Cleric, Pyrrhon, Seven)Suns

A four piece from Philadelphia, Cleric's music mixes elements of grindcore, avant garde composition, doom and... something else entirely? Influenced by other metal pioneers such as Meshuggah, Converge, Fantômas, and Neurosis, their music zeroes in on a level of brutality and experimentation that a single band rarely maintains even for a few seconds. In their six years since inception, Cleric has released a number of EPs and a 12" picture disk through Sound Devastation Records (UK), all of which (for their very high quality and unique & intricate sounds and artwork) have garnered praise and die-hard underground accolade. Having been around awhile, and taken a lot of shit & not given up & built themselves up internally to handle whatever bullshit this world flings their way, this band is just beginning its walk down their shining path.

Continuing to shapeshift and unravel, while using unorthodox songwriting techniques that border on the incomprehensible, avant-garde extreme metal quartet PYRRHON return with What Passes For Survival. Dense, volatile, and drenched in manic ferocity, What Passes For Survival is an aural challenge that refuses to adhere to genre conventions, merging strategic orchestrated bursts of death metal chaos with expanses of unhinged improvisation. The latest stage of PYRRHON’s metamorphosis is one that demands repeated audio submersion from the listener, and satisfies those craving sonic extremity that pushes limits.

SEVEN)SUNS is, according to the awesome people at Static Age Records in Asheville, NC, "Apocalyptic, Avant-Garde Chamber Metal". We liked that description so much that we edited our bio to reflect that change. Our repertoire is drawn from works by the members of the group, re-imagined string quartet versions of metal and hardcore songs, as well as music from the Western art music tradition that we decide fits our sound/time/place.

SEVEN)SUNS has played Terminal 5, The Gallery at Le Poisson Rouge, The Cell Theater, Firehouse Space, Shapeshifter Lab, and The Knitting Factory. We'll play a VFW hall if the promoter is cool. We'll play a university, have a workshop with students and maybe jumpstart a discussion about how genres so seemingly varied like metal and classical can reflect ideas such as class identity and how ultimately such constructs and labels are false. We'll play anywhere catharsis can happen.

This is what SEVEN)SUNS has been up to recently:

We did a cover Pantera's "This Love/Domination" and a cover of The Dillinger Escape Plan's "43% Burnt". The videos have received over 100,000 views combined and led to features on numerous heavy metal websites such as Metal Injection,, and, among others.

This, in turn, has led to a collaboration with The Dillinger Escape Plan. We recorded string parts on a few songs on their upcoming album and as such, will be featured on it. As a fan, I can barely restrain myself from writing this in all caps.

We've worked with the composer Daniel Bernard Roumain, performing his work "A Civil Rights Reader as Democratic Vistas" featuring the writer and poet Carl Hancock Rux.

We've also enjoyed a residency at the chamber music retreat, Avaloch Farm, last year and count ourselves lucky enough to be invited to return this coming summer.

As far as upcoming events, in the works are shows this summer and fall at Rockwood in NYC and the metal club St. Vitus in Brooklyn.

SEVEN)SUNS recently received a generous grant from the Brooklyn Arts Council to write and perform a piece tentatively titled "Songs of the Voiceless" based on our visits to Rikers Island Correctional Facility in New York City. We have been volunteering there playing music for inmates in conjunction with the Rangjung Dharma Prison Project- a Tibetan Buddhist organization whose mission is to teach meditation and provide guidance to inmates.


Amanda Lo: violin

Earl Maneein and Fung Chern Hwei: violin and viola

Jennifer DeVore: cello


Tickets Available at the Door

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Saint Vitus