Program

Mirrors for Psychic Warfare is Scott Kelly (Founding member of Neurosis, Corrections House, Shrinebuilder, The Road Home, Blood Caldera, River Of Madness, Tribes Of Neurot, and co-owner of Neurot Recordings) and Sanford Parker (Minsk, Buried at Sea, Nachtmystium, Corrections House).

Scott Kelly (Neurosis) and producer/engineer/sonic warlord Sanford Parker are restless. This inquietude has culminated in another collaboration (the two work together in Corrections House, a project that also features the talents of Mike IX Williams of EYEHATEGOD, and Bruce Lamont of Yakuza.) While Corrections House seem hell-bent on impersonal bludgeon and unfettered terror, Mirrors for Psychic Warfare are far more restrained. The bands haunting self-titled debut is the sonic manifestation of insomnia, complete with the tossing, the turning, and the perennial dread that comes with facing another shabby daylight.The five songs lurch and pulsate across a desolate landscape with an almost curious obsessiveness. While Mirrors for Psychic Warfare may remind some of the best work on the classic Cold Meat Industry label, there is enough familiar Kelly/Parker-isms scattered throughout to keep the album stimulating. It is a work with more in common with a fever or a fitful wraith than a record.

Scott Kelly about the project:
“Mirrors for Psychic Warfare is an experiment in noise, silence, restraint and aggression in all shapes and forms. I am very much looking forward to the open minds that will allow this in.”

Mirrors for Psychic Warfare will be supported by Sanford Parker who will release his debut solo album Lash Back this coming Friday, July 22nd.
See the album trailer here.

Anyone who has lowered their ear into the chasm of sound between metal and industrial in the last ten to fifteen years will most likely have come into contact with Parker’s work. Perhaps through the bands and projects in which he is or has been involved as a musician: the doom-prophesying powerhouse Buried At Sea, the extreme-sound fraternization Corrections House, the doom/post-metal shamans Minsk, the black-metal junkies Nachtmystium, etc. Or maybe via the sheer volume of the releases to which he skilfully brought his very own toxic sound as a producer or sound technician. In this capacity, the name-dropping begins with Pelican, Eyehategod, Rwake, and Voivod and carries on far beyond YOB, Lair Of The Minotaur, and Woven Hand. In many cases (Minsk, Nachtmystium, Corrections House, Twilight, YOB, Blood Ceremony), he even combined the two areas of activity in an interdisciplinary radicalization of sound both through the amps and behind the mixing desk.
In a way, this material is the translation of doom into the methods of electronic music. A concept work of cross-genre, dystopian music that builds on the loops and sequencer programs of industrial, but shuns purely linear song structures in favor of instrumental storytelling, the development of which expands a track into an entire world of sound. Nevertheless, “Lash Back” imposes itself on the contemporary extreme music scene like the black monolith in Kubrick’s “Space Odyssey” – unassailable, incomparable, and perfect in form.