Bruce Lamont Broken Limbs Excite No Pity

BRUCE LAMONT will kick off a short run of live dates next week in support of his Broken Limbs Excite No Pity full-length, released in March via War Crime Recordings. The journey includes a special record release show on Chicago in May 22nd as well as five shows with Inter Arma. See all confirmed dates below.

BRUCE LAMONT: 5/17/2018 Cellerman’s – Hazel Park, MI w/ Fotocrime 5/22/2018 Empty Bottle – Chicago, IL Record Release Show w/ Quintron’s Weather Warlock 5/26/2018 Virtue Cider House – Fennville, MI w/ Ryley Walker w/ Inter Arma: 6/04/2018 Grog Shop – Cleveland, OH 6/05/2018 Brillobox – Pittsburgh, PA 6/06/2018 Ruby Tuesday  – Columbus, OH 6/07/2018 The End – Nashville, TN 6/08/2018 Drunken Unicorn – Atlanta, GA

When BRUCE LAMONT released his first solo album, Feral Songs For The Epic Decline, seven years ago, he was best known as the leader of the psychedelic Chicago jazz-metal group Yakuza. Thus, that album’s morose, arty songs came as a radical departure, showing him to be just as comfortable constructing droning, Swans-like epics as exploding with industrial and black metal-inspired rage. In the six years since, his creative journey has taken him farther and farther afield. He’s part of electronic noise-dirge squad Corrections House, with Eyehategod’s Mike IX Williams, Neurosis’s Scott Kelly, and longtime creative partner Sanford Parker; the mind-melting jazz-prog-hardcore trio Brain Tentacles, with Keelhaul bassist Aaron Dallison and grind drummer par excellence Dave Witte, and dozens of other projects, large and small, collaborating with an ever-growing network of like minds.

Broken Limbs Excite No Pity, LAMONT’s second solo album, is in many ways a harsher experience than Feral Songs. Tracked in Chicago’s Minbal Studios with Sanford Parker behind the board, it’s a one-man show like its predecessor — LAMONT sings, harmonizing mournfully with himself, and plays saxophone, guitar, percussion, and electronics. Also like last time, it opens with an eleven-minute epic. “Excite No Pity” starts out featuring multiple crying saxophones and deep, almost Bill Laswell-esque bass drones, but is ultimately overtaken by searing electronic noise. “MacLean” warps an acoustic guitar melody with tape effects, to keep it from sounding too much like a Kansas song, while “Goodbye Electric Sunday” is a unique blend of spaghetti western soundtrack and beat poetry over an almost hip-hop groove. LAMONT uses his voice as an instrument almost as often as he uses it to put across his lyrics. On “Neither Spare Nor Dispose,” he wails and groans as loops of forcefully strummed acoustic guitar and rumbling percussion thunder past, and static washes over it all like a wave.

At its base, music is sound (noise, if you like) organized into patterns. And those sounds/noises don’t have to be pretty ones, as long as the patterns are compelling. BRUCE LAMONTunderstands this intuitively, and has demonstrated an ability to create hypnotic, ominous, emotionally resonant and even somehow transcendent arrangements of patterned sound. These aren’t “songs” like you hear on the radio. They’re literally sound art. This is an album you dunk your head in like a bucket of ice water, and when you pull it back out, you’re not the same person you were before. – Phil Freeman, 2018

Broken Limbs Excite No Pity is out now on CD, digital, and limited vinyl formats. For orders, visit THIS LOCATION.

…nuanced and dark, touching upon peaceful moments at one end and flying into a manic rage at the other.” — Noisey

“…a strong showcase of his understanding of dynamics and musical duality.” — Metal Injection

“…a fantastic release for anyone who appreciates experimental and left field approaches to heavy music.” — Blabbermouth

“…a haunting mix of industrial noise, dark ambient, and other sinister yet meditative sounds,” — BrooklynVegan on “8-9-3”

“…a musical odyssey that ranges from eerie and desolate to unhinged and cacophonous, with a low key, cool interlude and a melancholy, reflective conclusion. It is truly a unique listening experience that inhabits the less frequented genres of avant garde metal and experimental jazz.” — Indy Metal Vault

“Leaning heavily on a minimal drum loop and a guitar tremolo that sounds lifted from a Dick Dale or Ennio Morricone record, LAMONT‘s new song sounds like a lost Nick Cave recording — sexual, minimal yet dense with darkness and subtext and ultimately beautiful and well executed.” — Revolver on “Goodbye Electric Sunday”

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