No Clean Singing today premieres a slamming new video for “Hello Hell,” the title track to the second album from Boston-based dissonant noise-punks MIRACLE BLOOD. The video serves as the third single from the album, nearing November release on Nefarious Industries.
Hello Hell shows MIRACLE BLOOD stepping up their game in every way, slamming the listener with ten ripping tracks in under thirty-two minutes, with a sound that is meaner, heavier, and noisier than its predecessor. The record was produced with Alex Allinson at The Bridge Sound & Stage (BEDTIMEMAGIC, The Freqs, Lesotho) and mastered by Brad Boatright (The Armed, Sleep, Nails). The record features guests from Sapling and BEDTIMEMAGIC joining the MIRACLE BLOOD crew on gang vocals, and the record is completed with art and design by guitarist/vocalist Andrew Wong.
Wong reveals, “‘Hello Hell’ is definitely the heaviest song we’ve ever put out thus far. We knew we wanted to start taking our sound in a heavier direction for a while, even before we started writing this album. When Anthony joined the band on drums, it all just clicked. We all grew up playing metal, punk and hardcore, so making things heavier just felt natural to us and we had a lot of fun pushing things in that direction. The song, ‘Hello Hell,” is a perfect example of that. It has all the dissonance and stank we had built into our sound and also a heaviness that wasn’t there before. The lyrics are about waking up in the morning, heavy stuff.”
The “Hello Hell” video was filmed by Jack Durham and Grant Butler and edited by Andrew Wong. Wong continues, “For the video, we wanted to highlight our live show. We really consider ourselves a ‘live band.’ The footage is from two different shows from our Summer tour: Athens, Georgia and Richmond, Virginia. Both shows were amazing; People came out and really gave all the energy we were giving right back. It was awesome.”
No Clean Singing’s premiere writeup reads in part, “‘Hello Hell’ is built around an infectious throbbing pulse, menacing at first and then pulverizing, like a bulldozer moving in bursts, accompanied by the pop of knee-capping drums. The high-flown singing comes as a sudden surprise — and it just makes the eruption of scorching screams and cataclysmic grooves even more surprising. Back and forth it goes, the trade-offs between those intense melodic wails and ignitions of vocal incineration, while the big bass-throbs and neck-cracking drums continue their body-moving work. Also in the mix are freakishly screeching guitar-tones that remind us the song is succeeding in pounding its way down into hell.”
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