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CRUCIAL BLAST WEBSTORE: NEW ARRIVALS FOR FRIDAY FEBRUARY 6TH 2015

Greetings to all you record collectors, necro-addicts, noise fiends and sonic weirdos - I hope you're comfortably navigating the onset of winter and the slow ongoing collapse of Western civilization. We've got some terrific new releases and older obscurities on this week's new arrivals list to help feed your ears as the days continue to dim.

The featured release on this week's new releases list is the latest from American doomdeath duo Encoffination, III - Hear Me, O' Death (Sing Thou Wretched Choirs); while the album has received its share of criticism from some reviewers for its shambling, deadzone ambience and perceived lack of cohesive riffs, I just can't stop listening to this goddamn disc. I can't think of any other recent album that has managed to create an atmosphere of rot and ruin quite like this, and it seems as if the band's sound has putrefied considerably since their last album, evolving into a kind of rumbling mortuary murk. The closest anyone has come to this in recent memory was Grave Upheaval's self-titled debut from last year, though the sounds are quite different from one another. Polluting their crawling, corrupted heaviness with warped demonic choirs, morbid funerary pipe organs and emaciated guitar melodies, the duo of Elektrokutioner and Ghoat succeed in their goal of creating a ritualistic death-meditation with III, producing an intensely oppressive album of unique droning doom/death that I ended up having to post as this week's featured new release.

Also of note on this new arrivals list is a new Crucial Blast release, the new CD release of Emit's Spectre Music Of An Antiquary, the first new release from this long running UK black/noise/ambient outfit in years, delivering a haunting mixture of creepy Abruptumesque weirdness, creeping synthesizers straight out of a Fabio Frizzi score, and eerie field recordings that capture glimpses of an unseen shadow-world. This release features all of the material that had appeared on the previous cassette release that came out on Glorious North, but also includes additional, all-new material exclusive to this release.

And as always, there's an immense list of new additions to the shop. For you underground metal zine addicts, we've got another hefty new issue of The Convivial Hermit (#7), one of the best black metal/neo-folk/experimental music magazines being published right now in the US - along with that latest issue, we also have restocks of a number of previous issues of Hermit, all highly recommended for anyone obsessed with the undercurrents of the black metal underground.

There's been a lot more death metal filling the C-Blast office than usual this Fall, thanks to a bunch of recent reissues from some of our all-time favorite avant-death bands: first and foremost, the three LP series of demo reissues from legendary death metal visionaries Gorguts has absolutely dominated the turntable over the past few weeks, each record an attractively designed piece featuring demo material that leads all the way up to Gorguts's classic Obscura; we also finally got the new double disc collection from Finnish death metal weirdos Demilich in stock, a recent cassette release featuring the murky, nightmarish death metal of Ritual Chamber, another project from Numinas (Krohm, Vetus Obscurum, Infester, Evoken), and both LP, CD and tape versions of Nightfell's killer recent album of atmospheric deathcrust, Living Ever Mourn.

As usual, we've picked up a swarm of killer avant/offbeat black metal releases for your perusal, ranging from the progressive blackened sounds of Epitimia and Katatonia side-project Diabolical Masquerade, to the folk-flecked depressive doom of Bann's now out-of-print Antiochia EP, the ultra low-fi mausoleum anthems of Black Cilice's Summoning The Night, and the pagan no-fi violence of Equinox's Of Blade And Graal cassette. We now have the stunning new album from Nuclearhammer in stock, Serpentine Hermetic Lucifer, a double LP of violent black/death chaos laced with morbid electronic pulsations, as well as restocks of Wyqm's ripping black n' roll EP Negative Of The Mountain and the experimental darkness of Wyqm's split LP with Ukrainian loner Moloch; there's a pair of new split 7"s featuring USBM legend Krieg, one teamed up with recent tour mates Wolvhammer, the other paired up with another legend of American black metal, Leviathan; there's the recent new LP of mutant punk-fueled black metal violence from Harassor, Into Unknown Depths, and another recent offering of exquisite blackened misery from Vardan, Enjoy Of Deep Sadness; we've got the new LP reissue of the first demo from Harvest Gulgaltha, showcasing the band's doom-laden brand of chaotic black metal, and the new Carnal Altar cassette from bestial black-thrash weirdo Jhesu Masturbator, featuring the maniacal mind behind Lucifers Foreskin; and even more avant blackened heaviness from French "dodecatonic black metallers" Void Paradigm, the synth-drenched cosmic black doom of Trube's Zone Of Alienation, and a restock of the ripping split CD between blackened hardcore duo Ives and demented necro-jazz dronebeasts Amort. We've got recent new albums from San Fran avant black metal oddballs Mamaleek (He Never Said A Mumblin Word) and the depressive black metal project Mortualia featuring members of Horna (Blood Of The Hermit), along with some terrific recent releases from Ajna Offensive, Mortuus's long awaited new album of philosophical black metal Grape Of The Vine and the various versions of Reverorum Ib Malacht's hallucinatory De Mysteriis Dom Christi released on CD and cassette.

Did I mention that it's Nondor Nevai week here at the Blast? We've raided the vault at Nevai's black fortress and returned with seven different vinyl records from this blast-prog maniac's back catalog; all issued in small runs of just a couple hundred copies each, we now stock everything from the blistering avant noisecore of his M.N.D.L.S.B.L.S.T.N.G. outfit and the bestial experimental blurr of Nekrocidal Killdeath to the extreme No Wave pandemonium of the DMT Rok + Sonata "The Arrested", the blackened gothic blast of Overshadower Kommand's Three Tocattas... (Or) Kolder Than Heaven, the heavy Beefheartian delirium of Nayk'd Ayres, and the "klassikill" horror of Nevai_Nonet's String Oktet In A. All brilliant blasts of outsider delirium, and all completely insane.

From the industrial side, we've got some seriously heavy new offerings from the likes of Gnawed, the Midwestern death industrialist returning with new album Feign And Cloak that continues to explore a grueling, heavily distorted vision of mechanical horror; and a real rarity that we scored from one of our European suppliers, the long out-of-print album Graveyard Disturbances from Enoch, the horror-synth duo of Killjoy (Necrophagia) and Mirai (Sigh) that sees these underground metal legends producing their own warped version of the sort of vintage Italian horror electronic soundtracks pioneered by Claudio Simonetti and Fabio Frizzi. We also have the new LP reissue of Alberich's monstrous industrial techno/power electronics manifesto NATO-Uniformen, and Bacchanal's bizarre Satanic electro-industrial ritual Purity Through Darkness; a crushing split Lp featuring Japanese industrial legend Dissecting Table paired with the Portuguese tribal/industrial/sludge duo Sektor 304; and even more Sektor 304, via a pair of CD releases that the band recently put out through their own New Approach imprint, Communiphones and Live Reaction. There's a number of other recent new offerings from the always-great Malignant Records as well, including the latest album Closure from one of the best Swedish death industrial outfits in existence, IRM; the debut album Starving The Fires from the blackened noise group Teeth Engraved With The Names Of The Dead; and a new CD reissue of the stunning collaboration between NYC death-synth master Theologian and Finnish industrialists Strom.EC, Hubrizine. We also have extremely limited quantities of the two recent LP reissues of 80s-era material from the cult Japanese industrial project Nord, LSD and NG Tapes, both fantastic exercises in Bianchi-level industrial desolation.

Doom addicts will want to check out the three new vinyl reissues from UK deathdoom legends My Dying Bride that Peaceville recently released, heavyweight gatefold editions of The Dreadful Hours, The Light At The End Of The World and the band's late-90's experimental doom opus 34.788 Complete, as well as a vinyl release of All Is Sorrow from Bay Area band Catapult The Dead, delivering this newer band's interesting mix of apocalyptic sludge and atmospheric organ. Even more abrasive are new releases from some of the best names in noise rock, starting with the phenomenal new album from legends Today Is The Day, Animal Mother, easily the best thing the band has done in years, and continuing through the latest LP from Unsane offshoot Cutthroats 9, Dissent, a seriously heavy slab of blues-damaged sludge rock. We also have new stuff from newer bands like Drunk Dad and their pissed-off Pacific Northwest style slugfest Ripper Killer, a restock of the self-titled debut from drum/bass duo Zeus! that introduced us to their crazed Italian prog/noise rock, a recent LP from Brainbombs-worshipping outfit Nearly Dead that may be one of the vilest records on this week's list, some mean-spirited hardcore/pigfuck violence from Deep Creeps's self-titled cassette, and The Swan King's new album Last So Long featuring more of the Chicago band's brand of sludgy post-hardcore.

The machines have belched forth some great new stuff from the blackened industrial zone, too: there's a cool new album from experimental Polish black metallers Beyond Life, Blackened Sky, and a self-titled tape from Midwestern black industrial project Shadowmass; a restock of Hypsiphrone's And The Void Shall Pierce Their Eyes CD that delivers a horrific Gnaw Their Tongues-esque racket, and the new, long-awaited album Ascending The Solarthrone from avant black/industrial/ambient duo Empire Auriga that is easily the most gorgeous thing I've ever heard on Moribund. And there's more stuff from industrial metal gods Godflesh, as well as a killer new vinyl reissue of early recordings from the cult Bay Area industro-sludge outfit Depressor...

And there's all kinds of other great new stuff we've gotten in, from the a trio of recent discs from UK speedcore demon Yudlugar that include mini-album Vhemt and the collaborative albums with NUH and Sadistic Hate, to the latest album of Teutonic prog-thrash from the mighty Mekong Delta; crushing dark psych albums from Bong side-project Haikai No Ku (Ultra High Dimensionality), the grimy krautrock-influenced acid punk of Joules's self-titled cassette and the latest album taste My Sword Of Understanding from Finnish avant drone metallers Opium Warlords; and a pair of recent releases from Japanese noisegrind duo Sete Star Sept that will rip your face off, one a split 7" with Brazilian noise punks New York Against The Belzebu that is already sold out from the label, the other a 12" titled All Is Wrong that pairs up an out of print tape from a couple of years ago with a crazed "remix" that sounds like Derek Bailey gone noisecore...

As always, we have a lot for you to check out, much 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.

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



CARPENTER, JOHN   Lost Themes   LP   (Sacred Bones)    19.99











Track Samples:
Sample : Night
Sample : Abyss
Sample : Mystery
Sample : Obsidian


NEW ADDITIONS



ALRAUNE   The Process Of Self-Immolation   LP   (Gilead Media)    19.99



    Now available on limited-edition vinyl.
     The Process of Self-Immolation is the debut full-length from Nashville black metallers Alraune, a newer band made up of current and former members of Yautja and Mourner; it's the follow-up to their well-received tape that came out on Graceless Recordings not too long ago. Combining a rhythmically complex brand of blackened metal with Slinty math rock influences and intense, emotional delivery, these guys have whipped up one of the more impressive debuts to appear this year, with a confident approach towards fusing elegant icy melodies with a vicious Scandinavian-inspired attack.
     The brief intro track opens the album with the sounds of mournful, low-fi folk, the distorted buzz of the strings ringing out through a murky haze, before the band launches violently into the blazing black metal of "Exmordium". Alraune's sound immediately reveals the sort of soaring melodic sensibilities found in fellow American BM outfits like Krallice, Fell Voices and Ash Borer, that classic Nordic-influenced sound underscored by eerily pretty minor key melodies and cascades of spidery arpgeggiated notes that seem to draw from early 90's math rock just as much as they do from the frostbitten chordal forms of black metal. And as the album progresses, more of that mathiness emerges through the violent blastbeat-driven wintervisions, vicious buzzsaw riffs and rampaging d-beat tempos suddenly hurtling out of the chaos before slipping into some off-kilter, angular breakdown or wash of creepy dissonant instrumental guitar. There's a raw, low-fi edge to Process that really works in its favor, contrasting with the ambitious complexity of the songs and the Slinty digressions and eruptions into soaring, keening droning guitar leads that streak over the thunderous blasting epics like "Simulacra". The vocals have a strange distorted sheen than clings to them, at times sounding as if those desperate screams and shrieks are being transmitted out of a crackling transistor radio as the elegant, mournful tremolo riffs swarm madly around, slipping into some terrific little moments of phantasmic beauty, like how the end of "Kissed By The Red" goes from the aggressive, majestic metallic blast into the sound of Scottish folk singer Isla Cameron singing "O Willow Waly", taken from Jack Clayton's 1961 supernatural classic The Innocents. And at the end, Alraune drag their ragged frenzy down to an almost doom-laden pace on the closing title track, the song lumbering through an epic sprawl of slow pummeling tempos, blazing blastbeats and wretched screaming that leads towards the powerful combination of frantic blackened tremolo riffs and pounding tribal rhythms that take over the second half of the song.
     A promising start from this new entry in the USBM field, Process skillfully combines haunting melodic dissonance, raw savagery and a distinct progressive edge into a powerful and mournful sound of their own. Killer stuff. Comes in digipack packaging.
Track Samples:
Sample : The Process of Self-Immolation
Sample : Simulacra
Sample : Exordium



ANCESTORS   In Death   7" VINYL   (Youth Attack)    14.99



   Already sold out from the label, so move fast if you want to pick up the latest release from shadowy black metal/punk outfit Ancestors (not to be confused with the neo-psych band on Tee Pee), headed up by Youth Attack label boss and former Das Oath/Charles Bronson member Mark McCoy. New stuff from this band only appears every once in a while, but it's always intensely abrasive and murderous-sounding filth, and In Death delivers four new songs of that caustic, cacophonic low-fi blackened metal, inside one of the coolest 7" packages I've seen in ages - more on that in a moment.
    Musically, this EP is hideous. Ancestors' stuff has always flayed a similar set of nerve-endings as Black Cilice's majestic no-fi din, with previous releases tipping over into some seriously speaker-destroying noisiness tempered with barbaric hardcore-informed riffs. This 7" isn't as insanely blown-out as some of their previous stuff, but it's still exceedingly raw. Songs like "That Which I Should Have Done I Did Not Do " and "Reliquary Ashes" combining raging fast-paced tempos and simple, violent riffage lifted from classic early hardcore, but it's strained through a black murk of hiss and distortion with a putrid gargling vocal attack that renders the lyrics utterly unintelligible, a bizarre droning croak that stretches into a preverbal shriek over the crushing blackened heaviness. Guitars are whipped into squalls of queasy, evil guitar solos and sickly, dissonant melodies amid the frenzied thrash and pummeling tempo changes, sometimes shifting down into a crushing Frostian heaviness. As usual, though, there are stirring melodic touches that briefly emerge out of the band's feral tumult as well.
    But maybe the coolest thing about this 7" is the "hidden track", accessible by pushing down on the cover of the gatefold jacket, where a device inside the cover begins playing an intense blast of evil blackened murk that borders on total necrotic noise, the violent snarling chaos emanating from the sleeve in a tinny blast of transistor evil, similar to those old VHS box covers for movies like The Dead Pit and Metamorphosis that would light up and howl when you pushed them.
Track Samples:
Sample :
Sample :
Sample :



AUBE   Howling Obsession [Revised]   CD   (Manifold)    10.98



    Released in 2002 by Manifold Records, Aube's Howling Obsession is one of the more menacing recordings to come from Akifumi Nakajima's long-running experimental noise project. Like most Aube releases, this focuses on a single sound source that Nakajima proceeds to manipulate and expand into a wider array of sounds, here crafting a black soundworld using only a small speaker to generate his noises, the black cone of his speaker transformed into a gateway into a dark chromium universe. The four main studio tracks that make up Howling Obsession were originally intended for a cassette release on an ill-fated US label that never materialized, and were revised and re-mastered for this proper release through Manifold, supplemented by a sprawling live track.
    Nakajima produces some stunning droneworks on Howling Obsession using just that single speaker; the title track is an intense piece of deadzone soundscapery, an eighteen minute sprawl that starts out with just the muted buzz of an electrical current, a deep, almost subliminal pulse felt more than heard as it slowly fades into view. It slowly expands into a mesmeric static tone-prayer, gradually joined by layers of piercing high-frequency feedback that swell in volume, somewhat comparable to the minimalist nihilistic noise experiments of Italian artist N., but more meditative, focusing on the soft fluttering movement of the speakerbuzz as he gently manipulates his sound across the length of the track. It's disrupted by Nakajima's volleys of scrapes and rattling noises, created by running the speaker noise through a variety of effects processing, drawing back to the sound of distant thunder before surging back into a storm of chittering distortion, an insectile swarm of crackling noise that proceeds to spread out into a textural field of black static somewhat akin to some of The Rita's more subdued recordings. The other three studio tracks that follow range from brief feedback mantras that stretch rhythmic noises across a black void ("Replicate") and surreal soundscapes populated with malformed mechanical loops, spurts of acrid distortion and searingly abrasive locustblast electronics that reach Bastard Noise-style levels of sonic violence ("M.O.L."), to the ghostly, over-modulated chrome-wet drones and asthmatic industrial throb that dominates "Ex-Terminal". All in all, it's some of the bleakest material I've heard from Aube, and rather captivating.
    You can hear some elements of the previous tracks in his live performance of "Howling Obsession" from 1997 that closes the disc. At first this twenty-four minute performance goes much darker and creepier, a hushed dronescape of delicate feedback streaks burning out against the black aural backdrop, deep speaker rumblings rising and falling across the length of the track, punctuated by some seriously tinnitus-inducing high end feedback. But later on, the set develops into a more pugilistic din of harsh noise, erupting into blasts of garbled 8-bit chipviolence. An intense enough experience just listening to this track on the album, I can only imagine what it was like to be there in the flesh as Nakajima coaxed these monstrous sounds from his equipment.
Track Samples:
Sample : M.O.L.
Sample : Howling Obsession
Sample : Ex-Terminal



AUDITOR   Form Destroyer   CDR   (Annihilvs)    11.98



   My teeth are still rattling from this. Form Destroyer is the debut full-length from Auditor, the latest project from Brandon Elkins, who had previously rattled our skulls with the glitched-out industrial dubscapes and doom-laden electronics of Iron Forest (who released that killer Body Horror disc on Crucial Blaze a while back), and before that with the haunting experimental blackness of his old project A Crown Of Amaranth who also appeared on one of the Crucial Blast sub-labels around a decade ago. Elkins's music has kept getting heavier with each new project, incorporating heavier elements of dub, rhythmic industrial sounds and doom-laden metal, making his more recent projects particularly punishing. And in many ways Auditor picks right up where Iron Forest left off with Body Horror, constructing a series of monstrous malformed blasts of lurching industrial heaviness smeared in echoing dub-style percussion and gut-rumbling bass. More metallic than ever, in fact.
    But with Auditor, that dub-damaged sound also gets twisted into something even harsher, with those crushing low-slung rhythms plated in massive low-end and chiseled into breakbeat-like rhythms, over which Elkins layers some pretty oppressive orchestral ambiance and bleak industrial drones. Vast swathes of dystopian ambiance are draped over the grotesque Godfleshian boom-bap and veins of clanking mutant dub that pulse malignantly throughout the album. And it gets pretty nightmarish pretty quick, moving from the noisy, cacophonous chaos of opener "Protocol 1" that spreads out into a wall of staticky drone streaked in sinister melody, into the demonic industrial dirge of "And Vomit As You Devour Them" that sounds like some vile mutation of an old Wax Trax 12". From there it gets relentlessly bleaker, piling ominous sampled voices over those skittering, pneumatic rhythms and bursts of bone-splintering bass, washes of oceanic black ambiance sweeping across the echoing beats and droning distorted bass guitar, snarls of putrid over-modulated feedback twining around squalls of distant guitar noise.
    The tone of the album gets significantly heavier across the second half though, as "Betrayer Of Sleep" suddenly drops the tempo down even more and the sound transforms into an utterly evil crawl of industrial doom, a glacial riff skulking through a haze of sparse, hammered drums, the vocals dispensed in a murderous reptilian whisper, everything adorned in decaying strands of howling feedback. I'm momentarily reminded of some weird synthesized version of bands like Thergothon or Evoken, but powered by a fucked-up mechanical backbeat, the drumming sounding "live" but also hopelessly fractured into something more abstract, with barely any forward momentum at all, which just adds to the oppressive atmosphere of the whole thing. And then the closer, a nearly fifteen minute holocaust of distorted chaos and terrifying choral screams (courtesy of Joan Hacker of Factoria) that gradually disperse into an epic blown-out finale, ghastly howls streaking high above a field of smoldering blackened electronics and dirge-like bass rumble, an evil mesmeric symphony of black noise spreading edgelessly through the cosmos, riding on waves of monstrous distorted doom riffs cloaked in carnivorous static, eventually burning off into a rather strange hallucinatory stretch of dreamy jazziness lit up with tracers of lingering vocals, floating through a deep black carcinogenic haze. Between that immense deathdrone voidscape and the crushing cracked industrial heaviness of the previous tracks, this sort of comes off like a blacknoise-infected Scorn, a malevolent dubstep monstrosity slowed down to a torturous crawl.
    Comes in digipack packaging.
Track Samples:
Sample : Protocol 1
Sample : I Can Never Be Far Enough From You
Sample : Betrayer Of Sleep



AUTHOR & PUNISHER   Drone Machines   2 x LP   (Seventh Rule)    21.00



   Previously available on CD from Israeli avant-metal label Heart & Crossbone, the debut release from mechanical metal titan Author & Punisher is now finally available on vinyl courtesy of Seventh Rule, in gatefold packaging with a digital download; still one of my favorite industrial metal releases of the past decade, here's the original writeup I did of Drone Machines 2010 back when we first got the disc in stock:
   Drone Machines had originally come out earlier in the year as a self-released CDr, but was quickly picked up by Heart & Crossbone for a wider Cd release; the label is a perfect fit, their recent explorations into bleak, dub-influenced industrial doom aligning neatly with the machine-driven ultra-sludge that this one man band creates. That Author & Punisher is indeed a one man band is only part of why this project is so amazing; the sole mastermind behind this is Tristan Shone, who not only operates the arsenal of sound machines and equipment that he uses to create this massive mechanized sludge-metal all on his own, but also designed and manufactured all of it as well. Like the title says, the machines are the basis for Author & Punisher's sound, though this is much less about drone and much more about pulverizing rhythmic heaviness. It's almost impossibly heavy, a perfectly executed assault of grinding, heaving, ultra bass-heavy industrial pummel that immediately made this one of my favorite new albums...     The sound is dense and crushing, at first focused on monstrous exhalations and rapturous chanting that join over huge swaths of low end drone, and then the mechanized drums begin lunging and lurching, a surging rhythmic machine grind taking form on opener "sand Wind And Carcass", a massive abstracted industrial metal dirge, over modulated distortion rumbling over massive percussive pummel, fields of desolate ambience suddenly opening up for a minute and then becoming swallowed up by the machines, distorted bass slowing to a crawl, the riffs becoming warped, various electronic manipulations going on as the music chugs forward, obviously the result of Shone wrangling his machines and sculpting the sound. Hearing all of this lock in together, the machines working in concert to create this monolithic robotic assault, is pretty mind-blowing. Continuing on, "Burrow Below" features some pulverizing dubstep-level bass squelch, and lurches into a devastating Godflesh-like mecha groove, ultra-downtuned lockstep riff and pneumatic drum machine grinding together in a crushing dub-doom groove, with Shone's sneering, malevolent vocals. Godflesh is the easiest comparison to what Author & Punisher is doing, obviously a big influence on Shone, but that classic Streetcleaner sound is warped and mutated into something more mechanical and inhuman, with more processed electronics, eerie melodic fragments appearing in the singing and the dense layers of drone and industrial texture, horrific screams time-stretched to the breaking point, the guitars and bass themselves processed and turned into synth-like blocks of distorted noise, or mangled into looped drones, phased bass and oscillating buzz.
    Drone Machines is an ultra-intense blast of industrial metal performed by enslaved heavy machinery, and at it's most intense, sounds like a symphony of hellish steel presses and tank-tread drum machine rhythms, blasting warped low-end bass and shifting frequencies across a chaotic grindscape of malfunctioning electronics and drones, the doomed grind seizing up, the riffs fracturing, the whole thing becoming a monstrous alien construct splattered with junk metal carnage. A fucking amazing debut, anyone into grinding industrial doom, Godflesh, Halo, Human Quena Orchestra, Grave In The Sky, Dead World, any of that malicious, mechanical metallic crush has got to hear this...
Track Samples:
Sample : Blue Flame
Sample : Doppler
Sample : NTG Part 1 - Time



BASTARD NOISE   Live At Babycastles   CD   (Small Doses)    11.98



    As much as I love the full-band, weirdo prog-core stuff that Eric Wood has been doing with Bastard Noise in recent years, there's definitely nothing quite like the cosmic terror that the guy is able to whip up with his full-on "caveman electronics" style noisescapes. And that's the territory that we find the band in with this new disc. The seemingly ever-shifting lineup of Bastard Noise evolves once again for this live album, which features Wood teaming up with noise artist Anthony Saunders, who some of you might remember from his crazed digital grindcore band Dataclast that appeared on one of Crucial Blast's earliest releases. Babycastles consists of a single forty-minute piece titled "Alien Mother Nest / Space Graves" that the duo recorded live in New York City in 2014. You probably wouldn't even know that this is a live album from listening to it, though, as the sound quality is great and the group's electronic assault gets pretty massive after the long, slow build across the first third of the disc.
    With "Nest", these guys are in no rush to assault the listener. The first several minutes of the set is all slow-burn celestial drift, slowly undulating waves of distorted drone shifting across a spacious black expanse as eerie electronic cries sound from far off in the distance, and glimmering sine-waves and high-end tones dot the rumbling, sprawling driftscape. As the performance progresses, though, other more abrasive sounds slowly begin to descend upon their thrumming electric field, high distressing feedback tones hovering endlessly over the approach of jittering machine-like noises and more of those weird distant electronic shrieks. The layered sounds become more intricate as they sculpt their noise into an symphony of tortured engines and squealing test-tones, everything clouded by heavy doses of reverb, building into a squirming, howling mass of menacing vermiform electronics punctuated with increasingly violent blasts of monstrous metallic roar, unseen power tool rituals, and avalanches of corroded sheet metal. Abrasive chirping glitchery swarms like gusts of ravenous bio-mech insects sweeping down and around the lifeless factory pulse and collapsing metal forms that loom over the final ten minutes of the set. It's an exquisitely crafted blast of malevolent alien drone, one of the more "ambient" Bastard Noise recordings of late, but underscored with plenty of that roaring mutant heaviness and cyborg / caveman psychedelia that we know and love. Comes in gatefold packaging.
Track Samples:
Sample : Alien Mother Nest / Space Graves
Sample : Alien Mother Nest / Space Graves
Sample : Alien Mother Nest / Space Graves



BASTARD NOISE / BIZARRE UPROAR   split   7" VINYL   (DP)    12.98



    One of several split releases that Bastard Noise did in the 90s with Finnish power electronics fiend Bizarre Uproar, this record is pretty rare, coming out back in 1994 on BN/MITB member Eric Wood's own DP imprint; long out of print and fairly hard to find, we recently unearthed a handful of this 7" from a distributor, most likely the last copies of this crushing EP ever. Packaged in a letter-pressed cardstock cover printed by Thumbprint Press, it's one of the more sought after early Bastard Noise releases.
    Featuring the early lineup of Man Is The Bastard members Eric Wood, Henry Barnes, and W.T. Nelson, the Bastard Noise side offers up three tracks of experimental electronics and low-fidelity rhythmic industrial from the group, starting with the ambient room noise and corroded electro-pulse of "Gunrange" through the sputtering, demonic power electronics of "Ham (Kansas City Mindwash)", where Wood hisses malevolently over a field of chirping tones and juddering low-end noise. That's followed by the unsettling high-frequency glitchery and oscillator fuckery of "Bats", which is harsh as hell. Some of this reminds me of Schimpfluch-Gruppe's abstract noisescapes more than the full-blast insect electronics of the Bastard Noise releases that would come later in the decade, but you still get some of that skull-shredding oscillator mayhem here, which obviously echoes the abrasive noise experiments found on the Man Is The Bastard albums.
    Bizarre Uproar counters with a single track, "Sound Of Gigantic War Machines Malfunctioning". His own brand of grim, threatening power electronics and industrial noise combines what sounds like the rumble of small engines layered together into a rattling bed of metallic noise, chopped apart into passages of murky machine rumble and keening feedback. This is actually somewhat easy on the ears compared to most Bizarre Uproar stuff, a muted dronescape of mechanical murk that drifts and rumbles along quite nicely, with just the right amount of abrasiveness to keep this from slipping into a purely ambient wash of sound.


BEASTMILK   Use Your Deluge (GOLD)   7" VINYL   (Magic Bullet)    7.99



   Now available on limited gold vinyl...
    Here's the second new Beastmilk reissue that just came out from the band's US label Magic Bullet, a new version of the Finnish post-punk outfit's first actual 7" release that came out on Svart back in 2012. Use Your Deluge was the second release from these apocalyptic Helsinki gloom-punks, following up their acclaimed self-released cassette with four more songs of incredibly catchy, sinister music that references everything from Joy Division to Sisters Of Mercy to Danzig, while ultimately crafting a dark driving sound of their own. These tracks are still among my favorites from the band, and did more than merely foreshadow the brilliant songwriting and elegant, icy aggression of their debut album Climax; the caliber of songwriting here is just as high, tracks like "Void Mother", "Forever Animal", "Red majesty" and especially the thoroughly rousing "Children Of The Atom Bomb" all showcasing Beastmilk's perfect hybrid of Danzig-esque darkness and propulsive, rocking post-punk edged with a slight metallic bite. Every one of these songs is wound around a maddeningly catchy hook, drums slipping seamlessly between pounding tribal drumming and that soaring sinister momentum, lush ice-encrusted guitar melodies winding around the coolly detached delivery of Mat McNerney (of Code / Hexvessel / Dødheimsgard fame)'s crooning lead vocals, a perfect accompaniment to Beastmilk's heavy endtime anthems. Highly recommended.
Track Samples:
Sample : Red Majesty
Sample : Children of the Atom Bomb
Sample : Void Mother



BETHLEHEM   Hexakosioihexekontahexaphobia   CD   (Prophecy Productions)    19.99



   Long before black metallers everywhere began to embrace and invoke the sounds of 80's era darkwave and post-punk in the manner we've been seeing in recent years, Germany's Bethlehem exuded a uniquely wretched and distressing concoction of crushing doom, unhinged black metal, and utterly morbid gothic filth on early albums like Dictius Te Necare and Sardonischer Untergang Im Zeichen Irreligiöser. Those early records sounded like little else at the time, and still stick out like a black, throbbing growth amongst the 90's black metal hordes. With their bizarre vocal delivery that often seemed to break down into weeping despair, the strange atmospheric touches and avant-garde arrangements, driving Joy Division-esque bass lines coexisting with spectacularly grim mid-paced black metal riffs, and an overwhelmingly oppressive obsession with suicide and death, Bethlehem almost single-handedly formed the template for much of what people now refer to as "depressive" black metal. Bethlehem would eventually move into more industrial-tinged territory in later years, but there's always been a morbid weirdness that's followed their music, even into the strange blend of gothic metal and Rammstein-esque bombast that comprised their 2004 album Mein Weg, which was actually the last proper full length from the band up till now, their ill-received re-working of Sardonischer from 2009 notwithstanding.
    With its glossolalia-like title (which means a fear of the number 666), Hexakosioihexekontahexaphobia is the long-awaited return from these Teutonic gloom-mongers, and while this twelve-song album is no return to the razor-wielding suicide-obsessed black metal of those iconic early Lps, this is still some uniquely demented stuff that I found highly enjoyable. Hex kicks off with the band in total Teutonic Sisters Of Mercy mode via the driving, high-gloss goth rock of "Ein Kettenwolf Greint 13:11-18", a track of super-slick, hard rocking stadium-goth that serves up equal helpings of brooding darkness and anthemic fist-shaking choruses, which they follow with the more propulsive, lush gloom-pop of "Egon Erwin's Mongo-Mumu ". Like the latter-day Katatonia stuff, these songs still retain a hefty amount of metallic bite and plenty of grim atmosphere, and the songs that follow delve more than once into Bethlehem's signature dismal slow-moving doom. For the most part, though, the first few songs on Hex are slick, modern post-punk through and through, heavy and ominous and very, very catchy, with lots of driving Peter Hook-style bass lines and lushly cascading guitars, the singer's crooning baritone dominating the mix. At least till "Verbracht In Plastiknacht", where things suddenly turn much more twisted and grotesque, the band finally slipping into jagged, goth-infested blackened heaviness, blasts of mid-paced doom-laden metal laced with peculiar electronic flourishes and industrial rhythms that drift in and out of the evil, lurching crush. It's a pretty varied album, actually: you get the bluesy, heavy instrumental "Höchst Alberner Wichs" with its almost Cult-esque vibe, and gorgeous slide-guitar twang appears on a couple of tracks, as do forays into Rammstein-esque industrial crunch. Other songs are haunting synth-heavy gloomscapes, laced with hints of dark shadowdraped pop and stirring vocal harmonies. An odd mix of sounds for sure, Germanic industrial metal fusing with gorgeous modern darkwave, Lifelover-esque hooks tangling with snarling black doom, with the occasional blast of frenzied black metal a la "Spontaner Freitod". The harshly guttural quality of the German language lyrics mix nicely with the emotional singing style, delivering an unusual combination of gnarled gloompop and sickly blackened dissonance, and while far more experimental than the band's earlier works, it still retains all of the stinking morbidity and suffocating despair that has always been Bethlehem's rot-soaked calling card. Purists should avoid, but for myself, I haven't been able to stop listening to this album.
    Comes in digipack packaging.
Track Samples:
Sample : ÿþWarum Wurdest Du Bloß Solch Ein Schwein?
Sample : Verbracht in Plastiknacht
Sample : Antlitz Eines Teilzeitfreaks



BIANCHI, MAURIZIO   Amentest   7" VINYL   (Dais)    8.99



   I wouldn't have doubted it for a moment if you threw this on sight unseen and told me that this was some long-lost early 80s recording from Bianchi. As he states in his typically incomprehensible sleeve notes that come with the recent 7" release of Amentest, the music on this EP was created by the use of "solemnoises and electrophobic waves", whatever he hell those might be. The two fairly lengthy tracks of morbid reverb-chamber creep that Maurizio Bianchi produces here are cut from a similar cloth as the type of primitive industrial noise works he was producing in the early 80s, as part of the early industrial underground alongside the likes of Whitehouse and Throbbing Gristle. Both "Amentest" and b-side "Testamen" are a bit of a throwback to that classic, desolate Bianchi sound, composed around rattling percussive noises that are run through heavy layers of delay and echo, generating fields of ghostly tremors and ecto-rattlings that ripple across the blackness in waves of over-modulated sound.
    There are moments here that call back to the minimal, sinister industrial music of his iconic Symphony For A Genocide album, which still ranks as some of my all-time favorite material of his. Not as suffocating or oppressive as that album was, this 7" is still my preferred mode of Maurizio, each track rattling and clanking through a thin fog of murky reverb, primitive percussive loops clanking coldly beneath the echoing metallic drift, like the distant pounding of cadaverous fists against the far side of some spectral wall; the second track in particular exudes a nicely spooky quality, as strains of horn-like melody struggle to break through the waves of rattling metallic noise. Released in a limited edition of three hundred copies, includes a download.


BLADH, MARTIN + SEKTOR 304   Ruby   CDR   (Annihilvs)    11.98



    The most recent spate of Annihilvs releases has been pretty fantastic, none more so than the new collaborative album Ruby from dark Swedish visionary Martin Bladh and Portuguese industrial pummelers Sektor 304. I've been getting increasingly hooked on Sektor 304's unique combination of clanking industrial noise and apocalyptic Swans-esque power-dirge, and it was just on the last new arrivals list here at C-Blast that I raved about both their recent new live album and the latest full-length from Bladh's avant death industrial outfit IRM, so this disc landed here at the perfect time, complimenting the constant spins both of those albums have been getting here.
    Made up of a single hour-long piece, Ruby slowly emerges out of a field of mesmeric black throb, deep bass pulses radiating out of slowly swirling electronic loops. It doesn't take long though before the group begins to unleash their full fury, leading the album through a number of distinct passages of crushing synth-drone and doom-laden death industrial, filled with sprawls of evil electronic ambience, glacial percussive movements shifting tectonically beneath the group's array of creepy field recordings and desolate drone. Bladh delivers his unsettling prose as a spoken monologue over the rumbling noisescape, his voice twisted and pitched into layers of helium-sucking squeak and deeper mutterings, the layering of voices adding to what becomes an increasingly surreal atmosphere that develops over the course of the album. Rhythmic loops are also recurring element, rattling percussive noises that resemble rain sticks and distant prayer-bells that are woven into rhythmically hypnotic forms as they tumble into a black abyss, and dread-filled synthesizers cruise that blackness with a minimal menace that verges on Carpenterian. Swells of rumbling improvised cacophony surge out of the depths, and there are moments (like when guest musician Angélica Salvi appears around halfway through with her ghostly harp) where Ruby veers into a kind of phantasmal, Lynchian strangeness that reminded more than once of Nurse With Wound. While this is much more focused on atmosphere than aggression, Sektor 304 fans do get some of the group's slow-motion industrial dirge in the latter half of the album, where that drifting dreamlike strangeness suddenly gives way to grueling mechanical heaviness and clanking, bass-draped crush, with some seriously heavy distorted bass guitar coiling around a particularly doomed passage. Those moments are for the most part brief punctuations of power scattered throughout the mostly formless nightmare of Ruby, however, eventually cresting with an unexpected final stretch of mesmeric noise-drenched rock that gets almost Skullflowery.
    Comes in a four-panel digipack with artwork from Bladh and designed by Sektor 304's André Coelho.
Track Samples:
Sample : Ruby
Sample : Ruby
Sample : Ruby



BOSWELL, SIMON   Stage Fright   LP   (Flick Records)    29.99













BURROUGHS, WILLIAM S.   Häxan: Witchcraft Through The Ages   CD   (Sotpackan)    17.98



    Observant fans of Benjamin Christensen's classic 1922 quasi-documentary Häxan have probably noticed my own infatuation with this infamous silent film here at C-Blast, as certain images from the film have taken on an almost totem-like presence in some of the organization's visuals. It's easily one of my favorite films of all time, a groundbreaking piece of cinema that blew my eyeballs out of the back of my head the first time I watched it. Released in 1922, this silent horror film/mock documentary from visionary Danish director Benjamin Christensen traced the history of witchcraft and devil-worship from medieval times through to the early 20th century, but Christensen's free-wheeling blending of fact and fantasy ended up transforming the film into a sprawling surrealistic epic. With a mix of academic presentation, grotesque medieval imagery, and dramatized sequences, Häxan gets pretty bonkers; when many of these scenes unfold, it's as if you're seeing woodcuts from the Malleus Maleficarum or scenes from a Bruegel painting coming alive before your eyes. And it's still a provocative film even today, weaving together eroticism, surrealism, perversion and blasphemy to forge flickering cinematic images that continue to linger in my subconsciousness. While the original 1922 release remains the definitive version of Häxan, most contemporary audiences actually discovered the film through a 1968 re-release that replaced the title cards with a spoken-word narration track from none other than William S. Burroughs, backed by a wild experimental jazz score created exclusively for the film. The whole project was commissioned by British experimental filmmaker and cult film distributor Antony Balch, who had already worked with the likes of Burroughs and Kenneth Anger on short films, and his revised, shortened version of Häxan was retitled Witchcraft Through The Ages, eventually finding an audience among midnight movie enthusiasts in the decades that followed. Though the tone of the film mutates wildly from its original form when backed by this combination of Burroughs's spoken word and jazzy soundtrack, this version definitely conjures a strange, dreamlike vibe all its own.
    Apparently never before released outside of the film, Sotpackan's Häxan features what appears to be the entire audio track from the abbreviated 1968 release of the film, nearly seventy-seven minutes of Burroughs reading from Christensen's original text, set over that eerie jazz backing track. And the music is great, and of particular interest to fans of European jazz: the group that Balch assembled for this project include renowned Swiss jazz drummer/composer Daniel Humair and virtuoso French jazz violinist Jean-Luc Ponty (Mahavishnu Orchestra, Return To Forever, Frank Zappa's The Mothers), who bring a mix of moody, creepy atmosphere and energetic playing to the recording. The sixteen tracks collected on this disc move chronologically, sometimes focused purely on Burroughs's reading of the text, often spiraling out into free jazz madness as the quartet weaves airy vibraphone and eerie violin over Humair's frenetic drumming and booming tribal rhythms, while smears of bleary gothic organ and ghostly Hammond shimmers in the darkness. Oboes chortle like conspiring witches, murmuring through stretches of abstract, clattery noisiness that can almost venture into AMM-esque territory, and there's one track where someone begins gibbering madly over one of these more melodious passages, and I couldn't help but be reminded of one of Magma's jazzier moments.
    Like some infernal beat-jazz cathode-ray drenched dream seeping into your ears at 3 am in the morning, this recording is more delirious than diabolical, though the musicians do frequently slip into passages of sinister cacophony that evoke the scenes of devil worship, child sacrifice, and wanton debauchery that parade across the screen. It's capable of abruptly turning from strange and swinging into something nightmarish, and removed from the amazing imagery of the film, the audio transforms into something new, a murky midnight jazz album guided by Burroughs's gravelly, droning intonation, like something off of some ancient Caedmon LP. A fine addition to one's library of demonic soundtrack arcana.
Track Samples:
Sample : [Untitled]
Sample : [Untitled]



CAMERON, JOHN   Psychomania   CD   (Trunk Records)    16.98











Track Samples:
Sample : Psychomania Front Title
Sample : Motorcycle Mayhem
Sample : Locked Room and Mirror Sequence
Sample : Abby's Nightmare



CARPENTER, JOHN   Lost Themes   LP   (Sacred Bones)    19.99











Track Samples:
Sample : Night
Sample : Abyss
Sample : Mystery
Sample : Obsidian



CARPENTER, JOHN + ALAN HOWARTH   Halloween III: Season Of The Witch (2014 Edition)   LP   (Death Waltz)    27.00



    Finally back in stock, this classic Carpenter score has been reissued yet again by Death Waltz for a newly revised 2014 edition that was re-mastered from the original analog tape and includes six previously unreleased cues that did not appear on the previous Death Waltz release. The packaging includes a new obi-strip, 12" by 12" booklet and poster.
   Finally have several of the recent releases from Death Waltz in stock here at C-Blast; this new boutique label from the UK has been putting stuff out for over a year now, but just about everything they have done has quickly sold out. It's one of the coolest new imprints out there, a vinyl-only operation that is curating a fantastic selection of cult horror / exploitation film soundtracks from the 1970s-1980s "golden age" of electronic film scores, with a couple of high quality newer works appearing every now and then as well. With a signature sleeve design aesthetic, a killer logo and impeccable taste in the best in cinematic electronic darkness, every single one of Death Waltz's releases are amazing collectors items for fans of classic horror sounds.
   It really wasn't until fairly recently that the third entry in the Halloween series began to develop the cult following that it currently has; when Season Of The Witch was originally released in 1982, it caught a lot of flack from horror audiences for not featuring series boogeyman Michael Myers and not being directly connected with the previous two films. That's exactly why it became one of my favorite films in the series, I loved John Carpenter's idea that the series should feature a different stand-alone story with each annual entry, and while the concept didn't fly after this movie, it's become much loved by hardcore Carpenter fans in the decades since. Season Of The Witch's bizarre tale of Druidic conspiracies, Silver Shamrock Halloween masks, child sacrifice and android horror is easily one of Carpenter's strangest, and while he didn't sit behind the camera for this one (Tommy Lee Wallace handled directorial duties on Season), Carpenter (along with Alan Howarth) did craft the eerie, throbbing synthesizer score for Season Of The Witch, and its one of their best.
    The Season Of The Witch soundtrack was originally released by MCA back in 1982 and has been a tough score to find on vinyl up till now, with used copies collecting hefty collectors prices; this new Death Waltz edition features the exact same track listing but is newly re-mastered, and comes in the signature Death Waltz designed sleeve with printed inner sleeve and liner notes from Howarth and Jay Shaw, and a gorgeous poster reproduction of the album art. The record starts off with the track "Main title", the theme music that appears in various permutations all throughout the score, an ominous arrangement of dark droning synths, buried pulsating drones, and strange computerized melody all backed by sinister synth-bass rhythms fits the movie's weird, surrealistic tone and quickly gets under your skin. The rest of the soundtrack shifts between those subsequent variations on the Season theme, with that creepy electronic melody becoming wrapped in throbbing black synths and tension-wracked rhythms, and pieces of minimal, murky ambience formed from simple, pulsating synth chords. Of course, being a Carpenter/Howarth score, there's some terrific action pieces in here as well like "Chariots Of Pumpkins", pulse-pounding bass-driven tracks with minimal kettledrum-like pounding that backed the film's harrowing chase sequences and which do a pretty good job of creating unease in the listener even when divorced of the film's frightening visuals. Some of the other tracks have unique little touches that make them stand out, like the harpsichord / synth sounds on "Drive To Santa Mira" that carry faint echoes of Carpenter's original Halloween theme. And then there's that perversely catchy Silver Shamrock jingle, the one that every fan of the film has been unable to get out of their head for more than thirty years, right there at the end, reminding all of you children to be in front of the TV set for the Horrorthon, don't miss it, and don't forget to wear your masks...
Track Samples:
Sample : Main Title
Sample : Chariots of Pumpkins
Sample : Challis Escapes



CARPENTER, JOHN + ALAN HOWARTH   Prince Of Darkness (2014 Edition)   LP   (Death Waltz)    27.00



   Back in stock, this time as a revised 2014 edition that includes new liner notes from Carpenter himself and a new essay from John Doran (The Quietus).
   Finally have several of the recent releases from Death Waltz in stock here at C-Blast; this new boutique label from the UK has been putting stuff out for over a year now, but just about everything they have done has quickly sold out. It's one of the coolest new imprints out there, a vinyl-only operation that is curating a fantastic selection of cult horror / exploitation film soundtracks from the 1970s-1980s "golden age" of electronic film scores, with a couple of high quality newer works appearing every now and then as well. With a signature sleeve design aesthetic, a killer logo and impeccable taste in the best in cinematic electronic darkness, every single one of Death Waltz's releases are amazing collectors items for fans of classic horror sounds.
    For years following its release, Carpenter's 1987 film Prince Of Darkness was widely considered to be one of his weaker efforts and was critically panned as a muddled mess of ideas and narrative. The film has always maintained a strong cult following (I've been a huge fan of this flick ever since discovering it on home video in the late 80s) and more recently Prince Of Darkness has been reappraised as one of Carpenter's most imaginative works, most recently being featured as the cover story for the November 2012 issue of Rue Morgue. Considered to be a part of his "Apocalypse Trilogy" alongside The Thing and In The Mouth Of Madness, POD offered a heady stew of cosmic demonic horror, quantum physics, canisters of liquid Satanic intelligence, Tachyon theory, time travel, and religious conspiracy that was unlike anything else in the esteemed horror director's canon. And as usual, he paired his horrific, often gore-soaked visuals for Prince Of Darkness with a pulsating electronic score that easily wormed it's way into your head as the film plays out. On its own, Carpenter's Prince Of Darkness OST plays like the creepiest, most apocalyptic-sounding 80's prog rock album you've never heard.
   The central theme of the score is introduced in "Opening Titles", an eerie melody that reappears in a variety of permutations throughout the record on a number of different tracks. But like much of Carpetner's late 80s soundtrack work, the score also incorporates loud rock guitars, symphonic elements, choral voices and a massive synth-bass sound with his signature style of pulsating dark synthesizers, and this almost orchestral evocation of dread can really start to shred your nerves. There's a slinky percussive groove that materializes on "Team Assembly", the synth-bass taking on this almost industrialized-funk tone, right before the piece shifts into a super-sinister processional driven by swells of harsh cymbals, synthetic choral voices and hypnotic kick-drum throb, and the encroaching doom of "Darkness Begins" and swarming electronics of "A Message From The Future" add additional harsh textures to the apocalyptic score. The blasts of jarring percussion that appear over the course of the Prince Of Darkness OST are reaally reminiscent of some of the more sinister strains of post-industrial music, and are often interlaced with sorrowful string sections and computer noise.
   Re-mastered by producer Alan Howarth and released in a limited-edition on 140 gram vinyl and packaged in a gorgeous jacket designed by noted Criterion artist Sam Smith (with a large fold-out poster that reproduces the cover art) and liner notes from Howarth, this is another essential Lp for both collectors of the Death Waltz imprint and John Carpenter's black-pulse electronic dreadscapes.


CAULBEARER + SKY BURIAL   Canticle Of The Three   CDR   (Peacock Window)    9.98












Track Samples:
Sample : Vortices
Sample : Scorched Hymnal
Sample : Miserere Nobis



CHARRED REMAINS AKA MAN IS THE BASTARD   Abundance Of Guns   10" VINYL   (Deep Six)    9.98



    More electro-shock sludgeblast resurrection as another one of Man Is The Bastard's earliest releases gets the vinyl reissue treatment from Deep Six. This new edition of Abundance Of Guns transplants the ten tracks off of the original 1992 7" EP onto a ten-incher for enhanced sound quality, and it sounds massive. This stuff is some of the most brutal stuff that Man Is The Bastard ever produced, in my book.
    Beginning with the sound of unearthly female singing drifting above a squall of horrific death metal-style bellowing, the first side quickly lurches into a miasma of hypnotic drumming, dual bass guitar heaviness and sputtering analogue electronics that infest the opening track "Regression Of Birth". This stuff still blows my mind hearing it twenty years later, a monstrous take on electronics-damaged hardcore that is still totally unique and unmatched in power, in spite of the hoards of bands who have attempted to synthesize this band's sound. The songs that follow like "Mocha Rebirth", "Slave To The Bean " and "Semen In The Eyesocket Of Thomas Lenz" (the latter an invocation of violence to a known bootlegger who ended up on the wrong side of MITB's ire) have lost none of their vicious blasting power, compacting bone-crushing bass chords and angular riffs twisting around the spastic sludgy tempos and sudden surges of blastbeats, blurted into forty-five second eruptions of undiluted, misanthropic disgust.
    The band's penchant for jazzy rhythmic weirdness makes an appearance on "Volatile Cocktail", and while the electronic noise is used more sparsely here than on some of their other records, there's still plenty of that signature chirping/howling pedal abuse and oscillator chaos that streaks through their tangles of deformed bass-heavy hardcore. The flipside of Guns features some longer material, with the monstrous winding dirges "Tumult Being" and "Suttee" both delivering an agonizing crawl through discordant angular bass-riffs and bludgeoning low-end heaviness, while the title track erupts into squirming, gibbering chaos that flares out in less than a minute. A classic slab of mutant hardcore brutality that kicks in my bloodlust almost immediately. Comes on colored vinyl.
Track Samples:
Sample : Suttee
Sample : Tumult Being
Sample : Volatile Cocktail



CHEST PAIN   Weltschmerz   LP   (To Live A Lie)    13.98












Track Samples:
Sample : Ghola
Sample : Shut In
Sample : Sex Fear



CISNEROS, AL   Lantern Of The Soul   7" VINYL   (Sinai)    6.99



    Lantern Of The Soul finds spiritual groovelord Al Cisneros further building upon his own signature brand of dub-influenced psychedelia that he's been doing outside of hypno-metal ensemble Om and psychsludge pioneers Sleep. And like the other solo records that he's been putting out recently, this material trades the heavier, more metallic weight of his main gigs for a more spacious, experimental sound that digs deep into his love of classic dub, while still displaying his propensity for cyclical riffing and deep, brain-massaging psychedelia. Released on his own Sinai imprint, Lantern also marks one of his first solo outings to actually sound like a full band, with more expansive instrumentation that was apparently still all performed by Cisneros.
    "Lantern Of The Soul" and the untitled b-side flow together as one long instrumental piece, weaving a languorous, vaguely mournful trance-state from this narcotic bass-driven psych rock that, with the addition of the slow, shuffling drumming that creeps across both sides of the record, ends up giving this a jazzier feel than some of his other solo records. As always, there's the heavy influence of classic dub, mainly in the long, fluid bass lines and the occasional rattle of snare that echoes across the lumbering groove, but the gorgeously murky synths that he layers over the music add an unusual fusiony feel, with bleary trumpet-like sounds blaring over the darkly sinuous riffing. Cisneros's bass guitar really rumbles off this single, the low notes hitting some seriously skull-massaging frequencies, and when the music slowly breaks down into the minimal stretches of just bass and drums that open up at the end, you can really feel your atoms reverberating. One of his best solo pieces so far, almost sounds like some vintage Italian western theme being worked over by one of those RareNoise heavy jazz/prog outfits.
    Comes on clear vinyl, and as with the other Sinai 7"s, is minimally presented in a plain white paper sleeve.


COFFINWORM   IV.I.VIII   LP   (The Flenser)    19.99



   Now available on vinyl in gatefold packaging courtesy of Flenser, issued in a limited run of five hundred copies.
    Swarming with the stench of rot and veined with a throbbing black malevolence, IV.I.VIII is the terrifying new album from the Indianapolis band Coffinworm, crawling with terminally hideous black sludge that these guys have been puking up ever since they formed out of the ashes of avant-grinders Black Arrows of Filth & Impurity. The music on IV also reveals some interesting atmospheric new textures to the band's filthy, ultra-heavy sound, using piano, synthesizers and other ancillary instruments to add additional shades of dread and misery to their nihilistic crush. Opener "Sympathectomy" erupts into a maelstrom of blasting black metal and filthy D-beat driven crust, the band thrashing violently as the singer swoops in with his terrifying high-pitched screams and guttural howling; when Coffinworm suddenly drops gear into their trademark creeping blackened sludge, the tempo change threatens the listener with a vicious case of whiplash. Washes of dissonant chordal texture and malefic minor key arpeggios creep across the lurching doom-laden dirge, and as the song continues to uncoil its putrid black tentacles, strange echoing noises begin to materialize at the periphery. Shifting back and forth between that deformed crawl and the chaotic crusty black blast.
    That first song unleashes a queasy ash-choked atmosphere that proceeds to spread out across the rest of the album, the following song "Instant Death Syndrome" exuding a similar sodden assault of shambling sludge and dissonant, almost Deathspell-esque blackened riffage, contaminated with rot and decay, then later slipping into a twisted blues-damaged drone-dirge broken into a shuffling, off-kilter crawl. "Black Tears" picks the pace up, grinding out an infectious mid-tempo groove that cuts through the band's violent nihilistic musings, leading it into a squall of suffocating distorted noise at the end, and "Lust vs. Vengeance" crushes the light from beneath it's propulsive caveman cadences and evil echoing guitars, before emitting blasts of jet-black cosmic synthesizer that soar over the devastation. I don't remember Coffinworm making this much use of synthesizer textures on their previous releases, and it's an effective element to tracks like "Of Eating Disorders And Restraining Orders", another titanic dirge that churns violently around the slow, saurian plod of the drummer, breaking off into brief interludes of mutated drone that seems to be oozing out of some ichor-splattered Hammond organ, coiling around sickly discordant melodies and spilling out into dank fields of trippy, dub-like percussive echoes and disturbing samples. After the brutal crustcore of closer "A Death Sentence Called Life" rages over more of that eerie etheric synthdrift, Coffinworm even haul out an acoustic guitar for the finale, the album drifting into oblivion as minor key chords drift out in a somnambulant haze.
Track Samples:
Sample : Sympathectomy
Sample : Black Tears
Sample : A Death Sentence Called Life



COLUMN OF HEAVEN   Ecstatically Embracing All That We Habitually Suppress   LP   (Regurgitated Semen)    17.99












Track Samples:
Sample : The Future of War
Sample : Knowledge. Culture. Power.
Sample : Binge// Purge



COLUMN OF HEAVEN   Precipice   CASSETTE   (Survivalist)    7.98














COMBAT ASTRONOMY   Time Distort Nine   2 x CD   (Zond)    16.99












Track Samples:
Sample : SuperFestival
Sample : Ankh
Sample : Time Distort Nine
Sample : Tenser Quadrant



COMMUNION OF THIEVES / DENDRITIC ARBOR   split   7" VINYL   (Unholy Anarchy)    5.98














CRONE   Gehenna   CD   (Prophecy Productions)    13.98











Track Samples:
Sample : Your Skull-Sized Kingdom
Sample : Houses of Ghenna
Sample : Dead Man



DÄMONENBLUT   Das Tor Zur Hölle   CD   (Breath Of Pestilence)    11.98












Track Samples:
Sample : Werwolf
Sample : Satans Hofgesind
Sample : ÿþDämonenkrieger



DARKSIDE NYC   Optimism Is Self-Deception: Vols. 1& 2   CD   (Satan Wears Suspenders)    14.98











Track Samples:
Sample : Casualties Of A Fleeting Existence
Sample : Clawing And Tearing
Sample : Drained In Defeat
Sample : Cognitive Capability Overload (The Ability To Stare Out Into My Own Inner World And No Longer Blink!!)



DE SILENCE ET D'OMBRE   Vol IV: Worship The Hideous   CD   (Le Crépuscule Du Soir)    11.98












Track Samples:
Sample : Worship the Hideous
Sample : Spitting Blackened Mud
Sample : My Domain



DIMENTIANON   Collapse The Void   LP   (Nuclear War Now! Productions)    18.98














DINOSAUR JR   Dinosaur   LP   (Jagjaguwar)    15.98











Track Samples:
Sample : Forget The Swan
Sample : Does It Float
Sample : Repulsion
Sample : Bulbs Of Passion



DINOSAUR JR   Bug   LP   (Jagjaguwar)    15.98











Track Samples:
Sample : Freak Scene
Sample : Let It Ride
Sample : Don't



DRAUGURINN   Móðuharðindin   CD   (Le Crépuscule Du Soir)    11.98












Track Samples:
Sample : ÿþÞau Skapa úr Eldinum, Kulda Og Dauða
Sample : ÿþÚr Minni Eldgjáar
Sample : ÿþHún Kallar Á Surt Og Syni Hans



ECHANCRURE   Paysage Octobre   CD   (Le Crépuscule Du Soir)    11.99










Track Samples:
Sample : Sans titre 1
Sample : Sans titre 3
Sample : Sans titre 6
Sample : Sans titre 8



EDWIGE   Virgin Capricorn   LP   (Antropofago Ateo)    14.99



   Just look at that cover. A striking vintage shot of the achingly gorgeous Edwige Fenech, captured in partially disrobed state, all soft-focus, taken from one of the many 70's era Italian films that she starred in. Most modern audiences would probably only recognize Fenech from her cameo in Eli Roth's Hostel II, if at all. But for those of us with a taste for black gloves and lurid images of violence and eroticism, Fenech's exquisite form is unforgettable. Her bewitching looks haunted some of the greatest gialli of the 1970s, like Your Vice Is a Locked Room and Only I Have the Key, The Case of the Bloody Iris, and The Strange Vice of Mrs. Wardh, often working with the great director Sergio Martino.
    No stranger to obsessive gialli worship, noise artist Sam McKinlay of The Rita would seem to share our enchantment with the lovely Fenech and her body of work, performing alongside members Dan Johansson (Sewer Election, Ättestupa) and Nolan Throop (Kakerlak) to pay homage to the actress by sculpting immense slabs of ego-obliterating electronic noise. Much like The Rita's fetishistic noisescapes dedicated to McKinlay's other specific obsessions, there's nothing that sonically ties Fenech to this recording beyond the concept, but the trio's "Eurotrash Woman Worship" is still an utterly hypnotic listening experience as they carve out these two side-long monoliths of blackened static. This stuff is heavy, combining massive low-end rumbling with faint fragments of musicality that are pushed so far into the red that they appear as subliminal traces of melody that move ghostlike through the crushing magma-flow of burnt-out over-modulated drone, a wall of speakercrushing distortion battered by waves of tectonic crunch. It's firmly based in the HNW aesthetic, but if you're a fan of that sort of extreme, monotonous harsh noise, Capricorn delivers exactly what you need, and there's an atmospheric undercurrent here that gives the album an interesting feel. Massive, trance-inducing distortion that churns relentlessly like violent currents within an ocean of sulfuric gas and broken glass, dense and oppressive and mesmerizing, right up there with the best stuff from The Rita. Comes with a large full-color poster that features an equally striking image of Fenech that I could stare at all day. Limited to two hundred fifty copies.


ELHAZ   The Black Flame   CD   (Memento Mori)    11.98












Track Samples:
Sample : Glory
Sample : Devil
Sample : BloodThrone
Sample : Blessed



EMME YA   Ophidian Fetish Mandala   CD   (Noctivagant)    10.98












Track Samples:
Sample : yantra Of The Spider Goddess
Sample : Sigillum Sabbati
Sample : Arcana Of The Waters Of The Bloodred Moon



EMME YA / NUIT   Hau-Hra (Hymns Ov Adoration To Seth-Apep) / Coiled Purple Splendour   CD   (Noctivagant)    10.98












Track Samples:
Sample : NUIT - Hymen 418
Sample : NUIT - Elixir
Sample : EMME YA - Saater-Ta
Sample : EMME YA - Hemhempti



EPHEMEROS   All Hail Corrosion   CD   (Seventh Rule)    11.98












Track Samples:
Sample : Soilbringer
Sample : All Hail Corrosion



EXPLORING THERAPEUTIC ENCOUNTER   self-titled   CASSETTE   (Tested Souls)    5.98














FALSE FLAG   Bombshelter Nightmare   CASSETTE   (Terror)    7.00



    One of the more recent releases from Justin Marc Lloyd's paranoid noise project False Flag, an offshoot of the sort of extreme, avant-garde electronics he's pursued with various projects like Dim Dusk Moving Gloom and Pregnant Spore and his tape label Rainbow Bridge. False Flag's dark mixture of contemporary power electronics, malevolent synthesizer music and HNW aesthetics is the most abrasive of these various projects, and this tape released on Lithuanian industrial label Terror is a particularly heavy blast of dystopian noise. There is a strong current of early 21st century global conspiracy paranoia running through this tape, imbuing the slow black pulse and monstrous rumbling power electronics of tracks like "Muslim Police" with a intensely sinister and threatening energy.
    Many of these tracks feature collaborations with other noise artists like HNW engineers Boar, Matt Boettke (Scant), and Divine Shell, bringing a decent amount of variety. Tracks move from the aforementioned blasts of crushing power electronics into sprawls of abrasive industrial rhythm and ghostly nightmare ambience, howling voices sweeping through the depths of some vast black abyss, fields of desolate drone shrouded in murky Lustmordian ambience and strafed with strange electronic sounds that resemble 8-bit star-fighters plummeting to earth. The cumulative effect evokes an expansive smoke-wreathed vista of charred cityscapes and nefarious factories, the sounds growing ever more dim and dread-filled as Lloyd and crew descend deeper into their aural pits of gurgling black electronics and decaying static, eruptions of corroded low-end rumble mingling with clusters of sweeping kosmische synthesizer. The track "Two Brothers" is distinguished by a blackened ultra-heavy dirge, a massive rumbling convergence of distorted drones and sinister samples that slowly evolves into a crushing, crumbling wall of harsh noise, only to be followed by the black-hole nebular driftscape of "Rage For Peace" that resembles some particularly spooky 70's era space music being absorbed into a fluttering swarm of pestilent electronics. The power electronics-style approach appears infrequently throughout the album, but when it does, the combination of Lloyd's heavily distorted and processed growl and the cardiac thud of the synthesizers suddenly coalesce the swarming noisescapes into something quite fearsome, at one point transforming into an intensely abrasive but strangely beautiful wall of elegiac, mournful synth noise that's on par with some of the mid-oughties output from Prurient. Another solid release from this project. Limited to 100 copies.
Track Samples:
Sample : Muslim Police
Sample : Rage For Order
Sample : Korean War



FISTULA   Vermin Prolificus   LP   (To Live A Lie)    14.98



    The latest feast of filth from these Clevo scum-beasts, Vermin Prolificus delivers seven new tracks of fucked-up, violent sludgecore that's some of the grooviest stuff I've heard from 'em since Goat. Never ones to tinker with what makes them such a vicious listening experience, the band brings us the same sort of feedback-smeared, sample-laden misanthropy that we know and love, songs like "Smoke Cat Hair & Toe Nails" hurtling through an utterly hideous mix of shambling slow-mo sludge metal and ferocious crossover-tinged thrash. As on previous albums, Fistula use sinister samples lifted from various television programs and other pop-culture dead-ends, re-employing them here to extol the virtues of hard drug abuse, mutilation, and other depravities. The way that they mix those samples into their abject, abrasive sludge as always recalls the likes of Dystopia and Buzzoven, but Fistula jack up their sound with so much feral thrash and D-beat driven mayhem that they've turned into something uniquely diseased and demented, with a taste for high-speed carnage that gives us the occasional churning blasts of noisy, mangled grindcore that erupt out of their agonized slow-mo slogs through suffering and dementia.
    Yep, Vermin's got all of this, from short blasts of thrashing savagery like "Harmful Situation" and "Goat Brothel" to the rabid buzzsaw punk of "Upside Down" and back into those terrible, torturous crawls through gaping sewers on tracks like "Pig Funeral". It gets really abusive with the monstrous thirteen minute title track, where they drag their down-tuned, ultra-heavy riffage through a septic daze of grinding black crush and urban violence, the whole track almost totally instrumental save for the disturbing collage of sampled voices that the band stitches together across the sprawling , hypnotic puke-groove. The whole Lp is also loaded with those killer tempo shifts that Fistula pulls off so well, dropping from speedy, scum-encrusted thrash in the most devastating manner possible, the amped-up tempos downshifting with bone-breaking abruptness into disgustingly heavy riffs that instantaneously boil your blood. Ridiculously heavy stuff, and with killer album art from both Luciana Nedelea and Frank Oblak, illustrating Fistula's foul scumscape where the only catharsis is found through acts of brutal violence and ritualized narcotic use. Still yet to be disappointed by anything that Fistula has put out, fans of their misanthropic filth will get all the pain they seek and more - can't recommend this enough if you're addicted to the hateful negativity and tar-pit nihilism of bands like Grief, Eyehategod and Buzzoven.
Track Samples:
Sample : Goat Brothel
Sample : Pig Funeral
Sample : Smoke Cat Hair and Toenails



FORTRESS   Unto The Nothing   CD   (Unholy Anarchy)    7.99



    Based in the same seedy Prison City that Crucial Blast calls home, this local outfit finally crawled out of the muck with their first full-length Unto The Nothing, and it might well be the heaviest thing on this week's new arrivals list. A misshapen monstrosity stumbling out of the most abject depths of doom metal, this trio belts out one seriously ugly and gnarled racket on their debut, that's also not without the rare moment of haunting prettiness that serves to make their ugliness sound even uglier. More than anything though, these creeps lean towards long, lumbering passages of crushing droning riffage that threaten to stretch into infinity, building a wall of hypnotic black sludge out of horrendously detuned instruments and rotten amp-noise that occasionally births some twisted, writhing burst of stoned groove, or will pull apart into a damp, crumbling passage of desolate slowcore. The look of this album alone makes quite the impression upon the listener: Unto The Nothing features amazing original album art from Aeron Alfrey, who did the dust jackets for Subterranean Press's reprints of Thomas Ligotti's Grimscribe, Noctuary and Songs Of A Dead Dreamer, and his visions of a nightmare forest filled with flayed corpses, severely deformed mutations, grotesque demonic oaks, and chattering insectoid horrors is done up in a mix of collage and illustration that looks like a JK Potter piece gone completely apeshit. It makes for a striking visual accompaniment to Fortress's grueling, ghastly negative sludge.
    The likes of Winter, Celtic Frost, Worship and Autopsy have all been invoked to describe the band's torturous slow-motion heaviness, which are all fairly apt. The album takes awhile to get there, though, with a long, smoldering build through plaintive guitar chords hovering over a vast field of dead-eyed amplifier drone and mesmeric feedback hum. For a brief moment, that almost suggests a horribly withered, sun-blasted take on White Birch-era Codeine, but once everything finally and violently crashes in though, it's like suddenly being buried underneath a large mound of peat, all crushing down-tuned torpor and Sabbath-on-ketamine glacial blues. When "Fight The Son" kicks in, the mood changes to something even more violent, a chugging, gnarled mass of diseased Frostian riffage, the sledgehammer swing of their riffs mounted to the drummer's monstrous pachyderm groove, while the phlegm-clotted guitar leads rise out of the sludge in a sour miasma to be drawn out over the gluey heaviness. There are a few more moments where the distorted dirge falls away and unexpectedly pretty melodies briefly surface through the murk, and there's also some pretty catchy riffage that shows up when songs like "Lies & Fears" and "Stolen Graves" suddenly surge into their rocking, fuzz-drenched groove. Nothing's most haunting passage comes with the elegiac feel that creeps into the titanic dirge of "The Nothing", as an ethereal female voice drifts out of the gloom, a fragile siren-song lilting over the singer's half-whispered croak and the funerary crush of the band. These guys manage to bring an interesting spaced-out vibe to their grueling slow-mo grind with the multi-tracked vocals and strange somnambulant vibe, the songs frequently disappearing into a black hole of billowing feedback drone and cavernous low-end drift, and in the end the album manages to bridge the agonized crawl of early funereal death-doom bands like Thergothon and Winter, and the crustier, drug-fucked misanthropy of Grief and Noothgrush, wrapping it all in a strangely dazed fog of glacial amp-buzz. Take it from me when I tell you that there is no heavier band to be found creeping through this vile, stinking town.
    Available on digipack CD and gatefold LP in casewrapped jacket with download, limited to three hundred copies.
Track Samples:
Sample : The Nothing
Sample : Stolen Graves
Sample : Lies & Fears



FORTRESS   Unto The Nothing   LP   (Unholy Anarchy)    19.98



Based in the same seedy Prison City that Crucial Blast calls home, this local outfit finally crawled out of the muck with their first full-length Unto The Nothing, and it might well be the heaviest thing on this week's new arrivals list. A misshapen monstrosity stumbling out of the most abject depths of doom metal, this trio belts out one seriously ugly and gnarled racket on their debut, that's also not without the rare moment of haunting prettiness that serves to make their ugliness sound even uglier. More than anything though, these creeps lean towards long, lumbering passages of crushing droning riffage that threaten to stretch into infinity, building a wall of hypnotic black sludge out of horrendously detuned instruments and rotten amp-noise that occasionally births some twisted, writhing burst of stoned groove, or will pull apart into a damp, crumbling passage of desolate slowcore. The look of this album alone makes quite the impression upon the listener: Unto The Nothing features amazing original album art from Aeron Alfrey, who did the dust jackets for Subterranean Press's reprints of Thomas Ligotti's Grimscribe, Noctuary and Songs Of A Dead Dreamer, and his visions of a nightmare forest filled with flayed corpses, severely deformed mutations, grotesque demonic oaks, and chattering insectoid horrors is done up in a mix of collage and illustration that looks like a JK Potter piece gone completely apeshit. It makes for a striking visual accompaniment to Fortress's grueling, ghastly negative sludge.
The likes of Winter, Celtic Frost, Worship and Autopsy have all been invoked to describe the band's torturous slow-motion heaviness, which are all fairly apt. The album takes awhile to get there, though, with a long, smoldering build through plaintive guitar chords hovering over a vast field of dead-eyed amplifier drone and mesmeric feedback hum. For a brief moment, that almost suggests a horribly withered, sun-blasted take on White Birch-era Codeine, but once everything finally and violently crashes in though, it's like suddenly being buried underneath a large mound of peat, all crushing down-tuned torpor and Sabbath-on-ketamine glacial blues. When "Fight The Son" kicks in, the mood changes to something even more violent, a chugging, gnarled mass of diseased Frostian riffage, the sledgehammer swing of their riffs mounted to the drummer's monstrous pachyderm groove, while the phlegm-clotted guitar leads rise out of the sludge in a sour miasma to be drawn out over the gluey heaviness. There are a few more moments where the distorted dirge falls away and unexpectedly pretty melodies briefly surface through the murk, and there's also some pretty catchy riffage that shows up when songs like "Lies & Fears" and "Stolen Graves" suddenly surge into their rocking, fuzz-drenched groove. Nothing's most haunting passage comes with the elegiac feel that creeps into the titanic dirge of "The Nothing", as an ethereal female voice drifts out of the gloom, a fragile siren-song lilting over the singer's half-whispered croak and the funerary crush of the band. These guys manage to bring an interesting spaced-out vibe to their grueling slow-mo grind with the multi-tracked vocals and strange somnambulant vibe, the songs frequently disappearing into a black hole of billowing feedback drone and cavernous low-end drift, and in the end the album manages to bridge the agonized crawl of early funereal death-doom bands like Thergothon and Winter, and the crustier, drug-fucked misanthropy of Grief and Noothgrush, wrapping it all in a strangely dazed fog of glacial amp-buzz. Take it from me when I tell you that there is no heavier band to be found creeping through this vile, stinking town.
Available on digipack CD and gatefold LP in casewrapped jacket with download, limited to three hundred copies.
Track Samples:
Sample : The Nothing
Sample : Stolen Graves
Sample : Lies & Fears



FULL OF HELL + MERZBOW   self-titled   2 x CD   (Profound Lore)    13.98












Track Samples:
Sample : LuDJet Av Gud
Sample : High Fells
Sample : Fawn Heads And Unjoy
Sample : Blue Litmus
Sample : Merzdrone
Sample : Litany Of Desire



GHOST KOMMANDO   Abraxas Rising   CD   (Breath Of Pestilence)    10.98












Track Samples:
Sample : Spectre (Conquest)
Sample : Seven Sermons To The Dead
Sample : Intolerance



GLASS, PHILIP   Candyman   LP   (One Way Static)    24.99













GLASS, PHILIP   Candyman   CASSETTE   (One Way Static)    9.98













GOBLIN   Phenomena   LP   (AMS / Cinevox)    34.98











Track Samples:
Sample : Jennifer's Friends
Sample : Sleepwalking
Sample : Wind, The
Sample : Phenomena



GODFLESH   A World Lit Only By Fire   CD   (Avalanche Recordings)    14.98












Track Samples:
Sample : New Dark Ages
Sample : Forgive Our Fathers
Sample : Carrion



GODFLESH   A World Lit Only By Fire   LP   (Avalanche Recordings)    23.99












Track Samples:
Sample : New Dark Ages
Sample : Forgive Our Fathers
Sample : Carrion



GODSTOPPER / TENDRIL   split   7" VINYL   (Anthems of The Undesirable)    5.98














HADIT   Arise   CD   (Memento Mori)    11.98



   Some more obscure early-oughts occult ambience that I recently rediscovered via the Memento Mori catalog. Hadit's 2003 album Arise was the only release to come from this offshoot of German dark ambient outfit Mondblut, who had previously put out a couple of acclaimed released on Ant-Zen. With Hadit, the members sought to explore the more ritualistic aspects of Mondblut's sound in greater depth, crafting an album of effectively eerie ambience and kosmische dread that seems to combine elements of Euro horror soundtrack music, occult post-industrial, and orchestral ambience. Compared to the earlier Mondblut material, this new project also featured a heavier use of programmed rhythms and electronic beats, as well as employing the occasional abrasive vocal, in the form of black metal-esque croaks that surface intermittently throughout Arise's mesmeric nocturnal driftscapes.
    Like some of the other stuff that came out on Memento Mori, I can also hear a subtle darkwave influence on Hadit's music that makes this a little more musical than many dark ambient projects from around the same period. That shows up here in the form of ethereal female vocals and gloomy keyboard melodies that rise out of the droning darkness, at times reminding me of some of the more malevolent-sounding artists on Projekt. There's a dark liturgical vibe that hovers over the album, tracks opening with choral hymns and church organs reverberating through the corridors of vast ancient cathedrals. Disembodied wailing voices drift vaporously through deep underground vaults, ghostly voices echoing against the damp crypt walls alongside mysterious rattling sounds and more of those sinister Carpenterian synthesizer drones. There's quite a bit of that eerie synth music on this disc, which gives this some of that obscure 80s-era European horror score feel, but then you'll hear bizarre gasping vocalizations and weird chanting begin to drift out of the depths like the hungry murmurs of some desiccated abomination, and it begins to get a bit more surreal. Tympani drums pound in the distance while kosmische electronics coalesce in a nocturnal fog, and a vague Goblin-esque vibe can even be detected on tracks like "Das Tor Des Schweigenz - Gateway Of Solitude", traces of menacing progginess shifting in the depths of Hadit's sound. There's an eighteen minute epic called "Des Engels Tränen - Black Angels Tears" that sits at the center of the album, blending majestic soundtracky twilight vistas with more of those abject mewling voices, ghastly chants and swarming drones for what might be the most unsettling track on the whole disc. It's another one of my favorite dark ambient releases from the label, reeking of a dank, black cinematic atmosphere that fans of Raison d'être, Desiderii Marginis and like-minded Cold Meat artists will probably enjoy.
Track Samples:
Sample : Weltenreich - Realm Of The Worlds
Sample : Sh T-N
Sample : ÿþDes Engels Trànen - Black Angels & Tears



HAIL SPIRIT NOIR   Pneuma   LP   (Code666)    19.99



   The new 2014 vinyl edition of Hail Spirit Noir's killer debut of blackened prog, in gatefold packaging and issued in a hand-numbered limited edition of five hundred copies.
    Along with their latest album, the supremely infectious blackened prog epic Oi Magoi, we've now got the 2012 debut from Greek band Hail Spirit Noir in stock as well, where their brand of wild, Goblin-gone-necro prog first took shape. This six-song album resulted in one of the most unique sounding releases to come from the Code666 label in recent years, and between this and Oi Magoi, I gotta say that Hail Spirit Noir has very quickly turned into my favorite band on the label.
    At times much more like some weird, ghoulish prog rock band, Hail Sprit Noir's music nevertheless keeps a menacing, metallic vibe that often erupts into moments of spectacularly blackened aggression on their debut. Listening to this, I would never have guessed that this band featured members of Transcending Bizarre?, an obscure Greek outfit with a couple of extremely quirky albums that combine black metal and industrial with doses of almost Mr Bungle-style genrefuck. Their 2003 album The Four Scissors is the only TB release that I've stocked here, and I dug the band's ambitious and highly experimental music, but the stuff that they are doing in Hail Spirit Noir is entirely more focused, and manages to draw from some of my favorite sounds ever.
    On Pneuma, the band kick off their creepy hallucinations with the eerie violin-streaked rock of "Mountain Of Horror", setting the strange stage for Hail Spirit Noir's visions of otherworldly evil and Lovecraftian mutation, starting off with that creeping, bluesy rock groove before erupting into a delirious mixture of psychedelic Hammond organ, thunderous double bass, off-kilter dissonant riffage that veers out in Ved Buens Ende territory, and bursts of bizarre blackened thrash flecked with weird electronic effects. That dissonant guitar sound is woven into the more ominous riffs all throughout the album, and there's also some killer bass playing that brings a distinctly jazzy feel to much of the band's frantic attack. All of their songs have this delirious unpredictability, the singer's combining a scathing reptilian croak with dramatic clear singing that's almost reminiscent of Serj Tankian (System Of A Down) at times, and the songs are filled with passages of demented carnival organ and soaring dark rock hooks, vibraphones and folky acoustic guitars, more of those Eastern European violin melodies, haunting quasi-operatic parts, and lots of killer analogue synthesizer textures that give a lot of this stuff a definite Goblin-like vibe. There's a ripping motorik groove that opens up on "Against The Curse, We Dream", leading into one of the album's more ferocious passages of Hammond-smeared black thrash, and the ghostly psych-folk/death pop of "When All Is Black" blends lovely synth-strings with a smattering of dissonance before surging into another one of their mathy prog freak-outs. The surreal jazz-rock flourishes of "Into The Gates Of Time" lead into crazed kosmische synth flare-ups, motorik grooves and shrieking black metal that stretch out over the ten minute song, interspersed with passages of nocturnal forest ambience, and Pneuma closes with the awesome "Haire Pneuma Skoteino", condensing the band's proggy blackened sound into a three and a half minute spookprog anthem that is easily the catchiest song on the album.
    Another album I can't recommended enough if you're into blackened, proggy weirdness. These guys have managed to combine a raw blackened metal attack with sinister prog rock in a way no one else has done; you're going to want to check this out if you're at all into the similarly prog-heavy sounds of bands like Oranssi Pazuzu, Ihsahn, Imaginary Sonicscape-era Sigh, and Mëkanïk.
Track Samples:
Sample : Let Your Devil Come Inside
Sample : When All Is Black
Sample : Haire Pneuma Skoteino



HAMMERHEAD   Memory Hole   CD   (Learning Curve)    6.98












Track Samples:
Sample : Once again with feeling
Sample : Memory hole



HAMMERHEAD   Global Depression   CD   (Learning Curve)    13.98












Track Samples:
Sample : Outer Rim
Sample : Global Depression
Sample : Descended From Apes



HAMMERHEAD   Global Depression   LP   (Learning Curve)    19.99












Track Samples:
Sample : Outer Rim
Sample : Global Depression
Sample : Descended From Apes



IMMORTAL FATE / PLUTOCRACY   Live On KZSU January 13, 1993   LP   (Antropofago Ateo)    14.99



    Came across this pair of wicked early 90s radio performance from two bands that must've rattled the walls of the studio all the way to its foundation when this went down. Released by Sissy Spacek / Knelt Rote drummer Charlie Mumma on his Antropofago Ateo label, this Lp pairs up both of the sets that these West Bay/Redwood City maniacs recorded on college station KZSU that cool night in early 1993. For a twenty year old live on the radio recording, the sound quality is pretty great, and both bands sound monstrous, not to mention giving you a fascinating archival document with in-between banter, DJ introductions and interviews with both bands that are all left intact.
    Deathgrind beasts Immortal Fate are first, and jesus, these guys were heavy. Boasting members who would later go on to play in Autopsy and No Less, Immortal Fate were a vicious outfit, whipping through a brutal four-song set comprised of tracks from their Beautiful and Faceless Burial records, an ultra-violent blast of sludgy deathgrind with a heavy dose of noisy murk coating the guttural guitars and slime-encrusted riffs. Deadly stuff that has a similar vibe as much of the raw death metal and grind that was coming out around the time, while detonating some absolutely spine-crushing passages of crawling, skulldozing doom and flesh-melting levels of dissonant riff-vomit, delivering this crushing sound with a high level of energy and aggression that makes it (and their other releases) well worth checking out for anyone into the rawer, more chaotic depths of 90's death metal.
    The fucking lunatics in Plutocracy follow that with a ten-song freak-out of mammoth proportions, blazing savagely through ten songs of spastic, fucked-up grindcore in their uniquely warped fashion that incorporates dissonant guitar chords, bizarre street-slang, and crazed stop/start arrangements, slipping manically from their ultra fast powerviolence assaults into bizarre discordant sludge parts, all while spitting out street-level threats of violence at various individuals, the two vocalists tangled up in a squall of insane high-pitched screaming and monstrous simian bellowing. This stuff is utterly violent and chaotic, the guitars splattering evil atonal solos and blood-spattered hardcore punk riffs in a cuisinart blur of drug-fueled blast-damage, slipping into fucked-up lurching breakdowns and blurts of jacked-up Sabbathoid sludge and weird bass guitar breaks. You can tell that these guys were enamored of Man Is The Bastard (and who wasn't back then?), but Plutocracy mutated that sort of blasting brutality into something far weirder.
    Includes a double-sided poster and liner notes from Dan Lactose (Spazz), comes in gatefold packaging, limited to three hundred copies on red vinyl.


IMPERIAL TRIUMPHANT   Shrine To The Trident Throne   CD   (Code666)    15.98












Track Samples:
Sample : Goliath: Gommorah
Sample : Abominamentvm: Scaphism
Sample : Abominamentvm: Crushing the Idol



IMPERIAL TRIUMPHANT   Shrine To The Trident Throne   LP   (Code666)    19.99












Track Samples:
Sample : Goliath: Gommorah
Sample : Abominamentvm: Scaphism
Sample : Abominamentvm: Crushing the Idol



IRON LUNG   Savagery   7" VINYL   (Iron Lung Records)    6.99












Track Samples:
Sample : shackles
Sample : station
Sample : stench



ISIS   Panopticon (2014 Re-issue)   2 x LP   (Robotic Empire)    34.98



   A borderline classic of early-oughts atmospheric metal and crushing art-rock, Isis's third album Panopticon is back in print once again, newly re-mastered for vinyl and presented in a high-gloss, heavyweight case-wrapped gatefold jacket with printed inner sleeves for this new 2015 edition. Here's my old write-up for album:
    Released in a heavy gatefold package with different artwork than the CD release, this is a stunning vinyl edition of Isis's 2004 album Panopticon, an album that remains one of their most powerful and thought-provoking records. Panopticon was the band's third album, a sprawling concept piece whose themes and artwork centered around complex prison designs that were created by the 18th century philosopher Jeremy Bentham and later extrapolated upon by Foucault. The idea behind the Panopticon is that an enormous prison system could be maintained by using an all-seeing observer positioned in the center of a massive circular structure, and this Orwellian notion fuels the epic, expansive music. And musically, this album sees Isis moving further from the obvious Neurosis influence in the first two albums and into their own sound, a more melodic and dreamy version of Neurosis's crushing dirge metal that still uses awesome downtuned sludge and earthshaking riffs when the songs explode into their bombastic crescendos, but relies more on brooding math rock and lush, Ride-like shoegaze for the greater part of their dark, epic riffscapes. On Panopticon, the music is more thoughtful and emotive than ever, the songs carefully crafted slabs of melody and minor key riffs that contrast with explosive metallic crush, a perfect fusion of Mogwai and Neurosis.
    All of the seven tracks on Panopticon are majestic smoldering rock epics that build inevitably to release, and the songs are strengthened by all of the clean vocals that Aaron Turner started to utilize more on this album. As heavy as this is, Isis was by now already evolving into something much more avant-rock than sludge metal, a massively heavy post rock outfit with crushing riffs and haunting angular guitars, even sounding like some beefed up version of Slint at times, but with a seething hardcore intensity burning away beneath the songs. Heavy stuff both musically and thematically, and it makes this still one of my favorite Isis records. Recommended.
Track Samples:
Sample : Syndic Calls
Sample : So Did We
Sample : Backlit



ISIS   Oceanic (2014 Re-issue)   2 x LP   (Robotic Empire)    34.98











Track Samples:
Sample : Weight
Sample : False Light
Sample : The Beginning and The End



KHOST   Copper Lock Hell   CD   (Cold Spring)    13.98












Track Samples:
Sample : in the nest of the red throat
Sample : hypocrisy banality possession
Sample : 14 daggers



KRIEG / RAMLORD   split   7" VINYL   (Unholy Anarchy)    5.98



    Another recent 7" platter of nihilism and misanthropy from infamous black metal outfit Krieg that came out in 2014, which they shared with New England black metal punks Ramlord, a band that also features members of one of my latest new obsessions, Leather Chalice. Ramlord, however, are full-on filth.
    The two Krieg tracks are as hardcore punk as the band has ever sounded, the first song "Mocking Dead Empires" delivering a powerful, violent blast of D-beat driven thrash and blazing blastbeats that segues out of the Dis-crust into a terrifically majestic blackened riff, before closing with a stark industrial noise loop. One of the best things I've heard from the band all year. The other track is a ferocious rendition of "Worthless Nothing", originally by pioneering UK crust-core band Doom. Krieg's version stays true to the original, while adding their own feral blackened vibe. It's an absolute rager. Killer stuff that makes me wish that the band would flex this particular crusty muscle more often.
    Over on Ramlord's side, the New England-based band pukes up two of their own blackened assaults, "Grey Sky Prison" and "From Absolution to Eradication". Both songs stir up a filthy low-fi stew of rabid, sloppy hardcore punk, anguished screaming, murky black metal, and some detours into lurching, off-kilter sludge that cranks up their wretched, tortured vibe. I dug the general fucked-up feel of this stuff, definitely a different take on the sort of black metal/hardcore punk mix that I'm a big fan of, with the occasional soaring guitar solo that adds a brief flash of forlorn majesty to Ramlord's rampaging, necrotic punk.
    Limited to five hundred copies, includes a download.
Track Samples:
Sample : KRIEG - Mocking Dead Empires
Sample : RAMLORD - Grey Sky Prison



LAUBE   self-titled   2 x CD   (Small Doses)    14.98












Track Samples:
Sample : V
Sample : I
Sample : Formal Black
Sample : Dove Gray



LEATHER CHALICE   Luna   CASSETTE   (Broken Limbs)    5.98












Track Samples:
Sample : Luna
Sample : Luna
Sample : Luna



LITHOTOME   self-titled   CASSETTE   (Broken Limbs)    5.98



    Initially released on disc by Australian avant-necro label Fall Of Nature (which we'll also have in stock shortly), the debut full-length from Lithotome was recently reissued by US label Broken Limbs as a limited-edition pro-manufactured cassette. I'd head the album before, but it still floored me on my latest listen. These guys have frequently been compared to Portal, but their brand of violently contorted death metal is a lot uglier and more vicious than you might expect. Made up of several veteran members of the Philly black/death scene (singer Neil Jameson is best known for his bands Krieg, Twilight and Hidden, Alex Poole plays in Chaos Moon and Esoterica as well as Krieg, and Dan Martin hails from Vrolok and Vomit Orchestra), Lithotome produce a putrid chaos that seems to draw equally from the fumes of early 90s Finnish death metal and the atonal Gorgutsian horrors of certain strains of contemporary death metal a la Portal, making for a uniquely fetid stew of crushing doom-laden death and churning angularity whose hideousness becomes enhanced by a skillfully applied coating of cracked electronic noise.
    The psychotic atmosphere on the band's debut is established as soon as the opening track unfolds, a churning nebular mass of murky electronics and demonic utterances that swell up over the first few minutes of the album, before blasting into the vortex of the "Comavoid". The discordant violence produced by the swarming guitars is where we hear many of those echoes of both Obscura-era Gorguts and the hallucinatory dissonance of Portal, but when Lithotome suddenly lurch out of their swirling blackened pandemonium into one of the many rampaging thrash parts that litter the album, they distinguish themselves from a lot of the Portal-esque death metal you've probably heard, dousing this and the following tracks in noisy savagery. Jameson's monstrous gasping vocals are smeared across that thrashing atonal death metal, while the drumming lurches and stutters, slipping into furiously off-kilter rhythms blasting beneath the bleary droning riffs. Things slow things down to a deformed doom-laden crawl on tracks like "Indulge The Flesh Of The Earth", veering between that grotesque murky blast and a heaving slow-motion plod before it drops off again into another one of their imposing riffs, and the album is filled with these abrupt descents into crushing, discordant, doom-laden heaviness. There's some odd, almost Slintlike math-rock elements that surfaces on a couple of the tracks, and bizarre passages of free-jazz-like percussive chaos arise alongside liturgical voices and swirling synthesizer drift suddenly emerging out of one of these crawling discordant dirges. Sprawls of cosmic muck and distant Catholic chants bubble to the surface amid their crawling, mathy sludge, punctuated with squalls of garbled electronic noise. In the end though, what I really like about Lithotome's debut is how rooted it is in classic murky death metal, with a host of ravenous riffs that keep this from disappearing into total abstraction, with aspects that occasionally remind me of the spacey, off-kilter death metal of Timeghoul or Demilich. Another new favorite from the weirder fringes of American death metal.


LITURGY   Renihilation   LP   (Thrill Jockey)    19.99



   Finally back in print, now reissued on vinyl with digital download by Thrill Jockey.
   As a fan of both Behold...The Arctopus and Orthrelm, man, I was really excited when I heard that Colin from BTA and Mick Barr were teaming up for the black metal band Krallice, and in my mind I imagined what this new band was going to sound like, an amalgam of the hyperspeed single-note shredding of Orthrelm with the complex song structures and brilliant melodic textures of BTA coming together in a raging wall of blastbeat-driven sound. I imagined massive clusters of electric guitar shred built into epic sky-reaching figures, crystalline beams of tremelo guitar strafing through the atmosphere, drums falling in a cloudburst of percussive chaos. I had that imagined sound rolling around in my head for months, just waiting to get the Krallice album in my hands so I could put form to thought. When I did finally hear Krallice, though, it wasn't quite what I expected. Epic, majestic black metal that was more Weakling than Branca, that's what Krallice sounded like to me when I finally heard them, and while I totally loved the album, it definitely wasn't anything like the sound that I was imagining in my head. Instead, the sound that I was imagining was that of Liturgy.
    This Brooklyn-based band has just released their first album through 20 Buck Spin, and Renihilation is exactly what I had thought Krallice's debut might have sounded like. It's not surprising that Colin from BTA/Krallice worked with these guys on the recording of Renihilation at his Thousand Caves Of Menegroth studio, and Liturgy mastermind Hunter Hunt-Hendrix definitely has a similiar guitar style as that of Orthrelm and BTA, and even though Liturgy describes their music as "transcendental black metal", this music is so much more proggy and avant-garde than you'd expect. The album is the band's first release as a four piece, with Hunt-Hendrix teaming up with a second guitar player to whip out fierce walls of trebly, hyperfast tremelo picking that build into soaring melodic shapes. The drums blast relentlessly, but drummer Greg Fox combines his hectic blastbeats with cascading tom/snare rolls that gives this a fiery, jazzy feel and makes the music sound even more frenzied than if he was just playing straightforward blasts. The vocals are high pitched, washed-out howls, and the songs race along furiously, but behind the shredding trebly guitars and blurry black metal screams and chaotic drumming, Liturgy also craft amazingly beautiful harmonies that take over the sound, the guitars weaving themselves into ecstatic swarms of cyclical melody that feel like the guitar army compositions of Branca and Chatham transposed over blistering machine gun clatter. Liturgy's music is beautiful and mesmerizing, and quite unlike any black metal band I've ever heard. Highly recommended.
Track Samples:
Sample : Mysterium
Sample : Pagan Dawn



LYNCH, DAVID + ALAN R. SPLET   Eraserhead OST   CD   (Sacred Bones)    14.99













MELVINS   Eggnog / Lice All   2 x LP   (Boner)    26.00



   One of two monstrous new vinyl reissues of essential early Melvins, the Eggnog/Lice-all double LP features these two 1991 recordings remastered and available on vinyl again for the first time in fifteen years. Packaged in a gatefold sleeve with original artwork as well as never before issued photos from this era of the band, the LP also includes a digital download. The demand for these vinyl reissues has been nuts - they're already sold out at the source, and we were only able to get our hands on less than half a dozen of each for C-Blast.
    Eggnog is the crucial, legendary 1991 EP from the masters of crushing sludge-punk, and features four of the Melvins' heaviest jams from the Buzzo / Lorax / Crover lineup: the guitar-noise infested nervous breakdown of "Wispy"; "Antitoxidote"'s unstoppable punkmetal boogie with that fist-pumping anthemic verse that will have you bellowing "Pigs don't let it..." in no time; the skullcrushing, fast-paced heavy metal histrionics of "Hog Leg"; and, of course, "Charmicarmicat", one of the band's all-time classic songs, an awesome, earsplitting thirteen-minute monument of slow-motion drone/dirge/doom, pounding tectonic drumbeats over a syrupy riptide of black amplifier buzz and detuned string rumble. Easily one of the heaviest things that the Melvins ever did, "Charmicarmicat" would help to lay down the template for later lava metal explorations from bands like Boris, Sunn O))), all of the others to follow in their wake. An essential acquisition for Melvins fans and glacial metal adventurers.
    AKA Lysol, Lice-all is another crucial Melvins slab, their classic 1991 album with the cover painting of the Native American astride a horse, that featured Joe Preston (Thrones/Earth/High On Fire) on bass, and which was originally called Lysol before the Melvins were forced to change it due to trademark issues. It's hard to argue that this is one of the all-time heaviest Melvins albums, six songs glued together into a single 32 minute track, opening with the 10 minute ultra-sludge of "Hung Bunny", an ambient metal big bang of extreme slow motion sludge that everyone from Sunn O))) to Earth to Boris to Corrupted to Black Boned Angel has been trying to pay homage to since. Gigantic distorted riffs and howling feedback is poured over Dale Crover's sparse but pounding, brutal drumming, and moaning wordless vocals float back in the darkness. MASSIVE. Then the band starts to rev up and "Roman Dog Bird" appears, comparatively faster but still moving at a gooey crawl, King Buzzo's vocals totally drenched in echo, a monstrously crushing psychedelic dirge. After that, the band engages in a couple of covers: a feedback infested rendition of Flipper's "Sacrifice", rendered as suffocating drug doom; and Alice Cooper's "Ballad Of Dwight Frye" is fully Melvinsized. And "With Teeth" appears to close the album -as short as the song is, it's one of my all time favorite Melvins jams, and that hook is definitely one of their catchiest. Essential for Melvins fans, and anyone into super-heavy, hypnotic drone/doom/sludge/avant metal that hasn't heard this album yet needs to do so pronto...
Track Samples:
Sample : Sacrifice
Sample : Hung Bunny



MELVINS   Ozma / Bullhead   2 x LP   (Boner)    26.00



   The other new Melvins vinyl reissue that just came out, Ozma / Bullhead pairs up two of the band's earliest albums and remasters them for vinyl, the first time they've appeared on the format in well over a decade. As with the Eggnog / Lice-all 2xLP we also picked up, this stuff is essential sludge from one of the most influential bands to come out of the American underground of the 1980s. Their reach has been immense, and so much of the ear-crushing music we listen to now has been directly informed by the slo-mo pummel of these early works. More than 20 years later, this is still some of the heaviest shit you'll ever hear.
    1989's Ozma is the second album from the Melvins, following up the landmark sludgepit revelations of Gluey Porch Treatments, and featured the King Buzzo / Dale Crover / Lori "Lorax" Black (daughter of Shirley Temple) lineup now relocated to San Francisco from Seattle. Totally classic angular/abstract sludge-rock, like Flipper, KISS, and My War-era Black Flag dragged through molasses, with spastic, complex riffs and crushing stop/start drum pummel that's so fucking flattening that the album generates immediate whiplash every time you toss it in. A bunch of Buzzo's lyrics are printed in the booklet, and it's drunken, demented lyricism at it's best. A bunch of covers on here, too: the Melvin's run through stomping versions of KISS' "Love Theme", the song "Creepy Smell" works in the intro to the song "Living In Sin" from Gene Simmons' solo album, "Candy-O" is a Cars tune that becomes absolutely crushing here, and "Leech" is a Green River cover. And there's the flirtations with feedback drones and guitar noise that the Melvins would explore in more depth with later albums.
    Another classic old-school dose of Melvins' sludge/punk heaviness, 1991's Bullhead came out on the Boner label and has become one of the harder Melvins titles to get your hands on. Of course, we're here to keep this shit documented, so we've finally got Bullhead in stock - and if you are even a casual fan of the Melvins, then this is an essential addition to the library: packaged in a bright blue case with bizarre covert art featuring a fruit basket, this is where the songs became longer, the riffs even heavier yet catchier....fuck, the album's crawling dronecrush of an opening track is called "Boris" and I'll give you three guesses what band saw this disc as an essential influence. All of the jams here are crushing - the mathy pummel and infectious hook of "Anaconda", "Ligature"'s doomed slow motion stomp, the rocking pre-grunge of "It's Shoved", the stuttering force of "Zodiac"....ugh, this album is just fucking killer from beginning to end. This is from when Lorax was on bass, and the lineup is thunderous. In my opinion this ranks as one of Melvins' best albums, completely crucial and most highly recommended.
   Includes a digital download with the bonus track “Candy-O”.
Track Samples:
Sample : Love Thing
Sample : Oven
Sample : It's Shoved
Sample : Boris



MOURNFUL CONGREGATION   Concrescence Of The Sophia   CD   (20 Buck Spin)    10.98



    With its stately monolithic power and towering melodies, it's kind of hard to believe that this comes from the same group of guys behind the horrific bedlam of Cauldron Black Ram, Martire and StarGazer. The most recent slab of slow-motion misery to come from Australia's Mournful Congregation, Concrescence Of The Sophia brings us two new songs that come in at just over half an hour, the title track taking up most of that with one of the band's most massive and sprawling glacial requiems. The recording features guest drummer Tim Call (of Aldebaran / Nightfell) laying down the funereal tempo beneath the group's gorgeous, plangent doom, and he sounds right at home amongst the rest of the band. Having been crafting this sort of elegant doom-death for over two decades, Mournful Congregation continue to establish themselves as one of the best death/doom outfits in existence, as evidenced by the heartbreaking beauty of "Concrescence"; as always, their soaring, sorrowful guitar harmonies are one of the key elements of their sound, which builds upon the tear-stained foundation laid down by the Peaceville Three with their own brand of achingly lovely melodies that curl up and around the lumbering, slow-motion heaviness. When those sorrowful melodies build and bloom from the droning, down-tuned doom, the sound can be absolutely breathtaking, with that main song unfurling gorgeously and gloomily across the disc, slipping into passages of plaintive acoustic guitar and haunting classical melodies that emerge from the gloom, lit by the gleam of prayer bowl tones, or sliding even deeper into stretches of dread-filled blackness. The music moves through a winding suite of anguished gloomcrush, those sometimes savage death-shrieks and virtuosic solos soaring high over the increasingly miserable atmosphere, crafted as well as the best classic heavy metal, but dragged down into a heart-stopping crawl.
    That title track alone is some of the most beautiful doom you're going to hear, with just the right amount of dark romanticism lurking beneath the outpouring of emotional pain and existential dread that seeps from the lyrics, that stain seeping deeply into Sophia's sonorous shadows. Top tier shit, for sure, extrapolating upon that classic Peaceville doom/death sound better than just about anybody. The other song featured here, "Silence Of The Passed" is no slouch either, another frigid, glacial funerary dirge, the tone more hushed and introspective but no less heavy, the music here unfolding into a strange sort of hymn, dark and dolorous and draped in ghastly guttural roars and monstrous whispers - again, absolutely stunning stuff. If you're a fan of death/doom, this band is essential listening. Available on both digipack CD and limited-edition vinyl.
Track Samples:
Sample : Silence of the Passed
Sample : Concrescence of the Sophia



MOURNFUL CONGREGATION   Concrescence Of The Sophia   LP   (20 Buck Spin)    16.98



    With its stately monolithic power and towering melodies, it's kind of hard to believe that this comes from the same group of guys behind the horrific bedlam of Cauldron Black Ram, Martire and StarGazer. The most recent slab of slow-motion misery to come from Australia's Mournful Congregation, Concrescence Of The Sophia brings us two new songs that come in at just over half an hour, the title track taking up most of that with one of the band's most massive and sprawling glacial requiems. The recording features guest drummer Tim Call (of Aldebaran / Nightfell) laying down the funereal tempo beneath the group's gorgeous, plangent doom, and he sounds right at home amongst the rest of the band. Having been crafting this sort of elegant doom-death for over two decades, Mournful Congregation continue to establish themselves as one of the best death/doom outfits in existence, as evidenced by the heartbreaking beauty of "Concrescence"; as always, their soaring, sorrowful guitar harmonies are one of the key elements of their sound, which builds upon the tear-stained foundation laid down by the Peaceville Three with their own brand of achingly lovely melodies that curl up and around the lumbering, slow-motion heaviness. When those sorrowful melodies build and bloom from the droning, down-tuned doom, the sound can be absolutely breathtaking, with that main song unfurling gorgeously and gloomily across the disc, slipping into passages of plaintive acoustic guitar and haunting classical melodies that emerge from the gloom, lit by the gleam of prayer bowl tones, or sliding even deeper into stretches of dread-filled blackness. The music moves through a winding suite of anguished gloomcrush, those sometimes savage death-shrieks and virtuosic solos soaring high over the increasingly miserable atmosphere, crafted as well as the best classic heavy metal, but dragged down into a heart-stopping crawl.
    That title track alone is some of the most beautiful doom you're going to hear, with just the right amount of dark romanticism lurking beneath the outpouring of emotional pain and existential dread that seeps from the lyrics, that stain seeping deeply into Sophia's sonorous shadows. Top tier shit, for sure, extrapolating upon that classic Peaceville doom/death sound better than just about anybody. The other song featured here, "Silence Of The Passed" is no slouch either, another frigid, glacial funerary dirge, the tone more hushed and introspective but no less heavy, the music here unfolding into a strange sort of hymn, dark and dolorous and draped in ghastly guttural roars and monstrous whispers - again, absolutely stunning stuff. If you're a fan of death/doom, this band is essential listening. Available on both digipack CD and limited-edition vinyl.
Track Samples:
Sample : Silence of the Passed
Sample : Concrescence of the Sophia



MOUTHEATER   Passing Key   LP   (Anthems of The Undesirable)    13.99












Track Samples:
Sample : Nepolio's Rooftop
Sample : Wide Eyed
Sample : Sexual Sadness



MURDEROUS VISION   Engines & Disciples   CDR   (Annihilvs)    11.98












Track Samples:
Sample : Tensile Strength Fracture
Sample : Nightmare Made Flesh And Bone (Part One)
Sample : Immaculate Deception



MYSTICUM   Planet Satan   CD DIGIBOOK   (Peaceville)    16.98












Track Samples:
Sample : LSD
Sample : Fist of Satan
Sample : All Must End



MYSTICUM   Planet Satan   LP   (Peaceville)    25.00












Track Samples:
Sample : LSD
Sample : Fist of Satan
Sample : All Must End



NECROPARTHENOPHAGY ⁄ LAYR   split   3" CDR   (Eleventh Key)    4.98



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



NO FAITH   Dead Weight   7" VINYL   (Vendetta)    5.99



   An impressively brutal new EP from this misanthropic New England outfit, comprised of Will Killingsworth (Clean Plate Records boss and a member of various hardcore/grind outfits like Laceration, Ampere, Bucket Full Of Teeth, Demonbrother, Orchid, The Toll, Ritual Mess, etc. etc.) alongside members of SQRM and Vaccine. This band has put out a couple of other records I haven't come across yet, but this one caught my eye when I saw the label describing the band's sound as being in same vein as early Suppression, one of my favorite extreme hardcore outfits from the 1990s. And it's a reference that makes sense - No Faith take a similar approach to incorporating harsh noise into their ultra-heavy hardcore, mashing barbaric blastcore with crushing electronic noise, the sound of malfunctioning diesel engines suddenly erupting in the midst of a brutal blitzkrieg blast-attack of stop-n-'go thrash. Definitely my kind of racket.
    Dead Weight kicks off with a roar of rumbling, over-modulated noise, spewing a cloud of static filth like something off one of The Rita's LPs, as distant furious roars echo across the distance and peals of syncopated electronics set a threatening atmosphere across opener "Fortress World", with a crushing power electronics dirge that makes the spastic blastcore that follows that much more jarring. When it suddenly erupts into "Life Of Delusion", that's when the band kicks into their ferociously noise-damaged power violence assault, evoking the likes of Infest and Crossed Out, but with those mangled electronics seething and squirming throughout the entire mix. This 7" proceeds to slam you over the skull with one forty-five second blast of down-tuned hardcore after another, shifting abruptly from blasting thrash infested with squealing oscillator abuse into bone-warping dirges that crawl over your pathetic carcass like a blood-splattered half-track. There's a few other forays into power electronics that are scattered throughout this brief EP for good measure, like the grim, paranoid pulsations of "They Watch". No Faith's grinding, down-tuned variation on this sound really hits the spot with it's snarling savagery and brain-melting analogue squall. Limited to five hundred copies, comes with a download.
Track Samples:
Sample : Fortress World
Sample : Dead Weight
Sample : Machine Death



NOOTHGRUSH / SUPPRESSION   split (2014 VERSION)   5" VINYL   (Fuck Yoga)    8.00



   A new 2014 reissue of this tiny blast of scumviolence obliteration, in new brain-abusing artwork.
   Normally, I don't pick up any 5" records for the shop as it's my least favorite of all possible recorded-music formats (goddamn things aren't even playable on my main turntable here at C-Blast), but this team-up between Bay Area sludgecore gods Noothgrush and Richmond blast weirdoes Suppression is such an impressive pairing that I had to get it. These tracks were actually recorded back in 1998, but the split was for some reason cancelled.
    The Noothgrush side has the short song "Flee From Hunger And Disease", which was also included on the Erode The Person Cd collection when this split record was still an unreleased coulda-been. Its one of their typically skull-crushing sludge assaults that combines slithering, asphalt-encrusted sludgecore and hypnotic Sabbathoid riffing with those gargling howls of abject misanthropy and hopelessness that made 'em one of the nastiest bands to come out of the San Fran hardcore/crust/metal scene; the whole thing is over in two and a half minutes but it's primo leaden heaviosity.
    Suppression kick off their side with the squealing harsh noise piece "Cyanide (Iceman)", blending brutal screams fading in the distance with squirming Bastard Noise-esque electronic abuse and rattling bass eruptions, then break out "Amputated Brain Stem", one of their angular, winding power-violence songs with jagged riffs spread out over tumultuous drumming, a warped version of that now-classic early PV sound pioneered by MITB and Infest.
    Comes in a full color sleeve.
Track Samples:
Sample : NOOTHGRUSH - Flee From Hunger and Disease
Sample : SUPPRESSION - Cyanide (Iceman) / Amputated Brain Stem



OLD MAN GLOOM   The Ape Of God I   CD   (Profound Lore)    11.98



    Now available on both gatefold CD and limited-edition vinyl in letterpress jacket with oversized booklet.
    Always my favorite of all of the bands that came out of that Boston metallic hardcore nexus, Old Man Gloom were also always the strangest, taking the sort of pummeling mathy metallic heaviness that the members' other bands were known for (Isis, Converge and Cave In) and combining it with a heavy dose of post-industrial abrasion a la something you'd get from the old HeadDirt catalog. The band's latest offering certainly delivers more of that quirky, occasionally proggy metallic crunch, still rife with those otherworldly noise textures that laced previous albums and still teeming with their weird alien/simian obsessions, but with Ape Of God the guys in Old Man Gloom deliver twice the damage, releasing two nearly identical-looking full-length discs that each features a completely different recording, comprising two halves of a sprawling, demented art-metal whole...
    The first Ape disc is ultra-heavy stuff, for sure. Lurching, down-tuned sludge is carved into mathy, twisted forms, that metallic heaviness at the center of the album's sonic assault, but they surround it with gales of cracked electronics and ghostly electronic ambience, gleaming black drones and squalls of manic glitchery surfacing throughout the pummeling math-metal battery. Eerie female singing (courtesy of Mammifer's Faith Coloccia) gets distorted into a ghostly, grating blur that's smeared across the beginning of opener "Eden's Gate", which leads the band into the album's first blast of jaggedly angular heaviness. From there, strange sample-laden soundscapes materialize beneath the churning, chugging riffage and turbid, almost tribal-tinged drumming, and massive slow-moving dirges sprawl out beneath stunning choral vistas. Punishing, almost power electronics-grade feedback lashes violently against the frenzied math-metal of tracks like "Promise", only to give way to expanses of smoldering, volcanic noise and crumbling electro-acoustic garble, long stretches of grainy, gritty electronics that strongly resemble the harsh noisescapes of artists like Vomir or The Rita. Then there's also some of that spooky, Western-tinged atmosphere that you'd find on previous albums, appearing here in the subtle, moody guitar shadings and watery melodies that occasionally peer through Ape's grim apocalyptic churn. And also as before, the band interjects the occasional blast of speed among the mostly slower tempos, with the shorter tracks "Never Enter" and "Fist Of Fury" erupting into a strange, drone-draped blast of avant-hardcore. By "Simia Dei", these elements finally all come together, a crushing, elegiac wall of 'gazey heaviness laced with seraphic beauty and bone-rattling tribal drumming, easily one of the most gorgeous tracks I've ever heard from Old Man Gloom. Top-notch experimental math-metal/avant-drone from these guys, as always.
Track Samples:
Sample : Simia Dei
Sample : Fist Of Fury
Sample : Eden's Gate



OLD MAN GLOOM   The Ape Of God I   LP   (Sige Records)    24.00



    Now available on both gatefold CD and limited-edition vinyl in letterpress jacket with oversized booklet.
    Always my favorite of all of the bands that came out of that Boston metallic hardcore nexus, Old Man Gloom were also always the strangest, taking the sort of pummeling mathy metallic heaviness that the members' other bands were known for (Isis, Converge and Cave In) and combining it with a heavy dose of post-industrial abrasion a la something you'd get from the old HeadDirt catalog. The band's latest offering certainly delivers more of that quirky, occasionally proggy metallic crunch, still rife with those otherworldly noise textures that laced previous albums and still teeming with their weird alien/simian obsessions, but with Ape Of God the guys in Old Man Gloom deliver twice the damage, releasing two nearly identical-looking full-length discs that each features a completely different recording, comprising two halves of a sprawling, demented art-metal whole...
    The first Ape disc is ultra-heavy stuff, for sure. Lurching, down-tuned sludge is carved into mathy, twisted forms, that metallic heaviness at the center of the album's sonic assault, but they surround it with gales of cracked electronics and ghostly electronic ambience, gleaming black drones and squalls of manic glitchery surfacing throughout the pummeling math-metal battery. Eerie female singing (courtesy of Mammifer's Faith Coloccia) gets distorted into a ghostly, grating blur that's smeared across the beginning of opener "Eden's Gate", which leads the band into the album's first blast of jaggedly angular heaviness. From there, strange sample-laden soundscapes materialize beneath the churning, chugging riffage and turbid, almost tribal-tinged drumming, and massive slow-moving dirges sprawl out beneath stunning choral vistas. Punishing, almost power electronics-grade feedback lashes violently against the frenzied math-metal of tracks like "Promise", only to give way to expanses of smoldering, volcanic noise and crumbling electro-acoustic garble, long stretches of grainy, gritty electronics that strongly resemble the harsh noisescapes of artists like Vomir or The Rita. Then there's also some of that spooky, Western-tinged atmosphere that you'd find on previous albums, appearing here in the subtle, moody guitar shadings and watery melodies that occasionally peer through Ape's grim apocalyptic churn. And also as before, the band interjects the occasional blast of speed among the mostly slower tempos, with the shorter tracks "Never Enter" and "Fist Of Fury" erupting into a strange, drone-draped blast of avant-hardcore. By "Simia Dei", these elements finally all come together, a crushing, elegiac wall of 'gazey heaviness laced with seraphic beauty and bone-rattling tribal drumming, easily one of the most gorgeous tracks I've ever heard from Old Man Gloom. Top-notch experimental math-metal/avant-drone from these guys, as always.
Track Samples:
Sample : Simia Dei
Sample : Fist Of Fury
Sample : Eden's Gate



OLD MAN GLOOM   The Ape Of God II   CD   (Profound Lore)    11.98



    Now available on both gatefold CD and limited-edition vinyl in letterpress jacket with oversized booklet.
    Always my favorite of all of the bands that came out of that Boston metallic hardcore nexus, Old Man Gloom were also always the strangest, taking the sort of pummeling mathy metallic heaviness that the members' other bands were known for (Isis, Converge and Cave In) and combining it with a heavy dose of post-industrial abrasion a la something you'd get from the old HeadDirt catalog. The band's latest offering certainly delivers more of that quirky, occasionally proggy metallic crunch, still rife with those otherworldly noise textures that laced previous albums and still teeming with their weird alien/simian obsessions, but with Ape Of God the guys in Old Man Gloom deliver twice the damage, releasing two nearly identical-looking full-length discs that each features a completely different recording, comprising two halves of a sprawling, demented art-metal whole...
   The second Ape Of God disc delivers even more extreme experiments in feedback-fueled sorcery and high-frequency drone, the very beginning of the album consisting of a piercing tone that is slowly surrounded by bursts of granular static and random glitches, building to the imminent arrival of the band's titanic droning sludge-metal. As that opening suggests, this is the more experimental of the two albums, with longer tracks that tend to center around sprawling riff-scapes of Neurosis-esque apocalyptic sludge. Still skull-cavingly heavy, though; tracks like "Burden" will be fawned over by those aching for Isis's massive atmospheric heaviness, though this ultimately finds itself heading into a spacier, more psychedelic direction, flecked with lots of abstract electronic noise. "Predators" is more in the vein of the previous disc's churning mathy chug, though the rollicking, almost Hammond-like organ accompaniment certainly gives that song its own peculiar trippy taste before it ends up decaying into a crushing wall of over-modulated distortion laced with bits of odd operatic drama and stretches of evil, doom-laden slowcore. The whole direction seems more surreal compared to the other disc, the crushing angular sludgy heaviness often giving way to weird spoken word parts and bizarre Pattonesque vocal weirdness, expansive droning ambience populated with foghorn-like blasts of distant maritime gloom, surreal minimal soundscapes that sound like environmental recordings from the wilderness of some distant alien world, while the epic closer "Arrows To Our Hearts" unfurls into haunting, saurian prog-metal, almost like a dreamier, more solemn Tool at times, awash in glimmering droning guitars, soulful layered vocals and swirling sheets of electronic drift.
Track Samples:
Sample : Predators
Sample : Burden
Sample : Arrows To Our Hearts



OLD MAN GLOOM   The Ape Of God II   LP   (Sige Records)    24.00



    Now available on both gatefold CD and limited-edition vinyl in letterpress jacket with oversized booklet.
    Always my favorite of all of the bands that came out of that Boston metallic hardcore nexus, Old Man Gloom were also always the strangest, taking the sort of pummeling mathy metallic heaviness that the members' other bands were known for (Isis, Converge and Cave In) and combining it with a heavy dose of post-industrial abrasion a la something you'd get from the old HeadDirt catalog. The band's latest offering certainly delivers more of that quirky, occasionally proggy metallic crunch, still rife with those otherworldly noise textures that laced previous albums and still teeming with their weird alien/simian obsessions, but with Ape Of God the guys in Old Man Gloom deliver twice the damage, releasing two nearly identical-looking full-length discs that each features a completely different recording, comprising two halves of a sprawling, demented art-metal whole...
   The second Ape Of God disc delivers even more extreme experiments in feedback-fueled sorcery and high-frequency drone, the very beginning of the album consisting of a piercing tone that is slowly surrounded by bursts of granular static and random glitches, building to the imminent arrival of the band's titanic droning sludge-metal. As that opening suggests, this is the more experimental of the two albums, with longer tracks that tend to center around sprawling riff-scapes of Neurosis-esque apocalyptic sludge. Still skull-cavingly heavy, though; tracks like "Burden" will be fawned over by those aching for Isis's massive atmospheric heaviness, though this ultimately finds itself heading into a spacier, more psychedelic direction, flecked with lots of abstract electronic noise. "Predators" is more in the vein of the previous disc's churning mathy chug, though the rollicking, almost Hammond-like organ accompaniment certainly gives that song its own peculiar trippy taste before it ends up decaying into a crushing wall of over-modulated distortion laced with bits of odd operatic drama and stretches of evil, doom-laden slowcore. The whole direction seems more surreal compared to the other disc, the crushing angular sludgy heaviness often giving way to weird spoken word parts and bizarre Pattonesque vocal weirdness, expansive droning ambience populated with foghorn-like blasts of distant maritime gloom, surreal minimal soundscapes that sound like environmental recordings from the wilderness of some distant alien world, while the epic closer "Arrows To Our Hearts" unfurls into haunting, saurian prog-metal, almost like a dreamier, more solemn Tool at times, awash in glimmering droning guitars, soulful layered vocals and swirling sheets of electronic drift.
Track Samples:
Sample : Predators
Sample : Burden
Sample : Arrows To Our Hearts



ORDER FROM CHAOS   Frozen In Steel   9 x LP BOXSET   (Nuclear War Now! Productions)    189.99



    First off, you will not find a more impressive vinyl boxset than what Nuclear War Now did for Order From Chaos's Frozen In Steel set. The craftsmanship of this massive nine-LP boxset alone had my jaw hanging: this stack of vinyl is housed in a huge case-wrapped box bound in black cloth with foil-stamped artwork, with most of the records (pressed on black vinyl) presented in gatefold jackets; the set also contains a double-sided poster, and a one-hundred twenty-four page hardbound book (also case-wrapped in black cloth with foil stamped artwork) that is filled with extensive liner notes, album info, lyrics, artwork, and much, much more on the legacy of cult death metal outfit Order From Chaos. A definitive, comprehensive collection of all of the band's studio recordings, including their three albums, demos, promotional tapes and EPs, and further fleshed out with a number of rare live and rehearsal recordings - it's all here. The complete works of a band that Nuclear War Now clearly sees as one of the most important bands in American death metal, and it's easy to see why.
    Formed in the late 1980s by a trio of heathen teens from Kansas City, MO, Order From Chaos created one of the most uncompromising and violent sounds to ever come out of the underground. Although I'd followed several of the bands that Order From Chaos bassist/vocalist Pete Helmkamp and guitarist Chuck Keller would go on to form after the band broke up in the mid-90s (Angelcorpse, Terror Organ, Kerasphorus, Vulpecula, etc.), I really didn't begin to develop my obsession with their music until fairly recently. I had heard a few songs here and there over the years, but it wasn't until I stumbled across a description of Order From Chaos's debut album Stillbirth Machine on a list of "Death Metal oddities" (compiled by the guy behind the excellent but sadly short-lived Devoured By Vegans blog) that I finally became infected by the band's elite sonic barbarism. That list compared Stillbirth to "Blasphemy molesting Voivod while GISM watch", an invitation I could hardly ignore, and that record did indeed deliver one of the most bizarre, ultra-violent death metal assaults I've ever heard once I got my hands on it. Weird, noise-damaged death metal that helped to lay the template for the whole "bestial black/death" aesthetic but which still sounds totally unique, and Helmkamp's lyrics often read like a Ligotti cut-up, philosophical nihilism and cosmic horror interwoven with hardcore Social Darwinism into sprawling texts. Much of their music feels accidentally avant-garde, industrial noisescapes and long samples of terrifying modern classical music stitched in among the ravenous, thrashing death metal. Time has not dampened Order From Chaos's sound, either. Listening to all of this material in a marathon session felt like a physical assault, but for fans of the band (especially those of us who weren't there to pick up the original releases), this set is essential.
    The first LP collects the band's demo recordings that were released between 1988 and 1992, comprising the Demo 1, Inhumanities, Crushed Infamy and Alienus Sum cassettes along with the 1990 Will To Power 7" on Putrefaction Records. Presented in chronological order, these sixteen songs follow the band's primitive origins through the early 90s, starting with the crazed hardcore thrash of the earliest demo tracks that bear a noticeable resemblance to early Voivod's ragged violent thrash, played with a blistering punk abandon. Even this early into their career, the band was unleashing a genuinely violent sound, laced with berserk guitar solos and weird atmospheric flanged chords and bits of crushing Frostian heaviness, while at the same time dropping some extremely catchy riffs into the deranged thrash. The Inhumanities tracks are particularly fucked, their tough, nuked-out thrash turning more feral and discordant, with some weird use of guitar effects and doubled vocal tracks, the weird processed recording quality and sheen of metallic flange giving that stuff even more of a lunatic edge, while the Crushed Infamy tape saw the band moving deeper away from their rabid thrash roots into a more frenzied, chaotic death metal sound that they would come to be known for, rhythmically complex with jarring tempo changes and lurching riffs. That record is capped off with the Will To Power 7", a blistering assault of rampaging death-thrash insanity mottled with traces of Voivodian dissonance.
    And then there's the bands bile-stained masterpiece of maniac mutant death metal, 1992's Stillbirth Machine. The double LP set for the Stillbirth Machine era is an expansive set that features additional material in the form of live tracks from the band's ferocious Live: Into Distant Fears 7", the unreleased Pain Lengthens Time EP from 1994, and outtakes from their Alienus Sum promo cassette session alongside the album itself. By this point, Order From Chaos had fully evolved into an insane death-fueled maelstrom of bestial energy, and Stillbirth Machine established a new level in extremity. Seven songs of slavering sonic warfare, opening with a sequence from Gyorgy Ligeti's "Requiem" that sends those terrifying choral voices swelling up from the depths, ascending in a terrifying arc to where the band suddenly rises and meets them head-on, kicking into the rabid deathnoise of "The Edge Of Forever". We're instantly sucked into a carnivorous vortex of crazed angular riffing and churning thrash, Helmkamp's scathing, bestial screams transforming into a truly unhinged litany of violence and blasphemy. We are chewed up in the band's gnashing jaws, slipping with them into sickening blasts of mid-paced buzzsaw punk aggression, batshit atonal guitar solos and weird Voivodian chords tangling with bone-scraping guitar noise splattered like black vomit across the filthy, lurching thrash. The drumming is a brutal clattery cacophony with flashes of intricate playing, while vocals swirl out in tentacles of echoing hatred. That hardcore punk influence is undeniable, boiled down to an ultra-violent essence, but the band also laces their songs with mysterious field recordings and eerie ambience, amplifying the psychotic feel of this record. It is still one of the weirdest and most vicious death metal albums I've heard, and remains my favorite of all of their recordings.
    Available here on vinyl for the first time ever, the band's second album Dawn Bringer is featured on the third double-LP set. This succinct six-song attack is just as chaotic and deranged as the previous album, moving between bizarre experimental tracks like "Labyrinthine Whispers" that fused spoken word vocals with discordant organ noise and a seething black mass of crazed guitar skree, to the gibbering death metal violence of "Ophiuchus Rex (He Who Plays With The Serpents)". Other tracks trudge through eerie, dissonant doom-laden majesty laced with odd gong-like reverberations, see strains of haunting piano suddenly appear over one of their churning mid-paced death metal riffs, or offer weird metallic instrumental renditions of old Germanic anthems, even erupting into an irradiated, lunatic version of the Voivod classic "War And Pain" at one point. The set also includes the tracks from the band's three-song Plateau Of Invincibility 10", a rabid delirium of disjointed blackened death metal laced with chunks of Basil Polidouris's score to Conan The Barbarian, vicious covers of Venom and Sodom, and screaming air raid sirens; and the And I Saw Eternity CDEP on Shivadarshana/Ground Zero that featured re-recorded versions of older tracks, the new song "Imperium", and a sprawling, blackened industrial noisescape that spreads out across the final minutes of the side.
    Their third and final album was 1998's An Ending In Fire, considered by some fans to be their best. Me, I prefer the unhinged bestial ultra-violence of Stillbirth Machine above all else, but Order From Chaos had definitely polished their sound to a lethal edge on their swan song, retaining all of the manic atonality, complex riffage and arcane occult/celestial weirdness that made 'em so unique, while also brandishing the most coherent and powerful production of any of their records. Its an interesting album, essentially made up of three epic "songs" that are then sub-divided into different tracks/chapters, and there are several of those strange ambient/atmospheric/noise sections that add to the band's violent, unearthly chaos. There's a twelve minute bestial thrash epic titled "There Lies Your Lord! Father Of Victories!", blasts of harrowing industrial noise and black-hole ambience that sound like diabolical transmissions from an alien planet ("De Stella Nova"), and walls of down-tuned bass guitar that turn into beastquakes of Repulsion-like noise churn. Seriously brutal stuff. This set is rounded out with a pair of devastating live sets, one recorded in Omaha, Nebraska in 1993, the other from Manassas, Virginia in 1994, each featuring four songs.
    The final record captures an early rehearsal session from the band, recorded on Christmas Day 1988. Adorned in kinetic album art taken from George Grosz's Explosion, this single LP captures the band tearing through a ferocious eight-song set, the sound quality raw but quite listenable. Mostly of interest to hardcore fans of the band, it's a revealing look at the band in the throes of creation, capturing their nascent sound mere months after the band was formed. And even this early into their existence, they fucking ripped.
    Unquestionably essential for fans of the band who missed out on the original vinyl releases or those looking for the definitive collection of the band's works. Easily the reissue/boxset release of the year, at least as far as extreme metal is concerned.
Track Samples:
Sample : Stillbirth Machine
Sample : Iconoclasm Conquest
Sample : The Edge Of Forever
Sample : An Ending In Fire
Sample : De Stella Nova
Sample : Plateau Of Invincibility



PALLBEARER   2010 Demo   12"   (20 Buck Spin)    16.99



   In a relatively short period of time, this Arkansas band has risen to the heights of popularity in metal circles thanks to a highly developed songwriting acumen and golden touch when it comes to crafting memorable, deeply moving riffs and melodies. True, they might be on the receiving end of a ridiculous amount of hype both within metal and beyond, but Pallbearer's songs back it up. And you can hear it even as far back as the band's first demo that came out back in 2010. Originally released by the band as a CDR, that three-song demo boasted some terrific, classic-sounding doom metal that echoed with the lumbering footsteps of masters like Vitus and Warning, Trouble and Solitude Aeturnus, steeped in a doleful melodic grandeur and rumbling with crushing emotional power that set them apart from many of their cheerless peers. This early recording has now been revived by 20 Buck Spin, re-mastered for this limited-edition 12" that features the demo on the a-side and etched artwork from Mike Lawrence on the b-side. Two of these tracks are early versions of "The Legend" and "Devoid Of Redemption", which would later reappear on their acclaimed debut album Sorrow And Extinction, and is rounded out with their cover of Hungarian composer Rezso Seress's funerary classic "Gloomy Sunday", a perennial favorite amongst the perpetually depressed, having been previously covered by numerous other artists ranging from Diamanda Galás and Christian Death to Billie Holiday and Venetian Snares.
    The originals sound pretty fantastic even in demo form, emotionally wrought slabs of classic doom metal with soaring, sorrowful melodies that tug at the tattered strands of your soul, the production huge as it fills the room, massive guitars draped over the ponderous tempos and wreathed in those keening, heartsick vocals. It's some of the finest traditional doom to have appeared in recent years, no wonder that this demo caught so many ears when it first appeared; it's like a more plaintive and tremulous Sabbath, backed by the monstrous down-tuned chug and reverb-drenched guitar leads that snake throughout the songs, Brett Campbell's quavering voice echoing classic Ozzy but with an added emotional edge that keeps his performance from sounding like a simple homage, and they use some neat production tricks in the recording to build upon the otherworldly vibe that emanates from these titanic riff-blasts. Their version of "Gloomy Sunday" is pretty moving as well, transforming the renowned song into a perfect doom anthem, crushingly mournful and soul-stirring. As would be expected, the sound quality on the demo is less polished than their albums, but this still sounds remarkably massive and melancholic, an illuminating look at a band already established in their sound and aesthetic.
Track Samples:
Sample : Devoid of Redemption
Sample : Gloomy Sunday



PEAKE, DON   The Hills Have Eyes (1977) OST   CD   (Hitchcock Media)    14.98



   Now in stock on CD.
    Definitely one of my favorite recently reissued horror scores, Don Peake's soundtrack for the original Hills Have Eyes has been dug up and dusted off for the first time in years, and it's still one of the weirder and more experimental scores that came out of that classic grindhouse era. Newly reissued by Belgian label One Way Static Records on deluxe limited-edition LP (beautifully packaged in a case-wrapped gatefold jacket with a full-color insert featuring liner notes from cast and crew) and as killer throwback audio cassette edition, both versions appear to already be sold out at the source, so move quick if you want to get either one of these.
    Would you believe that this creeped-out, experimental soundscape was created by the same guy that did the Knight Rider theme? It's kind of surprising that something this bleak and disturbing came from a former guitarist for The Everly Brothers, but Don Peake had turned into a respected film composer after he left the world of session work, and he stepped way outside of the box for this project. Peake's score for Hills was an intensely creepy assemblage of sounds that were perfectly suited for Wes Craven's brutal visuals. The story of a modern suburban family under assault from a band of cannibalistic cavemen lurking in the foothills of the Nevada desert, this 1977 film helped to usher in a new wave of ultra-violence onto the American cinematic landscape. To help build the atmosphere of dread and imminent death that hangs over the film like a radioactive cloud, Peake blended together elements of Penderecki-influenced modern classical composition, instrumental 70's-era funk, primitive synthesizer noise, and bestial, free improv percussive freakouts that give the action sequences an increasingly chaotic and desperate feel. And to help add to the stark, barbaric vibe, Peake used animal bones (the same ones worn by the vicious desert cannibals in the film) as percussive instruments to create the ritualistic rattling found all throughout the soundtrack. On it's own, The Hills Have Eyes score almost sounds like some bizarre ESP-Disc release; the very first track is a short dose of mutant caveman funk rattling over grinding synths, followed by similar weird jazziness, frantic hand-drum rhythms and swirls of queasy synthesizers, more of that crazed mutant funk made up of wah-drenched electric guitar and those clattering animal bones, then later shifting into more sinister synth-based dronescapes and murky, ominous electronics. The synthesizer parts could easily pass for some primitive early industrial outfit or primitive dark ambient project, swells of minimal discordant synth and warped electronic noise and rushes of shrill screaming theremin. There's also some really effective short works for strings, percussion and piano that summon up gusts of evil discordant atmosphere that are almost Bartókian, often combined with those skin-crawling squirming synth noises. A classic slab of avant-garde horror composition and barbaric death-prog.
Track Samples:
Sample : M2-3
Sample : M2-6
Sample : M3-4
Sample : MQ-7
Sample : MQ-5



PHARMAKON   Bestial Burden   CD   (Sacred Bones)    13.98











Track Samples:
Sample : Intent or Instinct
Sample : Bestial Burden
Sample : Autoimmune



PHARMAKON   Bestial Burden   LP   (Sacred Bones)    17.99











Track Samples:
Sample : Intent or Instinct
Sample : Bestial Burden
Sample : Autoimmune



PHILLIPS, DAVE + JOHN WIESE   At A Loss For Words   7" VINYL   (Blossoming Noise)    8.50














PRYAPISME   Rococo Holocaust   LP   (Apathia)    19.99



    Now available on vinyl from Apathia Records, on black vinyl limited to two hundred fifty copies.
   The killer debut album of instrumental Zorn-ified electro-ADD-metal from France's Pryapisme, Rococo Holocaust is another genre-bending avant metal freak-out with amazing musicianship and gobs of virtuosic weirdness. They remind me a lot of another French band, Carnival In Coal, in the way that they dexterously shift from black metal and other extreme metal forms into anything from jazz, chamber music, disco and electronica. I actually really dig the fact that this is entirely instrumental, as the music is complex and confusing enough to absorb without some maniac squawking in my ear.
    Pryapisme introduces their album with the pulsating Italo disco and 80s synthesizers of "Suppozitorium Granifujnikoi?" that makes a hairpin turn into intricate 8-bit electronica, and then morphs into a mathy chiptune grind spasm for a minute, veers into game show theme music for a few seconds, then pirouettes back into the Next Life-esque chiptune metal that erupts into blasting digital grindcore. From here, it shifts again into an epic industrial dirge laced with video game melody, pipe organs, and stuttering mechanized drums, dissipates into eerie orchestral drift with a lone cello rising up for a moment, becomes glitchy and processed, and then cuts to a jazzy prog jam with vibraphone, piano, jazz bass and analogue synthesizers that turns into this weird mashup of Mr Bungle and Goblin. That's just the first song.
    The second, "Le Doryphone De Kafka" starts with Caribbean steel drums that introduce a very odd carnival-funk calypso metal fusion flecked with scorching solos and frantic jazz piano workouts, the drums launching into blast beats underneath the super complex jazz fusion, shifting into sleazy 70's funk, and then in blink of eye turns into modern jazz with gorgeous melodic horns.
    The whole album is like this. Each song is a wild and intricately arranged patchwork of sounds and styles that can border on the ridiculous, but it's all put together really well, and seems to center the music around a core sound of chamber prog and black metal that the band keeps returning to throughout all of this, even as they zip out through disco passages and awesome Univers Zero style dark prog into that chiptune metal, Emperor-esque symphonic black metal and skittering electronica, baroque chamber jazz. Imagine an insane mix of Mr Bungle, Emperor, Univers Zero, Whourkr and Amber Asylum, and that's sort of where Pryapisme's Rococo Holocaust ends up. Sort of. This album would have fit right in on Web Of Mimicry, and fans of that label's general aesthetic are recommended to look into these crazed avant-prog / metal shapeshifters.
Track Samples:
Sample : Darkness Lobotomy Insurrection
Sample : Suppozitorium Granifujnikoi?
Sample : Truffade Ou Plutôt J'te Rappelle J'me Fais Sucer Dans La Coudraie



RASPBERRY BULBS   Privacy   LP   (Blackest Ever Black)    23.00












Track Samples:
Sample : Hopelessly Alive
Sample : How The Strings Are Pulled
Sample : Light Surrounds Me



RED HARVEST   Anarchaos Divine   3 x CD BOXSET   (Candlelight)    28.00












Track Samples:
Sample : Omnipotent
Sample : Death in Cyborg Era
Sample : Cold Dark Matter
Sample : Wormz
Sample : Teknocrate
Sample : Fall of Fate
Sample : Godtech



RITA, THE   Womankind 2: Cleopatra, Sacred Servants   CASSETTE   (Survivalist)    6.50














SEA OF BONES   The Earth Wants Us Dead   3 x LP   (Gilead Media)    36.00














SEA WITCH   As Above...So Below   2 x CASSETTE   (Small Doses)    13.98












Track Samples:
Sample : Into The Depths
Sample : The Atlantic
Sample : Dragged Across The Ocean Floor (Pt. I)



SERPENTS   Demo 2004   CASSETTE   (Survivalist)    6.50












Track Samples:
Sample : Hearse On Fire
Sample : Pigsty
Sample : Flower Of Flesh And Blood



SETE STAR SEPT   Sacrifice (DIGIPACK)   CD   (Fuck Yoga)    13.98



   Now available as a limited-edition CD digipack with a Japanese-style obi strip.
    I absolutely can't get enough of Sete Star Sept's barbaric noisegrind. I'm sure most people (including a lot of grindcore fans) probably thinks that this band simply repeats the same obnoxious formula with every song, but for me, this stuff is wonderfully cathartic. As a huge fan of the most extreme fringes of grindcore, harsh noise, improvisational music and noisecore, these guys combine everything I love about that stuff into a simple, but violently effective sound that still manages to tear my face off every time I pick up a new record of theirs.
    The latest such new release from the über-prolific noisegrind duo, Sacrifice is their second album from the Tokyo-based band, another single-sided LP released by the Macedonian label Fuck Yoga. It again finds the duo of Kae (vocals, bass) and drummer Kiyasu (a former member of notorious Toronto power-violence band The Endless Blockade) continuing to emit their signature strain of diseased, ultra-distorted hardcore and cyclonic noise across another twenty-four tracks, and this time the band has employed one of their more blown-out and in-the-red recordings. You'd have to be nuts to expect any kind of coherency from any of Sete Star Sept's albums, but Sacrifice pushes the distortion and noise levels even little further, with everything distorted into near oblivion. As usual, these songs are largely comprised of twenty second blasts of discordant noisegrind chaos, assaulting the listener with their insane confluence of Scum style grindcore and improvisational chaos influenced by the likes of The Gerogerigegege and other Japanese harsh noise outfits; despite the inherent chaos and formlessness found in these songs, Kae is also capable of escaping the chaos with some monstrous riffs that come tumbling and screaming out of the maelstrom, while her garbled vocal vomit and electrocuted ape-shrieks are splattered across the sudden eruptions of insanely noisy crustcore. Oh yeah, this is by far the most distorted and noisy Sete Star Sept record these guys have put out, the recording pushed so into the red, the bass-heavy distortion so immense that there are huge chunks of this album that completely disappear into a storm of over-modulated Merzbowian noise, a hell of horrendous feedback and garbled bass-noise. It's the closest I've heard Sete Star Sept come to degenerating into full-on noisecore, tracks like "Death Circulatory", "Oiran", "Strange Stripper", "Wind Obsession" and "Stimulus Pursued " whipped up into ultra-violent cyclones of shredded riffage and almost free-jazz informed drumming that has been sped up to insane tempos, tempos that immediately crumble into washes of clattering, hissing noise. And yet there is some surprisingly technical playing going on among all of the sonic carnage, the duo skillfully navigating through their eruptions of compressed chaos.
    Comes in a black and white digipack that features cool black and white album art from Edi Mirror.
Track Samples:
Sample : Wind Obsession
Sample : Savage
Sample : Death Circulatory
Sample : Aggression



SIGMA OCTANTIS   Dissipations   CD   (Malignant Antibody)    11.98












Track Samples:
Sample : ÿþVieil Océan, Aux Vagues De Cristal
Sample : Parle Moi, Il Fait Si Noir
Sample : Conamara Chaos



SISSY SPACEK   Lead Their Exit   7" VINYL   (Dais)    8.99














SISSY SPACEK   Wastrel Projection   7" VINYL   (Antropofago Ateo)    5.99



   Now available on 7" vinyl with an obi-style cover insert, limited to two hundred eleven copies.
   I'll get anything that Sissy Spacek puts out, but my favorite stuff of theirs will also be the nuclear-blast noisecore recordings found on releases like Dash, the self-titled debut and the Gore Jet 7". When operating in this mode, the quartet of bassist/tape mangler John Wiese (ex-Bastard Noise), drummer Charlie Mumma (also of experimental death/black metallers Knelt Rote and L'Acephale), guitar-wrecker Jesse Jackson and vocalist Corydon Ronnau unleash a hurricane of grind-filth and garbled blast violence that is relentlessly brutal. But caveat emptor: this Cd only has about five and a half minutes of music on it. Like some of the other Sissy Spacek CDs, you don't get a whole lot of bang for your buck, but this Ep does happen to be some of the best fucking noisecore I've heard in ages, and anyone into the short sharp shock violence of this kind of stuff will probably adore what the band has coughed up for Wastrel Projection.
    There are thirty-two "songs" on Wastrel Projection, and most of them do not break the eleven second mark. You get a mixture of hyperspeed blurr blasts and pure noise pieces, with some of the more coherent tracks throwing out chunks of punk guitar and reverby recording; in these moments, it sounds as if you are listening to some L.A. hardcore punk band from the early 80's being sped up and cut apart/re-assembled by Karlheinz Stockhausen. Complete insanity, with lots of hyperfast edits and garbled tape, the sound becoming so extreme at times that it seems as if the disc itself is decomposing beneath the assault of the ultra-distorted chopped-up thrashcore.
    These guys have pretty much taken over as the current reigning kings of American noisecore. And as with their other noisecore releases, its absolutely crucial for anyone into the micro-blast blurr savagery of 7 Minutes Of Nausea, Nikudorei, Anal Cunt, Gerogerigegege, CSMD, Arsedestroyer, Nihilist Commando and New York Against The Belzebu. Released in jewel case packaging with an obi card in a limited edition of two hundred copies.
Track Samples:
Sample : Rapid Violent Oxidation
Sample : Fettered
Sample : Affront
Sample : Calcined
Sample : Time Crisis



SISSY SPACEK   Contretemps   7" VINYL   (PostPresentMedium)    6.50













SORFEUM   Ancient Rocks   CD   (Nihil Art)    10.98












Track Samples:
Sample : Forest's Night
Sample : Ancient Rocks
Sample : ÿþFilivs Macrocosmi vs. Sorfeum – Pt. II



STREETMEAT / BACULUM   split   2 x CASSETTE ART BOX   (Phage Tapes)    8.98












Track Samples:
Sample : BACULUM - The Repeated Cycle Of Agony
Sample : STREETMEAT - Downfall Of Man II



SURPLUS KILLING   Loss Of Face   CASSETTE   (Unseen Force)    5.98



   Just in case Sissy Spacek's face-ripping noisecore is too easy on your ears, here's another blast of brutal blurr from Spacek drummer Charlie Mumma (who also plays in Knelt Rote, L'Acephale, Unexamine and a host of other projects that I'm a big fan of), detonating the second cassette to come from the Los Angeles-based duo Surplus Killing. With Mumma behind the kit and band mate Kevin McEleney of Droughter wielding bass guitar and electronics, you'd be correct in guessing that this is in a similar vein as Sissy Spacek's extreme noisecore, the thirty-two tracks hurtling through a bestial clusterfuck of no-fi blastbeat drumming and blown-out bass guitar slop, swept up in a cyclone of vicious inhuman screaming and a nearly endless volley of screeching high end noise, a storm of howling feedback and cacophonic junk-noise that threatens to shred your skull into tatters. McEleney's vocals get pretty berserk throughout this eleven minute tape, shifting from a monstrous guttural roar to barrages of almost Yamataka Eye-like gibberish, while the songs themselves veer violently from million miles per hour screaming blast-chaos into sickening power electronics-esque assaults of skin-flaying high-frequency feedback. These guys cram in an unholy amount of severely blown out blast-crud into this short tape, delivering an intense jolt of sonic violence that falls somewhere in between that classic early Seven Minutes Of Nausea / Anal Cunt / Cripple Bastards style of low-fi noisecore that I've always been a huge fan of, certain strains of guitar-splattered Broken Flag power electronics, and the drooling weirdness of Yamataka's Destroy 2. Absolute blood-splattered brain scramble, issued in an edition of fifty copies.
Track Samples:
Sample : Loss Of Face
Sample : Loss Of Face



SUTEKH HEXEN   Become   CD   (Cold Spring)    13.98



    Now available as a digipack CD from Cold Spring, featuring a third track "Vestibule" that is apparently exclusive to this release.
    The latest slab of blackened chaos from the Californian black noise metal band Sutekh Hexen Become is actually a reissue of a super-limited EP that the band originally released as a ridiculously limited 1/4" reel-to-reel tape on Auris Apothecary. That release, more of an art object than anything, sold out almost immediately. Now that recording has been resurrected for this gorgeous vinyl edition, allowing the rest of us to finally hear some of the bands most frenzied blackened noisescapes.
    Made up of just two massive side-long tracks, Become reveals itself to be one of the band's most vicious swarms of surrealistic distortion, each of these sprawling tracks spewing an endless swirling current of ultra-distorted guitar noise and evil, blackened riffs cutting and crumbling through the chaos. They've been honing their sound for a couple of years now, perfecting their combination of dense Merzbowian chaos and blackened guitar riffs and experimenting with the use of dark ambient soundscaping, but on this record Sutekh Hexen goes for the throat with a relentless black noise assault. The first track is "Five Faces Of Decay", taking form as clouds of black billowing distortion that erupt across the beginning of the first side, sending waves of soft-focus electronic whirr rippling out across the band's abstract driftscape. They follow that with the sudden surge of churning, murky noise, a wall of increasingly dense and abrasive distorted roar that transforms into a mass of washed-out, blurred black metal, the guitars and vocals and drums awash on an ocean of reverb and echo and scorched electronics, the furious swarming sound diffused and muffled, but still intensely sinister. There are insanely distorted screams and howling vocals that begin to emerge, disembodied spirits adrift on the rolling waves of blackened sound, and some of those vocals begin to turn into something more violent and aggressive, eventually resembling an almost power-electronics style assault of abject vocals. These sounds become swept up in the band's blurry blizzard of blackened force, everything buried beneath torrents of cavernous reverb and whirling metallic drift, growing ever more abstract, the noisiness swelling in power, the various sounds becoming indistinct as it all becomes consumed into the vaporous black din of churning, trance-inducing rumble and roar, while that one ravenous black metal riff continues to circling endlessly in the depths, sweeping through the blackness on tattered wings.
    Over on the other side, "The Voice : The Void" turns into an even more abstract blast of black noise, with the band drowning in vast billowing plumes of blackened reverb. On this track, though, the music moves more slowly as the band carves out a crushing slow-motion riff, a monstrous doom=laden dirge that begins to churn relentlessly beneath the thick suffocating haze of reverb and echo, the vocals suddenly appearing, streaking across the blackness like bursts of concentrated hatred. The whole sound here becomes intensely monotonous, whatever frail structure the band created early on falling away as the sound crumbles into a thick black fog of rumbling necrotic ambience and buzzing black heaviness, spreading out across the track's formless black drift and becoming currents of oceanic blackened sound, a vague shifting pandemonium, almost resembling the aesthetics of HNW being combined with the murky dungeon ambience of the most low-fi and necro black metal demos, a heavily textured sea of roaring sepulchral drone.
   The new exclusive bonus track "Vestibule" featured on this CD release fits right in amid the original tracks, sandwiched between the original tape/LP material; it starts up like ancient synthesizers revving beneath the rumblings of a broken orchestra, but then quickly settles into an intensely creepy ambient noisescape where distant metallic reverberations drift beneath ghastly whispering voices and muted percussion, the stench of rot seeping from the band's murky electronic drones and glacially shambling death-dirge, producing a kind of mesmeric, morbid power electronics.
Track Samples:
Sample : Vestibule
Sample : The Voice The Void
Sample : Five Faces Of Decay



SWANS   Filth / Body To Body, Job To Job   2 x CD   (Young God)    18.98



"Another exciting piece of history from one of The Big Apple's meanest, creepiest and uncompromising bands ever. As with the Various Failures triumph, Filth/Body to Body, Job to Job collects material from one of the band's golden eras, a time when bands like Swans and their contemporaries such as Glenn Branca and Sonic Youth could barely get library cards, let alone featured on the covers of magazines to which they are accustomed today. Disc number one reissues Swans' classic 1983 crawl, recorded by M.Gira, Norman Westberg, Roli Mosimann, Harry Crosby, and Jonathan Kane and features previously unreleased versions of "Strip/Burn," "Heatsheet," "Blackout," "Clay Man," "Stay Here, and "Weakling," all recorded live at the Kitchen. Disc number two reissues studio out-takes and live recordings from 1982-85, with a previously unreleased nine-minute version of "Raping a Slave," recorded live in Berlin, 1984. " - Young God
Track Samples:
Sample : Cop
Sample : Freak
Sample : Get Out
Sample : Job
Sample : Power for Power
Sample : Stay Here
Sample : Weakling



SWANS   Filth   LP   (Young God)    17.98












Track Samples:
Sample : Freak
Sample : Power for Power
Sample : Stay Here
Sample : Weakling



SYK   Atoma   CD   (L'Inphantile Collective)    13.98



   Brash and discordant jazz-damaged industro-sludge is what we get on the debut album from this highly abrasive Italian band, one of 2014's most skull-mashing debuts. Syk's crushing Atoma flew under just about everyone's radar aside from Down frontman Phil Anselmo, who continues to demonstrate fine taste by adding SYK to his burgeoning Housecore roster for their next album; it's tough stuff, a rather strange and violent confluence of sounds that comes off like some twisted mix of Obscura-era Gorguts, Godfleshian industrial heaviness, and Skin Graft-level sonic abrasion. Featuring Stefano Ferrian and Federico De Bernardi di Valserra from the criminally underrated avant-grindcore outfit Psychofagist, Syk certainly don't aim for a more accessible direction. These guys forge a ferociously atonal and ass-kicking strain of industrialized prog-metal that combines the mechanized lurch of Streetcleaner / Pure-era 'Flesh with thick swarms of electronic noise and an aggressively atonal attack that in many ways picks up where Psychofagist's own Gorgutsian tendencies left off.
    Which all would have been enough for me to crank this motherfucker into the red. But the band goes one step further in creating an overall alien vibe with their music by enlisting singer Dalila Kayros, who delivers her vocals in a mostly monotone roar that is layered into a strange, sometimes spectral gust of vocalized dementia. Her lyrics sometimes slip into Sumerian language, and often employ off-kilter phrasings that can make some of her vocals seem as if they are actually going backwards, adding to the already disorientating feel of Syk's mechanized math-crush.
    There are some similarities to Combat Astronomy's jazzy heaviness, with similar tendencies towards a massive Meshuggah-esque percussive assault, but ultimately Syk prove themselves to be a much harsher, more caustic beast, built from relentlessly repetitive machinelike grooves and clanging guitar noise that builds to hypnotic effect, rife with sudden and unexpected time signature changes and abruptly mutating riff-forms. Tracks like "Obsidian" veer from that pummeling industrial metal into something much more frantic and spastic, a supercharged math-metal meltdown that sort of resembles a PCP-dosed Meshuggah contorted beyond recognition, the band twisted into a rapid-fire volley of grinding, atonal riffs and awkwardly stilted time signatures, doused in machinelike hiss and static, a nervous breakdown set to a ferociously angular attack. When a haunting melody is briefly glimpsed like during the opening minutes of "UN-god-KNOWN", it contrasts harshly with the unforgiving discordance and turbid rhythms that surround it. Strange and challenging heaviness that, in spite of my previous attempts to map out some potential reference points, ends up sounding pretty unique. Comes in digipack packaging.
Track Samples:
Sample : UN-god-KNOWN
Sample : Obsidian
Sample : Atoma



THEOLOGIAN   Parasitism Is Life   CDR   (Annihilvs)    8.00












Track Samples:
Sample : Incest Cult
Sample : Catabasis
Sample : Abortion - Foetal Mix



THEOLOGIAN   Reliquaries   CDR   (Annihilvs)    8.00












Track Samples:
Sample : The World Is Thus
Sample : Salted Wounds
Sample : ...Thus Have We Made The World



THEOLOGIAN   Fear Of Death   CDR   (Annihilvs)    8.00












Track Samples:
Sample : The Walls Are Gauze
Sample : Novo Asceticismo
Sample : Molten Fat



THREE WINTERS   Chroma   CD   (Termo)    15.98











Track Samples:
Sample : Hazard
Sample : At the Centre of Dystopia
Sample : Animism



TREPANERINGSRITUALEN   Perfection & Permanence   LP   (Cold Spring)    25.00



   Now available on black vinyl with printed inner sleeve, in a limited edition of five hundred copies.
    Over the past few years, Swedish noise artist Thomas Ekelund has been amassing a sizable discography of cassette releases under his Trepaneringsritualen project, exploring a melange of morbid imagery, occult subjects, apocalyptic atmosphere and magic ritual through his blasts of pounding, often crushing death industrial murk tinged with the cold fury and visual aesthetics of Scandinavian black metal. It's only recently that his music has been issued in larger editions that we can actually get our hands on, though, and his latest disc Perfection & Permanence is probably his most high profile release so far, coming out on the esteemed UK industrial label Cold Spring.
    That classic Cold Meat death industrial sound is just the starting point for Trepaneringsritualen's explorations into death-worship, expanding consciousness and occult symbolism. Ekelund's sound trawls much blacker waters, combining hypnotic mechanical throb with a scathing, black metal-esque vocal assault, rumbling ritualistic drones wrapping around the rusted-hulk machinery, black pulsations of distorted synthesizer emanating from deep in the mix. It's genuinely heavy, the sound huge and rhythmic, an evil machine-dirge belching black throbbing malice, evil processed vocals locked into prayer like recitation, blasphemies welded to bitter electronics and garbled dronescapes. Huge thumping rhythms sudden emerging on tracks like "Alone/A/Cross/Abyss" that are, god help us, almost danceable, a muffled tribal pounding that loops infinitely beneath those demonic vocals, while other tracks slip into smoldering fields of electronic filth and power-line hum inhabited by ghastly whispers and clanging metal echoing in the distance, like some industrial dub track stretched and slowed to a nightmarish dirge, creeping across a plane of diseased electronic drift.
    And then there's "The Seventh Man", which suddenly shifts into an even heavier grinding death-groove, howling vocals locking into an infectious chantlike cadence, blasts of low-end heaviness reverberating over a steady, monstrous percussive pulse, the whole thing sounding like some classic industrial metal band like Godflesh or Pitch Shifter turning black and rotten, muffled under a mountain of putrid low-fi ambiance. And yet that stuff is also amazingly catchy, the closest I've heard this sort of death industrial get to sounding downright anthemic; both "Konung Krönt I Blod" and "He Who Is My Mirror" are in a similar vein, pounding oil drum percussion and booming tribal rhythms erupting into an almost Test Dept.-like fervor, howling vocals belting out the instantly catchy chorus and making you wish that the album had included lyrics. Distorted synths spit out a menacing riff that almost sounds black metal-esque, and from there the album drifts into emptiness, floating out across a lightless void, a yawning abyss that resounds with the rumble of distant thunder, swirled in plumes of sonic ectoplasma.
    No wonder fans of malevolent industrial music have been flipping out over Trepaneringsritualen's malignant murk; this stuff is right up there with Mz.412 in my opinion, employing black metal aesthetics to a similar extent, but with those moments of surprising catchiness lodged within the grinding ritualistic deathscapes - easily one of the best bands in the death/black industrial realm right now.
Track Samples:
Sample : Venerated & Despised
Sample : ÿþKonung Krönt I Blod
Sample : Alone/A/Cross/Abyss



UMBERTO   Temple Room   LP   (Not Not Fun)    18.98



Back in stock!
   This one is already out of print and we only nabbed a couple copies, so I'll try not to rave about this super-limited 12" from spook-synth revivalist Umberto for too long. Temple Room is one of the most recent releases from the increasingly popular Umberto, probably the only contemporary artist right now successfully driving a black spike through the intersection of John Carpenter's malevolent minimalism and the baroque, rotted aura of Fabio Frizzi. Out of all of the contemporary electronic artists currently revisiting the golden era of horror soundtracks and vintage synthesizer music, Umberto is one of my favorites, with a unique style that effortlessly synthesizes a number of influences; not just the aforementioned murky graveyard prog of Fabio Frizzi and pulsating minimalism of John Carpenter, but also the grandiose synthesizer arrangements of Claudio Simonetti and the malignant mesmerism of European disco, weaving these influences together into something that still sounds remarkably fresh, at least to my ears. While we're waiting on the follow-up to last year's excellent Confrontation, Umberto has slipped us this EP featuring two versions of the track "Temple Room" off the 2010 album Prophecy Of The Black Widow.
   The extended version of "Temple Room" that spreads across the a-side is a fourteen minute exploration into deep, dark Carpenterian synth-dread laced with gothic majesty. Eerie pipe organs drone beneath the vintage electronic melody and pulsating synths, ominous arpeggios looping over the shimmering black waves of chordal drift, slowly building in tension before the drums kick in and the whole thing suddenly erupts into an infectious evil disco groove, thumping midnight body music, a slick death-disco trance that stretches its hypnotic bass line across nearly the entire side - it's one of the most insidious dancefloor ready pieces of synthcreep I've heard from Umberto, catchy and creepy and utterly contagious.
    The b-side remix is a high-energy pounding Euro-disco delirium, washes of spacey synth and glimmering celestial electronic sweeping over the faster backbeat, distinct enough from the original to sound almost like an entirely different track, though there are some key elements from the original theme you can still make out beyond the swirl of astral drift and the more aggressive tempo, later slipping into an endless dark groove. Fucking fantastic, essential for anyone into the current synthwave fascination and retro-splatter synth scores coming from the likes of Robin Coudert, Zombi, Gatekeeper, Antoni Maiovvi, etc.


UNA BÈSTIA INCONTROLABLE   Nou Món   7" VINYL   (Iron Lung Records)    6.99














VALEFOR   The Graves Of Andras   CD   (Memento Mori)    11.98












Track Samples:
Sample : Morning Star Rising (The Old Order In Flames)
Sample : Lilith - Samael
Sample : Blood Spilt In The Circle Of Andras



VARIOUS ARTISTS   Engines Of Modern Dysfunction Vol. 1   7" VINYL   (Phage Tapes)    6.98














VARIOUS ARTISTS   Whispers Through The Black Veil   LP   (Wyrd War)    17.99














VARIOUS ARTISTS   Unreleased Soundtrack Music From George A. Romero's Dawn Of The Dead   CD   (Trunk Records)    16.98











Track Samples:
Sample : Cosmogony, Pt. 1
Sample : The Gonk
Sample : Mask of Death
Sample : Dark Earth



VENOWL   Patterns Of Failure   CASSETTE   (Broken Limbs)    5.99



    Now sold out at the source, this cassette is the first appearance of Venowl's debut full-length Patterns Of Failure in a (slightly) wider release following the initial release of an extremely limited CD-R that the band put out themselves a few years back. Re-mastered by James Plotkin for this Broken Limbs reissue, Patterns is one of the Chicago group's most structurally focused works, relatively speaking, a three-song monstrosity that further sinks into their peculiar corpse-stink of abject, blackened horror, while also rolling out some of the heaviest riffs I've heard from these guys.
    As with the other Venowl releases I've heard, the tracks on this tape (which run anywhere from twelve minutes to a half-hour in length, to give you an idea as to how torturous this stuff can get) offer a severely abrasive and anguished brand of blackened doom that shambles and lurches through a clangorous din of dissonant guitar noise and sickeningly discordant riffs. It's an even more dire and disease-ridden slog through the depths of cacophonous sludge than what you get from bands like Trees, Khanate, Otesanek and Bunkur, more misshapen and mangled, the music often slipping into a quasi-improvised state of stream-of-consciousness sludge that can sometimes reach near Fushitsusha-like levels of crashed-out ecstasy, slowly glomming together into a massive head-nodding groove that cuts a swathe through the speaker-rattling skuzz, and riddled with bursts of crazed ramshackle black metal-style blast that are suddenly and violently whipped up in the midst of their sickening, slow-motion crawl. It's the vocals that really give Venowl's music its disturbing vibe though, a chorus of distant abject howls, inhuman shrieks and insane screams that echo across the background of these sprawling slow-motion meltdowns, and which continue to imbue this stuff with that weird, Abruptum-esque feel that has lurked through all of their recordings.
    Sounds like this was recorded live in some vast underground bunker, too, a dankness that suits the ugly, clandestine energy rumbling throughout the album, though there are also those rare moments when the nightmarish blots of improvised filth rot away to reveal small, glimmering fragments of melody, glimpses of something almost pretty glinting from out of the shrieking atonal heaviness. Another exquisitely disturbing slab of horror from this outfit. Comes on a professionally manufactured cassette, limited to one hundred copies.


VERMAPYRE / VEHRMÖEDR   split   7" VINYL   (Holy Terror Records)    8.99



    Another recent release that is apparently already sold out at the source, the latest blasphemy from shadowy black metal crew Vermapyre (which shares members with metallic hardcore legends Integrity) sees the band teaming up with another outfit called Vehrmoedr, who would appear to shares the same infatuation with the murky mystique of the French Black Legions. Both bands deliver an equally blurry and bleary brand of monochromatic black metal that sways towards the cracked, outsider vibe that Dwid's Holy Terror imprint has been cultivating.
    Vermapyre's side delivers three new songs of ugly, dissonant black metal recorded in the same low-fi, blown-out production as the band's previous EPs, obsessed with the visual texture of early German and Danish expressionist horror films (Vampyr, Nosferatu, Häxan) and possessed with the bizarre distorted jangle of hand-made "cigar-box" guitars, the same as is used by the "blackened Creole" outfit Oede. This stuff is seriously abrasive, and fucking fantastic: from the hideous graveyard blur of "Lord Of Death" to the Abruptum-esque dungeon ambiance and percussive clanking of "Lord Of Hell" and the bleary raw black metal of "Blood Parchment", it's all wickedly evil and fucked-up. The overall mood and aesthetic definitely echoes some of the aspects of the Les Légions Noires, but Vermapyre's rickety black metal ultimately turns into something uniquely their own, a sonically fucked, unfamiliar cemetery murk rattled by blood-gargling vocals an the sound of that handmade guitar. Too damn short, though. I would love to hear an entire album from this band.
    The two songs on Vehrmöedr's side, "Black Hauntings" and "MMXII", have a similarly murky low-fi production aesthetic, but this stuff is a little closer to resembling traditional black metal. Within the fog of primitive drumming and garbled riffs and emetic shrieking, there's once again a hint of that classic adolescent LLN rawness and deformity, as well as some really deranged musicianship, the songs shambling and lurching through a thick haze of four-track filthiness; at times comparable to a more crazed Black Cilice, perhaps, but with some really fucking wretched screams and moans emanating out of the band's blurry basement din. The other song "MMXII", however, reveals a damaged outsider folkiness in the soft strum of the guitar and wheezing harmonica, the music wafting in and out of clarity, the singer's putrid screams slipping in and out of sight as the music dissolves into a grey haze.
    Limited to three hundred copies.


VORDE   self-titled   LP   (Fallen Empire)    21.00












Track Samples:
Sample : Funeral Vortex
Sample : Blood Moon
Sample : Transformations of the Vessel



VOWELS   Hooves, Leaves And The Death / As December Nightingales   CD   (Sun & Moon Records)    11.98












Track Samples:
Sample : Wolves Eating the Sun
Sample : Wake
Sample : Vespri



WIESE, JOHN   Mixed Metaphor b/w Into A Bad Way   7" VINYL   (Phage Tapes)    6.99














WITCH MOUNTAIN   Mobile Of Angels   CD   (Profound Lore)    13.98












Track Samples:
Sample : Your Corrupt Ways (Sour the Hymn)
Sample : Psycho Animundi
Sample : Mobile of Angels



WITCH MOUNTAIN   Mobile Of Angels   LP   (Mountastic Records)    24.00












Track Samples:
Sample : Your Corrupt Ways (Sour the Hymn)
Sample : Psycho Animundi
Sample : Mobile of Angels



WIZARD RIFLE   Here In The Deadlights   LP   (Seventh Rule)    14.99



   Now available on vinyl with download.
    Just now getting into this former Portland, Oregon/now LA-based outfit via their latest album Here In The Deadlights, and it's pretty killer stuff. I could have almost guessed as to where these guys were originally from - they have that sludgy, riff-heavy sound descended from the likes of Karp and Melvins, a predominant DNA strain that seems to run through the majority of bands from this corner of the country that I listen to. But that's only part of what Wizard Rifle sound like. On their second album Deadlights, these guys run their bludgeoning riffage through a whirlwind of prog rock inspired complexity and intricacy, the opener "Crystal Witch" pummeling you with it's twisting, knotty riffery and the percussive acrobatics of the rhythm section, their huge, moody riffs recalling the metallic sludgepunk of Karp and the atmospheric prog of King Crimson in the same breath. Fans of Black Elk in particular would probably love this band; the five songs that make up this fairly short mini-album are crafted from huge sludge-encrusted guitars and titanic Stoner Witch-strength riffage, the band constantly threatening to hurtle into hardcore velocity, then shifting into songs like "Buzzsaw Babes" that cram in a ferocious psych-splattered rave-up into the song's three minute runtime, or "Sky Tyrant"'s rollicking blast of spaced-put sludgepunk. The last two songs on the disc sprawl out into longer and more expansive blasts of confusional heaviness, the former starting out as off-kilter math rock, hushed sing-speak unfurling over the winding guitar melodies and whirring background noise, eerie orchestral feedback wafting up around the song's dark currents, eventually erupting into something much heavier and more menacing, almost akin to the likes of Keelhaul or American Heritage; the latter "Beastwhores" is even heavier, more menacing prog-punk, the fast-paced music moving through multiple sections marked by bombastic power, dizzying technical prowess and raging metallic riffage. At just a little over half and hour, Deadlights keeps things lean for such a prog-fueled album, but it's that lack of excessive self-indulgence that makes this such a hard-hitting listening experience. Definitely has me wanting to go back and check out their previous album Speak Loud, Say Nothing.
Track Samples:
Sample : Psychodynamo
Sample : Crystal Witch
Sample : Beastwhores



WÖLFBAIT   A Veil Of Phosphorous Rot   CASSETTE   (Anthems of The Undesirable)    8.50



Been dyin' to get this bands stuff in stock here at C-Blast after they contacted me a while back about working with 'em. This Irish outfit has only released a pair of recordings online since forming in 2011, their latest finally getting a proper documentation (albeit super limited) via this new tape release on one of my fave new noise rock labels, Anthems Of The Undesirable. Made up of some of the guys from the punishing Swans-worshipping sludge band Drainland, Wölfbait deliver an equally crushing but quite different brand of noisy heaviness, a kind of psychedelic, skull-shredding "kraut violence" that blends the bands obsessions with classic Teutonic psychedelia, extreme noise and the heaviest strains of industrial music. This eight song cassette features the band's most ferocious stuff yet, from the bleak industrial squalls and machinelike rumblings of opener "Feral Suit" that unfold across the opening minutes like an ancient Bianchi side, to the putrid distorted throb of "Hairy Bones" that endlessly loops through a scummy haze of blown-out drone and synth-squelch, surrounded by bits of eerie metalic whirr, a kind of hypnotic murkscape that hints at a tripper Wolf Eyes, perhaps, or maybe a heavier, nastier Skull Defekts. Other tracks feature the band torturing stringed instruments and rattling lengths of chain, whipping up a delay-drenched improvised din of creepy abstract sonics, flowing into currents of vast deep low-end rumble; crushing mechanical noise locked into relentless pneumatic rhythms, like the pounding and clanking of monstrous machinery echoing out of the depths of some vast cave system; high-voltage electricity pulsating beneath waves of swirling black drift; fratcured industrial soundscapes unfolding into arrays of mysterious percussive noises and creepy distant voices, drifting back out into vast fields of infernal kosmische psychedelia. All of this is the lead-up to the titanic closing track, "Taking Drugs To Make Drones To Take Drugs To", a nearly twenty minute sprawl of sinister scraping sounds, massive low-frequency drone, fluttering electronics and spectral rattlings all drifitng through a freeform haze of factory-floor ambience and ominous black drift.
Track Samples:
Sample : Anarchicus Lupus
Sample : Streets of Fire
Sample : Bone Bubbles



WOLVES OF HEAVEN / NYODENE D   split   CASSETTE   (Survivalist)    6.50



    A killer split between Column Of Heaven industrial/noise offshoot Wolves Of Heaven and experimental death industrialist Nyodene D, originally released as a super-limited cassette on Andrew Nolan's Survivalist imprint (of which we have a very few copies remaining in stock), here reissued on vinyl by Anthems Of The Undesirable.
    Combining elements of Broken Flag-style industrial with the more monstrous exhortations of latter-day Bastard Noise, Wolves Of Heaven offer up a seething, pitch-black industrial mutation on their side. Beginning with the bellowing death industrial dirge "Desire", deep guttural vocals echo across a bleak, tortured noisescape formed from blasts of distorted bass, pounding freeform tribal drumming, corroded electronics, fluttering oscillator-like frequencies, and misshapen rhythmic sounds that splutter beneath the increasingly aggressive onslaught. Ugly and heavy and ultimately pretty trance-inducing as the band eventually locks into a putrid mechanical throb that takes over the latter part of the track. The other track "Release" unfolds with bursts of low-end noise echoing over a desolate field of scraping metal detritus and minimal whirr, starting off rather restrained. When it suddenly explodes into a deafening blast of noxious, suffocating power electronics, it's almost startling, as delay-drenched screams hurtle through a wall of distorted bass-drone and static filth, a crushing synthlike riff gradually revealing itself beneath the scraping, searing cacophony. Later, a haunting, quasi-kosmische melody drifts out over the swells of corrosive low-end noise, leading to an unusually arresting and atmospheric climax. An interesting, powerful approach that builds upon the member's previous experiments with noise and electronics.
    The Nyodene D tracks on the second side offer a similarly striking combination of apocalyptic lyrical visions and absolutely punishing industrial music, here lumbering through three lengthy tracks much in the vein of his fantastic Edenfall album. Grinding machinelike rhythms rumble beneath the steady, deliberate pounding of drums, giving "Nostalgia Is A Weapon" an almost militaristic feel as crushing, doom-laden drones, terrifying choral ambience and those putrid, electronically processed vocals intermingle and undulate across Nyodene D's inferno. There are moments of brief calm that emerge at the tail end of some of the tracks, but for the most part this is relentless in its slow motion pummeling, those vaguely martial drums maintaining the deathmarch tempo as he continues to unleash bursts of electronic noise and acrid distortion, eerie monor key melodies and distant orchestral strings drifting through the depths, spacey synthlike effects and shrill metallic drones surrounding the slow collapse of scrap metal mountains crumbling to the earth, that martial pummel giving this an almost Swans-like feel. Terrifying.
Track Samples:
Sample : NYODENE D - Salt
Sample : NYODENE D - Nostalgia Is A Weapon



WOLVES OF HEAVEN / NYODENE D   split   LP   (Anthems of The Undesirable)    12.00



    A killer split between Column Of Heaven industrial/noise offshoot Wolves Of Heaven and experimental death industrialist Nyodene D, originally released as a super-limited cassette on Andrew Nolan's Survivalist imprint (of which we have a very few copies remaining in stock), here reissued on vinyl by Anthems Of The Undesirable.
    Combining elements of Broken Flag-style industrial with the more monstrous exhortations of latter-day Bastard Noise, Wolves Of Heaven offer up a seething, pitch-black industrial mutation on their side. Beginning with the bellowing death industrial dirge "Desire", deep guttural vocals echo across a bleak, tortured noisescape formed from blasts of distorted bass, pounding freeform tribal drumming, corroded electronics, fluttering oscillator-like frequencies, and misshapen rhythmic sounds that splutter beneath the increasingly aggressive onslaught. Ugly and heavy and ultimately pretty trance-inducing as the band eventually locks into a putrid mechanical throb that takes over the latter part of the track. The other track "Release" unfolds with bursts of low-end noise echoing over a desolate field of scraping metal detritus and minimal whirr, starting off rather restrained. When it suddenly explodes into a deafening blast of noxious, suffocating power electronics, it's almost startling, as delay-drenched screams hurtle through a wall of distorted bass-drone and static filth, a crushing synthlike riff gradually revealing itself beneath the scraping, searing cacophony. Later, a haunting, quasi-kosmische melody drifts out over the swells of corrosive low-end noise, leading to an unusually arresting and atmospheric climax. An interesting, powerful approach that builds upon the member's previous experiments with noise and electronics.
    The Nyodene D tracks on the second side offer a similarly striking combination of apocalyptic lyrical visions and absolutely punishing industrial music, here lumbering through three lengthy tracks much in the vein of his fantastic Edenfall album. Grinding machinelike rhythms rumble beneath the steady, deliberate pounding of drums, giving "Nostalgia Is A Weapon" an almost militaristic feel as crushing, doom-laden drones, terrifying choral ambience and those putrid, electronically processed vocals intermingle and undulate across Nyodene D's inferno. There are moments of brief calm that emerge at the tail end of some of the tracks, but for the most part this is relentless in its slow motion pummeling, those vaguely martial drums maintaining the deathmarch tempo as he continues to unleash bursts of electronic noise and acrid distortion, eerie monor key melodies and distant orchestral strings drifting through the depths, spacey synthlike effects and shrill metallic drones surrounding the slow collapse of scrap metal mountains crumbling to the earth, that martial pummel giving this an almost Swans-like feel. Terrifying.
Track Samples:
Sample : NYODENE D - Salt
Sample : NYODENE D - Nostalgia Is A Weapon



X NARRATIVE   XN   CASSETTE   (Tested Souls)    5.99



    Old-school industrial gets filtered through the depraved grey matter of To Live and Shave in L.A. mastermind Tom Smith. Another recent release on the increasingly intriguing Tested Souls imprint, XN is the debut from X Narrative, the new duo of Blossoming Noise boss and To Live And Shave In L.A. / Exploring Therapeutic Encounter / Cursory / Black Meat member Graham Moore on tapes/electronics, and renowned weirdo Smith on vocals, who besides running the long-running sonic freak show To Live and Shave in L.A. has also abused ears and minds with the likes of Miss High Heel and Ohne (not to mention his stint in an early incarnation of Pussy Galore).
    Like the other releases on this burgeoning imprint, XN explores dark regions of the subconscious, opening up with a stretch of murky ambience that could pass for part of a background score to a gialli, deep breathing heaving over a swirling bed of droning synth. That soon moves into the unsettlingly weird "In Sight In An Assumed Body", materializing into a bizarre sort of languid quasi-power electronics, hallucinatory lyrics belted out by Tom Smith's demented lounge singer delivery over a sheet of minimal electronic throb, but nowhere as campy as that description might have you think, as a clipped drum machine rhythm suddenly emerges onto the scene and transforms it into a twisted industrial swagger. The following tracks follow suit, minimal pulsating rhythms and hushed black drones panning from left to right as those depraved crooning vocals continue to ooze from the speakers, flurries of crackling black static and swarming sine waves swelling beneath the dreamlike blur of voices that occur as the multiple layered tracks of vocals become smeared together. It even approaches a kind of twisted, brain-damaged danceability with the fractured tribal rhythms of the closer "Fully Described", recalling the likes of Throbbing Gristle or SPK for a minute. Great stuff. Comes on a pro-manufactured cassette in a screen printed Arigato-style case, limited to one hundred copies.


XOTHIST   Simulacrum   LP   (Fallen Empire)    19.98











Track Samples:
Sample : A Dull Integration
Sample : Grief
Sample : Blossom



ZAIDEN   Virus   7" VINYL + CDR   (Hjuj'd Tyrusgr)    5.98



    Ultra-obscure Japanese synth brutalist Sou Hayano makes his first appearance here at C-Blast with this new 7" from his Zaiden project, released by the fine freakazoids over at Hjuj'd Tyrusgr. Not knowing much about this project as there's virtually nothing to be found online about either Hayano or Zaiden, I had initially expected this to be in a similar psychedelic vein as Hiroshi Hasegawa's extreme synth-generated walls of electronic noise. Hayano delivers something a bit more deranged, though, spewing a nine minute eruption of monstrous synthesizer mutation.
    "Virus" starts off as a cluster of frenzied signal sweeps and violent glitchery that slowly builds over a bed of soft, crackling static. As the track progresses, Hayano gradually contorts his cracked and tortured electronics into a series of severely deformed melodies that unfurl into jagged, atonal forms, sinister strains of discordant creep that rise and fall through the swirling distorted signals and rhythmic loops of bleeping noise. Doesn't take long before this transforms into a surreal, nightmarish din of mangled electronics, like some evil Stockhausen piece being force-fed fistfuls of methamphetamines and jammed through a particle accelerator and set against a panoramic backdrop of squirming Cronenbergian mutations and crawling flesh-horror. Solidly abusive stuff that does a nice job of rending your nerve endings before it's all said and done. Issued in a limited edition of one hundred copies, each hand-numbered and comes with a CDR copy of the entire uninterrupted track.
Track Samples:
Sample : Virus
Sample : Virus



ZORN, JOHN   The Last Judgement   CD   (Tzadik)    18.98



   The last chapter in Zorn's long-running Moonchild septology, The Last Judgment reconvenes the legendary avant-jazz composer and saxophonist with acclaimed jazz drummer Joey Baron (Naked City, Masada), bassist Trevor Dunn (Faith No More, Fantômas, Mr. Bungle, Tomahawk, Secret Chiefs 3), organist John Medeski of Medeski Martin & Wood fame, and vocalist Mike Patton, who should need no introduction to fans of the heavy and the outré. This nine-song album continues to mine the sort of mystical, occult-themed imagery and subject matter of the previous Moonchild releases, and is in fact dedicated to the combined memory of Antonin Artaud, Aleister Crowley, and Edgard Varese as well as the legend of the Knights Templar, a heady stew that hints at the dark and esoteric vibe that courses through the album.
    Musically, the group veers from manic, borderline metallic blasts of frenzied prog rock to moodier stretches of an almost medieval jazz-prog, with Medeski's sumptuous organ and Patton's array of ghostly crooning and crazed demonic shrieks at the forefront of it all. It's alternately spooky and savage, and certainly some of the most aggressive stuff to come from Zorn since the last Painkiller album. Fans of that group's Prophecy will no doubt groove on these crazed jazz/rock eruptions and their mix of offbeat rhythms and organ-drenched mania. There's some creepy spoken word stuff that intermingles with foggy keyboard drones and quasi-Gregorian chanting, then gives way to frenetic jazzcore ("Friday The 13th") and blasts of gothic organ, witchy incantations encircling bouts of brooding progginess that wouldn't be out of place on a late 70's Italian horror film ("Misericordia" and especially the eerie, Goblinesque closer "Slipway"). There's even the occasional eruption of Naked City-style chaos that arrives at the end of songs like "Incant", where the band really whip up a ferocious din. It's mostly a moody and labyrinthine piece of music that they've created though, a strange and delirious mixture of virtuosic jazz fusion and burly, muscular King Crimson-esque prog, draped in lyrical black magic and moody cinematic atmosphere.
    Dark and menacing music that'll be appreciated by fans of the more gothic prog found with the likes of The Least We Can Do Is Wave To Each Other-era Van der Graaf Generator and Art Zoyd's silent horror movie soundtracks, an impressive close to this ambitious series of albums from Zorn and company. Stunning package for this album, too, presented in a digipack housed in a die-cut slipcase that partially obscures the Hieronymus Bosch cover art, and includes an exquisitely designed twelve page booklet.
Track Samples:
Sample : Slipway
Sample : Resurrection
Sample : Misericordia









  




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