CVLT Nation is an online magazine focused on the darker side of life. We premiere new underground music every week, and here you can also find our bi-monthly podcast the CVLT CAST.

SUTEKH HEXEN

There are in the abyss architects building great temples - spaces accessible to those who have the mind and fortitude to transgress the seen and pass into the unseen. There are those who know foundations, and those who further know adornment, where the subtle and the profound gnash their teeth. Amid splinter and nail, among cavern and spire, we find the black temples of Sutekh Hexen. Here, finely woven shrouds of static hang from clattering bones. On blinding pyres, offerings convulse, open into screams. The labyrinth collapses as soon as its center is found, and when you are offered this chance to catch your breath - take it. You will soon find yourself blindfolded, fingering crossroads, filthy with the marks of shadows older than the sun.

But savage territories yield, ultimately, to a grace of their own, discernible to the eye refined. Herein lie the guts of Sutekh Hexen's power. These are ruins reimagined, anarchic entities restrained -- though they twitch in their bindings and blister beneath our gaze. A way has been cut, yet we see that it is faceted, that it will never betray anything so evident as a single path. As bottomless as the abyss is, neither does it have a crown. The empyrean here is severe, the pits heaving and rich. The greatest subversion affected, then, by Sutekh Hexen, is the making unknown of the known, of offering a body upon which you may scratch and scratch until your nailbeds bleed and still believe you're digging at something holy.

And for all that is here profane, dead sacred are the rites of each of these offerings. These are no self-referential mirrors intended to seduce the ego. Instead, each demonstrates, unflinchingly, an encounter with those rare entities that have the power to haunt the haunted. Slippery are these altars, like honeyed knives to bone.

Grind that ear upon the temple door, and hold your teeth in your head. This exorcism's going to find its way back in. Receive it. Let it leave a mark.

Info: sutekhhexen.org
Contact/Booking: info@sutekhhexen.org

Double Sided Mirror- Remixes Out now!

For show inquiries please email coldbeatcoldbeat@gmail.com

Combining stark post-punk instrumentation, lush melodies, and abstract yet vivid songwriting, Cold Beat is the project of singer/songwriter/bassist Hannah Lew. From the beginning, Cold Beat dove into big-picture topics: On 2014's Over Me, she explored the death of her father and loss in general on compact, driving songs that harked back to the heyday of Tubeway Army, Blondie, and the Sound (whose song "Cold Beat" gave Lew's project its name). The changing face of her hometown San Francisco in the wake of tech companies' success informed 2015's Into the Air, which added jangly indie pop, Motorik, and minimal synth experiments to Lew's repertoire. The electronic elements of Cold Beat's music only grew as the years passed, with 2020's Mother reflecting the influence of Eurythmics -- as well as Lew's own motherhood -- on its polished, expansive meditations.
Lew began writing Cold Beat songs in the late 2000s while playing with the acclaimed San Francisco trio Grass Widow and establishing herself as a filmmaker and visual artist. When the band went on hiatus after releasing 2012's Internal Logic, Lew focused on Cold Beat in earnest. She took Neon Piss guitarist Kyle King, Shannon & the Clams guitarist/synth player Cody Blanchard,

and former Grass Widow drummer Lillian Maring into the studio to record November 2013's Worms/Year 5772, a set of songs touching on the death of her father and her own insomnia. The first release on Lew's Crime on the Moon label, it also featured a remixes by POW! and Total Control's Mikey Young, with whom Lew forged a long-running creative partnership. Lew continued her meditations on grief with Cold Beat's first full-length, July 2014's Over Me. Recorded by Trans Am's Phil Manley and mixed and mastered by Young, it found Lew backed by King and Erase Errata drummer Bianca Sparta.
Cold Beat's lineup and sound continued to evolve quickly. Just over a year after the release of Over Me, the band returned with September 2015's Into the Air, which featured drummer Susi Leni and guitarist Jackson Blumgart alongside Lew and King. Partly influenced by San Francisco's rapid gentrification thanks to the tech boom, the album boasted a more electronic-based sound that informed the Cold Beat albums that followed. Lew wrote and recorded most of 2017's more intimate Chaos by Invitation on her own, later bringing in Manley, Young, King, and Blumgart for additional tracking. In August 2018, Cold Beat returned with A Simple Reflection, an EP of Eurythmics covers that expanded the group's lineup to include King, guitarist Sean Monaghan and keyboardist Luciano Talpini Aita. The EP's lush, synth-driven sound laid the musical groundwork for the band's fourth album. Mother, which was inspired by Lew's pregnancy as well as the tumultuous state of the world, was released by DFA in February 2020.

'Forever In Financial Arrears' (FIFA Records) Independent Record label based in Cork, Ireland. Current Roster: The Frank & Walters, The Vincent(s),August Wells, Jonny Rep, Elastic Sleep, The Would Be's, Slow Motion Heroes, Hope Is Noise.

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