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CRUCIAL BLAST WEBSTORE: NEW ARRIVALS FOR SUNDAY FEBRUARY 5TH 2017

      Welcome!



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

     ...a mightily impressive debut album from FREE SALAMANDER EXHIBIT, Undestroyed, featuring members of heavy prog faves SLEEPYTIME GORILLA MUSEUM
     ...more neon-drenched, darkened synthwave from GOST and PERTURBATOR, including restocks/represses of some of their older works
     ...a restock of the CD and vinyl for MARK KORVEN's amazing and terrifying avant-garde score to last year's arthouse horror hit The VVitch
     ...a brand-new vinyl reissue of JOHN CAMERON's killer evil scuzz-psych score to the early 70s devil-biker classic Psychomania
     ...recent cassette reissues of the second and third albums from deathrock legends CHRISTIAN DEATH, Ashes and Catastrophe Ballet
     ...some killer new stuff from noisepunk label SPHC in the form of a rad new vinyl reissue of a 2008 EP from Japanese noisecore masters FINAL EXIT, and an LP of collected demos from Brazilian noisecore fiends NOISE
     ...a long-awaited vinyl reissue of PAINKILLER's Execution Ground, one of our favorite avant-jazzgrind monstrosities ever
     ...the recent split album between Cali noise terrorizers ACTUARY and black doom industrialists GNAW THEIR TONGUES on Black Horizons
     ...the latest album of sweeping, atmospheric black metal from ASH BORER, The Irrepassable Gate
     ...a clutch of crushing reissues (both CD and vinyl) out on Artoffact from pioneering power electronics/industrial/experimental sound outfit CONTROLLED BLEEDING
     ...the first three installments in the cool new New York Post-Punk/Noise series, full-length live DVDs from COP SHOOT COP, FIVE DOLLAR PRIEST, and THE HEROINE SHEIKS
     ...a brand new anthology of classic material from sludgecore legends BUZZOVEN titled Violent Hits
     ...multiple recent CD and vinyl releases from the increasingly adventurous (and consistently terrifying) Canadian death metal outfit AUROCH
     ...the CD/LP for SUBROSA's latest For This We Fought The Battle Of Ages as well as CD represses for No Help For The Mighty Ones
     ...a Crypt reissue of DECOLLATION's Cursed Lands LP, an obscure, highly messed-up blast of early 90s Swedish death metal weirdness
     ...an out-of-nowhere new album from cult UK psych/noise rockers TERMINAL CHEESECAKE, Dandelion Sauce Of The Ancients, delivering some massive blown-out psychsludge intensity
     ...a handful of killer recent releases on Annihilvs from noise-damaged sludgemongers VVLTVRE, crushing death industrialists TEN THOUSAND MILES OF ARTERIES, and Gnaw Their Tongues/Whorid offshoot SLAVERNIJ
     ...a new collaboration between BLUE SABBATH BLACK CHEER, IRR. APP. (EXT.) and NEW BLOCKADERS, DDTTNBX, serving up some seriously heavy industrial rumble
     ...an excavated Euro-import CD reissue of the cult Japanese proto-doom / dark psych mastery of Demon & Eleven Children from BLUES CREATION
     ...head-wrecking live album from Seattle math-metal/hardcore titans BOTCH, capturing the same savage final set from the band that came out on that DVD release from years ago
     ...some fantastic ultra-obscure industrial metal weirdness on Epic Recordings from CATATONIC EXISTENCE and END
     ...the vinyl version of the latest album Chapelle Ardente from moody Quebecois occult metallers CAUCHEMAR as well as restocks of their debut EP on CD, LP and out-of-print picture disc
     ...the brutal harsh noise of White Gold from the latest team up between THE CHERRY POINT and JOHN WIESE
     ...a recent CD/LP reissue of DODHEIMSGARD's second album Monumental Possession, a blast of vicious black thrash from their pre-industrial/electro black metal days
     ...a vinyl reissue of the still-bizarre Smoking Songs featuring weed-blasters EXIT-13 backing Pain Teen's singer BLISS BLOOD as they run through old pot-centric jazz/blues standards
     ...the resurrected full-length LP from long-lost Arizona heavy psych band GREYLOCK MANSION from the late 60s, hitting some early Sabbath / Iron Butterfly-level crunch and creepiness
     ...an older, awesome full-length disc of noisecore/collage/goofball/surrealism from Minneapolis greats COCK ESP, Historia De La Musica Cock
     ...the CD and vinyl for The Synarchy Of Molten Bones, the latest release from French black metal iconoclasts DEATHSPELL OMEGA
     ...the first three issues from the excellent new English-language heavy psych/stoner/doom/sludge/occult rock magazine Fire from Italy
     ...a pair of crushing live records documenting the infamous activities of Texan sludgepunk creepazoids STICK MEN WITH RAY GUNS, 1000 Lives To Die and Property Of Jesus Christ
     ...cassette reissues of early WOLF EYES works Dread and Mugger, crucial blats of blistering, blackened sonic scum from the Detroit gutters
     ...more restocks of classic nihilistic sludgecore from Boston's GRIEF on vinyl and CD
     ...excavated copies of the old Senzuri Fight Back 7" from Japanese noisecore/masturbation weirdos GEROGERIGEGEGE
     ...more noise rock goodness via some bludgeoning new reissues/collections from BABES IN TOYLAND and restocks of those recent reissues from COWS and HELIOS CREED on Amphetamine Reptile
     ...a deluxe LP reissue of DAZZLING KILLMEN's brilliant, bone-smashing math metal opus Face Of Collapse (and a restock of the long unavailable CD edition)
     ...restocks of all three of those putrid CD reissues of hallucinatory death/thrash/noise from the beastly NUCLEAR DEATH, out on Dark Symphonies
     ...a new double LP collection of grimy, corroded synthpop / gloom electronics from CONTREPOISON, featuring the madman behind AKITSA / AMES SANGLANTES
     ...a brutish new LP of heavy-duty electronic horror from BASTARD NOISE, Doomed Expedition
     ...the debut full length from Japanese doom-dub duo BEGOTTENED, featuring Corrupted frontman Chew and noise-beast Guilty Connector
     ...the latest mini-album of complex instrumental prog-death from BEHOLD THE ARCTOPUS, Cognitive Emancipation
     ...a bunch of CD/LP reissues of classic material from everyone's favorite nocturnal Teutonic jazz-dirge ensemble including Black Earth, Geisterfaust and Sunset Mission
     ...a wicked new LP featuring the long-lost recordings of the Detroit-based organ-fueled hardcore punk band THE GERBILS, fuckin' amazing early 80's weirdo-punk obscuritanism
     ...the debut full-length from Spanish death ambient / black industrial outfit BLACK EARTH, Diagrams Of A Hidden Order
     ...the latest album from German death industrialist HUMAN LARVAE Behind Blinding Light, dropping some massive sheet-metal death ritual in the depths of a abandoned steel forge
     ...a gorgeous vinyl reissue of ISIS's Oceanic: Remixes & Reinterpretations featuring the likes of Fennesz, Thomas Koner, Mike Patton, Venetian Snares, Tim Hecker and more
     ...a couple of cool out-of-print releases from Seedstock/Personnel including MARCO DEL RIO (Bone Awl/Raspberry Bulbs), THOUGHT BROADCAST and LIVING CURRENCY
     ...the post-apocalyptic stop-motion nightmare of the recently resurrected 2003 French-Canadian film Mecanix from artist Remy Mathieu Larochelle
     ...a new CD reissue of the album Applied Ignorance from weirdo Bay Area deathrock/punk band PHANTOM LIMBS featuring revised album art
     ...the brand-new vinyl reissue of MARE's stunning one-and-only eponymous release on Hydra Head, gorgeous and soul-crushing metallic weight and choral beauty
     ...the new album of intricate black metal-influenced progginess from KRALLICE, Prelapsarian
     ...a restock of the hypnotic death-rite split between PHURPA and SHIBALBA
     ...the newest album of martial majesty, crushing industrial power and bleak ambience from Swedish masters SOPHIA, Unclean
     ...the vinyl reissue of the debut release from NYC electro-industrial outfit STATIQBLOOM, featuring Fade Kainer from TOMBS / THEOLOGIAN
     ...a recent vinyl repress of ANDRZEJ KORZYNSKI's chilling original score to Andrzej Zulawskiís surrealistic domestic nightmare Possession
     ...the latest album of gorgeous, darkened 4AD-tinged gloom-pop and blackened intensity from LOTUS THIEF, Gramarye
     ...more obscure Arizona hardcore punk weirdness via a new "live" LP from Arizona death rock squad MIGHTY SPHINCTER, and a reissue of psycho-core speedfreaks USELESS PIECES OF SHIT
     ...the first ever vinyl release of VINCENZO TEMPERA's awesome score to the obscure 80's Italian horror flick Paganini Horror
     ...the grim Ancient Meat Revived compilation LP featuring the likes of Spire, Grave Upheaval, Antediluvian, Vassafor and more covering classic death industrial stuff from the Cold Meat catalog
     ...the terrifying Epicurean Escapism III that combines a scorching compilation of power electronics/noise featuring the likes of Sutcliffe Jugend with a massive DVD collecting the video works of Dave Phillips (Fear Of God / Schimpfluch-Gruppe) - not for the faint of heart
     ...the latest from frigid stars WORM OUROBOROS What Graceless Dawn and a restock of their excellent album Come The Thaw
     ...a vinyl reissue of the very first Naked City album from JOHN ZORN, still as mind-frying a listen now more than twenty-five years later


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



TREPANERINGSRITUALEN   Deathward, To The Womb   LP   (Cold Spring)    23.98



      Newly reissued on both CD (which we'll have in stock in a few weeks) and vinyl (available now) via Cold Spring - this vinyl edition is limited to five hundred copies and comes on 180 gram wax with a download card featuring additional bonus material; along with the complete album, the download includes the track "I Remember When I Was God", a collaboration with Michael Idehall and members of Arktau Eos, Bölzer, Aether, and Hadewych. Here's our original review from 2012:
      One of the latest releases from this Scandinavian master of diseased occult industrial, Deathward To The Womb originally came out on 10" vinyl from Release The Bats and has since sold out from the label; it appears that we snagged the last available copies of this fearsome death-rite.
      Beginning with the incredibly thick and suffocating death-drift of "The Birth Of Babalon", Trepaneringsritualen wastes no time in unleashing its oppressive graveyard ambience, laying massive slabs of rotted noise and low-end rumble across distant, barely perceptible rhythms that feel like war-drums pounding from deep below the earth's surface, while deep, slurred vocals slowly ooze over the ghoulish soundscape, drenched in delay and black tar. It just gets creepier and more sinister as it progresses, heading into the bleak lightless depths of the title track, a monstrous death industrial dirge in the classic Cold Meat vein doused in blackness, filled with deep rumbling drones and evil guttural incantations, high wailing tones that come screeching through the void, and a slithering doom-laden bass line and distant percussive rattling and clanking that builds upon the already unnerving atmosphere of inescapable death. The side closes with a real knockout, the lurching death-dub nightmare "Osiris, Slain & Risen" that smears all sorts of hallucinatory effects over a deep, sinister bass-groove.
      "She Is Flame Of Life" opens the b-side with more grim electro-throb, a pulsating distorted synthesizer drone a la Genocide Organ that worms its way through a fog of moaning demons, swells of minor-key creep, and blood-encrusted machinery slowly revving to life. A more ritualistic feel (though no less horrific in tone) permeates the steady percussive pounding and slavering jaws of "Sacrament & Crucifixion", where foul Evil Dead-like voices call out from behind a veil of rot. The closer is one of Trepaneringsritualen's most rhythmic tracks, a pounding graveyard celebration called "All Hail The Black Flame" that blends thick cloying smears of black noise with ecstatic roars of bloodlust and booming, dubbed-out tribal drums that recalls the groovier moments of MZ.412. Only this is awash in enough exhumed filth to give you strychnine poisoning.

NEW ADDITIONS



BEGOTTENED   self-titled   CD   (Nostalgia Blackrain)    15.99



Prepare for a descent into death-dub delirium! Just seeing that this new Japanese band featured the duo of Chew (vocalist for legendary sludge metallers Corrupted) and Kohei Nakagawa (the guy behind the longrunning extreme noise outfit Guilty Connector) was enough to make me want to pick up this self-titled debut, but this ended up being even better than expected. These six songs are formed out of an immensely bleak brand of slow-motion, industrial-tinged heaviness, focused around spare, echoing drums that creep and shuffle through a vast, dark expanse, that almost dubby percussion moving beneath encroaching waves of crushing detuned drone and streaked with bits of trippy electrnic noise. The opener "Brainwashing" alost resembles an especially doom-laden Scorn track, or perhaps something from Necro Deathmort, all slow-mo snare hits and erchoing kick drum, draped in murk and reverb, the sound of a doom metal drummer playing solo in some isolated cave chamber. AS the album moves through each subsequent track, however (the whole album seems to be essentially a single piece of music), the sound grows more frenzied and noisy, those drums becoming lost in gales of shrieking electronics and crushing low-end diostortion, and halfway in all you can make out are the violently crashing cymbals swept up in a hurricane of noise. The second half re-emerges into a much more psychedelic space, though, as swarms of frenzied tape delay effects and garbled glitchy electronics take over, joined by even slower and mor stretched out drumming, shrieking feedback and controlled blasts of distortion, contrasting space and stillness with those bursts of abrasive sound and echoing percusive skitter to lead the rest of the album into a spaced-out, utterly desolate sprawl of ashen doom-dub, desaturated isolationist ambience and ghostly electro-acoustic creepiness, a whirring, clanking, echoing nightmare that at times resembles some doom outfit channeling Lee Perry in the shadows of the world of Eraserhead.


BLUES CREATION   Demon & Eleven Children   CD   (Calamares Productions)    15.98














BOTCH   061502   2 x LP   (Hydra Head)    24.99



      Gorgeous new vinyl edition of Botch's last live performance, previously released as part of the band's 061502 DVD and CD set. Re-mastered for vinyl, these two LPs come in printed inner-sleeves, housed inside of a heavyweight case-wrapped gatefold jacket, and issued in a limited edition of two thousand copies. This still stands as one of the most ferocious live performances I've seen documented on video, and that energy bleeds through every second of the recorded audio from this concert. Here's the old review of the live material from the CD release:
      For all of us that couldn't cough up the plane tickets to Seattle, Hydra Head has finally delivered this document of that last show from 2002. A mighty math-metal destruction machine, Botch beamed massively heavy yet super melodic and intricate jams, every one of their songs a devastatingly epic assault of chugging, confounding riffage, weird effects, earth shaking bass, complex angular rhythms n' dizzying time signatures, and monstrous roaring vocals. One of the most important and influential bands of the 90's underground heavy music scene, Botch sent hardcore spiraling off into a whole 'nother direction. This captures their final performance on June 15th, 2002 at the Showbox in Seattle, Washington. The footage is amazing, capturing the incredible energy of the band and an entirely appreciative crowd that flip out throughout the entire length of the show...their explosive, emotional set runs through pretty much all of their crucial stuff: "St. Mathew Returns To The Womb", "C. Thomas Howell As The "Soul Man"", "John Woo", "Japam", "Oma", "Frequency Ass Bandit", "Thank God For The Worker Bees", "Framce", "Third Part In A Tragedy", the cover of "Rock Lobster", "Transitions From Persona To Object", "To Our Friends In The Great White North", "Hutton's Great Heat Engine", and "Man The Ramparts". Obviously, this is something that any Botch fans aren't going to want to miss, but this should also be mandatory viewing for anybody that wants to bear witness to one of the most progressive, influential hardcore bands ever, who pretty much changed the shape of "math-metal" as we know it.


BUTTHOLE SURFERS   Brown Reason To Live (GREEN VINYL)   12"   (Alternative Tentacles)    14.98



The latest repress of this classic mutoid hardcore platter, issued in a new 2017 green vinyl edition limited to one thousand and nineteen 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 : BUTTHOLE SURFERS-Brown Reason To Live (GREEN VINYL)
Sample : BUTTHOLE SURFERS-Brown Reason To Live (GREEN VINYL)



CATATONIC EXISTENCE   Elect Me God, And I'll Kill You All   CD   (Epic Recordings)    16.98



As big a fan as I am of weird, messed-up industrial metal, I'd never heard of this obscure California outfit until now. Apparently best known for being a side-project from one of the guys in the notorious grindcore outfit Meatshits, Catatonic Existence popped up briefly in the mid 90s, releasing a split CD and a seperate split 7" with the aforementioned 'Shits, and the two song I'll Kill You All! 7" from 1994, before disappearing back into the boiling black sewer from which they emerged. The band was essentially a one-man effort from Guy Mulidor, with some additional contributions from Meatshits founder Robert Deathrage on vocals, sampling and keyboards, but it's quite different from the other stuff that these guys were doing. It's just as nihilistic and misanthropic, sure, but the music is a bizarre sort of primitive, industrialized electro-metal, not quite the Godflesh worhip that you might expect (although they are cwertainly an influence on this stuff). No, this is much weirder and much more fucked-up. Pounding double-bass drum machine rhythms and machinelike programmed pummel drill through songs like "Guy Told Me To" and "The Last Temptation", tinny thrash riffs buried in the mix beneath Mulidor's monstrous guttural gorilla-grunts, while the bass guitar and synths often break into these odd funk parts, even breaking out some actual slap-bass moves in some of the weirder moments. Also, this stuff us fucking loaded with samples, with long film samples from early 90s movies like Judgement Night and Needful Things as well as fragments of news reports and various other movies are strewn throughout the songs, and there are big chunks of this stuff when the metallic elements drop out and it turns into a demented kind of EBM, some fucked-up, meth-addled take on Front 242. It's not for all tastes, I can tell you that. The awkward song structures, the bizarre funk bass, the squelchy Wax Trax synths and weird bossa nova percussion breaks, the overload of samples and the willfully anti-human attitude, all turns this into a kind of outsider mecha-metal that manages to transcend being just another Godflesh clone. It's weirdly infectious, especially if you've got a taste for weirdo electro-sludge like Black Mayonnaise and stuff in that general vein.


CAUCHEMAR   La Vierge Noire   CD   (Nuclear War Now! Productions)    10.98














Track Samples:
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire



CAUCHEMAR   La Vierge Noire   LP   (Nuclear War Now! Productions)    14.98











Track Samples:
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire



COCK E.S.P.   Historia De La Musica Cock   CD   (Little Mafia)    9.98












Track Samples:
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock



FULL OF HELL + MERZBOW   Sister Fawn   LP   (A389 Records)    19.99



      That second disc that appeared with the skull-shredding collaboration between Baltimore grindbeasts Full Of Hell and Japanese noise legend Merzbow has finally made its way to vinyl. That double disc album that originally came out on Profound Lore was one of the fiercest fusions of extreme electronic noise and metallic chaos to come out that year; the Sister Fawn recording that followed the album proper was an interesting shift in sound, transforming the frenzied grindcore into something much more abstract.
      While the Sister Fawn disc was initially presented as something more of a companion piece, it actually holds up wuite nicely as an album all on its own. In fact, I gotta admit I thought this material is even cooler than the first half of their collaboration. Over the course of these five tracks, much of Full Of Hell's screeching grindmetal becomes absorbed into a cacophonous wall of industrial violence, their metallic aggression subsumed into Merzbow's swirling, screeching nebula. The tracks are longer, venturing into pummeling industrial junk-metal rhythms and howling feedback manipulation, blasts of crushing power electronics and more of that abject Swans-esque dirge that appeared on the first half. And squalls of apocalyptic jazz-infected noise erupt across tracks like "Crumbling Ore", delivering an acrid blast of sound that approaches Borbetomagus-like levels of intensity. The grindcore elements are still in here though, particularly on songs like the noise-damaged blast-assault of "Merzdrone" that welds a seemingly endless blastbeat to Merzbow's scorching electronics and shrill skulldrill distortion. The result is ferociously and psychedelic.
      Issued in a one-time pressing of one thousand copies on black vinyl.


GNAW THEIR TONGUES   Hymns For The Broken, Swollen And Silent   CD   (Crucial Blast)    9.98



A shambling monstrosity Woven from charred bones and infernal technology, stitched with gristle and exposed wiring. Hymns For The Broken, Swollen And Silent lurches like a grotesque assemblage of tortured flesh and mangled machinery, revealing the latest nightmare from Dutch fiend Gnaw Their Tongues. After more than a decade, the band continues to disturb with its uniquely dark and depraved blend of black metal, industrial and noise, and the eight-song Hymns shows Gnaw Their Tongues to be in prime killing mode.
Coming in the wake of a series of live performances starting in 2015, this new material from GTT mastermind Mories (Seirom, Cloak Of Altering, Mors Sonat) seems to find him tapping into a heavier, more violent rhythmic element as well as a more pronounced use of synthesizers, producing yet another step in the evolution of GTT's sound. Throughout the album, the harsh drum programming offers a mixture of cacophonous blast beats and grueling, glacial detonations; the sickening, tumescent groove that surges through "Hold High The Banners Of Truth Among The Swollen Dead" resembles something approximating a vile chopped n' screwed dubstep / blackened doom abomination, while on tracks like "Speared Promises", it slips into a hideously dissonant deathcrawl where those drums almost seem to be shorting out. Elsewhere, "Frail As The Stalking Lions" contorts into hellishly warped synth-sludge, and the hallucinatory weirdness of the title track delves into a black pit of ghastly ambience, gleaming synth and malfunctioning, off-time drum programming, which becomes possessed by bizarre operatic vocals that drift amid the anguished shrieking.
Through all of this, the band's signature use of unsettling samples and blasts of orchestral power is woven through the mix, turning each track into a seething mass of claustrophobic horror. Eruptions of ultra-frenzied blackened blast and floor-shaking depth-charge reverberations, ravenous, psychotic vocals and swells of choral despair, distorted electronics and gut-churning bass riffs, mournful horns and weirdly layered female operatic singing - yeah, Hymns delivers on the promise of chaotic horror that one expects from Gnaw Their Tongues, evoking foul, corrupted imagery while also (as usual) streaked with striking moments of warped, morbid beauty.
CD edition comes in a gatefold digisleeve.
Track Samples:
Sample : Silent Burned Atrocities
Sample : Hold High The Banners Of Truth Among The Swollen Dead



GOST   Behemoth   LP   (Blood Music)    23.00

Behemoth IS CURRENTLY UNAVAILABLE FOR ORDER

      Back in print on vinyl!
      Finnish avant-metal label Blood Music has really cornered the market on heavy, dark and aggressive synthwave lately, reissuing the entire back catalog from Parisian synthwave celeb Perturbator, and putting out the latest album from sci-fi electro-prog master Dan Terminus. But the most monstrous sounding synthwave to appear via Blood Music yet might be Gost, an American artist who popped up seemingly out of nowhere towards the end of 2015 and dropped this massive slab of malevolent dark synthwave on our heads. Described by the label as "1980s black metal-inspired retro slasher exploitation, starring the demonic entity Baalberith as GosT, casting ample devious nods towards Perturbator, Goblin, Justice and Bathory", this stuff is most definitely speaking my language. Granted, that overheated label blurb suggests that there might be something more metallic going on with Gost's sound (which there isn't), but the iconography is all there, with an album cover that looks like something that could have come off a death metal record, track titles like "Reign In Hell" and "Bathory Bitch", and an overall atmosphere of pending violence and apocalyptic dread.
      But the music is pure electro, another throwback to that vintage 80's-era synthesizer sound that shares a lot in common with labelmates Perturbator (who shows up here with a neat, almost Skinny Puppy-esque remix of the title track) and the equally dark Carpenter Brut. The music on Behemoth does feel a bit heavier than that stuff, though, the synths often distorted into crunchy, grinding electronic riffs, bringing a particularly filthy bass sound to this stuff that feels informed by dubstep, the drum programming heavy and pummeling, the tracks often shot up with harsh atonal stabs and weird ghostly vocal pads. It's definitely menacing stuff, a relentless pounding assault of dancefloor delirium, but like just about goddamn synthwave album, it has that one moody disco track that features a guest female vocalist, this one being "Without A Trace". It's pretty infectious, I have to admit, a blast of earworm synthpop dropped into the middle of the rest of Gost's sinister, distorted synthwave stomp. The album's best track though is the title song, which sticks out from the rest of the album with it's barrage of piercing, atonal synths and blasting demonic choral voices screaming over an insanely distorted synth riff, so heavy that it actually starts to sound like some kind of industrial metal, especially when it drops into a grinding mid-tempo groove in it's second half, producing what is easily the heaviest and most aggressive track on here. I would have loved to have heard more in that vein. Aside from that crusher, though, there's nothing here that rattles the current synthwave paradigm, but if you dig this sort of dark, nostalgic electronica as much as I do (which is a lot), Behemoth offers an excellent dose of what you're craving, with a grimmer and meaner vibe than most.
Track Samples:
Sample : GOST-Behemoth
Sample : GOST-Behemoth
Sample : GOST-Behemoth



GRIEF   Dismal   CD   (Fuck Yoga)    14.99














GRIEF   Dismal   LP   (Fuck Yoga)    19.99














GRIEF   Come To Grief   2 x LP   (Alone -Spain-)    28.98














GRIEF   Come To Grief   CD   (Willowtip)    10.98














LARSON, GENEVIEVE RYOKO   Ecstasy   ART BOOK - SLIM   (Black Horizons)    5.98



More graphic and provocative collage art from Black Horizons' "Black Bag" series, this one featuring work from the San Francisco-based artist Genevieve Ryoko Larson, who we had previously encountered in the label's Provocative Rituals II art zine. With this forty-page zine, Larson employs old-school Xerox-damaged collage techniques to combine explicitly sexual imagery, murky textures and seemingly random objects into odd new forms. Like other installments in this series, the artwork is reminiscent of what you would find on classic industrial and noise tape releases a la Masami Akita or COUM Transmission, often including fragments of graphic pornography that are juxtaposed with combinations of floral images, strange subjects pilfered from fashion journals, and abstract patterns. At their best, Larson's collages can be weirdly distressing.


MIGHTY SPHINCTER   Undead at Hammersmith Odeon 1987   LP   (Slope Records)    19.99













NUCLEAR DEATH   Bride Of Insect + Demos   CD   (Dark Symphonies)    11.99



      Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.
      I still remember when I first saw the ad for Nuclear Death's Bride Of Insect when it appeared in a 1990 issue of Metal Maniacs, I could barely take my eyes off of the grotesque hand-drawn artwork depicting a clan of irradiated abominations surrounding a withered hag licking the slop off of some mutant infant, a huge skull-faced spider-like monstrosity hovering over them. The band name and that artwork suggested that Bride held sublime sonic horrors, and I couldn't wait to get my hands on it. The album's twelve songs featured a slightly less chaotic version of Nuclear Death's psychotic bestial death metal, but this stuff was (and is) still plenty bizarre, the songs whipped up in a nail-studded whirlwind of sloppy blastbeats and murky riffs, the songs spinning off in weird off-kilter anti-grooves and angular breakdowns, while Lori's awesome, seething vocals echo through the band's cyclonic violence, with some subversively catchy hooks lodged like stray bits of bone matter in these chunks of blackened grind. Tracks like "Necrobestiality", "Feral Viscera", "The Misshapen Horror" and the title track continue to evoke the band's unique nightmare visions of rotting bodies fused together in dripping carnal combinations, mutant birth-sacs and surreal sexual depravations dredged from the deepest recesses of the human psyche. The combination of ripping thrash riffs, Scum-level chaos, and sludgy discordant death metal is intense to say the least, but compared to the delirious sonic vomit that would follow, this is probably their most straightforward work.
      In addition to the album, this new CD reissue also features the Wake Me When I'm Dead and Welcome To The Minds Of The Morbid demos. 1986's Wake Me When I'm Dead was the band's first recording, and it features five tracks of thrashing cavernous evil that has more of a traditional thrash metal sound than their later stuff, though these tracks still have that signature unhinged quality that infects all of Nuclear Death's material. The same goes for the Welcome To The Minds Of The Morbid demo that followed the next year, which has a number of songs that would be later re-recorded on their debut album; you can really start to hear the band growing more maniacal on this demo, though, as the thrash metal riffs and the drumming are continuously pushed into the extremes, the band striving for ever faster, ever more violent velocity, with songs like "Cremation" and "The Third Antichrist" delivering some amazing blasts of chaotic grind, and some weird touches like the robotic devil-vocals on "A Dark Country".
      An essential collection of some of the most chaotic, brain-scrambling and utterly filthy extreme metal ever unleashed, this also includes the original album layout and artwork, and comes with a twelve-page booklet with lyrics, flyer art, band photos and new liner notes from Michele Toscan from Nuclear Abominations and Lori Bravo, as well as a Japanese-style obi card.


NUCLEAR DEATH   Carrion For Worm   CD   (Dark Symphonies)    11.99



      Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.
      It was with 1991's Carrion For Worm that Nuclear Death truly transformed into one of the strangest death/grind bands around, taking the murky, blurred chaos of their previous album and adding in an array of bizarre noises, hideous atonal guitar sounds, counter-intuitive rhythms and some of the most insane vocals that Bravo ever produced for this band. The songs careen through weird tempo changes and stomping off-kilter breakdowns, the blasting deathgrind splattered with Hampson's lysergic solos, which are ten times more crazed and discordant here than on the older Nuclear Death records. On some of these tracks, the band hurtles into passages of such cyclonic violence that it turns into a kind of blackened, gore-splattered noisecore, chainsaw guitars rumbling beneath the overdriven blastbeats and waves of rumbling noise, and Bravo uses extreme delay effects on her voice to produce some truly terrifying psychedelic effects on songs like the discordant, Autopsy-esque sludgefeast "Greenflies". There's a scornful review of this record that was posted by someone on the Metal Observer site that complained about what he perceived as Carrion's utter unlistenability, where he describes the sound of this album to being "like if Blasphemy and Beherit would interpret together some EinstŁrzende Neubauten songs, and while I'd certainly question his taste, he might be on to something there. There's a weird, experimental edge to a lot of these songs that shows up in the form of that blasting formless guitar noise and the heavily processed effects that the band uses on their instruments and vocals, and it's clear that Nuclear Death were trying to create something extreme and otherworldly here. They definitely succeeded, producing one of the era's most bizarre death metal albums.
      In addition to the album, this new CD reissue also features the A Symphony Of Agony and Vultures Feeding demos. The A Symphony Of Agony demo from 1987 is a mix of live and rehearsal tracks, and the sound quality is surprisingly good considering the age and source of these recordings. The live tracks in particular were great to hear, as live recordings from Nuclear Death have always been hard to come by (for me at least). Out of all of these demos, the 1988 tape Vultures Feeding is my favorite; while it has a heavier and clearer recording than the previous demos, the band sounds more unhinged than ever, their chaotic, noisy, sound again bordering on total noisecore, the riffs and drums going in different directions, a spiraling mass of buzzing death metal riffs and caveman blastbeats caught in a vortex.
      An essential collection of some of the most chaotic, brain-scrambling and utterly filthy extreme metal ever unleashed, this also includes the original album layout and artwork, and comes with a twelve-page booklet with lyrics, flyer art, band photos and new liner notes from Lori Bravo, as well as a Japanese-style obi card.


NUCLEAR DEATH   For Our Dead / All Creatures Great and Eaten   CD   (Dark Symphonies)    11.99



      Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.
This much-needed Nuclear Death reissue campaign continues with Dark Symphonies' new release of For Our Dead / All Creatures Great and Eaten, a collection of early 90's material from the Arizona death-mutant cult. Originally released together as a bare-bones disc by Extremist in 2002, this compilation marks a significant shift in the band's sound, from the grinding chaos of their early work towards a more experimental (but no less extreme) direction. This might be my favorite era of the band; the All Creatures Great And Eaten tape alone stands as one of the weirdest and most insane-sounding death metal releases of the era, a violent mutation of their earlier sound. a foul melange of psycho-sexual dread, extreme body horror, bizarre fairy tale imagery, the lyrics are fantasticlly vile, some of my favorite death metal lyrics ever. 1992's All Creatures Great And Eaten was the band's third album, though it only clocked in at just over twenty minutes. Released on cassette through the band's own Cats Meow imprint, Eaten found the band reduced to just a two piece, with Lori Bravo taking over all guitar duties in addition to vocals and bass. This resulted in a noticeable change in the band's sound, as the grinding death metal riffs mutate into more discordant, abrasive forms, and a sickening dissonance permeates all of the music. Steve Cowan's drumming remains savagely aggressive, but this new material generally sounds even more psychotic than before, Bravo's deformed guitar bringing an almost No Wavey abrasiveness and ugliness to their already quite hideous sound. Songs become writhing masses of downtuned abstract guitar noise and lurching, off-kilter rhythms. Weird spacey electronics and cosmic slime swell up from the depths, leading into eruptions of severely drug-addled improv. Effects pedals are cranked over deformed doom-laden concrete-mixer riffs. And a layer of vile, rumbling noise materializes beneath many of the songs, adding to the harsh, hallucinatory atmopshere. It's one of the most horrific slabs of avant garde deathnoise from the decade, almost sounding like some gruesome Skin Graft outfit at times, but constantly spiralling out into total madness as Bravo's snarling vocals become more and more distressed and demented.
First released on notorious label Wild Rags, For Our Dead features just four songs, terrorizing from start to end; blown out, utterly monstrous death metal whipped up into a near noisecore-like blur of blastbeats, vomitous shreiks and primitive riffage, only occasionally slowing down into a skull-flattening dirge or sprawl of nauseating feedback. Ridiculously noisy at times, there are moments like "The Third Antichrist" that turn into a weird, almost industrial-tinged ultra-heaviness that shifts between psychedelic deathsludge and sheer Merzbowian chaos. Some of these riffs are perversely catchy, though. As with the other recent Nuclear Deat reissue CDs, Eaten is limited to one thousand copies, featuring the original, amazing artwork and new liner notes from Lori Bravo.


SLAYER   Issue X (DELUXE HARDCOVER)   BOOK   (Bazillion Points)    14.98














SNARES OF SIXES   Yeast Mother: An Electroacoustic Mass   CD   (Crucial Blast)    8.98



While renowned for his work as bassist for Agalloch and Sculptured, Jason Walton has also frequently ventured into other, stranger and more experimental regions over the past two decades, offering a range of baffling and captivatingly weird sounds with bands like Self Spiller, Especially Likely Sloth, and Nothing. And it's in that latter territory that we find the debut EP from Snares Of Sixes, his latest creation. On the band's debut EP Yeast Mother: An Electroacoustic Mass, Snares Of Sixes makes a bold and confounding introduction, tangling the listener in confusional, highly aggressive avant-prog. The genre-shredding sound taps into a warped confluence of frenzied King Crimson-esque progressive rock, faint traces of frayed, heavily mutated black metal, haunting atmospheric touches, and abrasive electronics, and the result leaves us deliriously disoriented.
With tracks like "Urine Hive", "Lions To Leeches", "The Mother's Throat", Walton and company lurch through an escalating, ever-shifting frenzy of creepy, labyrinthine melody and pummeling percussive chaos, over-modulated riffage and schizophrenic time signatures, where android mutterings give way to hideous blackened shrieks and bouts of bizarre crooning, the sound stitched with veins of crushing metallic heaviosity, fractured electronica, and surreal atmopsherics as it reaches towards the menacing glitched-out tech-metal hallucination of "Retroperistalsis" that closes the EP.
Often difficult, frequently nightmarish, this stuff easily ranks as one of Walton's more challenging and oblique offerings. And for us, one of his most fascinating. Features Marius Sj√łli and Robert Hunter (Hollow Branches), Andy Winter (Winds), Pete Lee (Lawnmower Deth), Nathana√ęl Larochette (Musk Ox), and Don Anderson (Agalloch, Sculptured), among others.
Comes in a six-panel digipak.


SUBROSA   More Constant Than The Gods   2 x LP   (Profound Lore)    35.98



      Back in print on vinyl, issued as a gorgeous double LP with printed inner sleeves and insert.
      More Constant Than The Gods is the gorgeous new album of solemn, metallic-tinged chamber-rock from Salt Lake City's Subrosa, about as perfect a fusion of classical and folk instrumentation and crushing Sleep-esque doom-laden heaviness and soaring, achingly pretty pop hooks as I have ever heard. The album opens with some somber, muted electric guitar and those gorgeous, hushed vocals from singer Rebecca Vernon (who continues to vaguely remind me of Marcy May from Scrawl), the beginning of "The Usher" coalescing from a fog of ghostly violins and scraped strings, gusts of distorted fuzz and the muted chords of the guitar, soon joined by Jason McFarland's equally hushed singing. When the full band crashes in at around the three minute mark, and the sound gives way to a churning metallic might, Vernon's vocals never lose their fragility, even as the band slips into ever slower, heavier tempos and blasts of crushing downtuned heaviness. And from there, More Constant Than The Gods just transforms into something massive, the guitars erupting into squalls of screaming seagull feedback, wailing high-end amp noise rising over those sing-song vocals and weeping violins and churning metallic riffage, the soft chiming of a vibraphone ringing out overhead.
      It's all intense and strikingly beautiful, the songs shifting into folk-flecked dirge and gorgeous multi-part vocal harmonies, where Vernon synches up with her band mates for gorgeous lilting vocal melodies. There's the monstrous lumbering sludge of "Ghosts Of A Dead Empire", which starts off sounding something like the drugged, droning sludge metal before shifting into long stretches of ominous violin that sing over rumbling, fuzz-drenched guitars, leading into the crushing denouement where the song suddenly ascends into a fucking breathtaking hook. Here, Vernon's vocals transform into this achingly beautiful, terminally catchy melody that melts into the droning, saurian riffage perfectly, those violins skittering overhead, turning the final minutes of the song into a stunning piece of folk-flecked sludgepop majesty. "Cosey Mo" features another one of these stunning hooks churning at the heart of the sweeping chamber strings and that grinding guttural guitar tone, while "Fat Of The Ram" slips into an ecstasy of angular heaviness, that Sleepy metallic crush shifting into a strange blur of dissonant slide guitar and haunting clarinet sounds. As the instruments become glazed in delay and are set adrift on waves of echo, the music turns dark and dreamlike as the band bulldozes through the haze, eventually erupting into a kind of progged-out grandeur.
      The album is filled with these amazing moments, from the sorrowful doom of "Affliction" that burns with a mutated, bluesy power, to the dramatic piano that opens closer "No Safe Harbor" and is joined by gorgeous, witchy flutes for another stretch of dark chamber rock mastery, the droning doomed deathmarch that emerges later finds itself fused to an airy folky beauty. Each song weaves an eerie spellbinding story, Vernon's lovely voice the thread tying it all together, with lyrics that are both richly evocative and literate, with considerable footnotes included in the booklet that help to expand their lyrical visions. By far the band's best work to date, the album features Glyn Smyth's beautiful Symbolist/Aubrey Beardsley influenced artwork.
Track Samples:
Sample : SUBROSA-More Constant Than The Gods
Sample : SUBROSA-More Constant Than The Gods
Sample : SUBROSA-More Constant Than The Gods









  




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