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Mamaleek Vinyl, CD & tapes by Mamaleek at Norman Records

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Mamaleek
Out Of Time

San Francisco metal outfit Mamaleek are swaying further and further from their death-metal origins. Combining deathly grunting with slow beats, samples, and melodic and versatile instrumentations, the two brothers have created a haunting take on the genre. Out of Time was recorded and mixed by Jack Shirley (Deafheaven, Bosse-de-Nage), and the result is as crisp as it is eclectic and weird.

Mamaleek
Via Dolorosa

12” Vinyl LP on The Flenser. Experimental, sometimes verging on the bizarre, black metal from San Francisco. made up of two anonymous brothers Mamaleek blend extremely dark and depressing black metal with piano melodies, pop sensibilities and sections of warmth. After all, you need to get close to someone before you can stab them in the back.  For fans of Leviathan, Weakling, Fleurety.

Mamaleek
He Never Spoke A Mumblin' Word

He Never Spoke a Mumblin’ Word is the fourth full-length from electronic black metal band Mamaleek. Mixed by Jack Shirley (Deafheaven, Botanist, Wreck & Reference), the album follows sought-after releases on Furusiyya and Enemies List Home Recordings . The San Francisco-based duo is comprised of two anonymous brothers. “This record marks an end as much as a beginning. While much more was recorded during this time, these four spirituals seem to form a coherence lacking on previous escapades. We are grateful to have this released, casting off the burdens of the past that, try as we might to escape, haunt the soul in a strange fashion.” “San Francisco-based Mamaleek achieved a tense hybrid of black-metal frenzy, industrial syncopation, shoegazing distortion and dark ambience on Mamaleek (2008), notably the 18-minute ‘Shout On Children,’ and on the jazzier and denser Fever Dream (Furusiyya Recordings, 2008).” —Piero Scaruffi “The duo—a pair of brothers who prefer to keep their identities a secret—mix Middle Eastern song structures and samples, atonal experimental and avant-garde accents, guttural black metal howls, accessible electronic breakbeats, sludgy doom metal guitar-work, nimble piano interludes, and plenty of pop panache to create an unrelenting, moving sound.” — Forbes