RELEASE DATE: MAY 15, 2026

SHIPPING ON OR BEFORE THIS DATE

A wave of lunar heaviosity, My Death Is More Beautiful Than Your Life is the sophomore album from the duo of drummer Andee Connors (A Minor Forest, Common Eider, King Eider, P.E.E., J-Church, aQuarius recOrds) and synth / electronics / vocalist Marc Kate (I Am Spoonbender, Never Knows), delivering another

slab of their signature tectonic synth-doom. In spite of what appears to be a spare sound pallette and dispensing with the use of guitar and bass, MHAIF's sound is utterly immense and wrought in dark emotional intensity, sprawling across nearly eighty minutes of morose slow-motion

grandeur. The ten songs lumber through the duo's signature haze of electronic luminescence and earth-shifting percusion, crafting each one into a massive slab of ultra-heavy glacial drift. It would be too simple to describe this as just "drone metal" - My Heart, An Inverted Flame evoke a

moonswept ambience that offers something more lush and radiant, lending moments of dreamlike beauty to the gravitational crush. Likewise, this transcends the banner of doom metal; while Connors flattens everything in sight with his colossal sledgehammer drumming, the blown-out

electronic textures of Kate's synthesizers and FX delirium pulls the sound into a kind of cosmos-devouring psychedelia, with swells of saturated cinematic majesty billowing across the rupturing percussive dirge.

The drums thunder in the deep, laying down monumental backbeat awash in swirling, squealing, searing electronic noise and howling Berlin School-esque melodic forms. But they also roll and stutter monstrously, Connors rending the blackness with sudden bursts of seemingly freeform

power as often as he locks into a mesmeric slowcore groove or bone-shattering dirge. Between the active percussive blast and epic choral synth on tracks like "My Body, My Problem", the evil distant screams that float through "You. Alone.", and the stop-start caveman

hammer of "Necrosomethingology", the band evokes deep, dolorous depths of black drift, hyper-distorted drones, over-modulated glitch, and gut-rupturing earthquake reverberations. This stuff is heavy as hell, but powered by an occasional Teutonic drive that immerses the lumbering

weight in a hypnotic haze that emits its own unique effect. This is brought full force on the eighteen-minute saga "No And Never", where MHAIF push into an agonizingly propulsive magma groove that brings all of the album's most hypnotic elements together in grandiose style. A

steady, elephantine backbeat drives waves of feedback, distorted chordal crush, luscious electronic hum, pulsating bass lines, and glimmering keyboard melodies, into a kind of monstrous motorik hypno-sludge epic. Sweeping and sumptuous, and the centerpiece of the album. Almost like

some stretched-out 80's-era post-punk slowed and transformed into something demolishing in its mesmeric intensity The three songs that then round off My Death disgorge you back into the depths, drowning the listener in more grim and bleary distorted dirge, those vicious

blown-out vocals howling in the deep, the sound balanced on the edge of uttterly oppressive darkness and sky-climbing electronic textures. Harrowing, even hellish. Navigating purgatorial chasms and noise-damaged bliss. Ending the album in a depth charge blast of explosive percussion

amid billowing shadows and restrained, expansive space. Closing with the equivalent of a sepulcher caving in on itself.

Often achingly beautiful, but relentlessly heavy, the duo seemingly channel the blissful filmic dream-drift of Tangerine Dream and Popol Vuh and the hypnotic throb of both modern minimalism and vintage psychedelia as easily as the corrosive, crustal crush of Corrupted, Khanate and

Black Boned Angel and the bleary dreariness of funeral doom icons like Thergothon and Skepticism. Leaning further into an experimental and adventuous pursuit of catastrophic sound. An almost ritualistic trance-state of stripped-down drumming and dense electronic layers.