When I started listening to Anthony Shaw's harsh noise work, it was from his Cold Comfort project, which produced an excellent videocassette release last year that combined his minimal static harsh noise walls with eye-melting video/cathode tube distortions. That led me to dig into his other projects (of which there are many), my favorite being the zombie-obsessed conceptual harsh noise of Burial Ground. Specifically, Burial Ground draws it's inspiration from Romero's iconic trilogy of hardcore zombie-gore films, and has released three cassettes that deal with each of the films. By the time that I discovered these, the Day Of The Dead cassette was already sold out, but I was able to get some of the other two Burial Ground titles for the shop. This stuff is pure wall, with very little dynamic movement; pretty much for hardcore HNW aficionados only...

Night Of The Living Dead contains two twelve minute long tracks of brutal electronic overload, each one starting off with an instantly recognizable, iconic sound bite from Romero's 1968 hardcore indie-horror classic, Night Of The Living Dead explodes into a black maelstrom of extreme distortion and feedback, massive rumbling frequencies blasted with an ocean of squelchy amp-mulch that constantly rises and falls over the duration of the track. This huge roaring wall of noise seethes will all sorts of fluctuating noise and concrete-mixer crunch, the track moving constantly through varying levels of intensity into fast-moving, near junk-metal levels of sonic avalanche that come crashing down in an infinite loop of immolating, city-disintegrating power. It's enhanced by a massive low-end heaviness that situates this closer to the electronic chaos-storms of Japan's most savage noise artists and the more destructive crunch-trances of Vomir, Indch Libertine and The Cherry Point; fans of the latter artist in particular will want to check out Burial Ground's similarly horror/splatter-obsessed harsh noise sculptures. It's much more "active" and chaotic compared to the other Burial Ground tape that I picked up.

Limited to 30 copies, the tape label smeared in black ink and streaks of blood-red paint, packaged in a nicely designed black and white sleeve.