Dead Times are back after that killer cassette that they released on Aum War, which sold out from here pretty quickly. Featuring members of the avant-doom duo The Body, Dead Times plays a kind of avant black industrial that incorporates aspects of martial folk and black metal into their sound. Here they've teamed up with Trtrkmmr, a one-man blacknoise outfit from the former vocalist from doom metallers Otesanek. The results are fleshrending.

The Dead Times side begins with the sound of a women's choir, a haunting intro that leads into the grinding industrial dirge of "Pain Arrives", where seething distorted synthesizers pulsate over massive dubbed-out drums and thick sheets of black sonic grime. Blackened harsh vokills sound above the pounding industrial throb, with Sewer Goddess adding some of her hellish throat-rending screams to this hulking death dirge. It suddenly stops at one point, everything disappearing for a couple of minutes as her scathing effects-overloaded witch screams take over and rend the blackness, and then traces of music box melody and blasts of tectonic low-end seep into the mix, and we're then suddenly thrust back into that awesome black industrial dirge, even heavier this time, like something from Theologian being fused to an industrial doom band, black and ultra heavy, crushing and noisy and fucking evil, finally collapsing into a delirious looping melody. The next track is another stomping dirge, this time with a martial rhythm marching under melodic bells, metallic clang and snarling black metal-esque shrieks and weird mewling voices, then a distorted bass drops in, and it turns into this fractured industrial doom, the looped drums marching incessantly, descending into a wall of brutal static with just another eerie tinkling music box melody playing over it. Then it heads into the last track "Tears", where it becomes some sort of blackened industrial pop, monstrous hissing shrieks and pulsating noise over a heavy, almost danceable rhythm.

Trtrkmmr brings about a different sort of garbled black industrial hellvomit on the flipside, starting with the spastic electronic muck of "Corroborate The Incantation", where squealing feedback and ultra-distorted pedal noise is flung out in massive chunks of sonic violence, as blackened vokills gasp and howl overhead and noxious flystruck drones seep up out of the black earth. This filthy black electronic blasphemy then goes into a sputtering black dirge, swarming tremolo guitars draped over putrescent glitchery and fried speaker crackle resembling transmissions of primitive black metal ritual broadcast over a crackling shortwave frequency, a maelstrom of hellish harsh noise and hissing demonic invocation, walls of orchestral power drenched in distortion are guided by majestic bass riffage, and warped bass-throb is carved into hypnotic pulsations. Bursts of ultra-deformed noise-damaged black metal lead into a female voice reciting lines from Sylvia Plath's "The Surgeon at 2 A.M." as another throat gargles blood, then launches into a pounding, heavily clipped industrial rhythm drowned in saturated distortion and grating turntable noise. "Defaced, Then Effaced" sees howling devils descending onto a shrieking noisescape littered with controlled bursts of brutal noise in the vein of early Bianchi, then goes into a dim, soul-flattening blackened doom dirge that ends with a brief blast of crushing industrial pummel orchestrated by both the members of Dead Times and Trtrkmmr.

The blackened industrial that these bands deliver on this record is goddamn ferocious, highly recommended to fans of Gnaw Their Tongues, Aderlating, Blue Sabbath, Nekrasov, Abruptum, and similar avant garde black industrialists. The record comes in nice stark black and white packaging with a printed inner sleeve, pressed on black vinyl, and limited to five hundred copies.