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CRUCIAL BLAST WEBSTORE: NEW ARRIVALS FOR SATURDAY JUNE 28TH 2014

    We're back this week with another huge list of new arrivals and restocks here at the Crucial Blast shop, tons of horror movie soundtracks, experimental black metal records, power electronics tapes, extreme prog CDs and tons of other extreme, mind-melting releases from across the underground spectrum . This month also saw the release of a number of new Crucial Blast titles that you should check out too, inclouding new ones from New York avant-prog/black metallers Epistasis, the electronic/symphonic black metal violence of Cloak Of Altering (another project from Gnaw Their Tongues mastermind Mories) and the new reissue of T.O.M.B.'s black industrial nightmare Pennhurst / Xesse, along with a trio of cassette reissues from the vicious UK noise/PE outfit Bagman, and a new tape from French-Canadian black industrial/kosmische drifter Bete Lumineuse...

    Naturally, this week's Featured Release is the new album from Cloak Of Altering, which we just released via Crucial Blast. The latest album from this crazed black electronic metal project, Cloak Of Altering features Moriesof Gnaw Their Tongues / Aderlating infamy taking his symphonic black metal and extreme electronic influences and blasting out one of the most chaotic, violent mutations of black metal I've heard. Presented in an eye-burning digipack (and also available digitally), Plague Beasts is one of the most ferocious releases yet from this Dutch maniac, and the first two hundred copies available from Crucial Blast come with a limited edition full-color art zine featuring Mories's distinctive brand of blasphemous, bizarro artwork.

    We are also now a primary source for 4iB releases here in the US. This Singapore based label has been releasing some fantastic stuff from within the realm of harsh noise, power electronics, and death industrial, with recent offerings from the classic transgressive UK power electronics duo Sutcliffe Jugend, Japanese junk-noise legend K2, psychedelic noise master Hiroshi Hasegawa (C.C.C.C.), and Hijokaidan member and vocal noise artist Junko. We have the K2 / GX JUPITTER-LARSEN Convulsing Vestibular CD, the dark industrial of the AUTOGEN Mutagen CD, the screeching vocal terror and abstract electronic mayhem of SUTCLIFFE JUGEND and JUNKO's Sans Palatine Uvula, the punishing power electronics of SUTCLIFFE JUGEND's Pursuit Of Pleasure, and the psychedelic harsh noise of HIROSHI HASEGAWA and POSITIVE ADJUSTMENTS's Cryptic Void split CD. All of 4iB's releases are gorgeously presented in high-quality packaging and issued in small numbered editions that collectors of extreme noise/industrial music will covet. Beat the high shipping prices of international orders by picking up these and future 4iB releases right here from Crucial Blast.

Here's a rundown of the other new releases and re-stocks that are also on this week's list:

- the latest from Australian death metallers IMPETUOUS RITUAL, delivering more of their hallucinatory sludgy horror
- recent offerings from Holy Terror hardcore masters INTEGRITY including a new version of their Black Heksen Rise 7"
- the surrealistic occult death metal delirium of IRKALLIAN ORACLE's Grave Ekstasis
- a restock of the latest album of immense shoegazer heaviness from justin Broadrick's JESU, Everyday I Get Closer To The Light From Which I Came
- some recently excavated copies of a rare 7" EP from late-90s NYC blastcore/free-jazz experimentalists THE JUDAS ISCARIOT
- the new CD edition (and LP restock) of Man God Giant, the debut from blackened death/crust weirdos KATECHON
- both the new album Pirut and a restock of Tietajan Laulu from atmopsheric Russian doom/folk/prog heavies KAUAN
- the recent vinyl reissue of KHANATE's classic album of abject avant doom Capture Release
- the recent (and now out of print) vinyl reissue of CHRISTOPHER KOMEDA's haunting jazz-flecked soundtrack to 60's Satanic classic Rosemary's Baby
- the latest cassette of minimal, Bianchi/Mauthausen Orchestra-esque power electronics from Italy's L.C.B.
- the now out-of-print LP edition of LUMBAR's emotionally devastating sludge-metal masterwork, featuring Tad Doyle and Mike Scheidt of Yob
- some unearthed copies of the rare late 90's album of black kosmische ambient and grim post-industrial from M87
- a recent double disc collection of MAEROR TRI's essential Meditamentum compilations, featuring classic early recordings of grim industrial drone
- the latest album of monstrous death industrial from MAZAKON TACTICS, The Entrancing Cage
- the most recent cassette release from MHONOS, featuring more of the French cult's crushing and blackened ritualistic drone-sludge
- both of the Spear of Gold albums from black improv noise duo ADERLATING (featuring Mories from Gnaw Their Tongues)
- the first album of jazz-laced blackened prog metal from Italy's AENAON, Cendres Et Sang
- a killer double disc collection of recordings from the noise-damaged depressive German black metal outfit SLAKTARE
- a great new collaboration between dark ambient artist SORC'HENN and avant black metallers L'ACEPHALE, Will Of The Abyss
- a couple of ultra-filthy, noise-damaged cassettes of no-fi black metal hatred from STEEL TOE and SULPHURIC NIGHT on Dungeon Tapes
- the new cassette reissue albums Repent and Ondo from black metal-influenced shoegazer sludge titan SUJO
- the recent collaboration of cosmic nocturnal jazz-drift from SUNN and ULVER, Terrestrials on CD and LP
- the recent deluxe vinyl reissue of SUNN's black metal obsessed drone metal epic Black One
- the hypnotic black industrial pulse of CURSORY's La Sorciere 7"
- the final album from Ukrainian medieval ambient/dungeon synth masters DARK AGES, from members of Drudkh and Hate Forest
- a recent CD of creepy ritualistic industrial from DARK AWAKE that revives that classic Nekrophile Records sound
- more amazing cult horror soundtracks from Death Waltz, including DE MASI's New York Ripper and RIZZATI's House By The Cemetery
- a new vinyl reissue of PRURIENT's terrific 2008 album Cocaine Death in deluxe foil-stamped packaging
- the nylon obsession and smoldering desires of THE RITA and CALIGULA031's recent split cassette Self Shop
- a fantastic album of creepy electro-acoustic soundscapery and infernal improvisation from long-running experimental composer RLW
- the recent split 12" featuring UK holy terrorists ROT IN HELL doing Death In June-esque folk, and Integrity side project PSYWARFARE's brutal power electronics
- the dread, monotonous power electronics and anti-religious sentiments of SANCTIMONIOUS's Hypocritical Sages cassette
- the new album from Italian black metal depressives ENTHRONING SILENCE after a ten year silence
- the ultra-heavy sci-fi goregrind / noise destruction of ENTRENCHED INGURGITATION's Genesis Of Heterogeneous
- EXILED FROM LIGHT's double disc collection of gloompop-flecked depressive black metal There Is No Beauty Left Here
- the new vinyl reissue of FLOOR's self-titled sludge-pop masterpiece, now with a bonus 7" of unreleased material
- a recent 7" release of black kosmische electronics from PRURIENT, Washed Against The Rocks
- the debut album from NY duo PSALM ZERO, featuring a compelling combination of gothic-tinged prog rock and crushing Godfleshian heaviness
- the punishing new 7" of industrial sludge violence from Aussie duo DEAD BOOMERS
- a restock of the ultra-heavy debut CD from DEAD PENI, featuring members of grindcore pioneers Fear Of God and noise legends Schimpfluch-Gruppe
- the new album of evil, blackened death industrial Sheolic from DEADWOOD
- the debut 12" of slow-motion hardcore destruction from DEMONBROTHER, featuring Will Killingsworth of Orchid/The Toll
- the latest from psychedelic Polish post-industrialists DIFFERENT STATE
- massive new deluxe vinyl reissues of Jouhou and Original Sound Version from avant grind masters DISCORDANCE AXIS
- the newest album of ultra-technical reptoid-obsessed prog-death from EMBRYONIC DEVOURMENT
- the latest vinyl reissue of KEITH EMERSON's fantasic dark classical/prog score for Argento's Inferno
- all of the latest AMS vinyl reissues from Italian spook-prog gods GOBLIN, including Buio Omega, Profondo Rosso and Tenebre
- the infernal black noise and crushing death industrial of the new EN NIHIL/DEMONOLOGISTS split cassette
- a killer split LP of Indian ragas and mutant black metal filth from Sri Lankan bands FUNERAL IN HEAVEN and PLECTO ALIQUEM CAPITE
- the new album of sepulchral, post punk-tinged black metal from Negative Plane offshoot FUNEREAL PRESENCE
- GARTH ARUM's new debut album of bombastic Arcturus-esque black prog metal The Dawn Of A New Creation
- the latest album of dizzying sci-fi avant death metal and cosmic noisescapes from GIGAN
- the new deluxe double LP reissue of the seminal debut album from UK industrial metal pioneers GODFLESH
- the obscure sole album from mid 90's ensemble MISS HIGH HEEL, featuring US noise rock icons unleashing a hellstorm of garbled avant-garde noisecore chaos
- the recent split 7" featuring more atmospheric black metal misery and crazed blackened weirdness from MOLOCH and MOONKNIGHT
- the pulverizing debut album from Russia's MOON MISTRESS, channeling Dopethrone-era Electric Wizard into a sloppier, more drug-damaged delirium
- the recent vinyl reissue of the tracks from the MOR / LIHOLE SIE split, fusing cold winter ambience to infectious Katatonic black metal
- the latest 12" from psychedelic sludge metallers SATURNALIA TEMPLE, featuring a killer cover of 70's freak folk legend Exuma
- the recent vinyl release of the latest album of virtuosic Japanese free-jazz/prog-core insanity from SAX RUINS
- a recent 7" release from Athens, GA psycho-core rippers SHAVED CHRIST, crucial stuff for fans of weirdo HC a la Void and United Mutations
- the recent 7" collaboration between avant noisecore maniacs SISSY SPACEK and legendary Portland improvisers SMEGMA
- the latest EP of skull-shredding noisecore / harsh noise destruction from SISSY SPACEK, Incomprehensible Dehumanization
- the new tape Murmure du Charnier from Quebec black industrial / kosmische drone demon BETE LUMINEUSE
- the latest album of dark, abstract ambience and cinematic, ominous post-rock from BEYOND SENSORY EXPERIENCE
- a killer new vinyl reissue of MAURIZIO BIANCHI's grim early 80s post-industrial opus sfag 81
- a bizarre album of shambolic black dirge and noisy sonic psychosis from Mexico's NECROSADIK, resembling Abruptum crossed with The Dead C
- the latest official reissue of the seminal sole 7" from San Francisco band (and pre-Flipper outfit) NEGATIVE TREND
- a nightmarish collaboration of infernal industrial and dank black drift from Italian dark ambient artists NIMH & ANTIKATECHON
- some uncovered copies of the bizarre black industrial tape $ from Floridian band NRIII
- a recent cassette release of stirring, majestic death industrial from NYODENE D, Atop Masada
- a few copies of the long out-of-print CD reissue of RIZ ORTOLANI's classic score to the Italian carnage epic Cannibal Holocaust
- the latest 7" of psychotic blackened metalpunk violence from Japanese rippers PARASITE, like G.I.S.M. stitched screaming to the carcass of Iron Maiden
- the latest album from Swedish prog-death outfit MORBUS CHRON, the amazing Sweven
- a new cassette reissue of MORTUUS's mesmerizing doom-laden black metal album De Contemplanda Mort
- the latest album of crazed, monstrous blackened death metal and Penderecki-esque horror from Spanish fiends TEITANBLOOD
- the latest album of demonic industrial throb and black-hole electronic drift from SVART1's Satanische Helden
- the newest album of nihilistic Nordic dark ambience from TAPHEPHOBIA, Escape From The Mundane Self
- restocks of all three double-disc reissues from the late 80s psychedelic New York noise rock band The Thing
- the killer new vinyl release of the classic THORNS / EMPEROR split on Peaceville
- the recent cassette reissue of the last album from American ultra-heavy death industrial outfit TORTURECIDE
- the KILLER debut 7" of psychedelic Viking sludge from VARDLOKK, featuring members of Enslaved, Sweet Apple, and 27
- that amazing recent compilation of ultra-obscure proto-metal and occult garage prog singles from 1970s American underground, Warfaring Strangers
- the new double LP edition of VAURA's latest album of black metal tinged gloom-rock The Missing
- the latest album of extreme blackened doom-noise from NY duo WICKED KING WICKER, Evolving
- a restock of the recent live EP from Cascadian black metallers WOLVES IN THE THRONE ROOM, BBC Session 2011 Anno Domini
- a restock of the super-limited cassette version of WOLVSERPENT's latest album of ritualistic blackened doom, Perigaea Antahkarana
- the recent twentieth anniversary reissue of MY DYING BRIDE's pioneering experimental doomdeath classic Turn Loose The Swans
- the deluxe reissue of DON PEAKE's amazing experimental score to the 1977 cannibal barbarian classic The Hills Have Eyes on tape and LP
- the recent debut of crushing blackened doom and planetary horror from PHOBONOID, Orbita
- a recent new album of ghostly doom-folk from PRETERITE, featuring members of black industrial/doom outfit Menace Ruine
- the latest album of withered black metal haunted by funereal violins from Italian black metallers PROFEZIA
- the debut disc of churning blackened death metal flecked in ritualistic ambience from GRAVE MIASMA
- the crushing blackened violence and suffocating ultra-murky death metal of the GRAVE UPHEAVAL / MANTICORE split
- the latest cassette of brain-melting improvisational black psychedelia from BONG side project HAIKAI NO KU
- the latest album Oi Magoi and a restock of the Pneuma debut from Goblin-esque black prog metallers HAIL SPIRIT NOIR
- a recent vinyl release of the enthralling doom-laden slowcore blackness of HAMNSKIFTE's Fodzlepijnan album
- the recent vinyl release of The Unnatural World, the latest album of infectious post-punk/industrial/doom from HAVE A NICE LIFE
- the latest album of fantastic, crushing sludge/pop from HELMS ALEE, Sleepwalking Sailors
- the last album of ultra-vicious, distorted, fucked-up hardcore from HOAX
- the new split CD featuring the arctic death industrial dread of REGOSPHERE and XIPHOID DEMENTIA, Subterranean Transmigration
- a new cassette collecting rare/out of print tracks of harsh ambience, death industrial horror, and cracked electronics from REI REA
- BIZARRE UPROAR's insanely heavy sludge-infested power electronics/noise nightmare Rape Africa
- a CD reissue of the debut album from Portugese black noise metallers BLACK CILICE, A Corpse, A Temple
- the debut album of grungy, psychedelic doom-rock and garagey sludge from UK band BLACK MOTH
- the new album Planet Muscaria from the vicious industrial black metal outfit ANGRENOST
- a restock of the latest album Logos of ameobic black/death chaos from ANTEDILUVIAN
- the vinyl edition of Meteor, the latest album from Polish avant-grinders ANTIGAMA
- the newest album from Norway's most pulverizing noise rock band, ARABROT
- the recent debut of blazing sci-fi progdeath from new NY band ARTIFICIAL BRAIN, Labyrinth Constellation
- the atmopsheric woodland ambience and darkwave-tinged Mexican black metal misery of ASTAROT's As Leaves Fall
- the latest album of progressive, ferocious black metal from Chicago's AVICHI, Catharsis Absolute
- the latest album of heavy, abstract industrial dronescapes and disturbing apocalyptic ambience from B-TONG
- limited edition cassette reissues of the early EPs from ultra-violent UK power electronics/harsh noise outfit BAGMAN
- some of the final copies of ROQUE BANOS's amazing Evil Dead soundtrack, on deluxe vinyl
- the new split Lp featuring BASTARD NOISE's brutal powerviolent prog and LACK OF INTERESTS's vicious blastcore
- a re-stock of BEASTMILK's recent masterwork of apocalyptic post-punk, Climax
- IV.I.VIII, the killer brand new album of ultra-filthy black sludge from COFFINWORM
- the latest EP from Toronto powerviolence/psychgrind devils COLUMN OF HEAVEN that heads in a grueling new industrial direction
- an Italian import compilation that collects the rare 80's EPS from seminal Japanese noise-punk band CONFUSE
- a crushing split CD of harsh noise from CREATION THROUGH DESTRUCTION and BLACK LEATHER JESUS
- the bizarre drugged out blackened sludge weirdness of CRYOSTASIUM's Alternative Funeral
- a new split 7" of noisecore insanity from CSMD and NEW YORK AGAINST THE BELZEBU
- the massive new release of the complete mixes from BL'AST's classic debut Power Of Expression on Southern Lord
- a crushing new split LP featuring BLUE SABBATH BLACK CHEER and MASTURBATORY DYSFUNCTION and brown paper bag fetishism
- an impressive new vinyl-only collaboration between experimental sludge duo THE BODY and atmopsheric sludge metallers THOU
- the latest album of psychotropic drone metal and saurian psychedelia from UK band BONG, Stoner Rock
- a deluxe new reissue of the classic We Are The Romans from seminal math-metallers BOTCH
- a pulverizing debut 12" of noise-damaged sludge from BURNT SKULL titled Sewer Birth
- the first 7" of wretched black thrash from Baltimore's CEMETERY PISS, Such The Vultures Love
- a punishing new reissue of the CHARRED REMAINS AKA MAN IS THE BASTARD / BIZARRE UPROAR split EP
- the first release from electronic/metal duo CHIILDREN, blending black metal and Front 242 and Godflesh into a murderous new assault
- the latest EP of blackened hardcore wreckage from Florida's CHURCH WHIP
- the new 12" of massive, earth-rumbling dub grooves from AL CISNEROS of drug metallers/trance sludge gods SLEEP and OM
- the vinyl edition of Augur Nox, the latest album from blackened Norwegian prog metallers CODE
- the recent cassette reissues of JOHN CARPENTER's classic scores to the second and third Halloween films...
- ... and a restock of the stunning new Mondo reissue of CARPENTER's legendary score to the original Halloween


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.



FEATURED RELEASE



ISOLATOR   Culture and Principal of Anti-Human Exaltation   CD   (Black Plagve)    10.99











Track Samples:
Sample : Mankind Shall Reap The Mistakes God Hath Sown
Sample : Into The Blood Of Our Kingdom
Sample : Carrion For The Feasts Of Angels


NEW ADDITIONS



A HAPPY DEATH / SHIVER   split   CASSETTE   (Diazepam)    8.98



  More nihilistic noise from Diazepam, this split tape features two Italian outfits teaming up to deliver some sinister psychedelic skree and charred industrial filth. It's my first time hearing A Happy Death, and their ultra-heavy industrial blackness is good stuff, but I'd already been a fan of Shiver, a solo project from Mauro Sciaccaluga of Italian occult industrial/psych band Ur that delivers a strain of nightmarish, bestial industrial noise that's definitely worth checking out if you're into the more evil-sounding fringes of power electronics.
  Latin prayers and cathedral bells pave the way for A Happy Death's putrid low-fi noise assault on the a-side, a battery of extreme blown-out distorted synth rumble and crackling burnt-out drones that quickly seep from your speakers into a haze of hateful noise. That first track "Laudamus Nihil" is intensely heavy and malevolent, and sort of resembles some low-fi doom metal recording being remixed by Dead Body Love, huge evil sounding riffs surfacing out of the smoldering static and crackling speakershred, oppressive and suffocating and crushing as it devolves into a more atmospheric mass of sound. Waves of fearsome feedback are layered over random environmental sounds, turning this into a murky locust-swarm of corroded noise. The other track is more straightforward, abrasive feedback and distorted crackle sweeping across clusters of tangled tape noise and ghostly percussive murmurs, but it's equally as atmospheric and effective.
  The four tracks on Shiver's side are the first I've heard from the project since his The Taste Of Repent tape on Prairie Fire from a few years ago. The vibe is certainly the same, building up each long track into a seething psychedelic fog of frenzied guttural screams, brain-melting synthesizer drone, and putrescent electronic noise that is possessed by a pervasive threatening atmosphere. At times, this stuff can begin to sound like some particularly nightmarish score to an early 80s British sci-fi gore flick being played back on a decomposing cassette tape. Pretty grim, especially when those hazy, gloomy synthesizer melodies start to peer through all of that rumbling black muck, and the vocals transform into a terrifying, almost black metal-like shriek that rips through the whirling scrap-metal squeal and grating feedback abuse. Slow, pulsating rhythms emerge on later tracks, shifting the sound into a kind of static death-meditation as mysterious voices echo in the depths and swells of sinister metallic guitar melody and dark atmospheric sound rise to the surface. Definitely my favorite stuff from this project so far.
   Like the other tapes I recently picked up from Diazepam, this has a similarly distressed look and feel, lettering hand-scratched onto the surface of the black cassette, the tape housed in an oversized cardstock sleeve, and it's limited to just one hundred copies.
Track Samples:
Sample : A HAPPY DEATH - Laudamus Nihil
Sample : SHIVER - I Want To Die Alone



A MURDER OF ANGELS   Before Your Eyes   CD   (Annihilvs)    9.99



  Darkest stuff yet from the NYC-based duo of Bryin Dall (of Thee Majesty and 4th Sign Of The Apocalypse) and Derek Rush (Compactor), who have worked together previously in a number of projects ranging from the experimental, surrealist goth of Loretta's Doll to the multi-faceted industrial music of Dream Into Dust and the occult soundscapery of Of Unknown Origin?. Describing their sound "damnbient", the duo craft a series of dank, phantasmal driftscapes on Before Your Eyes that are primed for listening to in the dark. Housed in a gatefold sleeve and printed inner sleeve that feature ghostly blue-tinged images of Victorian-era specters and ectoplasmic emissions, this album is spooky stuff, the ten songs drifting languidly through a midnight fog of distant wavering dissonance and murky drones that curl around cadaverous moans, swells of metallic shimmer and far-off clanking, weird echoing effects and washes of creepy minor key drift, slow washes of cello-like drone creeping low in the mix beneath the sound of strange chittering voices and the rapid flutter of insect-like wings, all of this stuff melting together into a hallucinatory din that stretches across the entire disc.
  It starts off with the ghoulish industrial ambience of "Wading Through Floating Children", as the duo make their way through increasingly creepy underworld of murmurous sound: garbled inhuman voices sputter across fragments of evil orchestral murk like coded messages from an alien tongue; heavenly choir voices ascend over the shifting black waves of over-modulated electronics, like the sound of a High Mass being slowly sucked into a gaping, ravenous inter-dimensional black hole; howling discordant noise and clattering Aube-esque noise becomes caught in vague looping patterns beneath vast black dungeon exhalations and surges of incorporeal EVP; monstrous growls drift up out of that blackness, joined by the sounds of wailing theremin-like tones and brief glimpses of glitchy, Bernard Herrmann-esque strings, as a female voice is heard speaking backwards, out of phase, like a fragmented transmission from beyond the grave. This creepy Coil-influenced post-industrial nightmare comes into sharper focus on tracks like "They Only Eat Themselves" and "Folding The Fabric Of Time", as whirring, meditative mechanical rhythms begin to emerge from beneath a roiling ectoplasmic mass of guttural, demonic mutterings, sinister soundtracky ambience and chthonic death-pulses. One of the creepier albums to come out on Leech's (Theologian) Annihilvs imprint, this inhabits a similar nightmare zone as some of Atrium Carceri's more dreamlike moments, the black ambient of Kerovnian, and Accurst's formless horrorscape Fragments Of A Nightmare; if any of those names perk your ears up, this is one to check out.
Track Samples:
Sample : Wading Through Floating Children
Sample : They Only Eat Themselves
Sample : Damaging The Hidden Light



ABIGAIL   Intercourse And Lust   CD   (Nuclear War Now! Productions)    10.98



  Available on both CD and gatefold LP.
  While not quite as balls-out weird as country mates Sigh, sleazoid Japanese black thrashers Abigail put their own eccentric spin on a classic black/thrash attack, and are still one of my favorite bands of this ilk from that corner of the globe. Their 1996 debut album Intercourse & Lust remains one of their most ferocious slabs of perverted black metal hysteria; originally released by the Aussie label Modern Invasion, Intercourse had been out of print for ages before Nuclear War Now unleashed this latest reissue on us, complete with the revised cover art that features Hokusai's infamous squidfuck masterpiece The Dream of the Fisherman's Wife. Beautiful!
   The vicious Intercourse features nine tracks of Abigail's feral, slightly sloppy blackened thrash, with most of the album's lyrics written by Chuck Keller of Order From Chaos/Ares Kingdom. The music has a definite early Mayhem influence, along with a big ol' dose of classic Teutonic thrash, but Abigail mutate those influences into a blistering speed assault that cranks the sneering punk attitude up to a frenzied new level, and splatters their sound with some of the craziest goddamn guitar solos this side of Hell Awaits-era Hanneman. Much of this album races by at blistering blasting tempos, but there's a couple of ferociously rocking tracks like "Attack With Spell" where they drop some vicious, super-catchy Venomesque blackened punk onto the listener while front man Yasuyuki retches out a rabid array of distorted yelps and screams. A weird growling synth-bass-like effect shows up briefly on the snarling blast-orgy of "Strength Of Other World" that, for a brief moment in the middle of the track, breaks into this weird, proggy little interlude right before the band crashes back in to the blazing necro-punk assault. Yasuyuki's vocals reached a sublime level of insanity on this album, often rupturing into an insanely unhinged ultra-distorted yowl that's definitely reminiscent of Takaho from noise-grinders Unholy Grave. And the band gives us another one of their trademark weirdo synthesizer interludes on the title track, with spacey soundtracky synths and a delicate xylophone melody leading right into the oddly atmospheric multi-part closer "Hail Yakuza", a sprawling instrumental that features samples from cult Japanese crime flicks playing out over a slower, swirling, jangling black metal dirge before moving into odd waltzing rhythms and blasts of anthemic thrash. Killer stuff that's right up there with the classic Forever Street Metal Bitch album, essential for anyone in thrall to the "Black Metal Yakuza".
Track Samples:
Sample : The Crown Bearer
Sample : Strength of Other World
Sample : Mephistopheles
Sample : A Witch Named Aspilcuetta



ABIGAIL   Intercourse And Lust   LP   (Nuclear War Now! Productions)    18.98



  Available on both CD and gatefold LP.
  While not quite as balls-out weird as country mates Sigh, sleazoid Japanese black thrashers Abigail put their own eccentric spin on a classic black/thrash attack, and are still one of my favorite bands of this ilk from that corner of the globe. Their 1996 debut album Intercourse & Lust remains one of their most ferocious slabs of perverted black metal hysteria; originally released by the Aussie label Modern Invasion, Intercourse had been out of print for ages before Nuclear War Now unleashed this latest reissue on us, complete with the revised cover art that features Hokusai's infamous squidfuck masterpiece The Dream of the Fisherman's Wife. Beautiful!
   The vicious Intercourse features nine tracks of Abigail's feral, slightly sloppy blackened thrash, with most of the album's lyrics written by Chuck Keller of Order From Chaos/Ares Kingdom. The music has a definite early Mayhem influence, along with a big ol' dose of classic Teutonic thrash, but Abigail mutate those influences into a blistering speed assault that cranks the sneering punk attitude up to a frenzied new level, and splatters their sound with some of the craziest goddamn guitar solos this side of Hell Awaits-era Hanneman. Much of this album races by at blistering blasting tempos, but there's a couple of ferociously rocking tracks like "Attack With Spell" where they drop some vicious, super-catchy Venomesque blackened punk onto the listener while front man Yasuyuki retches out a rabid array of distorted yelps and screams. A weird growling synth-bass-like effect shows up briefly on the snarling blast-orgy of "Strength Of Other World" that, for a brief moment in the middle of the track, breaks into this weird, proggy little interlude right before the band crashes back in to the blazing necro-punk assault. Yasuyuki's vocals reached a sublime level of insanity on this album, often rupturing into an insanely unhinged ultra-distorted yowl that's definitely reminiscent of Takaho from noise-grinders Unholy Grave. And the band gives us another one of their trademark weirdo synthesizer interludes on the title track, with spacey soundtracky synths and a delicate xylophone melody leading right into the oddly atmospheric multi-part closer "Hail Yakuza", a sprawling instrumental that features samples from cult Japanese crime flicks playing out over a slower, swirling, jangling black metal dirge before moving into odd waltzing rhythms and blasts of anthemic thrash. Killer stuff that's right up there with the classic Forever Street Metal Bitch album, essential for anyone in thrall to the "Black Metal Yakuza".
Track Samples:
Sample : The Crown Bearer
Sample : Strength of Other World
Sample : Mephistopheles
Sample : A Witch Named Aspilcuetta



AENAON   Extance   CD   (Code666)    15.98



  The second album from avant-garde Greek metallers Aenaon, the follow-up to their killer debut Cendres Et Sang that was featured on the last C-Blast new arrivals list. I loved the band's imaginative fusion of ambitious prog rock, dark jazz and violent black n' roll that made their debut one of the more unique offerings from Code666 at the time of it's release, and unlike a lot of bands that come from a similar black metal background whose music ends up moving into proggier directions, Aenaon continue to retain a strong connection to their blackened roots. Much of Extance features the band's crushing mathy angularity and blazing blackened aggression, but the eleven songs on this album are infested with strange outside sounds, taking their music into even more surreal directions than before.
   On Extance, Aenaon continues to forge a strangely elegant sound that mixes an interesting assemblage of influences (classic prog rock, Hellenic black metal) into something that has gradually grown into a distinct sound of their own. You get plenty of the crushing mathy riffage, chunky staccato grooves and blasts of violent blackness that teemed throughout their debut, with those vicious raspy screams trading off against clear, harmonized crooning that brings a heavy dose of dark drama to the music, those vocal arrangements even sometimes shifting into a kind of maniacal, operatic delivery. The songs feature surges of spacey futuristic electronics, fragments of ragtime piano and strange alien glitchery amid the blackened prog, along with atmospheric classical piano sequences, jazzy vibraphone accompaniment, sudden descents into whirling Middle Eastern folk music, choral chants, soulful harmonica playing, and best of all, more of that searing moody saxophone that strafes Aenaon's violent metallic crush.
   Fans of Enslaved, Sigh, and the recent solo albums from Emperor's Ihsahn will dig the killer progged-out black metal that emerges on songs like "Deathtrip Chronicle", especially when that crushing angular assault suddenly swerves out into a long stretch of sumptuous atmospheric jazz layered with swooping saxophone and washes of trippy Hammond organ. And songs like "Grau Diva" lay down some monstrous grooves, as that discordant, off-kilter blackened heaviness slips into a savage, infectious black n' roll riff. Aeneon infuse the whole album with these off-kilter moments and their knack for stirring melodies, with haunting minor key elegies drifting out of the complex blasting churn, the guitarists more concerned with memorable and emotive melodies than simply spewing out a self-indulgent shred-salad. Some interesting guest appearances show up, too; various tracks feature the talents of Mirai Kawashima (Sigh), Sindre Nedland (Funeral) and Haris (Hail Spirit Noir), and on "Funeral Blues", vocalist Tanya Leontiou from Greek evil doom-prog band Universe217 contributes her soulful, powerful voice over a song that does indeed get pretty bluesy, laying down a huge Sabbathian hook around a night-sea of glimmering pianos and blackened tremolo buzz. Along with Hail Spirit Noir, Aenaon are producing some of the most interesting and innovative black metal-influenced music coming out of Greece at the moment; anyone into the proggier end of contempo BM should definitely check these guys out.
Track Samples:
Sample : The Land of No Water
Sample : Palindrome
Sample : Deathtrip Chronicle



AKANAME / LESBIAN'S FUNGAL ABYSS   Rain Will Be The New Gold / Humongous Fungus   7" VINYL   (Hell Comes Home)    6.98



   Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
  This installment in the series pairs up proggy Aussie crushers Akaname with Seattle psych ensemble Fungal Abyss, an offshoot of heavy prog-sludge outfit Lesbian. Akaname delivers some killer sprawling sludge with their "Rain Will Be The New Gold", the drummer's intricate, off-time rhythms and complex arrangements underscoring the band's interesting mix of black metal-influenced riffing, trippy synthesizer drift and spastic metallic chug. At times resembling a more blackened version of Mastodon or Keelhaul, this is menacing and mathy stuff that slips into some seriously devastating metallic crush later in the track. I loved the prog-tinged fury of Akaname's track, one of the coolest discoveries I've made through this series of 7"s.
   The other side feature's Lesbian's psychedelic improv alter-ego Fungal Abyss emitting a cloud of dark, instrumental heaviness called "Humongous Fungus", purportedly recorded under the influence of hallucinatory mushrooms; it's a lot better than you'd expect from the goofy title, a slow building jam that forms from layers of meandering guitar over the heavy, droning groove of the rhythm section, evolving from a dreamy haze of almost shoegazy rock into something akin to Isis at their prettiest, building into an almost space rock finale that winds down into an effects-smeared haze at the end.


ALRAUNE   The Process Of Self-Immolation   CD   (Profound Lore)    13.98



  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



ANEMONE TUBE / DISSECTING TABLE   This Dismal World   CASSETTE   (Black Horizons)    8.99



  Previously released as a limited-edition LP on the UK label Peripheral, this split album from Anemone Tube and Dissecting Table is now available as an equally limited cassette tape (one hundred copies) from Black Horizons, presented in the label's signature silk-screened packaging, and featuring an extended version of one of the Anemone Tube tracks.
   This Dismal World crushes. A split between two of the more intense artists within the industrial sub-terrain, the long running German dark ambient/industrial noise duo Anemone Tube and Japanese noise/dirge master Dissecting Table, here teaming up for an intensely dark concept album that seems to have been at least partly inspired by Buddhist teachings.
   Continuing to explore some of the same sounds and atmospheres as their fantastic last album Death Over China, the Anemone Tube side (titled Threnody For The Dejected) features two long tracks of grim industrial rumble and drift. It begins with "In The Mausoleum", a rather ghastly sounding soundscape that utilizes field recordings taken from ancient Buddhist burial chambers at the Sun-Yat-sen-Mausoleum in Nanjing, China; the track takes shape as a violent churning storm of bellowing black winds rushing through vast underground chambers, recordings of eldritch rattling that crumble like handfuls of rot in slow-motion, a rumbling swirling cloud of black dust amplified to thunderous levels. That segues right into "From Anthropocentrism To Demonocentrism", a crushing malevolent mechanical loop that lurches beneath more of the Tube's harsh bursts of distorted noise and squealing feedback, super ominous, a lurching mechanical death-mantra looping into infinity, eventually fading out into a sea of choral drone.
   Dissecting Table's side is labeled Guanyin, and has just one monolithic twenty minute piece, "1000 Tones"; the side starts off with the sound of Japanese Buddhist chants overlaid with rhythmic clanking metal and a pounding drumbeat, the clank and screech of metal sounding off constantly in the background behind this strangely mesmeric, sinister dirge. The first half of the side is almost all heavy, clanking dread, splattered with bits of squelchy synthesizer, the sound intensely distorted, with almost death-metal like shrieks ringing out in the background. The latter half of the side detaches from that massive clanking rhythmic crush, and drifts out into a more abstract sprawl of distorted looped chanting, mangled electronics and howling metallic feedback that seems to take on the sound of warped flutes. The drums and rattling metal and blackened screams come back in at the end though, and transform the final minutes into a bizarre bit of demonic industrial delirium. That track is fucking amazing, and for me was worth the purchase of this Lp alone; whenever Dissecting Table finds its way into that sort of crushing, monstrous almost metallic industrial heaviness, the sound really isn't that far removed from the blackened industrial chaos of bands like Gnaw Their Tongues and Aphelion.


ARGENTINUM ASTRUM   Malleus Maleficarum   LP   (Forcefield)    11.98













ARTIFICIAL BRAIN   Labyrinth Constellation   LP   (War On Music)    22.00



   Thus far my favorite death metal debut of 2014, Artificial Brain's monstrous sci-fi progdeath nightmare is now available on vinyl from Canadian reissue imprint War On Music, in gatefold packaging with a printed inner sleeve.
   Ever since discovering Voivod's Dimension Hatröss as a kid, I've been more than a little obsessed with the union of heavy metal and science fiction imagery. What could possibly go better together? That fascination later led me to bands like Timeghoul, Nocturnus and Wormed, who all similarly ignited my imagination when I came upon their visions of time-traveling cyborg Christ assassins and nameless quantum horrors set against a backdrop of brutal, progressive death metal. With their debut album Labyrinth Constellation, the New York band Artificial Brain joins the ranks of the cosmically crushing, bringing their sweeping, proggy death metal to far-flung interstellar reaches, combining a complex, prog-infected heaviness with epic melodic flourishes and twisted, horrific imagery. Featuring some killer zomboid galactic warrior artwork from the now ubiquitous Paolo Girardi, Labyrinth blasts some seriously dizzying cosmic death metal from this new group, which features guitarist Dan Gargiulo (from technical death metallers Revocation) and Will Smith, who some of you might recognize from another weird death metal outfit called Biolich that was around for a short period in the mid-aughties.
   Offering a strange combination of nebulous prog-death and putrid sewer-trawling vocals, Artificial Brain definitely don't skimp on sonic brutality. Starting with the rumbling, ultra-heavy downtuned drones that start off opener "Brain Transplant", the band lurches into the contorted death metal assault that dominates the album, an onslaught of complex angular death metal spiked with bursts of unexpected major-key melody, and possessed by an ultra-guttural vocal assault that reaches some pretty outrageous depths of unintelligible throat-destruction, often bursting into insane pig-squeals or frantic, larynx-shredding screams. Those spiraling major key guitar parts are one of the unique aspects of the Brain's brutal bombast, and there's more than once that those chiming, bright guitar parts start to sound like something off of some early 90s math rock record, spidery Slintlike melodies crawling all over the downtuned angular churn. Just as the music seems to spin out into a total blur of jagged discordant riffage and whirlwind blastbeats, though, the Brain will suddenly bring it back into sharp focus by shifting abruptly into one of their stunning melodic riffs, stratospheric, stirring hooks that come ripping out of the warped death assault. Keith Abrami's drumming is another highlight on Labyrinth, delivering a ferocious performance that flows fluidly from rapid-fire thrash tempos to eruptions of roiling double bass to wildly angular and off-kilter time signatures. You can hear a few hints of Obscura-era Gorguts in here, but that discordant skronk is sublimated within the band's churning sludgy heaviness, and they even make some cool use of eerie pipe organ-like textures on a couple songs that help to give this stuff its weird, gothic sci-fi feel, additionally peppered with stretches of otherworldly low-frequency electronic drone and ghostly glitch.
   Technically, this is right up there with some of the more high-profile prog-death albums that have come out recently from Gorguts and Pestilence, one of my favorite albums among the various eccentric death metal offerings I've gotten in at Crucial Blast so far this year, for sure. Highly recommended if you're into the progressive, otherworldly death metal of bands like Demilich, Portal, Gigan, Ulcerate, Mitochondrion, and latter-day Gorguts.
Track Samples:
Sample : Worm Harvester
Sample : Orbital Gait
Sample : Moon Funeral
Sample : Brain Transplant



ATARAXIE   L'Etre Et La Nausee   2 x CD   (Weird Truth)    16.98



  Been awhile since I've listened to these guys, but the latest album from French doom-death beasts Ataraxie quickly reminded me just how soul-crushing this band's music can be. Indeed, their third album L'Etre Et La Nausee is one of the finest new doomdeath albums in recent memory, and finds the band further refining their monstrously heavy sound. Spread out across two discs, Nausee unleashes the sort of sickeningly heavy glacial death metal that Ataraxie have long been known for, but their flirtations with heartbreaking melodies and a skillful use of quieter passages turn this into more than just another grueling slog through the sub-Disembowelment depths.
   As the first track "Procession Of The Insane Ones" slowly unfolds, the band employs a sparse arrangement of clear clanging chords that slowly drift through the gloom, but that quickly crashes into their signature slow-motion crawl as the band's signature glacial death metal sinks in. The singer's ravenous, reverb-drenched howls blow through here in gusts of monstrous agony, billowing throughout the band's bludgeoning doom. This epic opener stretches out for more than twenty minutes, erupting into faster-paced rumbling death metal and descending into effective passages of funereal slowcore, where the heaviness drops away to reveal just the sound of sorrowful reverb-heavy guitars weeping over distant, spacious drums and the singer's half-spoken lamentations. In moments like these, Ataraxie manages to achieve an atmosphere of elegant abject despair that almost compare to Japan's Corrupted, contrasting the violently oppressive weight of their molten metallic crush with moments of maudlin, delicate beauty. And when those emotional, brightly jangling guitars are dropping in over the churning deathmetal, I'm also reminded of some of those early 90s French emo bands like Anomie and Ivich, traces of that sound seemingly seeping into Ataraxie's crushing misery. It's a cool and rather unique touch.
   Later on, Ataraxie accelerate into even more furious blastbeat-riddled power on tracks like "Face The Loss Of Your Sanity", without losing any of that pervasive miserableness, later shifting into an incredibly eerie stretch of apocalyptic jangle, with mathy, almost Slintlike guitars creeping over the drummer's sudden descent into booming, tribal rhythms. Droning dissonant chords slowly build into a majestic climax as the guitars climb to nearly Floydian heights of grandeur over the rumbling amplifier drones and elephantine advance of the rhythm section, followed by a brief sojourn into the instrumental Codeine-esque gloom of "Etats D'Âme".
   The second disc features just two tracks: the relatively shorter "Dread The Villains" unleashes more of their blasting dismal deathcrush, sinister dissonant tremolo riffs suddenly downshifting into pulverizing sludge, then later evolving into sweeping fields of almost kosmische ambience from layered and processed guitar feedback that sound surprisingly synthlike, stretching out in cold black veins of cosmic hum over massive rumbling bass drones. And the nearly half-hour "Nausée" doesn't really achieve any sort of forward momentum until nearly halfway through the song, the behemoth riffage undulating in slow-motion over the punishing glacial pace until it finally heaves forward into a crushing wave of double bass drumming and spidery minor-key guitar, building to an intense climax.
   One of the best current doom-death bands out there, Ataraxie's latest blends a distinctly French feel with their primal, Disembowelment influenced ultra-crush, smothering the listener beneath a dense, cold blanket of bleak downtuned crush, sporadic blast-violence and eruptions of frantic, expressive melancholy melody. Recommended.
Track Samples:
Sample : Procession of the insane ones
Sample : face the loss of your sanity
Sample : ˙ţNaussée



ATLAS MOTH, THE   The Old Believer   CD   (Profound Lore)    13.98



  Chicago psych metallers The Atlas Moth are back at last after a nearly three year wait, and album number three The Old Believer sees 'em focusing their sound into something even more powerful and emotional, while continuing to build upon the spacey, textured heaviness that made their 2011 album An Ache For The Distance so impressive. To flesh out the more ambitious sound of their latest, the band brought in a number of guest musicians ranging from Gojira frontman Joe Duplantier and saxophonist Bruce Lamont of Yakuza, to violinists Kim Pack and Sarah Pendleton (Subrosa) and even former Stabbing Westward guitarist Marcus Eliopulos.
  Opening with the bellowing weather-beaten majesty of "Jet Black Passenger", The Old Believer slowly weaves it's weary magic, blending huge doom-laden riffage and elephantine tempos with layered, complex melodies, a multi-pronged vocal attack that mixes together a killer emotive croon and hair-raising feral screams to excellent effect. The Moth's melodic sludginess has often gotten them compared to bands like Jesu and Nadja, but there's really something different going on here, their sound drawing more from certain gloomy strains of post-hardcore, filtered through a searing psychedelic haze that the band forms from striking guitar work, majestic leads, and some fantastic use of effects. There are moments on this album that oddly remind me more of old favorites like Jawbox and Engine Kid than anything that folks might describe as "metalgaze", though fans of the current wave of doom-laden melodic heaviness are certainly going to find a lot to like about Atlas Moth's latest. And the singer's dramatic croon gives this a really distinctive touch as well, his dour singing bringing an almost gothic feel to the band's monstrous crush. Things take a proggier turn on the lush vibraphone-laced "Halcyon Blvd", one of the album's more subdued tracks, while tracks like "Sacred Vine" slip into a bluesy sort of goth-metal that feels like Fields Of The Nephilim getting shot up with some serious stoner-metal riffage. There's some really cool, understated use of electronics throughout the album, looping synth-like arpeggios and washes of gleaming cosmic drift that appear briefly. This stuff soars.
   And the packaging for the CD edition of Old Believer is stunning all on its own. Using a unique printing process, the removable cover for the album is designed so that the artwork (created by Ryan Clark of Invisible Creature) changes when you run water across the material, the image of a regal snow queen on her throne morphing into something much more sinister - it's one of the coolest things I've seen using this kind of thermal printing for an album package, and you can check out a short video of this neat effect here .
Track Samples:
Sample : Sacred Vine
Sample : Jet Black Passenger
Sample : Blood Will Tell



BARREN HARVEST   Subtle Cruelties   CD   (Handmade Birds)    11.98











Track Samples:
Sample : The Bleeding
Sample : Heavens Age
Sample : Claw and Feather



BARREN HARVEST   Subtle Cruelties   LP   (Handmade Birds)    22.00











Track Samples:
Sample : The Bleeding
Sample : Heavens Age
Sample : Claw and Feather



BASILISK   End Of Catastrophe   CD   (Weird Truth)    12.98



   Despite the fact that the band has been around since 1997, chances are you've never heard of Japanese death-thrashers Basilisk. Formed by former members of the cult Japanese death metal outfit Monarchie Infernale, Basilisk, for some reason, took their sweet time to deliver their first album, with End Of Catastrophe finally materializing well over a decade since they first came together. The end result is pretty killer, though, a blast of eccentric death/thrash that blends together some subtle blackened elements as well as a dose of proggy complexity that reminds me of some of my fave classic prog-thrash outfits. Sort of an anomaly coming from the usually uber-doom obsessed Weird Truth imprint, but this album is well worth checking out if you're into solid but quirky thrash and the sort of offbeat sensibilities that often course through so much Japanese metal. In fact, when you start to leaf through the booklet for Catastrophe, you're confronted by band photos of these spiked and heavily leathered maniacs that look like something out of some bizarro Japanese cyberpunk epic, like amped-up extras from Sōgo Ishii's Burst City, black metal leather and chains and wild-looking spiked headgear cranked up to an absurd level of fashion terror. These guys definitely have a look.
    The music is equally as crazed, opening with the dark soundtrack-esque industrial symphonic rumblings of "Sign Of Baptism" before blasting into a nine song assault of blazing blastbeat-riddled blackthrash, the weirdly drawled vocals sung in Japanese, the songs complex progged-out thrash attacks belted out at supersonic speed. The guitar parts can get pretty crazed, often slipping into wild, almost carnivalesque melodies that most definitely recall some of the earlier Sigh stuff, and the songs surge into weird off-time breakdowns and proggy shredfests, shifting constantly from one dissonant thrash riff or odd off-kilter rhythmic breakdown to the next. Synthesizers add a cold electronic sheen to many of the songs, and bassist Takuya injects some great, nimble-fingered runs and offbeat bass parts in these songs that add another layer of technicality to Basilisk's oblique death-thrash; it's not like he's channeling Steve DiGiorgio or anything, but his performance definitely brings some interesting shading to this stuff. There are a few other tracks of vast cinematic ambience like "Fathomless Depth Crimson Dawn" that are scattered throughout the album, washes of ominous orchestral drift and distant bells breaking through the blast-fury, and there's moments of offbeat riffery, complicated drumming patterns and oddball melody like the middle of "Nosferatu" that's as unexpected and as bonkers as anything from Coroner or Sadus. I definitely had the feeling while listening to this that these guys were a lot more informed by those kinds of 80's prog-thrash greats than contemporary death or black metal, and that vibe makes Basilisk's debut stand out from much of the extreme metal I've been hearing out of Japan lately. They've got a distinct style of their own here, but fans of similarly eccentric Japanese black thrash bands like Abigail and Sigh may find this stuff well worth investigating.
Track Samples:
Sample : Nosferatu
Sample : In Most Septile
Sample : Fathomless Depth Crimson Dawn
Sample : Diabolical My Dark & Muddy Stream



BASTARD NOISE / WITCHES OF MALIBU   split   7" VINYL   (Skull Records)    7.99



   Another new collaborative recording between Eric Wood's amorphous Bastard Noise project and likeminded pals, this 7" features the Skull teaming up with another SoCal outfit called Witches Of Malibu, which turns out to be a new project from Richard Skott of 80's era industrialists Hunting Lodge and space rockers Farflung. Together, these guys blurt out a fantastic blast of monstrous power electronics across the two tracks, which ends up sounding like a bit of a throwback to BN's Rogue Astronaut-era material.
    That sound is exactly what you get with a-side "Abomination", a vicious assault of deformed caveman electronics, Wood's slurred death metal-style growl stretched into an almost somnambulant murmur as he lays out his anti-technology / anti-human screed over the whirring analogue effects and squealing synth noise. That smoldering black noisescape is laced with massive mortar-like blasts and nightmarish goblin-shrieks, the sound continuing to evolve into an ever more evil and disturbing war zone of industrial rumble and foul smoking synthesizer chaos, utter apocalyptic chaos channeled into a five minute blast of electronic hate, Wood's sound generators belching agonies of pained feedback and hellish ghostlike screams. Real bad-dream material here, and one of the band's more terrifying recent efforts. In contrast, the b-side "Infinity Sprung From Glided Machines" is virtually dark ambient, gleaming black obsidian dronescapes stretching out beneath a blasted black sun, washes of grim synthdrift gradually infected with those blasting oscillators and chirping insect electronics, but never straying all that far from that vast black Lustmordian ambience that calmly churns in the depths, the sound slowly evolving into a sinister, psychedelic glitchscape where demented demonic screams echo far in the distance, a primordial galactic deathvision.
    Limited to four hundred copies.


BASTARD NOISE + GUILTY CONNECTOR   Decimation Cycle   7" VINYL   (Utsu Tapes)    8.99



   Decimation Cycle is another older Bastard Noise 7" that recently resurfaced through one of our suppliers, apparently unearthed from somewhere in the depths of Eric Wood's closet. I never had the chance to pick this up when it first came out way back in 2002 on Japanese label Utsu Tapes (run by Guilty Connector's Kohei Nakagawa), and it's been out of print from the label for years, so BN-freaks who've been hunting for this record should probably move quick if they want to get their hands on this. The two-song EP was part of an ongoing line of collaborations between Man Is The Bastard offshoot Bastard Noise and Japanese noise outfit Guilty Connector, a partnership born of a similar sonic aesthetic and attitude that has resulted in a number of recordings; this is definitely one of the more aggressive collabs that the team produced, both sides radiating some pretty vicious electronic hatred.
    Each track is a roughly five minute long maelstrom of frenzied oscillator abuse and extreme electronic noise, roaring distorted static and caustic high-end skree all bleeding together into a mind-melting blast of abstract sonic violence. This definitely finds itself firmly footed in Bastard Noise's signature brand of psychedelic locust-blast electronics and lysergic effects-chaos on the first track "In The Face Of So Vast A Threat", which relentlessly scratches at your cranium with its torrent of sputtering, shrieking noise. But on the second side, the title track shifts into a much more evil sound, with Wood shrieking his horrific visions of apocalyptic extinction over a low, chirping noisescape, this creepy atmosphere punctuated with sudden blasts of extreme glitch, crazed synth squelch and waves of rumbling low-end frequencies that transform this track into a kind of toxic, monstrous power electronics.


BEASTMILK   Climax   LP   (Magic Bullet)    18.98



  Back in stock on limited edition colored vinyl.
One of the best new bands to emerge in the past few years out of this current 80's-era post punk revival is Beastmilk, a Finnish band who appeared in 2010 with their White Stains On Black Tape demo that was later championed by Darkthrone's Fenriz on his Band of the Week blog. It was easy to hear why - these seasoned musicians (which include front-man Kvohst of Code / Hexvessel / Dřdheimsgard, and Juho Goatspeed from the amazing avant-garde black metal band Spiderpact) appeared fully formed, performing a sort of driving, anthemic gloom-rock with a subtle metallic undercurrent and gobs of apocalyptic atmosphere, but with monumental hooks that seemed primed and ready for something arena-sized. Their first full length Climax (now back in stock here at C-Blast) polished that sound even more, delivering ten tracks of infectious, disaffected post-punk that is ridiculously catchy stuff, and which should be heard STAT by anyone into the similarly gloomy, infectious sounds of like-minded bands Vaura, Soror Dolorosa and Hateful Abandon, who all share some sort of distant black metal background. Compared to some of those bands, though, Beastmilk's roots in the Nordic metal underground are barely noticeable here, if at all.
As the propulsive drive of "Death Reflects Us" kicks off Climax with a perfectly crafted blast of soaring gloom-rock, the bass guitar and chiming riffs soar over pounding motorik drumming, the vocals clear and soaring as they ascend to the anthemic hook of the chorus. That anthemic quality is all over this album, the bass guitar WAY out front as it lays down the driving Joy Division-esque lines, fusing their huge hooks to grim visions of a world in rapid collapse and other, more personal ruminations, and Kvohst's Danzig-esque croon is at once both icy and tremulous, layered into striking harmonies at all the right moments. "The Wind Blows Through Their Skulls" paints a bleak portrait of a radioactive nightmare future, as do the likes of "Genocidal Crush" and "Nuclear Winter", nightmarish imagery set to swirling clean guitars and crunchy metallic riffs, handclaps and huge guitar hooks shifting things into a dark majestic pop that often creates an effective contrast with the eruptions of distorted guitar squall and the relentlessly rocking tempo of most of the songs. There are echoes of The Cult and Samhain and Sisters Of Mercy all through this, and there's a bunch of moments on Climax when the band seems to suddenly transform into a vaguely blackened version of Echo And The Bunneymen - with those types of names being dropped, you should have a pretty good idea iof what sort of stuff these guys are doing, though this never sounds like pastiche to me. Songs like "You Are Now Under Our Control", "Surf The Apocalypse" and "Fear Your Mind" will rattle around in your head for days after hearing it, alternating with the slower, brooding atmosphere of songs like "Ghosts Out Of Focus" and "Strange Attractors", the latter featuring guest vocals from Viveca Butler of New York gloom rockers Occultation that closes the album with it's most haunting melody. Beastmilk are unabashed in their fierce devotion to the darkest regions of classic post punk, but they re-envisioned that sound as something much more muscular and malevolent and modern. Despite the deafening amount of hype that has been hovering around this band, it really is pretty fucking great.
Track Samples:
Sample : You Are Now Under Our Control
Sample : Nuclear Winter
Sample : Genocidal Crush



BLACK SUN / THROAT   Crawling Like A Leech / Anal Paranoid   7" VINYL   (Hell Comes Home)    6.99



   Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
//It's a goddamn shame that Black Sun had to hang it up not long after their installment in this series came out; the Scottish band's brand of Swans-influenced sludge had been a big fave around here, especially with their 2010 album Twilight Of The Gods. Aside from a collaboration with Theologian that had come out the same year as a limited edition cassette, this is the final word from these masters of bleak, tortured heaviness. The crushing evil sludge of their "Crawling Like A Leech" continues to mix their scenes of sexual degradation and abject nihilism with a churning industrial-tinged undercurrent seething beneath the surface, echoes of Filth-era Swans in the churning bottom-heavy riffage and haunting melodies, those layered guitars forming into something grimly beautiful as the song tromps endlessly into the void, a militaristic lust-driven death march into oblivion. On the other side, we get those Finnish noise rock thugs Throat sluggin' us with another blast of their Am Rep-on-steroids clank and crush, via the howling discordant violence of "Anal Paranoid", welding their trademark noisy hysteria to a massive earthshaking sludge riff amid all kinds of clanging harmonics. Total crushing ugliness.


BLEEDEAD   Mustma Dorcheme   CD   (Gore House Productions)    8.99



   This has got to be one of the craziest sounding Japanese death metal bands I've come across. Nagoya-based Bleedead came out of nowhere earlier this year with their debut release Mustma Dorcheme, released by the US label Gore House Productions, and their completely nutzoid tech-death sticks out like a big fat throbbing smashed thumb from the sort of brutal gore-obsessed death metal that the label is known for. Not that Bleedead isn't as infatuated with the scenes of bloody carnage and fleshtorn horror as their labelmates Stages Of Decomposition and Cerebral Engorgement, but they wrap their gore-soaked visions in one of the most insanely crushing and confusional death metal assaults I've heard in ages. This five song, eleven minute EP will seriously scramble your brain.
    Combining complex, discordant riffage and monstrous doom-laden breakdowns with bat-shit bass solos, an almost mechanized drum performance, and a singer who's voice shifts between totally inhuman pig-squeals and an unsettling guttural gasp that gets stretched out into weird sheets of ghastly drone, Bleedead end up taking their tech-death sound into wholly alien territory. Kamada Tomohiro's rigid, precise drumming and hyperspeed blastbeats sometimes give Bleedead's sound a vaguely industrial feel, but the sudden eruptions of shredding bass guitar solos that are scattered all throughout their music sound like something that could have come off of of a modern prog/jazz recording. And when these guys suddenly drop gear into one of their grueling slower dirges, it's just ridiculously heavy. Trying to discern any traditional song structures amongst all of this ultra-violent, cyclonic riff-salad would be futile, and there's almost nothing in the way of memorable riffs or hooks in Bleedead's music, but the sheer brutality and off-kilter complexity that these kids exhibit makes this one of the weirdest, coolest albums of outré death metal that I've picked up this year. If you're into the addicted to the more bizarro fringes of brutal death metal inhabited by the likes of Wormed, Orchdiectomy, Dripping, Devast, and Terminally Your Aborted Ghost, I'm betting that Bleedead's convoluted tech-death insanity is going to be right up your plasma-splattered alley.
Track Samples:
Sample : ˙ţ-˙U˙S˙T˙M˙A˙0$˙O˙R˙C˙H˙E˙M˙E˙
Sample : ˙ţë]€•ˇ_ —O
Sample : ˙ţ)YâSň–



BOAR   You're All Lame Fucks   5" VINYL   (Breaching Static)    6.50













BODY, THE ( + HAXAN CLOAK )   I Shall Die Here   CD   (RVNG Intl.)    13.98











Track Samples:
Sample : To Carry the Seeds of Death Within Me
Sample : The Night Knows No Dawn
Sample : Our Souls Were Clean



BODY, THE ( + HAXAN CLOAK )   I Shall Die Here   LP   (RVNG Intl.)    16.98











Track Samples:
Sample : To Carry the Seeds of Death Within Me
Sample : The Night Knows No Dawn
Sample : Our Souls Were Clean



BONG   Live At Roadburn 2010   CD   (Burning World)    14.98



   Finally got this monstrous slab of psychedelic dronecrush back in stock. It's one of the earlier live albums from British narco-psych heavies Bong, featuring massive live renditions of tracks off of their self-titled debut and their Beyond Ancient Space album, "Onward To Perdondaris" and "Wizards Of Krull". The recording was taken from their performance at the 2010 Roadburn Festival, where they unleashed their floor-rattling drone rituals and sprawling sludge jams on what sounds like a small but very enthusiastic gang of amplifier-drone junkies.
   If you already have those albums, you know what to expect: epic, bleary-eyed drone-jams that stretch out for a half hour or more, the music imbued with a strong Indian classical influence, the first track birthed from a murky haze of pulsating bass and soporific sitar and deranged slow-motion blues licks, a thick fog of druggy delirium and endless delay that sprawls out across the whole first half of the disc. A deep dramatic male voice enters in over all of the stoned noodling and low-end rumble, reciting a brief bit of mumbo jumbo seemingly read out of an ancient issue of Weird Tales right before the whole band drops into the massive intoxicated groove that proceeds to dominate the rest of the song. And from there, the first half of their set spreads out into an ever-expanding ocean of drugged-out psychdrone and meandering sitar shimmer, a vast mind-melting dronescape of rumbling bass and slow-motion drumming that continues to struggle to accelerate against that inescapable opiate fog. Creepy liturgical chanting drifts in out of the shadows, for a brief moment resembling some weird cross between Jocelyn Pook's "Masked Ball" and Electric Wizard's utterly wasted and pitch-black Sabbathian crawl. That flows right into "Wizards" on a wave of black cosmic sludge, stretching out the original into an even more spacious and sinister sprawl of sitar-flecked improvised doom that eventually gives way to a monstrous motorik groove, a colossal krautrock-like propulsion that is considerably more driving than the original album version, and is in fact probably the most "rocking" thing I've ever heard from Bong.
    Like everything else that these guys do, this stuff will bore the pants off of more ADD-afflicted listeners, but if you've got a thing for the slowest, heaviest strains of zonked-out black psychedelia, Bong are undoubtedly one of the best, dragging the most droning forms of Hawkwindian cosmic sludge down into a dim, dank abyss of Sunn-like death ragas and blood-cult ceremonies. And like most of the other Roadburn live albums that I've picked up, it's dressed up in a striking digipack package that features artwork and graphic design from Mories of Gnaw Their Tongues / Cloak Of Altering / Aderlating / Mors Sonat infamy.
Track Samples:
Sample : Wizards of Krull
Sample : Onward to Perdondaris



BOSWELL, SIMON   Hardware OST   2 x LP   (Flick Records)    42.00













BROKEN CROSS   Secret Destruction   7" PICTURE DISC   (Apocalyptic Visions)    5.99



   Finally, the follow-up to that killer debut 7" that this weirdo Swedish metallic punk outfit put out last year on Holy Terror, the label run by Integrity frontman Dwid (who also handled the sleeve design for this record). This latest slab of demonic metalpunk from Broken Cross delivers another four tracks of vicious, mind-bending blackened hardcore, still steeped in that strange mixture of catchy metallic riffage and fucked-up low-fi weirdness that made the band's Anti Human Life one of my favorite 7"s to surface on the Holy Terror imprint. It's just as catchy as the previous material, mixing warped G.I.S.M.-esque metallic punk and soaring heavy metal solos with those bizarre growling, slobbering vocals that are run through a cloud of delay and echo effects, the vocals a layered mess of weirdo monotone speak-sing and froglike croaks and other, more inhuman utterances, which combined with the crazy delay abuse that the band employs gives this stuff a decidedly psychedelic feel. All of these songs are catchy, anthemic blasts, "Temple Of Violation" and "Justice Squad" all ripping mid-tempo blasts of aggression, smeared in spacey effects and the effluvium of various malfunctioning loop pedals; there's also some of that bizarre quasi-industrial sound that the first EP had, via the slurred militant stomp of "Assassin's Anthem", which blends a strange almost industrial feel with a guitar lead that sounds like if was lifted right off of the score to Phantasm, a steady pounding clanking rhythm repeating endlessly beneath that eerie melody and sheets of grinding distorted noise. And the closer "Secret Destruction" sounds like mid-90's era Integrity slathered in an extra heavy dose of trippy effects and low-fi percussive stomp, and infested with a legion of demonic voices all raving and gnashing their teeth at the same time. I seriously can't get enough of this band.
Track Samples:
Sample : Secret Destruction
Sample : Assassin's Anthem
Sample : Temple of Violation



BURNING LOVE / FIGHT AMP   The Body / Shallow Grave   7" VINYL   (Hell Comes Home)    6.99



   Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
    This sixth entry in Hell Comes Home's 7" series features alternate versions of album tracks from Canadian punk outfit Burning Love, the current band from Chris Colohan of Cursed / Left For Dead / Ruination, teamed up with one of the best neo-noise rock outfits out there, Philly's Fight Amp. Those guys are on of my favorite current bands in this field, bringing an added level of ferocity and metallic crunch to their Am Rep-influenced sound; you can tell these guys have spent an inordinate amount of time blasting out the Dope-Guns-'N-Fucking In The Streets series on whatever rundown stereo they've got sparking away in the bowels of some inner city gutter fortress, but they've filtered those influences into something much heavier.
    But Burning Love are up first, with a really impressive performance of their own. The gorgeous weeping of a lap steel guitar starts "The Body", that dreamy opening washing over you just as the band suddenly launches into their burly blazing rock, sounding like a more aggressive, punkier Kyuss to my ears, all crushing desert rock groove and sludgy powerchord crunch fused to Colohan's gruff singing and the ringing melodic guitars; dunno why I've been snoozing on this band up until now, but this song is pretty rippin', rocking and furious but with a stoned heaviness that fans of the aforementioned Kyuss, Fu Manchu and even Goatsnake would probably find fairly irresistible.
    It gets substantially more aggro over on the Fight Amp side, their "Shallow Grave" a downtuned noise rock crusher in the band's trademark sludgy style, channeling the massive mean-spirited churn of bands like Unsane and Melvins into a more crazed, fast-paced assault, sinister dissonant guitars and gluey riffs grinding out over the off-kilter angular grooves that the rhythm section hammers out. Ugly, ugly stuff that's not without a certain level of catchiness.


CADAVER IN DRAG   Breaking And Entering   CASSETTE   (Husk Records)    5.98



   The final full-length release from this ramshackle psychedelic noise rock outfit out of Kentucky, which featured Josh Lay from the primitive, low-fi black metal project Glass Coffin. Released as a super-limited pro-manufactured cassette, Breaking And Entering was recorded back in 2009 but only finally surfaced sometime in the past year, the first new batch of stuff I'd heard in ages from this cult Midwestern outfit; this stuff is still as blown-out and ugly as their older releases, but when this tape kicks off, it's with a huge motorik groove that sends this into an unexpectedly krautrocky direction, a discordant hypno-boogie that circles endlessly throughout the track. Almost like a more wretched and wrecked low-fi, no-wave-tinged version of Circle or Religious Knives, perhaps, this pulsating tick-tock psych groove is smeared with warbling keyboard drones and jangling atonal chords, slowly evolving into that shambling, heavy-lidded motorik trance as it stretches out for more than thirteen minutes. Pretty killer, but from there the music starts to more closely resemble the mutant sludge-metal that I remember from their Raw Child album.
    The rest of the tape is way more deformed, from shambling brain-damaged noise-punk dirges that resemble a much more discordant and deranged Flipper wandering aimlessly through a thick fog of random psychedelic guitar splutter, bumbling free-jazz horns and gales of howling feedback; to waves of blown-out bass-heavy speakerbuzz and Skullflowery amplifier destruction that undulate over trippy, sky-streaking electronics; to blasts of skull-warping kosmische murk; throbbing, charred power electronics, and violent blasts of snarling noise rock, rabid pig-fuck assaults that unravel into squealing, squawking dirges infested with damaged horn blasts, spastic drumming, gluey riffage, and gobs of wah-drenched guitar noise that eventually lead the song out into an almost Hawkwindian psych-rock finale. Quite a curtain call from this cadre of cacophonous creeps! Limited to one hundred copies.
Track Samples:
Sample : Taking A Ride
Sample : Buy A Gun
Sample : Died In His Sleep



CARPATHIAN FOREST   Black Shining Leather (Super Jewel Case Edition)   CD   (Peaceville)    12.98



We now have the European "super jewel box" version of this pervo black metal classic in stock...
Carpathian Forest have long been one of my favorite of all of the Norwegian black metal outfits, a gang of frost-encrusted perverts and provocateurs whose music has often straddled the most barbaric sounds of raw second wave black metal and an demented disposition towards experimentation that would litter their demos and albums with everything from icy kosmische electronic soundscapes to the appearance of crazed darkjazz saxophones to covers of classic early 80s post-punk. From their early, more primitive efforts that were heavily influenced by the sludgy blackened heaviness of Hellhammer and Celtic Frost to their more recent, offbeat black metal hallucinations, the music of Carpathian Forest has been consistently hateful, savage, and adventurous, an instant recipe for adulation here at C-Blast. Several of the band's older titles have recently been reissued on vinyl by their current label Peaceville, which led me to track down both those and a number of assorted other Carpathian Forest releases for inclusion in the C-Blast shop; this is all vicious stuff, a sludgy and hateful black metal assault laced with a unique strain of Nordic weirdness, presented to you for further investigation...
Now reissued in a new 2013 vinyl edition on 180 gram wax (and back in stock on CD, reissued a while back by Peaceville in digipack packaging), Carpathian Forest's 1998 debut album Black Shining Leather is where things really started to get sick. Originally released through Avantgarde Music, the album blended murky samples of hardcore pornography and BDSM films along with pungent bondage imagery, and boasts an unusually heavy bass guitar presence that gave this a much heavier sound than the usual blast of Nordic frost. Leather kicks off with the lusty black ambience of the title track before hurtling into the initial blast of raw, barbaric black metal, the song rife with savage thrash riffs and some wicked tempo changes; when these guys suddenly downshift from their ripping fast-paced thrash into one of their signature black n' roll sequences, it's absolutely ferocious. They also layer their raw ragged blackened violence with some off-kilter synthesizer sounds on this album that add a diseased, delirious atmosphere to this and subsequent songs. Tracks like "The Swordsmen" gallop and thrash through the black blizzard-visions, laced with passages of haunting kosmische synthesizer drift and shifting from there into equally eerie sounding stretches of symphonic-tinged blackness, while the likes of "Death Triumphant" plunge into slower, more doom-laden tempos and passages of anguished heaviness. The orchestral war-drums that introduce "Lunar Nights" heads into the sort of crawling, synth-smeared sludge that Carpathian Forest's demos were known for, before lurching into one of the album's most crushing passages of Wagnerian boogie. The loping black metal of "Sadomasochistic" drips with Sadeian imagery and seething bloodlust, and the band's taste for electronic synthcreep emerges again on "Lupus", a short piece of sleek neon-tinged synthesizer music laced with soft malevolent whispers and swirling horror movie atmospherics that start to edge into Goblin territory. More black n' roll terror and crushing bass-heavy blackened blast is found on "Pierced Genitalia" and "In Silence I Observe"; on "Third Attempt", vicious Frostian crush mixes with washes of dark electronic texture a la Klaus Schulze, and haunting classical acoustic guitars lilt behind waves of crushing riffage and the kosmische keyboards that billow out over the woozy, waltzing lurch of "The Northern Hemisphere". The very last song is one of the most interesting, though: Carpathian Forest close this album with their cover of The Cure's "A Forest", and it's a surprisingly faithful rendition of this classic post-punk song; the band stays true to the structure and feel of the original while incorporating some of their strange little touches to transform this into something unique, the distorted guitar rendered into a shimmering corroded pulse in the background, the motorik throb of the drums ticktocking deep in the mix, sometimes washing out into a bleary indistinct beat as the clean, reverb-drenched guitars grow more dissonant as it slowly fades off into the dark woodland shadows...
Track Samples:
Sample : Sadomasochistic
Sample : Lunar Nights
Sample : Black Shining Leather
Sample : A Forest



CARPENTER, JOHN   The Fog (Blakes Gold Edition)   2 x LP   (Death Waltz)    35.00













CAULDRON BLACK RAM   Stalagmire   CD   (20 Buck Spin)    10.98











Track Samples:
Sample : Speliogenesis
Sample : Fork Through Pitch
Sample : A Litany of Sailors Sins



CAULDRON BLACK RAM   Stalagmire   LP   (20 Buck Spin)    19.99











Track Samples:
Sample : Speliogenesis
Sample : Fork Through Pitch
Sample : A Litany of Sailors Sins



CHARRED REMAINS AKA MAN IS THE BASTARD / AUNT MARY   Gnu / Dis-Corporation   7" VINYL   (DP)    15.98



   Just obtained a couple of copies of the long out-of-print 7" release of the Man Is The Bastard / Aunt Mary split, released back in 1992 on MITB member Eric Wood's own DP label. This is pretty rare, and came from Wood's own stash, so when the copies I have in stock are gone, that'll be the last of 'em.
   Here's my review of the recent 10" reissue of the split: A piece of extreme hardcore/noise history, the Charred Remains/Aunt Mary split was one of the only releases to come out from this pre-Man Is The Bastard band, originally released on the DP label run by MITB's Eric Wood and out of print for well over a decade. Now re-issued by Deep Six as a 10" with a printed insert and a big poster reproduction of the Ep's cover art, this slab of fucked-up heaviness and experimental chaos is ready to be rediscovered by a new generation of blastfreaks. Although all of the songs on this 10" eventually made their way onto each band's retrospective Cd collections once the original 1992 Ep went out of print and onto the wish-lists of collector scum across the globe, there's a special primal power that is unique to this particular assembly of songs, to the combination of Charred Remains/Man Is The Bastard's brutal angular blastcore and Aunt Mary's terminally filthy and abhorrent noisecore sitting side by side on wax.
   Finnish band Aunt Mary might be better known as the band that would eventually morph into the notorious power electronics outfit Bizarre Uproar, but it was also responsible for some of the craziest blurr-violence that you'll ever hear. Aunt Mary's side has just one track, "Gnu", and it's one of the most barbaric noisecore recordings that I have ever heard cut to wax. The terminally low-fi, utterly fucked-up "song" is made up of small chunks of blasting blurr that have been cut apart and then pasted back together in apparently random fashion, and is a clear precursor to the musique concrete-influenced grind techniques that John Wiese and Sissy Spacek experimented with on their debut. The track moves chaotically across the record, sudden blasts of backwards grindcore erupt outing of warped feedback drones, the music seems to constantly change direction, moving forward then backwards and back again, instantly disorienting as you try to parse the bizarre patchwork assault of mutant noisecore and electronic fuckery. Total brain-melt, and a real good time.
   The Man Is The Bastard side counters with nine songs of their brutal angular blastcore; twenty years later, it hasn't lost any of its teeth. Tracks like "Existence Decay", "Secret Surgery" and "Attempt To Damage" churn and spasm awkwardly, a weird coagulation of jagged obtuse riffs played on distorted bass guitars, relentless chirping electronics, and blasting, near-grindcore tempos. Raw and bestial, but also weirdly progressive, the band takes their extreme hardcore sound into a totally unique direction that sounds like little before or since. Totally essential for fans of both Bastard Noise and Man Is The Bastard, and a crucial piece of powerviolence extremism.


CHRISTIAN DEATH   Only Theater Of Pain (PARCHMENT COVER)   CASSETTE   (Burger Records)    7.99



Now available on limited-edition cassette!
Considered by most to be the very first American death rock album that would be highly influential on the goth sound that would develop through the 80s, Christian Death's Only Theatre Of Pain is a classic of dark, blasphemous punk that has had a significant impact on so much of the music that I listen to and that I carry here at C-Blast. It's hard to imagine black metal taking form the way it did if Christian Death had never infected the underground punk scene with their anti-Christian imagery, their fascination with death and the occult, and the perpetually dark atmosphere and confrontational attitude that exudes from Only Theatre Of Pain, and the influence of this album on bands as diverse as Sixx, Deathcharge, Nuit Noire and Soror Dolorosa is unmistakable.
Released in 1982, this death punk masterpiece has been reissued for its 20th anniversary, with new artwork and layout as well as the addition of bonus tracks, and it's essential for anyone into the darkest strains of punk and hardcore. Coming out of the Southern California hardcore scene, the band combined Adolescents axeman Rikk Agnew's offbeat guitar playing and the driving rhythm section with bizarre haunted house organ flourishes, tolling bells, and a sickly, dread-filled atmosphere that refuses to let up at any point on the album. But the band's focal point was always their flamboyant front man Rozz Williams, who brought a weird glam influence to Christian Death's morbid punk. His fey whining vocal style was totally unique and perfectly fit the disaffected, negative feel of Christian Death's music, and his bizarre, surrealist lyrics and transgressive visions read like sketches of a nightmare, rife with all kinds of perversion, necrophilia, incest and murder. These themes possess Only Theatre Of Pain from the creepy death obsession of the rocking opener "Cavity - First Communion" to the classic heavy death rock of "Figurative Theatre", "Mysterium Iniquitatis", and "Dream For Mother". There are a couple of slower songs where the band drops into a buzzsaw hardcore dirge ("Spiritual Cramp", "Resurrection - Sixth Communion"), the ghoulish black psychedelia of "Burnt Offerings" and "Prayer", and the serpentine, Middle Eastern-tinged devil vision of "Stairs - Uncertain Journey". If this album would ever have had a single, though, it probably would have been the song "Romeo's Distress", one of the catchiest songs that Christian Death ever wrote, and it feels like it could have been a huge hit for the band if only the lyrics weren't so politically incorrect. All in all though, a total classic in American deathrock and macabre punk, essential listening for anyone into the recent revival of that classic 80's goth/death punk sound.
Track Samples:
Sample : Cavity - First Communion
Sample : Dogs
Sample : Mysterium Iniquitatis



CHRISTIAN DEATH   Only Theater Of Pain (SILVER COVER)   CASSETTE   (Burger Records)    7.99



Now available on limited-edition cassette!
Considered by most to be the very first American death rock album that would be highly influential on the goth sound that would develop through the 80s, Christian Death's Only Theatre Of Pain is a classic of dark, blasphemous punk that has had a significant impact on so much of the music that I listen to and that I carry here at C-Blast. It's hard to imagine black metal taking form the way it did if Christian Death had never infected the underground punk scene with their anti-Christian imagery, their fascination with death and the occult, and the perpetually dark atmosphere and confrontational attitude that exudes from Only Theatre Of Pain, and the influence of this album on bands as diverse as Sixx, Deathcharge, Nuit Noire and Soror Dolorosa is unmistakable.
Released in 1982, this death punk masterpiece has been reissued for its 20th anniversary, with new artwork and layout as well as the addition of bonus tracks, and it's essential for anyone into the darkest strains of punk and hardcore. Coming out of the Southern California hardcore scene, the band combined Adolescents axeman Rikk Agnew's offbeat guitar playing and the driving rhythm section with bizarre haunted house organ flourishes, tolling bells, and a sickly, dread-filled atmosphere that refuses to let up at any point on the album. But the band's focal point was always their flamboyant front man Rozz Williams, who brought a weird glam influence to Christian Death's morbid punk. His fey whining vocal style was totally unique and perfectly fit the disaffected, negative feel of Christian Death's music, and his bizarre, surrealist lyrics and transgressive visions read like sketches of a nightmare, rife with all kinds of perversion, necrophilia, incest and murder. These themes possess Only Theatre Of Pain from the creepy death obsession of the rocking opener "Cavity - First Communion" to the classic heavy death rock of "Figurative Theatre", "Mysterium Iniquitatis", and "Dream For Mother". There are a couple of slower songs where the band drops into a buzzsaw hardcore dirge ("Spiritual Cramp", "Resurrection - Sixth Communion"), the ghoulish black psychedelia of "Burnt Offerings" and "Prayer", and the serpentine, Middle Eastern-tinged devil vision of "Stairs - Uncertain Journey". If this album would ever have had a single, though, it probably would have been the song "Romeo's Distress", one of the catchiest songs that Christian Death ever wrote, and it feels like it could have been a huge hit for the band if only the lyrics weren't so politically incorrect. All in all though, a total classic in American deathrock and macabre punk, essential listening for anyone into the recent revival of that classic 80's goth/death punk sound.
Track Samples:
Sample : Cavity - First Communion
Sample : Dogs
Sample : Mysterium Iniquitatis



CHRISTIAN DEATH   The Edward Colver Edition   7" VINYL   (Frontier)    13.98



   Initially released as a 2014 Record Store Day exclusive, we've snagged some of the remaining copies of this cool Christian Death 7", which will be of twofold interest to fans of the influential death rockers: not only does this 7" feature vintage, never-before-seen live photos of Christian Death taken by punk photographer Edward Colver, but it also contains the same material as the bonus 7" that came with the limited edition version of the 30th anniversary LP reissue of Only Theatre Of Pain, an alternative version of "Cavity - First Communion" and the surrealistic, experimental nightmare soundscape "The Lord's Prayer".
    Couple of things I learned from listening to this 7": first, the a-side sort of sounds like Celtic Frost if you accidentally play it at 33 rpm; second, Edward Colver was one of the finest photojournalists on the frontlines of the early LA hardcore scene. Never paid much attention to his name before, but after I did a little digging, I realized that this guy was responsible for the photos that would become some of the most iconic album covers in SoCal hardcore history; it was his imagery that appeared on the covers of such classics as Black Flag's Damaged, Circle Jerks's Group Sex and Wild In The Streets, T.S.O.L.'s Dance With Me, 45 Grave's Sleep In Safety, and a shitload of other punk and hardcore records from that era. His black and white images of Christian Death that are featured on this 7" are strikingly dramatic, and are prominently featured on the high-quality gatefold jacket that the record comes in. There's also a large 18" by 24" foldout poster included in the package, and the record comes on white vinyl, the whole thing limited to one pressing of 2,500 copies.


CHRISTIAN DEATH   Only Theater Of Pain (GOLD COVER)   CASSETTE   (Burger Records)    7.99



Now available on limited-edition cassette!
Considered by most to be the very first American death rock album that would be highly influential on the goth sound that would develop through the 80s, Christian Death's Only Theatre Of Pain is a classic of dark, blasphemous punk that has had a significant impact on so much of the music that I listen to and that I carry here at C-Blast. It's hard to imagine black metal taking form the way it did if Christian Death had never infected the underground punk scene with their anti-Christian imagery, their fascination with death and the occult, and the perpetually dark atmosphere and confrontational attitude that exudes from Only Theatre Of Pain, and the influence of this album on bands as diverse as Sixx, Deathcharge, Nuit Noire and Soror Dolorosa is unmistakable.
Released in 1982, this death punk masterpiece has been reissued for its 20th anniversary, with new artwork and layout as well as the addition of bonus tracks, and it's essential for anyone into the darkest strains of punk and hardcore. Coming out of the Southern California hardcore scene, the band combined Adolescents axeman Rikk Agnew's offbeat guitar playing and the driving rhythm section with bizarre haunted house organ flourishes, tolling bells, and a sickly, dread-filled atmosphere that refuses to let up at any point on the album. But the band's focal point was always their flamboyant front man Rozz Williams, who brought a weird glam influence to Christian Death's morbid punk. His fey whining vocal style was totally unique and perfectly fit the disaffected, negative feel of Christian Death's music, and his bizarre, surrealist lyrics and transgressive visions read like sketches of a nightmare, rife with all kinds of perversion, necrophilia, incest and murder. These themes possess Only Theatre Of Pain from the creepy death obsession of the rocking opener "Cavity - First Communion" to the classic heavy death rock of "Figurative Theatre", "Mysterium Iniquitatis", and "Dream For Mother". There are a couple of slower songs where the band drops into a buzzsaw hardcore dirge ("Spiritual Cramp", "Resurrection - Sixth Communion"), the ghoulish black psychedelia of "Burnt Offerings" and "Prayer", and the serpentine, Middle Eastern-tinged devil vision of "Stairs - Uncertain Journey". If this album would ever have had a single, though, it probably would have been the song "Romeo's Distress", one of the catchiest songs that Christian Death ever wrote, and it feels like it could have been a huge hit for the band if only the lyrics weren't so politically incorrect. All in all though, a total classic in American deathrock and macabre punk, essential listening for anyone into the recent revival of that classic 80's goth/death punk sound.
Track Samples:
Sample : Cavity - First Communion
Sample : Dogs
Sample : Mysterium Iniquitatis



CLAY RENDERING   Waters Above The Firmament   12"   (Hospital Productions)    19.98













COFFINWORM / FISTULA   Instant Death Syndrome / Drugs And Deception   7" VINYL   (Hell Comes Home)    6.99



   Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
//No doubt due to my general bad attitude, the Coffinworm / Fistula split is my favorite entry in this whole series. It's certainly the most vicious, featuring one new song each from blackened sludge fiends Coffinworm and Ohio bruisers Fistula; Coffinworm's "Instant Death Syndrome" is first, crushing you with grueling blackened sludge, an assault of crawling heaviness that erupts into chaotic blastbeats and blackened minor key creepiness, a rumbling black mass of down-tuned horror, scathing screams bleeding into monstrous roars, the band's hateful lumbering power encrusted in black filth and swallowing all light, a cruel deathdirge aimed straight into the abyss. And as if things couldn't get any bleaker, then Fistula show up to really ruin your day with their grinding narco-anthem "Drugs And Deception", putrid screams straining over the band's creeping Frostian sludge, the despair and disgust radiating off the record in waves of black energy, until it suddenly shifts into an epic, almost Sabbathian riff in the second half that'll leave you pounding your shaking, DT-addled fist in the air.


COMPANY FUCK / SANTISIMA VIRGEN MARIA   split   7" VINYL   (Omega Warfare)    9.99



   We've picked up all three of the initial releases from UK breakcore label Omega Warfare; much like fellow Brits Legs Akimbo, the Omega Warfare aesthetic is entrenched in the most violent and extreme fringes of breakcore / speedcore, and their offerings from the likes of Company Fuck, Yudlugar, are Dj Skull Vomit all deliver insane levels of electronic chaos. If there's a dancefloor clamoring for this stuff, it's probably somewhere within the seventh circle of Hell.
    The second 7" from Omega Warfare features Australian mashup maniac Scott Sinclair under his Company Fuck alias, teamed up with the mind-melting Frankenstitched breakcore of Spain's Santisima Virgen Maria. Company Fuck serves up three tracks of fragmented experimental speedcore ("After Afterlife Disco", "The Wordless Utterings Of The All-Ignoring Shit-God Are Just Wordless Utterings", "Metacarpal Vividness Is Still All You'll Find") that mash together skull-splintering splittercore-style noise and extreme distorted drones with a hellscape of howling voices, splattered samples, clipped song fragments, violent tape carnage, random bleeping chaos, pulsating low-end electronics, and other shredded sonic detritus into a nightmarish pandemonium of mutant blast-collage and hellish digi-grind that at some points sort of resembles a cracked-out Shitmat being chopped up, devoured and vomited back up into a Technicolor stew of plunderphonic violence. To be honest, I started to get the feeling that this guy's stuff is a heluva lot closer to the crazed noisecore delirium of bands like The Gerogerigegege or Hanatarash, albeit filtered through the maniacal speedcore extremism of the Grindcore Karaoke / Legs Akimbo speedcore scene.
    Over on the other side, the three tracks from Santisima Virgen Maria are considerably easier on the ears, though it's still plenty chaotic - hewing even closer to that Shitmat style of splattery, manic mash-up, these tracks blend together a tongue-in-cheek humor with massive skittering breaks and old school electro samples with spastic tom patterns, and lots of frantic chopped up rhythmic spasms, shifting from Latin street grooves to random profanity, classic doo-wop to big brass fanfares to mutant funk to migraine-inducing gabber raveups and 5,000 mph splittertronik blasts in the space of a minute. Abrasive as fuck.


DAEMONIA   Zombi / Dawn Of The Dead   LP   (Black Widow)    35.00













DEAD CONGREGATION   Promulgation Of The Fall   CD   (Profound Lore)    13.98











Track Samples:
Sample : Schisma
Sample : Promulgation of the Fall
Sample : Only Ashes Remain



DEAD ELEPHANTS / RABBITS   Carne De Perro / War, Oh My   7" VINYL   (Hell Comes Home)    6.99



    Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
      The reigning masters of sinister, metallic noise rock and experimental pigfuck in Italy, Dead Elephants kick off the twelfth entry in this series with the infectious dark noise rock of "Carne De Perro", a long nearly nine minute blast of angular sludgy metallic heaviness, Am Rep-tinged crunch and downtuned crush merging together over the band's surging, fast-paced assault, the constantly shifting riffage wrapped around lurching bass-driven grooves and frantic time signatures, like an ADD-addled Unsane but with that distinct melodic streak that makes so much of Dead Elephant's music some of the catchiest modern noise rock out there; half through though, and the song suddenly shifts into a minimal cardiac pulse, a hushed whirring dronescape that takes over the track, slowly leading into fragmented drumming and spurts of oscillator whir, the second half shifting into darker, more frayed, abstract territory.
      That's followed by "War, Oh My" from Portland sludge-punks Rabbits, who put out that crushing album of lagamorphic lurch Lower Forms on Relapse back in 2011; their side is more of their bludgeoning, Melvins-esque heaviness, ugly angular guitar sludge and caveman drumming colliding with the singer's wretched yowl, smashing through this gluey riffcrush before suddenly transforming into an almost Neubauten-like industrial stomp at the very end. Great stuff.


DEAD IN THE MANGER   Transience   12"   (20 Buck Spin)    16.98













DEATHSPELL OMEGA   Drought   LP   (Norma.Evangelium.Diaboli)    22.98



We now have the Norma Evangelium Diaboli vinyl release of Drought in stock.
We've reached a point where it's arguable that Deathspell Omega can even be called black metal. Not that I'm complaining - for the past decade, this French outfit has evolved from relatively straightforward Darkthrone worship into a vastly more experimental and cerebral approach comprised of themes of metaphysical Satanism, a vicious discordant strain of black metal, and pitch-black surrealist undertones that coursed through their often sprawling multi-part epics. Their mid-oughts albums are inarguably some of the most interesting and experimental recordings to come out of the black metal underground. More recently, this sound has further mutated into something that half the time sounds more like some infernal math-rock outfit playing at hyper-aggressive levels of speed and volume or a blackened, hellbound variant on the evil prog rock of bands like Univers Zero and Les Morts Vont Vite-era Shub-Niggurath; there's little at this point in their career that even resembles anything else in the French black metal underground, and there's certainly nothing here at all remotely like traditional BM.
For anyone who thought that the last Deathspell Omega album Paracletus was a little too straightforward compared to their previous stuff will no doubt appreciate the sound of Drought, a recent six-song Ep that sounds to me like the 'mathiest' stuff they've done in years, with long stretches of music that go into a much more chaotic, almost noise-rock like blast of angular aggression, or sinks into stark, brooding jangle. The opening song "Salowe Vision" begins with the sound of somber clean guitars, strummed chords ringing out in slow motion over somewhat jazzy melodic shapes and the spacious, slow-core like drumming that faintly resembles a more dour take on Codeine's sound. This slow-drifting, lugubrious crawl through clouds of reverb later unfolds into that sharp-edged discordant math-metal until the band slams into the total thrash of "Fiery Serpents"; maniacal blastbeats and bizarre jagged rhythms jut from a storm of skronky riffing and guttural vocals, a heavy Greg Ginn-esque vibe creeping through the guitarist's atonal riffs once again. The blasting frenzy of "Scorpions & Drought" and "Abrasive Swirling Murk" are where Deathspell get the closest to full-on black metal, lots of killer frostbitten tremolo riffs and blastbeats, but even here their blackened violence is warped into something more dissonant and complex, especially on the crazed "Murk" where the angular metal transforms into a rather majestic blast of regal math rock. That sort of dark mathy heaviness is also apparent on the closer "The Crackled Book of Life", a tangle of eerie riffing and complex atonal melodies that wrap themselves around lurching bass-heavy dirges and strange ghostly ambience, the sudden appearance of muted choir voices rising in delirious liturgical hymn.
Despite its short length, this is another engrossing piece of contorted blackness from Deathspell, no less heady and malevolent than their previous works despite featuring some of the bands more prog-rock informed arrangements thus far. The liturgical atmosphere remains alongside the band's willfully arcane philosophies, even as the music unfolds into unexpected (and quite un-BM-like) new forms. Features really striking, nightmarish cover artwork.
Track Samples:
Sample : Salowe Vision
Sample : Scorpions & Drought
Sample : The Crackled Book of Life



DELIA, JOE   Ms. 45 OST   LP   (Death Waltz)    29.98













DEPHOSPHORUS / GREAT FALLS   Stargazing And Violence / Everything But Lightning   7" VINYL   (Hell Comes Home)    6.99



   Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
   The third installment matches Greek grindcore outfit Dephosphorus with Seattle crushers Great Falls (featuring Demian Johnston of BLSPHM) for one of the more diverse splits in the series. Dephosphorus detonate another "astro-grind" blastbomb with "Stargazing And Violence", angular staccato crunch and blackened tremolo riffing swarming around the tightened precision of the rhythm section, bringing atmospheric almost black metal-like guitar textures to their cold, rigid blast-attack; as with their albums, the band delivers compelling, progressive grindcore that's not too far removed from the dissonant brutality of bands like Antigama and Nyia.
    On the other side, Great Falls counters with the surprisingly blasting "Everything But Lightning", an Am Rep-tinged blast of chaotic metallic heaviness with sickening discordant riffage, constantly shifting rhythmic violence and some superbly demented singing thar brings an almost David Yow-esque vibe to this vicious hybrid of discordant noise rock and grinding metallic crush. I was left scrambling for their latest full length album that just came out on Hell Comes Home within seconds of the needle leaving the wax. Powerful stuff that evokes much of the chaotic fury found in the previous bands these guys have been in (Playing Enemy, Kiss It Goodbye, 3D House Of Beef).


DEPRIVATION   I Don't Want To Grow Up Here   CASSETTE   (Diazepam)    8.98



   More grim Italian power electronics from the increasingly grimy label Diazepam. Deprivation's I Don't Want To Grow Up Here is a nine-song album of mutated electronics from this obscure outfit, dangerously packaged in a blue cardstock sleeve encased in metal wire; it definitely needs to be handled with a certain amount of care. Inspired by a series of harrowing memoirs written by mental patients that were published in the 1970's, Deprivation's tape opens with a blast of distorted and warped synthcreep that sounds like a funeral dirge being played through ancient, massively distorted Casio keyboards, the sound reverberating off the walls of some damp underground chamber. It's wonderfully sparse and atmospheric and drenched in screeching feedback, the melodies are mournful and gorgeous, almost like some massively distressed ancient kosmische music infested with bursts of PE-style abrasion.
    That's followed by a blast of garbled electronics and squealing amplifier hate that quickly assembles into a putrid, monstrous rhythmic churn, a filthy, yet oddly catchy blast of fetid low-fi power electronics. That whiff of classic Italian filth-tronics a la Atrax Morgue, Murder Corporation, Maurizio Bianchi and Mauthausen Orchestra continues to permeate the rest of the tape, introducing insanely echoing vocals that scream across a wasteland of charred electronics and chaotic scrap-metal violence, the sounds often morphing into squealing, queasy industrial loops, while other tracks stumble through murky low-fi fogbanks of sputtering electronics and billowing distorted muck, throbbing blown-out synths in the vein of Mauthausen Orchestra creeping through the black haze, vicious lashings of feedback and swarming clouds of black synth-drone turning this into a real horror show by the end, those echoing maniacal screams seemingly enshrouded in a massive swarm of black flies, scraping metal and sickening deep pulsations. It all adds up to some superbly nasty and pestilent power electronics, and fans of the kind of stuff that used to come out on the infamous Slaughter Productions label in particular will be drawn to Deprivation's old-school psychotic din.


DJ SKULL VOMIT / LADYSCRAPER   split   7" VINYL   (Omega Warfare)    9.99



   We've picked up all three of the initial releases from UK breakcore label Omega Warfare; much like fellow Brits Legs Akimbo, the Omega Warfare aesthetic is entrenched in the most violent and extreme fringes of breakcore / speedcore, and their offerings from the likes of Company Fuck, Yudlugar, are Dj Skull Vomit all deliver insane levels of electronic chaos. If there's a dancefloor clamoring for this stuff, it's probably somewhere within the seventh circle of Hell.
    I'd like to think that in some alternate universe, this is the sort of stuff that Earache Records is putting out, rather than the bluesy hard rock that seems to be the label's focus as of late. Remember when the esteemed grindcore label suddenly became obsessed with hardcore techno? This is where that should have led. Describing the music on the DJ Skull Vomit / Ladyscraper split as "breakcore" just scratches the surface of this vicious little platter. Both artists are alumni of Agoraphobic Nosebleed frontman Jay Randall's Grindcore Karaoke net-label, which should give you an inkling of how abrasive this shit is. First is Belgium's Dj Skull Vomit, one of the guys from grindcore/breakcore fusionists Eustachian; his "Bell Tower Massacre" combines monstrous breakcore with punishing death metal riffage to create a violently pounding sonic assault that soon drops into a sickening bass-heavy rhythmic battery. It's definitely reminiscent of his work in Eustachian as well as the death metal-obsessed breakcore of Bong-Ra, while breaking out into even more destructive spasms of grinding blastbeats and staccato techno violence; this shit is intensely heavy and frenetic and complex, at once informed by classic Gothenburg-stlye death and the jackhammer battery of Bloody Fist, layered in swirling electronics and fractured glitchery. I fucking love this stuff. After that, UK breakcore artist Ladyscraper belts out his own signature brand of violent breakcore with "Knob Snot", combining Shitmat-influenced break-chaos and metallic synth-riffs with a relentlessly pounding percussive assault for an ample match with Skull Vomit's metallic savagery on the previous side. Recommended.


DONATI, ROBERTO   Cannibal Ferox OST   LP   (One Way Static)    24.99



   Already sold out from the source, One Way Static's latest entry into the field of horror soundtrack reissues is a stunning new edition of Donati's score to the all-time chunkblower classic Cannibal Ferox, featuring additional material that wasn't available on previous releases of the score. Released in the US under the alternate title Make Them Die Slowly, this 1981 flick from famed director Umberto Lenzi is one of the sickest to come out of the Italian "cannibal cycle" of the late 1970s/early 80s, a cavalcade of barbarism, butchery, mutilation, torture, castration and more; the flesh-eating on display is really only the tip of the iceberg. People talk a big game about Deodato's infamous Cannibal Holocaust and it's generally considered to be the final word in cannibal horror, but this was always my favorite of all of the Amazon-based meateater epics. Maybe it was the big box and the infamous marketing campaign that trumpeted the movie as being "banned in over 31 countries", but this one always felt more mean-spirited than the other pastaland cannibal flicks, not to mention featuring the presence of the great Giovanni Lombardo Radice (The House On The Edge Of The Park, City Of The Living Dead, The Church), possibly the most abused actor in Italian horror from the era; this guy has died horribly on screen more times than I can count.
    Anyways, Donati created quite the score for Lenzi's charnel orgy, a suitably demented soundtrack that brings together Latin percussion, tribal drumming, ultra-sinister synth-drenched prog rock, goofy marching band music for the scenes set in New York City, and gobs of sweaty disco. The main title theme utilizes brass sections and synthesizers for a bit of classic, spacey 70's era disco-laced funk, but the much more ominous "Cannibal Ferox Theme" is heavily reminiscent of Goblin's brand of synth-drenched spookprog, creepy chorales howling over a killer combo of feverish tribal drumming, droning bass guitar and trippy synth sounds. The other tracks featured here range from bits of eerie, tropical flavored sex-jazz, bouts of creepy space rock smeared in brass horns, with the influence of Goblin's work on Suspiria and Zombi seeping into many of the more synth-heavy tracks, like the amazing doom-laden prog of "Piranhas". The best and most memorable parts of Donati's score are the mournful deathmarches that are scattered throughout the latter half of the soundtrack, tracks like "Kettle Of Doom", "Evil Rising" and "Man Hunting" blending a sickening, funereal atmosphere with bursts of airy woodwinds, crunchy hard rock powerchords, and searing fuzz-drenched electric guitar that bring a nasty, nauseating vibe unique to this film. A classic carnographic soundtrack.
    This reissue of Donati's Cannibal Ferox is presented both as a gorgeous deluxe gatefold vinyl edition (with extensive liner notes from the composer, cast and crew) limited to one thousand copies, and on limited-edition cassette tape which also includes a bunch of killer vintage radio spots and trailers, including a batshit crazy Japanese trailer for the film.


DONATI, ROBERTO   Cannibal Ferox OST   CASSETTE   (One Way Static)    9.99



   Already sold out from the source, One Way Static's latest entry into the field of horror soundtrack reissues is a stunning new edition of Donati's score to the all-time chunkblower classic Cannibal Ferox, featuring additional material that wasn't available on previous releases of the score. Released in the US under the alternate title Make Them Die Slowly, this 1981 flick from famed director Umberto Lenzi is one of the sickest to come out of the Italian "cannibal cycle" of the late 1970s/early 80s, a cavalcade of barbarism, butchery, mutilation, torture, castration and more; the flesh-eating on display is really only the tip of the iceberg. People talk a big game about Deodato's infamous Cannibal Holocaust and it's generally considered to be the final word in cannibal horror, but this was always my favorite of all of the Amazon-based meateater epics. Maybe it was the big box and the infamous marketing campaign that trumpeted the movie as being "banned in over 31 countries", but this one always felt more mean-spirited than the other pastaland cannibal flicks, not to mention featuring the presence of the great Giovanni Lombardo Radice (The House On The Edge Of The Park, City Of The Living Dead, The Church), possibly the most abused actor in Italian horror from the era; this guy has died horribly on screen more times than I can count.
    Anyways, Donati created quite the score for Lenzi's charnel orgy, a suitably demented soundtrack that brings together Latin percussion, tribal drumming, ultra-sinister synth-drenched prog rock, goofy marching band music for the scenes set in New York City, and gobs of sweaty disco. The main title theme utilizes brass sections and synthesizers for a bit of classic, spacey 70's era disco-laced funk, but the much more ominous "Cannibal Ferox Theme" is heavily reminiscent of Goblin's brand of synth-drenched spookprog, creepy chorales howling over a killer combo of feverish tribal drumming, droning bass guitar and trippy synth sounds. The other tracks featured here range from bits of eerie, tropical flavored sex-jazz, bouts of creepy space rock smeared in brass horns, with the influence of Goblin's work on Suspiria and Zombi seeping into many of the more synth-heavy tracks, like the amazing doom-laden prog of "Piranhas". The best and most memorable parts of Donati's score are the mournful deathmarches that are scattered throughout the latter half of the soundtrack, tracks like "Kettle Of Doom", "Evil Rising" and "Man Hunting" blending a sickening, funereal atmosphere with bursts of airy woodwinds, crunchy hard rock powerchords, and searing fuzz-drenched electric guitar that bring a nasty, nauseating vibe unique to this film. A classic carnographic soundtrack.
    This reissue of Donati's Cannibal Ferox is presented both as a gorgeous deluxe gatefold vinyl edition (with extensive liner notes from the composer, cast and crew) limited to one thousand copies, and on limited-edition cassette tape which also includes a bunch of killer vintage radio spots and trailers, including a batshit crazy Japanese trailer for the film.


DRASSER, CODY   Vomitous Mass   ART BOOK - SLIM   (Crucial Blaze)    6.98



Like many of the obscure underground artists that I try to document here at Crucial Blast, I first stumbled across Cody Spence Drasser's grisly surrealistic artwork by way of his musical projects. I had been digging around online for information on his releases a while back, as I wanted to stock a couple of ‘em in the Crucial Blast catalog,; in recent years, Drasser has been busy with the dark ambient/noise project Caulbearer, which combines elements of classic isolationist ambient with bursts of incendiary electronics and dark kosmische drones to create expansive sound-fields of blackened industrial drift. It was then, while looking for more information on Drasser’s recordings, that I came across a website dedicated specifically to the artwork that he has been producing over the past two decades. A couple of clicks later, and I found myself devouring a host of horrific images and tenebrous tableaux seemingly retched forth from some ghastly dreamworld. I was staring into the pulsating, chitinous black heart of the Vomitous Mass.
Long before he began floating out into the chthonic ether with Caulbearer, Drasser's involvement in the extreme music underground was born in the blood-soaked charnel pits of early 90s death metal. As the guitarist for the short-lived New York death metal band Afterbirth, Drasser helped to produce a couple of demos of weird, filthy sewercrush during the band’s brief run, including the 1994 tape Psychopathic Embryotomy. That demo would go on to gain a cult following among fans of old-school death metal for its strange, murky atmosphere and ultra-heavy sound, which has been acclaimed by some as a precursor to the whole "slam death" thing that would grow in popularity later in the decade with bands like Devourment and Internal Bleeding (and even lead the band to recently reform after nearly twenty years in order to record new material). And at the same time that Drasser was crunching out riffs in Afterbirth, he was also beginning to produce his own visual artwork fueled by all of that sonic carnage, developing a distinct style that seemed to be inspired by a conflux of HR Giger's surrealistic biomechanical visions, the otherworldly album art of artists like Dan Seagrave, Away and Andreas Marschall, and the more bizarre fringes of horror comics art belched forth from the bowels of late 80s magazines like Gore Shriek. Drowning his grey matter in the cacophony of early death metal, Drasser began to work under the name "Vomitous Mass Graphics", scrawling out an array of surreal, morbid images charged with raw, ultra-violent energy. These pieces had a similar look and feel as the crude abattoir fantasies that you would find splattered across many of the death metal demo covers of the day, but Drasser’s work often headed into even more bizarre realms of oneiric depravity.
Released as part of Crucial Blast’s ongoing art zine series focusing on little-known artists on the fringes of extreme metal / occult / horror / surrealism, this new publication collects much of the grotesque artwork that Drasser produced under the Vomitous Mass name between 1992 and 1999, as well as several full-color collage pieces, fragments of sketchbook ephemera, and a selection of more recent artwork. As you flip through the pages of Vomitous Mass, you’ll find detailed black ink illustrations of hideous biological mutations, visions of shambling sentient meat-heaps rendered in sickening pastel hues, furiously scribbled scenes of delirious bio-mechanical chaos, dreamlike landscapes of towering crustacean structures, a smattering of spiny death metal logos and primitive demo cover-style flesh carnage, occult sigils rendered in intricate line art, and more. It also serves as a document of Drasser’s evolution as an artist, drawing a line from his early youthful renderings of crude phantasmal violence to his later work that reveals a striking progression in both technique and imagination.
Released in a limited printing of one hundred copies, with a cut-out cover design that sort of resembles those old step-back covers found on horror paperbacks from the 1980's.


DUKATALON / RITES   Mainline / Barren   7" VINYL   (Hell Comes Home)    6.99



    Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
   Number nine in the Hell Comes Home 7" series, the Dukatalon / Rites split delivers a bulldozing dose of slowmo violence from both bands. I don't remember any of Dukatalon's other stuff sounding quite this vicious; their "Mailine" is a goddamn skull-crusher, a ferocious co-mingling of swampy Louisiana-influenced sludge and barbaric thrash metal that's centered around punishing riffage. The song alternates between a massive neck-snapping Sabbathian blooze-groove and violently droning buzzsaw crust, which leads it to the lumbering doomcrush of the finale, as the Israeli band slowly ejects themselves into the outer atmosphere, blasting their black saurian sludge with a storm of spaced-out, echoing feedback. A killer song that makes me want to go dig up that album they did on Relapse and listen to it again right now.
    First time hearing the Irish band Rites, but they acquit themselves nicely with their brand of barbarous metallic hardcore, which on "Barren" comes off somewhere in the vicinity of bands like Buzzoven and Cavity, meshing a brutal downtuned punk attack to surges of crushing desert rock chug and descents into sludgy slow-motion dirge. Goddamn heavy, and puts off enough aggressive energy that I bet these guys fucking kill when they perform live.


DYSTOPIA   self-titled   LP   (Skuld)    16.98



Long out of print on vinyl here in the States, Dystopia's last album is back in stock via this European version on Skuld.
Dystopia's last album took so long to come out that it almost reached mythic status, but here it is, the final album from the California crustlords. Dystopia's eponymous swan song is as vicious a statement as the band has ever made. Six all new tracks plus a cover of an unreleased song from Carcinogen, the old Southern California grindcore band that Dystopia drummer Dino used to play in. Recorded between 2004 and 2005, the album is rife with apocalyptic death metal that is heavily tainted with the stench of old Earache crust and grind, with snarling, screeching vocals, awesome mid-tempo chugging riffs, blastbeats, super slow doom parts, lengthy samples that are used Southern Nihilism Front-style and layered over plodding, bass-heavy dirges, and their trademark breaks into weird, spacey psychedelic passages. These guys are one of the best crust/grind bands ever, as crushing (and misanthropic) as Eyehategod, and as whacked out and ripping as bands like Gasp and Suffering Luna (who if anything were heavily influenced by Dystopia themselves). I'm pretty sure that anyone that has been anticipating this last Dystopia album isn't going to be disappointed, as they are going out with a roar. From the infectious crushing rocking anti-junkie anthem 'Leaning With Intent To Fall' to the tweaked out electronic fuckery that ends "My Meds Aren't Working", this record is as powerful and pissed and heavy as anything else the band has done. Highly recommended.
The LP version of Dystopia comes with an oversized 6" by 6" thick full color 20-page booklet that's loaded with lyrics, photo collages, graffiti, and writings that are again much in the style of Mike William's Southern Nihilism Front album design style (a la all of Eyehategod's inserts).
Track Samples:
Sample : DYSTOPIA-self-titled
Sample : DYSTOPIA-self-titled
Sample : DYSTOPIA-self-titled



DYSTOPIA   self-titled   CD   (Life Is Abuse)    12.98



   After being out of print on CD for awhile, Dystopia's latest eponymous album is available once again from US label Life Is Abuse.
   Dystopia's last album took so long to come out that it almost reached mythic status, but here it is, the final album from the California crustlords. Dystopia's eponymous swan song is as vicious a statement as the band has ever made. Six all new tracks plus a cover of an unreleased song from Carcinogen, the old Southern California grindcore band that Dystopia drummer Dino used to play in. Recorded between 2004 and 2005, the album is rife with apocalyptic death metal that is heavily tainted with the stench of old Earache crust and grind, with snarling, screeching vocals, awesome mid-tempo chugging riffs, blastbeats, super slow doom parts, lengthy samples that are used Southern Nihilism Front-style and layered over plodding, bass-heavy dirges, and their trademark breaks into weird, spacey psychedelic passages. These guys are one of the best crust/grind bands ever, as crushing (and misanthropic) as Eyehategod, and as whacked out and ripping as bands like Gasp and Suffering Luna (who if anything were heavily influenced by Dystopia themselves). I'm pretty sure that anyone that has been anticipating this last Dystopia album isn't going to be disappointed, as they are going out with a roar. From the infectious crushing rocking anti-junkie anthem 'Leaning With Intent To Fall' to the tweaked out electronic fuckery that ends "My Meds Aren't Working", this record is as powerful and pissed and heavy as anything else the band has done. Highly recommended. Includes a thick booklet loaded with lyrics, photo collages, graffiti, and writings that are again much in the style of Mike William's Southern Nihilism Front album design style (a la all of Eyehategod's inserts).
Track Samples:
Sample : DYSTOPIA-self-titled
Sample : DYSTOPIA-self-titled
Sample : DYSTOPIA-self-titled



EARTH   The Bees Made Honey In The Lion's Skull   2 x LP   (Southern Lord)    29.98



Earth's phenomenal 2008 album The Bees Made Honey In The Lion's Skull is at last back in print on vinyl, repressed by Southern Lord for a new 2014 edition that looks pretty much identical to the first pressing: bound in a super-thick textured leather-like cover with embossed metallic gold ink, the double LP package looks like nothing less than an antique oversized Bible, a perfect design for the gorgeous, Gospel-hued glacial rock embedded in these grooves. Inside of this massive jacket are two full color sleeves that have been bound into the spine like the pages of a book, with the artwork for Bees printed on huge interior panels. Still one of the most breathtaking vinyl releases that Southern Lord has produced so far. This double LP also has an additional bonus track that is only available here, a gorgeous dose of glacial blues with horns and slide guitar drifting over languorous slowcore guitars titled "Junkyard Priest". Here's the original review for this album from back when it first came out:
It's always a big deal with a new Earth record rolls around, but for one reason or another, I never got around to listing Earth's latest album The Bees Made Honey In The Lion's Skull when it came out earlier this year. The disc is finally making it in here now since the new deluxe vinyl set for Bees is now in stock, and it's hardly a chore to sit here and tell you why I love this album so much, so here ya go in case you've missed out so far on this amazing new album of steel-cloud majesty from the legendary, influential Earth.
Ever since Earth made their big comeback in 2005 with Hex, Dylan Carlson and company have shifted ever further from the seminal dronesludge of their early albums and have moved deeper into a realm of grim, gorgeous Morricone-tinged slowcore that is arguably as heavy as anything that the band has done before. In the same way that Earth's drone-metal classic Earth 2 inspired a legion of amp worshippers to nod out against their Marshall stacks, Hex too was influential on the new crop of sludgy metal bands that have been incorporating twangy Western guitars and desolate dust-bowl atmosphere into their sound. Now with The Bees Made Honey In The Lions Skull, Earth has once again brought us an album of sun-bleached and slow-burning glacial twang, but this time around the music feels more mystical and joyous than Earth's Hex or Hibernaculum. And the album looks glorious as well, accompanied by beautifully artwork hidden behind a black textured slipcase that has the band name and the album title embossed in gold, the album cover itself bearing a gorgeous psychedelic painting from Erik Roper, with the booklet printed on thick, super-glossy paper stock. The whole thing looks fantastic and fully compliments the warm, mystical music contained on the disc.
Opening track "Omens And Portents I: The Driver" is a nine minute blast of sunlight breaking through blackness as Carlson lays down a twangy riff that cops part of the Blaster's "Dark Night" and turns it into a spacious, reverb heavy mantra, laced with the ringing colors of guest guitarist and jazz legend Bill Frisell. Slowly drifting wah tones float over the heavy, metronomic drums and gorgeous Wurlitzer keys sparkle over top; restrained feedback wells up and low amp drone rushes through the background like a river of earthquake tones. A brighter tone appears with the following song "Rise To Glory" though; a huge simple riff blossoms into tendrils of country twang and droning feedback, the piano playing that gradually joins in adding additional colors to the sound. The rest of the album is just as great, just as slow, and just as meditative. Each song, from "Engine Of Ruin" through to the title track that closes the album, evokes a stately Western gloom, the hope of daybreak over dusty, gothic American landscapes. Earth's guitars are rich and thick, their tones free of distortion but they still carry weight, filling the air alongside the stately piano and organ, sun-baked harmonics riding on thick reverberant bass lines, the instruments leaving lots of open space through which the drums move in a hypnotic, almost jazzy shuffle. Like on the previous albums, the sound of Bees is like hearing a countrified Codeine, dark and spare and massive, laced with pedal steel twang and the Gospel hues of the Hammond.
Obviously essential if you are a fan of Earth's current sound, this album is also a perfect place to begin if you haven't had a chance yet to hear their monumental, cinematic Western slowcore, It's easily turned into one of my favorite Earth albums. Highly recommended.
Track Samples:
Sample : Miami Morning Coming Down II (Shine)
Sample : Omens and Portents I: The Driver
Sample : EARTH-The Bees Made Honey In The Lion's Skull



EARTH   Hex: Or Printing In The Infernal Method   2 x LP   (Southern Lord)    21.00



Along with that deluxe vinyl reissue of Earth's Bees Made Honey..., we've also got the new vinyl reissue of Earth's previous album Hex; Or Printing In The Infernal Method, the band's first for new label Southern Lord and the first new album from the legendary drone-metallers since 1996's Pentastar: In The Style Of Demons. This was where Dylan Carlson and crew first brought us their widescreen instrumental prairie-psych, and won them an all new audience among fans of moody post-rock and dark slowcore. The first pressing of Hex on vinyl sold out before I was able to get it in stock for the shop, so this new 2014 repress is the first time I've ever had this fantastic album in stock on vinyl here at Crucial Blast. From what I can tell, the packaging for this latest edition is the same as the first, gatefold jacket with alternate artwork from the CD version, and it has that bonus untitled track on the d-side that's exclusive to the vinyl release, a long track of haunting tundra ambience that features additional percussion from guest players Brad Mowen (The Accüsed, Asva, Burning Witch, Master Musicians Of Bukkake, etc.) and John Schuller (Master Musicians Of Bukkake).
Here's my old review of this album from when it first came out in 2005: The long-awaited new album from seminal drone heavies Earth opens with something akin to a spaghetti western fugue, massive and stretched out, spacey and spacious, a druggy western/post-rock dirge that's dreamy but desolate, ominous and shuffling, a deeply mesmerizing meditation of simple, spare drumming and heavily drenched in reverb, heavy but not "metal", guitars (including lap steel), all unfolding into a haunted ghost town lament and twangy desert post-rock. Very beautiful and slow and mysterious, like Codeine and Calexico, Low and Sixteen Horsepower, a western Mazzy Star or Godspeed You Black Emperor , that sort of clean, undistorted-but-heavy, emotionally heavy, combined with Ennio Morricone style invocations. Uncoiling melodies dissipate across darkened crimson skies, and mighty swells of instrumental gloom shake under the dust of ages. Listening to this conjures images of scorpions resting on sun baked rocks, of tumbleweeds and rusted out cars, rural decay and wide open skies as far as the eye can see. A whole new type of heavy, droning Americana. Fans of Earth's earlier, heavier drone metal may be baffled by Hex, but for those of us who are just as much in love with Earth's Thrones and Dominions and Pentastar: In The Style Of Demons albums, where Dylan Carlson and company began charting more melodic, post-rock/psychedelic waters, this feels like a natural evolution, a breathtaking new chapter in Earth's storied career, and is just as heavy as anything that has come before. Highly recommended.


ECOUTE LA MERDE   Diazépam Et Autres Benzodiazépines   CASSETTE   (Diazepam)    8.98



    More Diazepam-induced derangement; I've been getting more and more hooked on the grimy, low-fi industrial music and deformed power electronics experiments that this Italian label has been producing. Diazépam Et Autres Benzodiazépines is the latest tape of brain-damaged murk from Ecoute La Merde, the solo project from Italian mic-chewing noise maniac Vivian Grezzini, who by day works as a psychiatric nurse. His engagement with patients suffering from a variety of acute mental illnesses provides much of the inspiration for the disturbing soundscapes that he produces with this project, employing a murky low-fi aesthetic that makes this stuff sound like some ancient TDK cassette recorded back in the early 1980s, a blur of crude discordant electronics that gradually grows creepier and more disturbing as the tape unfolds.
    The first side features "Tétrazépam 50mg Comprimé", starting off with what at first sounds like a tangle of murky meandering synthesizers, but then starts to resemble some garbled, atonal alien language being transmitted through a child's Casio keyboard. After awhile, that chirping chittering circuit-bent sound gets swept into a swirling cyclone of moldy electronic murk, erupting into a strangely brittle noise assault that builds in intensity and abrasiveness, while deep buzzing drones purr like live powerlines deep in the mix, alongside layers of harsh churning distortion and mysterious field recordings, ghostly howls and blasts of crazed keyboard discordance breaking through the cloudy, rotting miasma, leading to the final ascent into kosmische delirium that closes out the side.
    The second half is "Alprazolam 50mg Per Os", emerging out of a delirious mess of sampled voices, random noises and recordings of popular Italian music, then moving into weird, reedy bugle-like melodies and far-off screams of anguish and frustration (ambient sounds of an asylum, perhaps?), while damaged electronics stutter and unspool beneath the creepy atmosphere that slowly oozes across the side. This muffled, consistent din of sounds suggests the interior cacophony that rages within the skulls of extreme mentally disturbed, like an insane free-jazz keyboardist having a meltdown while mountains of scrap metal collapse in the distance and various pieces of large machinery comes under demonic thrall, or field recordings of reality folding in on itself; at it's most disturbing, this can evoke some of the psychic disturbances as the darkest moments of Nurse With Wound, Big City Orchestra, and Violent Onsen Geisha.
Track Samples:
Sample : ˙ţTétrazépam 50mg Comprimé
Sample : Alprazolam 50mg Per Os



ELECTRIC WIZARD   Dopethrone (DIGIPACK)   CD   (Rise Above)    16.99



Once again back in stock as a UK import digipack.
In honor of Electric Wizard's recent induction into the Decibel Magazine "Hall Of Fame", whioch was awarded to their milestone album Dopethrone from 2000, we've got all of their crucial deluxe re-issues available through Crucial Blast for you doomhounds that are missing these mighty platters from yer library. Repackaged in sweet digipack cases with enhanced and expanded artwork, brand new liner notes, great photos captured during each album's respective era, and bonus tracks, these Electric Wizard reissues are essential for any real fan of dope-huffing, spine crushing British DOOM.
Like a lot of people, Dopethrone was the album that started it all for me. I can't even remember where I first picked up my copy of Dopethrone, but I do remember that it wasn't because I had already heard the band - nope, it was because of the fucking awesome cover art of Lucifer ripping tubes. That kind of experience just doesn't happen enough these days, you know? I'm talking about when you can pick up an album before hearing mp3s or streams of the music, picking it up purely based on how badass it looks and then just getting blown the fuck away because the music is even more killer than the cover. That's what happened when I tossed this into my stereo for the first time - I had just recently been going through a serious Sabbath / doom kick (which seemed to be the spirit of the time, looking back), and was already thirsting for some really gnarly riffage, but I was thoroughly unprepared for how zonked Electric Wizard were going to sound. The "Reefer Madness" style sample and scuzzy bassline that starts off album opener "Vinum Sabbathi" had me hooked from the first, and when Jus Oborn's distorted megaphone vocals and monstrously detuned guitar kicked in alongside Mark Greening's loose, pummeling drumming, man, I knew that this album was going to be magic. The flow of Dopethrone is perfect too, as the album grinds through the massive skull crush singalong of "Funeralopolis", the epic three-part psych scum freakout of "Weird Tales", "I, Witchfinder", and the title track, the trip gets darker and heavier and more fucked up, the riffs taking on a progressively heavier coating of grime and slime, the lyrics, satanic hippie imagery, pulp fantasy literature and 70's splatter/horror flix references becoming more arcane and trippy. "Rise...black amps will tear the sky...feedback will free your mind and set you free." FUCK YEAH. The band's previous albums were heavy as hell, sure, but for Dopethrone, it sounded like someone took Electric Wizard and dunked them in a vat of cooling tar, then releasing them to crawl through the heaviest, most blown-out Sabbath riffage possible. One of the heaviest doom metal albums of all time. Hell, one of the heaviest albums of all time. Essential. Wizard freaks need this for no other reason than it contains the 15 minute long track "Mind Transferral" which was previously only available on the Japanese import.
Track Samples:
Sample : We Hate You
Sample : Barbarian



EMANATION   Under Magnetic Sleep   12"   (Black Mass)    14.99



   The second release from this strange Spanish sorta-black metal project with connections to the bands Like Drone Razors From Flesh Sphere and Teitanblood, Under Magnetic Sleep is a three-song, one-sided 12" that picks up where the previous tape left off, delving further into the blackened, hypnotic churn that dominated much of the debut tape with a twenty minute long descent into trance-inducing blackened lurch, howling noise, and phantasmal soundscapery that continues to expand the band's bizarre confluence of spiritism, esoteric science, improvisation and hateful buzzsaw aggression. Primary member CG Santos, a frequent collaborator with death metallers Teitenblood, carves out heavily distorted, evil riffs that are coiled around a pummeling, almost motorik drumbeat of the title track, the effect very similar to the psychedelic sound of Aluk Todolo, but much noisier and more chaotic, and mostly instrumental with vocals only rarely appearing; when they do, it tends towards bursts of staticky radio transmissions and distant howling buried deep in the mix that become more prominent on "Cryptograms of Larval Desire".
    Things get really abstract with the last song "Quintessential Ectenic Psychode", though, as the drumming gets stripped down to a broken, spaced-out beat and the guitars are swallowed up in a din of chaotic noise and backwards sound, bits of vaguely jazzy music bleeding through that veil of black murk, all warped and warbling, the eerie dissonance of the guitar becoming obscured by swells of garbled electronic noise and feedback. The music slowly winds down from that mid-tempo pulse into a slower, more doped-up dirge as all of that distortion and feedback and noise washes over everything, the music growing more ghostly and indistinct, the last few minutes of the record transforming into something that almost starts to sound like grim, fuzz-enshrouded trip-hop, a Scorn-like scourge with that fractured drumbeat shuffling and skittering through the fog of droning sound and shrill buzzing tremolo riffs and mutated orchestral chaos, that din dropping out for a moment leaving just that sparse beat before crashing back in with swarming black metal guitars surging over the looping, mesmeric black noise.
    Limited to three hundred copies.


EMANATION   One Soul, One Body, One Spirit   CASSETTE   (Black Mass)    9.98



   Now sold out from the source, Emanation's One Soul One Body One Spirit is one of two somewhat recent releases from this obscure Spanish black metal-ish project with connections to Teitenblood and Like Drone Razors Through Flesh Sphere that we've listed in the C-Blast shop this week. As with the 12" that Emanation followed this with, this five-song tape features a mixture of experimental black ambience and necro-industrial delirium that is heavily inspired by the field of spiritism and séances along with other, more esoteric leanings, crafting a ghostly murkscape that at first vaguely resembles the creepy low-fi ambience of Moëvöt, but then gradually evolves into a kind of necrotic krautrock somewhat akin to France's Aluk Todolo. In fact, it's probably not even that accurate to describe this as "black metal", as Emanation's music tends be much more experimental, in some ways coming across more like a kind of blackened hypnotic noise rock.
    Even from the start, this puts off an unmetallic vibe. The title track creeps out across the first few minutes in a hazy cloud of murky dissonance and strange gasping vocals, gusts of white noise swirling around soft distant swells of metallic thrum and muffled tones, a soft din of far-off mechanical rumblings, random knockings and television news transmissions met with the eerie cry of an infant. These noises mix together with what seems like random environmental sounds, the grimy corroded ambience ruptured with odd buzzing and bursts of malfunctioning cable noise, this strange nocturnal dronescape taking form somewhere in between the realm of surreal industrial noise a la Big City Orchestra and the hallucinatory no-fi black psychedelia of the aforementioned Les Legions Noires outfits like Moëvöt and Aäkon Këëtrëh, dark and dreary and dreamlike.
    But then around ten minutes in, the recording suddenly swells into a noisy, chaotic din of thudding drums and swarming guitars and keyboards, everything fused together into an incomprehensible blur of sound, those drums pounding out a basic heavy backbeat far, far down in the mix, everything wrapped in a thick blanket of static and distortion. Not too far off from some of Skullflower's recent black metal influenced material, actually, and there's also a similar feel to Wold's blackened blizzards of howling high-end skree and hellish obfuscated melody. Bizarre high-pitched howls echo across the background, obscured by the almost constant roar of static and hiss, but there's a definite musical quality to it as well, an eerie melodic glow emanating from deep within the inchoate noise. It slowly comes together into a steady, slowly propulsive dirge, driving through this storm of Merzbowian scrape and screech, a static-drenched funerary crawl that gradually reveals glimpses of a stunning unearthly beauty hidden behind the maelstrom, wisps of hauntingly beautiful piano that curl through the smoke-choked acrid air. It's nearly impossible to make out where one song ends and the next begins; all of these five tracks run into one another, making this like one epic-length din of blackened hysteria that stretches out for over an hour. It's not until well into the second side that Emanation finally erupts into something heavier and more "metallic", but even then it's totally blown-out, a howling chaotic shambling black dirge that, once again, is much more akin to Aluk Todolo than black metal, a pounding hypno-pummel shrouded within a storm of speakerhiss and warbling keyboard clusters, like hearing Wold transform into some sort of fractured low-fi krautrock.
    Comes in an oversized jewel case, and includes liner notes that delve into the philosophies and inspirations behind the creation of this ectenic force. Limited to one hundred hand-numbered copies.
Track Samples:
Sample : One Soul, One Body, One Spirit.
Sample : Metempsychosis
Sample : They Demand Voice



EPOCH.OF.STARS   Amethyst Aberration of the Floral Abyss   CASSETTE   (Dying Sun)    6.98



   Apparently this was the only recording that ever surfaced from the obscure and fairly short-lived one-man black metal band Epoch Of Stars, a four-song cassette that features the UK-based project's supremely murky take on kosmische blackness. Released by the killer Dutch avant-black metal label Dying Sun, Amethyst Aberration of the Floral Abyss is a furious blast of low-fi black metal that moves at blazing tempos, the sound swarming with layered minor key tremolo riffs and distant, tinny blastbeats, a frantic but regal assault of fast-paced winterblast laced with powerful, aching melodies. It's hard to tell if there are even vocals - if they are in there somewhere, they've been buried so deeply in the mix that you can hardly detect them. AS you might surmise from that, this is pretty heavy on the murky atmosphere, the instruments washing into each other to form this rather forlorn wall of sound. Tracks like "Hemlock Burial" and "When the Roots Pierce the Sky" are reminiscent of some of Wolves In The Throne Room's recent works (albeit much rawer), but Epoch Of Stars also adds in some great cosmic ambient passages that can shift the sound into a kind of desolate orchestral drone music, sprawling out into breathtaking vistas of dimly lit sonic beauty that carry hints of Tangerine Dream and early Mortiis, those warm warbling keyboards and whorls of electronic drift breaking through the starlit haze like disintegrating rays of dying sunlight. And on "Laying Thorns Down the Crimson Path", he explores some of the more post-rock influenced aspects of bands like Velvet Cacoon and Wolves In The Throne Room's, that style of lush, epic black metal so often described as "Cascadian", the music erupting into crescendos of moody, majestic melody from out of the long stretches of repetitive tremolo riffs that are so tightly woven into these mesmeric, gorgeous waves of ascendant, blastbeat-driven drama.
    Limited to fifty copies.
Track Samples:
Sample : Hemlock Burial
Sample : Laying Thorns Down the Crimson Path
Sample : When the Roots Pierce the Sky



EYE OF NIX   self-titled   CASSETTE   (Scatological Liberation Front)    5.00



   This short self-titled EP is the debut release from newer Seattle band Eye Of Nix, made up of former members of Blue Sabbath Black Cheer and avant-crusties Same-Sex Dictator; these guys share some of the same proggy qualities as the latter band, blending together a strange confluence of sounds that includes vague black metal influences, jagged noise rock, the churning atmospheric crust of Christdriver or early Neurosis, their sound smeared with No Wave-esque guitar shrapnel and fronted by the unusual vocals of singer Joy Von Spain, who veers between a fearsome blackened shriek and a powerful, blues-tinged quasi-operatic delivery that sometimes reminds me of both Jarboe and Diamanda Galas. It's an interesting sound that Eye Of Nix reveals here. Bass-heavy hardcore collides with an almost Sonic Youth-esque dissonance on the opener "Rome Burned", and from there the EP moves further into noise-addled, proggy hardcore, a definite Man Is The Bastard vibe to the churning tribal rhythms and angular, dark riffs; fans of drummer Justin Straw's previous bands (Gods Among Men, Hellgrammite, the aforementioned Same-Sex Dictator) will recognize his presence here. But singer Von Spain transforms this into something quite different with her expressive singing. On "A Curse", the band slip into a seemingly improvised free-rock workout, Von Spain's voice intertwining a creepy whisper with dramatic chant-like singing over the steadily building cacophony, violent tribal rhythms seething beneath the atonal guitar noise, until it suddenly and viciously explodes into a discordant blast of aggression, an almost black metal tinged blur of blazing tempos and scathing screams and damaged tremolo riffing. There's more of that spastic, discordant ugliness on "Shroud", which starts off as a kind of lurching blown-out blackened noise rock assault but then morphs into an eerie slowcore dirge at the end. Pretty cool stuff that takes the sort of avant-crust that Straw has been working with over the past decade in a new and more powerful direction. Available on both a professionally manufactured cassette and a CDR release in a gatefold sleeve.
Track Samples:
Sample : Shroud
Sample : Optime Vero
Sample : A Curse



EYE OF NIX   self-titled   CDR   (Scatological Liberation Front)    5.98



   This short self-titled EP is the debut release from newer Seattle band Eye Of Nix, made up of former members of Blue Sabbath Black Cheer and avant-crusties Same-Sex Dictator; these guys share some of the same proggy qualities as the latter band, blending together a strange confluence of sounds that includes vague black metal influences, jagged noise rock, the churning atmospheric crust of Christdriver or early Neurosis, their sound smeared with No Wave-esque guitar shrapnel and fronted by the unusual vocals of singer Joy Von Spain, who veers between a fearsome blackened shriek and a powerful, blues-tinged quasi-operatic delivery that sometimes reminds me of both Jarboe and Diamanda Galas. It's an interesting sound that Eye Of Nix reveals here. Bass-heavy hardcore collides with an almost Sonic Youth-esque dissonance on the opener "Rome Burned", and from there the EP moves further into noise-addled, proggy hardcore, a definite Man Is The Bastard vibe to the churning tribal rhythms and angular, dark riffs; fans of drummer Justin Straw's previous bands (Gods Among Men, Hellgrammite, the aforementioned Same-Sex Dictator) will recognize his presence here. But singer Von Spain transforms this into something quite different with her expressive singing. On "A Curse", the band slip into a seemingly improvised free-rock workout, Von Spain's voice intertwining a creepy whisper with dramatic chant-like singing over the steadily building cacophony, violent tribal rhythms seething beneath the atonal guitar noise, until it suddenly and viciously explodes into a discordant blast of aggression, an almost black metal tinged blur of blazing tempos and scathing screams and damaged tremolo riffing. There's more of that spastic, discordant ugliness on "Shroud", which starts off as a kind of lurching blown-out blackened noise rock assault but then morphs into an eerie slowcore dirge at the end. Pretty cool stuff that takes the sort of avant-crust that Straw has been working with over the past decade in a new and more powerful direction. Available on both a professionally manufactured cassette and a CDR release in a gatefold sleeve.
Track Samples:
Sample : Shroud
Sample : Optime Vero
Sample : A Curse



FATALISM   Mystery Of Death   CASSETTE + 3" CDR   (Eternal Death)    6.98



   A peculiar and ultimately quite haunting EP from the New England duo Fatalism (featuring members of black metal atavists One Master), whose music has been described by some as falling somewhere among the current wave of shoegaze-influenced black metal outfits like Alcest and Cold Body Radiation. That's not what I'm hearing here at all, however. To my ears, Fatalisms cavernous, echoing dirges evoke an even older sound; as the plodding metallic guitars and driving backbeat kick off the opening song "Isabelle", Mystery Of Death slips into a strange and dreamlike haze of repetitious heavy post-punk that for all the world resembles a narcotized, black metal-infected take on the spookshow atmosphere of early 80s deathrock, those echoing monotonous vocals, the reverb-enshrouded guitar leads, the simple, dreary melodies - it all reminds me of a more doom-laden, DXM-drenched take on the morbid punk of early Christian Death, and even more so the heavy, spaced out graveyard vibe of Mighty Sphincter.
    Granted, the endlessly echoing, monotone vocals on Mystery may be initially off-putting to a lot of listeners (and are in some ways similar to the droning delivery of Charnel House’s Black Blood from last year), but as these four songs unfold across the EP, the dozy, half-spoken lines ripple across Fatalism's chugging riffs and ethereal keyboard fog like something from a dream, and when the music surges into something more aggressive, the effect can be rather surreal. It's on the second track "Isolde" that this strange, hallucinatory death rock vibe fully collides with the duo's black metal background, as the swirling gloom and funereal dirges slowly build into something much heavier and more vicious, thunderous double bass and blackened tremolo riffs blasting out of the gloom. But then they follow that with the rather catchy delay-soaked post-punk delirium of "Isle", an infectious keyboard-drenched bit of overdriven noise-drenched gloompop that is just as ghostly and effects-laden as everything else on this release. And they cap it off with a track called "Gloom Reaper", which is essentially a death-rock reconstruction of Blue Oyster Cult's "Don't Fear The Reaper" with tongue firmly in cheek, but it's actually cooler than you would expect, that instantly recognizable classic rock melody transmuted into something even more spectral and drugged out, a hauntingly beautiful sprawl of dazed darkwave that gradually drifts and fades into the abyss.
    Packaged in a clamshell plastic case, this includes both a cassette and a 3" CDR version of the recording, housed on plastic hubs inside the package.
Track Samples:
Sample : Isle
Sample : Isabelle
Sample : Gloom Reaper



FLESH WORLD   Planned Obsolescence   7" VINYL   (No Patience)    11.98



   A vicious new EP of mutoid hardcore from Down Under. Originally released on cassette back in 2011, Planned Obsolescence features seven songs of wrecked hardcore from Flesh World that spazz out across this 7" in grand fashion, blasting you with violent drumming, brutal three-chord riffs flying at top speed, an utterly putrid-sounding front man who froths and gibbers in a maniacal manner akin to Eric Eycke on Corrosion Of Conformity's Eye For An Eye having just undergone brain surgery, and a noxious noisy guitar attack that eschews any sort of recognizable chord structure for an assault of sputtering feedback, crazed atonal leads, and ugly discordant racket. This shit is completely crazed, one of the sickest sounding hardcore punk EPs to come through my door so far this year, a filthy low-fi recording job further uglifying their nasty Void-esque chaos. This thing hits ten on the insaneometer, constantly sounding as if the band is in the midst of totally falling apart physically, the songs sometimes splintering into pure squealing noise for a second before lurching back into another one of their rabid 1000 mph speedgasms, messed-up Greg Ginn-esque solos splattered all over the smoking heap, even getting all catchy and melodic on the closer "Fuck Time". Sensitive listeners would complain that this is tuneless anti-music. I couldn't agree more. Fucking phenomenal - if you share my obsession with noisy, psychotic hardcore in the spirit of Die Kreuzen, United Mutation and the aforementioned Void, grab this baby pronto.
   On red vinyl, limited to five hundred copies.


FUCKED UP   Year Of The Dragon   12"   (Tank Crimes)    14.98











Track Samples:
Sample : Year of the Dragon
Sample : I Wanna Be a Yank
Sample : Disorder



FUCKED UP   Year Of The Dragon   CD   (Tank Crimes)    7.98











Track Samples:
Sample : Year of the Dragon
Sample : I Wanna Be a Yank
Sample : Disorder



FUSHITSUSHA   Nothing Changes No One Can Change Anything, I Am Ever-Changing Only You Can Change Yourself   3 x CD   (Utech)    33.00











Track Samples:
Sample : Now Able To Know Fear, Can We Become More Exalted Than The Gods? Since They Have Stopped In Place / Acchi - Children Of Joy Overflowing / Omae - You Who Still Breathed / Nattanjanai - Akin To This
Sample : A Seldom Seen Means Of Displacing Humiliation, A Trembling Time Surely Glimpsed Far Ahead / Give Me Back All That Was Me, Here Where I Left My Soul Awhile / Ango (1996 Version) - Entering Into Depths Where Meaning Cannot Exist
Sample : ˙ţ Layer Upon Layer Of Missing Answers, Swirl In Circles Speaking To Me “Still You Ask Why?” They Say / Hazama



GERYON   self-titled   LP   (Gilead Media)    15.98













GHOUL   Hang Ten   10" VINYL   (Tank Crimes)    13.98



   Released for this year's Record Store Day, Hang Ten is the latest from this horror-movie obsessed thrash metal band, a gang of goons in blood-splattered hoods with names like Cremator, Digestor, Dissector, and Fermentor, who all hail from the wilds of "Creepsylvania". While mostly known for their ferocious, thrashing death metal flecked with bits of gruesome grindcore, these creeps have also long flirted with surf rock and garage rock influences in their music, manifesting on manic surf instrumentals like “Psychoplasm” off of Splatterthrash. For those of us who have been craving even more of Ghoul's beach-blanket barbarism, Hang Ten delivers the goods, a short six-song EP that features mostly instrumental material, evoking visions of Technicolor 70's era biker sleaze through a blistering assault of surf-infected thrash metal and weirdo metallic rockabilly. The blazing instrumental "The Midnight Ride of the Cannibals MC" opens the EP, followed by the weird rockabilly-tinged thrash of "Kreeg" that features guest vocals from Tony Foresta (Municipal Waste) and R.A. MacLean (Deadbolt). From there, Ghoul blend raucous garage rock grooviness with their manic speed metal on "Sidehackers", followed by the killer surf rock-tinged metal on the title track which sounds like some crazed cross between old school Metallica and the Ventures; "Blood On The Street" almost sounds like it could have been a Cramps song in another life, all street-cheetah swagger and blazing ironclad boogie, a murderous bluesy groove slithering through plumes of reverb and twangy rockabilly riffs before shifting back into the metallic crunch at the end. That groovy, gore-n'-booze soaked beach party vibe on some of these tracks is a total blast, and the record closes with a wild cover of Ervin Drake's crooner classic "It Was a Very Good Year", which weirdly enough lends itself well to a full metal makeover. This one goes down great played back to back with the latest from Satans Satyrs; here's hoping that we'll keep getting more of Ghoul's garish surf/psych-influenced side of their sleazoid speedbeast metal. On baby blue vinyl, limited to five hundred copies, accompanied by a digital download card.


GLASS COFFIN   self-titled   12"   (Prison Tatt)    16.98













GNAW THEIR TONGUES + ALKERDEEL   Dyodyo Asema   CD   (ConSOULing Sounds)    11.98











Track Samples:
Sample : Dyodyo Asema
Sample : Dyodyo Asema
Sample : Dyodyo Asema



GOBLIN   Zombi   LP   (AMS / Cinevox)    35.00













GOBLIN   Suspiria   LP   (AMS / Cinevox)    35.00













GODFLESH   Pure   2 x LP   (Century Media)    39.98



  This crucial early 90s industrial metal classic is now available from Century Media as a deluxe gatefold double LP, packaged with a huge foldout poster and two printed inserts.
  Everyone's pretty much in agreement that Godflesh's Streetcleaner is one of the true high-water marks of extreme music; one only has to look at the far reaching influence that album's grinding slow-motion industrial dirge metal has had on legions of bands that followed, everyone from Fear Factory to Korn to Neurosis and The Bug have referenced the fearsome apocalyptic feel and mechanical grooves of that watershed album. But it's the subsequent album Pure and the EPs and remix 12"s that came out in the wake of Streetcleaner that revealed how multi-faceted and forward-thinking Godflesh's music really was, exploring the fusion of electronic music and extreme metal even further, experimenting with techno, rock-based songwriting, ambient music and shades of the distortion overloaded ethereal qualities of the early 90's shoegaze sound, the latter of which foreshadows Justin Broadrick's later post-Godflesh work with Jesu after the turn of the century.
  Though the band was often lumped in with the burgeoning grindcore/death metal scene coming out of the UK in the late 80's, Godflesh were obviously an entirely different sort of beast, much more indebted to early British industrial music and the massive bone-crushing dirge of NYC's Swans than the thrash-influenced sounds of grindcore, and this became even more clear with the release of 1992's Pure. With an expanded lineup that now featured Robert Hampson from UK hypno-rockers Loop on guitar, Pure would feature some of the band's most accessible songs, as well as some of their most abstract and experimental, the ten tracks moving between crushing Swans-influenced mecha-dirge, old school hip-hop breakbeats, corrosive industrial textures, and ethereal rock qualities that makes it pretty clear that Broadrick and company was paying attention to the way that bands like My Bloody Valentine and other underground UK rock bands were experimenting with distortion, volume and melody. You have one of the few "hits" that Godflesh ever had, the mighty industrial rock of "Mothra", as well as the crushing, spacey industrial hip-hop/metal hybrid of "Spite", but then there's the final track "Pure II", a sprawling twenty-one minute feedback/ambient noise epic that expands on the early industrial drone work that Broadrick was doing in his pre-Godflesh band Final. The simple but punishing sludgy guitars and massive bass of the early Godflesh releases hadn't gone anywhere, but now they were welded to a mix of absolutely DESTRUCTIVE industrial breakbeats and pounding grooves. Still intensely heavy and bleak and dystopian in feel, no doubt about it, but with this album Godflesh was beginning to evolve into a much more accessible and downright catchy force. One of my favorite 'Flesh songs ever, "Spite" could pass for a super-heavy rock song if it weren't for the inhuman breakbeats and incredibly distorted/down tuned guitars, and there's even a wailing hard rock solo that erupts towards the end of the song. "Mothra" was one of Godflesh's more popular songs, one of the closest things to a single the band ever had (with a video that got a surprising amount of airplay on MTV back when Pure came out). Another favorite of mine is "Love, Hate (Slugbaiting)", which begins with several minutes of sampled industrial noise (which was actually taken from a live recording of Broadrick's old band Fall Of Because) before morphing into a massive dreamy metallic dubscape filled with pneumatic rhythms, swells of orchestral feedback, and icy ethereal vocals.
Track Samples:
Sample : Love, Hate (Slugbaiting)
Sample : Mothra
Sample : Pure
Sample : Spite
Sample : GODFLESH-Pure



GRAVETEMPLE   The Holy Down   CD   (Southern Lord)    12.98



  Just dug up a few more copies of this long out-of-print album from this killer blackened improv-jazz-doom trio. Here's my old review of the CD from when it originally came out:
   Gravetemple consists of guitarist Stephen O'Malley (also of Sunn O))), Khanate, Burning Witch, Lotus Eaters, Ginnungagap, KTL, Thorr's Hammer), avant-guitarist Oren Ambarchi, and legendary black throat Attila Csihar (Mayhem, Tormentor), all members of the constantly evolving Sunn O))) orbit, and allstar drone metal powerhouse who assembled to collaborate on some supremely grim ambient tones that were recorded live during a series of performance in Israel during July of 2006. The Holy Down is a single hour-plus track that has been stitched together by Ambarchi using an assortment of these live recordings, and it begins softly enough with creaking, scraping sounds emerging from total silence, the creepy groans of wood (guitar necks?) being bent and a breathing presence meandering though abstract guitar noises, strings vibrating in stillness, unseen objects clattering, an eerie and mesmerizing formlessness that sounds almost sacred in the opening minutes, but you know this is going to get heavy...
  The Trio begin to slowly build their thick doom ritual with heaving swells of massively distorted feedback and grinding drone, Ambarchi's sublime bubbles of processed guitar tone plucked out and decaying over O'Malley's monstrous amplifier roar, while Csihar incants a stream of bizarre chanting and bestial throat noises that drift around the group's ambient doom like demonic temple calls. It's all very abstract and massively heavy, especially in the last half when Ambarchi sits down at the drum kit and begins to break out into a pummeling metal/jazz freakout, while the vocals become more demented and cackling and the miasma of blackened feedback and buzzing distortion swirls more and more into a utterly lightless void. Their performance is positively gripping, a massive conglom of Sunn O)))'s formless molten metal, KTL's doom-electronic synthesis, and free-improv/free jazz/ritual summonings - we can't wait to hear more from this project. This disc has been issued in a one time pressing of 3000 copies, each one numbered, and comes in a gatefold jacket with a booklet containing photos and liner notes written in both english and hebrew, and sports amazing cover art from artist Justin Bartlett.
Track Samples:
Sample : The Holy Down
Sample : The Holy Down
Sample : The Holy Down



GRIDLINK   Longhena   CD   (Selfmadegod)    12.98











Track Samples:
Sample : Thirst Watcher
Sample : Look to Windward
Sample : Longhena
Sample : Island Sun



GRIDLINK   Longhena   LP   (Handshake Inc.)    22.00











Track Samples:
Sample : Thirst Watcher
Sample : Look to Windward
Sample : Longhena
Sample : Island Sun



GRIM TALKERS   Grimy City   CD   (Gravity Swarm)    14.98











Track Samples:
Sample : Grimy City
Sample : Grim Talk, Nightmare 2
Sample : Day & Night



HARASSOR / GLASS COFFIN   split   LP   (Husk Records)    14.99













HARDCORE ANAL HYDROGEN   The Talas Of Satan   CD   (Apathia)    14.98



   Like some bizarre carwreck made up of Whourkr's glitchcore grind violence, maniacal prog rock and Indian traditional music, Hardcore Anal Hydrogen's new mini-album The Talas Of Satan serves up eleven tracks of spastic abrasive mayhem that lurches wildly between styles, while retaining a crazed monstrous logic. The damn thing only clocks in at twenty-two minutes, though I'm betting that most folks would probably say that's about all they could handle of French band's admittedly exhausting eccentric delirium. Released on Apathia Records (which also recently brought us the latest album from fellow mashup maniacs Pryapisme, further entrenching the label in the more ferocious reaches of genre-mashing extremism), the eleven songs splattering their sonic canvas with a frenzy of powerful boom-bap rhythms and sickening quasi-death metal vocalizations, forays into blackened industrial horror and weirdo jazziness, vicious black metal eruptions laced with sinister symphonic atmospherics, whacked-out vinyl scratching and demented blown-out hip-hop flow, dissonant experimental soundscapes and violent Carl Stalling-esque cartoon music, sweeping old-school New Age ambience, weird mutations of Chinese music and blasts of insane guitar shred, fucked-up and ultra-heavy math metal crush via some massive mutated Meshuggah-esque counter-grooves, wild Hammond organ meltdowns and NYHC-like breakdowns smeared with insane Yamataka Eye-like vocalizations, mesmeric tabla workouts and Indian flutes, industrialized punk rock and hyper-spastic videogame soundtrack music that suddenly drops off into stretches of high-gravity electronic doomcrush.
   This is all over the place, skipping from one extreme sonic idea to another seemingly every few seconds, like Naked City out of their minds on crank; even at it's most balls-out weird, the band maintains a high level of musicianship that makes this stuff sound even that much crazier. Definitely reminiscent of the earlier Genghis Tron material at times, but even weirder and much more frantic; fans of likeminded bands like Naked City, Mr Bungle, Buckethead, Secret Chiefs 3, Praxis (and basically anything on Web Of Mimicry) should definitely check these guys out as well. Comes in six panel digisleeve.
Track Samples:
Sample : Rupack
Sample : Pentamere
Sample : Kalakaka
Sample : Chautal



HARRISON, JOHN   Creepshow   LP   (Waxwork)    34.98













HEXEN + WAILING OF THE WINDS   self-titled   CASSETTE   (Diazepam)    8.99



   Another super-limited art object from the low-fi occult industrial label Diazepam, this tape features a collaboration between Russian droneologists Hexen and Italian neo-folk outfit Wailing Of The Winds, who had previously released a full-length album on Paradigms back in 2013. The two "Rituals" spread across this cassette offer a creepy, fractured cemetery folk, a murky, ghoulish ambience formed from distant wavering melodies that feel like they are being transmitted from another dimension, the air laced with unnerving voices that hiss and loop through the shadows, with washes of eerie ethereal drift becoming woven into the soft strum of an acoustic guitar. There's a weird, eldritch vibe to this stuff, at times almost reminiscent of some of Goblin's more subtle works, but there's also an ever-present layer of corroded noise and reverb-laden static that slowly seethes beneath the group's ghostly meanderings.
   Some of this seems to burn with the influence of 80's era post-industrialists Coil as well as some of the more psychedelic proponents of neo-folk; as the music shifts from passages of that abstract atmospheric creep into a kind of withered, blackened psych-folk, anguished moans and mysterious feminine whispers drift in from afar, resembling snatches of electronic voice phenomena that have been laid over the somber folky strum and strange crackling dronescapes. The sound will billow out into a cloud of screeching feedback and dense, crackling distortion, and a simple, ominous chord progression will appear in the background, strummed slowly and relentlessly; for a moment, one could imagine this slightly warped funerary folk playing out behind some nocturnal set-piece from a Jean Rollin film, a delirious bluesy progression met with off-kilter violins that get caught in a loop as monstrous rumblings, garbled bestial roars and those ghastly murmurings slowly drift in from out of the blackness. And the very last part of the album totally goes over into full-blown dark folk, the group suddenly breaking into a killer, repetitive funerary dirge that has a similar evocative, ancient feel as the graveyard psychfolk of Time Moth Eye / Stone Breath.
   This collection of bewitching noise-damaged drone-folk might be my favorite of all of the Diazepam tapes I've picked up. And like the other releases I picked up from the label, this comes in a delicate hand-assembled package, the tape housed in a lightweight black cardboard box with black and white artwork and text pasted on the interior panels, a sprig of some kind of plant attached to the box with a ribbon.
Track Samples:
Sample : Ritual I
Sample : Ritual II



HOWLING VOID, THE   Nightfall   CD   (Solitude Productions)    11.99











Track Samples:
Sample : Voidward
Sample : The Chaos Beyond The Stars
Sample : In Subterranean Temples



HUTCHINSON, HAL   Wreckage Installations And Metalworks   CD   (Crucial Blaze)    9.98



   Few contemporary noise artists have explored the use of scrap metal to the extent that Hal Hutchinson has with his "Factory of Metal Sound" aesthetic. The dense, brutally forceful metalscapes that this UK noisemaker has been creating in recent years follows in a tradition of metal manipulation previously examined by Japanese noisician K2 and Canadian artist Alan Bloor (aka Knurl), but Hutchinson uses a unique approach to the way he assembles and layers his recordings of chains, pipes, sheet metal, metal barrels, and other metallic objects being smashed and dragged and beaten. What began as a cacophony of skull-scraping clatter becomes transformed into something much more complex, as his "Factory" method re-combines and blends these sounds together into a strangely structured colossus of entropic industrial pandemonium. Known previously for his forays into harsh noise and death industrial with the projects like Execution Support Act, Pollutive Static, Meatgrinder, Hutchinson's current direction moves into a truly industrial realm of sound, totally devoted to the sheer physicality of metal colliding against metal, and recent releases from Hutchinson on Freak Animal Records and Unrest Productions have produced some of the most compelling scrap-metal noisescapes to appear in recent years.
    With the new full length collection Wreckage Installations And Metalworks, Hutchinson delivers seven tracks of these immense noisescapes and blasts of orchestrated machine-shop annihilation. It's intensely abrasive, somewhat comparable to Molekular Terrorism-era K2, but stripped down to the sound of pure metal; attentive listening yields surprising results, as there's a haunting, undefinable element to these recordings heard in the ghostly groan of metal appearing beneath the more abrasive layers of crashing junk scrap. These repetitive scraping tones almost seem to take on an eerie accidental melodic quality, as the mountains of scrap metal and heavy chains slowly shift and crumble around you, forming into subliminal patterns as the tracks unfold. The album is divided into two sections: the first, Wreckage Installation I-III, consists of longer, fifteen minute-plus studies in heavily layered, oppressive scrap-metal noise, the sound dense and detailed, layer upon layer of scraping, banging metal piled on top of each other to create this grim factory-noise symphony, with a massive undercurrent of low-end noise rumbling in the depths of the mix. These tracks sound absolutely crushing when played through a set of high quality speakers, and maximum volume truly reveals the amount of depth and intricacy that exists in these sprawling, seething industrial noisescapes. The second half of the album consists of a series of shorter, more chaotic exercises in junk-metal obliteration titled Metalwork Installation I-IV, these recordings featuring a less structured and noisier sound, each one a ceaseless maelstrom of experimental metalblast, thunderous avalanches of random scrap metal and tectonic bass rumble compacted into five minutes chunks of sound.
    Along with the CD, Wreckage Installations includes a booklet with liner notes from Hutchinson that examine his creative process behind these recordings, and a set of six double-sided black and white photo prints depicting Hutchinson's stark, high-contrast images of corroded, hulking factory equipment. Released as part of the Crucial Blaze Series.
Track Samples:
Sample : Wreckage Installation I
Sample : Metalwork Installation IV
Sample : Metalwork Installation I



I WATCHED YOU DIE   I Want You All Dead   7" VINYL   (Breaching Static)    7.99



   This extremely limited, one-sided lathe cut 7" features a single blast of harsh noise wall made up of muted, nihilistic static-patterns from noise artist Alex Nowacki, who has previously ruptured our speakers with the extreme black static operations of his Boar project. While much of the material that I've listened to from Boar leans more towards crushing walls of dense distortion, the project I Watched You Die seems to explore a slightly more restrained vein of the HNW aesthetic, offering up a roughly five minute slab of smoldering distorted crackle and static that Nowacki proceeds to stretch out into what feels like vaguely rhythmic patterns, the amplified crackling noise seemingly looped into eddies of corrosive sputter and low-end flutter. While this stuff is definitely still pretty abrasive, there's a hypnotic, obsessively textural quality to this black static soundscape that reminds me of Richard Ramirez's solo stuff with Werewolf Jerusalem. A somewhat subdued stream of sonic entropy that forms itself into a death-trance at the very end of the record, as the needle slips into an endless lock groove; let that groove spin for long enough, and one can almost begin to hear a murderous command to go and kill swirling within the unspooling static.


INDUSTRIE CHIMČRE NOIRE   Dans L'oeil Du Mort   ART BOOK - SLIM   (Crucial Blaze)    7.98



Anyone who has been paying attention to the more experimental fringes of the black / death / doom metal underground in recent years has no doubt encountered the bizarre visions of the Industrie Chimčre Noire. The nom de plume of Québécois illustrator and graphic designer Joce, the Industrie has produced a striking body of work since the latter half of the aughts, first coming to the attention of many in the extreme metal scene through his twisted, nightmarish artwork for Australian avant-garde death metal cult Portal. Since then, Joce has gone on to illustrate and design a plethora of releases on labels like Profound Lore, Sepulchral Productions and Choking Hazard, producing artwork for a myriad of skull-rupturing metal/noise artists that include Fistula, Utlagr, Wormlust, Unearthly Trance, Column Of Heaven, Yoga, A.M.S.G. and Actuary, as well as developing a distinct and recognizable style of line-art illustration that has become almost synonymous with certain strains of über-bizarro death/black metal.
Dans L’oeil du Mort is the first published collection of artwork from Joce and the Industrie Chimčre Noire. Released as part of Crucial Blast’s ongoing art-zine series that focuses on lesser-known artists on the fringes of extreme metal / occult / horror / surrealism, Dans L’oeil du Mort features an array of artwork that stretches back to the Industrie's origins in 2007. A number of album art pieces are featured here in detail, as are several previously unpublished images that appear here for the first time ever. The thirty-plus macabre visions found within these pages range from Joce’s signature black-ink illustrations for bands like Portal, Nekrasov and Fistula, to more abstract experiments in manipulated photography, digital illustration, and old-school collage work. All of this stuff is possessed with a distinctive, morbid atmosphere: monochrome scenes of ancient Gallic graveyards and mottled funerary monuments; ghastly Lovecraftian nightmares of ultra-violent parasitic infection, sexually-charged tentacled monstrosities and corpulent forms in the throes of extreme mutation; snazzy industrial-influenced collage art polluted with vintage images of devil-worship; intricately rendered occult sigils and macabre panels influenced by antique woodcut engravings; gruesome digital manipulations of arachnid horror; and ghoulish full-color watercolor pieces like that found on the Unearthly Trance / The Endless Blockade split album, which seem to radiate an almost folkloric feel. While the work featured in this publication showcase a number of different techniques, all of this material is connected through a common underlying atmosphere of morbidity and mutation that has become Joce's calling card. Through his scenes of ravenous, fecund spider-demons, desolate cemeteries, seething bacterial horrors and arctic devil worship, Joce produces a kaleidoscopic collection of nightmares and mysteries in a uniquely expressionistic manner. At times, it seems to intersect the raw visual aesthetics of 80’s-era death metal and industrial music with the deranged monstrosities and vile surrealism found in 70’s-era underground horror comics like Insect Fear, bathing his images in ectoplasmic deformity and malodorous rot.
Released in a limited printing of two hundred hand-numbered copies, this art zine comes with a set of vinyl stickers and a pair of 1" badges featuring more imagery from Industrie Chimčre Noire.


ISOLATOR   Culture and Principal of Anti-Human Exaltation   CD   (Black Plagve)    10.99











Track Samples:
Sample : Mankind Shall Reap The Mistakes God Hath Sown
Sample : Into The Blood Of Our Kingdom
Sample : Carrion For The Feasts Of Angels



JAWORZYN, STEFAN   Drained Of Connotation   LP   (Blackest Ever Black)    29.98













JAWORZYN, STEFAN     LP   (Kye)    19.98













JONES, RALPH   The Slumber Party Massacre   LP   (Death Waltz)    32.00













JUSTIN, SUSAN   Forbidden World OST   LP   (Death Waltz)    27.98













JUTE GYTE / VENOWL   split   CASSETTE   (Black Horizons)    8.99













KOMEDA, CHRISTOPHER (KRZYSZTOF)   Dance Of The Vampires   LP   (Seriés Aphōnos)    18.98













KRALLICE   Years Past Matter   2 x LP   (Gilead Media)    24.99



Back in stock on 180 gram black vinyl via Gilead Media, in deluxe case-wrapped gatefold packaging with a lyric insert and download code.
The latest album from NYC's Krallice is their fourth album overall, and it delivers the same breathtaking blackened guitarscapes and regal blasting that we've gotten from their previous albums on Profound Lore, the songs still long and sprawling, complex progged-out blackened metal with layer upon layer of interlocking guitar shred and huge majestic riffing drowning in emotional power, the band playing these epic tracks with extreme precision, the razor-sharp rhythm section producing the driving, angular rhythms beneath the guitar duo of Mick Barr (Orthrelm, Octis, Crom-Tech, Oldest) and Colin Marston (Behold... The Arctopus, Infidel?/Castro!, Dysrhythmia, Gorguts). As Marston and Barr weave their soaring tremolo riffs and vast atmospheric melodies across the molten inferno of Years Past Matter, each of these six songs becomes a perfectly crafted symphony of driving, swirling tremolo buzz, the music shifting in the blink of an eye between furious pounding thrashing and retina-burning blasts of high-end guitar aligned into angular, geometric forms. The hyper-fast speed-picking style is straight out of Barr's work with Orthrelm, but where that band was spiky and abrasive, this is soaring and powerful, blasting choral majesty riding on monstrous machine-gun rhythms. This at times reminds me of the "guitar army" sounds of Rhys Chatham's guitar orchestras, applied to a ferocious, ultra-technical melodic black metal attack. Indeed, the music on Years Past Matter isn't quite black metal; Krallice's music tends to be much to joyous for that. Krallice take the aesthetics of the more melodic strains of black metal and re-configure it into a kind of sleek polished blackened prog that applies the tenets of black metal to intensely composed arrangements of interlocking guitar riffs and swarming cinematic blast. These guys are masters at crafting these immense, largely instrumental (the guttural roaring vocals barely appear throughout the album), each song intensely emotional and dramatic in its own way.
Highly recommended.
Track Samples:
Sample : Untitled
Sample : Untitled
Sample : Untitled



L'ACEPHALE   Decollate   CASSETTE   (Black Horizons)    8.99



   Portland avant-garde black metallers L'Acephale resurfaced recently with this cassette-only collection of various material, which combines a number of cover songs and rare original works which showcase the group's singular mix of ultra-distorted, malevolent low-fi black metal, blighted black ambience, and decaying martial folkiness that aggressively dispenses with any fealty to traditional black metal form. The cover songs are only barely recognizable, transmuted through the black fire of L'Acephale's hateful energy. The cover of Emperor's "Ye Entrancemperium" that opens the tape is somewhat faithful to the original, the majestic frostbitten black metal here transformed into something vastly noisier and more rabid, a screeching low-fi assault of murky guitar distortion, glimmering tremolo melodies and putrid shrieks that are almost entirely consumed in a storm of tape-hiss, the song transformed into an almost Enbilulugugalesque maelstrom of black vomit metal while still retaining an undercurrent of icy regal power beneath all of the speaker-destroying distortion. L'Acephale's version of Darkthrone's weirdly titled "As Flittermice As Satans Spy" is the most impressive of all of these reinterpretations, however. The blistering black metal of the original is here transmuted into a grimly hypnotic neo-folk dirge, lush accordion-like drones opening the song before frenetically strummed acoustic guitars take over, melding with the haunting strains of mandolin, the sound like a blackened demonic take on Love Of Life-era Swans, super atmospheric and apocalyptic. And the cover of Current 93's "Let Us Go To The Rose" (listed here in French as "Allons Vior Si La Rose") is given a blackened makeover, that mournful folky melody here laid over a backdrop of blazing, buried blastbeats, excoriating screams buried even deeper in the mix, while washes of feedback crash across the final moments of the song.
    The original songs are pretty great, too. "Sleep Is The Enemy" opens with the sound of a metronomic clock tick tocking back and forth before it begins to seesaws between a shambling off-kilter blackened dirge and blasts of trashcan blastbeats and gasping, demonic exhalations that veers into almost Abruptumesque territory, infected with strange speaker noise and washes of tape hiss, finally returning t0 that hypnotic tick=tock as discordant piano guts rumble discordantly in the blackness. Those rumbling piano chords reappear on "Passing Into Sleep", a haunted driftscape of distant tortured feedback and ghostly moaning, weird operating singing drenched in reverb and echo, ominous percussive noises rumbling through the murk.
    Nicely packaged in black linen covers and inserts, all printed in silver ink, issued in a edition of two hundred copies.
Track Samples:
Sample : Ye Entrancemperium
Sample : Sleep Is The Enemy
Sample : Allons Vior Si La Rose



LIMB   self-titled   CD   (New Heavy Sounds)    15.98



   The eponymous debut from sludge rockers Limb is the latest offering from UK based New Hevay Sounds imprint, the same label that brought us the stomping fuzz-encrusted garage-doom psychedelia of Black Moth, and this sees them continuing to align themselves with a particular corner of the British sludge/psych/doom underground. Like their labelmates, Limb deliver a generally slow n' sludgy assault of downtuned tarpit metal that nods energetically in the direction of classic Sabbath and Pentagram (not too surprising considering that these guys share the same drummer as retro-doomsters Uncle Acid and the Deadbeats), while also incorporating a more contemporary degree of heaviness. Frontman Rob Hoey delivers the band's ominous visions in a deep, throaty bellow that gives this stuff a rougher feel than many of their peers in the contempo stoner metal ranks, a distorted, gravelly roar that sometimes seems to be blasting out of a megaphone; his sudden shrieks and screams can often thrust Limb's lumbering dope-fog heaviness into a ferocious frenzy that can also be a little reminiscent of that whole New Orleans sludge-core sound. The band keeps things pretty concise with songs that rarely stray beyond the four minute mark, yet they manage to drop in huge bulldozing dirge-riffs along more spacious, jangly guitar melodies that can detour into winding, vaguely proggy instrumental workouts, with lots of massive droning riff-trances that spool out over the rhythm section's syrupy, saurian grooves.
   The somewhat frantic energy on display here is met with a variety of influences, the songs even shot through with some effective moments of Slinty, math rock-influenced complexity mixed in with the band's beaten-down, grim attitude. One of the standout tracks is "Night and Void", where Limb drop into a growling miasma of slow-motion space rock laced with some great grinding synthesizer textures, moving into titanic psych-doom boogie with those gruff, pissed-off howls echoing wildly into the stratosphere. I've seen some reviews of the album draw comparisons to New Orleans band Down, but I think that Limb's belligerent psych-sludge is a little more interesting, with catchy songwriting colliding with massive riffage on tracks like "El Salvaclaw". Nothing groundbreaking, of course, and probably won't win you over if you're not already a big fan of this sort of Sabbathian crunch, but for anyone who's still obsessed with the sounds that were wafting off of the Man's Ruin label circa 1999 (and in particular the likes of Goatsnake and Electric Wizard), these guys are well worth checking out. It's available on both CD and limited edition vinyl, both versions presented in gatefold packaging that bears some terrific, mystical artwork from Richey Beckett.
Track Samples:
Sample : Vathek
Sample : Night & Void
Sample : El Salvaclaw



LIMB   self-titled   LP   (New Heavy Sounds)    22.00



   The eponymous debut from sludge rockers Limb is the latest offering from UK based New Hevay Sounds imprint, the same label that brought us the stomping fuzz-encrusted garage-doom psychedelia of Black Moth, and this sees them continuing to align themselves with a particular corner of the British sludge/psych/doom underground. Like their labelmates, Limb deliver a generally slow n' sludgy assault of downtuned tarpit metal that nods energetically in the direction of classic Sabbath and Pentagram (not too surprising considering that these guys share the same drummer as retro-doomsters Uncle Acid and the Deadbeats), while also incorporating a more contemporary degree of heaviness. Frontman Rob Hoey delivers the band's ominous visions in a deep, throaty bellow that gives this stuff a rougher feel than many of their peers in the contempo stoner metal ranks, a distorted, gravelly roar that sometimes seems to be blasting out of a megaphone; his sudden shrieks and screams can often thrust Limb's lumbering dope-fog heaviness into a ferocious frenzy that can also be a little reminiscent of that whole New Orleans sludge-core sound. The band keeps things pretty concise with songs that rarely stray beyond the four minute mark, yet they manage to drop in huge bulldozing dirge-riffs along more spacious, jangly guitar melodies that can detour into winding, vaguely proggy instrumental workouts, with lots of massive droning riff-trances that spool out over the rhythm section's syrupy, saurian grooves.
   The somewhat frantic energy on display here is met with a variety of influences, the songs even shot through with some effective moments of Slinty, math rock-influenced complexity mixed in with the band's beaten-down, grim attitude. One of the standout tracks is "Night and Void", where Limb drop into a growling miasma of slow-motion space rock laced with some great grinding synthesizer textures, moving into titanic psych-doom boogie with those gruff, pissed-off howls echoing wildly into the stratosphere. I've seen some reviews of the album draw comparisons to New Orleans band Down, but I think that Limb's belligerent psych-sludge is a little more interesting, with catchy songwriting colliding with massive riffage on tracks like "El Salvaclaw". Nothing groundbreaking, of course, and probably won't win you over if you're not already a big fan of this sort of Sabbathian crunch, but for anyone who's still obsessed with the sounds that were wafting off of the Man's Ruin label circa 1999 (and in particular the likes of Goatsnake and Electric Wizard), these guys are well worth checking out. It's available on both CD and limited edition vinyl, both versions presented in gatefold packaging that bears some terrific, mystical artwork from Richey Beckett.
Track Samples:
Sample : Vathek
Sample : Night & Void
Sample : El Salvaclaw



LOCI   Around The Edges Of All   3" CDR   (Small Doses)    6.50



   More apocalyptic, nihilistic psychedelia from Loci. The follow-up to their debut tape Into Blindness from 2013 sees this Austin, TX trio moving from the murky, deformed blackened psychedelia of their debut into more ethereal territory. There's still plenty of grimy, creepy atmosphere that hangs over the three tracks featured on Around The Edges Of All though, washes of distant dissonant electric guitar and waves of dark swirling synth-drift creating an uneasy vibe tinged with dread as their formless acoustic guitar strum and drifting tendrils of high-end feedback skree and haunting drone slowly curl out across the beginning of the disc.
   From that first track of damaged dark improvisational drift, Loci ventures into an almost cinematic ambience on the second track "For Films Far Away", blending gleaming orchestral string sounds with undercurrents of morbid discordance and far-off environmental sounds, at times resembling a dark ambient riff on Ortolani's score for Cannibal Holocaust stretched out and slowed down into a delirious haze of sinister sound, that wavering symphonic dronescape littered with fragments of eerie, atonal psych guitar and the ever-present rumble of some distant machinery. The last track grows even darker, slipping into a delirium of free jazz saxophone slowly melting over a field of metallic thrum and buried sitar drones, deep glacial pulsations emanating from deep below, the music slowly swirling together intio a slow-motion opium-haze, a dreamy din of drugged-out malevolence and formless spaced-out rumble, like hearing saxophonist Courtney Pine's gorgeous melancholic playing from the Angel Heart score bent and warped and stretched and abused over a screeching industrial backdrop, interspersed with bursts of charred, almost doomdrone-like distorted guitar noise and mutant krautrocky grooves. A gorgeously bleak presentation of infernal improv. Limited to a tiny edition of eighty-nine copies, the disc comes in a miniature letterpress sleeve wrapped in hand-colored cotton paper.
Track Samples:
Sample : In The Cold Heart Will Fall
Sample : For Films Far Away



MAJUTSU NO NIWA   Frontera   CD   (Musik Atlach)    16.98



   Finally got this 2009 album of benighted psychedelia from Japan's Majutsu No Niwa back in stock. Made up of former members of the legendary 90's-era space/noise psych rock outfit Overhang Party, Majutsu No Niwa ventures into a similarly dense and devastating abyss of jet-black space rock formlessness with this album of mega-distorted psychfuzz blowouts and monstrous acid-drenched riff mania. Opening with a heavy-duty blast of extreme flange n' wah abuse that seems to crack open a black hole right there in the studio, the singer launching into an ecstasy of wordless wailing, these guys pile on a massive amount of mind-melting noise and effects right from the start. But then "Turn To Flames" kicks in, and we're jettisoned into an astral wave of distorted psychedelic rock that really fucking rips, catchy and garagey and blown out, a rampaging PSF-style psych-punk rager, a sound that from that point forward dominates much of this blistering album.
    It's not all blazing Acid Mothers Temple-esque fury, though. Majutsu No Niwa also ventures into groovy wah-drenched freak-outs trailing out endlessly over heavy blues-addled riffery and the lumbering, trance-inducing power of the rhythm section, and slower spacey hazes flecked with piercing electronics and eerie reverb-drenched guitars. The band frequently dissolves into crushing improvisational jamming that unleashes some pretty serious noise assaults, and guitarist Fukuoka strafes the songs with an almost endless assault of searing, smoking solos and relentless wah-pedal overload. There's some sweet, poppy hooks that show up on "Thousands Of Days, Thousands Of Nights", flecked with violins and acoustic guitars; hand drums are brought out for the haunting, dreamy folk of "Beyond The Steel Rails"; and the crushing "Night Cruise" unleashes a swarm of Hawkwindian effects over a hypnotic lumbering groove that stretches out for nearly ten minutes. It's with the massive sprawling psych jam "La Vena" that closes the album that Majutsu No Niwa finally break free of the Earth's atmosphere, ascending into a crushing, sprawling free-form psych-jam that moves from slowly unfolding blossoms of mournful reverb-drenched guitar into gales of deep-space cosmic effects and swirling synth noise, the band slowly building into a blasting wall of black-hole feedback and heavy-duty amplifier rumble, strange percussive rattling sounds and random scraping noises emerging beneath the slowly shifting psychedelic fog, spreading out into a pool of ominous cosmic blackness splattered with that endless Hendrixian guitar squall that turns this finale into something much more akin to the post-industrial psych of Vocokesh, F/I, and latter-day Ramleh.
   Comes in digipack packaging, with a lyric booklet written in both Japanese and English.
Track Samples:
Sample : MAJUTSU NO NIWA-Frontera
Sample : MAJUTSU NO NIWA-Frontera
Sample : MAJUTSU NO NIWA-Frontera
Sample : MAJUTSU NO NIWA-Frontera



MAMMATUS   The Coast Explodes   LP   (Holy Mountain)    19.99



Out of print for some time, Mammatus's psych-sludge-prog opus The Coast Explodes has been reissued on vinyl, and now includes a digital download code for the album.
The second full length from Santa Cruz's Mammatus and man, it rules. Ever since I was first turned onto these guys through their debut self-titled album from last year, they've registered in my mind as sort of a tie-dyed, brain glazing response to Sleep. There are a bunch of reasons as to why that is: the awesome Arik Roper-inked artwork that Mammatus employs, the frequent plunges into MASSIVE bombastic sludge jams, the terminally stoned drone-vocals, and the general mystical vibe that surrounded their debut. The fact that their name sounds like it was taken from some kind of prehistoric beast doesn't hurt either. Aside from the Sleep comparisons, though, Mammatus are equally as immersed in spacey psychedelic rock and heavy prog as they are with the mondo-sludgy riffage. Their brand new album The Coast Explodes heads out into even trippier territory this time around. The proceedings kick off with "Dragon Of The Deep Part III (Excellent Swordfight)", which picks up where the "Dragon Of The Deep" saga laft off on the last disc, opening this album with a sprawling 12 minute jam that ties sweet snakey dual guitar harmonies astride a chunky Can-like percussive groove that stretches out for half of the tracks length, eventually meeting up with trippy cosmic electronics and weird noises that begin spewing across the rhythmic propulsion until the band finally slides into a crushing, gooey crawl. It takes 9 minutes for the vocals to finally show up on the album opener , and man are they zonked; high pitched singing bathed in effects over a punishing doom crawl, like a combination of Hawkwind and Sleep with a time-tripping Jon Anderson (Yes/Tangerine Dream) on vocals, backed by a devastating toner metal coda hat crushes everything flat. Freaking awesome! Then comes "Pierce the Darkness" and it's sprawling psych/kraut jam that gives way to an eternally blissed-out ending that piles rich guitar solos on top of Growing-esque drones right before another monstrous sludge riff emerges. That's followed by the opening robot blips and glistening ambient synthesizers of "The Changing Wind", which seems to be the one track on The Coast Explodes that fans tend to be polarized on. After that brief intro of electronic sounds, Mammatus burst into a skeletal hippie-folk jam that sounds like something off of the Wicker Man soundtrack with weird, childlike singing. Acoustic guitars and wind instruments and hand drums swirl together into a strange, ancient sounding folk song that fades away to sounds of the titular coastline, the barking of sea lions resonating loudly over the sound of waves crashing on an unseen beach. Personally, this is one of my favorite songs on the whole album. Then the album flows into the final rite with the title rack, another long-form epic that might just be one of Mammatus' finest jams, a massive mantra of Sleep-like riffage and breathtaking twin-guitar harmonies, locking into absolutely crushing riffage over the song's 12 minutes, those elfin falsetto vocals appearing again but this time airy and drifting. Utterly amazing. If you were into their debut album, than this is a must-get, and fans of all things psychedelic and crushing, sludgy and transcendental, that mighty mind-expanding rock power that lies amongst bands like Sleep and Sabbath, Pink Floyd and Hawkwind, well, this isn't a bad place at all to start with in terms of experiencing the awesomeness that is Mammatus. Highly recommended.


MAN IS THE BASTARD / BIZARRE UPROAR   Sanctity Of Oil / M3A1 Sub-machine Gun   7" VINYL   (DP)    13.98



  Just obtained a couple of copies of the long out-of-print 7" release of the Man Is The Bastard / Bizarre Uproar split, released back in 1993 on MITB member Eric Wood's own DP label. This is pretty rare, and came from Wood's own stash, so when the copies I have in stock are gone, that'll be the last of 'em.
  Here's my previous review of the recent 10" reissue of the spit: Newer fans of Man Is The Bastard might turn up an eyebrow at the fact that the outspoken power-violence band would appear on a record alongside the provocative Bizarre Uproar, but this was just another chapter in an ongoing collaboration between the artists that started with the Bastard split with Aunt Mary, the noisecore band that eventually morphed into Markkula's noise project.
   The Charred Remains / Man Is The Bastard side has four songs of the band's trademark bass-heavy prog-sludge, the opener "Grasp The Bug" lurching through a clot of deformed bass guitar riffs and absolutely skull-flattening drumming, a massive misshapen angular dirge that slowly scuttles over the beginning of the side like some deformed ultra-heavy crab crawl. There's a short blast of harsh electronic distortion that follows, a corrosive noise interlude that leads into the creepy doom-laden rumble of "Human Condition", monstrous groans and menacing whispering voices lurking beneath the washes of amplifier rumble and feedback, a grim minor key bass melody softly played in the background alongside tribal percussion and squealing electro-shock oscillators. It's al abstract and improvised, a kind of nightmarish caveman psychedelia, a brain-melting low-fi doomdrone horror sprawling out for most of the side. That's followed by an almost noisecore style micro-assault of blasting violence that comes and goes in the space of a minute, and then closes with the short outro "Oil Bomb", an abrasive cluster of alien synth noise and squelchy oscillator waves that quickly finishes off their side.
   On Bizarre Uproar's side of the record, Markkula unleashes the aptly titled "Session Of Extreme Nihilistic Horror", a crushing, roughly ten minute long nightmare of garbled noisecore-style chaos, extreme junk noise that's been cut up into an inchoate mass of percussive violence, the sounds coming in short thirty second blasts of power, with a second of brief silence separating each blast from the next, as if this is stitched together from a number of distinct tracks. It's a vintage harsh noise assault, a churning mass of low-fidelity scrape and roar, torturous feedback and decomposed tape noise, guttural bass noise and piles of backwards sound all shifting ceaselessly in a roiling torment of chopped up pandemonium.


MAUDLIN OF THE WELL   My Fruit Psychobells... A Seed Combustible   2 x LP   (Antithetic Records)    35.00













MOLOCH   Gebrechlichkeit   CD   (Hidden Marly)    11.98



   Not a new album from this ultra-prolific experimental Ukrainian black metal outfit, but an extensive collection of material that draws from various releases from across the past ten years of Moloch's career, showcasing his off-kilter brand of messy, Shaggsian black metal misery. Released on the Japanese label Hidden Marly, this compilation collects all of the black metal songs off of the now out-of-print Isolation der Essenz and A Journey to the Vyrdin albums, select tracks from the albums Misanthropie ist der einzige Weg zur Reinheit and Der Schein des schwärzesten Schnees, Moloch's songs from the splits with Persistence In Mourning, Deviator and Begotten, as well as three unreleased tracks and some rare demo material from 2004.
   There's a lot to sink your teeth into here. The material on Gebrechlichkeit ranges from Moloch's mournful, regal dungeon-ambient epics heavily influenced by the dark synth-heavy fantasies of the early Cold Meat-era Mortiis albums, to his signature strain of shambling depressive black metal that combines distant abject shrieking and half-spoken lamentations over off-kilter rhythms and layers of buzzing, droning Burzumic guitar. Almost all of the recent black metal recordings from Moloch have moved in this direction, a personal, offbeat take on that "depressive" black metal sound that features all of the heartbreakingly gloomy minor key misery you'd expect from someone working in the genre, but it's underscored by that strange rhythmic approach that often gives this stuff a weird, counter-intuitive angularity. When I hear the climbing bass guitar notes on songs like "Die letzten Strahlen der Sonne verblassen...", there's almost a jazzy, improvisational quality to what's going on with the rhythm section beneath those sorrowful, saturated tremolo riffs and shrieking, wordless vocals; the bass guitar lurches though weirdly angular, off-kilter anti-grooves as the drumming seems to move in a completely different direction, bringing an almost Striborgian feel to some of his stuff; on the songs where the rhyhm section does manage to come together into a simple, thudding groove, it can shift the music into either a strange sort of ritualistic, processional-like feel, or else a pummeling industrialized groove. Other tracks like "Ein Teil meiner Essenz wird hier immer verweilen" showcase Moloch's flair for moody, minimal piano-based compositions, and there's some of his dissonant solo guitar ambience that echoes some of the more languid moments of the Black Legions.
    Definitely not for black metal fans looking for more structured sounds, though. This is droning, discordant, utterly dreary music with moments of over the top weepiness that'll probably come off as too melodramatic for a lot of listeners, not to mention the meandering quality of much of Moloch's material. For me, though, it's all part of Moloch's strange, shambling, brain-damaged charm. Limited to five hundred copies, and includes some bonus CD-ROM video material.
Track Samples:
Sample : Philosophie der Depression
Sample : On the ground, by blood
Sample : Nichtigkeit
Sample : Ljosalfaheimr
Sample : ˙ţDie letzten Strahlen der Sonne verblassen in der Kälte der Apathie



MOLOCH / GLASS COFFIN   split   7" VINYL   (Husk Records)    6.50













NADJA   Radiance Of Shadows   CD   (Broken Spine)    15.98



   A new reissue of Nadja's earthcrushing 2007 album Radiance Of Shadows, originally released by Canadian label Alien8 on CD and by Conspiracy on vinyl, here presented in gatefold digisleeve packaging with new album art from Montreal photographer Guylaine Bédard. When it was originally released, Radiance saw Aidan Baker and Leah Buckareff's dreamy doom growing even more devastating, further exploring their unique fusion of droning industrial heaviness and Fennesz-esque ambience, and it remains one of my favorite Nadja albums.
    Three massive tracks of glacial metallic slowcore, a dolorous doom-laden heaviness immersed in grainy blissed-out distortion and thunderous industrialized rhythms that move at immense ponderous tempos, each song nearly half an hour in length. The opener "Now I Am Become Death, The Destroyer Of Worlds" is classic Nadja, the song slowly taking form within a cloud of nebulous metallic hiss and whirr, bits of backwards sound emerging out of the void as the drums slowly drift into view, a minimal cymbal-heavy pulse that surges up from the depths, shrouded in waves of Baker's effects-drenched drone and incandescent synthesizer textures. His guitar erupts into a massively saturated distorted crunch welded to Buckareff's lumbering, narcoleptic bass, and while those Codeine-esque qualities that have long lurked within Nadja's music are at their heaviest here, the music also often shifts from that lumbering, ultra-heavy shoegazer dirge into stretches of wintry desolation, glimmering pools of electronic ambience and murky orchestral beauty muted by the duo's frosty aura. The riffs are monstrous Sabbathian dirges when these two really get going, locking into a pulverizing saurian groove on this and the other tracks, titanic doom metal drowning in a fog of noise and synths, flutes and billowing distorted buzz, the melodies wrapped in a dense cloud of heavily saturated distortion that recalls the experimental ambience of Tim Hecker, Christian Fennesz and William Basinski.
    That flows right into the second track, a dreamier expanse of droning synth and spacious slow-motion plod, dreamy vocals drifting slowly across the softened, feedback-strewn dirge, the sound akin to a washed out, drugged-out version of Jesu, that shoegazey sludge-metal muted and muffled into an even more lush and luxurious sprawl. That menacing monstrous riff gradually gives way to a vast sea of swirling orchestral drones and gleaming Loveless-esque feedback stretched wide across the horizon, a din of dubbed-out drumming building into a weird sort of motorik propulsion as the track spirals ever outward.
    The final song, however, offers something a bit more abstract and subdued, at least at first; from stretches of minimal near silent emptiness streaked with soft traces of whirring synth and staccato acoustic guitar strum, the title track slowly unfolds from that weirdly muted and droning strum into a massive creeping dirge, an almost Swans-like blast of percussive pummel and militant rhythmic power erupting beneath the blizzard of distortion and that huge, sinister riff, maybe the heaviest moment on the entire album as that crushing doom dirge rises above the swirling noise, Baker's vocals transforming into a guttural, vicious roar, the sound like some 'gazed-out doomdeath monstrosity, threaded with peals of searing feedback and orchestral power as it steadily creeps into a crushing wall of symphonic chaos and oceanic noise that almost completely takes over the rest of the album...
Track Samples:
Sample : Now I Am Become Death
Sample : I Have Tasted the Fire Inside Your Mouth



NOVÝ SVĚT / SPETTRO FAMILY   split   7" VINYL   (Black Horizons)    11.50













OM   Pilgrimage   LP   (Southern Lord)    16.98



After years of being oput of print on vinyl, Om's brain-glazing third album Pilgrimage is back on wax, issued by Southern Lord in a new pressing of six hundred copies on black vinyl, packaged in a case-wrapped gatefold jacket for this version. Still as heavy and hypnotic and hymn-like as it was when Pilgrimage originally came out back in 2007, this is an essential addition to every Om fan's collection. Here's my old write-up of the album from when it first came out in CD seven years ago...
The transcendent riffmasters return with their third album (and first for new label Southern Lord), Pilgrimage. At this point, Om's modus operandi has been made clear: to create the most hypnotic and trance-inducing riffs possible using only bass guitar and drums, strip them down to the most spare and skeletal form, and proceed to grind them out into unending, eternal waves of serpentine heaviness. Even without the angelic cover artwork and mystical lyrics, it's hard not to attribute a kind of spiritual power to Om's music due to the flowing, circular mantra-like riffs and the druggy, incantatory vocal chants. The duo of Chris Hakius and Al Cisneros established themselves years ago as one of the heaviest rhythm sections in underground music during their tenure with the psychedelic sludgebeast Sleep, but their work with Om and the reductionist manner in which they continue to explore the power of the riff at an almost obsessive level of detail is producing the greatest music of their career, in my opinion. With a thunderous recording by Steve Albini, Pilgrimage opens with the title track, a smoke-filled, subdued raga march into oblivion, tambourine-like percussion rattling over suppressed tribal drumming, the song weaving and winding through it's 10 minute duration, creating a simmering anticipation that finally finds release when "Unitive Knowledge Of The Godhead" follows, flipping the switch on the distortion pedal and releasing the full force 4/4 pummel as Om levels the block with a devastating saurian riff. "Bhima's Theme" may be the heaviest jam from Om so far, a 12 minute sludgefeast of Sleep proportions that changes up the central riff theme that the guys have been chasing throughout the album up until this point. The album closes with a reprise of the title track, returning to the theme of the opening piece with subtle changes to the riff, demanding that Pilgrimage be set to repeat on your stereo and allowed to play over and over again, the songs, the riffs, the chanting all repeating themselves forever.
Track Samples:
Sample : Pilgrimage
Sample : Bhima's Theme



PAINKILLER   The Prophecy   CD   (Tzadik)    16.98











Track Samples:
Sample : The Prophecy
Sample : Prelude



PENTADRVG / YUDLUGAR   Post Mortem   7" VINYL   (Omega Warfare)    9.99



   We've picked up all three of the initial releases from UK breakcore label Omega Warfare; much like fellow Brits Legs Akimbo, the Omega Warfare aesthetic is entrenched in the most violent and extreme fringes of breakcore / speedcore, and their offerings from the likes of Company Fuck, Yudlugar, are Dj Skull Vomit all deliver insane levels of electronic chaos. If there's a dancefloor clamoring for this stuff, it's probably somewhere within the seventh circle of Hell.
    My favorite 7" on Legs Akimbo was the split that featured Ukrainian black metallers Moloch paired up with UK speedcore artist Yudlugar, who brought a violent, black metal influenced aggression to his hyperspeed noise; this newer EP is only the second release I've heard so far from Yudlugar, but this is quickly turning into my favorite speedcore outfit, drawing from the icy evil atmospheres of classic black metal to unleash a frostbitten brand of skull-crushing gabber-style chaos, layered with malevolent electronic ambience and vicious noise and even the occasional necro guitar riff. On this 7", Yudlugar collaborates with the Russian ambient noise artist Pentadrvg, who brings her signature strain of howling, nightmarish ambience and shrieking ritualistic noise to the pounding chaotic kick drums and splattery blasts that boil over both sides of this EP; the second track is more abstract, slipping from the relentless pummel of those jackhammer kick drums into a thumping, delirious miasma of muffled rhythms and looping synth blasts, the sound taking on an almost ecstatic, tribal feel, even as layer after layer of additional noise and droning distortion are piled on, the track eventually building into an almost militant-sounding rhythmic assault. By the end, that rapid-fire industrialized blast begins to resemble the sound of heavy artillery beneath waves of eerie choral drone and dark orchestral drift, fusing that fractured speedcore with traces of Cold Meat-esque death industrial-style ambience, the violent pounding rhythms creating a jarring aural effect beneath the swirling black drift.
   Limited to two hundred fifty copies.


PLANNING FOR BURIAL   Desideratum   CD   (The Flenser)    13.98











Track Samples:
Sample : Golden
Sample : Desideratum
Sample : 29 August 2012



PLANNING FOR BURIAL   Desideratum   LP   (The Flenser)    19.99











Track Samples:
Sample : Golden
Sample : Desideratum
Sample : 29 August 2012



PORTAL   Swarth   CD   (Profound Lore)    14.98

Swarth IS CURRENTLY UNAVAILABLE FOR ORDER

"An enigma within the realm of death metal, Australia's Portal have defined themselves, over the course of two full-length albums and a handful of demos and EPs, as a bizarre and frightening entity with a unique and unparalleled sound. No other band currently in existence has such a polarizing effect on the underground metal scene--they are regarded as either pure geniuses or incomprehensible noisemakers. Their madness and chaos is the soundtrack to a F.W. Murnau film gone terribly awry.
Profound Lore Records brought Portal the attention of the worldwide metal underground by reissuing their limited 2003 debut album, Seepia, and releasing its follow-up, Outre. Swarth, their highly anticipated new album, slowly crawls under the listener's skin and penetrates the psyche. This eight-track monolith combines the off-kilter dynamics of their debut with the surging atmospherics of Outre, taking their sound to new ungodly levels. No other album released this year is as unique or frightening as Swarth. Portal is the future of death metal.
" - Profound Lore


PORTAL   Swarth   CASSETTE   (Parasitic)    6.99













PORTAL   Vexovoid   CASSETTE   (Parasitic)    6.99



Now available on limited edition audio cassette with different artwork than the previous cd and vinyl versions, limited to three hundred copies.
Vexovoid is the fourth album from Australian mutants Portal, a band that has continued to confound listeners with an idiosyncratic and otherworldly take on death metal that reached a new level of suffocating, eldritch weirdness on their albums Swarth and Outre. As with those albums, Vexovoid features slippery, malformed death metal, discordant blackened chaos and visions of alien horrors, but there is a clarity to Portal's sound on this album that is markedly different from previous outings.
The pounding percussive violence that opens Vexovoid is surprisingly straightforward, at least by Portal standards; the sludgy droning riffage and spastic, thunderous drumming that powers "Kilter"'s chaotic swarm is more defined and chunky than the sort of ultra-murky formless deathblast that their other albums are known for; at the same time, the discordant, reptilian horror you'd expect is fully formed here, alive in the slithering droning riffs and bizarre angular arrangement of the song, still sounding like an otherworldly, alien take on Incantation's early, sludgy death metal. And in its final minutes, this song lurches into a blasting minor key majesty that definitely feels like something new gouting from Portal's black maw.
On "The Black Wards", Portal continues to reveal this more coherent side to their music, the drumming taking on an almost industrial feel at certain points, the rapid chain-gun blastbeats rattling off mechanically below the slippery, surging riffs, and the Curator's bizarre inter-dimensional incantations are easier to pick out among the scattershot riffs, lines like "...cognizant eschewal / plight of Gammon Psyche / the lightness Shrewd / Zugzwang Gordian blighting / Dissorderlies Strewn..." reading like excerpts from a Kenji Siratori novel. The rest of the album is still plenty psychotic, still like some bizarre interpretation of Gorguts and Disembowelment beamed back from some malevolent insect-controlled dimension, the songs swarming with crushing discordant guitars, ghastly gasping vocals and mutant anti-grooves, twisted counter-intuitive time signatures and sudden, wildly jarring shifts in tempo, and awesome breakdowns where the chaotic blasting suddenly downshifts into a soundtrack-worthy section of apocalyptic might; for instance, the end of "Plasm", where riffs turn into foghorn blasts and Portal's churning maelstrom begins to freeze into a backwards-moving wash of withered death-drone, and the strange depth-charge doom of closer "Oblotten".
It feels like Portal's most complex work so far, the swirling, vomitous riffs and dissonant leads interlocking with greater definition than before, revealing a monstrous complexity at work within the band's pounding, atonal, droning death metal chaos. One of my fave death metal albums of '13 so far. Its one of the band's coolest looking albums too, with artwork from both Rev. Kriss Hades and Industrie Chimere Noire gracing the sleeve.
Track Samples:
Sample : Awryeon
Sample : Kilter
Sample : Oblotten
Sample : Plasm



PROSATANOS / SMOKE   In Hate And Blasphemy   CD   (Total Death)    12.98



   After discovering their murky improvised black metal on the handful of tapes they put out on UK label Legion Blotan, I've been infatuated with the primitive weirdness of Dutch duo Smoke, who unfortunately split up in 2013. That hasn't dissuaded me from trying to track down all of their releases though, which led me to this somewhat hard-to-find split with German black metallers Prosatanos that came out in 2011.
    Prosatanos whip a ferocious blast of superfast black metal on their half of the album, shifting between ultra-violent blasting tempos and eerie ice-encrusted tremolo riffs to wicked punk-tinged thrash, the singer howling and snarling through a thick cloud of dank dungeon reverb, those vocals super harsh and echoing, the whole sound rooted in a classic old school black attack, but flecked with some odd melodic riffing that unfolds unexpectedly over the relentless blastbeats and the occasional churning Frostian dirge, like on the crazed yet mesmeric "Illusion", where almost Middle Eastern-like scales emerge over the hysterical echo-laden Teutonic thrash...
    But the Smoke side of the split is an entirely different beast. These five tracks see the duo once again careening through a chaotic storm of low-fi black metal primitivism, droning hypnotic riffs crafted on the fly, the drummer lurching and blasting haphazardly beneath the coruscating clouds of shrill tremolo buzz, the spiteful sneering vocals drifting through the blackness and shape shifting into weird keening moans. It's all improvised, but this isn't the freeform dungeon vomit of Abruptum, but more like the punked-out black filth of bands like Sump, simplistic eerie riffs droning incessantly, a feeling of barely controlled chaos pushing the music towards (but never quite into) total collapse, the sound achieving a distinct but utterly twisted form. There's some really haunting moments that take shape within Smoke's deformed improvisations, washes of noise-drenched melancholy guitar swarming deep in the mix, smears of ghostly ambience that emerge over the din, a droning hypnotic quality clinging tho these tracks much like their similarly discordant and delirious cassette releases. Man, do I love this stuff - at times, it almost starts to resemble some kind of seriously fucked-up noise rock, and anyone into the similarly weird feel of those Emanation releases we recently picked up should especially check this band out.
Track Samples:
Sample : SMOKE - Spinning In Infinity
Sample : SMOKE - Het Sermoon
Sample : PROSATANOS - Time Of Armageddon
Sample : PROSATANOS - Land Of My Vision (Where The Churches Burning)



PYRAMIDO / UNION OF SLEEP   Cleansed / Crawl   7" VINYL   (Hell Comes Home)    6.99



    Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
      Number five in the series sees Sweden's Pyramido teaming up with the doom-laden hardcore of Germany's Union Of Sleep. Pyramido is one band that you should be checking out if you're obsessed with agonizingly slow, doom-laden riffcrush, as every one of their albums to date have showcased a potent combo of dark melody, raw punk aggression, and a knack for seriously titanic riffage. Their brand of tortured sludgy metal is pretty killer, with a big hardcore punk influence lurking beneath all of the slow-mo heaviness, and their "Cleansed" delivers more of those crushing lead-plated riffs and quicksand tempos. Great stuff.
      Union Of Sleep were another new one for me; their "Crawl" is hardly that, a ferocious rampaging beast of a song, a blast of vicious crusty hardcore with a monstrous death metal streak running through it that rampages through the song. Fans of the later Entombed material will recognize a similar propensity for ultra-heavy, driving death-influenced riffs and some brutally rocking propulsion behind their initial locomotive crush, but the second half seem them suddenly shifting gears into a punishing stretch of Sabbathian dirge. Anyone who's been particularly obsessed with the recent Southern Lord output will no doubt love this stuff.


RADIOACTIVE VOMIT / COLUMN OF HEAVEN   Streams Of Disease / Aubade (Feast Of Tentacles Version)   7" VINYL   (Feast Of Tentacles)    6.99



   Here's another blast of experimental, hateful blastcore from Column Of Heaven, here teaming up with their comrades in Radioactive Vomit. The fact that these guys were given the stamp of approval by Column Of Heaven was enough to have me buzzin' to hear this newer Canadian war-metal outfit, and the three songs that make up their side of this split 7" certainly don't let me down. Combining the chaotic blackened death metal pioneered by Conqueror and Blasphemy and adding their own crusty, doom-laden touch, Radioactive Vomit offer a much more reckless and rabid version of that oft-copied sound. Songs like "Shit Dredge" crawl with seething sonic horror, a deformed doom blast that sounds all the heavier coming after the primal thrashing violence of "The Streams Of Disease", all massive vomit-stained bulldozing heaviness and bestial screaming, the guitarist splattering the rest of the band with his psychotic Hanneman-esque solos. Not much of the D-beat influence that appeared on their demo, but there's still plenty of that frenzied, discordant quality that makes 'em one of the better newer bands in this vein.
   Column Of Heaven's side reinforces their status as one of the most lethal bands on the planet right now. Since forming from the ashes of The Endless Blockade, these guys have continued to blast beyond the parameters of power-violence, further exploring the DNA-altering capabilities of the most extreme elements of noise, deathgrind and industrial while retaining a very specific sound across all of their releases. Their half of this 7" has more of that death metal influenced brutality, but the songs "Aubade I: Sun Defeated" and "Aubade II: The Trident Of Light And Decay" also blend together toxic black static, bone-crushing hardcore punk, Artaud quotes and surrealistic lyrical imagery, ghostly operatic samples and murky industrial textures into their vicious grinding heaviness. At it's core though, this is hyperfast hardcore that rips your face right off of your skull, dosed with the occasional skull-crushing breakdown or blast of electronic noise before the scolding of crows drifts in over the spectral dronescape that closes the record.
Track Samples:
Sample : RADIOACTIVE VOMIT - The Streams Of Disease
Sample : RADIOACTIVE VOMIT - Entrenched
Sample : COLUMN OF HEAVEN - Aubade I: Sun Defeated
Sample : COLUMN OF HEAVEN - Aubade II: The Trident Of Light And Decay



RADIOACTIVE VOMIT / COLUMN OF HEAVEN   Streams Of Disease / Aubade (Analog Worship Version)   7" VINYL   (Analog Worship)    6.99



   Here's another blast of experimental, hateful blastcore from Column Of Heaven, here teaming up with their comrades in Radioactive Vomit. The fact that these guys were given the stamp of approval by Column Of Heaven was enough to have me buzzin' to hear this newer Canadian war-metal outfit, and the three songs that make up their side of this split 7" certainly don't let me down. Combining the chaotic blackened death metal pioneered by Conqueror and Blasphemy and adding their own crusty, doom-laden touch, Radioactive Vomit offer a much more reckless and rabid version of that oft-copied sound. Songs like "Shit Dredge" crawl with seething sonic horror, a deformed doom blast that sounds all the heavier coming after the primal thrashing violence of "The Streams Of Disease", all massive vomit-stained bulldozing heaviness and bestial screaming, the guitarist splattering the rest of the band with his psychotic Hanneman-esque solos. Not much of the D-beat influence that appeared on their demo, but there's still plenty of that frenzied, discordant quality that makes 'em one of the better newer bands in this vein.
   Column Of Heaven's side reinforces their status as one of the most lethal bands on the planet right now. Since forming from the ashes of The Endless Blockade, these guys have continued to blast beyond the parameters of power-violence, further exploring the DNA-altering capabilities of the most extreme elements of noise, deathgrind and industrial while retaining a very specific sound across all of their releases. Their half of this 7" has more of that death metal influenced brutality, but the songs "Aubade I: Sun Defeated" and "Aubade II: The Trident Of Light And Decay" also blend together toxic black static, bone-crushing hardcore punk, Artaud quotes and surrealistic lyrical imagery, ghostly operatic samples and murky industrial textures into their vicious grinding heaviness. At it's core though, this is hyperfast hardcore that rips your face right off of your skull, dosed with the occasional skull-crushing breakdown or blast of electronic noise before the scolding of crows drifts in over the spectral dronescape that closes the record.
Track Samples:
Sample : RADIOACTIVE VOMIT - The Streams Of Disease
Sample : RADIOACTIVE VOMIT - Entrenched
Sample : COLUMN OF HEAVEN - Aubade I: Sun Defeated
Sample : COLUMN OF HEAVEN - Aubade II: The Trident Of Light And Decay



REVENGE   Victory.Intolerance.Mastery   LP   (Osmose Productions)    29.99



   The latest in Osmose's vinyl reissue campaign for Canadian blackened death metallers Revenge, this deluxe reissue of the band's savage 2004 masterwork Victory.Intolerance.Mastery features Revenge at their most rabid, with J. Read and company whipping up their post-Conqueror war metal into a fresh new frenzy of extreme noise-damaged violence that often has more in common with the most abrasive fringes of experimental noise than traditional metal. Like the other recent LP editions, this comes in a hefty casewrapped jacket with silver foil stamping and an alternate album design from the CD version, a printed inner sleeve, the record pressed on thick 180 gram vinyl.
   Here's my old write-up from when the CD first came out: An ultra-chaotic, blown-out black metal noise assault from Canada's Revenge, which came out back in 2004 but just now getting added to our shelves. Revenge was the duo of James Read (ex-Conqueror, Axis Of Advance, Arkhon Infaustus) and Pete Helmkamp (of Angelcorpse, Order From Chaos, and bizarro voidworld industrialists Terror Organ), who are depicted in the disc's stark, black and white 10-panel booklet outfitted in full camo, bullet belts, and knives in hand. Victory Intolerance Mastery was the last release from the band, and it's on a whole 'nother level of seriously evil, distorted, raw, blownout grinding blackness, a horrific 8-song vision of total Armageddon, riding on blastwaves of murky, black riffage caked in overdriven distortion and noise, rumbling formless low-end, Read's insane octopoidal blastbeat drumming that goes all over the fucking place, vomiting shrieks, layers of inhuman FX-splattered growls tripping through dimensions, total chaos. Ultra harsh, bleak, bestial scumblast in the tradition of Beherit and Blasphemy and early grindcore, with awesome, ridiculously chaotic hyper-distorted solos and pick sweeps slicing through a wall of corrosive psychedelic violence. Reminds me of what might happen if Anaal Nathrakh was fused with Fear Of God's 1st EP. Awesome.
Track Samples:
Sample : Destiny Mastery
Sample : Blood Annihilation
Sample : Iron Intolerance



RITUAAL   self-titled   7" VINYL   (Parasitic)    6.50



   Rituaal is the debut two-song EP that came out last year from the occult-influenced trio of the same name, who bring us a heavily atmospheric and potent mixture of morbid doomdeath and raw black metal. Made up of drummer Jake Rothlisberger (Vesicus, Mourner), guitarist/vocalist Justin Stubbs (AKA Ghoat from Encoffination, Father Befouled, Vomitchapel, Festered and Lilitu), and vocalist/guitarist Mike Meacham (Loss), the band explores a different sort of oppressive, churning heaviness through the songs "Datura At The Astral Sabbat" and "Ordo Walpurga", each one a droning, hypnotic blackened assault, "Datura" shifting between a ritualistic, repetitive black metal sound with monotonous buzzing riffs and almost chant-like vocals, and a slower, more doom-laden approach that has some really striking minor key melodic guitar work; the music is interspersed with understated samples of dialogue, incidental music and fragments of chopped-out soundtracks from old satanic horror films that are stitched into the song's grave atmosphere, adding to the weird murky vibe that permeates Rituaal's sonic death-worship. On the other side, "Walpurga" slips into a ponderous deathcrawl of stench-ridden doom that moves through a gloom of blackened tremolo riffing and cavernous reverb, the vocals trading off between impossibly deep, guttural beast-growls and frantic, high pitched shrieks, the dank and anguished sonic fog growing more melancholy as the song unfolds, layered with mournful funereal guitars that ring out beneath the grueling slow motion dirge.
    Limited to five hundred copies.


ROB   Maniac (2013)   LP   (Death Waltz)    33.00













ROBINSON, HARRY   Twins Of Evil   LP   (Death Waltz)    22.00













RUINE   Winter 2014 Demo   7" VINYL   (Forcefield)    5.00



   Never cared much for hotshit DC-area blasters Magrudergrind, but this new band that some of those guys have put together with members of Brooklyn black metallers Mutilation Rites is pretty damn impressive. On their demo (here reissued on limited edition vinyl), these guys slow things waaaaay down and go for an ultra-heavy, ultra-ugly sludge assault that's one of the nastiest sounding debuts I've heard lately. Two tracks of titanic hate-sludge roll off of this 7" like a bulldozer, crushing downtuned Frostian heaviness amped up to the nth degree, the singer puking his goddamn guts out as he reports back from the front lines of a crumbling civilization, a howling litany of social collapse drawn in scrawls of systematic soulcrush and industrialized suffering. And it's just ridiculously heavy, with a kind of concrete-encrusted guitar sound that powers the slow-motion avalanche of low-end skullcrush; it's peppered with moments of almost hopeful melodic beauty that emerge towards the end of the a-side song "Decades Of Sorrow", though, skillfully shifting out of that abject hateful heaviness into something that actually becomes achingly pretty in its final moments; Thou fans would definitely dig what's going on here.
   The second song "Regression" is more of that grueling, Grief-stricken slow-motion sludge, those vocals turning frantic and inhuman, the spiteful lyrics becoming totally incomprehensible through the evil ripped-throat shrieks and bestial gargling; on both of these songs, the recording sounds absolutely massive, and their dual-guitar attack contributes even more energy to that sonic undertow, again shifting the song from that hideous hulking horror into something more melodic in the second half. I gotta say, I'm really looking forward to hearing an entire album of this stuff; anyone obsessed with the likes of Warhorse, Thou, Buried At Sea and Grief should certainly check this band out.
Track Samples:
Sample : Decades of Sorrow
Sample : Regression



S.H.I.T.   Collective Unconciousness   7" VINYL   (Iron Lung Records)    6.99

Collective Unconciousness IS CURRENTLY UNAVAILABLE FOR ORDER











SETE STAR SEPT / NUT SCREAMER   split   7" VINYL   (At War With False Noise)    8.98



   Japan's Sete Star Sept are well on their way to building an Agathoclean body of work, with a new record or tape or CD collection seemingly popping up every other month. Not that I mind - the duo are still one of the best noisegrind bands around, and I've been getting a kick out of each new slab of crazed freeform blast that they've been bestowing on us. Some of my favorite releases from the band are their splits with lesser known old-school noisecore outfits, like the splits with Final Exit, New York Against The Belzebu, Noise and Deche-Charge that have recently surfaced. The most surprising, though, is this split 7" with OG noisecore mutant Nut Screamer, with what has got to be their first new appearance in nearly twenty years.
    Featuring one of their more experimental offerings, Sete Star Sept are in full-on noisecore mode for their side, lurching violently through five tracks of low-fi freeform blast made up of whirlwind improvised drumming, monstrously harsh screaming, and rumbling low-end bass guitar. Like their other stuff in this vein, it's a mangy mixture of Hanatarash/Gerogerigegege style blastnoise fuckery and drooling grindcore, but they get a little more experimental here, venturing into the bizarre, percussive caveman jam "Yesyesyesyesyes No" that momentarily sounds like something off of Cromagnon's Orgasm, while songs like "Wonderful Time" and "Heaven Of TV" disappear into a yowling void of ear-bleeding grindnoise chaos, and the slobbering grind-punk weirdness of "I Love Supermarket" is evocative of Sockeye doing a Napalm Death cover.
    A staple of early 90s noisecore compilation tapes, Ohio-based freakazoid Steveggs (of Pile Of Eggs "fame") and his thoroughly obnoxious and fantastic noisecore project Nut Screamer often combined ridiculous spoken word recordings and random weirdness with ultra low-fi grind/noise freakouts, a steaming mess of outsider blast that I couldn't get enough of back when I used to chase down every shoddily-assembled tape comp I could find. On his side, Nut Screamer offers up two tracks, the absurd "The Iron Dragon" that features two and a half minutes of obnoxious ranting and screaming that was apparently recorded on a roller coaster at the Cedar Point amusement part in Sandusky, Ohio, followed by the psychedelic cybergrind delirium of "The Goddamn Moon ", an exhilarating drug-fueled mess of random drum machine programming, echo-laden howls, and rumbling distorted frequencies.
    Limited to three hundred copies.


SHINING   III - Angst - Självdestruktivitetens Emissarie   LP   (Peaceville)    24.99













SISSY SPACEK   Window Hammer   7" VINYL + DVDR   (Chondritic Sound)    9.99



   Another brief, brain-splattering blast of experimental noisecore from Sissy Spacek. Featuring the lineup of former Bastard Noise member John Wiese on bass, drummer Charlie Mumma (Knelt Rote, L'Acephale, Sleetmute Nightmute) and vocalist Corydon Ronnau, Window Hammer marks another variation on Sissy Spacek's ever-mutating (but always abrasive) agenda. The a-side is made up of ultra-spastic noisegrind chopped up into seven tracks, most of 'em averaging around twenty some odd seconds in length, Rommau spewing his vocals in an inchoate mix of frenzied screaming and bestial roars, Mumma blasting away at supersonic tempos, his drum kit locked into a vicious machinegun ratatat. The bass riffs that Wiese slings around rippers like "Void Zone" and "Crime Strobe" vacillate between old-school Scum style grindcore riffs and jagged no wave abrasion, the band slipping into churning freeform noise and collapsing grind chaos, while Joe Preston of Thrones / Melvins fame belts out some additional roars off in the background on a couple tracks. It's one of the few Sissy Spacek recordings where they actually get close to playing a kind iof structured, grindcore style assault, but there's still plenty of their raucous noisy chaos erupting across this 7". On the other hand, the b-side "Seven Dwarfs" is more like their previous cut-up / harsh noise / noisecore material, a three and a half minute hellblast of screeching feedback, malfunctioning electronics, cyclonic blastbeats, and garbled screaming all chopped up and pureed into a PCP-drenched kill-frenzy.
    This 7" also comes with a DVDR, and it's pretty fucking killer. It features roughly twenty minutes of live footage of the band, ranging from basement assaults captured on a static camera, to an artfully edited short film that features their live set playing over a collage of footage from various shows, these scenes then intercut with additional footage of the band jamming with improv legends Smegma, along with various scattered abstract images. It's actually less of a concert document than it is an experimental short film, but it's still really interesting for fans of the band.


SKORNEG   Foehn   CD   (Malignant)    10.98



   A superior album of terrifying black soundscapes, Foehn is the first release from the duo of Frédéric Arbour (the man behind esteemed dark ambient label Cyclic Law and a member of the ritual ambient group Havan alongside Harlow from Funerary Call) and Montreal drone artist Christian Corvellec (AKA Skinwell). Inspired by the desolation and harshness of arctic environments, Skorneg's debut ventures into some supremely bleak and nightmarish territory. The opening title track kicks this off with a swirling black fog of murky orchestral rumblings and distant howling, everything immersed in a thick haze of reverb and delay, with blasts of rhythmic metallic sound echoing in the depths. It's a pitch-black dronescape, those distant howling voices shifting into fearsome choral sounds that have been stretched and muffled into vast smears of seraphic horror. The slow, spaced-pout blasts of metallic percussive noise bring an additional weightiness to Skorneg's abyssal symphony, as this gradually evolves from those spacious eruptions of reverberant clank into a steady, almost militaristic throb that slowly comes into focus behind the opaque blackness. Fragments of eerie melody flit in and out of view, creepy half-formed figures that float languidly through the vast cavernous expanse of Skorneg's lightless depths. With this opening track alone, the duo delivers some of the most unsettling black ambience in recent memory.
    The other three tracks on Foehn delve into similarly blighted soundscapes, revealing strange mechanical rhythms and clockwork pulsations amid squeals of backwards guitar-like sound and slowly undulating waves of black symphonic drone, slipping into some surprisingly propulsive passages of industrialized sound at times. Gusts of ghastly swarming noise spreads out beneath buzzing high-voltage drones and deep, fluttering bass frequencies, and on the closing track "Sherpas", the duo drift out into a softly smoldering expanse of ritualistic whispers and rhythmic crackle, the dimly luminescent glow of the clustered synth-drones and stretched-out choral drift swirling in slow looping movements around strange clanking noises, almost like some murky, Philip Jeck-ian turntablist exercise beamed back from the shores of the river Styx. In fact, I picked up on a little of that Jeck-like vibe all throughout Foehn, and anyone who dug his darker works like An Ark for the Listener should definitely check out Skorneg's ominous subterranean loops and stygian drift. Of course, anyone into the jet-black ambient recordings of Yen Pox and early 90's Lustmord, or the more abstract fringes of horror-movie soundtrack orchestrations will want to hear this exquisitely-composed obsidian epic, as well. Comes in a four-panel digipack, limited to five hundred copies.
Track Samples:
Sample : Skroneg
Sample : Sherpas
Sample : Foehn



STARGAZER   A Great Work Of Ages / A Work Of Great Ages   2 x LP   (Parasitic)    27.00



  Finally have this 2012 vinyl edition of Stargazer's A Great Work Of Ages, A Work Of Great Ages in stock, double LP on 180 gram vinyl, in gatefold packaging with a poster, limited to five hundred copies...
  Not having heard this Australian band's previous album The Scream that Tore Across the Sky (their debut from 2005), I wasn't sure what to expect from this. I knew that the members of Stargazer were also involved in Portal, that bizarre trans-dimensional death metal outfit that I've been a big fan of for years, and they also had ties to a couple of other well-known Aussie metal bands like Cauldron Black Ram, Misery's Omen and Mournful Congregation, and that the band has been kicking around since the early 90's but has only started to release actual full lengths in the past five years. With names like 'The Serpent Inquisitor', 'Selenium', and 'The Great Righteous Destroyer', I might have expected some sort of fucked-up black metal from these guys. But while there is some black metal going on within Stargazer's dense, convoluted sound, this is something way more freakish happening on A Great Work Of Ages that really took me by surprise; this is frantic, occult-obsessed avant-garde death metal that more than anything takes me back to the classic prog-death from the early 90's that I love so much, bands like Cynic circa Focus, Atheist, Spheres-era Pestilence, and especially the later Sadus stuff. Complex, constantly shifting blackened death metal that jumps all over the place as they move through these eight tracks, the sound of Stargazer an utterly unpredictable one as the musicians leap through these bizarre arrangements and stylistic spasms, and yet somehow make all of this sound seamless (if a bit psychotic), shifting from vicious blackened thrash that reeks of classic European crush into whacked angular deaththrash, morphing between Morbid Angel-esque virtuosity over into dolorous slower prog metal and racing back into these jaw-dropping jazz sections that rival anything that the guys in Atheist ever shredded out.
   And as complex and progressive as this gets, the songs are actually pretty infectious, with loads of amazing melodies and massive riffs. The bass playing in particular stands out; this album features some of the wildest jazz-influenced bass guitar I've heard on a death metal album in ages, with lots of fluid high-end bass lines and intricate soloing that occasionally reminds me of Jaco Pastorius, and gives Stargazer a very offbeat fusionoid feel. This is never more apparent than on the song "Pypes of Psychosomatis", which has the band drift off into some deep, psychedelic jazz-fusion ambience. Vocal-wise, it's pretty nuts-the singer has this fucked-up gasping screech that is often heavily processed and layered, and gets pretty trippy, but a lot of this actually borders on being instrumental...there are long stretched of A Great Work Of Ages where the vocals disappear completely and we're just surrounded by the stunning complex death metal, spaced-out jazziness and savage mutant thrash veering wildly through intense prog-like structures. This is one of my favorite new death metal albums for this year, and I'll be hunting down their older stuff as soon as possible; it's recommended to anyone into highly skilled progressive death/thrash, especially if you're into Atheist, and later era Sadus.
Track Samples:
Sample : Pypes of Psychosomatis
Sample : Red Antlered Radiant
Sample : Refractive Convex Continuum



STATION DYSTHYMIA   Overhead, Without Any Fuss, The Stars Were Going Out   CD   (Solitude Productions)    11.99



   Station Dysthymia's Overhead, Without Any Fuss, The Stars Were Going Out quietly came out a year ago through Russian doom metal label Solitude, and was mostly overlooked by a metal scene already drowning in an ocean of new releases. Fans of adventurous underground metal have been missing out, though, as this album is pretty amazing; introducing an imaginative take on experimental deathdoom steeped in apocalyptic themes and influenced by some of the more chilling late 20th century science fiction (the title of the album is itself a direct quote from Arthur C. Clarke's classic short story "The Nine Billion Names of God"), Overhead was part of a small batch of fantastic albums released by Solitude in 2013 that ranks as some of the best stuff the label has ever put out.
    At first, this Russian band seems to be trafficking in the sort of gloomy funereal doom metal that Solitude has made its name on over the past decade. But once you begin to venture into the massive half-hour long epic "A Concrete Wall" that opens the album, the music slowly starts to reveal interesting new layers to the sprawling mass of crushing, downtuned deathdoom. That glacial heaviness is smeared in eerie liturgical chants and insanely guttural howls, and has stretches of morose quietude that bloom with a mixture of gorgeous, twilight-hued slow-core guitar chords and soaring, spacey leads. This first song alone is a terrific slab of spacey slow-motion metal that reaches an almost Floydian level of grandeur, but from there it slips into discordant, otherworldly heaviness that almost feels like a more psychedelic, twisted, trippy take on Disembowelment's glacial ultra-crush, while other passages fracture into feedback-drenched instrumental dronescapes littered with atonal guitar melodies that circle through the darkness, spinning out into whooshing cloudforms of jangling guitar and Hawkwindian effects. In contrast with the more majestic elements, the vocals are sickening, a mix of barely comprehensible death-growl drenched in delay, and monstrous howls rippling out across the vastness of the music. There's also some ugly, discordant riffing that echoes some of the later Gorguts stuff, dissonant drones weaving around sickly melodies over the slow-motion lurch, as the sound erupts into a cacophony of hellish screams and wailing like a scene out of a Bosch painting come to life.
    The remaining three songs are also pretty epic, each one delving into further depths of crushing dissonant doom and eerie atonal slowcore, the air heavy with palpable dread, further shadowed by the appearance of majestic church organs and more of those sweeping kosmische electronics. Station Dysthymia's sound is inarguably rooted in the most abject depths of doom metal, drawing from the iconic sounds of the aforementioned Disembowelment as well as the funereal crawl of Thergothon and Skepticism. But the band infuses that sound with their own distinct mixture of spacey textures and atonal deathcrush, shot through with a few brief moments of wrecked beauty, like the final wash of instrumental doom-laden grandeur that resembles latter-day Isis gone funeral doom, or the achingly gorgeous hook that emerges towards the end of "Starlit: A Rude Awakening" before the creeping cosmic sludge suddenly slips gears into a propulsive motorik groove. It's one of the more original doom albums I've been listening to, and is highly recommended for anyone into the more extreme end of the spectrum looking for something a little more offbeat.
Track Samples:
Sample : Starlit: We Rest At Last
Sample : Starlit: A Rude Awakening
Sample : A Concrete Wall



SUMA / ULTRAPHALLUS   Geisteskrank / Young Bones   7" VINYL   (Hell Comes Home)    6.99



   Beginning in 2012, Irish label Hell Comes Home began to unleash a subscription club series of 7"s that featured pairings of some of the best bands in the noise-rock/sludge/doom underground (and beyond); featuring the likes of Thou, Fistula, Burning Love, Dead Elephants, and Coffinworm, this series delivered all-new material from the artists involved, each 7" featuring one song from each band along with a digital download code for the music. In addition, each 7" is presented in a cream-colored jacket with striking original artwork from Polish designer Kuba Sokólski, who illustrated each of these singles with a different mutant insect-like monstrosity, rendered in the sort of detail that you would expect from an entomological text. The look and feel of these records got my collector's vein pulsating in a big way, and we've managed to snag a selection of these 7"s for the C-Blast shop; numbers are limited, of course, and several of the entries in the Hell Comes Home series are already out of print...
   Number two in the series, the Suma / Ultraphallus pairs up abrasive Swedish sludge metal with bludgeoning Belgian noise rock. Suma's "Geisteskrank" is a monolithic slab of droning, churning heaviness, a mixture of Amphetamine Reptile-esque noise rock and monstrous sludge metal that becomes an apocalyptic roar, like a more atmospheric version of High On Fire maybe, the uniquely tremulous vocals rising above the thunderous crush of Suma's molten metal, layered guitars blending dark twilit melody and rumbling droning powerchords into a fearsome noisy dirge that stretches out across the whole side, spiked with flourishes of hypnotic noise. Impressive stuff. The other side has "Young Bones" from Ultraphallus, who lock into one of their trademark skull-scraping anthems, a menacing droning riff forming around a catchy vocal hook and infectious backbeat as the song suddenly lurches into a staggered off-kilter mid-tempo groove, discordance and hauntingly melodic guitar textures coming together with washes of electronic drift, handclaps and furiously strummed acoustic guitar for a weirdly hypnotic noise-rock trance.


SUNN O)))   00 Void   CD   (Southern Lord)    12.98



Finally have the single-disc version of the Sunn 00 Void reissue back in stock...
For years its only been available as an extremely expensive Japanese import, but Southern Lord finally reissued Sunn O)))'s 2000 album 00 Void this year, complete with the new artwork from Stephen Kasner that accompanied the Daymare version.
00 Void was the second release from Sunn O))) following their extremely limited Grimmrobe Demos disc that Hydra Head issued the year before, but for most people (myself included), this was where we were first introduced to Sunn O)))'s massive glacial hypno-riffage and black hole ambience. Much has been made of Sunn O)))'s obvious debt to the "power drone" pioneered on Earth's legendary Earth 2 album, and these vast rumbling sludgescapes and circular trance-riffs are do owe a lot to Earth's ambient drone metal, but the guys in Sunn O))) (which includes, for those who have been living under a rock for the past decade, key members Stephen O'Malley of Burning Witch/Thorr's Hammer/Khanate and Greg Anderson of Engine Kind/Thorr's Hammer/Goatsnake) had by this point already begun to carve out their own language of slow-motion heaviness, introducing new levels of tectonic weight and density to their drone-metal experiments and playing with the use of electronics, processed vocals, stringed instruments and musique concrete concepts. The four tracks on 00 Void are simply constructed, but incredibly heavy, a high point in the realm of orchestral metallic drone that's still one of my favorite albums of it's kind.
The murky opening riff at the very beginning of "Richard" still flattens my skull to this day. With help from Stuart Dahlquist (Burning Witch, Asva), the band uncoils a monstrous bass-riff in glacial slow motion, the gluey low-end chug of the guitars rumbling like a semi-frozen wave of molasses over a near constant buzzing drone that is threaded through the whole track. The riff undergoes a couple of subtle mutations, and the backing sounds of whirring metallic hum and ominous swarming feedback shifts and warps ever so slightly over the fifteen minutes as they pile on processed violins and other sounds, but the sheer leaden heaviness remains a constant throughout. The second track "NN O)))" feels more propulsive, the pace more bulldozing as the crushing doom-riff plows through vast cosmic nebulae and abyssal ether formed from distant war-horns, wordless chant and almost Hawkwindian synth transmissions, but it's still agonizingly slow, the slo-mo doomchug drifting like some saurian behemoth through the void. "Rabbits' Revenge" is a re-working of the song "Hung Bunny" off of the Melvins album Lysol, deconstructed here by Sunn O))) into a sprawling disembodied dirge, only vaguely recognizable from the source material, and the final track "Ra At Dusk (Invokation 274 SPDR)" is a monstrous space-doom ritual cloaked in howling demonic noise, time-stretched horns blasting through the blackness, black-hole heaviness chugging aimlessly though space above waves of rumbling amplifier hum...
After this, Sunn O))) would delve into much more experimental territory and often moving pretty far from the pure glacial crush of this album, but this disc will always own a particular spot in my collection as an essential piece of ambient sludge.
Track Samples:
Sample : Ra At Dusk
Sample : Rabbit's Revenge
Sample : Richard



SUNN O))) & ULVER   Terrestrials (GOLD VINYL)   LP   (Southern Lord)    16.98



  Recorded over the course of a four year period, Terrestrials is the long-awaited new collaboration between experimental drone/doom duo Sunn and the acclaimed dark Norwegian prog band Ulver, and it's a true collaboration that sees the two bands dissolving together into an entirely new sound that doesn't really sound quite like anything either band has brought us before. The session sprung up from their shared appreciation of modern classical music and the 70s-era cosmic jazz found on albums like Alice Coltrane's World Galaxy and Pharaoh Saunders's Karma, and infused those influences into these three long epics of gorgeous nocturnal ambience. Both Sunn's more metallic tendencies and the bombast of the newer Ulver material are greatly subdued, but there's still a lingering darkness that drifts through the slow, celestial currents, making this one of the more mesmeric releases from either artist in quite some time.
   When the album starts off, the sound is not to far off from the dark chamber atmosphere of Ulver's latest album Messe I.X-VI.X, though Sunn's presence is easily detected in the pulses of deep bass tones that reverberate through the space, the surges of distorted metallic drone that rise and fall throughout the record, and in the undercurrents of apocalyptic dread that surface at key moments. Opening with the dark shimmering beauty of "Let There Be Light", the ensemble slowly drifts out into a nebula of stretched kosmische drones, trumpets slowly unfurling into ghostly minimal melodies, a somber, cinematic jazziness curling over smears of backwards sound and swells of sinister low-end rumble. Clusters of dissonant strings swarm beneath the gleam of piano notes that delicately ascend from the song's surface, alighting on solar winds. It stretches out like some solemn hymn, not erupting out of that solemnity until almost the very end when the rumble of percussion suddenly swells up and the music blooms into a crescendo of sinister majesty, the improvised drumming rolling beneath an epic melodic figure, deep distorted metallic heaviness seeping up alongside deep rumbling bass, that Sunn-style dronecrush smoldering beneath this elegiac weight.
   The following piece "Western Horn", on the other hand, is burnished in an apocalyptic glow, descending into darker and more ominous regions as eerie processed choral sounds and fluttering electronic noise sweeps in over more of those haunting trumpets. Some electric piano sounds emerge early on, joined by considered use of resonant distorted bass tones, a sinister minor key progression snaking through those sustained wailing voices and washes of textured sound. Over the course of the nearly ten minute long piece, the atmosphere continues to darken, the feeling of foreboding expanding even as that Rhodes piano-like sound brings a lovely, spectral quality to the music, those gleaming notes pulsing over the creepy steam-whistle drones, sheets of sustained dissonance, and whirring organ tones.
   Mournful violins and ringing, reverb-drenched guitar are woven together on the stirring closer "Eternal Return", which spreads across the final third of the album in a dark stain of Morricone-style western twang. A doleful guitar melody creeps through the background, a fractured, meandering accompaniment to that somber jazziness and those folky strings. A folk-flecked funereal darkjazz, gorgeous and bewitching as Rygg's hushed baritone croon drifts in, a near-whisper cloaked in shadow, with feedback unfurling and speakers humming, eerie organ melodies slipping through the blackness, like some Eastern European funeral folk smeared in jazzy ambience.
   Available on both CD and re-pressed on limited-edition gold vinyl, featuring fantastic minimal album art from Sunn's Stephen O'Malley.
Track Samples:
Sample : Western Horn
Sample : Let There Be Light
Sample : Eternal Return



SUTEKH HEXEN   Monument Of Decay   CD   (Small Doses)    9.98



   Released simultaneously on limited edition vinyl (via Black Horizons) and as an even more limited double-cassette set (from Swedish label Beläten), and now on CD in a four-panel digisleeve, Monument Of Decay is the newest EP from San Francisco black noise/drone metallers Sutekh Hexen, offering up four new tracks of their increasingly abstract and atmospheric necro-drift. Each of these four tracks runs around five minutes in length, but despite the brevity of this EP, it's some of the best stuff that I've heard from the band since their album on Magic Bullet.
    The first track "Lastness" reveals a ghastly kosmische soundscape of ghoulish whispers, distant eerie synthesizer music, and fluttering low-end distortion that forms into one of the most evocative and unsettling Sutekh Hexen pieces I've heard from these guys so far. It's like hearing strains of some murky ancient prog album drifting over a desolate blackened waste, the dark keys adrift far off in the distance, continually obscured by the appearance of creaking metallic noises, mysterious chanting voices, and surges of immense bass-drone that seep up out of the depths. That deathly solemn atmosphere is totally shredded by the ultra-noisy black metal violence of "...Of Emanation", where the band erupts into a chaotic din of thudding blastbeats and tortured, abject howling, the guitars diffused into a haze of white noise static, the blackened hiss fading in and out as the track becomes more abstracted, the instruments disappearing in and out of passages of minimal monstrous ambience and clanking industrial drift, coalescing at last into a slavering, hungry chaos churning in the blackness.
    The second tape (or side, depending on which format we're talking about) opens with the crackling, fragmenting electronic decay of the Sanskrit-titled third track, a haunting fusion of buried choral synths and heavily obscured darkwave melody drowning in an ocean of Merzbowian static and glitch that continues to intensify in noisiness. And it closes with the monstrous ultra-crush of the fourth track, a mega-distorted riff rumbling in the depths like the blast of a depth charge that has been looped into a grinding rhythmic throb as dramatic, ominous synthesizer figures begin to pour in. This is one of the finest pieces of blackened sound I've heard from these guys, an industrial-tinged heaviness that sort of resembles something from the Human Quena Orchestra being used as background music to a Black Mass, chant-like voices hovering deep in the shadows, droning orchestral synth-strings drawn taught around the increasingly malevolent vocals, a demonic hiss that builds into a deafening blast of pitch-black hate.
   In addition to the original EP tracks, this new CD version of Monument also includes a fifth bonus track titled "Shadows II", presumably a follow-up to the track "Shadows" that appeared on their 2011 7" on Holy Terror. This thirty five minute track is almost like an album of it's own, opening with a wash of corrosive static that quickly dissipates into pools of limpid amplifier drone and chiming minor key guitars, softly whirring feedback and amp noise spreading out beneath the almost Godspeed-esque guitars like a dark stain, the sound slowly building in intensity as it becomes swept up in squalls of churning, ominous noise and vicious Merzbowian static, the riff slowly shifting into something heavier and darker. The gorgeous, apocalyptic power of the music enshrouded in these waves of brutal noise and distortion makes this one of Sutekh Hexen's most impressive recordings, the sound evolving into elegiac forms as those deep chantlike voices sweep across the sonic wastes, disappearing into silence, then reappearing as gusts of acrid black distortion burning off into the distance, leaving behind faint wisps of backwards melody, gleaming electronic buzz and washes of warm organ-like drone that unfold beneath the rush of arctic winds.
Track Samples:
Sample : Dhumavati's Hunger
Sample : ...Of Emanation
Sample : Shadows II



SUTEKH HEXEN   Monument Of Decay   LP   (Black Horizons)    16.98



Released simultaneously on limited edition vinyl (via Black Horizons) and as an even more limited double-cassette set (from Swedish label Beläten), Monument Of Decay is the newest EP from San Francisco black noise/drone metallers Sutekh Hexen, offering up four new tracks of their increasingly abstract and atmospheric necro-drift. Each of these four tracks runs around five minutes in length, but despite the brevity of this EP, it's some of the best stuff that I've heard from the band since their album on Magic Bullet.
The first track "Lastness" reveals a ghastly kosmische soundscape of ghoulish whispers, distant eerie synthesizer music, and fluttering low-end distortion that forms into one of the most evocative and unsettling Sutekh Hexen pieces I've heard from these guys so far. It's like hearing strains of some murky ancient prog album drifting over a desolate blackened waste, the dark keys adrift far off in the distance, continually obscured by the appearance of creaking metallic noises, mysterious chanting voices, and surges of immense bass-drone that seep up out of the depths. That deathly solemn atmosphere is totally shredded by the ultra-noisy black metal violence of "...Of Emanation", where the band erupts into a chaotic din of thudding blastbeats and tortured, abject howling, the guitars diffused into a haze of white noise static, the blackened hiss fading in and out as the track becomes more abstracted, the instruments disappearing in and out of passages of minimal monstrous ambience and clanking industrial drift, coalescing at last into a slavering, hungry chaos churning in the blackness.
The second tape (or side, depending on which format we're talking about) opens with the crackling, fragmenting electronic decay of the Sanskrit-titled third track, a haunting fusion of buried choral synths and heavily obscured darkwave melody drowning in an ocean of Merzbowian static and glitch that continues to intensify in noisiness. And it closes with the monstrous ultra-crush of the fourth track, a mega-distorted riff rumbling in the depths like the blast of a depth charge that has been looped into a grinding rhythmic throb as dramatic, ominous synthesizer figures begin to pour in. This is one of the finest pieces of blackened sound I've heard from these guys, an industrial-tinged heaviness that sort of resembles something from the Human Quena Orchestra being used as background music to a Black Mass, chant-like voices hovering deep in the shadows, droning orchestral synth-strings drawn taught around the increasingly malevolent vocals, a demonic hiss that builds into a deafening blast of pitch-black hate.
Track Samples:
Sample : Dhumavati's Hunger
Sample : ...Of Emanation



TARE   Ritual Degradation   CASSETTE + 3" CDR   (Eternal Death)    6.98











Track Samples:
Sample : The End Is An Idea
Sample : No Real Reason
Sample : Innate Blasphemy



TERRA SANCTA   Exile   CD   (Malignant)    9.99



   After six years since the release of their acclaimed Disintegration album, Australia's master of dark ambient have returned with this stunning new collection of post-nuclear New Age driftscapes and vast solar-blasted ambience. Since the turn of the century, Terra Sancta's Greg Good has been crafting some of the most immersive dark ambient music around, drawing heavily from classic Teutonic space music forms (with definite influences from early Tangerine Dream and Brüder des Schattens – Söhne des Lichts-era Popol Vuh emerging throughout his sprawling compositions), but ultimately creating something much more vast and desolate and terrible, majestic driftscapes formed from billowing clouds of grainy sound, grim orchestral synth-strings sweeping across wind-blasted wastelands, solar winds ripping across ruined cities, the deep woodwind-like thrum of his drones stretched and diffused into titanic rumblings and tectonic groans. It's some of the most evocative and fearsome dark ambience I've been following.
    As with his previous albums, Exile evokes an endless desolation, sun-blasted deserts and vast tundras, the warm red glow of an irradiated sky hanging over a dead black earth, the atmosphere at once filled with dread and moments of striking beauty. And on the track "Celestial Extinction", we get one of Terra Sancta's most terrifying works, a collaboration with fellow Malignancy Rasalhague that descends into vast Lustmordian blackness and bottomless wells of orchestral doom, the nearly eight minute track filled with subterranean murmurings that echo thunderously throughout the depths, the sound grim and cinematic, a powerful abyssal ambience streaked with sinister horn-like textures, cello-like drones that are seemingly suspended into infinity, growling apocalyptic tones draped over endless waves of threatening minor-key drift. At those moments and those that follow across the latter half of Exile, Terra Sancta can be just as malevolent as anything from Yen Pox or Lustmord, uncovering monstrous subterranean symphonics, washes of fearsome choral power and vast rhythmic industrial churn that all becomes blurred into an ocean of stygian black drift, but Good imbues his bleak textured ambience with a weight unique to this project, and which makes parts of this album seems as sonically heavy as any doom-drone outfit. Highly recommended.
    Comes in a six-panel digipack with striking artwork designed by Kerry Braud of Rasalhague and Maculatum.
Track Samples:
Sample : Empire of Ashes
Sample : Descent II
Sample : Celestial Extinction



TREHA SEKTORI   Sorieh   LP   (Cyclic Law)    34.98



   Now in stock on vinyl via Cyclic Law, in a limited edition of two hundred fifty copies, with a download code and 11" by 17" poster.
   The debut full length from the mysterious French black industrial/ambient group Treha Sektori, who have previously appeared on the Angst Essai III compilation alongside Ulver and Tribe of Circle. If you're looking for a perfect album to seed your nightmares at the threshold of sleep, Sorieh would be it. The band creates an intensely bleak yet phantasmagoric atmosphere across these eight tracks, blending ritualistic dark ambience and deep metallic Lustmord-style drift, vast cavernous drones, heavy percussion, and some seriously creepy processed vocals and manipulated voice recordings. Some of these tracks are almost totally ambient, with heavy sheets of processed metallic drone and vast, cold Lustmord/Yen Pox style emptiness, while others incorporate simple, eerie guitar melody and rumbling, billowing gusts of massive subterranean drone and industrial clang. Those percussive elements are pretty prominent, with lots of heavy kettledrum pummel and martial snares pounding within the gloom; the track "Presceth Keonah" in particular features some hypnotic tribal drumming at the center of an ominous swirling cloud of distant woodwinds, deep-earth thrum, and horrific screams echoing off in the far distance...
    More than anything, it's the use of vocals on Sorieh that makes this album stand out from most of the dark ambient stuff that I get in at C-Blast. You usually don't see vocals featured to this degree on dark ambient albums as you do here, but the bizarre incantations, operatic wailing and anguished screams that inhabit Sorieh's nightmarish underworld are a major part of Treha Sektori's sound. Ululating female wails are stretched into infinite drones, and whispered male voices utter strange invocations that are then chopped up and re-arranged into strange alien code. In fact, most of the vocals that you hear have been electronically processed and edited, adding a strange futuristic vibe to the sinister black drift and industrial pummel, as if you're capturing the transmissions of arcane Satanic rituals that are broadcast on a scrambled internet feed. Kind of falls in somewhere between the grim ritual ambience of the Aural Hypnox label and artists like Halo Manash, Aeoga and Arktau Eos, and the much creepier sounds of French black ambient (Aymrev Erkroz Prevre, Dapnom, Melek-Tha, Silcharde, Stigma Diabolicum) but with those weird, electronically-warped vocals that make this a unique entry in the field of claustrophobic dark ambience.
Track Samples:
Sample : Entori Kethesnah
Sample : Tentureh



U-731   By All Means   CD   (Black Plagve)    10.98



    Recently issued on Malignant's black noise / death industrial sub-label Black Plagve, U-731's By All Means is the debut album from this new project from Gordon Lazarus, the guy behind cult death industrial band Defiler. A series of genocide fears set to a backdrop of supremely hateful death industrial horror, the first three tracks feature Lazarus teaming up with John Stillings of Steel Hook Prostheses / Metaconqueror, weaving massive black webs of oceanic distortion and monstrous, distorted vocals, swells of crushing distorted synthesizer sweeping in like some synthetic doom riff, the sound evolving into an ever more ominous and morbid soundworld of demonic industrial creep and seething charred ambience. As the album unfolds, mechanical rhythms appear in the distance, approaching with an agonizing slowness, massive clanking reverberations echoing in the darkness, morbid screams seething through a haze of squealing over-modulated distortion and overdriven amplifier scum.
   This stuff is creepy as hell, tracks like "Forced Neurotic Displacement" and "Asphyxiant Collapse" resembling the blackened death industrial heaviness of Stillings's own band, but slower and murkier and more suffocating, billowing black fogbanks of toxic electronics and immense slow-motion pulses sending tectonic tracers across the corpse-strewn deathzone, while lethargic voices and vicious demonic screams drift through an endless stream of misanthropic horrors and paranoia and abject negativity. Some of the other tracks shift into more ambient territory, like the paranoid black drift of "Aktion-Freedom. Re-Aktion-Resistance", but the latter half of the album completely boils over into a pair of tracks that feature Andrew Grant from The Vomit Arsonist / Bereft, suggestions of malevolent government conspiracies looming beneath the surface of the metallic morbid drones and subterranean rumblings of "F.E.M.A. Care" before it suddenly erupts into a kind of crushing, titanic synth-dirge, followed by the nightmarish warfare visions of the title track. And on closer "Suo Gan / Last Rights", Lazarus contrasts the angelic sounds of a children's choir with the sounds of artillery combat to striking and chilling effect. Infested with moments of crushing heaviness, this is another quality slab of grim, nihilistic industrial violence from the Black Plagve imprint that I can't recommend highly enough. Comes in digipack packaging designed by Mories (of Gnaw Their Tongues / Aderlating / Cloak Of Altering), limited to five hundred copies.
Track Samples:
Sample : Suo Gan/Last Rights
Sample : Forced Neurotic Displacement
Sample : F.E.M.A. Care



UMBERTO   Temple Room   LP   (Not Not Fun)    16.98













UNSEEN NOISE DEATH /BASTARD NOISE / BIZARRE UPROAR   Sources Of Power From Another World   LP   (DP)    16.98













VARIOUS ARTISTS   Reproach   7" VINYL   (Ugly Pop)    15.00



   Recently came across a long-lost stash of the long out-of-print Reproach 7" that came out on Canadian label Ugly Pop back in 1998. Subtitled Eight Modern Hardcore Bands Cover Negative Approach, this compilation featured some of the hardest hitters in the extreme hardcore underground covering their favorite songs from the infamous, influential Detroit hardcore band. I loved this 7" when it came out, and it's been pulled out of my collection many times over the years. The lineup on Reproach is pretty wild, and has some of the best bands from this era of thrash / powerviolence / fastcore: you've got Dropdead doing a blasting, totally rabid rendition of "Whatever I Do", followed by Man Is The Bastard's monstrous, yet fairly straight-forward take on "Dead Stop"; Spazz rip through a blistering powerviolent cover of "Lost Cause" that suddenly transforms into surf rock for a moment, and obscure Toronto hardcore act Kops For Christ blaze through their version of my favorite Negative Approach song "Why Be Something That You're Not"; UK thrash thugs Voorhees careen through a raucous medley of "I'll Survive" and "Tied Down", while Union Of Uranus transform "Pressure" into their signature style of chaotic crusty hardcore. Chokehold slow "Nothing" down into a pummeling chugfest, and Aussie hatemongers Rupture turn NA's eponymous anthem into their own Siege-influenced style of maniacal blastcore. It's quite the tribute, and includes liner notes from the guys behind the label that describe the history behind this record; originally intended to be an LP-length compilation, Reproach was to have also featured the likes of Infest, Monster X, No Comment, Sheer Terror and others, but much of the material originally submitted for the project disappeared (or, more accurately, were absconded with by another involved party in an unfortunate turn of events). Now that's a record I wish I could have heard.
    These copies of Reproach are unplayed, but due to their age, they all have some slight ring wear on the back cover, so keep that in mind if you're particular about the condition.


VILLAINS   Never Abandon The Slut Train   CD   (Nuclear War Now! Productions)    10.98



  Finally available on CD...
   And here we have the newest album from Villains, that despicable coven of debauched pussyhounds based outta Brooklyn and made up of members Nightstriker, Witchwhipper, Teeth and Desecrator (the latter also known as Pasquale Reca, noted illustrator and former member of Cattlepress, Iabhorher, The Dying Light, Hemlock and Ceremonium). And once again, this murderous scumthrash crew continues to fucking kill with their mutant blackened speed visions; Never Abandon The Slut Train is the band's fourth album, filled with filth and frenzied, lusty street metal. It features another eight songs of the band's sleazy mash-up of primitive Venom / Hellhammer-esque blackened thrash and a wonky hardcore punk vibe, the fractured riffs, often off-kilter arrangements and knotty solos sometimes giving the guitarwork a distinct Greg Ginn feel (just check out the track to see what I'm talking about), the whole racket delivered with a level of snarling feral aggression that belies the complexity of their music. Man, I adored their last one, Road To Ruin, and this pretty much picks right up from there, evoking visions of an utterly wretched and debauched urban hellscape filled with vile sexual perversions, drug-fueled lunacy and acts of extreme violence that are all cast in the urine-yellow glow of filthy halogen lamps and the dim midnight radiance of dirty neon.
  When Slut Train kicks off, it's with the thunderous Motorhead-esque charge of "Night Knife", all rampaging speed and rumbling violence, before moving further into their awesomely filthy and demented blackened thrash filled with massive Frostian riffage and the band's contorted and quirky song arrangements that have a faint stink of depraved prog. Songs like "Hunt And Punish", "Westervelt Witch", "Hallway Disease" and "Lunatic Drinks" are delivered in demoniac three minute blasts of sleazy blackened punk-metal, Desecrator's insane vocals shifting psychotically from raspy reptilian growling to awesome nut-clenching falsetto shrieks that sound like Tom Araya getting some electro-shock treatment, to migraine inducing echo-laden vocal attacks that'll suddenly swing this shit out into some serious weirdness. The whole album races along like some crazed angular black thrash freight-train, infected with that wonky atonal riffing style and those wild wiry riffs, weird effects and damaged discordance streaking through the Villains's vicious songcraft; there are even some unexpected reverb-drenched post-punk leads that suddenly pop up on the likes of "Drinking Double Acting Single", and the very last song "Hallway Disease" almost sounds like some bizarre cross between Venom and obscure Arizona goth punks Mighty Sphincter, of all things. Utterly ripping, these guys have once again delivered a deliriously demented album of mutant thrash that fans of stuff like the newer Darkthrone albums, Midnight, and Abigail who are craving something a little more warped will surely want to get their hands on.
   This first edition comes on black vinyl in a limited run of two hundred fifty copies, and each comes with a woven patch and a reflective black and silver sticker.
Track Samples:
Sample : Westervelt Witch
Sample : Night Knife
Sample : Lunatic Drinks



WALK THROUGH FIRE   Hope Is Misery   CD   (Aesthetic Death)    11.98



   The second album from this Swedish quartet delivers more of the agonizing slow-mo punishment we got from their 2011 debut Furthest From Heaven, continuing to mine some of the bleakest and most depressing depths of doom metal. Featuring former members of the cult sludge band Abandon and speed metallers Narnia, this outfit essentially took the abject doom-laden crush of Abandon and infused it with passages of icy slow-core, slowing their already tar-encrusted sound down to a primordial rumble on Hope Is Misery. Shifting between long instrumental dirges where the rhythm section slogs through a torturous fog of feedback and low-end drone, these songs will often drift into a moody, Codeine-like minimalism that produces several moments of stark beauty that sharply contrast with the devastating sludge that roll across the album like clouds of suffocating black ash.
   Floor-shaking bass chords rumble across the band's field of vision, the monotonous strum of dissonant guitar chords crashing through the psychic wreckage that is laid bare across these eight songs. Singer Ufuk Demir's rabid snarl skulks behind the almost Gorgutsian discordance that emerges on the title track, his vicious, nihilistic ravings growing more bestial as the song slowly winds down into stretches of that desolate, wintry dirge, as clanging White Birch-like guitar chords wash over the glacial creep of the drummer. At other points on Hope, the band's sound can seem to shift into a kind of monstrous, blackened noise rock ("Harden In Despair") or transform into an epic solemn piano piece that's almost modern classical in feel, sparse suspended notes and chords that are arranged into a constellation outlined in dejected misery ("Laid In Earth"). Nearly half of the tracks are instrumental, shorter interludes that unfold into long slow crawls through an atmosphere of total blight, driven mainly by the almost somnambulant creep of the rhythm section, the guitar stripped down to minimal chords suspended in the colorless gloom, with the song "Next To Nothing" being played on just an acoustic guitar, a slowly drifting funerary folk dirge that leads into the grueling, twenty-one minute funeral march "Another Dream Turned Nightmare". By the time you get to that song, it's hard not to be struck by the sheer tidal pull of Walk Through Fire's sound; even listening to this through my PC setup is rattling the walls of the C-Blast office.
    Adorned in the haunting paintings of Turkish artist Cihat Aral, Misery often has more in common with the austere dissonance of bands like Ehnahre and Overmars, and there's a malevolent, blackened vibe that courses through this album, the weight of hopelessness seeping from each note gradually adding to the gravitational pull of their sorrow.
Track Samples:
Sample : Harden In Despair
Sample : Next To Nothing
Sample : Laid In Earth



WHEN   Black White & Grey   CD   (ReR Megacorp)    12.98



   A classic album of macabre, early 90's Norwegian avant-prog that has finally become available again here in the US. It's a classic early album from cult Norwegian avant-garde outfit When, the brainchild of terminal weirdo Lars Pedersen. Originally released back in 1990, When's Black, Whute & Grey came out on Rer Megacorp, the label run by Chris Cutler of Henry Cow / Art Bears; while the weird sounds featured on Pedersen's sonic nightmare were right at home alongside the sort of Rock In Opposition strangeness that Cutler championed through his label, this is probably the creepiest sounding album to ever appear on ReR. It's an often terrifying slab of macabre experimental music that features material that would have a profound influence on the burgeoning Norwegian black metal scene; a portion of When's "Death In The Blue Lake" would later be used as the introduction to Satyricon's 1994 album Dark Medieval Times, and Kristoffer Rygg of Ulver was such a fan of Pedersen's music that he eventually signed When to his own Jester Records imprint later in the decade.
    As soon as the thunderous, nightmarish bombast of opener "Grey (Part 1)" swells up out of the depths, it's easy to see why When's music resonated with those black metal kids. That first track is terrifying stuff, an abstract soundscape that rushes from sinister orchestral blast into mysterious field recordings and swirls of minimal metallic thrum, slipping into discordantly evil chamber strings and stretches of nothing but deep panicked breathing, bursts of tribal dance and shots of gunfire, swells of deep growling horror-synth ambience that leads into ambient sounds of a Norwegian city street, discordant blasts of brass marching bands, and sudden surges into a kind of malevolent synth-heavy prog rock, all woven into a delirious, stream-of-consciousness approach that blew me away the first time I heard this album. Pedersen masterfully crafts a disturbing atmosphere out of all of these elements, turning it into the stuff of bad dreams, a kind of imaginary soundtrack to some never-filmed nihilistic crime drama.
    But then you come to "Heart Of Rage", and the album takes another sharp turn, this time into a kind of moody, surrealistic prog that's an epiphany for anyone into Ulver. The first half of this song sounds remarkably like the newer Ulver material - keep in mind that this was released at least two years before Ulver's Vargnatt demo even appeared- and it's easy to see why Rygg has been a longtime supporter of this band's music. The dark dreamlike prog rock streaked with swells of grim frostbitten ambience and eerie haunting chamber strings is an obvious influence on the sound that Ulver would pursue later in their career, and album features many such amazing, hallucinatory songs, from the liturgical majesty of "From White To White" and the wild techno-gypsy stomp of "Fellini's Hat", to the bizarre, creepy robotic prog of "Grey (Part II)" that eventually transforms into something that resembles some bizarre fusion of Goblin's hallucinatory prog rock and fractured 80's electro.
    The last song on this CD version of Black is the twenty one minute "Death In The Blue Lake", which originally comprised the entire a-side of When's previous 1988 LP of the same name. This is the song that Satyricon would later reference, an epic, hallucinatory piece of music that moves dreamlike between terrifying orchestral arrangements and ominous, slightly cracked folk-like melodies that draw from Wagner's Tristan And Isolde, bizarre bad-dream ambience and icy synthesizer textures, deep stentorian brass and blasts of symphonic power that resemble some murderous version of a Danny Elfman score, the whole thing playing out like some surreal horror movie soundtrack before suddenly slipping into passages of shrill no-wave skronk or sinister clockwork rhythms.
    This new reissue of Black doesn't add anything new to the album, keeping that creepy cover still taken from J. Searle Dawley's 1910 version of Frankenstein and a sixteen page booklet loaded with strange collage art and lyrics, but it's essential for anyone interested in the dark, morbid underbelly of the Norwegian avant-rock underground.
Track Samples:
Sample : Heart of Rage
Sample : Grey, Pt. 1
Sample : From White to White
Sample : Death in the Blue Lake



WHITE SUNS   Totem   CD   (The Flenser)    10.98











Track Samples:
Sample : Priesti In the Laboratory
Sample : Disjecta Membra
Sample : Carrion



WHITE SUNS   Totem   LP   (The Flenser)    19.99











Track Samples:
Sample : Priesti In the Laboratory
Sample : Disjecta Membra
Sample : Carrion



WHITEHORSE   Live Ritual July 25th 2011   CD   (Small Doses)    9.50











Track Samples:
Sample : Remains Unknown
Sample : Progression
Sample : Control, Annihilate



WIJLEN WIJ   Coronachs Of The Ω   CD   (Solitude And Despair)    11.99



   This quirky Belgian outfit returns with their second album of understated prog-doom, almost seven years after the release of their self-titled debut. And it's trippier than ever, blending an obvious love of 70's-era prog rock with the band's heart-stopping glacial pace and crushing, warped funeral doom riffs. It's an approach that found them in the same orbit as Pantheist, and the two bands have actually shared members at certain points in time, but Wijlen Wij were always the weirder of the two, with a feeling of rawness and wrongness to their sound that made their stuff a lot more distinctive and unique sounding compared to most other funeral doom bands traveling in the long shadow of Skepticism and Thergothon.
    On Coronachs, the band's off-kilterness seems to have even amplified a bit. Some of the guitar parts have a sourness, a wonkiness in the form of the occasional wrong note, that gives parts of Coronachs a kind of broken, ramshackle charm, but those riffs are also crawling, crushing blasts of downtuned heaviness, sickeningly slow-moving melodic riffs that slowly tumble through the darkness, tethered to those ponderous funeral-march drums. The singer's withered vocals are pretty creepy as well, impossibly deep gusts of ghastly wind that billow beneath the glacial crush of the band. And then just as the glacial heaviness of a song like opener "Boreas" has plowed over us, the band will suddenly shift out of the doom and into an odd, dramatic kind of prog rock, almost flamenco-like acoustic guitars and jazzy drumming appearing for a moment, then swallowed back up by that cracked, Hammond-glazed doom-laden massiveness. There's a lot of that stuff here, bits of sonic weirdness scattered among the grinding doom, with some almost pop-infectious hooks rising up out of that bloozy funereal muck, emotional guitar solos all bent and bleary, weirdly reminiscent of J. Mascis from Dinosaur Jr at a couple of points, those weirdly wistful leads winding around the slow, sludgy heaviness.
    The rest of Coronachs moves into heavier bouts of grinding doomdeath and churning blackened riffing, plenty of drawn-out graveyard crawl, the riffs sometimes becoming a monstrous death-march flecked with odd bits of folky melody. It all beats you down into a mournful mass wracked with regret and loss, but that utter dourness that hangs over the album is limned with a faint glow of hope in the way that those guitars will slowly, almost unnoticeably evolve into something just a little bit brighter. Later, there's some textured layering of random distant voices that prefaces the death-march dirge of "Laying Waste To The City Of Jerusalem", which plods along hypnotically over a wash of brittle, Burzumic keyboards; weird little quirks like breakbeat-like drumming, the tolling of carillon bells, sweeping kosmische drones and oddly phrased riffs continue to pop up with regularity. "A Solemn Ode To Ruin" features some massively distorted jangle that for a moment sounds more like something out of late 80's indie guitar rock, then later gets swept up in my favorite moment on the album, where the band suddenly hurtles into a monotonous black metal style blast, as what sounds like a jazz-band horn section plays a killer melody over those crushing, doom-laden guitars, building that up into a bizarrely "Freebird"-like moment. It all makes for a very cool, very heavy dose of idiosyncratic funeral doom.
Track Samples:
Sample : Laying Waste to the City of Jerusalem
Sample : From the Periphery
Sample : A Solemn Ode to Ruin...



WILT   She Walks The Night   7" VINYL + CASSETTE   (Husk Records)    11.98



Just got this killer 7"/cassette set from black industrialist Wilt back in stock, and now at a lower price than before.
The newest release from Josh Lay's Husk Records is the label's first vinyl release, a 7" EP of skin-crawling necro-industrial from Wilt, who many of you might also know as the other band from the guys behind the industrial noise-doom band Hedorah. Wilt's brand of fiendish black drone-noise is always amazing, and this EP delivers three tracks of minimal black drift and much heavier abstract crush that fans will definitely love. The a-side features the title track, an aural night-terror of crushing black synthesizer drone, recordings of howling wolves, oscillating buzz saw sine waves fluctuating in slow motion, a blighted death ambience that is slowly joined by more layers of soft subterranean drift and minimal whir until a deeply detuned piano appears playing this low-register minor-key melody, a simple descending four note dirge that repeats over and over, spreading out across the increasingly ominous black ambience that becomes populated with tolling bells, howling arctic winds and distant demonic keening. The flipside has two tracks: the grim two-chord synth drone of "Cold Grave" becomes lost in a blizzard of black arctic wind, like a classic Norwegian black metal intro stretched out into a full song, the synth becoming seriously blown out, peaking into a distorted roar as the sound of blasting wind gets caught in a locked groove; and then "Haunting The Chapel" oozes in, a crushing blackdoom dirge with putrid low-end bass, hellish screams of the damned being flayed alive, a grinding murky black industrial dirge that sounds sort of like the black abstract sludge-noise of Sewer Goddess, but this is way more "necro", utterly pitch black and evil sounding, keening horns muffled in the distance, smears of eerie melody obscured by the dense industrial rumble and howling subterranean winds and viscous low end noise.
This version of She Stalks The Night that we have in stock also includes a limited edition cassette that has an additional four Wilt tracks. The tape includes the minimal dungeon ambience, droning black synth, clanking metal, monstrous exhalations and necro-industrial drift of "Invocation Of The Bride", "She Lives" with it's minor key piano, bass throb, and menacing factory noise, "SVF"'s horrific industrial wasteland of looped feedback yowl, distorted pipe organ, blackened hissing and whispers and looped voices, sounding like a horror movie score blasted through blown speakers, and on the second side, the sidelong "She Walks The Night (Reprise)", a minimalist return to the 7" a-side, a barely-there isolationist expanse of black ether, strafed by strange percussive noises, ripples of treated piano, tolling bells, and the flutter of black wings against the night sky...
Comes in a black and white sleeve with creepy high-contrast imagery; the 7"/cassette edition is limited to 100 copies.


WOLD   Postsocial   CD   (Profound Lore)    13.98











Track Samples:
Sample : Throwing Star
Sample : Sapphire Sect of Tubal Cain
Sample : Five Points



WRETCHED WORST   Funeral Burning   7" VINYL   (Husk Records)    6.50













YAUTJA   Songs Of Descent   CD   (Forcefield)    7.98











Track Samples:
Sample : YAUTJA-Songs Of Descent
Sample : YAUTJA-Songs Of Descent
Sample : YAUTJA-Songs Of Descent



YAUTJA   Songs Of Descent   LP   (Forcefield)    12.98











Track Samples:
Sample : YAUTJA-Songs Of Descent
Sample : YAUTJA-Songs Of Descent
Sample : YAUTJA-Songs Of Descent



YOB   The Great Cessation   2 x LP   (Southern Lord)    22.00



  Back in print on 180 gram black vinyl from Southern Lord, packaged in a deluxe heavyweight case-wrapped gatefold jacket with a combination of spot varnish and foil stamp printing. This vinyl version of Yob's Cessation also includes two additional bonus tracks not included on the original CD version, "Blessed By Nothing" and "Pain Like Sugar". Here's my old review of the original Profound Lore release:
  Three years after they announced their dissolution, Yob have returned and brought with them their darkest, most malevolent sounding album yet. I'm guessing that this darker tone is the result of all of the bullshit that this Oregon trio has had to contend with, from the breakup of the original Yob lineup in 2006 that seemed to come from out of nowhere, to the tribulations that bandleader Mike Scheidt went through with his new band Middian which led to a trademark dispute over the band name after their debut album came out and ultimately being dropped from their label, Metal Blade. After all of this turmoil, Scheidt somehow found the will to resurrect Yob and reconnected with his old drummer Travis Foster and new bassist Aaron Reiseberg, who replaces former Yob bassist Isamu Sato; now signed to avant-metal powerhouse Profound Lore, Yob recorded The Great Cessation, a monstrous black-hole of cosmic heaviosity that both continues to push past the edges of doom metal into forward-thinking new territory, and finds a furious anger seething beneath the swirling obsidian mass of Yob's new music.
   And so this picks up where 2005's The Unreal Never Lived left off, five songs that fill up an hour, with the title track sprawling out for twenty unholy minutes. The massive, evil Sabbathian riffage has taken on a darker, more sinister stain, the vibe more negatory with ominous sounding song titles like "Burning The Altar" and "Silence Of Heaven", and the psychedelic leads and cosmic FX of the other Yob albums now feel like threatening black clouds building over the epic riffage. There's some of that Isis-esque atmospheric weight here too that appeared on the earlier albums, but it's down-tuned to all new lows, and infused with weird slow-motion thrash riffs, swells of black melodic grandeur, massive chunks of crushing boogie, thunderous tribal drumming, towering drones, passages of atonal post-rock guitar, dreamy acoustic sections. There's mechanical, Godflesh-like rhythmic crush and guitar dissonance running through "Breathing From The Shallows", dark Middle Eastern-tinged guitar leads in "Burning The Altar", and "“Silence Of Heaven” " delves into a vast expanse of churning abstract droneological sound that borders on Sunn O))) territory. Sanford Parker (Minsk), who also produced the album, even contributes synths on the title track. And that voice of Scheidt's has never sounded more fearsome, his bizarre trademark Geddy Lee/witch vocals made even more creepy through electronic processing and alternated with unbelievably deep death metal growls. So fucking great...this might end up being the finest doom metal album of 2009. Highly recommended.
Track Samples:
Sample : Breathing From The Shallows
Sample : The Great Cessation
Sample : Silence Of Heaven









  




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