CUT HANDS
Festival of the Dead
Boomkat Product Review:
William Bennett and Blackest Ever Black light the fuse on a delirious 3rd album from Cut Hands.
Recorded from 2012-2014 in Edinburgh and London, 'Festival Of The Dead' finds a place for the explosive energy and drama of ancient percussive ritual in an accelerated modern world. Named and released to coincide with harvest or autumnal customs across the world, it's both a harbinger of darker, winter times and a commemoration of shared ancestry and traditions common to many cultures across the world - All Saints Day, Samhain, Feast of Ancestors, Pitru Paksha etc.
Only, we're in 2014 and computers are the new drums, so to speak, hence a swingeing celebration of programmed percussion designed to induce and release madness from all who hear it: whether that's raving lunacy, hatred, or joy, they're all apposite reactions. So the album presents four previously issued pieces, 'Damballah 58' and 'Belladonna Theme', plus the swaggering 'Vaudou Take Me High' and a furious acidic version of 'Madwoman (Festival Mix)' beside eight new joints: from the crushing roil of 'Parataxic Distortion', to the slow, exotic keen of 'Inlightenment' and the brilliant, discordant quickstep of 'None Of Your Bones Are Broken', which all share a richer palette of instrumentation and technique coming off like the Zeitkratzer Ensemble attacking with obscure, outernational tools. In case you haven't witnessed one of Cut Hand's incendiary live shows in the last few years, 'Festival Of The Dead' is a refined reminder that this project is still critically unique and potent as ever.
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Boomkat Product Review:
William Bennett and Blackest Ever Black light the fuse on a delirious 3rd album from Cut Hands.
Recorded from 2012-2014 in Edinburgh and London, 'Festival Of The Dead' finds a place for the explosive energy and drama of ancient percussive ritual in an accelerated modern world. Named and released to coincide with harvest or autumnal customs across the world, it's both a harbinger of darker, winter times and a commemoration of shared ancestry and traditions common to many cultures across the world - All Saints Day, Samhain, Feast of Ancestors, Pitru Paksha etc.
Only, we're in 2014 and computers are the new drums, so to speak, hence a swingeing celebration of programmed percussion designed to induce and release madness from all who hear it: whether that's raving lunacy, hatred, or joy, they're all apposite reactions. So the album presents four previously issued pieces, 'Damballah 58' and 'Belladonna Theme', plus the swaggering 'Vaudou Take Me High' and a furious acidic version of 'Madwoman (Festival Mix)' beside eight new joints: from the crushing roil of 'Parataxic Distortion', to the slow, exotic keen of 'Inlightenment' and the brilliant, discordant quickstep of 'None Of Your Bones Are Broken', which all share a richer palette of instrumentation and technique coming off like the Zeitkratzer Ensemble attacking with obscure, outernational tools. In case you haven't witnessed one of Cut Hand's incendiary live shows in the last few years, 'Festival Of The Dead' is a refined reminder that this project is still critically unique and potent as ever.
Boomkat Product Review:
William Bennett and Blackest Ever Black light the fuse on a delirious 3rd album from Cut Hands.
Recorded from 2012-2014 in Edinburgh and London, 'Festival Of The Dead' finds a place for the explosive energy and drama of ancient percussive ritual in an accelerated modern world. Named and released to coincide with harvest or autumnal customs across the world, it's both a harbinger of darker, winter times and a commemoration of shared ancestry and traditions common to many cultures across the world - All Saints Day, Samhain, Feast of Ancestors, Pitru Paksha etc.
Only, we're in 2014 and computers are the new drums, so to speak, hence a swingeing celebration of programmed percussion designed to induce and release madness from all who hear it: whether that's raving lunacy, hatred, or joy, they're all apposite reactions. So the album presents four previously issued pieces, 'Damballah 58' and 'Belladonna Theme', plus the swaggering 'Vaudou Take Me High' and a furious acidic version of 'Madwoman (Festival Mix)' beside eight new joints: from the crushing roil of 'Parataxic Distortion', to the slow, exotic keen of 'Inlightenment' and the brilliant, discordant quickstep of 'None Of Your Bones Are Broken', which all share a richer palette of instrumentation and technique coming off like the Zeitkratzer Ensemble attacking with obscure, outernational tools. In case you haven't witnessed one of Cut Hand's incendiary live shows in the last few years, 'Festival Of The Dead' is a refined reminder that this project is still critically unique and potent as ever.
Boomkat Product Review:
William Bennett and Blackest Ever Black light the fuse on a delirious 3rd album from Cut Hands.
Recorded from 2012-2014 in Edinburgh and London, 'Festival Of The Dead' finds a place for the explosive energy and drama of ancient percussive ritual in an accelerated modern world. Named and released to coincide with harvest or autumnal customs across the world, it's both a harbinger of darker, winter times and a commemoration of shared ancestry and traditions common to many cultures across the world - All Saints Day, Samhain, Feast of Ancestors, Pitru Paksha etc.
Only, we're in 2014 and computers are the new drums, so to speak, hence a swingeing celebration of programmed percussion designed to induce and release madness from all who hear it: whether that's raving lunacy, hatred, or joy, they're all apposite reactions. So the album presents four previously issued pieces, 'Damballah 58' and 'Belladonna Theme', plus the swaggering 'Vaudou Take Me High' and a furious acidic version of 'Madwoman (Festival Mix)' beside eight new joints: from the crushing roil of 'Parataxic Distortion', to the slow, exotic keen of 'Inlightenment' and the brilliant, discordant quickstep of 'None Of Your Bones Are Broken', which all share a richer palette of instrumentation and technique coming off like the Zeitkratzer Ensemble attacking with obscure, outernational tools. In case you haven't witnessed one of Cut Hand's incendiary live shows in the last few years, 'Festival Of The Dead' is a refined reminder that this project is still critically unique and potent as ever.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
William Bennett and Blackest Ever Black light the fuse on a delirious 3rd album from Cut Hands.
Recorded from 2012-2014 in Edinburgh and London, 'Festival Of The Dead' finds a place for the explosive energy and drama of ancient percussive ritual in an accelerated modern world. Named and released to coincide with harvest or autumnal customs across the world, it's both a harbinger of darker, winter times and a commemoration of shared ancestry and traditions common to many cultures across the world - All Saints Day, Samhain, Feast of Ancestors, Pitru Paksha etc.
Only, we're in 2014 and computers are the new drums, so to speak, hence a swingeing celebration of programmed percussion designed to induce and release madness from all who hear it: whether that's raving lunacy, hatred, or joy, they're all apposite reactions. So the album presents four previously issued pieces, 'Damballah 58' and 'Belladonna Theme', plus the swaggering 'Vaudou Take Me High' and a furious acidic version of 'Madwoman (Festival Mix)' beside eight new joints: from the crushing roil of 'Parataxic Distortion', to the slow, exotic keen of 'Inlightenment' and the brilliant, discordant quickstep of 'None Of Your Bones Are Broken', which all share a richer palette of instrumentation and technique coming off like the Zeitkratzer Ensemble attacking with obscure, outernational tools. In case you haven't witnessed one of Cut Hand's incendiary live shows in the last few years, 'Festival Of The Dead' is a refined reminder that this project is still critically unique and potent as ever.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
William Bennett and Blackest Ever Black light the fuse on a delirious 3rd album from Cut Hands.
Recorded from 2012-2014 in Edinburgh and London, 'Festival Of The Dead' finds a place for the explosive energy and drama of ancient percussive ritual in an accelerated modern world. Named and released to coincide with harvest or autumnal customs across the world, it's both a harbinger of darker, winter times and a commemoration of shared ancestry and traditions common to many cultures across the world - All Saints Day, Samhain, Feast of Ancestors, Pitru Paksha etc.
Only, we're in 2014 and computers are the new drums, so to speak, hence a swingeing celebration of programmed percussion designed to induce and release madness from all who hear it: whether that's raving lunacy, hatred, or joy, they're all apposite reactions. So the album presents four previously issued pieces, 'Damballah 58' and 'Belladonna Theme', plus the swaggering 'Vaudou Take Me High' and a furious acidic version of 'Madwoman (Festival Mix)' beside eight new joints: from the crushing roil of 'Parataxic Distortion', to the slow, exotic keen of 'Inlightenment' and the brilliant, discordant quickstep of 'None Of Your Bones Are Broken', which all share a richer palette of instrumentation and technique coming off like the Zeitkratzer Ensemble attacking with obscure, outernational tools. In case you haven't witnessed one of Cut Hand's incendiary live shows in the last few years, 'Festival Of The Dead' is a refined reminder that this project is still critically unique and potent as ever.
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