� � Started up by Crown Of Bone mastermind / ex-Demonologist member Dustin Redington in 2012, Occult Supremacy is a CDR label focused on "Blackened Noise, White Noise, Death Industrial, HNW, Dark Ambient, Black Metal, Horror Drone"; in other words, exactly the sort of stuff that I can't stop listening to here at C-Blast. The label's crude aesthetic is pure 90's harsh noise, with each disc issued in a limited run of fifty copies and packaged in either a slimline jewel case or a plastic sleeve with minimal Xeroxed artwork, the discs themselves either scrawled on with black magic marker or blasted with abstract spray-paint patterns. But the sound that Occult Supremacy traffics in is total horror, heavily leaning towards the bleakest strains of harsh noise wall and experimental, noise-damaged black metal, and over the past year it has maintained a crazed release schedule that has already produced nearly forty discs, from a variety of artists that includes slightly more recognizable names from the harsh electronics underground (Vomir, Burial Ground, Luasa Raelon). While we haven't been able to get all of the Occult Supremacy titles in stock, we have managed to stock a pretty large selection of their titles, all of which are recommended listening to anyone into the filthiest depths of black noise, experimental black metal, and brutal electronic noise.

� � This is the first Abyzm release we've picked up for the C-Blast shop, although the guy behind this harsh noise project has been putting stuff like this out for more than a decade. His first disc for Occult Supremacy is a heavy one, though, delivering a solid set of crushing, oppressive HNW for you to completely zone out to. Boundaries features two twenty-five minute slabs of molten wall noise, each one a sprawling sonic inferno filled with roaring avalanches of black static; the first, "Vestigial", is a maelstrom of crushing low-end distortion and buzzing bass frequencies that spreads its monotonous rumbling power out into infinity, a sprawling sputtering wall of guttural static that carries some of the same crusty, trance-inducing properties as The Rita's charred electronic noisescapes. As the track unfolds, though, controlled bursts of pedal-noise and fluctuating distortion are used to create sudden, jarring shifts in sound. The second track "Myriad" is a seething, boiling mass of electronic squelch, a mountain of fracturing, fragmenting glass slowly collapsing to earth, the grinding noise of disintegration looped and amplified into a swirling, drone-like rumble. Both of these tracks are pretty intense, offering up severe bone-rattling distorto-scapes filled with all kinds of swarming activity and movement that continues to reveal itself to the obsessive listener at higher volume levels. Monotonous, droning HNW for void-enthusiasts into the likes of Vomir, Burial Ground and The Rita.

Limited to fifty copies.