GIZA to Release Limited Print Vinyl via Threshold of Pain Records

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Seattle, WA‘s apocalyptic instrumental sludge trio GIZA will release their debut album Future Ruins on limited vinyl this fall through Threshold of Pain Records. GIZA, formed in March of 2012 by Steve Becker, Trent McIntyre, and Richard Burkett with the goal of writing loud and massive instrumental music, recorded Future Ruins in May of 2012 with Matt Bayles (Mastodon, Isis, Botch, Harkonen). The band previously released the 6-track album on their own earlier this year on CD and digitally.

GIZA (2013 band promo photo)

Comments the band:

Giza is excited to be working with Threshold of Pain Records for a limited high quality color vinyl release of Future Ruins. There is no doubt that vinyl is the ultimate medium for home listening, and we look forward to our listeners to be able to experience Future Ruins as we had always intended.”

GIZA is currently writing for their next album with plans to enter the studio this autumn for a tentative 2014 release. For now, listen to Future Ruins on their Bandcamp (http://giza.bandcamp.com). Future Ruins is currently available on CD and as a name-your-own price digital download.

GIZA – FUTURE RUINS album artwork

Tracklist:

1. Séance

2. Wake & Drag

3. Interlude

4. Hour of the Bullfight

5. Roaming Hordes

6. Great Leader

GIZA:

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“Ambient doom is the first thing that came to my mind when listening to Giza’s Future Ruins. To some extent all doom is ambient, but Giza take it to new levels with lush, ethereal soundscapes underscored by delicate guitar passages that are usually played by bands at twice the BPM found here” – MetalSucks.net

“A debut full-length from the instrumental Seattle trio, Future Ruins was recorded and mixed by Matt Bayles (Mastodon, Isis, etc.) and hits on a lumbering pace, vaguely post-metal in its style, but more because of a pervasive drone influence than any aping of the subgenre’s forebears. The crux of the six tracks doesn’t seem to be moody ambience or contemplative spaces so much as aurally crushing tones periodically contrasted with, well, semi-crushing tones. It’s pretty crushing, I guess is what I’m getting at” – TheObelisk

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