsune, because I played on that song. The extra track. I always forget about that.

Greg: I was actually going to mention that. That’s actually one of my favorite Marriages’ song. It’s the first song that we recorded with Andrew in my living room as an extra bonus track for the Kitsune Japanese release. And I feel like probably a lot of people haven’t heard about that. You can almost see a bit of the evolution, and it’s a really experimental track.

Andrew: I’d like to hear that again.

I’d like to hear it too.

Greg: It’s called “Pyramids”.

Emma, I also wanted to ask you about your vocal evolution between Kitsune and Salome. ArcTanGent compared you to Sinead O’Connor in their program. I also see a lot of Dolores O’Riordan from The Cranberries in there.

Emma: Aw, thank you.

And also a bit of Alanis Morrisette

Emma: Ew…

Taking the Alanis Morrisette back…

Emma: That’s okay. The Cranberries are a huge influence, but the main thing is that we did write songs for Salome that were more vocally focused, whereas vocals were treated more as an instrument on Kitsune. There was a lot of processing. I was using a pedal at the time that had some fourmanship and generated harmonies as well. I don’t think at first we really wanted to have a band with a singer, it was all sort of meant to be more textural. But as we progressed, we decided we wanted to shift the focus into having songs as opposed to a journey of sound.

I can see that dynamic between the two.

Emma: So the mix was different and the way the vocals were recorded was different.

So you’re probably will be prepping for the Alcest tour soon, after that what is the plan for Marriages?

Andrew: Well, we all have our respective side projects, Emma has hers and I have my own that I work on. I play guitar in.

Emma: It’s called Drab Majesty, it’s amazing.

Andrew: Greg has a daughter, and I’m sure he needs to spend time with her to make up for lost tour time.

Emma: We’ve put in a lot of work this year. We have done a lot of touring so far. I think we’re going to take a little bit of a break, unless an extraordinary touring opportunity comes up. Then I think after a few months, we’ll try to reconvene and start writing again but maybe do it in a more intensive way.

More compact and not as drawn out as last time.

Andrew: Yeah, a think tank.

Greg: There’s actually a Silicon Valley CEO who has gotten us an Incubator with the idea that we create an app for our record, and we’re going… no I’m just kidding.

As someone who works in Silicon Valley, I wouldn’t be surprised if that didn’t happen at some point… How’s the LA scene compared to San Francisco?

Andrew: I think to be honest, I think the San Francisco scene is a lot more lively and a lot more attended. Shows are much more well attended in SF. Just due to the nature of the walking culture versus LA. And LA, I think there is a different kind of attention span in LA where the direct support gets more focus than a headline.

There is so much distraction and so many things going on that people don’t want to drive late at night. There’s all these issues surrounding attendance in LA. If you do pack a show in LA, that is amazing. There’s more venues in SF, just the volume of venues and a lot of great bands. I’m born and raised in LA, but I just have some allegiance to San Francisco from when I did live there. It’s kind of a better scene right now.

Any last words?

Andrew: We would love to go to Japan, if anyone reads this. Bring us over there.

Emma: Japan would be great.

Who would you want to support you if you went? Do a flop and have Boris support you?

Emma: Oh no, I would never want them to support us, that’d be weird.

Greg: There’s no way we could hold our own after them.

Emma: I’d want to go with Helms Alee, that would be so amazing.

Greg: That would be amazing.

Deafheaven Featured in PAPER MAGAZINE 

When Deafheaven released Sunbather in 2013, the reviews were rapturous, with critics praising the group for their imaginative blend of shoegazey guitar tones, post-rock dynamics and death metal-brutality. It was the most lauded heavy album in recent years, topping critics lists at Pitchfork, Stereogum and so forth. But the backlash, as laid out recently by Stereogum’s Michael Nelson, was swift and unkind. Plenty of metal diehards don’t like getting indie chocolate in their peanut butter, after all.

Frontman George Clarke and guitarist Kerry McCoy were determined not to let the reactions to Sunbather, on both sides of the spectrum, influence how they approached the follow-up. Instead, they reconfirmed their commitment to both sides of the art-metal equation with New Bermuda, an album that manages to be both even heavier and more exploratory than its predecessor. Since the release of Sunbather, Deafheaven has moved from San Francisco to Los Angeles, solidified into a stable unit (including drummer Daniel Tracy, bassist Stephen Clark and guitarist Shiv Mehra) and signed to Anti-, but throughout the changes, they remain committed to doing things their way. We talked with Clarke about dealing with the sudden attention, staying focused and the importance of the Cranberries on their sound.

So tell me, how did the band approach New Bermuda as opposed to Sunbather?

Musically, because Sunbather took off in a way that we didn’t really expect, it made it more personally challenging, because we didn’t want to write the same record again. I think when you garner a certain amount of attention for the sound that you’re creating, it’s easy to fall into that pit and just try to make a sequel to the album that got you popular. So I think there was a conscious decision to move away from that sound a little bit and incorporate a few influences and just move in what we consider to be a different creative and a little more interesting direction.

It’s funny, because this album simultaneously pulls from older forms of heavy metal while incorporating even more non-metal influences. It’s like you got heavier and also less metal at the same time.

Yeah, when I hear the record, I think it sounds bigger on both spectrums. I think definitely the heavier side of things is heavier, it’s faster than what we previously had been doing. It’s more riff focused and a lot more metallic than our last record. But the softer side of things has evolved a lot also. I think we wanted to not really focus on the ethereal aspect and the dreamy aspect of shoegazing and focus more on tight songwriting, melodic hooks, and basically try to write things that are catchier. So instead of taking a lot from say, My Bloody Valentine, this time around we really focused on the Oasis influence and the Low influence, and there’s even parts that are reminiscent of maybe a Wilco record or something. It’s just kind of enhanced in both directions and I think that we expanded our sound quite a bit this time through.

When Sunbather came out, a lot of the reaction was people saying “finally someone’s doing something new with this sound,” but at the exact same time, some people were like, “what is this hipster shit? This isn’t metal.” Were you surprised at the crazy polarized reaction you received?

Yeah, I was. I mean, I was surprised people gave it that much attention, to be honest. You don’t really expect that kind of thing going into writing a record or recording it or even releasing it when you’re a band our size and doing what we do. So yeah, it was really interesting. It was odd to see how strongly people felt, whether it was positive or negative. I think that was the most surprising part, honestly. People really started feeling deeply about what we were doing on both ends of the spectrum.

When this sort of reaction happens, does it make it  difficult to keep the creative process just for the band and not get caught up in trying to appease the haters?

Actually, no. I don’t think so. We’ve always done what we want to do visually and musically. I don’t really think about outside opinions when it comes to writing music. Deafheaven is a very selfish thing, and the band has always been very self-serving. It comes natural to ignore everyone around us.

Even with good reviews, sometimes artists fall into the trap of, “oh no, critics thought we were cool last time, but what about this time?” For a lot of people, it’s tough to get this type of stuff out of their head.

Yeah, I think we’ve definitely had discussions about it. Like, “well, what if people don’t like it like they did the last album?” But ultimately, you have to be happy about what you’re doing and you have to believe in what you’re doing and you have to not compromise. And I think that as long as you do that, you can come out satisfied regardless of critical reception.

Speaking of the creative process, how does it work in your band? Does Kerry write all the music and then send it to you?

He does, yeah. I mean a lot of the skeleton comes from Kerry and he brings it to Dan. And a lot of the time, Kerry and Dan flesh out the song before anyone can have their input. Then he teaches the rest of the guys the song and from there, when we start jamming on it and playing it over and over, ideas start formulating. Shiv will have an idea for a guitar lead or Steven will have an idea for a transition using bass. Typically, it starts with Kerry and Dan.

Now, do you and Kerry talk a lot about things before he starts writing, or do you just kind of react to things they give you?

All the time. Kerry and I talk everyday no matter what. But especially when it comes to writing. Yeah, a lot of ideas are discussed. Even in terms of just listening to records like, “Man, I’ve been listening to this record a lot lately. It’d be cool if we did something like this.” I remember that specifically when we were writing “The Pecan Tree” on Sunbather, Kerry was listening to a lot of Cranberries and he was like, “Yeah, I’d like to do this sort of like… it might take on sort of a Cranberries thing” and I was like, “yeah, that would be cool.” And that’s actually how a lot of that song got written, the last half of it. We’re just hanging out listening to records going, “Oh yeah, that would be kind of neat.” And also, there’s more conscious in-depth conversations where if I want to take this direction and I think it would be smarter and more interesting if we presented ourselves in this sort of way. And this time around, that definitely showed itself with the thrash influence and I think Kerry was listening to, we both were, a lot more of the metal that we grew up on and just revisiting old classics. And we thought that if we could take some of these elements and utilize them in a way that would fit our band, it would be cool. And I guess that was part of the objective.

Are there any particular influences or artists that you guys disagree on?

I mean, not extremely. We have pretty similar tastes. I think on any given day, say, I’ll listen to a Morbid Angel album a little bit more and he’ll listen to like a Smiths album a little bit more. But we both like the Smiths and we both like Morbid Angel. There’s no strong differences between us, especially when it comes to influences on the band, we’re always on the same page.

How long have you two known each other?

I’ve known Kerry for almost 13 years, we’ve been friends since we were 14.

How did you meet?

We met in freshman year of high school. I moved to Modesto, where he was already living, in the middle of the semester, and there was like only a handful of kids who were into punk and metal, so we found each other pretty quickly.

Since you’ve known each other for so long, does it get difficult for the other guys in the band to get on your wavelength and not be intimidated by how close you two are?

I mean, we went through a lot of different people. It takes time to find the right people and we had a bit of a process with that. We were sort of a revolving door of members for a while so by the time we settled on the guys that we have now, those relationships were very strong. So I don’t think they’ve ever felt weird, because we’re all close to each other. Stephen, we were friends with a couple of years before he joined the band and Dan and Shiv have been really good friends, they’re kind of like me and Kerry, they’ve been really good friends since freshman year of high school also. So no, the dynamic wasn’t really that strange. It took a while to find people that we meshed really well with, but we definitely found them.

For a while, all of the press about the band focused on you and Kerry. You both did all of the interviews and were the only two in the photos. Do you now view the band as a stable unit, or are you and Kerry comfortable with the idea of you both being the only stable members of the band and everyone else comes and goes as they please?

I view the band as a very stable unit. It’s difficult because, you’re right, our band has been built on this idea of Kerry and I for so long that even when I do press for this record and stuff, a lot of the focus is still on the two of us and people will use outdated photos of just the two of us and stuff like that. I’ve definitely been working to skew that and to really let people know that on this record, it’s a full-band effort. We’ve been playing with these guys since 2013. They’re very much solidified and Deafheaven is the five of us.

Your band is in a really interesting position. I think it does annoy some people that there is this mentality around you that “if you’re an indie rock guy, or you like a lot of different types of music and you don’t have the time to be into every single obscure metal subgenre there is, you can just listen to Deafheaven and you’re fine.” I don’t think it’s anything to you consciously perpetuated, it’s just an angle that people have on your band, for good or for ill.

Yeah, I mean, I’ve found ourselves in that position. I’ve always felt that if you were a fan of Explosions in the Sky or something and you heard our band and you liked the post-rock elements in our music and then you warmed-up to the more aggressive side of things and that’s how you came to like aggressive music to begin with, I don’t think that’s a negative thing. I think it’s always interesting to see how people find music and how people expand their horizons and if we’re a band that allows people to do that, then I think that’s positive.

Now as far as the negative reactions that you get, are they mostly online or do people ever come up to you at shows or festivals and have opinions?

No. We’ve never had face-to-face confrontation with anyone. People on occasion will come to our shows and want to talk about the music and that’s fine. But for any outward hate, no, that’s definitely reserved for the online community.

When Sunbather came out, did you notice that you were getting a new crowd?

Yeah, absolutely. Well, it was growing and we still had the same core crowd that was with us from the beginning and it just expanded from there. Instead of just seeing people that are into metal and hardcore primarily, now we had this sort of broadened indie audience as well. But the core audience never really left. It’s a really mixed bag and it’s good to see that. It’s good to look out into a crowd and not see the same type of person. I like the diversity of it.

What do you think people are getting out of your music?

I don’t know, fully. I think different people connect to what we’re doing in different ways and I’ve always just wanted to maintain that from my standpoint, we’ll always be a very naked artist. We’re very open and we’re very honest about everything. And I would hope that if anything, people connected to that. And perhaps a few do. Overall, I can’t really say. People like things in different ways and music means different things to different people. But I would hope that they would take away that we just are a very honest, open group of people that write about real life and our reactions to it.

For the new album, the first song you wrote was, “Brought to the Water,” right?

I think the first song that came together was “Brought to the Water.” But all of our music is always written in pieces and the pieces are written over a long period of time and eventually when it comes to forming, we’re like, “okay, we need to sit down and really start putting these ideas together because we really want to start recording an album,” then we take all these riffs that we’ve worked on in pieces and do that. I think the actual first part of the record that was ever written was the second half of “Come Back” when it goes into the slide guitar melody, we wrote that a long time ago. We usually do soundcheck with it on tour and stuff like that. So we’ve had that in our pocket for a while. But yeah, I guess everything put together, the first track would’ve been “Brought to the Water.”

Now how did that one come about and what did it mean to you and why do you think it was kind that kicked off the journey of the album?

When Kerry and I were discussing this sort of thrash influence, he wrote that triplet kind of chugging riff with the high-hat build-up, and it was just cool. And the first riff sort of became the style, just sort of really dark, slow chord progression while the drums blast behind it. I think it’s just that pace. After we wrote that beginning part, I think everyone was like, “okay.” We had discussed sort of taking on these different influences and now that we can really hear what they sound like in the context of our music, it’s what we want to go forward with. I think that first minute-and-a-half sort of set a blueprint for the album and it definitely sets the mood up. And then lyrically, as well. The lyrics deal with my life in the last year and a lot of the changes I’d been going through and a lot of the growing up that I had to do and it’s been sort of my real introduction into adulthood, in a way that they could be used to exemplify the overall theme of the album. Just with all these things, it just sort of felt like it should be the first track and the first thing we come out with so we can really let people know, “this is the basis for the new sound of the new album”.

It’s interesting listening to it, because there are less pretty parts that build into heavy parts and there’s a lot more of like, “here’s a really heavy guitar riff but at the same time, we can kind of hear this sort of distorted jangly kind of pretty thing also happening in the background.” It seems like you’re doing a lot more things at once.

Yeah, I would agree with that too. There’s also in the first riff of “Come Back,” what we do is the same kind of thing, this sort of underlying melody that plays throughout. And that’s really just because of Kerry, that’s just how his style has sort of evolved. One thing that we really wanted to do with this record was to fit a lot more into a tighter space. While Sunbather is around 60 minutes and New Bermuda is only around 45, I think that New Bermuda has a lot more content crammed into it. I think it’s definitely much more of a fuller sound.

The title New Bermuda brings to mind images of feeling lost and not really know where you’re at. Is there a reason you chose that title?

Yeah, the idea was my move from San Francisco to LA, actually, and all these sort of life transitions that I experienced in the course of the move. So LA is sort of my New Bermuda. It’s something that I had had built into my head for some reason, it was more affordable but it was more lively, there as so much going on. I knew a lot of people from Los Angeles who were very passionate about what they did. It was sort of this new beginning, this sort of paradise in my head. And nothing is paradise. There’s a lot of real life reality that surrounds getting your own place and living with your girlfriend and your romantic relationship changes. When you live with someone, your whole romantic dynamic changes. These are things I don’t know if I was necessarily prepared for, things I kind of had to weather through. Basically, the experience overall wasn’t everything that I hoped it would be - it was sort of this idea of false promise. I built up all of this expectation in my head that the only thing left to do was to be let down by it. So I got really depressed by it and I wrote a record about it and I think it kind of analyze what I was feeling and reconcile those kinds of feelings.

So this interview is for PAPER, so obviously, I’m going to ask you a fashion question, are you ready for it?


Tell me about these fancy leather gloves you’ve been wearing onstage.

The gloves. (laughs) The gloves got a lot of attention. I didn’t really think that was gonna happen. Very early on, we used a lot of fetish imagery. We did a mixtape for Actual Pain that featured some of this fetish imagery. And we had some other design work and it was just something that I was interested in and I thought that it looked very menacing and interesting and sort of threw a weird wrench in our visual presentation. I didn’t really think anything about it beyond that. People really picked up on that in a much stronger way than I thought they would. But it was fun for the time. It just added another little exciting element, I guess.

While writing about one of your shows last year, The New Yorker said you looked like “an angry yoga teacher.” What’s your response to that?

(laughs) I think it’s one of the better ones I’ve heard. People will naturally have their own take on what we do, and I can find humor in pretty much every example.

I think it was meant as a compliment.

Oh, I’m sure. It doesn’t sound offensive to me at all. I’m not at all bothered by it. I’ve heard much, much, much worse.

Mutoid Man EU Bleeder Tour is almost here 

NEXT WEEK - Mutoid Man begins their Europe tour on October 14th with four shows in Ireland. They’ll be supported by No Spill Blood for all four Ireland shows, with 7.5 Tonnes of Beard joining them both in Dublin & Belfast. The rest of the UK dates will feature Palm Reader as support.

Get your tickets HERE, and see a full list of shows below.


Oct 14 Cork, IE @ Cyprus Avenue *
Oct 15 Galway, IE @ Roisin Dubh *
Oct 16  Dublin, IE @ Grand Social %
Oct 17  Belfast, IE @ Voodoo %
Oct 18  Birmingham, UK @ The Rainbow #
Oct 19  Glasgow, UK @ Broadcast #
Oct 20  Leeds, UK @ Brudenell Social Club #
Oct 21  Manchester, UK @ Deaf Institute #
Oct 22  London, UK @ Underworld #
Oct 23  Amsterdam, NE @ Q Factory
Oct 24  Cologne, DE @ Underground
Oct 25  Hamburg, DE @ Hafenklang
Oct 26  Copenhagen, DK @ BETA
Oct 27  Berlin, DE @ Cassiopeia
Oct 28  Vienna, AT @ Arena
Oct 29  Ljubljana, SI @ Menza pri Koritu
Oct 30  Bologna, IT @ Freakout Club
Oct 31  Milan, IT @ Lo Fi
Nov 01 Montpellier, FR @ Black Sheep
Nov 02 Lille, France @ La Peniche

* w/ No Spill Blood
% w/ No Spill Blood & 7.5 Tonnes Of Beard
# w/ Palm Reader

Earth - Live Photos from Bohemian National Cemetery, Chicago // The Farm Family 

On September 10th, 2015, Earth played a set in Chicago’s famous Bohemian National Cemetery as part of The Empty Bottle’s “Beyond The Gate” series. Earth played the Cemetery alongside Holy Sons, the solo project of Emil Amos (OM, Grails), and Chicago’s own Disappears. The darkly beautiful setting provided a fitting stage for each band’s own brand of stark and pummeling rock.

Illinois-based photographer Joshua Ford was there to capture Earth’s set.

See the full photoset at The Farm Family

See the full photoset at The Farm Family

Indian Handcrafts “CREEPS” Out Now! 


Indian Handcrafts newest album Creeps is officially out today via Sargent House. Available on all digital and streaming platforms. Listen here now.

Pick up a physical copy in stores now, or order online on our stores
US and Worldwide:

UK and Europe:…/indian-handcrafts

We have North American tour dates in support of the new album. See below

Tickets and details available at

Oct 06 - St Petersburg, FL @ State Theatre ##
Oct 07 - Miami, FL @ Grand Central ##
Oct 08 - Orlando, FL @ The Social ##
Oct 09 - Savannah, GA @ The Jinx ##
Oct 10 - Asheville, NC @ New Mountain ##
Oct 11- Nashville, TN @ Basement East ##
Oct 13 - Columbus, OH @ The Basement ##
Oct 14 - Grand Rapids, MI @ Pyramid Scheme ##
Oct 15 - Chicago, IL @ Empty Bottle ##
Oct 16 - Cleveland, OH @ Grog Shop ##
Oct 17 - Pittsburgh, PA @ Altar Bar ##
Oct 19 - Boston, MA @ Brighton Music Hall ##
Oct 20 - Philadelphia, PA @ Underground Arts ##
Oct 21 - Brooklyn, NY @ Saint Vitus ##
Oct 22- Jersey City, NJ @ Monty Hall ##
Oct 23 - Richmond, VA @ Broadberry ##
Oct 24 - Washington, DC @ Rock & Roll Hotel ##
Oct 25 - Atlanta, GA @ The EARL ##

Nov 10 - London, ON @ Call The Office **                                                             Nov 11 - Chicago, IL @ Beat Kitchen
Nov 12 - Des Moines, IA @ Vaudeville Mews **
Nov 13 - Minneapolis, MN @ The Nether Bar **
Nov 14 - Winnipeg, MB @ Windsor **
Nov 16 - Saskatoon, SK @Vangelis **
Nov 17 - Edmonton, AB @ Brixx under the Starlite Room **
Nov 18 - Calgary, AB @ Broken City **
Nov 20 - Vancouver, BC @ Wise Hall **
## w/ Kylesa, Inter Arma, Irata
** with Greys

See what people are saying about the album below


“Creeps is probably the heaviest release yet from these guys and also the most musically varied. They have a sound that’s harder to pin down than you might expect, and they dip their toes into all sorts of subgenres over the course of the album, with little stabs of prog, psych, and even some crunchy death metal thrown into the sludgy mix. The whole thing is streaming below, and its definitely worth a listen.” -Brooklyn Vegan


“The record’s first single, the hard-charging burner “It’s Late Queeny,” sits right in the pocket of great melody and ripping guitar thunder, and feels perfect for your next beer-drinking, whiskey-swilling mixtape. Stream it below, hopefully on a massive system, and catch them at gigs with Kylesa or Mutoid Man. You’ll thank us later, though your hearing might not.” - Noisey


“While they can be slapped with the stoner rock label aptly, their sound is rather difficult to pinpoint. I find this all the more reason to love them. They’ve toured with the rather diverse likes of Deafheaven, Red Fang, and Billy Talent, so it’s like they can be paired with just about anyone. You don’t really have an excuse not to fall in love with them.” - Metal Injection


“Aikens and Allen more or less spent the last three years touring non-stop, taking a break earlier this year to record the second Indian Handcrafts album, the forthcoming Creeps. Like its predecessor, this one was produced by Toshi Kasai (Melvins, Red Sparowes), and feels indebted to some of hard rock and heavy metal’s most muscular acts — everything from KISS to Queens Of The Stone Age — without lapsing into pastiche or hero-worship. In fact, Indian Handcrafts adeptly steer away from obvious choices in favor of more exciting ones. Today we’re premiering the single “The Divider,” and you can witness that discipline on display: The track starts with a pummeling Homme-ian riff and a melody lifted straight from Iron Maiden’s classic “The Trooper,” but its super-catchy chorus elevates it someplace else entirely … and then, when it shifts to an expansive psych/space-rock section, it just about abandons the template altogether. It’s an outstanding song, and you should listen” - Stereogum


“If your band features only two members you’d think the smart thing to do would be to make your limitations work for you. That’s the route many duos go for; they treat their sound like a car built for racing with anything and everything that might slow them down stripped away and tossed aside. Canadian twosome Indian Handcrafts don’t seem to have any interest in that approach. The way they see it being short on numbers is no reason not to go big and shoot for the stars. They’re like a shaggy couple of buddy cops from some action flick dead set on making a difference, leaving a trail of destruction that looks like it was wrought by a small army in their wake.” -Echoes and Dust


“This album is all about riffs and groove and it flies by in an instant. With the majority of songs being snappy, melodious to the point of envy and overflowing with deft, infectious nuances, there’s a real wham-bam-thank-you-mam mentality behind it. They blend the bounce and bombast of doom’s forefathers with the fidgety shriek of Melvins styled vocals excellently on ‘Down at the Docks’, those vocals really coming to life during a seismic dynamic shift which they pull off with a flawless ebb and flow. As an album, ‘Creeps’ is fun, packed to the rafters with great musicianship, has more hooks than a fishing emporium and is incredibly easy to listen to. And honestly, I could leave the review there. Job done, I’ll put the kettle on and wipe my hands of this – because, really, that’s all you need to know. If this paragraph doesn’t scintillate your intrigue, then I do believe you’re on the wrong website (Smash Hits is that way, champ).” - The Sludgelord  

And So I Watch You From Afar // Audiotree Festival Live Video 

This video of And So I Watch You From Afar live at Audiotree Music Festival shows why we’re so happy to have them headlining our Sargent House Fall Tour alongside Mylets and Blis.

Also excited to add the new project Swollen Brain consisting of Nick Reinhardt of Tera Melos and Eric Gardner of Dot Hacker to the Los Angeles show at Teragram Ballroom on October 12th.

Get your tickets HERE, and see a full list of remaining shows below.

10/01 - Albuquerque, NM @ Launchpad
10/02 - Denver, CO @ Marquis Theatre
10/03 - Salt Lake City, UT @ Kilby Court
10/05 - Seattle, WA @ The Crocodile
10/06 - Vancouver, BC (CA) @ The Cobalt
10/07 - Portland, OR @ Analog Café
10/08 - Redding, CA @ The Dip
10/09 - San Francisco, CA @ Bottom of the Hill
10/10 - San Diego, CA @ The Casbah

10/12 - Los Angeles, CA @ The Teragram Ballroom
With Special guests - Swollen Brain
(feat. Nick Reinhart from Tera Melos + Eric Gardner from Dot Hacker )

BEST NEW MUSIC // Pitchfork Gives New Bermuda 9/10 


Nothing about the band Deafheaven makes literal sense, starting with their place in the world. They are a black metal-ish band, but black metal fans either hate them or engage in constant, spirited discussions about why they don’t. Their breakout, 2013’s Sunbather, took basic notions about black metal and shoegaze from their first album Roads to Judah and airlifted them into a rarefied emotional realm where track lengths dissolved into the whole along with straightforward interpretations: George Clarke’s lyrics compressed earthbound experiences—depression, material envy, struggles for purpose— into wild, leaping abstractions about love, oceans of light, tears. This was music that yearned palpably to leap across distances, closing gaps like a firing synapse.

New Bermuda, if anything, is more overwhelming than Sunbather. The roiling peaks of that album—say, “Dreamhouse” or “The Pecan Tree”—are the resting temperature of this one. They have shaped a suite of songs into one pliable and massive 47-minute arc, one that is as easy to separate into distinct quadrants as the stream from a fire hydrant. Clarke still screams euphoniously, leaning into long vowel sounds and open tones so that phrases like “on the smokey tin it melts again and again” function as color more than as thought. (You could never discern the words without the aid of a lyric sheet, anyway.) They are a band that works best in colors, as the titles of the albums and the salmon color of Sunbather’s cover attest: On New Bermuda, they revisit an ecstatic sound world that resembles, as Clarke puts it on opening song “Brought to the Water”, “a multiverse of fuchsia and light.”

Having discovered this multiverse, New Bermuda finds them shaping it. The album is shorter and more compressed than Sunbather, and doesn’t telescope into “loud” and “quiet” sections quite as clearly. There is still a nauseous sort of beauty to their chord voicings: the lurches into minor key on “Luna” feel as heavy as their swings back into major, like the motion of a great, creaking iron gate. The second half of the “fuchsia and light” lyric is "surrenders to blackness now,” and if Deafheaven’s music at its best represents a brilliant collision of beauty and despair, the battle feels pitched at higher stakes than it did on Sunbather. Clarke’s voice is sharper and mixed lower, clawing at the smooth walls of the music like something wretched trying to escape a pit.

The lyrics suggest that this confining space might resemble the sort of manicured suburban prison that Sunbather was set inside: "There is no ocean for me. There is no glamour. Only the mirage of water ascending from the asphalt. I gaze at it from the oven of my home. Confined to a house that never remains clean,” runs a passage from “Luna”. But listening to Deafheaven, you don’t feel the particulars of this dilemma any more than you notice the pebbles of a gravel driveway from the window of an airplane. The music acts as an incinerator for any malaise you bring to it. It is a warm blur of noise, and fans of many different kinds of moody sensual guitar musics can close their eyes and place themselves inside it: If you have at any point worn a Deftones, Cure, My Bloody Valentine, or an Explosions in the Sky t-shirt, there is room for you inside here.

But Deafheaven reach further and further on this album: The drowsily sliding guitars on the long coda to “Come Back” conjure the easy warmth of Built to Spill. An organ wells up as the guitars fade, like something Ira Kaplan would do on a Yo La Tengo record. The thick palm-muted chugging on the beginning of “Luna” is reminiscent of the Slayer of Seasons of the Abyss. The undistorted downstrokes on “Gifts for the Earth” are a visitation from Joy Division, while the flagrant wah-pedal abusing guitar solo on “Baby Blue” is pure Load-era Kirk Hammett.  

All of these references, which bring together many bands that wouldn’t normally have much to do with one another, points to something dreamlike and uncanny in Deafheaven’s grand sound. At a moment when guitar-centric music feels less central to the conversation, and great indie-rock bands have retreated into hardy local scenes, Deafheaven play like a beautiful, abstracted dream of guitar music’s transportive power. The year’s most jolting guitar-centered rock records have reimagined the guitar’s place in the constellation slightly—on Tame Impala’s Currents, the guitar glimmers distantly at us from beneath a glass, darkly—a distant shape moving beneath the larger, more legible shapes of the compressed drums and programmed synths. On Kurt Vile’s b’lieve i’m going down, it is part of a general out-of-time way of life, a devotion to anachronism and lived-in symbols that keeps the confusion of the outside world at bay.

Deafheaven, meanwhile, unabashedly treat the roar of electric guitars as a holy experience. But they have earned their sense of awe, and you can see audiences returning it tenfold in their live performances. The transcendence their music gazes towards has a long spiritual lineage. To wit: I pulled my earbuds out while listening to New Bermuda this morning in a store where Boston’s ”More Than A Feeling“ was playing. The transition was seamless. They were aiming at the same horizon spot, made for the moment when you begin dreaming.


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