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CRUCIAL BLAST WEBSTORE: NEW ARRIVALS FOR SUNDAY FEBRUARY 5TH 2017

      Welcome!



      Some of the other new, recently released and newly added titles that are featured on this list include:

     ...a mightily impressive debut album from FREE SALAMANDER EXHIBIT, Undestroyed, featuring members of heavy prog faves SLEEPYTIME GORILLA MUSEUM
     ...more neon-drenched, darkened synthwave from GOST and PERTURBATOR, including restocks/represses of some of their older works
     ...a restock of the CD and vinyl for MARK KORVEN's amazing and terrifying avant-garde score to last year's arthouse horror hit The VVitch
     ...a brand-new vinyl reissue of JOHN CAMERON's killer evil scuzz-psych score to the early 70s devil-biker classic Psychomania
     ...recent cassette reissues of the second and third albums from deathrock legends CHRISTIAN DEATH, Ashes and Catastrophe Ballet
     ...some killer new stuff from noisepunk label SPHC in the form of a rad new vinyl reissue of a 2008 EP from Japanese noisecore masters FINAL EXIT, and an LP of collected demos from Brazilian noisecore fiends NOISE
     ...a long-awaited vinyl reissue of PAINKILLER's Execution Ground, one of our favorite avant-jazzgrind monstrosities ever
     ...the recent split album between Cali noise terrorizers ACTUARY and black doom industrialists GNAW THEIR TONGUES on Black Horizons
     ...the latest album of sweeping, atmospheric black metal from ASH BORER, The Irrepassable Gate
     ...a clutch of crushing reissues (both CD and vinyl) out on Artoffact from pioneering power electronics/industrial/experimental sound outfit CONTROLLED BLEEDING
     ...the first three installments in the cool new New York Post-Punk/Noise series, full-length live DVDs from COP SHOOT COP, FIVE DOLLAR PRIEST, and THE HEROINE SHEIKS
     ...a brand new anthology of classic material from sludgecore legends BUZZOVEN titled Violent Hits
     ...multiple recent CD and vinyl releases from the increasingly adventurous (and consistently terrifying) Canadian death metal outfit AUROCH
     ...the CD/LP for SUBROSA's latest For This We Fought The Battle Of Ages as well as CD represses for No Help For The Mighty Ones
     ...a Crypt reissue of DECOLLATION's Cursed Lands LP, an obscure, highly messed-up blast of early 90s Swedish death metal weirdness
     ...an out-of-nowhere new album from cult UK psych/noise rockers TERMINAL CHEESECAKE, Dandelion Sauce Of The Ancients, delivering some massive blown-out psychsludge intensity
     ...a handful of killer recent releases on Annihilvs from noise-damaged sludgemongers VVLTVRE, crushing death industrialists TEN THOUSAND MILES OF ARTERIES, and Gnaw Their Tongues/Whorid offshoot SLAVERNIJ
     ...a new collaboration between BLUE SABBATH BLACK CHEER, IRR. APP. (EXT.) and NEW BLOCKADERS, DDTTNBX, serving up some seriously heavy industrial rumble
     ...an excavated Euro-import CD reissue of the cult Japanese proto-doom / dark psych mastery of Demon & Eleven Children from BLUES CREATION
     ...head-wrecking live album from Seattle math-metal/hardcore titans BOTCH, capturing the same savage final set from the band that came out on that DVD release from years ago
     ...some fantastic ultra-obscure industrial metal weirdness on Epic Recordings from CATATONIC EXISTENCE and END
     ...the vinyl version of the latest album Chapelle Ardente from moody Quebecois occult metallers CAUCHEMAR as well as restocks of their debut EP on CD, LP and out-of-print picture disc
     ...the brutal harsh noise of White Gold from the latest team up between THE CHERRY POINT and JOHN WIESE
     ...a recent CD/LP reissue of DODHEIMSGARD's second album Monumental Possession, a blast of vicious black thrash from their pre-industrial/electro black metal days
     ...a vinyl reissue of the still-bizarre Smoking Songs featuring weed-blasters EXIT-13 backing Pain Teen's singer BLISS BLOOD as they run through old pot-centric jazz/blues standards
     ...the resurrected full-length LP from long-lost Arizona heavy psych band GREYLOCK MANSION from the late 60s, hitting some early Sabbath / Iron Butterfly-level crunch and creepiness
     ...an older, awesome full-length disc of noisecore/collage/goofball/surrealism from Minneapolis greats COCK ESP, Historia De La Musica Cock
     ...the CD and vinyl for The Synarchy Of Molten Bones, the latest release from French black metal iconoclasts DEATHSPELL OMEGA
     ...the first three issues from the excellent new English-language heavy psych/stoner/doom/sludge/occult rock magazine Fire from Italy
     ...a pair of crushing live records documenting the infamous activities of Texan sludgepunk creepazoids STICK MEN WITH RAY GUNS, 1000 Lives To Die and Property Of Jesus Christ
     ...cassette reissues of early WOLF EYES works Dread and Mugger, crucial blats of blistering, blackened sonic scum from the Detroit gutters
     ...more restocks of classic nihilistic sludgecore from Boston's GRIEF on vinyl and CD
     ...excavated copies of the old Senzuri Fight Back 7" from Japanese noisecore/masturbation weirdos GEROGERIGEGEGE
     ...more noise rock goodness via some bludgeoning new reissues/collections from BABES IN TOYLAND and restocks of those recent reissues from COWS and HELIOS CREED on Amphetamine Reptile
     ...a deluxe LP reissue of DAZZLING KILLMEN's brilliant, bone-smashing math metal opus Face Of Collapse (and a restock of the long unavailable CD edition)
     ...restocks of all three of those putrid CD reissues of hallucinatory death/thrash/noise from the beastly NUCLEAR DEATH, out on Dark Symphonies
     ...a new double LP collection of grimy, corroded synthpop / gloom electronics from CONTREPOISON, featuring the madman behind AKITSA / AMES SANGLANTES
     ...a brutish new LP of heavy-duty electronic horror from BASTARD NOISE, Doomed Expedition
     ...the debut full length from Japanese doom-dub duo BEGOTTENED, featuring Corrupted frontman Chew and noise-beast Guilty Connector
     ...the latest mini-album of complex instrumental prog-death from BEHOLD THE ARCTOPUS, Cognitive Emancipation
     ...a bunch of CD/LP reissues of classic material from everyone's favorite nocturnal Teutonic jazz-dirge ensemble including Black Earth, Geisterfaust and Sunset Mission
     ...a wicked new LP featuring the long-lost recordings of the Detroit-based organ-fueled hardcore punk band THE GERBILS, fuckin' amazing early 80's weirdo-punk obscuritanism
     ...the debut full-length from Spanish death ambient / black industrial outfit BLACK EARTH, Diagrams Of A Hidden Order
     ...the latest album from German death industrialist HUMAN LARVAE Behind Blinding Light, dropping some massive sheet-metal death ritual in the depths of a abandoned steel forge
     ...a gorgeous vinyl reissue of ISIS's Oceanic: Remixes & Reinterpretations featuring the likes of Fennesz, Thomas Koner, Mike Patton, Venetian Snares, Tim Hecker and more
     ...a couple of cool out-of-print releases from Seedstock/Personnel including MARCO DEL RIO (Bone Awl/Raspberry Bulbs), THOUGHT BROADCAST and LIVING CURRENCY
     ...the post-apocalyptic stop-motion nightmare of the recently resurrected 2003 French-Canadian film Mecanix from artist Remy Mathieu Larochelle
     ...a new CD reissue of the album Applied Ignorance from weirdo Bay Area deathrock/punk band PHANTOM LIMBS featuring revised album art
     ...the brand-new vinyl reissue of MARE's stunning one-and-only eponymous release on Hydra Head, gorgeous and soul-crushing metallic weight and choral beauty
     ...the new album of intricate black metal-influenced progginess from KRALLICE, Prelapsarian
     ...a restock of the hypnotic death-rite split between PHURPA and SHIBALBA
     ...the newest album of martial majesty, crushing industrial power and bleak ambience from Swedish masters SOPHIA, Unclean
     ...the vinyl reissue of the debut release from NYC electro-industrial outfit STATIQBLOOM, featuring Fade Kainer from TOMBS / THEOLOGIAN
     ...a recent vinyl repress of ANDRZEJ KORZYNSKI's chilling original score to Andrzej Zulawskis surrealistic domestic nightmare Possession
     ...the latest album of gorgeous, darkened 4AD-tinged gloom-pop and blackened intensity from LOTUS THIEF, Gramarye
     ...more obscure Arizona hardcore punk weirdness via a new "live" LP from Arizona death rock squad MIGHTY SPHINCTER, and a reissue of psycho-core speedfreaks USELESS PIECES OF SHIT
     ...the first ever vinyl release of VINCENZO TEMPERA's awesome score to the obscure 80's Italian horror flick Paganini Horror
     ...the grim Ancient Meat Revived compilation LP featuring the likes of Spire, Grave Upheaval, Antediluvian, Vassafor and more covering classic death industrial stuff from the Cold Meat catalog
     ...the terrifying Epicurean Escapism III that combines a scorching compilation of power electronics/noise featuring the likes of Sutcliffe Jugend with a massive DVD collecting the video works of Dave Phillips (Fear Of God / Schimpfluch-Gruppe) - not for the faint of heart
     ...the latest from frigid stars WORM OUROBOROS What Graceless Dawn and a restock of their excellent album Come The Thaw
     ...a vinyl reissue of the very first Naked City album from JOHN ZORN, still as mind-frying a listen now more than twenty-five years later


And as always, there's a lot more stuff to check out, more mutant extreme music and misanthropic art to be found on our shelves and in our bins...keep reading below to check out all of the strange and extreme new music, film, and art that's included in this week's new arrivals list. And, as always, thanks for continuing to support Crucial Blast!

- Adam / Crucial Blast

Don't forget, you can click on the thumbnail image of the album cover for everything we carry in our shop to pull up a pop-up window showing an actual photograph of the item.



FEATURED RELEASE



TREPANERINGSRITUALEN   Deathward, To The Womb   LP   (Cold Spring)    23.98



      Newly reissued on both CD (which we'll have in stock in a few weeks) and vinyl (available now) via Cold Spring - this vinyl edition is limited to five hundred copies and comes on 180 gram wax with a download card featuring additional bonus material; along with the complete album, the download includes the track "I Remember When I Was God", a collaboration with Michael Idehall and members of Arktau Eos, Bölzer, Aether, and Hadewych. Here's our original review from 2012:
      One of the latest releases from this Scandinavian master of diseased occult industrial, Deathward To The Womb originally came out on 10" vinyl from Release The Bats and has since sold out from the label; it appears that we snagged the last available copies of this fearsome death-rite.
      Beginning with the incredibly thick and suffocating death-drift of "The Birth Of Babalon", Trepaneringsritualen wastes no time in unleashing its oppressive graveyard ambience, laying massive slabs of rotted noise and low-end rumble across distant, barely perceptible rhythms that feel like war-drums pounding from deep below the earth's surface, while deep, slurred vocals slowly ooze over the ghoulish soundscape, drenched in delay and black tar. It just gets creepier and more sinister as it progresses, heading into the bleak lightless depths of the title track, a monstrous death industrial dirge in the classic Cold Meat vein doused in blackness, filled with deep rumbling drones and evil guttural incantations, high wailing tones that come screeching through the void, and a slithering doom-laden bass line and distant percussive rattling and clanking that builds upon the already unnerving atmosphere of inescapable death. The side closes with a real knockout, the lurching death-dub nightmare "Osiris, Slain & Risen" that smears all sorts of hallucinatory effects over a deep, sinister bass-groove.
      "She Is Flame Of Life" opens the b-side with more grim electro-throb, a pulsating distorted synthesizer drone a la Genocide Organ that worms its way through a fog of moaning demons, swells of minor-key creep, and blood-encrusted machinery slowly revving to life. A more ritualistic feel (though no less horrific in tone) permeates the steady percussive pounding and slavering jaws of "Sacrament & Crucifixion", where foul Evil Dead-like voices call out from behind a veil of rot. The closer is one of Trepaneringsritualen's most rhythmic tracks, a pounding graveyard celebration called "All Hail The Black Flame" that blends thick cloying smears of black noise with ecstatic roars of bloodlust and booming, dubbed-out tribal drums that recalls the groovier moments of MZ.412. Only this is awash in enough exhumed filth to give you strychnine poisoning.

NEW ADDITIONS



ACTUARY / GNAW THEIR TONGUES   split   LP   (Black Horizons)    19.99
















ANAAL NATHRAKH   In The Constellation Of The Black Widow   2 x LP   (Back On Black)    22.00



Back in stock.
Crushing eschatological violence. 2009's In The Constellation Of The Black Widow from British industrial death/black crushers Anaal Nathrakh is as extreme as anything the band has produced so far, a ten song blast of hellish, apocalyptic violence that signaled a return to the full-on feral fury of earlier albums like The Codex Necro and When Fire Rains Down From The Sky, Mankind Will Reap As It Has Sown. It was on those early releases that the band quickly established themselves as one of the most intense newer black/death bands to have surfaced at the dawn of the 2000s. Certainly one of the most pissed off sounding bands, that's for sure. After getting blasted with the withering misanthropy of those early works, it's tough coming up with another band that exudes as much anti-human vitriol within the death metal spectrum as these guys.
Their nihilistic tone was tempered somewhat by Anaal Nathrakh's growing inclusion of power metal-style vocal heroics and soaring melody as their career continued, though. I'd always been a fan of those more melodic qualities that the band incorporated into the ultra-violent, twisted deathblast on later albums, but in many ways Constellation was a return to form, with the demonic vocal outbursts that switch on a dime between insanely harsh shrieks and guttural growls taking center stage versus David Hunt's majestic baritone, the convoluted, savage riff-arrangements, the slashing, dissonance of the guitars, the corrosive electronic noise, and those furious programmed drum machines ripping through these ten tracks like artillery fire. And corrosive electronic noise that made their debut one of my favorite black/death album ever. That barbaric industrialized death metal riffage and blackened hyperblast is colored by additional textures like ghostly voices and samples that lurk beneath the metallic onslaught, and there are frequent outbursts of psychotic guitar solos, vicious electronic glitchery and weird industrial samples that explode out of nowhere, constantly keeping these songs in a state of panicked tension. One of their more ferocious records, this sees Anaal Nathrakh chronicling our slow-motion apocalypse better than most, delivering another amazingly brutal slab of supremely epic death/black metal.
Track Samples:
Sample : ANAAL NATHRAKH-In The Constellation Of The Black Widow
Sample : ANAAL NATHRAKH-In The Constellation Of The Black Widow



AUROCH   From Forgotten Worlds   LP   (20 Buck Spin)    23.98
















AUROCH   Mute Books   CD   (Profound Lore)    13.98
















AUROCH   Mute Books   LP   (Profound Lore)    23.98
















BABES IN TOYLAND   Redeux   CD   (Blank Recording Co.)    13.98
















BABES IN TOYLAND   Redeux   2 x LP   (Blank Recording Co.)    27.00
















BABES IN TOYLAND   Handsome And Gretel / Pearl   7" VINYL   (Blank Recording Co.)    8.98
















BARONESS   First/Second   LP   (Hyperrealist Records)    23.98



Once again back in stock, on black vinyl - here's the old review from previous editions:
The early EP releases from Baroness have gone in and out of print over the years on different formats, and are once again available on vinyl through the folks at Hyperrealist, this time as a single limited-edition full length Lp that collects both the band's First and Second Eps remixed and remastered and presented in a gatefold package with all of John Baizley's awesome artwork, foil stamped lettering on the cover, and a printed inner sleeve.
Monstrously epic sounding, thunderous sludge riffs and skillful dual-guitar harmonies come together with ripping d-beat hardcore aggression. Sort of like His Hero Is Gone busting out Fucking Champs-style harmonies? Although these songs all sound pretty apocalyptic, there is a great sense of melody throughout this CD - this stuff is really quite pretty and catchy at times."Tower Falls" has got some awesome anthemic breakdowns and harmonies."Coeur" is the shortest track at just over three minutes, yet still packs in killer memorable riffs and harmonies and odd (but awesome) riffs and chord phrasings. The final track,"Rise", is a monster, starting off with atmospheric finger tapping that stretches for several minutes before turning into a bulldozing sludge dirge . Awesome.
On on Second: The second EP from Baroness delivers more of their righteous and majestic post-crust-metal that we loved so much from their First CD, with technical instrumentals, lengthy psychedelia, and moody RODAN / JUNE OF 44 post-rock interjected with awesome Maidenesque / Fucking Champs-level guitar harmonies and crushing tech / sludge / crustcore. Super powerful, and Second also does a good job of capturing the bands live energy. Killer stuff, BARONESS just keeps getting better and better with each release. And as with their first release, this disc has three songs, clocking in at around 21 minutes. Highly recommended to fans of Isis and Pelican, Disrupt and Neurosis, psychedelic crust, punishingly heavy metallic post-rock, stretched-out tarpit sludge, odd meters and complex arrangements and triumphant metal hooks.


BASTARD NOISE   Doomed Expedition   2 x LP   (Skull Records)    25.99
















BEGOTTENED   self-titled   CD   (Nostalgia Blackrain)    15.99



Prepare for a descent into death-dub delirium! Just seeing that this new Japanese band featured the duo of Chew (vocalist for legendary sludge metallers Corrupted) and Kohei Nakagawa (the guy behind the longrunning extreme noise outfit Guilty Connector) was enough to make me want to pick up this self-titled debut, but this ended up being even better than expected. These six songs are formed out of an immensely bleak brand of slow-motion, industrial-tinged heaviness, focused around spare, echoing drums that creep and shuffle through a vast, dark expanse, that almost dubby percussion moving beneath encroaching waves of crushing detuned drone and streaked with bits of trippy electrnic noise. The opener "Brainwashing" alost resembles an especially doom-laden Scorn track, or perhaps something from Necro Deathmort, all slow-mo snare hits and erchoing kick drum, draped in murk and reverb, the sound of a doom metal drummer playing solo in some isolated cave chamber. AS the album moves through each subsequent track, however (the whole album seems to be essentially a single piece of music), the sound grows more frenzied and noisy, those drums becoming lost in gales of shrieking electronics and crushing low-end diostortion, and halfway in all you can make out are the violently crashing cymbals swept up in a hurricane of noise. The second half re-emerges into a much more psychedelic space, though, as swarms of frenzied tape delay effects and garbled glitchy electronics take over, joined by even slower and mor stretched out drumming, shrieking feedback and controlled blasts of distortion, contrasting space and stillness with those bursts of abrasive sound and echoing percusive skitter to lead the rest of the album into a spaced-out, utterly desolate sprawl of ashen doom-dub, desaturated isolationist ambience and ghostly electro-acoustic creepiness, a whirring, clanking, echoing nightmare that at times resembles some doom outfit channeling Lee Perry in the shadows of the world of Eraserhead.


BLUES CREATION   Demon & Eleven Children   CD   (Calamares Productions)    15.98














BOHREN & DER CLUB OF GORE   Black Earth   CD   (PIAS Recordings)    16.98
















BOHREN & DER CLUB OF GORE   Black Earth   2 x LP   (PIAS Recordings)    28.98
















BOHREN & DER CLUB OF GORE   Sunset Mission   CD   (PIAS Recordings)    16.98
















BOHREN & DER CLUB OF GORE   Sunset Mission   2 x LP   (PIAS Recordings)    28.98
















BOHREN & DER CLUB OF GORE   Bohren For Beginners   2 x CD   (PIAS Recordings)    16.98
















BOHREN & DER CLUB OF GORE   Geisterfaust   CD   (PIAS Recordings)    16.98
















BOHREN & DER CLUB OF GORE   Geisterfaust   2 x LP   (PIAS Recordings)    28.98
















BOTCH   061502   2 x LP   (Hydra Head)    24.99



      Gorgeous new vinyl edition of Botch's last live performance, previously released as part of the band's 061502 DVD and CD set. Re-mastered for vinyl, these two LPs come in printed inner-sleeves, housed inside of a heavyweight case-wrapped gatefold jacket, and issued in a limited edition of two thousand copies. This still stands as one of the most ferocious live performances I've seen documented on video, and that energy bleeds through every second of the recorded audio from this concert. Here's the old review of the live material from the CD release:
      For all of us that couldn't cough up the plane tickets to Seattle, Hydra Head has finally delivered this document of that last show from 2002. A mighty math-metal destruction machine, Botch beamed massively heavy yet super melodic and intricate jams, every one of their songs a devastatingly epic assault of chugging, confounding riffage, weird effects, earth shaking bass, complex angular rhythms n' dizzying time signatures, and monstrous roaring vocals. One of the most important and influential bands of the 90's underground heavy music scene, Botch sent hardcore spiraling off into a whole 'nother direction. This captures their final performance on June 15th, 2002 at the Showbox in Seattle, Washington. The footage is amazing, capturing the incredible energy of the band and an entirely appreciative crowd that flip out throughout the entire length of the show...their explosive, emotional set runs through pretty much all of their crucial stuff: "St. Mathew Returns To The Womb", "C. Thomas Howell As The "Soul Man"", "John Woo", "Japam", "Oma", "Frequency Ass Bandit", "Thank God For The Worker Bees", "Framce", "Third Part In A Tragedy", the cover of "Rock Lobster", "Transitions From Persona To Object", "To Our Friends In The Great White North", "Hutton's Great Heat Engine", and "Man The Ramparts". Obviously, this is something that any Botch fans aren't going to want to miss, but this should also be mandatory viewing for anybody that wants to bear witness to one of the most progressive, influential hardcore bands ever, who pretty much changed the shape of "math-metal" as we know it.


BRAINBOMBS   Singles Collection II   2 x LP   (Armageddon)    23.98



The latest 2017 reissue of this massive scum-punk collection.
Originally released on the French label Polly Maggoo back in 2007 as a double Cd (now long sold out), this formally-untitled collection of early sonic scum-assaults from these Swedish fiends is available once again, this time via the Armageddon Label who also brought us the most current edition of the 'bombs classic Obey, presented as a double Lp set limited to five hundred copies. An essential collection for anyone into the murderous punk-sludge that this outfit has been slinging for the past two decades; here's my old write-up of the original Cd release:
At long last, the collection of out of print Brainbombs singles and EPs that I've been jonesing for ever since I first heard their scumfuck masterpeice Obey! Actually, this is the Singles Collection II CD that was just released by the French label Polly Magoo, the followup to the first Brainbombs singles CD that is currently out of print. This is an equally essential anthology CD for any fans of these notorious Swedish noise punkers, gathering five different singles from 1998 through 2007 along with four never-before-released live jams from 1993. If you haven't already joined the cult, you gotta check them out if you're even remotely into the current skuzz-punk sounds of Clockcleaner, Violent Students, Homostupids, Burmese, and that ilk. Seriously. Aside from maybe Flipper, Brainbombs are the primo figureheads for violent, antisocial dirge. Brainbombs formed in 1987 in Hudiksvall, Sweden and spent the next two decades spreading their terminally reprobate, heavy-as-hell sludge punk, each of their songs usually consisting of just one monstrous riff that the band plays over and over, hammering it into the ground while their singer spews all manner of psychopathic, sexually transgressive ranting over the band's radioactive Stooges trudge in a deadpan sing-speak that sounds pretty funny at first, until you actually make out what he's saying and realize that this is pretty fucking deranged. And the music is so heavy, the riffs slow and sludgy and just evil sounding, with sinister trumpet blowing bleating over top, sending vile brass notes drifting over their droning, hypnotic noise rock, everything recorded raw and low fi and totally in the red, every instrument glazed in distortion, the drumming locking into a propulsive motorik beat. Utterly crushing genius, and one of the most crucial noise rock bands on the planet. This anthology focuses on the Brainbomb's later years, and includes the Macht (Gun couRt singles SEries) 7" from 1998, the Stigma Of The Ripper / Street Cleaner 7" on Tumult from 2003, The Grinder / Mommy Said 7" on Ken Rock from 2004, the I Need Speed 7" on Big Brothel from 2006, the Stinking Memory / Insects 7" on Anthem, and the live recordings of "Stacy", "Tired And Bloody", "Danny Was A Streetwhore", and "Urge To Kill" that were recorded in Oslo, Norway in 1993, all perfectly gnarly and noisy and raging.
Comes on black vinyl, and includes a double sided insert that includes the brief liner notes written by The Lamp's Monty Buckles that also appeared in the Cd version. Highly recommended.
Track Samples:
Sample : BRAINBOMBS-Singles Collection II
Sample : BRAINBOMBS-Singles Collection II
Sample : BRAINBOMBS-Singles Collection II



BRAINBOMBS   Obey (2017 Reissue)   LP   (Armageddon)    15.99



Back in print on vinyl via Armageddon Shop with a new 2017 edition, with a slightly revised sleeve design and accompanied by a digital download code. Here's my old review from way back:
Obey was the first Brainbombs album I had ever heard, my introduction to their bad-news garage thuggery...the longstanding obsession that I've had with this band all started here. Obey was previously released through the label Releasing Eskimo but went out of print several years ago, and has now been reissued by the good folks over at Armageddon with slightly different packaging. Every one of Brainbombs albums is a brutal, murderous slab of misanthropic hatred and depravity, but Obey seems to top 'em all as the clearer production here allows you to hear all of the over the top, seriously disturbing rants that tumble out of the singers mouth.
The disc opens with a few moments of snappy cheesebag game show muzak, then mashes you across the grill with "Kill Them All" as the band enters among wailing feedback and a noxious plodding sludge-punk riff as the singer drunkenly states "if you've got the power, then use it an kill them all...", lurching into their trademark brand of brain-damaged noisy garage scumrock. It's simple but lethal, sludgy out-of-tune riffs repeating over and over, that banged up trumpet blaring some warped jazz over it, pummeling neanderthal drumming, every song a staggering hypnotic crawl through hideous, psychotic depictions of rape and murder and dismemberment...the "lyrics" are delivered in a heavy Swedish accent, more spoken than sung, a crazed murderous scumfuck outlining his crimes and fantasies through songs like "Die You Fuck", "Lipstick On My Dick", "Anal Desire", "Fuckmeat", extreme fucked-up litanies of misogynistic and misanthropic violence. The sludgy riffage of the Melvins dragged through the skuzzy stomp of the Stooges Funhouse and set to repeat, the music becoming more and more horrifying and hypnotic as the band hammers the riff into the ground and the singer becomes more unhinged...intense stuff.
The whole vibe here is similar to the transgressive meltdowns of Whitehouse, though to my ears Brainbombs are far more creepy and disturbing. This new reissue has pretty much the same artwork and layout, except now the artwork is all black-on-black instead of the black and white artwork of the original.
Track Samples:
Sample : BRAINBOMBS-Obey (2017 Reissue)
Sample : BRAINBOMBS-Obey (2017 Reissue)
Sample : BRAINBOMBS-Obey (2017 Reissue)



BUTTHOLE SURFERS   Brown Reason To Live (GREEN VINYL)   12"   (Alternative Tentacles)    14.98



The latest repress of this classic mutoid hardcore platter, issued in a new 2017 green vinyl edition limited to one thousand and nineteen copies.
I haven't followed much of what the Butthole Surfers have done over the past two decades; wasn't into the goofy alt-rock direction that the band went in after moving to the majors in the early 90's, and their acrimonious, high-profile split with Touch And Go was one of the uglier moments in indie rock's recent history. Their early records are pretty crucial, though, and still hold up as some of the most zonked hardcore punk to ever come out of the American underground. Their debut EP has been out of print on vinyl for some time, and (surprisingly) has just been repressed by Alternative Tentacles - for fans of early hardcore, this is a crucial piece of U.S. HC history, but this 1983 slab from the Butthole Surfers should be heard by anyone into seriously freaked-out heavy underground rock.
The music on this 12" is, for the most part, much more hallucinatory than the Surfers you've seen on MTV videos, seven songs of crazed, LSD-snarfing punk like the opening track "The Shah Sleeps In Lee Harvey's Grave", mashing caustic, hyperfast hardcore thrash with bizarre lyrical rantings, histrionic vocals, blasting drums...the stoned psychedelic trudge of "The Revenge Of Anus Presley" through wrecked acid-guitar, weird sound effects and simplistic pounding dirge..."Bar-B-Q Pope"'s squawking, twangy punk...it's a whacked out mashup of early hardcore, psychedelic rock and experimental music that was incomparable to anything else happening in the American underground at that time, and this EP still blazes with it's unpredictable music, ferocious energy and lunatic visions. Highly recommended, especially for you folks into the weirder side of hardcore punk - few HC bands have ever matched the weirdness of the early Butthole Surfers records.
Track Samples:
Sample : BUTTHOLE SURFERS-Brown Reason To Live (GREEN VINYL)
Sample : BUTTHOLE SURFERS-Brown Reason To Live (GREEN VINYL)



BUZZOVEN   Violent Hits   CD   (Rusty Knuckles)    12.98
















CAMERON, JOHN   Psychomania   LP   (Trunk Records)    26.98



      Finally back in print on vinyl, just in time for the brand-new deluxe Blu-ray/DVD reissue that's coming out through Arrow Video.
      Mostly known for reissues of deep-cut jazz/psych obscurities, British label Trunk Records had put out a couple of horror-related albums that I'd been wanting to get in stock for years, but which had gone out of print. One was the Dawn Of The Dead Unreleased Soundtrack Music compilation that features the obscure Music De Wolfe library pieces from Romero's apocalyptic zombie epic, and this, the sublimely sinister and psychedelic long-lost John Cameron soundtrack to cult classic British occult biker film Psychomania. In the hazy post-Hammer landscape of 1970's-era British horror cinema, Psychomania has always stuck out with its deranged tale of a hell-raising, devil-worshipping biker gang calling themselves "The Living Dead", and their ill-fated bid for immortality via toad-fueled necromancy and crazed supermarket carnage. It's a hoot, with numerous memorable scenes of nutty biker action, half-baked occultism, and some fantastic dialogue; no wonder it's been heavily referenced by fans of British black magic schlock like Electric Wizard and Satans Satyrs.
      Despite the film's cult following in horror/occult cinema circles, Cameron's Psychomania score was apparently never released in its entirity, with the only official release of music from the film being the two-song Witch Hunt / Living Dead 7" that came out in 1973, featuring two key themes from the film performed by Cameron's ad hoc psych outfit Frog that was formed specifically for the score. That original 7" alone has commanded some hefty prices on the collectors market, so it was great to have the entire score finally released by Trunk around a decade ago. Now back in print, we're getting this disc on our shelves for the first time, and get to revisit this bizarre soundtrack and its terrific low-fi psychedelic sleaze.
      For Psychomania, Cameron enlisted a group of British jazz musicians (going by the aforementioned "Frog" name) to perform his macabre arrangements, performing a set of tracks that craft an uncanny, hallucinatory atmosphere that kick in like good blotter, a killer mix of fuzz-encrusted psych and avant-garde gothic creep. The wah-fueled evil psych that plays over the opening "Psychomania Front Titles" combines airy flute with some seriously skuzzy funk bass and an infectious shuffling groove, producing some cool sinister instrumental rock; from there Cameron continues to exude a druggy, delirious atmosphere that goes well with the hell-raising, devil worshipping insanity on the screen, moving from spooky gothic organ and mesmeric krautrock grooves to minimal drones and echoplex-drenched piano, dropping in some raunchy garage-rock numbers like "Motorcycle Mayhem", belting out wailing female choruses and whirling gusts of witchy weirdness, and there's even some menacing keyboard-streaked tracks of hypnotic progginess that recalls the likes of Goblin. Some of the more memorable dialogue from the film is scattered among the musical tracks, and there are some lighter moments amongst all of the macabre fuzz-guitar jams, like the eerie woodwinds and gently plucked strings that form the nocturnal balladry of "Abby's Nightmare", and the unmistakably 70's-era folk rock that shows up on "Riding Free", the only track on the album that features actual singing. Some of the tracks feature brief cues that run only a few seconds in length, but there's plenty of longer tracks as well to sink your teeth into.
     The whole score was re-mastered for this release, but as label boss Johnny Trunk discusses in his liner notes, it was a tough job due to the deterioration of the original studio reels; that produces a bit of murk in the sound quality, but that's fine by me. It's still a highly listenable release that fans of the film should be greatly pleased with. The back of the sleeve features liner notes from composer Cameron, Trunk and someone named Jogoku, with Cameron describing how he utilized a variety of experimental recording techniques to create his unearthly sounds, from prepared piano noises to processed vibraphones and Hammond organs that he ran through a bank of effects units. A real blast, still one of the kookiest horror scores of the era, highly recommended for fans of vintage psych-creep and sinister experimental weirdness.
Track Samples:
Sample : CAMERON, JOHN-Psychomania
Sample : CAMERON, JOHN-Psychomania
Sample : CAMERON, JOHN-Psychomania
Sample : CAMERON, JOHN-Psychomania



CATATONIC EXISTENCE   Elect Me God, And I'll Kill You All   CD   (Epic Recordings)    16.98

Elect Me God, And I'll Kill You All IS CURRENTLY UNAVAILABLE FOR ORDER

As big a fan as I am of weird, messed-up industrial metal, I'd never heard of this obscure California outfit until now. Apparently best known for being a side-project from one of the guys in the notorious grindcore outfit Meatshits, Catatonic Existence popped up briefly in the mid 90s, releasing a split CD and a seperate split 7" with the aforementioned 'Shits, and the two song I'll Kill You All! 7" from 1994, before disappearing back into the boiling black sewer from which they emerged. The band was essentially a one-man effort from Guy Mulidor, with some additional contributions from Meatshits founder Robert Deathrage on vocals, sampling and keyboards, but it's quite different from the other stuff that these guys were doing. It's just as nihilistic and misanthropic, sure, but the music is a bizarre sort of primitive, industrialized electro-metal, not quite the Godflesh worhip that you might expect (although they are cwertainly an influence on this stuff). No, this is much weirder and much more fucked-up. Pounding double-bass drum machine rhythms and machinelike programmed pummel drill through songs like "Guy Told Me To" and "The Last Temptation", tinny thrash riffs buried in the mix beneath Mulidor's monstrous guttural gorilla-grunts, while the bass guitar and synths often break into these odd funk parts, even breaking out some actual slap-bass moves in some of the weirder moments. Also, this stuff us fucking loaded with samples, with long film samples from early 90s movies like Judgement Night and Needful Things as well as fragments of news reports and various other movies are strewn throughout the songs, and there are big chunks of this stuff when the metallic elements drop out and it turns into a demented kind of EBM, some fucked-up, meth-addled take on Front 242. It's not for all tastes, I can tell you that. The awkward song structures, the bizarre funk bass, the squelchy Wax Trax synths and weird bossa nova percussion breaks, the overload of samples and the willfully anti-human attitude, all turns this into a kind of outsider mecha-metal that manages to transcend being just another Godflesh clone. It's weirdly infectious, especially if you've got a taste for weirdo electro-sludge like Black Mayonnaise and stuff in that general vein.


CAUCHEMAR   La Vierge Noire   CD   (Nuclear War Now! Productions)    10.98














Track Samples:
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire



CAUCHEMAR   La Vierge Noire   LP   (Nuclear War Now! Productions)    14.98











Track Samples:
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire



CAUCHEMAR   La Vierge Noire   LP PICTURE DISC   (Nuclear War Now! Productions)    19.99
















CELTIC FROST   Into The Pandemonium (Deluxe Reissue)   CD DIGIBOOK   (Noise)    12.98















CELTIC FROST   Into The Pandemonium (Deluxe Reissue)   2 x LP   (Noise)    37.99















CELTIC FROST   Morbid Tales (Deluxe Reissue)   CD DIGIBOOK   (Noise)    12.98















CELTIC FROST   Morbid Tales (Deluxe Reissue)   2 x LP   (Noise)    37.99















CELTIC FROST   To Mega Therion (Deluxe Reissue)   CD DIGIBOOK   (Noise)    12.98















CELTIC FROST   To Mega Therion (Deluxe Reissue)   2 x LP   (Noise)    37.99















CELTIC FROST   Vanity / Nemesis (Deluxe Reissue)   CD DIGIBOOK   (Noise)    12.98















CELTIC FROST   Vanity / Nemesis (Deluxe Reissue)   2 x LP   (Noise)    37.99















CHRISTIAN DEATH   Ashes   CASSETTE   (Season Of Mist)    10.98



     Both Christian Death's Ashes and Catastrophe Ballet were recently released on limited-edition cassette tape, both already sold out from the source.
     While Christian Death did put out some highly listenable material after the departure of founding member Rozz Williams (at least early on), there's really only three Christian Death albums that you really, really need in your collection: the pioneering and provocative 1982 debut Only Theatre Of Pain, and the two albums with both Williams and Valor Kand that followed, Catastrophe Ballet and Ashes. All of these are key works in the death rock canon, and their combined influence has reached well into the realms of extreme metal, industrial music and beyond; any headbanger who turns their nose up at Christian Death's early works simply based on the band's campy look should consider sitting down and listening to these albums side by side with Celtic Frost's 80s output to see just how far the band's black tendrils extended. There's been a recent resurgence of interest in the early Christian Death material, though, what with this whole death rock revival thing that's been going on for the past few years, and it looks like a whole new generation of listeners has been turning on to the weird, morbid genius of Rozz Williams. Not a moment too soon, I say. We've had the reissue of Only Theatre Of Pain available here for awhile, but up till now never stocked the following two albums, both of which were reissued by Season Of Mist in 2009; featuring booklet materials from the original first edition LP releases on L'Invitation Au Suicide and newly re-mastered, both come with the highest recommendation for anyone obsessed with true death rock and the most macabre fringes of post-punk.
     Originally released in 1985 on French label L'Invitation Au Suicide, Ashes was the final album from the Rozz Williams-fronted lineup of Christian Death, and an end to an era. While I won't completely write off the post-Williams output from Christian Death (the subsequent 1986 album Atrocities is pretty goddamn good), this was the last chapter in what had been a genre-defining run of albums, now iconic entries in the American death rock canon. On their third album, Christian Death were getting even more progressive, evolving into something totally unique within the realm of American post-punk. Williams' vocals are more measured, less overwrought than before, and there's a heavier feel to this material; maybe more so here than with any of the other Christian Death records, you can really pick out the elements of their sound that so enamored Tom Warrior - one listen to the driving, almost metal-tinged power that emanates off of the opening title track, and you can hear echoes of what would later emerge on Celtic Frost's Into The Pandemonium, the end of the song showcasing a ferocity rarely heard in this era of the band. From there, the eerie instrumental "Ashes Part 2" leads into more of Rozz's penchant for experimental soundscapery, and all throughout the album he laces the tracks with peripheral traces of Gregorian chant and ghostly mechanical sounds, squealing violins and nightmarish sound collage, even dreamlike forays into Weimar cabaret on "Lament (Over The Shadows)". The actual songs are some of their best, too. "When I Was Bed" is classic death rock, catchy and propulsive and draped in elegant shadow, and "Face" is the band at their churning best, fusing a smoldering psychedelic quality to the rolling tribal drums and handclaps and cob-webbed post-punk guitars, another all time favorite. Other highlights on the album include the slow brooding atmosphere that wraps around "The Luxury Of Tears", the metallic mausoleum creep of "Before The Rain" that transforms into something surprisingly triumphant, and the bad-dream dread of closer "Of The Wound", the sound of a screaming infant laid over a nightmarish string section and discordant piano, taking the album out into a final sprawl of surrealistic weirdness. A genuine classic of morbid post-punk.
Track Samples:
Sample : CHRISTIAN DEATH-Ashes
Sample : CHRISTIAN DEATH-Ashes
Sample : CHRISTIAN DEATH-Ashes
Sample : CHRISTIAN DEATH-Ashes



CHRISTIAN DEATH   Catastrophe Ballet   CASSETTE   (Season Of Mist)    10.98



      Both Christian Death's Ashes and Catastrophe Ballet were recently reissued on limited-edition cassette tape, both already sold out from the source.
      While Christian Death did put out some highly listenable material after the departure of founding member Rozz Williams (at least early on), there's really only three Christian Death albums that you really, really need in your collection: the pioneering and provocative 1982 debut Only Theatre Of Pain, and the two albums with both Williams and Valor Kand that followed, Catastrophe Ballet and Ashes. All of these are key works in the death rock canon, and their combined influence has reached well into the realms of extreme metal, industrial music and beyond; any headbanger who turns their nose up at Christian Death's early works simply based on the band's campy look should consider sitting down and listening to these albums side by side with Celtic Frost's 80s output to see just how far the band's black tendrils extended. There's been a recent resurgence of interest in the early Christian Death material, though, what with this whole death rock revival thing that's been going on for the past few years, and it looks like a whole new generation of listeners has been turning on to the weird, morbid genius of Rozz Williams. Not a moment too soon, I say. We've had the reissue of Only Theatre Of Pain available here for awhile, but up till now never stocked the following two albums, both of which were reissued by Season Of Mist in 2009; featuring booklet materials from the original first edition LP releases on L'Invitation Au Suicide and newly re-mastered, both come with the highest recommendation for anyone obsessed with true death rock and the most macabre fringes of post-punk.
      Originally released by the French label L'Invitation Au Suicide in 1984, Catastrophe Ballet is an all-time deathrock classic, part of the essential Christian Death canon. It was also the first release to feature new members Valor Kand and Gitane Demone, both of the LA post-punk outfit Pompeii 99; for this new album, Williams and his new lineup shifted away from the creepy, transgressive punk of their debut, into a more expansive and psychedelic sound that was slightly more accessible, but no less twisted. Dedicated to the memory of Andr? Breton and featuring excerpts from Jean Lorrain's classic text of nightmarish decadence, Nightmares Of An Ether Drinker, Ballet saw Williams getting deeper into his obsession with French surrealism and Dadaism, though this did nothing to improve his terminally dour mood. From it's opening salvo of sinister, kitschy haunted house organs that pave the way for the heavy bass-driven post-punk of "Beneath His Widow" (a bonus track that appears here for the first time), to the surrealistic washes of experimental texture and droning instrumentation of "Sleepwalk", the driving, disaffected menace and gloomy elegance of "The Drowning" and "Evening Falls", the pounding tribal rhythms and twitchy, stop-start momentum of "Cervix Couch" smeared in trippy Hammond organ textures, and the ritualistic dreamlike haze of "The Glass House", the band's sound was clearly becoming more sophisticated and experimental. That fey, androgynous howl that Williams belted out on the first record is replaced by a richer, more resonant croon that's frequently been compared to David Bowie, and he was often joined by Gitane Demone's soulful, sometimes bluesy wail, which added a new wrinkle to Christian Death's sound. Many of the songs on Ballet are sublimely catchy, but they also ventured further afield into the kind of creepy experimental soundscape work that Williams would explore with his solo projects later in the decade, tracks like "The Fleeing Somnambulist" blending together looping vocals, vast sprawls of warbling drone and distant industrial rumble, swells of psychedelic electronic noise and random percussion, dreamlike terrain strafed with the dark carnival sounds of what sounds like a steam-powered calliope. This results in one of the more adventurous dark post-punk albums from the era, combining themes of violence and death and eroticism with haunting hooks and an unsettling, though often strikingly beautiful vibe as no one else could. Crucial.
Track Samples:
Sample : CHRISTIAN DEATH-Catastrophe Ballet
Sample : CHRISTIAN DEATH-Catastrophe Ballet
Sample : CHRISTIAN DEATH-Catastrophe Ballet
Sample : CHRISTIAN DEATH-Catastrophe Ballet



COCK E.S.P.   Historia De La Musica Cock   CD   (Little Mafia)    9.98












Track Samples:
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock



ELDER   Spires Burn / Release (Magenta / Blue Starburst)   LP   (Armageddon)    16.98



A new 2017 repress, on magenta and blue starburst vinyl.
Elder's latest slab of swirling downbeat metal follows up their Dead Roots Stirring album with a two-song ascent into more atmospheric territory. Released on vinyl only, the record begins with "Spires Burn", a slow-burning epic with all of the ingredients that make Elder one of the best current doom bands here in the States: those clear, powerful vocals that mesh perfectly with the soaring psychedelic leads and triumphant riffage so imbued with an aura of classic heavy metal; the sudden pitches into seriously-dark Sabbathian creep that the band contrasts with their slightly sunnier, more fist-raising anthemic moments; the swirling space-rock effects that come sweeping over the burning towers and scorched wastelands alluded to in the lyrics; and of course, the absolutely CRUSHING riffage that evokes the meditative bulldozer crush of Sleep. And this song is some of the most rocking stuff I've ever heard from these guys, with some moves into grungy, shoegazy textures toward the end that sort of reminds me of a much heavier Smashing Pumpkins riff.
Then there's the beginning to the second side, where "Release" opens up with an amazing melodic intro that's all cascading clean guitars and dreamy, chiming melody - its goddamn fantastic. This swirling melody works its way into the main part of the song as the whole band locks into this killer Kyuss-esque psych-crush that's equal parts soaring, occult-tinged rock and pulverizing Sabbathian low-end, the guitars spinning out these killer melodic leads later in the song that fall somewhere between Josh Homme and J. Mascis. Elder have never sounded so accessible as they do here, but it's simply based on the strength of the songwriting, definitely a big step up from their debut album. The doom is still in here, its just skillfully contrasted with a dark jangly rock sound that comes together just about perfectly on this record. One of the best new doom releases for 2012 alongside the new Pallbearer album.


END   Nightmare Visions   CD   (Epic Recordings)    16.98
















END   Subhuman Tracks   CASSETTE   (Epic Recordings)    10.98
















FINAL EXIT   The Seasons Are Going And Going..And Lives Goes On   12"   (SPHC)    12.50



      One of Final Exit's best releases gets a sweet vinyl release via Maryland noisepunk label SPHC, newly re-mastered and presented on a single-sided 12" in gatefold packaging that replicates the design of the original release. The short, twelve-song EP originally came out back in 2008 as a 3" CD on the American label Rage For All, and quickly became one of our favorite noisecore releases of the decade; nearly ten years later, Seasons still delivers an ecstatic frenzy, a mini-masterwork from this long running Japanese band that showcases their often-humorous, always intense rapid-fire cutup compositions at their finest. Limited to five hundred copies.
      Here's our original review of the CD: It's wild to see that this Japanese noisecore band is still around - the guitar and drums duo of Hisao and Ryohei have been at it since 1994, surely outliving almost every other band that formed in the wake of Anal Cunt. They even appeared on the double CD compilation Not Without A Fight that Crucial Blast released at the beginning of the decade. Final Exit are still raging though, and they've dropped this eleven minute EP on us to prove that they are one of the best blurrcore outfits in the biz. Unlike most bands that took cues from Anal Cunt and the early noisecore scene, Final Exit have evolved beyond the pure grinding blur of their earlier releases and have taken a more experimental, genre-hopping approach to their micro-blasts that takes its cues from Naked City's classic Torture Garden album. On this new 3" CD, all kinds of musical clusterbombs are tossed in with their blown out grindnoise; surf rock, electronica, infectious indie-pop jangle, covers of Iron Maiden's "Aces High" and Complex's "Be My Baby", gooey doom, No Neck style clatter, hardcore punk, 50's greaser vibes, jazz chords, and stretched out spans of Cageian silence are all interspersed with their savage blurry blasts of Anal Cunt style grindnoise and harsh Japanoise skree. Weird, spastic, glorious stuff, issued in a beautiful miniature gatefold jacket with full color photos of seasonal landscapes and Japanese folks on vacation in keeping with the seasonal theme of the EP.
Track Samples:
Sample : FINAL EXIT-The Seasons Are Going And Going..And Lives Goes On
Sample : FINAL EXIT-The Seasons Are Going And Going..And Lives Goes On
Sample : FINAL EXIT-The Seasons Are Going And Going..And Lives Goes On



FIRE   Issue 1   MAGAZINE   (Fire)    14.98
















FIRE   Issue 2   MAGAZINE   (Fire)    14.98
















FIRE   Issue 3   MAGAZINE   (Fire)    14.98
















FREE SALAMANDER EXHIBIT   Undestroyed   CD   (Web Of Mimicry)    13.98
















FULL OF HELL + MERZBOW   Sister Fawn   LP   (A389 Records)    19.99



      That second disc that appeared with the skull-shredding collaboration between Baltimore grindbeasts Full Of Hell and Japanese noise legend Merzbow has finally made its way to vinyl. That double disc album that originally came out on Profound Lore was one of the fiercest fusions of extreme electronic noise and metallic chaos to come out that year; the Sister Fawn recording that followed the album proper was an interesting shift in sound, transforming the frenzied grindcore into something much more abstract.
      While the Sister Fawn disc was initially presented as something more of a companion piece, it actually holds up wuite nicely as an album all on its own. In fact, I gotta admit I thought this material is even cooler than the first half of their collaboration. Over the course of these five tracks, much of Full Of Hell's screeching grindmetal becomes absorbed into a cacophonous wall of industrial violence, their metallic aggression subsumed into Merzbow's swirling, screeching nebula. The tracks are longer, venturing into pummeling industrial junk-metal rhythms and howling feedback manipulation, blasts of crushing power electronics and more of that abject Swans-esque dirge that appeared on the first half. And squalls of apocalyptic jazz-infected noise erupt across tracks like "Crumbling Ore", delivering an acrid blast of sound that approaches Borbetomagus-like levels of intensity. The grindcore elements are still in here though, particularly on songs like the noise-damaged blast-assault of "Merzdrone" that welds a seemingly endless blastbeat to Merzbow's scorching electronics and shrill skulldrill distortion. The result is ferociously and psychedelic.
      Issued in a one-time pressing of one thousand copies on black vinyl.


FUOCO FATUO   The Viper Slithers In The Ashes Of What Remains   CASSETTE   (Caligari)    5.99














GERBILS, THE   Dead Detroit: Lost 1982 Recordings   LP   (Lysergic Sound Distributors)    23.00
















GEROGERIGEGEGE, THE   Senzuri Fight Back   7" VINYL   (Turbine Industries)    7.98
















GNAW THEIR TONGUES   Hymns For The Broken, Swollen And Silent   CD   (Crucial Blast)    9.98



A shambling monstrosity Woven from charred bones and infernal technology, stitched with gristle and exposed wiring. Hymns For The Broken, Swollen And Silent lurches like a grotesque assemblage of tortured flesh and mangled machinery, revealing the latest nightmare from Dutch fiend Gnaw Their Tongues. After more than a decade, the band continues to disturb with its uniquely dark and depraved blend of black metal, industrial and noise, and the eight-song Hymns shows Gnaw Their Tongues to be in prime killing mode.
Coming in the wake of a series of live performances starting in 2015, this new material from GTT mastermind Mories (Seirom, Cloak Of Altering, Mors Sonat) seems to find him tapping into a heavier, more violent rhythmic element as well as a more pronounced use of synthesizers, producing yet another step in the evolution of GTT's sound. Throughout the album, the harsh drum programming offers a mixture of cacophonous blast beats and grueling, glacial detonations; the sickening, tumescent groove that surges through "Hold High The Banners Of Truth Among The Swollen Dead" resembles something approximating a vile chopped n' screwed dubstep / blackened doom abomination, while on tracks like "Speared Promises", it slips into a hideously dissonant deathcrawl where those drums almost seem to be shorting out. Elsewhere, "Frail As The Stalking Lions" contorts into hellishly warped synth-sludge, and the hallucinatory weirdness of the title track delves into a black pit of ghastly ambience, gleaming synth and malfunctioning, off-time drum programming, which becomes possessed by bizarre operatic vocals that drift amid the anguished shrieking.
Through all of this, the band's signature use of unsettling samples and blasts of orchestral power is woven through the mix, turning each track into a seething mass of claustrophobic horror. Eruptions of ultra-frenzied blackened blast and floor-shaking depth-charge reverberations, ravenous, psychotic vocals and swells of choral despair, distorted electronics and gut-churning bass riffs, mournful horns and weirdly layered female operatic singing - yeah, Hymns delivers on the promise of chaotic horror that one expects from Gnaw Their Tongues, evoking foul, corrupted imagery while also (as usual) streaked with striking moments of warped, morbid beauty.
CD edition comes in a gatefold digisleeve.
Track Samples:
Sample : Silent Burned Atrocities
Sample : Hold High The Banners Of Truth Among The Swollen Dead



GOST   Behemoth   LP   (Blood Music)    23.00

Behemoth IS CURRENTLY UNAVAILABLE FOR ORDER

      Back in print on vinyl!
      Finnish avant-metal label Blood Music has really cornered the market on heavy, dark and aggressive synthwave lately, reissuing the entire back catalog from Parisian synthwave celeb Perturbator, and putting out the latest album from sci-fi electro-prog master Dan Terminus. But the most monstrous sounding synthwave to appear via Blood Music yet might be Gost, an American artist who popped up seemingly out of nowhere towards the end of 2015 and dropped this massive slab of malevolent dark synthwave on our heads. Described by the label as "1980s black metal-inspired retro slasher exploitation, starring the demonic entity Baalberith as GosT, casting ample devious nods towards Perturbator, Goblin, Justice and Bathory", this stuff is most definitely speaking my language. Granted, that overheated label blurb suggests that there might be something more metallic going on with Gost's sound (which there isn't), but the iconography is all there, with an album cover that looks like something that could have come off a death metal record, track titles like "Reign In Hell" and "Bathory Bitch", and an overall atmosphere of pending violence and apocalyptic dread.
      But the music is pure electro, another throwback to that vintage 80's-era synthesizer sound that shares a lot in common with labelmates Perturbator (who shows up here with a neat, almost Skinny Puppy-esque remix of the title track) and the equally dark Carpenter Brut. The music on Behemoth does feel a bit heavier than that stuff, though, the synths often distorted into crunchy, grinding electronic riffs, bringing a particularly filthy bass sound to this stuff that feels informed by dubstep, the drum programming heavy and pummeling, the tracks often shot up with harsh atonal stabs and weird ghostly vocal pads. It's definitely menacing stuff, a relentless pounding assault of dancefloor delirium, but like just about goddamn synthwave album, it has that one moody disco track that features a guest female vocalist, this one being "Without A Trace". It's pretty infectious, I have to admit, a blast of earworm synthpop dropped into the middle of the rest of Gost's sinister, distorted synthwave stomp. The album's best track though is the title song, which sticks out from the rest of the album with it's barrage of piercing, atonal synths and blasting demonic choral voices screaming over an insanely distorted synth riff, so heavy that it actually starts to sound like some kind of industrial metal, especially when it drops into a grinding mid-tempo groove in it's second half, producing what is easily the heaviest and most aggressive track on here. I would have loved to have heard more in that vein. Aside from that crusher, though, there's nothing here that rattles the current synthwave paradigm, but if you dig this sort of dark, nostalgic electronica as much as I do (which is a lot), Behemoth offers an excellent dose of what you're craving, with a grimmer and meaner vibe than most.
Track Samples:
Sample : GOST-Behemoth
Sample : GOST-Behemoth
Sample : GOST-Behemoth



GREYLOCK MANSION   self-titled   LP   (Lysergic Sound Distributors)    27.00
















GRIEF   Dismal   CD   (Fuck Yoga)    14.99














GRIEF   Dismal   LP   (Fuck Yoga)    19.99














GRIEF   Come To Grief   2 x LP   (Alone -Spain-)    28.98














GRIEF   Come To Grief   CD   (Willowtip)    10.98














GRIEF   Depression   12"   (Fuck Yoga)    18.98
















HUMAN LARVAE   Behind Blinding Light   CD   (Malignant)    10.98
















KORVEN, MARK   The Witch OST   CD   (Milan Records)    14.98
















KORVEN, MARK   The Witch OST   LP   (Milan Records)    23.98
















KORZYNSKI, ANDRZEJ   Music Score For Andrzej Zulawski's Motion Picture Possession   LP   (Finders Keepers / B-Music)    27.98
















LANDLORDS, THE   Fitzgerald's Paris   LP   (Feel It Records)    18.98
















LARSON, GENEVIEVE RYOKO   Ecstasy   ART BOOK - SLIM   (Black Horizons)    5.98



More graphic and provocative collage art from Black Horizons' "Black Bag" series, this one featuring work from the San Francisco-based artist Genevieve Ryoko Larson, who we had previously encountered in the label's Provocative Rituals II art zine. With this forty-page zine, Larson employs old-school Xerox-damaged collage techniques to combine explicitly sexual imagery, murky textures and seemingly random objects into odd new forms. Like other installments in this series, the artwork is reminiscent of what you would find on classic industrial and noise tape releases a la Masami Akita or COUM Transmission, often including fragments of graphic pornography that are juxtaposed with combinations of floral images, strange subjects pilfered from fashion journals, and abstract patterns. At their best, Larson's collages can be weirdly distressing.


MELVINS   Dale Crover   LP   (Boner)    17.98



      The latest to wash ashore in this recent flood of Melvins-related vinyl reissues, the band's trio of "solo albums" that came out on Boner Records back in '92 have all been resurrected on wax for the first time in twenty years, featuring the original music and accompanied by a poster and digital download code. Here's our old review for this stuff from when we originally got 'em in stock:
      If you've been following the Melvin's for awhile, you know that those dudes love KISS. They love 'em so much that back in 1992, the Melvins issued a series of three EP's, one from each member (King Buzzo, Dale Crover, and then-bassist Joe Preston) presenting their own EP of original solo material; the discs were totally modeled after the original KISS solo albums from 1978 in both look and concept, mimicking the same cover art style and KISS-logo lettering, making this part homage, part prank. These are now pretty hard to find, but are absolutely crucial to Melvins fans as each of the EP's are like a slide-section of the member's creativity, and all are totally crushing and weird in their own manner.
      For his 12-minute solo EP, Melvins' drummer Dale Crover teamed up with his then-wife Debbi Shane and served up four songs of sludgy, heavy metalpunk, catchy and hooky guitar-heavy tuneage that kinda reminds me of Dinosaur Jr. a little, but as heard through the slow fuzz weight of Melvins' Bullhead with Dale intoning his vocals Buzzo-style. Dale's entry is easily the catchiest and most accessible disc of the trilogy, the songs "Hex Me", "Dead Wipe", "Respite", and "Hurter" combining into a droney, hypnotic slab of darkened sludge pop. Always loved this disc, and I also always hoped that Dale would have pursued this catchier solo style more later on.


MELVINS   Joe Preston   LP   (Boner)    17.98



      The latest to wash ashore in this recent flood of Melvins-related vinyl reissues, the band's trio of "solo albums" that came out on Boner Records back in '92 have all been resurrected on wax for the first time in twenty years, featuring the original music and accompanied by a poster and digital download code. Here's our old review for this stuff from when we originally got 'em in stock:
      If you've been following the Melvin's for awhile, you know that those dudes love KISS. They love 'em so much that back in 1992, the Melvins issued a series of three EP's, one from each member (King Buzzo, Dale Crover, and then-bassist Joe Preston) presenting their own EP of original solo material; the discs were totally modeled after the original KISS solo albums from 1978 in both look and concept, mimicking the same cover art style and KISS-logo lettering, making this part homage, part prank. These are now pretty hard to find, but are absolutely crucial to Melvins fans as each of the EP's are like a slide-section of the member's creativity, and all are totally crushing and weird in their own manner.
      The most maligned entry into the Melvins solo EPs trilogy, Joe Preston's disc is also my personal favorite of the series, and it's also the longest at almost half an hour. His solo disc was one of the only things that Preston recorded during his brief stint in the Melvins, along with the Nightgoat single and the Lysol album. If you're a regular here at C-Blast, you've no doubt noticed that we are HUGE Joe Preston fans. The guy has played with some of our favorite bands ever (Earth, Sunn O))), High On Fire), and is also the force behind the mighty Thrones. The dude just bleeds heaviness. His solo Melvins EP is definitely the most fucked-up of the three, but Sunn O))) and Thrones fans are gonna be stoked to see the shape of things to come captured here; the opener "The Eagle Has Landed" is a brief bit of sound collage fusing a really fucking annoying recording of a kid throwing a temper tantrum over scratchy 70's elevator music; and "Bricklebrit" totally predates the Thrones sound with a splattery drum machine, alien feedback, and slow creepy mutant riffage - freaking crushing, and sounds like it could have come off the Sperm Whale album. But it's the final track, the 23 minute long "Hands First Flower" which should have all fans of Earth, Sunn O))), Black Boned Angel, and all things ultra heavy tarpit guitar dronemetal scrambling to attach their ears to this disc. Starting off with low, rumbling feedback drones and stretched out metal power chords suspended in space, the track slooowly shifts and turns with crushing ominous sludge drone and distant, elephantine tympani strikes, sounding exactly like what Sunn O))) were doing on their 00 Void album, but with those monstrous, distorted drum explosions and Preston's weird electronic sounds making it even heavier. When this came out, man, so many people hated it, thinking it the most disposable entry in the solo series, but listening to it now proves that his disc was just way ahead of it's time...


MELVINS   King Buzzo   LP   (Boner)    17.98



      The latest to wash ashore in this recent flood of Melvins-related vinyl reissues, the band's trio of "solo albums" that came out on Boner Records back in '92 have all been resurrected on wax for the first time in twenty years, featuring the original music and accompanied by a poster and digital download code. Here's our old review for this stuff from when we originally got 'em in stock:
      If you've been following the Melvin's for awhile, you know that those dudes love KISS. They love 'em so much that back in 1992, the Melvins issued a series of three EP's, one from each member (King Buzzo, Dale Crover, and then-bassist Joe Preston) presenting their own EP of original solo material; the discs were totally modeled after the original KISS solo albums from 1978 in both look and concept, mimicking the same cover art style and KISS-logo lettering, making this part homage, part prank. These are now pretty hard to find, but are absolutely crucial to Melvins fans as each of the EP's are like a slide-section of the member's creativity, and all are totally crushing and weird in their own manner.
      King Buzzo's 12 minute disc is the closest of the three to what the Melvins were doing at the time; The opener "Isabella" appears with a heavy, repeated tom-heavy drumbeat and softly buzzing feedback drone, as a crumbling ultra-distorted guitar and Buzz's veiled vocals enter. "Porg" marries a percussive Industrial loop of heavy machine clang to droning distorted guitar noise and layers of demonically possessed moans. "Annum" appropriates part of the key riff from "White Rabbit" and crafts a tense, understated pop song. The final track "Skeeter" is like a sludge-metal comedy bit, with some guy narrating a tour story over a rolling crushing guitar/heavy drums metalpunk dirge. Who's the guy? It's actually Dave Grohl from Nirvana and Foo Fighters, who also played drums on this disc, going under the name "Dale Nixon" due to legal issues with Nirvana's label, Geffen.


MIGHTY SPHINCTER   Undead at Hammersmith Odeon 1987   LP   (Slope Records)    19.99













NIGHTSTICK   Death To Music   CD   (Relapse)    11.98















NIGHTSTICK   Ultimatum   CD   (Relapse)    11.98















NIGHTSTICK   Blotter   LP   (Armageddon)    15.99















NOISE   Demo Tapes 1991-1995   LP   (SPHC)    12.98
















NUCLEAR DEATH   Bride Of Insect + Demos   CD   (Dark Symphonies)    11.99



      Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.
      I still remember when I first saw the ad for Nuclear Death's Bride Of Insect when it appeared in a 1990 issue of Metal Maniacs, I could barely take my eyes off of the grotesque hand-drawn artwork depicting a clan of irradiated abominations surrounding a withered hag licking the slop off of some mutant infant, a huge skull-faced spider-like monstrosity hovering over them. The band name and that artwork suggested that Bride held sublime sonic horrors, and I couldn't wait to get my hands on it. The album's twelve songs featured a slightly less chaotic version of Nuclear Death's psychotic bestial death metal, but this stuff was (and is) still plenty bizarre, the songs whipped up in a nail-studded whirlwind of sloppy blastbeats and murky riffs, the songs spinning off in weird off-kilter anti-grooves and angular breakdowns, while Lori's awesome, seething vocals echo through the band's cyclonic violence, with some subversively catchy hooks lodged like stray bits of bone matter in these chunks of blackened grind. Tracks like "Necrobestiality", "Feral Viscera", "The Misshapen Horror" and the title track continue to evoke the band's unique nightmare visions of rotting bodies fused together in dripping carnal combinations, mutant birth-sacs and surreal sexual depravations dredged from the deepest recesses of the human psyche. The combination of ripping thrash riffs, Scum-level chaos, and sludgy discordant death metal is intense to say the least, but compared to the delirious sonic vomit that would follow, this is probably their most straightforward work.
      In addition to the album, this new CD reissue also features the Wake Me When I'm Dead and Welcome To The Minds Of The Morbid demos. 1986's Wake Me When I'm Dead was the band's first recording, and it features five tracks of thrashing cavernous evil that has more of a traditional thrash metal sound than their later stuff, though these tracks still have that signature unhinged quality that infects all of Nuclear Death's material. The same goes for the Welcome To The Minds Of The Morbid demo that followed the next year, which has a number of songs that would be later re-recorded on their debut album; you can really start to hear the band growing more maniacal on this demo, though, as the thrash metal riffs and the drumming are continuously pushed into the extremes, the band striving for ever faster, ever more violent velocity, with songs like "Cremation" and "The Third Antichrist" delivering some amazing blasts of chaotic grind, and some weird touches like the robotic devil-vocals on "A Dark Country".
      An essential collection of some of the most chaotic, brain-scrambling and utterly filthy extreme metal ever unleashed, this also includes the original album layout and artwork, and comes with a twelve-page booklet with lyrics, flyer art, band photos and new liner notes from Michele Toscan from Nuclear Abominations and Lori Bravo, as well as a Japanese-style obi card.


NUCLEAR DEATH   Carrion For Worm   CD   (Dark Symphonies)    11.99

Carrion For Worm IS CURRENTLY UNAVAILABLE FOR ORDER

      Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.
      It was with 1991's Carrion For Worm that Nuclear Death truly transformed into one of the strangest death/grind bands around, taking the murky, blurred chaos of their previous album and adding in an array of bizarre noises, hideous atonal guitar sounds, counter-intuitive rhythms and some of the most insane vocals that Bravo ever produced for this band. The songs careen through weird tempo changes and stomping off-kilter breakdowns, the blasting deathgrind splattered with Hampson's lysergic solos, which are ten times more crazed and discordant here than on the older Nuclear Death records. On some of these tracks, the band hurtles into passages of such cyclonic violence that it turns into a kind of blackened, gore-splattered noisecore, chainsaw guitars rumbling beneath the overdriven blastbeats and waves of rumbling noise, and Bravo uses extreme delay effects on her voice to produce some truly terrifying psychedelic effects on songs like the discordant, Autopsy-esque sludgefeast "Greenflies". There's a scornful review of this record that was posted by someone on the Metal Observer site that complained about what he perceived as Carrion's utter unlistenability, where he describes the sound of this album to being "like if Blasphemy and Beherit would interpret together some Einst�rzende Neubauten songs, and while I'd certainly question his taste, he might be on to something there. There's a weird, experimental edge to a lot of these songs that shows up in the form of that blasting formless guitar noise and the heavily processed effects that the band uses on their instruments and vocals, and it's clear that Nuclear Death were trying to create something extreme and otherworldly here. They definitely succeeded, producing one of the era's most bizarre death metal albums.
      In addition to the album, this new CD reissue also features the A Symphony Of Agony and Vultures Feeding demos. The A Symphony Of Agony demo from 1987 is a mix of live and rehearsal tracks, and the sound quality is surprisingly good considering the age and source of these recordings. The live tracks in particular were great to hear, as live recordings from Nuclear Death have always been hard to come by (for me at least). Out of all of these demos, the 1988 tape Vultures Feeding is my favorite; while it has a heavier and clearer recording than the previous demos, the band sounds more unhinged than ever, their chaotic, noisy, sound again bordering on total noisecore, the riffs and drums going in different directions, a spiraling mass of buzzing death metal riffs and caveman blastbeats caught in a vortex.
      An essential collection of some of the most chaotic, brain-scrambling and utterly filthy extreme metal ever unleashed, this also includes the original album layout and artwork, and comes with a twelve-page booklet with lyrics, flyer art, band photos and new liner notes from Lori Bravo, as well as a Japanese-style obi card.


NUCLEAR DEATH   For Our Dead / All Creatures Great and Eaten   CD   (Dark Symphonies)    11.99



      Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.
This much-needed Nuclear Death reissue campaign continues with Dark Symphonies' new release of For Our Dead / All Creatures Great and Eaten, a collection of early 90's material from the Arizona death-mutant cult. Originally released together as a bare-bones disc by Extremist in 2002, this compilation marks a significant shift in the band's sound, from the grinding chaos of their early work towards a more experimental (but no less extreme) direction. This might be my favorite era of the band; the All Creatures Great And Eaten tape alone stands as one of the weirdest and most insane-sounding death metal releases of the era, a violent mutation of their earlier sound. a foul melange of psycho-sexual dread, extreme body horror, bizarre fairy tale imagery, the lyrics are fantasticlly vile, some of my favorite death metal lyrics ever. 1992's All Creatures Great And Eaten was the band's third album, though it only clocked in at just over twenty minutes. Released on cassette through the band's own Cats Meow imprint, Eaten found the band reduced to just a two piece, with Lori Bravo taking over all guitar duties in addition to vocals and bass. This resulted in a noticeable change in the band's sound, as the grinding death metal riffs mutate into more discordant, abrasive forms, and a sickening dissonance permeates all of the music. Steve Cowan's drumming remains savagely aggressive, but this new material generally sounds even more psychotic than before, Bravo's deformed guitar bringing an almost No Wavey abrasiveness and ugliness to their already quite hideous sound. Songs become writhing masses of downtuned abstract guitar noise and lurching, off-kilter rhythms. Weird spacey electronics and cosmic slime swell up from the depths, leading into eruptions of severely drug-addled improv. Effects pedals are cranked over deformed doom-laden concrete-mixer riffs. And a layer of vile, rumbling noise materializes beneath many of the songs, adding to the harsh, hallucinatory atmopshere. It's one of the most horrific slabs of avant garde deathnoise from the decade, almost sounding like some gruesome Skin Graft outfit at times, but constantly spiralling out into total madness as Bravo's snarling vocals become more and more distressed and demented.
First released on notorious label Wild Rags, For Our Dead features just four songs, terrorizing from start to end; blown out, utterly monstrous death metal whipped up into a near noisecore-like blur of blastbeats, vomitous shreiks and primitive riffage, only occasionally slowing down into a skull-flattening dirge or sprawl of nauseating feedback. Ridiculously noisy at times, there are moments like "The Third Antichrist" that turn into a weird, almost industrial-tinged ultra-heaviness that shifts between psychedelic deathsludge and sheer Merzbowian chaos. Some of these riffs are perversely catchy, though. As with the other recent Nuclear Deat reissue CDs, Eaten is limited to one thousand copies, featuring the original, amazing artwork and new liner notes from Lori Bravo.


PAINKILLER   Execution Ground   2 x LP   (Karlrecords)    29.00



      Cult classic slab of early 90's death-dub/avant-grind/charnel ambient from this mighty trio, released on vinyl for the first time ever. Issued as a double LP on 180 gram wax limited to five hundred copies, and packaged with a printed insert and digital download, this reissue only features four of the five tracks on the record ("Parish Of Tama (Ossuary Dub)", "Morning Of Balachaturdasi", "Pashupatinath Ambient", "Parish Of Tama Ambient") due to space limitations, but that other track "Pashupatinath" is included in the complete digital download that accompanies the album. Even in this slightly truncated/edited form, Execution Ground is a real blast-beast, a highly influential piece of work whose reverberations can be heard in everything from Yakuza and Old Man Gloom to whole swaths of the Southern Lord catalog.
      Here's our old write-up for the album from the first time we picked it up:
      Within the realm of wall-busting, form-exploding extreme music, Painkiller were one of the most intense, most insane bands to sully the waters of avant-garde heaviness. They're one of those bands that I often find myself recommending to anyone I know with a taste for truly extreme music. Painkiller's stuff is that crucial. First appearing around 1991, the trio was made up of three of the biggest names in underground extremism at the time: you had John Zorn, already part of the foundation of the downtown NYC avant music scene and fresh off of plundering death metal and hardcore in his pan-genre ensemble Naked City; bassist and shit-hot producer Bill Laswell; and percussive maniac Mick Harris, who had arguably invented grindcore just a few years earlier with his band Napalm Death. This original version of the band only existed for about three years, recording all of their studio material between 1991 and 1994; it started off with the Guts Of A Virgin and Buried Secrets EPs, followed by the groundbreaking Execution Ground double album that was released on Laswell's own Subharmonic imprint.
      The group's aim was ambitious, seeking to fuse together dark dub and ambient music with grindcore, hardcore, and jazz in a completely improvisational setting; the whole notion born of Zorn's heightening obsession with the sounds of the nascent death metal and grindcore underground chronicled by Earache in the late 1980's, and the correlations that he was making between that burgeoning extreme metal scene and the freedom and ferocity of the 60's free jazz scene that inspired much of Zorn's sax playing. The result was fucking explosive. Painkiller was a bold new mutant entity, no clumsy conglom of styles, a genius bomb-blast of menacing dub snaking through volleys of screaming free jazz and the machine gun fire of Harris's blastbeats. It managed to sound heavy and alien and utterly evil at times, and what Painkiller were doing in the early 90s would end up having a massive influence on pretty much any band that followed who pursued the energies of both jazz and metal.
      That original Painkiller trio peaked with 1994's Execution Ground. Originally released as a double disc set on Subharmonic, Execution Ground is generally considered to be Painkiller's defining moment, a perfect fusion of the brutal thrash/free jazz and the dark dub sides of the group's sound. The first half (titled Execution Ground) features three long improvisational pieces that explore the trio's use of heavy dub and free jazz in an extended setting. The second disc, referred to as Ambient, takes two of those earlier tracks and completely mutates them, transforming them into vast, sprawling slabs of blackened, dubbed out ambient sound streaked with throat-singing like vocal drones, bleating sax, and unearthly flutterings. It's as crushing and ominous a blast of icy black isolationist drift as you would expect to hear from the likes of Scorn or Lull or Lustmord, but laced with a nightmare spookshow jazziness that elevates it to a uniquely desolate realm.
Track Samples:
Sample : PAINKILLER-Execution Ground
Sample : PAINKILLER-Execution Ground
Sample : PAINKILLER-Execution Ground
Sample : PAINKILLER-Execution Ground
Sample : PAINKILLER-Execution Ground



PSUDOKU   Planetarisk Sudoku   CD   (Selfmadegod)    11.99



      The return of the cosmic blast-attack. Planetarisk Sudoku is the newest sci-fi damaged spazz-gasm from this interstellar grindcore band headed up by the guy behind Parlamentarisk Sodomi and Brutal Blues, but while the previous album was a solo effort, this one has him teaming up with his Brutal Blues bandmate Anders Hana (also of Noxagt and Ultralyd) to execute his maniacal vision. The album is essentially divided into two halves: the a-side tears through three tracks in about fifteen minutes, a high-speed splatter of choppy grindcore and insane free-jazz squonk sped up and stitched together into a jarring patchwork of eerie blastprog. As crazy as the debut was, this stuff feels even more complex and convoluted, the staccato guitar riffs slashing and slanting wildly through sprawls of Goblin-esque piano arrangements and swells of soundtracky strings, everything spit out into a maelstrom of abruptly shifting time signatures and extreme stop/start tempo changes that leave bloody skidmarks all over the album. The obvious influences that you could pick out on the first record are a little less in your face here; while the pungent stink of 70's era prog rock a la King Crimson still heavily permeates Psudoku's high-speed grind, all of this stuff comes together much more organically this time around, making for an even weirder listening experience. Big chunks of the album appear to be entirely instrumental, but then there's the bugfuck carnival blast of "NeURONaMO" with it's sputtering gorilla chants, blurts of monstrous nonsense over the whiplash-inducing mix of fucked-up fusiony electronics, discordant riffs and theremin abuse, blaring saxophones splattered against blasting mathy grindcore, resembling some crazed ketamine-sucking version of Behold...The Arctopus. And somehow, they manage to lodge some perversely catchy hooks in amongst this cuisinarted skronk-salad.
      Psudoku momentarily restrain themselves at the outset of the b-side track "PsUDoPX.046245", which takes up the entire side. Opening the song with a few minutes of eerie cosmic ambience, this placid intro allows the eminent extended blast-attack to sneak up on the listener. But also it moves in a different direction from the more grind-style songs on the first side. Here, the band spills out of that initial maelstrom of blastbeats and angular riffing into a twisting labyrinth of creepy prog rock, slipping into a killer Magma-esque instrumental passage for a bit before shifting into some more aggressive math-metal contortions strewn with bizarre vocal gibberish, then from there hurtling through continuously evolving passages of heavy jazz-damaged rock flecked with chilling orchestral ambience and blasts of Zeuhl-style choral voices, continuing to contort and confuse in glorious fashion all the way to the weirdly bright and joyous finale of the track. An absolutely bonkers album, anyone into Naked City, Pryapisme, Colin Marston's various projects, Netjajev SS and similar extreme spazz-attacks will lose their fucking mind upon hearing this...
Track Samples:
Sample : PSUDOKU-Planetarisk Sudoku
Sample : PSUDOKU-Planetarisk Sudoku
Sample : PSUDOKU-Planetarisk Sudoku



SHIBALBA / PHURPA   Teachings Of Eastern Traditions   LP   (Cold Spring)    24.99
















SIEGE   Drop Dead (30th Anniversary Edition)   CD   (Armageddon)    14.98



      The latest CD edition of this seminal early American hardcore album is the most definitive version yet, pairing up the original nine-song album with their original session outtakes and the songs from the Cleanse The Bacteria compilation. Absolutely essential proto-grind / avant-hardcore, one of my all-time favorite albums, period. This 2016 repress comes in jewel case packaging with stark black-and-white imagery, lyrics, and a Japanese-style obi strip. Here's the old review from the previous LP release:
      When it comes to extreme hardcore, Siege's legendary Drop Dead is the most important record ever. Can there be any doubt? C'mon, we're talking about the EP that influenced Napalm Death to play grindcore, and the music that birthed every blastbeat spewing outfit that has come since. It's fucking staggering to listen to Drop Dead today, in 2006...these songs, recorded way back in 1984, still sound every bit as berserk and apocalyptic and brain melting as they did then. Beneath Rob Williams' mach 10 thrash beats and Kevin Mahoney's psychotic, blood-curdling vocals, Siege's songs had hooks that any band would kill for, and one of the most destroyed guitar performances ever put to tape. These guys totally mutated hardcore in the early 80's and turned it into something completely new, just listen to the psychedelic hardcore epic "Grim Reaper" with Mahoney howling about a man being diagnosed with cancer as he belts out a freaked out saxophone performance over nightmarish tape loops and the rest of the band noisily improvising on one noxious riff. Total genius. Aside from Bad Brains and Black Flag, I can't think of any other bands that were this crucial to the development of the American punk underground. Drop Dead is one of my all-time favorite records, a statement of extreme music that has never been equaled in my opinion, and it's essential to anyone into extreme hardcore, grindcore, outsider heaviness, and noise-damaged insanity.


SIGH   Scorn Defeat   2 x LP   (The Crypt)    28.99



A super-limited new vinyl reissue of Sigh's debut album Scorn Defeat released by the revivalists over at The Crypt. This new 2017 edition features the original release on the first LP and a second LP of bonus material that apparently appears here for the first time, including the three early mix tracks ("The Knell", "At My Funeral", and "Taste Defeat"), and a live soundboard recording taken from an August 1991 at Harajuku Los Angeles Club, Tokyo. The records come in a heavyweight gatefold jacket that copies the original Deathlike Silence cover and layout. Here's our original review for the album:
There's few black metal bands as quirky and strange as Japan's Sigh, who have been delivering their whacked-out brand of cinematic prog-influenced blackthrash since the early 1990's. The band burst into the black metal underground when their debut album Scorn Defeat was released in 1993 on Deathlike Silence, the label run by Euronymous from Mayhem, and Sigh's debut would become legendary for being the last release on the label before Euronymous was murdered. But even if Scorn Defeat hadn't been caught in the shadow of the events chronicled in Lords Of Chaos, this album would still have become one of the great cult classics of the second wave of black metal just for it's sheer weirdness. From Imaginary Sonicscape (the band's brilliant 2001 masterpiece) onward, Sigh has become one of the world's most psychedelic metal bands, blending together Wagnerian bombast and 70's psychedelia and jazz fusion and Venom and John Zorn into a unique and mind-boggling sound of their own, but it might surprise a lot of fans that haven't heard Sigh's earliest material just how oddball the band was even in the beginning. Compared to their later albums, Scorn Defeat is obviously a black metal album, with lots of killer fast paced buzzsaw riffing and blastbeats and slower dirgier parts, and the song titles and lyrics all pointed towards the kind of death worship that no doubt had the Norwegian black metal kids bugging out. But then there's the weird band photos, with the not-quite-right corpse paint makeup that's way more kabuki than necro, and the band doing battle with fuckin' maces while Mirai breathes fire in the background...and then there's the music itself, a ripping black metal attack that's heavily influenced by the primitive sound of classic Venom, but which is injected with weird prog-rock interludes, classical piano (that's shockingly competent compared to what most bands were doing with keyboards back then), subtle psychedelic overtones and other elements that made it abundantly clear that Sigh were not just another black metal band...
The first song "A Victory Of Dakini" is as heavy and blackened as anything off their most recent, and already pointed towards the wild, avant-garde direction that Sigh would continue in; the songs kicks off with a halting doomy dirge and some acoustic guitar over top, then lurches into a plodding black metal riff with that unique majestic quality that all of Sigh's riffs have, super catchy but dark and evil, and it winds through slower sections of gloomy acoustic strum and grim mid-paced dirge with Mirai's distinctive raspy vocals. But then towards the end of the song, the band breaks off into a weird punky riff that suddenly erupts into an insane Hendrix-style acid-guitar freak-out complete with jazzy bass, which goes on for a minute or so, stops abruptly, and then goes right back in to the gloomy black dirge, only this time the band backs the music with beautiful Pink Floyd-like vocal harmonies and Hammond-like keyboards. It's the sort of jarring and bizarre shift in tone that won't surprise anyone who's heard their classic Imaginary Sonicscape album, but I bet that this confused quite a few black metallers back in 1993.
"The Knell" is more straightforward black metal, thrashing buzz-saw guitars and scorched vocals, epic melodies clashing with squealing Slayerized solos, but as the song progresses, it starts to reveal another proggy arrangement, this time moving into passages of heavy keyboard and acoustic guitar that alternate with the heavier parts, and culminating in a blazing psychedelic climax with ripping harpsichord solos (!) and angelic vocal choirs. "At My Funeral" gets even stranger, mixing up that Venom-esque mid-paced plod with more tinkling piano lines, soaring choral synths, and a killer theatrical part that kicks in during the middle.
On "Gundali", the guitars are excised completely for another theatrical sounding piece that combines church organs / harpsichord keys, Mirai speaking in a low, creepy whisper, tambourines and a simple repetitive drumbeat into a cinematic dirge that later turns into a purely instrumental performance of classical piano. The black metal returns on the next song, though, and it's one of my favorites - "Ready For The Final War" is another proggy blackthrash anthem, with some of the most crushing riffage on the album, going from synth-driven drama to raging high-speed thrash to one of those immensely rocking and catchy Venom-chugs that, again, turns into a pure piano piece at the end, one that's so beautiful and jazzy it's as much of a shock as any of the other moments of weirdness that have previously appeared on the album. The rest of Scorn Defeat is loaded with these amazing what-the-fuck moments, like the jazz piano that pops up in the middle of the black metal anthem "Weakness Within", or the Floydian atmospherics and chiming triangles (how often do you hear those on a black metal album?) on "Taste Defeat".

Track Samples:
Sample : SIGH-Scorn Defeat
Sample : SIGH-Scorn Defeat
Sample : SIGH-Scorn Defeat



SLAYER   Issue X (DELUXE HARDCOVER)   BOOK   (Bazillion Points)    14.98














SLEEP   Sleep's Holy Mountain   LP   (Earache)    22.98



     Back in print on limited-edition vinyl from Earache, remastered from the original tapes.
     Sleep's second album Sleep's Holy Mountain from 1993 is a hallmark in the stoner/doom/sludge/psych metal field, a gargantuan riff-feast set to trance inducing tempo that took Black Sabbath's slow motion acid rock and turned it into what would pretty much become the template for the drug doom sound that bands like Electric Wizard and Bongzilla would later explore. By now, metal fans know the storied history of Sleep, the major label woes, the hour-long one song album Jerusalem, the band's disintegration and the members going on to form High On Fire (in the case of Matt Pike) and Om (which featured the Sleep rhythm section of Al Cisneros and Chris Hakius).
     But after all of these years, this album still has a heavy magic about it, and every time I throw it on the turntable it continues to blow my third eye open with all its energized psych-rock freakouts that merge into massive droning doom metal, Cisneros' narcotized chanting, the drug-trip science fantasy lyrics that read like they came out of a beat up, dogeared 70's print of Edgar Rice Burrough's Chessmen Of Mars or John Norman's Tarnsman Of Gor, all space-faring dragonriders and insect caravans and intergalactic pilgrims in search of the ultimate weed, maaaaaaan. Sleep's riffs are still some of the heaviest ever, influenced by Iommi's playing in Sabbath but dipped in liquid lead, massive and grooving. "The Druid", instrumental "Some Grass", "Dragonaut", "From Beyond", all classic and crucial blasts of ultra fried, ultra heavy psychedelic doom. Adorned in a strange visual design that combines stoned-out drughaze band pics, eye-popping colors and Robert Klem's graffiti-esque, Keith Haring-influenced artwork. An essential album for anyone into doom metal, psych metal, and sludge
Track Samples:
Sample : SLEEP-Sleep's Holy Mountain
Sample : SLEEP-Sleep's Holy Mountain



SNARES OF SIXES   Yeast Mother: An Electroacoustic Mass   CD   (Crucial Blast)    8.98



While renowned for his work as bassist for Agalloch and Sculptured, Jason Walton has also frequently ventured into other, stranger and more experimental regions over the past two decades, offering a range of baffling and captivatingly weird sounds with bands like Self Spiller, Especially Likely Sloth, and Nothing. And it's in that latter territory that we find the debut EP from Snares Of Sixes, his latest creation. On the band's debut EP Yeast Mother: An Electroacoustic Mass, Snares Of Sixes makes a bold and confounding introduction, tangling the listener in confusional, highly aggressive avant-prog. The genre-shredding sound taps into a warped confluence of frenzied King Crimson-esque progressive rock, faint traces of frayed, heavily mutated black metal, haunting atmospheric touches, and abrasive electronics, and the result leaves us deliriously disoriented.
With tracks like "Urine Hive", "Lions To Leeches", "The Mother's Throat", Walton and company lurch through an escalating, ever-shifting frenzy of creepy, labyrinthine melody and pummeling percussive chaos, over-modulated riffage and schizophrenic time signatures, where android mutterings give way to hideous blackened shrieks and bouts of bizarre crooning, the sound stitched with veins of crushing metallic heaviosity, fractured electronica, and surreal atmopsherics as it reaches towards the menacing glitched-out tech-metal hallucination of "Retroperistalsis" that closes the EP.
Often difficult, frequently nightmarish, this stuff easily ranks as one of Walton's more challenging and oblique offerings. And for us, one of his most fascinating. Features Marius Sjøli and Robert Hunter (Hollow Branches), Andy Winter (Winds), Pete Lee (Lawnmower Deth), Nathanaël Larochette (Musk Ox), and Don Anderson (Agalloch, Sculptured), among others.
Comes in a six-panel digipak.


SOPHIA   Unclean   CD   (Cyclic Law)    13.98
















STEEL HOOK PROSTHESES   Calm Morbidity   CD   (Malignant)    11.98
















STICK MEN WITH RAY GUNS   1000 Lives To Die   LP   (12XU)    18.98
















STICK MEN WITH RAY GUNS   Property Of Jesus Christ   LP   (12XU)    18.98
















SUBROSA   More Constant Than The Gods   2 x LP   (Profound Lore)    35.98



      Back in print on vinyl, issued as a gorgeous double LP with printed inner sleeves and insert.
      More Constant Than The Gods is the gorgeous new album of solemn, metallic-tinged chamber-rock from Salt Lake City's Subrosa, about as perfect a fusion of classical and folk instrumentation and crushing Sleep-esque doom-laden heaviness and soaring, achingly pretty pop hooks as I have ever heard. The album opens with some somber, muted electric guitar and those gorgeous, hushed vocals from singer Rebecca Vernon (who continues to vaguely remind me of Marcy May from Scrawl), the beginning of "The Usher" coalescing from a fog of ghostly violins and scraped strings, gusts of distorted fuzz and the muted chords of the guitar, soon joined by Jason McFarland's equally hushed singing. When the full band crashes in at around the three minute mark, and the sound gives way to a churning metallic might, Vernon's vocals never lose their fragility, even as the band slips into ever slower, heavier tempos and blasts of crushing downtuned heaviness. And from there, More Constant Than The Gods just transforms into something massive, the guitars erupting into squalls of screaming seagull feedback, wailing high-end amp noise rising over those sing-song vocals and weeping violins and churning metallic riffage, the soft chiming of a vibraphone ringing out overhead.
      It's all intense and strikingly beautiful, the songs shifting into folk-flecked dirge and gorgeous multi-part vocal harmonies, where Vernon synches up with her band mates for gorgeous lilting vocal melodies. There's the monstrous lumbering sludge of "Ghosts Of A Dead Empire", which starts off sounding something like the drugged, droning sludge metal before shifting into long stretches of ominous violin that sing over rumbling, fuzz-drenched guitars, leading into the crushing denouement where the song suddenly ascends into a fucking breathtaking hook. Here, Vernon's vocals transform into this achingly beautiful, terminally catchy melody that melts into the droning, saurian riffage perfectly, those violins skittering overhead, turning the final minutes of the song into a stunning piece of folk-flecked sludgepop majesty. "Cosey Mo" features another one of these stunning hooks churning at the heart of the sweeping chamber strings and that grinding guttural guitar tone, while "Fat Of The Ram" slips into an ecstasy of angular heaviness, that Sleepy metallic crush shifting into a strange blur of dissonant slide guitar and haunting clarinet sounds. As the instruments become glazed in delay and are set adrift on waves of echo, the music turns dark and dreamlike as the band bulldozes through the haze, eventually erupting into a kind of progged-out grandeur.
      The album is filled with these amazing moments, from the sorrowful doom of "Affliction" that burns with a mutated, bluesy power, to the dramatic piano that opens closer "No Safe Harbor" and is joined by gorgeous, witchy flutes for another stretch of dark chamber rock mastery, the droning doomed deathmarch that emerges later finds itself fused to an airy folky beauty. Each song weaves an eerie spellbinding story, Vernon's lovely voice the thread tying it all together, with lyrics that are both richly evocative and literate, with considerable footnotes included in the booklet that help to expand their lyrical visions. By far the band's best work to date, the album features Glyn Smyth's beautiful Symbolist/Aubrey Beardsley influenced artwork.
Track Samples:
Sample : SUBROSA-More Constant Than The Gods
Sample : SUBROSA-More Constant Than The Gods
Sample : SUBROSA-More Constant Than The Gods



TEN THOUSAND MILES OF ARTERIES   Even Spilled Seed Crawls Toward The Womb   CDR   (Annihilvs)    9.98
















TERMINAL CHEESECAKE   Dandelion Sauce Of The Ancients   LP   (Box Records)    24.99



Now sold out from the source.
Wasn't expecting to see a new album from these guys in 2016. Part of the same twisted UK noise/psych/sludge rock scene that brought us the likes of Godflesh, Fall Of Because, Skullflower (with whom they shared a member), God, and Sweet Tooth, Terminal Cheesecake were a weirder, noisier outfit heavily steeped in the din of classic psychedelia, but enfolded it within a crush of distorted guitars, sludgy riffage and blown-out mayhem that could really fry your frontal lobe. But these guys hung it up around the mid-1990s, their last album King Of All Spaceheads coming out back in 1994, and as the years have worn on, their stuff has become harder and harder to track down for collectors. It's great to hear 'em back in action, though, and their new album Ancients sounds heavy as hell, no surprise seeing as how they now have Dave Cochrane (God, Greymachine, Head Of David, Ice, Sweet Tooth, Transitional) handling bass duties. In fact, I'm trying to remember when these guys ever sounded quite this heavy. When the opener "Birds In 6/8" kicks in, that distorted bass comes in lurching blasts of low-end crunch, digging in with a mean hypno-riff as those echoing vocals and hypnotic drums and squalls of spaced-out guitar noise and Hawkwindian FX are splooged across the track. Pummeling and aggressive, that opener puts a neon-dyed boot right through your skull. And from there the album proceeds to slide further down the lysergic abyss, guitars exploding into fuzz-drenched serpentine riffage, molten chords turning black and gooey as they glom together into walls of gargantuan sludge, an arsenal of effects pedals all cranked to eleven, vocals echoing and shrieking and yelping through the cosmic haze. It's like some monstrous melding of Butthole Surfers and drugged-out, dundering doom metal on some of these tracks, the drumming shiofting between pounding tribal rhythms and slugfuck pummel, weird samples littered throughout the songs, the riffs primitive and droning. On "Song For John Pt 1", the band lumbers through a crushing psych-groove that sounds like a roid-raging Loop jam before it goes supernova in a blast of speaker-melting psychdrone, and the closer "Lord Jagged (The Chemical Teacake Quintet)" brings it all crashing down with a whacked-out assault of improvised free-rock violence.


THOUGHT BROADCAST   Social Acid   CASSETTE   (Personnel Records)    7.99
















TIMEGHOUL   Tumultuous Travelings / Panaramic Twilight (LUNAR EDITION)   LP   (The Crypt)    22.00



Another killer reissue from the Crypt, a new 2017 vinyl release of Timeghoul's ferocious 1992 and 1994 demos, presented in gatefold packaging that includes the liner notes from band member Mike Stevens and artist Mark Riddick, lyrics, Riddick's original cover art, and other imagery and art (ad copy, band pics, flyer art) from the demos that was featured in the band's discography CD on Dark Descent. Here's our take on it, taken from the older review for the more expansive double CD edition:
Ascend to Mimas! Just got this underground avant-death classic back in stock, a must-hear collection of primo weirdo death metal from the early 90s. These Missouri void-crawlers only released two demos between 1992 and 1994 before hanging it up, but despite their brief run, Timeghoul's recordings captured one of the strangest sounds to creep out of the American death metal underground. Their subject matter and imagery all had an arcane science fiction bent, while the music itself was an atypical blend of technical, prog-tinged death metal and moments of weirdly mournful doom, with an extremely odd (but amazing) vocal style that still sounds fairly unique. Over the years, Timeghoul's music has found a larger audience through the internet, hailed by fans of confusional, adventurous old-school heaviness, and the band's original demo were collected into a single disc by Dark Descent back in 2012 that featured killer new artwork from Mark Riddick; that was followed by this superior, expanded double CD set that pretty much gives you everything the band ever recorded, including rare live recordings.
Their demented approach to death metal is pretty apparent as soon as their first demo Tumultuous Travelings gets going. Those earliest recordings featured the band's murky, murderous heaviness laced with bits of sonic strangeness and rhythmic complexity, producing chugging, discordant blasts that get progressively stranger in construction. Especially once the vocals come in on "Rain Wound"; while most of the vocals are a hideous guttural gurgle, here they suddenly morph into a bizarre, almost chantlike moan as the guitars spiral out into atonal shredding madness. Those weirdly crooning vocals are used sparingly, creating a chilling, hallucinatory feel on other songs like "The Siege" where they're combined with crawling, doom-laden heaviness. And Timeghoul's sound mutated even further with the two-song Panaramic Twilight demo, consisting of two ten-minute tracks that showcase an even more intricate and frenzied direction, filled with twisted, counter-intuitive stop/start arrangements and sudden shifts into fucked-up dissonant sludge that come out of nowhere. And some surprisingly catchy hooks come out of the blasting chaos and insane, insectile riffery, with a couple of songs demonstrating an obtuse, almost prog-informed style that actually reminds me of Watchtower a bit. Those two tracks were the pinnacle of Timeghoul's output, expansive prog-death sagas that blend more of those weirdly harmonized vocals and gut-rupturing growls with increasingly ambitious songwriting. Choppy off-kilter heaviness is spiked with deranged leads and atonal melodies, flecked with bits of grim industrial drift and nauseating vocalizations, bursts of mathy mayhem and sickening synthetic ambience getting all tangled with weird spoken word readings that invoke desolate, interstellar imagery, and sprawls of majestic doom.
Of course, I can only fantasize about what a actual Timeghoul album would have sounded like, but even in demo form, this blast of cosmic vomit kills. A lost gem of atmospheric, technical weirdness on par with contemporaries Demilich and Atrocity, and an obvious predecessor to more current purveyors of sci-fi obsessed death metallers like Artificial Brain and Gigan, Timeghoul remain as bizarre and brutal as ever.
Track Samples:
Sample : TIMEGHOUL-Tumultuous Travelings / Panaramic Twilight (LUNAR EDITION)
Sample : TIMEGHOUL-Tumultuous Travelings / Panaramic Twilight (LUNAR EDITION)
Sample : TIMEGHOUL-Tumultuous Travelings / Panaramic Twilight (LUNAR EDITION)
Sample : TIMEGHOUL-Tumultuous Travelings / Panaramic Twilight (LUNAR EDITION)
Sample : TIMEGHOUL-Tumultuous Travelings / Panaramic Twilight (LUNAR EDITION)



TREPANERINGSRITUALEN   Deathward, To The Womb   LP   (Cold Spring)    23.98



      Newly reissued on both CD (which we'll have in stock in a few weeks) and vinyl (available now) via Cold Spring - this vinyl edition is limited to five hundred copies and comes on 180 gram wax with a download card featuring additional bonus material; along with the complete album, the download includes the track "I Remember When I Was God", a collaboration with Michael Idehall and members of Arktau Eos, Bölzer, Aether, and Hadewych. Here's our original review from 2012:
      One of the latest releases from this Scandinavian master of diseased occult industrial, Deathward To The Womb originally came out on 10" vinyl from Release The Bats and has since sold out from the label; it appears that we snagged the last available copies of this fearsome death-rite.
      Beginning with the incredibly thick and suffocating death-drift of "The Birth Of Babalon", Trepaneringsritualen wastes no time in unleashing its oppressive graveyard ambience, laying massive slabs of rotted noise and low-end rumble across distant, barely perceptible rhythms that feel like war-drums pounding from deep below the earth's surface, while deep, slurred vocals slowly ooze over the ghoulish soundscape, drenched in delay and black tar. It just gets creepier and more sinister as it progresses, heading into the bleak lightless depths of the title track, a monstrous death industrial dirge in the classic Cold Meat vein doused in blackness, filled with deep rumbling drones and evil guttural incantations, high wailing tones that come screeching through the void, and a slithering doom-laden bass line and distant percussive rattling and clanking that builds upon the already unnerving atmosphere of inescapable death. The side closes with a real knockout, the lurching death-dub nightmare "Osiris, Slain & Risen" that smears all sorts of hallucinatory effects over a deep, sinister bass-groove.
      "She Is Flame Of Life" opens the b-side with more grim electro-throb, a pulsating distorted synthesizer drone a la Genocide Organ that worms its way through a fog of moaning demons, swells of minor-key creep, and blood-encrusted machinery slowly revving to life. A more ritualistic feel (though no less horrific in tone) permeates the steady percussive pounding and slavering jaws of "Sacrament & Crucifixion", where foul Evil Dead-like voices call out from behind a veil of rot. The closer is one of Trepaneringsritualen's most rhythmic tracks, a pounding graveyard celebration called "All Hail The Black Flame" that blends thick cloying smears of black noise with ecstatic roars of bloodlust and booming, dubbed-out tribal drums that recalls the groovier moments of MZ.412. Only this is awash in enough exhumed filth to give you strychnine poisoning.


TREPANERINGSRITUALEN   Deathward, To The Womb   CD   (Cold Spring)    16.98



Newly reissued on gorgeous gatefold digipak CD, and featuring the bonus track "I Remember When I Was God", an epic collaboration with Michael Idehall and members of Arktau Eos, Bölzer, Aether, and Hadewych. As for the album proper, here's our original review from 2012:
One of the latest releases from this Scandinavian master of diseased occult industrial, Deathward To The Womb originally came out on 10" vinyl from Release The Bats and has since sold out from the label; it appears that we snagged the last available copies of this fearsome death-rite.
Beginning with the incredibly thick and suffocating death-drift of "The Birth Of Babalon", Trepaneringsritualen wastes no time in unleashing its oppressive graveyard ambience, laying massive slabs of rotted noise and low-end rumble across distant, barely perceptible rhythms that feel like war-drums pounding from deep below the earth's surface, while deep, slurred vocals slowly ooze over the ghoulish soundscape, drenched in delay and black tar. It just gets creepier and more sinister as it progresses, heading into the bleak lightless depths of the title track, a monstrous death industrial dirge in the classic Cold Meat vein doused in blackness, filled with deep rumbling drones and evil guttural incantations, high wailing tones that come screeching through the void, and a slithering doom-laden bass line and distant percussive rattling and clanking that builds upon the already unnerving atmosphere of inescapable death. The side closes with a real knockout, the lurching death-dub nightmare "Osiris, Slain & Risen" that smears all sorts of hallucinatory effects over a deep, sinister bass-groove.
"She Is Flame Of Life" opens the b-side with more grim electro-throb, a pulsating distorted synthesizer drone a la Genocide Organ that worms its way through a fog of moaning demons, swells of minor-key creep, and blood-encrusted machinery slowly revving to life. A more ritualistic feel (though no less horrific in tone) permeates the steady percussive pounding and slavering jaws of "Sacrament & Crucifixion", where foul Evil Dead-like voices call out from behind a veil of rot. The closer is one of Trepaneringsritualen's most rhythmic tracks, a pounding graveyard celebration called "All Hail The Black Flame" that blends thick cloying smears of black noise with ecstatic roars of bloodlust and booming, dubbed-out tribal drums that recalls the groovier moments of MZ.412. Only this is awash in enough exhumed filth to give you strychnine poisoning.


TROLLER   Graphic   LP   (Holodeck)    19.98



Back in stock.
After a nearly four year wait, this doom-laden darkwave outfit from Austin, TX has finally returned with the follow-up to their acclaimed eponymous debut. It was there that the band introduced their lush, lugubrious sound combining heavy synths, slow-motion rhythms and haunting vocal melodies, woven into infectious, brooding blasts of darkpop perfection; the songs seemed to emanate from some cavernous subterranean chamber, drenched in reverb and surrounded by shorter pieces of bleak ambience and grinding noise. A sinister, often abrasive edge gleamed from that early material, but it also featured some of the most stunning darkwave anthems we'd heard in ages. And with their first proper full-length album, Troller have expanded on that sound even further, their sensuous, dread-filled pop encrusted with those huge, otherworldly synths and distorted, grinding bass roar, rumbling across crawling drum machines and washes of glacial Carpenterian electronics, gorgeously gloomy synthpop hooks gleaming in the dimly lit corners of Graphic, as Amber Goers' soulful, utterly bewitching vocals once again haunt Troller's tenebrous depths. Songs like "Not Here", "Torch" and "Storm Maker" shimmer with a malevolent majesty, while elsewhere the album slips into nightmarish electronic ambience and stunning expanses of black kosmische bliss. And while the band's noisier tendencies are more subdued this time around, there are still surges of corrosive sound throughout Graphic that materialize in dense feedback and jagged chords that are juxtaposed with the album's more beautiful passages. Combined with their penchant for provocative imagery and apocalyptic undercurrents, this produces something far bleaker and more unsettling than anything else we're hearing in the realm of industrial-damaged darkwave right now.
Track Samples:
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic



TROLLER   Graphic   CASSETTE   (Holodeck)    7.99



Back in stock.
After a nearly four year wait, this doom-laden darkwave outfit from Austin, TX has finally returned with the follow-up to their acclaimed eponymous debut. It was there that the band introduced their lush, lugubrious sound combining heavy synths, slow-motion rhythms and haunting vocal melodies, woven into infectious, brooding blasts of darkpop perfection; the songs seemed to emanate from some cavernous subterranean chamber, drenched in reverb and surrounded by shorter pieces of bleak ambience and grinding noise. A sinister, often abrasive edge gleamed from that early material, but it also featured some of the most stunning darkwave anthems we'd heard in ages. And with their first proper full-length album, Troller have expanded on that sound even further, their sensuous, dread-filled pop encrusted with those huge, otherworldly synths and distorted, grinding bass roar, rumbling across crawling drum machines and washes of glacial Carpenterian electronics, gorgeously gloomy synthpop hooks gleaming in the dimly lit corners of Graphic, as Amber Goers' soulful, utterly bewitching vocals once again haunt Troller's tenebrous depths. Songs like "Not Here", "Torch" and "Storm Maker" shimmer with a malevolent majesty, while elsewhere the album slips into nightmarish electronic ambience and stunning expanses of black kosmische bliss. And while the band's noisier tendencies are more subdued this time around, there are still surges of corrosive sound throughout Graphic that materialize in dense feedback and jagged chords that are juxtaposed with the album's more beautiful passages. Combined with their penchant for provocative imagery and apocalyptic undercurrents, this produces something far bleaker and more unsettling than anything else we're hearing in the realm of industrial-damaged darkwave right now.
Track Samples:
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic



USELESS PIECES OF SHIT   Ugly in Public   7" VINYL   (Slope Records)    7.98
















VARIOUS ARTISTS   Ancient Meat Revived   CD   (Nuclear War Now! Productions)    10.98
















VARIOUS ARTISTS   Ancient Meat Revived   LP   (Nuclear War Now! Productions)    19.98
















VOIVOD   Dimension Hatross (Deluxe Reissue)   2 x CD + DVD   (Noise)    19.98















VOIVOD   Dimension Hatross (Reissue)   LP   (Noise)    23.00















VOIVOD   Killing Technology (Deluxe Reissue)   2 x CD + DVD   (Noise)    19.98















VOIVOD   Killing Technology (Reissue)   LP   (Noise)    23.00















VOIVOD   Rrroooaaarrr (Deluxe Reissue)   2 x CD + DVD   (Noise)    19.98















VOIVOD   Rrroooaaarrr (Reissue)   LP   (Noise)    23.00















WOLF EYES   Dread   CASSETTE   (Wolf Eyes)    9.99

Dread IS CURRENTLY UNAVAILABLE FOR ORDER














WOLF EYES   Mugger   CASSETTE   (Wolf Eyes)    9.99

Mugger IS CURRENTLY UNAVAILABLE FOR ORDER














WORM OUROBOROS   What Graceless Dawn   2 x LP   (Profound Lore)    34.99
















WORM OUROBOROS   Come The Thaw   CD   (Profound Lore)    13.98
















WORM OUROBOROS   What Graceless Dawn   CD   (Profound Lore)    13.98
















ZORN, JOHN   Naked City   LP   (1972 Records)    24.98






















  




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