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CRUCIAL BLAST WEBSTORE: NEW ARRIVALS FOR FRIDAY FEBRUARY 5TH 2016

    Welcome!

    So, yeah, if you're a regular visitor/customer here at Crucial Blast, you may have noticed that we haven't had a formal update to our online shop in awhile (although, as always, we've continued to add new items and restocks to the site on a regular basis). The past few months have been pretty insane with a handful of new releases, some reorganization and improvements with the way we process and handle mailorder, and seemingly a million other things, but all of that is finally coming under control over here, and we're back with a monstrous new list of new releases, recent favorites, and restocks of rare stuff for your perusal. We hope you'll dig in and check all of this great stuff out.

    Into heady, heavy metallic noise rock? Then you'll definitely want to check out this list's featured release, Craw's exhaustive 1993-1997 collection. Released as both a triple CD set and a gorgeous six LP boset that comes with a thick perfect-bound book detailing the history and experiences of this influential, under-appreciated Cleveland band, this reissue contains Craw's first three albums, an amazing body of work that constitued some of the most intense music coming out of the Midwestern post-hardcore / noise rock underground of the 1990s. If you're a fan of the sort of arty, metallic noise rock championed by Hydra Head (who themselves would release the final Craw album), Craw's albums are a must-hear, predating pretty much all of that stuff as they created a sound that was challenging, abrasive, literate and often brutally heavy. This one is easily one of my own favorite reissues that have come out lately, and is highly recommended for noise rock and math-metal enthusiasts. Gorgeous packaging for both editions, too.

    And you'll also find the three most recent releases to come out under the Crucial Blast imprint, all of which we're naturally ecstatic about. Ramleh's first new "rock" album in nearly twenty years, Circular Time is a sprawling, brain-scorching double album of heavy-duty, heavily distorted psych/noise rock from this famed UK outfit. The latest Cloak Of Altering album Manifestation finds the crazed electro-black metal horrorshow exploring even more schizoid depths of fractured digital madness, soaring symphonic black metal majesty, and brutal blasts of quasi-breakcore chaos; it's yet another terrifying work from this side project/alter ego of famed Dutch outfit Gnaw Their Tongues. And our CD reissue of Dimesland's Psychogenic Atrophy showcases one of the best avant-metal releases that came out in the past year, an absolutely stunning full-length of outre thrash metal and dizzying musical complexity from this San Francisco outfit (which happens to include members of the The Residents' touring band and proggy Oakland heavies Wild Hunt). Atrophy intially came out as a digital-only release, but we loved this album so much that we were compelled to give it a proper physical release. It's managed to fly under most everybody's radar, but take it from us, this album is ferocious, and amazing, one of my favorite things that we've put out on Crucial Blast.

    Some of the other new, recently released and newly added titles that are featured on this list include:

     ... loads of skull-shredding noise punk from bands like Aborticidio, Allergy, No Power, Disclose,
     ... everything from the terrific dark-dub/post-industrial/dark ambient outfit Akatombo, which Scorn fans will love
     ...an essential new LP reissue of the studio recordings of legendary Texan weirdo sludgepunk band Stick Men With Ray Guns, titled Grave City
     ...the new CD reissue of Reencarnacion's 888 Metal / Acompaame A La Tumba, brain-scrambling black thrash primitivism from the 80s with flashes of bizarre, almost RIO-esque progginess
     ...the latest album from Italian prog-death masters Sadist, Hyaena, a ferocious jazz-tinged concept album involving Hyena cults in Africa!
     ...the new vinyl edition of Suicide Euphoria, the awesome bestial deathnoise assault from Philly death metallers Pissgrave
     ...a bunch of sinister-sounding, heavy releases from oddball Midwestern prog rockers Infero
     ...the hard-to-find CDR Herald Of Confusion from folky avant-garde French black metal outfit Sadastor, extremely limited!
     ...a new Macedonian import of early Grief titles on CD and LP, featuring the first throes of these masters of misanthropic, nihilistic sludge metal
     ...a massive double LP boxset featuring the reissue of Giles Corey's self-titled debut, spritualist goth-folk and noisy post-punk that comes with a thick perfect bound book of fiction
     ...another great early death rock reissue from Sacred Bones, Part 1's Funeral Parade, a killer early 80s blast of anarcho gloom in the vein of Rudimentary Peni
     ...lots of killer Amphetamine Reptile reissues from Cows, Halo Of Flies and more, and the new release of the terrific Am Rep documentray The Color Of Noise
     ...the latest from blistering, noisy French Canadian raw black metal outfit Akitsa, Grand Tyrans, in stock on all formats
     ...a brand-new vinyl reissue of the classic rasta-thrash album Rock For Light from legendary Bad Brains
     ...the twisted, nerve-wracked blackened noise rock/art metal of Genevieve's Escapism
     ...the new CD reissue of the Carmilla / Marcilla EP from British horror doom masters Moss
     ...a bunch of releases, some out of print, from cult Japanese harsh noise artist K2
     ...the experimental wall-of-sound of Hanormale's ?????, a blackened orchestral chaos metal that's one of the most unusual and challenging albums on this week's list
     ...Amber Asylum's gorgeous new album of doom-laden chamber music and gloomy cello-heavy ambience, Sin Eater
     ...multiple vinyl editions from the punishing US black metal outfit The Howling Wind
     ...a bunch of 7" EPs from my new favorite crust/punk outfit Thisclose, who sound amazingly like the classic brutal hardcore of Discharge fronted by King Diamond (!!!)
     ...No Negative's acid-gobbling psych-punk meltdown The Good Never Comes that sounds like some weird fusion of Brainbombs and Hawkwind
     ...the putrid death industrial of Nekrofellatio's ?Pesadilla En Una Noche Sin Estrellas, recommended listening for fans of Atrax Morgue and Mauthausen Orchestra
     ...a HUGE stack of older, long out of print vinyl releases from Bastard Noise that we recently stumbled across
     ...a vinyl reissue of the self-titled debut from Harry Pussy, a classic slab of atonal noise rock destruction
     ...lots of new and reissued stuff from extremist noisecore outfit Sissy Spacek
     ...a bunch of reissues from iconic metallic hardcore outfit Integrity, including the band's utterly vicious Humanity Is The Devil
     ...new vinyl and CD releases from ferocious blackened hardcore/thrash maniacs Gehenna
     ...the crushing evil synthwave mastery of Gost's Behemoth, essential driving music for a jet-black DeLorean
     ...a killer double album of pitch-black ambient death-jazz from Dead Neanderthals
     ...the new vinyl reissue of Aquilus's amazing Griseus, a stunning combination of cinematic symphonic music and epic black metal
     ...the recent CD reissue of cult early 90s album Hope Finally Died from prog-tinged doom metallers Decomposed
     ...the latest album Axis from Spanish avant-jazz-doom-metal duo Orthodox
     ...the supremely sinister blackened prog metal of Black Crucifixion's ?Coronation Of King Darkness, finally reissued on CD
     ...multiple variants of the new vinyl reissue of Blasphemy's insanely violent war/noise black metal classic Fallen Angel Of Doom
     ...the wonderfully warped basement occult metal of Necromantic Worship's Spirit Of The Entrance Unto Death tape
     ...a new CD reissue of Tearing Up Your Plans from fearsome NY power electronics fiend Slogun
     ...awesome new vinyl reissues of cult horror soundtracks for Cannibal Apocalypse, The Fog, Absurd, Tourist Trap, Phantasm, The Beyond and lots more
     ...restocks of the complete early Burzum discography, constituting some of the best black metal ever
     ...a heap of new Christian Death reissues on vinyl, some of the best death rock to ever come out of the 1980s
     ...a stack of new 7"s from hillbilly noisecore outfit Erectile Dysfunction


And as always, there's a lot more stuff to check out, more mutant extreme music and misanthropic art to be found on our shelves and in our bins...keep reading below to check out all of the strange and extreme new music, film, and art that's included in this week's new arrivals list. And as always, thanks for continuing to support Crucial Blast!

- Adam / Crucial Blast

Don't forget, you can click on the thumbnail image of the album cover for everything we carry in our shop to pull up a pop-up window showing an actual photograph of the item!



FEATURED RELEASE



CRAW   1993-1997   3 x CD   (Northern Spy)    24.99













Track Samples:
Sample : Cobray to the North
Sample : Slower
Sample : Echolocating
Sample : Sound of Every Promise
Sample : Botulism, Cholera, And Tarik
Sample : As Long as the Turnpike
Sample : Treading Out the Winepress
Sample : I Am Gunk
Sample : Days in the Gutter/Nights in the Gutter


NEW ADDITIONS



ABDUL-RAUF, LEILA   Insomnia   CD   (Malignant Antibody)    10.98



     Like some long lost Elfenblut release, the latest album of solo work from San Francisco based multi-instrumentalist Leila Abdul-Rauf drifts across your field of hearing in a wash of unearthly reverb-drenched vocals, shadow-streaked ambient sound and delicate instrumentation. Gorgeous stuff that left me positively spellbound. If you only knew Rauf-Abdul from the heavier and more abrasive stuff that she's been involved with (like the grotesque philosophical death metal of Vastum, or Bay Area prog metallers Hammers Of Misfortune, or her stint with caveman prog-core outfit Bastard Noise), you might come to this expecting something a little harder. But Insomnia is far from it, a gauzy, bleary experience that fully enfolds the listener in its twilight beauty.
     From the jazzy, horn-stained dreaminess of "Drift", to the ethereal choral vocals and bleak electronic drones that sweep across the opener "Midnight", Rauf-Abdul crafts a solemn, almost liturgical atmosphere that drifts through the whole album. The songs are carefully structured, filled with moments of fragile beauty and dusky, fog-shrouded drama. And that jazzy quality adds a unique feel; her mournful trumpet is a near constant presence throughout Insomnia, smearing moody, understated melodies across a number of the tracks. At the same time, other less immediately identifiable instruments drift like smoke-ghosts underneath sheets of gossamer sound, traces of piano and e-bowed guitar set adrift on waves of spacious reverb; cetaceous synths warble and moan through dense shimmering cloudscapes of kosmische grandeur, and some of those passages can have a similar luminous feel as something from Vangelis or late 70's Tangerine Dream. And while Abdul-Rauf's voice (both literal and instrumental) is the crux for this music, she's brought on a few friends to help actualize this music, including some brief guitar work from a member of Bay Area sludge-metallers Cardinal Wyrm.
     It's really stunning stuff, dark and dolorous, and another unique release from Malignant's Antibody sub-imprint. A subtle, lovely album of autumnal gloom, absolutely recommended to those into the likes of Dead Can Dance, Caul, Amber Asylum and Dark Sanctuary. Comes in digipack packaging.
Track Samples:
Sample : Drift
Sample : Dark Hours of Early Morning
Sample : Absence



ABORYM   Generator   CD   (Season Of Mist)    11.98



     Supreme mechanical devilry! We've picked up a couple of older Aborym albums that, for some odd reason, we never stocked back when they first came out, despite the fact that I've been a big fan of this strange Italian black metal outfit. Their stuff is some of the best within the nebulous realm of 'industrial black metal'. Now that some of these older releases have received recent vinyl reissues, I figured we'd go ahead and pick up some of these back-catalog titles in an effort to turn some of you guys on to the furious, futuristic, often bizarre heaviness that this band has been blasting for the past twenty years.
     First up is 2006's Generator, one of my favorite albums of theirs. Originally released on CD from Season Of Mist (and now available on vinyl from French label Dead Seed Productions), this dystopian nightmare is one of their heaviest. By this point, front-man Attila Csihar had left the band, replaced by Preben "Prime Evil" Mulvik (Mysticum), and Bard "Faust" Eithun (Emperor) became their permanent drummer, taking the place of the band's long-suffering drum machine. Marking a shift towards a more complex, atmospheric sound, the disc starts off with a surge of orchestral black ambience, rumbling, dissonant piano and malevolent choral vocals sweeping across deep, subterranean rumblings. But once it kicks into "Disgust And Rage (Sic Transit Gloria Mundi)", the album proceeds to unleash its furious industrialized black metal with a heightened sense of grandeur. That first song is a ferocious blast of technical blackened riffery enfolded with cold, regal power, infused with symphonic strings and icy electronic textures, growing stranger as it further unfolds with liturgical chant-like voices emerging amid flecks of digital debris and an increasingly synthetic feel. The band's signature fusion of symphonic black metal, electronic elements and winding song structures with occult-influenced, often eschatological imagery is once again in full force here; while not as bizarre as Ddheimsgard or as brutal as Mysticum, Aborym interjects stretches of sleek black drone, clanking rhythms, alien glitchery, and sputtering, sickly electronic beats, infesting the music with an inhuman technological malevolence.
     And while the remainder of the album is loaded with that ferocious industrial black metal, they continue to layer the songs with strange shuffling percussive loops, Charles Manson samples, demented carnivalesque organs, bursts of pneumatic hiss and blaring synth horns, with "Between The Devil And The Deep Blue Sea " even mutating into a ferocious technoid ripper and "Man Bites God" (which features a returning guest spot from Csihar) at times transforming into something more resembling Skinny Puppy than black metal. But even at its weirdest, Generator maintains a clear connection to that classic Nordic black metal sound, full of frost-burnt drama and majesty.
Track Samples:
Sample : Suffer Catalyst
Sample : Ruiurama Kolossal S. P. Q. R. (Satanic Pollution - Aliphotic Rage)
Sample : Disgust Rage (Sic Transit Gloria Mundi)



ABORYM   Generator   LP   (Dead Seed Productions)    23.98



     Supreme mechanical devilry! We've picked up a couple of older Aborym albums that, for some odd reason, we never stocked back when they first came out, despite the fact that I've been a big fan of this strange Italian black metal outfit. Their stuff is some of the best within the nebulous realm of 'industrial black metal'. Now that some of these older releases have received recent vinyl reissues, I figured we'd go ahead and pick up some of these back-catalog titles in an effort to turn some of you guys on to the furious, futuristic, often bizarre heaviness that this band has been blasting for the past twenty years.
     First up is 2006's Generator, one of my favorite albums of theirs. Originally released on CD from Season Of Mist (and now available on vinyl from French label Dead Seed Productions), this dystopian nightmare is one of their heaviest. By this point, front-man Attila Csihar had left the band, replaced by Preben "Prime Evil" Mulvik (Mysticum), and Bard "Faust" Eithun (Emperor) became their permanent drummer, taking the place of the band's long-suffering drum machine. Marking a shift towards a more complex, atmospheric sound, the disc starts off with a surge of orchestral black ambience, rumbling, dissonant piano and malevolent choral vocals sweeping across deep, subterranean rumblings. But once it kicks into "Disgust And Rage (Sic Transit Gloria Mundi)", the album proceeds to unleash its furious industrialized black metal with a heightened sense of grandeur. That first song is a ferocious blast of technical blackened riffery enfolded with cold, regal power, infused with symphonic strings and icy electronic textures, growing stranger as it further unfolds with liturgical chant-like voices emerging amid flecks of digital debris and an increasingly synthetic feel. The band's signature fusion of symphonic black metal, electronic elements and winding song structures with occult-influenced, often eschatological imagery is once again in full force here; while not as bizarre as Ddheimsgard or as brutal as Mysticum, Aborym interjects stretches of sleek black drone, clanking rhythms, alien glitchery, and sputtering, sickly electronic beats, infesting the music with an inhuman technological malevolence.
     And while the remainder of the album is loaded with that ferocious industrial black metal, they continue to layer the songs with strange shuffling percussive loops, Charles Manson samples, demented carnivalesque organs, bursts of pneumatic hiss and blaring synth horns, with "Between The Devil And The Deep Blue Sea " even mutating into a ferocious technoid ripper and "Man Bites God" (which features a returning guest spot from Csihar) at times transforming into something more resembling Skinny Puppy than black metal. But even at its weirdest, Generator maintains a clear connection to that classic Nordic black metal sound, full of frost-burnt drama and majesty.
     This vinyl edition on Dead Seed is pretty hefty, presented in a deluxe, heavyweight (and slightly oversized) casewrapped gatefold jacket and accompanied by a big foldout poster.
Track Samples:
Sample : Suffer Catalyst
Sample : Ruiurama Kolossal S. P. Q. R. (Satanic Pollution - Aliphotic Rage)
Sample : Disgust Rage (Sic Transit Gloria Mundi)



ABORYM   Psychogrotesque   CD   (Season Of Mist)    11.98












Track Samples:
Sample : X
Sample : V
Sample : II



ABORYM   Psychogrotesque   2 x LP   (Season Of Mist)    19.98












Track Samples:
Sample : X
Sample : V
Sample : II



ABORYM   Live In Groningen   CD   (Dead Seed Productions)    12.98



     Supreme mechanical devilry! We've picked up a couple of older Aborym albums that, for some odd reason, we never stocked back when they first came out, despite the fact that I've been a big fan of this strange Italian black metal outfit. Their stuff is some of the best within the nebulous realm of 'industrial black metal'. Now that some of these older releases have received recent vinyl reissues, I figured we'd go ahead and pick up some of these back-catalog titles in an effort to turn some of you guys on to the furious, futuristic, often bizarre heaviness that this band has been blasting for the past twenty years.
     The first-ever live album from cybernetic Italian black metallers Aborym, Groningen delivers a killer early live performance from the band, captured at a show at the Vera Club in Groningen, Holland in May of 2004. Packaged in a cool-looking reflective silver digipak, the disc presents a complete eight song, forty minute set from these depraved industrialized demons, when they were arguably at the height of their powers. The set is mostly made up of songs from the band's 2001 album Fire Walk With Us! ("Fire Walk With Us", "Total Black", "Love The Death As The Life") and 2003's With No Human Intervention ("Faustian Spirit Of The Earth", "Digital Goat Masque"); in addition, Aborym inject a handful of interstitial noise and electronic interludes with titles like "Harsh-Industrial Inferno" and "Techno-Industrial Inferno", tying together their album material in the live setting with throbbing, semi-improvised industrial dance workouts drenched in harsh distortion and clanking sampled rhythms, stretches of rumbling demonic ambience, or intensely chaotic and blackened blastscapes that swarm with evil looping guitar-swarms, shrieking electronics, pounding technoid rhythms and monstrous, putrid vocals. Pretty vicious, and intensely noisy at times.
     And the album material is definitely some of my favorite stuff of theirs. While later albums would become more experimental and hallucinatory, eventually incorporating other elements like electronic music influences, jazzy saxophone, operatic vocals, etc., this early stuff is more straightforward, fusing their raw, second-wave style black metal to backdrops of violent hardcore techno, harsh synths and electronic noise, the drum machine programming transforming songs like "Total Black" into frost-encrusted black metal epics riddled with hyperfast electronic rhythms that more resemble the sound of rapidly skipping CDs than your standard blastbeat action. It's also the era of the band where Attila Csihar (Mayhem, Sunn, Tormentor) handled the vocals, and his deranged, drawled screams and trademark weirdness were undoubtedly a crucial component of Aborym's savage and blackened psybermagick back then.
     The recording quality is pretty good; in some of the set's more over-the-top moments, the often complex layering of samples that Aborym employs can sometimes get a little lost in the mix, and parts of their set can get slightly muddled, but that's offset by the frenzied energy of the band's performance, making this an enjoyable listen for fans of Aborym's industrial madness.
Track Samples:
Sample : Fire Walk With Us
Sample : Total Black
Sample : Harsh-Industrial Inferno



ABSU   The Temples Of Offal / Return Of The Ancients   CD   (Dark Descent)    10.98



     Now in stock on CD via Dark Descent.      Long before they became the titans of progressive, mystical black thrash that would produce the 2001 masterpiece Tara, Texan band Absu began life as a ripping death metal monstrosity in the very early 90s, debuting with the four-song Return of the Ancients demo. Now reissued on both CD and vinyl and bundled with the band's 1992 EP The Temples Of Offal, that demo showcases the earliest rotten writhings of this esteemed outfit, offering an early, pre-Proscriptor version of their sound that stands in stark contrast to the proggy "mythological occult metal" of their more recent work.
     The three-song Temples Of Offal 7" (originally released on Gothic Records in 1992) makes up the first half of this collection, blasting out the band's early, monstrous death metal sound with some intensely violent excursions into grindcore territory (that includes some awesome bestial vocals that completely dispense with any attempt at coherence) and stretches of punishing dark doom that crawl out of the band's warped blastscapes like one of the protean humanoid horrors depicted on the sleeve art. There are only the merest hints of the esoteric mythological influences that later become more prominent in Absu's music; for the most part this early work is entrenched in visions of rot and charnel violence.
     The band's debut demo Return Of The Ancients from 1991 is even more primitive, four songs of violent buzzsaw death metal shot through with a few moments of crawling, doom-laden heaviness and a couple outbursts of weird riffing that cuts through the demo's low-fi, murk-encrusted sound; that is, save for the spacey, almost kosmische ambience of "Sea Of Glasya" which drifts out of the middle of the demo in a wash of ominous, mesmeric celestial murk, hinting at the group's interest in atmospheric texture that they'd really begin to develop further on the debut album Barathrum: V.I.T.R.I.O.L.. The side is rounded out with a rehearsal recording of "Abhorred Xul [Azagthoth]", recorded when the band still went under the name Azathoth, and previously only available on the now out-of-print Barathrum boxset. It's raw stuff, of course, but still hideously powerful.
Track Samples:
Sample : Sumerian Sands (The Silence)
Sample : Sea of Glasya
Sample : Dawn of Invocation



ACID WITCH   Stoned   CD   (Hells Headbangers)    11.98












Track Samples:
Sample : Stoned To the Grave
Sample : Whispers In the Dark
Sample : Witchfynder Finder



ACID WITCH   Stoned   CASSETTE   (Hells Headbangers)    8.99












Track Samples:
Sample : Stoned To the Grave
Sample : Whispers In the Dark
Sample : Witchfynder Finder



ACID WITCH   Stoned   LP   (Hells Headbangers)    17.98












Track Samples:
Sample : Stoned To the Grave
Sample : Whispers In the Dark
Sample : Witchfynder Finder



AETHERIUS OBSCURITAS   MMXV   CD   (Paragon)    9.98



     MMXV's creepy Ligottian album art is what first caught my eye, depicting a figure in vaguely Victorian-era attire who has something quite horrible happening with (or to) its head. It's unusual and suggestive, like something that would accompany a piece of weird fiction. While the music on Aetherius Obscuritas's comes from a more traditionalist black metal background, it does live up to that cover with a regal, ragingly fast sonic assault that's tinged in technically intricate songwriting, moments of quirky oddness, and some really tasteful use of synthesizer that doesn't detract from the overall ugliness and power of the band's music.
     This is the latest album from the Hungarian duo, delivering more of the powerful, speed-fueled black metal that main member Arkhorrl has been producing for over a decade now. It also sees the band moving further from the unmistakably Burzumic fuzz-drenched sound of their earlier drum-machine driven albums into a more skillful, complex and melodic sound that recalls the black grandeur of Dissection, while employing some interesting textural qualities of their own. That earlier stuff had somewhat of a similar feel to some other Hungarian black metal bands I'm a fan of, like Marblebog and Vorkuta, but on MMXV, Arkhorrl and drummer Zson bring more complex arrangements and vaguely progressive touches to that sound, with some unsettling discordant riffing entering the fray alongside the sweeping, majestic melodic blackened riffs, and a couple of songs like "Mreg" getting particularly jagged and dissonant. The drumming is also noteworthy, with occasional weird rhythmic fills that come out of nowhere, lending a frenzied air to certain moments on the album. Most of the songs fly at blasting, super-fast tempos, but there are some powerful tempo shifts into dreamy, synth-flecked waltz, or passages of mid-tempo folk-tinged atmospherics that bring added depth to their sound. And as with the other Hungarian black metal bands I dig, the glottal sound of Arkhorrl's lyrics meshes nicely with the menacing tone, sometimes slipping into a repulsive gurgle that sounds particularly demonic. Well-written, compositionally complex black metal does a pretty great job of merging sweeping nocturnal, folk-flecked atmosphere with technical musicianship and brutal aggression.
Track Samples:
Sample : Tiszta ruhkat szennyezQ korom
Sample : Bezrt vilg
Sample : Az utols hangos nek (Bonus)



AGATHOCLES / CSMD   Tranquilizer Up Your Butt   7" VINYL   (Jerk Off Records)    5.99



     Gear up for another speaker-scrambling noisecore attack! And when it comes to noisecore, I still can't get enough CSMD in my diet. That Dutch band is one of the best blurr outfits out there right now, fusing ferociously fucked-up electronic effects and spacey weirdness to their brutal, bass-heavy blast-chaos, with a bizarre sense of humor that sees them covering riffs from the Star Wars theme, worshipping tentacular alien life forms, and channeling 70's era American sci-fi television into their maniacal mess.
     As far as their side to this recent split with Belgian grindpunks Agathocles goes, just imagine Hawkwind and Anal Cunt being mashed together in a sausage grinder and you'll have a general idea of what's up. On their half of this 7", you get a smattering of their brain-damaged surf-rock mixed in with the crazed echo-plex damaged chaos, but this stuff also sounds heavier than usual, the whirlwind blastnoise and churning anti-riffage often lurching abruptly into pulverizing slo-mo dirges and weird, insanely blown-out space rock freak-outs. But as always, the theremin playing is out of control, and the drug use is rampant. Quite possibly the living heirs to the throne of psychedelic garageblast left empty by the mighty C.S.S.O..
     It's cool to see that Agathocles are still going, and are still as noisy as ever. This new stuff is especially raw though, more hardcore than grind, but when that bone-rattling bass guitar kicks in, I know exactly who it is I'm listening to. The guitar playing for these four songs is particularly wild, with lots of sloppy, atonal solos screaming over their primitive three-chord riffs, the drums a rapid clatter. Definitely feels a bit different from their older stuff, rougher and noisier and more chaotic, as if these guys had been overdosing on old Confuse vinyl during the songwriting process. Total noisepunk.


AGENTS OF ABHORRENCE / EXTORTION   split   7" VINYL   (Deep Six)    6.98



     Now out of print, we nabbed a couple of copies of this blazing 7" featuring the murderous ultragrind of Agents Of Abhorrence and Extortion's brute-force blastcore, both bands hailing from Down Under.
     First up, Australian blast-mongers Extortion hit in-the-red levels of hardcore ultraviolence with their seven songs, spitting hyperfast, hyper-venomous attacks that crank the seething rage of classic Infest and Crossed Out up about ten notches. Almost impossibly fast at times, these guys channel that crucial Cali powerviolence sound into a sharply focused assault that is unrelenting in it's anger and ferocity.
     Agents of Abhorrence counter with their own supersonic savagery, continuing to lacerate the listener with a lethal concoction of precision drumming, non-Euclidean riffs, hideous strep throat screams and bone-crushing force across their four tracks. Sharp and technical, and stripped of any extraneous fat, this is high-grade contempo grindcore, akin in some ways to Discordance Axis's complexity and precision, but with their own uniquely frantic, nerve-shredding intensity powering this stuff. Pure terror.
Track Samples:
Sample : EXTORTION - Drown
Sample : AGENTS OF ABHORRENCE - Puddles



AKATOMBO   Unconfirmed Reports   CD + DVD   (Hand-Held Recordings)    11.98












Track Samples:
Sample : Portable Pariah
Sample : Friend For Hire
Sample : A Prior Disengagement



AKATOMBO   False Positives   CD   (Hand-Held Recordings)    10.98












Track Samples:
Sample : Masked
Sample : Hikiko Mori
Sample : Dominion



AKATOMBO   Sometime, Never   CD   (Hand-Held Recordings)    11.98












Track Samples:
Sample : Scans & Needles
Sample : Mission Creep
Sample : Cold Call



AKITSA   Grands Tyrans   LP   (Hospital Productions)    24.99












Track Samples:
Sample : Grands Tyrans
Sample : Devoile
Sample : Chime`res



AKITSA   Grands Tyrans   CD   (Hospital Productions)    17.98












Track Samples:
Sample : Grands Tyrans
Sample : Devoile
Sample : Chime`res



AKITSA   Grands Tyrans   CASSETTE   (Hospital Productions)    12.98












Track Samples:
Sample : Grands Tyrans
Sample : Devoile
Sample : Chime`res



ALDEBARAN   Embracing The Lightless Depths   CD   (Profound Lore)    13.99



     And down we go. We just picked up the cassette version (limited to three hundred copies) of this great album from Portland, OR depth-crawlers Aldebaran, as well as restocked the original CD release on Profound Lore; if you're into the more chthonic realms of funereal deathdoom, Embracing is well worth picking up. It's the most recent full-length from the band, which includes former and current members of bands like Ritual Necromancy, Howling Wind, Nightfell, Wolves In The Throne Room, as well as the guy from noise outfit Okha, and continues to surround itself in allusions to classic Weird literature, Lovecraftion cosmic horror and otherworldly imagery that's a perfect fit for the monstrous sadness of their music.
     Aldebaran's sound is obviously seriously heavy, but one of the things that makes this stuff stand out in the sea of funeral doom dreck is their skill at weaving longform melodies through the titanic, glacial riffs, letting the songs fall into long stretches of solemn, contemplative quietude. Those moments on Embracing often sound more like some gloomy early 90s slowcore outfit, up until the mountain of metallic crush finally crashes down on everything. You can really hear it in the stark, understated grace of opener "Occultation Of Hali's Gates", which early on reminds me of the glacial beauty of bands like Codeine and Low, a somber, slow-burning instrumental introduction that takes awhile to develop into swells of distorted guitar and peals of howling feedback. Flowing into the massive sprawl of "Forever In The Dream Of Death" and "Sentinel Of A Sunless Abyss", the music then turns epic as these two half-hour long songs unfold, each a multi-part saga slowly developing from that glacially-paced instrumental passages into their surges of metallic heaviness. But it always comes, the guitars crashing in with their majestic, almost hymn-like riffs, the drums slow and deliberate, a series of earthbeating tectonic reverberations, all building to that moment when the guttural roar of the singer suddenly punctuates the gloom. Really powerful stuff that's never sounded better than it does on Embracing, cold and sorrowful and desolate, death metal turned elegiac. It's downright beautiful, draped in lush Hammond-like organ and wound in those drawn-out, gorgeous melodic riffs and flecked with traces of mournful twang. A sound that fans of Thergothon, Evoken, Skepticism and Asunder are well familiar with, but Aldebaran are at the top of the heap when it comes to this sort of stuff, with killer songwriting that always teeters on the edge between the hushed, wintry beauty of their quieter moments, and the charred, colossal crush of their deathly funereal doom.
Track Samples:
Sample : Occultation of Hali's Gates
Sample : Forever In the Dream of Death
Sample : Occultation of Ocular Tauri



ALDEBARAN   Embracing The Lightless Depths   CASSETTE   (End Theory Records)    6.99



     And down we go. We just picked up the cassette version (limited to three hundred copies) of this great album from Portland, OR depth-crawlers Aldebaran, as well as restocked the original CD release on Profound Lore; if you're into the more chthonic realms of funereal deathdoom, Embracing is well worth picking up. It's the most recent full-length from the band, which includes former and current members of bands like Ritual Necromancy, Howling Wind, Nightfell, Wolves In The Throne Room, as well as the guy from noise outfit Okha, and continues to surround itself in allusions to classic Weird literature, Lovecraftion cosmic horror and otherworldly imagery that's a perfect fit for the monstrous sadness of their music.
     Aldebaran's sound is obviously seriously heavy, but one of the things that makes this stuff stand out in the sea of funeral doom dreck is their skill at weaving longform melodies through the titanic, glacial riffs, letting the songs fall into long stretches of solemn, contemplative quietude. Those moments on Embracing often sound more like some gloomy early 90s slowcore outfit, up until the mountain of metallic crush finally crashes down on everything. You can really hear it in the stark, understated grace of opener "Occultation Of Hali's Gates", which early on reminds me of the glacial beauty of bands like Codeine and Low, a somber, slow-burning instrumental introduction that takes awhile to develop into swells of distorted guitar and peals of howling feedback. Flowing into the massive sprawl of "Forever In The Dream Of Death" and "Sentinel Of A Sunless Abyss", the music then turns epic as these two half-hour long songs unfold, each a multi-part saga slowly developing from that glacially-paced instrumental passages into their surges of metallic heaviness. But it always comes, the guitars crashing in with their majestic, almost hymn-like riffs, the drums slow and deliberate, a series of earthbeating tectonic reverberations, all building to that moment when the guttural roar of the singer suddenly punctuates the gloom. Really powerful stuff that's never sounded better than it does on Embracing, cold and sorrowful and desolate, death metal turned elegiac. It's downright beautiful, draped in lush Hammond-like organ and wound in those drawn-out, gorgeous melodic riffs and flecked with traces of mournful twang. A sound that fans of Thergothon, Evoken, Skepticism and Asunder are well familiar with, but Aldebaran are at the top of the heap when it comes to this sort of stuff, with killer songwriting that always teeters on the edge between the hushed, wintry beauty of their quieter moments, and the charred, colossal crush of their deathly funereal doom.
Track Samples:
Sample : Occultation of Hali's Gates
Sample : Forever In the Dream of Death
Sample : Occultation of Ocular Tauri



ALLERGY   Peace Fuckers   7" FLEXI   (Vinyl Rites)    6.50



     You know, nothing quite says "world peace" like detonating a speaker cone in your ear. Which is pretty much what you experience with the latest EP from the Floridian band Allergy. These guys rip through eight furious blasts of quirky noise-punk cut from highly Confusional cloth on this double-sided flexidisc, but they add some interesting oddball touches that keep this from turning into another rote Confuse clone. This shit is definitely noisy, though. Peace Fuckers is a whirlwind of hysterically over-modulated punk, combining a near-constant assault of distorted skree and feedback-overload with catchy, almost surf-rock bass lines, rampaging drumming that trips up all over itself, and griff n' frenzied screams that are fused to a gout of anti-authoritarian / anti-war / anti-cop lyrical outrage. Like most stuff in this vein, the influence of Confuse can clearly be felt, but Allergy's use of catchy, pogo-powered bass riffs and weirdly needling high-end guitar melodies cut through the hiss and static, and make this a surprisingly much more musical foray into the noisepunk realm. Still pretty headsplitting though, especially on songs like "Shadows", where it sounds like their amplifiers are blowing up mid-song, the extreme feedback squealing violently amid the onslaught of snotty streetpunk.


AMBER ASYLUM   Sin Eater   CD   (Prophecy Productions)    17.98















AMBER ASYLUM   Sin Eater   LP   (Prophecy Productions)    32.98















ANTIGAMA   The Insolent   CD   (Selfmadegod)    11.99












Track Samples:
Sample : The Insolent
Sample : Sentenced To The Void
Sample : Eraser



ARCTURUS   Sideshow Symphonies (WHITE VINYL)   2 x LP   (Back On Black)    11.98



     Along with that killer new album, we also just restocked this double Lp release of Arcturus's 2005 album Sideshow Symphonies, now available at a lower price. Packaged in a deluxe gatefold jacket and pressed on white vinyl, this is a gorgeous limited edition release of what had been up to that point the final album from these legendary avant-garde black metal alchemists. Here's my original writeup on the CD version:
     Never stocked this cd before, but I've been on a bit of an Arcturus kick lately and decided to pick it up at long last since I'm constantly getting orders for all of the other back catalog titles from this Norwegian avant-black metal super group. Featuring members of Ulver, Mayhem, Covenant, Borknagar, and Ved Buens Ende, Arcturus were a band unto themselves, starting off as a slightly proggy, symphonic black metal outfit but over the course of several albums evolved into something like a blackened version of Faith No More, with their majestic metal augmented by strange genre-hopping that might include bits of drum n' bass and electronica, theatrical arrangements, bizarre left-field forays into hardcore rap, trip-hop, and industrial music. 2005's Sideshow Symphonies would actually be the band's last studio album, and found the band shifting their bombastic and theatrical sound into a more focused (but no less dramatic) direction. One of the changes that stands out on this album is the arrival of new singer Simen "ICS Vortex" Hestns (ex-Borknagar, Dimmu Borgir) who replaces former front man Garm (Ulver); Hestns's soaring, phantasmal voice was an interesting addition to Arcturus's sound, definitely way more over the top and melodramatic compared to Garm's singing, but it fit perfectly with their majestic futuristic prog-metal.
     Musically, you can barely hear any of their black metal origins, the nine tracks instead sounding like a spacey, symphonic, strangely New Wave-tinged power metal, sorta, and there are parts of the album that sound to my ears almost like Kansas, fer petes's sake. Not that they went soft for Sideshow; the lush analogue synths, symphonic strings, and operatic singing are still backed by chugging heavy guitars, blazing double-bass drumming and triumphant metallic crunch. The music isn't as schizo as their past releases, where Arcturus would veer from drum n' bass to black metal to orchestral pomp and Portishead-style trip-hop, but there is still some of that Mr. Bungle weirdness going on, albeit very subtly, with some touches of dark jazzy ambience (like on "Nocturnal Vision Revisited"), electronica, and classical elements appearing on various tracks. Definitely a high point in the field of progressive post-black metal heaviness.
Track Samples:
Sample : Deamon Painter
Sample : Nocturnal Vision Revisited



ARCTURUS   Arcturian   CD   (Prophecy Productions)    17.99












Track Samples:
Sample : Warp
Sample : The Arturian Sign
Sample : Pale



ARCTURUS   Arcturian   LP   (Prophecy Productions)    27.00












Track Samples:
Sample : Warp
Sample : The Arturian Sign
Sample : Pale



ASEPTIC VOID   Carnal   CD   (Naked Lunch)    11.98



     This invocation of rot and minimalist charnel ambience from Italy's Aseptic Void first surfaced as a digital release a while back, but has finally been reissued in physical form for collectors, presented in digipack packaging with cool, almost Beardsley-esque cover art, in an edition of five hundred copies. A nice accompaniment for Aseptic Void's morbid post-industrial music, which unfurls across these nine tracks as eerie echoing tones and half-formed minor key melodies drifting glacially through vast expanses of lightless emptiness. Creepy stuff.
     Cardiac pulses reverberate through the depths of sprawling black ambience, a muted murky throb that drifts in and out beneath slowly-shifting layers of sonic mire. Soft bursts of writhing, malevolent electronics materialize in the midst of tense, unsettling drones that are suspended across immense near-silent voids. The first several tracks are all steeped in this sparse, desolate atmosphere, but when it gets to "Beyond The Suffocation", the sound turns more threatening, leading into even darker and more sinister regions as swells of almost orchestral murmur are stretched and smeared through the blackness, with waves of heavy distorted synthdrone washing through the field of sound, a doomed, oppressive atmosphere taking hold as the rest of the album continues this downward descent into pure abyssal ambience. Strange rattling noises and subterranean sounds lurk on tracks like "Circumspection", suggestive of traversing immense unlit underground passageways while the sounds of a mass transit system rumble overhead; elsewhere, crackling blackened static is layered over those glacially drifting drones to create an unnerving, entropic effect.
     And it takes an unexpected turn into ghostly trip-hop with "Black Toy Box", weaving chilling, cinematic music with horrific screams, sounds of sudden violence, and dubby echo around a languid breakbeat; it comes out of nowhere, but makes for an interesting diversion from the immersive and mesmerizing stygian driftscapes that comprise most of Carnal. Another standout is "Suspended In The Void" with its soundtracky feel, lone footsteps moving through some dank subterranean chamber while Carpenterian synthesizers growl in the shadows. And the last track "Violate", which is exclusive to this reissue, sounds like field recordings of poltergeists discovered beneath the ambient sounds of a particularly busy morgue. Definitely one to check out if you're hooked on bleak, Slaughter Productions-style death industrial aesthetics.
Track Samples:
Sample : Violate
Sample : Black Toy Box
Sample : Aridit



ASTAROTH   Satanispiritus   7" VINYL   (Unseen Forces)    6.50



     This reissue of an alleged mid-70's occult rock band's sole 7" just got repressed; I'm pretty sure by this point that the whole thing is a hoax, but it's an enjoyable one. Here's the old review from the original release:
     Much like their awesome reissue of the lone album from hard rockin' apocalypse cult The Law, this delicious 7" is a blast of infernal obscurity from the brilliant minds behind Unseen Forces. Somehow, these guys managed to arrange a reissue of what appears to be a hyper-unknown two-song single from the early 70s Detroit band Astaroth, whose name has apparently only been previously known to serious seekers of vintage occult-tinged garage rock. If the 'net is to be believed, this 7" (their only release aside from an appearance on the cult comp Michigan Meltdown on Coney Dog), seems to have been a grail of sorts to hardcore fans of infernal psychedelia, as a quick glance around the 'net reveals that original pressings purportedly have gone for over $250. Yikes. Hence this re-issue via Unseen Forces, bringing us a re-mastered edition of the single for a vastly saner price. The a-side is the main attraction: a short, insanely infectious rocker that's somewhere between the grit of classic Motor City proto-punk and the 13th Floor Elevators, with lyrics typical of that era's swingin' Luciferian infatuation. The b-side "Lady Of The Moon" is a slower but similarly occult-themed number that to me sounds almost like a more raw take on the psychedelia of early Amboy Dukes; still a pretty cool tune though, and definitely redolent of that particular time period.      Gotta admit though that I'm skeptical as to the veracity of this record. Did a little research on this band having never heard of them before, and I haven't been able to come up with a single reference to the band that dates prior to 2011. An elaborate prank on the "occult rock" obsessed underground? Perhaps. Even if it is a hoax, it still rocks mightily, highly recommended to anyone with an ear for ancient, devilish hard rock...
     Limited to three hundred copies.
Track Samples:
Sample : Satanispiritus
Sample : Lady Of The Moon



ATARAXIE   Slow Transcending Agony (Reissue)   CD   (Weird Truth)    14.98



Out of print for several years, the pulverizing 2005 album Slow Transcending Agony from French glacial-death ensemble Ataraxie has just been reissued by Japanese-based label Weird Truth. This new edition comes in digipack packaging and also adds a new bonus track at the end, a violent, boiling cover of Disembowelment's "The Tree Of Life And Death" that's transformed into something more soul-destroying and poignant in the hands of these misery merchants. Here's the old review of the original album from way back when:
I've been a on a big death/doom kick lately, and Ataraxie are just the pill I've been looking for...monstrous slow motion death-metal riffs with wide expanses of space between them, marked only by trails of silvery feedback, huge booming drums beating out freakishly heavy marching rhythms that move in geological time, deep guttural death roars echoing over vast voids of endless blackness. Heavy, HEAVY stuff. Not a ray of light to be found in Ataraxie's mist-covered world. One of the guitarists is also credited with "e-bow", and it sounds like it's definitely being used as an additional instrument, conjuring lush feedback textures over their grinding glacial dirge. It's not all slow though, which makes this album stand out; every once in a while, they'll suddenly erupt into vicious old-school death metal riffs and double bass drumming, a surge of savagery that sometimes rages for a couple of minutes before coagulating once again into total doom. Some amazing melodies too, like the mournful layers of melodic soloing on "L'ataraxie", and the somber acoustic passages on the title track. Everything about Slow Transcending Agony is cloaked in sorrow, the thick mournful atmosphere clinging to every riff like a grey mist.
Imagine a more death metal inclined Thergothon with gorgeous acoustic guitars and whispered vocals floating in the background. Fans of classic doom-death like My Dying Bride, Mourning Beloveth, Morgion, and Evoken definitely want to check these guys out, as well as anyone into the newer, melodic funeral crawl of Swallow The Sun and Shape Of Despair. And dig that awesome ending on "Another Day Of Despondency", where Ataraxie suddenly go from creeping sorrowful doom into a weird, black metal tinged atmospheric blastbeat assault, but with the guitars still emitting those huge slow funereal riffs, creating a really cool, unusual outro for the album. Comes with a nicely designed 16-page booklet filled with lyrics, stylized band photos, and eerie photographs of fog-covered hillsides. Another crushing album from these titanic gloom-pushers.
Track Samples:
Sample : Slow Transcending Agony
Sample : L'ataraxie
Sample : Funeral Hymn



ATHEIST   Elements (BLACK VINYL)   LP   (Season Of Mist)    21.00



      Now available on black (ie., superior sounding) vinyl!
      Out of all of the death metal bands that were flirting with prog and avant-garde tendencies in the early 90's (a crowd that included the likes of Pestilence, Cynic, Death and Nocturnus), Atheist was the one that seemed to venture the furthest into full-blown jazz territory, releasing a trio of albums that would continue to mutate more and more into a strange sort of experimental fusion-death that liberally applied elements of tripped-out psychedelia, sweat-soaked samba (!) and similar Latin influences into their complex, crushing metal. Atheist's three albums (1989's Piece of Time, 1991's Unquestionable Presence and 1993's mind-bending Elements) went on to become landmarks in the field of progressive death metal; though the band reunited in recent years and produced the solid comeback album Jupiter for Season Of Mist, it's those earlier albums that I always go back to, as these guys sounded so unique, so outr, their music has aged remarkably well in the decades since their release. Founded by guitarist Kelly Shaefer (who also handled the vocals in Atheist, with a ferocious yowl that was totally unlike the guttural growling most other bands were doing back then) and his crew of pot-smoking visionaries in the early 80's as a standard issue thrash metal band, by the end of the decade they had evolved into one of the most unique metal bands to ever come out of the Sunshine State, morphing into something much more complex and left-field than almost anyone else in the Floridian death metal scene, combining dizzying baroque arrangements and highly complex time signatures with vicious, discordant riffs and heavy doses of fusiony jazz, Latin music and prog influences. Unsurprisingly, these albums went over the heads of most metalheads when they originally came out, the complexity and insane tonal shifts throwing most 'bangers for a loop. They never received the sort of widespread acclaim that many of their peers enjoyed throughout the 90's, and Atheist ended up breaking up not long after the release of their third album Elements. Released on the long-defunct Active Records, all three of the early Atheist LPs were later re-mastered and reissued with bonus materials on CD via Relapse Records in 2005, followed by these new limited-edition vinyl reissues on new label Season Of Mist that pretty much duplicate the original Active releases all the way down to the center labels.
      On album number three, listeners followed Atheist all the way down their weird rabbit-hole of surreal songwriting and jazz/samba influenced prog meshed with crushing staccato death metal heaviness. Despite the fact that Elements was in essence a rush-job that the band belted out quickly to finish off their contract, the album was an intense, accomplished work that featured some of Atheist's most imaginative songwriting ever. Most of the songs are titled after various elemental forces, continuing in the band's strange New Age-style themes of spirituality, and their Byzantine songwriting was further fleshed out with polyrhythmic drumming, complex time signatures and unpredictable shifts in style and tone that often completely abandoned the death metal form. Cynic bassist Tony Choy returned as well, contributing his virtuosic deep-pocket playing that the band wisely put way up front in the mix. Choy's playing is a big part of what makes this album sound so unique, his grooves more informed by jazz, funk and Latin influences than the plodding chug of classical heavy metal. The song "Mineral" breaks into one of the sickest and most unusual death metal breakdowns I have ever heard, while elsewhere the band blends soaring guitar solos, fusiony shredding and haunting e-bow textures into gorgeous abstract guitar instrumentals like "Fractal Point" and "See You Again". And all throughout Elements, the band swerves from that wicked metallic heaviness into frenetic samba session or searing Latin jazz style guitar solos, with some full-on samba appearing on the piano-laced interlude "Samba Briza". I know that this stuff blew my mind the first time I listened to this album, I can only imagine how other death metal fans might have reacted when they first heard this wild, jazz-infected progdeath back in 1993. Atheist's rhythmic complexity and stylistic indulgences were like no other band; in fact, in the twenty years since Elements first came out, the only band that has even come close to capturing the sort of bizarre, mind-bending jazzmetal virtuosity heard here would be Brooklyn's Candiria. A lot of Atheist fans consider their second album to be their finest, but for me, Elements remains the band's career high point, a masterpiece of memorable, utterly unique, highly adventurous metal. Highly recommended.
Track Samples:
Sample : Fire
Sample : Green
Sample : On They Slay [*][Live]



AUBE   Metalive 1997+1998   CD   (Neurec)    13.99



     A rare 2005 release from one of Japan's most respected experimental sound artists, Aube's Metalive showcases a pair of complete live sets along with a shorter excerpt from a third performance, packing this disc out with over sixty-five minutes of evocative, expressionistic noise. Using the amplified and mutated sounds of banal, everyday objects, Aube creates massive, often terrifying noisescapes that become incredibly dense and overpowering. Visceral and textural, his stuff is some of the best stuff to come out of the Japanese noise underground.
     The first full live set on this disc is from a 1997 performance in Germany that finds Aube slowly building a vast dronescape, starting off with the barest of peripheral hum, but then stretching and layering this minimalist pulse with streaks of flinty feedback and soft electronic tones. He gradually incorporates clusters of clattering metallic noise and high-pitched sinewaves into the soundfield, allowing mesmeric, almost subliminal rhythms to form from the feedback process, rumbling rattling loops materializing from within roiling waves of black static, building to a tense, almost threatening atmosphere that charges the air across the second half of the track as ghostly thumps and sinister distorted throb continues to slip in and out of focus. Impressive and ominous work.
     The other full set comes from a 1998 performance at Yamamura Salon in Ashiya, Japan; much like the previous track, Nakajima starts this off with a soft, minimal hum that becomes the springboard for a larger and more layered noisescape. Rhythmic fluttering and soft pulses of muted feedback slowly spread out across the set, rising and falling in intensity as it gives way to a series of bathyspheric sonar-like pings and luminous drones. More minimal and mesmerizing, the set is flecked with lots of interesting tonal artifacts and hushed rhythmic movement, even slipping into sections of spare, almost technoid throb and miniature symphonies of clanging metal.
     That looping, rhythmic feel carries over to the final eight minute track, recorded in Germany in 1998; fragile, vaguely sinister sounding loops whirr in the darkness beneath gently wavering feedback drones on this one, finishing off the disc with it's eeriest piece of music, a somewhat spooky dronescape that's further layered with more forceful metallic rattlings and a prayer-bowl like resonance that in the end graces the performance with a strange, vaguely ritualistic atmosphere.
     Issued in a limited edition of one thousand copies, Metalive comes in a clamshell case with full color artwork.
Track Samples:
Sample : 29.04.1998
Sample : 1998 C.U.B.A. Mnster Germany
Sample : 1997 Seehaus Club Plauen Germany



AUROCH   Taman Shud   LP   (Dark Descent)    14.99



    Finally have this crushing slab of avant-garde blackened bestial death metal in stock.
    Mitochondrion's 2011 album Parasignosis was one of my favorite death metal albums that came out that year, a warped and blistering assault of avant-garde blackened death that rivaled the likes of Antediluvian, Impetuous Ritual and Adversarial in terms of sheer chaotic brutality. Haven't heard anything from 'em since then, but when the new album from Auroch Taman Shud recently appeared from Profound Lore, I was eager to hear it simply based on the band's connection to Mitochondrion, as they share several members. Though Auroch's sound on Taman is drawn from the same swarming blackened death metal chaos as the members' other band, this album ventures in a different, more technical direction as it sheared my head off.
    This is the second album from the Vancouver, BC crushers, a nine-song mini-album further showcasing their own violent, complex take on technical death metal, which first appeared on the 2011 debut From Forgotten Worlds. It's an impressive display of discordant death-worship, combining traces of the rampaging blackened bestial chaos of the Ross Bay crowd with warped riffage and some moments of excellent eerie melody that add a strange, somewhat mystical atmosphere to parts of Taman Shud. An interesting variation on the complex, monstrous blackened death that has been coming out of the frozen north since the late 80's.
    While blasting this here in the C-Blast office, I'm occasionally reminded of bestial crushers Revenge; there's a similar psychotic feel to the band's frenzied aggro-blast and twisted, skull-scraping riffage, but Auroch interject weird atmospheric touches into their material that take this in a different direction, like the discordant acoustic guitars and subtle didgeridoo drones that surface on the title track. The songs are also infected with bursts of black static and abrasive electronic noise, suddenly diverging into bizarre passages of over-modulated bass guitar slithering through the blackness, or brief interludes of crackling alien ambience. The rabid, two-pronged vocal attack alternates a ferocious, inchoate roar with frantic yelling that appears over some of the record's slower, churning passages, adding to the frenzied feel of Auroch's sonic assault, and the crazed complexity of the riffs and the maniacal shredding solos all snake chaotically throughout these vicious blastscapes, dissonant angular riffs sprouting from the band's convoluted sonic architecture. At times like Gorgutsian tech-death filtered through the bestial violence of Revenge, and bathed in lyrical satanic surrealism and arcane imagery; this album is tough stuff, right up to the closing track "The Balkan Affair" that ends the disc with a brief but intense acoustic guitar piece steeped in an atmosphere of mystery and paranoia.
Track Samples:
Sample : Voice of Gemini
Sample : The Balkan Affair [Instrumental]
Sample : Octavo (Swiling in Capricorn)



AUTHOR & PUNISHER / HARASSOR   Fearce   7" VINYL   (Gotebld Records)    7.99














AXEMAN   Arrive   LP   (Darkest Heavy)    17.99











Track Samples:
Sample : Metnal
Sample : Kosmic Death
Sample : Attestor Of Doom & Rebirth



BAD BRAINS   Rock For Light   LP   (PVC Records)    13.99












Track Samples:
Sample : I and I Survive
Sample : Coptic Times
Sample : At the Movies



BARR / SHEA / DAHL   self-titled   CD   (ugEXPLODE)    13.98











Track Samples:
Sample : Porxen - Proxen
Sample : Gedra



BASTARD NOISE   Our Earth's Blood Part III   7" VINYL   (Rhetoric Records)    8.99



     Here's another older, out-of-print Bastard Noise release that we got ahold of recently via a warehouse find from one of our distributors. Released on the long-gone Rhetoric Records label, 1996's Our Earth's Blood Part III was another furious installment in Man Is The Bastard's sweeping anti-human saga, featuring the quartet version of the band fronted by Eric Wood's barbaric vocals. It dishes out four tracks of brutal "caveman electronics" that once again combined their hardcore-derived ferocity with a mixture of psychedelic harsh noise and extreme power electronics influences. And as usual, the result is monstrous. "Our Earth's Blood" a nightmarish mass of feral, snarling vocals, howling feedback manipulations, and ultra-distorted low-end synth-slime, a seething, sadistic assault of bestial electronics that gradually grows more powerful and violent. "HR 2202" is a slightly more subdued electronic noisescape, but still pretty abrasive, while "Lost And Found" is a direct threat against the notorious German label/bootleg operation of the same name, spelled out in no uncertain terms as Wood spews his deadly, death metal-esque roar across a pestilent clot of noxious noise and abrasive glitchery. And closer "Campfire Hymn" finishes this up with a seriously creepy dronescape, once again haunted by those bellowing, gut-churning screams. Brutal.


BASTARD NOISE   Our Earth's Blood Part V   7" VINYL   (Skull Records)    8.99



     Released for Bastard Noise's 2015 Japanese tour, Our Earth's Blood Part V is the latest chapter in the band's ongoing series of ecologically minded electronic outbursts, which goes back all the way to the early 90s. This 7" features nine tracks in all, each a "statement" of anti-human / eco-conscious fury and a collaboration between Bastard Noise and one of their harshnoise compatriots, with all of them apparently hailing from Japan. And there are some pretty well-known names in here, from Guilty Connector and K2 to Toshiji Mikawa ( Hijokaidan, Incapacitants) and Hiroshi Hasegawa ( C.C.C.C., Astro), Facialmess and Government Alpha, as well as a few lesser-known artists like Katsura Mouri and Shayne Bowden offering their own skills in the creation of these terrifying noisefields.
     It's all monstrous stuff, moving from squealing electronic hellscapes possessed by hideous, death-metal like roars, to squalls of extreme oscillator violence and rumbling low-frequency chaos, sprawls of skittering, insectile glitchery and malevolent black drone, grotesque digital vomitblasts and shrieking, garbled heaviness, with only brief glimpses of calm caught between the onslaughts of electronic savagery. The whole EP is boiling with sickening psychedelic electronics, but the highlight for me has to be the very last track, which sees Makiko Suda from grindcore band Flagitious Idiosyncrasy In The Dilapidation teaming up with Bastard Noise to assault us with a dual-vocal freak-out that feels like something scraped from the bottom of my blackest nightmares, the sound of demons slowly surfacing from the depths of a glistening kosmische driftscape.
     Limited to three hundred copies.


BASTARD NOISE   Skull Report   7" VINYL   (No Fucking Labels)    11.99














BASTARD NOISE   The R.A. Sessions   7" VINYL   (Riotous Assembly)    8.99














BASTARD NOISE + ANTENNACLE   BN + A   7" VINYL   (Kitty Play Records)    12.99














BASTARD NOISE / GERRITT   split   7" VINYL   (Misanthropic Agenda)    9.00



     Dug up this long out-of-print 7" on Misanthropic Agenda from 2002 with that unearthed stash of rare Bastard Noise stuff we recently found, teaming up Bastard Noise with Misanthropic Agenda label boss and solo noise artist Gerritt Wittmer.
     Man Is The Bastard: Bastard Noise's "Protozoa Syringe" is pretty brutal, coming from the Eric Wood / John Wiese duo-era of the band. Their signature use of extreme oscillator effects, shrieking high-pitched feedback and swarming insectile electronics is all accounted for, but as with much of the stuff that Bastard Noise did when Wiese was in the group, there's an added focus on concentrated high-frequency sound that turns this into a particularly abusive piece of noise-art. Still pretty psychedelic, of course, though it's missing those bestial hate-grunts of Wood's that I dig so much.
     The three tracks from Gerritt Wittmer (Deathroes) provides on the second side are in a similar vein as his Sails The Seas Of Displacement material from around the same time. And it's an excellent pairing with Bastard Noise's monstrous electronics. Starting with "Focus", Wittmer spins off whirring abrasive electronics, hideously warped vocals caught in nightmarish loops, violent mic-rupturing screams, and controlled blasts of extreme noise that reach Whitehouse-like levels of low-fi sonic monstrosity. More along the lines of raw power electronics than most of the other stuff I've picked up from Wittmer, there's also a bit of that creepy, noise-collage approach that has marked his longer works, which ultimately self-immolates in a speaker-scraping locked groove.
     Comes on marble colored vinyl in a clear Mylar sleeve with a multi-color transparent label affixed to the front. Minimalist, but cool.


BASTARD NOISE / PAIN JERK   Imminent Economic Collapse   7" VINYL   (Alternative Tentacles)    11.99



     Recently nabbed a bunch of old, rare, out-of-print Bastard Noise / Man Is The Bastard-related stuff, all of it new, but apparently hidden away in one of the darker corners of one of our distributor's warehouse. One of 'em is this long-gone 7" that came out on legendary punk label Alternative Tentacles back in 1999; featuring one track each from Man is The Bastard's electronic noise offshoot Bastard Noise, and Japanese harsh electronics terrorizer Pain Jerk, as well as a collaboration between the two on the b-side, this is probably one of the most abrasive things that ever came out on ol' Alt Tentacles. It's pretty ferocious, Pain Jerk kicking things off with a brutal blast of psychedelic electronic noise on "Face Down In A Pool Of Piss" that unleashes some serious distortion-pedal abuse, and then followed by the stretches of subdued insectile chitter and mesmeric celestial pulses that make up Bastard Noise's "I.M.F. Secrets" that rounds out the rest of the side.
     The main draw, though, is the collaboration track "Imminent Economic Collapse". Here, the two noise artists deliver a longer, more mind-melting dose of trippy analogue synth noise and violent frequency sweeps, all set against grinding electronic drones and churning clouds of grainy shortwave static. Anyone familiar with both artists will be able to pick out their various signature moves in this chaos, but they mesh together really well, which would be just one of several collaborative experiments that the two projects would engage in over the years. And it's pretty goddamn heavy, too, once BN's Eric Wood finally starts bellowing his barbaric caveman grunts over the track's onslaught of apeshit oscillators and rapid mechanical judder. Brutal. As with all of these other rare Bastard Noise records we picked up, quantities are extremely limited.


BELL WITCH   Four Phantoms   2 x LP   (Profound Lore)    25.99



     The latest slab of heartwrenching doom metal from Bell Witch is now available on 180 gram vinyl in gatefold packaging with digital download...
     Seattle funeral doom duo Bell Witch aren't the first band of this ilk to carry with them shades and echoes of the elegiac slowcore of classic bands like Codeine, but by god their one of the best. A two-piece made up of just drums and six-string bass guitar from members of Samothrace and Sod Hauler, Bell Witch nevertheless succeed in crafting a massive sound on their second album Four Phantoms, which has been getting lots of love from devotees of metallic misery, and for good reason - these four songs (all naturally sprawling out for anywhere from ten to twenty three minutes in length, every one an epic) sprawl out into panoramic sadness, the band expertly welding their blasts of crushing glacial heaviness and crawling, time-stopping tempos to passages of achingly beautiful melody, far prettier and more fragile than what you usually hear out of bands playing stuff this agonizingly slow.
     But man, those weary, stentorian riffs that tower over the album are as spiritually pulverizing as you could hope for, slow-motion blooms of rumbling, crashing dirge surrounded by guitar leads that have a similar almost synthlike vibe as Finnish gloomdoom gods Skepticism. The songs often disappear into thick fogbanks of liturgical darkness as the drums melt away and the vocals shift from that monstrous lamentation into plaintive, chantlike tones, and on "Suffocation, A Drowning", the band is joined once again by Erik Moggridge of neofolk outfit Aerial Ruin on vocals, lending his pensive voice to one of the album's more solemn, subdued moments that slowly builds into a titanic key change that gives birth to an awesome gloompop hook buried beneath the speaker-rattling low end and soporific pace. The sound is so harmonically full, I had completely forgotten that there were no fuckin' guitars on this album until well after the album was over. Immense and beautiful in its bleak, ashen majesty, and with more complex songcraft than their previous work, Phantoms is easily one of the best doom albums that's come out so far this year, those melodious, sometimes harmonized vocals giving this a warmth and humanity not often seen in funeral doom, without sacrificing that oppressive, deathly atmosphere and utterly forlorn feeling of existential despair that marks the best funeral doom, a quality that puts this album in league with other masters of the form like Pallbearer and Asunder. Comes in digipack packaging featuring superb impressionistic artwork from Paolo Girardi.
Track Samples:
Sample : Suffocation, A Drowning: II Somniloquy (The Distance of Forever)
Sample : Suffocation, A Burial: I Awoken (Breathing Teeth)
Sample : Judgement, In Air: II Felled (In Howling Wind)



BESTIAL RAIDS   Prime Evil Damnation   CD   (Nuclear War Now! Productions)    10.98












Track Samples:
Sample : Virginborn of Depravation
Sample : Triumphant Primordial Darkness
Sample : Debauchery Enthroned



BESTIAL RAIDS   Prime Evil Damnation   LP   (Nuclear War Now! Productions)    21.00












Track Samples:
Sample : Virginborn of Depravation
Sample : Triumphant Primordial Darkness
Sample : Debauchery Enthroned



BIRDFLESH   Mongo Musicale   LP   (Power It Up)    14.99



     Finally found some more copies of this killer album of gonzo grindcore from Sweden's Birdflesh, released back in 2006 in a limited edition of nine hundred copies. Here's my old write-up from the last time we had this bizarro blast of bonkers grind in stock:
     From their nonsensical band name to the equally ridiculous song titles and lyrics and cover art (is that Sean Connery?), Birdflesh don't go out of their way to hide the fact that they are, indeed, a bunch of clowns. I mean, they have a song called "Wigdestroyer", and the lyrics go like this: "Here I come bored of everything / I go downtown to look for you / You are the ones who lost your hair / And try to replace it with an ugly wig / I rip it off and throw it to the ground/ Wig Destroyer..." And they do dress up as clowns when they play live. Some of them, at least. And yet the trio of Smattro Ansjovis (drums), Barbro Havohej (bass), and Achmed Abdulex (guitar) totally kill. It's insanely fast and punky grindcore that goes from hyperspeed blasting to thrashier, more mid-paced punk rock, and into that mix Birdflesh toss in their goofy song titles ("Crocophile", "After-ski Obliteration", "Mr. Big Head", "Handicapitation", "Dancefloor Dismemberment", "Moonwalk Massacre", "Victim Of The Cat"...you get the idea), and even weirder lyrics as with the aforementioned "Wigdestroyer", or other songs about being carjacked by a deer, having a head that suddenly grows to enormous size, or death by Jacuzzi. If you haven't picked up on by now, Birdflesh tap into the goofball genre-bending thrash of Spazztic Blurr, but deliver their silliness through crusty grind in the vein of bands like Nasum, Napalm Death or Sayyadina, minute long songs of ferocious blasting, trickey percussive fills and technical riffing that gets mixed up with weird bits of pop punk, goony nursery-rhyme type chanting or squeaky chipmunk vocals, silly samples, drum solos, operatic vocals, dogs barking, and other absurdity.


BISHARA, JOSEPH   Insidious Chapter 3 (OST)   LP   (Void Recordings)    21.00



     Now available on limited-edition vinyl, includes a download code.
     The latest foray into horrific soundscapes from composer Joseph Bishara, this new score follows his third time constructing the frightening sonic backdrop to the popular Insidious series, which has updated the "family under assault by demonic forces" storyline first seen in Poltergeist to a modern, more unsettling setting. A former member of the early 90s industrial metal outfit Drown, Joseph Bishara has made a name for himself in recent years as the go-to guy for some of the better horror films currently coming out of Hollywood, drawing from the atonal modern classical music of composers like Ligeti, Crumb and Penderecki and combining that influence with contemporary electronic and experimental textures to create some of the creepiest film music being made right now. I was already a fan of Bishara's previous scores for the Insidious films, The Conjuring and Dark Skies, but the direction he would take for this new project was particularly enticing. For his score to the third installment in the Insidious series of films, Bishara teamed up with legendary metal drummer Dave Lombardo (Slayer, Fantmas) and pianist/composer Saar Hendelman to create these jet-black soundscapes, which is featured on this album as twenty-two tracks that plunge into a nightmarish sonic realm of low, rumbling percussive sound and distant ostinato strings giving way to violent, shocking blasts of orchestral dissonance, quieter sections where those muted strings drift hazily over minimal piano, or dissipate into abyssal dronescapes; violins are manipulated and molested, producing sickening glissando notes that slither and writhe through cloudy masses of low-end electronics and reverberating metallic noise; ghostly atonal melodies slip in and out of view, drifting out of the void to reveal themselves in brief glimpses before being swallowed up again in the blackness; murky electronic rhythms bubble in the depths of the mix, looping patterns that seethe on the periphery; and there are sequences of stygian ambience here that rival anything you'll find on labels like Malignant or Cyclic Law.
     Like most of my favorite scores, the sudden blasts of volume and intensity make for a terrifying listen even when separated from the film's demonic imagery, which reaches a feverish intensity whenever Lombardo's abstract drumming enters the fray, often appearing in controlled bursts of rumbling percussive sound that punctuate the louder, shocking eruptions of those fearsome strings, or producing slow, sinister swells of cymbal washing over quick, improvisational flurries of drumming; it's an exercise in skillful tension building, even the more emotionally poignant moments of Bishara's score seem to have a lingering sense of dread, like the haunting, lyrical "Questions Left Behind" and the gorgeously moody "Friendly Face"; utilizes sleek modern composition and experimental techniques, there's a definite post-industrial tinge to this music. One of the better modern horror scores, in the same terrifying league as Roque Baos's fantastic Evil Dead score.
Track Samples:
Sample : The Insidious Flare
Sample : Void Figure
Sample : She was waiting



BLACK CRUCIFIXION   Coronation Of King Darkness   CD   (Seance)    11.98



     Was kind of surprised that Coronation didn't seem to get more attention from the outr metal crowd when it originally came out. The third album from these long-running Finnish black metallers is a compelling combination of their blackened heaviness and sinister avant-prog, which I thought was one of the more effective albums of its kind. It definitely taps into a bunch of my favorite sounds - Nephilim-esque goth rock, Frostian crush, violent black metal, vintage 70's-era progressive rock - and bring it all together into this rousing album that has a strong current of surrealistic strangeness.
     This is a newer Australian reissue of Coronation, which originally came out on Spinefarm/Svart back in 2013. Although Black Crucifixion has been around for about as long as their pals in Beherit, and delivered a similarly oddball (though totally different) brand of black metal in their early days, these guys have remained less well known, at least over here in the US. They've put out some killer stuff over the years though, from the bestial blackness of their earliest demos to the low-fi Frostian weirdness of the Promeathean Gift EP and the crushing gothic metal of 2006's Faustian Dream. Through all of this stuff, they've pursued an experimental agenda that made 'em more interesting than most bands from that era, and a lot of their stuff was tinged with a subtle death rock influence - you can really tell that these guys were big fans of old Christian Death.
     On Coronation Of King Darkness, Black Crucifixion's black metal origins still blare through these eight songs loud and clear, as does their long held Celtic Frost influences, but when the guitars start to unfold into soaring, spacey leads and complex, almost Floydian melodies, this stuff can get pretty proggy. It sort of has a similar vibe as recent works from Ihsahn and Enslaved, combining strong metallic riffing and pummeling double-bass rhythms with bursts of furious speed and blackened tremolo picking, but then that morose goth rock element rears its head once you get into the second song "What The Night Birds Sang", dark and brooding and catchy. The songwriting is fairly straightforward, with moments of moody grandeur that wouldn't sound out of pace on a particularly heavy late 80's goth album; when the twangy guitars start weeping all over songs like "Gallows", it's vaguely reminiscent of Fields Of The Nephilim. But then elsewhere those echoes of prog get intertwined with strange electronic melodies and more aggressive blasts of rampaging black metal, or gloomy acoustic guitars drifting around massive sludgy riffs, haunting passages where the metallic crush is fused to the drone of woodwinds, and the guttural, consonant-heavy quality of the Finnish-language lyrics add a harshness to the music that makes this all the more distinctive. Really great stuff, definitely worth checking out if you're into more adventurous stuff with undercurrents of classic gothic metal. Has some terrific album art from Erkki Nampajarvi too, which adorns the album in a weird Boschian tableau.
Track Samples:
Sample : Millions Of Twigs Guide Your Way Through The Forest
Sample : In The Bright Light Of Night I Await The Turning Tide
Sample : Coronation Of King Darkness



BLACK FEAST   Larenuf Jubileum   LP   (Nuclear War Now! Productions)    19.98













Track Samples:
Sample : Hideous Morbidity
Sample : Into The Lair Of Baphomet
Sample : Black Blood Of Impurity



BLACK LANDS   self-titled   CASSETTE   (Primal Vomit)    5.99



     Punk-fueled black metal, or black metal-influenced hardcore - however you want to describe it, this Floridian band fucking shreds on this limited-edition tape that came out on the mighty Primal Vomit a while back. It's a later pressing/reissue of the band's eponymous debut, and features an additional bonus track of thrashing blackened savagery; it's also apparently the only thing that these guys put out before disbanding. Black Lands included a couple of members of a similarly filthy Floridian outfit Tyrants Of Hell, but this stuff is much more "punk" than that band, these four songs of blown-out hardcore-tinged black metal delivered in a seriously frantic and noisy blast of aggression.
     I can definitely hear a bit of Ildjarn's influence on this stuff, as well as whiffs of latter-day Darkthrone and the barbarous stomp of Bone Awl, but these guys mold that messy, maniacal sound into their own image, with droning, repetitious riffs, the drummer losing his mind as the songs shift violently from chaotic blastbeats to tornados of blackened thrash to sudden shifts into vicious mid-tempo punk riffage; every time these guys drop into one of their D-beat driven moments, you can't help but imagine that somewhere a savage street-riot is breaking out. The singer's shredded, reverb-blasted vocals are pretty disgusting too, a raspy, high-pitched snarl that helps give this stuff it's murderous tone; if the bone-snapping, low-fi punk/black metal aesthetic of this label has appealed to you before with their releases from bands like Ives, Vomikaust, OV, and Floridian Winter, you'll be pleased to find that this tape offers more of the same.
Track Samples:
Sample : Cursing The Light Of Modern Times
Sample : Visions Of Mountain And Moon
Sample : Blackened Lands Of The Mind



BLACK MARE / LYCIA   Low Crimes / Silver Leaf   7" VINYL   (Magic Bullet)    7.50



Nabbed some copies of this 2015 Record Store Day release, a killer pairing of two great heavy darkwave outfits, Black Mare and Lycia. Lycia is, of course, the influential and singular outfit whose ominous, doom-laden darkwave has had a lingering influence on all manner of gothic rock, doom metal and black metal outfits, going back to such groundbreaking albums as Ionia and A Day In The Stark Corner, and their "Silver Leaf" is the first new song we've heard from them in several years. And it's stunning, another spellbinding piece of funereal, plodding beauty woven from the layered, ethereal coo of Tara Vanflower and the solemn baritone croon of Mike Vanportfleet, lush twelve-string guitar washing over the song in a haze of reverb, the distant, thunderous plod of the drum machine moving this gorgeous, haunting song at a Skepticism-like tempo. Fucking fantastic stuff.
And they couldn't have picked a better outfit to share this 7" with than Black Mare. The solo project of Sera Timms from Ides Of Gemini, Black Mare offers the similarly haunting "Low Crimes", joined by Ides bandmate J. Bennett on bass and featuring additional guest vocals from Lycia's Vanflower; the song shares a similar somber vibe as Ides Of Gemini, and fans of that band's ghostly gothic doom-rock should hastily pick up this and anything else that Timms appears on - this is as bewitching as anything else I've heard from her, a subtly sinister, twang-flecked piece of darkwave-inspired gloom rock majesty that eventually erupts into a surprisingly heavy second half, dark and doom-laden and sorrowful, Timms' icily ethereal voice rising over the band's folk-flecked dirge, the sound somewhat reminiscent of SLC avant doom outfit Subrosa. Can't wait to hear more from Black Mare after hearing this.
Limited edition, comes with a download code.


BLACK MASS, THE   Black Candles / Lucifer, Rise!   7" VINYL   (Svart Records)    8.99



     Ok, so maybe the band's name isn't the most original thing out there (Metal Archives.com alone lists at least seven bands with the same name), but this Finnish band's debut ended up being a real blast. If you were to go by the witchy scratchings on the record sleeve and the unfortunately mundane band name, you might think that Black Candles / Lucifer, Rise! is going to be yet another in the overcrowded field of 70's-worshipping occult rock throwbacks in thrall to the sounds of Coven, Salem Mass and Black Widow. In actuality, this 7" turned out to be quite ripping, delivering two songs of satanic garage punk with big doses of raw aggression and vintage analogue synth. It's the first recording from this solo project from Samu Salovaara, who some might know as the guitarist for Finnish death metallers Swallowed, belting out these dark tunes with a definite 70's-era proto-punk vibe going on. Kicking off with a rush of sinister Moog, "Black Candles" rips into some rocking reverb-heavy garage punk, tough and malevolent, with a faint whiff of early 80's American deathpunk. That a-side rocks, fast paced and flecked with some cool bass-work and screaming guitar solos, but "Lucifer, Rise!" is even more punk, with some killer primitive synth lines splashed over another rudely boisterous riff. There are moments where this devilish psych-punk sort of manages to remind me of both classic Motor City rock and roll and the tougher, more boisterous stuff that Christian Death did early on, but with rawer, meaner vocals. Pretty cool. Limited to five hundred copies.


BLACK WITCHERY / REVENGE   Holocaustic Death March To Humanity's Doom   CD   (Nuclear War Now! Productions)    10.98













Track Samples:
Sample : REVENGE - Humanity Noosed / Equimanthorn (Bathory cover)
Sample : BLACK WITCHERY - Black Death Conjuration



BLACK WITCHERY / REVENGE   Holocaustic Death March To Humanity's Doom   LP   (Nuclear War Now! Productions)    17.98













Track Samples:
Sample : REVENGE - Humanity Noosed / Equimanthorn (Bathory cover)
Sample : BLACK WITCHERY - Black Death Conjuration



BLASPHEMY   Fallen Angel Of Doom   CD   (Nuclear War Now! Productions)    13.98













Track Samples:
Sample : The Desolate One (Outro)
Sample : Ritual
Sample : Fallen Angel of Doom



BLASPHEMY   Fallen Angel Of Doom (BLACK VINYL)   LP   (Nuclear War Now! Productions)    24.98













Track Samples:
Sample : The Desolate One (Outro)
Sample : Ritual
Sample : Fallen Angel of Doom



BLASPHEMY   Fallen Angel Of Doom   LP PICTURE DISC   (Nuclear War Now! Productions)    27.98













Track Samples:
Sample : The Desolate One (Outro)
Sample : Ritual
Sample : Fallen Angel of Doom



BLASPHEMY   Fallen Angel Of Doom (WHITE VINYL)   LP   (Nuclear War Now! Productions)    24.98













Track Samples:
Sample : The Desolate One (Outro)
Sample : Ritual
Sample : Fallen Angel of Doom



BLIND TO FAITH   Discography   CD   (Reflections)    14.99













Track Samples:
Sample : Under The Heptagram
Sample : The World Ablaze
Sample : Death Mantra
Sample : Burial Of Mankind



BLIND TO FAITH   The Seven Fat Years Are Over   LP + EMBROIDERED PATCH   (Holy Terror Records)    14.98













Track Samples:
Sample : Under The Heptagram
Sample : The World Ablaze
Sample : Death Mantra
Sample : Burial Of Mankind



BLONKSTEINER, ALESSANDRO   Cannibal Apocalypse (Apocalypse Domani)   LP   (Death Waltz)    29.98













Track Samples:
Sample : Apocalypse
Sample : Dreadful Night
Sample : Jane (Cannibal Apocalypse)



BLOOD RHYTHMS   Assembly   LP   (RRRecords)    14.99













Track Samples:
Sample : Cutter Magnolias
Sample : Coarse Land



BLOOD RHYTHMS   Assembly (Special Edition)   LP   (No Part Of It)    23.00













Track Samples:
Sample : Cutter Magnolias
Sample : Coarse Land



BONG   We Are, We Were And We Will Have Been   CD   (Ritual Productions)    14.99













Track Samples:
Sample : Time Regained
Sample : Find Your Own Gods



BONG   We Are, We Were And We Will Have Been   LP   (Ritual Productions)    25.98













Track Samples:
Sample : Time Regained
Sample : Find Your Own Gods



BOWL ETHEREAL   self-titled   7" VINYL   (Southern Lord)    5.98



     This pulverizing 7" is finally back in stock; it's still (so far) the only official release to appear from this formidable math-metal outfit, a duo featuring experimental musician Brian Metz ( Amish Control Tower) and drum titan Pen Rollings, of Honor Role / Breadwinner / Loincloth infamy. Together, these guys create an experimental, extremely heavy strain of math-metal that feels like an extension of Rollings' previous work, but with a tightly edited, almost ascetic production aesthetic. Bowl Ethereal's six-song debut was the introduction to the duo's jagged metallic architecture, and it knocked me flat the first time I listened to it; as soon as this opens with "Twenty Three Exciter Dreams", I was immediately reminded of Confessor's confusional heaviness, though this stuff is totally instrumental. But there's a similar technical, convoluted feel to this stuff. Interestingly, each song is exactly one minute long, and crammed to the gills with complex instrumental structures and pummeling rhythmic dexterity, the confounding, vertigo-inducing time signatures unfolding beneath an onslaught of crushing downtuned riffs, the music stuttering and lurching violently, each song a miniature math-metal epic that could easily be pulled apart and reworked into a much longer, more expansive song. With these songs seemingly vacuum-packed into this strict, economic length, though, this has a peculiar, compact power that makes me want to listen to the EP again and again. Can't recommend it enough to fans of Rollings' other bands.


BROKEN CROSS   Through Light To Night   LP   (Apocalyptic Visions)    14.99












Track Samples:
Sample : Poison Of Insanity
Sample : Total Isolation
Sample : Path to Extinction



BURZUM   Det Som Engang Var   LP   (Back On Black)    27.99











Track Samples:
Sample : Den Onde Kysten
Sample : Key to the Gate
Sample : Snu Mikrokosmos Tegn



BURZUM   Burzum / Aske   CD   (Byelobog Productions)    14.98













Track Samples:
Sample : War
Sample : Stemmen fra Trnet [The Voice from the Tower]
Sample : Ea, Lord of the Depths



BURZUM   Daudi Baldrs   CD   (Byelobog Productions)    17.99













Track Samples:
Sample : Balferth Baldrs
Sample : Daudi Baldrs



BURZUM   Det Som Engang Var   CD   (Byelobog Productions)    14.98













Track Samples:
Sample : Den Onde Kysten
Sample : Key to the Gate
Sample : Snu Mikrokosmos Tegn



BURZUM   Filosofem   CD   (Byelobog Productions)    14.98













Track Samples:
Sample : Dunkelheit
Sample : Jesus Dod



BURZUM   Hvis Lyset Tar Oss   CD   (Byelobog Productions)    14.98













Track Samples:
Sample : Det Som en Gang Var
Sample : Hvis Lyset Tar Oss



BUTTHOLE SURFERS   Brown Reason To Live (Clear Vinyl)   12"   (Alternative Tentacles)    13.99



    Reissued once again, this time in a new 2015 clear vinyl edition limited to five hundred copies.
    I haven't followed much of what the Butthole Surfers have done over the past two decades; wasn't into the goofy alt-rock direction that the band went in after moving to the majors in the early 90's, and their acrimonious, high-profile split with Touch And Go was one of the uglier moments in indie rock's recent history. Their early records are pretty crucial, though, and still hold up as some of the most zonked hardcore punk to ever come out of the American underground. Their debut EP has been out of print on vinyl for some time, and (surprisingly) has just been repressed by Alternative Tentacles - for fans of early hardcore, this is a crucial piece of U.S. HC history, but this 1983 slab from the Butthole Surfers should be heard by anyone into seriously freaked-out heavy underground rock.
     The music on this 12" is, for the most part, much more hallucinatory than the Surfers you've seen on MTV videos, seven songs of crazed, LSD-snarfing punk like the opening track "The Shah Sleeps In Lee Harvey's Grave", mashing caustic, hyperfast hardcore thrash with bizarre lyrical rantings, histrionic vocals, blasting drums...the stoned psychedelic trudge of "The Revenge Of Anus Presley" through wrecked acid-guitar, weird sound effects and simplistic pounding dirge..."Bar-B-Q Pope"'s squawking, twangy punk...it's a whacked out mashup of early hardcore, psychedelic rock and experimental music that was incomparable to anything else happening in the American underground at that time, and this EP still blazes with it's unpredictable music, ferocious energy and lunatic visions. Highly recommended, especially for you folks into the weirder side of hardcore punk - few HC bands have ever matched the weirdness of the early Butthole Surfers records.
Track Samples:
Sample : The Shah Sleeps in Lee Harvey's Grave
Sample : Bar-B-Q Pope



BUTTHOLE SURFERS   Live PCPEP (Clear Vinyl)   12"   (Alternative Tentacles)    13.99



    Reissued once again, this time in a new 2015 clear vinyl edition limited to five hundred copies.
     Second in the Buttholes vinyl reissue campaign that Alternative Tentacles has been on this year, which started with the self-titled 12" and has come round to their blistering live 12" from 1984, Live PCPPEP. We're talking golden era Surfers here, folks, when the band was the weirdest, most freaked out and fucking genius hardcore punk band in the US. Recorded live in March of 1984 at The Meridian in San Antonio, Texas, this record captures seven songs, most of which had appeared a year before on the band's self-titled EP aside from "Cowboy Bob" which would later appear on Psychic... Powerless... Another Man's Sac, but one of these songs ("Dance Of The Cobras") has never appeared on any other release, to the best of my knowledge.
     This shit still destroys. It's the first recording of the double-drummer lineup when Teresa Nervosa began sharing drum duties with King Coffey, and the band rages through these songs, playing them loose and fast, except for "Bar-B-Q Pope", whose sludgy horn-blasted Stooges crawl hints at the sound that the Brainbombs would drag into the sewer a few years later. Conversely, "The Shah Sleeps In Lee Harvey's Grave" is served up in fierce blasts of feedback-soaked thrash with Gibby Haynes's hallucinatory lyrics turning this into one of hardcore's greatest (and most insane) jams. Essential.
     Packaged in a green jacket, no insert, and pretty much the exact same presentation as the original release.
Track Samples:
Sample : Cowboy Bob [Live]
Sample : BUTTHOLE SURFERS-Live PCPEP (Clear Vinyl)
Sample : Sinister Crayon [#][*]



CADAVER EM TRANSE   self-titled   7" VINYL   (Iron Lung Records)    9.50



     Killer dark mutant punk on this four-song Ep from Cadaver Em Transe, a Brazilian outfit who hit us with a sinister, driving sound combining harshly angular dissonance, a smattering of Killing Joke-esque heaviness, and a heavy noise streak that blasts the opener "Camaleo" with swathes of whooshing electronics and spacey, grainy distortion. That killer post-punk vibe is even stronger on "Ns, Os Bastardos", with driving bass guitar and some rather dubby percussive touches, but when the song really cuts loose, it gets pretty furious. On "Vrus Tropical 15", that sound turns into something more industrialized, pummeling slo-mo tribal rhythms thundering beneath shimmering guitar noise, hypnotic bludgeoning bass woven around the detached, almost incantatory vocals, a coldly malevolent atmosphere descending over the music as those dubby effects continue to rattle and echo in the shadows. The 7" closes with their most ferocious song yet, unleashing the psychedelic hardcore aggression of "Pulso De Morte", a freight train of speeding mutant punk doused in trippy guitar effects, the singer erupting into a powerful, embittered howl that leads up to an unexpectedly haunting conclusion. Really great stuff, if you dug some of those likeminded records on Iron Lung from the likes of Needles, Una Bstia Incontrolable, etc., definitely give this one a listen. Limited to four hundred copies, comes with a download code.
Track Samples:
Sample : Pulsao De Morte
Sample : Virus Tropical
Sample : Camaleao



CARPENTER, JOHN   The Fog (New Expanded Edition)   2 x LP   (Silva Screen Records Ltd.)    41.00



Once again available on vinyl, this time from British label Silva Screen. John Carpenter's wonderfully spooky score to his 1980 nautical ghost story The Fog brought to life this loving homage to the classic ghost stories of MR James and Arthur Machen, jolted with doses of shocking 80's era violence and gruesome special effects. Thirty years later, The Fog still continues to be one of Carpenter's most overlooked films, though I'm of the opinion that it's one of his best, an intensely atmospheric and often deeply creepy tale of a shipwrecked crew returning from their watery grave to wreak vengeance on the denizens of the seaside town of Antonio Bay, whose ancestors originally sent the ghastly crew to their doom.
Carpenter's score for The Fog was substantially different from his other, more minimalist electronic scores from the era, and is one of his most expansive and understated works. Blending together piano and synthesizer with sonic textures that evoke the isolation of the doomed coastal town, the music for The Fog is permeated with a mournful, accursed vibe; in place of the minimal pulsating drum machines and searing nocturnal synthesizers that one usually associates with Carpenter, this goes for a much moodier, more gothic feel as it works to evoke the eldritch feel of Carpenter's old-fashioned ghost story. The record starts off perfectly with the opening sequence of John Houseman's character recounting the tale of the Elizabeth Dane to a group of children, and from there moves on to the score itself, the main theme crafting an exquisitely creepy atmosphere of dread and sorrow as it interweaves pipe organ-like tones and Carpenter's signature minimal synthesizer style. Subsequent tracks skillfully employ hushed, echoing rhythms and minimal percussive patterns with his utterly gloomy piano theme and dark, droning keys, these sounds growing ever more dreadful and malevolent as the score progresses, a briny blighted ambience unfolding over distant bathysphere clanks, monstrous distorted rumblings and swirling stygian drift churning in the depths, fearsome sheet-metal reverberations and ominous, plaintive piano chords pulsing in the deep, surrounded by swirls of ghoulish electronic effects, and swells of nightmarish orchestral terror and ghostly organ peal like foghorn blasts through the dread mist, answered by the far off lonely cry of a distant buoy. Later in the score, these sounds build into pulse-pounding sequences of ghostly pursuit and murder, synth chords resembling the steady inexorable tolling of a bell, drifting into dread-filled passages of gothic pipe organ and deep, malevolent bass throb. Definitely a classic Carpenter score that showcased another side to his unique style, The Fog also works surprisingly well on its own as a musical piece, the length and expansiveness of the tracks turning this into a fantastic slab of ghostly, funereal ambient music.
This latest edition of one of Carpenter's most popular scores features the entire extended soundtrack that appeared on Silva Screen's previous double CD version (and which is pretty much identical to the double LP that came out on Death Waltz a few years ago, though with a different track sequence), and comes on 180 gram colored vinyl in gatefold packaging, featuring new liner notes from Randall D. Larson (Musique Fantastique).
Track Samples:
Sample : The Fog Rolls in
Sample : Antonio Bay
Sample : Theme From The Fog



CEDARS OF LEBANON, THE   Archive II   CASSETTE   (Land Of Decay)    5.00



     Gorgeous, luminous ghostdrones and nocturnal electronica emerge from this obscure Chicago group. Though it came out a while back, we're only now listing this older, professionally pressed cassette that came out on the now defunct Land Of Decay imprint run by the guys from Locrian. Delivering psychedelic post-industrial music enshrouded in darkness and mystery, this band was made up of former members of Minsk and Planes Mistaken For Stars (as well as current members of Chicago-area noise rockers The Swan King), delivering a lengthy collection of surreal dronescapes and acid-burnt ambience recorded in decommissioned missile silos and drainage tunnels.
     Using numerous additional collaborators, the trio crafts haunting, minimal guitar trances overlaid with echoing female vocals and distant, booming eruptions, long drawn-out sprawls of smoldering noise and chugging, locomotive rumblings, laced with strange environmental sounds and swells of creepy kosmische drift, occasionally rumbling with the distant din of pounding sheet-metal rhythms and shambolic tribal drums. All of these densely layered soundscapes are peppered with similar rhythmic elements, mostly buried down in the mix, and choir-like voices also frequently seep to the surface, stretched and smeared across the length of several of these tracks. The result is pretty hallucinatory, conjuring a similar mood as some of the more abstract Teutonic outfits of the 70s alongside their sound collage techniques. Cedars lay the delay on pretty thick, transforming those choral voices into something resembling a Catholic Mass drowning in LSD, and at other points it can sound like some terrifying tape manipulation of a Penderecki piece. All pretty creepy, akin to Coil at their most menacing, and there's a barely recognizable cover of Bauhaus's "Nerves" that transforms the post-punk classic into a weirdly shambling death-folk ritual that sounds like it was recorded in some dank subterranean tunnel system, billowing out across nearly fifteen minutes of the tape.
     Limited to one hundred twenty-five copies.


CHAOS ECHOES   Transient   2 x CASSETTE   (Utech)    16.98



      Now available as a deluxe double cassette set from Utech, presented in a clamshell plastic case with full color j-card cover, an obi strip, and a printed insert with new artwork exclusive to this version, printed on pearl metallic stock and issued in a limited run of three hundred copies.
      Ever since being announced late last year, this new album from weirdo French deathdoom outfit Chaos Echoes has been eagerly awaited around the C-Blast office. These guys had already started to garner some buzz around their earlier EPs, and their first proper full length was being touted as one of the more unusual and avant-garde releases to come from Nuclear War Now this year. And they weren't foolin' - Transient emanates a mysterious, narcotic vibe that's quite unlike anything else to come from the esteemed underground metal label, an intoxicating blend of droning chthonic deathdoom, roiling blackened death metal, and ritualistic sun-blasted ambience that sweeps across the beginning of the album like the sounds of a deathcult procession making it's way through a sweltering bazaar. The sounds of chimes and ringing feedback lilts over the steadily encroaching waves of downtuned heaviness, but when the band finally kicks into "Senses of the Nonexistent", they unleash a haltingly syncopated doom-dirge that moves in long strides over the lockstep pummel of the rhythm section and a chorus of distant chanting.
      The album settles quickly into that ritualized atmosphere, unfolding like a monstrous droning doom-trance, inexorably growing in force and expanding in rhythmic power, and I'm reminded of both the occult Hawkwindian hypno-sludge of Saturnalia Temple and the krautrock-influenced black throb of Aluk Todolo while listening to this, echoing in the way that these Frenchmen grind out their fearsome, repetitious heaviness. That opening track flows right into the next, paving the way for a sprawling multi-part epic, the music drifting from out of that monstrous grinding deathdoom into dense fields of psychedelic guitar drone and rumbling black drift, long stretches of feedback-drenched ambience and Earth-en amplifier roar cutting huge swathes through the album as they lead into more of that titanic slow-moving metallic crush. The doom-laden riffs often fray apart into swells of swarming blackened buzz or howling psych-shred, then swallowed up in a churning maelstrom of dragged-out blackened riffage and mournful sub-blasted dirge. Later on, they lavish the churning rhythmic workout that dominates the nearly fifteen minute "Advent of My Genesis" with druggy Hammond organs, and blur into a strange, almost Penderecki-esque field of dissonant modern classical darkness that comes out of the cyclonic blasting chaos of "Kyrakushugi" . Along with that killer Hammond accompaniment, the band also makes use of synthesizers and electric piano, adding additional sonic textures and swells of sinister jazziness to their hallucinatory assault, even dipping into almost Sunn-like experimental soundscapery at times. And the closer is Transient's shining moment, a long and labyrinthine descent into the depths of blackened prog called "Soul Ruiner" that sounds for all the world like a black metal-tinged Univers Zero track, complex rhythmic interplay and off-kilter time signatures meeting grinding minor key riffage and spiraling guitars, croaked demonic vocals billowing through a black fog amid blasts of terrifying feedback and amp rumble, eventually mutating into a frenzy of blastbeats and droning tremolo riffs, prayer bells and dazed chanting that stretches like a mass of black tendrils through the close of the album. Awesome.
Track Samples:
Sample : Soul Ruiner
Sample : Senses of the Nonexistent
Sample : Interzone V: Ignorance Is Bliss



CHARRED REMAINS AKA MAN IS THE BASTARD   A Call For Consciousness / Our Earths Blood   10" VINYL   (Deep Six)    9.98














CHRISTIAN DEATH   Halloween 1981 (LIMITED EDITION PURPLE VINYL)   LP   (Cleopatra)    21.99














CHRISTIAN DEATH   The Path Of Sorrows   LP   (Cleopatra)    22.99













Track Samples:
Sample : The Angels (Cruciform)
Sample : The Path of Sorrows
Sample : Psalm (Maggot's Lair)



CHRISTIAN DEATH   Atrocities   LP   (Season Of Mist)    19.99













Track Samples:
Sample : The Death of Josef
Sample : Chimre de-si de-l
Sample : Tales of Innocence



CHRISTIAN DEATH   The Scriptures   LP   (Season Of Mist)    19.99













Track Samples:
Sample : Jezebel's Tribulation
Sample : Four Horsemen
Sample : Song of Songs



CISNEROS, AL   Ark Procession / Jericho   10" VINYL   (Drag City)    12.99















CIVILIZED   Dust And Blood   7" VINYL   (Youth Attack)    11.98



     Picked up this vicious EP from the Denver, CO wolfpack Civilized that came out a little while back on Youth Attack. While it's not the sort of fucked-up and/or black metal influenced hardcore that we usually get from Youth Attack, these guys do deliver a killer EP here, their no-nonsense, infuriated hardcore punk barreling across this 7" at full speed. A resurrection of the burliest and ugliest strains of late 80s hardcore punk, these eight tracks are captured via a somewhat blown out and low-fi recording that accentuates the snarling, drooling, deranged aggression that Civilized unleash. Violent nihilism backed up with excellent, almost poetic lyrics that raze the emptiness and artifice of modern life, delivered by a singer who sounds genuinely evil. Worth checking out if you're into raw, rage-filled stuff like Total Abuse, Raw Nerve, Nazi Dust, and Suburbanite. Typical quality packaging from Youth Attack, the thick vinyl record housed in a printed inner sleeve that's situated inside of another arigato-style foldover sleeve, all adorned with stark black and white images of dissolution and death, issued in a limited edition of four hundred copies.
Track Samples:
Sample : Crossed
Sample : Hammer
Sample : Numb
Sample : Downcast



CLOAK OF ALTERING   Manifestation   CD   (Crucial Blast)    9.99



One of many offshoots / alter-egos of the notorious Dutch industrial black metal outfit Gnaw Their Tongues, Cloak Of Altering returns to deliver the follow-up to the maniacal 2014 album Plague Beasts, unleashing yet another brain-scrambling blast of mutated symphonic black metal, nightmarish breakcore madness, and hellish electronics fused together into a sweat-soaked, chrome-plated nightmare. Compared to previous works, the seven-song Manifestation is a slightly less chaotic monstrosity, giving these blackened maelstroms added room to breathe, but the cumulative assault of Cloak Of Altering's sound on the band's fourth album continues to thoroughly scorch the listener.
The sound is still rooted in a bizarre confluence of majestic synth-drenched black metal, skewed industrial heaviness, and fractured Planet Mu-esque electronic music, seemingly as informed by the hallucinatory throes of early Coil and the violent breakcore of Bong-Ra and Venetian Snares as it is by classic Nordic black metal. Strange contrapuntal riffs weave drunkenly amid crackling electronic glitch and eerie drones. Mournful synthscapes unfold across glacial rhythms and distorted doom-laden dirges. Blasts of foul, industrialized death metal pummel erupt alongside ominous piano figures and swells of sickening orchestral dissonance. Swarms of blackened tremolo riffage sweep across sputtering malfunctioning rhythms and strange electronic accoutrements. One notable difference from the previous album: the vocals, which here often take form here as a vile, guttural robotic croak, a sickeningly putrid android presence that is layered among the rest of the distant shrieks, anguished screams and chilling, garbled cries that all feel as if they are trying to escape the bowels of some nightmarish AI system.
And as always, Cloak Of Altering balances all of this confusional, electronically-deformed madness with some strikingly beautiful and majestically bleak melodic passages, with blasts of bombastic, heavily atmospheric synthesizer roaring across songs like "Parasitic Altering Sickness" and "Hidden Celestial Deity". An arresting, alien album that violently mutates these strands of symphonic black metal DNA into a stranger and more complex strain of digital delirium.
Track Samples:
Sample : Stretching Infinity
Sample : Hidden Celestial Deity
Sample : Parasitic Altering Sickness



COLOR OF NOISE, THE   Special Edition   BLU-RAY + DVD COMBO   (Robellion)    17.99



     Hands down my favorite music documentary from 2015, The Color Of Noise is a sprawling punk rock epic that chronicles the rise of one of the most iconic American underground labels of the post-punk era, Amphetamine Reptile. Anyone with even a passing interest in the whole "noise rock" phenomenon of the eighties and nineties is going to be familiar with this label: started up around 1985 a young US Marine and belligerent punk rocker named Tom Hazelmyer as an outlet to release music from his own band Halo Of Flies, Amphetamine Reptile quickly grew into one of the most influential labels of its time, championing an uglier, noisier, nastier underbelly of underground music that would eventually come to be known as "noise rock". Some of the heaviest bands you've ever heard found themselves on Am Rep at one point or another, from NYC crunch-thugs Unsane and Helmet to the raucous, trombone-slingin' Cows, the post-Chrome psychedelic space punk of Helios Creed to the awesome, creeped-out noise rock outfit God Bullies, as well as Aussie sleaze punks Lubricated Goat, sludgepunk gods Melvins, twisted metalloid maniacs Today Is The Day, and a legion of other ear-splitting, anti-social outfits. Some of my favorite bands came from the label, and Am Rep provided the soundtrack to a large chunk of the 1990s for me, not to mention the influence that the label's visual aesthetic and blue-collar work ethic had on an entire generation of younger indie labels.
     With a history and background that spans three decades, the story of Hazelmyer and his label is fascinating stuff, now documented in an extensive, oral-history style narrative on The Color Of Noise, directed by Eric Robel of The Heroine Sheiks. The film combines interviews with all of the key players and bands involved, mixed in with thrilling live footage of bands like Thrown Ups, Halo Of Flies, Cows, Melvins, Today Is The Day, God Bullies and more. The documentary reaches from early days of the label through the major label scurry that ended up making minor stars of Helmet, then later explores the label's visual aesthetic and it's relationship to some of best known poster artists and graphic designers in the post-punk counterculture, eventually leading up to Hazelmyer's more recent forays into the fine art field. It certainly feels like no stone was unturned as the full story behind Amphetamine Reptile unfolds, and the result is one of the best underground music documentaries in recent years.
     The Color Of Noise is available as a double-disc set that includes both Blu-ray and DVD versions of the film, and includes loads of additional features, from director's commentary to other short documentary featurettes, cut scenes, an old cable access interview with Hazelmyer, CBGB performances from Unsane, Janitor Joe, Cows, Hammerhead and Surgery, an extensive Am Rep poster gallery, and more, and comes with an eight page booklet that features additional liner notes from director Robel and Hazelmyer.


COLTRANES, THE   The Cat Of Nine Tails   7" VINYL   (SPHC)    4.99



     Great cover on this, with its fucked-up sleeve art depicting some gruesome mutant gangbang, rendered in Boiled Angel style. It goes perfectly with the sludgy, twitchy ugliness that The Coltranes belt out on their four-song The Cat Of Nine Tails EP, one of the heaviest slabs of wax I've picked up from SPHC. This stuff rips, starting off with a crawling, brain-damaged Flipperized dirge before the band hurtles into a mess of catchy, discordant punk; the singer delivers the cryptic, nihilistic lyrics with a wild mix of demented crooning and hysteric howling over their distorted, crushing three-chord riffs and pounding caveman rhythms, giving this a frantic, rather crazed feel as the music swerves between lurching ugliness and speedy chaos. Catchy, hard-as-nails rock riffs and blues-damaged chord progressions are ground out over furious fast-paced tempos, the songs becoming frayed, and when the Coltranes drop into one of the slower mid-tempo circle pit assaults on songs like "Parallels", the shift is punishing. Each one of these mutant hardcore tunes is a short, compact blast of energy, smashing together feral noise rock and their anxiety-riddled hardcore into a furiously unhinged sonic assault that's strengthened by a clear, punchy recording. If you've dug the sort of noisy, Am Rep-influenced hardcore that's popped up on Iron Lung in recent years, this'll be right up your alley.
Track Samples:
Sample : Distant
Sample : Parallels
Sample : This is a Whole New Look For Me



COMPLETED EXPOSITION   Structure Space Mankind   12"   (625 Thrash)    13.99













Track Samples:
Sample : Structure Space Mankind
Sample : Beautiful Firefly
Sample : Object To Problem-solving
Sample : Sense Of Belonging



CONSTRAIN / WRONG HOLE   Mutual Transgressions / Solitary Solace   7" VINYL   (Oxen)    5.99



     Two denizens of the L.A. area noise underground team up on this slab of dense, punishing noise, delivering two solid slugs to the neural system, each artist serving up heavy-duty harsh noise in the tradition of Macronympha and Incapacitants, each one distinctly different in its overall approach.
     Constrain is another noise project from Droughter's Kevin McEleney, here building a churning mass of garbled electronic noise and bass-heavy rumble that shrieks and bellows across the a-side, constantly changing with a jarring, broken flow. "Solitary Solace" is a nice blast of skull-shredding psychedelic speaker-death, teeming with bursts of crushing low-end rhythmic judder, screeching metallic tones, piercing feedback and monstrously distorted tones, all assembled into a hellish sound-collage. That use of pauses and crackling electro-acoustic sound really amplifies the chaotic energy of the recording.
     On the other side, Wrong Hole's "Mutual Transgressions" takes shape as a slowly undulating wave of black static and electrified drone, eventually erupting into blasts of massive bottom-heavy noise. This stuff is just as crushing as the previous side, but it's more akin to the ultra-violent end of the junk-noise spectrum a la K2 and Macronympha, with crumbling heaps of metallic chaos crashing down in infinite avalanche loops, occasionally breaking off into the sound of a girls voice or some other random sonic event, but otherwise focused on burying the listener beneath a mountain of pulverizing electronic debris.
     Issued in a limited run of just one hundred copies.


CONTROL   Out For Blood   LP   (Parasitic)    15.99















CORDIO, CARLO MARIA   Absurd (Rosso Sangue)   2 x LP   (Death Waltz)    36.00













Track Samples:
Sample : Verso Il Terrore 7
Sample : Partenza Al'Inferno
Sample : Finale



CORRECTIONS HOUSE   Know How To Carry A Whip   CD   (Neurot)    14.99













Track Samples:
Sample : Superglued Tooth
Sample : When Push Comes To The Shank
Sample : Visions Divide



CORRECTIONS HOUSE   Know How To Carry A Whip   LP   (Neurot)    17.99













Track Samples:
Sample : Superglued Tooth
Sample : When Push Comes To The Shank
Sample : Visions Divide



COTTRELL, DORTHIA   self-titled   CD   (Forcefield)    7.99













Track Samples:
Sample : Song For You
Sample : Oak Grove
Sample : Cemetery Song



COTTRELL, DORTHIA   self-titled   LP   (Forcefield)    15.99













Track Samples:
Sample : Song For You
Sample : Oak Grove
Sample : Cemetery Song



COWS   Cunning Stunts   CD   (Amphetamine Reptile)    13.99














COWS   Cunning Stunts   LP   (Amphetamine Reptile)    21.00














CRAW   Bodies For Strontium 90   CD   (Hydra Head)    15.99












Track Samples:
Sample : Is It Safe?
Sample : Caught My Tell
Sample : Cars



CRAW   1993-1997   3 x CD   (Northern Spy)    24.99













Track Samples:
Sample : Cobray to the North
Sample : Slower
Sample : Echolocating
Sample : Sound of Every Promise
Sample : Botulism, Cholera, And Tarik
Sample : As Long as the Turnpike
Sample : Treading Out the Winepress
Sample : I Am Gunk
Sample : Days in the Gutter/Nights in the Gutter



CRAW   1993-1997   6 x LP BOXSET   (Northern Spy)    99.98













Track Samples:
Sample : Cobray to the North
Sample : Slower
Sample : Echolocating
Sample : Sound of Every Promise
Sample : Botulism, Cholera, And Tarik
Sample : As Long as the Turnpike
Sample : Treading Out the Winepress
Sample : I Am Gunk
Sample : Days in the Gutter/Nights in the Gutter



CRISTAL   Homegoing   CD   (Hand-Held Recordings)    10.98












Track Samples:
Sample : Mirror
Sample : Herrevad
Sample : Dead Bird



CROSS   Pyre / Repetition   7" VINYL   (Deranged)    5.98














CROWN   Natron   CD   (Candlelight)    12.98












Track Samples:
Sample : Tenssion of Duality
Sample : Serpents
Sample : Fossils
Sample : Apnea



CRUCIAMENTUM   Charnel Passages   CD   (Profound Lore)    13.98












Track Samples:
Sample : The Conquered Sun (The Dying Light Beyond Morpheus Realms)
Sample : Rites to the Abduction of Essence
Sample : Collapse



CULTUS SABBATI   The Hagiography Of Baba Yaga   CASSETTE   (Land Of Decay)    5.98












Track Samples:
Sample : 5 Arch-Crone Bone Mother
Sample : 3 The Attestation of Vasilissa
Sample : 1 Never Turn Your Back to the Forest



DARK BUDDHA RISING   Inversum   LP   (Neurot)    17.99












Track Samples:
Sample : Exo
Sample : Eso



DARK BUDDHA RISING   Inversum   CD   (Neurot)    14.98












Track Samples:
Sample : Exo
Sample : Eso



DARK SANCTUARY   Exaudi Vocem Meam: Part I   CD   (Orion Music)    10.98












Track Samples:
Sample : Je M'En Irai
Sample : Elle et l'Aube
Sample : Cristal



DARVULIA / SEKTARISM   Mort Foetale / Punition Divine   CASSETTE   (Dead Seed Productions)    11.98



     Also released on vinyl by Nuclear War Now, this split album sees two of the most sickening outfits in the Les Aptres De l'Ignominie circle finally pairing up, each offering a single, roughly twenty-minute long epic of satanic depravity sprawled across each side. This limited-edition cassette was put out by the French label Dead Seed in a cool hand-assembled package, the tape housed inside a printed box with a twelve page booklet, which is then enclosed in a die-cut slipcase, all printed with aged, sepia-toned images that resemble Victorian-era death portraits. Definitely one of the cooler-looking tapes on this week's list.
     It's also one of the more surprising. Darvulia's "Mort Foetale" sounds totally unlike anything else I've heard from the French black metal outfit, seemingly abandoning their cruel, dissonant black metal for something more twisted. Granted, their music has always had a diseased, twisted edge, but this stuff is by far the weirdest and most experimental music that they've brought us. The side meanders through a drugged haze of random guitar noise and improvised drumming that drifts and lurches in slow motion, the vocals stretched out into an incomprehensible, putrid fog; swells of brushed cymbals surge in the background amid monotonous drones and washes of grim guitar ambience. Honestly, this sounds more like Nurse With Wound or some way-out European minimalist improv than black metal; the atmosphere is still thoroughly malevolent and hellish, though, erupting into a cacophony of mangled blackened buzz and minor key guitar only in the very last minutes. I loved it, but those looking for anything resembling standard black metal won't find it here.
     On "Punition Divine", Sektarism counter with one of their own shambling, repetitious garage-doom rituals, pounding out a miserable two-chord riff in slow motion for long stretches of time, fronted by the singer's frantic, anguished vocals. Over the course of the twenty minute track, this deathrite procession breaks up into surges of demented noisiness and improvised heaviness, formless riffing collapsing into shrieking feedback, scraped guitar strings echoing through a haze of effects. But it always returns to that central dirge. Grimy and psychedelic, this song is slightly more polished than previous Sektarism stuff, but it's still ugly, fucked-up music, inhabiting a similar realm as hypno-creeps Aluk Todolo but with a much more narco-damaged, filth-encrusted sound.


DEAD NEANDERTHALS   Endless Voids   2 x CD   (Alone -Spain-)    16.98












Track Samples:
Sample : Endless Voids I
Sample : Endless Voids II



DEAD REPTILE SHRINE   Isth Narai Ja   CASSETTE   (Antihumanism)    5.98












Track Samples:
Sample : Deathstar Antenna
Sample : The Spirit Catcher (Aaveen Pyydystys Kellarissa)
Sample : A My Ancient Underworld Throne



DEADLY ORGONE RADIATION   Power Trips   CD   (Copepod)    13.99



     Killer No Wave-influenced thrashjazz that really scratches the itch left by Last Exit. Seemed like Power Trips flew under everyone's radar, as the debut album from this pummeling new power trio only garnered a handful of reviews online. But it's a goddamn shredder, combining a highly aggressive strain of avant-garde jazz-rock with violent riffage and frenetic, speed-fueled tempos that feel like they're more informed by speed metal than what's going on within the out-jazz idiom. Of course it should be no surprise that Weasel Walter (Encenathrakh, The Flying Luttenbachers, Burmese, etc.) is involved with this project, his ultra-violent drumming backing the dual guitar assault from Alex Ward and Guapo/Chrome Hoof's James Sedwards, the band pummeling you with six tracks of severe dissonant skronk and crazed thrash that continually brought to mind a nutzoid cross between Last Exit's muscular jazz-rock and Voivodian metallic crunch.
     Walter's vicious drumming is all over the place, a constant barrage of tumbling fills, blastbeats, rampaging thrash and freeform rhythmic chaos, while the guitars get completely entangled in one another, unleashing dissonant riffs and atonal shredding that collides with a Sharrock-style penchant for convoluted melody and chordal abrasion. Aside from his role on guitar, Ward also handles alto saxophone for the band, most prominently on "Oversized Cupid", offering up some savage blowing over the group's thunderous churn; there are a few moments of calm scattered throughout the album, passages of eerie scattershot improvisation and clustered guitar noise, but those moments always end up growing into something monstrous and out of control, erupting into another one of the group's wildly careening shred-assaults, often reaching fearsome levels of frantic heaviness. And it's damn heavy - there's a point where everything builds to am ominous crescendo on "Commission The Cutthroat", the dissonant shredding propelling the band into heights of almost Slayer-esque ferocity, before it explodes into a supernova of discordant chaos. Awesome stuff, compositionally complex and riddled with passages of intense, intuitive improvisation that elevate this to the upper echelons of extreme jazzcore.
     Comes in digipack packaging.
Track Samples:
Sample : Time Funeral (Bury The Hero)
Sample : Strictly The Spike
Sample : Nexus Of Entitlement



DEATH'S HEAD QUARTET, THE   self-titled   CD   (Opposite)    11.98












Track Samples:
Sample : V
Sample : IV
Sample : II



DECOMPOSED   Hope Finally Died   CD   (Candlelight)    12.98












Track Samples:
Sample : Procession
Sample : Inscriptions
Sample : Falling Apart



DECOMPOSING SERENITY   Broken Recordings From Melbourne   12"   (Deathangle Absolution)    17.99



     A new slab of rabid basement insanity from fucked-up outsider grindcore outfit Decomposing Serenity? Certainly wasn't expecting to see this. Used to listen to this band's stuff alot, but it had been years since we'd heard anything from Witter Cheng's weird one-man grindcore project. This new 12" isn't actually new stuff though, but rather a collection of the band's earliest recordings. Decomposing Serenity puked up a slew of infectiously gross experimental grind assaults dating back to the mid-90s, before eventually putting out a couple of albums and splits with Last House On The Right. Like the title says, that early stuff is from Cheng's time in Melbourne, and compiles the earliest 7"s and demos that came out between 1995 and 1999. Presented in simple, primitive packaging that consists of a couple of black and white xeroxed covers and inserts, this record features some truly bizarre underground grind from this baby doll/serial murder obsessed band, which still has the ability to disturb these many years later.
     The Rectify the Anal Bombshell demo makes up nearly half of the record, an assault of utterly inchoate, ravenous noisegrind delivered via a low-fi blur of paint-scraping grindcore guitar riffs, and slobbering bestial vocals; those vocals are some of the nuttiest I've heard, approaching Eye Yamataka-like levels of frothing, spittle-drenched throat-chaos. Samples from old serial killer documentaries and fragments of sexually explicit dialogue are strewn throughout the songs, and there's a truly demented approach to drum machine programming that lurches suddenly from whirlwinds of blasting chaotic noise to slow, rudimentary breakdowns, splattering the recording in additional bits of sonic artifacts and blown-out noise. Because of that, there's this fucked-up, almost industrialized feel to the demo, but he'll also drop in some savage riffing that suddenly pulls all of the cacophonic noise together for a moment, a roaring mass of cyclonic noisecore shot up with primitive, fucked-up death metal riffs and bursts of punky thrash.
     The tracks from the split 7"s are even more messed up, the vocals pushed waaaaay up in the mix to terrifying levels, the noisy no-fi grindcore lurching and sputtering amid tape drop-outs, brain-damaged quasi-funky grooves and outta-nowhere breakbeats, and sudden shocking surges of violent noise. Weirdness abounds. Some of this stuff in fact comes close to Gerogerigegege/early Boredoms levels of insanity; there's an ineptitude and violent energy to these recordings that suggests the work of a genuinely unbalanced mind. And with those maniacal, blown-out vocals, really makes for a bizarre listening experience. Totally recommended if you're equally obsessed with crude old-school noisecore, The Gerogerigegege, early Earache style grind gone bad, and lone-wolf drum-machine fueled depravity.
     Issued in a limited edition of just one hundred twelve copies on black vinyl, and is accompanied by an official Decomposing Serenity guitar pick.


DEIPHAGO   Into The Eye Of Satan   CASSETTE   (Hells Headbangers)    8.98



     Now available on limited-edition cassette.
     I expected chaos with the new Deiphago album, but what they unleash here turned out to be another level of bestial weirdness. These Filipino black/death warmongers have been detonating their blasts of Satanic hate since the late 1980s, but Deiphago's latest Into The Eye Of Satan delivers a seemingly newfound level of aural ear-hate and outr blastcraft. The guitar playing alone is totally insane, an assault of extreme atonal shred that makes one wonder if Deiphago axebeast Sidapa had been guzzling large quantities of Last Exit and Fredrik Thordendal's Special Defects during the writing process. It's not like this feels self-consciously avant-garde, though; the fucked-up, hyper-violent atonality of the solos and fractured, weirdly warped nature of the riffs churning and gnashing through Eye are all in service to an atmosphere of hellish violence. In the past, Deiphago have been derided by some for being too chaotic and seemingly unstructured, but it's that reckless, turbulent quality that makes this stuff sound so unique. "Psychedelic" isn't a word I often when describing this kind of black/death metal, but it definitely applies to Deiphago's swarming, delay-drenched bestial blast.
     On their latest, Deiphago remain rooted in that classic Conqueror-influenced war metal sound while pushing their barbaric sound into stranger extremes. That they enlisted Colin Marston from Gorguts / Behold The Arctopus / Krallice to produce the album is telling, as this propels Deiphago's sound into more abstract, angular territory. The album enters their killzone on a wave of imperious orchestral murk and snarling black noise, then proceeds to unleash a violent assault of total noise metal. In some ways akin to Teitenblood's latest, this is bestial black/death metal pushed into utterly cacophonic madness, a grindcore-style blur of hyperspeed blastbeats and pummeling war-toms hurtling beneath a maelstrom of hopelessly angular riffage and full-blown atonal noise, but with more emphasis on sculpting monstrous riffs out of that churning black chaos. That awesome, twisted dissonant guitarwork really adds to the unusual feel of this stuff; when you hear the sweeping waves of spaced-out skronk and almost jazz-like shredding that flies across these nine tracks, and the overload of rhythmic weirdness that continues to unravel with each song, it's clearly a new level of madness that Deiphago is exploring here. There are moments like "Bloodbath Of Genocide" where the violent blasting falls back and it sounds as if the guitarist is attempting to wrangle a mutated classic rock-style riff out of his instrument, then suddenly everything erupts into an almost Gorgutsian assault of atonal shred. A few riffs even seem to mimic the sounds of doom-laden orchestral string sections, lending moments of oppressive, desolate ambiance glimpsed briefly in the band's cyclonic deathnoise attack. Other tracks like the suffocating Red Dragon of Chaos become saturated with cosmic synth-like noise, giving the song an almost industrial vibe.
     It's only with the very last song, "Into The Eye Of Satan", that Deiphago slow down into something approaching a "groove", a monstrous, sludgy, dundering caveman riff that is quickly sucked back up into the tornadic chaos, flayed by another savage shot of ultra-atonal, unmusical skronk-shred that resembles a demonic Sonny Sharrock, and ending with an abrupt blast of sinister, clanging metallic noise and garbled voices tangled in atonal violin-like skree, like the sound of some monstrous sepulchral door slamming shut, leaving the listener entombed in absolute blackness. Definitely one of the most intense blackened death metal albums to show up this year, thanks to the wealth of whacked-out, gonzo riffs and the sheer weirdness of Deiphago's sonic assault.
Track Samples:
Sample : Red Dragon Of Chaos
Sample : Into The Eye Of Satan
Sample : Bloodbath Of Genocide



DEIPHAGO   Satan Alpha Omega   CASSETTE   (Behold Barbarity)    7.98












Track Samples:
Sample : Satanmongers
Sample : Outro
Sample : Human Race Absolute End
Sample : Demonic Munitions



DEIPHAGO   Satan Alpha Omega   CD   (Hells Headbangers)    11.99












Track Samples:
Sample : Satanmongers
Sample : Outro
Sample : Human Race Absolute End
Sample : Demonic Munitions



DEIPHAGO   Satan Alpha Omega (BEER COLORED VINYL)   LP   (Hells Headbangers)    21.00












Track Samples:
Sample : Satanmongers
Sample : Outro
Sample : Human Race Absolute End
Sample : Demonic Munitions



DIMESLAND   Psychogenic Atrophy   CD   (Crucial Blast)    9.98



     Appearing at the end of 2014 as a digital-only, self-released title, DIMESLANDs Psychogenic Atrophy was met with little fanfare, yet made an immediate and powerful impression upon those who heard it. Described by Invisible Oranges as a "sonic nightmare of thrash...that blends instrumental ability with the progressive stabs of Dimension Hatross-era Voivod..." and landing on numerous end-of-year best-of lists, Psychogenic Atrophy flattened just about everyone who encountered it.
     With members of art rock legends The Residents' touring band and blackened prog-doom ensemble Wild Hunt amongst their ranks, DIMESLAND released the promising Creepmoon EP a couple of years prior on Vendlus, but even that only hinted at just how maniacal the band's sound was to become. The eight songs featured here combine dizzying musical complexity and fearsome dissonance with a sort of off-kilter thrash. The confounding and complicated arrangements and demented riffing recall the likes of Watchtower, Coroner and Atheist, but this is darker, weightier, more sinister stuff, the band hurtling through the jagged arrangements of songs like "Institutional Gears" and "Xenolith" with an almost No Wave-informed abrasiveness, but also frequently sprawling out into well-crafted sequences of abstract, unearthly ambience and forbidding, hallucinatory industrial noisescapes. Frantically barked vocals are employed judiciously, allowing the band to weave long stretches of instrumental mayhem. Violent, discordant riffs are folded around psychotic time signature changes, then suddenly expand into passages of moody, doom-laden darkness. Cyclical rhythms churn beneath waves of dense, alien sound, and spastic skronk-assaults suddenly swerve into vicious angular thrash. And these guys have some serious chops. Psychogenic Atrophy's brutality is sharpened by their technical precision and prowess and driven by utterly frenetic drumming. But it's also a heavily layered album, each listen revealing added details and degrees of delirium. Intense stuff for sure, with an unsettling, nightmarish atmosphere that makes this album stand out further amongst the progressive metal horde.There is a surreal, ever-present malevolence lurking under the surface of these songs.
     An in-house favorite release of 2014, Crucial Blast was so blown away by this album that the label wanted to make it available as a physical release, reissuing Psychogenic Atrophy on CD in digipack packaging that features subtly unnerving cover art from Swiss photographer and performance artist Chantal Michel. Can't be recommended enough if you're a fan of avant-garde death metal and progressive thrash, as DIMESLAND have produced a work of challenging, terrifying extreme metal that stands amongst the more unconventional likes of Gorguts, Cynic, Confessor, and Voivod.
Track Samples:
Sample : Xenolith
Sample : Are They Cannibals?
Sample : Odd Feats Are Bid and Won



DIOCLETIAN   War Of All Against All   LP   (Parasitic)    15.99












Track Samples:
Sample : Black Dominion
Sample : Nuclear Vomited
Sample : Fortress Of The Unconquerable



DISCLOSE   Tragedy   LP   (La Vida Es Un Mus)    24.98



     By the time that the Japanese hardcore punk band Disclose released their debut album Tragedy in 1994, the world was already thoroughly infested with hordes of unimaginative Discharge clones who were content to merely rip off the visual and musical aesthetic of the iconic UK hardcore band, puking up gobs of boring, two-chord xeroxed speed-punk and mindless anti-authoritarian bellowing. And if you were to just go by the look of the cover for Tragedy, you might think that this record was just going to offer more of the same. But when Disclose detonate the static-drenched white-noise thrash of opener "Dying Of Disease", it was clear that we were hearing something different. Underneath all of the hiss and noise and chaos, that classic Discharge sound was there, but these guys were mutating it into something much more abrasive and bizarre.
     The fifteen songs that race across Tragedy all bear the hallmarks of the signature D-beat sound: that galloping drumbeat, the simple two-chord riffs and sickening, nasally one-note guitar solos, bone-rattling bass, the burly, infuriated vocals spitting out haiku-like tirades against modern warfare and the nightmare reverberations of nuclear holocaust, all splayed over two-minute long thrash songs. But Disclose buried that violent hardcore assault underneath a thick layer of suffocating static hiss, and twisted aspects of that sound into interesting, aggressive new forms, transforming this into a far more caustic take on crusty hardcore. The guitars themselves become so blown out on some of these songs that they sound more like a massively distorted synthesizer than a guitar, a searing electrified buzz that slashes wildly through the band's rampaging D-beat noise assault. And that blasting static gets so intense as the album progresses that by the time you get to the crashing violent thrash of closer "The End Of Blood", it sounds as if Disclose is being swallowed up in a roiling fog of distorted hiss. Their low-fi recording quality and blown-out noisiness was certainly similar to Japanese hardcore pioneers Confuse, but Disclose delivered an even more cacophonous and brutal sound on Tragedy, eventually becoming highly influential on the later proponents of the noise-punk aesthetic.
     This noise-punk classic has been reissued on 180 gram vinyl in a casewrapped jacket, and features the original, superior mix that appeared on the initial 1994 pressing on Overthrow Records.
Track Samples:
Sample : The End Of Blood
Sample : Indiscriminately Kill
Sample : Dying Of Disease



DISCLOSE   Yesterday's Fairytale, Tomorrow's Nightmare   LP   (La Vida Es Un Mus)    23.98



     While Disclose's debut album Tragedy was an electrocuting shock to the oft-copied Discharge sound, their final album blew it apart, extrapolating the already minimalist Discharge aesthetic into an utterly mutant new realm. Disclose's Yesterday's Fairytale, Tomorrow's Nightmare was originally released on Game Of The Arseholes back in 2003 (and whose Stuart Schrader penned the lengthy and personal liner notes that come with this new edition of the album), and at first glance seemed to offer another blast of excoriating, ultra-distorted Dis-worship from the band.
     Sure, once you started to spin this beast and dig into the ten songs that make up Nightmare, the spirit of Discharge still seethes within these rampaging, D-beat driven thrash assaults. But there's also a more overt metallic influence that was now lurking beneath the surface as well, due to bandleader Kawakami's increased interest in old speed metal around this time; you can hear it in the blistering thrash riffs that rip across songs like "Nowhere To Run". Their "chainsaw" guitar sound is still front and center though, super distorted and fuzz-encrusted, even noisier than ever, thickening that filthy patina of hiss and static that distinguished Disclose's music. Adrenalized, jammed deep into the red, these songs seem to gradually become more and more choked on speaker-shredding distortion, a swirling shitstorm of blown-out guitar hiss and mega-amplified static rushing across the band's locomotive assault. The whole a-side is a fucking vicious Dis-blast, and the first couple of songs on the second side pick right up from there, from the ferocious ultra-distorted crust-war of "The Sound Of Disaster" to the super-catchy "Crawling Chaos" with its dueling guitar solos.
     But for the closer, Disclose pulled a hard left as they suddenly sprawl out into the weirdly hypnotic "Wardead", which sees Kawakami and crew further experimenting with their sound. The whole song is wound around essentially one basic riff, making for a kind of noise-damaged hypno-crust that batters you endlessly for nearly ten minutes, the guitarists splattering this weirdly lurching epic with a nonstop barrage of wailing guitar solos. After a bit, this actually starts to resemble a hardcore punk version of Japanese psych legends Mainliner. Totally unlike anything else we'd heard from Disclose (let alone any band this influenced by the classic D-beat template), fucked and ferocious and brain-melting, and one of the most interesting things to scream off of a Japanese hardcore album.
     This reissues comes on 180 gram vinyl, packaged in a casewrapped jacket.


DISPOSSESSED   Besieged   CASSETTE   (End Theory Records)    5.00



     A putrid debut from this newer outfit out of Portland, Oregon, Besieged bulldozes its way across three lengthy tracks of leaden, spiteful sludge-metal, unleashing a steady stream of anti-authoritarian venom and vitriol that feels like it could have come from the some pissed-off anarcho-crust outfit, but instead got stuck in the hellish glue-trap of Dispossessed's ultra-heavy downtuned riffage, elephantine drumming and strained, shredded vocals that sometimes mutate into a repulsive, death metal-style bellow.
     Musically, these guys are treading a well worn path, all of this stuff carved out of the same sort of hardened metallic magma as the likes of Thou, Noothgrush, Corrupted and Graves At Sea. But Dispossessed do inject a bit of an overt death metal influence into this stuff that makes tracks like "The Law" and "siege" rumble with a slightly more fetid form of slow-motion barbarism. Combine that with their knack for some achingly pretty guitar melodies that twine throughout thee molten tar-encrusted dirges and offset the oppressive ugliness of the riffs, and you get a damn solid EP from these guys. Those looking for a more experimental or structurally adventurous take on glacially-paced metal won't find it here, but if you've got a lust for more majestic, infuriated sludge along the lines of Thou, these guys deliver a solid take on the sound.      Limited to two hundred professionally manufactured cassettes.
Track Samples:
Sample : Siege
Sample : The Law
Sample : Blood And Oil



DISROTTED   self-titled   LP   (Diseased Audio)    13.98



     If you're looking to muck around in some seriously abject slo-mo filth, Disrotted's eponymous is quite the find. Featuring folks that had previously played in Chicago-area bands like Winters in Osaka, Kungfu Rick and Harpoon, Disrotted are an entirely sicker outfit, chewing through intensely ugly and withered glacial death metal, made all the more fearsome by the ghastly troglodytic screams that ring out over this heaviness. It's an absurdly slow, super-primitive death metal chug that fuels their sludge, sort of like Cianide stripped of all flesh and screwed down to about quarter speed. A mess of sickening, rot-stench heaviosity, slashed with evil tremolo riffs and that gaseous, vocal putrescence; scenes of child murder and self-immolation flaring like bursts of grimy light over Disrotted's pitch-black scumworld, puked up from the tortured psyche of someone staring out from the center of an all-consuming grey mass, an industrialized dystopian hell that has been purged of all joy. It ain't no party.
     On "Brain Death", a minimalist two-chord dirge shambles glacially through a vast expanse of monochromatic rumble, as guitar strings blur into buzzing dissonance and those elephantine riffs decompose into nothingness; those swarming blackened guitars flit over the lumbering Frostian ur-dirge like flies to a corpse. Towering waves of glimmering, star-rot feedback and more of those blackened tremolo riffs sweep across "Celestial Empire", leading it into a final haze of whirring noise loops and stark, desolate ambience. And on closer "Restless Dead", the trio move from a haunting minor key creepiness into cadaverous trudge and blasts of rumbling noise, which in the end even begins to resemble a HNW experiment, a rumbling, suffocating wall of distorted, sludgy noise that diffuses across the final moments of the album. This stuff comes closer than most to capturing the sort of abject, hateful nihilism that made the early Corrupted material so powerful, while putting their own filthy black stamp on their sound. Definitely one to hear if you're addicted to the sepulchral, blighted deathdoom horror of bands like Fortress, Winter, Cough, Whitehorse, Moss and other proponents of glacial misery.
     Limited to five hundred copies, comes with a digital download code.


DONAGGIO, PINO   Tourist Trap   LP   (Waxwork)    29.99












Track Samples:
Sample : Main Titles
Sample : Mannequins Come Forth
Sample : Effetti Moog E Voci



DOOM SNAKE CULT   Love Sorrow Doom   CD   (Nuclear War Now! Productions)    10.98












Track Samples:
Sample : Tribal Seance
Sample : Frozen Doll Land
Sample : Enchanted Cerebral Forest



DOOM SNAKE CULT   Love Sorrow Doom   LP   (Nuclear War Now! Productions)    17.98












Track Samples:
Sample : Tribal Seance
Sample : Frozen Doll Land
Sample : Enchanted Cerebral Forest



DOOMBRINGER   The Grand Sabbath   CD   (Nuclear War Now! Productions)    10.98












Track Samples:
Sample : Nocturnal Assembly
Sample : Labyrinth of Everlasting Fire / Ecstasy of Witch Blood
Sample : Children to Moloch



DOOMBRINGER   The Grand Sabbath   LP   (Nuclear War Now! Productions)    19.99












Track Samples:
Sample : Nocturnal Assembly
Sample : Labyrinth of Everlasting Fire / Ecstasy of Witch Blood
Sample : Children to Moloch



DYSTOPIAN SOCIETY   Violations   7" VINYL   (Mass Media)    6.98












Track Samples:
Sample : Morire Per Vivere
Sample : No Deliverance
Sample : Violations



E.G.KAIDAN : ESPLENDOR GEOMTRICO + HIJOKAIDAN   E.G.Kaidan (Live In Tokyo 24 November 2013)   LP   (Geometrik)    24.99



     Your pulse could potentially re-arrange itself upon exposure to this collaboration between Japanese noise titans Hijokaidan and Spanish industrial outfit Esplendor Geomtrico, taken from a performance in Tokyo from November 2013. Pretty powerful stuff here, forged around the group's use of heavy, repetitious rhythms, but still as harsh and chaotic as you'd expect coming from Hijokaidan.
     The performance is divided into eight parts, starting off with a rolling, energetic breakbeat that emerges amid the terrifying garbled shrieks of Hijokaidan vocalist Junko. Blasts of corrosive electronics and feedback, and eerie droning string-like sounds materialize alongside that frayed groove, and it gets off to an intense start, an almost Boredoms-esque blast of percussive tribal trance and squealing, ear-damaging noise, both abrasive and surprisingly musical. As the group continues through the set, the music dies off or dissolves into more subdued interludes where it's just Junko yapping her head off maniacally, or a squall of what sounds like a horribly tortured electric guitar spewing its amplified guts out across the floor. Eventually that pounding, aggressive rhythm will rear its head again, shifting form into a brutal technoid thud or a blown-out breakbeat, or a heavily distorted industrial loop; it can actually get somewhat danceable, though probably only to terminally irradiated mutants.
     They wind all sorts of frenzied noise around these pummeling, thunderous rhythms, continuing to mangle electric guitars into clots of gruesome skronk as Jojo Hiroshige makes his guitar sound like oil tankers being rent apart, or horrifying air raid sirens, or steel girders groaning beneath the weight of collapsing buildings, alongside synaptic-shock eruptions of piecing electronics. And man, Junko really goes for it, delivering an almost non-stop barrage of high-pitched screams and weird gibberish over the performance that ascends to terrifying heights of vocal madness. The intensity cranks up the further in it gets, turning pretty ferocious in the second half of the performance, evolving into a cacophony of bellowing demonic vocals, vicious freeform guitar skree and heavy tribal rhythms that are seared by controlled bursts of electronic noise. In all, though, this is a heavy, exuberantly brutal performance that highlights the strengths of both groups. Definitely recommended if you're a big Hijokaidan fan, but those into Cut Hands and Boredoms would probably dig this as well.
     Released in a limited, numbered edition of five hundred copies.


ELFMAN, DANNY   Nightbreed   LP   (Waxwork)    28.99














ENCOFFINATION   O' Hell, Shine in Thy Whited Sepulchres   CD   (Selfmadegod)    11.98












Track Samples:
Sample : Annunciation Of The Viscera
Sample : Crypt Of His Communal Devourment
Sample : Rites Of Ceremonial Embalm'Ment



ENCOFFINATION   Ritual Ascension Beyond Flesh   CD   (Selfmadegod)    11.99










Track Samples:
Sample : Miasma of Rotten Serenity
Sample : Eucharist of Bone and Flame
Sample : Coffinpsalms



ENCOFFINATION   Elegant Funerals For The Unknown Dead   CASSETTE   (Parasitic)    6.99












Track Samples:
Sample : Gaunt And Shallow (Catacombs of ternity)
Sample : Deathless Genesis
Sample : A.M.E.N.



ENTRE VIFS   No Signal   CD   (Impulsy Stetoskopu)    11.99



     Despite having been around since the late 80s and heralded by Rodger Stella as a direct influence on his work with Macronympha, French noise group Entre Vifs has remained somewhat obscure in industrial noise circles. Even I wasn't really familiar with 'em until recently. An offshoot of the well-regarded French industrial outfit Le Syndicat, this outfit pursues a much more violent and psychedelic brand of harsh noise, using homemade instruments and gear to create dense, fluctuating maelstroms of noise that can spread out to epic lengths. On this disc, the duo of Zorn and Shirubee unleash six long blasts of frenzied, chaotic sound using such monstrous instruments as the "Throbbler", the "Sturmophon" and the "Rikrokod", all Frankensteined objects cobbled together from guitar pickups, disassembled toy instruments, ring modulators, amplified lamps and grotesque-looking stringed objects.
     The din that they whip up with these tools is brutal and brain-scrambling, evoking classic 80's era Merzbow, the dystopian junkscapes of Macronympha and K2, and even the trippy robotic carnage of early Bastard Noise, all while assembling these noisescapes according to their own demented brand of improvisational logic; it's not entirely devoid of structure, as the duo sometimes drifts into strange, mesmeric passages of fractured rhythmic sound. But it's pretty violent throughout. Blasts of buzzing electricity and clanking metallic noise becomes fused to swarms of suffocating static and weird resonances, clusters of maniacal tape-garble seethe beneath harsh, steely drones and washes of cold mechanical drift-noise, all scattered with nightmarish samples and primitive synth noise, roaring out of your speakers like an avalanche of deranged machinery run riot. Pretty extreme, with only the occasional aside into quieter passages.
     Comes in a hinged metal box with a sixteen page booklet that includes photos of the bizarre instruments that the duo utilized, issued in a limited edition of two hundred copies.
Track Samples:
Sample : Session 32B-1 Condense
Sample : Session 30-2 Straighten
Sample : Session 29B Reveal



ERECTILE DEMENTIA   Kiss Every Ass And Suck Every Dick   7" VINYL   (Backwoods Butcher)    5.98



     Another one of my latest obsessions is the hillbilly noisecore outfit Erectile Dementia, who exploded into a frenzy of activity this past year, cranking out nearly a half-dozen releases in short order. And they all pulverize. It's the current one-man band from Kentucky maniac Doug Long, who has a ridiculous amount of projects and bands on his C.V., though he's probably most recognizable by extreme music enthusiasts as a member of the thrashcore bands Hellnation and Brody's Militia. The guy is clearly a speedfreak (musically speaking, of course), and his Erectile Dementia stuff takes that to another level, unleashing a ferocious and eccentric brand of noisecore that incorporates hard rock and punk elements, and actually writes songs around his ultra-violent eruptions of chaotic blurrcore. Might be some of the "catchiest" noisecore-type stuff I've heard, as well as some of the heaviest. We've picked up a bunch of his 7" titles, all of which are pretty ripping.
     Another in the big batch of new 7"s from noisecore rock n' roll machine Erectile Dementia, Kiss Every Ass And Suck Every Dick delivers more of the nutzoid ultra-violence and catchy riffery that has turned this one-man band into one of my new favorite noisecore outfits. Handling all of the instruments, sole member Omega Anfhrer (aka Doug Long from Kentucky blastcore outfits Brody's Militia and Hellnation) crams twelve songs of rocking, super-catchy heaviness onto this platter, combining his blasts of cyclonic, skull-shredding noisecore and guttural echoing beast-belches with huge punk hooks and infectious and energetic 70's style hard rock riffs, sometimes injecting shockingly melodic hooks that come raging out of the hyperspeed chaos. There's also the occasional blast of new wavey synthesizer mixed in here, the production is pretty heavy, and the songs rage. Not the no-fi earhate we usually look for, but Erectile Dementia's approach is so gloriously weird and rockin' I can't get enough of this stuff, especially when those Nugent-style riffs and garage punk hooks suddenly tear out of the Anal Cunt-esque blurr.
     Limited to three hundred copies on black vinyl.


ERECTILE DEMENTIA   Dismal Visions   7" VINYL   (Backwoods Butcher)    5.98



     Another one of my latest obsessions is the hillbilly noisecore outfit Erectile Dementia, who exploded into a frenzy of activity this past year, cranking out nearly a half-dozen releases in short order. And they all pulverize. It's the current one-man band from Kentucky maniac Doug Long, who has a ridiculous amount of projects and bands on his C.V., though he's probably most recognizable by extreme music enthusiasts as a member of the thrashcore bands Hellnation and Brody's Militia. The guy is clearly a speedfreak (musically speaking, of course), and his Erectile Dementia stuff takes that to another level, unleashing a ferocious and eccentric brand of noisecore that incorporates hard rock and punk elements, and actually writes songs around his ultra-violent eruptions of chaotic blurrcore. Might be some of the "catchiest" noisecore-type stuff I've heard, as well as some of the heaviest. We've picked up a bunch of his 7" titles, all of which are pretty ripping.
     Dismal Visions is yet another killer 7" that this hard rocking backwoods noisecore outfit has spewed out over the past year. These blast-cretins are seriously addictive, and this twenty-three song EP continues to thrill on a large scale. As with everything else Erectile Dementia has put out, it's more than just an Anal Cunt-style exercise in cyclonic hateblast. This stuff is more complex, more musical than most bands of this ilk, and there are actual songs in all of this noisy blastbeat-infested barbarism. Amid all of the skull-shredding noisecore wipeouts with titles like "Shit-Spattered Throne of The Mongoloid King" and "Dismal Visions Of Mediocre Asshole Violently Murdering Each Other", you also get some bludgeoning Frostian riffage, oddball new wavey synthesizers, crushing doom-laden metal, eruptions of riot-inducing punk and hard rock riffage, and more, crafted into catchy, furious tuneage. The band describes this stuff as a "...schizo amalgamation of inept noisecore and idiotic rock n' roll..." but that sells this short, I think. It's super heavy stuff, and all of their interjections of weird Devo-esque keyboards and ass-shakin' rock make this (and all of their other 7"s) infectiously re-listenable. Awesome!
     Limited to three hundred copies on black vinyl.


ERECTILE DEMENTIA / CSMD   split   7" VINYL   (Backwoods Butcher)    8.50



Another one of my latest obsessions is the hillbilly noisecore outfit Erectile Dementia, who exploded into a frenzy of activity this past year, cranking out nearly a half-dozen releases in short order. And they all pulverize. It's the current one-man band from Kentucky maniac Doug Long, who has a ridiculous amount of projects and bands on his C.V., though he's probably most recognizable by extreme music enthusiasts as a member of the thrashcore bands Hellnation and Brody's Militia. The guy is clearly a speedfreak (musically speaking, of course), and his Erectile Dementia stuff takes that to another level, unleashing a ferocious and eccentric brand of noisecore that incorporates hard rock and punk elements, and actually writes songs around his ultra-violent eruptions of chaotic blurrcore. Might be some of the "catchiest" noisecore-type stuff I've heard, as well as some of the heaviest. We've picked up a bunch of his 7" titles, all of which are pretty ripping.
One of the more exciting splits that Erectile Dementia showed up on was their 7" with CSMD, who rank as one of my other top-rated noisecore outfits. Unsurprisingly, unsavory body fluids, severe physical mutation and lysergically induced ultra-violence abounds when you put these two bands together.
For their part, CSMD deliver exactly the sort of acid-blast madness you'd expect, and which they've thoroughly perfected. Once again, these freaks glom together eleven blasts of effects-damaged chaos like "Tuning In To Another Star Cluster" and "Attack Of The Monster Vulva From Mars", ejected in a violent puke-haze of berserk electronic noise, putrid noisecore, and demented, echoing screams. Psychedelic noisecore alternates with weird electronic noise experiments, with some serious infatuation with old school Creature Feature-style theremin fuckery getting rubbed out all over these tunes. Imagine a radiation-soaked offspring of early Anal Cunt, Hawkwind, 80's era Japanese hardcore, and Delia Derbyshire's BBC music, give it a frontal lobotomy, and you'll get the drift. Fuckin' love this band.
On their side, Kentucky barbarian Erectile Dementia gives us twelve tracks of pulverizing noisegrind, with titles like "Venereal Hysteria", "Self Inflicted Gamma Morser Headwound", and "Another Excremental Contribution To The Social Toilet". This one is a little more eclectic than other recent offerings, a mutant mishmash of hyperspeed bestial death metal, monstrous death n' roll grooves, and blur-blasts of churning hyperpseed noise. AS always, though, it's a BLAST, waaaaaay heavier than your typical noisecore unit; there's a hefty old school death metal vibe coursing through most of this, but it's all chewed up into chaotic micro-blasts, splattered across a field of obnoxious samples, weird psych-guitar leads, obliterating caveman Entombed riffs, bursts of PCP-drenched hardcore, and strafed by the singer's guttural, reverb-soaked growls. I really need a full album of this stuff.


ERECTILE DEMENTIA / FINAL EXIT   split   7" VINYL   (Backwoods Butcher)    5.98



     Another one of my latest obsessions is the hillbilly noisecore outfit Erectile Dementia, who exploded into a frenzy of activity this past year, cranking out nearly a half-dozen releases in short order. And they all pulverize. It's the current one-man band from Kentucky maniac Doug Long, who has a ridiculous amount of projects and bands on his C.V., though he's probably most recognizable by extreme music enthusiasts as a member of the thrashcore bands Hellnation and Brody's Militia. The guy is clearly a speedfreak (musically speaking, of course), and his Erectile Dementia stuff takes that to another level, unleashing a ferocious and eccentric brand of noisecore that incorporates hard rock and punk elements, and actually writes songs around his ultra-violent eruptions of chaotic blurrcore. Might be some of the "catchiest" noisecore-type stuff I've heard, as well as some of the heaviest. We've picked up a bunch of his 7" titles, all of which are pretty ripping.
     Another split featuring Erectile Dementia teaming up with a likeminded blastbeast, this 7" pairs him up with Japanese noisecore weirdos Final Exit for another emission of cyclonic insanity.
     The first side delivers more of Erectile Dementia's gonzo noisecore, continuing to glom all sorts of other sounds to his short blasts of chaotic violence. Seven songs that all erupt into quick, eardrum-shredding maelstroms of hyperspeed grinding chaos, and interjected with an assortment of infectious riffs and rocking tempos, combining power-pop hooks, bits of surfy mayhem, whacked-out New Wave synth, and wailing metal guitar with that berserk noisecore. When these songs suddenly snap into one of their fist-raising hard rock riffs or furious punk outbursts, it just makes the blasts of pummeling caveman noisegrind sound that much more unhinged. Another killer side from this madman.
     You probably couldn't come up with a better band to share a 7" with E.D.'s hard rock/noisecore abominations than the equally bonkers Japanese outfit Final Exit. Been a fan of these guys ever since I had them on an old Crucial Blast compilation years ago, and they've continued to be one of my favorite contemporary noisecore outfits. Here, the group rip through four new songs of their own brand of rock-damaged noisecore (or is it the other way around?), opener "Teen's Spring Blues" starting off with languid garage rock guitar before the floor falls out and the whole side gets swept up in a hyperspeed shitfit. Nothin' but total carnage from there out, the rest of this stuff turning into an inchoate stew of ultra-distorted crossover thrash, Merzbowian skree, flesh-chewing blurrcore insanity, and chunks of Beefheartian sonic fuckery. Pretty mind-melting stuff.
     Limited to three hundred copies on "stygian midnight onyx" vinyl.


ERECTILE DEMENTIA / STABBED TO DEATH   split   7" VINYL   (Backwoods Butcher)    5.98



     Another one of my latest obsessions is the hillbilly noisecore outfit Erectile Dementia, who exploded into a frenzy of activity this past year, cranking out nearly a half-dozen releases in short order. And they all pulverize. It's the current one-man band from Kentucky maniac Doug Long, who has a ridiculous amount of projects and bands on his C.V., though he's probably most recognizable by extreme music enthusiasts as a member of the thrashcore bands Hellnation and Brody's Militia. The guy is clearly a speedfreak (musically speaking, of course), and his Erectile Dementia stuff takes that to another level, unleashing a ferocious and eccentric brand of noisecore that incorporates hard rock and punk elements, and actually writes songs around his ultra-violent eruptions of chaotic blurrcore. Might be some of the "catchiest" noisecore-type stuff I've heard, as well as some of the heaviest. We've picked up a bunch of his 7" titles, all of which are pretty ripping.
     Another in the Demented pile of split 7"s we've picked up from this Kentucky reprobate, this one has E.D. teaming up with another one of Long's bands, the like-minded, offbeat thrashpunk outfit Stabbed To Death. First up is Erectile Dementia, rampaging through nine songs of slime-splattered, ultra-violent noisegrind that's a little less quirky than some of the other stuff we've heard from the project, but still totally savage, loaded with whirlwind assaults of clattery blastbeats and neanderthal hardcore punk drumming, monstrous guttural roars and chainsaw riffs spat out at supersonic speeds, everything erupting into a psychotic cacophony with the occasional power-punk riff ripping through the mess. There's less of the 70's style hard rock riffage, but it's still a real blast.
     The four songs from Stabbed To Death equally rip, delivering some serious hyperspeed blastcore that reminds me of classic UK thrash like Heresy, Ripcord and Intense Degree, a fury of insanely fast tempos, cyclonic (and vaguely metallic) guitar riffs, over-the-top frenzied screams and a general air of chaos, but also spiked with the occasional riot-inducing pogo hook on songs like "My Fist, Your Face".
     Comes on "Psychedelic Reactor Meltdown" colored vinyl, and includes vinyl stickers.


FAITH NO MORE   Superhero   7" VINYL   (Ipecac)    7.50



     Back in stock. Man, in 1989, Faith No More was the band for me. Discovering them through a combination of their huge MTV hit "Epic", and regularly being talked up by just about every single Bay Area thrash band that I was a fan of, these guys soon became an obsession of mine. I bet that I listened to both The Real Thing and Introduce Yourself a thousand times over by the time we were heading into the 90s. My obsession with their music would end up dissipating after Angel Dust and the departure of guitarist Jim Martin, but I continued to dig their output all the way up until the band's dissolution towards the end of the decade.
     Like many fellow young thrashers who was turned on to weirder metal through these guys, I was pretty stoked when Faith No More was resurrected a few years back, and especially when they announced that they would be releasing new music. As the lead-up to their comeback album Sol Invictus, the band released a pair of 7" singles to whet their audience's appetite, the second of which was the Superhero EP. Featuring that single paired with a remix by Alexander Hacke of Einsturzende Neubauten, the furious, post-punk tinged heaviness felt like a throwback to the band's early 90's output, combining Mike Patton's multi-faceted vocals with an Indian/Arabic-tinged piano melody, crushing metallic riffage, and miles of dark groove. Really, it sounds like it could have come off of any of those earlier Patton-era albums, and quelled any fears that these guys might have lost the spark that made them such a unique proposition during their heyday. The remix on the b-side draws those percussive and Middle Eastern-influenced elements out, stripping away most of the heaviness and aggression for an even darker and stranger result. If you already have the new album, then you already have the song, but this 7" is still a cool collectible for hardcore Faith No More fans, that Hacke remix proving to be highly infectious.


FAR CORNER   Endangered   CD   (Cuneiform)    15.98












Track Samples:
Sample : Claws
Sample : Creature Council
Sample : Endangered
Sample : Inhuman



FAR CORNER   self-titled   CD   (Cuneiform)    15.98












Track Samples:
Sample : Something Out There, Pt. 2
Sample : Tracking
Sample : With One Swipe of Its Mighty Paw



FERETRUM   From Far Beyond   CD   (Memento Mori)    11.98












Track Samples:
Sample : Vitae Fobia
Sample : Usurpation Of Souls
Sample : Carnal Destruction



FERETRUM   From Far Beyond   LP   (Black Mass)    16.98












Track Samples:
Sample : Vitae Fobia
Sample : Usurpation Of Souls
Sample : Carnal Destruction



FIER, LUBO   Valerie And Her Week Of Wonders   CD   (Finders Keepers / B-Music)    13.98












Track Samples:
Sample : The Sermon
Sample : Sacrifice
Sample : Dense Smoke
Sample : And the Last



FISTULA   Ignorant Weapon   7" VINYL   (Bad Road Cogito Ergo Sum)    5.99














FOLDED SHIRT   Tiny Boat / Mouth Clock   7" VINYL   (Fashionable Idiots)    4.00



     Another slab of loopy, brain-damaged punk on the Fashionable Idiots imprint, Folded Shirt's Tiny Boat / Mouth Clock 7" delivers a two-song shot of Beefheartian snot from this Cleveland area outfit, made up of members of the equally weird Homostupids, Darvocets, and Mr. California And The State Police. These guys have remained pretty obscure within the contemporary punk landscape, but I've dug their stuff ever since I stumbled across the self-titled LP that came out back in 2011. The band's weirdo punk has a naive, possibly drug-addled sound, but it also crawls under my skin; with their nonsensical lyrics, squiggly guitars and atonal leads, the drummer's shambling percussive attack, those quirky melodies honking and squealing through "Mouth Clock", it all comes together into this infectious, autistic mess that to my ears sounds somewhere in between the puerile weirdness of latter-day Sloth, the terminally silly "tardcore" of Sockeye, and even Flipper at their sloppy, stumbling best.


FOOT & MOUTH DISEASE / BEARD WITHOUT A MUSTACHE   split   6" VINYL   (CONTINUUM.)    8.98



     Another platter of severely messed no-fi filth from the upstate New York scene surrounding the Continuum imprint, this lathe-cut 6" record pairs up the rotted electronics of Foot And Mouth Disease with the grotesque brain-damaged grind of Beard Without A Mustache. As with the other lathe-cut records we were sent, this thing is extremely low-fi and loaded with surface noise, to the extent where it's sort of difficult to determine what noise is accidental, and what is from the actual performance.
     Foot And Mouth Disease delivers a single track of primitive power electronics called "Mortuary Countertop", comprised of a murky, morbid minor-key synth figure spooling across a backdrop of near-silent blackness flecked with minimal pulses, glimmers of rotting electronic drone, and putrescent tones. The whole thing is over in a matter of minutes, but exudes a sickly, withering atmosphere that'll probably appeal to fans of the classick Slaughter Productions aesthetic.
     With a name that sounds like something that would've crawled out of the Ohio "tardcore" scene, Beard Without A Mustache are actually a much more vicious proposition, spitting up two songs of noisy, sputtering, off-kilter grindcore from this stripped-down, low-fi drums/guitar/vocals trio, mashing crushing grindpunk riffs with weird guitar noise, rumbling low-frequency drones and odd, stop-start arrangements. Totally obnoxious blast-filth.
     Limited to one hundred copies.
Track Samples:
Sample : FOOT AND MOUTH DISEASE - Mortuary Countertop
Sample : BEARD WITHOUT A MUSTACHE - Hypernova
Sample : BEARD WITHOUT A MUSTACHE - Reaching Farther



FRIZZI, FABIO   The Beyond (Original Soundtrack)   LP   (Death Waltz)    29.99














FUNERAL MOTH   Dense Fog   2 x LP   (Throne)    31.99



     Now available as a double LP on black vinyl in gatefold packaging from Spanish label Throne Records, issued in a limited edition of two hundred copies.
     These Japanese funeral doom crushers are finally back, returning with their debut full length album six years after their previous eponymous EP that I raved about back when it was released. Issued via Japanese label Weird Truth Productions alongside the likes of extreme doom elites like Ataraxie, Indesinence, Mournful Congregation, Worship, Imindain and Funeralium, the four-song slab Dense Fog delivers crushing, meditative doom from these former members of deathsludge titans Coffins and cult black metallers Deathchurch, each track an ode to self-immolation set to immense time-freezing heaviness that moves in glacial drifts across the album.
     The three main songs that make up Dense Fog are obviously rooted in that classic funereal doom aesthetic, drawing from the classic sounds of Skepticism and Therogthon as the band lays down these titanic glacial dirges that crawl across the album at agonizingly torturous tempos, but they do bring some unique touches of their own to this sound. The music has a grim beauty to it, the colossal riffs often shaping themselves into a cold, funerary grandeur, the drooling, caveman growls countering that stately heaviness with feral, abject horror that almost suggests the presence of some mad Shinto monk grunting and groaning over the rumbling slow-mo chords and syrupy drumming. There's also quite a bit of a slowcore influence that seeps into the more subdued moments on the album, long stretches where the heaviness suddenly falls away and we're left with just the sound of a rumbling bass guitar and chiming minor key chords slowly drifting through the darkness, the drummer reduced to a super-minimal backbeat as the sound shifts into something much more akin to the spare, wintry gloom of Codeine; the title track, the shortest song on here at just under four minutes, is a purely instrumental example of that icy, fog-enshrouded funerary slowcore. Those shimmering guitar textures creep all over the album though, right into the almost Badalamenti-like atmosphere that hangs over portions of the monstrous closing track "Jigai - Kill Yourself", and there's a guest appearance from Mournful Congregation guitarist Justin Hartwig, where he contributes a stunning guitar solo at the end of opener "Blindness" that really yanks at your heartstrings. Indeed, anyone into the funerary majesty of Mournful Congregation should check this out, as well as fans of the heavily atmospheric massiveness of Corrupted and the general vibe of the Weird Truth roster.
Track Samples:
Sample : kill yourself
Sample : dense fog
Sample : blindness



FUNERARY BOX / CSMD   Fuck The Moon / Bestial Invaders   7" VINYL   (Rescued From Life)    5.99



     Despite the ridiculous names Vlad Trollpecker and Excremente Necroponde, the guys behind deathslime duo Funerary Box deliver some pretty crushing blackened death retardation on their own; team 'em up with more of CSMD's awesome psychedelic noisecore, and you get a fine way to ravage your turntable for a bit.
     Been awhile since the last time I was skullfucked by a new batch of noise from the Godzilla-worshipping Dutch blurrcore band CSMD, and their half of this split 7" is just the emetic I needed this week. As always, these maniacs smash together a mess of samples lifted from Golden Era science fiction films with ultra-violent noisecore, gibbering vocals slathered in delay and weird electronic effects, crawling on sludgy, bass-heavy riffs, blasting through twelve short tracks of semi-improvised insanity. The band's trademark theremin shows up again, whooshing through the band's bestial racket like stray elements from a Bebe and Louis Barron score, and there are some of the usual sudden, brain-melting detours into sampled cartoon music, maniacal surf-rock, bleating free-jazz and other sonic weirdness, as well. Track titles like "Head Ripping Slithis" and "That's All Folks (This Is The End Of The World)" further hint at the absurdity. Another highly entertaining dose of acid-scorched noisecore from these guys.
     Hailing from Kentucky and featuring members of Hellnation, Erectile Dementia and Brody's Militia, Funerary Box follow that up with a single track of their own blackened mutant mayhem, which feels like something that could have crawled right off the Bestial Burst label. "Fuck The Moon" is a blast, starting off with moody, reverb-drenched guitar and droning feedback before surging into a monstrously noisy chunk of churning primitive black/death heaviness that falls somewhere in between early Beherit and Blasphemy and screeching American hardcore punk, but infested with additional moments of filthy, FX-riddled basement psychedelia.
     Limited to three hundred copies.


GEHENNA   Deathkamp Ov The Skull   7" VINYL   (Holy Terror Records)    8.98



     The latest crime scene from The Infamous Gehenna is the new 7" EP / CD Deathkamp Ov The Skull, the latter of which also collects their Funeral Embrace EP. These maniacs are still one of the most ferocious bands to come out of the American metal/punk underground, their brand of blackened hardcore and the ultra-violent nature of their live performances giving them a formidible reputation that's only grown over the years. With this latest offense, Gehenna deliver three new songs, opening with what might be the most subdued piece of music I've heard from these guys. The beginning of the nearly eight-minute long title track is all distant screams and fuzzy, low-fi murkiness shrouding a despondent guitar melody, reminiscent of Integrity's more atmospheric, slow-burning moments. When it suddenly veers into their signature seething heaviness though, this shifts into a torturous blackened dirge slashed with screaming guitars and singer Mike Cheese's intimidating snarl, building to an explosion of savage, blackened thrash.
     "First Blood Part II" is a shorter but equally nasty blurt of feral black thrash, and "TormentORR" has them teaming up with both Dwid and Rob Orr from Integrity, busting heads with a bludgeoning, hateful metalpunk mid-tempo riff; hearing Cheese and Dwid trade off/team up on this blistering tune makes this a goddamn blast. Once again, these guys vomit up another killer blast of hideous hardcore that stinks with the fetid fumes of both old West Coast powerviolence and the evil filth of bands like Hellhammer and Nifelheim. Crucial.
     Comes on colored vinyl.
Track Samples:
Sample : Tormentorr
Sample : Funeral Embrace
Sample : Deathkamp Ov the Skull
Sample : Amphetamine Psychosis



GEHENNA   Deathkamp Ov The Skull / Funeral Embrace   CD   (Magic Bullet)    10.98



     The latest crime scene from The Infamous Gehenna is the new 7" EP / CD Deathkamp Ov The Skull, the latter of which also collects their Funeral Embrace EP. These maniacs are still one of the most ferocious bands to come out of the American metal/punk underground, their brand of blackened hardcore and the ultra-violent nature of their live performances giving them a formidible reputation that's only grown over the years. With this latest offense, Gehenna deliver three new songs, opening with what might be the most subdued piece of music I've heard from these guys. The beginning of the nearly eight-minute long title track is all distant screams and fuzzy, low-fi murkiness shrouding a despondent guitar melody, reminiscent of Integrity's more atmospheric, slow-burning moments. When it suddenly veers into their signature seething heaviness though, this shifts into a torturous blackened dirge slashed with screaming guitars and singer Mike Cheese's intimidating snarl, building to an explosion of savage, blackened thrash.
     "First Blood Part II" is a shorter but equally nasty blurt of feral black thrash, and "TormentORR" has them teaming up with both Dwid and Rob Orr from Integrity, busting heads with a bludgeoning, hateful metalpunk mid-tempo riff; hearing Cheese and Dwid trade off/team up on this blistering tune makes this a goddamn blast. Once again, these guys vomit up another killer blast of hideous hardcore that stinks with the fetid fumes of both old West Coast powerviolence and the evil filth of bands like Hellhammer and Nifelheim.
     On the CD, that's followed by the Funeral Embrace, which I described thusly back when I first got the 7" in stock:
     Like that rotted canine skull that leers at you from the cover of Gehenna's latest Funeral Embrace, this long-running West Coast band is all jaws, an embodiment of snarling, snapping chaos channeled through a stripped-down, red-raw hardcore assault that remains more than twenty years later one of the most savage sounds in the underground. I've raved about Gehenna for years; long aligned with the "Holy Terror" aesthetic that emerged in the mid-90s, Gehenna are peerless fomenters of violence and lawlessness, their songs anthems to bloodlust and barbarism. Their latest 7", Funeral Embrace delivers five more songs of their signature mix of drug-fueled hardcore punk and rabid black thrash, blackened and hateful, issued on the recently resurrected Dark Empire label now being operated by the teenage son of Integrity front man Dwid (a fact that continues to remind me just how old I'm starting to get). Opening with the blistering narco-worship of "Amphetamine Psychosis", these maniacs whip the air into a blood-frenzy of blackened hardcore, smearing their raw blast with bits of lysergic noise and those PCP-hammered guitar solos, and that seething, violent energy rips through the rest of the EP. Every one of these songs comes snarling out of the speakers at top speed, lashing the barbarism of classic American hardcore to a feverish blur of ultra-violent black thrash a la Nifelheim or Bestial Mockery, and the results are fucking ferocious. There's a bizarre, lupine howling that appears all through the 7", like a pack of wolves lurking behind Gehenna's slavering necroid assault, and the inhuman snarl of front man Mike Cheese echoes madly in a storm of reverb while the band careens through reckless tempo changes that constantly threaten to spiral into total pandemonium.
     The CD comes in a gatefold jacket, and includes a miniature poster insert.
Track Samples:
Sample : Tormentorr
Sample : Funeral Embrace
Sample : Deathkamp Ov the Skull
Sample : Amphetamine Psychosis



GENEVIEVE   Escapism   CASSETTE   (Grimoire)    5.00












Track Samples:
Sample : Parasite II
Sample : Ego
Sample : Charnel Flow



GENEVIEVE   Escapism   CDR   (Grimoire)    6.98












Track Samples:
Sample : Parasite II
Sample : Ego
Sample : Charnel Flow



GILES COREY   self-titled   2 x LP + BOOK   (The Flenser)    47.98















GOATPENIS   Flesh Consumed In The Battlefield   CD   (Deathangle Absolution)    9.99



     The latest exultation of open warfare from this Brazilian blackened grind outfit, Consumed In The Battlefield detonates with eleven more songs of the band's ultra-raw, blown-out savagery. Their recipe is simple, combining militaristic samples, violent Slayerized thrash riffs, and a big dose of crusty mayhem with their weirdly layered and processed vocal attack, but it's thoroughly vicious; while this latest recording doesn't pack quite the feral punch that the previous album Depleted Ammunition did, these guys still deliver the ultra-aggressive, chaotic goods. The album is insanely fast, teeming with killer, ferocious riffage, frequently contrasting their furious thrash with moments of crazed, grinding pandemonium; one of the highlights is "Effects Of Radiation On Humans (Dosage Of Radiation)", where the band joins forces with fellow anti-human sonic terrorists J. Read (Conqueror, Revenge) and Antichrist Kramer (Deathkey, Intolitarian), both contributing their own vomitous, barbarous vocalizations to a crushing combo of sludgy early Earache-esque grindcore and lunatic black/grind violence.
     The whole disc is a maelstrom of gnashing, bestial aggression, the rigid drumming evocative of heavy artillery fire, the tempos shifting into pulverizing halftrack grooves, and I hear a sublimated, vaguely industrial vibe that surfaces on songs like "Extremely High Dosage: 4000-5000 Rads (Radiation Exposure Vascular System)". At the end of the album, they've also added some newly recorded versions of songs from the pre-Goatpenis outfit By Disgrace of God, more in thei vein of classic second wave black metal, but these compositions are just as war-obsessed and primal as everything else. In addition, the vinyl version of Flesh Consumed also features a cover of the pre-Goatpenis grindcore outfit Suppurated Fetus as an exclusive bonus track.
Track Samples:
Sample : Strategic Anti-Life Bomber
Sample : R.I.O.D.O. (By Disgrace of God cover)
Sample : Nuclear Proliferation



GOATPENIS   Flesh Consumed In The Battlefield   LP   (Deathangle Absolution)    17.99



     The latest exultation of open warfare from this Brazilian blackened grind outfit, Consumed In The Battlefield detonates with eleven more songs of the band's ultra-raw, blown-out savagery. Their recipe is simple, combining militaristic samples, violent Slayerized thrash riffs, and a big dose of crusty mayhem with their weirdly layered and processed vocal attack, but it's thoroughly vicious; while this latest recording doesn't pack quite the feral punch that the previous album Depleted Ammunition did, these guys still deliver the ultra-aggressive, chaotic goods. The album is insanely fast, teeming with killer, ferocious riffage, frequently contrasting their furious thrash with moments of crazed, grinding pandemonium; one of the highlights is "Effects Of Radiation On Humans (Dosage Of Radiation)", where the band joins forces with fellow anti-human sonic terrorists J. Read (Conqueror, Revenge) and Antichrist Kramer (Deathkey, Intolitarian), both contributing their own vomitous, barbarous vocalizations to a crushing combo of sludgy early Earache-esque grindcore and lunatic black/grind violence.
     The whole disc is a maelstrom of gnashing, bestial aggression, the rigid drumming evocative of heavy artillery fire, the tempos shifting into pulverizing halftrack grooves, and I hear a sublimated, vaguely industrial vibe that surfaces on songs like "Extremely High Dosage: 4000-5000 Rads (Radiation Exposure Vascular System)". At the end of the album, they've also added some newly recorded versions of songs from the pre-Goatpenis outfit By Disgrace of God, more in thei vein of classic second wave black metal, but these compositions are just as war-obsessed and primal as everything else. In addition, the vinyl version of Flesh Consumed also features a cover of the pre-Goatpenis grindcore outfit Suppurated Fetus as an exclusive bonus track.
Track Samples:
Sample : Strategic Anti-Life Bomber
Sample : R.I.O.D.O. (By Disgrace of God cover)
Sample : Nuclear Proliferation



GOATSNAKE   I + Dog Days (GOLD VINYL)   2 x LP   (Southern Lord)    24.00



     Once again in print on vinyl, this time as a new 2015 edition on gold vinyl.
     Goatsnake are another one of those bands that in my mind should have been hugely popular. The L.A. doom rockers released two consecutive albums that in my opinion rank as some of the best doom records of the past twenty years, their debut I and the monumental second album Flower Of Disease. Combining a classic doom sound with singer Pete Stahl's soaring, soulful vocals (which sound vaguely like those of Cult front man Ian Astbury) and an uncanny songwriting prowess (seriously, these guys wrote songs that were so catchy that they could have easily have landed on the radio if weren't for the fact that they're so goddamn crushing), Goatsnake seemed like they could have totally taken over, but instead, the band broke up briefly, just as their label Man's Ruin was in it's death-throes, and both albums quickly slipped out of print for some time. Now that the band has reunited with it's original lineup and become an active concern once again, we're finally seeing the back catalog being reissued through Southern Lord on both CD and vinyl, one of the latest being a deluxe 180 gram vinyl re-ish of the compilation I + Dog Days, which combines Goatsnake's surly debut album with the Dog Days Ep on a double platter set with two unreleased tracks and full liner notes from the band.
     When Man's Ruin originally released I, it was as solid a debut as you could ask for. The band featured seasoned vets of the doom and hardcore scene (Guy Pinhas and Greg Rogers of The Obsessed, Pete Stahl from Wool and Scream, and Greg Anderson from Engine Kid, Sunn O))), Thorr's Hammer and Brotherhood), and they crafted a brand of driving, catchy doom that could shift in an instant between extreme downer sludge and rocking, anthemic power. Their sound was equal parts Saint Vitus and The Cult, Melvins and Alice In Chains and Black Sabbath, and yet it sounded incredibly fresh to me when this came out, due to how catchy their songwriting was. Greg Anderson's distinctive wailing, biting blues solos were a signature element, as was Pete Stahl's soulful croon, and the skull-cracking rhythm section gave Goatsnake a fearsome undertow. The album starts strong with opener "Slippin' The Stealth", a driving rocker that leads into the oily, harmonica-slathered Sab-groove of "Innocent". Those first two songs are seriously catchy, but then "What Love Remains" comes in and shifts the album into pure doom, a stomping saurian trudge, a dismal morose plod through abject lovesickness, winding up bit by bit until the band finally explodes into a faster rocking groove, one of their most devastating riffs ever. Next is the sledgehammer blooze-doom march of "IV", and the punishing Vitus-style crusher "Mower", it's lopsided doom metal shifting into pure biker rock, and the bizarre Melvins-esque "Dog Catcher", which in fact features some fucked up post-production tweaking by Buzz from the Melvins. The coolly sinister "Lord Of Los Feliz" is next, and then the delirious fist-pumping "Trower" that ends the album, which segues from a massive doom rock groove into lush strings from guest musician Petra Haden (That Dog) and layered ululating male/female vocals, a stunning chamber music interlude that eventually fades back into stomping doom.
     The Dog Days Ep that is included here came out about a year later, just prior to their follow-up album Flower Of Disease. A collection of covers and originals, Dog Days feels more doomed and darker and slower than the first album, opening with the somber, crawling dread of "The Orphan", breaking into the short upbeat rocker "Long Gone", and then sinking into a gluey haze with their supremely soulful and syrupy rendition of Free's "Heartbreaker", with some rich Hammond organ coating the chorus. Then comes the devastating centerpiece of the Ep, the nearly eight minute monstrous crush of "Raw Curtains", originally from their split with Burning Witch on Hydra Head, and probably the heaviest goddamn song this band ever recorded, a chugging behemoth of evil down tuned doom with Stahl cooing wordlessly high overhead. Then it's on to "Man Of Light", another catchy soulful rocker that originally appeared on a 7" on Warpburner back in 1998, followed by an elephantine, spaced out cover of Sabbath's "Who Are You" which again features Petra Haden contributing some sorrowful cello/violin alongside some seriously gooey Hawkwind style cosmic effects and rumbling drones. The side closes with the bonus track "Knuckleduster", the b-side to the Warpburner 7", appearing here for the first time since that 7" went out of print in the late 90's.
     The double Lp version of I + Dog Days is another gorgeous heavyweight gatefold package from Southern Lord, printed in black and metallic gold with simple, Satanic artwork that fits this doom metal monolith perfectly. Highly recommended.


GOATSNAKE   Flower Of Disease (RED VINYL)   LP   (Southern Lord)    19.98



     Once again in print on vinyl, this time as a new 2015 edition on red vinyl.
     Goatsnake are another one of those bands that in my mind should have been hugely popular. The L.A. doom rockers released two consecutive albums that in my opinion rank as some of the best doom records of the past twenty years, their debut I and the monumental second album Flower Of Disease. Combining a classic doom sound with singer Pete Stahl's soaring, soulful vocals (which sound vaguely like those of Cult front man Ian Astbury) and an uncanny songwriting prowess (seriously, these guys wrote songs that were so catchy that they could have easily have landed on the radio if weren't for the fact that they're so goddamn crushing), Goatsnake seemed like they could have totally taken over, but instead, the band broke up briefly, just as their label Man's Ruin was in it's death-throes, and both albums quickly slipped out of print for some time. Now that the band has reunited with it's original lineup and become an active concern once again, we're finally seeing the back catalog being reissued through Southern Lord on both cd and vinyl, the latest being a vinyl and cd re-ish of their second album Flower Of Disease from 2000.
     With the Dog Days Ep that came out shortly before the release of their second album, Goatsnake seemed to be getting darker and slower, and this album is definitely the band at their darkest, a perfect mix of Saint Vitus and Kyuss, The Cult meets sinister biker doom, with heavier songs, slower tempos, and overall a much more "doomed" vibe than ever before. From the crushing, laid-back doom of opener "Flower of Disease" to the chugging soul-sludge of "Prayer for a Dying", the band still delivered the monster grooves, the guitars tuned low, the drumming and pace ponderous, the production crystal clear and powerful. Stahl's vocals still shine, giving the band their trademark rock feel with his unique, soulful delivery, and the songwriting is top notch, with songs like "Easy Greasy" kicking in all drunk and summer-wasted before it tumbles over the abyss into crushing doom, and "A Truckload of Mamma's Muffins" delivering one of Goatsnake's finest slabs of salty, swaggering, saurian blooze-rawk. All of the songs crush, though, from the rocking "El Coyote" and "Live to Die" to the grim crawling doom of "The Dealer" and the impassioned eight minute closer "The River", and they often bring out some sounds and instrumentation that you might not expect from a doom metal album like this, like the almost R&B style backing vocal harmonies, and the harmonica, lap steel, jaw harp, piano and chamber strings that all appear throughout Flower Of Disease. A now-classic slab of California doom, essential for anyone into the slow and low. Long out of print after the original label Man's Ruin shut down almost immediately after it's release, Flower Of Disease is at long last once again in print on both cd and vinyl from Southern Lord.
Track Samples:
Sample : Flower of Disease
Sample : Live to Die
Sample : Prayer for a Dying



GOBLIN / KEITH EMERSON   La Chiesa   LP   (AMS / Cinevox)    31.00












Track Samples:
Sample : KEITH EMERSON - The Possession
Sample : GOBLIN - Possessione [Fabio Pignatelli]
Sample : GOBLIN - La Chiesa [Fabio Pignatelli]
Sample : KEITH EMERSON - The Church (Main Theme)



GOLD   No Image   CD   (Profound Lore)    13.98












Track Samples:
Sample : Taste Me
Sample : Tar And Feather
Sample : O.D.I.R.



GOST   Behemoth   CD   (Blood Music)    14.99














GOST   Behemoth   LP   (Blood Music)    23.00














GOVERNMENT ALPHA   Seventh Continent   CD   (Dotsmark)    12.98



     Dug up this synapse-shredding exercise in extreme psychedelic carnage that came out a while back from the mighty Government Alpha, one of the premier names in the Japanese noise underground. It's the nom de plume of Yasutoshi Yoshida, the prolific noise artist who's been producing a variety of sounds under the G.A. name since the early 90s. His brand of electronic noise is often loud, pummeling, and scorching, unleashing blasts of chaotic FX pedal mayhem, modulated drones and insane blip-glitch violence that form into storms of lysergic pandemonium that sometimes feels like the Japanese analog to Bastard Noise's planet-crushing chaos. They're definitely kindred souls, as the two bands have produced a number of splits and collaborative recordings together over the years.
     On this 2009 album Seventh Continent, Yoshida obsessively crafts seven tracks of that brutal psychedelic assault, emitting wave after wave of chirping tones and sweeping cosmic sinewaves, mesmeric pulsating bass notes and looped machine noise, swells of screaming feedback and clusters of screeching junknoise destruction. Chunks of looping noise are woven into trance-inducing rhythms, spooling out endlessly beneath Yoshida's raging chaos. Garbled tape noise is chewed up in monstrous mechanical rumblings, and on tracks like "Stupefaction", he erects walls of swirling, sun-blotting static that rival anything you'd hear from the HNW crowd. Like the demented, Dada-damaged collage art that accompanies the album, these noisescapes feel like the compressed, encapsulated sounds of a planet slipping into terminal disarray, the distilled sonic nonsense of a world being crushed beneath the weight of it's own uncontrollable technological evolution. A deafening anxiety assault from one of the undisputed masters of this sort of cut-up, brutarian junknoise and guitar-generated abuse, utterly surreal and savage, this is one of my favorite releases from Government Alpha from the past decade.
     Comes in a plastic clamshell case that also includes a double-sided cover and multiple full-color inserts, all featuring Yoshida's bizarre, brightly colored collage art.
Track Samples:
Sample : Stupefaction
Sample : Rite Of Passage
Sample : Necromancy



GRIBBERIKET   Knefall   CD   (Dead Seed Productions)    12.98



     I was hooked on this Norwegian band's brand of grotesque, deformed funereal doom and wasted blackened metal right from the title track, a sixteen minute epic of shambling, sorrowful heaviness and anguished howling that opens up this bleak and depressing album. Centered around a single, morose riff that the band pounds into the black earth for the majority of the song, "Knefall" combines layers of frantic, desperate screaming and strange, inebriated singing with wandering guitar lines and gobs of melancholy atmosphere. Ostensibly doom metal, but this gets weirder as it progresses. They continue to warp that riff into a spacey, agonized crawl as warbling effects start to overwhelm the guitars and the music slowly transforms into something dreamier, more surreal, less structured. And very cool.
     This disc is a reissue of a cassette that came out back in 2013, Knefall is the debut from this Norwegian outfit that features the guy behind the blackened doom/noise outfit Utarm, but with this project he pursues a quite different sound, just as experimental and deranged, but with a more depraved and diseased vibe. It's sort of like a primitive, blackened funereal doom, but with a battered, brain-damaged quality that sometimes seems to drag this stuff into a Kilslug / Upsidedown Cross-esque realm of drunken Sabbathian scuzz, the guitars slipping slightly out of tune, those mournful melodies unwinding into an aimless, meandering shamble.
     It also has some moments of wrecked beauty laced throughout these five songs, bits of distant tremolo riffing and delay-drenched guitar that drift and curl through the fetid blackness, fill Gribberiket's subterranean spaces. You get a little bit of ghastly death-folk on "Steinene", as clanking percussion and ominous acoustic guitar chords become a weird folk-dirge beneath the singer's psychotic shrieking. And on the lumbering, hypnotic "Reisen Til Nattens Ende", Gribberiket's sound takes on a strangely regal vibe, even as the song digs itself deeper into the mulch.
     Gribberiket's debut album of beautifully tortured necro-sludge comes in a six-panel gatefold jacket that features some great grotesque, demonic artwork that's sort of reminiscent of Austin Osman Spare and Savage Pencil.
Track Samples:
Sample : Reisen Til Nattens Ende
Sample : Knefall
Sample : Hst



GUILTY CONNECTOR + PCRV   self-titled   CASSETTE   (Phage Tapes)    5.50



     Released in a limited edition of one hundred twenty-five copies, this tape tears through some delectable electronic skullchurn from Japan's Guilty Connector, here teamed up with another prolific harsh noise artist called Pop Culture Rape Victim. The two artists combine for a nasty blast of squirming, seething electronic chaos on the a-side, a fifteen minute assault of sputtering distortion and violent chirping chaos, loaded with speaker-shredding low-end noise and monstrous mechanical frenzy. Intensely abrasive, highly psychedelic, this becomes a churning mass of volcanic rumble and thrumming electrical currents, garbled tape-noise hysteria and punishing distorted drones all forming into a white-hot wall of snarled, insectile carnage. Fans of Guilty Connector's brand of fast-paced harsh noise brutality won't be let down.
     The other side delivers something much more restrained, however. It's another sprawling noisescape, but this one feels more subdued and droneological, a catalog of distant metallic resonances and bell-like tones echoing from far across an undulating oceanic surface. The combination of those measured metallic sounds, the muffled, murky ambience, and the ghostly, half-formed rhythms that surface in the distance all makes for a captivating, increasingly threatening soundscape, a sea of desolation, sunless and wind-beaten, sprawling out into a endless expanse of bleak industrial ambience. As much as I dug the all-out sonic assault of the preceding track, this is something that I'd really love to hear the two artists pursue further.
Track Samples:
Sample : Untitled
Sample : Untitled



HADES MINING CO.   Setting Records In Futility   7" VINYL   (CONTINUUM.)    6.98



     When we picked up that stack of Continuum. releases recently, one of the recurring names on the label was one Hades Mining Co. This noisecore outfit has been floating around the upstate New York noise/punk scene like a bad fart for over a decade now, but despite my own gruesome addiction to the most depraved depths of shit-fi noisecore, I'd never nabbed any of their stuff until now.
     Released way back in 2002 and now sold out from the label, this one-sided 7" (issued in a run of two hundred copies in a bleary but vile-looking xerox sleeve) features the band's brain-damaged mixture of bizarro samples and super-short skits, random bits of gross porno effluvium, brief snippets lifted from old stand-up comedy albums, and a bunch of twenty-second (give or take) blasts of mongoloid noisecore that spill out of your speakers in a seriously murky and muddy mess of snarling vocals, brutally mangled guitar noise, and hyperfast amphetamine-fueled drumming. Even as far as noisecore goes, this stuff is totally ridiculous, obviously inspired by the grindslop of bands like early Anal Cunt, Deche-Charge, Aunt Mary, and the like. But Hades Mining Co. bring their own weird brand of silliness to this stuff, fueling songs like "Bitch Slapped By A Nun", "Frying Your Fat Ass Down To Nothing" and "Dung Sucker" with some supremely lowbrow debauchery. As with everything else that has their name on it, there are no riffs, no coherence, just chaos, delivered by way of what could well be an amplified boom-box recording, the whole raucous mess screaming to a close in just over five minutes. It's a riot.
     Issued in a limited edition of two hundred hand-numbered copies on black vinyl.


HADES MINING CO. / HARSH SUPPLEMENT   split   7" VINYL   (CONTINUUM.)    6.98



     Yet another blast of sonic offal from the open sewers of upstate New York, this time paired up with an awesomely and equally obnoxious Canadian noisecore duo called Harsh Supplement. Like everything else that I've picked up from Continuum., it's an ultra low-fi, disgusting cacophony, for extreme blurr freaks only.
     Harsh Supplement's side vomits up an unstated amount of barbaric micro-bursts of noxious noisecore, an endless volley of three-second spasms of speedfreak drumming and incomprehensible bass guitar slop, all bellowed into a cheap four track recorder through peals of feedback and basement reverb, with what sounds like an enraged ape bellowing and grunting over the whole thing. This shit is hideous, old-school simian noisecore in the vein of Seven Minutes Of Nausea, utterly unmusical and headache-inducing stuff from these two sickos.
     Appropriately, their friends in Hades Mining Co. up the ante with their own brain-damaged noisecore assault, barfing up their own jarringly edited stew of pilfered stand-up comedy bits, random dialogue, fucked-up punk rock, weird noises, and berserker blurr that all could very well have been recorded on a hand-held tape recorder, the sound muffled by a suffocating, all-encompassing haze of pot smoke. Zero coherence, zero intelligence, and a total blast.
     Issued in a limited edition of one hundred fifty copies.


HAIL SPIRIT NOIR   Oi Magoi   LP   (Code666)    22.98



     Now available on limited-edition vinyl in gatefold packaging with new, stunning artwork, limited to four hundred copies, and comes with an equally eye-popping poster.
     Hail Spirit Noir's follow-up to their dizzying 2012 debut Pneuma sees the Greek band moving even further from their black metal roots and ever closer to the creeped-out prog territory that they have always been in thrall to, but fans of the Satanic savagery that infected their previous recordings need not fear, this is still plenty heavy and plenty sinister.
     When opener "Blood Guru" kicks in, it almost sounds like some infernal blackened version of Goblin, jazzy percussion and odd time signatures combining with eerie vibraphone-like melodies and gusts of ghoulish Hammond organ, building into an ecstasy of grim, gothic prog rock; when the song suddenly shifts gears around the halfway point into a slower, more doom-laden sound with those organ-style keyboards surging up out of the background and the reverb-soaked guitars weaving their eerie minor key magic, it marks a striking new direction from the band. You'll still find some of the band's withered black thrash on tracks like "Demon For A Day", though, which moves deliriously from more of that creepy heavy prog rock into weird chortling flute-like melodies and parts that sound like an old traditional folk-jig, before suddenly getting whipped up into a blast of gnarled thrash riffs and pummeling double bass. There's also the ramshackle black metal that shows up on "Satyriko Orgio (Satyrs' Orgy)", one of the album's most ferocious tracks, a nightmarish mess of angular necro-thrash and off-kilter drumming that ends up turning into something completely zonked-out by the end, as the drummer suddenly shifts into jazzy percussive patterns amid the sounds of distant singing and sumptuous analogue synthesizers.
     Things get good and Gobliny again on the epic "The Mermaid", which has quickly become my favorite Hail Spirit Noir song to date; starting off with some wonderfully eerie Simonetti-styled synth that circles around the rhythm section's laid-back pulse, this song soon shifts into something much more deranged, combining their sinister heavy prog with bursts of heavy metal gallop and swirling psych guitars, kicking into one of the catchiest hooks on the album. Other tracks offer haunting occult rock balladry like the Black Widow-esque "Satan Is Time" and the blazing blackened psych of "Hunters" with its imminently hummable chorus, and the title track that closes the album is possibly the most evil-sounding track of all; as the singer's ghoulish chant-like singing drifts over the droning blackened guitars, "Oi Magoi" slowly transforms into something profane and propulsive, a phantasmic blast of infectious graveyard prog that closes the album not with a bang, but with a fiendish whisper. The ghosts of 70's era prog rock populate all corners of Oi Magoi, but this is so much better than all of that retro-occult rock dreck that has been plaguing us lately, thanks to Hail Spirit Noir's latent black metal tendencies. Very highly recommended.
Track Samples:
Sample : Satan Is Time
Sample : Oi Magoi [The Magicians]
Sample : Blood Grvr



HALO OF FLIES   Music For Insect Minds   CD   (Amphetamine Reptile)    14.99














HALO OF FLIES   Music For Insect Minds   2 x LP   (Amphetamine Reptile)    29.99














HANORMALE   Amaterasu Omikami   CD   (Dusktone)    12.98



     Apparently created by a large-scale ensemble in a session of what almost looks to be an exercise in musical "automatic writing", this is a strange strain of black metal influenced psychedelia threaded with currents of audacious, noisy blastpop that sounds pretty unique, made even stranger by their obsession with imagery and themes inspired by Japanese demonology. Once again, Dusktone points us unerringly to the most outr corners of the contemporary blackened subterrain with the latest full-lengther from Hanormale. In fact, when you start to peel back the many sonic layers that comprise the band's sound, this starts to resemble certain strains of maximalist avant-rock than it does something directly influenced by classic Nordic blackness. An unusual album, for sure.
     Hailing from Italy, this outfit plays some seriously dense shit. And it's all delivered as one, epic-length song that stretches out for more than forty minutes. A powerful blastbeat rips across the opening of the album, joined by swarming, droning guitars that signal a black metal-style attack. But as the bass starts to weave simple, circular grooves beneath that blackened aggression, all manner of other instruments and sounds begin to seep into the mix. Acoustic guitars and jazzy saxophone lines mingle with Asian flute melodies and weird J-pop style vocoder vocals, piano and flutes dance around choral voices and folky violins, clanking percussion echoes beneath garbled electronic noise, and the guttural roar of a didgeridoo are all swept up over that droning dissonant wall of guitar, while the drummer almost never strays from a relentless blastbeat.
     There is some evolution to this: guitars shifting into moodier riffs, allowing space for chilling melodies to emerge, bits of brooding dark beauty take shape and expand, but are always surrounded by this constant, blasting pandemonium. An odd but highly hypnotic sound, all of those various disparate sounds becoming frenzied and ornate, even almost krautrock-esque in spots, or becoming complex and proggy and drenched in spectral jazziness. A weird and unlikely reference perhaps, but there are parts of this that strangely remind me of the early, darker neo-psychedelic noise pop of Mercury Rev, of all goddamn things. And then, all of a sudden as the song sprawls and spins out into a particularly spacey section of formless melodic chaos, a KILLER black metal riff will suddenly rip through the mix, violently shifting the sound into a new, fearsomely majestic direction. These moments of abrupt coalescence appear at key moments, and inject a sudden electricity into that wall of noise.
     Talk about an album that really rewards repeated listening. It's virtually essential in order to parse everything that's going on here. An adventurous and spectacularly indulgent album, Amaterasu Omikami is definitely NOT like anything else I've heard, and easily one of the more unusual and avant-garde offerings from the label; I'm certainly interested in hearing the band's previous album now, if I can track it down.
     Comes in a six panel digipack.
Track Samples:
Sample : Amaterasu Omikami
Sample : Amaterasu Omikami
Sample : Amaterasu Omikami



HARRISON, JOHN   Creepshow (PURPLE VINYL)   LP   (Waxwork)    29.99



Newly repressed on purple vinyl for a new 2015 edition of the score to this classic early 80's horror anthology Creepshow. It certainly put Waxwork on the map as far as I was concerned, one of the most eye-popping LPs on the label, resurrecting John Harrison's fantastical score in a visually stunning package with bold, colorful artwork and a killer jacket design. But just having this music available again after being out of print for years was cause enough for joy. One of two scores Harrison created for George Romero (the other being 1985's Day Of The Dead), Creepshow is both whimsical and malevolent, in keeping with the film's humorously twisted homage to the classic EC horror comics of the 1950s. Harrison created unique cues for each story in the anthology, and combined classical and Gothic elements with a very 80's electronic undercurrent to capture the nostalgic feel of those vintage horror comics.
The score is a mixture of sinister synthesizer and piano pieces, creepy music-box orchestrations and ominous Moog drones, the movie's eerie main theme imbued with a Gothic flair that is somewhat comparable to some of Danny Elfman's darker stuff. In particular, the main theme and closing piece "Until Next Time" really reminiscent of Elfman's theme for the Tales From The Crypt television series, which was still years away from production. The score is fleshed out with numerous short pieces that move from dissonant minimal synth textures to the amusingly romantic piano arrangements for "Something To Tide You Over", washes of warped kosmische glow and pulses of almost Carpenterian menace, strains of funerary organ and keening high-end synth melodies; you can hear echoes of the kind of spacey synth that Tangerine Dream and Vangelis were infusing their soundtracks with, but there's also a lot of textural nods to the creepy soundtracks of Golden Era television as well, and Harrison incorporated primitive electronic effects to achieve some of these throwback sounds. It's all primarily keyboard based, using a variety of piano, electronic and organ tones, laced with some key sound effects from the film. For many, the most disturbing part of the soundtrack is the music for the infamous roach-swarm horror of "They're Creeping Up On You", which consists of the score's most abstract material, a series of atonal electronic pieces that were a perfect accompaniment for the story's grotesque scenes of an insectile invasion of the most intimate kind. A genuinely classic 80's horror score.
The album features extensive liner notes from Harrison and director George Romero, pressed on 180 gram vinyl and housed in a gorgeous heavyweight casewrapped jacket that features stunning new artwork from Gary Pullin, with printed inserts bound book-style into the jacket that feature extensive liner notes, artwork and production stills, and a satin-coated 12" by 12" art print commissioned exclusively for this release.


HARRY PUSSY   self-titled   LP   (Superior Viaduct)    17.99












Track Samples:
Sample : Dream Driver
Sample : Fuckology
Sample : I Fought The Police



HELLKONTROLL   Wanker War   10" VINYL   (Vinyl Rites)    11.99



     Keeping with the "noise punk" binge I've been on for the past few weeks, here's another older record (released back in 2010) that I just discovered, one of my favorites of the lot. Hellkontroll are (were?) a duo from Lafayette, LA who cranked out a couple of absolutely brutal records between 2007 and 2012, and their Wanker War 10" might be the most punishing of the bunch. This EP blew my doors off big-time, rampaging through a nine song set that screams by in a blur of hyperspeed D-beat drumming, with gruesome bellowing vocals that are often slathered in trippy amounts of echo, and a wall of crushing blown-out crust riffage; this racket is enshrouded in a corrosive, cranium-splintering assault of distortion, noise and feedback that ratchets up the extremity and abrasiveness of the recording several times over, while these guys shriek about endless cycles of violence and exploitation. The feedback abuse on this record alone is savage, and the weird mix of rabid violence and speaker-rattling sonic intensity to Hellkontroll's sound sort of makes this resemble an ungodly combination of Extreme Noise Terror/Concrete Sox style crustcore and bursts of sickening, Whitehouse-level speaker-shred, even as the songs on Wanker War actually end up being a little more decipherable and structured, compared to some of the other Confuse-influenced "noise punk" records that I've been listening to lately. Seriously ferocious stuff, highly recommended to fans of stuff like Zyanose, Gloom, Aghast and Death Dust Extractor.
     Limited to three hundred copies, on black vinyl.


HELLVETRON   Death Scroll Of Seven Hells And Its Infernal Majesties   CASSETTE   (Behold Barbarity)    7.99



     Finally got this punishing blast of chaotic deathmurk into C-Blast, the debut album from these controversial, staunchly anti-human Texan death metallers (which include members of the notorious Nyogthaeblisz) that originally came out back in 2012. Now available on both CD and a newer limited-edition cassette (put out by Behold Barbarity), this is one of the more horrific-sounding albums that's surfaced in recent years, and evocation of necromantic barbarism, carnal filth, and soul consumption surrounded with nightmarish, almost Lovecraftian imagery, the Tiamat-like cover art suggestive of monstrous forces at work behind the roiling, sulfuric chaos that comprises their sound.
     In fact, when the opener "Sheol - Grave Of Supernals" kicks in, this sounds more like some hideous black industrial outfit than anything resembling metal, a grating, cacophonic blast of metallic rumble and clanking chaos that eventually does give way to the creeping, misshapen deathdoom that finally emerges from the gloom. It's still pretty amorphous and nightmarish once the whole band comes in, the music shifting from that deformed, dissonant slow-motion trudge into ramshackle blastbeats and swarming, murk-smeared guitars, riffs stretched out into weird droning forms. Sepulchral synthesizers howl deep in the mix, joining weird choral voices that rise out of the blackness, hints of Incantation's doom-laden dissonance and Disembowelment's depth-charge heaviosity leering through the foul sulfuric fog, but heavily obscured by thick layers of reverb and noise that shroud the instruments and vocals. The whole production makes this sound like it was recorded in a cave, for fucks sake. It comes together into this bleary, cavernous, immensely murky and brackish sound that's more ambient than heavy, really, and offers a similar hellish experience as Grave Upheaval in some ways, at least up till the last few minutes when some killer 80's sounding horror-flick synths kick in alongside ominous, overmodulated guitar chords and the sound of grotesque inhuman gurgling. Strangely hypnotic and immersive, Hellvetron's sound has a somewhat similar presence as other bands like Antediluvian and Impetuous Ritual, its filthy textures and mesmeric murkiness lulling the listener into oblivion, enfolding you within its jet-black, suffocating atmosphere.
     Cassette version comes in slipcase packaging, limited to three hundred copies.
Track Samples:
Sample : Tzalemoth-Shadow Of Death
Sample : Sheol-Grave Of Supernals
Sample : Gehinnom-Hellwomb Of The Impure Hag Queens



HELLVETRON   Death Scroll Of Seven Hells And Its Infernal Majesties   CD   (Hells Headbangers)    12.98



     Finally got this punishing blast of chaotic deathmurk into C-Blast, the debut album from these controversial, staunchly anti-human Texan death metallers (which include members of the notorious Nyogthaeblisz) that originally came out back in 2012. Now available on both CD and a newer limited-edition cassette (put out by Behold Barbarity), this is one of the more horrific-sounding albums that's surfaced in recent years, and evocation of necromantic barbarism, carnal filth, and soul consumption surrounded with nightmarish, almost Lovecraftian imagery, the Tiamat-like cover art suggestive of monstrous forces at work behind the roiling, sulfuric chaos that comprises their sound.
     In fact, when the opener "Sheol - Grave Of Supernals" kicks in, this sounds more like some hideous black industrial outfit than anything resembling metal, a grating, cacophonic blast of metallic rumble and clanking chaos that eventually does give way to the creeping, misshapen deathdoom that finally emerges from the gloom. It's still pretty amorphous and nightmarish once the whole band comes in, the music shifting from that deformed, dissonant slow-motion trudge into ramshackle blastbeats and swarming, murk-smeared guitars, riffs stretched out into weird droning forms. Sepulchral synthesizers howl deep in the mix, joining weird choral voices that rise out of the blackness, hints of Incantation's doom-laden dissonance and Disembowelment's depth-charge heaviosity leering through the foul sulfuric fog, but heavily obscured by thick layers of reverb and noise that shroud the instruments and vocals. The whole production makes this sound like it was recorded in a cave, for fucks sake. It comes together into this bleary, cavernous, immensely murky and brackish sound that's more ambient than heavy, really, and offers a similar hellish experience as Grave Upheaval in some ways, at least up till the last few minutes when some killer 80's sounding horror-flick synths kick in alongside ominous, overmodulated guitar chords and the sound of grotesque inhuman gurgling. Strangely hypnotic and immersive, Hellvetron's sound has a somewhat similar presence as other bands like Antediluvian and Impetuous Ritual, its filthy textures and mesmeric murkiness lulling the listener into oblivion, enfolding you within its jet-black, suffocating atmosphere.
Track Samples:
Sample : Tzalemoth-Shadow Of Death
Sample : Sheol-Grave Of Supernals
Sample : Gehinnom-Hellwomb Of The Impure Hag Queens



HIGH AURA'D / BLOOD BRIGHT STAR   split   7" VINYL   (Anti-Matter)    7.98














HORRENDOUS   Ecdysis   CASSETTE   (Dark Descent)    5.98












Track Samples:
Sample : Titan
Sample : Nepenthe
Sample : When The Walls Fell



HORRENDOUS   Ecdysis   CD   (Dark Descent)    10.98












Track Samples:
Sample : Titan
Sample : Nepenthe
Sample : When The Walls Fell



HORRENDOUS   Ecdysis   LP   (Dark Descent)    15.98












Track Samples:
Sample : Titan
Sample : Nepenthe
Sample : When The Walls Fell



HORROR VACUI   Desperate Adelia   7" VINYL   (Mass Media)    8.98



     One of the more recent releases from this Italian goth punk band, and one of my favorite. I love this band's stuff, an irresistible fusion of mid-80's British goth rock (think First Last And Always-era Sisters Of Mercy, or Red Lorry Yellow Lorry) and ferocious hardcore punk that Horror Vacui blend together perfectly. Released around the same time as their Return Of The Empire (which we'll be listing here shortly), these two songs aren't blindingly fast, but they are certainly harder and more aggressive than most of the stuff you hear coming out of the whole death rock/goth punk revival. The a-side song "Desperate Adelia" is terrific, a perfect mix of eerie reverb-soaked guitar lines and chorus-drenched riffing, strident howls transformed from the singer's sneering croon, while the other side features a covertly-titled cover of Discharge's "Decontrol" that has been reconfigured into a pummeling, apocalyptic death-punk ripper. Man, along with Deathcharge, these guys have quickly become one of my favorite goth-damaged punk bands out there right now. A killer 7", which had originally been released in a limited edition for the band's 2014 US tour.


HOWLING WIND, THE   Pestilence & Peril   LP   (Parasitic)    14.99



      We've been digging through the back catalog of The Howling Wind lately, dredging up the older albums and newer vinyl reissues from this killer black metal outfit that are still in print. One of the earliest is the Parasitic vinyl release of the band's rather adventurous debut album Pestilence & Peril, issued on black vinyl in an edition of three hundred copies. Here's our older review of the album from when we first listed the CD:
     We're going to miss Thralldom, the amazing avant-garde black metal project from Ryan Lipynsky, aka Killusion of Unearthly Trance. Thralldom's twisted cosmic black metal went far beyond the edges of the zone into blackened ambience and fucked up industrial/found sound tones that were unlike anything else in the BM realm. Killusion and company ended that project recently, but he's again raised the flag of black metal with this new band that has him playing with drummer Parasitus Nex, and the sound is a throwback to an older school of nightside thrash. This debut disc delivers eight songs of buzzsaw ramshackle black metal in the vein of Darkthrone and Celtic Hammer, total 80's/early 90's black metal and thrash, dirty, filthy thrash riffs and sudden plunges into midtempo chugging. Killusion's vocals are roared accusations that paint a bleak portrait of a world inhabited by fascist demonic forces and a populace slowly evolving into mindless androids, delivered with a thick veneer of distortion and hiss. There are also some grim industrial noise tracks here as well that serve as interludes for these apocalyptic, dystopian visions, namely the insectoid electronics of the opening track "Projections" and the blackened machine pulses and oppressive ambience of "Southhaven". When the black metal kicks in though, the songs really rip. They also employ some dissonant, angular riffs and waltzing rhythms on a few tracks like "Stealth Eugenics" that recall Deathspell Omega, and "the crushing slow motion dirge of Forced Into the Pits of Technology is a nearly ten minute crawl through negatory, despondant black doom, a lurching death creep somewhat like Nortt or maybe Xasthur's slower jams. At last, The Howling Wind douse the listener in a short track of caustic white noise, damp dungeon atmospherics and doomed guitar drone. Old school rawness meets inhuman electronic dread, and it crushes. Another great offering from the mind of Killusion.
Track Samples:
Sample : Stealth Eugencis
Sample : The Inevitable Conclusion
Sample : Virulence 33



HOWLING WIND, THE   Vortex   LP   (Throne)    17.98












Track Samples:
Sample : Force Of The Maelstrom
Sample : Alignment Of Celestial Bodies
Sample : Reapers Of Satan



HOWLING WIND, THE   Into The Cryosphere   LP   (Parasitic)    15.98














HOWLING WIND, THE   Into The Cryosphere   CD   (Profound Lore)    13.98














HUNGERS   self-titled   CASSETTE   (Belief Mower)    5.98



     One of two releases we picked up from this Portland, OR power-trio, both this self-titled cassette and their 12" EP The Unobserved from Hungers are crushing, all featuring the band's battering brand of blackened noise rock, though it's not at all what I had initially expected when we first picked these up. A vicious brew of snarling, spiteful vocals, bone-rattling low-end, and stretched out droning riffcrush, these guys offer up some serious darkened heaviness. On their killer debut tape, Hungers hammer you with seven songs of their sinister, clangorous heaviness, bursting forth with the almost motorik drive and droning, blackened riffs and scathing screams of opener "Orchestrating Fate", then proceeding to unleash hell with each subsequent track. The sound of this stuff is huge, forged out of droning, discordant guitars and the lurching, driving power of the rhythm section; even without the presence of those hateful, screeching vocals, you'd still be able to make out the black metal influence on this stuff, like when the songs slip into regal galloping riffs or almost thrash-level assaults of speedy, murderous aggression. It's like hearing Darkthrone on a major Am Rep bender, and the combination of sounds is extremely potent here. The songs aren't all speed-fueled assaults though, some of this downshifting into sludgy droning heaviness and the grinding, almost Melvins-esque riff-beating that takes over the song "Animist", or the brutal, trance-inducing churn of "Origins (The Eternal Return)" that is laced with apocalyptic, serpentine melodies, building into a titanic metallic bombast that's even a little reminiscent of a rawer, more malevolent sounding Neurosis. Regardless of what speed these guys are moving at, their stuff is lethal, grimly crushing and crawling with atmospheric menace.
     A new fave for sure. While that mix of noise rock and black metal influences is something I've heard before (look to a large portion of the Legion Blotan catalog, for instance), there's something about the way that Hungers executes the sound that makes their music especially savage. Really can't recommend this one enough; I was falling all over myself to throw their follow-up 12" onto the turntable as soon as this tape was over. Includes a download code printed on the interior of the tape cover.
Track Samples:
Sample : Orchestrating Fate
Sample : Animist
Sample : The Dead Ages



HUNGERS   The Unobserved   LP   (Belief Mower)    11.98



     Jagged, metallic noise-rock snarl gets doused in high levels of blackened malevolence on the latest from these Portland skull-crackers. Seven-song mini-album The Unobserved comes on the heels of a self-titled tape from these guys that totally blew me out when we got it in. And this stuff packs just as much punch, even if the more overtly blackened ugliness and feral aura of that tape is pulled back a bit. Opener "The Devouring" kicks in with some punishing old-school noise rock abuse, hammering out big sludgy jagged riffs and churning low-end pummel, recalling early 90s Am Rep steez. When the following song "Ablution" comes on though, Hungers slip back into the slower, brooding Neurosis-esque power-sludge that fueled so much of that debut, and from there they swing between these two modes of battery, balancing that blown-out, sludgy, violent noise rock with slow-burning doom-laden heaviosity to excellent effect.
     The record teems with gut-grinding bass tone, and the guitar is pretty low-slung as well, the whole sound taking on this massive bulldozing quality as they plow through the set. The snarling vocals still sound thoroughly vicious, a spiteful, sneering shriek that slashes through these slow-motion hate-dirges and mesmeric hypno-sludge epics. Haunting melodic guitar lines that were hinted at on the tape unfold even more majestically here, unwinding in creepily gorgeous minor-key lamentations and lysergic drones, alternating with surges of mathy metallic fury. It all culminates with the terrific "Bereft", where passages of emotionally wrenching acoustic guitar are layered with rushes of atmospheric textural noise and those bleak, towering riffs, building into the album's most stirring stuff yet, a mournful slo-mo epic that's again reminiscent of classic Neurosis, but also more charred and filthy and forbidding. What they've lost in blackened, feral ugliness, they've made up in huge, towering, trance-inducing massiveness this time around. It's powerful stuff, adorned with trippy sleeve art from the occult-obsessed French design house Metastazis that looks like a particularly menacing tab of blotter acid.


IDES OF GEMINI   Carthage / Strange Fruit   7" VINYL   (Magic Bullet)    7.98



     Another recent 7" of mournful, ethereal downer-dirge from Los Angeles outfit Ides Of Gemini, featuring Sera Timms (Black Mare) on vocals and bass guitar, Kelly Johnston-Gibson on drums and writer J. Bennett on guitar. This unusual band released this EP as a limited-edition 7" for Record Store Day earlier this past year, but we managed to dig up some of the remaining copies. It follows on the heels of their recent album Old World | New Wave with two new songs, "Carthage" and "Strange Fruit", both as bewitching as anything else they've done. Not metal, but definitely with moments of plaintive heaviness that harkens back to older forms of doom, swirled with ethereal vocals and moody guitar strum that brings an eerie darkwave-like quality to their music. Lovely, layered feminine vocal harmonies drifting over the burly drumming and swells of churning metallic riffage all create a strange, captivating sound, equal parts heavy doom-laden riffage, somber doomfolk melodies, and ghostly multi-part vocal arrangements.
     "Carthage" is incredibly haunting, growing from a soft, solemn folkiness to churning sludgy power, those stunning vocal harmonies front and center, a vague blackened quality to the heavier underlying riff. It's a perfect lead-up to the b-side, a stunning cover of the song "Strange Fruit" previously made famous by Billie Holiday and subsequently performed by hundreds of musicians in the years since; in Ides Of Gemini's hands, though, it's transformed into a uniquely moving piece of ethereal heaviness, mournful and soulful, the grim lyrics give this song it's gravity, sung so sorrowfully over the sinister guitar melody, backed by doom-laden strum that rings out across the record's menacing, languorous atmosphere.


IDRE   self-titled   CDR   (Dust House)    11.98



     Gorgeously monolithic slowcore unfolds across the first full-length release from this Oklahoma City trio, delivering a thunderous roar of low-fi heaviness, slow and sludgy and grim in demeanor. Idre's eponymous debut features just two epic-length songs, "Factorie" and "Witch Trial", rattling the walls with their lumbering, slow-moving weight; their sound is obviously indebted somewhat to the elegant apocalyptic crush of latter-day Neurosis, but these guys also incorporate a combination of countrified twang and wintry slowcore that turns this into something much more emotionally desolate than your typical Neurotic worship.
     In fact, that dirgy, doom-laden sound ends up burning off pretty quickly once "Factorie" gets moving, slipping from that amp-rumbling distorted heaviness into a haunting, almost gothic country sound, with guitarist Ryan Davis delivering the biblical, bloodstained lyrical visions like a character out of a Cormac McCarthy story, his baritone drawl adrift in a cloud of reverb and wood-smoke. That doomed waltz ends up falling back into crushing, feedback-streaked heaviness later on in the song, the occasionally Morricone-ish guitars slipping back into stretches of droning, distorted crush, and sprawling out into long stretches of mournful instrumental darkness. There are also moments of chaotic, frantic energy that emerge out of the languid droning twang, blasts of almost Crazy Horse-esque amp-howl, roaring over the rattle of marching snare and those eerily solemn melodies. Both of these songs climb to similarly powerful heights, a dark grace emanating from Idre's music; these guys haunt similar twilight prairies as US Christmas, True Widow and Across Tundras, and if that sort of doleful heaviness laced with mythic rural atmosphere appeals to you, this disc is really worth hearing.
     Released as a professionally manufactured CDR issued in a tiny initial edition of just one hundred copies, Idre comes in a cool black arigato-style cardboard jacket printed in stark silver inks, and includes a printed lyric insert.
Track Samples:
Sample : Witch Trial
Sample : Factorie



INFERO   Severe   CASSETTE   (Hjuj'd Tyrusgr)    3.99



     The debut full-length from Cleveland metallic progbeasts Infero, Severe saw these guys kicking off a seriously busy year that would end with another full-length album (the terrific Spirit from Blood Sight , also in stock), and splits with Japanese avant-electronic composer Takahiro Mukai and outr death metaller E14. As with the other stuff that we've picked up from this Clevo power-trio, this tape delivers a ferocious take on dark, heavy prog-rock that references classic stuff like King Crimson, Univers Zero and Magma, Popol Vuh's scenic psychedelia, the Rock In Opposition crowd, and experimental noise, fusing all of those influences to an aggressive, metallic power that made this stuff an instant hit when we discovered Infero's catalog of titles.
     This seven-song tape is a little different from Spirit in that there's more use of electronic noise and some rather cinematic sounding orchestral textures (probably synth but it still sounds nice, making some of this strangely reminiscent of 70's film scores) as well as some surprisingly accessible passages of catchy art-pop that show up on songs like "Muck Ran"; stuff like that makes this a much more approachable album than the full-on Magmoid terror of their second LP. But Infero still packs this with loads of ambitious, sprawling spidery riffscapes, creepazoid dissonance, weird samples, gorgeous gleaming drone-streaked minimalism, those airy filmic strings, and some delicious electric piano accompaniment. Their use of off-key vocals can sometimes be a bit on the "emo" side, something that could deter some listeners, but for me it adds an additional unique touch to their sound. Compared to the later releases, there's less of the thunderous math-metal fury that their subsequent stuff would heads towards, but it's still an intriguing listen, cool stuff for those into the burly, punky prog of bands like Ruins and Tarantula Hawk.
     Limited to one hundred copies.
Track Samples:
Sample : Live Burial
Sample : Muck Ran
Sample : A Touch of Fun



INFERO   Spirit from Blood Sight   LP   (Hjuj'd Tyrusgr)    13.99














INFERO / E14   split   7" VINYL   (Hjuj'd Tyrusgr)    4.99














INFERO / TAKAHIRO MUKAI   split   CASSETTE   (Hjuj'd Tyrusgr)    3.99












Track Samples:
Sample : INFERO - Absorbing Scramasax
Sample : TAKAHIRO MUKAI - #01014-19



INFRA   Initiation On The Ordeals Of Lower Vibrations   7" VINYL   (Nuclear War Now! Productions)    5.99














INSULTER   Blood Spits, Violences And Insults   CD   (Nuclear War Now! Productions)    10.99












Track Samples:
Sample : Sacrifice
Sample : Intro
Sample : Black Church
Sample : Beyond The Twilight Line



INSULTER   Blood Spits, Violences And Insults   LP   (Nuclear War Now! Productions)    19.98












Track Samples:
Sample : Sacrifice
Sample : Intro
Sample : Black Church
Sample : Beyond The Twilight Line



INTEGRITY   The Blackest Curse (SMOKE BLACK AND CLEAR VINYL)   LP   (Deathwish)    16.98



Integrity's killer 2010 album Blackest Curse is finally back in print on vinyl, this new 2015 edition pressed on black/clear vinyl, and presented in a slightly modified package design that also includes a new thirty-six page oversized booklet and a digital download. Here's the original review from when this first came out:
Word first got out that Integrity had a new album called The Blackest Curse over two years ago, and I (along with everyone else who's a fan of the legendary hardcore/metal band) have been anxiously awaiting this to finally appear. Since their last release on Deathwish, the excellent comeback Ep To Die For, Integ has been sporadically releasing 7" Eps and splits, but it was all a buildup to this, an all new album with ten tracks of crushing, mysterious heaviness from one of the most enigmatic bands to come out of the American hardcore scene. Starting out in the late 80's as a violent crew of straightedge hardcore kids but evolving over the years into a shadowy outfit immersed in Gnosticism, The Process Church of The Final Judgment, industrial culture, suicide cults, and crushing apocalyptic thrash, Integrity are still a terrifying outfit whose end time visions and cryptic, metaphysical lyrics resonate now more than ever.
The Blackest Curse is a return to the brutal doom-laden hardcore thrash of their mid-90's heyday, with the heavy Slayer influence and bonecrushing metallic dirges that marked their earlier albums, and singer Dwid's distinctive vocal delivery is still a crazed, animalistic roar. The ambient elements that Integ started to experiment with on their late 90's albums also appear here as creepy layered samples and subtle industrial drones that are incorporated into the metallic heaviness, and these electronic/ambient sounds add a lot to the pervasive evil feel of songs like opener "The Process Of Illumination " and "Secret Schadenfreude". Both "Through The Shadows Of Forever" and "Simulacra" are ripping Slayer-esque thrashers, and "Before The VVorld Was Young" begins as a grim acoustic piece, almost like one of Steve Von Till's dark folk songs, but then turns into crushing doomed thrash. "Invocation Of The Eternally Coiling Serpent" is another fusion of blackened industrial creep and vicious hardcore, and the last track "Take Hold Of Forever" features a nightmarish spoken word piece from Mike Cheese (of blackened hardcore terrorists Gehenna) over bleak black ambience. The song "Learn To Love The Lie" also sports some interesting guest appearances, with Thorsten Wilhelm from Vegas and Boyd Rice (NON) contributing vocals over the pulverizing thrash metal.
Track Samples:
Sample : Before the VVorld VVas Young
Sample : Process Of Illumination
Sample : Simulacra



INTEGRITY   Den Of Iniquity   CD   (Magic Bullet)    13.99












Track Samples:
Sample : Kingdom of Heaven
Sample : Sarin
Sample : Jimson Isolation
Sample : Darkness



INTEGRITY   Den Of Iniquity   2 x LP   (Organized Crime)    22.98












Track Samples:
Sample : Kingdom of Heaven
Sample : Sarin
Sample : Jimson Isolation
Sample : Darkness



INTEGRITY   Humanity Is the Devil: 20th Anniversary   CD   (Magic Bullet)    13.98












Track Samples:
Sample : Hollow
Sample : Humanity Is The Devil
Sample : Abraxas Annihilation



INTEGRITY   Palm Sunday   CD + DVD   (Magic Bullet)    13.98














INTEGRITY   Systems Overload   LP   (Organized Crime)    18.98














INTEGRITY   Those Who Fear Tomorrow   LP   (Organized Crime)    16.98












Track Samples:
Sample : In Contrast Of Sin
Sample : Judgement Day
Sample : Lundgren/Crucifixion
Sample : Micha: Those Who Fear Tomorrow



INTOLITARIAN   Omnicidal Murderer   CASSETTE   (Deathangle Absolution)    9.50












Track Samples:
Sample : Omnicidal Murderer



INTOLITARIAN   Deathangle Absolution   CASSETTE   (Behold Barbarity)    7.98












Track Samples:
Sample : Transmission 8
Sample : Transmission 4
Sample : Transmission 1



INTOLITARIAN   Deathangle Absolution   CD   (Deathangle Absolution)    10.99












Track Samples:
Sample : Transmission 8
Sample : Transmission 4
Sample : Transmission 1



K2   In The Monotonous Flowers   CD   (Ground Fault)    8.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     An oddity in the K2 discography, 2002's In The Monotonous Flowers was a departure from Kusafuka's usual "junknoise" approach into something more surreal, even "musical". From the outset, it was telling that this bore the legend of Ground Fault's Series II on the album package, which positioned it alongside more textural, experimental soundscapes from the likes of Jazzkammer, Contagious Orgasm and Christian Renou. That said, this hour-long aural hallucination is hardly soft stuff. It just happens to be more structured and sample-based than the pachinko parlor war-zones of K2's other albums. These confusional, unpredictable noisescapes produce a genuinely unsettling dreamlike atmosphere that have been cobbled together from a miasma of field recordings, tape noise, Japanese video game soundtrack fragments, electronic glitch, high-end feedback tones, broken drum machines, and meandering keyboard melodies that feel like derelict bits of a late 70s horror movie score.
     It's a constantly morphing mass of sound, shifting from brain-damaged synth-pop experiments into passages of lowercase technoid minimalism, unleashing blasts of industrial pummel and making jarring detours into electro-acoustic terror, unfurling swelling synth drones amid chunks of heavy distorted rock, and weaving demented loops around the sounds of clarinet, piano and guitar. All of this stuff was performed and recorded by Kusafuka, but then heavily processed, chopped up and re-assembled into a bizarre, garbled patchwork nightmare, frequently punctuated with doses of his trademark harsh noise as well as sudden, shocking blasts of acoustic sound that are reminiscent of Randy Yau or Dave Phillips. The whole thing becomes gradually more and more unsettling once you get to songs like "Rodents In The Sewer", and while the overall tone of the album is different from what we're used to hearing from K2 (and bearing a strong influence from Steven Stapleton's cut-up compositional style with Nurse With Wound), it's still a suspenseful, disturbing listening experience that's not for the faint of heart.
Track Samples:
Sample : Crash Of Venus
Sample : Jute
Sample : Rodents In The Sewer



K2   Ha Ga Ne   CD   (Triangle)    9.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     A surgical pathologist by trade, Kimihide Kusafuka started out in the early 80s as a participant in the international mail-art scene; later, fueled by the energy and aesthetics of punk, Kusafuka began to record under the K2 name, using the sound of metal scrap and junk and cheap electronic instruments and then cutting these noises apart and re-assembling them into his now signature collage of unbridled chaos. By the time of K2's Metaloplakia, Kusafuka had established his sound as one of the more extreme strains of noise coming out of Japan, notable for both its violent volume levels and speed.
     One of the more recent K2 titles we tracked down is Ha Ga Ne. Released on Polish imprint Triangle in a limited edition of two hundred-fifty copies in a cardboard wallet (accompanied by an insert with liner notes from Kusafuka), this 2010 disc is a prime cut of K2's brand of ultra-violent Dadaist chaos at its most rabid. The album features just three tracks, two of 'em sprawling out for roughly half an hour apiece; all of 'em are savage, searing blasts of rapid-fire cut-up noise recorded with a great deal of clarity. A near non-stop onslaught of juddering metallic drones, spastically edited noise, mind-melting effects-pedal manipulation, brutal cyborg screams and blasting flesh=shedding glitchery, tossed into avalanches of metal-shop clatter and sliced-up screams. This stuff can be seriously terrifying. An occasional fractured rhythm will occasionally lurch out of the maelstrom, and you can also detect the barest glimmers of inhuman, quasi-musical forms peering out from this jumbled, fast-moving noise collage, like broken melodic sequences from some deconstructed Derbyshire/BBC soundtrack, moments that enhance the brutal psychedelic effect of being subjected to K2's screaming mainframe/factory/flesh-metal conversion factory.
     Despite the seemingly random nature of K2's noise collages and the resemblance to a demonically-possessed pachinko parlor or a symphony of skipping CD players all clotted with gore and metal shrapnel, this stuff towers over most imitators, as the attentive listener can easily detect a diabolical logic at work behind it all.
Track Samples:
Sample : Bulk For Symphony
Sample : HA GA NE



K2   Land Of Volcano   CD   (Annex 1 | Pro-Noise)    13.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     Sporting an album design by J. Randall from Agoraphobic Nosebleed, 2012's Land Of Volcano once again sees K2 assaulting the listener with more of his long-form explosions of brutal cut-up electronic chaos, continuing to eschew the use of computers, MIDI and acoustic noise in the creation of this stuff. As usual with K2's albums, it's focused on just a couple of tracks, but they tend to run long; this has four epic-length tracks of crushing psychedelic noise, with titles like "For Earthnoid", "Purple Smoke Deep Water" and "The Volcano" all evoking images of geologic violence. Each track is a sprawling cacophony of violently manipulated and tortured feedback (which sometimes veers into truly extreme levels of piercing, high-frequency ear-hate), swathes of swooping spacey synth-noise and blasts of garbled electronic horror, the grinding and sputtering of malevolent engines blanketed by layers of howling Hawkwindian synthblurt, the whole thing cumulatively coming together as a shrieking, yowling mass of terrifying noise that comes spilling out of the speakers in rapid-fire ejaculations of chopped-up, abruptly edited chaos. It's pretty much along the exact same lines as most of K2's harsher work, but if you're a fan of that stuff, it's exactly what you're looking for. Total psychedelic destruction.
Track Samples:
Sample : Purple Smoke Deep Water
Sample : For Earthnoid
Sample : Decoy Me!



K2   Musik Fr Enthauptung   CDR   (Impulsy Stetoskopu)    11.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     K2's sonic chaos-collage is pretty much the ultimate in Dada-inspired, ADD-afflicted "junk noise", a term that this project has embraced from the beginning. And if there's one newer K2 album that visually embodies the feeling one gets when subjecting yourself to his brutal barrage of noise, it might well be 2013's Musik Fr Enthauptung (Music For Beheading). Issued on Polish label Impulsy Stetoskopu, this disc comes in one of the stranger packaging designs I've come across, presented in a standard plastic jewel case, but with all of the printed parts printed onto an aluminum foil like material, making this look and feel like an industrial by-product. Sonically, it's essentially the same sort of cut-up ultra-chaos we've always gotten from K2, that signature hyper-violent noise collage style producing an avalanche of spastic, abrasive, horrific noise culled from samples, instruments, and electronics, stitched together into sprawling, longform blasts of sound. A confusion of shrieking tape garble and screaming feedback, tortured synthesizer noise and volleys of hyperspeed glitch-chaos, violently mutated video-game soundtracks and fragments of orphaned piano melody. Using his electronic "Feedback System" alongside piano, violin, synthesizer, electric guitar, and vocals, he warps and shreds his sound sources into unrecognizable new forms, the sounds assembled into constantly, rapidly changing noisescapes that leave any and all source materials utterly unrecognizable, stretched into bizarre, confusional cacophonies that on several of these tracks can stretch out for more than thirteen minutes at a time. Vaguely rhythmic sounds dip in and out of these noisescapes, blasts of almost technoid throb or clanking, hypnotic loops, but they tend to disappear quickly back into the maelstrom.
     If you're a fan of K2's unique brand of violent psychedelic gibberish, rest assured that this is one of his most crazed albums from the past decade; a nightmare of hallucinatory glitch-puke and digital data vomit, anyone into the harsher end of the Japanese experimental electronics underground definitely needs to at least check K2's material out, and this one is a good place to start if you're looking for pure cacophonic bliss.
     Released in a limited edition of one hundred copies.
Track Samples:
Sample : Yatsugashira
Sample : Radioactibrain
Sample : Kopf



K2   Tamayura   CD   (Gravity Swarm)    13.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     In stark contrast to the delicate traditional Japanese ink / brush artwork that adorns the front and back cover of Tamayura, this 2012 album from Japanese junk-noise master Kimihide Kusafuka features an hour of non-stop apocalyptic garble, presented in his trademarked high-speed cut-up style. The first track "Tamayura Hi-Fi Blues" stretches on for more than half an hour alone, showcasing K2's rapid-fire noise collage in grand form. Here Kusafuka employs a combination of hijacked consumer electronics (including a Nintendo DS), contact mics, "junk electronics", and Korg synth to produce his brutal blasting noise, which he then cuts up and re-arranges into epics of spastic digital vomit. A savage, jubilant chaos, a constantly changing/shifting/mutating field of burbling glitch and screaming feedback, teeming with violent whiplash-inducing signal-fluctuation, blasts of brutal electronic effects, piercing high-end drones and waves of metallic shimmer; lurching machinelike rhythms rattle around in the depths, before being overtaken by swarms of gibbering, insectile shrieks.
     So much of this resembles the sound of cyborg warfare taking place inside of an ancient 8-bit videogame system, while others suggest vast computerized intelligences screaming idiotically into the void. What you will not find are any moments of calm or reflection. It's a total brain-rape, an overwhelming blast of inhuman sound, but there's an almost insectile logic to how Kusafuka arranges all of this mayhem. If you're already a fan of K2's brand of brutally psychedelic noise, you already know what to expect from this. And it certainly delivers.
Track Samples:
Sample : Warsaw-Chainsaw-Jigsaw
Sample : Melting Metal Megatone
Sample : Cut Off



K2 + EIKO ISHIBASHI   Compressed Happiness   CD   (Phage Tapes)    9.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     As synonymous as K2 is with sheer skull-rupturing electronic chaos, you can find some surprisingly beautiful creations within his extensive catalog of releases. One of those is Compressed Happiness, a collaborative album that came out a while back on Phage Tapes and which features K2 teaming up with fellow Japanese experimental musician Eiko Ishibashi, who has a number of solo albums of experimental jazz-pop on Drag City as well as another collab with Tatsuya Yoshida of Ruins from a few years ago. I hadn't heard her music before picking this disc up, but from what I've checked out, her dreamy avant-pop is pretty far removed from the speaker-shredding harsh cut-up noise of K2. The end product is pretty spellbinding, a mixture of the expected harsh electronics and all manner of delicate, dreamy electronic melody, mixed in with swells of celestial synth, warbling looping drones, and other melodious elements that make for an enthralling combination.
     Compressed features two twenty-minute compositions, with each artist utilizing raw sound materials provided by the other. On "Cold Pastoral", Ishibashi takes K2's synthesizers and recorded material and weaves a stunning, even lyrical noisescape filled with moments of both airy, unearthly beauty and punishing rhythmic chaos, at times akin to hearing classic Tangerine Dream drifting lazily through incandescent eruptions of brutal skree. And "Sweet Paranoia's Heaven Version 3" has K2 using some pre-recorded sound material from Ishibashi along with his own arsenal of junk electronics and mangled instruments, producing another of his trademark maelstroms of hyper-abrasive, violently psychedelic noise collage, flecked with traces of modern classical piano and spacey electronic effluvia. Easily one of my favorite K2 collaborations.
Track Samples:
Sample : K2 - Sweet Paranoia's Heaven Version 3
Sample : EIKO ISHIBASHI - Cold Pastoral



K2 / NRYY   No More N.P.P.   CASSETTE   (Phage Tapes)    5.99



     Created in the wake of the Fukushima Daiichi Nuclear Plant disaster, this split pairs up Japanese noise titan K2 (aka Kimihide Kusafuka) with newer noise outfit NRYY for an exuberant, brutal exercise in electronic destruction that channels the artists' combined anti-nuclear anger.
     K2's side delivers two long tracks of ultra-violent cut-up noise, "Peak On Geiger Counter Ver. 2" and "Dirty Electric Black Power Ver. 2", unleashing a non-stop barrage of chopped up electronic chaos, fast moving and brutal, savage and psychedelic. As he states in the liner notes to the tape, Kusafuka makes a point to avoid the use of computers in the construction of these sprawling, skull-chewing noisescapes, and there's a noticeable tactile quality to his noise experiments: the garbled electronics are brutally fused together, generated from his arsenal of "junk electronics", contact mics, Korg synthesizer and vocals, all of which are tortured and abused to the extreme. The result is a symphony of squalling feedback and malevolent computer-puke, tangles of squirming, snarled tape noise, endless metallic avalanches, and wave upon wave of acid-damaged electronic fuckery. As always, mind-melting stuff, compressing the sound of collapsing technological society into a single block of ever-morphing sound.
     A relative newcomer to the Japanese noise underground, Norihito Kodama's NRYY project compliments K2's with two tracks of his own violent electronic noise. This stuff is definitely more musical, though. For over half an hour, Kodama unleashes violent blasts of distorted noise and feedback, but these are broken up into ordered chunks that are separated and surrounded by distorted synthesizer melodies, atonal figures and bursts of spacey arpeggio patterns that burble and flitter amid his harsher, more chaotic elements. It's an effective mix of sounds that sure doesn't skimp on the ear-destroying noise (fans of Pain Jerk and Masonna will dig the level of abrasiveness here), but tempers it with these mesmeric synth patterns and creepy haunted-house melodies that resemble something off of an old krautrock LP. A pretty cool blast of psychedelic electronic punishment that rivals the power of the preceding side.
     Released in a limited edition of one hundred copies.
Track Samples:
Sample : K2 - Peak On Geiger Counter Ver. 2
Sample : NRYY - Back .....And Better Than Ever Ver. 2



KARJALAN SISSIT   Want You Dead   CD   (Cyclic Law)    14.99












Track Samples:
Sample : Suga En Kalja o Somna In
Sample : Lpi Elmn Helvetin
Sample : Kantap Lapiossa



KATECHON   Coronation   CD   (Nuclear War Now! Productions)    10.98












Track Samples:
Sample : Humanity Diseased
Sample : Desolation
Sample : Coronation



KATECHON   Coronation   LP   (Nuclear War Now! Productions)    19.98












Track Samples:
Sample : Humanity Diseased
Sample : Desolation
Sample : Coronation



KAVE   Ominousium   CD   (Cyclic Law)    14.99



     Like the blurred, sepia-toned photography that graces the digipack for Ominousium, the music featured on this six-song disc from Dutch dark ambient artist Kave (aka Bram Gollin) seems bathed in a perpetual state of dying light, the slow rumbling dronescapes barely lit, bathed in a fading crepuscular glow, the sounds seemingly leaching up from the earth beneath your feet. On Kave's first new album in three years, the project brings us an eerie, abstract wash of sound, dark, dark stuff, each track a self-contained realm of slow-shifting waves of metallic shimmer and deep, resonant drones, clanking metallic noises and rattling sounds often punctuating the gloom, with the one constant through the whole record being an omnipresent tectonic rumble that appears to hover at the periphery of your hearing, distant but powerful. Drawing from a mixture of minimal electronic textures and field recordings, Kave's sound is steeped in sensations of cold and emptiness and vastness, an orchestral blackness coalescing from walls of ghostly synth and low vibrational bass notes, smeared in creepy choral textures and swept with surges of oceanic power, all pulled and stretched and smeared into an ageless, awesome wall of sound.
     It's pretty consistent across the nearly forty minute run time, exploring deep subterranean chasms and lightless corridors, with a vague sense of menace lurking at the edges of the music, those rattles and thuds and other percussive sounds imbuing this with unseen malevolence. Great stuff, totally immersive dark ambience but also perfect for background listening, and it's currently on the top of my heap for albums that I've been listening to lately when reading. Definitely one to check out if you're a fan of utterly bleak, arctic driftscapes as created by the likes of Yen Pox, Northaunt, New Risen Throne, and Funerary Call.
     Comes in a six-panel digipack, limited to five hundred copies.
Track Samples:
Sample : Wind Apathia
Sample : The Tribes of Nyx
Sample : Ominousium



KEROVNIAN   Far Beyond, Before The Time   CD   (Cold Spring)    13.98













Track Samples:
Sample : The Litany to Devoured
Sample : Of Oblivion Undead
Sample : Far Beyond, Before the Time



KILLING JOKE   Brighter Than A Thousand Suns   2 x LP   (Let Them Eat Vinyl)    22.98













Track Samples:
Sample : Wintergardens
Sample : Twilight of the Mortal
Sample : Adorations [#]



KILLING JOKE   Outside The Gate   2 x LP   (Let Them Eat Vinyl)    14.98















KILLING JOKE   Revelations   2 x LP   (Let Them Eat Vinyl)    14.98















KLV   Valkeus   12"   (Svart Records)    18.99



     Reissue of an oddball Finnish metal obscurity that's probably best known as a footnote in the career of doom metal heavyweights Revernd Bizarre. KLV (or Kehitysvammaisen Lapsen Vanhemmat) was the band that members Sami Hynninen (Albert Witchfinder) and Jari Pohjonen (Earl of Void) were in during the mid-90s prior to forming Rev Bizarre, and while it's similarly influenced by old-school doom, this duo were pretty weird sounding. Valkeus compiles the band's earliest material, including tracks off the 1998 demo of the same name and their half of the split with fellow Finns Viikate; it's an odd little EP that combined primitive doom, off-kilter goth rock, and weird hardcore into an experimental delirium that defies easy categorization.
     When the gloomy baritone singing and female backing vocals come in together at the beginning of "Siion, Kevss", drifting over the sounds of flute and a off-kilter, jangly guitar riff, KLV initially appear to be some sort of weirdly proggy gloom-pop. That quickly gives way to the doomed goth rock of "Mooses Ja Kolibri" though; flutes join those jangling guitar chords and morose singing, but the mood turns darker when they stomp on the distortion pedal and crank up the sludginess. Other songs are eerie, funereal folk-dirges ("Kuljen Aina Kohti Kuolemaa"), or cacophonies of witch-shrieks and maniacal howling like something off a Comus album ("Huutavan ni Korvessa"); the highlight for me however is the freaked-out, prog-doom nightmare of "Kannel Karhun Morsiamesta" that covers almost the entire b-side. That killer baritone gloom-croon appears again, set over spooky pipe organ and minimal creeping riffage, but then erupts into a strange sort of Sabbathian heaviness, draped in organ buzz and chortling flute, weaving bits of atonal creepiness around the grim minor-key melody that makes up the chorus. And then out of nowhere, the song suddenly erupts into furious hardcore punk at the end, that flute still playing along as the band kicks into this Discharge-esque ferocity, the vocals shifting between that gothic croon and a snarling, vicious shriek and those backing female vocals. I would kill to hear an entire album of that sort of psychedelic doom-punk madness.
     Limited to three hundred fifty copies.


KOMMANDANT   Kontakt   CASSETTE   (Infernal Kommando)    7.99














KOWLOON WALLED CITY   Grievances   CD   (Neurot)    14.99













Track Samples:
Sample : White Walls
Sample : Grievances
Sample : Daughters and Sons



KRALLICE   Ygg Huur   CD   (Self Released)    15.99













Track Samples:
Sample : Tyranny Of Thought
Sample : Idols
Sample : Bitter Meditation



KRIEG   Isolation / Transmission (ORANGE VINYL)   7" VINYL   (Init)    4.99



     First things first - if you own Krieg's fantastic 2014 album Transient, then you already have both of these songs. So this one is really just for completists and hardcore vinyl collectors. Released for the 2014 Record Store Day event, this limited-edition 7" features "Walk With Them Unnoticed" and "To Speak With Ghosts"; I can't tell if these are different recorded versions of those songs, or the exact same versions that appeared on the album, so bear that in mind if you already have Transient. That said, this is a great 7" from the long running American black metal outfit, serving up two of the better songs off of that album. "Walk" delivers one of the finest fusions of classic British post-punk and raw black metal that Krieg's given us yet, a bracing, infectiously catchy tune; and "Ghosts" winds a wreath of ghostly guitar effects around a somber, doom-laden riff before the band lurches into another one of their vicious mid-tempo grooves, a kind of blackened, hateful punk riddled with visions of urban blight and isolation.
     Issued in a limited edition of five hundred copies on orange colored vinyl.


KROG, TIM   The Boogey Man   LP   (One Way Static)    29.99













Track Samples:
Sample : B5 Fast Tracks
Sample : B1 Childhood
Sample : A6 The Boogeyman Man Version 2



KROMOSOM   Nuclear Reich   LP   (Distort Reality)    17.98



     Another pulverizer from these Melbourne noise-punk mutants, 2013's Nuclear Reich rampages through another ferocious set of polluted, mutant hardcore, an eight-song detonation of extreme blown-out crustcore that marries an ultra-violent D-beat assault with anthemic (but crushing) Discharge-esque punk riffs and a thick, sulfuric fog of rumbling, shrieking Merzbowian distortion. We're talkin' serious noisiness and distortion. This 12" delivers all of the stuff I love about Kromosom, their mix of brutal hardcore and fist-raising, almost Oi!-style punk hooks, songs like "Radiation" and "Media Control" fusing barbaric savagery and rousing melody together amid a near constant storm of squealing, speaker shredding distortion, shot through with blasts of tape garble, weird vocal noises, and warped, twangy guitar solos. Have you ever wanted to hear The Exploited with a wall of malfunctioning amplifiers, skin-flaying electronic noise and cranked-out fuzz pedal Armageddon going on behind 'em? If you have, then you need to get your hands on Kromosom's records pronto. All of their stuff is ferocious, but Nuclear Reich might be the best of the lot; it's certainly the catchiest of all of the Kromosom stuff that I've picked up, while also containing some of the most fucked-up, bestial sounding vocals I've heard from frontman Yeap Heng Shen (who has also done time in other Aussie-based C-Blast faves like Nuclear Sex Addict and doom metallers Whitehorse).
Track Samples:
Sample : Draw The Line
Sample : Human Shell
Sample : Culture Degeneration



LARVAE   Grave Descent   CASSETTE   (Parasitic)    5.99













Track Samples:
Sample : Archaic Circles
Sample : The Lost Await
Sample : Grave Descent



LARVAE   Grave Descent   LP   (Parasitic)    15.99













Track Samples:
Sample : Archaic Circles
Sample : The Lost Await
Sample : Grave Descent



LAW OF THE ROPE   The Book of Three   CDR   (Faunasabbatha)    9.99

The Book of Three IS CURRENTLY UNAVAILABLE FOR ORDER

Astoundingly, the restock of this long out of print title that we had been waiting on to arrive here for years just recently appeared in the Blast Box. Once the handful of copies we received are gone, though, that's the absolute last of 'em...
Law Of The Rope's insane low-fi black metal weirdness comes to us via the Faunasabbatha imprint, and actually came out quite a while ago, though it's being listed here for the first time after I dug out a small batch of these discs from within the bowels of the C-Blast warehouse. I know very little about this band aside from the following: the band is from southern California and consists of three members named Beatrix Opression, Legin Opression, and Nadine Opression on "vokils", "stringed & machinery" and "funeral pianos", respectively, and these members may or may not also be from the LA art-punk band Mika Miko. Oh, and there's a serious infatuation with occultist Aleister Crowley in their imagery. Regardless of who's behind this, this is just the sort of raw, lo-fi black metal weirdness that I am obsessed with, a murky black fog of downcast Burzum-influenced BM, crazed shrieking chaos reminiscent of early Fleurety, and heavy doses of industrial black noize-metal. The title track offers a creepy, evocative introduction in the form of baroque piano cascading slowly across a sheet of obsidian drift and black arctic winds laced with soft swells of distorted keys and subliminal sounds. But then "Chapter I" comes in with a halting, martial drumbeat and distant blackened metallic chug and white-noise tremolo riffing while a mix of guttural chants and unintelligible high-pitched shrieks are blown out through a haze of distortion. It moves between a crushing, death metal chug and smears of washed out blackened mosquito-blur, then changes into a depressing dirge that gets even noisier and more chaotic as it goes on. Those high pitched vocals are fucking insane, as crazed and ear-puncturing as those on the early Fleurety demos, and add a lot to the overall bizarre feel of this album.
The subsequent tracks move from equally blown and noisy bursts of low-fi black swarm with simple, hypnotic riffing and chaotic buried drums, downshifting into ratty, fist-pumping necropunk breakdowns, midtempo rippers that bury a two-chord Discharge riff under carcinogenic amp hiss, and shift into shambling, psychotic dirges swathed in hiss and ripped speakers, and blasted doomscapes of downtuned slo mo riff and rumbling industrial machinery. By the time you crawl to the end of Book Of Three, you are surrounded by anguished shrieks and clouds of black corpse-flies at the gaping maw of Hell, and then plunge into a howling pit of black noise filled with orchestral rumblings and blighted winds, kicking into another shrieking black dirge before morphing into pure black noise a la Nekrasov. At the very end of this, the music returns to that doleful, miserable piano melody from the beginning which now finds itself lost in a blizzard of amp noise and gasping witch-shrieks. Intense stuff for fans of Nekrasov, Abruptum, Wormsblood, etc. The disc comes in an oversized cardstock sleeve, and is limited to seventy-three copies.
Track Samples:
Sample : The Book Of Three
Sample : Chapter VII
Sample : Chapter III



LEATHER HUSK   self-titled   CASSETTE   (Tested Souls)    7.99



     Yet another solo project to appear on the new Tested Souls imprint from Graham Moore, who runs the excellent experimental label Blossoming Noise and is also involved with To Live And Shave In L.A., X Narrative, Black Meat, Cursory, and Exploring Therapeutic Encounter. Based on what I've heard so far, Tested Souls seems to be specializing in a kind of ritualistic power electronics, and a similar aesthetic appears with this debut tape from Leather Husk. So far, Graham has maintained a minor degree of anonymity and ambiguity around each of these projects, with little if any information on the bands or releases available online, and that's true of Leather Husk's debut as well, issued in a minimally designed pink arigato-style case with barely any text.
     It's certainly in a similar vein as the other Tested Souls releases, though. Minimal, dark power electronics marked by deep bass-heavy drones and swells of murky low-end synth sets a stark, sinister atmosphere from the beginning of "We are there", laced with allusions to Thelemic magick. It's also a heavier and more malevolent effort compared to those other recent projects. As the tape unfolds, monstrous distorted screams rip across the corroded synthscape, deeper chords shifting ominously in the darkness as those vocals become more frenzied and bestial. Pretty soon, this stuff is starting to resemble an early John Carpenter score put through a chain of over-modulated distortion and delay effects; while it doesn't become too overblown, there is a constantly roiling fog of aural grit that enfolds the spare, minor key chordal changes at the center of these tracks. The harshest element of Leather Husk's sound are the vocals, blackened and demonic and distorted, an inchoate shriek lifted as if from some tortured black metal performance, set to this backdrop of malignant minimal synth. Comparisons to some of the latter-day Prurient stuff could be made, but ultimately Leather Husk is doing something a little weirder. My favorite of Moore's newer solo efforts, can't wait to hear more.


LEBENDEN TOTEN   Near Dark   CD   (Feral Ward)    9.98



     Hadn't heard much from this Portland band before picking this collection up, though their contribution ("At The Window") to that killer Whispers Through The Black Veil compilation that came out on Wyrd War last year was probably my favorite song on the record. Definitely made me want to get my hands on more of their stuff, leading me to this full-length disc of album and EP material. Lebenden Toten are another band playing ultra-noisy Confuse-influenced hardcore, but they also blend a distinct death-rock vibe with their blown-out, speaker-shredding hardcore, delivering something catchier and moodier than most stuff in this vein, an interesting spin on the oft-copied Confuse-inspired noise crust sound.
     This new compilation on Feral Ward is a perfect entry point into their more recent output, collecting a bunch of their late oughties output onto a single disc for those of us disinterested in chasing down the original vinyl. Their blistering 2008 LP Near Dark makes up the bulk of this collection, rounded off with their Death Culture Deprivation and Poison Wave EPs, and it's all thoroughly ferocious. The LP is a particularly abrasive blast of ultra-distorted, extra-noisy hardcore mayhem, with singer Chanel's furious, bratty yelp fused to these ten tracks of sickeningly feedback-damaged violence. Like most of this Confuse-esque stuff, the bass guitar anchors the wall of shrieking high-end skree to the bouncy, pummeling tuneage, but even with those catchy bass lines giving these songs structure, this stuff can still explode into near Merzbowian levels of cranium-crushing high-end chaos at times, or erupt into brief blasts of Hawkwindian wah-overload and flange pedal abuse, injecting their racket with brief bursts of scathing psychedelic cacophony. Their lyrics offer an excoriating assessment of early 21st century malaise, with themes of animal liberation popping up throughout their screeching tirades, and most of this stuff careens across the disc at top speed; the most striking moments are those where the band slows down into driving tribal rhythms and ominous bass hooks, when they slip into another of their amp-melting hybrids of grim post-punk and tinnitus-inducing noise. The EP material features a rawer, more low-fi production that buries their music under additional layers of tape hiss, and on the Poison Wave tracks, there's even a weird sort of "surfy" feel to the riffs that distinguishes those songs from the rest of the stuff documented here. It's all great though, highly recommended if you're into the noise-punk of Confuse, Disclose, and Gloom, as these guys are easily one of the best bands in the US doing this sort of stuff. Includes a sixteen page booklet loaded with artwork, lyrics and band info.
Track Samples:
Sample : Theatre of Death
Sample : Near Dark
Sample : Memories of State
Sample : Death Culture



LEGION OF ANDROMEDA   Iron Scorn   CD   (Crucial Blast)    9.98



     Utterly addictive, atom-crushing bestial heaviness. When it comes to slavering, war-mongering heaviosity and flesh-destroying death metal barbarism, let me tell you that nothing I've heard this year has fucked me up as much as the debut album from Legion Of Andromeda. Diabolical in its minimalist approach, the new album from Tokyo-based duo Legion Of Andromeda wormed its way deep into my brain upon first hearing it (thanks to a recommendation from fellow Maryland label Unholy Anarchy), unleashing a grinding nightmare of violent, industrial doomdeath rooted in a barbaric simplicity, moving in endlessly cyclical percussive patterns. It makes perfect sense that the band enlisted none other than Steve Albini to record this album, as the monolithic percussive pummel of Big Black is an admitted influence on Legion's sound. Iron Scorn was first released on vinyl by the aforementioned Unholy Anarchy, with At War With False Noise handling the European release, but I got so goddamn hooked on this thing that we're doing a CD release through Crucial Blast to further the blast radius of this immense debut.
     Iron Scorn has a strange effect upon certain listeners, myself included. As opener "Transuranic Ejaculation" bellows across the beginning of Scorn, the band's combination of primitive bone-crushing riffage and minimal, mechanical tempo might seem overly simplistic, even monotonous. Each song centers around little more than a pair of interchanging riffs that circle endlessly over an unfluctuating mid-paced drumbeat that rarely deviates from a simple combination of metronomic crash cymbal and rumbling double bass. Keep listening, though, and Legion Of Andromeda's atavistic heaviness starts to reveal a perversely hypnotic quality, the brutal repetition and savage cyclical flow of these seven tracks turning into surprisingly infectious blasts of concussive doomdeath. The riffs shift between droning heaviosity and abrasive dissonance, without ever diminishing the sheer skull-flattening density; sure, the pummeling violence of tracks like "Transuranic Ejaculation" and "Fist Of Hammurabi" is undeniably monotonous, but that monotony is both deliberate and crucial to the band's sadistic, sickening assault, each song sculpted into an interlocking flesh-rending horror of gnashing steel teeth and machine-driven hypnosis and rabid violence. Next thing you know, you're hooked. You can't stop listening to it. An endless mecha-death trance that burrows like some slavering cyborg worm through your brain. And it's topped off with repulsively bestial vocals that frequently devolve into psychotic gibberish or rabid snarling vocalizations, as if you're hearing the singer devolve, Altered States-style, right before your eyes. Those fucked-up vocals definitely bring an added unhinged vibe to this rigid, skull-flattened dronedeath assault.
     Legion Of Andromeda have hacked out a uniquely vicious sound, and shares as much disgusting DNA with the clanking ugliness of early Swans and the grinding industrial metal of bands like Dead World, Skin Chamber and Streetcleaner-era Godflesh as it does with the putrescent doom/death of Autopsy, Cianide and Asphyx, brilliantly fusing the devastating down-tuned chug of the latter to the repetitive, belt-driven clangor of the former. Each monstrous track churns through the black cosmos like a mechanical warbeast comprised of gnashing teeth and interlocking gears, terrifying and trance-inducing, with equal nods to the most depraved strains of industrial metal and the most primitive depths of black/death violence. And oh god, I can't stop listening to it.
     The CD version comes in a gatefold jacket with printed innersleeve that replicates the design of the original LP release.
Track Samples:
Sample : Cosmo Hammer
Sample : Transuranic Ejaculation
Sample : Fist Of Hammurabi
Sample : Scourge Of Pestilence



LEKAMEN ILLUSIONEN KALLET   The Second Wind   CD   (Razed Soul)    9.98













Track Samples:
Sample : The Second Wind
Sample : The Other Realm
Sample : A Filthy Ride



LIFEBLOOD   Shattered Wishes   CD   (Weird Truth)    13.98



     The first album from these Tokyo-based gloom-junkies offers the sort of slow-as-syrup doom metal that this label is mostly known for, but also puts an interesting twist on that sound with their interjections of melancholic black metal atmosphere and a hushed, almost gothic undercurrent. The trio's pacing and vibe is pure funeral doom, the eight songs slowly lumbering along through a mournful haze outlined by the abject misery of their lyrics, evoking feelings of utter despair and hopelessness and the drive towards self-immolation that are de rigueur for this particular style.
     But Lifeblood also give this a few interesting quirks with the mix of somber, jangling guitars and roughshod metallic melodies, often echoing some older strains of gloomy metallic rock a la Katatonia or mid-90s Tiamat. Bass guitar weaves throughout these songs with a melodic sensibility almost reminiscent of The Cure's Simon Gallup, and the plodding, fuzzed-out feel of "depressive" black metal is fused to those funereal tempos, while the vocals are a ghastly, strained rasp that lurks beneath the rest of the instruments. The songs end up being catchier than one might expect, that bass adding lots of character, giving the songs an added melodic complexity. And the sparse nature of the recording itself likewise creates a different feel from the usual; instead of burying the listener beneath a wall of crushing, slow-motion heaviness, it instead goes for a sparser, more intimate production that feels closer to certain strains of early 90s slowcore.
     All quite grim and lovely in the end, though, terrific nighttime listening that's about as relaxing and contemplative as this stuff can get. If you've dug the other, occasionally offbeat doom outfits that Weird Truth has put out in the past, this is well worth checking out, with a spare but emotionally affecting sound that combines depressive blackness, world-weary gloompop, and primitive doom riffs to interesting effect. Makes me want to down a bottle of cough syrup and play this while watching Kwaidan with the volume off. Comes in digipack packaging, and issued in a limited edition of six hundred copies.
Track Samples:
Sample : Stench of Excessive Self-Consciousness
Sample : Dark Days
Sample : Black Rain



LINEKRAFT   Delusional Disorder   CD   (Impulsy Stetoskopu)    11.99



     Brutal electronics, mechanized heaviness and clanking chaos erupt together into a stew of scrap-heap savagery on Delusional Disorder. Kind of a catch-all collection of odds and ends from Japanese industrialist Linekraft, but just as soul-battering as anything else I've picked up from this outfit. As with the previous releases on Malignant/Black Plagve and Nil By Mouth, this stuff sounds much larger than the product of a one man band, but it's just Masahiko Okubo behind this grim, apocalyptic racket, smashing metal together into skull-splitting factory-floor rhythms and carving out torturously slow, doom laden scrap-metal rumblings that act as the foundation for these six scathing noisescapes. Okubo's work with Linekraft gets closer than anyone to channeling the pulverizing power of classic Dissecting Table, but does so with his own unique, highly aggressive approach and heavily layered recording aesthetic.
     Most of this disc prominently features his clanking, corroded metallic rhythms, hammered scrap echoing beneath blasts of mangled electronic noise, and where murky recordings of weird off-key singing fight for space alongside terrifying metallic shrieks. Squealing, demented synthesizers writhe in the depths of the mix, struggling to escape the suffocating fog of low-end rumble and distorted skree. Thick veins of pulsating electricity course though sprawls of noxious ambient drift, while large objects tumble and fall endlessly in the background, evoking the abandoned asylum halls and empty institutional beds pictured on the album art. Occasionally, something resembling an actual drumbeat will appear, though buried even deeper in the mix, a vague shambling rhythm lurking underneath the crushing, churning noise.
     As with pretty much everything else I've picked up from Linekraft, this is a violent, psychedelic industrial assault, occasionally slipping into a kind of fractured, looping rhythm that brings an element of musicality to parts of the album. Mostly though, this is pure deafening chaos strewn across the charred and smoking wasteland of Linekraft's dystopian nightmare realm, reminiscent of both K2's scrapyard cacophonies and the sludgy, pulverizing death-industrial nihilism of Ichiro Tsujis work with the aforementioned Dissecting Table. Heavy. Comes in a hinged metal box with a molded interior, with minimal track information and liner notes printed on the inside of the lid, and issued in a limited run of two hundred copies.
Track Samples:
Sample : Vaticide Steel
Sample : Emancipated Treatment
Sample : Descend



LYCUS   Tempest (DYING MOSS GREEN EDITION)   LP   (20 Buck Spin)    19.99



      This is a new 2015 vinyl repress on "dying moss green" colored vinyl from 20 Buck Spin...
      Along with that new Eibon album that we just got in, Tempest, the first official full-length album from Oakland, California deathcrawlers Lycus is one of the best funeral/death doom albums of recent memory, a follow up to the band's Demo MMXI that had been given a vinyl reissue treatment on Flenser a while back. As good as that demo was, Tempest is a real stunner, combining agonizing slow and heavy riffage and glacial tempos with brief moments of lacerating black metal and soaring, striking melodies that manage to remind me a little of Louisiana doom metallers Thou. Lycus unleash a monolithic heaviness all their own, though, and the three songs that make up this album are vast, monstrous eruptions of metallic mournfulness that move through fields of bone-crushing gravitational pull, and which seem to seep with an atmosphere of almost suffocating loss and regret, the music imbued with a deep emotional resonance that elevates this way beyond most other bands who are trying to perfect this sound.
      Opener "Coma Burn" slowly and agonizingly unfolds it's vast black wings for nearly twelve minutes, at first laying down a monstrous, pressurized funereal doom riff layered with sour, miserable melodies and gaseous, guttural roars, but as it slowly expands, the sorrowful weeping of violins begin to drift in from afar, the mournful strings blending with the torturous, bone-crushing heaviness, creating a surreal sonic atmosphere. That weird ambience becomes a signature part of Tempets's sound, as strange moaning vocals drift across the background, and some of the lead guitars take on a sickly, dissonant, blackened feel that at times reminds me of some of Xasthur's off-kilter guitar dread. When Lycus suddenly kicks into higher gear later in the song, the creeping glacial doom shifts abruptly into alternating bursts of blastbeat-driven black metal violence and more mid-paced metallic grooves, giving this a cool dynamic quality that no doiubt takes some of its inspiration from the music of deathdoom pioneers Disembowelment. Lycus's melodic craftsmanship on this album is superb; the guitarists unleash those soaring melodic leads and achingly mournful hooks, the song shot through with moments of dark beauty, and they also use some sort of synthesizer sound to create an almost saxophone-like melody that also appears at different point throughout the album. On "Engravings", Lycus likewise employ some intensely moving major-key melodies that transform their dour sound into something strangely and unexpectedly hopeful, even if that hope really is for little more than the annihilation of the self; the song uncoils around more of the bands huge down-tuned heaviness, riding on waves of rumbling double-bass drumming, then slips into some brief passages of dreamy, almost 4AD-style guitar gloom.
      By the time the band reaches the title track, both those dreamy, lilting, chorus-drenched guitars and the gorgeous violins from the first track reappear, spreading out across the entire second half of the album. Another sprawling, crawling wave of slow-motion power, "Tempest" blooms with more of those amazing funereal melodies, rising over more churning, glacial guitars, and it's on this song that Lycus really cut loose with the powerful clean vocals, as deep male singing suddenly sweeps in, an almost liturgical chant that echoes just beneath the roaring death metal vocals, while the music grows even more majestic and mysterious. Deeper in, the band surges into more off-kilter negative grooves and sudden eruptions into blasting dissonant black metal, and eventually all of this gives way to the last eight minutes of the song that transforms into a field of swirling electronic ambience, vaguely resembling a more funereal version of Troum's rumbling dronescapes.
      Stunning stuff, and absolutely recommended to anyone into the likes of Samothrace, Thou, Asunder, Mournful Congregation and Pallbearer, easily one of the best new deathdoom albums you're going to hear this year. Features gorgeously evil album artwork from Paolo Girardi.
Track Samples:
Sample : Engravings
Sample : Coma Burn



MAMMATUS   Sparkling Waters   CD   (Spiritual Pajamas)    13.99













Track Samples:
Sample : The Elkhorn
Sample : Sparkling Waters Part One
Sample : Ornia



MAMMATUS   Sparkling Waters   LP   (Spiritual Pajamas)    26.00













Track Samples:
Sample : The Elkhorn
Sample : Sparkling Waters Part One
Sample : Ornia



MAN IS THE BASTARD   The Lost M.I.T.B. Sessions   LP   (Deep Six)    15.99



     The Man Is The Bastard reissue campaign continues unabated with another vinyl release of freaked out, ultra-pissed avant power-violence. Like the title suggests, this LP features unfinished mid-90s recordings that were only recently completed, filling a crucial gap in the MITB chronology. Initially to be included on splits with Spazz and Despise You, these recordings have finally been compiled and released after all this time.
     The pummeling drumming and screaming bass leads on "Influence Peddlers" make it one of the most overtly metallic things I've heard from Man Is The Bastard, but it swerves straight into the sort of spastically angular riffage and blastbeat-riddled percussive chaos that the band was known for. Brutal stuff, splattered with shrieking electronic noise and analogue effects fuckery, injecting that signature psychedelic mayhem into their ultra-violent attack. The other two tracks follow suit for the most part, with heavy, serrated bass riffs and twitchy, nerve-shredding time signatures hammering you nonstop, slipping into some grueling, almost death-metal like sludge strafed with Hawkwindian electronics and bizarre synthlike noises, and quick bursts of complex rhythmic interplay that prog fans would dig if they can withstand the force of MITB's spiteful sonic assault. Then there's the horrific electronic noisescape that closes the side, the band shifting into Bastard Noise mode as they unfurl a lengthy sprawl of screeching feedback and smoldering low-end synth, monstrous gurgling glitchery and panic-inducing wave manipulations, evolving into a scathing anti-authoritarian screed, the vomitous beast-grunts clambering over washes of alien ambience and bursts of terrifying noise.
     The other half of this LP is even more enthralling. Featuring a single side-long song called "Long Pig", it sees Man Is The Bastard teaming up with Amber Asylum's Kris Force as they craft a massive, atmospheric prog-core epic that's one of the best things I've ever heard from these guys. It's also quite different from the rest of the stuff on this LP; early on, they weave a mysterious, glistening ambient soundscape that stretches out for several minutes, before everything suddenly erupts into a twisted, terrifying heaviness. As Force's ethereal singing drifts in high over the complex, weirdly melodic blast of discordant hardcore, their jagged bass riffs shift into infectious forms, swerving from ghostly doom-laden atmosphere to pummeling, sludge-encrusted prog to winding passages of hyper-spastic rhythmic violence. Force's voice remains at the center of it all, and while it's just as brutal and bludgeoning as anything else these guys have done, it's definitely a unique song in their catalog of work, almost sounding like some weird European / French prog rock outfit having a nervous breakdown when those airy, multi-tracked vocals appear over the lurching crush of the rhythm section. MITB fans are definitely going to want to witness this monster.
     Comes in gatefold packaging with a printed insert and a big foldout poster.


MAN IS THE BASTARD / CHARRED REMAINS A.K.A. MAN IS   A Call For Consciousness / Our Earths Blood   10" VINYL   (Deep Six)    8.99



     Yet another killer Man Is The Bastard reissue from Deep Six, further excavating the complete catalog of these avant-powerviolent noise thugs.
     The first side features material that originally appeared on a split with Born Against that came out on Vermiform back in 1994. Five songs of thunderous, angular hardcore punk, driven by that utterly singular bass-heavy sound, this stuff is confounding and crushing and supremely pissed-off. A brainy, prog rock aesthetic filtered through the brutality of early 90's American hardcore. The tracks go from lurching blasts of bass-splattered violence and barked vitriol to spastic math-punk attacks to the noise-infested dirge of "Alone With Labor" that takes up almost half of the side, the band careening in slow motion through their fucked-up time signatures and jarring stop/start arrangements. This stuff isn't as "electronically enhanced" as some of their later work, but there's still a bit of sputtering, crackling noise heard coursing beneath the band's spazztoid hardcore, and still sounds completely mutated compared to almost anything else from that era.
     In contrast, the b-side dives deep into an ocean of electronic horror. Originally released as the Our Earth's Blood 7" on Vermiform in 1993, this EP saw Charred Remains/Man is The Bastard unleashing a hellstorm of rumbling apocalyptic ambience and malevolent electronic noise, strafed with a mix of female spoken word readings and monstrous bellowing vocals. A particularly misanthropic release from the band, each song is a screed of pro-animal/anti-human malevolence that's been laid out over some of the most dire noisescapes these guys had put out up to that point. Pretty much devoid of their power-violence tendencies, this is pure ambient industrial brutality.


MAN IS THE BASTARD / LOCUST   Our Earth's Blood Pt 2 / Locust   10" VINYL   (King Of The Monsters)    19.99



     Guess I never realized it back when they first started out, but man, The Locust were really influenced by Man Is The Bastard early on. And never moreso than when they actually shared vinyl with MITB. From what I can tell, this split between Man Is The Bastard and The Locust was the first official release from the latter; I remember it stirred up a bit of buzz when it originally came out, with The Locust channeling the pummeling aggression of Neanderthal / MITB / Infest style powerviolence into a skronky, No Wave-damaged style. Originally released way back in 1995, that record has been out of print for years, but amazingly we came across a small stash of the 10" through one of our distributors; quantities are extremely limited as you would guess, and you should also note that the copies we received have some very minor (in some cases barely perceptible) shelf wear, but otherwise these are new, unplayed copies.
     In hindsight, it seems kinda nuts that The Locust became this weirdly popular thing outside of hardcore circles back in the late 90s. I mean, their side of this record is total Infest/Man Is The Bastard worship. Brutal, mega-pissed bellowing vocals and hysterically bratty screams backed by a mix of ultrafast blastcore and lurching, discordant riffs, and injected with MITB-esque blurts of psychedelic electronic noise. I don't know what it was about this that attracted the indie rockers, 'cuz it's pretty punishing. To be honest, I generally avoided their stuff because of all of the hype, but this early Locust stuff is a pretty enjoyable, delivering brute-force hardcore spliced with a handful of nightmarish industrial noisescapes.
     Man Is The Bastard's side, titled Our Earth's Blood Pt 2, however, is where it gets scary. Made up of twelve songs, some only a mere few seconds long, this starts off as a descent into a nightmarish, almost Lynchian industrial noisescape that sprawls out across opener "Margin For Disintegration" before unleashing a hellstorm of monstrous mechanical drones, sputtering electronics, and shrieking vocal hatred. This material comprises some of Man Is The Bastard's most savage noise material from this time period, crafting a deeply unsettling atmosphere across ten minutes of technologic horror, invoking various apocalyptic scenarios ranging from the American "war On Drugs" to ecological distress to extreme civil conflict in South Africa. All set to a flesh-scraping, bowl-rumbling mutation of power electronics turned into something so much more monstrous and spiteful.
Track Samples:
Sample : MAN IS THE BASTARD - Noise
Sample : THE LOCUST - Helios
Sample : THE LOCUST - Inbred America



MAN IS THE BASTARD / SINKING BODY   Protein   7" VINYL   (Vermiform)    11.99



     One of the rarest of all of the super-rare warehouse finds that recently brought us a stack of long out-of-print Bastard Noise vinyl from the 1990s, the Man Is The Bastard/Sinking Body split 7" has been out of print for nearly twenty years. Obviously, we only have a very few of these on hand, and once these are gone, that'll be it. Released back in 1995 on Vermiform, this 7" featured Man Is The Bastard teaming up with Born Against frontman Sam McPheeters on their side, and a track from Born Against / Life's Blood / Men's Recovery Project member Neil Burke and his solo project Sinking Body, with Burke also contributing musically to the MITB side as well as designing the letter-pressed sleeve, printed by Thumbprint Press.
     The Man Is The Bastard side features five tracks from the band and their collaborators, opening with the slow grueling drones of "Protein" before shambling into a clusterfuck of plodding sludge-prog, discordant bass guitars wrapping around each other like malformed limbs, frantic yelling over stilted, sputtering drumming, dissolving into hellish power electronics before flaming out in a final blast of gargling hardcore hatred and squealing, putrid tape loops.
     On the other side, Sinking Body's "New Concepts In Minute Gravitational Pulls" unfolds into a bizarre delirium of ghastly dronescapes and rhythmic industrial experiments, primitive synthesizer figures and glitchy noise loops; definitely feels influenced by the early UK industrial sounds of bands like Cabaret Voltaire and Throbbing Gristle, but filtered through Burke's unique perspective.
     Comes with a sixteen page booklet.


MARE   self-titled (BLUE / WHITE VINYL)   LP   (Translation Loss)    17.99



Still sought after by many fans of contempo avant-metal, Mare's sole release from around a decade ago is once again back in stock here at C-Bast; here's the old review of this record from when we originally listed it years ago:
This limited edition LP version of Mare's debut EP was released by Translation Loss last year, but amazingly it's still in print and we've finally gotten around to stocking this gorgeous, full color gatefold edition pressed on swirly blue vinyl.
Mare wasn't around for long. They came out of nowhere in 2004 with this four-song, 25 minute mini-album that was one of my favorite releases for the year, and then broke up about two years later without putting out anything else. I was heartbroken when they announced that Mare was kaput, as I had been desperately waiting for a full length from the band, having worn out my copy of the EP on disc. But these four songs are still breathtaking whenever I throw them on, a spellbinding sort of ethereal avant-metal, with sudden angular riffs as crushing as anything from Isis or Neurosis, but which appear alongside these immensely beautiful passages of somber post-rock beauty closer to Sigur Ros than anything else, blips of darkly luminescent jazz, bursts of devastating, floor-caving doom/sludge riffs, gorgeous 20th century choral music, crushing mutant metalcore. But what really make these songs so magical to me is the voice of Tyler Semrick-Palmateer, who had previously been the frontman for Relapse tech-metallers The End. You've got to hear his vocal harmonies on this, they're stunningly beautiful harmonies that have been likened to the sort of lush vocals that the Beach Boys perfected, if you can imagine it. When those heavenly multi-part vocal harmonies glide seamlessly into a monstrous slo-mo doom riff that opens up like a sinkhole, the effect is riveting.


MASACRE   Cancer De Nuestros Das   CD   (Nuclear War Now! Productions)    10.99













Track Samples:
Sample : Intro / Temor / Justicia Ramera
Sample : Imperio Del Terror
Sample : Escoria



MASACRE   Reqviem   CD   (Raven Music)    8.98

Reqviem IS CURRENTLY UNAVAILABLE FOR ORDER











Track Samples:
Sample : ola de violencia
Sample : brutales masacres



MASTIPHAL   For A Glory Of All Evil Spirits, Rise For Victory   CD   (Nuclear War Now! Productions)    10.98













Track Samples:
Sample : Winds of Stakes
Sample : For A Glory of All Evil Spirits, Rise For Victory
Sample : Calling From the Past



MASTIPHAL   For A Glory Of All Evil Spirits, Rise For Victory   LP   (Nuclear War Now! Productions)    19.98













Track Samples:
Sample : Winds of Stakes
Sample : For A Glory of All Evil Spirits, Rise For Victory
Sample : Calling From the Past



MEDUSA   First Step Beyond   2 x LP   (Numero Group)    34.99



    Now back in print on vinyl on a different color variant, but still in the same amazing tactile packaging as the original vinyl reissue...
    A long-lost album of dark, ancient proto-metal psychedelia from the streets of Chicago in the early 70s, described by the label as a "mish-mash of Sabbath, Hawkwind, and Amon Duul II"; aside from their recent Codeine reissues, I usually don't follow the Numero Group label, but that description really had me interested in this Lp. I'm still a little wary of some of these purported "long lost" albums that have gotten the re-issue treatment in recent years, as I still think that some of them aren't as legit as they purport to be, but it appears that Medusa was, in fact, a short-lived proto-metal outfit from Chicago that brought a heavy psychedelic influence to their dark, doom-laden Sabbathian rock. First Step Beyond was the band's one and only studio album, recorded in 1975 but then shelved after the label that was supposed to put it out fell apart. Those references that Numero threw out are pretty apt, as Medua did indeed combine a dark, heavy proto-metal sound with heavy doses of bizarro space/drug-rock and seriously experimental attitude, writing songs that were pretty damn heavy but also had some serious hooks buried under the bloozy slow-mo riffage and trippy effects.
     The opener "Strangulation" weirded me out from the start, with quirky falsetto vocals over the shambling Sabbathian boogie; when the singer isn't belting out those weird high vocals, he's got a killer velvety croon that he uses throughout the record. On "Transient Amplitude" the band locks into a very krautrock-style percussive groove that has big motorik drumming driving beneath the extended acid-guitar freak-outs, funky chords and pummeling heavy bass, super catchy and trance-inducing. On a bunch of these songs, Medusa's guitarist takes off on looooong solo wig-outs with lots of over-the-top echoplex fuckery; they'll also suddenly drop into a killer dubby breakdown in the middle of a song, the rhythm section laying down a deep circular groove while streaks of guitar effects and clusters of Floydian guitar shoot skyward. Despite it's age, I'm betting that Sleep/Om fans would LOVE this, as would fans of the heavy modern psychedelia of bands like Gnod, Cosmic Dead and White Hills. These guys were really into prog rock, too; "Frustration's Fool" is one of their more angular songs, with jagged rhythms and odd time signatures that suggests these guys were listening to a lot of King Crimson at the time. Other songs include the dark soulful ballad "Temptress", and the haunting, Velvet Underground-esque jangle of "Feelings Of Indifference"; "Black Wizard" blends weird discordant funk guitar into another long motorik psych-jam, and then there's the weird evil prog of the closer "Unknown Fear", where atonal guitars skitter over another off-kilter drumbeat, shifting into softer, creepier doom-laden dread when the singer comes in.
     Really impressive stuff, and one of the stranger sounding albums from this era. The specter of Black Sabbath haunts just about every song on First Step Beyond, but Medusa twists that sound into something much different than what other early doom-mongers like Pentagram, Bedemon, Warpig and The Wicked Lady were doing. And the presentation for this vinyl-only reissue is one of the best I've seen this year. The 180-gram Lp comes in a heavy gatefold jacket that is inlaid with gold and red foil stamping, covered in a mock-velvet finish, the striking, over-the-top cover art depicting all manner of Satanic symbols. You really need to hold it in your hands to appreciate how killer this looks.
Track Samples:
Sample : Black Wizard
Sample : Temptress
Sample : Transient Amplitude



MEDUSA   First Step Beyond   CD DIGIBOOK   (Numero Group)    15.99



     Finally available on CD, in cool digibook packaging with the same foil-stamped artwork and design as the LP, and featuring three bonus tracks not included on the vinyl edition! Here's my old review for the original LP release:
    A long-lost album of dark, ancient proto-metal psychedelia from the streets of Chicago in the early 70s, described by the label as a "mish-mash of Sabbath, Hawkwind, and Amon Duul II"; aside from their recent Codeine reissues, I usually don't follow the Numero Group label, but that description really had me interested in this Lp. I'm still a little wary of some of these purported "long lost" albums that have gotten the re-issue treatment in recent years, as I still think that some of them aren't as legit as they purport to be, but it appears that Medusa was, in fact, a short-lived proto-metal outfit from Chicago that brought a heavy psychedelic influence to their dark, doom-laden Sabbathian rock. First Step Beyond was the band's one and only studio album, recorded in 1975 but then shelved after the label that was supposed to put it out fell apart. Those references that Numero threw out are pretty apt, as Medua did indeed combine a dark, heavy proto-metal sound with heavy doses of bizarro space/drug-rock and seriously experimental attitude, writing songs that were pretty damn heavy but also had some serious hooks buried under the bloozy slow-mo riffage and trippy effects.
     The opener "Strangulation" weirded me out from the start, with quirky falsetto vocals over the shambling Sabbathian boogie; when the singer isn't belting out those weird high vocals, he's got a killer velvety croon that he uses throughout the record. On "Transient Amplitude" the band locks into a very krautrock-style percussive groove that has big motorik drumming driving beneath the extended acid-guitar freak-outs, funky chords and pummeling heavy bass, super catchy and trance-inducing. On a bunch of these songs, Medusa's guitarist takes off on looooong solo wig-outs with lots of over-the-top echoplex fuckery; they'll also suddenly drop into a killer dubby breakdown in the middle of a song, the rhythm section laying down a deep circular groove while streaks of guitar effects and clusters of Floydian guitar shoot skyward. Despite it's age, I'm betting that Sleep/Om fans would LOVE this, as would fans of the heavy modern psychedelia of bands like Gnod, Cosmic Dead and White Hills. These guys were really into prog rock, too; "Frustration's Fool" is one of their more angular songs, with jagged rhythms and odd time signatures that suggests these guys were listening to a lot of King Crimson at the time. Other songs include the dark soulful ballad "Temptress", and the haunting, Velvet Underground-esque jangle of "Feelings Of Indifference"; "Black Wizard" blends weird discordant funk guitar into another long motorik psych-jam, and then there's the weird evil prog of the closer "Unknown Fear", where atonal guitars skitter over another off-kilter drumbeat, shifting into softer, creepier doom-laden dread when the singer comes in.
     Really impressive stuff, and one of the stranger sounding albums from this era. The specter of Black Sabbath haunts just about every song on First Step Beyond, but Medusa twists that sound into something much different than what other early doom-mongers like Pentagram, Bedemon, Warpig and The Wicked Lady were doing. And the presentation for this vinyl-only reissue is one of the best I've seen this year. The 180-gram Lp comes in a heavy gatefold jacket that is inlaid with gold and red foil stamping, covered in a mock-velvet finish, the striking, over-the-top cover art depicting all manner of Satanic symbols. You really need to hold it in your hands to appreciate how killer this looks.
Track Samples:
Sample : Black Wizard
Sample : Temptress
Sample : Transient Amplitude



MEFITIC   Woes Of Mortal Devotion   CD   (Nuclear War Now! Productions)    10.98













Track Samples:
Sample : Grievous Subsidence
Sample : Noxious Epiclesis
Sample : The Swirling Columns Of Staleness



MEFITIC   Woes Of Mortal Devotion   LP   (Nuclear War Now! Productions)    21.00













Track Samples:
Sample : Grievous Subsidence
Sample : Noxious Epiclesis
Sample : The Swirling Columns Of Staleness



MEIRINO, FRANCISCO   Beyond Repair   CD   (Sincope)    11.99













Track Samples:
Sample : Untitled



MIDDLE AMERICA   Scars   7" VINYL   (Fashionable Idiots)    4.00



     Another rad 7" of ugly, fucked-up hardcore from Fashionable Idiots, this one from the short-lived band Middle America from Allentown, PA who only put out a pair of EPs before disappearing. Haven't heard the other one they put out, but Scars definitely scratched an itch for me, with its discordant, ugly hardcore assault that lurches and stumbles violently across these three songs, all of 'em feedback-blasted attacks of mangled punk that frequently degenerate into a noisy, repetitious mess. The moody "Reclusion" goes for a slower, somber sound at first that recalls some of the darker corners of classic post-punk, but that too quickly whips itself into frenzied, noisy violence, and the title track is wound in angular, dissonant guitar riffs and lurching, off-kilter punk that sounds vaguely similar to both Damaged-era Black Flag and Flipper's abject slop. Shrieking high-pitched feedback infests the whole record, adding to the band's disheveled, deranged vibe, and the whole thing sounds pretty unhealthy.


MOLOCH   Einsamer Platz Zu Sterben   7" VINYL   (Le Crpuscule Du Soir)    7.98



     Moloch records can be a dice toss. Throw one on, and you're immersed in an icy kosmische synthscape that resembles Tangerine Dream at their most desolate; switch that with another, and you're beating your fist into the ground in time to a lurching, Abruptum-esque black metal monstrosity. While Moloch definitely has a distinct sound, this Hungarian outfit can wreak its blackened havoc in a number of ways. On the Einsamer Platz Zu Sterben 7", you get a two-part epic of Carpathian dark ambience, billowing across the record in a lush fog of Burzumic synthesizer music, all soft-focus bass notes and overcast atmosphere becoming the backdrop to his moody, hauntingly pretty keyboard meanderings. This recording seems to tap into similar emotions as the quasi-classical inspired kosmische synthscapes on Hliskjlf, likewise evoking the influence of Tangerine Dream and Klaus Schulze at their most autumnal through these moody electronic movements. It's pure instrumental synth music, washes of gleaming, mournful electronic drift imbued with a wintry sadness, with not a trace of his fucked-up black metal weirdness to be found. A calmer, more beautiful side to Moloch's sound for sure, gorgeous and minimal, evoking images of winter-stripped forests and ancient wilderness sprawling beneath the light of a freezing moon. Lovely stuff.
     Issued in a limited edition of two hundred copies.


MORD'A'STIGMATA   Antimatter   CD   (Sun & Moon Records)    11.99













Track Samples:
Sample : Megatron and the Waters
Sample : Kinetic Dogma
Sample : Eternity is Pregnant



MORGUE   Eroded Thoughts   CD   (Dark Descent)    10.98












Track Samples:
Sample : Severe Psychopathology
Sample : Plagued Birth
Sample : Eroded Thoughts



MORRICONE, ENNIO   Exorcist II: The Heretic   CD   (Perseverance)    14.98















MORRICONE, ENNIO   The Black Belly Of The Tarantula   2 x LP   (Death Waltz)    39.98













Track Samples:
Sample : Buio Psichedelico
Sample : Spirale Misteriosa
Sample : Psicosi Ossessiva
Sample : La Tarantola Dal Ventre Nero



MOSS   Carmilla (Marcilla) / Spectral Visions   CD   (At War With False Noise)    11.99



     Moss's latest disinterred grave-slab of weird doom, Carmilla (Marcilla) / Spectral Visions is a reissue of the 10" of the same name that came out on Stone Tapes in 2014, featuring two epic side-long tracks that deliver more of the morose, mega-crushing heaviness that this UK outfit is famed for. I've been a fan of Moss's stuff since their 2005 album Chthonic Rites, but their recent output has been particularly good, reverberating with similar deranged tectonic frequencies as their pals in Electric Wizard early on circa Dopethrone while exploring different, more literary themes in their songwriting.
     And with "Carmilla (Marcilla)", Moss pay homage to Sheridan Le Fanu's classic work of early vampiric fiction, via a sluggish, Shoggothian crawl through the lower depths of Sabbathian doom metal. And christ, is it heavy. That molten downtuned guitar tone, thick and syrupy and glutinous, is poured over a series of eerie riffs pushed forward by the slow-motion, time-stopping anti-propulsion of the drums. Signature Moss, in other words, strafed by simple but maudlin guitar leads and fronted by clear, mournful singing that has the feel of a funereal chant, evoking visions of nocturnal bloodlust and parasitic enslavement. Fucking great. The other song "Spectral Visions" is carved from similar black ore, but even sicker; this one really exudes that Dopethrone-esque drugsludge vibe, massive and droning and drenched in rumbling low-end fuzz, a lightless leviathan of a riff stretched over the song's rumbling amplifiers and bombarded by peals of putrid, piercing feedback.
     Comes in a gatefold jacket that duplicates the artwork and design of the original vinyl release.


MURDEROUS VISION   Hidden Histories   CASSETTE   (Impulsy Stetoskopu)    8.50



     Still one of the most consistent death industrial outfits currently active here in the US, Stephen Petrus's long-running Murderous Vision came out with this cassette a short while back on the Polish label Impulsy Stetoskopu, a full-length album of dark, oppressive ambience and cold, clanking loops woven into highly atmospheric driftscapes. The five tracks that make up this tape are in a similar vein as other recent Murderous Vision works like Engines & Disciples and To Know How It Will End; each is an expansive mass of sound formed from a variety of rumbling, rattling mechanical noises that have been looped together into hypnotic churning patterns, draped in thick layers of murky low-end drone and blasted with gusts of icy blackness, with violent eruptions of garbled electronics and brutal percussion breaking through the dense wall of sound.
     It gets pretty heavy at times, as tracks like "A Hatred That Binds" materialize into huge grinding noisescapes, super-distorted drones and blown-out bass churning beneath frenzied electronics and washes of gaseous feedback, or slip into sprawls of glacial rumble like "Feeble Ways To Sell Your Soul", the low-frequency murk infested with surges of insectile synth-noise. Like lots of Petrus's stuff, it's all pretty oppressive, texturally dense with moments of vast, mesmeric power, a wall of malevolent noise rising ever skyward, seething with all kinds of aural activity. And at a couple of points, the sound even drifts into a monstrous power-electronics assault, furious screamed vocals suddenly ripping out of the sonic slime and echoing wildly across fields of inhuman percussive pummel and a backdrop of roaring, over-modulated machinery. The whole tape reaches its apex with the throbbing nightmare that is the title track, also notable for featuring Gary Mundy of Ramleh/Skullflower infamy delivering his demonic, wailing vocals against the sound of a malignant, penetrative pulse.
     Released in a limited edition of one hundred hand-numbered copies.


MYROW, FRED & MALCOLM SEAGRAVE   Phantasm   LP   (Mondo)    36.00



      If you asked me to list my favorite horror films of the 1970s, I can guarantee that Phantasm would be in the top five. The film's dreamlike, fractured narrative about a young boy running afoul of the fearsome Tall Man and his army of squashed, Jawa-like death-dwarves remains one of the most singular and surrealistic visions to come out of that decade. A delirious hodgepodge of supernatural horror, trans-dimensional science fiction, and truly bizarre imagery, 1979's Phantasm has continued to build a rabid cult following in the nearly forty years since its release. In fact, this soundtrack reissue came out just ahead of not only a new 4K restoration of the film overseen by J.J. Abrams, but also the hotly-anticipated fifth film in the series, Phantasm: Ravager.
      As far as the original classic goes, it was just a matter of time before Phantasm received the vinyl reissue treatment. And Mondo stepped up with their usual level of quality, producing a new 180 gram edition that sees this eerie electronic score on wax for the first time since the original Varse Sarabande Lp came out all the way back in 1979. It certainly sounds magnificent, featuring that iconic, eerily hypnotic main theme that transports classic Carpenterian synth into a whole new realm of surrealistic creepiness; its a simple but utterly haunting keyboard melody repeated over minimal percussion, instantly identifiable as soon as any "phan" of the film hears the first few bars.
      The rest of the score is just as morbidly atmospheric, from the synthetic funeral organ of "Welcome To Morningside" and the rumbling, avant-garde atonality of "Hearse Inferno", to the almost Goblin-esque prog of "Phantasmagoria" that gives way to the funkified, staccato throb of "Silver Sphere Disco". Like several tracks in the score, that blends elements of the main theme with other stylistic forms, specifically fusing it to an over-the-top disco arrangement. Other tracks offer ghostly metallic drones and washes of clattery cymbal noise, trippy electronics and menacing basslines, frantic tabla rhythms and lush Rhodes piano, bursts of screaming electric guitar and ghoulish Mellotron choral voices that sound like they could have strayed in from a Frizzi score. Indeed, alot of this gets surprisingly proggy, and there are a couple of moments where it even resembles Univers Zero or King Crimson at their darkest, something that I never even picked up on until I listened to these compositions in isolated form. It definitely feels like Myrow and Seagrave may have been deliberately channeling some of the best composers of the decade, with what sounds like direct nods towards the likes of Carpenter and Goblin, but it ends up being so quirky and offbeat that it avoids sounding derivative. A classic creepfest, for sure.
      Gorgeously presented on 180 gram vinyl with new artwork, the album also includes a printed insert with new liner notes from director Coscarelli along with bios for Myrow and Seagrave.
Track Samples:
Sample : Spacegate To Infinity / Jody At Morningside / On The Move
Sample : Phantasmagoria / Silver Sphere Disco
Sample : Intro and Main Title



MYSTIC CHARM   Shadows Of The Unknown   CD   (Memento Mori)    11.99















MZ. 412   Hekatomb   CD   (Cold Spring)    14.98



     In March of 2011, legendary British industrial label Cold Spring hosted their twenty-first anniversary party at The Garage in London, an event that featured crushing live performances from the likes of Skullflower and Iron Fist Of The Sun and other label alumni. But the real coup was the appearance of infamous Swedish black industrialists Mz.412, performing with the core lineup of Nordvargr, Drakh, and Ulvtharm for the first time ever. This rarest of live appearances was a special event to be sure, but for the rest of us who couldn't make the trek, their complete performance from that night has been documented on Hekatomb, a fourteen-track, hour long plummet into an industrial sonic Styx.
     From the photos that accompany this album, the group were an imposing presence; taking the stage in priestly vestments and black hooded masks, Mz.412 rumbled forth with a slowly unfolding nightmare of satanic industrial horror, re-working and expanding upon classic material from their mid/late 90s output, much of it rendered nigh unrecognizable. But you get the full Mz.412 treatment here, as the group moves from doom-laden dronescapes and blasts of rhythmic, distorted noise, to militaristic orchestral power and assaults of seething power electronics; mesmeric scrap-metal rhythms and ritualistic percussion thunder beneath sweeping electronics and ominous samples, surrounded by fragments of liturgical chant or the sound of children's voices, and punctuated with their signature distorted vocals. Much of the set is made up of swathes of hellish ambience and swells of looping symphonic dread, but there's also more than a few moments where the band suddenly surges into a stomping, blown-out industrial deathmarch or grinding, serrated dirge, and in those moments, this set gets seriously heavy.
     As far as live albums go, the production on this disc is terrific, and honestly sounds more like a studio effort than a live document; the energy here is decidedly different from the band's previous works, however. I rarely state any live album to be an essential acquisition, but this is an exception if you're as big a fan of Mz.412's demonic industrial as I am. A pulverizing performance for sure, deathly and devastatingly heavy at times. Comes in a six-panel digipack featuring stills from the performance.
Track Samples:
Sample : Act XIV
Sample : Act VI
Sample : Act II



MHR / MAEROR TRI   Hafenstadt   CD   (Auf Abwegen)    13.98












Track Samples:
Sample : MHR - Hafenstadt
Sample : MAEROR TRI - Tidal Waves Of Oblivion
Sample : MAEROR TRI - Hypnotic Quakes



NECROMANTIC WORSHIP   Spirit Of The Entrance Unto Death   CASSETTE   (Nuclear War Now! Productions)    6.50















NEKROFELLATIO   Pesadilla En Una Noche Sin Estrellas   CD   (Death Continues Records)    11.99



     Italian artist Leonardo Carballo Canto returns with the second album under his Nekrofellatio banner, delivering more of his primitive, purulent death industrial. As the album opens with the nauseous morgue-drift of "Sex Electronic Poison", layers of droning synthesizer separate into bleary, dissonant sub-strata, blurring into clouds of murky black ambience. From there, however, Canto delves into a couple of different sounds, from the haunting chant-like voices that drift backwards like remnants of poltergeist activity across the pulsating distorted throb of "Unidos Por La Sangre", to the filthy vermiform electronics of "Pesadilla En Una Noche Sin Estrellas" and the monstrous howls and strains of faint, haunting piano music that are heard beneath dense layers of shrieking feedback and swirling, psychedelic distortion on "Sete Di Sangue". This obviously owes a certain debt to the sound and visual aesthetic laid down by Marco Corbelli's work with Atrax Morgue and his Slaughter Productions imprint, but Nekrofellatio manage to transcend being yet another Atrax Morgue tribute outfit by crafting a more delirious, decadent take on this sort of morbid death industrial, with a use of layered voices and effects that gives this a murky, oneiric feel.
     Oh, and there's also some sickly squelchy breakbeat-like rhythms that lurch and crawl across a few of these tracks. That certainly gives this an interesting twist, adding an element of diseased, deformed propulsion to the morbid black drift. The scuttling of insect limbs, the swarming of chitinous forms, and the glacial crawl of creeping rot are all evoked by Nekrofellatio's fractured pulses and grisly synthesizer rituals, a malodorous mutation of early Germanic electronic music forms (just listen to "Come Home When You Are Dead" and tell me it doesn't sound like some rotting, zomboid version of Klaus Schulze) pressed between sheets of worm-eaten death portraiture and rotted corpse wrappings. It's really not until the very last track "Amore Sporco" that things get truly evil, but that snarling industrial-ambient meltdown certainly ends this with a sick, suppurating splat. Both mesmerizing and nightmarish, Pesadilla En Una Noche Sin Estrellas is one of my favorite releases that this label has produced so far. Check it out if you terminally addicted to filthy, Atrax Morgue / Mauthausen Orchestra-esque death industrial.
     Limited to two hundred copies.
Track Samples:
Sample : Pesadilla En Una Noche Sin Estrellas
Sample : Dmoni
Sample : Amore Sporco



NEW YORK AGAINST THE BELZEBU / DECHE-CHARGE   Noise A Toque De Caixa   7" VINYL   (Jerk Off Records)    5.99



     We've really been getting inundated with some killer noisecore lately, and it's great to see names like Deche-Charge and New York Against The Belzebu popping up amidst the various records of blurr that have landed on my desk. These two vets team up for the first time on Noise A Toque De Caixa, both giving us a relentless gush of sonic nonsense that fans of old-school noisecore will certainly dig.
     Even by noisecore standards, Brazil's New York Against The Belzebu is a pretty weird proposition. A bunch of middle-aged punks blast through what is purportedly one hundred and fifty two songs, if we're going by the track listing inside the sleeve; fair enough, but these guys have continued to strip down and strangify what years ago was a kind of primitive noisegrind but now sounds bizarrely like Captain Beefheart & His Magic Band trying to cover Seven Minutes Of Nausea. How did that happen? It's a mess of atonal anti-guitar, garbled vocals straight from the Id, and primitive percussion that sounds like the drummer is playing a kit made up of just a broken crash cymbal and a block of wood. It's some of the weirdest noisecore stuff I've heard lately, a bizarro spazz-attack that I find richly cathartic, buit which may baffle even the more masochistic noisecore fans out there.
     Not to be outdone, Deche-Charge follow that with "256 Trax" of their own inchoate savagery. These guys always had an extremely low-fi, dilapidated sound, and the same goes for this stuff. The band careens wildly through a thousand mile per hour clusterfuck of brutal Dis-core, improvised blastnoise, furious blown-out grind, and brain-damaged punk, with weird percussive sounds and drum fills that resemble the sound of junk being tossed around the room. As with all of the other Deche-Charge stuff I listen to, this sounds fantastic at higher levels of blood alcohol content.
     Limited to three hundred copies.


NIGHT BITCH   self-titled   10" VINYL   (Ajna Offensive)    15.98












Track Samples:
Sample : Caged Heat
Sample : Twelve And One
Sample : Cities On Flame



NO COMPLY / SETE STAR SEPT   split   7" VINYL   (Jerk Off Records)    5.99



     Yet another noisegrind onslaught from the uber-prolific Japanese duo Sete Star Sept, this time teaming up with Floridian power-violence freakazoids No Comply.
     No Comply rip through five songs of burly, snotty thrashcore on their side, veering between blasts of hyperactive grind, creeping caveman sludge-a-thons, and berserk spazz-punk, all of which appears to have been recorded using just drums and bass guitar, the latter cranked through a serious amount of fuzz-pedal filth. One of the songs is a Spazz cover, which makes sense; those legends are clearly a big influence on No Comply's marriage of goofy humor and brutal blastcore.
     On the other side, Sete Star Sept freak the fuck out with their six tracks of quasi-improvised noisegrind extremism, pure chaotic intensity. While these two are generally locked into extreme ear-bleeding chaos on everything they do, hardcore fans can discern some distinct blast-modes that Sete Star Sept operate in; on this 7", their stuff is more "grind", hyperfast eruptions of near formless riffing splattered and splayed wildly over blasts of excruciating feedback noise and the drummer's supersonic whirlwind attack. Pretty ferocious as usual, and thoroughly fucked-up from a compositional standpoint; despite the resemblance that Sete Star Sept can have to early grindcore, stuff like "I Don't Notice That Nobody Is Repeated Forever" also feels at least somewhat aligned with stuff like Gerogerigegege and Hijokaidan.
     Limited to five hundred copies.


NO NEGATIVE   The Good Never Comes   LP   (Psychic Handshake)    17.99



     So did that crucial new Stick Men With Ray Guns reissue have you lusting for more fuckoid, mentally unstable sludgepunk? This new record from No Negative will scratch that itch. The Good Will Never Come is the debut full-length from this band, an eight-song psychedelic scum-crawl through Montreal's darkest gutters, fueled on flange pedal fumes and emitting far-flung cosmic shockwaves. I mean, these guys had me the minute I read the label describing this stuff as "...psychedelic death punk that recalls T.S.O.L., Brainbombs, Sabbath, Flipper, and Hawkwind..." - how could I resist?
     But the actual music ended up being more zonked and menacing than I expected. As soon as opener "Eternal Crypt" kicks in, these set off loping through a miasma of gooey space-rock effects and sinister reverb-drenched guitar, slung over a borderline motorik backbeat, the singer's deranged howl leaving vile contrails across the demented psychedelic space-punk heaviness. And No Negative apparently have a member whose role is purely to wrangle the electronics, and man does he lay it on; there's an almost constant barrage of whooshing synth and echoplex abuse and searing feedback going on all throughout the album, and while you can definitely see where Hawkwind would be a major influence on this gunk, it's overall much harder and weirder. Love those twangy, death rock guitar licks that appear throughout these songs, too, while the guitarist pounds out these huge dundering sludgy powerchord slabs, rolling out into belligerent stoned-out grooves fused to the bands barbaric garage-stomp, and smeared in various smudges of tape fuckery and sampled weirdness. Like the band says, "we ain't no hippies". Best stuff on here though are the more laid back, languid tunes like "What Would You Do?", which follows No Negative as they spins up and out in the direction of the closest black hole, leaving trails of dubby effects and zoned-out vocals swirling through the emptiness behind them, tethered only to the rhythm section's narcotized pulse. Great goddamn stuff, sort of like what I would imagine the bastard spawn of Generic Flipper and Comets On Fire might resemble. And you know, I can't think of a better recommendation than that.
     Comes in a cool silkscreened sleeve with various morbid sigil art and strange scratchings, released in a limited edition of three hundred thirteen copies, and includes a digital download.


N PWER   Distort   7" VINYL   (N Pwer Records)    6.50



     One seriously sick, psychedelic hardcore platter, Distort is one of the more recent offerings from the Charlotte, NC band N Pwer, another skull-shredding noise-punk outfit who sound like they're fueled on as much Japanese harsh noise as they are by the violent punk of bands like Confuse and Discharge. I've been listening to lots of this type of stuff lately, especially with those awesome new Disclose reissues tearing my speakers apart repeatedly over the past few weeks, but these maniacs reach another level of blown-out lysergic mayhem with this 7".
     Starting with the mangy old-school hardcore of "Blue Void", N Pwer unleash a delirious haze of madly echoing vocals and fucked-up low-fi noise, and keep it going from there. This stuff doesn't sound like your typical Disclose/Confuse clone, though, that's for sure. It's more vicious, the sound seemingly less informed by the rampaging thrash filth of Discharge and more by the fucked-up end of early 80's American hardcore, bands like Mecht Mensch and Die Kreuzen. Sure, there's a bit of that D-beat tempo in here, but it's often superseded by off-kilter breakdowns and weird, violent tempo changes that make parts of this EP supremely brain-scrambling. All of this stuff rips, but it's so trippy and wrecked by those out-of-control FX, propelling this into total noise-addled madness. I bet their shows are insane. Loved this 7", and am already on the hunt for more of their stuff...
     Limited to three hundred fifty copies.


NOOTHGRUSH   Erode The Person Anthology 1997-1998   CD   (Throne)    12.98



A recent reissue of this excellent compilation from sludge titans Noothrush, now available in digipack packaging with a twelve-page booklet. Here's what we had to say about the previous, now out-of-print version:
The companion to the now out-of-print Failing Early, Failing Often collection on Slap-A-Ham, Noothgrush's Erode The Person is the second volume of odds and ends from the legendary Bay Area sludge outfit. Noothgrush never seemed to get the same love that other extreme slo-mo bands from the same era did (Corrupted, Burning Witch, and Grief, for instance), even though Noothgrush was just as ridiculously heavy and devastating as any of 'em, their ultra-down-tuned riffs and absurdly slow and plodding tempos swimming in droning feedback and misanthropic lyrics that were unrivaled at the time. And then there was the Star Wars and Strawberry Shortcake imagery that Noothgrush would put in their songs and on their record covers, totally throwing powerviolence fans and grindcore 7" collectors for a loop, and predating the juxtaposition of cutesy images and bone-crushing heaviness that Monarch! has perfected. Their songs were jazzier and more complex than most of their peers, too, even as they crawled along glacially, sometimes incorporating a cello into their performance, or the swinging' time-stopping drumming of drummer Chiyo, a young woman who without question served up some of the heaviest beats of the decade. Few are heavier - Noothgrush's recordings are essential listening for fans of Corrupted, Eyehategod, Sunn O))), Bunkur, Monarch, Moss, Khanate, and all things slow and crushing.
The disc was originally self-released by the band in a small run for sale on their 1999 US tour (I actually have a copy of that floating around here somewhere, wrapped up in a xerox paper sleeve) and went out of print immediately, but it's been resurrected by the French label Chimeres and Spain's Throne Records, and this is an essential addition to any sludge/doom metal freak's library. Compiled from various out-of-print 7"s and tour-only joints, Erode The Person contains the jams from their split 7"s with Wellington, Gasp, Carol Ann, the split 12" with Corrupted, the then-new material recorded for the tour CD, and several previously unreleased tracks that had been floating around from splits that never materialized. Utterly essential, comes with a big 12 page booklet filled with EP cover art, lyrics, liner notes and more.
Track Samples:
Sample : Made Uncomfortable by Others Pain
Sample : Hatred for the Species
Sample : Diseased Mammal



NOOTHGRUSH   Entropy / Life Shatters Into Pieces Of Anguish   7" VINYL   (Fuck Yoga)    8.98



     Just got this crusher back in stock, released by the Macedonian label Fuck Yoga. Entropy / Life Shatters Into Pieces Of Anguish is the latest release from these renowned Bay Area sludgebeasts, still one of the heaviest and most sonically gruesome outfits to come out of the whole West Coast extreme hardcore / powerviolence underground of the 1990s. I'm a fan of everything these guys did, even the wonky space rock-influenced sound of their first album (which I think was a bit underrated), but there's no denying that when Noothgrush are pushing this sort of slow-motion deathcrust, they're totally lethal.
     This lengthy two-song EP pairs up the never before released "Entropy" with an older track, "Life"; the former is a bulldozing blast of tar-encrusted heaviness with the band's signature sickly, soul-soured guitar leads wailing over skull-caving riffage, once again emitting a paranoid, misanthropic vibe, while the latter is a new version of a song that originally appeared on their self-titled debut. This new version is transformed into something more triumphant and regal, as singer Dino belts out a soaring, reverb-drenched vocal melody over the song's droning, elephantine riff amid the eerie ringing of clean guitars. I do have to admit, as much as I dig that original album, this new version of "Life" is pretty goddamn great. Bleak and blackly beautiful stuff from these lava-metal vets. Limited to five hundred copies.


NUCLEARHAMMER   Serpentine Hermetic Lucifer   CD   (Nuclear War Now! Productions)    10.99



      Somewhere in between Nuclearhammer's 2009 album Obliteration Ritual and their latest, this Canadian outfit matured from their earlier, Blasphemy-influenced blackgrind into a more streamlined, industrial-tinged cosmic assault that is even more pulverizing, making Serpentine Hermetic Lucifer one of my favorite Nuclear War Now releases of 2014. The newest celestial death-rite from this Toronto-based outfit (which includes past and present members of Adversarial, Paroxsihzem and Dead Of Winter), Serpentine is a hellish, drone-laced blastbeast, fusing brief passages of sub-zero electronic ambiance to the band's bludgeoning blackened death metal and blunt shocks of bestial noisecore. From the opening track, the band explodes into a swarming mass of barbaric blastbeats and crazed squiggling guitar solos, locking into a crushing gravitational groove at the center of the swirling noise, a haunting minor key melody slowly taking shape before descending endlessly through the relentless blast-storm of "Multi-Dimensional Prism of Black Hatred". The brutally cold, chaotic atmosphere is established immediately, as each of the longer tracks develop into an intensely violent storm of Conqueror-esque black/death layered with unusual traces of ghostly melody, their eerie droning tremolo riffs and spectral textures elevating this stuff above the typical Ross Bay worshipping deathblast. The band's echoing monstrous vocals and sinister dissonant riffery gives much of this an almost Lovecraftian vibe that lurks behind the album's strangely titled songs and atmosphere of cosmic horror, and interspersed amongst those longer, sprawling tracks of churning blackened death are shorter pieces that range from abrasive blasts of industrial drone like "24-Cell (Octoplex)" and "600-Cell (Hexacosichoron)" to grinding mechanical noisescapes like "H3po4 (Orthophosphoric Acid)", these harsh noise excursions occasionally leaking over into the longer songs. There are also some strategically placed eruptions of cyclonic, ultra-violent blackgrind violence like "...Rise No More" that clock in at a teeth-rattling thirty-three seconds, bordering on noisecore-like chaos, those moments packing a seriously pulverizing punch in an already violent and inhospitable listening experience.
      Elsewhere, songs like "Phosphorus Clouds Descend on Mecca " see the band slowing down considerably, unfurling into massive gloom-drenched doom, while "Parasitic (Temple of Rats) / Hpo3 (Metaphosphoric Acid) " and the pummeling closer "Cosmic Atomic Hypnosis" unleash some ferocious D-beat-laced heaviness, the latter also building towards one of those powerful, doom-laden climaxes, the end of the album attaining a kind of towering black majesty not often glimpsed with bands in this style. I'm betting that fans of both the blackened berserker noisecore of Intolitarian and the grind-infected ultra-violence of Revenge are going to especially dig Nuclearhammer's hostile, frenzied blastscapes, but this gets high recommendations for anyone into the more forward-thinking, experimental black/death chaos found with bands like Antediluvian and Mitochondrion which Nuclearhammer's glistening cosmic blastwar is most aligned with. Features striking original album art from Krag Prxzm of Paroxsihzem.
Track Samples:
Sample : Subhumannihilation
Sample : H3po4 (Orthophosphoric Acid)
Sample : Multi-Dimensional Prism of Black Hatred



NUDES   Sister   7" VINYL   (Inimical)    6.99



     It definitely seems as if we've been hearing more and more bands combining the abrasiveness and ugliness of 90's-era noise rock with blistering fast hardcore punk, a sound that I'm pretty much a sucker for. One of the better bands that's popped up in recent years doing this sort of mangy, amp-blowing violence is the Seattle outfit Nudes, whose more recent 7" Stain on Iron Lung was described here at C-Blast as "...a grating, cathartic brand of dissonant noise rock, repetitive clanging riffs and lurching rhythms giving way to sudden eruptions of crazed speed and shredding noisy punk...". I dug that EP enough to make me want to hear more of their stuff, leading me to this older 7", Sister.
     And the four songs on this 7" are similarly ferocious, with breakneck hardcore assaults like "Fiend", "Get Me" and "Sick Fucker" rampaging across the record in a deranged tangle of frenzied, jagged riffs, belligerent, bratty screaming, and pummeling tempos that frequently make some violent and abrupt turns into a kind of gruesome mid-paced noise rock, slathered in hideous feedback and squealing amplifier noise. The guitar playing here is as wretched and discordant as what I heard on their other 7", paint-peeling noise and scrambled powerchords mashed together as these guys repeatedly beat you down. Love those fuckin' vocals too, the singer's scowling shriek sounds genuinely paranoid and frayed when he's screaming "everyone is out to get me". And again as with the other 7", there's something about this that reminds me of Die Kreuzen, the rabid, freaked-out energy of the whole thing tapping into a similar level of hardcore meltdown as their early stuff. Good luck trying to read the lyrics or anything else they have to say, though. All of the text was printed on the inside of the glued sleeve that the record comes in, tucked out of sight like the hidden ravings of a lunatic.


OIKOS   Solve Et Coagvla   CASSETTE   (Land Of Decay)    5.98



     Unearthed some of the last available copies of this neat cassette release from Spanish deathdrone duo Oikos, which came out on the much-missed Land Of Decay tape label that was run by the guys from Locrian. This was but one of several Oikos releases that all came out around the same time (including stuff on Utech and Merz Tapes), but Solve Et Coagvla was my introduction to the band, unfurling three lengthy tracks of stark, rumbling power-drone that combine currents of fractured electronic noise with their trademark low-end roar, and etched in references to the occult. Sucked me right in from the start, the opening track emitting a tractor-beam of wall-rattling distorted drone that rumbles across fields of sputtering, grainy 8-bit noise and distant pulses of synthetic sound. A pretty heavy start to the tape, with an almost Sunn-esque weight to that grinding, granular wall of drone.
     From there though, the band moves through a range of sounds, from the plaintive prettiness of "Omniscience" that features light, drifting guitarwork from Locrian's Andr Foisy, to the ominous, murkily hypnotic swells of "Altered" that gradually reveal delicate birdsong, eerie prayer-bowl tones and other, more mysterious aural activity that echoes through the depths of the mix. There's an almost orchestral depth to "Coagvla", where immense waves of electric guitar sweep across the soundfield, building quickly into an almost kosmische epic of vast sky-scorching contrails of looping guitar sound. You still get thick layers of grainy sonic grit and soot-stained electronic drone on those large-scale driftscapes, but there are also smears of gorgeous melody and textured amp-hum swirling beneath the languid guitar notes. Oikos do a really nice job of balancing that amorphous, psychedelic drift with their heavier tendencies on this tape; there's a similar vibe as some of the grittier drone-rock outfits on Kranky, but Oikos are doing their own thing here, with a murkiness that suggests this could have been produced on ancient, obsolete sound equipment, with a dark, sinister edge to their sound that makes this a particularly enjoyable listen either on headphones or with the volume cranked, their grim, minimalist soundscapes filling the air like a funereal fog.
     Features cover artwork by Locrian's Terence Hannum.
Track Samples:
Sample : Solve
Sample : Omniscience
Sample : Coagvla



ORTHODOX   Axis   CD   (Alone -Spain-)    13.98



     Some four years since their last album Baal, Spanish heavies Orthodox return at last with another full-length of arty, challenging heaviness that continues to emphasize the group's obsession with both the expressiveness of jazz, and the gut-churning power of low-end frequencies. While these guys have received a bit of critical acclaim, I still feel like they're a perpetually underrated band; a stint on Southern Lord seemed to do little to expose their music to a wider audience here in the US, and while their stuff can definitely get into challenging territory, it's still some of the finest experimental metal coming out of Europe at the moment. Now with Axis, Orthodox are back, stripped down to the duo of Marco Serrato (bass, vocals) and Borja Daz (Drums), but even as a two-piece their sound hasn't grown any less dense. And it's still pushing at the boundaries between experimental jazz and doom metal, producing a unique array of sounds with this eight-song disc.
     Winding, angular bass riffs crawl vertically over the drummer's lurching, stop-and-go beat on opener "Suyo Es El Rostro de La Muerte...", starting the album off with distorted rumblings and sinister motives as the sounds of French horn, saxophone and clarinet begin to bleat and drift overhead. That first song feels more aligned with certain strains of French prog rock, with echoes of Univers Zero and Shub Niggurath reverberating through this brief instrumental track. But then when "Crown For A Mole" kicks in, and Serrato's impassioned snarl arrives alongside a monstrously distorted bass guitar and Diaz's tumbling percussive patterns, the mood changes to something more visceral. The album serves up a big dose of that heaviness, but there's more besides: gorgeous instrumental meditations on sun-blasted guitar twang, droning Hammond-like keys and Morricone-esque drama tethered to glacial low-slung riffs and lugubrious tempos ("Medea"), which traces the birth and death of a Sabbathoid riff as it burns down to a molten black core; on "Portum Sirenes", the duo hammer out an elastic, rumbling hypno-metal workout that resembles Om on the edge of a nervous breakdown, only to disappear into the abstract free-improvisation of "Axis/Equinox".
     It's an unpredictable journey, that latter track giving over to moody piano as it becomes one of Axis's most straightforward compositions, while "Io, Sabacio, Io Io!" sees Orthodox joined by additional musicians for a captivating performance inspired by ancient Islamic African folk music, using just vocals, percussion and double bass. "Cancula" delivers another bone-rattling jolt of sludgy metallic heaviness that warps into proggy, dexterous forms towards the end, strafed with vicious, shrieking saxophone, and the closer "...Y A Ella Le Ser Revelado" returns to the theme introduced by the opening song, creating an atmosphere pf psychological tension and unease with percussion, clarinet and bass and French horn, slipping from haunting melody to atonal improvisation and evoking some of the creepier film scores I've heard from Morricone. Throughout all of this, Serrano often applies strange effects to his voice, transforming it into a tremulous croon or ghastly howl that ripples like a heat mirage in the red hot glow of the overdriven distorted riffs, adding to the otherworldly effect of their music. Fans of the band's early heaviosity will find plenty of hypnotic, head-nodding riffs strewn thro0uyghout Axis, but this is an album that is ultimately more concerned with texture and tension than it is with the sheer force of down-tuned power chords.
Track Samples:
Sample : Io, Sabacio, Io Io!
Sample : Portum Sirenes
Sample : Medea
Sample : ...Y A Ella Le Ser Revelado



OVERDOSE SUPPORT   Babylon Healthcare System   CASSETTE   (Kaos Kontrol)    6.50



     Oh man, Finland is where it's at for a certain strain of uber-ugly, sludge-encrusted noise rock, particularly in regards to the noise side of that equation. We've been blasting a number of bands from this region here at C-Blast HQ, thanks to the long running noise/punk label Kaos Kontrol who have hooked us up with various releases from the likes of Forkboy, Throat, Sleiveen Hostess, Hebosagil; in their latest batch of releases, the label has coughed up this short but savory blast of amp-wrecking aggression from the band Overdose Support, who debut here with five songs of seriously noisy, speaker-shredding scuzz-punk.
     At first, Overdose Support skew more towards a modern hardcore sound, the songs dominated by driving tempos, howling layered vocals and dark, menacing guitar riffs. But they also integrate lots of shrieking feedback alongside fucked-up effects and blasts of electronic chaos into their sound, giving songs like the slower, lurching "Solutions R Problems" an unhinged quality, as if the music is actually polluting your stereo as you're listening to this. Of course, disgusting lyrics like "...smells like cum like mushrooms / like your dead mom / I know I got problems I got worms also..." and song titles like "Urethral Opening" and "Weekend Rentboy Forecast" might have something to do with that, as well. The songs actually get wonkier and skronkier and more angular as the tape goes on, leaving behind that hardcore attack as a queasy No Wavey vibe starts to take hold, and you begin to hear the songs breaking apart into passages of gurgling electronic noise. Parts of this remind me vaguely of Daughters, or even Jesus Lizard, but these guys infect their lurching punk heaviness with their own brand of squealing electronic disease. Ended up being alot different from most of the stuff that we've heard from this label, but still has that raucous, noise-damaged attitude and abrasiveness that we were itchin' for.
     Limited to one hundred copies.
Track Samples:
Sample : Civilization Damage Deadline
Sample : Weekend Rentboy Forecast
Sample : Urethral Opening



OWLS ARE NOT WHAT THEY SEEM, THE   Gnosis   CDR   (Eleventh Key)    6.98













Track Samples:
Sample : The Valley
Sample : The Skrying Mirror
Sample : The Conduit



OWLS ARE NOT WHAT THEY SEEM, THE   Pinnacle   CDR   (Eleventh Key)    5.00













Track Samples:
Sample : Pinnacle
Sample : Live Ritual I
Sample : Decadence



PALE SISTER   Embeddead   3" CDR   (Sincope)    7.98



     Appearing via the tiny Italian noise label Sincope, the anonymous and obscure Italian noise outfit Pale Sister makes their first appearance here at C-Blast with this vicious little mini-album, made up of twenty-three untitled tracks of flesh-scouring electronic violence. Their extreme noise goes from long stretches of crackling, electrified drone into fast-moving blasts of cut-up noise and walls of distorted mega-drift, burying distant, peripheral melodies beneath mountains of crushing, suffocating distortion. There are parts of this disc that flay my skull as violently and as viciously as anything from K2, Sickness or Government Alpha, but it'll be followed up by clusters of blown-out drone noise that almost resemble the sound of amplified organ chords run through an ocean of speaker-shredding fuzz.
     Much of their sound is based around hideously over-modulated electro-acoustic sound sources that are turned into rumbling blots of electronic muck, and rhythmic elements occasionally break through the glitch-infested cacophony (even veering into one track of unexpectedly technoid-sounding electronica towards the end, albeit totally infested with howling feedback and distorted hum), but all of that horrific noise is balanced at least somewhat by the brief sections of minimalist glitch and buzz that open up throughout the disc. If you're looking for something to really mangle you with some heavily psychedelic and skull-shredding high-voltage destruction, this delivers. It's actually somewhat comparable to Japanese noise-freak Guilty Connector, what with the surreal mashup of demolished electronica elements, brute-force noise and hyper-abstract glitchery, as well as the general nihilistic, dystopian vibe of the work.
     Comes in a miniature folder-style sleeve that has the disc affixed to the inside on a foam hub, issued in a limited run of fifty hand-numbered copies.
Track Samples:
Sample : Untitled



PALLBEARER   Sorrow And Extinction (PURPLE/BLUE MERGE)   2 x LP   (20 Buck Spin)    27.00



     The latest colored vinyl edition of this huge underground metal hit, here available as a 2015 "purple/blue merge" variant, limited as usual...
     A lot of ears were turned on to the Alabama-based doom metal band Pallbearer back in 2010 when the band released their demo, a three-song dose of epic doom that included a cover of "Szomor vasrnap" ("Gloomy Sunday") by Hungarian composer Rezso Seress. That demo had people comparing Pallbearer to such titans of epic doom as Candlemass and Warning, and the praise was well-deserved; Pallbearer were capable of crafting immensely heavy music with catchy, moving hooks and amazing vocal melodies and displayed incredible songwriting chops. Everyone who loved that demo had been anxiously awaiting their first album, and Sorrow And Extinction lived up to all of the expectations and then some, appearing earlier this year on Profound Lore and delivering one of the best doom metal experiences in recent memory.
     When the album opens, we are greeted by softly strummed acoustic guitar that creaks and scrapes beneath the fingers of the player, a sorrowful and fragile melody that feels almost funereal even as a bluesy twang enters into it, but when the full band finally drops in after a few minutes, you're blown back by the force of their majestic slow-mo metal. That first song "Foreigner" sets up the feel of the rest of the album, presenting a traditional doom metal sound with a unique melodic style that'll stick these songs in your skull for a quite awhile. The likes of Candlemass, Warning and Solitude Aeturnus are clearly an influence on Pallbearer's brand of doom, but the vocal melodies and hooks sound totally unique in the hands of frontman Brett Campbell, whose voice is a perfect mix of soulful emotion and dourness, drifting over Pallbearer's tectonic metal using multi-part harmonies to add a powerful, almost anthemic feel to their choruses. There's a couple of spots on that first song where they sound like a doom-metal version of a Kansas song, and it's pretty goddamn fantastic. No slouching on the heaviness, either; the riffs on this album are armored in lead, massive molten Sabbathian hooks crushing everything underfoot, with just the right amount of "swing" without taking anything away from the mournful, terminally downcast vibe of their music.
     These guys are continuously compared to Yob due to the distinctive vocals and the sheer skull-caving heaviness, but Pallbearer sounds much more "classical" than their labelmates, infecting their old-school approach with slight hints of progressive rock and funereal psychedelia to produce what might be rthe doom album of 2012. Highly recommended!
Track Samples:
Sample : Devoid of Redemption
Sample : The Legend
Sample : Given To the Grave



PART ONE   Funeral Parade   LP + ZINE   (Sacred Bones)    16.99













Track Samples:
Sample : Salem
Sample : Funeral Parade, Graveyard song, Tomb
Sample : Ghost
Sample : Funeral Parade II



PELICAN   The Cliff   12"   (Southern Lord)    11.99



     Back in stock. Something different from the Pelican crew - a song with actual vocals. But this new vision of the song "The Cliff" (which had previously appeared in instrumental form on their latest album Forever Becoming) isn't what you might expect. This is pure heavy rock with Allen Epley of Shiner and The Life and Times applying his gravelly, soulful croon to the tune, and transforms it into something entirely new, a lush, lumbering rush of sugary sludgepop majesty that could easily turn ears on a mainstream rock station. Not to say that it's not heavy - the band's massive, downtuned guitars and pummeling rhythm section is all operating at full power here - but this is easily one of the most accessibly catchy things we've heard from the Chicago instrumental-metal crew.
     The rest of the EP features two alternate versions of the song, starting with Justin Broadrick's gorgeous remix that carves out a monstrous loop and then blankets it beneath layers of early-morning gloom and rumbling low-end and distant oceanic distortion, drawing it out into an epic of bassbin-rattling, industrial-tinged shoegaze that eventually heads in a surprisingly dubby direction. Unsurprisingly, this sounds like it could just as easily have been a Jesu original off one of the more recent albums. And the remix from Palms (the new band featuring Aaron Harris and Bryant Clifford Meyer of Isis) likewise transforms "The Cliff" into something quite different, a hard-edged hypno-rock nod-out with dreamy vocals stretched and echoing across the repetitious, sludgy riffage, ascending into upper orbit as the whole thing builds to a kind of spaced-out psychedelic sludgepop, laced with washes of backwards sound, skittering junglist rhythms, and other swirling layers of drugged-out whoosh, moving toward its own mega-distorted apex. Pretty goddamn impressive. And the record is capped off with an unreleased song called "The Wait" which blends acoustic guitars with Pelican's trademark moody, metallic mathrock, gradually building from a subdued melody to one of their explosively powerful crescendos. A nice companion piece to Forever Becoming.


PERSPEX FLESH   Ordered Image   12"   (Static Shock)    15.98



     Dug the hell out of the older eponymous 12" that I first heard from this mutant UK hardcore outfit, and it led me to their latest EP Ordered Image that came out earlier in 2015. That subtly creepy vibe that I heard on that previous record makes itself known early on, an eerie mood settling over opener "Eight Legged Dreams" as strange chittering sounds and spectral ambience spreads across the beginning of the song. A slowburn intro that eventually builds into their signature frenzy, a driving, depraved hardcore punk assault that takes over the rest of the record. That sets an odd, off-kilter mood right from the start of this blister-raising six-song EP; it's pretty much a direct continuation of what these Leeds psycho-punks gave us on their other records, a distinctive combo of bludgeoning mid-tempo hardcore and malevolent post-punk influenced melody, fronted by the singer's murderous, gravelly vocals. A bunch of catchy, compact blasts of anthemic aggression that have been liberally laced with dissonant riffing and evil, flange-drenched guitar melodies, laid out across rippers like "The Gift" and "Euthanasia" and giving this stuff that a really subtle death rock vibe that sets this stuff apart.
     I'm still hearing a little of that Rudimentary Peni influence on this stuff too, but overall Perspex Flesh are much noisier and more frenzied than their assorted influences, their stomping, bedraggled hardcore lodged with additional bits of noise rock grue and discordant abrasion, with the occasional freakish effect and demented moan tainting some of these songs with an even more deranged, feedback-splattered state of unease. Both of these records I've picked up from the band have been killer, with this one sounding even more ugly and weird.
Track Samples:
Sample : Panoptic
Sample : Euthanasia
Sample : Eight Legged Dreams



PERTURBATOR   Terror 404   2 x LP   (Blood Music)    30.00



Now have the new vinyl editions of the three Perturbator albums on Blood Music, on black 180 gram vinyl in heavyweight gatefold jackets.
An overdose of dark synthwave bliss. I've gotten completely hooked on the synthwave sound that's been growing over the past few years, but Perturbator is without a doubt my favorite. Makes sense that these reissues came out from Finnish label Blood Music, a label better known for releasing progressive and avant-garde metal works from the likes of Ihsahn, Sigh, Kauan and Whourkr; while this project is entirely electronic, its also some of the darkest synthwave out there, and has found mucho favor with the metal and dark industrial crowd. Like all synthwave, Perturbator (aka James Kent, son of the well-known British rock critic Nick Kent) heavily mines the world of classic 1980's-era electronic soundtracks and synthesizer music, drawing from the malevolent throb of classic Carpenter scores, the epic electronic orchestrations of Tangerine Dream, New Order's brooding synthpop, and the rich, glimmering ambience of Blade Runner-era Vangelis. But Kent synthesizes these influences better than just about anyone else I've been listening to, delivering these ominous, pulsating tracks with a heightened sense of dread and a more aggressive energy than most of his peers. Almost entirely instrumental, Perturbator albums will sometimes include a track or two of moody synthpop with guest vocals, but for the most part they play out like some amazing lost score to an obscure unearthed dystopian thriller from the mid-1980s, utterly captivating and an instant time-warp to the rain-drenched, neon-lit streets of my dreams.
Originally released online in 2012, Terror 404 was the first album from Kent's Perturbator, an proudly wore its influences like a badge of honor. From the minimal black pulse of "Opening Credits" that echoed the feel of Carpenter's score for Halloween III, to the dark, dramatic synthwave that followed with tracks like "Terror 404", "Savage Streets" and "X-CaliBR8", Kent makes it clear exactly what kind of vibe he's trying to conjure here. And it works perfectly. Even this early on, Perturbator's menacing synthwave was some of the best stuff of its kind; it's not that hard to properly evoke a vintage 80's soundtrack feel, but Kent's songwriting and arrangements surpass much of what I've been hearing in the synthwave scene, skillfully building tension and bringing a narrative approach to how he constructs the album. He lays on the 80's video-sleaze nostalgia pretty thick compared to later works, with track titles like "John Holmes VHS Nightclub" and "Linnea Quigley Horror Workout", but that's fine with me, and he keeps the film samples to a bare minimum. The album features a guest appearance from fellow French synthwave producer Lueur Verte who contributes additional synths to the song "Mirage", and "Quigley" delivers a killer piece of New Order-esque pop. But for me, it's really all about those crushing, distorted doom-laden synths that rumble throughout the album's darker tracks, blasts of electronic malevolence situated among Perturbator's shadowy technoid rhythms and electro throwbacks. So great.
Track Samples:
Sample : X-Calibr8
Sample : Savage Streets
Sample : John Holmes VHS Nightclub



PERTURBATOR   Dangerous Days   CD   (Blood Music)    16.98



     An overdose of dark synthwave bliss. I've gotten completely hooked on the synthwave sound that's been growing over the past few years, but Perturbator is without a doubt my favorite. Makes sense that these reissues came out from Finnish label Blood Music, a label better known for releasing progressive and avant-garde metal works from the likes of Ihsahn, Sigh, Kauan and Whourkr; while this project is entirely electronic, its also some of the darkest synthwave out there, and has found mucho favor with the metal and dark industrial crowd. Like all synthwave, Perturbator (aka James Kent, son of the well-known British rock critic Nick Kent) heavily mines the world of classic 1980's-era electronic soundtracks and synthesizer music, drawing from the malevolent throb of classic John Carpenter scores, the epic electronic orchestrations of Tangerine Dream, New Order's brooding synthpop, and the rich, glimmering ambience of Blade Runner-era Vangelis. But Kent synthesizes these influences better than just about anyone else I've been listening to, delivering these ominous, pulsating tracks with a heightened sense of dread and a more aggressive energy than most of his peers. Almost entirely instrumental, Perturbator albums will sometimes include a track or two of moody synthpop with guest vocals, but for the most part they play out like some amazing lost score to an obscure unearthed dystopian thriller from the mid-1980s, utterly captivating and an instant time-warp to the rain-drenched, neon-lit streets of my dreams.
     The latest full-length from Perturbator, Dangerous Days is just one more awesome, pulse-pounding blast of electro-terror that once again takes shape as an imaginary soundtrack to the Parisian producer's vision of the nightmarish, retro-futuristic locale of Nocturne City. These thirteen tracks don't veer from his now established sound at all, but who's looking for variety with this stuff? Perturbator's sinister, driving tunes perfectly encapsulate the coolest aspects of 80's electronic soundtrack music, distilling it into intense and utterly infectious (mostly) instrumental tracks, and it's as easy as ever to get sucked into the black pulse of each new piece of music. With each new album, though, the music does seem to become more sophisticated, the songwriting becoming sleeker and more focused. But as with the previous two, Dangerous Days delivers some of the best "outrun" being made right now, starting with the creepy Carpenterian piano and growling synth swells of "Welcome Back" and continuing through the pounding death-electro of "Perturbator's Theme", "Satanic Rites" and "Raw Power"; a perfect combination of brutal technoid rhythms and guttural distorted synths, ominous arpeggio hooks that transform into insidious earworms, 80's-era Japanese video game soundtracks, the occasional sample lifted from The Terminator, endless washes of cinematic kosmische bliss, even delving into some pummeling EBM and hardcore techno on a few tracks. You can hear the echoes of John Carpenter, Tangerine Dream, Vangelis and even Richard Band reverberating through these tracks, shockwaves emanating from the Neon Decade rippling out across Perturbator's music, sleek as black acrylic.
     But once again, the most striking moments are the ones where he teams up with one of his fellow synthwavers, collaborative moments that transcend the instrumental throb of the rest of the album. One of the best is "Hard Wired", which features a gorgeous vocal performance from Isabella Goloversic that transforms that track into a blissout of dark, brooding synthpop; Hayley Stewart and Jared Nickerson (Dead Astronauts) team up for the soulful darkwave-tinged drama of "Minuit"; and on "Complete Domination", Perturbator is joined by the crunchy, apocalyptic synths of the mighty Carpenter Brut for one of the album's most energetic, invigorating tracks.
Track Samples:
Sample : Raw Power
Sample : Humans Are Such Easy Prey
Sample : Dangerous Days



PERTURBATOR   I Am The Night   2 x LP   (Blood Music)    30.00



    Now have the new vinyl editions of the three Perturbator albums on Blood Music, on black 180 gram vinyl in heavyweight gatefold jackets.
     An overdose of dark synthwave bliss. I've gotten completely hooked on the synthwave sound that's been growing over the past few years, but Perturbator is without a doubt my favorite. Makes sense that these reissues came out from Finnish label Blood Music, a label better known for releasing progressive and avant-garde metal works from the likes of Ihsahn, Sigh, Kauan and Whourkr; while this project is entirely electronic, its also some of the darkest synthwave out there, and has found mucho favor with the metal and dark industrial crowd. Like all synthwave, Perturbator (aka James Kent, son of the well-known British rock critic Nick Kent) heavily mines the world of classic 1980's-era electronic soundtracks and synthesizer music, drawing from the malevolent throb of classic Carpenter scores, the epic electronic orchestrations of Tangerine Dream, New Order's brooding synthpop, and the rich, glimmering ambience of Blade Runner-era Vangelis. But Kent synthesizes these influences better than just about anyone else I've been listening to, delivering these ominous, pulsating tracks with a heightened sense of dread and a more aggressive energy than most of his peers. Almost entirely instrumental, Perturbator albums will sometimes include a track or two of moody synthpop with guest vocals, but for the most part they play out like some amazing lost score to an obscure unearthed dystopian thriller from the mid-1980s, utterly captivating and an instant time-warp to the rain-drenched, neon-lit streets of my dreams.
     Perturbator's second album naturally saw the Parisian synthwave artist further focusing and tightening up his sound, while remaining firmly rooted in that vintage 80s synth-soundtrack aesthetic. And it's one of the best dark synthwave albums that's come out since this style of electronic retro-futurism became a "thing", certainly a high point in his already impressive and growing catalog of releases. I Am The Night continues to combine ominous Carpenter/Tangerine Dream-esque synths and sinister sweeping melodies with a relentless four-on-the-floor beat and the occasional film sample used to dramatic effect. Tracks like "Retrogenesis" and the utterly punishing "I Am The Night" are furious dance floor annihilators, delivering a darker and more malevolent vibe, with massive electro hooks and synths so distorted that they rattle your goddamn bass bins; there are moments on Night like the Noir Deco collaboration "Technoir" where the synths are so heavy that it almost feels like a heavy metal riff. Other tracks like "Eclipse" evoke the pulsating dread of Carpenter's score for The Thing, or slip into gleaming, almost jazzy ambience a la Vangelis on "Nexus Six / Interlude". And while most of the material is purely instrumental, there's always at least one track where guest vocalists are used, and here we get two of 'em; featuring the soulful, breathy singing of Memory Ghost's Isabella Goloversic, "Naked Tongues" is a stunning piece of moody synthpop, and later Greta Link provides the vocals for the equally great "Desire", and both make you wish we could get an entire of Perturbator music in this vein. Other tracks draw elements from chiptune music and hammering technoid throb, or drift thorough solemn, introspective synthscapes, but mostly this is pure, driving, black-clad synthwave, a perfect soundtrack to committing night crimes and dangerous heists, pursuing androids or engaging in open warfare with savage neon-painted street mutants. Once again, Kent's pounding, nocturnal electro creates a dramatic, dangerous atmosphere that's leagues beyond most of the stuff coming out from the current synthwave scene. Highly recommended if you're a fan of this sort of sinister retro-synthesizer stuff.
Track Samples:
Sample : Retrogenesis
Sample : I Am the Night
Sample : Technoir



PERTURBATOR   Dangerous Days   2 x LP   (Blood Music)    30.00



   Now have the new vinyl editions of the three Perturbator albums on Blood Music, on black 180 gram vinyl in heavyweight gatefold jackets.
     An overdose of dark synthwave bliss. I've gotten completely hooked on the synthwave sound that's been growing over the past few years, but Perturbator is without a doubt my favorite. Makes sense that these reissues came out from Finnish label Blood Music, a label better known for releasing progressive and avant-garde metal works from the likes of Ihsahn, Sigh, Kauan and Whourkr; while this project is entirely electronic, its also some of the darkest synthwave out there, and has found mucho favor with the metal and dark industrial crowd. Like all synthwave, Perturbator (aka James Kent, son of the well-known British rock critic Nick Kent) heavily mines the world of classic 1980's-era electronic soundtracks and synthesizer music, drawing from the malevolent throb of classic John Carpenter scores, the epic electronic orchestrations of Tangerine Dream, New Order's brooding synthpop, and the rich, glimmering ambience of Blade Runner-era Vangelis. But Kent synthesizes these influences better than just about anyone else I've been listening to, delivering these ominous, pulsating tracks with a heightened sense of dread and a more aggressive energy than most of his peers. Almost entirely instrumental, Perturbator albums will sometimes include a track or two of moody synthpop with guest vocals, but for the most part they play out like some amazing lost score to an obscure unearthed dystopian thriller from the mid-1980s, utterly captivating and an instant time-warp to the rain-drenched, neon-lit streets of my dreams.
     The latest full-length from Perturbator, Dangerous Days is just one more awesome, pulse-pounding blast of electro-terror that once again takes shape as an imaginary soundtrack to the Parisian producer's vision of the nightmarish, retro-futuristic locale of Nocturne City. These thirteen tracks don't veer from his now established sound at all, but who's looking for variety with this stuff? Perturbator's sinister, driving tunes perfectly encapsulate the coolest aspects of 80's electronic soundtrack music, distilling it into intense and utterly infectious (mostly) instrumental tracks, and it's as easy as ever to get sucked into the black pulse of each new piece of music. With each new album, though, the music does seem to become more sophisticated, the songwriting becoming sleeker and more focused. But as with the previous two, Dangerous Days delivers some of the best "outrun" being made right now, starting with the creepy Carpenterian piano and growling synth swells of "Welcome Back" and continuing through the pounding death-electro of "Perturbator's Theme", "Satanic Rites" and "Raw Power"; a perfect combination of brutal technoid rhythms and guttural distorted synths, ominous arpeggio hooks that transform into insidious earworms, 80's-era Japanese video game soundtracks, the occasional sample lifted from The Terminator, endless washes of cinematic kosmische bliss, even delving into some pummeling EBM and hardcore techno on a few tracks. You can hear the echoes of John Carpenter, Tangerine Dream, Vangelis and even Richard Band reverberating through these tracks, shockwaves emanating from the Neon Decade rippling out across Perturbator's music, sleek as black acrylic.
     But once again, the most striking moments are the ones where he teams up with one of his fellow synthwavers, collaborative moments that transcend the instrumental throb of the rest of the album. One of the best is "Hard Wired", which features a gorgeous vocal performance from Isabella Goloversic that transforms that track into a blissout of dark, brooding synthpop; Hayley Stewart and Jared Nickerson (Dead Astronauts) team up for the soulful darkwave-tinged drama of "Minuit"; and on "Complete Domination", Perturbator is joined by the crunchy, apocalyptic synths of the mighty Carpenter Brut for one of the album's most energetic, invigorating tracks.
Track Samples:
Sample : Raw Power
Sample : Humans Are Such Easy Prey
Sample : Dangerous Days



PESTE NOIRE   L'Ordure L'tat Pur   CD   (La Mesnie Herlequin)    12.98












Track Samples:
Sample : Casse, Pches, Fractures Et Traditions
Sample : Sale Famine von Valfoutre
Sample : La Condi Hu



PIG DNA   Control You Fucker #3   7" VINYL   (Nightrider)    6.50



     Now sold out at the source, and no big surprise there - Pig DNA's Control You Fucker #3 is the first vinyl offering from this fucked-up Bay Area outfit, whose members have names like Tilted H.C., Chelsea, Shit Zoo, and Leatherfist. It's a filthy, skull-rattling splooge of primo psychotic noise-damaged hardcore that buries its smoldering violent tendencies and breakneck punk hooks in a shitstorm of harsh noise. And good Christ, is this noisy. They've got a similar bursting-at-the-seams, mega blown-out presence as that whole Confuse-influenced "noise punk" scene that I've been hooked on recently, but this ends up feeling a little different, partially more rooted in early American thrash punk, and songs like "Knife Play" and "Fly" rip across this slab of black wax with all of the abandon and nihilistic ferocity of a classic early 80s side, albeit one absolutely glazed in flanger pedal abuse, squealing amplifier meltdown, and suffocating white static. Their lyrics are short, ugly, malformed haikus that almost read like clippings from a Sotos tribute zine, and everything feels like its right on the edge of sonic and cerebral collapse. And man, when that b-side track "Leather Man" starts up like the sound of a goddamn 747 coming in for a landing, I'm already itching to flip this record over and start all over again. Ugh, this band rules!
     Limited to five hundred copies, and again, sold out at the source!


PISSGRAVE   Suicide Euphoria   CD   (Profound Lore)    13.98












Track Samples:
Sample : The Second Sorrowful Mystery
Sample : Pain Enchantment
Sample : Blood Fog



PISSGRAVE   Suicide Euphoria   LP   (Profound Lore)    19.99












Track Samples:
Sample : The Second Sorrowful Mystery
Sample : Pain Enchantment
Sample : Blood Fog



PLANNING FOR BURIAL / MOTHER ROOM   split   7" VINYL   (The Native Sound)    8.99



     A split EP featuring two different but equally depressing bands currently working within the nebulous, heavier end of the modern "post-punk" realm, this 7" delivers a new song from Mother Room and the New Jersey one-man band Planning For Burial, who I've been digging via his recent releases on Flenser. Sadness ensues.
     Planning For Burial's "When We Were Ghosts" is another terrific dose of this band's heavy, noise-addled gloom, veering between a brooding bass-heavy sound laced with bluesy guitar and waves of humid feedback, and swells of crushing , distorted heaviness and reverb-drenched leads. It's got that same dark, heavy post-punk vibe as Desideratum, but it's also a lot heavier than the sort of stuff that label has been championing lately; in fact, with this song, Planning For Burial seem to hit a similar nerve as the gothy, pummeling noise rock of God Bullies. Could just be me, of course, but there's definitely an interesting, burly edge to this band that sticks out amid all of the other similarly sorrowful outfits making the rounds right now.
     On "Arise", Mother Room proves to make a perfect pairing with Planning For Burial's gloomy noise rock. Over the course of seven minutes, the band trudges through a dimly-lit sprawl of cavernous guitar twang, narcotized crooning, and rumbling drones that quickly erupts into a crescendo of thunderous, lumbering heaviness. Slow and mournful and heavy as hell, almost akin to the likes of Jesu or Nadja with their deliberate, downcast crush, awash in waves of distorted guitar and reverb-overloaded sound, but more gothic, more experimental, with detours into creepy dissonance, accidental amplifier noises, and hushed, tension-filled atmosphere. Quite impressive.


PNEUMA HAGION   Trinity I   CASSETTE   (Nuclear War Now! Productions)    6.00



     Gnostic prose poetry meets a tornado of murky death metal obliteration on this debut demo cassette from Pneuma Hagion. Didn't realize it until it was in my hands, but Pneuma Hagion turns out to be another project from Ryan Wilson of funeral doom outfit The Howling Void and noisegrinders Intestinal Disgorge. With this project, though, he descends into the depths of sepulchral death metal, as this demo emits a rumbling, downtuned mass of blackened, doom-laden heaviness and cavernous reverberations that bears the influence of Incantation's slimiest cacophonies, while stretching that strain of death metal into stranger and noisier forms.
     All three of these songs are pretty short affairs, the longest clocking in at just three minutes; in that one song, though, it crams in a whirlwind of dissonant, sludgy riffage, incomprehensible guttural vocal rumblings, weird bell-like tones and mono-chord dirges that suddenly drop out of the blasting murk, until it finally settles into a titanic droning riff that grinds through the remainder of the song. The other tracks follow similar suit, blending brackish death metal with swells of doomed lurch and thunderous low-end rumblings, vague hints of Disembowelment's unearthly glacial crush glinting through some of the demo's slowest passages. Definitely in a similar spirit as some of the more warped practitioners of disorienting death metal like Portal, Teitanblood, Grave Upheaval and Impetuous Ritual, but on this demo at least, Pneuma Hagion gives it enough of a tweak to leave me hungering for something more from this promising new project.


POPOL VUH   Nosferatu, The Vampire   CD   (SPV Recordings)    16.98













Track Samples:
Sample : Brder des Schattens
Sample : Venus Principle
Sample : Die Nacht Der Himmel
Sample : Through Pain to Heaven



POPOL VUH   Nosferatu, The Vampire   2 x LP   (Waxwork)    36.00













Track Samples:
Sample : Brder des Schattens
Sample : Venus Principle
Sample : Die Nacht Der Himmel
Sample : Through Pain to Heaven



PORTAL   Swarth (SWAMP GREEN VINYL)   2 x LP   (Hells Headbangers)    28.98



     Back in print on vinyl, available from Hells' Headbangers as a new 2015 double LP edition with an etched D-side, housed in a matte gatefold sleeve with a sixteen-page booklet.
     2009's Swarth was the third album from mysterious Australian weirdos Portal, the Brisbane-based band that by then had already inflamed the underground death metal throngs with their insane combination of convoluted, ultra-heavy deathwarp drenched in distortion and dissonance, and their whole bizarre image that included band members concealing themselves behind black hoods at all times, and a "frontman" called The Curator who teetered over the heads of his bandmates with a cuckoo clock where his head should be, or adorned with a pitch-black pope hat, or an insanely oversized crumpled witch's hat. Their ramshackle look alone was something out of a drug-induced fever dream, and only added to the surreal vibe that emanated from Portal's nearly incomprehensible interdimensional death metal.
     And when the band belched Swarth into the world, it saw them delivering a new gold standard for murky, tentacled death metal. From the garbled opening stains of the title track that quickly transforms into fractured blasting chaos, the album sucks their frenzied battery of backwards-moving blastbeats, ghastly wind-tunnel vocals and coarse, insanely discordant guitar noise into a wormhole of utterly alien death metal, revealing an even noisier edge than what we heard on their previous album. As before, the insectoid riffing takes the sort of atonal, bone-scraping No Wavey sound that Gorguts pioneered on Obscura and twists it into something even more slurred and nightmarish, blasts of guttural mosquitoswarm riffing and peals of piercing atonal chords slipping in and out of phase, skittering multi-limbed riffs becoming hopelessly tangled in their own flailing complexity, the soured, slippery slime of the guitars occasionally coalescing into a blast of blackened riffing on tracks like "Larvae" that feels like it causes a gravitational shift with its sudden cohesion. The sludgy, bone-rattling bass guitar detonates into arrhythmic blasts over the drummer's misshapen blastbeats and off-kilter, confusional anti-rhythms, while swells of metallic rumble and drone seethe below the instruments, monstrous reverberations seeping up out of the depths of Portal's mix. The eight songs that make up Swarth are terrifying blasts of gibbering inchoate horror that further entrench Portal's position as one of the most sickening and most abstract death metal mutations in existence. Can't recommend this enough to fans of extreme, avant-garde death. Features a revised layout for the cassette edition that includes new artwork from Industrie Chimre Noire.
Track Samples:
Sample : Writhen
Sample : Swarth
Sample : Illoomorpheme



PORTAL   Vexovoid (BLACK/BLUE MARBLED VINYL)   LP   (Profound Lore)    24.98



     Finaly back in print on vinyl in a new 2015 limited-edition repress, on 180 gram "swamp green" vinyl in a heavy reverseboard jacket with a thick printed inner sleeve.
     Vexovoid is the fourth album from Australian mutants Portal, a band that has continued to confound listeners with an idiosyncratic and otherworldly take on death metal that reached a new level of suffocating, eldritch weirdness on their albums Swarth and Outre. As with those albums, Vexovoid features slippery, malformed death metal, discordant blackened chaos and visions of alien horrors, but there is a clarity to Portal's sound on this album that is markedly different from previous outings.
     The pounding percussive violence that opens Vexovoid is surprisingly straightforward, at least by Portal standards; the sludgy droning riffage and spastic, thunderous drumming that powers "Kilter"'s chaotic swarm is more defined and chunky than the sort of ultra-murky formless deathblast that their other albums are known for; at the same time, the discordant, reptilian horror you'd expect is fully formed here, alive in the slithering droning riffs and bizarre angular arrangement of the song, still sounding like an otherworldly, alien take on Incantation's early, sludgy death metal. And in its final minutes, this song lurches into a blasting minor key majesty that definitely feels like something new gouting from Portal's black maw.
     On "The Black Wards", Portal continues to reveal this more coherent side to their music, the drumming taking on an almost industrial feel at certain points, the rapid chain-gun blastbeats rattling off mechanically below the slippery, surging riffs, and the Curator's bizarre inter-dimensional incantations are easier to pick out among the scattershot riffs, lines like "...cognizant eschewal / plight of Gammon Psyche / the lightness Shrewd / Zugzwang Gordian blighting / Dissorderlies Strewn..." reading like excerpts from a Kenji Siratori novel. The rest of the album is still plenty psychotic, still like some bizarre interpretation of Gorguts and Disembowelment beamed back from some malevolent insect-controlled dimension, the songs swarming with crushing discordant guitars, ghastly gasping vocals and mutant anti-grooves, twisted counter-intuitive time signatures and sudden, wildly jarring shifts in tempo, and awesome breakdowns where the chaotic blasting suddenly downshifts into a soundtrack-worthy section of apocalyptic might; for instance, the end of "Plasm", where riffs turn into foghorn blasts and Portal's churning maelstrom begins to freeze into a backwards-moving wash of withered death-drone, and the strange depth-charge doom of closer "Oblotten".
     It feels like Portal's most complex work so far, the swirling, vomitous riffs and dissonant leads interlocking with greater definition than before, revealing a monstrous complexity at work within the band's pounding, atonal, droning death metal chaos. One of my fave death metal albums of '13 so far. Its one of the band's coolest looking albums too, with artwork from both Rev. Kriss Hades and Industrie Chimere Noire gracing the sleeve.
Track Samples:
Sample : Awryeon
Sample : Kilter
Sample : Oblotten
Sample : Plasm



PORTAL / BLOOD OF KINGU   split   7" VINYL   (Hells Headbangers)    10.98














PREGNANCY SCARES   Mind Control   7" VINYL   (Deranged)    6.50



     Feedback, everywhere. It shrieks through this ripper of an EP from Ottowa hardcore outfit Pregnancy Scares, who bust out four songs of seriously noisy and pissed-off thrash-punk. It's another wicked EP of messed-up hardcore, lurching between moments of slower, brain-damaged dirge and furious, thrashing sonic violence with the occasional off-kilter tempo change that keeps the tension level high. Nothing too complex about their sound, rooted in classic American hardcore punk, but the sheer blown-out abrasiveness of the guitars and the singer's snarling delivery elevates this above most of the throwback HC that we're inundated with, offering a more manic and unstable vibe. One moment, their guitars start to needle so sharply that it feels as if they're attacking their pickups with screwdrivers, but then the band will swerve into something like "Lobotomy" which combines a super-catchy hook, a blazing anthemic ripper that eventually decomposes into a total white-out of effects-dosed noise. These creeps bring a noise-damaged, discordant edge to their music that's become more and more common in recent years (though still quite welcome, at least around here), with a couple of these tracks churning with a harsh, noise rock-like abrasiveness lurking beneath the speed and distortion, lending a heightened degree of anxiety to these tunes. Comes with a download code.


PROPERGOL   Tormentor   7" VINYL   (Nuit Et Brouillard)    7.98



     Released back in 2003 on French label Nuit Et Brouillard, Propergol's two-song Tormentor 7" came in the wake of one of his most evil sounding albums, Renegade. Continuing with the malevolent droning synths and pounding, aggressive rhythms demonstrated on that release, this EP delivers a twelve-minute blast of heavy power electronics, once again exploring the depths of his damaged psyche and obsessive despair through the manipulation of extreme electronic noise and repetitive rhythms. As with previous Propergol recordings, there's a dark, introspective quality to the material, and both "Tormentor" and the b-side track "I Need You" delve deep into that seething psychic terrain. The first track is built around another one of his catchy, distorted synthesizer riffs that repeats endlessly over a billowing fog of shrieking feedback and electronic noise; hypnotic and psychedelic, a cloud of oppressive electronics that grows subtly more threatening. The other track births a monstrous power electronics nightmare, cruel distorted voices looped and layered over detonations of crushing noise, a similar psychedelic feel permeating this one as well, but here Propergol's sonic psychosis goes utterly black, becoming a tumor-riddled, tangled mass of horrific drones and rabid, snarling vocals towards the end.
     Comes in a glossy sleeve with a postcard insert.


PRURIENT   Frozen Niagara Falls   2 x CD   (Profound Lore)    14.99












Track Samples:
Sample : Frozen Niagra Falls (Portion One)
Sample : Christ Among the Broken Glass
Sample : Jester In Agony
Sample : Dragonflies to Sew You Up



PRURIENT   Frozen Niagara Falls   3 x LP   (Profound Lore)    46.00












Track Samples:
Sample : Frozen Niagra Falls (Portion One)
Sample : Christ Among the Broken Glass
Sample : Jester In Agony
Sample : Dragonflies to Sew You Up



PRURIENT   Shipwrecker's Diary   CD   (Ground Fault)    9.98













Track Samples:
Sample : June 19
Sample : Finger
Sample : Belt



PYRRHON   Growth Without End   CD   (Selfmadegod)    10.99



     Now available on CD from Polish label Selfmadegod.
     These Brooklyn avant-blasters are back with a super-short EP that still manages to cram in more riffs in the space of about fifteen minutes than most death metal bands can do with an entire album. This 12" is goddamn ferocious, a churning five-song cyclone of crushing dissonant riffage and insane time signature shifts, punishing breakdowns and brain-scrambling complexity that continues the carnage previously left with their killer albums The Mother Of Virtues and An Excellent Servant But A Terrible Master . Combining their death metal with elements of fucked-up and seriously twisted grindcore, jazz-informed complexity, and scabrous noise rock, these guys are creating some of the nuttiest, most chaotic death metal going on right now, and this new material is a primo chunk of their technical ultra-violence.
     The songs careen from blasts of hyper-speed progginess to Gorgutsian levels of discordant shred, constantly teetering on the edge of total chaos, but also falling into some truly hideous, harrowing grooves on a couple of tracks that hint at that aforementioned noise rock influence. The song "Viral Content" stands out with it's relatively slower, abrasive lurch, at first taking shape as a No Wave-damaged sludgefeast, almost like early Swans filtered through a tech-death lens, with those barking vocals sounding especially bug-eyed here; even when the song suddenly erupts into blasting grind, there's still a grating, noise rock quality to the guitars. On the closer "Turing's Revenge", the band contorts themselves into another jagged, almost mathy form, but there's also some furious rhythmic chaos that thrusts a big chunk of the song into almost free jazz territory. All of these songs kill, though - easily my favorite stuff of theirs yet, Growth Without End is going to be lurking on my turntable for awhile. Definitely recommended to fans of stuff like latter-day Gorguts, Cephalic Carnage, Ulcerate, Baring Teeth, Daughters, Artificial Brain and the like.
Track Samples:
Sample : Turing's Revenge
Sample : Viral Content
Sample : Cancer Mantra



RA AL DEE EXPERIENCE   Demo 2009   10" VINYL + CD   (Ajna Offensive)    27.00













Track Samples:
Sample : Geister Kommen Nach Zion
Sample : Echos Hallen Im Schebirath Ha-Kelim
Sample : Die Schwarzen Zungen Der Kali Maa



RAMIREZ, RICHARD   Private Lowlife   CASSETTE   (Phage Tapes)    5.50



     Right up there alongside the likes of fellow Japanese / American Noise Treaty alumni Macronympha and The Haters as far as US harsh noise goes, Texas noise artist Richard Ramirez has been one of the more well-known entities in the American harsh noise underground since the early 90s, as well as prolific, with hundreds of releases listed on Discogs.com. He's been cranking out a constant stream of filthy, caustic electronic noise for all this time, with most of the stuff released under his own name leaning towards extreme harsh noise.
     That's what you get with this recent tape release, presented in an Arigato Pak style printed case adorned with provocative, homoerotic Tom Of Finland-style imagery and distorted half toned photography, issued in a limited run of one hundred copies; it's one of Ramirez's latest odes to violent man-on-man sex, delivered via a two-track assault of crushing, totally corroded electronic noise and distortion. The first side features "Mouth Plow", a churning mass of garbled, hideously distorted feedback and frenzied pedal-abuse that continuously shifts across the length of the track, spliced with grotesque, blown-out voice samples and machinelike judder. Over on the other side, "Stag Reel (Part Two)" delivers a slightly more structured noise attack, featuring blasts of rhythmic distorted throb amid the brutal squall of his speaker-shredding static and feedback. It's all snarling, psychedelic, hyper-distorted chaos that makes for great headphone listening if you're of a certain masochistic/psychonautic bent, allowing the listener to experience that transcendent moment of shoving yourself into an operational woodchipper head-first.
Track Samples:
Sample : Mouth Plow
Sample : Stag Reel (Part Two)



RAMLEH   Circular Time   2 x CD   (Crucial Blast)    12.98



It's been nearly twenty years since we last had a full-length album from Ramleh operating in "rock" mode, but the sprawling new double album Circular Time sees these British noise rock legends returning with their most intense work since re-emerging in recent years. One of the key bands to emerge from the British post-industrial underground of the early 1980s alongside their Broken Flag label-mates Skullflower, Ramleh continually shifted between the extreme, confrontational power electronics of their early material and their later forays into searing, lysergic noise rock, right up until the band went on an extended hiatus in the late 1990s. The group would return later the following decade with a number of reissues and new releases, but up until now, almost all of the new material from the re-activated Ramleh leaned more towards their power electronics and harsh noise tendencies. But with this massive new album, these distortion masters (now comprised of founding member Gary Mundy, longtime member Anthony Di Franco, and new drummer Martyn Watts) have returned with nearly two hours of speaker-shredding, void-gazing psychedelia, pushing the pummeling, Hawkwindian meltdowns heard on classic 90's-era albums like Be Careful What You Wish For and Shooters Hill into realms of total obliteration.
Still forged from a simple but savage combination of pummeling mogodon drumming, monstrously overloaded synthesizers and elliptical, sludge-encrusted bass riffs that anchor the squalls of brutal, electrified guitar noise that crash across these thirteen tracks, Ramleh's sound remains hypnotically crushing. From the almost pastoral strum of opener "Re-entry" that ends up exploding into a frenzy of howling feedback and motorik propulsion, the galloping power and delay-drenched delirium of "Incubator", to the lurching post-punk of "The Tower", the ferocious, volcanic ragas of "Renaissance Warfare", and the lumbering, almost Sabbathian bass-thud and longform guitar exploration that winds through songs like "The March" and "American Womanhood", Ramleh excavate some of their most monstrous riffs and amplifier meltdowns to date. Heavy, zoned-out drone-rock grooves are unleashed amid gales of sky-scorching guitar noise, with epic psych-shred workouts stretched out across storms of nebular effects. Eerie choral ambience rises above over-modulated bass-lines and tumultuous drumming. Distant vocals howl beneath sheets of shimmering guitar, and streaks of twisted, mutant dub materialize within some of the album's catchier moments. Cacophonies of blissed-out guitar squall and violent drumming come tumbling out of the speakers in a rush of freeform psychnoise, and vast, rumbling dronescapes unfurl in the abyss, enfolding majestic but brutally distorted melodies in waves of shadowy low-frequency synth. It's dark, often brutal music, but also shot through with moments of sweeping, apocalyptic beauty, building to the powerful back-to-back finale of "Weird Tyranny" and "Never Returner" that are as utterly blasted and majestic as anything we've heard from Ramleh in the band's thirty-some year existence.
Track Samples:
Sample : Never Returner
Sample : Renaissance Warfare
Sample : Entropy
Sample : Re-entry



REEKING CROSS   Cloaked In Vermin   CASSETTE   (Septic Brain Tapes)    4.00



     Every couple of years or so, Sterling, VA belches up another gruesome blob of hyper-violent noisegrind, spewed out of the demented mind of one R. Mason. Grindcore fans have probably heard at least one of the various projects that Mason has been involved with over the years, from the ferocious Enemy Soil or the industrial-tinged insanity of Jesus Of Nazareth to the angular grind of The Index. He even did a brief stint in DC-area math rock outfit Frodus for awhile. With his latest project Reeking Cross, Mason has teamed up with a couple of pals (including Paul Pfeiffer of Wadge) and put together some seriously harsh noise-damaged insanity using just bass, drums and vocals, debuting with this twenty-five "song" cassette that came out on his own Septik Brain Tapes imprint. It's all crammed in a nonstop blast of skull-splintering gorilla-grind that clocks in at just under ten minutes, an exhilarating, whirlwind blast of blown-out bass, guttural vocals and machinegun blastbeats. Fucking barbaric, too. With that bone-rattling distorted bass guitar, the weird squealing noises and howling feedback that's littered all throughout songs like "Wormgod" and "Acolyte/Licking Sores", shifting between blasting speed and jarring, sludgy heaviness, this stuff sort of resembles Man Is The Bastard on a serious PCP binge, with heavy doses of noisecore incorporated into their sound. The two vocalists trade off hysterical screams and mega-gruff vocals, all of 'em spitting out scenes of insane, surrealistic violence and atrocity. A goddamn devastator of a tape, with better-than-usual recording quality that manages to all of their heaviness while still having a raw, "live" feel to the performance. And that cover art...yikes!
Track Samples:
Sample : Exalt
Sample : Cloaked In Vermin / Bloodless
Sample : Sourblood
Sample : Painted Skulls



REENCARNACION   888 Metal / Acompaame A La Tumba   CD   (Nuclear War Now! Productions)    10.99















RNA   No New Tokyo   2 x CASSETTE   (Phage Tapes)    9.98



     "No Wave", my ass. While this trio might be paying lip service to Arto Lindsay's crew of anti-rock miscreants and the legendary 1978 compilation No New York, this outfit goes way beyond rock-deconstruction and into the realm of total city-destroying cacophony. It's one of the first releases from this trio of Japanese noise vets, made up of Fumio Kosakai (C.C.C.C., Incapacitants, Hijokaidan), Kimihide Kusafuka (K2) and experimental drummer/pianist Eiko Ishibashi, a nearly two hour performance recorded live in 2014, with four separate pieces spread across the two cassettes.
     When this starts off, the group crafts a stunning soft-focus vista of distant, glimmering sunkissed drones and sonic shimmer, a gorgeous dawnbreak driftscape that stretches across several minutes of that first untitled track. Once they step on the pedal, though, the sound suddenly erupts into an apocalyptic squall of distorted low-end drone and fearsome, air-raid like blasts of feedback, a gradually thickening maelstrom of thunderous guitar noise and mighty percussive rumblings. The recording is murky and overdriven and blown out, huge chunks of it resembling some of the more aggressive, amplifier-melting Skullflower or Ramleh material. And from there it continues to grow into a deafening jet-roar of freeform noise, a dense, ever-shifting mass of psychedelic electronics and brutal guitar skree, as mind-melting as anything I've heard from Kosakai's work in C.C.C.C. and Hijokaidan. An epic-length din of malfunctioning heavy machinery, malevolent robotics and corrosive electronics, swept up in a storm of effects-pedal fueled delirium.
     The other three tracks are similarly extreme and challenging, but each offers its own distinct pursuit of aural obliteration. The group moves through more of those bass-drenched dronescapes and blasts of clattering junknoise into titanic grinding loops that roll across their smog-choked wastelands like the amplified chug of a halftrack, intensely heavy assaults of distorted rhythmic sound that stretch infinitely outward. Bits of fractured, atonal musicality appear in the cracks between their deafening blasts of noise, hints of melody or humanity that are quickly devoured by the gnashing, ravenous noise-loops that Kusafuka unleashes throughout the set. And on the third side, the group hammer out a half-hour blast of shambling scuzz-rock improvisation that almost begins to evoke some of that old NYC skronk-punk attitude, but buries the meandering drumming, clanging guitars, super-abrasive fretboard scrape and go-nowhere bass-lines underneath a hill of howling, hiss-drenched noise. Exhausting, but awesome.
     Packaged in a molded clamshell case ad issued in a limited edition of one hundred twenty-five copies.
Track Samples:
Sample : Untitled
Sample : Untitled
Sample : Untitled



RWAKE   Forge   7" VINYL   (Handshake Inc.)    9.99















S.H.I.T.   Collective Unconciousness   7" VINYL   (Iron Lung Records)    6.99











Track Samples:
Sample : The Stimulator
Sample : Masochism
Sample : Collective Unconsciousness



S.H.I.T.   Feeding Time   7" VINYL   (Static Shock)    6.99













Track Samples:
Sample : Private Lies
Sample : Feeding Time



S.H.I.T.   Generation Shit   7" VINYL   (Lengua Armada Discos)    6.50













Track Samples:
Sample : Generation Shit
Sample : Fuck All
Sample : Eraser II



SADASTOR   Herald Of Confusion   CDR   (Faunasabbatha)    11.98



     This was, without a doubt, one of the most difficult releases we've ever endeavored to get in stock. First released on cassette in 1998 and later reissued as a limited-edition CDR from Faunasabbatha in a tiny edition of ninety-three copies, this little slab of outsider black metal brilliance literally took years to reach us; they finally did, though, and we've got what appear to be the final copies of this amazing little disc from the strange two-man French black metal outfit Sadastor, a stamped, silver CDR housed in a simple plastic sleeve inside of a zine-style booklet filled with lyrics and artwork, everything bound together in twine and lust, magic and dreams.
     Little is known about this short-lived, extremely obscure band. Herald appears to be the only thing the band ever released. Their music is inarguably black metal, a shrill, fuzz-blasted rawness at the center of Sadastor's sound, but they surround that tinny, trebly abrasiveness with some surprisingly gorgeous melodies and lots of eerie, folk-flecked atmosphere, which cumulatively turn this into something rather odd and unique. Take opener "Scarlet Bath", for instance: from a brief intro of atmospheric wilderness sounds, a severely distorted black metal riff emerges, the high end gain cranked to the max as this eerie minor key melody races above the pattering rhythm of what's presumably a drum machine; it's buried so deep in the mix it's hard to tell though, reduced to a kind of bleary, hyperfast blur. And that achingly pretty melody gradually evolves into something even more poignant and beautiful, particularly when the song suddenly swerves into brief passages of maudlin piano, and when minimal synth notes begin to fall like motes of dust across this smeared superfast black metal lament.
     Sadastor's music also incorporates some great evil-sounding dissonance and warped riffs that contrast with the heart-wrenching melodies, as well as passage of haunted-house ambience and fragments of funereal piano, bits of weird funhouse synth, distant booming war drums, gloomy church organ and bleary droning keys. But those doleful melodies are always there, threaded throughout the songs, like something off an Alcest album but fused to that gritty, low-fi offbeat black metal and the broken rhythms. It really is captivating stuff, but when the vocals fully kick in, then it really turns into something odd. For much of this, the singer delivers the vocals in a typical harsh, throat-shredding scream, but he also sometimes slips into a wonderfully weird, nasally croon that was described by the black metal blog Attila The Hun as sounding "...like a mix of Swedish Chef and the vocals for Italy's Nazgul...". Yes, it's pretty weird, but not quite as silly sounding as you might think. Even more impressive is how that quirky vocal style doesn't detract from Herald's strikingly forlorn beauty. It's the sort of stuff that most "depressive" black metal bands would kill to be able to write, though as the vocals start to get blurred together and looped into a psychotic din on "Panolepte (Ityphallic Rapture)" while the music becomes more frenzied and noisy, this definitely gets into some pretty warped territory, and that last song "Burned Village" almost abandons black metal entirely; a haunting mix of martial drumming and archaic folky undercurrents, this song would later be covered by L'Acephale on their Malefeasance album...
Track Samples:
Sample : The Scarlet Bath
Sample : Herald Of Confusion
Sample : A Burned Village



SADIST   Hyaena   CD   (Scarlet)    14.99













Track Samples:
Sample : Gadawan Kura
Sample : Bouki
Sample : African Devourers



SADIST   Hyaena   LP   (Scarlet)    21.00













Track Samples:
Sample : Gadawan Kura
Sample : Bouki
Sample : African Devourers



SADISTIK EXEKUTION   30 Years Of Agonizing The Dead!   CD   (Nuclear War Now! Productions)    10.99













Track Samples:
Sample : Suspiral
Sample : Proxima Centauri
Sample : Agonizing the Dead



SADISTIK EXEKUTION   30 Years Of Agonizing The Dead!   LP   (Nuclear War Now! Productions)    19.99













Track Samples:
Sample : Suspiral
Sample : Proxima Centauri
Sample : Agonizing the Dead



SADISTIK EXEKUTION / DOOMED AND DISGUSTING   Suspiral Demo 1991 / Murder In The Dark   7" VINYL   (Nuclear War Now! Productions)    6.50



     Nuclear War Now continues to dredge the depths of Australian madness with this filthy 7" featuring two different incarnations of the music of irrepressible lunatic Dave Slave. Prepare for fukking carnage!
     The first side gives you one of the earliest recordings from Slave's band Sadistik Exekution, the utterly berserk Suspiral Demo 1991. Originally released by the band as a two-song cassette tape that bore the instructions to "...play at volume of one thousand armageddons or die...", this is absolute fucking psychosis. The songs "Suspiral" and "Ipsissimus" unleash a rabid blast of quasi-psychedelic death metal that sort of resembled a depraved, drug-damaged take on Morbid Angel, splattering insane shredding solos and effects-warped screams over the violent chaos, the songs shot through with the occasional flourish of bizarre keyboard noise. Eccentric and gloriously fucked-up like all of their early work, both of these tracks would later show up on the band's 1994 album We Are Death... Fukk You, but these early versions possess a psychotic potency all their own.
     On the other side, you get a song from Dave Slave's current one-man band Doomed And Disgusting, "Murder In The Dark". It's another sickoid blast of killer, doom-laden heavy metal from this mutant, channeling classic 80's-style doom through his signature mix of filthy, malevolent riffs, snarling inhuman vocals and generally violent weirdness. Just like that Doomed And Disgusting LP reissue that came out on Nuclear War Now earlier last year, this song is pummeling and warped, seething with a borderline brain-damaged rage that continues to remind me more of the fucked-up doom of Upsidedown Cross or Kilslug than anything resembling the bland Sabbath-worship currently clogging up the bins. Goddamn brilliant.


SANG   Mn Oblidat   7" VINYL   (La Vida Es Un Mus)    9.98



     Cored out from some especially nasty old-school speedcore ore, this four-song ripper from the Italian band Sang comes on like a migraine, ripping through a too-short blast of vicious, serrated speedpunk that was over way too soon. The band's Mn Oblidat is another throwback to an older (i.e., circa-1980s) era of extreme punk, super-fast and highly ferocious, with a rusted metallic edge to their sharply rendered riffs, but the band's abuse of violent, processed feedback adds an additional sheen of abrasive noisiness to this stuff that'll no doubt endear 'em to fans of all of that stuff that's been falling under the banner of contempo "noise punk". It's no Confuse-clone, though; Sang's reverb-blasted and feedback-drenched thrash is a faster beast, the vocals a berserker howl that dials up the frenzied energy quite a bit, and some interesting tempo shifts with the occasional burst of tribal breakdowns in the midst of songs like "Peus De Fang" that really get my blood racing. Ferocious and nerve-shredding, this one is well worth a look for those looking for the extremes in overdriven, noise-addled hardcore.
     Limited to five hundred copies, presented in a silk-screened sleeve.


SCUMRAID   Rip Up   7" VINYL   (Iron Lung Records)    7.98



     Crucial chaotic madness from Seoul, South Korea. Issued in a limited run of seven hundred copies (with download code) on the continually forward-thinking Iron Lung Records, Rip Up is the latest offering from avant-garde noise punk fiends Scumraid, a band that came about as close to ripping my face off as any hardcore record has done thus far this year. Their previous tape Out Of Order introduced me to their brand of cacophonic punk noise, but these five new tracks lay waste to your hearing on a whole 'nother level. All of 'em are crammed on the a-side of this record, with the flipside featuring etched artwork.
     This seriously has to be one of the most blown-out, fucked-up noise-punk records I've heard yet. Scumraid's flesh-scorching distorto-thrash is less rooted in that classic Discharge sound than most bands in this vein, and more in an off-kilter brand of hardcore with echoes of early US hardcore like Negative Approach, a rough n' tumble blast of mean-spirited, misanthropic thrash played by a band whose guitars are so overdriven that they become a wall of incandescent, irradiated distortion and mangled guitar noise, driven by a rhythm section who hurtles through spastic tempo changes and skewed breakdowns, the dual vocal assault throwing up a mix of rebellious yammering and anti-authoritarian screed. Fucking ultra-furious stuff, the anger level driven all the way into the red, with the bass guitar being the one thing that maintains discernable riffs and melody within their roaring static-choked punknoise assault. All of this savagery is over in a flash, just shy of six minutes of music, but it's an incredibly lethal six minutes.
     Limited to seven hundred copies.
Track Samples:
Sample : Reality
Sample : Chronic Isolation
Sample : Rip Up



SECT PIG   Self Reversed   LP   (Nuclear War Now! Productions)    16.99



     Now available on vinyl.
     Sect Pig's nerve-shredding disc Slave Destroyed was one of my favorite releases from Nuclear War Now in 2013, an enigmatic and entirely nightmarish blast of hateful blackened psych-violence that I couldn't stop listening to. This mysterious and utterly singular outfit maintained an air of anonymity that only added to the clandestine, dangerous vibe of their art, which continues with their follow-up album Self Reversed. And this stuff is even more bizarre. As with Slave Destroyed , the band continues to build their diseased black metal upon an unmistakable Von influence, mining that seminal California band's primitive, monotonous sound for its most barbaric elements, then stitching that sort of minimal, monstrous sonic assault patchwork-style with passages of murky psychedelia and carefully selected samples that delve into themes of self-mutilation, murder and psycho-sexual violence. It's presented as a single, nearly twenty minute long track comprised of two original compositions ("Self Reversed" and "Swine Denounced"), followed by a vicious run through GG Allin's "Fuck Off, We Murder" and Carnivore's "7.2 Billion Dead", both of which are reshaped into Sect Pig's mutant image, further mainlining the abject misanthropy that explodes from the original tracks.
     It's definitely more jarring and abrasive than their older material, careening from that punishing, droning Von-esque blackened blast with its ravenous boar-like vocalizations and monstrous guttural whispers, into haunting soundscapes where spoken word sequences are intertwined with ritualistic, resonant prayer-bowl drones, delirious Tuvan-like chanting and swirling, murky ambience. There are also these passages of languid, solarized psychedelic rock that will suddenly pop up out of nowhere, muffled blues guitar licks curling around a shambolic backbeat beneath a bruised twilit sky, while recordings of interviews with serial killer Edmund Kemper drift lazily through the gloom. Even more than before, Sect Pig summons a uniquely mind-melting strain of sonic savagery with this stuff; the vocal processing is more extreme than before, the shrieks and grunts layered into a cacophonic Legion that achieves a genuinely disturbing feel, and the band unleashes a near constant blast of reverb-soaked noise and low-end rumble that swoops and swirls lower in the mix, oceanic swells of sonic chaos that perpetually rage beneath their hypnotic two-chord black metal trance. When this music is operating at its full chaotic power, it's almost like hearing Conqueror blasting through a dense, lysergic haze, the cover songs transforming into bizarrely catchy eruptions of acid-drenched blastnoise.
Track Samples:
Sample : Self Reversed
Sample : Self Reversed
Sample : Self Reversed



SEPOLTE VIVE   The Rats In The Walls   CASSETTE   (Rentum Tormentum)    6.50



     New imprint Rentum Tormentum gets off to a great start with the debut release from Sepolte Vive, a Portland, OR duo comprised of Tim Call (from Aldebaran, Nightfell, Howling Wind, Shadow Of The Torturer and a host of other killer bands), and J. Huss, his bandmate in Sempiternal Dusk. As Sepolte Vive, these guys come up with a nightmare of primitive psychedelic horror electronics, quite different from the sort of monstrous doom and black metal their other projects are known for.
     On Rats, they crafting an album's worth of weird synth-based music that taps into an older horror score vibe; this stuff is quite different from the sort of sinister synthwave and John Carpenter worship that we usually hear from bands mining that territory, though. There's something sickly and off-kilter with these tracks, sometimes sounding like the product of ancient, mold-covered Casios, that murky, primitive synthesizer sound combining with an abrasiveness that reminds me of some of the more demented scores that were appearing on the super low-fi "shot-on-video" horror films of the mid-to-late 80s. For starters, the creepy melodies have a heat-warped, sometimes dissonant quality, with bizarre atonal melodies unfolding over zoned-out, wailing drones and strange electronic effects. Add to that swells of distorted low-end rumble that surge ominously from beneath sputtering pulses and decaying notes, and oppressive chord progressions cycle endlessly through thick fogs of foul electronic squelch.
     No "slasher disco" here; instead, rudimentary two-chord synth-riffs loop endlessly within a haze of distorted drone and soul-crushing keyboard blight, and drum machines hammer out slow-motion pneumatic rhythms as eerie electro-piano notes flutter on broken wings in the shadows. With this more low-fi, lurid aesthetic, this stuff sounds much more evil and depraved than usual. It's also rather haunting at times, and feels descended from a lineage of demented electronic madness that traces back to such anxiety-ridden low-fi masterworks as John Hudek's score for The Abomination, the nightmarish atonality of John Scott's work for Inseminoid, and the subterranean, Sub-Carpenterian synthscapes of David Michael Hillman and Chris Huntley's soundtrack for 1987's The Strangeness. It's a killer tape, and I can't wait to hear more from this project.
     Limited to one hundred copies.
Track Samples:
Sample : The Orgies Of Magna Mater
Sample : Sabbath Of The Bat-Winged Devils
Sample : The Rats Descend Yet Further



SIGH   Graveward   2 x LP   (Blood Music)    42.00



The latest album from these Japanese avant-black metal freakazoids is now available as a deluxe, super-limited double LP from Finnish label Blood Music, packaged in a massive heavyweight triple-gatefold package with printed inner sleeves, with additional new artwork commisioned for this release, a large foldout poster, and includes a bonus track exclusive to this release.
While the latest from these legendary Japanese avant black metallers might not be as mind-blowing a release as the previous In Somniphobia (considered by a lot of fans to be one of the best albums in the band's long career), the symphonic genre-mashing necro-opera that mastermind Mirai Kawashima whips up on Graveward still delivers plenty of that sweet weirdness that Sigh has perfected so well. Tearing across the album opener "Kaedit Nos Pestis" like an acid-dosed Venom, Sigh's whacked-out blackened prog-metal is loaded with blistering rocking tempos and blasts of symphonic majesty, crazed chipmunk vocals and auto-tuned wailing, weird incursions of glitchy electronica and sweeping Moog overload, maniacal flute solos and pounding tribal percussion, chorus line singers and chunks of psychedelic folkiness, searing bursts of jazzy synth straight out of 1984 and screaming metallic guitar solos, brass fanfares and blasts of excoriating electronic noise, jazzy saxophone and oddball psychedelia that shows up from the sinister krautrock flirtations that pulse through the heart of "The Forlorn" to the bizarre funkiness that kicks in with "The Molesters Of My Soul". The bizarre vocal performance mixes Mirai's strangled vicious snarl with weird throat singing and crazed gibberish, and half the time it sounds like he's being backed by a Greek chorus. Yikes! And though Sigh's current form is still a far cry from the ragged black metal of their early releases, the band still whips up an onslaught of vicious blackthrash riffery across the entire disc, with lots of aggro riffage and pummeling thrash that gets combined with dense orchestral sounds akin to something off of a Basil Poledouris score.
There's also a heap of guest appearances from the likes of neoclassical guitarist Kelly Simonz, singer Matt Heafy (Trivium, Capharnaum), Dragonforce guitarist Frdric Leclercq, Metatron from The Meads Of Asphodel (who delivers narration over the track "A Messenger From Tomorrow" alongside vocals from Niklas Kvarforth of Shining), and vocalists Sakis Tolis (Rotting Christ). Fucking killer stuff, maybe not on the same level as stuff like the aforementioned Somniphobia or my personal favorite Imaginary Sonicscape, but this album is still a total blast and sounds like nobody else. The list of albums that Mirai includes in the liner notes that apparently helped to inspire this glorious thrashing madness gives some insight into the sonic mayhem on display, including everything from Celtic Frost to Ornette Coleman to Magma to Fabio Frizzi. Brilliant and confusional, I'll be heading Graveward for some time to come...
Track Samples:
Sample : The Molesters of My Soul
Sample : Kaedit Nos Pestis
Sample : Dwellers In Dream



SISSY SPACEK   Brath   CD   (Oxen)    11.98



     Gird your earholes, folks. We've got another brutalizing new assault from LA improv-grindnoise crew Sissy Spacek, here scaled down to the current duo of drummer Charlie Mumma and guitarist/knob-twister John Wiese. The slimmer lineup has done zero to reduce the extreme noisiness of this outfit; if anything, their newer releases are more brutal than ever. While most of the other Sissy Spacek titles we recently picked up are reissues or collabs, Brath is an actual new album from the band. Split into two thirteen minute tracks, "Brath" immolates the listener with an unrelenting, endless blast of low-fi noisecore, a hurricane of violent free-form drumming, ultra-abrasive distortion and noise, and absolutely bestial screams that totally overwhelm you after just a few minutes. It's similar to the group's previous noisecore works, all blastbeats and frantic cymbals-bashing chaos beneath waves of ear-shredding electronic noise, but Wiese's vocals sound way more vicious and monstrous than usual, blasting this album with an endless stream of guttural, garbled death metal-style roars, utterly inchoate and animalistic.
     There's also a thick layer of crackling, crumbling distortion that sits on top of the entire album, giving this an even noisier and more oppressive feel than some of the band's other recent material. Good luck trying to discern any actual riffs within Wiese's tornado blasts - they're in there, but they are almost entirely consumed within the sheer blown-out storm of noise, as he turns his instrument into a terrifying jet-roar of churning, mega-distorted brutality. And it's awesome. Everything - guitars, drums, whatever else these maniacs are torturing - it all gets so overloaded at times that the recording turns into a wall of pure harsh noise, as grindingly suffocating as anything from Vomir or Cherry Point. But with the added nerve-rattling feel of an entire kitchenware department being hurled down a mineshaft.
     If you're already a fan of Sissy Spacek's experimental grindnoise then you pretty much know what to expect. Nothing resembling a "song", for starters. But these guys also manage to explore different aspects of their seemingly one-dimensional aesthetic with each new record, and Brath sees them carving out some of the most gruesome, gore-splattered chunks of bestial noisecore yet, as aligned with the free-noise chaos of classic Hijokaidan as the flayed-raw primitive grindcore of Scum-era Napalm Death and Fear Of God. Pure violence.
Track Samples:
Sample : Brath 2
Sample : Brath 1



SISSY SPACEK   Dash / Anti-Clockwise (Reissue)   CD   (Helicopter)    11.98



     Newly reissued by John Wiese's own Helicopter imprint, now in digipack packaging.
Part of the recent Sissy Spacek Cd reissue series that came out on Gilgongo, all of which are already sold out from the label...
     This roughly twenty minute long disc from noisecore / improv band Sissy Spacek has fifty-eight tracks of extremely short, brutal noisecore that's taken from their Dash 12" that also came out on Gilgongo a while back, and an import 7". It's total destruction from a lineup that included Lasse Marhaug from Jazkamer and Will Strangeland (No Age / Silver Daggers / Tearist) joining the core duo of John Wiese and Corydon Ronnau.
     The material from the Dash cassette/12" that are featured here is Sissy Spacek in top nuclear-skullshred mode, whipping through forty-some tracks of extreme noisecore fused with pure harsh noise. It's as abrasive as anything I've ever heard from them, each short twenty second blast exploding out of the speakers in a cacophonous din of shrieking feedback, ramshackle blastbeats and collapsing hardcore thrash, heaps of scrap-metal destruction, garbled nonsensical screams and guttural noises, a thick cloud of toxic hiss and feedback enveloping the entire recording. If Incapacitants and Hanatarash had ever hooked up with Anal Cunt for a collaborative 7" back in the early 90s, it would no doubt have sounded very similar to this. The cut-up/collage techniques that Wiese and company utilized on their earlier noisecore-concrete recordings doesn't seem to be as prominently employed here; instead, they simply go apeshit with an all-out improvised grind attack that channels pure bestial energy and speeds it all up to 1000 mile per hour blasts of sonic violence.
The tracks from the Anti-Clockwise 7" (originally released in a tiny limited edition through A Dear Girl Called Wendy) are dropped right into the middle of the disc, book ended on each side by the material from the Dash record, and why not? It's all cut from the same blood-stained, gasoline-soaked cloth, relentless microblasts of ultra-noisy noisecore spliced with total junknoise chaos. Both records produce some of the harshest noisecore/blurr I've heard in years. Total earshred.
Track Samples:
Sample : Anneal
Sample : Birth Control
Sample : Bone Flour
Sample : Burmese Yellow Cake
Sample : Fire Extinguisher
Sample : SISSY SPACEK-Dash / Anti-Clockwise (Reissue)
Sample : Killer Slook



SISSY SPACEK   Gate   CD   (Helicopter)    10.99



     Yet another beastly jizzblast of cathartic earhate from noisecore extremists Sissy Spacek to appear on this list, Gate collects the band's 2013 7" of the same name and their 2014 7" EP Incomprehensible Dehumanization along with a bonus seven-minute live track from a Los Angeles show, recorded in early 2015. All of this stuff comes from the more recent two-piece lineup of John Wiese on bass guitar and electronic noise, and Charlie Mumma (also of Knelt Rote, L'Acephale, and Sleetmute Nightmute) on drums and vocals, but even as a duo, these guys whip up an ultra-violent cacophony of noise that sounds like a jet liner crashing into your house.
     I was never able to pick up the Gate 7" for C-Blast, so finally getting to hear these tracks is great. With its filthy, no-fi production, these fifteen tracks exemplify Sissy Spacek's brand of noisecore at it's ugliest. If it weren't for the stick counts at the beginning of some of these songs, you'd barely know that this stuff was even being generated by "rock" instruments. The band lashes out in quick, destructive bursts of crazed blastbeats, shrieking vocals and totally mangled guitar, all buried under screaming high-end feedback, distortion and hiss. It's as extreme and ear-wrecking as anything else they've done, verging more on pure harsh noise at times, but the ferocity and abrasiveness is enhanced a bit by the fact that the whole record sounds like it was being recorded through the broken condenser mic on an old tape recorder.
     And here's what I had to say about the Incomprehensible Dehumanization 7" back when we first got the record in stock: these tracks might be some of the most insane blasts of extreme noisecore from these guys yet, disappearing even further into their cyclonic maelstrom of hyperspeed blastbeats, improvisational destruction and flesh-rending electronics. "No Relief" pairs up the band's ultra-violent acoustic junk-noise experiments with their blistering noisecore assault style in equal measure, screaming off of the record in a cacophony of extreme ear-piercing high-end feedback, spastically flailing blastbeats, and endless avalanches of rusted metal that never find rest, caught in some terrible Sisyphean loop of clanking, crashing chaos. It's frenzied and intensely harsh, and feels as if you're listening to some hideous free-form jam session between noisecore legends Seven Minutes Of Nausea and the brutal junkyard electronics of Masonna and K2. The flipside blazes through four shorter "songs", "Heaven Doesn't Exist", "Peace Is Impossible", "Greater Cruelty" and "Abandon Every Hope"; it's the same sort of brutal treble-heavy noisecore, Mumma's drumming surging into cyclonic speeds that pretty much abandon any semblance of real rhythm, instead becoming a blur of cymbal hiss and eight-hundred-mile-per-hour percussive clatter, his vocals a putrid death metal-style roar that's all but lost in the collapsing rubble of the duo's onslaught.
Track Samples:
Sample : Warp Mirror
Sample : Mutual Assured Destruction
Sample : Live At 799 Towne Ave
Sample : Greater Cruelty



SISSY SPACEK   Horned Beast   2 x 7"   (Husk Records)    14.98



     More sonic warfare from these L.A. avant-noisecore miscreants, of which I can't get enough. Released a little while back on the great Husk Records, Horned Beast is a hefty double 7" set that captures Sissy Spacek at their most skull-fucking abrasive, an onslaught of hyperspeed noisecore a la early Anal Cunt and Seven Minutes Of Nausea that has been fused to bursts of interstitial, severely high-pitched feedback that does its best to challenge the sheer ear-hate of early Whitehouse. It's a mix of straightforward "songs" and brutally cut-up collage pieces, all recorded over the course of several years, the original recordings dating from 2010 through 2013. Therefore, there's a mix of lineups that were responsible for this, as the band has constantly changed over the years, with band leader John Wiese the only constant. Wiese indulges in a few harsh noise pieces as well, emitting heavy-duty blasts of swirling, suffocating Merzbowian chaos and some eerie (though brief) musique concrete experiments amongst all of the micro-bursts of murderous grindnoise. The most notable of these is the c-side track "Spree", which fills the entire side with a Nurse With Wound-like din of clanking metal, garbled tapes, unseen horrors and endlessly tumbling clockshop sounds.
     Great packaging, with the two records housed inside of a die-cut Arigato-pak style sleeve that includes a printed insert.


SISSY SPACEK + K2   self-titled   CD   (Helicopter)    11.99



     Cali noisecore outfit Sissy Spacek just keep 'em coming. One of four recent releases from the group to appear on the latest C-Blast list, this CD features the current duo version of the band (drummer Charlie Mumma and John Wiese on everything else) teaming up with Japanese noise master K2 for double the earhate. Essentially a collaboration between the two outfits, this disc features four tracks, each one roughly fifteen minutes in length. For their part, Sissy Spacek detonate some of the most savage outbursts of bone-scraping noisegrind yet; opener "Slang Imprisonment" hits a 10 on the violence scale, a nonstop maelstrom of ultra-violent blastbeats, shrieking high-frequency guitar noise, totally mangled anti-riffs, and putrid screams that sound like someone's trachea was hanging outside of their body by the 4:01 mark. Total fucking cyclonic annihilation, like Scum tossed headfirst into a hurricane of broken glass and scrap metal and volcanic magma. A new favorite Spacek blast, for sure. Sickeningly violent and abrasive, a perfect fusion of bestial noisecore and HNW-grade sonic obliteration.
     Which leads us to the second track "S2K2 (Ambulette)", a live collaboration between K2 and the Spacek guys, from a performance in LA in early 2014. While not as balls-out crushing as the previous atrocity, it's even more chaotic and insane, hyper-violent electronics and 1000 mile per hour noisecore colliding at top speed, loaded with staccato bursts of discordant, hideous ear-rape and sudden detours into cacophonic clatter that sound like an entire metalshop being turned upside down.
     The two-part "Lemmings March To The Abyss" closes the album, as K2 utilizes original Sissy Spacek recordings along with his standard arsenal of "junk electronics", feedback systems and synth to create a sprawling, hyperactive noisescape, shifting between brutal psychedelic electronics, violently garbled "junk noise", mutated melodic fragments, and those chunks of pre-recorded Spacek blastnoise, forming a spastic patchwork of cut-up mega-violence that leaves the source materials utterly unrecognizable. As was my face, by the end of this fuckin' thing.
Track Samples:
Sample : SISSY SPACEK - Slang Imprisonment
Sample : SISSY SPACEK + K2 - S2K2 (Ambulette)
Sample : K2 / SISSY SPACEK - Lemmings March To The Abyss/1



SKEPTICISM   Ordeal   CD + DVD   (Svart Records)    18.00













Track Samples:
Sample : You
Sample : The March and the Stream
Sample : The Departure



SKEPTICISM   Ordeal   2 x LP + DVD   (Svart Records)    37.00













Track Samples:
Sample : You
Sample : The March and the Stream
Sample : The Departure



SLEEP   Volume One   LP   (Very Small Recording Company / Tupelo Records)    16.98















SLEIVEEN HOSTESS   self-titled   CASSETTE   (Kaos Kontrol)    6.50



     Could be the language, might be the weather, but whatever it is, Finland just keeps cramming some of the finest modern noise rock down our throat. Yet another outrage from the great Kaos Kontrol imprint, this tape falls somewhere between a slovenly, rawer take on early Unsane (but splattered with deranged electronic effects), or a more driving, ferocious Brainbombs (they definitely have a similar tendency towards excruciating, mantra-like repetition as the 'Bombs, it's pretty obvious that those freaks are a big influence on Sleiveen Hostess's music). Either way, this six-song tape is apparently the first release to come out from the Turku-based outfit, and it's a crusher.
     The band hammers each song into your skull like a railroad spike, bashing out little more than a riff or two over the churning, aggressive drumming; these are some riffs though, barbaric punk with the distortion cranked into the red. Slightly out of tune, sort of like some old hardcore band crashing into a carwreck of twisted, discordant ugliness, with a weird, almost bluesy twang emerging out of that clusterfuck dissonance and three-chord meatgrinder on songs like "Worthless" and "Your Shame". Wish I had some lyrics to follow along with, but in their absence, I'll presume the worst sort of depravity and loathing for humanity is lurking behind the singer's hoarse, hysteric howling. Of course, there's nothing particularly innovative about this stuff, especially if you already have a bunch of old Am Rep records on your shelf, but Sleiveen Hostess are fucking great at that sort of racket - if you're hopelessly addicted to ultra-negative noise rock ear-hate, you'll be putting this beast on repeat. It's one of my favorite noise rock releases from 2015, at least. Limited to one hundred copies, and includes a digital download.
Track Samples:
Sample : Bathrobe
Sample : Worthless
Sample : Scrapbook



SLIMY MEMBER   self-titled   7" VINYL   (Todo Destruido)    6.98



     Being named after a Rudimentary Peni song is an attention-getter, even better when it's the moniker for this sort of deranged, flange-drenched deathpunk weirdness. Dallas weirdos Slimy Member (which includes members of punk bands Dead Line and Lacerations) debut here with this six-song EP of frenzied, macabre hardcore, which has rightfully drawn comparisons to the mighty Peni, Dance with Me-era TSOL and cult early 80s UK deathrock pioneers Part 1; you can definitely hear echoes of all of that stuff in these grooves. Catchy, aggressive, quirky stuff, loaded with frantic tribal toms that hint at a heavy anarcho-punk influence, furious guitars with a bit of metallic bite, and reverb-heavy vocals that echo maniacally through the dank corridors of songs like "Another Dead Soldier" and "The Corpse". Droning, dirgey bass drags this stuff along, the pace aggressive, these songs packing a bit more punch than most stuff in this vein. An uglier, more muscular take on that vintage macabre deathrock sound, juiced on American hardcore, and just as ghastly as the disgusting artwork that's emblazoned on the sleeve. Really recommended.
Track Samples:
Sample : Awaken
Sample : Dark Rooms
Sample : The Corpse



SLOGUN   Tearing Up Your Plans   CD   (Old Captain)    13.98



     Few power electronics projects here in the US rival the fearsomeness of Slogun, one of the very few bands over here who captured the kind of seething urban malevolence that older groups like Final Solution and Intrinsic Action (the latter of which Slogun's John Balistreri spent some time with as a member) were able harness. First released in the late 90s, Tearing Up Your Plans has just been reissued by Ukrainian label Old Captain; it hasn't lost an ounce of its venom in the fifteen years since it initially appeared, a potent slab of self-described "True Crime Electronics".
     Emitting a hateful, utterly nihilistic assault of churning distorted static and lacerating hiss, Balistreri comes in over this chaotic roar with his signature vocal attack, a pissed-off, echoing shout delivering sparse, misanthropic rants above an ocean of sonic detritus and suffocating distortion. It's the sound of urban dread personified. And like alot of Slogun's stuff, those vocals give this a disturbing, psychedelic quality, the tracks taking on a delirious, layered feel as the echoing vocals send out twisted aural tracers across the swells of speaker-rattling hiss and rumble. Some of that strange atmosphere comes from the other sounds that end up infesting these pieces, from bits of old Big Band music seeping into the roiling noisescape, to violent avalanche-like cacophonies that sound like entire buildings collapsing to the ground, to disembodied voices and random street-level sounds transforming into a lysergic blur, while machinelike throb and low-voltage drones undulate beneath layers of crackling blackened electronic filth. All twelve of these tracks seethe and surge with a strange, tide-like power, and while the overarching themes are familiar to this style - explorations into extreme misanthropy, psycho-sexual horror, social isolation - the level of abject loathing and repulsion towards other human beings on here is really only exceeded by the lyrical disgust of early Swans. When this disc locks onto excoriating anti-human screeds like "Slobland", it's a jolt to the nervous system. One of the more ferocious releases from this great American power electronics outfit.
     Released in a limited edition of two hundred copies in digipak packaging with revised artwork.
Track Samples:
Sample : Slobland
Sample : No Regrets
Sample : Every Man, Woman, And Child



SOCIETY OF FRIENDS   Discography   CD   (625 Thrash)    6.98



     A complete discography of everything that this bonkers blastcore outfit from Austin, Texas put out during their brief run in the late 90s, released a while back by Hirax Max's always-ripping 625 Thrash imprint. These guys weren't as well known as some of their fastcore contemporaries back then, but their stuff is highly recommended for its unique combination of off-kilter thrashcore (heavily influenced by the whole Slap-A-Ham / Deep Six "powerviolence" scene) and an absolutely shredding prog-thrash attack. A mixture of Infest-esque hyperblast brutality and weird, pointedly angular arrangements, and blistering palm-muted riffing that starts to take on a Voivodian discordance, Society Of Friends definitely didn't sound like anyone else back then. Lyrically, their screams of general misanthropy sprinkled with the sort of tongue-in-cheek pop culture and hardcore-scene references seemed fairly de rigueur for the time, but there was a level of musical complexity in their music that you just didn't hear very often with these sorts of bands. Lots of jarring tempo changes and tricky time signatures, oddball riffing and dissonant chords, swept up in short blasts of ferocious, hysterical energy, with some pretty unhinged-sounding vocals. And a heavy noise streak, too. There's an eight minute long assault in here called "Bastard Noise Rip Off" that delivers some serious cranial damage via high frequency feedback, putrid inhuman shrieks and improvised drumming.
     It's interesting to note that Society Of Friends included some folks who were at various points also involved with bands like Pig Heart Transplant, Walls, Silentist, Lords Of Light, and even indie darlings Sean Na Na, but they only put out a single album and a handful of 7"s before they called it a day. All of that stuff is collected here, ripe for rediscovery by fans of psychotic, violently warped thrashpunk. The disc features their 2000 album Growing Up And Moving Away as well as an unreleased nineteen-song album titled Communicating Through Loud Music, the tracks from the split with blastcore brutalists Short Hate Temper, and the self-titled and III 7"s. It's all pretty consistent as far as their level of skull-crushing aggression goes, up to the brim with their blasting assault of pulverizing chug-fueled breakdowns, berserk mathy thrash, angular sludge that sometimes resembles a more frenzied Man Is The Bastard, bits of weird murky ambience and stretches of abstract noisescapery. Great stuff!
Track Samples:
Sample : Maintain Radio Contact
Sample : Itchy Spot
Sample : Debo



SPECIAL PEOPLE   David Carradine Style   CASSETTE   (Special People Music)    5.00












Track Samples:
Sample : Psychic Teardrops
Sample : Drug Dreams
Sample : David Carradine Style



SPERM   self-titled   CASSETTE   (Self Released)    4.99



     Not to be confused with the cult Finnish avant-garde outfit from the 1960s, nor the early 80's Japanese punk outfit of the same name, these guys oozed out of the Buffalo, NY gutters with a couple of cassette that surfaced in recent years, one of which is this vicious little Nightmare Life tape. They've got a couple things in common with their fellow upstate maniacs in Gas Chamber, delivering a berserk, weirdo strain of hardcore that hurtles through a mix of influences (SST-esque skronk, gloomy post-punk, putrid noise rock) which they wrangle into their own messy and offbeat sound.
     You get stuff like the wiry, angular hardcore of "Homo-Industricus" and "My Girl", to the violent blast of "A Week In The Life Of Modern Man", and then they'll drop into a song like "Angels (GFF)" that sounds like a mutant take on Joy Division, all droning bludgeoning bass guitar and chilly baritone croon fused to an even more skeletal frame. And then the guitarists break out some buzzing, almost black metal-esque tremolo riffing on the final song "The Merits Of Fascism", adding yet another wrinkle to their oddball hardcore with the song's sinister, almost metallic edge. Add in the unsavory, nihilistic lyrics and stark black and white artwork, and you get a primo blast of eccentric smog-infused despair that really takes a toll on you. And, like all great hardcore cassettes, the entire recording is repeated on side two.
Track Samples:
Sample : Homo-Industricus
Sample : The Merits Of Fascism
Sample : My Girl



SPINA BIFIDA   Ziyadah   CD   (Memento Mori)    11.99












Track Samples:
Sample : Witchfire
Sample : Purest Queen
Sample : Gtterdmmerung



SPINE SCAVENGER   Weighted Ghost   LP   (Cylindrical Habitat Modules)    11.98















STARGAZER   A Merging To The Boundless   CD   (Nuclear War Now! Productions)    10.99












Track Samples:
Sample : Ride the Everglade of Reogniroro
Sample : Black Gammon
Sample : An Earth Rides Its Endless Carousel



STARGAZER   A Merging To The Boundless   LP   (Nuclear War Now! Productions)    19.99












Track Samples:
Sample : Ride the Everglade of Reogniroro
Sample : Black Gammon
Sample : An Earth Rides Its Endless Carousel



STARKWEATHER   Crossbearer / Into The Wire   2 x CD   (Translation Loss)    9.98













Track Samples:
Sample : Into The Wire
Sample : Bitterfrost
Sample : Tumult
Sample : Murder in Technicolor
Sample : Above the Rafters



STELLAR DESCENT   Fading   CD   (Dusktone)    11.99













Track Samples:
Sample : Fading
Sample : Fading
Sample : Fading



STICK MEN WITH RAY GUNS   Grave City   LP   (End Of An Ear)    17.99



Dallas, Texas STICK MEN WITH RAY GUNS was one of the most caustic and dangerous punk bands to ever exist, casting a long shadow that continues to darken those who stumble in out of the sun. Performing for much of the 1980s, the band lived to antagonize audiences (and one another) in a twisted display of love that showcased their departed frontman BOBBY SOXX's vehemently anti-Christian views, radical art, and twist of self-destruction. Guitarist CLARKE BLACKER could bend two chords into a hateful dirge and a complete breakdown of musical structure. The rhythm section of bassist BOB BEEMAN and drummer SCOTT ELAM perfected the midnight thud of interminable tempos that extended time for the purpose of putting the boot down on unsuspecting crowd members throats. Violence at their shows was always anticipated, and the group built up a powerful reputation for their live presence and transgressive content without ever leaving their home state. They have no equal in modern music and likely never will, though many have and will get part of the way there.
Stick Men With Ray Guns never released a proper record in their own time. This is where End of an Ear comes in with Grave City, the premiere release on the beloved Austin, TXs record stores new imprint. Together for the first time, here is every single studio track that was ever recorded by Stick Men With Ray Guns along with the two live tracks (plus one bonus track) as originally released on the four compilations: A Texas Trip, Live at the Hot Klub, Cottage Cheese From the Lips of Death, and Tales From the Edge Volumes 5 & 6. Each track has been restored and remastered for this release by Jack Control at Enormous Door Mastering in Austin, Texas.
Track Samples:
Sample : Christian Rat Attack
Sample : Kill The Innocent
Sample : Scavenger Of Death
Sample : Grave City



STREICHER   Annihilism   CD   (Old Captain)    13.99













Track Samples:
Sample : Rectify Or Cease
Sample : Nothing Has Any Meaning
Sample : Mutilation Victim



SUNN O)))   00 Void (GREEN VINYL)   2 x LP   (Southern Lord)    29.98



Back in print on vinyl once again, this time as a new 2015 edition on green vinyl, issued in a limited run of five hundred copies. For years its only been available as an extremely expensive Japanese import, but Southern Lord finally reissued Sunn O)))'s 2000 album 00 Void this year, complete with the new artwork from Stephen Kasner that accompanied the Daymare version, and available as both a deluxe double disc set that also features the band's collaboration with Nurse With Wound as well as a posh double Lp collectors edition in heavyweight tip-on gatefold packaging.
00 Void was the second release from Sunn O))) following their extremely limited Grimmrobe Demos disc that Hydra Head issued the year before, but for most people (myself included), this was where we were first introduced to Sunn O)))'s massive glacial hypno-riffage and black hole ambience. Much has been made of Sunn O)))'s obvious debt to the "power drone" pioneered on Earth's legendary Earth 2 album, and these vast rumbling sludgescapes and circular trance-riffs are do owe a lot to Earth's ambient drone metal, but the guys in Sunn O))) (which includes, for those who have been living under a rock for the past decade, key members Stephen O'Malley of Burning Witch/Thorr's Hammer/Khanate and Greg Anderson of Engine Kind/Thorr's Hammer/Goatsnake) had by this point already begun to carve out their own language of slow-motion heaviness, introducing new levels of tectonic weight and density to their drone-metal experiments and playing with the use of electronics, processed vocals, stringed instruments and musique concrete concepts. The four tracks on 00 Void are simply constructed, but incredibly heavy, a high point in the realm of orchestral metallic drone that's still one of my favorite albums of its kind.
The murky opening riff at the very beginning of "Richard" still flattens my skull to this day. With help from Stuart Dahlquist (Burning Witch, Asva), the band uncoils a monstrous bass-riff in glacial slow motion, the gluey low-end chug of the guitars rumbling like a semi-frozen wave of molasses over a near constant buzzing drone that is threaded through the whole track. The riff undergoes a couple of subtle mutations, and the backing sounds of whirring metallic hum and ominous swarming feedback shifts and warps ever so slightly over the fifteen minutes as they pile on processed violins and other sounds, but the sheer leaden heaviness remains a constant throughout. The second track "NN O)))" feels more propulsive, the pace more bulldozing as the crushing doom-riff plows through vast cosmic nebulae and abyssal ether formed from distant war-horns, wordless chant and almost Hawkwindian synth transmissions, but it's still agonizingly slow, the slo-mo doomchug drifting like some saurian behemoth through the void. "Rabbits' Revenge" is a re-working of the song "Hung Bunny" off of the Melvins album Lysol, deconstructed here by Sunn O))) into a sprawling disembodied dirge, only vaguely recognizable from the source material, and the final track "Ra At Dusk (Invokation 274 SPDR)" is a monstrous space-doom ritual cloaked in howling demonic noise, time-stretched horns blasting through the blackness, black-hole heaviness chugging aimlessly though space above waves of rumbling amplifier hum...
After this, Sunn O))) would delve into much more experimental territory and often moving pretty far from the pure glacial crush of this album, but this disc will always own a particular spot in my collection as an essential piece of ambient sludge...
Presented in a deluxe gatefold jacket with printed inner sleeves, pressed on 180 gram vinyl.
Track Samples:
Sample : Ra At Dusk
Sample : Rabbit's Revenge
Sample : Richard



SUNN O)))   Black One (CLEAR VINYL)   2 x LP   (Southern Lord)    29.98



     Once again back in print on vinyl, Sunn's doomdrone opus Black One is again resurrected as a gorgeous double LP, here on thick 180 gram clear vinyl and housed in a heavyweight pasteboard gatefold jacket with high quality printing that makes the monochromatic nightmarish look of this album really come to life. Issued in a limited edition of one thousand copies.
     2005's Black One found Sunn at their most wretched, their most monstrous. The crippling deathdrones and ghastly graveyard ambience that lurks throughout this album saw the band strongly incorporating their black metal influences for the first time. While there's still a bit of that disembodied Melvins-esque riffage that made up their early works, the sprawling side-long epics of rumbling primordial murk contained here reek with a malodorous stench that's far more evil sounding than anything the band had done before. The album creaks open like a set of ancient rusted gates, releasing a fetid wind of buzzing horn-like drones and malevolent whispers, the atmosphere congealing into a strange confusion of Tibetan prayer ceremony and the delirium of an exorcism in progress; smears of backwards sound and glitch materialize alongside twisted demonic hissing, the thrum of amplified bowed cymbals and Oren Ambarchi's rumbling guitar feedback inside of "Sin Nanna"'s demonic murk further coloring the black catacomb atmosphere. And then the blackened metallic ooze of "It Took The Night To Believe" caves in, the band's trademark droning riffage forming around a simple, sinister black metal riff, waves of blackened bass rumble washing across the track, the echoing, ghastly vocals of Leviathan mastermind Wrest billowing like plumes of corpse gas across the mesmeric filth-encrusted dungeon ritual. Later, the grinding re-working of Immortal's "Cursed Realms (Of The Winterdemons)" combines a juddering, machinelike rhythm with a swirling fog of shrieking inhuman voices from Xasthur's Malefic (who was purported to have been locked inside of a coffin during the recording of some of his vocal performances), howling feedback and uncoiled bass rumble melting into a noxious tangle of mutant black metal a la Abruptum amid blasts of imperious power-chord drone. And "Orthodox Caveman" is something of a return to the molten Melvinsesque riff-mantras that Sunn perfected on 00 Void, the tectonic riffage stretched out in slow-motion over Ambarchi's chaotic, heavily processed drumming.
     "CandleGoat" offers another brief homage to classic Norwegian black metal, at first revealing an eerie frostbitten minor key guitar figure that is quickly swallowed up in a morass of gut-churning bass and severely down-tuned guitar riffage, then slipping into another black dirge haunted by Malefic's grave-whispers, the sound gleaming with whirring electronics from John Wiese, while on "Cry For The Weeper", they craft an ominous electro-acoustic deathscape of distant metallic reverberations and amplified creaking, eventually blending mournful horns and wailing woodwind instruments with pipe organ-like keyboards and waves of buzzing kosmische synthesizer into a murky, gothic nightmare. And on closer "Bthory Erzsbet", Sunn pays tribute to the fabled Blood Countess with a spacious expanse of minimal drift punctuated by eerie, bell-like overtones that Ambarchi coaxes from his array of amplified gong, guitar and tubular bells. This evolves into a symphony of lowercase cracks and pops, ghostly tones cutting through the haze of bass drone. When the guitars finally rush in at around the halfway mark, the whole piece seems to violently decompress into a intense low-pressure dronescape that unfurls across the final moments, rupturing into a storm of feedback and reptilian malevolence before closing with a final blast of twisted, magmatic dronemetal.
Track Samples:
Sample : CandleGoat
Sample : Cursed Realms (Of The Winterdemons)
Sample : Sin Nanna



SUNN O))) & ULVER   Terrestrials (BLACK VINYL)   LP   (Southern Lord)    16.98



     Back in print, now on black wax...
     Recorded over the course of a four year period, Terrestrials is the long-awaited new collaboration between experimental drone/doom duo Sunn and the acclaimed dark Norwegian prog band Ulver, and it's a true collaboration that sees the two bands dissolving together into an entirely new sound that doesn't really sound quite like anything either band has brought us before. The session sprung up from their shared appreciation of modern classical music and the 70s-era cosmic jazz found on albums like Alice Coltrane's World Galaxy and Pharaoh Saunders's Karma, and infused those influences into these three long epics of gorgeous nocturnal ambience. Both Sunn's more metallic tendencies and the bombast of the newer Ulver material are greatly subdued, but there's still a lingering darkness that drifts through the slow, celestial currents, making this one of the more mesmeric releases from either artist in quite some time.
     When the album starts off, the sound is not to far off from the dark chamber atmosphere of Ulver's latest album Messe I.X-VI.X, though Sunn's presence is easily detected in the pulses of deep bass tones that reverberate through the space, the surges of distorted metallic drone that rise and fall throughout the record, and in the undercurrents of apocalyptic dread that surface at key moments. Opening with the dark shimmering beauty of "Let There Be Light", the ensemble slowly drifts out into a nebula of stretched kosmische drones, trumpets slowly unfurling into ghostly minimal melodies, a somber, cinematic jazziness curling over smears of backwards sound and swells of sinister low-end rumble. Clusters of dissonant strings swarm beneath the gleam of piano notes that delicately ascend from the song's surface, alighting on solar winds. It stretches out like some solemn hymn, not erupting out of that solemnity until almost the very end when the rumble of percussion suddenly swells up and the music blooms into a crescendo of sinister majesty, the improvised drumming rolling beneath an epic melodic figure, deep distorted metallic heaviness seeping up alongside deep rumbling bass, that Sunn-style dronecrush smoldering beneath this elegiac weight.
     The following piece "Western Horn", on the other hand, is burnished in an apocalyptic glow, descending into darker and more ominous regions as eerie processed choral sounds and fluttering electronic noise sweeps in over more of those haunting trumpets. Some electric piano sounds emerge early on, joined by considered use of resonant distorted bass tones, a sinister minor key progression snaking through those sustained wailing voices and washes of textured sound. Over the course of the nearly ten minute long piece, the atmosphere continues to darken, the feeling of foreboding expanding even as that Rhodes piano-like sound brings a lovely, spectral quality to the music, those gleaming notes pulsing over the creepy steam-whistle drones, sheets of sustained dissonance, and whirring organ tones.
     Mournful violins and ringing, reverb-drenched guitar are woven together on the stirring closer "Eternal Return", which spreads across the final third of the album in a dark stain of Morricone-style western twang. A doleful guitar melody creeps through the background, a fractured, meandering accompaniment to that somber jazziness and those folky strings. A folk-flecked funereal darkjazz, gorgeous and bewitching as Rygg's hushed baritone croon drifts in, a near-whisper cloaked in shadow, with feedback unfurling and speakers humming, eerie organ melodies slipping through the blackness, like some Eastern European funeral folk smeared in jazzy ambience.
     On black vinyl, featuring fantastic minimal album art from Sunn's Stephen O'Malley.
Track Samples:
Sample : Western Horn
Sample : Let There Be Light
Sample : Eternal Return



SWANS   Love Of Life   LP   (Young God)    17.99













Track Samples:
Sample : The Golden Boy That Was Swallowed by the Sea
Sample : She Crys (For Spider)
Sample : Love of Life



SWANS   White Light From The Mouth Of Infinity   2 x LP   (Young God)    24.99













Track Samples:
Sample : Love Will Save You
Sample : Failure
Sample : Better Than You



SWANS   White Light From The Mouth Of Infinity / Love Of Life   3 x CD   (Young God)    22.99













Track Samples:
Sample : The Golden Boy That Was Swallowed by the Sea
Sample : She Crys (For Spider)
Sample : Love of Life
Sample : Love Will Save You
Sample : Failure
Sample : Better Than You
Sample : You Know Everything
Sample : Love of Life (Long)



SWANS   White Light From The Mouth Of Infinity / Love Of Life   3 x LP + CD BOXSET   (Young God)    59.99













Track Samples:
Sample : The Golden Boy That Was Swallowed by the Sea
Sample : She Crys (For Spider)
Sample : Love of Life
Sample : Love Will Save You
Sample : Failure
Sample : Better Than You
Sample : You Know Everything
Sample : Love of Life (Long)



T.A.Z.   Communique 1 (Fall 2013)   7" VINYL + CDR   (Annihilvs)    8.50



A bizarre anti-record/art object from this shadowy outfit that may or may not have connections to Philly blacknoise beasts T.O.M.B. and death-blues trio Dreadlords, T.A.Z.'s Communique #1 is part luddite manifesto, part noise-loop experiment, comprised of a painted, unplayable 7" "anti-record", a xeroxed, hand-scrawled thirteen page essay, and an hour-long CDR that features twelve tracks of creepy vinyl record fuckery, random environmental noise and improvised weirdness, all of it housed in a large black zip-lock bag. Presumably taking their name from the acronym for "Temporary Autonomous Zones", there's a number of concepts that are touched on in the manifesto that comes with this, drawing connections between the band's shambling free-improv racket and Luddite philosophies, English artist and occultist Austin Osman Spare, and the anarchist writings of Hakim Bey.
Musically, the group embraces anarchic desire through a bizarre mini-orchestra of ancient gramaphone record players and acoustic instruments in the creation of mind-expanding noisescapes. The tracks range from hazy, cracked loopscapes created by the sounds of ancient records, to unearthly dins of rattling percussion and junk-noise pummel, blasts of otherworldly improvisation and thunderous trashcan clatter haunted by the ghostly warbling of voices drifting off of dusty big band records that are slowly melting off of the sides of rickety phonographs, tracks of eerie low-fi ghost-folk and droning, atonal blues-murk, krautrocky drum circle jams, acoustic noise experiments, squealing reeds, all of this taking on an increasingly wrecked, psychedelic feel that starts to border on the nightmarish by the time you get to the end of the album. At times sounding like No Neck Blues Band or a more primitive version of legendary free-improv noisemakers Smegma, this demented clank-ritual feels like something unearthed from beneath the dry, packed dirt floor of an inner-city celler, the live, low-fi recording giving their ramshackle anti-electrical jams a strange and unearthly feel.
Track Samples:
Sample : Untitled #12
Sample : Track 6
Sample : Track 4



TERRA DEEP   Part Of This World, Part Of Another   CD   (Dusktone)    11.99













Track Samples:
Sample : The Navigator
Sample : Harvestide
Sample : Et Lux In Tenebris Lucet Part II- Venus Adumbrant



THANTIFAXATH   self-titled   CD   (Dark Descent)    9.98












Track Samples:
Sample : Violently Expanding Nothing
Sample : The Madness Into Which All Thigns Flow
Sample : Ten Thousand Years of Failure



THANTIFAXATH   Sacred White Noise   CD   (Dark Descent)    10.99












Track Samples:
Sample : The Bright White Nothing At the End of the Tunnel
Sample : Gasping In Darkness
Sample : Eternally Falling



THANTIFAXATH   Sacred White Noise   LP   (Dark Descent)    15.98












Track Samples:
Sample : The Bright White Nothing At the End of the Tunnel
Sample : Gasping In Darkness
Sample : Eternally Falling



THEOLOGIAN   A Means By Which To Break The Surface Of The Real   LP   (Redscroll / Nothing Under The Sun)    15.00



     Here's another vinyl release from the mighty Theologian, following that killer vinyl edition of Some Things Have To Be Endured that we put out through C-Blast last year. Half of this album was previously available in a preliminary form on a limited CDR, but for the new vinyl version of A Means By Which To Break The Surface Of The Real, the album is fleshed out further with two additional tracks, "Surface Of The Real" and "The Sun Failed To Rise Today". Featuring vocal, noise, and drum machine contributions from David Castillo of NY sludge metallers Primitive Weapons and guest electronics from Daniel Suffering of Whorid, this LP features some of Theologian's heavier stuff.
     It all kicks off with the monstrous cosmic dronescape of "God Comes As A Wall", a massive wall of churning black static that thunders across a looping, rhythmic undercurrent, itself continuing to surge in power throughout the course of the song. That looping propulsion from those buried drum machines makes this feel as if it's about to slip into a krautrock-like drive, but then it'll slides back into a murky, muffled wash of sound that shifts into a kind of droning death industrial, strafed with a combination of furious, distorted yells and strange, somnambulant voices that become almost totally lost in the roar of white noise.
     The other tracks add additional layers of darkness to the album. The title track billows across the disc in a particulate cloud, drenched in eerie elongated drones and darkly melodic murk, enshrouding an oneiric, technoid throb that is as captivating as anything you've heard from Hospital Productions lately. But "The Sun Failed To Rise Today" offers something different, a dreamlike fog of looping voices, fractured melodic synth and bleary chordal drift that wraps around a brutal mechanical rhythm that sounds almost Godfleshian; the result is quite heavier than what we usually hear from Theologian, a pneumatic, inexorable mecha-crush that becomes intensely hypnotic, and utterly malevolent.
     But the main track here, the nearly half hour long "Truthseeker's Pick", goes for a more meditative feel, unfurling its sheets of droning electronics and mechanical buzz across vast expanses of kosmische darkness, hypnotic currents of electrical energy coursing through the void. As the track develops, the sound undergoes subtle shifts in density, softly fluctuating waves of high-end borg-swarm moving endlessly through the emptiness of deep space, layers of searing synthesizer blossoming into peals of metallic buzz and hum, then later developing into the sounds of clanking metallic percussion surrounded by billowing distortion, pounding drums and rattling pipes forming rudimentary rhythms beneath the suffocating electronic fog, building into a final cacophony of shrieking noise and earth-shaking low-end rumble as fearsome distorted vocals begin to sweep in from afar, the final moments of this deathdrone epic peaking into a pummeling sheet metal roar.
Track Samples:
Sample : God Comes As A Wall



THISCLOSE   Burnin' Anger   7" VINYL   (Antisociety)    7.98



     And another older 7" that I picked up from these Scottish Dis-core weirdos, with whom I've developed a troubling obsession in recent months. It all started with that killer LP that came out last year on SPHC, and has grow with each new record of theirs I've tracked down. As on that album, Thisclose continues to channel aspects of the insanity of Discharge's Grave New World, mainly the over-the-top falsetto vocals that resembles a slightly brain-damaged King Diamond; musically, though, this is brutal hardcore, crushing Dis-thrash riffs and rampaging fast-paced tempos that any D-beat freak would fawn over. Obviously, anything that pays homage to the eternally maligned Grave New World is going to be met with opposition and/or disinterest from certain corners, but if you're into heavy-duty metallic punk with a big dose of insane vocal weirdness and lots of circa-80s Thatcher hate and anti-authoritarian attitude, you should at least check these guys out.
     On Burnin Anger, we get two versions of the title track and three other new tunes on the b-side, a mix of sleazy, Motorhead-esque punk and ferocious, hundred mile per hour Dis-thrash that on songs like "Disturbing Visions" and "Named And Slaughtered" sounds absolutely lethal. Fans of crusty, Discharge-influenced hardcore brutality would flip over this stuff. But man, those vocals...singer Rodney Shades delivers 'em in an insanely high-pitched Dr. Rockzo shriek that to my ears balances perfectly on the edge between the amazing and the absurd. Thisclose aren't for everybody, that's for sure. But me? I fucking love this band.


THISCLOSE   Fear And Terror   7" VINYL   (Our Future)    5.99



     Another wicked single from these killer Scottish crust-provocateurs, serving up two more songs of their ferocious and twisted Discharge worship. That is to say, Grave New World-era Discharge worship, whose demented falsetto vocals these guys manage to channel almost perfectly, while applying that insane vocal delivery to a ferocious hardcore assault. The music for "Fear Of The City" and "Terror Police" is furious, fast-paced hardcore punk, brutally simple riffs and pummeling D-beat drumming all pointing towards the obvious influence of crucial early Discharge, but they'll suddenly stomp on the effects pedals and send their violently rampaging hardcore punk shooting into the lower stratosphere as washes of phased effects sweep over the onslaught. Musically, this stuff would have most Dis-freaks frothing at the mouth, but as always it's the bizarre wailing, mewling vocals of frontman Rodney Shades that'll make or break this for you. His hysterical high-pitched shriek is so over-the-top that it sounds like he's channeling both King Diamond and Discharge's Cal on Grave New World, a borderline ridiculous delivery that somehow makes this stuff sound all the more insane to me. I suppose at this point Thisclose are pretty much a Grave New World tribute act, at least on this record, but I'm digging the hell out of their stuff.
Track Samples:
Sample : Police Terror
Sample : Fear of The City



THISCLOSE   The Price We Pay   7" VINYL   (Noise Punk)    5.99



     Another dose of demented nut-crushing Dis-core weirdness from these Scottish maniacs. The Price We Pay came out back in 2014 on Noise Punk Records and features three more songs of Thisclose's unique brand of Discharge-influenced hardcore, distinguished by some of the most over-the-top falsetto vocals you've heard since, well, Discharge's infamous 1986 album Grave New World. If you've heard that infamous blast of brain-damaged brilliance, then you'll be prepared for what frontman Rodney Shades delivers - a shrieking, insanely high-pitched howl that sounds like a more tone-deaf King Diamond, the borderline absurdity of that delivery transcending this stuff into the realm of the truly unhinged. Musically, though, their songs are absolutely ferocious, written in the blunt, brutal style of those earlier, classic Discharge records, rampaging speed-fueled hardcore punk with a tough metallic edge, chewing up vicious two-chord riffs and violent anti-authoritarian screeds that ram this frenzied thrash attack right up your ass. It's a weird and unique mix that I've become increasingly obsessed with ever since I picked up their LP on SPHC last year. This EP features the songs "The Price We Pay", "No Compromise" and "Do It Again", all rippers that would have the spikes-n'-studs crowd piling on top of each other to scream along to, but with those hysterical vocals turning this into a much more bizarre experience. Limited to three hundred twenty copies.


TIESE   Ant irdies   CASSETTE   (Terror)    6.98



     The sole release so far from this obscure Lithuanian industrial music duo, Tiese's Ant irdies came out a little while back as a six-track, full length cassette album (now sold out from the source) draped in surreal, nightmarish soundscapes that quickly get under your skin. The sound here is largely centered around rumbling layers of ultra-murky drone, and it all sounds rather unhealthy and malevolent as it slowly spreads across each side. You get sprawls of alien flutter and subterranean ambience on opener "Kitas Pokalbis", sounding like environmental field recordings of alien fungal life forms slowly achieving sentience; while "ingsnis" offers a speaker-rattling chaos of distorted ultra low-end synth noise and contorted rhythmic splutter, overlaid with ethereal synthesizers.
     Other songs feature burbling, shadowy melodies that loop incessantly far down in the mix, surrounded by menacing whispers, chirping electronics and smears of demonic electronically-warped voices, eventually building into frenzied crescendos. Ghostly electronic drones drift amid gales of malfunctioning electronics and eerie, half-formed melody, evolving into bits of etheric beauty trapped inside blasts of garbled glitch; it even erupts into monstrous electro-acoustic noise akin to a more subdued K2 performance on the tapes most aggressive passages, diffusing into fields of muted, smoldering distortion, abrasive blackened driftscapes lacerated with sinister kosmische synth figures and surges of harsh metallic sound. These guys keep mutating their sound all throughout the tape, but it constantly retains that creepy, unearthly vibe, reminiscent of classic early industrial of Throbbing Gristle and SPK, but with their own surrealistic touch.
     Limited to one hundred copies.
Track Samples:
Sample : Kitas Pokalbis
Sample : }ingsnis
Sample : Skmingai Tsiasi



TIME FOR WAR / FOOT & MOUTH DISEASE   split   6" VINYL   (CONTINUUM.)    8.50



     Being a lathe cut, this is more of a fetish object than a functional piece of physical music; most of the stuff that Continuum puts out tends to be pretty low-fi, leaning towards the noisecore and harsh noise realm, but these lathe cuts have a particularly ratty sound quality that's really just a step or two above a wax cylinder. Which some might dig. Here, you get four tracks of low-fi drum-machine grind from Time For War!, who combine programmed blastbeats and simple, skull-cracking grind riffs with a frenzied dual vocal assault, producing a din of pure mindless violence. That's paired up with another noxious no-fi noise seizure from Foot And Mouth Disease called "Extreme Fuck Over", a churning, fuzz-soaked mess of rhythmic distorted throb, suffocating layers of surface noise and yowling vocals that ultimately crumbles into futility as it chokes to death on a malfunctioning Moog. This is 100% sonic scuzz. Issued in a limited run of fifty hand-numbered copies.


TIMEGHOUL   1992 - 1994 Discography   2 x CD   (Dark Descent)    12.98













Track Samples:
Sample : Rainwound
Sample : Project 2
Sample : Rain Wound
Sample : Occurence on Mimas
Sample : Gutspawn



TOMARO, ROBERT   Slime City   CASSETTE   (One Way Static)    9.98













Track Samples:
Sample : Main Title
Sample : Gross Out Climax
Sample : Gothic Temptress



TOTAL ABUSE   Looking For Love   7" VINYL   (Deranged)    5.98



     Looking For Love is a recently released 7" from one of my favorite current hardcore bands, Total Abuse, a lead-in for the new album Excluded that's coming out early this year (which we'll be stocking as soon as it's available). Though the delivery system of severely noise-damaged hardcore punk, this Austin outfit continues to engage with sexually and psychologically provocative imagery that is directly influenced by everything from old-school power electronics aesthetics to the writings of Peter Sotos, whose 1995 omnibus Total Abuse provided these mutants their band name. I've raved about these guys for years, and Looking For Love delivers another fantastic dose of their stuff until I get that new one in my claws. It's just three songs, but they all rip. The band slows down to a mangy noise rock lurch on the title track, ugly and discordant, like something that you would have heard on Am Rep. The b-side songs "Beg" and "Bootlicker" are faster paced, and filthier, their drooling hardcore punk getting caught in spasms of cacophonic guitar noise and slipping into dundering, hypnotic dirges splattered with frenzied atonal shredding. As with their pervious releases, you can hear strong echoes of DC area psychopunks Void howling through this stuff, but Total Abuse transcend mere old-school crazecore worship, delivering something more depraved and damaged.
Track Samples:
Sample : Bootlicker
Sample : Beg
Sample : Looking For Love



TOTAL FUCKING DESTRUCTION / F.U.B.A.R.   split   7" VINYL   (Give Praise)    6.98



     The latest from eccentric Philly grindmasters Total Fucking Destruction, who sound as goddamn awesome as ever as they fly through four new songs of ferocious, precision-cut grindcore on their side. Jesus, it's exhausting to listen to Rich Hoak's drumming; the Brutal Truth skinwhipper always impresses with his hyper-frantic, jazz-influenced playing, and his performance here is as tight and controlled as always, with the blasting on songs like "Song For Daniel" hitting dizzying speeds; that and the other songs move at vertigo-inducing supersonic tempos, while also strapping them in huge triumphant metal hooks and soaring guitarwork, totally unlike anything else you hear in grind (same goes for the short track of a cappella craziness, "Bugs"). Seriously killer stuff, this 7" would be worth picking up for the Total Fucking Destruction side alone.
     But the other side certainly delivers with some brutality of its own, featuring a bunch of songs from the skull-flattening Dutch band F.U.B.A.R.; these guys combine catchy modern heavy hardcore with pulverizing Napalm Death-esque grind quite nicely, hammering you with a combination of superfast blastcore and anthemic breakdowns, alot of which can get pretty catchy. I can imagine the pit at one of their shows turning into a warzone as I'm listening to stuff like "Niet gezaaid toch geoogst" and "Drone". Blast city, man.


TOVARISH   This Terrible Burden   CD   (Argonauta)    14.98



     Named after the Russian word for comrade and employing distinctly Soviet-themed imagery in both their sleeve art and the song titles on This Terrible Burden, this Rhode Island trio produces a stark and unsettling atmosphere with their ten-song debut. Drawing from a mix of blackened industrial sounds, rumbling metallic heaviness and utterly desolate ambient soundscapes, these guys create something quite chilly, the songs unfolding into long stretches of minimal electronic deathdrift flecked with random noises and sampled speeches dealing with Marxist thought, or filthy, low-fi industrial dirges that lumber through thick fogs of demonic shrieks, molten slow-motion percussion and droning, quasi-black metal guitar drones. Kinda hard to get a bead on exactly what the sentiments are behind this stuff - is this an excoriation of socialism? or something more complex? Seems more along the lines of the former, but regardless of the band's ultimate message behind this album, the music itself is pretty goddamn captivating if you've got a taste for this sort of terminally dismal, soul-crushing industrial ooze.
     Things can get pretty heavy, with tracks like "Order 227" heaving forward on a gooey wave of keening feedback, bestial vocal rumblings and distorted low-end crunch, their tribal rhythms clattering away beneath the doom-laden drones and sprawling, unspooling blackness. Then you've got the centerpiece of Burden with the song "Whisper Campaign", a sublime piece of abyssal psychedelia that features guest vocals from Yoshiko Ohara of avant-doom metallers Bloody Panda; her spooky ululations are immediately recognizable, drifting in over the song's use of spare percussion and ghostly drones, capturing a similar vibe as some of the more minimal moments of her main band as it gradually transforms into a harrowing, funereal lament. Other tracks offer eruptions of torturously slow industrialized doom, morose piano dirges, swells of spectral, synthlike electronics, traces of dread-filled post-rock style soundscapery, bizarre Abruptumesque ambience, all of it flowing together into a nicely warped sonic nightmare. A compelling listen, the whole thing falling somewhere in between the dire, blackened chaos of Gnaw Their Tongues, Cold Meat-style death industrial, and the more experimental fringes of extreme doom metal. Comes in gatefold packaging.
Track Samples:
Sample : Whisper Campaign
Sample : Radiation Sickness
Sample : A Land Of Coffins



TRAUCO / WAXING GIBBOUS   split   CDR   (TDS Records)    9.98



     An intriguing union of occult dronescapes and crepuscular industrial rituals, this is an admittedly odd-looking, extremely limited release that features two obscure Montreal outfits, packaged in a DVD style case held in a black vinyl folio. The main draw for me was the band Trauco, who appear here for the first time; made up of members of the fine doom metal outfit Show Of Bedlam, this duo crafts three long tracks of abstract, sinister ambience formed from hazy, distant female vocals that veer between a frenzied but far-off howl to weird witchy mutterings, floating amid ominous piano chords rumbling through the background and swells of grimy electronic drone and mysterious sampled sounds. When their "side" of this split gets going, it's pretty creepy stuff, almost reminiscent of the more experimental parts of the Suspiria soundtrack at times. A bizarre, dreamlike atmosphere exudes from these songs, the sounds growing more surreal and formless as it progresses. The musical elements melt into the blackness, often little more than a haunting lullaby as heard from the depths of abandoned well, or a fragment of some ancient Tin Pan Alley melody, or a distorted, metallic guitar howling in the depths. Everything shrouded in reverb and echo, punctuated with blasts of booming, echoing percussion. And then it shifts with the last track "The Outsider II", as a slow, relentless drum machine rhythm appears and the music suddenly transforms into a weird, doom-laden brand of darkwave, an almost black metal-esque guitar melody winding beneath woozy, evil-sounding synth and sampled voices, bleary Tangerine Dream-esque synthscapes unfurling beneath expanses of starless night.
     The Waxing Gibbous deliver a different strain of industrial darkness on their half of the disc, moving from heavy rumbling mechanical drones and layered electronics to grinding, ultra-distorted heaviness that sort of resembles a metal outfit buried beneath a mountain of harsh, screeching noise and delay-drenched bass rumble, with looping machinelike sounds and eerie field recordings meeting soft shimmering drones and textured feedback. There's a bit of a classic post-industrial feel to this stuff, some of it reminding me of gritty, grimy Cathartic Process-esque industrial ambience, at other points shifting into a Troum-like sprawl of delirious abstract guitar drift; elsewhere, it erupts into a kind of clanking, mutant power electronics, or drops into a pummeling, Dissecting Table-like dirge. Through it all, there's an ugly, confrontational edge to it, up till the ghostly piano on the last track appears, adrift on waves of sussurant static.
     Issued in a tiny edition of just twenty-five copies...
Track Samples:
Sample : WAXING GIBBOUS - W.G.
Sample : WAXING GIBBOUS - Le Chant de l'Ichthyanthropus
Sample : TRAUCO - The Outsider Part II
Sample : TRAUCO - Infinito Misterioso



TREPANERINGSRITUALEN   Veil The World   CD   (Cold Spring)    14.99



     Another CD reissue of an older Trepaneringsritualen release, Veil The World originally came out on cassette in a super-small run in 2011; now reissued by Cold Spring, this slab of slavering Swedish ritualistic industrial is presented in a superior six-panel digipak, issued in a limited pressing of one thousand copies.
     On Veil The World, Trepaneringsritualen delivers my favorite mode of his work, with a series of pounding rhythmic industrial workouts that are immediately infectious and invasive, rattling the listener with steady technoid drumbeats and clanking percussion drenched in filthy murk and overlaid with those trademark harsh, black metal-esque blood-chants, the sound taking on a mesmeric, ecstatic cadence. This is the stuff that envelops a room and creates a mass of swaying bodies, a furious dancefloor-pounding industrial assault drenched in a ritualistic fervor. The title track is one of the prime examples of that sort of stuff, and one of Trepaneringsritualen's most infectious tracks; but the album is also offset by some rather nightmarish drift that appear on tracks like "Cherem" and "Avgrunden", combining evil, blackened ambience and malevolent metallic noises with guttural, inhuman vocalizations and gusts of foul, subterranean dankness.
     Taken together, that combination of mesmeric, ritualistic industrial and abrasive, abstract deathscapes is what makes this project so potent. Like the electrified throb that pulsates through the ghastly death-dirge of "Lightbringer", or how "Drunk With Blood" writhes within a kind of blackened power electronics, garbled demonic shrieks stretching out beneath waves of deformed synth noise and sputtering, noxious bass. Other tracks rumble with the slow hypnotic thud of war-drums, while blasts of distorted heaviness thunder across the distance, and bursts of sickening, irradiated electronic drone sweep over vast fields of charred, blackened low-end rumble. Compared to some of the other, more ambient reissues that have come out recently, this stuff is pretty intense. And the whole thing closes with a cover of Death In June's "Cest Un Reve" that fits in perfectly among the rest of the album, transforming the song into a punishing assault of grimy, clanking industrial pummel. Definitely one of the more evil-sounding and aggressive releases from Trepaneringsritualen.
Track Samples:
Sample : Veil the World
Sample : Nekyia
Sample : C'est Un Reve



UNEXAMINE   Carnal Opponent No Brothers   7" VINYL   (Oxen)    8.98



     Super-limited 7" (only a hundred copies pressed) from the duo of Charlie Mumma and Danny Costa, who together crank out an ungodly blast of savage harsh noise under the Unexamine banner. Mumma seems to be all over our shelves here at C-Blast, with his involvement in everything from avant-garde noisecore collective Sissy Spacek and noise-damaged black/death metallers Knelt Rote to the folk-flecked experimental black metal of L'Acephale; as Unexamine, he's working with fellow L'Acephale member Costa to produce three tracks of skin-melting noise, one of 'em apparently a tribute to Nikudorei member Yukimasa Okada. They crash mountains of cacophonic junk-noise into walls of squealing feedback, while gruff, distorted vocals rage over the chaos on "Oculolinctus / Struggle Sybaritic"; extremely tough, highly abrasive stuff, while the b-side "Idol Violate" emits a scathing assault of high-frequency feedback over gyrations of metallic chaos and oceanic currents of charred black static, formed from massive layers of chaotic sound that eventually resolve themselves into a pulverizing wall of distorted, garbled noise at the end of it all. The whole approach is reminiscent of K2 at his most thunderous, and just as effective. Deafening, but effective.


USURPRESS   In Permanent Twilight   CD   (Selfmadegod)    11.99













Track Samples:
Sample : In Permanent Twilight
Sample : I Am an Empire
Sample : Embrace Your Non-Existence



USURPRESS   Trenches Of The Netherworld   CD   (Selfmadegod)    11.98













Track Samples:
Sample : The God Eaters
Sample : Dethroned by Shadows
Sample : Coronation of the crippled King



USURPRESS / BENT SEA   split   CD   (Selfmadegod)    11.98













Track Samples:
Sample : USURPRESS - City Of The Nomads
Sample : USURPRESS - A Tidal Wave Of Fire i. Empty Triumphalism ii. Carved In Filth iii. The Styx Runs Dry
Sample : BENT SEA- I Am Become Lust
Sample : BENT SEA - See-Through



VACANT LIFE   Pain Compliance   7" VINYL   (Iron Lung Records)    9.98



     Once again, we get some forward-thinking, noise-damaged hardcore savagery from the Iron Lung label. Vacant Life's debut EP Pain Compliance hit me with a serious frag attack, banging out four quick blasts of blown-out, malevolent punk that fused marauding speed-fueled riffs and a satisfyingly irate singer with a high level of feedback abuse and over-the-top distortion. These guys come out of Seattle, but there's a distinctly Midwestern ugliness to their music, combining their breakneck hardcore with a seething undercurrent of gnarly, Am Rep -style discordance (something that we're hearing more and more often with bands of this ilk). When they crank up the aggression on songs like "Erasure", though, it makes for some supremely potent hardcore, with particularly violence-inducing tempo shifts and an abrasive guitar tone that seems to constantly be on the verge of splintering into total overdriven speaker-shredding chaos. One hell of a nasty EP, and it wraps things up with an especially gruesome dirge called "Press Gang" that sort of resembles a Flipper/Kilslug-style scum-beating combined with a heavy dose of power electronics style mic-annihilation. Fuckin' gruesome.
     Limited to four hundred copies, and issued with a download code.
Track Samples:
Sample : Press Gang
Sample : Erasure
Sample : Clairvoyant



VACCINE / NO FAITH   split   7" VINYL   (Vinyl Rites)    7.50



     Another older 7" I just discovered, after digging around for more stuff from the killer No Faith. Here, that brutal noise-warped hardcore outfit climbs on board this EP with the equally vicious Vaccine for some very abusive hate-vibes...
     Five short tracks on Vaccine's side, apparently the last stuff ever from the band. Insanely fast, unhinged hardcore punk that borders on full-on bonegrinding blastcore. It's a goddamn shame I'm only getting turned on to these guys now, as this stuff is fucking lethal. It's so blown-out and belligerent that it reaches almost Siege-like levels of grindpunk barbarism. Songs like "Fuck Monsanto", "Prison Cycle" and "Blood Money" wear their sentiments and their politics on their sleeve, each one a vicious tirade against Earth Inc., spat out in a snarling wall of noise. Goddamn awesome.
     That's followed by just one long song from No Faith, another slab of mutant hardcore from this crushing outfit, and even more pulverizing than their Dead Weight 7". Starts off as a churning mass of bass-heavy noise and squealing electronics, almost threatening to morph into some putrid power electronics assault. But when the band finally crashes in, "Revolt" lurches forward into a monstrous slow-motion dirge, doom-laden hardcore riffage lumbering and bulldozing over bursts of noxious noise and feedback, gearing up into an almost industrialized scum-roar that had me wincing. Way heavier than the other stuff I've heard from these guys, easily squashing my brittle skull beneath their violent, glacial sludgecore, rivaling anything you've heard from Noothgrush or Corrupted.
Track Samples:
Sample : NO FAITH - Revolt
Sample : VACCINE - Prison Cycle
Sample : VACCINE - Heat Death



VARATHRON   His Majesty At The Swamp   LP   (Order Of The Blood Dog)    19.99













Track Samples:
Sample : The Tressrising of Nyariathoth
Sample : Lustful Father
Sample : His Majesty at the Swamp



VARIOUS ARTISTS   Warfaring Strangers: Darkscorch Canticles   2 x LP   (Numero Group)    28.98



     Back in stock!
    If you dug that reissue of Medusa's lost 70's-era album of psychedelic proto-doom First Step Beyond that Numero put out last year, then you're definitely going to be interested in checking out the label's latest excursion into unearthing choice chunks of ultra-obscure heaviness from the primordial past of the American metal/doom underground. Part of the label's Wayfaring Strangers compilation series, Darkscorch Canticles is an exquisitely curated selection of extremely rare, often highly collectible 45's that were released throughout the 1970s on tiny regional labels and private pressings. Featuring band's with such alluring names as Triton Warrior and Stoned Mace, the compilation chronicles a now largely forgotten underworld of bands who sprung up across the American landscape in the wake of Black Sabbath and Led Zeppelin, playing raw, ragtag rock that often existed at the intersection of protozoan doom, hard-edged occult-obsessed psychedelia, and brawny garage-prog. It's an amazing comp, lovingly assembled with a high attention to detail, and it offers a window into an obscure past that most fans of American doom/prog/metal probably know very little about.
     The sixteen tracks collected on Warfaring Strangers were carefully selected from some of the rarest and most obscure indie singles released during that era, featuring the bands Wrath, Triton Warrior, Arrogance, Stoned Mace, Wizard, Sonaura, Hellstorm, Space Rock, Stone Axe, Air, Stonehenge, Dark Star, Junction, Inside, and two similarly named bands from Chicago, the aforementioned Medusa, and the slightly lesser known Gorgon Medusa. The variety of sounds is pretty amazing, too. The extensive liner notes that accompany this compilation draw a common thread through the entire lineup of bands: all of 'em were drunk on the amplified crunch of those early Black Sabbath and Led Zeppelin records as well as the zeitgeist of 70's pop occultism, Tolkien's Lord of the Rings series, and pulp fantasy mags, but what makes this such a revelatory collection is when you hear the passion and creativity on display on each of these short blasts of ratty, heavy rock enshrouded in dense clouds of pungent pot smoke and cheap incense. The music ranges from eerie Satanic prog rock to shambolic proto-doom mysticism, necromantic garage psych to fuzz-encrusted proto-punk anthems, apocalyptic doom-blues and delirious sub-Sabbathian crunch, the music definitely of it's era (early to mid 70s for the most part), but most of this stuff is imbued in darker tones than your typical classic hard rock, closer to the heavier sounds of bands like Sabbath, Warpig, Captain Beyond, Leaf Hound, Atomic Rooster, Bang and Sir Lord Baltimore.
     All of this stuff is a blast that anyone into the whole proto-metal underground will no doubt flip out over, but there's a number of tracks that particularly stood out: the clattery psychedelia of Air's "Twelve OClock Satania" that blossoms into entrancing darkness, kicking off the compilation with a strange, off-kilter mix of droning organs and ramshackle drumming, dense smoke rings of satanic delirium drifting off the band's otherworldly groove; the furious psychedelic proto-metal of Wrath's "Warlord" that features some killer somnambulant female vocals intoning creepy Satanic lyrics; the demented bludgeoning blooze-blast of Triton Warrior's awesome "Sealed In A Grave"; Stone Axe's doom-laden "Slave Of Fear" that kicks out some amazing off-kilter blues-damaged heaviness and delivers one of the heaviest songs on the whole collection; the scorching, soulful Hammond-laced darkness of Arrogance's "Black Death"; Inside's fried-out garage crunch that has a weird distorted organ warbling incessantly behind the song's Steppenwolf-influenced hook. Cosmic Chicago prog-stompers Medusa are represented here too, with the doom-laden, jazzy prog of "Black Wizard" off of their amazing First Step Beyond reissue, and they're followed by another similarly named Chicago band Gorgon Medusa, who counter with "Sweet Child", delivering their own spacey take on Sabbathian crunch by adding on a heavy dose of astral electronics, sending their rumbling space blooze into the lower atmosphere.
     It's an amazing collection that Numero assembled, a must-hear for anyone obsessed with the 70's era American proto-metal underground. And the visual presentation is just as terrific, with both the CD and the LP versions packaged in deluxe packaging that features all of the band's logos on the cover printed with metallic foil stamping, the CD packaged in a slipcase, the LP in a gorgeous case-wrapped gatefold. The artwork that was commissioned for this adorns the compilation in wonderfully crude fantasy art and Dungeons And Dragons-style scribblings on graph paper, along with scans of the original 45 record labels, and the liner notes are extensive to say the least, the booklet filled with comprehensive histories of the bands. Highly recommended.
Track Samples:
Sample : WRATH - Warlord
Sample : STONE AXE - Slave of Fear
Sample : HELLSTORM - Cry for the Newborn
Sample : ARROGANCE - Black Death
Sample : AIR - Twelve O'Clock Satanial



VARIOUS ARTISTS   John Carpenter's Lost Themes Remixed (RED/CLEAR SWIRL)   LP   (Sacred Bones)    17.99













Track Samples:
Sample : Abyss (JG Thirlwell Remix)
Sample : Vortex (Silent Servant Remix)
Sample : Night (Zola Jesus & Dean Hurley Remix)
Sample : Purgatory (Prurient Remix)



VARIOUS ARTISTS   Dope, Guns N' Fucking In The Streets Volume 1-11: 1988-1998   2 x CD   (Amphetamine Reptile)    19.98



     Almost pissed myself with glee when I found out that Amphetamine Reptile was gearing up to begin reissuing crucial music from their extensive back catalog, and their opening volley of releases really couldn't have offered a finer taste of what made this iconic label so special. If you've seen the new documentary The Color Of Noise that just came out, documenting the life and times of this pioneering American noise rock imprint, you'd have to be at least a little hungry for what it was that Am Rep was peddling back in the day. Well, if you're looking for a primer, you couldn't do better than this massive collection of the entire original Dope, Guns N' Fucking In The Streets series. Everything the series put out from '88 to '98 has been gathered here, for what was the noise rock compilation series of the 1990s; massively influential, the series mapped out pretty much every corner of the uglier, gnarlier side of the American post-punk underground (and beyond) until the latter half of the decade, and listening to this reissue is a great crash course in Am Rep's aesthetic.
     And boy, is this some lineup. The collection features all of the 7"s tracks from a mix of both the biggest names in noise/scum rock, and lesser known but equally pummeling outfits that spanned the era, spread across multiple discs: You get songs from Jawbox, Melvins, Boredoms, Steelpolebathtub, Cows, Jesus Lizard, Unsane , Tar, Surgery, Dwarves, Hammerhead, Mudhoney, King Snake Roost, Boss Hogg, Helmet, Godheadsilo, Halo Of Flies, God Bullies, Helios Creed, The Thrown Ups, Tad, Lubricated Goat, Today Is The Day, Superchunk, Rocket From The Crypt, Thee Mighty Caesars, Chrome Cranks, Love 666, Guzzard, Cosmic Psychos, Bailter Space, Lonely Moans, Gas Huffer, Jonestown, Supernova, The Crows, Vertigo, Casus Belli, Brainiac, Gaunt, Chokebore, Servotron, Pogo The Clown, Calvin Krime, Fetish 69, and U-Men.
     Some of the highlights of the series include the roughshod cowpunk frenzy of U-Men; the weird, sludgy reverb-drenched noise rock of God Bullies' "Mussolini"; some seriously fucked-up avant-garde punk-noise from Pogo The Clown, a short-lived project from members of Halo Of Flies and Killdozer; Helios Creed's demented lysergic psychedelia; the maniacal spazzpunk of pre-Mudhoney outfit The Thrown Ups; the discordant, distorted stomp of Halo Of Flies' "Insecticide Stomp"; Mudhoney's noxious, fuzzed-out anthem "Twenty Four"; the furious, clanging thrash of Helmet's "Impressionable"; the propulsive hideousness of Fetish 69's "Deep Scar Man"; the insane freeform skronk n' blast of Boredoms' "Pukuri"; Love 666's shambling, stoned and utterly infectious sludgepop; and of course, the grueling ultra-sludge that the Melvins dish out on their song "Euthanasia". So much killer stuff. Needless to day, this is a crucial addition to your collection if you're into classic noise rock. Available as a double disc CD set and a triple-LP set in gatefold packaging with digital download.


VARIOUS ARTISTS   Dope, Guns N' Fucking In The Streets Volume 1-11: 1988-1998   3 x LP   (Amphetamine Reptile)    39.99



     Almost pissed myself with glee when I found out that Amphetamine Reptile was gearing up to begin reissuing crucial music from their extensive back catalog, and their opening volley of releases really couldn't have offered a finer taste of what made this iconic label so special. If you've seen the new documentary The Color Of Noise that just came out, documenting the life and times of this pioneering American noise rock imprint, you'd have to be at least a little hungry for what it was that Am Rep was peddling back in the day. Well, if you're looking for a primer, you couldn't do better than this massive collection of the entire original Dope, Guns N' Fucking In The Streets series. Everything the series put out from '88 to '98 has been gathered here, for what was the noise rock compilation series of the 1990s; massively influential, the series mapped out pretty much every corner of the uglier, gnarlier side of the American post-punk underground (and beyond) until the latter half of the decade, and listening to this reissue is a great crash course in Am Rep's aesthetic.
     And boy, is this some lineup. The collection features all of the 7"s tracks from a mix of both the biggest names in noise/scum rock, and lesser known but equally pummeling outfits that spanned the era, spread across multiple discs: You get songs from Jawbox, Melvins, Boredoms, Steelpolebathtub, Cows, Jesus Lizard, Unsane , Tar, Surgery, Dwarves, Hammerhead, Mudhoney, King Snake Roost, Boss Hogg, Helmet, Godheadsilo, Halo Of Flies, God Bullies, Helios Creed, The Thrown Ups, Tad, Lubricated Goat, Today Is The Day, Superchunk, Rocket From The Crypt, Thee Mighty Caesars, Chrome Cranks, Love 666, Guzzard, Cosmic Psychos, Bailter Space, Lonely Moans, Gas Huffer, Jonestown, Supernova, The Crows, Vertigo, Casus Belli, Brainiac, Gaunt, Chokebore, Servotron, Pogo The Clown, Calvin Krime, Fetish 69, and U-Men.
     Some of the highlights of the series include the roughshod cowpunk frenzy of U-Men; the weird, sludgy reverb-drenched noise rock of God Bullies' "Mussolini"; some seriously fucked-up avant-garde punk-noise from Pogo The Clown, a short-lived project from members of Halo Of Flies and Killdozer; Helios Creed's demented lysergic psychedelia; the maniacal spazzpunk of pre-Mudhoney outfit The Thrown Ups; the discordant, distorted stomp of Halo Of Flies' "Insecticide Stomp"; Mudhoney's noxious, fuzzed-out anthem "Twenty Four"; the furious, clanging thrash of Helmet's "Impressionable"; the propulsive hideousness of Fetish 69's "Deep Scar Man"; the insane freeform skronk n' blast of Boredoms' "Pukuri"; Love 666's shambling, stoned and utterly infectious sludgepop; and of course, the grueling ultra-sludge that the Melvins dish out on their song "Euthanasia". So much killer stuff. Needless to day, this is a crucial addition to your collection if you're into classic noise rock. Available as a double disc CD set and a triple-LP set in gatefold packaging with digital download.


VARIOUS ARTISTS   The Color Of Noise   2 x LP   (Robellion)    27.99



     It's been a killer winter for Am Rep fanatics, what with those mucho-hyped reissues of classic Cows, Halo Of Flies and the Dope Guns N' Fucking In The Streets comps that just surfaced via the newly reactivated label. And all of this is on the heels of what might be the best rock doc of the year, The Color Of Noise, Eric Robel's in-depth documentary on Tom Hazelmyer and his iconic Amphetamine Reptile label that put "noise rock" on the map with a big, wet splat back in the late 1980s. Well, along with the release of that documentary on Blu-ray and that recent spate of Am Rep reissues, we also nabbed the super-limited soundtrack to The Color Of Noise on vinyl; while it was originally released for Record Store Day 2015, we were able to wrap our mitts around a stack of remaining copies of this killer double LP set.
     It's got a wicked lineup of bands old and new, most of it previously released, but still a savage set all together: you get tracks from King Barry & The Sinister Soulsters, Todlachen, Otto's Chemical Lounge, Halo Of Flies, The Thrown Ups, Mudhoney, God Bullies (whose "War On Everbody" appears to be exclusive to this compilation, and which fucking destroys...), King Snake Roost, Unsane, Helmet, Melvins, Vertigo, Hammerhead, Janitor Joe, Cows, Today Is The Day (the scathing "Come On Down And Get Shaved", which also appears to be another exclusive), Chokebore, Guzzard, Love 666, Gay Witch Abortion, Helios Creed, and Lubricated Goat. Listening to this is like charting the rise of this pioneering American indie. Noise rock city, as you can see, boiling over with testosterone and ugly, discordant punk aggression, stinking of alcohol fumes and heaps of bad attitude. Another mainline of raucous pigfuck, much of it coming from some of the biggest names to come out of the 1990s noise rock scene - crank this monster up loud.
     Comes on colored vinyl in gatefold packaging, issued in a limited run of one thousand two hundred and fifty copies.


VARIOUS ARTISTS   Tunes From The Toilet Volume I   7" VINYL   (CONTINUUM.)    6.98















VARIOUS ARTISTS   Tunes From The Toilet Volume II   7" VINYL   (CONTINUUM.)    6.98



     Say adios to coherency, pal. Continuum hits us with another repulsive blast of scatological low-fi nonsense with their second volume in the Tunes From The Toilet series, this time packing an absurd fifty-seven bands onto a single 7" in the tradition of Bllleeeeaaauuurrrrgghhh! - A Music War. Like the previous installment, this is an anti-musical manifesto to the extreme. The sonic shitstorm ranges from heavy amounts of barbaric noisecore to primitive harsh noise experiments, fucked-up industrial metal weirdness to hyperfast improv clatter, brain-damaged hardcore punk to torturous power electronics, with washes of murky industrial ambience and heavily mutated drum-machine grind thrown in for good measure.
     It's a ridiculous assembly of bands on here, most of whom I'd never heard of; aside from Continuum alumni like Harsh Supplement, Waves Crashing Piano Chords and Hades Mining Co., pretty much all of this stuff was new to me. This is some rap sheet: the compilation features the likes of Filth, Terrorist Financing, Kolostomy Bag, Nephalist, Extreme Chafing, Adolf Shitter, I Benign, Foul Bowel Growl, Hate Speech, Yatagarasu, Methlab Explosion, Genital Stigmata, Total Hipster Crusher, Blonie, Foiled, Disleksick, Fatal Position, Godpiss, Crazies, Limbs Bin, Cheesecats, V2, Anti-Freeze, False Flag, Victim Of Circumstance, Aqua-Eroticum, Holidayxsuckers, Puncture Wounds, Spaghettiman, A.P.F.A.P.W.A.A., Tit For A Funeral, The Scarlet Meow, Mphiat, The Economy, Aterpe, The Answer To All Your Questions, A Descent Into The Maelstrom, Crack Addict, Contraktor, Kamp Crystal Lake, Breakdancing Ronald Reagan, Phosphorus Rex, Sleep Disorder, Bruise Halo, Avalanche Of Faces, Colostomy Baguette?, Piss Junkie, Hate Junkie, Resinator, Life Sucks, Cocaine Breath, Sorcerer Torturer, Tanner Garza, and Eoforwine, with the majority of this insanity leaning towards the noise/blurr/grind end of the spectrum.
     Good luck trying to follow the track listing on this thing, but if you're addicted to the filthiest noisecore / shitnoise / no-fi extremism, this comp will absolutely get you fucked up. Limited to three hundred copies, and includes various xeroxed inserts.


VARIOUS ARTISTS   Dope Gun's And Fucking Up Your Video Deck: Vol. 1-3 1990-94   DVD   (Amphetamine Reptile)    14.99















VASTUM   Hole Below   CD   (20 Buck Spin)    13.98













Track Samples:
Sample : Sodomitic Malevolence
Sample : Hole Below (A Dream Of Ritual Abuse)
Sample : Amniosis



VASTUM   Hole Below   LP   (20 Buck Spin)    19.99













Track Samples:
Sample : Sodomitic Malevolence
Sample : Hole Below (A Dream Of Ritual Abuse)
Sample : Amniosis



VEGAS MARTYRS   Choking Doberman   7" VINYL   (Kitty Play Records)    6.50















VHOL   Deeper Than Sky   CD   (Profound Lore)    13.98













Track Samples:
Sample : The Tomb
Sample : The Desolate Damned
Sample : Deeper Than Sky



VHOL   self-titled   CD   (Profound Lore)    13.99













Track Samples:
Sample : The Wall
Sample : Insane with Faith
Sample : Arising



VHOL   self-titled   2 x LP   (Gilead Media)    24.99













Track Samples:
Sample : The Wall
Sample : Insane with Faith
Sample : Arising



VON GOAT   Septic Illumination   CD   (Nuclear War Now! Productions)    12.98











Track Samples:
Sample : (Intro) Clay Jackals
Sample : Spiders
Sample : Syringes
Sample : Through Your Skull



VON GOAT   Septic Illumination   LP   (Nuclear War Now! Productions)    18.98











Track Samples:
Sample : (Intro) Clay Jackals
Sample : Spiders
Sample : Syringes
Sample : Through Your Skull



VON TILL, STEVE   A Life Unto Itself   CD   (Neurot)    14.99













Track Samples:
Sample : Night of the Moon
Sample : Birch Bark Box
Sample : A Life Unto Itself



VON TILL, STEVE   A Life Unto Itself   LP   (Neurot)    17.99













Track Samples:
Sample : Night of the Moon
Sample : Birch Bark Box
Sample : A Life Unto Itself



WARNUNGSTRAUM   Mirror Waters   CD   (Nykta Records)    11.99



     Myth-laden black metal meets gloomrock majesty and kosmische-tinged ambience on this, another recent discovery from the depth of the Italian black metal underground. Warnungstraum's Mirror Waters is the latest full-length from the group, and would prove to be their last, as they disbanded not long after the release of the album. They left behind some strong atmospheric black metal though, which we've been enjoying quite a bit around here (we also just got their debut album Inter Peritura in stock for the first time here at C-Blast, which we'll be listing ASAP); each of their records builds upon Warnungstraum's lush sound, a combination of droning Burzumic blackness and sweeping kosmische synthesizers that here becomes darkly enchanting.
     The four-song Mirror Waters is split into two halves: on one hand, you have them weaving their pessimistic philosophical musings (delivered via a combination of the singer's shredded wailing and his monstrous toad-croak) with that driving, raw mid-tempo black metal, slipping in passages of slower, almost mathy moodiness, and parts where the guitars turn into beautifully cascading waves of delay-drenched gloom rock, those moments even slightly reminiscent of the Nephilim. The other songs ("The Gardens Of Yima", "The Sad Singing Woods") are purely instrumental, beautiful and drawn-out darkened dreamscapes that feel like a much more fleshed out take on what Varg Vikernes was doing with Daui Baldrs, perhaps, using minimal percussion, washes of orchestral sound, eerie electronic melodies, natural-sounding strings, solemn piano, and swells of ominous bass to create a soundtracky atmosphere that would no doubt resonate with fans of Within The Realm Of A Dying Sun-era Dead Can Dance.
     Either way, all of these songs emanate a grimly gorgeous ambience, the cinematic feel of those orchestral synths giving the opener "Antarabhava" a filmic, nostalgic quality, flecked with stirring electronic melodies and washes of subdued choral majesty. Like a lot of stuff in this vein, Warnungstraum's songs are lengthy, epic affairs that can sprawl out for ten minutes or more, but it avoids sounding overlong by carefully constructing each song around a series of haunting figures that unfold and build organically. This is extremely well-crafted music, rich with brooding emotional undertones yet avoiding the "depressive" tag; highly recommended to those who look for exquisitely crafted mood and thoughtful spiritualism in their black metal.
Track Samples:
Sample : The Sad Singing Woods
Sample : Narkissos
Sample : Antarabhava



WATER TORTURE / HADES MINING CO.   split   7" VINYL   (CONTINUUM.)    6.98



     More barbaric blast-crud from the Continuum cabal!
     First up? Three tracks from Water Torture and their crushing low-fi powerviolent obliteration. These guys continue to kill with impunity, channeling the ultra-violent blastcore of Infest into a monstrous bass-heavy sound that gets pretty goddamned sludgy at times. Seriously heavy, distorted stuff, seething with hateful aggression, compacted into short blasts of rage that get right to the point. On the last song "38.3.176", the band drags this out to a pulverizing slow-motion crawl that's absolutely grueling, even a little reminiscent of Grief in terms of the detuned, abject negativy that it song exudes, and it's aided by additional shrieking vocals from Madison from Midwestern grinders Cloud Rat. These guys have a number of releases under the belt so far, but this remains my favorite.
     That beating is followed by another spastic noisecore assault from their pals in Hades Mining Co., who tear through forty tracks of their murky, mangled, punk-infested blur. Pretty fucked up even by noisecore standards, this stuff can at times feel as much influenced by that whole Ohio "tardcore" scene as it is by the blistering five-second earhate blasts of classic Seven Minutes Of Nausea and Anal Cunt. Sloppy punk rock comes careening out of tornado-blasts of inchoate noise, putrid electronics and feedback seeps out of the cracks between "songs" with titles like "Fly Me To The Sewer" and "Fart Pit", the vocalist sounds like he's suffering from a horrid case of strep throat, and the drumming mostly resembles a pair of garbage cans being thrown down a fire escape. Highly enjoyable.
     Limited to two hundred fifty copies.


WHITEHORSE   Flames To Light The Way / Everything Ablaze   LP   (Vendetta)    16.99













Track Samples:
Sample : Fire To Light The Way
Sample : Everything Ablaze
Sample : The Unwelcome Return



WHITEHORSE   2007 - 2012   CD   (Music Fear Satan)    12.99



A speaker-wrecking collection of material gathered from assorted splits and EP between the titular years. 2007-2012 is all odds and ends from these Aussie noise-doom behemoths, but pretty essential if you're as addicted to their abject, horrific slow-motion heaviness as I am. Presented in digipak packaging with eerie new artwork from Jacob Rolfe, the disc collects all of Whitehorse's tracks from the splits with Batillus, Cross, Hot Graves and The Body as well as both of the songs that appeared on their Document 250407 21" that came out on Blind Date. It's all grueling, turgid heaviosity, of course, carved out of the gluey black muck that these guys have mastered since oozing into existence in the early oughts, though you can definitely hear a progression of musical ideas as you make your way through these tracks. The band's brand of repetitious, torutous doom metal is ugly stuff, the vocals a mix of agonized screams and gruff, guttural caveman grunts, each song an exercise in monotonous slugfuck violence often sculpted from a mere riff or two that they hammer into the earth until it's a bloody, steaming mess. As far as this sort of slow-mo savagery goes, these guys are consistently at the top of the heap, delivering a leaden, apocalyptic assault that often channels a similar level of nihilistic horror as early Corrupted. But it's their use of harsh electronic noise as a textural element in their songs that really distinguishes this stuff, sometimes seeping into the glacial crush like a mist of grainy static, elsewhere penetrating the band's barbaric dirges with peircing high-frequency tones that feels like the music is being blasted by an SRAD. As usual with these guys, alot of their power is in those moments when the droning, hypnotic riffage does change, suddenly shifing into a swarm of blackened tremolo pciking, or abruptly descending into an even more hideous, mammoth groove where it feels as if you're being crushed between two continental plates. The apex of that sort of hellishness is the void-borne meatgrinder of the last track "Dark Age", which remains one of the band's most lethal pieces of music. Killer stuff, a great addition to your collection if you're a fan of these guys and didn't mess with the original vinyl releases...
Track Samples:
Sample : Untitled
Sample : Dark Age
Sample : Blood Sick



WHITEHORSE   Raised Into Darkness   LP   (Vendetta)    16.98













Track Samples:
Sample : Raised Into Darkness
Sample : Sixteen
Sample : Lone Descent



WHITEHOUSE   Halogen   LP   (Dirter)    27.00













Track Samples:
Sample : Vulgar
Sample : Lightning Struck My Dick
Sample : Dictator



WILT   She Walks The Night   7" VINYL   (Husk Records)    6.99



Just restocked this 7" from black industrialist Wilt...
The newest release from Josh Lay's Husk Records is the label's first vinyl release, a 7" EP of skin-crawling necro-industrial from Wilt, who many of you might also know as the other band from the guys behind the industrial noise-doom band Hedorah. Wilt's brand of fiendish black drone-noise is always amazing, and this EP delivers three tracks of minimal black drift and much heavier abstract crush that fans will definitely love. The a-side features the title track, an aural night-terror of crushing black synthesizer drone, recordings of howling wolves, oscillating buzz saw sine waves fluctuating in slow motion, a blighted death ambience that is slowly joined by more layers of soft subterranean drift and minimal whir until a deeply detuned piano appears playing this low-register minor-key melody, a simple descending four note dirge that repeats over and over, spreading out across the increasingly ominous black ambience that becomes populated with tolling bells, howling arctic winds and distant demonic keening. The flipside has two tracks: the grim two-chord synth drone of "Cold Grave" becomes lost in a blizzard of black arctic wind, like a classic Norwegian black metal intro stretched out into a full song, the synth becoming seriously blown out, peaking into a distorted roar as the sound of blasting wind gets caught in a locked groove; and then "Haunting The Chapel" oozes in, a crushing blackdoom dirge with putrid low-end bass, hellish screams of the damned being flayed alive, a grinding murky black industrial dirge that sounds sort of like the black abstract sludge-noise of Sewer Goddess, but this is way more "necro", utterly pitch black and evil sounding, keening horns muffled in the distance, smears of eerie melody obscured by the dense industrial rumble and howling subterranean winds and viscous low end noise.
Comes in a black and white sleeve with creepy high-contrast imagery.


WINDHAND   self-titled   CD   (Forcefield)    8.98













Track Samples:
Sample : Black Candles
Sample : Heap Wolves
Sample : Winter Sun



WINDHAND   self-titled   LP   (Forcefield)    15.98













Track Samples:
Sample : Black Candles
Sample : Heap Wolves
Sample : Winter Sun



WITCHSORROW   No Light, Only Fire   CD   (Candlelight)    12.98













Track Samples:
Sample : There Is No Light There Is Only Fire
Sample : Negative Utopia
Sample : Made Of The Void



YSENGRIN   Liber Hermetis   2 x LP   (Nuclear War Now! Productions)    32.00













Track Samples:
Sample : Concupiscentia
Sample : Iose
Sample : Mysteres de L'Artifex



ZORN, JOHN   The True Discoveries of Witches And Demons   CD   (Tzadik)    16.99












Track Samples:
Sample : Psycosoma
Sample : Mirrors of Being
Sample : Eccleslastes



ZORN, JOHN   Inferno   CD   (Tzadik)    16.99



     Wouldn't have thought that this sort of organ-heavy jazz/rock could be this heavy before Simulacrum Trio came around. The latest in an onslaught of releases coming from John Zorn's Trio, Inferno delivers another dose of this group's brand of heavy-duty, metallic prog rock, again conveyed by the ensemble of John Medeski, Matt Hollenberg, and Kenny Grohowski as the trio pays homage to the work of Swedish occultist and philosopher August Strindberg. As a fan of Zorn's harder-edged, harsher efforts, the Simulacrum material is some of my favorite music to emerge from the Tzadik imprint in the past few years, at times tapping into a similar level of ferocity as earlier Zorn-related projects like Naked City and Painkiller. The sound that he conjures from his conducting of this outfit is quite different though, especially with Medeski's wild organ playing at the forefront of it all.
     Rollicking opener "Dance Of Death" quickly delivers what these guys are so great at - searing, sprawling keyboards weaving around complex arrangements of circular metallic riffing and an intricate, pummeling percussive attack, shot up with blasts of incendiary improvisation. An organ-drenched prog rock with a heavy dose of metallic crunch and dark undercurrents; at times it reminds me of King Crimson's heavier material, with lots of Red-esque prog-crunch, but Medeski's dizzying keyboard shredding is definitely unique, leading this into adventurous jazzy regions.
     The songs on Inferno overall aren't quite as brutal as the stuff on the previous album, but it's still pretty heavy at times, especially when Grohowski unleashes volleys of thunderous double bass action or blasts of thrashing aggression behind the kit, and the trio swings into one of many pummeling math-metal rave-ups draped in Hammond-style organ buzz. The title track is the centerpiece of the album, a multi-part twenty-one minute epic that shows up halfway through and starts off as an ominous slow-burn adrift on flurries of keyboard. Early on, the tracks whirls with waves of percussive shimmer and fuzz-drenched amplifier drone, then builds into a weird dreamworld of gorgeous moody jazz-drift scarred by eruptions of crushing staccato math-thrash, dissonant improvisation, minimal dronescapes and creepy atonal ambience. There's a couple of riffs in here that even sound like they could have come off of a Confessor record. But other parts of "Inferno" conjure a surreal, oneiric atmosphere that drifts slowly over the group's more restrained playing. Just as cool as the other Simulacrum releases I've heard, this is top-tier hard prog that holds its own against any modern math-metal outfit. Comes in digipack packaging.
Track Samples:
Sample : Ghost Sonata
Sample : Dance Of Death
Sample : Blasphemy