Los Angeles! The gods can be kind, but they can also be cruel!!! We need a show on Friday, June 1st. Acceptable venues include - Freeway underpass - Backyard BBQ - Hot, stinky basement - Graduation ceremony/prom - Megachurch - Disneyland - Or any other suggestion... If you have a lead, please reach out to Nate and Colin firstname.lastname@example.org email@example.com We still have the following confirmed shows too! 6/2 Ventura, CA (Garage) 6/3 Oakland, CA (Elbo Room Jack London, Oakland --not the San Francisco location) 6/6 Seattle, WA (Highline) 6/7 Portland, OR (Twilight) 6/8 Sacramento, CA (Blue Lamp) 6/9 San Diego, CA (Brick By Brick) Thank you!
We will be joining our friends Defeated Sanity in battle this May as we bring to you new, old and ancient songs. 5/18 - Pittsburgh, PA The Smiling Moose <-------Venue Change! 5/19 - Cleveland, OH Now That's Class 5/20 - Rochester, NY Bug Jar 5/21 - Boston, MA Middle East 5/22 - Providence, RI Alchemy 5/23 - Brooklyn, NY Saint Vitus Bar See you soon.
GRAB ‘EM BY THE ‘PUS AND MAKE AMERICA SHRED AGAIN! Ditch the turds on tv and get “Cognitive Emancipation” now! Available for CD Pre Order (ships early December) and Digital Download on Bandcamp! beholdthearctopus.bandcamp.com Also available, the last bits of merch and all our back catalog. Warmageddon NOW!
We have a new drummer, Jason Bauers, and a new album to be released this year! ...and this will be our only show for quite some time: July 19 @ The Well (moved from the Acheron which is unfortunately closing) Behold The Arctopus (first show with new drummer! new music no one wants to hear! annoyingly short set!) The Gate (tuba/upright electric bass/drums free and composed splatter doom) Dripping Ancience (Mick Barr and Mike Pride banjo and percussion) Vosnod (Eliane Gazzard's oppressively soothing ambience)
a message from Weasel Walter: HEY. i put out a new solo album today called "Fragments". It features previously unreleased recordings of compositions dating back from 1999 to present. 70 minutes of brutal prog in for people who dig the The Flying Luttenbachers' "Systems Emerge" and "Incarceration" albums, as well as "Horroscension" by Behold... The Arctopus. It's nuts and there's a lot of notes, painstakingly selected as you might surmise. If you buy the download, you get the 9 page PDF file with extensive liner notes and you help me keep the electricity on one more day. thanks https://weaselwalter.bandcamp.com/album/fragments
** Arctopus Update ** New year, new music, new drummer? We have amicably parted ways with the talented and busy Weasel Walter and now need YOU to be our drummer. Some things to consider… We notate our music, including drum parts. But we welcome changes to the written music that maintain the spirit of the composition, and add your own personal touch to the parts. We usually don’t rehearse a lot. If you live in NYC, we might get together a couple of times a month. If you live in Norway, even less. Realize that most learning will be done on your own and rehearsals are for usually for ironing out weird details and bringing up the tempos. The easier it is for you to learn parts on your own, the better fit you will be. That’s about it. Here’s an average looking drum part. If it makes sense to you, and you’re interested, tell us who you are and send us a video of your playing. We want to give anyone who’s really interested the chance to learn 2 new songs and convince us that you are the new drummer. Scale Hatin’
Hail to Odin and to those worthy souls who came out to endure in the wake of "Arctopus Goes West!" - another chapter in the epic tale of that which is BTA. We thank you and hope to meet again on this planet soon. Hail to Botanist for their courageous display of controlled musical chaos!! Many a fair maiden and strong lance swoon at their presence. 'Twas an amazing effort from a mighty ensemble. And a special shout out to the local township acts, our kindly friends and innkeepers, and to the devoted migrants who endured greatly to bear witness to our madness. Hail Hades! ...what's that? You want MORE good live music? Gather your horses and pack your carriages to cross the paths of Dysrhythmia and Zevious in November. "lend me your money and I will return with interest. lend me your ears and I will return with interesting" - me, just now.
TOUR UPDATE!!! 10.3 Brooklyn at The Archeron w/ Geryon, Child Abuse http://www.ticketfly.com/purchase/event/361305/tfly 10.8 LA at The Joint https://www.facebook.com/events/513222622095191/ 10.9 San Luis Obispo at DIY SLO http://www.brownpapertickets.com/event/466705 10.10 Sacramento at Press Club w/Plague Widow, Practice 10.11 Oakland at Metro w/Burmese http://holdmyticket.com/event/150158 10.12 Portland at Star Theater - Fall into Darkness fest w/Agalloch, Eight Bells https://www.facebook.com/pages/Fall-Into-Darkness-festival/141384714013 10.13 Seattle at Highline w/Lesbian, Space Bag http://www.ticketfly.com/event/359763-behold-arctopus-seattle/ 10.14 Vancouver BC at Biltmore Cabaret https://www.facebook.com/events/625794837453135/ Ticket Links
Greetings Fellow Citizens Of Arctopolis!! We have been cyborg-summoned to the mountains of the west and are returning once again to ruin many souls. Joining us on this pilgrimage are the mighty Botanist! Most dates are below and ticket info should be available soon. Come out and support nature! Tue 10/8 in LA at the Joint Wed 10/09 - TBD Thu 10/10 in Oakland at the Metro w/Embers Friday 10/11 - TBD Sat 10/12 in Portland at Star Theater w/Agalloch, Eight Bells - Fall Into Darkness festival Sun 10/13 in Seattle at the Highline Mon 10/14 in Vancouver BC at Biltmore
We will soon be announcing our October West Coast tour dates. Our set will include everything from "Horroscension" (except "Putrefucktion") plus two new ones and a special surprise. Come out and support us, please, because we got some sikkkk overhead to do this jaunt. We will be touring with the bizarre black metal band Botanist. See you there!
Arctupdates!!! 1) We have some merch that has NEVER BEEN ONLINE BEFORE that is NOW ONLINE. We're talkin' some T's and some 12" horrorscension wax. Ya' feel? Peep dat sheeet over at: http://beholdthearctopus.bandcamp.com 2) Regrettably, Colin has decided to retire from music altogether... just kidding. Machine Marston has just self released his latest Indricothere album aptly titled "II." Peeps, ya gots to peep that sheeet. (hint... copy and paste the link below) http://indricothere.bandcamp.com All hail technical vegetarian dinosaur metal!!!
a clip from our most recent, and probably last show for a long time: http://www.metalinjection.net/video/behold-the-arctopus-live-at-saint-vitus-bar-mar-22nd-2013
so, as far as coming out to play shows on the west coast, what is your opinion on using a kickstarter to fund it? there really isn't much to do in the middle of the country which pays enough to meet our fairly hefty daily expenses - primarily the van rental and gas - so we were considering flying out and doing a week of gigs on the coast as a temporary solution. we're not looking to get rich here necessarily - we're mainly looking not to lose a ton of money, which is why kickstarter might come into play. what do you think?
recent interview with Colin Marston by Evan Lipson: ALIEN MERGED WITH HUMAN: AN INTERVIEW WITH BEHOLD THE ARCTOPUS' COLIN MARSTON Colin Marston is the Midas of the 21st century North American extreme metal underground. When cumulatively assessed, one could convincingly argue that his various projects are pushing the idiom further than anyone else in his milieu. He currently serves as an active and vital contributing member for such legendary units as Krallice, Dysrhythmia, Gorguts, and [the recently ellipsis-free] Behold The Arctopus (BTA). He performs with equal aplomb and virtuosity on electric bass, guitar, and a 12-string touch-style/conventionally-played hybrid behemoth known as the Warr Guitar (performed exclusively in BTA-- perhaps the only band in the world to make highly effective and clever use of this unwieldy and borderline ridiculous instrument in a decidedly non-cringeworthy manner). When Colin isn’t working with any of the aforementioned projects, he maintains a tireless schedule owning and operating a highly illustrious recording studio known as Menegroth, The Thousand Caves (based out of the Woodhaven neighborhood in Queens, New York). Over the past decade, he’s recorded, mixed, and mastered a staggering number of releases for virtually every musician in the NYC underground and beyond. His resume must be seen to be believed. Colin will be touring parts of Canada and the U.S. this month with Behold The Arctopus-- following the October 2012 release of their third album, Horrorscension (the band’s first release in five years). Diligently writing and rehearsing since 2009, it is perhaps their most skull-crushingly powerful, refined, and consistently mind-bending effort yet; no doubt due in part to “face rip” juggernaut Weasel Walter taking over the drum throne as well as penning two compositions of his very own. Like most things that are inherently complex, their music isn't something that one can easily discern in one hearing. In fact, it largely demands many repeated listenings in order to perceive all of the varied nuances-- thus allowing the listener to experience the fully desired breadth and impact of their singular and uncompromising vision. It’s intensely brutal and challenging, but if you’re willing to spend some quality time with it, the rewards are vast and plentiful. I sent Colin some questions about his longest-running project, the future, technology, extreme death metal, The Flying Luttenbachers, and Canada. Here are the results: EL: You've commented that the underlying subtext of BTA's music has always been about the future. The album artwork, track titles, as well as the speed, form, execution, and dizzying content of the music itself often evoke a nightmarish and phantasmagorical dystopian mutant-cyborg world that has obliterated and swallowed the whole of mankind. Do you feel that there is still some degree of hope for human progress in the merger of beast and machine, or has the rate of exponential growth that technology has experienced over the last 100 years come at the ultimate cost of knowledge, discernment, and wisdom? CM: I don’t think there's any doubt that in becoming more reliant on technology, humans have given up certain natural senses and the ability to use parts of the brain. No one is able to remember the address of my studio which only contains six numbers. I think that cellphones' destruction of the need to memorize phone numbers has allowed the part of the brain that once was well practiced in storing strings of numbers to wither. Technology is such a huge in increasing the speed at which we can make progress in almost every field, but the cost of that speed is our dependence. Another example: because it's so much faster to edit together musical performances on a computer than with past recording technology, many musicians have become reliant on the computer to produce a satisfactory performance. I'm not saying that because of DAWs there are more crappy musicians now than there ever were before, that's too difficult a statement to prove. But I guarantee you that this technology allows even the most talented players to be lazier and/or unnecessarily nit picky. I don't think the last 100 years' technological growth has decreased our knowledge necessarily. If anything, scientific technology has allowed us to gain more "knowledge" in the classic sense of the word. But it has absolutely not made us more wise. Civilization is still not able to live in harmony with its environment... and even with itself! With sentience has come an unprecedented imbalance between Earth and one of her lifeforms. EL: To my understanding, you don't engage in social networking. Also, this very publication exists in print-form only. Both somewhat uncommon practices in the modern age. Do you think that social media as well as the current overflow of information inundating online users has contributed to a general weakening of the human will and spirit? Do you think that if you started fucking with Facebook, Twitter, or what-have-you that your own life and work would suffer as a result? CM: I've observed social networking have a negative effect on people I know, but honestly I've just never been interested in interacting with people in such a way. I see Facebook's usefulness in terms of serving as a website for a band: it helps get the word out about a new recording, or a tour. But when used as just a way to socialize in semi-public, hiding behind the internet's veil, it becomes little more than a complete waste of time. The idea of going out to a bar to socialize and meet new people appeals to a lot of people, but it never has to me. Take that idea, make the bar a computer (or worse yet a smartphone), and the people disembodied facebook comments, and you've got a real loser of an idea for me. I wouldn't say the overflow of information has weakened the human will and spirit, but it has almost obliterated most people's attention span and reduced social interaction to valueless soundbites surrounded by advertisements. EL: Your latest album, Horrorscension, is perhaps the most fully formed statement the band has released to date in terms of presenting an exacting unified aesthetic. It has an uncompromising yet streamlined quality-- resulting in an overall greater degree of relentless density with little to no respite. This also comes with a change in personnel. Outside of his own compositions, how, if at all, has Weasel Walter shaped and contributed to this latest direction? Also, there seems to be a somewhat undeniable link between The Flying Luttenbachers [Weasel's longest running unit] and BTA. To what degree has the music and/or legacy of the Luttenbachers impacted your own work? CM: The Luttenbachers' "brutal prog" albums were a huge influence on my writing, especially for Behold. The parts of metal that Weasel adopted, (furious drumming, brutality, darkness, epicness), were the same elements that always appealed to me. And also similar to my taste, he swapped out bluesiness, grooviness, and monophony--the things typical of metal i never cared for--for atonality, asymmetry, and polyphony. Trading cheesiness for rigorous 20th century classical ideas seemed like the way to make music to me! and he did that is such an awesome and singular way with the Luttenbachers. Aside from his writing, Weasel's aggressive drumming style is a perfect fit for how I have always wanted the band to sound: alien merged with human. EL: Extreme death metal appears to be one of the few idiomatic strains of music that doesn't seem to be running entirely on fumes. Can you offer any insight into why this might be? CM: That's a style of music that has always produced envelope-pushing musicians. It's about being extreme, right? so a nice byproduct of death metal's sometimes tasteless quest to always push further has been the production of a lot of complex and deep composition. Most extreme metal musicians are music nerds, who are in it for the excitement of creating something detailed and awesome, not for the chicks and keen financial opportunities. EL: Why do you think that certain people can't deal with music that contains a large quantity of “notes” (i.e. pitches) performed at a high velocity, and why do these same people so frequently equate all music that possesses this parametric quality to jazz? Is this what separates children from adults? CM: I always wonder why the musically unfamiliar tends to equal "jazz" for so many people. I basically never listen to jazz and barely ever have, but I have a pretty good idea of many of the sounds common to it. Maybe jazz sounds like a complete abstract mess to most people? so whenever they hear something that doesn't make immediate sense, it MUST be an influence from jazz. And to make your question more specific: people are less able to deal with quickly moving pitches when they create dissonance and asymmetry. Plenty of popular forms of music have a lot of notes placed very close together. What can I say? People tend to hate sonic dissonance and asymmetry, but I think when used well, they hold amazing emotional power. EL: There’s a track that was recorded on the second BTA album, Skullgrid, entitled Canada. What significance has "The Great White North" played in your life aside from your membership and association with the legendary Montreal-based extreme death metal band Gorguts? CM: Mike Lerner wrote and titled that song, but I've always felt a deep connection to the more experimental Quebecois metal bands. Voivod has done the world a great service with their existence. EL: What is the next phase of evolution for the band and will you be performing any of your latest material on this upcoming tour? CM: We already have more than an album's worth of new music. So far, I have three songs, Mike three, and Weasel one, but we've only learned one of them so far and it's the "short easy one." So we have our work cut out for us. I think it'll be a miracle if we have it all learned and recorded for another year or two. We will be playing all of Horrorscension and the new short and easy song on tour. We've thought about relearning an old song or two to play live, but it takes us so long to learn material, that it's hard to realistically do both at the same time. If we ever want to make progress we can't waste our time in the past.