new noise from crucial blast...


CRUCIAL BLAST WEBSTORE: NEW ARRIVALS FOR WEDNESDAY NOVEMBER 3RD 2010

Well, we're back after an extended delay due to having some major site issues that popped up last month (and which we're still dealing with - you may notice some wonky behavior on the Crucialblastshop.net site right now) that we're in the process of getting sorted out and fixed as quickly as possible. We do have a huge list of new titles and restocks for you to trake a look at, though, starting with the new album from Circle Of Animals, an excellent new duo from Chicago that features Sanford Parker (Minsk) and Bruce Lamont (Yakuza) resurrecting the iron rhythms and hypnotic chug of the late 80's Chicago industrial scene as filtered through a contemporary underground metal lens. They first appeared a couple of months ago with a limited 12" on Relapse that we reviewed here (and which we still have in stock), and their debut album Destroying The Light has just come out on the same label, a heavy, mesmeric slab of mechanical metallic heaviness that had me all misty thinking about the glory days of Wax Trax and The Land Of Rape & Honey and Swans, but they inject this industrial rock sound with a spacey, often psychedelic quality and a heavy dose of crushing dirge that remind you of who is behind this. I thought that 12" pointed to good things to come, but this debut full length turned out to be even better than I had expected...

Here's some of the other mutant heaviness that has come in to Crucial Blast this week:

La Otracina's latest album of spiralling psych-metal, which sounds like 70's prog crossed with Hawkwind crossed with NWOBHM... two new vinyl reissues from Swedish sludge-punk scumbags Brainbombs, Urge To Kill and Singles Collection... the crucial new reissue of Brutal Truth's Need To Control, which changed the face of grindcore in the early 90s... a bunch of tapes from Rainbow Bridge, including Boar's harsh noise wall feast Teen Cribs, Dreaded, Demonologists, and Skin Graft... the latest album from Rhode Island avant-sludge duo The Body, an ambitious mix of proggy doo, choral music, and blackened drone... some skull-pounding breakcore/gabber/Amigacore platters from Bong-Ra, Stagediver, CCDM, Teknoist/Eustachian and Dispyz... a super-limited disc of vicious harsh noise from Brandkommando... a limited disc from NY improv-sludge-psych blasters Burnt Hills... a host of killer new metal cassettes from Hospital Productions, including the corroded sci-fi death of Time Crypt (featuring Dom from Prurient), the low-fi symphonic dread of Curved Blade, the blackened noise metal of Vegas Martyrs, and the blistering necro-noisecore of Terrorism... a couple of issues of the humorous underground show-review comic Feedback... a bunch of tapes (and one cdr) from the ultra-misanthropic, ultra-hateful black industrial project Goat Thron... restocks of crucial discs from The Goslings, Lords Of Bukkake, Master Musicians Of Bukkake, Negative Approach, Nadja, Miss High Heel, and much more... a handful of vinyl editions from KNVBI that includes limited edition Lps from Infection Code, Hoor-Paar-Kraat, two new discs of psychedelic sludgecore from Finland's Fleshpress... a new black-as-pitch art zine called Call And Response from Locrian's Terence Hannum... a hard-to-find 12" from black metal influenced breakcore sorceress Hecate... the heavy dystopian drum-n-bass-meets-doomdrone of Imaginary Forces... Human Quena Orchestra's newest disc of apocalyptic scorched-earth industrial doom... a restock of Howling Void's Shadows Over The Cosmos, a killer mix of extreme funeral doom and orchestral ambience... a very limited 7" featuring UK noise rockers Hey Colossus and Field Boss (formerly known as Tractor)... Vve Are The End, a brand new 7" from holy terror hardcore legends Integrity... a new split disc of crushing HNW from Vomir and Dead Body Collection, and another featuring Vomir and awesome gaseous satanic doom-laden death metal from Father Befouled... a double LP collecting the entire recorded output of British psych-prog sludgecore heathens Gruel... new Disaro darkness from occultic folk troubador King Dude... Cephalic Carnage's stunning new album of avant-math-grind Misled By Certainty...

And that's just the beginning. There's much more mutant heavy music to be had...keep reading below to check out all of the amazing new music that we have in this week's new arrivals list.

You can now click on the cover image for any title that we carry here at Crucial Blast to see a pop-up photograph of the actual item! Not all of our older titles that we have in stock have product photographs attached to them, but almost anything new that we get in stock will have this feature. The pop-up photo feature can be wonky (like most things) if you are using Internet Explorer, but works perfectly in Firefox and other browsers.



FEATURED RELEASE



CIRCLE OF ANIMALS   Destroy The Light   CD   (Relapse)    14.98



We've been hearing the influence of late 80's underground industrial rock appearing here and there lately with newer bands drawing influence from the works of Killing Joke, Ministry, Revolting Cocks, and similar bands, and as big fans of this era of alternative music, we're all about it. This new band from Chicago, which was ground zero for the hardest industrial rock bands of the time by way of the Wax Trax! Records, pays homage to this sound by incorporating the influence of bands like Swans, Killing Joke, Big Black and Ministry with a much more ambitious and modern brand of heaviness. Circle Of Animals is the duo of Sanford Parker (recording engineer for countless underground metal bands and member of Minsk/Buried At Sea/Twilight) and Bruce Lamont (from Chicago prog metallers Yakuza), who bring in an assortment of drummers for their recordings that has included formidable names like Dave Witte and Steve Shelley. The band synthesizes some of our specific favorite sounds from the 80s: the metallic machine crunch of Land Of Rape And Honey, the apocalyptic slow-motion pummel of Swans, the dark triumphant power of What's THIS For...!, and Destroy The Light sounds to our ears like some previously unimagined fusion of Wax Trax! and modern dirge metal. Lamont's distinctive soulful vocal style leads many of these songs, but it's the powerful rhythmic foundation that really dominates the music. As with "Invisible War", the song that kicks this disc off with a bang, a pounding mid tempo industrial metal pummel fronted by distorted vocals and a pounding mechanical drum battery, backed by droning keyboards and droning bass, heavy and hypnotic and very reminiscent of Ministry, even having a slight militaristic rigidness to it; then, the second half changes shape into a Killing Joke-esque tribal workout, rolling drums and howling synths and electronics raging over top of a catchy melodic hook beneath it all, rising skyward before lurching back down into that killer earlier pounding industrial metal.
We were mighty impressed with that first song, but while the rest of the disc has more of that machine-driven crunch, they also spread out into different sonic territory, too. The second song is more heaviness, "Seminal Animal" featuring Lamont's deep Gira-esque croon over lurching drums looping electronic noise, total early Swans worship that builds into a vicious machine-like grind; and "No Faith" opens with a volley of thrashing drumming before shifting into a crushing industrialized dirge metal assault with stentorian speechifying over a dramatic Neurosis-like riff and soaring orchestral synthesizers, a fucking awesome channeling of Killing Joke via Neurosis, seriously massive, with huge riffage and choral voices ending in a looped cluster of percussive loops and drifting machine noise.
But then "All Spirit/No Mind" comes in all slow and shambling, a harmonica floating softly over druggy circular chants and pounding dirge drums and grinding bass, and it sounds a lot like something from Yakuza, a lumbering angular groove with tumbling percussion layered in the background, a mysterious, delirious mystical tribal sludge jam that even sports some smokey jazz saxophone that creeps in towards the end.
A soulful, psychedelic vibe comes in on "And Together We Are Forever", the dark early 90's indie rock vibe actually reminding us of Afghan Whigs, weirdly enough, but it's matched with those machine-like drums and droning keyboards. "Lessen Human Suffering" is another metallic dirge, furious industrial drumming and a suspended doom riff kicking in with spacey electronic fx, later bursting into full on thrash and then into some almost danceable tribal rhythms, and "Poison The Lamb" has soulful female singing coming in over it's hypnotic, heavy throb.
The most divergent track on the album is the last, though. The closing title track ends this with a twelve minute space jam of Hawkwind synths flowing in from black space, filling the first few minutes with pure kosmiche drift; then another minimal synth loop comes in and repeats endlessly over the whoosh and rumble of the space drones, total Tangerine Dream/Ash Ra style ambience, and then the sax drifts in, joining additional layers of cinematic ambience. When the drums suddenly burst in with the minimal vocals, it turns into a John Carpenter-style pulse, picking up speed, becoming a propulsive, menacing krautrock-like groove that rides out to the very end.
The limited edition 12" that Circle Of Animals released a few months ago had us looking forward to their first full-length, but we're stoked to report that Destroy The Light went way beyond our expectations, welding a dramatic metal massiveness (that was only hinted at on their Ep) to their churning, hypnotic tribal-industrial groove, which is produced here by a cast of drummers that includes John Herndon from Tortoise, John Merryman from Cephalic Carnage, Dave Witte (Discordance Axis/Burnt By The Sun/Municipal Waste) and Sonic Youth's Steve Shelley. Definitely recommended! Comes in a six panel digipack.
Track Samples:
Sample : Destroy The Light
Sample : Invisible War
Sample : Seminal Animal


NEW ADDITIONS



//TENSE//   Consume   CD-R   (Disaro)    5.98



Another denizen of the strange, impossible-to-pin-down electro/goth scene surrounding the Disaro label that has been tagged as "witch house", //TENSE//, like many of the bands that we've heard from this label (Modern Witch, Fostercare, The Present Moment) beams a skewed vision of 80s synth pop through a cracked and distorted lens marked with occult sigils. In this case, it's a dark brooding take on the EBM vibes of Front Line Assembly and Twitch-era Ministry that we hear creeping out of the Houston duo on Consume, their killer new EP of crepuscular industrial synthpop that stands out from much of the weirder, more fractured stuff on the label. This disc fixes our urge for some classic sounding dark industrial synth hookage quite nicely, and the cold, sterile production sounds like something Adrian Sherwood would have cooked up. The vocals are delivered in a weird affected British accent over pounding drum machines, deep synth bass and sinister keyboards, blasting out orchestral walls of sound, or crawling back into the throbbing malevolence of "TV Teach Me". There's a warped robotic EBM delirium that infects "Cash In (Night Version)", and the killer booming industrial breakbeat and space-funk keyboards on "Wasted Flesh" even remind us of Tackhead a little. "End Crawl" layers dreamlike sheets of synthesizer chaos and pulsating electronic darkness over a spare kick drum beat, and gets into seriously warped and nightmarish territory, which carries into that last couple of tracks ("Versus Man", "Between The Strike"). The disc delivers eight tracks of this mysterious nocturnal throb, great stuff for fans of classic EBM-tinged industrial rock who are down for a strange, occult-influenced take on the sound. Limited to one hundred hand-numbered copies.
Track Samples:
Sample : Between The Strike
Sample : TV Teach Me
Sample : Wasted Flesh



ABSCESS / POPULATION REDUCTION   split   LP   (Tank Crimes)    14.98



It sucks that San Francisco weirdoes Abscess recently called it quits after almost two decades of delivering their quirky stoner death, but some new material has still oozed out in the wake of their exit, like this slammin' split LP with fellow Cali grinders Population Reduction. The Abscess side of this record serves up eight new tracks of their blistering acid death from these underground vets/Autopsy members, nothing quite as wonky as what I heard on their phenomenal final album Dawn of Inhumanity, but still plenty warped, songs like "Nausea Without End", "Bourbon, Blood and Butchery", "Volcanic Psychosis" and "Senseless Waste of Space" grinding out putrid blasts of sticky, sickly dissonant death metal slime, punky thrash, Sabbathy riffing and those weird forays into a kind of noxious stoner rock grooviness that has been one of their trademarks since the beginning, and there's a very strange detour into the Pepto-Bismol jingle that briefly appears at the end. Abscess fuse together an old school death metal assault with hardcore punk and a subliminal psych influences and it's a style all of their own that I'm definitely going to miss, but these songs make their passing much easier to bear.
Also comforting is the presence of their pals Population Reduction on the b-side, a two-piece band that makes a great showing here with seven songs of awesome thrash-infected grindcore that sounds to me like a perfect hybrid of late 80's Bay Area thrash metal and the monstrous cacophonic whirlwind of the early Earache roster. I've heard a bunch of other bands try to pull this sort of thing off before, but I don't think that anyone has mixed the two influences together as well as Population Reduction does here. Manic growling vokills rip through the speed-demon blastscapes of "Cannabis Holocaust" and "In with the Old, Out with the Cold", puking up the venomous tongue-in-cheek lyrics over arrangements that flow between ripping thrash metal and guttural atavistic death/grind, with the guitarists laying down a couple of shredding harmonized leads and some of the songs lurching through unpredictable stop-start seizures. One of the highlights of their side is "Cult Scam" which drops the most pit-inducing thrash riffs on the whole record into the middle of the song, and they wrap things up with a cover of "In Nephritic Blue" from Spanish death metallers Haemorrhage.
The record has Abscess's Chris Reifert doing the bizarre alien artwork featured on the jacket (I always love to see his stuff), and it's released in a limited edition of five hundred copies.


AKIMBO   Jersey Shores   LP   (Alternative Tentacles)    14.98



Akimbo's peculiar concept album about the New Jersey shark attacks of 1916 finally makes its way onto vinyl thanks to the folks at Alternative Tentacles, who have put together a deluxe package for this slab of murderous noise/sludge metal that includes a gatefold jackter, thick 180 gram vinyl, and a download code for an MP3 copy of the album.
Framed by episodic vignettes, Jersey Shores is the latest album from Akimbo, a concept album, in fact, that revolves around a series of infamous shark attacks that occured in 1916 off of the coast of New Jersey, a subject that has captured the imagination of the Northwestern sludge rockers for their sixth album (and first for Neurot). The five songs on Jersey Shores weave a chronological, if slightly surreal narrative that describes each of the key events that happened during the horrific shark attacks, which included four deaths and one serious injury. These shark attacks were the inspiration for Benchley's Jaws, and Akimbo spins the story into an equally epic sludge-metal saga with the band's heaviest music to date. Previous albums delivered their manic metallic assaults in short hardcore-style blasts, but now Akimbo lets their songs stretch out into longer, epic jams that sometimes spill out over ten minutes or more, as if the Neurosis influence that's always lurked in the shadows of their thunderous metallic rock has completely come out into the light. "Bruder Vansant" melds together burly stoner rock riffage and aggressively fast tempos with old school metal at first, but then evolves into moody, jazzy post-rock. The eleven minute "Lester Stillwell" is the album's centerpiece, its spacey Karp-like crushrock alternating with bluesy Sabbathy doom before wandering into a twilight field of twangy, Big Sky psychedelia and shuffling blues. The whole album is filled with these long, epic wanderings from punishing heaviness into dark musical calm, blending smoky blues and post-rock with Neurosis-esque dirge, super-heavy Kyuss groove and angular noise rock, and Akimbo are now moving further from the Melvins/Karp comparisons that have saddled these dudes since day one. They still sound very "Pacific Northwest", if you know what I mean, but Jersey Shores has them exploring a whole new side to their sound. Might disappoint fans of their older stuff that are looking for more of their faster, hardcore-injected sound, but Akimbo's newer, improvisational approach to brooding heaviness is pretty damn cool.
Track Samples:
Sample : Great White Bull
Sample : Matawan



AL QAEDA / DRIED UP CORPSE   1309   CASSETTE   (Rainbow Bridge)    7.50



Creepazoid noise from Al Qaeda meets a vicious harsh noise wall erected by Dried Up Corpse, a side project from one of the guys in Blue Sabbath Black Cheer. Now, Al Qaeda was a new one to me; I had seen their name around before, but for some reason thought that they were some kind of lighter psych/noise outfit. I apparently had 'em figured all wrong, at least as far as their side on this tape is concerned. The thirteen minute nightmare of "Fucked" that fills the a-side uncoils it's atmospheric evil with distorted, heavily processed vocals, subdued feedback and crackling mechanical noise, ringing metallic tones that hover over fields of ultra low dark ambient drift...this is creepy shit that I wasn't expecting at all and which duly impresses, a pitch black fogbank of horrific industrial noise and infernal fug laced with sparse percussion and swirling psychotic dissonance, sounding like the wretched contents of hell being vomited up from the bowels of the underworld. A fantastically bleak and nightmarish mix of brutal Merzbowian skree and smoldering black ritual ambience. I'm on the lookout for more of Al Qaeda's stuff now, for sure.
On the other side, Dried Up Corpse counter with their own thirteen minute "Fucked", a brutal high-end wall of dense blast and swarming mid-range frequencies that whip through a black static storm. This is vicious chaos, formed through the powerful layering of high end hiss and snarling, howling electronics that are set deeper in the mix, and underscored by a crushing bottom-end rumble and a constant screeching tumult that hurtles through the piece like chunks of jagged busted machine wreckage scraping and grinding against the swirling blizzard of distortion, or an ancient torture device at work within the center of a raging inferno. Fans of intense HNW will not be disappointed.
Only one hundred copies of this tape were issued, each in full color packaging and on chrome cassette.


AMEBIX   Redux   CD   (Profane Existence)    9.98



While we're waiting for the mucho-anticipated new album from the reformed Amebix, the highly influential UK crust-metal trio has released this Ep of older tracks that have been re-recorded by the band's new lineup that includes new drummer Roy Mayorga, who in the past has sat behind the kit for bands ranging from NYC crust punkers Nausea, nu-metallers Soulfly, the Slipknot spin-off Stone Sour, and Hare Krisha rockers Shelter. More unlikely as an Amebix reunion might have seemed when this was first announced a while back, the band sounds absolutely intense revisiting these classic jams, with a heavier and more metallic attack and a much thicker recording than they had on their original albums from the 1980's. Their original sound, which was essentially a combination of Killing Joke's apocalyptic post-punk and the gnarled thrash of Motorhead, went on to be one of the most influential sounds to come out of the UK underground, and that end-of-the-world vibe and crushing power hasn't faded a bit to my ears after hearing this.
A distant war-horn heralds the arrival of opener "Arise", one of Amebix's most classic songs, here reconfigured as a crushing, thrash metal take on the original with that massive galloping riff sounding heavier than ever, those deep scorched Lemmy-like vocals still chilling to hear, an icy synthesizer droning in the background through the entire song, a punishing end-time crustmetal anthem that ends amidst the sound of otherworldly industrial chaos. Another Amebix classic, "Winter", begins with air-raid siren keyboards before kicking into that awesome panic-filled bass line joined by rolling tribal drums and The Baron's scorched howl, and it's followed by the chugging stentorian riffage and surging waves of drum battery of "Chain Reaction" (originally off of their Monolith album, and the most obviously re-tooled track here), this new version featuring some awesome, weirdly processed (almost power electronics style) vocals and backing orchestral synths and choral voices that sound fucking massive!
Track Samples:
Sample : Chain Reaction
Sample : Winter



AMEBIX   Redux   12 INCH   (Profane Existence)    11.98



The comeback Ep from Amebix is also available on vinyl, packaged with a big embroidered patch and a download card that accesses an MP3 copy of the recording as well as a bonus live version of the song "Progress?" that's only available here.
While we're waiting for the mucho-anticipated new album from the reformed Amebix, the highly influential UK crust-metal trio has released this Ep of older tracks that have been re-recorded by the band's new lineup that includes new drummer Roy Mayorga, who in the past has sat behind the kit for bands ranging from NYC crust punkers Nausea, nu-metallers Soulfly, the Slipknot spin-off Stone Sour, and Hare Krisha rockers Shelter. More unlikely as an Amebix reunion might have seemed when this was first announced a while back, the band sounds absolutely intense revisiting these classic jams, with a heavier and more metallic attack and a much thicker recording than they had on their original albums from the 1980's. Their original sound, which was essentially a combination of Killing Joke's apocalyptic post-punk and the gnarled thrash of Motorhead, went on to be one of the most influential sounds to come out of the UK underground, and that end-of-the-world vibe and crushing power hasn't faded a bit to my ears after hearing this.
A distant war-horn heralds the arrival of opener "Arise", one of Amebix's most classic songs, here reconfigured as a crushing, thrash metal take on the original with that massive galloping riff sounding heavier than ever, those deep scorched Lemmy-like vocals still chilling to hear, an icy synthesizer droning in the background through the entire song, a punishing end-time crustmetal anthem that ends amidst the sound of otherworldly industrial chaos. Another Amebix classic, "Winter", begins with air-raid siren keyboards before kicking into that awesome panic-filled bass line joined by rolling tribal drums and The Baron's scorched howl, and it's followed by the chugging stentorian riffage and surging waves of drum battery of "Chain Reaction" (originally off of their Monolith album, and the most obviously re-tooled track here), this new version featuring some awesome, weirdly processed (almost power electronics style) vocals and backing orchestral synths and choral voices that sound fucking massive!
Track Samples:
Sample : Chain Reaction
Sample : Winter



APARTMENT 213 / NOTHING IS OVER   split   7 INCH VINYL   (Give Praise)    6.50



Two sides of brutalizing blast, the first featuring some brand new violence from Cleveland's mighty Apartment 213. The band has been relatively quiet since the release of their split with Agoraphobic Nosebleed from a few years ago, but they've shown up here with four new tracks of their trademark crush assault to remind everyone that, no, they haven't gone anywhere, and no, they still aren't interested in making friends. From the opener "Creepy" and it's crushing dirgey riff that spurts out chunks of electronic squelch and drill noise, to the classic ultracore of "Apply Your Make-up" and it's attendant whirlwind blastbeats, slow chugging thug-riffage and Steve Makita's barking, pissed-off vocals, these guys remain masters of their brand of Midwestern neo-power violence, a perfect fusion of metallic Infest worship and weirdo industrial noise.
The Pennsylvania trio Nothing Is Over makes for good sparring partners on this 7". Their side follows up Apt 213's violence with their own raw take on shock-assault blastcore, ripping through seven short tracks of thrashy, Spazz-esque hardcore that shifts every few seconds into another crushing maniacal riff, weird sudden stops and jarring arrangements that come at lightning speed, some oddball bass guitar parts, song titles that make no effort to conceal their bad attitude ("Get Pissed", "Everyday Hate", "You're Cut Off", "Stare Back") and best of all, a handful of killer breakdowns that make me think that I'm all of a sudden hearing some 80's youth crew band jacked up on PCP. These guys will ingratiate themselves with not onl y Apt 213 fans but anyone into contempo PV like Endless Blockade and SU19B with ease. Note: the 7" has one of those large center holes, so you'll need a 45 rpm hole adapter to play this.


ASH POOL   or Which He Plies The Lash   LP   (Hospital Productions)    15.98



We now have the black vinyl edition of For Which He Plies The Lash in stock!
Featuring Dominick Fernow of Prurient/Cold Cave/Vegas Martyrs/Hospital Productions and Kris Kapke of Northern Cross/Alberich, NY black metal duo Ash Pool has returned with their newest album of raw furious negativity, with more than a few surprises in store for fans who have been following the band since their early Genital Tomb/Black Bondage in the North works. With Fernow involved, you might expect the music of Ash Pool to be on the noisier, more abstract end of USBM, but this stuff turns out to be actually far more melodic and catchy than you'd think, playing a brand of hooky, blown-out punky black metal on previous releases that situated them alongside the likes of Bone Awl, Akitsa, Ancestors, Malveillance and Aanal Beehemoth, and now with For Which He Plies The Lash moving into more progressive territory , with a thicker, more glossy recording, some superbly warped riffing and arrangements and some amazing melodic turns that dropped my jaw a couple of times when I first gave this disc a spin.
All of the older Ash Pool material was punishing enough, but any preconceptions that I had for this album were wiped out as soon as opener "Holocaust Temple" kicks in, starting off with a fucking EPIC jagged intro, then hurtling into a whirlwind of frenzied swarming black riffage and scorched screeching vocals, totally blackened and violent, but with the vocals spinning off into soaring, seemingly harmonized singing, a little like later Enslaved but weirdly "poppy", not at all what I was expecting, but it sounds killer. Suddenly, the song shifts into this long passage of mid-tempo melodic metal, a super poppy rush of raging riffage, then shifting abruptly once again into bizarre loping polka-like melody, almost like some demented blackened Irish traditional tune gone metal before blasting right back into the ferocious holocaustic blackthrash. Fucking AWESOME.
The breakneck blasting BM keeps burning: next is "A Sacrifice Consumed By Fire", putrid death shrieks and guttural howls over grinding back dirge, dissonant guitars buzzing in the background, super heavy and strangely groovy up until it blasts into more super fast violent blackthrash, then switches back into another pounding mid-tempo black n' roll groove. "Big Bang Black Metal" is another ripper that kicks off with a crushing death n' roll riff and deep demonic grunts, shifting between an eerie angular melodic break with sinister trippy lead guitar and jagged rhythmic pummel, and the thrashing blackened gallop and awesome harmonies of the second half. There's the awesome hardcore-tinged black blast of "Porcelain Cancer Spear" that veers from fucked blackthrash to majestic rocking mid-tempo with haunting harmonized vocals in the blink of eye, and the clean soaring singing and spastic black buzz of "White Dwarf Death Mask". The whole album is full of these weird and jarring rhythm and tempo changes, exemplified by the final two tracks: woozy waltzing doom shifts back and forth into a pounding ultra heavy dirge on "Moon Rose", and the crushing black dirge "On The Rings Of Saturn Adam And Eve Conceive Cain" starts with grimy droning riffage that suddenly breaks off into some surprisingly spacey thrash, with swirling Hammond-like buzz and cosmic synth whirr morphing into a droning blurr of minor key thrash riffing and pounding static blast beats, then hurtling back into epic melodic black metal with more soaring majestic melody and buzzing mosquito riffs over relentless blast beats and some really manic, complex tremolo shredding.
Man, their earlier stuff ripped, but this is a whole new level for the band, a faster more melodic dimension to Ash Pool's fearsome brand of black metal.
Track Samples:
Sample : Big Bang Black Metal
Sample : Holocaust Temple



BAKER, AIDAN + VALDIVIA, BRANDON   Live 2008-14-11   3 INCH CD   (Universal Tongue)    7.50



A twenty minute live performance from the 2008 Lab30 Festival in Germany between Berlin transplant and C-Blast drone-guitar fave Aidan Baker and Canadian free-improv percussionist Brandon Valdivia has been documented here for posterity on a 3" disc, released in a limited run of 323 hand-numbered copies. Packaged in a miniature Dvd-style case with full color artwork that was provided by Mories from Gnaw Their Tongues, this release showcases the improvised trance-rock side of Aidan Baker that I usually only hear whenever I throw on something from his old Toronto outfit Arc. Baker and Valdivia start off their set with a soft warm blur of guitar feedback that slowly lilts through space, forming a shifting chordal blur of melody that after a minute or so is joined by restrained, shuffling free-jazz drumming and meandering, spidery guitar figures and washes of keyboard drift, building this eerie, krautrock-like vibe. Aidan gradually adds more guitar, layering fragments of delayed melody and echoing feedback, and drops in bits of fast picking and flurries of harmonic notes that he smears into clouds of ethereal sound, and it sort of sounds like Tangerine Dream or Klaus Schulze mixed with free improvised drumming. Deeper in, they really begin to open things up as the drumming becomes more energetic, taking off on a continuous volley of fills and rolls that sets off waves of turbulent energy while the guitar and electronics are shot skyward, emitting huge incandescent clouds of shimmering cosmic drift and nebulous synth-guitar melodies. The latter half gets a little more dissonant and intense with some distorted blues guitar shapes appearing and darkening the sound, dropping into stretches of quiet percussive murmur and skeletal space-blooze and oceanic drone, then kicking back into some locomotive chug towards the end, where the musicians lock briefly into a throbbing motorik groove for a moment before unfolding altogether into a final sprawling mass of gorgeous free-floating kosmiche formlessness.
Track Samples:
Sample : Live 11-14-2008



BARONESS   A Horse Called Golgotha   7 INCH VINYL   (Relapse)    6.98



Yeah, everyone goes nuts whenever something new from Baroness comes through the door here, but this new 7" is really only recommended to collectors, as it only has one new song on here that you can't find anywhere else. The a-side track is "A Horse Called Golgotha" (which originally appeared on their Blue Album that came out last year), an anthemic, extremely catchy thunder rocker, a dose of proggy pounding pop metal, crushing and dramatic, with those killer harmonized guitars and huge gang vocals that are a big part of the Savannah, Georgia band's signature sound, with some lush acoustic guitars layered in towards the end. A killer song for sure, but it's not like this hasn't already appeared on vinyl, as the album was issued on double LP as well. What Baroness fans will really be looking for here is the b-side track, a surprisingly straightforward cover of the Descendents song "Bikeage" off of Milo Goes To College that only appears on this record. This 7" was released in a one-time run of seven hundred copies on purple vinyl, which is the version that we have in stock. The new artwork from Baroness frontman John Baizley that adorns the record sleeve is mighty fine as well.


BOAR   Teen Cribs   CASSETTE   (Rainbow Bridge)    6.99



A twenty-minute cassette of brutal wall noise from Iowa-based noise artist Alex Nowacki. Operating under the name Boar, Nowacki erects these relentlessly raging, crushing black avalanches of distortion that rise endlessly into the heavens, titanic walls of impenetrable swarming noise that sucks the listener into a vortex of volcanic chaos. Each of the ten minute tracks that are featured on Teen Cribs is a roaring slab of harsh noise wall that falls on the more muted, washed out end of the spectrum, still quite brutal, but with a heavier focus on the low end frequencies, making for a more droneological listening experience. A deep oceanic rumble, crashing waves of low end and surging bass-heavy dronecrush swirling through the entirety of physical matter, a merciless unchanging roar with a thin layer of crackling hiss lying just beneath the surface. A monolithic, mesmerizing force that engulfs everything around it within a pandemonium of infinite black rain, the infinite roar at the center of a cosmic conflagration. An all-consuming blaze of atramentous fire that wraps it's arms around the Earth. This was our first time hearing this lesser-known outfit, and we're impressed. Highly recommended to devotees of the HNW discipline and the severe aesthetic of likeminded artists like Vomir, Werewolf Jerusalem, The Rita, Dead Body Love. Comes in full color packaging, in a tiny pressing of only twenty-five copies...


BONG-RA   I Am The God Of Hellfire   2xLP   (Ad Noiseam)    19.98



This album from the master of jungle / extreme metal / breakcore alchemy and raver apocalypse came out back in 2005, but we just found some of the limited vinyl edition of this killer album that combines overt metal imagery and heaviness with spastic, schizoid breakbeat holocausts. The perverse tinges of house music and old-school hip hop that worm their way into Bong-Ra's massive raggacore grooves and hyperkinetic drum n bass don't dilute the dark vibe that permeates this album one bit, and while Hellfire isn't as blindingly fast as some of his stuff, this has some of the heaviest, slowest grooves we've heard from 'em, and even includes some of the smatterings of metallic crunch that has appeared with increasing frequency in Bong-Ra's recordings.
Opener "Skool Ov Violence" blends a heavy techno-groove with old school synths and scratching, later mixing in chirpy 8-bit video game sounds that are wrapped around thick buzzing bass lines and frenetic jungle breaks. Then it slows down for "Redrum", where the sound coagulates into a leaden raggacore groove with aggressive, ominous flow from producer/MC Mike Redman. "White Horse Come Soon" is a crushing, instrumental industrial-metal/electro hybrid, followed by the skittery, seething industrial dubstep / drum n' bass assault of "Go Tiger!" that features the bratty vocals of Hanin Elias (formerly of Atari Teenage Riot) and the splattery chopped-up jungle hysteria of "Bert Is Evil", which showcases the moody, androgynous singing of Luca Venezia (aka Drop The Lime), which momentarily shifts the album into a smoky, surreal atmosphere. The last b-side track gets back into pure aggression with the brutal dystopian dancehall and massive boom-bap thump of "The Claw", where Ras Bumpa's furious rapid toasting is intercut with sampled jaguar screams over the rumbling apocalyptic groove.
The second Lp begins with a dreamlike intro of children's voices and ethereal drift that segues into the fractured ragga of "Crack In The Mirror", with guest vocals from MC Quest One. Mike Redman returns with more of his aggro flow on "Pop That Cristal"'s dark raga / hip-hop / jungle heaviness, followed with the old school drum n bass of "Kill The Sound" and the somber, jazz-flecked "Serpent Tongue For The Blues". The final track "Come Out To Play" is probably the fiercest and darkest here, centering around a grim, almost Godflesh-like guitar riff that's laid over a chilly down tempo trip-hop groove fused with bursts of pummeling breakbeats and blown-out synth-bass, eventually morphing into warped chiptune-laced gabber and sampled lines from The Warriors. Essential for fans of malevolent, apocalyptic drum n' bass / raga / breakcore.


BORIS   Mabuta No Ura   CD   (Essence)    22.98



Finally back in stock!
This is the breathtaking soundtrack for an (imaginary) film titled Mabuta No Ura (translated as 'Backside Of The Eyelids'), composed and performed by Boris as a series of guitar-based post rock instrumentals and plaintive drones that are drenched in ambient reverb and feedback. This extended Brazilian edition features exclusive music that was not available on the original Japanese version, and is presented in a stunning package that has a laser-cut box jacket holding a miniature gatefold hardback case and including a set of photo-story cards, in a limited edition of 1,000. It’s absolutely beautiful to hold. This release of Mabuta No Ura features 12 tracks of Boris in their restrained, post-rock mode, but even more abstracted and definitely cinematic, the majority of the music instrumental with dreamy acoustic melodies and wistful, slowly plucked guitar figures, vocals when they do appear doing so cloaked in beautiful shimmering reverb. The second track 'A Bao A Qu' is the only truly heavy song on here, but it's also one of my all time favorite Boris numbers, a monstrously distorted slab of sludge jacked so far into the red that the tones are crumbling in on themselves, burying a perfect pop hook and dreamy Rhodes piano tones under it's weight. That track had previously appeared on a super-limited picture disc EP that Boris released a while back, and as I said it's one of their most beautifully destructive jams. The rest of the album explores more contemplative terrain, simple guitar passages washed with hazy tones and Syd Barret inspired acoustic trances, hypnotic drum circle jams, shambolic psych rock, clouds of blissful free drone, an evocative soundscape projecting a meditative, and heavy-lidded urban dream narrative across your consciousness.
Track Samples:
Sample : A Bao a Qu
Sample : Space Behind Me Pt. 2
Sample : Theme
Sample : White Warmth



BRAINBOMBS   Singles Collection   LP   (Load)    15.98



Now reissued on limited edition Lp, this crucial collection of early 7" and compilation tracks from the mighty Brainbombs is available once again. The Cd version of this comp has been out of print for years, so it's good to have this stuff back in print, even if this vinyl edition is already almost sold out from distributors. Masters of politically incorrect, death-lusting garage crush, Brainbombs have long been one of our favorite bands, and these early recordings from the Swedish scumfucks are deliciously violent slabs of their messed-up, horn-splattered sludge rock that go all the way back to their origins in the late 80s. Beginning with the "Jack The Ripper Lover / No End" 7" from 1989, the band had already nailed down their mix of depraved stream-of-consciousness lyrical matter and Stooges-inspired skuzz, starting off with "Ripper"'s mock jazz that settles into one of thair patented blooze-sludge dirges and the slide guitar and horn mayhem on the angular skronk trudge of the b-side. The Anne Frank 7" from 1990 was even heavier, with doom-laden slow mo jazz-sludge, guitar noise, and slurred drunken howls coming off with Melvins-strength crush, but it wasn't until their It's A Burning Hell / No Place 7" and the subsequent Live Action At Rock All, Oslo Ep on Big Ball Records that the 'Bombs would really define their fucked-up out of tune sludgepunk sound, repetitive riffs, and those fey monotone vocals and Peter Sotos-style lyrics that would come to trademark their recordings from this point on. The live in particular is a gloriously ugly and blown out slab of pummeling, inebriated noise rock filth. The collection also has the song "Second Coming" a heaving industrial chug fest that originally appeared on the In The Shadow Of Death compilation that came out on Cold Meat Industry in 1988, and the two bonus tracks at the end are the oldest songs on here, pulled from the Unveiled compilation tape on Mechanik Cassettes from 1986; the first, "Psychout Crash Kid" is an odd percussive dirge of howling feedback and industrial tribal punk crud, and the second, "I Detta Satan's Rum", is another industrial dirge with minimal guitars, droning bass, and distant vocals, almost Swans-like, slow but propulsive, and very different from the sound that they would evolve into a few years later.
Track Samples:
Sample : anne frank
Sample : i detta satans rum
Sample : 01. Jack the Ripper Lover
Sample : wishing for a slow death



BRAINBOMBS   Urge To Kill   LP   (Load)    15.98



Finally, after years of being out of print, this slab of pounding sadistic sludge punk is available again in a vinyl-only reissue from Load. This notorious gang of Swedish misanthropes have been playing their brand of maniacal, Stooges-esque garage sludge for more than twenty four years, combining a drunken, droning Neanderthal punk lurch with inebriated trumpets, out of tune guitars, the singer's perversely fey delivery and vile lyrics that seem to be lifted right out of a copy of Peter Sotos's infamous Pure fanzine. Needless to say, they're one of our favorite bands ever, and getting this scorching 1999 album from the 'Bombs on vinyl has us positively giddy. Opening with the seething Stooges-style garage skum stomper "Slayer", Urge To Kill delves into a dark, disturbing world of blunt hammer murder fantasies and deathlust, delirious narratives of rape and abuse, kidnapping and dismemberment, the English lyrics delivered in the singer's weirdly fey, detached monotone. The music is brutal, repetitive, demented jazz dirges, going from the hell bound industrialized boog of "Slutmaster" to the bleating echoing trombone that drifts over the laid-back groove, heavy chorused guitars, and almost surfy sludge of "Salome"; "Ass Fucking Murder" is a lurching blooze-backed litany of sodomy and savage violence, followed with "Maybe"'s crushing slow-mo heaviness. "Down In the Gutter" and "Stupid And Weak" are a back to back battering of lurching motorik pummel and howling free jazz horns, and the band introduces some harmonica and slide guitar on the song "Driving Through Leeds". Awesome, transgressive heaviness that comes across as a warped mix of Whitehouse and the Cows and the snotty sludge of Drunks With Guns, so fucking great...
Track Samples:
Sample : Down In The Gutter
Sample : Filthy Fuck
Sample : Slutmaster



BRANDKOMMANDO   We All Love Your Children   CD-R   (R.O.N.F. Records)    9.98

We All Love Your Children IS CURRENTLY UNAVAILABLE FOR ORDER

A brutal, yet somewhat low-key album of power electronics that comes to us from the Polish project Brandkommando. Coming from this heavily Catholic country, Brandkommando makes religion and the Catholic Church the primary target of it's ire on this disc, specifically the whole issue of sexual abuse within the Church that has become such a hot topic over the past decade; underneath the rumbling, pulsating black electronics of We Love All Your Children is an excoriating attack on religious orders and pedophilic priests that glows white-hot. The eight tracks are vicious, blackened PE layering grating junk-noise over deep simmering drones, more seething and smoldering than full-on blasting, the vibe more about suppressed violence than a chaotic assault. One of our favorite aspects of this disc are the bestial snarling vocals that are used pretty consistently; it's a pretty ferocious vocal style that is sometimes treated with heavy fx, or shifts into a deep, growling stentorian voice speaking in Polish. The noise is a mix of deep rumbling metallic thrum and keening high end drones that's blanketed with weird percussive rattling and looped feedback; it's not until the sixth track "Lux Veritatis" that the disc really kicks with full-power, the sound erupting into a crushing distorted rumble over samples of Catholic hymns, the liturgical choir nearly consumed by a torrent of crashing metal and malevolent electronic drone, followed by the rhythmic threatening pummel and martial pound and demonic muttering of "Biskup Pedofil" that becomes lost in a tempest of harsh swirling electronics laced with jarring random sound events.
Excellent dark power electronics for fans of Sutcliffe Jugend, Slogun, Propergol, and Deathpile. We Love All Your Children comes in a printed cardstock sleeve with the disc affixed to the inner panel on a hub, the sleeve then slipped inside of a printed envelope. Released in a limited edition of fifty copies.
Track Samples:
Sample : Lux Veritatis
Sample : Mea Culpa



BRUTAL TRUTH   Need To Control (UK Reissue Edition)   CD   (Earache)    14.98



We currently have the limited edition UK digipack version of the expanded reissue of Need TO Control, but once this is sold out, we'll just be stocking the regular jewel case edition.
In the early 90s, the grindcore scene started to produce some really ambitious music that experimented with the capabilities of the genre while continuing to test the limits of extremity, and one of the most stylistically experimental albums from this period was the sophomore effort from NYC's Brutal Truth, Need To Control. This 1994 release has long been one of our favorite grindcore albums, following the pot-fueled anarchistic blastwave of their debut Extreme Conditions Demand Extreme Responses with a set of songs that went far beyond the boundaries of their crusty roots into a new realm of complex, unpredictable heaviness that's still one of grind's most audacious efforts, one that cemented Brutal Truth's place in the pantheon of extreme music. The experimental tendencies that were hinted at on their first album bloom into something astounding on Need To Control, their grinding chaos now fused with stretches of immense doom-laden heaviness, extreme abstract noise, the unexpected appearance of a didgeridoo on one track, and industrial elements.
The album begins with the crushing industrial dirge "Collapse", a Godflesh-like crush of slow spastic rubbery mechanized drumming, grating factory noise and clanking metal that turns into a devastating slow motion death metal dirge surrounded with the sounds of burbling water bongs, super heavy and pummeling, kicking into this weirdly anthemic, melodic chorus with high screeching howling vocals and climbing air-raid guitar noise, a surprisingly catchy hook sinking it's teeth into the song. A massive slab of lumbering heaviosity that probably surprised fans who were probably expecting Brutal Truth to kicks this off with nuclear strength speedblast.
It doesn't take long for the band to crank up the tempo though, launching into some awesome chaotic grind on the second track "Black Door Mine", a super complex blast of speed and frantic time signature changes, screeching vokills trading off with guttural roars, some of which are contributed by guest vocalist Bill from Exit-13. "Turn Face" kicks in with a frantic bass solo, then rips into a savage take on hardcore punk sped up to mach twenty velocity, almost like an old Corrosion Of Conformity jam but way heavier and more complex and freaked out and blasting.
Then the album takes another left turn, now into the weird industrial noise rock of "Godplayer"; a crushing, off-time stop/start groove is underscored with the deep droning buzz of a didgeridoo, launching into crushing double bass and thrash riffage, becoming more abrasive and angular, then slipping into an awesome slow industrial metal dirge with more weird effects and didgeridoo.
The next couple song are blistering grind eruptions, the blazing angular thrash of “I See Red” and the wonky riffing and crushing grind of “Bite The Hand”, and then goes into the pure harsh noise of "Iron Lung" where the music drops off and we're treated to a din of guttural snarls, metallic scrape and deep burbling low end. From this point on, it keeps moving through varying degrees of experimental grind and noisy soundscaping, the grindcore on songs like "Judgment" and "Brain Trust" becoming warped and complex, the sound infected with fucked-up vocal noises and howling effects, creepy industrial textures and thick buzzing drones, the extreme speed downshifting into thunderous D-beat or pounding sludge. The song "Ordinary Madness" is one of the standouts, another slow pounding dirge, ultra heavy and ominous, laced with samples from the movie Bad Lieutenant, sheets of dissonant guitar and awesome zonked out acid-guitar soloing that turns this into some sort of freaked out Hendrix-in-a-wormhole grindpsych, and it's followed by a wicked cover of the Germs song "Media Blitz", which has Mike Williams from Eyehategod taking on the vocal duties while the band whips the punk classic into grinding ferocity, and the last song on the album proper "Crawlspace", which is a strange abstract soundscape of random computer noise, harsh feedback abuse and incantatory voices.
This reissue also features some of the bonus tracks that had appeared on the limited five-record vinyl box set that Earache released for Need To Control, including some unlikely covers; there's the infamous cover of Pink Floyd's "Wish You Here" which is redone as "Wish You Were Here... Wish You'd Go Away", the first half of the song played surprisingly straight with spacey guitars and sung vocals, but then halfway through it, it turns into a total noisecore jam, random percussion and wailing fucked vokills and chaotic guitar noise, a weird almost Boredoms-like grind freakout. There's a handful of turbulent grind jams like "Painted Clowns" and "Eggshells", as well as a killer cover of "Dethroned Emperor" by Celtic Frost, and it ends with the strange fractured noise/grind chaos of "Head Cheese", a garbled assault of feedback and piercing noise, deranged vocals and pulverizing sludge, another Boredoms-style experimental grind jam.
The ease with which Brutal Truth was able to flow from punishing grindcore to hardcore punk to industrial noise to crushing doom on Need To Control was brilliant, and the album remains one of the greatest experimental grind records ever, certainly one of our favorite extreme metal discs, encapsulating everything that we love about this band and about grind as an art form, making this an absolutely essential album for anyone into boundary-pushing, adventurous heavy music...
This UK version of the reissue is presented in an eight-panel digipack that includes a booklet with a great interview with BT singer Kevin Sharpe.
Track Samples:
Sample : Choice of A New Generation
Sample : Collapse
Sample : Godplayer
Sample : Head Cheese
Sample : I See Red
Sample : Wiwh You Were Here....Wish You'd Go Away



BURNT HILLS   Alpha Seven   CD-R   (Carbon)    7.98



A new disc of heavy, drugged-out freeform psychedlia from the upstate NY band Burnt Hills, a prolific gang of improv sludgethugs who crank out long sprawling blasts of downtuned spacey heaviness that they jam out in the basement of their home base, Helderberg House. Some of Burnt Hills releases will serve up their extensive jam sessions in shorter tracks that are all connected, but on Alpha Seven, the band delivers a single sixty minute epic that's utterly massive. At first, this is a loose, sprawling mass of guitar feedback and random drumming, but it pretty quickly forms into a shambling sludgy psych rock dirge, the amps churning out wailing feedback drone, drums pounding away in spastic blurts of fractured rhythm, the guitar coalescing into huge droning distorto riff-rumble. It's like a much looser, lumbering Grey Daturas and just as heavy, the low slung bloozy soloing stretching out forever over Skullflowery waves of black-tar guitar roar and stoned trance-sludge. The guitars meander through layered noodling solos that are piled on top of one another, the sound often building into some serious acid guitar overload, and as the jam spreads out, the saurian drumming remains a driving, slow-mo engine pushing the band on through the opium fug. Later on this disc, they slip into passages of heavy Sabbathian swing and some chaotic krautrocky groove filled with wild slide-guitar skronk and a heavy propulsive bass line, and this becomes a major part of the disc, a massive propulsive hypno rock jam that stretches across the whole middle of the set, with more than fifteen minutes of this feedback soaked, heavy duty krautrock workout. From that point, it stays noisy, hectic, druggy, and LOUD, often collapsing into freaked out improv dins of racket, only beginning to fade towards the end when the band starts to space out, the groove starting to climb skyward on trails of metallic chiming and gusts of wah guitar, bits of pretty melody taking form, finally falling into some dark, lugubrious Hawkwind style psychedelia at the end.
Featuring members of Century Plants (who just released a split with Locrian), improv doom ensemble Twilight of the Century and free-sludge band Transcendental Manship Highway, Burnt Hills are real heavy improv-psych junkies, and their roaring, spaced out, crushing kraut-sludge freeform freak-outs are stunning things to behold, as heavy and flattening as Grey Daturas or Skullflower, but filled with the sort of exploratory acid jams that fans of Acid Mothers Temple and Heavy Winged will love. Comes in Carbon's signature full color sleeve for their 15YR series discs.
Track Samples:
Sample : Alpha Seven



BXI (BORIS + IAN ASTBURY)   self-titled   CD   (Southern Lord)    10.98











Track Samples:
Sample : Magickal Child
Sample : Rain
Sample : Teeth And Claws
Sample : We Are Witches



C.C.D.M.   7 Inch Of Doom   7 INCH VINYL   (Radiograffiti)    7.98



Midwestern speedcore / breakcore label Radiograffiti brings us another short dose of beat-extremism with this 7" from CCDM. Like the Realicide Youth imprint, Radiograffti's releases tend to combine vicious low-fi breakcore with a tangible punk influence that takes us back to the gory glory days of the Bloody Fist crew, and this new EP from this obscure breakcore producer from Wisconsin fits right in, with a sound that is just as brutal as the Dispyz and Stagediver records that we've gotten from the label.
Released in a limited edition of three hundred copies, 7 Inch Of Doom features two tracks of beastly epileptic breakcore. The first, "Dirsh Birdies (Hell Cry)" mixes a deliriously evil carnival melody with spastic high-speed breaks, bludgeoning beats uncoiling and spasming beneath eerie electronic figures and clanking industrial percussion. Then this sputtering industrial breakcore suddenly morphs into VICIOUS speedcore beats at the end. Pounding BPM terror with female vocal samples and laced with insane drum rolls and snare rushes looped into hyperspeed waves of percussive smash, getting closer and closer to digigrind territory as it screams towards the finish, getting more distorted, more violent, more freaked out until it crashes into the finish. The flipside has "Dodecahedron in C# Minor", which starts off with sampled chamber music and folk instruments that gradually evolve into a speedy classical 8-bit melody racing over another hyper fast breakcore freak-out. This one is also really ominous sounding, like late 80's video game music sped up over Shitmat, with evil synth buzz and air raid sirens and synthetic violins coming in at the end for a grim final act.
Comes with a digital download code for the Ep, along with a couple of CCDM stickers.


CALCINATION   self-titled   CD   (Utech)    9.98



Back in stock, and now at a much lower price...
I didn't even know that Utech had released this disc until we ordered a bunch of their back catalog titles last month - as it turns out, the Calcination disc has become one of my favorite releases from the label, a time-devouring hybrid of Earth-en dronemetal and glacial free-jazz that pushes all of the same buttons that that killer Klangmutationen album did that Utech put out, while caving my skull in inna whole new way.
Who the hell is this band? I looked around online for information on them, but came up with little. The album was recorded in Berlin and I'm guessing that Calcination is German, and the minimal liner notes on the inside of the sleeve for the disc shows two members, one named Antoine Chessex, the other Ktho Zoid. The instrumentation belies how massive this album is: tenor sax, electronics, and guitar make up the palette for Calcination's sound, which on the surface appears to be another variant on the ever-popular Earth/Sunn brand of abstract droneological ambient sludge. That notion gets obliterated pretty fast once you really dig into this album, though; the three tracks ("Shadows", "Chystka", "Let 100 Flowers Bloom", which may or may not be derived from the Maoist slogan) wash over you in huge black waves of sound, dense swirling tidal waves of droning feedback and howling amplifier buzz, guitars twisted and throttled into shrieking high-end drones that sound alot like Matt Bower's amp-skree in Total, but soaked into goliath slabs of hovering doom-riff that is stretched aout into infinite roaring drones, very much like Earth 2 but even more static and unmoving, and entwined with passages of Lustmordian ambience and weird, squiggly guitar. These guys are crafting some really heavy shit as it is, but once the sax enters in and starts scraping the stratosphere with upper register squeals and heavily delayed bleats like some post-Ayler freakout shot into deep space, this takes on a whole different hue. An immense lightless abyss of crushing formless amp-blast and tortured reeds formed into monstrous drones with an overwhelming gravitational pull. Awesome. One of the best titles that Utech has brought to us, and highly recommended.
Track Samples:
Sample : Chystka
Sample : Shadows



CAUCHEMAR   La Vierge Noire   CD   (Nuclear War Now! Productions)    11.98




Track Samples:
Sample : Le Gardien De La Terre
Sample : Le Voile D'Isis
Sample : Valse Funebre



CAUCHEMAR   La Vierge Noire   LP   (Nuclear War Now! Productions)    13.98











Track Samples:
Sample : Le Gardien De La Terre
Sample : Le Voile D'Isis
Sample : Valse Funebre



CHERRY POINT, THE / IS   ...   7 INCH VINYL   (Rococo Records)    8.98



Limited to only one hundred and fifty copies, this 7" features one long track each from harsh noise producers Cherry Point and Is. Cherry Point kicks this off with a savage blizzard of metallic rumble, howling amplified scrape, and deep bass-heavy vibrations, cranking up one of the dense slabs of icy sheet-metal roar that this project is known for. After the initial destruction wrought by that expanding harsh noise wall, the side shifts into a field of heavy electrical reverberations, the steady hum of a generator beneath thunderous percussive noise and ominous howls that stretches across the remainder of the a-side.
On the other side, the Midwestern harsh noise/drone project Is generates a chaotic din of writhing feedback and heavy speaker roar that ruptures black gouts of distorted screech and piercing lashes of high end feedback. It's not long before grinding tectonic bass frequencies begin to move in, turning the sound into a wall of feedback drone that eventually melts down into an awesome overdriven roar of distorted synthesizer, surrounded with grainy 8-bit static and blocks of churning low-end hiss. A constantly evolving blast of structured electronic skullscrape.
Each copy is hand-numbered, and is pressed on black vinyl.


CHRISTIAN MISTRESS   Agony And Opium   CD   (20 Buck Spin)    10.98











Track Samples:
Sample : Omega Stone
Sample : Poison Path
Sample : Riding on the Edges



CHRISTIAN MISTRESS   Agony And Opium   LP   (20 Buck Spin)    15.98











Track Samples:
Sample : Omega Stone
Sample : Poison Path
Sample : Riding on the Edges



CHRISTIAN MISTRESS   Mother Of Mercy / The Hereafter   7 INCH VINYL   (Nasjonal)    5.98



Olympia, WA metal throwbacks Christian Mistress are getting a lot of buzz over their new album Agony & Opium, but before they delivered their LP on 20 Buck Spin, the band debuted with this two song 7" on Nasjonal last year that introduced the metal underground to their triumphant dual-guitar metal attack.
The first song "Mother Of Mercy" is an awesome old school ripper that channels the spirit of classic New Wave Of British Heavy Metal, totally in the vein of Diamond Head, Saxon, Tygers Of Pan Tang, and Angel Witch, but this doesn't sound self-consciously retro; it's got that same raw spirit, driven by a killer chugging riff, twin axe harmonies and powerful propulsive drumming, and singer Christine Davis's lead vocals fall somewhere between Doro and Ann Wilson and fit this perfectly. Seriously fucking catchy! Flip over to the b-side and you get "The Hereafter", another driving rocker that opens with some sweet Maiden-esque guitar harmonies before the band lurches into a halting groove and chugging ironclad riff, switching into some pounding speed at the end of the tune. It's a little more on the Deep Purple/Rainbow end of things, but still hard as hell. There's nothing kitschy about this - this is true blue heavy metal atavism, and an excellent companion to their new album.
Limited to five hundred copies.


CIRCLE OF ANIMALS   Destroy The Light   LP   (Relapse)    17.98



Also available on limited edition colored vinyl.
We've been hearing the influence of late 80's underground industrial rock appearing here and there lately with newer bands drawing influence from the works of Killing Joke, Ministry, Revolting Cocks, and similar bands, and as big fans of this era of alternative music, we're all about it. This new band from Chicago, which was ground zero for the hardest industrial rock bands of the time by way of the Wax Trax! Records, pays homage to this sound by incorporating the influence of bands like Swans, Killing Joke, Big Black and Ministry with a much more ambitious and modern brand of heaviness. Circle Of Animals is the duo of Sanford Parker (recording engineer for countless underground metal bands and member of Minsk/Buried At Sea/Twilight) and Bruce Lamont (from Chicago prog metallers Yakuza), who bring in an assortment of drummers for their recordings that has included formidable names like Dave Witte and Steve Shelley. The band synthesizes some of our specific favorite sounds from the 80s: the metallic machine crunch of Land Of Rape And Honey, the apocalyptic slow-motion pummel of Swans, the dark triumphant power of What's THIS For...!, and Destroy The Light sounds to our ears like some previously unimagined fusion of Wax Trax! and modern dirge metal. Lamont's distinctive soulful vocal style leads many of these songs, but it's the powerful rhythmic foundation that really dominates the music. As with "Invisible War", the song that kicks this disc off with a bang, a pounding mid tempo industrial metal pummel fronted by distorted vocals and a pounding mechanical drum battery, backed by droning keyboards and droning bass, heavy and hypnotic and very reminiscent of Ministry, even having a slight militaristic rigidness to it; then, the second half changes shape into a Killing Joke-esque tribal workout, rolling drums and howling synths and electronics raging over top of a catchy melodic hook beneath it all, rising skyward before lurching back down into that killer earlier pounding industrial metal.
We were mighty impressed with that first song, but while the rest of the disc has more of that machine-driven crunch, they also spread out into different sonic territory, too. The second song is more heaviness, "Seminal Animal" featuring Lamont's deep Gira-esque croon over lurching drums looping electronic noise, total early Swans worship that builds into a vicious machine-like grind; and "No Faith" opens with a volley of thrashing drumming before shifting into a crushing industrialized dirge metal assault with stentorian speechifying over a dramatic Neurosis-like riff and soaring orchestral synthesizers, a fucking awesome channeling of Killing Joke via Neurosis, seriously massive, with huge riffage and choral voices ending in a looped cluster of percussive loops and drifting machine noise.
But then "All Spirit/No Mind" comes in all slow and shambling, a harmonica floating softly over druggy circular chants and pounding dirge drums and grinding bass, and it sounds a lot like something from Yakuza, a lumbering angular groove with tumbling percussion layered in the background, a mysterious, delirious mystical tribal sludge jam that even sports some smokey jazz saxophone that creeps in towards the end.
A soulful, psychedelic vibe comes in on "And Together We Are Forever", the dark early 90's indie rock vibe actually reminding us of Afghan Whigs, weirdly enough, but it's matched with those machine-like drums and droning keyboards. "Lessen Human Suffering" is another metallic dirge, furious industrial drumming and a suspended doom riff kicking in with spacey electronic fx, later bursting into full on thrash and then into some almost danceable tribal rhythms, and "Poison The Lamb" has soulful female singing coming in over it's hypnotic, heavy throb.
The most divergent track on the album is the last, though. The closing title track ends this with a twelve minute space jam of Hawkwind synths flowing in from black space, filling the first few minutes with pure kosmiche drift; then another minimal synth loop comes in and repeats endlessly over the whoosh and rumble of the space drones, total Tangerine Dream/Ash Ra style ambience, and then the sax drifts in, joining additional layers of cinematic ambience. When the drums suddenly burst in with the minimal vocals, it turns into a John Carpenter-style pulse, picking up speed, becoming a propulsive, menacing krautrock-like groove that rides out to the very end.
The limited edition 12" that Circle Of Animals released a few months ago had us looking forward to their first full-length, but we're stoked to report that Destroy The Light went way beyond our expectations, welding a dramatic metal massiveness (that was only hinted at on their Ep) to their churning, hypnotic tribal-industrial groove, which is produced here by a cast of drummers that includes John Herndon from Tortoise, John Merryman from Cephalic Carnage, Dave Witte (Discordance Axis/Burnt By The Sun/Municipal Waste) and Sonic Youth's Steve Shelley. Definitely recommended!
Track Samples:
Sample : Destroy The Light
Sample : Invisible War
Sample : Seminal Animal



COREPHALLISM   self-titled   3 INCH CD-R   (Lascivious Aesthetics)    5.98



Another vital dose of electronic horror from the new Lascivious Aesthetics imprint run by one of the cats from Twodeadsluts Onegoodfuck. In fact, Corephallism itself is a side project from TDS OGF's Shane Broderick, here taking a break from the rampant nudity and digigrind/power electronics that his main gig is so renowned for; with Corephallism, Broderick plies a heavier, more monstrous form of death industrial. Just dig that spikey black metal style logo that this disc sports on the cover, superimposed over a photo of some lass's fine gams. Definitely suggestive of some bad thoughts going on here. Thoughts that revolve around themes of mental illness and sexual disorder, apparently. What we get on this two track Ep is a punishing opener in the form of "Speaking In Tongues", a grinding slab of pitch-black terror that blasts beams of pure negative energy through fields of black hole ambience and symphonic strings drifting out of the abyss. It reminds us of Theologian a lot, as a matter of fact; anyone into Leech's signature black industrial (and the classic death-tronics of Atrax Morgue and Brighter Death Now) really should look into this. We might also be detecting some Gnaw Their Tongues influence in here as well, as this track blends together a similar evil orchestral majesty with massive levels of analogue synth-death. The other track, "These Scars Will Last a Lifetime", is more subdued and focuses on digital black ambience that becomes shattered by violent electrical hum, like the sound of a power generator blasting into the red while a pulsating drone seethes underneath the rumble, while way off in the background, weeping and howls of agony and terror can be heard.
Man, this is seriously intense, and too damn short...we can't wait to hear more from this most promising new project.
Comes in a miniature jewel case with full color artwork. Limited to three hundred copies.
Track Samples:
Sample : Speaking In Tongues
Sample : These Scars Will Last a Lifetime



CRUSH THE JUNTA   Your Brother, My Brother   CD-R   (Carbon)    7.98



The latest chunk of lava-like improv-rock from Crush The Junta, that towering trio from Rochester, NY that features members of Entente Cordiale and Transcendental Manship Highway. Yep, we love dark, heavy free rock, and Crush The Junta deliver that in spades with this three track full length that documents a live performance at the Bug Jar in Rochester from earlier in 2010, released as part of Carbon's sprawling 15YR. Series. Think loud, bass-heavy riffage wandering through pounding saurian rhythms, wailing noise guitar freak outs, lumbering slow-core; this'll be right up your alley if you are into the likes of likeminded freeform riff monsters like Rakhim, Burnt Hills, Skullflower, Heavy Winged, Ultrabunny, and Grey Daturas.
First up, "Driving Forward" hangs suspended guitar notes among the slow outward wheeze of feedback, introducing their set with a thick foggy drone, a stream of feedback slowly beginning to swell, then recede; the band gradually cranking the volume as the drums enter in a storm of crashing cymbals, and the song strengthens into a pounding drone-rock jam with a powerful melodic riff forming within the bashing, overloaded rock drone, a monstrous single-chord pounding that becomes infused with rumbling, buzzing machine noises that fade in and out, then veers off into jazzier, noisier territory in the latter half of the track. Then the title track comes in with crushing Codeine-esque slowcore based around a droning repetitious riff and slow heavy drums that tread into oblivion, splattered with drugged howls and gusts of amplifier noise. Finally we come to the massive seventeen minute "Clausius", starting with a minimal percussive rhythm and the buzz of a cranked amp, then introducing a lone guitar playing a simple, almost jazzy figure, the drums alternating between shuffling snare and heavier pounding, the guitar beginning to work itself into circular shapes; after several minutes of this, the band finally lets loose, erupting into a brutal squall of Fushitsusha-style feedback and powerful drumming and mangled guitar skronk, and then around halfway in, it turns into a rumbling, zonked out feedback drone jam, waves of garbled guitar noise and bending feedback notes rippling through the air, forming a thick atmosphere of amplifier electricity that gets pretty hypnotic as it stretches out for several minutes. Then the drums crash back in, hammering out a slow, ponderous dirge, while the simple droning guitar begins to bloom into a simple moody riff that repeats over and over, the whole thing morphing into a super heavy droning slowcore crush, getting noisier and more atonal and more distorted as it goes on, screaming high end guitar dropping in sinister howling leads, the sound going from trancey and mesmeric into this darker sludge assault that finishes out the set.
Comes in a full color cardboard jacket in a thick vinyl sleeve.


CSMD   Japanese Sci Fi Monster Funk   7 INCH VINYL   (Rage For All)    5.50



One the weirdest noisecore bands ever is back with this new 7" that pays tribute to the classic kaiju genre of city-stomping Japanese monsters, while bugging out bigtime with a bizarro grind-noise / plunderphonic psych assault. Using just theremin, drums, guitar and vocals, these Dutch noiseniks (who sometimes also go by Crowd Surfers Must Die) throw together everything from covers of theme songs from old TV action shows, noise freakouts, ultra-distorted grind, and weird lounge music into eleven "songs". And it's absolutely unhinged. CSMD's obsession with triumphant TV theme music is what is paramount here; just check out the opening track, which is a triumphant rendition of the original Battlestar Galacta theme that plays out before erupting into some spaced out noisecore loaded with crazy fx and electronic noise, like Anal Cunt with space rock synths zipping all over the place. From that point on, the 7" blasts through cacophonous walls of psychedelic junknoisegrind, volleys of sloppy blast beats, mangled sludge rock, Hawkwind-style fx whooshing everywhere, blink-and-you-miss-it detours into plodding brain-damaged garage rawk, incredibly blown-out death metal roars, loads of weird TV dialogue samples, a blurrcore version of the Ghostbusters theme, a bossa nova rendition of the "Imperial Death March" performed on Casios, and theremins, theremins, theremins. The songs all have a grungy no-fi recording quality that just makes this sound so much crazier, and we're reminded more than once of the weird garage grind of Japan's CSSO while listening to this. The record ends with a retardo-psych version of the Dr Who theme that's actually pretty fucking amazing. Released in a hand-numbered edition of three hundred copies, this is a must for fans of Sore Throat, CSSO, and Anal Cunt.


CURVED BLADE   Be Like Death   CASSETTE   (Hospital Productions)    7.98



Of the recent batch of mutoid metal tapes that came from Hospital Productions (which also includes Time Crypt, Terrorism and Vegas Martyrs, all of which are fucking great), the one that is most identifiable as being "black metal" is the one from the shadowy underground unit Curved Blade. Be Like Death certainly looks like a black metal tape with its high contrast black and white cover and morbid title, and the murky racket the band produces is staunchly old school, while at the same time infusing its sound with the sort of noise-damaged weirdness that we'd expect from something released by Dominick Fernow (Hospital boss and the guy behind Prurient and Ash Pool). The a-side of the cassette is simply titled "Part One" and serves up some somber death worship with it's beautifully murky intro of dark strings and keys, unleashing a deep buzzing drone with tendrils of feedback creeping in, and then the band enters, breaking into a moody mid-paced blackened dirge with deep gasping shrieks, a droning melancholic riff, the sound low fi and mangy basement black metal. But beneath all of the grime and murk, it's also really dramatic sounding, with droning keys and out of tune violins giving it a sort of diseased stateliness. The second side is a heavier Hellhammer-style crusher, pure primitive black metal with strange bell-like sounds (that might just be a clanking guitar, it's hard to tell) and odd keyboard sounds and violins lurking beneath the crushing low-fi slime. But then just when you think the song has come to an end, it shifts into a strange ambient sprawl of room hiss and field recordings of what sounds like rainfall, followed by a morose keyboard melody looping over distant thunder.


DEAD BODY COLLECTION / VOMIR   split   CD-R   (R.O.N.F. Records)    8.98



Another brain-glazing blast of harsh noise wall from the master Vomir is matched with an equally suffocating assault from Dead Body Collection, a new one to us that sufficiently crushed us with their nearly forty-minute inferno. Disciples of the wall already know that anything from Vomir is guaranteed to immolate, and having 'em matched with the titanic black buzzscape of DBC makes for an utterly massive eighty minute dose of monolithic roar.
"Burn Your Skin, I Like The Smell Of It" from the Serbian project Dead Body Collection is first, a monsoon of white noise, endless raging waves of turbulent low end rumble, like a hurricane of ball bearings and steel shavings hammering away at the walls around you for almost three quarters of an hour, the smoldering black wall invoking a trance like state as the surging gusts of black hiss and crackling distortion frays the edges of your nerves. Not as "meditative" and time-obliterating as some HNW, this is still immersive, claustrophobic, and chaotic.
France's Vomir follows with "Le Peuple Des Miroirs", which flows from the deeper end of his tectonic rumble, a bass-drenched avalanche of black distortion that is rich in low frequency tremors and roaring monotony. It stretches out, seemingly infinitely, a raging vortex of all-devouring sonic grime that has the same sort of hypnotic effect that all of Vomir's work possesses.
Another ferocious time-destroying HNW release, released by RONF in a slim DVD case in a limited edition of 67 copies.
Track Samples:
Sample : DEAD BODY COLLECTION - Burn Your Skin, I Like The Smell Of It
Sample : VOMIR - Le Peuple Des Miroirs



DEATHKEY / BIZARRE UPROAR   split   LP   (Audial Decimation Records)    19.98



An ULTRA abrasive shock-assault of infernal power electronics from the legendary Bizarre Uproar and the insanely hate-filled satanic electronics of the controversial Deathkey...
Deathkey delivers the sprawling a-side track "Prodigiorvm Ac Ostentorvm Chronicon: Movements I And II", a blast of bestial black power electronics combined with a bizarre mixture of occult sci-fi weirdness and fascist doctrine. It's a grueling listening experience; a tapestry of slavering monstrous vokills and rabid snarling, the pandemonium of gnashing jaws of starving wolves, massive rumbling bass frequencies and swarms of cancerous particulate matter. Distant horn-like blasts echo, and then fade into shadows. Heavy electronic noises throb amongst drum-like percussive pounding, a continuous hypnotic rumble that seems to slip into a sort of locked groove, then breaks off into processed spoken word samples and minimal electric hum. And then those hellish vocals will come screaming back in, a legion of demonic intelligences all blasting from one shredded throat. A vomitous nightmare of vile power electronics and putrid ambience.
On "Joukkohauta" (which is Finnish for "mass grave"), Bizarre Uproar goes for an equally violent noise assault, but with a heavy amount of skull-shredding junknoise. The sixteen minute track begins with deep rumbling motor-buzz and grinding factory noise, woven with strange hissing vocalizations off in the distance, and distorted yelling. At first, it's all murky and washed out, a droning electronic darkness, but then it locks into a mesmeric machine-groove that suddenly comes into clearer focus, and now the sound becomes much louder and aggressive, the furious vocals raging and heavily delayed over bursts of destroyed metal screech and wailing feedback and screaming scrap metal avalanche, rising in a violent junk-noise/power electronics assault that builds and builds and gets more intense, at last erupting into a full on wall of noise, a blast furnace of feedback/metal devastation with somber hymnal voices bleeding through the sonic holocaust.
Released in a limited edition of three hundred copies. The thick 180 gram Lp comes in a set of heavy screen printed covers and includes two glossy double-sided inserts. A note: the labels on this pressing were accidentally switched by the plant, so you'll want to be aware of that when playing the record.


DEFLORE   Human Indu[B]strial   2xLP   (KNVBI Records)    17.98



The debut album from the Italian industrial-metal-soundscape duo Deflorecame out a while back on cd on a European label, but was more recently reissued on vinyl by the US label KNVBI in a deluxe gatefold double Lp package that we just got in stock here at C-Blast, which is where I first found out about this band. The band cranks out a sound that is somewhat comparable to later-era Godflesh, with lots of crushing metallic riffage and booming low-end throb, but with an approach to sound design that's a lot more complex and detail oriented than your typical industro-metal outfit, with a textural quality that makes much of this album sound like an electronic film score. Along with the expected instrumentation, Deflore also incorporates everything from samplers and shortwave radios to amplified sheet metal and cellos into their sound. And then there are the beats; all throughout Human Indu[B]strial, massive quasi-breakbeats and percussive metallic grooves rise up out of the dark fields of futuristic ambience. It's almost entirely instrumental, and when voices do appear, they show up as background noise, hushed whispers drifting menacingly out of the shadows, or a brief bit of sampled dialogue, or a looped, processed vocal mantra. Like the vocals, the guitars and electronic elements are also treated to heavy amounts of post-production fuckery that renders squalls of guitar noise into industrial abrasion and crafts lush layered electronica that moves beneath and between Deflore's massive mecha-metal grooves. It's not all non-stop pummel, though; the heaviness often breaks away into passages of murmuring nocturnal ambience or distant factory rumblings, turning back into a sort of murky abstracted electronica for a while before suddenly dropping back into the crushing industrial doom.
The du[B] part of the album title is there for a reason, too. The deeper you get into the album, the more that Deflore brings out the huge crunching breakbeats and dubbed-out basslines, sometimes going into heavy tribal drumming or machine-like rhythmic pound, but also going into these killer stretches of almost Scorn-esque industrial dub, massive bass and thumping claustrophobic beats and bone-shaking bass drops vibrating within a midnight wasteland of electronic detritus and skin-crawling samples, in the end reminding me of what it would sound like if someone merged the mechanical grind of Godflesh or Pitchshifter with Charlie Clouser's unsettling industrial soundtracks.
This double Lp edition is limited to three hundred copies on colored vinyl, and includes two bonus tracks that did not appear on the original CD version.


DEMONOLOGISTS   Sermons Of Death And Eternal Damnation   CASSETTE   (Waves Of Decay)    6.98



I've recently gotten hooked on this Midwestern duo, which includes one of the guys from the weirdo black metal band Ensepulchered who released a couple of albums on Autopsy Kitchen a few years ago. Demonologists also has it's roots in black metal, but these guys take it to an extreme new level of chaos, going straight into black industrial noise territory with a brand of hellish overdriven distorto-death-worship that pretty much crosses right over into harsh noise. I listen to a lot of ultra noisy black metal-influenced stuff like Wold and Vegas Martyrs and Nekrasov, but the hissing black fog that Demonologists conjure out of their smoking speakers goes way beyond even the skull-shredding din that those bands traffic in. Once I started checking out their stuff, I learned that Demonologists have released a bunch of tapes and cdrs since they started out, some of which were apparently recorded as "scores" for underground punk-porn films. This tape on Waves Of Decay is one of their newer releases, a thirty minute assault of harsh black chaos that sounds to me like an evil-infested version of the hiss-scapes of Werewolf Jerusalem or The Rita, which means that this is seriously abrasive listening.
The first side is a wall of malevolent industrial sound titled "Sermons of Death and Eternal Damnation" , howling vokills drowning in a cacophony of feedback and crashing metal, stretched out chanting and moaning hovering in the background, huge percussive blasts thundering through clouds of Merzbowian scrape and hiss that's imbued with a distinct demonic malevolence. Titanic walls of murky stygian roar rise out of the churning maelstrom of static and submerged blackened drones, and sputtering blocks of distortion threaten to disintegrate your speakers. The death metal-style roars start to appear later on, monstrous vocalizations materialize out of the chaos as huge time-stretched blasts of vokill fury that rip through the wall of rumble and hiss and then recede back into the churn. At the end all of this drops away and is replaced by a muted percussive rhythm, a simple beat beneath some vague electronic noises before it comes to a halt. Intense...
The b-side track "Excrement of the Gospel Grotesque" is more crushing black chaos, a swirling storm of tolling bells, fragments of eerie melody and other mysterious sonic events that are nearly consumed by a massive churning vortex of distortion and low-end rumble and howling feedback, a kind of monstrous HNW possessed with a tectonic undercurrent and fierce lashes of flesh-rending frequencies. Swells of ominous orchestral horns and strings begin to seep up out of the roiling sonic hell-storm, slowly warping within the nuclear fire, joining with droning horror movie keyboards that fade in and out.
These guys create some truly vicious noise that fans of Blue Sabbath Black Cheer and Stalagggh both will appreciate. The tape comes in silk-screened black and silver packaging, and is limited to just one hundred copies...


DESTROYING ANGELS   Issue Ten   MAGAZINE   (Destroying Angels)    11.98



I've been a fan of Dennis Dread's art since I first started to pay attention to his work illustrating albums for bands like Darkthrone, but wasn't aware that he also did a sporadically published zine called Destroying Angels until I began following his blog. In fact, the latest issue of the zine had already sold out of it's print run when I learned of it, but luckily Dennis decided to do a second printing of issue ten, allowing us to get on board with this fantastic zine that focuses on all things related to art and underground metal. A must for fans of old school metal album art, Destroying Angels features writings on both legendary and obscure artists that have influenced Dennis's own pursuits in illustration, thoughtful interviews with figures in the underground, and of course, lots and lots of juicy, gruesome artwork to feast your eyes upon. As soon as you lay eyes on issue ten of Destroying Angels, you're greeted by a raging skeletal thrash maniac leaping off of the front cover in glorious 3-D, glasses included (there's another killer 3-D piece on the back cover). Inside, you get fifty pages of lengthy, well-written interviews with Jos A. Smith, the fine artist who was responsible for creating the goat image that Bathory stole for their iconic album cover; the 3-D illustrator Ray Zone; French metal-centric cartoonist Julien "Nagawika" Le Guennec; and Polish metal album illustrator Jowita Kaminska. There's a lengthy tribute to the famed fantasy artist Frank Frazetta written by Dennis, a reprint of Pushead's "Puszone" column from Maximum Rock & Roll,an in-depth piece on the underground comic artist Jim Osborne, and much more. Lots of stuff to chew on here, and for anyone like us who is often just as obsessed with the artwork and imagery of metal albums as we are the music itself, this is a fantastic read.


DEVILS BLOOD, THE   Come, Reap   CD   (Profound Lore)    14.98



Currently out of print, we just dug up a couple copies of this hard-to-find hit from last year...
The awesome debut EP from The Devil's Blood comes at us from Profound Lore, and it's an unexpected dose of infectious occult psych metal from this female fronted Dutch band that apparently includes members of some known black metal bands but operates under virtual anonymity, with only the members initials appearing in the liner notes to Come,Reap. No matter, this is a fucking fantastic five song EP that follows up the band's demos and Graveyard Shuffle 7" with four new songs and a cover of Roky Erickson's "White Faces". When you read through the lyrics and liner notes, the band extols all manner of death worship, Satanic imagery and drug use, but the music is so lush and catchy and rocking that the subject matter slips by you. Amazing vocal harmonies, spooky melodic hooks and soaring guitar solos, and a vintage sounding production seriously makes Come, Reap sound like it came out of some alternate universe version of the 1970's, where heavy AM radio rock was influenced by dark Satan-worshipping psychedelia. Jefferson Airplane, Coven, Black Widow, and Roky Erickson are all reference points, but I also hear shades of Kansas, Blue Oyster Cult and Boston in here too, especially on the last song "Voodoo Dust", an impossibly catchy song that sounds so much like Boston it's eerie, albeit if Boston had actually been a bunch of devil-worshipping hippies. I'm convinced that if "Voodoo Dust" had been released as a single back in the late 1970's, it would have been an enormous FM radio hit, and we'd be hearing it all over classic rock radio now, it's infectious hooks and yearning vocals extolling our love for the Great Horned One. Fans of that Blood Ceremony album that came out on Rise Above will probably love this too, as both bands draw from that same era of heavy 70's psych and proto-metal and are both fronted by female vocalists, but where Blood Ceremony is proggy and loaded with flute, The Devil's Blood is definitely more rocking and catchy. This is one of my favorite releases of the year, and highly recommended to anyone into witchy, proggy Satan worshipping hard rock! Comes in a six panel gatefold package.
Track Samples:
Sample : Come, Reap
Sample : River Of Gold
Sample : Voodoo Dust



DIE KREUZEN   self-titled   LP   (Touch & Go)    16.98













DISPYZ   Datarunner   7 INCH VINYL   (Radiograffiti)    7.98



The final 7" from Dispyz before the project morphed into it's new incarnation as Stagediver. Datarunner is more violent distorted "Amigacore" from this Milwaukee based outfit, which has been around for over a decade - if you've heard any of the other releases from Dispyz then you know what you're going to get: super-distorted chiptune melodies over brutal distorted kick drums and ferocious breaks, frantic samples, and bursts of broken gabber, all created with antiquated computer equipment and low-fi recording techniques. The title Datarunner is some sort of reference to a group of Milwaukee hackers from the 80's called the 414's, Like the other 7" that we just got in stock from Dispyz, this shit is a blast, sort of like a chiptune-infected Nasenbluten, or Xylocaine. This record is a test of patience, though, as the a-side plays inside out and drops into a locked groove at the end, so you have to be able to run your needle from the inside groove to play it all thr way through. As long as your turntable is equipped to do so, you'll get a rush of orchestral drift that blooms into clouds of digital drone that's stretched out over the first minute or so, and then ruptures into blasting, manic breakcore, big distorted beats, distorted and dosed on PCP, that finally slips into a grinding lock groove at the end. The b-side plays normally, delivering a slightly less frenzied dose of 8-bit breakcore, but it also tumbles into it's own grating, noisy locked groove. Pressed on green vinyl, and comes with stickers and button and a download code for a digital copy of the Ep. Killer high-speed 8-bit raver violence!


DISPYZ   Raverblood   7 INCH VINYL   (Radiograffiti)    7.98



We’ve got more nuclear raver violence from Dispyz, the longrunning Milwaukee "Amigacore" outfit from programmer/hacker Tyler St Clair. St Clair recently dropped the Dispyz moniker and began recording under the new name Stagediver, but during the past decade, he produced a decent amount of recorded output that included two 7"s that we just got in stock, the first of which is the ominously titled Raverblood Ep. Using older, outdated computers like the Amiga 1200 and the Commodore 64, Dispyz created a sort of super-distorted breakcore / speedcore hybrid that often incorporated old-school 8-bit melodies that makes this sound like a cross between vintage early 90's video game theme music and skull-pounding speedcore, like a cross between Nasenbluten and a Sega game soundtrack.
The a-side title track starts out all hyperkinetic and frenzied, a wild chiptune melody kicking in just as a pounding snare/kick beat begins to tear through the mix and begins speeding through the track, sometimes breaking off into slower, pounding industrial rhythms. On the b-side, "We Came To Overtake” spits out some old school breakbeats and sampled hip hop vocals over thumping gabber pummel and an 8-bit horror movie theme, followed by the brutal hardcore techno of "My Amiga". No good time, party vibe, glow stick-waving techno, this; this is dark, distorted mayhem, recommended for fans of the hardcore techno that Earache was releasing in the mid-90's, Bloody Fist Records, and other forms of demonoid techno/gabber. Limited edition of three hundred copies on red vinyl comes with a download code, stickers, and buttons.


DREADED   Working Class Death   CASSETTE   (Waves Of Decay)    7.98



A limited cassette of bleak, unsettling industrial ambience from this new-ish outfit, who drops some primo black sludge noise on this forty-five minute tape. Dreaded's sound is a vaguely psychedelic brand of industrial deathcrawl, loaded with buzzing phased synths, fluttering underground rumblings that suggest monstrous activities going on deep beneath the earth's crust, fragments of creepy minor key drift that drift above the grinding noisy surface and minimal throbbing synthesizers that spurt out ongoing streams of black kosimiche slime. The murky sound quality gives you the impression of hearing heavy machinery over a great distance, the recording all decomposed and washed out, giving the ominous strains of melody that creep through the rumbling abyssal tremors and fields of buzzing harsh noise a real evil vibe.
Later on, it gets really heavy when grinding ultra-distorted slabs of doom metal guitar appear, so overloaded that they break apart and threatens to collapse entirely, melting down into swells of glitchy overloaded chords. The second side picks right up with this bone-rattling doomdrone glitch-terror, the massive low-end throb crumbling and grinding until it returns back to the subdued mechanical whirr and creaking electronic pulses and minimal deep-frequency drone. One of the last tracks is centered around a clipped drumbeat and bass chord that is repeated over and over, with long stretches of silence between the pounding sample, the sound wandering through a blasted nuked expanse of thunderous aftershocks and air raid sirens and creaking, rattling machinery that finally turns into a corrosive wall of harsh noise at the end.
The sound of Dreaded is the soundtrack to a world devoid of stars, where all of the light has been sucked out, and everything is dead and grey and lifeless, a post-industrial nightmare that's equal parts Navicon Torture Technologies and Throbbing Gristle and some weird strain of damaged ambient doom.
Comes in black packaging screenprinted with metallic silver ink.


DRUDKH   Estrangement   CD   (Supernal)    14.98











Track Samples:
Sample : Solitary Endless Path
Sample : Where Horizons End



DRUDKH   Estrangement   LP   (Season Of Mist)    17.98











Track Samples:
Sample : Solitary Endless Path
Sample : Where Horizons End



DRUDKH   Handful Of Stars   CD   (Season Of Mist)    14.98













EHNAHRE   Taming The Cannibals   CD   (Crucial Blast)    9.98



The new full length (number two) from the Boston based avant-black/death/doom band Ehnahre, Taming The Cannibals, is one of the more cerebral and challenging "death metal" albums to have come through the Crucial Blast headquarters this year. After being turned on to their excellent debut from 2008 The Man Closing Up, I've been itching to hear more from these warped death abstractionists; their debut instantly dazed me with its jarring, alien approach to bestial slow-motion death metal, drawing heavily from the twelve-tone serialism of composer Arnold Schoenberg and the outer fringes of free-jazz and free improvisation as much as they do from the foul black pit of early 90's death metal and doom. Even after years of devouring the most dissonant strains of death metal that I could get my mitts on (Gorguts, Demilich, Immolation, Portal, etc.), these guys stunned me with their extreme chaotic dissonance and pitch-black chthonic textures, a combination of atonal 20th century classical music and vicious blackened death laced with squalls of free-jazz horns, stretches of intense choral ambience, and blasts of calcifying glacial doom. Featuring former members of the prog/gothic art-rock band Kayo Dot and avant-death metallers Biolich, Ehnahre are creating some of the most difficult death metal I've heard since Obscura, but also manage to balance the extreme atonality and relentlessly unpredictable nature of their arrangements with seething aggression and crushing riffage.
Taming The Cannibals is a continuation of their discordant black art, six lengthy tracks of demented and distended death metal and harrowing atonal composition, their chilling guitar textures and bizarre chordal moves merging with distant, keening muezzin-like vocals and monstrous, blood-gargling shrieks, extended percussive wig-outs that veer into pure jazz territory, and vast black fields of nightmarish ambience. Once again, the band employs horns and strings, this time from guest musicians Greg Kelley of Heathen Shame on trumpet and C Spencer Yeh (Burning Star Core) on violin, draping sheets of high end amorphous violin skree and free jazz blowing across the ethereal blastscapes and apocalyptic feedback of "Clatterbones" and the bloated black doom and spacious horror of "Foehn". Minimal electronic grit and glitch and crackle is woven through the cacophony, subtle keys float beneath the hyper complex riffs. Soft crooning vocals (courtesy of Jonah Jenkins from Only Living Witness/Milligram/Raw Radar War/Miltown) emerge, dreamlike, drifting on abyssal lullabies. And all the while, Ehnahre pull the listener ever deeper into their claustrophobic depths, crafting a terrifying, hellish vision of blackened jazz-doom that will set skin to crawling and nerves on edge, while their haunting lyrics draw from a number of unexpected influences such as Irish poet F. R. Higgins, Austrian Expressionist Georg Trakl, Walt Whitman's "Song of Myself", and American poet/environmentalist Robinson Jeffers.
An immense new disc from Ehnahre that heads even further "out" than their previous album; it's highly recommended to fans of the furthest extremes of avant garde death metal and doom, Disembowelment, Phlebotomized, Demilich, Starkweather, Gorguts, Pan.Thy.Monium, Portal, and the heavier moments of Kayo Dot's earlier recordings. The disc comes in a four-panel digipack with an eight page booklet.
Track Samples:
Sample : The Clatterbones
Sample : EHNAHRE-Taming The Cannibals
Sample : Animals
Sample :
Sample : Revelation and Decline
Sample : Birth



EUSTACHIAN / THE TEKNOIST   split   LP   (Ad Noiseam)    13.98



A US/Euro split featuring two underground breakcore producers who have both had their share of flirtations with extreme metal elements, which has us scurrying to check out anything and everything that these cats have releases thus far...
Teknoist are first up with a side loaded with Shitmat-style chaos-breaks and splattery junglist mayhem, fucking crazed stuff that won me over instantly. The first track "Have You Seen" is a combination of monstrous breakcore frenzy and haunting dark ambience, the massive rhythms surging beneath traumatized cries and eerie strings, getting even more frantic and spastic as it goes on, throwing out all kinds of rhythmic fuckery and drum loops and sudden jarring blasts of gabber beats, and then suddenly it stops and reverses itself, grinding backwards to the end of the track, a dark assault on your nervous system from start to finish. The other track "No Suck Luck" is in a similar mode, with more of that insane Shitmat-style gabber / jungle / speedcore chaos now mixing with somber choral voices and Gregorian style chants.
On Eustachian's side, the breakcore producer gives us some awesome death metal influenced break/blast insanity, a series of massively splattery blastbeat/jungle concoctions that fuse deathgrind with ridiculously convoluted drum n' bass, chopping up grind riffs and howling high-pitched screams and bizarre electronic noises and scattering it all over hyperfast beats and industrial pounding. Sounds a LOT like Whourkr, actually, although Eustachian don't get as far out and abstract as those guys. Sort of similar to Drumcorps, too; fans of either of those aforementioned outfits will obviously love this stuff. The highlight of their side, for me, was the "Trifecta Fecal Factor Mix", a remix of the song "Smear Campaign" from Napalm Death's album of the same name, the song stretched out and dissected and re-assembled into a deliriously choppy blast of abstracted gabber-grind, with added freaked-out psychedelic vocal weirdness and MASSIVE speedcore beats laid over the ferocious riffing.


FATHER BEFOULED   Morbid Destitution Of Covenant   CD   (Relapse)    14.98



Wow, we haven't heard an album of death metal this primitive and ghastly from Relapse in years. This crushing dose of ultra-heavy goat worship is Father Befouled's first album for their new label, following a couple of releases on Gasmask Productions, Nuclear War Now and Enucleation, and it's more of the sludgy, doom-laden Incantation worship that this band has perfected since forming in 2008. They've also listed Immolation and Morbid Angel among their influences, but it's the dissonant, doomed death metal of the mighty Incantation that FB have primarily drawn from for their brand of crawling, blasting evil. Luckily, they also channel the strangeness and otherworldly atonality that makes Incantation so great, so instead of just coming off as a retro tribute band, Father Befouled claim the sound for themselves, dragging the evil Christ-hating vibe of Onward To Golgotha through even murkier abysses of low end filth, even slowing their pulse to almost Corrupted-like levels of heart stopping slowness on Morbid Destitution Of Covenant. The intro instantly hooks us: an ominous blast of trumpets and strings booming out of the depths, a bloodcurdling surge of orchestral doom that breaks into sinister pipe organ, setting the dreadful, lightless atmosphere as they launch into the cavernous death metal. Guttural gaseous vokills are croaked over the warped, droning death metal, riffs looping around, a heavy repetitive attack hammering the sludgy, intricate down tuned riffs into your skull, lashing out with squealing harmonics and blasting chaos. The songs are long and mazelike, and the sepulchral production is perfectly suited to this album, giving the music a cavernous, oppressive feel without taking anything away from the heaviness. As big fans of this particular breed of old fashioned death metal, we think this album crushes, and we're especially into the skilled manner in which Father Befouled constantly shifts between ultra slow grueling doom to galloping fast paced death metal to ghoulish sparse ambience to blasting chaotic fury, with songs like "Idol Defamation", "As Reverence Descends" and "His Divine Pestilence" drifting into crawling blackened doom that sucks the air right out of the room. The album ends with a creeping, abstract bit of blackened ambience that we think is pretty cool, too; the six minute "Now Desecrated" blends distant chanting monk voices, swells of dark synth drift, deep subterranean rumble, stretched out organ tones, and minimal percussion into a black liturgical ambience. So ok, Morbid Destitution might not transcend it's influences, but Father Befouled sure do a stellar job at invoking the same brand of evil, atonal sonic horror as the masters that they study from.
Track Samples:
Sample : Now Desecrated...
Sample : Sacrilegeous Defilement (Of Deranged Salvation)
Sample : Vomiting Impurity



FATHER BEFOULED   Rotting Godless Throne   7 INCH VINYL   (Nuclear War Now! Productions)    5.98



Released a few months before their debut for new label Relapse Records, Rotting Godless Throne is a three song 7" of crawling death metal from the unapologetically atavistic Father Befouled, who have taken it upon themselves to carry the torch for the brand of ugly, monstrous death metal of Incantation and Immolation. There are worse bands that one could pledge allegiance to, and Father Befouled channel the atonal evil of those two bands surprisingly well, as the opening title track proves; "Rotting Godless Throne" conjures swarms of pestilential grinding and blast beat chaos among slabs of labyrinthine black ooze, all doom-laden and demonic, cavernous reverb soaking into the murky jagged riffage and sludgy heaviness. The guttural vocals are drowned in just as much reverb, and the slow doom passages border on Corrupted levels of massiveness...
The b-side track "Testament of Unholy Essence" is a squealing, blasting vortex of warped death metal slime that winds down into a downward descent into subterranean doom, followed by a cover of Profanatica's "Weeping in Heaven", which features Profanatica / Havohej founder Paul Ledney making a guest appearance on drums for maximum legitimacy, the band delivering a scorching rendition of this classic black death assault.
If you're a hardcore fan of the oppressive, sepulchral death metal of early Incantation, Immolation, Dead Congregation and Vasaeleth, man, this one's for you. Oh, and the first two tracks also feature Chad Davis (of a bazillion different bands we're crazy about, like US Christmas, Set and Mortuor) on drums.


FEEDBACK   Issue Seven   MAGAZINE A5   (Feedback Comics)    2.98



We just discovered this cool little underground comic through the folks over at Ebullition. Feedback is drawn and published by Portland artist John Isaacson, who reviews local metal, punk and noise shows in comic strip form, which he collects in each issue of the half-sized black and white comic. His show review strips are short and succinct, but manage to sum up what each of these noisy, often chaotic shows was like to attend in a humorous style that reminds me a lot of Brian Walsby (of Manchild fame). We've picked up a couple of recent issues of Feedback for C-Blast, 'cuz they're worth checking out if you're into the irreverent, observational music-centric comics of Walsby and Ben Snakepit.
Another issue of Feedback with thirty-two more pages of black and white four-panel comics that humorously review shows from even more cool bands like Nux Vomica, Cold Cave, DRI, Weremacht, Plutocracy, Bastard Noise, Eyehategod, Thrones, and Wildildlife. The second half of the comic is actually a split with another review zine called Videotonfa, which instead of music reviews a diverse mix of movies like Critters 4, Cronenberg's Dead Zone, the awesome Phantasm II, Buckaroo Banzai. blaxploitation titan Rudy Ray Moore and other VHS trash, written from the perspective of someone living in the Portland punk/metal scene, and each review is accompanied by crudely surreal hand drawn reproductions of the cover art for the films.


FEEDBACK   Issue Eight   MAGAZINE A5   (Feedback Comics)    2.98



We just discovered this cool little underground comic through the folks over at Ebullition. Feedback is drawn and published by Portland artist John Isaacson, who reviews local metal, punk and noise shows in comic strip form, which he collects in each issue of the half-sized black and white comic. His show review strips are short and succinct, but manage to sum up what each of these noisy, often chaotic shows was like to attend in a humorous style that reminds me a lot of Brian Walsby (of Manchild fame). We've picked up a couple of recent issues of Feedback for C-Blast, 'cuz they're worth checking out if you're into the irreverent, observational music-centric comics of Walsby and Ben Snakepit.
The latest issue of John Isaacson's show review comic is another thirty-two page half size zine, this time loaded with four panel black and white comic reviews of Portland shows from Brutal Truth, Ritual Necromancy, Wolves In The Throne Room, Earth, Bad Religion, Eat Skull, Transient, Honduran, Gone to Croatoan, Raw Nerves, Hazard's Cure, The Depths, This Runs In Blood, Caulfield, Surroundings, Bad At Best, Proof 151, Sightings, Autistic Youth, The Estranged, La Ursss, Walls, Ecoli, Migraine, Nerveskade and more.


FEEDBACK   Issue Five   MAGAZINE A5   (Feedback Comics)    2.98



We just discovered this cool little underground comic through the folks over at Ebullition. Feedback is drawn and published by Portland artist John Isaacson, who reviews local metal, punk and noise shows in comic strip form, which he collects in each issue of the half-sized black and white comic. His show review strips are short and succinct, but manage to sum up what each of these noisy, often chaotic shows was like to attend in a humorous style that reminds me a lot of Brian Walsby (of Manchild fame). We've picked up a couple of recent issues of Feedback for C-Blast, 'cuz they're worth checking out if you're into the irreverent, observational music-centric comics of Walsby and Ben Snakepit.
Issue five of Feedback is a sixteen page mini-comic that has a bunch of short strips which review shows from all kinds of bands, including a bunch that we dig like UK crust legends Amebix, Tragedy, and power violence duo Iron Lung.


FEEDBACK   Issue Six   MAGAZINE A5   (Feedback Comics)    2.98



We just discovered this cool little underground comic through the folks over at Ebullition. Feedback is drawn and published by Portland artist John Isaacson, who reviews local metal, punk and noise shows in comic strip form, which he collects in each issue of the half-sized black and white comic. His show review strips are short and succinct, but manage to sum up what each of these noisy, often chaotic shows was like to attend in a humorous style that reminds me a lot of Brian Walsby (of Manchild fame). We've picked up a couple of recent issues of Feedback for C-Blast, 'cuz they're worth checking out if you're into the irreverent, observational music-centric comics of Walsby and Ben Snakepit.
Issue six of Isaacson's Feedback is bumped up to thirty-two pages, with a bunch of four panel comics that reviews a bunch of Portland shows that Isaacson attended, including bands like Polvo, Lungfish front man Daniel Higgs, proggy crustcore punks Nux Vomica, one man sludge band Thrones, psychedelic sludge weirdos Wildildlife, and retro speed metallers Enforcer.


FINGERNAILS / VILLAINS   Getting Crazy   7 INCH VINYL   (Nuclear War Now! Productions)    5.98



Nothing fancy, nothing pretty; just two street-level speed metal bands getting tanked and talkin' bout love. Getting Crazy is a 7" that came out a while ago that we just now got our hands on, featuring Villains from NYC (who here include members of Unearthly Trance and The Dying Light) and old school Italian rager Fingernails covering one another’s songs and each treating us to their own perverted take on lusty, old school Venom-style thrash.
Villains are up first, and their choice of "Crazy For Blowjobs" (off of the self-titled Fingernails debut from 1988) is absolutely perfect, the song seemingly made just for these sex-crazed, maniacal black thrashers. The freaked out speed metal onslaught is rocketed out at double speed, an ode to satanic fellatio sung with ripping buzzsaw riffage, drunken galloping drumming, and their trademark fucked-up vocals. Awesome, as always.
On the b-side, Fingernails counter with their stomping version of Villain's rough-sex-and-alcohol fueled anthem "Getting Cheap", a total Venom/Bulldozer-esque thrash ripper with distorted vocals, lots of wild screaming and impassioned ball-crushing wails. Goddamn exhilarating.
The sleeve features more of Desecrator's phenomenal artwork, which is always an incentive by itself for us to pick up anything Villains-related; but this 7" is sweet stuff for anyone looking to lick up some raw, psychotic speed metal hell.


FIRE IN THE HEAD   The Remedy Has Become The Affliction   CD   (NCC)    8.98



Just got this disc back in stock from the now defunct NCC label, and at a cheaper price!
Up until now I've been more familiar with Michael Page, the figure behind the death electronics outfit Fire In The Head, through his other project Sky Burial. Sky Burial released a self-titled CD-R a while back on Housepig that I thought was fucking great, a heavy, rhythmic dose of formless drone heaviness that channeled as much the UK noise/drone rock vibe of bands like SKullflower, Sunroof, and Vibracathedral Orchestra as it did the rhythmic crush of Godflesh and the abyssal drift of classic dark ambient. With his Fire In The Head project, though, it's a totally different headspace; The Remedy Has Become The Affliction, the latest full-length from the project, rocks an album title and that feels like it belongs to some classic anarcho-punk outfit. That's no accident, as it turns out that several of the artwork pieces that were created for this album are from Gee Vaucher of Crass, and the brutal, scathing Industrial violence on this disc seems to be influenced by the accusatory tone and apocalyptic outlook of anarchist punk while transmitting its nihilistic visions through terrifying collages of strangled feedback and roaring distortion, brain-scraping static frequencies bent into sinister codes, cascading sheet metal, flocks of metallic chirping, brutal distorted vocals, death metal vocals, and charred electronic melodies. What sets Fire In The Head apart from most of his PE peers however is the amount of structure and composition that is contained in each track. Fucking fierce power electronic violence, like a composite of Masonna, Whitehouse, Ramleh and Yen Pox; the disc also includes remixes/reconstructions from Guilty Connector and Hum Of The Druid, as well as an interpretation of the song "Wash" by D.C. post-hardcore legends Swiz !? Released in a full-color digipack in a limited edition of 300 copies.
Track Samples:
Sample : Amidst My Enemies Graves
Sample : Terminus
Sample : Terrorwhore



FLESHPRESS   No Return   CD   (Kult Of Nihilow)    9.98



One of two recent Eps released by the Finnish sludgelords (which include Mikko from Deathspell Omega/Grunt/Nihilist Commando on drums), No Return is a nightmare of a million eyes, an outburst of misanthropic black energy lashing out at the world surrounding them. Featuring two long tracks, the disc comes in at around twenty two minutes, but every second is weighed down with some of the heaviest, most torturous psychedelic doom you could ask for.
The first song is called "Dead End Life Crawling Thru Shit and Blood Soul Burning" and isn't subtle about what sort of mood they're in; a slow, determined drum plod opens this joined by a lumbering bass line and soft delayed guitar forming into dark hovering chords, and it's quite minimal and somber at first. As ululating electronic cries and the sound of sparking circuitry drifts in from afar, it begins to blossom into ominous slow motion black doom, coming together into a saurian dirge as the guitar gets heavier, the bass rises to the fore, until the music suddenly lurches into a monstrous blown-out dirge, a crushing mid-tempo groove surrounded by those strange electronic noises and psychedelic fx. Deep chanting vocals show up towards the end, right before the song bursts without warning into fast paced crusty thrash, ending the song in an uproar of grinding Disrupt-esque thrash.
The arcane "Spiral Filter Forcing You Down to Black Pyramid" starts with a watery, flanged guitar before dropping into the rhythmically crushing demon-boogie, a sort of swinging doomcrust of putrid snarling vokills, angular Southern sludge riffage and swampy, bloozy soloing that winds its way through the almost the entire song. Later on, it dissipates into pure cosmic whoosh, a long stretch of space noise and swirling black hole fx with just the fading pulse of the drums and bass keeping it from completely drifting into the abyss, then re-emerges as a pounding tribal metal outro at the end. Grisly, human-hating psych sludge that's highly recommended to fans of Grief, Sour Vein, Eyehategod, Unearthly Trance, Cough and Ramesses. Comes in a foldover card sleeve, and limited to three hundred copies.


FLESHPRESS   Rebuild/Crumble   CD   (Kult Of Nihilow)    9.98



Something of a concept Ep concerned with the act of natural creation and the law of entropy as it applies to the ephemeral state of humankind's achievements, Rebuild/Crumble is one of two great Eps that have come out recently from the might Fleshpress, those Finnish sludgelords who poison their grueling, grinding slow motion heaviness with a terminally hateful worldview and some interesting psychedelic elements. Clocking in at just under twenty minutes, this two song disc might be on the short side, but it's unrelenting in it's skull-crushing heaviness.
"Rebuild" opens with looped backwards sound and airy room hiss, a strange environmental ambience that becomes filled with swells of feedback that converge into a moody post-rock instrumental. Twangy clean guitar ripples over shuffling slow-paced drums, and for a moment, Fleshpress seem to be channeling the brooding slowcore of Codeine. Then, out of nowhere they kick into a lurching crusty assault, snarling sludge that abruptly shifts gears and slows down into even more sluggish depths of heaviness before grinding back into the droning sludge.
In response, "Crumble" layers slow pounding toms, mysterious scraping sounds and percussive clanking in an unsettling abstract intro; an ominous guitar melody creeps in, again forming into sinister slowcore, but slowly building into another blast of snarling apocalyptic sludge, and this time when the band peaks into the crushing riffs and thunder of tribal drumming, it has this Amebix / Neurosis-like vibe, all bleakly apocalyptic till they suddenly drop out at the end, with just a dark, ominous piano minor key melody hovering in the blackness.
Packaged in a card sleeve with metallic silver printing, and limited to three hundred copies.


FORGOTTEN WINTER   Dialéctica Transcendental   CD   (Nordsturm)    11.98



The debut album of cosmos-tripping blackened blast from the self-proclaimed Portugese "astral black metal" band Forgotten Winter. We love it when black metal bands bring out the prog synths, and Dialéctica Transcendental is loaded with spaced-out cosmic synthesizers that drift through the black space that hangs between stars, total Schulze-style galactic whoosh that is backed with dense synth strings and lush cosmic electronic textures. We fucking love it when bands combine kosimiche krautrock ambience with a classic black metal attack, and this disc has been getting a lot of play around here. Dialéctica Transcendental opens with the eight minute "Imaginário Hipnagógico e Sensações Cinestéticas", which is pure space music, just repeating synth figures and washes of eerie deep space ambience; it's with the second track "Ecoar Da Reminiscência " that the band blasts forth with their cosmic black metal attack, a highly melodic blackened assault that blends terrific piano melodies, symphonic strings and synthesizers way up front in the mix with the shrieking blackened vokills and croaking rasps bathed in delay and echo, furiously blasting drums, and blazing mosquito riffing that is primarily relegated to the background, with the emphasis heavily on the classical sounds. Heavily layered with different orchestral elements like strings, counterpoint piano melodies, and moaning chant-like vocals buried beneath the relentless blast beats, it's easy to draw comparisons between this and the cosmic black metal of bands like Darkspace and Vepulcula, but these guys incorporate symphonic elements that give this much more of a neo-classical feel, with strange dissonant keyboard parts and symphonic arrangements that sound a lot like something from In The Nursery appearing over the strangely murky and buried black metal. A killer disc that we recommend highly to fans of swirling, cosmic black metal blast.
Track Samples:
Sample : Chuva (Materialização da Empatia)
Sample : Ecoar Da Reminiscência



FRAILTY OF ANGELS   self-titled   CD-R   (Self Released)    6.98



This Virginia-based outfit made quite an impression around here with this self-titled disc. Marked by the use of cavernous reverb, pulsating skull-throbbing drones, and black metal style vokill horror, Frailty Of Angels doesn't hide the fundamental influence that Bastard Noise's heavy "caveman electronics" has had on their nihilistic industrial soundscapes, but does take the sound into a colder, exponentially more monstrous direction that makes this one of the best power electronics-style discs that we've picked up this year. It's pretty goddamn great.
The fourteen minute opening track "Extinction Swarm" has all of the ingredients of Frailty's bleak inhuman sound; deep pulsating electronic noise births cicada-swarms of abrasive glitch, invaded by utterly demonic guttural gargles that sound like they were lifted off an old death metal record, deep and bellowing like the newer Bastard Noise stuff, but even deeper and more deathly. And the sound here is far more desolate, minimal grinding buzz surrounded by an arctic atmosphere, spacious and barren, like , nightmarish power electronics drifting through a cavernous underground hangar, the sound keeps swelling with super-distorted waves of mid-range white noise and layers of crackling static while apocalyptic visions of televised war casualties and genocide are growled over top, a constantly shifting and evolving field of electrical activity, shrill scraping and mechanical squeals swept up in the blizzard-blasts of hiss and squalls of chirping 8-bit noise, evoking the feeling of being stalked by some monstrous entity within an abandoned underground bunker.
The remaining tracks are equally grim. A short blast of sinister drone opens "No Future", leading into sputtering oscillator mayhem, a dronescape of buzzing power cables and tiny drills. Bestial grunts spew over cold abyssal sonar signals and smoldering black ambience on "Die Alone". Mangled power electronics, ear-shredding feedback, and distorted mumbling vocals come together on the ten minute "Watching A Trainwreck" that movesthrough dense clots of grating industrial maelstrom and seething black atmospheres, sudden blasts of murky television transmissions and grueling exercises in feedback abuse. "No Life" rushes in and sweeps over you like a fast-moving cloud of black vapor, more reverb-heavy black metal style croaks over abrasive industrial scrape, hypnotic screaming, and weird bleating horn-like sounds all whipped into a hellish blizzard of black sound. The final untitled track closes with another extended wave of distorted sine wave mayhem that is so fuzzed out, it sounds like someone playing massively distorted guitar while a portal to another dimension hums ominously, letting monstrous breathing sounds, swarming locusts, and flesh/metal abominations crawl through into our world.
Gotta recommend this to anyone into the more blackened neo-power electronic sounds of Navicon Torture Technologies/Theologian and Iron Fist Of The Sun. Comes in a minimal all-white digipack with a black symbol screen printed onto the cover, with a lyric insert included inside, limited to fifty hand-numbered copies.


GEHENNA   The War Of The Sons Of Light And The Suns Of Darkn   LP   (A389 Records)    14.98



One of the most feared bands of the 1990s, Gehenna were the ultimate dark side of American hardcore and cast an intimidating shadow over the HC scene during the latter half of the decade. Their rep was serious shit, and tales of stabbings, narcotic abuse, random violence and general chaos became popular legend. One thing was certain - Gehenna were dead serious about playing the most vicious music possible, and did not give a fuck about how they were perceived within the hardcore scene (or anywhere else). Their releases prior to 1998 were limited and often quite hard to find, but Crimethinc Records finally collected all of their recordings up until that point with The War Of The Sons Of Light And The Suns Of Darkness, which presents their early releases in chronological order, starting with the three song cassette and leading through the split 7" with Apartment 213 and the Birth Of Vengeance 7". What becomes apparent when listening to this stuff now is that is almost baffling that this band was embraced by hardcore kids at all; the music that Gehenna played drew a big part of its vitriol from some of hardcore's most extreme proponents of speed and violence like Infest as well as the chunky Slayer-worship of San Diego straightedgers Unbroken, but merged that with a blackened, bestial vibe that is pure Hellhammer, baby. Long before hardcore kids started picking out tremolo riffs, these thugs were channeling the filthiest strains of early black metal into a stripped down, apocalyptic assault that remains some of the most extreme shit that we have ever heard. As far as we're concerned, Gehenna's fusion of barbaric black metal and psychotic hardcore/power violence is absolutely peerless in it's misanthropic scope, and evokes visions of societal collapse and end time chaos more effectively than anyone else....
The Crimethinc release has been out of print for years, but A389 has unearthed this crucial collection on colored vinyl for the first time with this Lp release, which also comes with a download code for a digital copy of the album.


GEHENNA / CALIFORNIA LOVE   split   7 INCH VINYL   (A389 Records)    5.98



Two violent California thrash acts team up to shank you with their feral low-fi metallic filth on this slammin' 7". We've said it before, and we'll say it again - everything that Gehenna has put out is crucial, and it's impossible for us not to gush over what has long been one of our favorite bands going back to the mid 90s. So the presence of a new Gehenna track on this Ep is reason enough for us to fall all over it. The fact that California Love turns out to be just as murderous and evil just makes this record that much more essential for fans of hateful apocalyptic thrash.
Cali terrorizers Gehenna drop an awesome three minute blast of hell-bent thrash called "Get Fucked Up", an ode to murder, narcotic abuse, and physical violence, all tenets of modern living that we fully endorse. Like everything else from Gehenna, this has an unmistakable Hellhammer vibe, all blasting drums and mangy violent riffage and Mike Cheese's horrific blackened snarl that is absolutely unmatchable. A fucking spectacular, if short piece of violent pain-worshipping thrash. California Love drop an even shorter blast of murky evil metal, a total Slayer-meets-power violence vibe mixed with some drunken So Cal crustiness. Sounds like something I might have caught at the PCH Club back in '96. It starts off sludgy and lurching, but then blasts into some chaotic thrash with insane soloing and hoarse bestial vokills and maniacal drums that are so fast and disordered that it sounds like they've been hurled down a stairwell. Pretty fucking wicked.
Comes with a digital download code for the Ep.


GHAST   Terrible Cemetery   CD   (Todestrieb)    9.98



One of two Ghasts floating around, this is the Welsh band on Todestrieb who released an excellent disc a while back called May The Curse Bind that's recommended listening for anyone into grim, blackened doom metal. That album was top-notch sludgy horror, the black riffs bathed in crushing syrupy tempos and utterly bleak atmosphere, hints of melody creeping through the crawling graveyard doom, not so much true doom as it was the sound of ugly, fly struck black metal being slowed down into gnarled, ghoulish treacle. And it's fucking great. We've been looking forward to hearing more from this band over the past two years, and now we finally have their latest slab of necrotic slime, the two song disc Terrible Cemetery. The disc begins with "O Akhea Rheon", a super heavy bass beginning to drag the song into a pit of plodding blackened doom, the sound absolutely miserable and lumbering, screeching vocals echoing off of crumbling crypts, the voice high and psychotic, sort of Silencer-esque and twisted enough to make our blood run cold. Within this lurching sludgy blackness, we're also hearing a slight post punk influence in the grim guitar melody and that throbbing bass, then it suddenly bursts into chaotic speed, the drums flying between messy blast beats and a deformed black waltz. The song begins to change shape into a swarm of icy old school black metal, then everything drops out for moment leaving just the grinding bass, and the band suddenly veers off again, this time into ferocious blackened thrash, a hypnotic riff matched with a killer malevolent guitar lead, buzzing and swarming and exceedingly sinister.
The second song is the title track, and it takes up most of the disc with a twenty-plus minute sprawl of frantic morbid doom, opening with a morose creeping dirge of droning bass and slow, doom-laden drums that lumber beneath layers of miserable guitar melody and howling schizoid vocals, which now sound even weirder and more freaked out than before, as if that was possible; the music gets more melodic as it goes on, turning into a sorrowful blackened dirge, the feeling growing more desperate, finally blasting off into thrashing black metal a good twelve minutes into it, a single moving riff repeating over and over the blasting drums, building into a hypnotic, melancholic swarm, until finally the band begins to slows down over the course of the song from this blast of blackened fury, dropping further and further into a pounding cavernous groove formed from a majestic minor key riff, an emotionally overwrought melody sunken into the blackened, evil dirge, ending this in lachrymose, soul-crushing heaviness.
Track Samples:
Sample : O Akhea Rheon
Sample : Terrible Cemetery



GOAT THRON   Aktion T4: Vernichtung von Lebensunwertem Lebe   CD-R   (Infernal Kommando)    9.98











Track Samples:
Sample : Crisis
Sample : Delight of Evil
Sample : Goat Thron



GOAT THRON   Delight Of Evil   CASSETTE   (Infernal Kommando)    4.98



Another collection of foul industrial death-worship, genocide fantasies and molten black hatred from the dyed-in-the-wool misanthropic maniac Funeral. This tape from 2005 concocts another soundtrack to mass human death with five tracks of hardcore anti-religious, human-hating, satanic death industrial similar to the other releases that we've picked up from this fascist noise demon. Delight Of Evil is vile, hateful electronic horror with a grimy low-fi recording quality that will appeal to fans of murky black industrial like Deadwood, Aymrev Erkroz Prevre, Kaniba, MH LMTH, Wraiths, etc. This blackened deathscape begins with scraping hard drive noises that are layered beneath the sound of a woman screaming that is looped over and over, and then deep distorted synths slowly fade in, unfurling deep rumbling textures that form into a subdued deathdrone. This black ambience is joined with monotonous metallic clanking and some sort of garbled modem noise, and then drifts off into soft Rhodes piano like tones and decaying horns singing beneath layers of rust. Strange clusters of empyreal synth notes swirl like bits of disembodied Tangerine Dream melodies that have all of the light sucked out of them, rendered into nightmarish dronescapes filled with far-off war drums, distant screams, endless metallic drones, hordes of babbling voices lost in chaos, unidentifiable but undeniably horrific sound events occurring way off in the distance, swirling metallic loops, and distorted devilish growls. Some of the distorted synth sounds that appear on this tape are so blown and ugly sounding that they almost sound like buzzing blackened tremolo riffs, and Goat Thron's black metal roots also show through with the deep bestial vocalizations and haunting upper register melodies that show up on most of the tracks.
This tape features the original four tracks that appeared on the initial super limited cdr version, with an additional track "Hateful Zone" added on as a bonus.


GOAT THRON   Kill Invalid Target   CASSETTE   (Infernal Kommando)    4.98



More vile, offensive, human-hating death industrial and diseased sound collage from this former black metal outfit turned black ambient solo project fronted by head goat-fascist Funeral. All of the Goat Thron stuff is murky, super low-fi industrial noise and horrific black drift that still has some of the traces of Funeral's black metal past, but sonically is closer to the necrotic ambience of bands like Deadwood, Stigma Diabolicum, Dapnom, Silcharde, Temple Of Not and Aeon Nought. This 2006 Ep reissued on cassette by Infernal Kommando has the original tracks from the super-limited Cdr version of Kill Invalid Target with some additional material; some of it is a bizarre screed about the global extermination of handicapped people ("Kill Invalid Target" and "Kill Invalid Target part II"), the rest is cryptic death-worship and genocide fantasy via tracks like "Skulls in remainders of the putrescent meat" and the insanely titled "The barbed wire mutilating, like Satan rape the carrion on the cross".
The tape is loaded with some of the nastiest, filthiest black drift we've heard. Sounds of vomiting and someone moaning in agony are backed by ominous droning synths and looped noises, gradually joined by washes of caustic machine buzz and deep rumbling bass frequencies. Swells of heavy cosmic synthesizer appear throughout the tracks like diffused clouds of Tangerine Dream-style float, mixing with processed radio transmissions and throbbing black sine waves. Goat Thron's brand of blackened ambience is pretty harsh, and on this tape often moves into a sort of isolationist iciness that evokes the suffocating early work of Maurizio Bianchi, or stretches of pulsating Tangerine Dream-like space drift. Later in the tape, simple looping melodies begin to appear along with strange sounds of bubbling liquids and animal-like snarling, then breaks off into some weird industrial plod with shoegazey guitars drifting over processed slow motion rhythms and dissonant drones, shifting from Wolf Eyes-like mechanical creep into a sinister wash of orchestral strings, distended horns, glitchy noise, female choral voices and distant screaming, finally ending with the sounds of warfare, mortar explosions, gunfire, and the screams of the dying.


GOAT THRON   Totaler Krieg   CASSETTE   (Infernal Kommando)    4.98













GRUEL   self-titled   2xLP   (Flat Earth)    23.98



Featuring among its ranks a couple of former members of the prog-sludge band Like A Kind Of Matador, Gruel is another UK band that combines some very obvious prog influences with seriously heavy low-slung sludginess, but this is real ugly stuff, dissonant and psychedelic as it mixes an eerie atmospheric quality with dramatic left-field turns and crushing crusty slow-mo metal fronted by a cloaked singer who emits these sickening gasping shrieks that'll make your skin crawl. Citing a range of influences that includes Hawkwind, old UK anarcho punk, dub, Swans and Throbbing Gristle, Gruel delivered a spaced-out beating on this double Lp that is, of course, right up our alley, spread out across four long sprawling tracks, one per side. Which unfortunately proved to be their one and only album, as the band split not long after this monstrosity was released.
The album opens with the sound of monks chanting far off in the distance, dark lilting Gregorian hymns drifting through the shadows alongside choked screams and smears of black drift. Soft droning keyboards and funeral organ float slowly through this strange ritualistic atmosphere, and then the band kicks in all at once, the drums crashing in with a saurian slow-mo stomp, the guitars locked in a monstrous mono-chord roar, surging forward into a crushing drone-riff that blooms into massive black sludge. The music soon breaks off into a pummeling dissonant dirge sort of like early Swans, before sliding back into some more pulverizing Sabbathian crush. From there, it moves into long stretches of metallic drone, formless synthesizer drift, and mysterious field recordings of far-off percussive noises and environmental sounds, then dropping back into the simple but super heavy sludge that finishes the song. The rest of the album is just as crushing, and continues to wander from pounding crusty heaviness into these strange psychedelic sections where the band starts setting off spacey Hawkwind-style electronic FX and swirling cosmic synthesizerss, or builds dense layers of prayer-bowl drone, or loops eerie symphonic music and murky acid guitar together into disturbing bits of druggy ambience. Towards the end, these passages of free-jazz style horns and random bleating noises appear with rattling metallic sounds during one of their respites from the metallic grinding, followed by a clean electric guitar strummed in a cloud of fx and looping didgeridoo-like drones, before they fall back into some doom-laden Celtic Frost-style heaviness that finally disappears into an ocean of dark ambience...


HALF MAKESHIFT   Aphotic Leech   CD   (Utech)    8.98



Back in stock, and now at a much lower price...
I was blown away by this debut from Half Makeshift, not only because it's one of the more interesting variations on free-floating, ambient doom I've heard recently, but also because it's the project of a guy that lives virtually right down the road from Crucial Blast, and who has been one of our fervent customers! I knew that Nathan Michael was engaged in different sound projects, but I had no idea about his Half makeshift project until I stumbled across some music online when 20 Buck Spin first announced that they were going to be releasing a new album from him. Further digging revealed this initial release on the Utech label, a 35 minute disc, one track, where Nathan crafts an amazing nocturnal dronescape out of crackling feedback, austere piano figures, fragments of strings, glitchy electronic grit, and deep, crushing powerchord sludge, almost like a meeting between William Basinski and Corrupted's Llenandose de Gusanos. Aphotic Leech is mysterious and evocative, beginning with crackling static and electronic shards breaking apart in an empty soundfield that is slowly filled with the ringing notes of a piano, it's notes forming a sad, elegiac melody that floats above what sound like xylophone tones and a thunderous distant rumbling that is slowly consumed by rust. As the peice progresses, the distressed electronics, crumbling drones and distorted rumbles become more prominent, sometimes threatening to consume the clusters of piano notes altogether; it's not until almost 12 minutes into the track that the first monstrous powerchord appears, a thundercrack of black doom that splits the sky. By the time we reach the last half of Aphotic Leech, we're plunged into a dread filled sludgescape of grinding, in-the-red doom metal riffs so distorted that they seem to crack and dissolve more and more each time the riff repeats, while machine noises, plaintive piano, and fractured glitches all swirl together into a black roar. A truly amazing debut, and I still can't believe that this album actually came from around here - the Western Maryland area isn't really known for producing avant-doom albums like this! Dark and abstract, Half Makeshift swims in the inky depths with artists like Bohren und der Club of Gore, Black Boned Angel, Mrtyu! and Sunn O))), but the use of electronics here is unlike anything I've heard before. Great packaging too, presented in a striking foldover jacket printed in gold, black, and grey, the back cover depicting a gruseome photo from Max Aguilera-Hellweg that depicts a surreal figure like something out of an Adam Jones video, the front cover a black-toned jellyfish, and the disc attached to the interior sleeve by a plastic hub. Highly recommended.
Track Samples:
Sample : Aphotic Leech



HANNUM, TERENCE + SCOTT TRELEAVEN   Call & Response   MAGAZINE   (Land Of Decay)    15.50



New art zine from Locrian member Terence Hannum, who here collaborates with artist Scott Treleaven on another series of phantasmagoric images from beneath the veil. Like the other zine-style chapbooks that Hannum has been releasing on a monthly basis this year, Call & Response is issued in a limited edition (two hundred copies) with a black vellum cover and features thirty-four pages of black and white art and color photography that explores visions of pure black space blurred movement within shadows. These images were created by an ongoing mail correspondence between Hannum and Treleaven that produced hazy portraits of towering black amplifiers and the human body in motion during live music performance, rendered into an abstract blur of form. There are surreal collage pieces and gouache paintings of skull-piles, night scenes and stark Chicago winter scenes, a video still of Blake from Nachtmystium, cathedral spaces and more. These chapbooks that Hannum has been producing have lots to wrap your eyes around, and Call & Response offers more of the occult imagery, underground music motifs, Xeroxed shadowscapes and bleak color palette that we've been digging so much, served up in an underground zine-style presentation.


HECATE   Brew Hideous   12 INCH   (Hymen)    13.98













HELLVETE   De Gek   LP   (K-Raa-k)    19.98












HEY COLOSSUS / FIELD BOSS   split   7 INCH VINYL   (Blackest Rainbow)    8.98



You get two of the UK's heaviest, ugliest noise/sludge rock bands on this 7", which comes in a handsome looking six-panel black jacket that sports some cool silk-screened artwork printed in metallic silver ink. This split single serves up one new one from Brit crushers Hey Colossus, and one new one from the mighty Field Boss...
Hey Colossus's "Jailbait" is a bludgeoning slab of British scum-sludge, a cover of a song from cult funk icon Andre Williams that gets transformed into a lurching pounding scum-blooze dirge with garbled, schizophrenic gibberish masquerading as vocals, a crushing staccato stomp welded to massive metallic chug that gets a cavernous basement studio recording. It's quite different from the more krautrock-influenced sludge rock of their last album, but this psychotic noise rock dirge does deliver the goods.
On the flipside is the power trio Field Boss, which is actually the band Tractor under a new name. If you heard their split with Geisha from a couple of years ago, this is more of the feedback-glowing sludge that they served up on that record. "Headache" is an awesome, agonizingly slow skullcrusher, a bruising low-slung riff blanketed in feedback, like something from Cavity or Unsane or Filth era Swans dragging on a broken turntable, a molten mess of maniac guitar and hissing white noise and distorted unintelligible vocals. After stomping your face in for a few minutes, the band lurches into a faster thrashy bit of distortion-spewing angular rock that ends the song.
Limited to three hundred copies.


HOOR-PAAR-KRAAT   A Doorbell Of Earbows For Brefix   LP   (KNVBI Records)    11.98













HOOR-PAAR-KRAAT   In Eros Veritas   LP   (KNVBI Records)    12.98



A vinyl reissue of the 2007 Cdr from Hoor-paar-Kraat, whose cryptic music combines strange musical forms, dark abstracted industrial sounds, heavy drones and eerie fields recordings and ambient noise, brought together into these incredible, creepy soundscapes that are both cinematic and claustrophobic, amazing abstract midnight drift and minimalist field recordings cloaked in shadow. One comparison that comes to mind when we listen to Hoor-paar-Kraat is Nurse With Wound, especially their Salt Marie Celeste and Homotopy to Marie albums, but this is more hallucinatory, more dreamlike, and definitely a lot noisier.
The first track "Felis Qvi Nihil Debet" is a strange rhythmic panorama of sinister atonal fiddle, metallic scraping sounds and percussive rattling, shrieks of high pitched feedback and a constant clanking that resembles a chain being pulled through machinery, ominous rumblings, a sort of creepy mechanical symphony of broken-down scrap yard objects, and wraith-like shadows. This is eventually replaced with warped circus keyboards, strange bird-like chirping, and a battered tin-toy rhythm that leads into the second track, which materializes as a massive haunted dronescape of rumbling low-end drift, distant murky rhythmic throb, more metallic scraping and creaking sounds, murky muddled melodic fragments, voices obscured by deep electric hum, all melted into a hazy, dissonant field of creeped-out ambience. The last track on side A is heavier and more rhythmic, with demonic distorted voice-like shrieks, rattling metal chains, spurts of warped electronics and clank and low-end buzz, steady distant banging and massive subterranean whir beneath the surface, like a darker, spacious Wolf Eyes jam, getting more frenzied and active as it proceeds into a hellish industrial crawl.
The second side opens with “Materiam Superabat Opus”, another creepy nocturnal sprawl of treated field recordings and abstract dark ambience where doors repeatedly creak open, groaning metal echoes through the darkness, and smears of darkly melodic synth-drift and whorls of thick reverberant feedback wash over muted minor key strum. The last track "Acta Est Fabula, Plaudite!" is the most musical, and the most monstrous...here Hoor-paar-kraat emerges into something that actually resembles a song, a slow, glacial rumbling dirge, distant percussive clatter and swells of feedback beneath an ominous heavy minor key drone-riff that sounds a bit like the Dead C but darker and more hellish, surrounded by molten doom-laden ambience and those mysterious field recordings and random sounds, swarming electronic creep surging in and out of the sound, bits of bowed cello-like groan and washes of almost black metal-esque tremolo buzz, bleak and threatening and strangely beautiful, morphing at the end into swells of crushing low-end Earth-like roar, massive slabs of metallic rumble, a thunderous power drone washing over the din of scraping metal and environmental sounds and that eerie cello melody.
The Lp comes in a thick black gatefold jacket, and is limited to just three hundred copies...


HOTEL WRECKING CITY TRADERS   Somer / Wantok   7 INCH VINYL   (Bro Fidelity)    9.98



We've got another Aussie noise rock band that's been kicking our ass lately...The awkwardly-named Hotel Wrecking City Traders features two of the guys from the band Daggers Mid Flight and play a similar brand of super-heavy, sludgy noise rock that we're coming to identify with the bands that orbit the Chairfish and We Empty Rooms labels. A drum and guitar duo, Hotel Wrecking City Traders deliver two songs of instrumental crush on this 7" that are in the same heavy, ponderous vein as their Black Yolk Cd on Bro Fidelity (which we'll have reviewed in next weeks new arrivals list), and it's earthquake-heavy stuff that fans of early Floor and the old Bovine Records band Thug have been waiting for.
A-side jam "Somer" is a brutal down tuned slugfest of sledgehammer ur-riffage and titanic drum bash that sounds a lot like early Floor, droning and loose and heavier than a sack of bricks, but with a bit of an Am Rep vibe to the barbaric, tuneless riffing that this evolves into. Punishing heavy shit, and sounds like they are just barely keeping the beast from falling apart into a big pile, but there's an odd saurian groove going on here. The guitar tone is noxiously sludgy and phlegmy, and as the song progresses, there's this noise from the drum kit that sounds like the guy's cymbals are actually unraveling while they're playing. Goddamn crushing.
The song "Wantok" on the flipside is a little more toned down, but still heavy stuff. It takes a drugged, serpentine Sleep-esque riff, bashes it's brains out and then and drags it across burly slow-motion beats and swathes of phased fx, dishing out a massive, meaty slab of acid-sludge hypnosis that sinks in real fast, like some syrup-dragging krautrock dirge.
The sleeve is fucking spectacular looking, with embossed metallic gold print on both the front and back and artwork designed by one of the guys from the band Heirs; as usual, this is pretty limited, with only three hundred copies pressed.


HOWLING VOID, THE   Shadows Over The Cosmos   CD   (Solitude Productions)    11.98



The second album from this one-man doom band from Texas, who combines empyrean synthwork and crushing funereal doom for a heightened cinematic experience on this release from the Russian doom metal imprint Solitude Productions. Like many of the Russian doom bands that we hear from Solitude, The Howling Void heavily incorporates keys and electronics into their sound and creates a sort of ethereal kosmiche doom with that same stellar vastness that we hear in bands like Ea, Abstract Spirit, Frailty, and Opaque Lucidity, so this fits in perfectly with the rest of the label's output. The thing that sets this apart is the addition of swirling, lush orchestral strings, choral voices and some really well-executed piano melodies that turn Shadows Over The Cosmos into something more akin to a cross between gloomy, filmic neo-classical music, Vangelis, and, of course, the most glacial extremes of the early 90s Peaceville doom bands. While this album is undeniably heavy, much of Shadows is pure ambience, soaring off into washes of deep-space synthesizer that extend into looooong stretches of Ashra-style ambient drift, softly swelling waves of droning keyboards and repetitious piano and guitar entwining into darkly ornate melodies. When the music drops back into the slow-motion doom metal after these long passages of cosmic ambience and orchestral sound, the transition can be devastating, the sound of the world crashing back in with the weight of aeons, the despair amplified by sparse blackened tremolo riffing and the impossibly deep guttural vocals rumbling up in the depths. The song "The Hidden Sun" that shows up at the end of the album is one the most dramatic tracks on here, and it's totally devoid of doom metal; this track is purely made up of neo-classical strings and piano woven with haunting choral voices into a somber coda. For fans of Ea, Evoken, Mindrot and similar doom metal bands with a flair for sweeping majesty.
Track Samples:
Sample : The Hidden Sun
Sample : Wanderer Of The Wastes



HUMAN QUENA ORCHESTRA   A Natural History Of Failure   CD   (Utech)    14.98











Track Samples:
Sample : I
Sample : III
Sample : V



IMAGINARY FORCES   Filth Columnist   CD   (Ohm Resistance)    15.98



We've heard some fantastic mutations within the realm of drum n' bass and dubstep lately that flirt with metallic elements, like the awesome raggacore/industro-sludge of the new Bill Laswell/Justin Broadrick-led outfit The Blood Of Heroes, and the devilish doomed dubstep of Necro Deathmort. This continuing experimentation with modern electronic music looks like it's capable of coming up with all kinds of strange new heaviness, and another outfit in this vein that we recently discovered is Imaginary Forces, a UK producer whose debut album Filth Columnist just came out on Ohm Resistance. Inspired by and dedicated to author JG Ballard, the album is steeped in creepy abstract artwork and a dystopian outlook that at first glance has us thinking that this was going to be some dark, distorted drum n' bass action.
But the opener "Opaque Part of the Body" instead starts the album off with some monstrous low-slung guitar sludge that's total 00 Void-era Sunn, gluey and seriously heavy with eerie droning keys underneath. A male voice begins speaking over this, ominously muttering about strange visions as more layers of electronic drift and sinister feedback begin to build. This leads into the next track "Comatose Waves", which fuses another super-detuned sludge riff to some shuffling pneumatic percussive loops, becoming a grinding, ominous electronica coated with black tar and smog residue, the beat forming into something more complex, a stuttering fragmented drum loop that's joined by some fluttering metallic dubstep bass; then it suddenly lurches into a sort of fractured drum n' bass, a pounding stuttering rhythm combined with that bone-rattling Sunn-like bass riff, seriously heavy and sinister.
The next track "Entropy & Energy" is more dubby fractured darkhop, more of those shambling, off-time beats and rattling percussion, but with some creepy looped samples and minor key melody draped over it, later exploding into a cacophonic din of metalscrape and groaning metallic feedback that is woven into a strangely melodic form. Then comes the dystopian nightmare of "Filaments On The Face", a dizzying blur of Rhys Chatham-style guitar wall and driving drum n bass, a pounding hypnotic curtain of sound that gets wrapped and tangled in savage blown-out breaks and wailing anguished howls. "A Two Dimensional Shadow" crawls across a nightscape of subterreanean dubstep tremors and shadowy drum n' bass, riding on waves of distorted bass, bursts of trance inducing drum loops, and ends up turning into the album's most thumping, pounding, danceable track yet as it cruises through the void of night.
The rest of the album delves further into this unexpected mix of hard-edged drum n' bass, electronic splatter, and apocalyptic ambient sludge metal. Spastic looped rhythms that re-organize your vertebrae into new mutant shapes are combined with devilish whispers from black corners and lumbering industrial dub horror that spews out screeching free-jazz horns. Speaker-rattling bass trance births minimal shimmering drones. And that male voice from the beginning of the album returns on "Ennepers Surface" for more sinister, mystical spoken word. On "Thoracic Drop", the album brings it's heaviest track, a slab of growling, grinding blown-out distorted guitar and rhythmic throb that locks into a furiously heavy dose of metallized industrial, flecked with flurries of drum n bass rhythm and delicate electric piano tones that float high above the mangled metal pummel. It ends with "Planes Intersect", a mostly ambient track of rumbling bass notes vibrating above sine wave drones and distant peals of feedback, circular metallic whirr and low end buzz, and minimal bass-drone disturbed by brief bits of electronic noise.
We were seriously impressed with this debut, which finds itself sitting nicely next to other recent examples of ultra-dark and heavy dubstep and drum n' bass such as Scorn, Legion Of Two, The Blood Of Heroes, The Bug, and Drumcorps.
Track Samples:
Sample : An Opaque Part of the Body
Sample : Filaments On the Face
Sample : Thoracic Drop



INCANTATION   Blasphemy   CD   (Necropolis)    9.98



This album has been a hard one to find for years, since the label that released this, Necropolis, ended up closing its doors not long after its release. We recently found that one of our suppliers has some copies of Incantation’s 2002 album Blasphemy, and we jumped all over them. The early Incantation albums Onward To Golgotha and Mortal Throne Of Nazarene were benchmarks in the field of occult, blackened, doom-laden death metal and are unchallenged monuments of satanic heaviness. With Blasphemy, the band continued to explore their distinct brand of blast-ridden dissonant death, bolstering this set of songs with a slightly more polished recording than their previous albums. What makes Incantation so punishing is that rather than the relentless triggered blasting that many death metal bands found themselves trapped in around the turn of the decade, they tempered their noxious, swirling blasts with incredibly crushing and crawling doom, some of the heaviest ever as far as we’re concerned, their death metal sculpted into harsh, jarring arrangements that make up Incantation’s unique sonic signature. Also contributing to Incantation's weird, otherworldly atmosphere on Blasphemy are the weird, dissonant riffs and chords, injecting their sludgy death with mutant angularity, lots of droning riffs, down tuned skronk, weird backwards effects, and chaotic leads that often remind us of the strange atonality of Immolation and Gorguts. The album is intensely heavy and oppressive, and ends with a subdued twenty-three minute drone that leads into a brief track of wailing demonic voices, tolling bells, and warped backwards singing that closes the album with a bizarre Abruptum-esque atmosphere. We say that anyone into blasphemous aberrant death metal will do well to pick this up.
Track Samples:
Sample : [Untitled Track]
Sample : Crown of Decayed Salvation
Sample : Seraphic Irreverance



INFECTION CODE   Intimacy   LP   (KNVBI Records)    11.98



This quirky album from Italian avant-industrial-metallers Infection Code is a hard one to pin down. Their third full length, Intimacy is an oddball mix of industrial metal, noise rock, and heavy shoegaze/post-punk influences that's put together into schizophrenic, angular arrangements for these eight songs. Produced by Billy Anderson, it's definitely heavy stuff, with lots of sludgy riffage and booming processed drums, and we detect the influence of both Killing Joke and Today Is The Day in equal amounts on this record; sounds like a strange combination, but it's a compelling sound for fans of noisy, industrial-tinged heaviness. The first track "(E)motionless" begins the album with a massive reverb-drenched industrial dirge, sheets of heavily distorted, effects-heavy melodic guitars and raspy sung vocals guiding the song into strangely catchy territory, and further in on the record the sound evolves into a kind of moody industrial dirge-pop, like a darker, gothier Jesu maybe. Then the band will suddenly explode into angular, crushing heaviness, the riffs still super melodic and catchy, but fused with a snarling intensity that resembles a catchier, poppy Today Is The Day, explosive chaotic math-metal with savage snarling death metal vocals mixed with these really dramatic almost spoken-word parts. The rest of the album shifts between these two sides of their sound, the slower, sludgier stuff coming out of droning industrial sections filled with various whirring, whining, chirping electronic noises, programmed rhythms woven into the heavy drumming on the more energetic, angular sections, sometimes moving into a lumbering, spaced-out psychedelia laced with affected vocals that sound a little like Trent Reznor. There's also a noisy, chaotic cover of Nirvana's "Heart Shaped Box" that weirdly enough fits in quite well with the rest of this dark, frenzied industrial-goth-sludge. Comes on colored vinyl, and includes a printed innersleeve.


INTEGRITY   Vve Are The End   7 INCH VINYL   (Magic Bullet)    9.98



Just in the past year, Integrity has produced some of the best occult metallic thrash of their career, with their comeback album The Blackest Curse and this new follow-up 7" Vve Are The End. More unhinged and ferocious than the new album, the two songs on this 7" continue to pursue the gnostic themes and arcane apocalyptic imagery that has defined Integrity since the mid 90s, and pairs the songs with a gorgeous etched 7" that features high quality spot-varnish printing on the black and white sleeve (which is a chaotic collage of Process Church Of Final Judgement symbols, Charles Manson, the Baphomet, Anton LaVey, Process Church founder Robert DeGrimston, and other occult imagery), and a black-on-black print / etching of the iconic Integrity skull on the b-side of the record.
On the a-side, we get "Vve Are The End", starting off doom-laden and blackened and very black metal-esque, then erupting into vicious thrash recorded super hot and in the red, an awesome blast of furious metal with killer chaotic shredding and pounding drumming; this flows right into the crushing second track “Beneath Black Flames VVe Ride”, where the band drops into this fucking amazing majestic slow riff, the melody super dramatic and emotional, crushing and triumphant, one of the best songs that we've ever heard from Integrity.
Limited as usual, the record also comes with a digital download code for an MP3 copy of the Ep.


INTEGRITY   The Blackest Curse   LP   (Deathwish)    15.98



Now in stock on vinyl!
Finally! Word first got out that Integrity had a new album called The Blackest Curse over two years ago, and I (along with everyone else who's a fan of the legendary hardcore/metal band) have been anxiously awaiting this to finally appear. Since their last release on Deathwish, the excellent comeback Ep To Die For, Integ has been sporadically releasing 7" Eps and splits, but it was all a buildup to this, an all new album with ten tracks of crushing, mysterious heaviness from one of the most enigmatic bands to come out of the American hardcore scene. Starting out in the late 80's as a violent crew of straightedge hardcore kids but evolving over the years into a shadowy outfit immersed in Gnosticism, The Process Church of The Final Judgment, industrial culture, suicide cults, and crushing apocalyptic thrash, Integrity are still a terrifying outfit whose end time visions and cryptic, metaphysical lyrics resonate now more than ever. The Blackest Curse is a return to the brutal doom-laden hardcore thrash of their mid-90's heyday, with the heavy Slayer influence and bonecrushing metallic dirges that marked their earlier albums, and singer Dwid's distinctive vocal delivery is still a crazed, animalistic roar. The ambient elements that Integ started to experiment with on their late 90's albums also appear here as creepy layered samples and subtle industrial drones that are incorporated into the metallic heaviness, and these electronic/ambient sounds add a lot to the pervasive evil feel of songs like opener "The Process Of Illumination " and "Secret Schadenfreude". Both "Through The Shadows Of Forever" and "Simulacra" are ripping Slayer-esque thrashers, and "Before The VVorld Was Young" begins as a grim acoustic piece, almost like one of Steve Von Till's dark folk songs, but then turns into crushing doomed thrash. "Invocation Of The Eternally Coiling Serpent" is another fusion of blackened industrial creep and vicious hardcore, and the last track "Take Hold Of Forever" features a nightmarish spoken word piece from Mike Cheese (of blackened hardcore terrorists Gehenna) over bleak black ambience. The song "Learn To Love The Lie" also sports some interesting guest appearances, with Thorsten Wilhelm from Vegas and Boyd Rice (NON) contributing vocals over the pulverizing thrash metal.
Packaged in a spot-varnish printed jacket with a huge Integrity poster and a digital download code for the complete album.
Track Samples:
Sample : Before the VVorld VVas Young
Sample : Process Of Illumination
Sample : Simulacra



IVS PRIMAE NOCTIS   Giorno Di Dolore   10 INCH VINYL   (Trips Und Träume)    14.98



A four song limited-edition 10" Ep of electronic black metal weirdness from the Italian band Ivs Primae Noctis. A-side opener "Any Pain Anymore" begins with a frostbitten black metal riff over swirling strings and cosmic synths; a savage howl suddenly interrupts the droning riff, and the song suddenly bursts into the blasting frenzy of barbaric blast beats, razor-edged blackened riffing, and front woman Miss Violetta's hysterical yelping shrieks. A vicious black blast backed with spacey synthesizers that eventually break into rocking mid-tempo thrash. Then "Nacht Gekommen" comes in with a lurching, almost noise rock sounding dose of mid paced aggression, a swaggering, blackened angular riff and yowling vocals giving this a weird Jesus Lizard vibe, super catchy and heavy until it explodes into raging chaos at the end when the drum machines go haywire and the sound transforms into a sinister wall of metallic roar. On the other side, "The chimp and the bell" is a more abstract black industrial jam with Violetta's psychotic wailing and sobbing vocals, a massive distorted bass line and evil tremolo guitar lead over a thumping industrial pulse; it's very Abruptum-esque, a creaking, lumbering black machine dirge. The last track "Giorno di dolore" combines creepy Coil-like industrial ambience and eerie processed synth melodies with tribal rhythms and random percussive sounds, piling on more layered keyboards, weeping violin and strange electronic chirps and warbles, as heavy doom-laden drums pound in the distance. Limited to two hundred copies on clear vinyl, and presented in a thick gatefold jacket with a printed inner sleeve.


JUCIFER   Veterans Of Volume: Live With Eight Cameras   DVD   (Bare Ruined Films)    11.98



There's a whole afternoon's worth of Jucifer-related goodness to dig into on this disc. The meat of the DVD is a show from 2007 in Los Angeles from their tour supporting If Thine Enemy Hunger, shot with multiple cameras and edited into a professional looking music-video style film. while nothing can fully capture the ear-demolishing power of Jucifer live, this LA performance is a really cool document of the band live, a full twelve-song, thirty five minute set that veers between their massive Melvins-esque glacial sludge and eruptions of bestial primitive grindcore (a side of Jucifer that people tend to overlook whenever they talk about the band), including the crushing sludge-metal of opener "She Tides The Deep", the short Nuclear Death-like blast holocaust of "Queen B", the quirky crushing pop howl of "Antietam" and "Firefly", and stomping newer tracks like "Fall of the Bastille", "Pontius of Palia", and "Hennin Hardine". In the live setting, Amber's breathy Bjork-like vocals sound more delicate than on record, and the tenuous balance of fragile melody and bone-crushing heaviness is more precarious than ever.
The Dvd also includes all of Jucifer's official music videos, with some having optional director's commentary; the videos featured are for "The Plastic Museum", "Hennin Hardine", "Pontius of Palia", "When She Goes Out", and "Superman". In addition, there's a supplemental section that has five out-of-print 7" and compilation and unreleased studio tracks, including "She's 21st Century", "Licorice", "77 Chevy Supreme", "Hero Worship Remix" and "Redeemer", along with a folder of MP3s of these tracks thyan can be accessed on your computer; an extensive discography section that covers the entire recorded output of the band as well as a nine minute video that has song fragments and album covers from all of their albums; an extensive poster gallery with sixty original show posters collected from previous tours; a preview of the upcoming book Jucifer Rising by Jim Hayes; and, for those inclined to root around, some secret Easter eggs hidden within the menus of the Dvd.
Comes in a six panel digipack.


KILL THE EASTER RABBIT / BLACK LAND   split   10 INCH VINYL   (Trips Und Träume)    13.98













KING DUDE   Tonights Special Death   CD-R   (Disaro)    5.98



Don't mistake this Disaro disc as another of the electro / synth-style "witch house" releases that the label is known for; King Dude is just a man and his acoustic guitar, playing some lush dark folk on this eighteen minute Ep, delivering eight songs that blend together sparse and wintry doom-folk, witchcraft, and just a bit of ethereal 4AD-esque dreaminess. It's the alter ego of one TJ Cowgill, who we remember from the awesome blackened power violence band Teen Cthulhu and, more recently, the black metal/crust outfit Book Of Black Earth (as well as his apparel line Actual Pain); as King Dude, Cowgill invokes eerie melodies through the slow strum of his acoustic guitar and his dramatic vocals that are heavily bathed in cavernous reverb. In the background of the songs, strange sounds and murmurings emerge, giving you the feeling that you're listening to some witchy psych-folk being played in a vast underground chamber, surrounded by the minimal glow of black candles and the slow drip of water down limestone walls. This stuff is pretty catchy, though, and there's almost a countrified twang on songs like "Born In Blood", "Witches Hammer" and "River Of Gold", and on "slaves", Cowgill is accompanied by wispy female singing that is provided by Kendra of the mysterious witch house duo White Ring. The mellow gothic folk of King Dude has some similarities to the beautiful graveyard folk found on the Dark Holler label and shares a common spiritual vibe, and comparisons can also be made to the dark neo-folk of Current 93 and Death In June, but this is creepier stuff that draws it's inspiration from the Morning Star.


KLEISTWAHR   The Return   LP   (Noiseville)    22.98



After almost twenty years of silence, Gary Mundy's Kleistwahr returned with this super limited Lp of crushing, industrial out-guitar noise destruction. The founding member of Brit noise/skum pioneers Ramleh and the highly influential Broken Flag imprint (as well as a guitarist in Skullflower early on in their existence), Mundy released a number of cassettes under the Kleistwahr name on Broken Flag through the 80's, all of which are next to impossible to find nowadays. After 1990, the project seemed to be finished with, but he's resurrected Kleistwahr almost twenty years later with The Return, a new Lp out on the Outer Bounds sub-label from Noiseville Records, and it's a ferocious slab of agonizing guitar terror, wrecked vocal noize, and electronic filth that fans of Ramleh and newer Skullflower will no doubt drool over.
The first side of the record blurts out mangled shredding over blasts of distorted screaming and noise on opener "The Return", a howling feedback-infested freakout of demonic guitar noise. It sounds like someone performing a Middle Eastern speed-metal solo over chunks of industrial feedback noise, until it shifts into some slower, more psychedelic acid-guitar/feedback drone. The following track "The Loss" is a spacier noisescape of ominous chiming guitars, fluttering electronic buzz, creepy dissonant chords and bestial growling electronics that end up giving way to some spastic improvised guitar shredding later on. On the other side, the haunted dronescape of "The Hunted" morphs into the explosive "Elegy For Nova Scotia", at first building layers of buzzing amps and cathedral organs that flow into muted, softened slabs of grinding distortion and clouds of mechanical hum; the second half of the side amplifies it's over modulated feedback until it becomes an intense inferno of explosive noise, a churning, buzzing din through which emerge some psychedelic keyboards at the end, slowly mixing with deep droning heaviness until it forms into a funereal industrial dirge that ends the record with a dramatic flourish.
Packed in a hand-made jacket and limited to three hundred copies.


KOHOUTEK   Lossless Loss   LP   (Prophase)    24.98



The latest studio record of far-out black hole psychedelia from what has long been one of my fave outfits working in this realm of improvised psych. Lossless Loss is the first full length vinyl release from Kohoutek after a number of Cdr and Cd titles, and features two monolithic sidelong jams of dark, formless free-rock. The first side, titled "Lossless", opens with the sound of haunting woodwinds crying behind a veil of creepy droning strings, the clink of rattling chains dragging off along the side adding a feeling of unease to what soon begins to take on the form of a smoke-wreathed Appalachian death ritual. There's a element of free jazz that can be heard in here in the soft unfolding woodwind tones, and it really comes out as this psych invocation continues to build and spread out, the band summoning up dark drifting drones and sheets of howling acid guitar, a warbling flute later answered by distant bellowing horns. As some warped jazz-guitar shredding kicks in, the sound gets pretty heavy, mixing the Pelt-like drug drone with the burnt sound of the guitar, and those far-off horns continue to add this feeling of foreboding to the music. Finally, the band kicks into a shambling, sludgy Hendrixian pysch jam with circular blues wailing and stomping caveman drum-pound surrounded by wailing flutes and squalls of screaming feedback noise, and a sinister, doom-laden bass line appears, guiding the band to it's inexorable end. On the second side, the band starts "Loss" off with skittering minimal percussion and electronic noise, swarming effects and spacey guitar extending it's tendrils in multiple directions at once, heavy distorted guitar rumbling in the background, the drumming becoming really energetic, tossing out fills and simple stomping rhythms. Eventually, it turns into a shambling dub-like groove with bleating sax-squeals and more heavy drumming, ending as a noisy free jazz dirge. By the end of it, we're reminded of Brad Fiedel's score to the 1981 backwoods redneck slasher Just Before Dawn, but as performed by a Quaalude-devouring Miles Davis circa the last side of Agharta; can't really think of a better recommendation that that.
Released in a limited edition on beautiful creamsicle-colored vinyl in a jacket adorned with striking skull sculptures by Mike Peter Smith.


KTL   III   LP   (OR)    27.98



Just dug up some more copies of this vinyl-only release from KTL, the third release from the duo which was released last year on OR in a beautiful package that features eerie full color artwork on a super-thick tip-on style jacket, and the vinyl housed on a black printed sleeve that comes sealed with a full color sticker. The record itself is one-sided, with two lengthy tracks on one side and an amazing vinyl etching of a horned beast from Savage Pencil on the other. 3 is a continuation of the grim, apocalyptic computer-doom that members Stephen O'Malley (Khanate/Sunn O)))/Burning Witch) and Peter Rehberg (Pita) have been creating for the experimental theatre/performance art piece Kindertotenlieder from Dennis Cooper and Gisele Vienne, and the two tracks featured on this record end up being even more disturbing and grim than the previous two albums.
The first track "Loud Game" is the shorter of the two, a five minute prologue which bathes O'Malley's monstrously heavy and rather gruesome guitar textures in an oscillating swirl of cosmic electronics and distant metallic groans, as if pieces of steel are being bent by a supernatural force somewhere behind a blasted doom riff and hideously deformed drones, strange electronic effects and shards of hard drive crackle fluttering over the jet black tangle of damaged guitar noise and sheet metal grunt. A shimmering, evil pool of abstract dungeon ambience.
The longer second track "Sunday" is where KTL really dig in, and it unveils an ominous realm of metallic creaking and resonant abstract percussion that floats across a nightmarish undercurrent of roiling low-end rumble, a primordial sonic ocean of low-frequency sound that gurgles and crackles with strange electronic crackles and dubby effects; as the track oozes and unfolds, Rehberg's shapeless digital detritus, plunked metal strings, ripples of low-end presence and carefully sculpted high end feedback all become fused to dissonant scrapings of guitar and heavily phased minor key melodies, and the sound slowly coalesces into an intense, highly active field of subsonic dark ambience...
Track Samples:
Sample : Loud Game
Sample : Sunday



LA OTRACINA   Reality Has Got To Die   CD   (Holy Mountain)    14.98



More and more, La Otracina sound like what Circle might have turned into if those Finnish avant-rockers would have continued to move further into their love of early 80's metal and space rock. The older La Otracina stuff was all great hard rocking psychedelia that tended to wander out into long excursions of formless space drift, but with each new release, the Brooklyn bangers have gotten harder and harder, their New Wave Of British Heavy Metal influences coming through more frequently while keeping their music heavily rooted in a sprawling sort of psych. It's really been just over the past year or two that the band has really taken this sound into a realm of their own, and with their new album Reality Has Got TO Die, we get their heaviest album to day, a blazing conglom of Diamond Head/Priest, Tangerine Dream and King Crimson that blew our fucking minds when it came in the door. "Hail Fire" kicks this off with a massive sludgy metal riff, diving into some total Sleep/Sabbath crush that after a couple of minutes, gives way to some delicate acoustic guitar strum and flowery flute. Just as quickly, it lurches back into this awesome doomed-out sludge/prog, a slooooow crushing riff and triumphant howling vocals, but the riff is sort of angular, the arrangement off-kilter, a heavy dose of prog seeping into the doom as the guitars take off, later shifting into a faster, galloping sci-fi metal jam, an awesome riff chugging over propulsive drumming. This opening jam sums up everything that's great about their fusion of their old school metal and sci-fi prog rock...
Then comes "Raze The Sky", which had previously been heard on one of their limited edition Cdrs in rawer form. Here it appears fully formed, a killer futuristic glam-metal hypno-freakout with a weirdly poppy chorus, loads of whooshing space fx and synths, and some KILLER classic metal riffing. There's a another crushing sinister doom riff in the middle, and it again veers off into a weird but amazing mix of futuristic prog and early 80's speed metal, bits of smooth 70's fusion creeping in between the crunchy Sabbathy riffing, descending into formless space drift for a while until they launch back full blast into the metal at the end.
"Crystal Wizards of the Cosmic Weird" is total Sabbath soaked in synthesizers, some sick psych-blues jamming wrapped around serpentine riffage and classical acoustic guitar, proggy doom wandering through a number of different sections. It morphs into this soaring spaced out psychedelic dirge halfway through that opens up into a massive spacious dirge of slow motion drums, harmonized layered voicals, gobs and gobs of fx and synths and celestial electronic sounds, then segues into some looser Hawkwind-style jamming, jazzy drumming and gorgeous guitar shred coming together into some metallized cosmic jazz-rock, then getting all creepy and dark and Crimson-like at the end.
"Can't Take No City Life" is almost a straight throwback to heavy 70's rock at first, but the metallic chuggery comes in soon enough, the song shifting from a boozy rock anthem into some hypnotic chugging metal trance with spiraling, almost Middle Eastern guitar figures and some killer guitar harmonies, equal parts Rainbow and moody 70's prog.
The nearly twenty minute title track starts off as an amorphous dubscape of echoing percussion, spidery guitar notes, and bits of eerie lead guitar dissolving into blackness; the sound on this one is very sparse and spacious, a wide open expanse of twilight shadow flecked with improvised drumming and acid guitars leaving glowing tracers through the gloom. A Rhodes piano-like sound materializes and leaves flurries of soft notes descending across the nightscape, and the dark, jazzy feel on this track continues to spread outward, almost seeming as if they're about to head into Bohren territory, but then some real frenzied free-jazz drumming starts going off in the background, getting more and more crazed until everything other than the synths and guitar drops away, and it turns into this vast dark Tangerine Dream style ambient passage with a rhythmic repetitive bass line driving beneath the lush synths and fx. By the time we've reached the last five minutes of this, it's turned into an extended drum solo with drummer Adam Kriney going ballistic as the synths and guitars slowly fade back in into a freaked-out darkjazz coda.
And then it's back to the rock with "We Ride On" ,a groovy, sort of Kyuss-ish rager with a spaced-out stoner rock groove fused with more guitar harmonies, switching over after awhile into soulful singing and acoustic guitars for some desert-baked psychedelia.
The album closes with "Mass Meteoric Mind", which comes back around to the krautrocky pulse, combining it with another catchy metal riff and layering it with jangly guitars and loads of sweet Tangerine Dream synthesizers...
Hands down one of the best hard-psych bands going right now. Sports some great artwork from Oliver Cartwright, as well.
Track Samples:
Sample : Can't take No City Life
Sample : Hail Fire
Sample : Mass Meteoric Mind
Sample : Reality Has Got To Die



LA OTRACINA   Reality Has Got To Die   2xLP   (Holy Mountain)    19.98



Also available on limited edition vinyl with a digital download version of the full album.
More and more, La Otracina sound like what Circle might have turned into if those Finnish avant-rockers would have continued to move further into their love of early 80's metal and space rock. The older La Otracina stuff was all great hard rocking psychedelia that tended to wander out into long excursions of formless space drift, but with each new release, the Brooklyn bangers have gotten harder and harder, their New Wave Of British Heavy Metal influences coming through more frequently while keeping their music heavily rooted in a sprawling sort of psych. It's really been just over the past year or two that the band has really taken this sound into a realm of their own, and with their new album Reality Has Got TO Die, we get their heaviest album to day, a blazing conglom of Diamond Head/Priest, Tangerine Dream and King Crimson that blew our fucking minds when it came in the door. "Hail Fire" kicks this off with a massive sludgy metal riff, diving into some total Sleep/Sabbath crush that after a couple of minutes, gives way to some delicate acoustic guitar strum and flowery flute. Just as quickly, it lurches back into this awesome doomed-out sludge/prog, a slooooow crushing riff and triumphant howling vocals, but the riff is sort of angular, the arrangement off-kilter, a heavy dose of prog seeping into the doom as the guitars take off, later shifting into a faster, galloping sci-fi metal jam, an awesome riff chugging over propulsive drumming. This opening jam sums up everything that's great about their fusion of their old school metal and sci-fi prog rock...
Then comes "Raze The Sky", which had previously been heard on one of their limited edition Cdrs in rawer form. Here it appears fully formed, a killer futuristic glam-metal hypno-freakout with a weirdly poppy chorus, loads of whooshing space fx and synths, and some KILLER classic metal riffing. There's a another crushing sinister doom riff in the middle, and it again veers off into a weird but amazing mix of futuristic prog and early 80's speed metal, bits of smooth 70's fusion creeping in between the crunchy Sabbathy riffing, descending into formless space drift for a while until they launch back full blast into the metal at the end.
"Crystal Wizards of the Cosmic Weird" is total Sabbath soaked in synthesizers, some sick psych-blues jamming wrapped around serpentine riffage and classical acoustic guitar, proggy doom wandering through a number of different sections. It morphs into this soaring spaced out psychedelic dirge halfway through that opens up into a massive spacious dirge of slow motion drums, harmonized layered voicals, gobs and gobs of fx and synths and celestial electronic sounds, then segues into some looser Hawkwind-style jamming, jazzy drumming and gorgeous guitar shred coming together into some metallized cosmic jazz-rock, then getting all creepy and dark and Crimson-like at the end.
"Can't Take No City Life" is almost a straight throwback to heavy 70's rock at first, but the metallic chuggery comes in soon enough, the song shifting from a boozy rock anthem into some hypnotic chugging metal trance with spiraling, almost Middle Eastern guitar figures and some killer guitar harmonies, equal parts Rainbow and moody 70's prog.
The nearly twenty minute title track starts off as an amorphous dubscape of echoing percussion, spidery guitar notes, and bits of eerie lead guitar dissolving into blackness; the sound on this one is very sparse and spacious, a wide open expanse of twilight shadow flecked with improvised drumming and acid guitars leaving glowing tracers through the gloom. A Rhodes piano-like sound materializes and leaves flurries of soft notes descending across the nightscape, and the dark, jazzy feel on this track continues to spread outward, almost seeming as if they're about to head into Bohren territory, but then some real frenzied free-jazz drumming starts going off in the background, getting more and more crazed until everything other than the synths and guitar drops away, and it turns into this vast dark Tangerine Dream style ambient passage with a rhythmic repetitive bass line driving beneath the lush synths and fx. By the time we've reached the last five minutes of this, it's turned into an extended drum solo with drummer Adam Kriney going ballistic as the synths and guitars slowly fade back in into a freaked-out darkjazz coda.
And then it's back to the rock with "We Ride On" ,a groovy, sort of Kyuss-ish rager with a spaced-out stoner rock groove fused with more guitar harmonies, switching over after awhile into soulful singing and acoustic guitars for some desert-baked psychedelia.
The album closes with "Mass Meteoric Mind", which comes back around to the krautrocky pulse, combining it with another catchy metal riff and layering it with jangly guitars and loads of sweet Tangerine Dream synthesizers...
Hands down one of the best hard-psych bands going right now. Sports some great artwork from Oliver Cartwright, as well.
Track Samples:
Sample : Can't take No City Life
Sample : Hail Fire
Sample : Mass Meteoric Mind
Sample : Reality Has Got To Die



LODGE OF THE ANCIENT ORDER   Black Spirit Host   CD-R   (Symbolic Productions)    9.98



We first discovered the mysterious black noise and dark ambient sounds from this French outfit via a super limited 7" that came out on the Hellville label a few years ago, which we really dug. That EP revealed a strange and intoxicating sort of Abruptum/Havohej style blacknoise, dense coruscating distortion and mangled amp rumble tethered to damaged pounding rhythms. We didn't hear anything else from the Lodge after that though, until we came across this disc that came out on Symbolic, the noise sub-label from French black metallers Infernal Kommando. Originally released on cassette in 2008, this disc reissues Black Spirit Host in a limited run, and on it the Lodge Of The Ancient Order sounds even noisier and weirder than before.
The disc contains two long tracks, the first "Black Spirit Host" a twenty-six minute crush of obsidian drone that surges in straightaway with a rumbling tide of blackened distortion and buzzing feedback. Heavy amp/guitar sludge forms into a crumbling slow motion riff, oozing out black tar with soft whorls of feedback and a sinister minor key melody hovering overhead, sort of like something from Black Boned Angel, but murkier and more low-fi; over the length of the track, this gets more blown out and dense and impenetrable, eventually almost turning into pure harsh noise, but with that monolithic slow mo blackened doom riff grinding underneath, and looped pounding rhythms buried in the onslaught of earthquake rumble.
The other track "Black Forest Spirit" is an eight minute epilogue of cavernous black drift, ending the disc with deep rumbling tones and smears of funereal darkness, an ominous spread of Lustmord-style death ambient.
Comes in a jewel case with full color artwork.
Track Samples:
Sample : Black Forest Spirit
Sample : Black Spirit Host



LORDS OF BUKKAKE   Desorden y Rencor   CD   (Total Rust)    11.98



The disgusting band name seems like it should've been slapped on some Russian pornogrind outfit, but these molasses metallers from Spain have a more sophisticated sound than you might expect, which isn't that surprising when one notes that the members also spend their time with the awesome psych/prog outfit Cuzo and the harsh noise project Sons of Bronson. We really dug their last album on Odio Sonoro, which served up some gut-churning sludgecore in the vein of Iron Monkey and Eyehategod that was distinguished by some really gnarly sounding goblinoid vocals, but since then the band has really come into a sound of their own with an even more out-there, psychedelic sludge assault. Their music is still entrenched in the bloozy, boozy Sabbathoid crust of bands like Weedeater, Bongzilla, Eyehategod and Sour Vein, but these four lengthy tracks add massive amounts of electronic fx that blast this shit into Hawkwind territory, the trippy space noise cranked through the roof with oscillators and various other circuitry vomiting all kinds of kosmik electronic bleepage and blurt over the massive riffs. The album opens with a couple of minutes of howling space noise, almost sounding like something from Japanese space-noise blasters Astro or CCCC, then it abruptly drops into a crawling, drugged-up dirge with an eerie spaced out riff slithering over the shambling drums and weird reverb fx flitting across the background; some clean dissonant guitar kicks in, sort of jazzy and skronky, and the whole thing now sort of reminds us of the older stuff from doom/jazz oddballs Orthodox, like some doom-laden Sharrock-splattered dirge metal, but then finally the riff proper drops in and the band slips back into the massive, wasted saurian crush. And when the vocals kick in, holy fuck...they're even more feral sounding than before, still a high pitched goblin-like scream but now it sounds even more freaked out and mangled, and is one of the nastiest vocal styles that we've ever heard fronting a sludge band. The second track mixes shrill electronic glitch and oscillator garble over a plodding, hypnotic doom riff, and it reminds us of that collaboration between Fistula and Lockweld's Steve Makita that we put out on Crucial Bliss a while back, a fusion of abrasive, paint-peeling noise and quasar electronics with elephantine doom metal. The rest of Desorden y Rencor has more of these stretches of improvisational chaos, eerie atmospheric riffing and insane pedal-noise freak outs smack in the middle of monstrous doom riffage; their immense drug-noise addled sludge is completely mutant sounding, and the moments on this disc that veer into extreme discordance just seem to ooze with an almost tangible madness. Imagine Brit sludge barbarians Iron Monkey if they had been armed with Hawkwind's synths and suffered from a deranged free jazz obsession, and you'll be close...this is definitely one of our favorite avant-doom albums of 2010.
Track Samples:
Sample : Alucarda
Sample : Alucarda
Sample : Llagas



LYCANTHROPIC WARHEAD   Infinite Castigation   2xCD-R   (Crucial Blaze)    9.98



Another offshoot of the new underground black/industrial community springing up through the cracks around Crucial Blast HQ, Lycanthropic Warhead first debuted on the Blastwave digital compilation that we released earlier in the year with the track "Vexator", a warped dose of beat-driven black hypnosis. The project returns with its first actual release, Infinite Castigation, a double disc set that features over two hours of Lycan War's heavily drugged beat-driven scum-ambience and gluey industrial-dub nightmares. The tracks sprawl out often for fifteen minutes or more, moving through passages of grinding, muted industrial throb and distant choral voices, long stretches of filmy abstract ambience and haunting vocal harmonies. Lush kosmiche synthesizers drift outward across vast black abysses of low-end rumble and slurred orchestral strings, while fractured breakbeats skitter and pulse deep below the surface. Sometimes, the music shifts into almost totally Lustmord/Lull-style dark ambience, heavily influenced by classic early 90's isolationist ambient with slow swells of ominous strings and time-stretched Tibetan horns, but the rhythmic elements are almost always present, appearing as broken drum loops that writhe in the distant shadows, or massive blown-out breakbeats crawling in slow-motion through massive inky clouds of symphonic drift. Fucked up vocals emerge throughout the bad-dream atmosphere as looped demonic screams and screwed n' chopped chanting, or undead monastic wails that float out of cracked crypt-walls and out of disturbed graves. The sound is a kind of rusted black mechanical delirium, influenced not only by those previously mentioned isolationist/dark ambient artists like Lustmord, Lull, and Raison D'etre, but also by the massive industrialized dub/hip-hop sounds of the Pathological Records roster and artists like Techno Animal and Ice, the dystopian beats of Scorn and Tackhead, and the corroded industrial creep of SPK and Throbbing Gristle. Then there is the grimy, mutant blackness that infests these recordings, the demonic vocal slime and filthy crypt ambience that permeates Lycanthropic Warhead's sprawling post-industrial soundtracks even at their most pounding and propulsive, with hints of the surreal black ambience of French weirdos Moëvöt and the shapeless, shambling black metal improvisations of Abruptum. A series of bizarre beatscapes and macabre blackened drift and grinding mechanical dirges stretched across two hour-plus discs, that consists of one of the stranger releases that we've issued through the new Crucial Blaze series. Infinite Castigation also includes a set of eight full-color reproduction prints of larger collage pieces that were created by the minds behind Lycanthropic Warhead, each one an amalgam of stolen exploitation poster art from the 70's and occult symbology that have been re-assembled into new visual hallucinations of violent lust, masturbating demons, and black acid frenzies. This set of eight collage prints (each one tying in to a different track on the discs) is bound together with a full-color obi strip and enclosed in the plastic dvd-style case with an insert card, a Lycanthropic Warhead vinyl sticker, and a set of 1" Lycanthropic Warhead badges. This release has been issued in an extremely limited release of just thirty-seven copies, and is only available direct from Crucial Blast.
Track Samples:
Sample : Infinite Castigation
Sample : Infinite Feast Of Pink Flesh
Sample : Infinite Choirs Of Pink Flesh
Sample : Black Eros
Sample : Endless Lust
Sample : The Infinite Rending Of Youth
Sample : Nuclear Deathwarp II
Sample : Pink Eros



LYSERGIC RITES OF SADOPRIEST   Ritual Abused Orifice/Mongoloid Messiah   CD-R   (Sadopriest)    4.00



Whoa, this ain't no mere cybergrind slop. Looking into Lysergic Rites' CV, we're seeing that the band cites their primary influences as not only the electro-goregrind of bands like SMES, but also Hawkwind and old industrial...sounds like our bag, right? When you boil it down, Lysergic Rites (man, I love this name) is a digi-grind band, with tons of supersonic drum programming and putrid vocals, but this is a way heavier and freakier variant, a kind of psychedelic android death metal that's as trippy as it is grinding. The project is masterminded by Mason from Enemy Soil / Blower / Jesus Of Nazareth / Autoerotichrist / The Index infamy, and collects a couple of downloadable Eps that were recorded over the past year, assembled together onto a single disc. The short brutal blasts of cyber-grind violence that have been captured here fuse together blasting, galloping drum machines and spastic funkified beat programming that gets pretty fucking wild, weird synth bloops and electronic roto-tom freakouts, bits of Wax Trax dark wave danciness, odd electronic noise and effects and distorted synth-riffs, and stretches of pounding, trance inducing disco-gore along the lines of Womb Goo Gai Pan or Purulent Wormjizz. Shredding death metal guitar is blasted with psychedelic fx and mixed up with creepy organ music, breakbeats and massive bass and weird bits of industrial dub, and the vocals alternate between impossibly deep vomit-growls and gnarly high pitched pig-squonk. In between all of this sonic slime, grimy splat movie samples and ritual murder news reports create a disturbing narrative that runs through the tracks. Then we get to the longest track on the disc "Blotter-fed Oracle Molestation", an awesome pounding slow industrial psych-dirge, the pounding drum machine sounding like Godflesh, but with ultra-deep chunkblower vocals and killer Goblin-esque prog keyboards running throughout the whole thing along with all sorts of trippy electronic noises and fx. The whole thing is sort of like SMES, but more "industrial" and trippy, ending with the killer psych-mecha-dirge of "Huffing Psychotropic Fumes Of Unholy Minge", an electronica-infested death dirge of vintage analogue synth sounds and crushing crawling drums, Casio grind crossed with Last Rites-era Skinny Puppy and 80's horror movie soundtrack music. Awesome!
The screen printed disc comes in a black and green Xeroxed sleeve.
Track Samples:
Sample : Blotter-fed Oracle Molestation
Sample : Huffing Psychotropic Fumes Of Unholy Minge
Sample : Speculum Feast For A Sacrificial She-Pig



MALEFICE   Overboard   7 INCH VINYL   (DSI Records)    6.98



A ripping slab of forgotten psycho-core from the Northern Virginia punk scene of the early 80s, Malefice's Overboard would fit in perfectly on your record shelf alongside United Mutation and Void, and it was fitting that the Mutation guys would released this record on their own DSI Records imprint in 1984. Malefice kicked around the region through most of the decade, playing a blistering brand of hardcore with a heavy metallic influence, and the besides producing this wicked platter, the band is noteworthy for featuring a young John Cobbett, who of course would go on to play in The Lord Weird Slough Feg, Ludicra, Amber Asylum, and Hammers Of Misfortune years later.
Man, Overboard hits some serious speeds on this Ep, whipping up a frenzy of crazed howling, searing metallic solos, and rabid riffs that followed a similar manic thrash approach as the later Void stuff and United Mutation's wonky hardcore. Malefice weren't bashful about putting a metallic touch on their sound, and you can hear shades of both Motorhead and Venom in some of the riffs. The a-side opener "Carrion" starts as a slow dirge with some wailing guitar, then stops and shifts gears into maniac speedy 'core, with a distinct DC vibe but way more metal sounding and frenzied, breaks into some INSANE guitar soloing. "Overboard" is even faster and more crazed, borderline speed thrash with double picked riffing, raging drums and more wild metal soloing. On the b-side, "Lost Sheep" rocks more metallic riffage, and "Turn Around" is where the Venom-meets United Mutation vibe really shines through.
This is the second pressing version of Overboard with four songs that came out on blue vinyl in 1989' amazingly, we managed to get ahold of a stack of these records for a decent price, so collectors of the more unhinged fringes of 80s hardcore have a shot of picking up this vicious little obscurity. Recommended for fans of Die Kruezen, United Mutation, and Void...


MALVOISIE   Black Cult   CASSETTE   (Infernal Kommando)    5.98



The second cassette of low-fi, abstract blackness from Malvoisie is a little different from the other recorded output that I've heard from this mysterious didgeridoo-wielding Swiss outfit, but fans of the necrotic slime that they offered on their first tape won't be slighted with this batch of audio horror. The main difference between this and the Necro Molestor tape that I can out my finger on is the heavier riffing and somewhat more structured songs that are collected here, but this is still very fractured, very formless black metal sludge, still very much in the vein of the outsider BM weirdness of bands like Abruptum and Nekrokaos, but with more in the way of heavy, doom-influenced riffs. And yes, that didgeridoo that showed up on their first tape is back again, adding it's deep earthen drone to Malvoisie's putrid black sludge.
Black Cult starts with a minimal drumbeat and rattling noises, then drops into the extremely murky, warped black doom dirge of " The Battle Of Blood Forest", the sound extremely low-fi and very murky, a pounding mid paced doom riff and lumbering heavy drums wavering in and out of focus, the sound overloaded and blown out, draped in tape hiss, snarling vocals immersed in reverb and echo, backed by droning keyboards, finally collapsing into a pile of feedback and random amp howl that morphs into a weird melodic riff at the end. The next track "Kill Jeovah" shifts between the morbid dungeon ambience of droning chants, evil minor-key synths, the sound of dripping water and dark Lustmordian drift, and another off-kilter sludgy black metal assault that veers from lopsided blastbeats and pure noise to a kind of mathy, chaotic noise rock groove. The band unleashes some supremely fucked-up psychedelic necropunk on the song "Goat Fuck" with primitive three chord dirge-riffing, pounding simplistic drumming and howling fx-destroyed vokills, and follow it with the eight minute shambling blackened dirge "Chaos Ritual", a nightmare of swirling keyboard drones, random scraping noises, drooling animalistic snarls, some weird mental-ward babbling, swells of distortion and noise that almost overwhelm everything that then sudden drop off into buzzing black ambience and stretches of evil industrial creep, eventually descending into hellish orchestral black doom noize at the end, twisted liturgical chanting rising over an inferno of chthonic drones and rumbling metallic sludge. The title track is another surreal hellish soundscape of organ music, backwards orchestral sounds, litanies of psychotic voices babbling, laughing, snarling, and gurgling in the darkness, an auditory hallucination in the bowels of an asylum. The closing "Wolkengeist" ends the tape with some grim industrial dirge with booming martial percussion, more of those cathedral organs, scraping cymbals, and the sounds of devil-monks chanting and demonic entities snarling in the background.
This is for fans of noisy, nightmarish black slime and atavistic necro-improv, Abruptum, Emit, older Gnaw Their Tongues, Reverorum ib Malacht and that sort of thing, released in a run of 250 copies with a metallic gold cover.


MANSON, CHARLES   Air   CD   (Magic Bullet)    12.98











Track Samples:
Sample : Air Is The King
Sample : Brother Gun
Sample : Gas Chamber
Sample : The Moon



MASAKARI   The Profit Feeds   CD   (Southern Lord)    14.98











Track Samples:
Sample : IX Tempt Providence
Sample : VIII Echoes



MASAKARI   The Profit Feeds   LP   (Halo Of Flies)    15.98











Track Samples:
Sample : IX Tempt Providence
Sample : VIII Echoes



MEMBRANE   Disaster   CD   (Basement Apes)    11.98



The latest album from one of France's finest noise rock exports (and one of the longest running bands on the Basement Apes label), Membrane's Disaster returns with a stomping set of new songs that continues their crushing mix of early Helmet, Unsane, Jesus Lizard and Novelty-era Jawbox that this trio has developed into a singular sound of their own over the course of their career. The band again expertly balances grinding bass-driven heaviness with passages of tension-building atmospherics, beginning with an eerie sample of the song "Pretty Fly" from 1955's Night Of The Hunter that kicks in to "Spiral", a pummeling blast of angular metallic noise rock with distorted yelling and wailing anthemic vocals, a series of driving dissonant riffs that batter at the listener in varying degrees of crunch and power, and driven by the complex drumming that drops loads of fills and tricky twists and turns into the mix. The massive bone-shaking bass guitar gives Membrane's lurching staccato chug a seriously weighty undertow, and the band frequently locks onto the sort of repetitive, iron-clad groove that made early Helmet so punishing, albeit with a much heavier dosage of distorted sludge and snarling savagery. Compared to their previous albums, Disaster has this dire, apocalyptic vibe to it with song titles like "Crime", "Burning", "Pollution", "Smog" and "The Only Solution" all conveying a nihilistic, dystopian feeling, and the production will sometimes veer into the red, becoming overheated, over-driven, a scorched blast wave of dirty-bomb distortion. The whole album kills, but some of the standouts include "Crime’s” seething post-punk crush that delivers one of the album's most impassioned vocal performances and a haunting guitar hook that winds it's way into a Neurosis-strength assault of end time dirge; the slow, leaden power of "Disaster", a surging slab of twangy, dissonant sludge and terminal bleakness that rolls forward inexorably; the violent herky-jerky power of "Smog"; and the devastating closer "The Only Solution", a monstrous hybrid of Am Rep pummel and Though Silver In Blood level majesty that ranks as one of the most punishing songs to come off of a Membrane album. Highly recommended.
Track Samples:
Sample : Crime
Sample : Pollution



MERZBOW   Microkosmos Volume I   LP   (Blossoming Noise)    16.98



Like the title promises, Microkosmos Volume I is the first in a planned series of limited-edition Lps on Blossoming Noise that are centered around a set of dada-style collage-art pieces that Merzbow's Masami Akita created in the early 80's. This initial offering, pressed on green vinyl and housed in an eye-popping full color jacket that features one of the aforementioned pieces of artwork, is another blast of rhythmic noise and improvised electronic freak-out in the vein of much of his recent output, and it's heavy stuff. Using only his most violent bag of electronic frequencies and some surprisingly funky drumming, Masami scorches both sides of this LP with some massive industrial breakbeat noise overload that ends up being one of my favorite releases of his in recent years...
The a-side gets things going with an eighteen minute untitled track that starts off with some slamming boom-bap overlaid with ear shredding feedback and high end carnage, swirling electronic grit raging over a looped breakbeat with some heavy cowbell (!) dropped in, sounding a whole heluva lot like some of the noisier Techno Animal stuff. The drum beats and patterns continuously change shape, the breakbeat expanding and turning into a wall of thunderous tribal fills; all while being encased in brutal feedback and distortion. Then, suddenly, the track explodes into a speedy, thrashing drumbeat as the electronic noise turns into whooshing laser-blasts and swirling corrosive distortion, ending in a massive free-noise maelstrom that's a little like hearing Lightning Bolt being totally consumed in a hurricane of harsh noise. On the other side, Masami gets even more frantic and chaotic with his brutal free-jazz percussion wipeouts, taking off into sudden explosions of blast beat drumming, emitting thick swathes of distorted hiss and amplifier rumble and bone-rattling blasts of bass-heavy rumble. Propulsive, pulverizing breakbeat-driven chaos...this is some of the most ferocious Merzbow I've heard in the past few years. Limited to five hundred copies.


MERZBOW + JAZZKAMMER   Live At Molde International Jazz Festival   CD   (Smalltown Superjazzz)    15.98



A live collaboration between Japan's Masami Akita and the guys in Jazzkammer recorded at a 2001 festival in Norway, Live... captures their full set of improvised noise sculpture, jazz-stained rhythmic chaos and hardcore distortion demolition and divides the performance into three long chapters; fans of the recent Merzbow material that has been focusing on rhythmic/percussive elements are going to want to get this, as it features plenty of looped drumming and chopped up percussion woven into the sprawling noise-blast that these artists construct, as well as some extreme metal sounds that are deconstructed and shot into the set that really set this disc on fire over the last fifteen minutes.
The first track begins with several minutes of a simple looped drumbeat that becomes surrounded with scraping noises and granular fuzz, the sound getting more acerbic as it progresses, the drumbeat building into a heartbeat-like pulse. After a few minutes, some sampled piano is scattered chaotically across the rhythmic throb, becoming tumbling clusters of atonal notes flowing over the free-jazz style percussion, the sound becoming more frenetic and messy while the original simple drum pattern continues to loop throughout the entire length of the piece, a cardiac pulse that anchors the musicians even as they blast off into some seriously violent bouts of random noise and clatter, and by the eight minute mark, it sounds like a propulsive free jazz drummer navigating through battlefields of processed samples, junk noise, and the sounds of multiple bass drums being tossed down a flight of stairs then looped over and over.
The noisescape on track two is more abstract, at least at the beginning; gusts of granular wind blow below distant high-pitched squealing tones that start to form into strange synth melodies, all warped and distressed, with lots of extreme oscillating sine waves and bleeping computer chaos and fractal noise appearing and coalescing into clouds of glitch and grind, backed by roaring synthesizers, a buzzing, screeching field of electronic noise possessed with looping off-kilter melodies.
Both of these tracks are impressive slabs of noise, but it's the last one that blew me away. The group continues to layer blown-out synth drones and waves of metallic distortion over oceanic surges of granular white noise, getting into seriously harsh territory. But then these blown-out chunks of processed death metal begin to appear, snarling beneath the electronic noise, along with warped, smears of decelerating blast beats and crushing riffage that are barely recognizable, chopped up into extreme abstract collages of shapeless blast. It almost sounds like a much more abstract and deconstructed Noism track, dissected death/grind samples strewn amongst warbling bass throb, looped rhythms, raging jets of muffled noise, backwards electronic squelch, and more of those looped drums.
Track Samples:
Sample : [Untitled]
Sample : [Untitled]



MISS HIGH HEEL   The Family's Hot Daughter   CD   (Blossoming Noise)    14.98










Track Samples:
Sample : A Holocaust Offered To Soft-Moloch
Sample : Pity Squashed Your Flowers



MODERN WITCH   Disaro   CD-R   (Disaro)    5.98













MORBID ANGEL   Heretic (Limited Edition Box)   2xCD   (Earache)    15.98










Track Samples:
Sample : Cleansed in Pestilence (Blade of Elohim)
Sample : Place of Many Deaths
Sample : Within Thy Enemy.....



NADJA   Truth Becomes Death   2xLP   (Conspiracy Records)    36.98



Finally got around to stocking this lavish limited-edition vinyl version of Nadja's 2005 album Truth Becomes Death that came out on Conspiracy Records, one of the earliest Nadja albums and still one of my favorites. The presentation for this vinyl release is amazing, with a die-cut jacket that has the band logo embossed across the front, the two records housed inside of thick full-color printed inner sleeves that show through the die-cut panel, and gorgeous photographic imagery from Seldon Hunt. The vinyl is pretty heavy, and the fourth side features some intricate etched artwork that covers the entire side. Only 750 copies of this were pressed.
Finally got this in stock, the somewhat elusive first "real" CD release from Nadja that has been a tough one to restock since it first came out on Alien8 in 2005. By now, Nadja has become something of a household name within the avant-metal underground, and despite dropping a new release or reissue what seems like every other month; we keep coming back to the band for more. The duo of guitarist Aidan Baker and bassist Leah Buckareff first appeared here on Truth Becomes Death, after a couple of years of Nadja being Aidan's solo project, and the addition of Leah's rib-shaking bass frequencies and the overall massiveness that Nadja gained from expanding it's lineup really made this a rebirth of the band. I remember when this first came out, alot of writers from the indie rock scene felt compelled to primarily compare Nadja to Sunn O))), but I have no idea what in the hell they were hearing, because Nadja has at no point ever sounded like Sunn O)))...their sound has always been a kind of dense, psychedelic slowcore, equal parts Troum and Codeine and Jesu, their epic riff-dirges stretching out into infinity and unfolding as soul crushingly beautiful pop melody being played at plate-shifting tempos, the rhythmic push provided by a mechanistic, splattery drum machine that alternately clangs and explodes. Yeah, Nadja will toss in some dire sounding minor key chord change here and there in their songs to cast a shadow over the landscape, and the second song on here "Memory Leak" is a devastating slab of processed deathdoom, but no matter how monstrous things get with Nadja, their m.o. has always been about blissed out, maximum fuzz, the slowest, most distorted shoegazer rock imaginable. Well, at least up to their upcoming new album Desire In Uneasiness that we're releasing through Crucial Blast later this spring, but that's another story. On Truth..., it's total bliss. Ethereal major key riffs are pushed into redline levels of distortion where every single instrument seems to be turning into crystal sugar and crumbling all around you, while angelic vocal coo's float in a sea of delay and echo, electronic glitches sputter in and out, savage death metal roars are soaked in soft, billowy fuzz. On this album Nadja came the closest to capturing what a cross between Jesu's first album and Birchville Cat Motel and creeping funeral doom would sound like...simply amazing.
Track Samples:
Sample : Breakpoint
Sample : Bug/Golem
Sample : Memory Leak



NADJA + OVO   The Life And Death Of A Wasp   CD   (Bar La Muerte)    10.98










Track Samples:
Sample : Put some sugar in my cup, please
Sample : Trapped in the jar



NECROPARTHENOPHAGY / LAYR   split   3 INCH CD-R   (Eleventh Key)    4.98



This split 3" cd pairs up the blackened doom/noise mutations Layr and Necroparthenophagy, both of 'em proponents of seriously weird and noisy evil...
New York one man band Necroparthenophagy is first up with a nearly nine minute track of random metallic clatter, distant cavernous sound events, buzzing electrical cables, strange bestial breathing, random guitar noise and dissonant fragments of ominous melody. It's all very random and chaotic at first, but after a while coalescing into a strange rhythmic crawl as anguished cries and howling vocals begin to appear, a murky slow motion grind taking root underneath layers of cavernous drift, sounding like a slime encrusted mix of Wolf Eyes and Abruptum. A formless breed of blackened dirge noise, all creepy and wasted and shambling, with bizarre vocals that sound like some crazed bluesman shrieking at the bottom of a sewer drain. Fans of stuff like Abruptum, Ahulabrum, Gormantatinus, and the ultra-damaged black delirium that Korperschwache coughs up will love this.
And next up is Layr. Holy crap. Like Necroparthenophagy, this was a new discovery for us, and we sure as hell weren't expecting the vicious industrial doom that this band would deliver. "Looming" is a pitch-black wave of apocalyptic sludge, a washed out doom metal riff surging over the percussive hammering of machinery and factory noise, distant booming rhythms (tympani, maybe?) echoing in the background, hissing demonic vokills drifting overhead, the drums are murky and very metallic sounding, as if they are pounding out the sparse, brutal rhythms on empty oil drums and sheet metal. It's very industrial sounding, and very ugly, this pounding pitch-black crawl set against a background of tolling bells, random banging and pneumatic hiss, electronic fx and vintage synthesizer tones. Fucking awesome. Very reminiscent of Abruptum, but waaaaaaaay slower and more wretched.
The disc comes in a black and white sleeve, limited to fifty copies.
Track Samples:
Sample : LAYR - Looming
Sample : NECROPARTHENOPHAGY - Donasdogamatatastos



NEGATIVE APPROACH   self-titled   7 INCH VINYL   (Touch & Go)    7.50



One of the most ferocious hardcore Eps of all time, Negative Approach's debut 7" from 1982 was a seminal starting point for the more extreme and violent fringes of hardcore. This shit is the ultimate palette cleanser for anyone who's suffered through too much modern mall-punk and "positive thinking" - these ten songs are terminally negative, bad-vibe convulsions simmering in white-hot rage and a love for old British Oi!, each one striking the listener with a minute long (or less) blast of pure violence. Anyone who's digging the new crop of deviant downer hardcore that's been skulking around lately (Sexdrome, Aerosols, Sqrm, Raw Nerve, hell, pretty much anything coming out on Youth Attack nowadays) who doesn't know this 7", doesn't know shit. Out of print for an eon and prone to go for absurd amounts of cash on Ebay whenever original pressings of the record pop up, the 7" tracks have until now only been available on the comprehensive (and crucial) Total Recall discography Cd, but Touch And Go has at long last re-mastered and reissued this Ep on 7" again for vinyl lovers. Combining an obvious Oi influence with some of the most vicious speed-freak hardcore of the time, these songs are one violent anthem after another: the crucial anti-authoritarian mantra "Can't Tell No One", the thrashing savagery of "Sick of Talk", the almost proto-power-violence of “Pressure”, the awesome speed-driven poseur attack "Why Be Something That You're Not", and "Ready to Fight", which was later covered by NY hardcore thugs Madball. Every song is essential outsider hardcore. The only drag about this reissue is that they weren't able to use the Exorcist image that was on the cover of the original release (presumably due to copyright issues) which made the record appear even more terrifying and mysterious. Instead, an original illustration that reproduces the imagery is used, which is ok, but nothing beats that original high-contrast demonic cover.


NEGATIVE APPROACH   Tied Down   LP   (Touch & Go)    14.98



Although we still staunchly stand by our belief that 80's Midwestern hardcore beasts Negative Approach were never more destructive than on their self-titled 7" (in our opinion, the most vicious hardcore 7" ever released), their debut album Tied Down is hardly weak sauce. The 1983 record might clock in at only sixteen minutes, but this band always worked best in tightly focused and abbreviated bursts of energy, and these ten songs break bones and light fires from start to finish. Touch & Go had previously made this album available as part of the crucial Total Recall discography Cd, but it was reissued on vinyl not too long ago with a download code so that you can get a high quality Mp3 copy of the album for your digital player. This is some of the most ferocious hardcore ever, with a ripping guitar attack and singer John Brannon's awesome blasted howl, and the Lp has a little more variety than the previous 7"; their sound was still crucial negatory hardcore, but Negative Approach slowed down a little more often on this record, contrasting the speedy fury of the title track and the violent Oi-influenced negation of "Nothing" with a classic hate-dirge in "Evacuate", which is comparable to Flipper or later era Black Flag, a sludgy down tempo punk plod that still retains the nuclear fury of their faster stuff. While the songs on the album are significantly longer and more involved than the staccato bursts of the 7", the band still rips out a couple of twitchy, blistering thrashers that come in under a minute, like "Said and Done", but then the band also whips out the weird AC/DC-like rocker "Dead Stop", which somehow fits in with all of the supersonic rage perfectly. A crucial hardcore album that's essential for anyone into truly negative, nihilistic, violent punk.
Track Samples:
Sample : Evacuate
Sample : Friend or Foe
Sample : Nothing
Sample : Tied Down



NEON BASTARD   Meikhaus   CD   (Robotic Empire)    10.98



A punishing debut from this New Zealand band, whose awesome blown-out, mongoloid sludge-blast-hardcore punk assault sounds like you're hearing a grinding, PCP-injected Melvins crossed with some ultra-frantic hardcore mayhem. We weren't sure what to expect from this disc at first, but it turned out to be one of the heaviest fucking things we've heard all year. Meikhaus slings gooey low-slung riffs, ridiculously distorted bass and thunderous sauropod drumming around like a wrecking ball, spewing tripped out echoing howls and fx-heavy screams while the band lurches through their spastic stop/start arrangements, and it's ferociously violent stuff. The brain-damaged angular guitar leads that the guitarist whips out are abrasive as hell, and the drummer throws out volleys of skull-mashing blast beat chaos among the more straightforward hardcore beats and slow pounding heaviness, and often sends the songs screaming into these monstrous percussive math-grind freak outs. There are parts of this disc that sound to us like Coalesce going into hysterics, and then it'll suddenly break into this killer hardcore punk part before locking back into a vicious tar pit groove or Sabbath-style riff. When Neon Bastard breaks down into these slow grueling breakdowns, it's so crushing that they threaten to hurl your body around the room. Lots of total chaos, panic stricken skonky thrash riffs, and even an occasional detour into twangy cow-punk that's sped up into grindcore blasts of barking insanity. This smokes. Fans of Amphetamine Reptile's heaviest, Need To Control era Brutal Truth, Today Is The Day, Kiss It Goodbye, and anyone whose been hungering to hear someone combine Coalesce with maniacal Midwestern hardcore from the 80's, this band is for you...
Track Samples:
Sample : Track 3
Sample : Track 7



NETJAJEV SOCIETY SYSTEM   Anarchy Andromeda   LP   (Rescued From Life)    16.98



Reissue of an out of print Lp from 2008 that's just come out in a new vinyl-only edition, Anarchy Andromeda is the only album to date from this bizarro one-man hardcore band. The CD collection of 7" and lathe tracks that came out on Haunted Hotel was fucking amazing and made us an instant convert to Netjajev SS's bliztkrieg psychedelic grindpunk, and this platter just keeps it coming, twenty tracks of blazing hardcore riffs played with a killer scummy distorted fuzzbomb guitar tone that gives this a garagey feel, racing over the constantly shifting speeds that the drummer veers wildly in and out of, switching from speedy thrash to machine gun blast beats in a heartbeat, while bizarre electronic fx swoop overheard and strange samples surface out of nowhere. Violent speedfreak thrash punk with this weird mutant Oi! vibe on songs like the title track, "Meaning Of Zodarzee" and "Sperm In The Oven". Then you'll get these odd serpentine Middle Eastern guitar solos, munchkin vocal effects, and the spaceship fx and sci-fi weirdness of "Mellow Vibes On Mothership Malabar". The songs are belted out in vicious Infest-style stop/start parts, and when they slow it down, the skronk-filled slower dirgey parts remind me of Greg Ginn’s guitar playing in Black Flag. Some of the songs have a warped recording that has the sound going in and out of phase, which just naturally just adds to the overall weirdness. Once again, the easiest comparison for Netjajev's weird sci-fi psychedelic thrash that I can come up with is a cross between Aussie hardcore blasters Rupture and Hawkwind; if that even mildly sounds like it would be something fantastic, then you gotta hear this band immediately. Oh, and there's a cover of “I Don’t Wanna Be Learned” by The Ramones.
The record comes in a color jacket, with no lyric sheet unfortunately (I'd love to know what is going on here, lyric-wise), just this weird star chart printout.


NEUNTOTER DER PLAGE   Swine   7 INCH VINYL   (Nurse Etiquette)    9.50



Killer new 7" of graveyard power electronics from Neuntoter Der Plage, which I cannot get enough of. Swine follows up the first Lp release from Neuntoter Betwixt Descending Corridors that came out on Self Abuse earlier this year (which we haven't been able to get a hold of yet, but are still trying to stock at C-Blast), and offers two new tracks of putrid necro-tronics on this hand numbered, limited-to-260-copies platter.
The a-side track "Swine" is the heaviest dose of black noise from NDP yet, a din of demonic black metal vocalizations, bowel-massaging low end, extremely harsh outbursts of K2 style junk noise, scraping metal, breaking glass, monstrous growling, dragging chains, and supremely crushing bass frequencies rumbling underneath of it all, like a ghastly, blackened version of Brighter Death Now.
The flipside "Defecated Bones" is pure nightmare rustling, a field of clanking metal chains, ravenous snarling vokills, bits of metal and bone being scraped against stone, electrical buzzing, the incessant cicada-like chirp of oscillators, deep pulses of low end bass, all drenched in nocturnal blackness, a ritualistic blackened tapestry of rotting flesh and smoldering bones lit by candles made of child's fat, a recording of a witch's rite cloaked in shadow, invoking demons beneath a towering power transformer...



OCEAN   Here Where Nothing Grows   2xLP   (Rocket Recordings)    29.98













OLD   Formula   CD   (Earache)    8.98



Early on, Old (or Old Lady Drivers, as they were initially known) were avant-garde grindcore upstarts, early members of the Earache roster who released the weirdest albums that the label put out during their classic death metal period. Each new record from OLD continued to evolve further and further away from their early goofball thrash, though, and by the time the band released their fourth and final album Formula in 1995, they had transformed into something completely different from the goofy Zorn-influenced grind of Old Lady Drivers and Low Flux Tube. By this point, OLD were playing a kind of futuristic industrial space-rock/prog-pop that was marked both by guitarist James Plotkin's shimmering guitar textures and the bizarre robotic singing of vocalist Alan Dubin. There is nothing else on Earache like Formula, and even fifteen years later, this still sounds like it came from another dimension. Indeed, this album has become pretty obscure in the years since it's release, even though it's one of the best records that I've ever heard form these musicians. Nowadays, we usually see OLD appearing as a footnote in discussions of avant-doom metallers Khanate, but their discography is worth checking out if you're into James Plotkin's work and the weirder fringes of the early 90's grind scene.
When 1995 rolled around, OLD's new sound was sort of comparable to UK psych rockers Loop; there's a similar spaced out, cyclical, locked-groove quality to many of the riffs and songs on this album, but it's also incredibly "synthetic" sounding, the guitars taking on an almost industrial sheen, and everything has some level of processing that makes it sound like we're hearing this weird industrial rock actually being performed by robots.
The opener "Last Look" starts the album ambitiously with an eleven minute saga that, at first, sounds almost Voivod-ish, dissonant guitars and robotic vocals and strange melodic riffing, weirdly poppy, then after a brief interlude of sampled and cut-up/looped classical music the band reforms into a lumbering, spaced-out industrial jam, almost like Godflesh or Loop but a lot spacier and loaded with electronic effects and psychedelic noise, with the vocoder vocals coming in heavily, then spirals into an otherworldly bliss-out of synthesizer ambience. Hearing Dubin's vocals on this, it's hard to believe that this is the same throat that later produced the grueling vokill horror of Khanate, but here his voice is processed into a sort of vocoder mantra that drifts like some angelic computer chorale through Formula's hypnotic industrial prog. The next song "Break [You]" is heavier droning machine-pop with more of those mantra-like vocoded vocals, sheets of epic space guitar and shimmering chords, and pounding drum machines that continue to slam and throb with a Godflesh-like relentlessness. "Devolve" wields brutally mechanical drum machines and some surreal vocalizations from Dubin, and "Underglass" shifts into gorgeously hypnotic pop majesty.
The last three songs on Formula are the most aggressive on the album. "Thug" delivers a mind-melting mix of industrial pummel that’s intercut with samples of Plotkins old hardcore/grind band Regurgitation and smatterings of delirious techno. "Rid" is the heaviest, hardest track on the album, channeling crushing Godflesh grind into a loping hypno-rock jam that gallops along on dense sheets of glorious processed guitar roar. The closer "Amoeba" is an eight minute instrumental that mixes up techno production tricks, hammering machine rhythms, and wash of processed guitar effects and amplifier drone that reminds us of Kevin Shields. It's easy to see the connection between this and what Plotkin would be doing with his first post-OLD solo album "Joy Of Disease" a few years later.
Track Samples:
Sample : Rid
Sample : Thug
Sample : Under Glass



OM / CURRENT 93   Inerrant Rays Of Infallible Sun   10 INCH VINYL   (Durtro Jnana)    10.98



Now in stock on colored vinyl.
Originally released on vinyl through Neurot, this digital version has now been issued by Durtro Jnana, a 17 minute EP that pairs up two 8+ minute tracks from the post-Sleep hypnosludge shamans Om and Current 93. After an ongoing correspondance between Om bassist Al Cisneros and David Tibet resulted in Cisneros playing on Current 93's Black Ships Ate The Sky, they were further inspired to hook up for this split release. Om, of course, is the duo of bassist/vocalist Al Cisneros and drummer and Chris Hakius, both of whom were founding members of cult doom pioneers Sleep (along with Matt Pike of High On Fire). Their “Rays of the Sun/To The Shrinebuilder” opens the disc with a transcendent riff-centric mantra of mega heavy, fuzzed out basslines winding around pummeling propulsive drumming and Cisneros' incantatory vocal chants that describe glowing red skies and expanded consciousness. Immensely hypnotic and crushing. Not to be outdone, Current 93's “Inerrant Infallible” sees David Tibet handling heavily distorted guitar and bass to invoke a circular, droning riff swirling through a haze of feedback and bagpipes. Far heavier than anything else I've heard from Current 93, this song is a sort of apocalyptic doom-drone-folk hymn, complete with his fever dream vocals and lyrics about the bible, Reese Witherspoon, and Pol Pot.


ORTHRELM   22nd18/04 Norildivoth Crallos Lomrixth Urthiln   LP   (Three One G)    14.98



Back in stock...
Another warehouse score! This time it's the tough-to-find Norildivoth Crallos Lomrixth Urthiln from Orthrelm, on vinyl no less. Featuring Mick Barr of Crom-Tech/Ocrimil/Flying Luttenbachers, this album was recorded while the guitar/drums duo were still based in Washington DC, Norildivoth Crallos Lomrixth Urthiln is as mindmelting as anything else these instrumental avant-thrashers have done, a half hour assault of guitarist Barr's obsessive squiggly shredding and confoundingly complex arrangements matched by Josh Blair's pummeling, stop-on-a-dime drumming. This album never ceases to amaze me. It's like hearing the most spastic death metal shredder on earth colliding with Sonny Sharrock's guitar playing in Last Exit. Every second is packed with nonstop squiggly shredding and machine-gun notes flying by over rambunctious drumming inspired by the skronkiest, wildest free jazz, with no breathing room between tracks, each one coming at you right after the other. The LP comes in a full color jacket and a printed inner sleeve, all of which feature Mick Barr's bizarre, intricate artwork.


OXBOW   Songs For The French   LP   (Hydra Head)    15.98













PLEASANT VALLEY CHILDREN   Welcome To Bedlam Valley   CD   (Flat Earth)    10.98











Track Samples:
Sample : Aphrodites Magic Wheel
Sample : The World As We Know It
Sample : Bedlam Valley
Sample : What The World Needs Now



POISON TONGUE   Lick You Sweety   CASSETTE   (No Visible Scars)    7.50



Anything that describes itself as being influenced by "bad weed, solitude, Von's demos and Goblin's soundtracks" is sure to be a hit around the C-Blast office. This new one-man band came into being with the intent to fuse together the most morbid side of death industrial with the filthiest of the early 90s black metal camp (Von, Profanatica, Beherit, Archgoat), which sounds like a match made in heaven where we're concerned; although the death industrial side of Poison Tongue is much more obvious than the black metal side (with much of this reminding us of Atrax Morgue), we still loved this tape, the first ever release from this side project from a member of the lust-driven power electronics gang Pink Sexdeath.
Actually, the black metal influences are pretty hard to miss, especially after listening to Lick You a second time. The tape opens with a booming kettledrum cadence that echoes across a smoldering field of staticky synth drones and looped demonic mutterings and vomitous croaks, this charred black ambience laced with strange chiming sounds, bursts of bass flutter echoing through the subterranean abyss, distant wailing choruses, and sheets of slowly shifting keyboard drone, but as distorted synthesizer chords pulse beneath the metallic drones, the drooling demonic vokills that start to emerge turn this into something like hearing a Slaughter Productions death industrial tape with Nuclear Holocausto from Beherit invoking sex demons over it. From here, it continues on through a miasma of grinding black sludge, harsh high end drones and orgasmic beast-grunts; towards the end of the second side, these massive spaced out eruptions of thunderous blastage and barely-there drift suddenly give way to a hammering percussive rhythm, while blackened shrieks soar over the nightmarish industrial pounding. When the last track arrives, the sound shifts into a swirling stygian ambience, shrill metallic keening and eerie minor key darkness pooling out within clouds of noxious black smoke, abrasive streaks of fx pedal afterburn, and mutated, murky pipe organ dirge.
We're advising those of you into anything from Mortuor to Sewer Goddess to Havohej to Prurient to check into this thoroughly unhealthy debut from Poison Tongue. Like the RU-487 tape on No Visible Scars, this black chrome cassette also comes in a 7" style sleeve, with some unwholesome full color cover art and a small hand-numbered insert card. Limited to fifty copies.


PORNOGRAPHIC NOISE ERECTION / VOMIR   Harsh Music For Hot Nurses Volume II   CD-R   (Symbolic Productions)    9.98



French harsh noise philosopher Vomir is again paired up with another purveyor of extreme noise, the German band Pornographic Noise Erection. They've teamed up here for a volume of Harsh Music For Hot Nurses, which I guess is a series of noise splits on RONF that centers around nurse-and-rubber fetishes. Limited to two hundred and fifty copies, this disc has a bunch of tracks from PNE that showcase their mix of crushing analogue synth horror and maniacal rhythm-heavy power electronics, followed by two lengthy Vomir tracks that, as usual, devastate the listener with an unending wall of black void.
The six tracks from PNE are heavy on sex and violence and depravity, and dig in deep with the medical fetishism with titles like "Your Patient" and "Heart Control". Their particular brand of industrial terror has distorted voices over rhythmic feedback and harsh squeal and scrape as they build their tracks into these really sinister sounding atmospheric noisescapes. Each track features explicit deviant sex fantasies that are relayed by distorted robotic voices while creaking noisy locked-groove loops grind out alongside detuned guitars and heavily processed, almost black metal style vokills hissing in the background. They create this hospital acid-trip feel as sampled heartbeats are layered over warped atonal melodies, heavily treated chattering demonic vocals and low bass throb, adding lots of delay and echo to the sound, orgasmic moans, bits of melodic drift, strange gurgling throat sounds all flitting and echoing through their sinister zone. One track, "Special Nurse", actually gets somewhat groovy, almost like some sort of warped Wolf Eyes/proto-hip hop hybrid with bizarre vocal noises, chunks of rumbling rhythmic noise and ultra-slurred male vocals, like some Grill Grill style weirdness. "Blood Delirium" is another devilish percussive industrial jam that sounds like a very fucked up, hallucinatory version of Skinny Puppy.
Like the ultimate palette cleanser after PNE's warped industrial weirdness, the two crushing walls of static distortion that Vomir follows with sweep in like a lava tide obliterating everything in their path. It's over half an hour of monotonous oceanic fire, the first a vast 21+ minute wall of muted tectonic rumble, the second a shorter 10 minute wall that churns like a waterfall roar of softened white noise. Fans of the HNW master know what to expect: meditative obliteration and total erasure.
Track Samples:
Sample : PORNOGRAPHIC NOISE ERECTION - Blood Delirium
Sample : VOMIR - Part II



PRESENT MOMENT, THE   self-titled   CD-R   (Disaro)    5.98



One of our favorite artists on Disaro, one of the ground-zero labels for the recent "witch house" phenomenon. The Los Angeles based The Present Moment plays a style of grim, frostbitten form of industrial darkwave that has an indelible 80's vibe with it's mix of synthpop, darkwave, and harder Wax Trax vibes, but takes these influences and crafts something blacker and creepier than your run of the mill gloom-synth retro outfit. This self-titled disc has better production quality than much of the stuff that we've gotten from Disaro, and while we dig the murkier, rawer sounds of bands like Modern Witch and Fostercare, this layer of polish on The Present Moment's debut keeps making us think that we're hearing some weird, heavy long-lost darkwave obscurity from the Projekt catalog. Opening with "Arrival", TPM introduces itself with warped ambient doom, looping slow motion drumbeats around mysterious smears of bass, rustling sounds, bits of metallic noise, police sirens, and audience applause, creating a heavy and malevolent electronic sludgescape. Then the real sound of this disc comes in with the second song "Million To One", a pounding icy synth-pop number with buzzing black synthesizers carving out this super catchy hook over a thumping backbeat, reminding us of Depeche Mode or Clan Of Xymox or even Cold Cave, the layered, affected male vocals droning over trippy electronic noises and those dark pulsating keyboards. Then it's on to the fantastic synthpop of "The High Road" with it's amazing synth hook and infectious programmed rhythms, followed by the narctoized industrial EBM thump and synth-bass trance of "Baby Doll". The Depeche Mode comparisons reappear on the songs "No Pieces Fit" and "Low Dead", but the grim electro sorcery of "Emily" shifts this into the strange occult pop of label mates Modern Witch, creepy female voices and looped samples swirling over dark synthlines and pounding beats. The distorted EBM blackness of "The Damage Is Loved" and "Candy-O" veers into hard Wax Trax territory, a bit like Twitch-era Ministry or early Nine Inch Nails, hammering industrial beats undulating beneath funky synth riffs, and "A Certain Breathing" heads into ambient realms with eight minutes of deep space Casio throb. The disc closes with a repeat of the "The High Road" for some reason, followed with a killer extended remix of the same song. This is great Ep-length release from this project, and whets our appetite for more of their menacing industrial-tinged darkwave. Packaged like all Disaro releases in a minimal slimline cd case with insert cards.
Track Samples:
Sample : Candy-O
Sample : No Pieces Fit
Sample : The High Road



PSI CORPS   All Roads Lead To Amber   CD   (R.A.I.G.)    11.98



More wigged-out industrial space-prog metal from Russia a la Space Mirrors, which is exactly what we'd expect seeing as how Alisa Coral from Space Mirrors is behind this project as well. In Space Mirrors, Alisa collaborated with her Australian band mate Michael Blackman on several albums of quirky industrial-tinged space rock that was heavily influenced by the godfathers of the genre Hawkwind as well as more recent cosmic heavies like Farflung and Litmus, and their albums featured guest appearances from such deep-space luminaries as Nik Turner (Hawkwind), Keith Kniveton (Starfield, ex-Hawkwind), Martin Harvey (Litmus), and Metatron (from black metal weirdoes The Meads of Asphodel). Now, she's started up this other band called Psi Corps, an almost entirely instrumental project that does have a lot of similarities with Space Mirrors, playing a similar sort of hallucinatory, multi-layered space metal; but where Space Mirrors is largely driven by hard metallic riffage and electronic rhythms, Psi Corps heads in a more chaotic and experimental direction. They also take cues from Hawkwind and center the album around the writings of a science fiction author; the whole album acts as a concept piece inspired by the work of new wave Sci-Fi author Roger Zelazny, specifically based on the first two books in his Amber Chronicles series from the early 70s. The songs (and album as a whole) are put together like symphonic collage of sound, layering polyrhythmic drumming, looped orchestral strings, cosmic synths and pounding industrial beats over chugging heavy metal riffs and soaring Floydian guitar solos. Still very Hawkwind influenced, of course, but Psi Corps turns it into something that's a lot more chaotic and over the top; it's almost overwhelming as each song seems to mash together ecstatic trance states and strange blissed-out psych-funk, heavy-duty Hall Of The Mountain Grill style riffing and propulsive krautrock, throbbing dub-bass and angelic choirs, blasts of industrial noise and funereal organs. The opener "Walking The pattern" is a perfect example of this, with it's miasma of spacey electronics, meandering metal riffs, throbbing electro-industrial rhythms, squalls of synthesizer noise all glommed together into a massive din of deep-space freeform gunk. The album does feature some passages of dark alien beauty and cinematic ambience, but it's mostly a delirious prog freakout, like hearing Hawkwind and Skinny Puppy and Elend and Subarachnoid Space all playing together at the same time.
Track Samples:
Sample : How Many Miles To Avalon
Sample : Valley Of Garnath - The Battle
Sample : Walking The Pattern



PSYCHO   self-titled (Sawblade Shaped)   7 INCH VINYL   (Patac Records)    6.50



Hot on the heels of that terrific Grind Years compilation that came out earlier this year on Selfmadegod, this self-titled 7" has a handful of new songs (their first in fourteen years) from the resurrected Psycho, one of the Boston area's oldest and most brutal hardcore/thrash outfits, featuring Charlie Infection of the mighty Ax/ction Records and blacknoise freaks Gonkulator. The Beantown vets are in their thrashier, more punk influenced mode on these four songs, but there are still shades of their grind past that creep through some of this stuff. The opener "Vertigo" is a ripping blast of burly, anthemic thrash, and on "Animal (X and Mega)" the band tears through a frenzied outburst of psychotic hardcore with sinister lyrics about streetmeat, with guitarist Johnny X whipping out some his killer Black Flag-style skronky guitar solos. On the b-side, they blast the Church and the clergy with the anti-priestfucking tirade "Religious (X)", the blistering fast psycho-thrash laced with shades of primitive grindcore, and that's followed by a sped-up cover of GG Allin's "Legalize Murder".
It's like nothing has changed over the past twenty years; these guys can still belt out ugly buzzsaw thrashcore like nobody's business. The record is pressed on black vinyl and is die-cut into the shape of a sawblade, and the jacket features some killer nightmarish artwork from Paul Ledney of Havohej / Profanatica. Limited to six hundred copies.


PTOMAIN   Plague Stream   3 INCH CD-R   (Hellville)    6.98



Disciples of HNW may already know Ptomain from the numerous cd-rs that have been released on Hellville or the crushing split with One Thousand Pilots that came out on Symbolic Productions Harsh Music For Hot Nurses series, but if that's not the case, Plague Stream is a fine place to start for anyone looking for brutal noise wall. This limited edition 3" disc contains a single track "Plague Stream", a twenty two minute disharmonic roar of junk noise, power electronics and harsh noise wall. Early on, Ptomain builds a jarring soundspace of squealing feedback and clanking metal, evoking the junked noise abstractions of K2, but as upper-register feedback and blasts of clipped distortion begin to flow in, the sound evolves into a denser, more suffocating blanket of electronic noise. Fragments of gnarled melody emerge in the swirling maelstrom of electronic chaos and scrapyard violence, and strange growling, keening sounds rebound deep underneath the surface; as it progresses, the sound becomes more monolithic, more dense and distorted, until it becomes a towering wall of noise, a hellish storm of oscillating signals and monstrous bass blurt, an industrial conflagration. More noisy elements continue to pile on, banging pipes and scraping sheet metal and steel behind the curtain of molten roar, the sound of factory workers slaving beneath massive smelters and the crack of hammers on anvils and the screams of the immolated, the crash of iron rods pinioned through the corpses of the dead, rising into a savage sulphurous holocaust, an apocalyptic wave of nuclear HNW.
Comes in a miniature jewel case.


PYRAMIDS   WVNDRKMMER   5xCASSETTE BOXSET   (Small Doses)    35.00



WVNDRKMMER is an incredibly ambitious release from Small Doses and those strange blackened avant-metallers Pyramids, which started out when the band decided to send various songs of theirs to a diverse list of bands and artists to take and reshape into all new works of sound. The lineup of bands that are collected on this massive compilation is fucking wild, and includes a ton of artists that we're huge fans of, like Yen Pox, Light Of Shipwreck, Across Tundras, Amber Asylum, Tenhornedbeast, Burial Hex, Encomiast, Rise Of Because, Neuntoter Der Plage, At The Head Of The Woods, Luasa Raelon, Exit In Grey, Windy & Cark, Josh Lay, Bass Communion, Fear Falls Burning, Ala Muerte, This Will Destroy You, Hoor-Paar-Kraat, Teeth Collection, Bones Of Seabirds, Wereju, Mamiffer, Wyrm, Bjerga/Iverson, Black Seas Of Infinity,Oakeater, Blood Fountains, and Black Roller Crop Rotation. And there's lots of less familiar (but no less interesting) artists like Andrew Weathers, Le Knell, Jeremy Bible, Great Falls, 9922, Nicholas Szczepanik, The Spirit Dies, Mystified, Romance Of Young Tigers, Sin Of A Higher Strain, Drowning The Virgin Silence,Ulan Bator, True Colour Of Blood, Rabbit Girls, Fences, Paradin,Sigullum Dei, Hiroki Sasajima, Wicked Messenger, Nils Helstrom,Offthesky,Lunar Miasma and Ghoul Detail. As you can no doubt guess from that diverse gathering of bands, the sounds on WVNDRKMMER veer all over the place, from the gorgeous dark chamber-prog of Amber Asylum to Neuntoter Der Plage's swirling fly-struck black ambience and demonic haunted house power electronics, Tenhornedbeast's ritualistic percussive black driftscape and the bizarre blackpsych of Rabbit Girls with it's strange mix of frantic screams, distant blastbeats, and proggy Hammond organ drift; the clanking nightmraish sounds of Hoor-Paar-Kraat and eerie glistening ambience of Wyrm, Across Tundras's dusky sludgy Americana, and psychedelic black electronica of Black Seas Of Infinity; the swirling dark industrial ambience of Bass Communion, and Light Of Shipwreck's crushing orchestral guitar drones and swarming buzz and percussive might. And that's just a sampling of what is spread out across these five cassettes; we're talking about six hours of exclusive music here, all germinating from the otherworldly psychedelic blackened metallic bliss of Pyramids but reconfigured into totally new shapes by each artist. It's assembled into a stunning package, too, the five tapes professionally printed with silver ink, all bundled together in a vinyl cassette album, with a metallic silver insert printed with black ink, the case itself sealed with a full color wraparound glued-on cover, and enclosed in a black cardstock slip sleeve that is sealed with a silver wax seal. Very impressive looking, and this "black" version limited to just two hundred copies.


REMLAP + WEREWOLF JERUSALEM   Collaboration   CD-R   (Pointless Blank)    7.98



Here’s a raging collaboration between Werewolf Jerusalem and Remlap, both heavy hitters in the field of harsh noise obliteration. There seems to be a nonstop stream of Werewolf Jerusalem releases coming out lately, but hell, we not even close to tiring of Richard Ramirez's blackened static drone project. And teamed up with the Canadian harsh noise outfit Remlap, they deliver another monolithic drone-noise slab that thoroughly blotted out our brains.
The disc features two tracks, each one coming in at just a little over half an hour. The first is a colossal wall of churning low end black static roar, pierced by shards of feedback every few minutes that scream out of the maelstrom. For the most part, it's a swirling, impenetrable wall of black crunch until the last few minutes, when it suddenly goes quiet, the roar abruptly replaced by a muted, washed out distant rush of static, like the sound of far off waves crashing on a shore, slowly fading into obliveon. The second track is a murkier, more bass-heavy wall, at first almost totally stripped of higher frequencies, a boiling black ocean of sonic magma filled with garbled vokills and blasts of foul septic hiss, suddenly surging into crushing volume six minutes in, erupting into a monstrous level of sonic violence with the higher frequencies suddenly screaming through. It gets pretty fucking vicious for awhile, then descends into minimal crackle and hiss at the end.
This powerful dose of blast-trace was limited to just fifty copies and is now sold out from the label; we nabbed the last available copies, so HNW fanatics need to move quickly. The pro-pressed disc comes in a black and white Xerox cover and is housed in a 6"x9" plastic zip lock sleeve.
Track Samples:
Sample : Track 1
Sample : Track 2



RIGOR MORTIS   self-titled   CD   (Trips Und Träume)    12.98



Another recent release from that bastion of Italian electronic weirdo-blackness Trips Und Traume, this debut disc comes from Rigor Mortis (not to be confused with the 80s Texan thrashers, natch), the solo dark industrial ambient project from Italian electronic artist Francesco Fracassi, who has appeared on a number of Italian noise albums as well as the latest album from avant-metallers Ephel Duath. Fracessi dives deep into the Styx with this eight song collection of terminally bleak neo-classical pieces and fearsome dark ambient soundscapes, a sort of abyssal electronica that recalls the dark otherworldly sounds of Coil and the suffocating dub/ambient experiments that appeared on Subharmonic in the early 90s.
The album begins with a wall of ominous strings and horns and kettledrums, a terrifying orchestral bombast that turns into a minimal percussive ambient section, a simple drumbeat thumping beneath strange electronic noises, buzzing didgeridoo-like drones, bits of glitch and static that pan from left to right, strange and mysterious nocturnal sounds flitting through the darkness. While it does move into long stretches of black ambience and almost military percussive rhythms, vast sprawls of Lustmordian depth and looped metallic resonance, Rigor Mortis also employs these chopped, minimal electronic beats that appear here and there, which add an abstract electronica element to the sound. Later, there's also heavily processed techno-like rhythms that pan up and down through a fog of looping metal whir and gusts of granular static, which give way to swells of distorted, crushing low end and swirling vortexes of processed guitar noise. The atmosphere gets more evil further into the disc, with vast monstrous breath emitting from the pit and creepy synthesizer melodies, deep mechanical inhalations like those from an iron lung, strange creaking metal sounds and random bits of creepy melody and whistling, and wavering droning bass rumbles that shudder across the blighted terrain.
Descending deeper into haunted dream-realms, we encounter monstrous Throbbing Gristle-esque crawls through toxic ambience and looped machine rhythms that scrape and heave deep beneath the surface, an array of rasping demonic whispers, the appearance of weird boss nova like rhythms and snatches of backwards music, eerie classical music and fucked-up horns, eventually ending up within some very heavy, doom-laden industrial dirge that leads into passages of Scorn-like industrial dub, such as on "IV" when the album finally rises up out of the abyss and drops some busy, skittering breakbeats across the void, briefly taking the album into a crepuscular region of trip-hop flecked death ambient. Limited edition of two hundred copies, packaged in a gatefold jacket.
Track Samples:
Sample : I
Sample : V
Sample : VI



RITA, THE / MAIM   split   CD-R   (Snip Snip)    4.98



For some reason we totally overlooked this older split cd-r on Snip-Snip from 2005 in the past, but we've got it now, a crushing full length disc of harsh noise wall and industrial chaos from HNW fave The Rita and Swedish harsh noise artist Maim.
The Rita is first with a single monolithic track titled "Straight Razor Vs. Knife", which is from the mid-00's giallo obsessed phase that this project was in around this time; this is no static wall, but a constantly evolving storm of low-end chaos, a monstrous ocean of fluctuating bass feedback and currents of smoldering black distortion, plagued with eruptions of grating metallic scrape and rapid lawnmower buzz and massively over modulated bass rumble, occasionally punctured with blasts of excoriating howl that may or may not be vocal-based. Those harsher percussive noises are continuously sucked back down into the all-devouring maw of The Rita's wall, and it's alo lashed with sudden punctuations of squealing feedback and sinewave abuse. Intense stuff for fans of the Bodies Bear Traces Of Carnal Violence and Lake Depths Lurker discs.
Maim follows that with two really long tracks of scathing metalscrape and bass violence, "Belly Of The Beast" and "Furnace Dream"; stretches of minimal bass flutter are demolished by avalanches of ultra abrasive metal squeal and harsh feedback abuse, the noise assault structured into sudden start/stop blasts of skull crushing squall, the massive noise walls slashed with concrete scrape and belt-sander abrasion. There's nothing subtle about Maim's metal-chaos, and it reminds us of Knurl quite a bit; total obliteration that occasionally slips into a crushing machinelike throb.
Comes in a slimline case with Snip-Snip's signature style of foldover Xerox cover.
Track Samples:
Sample : MAIM - Belly Of The Beast
Sample : THE RITA - Straight Razor Vs Knife



ROBA EL-KHALIYEH   A Psychotic World For A Psychotic Satanist   CD-R   (Starlight Temple Society)    5.98



Bizarre dark ambience and soundtrack-like atmosphere from this oddball solo project from Brazil, the work of one Lord Mephyr. He's released a couple of EP-length cassettes on his own that eventually caught the attention of the folks at Starlight Temple Society, who then re-released two of his EPs on Cdr; the first of 'em that we've picked up is A Psychotic World For A Psychotic Satanist from 2007, which mashes together a bunch of different styles into twenty minutes of delirious, rambling outsider ambiance, including horror movie soundtracks, the atmospheric black metal of Rotting Christ, and weird industrial rhythms. The first song "Empty", for instance, is a creepy enough opener that combines pulsating black drift, a throbbing Carpenter-esque synthesizer, and distant choral voices, but the title track that follows is more indicative of Mephyr's lunatic basement symphonies; it's sort of like black industrial, with pounding kettledrum-like rhythms, clanking metal and scathing black metal-style vocals, the song getting pretty heavy, but then looped horns and atonal synth-strings start to come in, followed with maniacal gasping noises and labored breathing, the sound of someone speaking in Portuguese, and distant metallic whir. There's a theatrical, gothy element to this stuff that is pretty over the top, especially on the short track "Believing And Obeying", which opens with this absurd spoken word bit that sounds like something lifted from a Christopher Lee film, joined by dreary piano and strings that head into a baroque, classical sounding sequence; then the drums kick in with an almost trip-hop-like rhythm with cackling vocals over top, the vocals sounding a lot like The Reverend from Blood Cult/Tjoltjar. The following tracks follow in a similar vein with passages of grim dark ambience and those melodramatic strings giving way to random synth weirdness or metallic percussive sounds, ending with the pipe organ requiem "Tragoediae" that's surrounded with funeral-march drums and the sound of howling wind. It's unmistakably the work of a single demented mind; while Roba El-Khaliyeh's over the top satanic ramblings and crackpot dark ambient soundscapes aren't for everyone, fans of the warped sounds of the Hekaloth label and "bands" like Thursar, Gluttony and Xynfonica, the dark ritual music of Equimanthorn, or the black ambient weirdness of fellow Starlight Temple artists like Sjenovik and Akhlys should definitely check this out...
The disc comes in a slim line DVD case with full color artwork, and is limited to one hundred copies.
Track Samples:
Sample : Believing And Obeying
Sample : Empty



ROBE.   Night Terror   2x CASSETTE   (Waves Of Decay)    10.98



We've been really looking forward to getting Robe.'s latest release Night Terror for a while now; the band ahs sent us an advance copy of the recording earlier in the year, and it didn't take long for us to become bewitched by what we think is their finest work yet. And that's high praise for this release, considering how much we loved their Bleak full length that we released on Crucial Blaze a few months ago. Much like the music on that disc, Night Terror is a kind of necromantic industrial jazz-noir, the aural accompaniment to a descent into a vast smoke-covered underworld, the sort of muted, grinding nightmare ambiance that we like to hear on a set of headphones as we're fading out on the edges of sleep. What really struck us about this new album is that Robe.'s use of horns has become even more prominent, with their haunting trumpet becoming the main instrument here; it's the "jazziest" sounding Robe. that we've heard so far, and it's fucking fantastic.
There are other bands that blend shadowy, twilight atmosphere with dark horns; Bohren immediately springs to mind as does Mount Fuji Doomjazz Corporation, some of the newer Earth stuff, the tectonic free-jazz drone of Calcination, the narco-horns of Klangmutationen. Robe. create a dense, churning world of sound that is similar to some of those more abstract outfits, laying out expansive fields of stygian black ambience, rhythmic machine rumble and ominous electronic panoramas. But when that trumpet drifts in, the instrument bleeds these sadly lyrical lines that imbue the sound with a haunting presence that turns this into something very unique. That lonesome trumpet bleats and weeps as it slowly drifts downward into a chasm of chthonic drone and subterranean rumblings, strange metallic noises and muted electrical buzzing. There are other sounds that manifest within the depths, distant sonar pings that echo through the abyss, densely layered murkiness and constantly shifting layers of sound that are Lustmord-like in their oppressive blackness. It's never long before the eerie trumpet reappears, heavily delayed, it's notes drifting and decaying in the darkness, turning this into a sort of ambient death-jazz, like a disembodied Miles Davis trumpet track stretched and laid over the deep-earth reverberations of The Monstrous Soul.
The heavier parts of Night Terror can indeed be quite terrifying. Long stretches of pure oceanic rumble extend into the distance, followed by the sound of grinding machinery buried beneath miles of earth and stone. Bits of abstract guitar noise and melody appear, as do great grey blurs of time-stretched strings, and the groan of rusted mechanical gears slowly winding down and the metallic shimmer of gongs blooms in the darkness. Sometimes the album drifts into the soft hum of a sleeping city, the sound becoming extremely minimal, but as it approaches the last half hour of the set, the band becomes steadily more aggressive. Strange snake charmer melodies creep up out of cracks in the earth alongside funereal horns and peals of guitar feedback, and the bells of buoy’s ring ominously across a black ocean. The muffled thunder of war-drums appears, followed by fractured low-fi sludge riffs, and the sound begins to transform into a roiling blackened sludge, frenzied snarls and screams and weird death metal guitar solos writhing miles below the surface, the band creeping forth with some odd shambling drone rock, pounding drums and meandering electric guitar struggling beneath darkened horns and crumbling electronic skuzz and the grind of far-off machinery chewing through the earth, everything buried under low end murkiness and layer of tape hiss.
It's only at the end with the track "Bleached Bones Under A Blood Moon" that the sound begins to lighten somewhat, when the horns shift into a sad, grey beauty that slowly rolls across a burning sunrise, the blackness beginning to fray at the far edges as the trumpets rise in a gorgeously eerie lament while metal continues to grind and rattle down in the depths, the tranquility shattered at the very end with oncoming stomp of boots marching across the surface of the earth that eventually dissolve a vast final expanse of black cosmic drift...
This nearly two hour experience is easily Robe.'s most dramatic work yet, and is highly recommended for anyone who has dug their previous stuff. The blackened dread of Night Terror spread out across two cassettes, presented in an oversized jewel case with silk screened white-on-black artwork. Limited to just seventy copies...


RU-486   Iron Empire   CASSETTE   (No Visible Scars)    7.98



Taking its name from the controversial "morning after pill", RU-486 doesn't fuck around with a Pollyanna outlook. This is the second full length tape that we've picked up from this grim industrial noise outfit (the first being an entry in RRRecords's Recycled Music series), and it continues with more of the dystopian industrial dread and technological nightmare visions that we're coming to expect from 'em. The Iron Empire seems to be a reference to the pervasive steel-and-concrete hellscape that we find ourselves surrounded by on a daily basis, and the material on this tape travels through an assortment of infernal regions that descend deep into technological ruin. Starting with the first track, they unleash massive rumbling bass and huge low-end drones churn beneath sinister spoken word passages and swirling malevolent feedback, the synths scream out unholy choral roars, and the synthesizer drones get so distorted that they feel like crushing metallic guitars. That makes this really heavy, heavier than the previous material that we've heard from RU-486 for sure. The production is thick and murky, the sounds covered in grime and rust, and it's got this definite Cold Mean Industries vibe, except heavier than most of the death industrial you hear on that label.
After that creepy first track, this shifts into violent scrap-metal chaos and writhing low-end feedback squeal and screeching contorted metal, vicious Knurl-like spasms of metallic noise that clot into rapid machine garble, blasting at deafening volume levels like the sound of a city being ripped apart. It moves into vast walls of rumbling distortion and blizzard-blasts of mechanical motor grind, ultra-heavy synth drones surface out of the depths, and there are rare moments of spacious clatter where the cacophony of grinding metal and screaming feedback disappears suddenly and all that’s left are random clanking metal sounds or metallic rattling that last for a moment before being swept back in to the chaos.
It's seriously brutal bass-heavy power electronics/harsh industrial driven by demonic logic. The tape comes in a 7" sized sleeve with black and white inserts and is hand numbered out of one hundred copies.


SCORN   Refuse; Start Fires   CD   (Ohm Resistance)    15.98











Track Samples:
Sample : Amroth
Sample : LT94
Sample : Then Woke



SCORN   Refuse; Start Fires   LP   (Ohm Resistance)    24.98











Track Samples:
Sample : Amroth
Sample : LT94
Sample : Then Woke



SERPENT'S KNIGHT   Silent Knight...of Myth And Destiny   2xCD   (Shadow Kingdom)    16.98










Track Samples:
Sample : The Lightning Chaser
Sample : Serpent's Knight
Sample : Sleaze
Sample : Trial By Fire



SEWER GODDESS   Verdigris   7 INCH VINYL   (Baseborn)    7.98



A morbid concept record about a double murder of two young girls in rural Oregon in the early 70's, Verdigris is the latest from the terrifying black industrial Sewer Goddess, who blew us away with her With Dirt You Are One album on Black Plagve earlier this year. Each side of this record is dedicated to one of the victims, and drips with malevolent black energy and creeping electrical horror. The first side is titled "Kathleen Marie Bechtel", and opens with impossibly deep, demonic vocals over droning synths and plodding industrial rhythms dragging in black tar. Ultra-low droning bass frequencies vibrate through this insanely heavy and evil industrial dirge, like Cold Meat style death industrial crossed with some kind of mechanical black ultra-doom. The sound is infested with strange creaking noises, creepy fx, strange alien transmissions of desperate cries for help, and layered voices that drag through endless slow motion suffering, the sound so heavy it sucks the air out of the room, a manifestation of total horror.
On the other side, the track "Vicki Louise Fawcett" starts off with more blackened demonic whispers and rising and falling waves of buzzing synth noise, interrupted by irregular tympani-like percussive blasts and blood lusting chainsaw drones, gritty and minimalist industrial rhythms clanking beneath a thick layer of sonic slime and oppressive black drift. Total evil.
This is the second pressing version, presented in a screen printed black and silver jacket with inserts.


SIMULACRA   There Is A Fountain Filled With Blood   CD   (ConSOULing Sounds)    10.98



There's a lot of dark ambient stuff that's been coming through here lately, and frankly, we've been passing over a lot of it. It's criminally easy to mimic the general structure of what Lustmord and Yen Pox do, but significantly more difficult to harness the potent Cthonic dread that those artists possessed, so we end up hearing a lot of monotonous synth-buzz that doesn't really do much. We tend to stick with the labels that have a real nose for this stuff like Cold Spring and Malignant, but occasionally, we do come across a previously unknown project that impresses us. One of those few dark ambient albums that I've been digging a LOT lately that hasn't come out on Cold Spring or Malignant is the debut disc from Simulacra, There Is A Fountain Filled With Blood. The album has five long tracks of abyssal descent that is virtually a homage to Lustmord's late 80's output, a lightless world of subterranean rumbles, blasts of Tibetan horn-like thrum, strange creaks and clanks in the shadows, washes of massive cymbals and prayer bowl whirr, deep buzzing tones and distant groaning gong-like reverberations and softly shifting clouds of minor key drift, but Simulacra also adds stretched out orchestral strings that ripple across the void of these pitch-black regions, as well as swelling time-stretched horns and ghastly choral sighs that waft up from the depths. Those haunting string sections add some melody to the lengthy ambient tracks that we don't usually hear in this sort of cavernous dronescapes. Instead of trying to evoke the pure horror of Lustmord's work, Simulacra allows shafts of gleaming light to continuously break through the abyssal gloom in the form of those strings and washes of warm Tangerine Dream-esque synth bliss and peals of numerous bells ringing far off, the sound slowly floating through a blackened underworld stained with red, the sound strafed with moments of serene beauty. The twenty minute title-track is the centerpiece, a stunning symphony of kosmiche darkness that sounds like it's equal parts Lustmord and Zeit-era Tangerine Dream; also noteworthy is the final track, a remix called "Above Me Only A Shimmering Light" that closes the disc with a blissed out, looping dronescape of high-end shimmer and haunting melodies that circle around a colossal cathedral space. If you're really into the classic dark isolationist ambience of groups like Endura, Lustmord, Yen Pox, and Atrium Carceri and anything on the Malignant label, you should check this out.
The disc comes in a full color folder sleeve with the disc attached to the inside panel on a plastic hub, and is limited to five hundred copies.
Track Samples:
Sample : Above Me Only A Shimmering Light (Mystified Remix)
Sample : I Have No Blood | I Have No Heart
Sample : In Solitary Confinement



SKIN GRAFT   Cleveland Death Portrait   CASSETTE   (Waves Of Decay)    6.98



The first Skin Graft release we've picked up for C-Blast is a doozy, a vicious blackened industrial plague from Cleveland that's summoned up from a storm of fx pedals, mangled tapes, flesh-rending feedback and vomitous vocals. It's harsh and droning heaviness that is borderline death industrial, but with an irradiated, poisoned atmosphere that I can only compare to the plague-stricken radioactive industrial horror of 20.SV.
The tape opens with strange horn-like tones cutting through the blackness, like distant vuvuzelas carried across a vast black abyss. This eerie keening goes on for a while and really begins to get under your skin, but then a series of distorted rhythmic pulses enters, blasts of white noise released in controlled bursts that then shift into a whole new section where deep throbbing electronic buzz and static hiss co-mingle into a noxious crackling pulse emanating from the depths. This carcinogenic industrial drone later erupts into a wall of churning harsh noise towards the end, ending the side in a blizzard of horrific distorted chaos.
Side two is more apocalyptic ambiance beginning with far off warning sirens and muffled explosions that are gradually joined by distant feedback that is slowly twisted into an eerie minor key melody. From there, the side delves into chunks of writhing distortion and snarling mid-range noise, all of it scurrying and writhing and undulating over a steady single-note bass throb drifting up from deep below the surface, an ominous black pulse reeking with disease and decay.
Recommended for fans of filthy, hellish industrial drift. Comes in silk screened packaging, limited to one hundred copies.


SOLOTROFF, MARK   Archive04   CD-R   (Bloodlust!)    12.98



Part of Bloodlust's ongoing reissue series of past solo recordings from label boss Mark Solotroff (also of Bloodlust and Intransic Action), Archive04 collects some mid-90's output that originally came out on the Italian death industrial label Slaughter Productions on cassette. All of that stuff has been out of print for years, so this series is great for any Solotroff fans that never stood a chance at getting their hands on these early synth-death works when they first came out. This fourth entry in the series is heavy stuff, the first two tracks making up the bulk of the disc with more than an hour of crushing tectonic harsh wall noise that forshadows the sort of black maelstrom that artists like The Rita, Vomir, and Last Rape.
These two thirty-minute tracks are from the 1996 cassette Evidence To Suggest Postmortem Sexual Assault on Slaughter Productions, each a vast side-long rumbling dronescape, like a muted HNW, all washed out and with almost all of the highs eradicated from the mix. A monstrous half hour avalanche of low end rumble that has subtle synth buzz fluttering on the periphery, becoming more apparent as the track progresses. The swarming black low-end drift is oppressive from start to end, a consuming mass of bass-heavy sound, a massive deathdrone wave of black lava washing over the earth beneath swarms of demonic locusts. When the second of the tracks kicks in, it at first seems to be less bass heavy, more of a fluttering, rumbling engine drone, a massive mechanical whirring trailed by swooping sine waves, still deep and murky and HEAVY, and eventually it flattens out into a similar expanse of churning muffled tectonic rumble as the first. This material is a must hear for fans of pure monolithic harsh noise.
"Blood Room", the third and last track, comes off of the Slaughter Productions.compilation tape Extreme Pleasures Vol. I. from 1995. It ends the disc with a jarring swarm of high frequency tones and swarming insectile chaos, the frenzied beating of millions of black wings, a sky full of swarming , chirping, squealing clusters of high-end noise.
Track Samples:
Sample : Blood Room
Sample : Untitled



SPECIAL INTERESTS   Issue Four   MAGAZINE A5   (Freak Animal)    4.50



The latest issue of one of my favorite underground industrial / avant garde / power electronics / ambient magazines is loaded with another fifty-two pages of fascinating material that spans all regions of the extreme electronic/noise spectrum. This ish comes wrapped in a stunning full color cover designed by Yasutoshi Yoshida of Government Alpha, who also contributes a couple pages of black and white collage art at the end of the 'zine; inside, we get lengthy and in-depth reviews with Bastard Noise, polish power electronics demon Brandkommando, the artist behind the confrontational PE outfits Koufar and Disgust, experimental electronics artist Raymend Dijkstra, the long running harsh noise project Sickness, doom-ambient mystic Tenhornedbeast, the excellent industrial label Trash Ritual, Russian industrialist Minamata, a spotlight on the Japanese noise shop NEds (which looks fucking amazing, just from the photos!), Polish industrial label Impulsy Stetoskopy, lots of detailed and thoughtfully written reviews on recent releases, an interview with Seymour Glass on the aesthetics of cassette culture, and the regular "Essentials" section with Glass, Steve Underwood (ALAP/Harbinger Sound) and Kohei Gomi (Pain Jerk). As always, this magazine is constructed with a great deal of effort and passion and it always shows as you read through it; one of the noise scene's best mags, no doubt about it.


STAGEDIVER   I   7 INCH VINYL   (Radiograffiti)    7.98



Following the dissolution of his previous project Dispyz, Stagediver arose as the new incarnation of "Amigacore" artist Tyler St Clair and pursues the same mix of classic 8-bit chiptune video-game style melodies, distorted bass lines and pounding, ultra-aggressive gabber and speedcore. This stuff feels a little darker than his previous 7"s, and when the record kicks in to the skull-pounding 4/4 gabber assaults on the a-side, it's fucking punishing. This firsr track belts out relentless Nasenbluten style aggression, but with thick squelchy video game soundtrack fx, massive distorted synth-drops and chaotic Atari gun-zaps exploding over the machine gun drum programming. The b-side is even more pummeling, featuring an extremely simple two-note melody that is repeated over an assault of pounding speedcore broken up with splashes of corrosive 8-bit noise and dark sampled dialogue. Blown out and ragged Amiga violence that belches pure fire. This debut 7" mashes together that classic Bloody Fist aggression with a sinister style of chiptune music that I fucking love; I can't wait to hear more from this project, which is apparently going to have a full length Cd coming in the near future from Realicide Records. Primo! The record comes with some large vinyl Stagediver stickers and includes a download code for a digital copy of the Ep.


STARKWEATHER   This Sheltering Night   LP   (Deathwish)    14.98



Now available in a beautiful gatefold edition, white vinyl, and limited...
Long stuck with the "metalcore" tag, Philly's Starkweather has been probably the least deserving of that label over the course of their twenty year existence. Just because the members of Starkweather have had close ties to the underground hardcore scene does not a "metalcore" band make, and even as far back as their appearance on the Philly Dust Krew compilation and their first album Crossbearer, these guys were operating out in left field way beyond the generic chugalug of standardized slowed-down thrash metal and barked aggression, playing a psychotic, unpredictable metal mutation that didn't (and still doesn't) sound like anything else I can think of. Blending together elements of progressive metal and prog-thrash with alien death metal, dementedly beautiful melodic parts with a tenuous connection to post-hardcore, and singer Rennie Resmini's incomparable primal howl, Starkweather created a unique sound of their own which continues to crush and confound. Their latest album This Sheltering Night is only their second in the past decade, but like their last album Croatoan, it's a stunning, focused work. Each song is a harrowing rapid descent into interior darkness, forged from jagged, skullcrushing riffage, deliriously psychotic ambience, soaring metal guitar heroics and gobs of suffocatingly tenebrous atmosphere, and includes some of the band's heaviest work to date, which is saying something when you consider just how punishing Croatoan was. The riffs are angular and complex, drawing from the same sort of warped mutant logic as later Gorguts, Voivod, and progressive doom metallers Confessor, but weighted with a black gravitational pull that is unique to the band, and which take on an even more vicious cast when they're surrounded by the grim industrial ambience and dark, jangling rock passages that make up This Sheltering Night’s more somber moments.
And there are sounds that appear on This Sheltering Night that sound new to me within the context of Starkweather. There’s the subtle use of twangy slide guitar that emerges on the opening track "Epiphany" for instance, followed by shimmery clusters of almost jazz-guitar like chords that break through the cracks in the angular death metal lurch. And former Kayo Dot member Forbes Graham contributes some trumpet and euphonium to a handful of songs, which adds a subtle jazzy texture to some key moments. Most noticeable are the industrial elements that appear here, which have only been hinted at on previous albums. Several of the tracks on the album are pure, grim industrial ambience, like "One Among Vermin" and "Broken From Inside", which suck all of the light out before the band comes crashing back in with their dissonant metallic crush, but it's on the last few tracks that the album drifts straight into ambient sound of the bleakest sort. The tracks "Swarm" and "The End Of All Things" are collaborations with ambient sound artist Sophia Perennis; the first is a brief, haunting dronescape of fluttering high end drone, slurred strings and distorted guitar snaking through an ethereal fug, fused together with blurred smears of looped strings and horns into a slowly drifting cloud of grey sound.
The last three tracks are remix-style works from Oktopus from Dalek, who takes elements of previous songs on the album and reworks them into dense layers of ambient drone and abstract electronics, with pulsating minimal beats and swells of percussion forming the minimal techno flutter of "Transmit". A harsher approach is used for "Receive", a nearly eight minute assault of chopped up riffage and percussion taken from the track "Martyring" (and possibly others), reformed into a sprawling prog-death cacophony. The last track "Proliferate" starts off as minimal dark ambiance with bits of mechanical whir and hum drifting by, but it gradually builds into a raging mass of grinding machinery, buried percussive loops and roaring noise that rages for a minute or two before drifting off in a cloud of formless vocal drone. These guys have again crafted an album that is intensely challenging and brutal, as ambitious as Croatoan but darker, much darker, to the extent that this is probably the most oppressive, lightless collection of music that Starkweather has ever assembled. Absolutely recommended.
Track Samples:
Sample : All Creatures Damned and Divine
Sample : Epiphany
Sample : The End of All Things



STURMFUHRER   Niemals Vergessen   LP   (Audial Decimation Records)    14.98



Bands like Toroidh and Sala Delle Colonne have taken the martial industrial sound into darker regions, combining their militant ambiance and blasted noisy textures with (in varying degrees) certain aesthetic elements of 20th century fascism to create some of the most apocalyptic war-obsessed sounds to come out of this particular wing of the industro underground, but for followers of this brand of martial dread who sought an even more misanthropic and tyrannical approach, there was Sturmfuhrer. A solo martial industrial project from Craig Pillard, Sturmfuhrer produced intensely bleak and monochromatic soundscapes that were combined with a hard-line fascist outlook, which will obviously turn off many listeners. We were surprised to find out that Pillard was behind this project, as we previously knew him for the heavy, darkwave-meets-sludge that he performs under the name Methodrone, as well as playing with doom metal legends Evoken for a period; Pillard is probably best known in extreme metal circles for his role as singer and guitarist in death metal legends Incantation on their classic early 90s albums Onward To Golgotha and Mortal Throne Of Nazarene. But early in the past decade, Pillard focused on this project, releasing a couple of albums of ultra-dark martial industrial under the Sturmfuhrer name on controversial labels like Elegy and Satanic Skinhead Propaganda, the last one being Niemals Vergessen from 2006. And it is some of the darkest, most provocative martial ambience you'll find, most of the time closer in essence to the black isolationist drift of Lustmord, but layered with German marching music and maleficent old Nazi propaganda speeches. The first side has the title track, a ten minute death-march of distant pounding drums echoing through a dark smoke-riddled haze, fragments of war speeches and sampled Teutonic marches, heavy slabs of droning ambient doom and unsettling keyboard drones. The other track "Das Bunker" falls more along the lines of pure deathdrone, super deep rumbling tectonic drones starting this off as distant percussive blasts and rumblings are heard over a pitch-black subterranean thrum, the track getting more and more claustrophobic, evoking the feeling of being trapped underground while mortar shells erupt overhead and bombers buzz in slow motion high above through thick layers of stone, soil and concrete. As time goes on, muffled warning sirens begin to loop endlessly, a low obscured mechanical sound heard beneath the omnipresent rumbling of war machines, building until the sound is completely overwhelmed with the din of the earth being rent and torn.
Exceedingly grim stuff that is anything but pleasant listening; this was the last release from Sturmfuhrer, originally released on Cd in a limited edition on Satanic Skinhead, reissued here on vinyl with all new artwork in a limited edition of 250 hand-numbered copies in a sturdy heavyweight jacket. Due to the subject matter, it should be obvious that this should be approached with caution by anyone sensitive to far-right sentiments and fascist philosophy…


SUFFERING BASTARD   self-titled   CASSETTE   (Lascivious Aesthetics)    6.50



This super short Ep of new Suffering Bastard jams only clocks in at some six-odd minutes, but man, does this batch of new "songs" destroy! Not all that well known to folks outside of New England save for hardcore grindnoise fanatics, Suffering Bastard are nevertheless one of our favorite blast squads, and have been kicking around for around a decade now, dropping sledgehammer blasts of their dual-bass grindsludge and screaming harsh noise. For anyone into the most barbaric levels of skullcrush, this is immensely recommended. This tape on Lascivious Aesthetics (the label run by one of the guys from PE/grind provocateurs Twodeadsluts Onegoodfuck) delivers eight new tracks of their severely bestial and low-fi grind / sludge / harsh noise, a chaotic mess of primitive grindcore, sloppy supersonic blastbeats that sound like they are being played on garbage-filled trashcans, pulverizing bass riffs, and augmented with skin-crawling feedback drone. Most of this is mach-ten blast violence that borders on total noisecore, but the band throws in some punishing harsh noise/power electronics moves into the mix as well. The grind parts are chaotic blasting locomotive crush that becomes a shrieking mass of mechanical violence equal parts Sore Throat, harsh noise and (for a brief moment) NY deathdoom mutants Winter; in other words, this stuff is nasty, vicious enough to strip the paint right off your walls of your skull. Awesome. Limited to one hundred copies.


SWANS   Children Of God / World Of Skin   2xCD   (Young God)    17.98












SWANS   Filth / Body To Body, Job To Job   2xCD   (Young God)    17.98











Track Samples:
Sample : Cop
Sample : Freak
Sample : Get Out
Sample : Job
Sample : Power for Power
Sample : Stay Here
Sample : Weakling



TERRORISM   Skyguide   CASSETTE   (Hospital Productions)    8.50



One of the most surprising finds in the latest batch of metal cassettes from Hospital Productions is Skyguide from Terrorism, of whom very little is known, but who produce one of the most savage assaults of grindnoise we've heard in ages. Like the label's description states, this mixes together grindcore, black metal and noise into a hellish blast of total chaos, creating a kind of maniacal blackened noisecore that sounds to us like Havohej getting cranked into hyperspeed velocity and fed through a wall of malfunctioning blenders and in-the-red amplifiers. It's a fucking wig-out.
The a-side immediately begins driving nails into your skull through a cyclone of random blastbeats and pounding industrial percussion, bursts of pure noisecore formed out of screeching guitar garbage and supersonic blast beats and random drum slop, freaked out screaming and grunts and howls piled on top of each other, a shapeless carnivorous aural monstrosity that sounds like Beherit crossed with Anal Cunt, or Abruptum fused with Arsedestroyer, the psychotic blasting interrupted with stretches of abstract blackened doom and howling wind and bizarre vocal fx.
Over on the other side, it opens with a slowly pounding industrial rock dirge, all booming drums and creepy noise and slithering bass, then bursts into more of that utterly psychotic noisecore, massively processed vocal vomit slathered over shapeless un-riffs and droning electronic filth and blasting speed.
One of the ugliest, most horrific sounding new tapes we've heard, this fucking RULES and we dying to hear more from this band. Maximum recommendation!


THEOLOGIAN   The Further I Get From Your Star, The Less Light I   CD   (Crucial Blast)    10.98



The Further I Get From Your Star, The Less Light I Feel On My Face is the latest chapter from New York power electronics/synth-death demon Leech. This is the first full-length, widely available release from Leech's new incarnation as Theologian, which picks up where he left off with his long-running project Navicon Torture Technologies. Over the past decade, Navicon Torture Technologies blurred the edges of power electronics and dark industrial on albums like The Church Of Dead Girls (2002, Malignant), VTERVS (2008, NCC) and The Gospels Of The Gash (2009, Malignant) before ceasing operations in 2009. Now reconstituted as Theologian, Leech again explores the further realms of experience with a new form of blackened synth dread that combines many of the sounds that made up NTT's crushing electronic attack (Swedish death industrial, classic power electronics, harsh noise, powernoise) with a new level of heaviness and droneological power.
Following a series of small-run collaborations (with Wilt, Steve Moore, and The Vomit Arsonist) that were released on Leech's own label Annihilvs, Theologian delivers it's first full-length album, a seven-track descent into roaring, cosmic drone and howling black hole electronics, colossal industrial soundscapes and grim low-end heaviness. The opening track "Zero" sounds like early space music (Schulze, Tangerine Dream, etc) being blasted through massive bass-heavy sound system directly into the Void; its followed by the sprawling twenty-four minute "In Times of Need, We All Go Against Our Natures", which starts with distant twilight factory rumblings and murky motorized reverberations, then slowly reveals a bleak, shadowy realm of grimy minor-key synths slowly drifting underneath the industrial buzz and hum, both mysterious, and immensely grim. After a few minutes, eerie choral voicings begin to appear, and the sound continues to slowly develop into a vast expanse of lush isolationist ambience, a simple three-note melody repeating over and over deep beneath the peals of muted electronic tones, distant grinding, hushed whispering, and oncoming waves of black feedback, becoming darker and more menacing as it goes on. Then a male voice appears off in the background, awash in delay, forming these haunting multi-part harmonies that drift beneath the smoldering electronic noise; after a while, it almost sounds like something from Sigur Ros slowly falling into Stygian blackness, the singing becoming warped and fractured as the swirling black synths corrode and decay into a buzzing, churning field of irradiated drone, getting heavier, more distorted, until the final eight minutes finally form into a wash of blackened doom-drone heaviness surrounded with icy synth pulses, eerie choral voices, grinding industrial dread, and fearsome distorted screams, a sort of pitch-black power electronics dirge...
That epic track may be the album's heaviest moment, but the rest of Your Star is just as bleak and lightless. Another massive slab of murky, molten ambience unfolds with "Unfamiliar Skies", where sheets of glacial string-like drones swirl beneath blown-out synthesizer rumble, and a simple rhythmic throb pulses at the black rotting center, surrounded by clouds of crackling static, and gradually becoming streaked with oscillating sine waves and heavy gusts of black distortion. The title track is blighted isolationist drone shattered by the burning descent of black stars falling from the skies, underscored by a gorgeous, wavering blissed-out drone; halfway through, it shifts gears into hallucinatory, dark wave-infected power electronics with ultra-distorted demonic/robotic vocals and super dense walls of deteriorating drone and sepulchral synthesizer. The remaining tracks move through roaring melodic drift, wailing distorted vocals, and seriously acerbic distortion that combine into mantras of narcotized power electronics, throbbing black machine pulsations, chthonic ambience laced with metallic ringing, eerie sublimated melodies and deep low-end bone-rattling churn, at times sounding really soundtrack-esque, even resembling a more apocalyptic, deformed take on John Carpenter's film score work at times. The hidden final track "The Fragility Of The Male Ego..." finishes the album with a crushing industrial dirge sculpted out of droning feedback and overdriven distortion, as caustic as anything that's come before, with a very subtle dark wave quality lurking beneath the scorched electronics that makes this sound somewhat like hearing a Projekt Records track being remixed by a Japanese noise extremist.
Like Navicon, Theologian combines several different disciplines of industrial into a signature sound, a doom-laden hybrid of death industrial and power electronics and black ambience that's spliced with a constant melodic presence; the music is harsh, often hellish, but accentuated by an icy, desolate beauty that gives The Further I Get From Your Star, The Less Light I Feel On My Face it’s unique, abyssal vibe.
The album is being released on Cd in deluxe dvd-style digipack packaging with striking artwork and visual design by Leech, and as a digital download.
Track Samples:
Sample : I
Sample : II
Sample : III
Sample : IV
Sample : I Am The Engineer



THEOLOGIAN   The Further I Get From Your Star, The Less Light I   POSTER   (Crucial Blast)    12.98



I dug the artwork for the first official abyssal blast of nebulous black electronics and subterranean death-synth from Theologian, The Further I Get From Your Star, The Less Light I Feel On My Face so much that we worked with Leech from Theologian to issue this limited edition silk screened poster that features one of the primary images from the album. This high quality screen print features the artwork printed with silver ink on thick, heavy card stock, measures 16" x 25", and has been released in a hand-numbered run of 104 prints. We used Contagious Graphics to print these posters, and they came out beautifully, and are perfectly suitable for framing. Posters will be shipped rolled in a tube, and must be shipped separately.




THEOLOGIAN   Maximum Bitterness Has Been Achieved   CD-R   (Annihilvs)    5.98



Theologian produces another world that is completely devoid of starlight on Maximum Bitterness, a four-song collection that documents the sound of endless psychic descent, a brand of nightmarish subterranean power electronics and psychedelic black ambience that we can't get enough of. This cold, inhuman soundworld is in turn terrifying and abject, evoking the infinite void and the ultimate extinguishing of the self. This begins as a rhythmic, almost martial sounding sweep of distortion and muted white noise that reveals ominous minor key melodies lurking beneath the bleak expanse of Theologian's icy black realm, like the soundtrack to soaring over a dead, crumbling city on some far-off sunless world, fields of minimal drift met with distant oceanic rumbling and clarion blasts of high tones that sound like massive trumpets blowing across vast wastelands. Towards the end, hellish looped demonic vokills begin to drop in, and here is where Theologian's sound begins to morph into a kind of dreadful power electronics. The second track features syncopated blasts of symphonic sound that are washed out, roar and decaying like tidal movements across the void, a constant rush of black hiss across the horizon; it becomes more surreal sounding as swells of orchestral string-like sounds and soft whirring drones materialize. From there, more of those monstrous horns blow across the Styx, joined by melodic choral synths, the sound slow and throbbing as it slowly dissipates into a distant rolling cloud of muted noise, far off eruptions reverberating while a deep single note synth drone extends into infinity. Its absolute desolation interrupted only by the frantic whine of high siren-like tones, and is what we imagine the final moments leading up to total nuclear immolation would no doubt sound like. The final track is also possessed with this pulsating undercurrent, but its more dissolute, a cloudy black throb, the weak pulse of a dying planet, faint strains of gorgeous peripheral melody lurking in the deep, eventually leaving only nebulous particles spinning in the blackness, then reassembling into an utterly massive slow motion orchestral dirge shrouded in dead radio waves.
Track Samples:
Sample : Maximum Bitterness
Sample : Old Enough To Bleed, Old Enough To Butcher



THEOLOGIAN + STEVE MOORE   Into The Uttermost Fields Of Ether   CD-R   (Annihilvs)    5.98



Before The Further I Get From Your Star, The Less Light I Feel On My Face, Leech's post-Navicon project Theologian started out releasing a series of cd-r titles on his own Annihlvs label, many of which are collaborations with like-minded artists. One of the first of these is Into The Uttermost Fields Of Ether, a full length album of chthonic ambience from Theologian that travels into more kosimiche regions of synth blackness than usual, due to these tracks being formed from source material that was provided by Steve Moore from retro-futurist soundtrack masters Zombi. Obviously, we're big fans of Theologian over here, and we love Zombi, so we've been extremely psyched to hear this. Ether begins with a massive twenty-two minute void of pulsating electronic buzz titled "From Beyond An Obfuscated Constellation", deep throbbing bass-heavy synthesizers emitting sheets of icy black drift. When the ominous clusters of synth notes begin to circle in, it becomes very Tangerine Dream-like, specifically reminding us of their most desolate work like Zeit; the warbling synths drift from speaker to speaker, hovering over an abyssal expanse, immense stretches of deep subterranean rumble and vast minor key drone flecked with high-pitched cricket-like chirping. That minimal black drift gives birth to "Fields Of Ether", a pounding percussive throb rising out of the void and becoming surrounded with intercepted radio waves and squeals of electronic noise. Cavernous ambience and simple two note bass throb gives the fifteen-minute "Cities Of Negative Space" a very John Carpenter-like vibe, something that Zombi are masters at, and joined with Theologian's brand of black-hole desolation, it reaches new depths of dreadfulness. The last track is the most active on the disc, "Song for the Spheres" spreading into swarms of glitch that erupt from lush clouds of cosmic synth drone, an ominous sci-fi soundtrack ambience that closes the album like an utterly black Tangerine Dream piece. Fans of Theologian’s deep cosmic dread will love it, as will fans of the arctic isolationism of Lull and Yen Pox, the bleak drones consumed in blizzards of grainy digital noise and deep cosmic blackness.
Track Samples:
Sample : Fields Of Ether
Sample : Song For The Spheres



THOU   Baton Rouge, You Have Much To Answer For   LP   (Robotic Empire)    16.98













TIME CRYPT   Cruel Science   CASSETTE   (Hospital Productions)    8.50













TODAY IS THE DAY   Supernova   2xLP   (Relapse)    27.98










Track Samples:
Sample : Black Dahlia
Sample : Blind Man At Mystic Lake
Sample : Self Portrait



TODAY IS THE DAY   Willpower   LP   (Relapse)    16.98










Track Samples:
Sample : Side Winder
Sample : Simple Touch
Sample : Willpower



TODAY IS THE DAY   self-titled   LP   (Relapse)    16.98










Track Samples:
Sample : Dot Matrix
Sample : Marked



TOMYDEEPESTEGO   Odyssea   2xLP PICTURE DISC   (KNVBI Records)    21.00













TORCHE   Songs For Singles   CD   (Hydra Head)    15.98











Track Samples:
Sample : Cast Into Unknown
Sample : Face the Wall
Sample : Hideaway



TORCHE   Songs For Singles   LP   (Hydra Head)    21.98











Track Samples:
Sample : Cast Into Unknown
Sample : Face the Wall
Sample : Hideaway



TORTURING NURSE / HOSTAGE PAGEANT   split   CASSETTE   (Rainbow Bridge)    8.00



A limited edition hand-painted cassette of extreme psychedelic ear-shred; this tape pairs together the prolific outfit Torturing Nurse, who have been cranking out a steady stream of junk-noise/harsh electronic assaults lately, and Hostage Pageant, who I hadn't heard prior to picking this tape up, but who deliver some violently chopped-up electronic chaos on their side that we found quite cathartic. It's a short tape with only about ten minutes of material on it, but those jonesing for brutal mind-bending noise won't be disappointed.
First up are Chinese noise freaks Torturing Nurse with their jam "Chaos ID", a brutal skree attack that descends upon your skull like a cyclone of scrap-metal pieces. The garbled, distorted vocals are puked across painful high-frequency feedback and random drumming for a punishing exercise in harsh noise/quasi-power electronics terror that sort of reminds us of Oscillating Innards, but with power electronics style vocal screeching; it also makes us think of hearing a Masonna set backed with overdriven guitar noise and sparse industrial pounding. This five minute stretch of psychic laceration ends in a swirling blizzard of shrieking amplifiers and white noise. A purgative racket that fans of classic Japanese noise (Hanatarash, Incapacitants, Masonna, etc) should dig.
On the other side, Hostage Pageant offer a similar brand of harsh freakout called "2nd Attempt At Suicide" that has a more prominent psychedelic feel to it as vomitous fx pedal snot and mangled vocals are spewed out in an orgasm of malfunctioning circuitry, extreme feedback and chopped up, stuttering blasts of crushing machine noise. The track shifts frenetically through eruptions of screech and grind, ending in a haze of looped crackling noise and minimal hiss. Pretty vicious stuff.
Released in a run of one hundred copies.


TRAP THEM   Filth Rations   LP   (Southern Lord)    14.98












TWODEADSLUTS ONEGOODFUCK / COCK ESP   split   CASSETTE   (Lascivious Aesthetics)    7.98



Two brutal noise blasts on a super short (four minute long) but utterly scorching tape from Lascivious Aesthetics!
Notoriously provocative Boston power electronics maniacs Twodeadsluts Onegoodfuck are first with "Red And Brown", opening with a sample of schmaltzy romantic piano music that is strafed by some grating metallic ringing; then it explodes like a nuclear blast into horrific blackened grindnoise, impossibly fast drum machine blastbeats that border on full on splittercore, and looped choral voices rising in a horrific melody, split with screaming blackened vokills. Man, this is AWESOME, a machinegun-blast of blackened industrial noisecore. It's way too short, we're dying to hear Twodeadsluts do more of this stuff...
On the other side, the legendary Cock E.S.P. bring us an orgy of destruction with "Gaping Massholes" (which we presume is a tribute to the folks in Twodeadsluts), the band starting off with screaming and yelling as the band breaks a roomful of shit, then launches head-on into a punishing maelstrom of high end feedback, random metal abuse, roiling low-end noise and thunderous sheet metal reverberations, a squealing, screaming high-energy blast of psychedelic junk noise destruction. Killer!
Comes with a full color cover, released in an edition of one hundred copies.


UNEARTHLY TRANCE   V   2xLP   (Relapse)    28.98











Track Samples:
Sample : Adversaries Mask II
Sample : The Leveling
Sample : Solar Eye



UNHOLY GRAVE   Grind Hell   10 INCH VINYL   (Death Agonies And Screams)    12.98



Here's yet another live document from Unholy Grave, who we're pretty sure have eclipsed even Agathocles and Merzbow in the race to become the world's most prolific band of all time. What can we say, though...there are few grind records that sound as noisy and as insane as a live record from Unholy Grave, and we’ll admit that we're pretty addicted to 'em. Especially when the records look as great as this. Grind Hell is pressed on orange/red vinyl and released in another terrific package from underground audio cultists Death Agonies And Screams in a matte jacket with black and white glossy printed inner-sleeve, in a limited edition of three hundred copies (which are apparently already sold out from the label). It's another blasting live recording of gnarly Japanese grindcrust, the band as always mixing together bestial and primitive mid-paced death metal, manic hardcore punk and atavistic grindcore influences into their hysterical distortion-soaked grindpunk assault. This set was recorded in Tokyo in 2008 and features fifteen tracks of raw, brutal, noisy and chaotic grind, spiced with bursts of rocking crust, filthy thrash, super catchy melodic hooks, wailing guitar solos and eruptions of total noisecore blur. Sometimes the songs are so catchy that it sounds like grindcore pop-punk, and as always singer Takaho injects the grind with his trademark of grunting vokills and Yamatsuka Eye/Boredoms-esque yowling weirdness. There's even a rare bit of pulverizing doomy slowness on "Cult Of Terror" which you don't hear that often from the 'Grave, and the band also busts out a cover of the song "Life", originally by the Japanese hardcore band Mind Of Asian.


UNITED MUTATION   Freaks Out   LP   (Bitzcore)    29.98



In the annals of DC hardcore, there is none more obscure than United Mutation. Well, maybe not; that distinction would actually probably go to Skewblad or Double-O. But United Mutation definitely never got the attention that they deserved, at least not outside of the Northern Virgina area. Hell, we didn't find out how awesome this band was until well after we had raided the Dischord catalog, long after UM had broken up. But alongside the mighty Void, United Mutation were responsible for some of the most psychotic (and weird) hardcore to come out of this esteemed scene, playing a style of fast, manic thrash that was noteworthy not only for the fucked-up guitar playing that put these guys closer to the likes of Die Kreuzen and the aforementioned Void, but also for their tendency to experiment with their sound, often bringing in some very un-hardcore influences such as pyschedelia and a blatant love of Hawkwind. While their early releases were formly rooted in crazed thrash, each subsequent release saw United Mutation moving into stranger territory, and by the time that they released their Freaks Out album at the end of the 80s, they were dropping long spaced out psych-punk jams in between blasts of savage thrash. You can see where United Mutation would become one of our fave bands from this era, once we finally caught on to them.
The bad news is that, up until recently, it was next to impossible to get your hands on any of their releases outside of grody mp3s on the net. Their entire catalog has been out of print for years, and as more and more hardcore fans have been searching out lesser known, weirder denizens of the second wave of US hardcore, everyone keeps coming to United Mutation, who are now considered to be a big influence on all of the psycho-core that's come out since then. The good news, at least for you folks, is that the guys in United Mutation have recently reissued their first two 7"s on a single CD on their own label DSI in an inexpensive edition that finally gives you the chance to hear their early output. And on top of that, we've managed to get our hands on the remaining available stock of several long out-of-print releases from United Mutation that we're able to make available through C-Blast. This stuff is rare, and it ain't cheap, but we've got this stuff (which includes their late 80s represses of the first two 7"s, their ultra-rare Freaks Out Lp, and the semi-discography Cd on Lost & Found) available at cheaper prices than you'll no doubt be able to find them going for on Ebay.
The only vinyl full-length that United Mutation ever released, 1989's Freaks Out was actually a discography of pretty much all of their recorded output up to that time. This super-limited and long out-of-print rarity features the complete Fugitive Family and Rainbow Person 7"s, a bunch of previously unreleased studio tracks, and some live material.
The band's first vinyl release was 1983's Fugitive Family, a six song Ep that featured some of the most brutal hardcore ever released up to that point. The only other bands that were doing anything like the savage thrash on Fugitive Family around this time were Void, Negative Approach, Septic Death, Siege and Die Kreuzen. Starting off with "Fugitive Family / Plain Truth", the band descends into a thrashing proto-crust assault with shockingly deep (for the time) guttural vocals, speedy sinister hardcore with catchy riffs, fast drumming, and smatterings of screaming metal soloing. You can hear that energetic DC punk vibe in there, but this sounds way darker than most of the DC area bands. It's followed by the rapid-fire thrash of "Final Solution" and ""Passout" and the Siege-like mayhem of "It's Over", which fucking KILLS and is a high water mark in extreme early 80's 'core. On the flipside, the band races through the maniacal dark HC thrash of "I Know A Place" and "Own Way"'s weird serpentine riffing and oompa beat, and finishing with "Lice And Flies", which stands out as the strangest song on here. It opens with some odd psychedelic noise and guitar noodling before tearing into the EP's most feral thrash assault, bestial vocals roaring over some very odd fastpaced hardcore, creepy and trippy, breaking down into a midtempo skank with whooshing fx and gravelly singing that has a vague gothy feel, almost like a grittier TSOL, before speeding back up into the weird wind tunnel thrash freakout. Absolutely killer. The mix of the quasi-death metal vocals, subtle psychedelic sounds and wonky thrash made for one of the most idiosyncratic hardcore Eps of the early 80's, and it has lost an ounce of its potency since then. Completely crucial for fans of ugly, fucked-up outsider hardcore.
After the nuclear ferociousness and psych-tinged weirdness of their debut 7", where could United Mutation go? From what their follow up 7" Rainbow Family tells us, the ticket was to just get weirder. Considered by many to be their finest moment, this five song Ep from 1985 serves up more of their unique, extreme psychotic hardcore that sounded unlike anything else from that time period. Between segments of a homeless man talking about time travel and other pressing issues, United Mutation blast out an even trippier version of their high-speed thrash, slowing the tempo to a rocking mid-tempo fury and adding copious amounts of reverb and fx to the guitar, giving the riffs and leads a much more psychedelic quality. The eerie solos echo through the songs and give these songs an increasingly creepy feel, and the distinctive guttural vocals are just as deep and monstrous as they were on Fugitive Family, a demonic rasping growl that pre-dates what death metal vocalists would be doing several years down the road. The songs are all laced with psychedelic moves that they only flirted with before; here, songs like "Infinite Regression" and "Take Your Pick" work weird percussive noises, vocal/noise samples and effects into the rocking punk, and "Manna" reveals shades of twangy cowpunk. The highlight, however, is "Zone", where the band brings together the introspective, often morbid lyrics and almost krautrock-like pummel that explodes into furious dark hardcore. Their eagerness to experiment and fuck around with the parameters of hardcore is obvious (as is their love of Hawkwind and 70's psych rock), and Rainbow Person continues to be one of the strangest hardcore 7"s from that era.
The a-side features Fugitive Family followed by seven other songs; "You Send Me" is an early ripper from the band with weird flanged guitar, almost deathly thrashpunk that fucking kills; that's followed by the snotty "Wake Up" and the hyperspeed HC of "Tear Down" and "Happy Daze", then the speedy punk of "So Morose " that incorporates weird metallic clanking noises; the songs "Sons Of Sunoco" and "Rock N Roll Party" feature a different singer, the first a more straightforward punk song, but the second is a slow dirge with odd electronic noises and handclaps, sort of like Flipper or Drunks With Guns at first, then getting faster and more freaked out and psychedelic.
After the Rainbow Person tracks on the b-side, the record ends with "Sensations Fix", which adds saxophone and synthesizer to their wicked psychedelic punk, and the spacey "Continents", both recorded live at a show in DC with Flipper from 1987; this stuff is really Hawkwind-influenced, and we gotta wonder what their stuff would have sounded like after this if the band had ever recorded another full length album...


UNITED MUTATION   Fugitive Family   7 INCH VINYL   (DSI Records)    20.00



In the annals of DC hardcore, there is none more obscure than United Mutation. Well, maybe not; that distinction would actually probably go to Skewblad or Double-O. But United Mutation definitely never got the attention that they deserved, at least not outside of the Northern Virgina area. Hell, we didn't find out how awesome this band was until well after we had raided the Dischord catalog, long after UM had broken up. But alongside the mighty Void, United Mutation were responsible for some of the most psychotic (and weird) hardcore to come out of this esteemed scene, playing a style of fast, manic thrash that was noteworthy not only for the fucked-up guitar playing that put these guys closer to the likes of Die Kreuzen and the aforementioned Void, but also for their tendency to experiment with their sound, often bringing in some very un-hardcore influences such as pyschedelia and a blatant love of Hawkwind. While their early releases were firmly rooted in crazed thrash, each subsequent release saw United Mutation moving into stranger territory, and by the time that they released their Freaks Out album at the end of the 80s, they were dropping long spaced out psych-punk jams in between blasts of savage thrash. You can see where United Mutation would become one of our fave bands from this era, once we finally caught on to them.
The bad news is that, up until recently, it was next to impossible to get your hands on any of their releases outside of grody mp3s on the net. Their entire catalog has been out of print for years, and as more and more hardcore fans have been searching out lesser known, weirder denizens of the second wave of US hardcore, everyone keeps coming to United Mutation, who are now considered to be a big influence on all of the psycho-core that's come out since then. The good news, at least for you folks, is that the guys in United Mutation have recently reissued their first two 7"s on a single CD on their own label DSI in an inexpensive edition that finally gives you the chance to hear their early output. And on top of that, we've managed to get our hands on the remaining available stock of several long out-of-print releases from United Mutation that we're able to make available through C-Blast. This stuff is rare, and it ain't cheap, but we've got this stuff (which includes their late 80s represses of the first two 7"s, their ultra-rare Freaks Out Lp, and the semi-discography Cd on Lost & Found) available at cheaper prices than you'll no doubt be able to find them going for on Ebay.
The band's first vinyl release was 1983's Fugitive Family, a six song Ep that featured some of the most brutal hardcore ever released up to that point. The only other bands that were doing anything like the savage thrash on Fugitive Family around this time were Void, Negative Approach, Septic Death, Siege and Die Kreuzen. Starting off with "Fugitive Family / Plain Truth", the band descends into a thrashing proto-crust assault with shockingly deep (for the time) guttural vocals, speedy sinister hardcore with catchy riffs, fast drumming, and smatterings of screaming metal soloing. You can hear that energetic DC punk vibe in there, but this sounds way darker than most of the DC area bands. It's followed by the rapid-fire thrash of "Final Solution" and ""Passout" and the Siege-like mayhem of "It's Over", which fucking KILLS and is a high water mark in extreme early 80's 'core. On the flipside, the band races through the maniacal dark HC thrash of "I Know A Place" and "Own Way"'s weird serpentine riffing and oompa beat, and finishing with "Lice And Flies", which stands out as the strangest song on here. It opens with some odd psychedelic noise and guitar noodling before tearing into the EP's most feral thrash assault, bestial vocals roaring over some very odd fast paced hardcore, creepy and trippy, breaking down into a mid-tempo skank with whooshing fx and gravelly singing that has a vague gothy feel, almost like a grittier TSOL, before speeding back up into the weird wind tunnel thrash freak-out. Absolutely killer. The mix of the quasi-death metal vocals, subtle psychedelic sounds and wonky thrash made for one of the most idiosyncratic hardcore Eps of the early 80's, and it has lost an ounce of its potency since then. Completely crucial for fans of ugly, fucked-up outsider hardcore.
Long out of print, this is the original 1989 repress version that features the bonus a-side track "It's Over" which did not appear on the original pressing, released in a limited edition of 500 copies packaged in a photocopied sleeve with lyric sheet.
Track Samples:
Sample : Final Solution
Sample : Fugitive Family
Sample : Passout



UNITED MUTATION   Fugitive Family / Rainbow Person   CD   (DSI Records)    6.98



In the annals of DC hardcore, there is none more obscure than United Mutation. Well, maybe not; that distinction would actually probably go to Skewblad or Double-O. But United Mutation definitely never got the attention that they deserved, at least not outside of the Northern Virgina area. Hell, we didn't find out how awesome this band was until well after we had raided the Dischord catalog, long after UM had broken up. But alongside the mighty Void, United Mutation were responsible for some of the most psychotic (and weird) hardcore to come out of this esteemed scene, playing a style of fast, manic thrash that was noteworthy not only for the fucked-up guitar playing that put these guys closer to the likes of Die Kreuzen and the aforementioned Void, but also for their tendency to experiment with their sound, often bringing in some very un-hardcore influences such as pyschedelia and a blatant love of Hawkwind. While their early releases were firmly rooted in crazed thrash, each subsequent release saw United Mutation moving into stranger territory, and by the time that they released their Freaks Out album at the end of the 80s, they were dropping long spaced out psych-punk jams in between blasts of savage thrash. You can see where United Mutation would become one of our fave bands from this era, once we finally caught on to them.
The bad news is that, up until recently, it was next to impossible to get your hands on any of their releases outside of grody mp3s on the net. Their entire catalog has been out of print for years, and as more and more hardcore fans have been searching out lesser known, weirder denizens of the second wave of US hardcore, everyone keeps coming to United Mutation, who are now considered to be a big influence on all of the psycho-core that's come out since then. The good news, at least for you folks, is that the guys in United Mutation have recently reissued their first two 7"s on a single CD on their own label DSI in an inexpensive edition that finally gives you the chance to hear their early output. And on top of that, we've managed to get our hands on the remaining available stock of several long out-of-print releases from United Mutation that we're able to make available through C-Blast. This stuff is rare, and it ain't cheap, but we've got this stuff (which includes their late 80s represses of the first two 7"s, their ultra-rare Freaks Out Lp, and the semi-discography Cd on Lost & Found) available at cheaper prices than you'll no doubt be able to find them going for on Ebay.
This new CD combines the tracks from both the Fugitive Family 7" and the Rainbow Person 7" on a single disc, and includes the psych-punk jam "Sensations Fix" which was previously only available on their Freaks Out Lp.
The band's first vinyl release was 1983's Fugitive Family, a six song Ep that featured some of the most brutal hardcore ever released up to that point. The only other bands that were doing anything like the savage thrash on Fugitive Family around this time were Void, Negative Approach, Septic Death, Siege and Die Kreuzen. Starting off with "Fugitive Family / Plain Truth", the band descends into a thrashing proto-crust assault with shockingly deep (for the time) guttural vocals, speedy sinister hardcore with catchy riffs, fast drumming, and smatterings of screaming metal soloing. You can hear that energetic DC punk vibe in there, but this sounds way darker than most of the DC area bands. It's followed by the rapid-fire thrash of "Final Solution" and ""Passout" and the Siege-like mayhem of "It's Over", which fucking KILLS and is a high water mark in extreme early 80's 'core. On the flipside, the band races through the maniacal dark HC thrash of "I Know A Place" and "Own Way"'s weird serpentine riffing and oompa beat, and finishing with "Lice And Flies", which stands out as the strangest song on here. It opens with some odd psychedelic noise and guitar noodling before tearing into the EP's most feral thrash assault, bestial vocals roaring over some very odd fast paced hardcore, creepy and trippy, breaking down into a mid-tempo skank with whooshing fx and gravelly singing that has a vague gothy feel, almost like a grittier TSOL, before speeding back up into the weird wind tunnel thrash freak-out. Absolutely killer. The mix of the quasi-death metal vocals, subtle psychedelic sounds and wonky thrash made for one of the most idiosyncratic hardcore Eps of the early 80's, and it has lost an ounce of its potency since then. Completely crucial for fans of ugly, fucked-up outsider hardcore.
After the nuclear ferociousness and psych-tinged weirdness of their debut 7", where could United Mutation go? From what their follow up 7" Rainbow Family tells us, the ticket was to just get weirder. Considered by many to be their finest moment, this five song Ep from 1985 serves up more of their unique, extreme psychotic hardcore that sounded unlike anything else from that time period. Between segments of a homeless man talking about time travel and other pressing issues, United Mutation blast out an even trippier version of their high-speed thrash, slowing the tempo to a rocking mid-tempo fury and adding copious amounts of reverb and fx to the guitar, giving the riffs and leads a much more psychedelic quality. The eerie solos echo through the songs and give these songs an increasingly creepy feel, and the distinctive guttural vocals are just as deep and monstrous as they were on Fugitive Family, a demonic rasping growl that pre-dates what death metal vocalists would be doing several years down the road. The songs are all laced with psychedelic moves that they only flirted with before; here, songs like "Infinite Regression" and "Take Your Pick" work weird percussive noises, vocal/noise samples and effects into the rocking punk, and "Manna" reveals shades of twangy cowpunk. The highlight, however, is "Zone", where the band brings together the introspective, often morbid lyrics and almost krautrock-like pummel that explodes into furious dark hardcore. Their eagerness to experiment and fuck around with the parameters of hardcore is obvious (as is their love of Hawkwind and 70's psych rock), and Rainbow Person continues to be one of the strangest hardcore 7"s from that era.
Tacked on to the end of this disc is the song "Sensations Fix", a sax and synthesizer augmented psych-punk wig out that totally betrays the bands love of Hawkwind and old space rock.
Comes in a simple black and white sleeve.
Track Samples:
Sample : Final Solution
Sample : Fugitive Family
Sample : Infinite Regression
Sample : Passout
Sample : You Send Me



UNITED MUTATION   Rainbow Person   7 INCH VINYL   (DSI Records)    20.00



In the annals of DC hardcore, there is none more obscure than United Mutation. Well, maybe not; that distinction would actually probably go to Skewblad or Double-O. But United Mutation definitely never got the attention that they deserved, at least not outside of the Northern Virgina area. Hell, we didn't find out how awesome this band was until well after we had raided the Dischord catalog, long after UM had broken up. But alongside the mighty Void, United Mutation were responsible for some of the most psychotic (and weird) hardcore to come out of this esteemed scene, playing a style of fast, manic thrash that was noteworthy not only for the fucked-up guitar playing that put these guys closer to the likes of Die Kreuzen and the aforementioned Void, but also for their tendency to experiment with their sound, often bringing in some very un-hardcore influences such as pyschedelia and a blatant love of Hawkwind. While their early releases were formly rooted in crazed thrash, each subsequent release saw United Mutation moving into stranger territory, and by the time that they released their Freaks Out album at the end of the 80s, they were dropping long spaced out psych-punk jams in between blasts of savage thrash. You can see where United Mutation would become one of our fave bands from this era, once we finally caught on to them.
The bad news is that, up until recently, it was next to impossible to get your hands on any of their releases outside of grody mp3s on the net. Their entire catalog has been out of print for years, and as more and more hardcore fans have been searching out lesser known, weirder denizens of the second wave of US hardcore, everyone keeps coming to United Mutation, who are now considered to be a big influence on all of the psycho-core that's come out since then. The good news, at least for you folks, is that the guys in United Mutation have recently reissued their first two 7"s on a single CD on their own label DSI in an inexpensive edition that finally gives you the chance to hear their early output. And on top of that, we've managed to get our hands on the remaining available stock of several long out-of-print releases from United Mutation that we're able to make available through C-Blast. This stuff is rare, and it ain't cheap, but we've got this stuff (which includes their late 80s represses of the first two 7"s, their ultra-rare Freaks Out Lp, and the semi-discography Cd on Lost & Found) avialable at cheaper prices than you'll no doubt be able to find them going for on Ebay.
After the nuclear ferociousness and psych-tinged weirdness of their debut 7", where could United Mutation go? From what their follow up 7" Rainbow Family tells us, the ticket was to just get weirder. Considered by many to be their finest moment, this five song Ep from 1985 serves up more of their unique, extreme psychotic hardcore that sounded unlike anything else from that time period. Between segments of a homeless man talking about time travel and other pressing issues, United Mutation blast out an even trippier version of their high-speed thrash, slowing the tempo to a rocking mid-tempo fury and adding copious amounts of reverb and fx to the guitar, giving the riffs and leads a much more psychedelic quality. The eerie solos echo through the songs and give these songs an increasingly creepy feel, and the distinctive guttural vocals are just as deep and monstrous as they were on Fugitive Family, a demonic rasping growl that pre-dates what death metal vocalists would be doing several years down the road. The songs are all laced with psychedelic moves that they only flirted with before; here, songs like "Infinite Regression" and "Take Your Pick" work weird percussive noises, vocal/noise samples and effects into the rocking punk, and "Manna" reveals shades of twangy cowpunk. The highlight, however, is "Zone", where the band brings together the introspective, often morbid lyrics and almost krautrock-like pummel that explodes into furious dark hardcore. Their eagerness to experiment and fuck around with the parameters of hardcore is obvious (as is their love of Hawkwind and 70's psych rock), and Rainbow Person continues to be one of the strangest hardcore 7"s from that era.
Rainbow Person was repressed in 1989 in an edition of five hundred blue vinyl copies in a black and white sleeve, and has been out of print for almost two decades. These copies that we obtained are from that second limited pressing, and once these are gone, we'll never have this available again...
Track Samples:
Sample : Infinite Regression



UNITED MUTATION   self-titled   CD   (Lost & Found)    17.98



In the annals of DC hardcore, there is none more obscure than United Mutation. Well, maybe not; that distinction would actually probably go to Skewblad or Double-O. But United Mutation definitely never got the attention that they deserved, at least not outside of the Northern Virgina area. Hell, we didn't find out how awesome this band was until well after we had raided the Dischord catalog, long after UM had broken up. But alongside the mighty Void, United Mutation were responsible for some of the most psychotic (and weird) hardcore to come out of this esteemed scene, playing a style of fast, manic thrash that was noteworthy not only for the fucked-up guitar playing that put these guys closer to the likes of Die Kreuzen and the aforementioned Void, but also for their tendency to experiment with their sound, often bringing in some very un-hardcore influences such as pyschedelia and a blatant love of Hawkwind. While their early releases were firmly rooted in crazed thrash, each subsequent release saw United Mutation moving into stranger territory, and by the time that they released their Freaks Out album at the end of the 80s, they were dropping long spaced out psych-punk jams in between blasts of savage thrash. You can see where United Mutation would become one of our fave bands from this era, once we finally caught on to them.
The bad news is that, up until recently, it was next to impossible to get your hands on any of their releases outside of grody mp3s on the net. Their entire catalog has been out of print for years, and as more and more hardcore fans have been searching out lesser known, weirder denizens of the second wave of US hardcore, everyone keeps coming to United Mutation, who are now considered to be a big influence on all of the psycho-core that's come out since then. The good news, at least for you folks, is that the guys in United Mutation have recently reissued their first two 7"s on a single CD on their own label DSI in an inexpensive edition that finally gives you the chance to hear their early output. And on top of that, we've managed to get our hands on the remaining available stock of several long out-of-print releases from United Mutation that we're able to make available through C-Blast. This stuff is rare, and it ain't cheap, but we've got this stuff (which includes their late 80s represses of the first two 7"s, their ultra-rare Freaks Out Lp, and the semi-discography Cd on Lost & Found) available at cheaper prices than you'll no doubt be able to find them going for on Ebay.
This long out-of-print Cd from 1997 sums up how confusing the United Mutation catalog is. Released on the notorious German label Lost And Found, this disc was a quasi-discography CD that contained the bulk of United Mutation's recorded output, but is missing a bunch of key material and leaves off a track ("Lice And Flies") from the Fugitive Family 7". At the same time, some of the stuff on here isn't found anywhere else, so trying to get everything that the 'Mutation recorded ends up being a little bit of a headache.
The disc contains the Fugitive Family 7" minus that last track, and wigged-out live versions of the tracks from the Rainbow Family 7" where the songs get stretched into more psychedelic-stained versions of the originals; one of the biggest differences with this live set is that the vocals aren't guttural and monstrous like they are on the 7", instead delivered with this weirdly soulful howl. The actual 7" tracks, however, do not appear here. Then there are most (but not all) of the tracks that appeared on United Mutation's super-rare Kyo Ki 7" that came out on Lost And Found in 1990, a bunch of short and furious songs that were even more crazed and unhinged than their earlier work, thrashy and chaotic blasts of bestial antisocial punk that the band hammered out at high velocity, blending together Siege-like blastcore, bizarre jazzy sections, copious amounts of spacey guitar fx and apocalyptic lyrics...this stuff is fucking amazing, and a must-hear for fans of the 7"s.
Plus, there's a bunch of other studio tracks that we've never heard anywhere else, like the absolutely amazing (and bizarre) new versions of "Rock N Roll Party" and "Take Your Pick" that are turned into Hawkwind meets Negative Approach psych-thrash, and it closes with the songs "Sensations Fix" and "Continents" that originally appeared on the Freaks Out Lp.
This is a mish-mash of Mutation material that we wish could have been more comprehensive, but it is worth it for hardcore United Mutation fans who don't have that rare Kyo Ki Ep and who need to have everything that this amazing psychedelic hardcore band ever released. Here's what we said about the Fugitive Family Ep, which is included: The band's first vinyl release was 1983's Fugitive Family, a six song Ep that featured some of the most brutal hardcore ever released up to that point. The only other bands that were doing anything like the savage thrash on Fugitive Family around this time were Void, Negative Approach, Septic Death, Siege and Die Kreuzen. Starting off with "Fugitive Family / Plain Truth", the band descends into a thrashing proto-crust assault with shockingly deep (for the time) guttural vocals, speedy sinister hardcore with catchy riffs, fast drumming, and smatterings of screaming metal soloing. You can hear that energetic DC punk vibe in there, but this sounds way darker than most of the DC area bands. It's followed by the rapid-fire thrash of "Final Solution" and ""Passout" and the Siege-like mayhem of "It's Over", which fucking KILLS and is a high water mark in extreme early 80's 'core. On the flipside, the band races through the maniacal dark HC thrash of "I Know A Place" and "Own Way"'s weird serpentine riffing and oompa beat, and finishing with "Lice And Flies", which stands out as the strangest song on here. It opens with some odd psychedelic noise and guitar noodling before tearing into the EP's most feral thrash assault, bestial vocals roaring over some very odd fast paced hardcore, creepy and trippy, breaking down into a midtempo skank with whooshing fx and gravelly singing that has a vague gothy feel, almost like a grittier TSOL, before speeding back up into the weird wind tunnel thrash freakout. Absolutely killer. The mix of the quasi-death metal vocals, subtle psychedelic sounds and wonky thrash made for one of the most idiosyncratic hardcore Eps of the early 80's, and it has lost an ounce of its potency since then. Completely crucial for fans of ugly, fucked-up outsider hardcore.
Track Samples:
Sample : Continents
Sample : Final Solution
Sample : Fugitive Family
Sample : Infinite Regression
Sample : Passout
Sample : Sensations Fix



URAL UMBO   Latent Defects   CASSETTE   (Utech)    6.98



Again, a nude form on the cover and some mysterious occult symbols beckon us to enter the dark glitchy cinematic dronescapes of Ural Umbo, the German duo of Reto Mäder and Steven Hess. This cassette only release that Utech issued as a companion piece to their self-titled album features new material that was created by using the recordings from the debut as source material, forming all new panoramas of twilight ambience and ritual atmosphere.
The first side of Latent Defects combines long abstract fields of minimal drone with descents into darker, more sinister sonic territory. The opening "Unknown Chemistry" begins it as a sea of soft scraping whirr, charging the atmosphere with wisps of metallic shimmer and stretched out feedback that uncoil over a dark expanse of low end thrum and rhythmic rumblings. An eerie metallic dronescape populated with cymbals and sheets of metal warped and stretched into a swirling aphotic haze, joined by swells of seriously ominous strings and horns and other symphonic sounds, chimes and bell-like tones and rattling noises appearing and forming a rattling submerged rhythm underneath this dark orchestral ritual drift. That tracks is gorgeous and mysterious and sets the dark tone that continues through the rest of the tape. It's followed by "Like a Supine Form Audio", which at first sounds like Middle Eastern music fading in and out of focus, but then the track gradually opens up into a vast field of dark, dream-like sound, with strange snarling beasts and tinkling wind-chimes beneath a wave of strings and synths playing a stunningly gorgeous melody, accompanied by the sound of winds rushing through space, the music folding back in on itself and towards the end breaking down into backward melody and buzzing drones; after that comes a softly played xylophone-like melody that echoes through clouds of delicate feedback, abstract minimal percussion and crackling shortwave transmissions, an abstract twilight beauty.
On side b, the sound re-enters as a a gorgeous shimmering kosmiche blissout "Behind the Curtains", the warbling melodic synths drifting over looped drones and strange metallic ringing and clanking sounds. More minimal and subdued, the "Elastic Curve" winds an eerie drone through swarms of swirling buzz while a low, minor key melody rumbles in the background. Some high pitched sinewaves snake through the track alongside plumes of prayer bowl whirr, and after a couple of minutes, thick washes of cymbals and a dissonant piano-like presence appear, dragging the sound down into a creepy abstract doom-laden ambience. The final track is a hazy din of metalscrape that's whipped into an endless nebula of high end drone with deeper, heavier rumblings taking form down below, building into a swirling chaos of random metallic noise, creaking metal locked into strange grooves, heavy dubbed-out snare drum hits, horn like honking, even some violin, and in the last several minutes, it turns into something that sounds like a strange broken-down machine orchestra playing creepy chamber prog a la Univers Zero.
Limited to two hundred copies.


UTSURO BUNE   The Drone Remains The Same   CD-R   (Heavy Lifting)    4.99













VAN HASSELT, JAN   Skills / Faces   DVD   (Blossoming Noise)    11.98



A fascinating experimental documentary on the aesthetics of noise as sound art, Skills is the first of two short films from German director Jan Van Hasselt that are featured on this Dvd release from Blossoming Noise. Part interview-based documentary and part experimental film, the thirty-minute Skills follows Australian noise performer Lucas Abela (aka Justice Yeldham), Rudolf Eb.er of Runzelstirn & Gurgelstock, and avant-garde composer Zbigniew Karkowski and features commentary from each on the act of creation and recording, the aesthetics of performing "noise" in a live setting, the use of computers in noise, and improvisation. This footage of the artists speaking about their work is intercut with images of eerie empty streets at night, a few moments of Lynchian weirdness and slow-motion grotesqueries such as Abela smashing his face against a vaseline-smeared plate of glass, and Eb.er abusing his contact mic'd scrotum to create a grueling fog of low-end rumble. Yikes! The focus of this is definitely on the more confrontational and abrasive ends of noisy sound-art, and it's an extremely interesting (albeit occasionally uncomfortable) look at the inner processes of these three artists. Even the sound design of the DVD is structured to attack your senses, like when the footage is suddenly shot through with abrasive high pitched frequencies and other jarring noises. There's plenty of abbreviated live footage of all three artists, and one of the film's most interesting moments is when both Karkowski and Abela mention the "shamanistic" qualities of what they do, and when Eb.er discusses the connection between his brand of electro-acoustic terror and his background in martial arts.
The other film Faces is actually a series of short-short pieces based around footage of live performances from Peter Flemmig, Dave Phillips (Fear Of God/Schimpfluch-Gruppe/Dead Peni), MSBR, Kouhei Matsunaga, and Tim Hecker in Europe. Each of these pieces focuses more on the audience reactions and crowd chatter during the performance than the artist or the music itself, and it's an interesting look at the relationship between artist and audience in regards to experimental music and noise.
The DVD includes liner notes from festival organizer Michael Hohendorf, and is limited to three hundred copies.


VANESSA VAN BASTEN   self-titled   LP   (KNVBI Records)    12.98



It's absolutely shocking to us that this instrumental duo from Genoa, Italy isn't far better known and popular than they are. Like Souvenirs Young America, Vanessa Van Basten craft expansive rolling instrumentals with gorgeous guitar melodies, twangy sun-baked moodiness and trippy synth/electronics gliding across propulsive rhythms and sparse eruptions of metallic chug, but this duo takes this sound into darker, more shoegazey territory, and also incorporates certain elements of industrial music, electronica, prog rock and pop, producing a sound that is both complex and atmospheric, multi-layered and vibrantly catchy. This Lp is a vinyl reissue of the first demo that the band released, but the seven songs featured on here hardly sound like a band just starting to find their footing. The music moves from crushing slow-motion doom metal strafed with strange stuttering distorted vocals and electronic textures and delicate clean guitar into dreamy psychedelic folk and swirling MBV-waves of guitar distortion, spacey electronic whoosh and symphonic strings draped across stark slowcore-like passages and huge Godflesh-like metallic machine pummel, gorgeous ethereal female voices and shimmering Slowdive-like beauty breaking out of stretches of immense heaviness, the band even introducing what sound like steel drums on one song. The recording features s guest appearance from China from Italian black metallers Spite Extreme Wing, but there's virtually no blackness in here; it's a kind of soaring, powerful slow-motion prog fueled with Floydian guitars and gorgeous, breathtaking melodies, the only voices heard coming from sampled dialogue in Italian.
Repeated listens reveal where Vanessa Van Basten are drawing their sound from; you can hear the majestic undertow of Justin Broadrick's heaviest outfits, the ascendant drama of newer Neurosis, the film scores of Badalamenti, the soaring dark pop of Lycia, and the celestial beauty of 70's space music at different points in these songs. But the band brings all of this together seamlessly and makes the sum of the influences something that sounds very new, even unique, with both the creative ways in which their songs are arranged, to the absolutely gorgeous melodies that wind and weave their way through this music. The band would really hit their stride with their amazing first album La Stanza Di Swedenborg, but these early recordings show that the band was fully formed virtually from the beginning, and were capable of creating equally moving and cinematic heaviness.
Essential listening for fans of Jesu, The Angelic Process, Nadja, and all other blissed out, dreamy, sludgy heaviness. Pressed on colored vinyl, and limited to three hundred copies.


VARIOUS ARTISTS   Brick By Brick   7 x 3" CDR BOXSET   (Small Doses)    26.98



This compilation from Small Doses showcases an array of noise artists working within the aesthetic of HNW, and covers more well-known names like Vomir and the Italian horror movie obsessed group Four Flies, as well as newer artists (at least to us) White Plague, Ryan Bloomer, Griz-zlor, A View From Nihil, and Infirmary. There's almost two and a half hours of harsh, crushing, immersive walls of distortion that are mapped out across seven discs, each artist featured on a separate disc, and the set is attractively packaged in a chunky black binder-box with black-on-black artwork, a printed HNW manifesto from Vomir, a twelve-page booklet, and a 1" HNW button.
Disc one is A View From Nihil's "Creation In Order To Subdue The Torment Of Perception", a massive, churning twenty-minute dust storm of buzzing particulate matter and swirling grit, the distortion whipped around in great loops and whorls with ghost traces of melody taking form deep beneath the layers of crunch. This slab of wall-noise is quite hypnotic and ominous. The second disc has "Taking It On The Jaw" from Canadian noise artist Ryan Bloomer, whose rapid, fluttering distortion beats black wings against clouds of minimal hiss, getting more and more active and chaotic, somewhat similar to the suffocating crackle of The Rita's recent album The Voyage Of The Decima MAS, building into a dense wall of static, roiling crunchy sheets of brutal chopped up glitch chaos.
The Four Flies disc features two tracks; another HNW project from Richard Ramirez who teams up with Christian Perdome, Matthew Solondz & Hageshiseto Ohno, blasting through “I Was Made Of Blisters And Remorse”, a sixteen minutes monolith of crushing looped blasts of distorted bass and rhythmic pounding punishment; the second, "The Beast Of Scars" more muted, releasing a smoldering black lava-flow of creeping static and throbbing bass flux. Griz+zlor's untitled twenty minute offering is a maelstrom of immersive black buzz, a thick & murky take on HNW that's similar to Vomir, the dense and almost completely unchanging roar delivering a constant & brutally hypnotic attack. Infirmary's disc "Hold" is equally merciless; a roaring thick slab that pretty much loops the same bellowing oceanic frequency over the entire length of the track, a total avalanche-of-metal void.
The untitled disc/track from France's Vomir is more of the master's incredibly focused and minimalist form of drone-noise, made up of two main tones; one a taut static buzz, and the other a deeper, more tectonic bass-heavy rumble, fused together into a crushing non-dynamic blast of black fire. And on the seventh disc, the duo White Plague brings us "Viral Replication", another brutal, enveloping sea of crackling, roaring low-end violence, constantly churning and rumbling, with slight, almost imperceptible shifts in speed and texture that occur over the duration.
A wealth of high quality harsh noise collected together in a fantastic package, recommended to fans of time-melting meditative noise.


VEGAS MARTYRS   Vancouver Missing Women   CASSETTE   (Hospital Productions)    8.00













VEKTOR   Black Future   2xLP   (Heavy Artillery)    25.98



The stunning debut from sci-fi prog-thrashers Vektor is now available as a deluxe double Lp set, pressed on black vinyl and presented in a gatefold jacket with full color inner sleeves, issued in a limited edition of three hundred copies.
I've read a handful of reviews of this album that have come out in the past few months since Black Future came out, several of which accused Vektor of ripping off Voivod's sound wholesale. I dunno what it is that these people are listening to, because Vektor hardly sounds like a Voivod tribute band to my ears. I'm presuming that Vektor's spiky, mechanistic logo (which definitely looks like something that Away would have designed) and the dystopian sci-fi themes in their artwork and lyrics (and songs titles like "Destroying the Cosmos", "Dioxyribonucleic Acid", "Dark Nebula", and "Accelerating Universe) are what's generating all of the comparisons to the Canadian sci-fi thrash metal masters, but musically, the sound of Black Future is straight Teutonic thrash, run through Vektor's super-progged out astro-physics processors but not lacking one ounce of vicious riffage. Ok, yes, once you get deeper into the album (starting around "Destroying The Cosmos"), the guitarists do begin to bring out some dissonant skronky chords and weirdo riffing that's obviously influenced by the brilliantly wonky style of Voivod guitarist Piggy, but these moments only appear fleetingly as brief blips of technoid weirdness that are quickly enough absorbed back into the blistering high speed thrash assault. Vektor's sound is both ripping and progressive, combining a heavy Kreator/Destruction/later-era Sodom influence with spiraling, expansive arrangements that incorporates harsh blackened riffing, galloping thrash metal, dizzying transitions into jazz-fusion inspired sections, wild harmonized shredding, wicked snarling vocals (that resemble those of Germanic thrashers Destruction quite a bit), electronic effects, eerie acoustic guitars, ominous black-hole synthesizer accompaniment, and furious speed picking woven up into songs that sometimes stretch on for more than ten minutes, allowing Vektor to race through a myriad of proggy concepts. The music begins to move into more psychedelic territory at the end of the album with a pair of monstrous jams, each filled with bubbling outer-space synths and soundtracky electronics and intricate thrash arrangements, morphing complex prog-thrash into brooding post-rock codas with haunting flurries of guitar tremolo and acoustic strum, Tangerine Dreams-esque cosmic ambience blooming, then torn apart by bursts of fierce galloping thrash metal. Fucking killer! Highly recommended if yer into the tech-thrash of Sadus, Voivod, Mekong Delta, early Atheist, Watchtower and even the metallic prog of newer bands like Behold...The Arctopus. Includes a large oversized foldout poster/booklet.
Track Samples:
Sample : Asteroid
Sample : Dark Nebula
Sample : Hunger For Violence
Sample : Oblivion



VELNIAS   Untitled Tour   CD-R   (Self Released)    13.98











Track Samples:
Sample : VELNIAS-Untitled Tour



VELVET CACOON   P aa opal poere pr.33   CD   (Starlight Temple Society)    9.98











Track Samples:
Sample : Marylux
Sample : Sovarine



VILLAINS   Lifecode Of Decadence   CD   (Nuclear War Now! Productions)    12.98











Track Samples:
Sample : Headless Excruciator
Sample : Lifecode of Decadence
Sample : Overdriven Lust



VILLAINS   Lifecode Of Decadence   LP   (Nuclear War Now! Productions)    15.98











Track Samples:
Sample : Headless Excruciator
Sample : Lifecode of Decadence
Sample : Overdriven Lust



VOIDWORK   Horror / Forsaken   CD   (Black Drone)    11.98



A surreal neo-classical nightmare that opens with the sound of a woman weeping, along with doleful viola-like synths and distant tolling bells, enshrouding the atmosphere of Horror/Forsaken in darkness and misery from the very beginning. Voidwork's second album combines dark ambiance with haunting classical music and subtle shades of neo-folk, and features the vocals of Ann-Mari Thim from the baroque dark ambient project Arcana, which had a number of releases on the Cold Meat Industries label. Thim joined founding member Xavier De Schuyter for this album, and the duo devised Horror/Forsaken to be experienced as two separate entities. The first half of the disc centers around a nightmarish, often surreal environment that infuses the Coil-like industrial soundscapes with eerie folk melodies, classical strings, booming kettledrums, dissonant piano and layered voices, creepy, complex music with a somewhat theatrical feel. Horrific screams and creepy operatic voices combine with strings stretched into vast fields of dark drift and deep Lustmordian drones, and legions of terror-struck voices rise out of the depths like chorales from hell; much of this sounds like a horror movie score, which is apparently what they were going after, taking a lot of their inspiration from symphonic horror soundtracks, mixed with a much darker version of Dead Can Dance. It wanders into gothic melodrama at times whenever the creepy old obscure horror movie samples or deep male vocals of De Schuyter appear, but even then they manage to keep this from getting cheesy thanks to the pitch-black vibes that run throughout the album. The black cosmic ambience is laced with all kinds of instrumental creepiness, with the second half of the album moving from the operatic, classical-tinged sounds into more abstract ambience, the hellish vast chasms and hovering black synth drones lurking beneath clouds of ringing, sparkling chimes and oud-like Middle Eastern melodies, fragmented choirs and pipe organ sounds wafting up from subterranean chambers, the atmosphere thick with a liturgical solemnity.
The disc comes in a full color four panel digipack and is limited to three hundred copies.
Track Samples:
Sample : The Black Goat
Sample : Marble Steps
Sample : Serpent's Lullaby III



VON GOAT   Septic Illumination   CD   (Nuclear War Now! Productions)    12.98











Track Samples:
Sample : (Intro) Clay Jackals
Sample : Spiders
Sample : Syringes
Sample : Through Your Skull



VON GOAT   Septic Illumination   LP   (Nuclear War Now! Productions)    18.98











Track Samples:
Sample : (Intro) Clay Jackals
Sample : Spiders
Sample : Syringes
Sample : Through Your Skull



WELTER IN THY BLOOD   The Grim Visage Of Death   LP   (Black Goat)    15.98













WOLF EYES   Always Wrong   CD   (Hospital Productions)    14.98











Track Samples:
Sample : Cellar
Sample : We All Hate You



WOLF EYES   Always Wrong   LP   (Hospital Productions)    16.98











Track Samples:
Sample : Cellar
Sample : We All Hate You



WOLFSKIN + LAST INDUSTRIAL ESTATE   Stonegates Of Silence   CD   (Malignant)    11.98











Track Samples:
Sample : Criogenic
Sample : Metaphysical



WOLVSERPENT   Bloodseed   LP   (20 Buck Spin)    16.98











Track Samples:
Sample : Serpent
Sample : Wolv



WORSHIP   Last Vinyl Before Doomsday   LP   (Doomentia Records)    15.98













WRETCHED   Black Ambience   CD   (Psychedoomelic)    9.98











Track Samples:
Sample : Cold As You
Sample : When I was Alive



YEN POX   Blood Music (Re-issue)   2xCD   (Malignant)    14.98











Track Samples:
Sample : Beneath The Sun
Sample : Purgatorio



ZOROASTER / ALDEBARAN   split   7 INCH VINYL   (Kreation)    6.50



Here's one for the mud pilots...a limited edition (nine hundred pressed on black vinyl) 7" featuring an exclusive alternate recording of an Aldebaran track that had appeared in different form on their split with Rue, and two tracks from Georgia psychedelic sludge metallers Zoroaster. Both of the Zoroaster tracks also appear on their Voice Of Saturn album, so if you have that record then this 7" is a bit redundant, but the Aldebaran track is certainly worthy. They're up first with their previously unreleased version of the song "Aldebaran Red", crushing tribal doom jam loaded with wicked screeching vokills, massive pounding drums, droning black gooey riffs, a heavily down tuned and sludgy blot of sludgy slow motion metal that drones with a Floor-like low-low-end intensity. On Zoroaster's side, they start with the cyclopean stoner-doom groove of "Seeing The Dark", an infectious slab of lumbering, ultra-catchy crush with a slippery main riff and droning verse fronted by the singers harsh soulful howl (with strange whispered vocals in the background). Total sludge nirvana, but then suddenly the heaviness drops out in the middle and there's just a single plaintive piano melody that builds into a devastatingly catchy sludgepop jam, almost like a super-sludgy metallic Dinosaur Jr. tune. "Spirit Molecule" follows with a mighty thirteen minute riff-feast that stacks ghoulish Frostian growls and trippy Moog freakout on top of crushing slow-motion sludge.






ALSO IN STOCK, NOT REVIEWED:

AGALLOCH Pale Folklore CD (The End) 12.98
AGALLOCH The Mantle CD (The End) 12.98
AUFGEHOBEN Khora CD (Holy Mountain) 14.98
AUSTERITY PROGRAM Black Madonna CD (Hydra Head) 13.98
AVICHI The Divine Tragedy CD (Battle Kommand) 11.98
BARONESS Red Album CD (Relapse) 13.98
BEHEMOTHAUR Necroglacial Enema CD-R (Fauna Sabbatha) 10.98
BENIGHTED LEAMS Dhombrid Welkins CD (Supernal) 11.98
BERGRAVEN Dodsvisioner CD (Hydra Head) 13.98
BIRCHVILLE CAT MOTEL Seventh Ruined Hex CD (Important) 14.98
BLACK TO COMM Fractal Hair Geometry CD (Dekorder) 12.98
BLACK TO COMM Ruckwarts Backwards CD (Dekorder) 12.98
BLOOD OF THE BLACK OWL self titled CD (Bindrune) 11.98
BLUT AUS NORD Odinist CD (Candlelight) 13.98
BORIS + MERZBOW Rock Dream 2xCD (Southern Lord) 15.98
BOTCH We Are The Romans CD (Hydra Head) 12.98
CATACOMBS In The Depths Of R'lyeh CD (Moribund) 12.98
CIRCLE Panic CD (Ektro) 12.98
CLOCKCLEANER Babylon Rules CD (Load) 11.98
CONVERGE No Heroes CD (Epitaph) 13.98
CULT OF LUNA Somewhere Along The Highway CD (Earache) 13.98
DARUIN / TORTURING NURSE / STPOCOLO split CD-R (Neus-13) 6.98
DEAD C Harsh 70s Reality CD (Siltbreeze) 13.98
DEAD C Vain Erudite And Stupid 2xCD (Siltbreeze) 15.98
DEAD RAVEN CHOIR & MATT ROSIN Fire Mouth CD-R (Digitalis) 11.98
DEAD RAVEN CHOIR Cask Strength Black Metal 2xCD (Supernal) 14.98
DEATHSPELL OMEGA Fas CD (Ajna) 14.98
DRUDKH Estrangement CD (Supernal) 15.98
DRUDKH Songs Of Grief And Solitude CD (Supernal) 15.98
EIKENSKADEN 665.999 CD (Tumult) 13.98
ELDRIG Kali CD (Supernal) 12.98
ELDRIG Mysterion CD (Supernal) 12.98
ENSEPULCHERED Suicide In Winters Moonlight CD (Autopsy Kitchen) 9.98
ESOTERIC Subconscious Dissolution CD (Season Of Mist) 15.98
ETHEREAL WOODS Kenilsworth CD (Supernal) 12.98
ETHEREAL WOODS Thickthorn CD (Supernal) 12.98
FLESHPRESS Pillars CD (Kult Of Nihilow) 11.98
FUNERAL MIST Devilry CD (Ajna) 14.98
FUNERAL MIST Salvation CD (Ajna) 14.98
FURZE Necromanzee Cogent CD (Candlelight) 10.98
FURZE Trident Autocrat CD (Candlelight) 10.98
FURZE Utd CD (Candlelight) 10.98
GHAST may the curse bind CD (Todestrieb) 11.98
GHAST / RAPE-X split CD (Obskure Sombre) 11.98
GHAST / YOGA split CD (Choking Hazard) 11.98
HALF MAKESHIFT L'anse Amort CD (20 Buck Spin) 11.98
HALF MAKESHIFT Omen CD (Profound Lore) 13.98
HARVEY MILK Courtesy And Good Will Toward Men 2xCD (Relapse) 16.98
HARVEY MILK Life...The Best Game In Town CD (Hydra Head) 13.98
HENNES SISTE HOEST s/t CD (Init) 10.98
HOMSELVAREG HomSelvareg CD (Van) 11.98
IRAN Moonboys CD (Tumult) 12.98
IRAN s/t CD (Tumult) 12.98
IRREVERSIBLE Sins CD (This Is Hero) 12.98
ISIS + AEROGRAMME In The Fishtank CD (Konkurrent) 11.98
ITS CASUAL Buicgl CD (The Friendly Hills Recording Company) 11.98
JAPANISCHE KAMPFHORSPIELE Rauchen Und Yoga CD (Bastardised) 11.98
JONES, MASON Midnight In The Twilight Factory CD (Monotremata) 10.98
KEIJI HAINO / KK NULL Mamono CD (Blossoming Noise) 14.98
KITES Hallucination Guillotine / Final Worship CD (Load) 11.98
KNEALE, CAMPBELL Pink Stalingrad CD (Celebrate Psi Phenomenon) 16.98
KRALLICE self titled CD (Profound Lore) 13.98
KRIEG The Black House CD (Red Stream) 11.98
LEVIATHAN Verrater 2xCD (Tumult) 15.98
LOVELY LITTLE GIRLS Glamorous Piles & Puffy Saddlebags CD (A-Pop) 12.98
LUGUBRUM De Vette Cuecken CD (Red Stream) 11.98
MGR Wavering On The Cresting Heft CD (Neurot) 12.98
MAJDANEK WALTZ CD (Wroth Emitter) 11.98
MARZURAAN Five Years Worth Of Fuck All CD (At War With False Noise) 11.98
MENACE RUINE Cult Of Ruins CD (Alien8 Recordings) 11.98
MENACE RUINE The Die Is Cast CD (Alien8 Recordings) 11.98
MGR vs SIRDSS Impromptu CD (Neurot) 13.98
MOE! STAIANO MOEKESTRA Inescapable Siren CD (Amanita) 13.98
MOE!STAIANOS MOEKESTRA 2 Rooms Of Uranium Inside 83 Markers CD (Edgetone) 14.98
MOUTHUS Saw A Halo CD (Load) 11.98
MURDEROUS VISION Lifes Blood Deaths Embrace CD (Live Bait) 10.98
MY CAT IS AN ALIEN / CHRISTIAN MARCLAY & OKKYUNG LEE From The Earth To The Spheres CD (Small Voices) 11.98
NADJA Radiance Of Shadows CD (Alien8 Recordings) 13.98
NAGELFAR Virus CD (Van) 11.98
NARROWS Benjamin CD (Wantage) 12.98
NARROWS Benjamin LP (Wantage) 12.98
NOISEGATE Suspended Animation Ambient Vol.1 CD (Tumult) 12.98
NORTH What You Were CD (Cavity) 12.98
ON s/t CD (Celebrate Psi Phenomena) 16.98
PERTH EXPRESS s/t CD (Teenage Disco Bloodbath) 11.98
POCAHAUNTED / ROBEDOOR Hunted Gathering 2xCD (Digitlis) 15.98
POCCOLUS s/t CD (Supernal) 13.98
PYRAMIDS self titled 2xCD (Hydra Head) 13.98
QUEST FOR BLOOD with YUKIHIRO ISSA self titled CD (Ektro) 14.98
RAVENTALE Long Passed Days CD (Badmoodman) 11.98
RUHR HUNTER Moss As Memory CD (Glass Throat) 14.98
RUHR HUNTER / CHAOS AS SHELTER CD (Glass Throat) 11.98
RUINS OF BEVERAST Rain upon the Impure CD (Van) 11.98
SERVILLE SECT Stratospheric Passenger CD (Sounds Of Battle And Souvenir Collecting) 11.98
SIGHTINGS Through The Panama CD (Load) 11.98
SPEKTR Ex Fugit CD (Candlelight) 9.98
SPITE EXTREME WING Magnificat CD (Behemoth) 11.98
SWALLOW THE SUN Hope CD (Candlelight) 11.98
SWITCHBLADE s/t CD (Cyclop Media) 13.98
TAINT Secrets CD (Candlelight) 13.98
THE WIRE ORCHESTRA Futuristic Hymns & Broken Down Gospels Vol. 1 CD-R (MT6) 5.98
THEE MALDOROR KOLLECTIVE Themes For Proxima CD (Foreshadow) 11.98
TIME OF ORCHIDS Melonwhisper CD (self-released) 13.98
TIME OF ORCHIDS Sarcast While CD (Tzadik) 13.98
TODESSTOSS Spiegel der Urängste / Sehnsucht CD (Wroth Emitter) 11.98
TOTAL FUCKING DESTRUCTION Zen And The Art Of Total Fucking Destruction CD (Translation Loss) 12.98
TRANSMISSION0 Memory Of A Dream CD (Candlelight) 9.98
TRIST Stiny CD (Ars Magna) 9.98
TULSA DRONE Songs From A Mean Season CD (Perpetual Motion Machine) 9.98
TUMULUS Live Balkan Path CD (Wroth Emitter) 11.98
U.S. CHRISTMAS Eat The Low Dogs CD (Neurot) 14.98
USSA / HEIRS OF ROCKAFELLER split CD (MT6) 5.98
VANESSA VAN BASTEN La Stanza Di Swedenborg CD (Radiotarab) 11.98
VARGHKOGHARGASMAL Drowned In Lakes CD (Tumult) 13.98
VARIOUS In Nomine Satanas, The First Curse CD 11.98
VELVET CACOON Dextronaut 2xCD (Full Moon Productions) 14.98
VERDUNKELN Einblick in den Qualenfall CD (Van) 11.98
VINTERRIKET Wege In Die Vergangenheit 2002-2004 CD (Badmoodman) 11.98
VULTURE CLUB Live Young Die Fast And Leave An Exquisite Corpse CD (Utech) 14.98
WOLD LOTMP CD (Profound Lore) 13.98
WOLD Stratification CD (Profound Lore) 13.98
WOLF EYES Dread CD (Hanson) 13.98
WOLF EYES Slicer CD (Hanson) 13.98
WOLF EYES WITH JOHN WIESE Collection CD (Hanson) 15.98
WOLFMANGLER Dwelling In A Dead Raven For The Glory Of Crucified Wolves CD (Aurora Borealis) 11.98
WOODS OF INFINITY Hopplos Vantan CD (Supernal) 11.98
XASTHUR A Gate Through Bloodstained Mirrors 2xCD (Hydra Head) 14.98
YELLOW SWANS AT All Ends CD (Load) 11.98
YIDUAN Foggy Town CD (So Rock!) 11.98
YIDUAN Hymn CD (So Rock!) 11.98
ZAIMPH La Nuit Electrique CD (Utech) 14.98