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A STORM OF LIGHT   Forgive Us Our Trespasses   CD   (Neurot)    14.98



Starting with their 2008 debut and the amazing split with Nadja Primitive North, A Storm Of Light have quickly risen above the rest in a sea of bands following in the footsteps of Neurosis. It helps when you have an actual member of Neurosis on board, and Josh Graham (also of Red Sparowes and Battle Of Mice) brings a very similar apocalyptic vibe to his new band, mixing together slow, leaden metallic heaviness and epic rock steeped in portentous atmosphere. The first album didn't bother hiding it's origins in the end-time sludge-metal of Neurosis, but Forgive Us Our Trespasses, the band's second full length, sees A Storm Of Light evolving their sound into something both doomier and more accessible, thanks in large part to Graham's powerful, emotive vocals. As with the previous releases, the prophetic ecological nightmares of industrial collapse and the almost suffocating sense of foreboding ride on massive waves of tectonic heaviness, but where the debut rose directly from the raw genetic matter of Neurosis with only a subtle extrapolation on that band's signature sound, A Storm Of Light sounds a little more symphonic this time around, with lush electronic textures accompanying the massive riffs, the prominent use of cello and violin on several tracks, and the presence of three female singers who have been brought in to contribute a mix of vocal styles. There's even a banjo that appears on the three "Law Of Nature" tracks that are spread across the album, which also features Lydia Lunch doing a spoken-word thing over the delicate twang and eerie ambience...creepy stuff. One of the other guest singers is Jarboe from Swans, who lends her ethereal voice to two different songs ("The Light In Their Eyes" and "Across The Wilderness"); Nerissa Campbell (who also appeared on Primitve North) sings on another three tracks (" Amber Waves Of Gray", "Arc Of Failure (Law Of Nature Pt 2)" and " Mindnight"). This array of female voices and the dark washes of orchestral strings (courtesy of Marika Hughes of Charming Hostess and Carla Kihlstedt of Charming Hostess/Sleepytime Gorilla Museum) turn A Storm Of Light's massive slow-motion metal into majestic slabs of sound, their oceanic riffage and soaring vocals mixing with soundtrack-style synthesizers and strings and haunting ambience and ultimately sounding fairly different from Neurosis, spacey and cinematic and lush. Of course, Neurosis fans are going to love this, but these guys are definitely growing into their own sound. The disc is gorgeously packaged with a thick booklet and comes in a printed o-card, all of which have the same sort of digitally manipulated photo-collage artwork that appeared on their previous releases, a now signature visual aesthetic that depicts surreal ruined cityscapes and abandoned technology overrun by wildlife and geological upheaval.
Track Samples:
Sample : A STORM OF LIGHT-Forgive Us Our Trespasses
Sample : A STORM OF LIGHT-Forgive Us Our Trespasses
Sample : A STORM OF LIGHT-Forgive Us Our Trespasses
Sample : A STORM OF LIGHT-Forgive Us Our Trespasses



A) TORTURE MECHANISM   self-titled   CDR   (MT6)    7.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

After god knows how long, Baltimore psychedelic noise crew A) Torture Mechanism return with a new recording and a heavier, more freaked out sound that will no doubt surprise anyone that remembers their side of the Merzbow split CD from 1999. Stoner electronics wiz Ryan Copeland is still the driving force behind A)TM, joined here by Alex Strama from MT6 Records/Wire Orchestra on assorted instrumentation and substances, but this self-titled full length (almost an hour in length) is a far more diverse release than anything A) Torture Mechanism has done before. The duo takes the core elements of the snakey free improv and early industrial-meets-harsh-electronics sounds of their early releases and dive straight into a jet-black sea of heavy psychedelic noise and ambient industrial drug metal that often uncovers passages of immense, woozy beauty. An arsenal of instruments is used here, everything from synths, guitars, drums, bass, fender rhodes, acoustic guitars, trunpet, various percussion, miles of effects pedals, tone generators, etc., all incorporated into these thick walls of brain melting sludge and cosmic noise, and the sound here is sometimes inpenetrably dense. Some of these songs take on a sinister dronechug hue, sort of like Skullflower playing the blues before slipping into beastly grooves of Michigan-style noise rock with huge growling loops bearing down on you hungrily. There is also a noticeable shoegazer/space rock influence on some of these jams when the heavily processed and delayed guitars come into view , usually revolving around a downcast melody soaked in effects. There is a ton of massively distorted guitar on here, too, much of which is courtesy of Crucial Blast honcho Adam Wright, blasting out miles of roaring amp drone and worshipping at the altar of Broken Flag, along with some diseased, disembodied Iommi style riffing that crawls out from out of nowhere. The last half of the disc is the heaviest, when the band turns into a charred amalgam of Earth 2's drone metal, Wolf Eyes / Universal Indians style junk creep, and lo-fi Hawkwindian psychedelia. Fucking A. Comes in crusty xeroxed cardstock sleeve.


A) TORTURE MECHANISM   Tears Of Glass   CDR   (Balefire Recordings)    7.98



It's been awhile since we were last graced with new A) TORTURE MECHANISM stuff,with ATM pedla-basher Ryan Copeland and company taking recent detours into space-psyche territory with the Desensitized Robots project, but the wait for TORTURE MECHANISM output was well worth it...these three new tracks are pure psychedelic distortion drone|noise, setting forth wooshing black winds coarsing through deep, steel-plated cavern systems and across oceans teeming with tiny electronic lifeforms. Streams of tar-thick amplifier crunch ooze over a creeped out music-box melody, and loops of electronic distortion break apart and scatter in all directions. The third track, "Tears Of Glass", remains my favorite piece of music from Ryan ever, a radiant pool of crystalline, eternally-delayed guitars that stretches across infinity and swirls around a core of molten distortion, sounding like a lost track from MY BLOODY VALENTINE's Loveless featuring a guest performance from U2's The Edge circa-The Joshua Tree, and mixed by Merzbow. A breathtaking, all-too-short piece of supreme shoegaze drone. A varied but cohesive EP (clocking in at just over 14 minutes in length), with arcane artwork designed by Crucial Blast and packaged in a full color DVD case with painted disc.


ABIKU   Set The Pace To Grueling And The Rations To Meage   2 x CDR   (MT6)    7.98

Set The Pace To Grueling And The Rations To Meage IS CURRENTLY UNAVAILABLE FOR ORDER

From the goofy pixel artwork taken from that old 1980's computer game Oregon Trail that Abiku stuck on the CD sleeve for this double disc set, you'd never guess that the music on here is as brutal as it can sometimes end up being. The Baltimore based duo plays a kind of computer-generated noisecore/gabba/electropop hybrid with singer Jane Vincent screeching and singing over a blizzard of thumping four-on-the-floor speedcore beats, hyperspeed digigrind blastbeats, laser beams, and huge slabs of new agey ambient drone and damaged techno. That weirdo Baltimore/Wham City vibe is all over Abiku's tuneage, and some of this stuff even reminds me of Atom & His Package a little bit, but way weirder and totally immersed in noise and drum machine grind and fucked up techno and goth rock, art-damaged and industrial-tinged and quivering with a violent, exuberant energy. They're a part of the cool DIY warehouse dance punk scene that's been going on out in Baltimore lately, and although I haven't seen 'em yet, I bet they crush live. This CD-R set is actually a live collection from Abiku, the first disc contains a ton of MP3 files of live sets that the band recorded in basements and houses across the country when they toured the US in 2004, each show represented by a seperate folder designated by city, and there is close to nine hours of music collected here. Pretty massive, and the recoridngs are generally pretty decent, punchy and clear enough to give you a good idea of what it must have been like to be jammed in a crowded basement with the lights shut off while Jane goes psychotic over the jet engine roar of Abiku's laptop gabba-grind-goth-dancepop.
The second disc, though, is something different. There are a couple of live sets that are on here as well, but the last track, titled "Chaos Mix", is the centerpiece of this half of the set, an hour-plus track of all of the shows digitally collaged and layered together into a single massive brain liquifying soundscape. This track is nearly overwhelming. It's an ocean of swirling chaotic sound, like hearing one hundred different Napalm Death records and scratched up Suicide and La DŁsseldorf albums all spinning simultaneously, melting into an endless whirlpool of molten electro-psychedelic goo.



ABIKU   Novelty   CD   (MT6)    9.98



This Baltimore duo have been around for a couple of years, but are just now coming out with their first real full-length, released through Baltimore's finest imprint for all things noisy and bonkers, MT6. The first time that I heard these cats was when they played with Wildildlife in a basement in Baltimore a few years ago, where the duo of Jane and Josh blasted the entire block with their deafening brand of mutant synth-disco/no wave/gabber/grind weirdness. Both of 'em rock some massive keytar-like appliances, and stick to a fairly rigid formula: songs are generally one-to-two minute micro-bursts of ominous synthesizer chords and whooshing, sweeping electronic noises over jackhammer drum programming that's somewhere in between techno/disco throb, drum-machine blastbeat, or violent gabber, depending on the song, while Jane utters a hair-raising high pitched scream over it all, or croons in a narcoleptic speak/sing cadence. They've been compared to bands like The Locust and Genghis Tron because of their synth-based instrumentation, but those references are wholly inaccurate. This shit is difficult and definitely not pretty, and almost totally devoid of what I'd call hooks - what this does sound like is brutal digi-grind beats trading off against mutant techno throb while the vocals channel the sound of Lydia Lunch with 75,000 volts of electricity being rocketed straight into her spinal column, while cheapo 8-bit melodies, harsh industrial textures, icy robo-funk synth basslines and atmospheric ambience scuttle out of the thick backdrop of synths and samplers that Abiku employ. I can hear trace elements of old school industrial like Clock DVA, Severed Heads and Controlled Bleeding in here, but these industrial qualities are cranked to mach ten and almost totally obliterated by the relentless computerized blastbeats. I just caught them again as the opener for the Brutal Truth/Pig Destroyer show that went down at the Talking Head last week, where Abiku took the stage in what looked like silver Lamť robes and proceeded to totally polarize the audience with their screeching, industrial techno-disco-blast. They're definitely one of the most brutal bands to inhabit the Baltimore freakscene, that's for sure. As far as this disc is concerned, Novelty isn't an actual new album, but rather a collection of tracks from their Novelty demo from 2002 and some later demos that have been reworked and rerecorded, along with an additional enhanced section of the disc that contains all of their demo tracks and singles that were recorded between 2002 and 2005, all available as MP3s, and since most of that stuff is way out of print, this is the last place you'll find these early Abiku jams.
Track Samples:
Sample : ABIKU-Novelty
Sample : ABIKU-Novelty
Sample : ABIKU-Novelty
Sample : ABIKU-Novelty



ADMIRAL BROWNING   Magic Elixer   CD   (Dancing Sasquatch Records And Medicine Company)    5.00



This power-trio hails from Middletown, a small town that's just a couple of minutes down the road from Crucial Blast HQ here in Maryland, and while they have self-released a couple of discs since 2005, this is the first time that I've picked up their stuff to carry here at Crucial Blast. The band has been honing their brand of instrumental prog-sludge with these self released discs and tours along the East Coast, and with this new five song EP, Admiral Browning have really blossomed into something amazing. This is immensely heavy stuff that combines old school doom metal, prog, math rock, and psychedelia into a burly mass of complex, dizzying heaviness that doesn't really sound like anyone else. Fans of metallic riff-heavy instrumental bands like Karma To Burn, Suzukiton and Stinking Lizaveta will probably go berserk over this, but Admiral Browning doesn't sound like those bands. The doomy element is WAY heavier, the riffs huge and leaden like Saint Vitus, but from the crawling suarian doom the band leaps into spiralling shred, the guitars weaving from Greg Ginn style skronk to awesome Champs-like harmonies, angular math rock and spacey Floydian psychedelia. There's the massive Mastodon-meets-Saint Vitus crush of "Vortexer", the energetic guitar heroics of "Ol Martini Man" and even the campfire acoustic jam "No Good Stones". I love the way that the Maryland doom metal influence is so prominent here, while at the same time this is more than just doom, like other Maryland bands like Revelation and Life Beyond, these guys take that plodding Sabbath-influenced sound into proggier territory, though noone has done quite as heavily as Admiral Browning have with Magic Elixir. Recommended.
Nice digipack packaging, too.
Track Samples:
Sample : ADMIRAL BROWNING-Magic Elixer
Sample : ADMIRAL BROWNING-Magic Elixer
Sample : ADMIRAL BROWNING-Magic Elixer



AGAINST NATURE   Pluperfect   7" VINYL   (Church Within)    6.98



Revelation were always one of the more enigmatic bands to arise from the Maryland doom metal scene of the late 80's/early 90's, with a style that was more informed by progressive rock than the grittier Sabbathisms of their peers in Wretched, Unorthodox, and Internal Void. When I was assembling the Doom Capital compilation a few years ago, Revelation were one of the few bands that I had heard was still around and recording, but for one reason or another I had been unable to get ahold of anyone (this was before the Myspace explosion, obviously). Curious as to what the members of Revelation were up to, I didn't hear anything about them until recently, when I found out about a new band called Against Nature from Baltimore that was bascially comprised of the Revelation lineup from their debut album Salvation's Answer that came out on Rise Above back in 1991. Taking their name from a Revelation song, Against Nature combined the crushing bluesy riffing of Black Sabbath and Trouble with prog rock moves reminiscent of Rush and even Voivod at times, a distinctive brand of doom metal different from anyone else from the Doom Capital. This German import 7" is the first thing I've heard from 'em, but the two songs on here are killer, "Pluperfect", a new jam exclusive to this EP, and "Confusion", a new reworking of an old Revelation song from one of their early demos that never appeared on any of Revelation's albums proper. Limited edition of 500.


ALL IS SUFFERING   The Past: Vindictive Sadisms Of Petty Bereaucrats   CD   (Crucial Blast)    9.98



Along with the small number of copies of the out of print early Crucial Blast titles from Rune and Katastrofialue that recently surfaced as part of a return that just arrived here from one of our old distributors, I also found a couple of copies of the Cd from blackened death/crust beasts All Is Suffering. A collection of studio and Ep material, The Past: Vindictive Sadisms Of Petty Bureaucrats has been out of print since at least 2005, and is one of the label's earliest efforts. It's also one of the only releases from a a little known but amazing band from southern Maryland who blew me away during their short span of existence with an apocalyptic mixture of old school death metal, imperial black metal, ultra-bleak ambience, majestic doom, and a definite Scandinavian crust influence. Not many people heard 'em when they were around as the band rarely played live and never toured outside of the area, and only released one other 7" Ep after this disc came out, but every single person that I've talked to about the band fucking loved them. Here's my original description of the disc from when it first came out, with all hyperbole intact:
"Fueled by war and corruption, The Past:Vindictive Sadisms Of Petty Bureauracrats collects both new studio recordings and demo and EP tracks from this visionary Maryland grind/crust band. All Is Suffering combine rabidly violent grindcore and epic black/death metal with monastic chants, blackened drones, incredibly catchy melodies, and a cosmic endtime ambiance. Some have compared them to His Hero Is Gone meets Marduk. Fourteen blasts of adventurous, grim, and vicious disgust for diseased humanity."
So there you go. Less than four in stock!
Track Samples:
Sample : ALL IS SUFFERING-The Past: Vindictive Sadisms Of Petty Bereaucrats
Sample : ALL IS SUFFERING-The Past: Vindictive Sadisms Of Petty Bereaucrats



BAD BRAINS   Rock For Light   CD   (Caroline)    14.99

Rock For Light IS CURRENTLY UNAVAILABLE FOR ORDER

      Now in stock on CD.
      An unequivocal classic of pioneering hardcore punk, Bad Brains' 1983 firestorm Rock For Light just got reissued on vinyl, apparently from the same label that originally put it out. The follow-up to the Brains' seminal self-titled ROIR cassette, their second album propelled these iconoclastic punks even further into the stratosphere upon its release, yet another quantum leap from what had initially started out as four black kids from Washington, DC playing jazz fusion. By this point, the Bad Brains were titans in the American underground, blowing minds with their electrifying fusion of superfast hardcore thrash, screaming metal licks, and soulful reggae, permeated with the band's growing immersion into Rastafarianism. That uniqueness caught the attention of none other than Ric Ocasek, gangly mastermind behind 80s New Wave gods The Cars. Sure seemed like an odd pairing when I first picked this album up, but Ocasek kept the band's sound raw and raucous; while Rock features re-recordings of a number of songs that had already appeared on the ROIR tape (starting a long tradition the Bad Brains had throughout the 80s of continually re-recording various songs for new releases), it might be my favorite version of that stuff.
      And in 1983, these guys still sounded completely unique with their ferocious blend of Rastafarian spirituality and dope-fueled positivism, welded to a mix of blitzkrieg hardcore and laid-back reggae jams. You get turbo-charged renditions of stuff like "Big Takeover", "Right Brigade", "Banned In DC" and "Attitude", while new songs like "Joshua's Song", "Destroy Babylon", the uber-catchy title track and the utterly ferocious "Coptic Times" and "At The Movies" are all blasts of triumphant, turbo-charged speed and power, with riffs that begin to hint at the metallic direction the band would head in with subsequent releases. When the Brains unleash the speed, it's about as fast as anything in hardcore at the time, and H.R.'s strangled shriek and velvety croon engage in wild vocal acrobatics through the whole album, delivering one of the most powerful vocal performances ever heard in hardcore punk. But when that ferocity suddenly slams into the mellow, dubbed-out reggae grooves of "I And I Survive" and "The Meek Shall Inherit The Earth", the sudden juxtaposition is gloriously disorienting. An eternal favorite around the C-Blast compound, and a crucial slab of pioneering mutant hardcore.
Track Samples:
Sample : BAD BRAINS-Rock For Light
Sample : BAD BRAINS-Rock For Light
Sample : BAD BRAINS-Rock For Light



BLACK MANTA   Fuck Them All But Six   CD   (Psychedoomelic)    11.98

Fuck Them All But Six IS CURRENTLY UNAVAILABLE FOR ORDER

Black Manta, Maryland's own H.P. Lovecraft-obsessed, old school doom metal meets biker-rock on PCP riff-thugs! The Manta rise with this brief (at just over 20 minutes long) but pulverizing CD on Hungarian doom imprint Psychedoomelic and unleash seven burly,blown-out doomrock anthems, complete with legendary drummer Joe Hasselvander (PENTAGRAM), drugged out Jim Morrison and the gnarliest bass tone on earth. While there is some crushing slow parts here and there throughout the CD, Fuck Them All But Six puts the emphasis on the "bomb rock" (their term), maintaining a brutal mid-tempo bulldozer pace, which fans of fellow Maryland doomsters Earthride, Life Beyond, Wretched, and War Injun will love. Earth shaking, monstrous rock!


BLAKE, SHELLY   What A Queer Thing Democracy   CD   (MT6)    1.98



Ghost-politico avant-folk balladry and spirit-of-truth improvisation from this Baltimorian. Unapologetically political folk-soul-blues ramblings are interjected with unnerving free noise improv. Shelly Blake has been making cult-variety recordings since 1995, his earliest published work consisting of songs recorded directly to answering machine tapes, raw bits of ravaged songs. Later, Blake turned to the analog four-track as his chosen means of capturing sound. He quickly recorded dozens of songs and improvisations in this fashion before disappearing in 1996 into a quasi-hermitic lifestyle; these albums were like scrapbooks -- diaries in sound and lyric. Since resurfacing in the year 2000, Blake's music has become ever more eclectic: primarily composing and improvising for voice, piano, organ, guitar, loops, antique record players, and found objects, his music over the last decade has spanned the gamut from lo- fi psych folk to beat-heavy guitar-laced trance and from Guthrie-esque political balladry to site-specific free improvised performance/sound art. More recently, he has performed free improvisation with ensembles and small groups exploring issues related to paranormal lore and American politics. His most current work merges folk balladry, analog noise, and the sampling of English opera with whole-body free improvisation exploring stressful physical states involving water, aluminum, and sensory deprivation. This newest full length manifesto is comprised of damaged folk ramblings and chance-inspired sonar-poetic experiments, a documentation of the summer of 2005 from the point of view of a hermit who lives in the forest just south of Baltimore Washington International Airport's runway. Packaged in a silkscreened/labeled white digi-sleeve.


BODY, THE + FULL OF HELL   One Day You Will Ache Like I Ache   CD   (Neurot)    14.99














CARRION   The Crime Of Idle Hands   CD   (Epicene Sound)    8.98

The Crime Of Idle Hands IS CURRENTLY UNAVAILABLE FOR ORDER

DC area punkprogcore stoners CARRION delivered their swan song here with this awesome 10 song full length that effortlessly melds post-hardcore crunch to Am Rep violent insanity and stonerized riffing. Like BLACK FLAG'ss My War genetically fused to DAZZLING KILLMEN and TODAY IS THE DAY, while veering between emotional outbursts akin to Fugazi and atonal doom trudge. Produced by Bruce Falkinburg (THE HIDDEN HAND).


CEMETERY PISS   Such The Vultures Love   7" VINYL   (Cricket Cemetery)    5.98



††Been looking forward to hearing this Baltimore-based band for awhile, as I'd heard that their live shows were pretty vicious. In fact, prior to picking up their EP, I had the impression they were going to be another competent black/thrash outfit, but the three songs featured here show something much uglier and much more interesting. Cemetery Piss's debut 7" Such The Vultures Love is a vicious slab of noisy, blackened grind with putrid guttural vocals doused in delay and echoing across the band's tinny, blown-out black blast. The music is relentless and supremely savage, the drumming rigid with it's almost mechanical sounding blastbeats, and they've got an awesome deformed guitar sound that is absolutely drenched in distorted static. There's a diseased, septic feel to all of this stuff, the sound of Darkthrone becoming fused to a barbaric grindcore assault. Guitars spew killer frostbitten riffs and dissonant leads all over the likes of "Corpses And Lye", while the short "Mitternacht" is an eerie, quasi-ambient piece made up of layered guitar squall and disembodied doom-laden guitars tumbling through the abyss, transforming into a all-too-short gust of filthy kosmische sound. And on the second side, "Such The Vultures Love" unleashes a longer blast of droning, drooling black metal with that heavy punk influence, laying on even more of the band's fetid, icy winterbreath across the song's galloping charge. Fantastic. Great Baizley-esque artwork on the sleeve, too.
†† Released in a limited edition of three hundred copies on urine-yellow vinyl.


DARSOMBRA   Ecdysis   CD   (At A Loss)    9.98



Darsombra is another incarnation of Baltimore's Brian Daniloski, a member of the long-running theatrical noise metal outfit Meatjack, as well as a recent addition to Dadaist math metallers Trephine. Much like Joe Preston's Thrones, Darsombra is just Brian, armed with drum machine, guitar, synths and electronics, and vocals, crafting massive trudge metal anthems and sinister droning currents. The album starts off with a Troum-gone-space-rock vibe, just looped electronics and distant guitar figures cycling in the darkness, but then moves into heavy drum-machine patterns interlocked with crushing guitar riffage and a strangely pseudo-Middle Eastern feel, like an exotic Thrones/Swans fusion with clean anthemic vocals.Ecdysis keeps up this dynamic throughout it's six tracks, shifting between heavy robo indie-metal sludge, spacey guitar-crush space drones, deranged vocal loops, and lots of eerie amp ambience and meandering effects heavy guitar exploration. Very cool stuff, fans of axe-heavy droneologists Sunn O))), Earth, Troum, etc., and Thrones / Black Mayonnaise robotic sludge should check out.


DARSOMBRA   Deliriums And Death   3" CDR   (Public Guilt)    4.98

Deliriums And Death IS CURRENTLY UNAVAILABLE FOR ORDER

Deliriums And Death is another entry in the new 3" CD-R series that Public Guilt has started; we've also listed the awesome new Korperschwache disc in the series in this week's update. This one features two new tracks of super-heavy metallic drone from Brian Daniloski, the former Meatjack member and current Baltimore soundguy at spots like the Ottobar, who has been recording some great ultra-crush guitar meltdowns as Darsombra for a few years now using just guitar, effects pedals, and electronics. The Darsombra album Ecdysis on At A Loss was a killer collection of processed amplifier sludge and dark, droning ambience, sorta in the vein of Thrones and Sunn O))) and the older, more blown-out Growing recordings, but with an alien weirdness that was wholly his own. This EP continues in that vein, opening with the massive inexorable sludge drone and looped powerchord rumble of 'Periphery' which opens into a blazing fiery horizon of cosmic synth sounds, like an ambient metal Kosmiche soundscape. It actually reminds me ALOT of the more ambient parts off of Meatjacks Days Of Fire. The track builds in heaviness and volume before fading out in a smoky haze of electronic drone; this segues straight into 'Eyes In Eyes', a chilling collage formed out of endlessly overdubbed layers of warped manipulated vocal loops and droning feedback pulses, heavy detuned amp rumble and keening unidentifiable cries. A total psychedelic nightmare soundscape. Pretty great! Comes in a three-panel miniature gatefold sleeve screenprinted with cool blotchy artwork designed by Germ? at PowerThroughMetal,and limited to 110 copies.


DOWN WITH GENDER   Theres No Sex Like No Sex   CDR   (MT6)    4.98



Ridiculoid robot-pop from a bunch of Baltimorian Kraftwerk-worshipping synth punk mutants. Didn't think Atom & His Package were nearly weird or geeked out enough? Here's an album for you. These guys take totally legit over-the-top 80's electro/synth pop hooks and crunchy, awesomely wanky hard rock guitars and bizarre noises and electronics and deliver ten catchy,completely dorky anthems to robots, girls, and girls with robots, all with a singer that usually sounds like a cross between the guy from Devo and The Count from Sesame Street. So poppy and sugary and weird, you'll develop diabetes ten minutes into Theres No Sex Like No Sex. Another blast of cool/fucked Baltimore pop freakery from the MT6 camp, packaged minimally in a clear plastic DVD case.


DRUGS OF FAITH   self-titled   CD   (Selfmadegod)    9.98



We can always rest assured that any band that features Richard Johnson in its ranks is gonna slay. This guy is a legend in the Washington DC area extreme music community; throughout the 1990's, his band Enemy Soil was one of the most devestating politically-tinged grindcore outfits on the East Coast, and over the past few years Richard has also worked with grind units Agoraphobic Nosebleed and The Index, as well as continuing to publish his long-running underground music zine Disposable Underground. Drugs Of Faith is his newish band, a kickass power trio that has been kicking around for a couple of years now but just recently released this debut EP through Polish death/grind imprint Selfmadegod (which is also home to futuristic grinders Antigama and the Godflesh-inspired blast/dirge monstrosity of Third Degree). Drugs Of Faith are totally rooted in brutal, downtuned ultra-heavy grindcore, but Richard's guitar playing adds alot in the way of weird, dissonant chords and off-kilter,textured guitar playing that sort of makes this sound like a spastic, grindy version of Die Kreuzen, or maybe Black Flag mixed up with the weird dissonant riffs from mid-period Voivod maybe, a jagged hardcore-inflected grind assault that breaks off into crushing, almost noise-rock style riffage, all fronted by Richard's ferocious barking vocals and his trademark brand of super pissed-off political/personal lyrics. Ferocious, progressive grindcore from one of the masters! Eight songs in just over 15 minutes.


EARTHRIDE   Vampire Circus   CD   (Southern Lord)    14.98

Vampire Circus IS CURRENTLY UNAVAILABLE FOR ORDER

Hell yeah! OK, EARTHRIDE are local guys (hailing from Frederick, Maryland, which is just a few minutes down the road from Crucial Blast HQ), we've seen 'em numerous times, we had them on our Doom Capital compilation we did back in 2004....needless to say, we're big EARTHRIDE fans, and Vampire Circus just delivers more of the crushing biker doom these guys are such fucking masters of. This album does sound a lot heavier than past stuff though, probably in large part due to the presence of Mike Dean from CORROSION OF CONFORMITY as producer. Featuring members of SPIRIT CARAVAN and INTERNAL VOID, EARTHRIDE is Maryland Doom at its most grungy, dropping dank Black Sabbath meets Lynyrd Skynyrd riffs and fronted by our buddy Dave Sherman, whose gnarly blown-throat growl still resembles Lemmy from MOTORHEAD after smoking a carton of cigs in 20 minutes. Total battering-ram rock. Hell yeah. And dig that killer Hammond organ on "Dirtnap" and "Swamp Witch", courtesy of Mick Schauer from CLUTCH, blasting those tunes with some rich Deep Purple/Edgar Winter vibes. The whole thing reeks of primo 70's dirtbag metal caked in sludge.


EARTHRIDE   self-titled   CD   (Totem Cat)    13.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER









Track Samples:
Sample : EARTHRIDE-self-titled
Sample : EARTHRIDE-self-titled
Sample : EARTHRIDE-self-titled
Sample : EARTHRIDE-self-titled



ECSTATIC SUNSHINE   self-titled   CDR   (Self Released)    9.98



A sold-out tour-only CD-R release from Baltimore's Ecstatic Sunshine that we managed to get a very small quantity of for Crucial Blast. I've been in love with this band since I saw them open for Earth about a year ago in Baltimore; just two dudes, Matt Papich and Dustin Wong, playing two guitars through two amps, and soaring through joyous, spazzy, fastpaced guitar instrumentals that remind me of a super catchy indie/hardcore band, like old school Dinosaur Jr. at their poppiest, ripped free from the constraints of a rhythmic backline and jettisoned into the ether, their clean, undistorted guitars interlocking into complex melodic minatures and then untangling again to race off in different directions.
This tour CD-R features a bunch of re-recorded songs off of their "Spiral" CD-R, with titles like "Wavechop", "Crystal In The Sky", "Ramontana", and "Perrier", clockwork jams of beatless melodic 'core and Allman Brothers merging with free-floating SST Records dreams. Packaged in a flashy screenprinted oversize wallet, and hand-numbered out of 50 copies !!!


FORTRESS   Unto The Nothing   LP   (Unholy Anarchy)    19.98



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



FORTRESS   Unto The Nothing   CD   (Unholy Anarchy)    7.99



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



FULCI   Dead Lights Red Sky   CDR   (Crucial Bliss)    6.50



The first recorded offering from twilight-psyche dronerock duo FULCI. Deep, rumbling, and eternal speaker-buzz worship, wrapped around lumbering riffs drunk on cough syrup and shimmering distortion overload. Howling feedback mantras repeated ad infinitum. Major key rustic lullabies are reduced to primal string scraping drones that climb over mountains of echoing hum. Intensely melodic and repetitious, like SKULLFLOWER covering EARTH's 2 in an old, empty farmhouse. FULCI is Eric Crowe (formerly of Social Infestation, currently of Marax) and Adam Wright. Former members of Leviathan A.D. and The Bodybag Romance assisted on bass and drums, respectively.


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



††† Back in stock. Even though the band is from right down the road from C-Blast HQ, it wasn't until quite recently that I started to listen to these guys in earnest, starting with a rather blistering set I saw them perform in DC with Column Of Heaven around a year ago. The 7"s I'd picked up from the band were pretty cool, but after seeing them live I realized they didn't do justice to the strength of their sonic attack; in the live setting, their mix of brutal hardcore and cyclonic grind flayed the flesh right off of my bones. When the band's collaboration with Japanese noise pioneer Merzbow was announced shortly thereafter, this vicious album turned into one of my more anticipated new releases of '14. Released as a double disc set on Profound Lore (with a vinyl edition forthcoming in the next few weeks, which we'll be getting in stock as well), this is one of the best noise/metal collabs I've heard since Masami Akita himself teamed up with those maniacs in Gore Beyond Necropsy, with a ferocious sound that comes much closer to capturing the live savagery of the band.
††† The main album that makes up the first disc is a short one, at just twenty-three minutes long, but it hurtles at top speed through eleven tracks of blasting ferocity. Songs race by in a blur of ultra-violent blastbeats and discordant hardcore riffs, the multiple vocalists swapping back and forth between the frantic, bestial screeching and deeper, gruffer bellowing and a weird disaffected moan, the music blending equal parts spazztoid staccato powerviolence with blurts of massive dissonant sludge and full-on grindcore. Occasionally this will slow down into turbulent assaults of jagged noise-rock or pulverizing dirge, and Merzbow's presence is felt throughout, not only in the swells of jittery electronics and squealing high-pitched feedback that bubble up in the spaces between songs, transforming entire tracks like "Raise Thee, Great Wall, Bloody And Terrible" into outbursts of virtual power electronics, but also as an omnipresent texture in the midst of the band's raging grind. A layer of electronic filth and corrosion that smolders beneath the instruments, creating an edgy aural abrasion lurking in every corner of the album. Towards the end, things slow down to a seriously epic crawl, starting with "High Fells" as it drags itself through vast furrows of droning heaviness somewhere in between the industrial plod of early Swans and the barbaric trance of Neurosis, crushing riffs churning over noisy percussion as the vocals rise in wraithlike chant and vein-popping screams, while volleys of jazzy horns streak overhead. And on ""Ljudet Av Gud", most of that instrumentation is swept away, leaving just a creaking noisescape of distant electro-acoustic sounds slowly overcome by the rhythmic boom of hammers on empty oil tanks, building into a desolate industrial dirge that takes over the entire track. Building to the cathartic release of closer "Fawn Heads And Unjoy", the final blast of dissonant, delirious grind violence is splattered in free jazz squonk.
††† The Sister Fawn disc offers a more avant-garde sound, and while it seems to be presented as more of a companion piece, I gotta admit I thought this material is even cooler than the album proper. Much of Full Of Hell's screeching grindmetal is absorbed into a more cacophonous wall of industrial violence here, delivering longer tracks of pummeling industrial junk-metal rhythms and howling feedback manipulation, blasts of crushing power electronics and more of that abject Swans-esque dirge, and squalls of apocalyptic jazz-infected noise like "Crumbling Ore" that approach Borbetomagus levels of intensity. This stuff still get very grindy at times, though, like the noise-damaged blast-assault of "Merzdrone" that welds a seemingly endless blastbeat to Merzbow's scorching electronics and shrill skulldrill distortion, ferociously psychedelic.
††† Comes in digipack packaging.
Track Samples:
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled



GENEVIEVE   Escapism   CDR   (Grimoire)    6.98



††††† One hell of an impressive first album from these fellow Maryland mutants. I'd heard and dug some of their earlier stuff, but on Escapism these guys have nailed down a creepy and crushing avant-metal assault of their own, exploring a fascination with psychedelic guitar meanderings, improvisation and experimental noise. Their name might infer something a little more "delicate", but the music is pretty harsh, a frenzied combination of blackened math metal and twisted noise rock that ends up sounding pretty unusual.
††††† Their creepy dissonance descends over the ambient opener "Parasite I", where metallic, almost sitar-like drones bleed into a gorgeous, orchestral driftscape. But "Charnel Flow" detonates that placid, dreamlike ambience with a furious combination of off-kilter black metal-style melody, hideous discordant riffs and a maniacal level of aggression. That blackened influence is constantly felt throughout Genevieve's sound, but there's also this frantic, frayed-nerve feel to all of this stuff that just as often reminds me of Today Is The Day's vicious metallic noise rock. The songs proceed to erupt with pummeling death metal-esque double bass, eerie atonal melodies, and lots of skronky, jagged riffage, careening through a demented landscape of howling feedback and blasting blackened dissonance. As it slips into gruesome slow-motion dirge and churning math-metal chaos, the deranged, vocals and monstrous guttural roars blend together for a maximum psychotic effect, and that blackened noise rock vibe is always there beneath the surface, jutting out of even the fastest and most frigid blastscapes.
††††† There are a few deviations from that heavier stuff, like the psych-guitar instrumental that makes up the title track, and some of the songs feature weird underwater guitar effects and odd crooning vocals that can swerve the album into vaguely Lynchian territory. There's a moment on the song "Fell" where it suddenly shifts into hauntingly pretty gloom-rock for a second, laced with mournful slide guitar-like textures, and elsewhere Genevieve use both baritone guitar and fretless guitar to add unique tonal qualities to their sound. At the end, Escapism closes with a reprise of that strange sitar-like drone from the beginning, but it's stretched across an eight-minute outro that turns increasingly dread-inducing, layered in weird chittering electronics, distant horn-like blasts, and flurries of swirling black drift. Those weird ambient stretches definitely give this an odd, dreamlike feel at times, but for the most part, this album is set to pulverize, spewing a lurching, necrotic nightmare that's easily one of the coolest things coming out of the Baltimore area right now.
Track Samples:
Sample : GENEVIEVE-Escapism
Sample : GENEVIEVE-Escapism
Sample : GENEVIEVE-Escapism



GENEVIEVE   Escapism   CASSETTE   (Grimoire)    5.00



††††† One hell of an impressive first album from these fellow Maryland mutants. I'd heard and dug some of their earlier stuff, but on Escapism these guys have nailed down a creepy and crushing avant-metal assault of their own, exploring a fascination with psychedelic guitar meanderings, improvisation and experimental noise. Their name might infer something a little more "delicate", but the music is pretty harsh, a frenzied combination of blackened math metal and twisted noise rock that ends up sounding pretty unusual.
††††† Their creepy dissonance descends over the ambient opener "Parasite I", where metallic, almost sitar-like drones bleed into a gorgeous, orchestral driftscape. But "Charnel Flow" detonates that placid, dreamlike ambience with a furious combination of off-kilter black metal-style melody, hideous discordant riffs and a maniacal level of aggression. That blackened influence is constantly felt throughout Genevieve's sound, but there's also this frantic, frayed-nerve feel to all of this stuff that just as often reminds me of Today Is The Day's vicious metallic noise rock. The songs proceed to erupt with pummeling death metal-esque double bass, eerie atonal melodies, and lots of skronky, jagged riffage, careening through a demented landscape of howling feedback and blasting blackened dissonance. As it slips into gruesome slow-motion dirge and churning math-metal chaos, the deranged, vocals and monstrous guttural roars blend together for a maximum psychotic effect, and that blackened noise rock vibe is always there beneath the surface, jutting out of even the fastest and most frigid blastscapes.
††††† There are a few deviations from that heavier stuff, like the psych-guitar instrumental that makes up the title track, and some of the songs feature weird underwater guitar effects and odd crooning vocals that can swerve the album into vaguely Lynchian territory. There's a moment on the song "Fell" where it suddenly shifts into hauntingly pretty gloom-rock for a second, laced with mournful slide guitar-like textures, and elsewhere Genevieve use both baritone guitar and fretless guitar to add unique tonal qualities to their sound. At the end, Escapism closes with a reprise of that strange sitar-like drone from the beginning, but it's stretched across an eight-minute outro that turns increasingly dread-inducing, layered in weird chittering electronics, distant horn-like blasts, and flurries of swirling black drift. Those weird ambient stretches definitely give this an odd, dreamlike feel at times, but for the most part, this album is set to pulverize, spewing a lurching, necrotic nightmare that's easily one of the coolest things coming out of the Baltimore area right now.
Track Samples:
Sample : GENEVIEVE-Escapism
Sample : GENEVIEVE-Escapism
Sample : GENEVIEVE-Escapism



GREY MARCH   Early Works   CD   (Hand/Eye)    9.98

Early Works IS CURRENTLY UNAVAILABLE FOR ORDER

† † The Baltimore-area punk band Grey March was a bit before my time, already broken up by 1987 or so, but I was still really surprised to have just now discovered this band. Never heard their music before Early Works 1984-1987 found its way into my stereo, a fact even more shocking in that these guys play a gloomy strain of hardcore punk that really stands out from the rest of the MD/DC scene, with an ominous sound that owed a lot to the darker side of British post-punk, in particular the gloomy sounds of Joy Division and pre-JD outfit Warsaw. The Early Works 1984-1987 collection compiles the band's self-titled 1986 12", a track that appeared on the Seedy Sampler compilation on Merkin Records, and previously unreleased demo recordings, all of which surfaced back in the mid to late 80's. The 12" tracks are probably my favorite, opening with the morose stomp of "Vertical", droning synthesizers backing the buzzsaw roar of the guitars while the singer's disaffected moan drifts overhead, bearing a striking resemblance to Joy Division's Ian Curtis. The song "An Interesting Observation" follows suit with more of that haunting goth-tinged punk, but then some of the other songs on the 12" have more of an angular, off-kilter dirgey feel like "Way of the Cross". Grey March's hooks tended to be understated, going for more of a brooding, ominous sound than simply busting out hardcore anthems, but there's still some pretty catchy stuff in here. There's a cold production style that fits the music well, layering the band's killer flange-heavy leads and throbbing bass across the wall-of-sound roar of the guitars, with acoustic guitars and keyboards added for atmospheric texture, the occasional burst of howling, acid-drenched wah-guitar soaring into the overcast sky. The songs occasionally burst into speedy aggression, but for the most part stick to a driving, mid-tempo pace that keeps with Grey March's themes of isolation, loneliness and desperation. Man, I loved these early Grey March recordings, they almost seem to exist in that strange zone between American hardcore and death rock/goth rock that has produced some of my favorite bands. Very recommended if you're into bands like Mighty Sphincter, Burning Image, Samhain and more contemporary grave-prowlers like Lost Tribe and Blue Cross. The disc comes in a in a full-color wallet sleeve with a four-panel printed insert.
Track Samples:
Sample : GREY MARCH-Early Works
Sample : GREY MARCH-Early Works
Sample : GREY MARCH-Early Works
Sample : GREY MARCH-Early Works



HALF MAKESHIFT   Final   CDR   (Small Doses)    8.98

Final IS CURRENTLY UNAVAILABLE FOR ORDER

The Aphotic Leech CD that came out on Utech earlier this year was a real surprise...the guy behind this amazing ambient doom project is Nathan Michael, an experimental music artist that lives right down the road from Crucial Blast HQ. But I didn't even know that Half Makeshift existed until I found out about the band through Dave Adelson at 20 Buck Spin; when I finally heard the Aphotic Leech disc, I was floored by how good it was, fusing glitchy, deconstructed electronics to crushing ambient doom metal rumble. With so many bands trying their hand at the whole "ambient doom" thing nowadays, this was the most interesting stuff I had heard in ages. Anyways, Nathan has apparently been hard at work on new material, 'cuz we not only have a new album from him on 20 Buck Spin (which we will be listing shortly here at C-Blast), but also this new disc on the new CD-R label Small Doses. Released in a handnumbered edition of 151 copies and packaged in an attractive handmade sleeve, Final is a more mellow collection of music from Half Makeshift, with a heavier emphasis on melodic, repeating piano melodies. The first track is a crusher, though: "The First And Second Passing" starts off with almost total silence, then begins to open up with melodic piano clusters over a distant industrial doom dirge until everything bottoms out and all we are left with is a somber keyboard melody. A gorgeous piece of heavy, overcast minimalism. "Origin" features another beautifully somber keyboard melody, with deep rounded resonance almost like he's playing a Fender Rhodes; and towards the end of "Les Livres, ils pleurent" a thick cavernous drone and distant pounding percussion underscores the dark piano lament. Finally, we have "Final", and the piano playing on this track sounds like it's been processed somehow, a sad melodiousness melted into a grey wash of rumbling resonant notes and deep reverberating drone. Yes, this is deeply beautiful to my ears, equal parts piano- driven post rock and cavernous floating sludge. Highly recommended.


HALF MAKESHIFT   Aphotic Leech   CD   (Utech)    13.98



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



HALF MAKESHIFT   Aphotic Leech   CD   (Utech)    8.98



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



HANNUM, TERENCE   Dread Majesty   CASSETTE + ARTZINE   (Accidental Guest Recordings)    9.99

Dread Majesty IS CURRENTLY UNAVAILABLE FOR ORDER

††Another solo release from the increasingly prolific Terence Hannum of acclaimed kosmische drone/metal outfit Locrian, and one of two recent cassette tape / newspaper sets that he released on the Washington DC label Accidental Guest in the past year, both of which we're finally getting in stock here at C-Blast. The twenty minute Dread Majesty is quite different from the monochrome synth meditations found on Hannum's other tape for Accidental Guest In The Sign, and these two tracks feature a much more melodic sound, starting with the primitive synth of "The Idea Of The Sacred", a simple catchy melody repeating over and over, a circular mantra that shifts in tone and texture for the first few minutes until it's finally joined by gusts of murky kosmische keyboard. When the track finally unfolds into it's full shimmering, coruscating glory, it starts to resemble some vintage early 70's space music experiment, a sound that you hear a lot of with Hannum's main band Locrian, but which gets deconstructed here into something less polished, grittier, a blast of haunting abstract low-fi spacedrift bathed in static and distortion that eventually begins to dissolve into a swirling fog of ghostly choral moans, squealing noise and wavering keys towards the end. A blistering rush of gorgeous, grimy electronics.
†† "Up To The Threshold", on the other hand, resembles some of the later Prurient material, a mixture of abrasive power electronics and dark, kosmische-tinged melody, an eerie melodic figure slowly whirling through clouds of caustic glitch and rumbling low-end drone, the repetition creating a moodier, more morose atmosphere that spreads like a dark blemish across the entire side of the tape, finally blooming into screeching, howling nightmarishness at the end, as violent swells of squalling guitar noise and feedback and effects threatening to obliterate Hannum's mesmeric melody.
†† As with the other tape release on Accidental Guest, Dread Majesty includes a full-color newsprint-style publication that features sixteen pages of art and text from Hannum, mostly focused on his bizarre, otherworldly collages of human hair and desolate, inhospitable landscapes; when perused while listening to the increasingly grim sounds captured on the tape, the overall feel of this stuff is pretty creepy, like deconstructed images from a Japanese horror film. Limited to one hundred copies.


HANNUM, TERENCE   Burning Impurities   CASSETTE   (Belšten)    8.98



  Another killer cassette of fractured, experimental sonic darkness from the Belšten label, Burning Impurities is another quality release from Terence Hannum of psychedelic kosmische heavies Locrian, who seems to be cranking out more and more stuff under his own name since relocating to Baltimore from Chicago. And I've been digging all of it. Compared to some of the other tapes that Hannum has put out recently, the two half-hour-long tracks presented on Impurities are some of the closest in spirit to the classic 70's space music influences that have powered Locrian's recordings, venturing into more extreme regions of classic kosmische music and filtering it through storms of extreme electronic noise and depths of suffocating aural darkness.
   First up is "Ceremonially Clean", which begins as an exercise in heavy drone-music, running thick veins of buzzing feedback and rhythmic looped amp-rumble around murky melodic smears of sound, slowly evolving from the early blast of black buzz into eerier, more structured fields of quasi-kosmische drift. Abstract rhythmic patterns begin to emerge from Hannum's increasingly layered dronescapes, clanking and tapping rhythms materialize and circle around the stretched-out choral voices that appear out of the gloom, and blasts of crackling distortion and rumbling low-frequency noise are unleashed in controlled bursts as the track begins to build in intensity. It gradually spreads out into an incendiary white-hot electrical glow, a mass of pulsating heavenly synths, groaning almost cello-like resonances, and slowly shifting pools of iridescent drone and searing electronic noise that finally form into something almost resembling a power-electronics remix of a Popol Vuh piece.
   On the second track "Pass Through The Fire", Hannum unleashes a blizzard of deafening white noise that conceals a constantly shifting mass of gorgeous choral majesty; I'm betting that Tim Hecker fans would really dig this blast of grainy, ultra-distorted melodic drone, but Hannum's hands mold this into something much more brutal, the relentless roar of distortion remaining constant through the entire side, employing an almost HNW-like approach, like some classic space music outfit playing at the center of a swarming scourge of black flies.
   These beautiful, blinding eruptions of blasted drone are surrounded by the evocative abstract images of Icelandic photographer Jůhannes Gunnar řorsteinsson on the sleeve to this excellent tape release, which is as you would expect highly limited, and includes a download code for a digital copy of the album.


HANNUM, TERENCE   In The Sign   CASSETTE + ARTZINE   (Accidental Guest Recordings)    9.99

In The Sign IS CURRENTLY UNAVAILABLE FOR ORDER

††In The Sign is the first of two cassette/newspaper sets that Locrian member Hannum released over the past year on the Washington DC label Accidental Guest, pairing his signature palette of gutted power electronics synths and hypnotic deathdrone with a thick zine-like publication filled with his strange, often disturbing collages and paintings. Tapping into the same sort of dark kosmische vastness that his main band Locrian has explored through their sweeping drone-metal soundscapes, this tape delivers a half-hour long exercise in morbid minimalist drones and primitive analog synthesizer rumble that is some of the most classically "industrial" sounding of his recent solo works, and is, according to Hannum, inspired by both Sodom's Teutonic thrash classic In The Sign Of Evil and French philosopher Paul Ricoeur's 1967 book The Symbolism of Evil.
†† Opener "Defilement" sounds like it could have oozed right off some obscure early 80's Italian power electronics tape, a five minute long slab of minimalist hum and buzz bathed in grimy tape hiss, the steady monotonous buzz of Hannum's synth boring a hole through the track's grim grey cloud-cover. "Ethical Terror" is cut from similar dark sonic cloth, murky drones pulsing in a sea of faint hiss, the sound extremely minimal, hovering in space, making for some of the most subdued material that Hannum has produced of late. There's that trace of the aforementioned old school death industrial vibe lurking within these simple, hypnotic electronics, especially when the deeper rhythmic throb of "The Impure" kicks in, a buried electronic rhythm beating like a withered black heart deep in the mix, the sound growing slightly more obscured by some faint streaks of atonal synth, swells of feedback and new layers of grimy thrum that begin to bloom further into the track.
†† The second side offers up some harsher textures via the high feedback hum that pierces through "Ritual Vision", a high pitched sinewave hovering over smears of vague distant sound, eerie distant whistling and slow building swells of dissonant synth, turning this into the creepiest sounding piece on the tape. And closer "Recapitulation" is the longest, finishing this tape with one last billowing fog of minimal hum and curling plumes of vaporous tape hiss.
†† The twelve page oversized newsprint booklet features an assortment of new digital drawings and gouache paintings featuring the sort of abstract visuals, sacred geometries, disembodied shrouds and visions of amplifier worship that have continued to surface throughout his work. Comes on a pro manufactured tape in a plastic bag, and limited to an edition of one hundred copies.


HEX SCREW   self-titled   3" CDR   (MT6)    5.98



Here's a nasty 11:33 of freeform deconstruction that alternates between brutal, hysterical feedback riots, armies of skipping CDs sending mangled missives into the heavens, post-nuke flamenco guitar, and ear-flattening gobs of charred grindnoise. One of the most vicious things I've heard from MT6 Records, and one of my favorite as well, an utterly weird and abstract take on progpunkpop/harsh noise/noisecore blitz made by 17 year old Sam Garrett of Baltimore, Maryland. This earfuck suggests Scutopus meeting Flying Luttenbachers and Anal Cunt in a hailstorm of burnt circuitry at some cannibal dance club. Not for timid listeners. This little 3" gem comes hand-colored and stuck inside of a xerox sleeve.


HIDDEN HAND, THE   The Resurrection Of Whiskey Foote   CD   (Southern Lord)    14.98



The latest album from doom-rock heavyweights The Hidden Hand, the current power trio headed by doom legend Scott "Wino" Weinrich (The Obsessed, Saint Vitus, Probot, Place Of Skulls). With each new release, The Hidden Hand has become more and more nuanced and progressive, and with the band's third album The Resurrection Of Whiskey Foote, they've produced a heavy, heady quais-concept album with the same lineup that appeared on the out-of-print Devoid Of Color EP from last year, and which continues in the Hand's style of marrying colossal doom rock riffage to weighty subject matter. The album's loose narrative revolves around a mythical individual from Revolutionary War-era colonial America that becomes a sort of messianic figure, and is set against the band's backdrop of righteous jams like the ripping hard rock of "Lightning Hill" and it's awesome high energy harmonica lead, and the pounding Grand Funk/Sabbath massiveness of"Majestic Presence" which shoots one of Resurrection's most searing solos right thru yer skull before bathing you in beautiful synth bliss and an awesome comsic psych coda. And check out bassist Bruce Falkinburgh channeling some killer Blackie Lawless style snarl on the raging "Black Dog"! Obsessed-style power dirges, Southern rock, hard-chargin' 80's metal vibes, and proggy doom riffs all come together into the band's most progressive, grandiose album to date, dark and heavy, massive and thought-provoking. Awesome! Packaged in a mini-gatefold thick-cardboard jacket.
Track Samples:
Sample : HIDDEN HAND, THE-The Resurrection Of Whiskey Foote
Sample : HIDDEN HAND, THE-The Resurrection Of Whiskey Foote



HIDDEN HAND, THE   Mother Teacher Destroyer   CD   (Southern Lord)    14.98

Mother Teacher Destroyer IS CURRENTLY UNAVAILABLE FOR ORDER

The second album from the progressive, socially conscious doom powerhouse The Hidden Hand, 2004's Mother Teacher Destroyer had been in stock here at Crucial Blast when it first came out, but for some reason when we sold out, it was completely deleted from our catalog. The only possible explanation for such an infraction would have been a momentary freon binge on the part of yours truly, as Mother Teacher Destroyer is such an ass-kicking, momentous missive from the mouths of rock monarch Scott """"Wino"""" Weinrich (Obsessed, Saint Vitus, Spirit Caravan, Place Of Skulls, Probot, etc.,), bassist Bruce Falkinburg and drummer Dave Hennessy that it needs to be heard by all devotees of riff-crunching protest music. The 11 jams that make up this album flow together to reveal a radical spiritual rock statement against the dark insanity of the present moment, the songs straddling the stripped down fury of prime era hardcore and punk as conveyed through a mesmerizing fusion of crushing, lumbering MD/DC doom and 70's prog/psych rock. This entire album is crucial, but some of the most amazing moments are heard in the Pink Floyd-meets-The Obsessed psych sludge of 'The Crossing' and the dreamy, nebulous 'Black Ribbon', the way that Wino channels Ozzy over the acoustic/doom guitar layers of 'Half Mast', 'Draco Vibrations' elliptical instrumental kraut workout, 'Currents' epic vocoder space thud, and the killer instrumental sci-fi doomfest 'The Deprogramming of Tom Delay'. Yeah, as far as I'm concerned anything that Wino touches is gold, but regardless of wether or not you're a fan of his past work, The Hidden Hand is delivering some of the most righteous heavy psych/metal/doom/whatever around right now.


HIDDEN HAND, THE   Divine Propaganda   CD   (Meteor City)    9.98

Divine Propaganda IS CURRENTLY UNAVAILABLE FOR ORDER

Well, by now everyone has probably heard about the breakup of the Hidden Hand. The band split up earlier this month for personal reasons, and let me tell ya, that was a depressing day for me. I've been into the Hidden Hand since day one, and I thought that it was the best band that Wino had been involved with since The Obsessed. The breakup of The Hidden Hand has left a void that's going to be tough to fill in the heavy rock/doom underground.
At least we've been left with an amazing set of releases from the band before they split, you know? Divine Propaganda was their debut in 2003, and anyone into heavy, progressive rock, doom, psychedelia, prog, whatever - this is one of the best debuts of the decade. The Hidden Hand formed immediately after the dissolution of Maryland doom rockers Spirit Caravan in 2002, and the original lineup consisted of bassist/singer Bruve Falkinburg and drummer Dave Hennessy alongside the indomitable godfather of Doom, Scott "Wino" Weinrich. If yer a longtime doom fan, you already know the guy well from his legendary bands The Obsessed and Saint Vitus, and when Divine Proaganda came out, it was an immense statement from the dude. Both Bruce and Wino shared vocals, giving the songs added variety, and the music is a potent mix of traditional doom metal with prog rock, psychedelia and hardcore punk (check out "Screw The Naysayers" if yer in need of a fucking endorphine rush), as well as a heavy political/social message that you don't usually find with this sort of music. Wino's guitar playing is dripping with soul all over these songs, tunes like "The Last Tree" and "Sunblood" are overflowing with emotional riffage, and the rhythm section grooves like clockwork. Check out the proggy, effects-heavy shredding in the band's theme song, and the ambient psychedelic dirge of "Prayer For The Night". So awesome. A totally different beast than his previous bands, The Hidden Hand's Divine Propaganda was a blast of progressive fresh air in the doom scene when it came out and it still stands as one of the most powerful albums of the decade. Like I said, this is an essential album for any serious doom fan's collection. Great silver-embossed packaging, comes in a jewel case with a 12-page booklet loaded with lyrics, photos, and artwork. Crucial.


HIDDEN HAND, THE   Mother Teacher Destroyer   2 x LP   (Southern Lord)    28.98

Mother Teacher Destroyer IS CURRENTLY UNAVAILABLE FOR ORDER

Just got two copies of this long out of print 2xLP edition of The Hidden Hand's Mother Teacher Destroyer in stock...once these are gone, that's the last of them.
The second album from the progressive, socially conscious doom powerhouse The Hidden Hand, 2004's Mother Teacher Destroyer had been in stock here at Crucial Blast when it first came out, but for some reason when we sold out, it was completely deleted from our catalog. The only possible explanation for such an infraction would have been a momentary freon binge on the part of yours truly, as Mother Teacher Destroyer is such an ass-kicking, momentous missive from the mouths of rock monarch Scott "Wino" Weinrich (Obsessed, Saint Vitus, Spirit Caravan, Place Of Skulls, Probot, etc.,), bassist Bruce Falkinburg and drummer Dave Hennessy that it needs to be heard by all devotees of riff-crunching protest music. The 11 jams that make up this album flow together to reveal a radical spiritual rock statement against the dark insanity of the present moment, the songs straddling the stripped down fury of prime era hardcore and punk as conveyed through a mesmerizing fusion of crushing, lumbering MD/DC doom and 70's prog/psych rock. This entire album is crucial, but some of the most amazing moments are heard in the Pink Floyd-meets-The Obsessed psych sludge of 'The Crossing' and the dreamy, nebulous 'Black Ribbon', the way that Wino channels Ozzy over the acoustic/doom guitar layers of 'Half Mast', 'Draco Vibrations' elliptical instrumental kraut workout, 'Currents' epic vocoder space thud, and the killer instrumental sci-fi doomfest 'The Deprogramming of Tom Delay'. Yeah, as far as I'm concerned anything that Wino touches is gold, but regardless of wether or not you're a fan of his past work, The Hidden Hand is delivering some of the most righteous heavy psych/metal/doom around.


HIDDEN HAND, THE   The Resurrection Of Whiskey Foote   2 x CD   (Southern Lord)    14.98

The Resurrection Of Whiskey Foote IS CURRENTLY UNAVAILABLE FOR ORDER

The latest album from doom-rock heavyweights The Hidden Hand, the current power trio headed by doom legend Scott "Wino" Weinrich (The Obsessed, Saint Vitus, Probot, Place Of Skulls). With each new release, The Hidden Hand has become more and more nuanced and progressive, and with the band's third album The Resurrection Of Whiskey Foote, they've produced a heavy, heady quais-concept album with the same lineup that appeared on the out-of-print Devoid Of Color EP from last year, and which continues in the Hand's style of marrying colossal doom rock riffage to weighty subject matter. The album's loose narrative revolves around a mythical individual from Revolutionary War-era colonial America that becomes a sort of messianic figure, and is set against the band's backdrop of righteous jams like the ripping hard rock of "Lightning Hill" and it's awesome high energy harmonica lead, and the pounding Grand Funk/Sabbath massiveness of"Majestic Presence" which shoots one of Resurrection's most searing solos right thru yer skull before bathing you in beautiful synth bliss and an awesome comsic psych coda. And check out bassist Bruce Falkinburgh channeling some killer Blackie Lawless style snarl on the raging "Black Dog"! Obsessed-style power dirges, Southern rock, hard-chargin' 80's metal vibes, and proggy doom riffs all come together into the band's most progressive, grandiose album to date, dark and heavy, massive and thought-provoking. Awesome! This version of the album is the limited edition edition that also includes the out-of-print Devoid Of color EP, and comes packaged in a hand-numbered 5" mini-gatefold/double pocket, thick-cardboard jacket.
Track Samples:
Sample : HIDDEN HAND, THE-The Resurrection Of Whiskey Foote
Sample : HIDDEN HAND, THE-The Resurrection Of Whiskey Foote



HULL, SCOTT   Audiofilm II   3" CD   (Crucial Blast)    4.50



The second installment in our series of limited-run 3" CDs from Scott Hull. Best known for his amazing thrash/grind riffage in the bands Pig Destroyer and Agoraphobic Nosebleed, Scott has been gradually revealing another side of his musical persona over the past few years, an obsession with cinematic soundscaping and dark evocative film scores, mutant electronic textures and pitch-black isolationism that employs brilliant production trickery to immerse the listener in a vibrant, active aural environment. The first disc that we released , Audiofilm I, was a terrifying, lightless driftscape, filled with creepy vocal loops, massive low end ambience, and an all-around horrific vibe that had us comparing it to works from Lustmord, Lull, and the Ambient disc from Painkiller's Execution Ground. But on this follow-up, Scott creates a much more frantic and energetic soundscape, this one alive with minimal bass-shuddering pulses and keening tone manipulations, layered swarms of insectile electronic chitter, swells of shadowy ambience, brain-melting plasma blasts, and vast tectonic drones. A brief (at 12 minutes) but amazing dose of abstract dark ambient/noise that will appeal to fans of Bastard Noise, Astro, and freaked-out 70's sci-fi synth soundtracks.
As with the first disc, this 3" CD is packaged in a full color miniature folder with awesome artwork/photography from Seldon Hunt, and pressed in a one-time run of 1,000 copies.


HUMAN HOST   Exploding Demon   CD   (MT6)    8.98



Baltimore's total-damage theatrical casio punk collective Human Host follow up 2004's Invisible Arteries with this new full length of mutant psych-punk and cosmic casio jams lit up with blasted drone improv. Originally formed from the ashes of popular basement punx Charm City Suicides, the Human Host's now sheer numbers (the Host lists no less than twelve people in their lineup!) allows for an eclectic quest through loose but strangely (and I mean strangely) catchy tunes with lyrics that seem lifted from some obscure 70's prog gatefold sleeve shot through with their peculiar spritiual inflection. Human Host's lysergic avant pop muck busts noisy casio chaos and tweaked keyboard lines with primitive beats,spacey electronics, a "testifying" vocalist, chewy heavy lo-fi acid dirges, even a quick fragment of blastbeat-overload grindcore....the really abstract sounds get into full on freeform drone territory, pretty pastoral drift strewn with chimes and minimal percussion and gauzy,floating keys. It's sort of a psychic amalgam of No Neck Blues Band, a thoroughly avant-garde Ween, quick blips of brutal power violence, art-damaged DIY hardcore aesthetics, Animal Collective...or a punk rock re-imagining of Amon Duul infected with the Load Records brand of dayglo brain damage, with weird production techniques. Either way you slice it, it's pretty rad. Jewel case packaging with stoned space invaders artwork.


HUMAN HOST   Invisible Arteries   CD   (MT6)    6.98

Invisible Arteries IS CURRENTLY UNAVAILABLE FOR ORDER

This Baltimore band (which arose from the remnants of "basement violence pioneers" Charm City Suicides) deliver their debut full length, Invisible Arteries, a bizarre mix of zonked deconstructed Hip Hop tantrums, thoroughly destroyed motorik garage rock, gnarly,fried punk-psychedelia, tribal-esque percussion and epic group chants, woozy electronic pop, and pretty acoustic folktronica, using all sorts of low-fi musical equipment, Casio keyboards, toys, etc, and with a lead singer who sounds like a deranged, fire-and-brimstone gospel preacher proclaiming surreal visions of ghost ships, ogres, dolphins, and more. Very weird and very cool. CD comes in a plastic sleeve with Xeroxed cover and inserts.


HUNTRESS   Snow Moon   3" CDR   (Hand/Eye)    7.98



A limited edition 3" CD-R that was released as the February installment in the Folklore Of The Moon subscription series on Hand/Eye Records (which also featured installments from THE GOSLINGS, Kawabata Makoto (of ACID MOTHERS TEMPLE), STONE BREATH, 5IVE CONTINUUM RESEARCH PROJECT, Martyn Bates, WOODEN WAND & THE VANISHING VOICE, THE DOES, and loads more. Some of the other installments are sold out, but a bunch are still available, albeit in limited quantities. Go to http://somedarkholler.com/moon.html to check this series out. Pretty awesome. Anyways, the HUNTRESS disc was released as the "Full Snow Moon" in the series, for the month of February. The 3 tracks presented here are heavy, druggy drone-buzz formed from burnt casio circuitry, melted cassettes, and overloaded speakers and massive feedback/distortion/amplifier drones, this is sort of akin to mix of SKULLFLOWER, FINAL's more recent material, the gauzy drones of Tim Hecker, EARTH's heavy amp drone, and THE GOSLINGS basement hymns, all swirled together into epic, sunkissed, buzzing masses of heavenly drone crush. The disc comes in an austere white digipack with a little "moon face" photo affixed to the front, and with a small xeroxed insert enclosed. Again, this is a limited series, so we have only a few copies of this!


JAPANESE TORTURE COMEDY HOUR   Recycled Music Series   CASSETTE   (RRRecords)    4.50



Japanese Torture Comedy Hour was the harsh noise/improv/grind outfit formed by Scott Hull (of Anal Cunt/Agoraphobic Nosebleed/Pig Destroyer) and former AC guy Tim Morse in the mid 1990's. The band only released a handful of tapes and CDs, one of which is this juicy installment on RRR. The Japanese Torture Comedy Hour entry in RRRecords' notorious Recycled Music Series cassette series is a lengthy free-grind jam that has the members constructing layers of nonsensical backwards-scuttling jazz improv and tape mutation that is pierced with grotesque blasts of grindnoise blurr and harsh electronic carnage, the end result being somewhat comparable to a stumbling Borbetomagus/Anal Cunt/Merzbow orgy. This being a part of RRR's infamous Recycled Music series, JTCH's jam is dubbed over assorted commercial pre-recorded music cassettes that had been traded into the RRRecords shop in Lowell, MA. Each is one of a kind, as the nature of dubbed cassettes allow for glimmers of the original audio content to often bleed into the crushing noise assault that has been dubbed onto the tape. Comes in a handassembled case/sleeve with duct tape scrawled in black marker across the front.


JAPANESE TORTURE COMEDY HOUR   50,000 Fans   CD   (RRRecords)    9.98



Man, this def ranks as one of the nastiest harsh noise albums of the 90's. 50,000 Fans was the sole full length from grindcore legend Scott Hull, who is also known for his work in neo-blast outfits Pig Destroyer, Agoraphobic Nosebleed, and Anal Cunt. Released in 1997, this album merges Hull's post-Anal Cunt noisecore aggression with classic power electronic venom and crushing Japanese noise inflected circuit apocalypse. Not one moment of respite on this mother, this is explosive feedback n' jet engine vox and mind grinding low-end blower feast that torpedos your skull into an endless ocean of rippling distortion. Fucking DENSE, like having a malfunctioning clock radio rammed into your ear canal with a Boeing 747. Word has it that Relapse is unleashing more JTCH in 2006? Holy shit? Packaged in classic minimalist RRR/Pure junked-silkscreened wallet sleeve.


LYCANTHROPIC WARHEAD   Infinite Castigation   2 x CDR   (Crucial Blaze)    9.98

Infinite Castigation IS CURRENTLY UNAVAILABLE FOR ORDER

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



MOONSHINE   self-titled   CD   (Torture Garden Pictures)    11.98



This self-titled debut from Baltimore's MOONSHINE opens with a gnarly swampy sludge chug w/ harmonized guitar attack that would make CROWBAR proud, setting the stage for their extremely heavy,moody, and often haunting sludge/doom/crust assault. Rising from the ashes of local bands WAKE UP ON FIRE and INURE, this is closer in spirit to the tribalist, apocalyptic crustcore-meets-post rock of WAKE UP ON FIRE, but MOONSHINE gets WAY slower and heavier, mixing crushingly heavy sludgecore n' crawling Doom metal with frontwoman Mis' sickening vocals (sort of like a cross between Edgy from BURNING WITCH and Amy from NAUSEA ) as well as some neat and unexpected shifts in musical direction. Like when the band's superdirge bottoms out, revealing a weird, smoky blues break with Mis' eerie crooning. Or the AWESOME reverb-drenched moments where MOONSHINE starts sounding like a ragged, ghostly COWBOY JUNKIES, right before unleashing monster doomcrust riffs again in a thunderstorm of amp damage and gooey blastbeats. Loaded with epic, grandiose guitarwork, this is a cool mix of Southern Lord-style extreme Doom, the sort of psychedelic neo-crustcore that has been coming out of Baltimore for the past few years (a gooey, atonal buzz heavily influenced by those Cali hemp wizards DYSTOPIA), and grimy, grungy, Southern-rock tinged sludge like EYEHATEGOD, RWAKE and BUZZOV*EN.


NEW FLESH   Punch Drunk In This Shit World   7" VINYL   (Realicide Youth)    5.98



One of Baltimore's most savage noise crews, The New Flesh have become a powerful exponent of modern day, post-Am Rep heavy skuzz through their assorted cd-r and cd releases, all of which kick serious ass, and the electric filth of their live set. We caught these guys recently at a house show in DC, and it was a glorious frenzy of convulsive sludge rock riffs and unrestrained feedback, band members crawling around each other on the floor, the drummer locking in with a fierce percussive assault that anchored the shitfit of sludgy riffs and endlessly droning chords and barely intelligible, narcoleptic singing. There aren't that many bands around nowadays that channel the type of blown out, brutal amplifier-destroying rock that was pioneered by bands like Cherubs, Unsane, Flipper, and early Nirvana, but New Flesh do and god bless 'em for it, burying killer, catchy hooks in a blast of contempo pigfuck that's shot up with the adrenaline of 80's hardcore.
This newish EP features The New Flesh teaming up with Midwestern vocal/noise fiend Robert Inhuman, who fronts these jams with his unique throat destroying vocals while they tackle a crushing cover of "Punched In The Head" by Drunks With Guns and a new free-noise-rock meltdown that's part Melvins crush, part Dead C hazed chaos on the A-side. The B-side contains "Abyss", which throws a total curveball with a lengthy ambient dose of ultra minimal distortion that could almost pass for a Francisco Lopez piece. Limited edition of 300. Crucial.


NEW FLESH   self-titled   CASSETTE   (Fan Death)    4.98



One of my favorite Baltimore area bands to see live, The New Flesh have been kicking out the ultra-distorted noise/punk jams for more than seven years, kinda acting as B-more's answer to Rusted Shut as they ply a similar form of extreme blown-out three-chord thuggery at absolutely skull-melting levels of overdrive and in-the-red amp abuse. Live, The New Flesh are chaos incarnate, their bass/drums/guitar lineup grinding out noise rock jams played at stupidly loud levels and creating an effect similar to that of having two slabs of concrete being rubbed on each side of your skull, but even on tape, these guys fucking kill. Fan Death recently reissued the band's self-titled demo from 2003, with six songs / twenty minutes of serious heaviness that's somewhere in between the blown out crush-rock of Geisha/Part Chimp and the balls-out free-rock skuzz of Harry Pussy. Simple three chord hardcore punk riffs are run through a concrete mixer and poured out with grinding ear-shredding levels of distortion, the sound jacked all the way into the red, incredibly harsh and aggro, fucking feedback splattered EVERYWHERE, shrieking vocals over bludgeoning brain-damaged riffs and out-of-tune guitar noise and grungy distorted basslines. The recording on this demo is pretty low-fi, but what the hell; this thing should have clarity? The tape features the songs "Knock Down Drag Out", "Price To Pay", "Future", "Plan B", and the brutal, near-grindcore blast feast of "Letter", negative blasts if vicious noise-punk brutality with insane noise guitar "solos" and a noticeable No Wave influence, although it's buried under a monstrous stumbling heaviness. Limited to 200 pro-pressed cassettes.


NEW FLESH   Filth & Degradation Vol. I   CDR   (Imvated)    5.98



These Baltimore noise punks seem to be all over the place lately, touring, hitting up SXSW, their name dripping off the tongues of hipster noiseniks. And with good reason. NEW FLESH bash out meaty hardcore garage jams with all the rough edges sticking out, a No Wave blast drowning in distortion and feedback and attitude. Think MELVINS, WOLF EYES,early Siltbreeze Records sounds, and MAGIK MARKERS rolled up into one speaker-melting, sludgy noise jam, with in-the-red guitar feedback, choking vocals, and wildman drum pummel. Their first full length from last year was a ripper, and this private press CD-R on MT6/Imvated follows as a documentation of THE NEW FLESH's plodding basement offensives. There are 15 tracks here, all noisy as fuck live jams from various basment/loft/radio station locales, featuring the band at their most drooling and rocking, a shambling noise rock beast cloaked in tape-hiss and human skins,lumbering off sideways and recorded on boombox mics. Packaged in a scraggly xeroxed sleeve with inserted "psychedelic owl" art for added WTF factor.


OBSESSED, THE   Live Music Hall Koln December 29th 1992   LP   (Roadburn)    19.99



Koln is the first new record from The Obsessed in years, a vinyl-only live document of a 1992 show captured in Germany while the legendary Maryland doom metal band was on tour in Europe following the release of Lunar Womb; we're talking about The Church Within lineup of The Obsessed featuring Wino (St. Vitus / Hidden Hand / Spirit Caravan / Shrinebuilder), Greg Rogers (Goatsnake) and Guy Pinhas (Goatsnake / Porn / Acid King / Fireball Ministry), which many consider to be the band at their all-time best; this Lp certainly captures the band playing at the peak of their powers. With a ten-song set list that spans all three of their albums from the early 90s, the band's performance is flawless, and sounds like the seasoned underground metal vets that they were, confidently bringing their unique amalgamation of muscular hard rock, anthemic songwriting, crushing Sabbathian doom, and hardcore punk aggression across this powerful live set. The album features stomping live versions of "Mourning", "Hiding Mask", and "The Way She Fly", an arena-ready performance of their almost pop-like hookfeast "Forever Midnight", and a killer version of their fist-pounding Motorhead-esque ripper "Streamlined". The b-side has even heavier Obsessed songs like "Brother Blue Steel" and "Blind Lightning", along with the surreal, funkified doom of "Neatz Brigade" and the slow-burning groove of "River Of Soul" being situated next to their more Sabbathian blasts of dour heaviness. Wino's voice sounds fucking amazing on this album, and the whole recording is excellent, loud and punchy and clear with every instrument sitting perfectly in the live mix; this is definitely one of the best live albums I've ever heard for a classic doom band of this stature. Presented in a jacket and inner sleeve designed by Mories from Gnaw Their Tongues, the Live Lp is something you'll definitely want to pick up if you're a hardcore Obsessed fan like me, a high quality document of the most influential band to come out of the Maryland doom underground.
Limited to one thousand copies.


OBSESSED, THE   Iron & Stone   7" VINYL   (T.K.O.)    9.99



A classic piece of American doom metal, this three-song 7" was the first official release from Maryland's The Obsessed, originally released in 1983 as the Sodden Jackal 7" on Invictus Records and was later re-issued in the mid 90s, so it's been ages since this has been available on vinyl. All of the songs would later end up on the collection of odds and ends Invictus that The Obsessed released on Southern Lord, but this stuff really does sound best here in it's original form. As almost anyone into doom metal knows, The Obsessed were the first serious band from Maryland guitarist Wino, who would later go on to sing for doom legends Saint Vitus and form the bands The Hidden Hand, Spirit Caravan, Shrinebuilder and Premonition 13, and even this early in his career the man was writing some of the best underground metal ever. The opener "Iron & Stone" is a stomping doom-punk jam that takes a Sabbathy riff and welds it to a propulsive driving backbeat and Wino's dire visions, and it's followed by "Indestroy", a minute and a half blast of ferocious hardcore that'll come as a shock to anyone who thinks that this band was all about playing it slow and low, as sounds more like something from the old DC hardcore scene (which The Obsessed were intrinsically linked to). The title track sits on the b-side, and is one of The Obsessed's classic songs; its sinister doom metal riffing intertwines with the apocalyptic, Revelations-inspired imagery of Wino's lyrics and becomes tangled in clots of weird angular guitar that almost sound like a Black Flag interlude, but this song is mostly slow and crushing. It's great to hear this stuff on 7" again, and this new re-mastered reissue also includes new liner notes written by Wino that are worth the purchase alone.


OBSESSED, THE   Lunar Womb   CD   (Meteor City)    9.98

Lunar Womb IS CURRENTLY UNAVAILABLE FOR ORDER

All of The Obsessed's albums are massive, obviously; The Maryland doom rock group cemented itself early on as one of the finest Sabbath-influenced outfits on the planet, thanks to the indomitable will, concrete-coated guitar playing and pure soul of frontman Wino. But their Lunar Womb is arguably the band's best. Definitely a milestone in the band's career no matter how you cut it. The Obsessed were originally formed in the late 70's and oddly enough found themselves at home in the nascent DC hardcore scene of the late 70's/early 80's, but the band went kaput by the middle of the decade and frontman Scott "Wino" Weinrich went on to front doomlords Saint Vitus during their legendary run in the late 80's. After his stint in Vitus, though, Wino resurrected The Obsessed and produced an eponymous album in 1990 and this, their sophomore release, which originally came out in 1991 through the shortlived but highly influential German record label Hellhound Records. In the years since, Lunar Womb has gone on to become something of a doom metal classic, housing the band's most focused album beneath the nightmarish cover art depicting Saturn Devouring His Children by the Spanish artist Francisco de Goya. The lineup for this album smokes, for sure...Wino was accompanied by bassist Scott Reeder (who would go on to play in Kyuss a couple of years later) and drummer Greg Rogers (later of Goatsnake), and the trio deliver a lean, powerful set of 12 songs, every one of 'em is memorable, and in my opinion this material stands as some of the best in Wino's catalog of music, which, as any real doom fan knows, reached across his involvement with Saint Vitus in the 1980's and Spirit Caravan and The Hidden Hand over the past decade. The riffs on Lunar Womb are weighty and hook-laden, firmly planted in the soil of post-Sabbath blues crunch but coiling out around more up-tempo shades of metal, circa the late 80's, as well as brandishing some psychedelic flourishes and even a dose of ripping hardcore punk with the minute-twenty blastitude of "No Blame". But it's songs like the album opener "Brother Blue Steel" and "Bardo" which make this album a slab of solid doom metal gold, with massive riffage, and inventive and oftentimes mindbending soloing from Wino. Out of print for years after the demise of Hellhound, Lunar Womb has been reissued by Meteor City with a brand-new design, lots of great photos of the band from the era, hefty liner notes from Joe Carducci, author of Rock And The Pop Narcotic and Naomi, SST, and All That....
Track Samples:
Sample : OBSESSED, THE-Lunar Womb
Sample : OBSESSED, THE-Lunar Womb



PAGENINETYNINE   Document 8   CD   (Robotic Empire)    9.98

Document 8 IS CURRENTLY UNAVAILABLE FOR ORDER

It would be easy to despise Pg.99 (as they are usually referred to) for instigating the flood of truly shitty bands that swept forth in the earlier part of the decade under the flag of "screamo", as these guys were hugely influential on all of the nascent punk rockers that witnessed their chaotic live performances from the late 1990's up until their breakup in 2003. Pg.99 were a powerful band though, one of the most popular bands to come out of the Virginia/DC/Maryland hardcore underground, and their chaotic, mutant hardcore is still impossible to classify as merely "screamo", or whatever; the members of Pg.99 absorbed a ton of different sounds and filtered it back out through a massive lineup that included two bassists, three guitar players, two singers and a drummer, a miniature hardcore orchestra that created immense blasts of layered aggression and discordance. The roots of their sound could be traced back to the frenetic, spastic punk of the legendary San Diego/Gravity Records scene, bands like Angel Hair and Heroin, hardcore punk turned crazed and chaotic and flailing around in violent fits and starts, but with bits of sludgy metal crunch and ferocious blasting grindcore, brief sections of melodic jangle, creepy angular punk, lengthy instrumental sections that seethe with frustration, contorted mathy riffing, weird production moves that bathe the music in white noise, and scathing lyrics that cast an unforgiving glare over consumerism and big business in punk all mixed together into complex, textured songs that sounded unlike anything else at the time. Their third album Document #8 was as dark a ride as anything that Pg.99 had commited to tape up that point - nine songs of abrasive, discordant punk, raw but intelligent, progressive even, and chock full of explosive and passionate youthful fury that I rarely ever hear in punk bands anymore. It ends with a cover of the classic crust anthem "The List" by Filth that Pg.99 make their own, and it fits in seamlessly with the tone of the album.
Robotic Empire reissued Document #8 a few years ago with a new mastering job and slightly changed packaging, but this is the first time that we've gotten the disc in stock - it's a essential piece of Pg.99's discography, and the packaging is terrific, with an all-black digipack with embossed artwork and a sixteen-page booklet that features lyrics, photos, liner notes and lots of Chris Taylor' immediately recognizeable, morbid artwork of Victorian-looking characters reduced to ghoulish decayed faces and rictus grins.
Track Samples:
Sample : PAGENINETYNINE-Document 8
Sample : PAGENINETYNINE-Document 8



PERFEKT TEETH   Beastcraft I   3" CDR   (Public Guilt)    4.98



One of the latest in Public Guilt's 3" CD-R series, Perfekt Teeth are a new band from right here in C-Blast's backyard, which is weird enough on it's own. We haven't carried anything from a band from the Hagerstown area in at least a couple of years - despite the presence of the mighty Blast in this small burg, we haven't been able to fertilize the local music scene as broadly as we might have hoped. Ah well. At least some of our buddies are stepping up with a weird little project called Perfekt Teeth, whose entry in Public Guilt's 3" disc collection is a single 20-some minute long jam called "Beastcraft I". The disc opens up in a flurry of single-note picking that is joined by growing layers of droning blackened guitars, simple and minimalistic, like someone playing a Darkthrone riff over and over and over while numerous amplifiers growl and hum in the background, gradually joined by pounding, plodding tribal drumming and whooshing synthesizer noise, noisy and droning and hypnotic, a stumbling static blackened hypno-jam stretching out for nearly ten minutes. But then out of nowhere, everything is suddenly ripped apart by the appearance of a shredding thrash riff and a jackhammer blastbeat locked into an endless lock groove, looping over and over while some acid fueled maniac sprays shredding psychedelic solos over top. This looping bit of blast-thrash eventually fades out, and is replaced by another riff, this one pure chugging midtempo thrash, an 80's thrash metal circle pit breakdown played endlessly over a tick-tock motorik beat, stumbling and halting as it falls in and out of this weird krautrocky groove and is joined by trippy wordless howls and blackened raspy vocals, clanging metal percussion, tambourines, weird electronic noises, handclaps, droning guitar noise and other weirdness, plowing ahead in a drunken haze of drug-damaged, inebriated trance-riffery until it finally dissolves into a cacophony of feedback, air raid sirens and percussion. Public Guilt calls this "minimalist outsider metal", and I'm not arguing - this is what you get from a handful of metal geeks who just stayed up for 48 hours straight smoking weed and spinning old crossover albums from Cro-Mags, Leeway and Carnivore nonstop alongside Can's Future Days and Hawkwind's Space Ritual.
Packaged in a silkscreened miniature sleeve and limited to 100 copies.
Track Samples:
Sample : PERFEKT TEETH-Beastcraft I
Sample : PERFEKT TEETH-Beastcraft I



PHAENON   Submerged   CD   (Malignant)    12.98



This is the first new disc from Malignant that I've heard in a while, but hopefully this will be the start of finally catching up on the label's prodigious catalog of ultraheavy ambient crush. Packaged in a sleek 6-panel digipack illustrated with images of what look like deep space storm activity, Phaenon debuts here with a single hour-plus track of massive ambient darkness that fans of Lull, Maeror Tri, Lustmord, Yen Pox, Caul, and Inade will fall in love with immediately. Phaenon is the solo project of Szymon Tankiewicz, who lives right here in Maryland - making this the first heavy drone/ambient album I've heard from someone here in my home state? Surprisingly, I think that's the case. This is a killer debut, a massive floating field of doomy synthesizer drones drifting through deep space and clusters of notes emerging from the void. The track is constantly shifting over it's 66 minutes, moving from crushingly heavy slabs of cosmic bass to subdued, serene drones flitting through interstellar space and endless sheets of icy metallic hum. Deep, ominous space drone with intense stereo panning that becomes incredibly memserizing - you really need to sit down and soak this album up, preferably with some decent headphones, to fully plunge into the heavy celestial drift. Recommended.


PHAENON   His Master's Voice   CD   (Malignant)    9.98



Phaenon's first album Submerged was a solid debut from the Maryland-based dark ambient artist, combining the obvious Lustmordian influences with the vast minimal roar of interstellar static, hinting at a kind of cosmic black ambience largely devoid of dramatic synth moves. But on his follow-up album His Master's Voice, Szymon Tankiewicz's Phaenon evolves into even more desolate soundscapery, blending some very subtle cinematic electronics with expansive fields of emptiness and stray radio signals drifting infinitely through the great black void. The album combines the direct influence of Stanislaw Lem's philosophical science fiction novel His Master's Voice (direct quotes from the book appear throughout the packaging) and its story of human scientists attempting to decipher transmissions from an alien intelligence from across the vastness of space (and the myriad of ethical debates that follow) are tied in to the amazing and haunting artwork from Eric Lacombe and the massive black-hole soundscapes that drift out of Phaenon's abyss. These elements come together perfectly for what is one of the eeriest albums of abyssal electronics that I've heard since the last Inade full-length. I'm pretty sure that fans of that German black ambient artist are going to resonate with Phaeonon's music on a similar level, as these slowly swirling soundscapes have a similar sonic DNA: slow, wafting clouds of metallic whirr and shapeless clusters of synth-drone, distant surges of ominous low-end reverberations, stretches of doom-laden black drift, streaks of kosmische synth that burns white-hot scars across an ancient starless void, ghostly electronic howls that materialize way out on the periphery of perception, synthetic horn-like blasts drifting through space, metallic drones glinting in the blackness, all part of these densely layered soundscapes that billow out in an orchestral mass of blackened sound. It is often harrowing listening, the sounds coming together into moments of perfect aural dread that eventually climaxes with a stunning final act of deep-space synthdrift and isolationist thrum.
Comes in a striking digipack presentation.


REVELATION   Yet So Far   CD   (Shadow Kingdom)    13.98



A reissue of the third full-length album from local 90's doom legends Revelation, originally released on Hellhound Records in 1995. For years, Revelation were one of Maryland doom's more overlooked bands, but their catalog has been rightfully receiving new exposure thanks to recent reissue efforts from labels like Shadow Kingdom, as well as renewed activity from the original lineup of the band, who has been playing live in the Baltimore area as of late. ...Yet So Far was the last album that the band released in the 90's before going into an extended hiatus and bassist Jim Hunter moving on to play in bands like While Heaven Wept and Twisted Tower Dire, and it featured a more soulful and progressive version of the Maryland doom sound that Hellhound had been championing. The combination of Dennis Cornelius's eerily Geddy Lee-esque vocals and Revelation's crunchy fusion of Sabbathian doom metal and a heavy Rush influence made for one of Maryland's most unique doom bands, and this album is loaded with their mournful proggy doom, with nine songs of crushing riffs, atmospheric guitar textures, faster passages of NWOBHM-influenced metal, the songs shifting from trudging doominess to faster grooving tempos on a regular basis, each song weaving through a variety pf parts. Some of this has a vaguely Alice In Chains-ish feel, while songs like "Morning Sun" and "Fallen" are pure Sabbath style doom. The closing title track is where the prog influences really come to the foreground; it's an off-kilter funhouse doom crawl that turns into a somber acoustic midsection, then shifts back into slow, epic doom metal, sort of like Kansas gone doom, but then tearing into somewhat technical mid-paced thrash at the end. Obviously, this reissue is a must get for Revelation and Maryland doom fans, the album fully remastered and presented with new liner notes, old band photos and complete lyrics, and it's recommended to anyone else who's into classic traditional doom, bands like Pentagram, Saint Vitus, Candlemass, Trouble, and Solitide Aeturnus, and for that matter, any of the stuff that Shadow kingdom puts out....
Track Samples:
Sample : REVELATION-Yet So Far
Sample : REVELATION-Yet So Far



REVELATION   For The Sake Of No One   CD   (Shadow Kingdom)    13.98



Not content to simply reissue the extensive back catalog of old school Maryland doom metallers Revelation, heavy metal archivists Shadow Kingdom have also stepped up to released the new album from the recently reconvened combo, releasing their For The Sake Of No One late in 2009. Anyone that followed the mighty Revelation back during their Rise Above/Hellhound days knows that the band constantly evolved from one album to the next, with their earlier records drawing heavily from the traditional doom of Sabbath, Vitus, and Trouble, but then gradually incorporating more progressive elements as time went on. Coming fourteen years after their classic Yet So Far album, For The Sake Of No One remains on this proggy trajectory, with a sound that incorporates even more psychedelic and melodic qualities than before, while still sticking with the slow, the low, and the gloomy. The first thing that struck me when I first thre this on was how much the album reminds me of British psych-doom rockers Winters, not just in the nasally, plaintive melodic crooning, but also in the extremely melodic, almost poppy songwriting; these guys are consistently crushing, with songs like "A Matter of Days" and "Offset" delivering superbly dark and doleful atmospheric doom, but there are some amazingly gorgeous moments on here such as "Canyons", which almost comes off like some sort of dreamy, heavy slowcore at first, before it unfurls into a quasi-Sabbath groove and some soaring metal soloing that still keeps rooted in a sort of indie heaviness. The band mixes in their progressive rock influences (and especially a heavy Rush influence) along with psychedelia and pounding NWOBHM into their creeping massive doom, highlighting tracks like "Vigil" with its throbbing bass line and moody melodic lead work that moves into a rocking gallop at the end, and the slow, brooding doom of the title track that closes the album. I'd have to rate this as one of the most atmospheric and melodic Maryland doom albums that I have in my collection.
It should be noted that this album features the classic early Revelation lineup of John Brenner on guitar and vocals, bassist Bert Hall and drummer Steve Branagan, who all played on Rev's classic 1991 debut Salvation's Answer on Rise Above. This is also the exact same lineup as the band Against Nature, which is sort of weird...you've got two current bands with different names but the exact same lineup. You can make the distinction between Revelation's classic prog-tinged doom sound and the much proggier Against Nature, I guess, but fans of one band are certainly going to dig the other, their sounds are obviously somewhat intertwined. Revelation is definitely the doomier of the two bands though, and anyone into the classic Maryland doom sound of bands like Asylum, Iron Man, Wretched, Unorthodox, Pentagram, and Internal Void should pick up anything and everything from these doom elders.
Track Samples:
Sample : REVELATION-For The Sake Of No One
Sample : REVELATION-For The Sake Of No One



ROTGUTS   Live AT Wyatts 1/5/01   CDR   (MT6)    5.98



This DIY live disc from Baltimore improve-junk-punk-psychedelia label MT6 features 18 songs of fried out, improvised funk punk / space jam / free-weirdo-pop live action from these Baltimore folks. Recorded live at the now-defunct Wyatts in Fells Point, Baltimore. 2 bassists, drums, keyboards, and essentially nonsensical singing. Packaged in slim line jewel case with green Xerox inserts. Only 70 copies made.


SEJAYNO   Sedainty   LP   (Ignivomous)    11.98



Delirious psychedelic goo from the Baltimore trio of Don Sallo (Peter Blasser), Jak Russel (Severiano Martinez) and Burt Duns (Carson Garhart) - this album could have easily come from Not Not Fun with it's morass of murky slow motion drones, vocal noises that are warped and twisted into otherworldly chants, sci -fi electronic noises, and clattery tribal rhythms being banged out on primitive handmade drums and cymbals. The group used tapes, loops, alien sonic textures created by contact mics, and all kinds of other unidentified sounds in these untitled mutant rituals, and the whole thing sounds like a collection of field recordings of tribal religious rites from a cartoon dimension.
Clay Ruby over at Swords Of Heaven probably puts it best: "Beginning with twisted vocal expressions, caveman hymns and growing percussion rituals sealed with babbling hypno-blood sacrifice. Daredevil chant, noise invocation and aural abuse mounts as Sejayno begin to witness the delirium and psychic expansion of time travel as they learned ancient electronic time travel techniques: flipped delay, maraca skip, and ultrasound speech rotation. Sejayno is enacting a multi-year-long journey from electronic time travel techniques to those based on the ancient lute. Sejayno strongly believes that as long as we truly imagine ourselves to be ancient people we will always be ancient people. Featuring unique soulcrafting on some very psychedelic ritual tools and instruments created by Peter B, you may know him better as inventor and musician Peter Blasser, a.k.a. "ciat-lonbarde" and/or the next incarnation of Dr.Who imagining Bob Moog as interpreted by the paper circuit in the form of the seed of life. Sejayno is much more like a mushy ball of resin rubbed off from between the shared thumbs of Sun Ra and David Tudor."
Each record comes in a uniquely silkscreened jacket, with a sheet of hand-drawn schematics/notes/artwork stuffed inside.
Track Samples:
Sample : SEJAYNO-Sedainty
Sample : SEJAYNO-Sedainty



SPECIAL PEOPLE   Spring Tour 2015   CASSETTE   (Special People Music)    5.00



†††† Along with the latest full-length slab of twitchy noise rock from these Baltimore punks that was likewise released on cassette, we also nabbed some copies of their Spring Tour EP that was released in arigato-style packaging in a limited run of fifty copies for their Spring 2015 tour down through the South. It's just three songs, but they all kill, each a brand new blast of discordant jangle and pounding off-kilter drumming, once again bridging that weird zone of theirs somewhere in between low-fi noise-pop prettiness and some totally snot-nosed noisepunk yowl. It teeters between the band's penchant for lurching, melodic skronk that sort of reminds me of some of the more accessible stuff that was coming out of the NYC art-punk underground in the early 80s, and slower, almost dirgey chunks of miserable Flipper-esque sludge a la "Plain". As with the other stuff I've picked up from these guys, these songs have a creepy undercurrent that kinda crawls under your skin more and more with repeated listens. Which means you gotta listen to it repeatedly. Great stuff from one of the best noise rock bands coming out of Baltimore right now.


SPECIAL PEOPLE   David Carradine Style   CASSETTE   (Special People Music)    5.00



†††† Moody mathy rock meets bludgeoning, Am Rep-esque skronk on the latest tape from this Baltimore band. Following a 7" and some other EP-length cassettes that I've raved about in the past, these Charm City noise rockers are back with their first full-length album, and it's a real nerve-jangler. Nine songs that deliver the same sort of arty noise punk and dissonant songcraft that we got from their previous releases, and if anything this feels even more sinister than before, definitely a little heavier, but with that bratty, slightly unhinged feel that I've dug with all of their stuff.
†††† Don't know if they made me think of it before, but pm Style their vocals sound like a totally blasted Mac McCaughan, while the guitars wind their spiked and atonal melodies and string-scraping noise around the drummer's twitchy, lopsided rhythms and fractured grooves, sometimes tapping into an eerie, meandering vibe that can also remind me of early Sonic Youth. But there's also a demented aggression that makes it a lot more threatening, too. An old-school math rock feel lurks in here, with lots of skronky awkward riffing, jangling off-kilter guitar chords and angular melodies, that discordant jangle often erupting into yowling vocals and burly distorted heaviness, with a couple songs like the sludgy, ominous "Drug Dreams" really dragging their weight around. And they can rev things up into a noisy, hardcore-fueled tumult on tracks like "Proper Equality" and "Takers". It can get pretty ugly, but not tuneless, and this is their best batch of songs yet - the sprawling sludgefeast "Dead Bald Eagle" is easily the catchiest thing I've heard from these guys. With this new tape, they've turned into one of the best noise rock band active in Baltimore right now.
†††† Issued in a limited edition of one hundred copies.
Track Samples:
Sample : SPECIAL PEOPLE-David Carradine Style
Sample : SPECIAL PEOPLE-David Carradine Style
Sample : SPECIAL PEOPLE-David Carradine Style



SPECIAL PEOPLE   Advertise   7" VINYL   (Self Released)    5.50



Baltimore has been producing some really cool noise rock in recent times, with bands like Ladypiss, The New Flesh and Multicult all bringing it loud, heavy and discordant. The latest addition to the Charm City scum-rock heap appears to be Special People, who pound away at a messy mix of choppy, lurching punk and jangly garage moves that gets nice n' damaged on their debut 7" Advertise.
It's a schizoid sound that these goons are peddling here. The a-side title track mixes up the band's penchant for softer, prettier verses with somewhat haunting singing drifting over the band's propulsive jangle, with a chunky chorus of howling fury and broken glass when the guitars stomp on the distortion pedals and crank 'em until they burn. This back-and-forth between the dark low-fi dreaminess and the mangled yowling of their Flipper-on-crack outbursts works like a charm gives this an always-welcome violent edge. The other song is "Eye Movement", which channels some grimy NYC-style pigfuck a la early Sonic Youth with those howling gang vocals and dark lurching riffs all doused in reverb, giving the song an almost gothic feel. Comparisons to Pissed Jeans, Clockcleaner, Homostupids, Slices and the like would not at all be out of place.
Comes in a hand-numbered sleeve with a vinyl sticker and xeroxed insert sheet, limited to two-hundred fifty copies.


SPIRIT CARAVAN   The Last Embrace   2 x CD   (Meteor City)    13.98



They've been gone since 2002, but Spirit Caravan's mystical Maryland doom is still as potent as ever. Fronted by the indomitable Scott "Wino" Wienrich (Saint Vitus,The Obsessed, Place Of Skulls, The Hidden Hand), Spirit Caravan was a more psychedelic outfit than the music he would later play in The Hidden Hand, and the Sabbath influence in Wino's songwriting might be more prevelant in Spirit Caravan than in any of his myriad other bands that have spanned his career. Spirit Caravan released two crucial albums on the Tolatta label run by Joe Lally from Fugazi, Elusive Truth and Jug Fulla Sun,which both went out of print after Tolotta closed its doors at the beginning of the decade. In 2003 both of these albums were collected together on this massive double disc set from MeteorCity, along with the three tracks that appeared on their debut 7" (when they were still called Shine), the two songs from their final self-titled 7", the song from the split 7" with Sixty Watt Shaman, and the track from the Rise 13 compilation on Rise Above, and this isn't an essential collection for just fans of Wino's ouvre, but for anyone into heavy duty, Sabbath-influenced psych metal. Wino's singing is like early Ozzy but with about 100% more passion, and his guitar playing is some of the most soulful that you are ever going to hear, if you don't know that already; just listening to him play on "Cosmic Artifact" and "Lost Sun Dance" sends shivers up my spine. The man had one of the most earthy, perfect guitar tones ever, and when his amazing axework was coupled with the crack rhythm section of bassist Dave Sherman (Earthride, Wretched) and drummer Gary Isom (Pentagram, Unorthodox, Valkyrie, Wretched, Iron Man), we had one of the best doom/psych bands ever, a spiritual, mystical hard rock outfit that left behind some of the greatest heavy jams ever. Essential.


SPIRIT CARAVAN   Dreamwheel   CD   (Meteor City)    9.98

Dreamwheel IS CURRENTLY UNAVAILABLE FOR ORDER

I've been raiding the Meteor City back catalog as of late, since alot of their releases are beginning to go out of print and I want to get some of the esteemed stoner rock labels heaviest titles for our store before this stuff disappears. We've never carried any of the old Spirit Caravan releases on MeteorCity before, but I figured that thewr might be some doom/stoner/psych metal fans out there that might still need to pick up these essential entries in the ouvre of Maryland doomlord Scott "Wino" Weinrich (Saint Vitus, The Obsessed, Probot, The Hidden Hand, Shrinebuilder, Place Of Skulls) for their collection. This stuff is just as awesome as it was when it first came out ten years ago, and remain some of the most soulful, moving, groovin' doom rock ever.
The 1999 Dreamwheel Ep was released by Spirit Caravan not long after they put out their smokin' debut Jug Fulla Sun, and the five jams on this disc are primo Maryland doom. Huge 70's rock riffs rendered even heavier via Wino's ridiculously meaty guitar tone, and fronted by his killer Ozzy-style wail, and the powerhouse rhythm section of Dave Sherman (the former Wretched singer who would later form the blackened biker doom outfit Earthride) and former Pentagram/Unorthodox/Iron Man drummer Gary Isom are like a fuggin' thunder hammer on these songs. They basically took the heavy doom rock of Wino's old band The Obsessed and cranked up the psychedelia factor really high, but it made for what is some of my favorite music of Wino's career. Just listen to the awesome jet-roar of space noise that starts off "Re-Alignment/Higher Power" which shifts into the almost hardcore punk second half...awesome. Or the fucking epic riffage and searing wah-pedal on "Sun Stoned". So cool. The songs on this Ep are all ridiculously catchy, and if you dig heavy psychedelic rock with a hefty Sabbath and Grand Funk influence and haven't heard Spirit Caravan yet, well my friend, this is the perfect place to get acquainted with the Caravan. Mystical, majestic, impossibly groovy stoner doom from the masters. Essential.


STONE BREATH   Songs Of Moonlight And Rain   CD   (Dark Holler)    13.98

Songs Of Moonlight And Rain IS CURRENTLY UNAVAILABLE FOR ORDER

Like I've mentioned before, I'm not the biggest fan of the whole contemporary psych/freak folk scene, but Timothy Renner's various projects and his Dark Holler label is one of the exceptions. I discovered his label and the bands Stone Breath and Moth Masque several years ago by accident, after stumbling across his website and finding that this label that specialized in obscure, dark folk music was located right over in southern Pennsylvania, not all that far from where we're based in Hagerstown. I was fascinated by all of the music that I heard from the label, but his band Stone Breath will always be one of my favorites.
Performing as a duo with his wife Alison (who had also played with him in the psych-folk band Mourning Cloak), Renner's music in Stone Breath is both ancient sounding and quite psychedelic, blending together improvised acoustic percussion and strange primitive drone jams with ethereal acid-folk and a sort of skeletal bluegrass that was marked by the presence of Timothy's plunking banjo and his hushed, almost-whispered vocals. Stone Breath's music was creepy and dark, and a bit weird as the musicians create tiny symphonies of creaking, clanking beauty with acoustic guitars, banjo, bells, harp, tambourine, field recordings of running water, crows and owls, mandolin, zither, sheet metal, tibetan bells, hand percussion, chimes and other instruments, each song drifting like delicate cobwebs and evoking images of dark, shadowy woodlands, long-forgotten graveyards out in the country covered over by weeds and vines, fields of wildflowers and crumbling churches, and animal bones scattered beneath ancient oak trees. Gorgeous and ghostly, their songs are like hearing an Appalachian version of Syd Barrett, or Current 93 playing in the dark corners of a crumbling churchyard somewhere in the countryside of rural Maryland (where this album was recorded in the mid 90's). I'm reminded of older, occultic psych-folk projects like Comus, Incredible String Band, and Pearls Before Swine as well as the hypnotic music of Japan's Ghost, and anyone into these groups should certainly check out the spectral, witchy backwoods folkdrift of Stone Breath.
Songs Of Moonlight And Rain was the duo's first album and first came out in 1997 and had been out of print for several years. Hand/Eye (the experimental imprint of Renner's Dark Holler label) reissued the album for it's 10-year anniversary and included an additional nine tracks, taken from other releases from the same period including Stone Breath's Strange Familiars 7", a collaboration with Fit & Limo, and earlier recordings. The disc is packaged in a foldout card wallet similiar to the packaging that Renner used for his Crow Tongue releases, and it includes lengthy, deeply personal liner notes from Renner and complete lyrics.
Track Samples:
Sample : STONE BREATH-Songs Of Moonlight And Rain
Sample : STONE BREATH-Songs Of Moonlight And Rain



T.A.Z.   Communique 1 (Fall 2013)   7" VINYL + CDR   (Annihilvs)    8.50



†††† A bizarre anti-record/art object from this shadowy outfit that may or may not have connections to Philly blacknoise beasts T.O.M.B. and death-blues trio Dreadlords. T.A.Z.'s Communique #1 is part luddite manifesto, part noise-loop experiment, comprised of a painted, unplayable 7" "anti-record", a xeroxed, hand-scrawled thirteen page essay, and an hour-long CDR that features twelve tracks of creepy vinyl-record fuckery, random environmental noise and improvised weirdness, all of it housed in a large black zip-lock bag. Taking their name from the acronym for "Temporary Autonomous Zones", there's a number of concepts that are touched on in the manifesto that comes with this, drawing connections between the band's shambling free-improv racket and Luddite philosophies, English occultist Austin Osman Spare, and the anarchist writings of Hakim Bey.
†††† Musically, the group embraces anarchic desire through a bizarre mini-orchestra of ancient gramophone record players and acoustic instruments in the creation of mind-expanding noisescapes. The tracks range from hazy, cracked loopscapes created by the sounds of ancient records, to an unearthly din of rattling percussion and junk-noise pummel; blasts of otherworldly improvisation and thunderous trashcan clatter haunted by the ghostly warbling of voices that drift off dusty big band records that are slowly melting off of the sides of rickety phonographs; tracks of eerie, low-fi ghost-folk and droning, atonal blues-murk; krautrocky drum circle jams and acoustic noise experiments strafed with squealing reeds, with all of this taking on an increasingly wrecked, psychedelic feel that starts to border on the nightmarish by the time you get to the end of the album. At times sounding like No Neck Blues Band or a more primitive version of legendary free-improv noisemakers Smegma, this demented clank-ritual feels like something unearthed from beneath the dry, packed dirt floor of an inner-city cellar, the live, low-fi recording giving their ramshackle anti-electrical jams a strange, unearthly vibe.
Track Samples:
Sample : T.A.Z.-Communique 1 (Fall 2013)
Sample : T.A.Z.-Communique 1 (Fall 2013)
Sample : T.A.Z.-Communique 1 (Fall 2013)



TEMP SOUND SOLUTIONS   I Yobot   CDR   (MT6)    4.98

I Yobot IS CURRENTLY UNAVAILABLE FOR ORDER

Killer full length private-press disc released on Baltimore freak-scene imprint MT6 features this Bmore glitch/videogame/metal mutant hustling 8 blasts of original (mostly) instrumental tuneage that's sort of a weird but rocking fusion of Nintendo game music, Gameboy synth bleeps, ridiculous stadium hard rock guitar shred anthems, blasted glitchy electronics, awesome android funk, crunchy electronic noise, and bizarre spoken word passages. Sorta like The Fucking Champs doing videogame music. Obviously this has some similiarities to stuff like The Advantage and Minibosses, but folks into Genghis Tron's indie/blast/tronics would probably love this as well. Packaged in a minimal xeroxed hand assembled sleeve.


TREPHINE   self-titled   CD   (Public Guilt)    7.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

Baltimore's Trephine returns with this menacing collection of crushingly heavy post-rock/metal,with an additional percussionist who bangs out polyrythms on junk found on the city streets ! Purely instrumental math-rock with teeth, this plays like some rabid , Slayer-ized version of Don Cabellero...The Fucking Champs meet Mastodon...Clutch and Moe Staiano's Moe!kestra!... or something like that. These guys pull off some obtuse, angular riffage and jazzy beats but keep this firmly rooted in the HEAVY, balancing all of the abrupt shifts, propane-tank percussion, and complex shredding and abstract structures with some serious metalcore riffs, swaggering Southern sludge ,and over-all evil-sounding crunchiness. This is so good, and yet another excellent release from the up and coming Public Guilt label. Suitably creepy artwork from Stephan Kasner.


VARIOUS ARTISTS   Doom Capital   CD   (Crucial Blast)    4.98

Doom Capital IS CURRENTLY UNAVAILABLE FOR ORDER

A 14 song compendium of crushing Doom, heavy backwoods psychedelia, and stoned blues sludgery from the infamous Maryland/DC Doom Capital scene, featuring all exclusive,rare and new tracks from CLUTCH, THE HIDDEN HAND (featuring Wino of Spirit Caravan / The Obsessed / Saint Vitus / Place Of Skulls), EARTHRIDE, UNORTHODOX, INTERNAL VOID, BLACK MANTA, LIFE BEYOND, WAR INJUN, CARRION, KING VALLEY, COUNTERSHAFT, NITROSEED, LEVIATHAN A.D., and LOS TRES PESADOS. Since the early 1970's, the Maryland/DC region has been home to one of the most vital and influential underground music movements in the world, helping to define the crushing aesthetic of Doom Metal and Stoner Rock. This compilation features both legends and newcomers of the Doom Capital, and delivers over 65 minutes of thunderous doom rock and blackened riffage from the dark shadow of the nations capital.


VOID   Sessions 1981-83   LP   (Dischord)    12.98



With all of the great fucked-up, violent hardcore that has been coming through the C-Blast office over the past year, I'd keep coming back to Void as a reference point when trying to describe the chaotic, off-kilter punk that the bands are playing. Coming out of suburban Maryland in the early 80s, Void was always aligned with the DC hardcore scene that orbited around Dischord Records and Minor Threat, but the band never really fit in with that scene despite releasing all of their material on the influential indie label. Void played hardcore just like everyone else, but no one else sounded like Void. No one was as vicious, as threatening, as weird sounding as Void. This was especially apparent when you listened to the legendary Faith/Void split. The Faith were a ripping hardcore band, but when you played the two sides back-to-back, it was like switching from classic American punk to the sound of mental patients breaking down the doors. Their sound was so off-kilter, at first taking form as a pretty standard hardcore attack, but quickly mutating into a chaotic sound that was due in large part to the strange, babaric guitar playing of Bubba Dupree. Combine that with the maniacal vocals of front man John Weiffenbach, the flattening rhythm section of bassist Chris Stover and drummer Sean Finnegan, the creepy artwork and iconic band logo that incorporated upside-down crosses, and you have one of the pioneering bands of psychotic hardcore, a kind of gnarled, fucked-up proto-crossover that along with Die Kreuzen, Siege, and Corrosion Of Conformity would have an enormous impact on just how ugly and weird hardcore could get.
The band's best known release has always been their split Lp with The Faith, but they never really had anything else available, up until now. There was an Ep called Condensed Flesh that came out in the early 90s long after the band had split up, but that was nearly impossible to find. At long last, Dischord has finally put together a collection of Void's early recordings, Sessions 81-83, which gathers their demo tracks, the session that produced the Condensed Flesh Ep, and some live tracks. It's pretty much everything from Void's early existence save for the Faith split. And it's absolutely essential listening for fans of extreme, messed-up hardcore.
The first half of the disc has the twenty tracks from their first recording in late 1981; at this stage, Void's songs were blazing hardcore punk, with the classic ten-second blast of opener "Void" leading into anthemic rippers like "War Hero", "Organized Sports" and "Don't Wanna Be Like You" hurtling between the noisier chaos of "Condensed Flesh" and "Suburbs Suck". The music has a cleaner sound than their later recordings, but it's still highly volatile, filled with a sense of desperation and isolation even at this early stage. But when you get to the Inner Ear session from a month later, the band sounds markedly more chaotic and frenzied, the songs riddled with feedback and sounding a lot more unhinged. Dupree's guitar playing is noisier here, more atonal, jagged, bringing a newfound dissonance and metal bite to the songs. These songs are fucking awesome, and it ranks as one of my favorite hardcore recordings ever. From there, the disc features another set of songs from 1982 that sound even more crazed and murderous, and a couple of killer live tracks where the band assaults the audience with a violent barrage of noise.
It's a crucial collection of some of the most groundbreaking hardcore of the early 80s, with liner notes from Ian MacKaye that help to outline just how unique and out of place Void's feral thrash was in 1982. Highly recommended.
Track Samples:
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83



VOID   Sessions 1981-83   CD   (Dischord)    11.98

Sessions 1981-83 IS CURRENTLY UNAVAILABLE FOR ORDER

With all of the great fucked-up, violent hardcore that has been coming through the C-Blast office over the past year, I'd keep coming back to Void as a reference point when trying to describe the chaotic, off-kilter punk that the bands are playing. Coming out of suburban Maryland in the early 80s, Void was always aligned with the DC hardcore scene that orbited around Dischord Records and Minor Threat, but the band never really fit in with that scene despite releasing all of their material on the influential indie label. Void played hardcore just like everyone else, but no one else sounded like Void. No one was as vicious, as threatening, as weird sounding as Void. This was especially apparent when you listened to the legendary Faith/Void split. The Faith were a ripping hardcore band, but when you played the two sides back-to-back, it was like switching from classic American punk to the sound of mental patients breaking down the doors. Their sound was so off-kilter, at first taking form as a pretty standard hardcore attack, but quickly mutating into a chaotic sound that was due in large part to the strange, babaric guitar playing of Bubba Dupree. Combine that with the maniacal vocals of front man John Weiffenbach, the flattening rhythm section of bassist Chris Stover and drummer Sean Finnegan, the creepy artwork and iconic band logo that incorporated upside-down crosses, and you have one of the pioneering bands of psychotic hardcore, a kind of gnarled, fucked-up proto-crossover that along with Die Kreuzen, Siege, and Corrosion Of Conformity would have an enormous impact on just how ugly and weird hardcore could get.
The band's best known release has always been their split Lp with The Faith, but they never really had anything else available, up until now. There was an Ep called Condensed Flesh that came out in the early 90s long after the band had split up, but that was nearly impossible to find. At long last, Dischord has finally put together a collection of Void's early recordings, Sessions 81-83, which gathers their demo tracks, the session that produced the Condensed Flesh Ep, and some live tracks. It's pretty much everything from Void's early existence save for the Faith split. And it's absolutely essential listening for fans of extreme, messed-up hardcore.
The first half of the disc has the twenty tracks from their first recording in late 1981; at this stage, Void's songs were blazing hardcore punk, with the classic ten-second blast of opener "Void" leading into anthemic rippers like "War Hero", "Organized Sports" and "Don't Wanna Be Like You" hurtling between the noisier chaos of "Condensed Flesh" and "Suburbs Suck". The music has a cleaner sound than their later recordings, but it's still highly volatile, filled with a sense of desperation and isolation even at this early stage. But when you get to the Inner Ear session from a month later, the band sounds markedly more chaotic and frenzied, the songs riddled with feedback and sounding a lot more unhinged. Dupree's guitar playing is noisier here, more atonal, jagged, bringing a newfound dissonance and metal bite to the songs. These songs are fucking awesome, and it ranks as one of my favorite hardcore recordings ever. From there, the disc features another set of songs from 1982 that sound even more crazed and murderous, and a couple of killer live tracks where the band assaults the audience with a violent barrage of noise.
It's a crucial collection of some of the most groundbreaking hardcore of the early 80s, with liner notes from Ian MacKaye that help to outline just how unique and out of place Void's feral thrash was in 1982. Highly recommended.
Track Samples:
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83
Sample : VOID-Sessions 1981-83



VOMITOMA   The Abortuary   CD   (Rotten Foetus)    9.98














VOMITOMA   Coagulated Dialysis Of Partially Disintegrated Viscerosolids   CD   (Vaginal Apocalypse)    9.98



††Just got this vile blast of brain-melting gorenoise back in stock. Coagulated Dialysis Of Partial Disintegrated Viscerosolids is the latest full length disc from the cult one-man gorenoise outfit Vomitoma, masterminded by Steve Pekari, the same Ohio-based maniac behind a number of other agonizingly heavy and hideous anti-musical projects that I've been a fan of, including Reclusa, Diseased Oblivion and Thanatoseptis. If you've heard any of those other bands, then you're at least a little bit prepared for the levels of extreme noise-damaged barbarism that Pekari's projects can ascend to.
††With this latest Vomitoma disc, he regurgitates more of that bizarre, ultra repulsive industrialized sewer metal that made previous releases like The Abortuary and Liquid Harvest such a blast; this shit is mind-melting, way closer in feel to extreme noise than "metal", but also insanely heavy. As soon as Coagulated kicks in, the album blasts the listener with a foul cacophony of gurgling subhuman vocalizations, rumbling low-end noise, and frenzied reverb-drenched bass riffage all splattered over the violent drum-machine programming. The sickening throat spasms and harsh noise of "Preflux" introduces this mess, then rips through forty-six tracks of irradiated day-glo gorenoise horror with titles like "Secretions Of Diseased Adipose", "Shooting Up Glandular Pus With A Dirty Needle" and "Vomitswamp Of Mutated Abortions". Each short blast is insanely brutal, bludgeoning the listener with deformed, noise-damaged goregrind, spastic drum machines that blast and pound in erratic, often abstract patterns, often degenerating into a mass of formless noise that leaves any semblance of tempo or rhythm in the muck. Those gurgling, gastrointestinal vocal noises are way out in front of the mix, slipping and oozing over the relentless near noisecore-level pandemonium. The "songs" will sometimes settle into a crushing goregrind groove, where the music suddenly lurches into massive slow-motion tectonic sludge that stretches out beneath the gurgling sonic scum. The bass guitar bulldozes its way across the industrialized vomitscape, massively downtuned and sickeningly distorted, bringing a noxious concrete-mixer abrasiveness to the music.
††It's bizarre stuff, even by goregrind standards, layered with weird insect-like noises and disgusting ambient textures, like recordings of someone's lower intestine amplified to thunderous volume and draped over some mutant Reek of Putrefaction-influenced goredeath heaviosity. What sets this apart from other goregnoise outfits is the sheer massiveness of some of these riffs and the drum machine, which produces that industrial-tinged doom feel on a bunch of these tracks; when those crushing monstrous dirges kick in, it's akin to some slowed down filthier version of early Godflesh or Pitchshifter being played over the sounds of a septic system backing up. A hateful, ultra-violent blast of psychedelic gore-drenched chaos that anyone into the extreme audio sickness of bands like Last Days Of Humanity, Anal Birth, Biocyst and Urine Festival should be checking out pronto. Comes in supremely gross digipack packaging.
Track Samples:
Sample : VOMITOMA-Coagulated Dialysis Of Partially Disintegrated Viscerosolids
Sample : VOMITOMA-Coagulated Dialysis Of Partially Disintegrated Viscerosolids
Sample : VOMITOMA-Coagulated Dialysis Of Partially Disintegrated Viscerosolids



WAKE UP ON FIRE   self-titled   LP   (Torture Garden Pictures)    11.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

Back in stock, and available on vinyl too.
The debut full length from Baltimore's cello-powered apocalyptic doom-punks, one of whom is long time Crucial Blast buddy Chris Control, who also plays in the ripping Nux Vomica. Wake Up On Fire have really come into their own with this grueling, epic full length, a brutal conglomeration of wickedly monstrous crustcore, dark post-rock, death metal, and manic freeform percussion workouts. These six songs come off as some sort of strange but totally effective fusion of anarchist crusty hardcore a la Nausea and Disaffect , older Napalm Death, Godspeed You! Black Emperor , folksy cello, and powerful , progressive metallic thrash like Baroness. And cowbell!
Track Samples:
Sample : WAKE UP ON FIRE-self-titled
Sample : WAKE UP ON FIRE-self-titled
Sample : WAKE UP ON FIRE-self-titled



WAKE UP ON FIRE   self-titled   CD   (Torture Garden Pictures)    9.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

Back in stock.
The debut full length from Baltimore's cello-powered apocalyptic doom-punks, one of whom is long time Crucial Blast buddy Chris Control, who also plays in the ripping Nux Vomica. Wake Up On Fire have really come into their own with this grueling, epic full length, a brutal conglomeration of wickedly monstrous crustcore, dark post-rock, death metal, and manic freeform percussion workouts. These six songs come off as some sort of strange but totally effective fusion of anarchist crusty hardcore a la Nausea and Disaffect , older Napalm Death, Godspeed You! Black Emperor , folksy cello, and powerful , progressive metallic thrash like Baroness. And cowbell!
Track Samples:
Sample : WAKE UP ON FIRE-self-titled
Sample : WAKE UP ON FIRE-self-titled
Sample : WAKE UP ON FIRE-self-titled



WILLETT, JASON   The Sounds Of Megaphone Unlimited   CD   (MT6)    9.98



Oddly, I didn't really know anything about Jason Willett until recently, even though he spent a chunk of his recording career right down the road from us in Frederick, Maryland. A member of Half Japanese and an uber-prolific collaborator, Willett ran a label called Megaphone Unlimited that I found out about when I was doing some research on Ron Anderson and his myriad no-wave/punk outfits. It turns out that this Willett guy ran both the label and a record store in Frederick in the very early 90's, and even booked bands like the Boredoms and Dog Faced Hermans at his store. Finding out that the Boredoms played in a record store less than twenty minutes from where I was living as a teenager in the early 90's and I never knew about it makes me want to scream my head off, let me tell you. Anyways, Willett has had his hands deep in a bunch of projects and different bands over the years, most of them leaning towards a skronky, improv-heavy brand of art punk, and much of it was released on his Megaphone label throughout the past decade and a half. This new collection, issued by those freaks over at MT6 Records, is a perfect crash course in the music of Jason Willett in all of his different guises, allowing me to discover a huge chunk of local underground weirdness that somehow managed to elude me up till now. The Sounds Of Megaphone Unlimited is a collection of 20 tracks that span the years 1995-2007, taken from unreleased recordings from various Willett-related bands like Can Openers, Jaunties, Pleasant Livers, X-Ray Eyes, Attitude Robots, Dramatics, and one of his current projects, Leprechaun Catering. On various tracks, members from Half Japanese, Ruins, Boredoms, Gaybomb and other noisy outfits show up to contribute their talents, and it's a mixed bag of wacky casio pop experiments, spastic skronk-punk, free jazz, no wave, surf music, 60's soundtrack instrumentals, and noisy improvisation, all with nonsensical stream-of-consciousness lyrics and often whacked out cartoon-character vocals. No wonder I ended up finding out about this guy after digging around for info on Ron Anderson - Willet is almost like an East Coast counterpart to Ron's wonky genius, and shares a similiar penchant for extremely noisy freeform punk freakouts that takes the abrasive edge of no wave and puts this weird whimsical spin on it. Whether it's a honking cacophony of toys and malfunctioning drum machines or the awesome Dramatics track that has Yamatsuka Eye from Boredoms/Hanatarash/Naked City going absolutely apeshit over a nearly seven minute performance that starts off as hyperspastic hardcore thrash and ends up as this bizarre swinging cartoon soundtrack, this stuff is pretty nuts.
Track Samples:
Sample : WILLETT, JASON-The Sounds Of Megaphone Unlimited
Sample : WILLETT, JASON-The Sounds Of Megaphone Unlimited
Sample : WILLETT, JASON-The Sounds Of Megaphone Unlimited
Sample : WILLETT, JASON-The Sounds Of Megaphone Unlimited



WINO   Punctuated Equilibrium   LP + 10 INCH   (Southern Lord)    24.98

Punctuated Equilibrium IS CURRENTLY UNAVAILABLE FOR ORDER

Wino's new solo album Punctuated Equilibrium is already one of the best heavy underground rock albums of '09 in my opinion, and Southern Lord has given the doommaster's album a truly deluxe vinyl release with this combination LP and 10" set. The packaging is absolutely beautiful, a heavy tip-on gatefold jacket with D'Andrea's gorgeous mystical artwork nice and large, a full color insert in one pocket, the 180 gram LP version in the other, and to top if off, this also features an exclusive 10" with four tracks that are not on the cd release. The ten inch is in a special customized pocket sleeve that is actually attached to the inside of the gatefold jacket, and these bonus tracks are as killer as anything on the LP, and include three originals, all heavy and proggy and with some awesome blazing synthesizer work on a couple of 'em, along with a stomping, soulful cover of Three Dog Night's "Chest Fever". Awesome!
If there's ever been a godfather of the underground Doom scene, it's Scott "Wino" Wienrich. Anyone that listens to doom metal and heavy underground rock probably has at least one album from one of his bands in their collection, and from The Obsessed to the mighty Saint Vitus through to his later work with Spirit Caravan, Place Of Skulls and The Hidden Hand, Wino's music has had a large hand in shaping the sound of heavy underground rock and metal. The abrupt breakup of The Hidden Hand in 2007 was a depressing turn of events as I had been a huge fan of the proggy direction that Wino's music was taking, but we finally have some new stuff from the master in the form of this new solo album, his first, as well as a new project called Shrinebuilder that has Wino playing with members of Neurosis and Om that will be releasing an album at some point in the next year. This solo album feels like a summation of Wino's career from the late 1970s through to the present, and there's something joyous in the way that these songs touch upon all of the different sides of Winos distinctive sound and his songwriting. Like with The Hidden Hand and Spirit Caravan, Wino is once again workin from a classic power trio lineup, here backed by the rhythm section of drummer Jean Paul Gaster (Clutch) and bassist Jon Black. Some of the riffs and songs that make up Punctuated Equilibrium have apparently been floating around in Wino's toolbox since as far back as the 1970s, according to the liner notes, and the ten songs touch on all of the different sides of Wino's music. There's the speed-fueled hardcore intensity of the title song that reminds me of how The Obsessed were able to effortlessly toss out a chunk of hardcore punk in the middle of a set of sullen, crushing doom metal, and the sprawling 70's style acid-metal and meandering Hendrix-style solo explorations of "Wild Blue Yonder", to grooving, wah-soaked doom rock and muscular riffing of "Secret Realm Devotion" (one of my fave tracks on this disc). "Smilin Road" is all heavy Southern blues-rock boogie swagger that reminds me a lot of the newer Clutch stuff, but then throws out some amazing ethereal solos at the end that have an epic prog-rock quality, and "Eyes Of The Flesh" is one the slowest songs I've heard from Wino in ages, a crushing dirge of grinding doom that Saint Vitus fans will flip out for. There are some cool tracks on here that throw out a little of the unexpected - the short, two minute instrumental "Water Crane" is a darkly beautiful glimpse of soaring jazz-fusion soloing over black tides of buzzing ambient distortion, almost Mahavishnu-like, and the instrumental "Gods, Frauds, Neo-Cons and Demagogues" combines a menacing, grooving doom riff with electronic noises, droning feedback, and a jumbled collage of soundbites from former President George W. Bush and other samples of right-wing media.
Fans of Wino's other band will hear elements of all of them on this solo album, but its clostest in feel to his newer, more proggy work with Spirit Caravan and The Hidden Hand. Fans of Wino in general though already know that this is pretty essential. Definitely a killer collection of songs from the doom legend, who by every right should be a housefold name in the metal underground. The disc is accompanied by beautiful artwork by the always-amazing David D'Andrea, whose mystical landscapes and floral hallucinations go nicely with Wino's heady, mystical rock, and the booklet contains cool linet notes written by Wino that discuss the songs and the creation of the album. Recommended!
Track Samples:
Sample : WINO-Punctuated Equilibrium
Sample : WINO-Punctuated Equilibrium
Sample : WINO-Punctuated Equilibrium



WIRE ORCHESTRA   self-titled   CDR   (MT6)    7.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

The debut recording from this Baltimore free/improv space psych outfit. After 2 years and over 50 shows, the current lineup entered the studio in January of 2004 and blasted out over an hour of improvised acid space rock, trumpet and violin generated scrape-and-clatter sonic esoterica, neurotic electronics, and evocative melodic drones. Fans of Acid Mothers Temple and Sunburned Hand Of The Man will dig. 14 tracks, comes packaged in a labeled white digipack.


WOLFNUKE   I Am The Gateway (Small)   SHIRT   (Crucial Blast)    13.00



A two-color print from Maryland blackened thrashers Wolfnuke, depicting demonic deliriums, masochistic ecstasies and Eliphas Levi's classic image of light and transformation. This red/white design was created by Crucial Blast and is printed on a black Gildan brand 100% cotton preshrunk garment.


WOLFNUKE   Nightwar (SMALL)   SHIRT   (Crucial Blaze)    11.98



Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....


WOLFNUKE   Nightwar (XTRA LARGE)   SHIRT + CDR BUNDLE   (Crucial Blaze)    16.98



This is a combo bundle that includes the Wolfnuke Nightwar CDR, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (XTRA LARGE)
Sample : WOLFNUKE-Nightwar (XTRA LARGE)
Sample : WOLFNUKE-Nightwar (XTRA LARGE)
Sample : WOLFNUKE-Nightwar (XTRA LARGE)



WOLFNUKE   Nightwar (SMALL)   SHIRT + CDR BUNDLE   (Crucial Blaze)    16.98



This is a combo bundle that includes the Wolfnuke Nightwar CDR, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (SMALL)
Sample : WOLFNUKE-Nightwar (SMALL)
Sample : WOLFNUKE-Nightwar (SMALL)
Sample : WOLFNUKE-Nightwar (SMALL)



WOLFNUKE   Nightwar (XTRA LARGE)   SHIRT + CASSETTE BUNDLE   (Crucial Blaze)    15.98



This is a combo bundle that includes the Wolfnuke Nightwar cassette, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast/Crucial Blaze, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (XTRA LARGE)
Sample : WOLFNUKE-Nightwar (XTRA LARGE)
Sample : WOLFNUKE-Nightwar (XTRA LARGE)
Sample : WOLFNUKE-Nightwar (XTRA LARGE)



WOLFNUKE   I Am The Gateway (XXL)   SHIRT   (Crucial Blast)    15.00



A two-color print from Maryland blackened thrashers Wolfnuke, depicting demonic deliriums, masochistic ecstasies and Eliphas Levi's classic image of light and transformation. This red/white design was created by Crucial Blast and is printed on a black Gildan brand 100% cotton preshrunk garment.


WOLFNUKE   Nightwar (LARGE)   SHIRT   (Crucial Blaze)    11.98



Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....


WOLFNUKE   Nightwar (SMALL)   SHIRT + CASSETTE BUNDLE   (Crucial Blaze)    15.98



This is a combo bundle that includes the Wolfnuke Nightwar cassette, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast/Crucial Blaze, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (SMALL)
Sample : WOLFNUKE-Nightwar (SMALL)
Sample : WOLFNUKE-Nightwar (SMALL)
Sample : WOLFNUKE-Nightwar (SMALL)



WOLFNUKE   Nightwar   CDR   (Crucial Blaze)    6.50



The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore. The four songs on Nightwar are universally fast-paced and dark as hell, starting with the nihilistic blackened thrash of "Beneath The Last Of The Neuro-Goat" and continuing through the blazing black metal-meets-crossover extermination vision of "Deathfire", the crushing mid-tempo blackened metalpunk of the title track and the anthemic matricide hallucination of closer "Filthwraith".
Originally made available as a free download and cassette at local performances earlier in the year, the Nightwar demo has been presented here as a hand-numbered cd-r release in a print run of 250 copies and packaged in the Crucial Blaze signature library case with an insert card, a set of 1" buttons, and a vinyl sticker. It is also available on cassette, likewise limited to a print run of 100 copies. In addition, the recording is still available to be downloaded for free, which can be done at the following link: http://www.megaupload.com/?d=NJFXJAT8.
Track Samples:
Sample : WOLFNUKE-Nightwar
Sample : WOLFNUKE-Nightwar
Sample : WOLFNUKE-Nightwar
Sample : WOLFNUKE-Nightwar



WOLFNUKE   Nightwar (LARGE)   SHIRT + CDR BUNDLE   (Crucial Blaze)    16.98



This is a combo bundle that includes the Wolfnuke Nightwar CDR, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (LARGE)
Sample : WOLFNUKE-Nightwar (LARGE)
Sample : WOLFNUKE-Nightwar (LARGE)
Sample : WOLFNUKE-Nightwar (LARGE)



WOLFNUKE   Nightwar (XX LARGE)   SHIRT   (Crucial Blaze)    12.98



Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....


WOLFNUKE   Nightwar (LARGE)   SHIRT + CASSETTE BUNDLE   (Crucial Blaze)    15.98



This is a combo bundle that includes the Wolfnuke Nightwar cassette, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast/Crucial Blaze, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (LARGE)
Sample : WOLFNUKE-Nightwar (LARGE)
Sample : WOLFNUKE-Nightwar (LARGE)
Sample : WOLFNUKE-Nightwar (LARGE)



WOLFNUKE   I Am The Gateway (Medium)   SHIRT   (Crucial Blast)    13.00



A two-color print from Maryland blackened thrashers Wolfnuke, depicting demonic deliriums, masochistic ecstasies and Eliphas Levi's classic image of light and transformation. This red/white design was created by Crucial Blast and is printed on a black Gildan brand 100% cotton preshrunk garment.


WOLFNUKE   Nightwar (MEDIUM)   SHIRT   (Crucial Blaze)    11.98



Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....


WOLFNUKE   Nightwar (XX LARGE)   SHIRT + CDR BUNDLE   (Crucial Blaze)    17.98



This is a combo bundle that includes the Wolfnuke Nightwar CDR, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (XX LARGE)
Sample : WOLFNUKE-Nightwar (XX LARGE)
Sample : WOLFNUKE-Nightwar (XX LARGE)
Sample : WOLFNUKE-Nightwar (XX LARGE)



WOLFNUKE   Nightwar (MEDIUM)   SHIRT + CDR BUNDLE   (Crucial Blaze)    16.98



This is a combo bundle that includes the Wolfnuke Nightwar CDR, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (MEDIUM)
Sample : WOLFNUKE-Nightwar (MEDIUM)
Sample : WOLFNUKE-Nightwar (MEDIUM)
Sample : WOLFNUKE-Nightwar (MEDIUM)



WOLFNUKE   Nightwar (XX LARGE)   SHIRT + CASSETTE BUNDLE   (Crucial Blaze)    15.98



This is a combo bundle that includes the Wolfnuke Nightwar cassette, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast/Crucial Blaze, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (XX LARGE)
Sample : WOLFNUKE-Nightwar (XX LARGE)
Sample : WOLFNUKE-Nightwar (XX LARGE)
Sample : WOLFNUKE-Nightwar (XX LARGE)



WOLFNUKE   I Am The Gateway (Large)   SHIRT   (Crucial Blast)    13.00



A two-color print from Maryland blackened thrashers Wolfnuke, depicting demonic deliriums, masochistic ecstasies and Eliphas Levi's classic image of light and transformation. This red/white design was created by Crucial Blast and is printed on a black Gildan brand 100% cotton preshrunk garment.


WOLFNUKE   Nightwar   CASSETTE   (Crucial Blaze)    4.50



The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore. The four songs on Nightwar are universally fast-paced and dark as hell, starting with the nihilistic blackened thrash of "Beneath The Last Of The Neuro-Goat" and continuing through the blazing black metal-meets-crossover extermination vision of "Deathfire", the crushing mid-tempo blackened metalpunk of the title track and the anthemic matricide hallucination of closer "Filthwraith".
Originally made available as a free download and cassette at local performances earlier in the year, the Nightwar demo has been presented here as a limited edition cassette, limited to a print run of 100 copies. In addition, the recording is still available to be downloaded for free, which can be done at the following link: http://www.megaupload.com/?d=NJFXJAT8.
Track Samples:
Sample : WOLFNUKE-Nightwar
Sample : WOLFNUKE-Nightwar
Sample : WOLFNUKE-Nightwar
Sample : WOLFNUKE-Nightwar



WOLFNUKE   Nightwar (XTRA LARGE)   SHIRT   (Crucial Blaze)    11.98



Here's the first Wolfnuke shirt design from Crucial Blast, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....


WOLFNUKE   Nightwar (MEDIUM)   SHIRT + CASSETTE BUNDLE   (Crucial Blaze)    15.98



This is a combo bundle that includes the Wolfnuke Nightwar cassette, the Nightwar shirt design, a vinyl Wolfnuke sticker, and a set of 1" Wolfnuke buttons.
Here's the first Wolfnuke shirt design from Crucial Blast/Crucial Blaze, printed on black Gildan 100% cotton t-shirts and professionally screenprinted by Mammoth Screenprinting. Features a front chest print of the "Nightwar" Wolfnuke logo and magickal icon. The second document on the new Crucial Blaze imprint, Wolfnuke's Nightwar is a glorified demo, the first raw recorded work from this new Hagerstown, Maryland quartet that includes the C-Blast boss on bass and bellows, as well as a current member of long-running hardcore/grinders Strong Intention (Six Weeks / Coalition Records) on guitar. Wolfnuke seeks a different form of mayhem however, forging a furious, blackened thrash assault out of an unlikely combination of influences that include the obvious (classic second wave black metal and Teutonic thrash), the vitriolic crossover thrash of Cro-Mags's 1989 album Best Wishes, a lust for the driving, apocalyptic power of late 80's UK goth rock (Fields of The Nephilim, Sisters Of Mercy), and the violent aggression of Scandinavian hardcore....
Track Samples:
Sample : WOLFNUKE-Nightwar (MEDIUM)
Sample : WOLFNUKE-Nightwar (MEDIUM)
Sample : WOLFNUKE-Nightwar (MEDIUM)
Sample : WOLFNUKE-Nightwar (MEDIUM)



WOOLY MAMMOTH   Ten Ton Baby   CD   (Underdogma)    9.98

Ten Ton Baby IS CURRENTLY UNAVAILABLE FOR ORDER

Washington, DC resin rockers (and HIDDEN HAND buddies, with whom they shared the split ďNight LettersĒ LP/CD last year) WOOLY MAMMOTH debut here with this 4 song load, digging into lethargic blues sludge, soaring rock crush, with terrific, gritty vocals. Ten Ton Baby nails a solid and insanely catchy fusion of early SOUNDGARDEN blues sludge swagger and psych metal riffing that glues itself to my cranium. This 4 song CD gets even heavier with the last two tracks, which lay down some killer space doom power. Highly recommended to big riff worshippers.
Track Samples:
Sample : WOOLY MAMMOTH-Ten Ton Baby
Sample : WOOLY MAMMOTH-Ten Ton Baby



WRETCHED   Black Ambience   CD   (Psychedoomelic)    9.98











Track Samples:
Sample : WRETCHED-Black Ambience
Sample : WRETCHED-Black Ambience


  




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