��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 entry in the Occult Supremacy catalog comes from Bloodcrown, the duo of Colombian ritual-industrial artist Edgar Kerval (aka Emme Ya) and Russian soundscaper Viktoria Isa Mengele, who previously appeared on a limited-edition CDR release from the Boston-based black metal/industrial band Cryostasium. With Bloodcrown, Kerval and Mengele create ritual music for sightless troglodytes, long, drawn out tracks of grimy, subterranean drift and nightmarish ambience that won't be totally unfamiliar to fans of the sort of dark ceremonial ambience that Kerval has been recording under the Emme Ya name; there's definitely a similar stygian ritualistic atmosphere to these three long pieces.
�� Opener "Crown Ov The Blackthorns" blends together evil goblin shrieks and gurgling subhuman vocalizations with the sound of a lone male voice slowly intoning a series of repetitive chants in the background, his voice shrouded in echo and reverb, surrounded by the sound of eerie chiming bells, mysterious mechanical creaking, swells of Lustmordian rumble, and deep dubby snare-like reverberations, layered with sheets of rumbling low-frequency noise and swarms of seething, muted black static. Minimal and creepy, this combines a hallucinatory black mass-like atmosphere with subtle electronic abrasions to craft an intently bleak strain of black industrial that bears some similar traits as Funerary Call, Kerovnian and (natch) Emme Ya at their most minimal and subdued. The middle track "Deathbringer" is even more phantasmagoric, sending more of those deep chanting vocals streaking across a vast subterranean abyss, the hypnotic smear of processed voices and non-verbal throat sounds joined by swells of creepy kosmische synthdrone and strange, wheezing flute-like fluttering. And closer "Rex Mortis" puts that menacing, half-whispered chanting, ghastly gasping and weird, ecstatic moaning front and center, closing the disc with this blood-encrusted death prayer emanating from the depths alongside hellish electronic ambience and nightmarish horn-like blasts from the deep. Pure murk.
�� Limited to fifty copies, and packaged in a simple xeroxed sleeve.