I've been jonesing for some more Coffins, and here we get the Japanese sludgelords teaming up with Philadelphia's barbaric sludge metal berserkers Otesanek, one of their last releases I believe, on this deluxe LP that comes in a rad heavyweight gatefold sleeve and is pressed on clear-blue swirl vinyl, limited to 500 copies.

The Coffins side gets us three long tracks of their patented brand of devestating death-doom, "Evil Infection", "Only Corpse" and "Acid Orgy" (the latter being a cover of the infamous black/death sludge band Goatlord). You always know what yer going to get with Coffins: simple, ultra downtuned death metal riffs and thunderous drumming, equal parts Celtic Frost and Corrupted and Cianide, like some monstrous brutal deathcrust band slowed down to halfspeed, the vocals a bestial gutteral roar, thick and gooey guitars that are so sludgy and bottom-heavy they seem to ooze over the chaotic drumming, occasionally unleashing an awesome Slayer-esque solo or puking deathgrunt over the plodding sludge. There are some faster moments that show up, brief blasts of hammering crusty thrash, but this always falls apart within moments and falls back into Coffins punishing slo-mo trudge. Crucial!

Otesanek on the other hand only deliver one song, but geezus, is it long. Twenty-two minutes long. And it's something different from the other recordings that I have of theirs, at least when it starts out. "Narcotic Hues" begins with soft swells of orchestral strings drifting alongside deep demonic mutterings and distant subterranean rumblings, a hazy ominous dronescape that unfolds for several minutes until it is slowly invaded by feedback and grinding distorted guitars, then finally erupts into ultra-slow DOOM, a massive tectonic riff crawling at sub-glacial speed distended over spacious, abstract drums, much like Khanate or Trees but slower and more fragmented, the riffs coming apart even as they are played, filthy powerchords dropped into dead space and left to decompose in infinity, pieces of rusted steel dragged over wrecked fretboards, and two vocalists, one female, the other male, their crazed screams and anguished howls clutching each riff as it fades into the void. This track is the slowest and most abstract thing that I've heard Otesanek do, an epic nightmare of grinding sludge, diseased feedback, scrap metal on bone, screams of horror and fear stretched across a vast surface of jagged distortion.