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Band Biographies: Hallows Die


“In today’s day and age, the world and the people within struggle to place a label on everything they can. It seems as though every tangible creation can be placed into a category and catalogued accordingly.” – Hallows Die

Label: (noun) a word or phrase indicating that what follows belongs in a particular category or classification.

From its inception, Hallows Die has always forged a repertoire of songs exemplifying the belief that no label should be placed on musical expression. The result: Odd melodies intertwined with bizarre time changes and unpredictable song structures condemning the band to stand out amongst the rest. Considered by listeners to be a melting pot of genres, Hallows Die strives to play uncanny and original material that continues to evoke interest while evolving into a musical entity that cannot be classified under any one specific genre.

Hallows Die followed up their debut EP with the release of their first full-length studio album “World of Ruin”, in collaboration with Dan Swanö (Bloodbath, Opeth, Katatonia). The album quickly received critical acclaim and lead to Hallows Die hitting the road nationally alongside such acts as The Black Dahlia Murder, Dark Tranquillity, Arsis, Aborted, Cryptopsy, Municipal Waste, Napalm Death, Krisiun, and Atheist.

In 2013, after several years of relentlessly touring Canada, Hallows Die took a hiatus from the road to write and record their sophomore release: “Masks”. The band took the initiative to hit the studio to record on their own, ensuring the music stayed true to what they have always envisioned. Soon after, they took the unmixed renderings to Jurekk Whipple (Kobra And The Lotus) at The Edge of Attack Studio in Grande Praire, Alberta, resulting in crystal-clear mix job.

Upon its return from Western Canada, Hallows Die sent the final mix to the farthest corner of Scandinavia where the highly acclaimed Dan Swanö would once again lend his mastering talents, and bring “Masks” to completion. A tremendous job was accomplished in pulling all the band’s hard work together into a sonic array of brutally clever riffs and passages that one would have a difficult time labelling.

While Hallows Die worked diligently on the upcoming release, they achieved some milestones that would continue to support their craft: in 2013, the band was nominated for the Mississauga Arts Council best emerging act, and in 2014 they were the winners of the Toronto independent Music Awards for best metal act.

With the sophomore release completed and in hand, Hallows Die has their eyes once again set on hitting the road extensively in supporting “Masks” and ensuring the band’s sharp upward trajectory.

”A twisted world requires a twisted soundtrack; such is the goal of Hallows Die.”

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