GTA Online Smuggler's Run

Prep Track R06

CC Track 6

i'm standing

Spammerheads, the Valencia-based duo known for their raw electronic sound, have been steadily cementing their reputation as one of the most solid projects in the new Spanish EBM scene. They now return with The Mire Chronicles. This new work, released by Banshees Records, is a sonic artifact born from catharsis. In the wake of the devastating floods that struck Valencia in October 2024, the group not only lost part of their studio but also witnessed the destruction and the subsequent wave of solidarity firsthand. From this traumatic experience, loaded with conflicting emotions, emerges their most personal, cohesive, and powerfully moving album to date.

If their previous work, Disclaimer (2024), certified them as a leading force in EBM, The Mire Chronicles deepens and expands that sound with a visceral narrative. The band maintains its unmistakable backbone of relentless sequences, abrasive basslines, and an industrial atmosphere inherited from the old school of the 80s.

However, here they incorporate nuances and textures that reflect the album's emotional journey. Powerlessness and shock are translated into desolate soundscapes and heavy, crawling rhythms, while fury and resilience erupt in peaks of controlled aggression. The production, meticulously detailed, is both raw and crisp, allowing each element, however harsh, to occupy its own space to maximize emotional impact.

Their evolution is palpable. From Espai, Temps i Materia and Bricks for Reconstruction to the essential Tar Blood / Cement Skin, Spammerheads have demonstrated a commendable capacity for growth, which culminates in the artistic maturity of The Mire Chronicles.

The album's greatest strength lies in its powerful narrative concept. It functions as a chronicle—a sonic diary that navigates the collective states of mind in the face of a catastrophe. The six main tracks (expanded to eight with the digital bonus tracks) are chapters in a story of loss and resilience.

Track SMTB One

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