Dead Times
Dead Times
Boomkat Product Review:
Unholy levels of red-lining distortion define the bleeding edges of Dead Times, the brutal resurrection of Lee Buford (The Body) and Steven Vallot’s duo born 2008 in a Providence, RI DIY space - RIYL Wold, Sandworm.
Earfloss for the morbid, Dead Times’ 2023 reprisal of their 15 year old project continues a pursuit of radical black metal and electronic noise that shares a bloodlust for the harshest sounds possible with fellow Providence, RI residents Wold, and likes of noise titan Prurient, or more acutely Lee Buford’s better known work with Chip King as The Body. You’ve either stopped reading at this point or already hammered the buy button, and if in the latter category we can only confirm its sensory obliteration is of the highest grade.
Like all previous Dead Times releases since their 2011 split with TRTRKMMR on The Body’s Aum War label, this one’s also called titled ‘Dead Times’, and carries its hulking cadaver of masticated guitars, pulverised percussion and hellbound vocals to the edge of sanity. They are truly not fucking about. From the immolated choir struggling like the band on the Titanic in ‘Rosewater’, thru the slow pound of ‘Be Glad’ and ‘METAXU’ in its final throes, they bowl deep into the sound’s conventions, but the result are distinguished by the sort of spatial nuance in the mix that also makes The Body’s work so powerful.
Rather than squashed 4-track or direct-to-mono fidelities of BM, proper, Dead Times’ music is riddled with phantasmic detail that survives the process with a absorbing dynamic magic, as highlighted in the clarity of palate cleansers ‘Their teeth are spears and Indian swords’ or ‘Comfort and Control’, and in the tortured voices that pierce the squall of ‘Psyche Surprises Love’, with harmonies blooming between the thorns of ‘Black Paintings’, and heightening the drama of ‘Pietà’.
Give that man a lozenge.
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Boomkat Product Review:
Unholy levels of red-lining distortion define the bleeding edges of Dead Times, the brutal resurrection of Lee Buford (The Body) and Steven Vallot’s duo born 2008 in a Providence, RI DIY space - RIYL Wold, Sandworm.
Earfloss for the morbid, Dead Times’ 2023 reprisal of their 15 year old project continues a pursuit of radical black metal and electronic noise that shares a bloodlust for the harshest sounds possible with fellow Providence, RI residents Wold, and likes of noise titan Prurient, or more acutely Lee Buford’s better known work with Chip King as The Body. You’ve either stopped reading at this point or already hammered the buy button, and if in the latter category we can only confirm its sensory obliteration is of the highest grade.
Like all previous Dead Times releases since their 2011 split with TRTRKMMR on The Body’s Aum War label, this one’s also called titled ‘Dead Times’, and carries its hulking cadaver of masticated guitars, pulverised percussion and hellbound vocals to the edge of sanity. They are truly not fucking about. From the immolated choir struggling like the band on the Titanic in ‘Rosewater’, thru the slow pound of ‘Be Glad’ and ‘METAXU’ in its final throes, they bowl deep into the sound’s conventions, but the result are distinguished by the sort of spatial nuance in the mix that also makes The Body’s work so powerful.
Rather than squashed 4-track or direct-to-mono fidelities of BM, proper, Dead Times’ music is riddled with phantasmic detail that survives the process with a absorbing dynamic magic, as highlighted in the clarity of palate cleansers ‘Their teeth are spears and Indian swords’ or ‘Comfort and Control’, and in the tortured voices that pierce the squall of ‘Psyche Surprises Love’, with harmonies blooming between the thorns of ‘Black Paintings’, and heightening the drama of ‘Pietà’.
Give that man a lozenge.
Boomkat Product Review:
Unholy levels of red-lining distortion define the bleeding edges of Dead Times, the brutal resurrection of Lee Buford (The Body) and Steven Vallot’s duo born 2008 in a Providence, RI DIY space - RIYL Wold, Sandworm.
Earfloss for the morbid, Dead Times’ 2023 reprisal of their 15 year old project continues a pursuit of radical black metal and electronic noise that shares a bloodlust for the harshest sounds possible with fellow Providence, RI residents Wold, and likes of noise titan Prurient, or more acutely Lee Buford’s better known work with Chip King as The Body. You’ve either stopped reading at this point or already hammered the buy button, and if in the latter category we can only confirm its sensory obliteration is of the highest grade.
Like all previous Dead Times releases since their 2011 split with TRTRKMMR on The Body’s Aum War label, this one’s also called titled ‘Dead Times’, and carries its hulking cadaver of masticated guitars, pulverised percussion and hellbound vocals to the edge of sanity. They are truly not fucking about. From the immolated choir struggling like the band on the Titanic in ‘Rosewater’, thru the slow pound of ‘Be Glad’ and ‘METAXU’ in its final throes, they bowl deep into the sound’s conventions, but the result are distinguished by the sort of spatial nuance in the mix that also makes The Body’s work so powerful.
Rather than squashed 4-track or direct-to-mono fidelities of BM, proper, Dead Times’ music is riddled with phantasmic detail that survives the process with a absorbing dynamic magic, as highlighted in the clarity of palate cleansers ‘Their teeth are spears and Indian swords’ or ‘Comfort and Control’, and in the tortured voices that pierce the squall of ‘Psyche Surprises Love’, with harmonies blooming between the thorns of ‘Black Paintings’, and heightening the drama of ‘Pietà’.
Give that man a lozenge.
Boomkat Product Review:
Unholy levels of red-lining distortion define the bleeding edges of Dead Times, the brutal resurrection of Lee Buford (The Body) and Steven Vallot’s duo born 2008 in a Providence, RI DIY space - RIYL Wold, Sandworm.
Earfloss for the morbid, Dead Times’ 2023 reprisal of their 15 year old project continues a pursuit of radical black metal and electronic noise that shares a bloodlust for the harshest sounds possible with fellow Providence, RI residents Wold, and likes of noise titan Prurient, or more acutely Lee Buford’s better known work with Chip King as The Body. You’ve either stopped reading at this point or already hammered the buy button, and if in the latter category we can only confirm its sensory obliteration is of the highest grade.
Like all previous Dead Times releases since their 2011 split with TRTRKMMR on The Body’s Aum War label, this one’s also called titled ‘Dead Times’, and carries its hulking cadaver of masticated guitars, pulverised percussion and hellbound vocals to the edge of sanity. They are truly not fucking about. From the immolated choir struggling like the band on the Titanic in ‘Rosewater’, thru the slow pound of ‘Be Glad’ and ‘METAXU’ in its final throes, they bowl deep into the sound’s conventions, but the result are distinguished by the sort of spatial nuance in the mix that also makes The Body’s work so powerful.
Rather than squashed 4-track or direct-to-mono fidelities of BM, proper, Dead Times’ music is riddled with phantasmic detail that survives the process with a absorbing dynamic magic, as highlighted in the clarity of palate cleansers ‘Their teeth are spears and Indian swords’ or ‘Comfort and Control’, and in the tortured voices that pierce the squall of ‘Psyche Surprises Love’, with harmonies blooming between the thorns of ‘Black Paintings’, and heightening the drama of ‘Pietà’.
Give that man a lozenge.
Clear vinyl.
Out of Stock
Boomkat Product Review:
Unholy levels of red-lining distortion define the bleeding edges of Dead Times, the brutal resurrection of Lee Buford (The Body) and Steven Vallot’s duo born 2008 in a Providence, RI DIY space - RIYL Wold, Sandworm.
Earfloss for the morbid, Dead Times’ 2023 reprisal of their 15 year old project continues a pursuit of radical black metal and electronic noise that shares a bloodlust for the harshest sounds possible with fellow Providence, RI residents Wold, and likes of noise titan Prurient, or more acutely Lee Buford’s better known work with Chip King as The Body. You’ve either stopped reading at this point or already hammered the buy button, and if in the latter category we can only confirm its sensory obliteration is of the highest grade.
Like all previous Dead Times releases since their 2011 split with TRTRKMMR on The Body’s Aum War label, this one’s also called titled ‘Dead Times’, and carries its hulking cadaver of masticated guitars, pulverised percussion and hellbound vocals to the edge of sanity. They are truly not fucking about. From the immolated choir struggling like the band on the Titanic in ‘Rosewater’, thru the slow pound of ‘Be Glad’ and ‘METAXU’ in its final throes, they bowl deep into the sound’s conventions, but the result are distinguished by the sort of spatial nuance in the mix that also makes The Body’s work so powerful.
Rather than squashed 4-track or direct-to-mono fidelities of BM, proper, Dead Times’ music is riddled with phantasmic detail that survives the process with a absorbing dynamic magic, as highlighted in the clarity of palate cleansers ‘Their teeth are spears and Indian swords’ or ‘Comfort and Control’, and in the tortured voices that pierce the squall of ‘Psyche Surprises Love’, with harmonies blooming between the thorns of ‘Black Paintings’, and heightening the drama of ‘Pietà’.
Give that man a lozenge.
Black vinyl LP.
Out of Stock
Boomkat Product Review:
Unholy levels of red-lining distortion define the bleeding edges of Dead Times, the brutal resurrection of Lee Buford (The Body) and Steven Vallot’s duo born 2008 in a Providence, RI DIY space - RIYL Wold, Sandworm.
Earfloss for the morbid, Dead Times’ 2023 reprisal of their 15 year old project continues a pursuit of radical black metal and electronic noise that shares a bloodlust for the harshest sounds possible with fellow Providence, RI residents Wold, and likes of noise titan Prurient, or more acutely Lee Buford’s better known work with Chip King as The Body. You’ve either stopped reading at this point or already hammered the buy button, and if in the latter category we can only confirm its sensory obliteration is of the highest grade.
Like all previous Dead Times releases since their 2011 split with TRTRKMMR on The Body’s Aum War label, this one’s also called titled ‘Dead Times’, and carries its hulking cadaver of masticated guitars, pulverised percussion and hellbound vocals to the edge of sanity. They are truly not fucking about. From the immolated choir struggling like the band on the Titanic in ‘Rosewater’, thru the slow pound of ‘Be Glad’ and ‘METAXU’ in its final throes, they bowl deep into the sound’s conventions, but the result are distinguished by the sort of spatial nuance in the mix that also makes The Body’s work so powerful.
Rather than squashed 4-track or direct-to-mono fidelities of BM, proper, Dead Times’ music is riddled with phantasmic detail that survives the process with a absorbing dynamic magic, as highlighted in the clarity of palate cleansers ‘Their teeth are spears and Indian swords’ or ‘Comfort and Control’, and in the tortured voices that pierce the squall of ‘Psyche Surprises Love’, with harmonies blooming between the thorns of ‘Black Paintings’, and heightening the drama of ‘Pietà’.
Give that man a lozenge.
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