Oxbow Live: Pallbearer with Knoll and Ordh

* 21+ *

| Pallbearer |

Pallbearer’s Foundations of Burden (2025 Redux) is a meticulous sonic reconstruction of their transformative, landmark 2014 album. The newly remixed and remastered version arrives digitally on Nov. 7, with physical editions (2xLP and CD) available on Dec. 5.

“During the writing and preparation for Foundations, everything was ephemeral and we were practically feral,” recalls bassist/vocalist Joseph D. Rowland. “We had no real practice space, we barely had a single working computer between the four of us. Our demos of the record consisted of something barely discernible from white noise. Nevertheless, we knew we were working towards building a set of songs we were deeply enthusiastic about.

Once in the thick of recording, the feeling went from dream to dreamlike very quickly, as we found ourselves in what felt like an endless churn of repetition. We slept at the studio on whatever soft surfaces we could find, waking each day to discover that some of the previous day’s work had been corrupted overnight. This resulted in some parts of the album being recorded many times over. The guitars in particular mutated into something Sisyphean.”

Rowland continues, “Since the time that we finally committed the original version of Foundations to print, we knew it would be a sonic space we would eventually revisit. Its form did not unfold according to the original version as the numerous file corruptions, delays, and exhausted studio budget compounded into a final feverish push to finish the mix. We were relieved to get those massive and difficult mixes turned into finished songs just in time, but not without a nagging thought; we had to sacrifice much of the nuance we had spent so much time crafting.”

More than a decade later, Pallbearer seized the opportunity to revisit the record from the ground up. Over the past year, the band meticulously reconstructed the album from the original sessions.

“In the time since then, we have played most of the songs from Foundations more times than we can count, and they remain some of our favorites,” Rowland continues. “The songs have grown with us. And while we hold a deep love and attachment to what we created in 2014, we also gained a fuller understanding of how we would want to re-present them if we had a chance. After years of discussion, listening and learning, we found ourselves in the position to fulfill that vision.”

Foundations of Burden (2025 Redux) features new mixes and mastering, plus new artwork featuring a painting by Benjamin Vierling. The six-song, 55-minute collection is produced by Pallbearer, mixed by Mario Quintero (Spotlights), and mastered by Adam Gonsalves.

In celebration of the 2025 Redux edition of their landmark album Pallbearer will be playing select shows performing Foundations of Burden in full.

| Knoll |

"Akin to the unveiling of relics carved from an oaken slab, lesser so to that which artisan may conjure from nothing, Knoll seeks the most subtractive of efforts in its offerings. The method is unpinnable, yet is as such: something must be wrought from something else. Its materials predate their misuse; its result contradicts their lessening. A distillation of ingredients leaving but the brittle corpses of what was once unwarped by a wicked sieve - a wholly negative artifact as its response. And yet, they are familiar, as if these bringings have not been made, but rather freed. It is, then, the utmost purpose as sculptors, to be the conduits of an inhuman goal. That of an infinite testament, unmarred by the collection of dust, & outwardly dedicated to this prospect of impermeable meaning. It is not to say that the arbiter of such works is to be maligned, & especially not to put forth fronts in order to appear so, but that its output must be willed to suffer within these confines, lest it is worthless."

| Ordh |

When Graham Brooks and Dylan Blake formed Barishi in 2012, they were mere kids jamming on their version of Mastodon, Baroness, Inter Arma and Gojira in garages, sheds, basements and bedrooms in and around the scenic Brattleboro, Vermont area. By the time Barishi issued their first two full-lengths (2013’s Barishi and 2016’s Blood from the Lion’s Mouth), Jonathan Hébert was beginning his tenure as the guitarist/vocalist in doom sludge graybeards Come to Grief and skulking down his own path of progression. A tour pairing Come to Grief with Barishi tour in support of the latter’s final release, Old Smoke, brought the trio into each other’s spheres and onto each other’s radars. Following the dissolution of Barishi, Brooks and Blake found themselves without a band at the same time they were tapping into a deeper and portentous conglomeration of metallic prog and filthy death metal that dared to utilize unnerving discord and poke at inky vortexes. Then, they remembered Hébert, his cavernous larynx and how they bonded over the same musical touchstones — Iron Maiden, Death, Edge of Sanity, Opeth — and Ordh was born.

[ Doors 7 PM | Show 8 PM ]

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