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It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. \u003cbr\u003e\u003cbr\u003eBut with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound. As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. \u003cbr\u003e\u003cbr\u003eRather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces. 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Russian Circles wisely and deftly sidestep the trappings of genre amalgamation. \"I want to hear a band with a broad palette,\" Cook says. \"But it should find that weird balance with breadth and width. We wanted to make a record with more extreme peaks and valleys. I'm hoping that we can get away with making a schizophrenic record.\" \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Memoriam \u003cbr\u003e2. Deficit \u003cbr\u003e3. 1777 \u003cbr\u003e4. Cheyenne \u003cbr\u003e5. Burial \u003cbr\u003e6. Ethel \u003cbr\u003e7. Lebaron \u003cbr\u003e8. 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Drawing on their collective rock, metal, and industrial influences, the project began while the two were touring around together during Wolfe’s Hiss Spun album in 2017. \u003cbr\u003e\u003cbr\u003eThe result is their debut album Self-Surgery, which was recorded at The Dock Studio in Sacramento, CA and in Wolfe’s home studio, The Canyon. These songs feel more urgent and visceral than anything either of them has created before: heaviness spurred on by punk spirit. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eChelsea Wolfe\u003c\/strong\u003e (vocals, guitar) “Working on this project brought Jess and I so much closer as songwriters and production partners, after reuniting as friends and bandmates. It was freeing and fun to channel some wild energies that I don’t typically put into my own music. \u003cbr\u003e\u003cbr\u003eWe tried not to overthink the songs as we were writing them, but at the same time we did consciously put a lot into crafting them into our own weird sonic vision. This project was a chance for us to do things our own way, on our own terms, and we plan to invite more womxn musicians along for future Mrs. Piss recordings.” CW\u003cbr\u003e\u003cbr\u003eJess Gowrie (drums, guitar, bass, programming) “To me, Mrs. Piss represents a musical chemistry cut short long ago that now gets a second chance. Creating with Chelsea has always been very liberating for me, and we both push each other to try new things: anything and everything. \u003cbr\u003e\u003cbr\u003eBoth of us have grown so much as writers and musicians since our first band together (Red Host), and with the journeys we had to take separately to get there, we both have so much more to say; so much more pain and anger to express. 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First with the gothic folk urgency of 16 Horsepower, then with the devotional intensity of Wovenhand, and more recently through the stripped-down landscape of his solo work. \u003cbr\u003e\u003cbr\u003eOn his sophomore solo album Mercurial Silence, Edwards continues the path established on his 2023 debut Hyacinth, while pushing his sound into new territory through the expanded use of electronic production and layered textures. The record finds Edwards channeling the stark intensity that has defined much of his career while embracing a broader sonic palette that feels both ancient and modern. \u003cbr\u003e\u003cbr\u003eHis unmistakable voice moves through layers of bowed strings, percussive drones, and spectral electronics, giving Mercurial Silence the feeling of a transmission from somewhere just beyond reach.\u003c\/p\u003e\n\u003cp\u003eWritten and recorded in June 2025 at Edwards’ studio in Denver alongside Vincent Petitjean, Mercurial Silence reflects a deepening of both process and collaboration. For mixing and production, Edwards again worked with Derek Coburn in Los Angeles, who engineered and mixed Hyacinth, creating continuity between the two records while allowing the newer material to move into more layered territory. \u003cbr\u003e\u003cbr\u003eAcross its 12 songs, Mercurial Silence refines the thematic direction first explored on his debut while widening its focus to consider the recurring stories cultures have told about the heavens and the earth, and how those realms intersect, interact, and continually reshape one another.\u003c\/p\u003e\n\u003cp\u003eMusically, Mercurial Silence is defined by the deliberate fusion of acoustic instrumentation with pronounced electronic production. Synthesizers, programmed rhythms, and dense ambient textures sit alongside Edwards’ more traditional arrangements, creating a sound that remains stark while expanding the spatial depth of the songs. 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Somewhere in the middle of Europe, vocalist\/guitarist Tobias Osland began writing a new song, reflecting on the international hardcore communities that had embraced the band with open arms. \u003cbr\u003e\u003cbr\u003eHe and his bandmates — drummer Ferdinand Aasheim and bassist Ole Benjamin Thomassen — were overwhelmed, stepping out from Oslo’s small, tight-knit alternative circles and meeting fans across the continent. Osland carried this new song with him on the road, titling it “The Scene” as he sang: “When does a space become a scene, when does this place become our scene.” \u003cbr\u003e\u003cbr\u003eHe immediately knew it would become the title of Hammok’s new album. When Does This Place Become Our Scene, the trio’s sophomore outing and first release for Sargent House, captures three musicians who once felt outside looking in — now stepping fully into their own.\u003cbr\u003e\u003cbr\u003eOsland and Aasheim first cut their teeth together as pre-teens playing pop-punk and hanging out at a skatepark in their hometown an hour outside Oslo. They were in and out of other projects, eventually meeting Thomassen in a band that collapsed around the pandemic. \u003cbr\u003e\u003cbr\u003eJust before lockdown, and now in their 20s, the three moved in together, and spent their time in isolation launching Hammok as we now know it. 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