Deluge by Ashbel

ｄｅｌｕｇｅ was conceived as a cathartic raw expression of escaping from trauma and its escorts of various malaise, and serves as an observation of a pertinent snapshot in time.
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"𝚃𝚑𝚎 𝚌𝚘𝚗𝚝𝚛𝚊𝚍𝚒𝚌𝚝𝚒𝚘𝚗𝚜 𝚘𝚏 𝚋𝚕𝚊𝚌𝚔 𝚖𝚎𝚝𝚊𝚕 𝚊𝚛𝚎 𝚠𝚑𝚊𝚝 𝚔𝚎𝚎𝚙 𝚖𝚎 𝚌𝚘𝚖𝚒𝚗𝚐 𝚋𝚊𝚌𝚔 𝚝𝚘 𝚒𝚝 (𝚊𝚕𝚜𝚘 𝚋𝚎𝚌𝚊𝚞𝚜𝚎 𝚒𝚝’𝚜 𝚝𝚑𝚎 𝚘𝚗𝚕𝚢 𝚜𝚞𝚋-𝚐𝚎𝚗𝚛𝚎 𝚘𝚏 𝚖𝚎𝚝𝚊𝚕 𝚝𝚘 𝚑𝚊𝚟𝚎 𝚊 𝚗𝚎𝚠 𝚜𝚌𝚑𝚘𝚘𝚕 𝚘𝚏 𝚊𝚌𝚊𝚍𝚎𝚖𝚒𝚌 𝚜𝚝𝚞𝚍𝚒𝚎𝚜 – 𝚋𝚕𝚊𝚌𝚔 𝚖𝚎𝚝𝚊𝚕 𝚝𝚑𝚎𝚘𝚛𝚢 – 𝚗𝚊𝚖𝚎𝚍 𝚊𝚏𝚝𝚎𝚛 𝚒𝚝). 𝙸𝚝𝚜 𝚖𝚒𝚗𝚒𝚖𝚊𝚕𝚒𝚜𝚖 𝚒𝚜 𝚜𝚘 𝚎𝚡𝚝𝚛𝚎𝚖𝚎 𝚊𝚜 𝚝𝚘 𝚖𝚊𝚔𝚎 𝚒𝚝 𝚊𝚌𝚌𝚎𝚜𝚜𝚒𝚋𝚕𝚎 𝚝𝚘 𝚊𝚗 𝚎𝚟𝚎𝚗 𝚠𝚒𝚍𝚎𝚛 𝚙𝚘𝚘𝚕 𝚘𝚏 𝚙𝚎𝚘𝚙𝚕𝚎 𝚝𝚑𝚊𝚗 𝚘𝚝𝚑𝚎𝚛 𝚖𝚘𝚛𝚎 𝚎𝚜𝚝𝚊𝚋𝚕𝚒𝚜𝚑𝚎𝚍 𝙳𝙸𝚈 𝚖𝚞𝚜𝚒𝚌𝚊𝚕 𝚐𝚎𝚗𝚛𝚎𝚜, 𝚊𝚗𝚍 𝚢𝚎𝚝 𝚝𝚑𝚎 𝚐𝚎𝚗𝚛𝚎 𝚒𝚜 𝚛𝚎𝚙𝚕𝚎𝚝𝚎 𝚠𝚒𝚝𝚑 𝚎𝚕𝚒𝚝𝚒𝚜𝚖 𝚊𝚗𝚍 𝚌𝚕𝚊𝚒𝚖𝚜 𝚘𝚏 𝚒𝚗𝚝𝚛𝚒𝚗𝚜𝚒𝚌𝚊𝚕𝚕𝚢 𝚊𝚕𝚘𝚘𝚏 𝚍𝚎𝚝𝚊𝚌𝚑𝚖𝚎𝚗𝚝 𝚏𝚛𝚘𝚖 𝚖𝚘𝚜𝚝 𝚘𝚏 𝚕𝚒𝚟𝚒𝚗𝚐 𝚑𝚞𝚖𝚊𝚗 𝚠𝚘𝚛𝚕𝚍. 𝙸𝚝'𝚜 𝚜𝚘𝚍𝚍𝚎𝚗 𝚠𝚒𝚝𝚑 𝚌𝚘𝚗𝚜𝚎𝚛𝚟𝚊𝚝𝚒𝚟𝚎 𝚋𝚒𝚐𝚘𝚝𝚛𝚢, 𝚋𝚞𝚝 𝚊𝚕𝚜𝚘 𝚊 𝚜𝚒𝚝𝚎 𝚏𝚘𝚛 𝚜𝚙𝚎𝚕𝚕𝚋𝚒𝚗𝚍𝚒𝚗𝚐 𝚝𝚛𝚊𝚗𝚜𝚐𝚛𝚎𝚜𝚜𝚒𝚘𝚗. 𝚃𝚑𝚎 𝚏𝚊𝚗𝚋𝚊𝚜𝚎 𝚊𝚙𝚙𝚎𝚊𝚛𝚜 𝚋𝚘𝚝𝚑 𝚎𝚗𝚘𝚛𝚖𝚘𝚞𝚜 𝚊𝚗𝚍 𝚖𝚒𝚗𝚞𝚜𝚌𝚞𝚕𝚎.

𝙼𝚢 𝚎𝚗𝚐𝚊𝚐𝚎𝚖𝚎𝚗𝚝 𝚠𝚒𝚝𝚑 𝙰𝚜𝚑𝚋𝚎𝚕 𝚑𝚊𝚜 𝚙𝚛𝚒𝚖𝚊𝚛𝚒𝚕𝚢 𝚋𝚎𝚎𝚗 𝚝𝚑𝚛𝚘𝚞𝚐𝚑 𝚊 𝚋𝚕𝚊𝚌𝚔 𝚖𝚎𝚝𝚊𝚕 𝚕𝚎𝚗𝚜, 𝚍𝚎𝚜𝚙𝚒𝚝𝚎 𝚝𝚑𝚎𝚒𝚛 𝚜𝚝𝚛𝚘𝚗𝚐 𝚜𝚕𝚘𝚠𝚌𝚘𝚛𝚎 𝚊𝚗𝚍 𝚑𝚊𝚛𝚜𝚑 𝚗𝚘𝚒𝚜𝚎 𝚏𝚕𝚊𝚟𝚘𝚞𝚛𝚜 𝚝𝚑𝚊𝚝 𝚊𝚛𝚎 𝚓𝚞𝚜𝚝 𝚊𝚜 𝚍𝚒𝚜𝚝𝚒𝚗𝚌𝚝. 𝚃𝚘 𝚍𝚒𝚜𝚝𝚒𝚕𝚕 𝚊 𝚕𝚒𝚜𝚝𝚎𝚗𝚒𝚗𝚐 𝚎𝚡𝚙𝚎𝚛𝚒𝚎𝚗𝚌𝚎 𝚒𝚜 𝚟𝚎𝚛𝚢 𝚖𝚞𝚌𝚑 𝚒𝚗 𝚐𝚘𝚒𝚗𝚐 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎 𝚒𝚗𝚝𝚎𝚗𝚝 𝚘𝚏 𝚝𝚑𝚎 𝚐𝚎𝚗𝚛𝚎, 𝚊𝚜 𝚒𝚜 𝚝𝚑𝚎 𝚠𝚒𝚕𝚏𝚞𝚕 𝚌𝚕𝚘𝚜𝚎-𝚖𝚒𝚗𝚍𝚎𝚍𝚗𝚎𝚜𝚜. 𝚈𝚘𝚞 𝚏𝚒𝚗𝚍 𝚊 𝚜𝚖𝚊𝚕𝚕 𝚛𝚘𝚘𝚖 𝚒𝚗 𝚢𝚘𝚞𝚛 𝚖𝚒𝚗𝚍 𝚒𝚗 𝚠𝚑𝚒𝚌𝚑 𝚝𝚑𝚎𝚛𝚎 𝚒𝚜 𝚗𝚘𝚝𝚑𝚒𝚗𝚐 𝚋𝚞𝚝 𝚜𝚙𝚊𝚌𝚎 𝚊𝚗𝚍 𝚊𝚒𝚛 𝚏𝚘𝚛 𝚝𝚑𝚊𝚝 𝚔𝚒𝚗𝚍 𝚘𝚏 𝚜𝚘𝚞𝚗𝚍, 𝚊𝚗𝚍 𝚢𝚘𝚞 𝚋𝚛𝚎𝚊𝚝𝚑𝚎 𝚍𝚎𝚎𝚙𝚕𝚢 𝚊𝚗𝚍 𝚋𝚕𝚘𝚌𝚔 𝚘𝚞𝚝 𝚝𝚑𝚎 𝚠𝚘𝚛𝚕𝚍. 𝚆𝚑𝚎𝚗 𝚢𝚘𝚞𝚛 𝚘𝚙𝚝𝚒𝚘𝚗𝚜 𝚊𝚛𝚎 𝚛𝚎𝚍𝚞𝚌𝚎𝚍, 𝚢𝚘𝚞𝚛 𝚙𝚘𝚒𝚗𝚝𝚜 𝚘𝚏 𝚍𝚒𝚜𝚌𝚘𝚟𝚎𝚛𝚢 𝚊𝚛𝚎 𝚜𝚑𝚊𝚛𝚙𝚎𝚛 𝚊𝚗𝚍 𝚖𝚘𝚛𝚎 𝚍𝚎𝚜𝚙𝚎𝚛𝚊𝚝𝚎, 𝚊𝚗𝚍 𝚢𝚘𝚞 𝚌𝚕𝚒𝚗𝚐 𝚝𝚘 𝚝𝚑𝚎𝚖 𝚝𝚒𝚐𝚑𝚝𝚕𝚢.

𝙸𝚜𝚘𝚕𝚊𝚝𝚒𝚘𝚗𝚒𝚜𝚖, 𝚊𝚗𝚍 𝚝𝚑𝚎 𝚕𝚎𝚗𝚐𝚝𝚑𝚜 𝚢𝚘𝚞 𝚌𝚊𝚗 𝚝𝚊𝚔𝚎 𝚠𝚒𝚝𝚑𝚒𝚗 𝚝𝚑𝚊𝚝, 𝚊𝚛𝚎 𝚟𝚎𝚛𝚢 𝚕𝚊𝚛𝚐𝚎 𝚏𝚘𝚛 𝚖𝚎 𝚒𝚗 𝚖𝚢 𝚞𝚗𝚍𝚎𝚛𝚜𝚝𝚊𝚗𝚍𝚒𝚗𝚐 𝚘𝚏 𝙰𝚜𝚑𝚋𝚎𝚕 𝚘𝚗 𝚝𝚑𝚒𝚜: 𝚝𝚑𝚎𝚒𝚛 𝚏𝚒𝚛𝚜𝚝 𝚏𝚞𝚕𝚕-𝚕𝚎𝚗𝚐𝚝𝚑 𝚜𝚝𝚞𝚍𝚒𝚘 𝚊𝚕𝚋𝚞𝚖. 𝚃𝚑𝚎 𝚜𝚌𝚛𝚎𝚊𝚖𝚜 𝚊𝚛𝚎 𝚜𝚘𝚖𝚎𝚝𝚑𝚒𝚗𝚐 𝚎𝚒𝚝𝚑𝚎𝚛 𝚓𝚞𝚜𝚝 𝚋𝚎𝚏𝚘𝚛𝚎 𝚘𝚛 𝚒𝚖𝚖𝚎𝚍𝚒𝚊𝚝𝚎𝚕𝚢 𝚊𝚏𝚝𝚎𝚛 𝚎𝚡𝚊𝚜𝚙𝚎𝚛𝚊𝚝𝚒𝚘𝚗, 𝚠𝚑𝚎𝚛𝚎 𝚝𝚑𝚊𝚝 𝚛𝚎𝚕𝚎𝚊𝚜𝚎 𝚠𝚊𝚜 𝚗𝚘𝚝, 𝚊𝚜 𝚢𝚘𝚞 𝚑𝚊𝚍 𝚑𝚘𝚙𝚎𝚍, 𝚊 𝚛𝚎𝚕𝚎𝚊𝚜𝚎. 𝚃𝚑𝚎𝚛𝚎 𝚒𝚜 𝚜𝚙𝚊𝚌𝚎 𝚊𝚛𝚘𝚞𝚗𝚍 𝚝𝚑𝚎 𝚓𝚊𝚗𝚐𝚕𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚐𝚞𝚒𝚝𝚊𝚛 𝚊𝚗𝚍 𝚏𝚕𝚞𝚝𝚝𝚎𝚛 𝚘𝚏 𝚝𝚑𝚎 𝚗𝚘𝚒𝚜𝚎, 𝚊𝚗𝚍 𝚝𝚑𝚎 𝚍𝚛𝚞𝚖𝚜 𝚍𝚘𝚗'𝚝 𝚙𝚞𝚖𝚖𝚎𝚕 𝚑𝚘𝚠 𝚢𝚘𝚞 𝚠𝚘𝚞𝚕𝚍 𝚎𝚡𝚙𝚎𝚌𝚝 𝚏𝚛𝚘𝚖 𝚏𝚎𝚎𝚕𝚒𝚗𝚐𝚜 𝚜𝚘 𝚏𝚛𝚊𝚞𝚐𝚑𝚝. 𝚃𝚑𝚊𝚝 𝚜𝚙𝚊𝚌𝚎 𝚒𝚜 𝚠𝚑𝚎𝚛𝚎 𝚢𝚘𝚞 𝚜𝚎𝚎 𝚝𝚑𝚎 𝚍𝚒𝚜𝚌𝚘𝚖𝚏𝚘𝚛𝚝, 𝚊𝚗𝚍 𝚝𝚑𝚊𝚝 𝚍𝚒𝚜𝚌𝚘𝚖𝚏𝚘𝚛𝚝 𝚒𝚜 𝚠𝚑𝚊𝚝 𝚖𝚘𝚟𝚎𝚜 𝚎𝚟𝚎𝚛𝚢𝚝𝚑𝚒𝚗𝚐 𝚊𝚛𝚘𝚞𝚗𝚍 𝚒𝚝. 𝚃𝚑𝚎𝚛𝚎 𝚒𝚜 𝚊𝚕𝚜𝚘 𝚊 𝚙𝚘𝚠𝚎𝚛𝚏𝚞𝚕 𝚚𝚞𝚎𝚎𝚛 𝚙𝚛𝚎𝚜𝚎𝚗𝚌𝚎 𝚝𝚑𝚎𝚛𝚎, 𝚘𝚏𝚝𝚎𝚗 𝚏𝚘𝚞𝚗𝚍 𝚒𝚗 𝚝𝚑𝚎 𝚌𝚊𝚛𝚎𝚏𝚛𝚎𝚎 𝚍𝚒𝚜𝚜𝚘𝚗𝚊𝚗𝚌𝚎 𝚝𝚑𝚊𝚝 𝚊𝚙𝚙𝚎𝚊𝚛𝚜 𝚝𝚘 𝚍𝚛𝚊𝚠 𝚏𝚛𝚘𝚖 𝚝𝚑𝚎 𝚖𝚘𝚛𝚎 𝚠𝚒𝚕𝚕𝚏𝚞𝚕𝚕𝚢 𝚜𝚝𝚛𝚊𝚗𝚐𝚎 𝙳𝚂𝙱𝙼 𝚋𝚊𝚗𝚍𝚜 𝚝𝚑𝚊𝚝 𝚛𝚎𝚟𝚎𝚕 𝚖𝚘𝚛𝚎 𝚜𝚘 𝚒𝚗 𝚙𝚊𝚒𝚗 𝚝𝚑𝚊𝚗 𝚑𝚎𝚊𝚟𝚒𝚗𝚎𝚜𝚜.

𝙱𝚕𝚊𝚌𝚔 𝚖𝚎𝚝𝚊𝚕 𝚒𝚜 𝚘𝚟𝚎𝚛𝚙𝚘𝚠𝚎𝚛𝚒𝚗𝚐 𝚖𝚞𝚜𝚒𝚌 𝚏𝚘𝚛 𝚜𝚖𝚊𝚕𝚕 𝚜𝚙𝚊𝚌𝚎𝚜. 𝚃𝚑𝚒𝚜 𝚙𝚊𝚛𝚝 𝚒𝚜 𝚙𝚛𝚘𝚋𝚊𝚋𝚕𝚢 𝚠𝚑𝚎𝚛𝚎 𝚖𝚢 𝚒𝚗𝚍𝚒𝚐𝚗𝚊𝚗𝚝 𝚘𝚋𝚜𝚎𝚜𝚜𝚒𝚘𝚗 𝚠𝚒𝚝𝚑 𝚍𝚎𝚜𝚌𝚛𝚒𝚋𝚒𝚗𝚐 𝙰𝚜𝚑𝚋𝚎𝚕 𝚝𝚑𝚞𝚜𝚕𝚢 𝚏𝚊𝚕𝚕𝚜 𝚘𝚟𝚎𝚛, 𝚊𝚜 𝚝𝚑𝚎 𝚠𝚊𝚢 𝚝𝚑𝚎𝚢 𝚎𝚡𝚙𝚊𝚗𝚍 𝚊𝚗𝚍 𝚏𝚒𝚕𝚕 𝚠𝚑𝚊𝚝𝚎𝚟𝚎𝚛 𝚙𝚎𝚛𝚏𝚘𝚛𝚖𝚊𝚗𝚌𝚎 𝚜𝚙𝚊𝚌𝚎 𝚝𝚑𝚎𝚢'𝚛𝚎 𝚒𝚗 𝚜𝚑𝚘𝚠𝚜 𝚊 𝚗𝚎𝚎𝚍 𝚝𝚘 𝚜𝚑𝚊𝚛𝚎 𝚝𝚑𝚎 𝚙𝚑𝚢𝚜𝚒𝚌𝚊𝚕𝚒𝚝𝚢 𝚘𝚏 𝚝𝚑𝚎𝚒𝚛 𝚜𝚘𝚞𝚗𝚍. 𝙱𝚞𝚝... 𝚗𝚘, 𝙸'𝚕𝚕 𝚜𝚝𝚒𝚌𝚔 𝚝𝚘 𝚖𝚢 𝚛𝚒𝚐𝚒𝚍𝚒𝚝𝚢 𝚏𝚘𝚛 𝚊 𝚋𝚒𝚝 𝚕𝚘𝚗𝚐𝚎𝚛, 𝚋𝚎𝚌𝚊𝚞𝚜𝚎 𝚑𝚎𝚛𝚎-𝚒𝚗 𝚕𝚒𝚎𝚜 𝚊𝚗𝚘𝚝𝚑𝚎𝚛 𝚠𝚘𝚗𝚍𝚎𝚛𝚏𝚞𝚕 𝚌𝚘𝚗𝚝𝚛𝚊𝚍𝚒𝚌𝚝𝚒𝚘𝚗 𝚒𝚗 𝚋𝚕𝚊𝚌𝚔 𝚖𝚎𝚝𝚊𝚕: 𝚒𝚝 𝚒𝚜 𝚋𝚘𝚝𝚑 𝚏𝚛𝚘𝚣𝚎𝚗 𝚊𝚗𝚍 𝚟𝚒𝚘𝚕𝚎𝚗𝚝, 𝚞𝚗𝚝𝚎𝚝𝚑𝚎𝚛𝚎𝚍 𝚊𝚗𝚍 𝚜𝚑𝚊𝚌𝚔𝚕𝚎𝚍, 𝚘𝚙𝚙𝚛𝚎𝚜𝚜𝚎𝚍 𝚊𝚗𝚍 𝚕𝚒𝚋𝚎𝚛𝚊𝚝𝚎𝚍. 𝙰𝚜𝚑𝚋𝚎𝚕 𝚏𝚒𝚕𝚕 𝚜𝚘 𝚖𝚊𝚗𝚢 𝚙𝚘𝚒𝚗𝚝𝚜 𝚒𝚗 𝚝𝚑𝚒𝚜 𝚖𝚞𝚜𝚒𝚌𝚊𝚕 𝚕𝚎𝚡𝚒𝚌𝚘𝚗, 𝚜𝚘𝚖𝚎𝚑𝚘𝚠 𝚛𝚎𝚌𝚘𝚐𝚗𝚒𝚣𝚒𝚗𝚐 𝚝𝚑𝚎 𝚜𝚙𝚎𝚌𝚝𝚛𝚞𝚖 𝚠𝚒𝚝𝚑𝚒𝚗 𝚝𝚑𝚎 𝚏𝚘𝚛𝚖 𝚊𝚝 𝚝𝚑𝚎 𝚜𝚊𝚖𝚎 𝚝𝚒𝚖𝚎 𝚊𝚜 𝚋𝚎𝚒𝚗𝚐 𝚝𝚘𝚛𝚗 𝚊𝚙𝚊𝚛𝚝 𝚋𝚢 𝚝𝚑𝚎 𝚋𝚒𝚗𝚊𝚛𝚢 𝚘𝚙𝚙𝚘𝚜𝚒𝚝𝚒𝚘𝚗𝚜 𝚝𝚑𝚊𝚝 𝚔𝚎𝚎𝚙 𝚝𝚑𝚎 𝚜𝚝𝚢𝚕𝚎 𝚊 𝚕𝚒𝚟𝚒𝚗𝚐, 𝚋𝚛𝚎𝚊𝚝𝚑𝚒𝚗𝚐, 𝚍𝚢𝚒𝚗𝚐, 𝚊𝚗𝚍 𝚛𝚎𝚜𝚞𝚛𝚛𝚎𝚌𝚝𝚒𝚗𝚐 𝚝𝚑𝚒𝚗𝚐."
–̲–̲–̲–̲–̲–̲
The band was born out of a shared idea that noise and music should not only complement each other but to use noise as another instrument itself. They take inspiration from heavy music, harsh noise and industrial sounds, as well as free-improvisation; disparate influences range from black metal, Japanese hardcore and grindcore acts like ENDON, Swarrrrm, Stubborn Father, to jazz avant-garde greats Marc Ribot, Patty Waters, Diamanda Galas and tempo-shifts which invoke a Codeine-esque melancholic atmosphere.

Tracklist

1.	Painaway	3:55

2.	Catastrophe	4:21

3.	PTG	4:31

4.	Out	1:40

5.	Kitchen	6:05

6.	Absolved	6:53

Videos

Credits

released January 18, 2020

ａｓｈｂｅｌ
Khoa Anh Phạm • Lulu Collard • Jarvis Halfpenny
–̲–̲–̲–̲–̲–̲
Produced by Khoa, Lulu and Christopher Sprake
Recorded on Occupied Land at Bakehouse Studios on Oct 4, 2019
Mixed and mastered on Dec 21, 2019 + Jan 1, 2020
lastmatchrecordings.com
Bass guitar performed by Tree Fu
Art direction + packaging by Khoa and Lulu
Sigil by Jarvis
Insert short essay kindest courtesy of John Alexander Stevens
Inlay short story kindest courtesy of Scarlett Viney
–̲–̲–̲–̲–̲–̲
Special Thanks to, in no particular order: Diploid, John Alexander Stevens, Xandra Metcalfe, Scarlett Viney, Darcy Hytt, Llewelyn Crist, Dominic Lewis, Dan Lewis, George McNab, Bambi Hamson, Rei Kingsland, Samuel Edvardsson, Joel Morrison, Jed Hyndman, Coward Punch, Adore, AMBUR, The World at a Glance, NoLA, Special Award Records, Reduction Group, Bakehouse Studios, and to everyone who believed in our clouded vision
“...𝘸𝘦 𝘫𝘶𝘴𝘵 𝘸𝘢𝘯𝘵𝘦𝘥 𝘵𝘰 𝘵𝘩𝘢𝘯𝘬 𝘺𝘰𝘶 𝘧𝘰𝘳 𝘴𝘵𝘢𝘺𝘪𝘯𝘨.”

‡
𝘁 𝗿 𝗮 𝗴 𝗶 𝗰 𝘀 𝗼 𝘂 𝗻 𝗱 𝘁 𝗿 𝗮 𝗰 𝗸
ashbel.bandcamp.com

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