{"title":"CONVERGE","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOfficial CONVERGE merch.\u003c\/span\u003e","products":[{"product_id":"converge-jane-doe-t-shirt","title":"CONVERGE \"Jane Doe\" T-Shirt","description":"\u003cp\u003eOfficially Licensed Merchandise.\u003c\/p\u003e","brand":"KINGS ROAD MERCH","offers":[{"title":"SMALL","offer_id":44163668114,"sku":"APP-33112-01-S","price":26.99,"currency_code":"EUR","in_stock":true},{"title":"MEDIUM","offer_id":44163668178,"sku":"APP-33112-02-M","price":26.99,"currency_code":"EUR","in_stock":true},{"title":"LARGE","offer_id":44163668242,"sku":"APP-33112-03-L","price":26.99,"currency_code":"EUR","in_stock":true},{"title":"X-LARGE","offer_id":44163668306,"sku":"APP-33112-04-EL","price":26.99,"currency_code":"EUR","in_stock":false},{"title":"2X-LARGE","offer_id":44163668370,"sku":"APP-33112-05-EEL","price":26.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/converge-jane-doe-t-shirt-1500559.jpg?v=1766867711"},{"product_id":"converge-axe-to-fall-lp","title":"CONVERGE \"Axe To Fall\" LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan class=\"s2\"\u003eIt never ceases to amaze me how the things we initially dismiss, overlook, don’t notice can become the most important and meaningful to us and our lives. \u003cbr\u003e \u003cbr\u003e The first time I saw Converge was in 1996 with Deadguy, Coalesce and a number of other bands whose names are now lost to memory in a Legion Hall in a rundown part of Buffalo, NY. I’d like to say they changed my life that night but they didn’t — not that night, anyway. However, there was something about the way their rail-thin singer (Jacob Bannon) threw himself without regard into his performance, and the audience, and glimpses of the more than then-typical Victory Records mosh in their music that spoke of things to come. If you told me that band (Converge, I would discover later while buying Deadguy merch) would become one of the most important to not only myself but to aggressive music and its various scenes and factions, I would have cracked a smile, at the very least. Funny, how things turn out. \u003cbr\u003e \u003cbr\u003e Formed in the winter of 1990 in Boston, MA, during the rise and subsequent fall of the legendary Boston hardcore scene, Converge are unarguably one of the most important bands in the history of aggressive music. Through numerous line-up changes (the band are currently comprised of vocalist\/visual design terrorist Jacob Bannon, drummer Ben Koller, guitarist\/back-up vocalist Kurt Ballou and bassist\/back-up vocalist Nate Newton), musical trends (mosh, tech, guys crying and wearing make-up, ’80s thrash revival) and the coming and going of more “the next great thing” than I care to recall, Converge have established themselves as leaders in the aggressive music underground. \u003cbr\u003e \u003cbr\u003e It seems redundant to use the word “landmark” when discussing their musical canon, as almost every album is genre-defining, but Converge’s run is unparalleled. Releases such as Petitioning the Empty Sky (1997), When Forever Comes Crashing (1998), Jane Doe (2001), You Fail Me (2004) and No Heroes (2006) have established Converge as trendsetters and innovators, setting new standards in hardcore and metal with each release. These records have evolved the band (from their thrash-inspired, hardcore-drenched beginnings to slower, more ominous and atmospheric work to all-out Tsunami-of-hostility hell-bent on levelling creation) and produced new waves of followers and emulators with each successive work. Honestly, has there been a band more influential on past and present “successful” metal\/hardcore acts as unaccredited? It’s true: integrity has its price. \u003cbr\u003e \u003cbr\u003e After nearly 20 years, such a glorious run of releases and a live show that’s gone from flailing kids flailing against kids to legendary exorcism for both band and audience — watch the pit during “The Saddest Day” and tell me it’s not the closest thing to a near-religious experience atheists will ever have — Converge could be forgiven for releasing an endeavour that was simply good, okay, just maintaining their status quo. After all, it’s much easier to win the title than retain it, and even the greats slip from time to time. Axe To Fall (Converge’s third release for indie institution Epitaph Records), however, is no such relapse. \u003cbr\u003e \u003cbr\u003e True to themselves and their art, as always, no matter the cost, Axe To Fall continues to push relentlessly forward, much like a shark that needs to always keep swimming to survive. Where No Heroes was a refinement and broadening of hostilities declared on previous assaults such as Jane Doe, Axe To Fall returns to the more AmRep-inspired noisecore abrasions of You Fail Me while also updating and making vital the thrash influences that defined earlier Converge efforts (Caring and Killing, Petitioning the Empty Sky) and retaining the hardcore hostilities and frantic pace so vital to their foundation. Of course, the experimental anguish and pleading for salvation are no mere sharpening of past knives but yet another leap forward in an existence full of them. \u003cbr\u003e \u003cbr\u003e From frenetic, frantic opening track “Dark Horse,” which is a downhill avalanche of ferocity culminating in one of the heaviest riffs Converge have ever laid listeners to waste with, to “Worms Will Feed,” an ominous exploration that ebbs and flows, building upon crashing then retreating waves of music and lyrical condemnations (“the worms will find a way, the rats will find a way”), to the barely restrained chaos of “Losing Battle” and Axe To Fall’s sanguine, beautiful, climatic seven-minute-plus dénouement, “Wretched Word,” Axe To Fall isn’t just another mere “release” or record from spoiled kids discovering metal and crying about how difficult life is in the suburbs. Axe To Fall is a nearly two-decade culmination of hard roads travelled and unwanted, but necessary, lessons learned, of prayers for salvation lost to the wind and too-fleeting nights where everything was still, if only for a moment, consumed by morning’s inevitable advance, of crushing defeats and the realization that the war only ends when we do, and it’s not one we can win, merely endure. \u003cbr\u003e \u003cbr\u003e Once again recorded by Converge’s resident engineering genius Kurt Ballou, whose God City Recording Studios has become the Mecca for aggressive music’s elite to congregate at for assistance realizing their sonic sermons (from Trap Them and Genghis Tron to Torche and Buried Inside), Axe To Fall is as sonically dense a tapestry and punishing a release as Converge have ever conceived, once again perfectly echoing musically Bannon’s heart-ripped-out-of-chest-but-still-beating lyrics. It’s the summation of experiences learned working on records such as No Heroes and You Fail Me, also recorded by Ballou at God City, and it surpasses them. \u003cbr\u003e \u003cbr\u003e But even while Converge and Axe To Fall stand alone — as Bannon is so fond of saying live: “we’re born into this world alone, and we die alone, so make your mark while you’re here” — they’ve never forgotten the core values of the hardcore scene they were raised in, and raised others on: community. Axe To Fall is Converge’s most collaborative effort to date, even while paradoxically sounding as focused as ever. Axe To Fall features the likes of John Pettibone (Undertow, Himsa), Ulf Cederlund (Entombed, Disfear), Cave In’s Steve Brodsky, Adam McGrath and J.R. Connors, F. Sean Martin (Hatebreed), George Hirsch (Blacklisted) and Genghis Tron’s Mookie Singerman, Hamilton Jordan and Michael Sochynsky, amongst others, contributing to its dense sonic soundscapes. Even Steve Von Till (of legendary star destroyers Neurosis) graces the record on “Cruel Bloom,” an ignoring of musical confines that sounds akin to something Tom Waits and Mr. Bungle might concoct if trapped in a watering hole on the fringes of Purgatory right before the end-time hit. \u003cbr\u003e \u003cbr\u003e Something Bannon said to me years ago during our very first interview has stuck with me ever since: that hardcore needs to be about something more than bad poetry and Slayer riffs. And that search for and desire to be something more have defined Converge since their inception, and continue to propel them and their art ever-forward. Through sheer hard work, perseverance and an unwavering commitment to artistic integrity Converge have risen from humble beginnings to become that mercurial and so very rare “something more.” Axe To Fall continues their reign, long may it last. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eTracklist:\u003c\/b\u003e\u003cbr\u003e 01. Dark Horse (02:54)\u003cbr\u003e 02. Reap What You Sow (02:39)\u003cbr\u003e 03. Axe To Fall (01:41)\u003cbr\u003e 04. Effigy (01:42)\u003cbr\u003e 05. Worms Will Feed \/ Rats Will Feast (05:52)\u003cbr\u003e 06. Wishing Well (02:49)\u003cbr\u003e 07. Damages (04:26)\u003cbr\u003e 08. Losing Battle (01:46)\u003cbr\u003e 09. Dead Beat (02:36)\u003cbr\u003e 10. Cutter (01:40)\u003cbr\u003e 11. Slave Driver (02:48)\u003cbr\u003e 12. Cruel Bloom (04:01)\u003cbr\u003e 13. 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While the album blazes out of the gate with the aptly titled \"Heartache,\" songs like \"Orphaned\" and the intense \"Plagues\" prove that breakneck speed and heaviness aren't necessarily interrelated, and when Converge lower the tempo, they're able to effortlessly transcend traditional notions of heaviness. Devotees of \"Jane Doe\" will also be blown away by epic tracks like the nine-minute \"Grim Heart\/Black Rose,\" a doom masterpiece which features guest vocals from Only Living Witness' Jonah Jenkins. From Bannon's captivating artwork and introspective lyrics to Ballou's masterful production techniques, Converge's artistic vision has always separated the band from their peers, and \"No Heroes\" is no exception. Simply a great album.\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Heartache\u003cbr\u003e02. Hellbound\u003cbr\u003e03. Sacrifice\u003cbr\u003e04. Vengeance\u003cbr\u003e05. Weight Of The World\u003cbr\u003e06. 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The release was also remastered by Alan Douches (Motorhead, Mastodon), and repackaged \u2028by vocalist\/artist Jacob Bannon.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePressing Information:\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e100 - Clear (Friends \u0026amp; Family)\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e522 - White \/ Transparent Red - Half \u0026amp; Half (DW North America Exclusive)\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e523 - Black \/ Transparent Red - Half \u0026amp; Half (DW Europe Exclusive)\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e518 - Black in Transparent Red - Color in Color (Converge Store Exclusive)\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e522 - Transparent Red w\/ Black Splatter (Newbury Comics Exclusive)\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e1954 - White\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e2035 - Black w\/ Splatter\u003c\/span\u003e\u003c\/p\u003e","brand":"DEATHWISH INC.","offers":[{"title":"CLEAR W\/ RED \u0026 WHITE SPLATTER","offer_id":22605441892412,"sku":"MUS-33823-01-CWR","price":29.99,"currency_code":"EUR","in_stock":false},{"title":"CLOUDY CLEAR","offer_id":39663768076348,"sku":"MUS-33823-02-CC","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"BLACK","offer_id":303029157906,"sku":"MUS-33823-03-B","price":29.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/CONVERGE-You_Fail_Me.jpg?v=1766067069"},{"product_id":"converge-jane-doe-red-t-shirt","title":"CONVERGE \"Jane Doe - Red\" T-Shirt","description":"\u003cp\u003eOfficially Licensed Merchandise.\u003c\/p\u003e","brand":"KINGS ROAD MERCH","offers":[{"title":"SMALL","offer_id":31411140919356,"sku":"APP-35319-01-S","price":26.99,"currency_code":"EUR","in_stock":false},{"title":"MEDIUM","offer_id":31411140952124,"sku":"APP-35319-02-M","price":26.99,"currency_code":"EUR","in_stock":true},{"title":"LARGE","offer_id":31411140984892,"sku":"APP-35319-03-L","price":26.99,"currency_code":"EUR","in_stock":false},{"title":"X-LARGE","offer_id":31411141017660,"sku":"APP-35319-04-EL","price":26.99,"currency_code":"EUR","in_stock":true},{"title":"2X-LARGE","offer_id":31411141050428,"sku":"APP-35319-05-EEL","price":26.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/CONVERGE-Jane_Doe_Red-TS-F.jpg?v=1766066830"},{"product_id":"converge-jane-doe-tote-bag","title":"CONVERGE \"Jane Doe\" Tote Bag","description":"","brand":"KINGS ROAD MERCH","offers":[{"title":"Default Title","offer_id":31507239862332,"sku":"ACC-35402-01","price":12.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/CONVERGE-Jane_Doe-Tote_Bag.jpg?v=1576231929"},{"product_id":"converge-blood-moon-i-2xlp","title":"CONVERGE \"Bloodmoon: I\" 2xLP","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cspan style=\"color: #000000;\"\u003e“We wanted to do something grander than the typical four-piece Converge music.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eThat’s Converge vocalist Jacob Bannon talking about the seed of inspiration that eventually bloomed into Bloodmoon: I, the new collaborative album created by the legendary hardcore band alongside dark songstress Chelsea Wolfe, her bandmate\/writing partner Ben Chisholm and Cave In vocalist\/guitarist Steve Brodsky.\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e“I’ve been a fan of Chelsea and Ben’s work for some time,” Bannon says. “I bought the Apokalypsis record from Aquarius Records in San Francisco, and Ben and I started communicating here and there. He had roots in this world of music, so it started to make sense that we could all work together in some way.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e“Ben introduced me to Converge when we started playing music together in 2009,” Wolfe says. “A couple of years later, we saw that Converge had put Apokalypsis on a year-end list, so we were totally fanning out about that. When they reached out to Ben about performing some Converge songs with new arrangements, I said, ‘I want in on that...’ And it seems like they were happy to have me along.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eFast forward to a 2016 European tour and a rapturously received appearance at Roadburn that saw all seven musicians performing revamped Converge material. Overnight, what had started as a mutual admiration society had become one of the most formidable musical constellations in recent memory. “We felt like there was enough energy in the live collaboration to actually create new music together,” Converge guitarist and Bloodmoon: I producer Kurt Ballou explains. “It just took a few years to free up the time to get together.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eThe musicians descended upon Ballou’s God City Studios in Salem, Massachusetts, to work on material in late 2019. Future sessions were planned for 2020, but then the pandemic hit. The rest of Bloodmoon: I was recorded remotely, though you’d never know it. “I wanted a record that breathed like a band playing together in a room, even if it wasn’t possible during this time period,” Ballou says. “It feels like we achieved that.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eHarrowing and atmospheric, triumphant and melodious, Bloodmoon: I is Converge as you’ve never heard them before. It’s Chelsea Wolfe and Ben Chisholm as you’ve never heard them before. It’s Steve Brodsky as you’ve almost never heard him before—after all, he was a member of Converge in the late ’90s and played bass on 1998’s When Forever Comes Crashing.\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e“It’s been a real treat to see one of my favorite bands continue to do cool stuff and break the molds of what’s considered hardcore and punk,” Brodsky says of Bloodmoon: I. “It’s a very rare thing in this kind of music to go an experimental route and challenge the quote-unquote ‘rules’ of what’s been laid out beforehand—and do it successfully.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eAs Bannon points out, Bloodmoon: I has been a long time coming—longer, even, than the 2016 shows would indicate. The members of Converge—Ballou, Bannon, bassist Nate Newton, and drummer Ben Koller—tipped their hand ever so slightly with the release of 2009’s Axe To Fall, which featured a lengthy list of guest musicians, including members of Neurosis, Entombed, and Genghis Tron—not to mention Brodsky and some of his Cave In bandmates.\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e“Kurt and I have been talking about trying to do something more collaborative even prior to the Axe To Fall album,” Bannon reveals. “For years, there was talk of doing ‘Con-Cave’ or ‘Verge-In,’ a Converge and Cave In supergroup, and some versions of those songs ended up on Axe To Fall. But this is different.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eThrilling in its apocalyptic grandeur, Bloodmoon: I is a collaborative work in every way—to the point where Wolfe, Bannon, and Brodsky found themselves writing lyrics for each other. “That’s one of the keys to the album,” Ballou points out. “Sometimes when there’s a collaborative group, it just sounds like such-and-such a person doing the thing they do in their band while the other people are doing the things they do in their bands. So for Jake to write lyrics for Chelsea or for Chelsea to write lyrics for Steve, it forces each person to approach the vocals in a way that’s unique to the project.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eHolding down the fort at GodCity while tracks came in from across the country, Ballou and Bannon were often surprised by the songs Wolfe chose to sing on. “I was surprised as well,” she confirms. “The project stretched my vocals in new ways. It’s so different than what I normally sing over that I was able to open up and be vulnerable with my vocals. I feel like I also heard that with Jake and Steve. It became one of the most fun recording experiences I’ve had in a long time.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e“As someone who’s been making loud music with the same guys for a long time, adding new elements to what we’re doing and having a new version of the band is very exciting,” Bannon enthuses. “Our dynamics are pushing and pulling in all different directions on this record, and I find that to be creatively rewarding.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003eIndeed, the more hectic and seemingly Converge-esque material like “Lord of Liars” or the Cave In-like “Failure Forever” quickly veer into unexpected territory as Bannon trades vocal parts with Wolfe on the former and Brodsky on the latter. And even those tracks are outliers on an album that can’t be pinned down as the work of any one of its creators. Epic opener “Blood Moon” and the profoundly haunting “Coil” might be the best examples of this. They mark an indelible and climactic collision of artists working at the height of their collective powers.\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e“With a project like this, egos could have really flared up,” Brodsky says with a laugh. “But I feel like everyone just kept the music in mind and wanted to do what’s best for the song. We’ve all done this enough to know that if we don’t get our way every time a decision needs to be made, we’ll be okay. We’ll get our time in the sun at some point.”\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e“It’s hard to find new ways to be creative, but I think we’ve been good at sort of forcing ourselves to do that,” Ballou says. “And this project is no exception. Getting Steve and Chelsea and Ben to contribute with us, we were kind of playing musical Cupid with all of them. But we had a feeling that if we got this group of people together, something powerful would come out of it.”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003eTrack Listing:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e01. Blood Moon \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e02. Viscera of Men \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e03. Coil  \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e04. Flower Moon\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e05. Tongues Playing Dead\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e06. Lord of Liars  \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e07. Failure Forever\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e08. Scorpion’s Sting\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e09. Daimon\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e10. 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The ninth full-length from the Boston-based heavy-music innovators—vocalist Jacob Bannon, guitarist Kurt Ballou, bassist Nate Newton, and drummer Ben Koller—The Dusk In Us proves to be both dark and hopeful, abrasive and melodic, devastating and powerfully cathartic. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIn recording The Dusk In Us, Converge once again worked in Ballou’s renowned Godcity Studios in Salem, Massachusetts. Produced by the band and mixed by Ballou, the album matches its raw energy with a subculture-crossing inventiveness that’s earned Converge longtime reverence within the punk, metal, and hardcore scenes. One of Converge’s most dynamic and avant-garde albums to date, The Dusk In Us unfolds with an uncompromising honesty born from “writing about experiences in my life and working through the complexities of those things through song,” as Bannon explains. \u003cbr\u003e\u003cbr\u003eOn the album-opening “A Single Tear,” pummeling drums and caustic riffs form the backdrop to strikingly vulnerable lyrics like “When I held you for the first time\/I knew I had to survive.” (“‘A Single Tear’ is about becoming a parent, and the perspective and strength it can give,” Bannon notes.) With its abrasive guitar work and menacing undertones, “Under Duress” brings a tortured howl to lyrics channeling what Bannon describes as “my emotional reaction to the complex world in which we live.” A frenzied blast of pure fury, “I Can Tell You About Pain” offers what NPR recently hailed as “hardcore-fueled extreme music that simultaneously elevates and destroys.” And on the seven-minute-plus title track to The Dusk in Us, Converge deliver a slow-building, quietly haunting epic of ethereal beauty. \u003cbr\u003e\u003cbr\u003eConverge formed in Massachusetts in 1990, then made their debut with 1994’s Halo in a Haystack. Soon regarded as pioneers within the aggressive music arena, the band had a major breakthrough with their landmark album Jane Doe—a 2001 release praised as “iconic” by the A.V. Club (who also noted that Jane Doe “reaches canonical status with every re-listen”). The Dusk In Us arrives as the follow-up to 2012’s All We Love We Leave Behind, an album that Consequence Of Sound called “as skull-cleaving as it is beautiful” and that made its way onto Pitchfork’s Best New Music list. \u003cbr\u003e\u003cbr\u003eWhile The Dusk In Us finds Converge defying boundaries and pushing into new sonic terrain, it’s also a natural progression for a band that’s long thrived on making music that both challenges and connects. “Our only goal is to create something that moves us and resonates with us emotionally,” says Bannon. “For us, it’s simply a new album about new chapters in our lives. We are a very ‘human’ band—always have been—and our songs are all rooted in our real-life experiences. 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Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration with Chelsea Wolfe, they have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination.\u003c\/p\u003e\n\u003cp\u003eIt seems unlikely that anyone who has been making music for this long would create one of their best works for their eleventh album, in their 35th year as a band. And yet: Love is Not Enough might be the apotheosis of Converge’s decades-long journey through the punk, hardcore and metal microcosm. What vocalist\/lyricist Jacob Bannon, guitarist\/producer Kurt Ballou, bassist\/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge.\u003c\/p\u003e\n\u003cp\u003eThere isn’t an ounce of fat. 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Orange\" T-Shirt\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eYou feel it before you hear it. And once you hear it, you can’t unhear it. A low, persistent noise throbbing in the background. Scientists say it registers between 30 and 40 hertz. It’s been heard in Ipswich, Massachusetts; Auckland, New Zealand; and Windsor, Ontario. It has haunted the population of Taos, New Mexico, for decades. It’s been linked to suicides in the UK. Not everyone can hear it. No one knows where it’s coming from. They call it The Hum.\u003cbr\u003e\u003cbr\u003eConverge have taken this mysterious real-world phenomenon and reimagined it as a physical manifestation of human suffering. I read on the phenomena while researching my own tinnitus. Then an idea struck. “What if the Hum is the culmination of all the pain in the world, creating an audible signal across the universe?” vocalist and lyricist Jacob Bannon posits. “Something noticeable to others operating on a similar emotional plane.”\u003cbr\u003e\u003cbr\u003eHum of Hurt follows Love Is Not Enough as Converge’s second full-length release of 2026. Like its predecessor, the album offers a bleak yet empathetic assessment of the human condition and its ongoing deterioration. With this album, the songs are more raw and exposed. “When we came together to write, we ended up with a wealth of material,” Bannon says. “As work progressed we realized we had created two separate albums, and treated them as such.”\u003cbr\u003e\u003cbr\u003eHum of Hurt is distinct from Love Is Not Enough, but just as volatile and potent. “It’s not a sequel,” Bannon explains. “The unifying musical idea early on was, ‘Let’s make a noise rock album.’ But we never really did. The first one wasn’t. This one touches on that spirit, but it’s much more dynamic than that descriptor. To me, it leans more into being an emotional hardcore album, while Love Is Not Enough feels more metal leaning album. In the end, we simply gave creative birth to another Converge record with its own unique identity and character.\"\u003cbr\u003e\u003cbr\u003eOpener “Slip the Noose” erupts with a furious cannonade from drummer Ben Koller before launching into a short, grinding frenzy that would feel at home on Jane Doe. “Doom in Bloom” is raw and bloody, as guitarist Kurt Ballou’s spiky riffs scrape against Nate Newton’s bass and Koller’s drums. You can practically hear Bannon’s throat tearing apart in every scream. “It’s dark and pointed right at you,” he says. “Lyrically, I’m exploring how my own middle-aged introspection doesn’t always bring a brighter light. I see my own trappings reflected in those around me. Here I am imploring them to slip the noose to see another day.”\u003cbr\u003e\u003cbr\u003e“Dream Debris” is a gripping, doomy epic born from a single bass note that builds to a booming crescendo. “It has a lot of twists and turns, yet starts off incredibly simple. The slow build was driven by Nate’s vision and bass tone,” Bannon says. “We kept asking ourselves ‘Does it need anything else?’ In the end, it didn’t. It was just so heavy, encapsulating everything we wanted in the song.\"\u003cbr\u003e\u003cbr\u003eThe menacing track “Detonator” delivers a powerful line that will linger: There’s nothing to win if there’s no one to lose. “I go on a bit of a rant here,” Bannon says. “The idea is that when passion withers, the broken and beaten often remain in discomfort. The song ends with the line, ‘Don't be blown apart by your mistakes,’ which sums up the stark mentality on this one.”\u003cbr\u003e\u003cbr\u003eThe title track stands as one of the most propulsive and emotional songs of their career. Thematically, Bannon examines the price of the lives we pursue. “I’ve given 35 years of my life to creating art and music,” he says. “I appreciate the creative home and support this community has given, yet rarely is space left for anything else. These lyrics are me looking in a mirror, recognizing that I am not the man I want to be. I need change, and still have work to do.”\u003cbr\u003e\u003cbr\u003eThe album also features a new rendition of “I Won’t Let You Go,” originally recorded for the 2020 video game Cyberpunk 2077. “When we recorded the first version, Ben tracked drums in California and we assembled it here,” Bannon explains. “It was good, but we knew we could do better. This version has everything the previous one was missing. It now feels right.”\u003cbr\u003e\u003cbr\u003eHum of Hurt was recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Bannon and renowned UK artist Thomas Hooper collaborated on the album artwork.\u003cbr\u003e\u003cbr\u003e“For the cover, I had a vision of an EKG signal fusing with some kind of volatile seismography. This amalgamation represents the conditions that would theoretically create a ‘Hum.’ Specifically the heart skips beats before dissolving into static. The signal is then interrupted by a seismic event at the center point of the cover. In conversation, I shared some of these ideas with artist Thomas Hooper, who offered to illustrate them using scientific diagrams as a source of inspiration. \u003cbr\u003e\u003cbr\u003eI then spent months creating a mixed media piece for the interior,” Bannon says. “The figures represent the five elements of our planet, or ‘Pancha Bhuta’: Prithvi (Earth), Ap (Water), Agni (Fire), Vayu (Air), and Akasha (Aether). I present them in the throws of chaos, as if the elements themselves are entangled in the Hum of Hurt.”\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Slip The Noose\u003cbr\u003e02. Doom In Bloom\u003cbr\u003e03. It Only Gets Worse\u003cbr\u003e04. Detonator\u003cbr\u003e05. I Won't Let You Go\u003cbr\u003e06. It's Not Up To Us\u003cbr\u003e07. Dream Debris\u003cbr\u003e08. It Used To Matter\u003cbr\u003e09. Hum Of Hurt\u003cbr\u003e10. 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And once you hear it, you can’t unhear it. A low, persistent noise throbbing in the background. Scientists say it registers between 30 and 40 hertz. It’s been heard in Ipswich, Massachusetts; Auckland, New Zealand; and Windsor, Ontario. It has haunted the population of Taos, New Mexico, for decades. It’s been linked to suicides in the UK. Not everyone can hear it. No one knows where it’s coming from. They call it The Hum.\u003cbr\u003e\u003cbr\u003eConverge have taken this mysterious real-world phenomenon and reimagined it as a physical manifestation of human suffering. I read on the phenomena while researching my own tinnitus. Then an idea struck. “What if the Hum is the culmination of all the pain in the world, creating an audible signal across the universe?” vocalist and lyricist Jacob Bannon posits. “Something noticeable to others operating on a similar emotional plane.”\u003cbr\u003e\u003cbr\u003eHum of Hurt follows Love Is Not Enough as Converge’s second full-length release of 2026. Like its predecessor, the album offers a bleak yet empathetic assessment of the human condition and its ongoing deterioration. With this album, the songs are more raw and exposed. “When we came together to write, we ended up with a wealth of material,” Bannon says. “As work progressed we realized we had created two separate albums, and treated them as such.”\u003cbr\u003e\u003cbr\u003eHum of Hurt is distinct from Love Is Not Enough, but just as volatile and potent. “It’s not a sequel,” Bannon explains. “The unifying musical idea early on was, ‘Let’s make a noise rock album.’ But we never really did. The first one wasn’t. This one touches on that spirit, but it’s much more dynamic than that descriptor. To me, it leans more into being an emotional hardcore album, while Love Is Not Enough feels more metal leaning album. In the end, we simply gave creative birth to another Converge record with its own unique identity and character.\"\u003cbr\u003e\u003cbr\u003eOpener “Slip the Noose” erupts with a furious cannonade from drummer Ben Koller before launching into a short, grinding frenzy that would feel at home on Jane Doe. “Doom in Bloom” is raw and bloody, as guitarist Kurt Ballou’s spiky riffs scrape against Nate Newton’s bass and Koller’s drums. You can practically hear Bannon’s throat tearing apart in every scream. “It’s dark and pointed right at you,” he says. “Lyrically, I’m exploring how my own middle-aged introspection doesn’t always bring a brighter light. I see my own trappings reflected in those around me. Here I am imploring them to slip the noose to see another day.”\u003cbr\u003e\u003cbr\u003e“Dream Debris” is a gripping, doomy epic born from a single bass note that builds to a booming crescendo. “It has a lot of twists and turns, yet starts off incredibly simple. The slow build was driven by Nate’s vision and bass tone,” Bannon says. “We kept asking ourselves ‘Does it need anything else?’ In the end, it didn’t. It was just so heavy, encapsulating everything we wanted in the song.\"\u003cbr\u003e\u003cbr\u003eThe menacing track “Detonator” delivers a powerful line that will linger: There’s nothing to win if there’s no one to lose. “I go on a bit of a rant here,” Bannon says. “The idea is that when passion withers, the broken and beaten often remain in discomfort. The song ends with the line, ‘Don't be blown apart by your mistakes,’ which sums up the stark mentality on this one.”\u003cbr\u003e\u003cbr\u003eThe title track stands as one of the most propulsive and emotional songs of their career. Thematically, Bannon examines the price of the lives we pursue. “I’ve given 35 years of my life to creating art and music,” he says. “I appreciate the creative home and support this community has given, yet rarely is space left for anything else. These lyrics are me looking in a mirror, recognizing that I am not the man I want to be. I need change, and still have work to do.”\u003cbr\u003e\u003cbr\u003eThe album also features a new rendition of “I Won’t Let You Go,” originally recorded for the 2020 video game Cyberpunk 2077. “When we recorded the first version, Ben tracked drums in California and we assembled it here,” Bannon explains. “It was good, but we knew we could do better. This version has everything the previous one was missing. It now feels right.”\u003cbr\u003e\u003cbr\u003eHum of Hurt was recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Bannon and renowned UK artist Thomas Hooper collaborated on the album artwork.\u003cbr\u003e\u003cbr\u003e“For the cover, I had a vision of an EKG signal fusing with some kind of volatile seismography. This amalgamation represents the conditions that would theoretically create a ‘Hum.’ Specifically the heart skips beats before dissolving into static. The signal is then interrupted by a seismic event at the center point of the cover. In conversation, I shared some of these ideas with artist Thomas Hooper, who offered to illustrate them using scientific diagrams as a source of inspiration. \u003cbr\u003e\u003cbr\u003eI then spent months creating a mixed media piece for the interior,” Bannon says. “The figures represent the five elements of our planet, or ‘Pancha Bhuta’: Prithvi (Earth), Ap (Water), Agni (Fire), Vayu (Air), and Akasha (Aether). I present them in the throws of chaos, as if the elements themselves are entangled in the Hum of Hurt.”\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Slip The Noose\u003cbr\u003e02. Doom In Bloom\u003cbr\u003e03. It Only Gets Worse\u003cbr\u003e04. Detonator\u003cbr\u003e05. I Won't Let You Go\u003cbr\u003e06. It's Not Up To Us\u003cbr\u003e07. Dream Debris\u003cbr\u003e08. It Used To Matter\u003cbr\u003e09. Hum Of Hurt\u003cbr\u003e10. 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