He Who Ox Is Gored Release Atmospheric Progressive Sludge Unit Teaser Video

Atmospheric progressive sludge collective HE WHOSE OX IS GORED is currently bringing their live rituals to US stages alongside Retox, Silent and Netherlands (on select dates). The band’s latest trek commenced on August 30th in Tuscan, Arizona and will run through September 16th in Portland, Oregon.

HE WHOSE OX IS GORED w/ Retox, Silent [remaining dates]:
9/01/2016 Three Links – Dallas, TX
9/02/2016 Dirty Dog – Austin, TX
9/04/2016 Masquerade – Atlanta, GA
9/05/2016 Shakas – Virginia Beach, VA
9/06/2016 Saint Vitus – Brooklyn, NY w/ Netherlands
9/07/2016 Smiling Moose – Pittsburgh, PA w/ Netherlands
9/08/2016 Voltage Lounge – Philadelphia, PA w/ Netherlands
9/09/2016 DC9 – Washington, DC
9/10/2016 Now That’s Class – Cleveland, OH
9/11/2016 Beat Kitchen – Chicago, IL
9/12/2016 Fubar – St. Louis, MO
9/13/2016 Vaudeville Mews – Des Moines, IA
9/14/2016 Hi Dive – Denver, CO
9/16/2016 High Water Mark – Portland, OR **

HE WHOSE OX IS GORED is touring in support of their critically-lauded The Camel, The Lion, The Child released late last year via Bleeding Light Records. A monolithic, eight-track, near hour-long exercise in sonic alchemy, with The Camel, The Lion, The Child the Seattle collective travel far beyond the confines of traditional musical boundaries with a sound that’s at once cinematic, ethereal and sprawling yet unequivocally heavy. The Camel, The Lion, The Child was captured at Red Room and Ex Ex Audio in Seattle by Robert Cheek (Serial Hawk, Noise-A-Tron etc.) with additional recording at Avast Studios with Randall Dunn (Sunn O))), Earth, Wolves In The Throne Room etc.), mixed by Matt Bayles (Isis, Mastodon etc.) and mastered by frequent collaborator, Blake Bickel, The Camel, The Lion, The Child is a truly cathartic audio expedition not to be ignored.

Upon first impressions of the record, Metal Riot commended the band for, “…disfiguring the expectations of metal, noise, punk and dance in the best ways.” PopMatters hailed, “…epic post-metal that rolls ominously like dark clouds over big sky country…” while Treble gushed, “Their music is beautiful just as much as it’s brutal, and they wear nuance well. Were you to strictly measure the moments of distorted, pounding sludge against those of more exotic and meditative instrumentation, I wouldn’t be surprised if the ratio ended up dead even. It’s a dramatic approach but never an overbearing one, and genuinely innovative in a way that feels organic-synthesizers or not.”

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