The second in a series of video clips featuring behind-the-scenes footage from the making of “Blood For The Master”, the new album from New Orleans, Louisiana’s sons of American no-frills-black-metal-meets-death-‘n’-roll GOATWHORE, can be seen below. The CD sold around 3,100 copies in the United States in its first week of release to land at position No. 4 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200. The band’s previous album, 2009’s “Carving Out The Eyes Of God”, opened with around 2,700 units to land at No. 16 on the Heatseekers chart.
“Blood For The Master” was released in North America on February 14 via Metal Blade Records. The CD was once again recorded at Mana Recording Studios in St. Petersburg, Florida with producer with Erik Rutan.
“Blood for the Master” track listing:
01. Collapse In Eternal Worth
02. When Steel And Bone Meet
03. Parasitic Scriptures Of The Sacred Word
04. In Deathless Tradition
05. Judgement Of The Bleeding Crown
06. Embodiment Of This Bitter Chaos
07. Beyond The Spell Of Discontent
08. Death To The Architects Of Heaven
09. An End To Nothing
10. My Name Is Frightful Among The Believers
“Blood For The Master” was made available on CD, vinyl, and digitally. Fans of vinyl should note that there are three different versions of the LP; red with black splatter, half red/half black, and standard black.
In a recent interview with Decibel magazine, GOATWHORE guitarist Sammy Duet stated that the band’s new CD features “the same exact [guitar] sound I used on ‘Carving Out The Eyes Of God’. We’re just trying to improve on that sound — make it bigger and fatter. That ‘Carving’ guitar sound was fucking incredible, and that’s why me and Rutan spent half the week trying to get it to sound even better, which I believe we achieved. It’s gonna have that growly, sub-nuclear kind of sound, but I think it’s gonna be almost more refined in a way — but still very nasty.” He added, “The drums are a lot more natural-sounding. A lot of producers today, I don’t know; they make the drums sound fake. They sound good, but almost too good. We’re just trying to make it sound real and not like a drum machine. . . There’s the same amount of solos on ‘Carving’; maybe a few more. But there’s gonna be a lot of other… I wouldn’t exactly call them guitar solos that are gonna be going on underneath the music, but there’s gonna be certain things there that will be very different. There’s definitely some shit I’ve never really done before ever that I’ve just been experimenting with. You have to hear it. It’s hard to explain. It’s like a solo and not a solo.”