“In today’s day and age, the world and the people within struggle to place a label on everything they can. It seems as though every tangible creation can be placed into a category and catalogued accordingly.” – Hallows Die
Label: (noun) a word or phrase indicating that what follows belongs in a particular category or classification.
From their inception, Hallows Die has always forged a repertoire of songs exemplifying the belief that no label should be placed on musical expression. The result: Odd melodies intertwined with bizarre time changes and unpredictable song structures indemnifying the band to stand out amongst the rest. Considered by listeners to be a melting pot of genres, Hallows Die strives to play uncanny and original material that continues to evoke interest while evolving into a musical entity that cannot be classified under any one specific genre.
Hallows Die followed up their debut EP with the release of their first full-length studio album “World of Ruin”, which was collaborated on with Dan Swanö (Bloodbath, Opeth, Katatonia). The album quickly received critical acclaim and lead to Hallows Die hitting the road nationally along such acts as The Black Dahlia Murder, Dark Tranquility, Arsis, Aborted, Cryptopsy, Municipal Waste, Napalm Death, Krisiun, Atheist and more.
In 2013, several years after relentlessly touring throughout Canada, Hallows Die took a hiatus from the road to write and record their sophomore release entitled “Masks”. The band took the initiative to hit the studio to start recording on their own, ensuring the music stayed true to what they have always envisioned. Soon after, they took the unmixed renderings to Jurekk Whipple (Kobra And The Lotus) at The Edge of Attack Studio in Grande Prairie, Alberta resulting in a tremendous mix job. Upon returning from western Canada, Hallows Die sent the final mix to the far reaches of Scandinavia where the highly acclaimed Dan Swanö would again lend his talents to master and bring “Masks” to completion. A tremendous job was accomplished in pulling all the bands hard work together into a sonic array of brutally clever riffs and passages that one would have a difficult time putting a label on.
While Hallows Die worked diligently on the upcoming release, they achieved some milestones that would continue to support their craft. In 2013, the band was nominated for the Mississauga Arts Council best emerging act, and in 2014 they were the winners of the Toronto independent Music Awards for best metal category.
Hallows Die has their eyes once again set on hitting the road extensively in supporting “Masks” and ensuring the bands strong succession for growth.
”A twisted world requires a twisted soundtrack; such is the goal of Hallows Die.”