Since their formation in 2012, Laster evolved into a magnificent and untamable beast in the realm of avantgarde and post black metal.
The Dutch trio has warped and widened the framework of extreme metal with the muscle of post and jazz rock, shoegaze and art pop across two full lengths (2014’s “De Verste Verte Is Hier” and 2017’s “Ons Vrije Fatum“, which became record of the month in Terrorizer magazine upon its release) plus a split EP.
Now with their third album “Het Wassen Oog” and its companion EP “Stadsluik“, the band brings its cinematic qualities to full effect.
The genre-benders’ new material sounds like a film noir by legendary Russian director Andrey Tarkovsky would look like – expressionistic, urgent and restrained at the same time, with long glimpses into dim corners, which could well be those of the human psyche.
This eclecticism is not an end in itself but stems from sincere interest in various styles, resulting in a motley musical monochrome, if there could ever be such a thing.
The members simply name it “Obscure Dance Music”, masking themselves to highlight their ever-changing artistic personae.
With their current material, they poke fun at and question archetypical concepts like the “evil” or “all-seeing” eye while embracing the viciousness of black metal.
Thus, Laster have come up with their most accessible music to date.
“Het Wassen Oog” is available on CD and LP. The 2CD artbook edition features the extensive EP “Stadsluik” alongside liner notes and expanded layout.
Tortured and broken, Crowhurst is a shapeshifter in extreme music; from noise to drone, sludge to black metal.
Each piece of music is its own distinct page in Jay Gambit’s story, working as an exploration and expression of pain.
With contributing pieces from scores of renown artists, Crowhurst stands as a testament to his ability to weave ethereal, engaging soundscapes without falling into the trap which befalls so many prolific artists – predictability.
Over 75 releases, many of which are singles and splits with other established artists, yet each body of work remains a dynamic, disorienting exploration unlike the last.
His music weaves influence from varying genres across decades, while being shaped by his love affair with cinema and documentaries.
Every release tells its own story, with each song standing as its own character unfolding. With 2 performances at Roadburn 2019 and a flock of eager fans, Crowhurst shines as a jewel in the black metal and noise community.
Beginning as a strictly experimental project, Crowhurst grew to encompass various collaborations with artists and producers such as Jack Shirley (Deafheaven, Oathbreaker), who engineered & produced 2015’s “I”.
The 2016 follow up, “II” was recorded in Manchester, England and produced at Machines With Magnets (The Body, Daughters).
Crowhurst finalizes their trilogy with “III”; co-written & performed by Andy Curtis-Brignell (Caïna) and recorded with legendary producer & engineer Kurt Ballou (Converge, Full Of Hell) at God City Studios in 2018, and is Crowhurst’s Prophecy Productions debut.
The effort features guest appearances from Tony Wakeford (Sol Invictus, Crisis), Ethan Lee McCarthy (Primitive Man), and Tara Vanflower (Lycia, Type O Negative) amongst a handful of other notables.
“III” is a truly staggering record. Brutal and laced with pain, a new melodic structure unfolds itself with each listen.
Something about this record never quits, and as a listener, there is no way to peel yourself away from the sonic, multifaceted fabric.
Black metal elements blend seamlessly with Crowhurst’s trademark harsh noise, without sacrificing melody, as each track speaks with its own distinct voice.
Heavily influenced by film, Gambit cites movies, including Oliver Stone’s iconic Natural Born Killers, as having a major imprint on the record itself, while also pulling from classics television such as The Twilight Zone.
The album’s final track, ‘Five Characters In Search Of An Exit’ being named directly after an episode of the timeless series.