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Mirrors For Psychic Warfare, the collaboration between Neurosis’ Scott Kelly and Buried At Sea’s Sanford Parker, recently revealed plans to tour across Europe this month. Sanford Parker will also be performing his solo experimental electronic set as support. The tour commences on January 12th in Hamburg - and you can watch a brand new trailer for these dates below by Chariot Of Black Moth.


Thu 12.01. GER-Hamburg MS Stubnitz
Fri 13.01. NL-Rotterdam Worm
Sat 14.01. NL-Amsterdam OCCII
Sun 15.01. BE-Antwerp Het Bos
Mon 16.01. FR-Paris Espace B
Tue 17.01. UK-London Underworld
Thu 19.01. GER-Oberhausen Druckluft
Fri 20.01. GER-Berlin Berghain Kantine
Sat 21.01. PL-Warsaw Beerokracja
Sun 22.01. CZ-Ostrava Barrak music club
Mon 23.01. CZ-Prague Klub 007 Strahov
Tue 24.01. HU-Budapest Dürer Kert
Thu 26.01. CH-Zurich Ziegel Oh Lac
Fri 27.01. IT-Brescia Circolo Colony
Sat 28.01. CH-Luzern Industriestrasse
Sun 29.01. CH-Bern Dachstock
Mon 30.01. AT-Bregenz Between
Tue 31.01. AT-Vienna Arena
Wed 01.02. AT-Linz Kapu
Thu 02.02. GER-Leipzig UT Connewitz
Fri 03.02. GER-Dresden Scheune
Sat 04.02. PL-Poznan LAS

Mirrors For Psychic Warfare released their self-titled debut – a sonic manifestation of insomnia, complete with the tossing, turning, and perennial dread that comes with facing a new day – in 2016 via Neurot Recordings. The five songs that comprise Mirrors For Psychic Warfare lurch and pulsate across a sullen, desolate landscape with an almost curious obsessiveness. You can hear in full at their bandcamp.

Anyone who has lowered their ear into the chasm of sound between metal and industrial in the last couple of decades 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 fraternisation, Corrections House, or perhaps the doom/post-metal shamans Minsk. 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 Wovenhand. In many cases (Minsk, Corrections House, Twilight, YOB, Blood Ceremony), he even combined the two areas of activity in an interdisciplinary radicalisation 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 favour of instrumental storytelling, the development of which expands a track into an entire world of sound. In the process, Parker knowingly invokes American and British industrial traditions, but equally, his microscopic detail work – primarily observable in the harmonics – could easily have come from German avant-garde electro institutions such as Raster-Noton or Mille Plateaux. These ideas manifested themselves in his solo album of this year, Lash Back, which imposes itself on the contemporary extreme music scene like the black monolith in Kubrick’s Space Odyssey – unassailable, incomparable, and perfect in form. Listen to the record in full at bandcamp.

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