Track Listing:
1: Final Transmission
2: All Illusion
3: Shake My Blood
4: Night Crawler
5: Lunar Day
6: Winter Window
7: Lanterna
8: Strange Reflection
9: Led To The Wolves

All orders come with a digital download on release date.

In February of 2018, the members of Cave In gathered at their rehearsal space in Boston to work on material for their next record. It had been nearly seven years since their previous album, White Silence, had been released. But they’d been writing and rehearsing methodically, off and on, to craft a worthy follow-up. In that time, guitarist/vocalist Steve Brodsky had started prog-metal power trio Mutoid Man, drummer J.R. Conners and guitarist Adam McGrath started psych-punk outfit Nomad Stones, and bassist Caleb Scofield was busy with simian rock supergroup Old Man Gloom and his own band, Zozobra. After jamming all weekend with Cave In, Caleb got in his truck and drove home to New Hampshire. It was the last time his bandmates would ever see him.

On March 28th, 2018, Caleb was killed in an auto accident. There are no words to describe what a devastating blow this was to his wife and children, his friends, family and bandmates—not to mention his countless fans around the world. A light had gone out—a light with a monstrous bass tone and a feral roar. An occasionally stubborn light with a million-dollar smile who loved his family and music above all else. To describe his death as a tragedy would be a colossal understatement. Caleb didn’t live to see 40.

Originally intended as demos, Final Transmission marks the first Cave In album in eight years and the band’s last with Caleb, who performs on all of the songs. Caleb’s voice—musical and physical—are everywhere on Final Transmission. The opening title track is a voice memo of a song idea he sent to his bandmates the last time they saw each other. “Hearing his voice fucks you up a little bit,” Adam says today. “We were surprised to get it from him, actually, but we thought it was great. And that was it. In a weird way, it’s the end of the story as far as our relationship together.”

Caleb plays bass on six of the album’s remaining eight songs, and guitar on the other two. Even a cursory listen of Final Transmission will offer glimpses of past Cave In eras, from the scintillating space rock of their 2000 breakthrough opus Jupiter to the ripping metal melodies of White Silence. All told, it’s a direction that was largely spearheaded by Caleb. “When I look back at our email correspondence about the demos, Caleb had a really crystallized view of how to navigate the whole thing,” Steve reveals. “He was really digging the stuff that was spacey, heavy, a little bit weird, but with very pretty melodies and hooks. I think he was encouraging us to embrace what we’ve always been good at and what sets us apart from our contemporaries.”

Half the proceeds from Final Transmission will be given to Caleb’s wife and children. “I feel really lucky to have this record,” Adam concludes. “I love it, but I don’t like listening to it. I’m sure I’ll listen to it eventually, but right now it’s difficult. Just hearing him play kills me. I’ll miss him forever.”

Track Listing:

1) Charmicarmicarmicat Shines To Earth
2) The Minus Times
3) Red Sea
4) Smiles And Handshakes (1998 Cassette Demo)
5) Catalyst (1998 Cassette Demo)
6) Ochre (1998 Cassette Demo)
7) Lines Across Eyes (1998 Cassette Demo)

The 1999 “Red Sea” EP, finally on vinyl again. Also includes the four song 1998 demo. These recordings constitute the band’s darkest output - churning, bleak and unrelenting.

2018 edition has been remastered for vinyl by James Plotkin and cut by Telegraph Mastering. The packaging features a debossed LP jacket, full color insert, and new/re-worked artwork by A. Turner. Vinyl color configurations are: 100 opaque red (band edition), 300 clear, 400 black/red mix, 700 black.

Track Listing:

1) Maximum Suffering
2) Everything Is Fucked
3) Need For Death
4) Human Error
5) Serpent Lust
6) The Crone
7) Deep In Hell
8) We Have Failed Us
9) Scorched Earth
10) Black Waves
11) Storm Of Steel
12) Dusted
13) Consumed

Fully damaged crust illness from the dank recess of Vancouver’s rat infested alleys. Moldy guitars and a cantankerous rhythm section set the backdrop for truly sickening sermonizing from BC's most handsome sociopath. Features 3/4 of Baptists, 1/3 of SUMAC and some other persons of disreputable character.

Produced by Erosion and Kurt Ballou. Mastered by James Plotkin. Cut for vinyl by Telegraph Mastering. Artwork by Grady Gordon. Edition of 600 copies - 200 on white, 400 on the bleakest black .

Pre-order customers will receive a digital download on release date.

Sitting against the dissolving tides of the Salish Sea, Vancouver B.C. feels like the last metropolitan outpost in Canada’s sparsely populated Western expanses. It’s a cultural microcosm harboring many unsung artists—their backs up against the unforgiving U.S. border to the South and their lifeline to the Eastern hubs of Ontario and Quebec cut-off by countless miles of mountains and plains. Touring bands know that Vancouver is a necessary stop on any West Coast run, but few Vancouver bands have the means to play shows beyond a few outlying cities. So while denizens of the Saltwater City have basked in the low-tuned riff bombardment and knuckle-dragging crossover savagery of Erosion for nearly seven years, the rest of the world has unfortunately been left out of the secret.

Maximum Suffering is Erosion’s first full-length album and first release since 2013’s Kill Us All cassette EP. Self-described as a “cathartic audio expulsion of our collective contempt for humanity,” Maximum Suffering combines the reductionist brutalism of early grind outfits, the blazing tempos of classic d-beat hardcore, and the warped stomp-and-crush riffage of modern death metal’s most nefarious troglodytes. Starting with the opening title track’s turbine tremolo-picked guitar lines and crusty call-to-arms riffs, Erosion unleashes a ceaseless torment of negative hardcore across thirteen tracks. On songs like “Human Error”, the band takes the punishing lurch-and-mangle of classic powerviolence acts and ramps it up with adroit musicianship and meaty, blown-out tones. On “The Crone”, the band drops the kind of profoundly primitive half-time banger that’s sure to make every other riff-monger smack their head in “why didn’t I think of that” amazement. But Erosion can also weave a thornier cluster of ire and bile, as evidenced on the nimble two-minute attack “Black Waves”. Maximum Suffering closes with the band’s tour de force “Consumed”, an utterly devastating overview of Erosion’s misanthropic musical tactics.

The world might have heard of Erosion a little sooner if the members weren’t busy sharing duties in a handful of other projects. Guitarist Nick Yacyshyn, drummer Danny Marshall, and bassist Andrew Drury are more widely known for their work in Vancouver’s beloved hardcore veterans Baptists. Rick O’Dell was snagged from his bass duties with sludgy classic rockers Tobeatic and punk rippers Hard Feelings to join Erosion on second guitar while vocalist Jamie Hooper was recruited for the vitriol he unleashed with the triumphant metal export 3 Inches of Blood and the grimy punk band Congress. Given their pedigree, it’s no small wonder that Maximum Suffering exudes the kind of ugliness that only comes from artists steeped in the art of musical ferocity. Hydra Head Records is proud to unleash Erosion upon the world with digital formats and a vinyl edition of Maximum Suffering on October 19, 2018.