The return of "Warped Lunar Sludge Core" from Ohio's long-running one man weirdo-sludge band Black Mayonnaise, who once again oozes it's septic snailtrail across the Earth four years after the release of TTSSATTSR on Emperor Jones. And Black Mayo is still on my list of the heaviest bands of all time. It's been seventeen years since Black Mayonnaise first appeared, which is pretty hard to believe, though we only have a handful of releases from this weird freaked-out sludge outfit to show for it. The last album TTSSATTSR was a seriously messed up slab o' outsider sludge, the sound of Godflesh slowed down to a sub-tectonic crawl and then covered in a slowly spreading alien fungus. That gurgling, glacial alien doom continues with this album, but it amazingly managed to become even weirder and more fractured, the signature Black Mayo drum machine plod sometimes disappearing completely as if it's been totally subsumed by layers of black slime. The album starts off with a stretched out dubby dronescape of echoing toad-croaks and distant percussion, a thick murky rumbling drone grinding at the center of a gooey mass of corrosive buzz and coarse tape-hiss, the vocals stretched into insanely pitchshifted gurgles that go waaaay beyond anything you've heard a goregrind band pull off, and underneath it all there's that minimal drum machine pulse clattering away and cloaked in delay, distant dubby beats decaying in the black swampy dronemass. It's muted and oddly psychedelic, like an entire goregrind track pulled apart and pitshifted a couple of octaves and turned into a murky black ambience. The heaviness kicks on the second track when the drum machine officially appears, laying down a massive glacial throb, those gastrointestinal gurgles fluttering and floating, guitar smeared into a muted doomed chug, like a funeral doom band slowed way down and smeared in slow motion cosmic fx and low-fi noise. The rest of the tracks get pretty heavy as well, like "Flight"'s tripped out GOdflesh style pummel and waves of industrial filth and fx, and the pulverizing slow-mo industrial dub-sludge of "Descent/Impact" which sounds like one of the Godflesh dub remixes time-stretched and drenched in blown-out bass, with some additional guitar-crush courtesy of Corey Bing from Fistula.

Shit gets even weirder when you get to the unlikely cover of the Flaming Lips song "Pilot", which is totally unrecognizeable after being turned into a ferocious blast of noise-damaged, ultra distorted psychdrone and incessant clattery blastbeats draped in monstrous echoplexed roars and wild white-hot streaks of noise, kind of like brutal parts on that new Black Vomit album! Flipper also gets the cover treatment with their classic "Love Canal" likewise mutated into a seriously abstracted slab of sludge, the riff stretched out and drowned in trippy demonic grunts, black slime and loads of gooey space-rock fx. And finally, the last track "Guernsey County" veers off from the warped fungal sludge entirely as it spreads out for al;most thirteen minutes as a glitchy, fractured electronic soundscape streaked with malfunctioning computer noise, buzzing high-pitched drones, Nulltronix-style bleeps, staticky interference and other weird digital wreckage.

The disc is packaged in a cool silkscreened cardstock jacket with black and silver inks printed onto the black stock, and a small insert card on the inside.