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AS LOUD AS POSSIBLE   Issue One   MAGAZINE (OVERSIZE)   (As Loud As Possible)    10.98

Issue One IS CURRENTLY UNAVAILABLE FOR ORDER

In the works for over a year, the first issue of As Loud As Possible lives up to the expectations that had been building up with noise and industrial fans. Sub-titled "the Noise Culture magazine", As Loud As Possible was created to offer a well-written and professionally edited publication that would focus exclusively on the world of experimental noise, power electronics, post-industrial music, and related forms, and with this hefty 156 page commencement, things are looking really good. Sure, we have Special Interests which focuses on similar editorial content, but ALAP has a different feel from the grittier, more personal vibe of Mikko Aspa's zine; in fact, Aspa himself is one of the contributing writers for this issue.
There's a ton of stuff to stuff your eyes with: the extensive cover story on Rudolf Eb.er and Runzelstirn & Gurgelstock, for starters, and a MASSIVE retrospective of Broken Flag Records that is essential reading for fans of the influential UK post-industrial label; there's an autobiography of the Haters written by GX Jupitter-Larsen; columns from GX Jupitter-Larsen (Haters), Steve Underwood, John Olson, Andy Ortmann (Panicsville), Mikko Aspa and several other writers; short interview pieces with Vomir and Helicoptre Sanglante; an essay titled The Politics Of HNW: The Roots Of Wall Riding by Sam McKinlay (aka The Rita), which is the best overview of the HNW philosophy that I've read so far; extensive and insightful interviews with Putrefier, Zone Nord, Sewer Election, Alien Brains, Climax Denial, Cheapmachines, Nicole Chambers (Ides Recordings), Apraxia Records, John Smith (the editor of the seminal early Industrial fanzine Interchange), Carlos Giffoni (No Fun); overviews of classic older Industrial albums; and tons of in-depth record reviews that I'm still in the process of reading. Perfect-bound and nicely designed with a clean, organized layout that incorporates all sorts of fantastic visual content (both rare/vintage and contemporary), this excellent magazine deserves a place on every noise/industrial/power electronics fan's coffee table. I can't wait for the next issue.


AX   Metal Forest   CD   (Cold Spring)    13.98



Anyone into the UK post-industrial scene should know Anthony Di Franco. Throughout the 80s and 90s, Di Franco produced some of the heaviest sounds to creep out of the British post-industrial underground during his time in such legendary bands as Skullflower, Ramleh, Novatron and Ethnic Acid; in addition, for a couple of years in the mid-90s Di Franco released some monstrously heavy deathdrone recordings under the Ax name on the Freek Records label, all of which were super limited and disappeared fairly quickly. I myself have been trying to get my hands on this stuff for years without forking out for some major collector's prices, but now we've got this killer collection on Cold Spring that delivers a big chunk of Ax's recorded output.
Almost all of this material has been re-mastered and reissued on Metal Forest, a collection of the Nova Feedback Lp, the Ax II 12", and one song from the 1997 Astronomy Cd. It's crushing stuff, each lengthy track centering around thick layers of ominous, heavily distorted Korg synths and clouds of abrasive feedback and electronic noise. These crushing distorted drones come pouring out of the speakers like black lava, slow oozing streams of super-heavy amp-hum and grinding monochord heaviness, often sounding like a more industrialized Sunn O))) jam, but with some noisier traits that clearly come from Di Franco's background in harsh noise and power electronics.
The first couple of tracks focus in on simple but MASSIVE dronescapes, beginning with the sauropod throb of "Kortex" as it detonates in slow motion within a cloud of black static, sounding like some super-heavy dronemetal outfit covering an old Maurizio Bianchi piece, growing ever more crushing as Di Franco pours in more and more distorted synth over his bleak industrial pummel. On "Nova Feedback 1", loops of grinding synth and buzzing electronics are woven into a mesmerizing oceanic mass of pulverizing drone, followed by the titanic thrum of "Heavy Fluid" as it shimmers in a relentless coruscating glow of white-hot light, a single-chord drone wavering in space, dipping and rising like a chunk of infernal aerial technology riding on the plumes of some sulfurous ether. Then you get "Theme One", where the creeping synthgrind is joined with bursts of random percussion, some very Skullflower-esque bass sounds and string-scraping guitar abuse, and shocks of wild electricity, overall tapping into a sound that is very reminiscent of what Matt Bower was doing around the same time with the 'Flower.
But then Di Franco could also whip up some seriously ear-destroying noise with Ax as well. Take the title track, a massive wall of distortion, a vast churning mass of black static and impenetrable hiss that is pure HNW, and it's as heavy and brain-blotting as anything you'd hear nowadays from Vomir or The Rita; the second half of the track shifts abruptly into a kind of desolate industrial ambience made up of distant rumblings and eerie metallic drones, occasionally obscured by blasts of reverb-drenched sound, glimpses of massive half-formed riffs moving in the gloom.
The two-part "AX II" is also much noisier in comparison, a nearly twenty minute epic that assaults it's layered amplifier drones with a nearly constant barrage of spacey synth noises and trippy electronic fx, at times resembling a heavier version of CCCC's cosmic noise destruction, while transforming into an undulating mass of blackened, buzzing synth-drones and Lustmord-esque doomdrift for the second half of the track. More massive feedback symphonies and rumbling mechanical drift forms across "Nova Feedback 2", at times sounding like predatory alien aircraft lifting into the stratosphere, the sound of Metal Machine Music reconfigured as horror movie score, and closer "Cluster" transports Di Franco's waves of majestic tremolo buzz into the outer nebula, a Skullflower-esque distorted riff taking on a kind of kosmische density as it loops around and around, a wall of ominous psychedelic crunch.
This really isn't that far from the magma-metal dronecrush of Black Boned Angel and 00 Void-era Sunn O))), and the blackened metallic drift of Circle Of Eyes, but the synth-heavy industrial aspect of Ax's music is obviously coming from a different place. Its incredibly heavy stuff though, a piece of 90's underground heaviness that fans of Di Franco's other bands will definitely want to hear...
Track Samples:
Sample : AX-Metal Forest
Sample : AX-Metal Forest
Sample : AX-Metal Forest



BAGMAN   Men Who Solicit Sex   CDR   (Murderabilia Records)    7.99

Men Who Solicit Sex IS CURRENTLY UNAVAILABLE FOR ORDER

After hearing his contributions to the now out-of-print Philosophy of a Knife compilation on Peripheral, I immediately fell in love with his brand of ultra-skeezy, ultra-heavy skum electronics, a brutal low-fi blast of hatred that turned the classic UK power electronics sound into something a bit more bestial. You've got the elements in place - distorted raving vocals, harsh electronic noise and feedback, hardcore misanthropy - but somehow it sounds like something new in the hands of Bagman, offering a fresh strain of violence somewhat similar in feel to the blackened bestial industrial of Project: Void while clearly under the influence of the sexual perversions of prime era Sutcliffe Jugend.
Men Who Solicit Sex is the latest load of venom that Bagman has dropped in 2012. Over the course of this study in sexual slavery and illegal solicitation, Bagman sandwiches samples from documentary footage concerning the sex trade in the UK in between his pulsating cancerous electronics, throbbing tumors of rhythmic synth arpeggios swarmed by nauseating feedback, a vile black sheen covering everything. His vocals are utterly psychedelic, run through an extreme amount of distortion to the point where they are little more than a cloud of reptilian verbal hatred. The production is raw, even by power electronics/noise standards, but it's fucking perfect. That is definitely one of the things that I love about this project's recordings. Its so distorted and blown and abrasive, the sound possessing a real weight to it, which is not something that is always present in PE. This is dark stuff that constantly seethes under a constant threat of imminent violence.
Highly recommended to power violence extremists. The disc is presented in jewel case packaging with a booklet of disturbing graphics and text, and wrapped in clingy black cellophane with a set of Bagman stickers. Limited to one hundred copies.
Track Samples:
Sample : BAGMAN-Men Who Solicit Sex
Sample : BAGMAN-Men Who Solicit Sex
Sample : BAGMAN-Men Who Solicit Sex



BAGMAN   For Kenneth McKenna   CASSETTE   (Crucial Blast - Infernal Machines Series)    5.00



  I don't remember exactly where it was that I first discovered Bagman's blackened fusion of misanthropic electronics and oppressive harsh noise (probably the Men Who Solicit Sex disc that came out on Murderabilia), but I know that it had instantly seeped into my brain, infecting me with an utterly malignant atmosphere. This one-man UK outfit has been producing this pitch-black noise since at least 2008, and has already amassed a pretty impressive list of releases since then, each one a sonic representation of abject horror, the residue remaining after one gazes unblinkingly into the bottomless abyss that is humanity's capacity for evil and cruelty. When I throw on one of the few Bagman releases I've been able to track down, it feels like every mote of light in the room is being slowly crushed, leaving behind a caput mortuum of dread and disgust. Bagman's recordings ooze with the unfiltered horror of the human mind, translated into a series of violent audio frequencies. This stuff ain't no fun, that's for sure. Carrying on the tradition of transgression found in the early UK power electronics scene but combining it with a much more brutal and suffocating sonic assault, Bagman's early recordings are rumbling, bestial noisescapes littered with the voices of hate-mongers and murderers, criminals and degenerates and scenes of sexual deviance all suffused into the crushing walls of black static filth, junk metal devastation and monstrous electronics. Previously out of print, three of Bagman's malevolent early CDR releases have now been reissued on limited-edition cassette through the Infernal Machines imprint with all new artwork, recommended only to enthusiasts of the most nihilistic strains of extreme electronic noise and rabid industrial horror.
  Bagman's 2008 EP For Kenneth McKenna is another portrait of boundless human cruelty, inspired by parts of Max Call's lurid 1985 serial killer tome Hand of Death: The Henry Lee Lucas Story and the bizarre online mythology surrounding Florida inmate Kenneth McKenna that began to appear subsequent to that book. A purported member of the "Hand of Death Cult", McKenna was a denizen of the Florida prison system who claimed to have been involved with all kinds of bizarre crimes, including the production of snuff films that featured the feeding of humans to alligators and anacondas. The five tracks featured here continue to explore the charred sonic wastes between harsh noise wall and power electronics, summoning visions of those bizarre satanic prison cults and reptilian snuff videos in the volcanic fog of Bagman's chaos. Some of this material is actually a little more atmospheric than his typical sonic onslaught, the tracks alternating between brutal walls of crumbling blackened static, punishing high-frequency feedback abuse, horrific power electronics assaults formed out of crushing bass frequencies splattered with those signature monstrous vocals, to more haunting, solemn noisescapes like "Hand Of Death" that layer muffled metallic noises and eerie half-formed synthesizer melodies over fields of smoldering low-end rumble. Clocking in at just over sixteen minutes, McKenna is one of my favorite of all of Bagman's releases, permeated with a sickening atmosphere of rot and decay that seeps from every second of this raw electronic filth.
   Limited to two hundred copies on pro-manufactured cassette.
Track Samples:
Sample : BAGMAN-For Kenneth McKenna
Sample : BAGMAN-For Kenneth McKenna
Sample : BAGMAN-For Kenneth McKenna



BAGMAN   Welcome To My Fucking Misery   CASSETTE   (Crucial Blast - Infernal Machines Series)    5.00



  I don't remember exactly where it was that I first discovered Bagman's blackened fusion of misanthropic electronics and oppressive harsh noise (probably the Men Who Solicit Sex disc that came out on Murderabilia), but I know that it had instantly seeped into my brain, infecting me with an utterly malignant atmosphere. This one-man UK outfit has been producing this pitch-black noise since at least 2008, and has already amassed a pretty impressive list of releases since then, each one a sonic representation of abject horror, the residue remaining after one gazes unblinkingly into the bottomless abyss that is humanity's capacity for evil and cruelty. When I throw on one of the few Bagman releases I've been able to track down, it feels like every mote of light in the room is being slowly crushed, leaving behind a caput mortuum of dread and disgust. Bagman's recordings ooze with the unfiltered horror of the human mind, translated into a series of violent audio frequencies. This stuff ain't no fun, that's for sure. Carrying on the tradition of transgression found in the early UK power electronics scene but combining it with a much more brutal and suffocating sonic assault, Bagman's early recordings are rumbling, bestial noisescapes littered with the voices of hate-mongers and murderers, criminals and degenerates and scenes of sexual deviance all suffused into the crushing walls of black static filth, junk metal devastation and monstrous electronics. Previously out of print, three of Bagman's malevolent early CDR releases have now been reissued on limited-edition cassette through the Infernal Machines imprint with all new artwork, recommended only to enthusiasts of the most nihilistic strains of extreme electronic noise and rabid industrial horror.
  Originally self-released in 2008, Bagman's Welcome To My Fucking Misery was the first release from the project, delivering four lengthy tracks of vile, blackened noise and rumbling bass horror that stretches out for nearly half an hour. Tracks like "In Bonds" and "Power Thrust" explore the themes of deviant violent sexuality and bestial violence that course through the flesh of Bagman's electronic soundscapes like cancerous cells, the murderous whispered vocals blasted through so much putrid distortion that the images of depravity, sadism and savage lust become unintelligible murmurs, their hateful energy transmuted into a pestilential blur of sound. This is seriously heavy stuff, huge droning slabs of charred distorted rumble infected with those demonic vocals, often sinking into an almost HNW-style wall of distortion. There are strains of a more subdued, dread-filled atmosphere that lurk beneath all of the corroded blown-out drones, sputtering feedback, insectoid buzzing, punishing sheet-metal percussive rhythms and scrap-metal rituals, but moments appear briefly, quickly consumed within the pulsating black horror of Misery's foul, raw extreme electronic chaos and visions of abject suffering.
   Limited to two hundred copies on pro-manufactured cassette.
Track Samples:
Sample : BAGMAN-Welcome To My Fucking Misery
Sample : BAGMAN-Welcome To My Fucking Misery
Sample : BAGMAN-Welcome To My Fucking Misery



BAGMAN   Public Catharsis 1   CDR   (412Recordings)    8.00

Public Catharsis 1 IS CURRENTLY UNAVAILABLE FOR ORDER

One of the most vicious of the newer British power electronics outfits, Bagman has been a favorite of mine since discovering the For Kenneth McKenna Ep this past year, and I've been hunting down whatever I can find from the project. The Public Catharsis #1 Cd-r (released on 412Recordings) is a recent live doc of this leather-armored scum warrior in action, and is way better than you'd expect for a live power electronics recording. Recorded in London in July of 2011 at ILL FM, this is actually the first ever live performance from Bagman, a twenty-two minute piece of predatory electronics perfumed in copper-scented ambience, where Steve Bagman stalks the stage, his head bound in a thick black leather mask, armed with Korg synths and looping effects chains that are piled into murderous assaults of filthy electro-throb while film footage and photo stills of sinister creepshots, rotting corpses, energetic bondage sessions, and the Great Constrictor, Kenneth McKenna flow across the wall behind the stage. Man, do I wish I could have been there.
The performance opens with a recording of children singing the lullaby "Hush, Little Baby", their voices becoming gradually more distorted and pushed into the red before Bagman violently crashes in with an onslaught of droning ambient feedback, howling cavernous squeals and foul distorted vocals, raving incoherently over a filthy backdrop of blackened dronedrift that becomes increasingly more ominous and threatening as the set continues. For the next twenty-odd minutes, the music shifts from massive rumbling amp-drones and ghastly machine hum to looping sampled voices and washes of sinister reverb-soaked noise. As with his other recordings, the influence of legendary UK power electronics duo Sutcliffe Jugend is heard throughout Bagman's psycho-sexual ravings and visions of merciless sadism and abuse, but he also gives this his own distinct edge via the incorporation of blasted melody into his fogbanks of black static and factory ambience, appearing here via fragments of ultra-blown-out film music are woven through the clouds of toxic black hum, and the eerie notes that drift across the background of "It Girl".
The disc comes in a twelve-page glossy booklet, and is hand-numbered in an edition of one hundred copies.
Track Samples:
Sample : BAGMAN-Public Catharsis 1
Sample : BAGMAN-Public Catharsis 1
Sample : BAGMAN-Public Catharsis 1



BAGMAN   In Their Blood And From The Gutter   CASSETTE   (Crucial Blast - Infernal Machines Series)    5.00



  I don't remember exactly where it was that I first discovered Bagman's blackened fusion of misanthropic electronics and oppressive harsh noise (probably the Men Who Solicit Sex disc that came out on Murderabilia), but I know that it had instantly seeped into my brain, infecting me with an utterly malignant atmosphere. This one-man UK outfit has been producing this pitch-black noise since at least 2008, and has already amassed a pretty impressive list of releases since then, each one a sonic representation of abject horror, the residue remaining after one gazes unblinkingly into the bottomless abyss that is humanity's capacity for evil and cruelty. When I throw on one of the few Bagman releases I've been able to track down, it feels like every mote of light in the room is being slowly crushed, leaving behind a caput mortuum of dread and disgust. Bagman's recordings ooze with the unfiltered horror of the human mind, translated into a series of violent audio frequencies. This stuff ain't no fun, that's for sure. Carrying on the tradition of transgression found in the early UK power electronics scene but combining it with a much more brutal and suffocating sonic assault, Bagman's early recordings are rumbling, bestial noisescapes littered with the voices of hate-mongers and murderers, criminals and degenerates and scenes of sexual deviance all suffused into the crushing walls of black static filth, junk metal devastation and monstrous electronics. Previously out of print, three of Bagman's malevolent early CDR releases have now been reissued on limited-edition cassette through the Infernal Machines imprint with all new artwork, recommended only to enthusiasts of the most nihilistic strains of extreme electronic noise and rabid industrial horror.
  A gaze into the abyss. Originally released in 2009 as a limited edition CDR on the Greek label Subliminal Recordings, Bagman's In Their Blood And From The Gutter is one of his earliest recordings, a foul, hateful blast of brutal harsh noise and screeching feedback littered with disturbing incoherent samples, recordings of far-right American political extremists, and blasts of garbled verbal hatred. These four tracks stretch out for nearly half an hour, each one an expansive blast of crushing distorted rumble and caustic black static, blasts of howling feedback carved into strange rhythmic forms, the cacophony of collapsing structures often breaking away to reveal a seething core of bestial vocalizations and sputtering low-fi drone. Massive low-end synthesizers growl through the suffocating blizzard of crackling static and roaring distressed vocals, bringing a doom-laden feel to tracks like "Breath Constriction" and "Hunting Ground". Ultra-heavy, hellish electronic noise that often steps into power electronics territory without losing it's chaotic, skin-shredding abrasiveness. It is some of the heaviest material that this project has produced, fueled by a monstrous throbbing black rhythmic power, those distorted rumbling synthesizers pulsating like the core of a dying black star. Bagman strips away the civilized face of humanity, and finds a festering, demonic evil leering back at us.
   Limited to two hundred copies on pro-manufactured cassette.
Track Samples:
Sample : BAGMAN-In Their Blood And From The Gutter
Sample : BAGMAN-In Their Blood And From The Gutter
Sample : BAGMAN-In Their Blood And From The Gutter



BAND OF PAIN   Sacred Flesh OST   CD   (Cold Spring)    11.99



Been awhile since I've picked up a Band Of Pain album; the last actual full length that we got here at C-Blast was 2003's Qué Amiga?. I'm still waiting to hear something new from this venerable dark ambient outfit, but in the meantime Cold Spring has reissued this sinister soundtrack that BOP's Steve Pittia (also a founding member of cult UK noise rockers Splintered) did for Nigel Wingrove's controversial nun/blasphemy/art-sleaze flick Sacred Flesh in 2000. Sacred Flesh is probably the finest original score to a nunsploitation flick I've heard, as Pittia crafts a series of twelve pitch-black soundscapes that evokes all manner of fleshen debasements, religious/sexual imagery and descents into the bestial nature of the self.
Opening theme "Sacred Flesh" blends ominous orchestral elements with mysterious percussive sounds and sparse rhythmic noises before leading into the lush synth-horror of "Elizabeth, Bride Of Christ", where vast rumbling, buzzing synth drones undulate in the abyss, emitting clouds of Lustmordian dread and cavernous reverberations, where the lusty whispers of "Christ's wives" are buried beneath more demonic-sounding utterances and the thick, slow-drifting sound of symphonic strings being processed into evil drones. The tracks that follow vary in feel and texture while remaining consistently ominous and threatening throughout: "Strength To Resist" features muted, abstract orchestral ambience and blackened electronic drones, while "Submission" conjures bizarre images as the sounds of running water course through orgasmic moans, stretched out organ drones and grim synth/string arrangements. Pounding industrial percussion hammers away relentlessly under "In Media Vita"'s bleak expanse of forlorn-sounding strings, colorless keys and the sound of a crackling bonfire, and the nightmarish ecstasies of "Beat Out Desire" introduce a grinding machine-like rhythm and an infectious grungy bass line that slithers alongside liturgical sounds, the howling of nuns lost in the throes of orgasmic bliss. Most of this soundtrack is made up of massive orchestral nightscapes, though, carrying with them a pervasive atmosphere of spiritual desolation and dread. There's even shades of John Carpenter that appear here, specifically in the black synths of "Sister Ann".
I'm pretty sure this is the most evil-sounding piece of music that Band Of Pain has produced, and fans of Atrium Carceri, later Lustmord and Endvra will dig this for sure.
Track Samples:
Sample : BAND OF PAIN-Sacred Flesh OST
Sample : BAND OF PAIN-Sacred Flesh OST
Sample : BAND OF PAIN-Sacred Flesh OST
Sample : BAND OF PAIN-Sacred Flesh OST



BLOOD OF HEROES, THE   self-titled   CD   (Ohm Resistance)    14.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

Didn't even know that this killer new project from Justin Broadrick (Godflesh/Jesu/Final/Techno Animal, natch) and Bill Laswell (Painkiller/Praxis) even existed until right before the disc came out! You’d think that there would be more hype about this considering the lineup. And man, is this a monster of a debut. The first collaboration between Laswell and Broadrick since Painkiller's Buried Secrets, The Blood Of Heroes is a concept project based on a somewhat obscure post-apocalyptic action flick from 1989 called The Blood Of Heroes that starred Rutger Hauer. I myself haven’t seen this movie in years, but I remember liking it allot when it originally came out; the film detailed a scorched future earth where nomadic "Juggers" travel from town to town engaging in a brutal blood sport that bears some resemblance to rugby, only it’s played with bone-crunching full impact violence and dog skulls. Using themes and details from the film, Laswell and Broadrick create a narrative that explores this brutal future society through a mixture of massive speaker-wrecking dubstep, industrial metal riffage from Broadrick, drum n' bass/breakcore and ambient electronica...basically a badass conglom of Godflesh grind and malevolent dubstep/raggacore, with contributions from breakcore producers End.user and Submerged and Dr. Israel from Method Of Defiance handling the mic. For anyone who thought that there was more room for pure heaviness in dubstep and raggacore after The Bug’s London Zoo, this album is probably going to blow your doors off…
The opener "Blinded" alone is worth picking this up, a crushing apocalyptic dubstep assault with vicious toasting from Israel over punishing industrial flecked drum n bass breaks and slow grinding dubstep grooves, delivering some ultra-crushing dance floor devastation. The gorgeous industrial dub of "Chains" has Broadrick draping lush Jesu-like blissed out guitar and dreamy electronica over MASSIVE booming breakbeats, and on "Salute To The Jugger, the band welds grinding metallic guitar and swirling ominous samples to crushing dancehall dirge with more of Dr Israel's booming toasting and sinister hip hop flow.
The album continues through more Godflesh-meets-Enduser industrial-metal junglist fury laced with ululating female cries ("Breakaway"), gorgeous driftscapes of Jesu-style crushing melodic guitar over slower drum n' bass grooves swathed in spacey effects and sampled ambient noise ("Transcendent"), heavy but so catchy and mesmeric, and intricately assembled, atmospheric dubbed-out electronica and cinematic soundscapes with spoken word from Israel that further fleshes out the world of Blood Of Heroes. Even though the music on this album is very much rooted in dubstep and drum n' bass, Broadrick's trademark heaviness is all over the place. "Remain", for instance, starts off just like a Jesu song, massive crushing dreamsludge poppiness joined by lush electronics and breakbeats, but over time it morphs into more skittery, stuttering drum n’ bass without losing the gorgeous melodic riff/hook at it's center. "Wounds Against Wounds" combines more massive blown-out Godflesh-style low end crush with manic jungle rhythms and a suffocating atmosphere of dystopian dread. "Descend Destroy" starts as a druggy dubscape of delayed toasting drifting through the ether, looped guitar, dark droning ambience, then turns into a sort of menacing industrial hip-hop jam, Dr Israel flowing over more grinding industrial sludge and pounding breakbeats, sounding a lot like Techno Animal streaked with dubstep bass buzz and spacey effects, later on morphing into apocalyptic drum n bass. That's followed by the eerie ethno-ambience, Middle Eastern strings, and ululating vocalizations of ""Bound" that lead into a scorched dubbed-out drum n bass assault, and the album closes with a wave of tribal drums and dubbed out jungle skitter, delirium of effects laden toasting, swirling angelic voices and murky dark ambience. Some of the heaviest stuff that Broadrick has done in years, it sounds like a natural progression from the heavy dub/breakbeat experiments that Godflesh engaged in during the mid 90’s, now fused with modern beat technology and much more complex programming. This disc fucking rules, and I hope to hell that this isn’t just a one off project…
Comes in digipack packaging.
Track Samples:
Sample : BLOOD OF HEROES, THE-self-titled
Sample : BLOOD OF HEROES, THE-self-titled
Sample : BLOOD OF HEROES, THE-self-titled
Sample : BLOOD OF HEROES, THE-self-titled



BODYCHOKE   Cold River Songs   CD   (Relapse)    14.98

Cold River Songs IS CURRENTLY UNAVAILABLE FOR ORDER

Being a big fan of the whole UK post-industrial scene, the Pathological, Freek, Broken Flag and Headdirt labels, bands like Skullflower, Ramleh, Splintered, Slab!, etc., it's weird that I never got into the band Bodychoke before. Part of it is that their stuff has been out of print for years and I just never came across any of their albums, but Bodychoke also came along later in the 90's, around the time that this scene began to drift deeper underground. Thanks to Relapse for reissuing this 1998 album, though, because this stuff rules. Cold River Songs originally came out on the Purity label, and has been presented here in a remastered form with three bonus tracks (originally from the limited Completion cdr) and new artwork and album design.
The band was formed by members of power electronics legends Sutcliffe Jugend and Whitehouse, a massive noise rock unit that fused together industrial rhythms, crushing riffage, dark dramatic baritone vocals that sound a whole lot like Michael Gira from Swans, and nihilistic lyrics. By the time that Bodychoke recorded their third and final album Cold River Songs, they had evolved into a sinister combination of the pummeling mechanistic heaviness of Godflesh, the grim and dramatic crush of Swans, and the gloomy post-punk of Joy Division and Nick Cave.
The album starts off with the heavy guitar noise and tribal drumming of "Control", ominous martial snares coming in, the sound very Swans-like, and then it changes into a frenzied noise rock jam, screaming vocals and seething riffage, bits of electronic noise and cello, a pummeling industrial noise rock groove. The next track "Cold River Song" is a longer jam that starts off with atmospheric clean guitar strum and drums, the cello coming back in and giving the sound an epic, dolorous feel, and as the song stretches out for almost ten minutes, the softer post-rock sound is contrasted with violent eruptions of distorted riffs and pounding percussion, building slowly to the chaotic crescendo at the end. More cello dominates "Your Submission", whose sparse bass lines and skittering dubby percussion at first creates a dark, brooding vibe, Paul Taylor's deep crooning vocals and the electronic noises adding to the moody post-rock crawl, but then the track erupts into a super heavy spaced out tribal jam with screamed vocals, corrosive slabs of guitar noise, pounding militaristic snares, scraped cello strings, a pounding industrial post-punk heaviness that segues right into the song "Victim". This track starts off almost like a chamber rock piece, eerie cello drones and electronic ambience and tribal percussion slowly building to another frenzied noise rock eruption, squalls of guitar noise and heavy drumming pounding out a hypnotic waltzing groove, similar to later-era Swans or Killing Joke.
The Swans comparison is most obvious on "Ideal Home", though. It's a standout track that's much more somber and restrained than the rest of the album, a slow moody dirge that's led by the bass guitar and cello and surrounded by clean guitars and violins and subtle percussion, dramatic and brooding and very Swans-like, especially when the distinctly Gira-like singing comes in. And "Aftermath", which closed the original album, is another ominous post-punk jam, almost entirely instrumental save for some deep chanting choir-like vocals, the sound minimal and spacey, droning horns and moaning cello mixing with minor key guitar and sprawling dramatic ambience, finally building into squalls of psychedelic, Skullflowery noise guitar. The three bonus tracks at the end are similar, winding noise-laced rock with explosive feedback, haunting cello strings, pounding Killing Joke-style drumming, and fierce screamed vocals. This album is so heavy and haunting; I can't get enough of it, and can't believe that I've just now discovered it. A definite recommendation for anyone into heavy noise rock, Uk industrial, that sort of thing; this is one of the best albums that I've ever heard from that era of underground UK heaviness!
Track Samples:
Sample : BODYCHOKE-Cold River Songs
Sample : BODYCHOKE-Cold River Songs



COLOSSLOTH   Antipathy In Nature   LP   (Doom-Mantra)    15.98














CON-DOM   Recycled Music Series   CASSETTE   (RRRecords)    4.50



Since the Recycled Music cassettes that RRRecords puts out have zero information about the release included with them and the RRR site is slim on release info, I usually have to rely on online databases like Discogs.com to find out when any of these tapes came out. The Con-Dom cassette in the Recycled Music series is unfortunately lacking in release year info on the site and the tape has yet to be officially entered into Con-Dom's own discography list on their site, so I have no idea how old this entry in the series is. I'm guessing that it's one of the older tapes, though. Regardless of when this came out, it's a lethal dose of perverted power electronics from one of the seminal groups from the original UK industrial scene of the 1980s alongside Whitehouse, Ramleh, Sutcliffe J�gend and Grey Wolves. The name of Mike Dando's hardcore electronics project is short for Control-Domination, and has been kicking around since 1983, releasing some of the most controversial released from the early days of power electronics. This Recycled cassette captures Dando's acidic PE assault with two untitled side-long tracks that average around twenty minutes apeice, and each side is a relentless pummeling of vicious vocal ranting about what I presume to be the usual array of social issues that Dando explores, and the vocals are run through so many electronic effects that his language is mutated into an indecipherable alien roar that sprawls out across queasy, extremely distorted oscillating sinewaves and crunchy dissonant noise that sounds like it might have been guitar generated. At times, this set gets pretty nauseating with the violently fluctuating tones, photon blasts and extreme use of effects, especially on the second side. It's an intense and unsettling listen. Like the rest of the Recycled Music series, Con-Dom's entry is dubbed over an old commercial music cassette and packaged in the orignal tape cover covered with duct tape.
Track Samples:
Sample : CON-DOM-Recycled Music Series
Sample : CON-DOM-Recycled Music Series



CONSUMER ELECTRONICS   Dollhouse Songs   LP   (Harbinger Sound)    26.99














CONSUMER ELECTRONICS   Repetition Reinforcement   12"   (Diagonal)    19.99














CONSUMER ELECTRONICS   Teenage Nuremburg   CDR   (RRRecords)    7.98



This old recording from the early British noise project Consumer Electronics just resurfaced recently on RRRecords as a CDr, and it sounds as nasty and abusive now as it ever did back when it was first released. The solo project of a young Philip Best of Whitehouse/Ramleh infamy, Consumer Electronics took a more primitive (yet no less ferocious) approach to constructing severe electronic abuse, and this mid-90s release on the Pure series cuts right through your headmeat with six lengthy assaults of extreme industrial violence. Although the disc was originally released in 1995, the actual recordings all date back to 1982-1983 and are culled from rare cassette and limited vinyl projects. The sound of Teenage Nurmeburg is a kind of murky, dread-soaked proto power electronics, with tracks such as "Sex Deaths", "Genesis Of A Child Star" and "Fusing Devices" (all of which could have doubled as song titles for Whitehouse) lashing out at the listener with looped percussion buried under sheets of tape hiss, loads of low-fidelity slime and airplane hangar reverb crawling across the concrete floor, and weird electronic zaps and synth effects. Best's vocals have a heavily flanged, deformed effect that make 'em sound much stranger than what he did on those Whitehouse albums around the same time, and sometimes erupts into monstrous guttural roars that have a shocking effect when they suddenly blare out over the sordid backdrop of cavernous rumblings, high pitched squeals, strange samples of British youth behaving obnoxiously, and musical fragments and chunks of pop songs. It can go from extremely caustic and nauseating feedback/synth abuse into something that can be surprisingly rhythmic, even hypnotic at times, which of course just adds to the uneasy feeling that permeates all of Consumer Electronics. Also of note is the monolithic opening title track, a nightmarish blat of filthy basement electronics that was recorded back in 1983 and features guest material from John Murphy of industrial pioneers SPK. Comes in a multi-color xeroxed sleeve.
Track Samples:
Sample : CONSUMER ELECTRONICS-Teenage Nuremburg
Sample : CONSUMER ELECTRONICS-Teenage Nuremburg



CONSUMER ELECTRONICS   Estuary English   2 x LP + CD   (Dirter)    38.00

Estuary English IS CURRENTLY UNAVAILABLE FOR ORDER












CONTENT NULLITY   Absolute Dread   CASSETTE   (Phage Tapes)    6.98

Absolute Dread IS CURRENTLY UNAVAILABLE FOR ORDER

I'm working on getting my hands on everything I can find from Content Nullity; this UK based power electronics/death industrial outfit has turned into another one of my favorite current projects in this field, after having been deeply creeped out by the recent Scorn Of Totality tape on Audial Decimation. If you're at all into the darkest, heaviest currents of modern PE, this is a band you should be listening to. The superbly-titled Absolute Dread tape came out a few years ago on Phage but is amazingly still in print; issued in a limited run of one hundred pro-manufactured tapes in silk-screened packaging, this is another terrific dose of Content Nullity's misanthropic industrial/noise crush, recorded earlier in the project's career.
One track per side, beginning with the black botfly swarm of "The Parasites That We Are" that slowly wells up out of the darkness in a hive-buzz of distorted synths and grainy tape-hiss, a steady mindless buzzing drone curling through the murk, everything awash in black static. Strange vocal sounds, faint traces of orchestral synth and various minimal effects start to peer out of the depths, but it's all devoured by the waves of bass-heavy distorted rumble that begin to pour in. When the real vocals finally come in, they're so rheumy and reptilian that they end up adding a whole 'nother layer of creeping horror to the sound. Later on, the side actually starts to get into some pretty gorgeous kosmische drift, but the black pulsing death-synth fluctuations that appear keep things from crawling too far out of the abyss.
The other track "Throw My Bones Down The Well" starts off more as an ominous harsh noise experiment, piercing feedback waves coursing over distant percussive rumblings, but then does an abrupt shift into all-out brutality, crushing distorted feedback and junk-avalanche destruction rushing around collapsing mountains of concrete and glass, becoming increasingly more violent and thunderous as it proceeds. Some pounding rhythmic forms and spastic glitch appear at various points and it lurches into a strange malfunctioning mechanical rhythm towards the end, but for the most part this is pure crushing chaos.


COSMONAUTS HAIL SATAN   Cape Cannibal Skull Island Apocalypse   CD   (Amanita)    14.98

Cape Cannibal Skull Island Apocalypse IS CURRENTLY UNAVAILABLE FOR ORDER

Totally degenerate, B-movie fueled riffbattery, a stumbling, malevolent thug-noise monstrosity somewhere between Skullflower and Brainbombs ! Holy fuck !! We had never heard of this band prior to receiving the disc from Amanita, but the cyclical, retardo-krautrock-on-percocets thud that oozed out of the C-Blast stereo had us swooning. Segments of assorted grindhouse cinema and b-film dialogue cut-ups are smeared across hideous neanderthaloid feedback wrangling and looped distortion gunch. Gorgeous muzak bliss is ground, hamburger-like, into the concrete by a brain-damaged Godflesh riff set on endless repeat. Synth freakin, trance-inducing drums, exploding electronic tracers. You could almost call parts of this "free jazz" , if it wasn't drooling on you so heavily. A fuzz n' filth encrusted bass guitar slaps all steppers to the wall. Even the freaking drums sound like they're connected to a fuzz-box. Mutoid subterranean buzzsaw howl pounds at what little is left of your spirit. Apparently this is the sole full length album that this UK outfit spurted out, circa 1995, and includes some WAYYY out of print cassette only tracks. Stefan Jaworzyn ( Skullflower ) contributes some smartass liner notes. We love discoveries like this, especially when it turns out to be a crushing orgy of free-skronk sludge and horror movie inspired tape-loop dementia/psychedelia !


COSMONAUTS HAIL SATAN   Satan Yuri And You   7" VINYL   (Shock)    5.98

Satan Yuri And You IS CURRENTLY UNAVAILABLE FOR ORDER

Whoa! All of you UK noise rock fans better take notice...we stumbled across a long lost stash of this long out-of-print 7" EP from psychedelic sludge mutants Cosmonauts Hail Satan, released way back in 1992 in a hand-numbered edition of 666 copies by the mighty Shock Records, the label run by Stefan Jaworzyn of Skullflower / Ascension / Shock Xpress fame! This EP was the very first release from Cosmonauts Hail Satan, and it's more of the bizarre, distorted psych-plod and drug-fueled satanic tape cut-up delirium that appeared on their Cape Cannibal Skull Island Apocalypse disc. The two sides are just two halves of a single track, a deranged industrial sludge rock jam with pounding percussion, heavy tribal drums knotted into hypnotic primal rhythms, massively distorted bass and guitar oozing Melvins-esque sludge, thick streaks of low-end amplifier drone, caustic guitar noise, and TONS of looped samples from old witchcraft flicks and horror movies strewn over the top. It's a blast! These guys never achieved the same level of notoriety as their peers in Skullflower, Ramleh and Splintered (well, maybe not Splintered, those guys were lost to obscurity too...), but it's the same sort of heavy, noisy UK sludge rock; fans of this stuff should move quick if you want a copy, as we only found a couple of these rare records.


COSMONAUTS HAIL SATAN   Bizarre and Torturous Rituals Of The Primitive World   7" VINYL   (Secret Devil Records)    13.98



This is the second older 7" from Cosmonauts Hail Satan that has come into the shop recently; the first was the Satan Yuri And You 7" on Shock Records that we found (and which is still in stock), which I still can't believe is still floating around out there. UK noise/thud rock from this era is really hard to find since most of this stuff was pressed up in really tiny runs, and I don't expect either of these 7"s to lurk on our shelves for long.
This UK noise rock band was a contemporary of Skullflower, Splintered, Bodychoke, and the other noisy guitar-centric bands on the Shock Records roster, but they were considerably weirder than those outfits thanks to the band's obsession with skeezy exploitation cinema that resulted in lots of strange samples being wound around their pounding dirge-rock trances. Released in 1995 on the UK label Secret Devil Records, this rare two-song Ep contains some of CHS's most restrained music, at least compared to their other stuff that I have in my collection. The first song "Deep River Misery" is a sparse industrial hypno-rock hallucination of pulsating motorik drums, slithering bass, wispy feedback, cannibal b-movie samples and strange rain forest samples, creaking guitar and amp noise funneled into a kind of creepy, murderous trance rock, sort of like a sparser more psychedelic take on hypno-crunchers Gore or Circle. The b-side song is "Stacy Keach", an ode to that square-jawed star of Mountain Of The Cannibal God and Road Games in the form of a slinky industroid throbber, a deep serpentine groove shot up with black synth buzz, almost Scorn-like beats, and more creepy pilfered exploitation film samples arranged into strange new codes on this pounding head-nodder. Pretty sweet.
Each copy is machine-numbered.


CREMATION LILY   Fires Frame The Silhouette   LP   (Alter)    27.99



   Since 2011's Sexless Merit, UK power electronics artist Zen Zsigo has been producing a beautifully depraved strain of electronic gloom under the name Cremation Lily, mainly through extremely limited cassette releases on his own Strange Rules imprint. These tapes have contained some of the most captivating noise experiments I've heard out of the UK lately, combining bursts of cruel power electronics with smears of ghostly ambience, gales of crushing sheet-metal chaos and, most notably, ethereal synthesizer melodies that add a forlorn musical element usually absent in this realm. New album Fires Frame The Silhouette is the first full-length vinyl release from the project, a stunning collection of dreamlike noise and harsh industrial abrasion that can sometimes rival Prurient at his most atmospheric, comprised of key tracks from previous cassette releases that have been reworked and remixed for this new release.
    For the most part, the tracks collected on Fires tend to center more around building an oppressive sonic atmosphere steeped in gloom and the banality of daily life, than assaulting the listener with extreme electronic frequencies, though there are moments of severe aural abuse. Cremation Lily's sound finds itself in a disturbing realm populated with the likes of recent Sutcliffe Jugend and Consumer Electronics, the noisier aspects of these recordings rendered in service to an overall immersive sound, an ocean of decrepit industrial collapse. The first track "Drawings Hang On Police Station Walls" that opens up the record suggests a more traditional PE direction, but after that assault of shrieking feedback and scolding screams finally drifts into the void, the album falls back into a series of haunting synthesizer melodies buried beneath endless cacophonies of collapsing scrap-metal and squealing machinery. Eerie minor key laments slowly creep over and through the gales of entropic noise that Zsigo unleashes, sometimes breaking free of the chaos completely to focus on a single murky droning synthesizer floating through the abyss, it's only accompaniment a muted, mechanical growl ensepulchered in the depths. There are parts that almost resemble a classic John Carpenter score being played out over the sounds of a machine shop coming to life, all moody dark synthdrift repeating endlessly over a symphony of rusted chains, but the distorted vocals that appear intermittently throughout the tracks are so frenzied as to resemble the vitriolic ravings of a vocalist from an old hardcore punk outfit. Elsewhere, the sounds of church choirs drift languidly over endlessly echoing volleys of metallic clank and the ambient sounds of a dank oubliette, or surge into onslaughts of reverberant percussive noise and controlled blasts of cetacean feedback, encountering fragments of what almost sounds like triumphant film score music buried beneath massive droning synths and avalanches of empty oil drums, then finally closing with the swirling melodious synthmurk of the title track, a final glimpse of stark spellbinding beauty among the scenes of industrial carnage.
    Limited to three hundred copies.
Track Samples:
Sample : CREMATION LILY-Fires Frame The Silhouette
Sample : CREMATION LILY-Fires Frame The Silhouette
Sample : CREMATION LILY-Fires Frame The Silhouette



CULVER   The Black Telephone Wire   CDR   (At War With False Noise)    9.98

The Black Telephone Wire IS CURRENTLY UNAVAILABLE FOR ORDER

Culver is the alias for prolific drone head Lee Stokoe, who also runs the UK label Matching Head, plays bass in sludge-drone metallers Marzuraan, and has recently been enlisted as a live member of both Sunroof! and Skullflower. The Black Telephone Wire is a limited edition CD-R on the At War With False Noise, and the first thing that strikes me is how mellow this is compared to just about everything else I've heard from the label, the devotional drone/folk/sludge of Culver standing in bright contrast against the improvisation skullfucks administered by the likes of Kylie Minoise, Tetsuo, and Nackt Insecten. This CD-R contains a single track, 47 minute long, which begins with a dark, minor-key melody strummed and plucked slowly on a single acoustic guitar, the notes fingerpicked and left to hang in empty air, gradually picking up pace and becoming a repetitive folk dirge that builds in strength and volume as it transforms into a single droning chord, a buzzing acoustic ur-drone. Glacial drones and fuzzy electronic ambience rises out of space over the first 20 minutes of the track, and the drones and distortion and acoustic guitar gradually swirl together into a hypnotic, fuzzed out roar littered with aqueous melodies. Totally mesmerizing and quite heavy, especially towards the end when the distortion really kicks in, massive and beautiful, a black blizzard of icy sludge mantra that stretches out forever. An excellent disc of heavy drone that has a similiar vibe as that of Corrupted's forays into acoustic ambience. Released in a limited edition of 100, in an oversized sleeve with haunting artwork printed onto acetate sheets.


CULVER   Sugar Tip   CD   (Bloodlust!)    13.98

Sugar Tip IS CURRENTLY UNAVAILABLE FOR ORDER

Guitarist and dronemaker Lee Stokoe has been a member of the new Skullflower lineup for awhile now, appearing on some of the newer studio and live recordings and performing live with Matt Bower, and his addition to the band has probably been a big factor in the 'Flower's evolution into the furious blackened dronerock behemoth. Also a member of the UK sludge band Marzuraan, this guy keeps pretty busy, and on top of all of this he's still able to crank out new material from his longrunning solo project Culver, which I'm always stoked to hear. Sugar Tip is one of Culver's latest slabs of crushing metallic amp-trance, released on the Chicago industrial label Bloodlust! and packged with Stokoe's signature style of brightly colored and surreal collage art.
The first track "Suicide Crypt" is roaring pit of blacknoise rumble, endless walls of buzzing, grinding, raging distorted drone like a massed Chatham-like army of doom metal guitarists all playing the same single chord behind a cascade of roiling low-end rumble and threads of humming high-end drone that almost sound like orchestral strings distended from massive gravitations pull. For more than twenty-one minutes this piece stretches out, a massive wall of roaring distorted dronebuzz, a purely ambient noisewall that undergoes only the most subtle chordal shifts.
At just two minutes, the middle track "I Know You're Alone" is just an interlude between the two other larger tracks, a swirl of muted low-end thrum and murky cosmic winds obscuring a vague melodic pulse, droning and dark kosmiche drift that leads straight into the final distorto-drone epic...
"Suicide Witch", like the first track, is both minimal and massive, a single feedback drone writhing serpentine through cosmic clouds of warbling high-end shimmer and thick metallic buzz, a mighty blackened raga buzzing through the void, Sunroof-style. As this goes on, the soft smears of ambient hum and metallic resonance that float around this roaring static raga-drone undergo slight shifts, forming into eerie fragments of melody that evolve ever so slightly over the track's twenty-three minutes, winding down at the end as the drones are stripped down layer by layer until all that remains is a throbbing electrical hum at the end.
Fans of Sunroof, Vulture Club, Ajilsvga, Birchville Cat Motel, RST, To Blacken The Pages, and other guitar-centric heavy psychedelic drone outfits, here's another crushing psychdrone archtitect for you to zone out to!
Track Samples:
Sample : CULVER-Sugar Tip
Sample : CULVER-Sugar Tip



DEATH FACTORY / MESSIAH COMPLEX   split   CASSETTE   (At War With False Noise)    5.98

split IS CURRENTLY UNAVAILABLE FOR ORDER

In amongst all of the wrecked outsider doom and low-fi skum-metal and blownout prog/psych destruction that At War With False Noise has been hurtling through our doors over the past year (Zarach'Baal'Tharagh, Sloth, Veee Deee, Seppuku, Alkerdeel, Gnaw Their Tongues, Marzuraan, Black Sun, etc etc etc), you might just forget for a second about the NOISE in At War With False Noise. In case you needed a reminder though (and if recent releases from Vomir, Rape-X, and Mike Page slipped under yopur radar), this split cassette is here to bring the noise, and lots of it. This tape came out last year and is already sold out from the label, but we have ten of the last copies available in stock. A set of shadowy industrial sketches from each group, Chicago's Death Factory and UK electronic heavies Messiah Complex each lay out around 30 minutes of filthy, crushing industrial abstraction.
UK duo Messiah Complex unleash a thirty minute untitled track of nihilistic droning machinedeathroar, much noisier and more violent than the rumbling dark ambient sludgedrift of their Meniscus disc on At War. Here, the band starts off with a swirling black vortex of oscillating distortion, then builds it into a roaring wall of malevolent noise and grinding electrical powerdrone, not quite at Vomir/Rita territory, but harsh and heavy as fuck nonetheless. This is more detailed, dynamic stuff than pure wall-noise; dense distorted rumblings and textured feedback swirl and surge and recede, sometimes revealing stretches of metallic hum, more often exploding in bursts of symphonic white noise, subsonic concrete-mixer thunder and sickening, roaring death metal-esque vocals. Awesome.
The Death Factory side is titled "De-composed Works" and is split up into four distinctly seperate tracks. This stuff is very cool - taking it's name from a Throbbing Gristle bootleg, Death Factory tap into that old school 80's industrial vibe with a series of distorted rhythmic dirges, high-freq feedback soundscapes, alien morse code patterns, radiant kosmiche synths, intensely cold ambient soundscaping, short powerful blasts of harsh noise, chirping insectile electronics, crushing distorted powerdrone and nightmare-inducing radio transmissions, and it all puts out this dank, paranoid cloud of urban unease that is quite effective, especially when Death Factory flows into an awesomely eerie Tangerine Dream/Klaus Schulze style ambient movement at the end.
As always, killer packaging from At War With False Noise: the tapes are packaged in translucent static-shield bags with a doublesided insert and sealed with a printed sticker. Limited to 100 copies, and like I said, these are the last of 'em!
Track Samples:
Sample : DEATH FACTORY / MESSIAH COMPLEX-split
Sample : DEATH FACTORY / MESSIAH COMPLEX-split



EEYOW KAROOM   Message From The Zodiac   CDR   (Suggestion)    10.98



Another much-needed dose of brutal distortion blather from that UK fright mutant Eeyow Karoom, whose past power skuzz we've dug mightily, ESPECIALLY when you bring up his mighty hypno skullfuck squad Cosmonauts Hail Satan, whose retarded noise rock trances are frequently blasted here at C-Blast HQ. With Message From The Zodiac, Karoom emits more of the ear destroying feedback skree and death storm that was slathered all over the Aggro Stations series he did(also released on the Suggestion imprint), this time tho revolving around the Zodiac Killer letters. It's fittingly sinister stuff, nine devilish and droning tracks of mean Broken Flag-meets Deathpile style speaker burn encoded in pure malevolence. It's a harrowing 45 minutes of horrific, massively distorted electric gristle, pure cranium shaving shit, with Eeyow's vocal vomit sounding not unlike Rawhead Rex beaming back verbal sleaze from the 26th Century. The killer packaging ties in with the Zodiac theme: an unassuming manila envelope hand-addressed to the Riverside Police Department contains a nice color digipack w/ disc along with a Zodiac badge, copies of some of the Zodiac's letters, and other xeroxed weirdness. Limited to 60 freakin copies, hand numbered!!!! Def for fans of Deathpile, MSBR, Prurient's harsher stuff, old Marax, brutal scum-drones, neighbor-hating feedback combat, etc.


EXECUTION SUPPORT ACT / EXTERMINANT   Still Life With Electric Chair   CDR   (Der Bunker)    4.99

Still Life With Electric Chair IS CURRENTLY UNAVAILABLE FOR ORDER

Horrific metal junk chaos meets pitch-black static drone on this limited-run disc from Hal Hutchinson's now defunct Der Bunker imprint. No frills and zero fluff, this cd-r comes in a simple black and white Xeroxed sleeve.
First up is the one and only recorded appearance of Exterminant, a short lived project from Ulex Xane, whom you may know as the original founder of the acclaimed Aussie label Extreme Records as well as the guy behind the controversial long-running power electronics project Streicher. As Exterminant, he brings us "Solucion Brutale", a total skullfuck of harsh metallic junk-noise sculpted into looping patterns that ends up becoming an intense wall of psychedelic carnage. Mountains of collapsing metal, blasts of extreme filthy feedback, screeching oscillator freak-outs are all mashed together into this towering monolith of harsh noise. It takes the scrapyard abuses of K2 and Kakerlak and blasts 'em into a whirling vortex of lysergic scrape, rumble and roar.
One of Hal Hutchinson's earlier projects and a pre-cursor to his HNW work under the Pollutive Static name, Execution Support Act gives us "Horrific View Of A Killing Machine (The Act Of Killing A Criminal)", a long blast of swarming HNW, a constant rush of dense, black locust-static that completely fills the air and blots out all of the light. This wall is similar to the dead static-blasts of Vomir, and shares the same trance-inducing properties through its eight minute long meditation on self-negation.
Issued in a limited edition of fifty copies.
Track Samples:
Sample : EXECUTION SUPPORT ACT / EXTERMINANT-Still Life With Electric Chair
Sample : EXECUTION SUPPORT ACT / EXTERMINANT-Still Life With Electric Chair



FINAL   Reading All The Right Signals Wrong   LP   (No Quarter)    17.98














FINAL   Dead Air   CD   (Utech)    10.99



Long before there was Jesu, or Godflesh, or Techno Animal, or even Napalm Death, there was Final, Justin Broadrick's first project that he started in the early 80's as a response to the burgeoning UK industrial movement. Since Broadrick has been immersed in his work with Jesu over the past few years, I haven't heard much new material from Final outside of the double disc that Neurot put out a few years ago, which is too bad; I've always been a fan of the grim isolationist ambience, corrosive guitar noise and formless drones that have always marked his solo recordings under the Final name.
Considering how sweetly melodic and poppy his shoegazer-industro-sludge anthems have been getting with Jesu, it's jarring to hear how abrasive and crushing the sound of Dead Air is - compared to the Neurot release, this is virtually harsh noise! The first track "Slow Air" especially...holy shit! A massive chunk of super-distorted bass riffage grinding beneath clouds of acidic feedback and slowly hovering high-end drones. Huge and overdriven and fucking menacing, this ultra heavy industrial sludge is like a Skullflower jam gone rotten, the roaring murky crush laced with looping melodies and machine-like throb. The next track "Cave" is streaked with oscilatting waves of digital chaos and ascending feedback that gradually turns into a roaring wall of glitchy noise and grinding white noise.
Then comes "Fearless Systems", another super heavy industrial dirge, but this time the heaviness is laced with sinister little bits of melody and fluttering electronic squelch, while a massive sludgy two-note riff breathes in and out. SOme haunting, heavily processed guitar melody and blown out cosmic synth begins to appear over the track, and once again I'm reminded of old Skullflower, albeit dunked in tar and damaged noise and thick syrupy Tangerine Dream. Really beautiful. The next track "Disordered" is much more abstract, with just a minimal dronescape of crackling noise and descending engine roar. From there the album continues to become more fractured and noisy, sometimes sculpting the low-end drones into huge factory grooves, or delving into grating Whitehouse-style distortion, fields of fragmented guitar, chaotic shoegazey blisscapes, crushing distorted guitar drone, grimey rust-covered kosmiche drift, or, as on "Inanimate Air" and "Smeared Air", infusing warbling analog electronic noise with pulverizing overmodulated bass frequencies pilfered from dubstep.
Comes packaged in a gorgeous six-panel folder with artwork by Stephen Kasner.
Track Samples:
Sample : FINAL-Dead Air
Sample : FINAL-Dead Air



FINAL   Reading All The Right Signals Wrong   CD   (No Quarter)    14.98














FLUX / SLAB   Protoplasmic / Descension   2 x CD   (Relapse)    10.98

Protoplasmic / Descension IS CURRENTLY UNAVAILABLE FOR ORDER

A two-fer-one package from Relapse that bundles two of their more obscure releases from the 90's; both of these albums are pretty terrific, and if you're a fan of avant-garde post-industrial heaviness and experimental guitar-based ambience, highly recommended. Each disc comes in it's own complete packaging, but the two cds are housed in a printed slipsleeve.
First, Flux's art-industro-pop album Protoplasmic:
Um, it's sorta hard to believe that this far-out guitar pop is from the bassist from doomlords Khanate, especially if you weren't familiar with all of James Plotkin's earlier projects. But this was one of the avant-guitarist's primary projects in the 90's after the demise of experimental goof-grinders Old Lady Drivers, recorded around the same time that he was collaborating with Mick Harris from Scorn, who actually produced this album. That produced a cross-pollination of ideas that take shape on Flux's one and only album Protoplasmic from 1997, which sounds like a mix of futuristic trip-hop and heavy dreamy roboto mecha-pop filtered through Plotkin's mutant guitar. More than ten years later, Flux still sounds totally unique. The rhythms are weird and angular, broken jagged beats and fractured breaks that alternate with more rigid percussion that comes close to Scorn or Godflesh's heavy drum programming, but the guitars are crafted into lush, dreamy abstract textures and jagged melodic lines that give this a weird post-punk feel. Plotkin enlisted vocalist Ruth Collins to recite a combination of spoken word poetry and ethereal fx-soaked harmonies, and he himself delivers some neat robotic vocoder crooning in a couple of tracks. At times, I'm reminded of the angular anti-funk of Wire, but combined with dark, spacey beatscapes. However, once you get to the last half of the album, things get decidedly darker and more ominous. The song "Stretched Out" moves into shadowy regions, evoking the creepy darkhop/industrial dub of Scorn with distorted vocals over heavy programmed break beats and throbbing basslines, dark electronic drones and electronic fx. "Airtrap" has Collins delivering another spoken word piece over dark rising drones and distorted synth sounds and chittering insectile noise a la Throbbing Gristle. But then the last track "Immanence" returns the big jagged drum machine beats and synth guitar sounds from earlier, almost jazzy and ecstatic, with glorious buzzing drones and huge looping bass locked into the propulsive grooves, sounding vaguely like Italian prog blasted through a wall of sci-fi synth.
The second disc in the package, Slab!'s dark industrial funk/sludge opus Descension:
Featuring members of esteemed UK avant/rock/noise bands like Sweet Tooth, Ice and God, Slab! were a similar sort of post-industrial crushsquad who went for a unique avant sound that tapped into both the industrial sludge of Godflesh and the nihilistic pummel of Swans, as well as a heavy post-punk and free jazz vibe, with a bit of Foetus thrown in. It's interesting that I got this disc in the same week that I picked up that Bodychoke reissue on Relapse, as both bands come from a similar sound, although Slab! were much more eclectic and weird. This Relapse reissue from the late 90's collects both the Descension Lp and the tracks from the People Pie 12", both of which came out on Ink Records back in 1987-88. This is pretty crucial stuff for fans of the UK noise rock scene of the late 80's; Slab! were a seriously heavy band that back in the day were compared to everything from Swans to Big Black to Material and The Birthday Party, which gives you an idea of how far-ranging their sound could be.
The first two songs set the trajectory for where Slab! are headed: menacing, near-whispered vocals and bleak oppressive ambience creeping over a massive hypnotic industrial sludge groove of "Tunnel Of Love"'s grinding robotic drums, electronic noise and crushing bass, then followed by sheets of dissonance, gothy Depeche Mode-ish crooning, oil drum percussion, rumbling bass and pummeling mechanical grind of "Undriven Snow", which sort of sounds to me like a new wavey Godflesh.
"Dr Bombay" begins with heavy guitar noise and softly bleating horns, dark and jazzy, before launching into an unexpectedly funky industrial jam, multiple drummers playing in tandem, massive rumbling bass, the band launching into a sort of industrial strength no wave funk with free jazz horns. Reminds me of 16-17 a bit, but less abrasive, more heavy and hypnotic and, er, danceable. It all drifts off into pure free jazz territory for a minute, before dropping back into that propulsive groove, and then after another bout of skronky, splattery free jazz towards the end, the song shifts into a pounding industrial dirge, total Godflesh-like heaviness.
The next song "Dolores" features piano, shuffling electro rhythms, break beats, and deep dramatic vocals in a nightmarish electro jam, the vocals a Gira/Danzig-like baritone croon, big rocking basslines, trancey rhythmic beats, surges of strings and horns, like Godflesh mixed with orchestral samples and dark post-punk.
"The Animals" is a slow fragmented dirge with backwards tape noise and demonic pitch shifted vocals, simple plodding bass, creepy samples, simple pounding percussion, drifting off halfway in into minimal dark ambience, then returning to a free jazz-damaged version of the original dirge, subtle squawking horns bleating and echoing at the edges of the music, the drums building into a dense echoing wall of tribal pummel, the track becoming more hallucinatory, the guitar skronkier and more abstract and Sharrock-like.
"Gutter Busting" is another pounding industrial post-punk funk dirge with fiery horns and stuttering industrial breakbeats, crushing and Scorn-esque, with weird clean backing vox. The Swans vibe returns with "Flirt" (especially in the vocals), and "Mooseland" begins with improv drumming and guitar noise, bits of abstract piano, very free jazz, then blasts off with distorted bass guitar churning against the skittery jazzy rhythms. Both "Loose Connection Somewhere" and "Big Sleeper" also mix free jazz clatter and Swans'style pummel, and "People Pie" at first seems like another industrial sludge assault, but then pulls out exuberant R&B backing vocals on the chorus (!). The last track "Railroad" is a haunting jazz-sludge quake, all plodding bone-rattling bass , distorted heaviness, druggy chanting, a mechanical monstrous groove stumbling through psychedelic looped samples and narcotized horns.
Fucking awesome stuff, I dunno why more people didn't get into this band and album when Relapse reissued it, but it's remained one of the more overlooked and obscure reissues that Relapse ever put out. If you are into bands like Godflesh, Head Of David, God, Splintered, Cosmonauts Hail Satan, Bodychoke, Terminal Cheesecake and the like, though, you need to hear this. The disc includes an eight page booklet that has liner notes, band bio, discography info, lyrics and more.
Track Samples:
Sample : FLUX / SLAB-Protoplasmic / Descension
Sample : FLUX / SLAB-Protoplasmic / Descension
Sample : FLUX / SLAB-Protoplasmic / Descension
Sample : FLUX / SLAB-Protoplasmic / Descension



FORDELL RESEARCH UNIT   The Illusion Of Movement   CD   (At War With False Noise)    11.98



An excellent new Cd from the Scottish noise duo Fordell Research Unit, The Illusion Of Movement has revived my lust for high-quality heavy dronemusic after having to choke down one too many humdrum drone discs lately. Made up of members Fraser Burnett and Grant Smith, Fordell Research Unit creates richly detailed buzzscapes across the album's four long tracks, which stretch anywhere from eight to eighteen minutes in duration, and even on the shorter ones they unfold an entire world of gleaming metallic hum and crackling speaker hiss and mechanical rattling that are pretty damn intoxicating. It's heavy stuff, too; on tracks like the aptly-titled "Dumped Washing Machine Floating Up River" and the crushing infernal engine-roar of "Gateshead Black Room", there's an undercurrent of burly, low-end rumble and churning guitar that succeeds in injecting a hefty amount of crunch into the clanging industrial drones. It''s not pure rumble, though; these long dronefields are laced with all kinds of eerie minimal melody, distant majestic ambience and looping fragmented samples that become pretty complex and layered the deeper you get into the album, and it results in a really cinematic quality on the tracks that reveals more of itself with each subsequent listen. The final track is the most fearsome, a throbbing black bass-pulse throbbing at the heart of a cosmic storm of howling dead voices, grainy distorted drones and massive orchestral guitar buzz. These guys show a lot of promise with this album, crafting massive slabs of heavy-duty industrial drone built from crushing walls of guitar rumble and feedback that seem to follow a continuous theme throughout the disc, building into moments of monotonous heaviness that are able to reach some of the same hypnotic peaks of machinecrush as Culver, Haare, DMDN, Jazzfinger and some of the harsher, more abstract Skullflower work (circa Tribulation). Released by At War With False Noise in a limited edition of five hundred copies.
Track Samples:
Sample : FORDELL RESEARCH UNIT-The Illusion Of Movement
Sample : FORDELL RESEARCH UNIT-The Illusion Of Movement



GODFLESH   Streetcleaner   LP   (Kreation)    16.98

Streetcleaner IS CURRENTLY UNAVAILABLE FOR ORDER

Available on black vinyl.
What needs to be said about Streetcleaner that hasn't already been put on the books? We all revel in the enormous blissed-out sludge and shoegazy metallic rock of Jesu, and I'm a pretty solid mark for anything that Justin Broadrick has had his hands in over the years (Final, Ice, Techno Animal, etc.), but it all comes back to THIS. After forming the pioneering grindcore band Napalm Death and recording a portion of their first album Scum, Broadrick made his way through the industrial rock of Head Of David and then hooked up with G.C. Green to form Godflesh. I remember when Streetcleaner came out in 1989, it was possibly the heaviest thing I had ever heard up to that point, a crushing concoction of booming drum machine beats that moved from tick-tock mechanical rhythms and militant martial snare beats to crushing breakbeats, with bludgeoning, simplistic riffs and squealing harmonics welded together above the pounding percussive attack and huge bass-heavy bottom end. Everything about this record was terrifying: the cover artwork of legions of crucified men in front of a towering wall of fire, a still taken from Ken Russell's legendary Altered States, to the rigid, fearsome music and thoroughly unfriendly vocals inside, and the song titles that evoke grim images of dystopian horror and technological annihilation like "Christbait Rising", "Like Rats", and "Locust Furnace". Definitely THE album to start with if you are a newcomer to Godflesh's nuclear-strength industrial metal. This CD version of Streetcleaner also contains four bonus songs that were initially intended for an EP that never materialized, included here at the end. Totally essential.
Track Samples:
Sample : GODFLESH-Streetcleaner
Sample : GODFLESH-Streetcleaner
Sample : GODFLESH-Streetcleaner



GODFLESH   Songs Of Love & Hate / Love & Hate In Dub   2 x CD + DVD   (Earache)    14.98

Songs Of Love & Hate / Love & Hate In Dub IS CURRENTLY UNAVAILABLE FOR ORDER

This set isn't the deluxe reissue that we at Crucial Blast might have been wishing for, but it's still a colossal repackaging of two of my favorite Godflesh releases bundled with their DVD of all of their music videos, which has been hard to come by lately. This set includes the original release of Godflesh's 1996 album Songs Of Love And Hate, the companion remix/deathdub collection Love And Hate In Dub, and the In All Languages DVD all packaged together in a cool slipcase. The packaging for the two discs is basically the same as the original pressing, and the DVD is simply included as a second disc in the same case as the ...In Dub disc (which also includes inserts/booklets for both discs, thankfully including all of the excellent liner notes that accompany the video collection). So, if you already own all three of the original releases, you don't need to worry about double dipping, as this release doesn't offer anything new. But for Godflesh fans who still need to add these releases to their collection, or for those who are just now discovering the bonecrushing industrial metal/breakbeat power of mid-90's Godflesh, then this set (priced fucking CHEAP) is a must-get.
Ever since these Brits dropped their classic debut Streetcleaner on an unsuspecting underground in the late 80's, Justin Broadrick and G.C. Green continued to carve out their own unique language of pummeling riffage and unbelievably crushing drum machine programming, developing their sound into something that became increasingly obsessed with repetition and rhythm. The drum machine was one of Godflesh's most prominent identifyers, anchoring the hypnotic chugging bass and discordant riffage to a machine-like grind that took the Swans influence into even heavier, mechanistic territory, and there were few bands back then that came anywhere close to matching the sheer fucking heaviness of Godflesh. So when the band came out with Songs Of Love And Hate in 1996 and introduced their first album with an actual flesh-and-blood drummer behind the kit, it was surprising, as if the band was suddenly turning into an actual "rock" band. The drummer on Songs... is Brian Mantia, one of the founding members of the avant-funk/metal supergroup Praxis and a former member of Bay Area funk rockers Limbomaniacs (am I the only person that actually remembers that band?), and here he lays down a massive breakbeat-heavy groove across the eleven songs, pumping old school hip-hop beats with steroids and creating an undercurrent of pummeling industrial rhythms that are funkier than anything Godflesh had recorded up to this point. It ain't no fun, though, as the entire album seethes with a dystopian negativity that stretches from the hallucinatory image of the statue of Christ against a backdrop of a twilight nightmare world of endless cemeteries and fire-belching factories that is featured as the album cover, to the jackhammer endtime anthems like "Sterile Prophet", "Circle Of Shit", "Angel Domain", and "Frail". The guitars are MASSIVE, Broadrick's detuned guitar grinding out huge quasi-Sabbath riffs locked into infinite trance-states, and clusters of atonal chords that churn and squeal like gears in some hellish machinery. Greene's bass grooves slither through each track, a menacing monolithic low-end presence that never relents. Jesus, this stuff is still as heavy as ever, a paranoid, apocalyptic vision sculpted out of industrial hip-hop rhythms and harsh slow-motion riffage. Essential.
Love And Hate In Dub sourced Godflesh's 1996 album Songs Of Love And Hate and showed Justin Broadrick's evolving proclivities for electronic remixing and ultra-heavy beat manipulation that he was developing in the last half of the 1990's. Finally released on vinyl by Kreation, this album features Broadrick reshaping the original album's material into a scrap metal wasteland of crushing ambient dub, brutal drum n' bass, and metallic hip-hop influenced beats that make the history of the entire nu-metal movement completely irrelevant. Songs Of Love And Hate was itself extremely influenced by hip-hop, but it's sheer grueling heaviness, flashes of blissed out pop and paint peeling noise made sure that noone was going to confuse it for the nu-metal scene that was at full steam by 1996. But with his subsequent remixes, the album is completely transformed into something else, a fusion of Godflesh's noise guitar-led industrial rock heaviosity and the massive beatscapes of his work in Techno Animal and Ice. Jungle patterns and atypical rhythms ride out on waves of deep, low-frequency metallic drone and distorted basslines. Broadrick's vocal diatribes are stripped down into even more minimal mantras that float looplike over ...In Dub's grinding rhythms. The live drums that were used on the original album work perfectly for these remixes, sounding dirty and organic, but they are stretched out, dubbed out, looped and sliced, and become something even more relentless in their groove, and always monstrously heavy. Sure, this stuff is danceable as hell, but it might be the heaviest dance music ever made. A crucial album for anyone into crushing metallic dub, Scorn, Broadrick's later work in Techno Animal and Ice, and ultra-heavy drum n' bass/breakbeats.
And then there's the In All Languages DVD, a collection of all of the music videos that were produced for Godflesh. Songs like "Crush My Soul", "Mothra", "Slavestate", "Christbait Rising", and "Avalanche Master Song" are matched with damaged visuals, roughly filmed video seizures that are both nightmarish and mesmerizing through their thick layers of video murk and static, a perfect accompaniment to Godflesh's dystopian grind. The video for "Avalanche Master Song" features distressed footage of a young Godflesh performing live, while "Crush My Soul" was directed by the controversial artist Andres Serrano. About twenty-five minutes of material, and most of these videos received little to no airplay back when they were originally released. Essential for Godflesh fans, and accompanied by a booklet with informative liner notes on the creation and concepts behind each of the videos.
Track Samples:
Sample : GODFLESH-Songs Of Love & Hate / Love & Hate In Dub
Sample : GODFLESH-Songs Of Love & Hate / Love & Hate In Dub
Sample : GODFLESH-Songs Of Love & Hate / Love & Hate In Dub
Sample : GODFLESH-Songs Of Love & Hate / Love & Hate In Dub
Sample : GODFLESH-Songs Of Love & Hate / Love & Hate In Dub



GODFLESH   Godflesh (SMALL)   SHIRT   (Earache)    13.98

Godflesh (SMALL) IS CURRENTLY UNAVAILABLE FOR ORDER

The classic Godflesh image from the self-titled Ep from 1988, once again available as an official shirt from Earache. An iconic image from the legendary industrial metal band's early years, this design has been bootlegged countless times over the years, but this is a high quality, professionally printed shirt straight from the label, on black Gildan brand 100% cotton fabric. We have sizes small through extra large for this design in stock. The word from Earache is that this (along with the other classic Earache shirt designs, of which we also stock the Brutal Truth Extreme Conditions shirt) are only going to be available for a limited time...






GODFLESH   self-titled   2 x LP   (Earache)    39.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

At long last, Godflesh's seminal self-titled debut from 1988 is finally available on vinyl again, in the deluxe edition that this release has been in need of. This new 2014 edition of Godflesh features all eight of the tracks that appeared on the CD versions, including the bonus tracks that were never included on any of the previous vinyl releases. This version also comes in a gatefold jacket with a huge twenty-four by thirty-six inch poster of the iconic cover art, and a pair of inserts with lyrics and artwork; pressed on cloudy translucent clear vinyl with an etching on the D-side, issued in an edition of five hundred copies. Here's my old write-up for the original CD release:
Godflesh's self-titled debut is generally overshadowed by it's legendary follow-up Streetcleaner, and while the band's 1989 masterpiece is undeniably one of the greatest extreme music albums of all time, their eight song debut is just as crucial and influential on the entire spectrum of industrial metal and metallic avant-rock. This is where Justin Broadrick and G. C. Green first created their sound, a pummeling, mechanistic cross between the pounding, negatory NYC sludge of the Swans, grindcore's discordant, downtuned guitars, and the grinding, pistoning clang of factories spewing clouds of black filth into the skies. Merciless in their use of repetition, each track centers around a key riff that grinds over and over atop a pulverizing drum machine beat, with malevolent manipulated feedback and splattery drum machine breaks infiltrating the suffocating vibe. This was originally released as an EP in 1988 through the label Swordfish Records, but was later reissued around 1990 by Earache with two additional tracks added on to make this almost an hour long. Some of the bands most crucial jams are here: "Avalanche Master Song", "Ice Nerveshatter", "Veins", every one of 'em as heavy and oppressive and skullcrushing as they were the first time you heard 'em. And deep in these slow motion breakbeats and the thick guitar thud, you can hear the roots of the ethereal sludge sound that Justin would later develop into Jesu. Also of note are those two bonus tracks, "Wounds" and "Streetcleaner 2", both of which are more abstract than anything else on the album, lengthy blackened wastes of dark dubbed out noise, hypnotic tribal pounding and militant drum machine loops, distant screams and pitchshifted speaking voices, all nightmarish and surreal, very much inspired by later era Swans but doused in even greasier vats of late-80's dread. Beyond recommended.
Track Samples:
Sample : GODFLESH-self-titled
Sample : GODFLESH-self-titled
Sample : GODFLESH-self-titled



GODFLESH   A World Lit Only By Fire   CASSETTE   (Hydra Head)    9.99

A World Lit Only By Fire IS CURRENTLY UNAVAILABLE FOR ORDER

Now available on limited edition cassette from Hydra Head.
Throughout 2014, there were numerous long-awaited albums that I was dyin' to hear, long in the works comebacks from longtime favorites like Mysticum and Eyehategod, but more than any of them, I was looking forward to the brand new album from Godflesh. This mucho anticipated comeback from the British industrial metal titans came on the heels of the fantastic Decline & Fall EP from earlier in the year that teased us with a glimpse of the molten fury of the band's reinvigorated sound, but even with that preface, A World Lit Only By Fire still stunned with it's relentless, hammering power. From the opening moments, it's clear that the band is firing on full force, hammering out the sort of punishing mechanized heaviness that their earliest albums were known for. And World has it, a triumphant return after a thirteen year silence, sounding like there's been no downtime at all.
Aglow in apocalyptic ambience and encrusted in corrosion, A World Lit Only By Fire strips away virtually all of the melodic undercurrents that appeared on the last Godflesh album Hymns (and which foresaw the heavily-layered shoegazey sludge that Broadrick would explore in more depth with his Jesu project following Godflesh's demise), going for a more streamlined and skull-crushing assault right off the bat with the syncopated mecha-crush of "New Dark Ages", massive downtuned guitars piling atop the robotic thud of the drum machine, the bass slung like slack power cables across the grimly hypnotic groove. That relentless chug continues through the pissed-off dirgey dissonance of "Deadend" that downshifts into even more bone-rattling slo-mo tempos, and the death-factory pummel of "Shut Me Down" swings a titanic hammer across it's punishing head-nodding groove; the power of this material is consistent throughout the entire album, with shades of the band's haunting post-punk tinged pummel seeping into some of the middle tracks, echoes of Killing Joke and Swans lurking beneath the grinding grooves and malevolent pneumatic rhythms, alongside brief glimpses of redemptive beauty that shimmer out across the occasional melodic riff that emerges out of the machinelike anvil crush. And then there's "Imperator", which would be the heaviest slab of industrial death metal I've heard in eons if it weren't for Broadrick's contrasting stoned-out crooning vocals. This is one lean comeback album, devoid of anything that would detract from the single-minded lethality of Godflesh's renewed vision, and the result is easily the best industrial metal album to arrive in recent memory. Highest recommendation.
Track Samples:
Sample : GODFLESH-A World Lit Only By Fire
Sample : GODFLESH-A World Lit Only By Fire
Sample : GODFLESH-A World Lit Only By Fire



GODFLESH   Godflesh (LARGE)   SHIRT   (Earache)    13.98

Godflesh (LARGE) IS CURRENTLY UNAVAILABLE FOR ORDER

The classic Godflesh image from the self-titled Ep from 1988, once again available as an official shirt from Earache. An iconic image from the legendary industrial metal band's early years, this design has been bootlegged countless times over the years, but this is a high quality, professionally printed shirt straight from the label, on black Gildan brand 100% cotton fabric. We have sizes small through extra large for this design in stock. The word from Earache is that this (along with the other classic Earache shirt designs, of which we also stock the Brutal Truth Extreme Conditions shirt) are only going to be available for a limited time...






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

A World Lit Only By Fire IS CURRENTLY UNAVAILABLE FOR ORDER

    Finally in stock on vinyl, and back in stock on digipack CD...
    Throughout 2014, there were numerous long-awaited albums that I was dyin' to hear, long in the works comebacks from longtime favorites like Mysticum and Eyehategod, but more than any of them, I was looking forward to the brand new album from Godflesh. This mucho anticipated comeback from the British industrial metal titans came on the heels of the fantastic Decline & Fall EP from earlier in the year that teased us with a glimpse of the molten fury of the band's reinvigorated sound, but even with that preface, A World Lit Only By Fire still stunned with it's relentless, hammering power. From the opening moments, it's clear that the band is firing on full force, hammering out the sort of punishing mechanized heaviness that their earliest albums were known for. And World has it, a triumphant return after a thirteen year silence, sounding like there's been no downtime at all.
    Aglow in apocalyptic ambience and encrusted in corrosion, A World Lit Only By Fire strips away virtually all of the melodic undercurrents that appeared on the last Godflesh album Hymns (and which foresaw the heavily-layered shoegazey sludge that Broadrick would explore in more depth with his Jesu project following Godflesh's demise), going for a more streamlined and skull-crushing assault right off the bat with the syncopated mecha-crush of "New Dark Ages", massive downtuned guitars piling atop the robotic thud of the drum machine, the bass slung like slack power cables across the grimly hypnotic groove. That relentless chug continues through the pissed-off dirgey dissonance of "Deadend" that downshifts into even more bone-rattling slo-mo tempos, and the death-factory pummel of "Shut Me Down" swings a titanic hammer across it's punishing head-nodding groove; the power of this material is consistent throughout the entire album, with shades of the band's haunting post-punk tinged pummel seeping into some of the middle tracks, echoes of Killing Joke and Swans lurking beneath the grinding grooves and malevolent pneumatic rhythms, alongside brief glimpses of redemptive beauty that shimmer out across the occasional melodic riff that emerges out of the machinelike anvil crush. And then there's "Imperator", which would be the heaviest slab of industrial death metal I've heard in eons if it weren't for Broadrick's contrasting stoned-out crooning vocals. This is one lean comeback album, devoid of anything that would detract from the single-minded lethality of Godflesh's renewed vision, and the result is easily the best industrial metal album to arrive in recent memory. Highest recommendation.
Track Samples:
Sample : GODFLESH-A World Lit Only By Fire
Sample : GODFLESH-A World Lit Only By Fire
Sample : GODFLESH-A World Lit Only By Fire



GODFLESH   self-titled   CD   (Earache)    9.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

Godflesh's self-titled debut is generally overshadowed by it's legendary follow-up Streetcleaner, and while the band's 1989 masterpiece is undeniably one of the greatest extreme music albums of all time, their eight song debut is just as crucial and influential on the entire spectrum of industrial metal and metallic avant-rock. This is where Justin Broadrick and G. C. Green first created their sound, a pummeling, mechanistic cross between the pounding, negatory NYC sludge of the Swans, grindcore's discordant, downtuned guitars, and the grinding, pistoning clang of factories spewing clouds of black filth into the skies. Merciless in their use of repetition, each track centers around a key riff that grinds over and over atop a pulverizing drum machine beat, with malevolent manipulated feedback and splattery drum machine breaks infiltrating the suffocating vibe. This was originally released as an EP in 1988 through the label Swordfish Records, but was later reissued around 1990 by Earache with two additional tracks added on to make this almost an hour long. Some of the bands most crucial jams are here: "Avalanche Master Song", "Ice Nerveshatter", "Veins", every one of 'em as heavy and oppressive and skullcrushing as they were the first time you heard 'em. And deep in these slow motion breakbeats and the thick guitar thud, you can hear the roots of the ethereal sludge sound that Justin would later develop into Jesu. Also of note are those two bonus tracks, "Wounds" and "Streetcleaner 2", both of which are more abstract than anything else on the album, lengthy blackened wastes of dark dubbed out noise, hypnotic tribal pounding and militant drum machine loops, distant screams and pitchshifted speaking voices, all nightmarish and surreal, very much inspired by later era Swans but doused in even greasier vats of late-80's dread. Beyond recommended.
Track Samples:
Sample : GODFLESH-self-titled
Sample : GODFLESH-self-titled
Sample : GODFLESH-self-titled



GODFLESH   Streetcleaner   CD   (Earache)    11.98



Back in stock!
What needs to be said about Streetcleaner that hasn't already been put on the books? We all revel in the enormous blissed-out sludge and shoegazy metallic rock of Jesu, and I'm a pretty solid mark for anything that Justin Broadrick has had his hands in over the years (Final, Ice, Techno Animal, etc.), but it all comes back to THIS.
After forming the pioneering grindcore band Napalm Death and recording a portion of their first album Scum, Broadrick made his way through the industrial rock of Head Of David and then hooked up with G.C. Green to form Godflesh. I remember when Streetcleaner came out in 1989, it was possibly the heaviest thing I had ever heard up to that point, a crushing concoction of booming drum machine beats that moved from tick-tock mechanical rhythms and militant martial snare beats to crushing breakbeats, with bludgeoning, simplistic riffs and squealing harmonics welded together above the pounding percussive attack and huge bass-heavy bottom end. Everything about this record was terrifying: the cover artwork of legions of crucified men in front of a towering wall of fire, a still taken from Ken Russell's legendary Altered States, to the rigid, fearsome music and thoroughly unfriendly vocals inside, and the song titles that evoke grim images of dystopian horror and technological annihilation like "Christbait Rising", "Like Rats", and "Locust Furnace".
Definitely THE album to start with if you are a newcomer to Godflesh's nuclear-strength industrial metal. This CD version of Streetcleaner also contains four bonus songs that were initially intended for an EP that never materialized, included here at the end. Totally essential.
Track Samples:
Sample : GODFLESH-Streetcleaner
Sample : GODFLESH-Streetcleaner
Sample : GODFLESH-Streetcleaner



GODFLESH   Pure / Cold World / Slavestate   3 x CD BOXSET   (Earache)    15.98

Pure / Cold World / Slavestate IS CURRENTLY UNAVAILABLE FOR ORDER

Everyone's pretty much in agreement that Godflesh's Streetcleaner is one of the true high-water marks of extreme music; one only has to look at the far reaching influence that album's grinding slow-motion industrial dirge metal has had on legions of bands that followed, everyone from Fear Factory to Korn to Neurosis and The Bug have referenced the fearsome apocalyptic feel and mechanical grooves of that watershed album. But it's the subsequent album Pure and the EPs and remix 12"s that came out in the wake of Streetcleaner that revealed how multi-faceted and forward-thinking Godflesh's music really was, exploring the fusion of electronic music and extreme metal even further, experimenting with techno, rock-based songwriting, ambient music and shades of the distortion overloaded ethereal qualities of the early 90's shoegazer sound, the latter of which foreshadows Justin Broadrick's later post-Godflesh work with Jesu after the turn of the century. Much of the music that came out around the sophomore album Pure has been out of print for years, but Earache has recently assembled a nice big chunk of this music together in another one of their cool multi-disc packages, this one collecting the Pure album, the Cold World EP, the tracks from the Slateman / Wound '91 7" that came out on Sub Pop, and the entire Slavestate disc. Needless to say, if you don't have this stuff, it's an essential collection if you're a fan of Godflesh.
Though the band was often lumped in with the burgeoning grindcore/death metal scene coming out of the uk in the late 80's, Godflesh were obviously an entirely different sort of beast, much more indebted to early UK industrial and the massive bone-crushing dirge of NYC's Swans than the thrash-influenced sounds of grindcore, and this became even more clear with the release of 1992's Pure. With an expanded lineup that now featured Robert Hampson from UK hypno-rockers Loop on guitar, Pure would feature some of the band's most accessible songs, as well as some of their most abstract and experimental, the ten tracks moving between crushing Swans-influenced mecha-dirge, old school hip-hop breakbeats, corrosive industrial textures, and ethereal rock qualities that makes it pretty clear that Broadrick and company was paying attention to the way that bands like My Bloody Valentine and other underground UK rock bands were experimenting with distortion, volume and melody. You have one of the few "hits" that Godflesh ever had, the mighty industrial rock of "Mothra", as well as the crushing, spacey industrial hip-hop/metal hybrid of "Spite", but then there's the final track "Pure II", a sprawling twenty-one minute feedback/ambient noise epic that expands on the early industrial drone work that Broadrick was doing in his pre-Godflesh band Final. The simple but punishing sludgy guitars and massive bass of the early Godflesh releases hadn't gone anywhere, but now they were welded to a mix of absolutely DESTRUCTIVE industrial breakbeats and pounding grooves. Still intensely heavy and bleak and dystopian in feel, no doubt about it, but with this album Godflesh was beginning to evolve into a much more accessible and downright catchy force. One of my favorite 'Flesh songs ever, "Spite" could pass for a super-heavy rock song if it weren't for the inhuman breakbeats and incredibly distorted/downtuned guitars, and there's even a wailing hard rock solo that erupts towards the end of the song. "Mothra" was one of Godflesh's more popular songs, one of the clostest things to a single the band ever had (with a video that got a surprising amount of airplay on MTV back when Pure came out). Another favorite of mine is "Love, Hate (Slugbaiting)", which begins with several minutes of sampled industrial noise (which was actually taken from a live recording of Broadrick's old band Fall Of Because) before morphing into a massive dreamy metallic dubscape filled with pneumatic rhythms, swells of orchestral feedback, and icy ethereal vocals.
The 1991 EP Cold World was a stop-gap release leading up to the release of Pure, and in some ways it's a fascinating look at the ways that Broadrick's musical language was evolving, especially when you listen to the almost beautiful, dubbed-out dirge of the title track and hear something eerily similar to what Jesu would be doing more than ten years later on the Heart Ache album. The song opens with a gloomy synth string intro, then lurches into crushing ethereal sludge, a huge crunchy industrial breakbeat lumbering in slo-mo as dreamy, echoing vocals are layered over the grinding Sabbathy riff and sheets of shimmering distortion. Like much of the Pure album, the song features Robert Hampson from Loop/Main on guitar, and his swirling, crushing guitar sound added a whole new element to Godflesh's music. But the next song "Nihil" takes quite a different approach. A pounding industrial/techno-metal dirge with wailing feedback and howling, dissonant guitars, droning steel-plated bass lines and anchored to some seriously monstrous EBM-style rhythms, this is Godflesh in their most dystopian dancefloor mode. The rest of the EP is just a duo of remixes for "Nihil", titled "Nihil (Total Belief Mix)" and "Nihil (No Belief mix)"...the former features a more prominent breakbeat and more punishing drum sequencing, sparser guitars, warped vocals, but it's still super metallic and crushing, but the latter goes even bleaker with the guitars almost totally excised, replacing them with huge grinding synth waveforms and noisy industrial samples.
The reissued Slavestate that is included in the set not only includes all of the original tracks from the Slavestate 12" and the Slavestate (Remixes) 12", but also includes both of the long out-of-print tracks from the Slateman / Wound '91 7" that was released as part of the Sub Pop Singles Club back in 1991. Slavestate compiled a pair of original singles that saw Godflesh going even further into electronic music territory, infusing heavy EBM and Wax Trax style industrial music into their metallic attack. There's the brutal techno-influenced mecha-crush of the title track and its two remixes, the pulverizing martial dirge and soaring drone guitars of "Perfect Skin", itself accompanied by a massive twelve-minute "dub" remix that's even harsher and meaner than the original. The song "Someone Somewhere Scorned" stands out for its interesting use of electronic bass, and "Meltdown" is a return to the more straightforward slow-motion devastation of earlier Godflesh, although towards the end the song reveals some really gorgeous melodic guitarwork. The last two tracks are from the Sub Pop 7", and the inclusion of the song "Slateman" was reason enough for me to pick this set up - it's one of their catchiest songs, insanely heavy but with a knockout chorus, another one of my favorite 'Flesh songs; the revamp of "Wound" is a brutal EBM-style remix.
No Godflesh collection should be without these releases, and the three-disc set is an affordable way to fill a big chunk of the early 90's output from these influential industrial/metal pioneers. The discs are packaged in a set of two jewel cases with the original booklets for each release, and are housed together in an oversized slipcase.
Track Samples:
Sample : GODFLESH-Pure / Cold World / Slavestate
Sample : GODFLESH-Pure / Cold World / Slavestate
Sample : GODFLESH-Pure / Cold World / Slavestate
Sample : GODFLESH-Pure / Cold World / Slavestate
Sample : GODFLESH-Pure / Cold World / Slavestate
Sample : GODFLESH-Pure / Cold World / Slavestate



GODFLESH   Decline & Fall   CD   (Avalanche Recordings)    14.98



   Though Godflesh were resurrected in 2010 for a run of festival dates (one of which ended up being their crushing performance at the 2012 Maryland Deathfest, still one of the best sets I've ever seen at the festival), it's taken them a few years to get around to actually putting together some new material for us. Released as a taste of what's to come with their impending new album A World Lit Only by Fire coming later this year, Decline & Fall finally brings us the new Godflesh that we've been waiting for, their first batch of original songs in thirteen years. And man, as soon as "Ringer" kicks in, it's like it's been no time at all, the massive propulsive crush of that opening song is classic Godflesh, that monstrous corrosive downtuned riffage and low-frequency blast of the bass, Broadrick's bellicose bellow and off-key singing, the inexorable grind of the drum machine, it's all as skullcrushing as anything the band did before Broadrick abruptly ended Godflesh in the depths of an nervous breakdown over a decade ago.
   That molten mechanical metal bulldozes across these four songs, powered by the punishing machinelike pummel of the drum machine, but that's also traced by some subtle electronics that are vaguely similar to the sort of textured noise you'd find with Jesu, some murky washed-out melodic drift lingering beneath the surface of the duo's devastating ultra-dirge. Monstrous rhythms lurch across the blown-out dystopian churn of "Dogbite", its deformed funk hammered into a punishing groove splayed over a brutal hip-hop informed breakbeat; and there's an almost tribal energy to the massive bass-driven thud of "Playing With Fire". But its the title track that really sticks out, more complex and faster than what you might expect from these guys, like a a more frenetic, intricate version of their Streetcleaner-era mecha-metal. The band definitely sounds as heavy as ever, the production is crushing. A killer comeback for sure, any skepticism as to whether Godflesh still possessed the consuming fire of their classic output is extinguished as soon as this roars forth from that first track. Can't wait for the album.
Track Samples:
Sample : GODFLESH-Decline & Fall
Sample : GODFLESH-Decline & Fall
Sample : GODFLESH-Decline & Fall



GODFLESH   Messiah   2 x LP   (Relapse)    19.98

Messiah IS CURRENTLY UNAVAILABLE FOR ORDER

A massive double LP edition of Godflesh's Messiah, released by Relapse in a beautiful package with printed inner sleeves, a customized foldover cover and artwork from Paul Romano. In a way this was the final Godflesh release, coming out right after Hymns, although the music on Messiah had originally been recorded in 1994 and released several years later as a limited edition fan-club release on Avalanche Recordings, the post-HeadDirt imprint operated by Godflesh mastermind Justin Broadrick. Long sought after, the Messiah EP and it's four songs was a crucial piece of the Godflesh body of work, and the title track is considered by many (myself included) to be one of the band's finest songs. The tracks "Wilderness Of Nirrors", "Sungod", and "Scapegoat" are equally crushing, with grinding bass pulses, dancey Manchester-style breakbeats and trippy, distorted drum n' bass, dub fx swirling through the droning feedback, mesmerizing guitar noise, and dreamy somnambulant singing on Justin's part that is much more in the vein of what he's been doing lately with Jesu than the other Godflesh material from this same time period. Less metal, more electronic than Selfless, but still immense and crushing and apocalyptic sounding, these jams are some of my favorite Godflesh songs.
And then there are the "dub" versions of the songs which are featured on the second half of this release which were remixed the following year in 1995, alternate versions of each track that are still recognizeable but rendered even darker, more hypnotic and druggy, the various elements of heavy drum machine beats and feedback and already stoned-sounding vocals glazed over with reverb and delay, each one a lysergic dance remix spinning off into the void surrounded by lovely clean guitar sounds, endlessly looped snare drums, snippets of sinister guitar harmonics shooting skyward. The atmosphere for these "dub" remixes isn't as relentless and focused on the pulverizing power of the beats as, say, what Broadrick was doing on the Songs Of Love And Hate In Dub remix album; this is more trippy and psychedelic, trancey and brain melting, and by far the most zoned-out of the Godflesh remixes. Essential for Godflesh fans, obviously, and anyone that has only recently become familiar with Broadrick's music through Jesu or J2 needs to start working their way back through the Godflesh catalog to experience some of the greatest heavy underground experimentation of the late 20th century, and I'm thinking that Messiah would be as good a place to start as any.
Released in a limited edition of only 1,000 copies.


GODFLESH   Messiah   CD   (Relapse)    13.98



After YEARS of being out of stock here, Godflesh's Messiah is finally back on the shelves here!
In a way this was the final Godflesh release, coming out right after Hymns, although the music on Messiah had originally been recorded in 1994 and released several years later as a limited edition fan-club release on Avalanche Recordings, the post-HeadDirt imprint operated by Godflesh mastermind Justin Broadrick. Long sought after, the Messiah EP and it's four songs was a crucial piece of the Godflesh body of work, and the title track is considered by many (myself included) to be one of the band's finest songs. The tracks "Wilderness Of Nirrors", "Sungod", and "Scapegoat" are equally crushing, with grinding bass pulses, dancey Manchester-style breakbeats and trippy, distorted drum n' bass, dub fx swirling through the droning feedback, mesmerizing guitar noise, and dreamy somnambulant singing on Justin's part that is much more in the vein of what he's been doing lately with Jesu than the other Godflesh material from this same time period. Less metal, more electronic than Selfless, but still immense and crushing and apocalyptic sounding, these jams are some of my favorite Godflesh songs.
And then there are the "dub" versions of the songs which are featured on the second half of this release which were remixed the following year in 1995, alternate versions of each track that are still recognizeable but rendered even darker, more hypnotic and druggy, the various elements of heavy drum machine beats and feedback and already stoned-sounding vocals glazed over with reverb and delay, each one a lysergic dance remix spinning off into the void surrounded by lovely clean guitar sounds, endlessly looped snare drums, snippets of sinister guitar harmonics shooting skyward. The atmosphere for these "dub" remixes isn't as relentless and focused on the pulverizing power of the beats as, say, what Broadrick was doing on the Songs Of Love And Hate In Dub remix album; this is more trippy and psychedelic, trancey and brain melting, and by far the most zoned-out of the Godflesh remixes. Essential for Godflesh fans, obviously, and anyone that has only recently become familiar with Broadrick's music through Jesu or J2 needs to start working their way back through the Godflesh catalog to experience some of the greatest heavy underground experimentation of the late 20th century, and I'm thinking that Messiah would be as good a place to start as any.



GODFLESH   Godflesh (MEDIUM)   SHIRT   (Earache)    13.98

Godflesh (MEDIUM) IS CURRENTLY UNAVAILABLE FOR ORDER

The classic Godflesh image from the self-titled Ep from 1988, once again available as an official shirt from Earache. An iconic image from the legendary industrial metal band's early years, this design has been bootlegged countless times over the years, but this is a high quality, professionally printed shirt straight from the label, on black Gildan brand 100% cotton fabric. We have sizes small through extra large for this design in stock. The word from Earache is that this (along with the other classic Earache shirt designs, of which we also stock the Brutal Truth Extreme Conditions shirt) are only going to be available for a limited time...






GODFLESH   Decline & Fall   CASSETTE   (Hydra Head)    7.99

Decline & Fall IS CURRENTLY UNAVAILABLE FOR ORDER

Now available on limited edition cassette from Hydra Head.
Though Godflesh were resurrected in 2010 for a run of festival dates (one of which ended up being their crushing performance at the 2012 Maryland Deathfest, still one of the best sets I've ever seen at the festival), it's taken them a few years to get around to actually putting together some new material for us. Released as a taste of what's to come with their impending new album A World Lit Only by Fire coming later this year, Decline & Fall finally brings us the new Godflesh that we've been waiting for, their first batch of original songs in thirteen years. And man, as soon as "Ringer" kicks in, it's like it's been no time at all, the massive propulsive crush of that opening song is classic Godflesh, that monstrous corrosive downtuned riffage and low-frequency blast of the bass, Broadrick's bellicose bellow and off-key singing, the inexorable grind of the drum machine, it's all as skullcrushing as anything the band did before Broadrick abruptly ended Godflesh in the depths of an nervous breakdown over a decade ago.
That molten mechanical metal bulldozes across these four songs, powered by the punishing machinelike pummel of the drum machine, but that's also traced by some subtle electronics that are vaguely similar to the sort of textured noise you'd find with Jesu, some murky washed-out melodic drift lingering beneath the surface of the duo's devastating ultra-dirge. Monstrous rhythms lurch across the blown-out dystopian churn of "Dogbite", its deformed funk hammered into a punishing groove splayed over a brutal hip-hop informed breakbeat; and there's an almost tribal energy to the massive bass-driven thud of "Playing With Fire". But its the title track that really sticks out, more complex and faster than what you might expect from these guys, like a a more frenetic, intricate version of their Streetcleaner-era mecha-metal. The band definitely sounds as heavy as ever, the production is crushing. A killer comeback for sure, any skepticism as to whether Godflesh still possessed the consuming fire of their classic output is extinguished as soon as this roars forth from that first track. Can't wait for the album.
Track Samples:
Sample : GODFLESH-Decline & Fall
Sample : GODFLESH-Decline & Fall
Sample : GODFLESH-Decline & Fall



GODFLESH   Love And Hate In Dub   LP   (Kreation)    16.98



Love And Hate In Dub sourced Godflesh's 1996 album Songs Of Love And Hate and showed Justin Broadrick's evolving proclivities for electronic remixing and ultra-heavy beat manipulation that he was developing in the last half of the 1990's. Finally released on vinyl by Kreation, this album features Broadrick reshaping the original album's material into a scrap metal wasteland of crushing ambient dub, brutal drum n' bass, and metallic hip-hop influenced beats that make the history of the entire nu-metal movement completely irrelevant. Songs Of Love And Hate was itself extremely influenced by hip-hop, but it's sheer grueling heaviness, flashes of blissed out pop and paint peeling noise made sure that noone was going to confuse it for the nu-metal scene that was at full steam by 1996. But with his subsequent remixes, the album is completely transformed into something else, a fusion of Godflesh's noise guitar-led industrial rock heaviosity and the massive beatscapes of his work in Techno Animal and Ice. Jungle patterns and atypical rhythms ride out on waves of deep, low-frequency metallic drone and distorted basslines. Broadrick's vocal diatribes are stripped down into even more minimal mantras that float looplike over ...In Dub's grinding rhythms. The live drums that were used on the original album work perfectly for these remixes, sounding dirty and organic, but they are stretched out, dubbed out, looped and sliced, and become something even more relentless in their groove and monstrously heavy. Sure, this stuff is danceable as hell, but it might be the heaviest dance music ever made. A crucial album for anyone into crushing metallic dub, Scorn, Broadrick's later work in Techno Animal and Ice, and ultra-heavy drum n' bass/breakbeats. The LP comes on black vinyl in a full color jacket that has slightly different artwork from the original CD release of ...In Dub that Earache released.


GODFLESH   self-titled   LP   (Kreation)    18.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

Available on black vinyl.
Godflesh's self-titled debut is generally overshadowed by it's legendary follow-up Streetcleaner, and while the band's 1989 masterpiece is undeniably one of the greatest extreme music albums of all time, their eight song debut is just as crucial and influential on the entire spectrum of industrial metal and metallic avant-rock. This is where Justin Broadrick and G. C. Green first created their sound, a pummeling, mechanistic cross between the pounding, negatory NYC sludge of the Swans, grindcore's discordant, downtuned guitars, and the grinding, pistoning clang of factories spewing clouds of black filth into the skies. Merciless in their use of repetition, each track centers around a key riff that grinds over and over atop a pulverizing drum machine beat, with malevolent manipulated feedback and splattery drum machine breaks infiltrating the suffocating vibe. This was originally released as an EP in 1988 through the label Swordfish Records, but was later reissued around 1990 by Earache with two additional tracks added on to make this almost an hour long. Some of the bands most crucial jams are here: "Avalanche Master Song", "Ice Nerveshatter", "Veins", every one of 'em as heavy and oppressive and skullcrushing as they were the first time you heard 'em. And deep in these slow motion breakbeats and the thick guitar thud, you can hear the roots of the ethereal sludge sound that Justin would later develop into Jesu. Also of note are those two bonus tracks, "Wounds" and "Streetcleaner 2", both of which are more abstract than anything else on the album, lengthy blackened wastes of dark dubbed out noise, hypnotic tribal pounding and militant drum machine loops, distant screams and pitchshifted speaking voices, all nightmarish and surreal, very much inspired by later era Swans but doused in even greasier vats of late-80's dread. Beyond recommended.
Track Samples:
Sample : GODFLESH-self-titled
Sample : GODFLESH-self-titled
Sample : GODFLESH-self-titled



GODFLESH   Streetcleaner (Reissue)   2 x CD   (Earache)    14.98

Streetcleaner (Reissue) IS CURRENTLY UNAVAILABLE FOR ORDER

It's a big year for Godflesh fans. I suppose I could have seen it coming with the excellent Godflesh reissues that Earache started cranking out a year ago, but it was still a little surprising when Justin Broadrick announced that he would be reuniting his legendary industrial metal band in 2010. Surprising, and pretty fucking terrific. And right on the heels of that announcement came word that Earache would be reissuing the band's defining statement, 1989's essential Streetcleaner, an album that has gone down in the books as one of the heaviest albums of all time. And hardcore Godflesh fans are going to be sated; remastered by Broadrick and sounding more bludgeoning and apocalyptic than ever, this new edition of Streetcleaner also comes with a second disc full of rare Streetcleaner era material, including the original mixes of the first side of the album; two punishing live songs from a performance in Geneca in 1990; raw, blown out rehearsal recordings of "Pulp", "Dream Long Dead" and "Christbait Rising" that fucking destroy; and the early guitar/drum machine demo tracks for the Tiny Tears Ep. In addition, the new Streetcleaner booklet features excellent new liner notes from Metal Hammer scribe Jonathan Selzer, and some minor but illuminating liner notes from Broadkrick himself. Essential for any Godflesh fan that's needed this classic album in their collection.
Here's the old Crucial Blast review for Streetcleaner: What needs to be said about Streetcleaner that hasn't already been put on the books? We all revel in the enormous blissed-out sludge and shoegazy metallic rock of Jesu, and I'm a pretty solid mark for anything that Justin Broadrick has had his hands in over the years (Final, Ice, Techno Animal, etc.), but it all comes back to THIS. After forming the pioneering grindcore band Napalm Death and recording a portion of their first album Scum, Broadrick made his way through the industrial rock of Head Of David and then hooked up with G.C. Green to form Godflesh. I remember when Streetcleaner came out in 1989, it was possibly the heaviest thing I had ever heard up to that point, a crushing concoction of booming drum machine beats that moved from tick-tock mechanical rhythms and militant martial snare beats to crushing breakbeats, with bludgeoning, simplistic riffs and squealing harmonics welded together above the pounding percussive attack and huge bass-heavy bottom end. Everything about this record was terrifying: the cover artwork of legions of crucified men in front of a towering wall of fire, a still taken from Ken Russell's legendary Altered States, to the rigid, fearsome music and thoroughly unfriendly vocals inside, and the song titles that evoke grim images of dystopian horror and technological annihilation like "Christbait Rising", "Like Rats", and "Locust Furnace". Definitely THE album to start with if you are a newcomer to Godflesh's nuclear-strength industrial metal. This CD version of Streetcleaner also contains four bonus songs that were initially intended for an EP that never materialized, included here at the end.
Essential.
Track Samples:
Sample : GODFLESH-Streetcleaner (Reissue)
Sample : GODFLESH-Streetcleaner (Reissue)
Sample : GODFLESH-Streetcleaner (Reissue)
Sample : GODFLESH-Streetcleaner (Reissue)
Sample : GODFLESH-Streetcleaner (Reissue)



GODFLESH   Decline & Fall   12"   (Avalanche Recordings)    19.98



   Though Godflesh were resurrected in 2010 for a run of festival dates (one of which ended up being their crushing performance at the 2012 Maryland Deathfest, still one of the best sets I've ever seen at the festival), it's taken them a few years to get around to actually putting together some new material for us. Released as a taste of what's to come with their impending new album A World Lit Only by Fire coming later this year, Decline & Fall finally brings us the new Godflesh that we've been waiting for, their first batch of original songs in thirteen years. And man, as soon as "Ringer" kicks in, it's like it's been no time at all, the massive propulsive crush of that opening song is classic Godflesh, that monstrous corrosive downtuned riffage and low-frequency blast of the bass, Broadrick's bellicose bellow and off-key singing, the inexorable grind of the drum machine, it's all as skullcrushing as anything the band did before Broadrick abruptly ended Godflesh in the depths of an nervous breakdown over a decade ago.
   That molten mechanical metal bulldozes across these four songs, powered by the punishing machinelike pummel of the drum machine, but that's also traced by some subtle electronics that are vaguely similar to the sort of textured noise you'd find with Jesu, some murky washed-out melodic drift lingering beneath the surface of the duo's devastating ultra-dirge. Monstrous rhythms lurch across the blown-out dystopian churn of "Dogbite", its deformed funk hammered into a punishing groove splayed over a brutal hip-hop informed breakbeat; and there's an almost tribal energy to the massive bass-driven thud of "Playing With Fire". But its the title track that really sticks out, more complex and faster than what you might expect from these guys, like a a more frenetic, intricate version of their Streetcleaner-era mecha-metal. The band definitely sounds as heavy as ever, the production is crushing. A killer comeback for sure, any skepticism as to whether Godflesh still possessed the consuming fire of their classic output is extinguished as soon as this roars forth from that first track. Can't wait for the album.
Track Samples:
Sample : GODFLESH-Decline & Fall
Sample : GODFLESH-Decline & Fall
Sample : GODFLESH-Decline & Fall



GODFLESH   Godflesh (X-LARGE)   SHIRT   (Earache)    13.98

Godflesh (X-LARGE) IS CURRENTLY UNAVAILABLE FOR ORDER

The classic Godflesh image from the self-titled Ep from 1988, once again available as an official shirt from Earache. An iconic image from the legendary industrial metal band's early years, this design has been bootlegged countless times over the years, but this is a high quality, professionally printed shirt straight from the label, on black Gildan brand 100% cotton fabric. We have sizes small through extra large for this design in stock. The word from Earache is that this (along with the other classic Earache shirt designs, of which we also stock the Brutal Truth Extreme Conditions shirt) are only going to be available for a limited time...






GODFLESH   Pure   2 x LP   (Century Media)    39.98

Pure IS CURRENTLY UNAVAILABLE FOR ORDER

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



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

A World Lit Only By Fire IS CURRENTLY UNAVAILABLE FOR ORDER

��� Finally in stock on vinyl, and back in stock on digipack CD...
��� Throughout 2014, there were numerous long-awaited albums that I was dyin' to hear, long in the works comebacks from longtime favorites like Mysticum and Eyehategod, but more than any of them, I was looking forward to the brand new album from Godflesh. This mucho anticipated comeback from the British industrial metal titans came on the heels of the fantastic Decline & Fall EP from earlier in the year that teased us with a glimpse of the molten fury of the band's reinvigorated sound, but even with that preface, A World Lit Only By Fire still stunned with it's relentless, hammering power. From the opening moments, it's clear that the band is firing on full force, hammering out the sort of punishing mechanized heaviness that their earliest albums were known for. And World has it, a triumphant return after a thirteen year silence, sounding like there's been no downtime at all.
��� Aglow in apocalyptic ambience and encrusted in corrosion, A World Lit Only By Fire strips away virtually all of the melodic undercurrents that appeared on the last Godflesh album Hymns (and which foresaw the heavily-layered shoegazey sludge that Broadrick would explore in more depth with his Jesu project following Godflesh's demise), going for a more streamlined and skull-crushing assault right off the bat with the syncopated mecha-crush of "New Dark Ages", massive downtuned guitars piling atop the robotic thud of the drum machine, the bass slung like slack power cables across the grimly hypnotic groove. That relentless chug continues through the pissed-off dirgey dissonance of "Deadend" that downshifts into even more bone-rattling slo-mo tempos, and the death-factory pummel of "Shut Me Down" swings a titanic hammer across it's punishing head-nodding groove; the power of this material is consistent throughout the entire album, with shades of the band's haunting post-punk tinged pummel seeping into some of the middle tracks, echoes of Killing Joke and Swans lurking beneath the grinding grooves and malevolent pneumatic rhythms, alongside brief glimpses of redemptive beauty that shimmer out across the occasional melodic riff that emerges out of the machinelike anvil crush. And then there's "Imperator", which would be the heaviest slab of industrial death metal I've heard in eons if it weren't for Broadrick's contrasting stoned-out crooning vocals. This is one lean comeback album, devoid of anything that would detract from the single-minded lethality of Godflesh's renewed vision, and the result is easily the best industrial metal album to arrive in recent memory. Highest recommendation.
Track Samples:
Sample : GODFLESH-A World Lit Only By Fire
Sample : GODFLESH-A World Lit Only By Fire
Sample : GODFLESH-A World Lit Only By Fire



GODFLESH   Hymns   2 x LP   (The End)    29.99



Just dug up a couple of copies (less than a five) of this out-of-print orange vinyl 2LP version of the Hymns reissue; it comes with new linter notes from Broadrick, complete lyrics, and a download code for the additional bonus tracks that were featured on the second disc of the double CD version.
While it definitely wasn't the strongest album for Godflesh to go out on prior to their dissolution in 2002, I've never quite understood why the band's sixth album Hymns has gotten knocked around so much. I've always been a fan of Hymns, and with the new comeback album from these industrial metal legends that just came back, we've been going back and re-visiting some of the band's releases that we've never previously had in stock here at C-Blast. The band's sixth album, 2001's Hymns was also Godflesh's first major label release, as well as their first studio album to feature an actual human drummer, in contrast to the drum machines that powered their previous albums. And what a drummer they enlisted for Hymns, none other than Ted Parsons (Swans, Killing Joke, Prong, Teledubgnosis, Treponem Pal, etc.), whose work on classic records like Holy Money was undoubtedly an influence on Godflesh's formative sound back in the 1980s. And their sound was still pretty consistent here, Hymns continuing to mine that dystopian fusion of gloomy post-punk, industrial pummel, distorted breakbeats and abrasive noise that has defined the band's sound.
One thing that Hymns has in spades is groove: Tracks like "Paralyzed" and "Deaf, Dumb & Blind" rattle the walls with monstrous breakbeats and grinding, discordant guitars, locking into a kind of bulldozing, noise-stained funk; ultimately, tracks like these feel do somewhat reductive, lacking some of the formidable apocalyptic power of the band's finest moments, but that stuff is still massively heavy and menacing, barbaric hip-hop-flecked beats pumped full of industrial strength steroids, shambling mechanically over the massive churn of the bass. The more impressive moments on the album are found with moodier tracks like "White Flag" and the twang-laced "Anthem", where Godflesh dial back some of the bone-rattling boom-bap for something a little more melodic, foreshadowing the sort of industrialized shoegazer crush that Broadrick would explore at length with his subsequent project Jesu. "Anthem" in particular stands out as one of the album's best songs, with a huge sweetened hook fused to Broadrick's soaring vocals, the song awash in gleaming synthesizers, and it's here that you can really hear him working with some of the nascent ideas that would develop into Jesu's blissed-out sludge. Another example of that is "Regal", a stunning piece of crushing sludgepop that is one of my favorite Godflesh songs, as well as the titanic droning immensity of the prophetically titled "Jesu" (which features a guest appearance from future Jesu member Diarmuid Dalton of Cable Regime on moog and electronics). There's a great "hidden" track at the end as well, a gorgeous piece of gloomy slowcore that, much like some of the later Jesu stuff, comes across sort of like Codeine on steroids, chiming clear guitars and minimal electronics meshed with plaintive piano over the slow, shuffle of Parsons' drumming, those guitars eventually shifting into distorted heaviness as that gorgeous downcast melody evolves and climbs into heartbroken splendor. And another high point on Hymns is the deathdub monstrosity "Antihuman", splattered with sickening synth squelch, filthy wah-pedal noise that seems to be doing some gross mimicry of turntable scratching, and Broadrick's already guttural roar gets pitch-shifted into an even more ogrish bellow, like some putrid mutation of the early Scorn stuff.
The bonus material features seven demo tracks that had been produced for Hymns, re-mastered and in some cases remixed; this stuff is revelatory, as it suggests a much dirtier, grimier sound that the album might have otherwise had if the label hadn't interfered with the recording process and demanded they use a high-end studio to record their album. The bass on these demo tracks is cranked up to monstrous floor-shaking volume and there's a gritty, blown-out edge on everything, making some of these my favorite versions of the album tracks; songs like "Paralyzed", "For Life" and "Voidhead" certainly all sound meaner and filthier than ever, the latter here transformed into a bone-rattling personal apocalypse. And they cap off the disc with a re-mastered version of "If I Could Only Be What You Want", a killer exercise in murderous malevolent drum n' bass that originally appeared on the Loud Music For Loud People compilation.
Track Samples:
Sample : GODFLESH-Hymns
Sample : GODFLESH-Hymns
Sample : GODFLESH-Hymns
Sample : GODFLESH-Hymns
Sample : GODFLESH-Hymns



GREY WOLVES, THE   Judgement   CD   (Hospital Productions)    14.98

Judgement IS CURRENTLY UNAVAILABLE FOR ORDER

The British industrial duo Grey Wolves are one of the more provocative and controversial groups to emerge from the UK power electronics/noise scene of the 80's due to their use of fascist imagery and right-wing shock tactics that have made them a problematic band for many. Their rep nowadays has been tarnished a bit due to their continued use of questionable fascist iconography and some apparently less than stellar live performances (I've read nothing but thumbs-down reports of their recent US appearance earlier this year at the 2009 No Fun Fest), but I'm totally wowed by this new reissue of an old cassette release that Hospital has just issued. I had never heard anything from their pre-PE phase, and am loving the weird blackened ritualistic murk that these guys were doing here...
The Judgement cassette is from an earlier, less sonically assaultive version of The Grey Wolves than what I've heard on albums like Punishment and Blood And Sand, back when the band was apparently actively involved in that whole "Thee Temple ov Psychick Youth" thing. Presumably released sometime in the 80's, these two tracks are primo epics of murky black drone and minimal martial pound, both stretching beyond twenty-four minutes, the sound a murky low-fi smear of warbling bass tones, muted drums, and creepy ambience. It's strange hearing this early incarnation of the Grey Wolves sound after getting my skull nuked by the confrontational and uber-violent power electronics of their later releases, this stuff is actually pretty hypnotic, especially on the first track where they create this sludgy tribal percussion loop that runs through thick masses of minor-key organ creep, ghostly 8-bit melodies, and stumbles into patches of abrupt tape dropout and sputtering tape hiss. A super creepy occultic synthdirge. The second track is much more aggressive, with heavy locust-swarm blasts of fluttering feedback and growling distortion that gets pretty vicious as the track builds in intensity, but even here theres a throbbing rhythmic pulse buried under the grit and tape scum and chirruping feedback, and it takes on a droning, trance-inducing lock groove quality. Recommended.
Track Samples:
Sample : GREY WOLVES, THE-Judgement
Sample : GREY WOLVES, THE-Judgement



GREY WOLVES, THE   Blood And Sand   CD   (Cold Spring)    14.98

Blood And Sand IS CURRENTLY UNAVAILABLE FOR ORDER

The Cold Spring reissue of Blood And Sand has been out of print for ages, but a very small quantity of these just turned up through one of my suppliers. Originally released on cassette on Old Europa Cafe in 1990 and then later on CD via Cold Spring early in the past decade, this is one of Grey Wolves most haunting albums. The original cassette was a collaboration with the obscure industrial project Shock City and acted as a commentary on the first Gulf War in the early 90's, but for this release, the Wolves remixed the recordings into a new, even bleaker soundscape, dividing the album into two half-hour tracks of extreme, radioactive ambience and released this just as the Iraq War began to get underway.
The first track "Desert Storm" is an arid nightmare dronescape, oscillating loops chopping through space like Apache helicopters cruising low over scorched sands, chopped and screwed news media samples and waves of radio interference, sounds of warfare blurred into a rumbling desolate ambience. Totally different from the early Broken Flag-style tape murk of their 80's releases, this is harsh and malevolent ambient sound that ranks as one of their best and most terrifying works. This apocalyptic vibe likewise runs through the second track "Gulf Breeze", which begins with some looped static evolving into a sprawling field of percussive noise and eerie drift populated with buzzing engines and howling choral synths, the sound becoming beautifully austere. Over the second half of the track, a simple pounding drumbeat enters, and here the duo lock into a motorik percussive throb that stretches outward for several minutes, before eventually returning to the chirping noise, delay effects, and murky sampled voices that make up the chaotic 21st century battlefield ambience that began the track.
Released in a limited edition of 1000 copies, and now completely out of print. These are the last copies that we'll probably ever have…
Track Samples:
Sample : GREY WOLVES, THE-Blood And Sand
Sample : GREY WOLVES, THE-Blood And Sand



GREYMACHINE   Disconnected   CD   (Hydra Head)    15.98











Track Samples:
Sample : GREYMACHINE-Disconnected
Sample : GREYMACHINE-Disconnected
Sample : GREYMACHINE-Disconnected



GREYMACHINE   Vultures Descend   12"   (Hydra Head)    13.99



Justin Broadrick has been really outspoken in telling people that his latest project Greymachine is NOT like Jesu, and the guy really isn't kidding. This band was announced around two years ago as a new project that would feature Broadrick (Jesu/Final/Godflesh/Head Of David) teaming up with Dave Cochrane (from Head Of David/Ice/God/Sweet Tooth/Transitional), Diarmuid Dalton (Jesu/Godflesh/Cable Regime), and Aaron Turner of Isis and Old Man Gloom fame. Quite the lineup, especially if you are like me and fucking LOVE that whole Pathological/hEADdIRT/Sentrax industrial rock scene from the late 80's. Who woulda thunk that someone would actually revive that sound? Well, Greymachine have, and it's a beast, lemme tell you.
This two song, eighteen-minute 12" is the band's first real release, and features the song "Vulture Descends" and a b-side remix called "We Are All Fucking Liars (Version)" . I'll be listing/reviewing the new album from Greymachine in the next few weeks, and from the sound of these tracks, it's going to be killer. Soundwise, Greymachine have a bit of that classic Godflesh industrial pummel, with huge dubby drums, almost breakbeat-like rhythms, and massively distorted guitars, but what it really reminds me of is Head Of David, channeling that crushing, bass-driven industrial post-punk sound, but making it MASSIVELY heavier and more metallic, and piling on an insane amount of noise and distortion. And there's a definite dubstep influence here too, which might sound weird but is actually incorporated well into the crunchy, chaotic mecha-dirge-rock, with monstrous buzzing basslines and skittering electronic rhythms buried underneath the blower-guitar riffs. Hell, the only trace residue of Jesu to be heard in here are the flurries of melodic digital debris sparkling high overhead of Greymachine's monstrous grinding dirge, and even that ain't pretty. Crushing and hypnotic and chaotic, a rotting noise rock behemoth plowing through walls of trippy electronic effects and spitting out bits of super-catchy melodic leads, and powered by a massive breakbeat-like groove. Awesome!
On the flipside, "We Are All Fucking Liars" features a monstrous spartan dubstep dirge, big booming dubbed out drums and metallic bass grinding beneath wide spaces of eerie dystopian ambience and spacey effects, while extremely distorted vocals roar over top. The stuttering, sputtering beats are punishing, like a more modern, dubstep interpretation of what Broadrick was doing on Songs Of Love And Hate In Dub, but with massive damaged riffs and weird droning vocals, veering from hypnotic groove to full-on blown-out bass apocalypse. Oh man, I can't wait to get my hands on the album!
This limited-edition teaser comes in a white DJ-style plain white 12" jacket with a sticker stuck on the upper right corner.
Track Samples:
Sample : GREYMACHINE-Vultures Descend
Sample : GREYMACHINE-Vultures Descend



HUTCHINSON, HAL   Recycled Music Series   CASSETTE   (RRRecords)    4.50



Initially making himself known to C-Blast by way of his older death industrial/power electronics projects Meatgrinder and Execution Support Act and his excellent harsh wall project Pollutive Static, UK noise artist Hal Hutchinson has since gone on to release more and more material with more of a "junk-noise" approach under his own name, and so far everything that I've picked up has been pretty damn good. As you might expect if you're a fan of this sort of extreme scrap yard mayhem, Hutchinson springs off from the sheet-metal avalanche sounds of mid-90s K2, and throws on an extra layer of filthy low-fi skuzz onto his recordings to add a little more savagery to the mix. This entry into the RRRecords Recycled Music Series from 2010 is another tape-only release in this vein, presenting two long tracks per side of murky, filthy junk-noise that (likely due to the "recycled" cassette being used) sounds like the rhythmic grinding of pneumatic machines and massive bilges operating beneath a heavy layer of peat and black tar, or the sound of an ancient barge slowly disassembling as it struggles to make it's way across a vast black ocean. Compared to the other Hutchinson tape reviewed on this week's list Brutal Mechanics, this sounds like a total sludge-fest, the grinding, rumbling noises and clanking rhythms cloaked beneath a heavy low-end presence, the sounds slowed down to a shambling, corroded crawl, interrupted by the occasional blast of ear-rending feedback or high-end metallic screech. It probably ranks as the "heaviest" of Hutchinson's "solo" recordings under his own name, and Hutchinson himself compares it to his Freak Animal album Taste Of Iron (which I haven't had a chance to hear yet, but aim to pick up at my earliest opportunity).
Track Samples:
Sample : HUTCHINSON, HAL-Recycled Music Series
Sample : HUTCHINSON, HAL-Recycled Music Series



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



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



HUTCHINSON, HAL   Damage Portrait   CASSETTE   (At War With False Noise)    6.00

Damage Portrait IS CURRENTLY UNAVAILABLE FOR ORDER

Sometimes I just want to listen to things falling apart, and it is in these moments that I turn to the obsessive metal-abuse of Hal Hutchinson, who has become a skilled practitioner of this kind of brute-force industrial collapse since he started to release his epic sound-sculptures of Dadaist K2-influenced junk noise under his own name. There really isn't anyone else around that I'm listening to that crushes heads with collapsing mountains of detritus the way that this guy does. Damage Portrait is the latest such document of extreme sheet-metal violence and crumbling cityscapes from Hutchinson, and features two lengthy side-long pieces of ultra-violent musique concrète destruction on this limited-edition cassette from At War With False Noise. Released in a run of fifty copies, this tape assaults you with a non-stop barrage of metal-on-metal chaos, oil tanker molestation, violent banging, deafening scrapes, tumbling junk, and screeching real-time abrasion that just never, ever lets up, and appears to consist of little-or-no electronic enhancement. Its easy to envision Hutchinson going apeshit with a sledgehammer in a steel factory while listening to this, but engaged listening can give the right set of ears a blast of hyper-complex destruction that borders on the apocalyptic. The vibe on this tape is obviously similar to many of K2's less processed recordings of crumbling urban structure, but I would bet that fans of some of the more recent crash-improv sessions from Sissy Spacek would dig the hell out of this, too. A killer blast of brutal, entropic sound...
Limited to fifty copies.
Track Samples:
Sample : HUTCHINSON, HAL-Damage Portrait
Sample : HUTCHINSON, HAL-Damage Portrait



HUTCHINSON, HAL   Brutal Mechanics   CASSETTE   (Wohrt Records)    6.00



Mr. Hutchinson's recent cassette offering Brutal Mechanics is another bout of extreme industrial bludgeon from the prolific UK noise artist (he's also been assaulting us with other noise projects like Execution Support Act, Pollutive Static, and Meatgrinder). As with the other recordings presented under his actual name, this leans towards the rough, skull-cracking end of the junk noise spectrum, forming each of the two long tracks around a cacophony of shrieking high-end feedback that squeals and whistles through the whole ordeal, a constant crashing of scrap-metal debris and heavy machinery being violently upended and hurled around the room, and a really thick haze of low-fi muck that gloms onto the whole production. The first side is called "Ruin", and offers up a cathartic rush of junkyard chaos and trash-compactor destruction in the vein of older K2 works, brutal and merciless in it's abrasive delivery. Side two is untitled, but is more of the same, with less metal-on-metal abuse and more of a mangled electronic attack at the forefront, lacing the low-fi noise and feedback with a thick, black drone buzzing underneath almost the entire track. These sounds come surrounded by collages of grotesque full-color imagery from Bitewerks that marry the sheet-metal violence to vivid visions of oral subjugation, deformed children, cold spiked stretches of barbed-wire, and vintage bondage pics that enhance the overall atmosphere of filthiness and physical collapse. Doesn't seem to be any real over-arching concept behind this tape, just pure psychedelic carnage, vomited out of a machine-shop in hell. Hutchinson might not be adding a whole lot to the junk-noise aesthetic that was pioneered by K2, but this sure does inspire me to rip something apart...
Released as a professionally manufactured cassette with on-shell printing, limited to 100 copies.


IRON FIST OF THE SUN   Behavioral Decline   CD   (Cold Spring)    13.99










Track Samples:
Sample : IRON FIST OF THE SUN-Behavioral Decline
Sample : IRON FIST OF THE SUN-Behavioral Decline
Sample : IRON FIST OF THE SUN-Behavioral Decline



IRON FIST OF THE SUN   Embers   7" VINYL   (Peripheral)    9.99



Since erupting onto the extreme electronics scene in 2009 with the stunning debut Cd Behavioural Decline, Iron Fist Of The Sun has become one of the UK's most powerful proponents of heavy apocalyptic PE. This recent 7" released on the up and coming Peripheral label showcases two new tracks of Iron Fist's grim analogue visions wrapped in strange pixelated hallucinations of Lady Di that make this appear to be a companion piece to the last album I Will Never Have The Right . It begins with the awesome cinematic throb of "Embers", a pulsating synth-dirge that feels like a track from an old John Carpenter film-score chopped and screwed and injected into a seething power electronics inferno. This is one of Iron Fist Of The Sun's best tracks ever, in my opinion, imbued with a kind of cold majestic power. The other side has "Bedroom Is Human", and it's much more disturbing; weird squelchy noises rustle and settle beneath the weight of massive low frequency bass drones and some ominous feedback-filament slowly drifting in space, becoming a sort of unsettling ambient psy-warfare. Though the sound is distinctly different, I can't imagine Prurient fans not falling under the black spell of Iron Fist's gleaming, crushing electronics. Highly recommended. Released in a limited edition of 277 copies in a high quality jacket with printed spine.


IRON FIST OF THE SUN   Who Will Help Me Wash My Right Hand   CD   (Cold Spring)    11.99



    The latest album of minimal, off-kilter power electronics from UK artist Lee Howard. His last album with Iron Fist Of The Sun Behavioural Decline offered up some intense, heavy PE, and following that debut for Cold Spring the project has continued to further focus its sound, stripping away extraneous noise and leaving a skeletal framework of pulsating bass-throb and buzzing, low-voltage drones that give this music an unhinged, falling-apart feel that grows more sinister as you move deeper into his obsessive black pulsations. That strange obsession with Diana, Princess of Wales continues to linger through Iron Fist's recordings as well, adding to the stark imagery and surrealistic vibe on Who Will Help Me Wash My Right Hand.
    The album starts off with the menacing, ultra-distorted whispers and weirdly waltzing synth-bass of "For You I Will", then shifts into "This Dog Has No Master", where a minimal rhythmic pulse takes shape as an almost Kompakt-style throb, pulsating within a cloud of metallic shimmer and buzzing electrical drone. On "Be Forever Green", pounding scrap-metal rhythms merge with controlled blasts of noise and those deranged vocals, which now grow more tyrannical and aggressive with each subsequent track, raving over the increasingly chaotic noisescape. Another one of those menacing bass lines appears on "Saltpulse", looping around incessantly as the track is slowly infested with glitchy rhythmic noise and the dead-end buzz of a telephone's off-hook tone burrowing its way into your brain, but then later transforms into a strange and haunting PE assault where humming voices are layered and looped into an eerie melody, mechanical noise builds into crumbling chaos, and those evil distorted vocals howl into the void. The album ends with the orchestrated phaser-assault of the title track as Iron Fists's electro-assault reaches a fever pitch, unfurling a brutal sculpted noisescape laced with savage synthesizers and the most ferocious verbal assault yet, a hypnotic, violently repetitive electro-dirge that becomes gradually enfolded within plumes of dark synthdrift.
    Iron Fist Of The Sun's warped Power Electronics takes a more minimal and structured approach that utilizes space and dynamics, less about blasting your face off with extreme noise, and instead going for a cold, embittered atmosphere. Its some of the most interesting PE coming out of the UK right now.
Track Samples:
Sample : IRON FIST OF THE SUN-Who Will Help Me Wash My Right Hand
Sample : IRON FIST OF THE SUN-Who Will Help Me Wash My Right Hand
Sample : IRON FIST OF THE SUN-Who Will Help Me Wash My Right Hand



JAWORZYN, STEFAN   Lick My Pussy, Will Montgomery   10" VINYL   (Fourth Dimension)    9.98



   Here's a real vintage slab of mutant guitar skronk that might just be the most obnoxious record I've included on this week's new arrivals list. Alongside the recent spate of new material and excavated 80's recordings that have emerged from UK industrial noise/rock luminary Stefan Jaworzyn since the end of last year, this old EP that came out on Fourth Dimension back in 1996 also recently resurfaced from one of our suppliers, featuring Jaworzyn totally destroying his electric guitar in a live setting. Few noisemakers in the 90's mistreated the electric guitar quite as ruthlessly as Jaworzyn, and his work as a founding member of Skullflower helped to spur on a deluge of brain-flattening guitar noise from the mid 80s onward. By the time that this EP surfaced though, he had abandoned the riff completely for pure improvisation, and this recording was captured around the same time that Jaworzyn was active with the power-improv duo Ascension, at the peak of his form-fucking fury.
    Lick focuses on a bunch of sickening out-guitar experiments, the satirical album notes pointing towards something more "academic", but what you really get is a roughly twenty minute assault of crazed avant-guitar skree. Here he moves out of the power-duo mode of his then current improv noise project Ascension, just him and his guitar, and it's one of his nastiest recordings. "Eat Shit" and "Jazz Snob" tumble across the a-side in a blare of atonal solo guitar skronk, like some horribly deformed Sonny Sharrock jam, or some particularly putrid Derek Bailey exercise, lots of meandering atonal scrape and squonk without a melodic bone in it's spindly wretched form. On those rare moments when he really starts to strangle his axe, the resultant din is so goddamn obnoxious it'll scrape the meat from inside your skullcase. The b-side "Loud Is Best" is the best of 'em though, a deranged guitar noise dirge that ends up turning into a grand eruption of tortured guitar shred and distorted chaos that sounds like some brain-damaged heavy metal solo ripped free of it's moorings and turned inside out.
Track Samples:
Sample : JAWORZYN, STEFAN-Lick My Pussy, Will Montgomery
Sample : JAWORZYN, STEFAN-Lick My Pussy, Will Montgomery
Sample : JAWORZYN, STEFAN-Lick My Pussy, Will Montgomery



JAWORZYN, STEFAN   The Annihilating Light   LP   (Kye)    19.98



   Another brand new LP from the infamous Stefan Jaworzyn, one of the founding members of UK noise rock gods Skullflower and one half of the lethal improv duo Ascension, maintaining the hot streak he's been on since reappearing last year with the newly resurrected Shock imprint and a host of new releases after more than a decade and a half of near silence on the musical front. Issued on Kye, the label run by Graham Lambkin of avant-rockers Shadow Ring, The Annihilating Light is one of my favorite of all of the recent Jaworzyn efforts, featuring two new side-long tracks of immersive microbial ambience and churning electronic glitchdrift that offers a distinctly different sound from the more synth-based LPs that have emerged over the past few months.
    The first track "Oasis Of Filth" offers up a surrealistic noisescape littered with weird aquatic burblings and swirling insectile chirps, these sounds moving through what feels like a vast empty space as they slowly dip in and out of earshot; these over modulated chirps and bleeps sweep across strange reverberant rumblings and random banging noises, and one gets the impression that you're hearing the mega-amplified sounds of bacterial activity, slightly unnerving with its sudden crashes into percussive flutter and speaker-rattling collision, but not without a strange mesmerizing quality, not too far off from the acoustically generated aural hallucinations of Dave Phillips and Schimpfluch-Gruppe.
    But the other track "Cast Out" shifts into something much different, a gorgeous murk of droning dissonant synth drones and wildly fluttering pixilated electronics, the bleeping chaos of an ancient mainframe computer emitted as an endless cascade of atonal garbled glitchery, those cloudy, vaguely sinister keyboards slowly floating and curling lower in the mix, like some kosmische vision of robotic dementia, lush and psychedelic electronic entropy swept into a cloudswarm of malfunctioning bits and bytes that becomes totally entrancing, like Klaus Schulze performing the score for the convulsive death throes of some vast mad artificial intelligence.
    Limited to five hundred copies.
Track Samples:
Sample : JAWORZYN, STEFAN-The Annihilating Light
Sample : JAWORZYN, STEFAN-The Annihilating Light



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



   Best known for his seminal work as a founding member of the monstrous UK noise rock outfit Skullflower, Jaworzyn is one of the key players in the UK extreme music underground of the 80s and 90s, also doing a brief stint with power electronics pioneers Whitehouse as well as performing with the free-improv duo Ascension, and running the amazing avant-rock imprint Shock. Little had been heard musically from Jaworzyn since the mid 90s though, but he suddenly popped up in the past year or so, returning with a vengeance as he's resurrected the Shock label and exuded a number of LPs that range from ancient unreleased recordings to brand new noise experiments.
    Drained of Connotation is one of the former, a loose collection of long-lost solo material that Jaworzyn recorded back in 1982 prior to his stints in the aforementioned bands, featuring material that had recently resurfaced on a cassette tape while Jaworzyn was combing his tape archives for rare Skullflower material for his recent KINO series of reissues. Using only a Dr Rhythm drum machine and a primitive Korg synthesizer, Jaworzyn sculpted spare, sinister drones and malignant pulses into a series of crude industrial noise pieces powered by the almost static rhythms of the drum machine, which he allows to loop endlessly, primitive pulses that undergo only the most subtle of changes in tempo or tone as each track threads its way to oblivion. There's a similar charred, monotonous vibe as Maurizio Bianchi's early 80s output in these early recordings, with "Sinister Eroticism In Oslo" in particular taking on an ominous, almost ritualistic vibe as putrid vermiform laserblasts squiggle and swarm overhead, immediately casting the record in a grimy grey light as that track stretches across almost the entire first side before moving into the juddering, static-blinded hypnosis of "The Nightclub Toilet", a clot of harsh Merzbowian electronics and granular distortion sweeping across the feverish, mechanical drum-loop, transforming into a frigid krautrock-esque pulse that Jaworzyn drives all the way into oblivion. The other side follows suit, unleashing more of those monochrome oscillations over an obsessive, almost militaristic rhythmic throb that just doesn't relent, radiating cancerous pulses through a metallic haze of malfunctioning synth. Limited to seven hundred copies.
Track Samples:
Sample : JAWORZYN, STEFAN-Drained Of Connotation
Sample : JAWORZYN, STEFAN-Drained Of Connotation
Sample : JAWORZYN, STEFAN-Drained Of Connotation
Sample : JAWORZYN, STEFAN-Drained Of Connotation



JAWORZYN, STEFAN   Principles Of Inertia   LP   (Trensmat)    19.99



   Yet another recent vinyl offering from master axe-torturer Stefan Jaworzyn, one of the prime movers from the UK industrial underground of the 1980s onward as a member of the OG lineup of noise rock crushers Skullflower and blistering improv duo Ascension (as well as the editor of the terrific exploitation film mag Shock Xpress, but that's another story). All of the records I've picked up lately from Jaworzyn have offered distinctly different musical approaches, ranging from the nauseating scrabbly improv guitar noise of the Will Montgomery 10" and the primitive drum-machine driven industrial scum-synth of Drained Of Connotation, to the malfunctioning mindmelting glitchery of The Annihilating Light. This one (out on Irish psych-noise label Trensmat and now sold out at the source) might be the most conventionally approachable of the lot, though that's not saying much.
    Jaworzyn still splatters his long sprawling tracks with a seemingly endless assault of bleeping electronic noise and crude laserblast effects, the sound riddled with primitive synthesizer rot that can sometimes be reminiscent of the morbid power electronics of Maurizio Bianchi, but on the first track "Biorigged" at least, he welds that to an infectious distorted breakbeat that wouldn't be out of place on a more adventurous and noise-friendly dancefloor. That blown-out boom-bap skitters furiously along the full length of the song, almost like some aggro Tackhead track infested with garbled alien glitchery. Funky is not something I would normally attribute to one of Jaworzyn's albums, but it's certainly apropos here. The following track "Festival Of Lies" is more menacing and more akin to Jaworzyn's older, jittery industrial experiments, with modulated rhythms echoing beneath eerie ambient sounds and distant cries like that of an air raid siren, the track transforming into a creepy dub-flecked pulse, almost like Vatican Shadow's brand of noise-infected techno minimalism, but streaked with a ghastly, nightmarish ambience, moving through dense clouds of black flies.
    "Gland Collector" over on the other side is something else entirely, a menacing synthesizer workout that sort of resembles some 80's era horror movie score, pulsating distorted arpeggios circling over a consistent high end drone, the whole thing just oozing with tension as it spreads out in a propulsive blur of strobing, sinister stalker drones and fierce FX-drenched synth. Sorta like Tangerine Dream on PCP, nervous and twitchy and utterly malevolent, followed by the abstract glitch-chaos of "Apocalypse", which returns to the eerie dark drones from earlier in the album but fusing them to a cascade of garbled glitchery and skittering, sputtering anti-rhythms, dark and surrealistic and disturbing, like some ultra-paranoid dystopian sci-fi soundtrack from the 80's, a fractured alien electro strung out on nerve wracking high-end frequencies.
    Comes with a digital download that includes additional non-album material.
Track Samples:
Sample : JAWORZYN, STEFAN-Principles Of Inertia
Sample : JAWORZYN, STEFAN-Principles Of Inertia
Sample : JAWORZYN, STEFAN-Principles Of Inertia



JAZZFINGER   Tar Of The Moon Vol 2   CASSETTE   (Unrest)    7.50



I have been trying to get stuff from the UK drone cult Jazzfinger to carry at Crucial Blast for eons, but their releases are released on such tiny labels and in such limited runs that usually when I find out that something has come out, poof! it's out of print. Can't blame people for jumping all over anything that these guys release, though. Since the early part of the decade, Jazzfinger has been crafting superbly delirious drone-orgasms in their signature sound, a mix of crushing, murky ur-drone hum and high-end feedback skree and layered tapestries of aural drift and detritus. Their music is closely aligned with the druggy, buzzing dronemusic of Total, Vibracathedral Orchestra, Yellow Swans, Sunroof and Double Leopards, but Jazzfinger take that sound in a darker, creepier direction, using rock instrumentation and improvised noise and a shitload of effects to invoke minimal, creeping descents into subterranea, each lengthy dronescape created in a ritualistic fervor, stretching out to epic lengths.
This limited-edition cassette features two side-long tracks recorded live in the UK in 2005, one from Manchester, the other Leeds. The first side is a cacophony of howling records or some similiar kind of reed instrument, chortling breaths passing through them and raising up a thick warbling din alongside screeching guitar feedback and torrents of metallic high end skree. Underneath, a massive metallic drone grinds and roars below the surface, like doom metal riffs being stretched apart and dislocated and left to hang, buzzing slabs of oozing distorted guitar sludge and huge distorted open-chord strum and plodding bass notes lurch and creep throughout the wreckage of improvised percussion and clanking and streaks of black ectoplasm. One of the noisier Jazzfinger jams that I've heard. The performance on the other side is less heavy, more laid back and haunting, billowing clouds of reverberating guitar strings draped in a twilight haze, clusters of insectile electronic chittering and distorted voices swarming over deep bass drones and muted strings plucking out eerie minor-key melodies. Here, the band creates a sinister murky slowcore, and at times it sounds like a noisier, more low-fi version of Thrones & Dominions era Earth, at least early on. As the track goes on, though, the guitars become more abstract, smeared into glistening pools of black feedback and shimmering room-ambience, and abrasive scraping sounds begin to enter in, the sounds of metal and other materials being dragged and doused in effects, deep rumbling buzz and electrical humming rising up from below, everything draped in tape hiss and static.
It's beautifully packaged, the tape housed in a regular plastic case with full color artwork, which fits inside of another slipcase which also has full color artwork, and each copy is hand numbered out of an edition of 100 copies.


JAZZFINGER   Grief To Grind The Fire   CDR   (Blackest Rainbow)    9.98

Grief To Grind The Fire IS CURRENTLY UNAVAILABLE FOR ORDER

Another white-hot slab of crumbling, sludgy psych-roar overload from Jazzfinger via Blackest Rainbow, this disc (like the Mechanical Children debut that's reviewed elsewhere in this week's new arrivals update) first came out in a tiny edition in early 2008 and sold out immediately, so to placate the demand for it, Blackest Rainbow has issued Grief To Grind The Fire in a second edition of 150 copies, presented in a simple parchment sleeve.
The two new tracks on Grief are Jazzfinger at their most melodic and heaviest, whipping up a viscous mass of distorted guitar drones, blasted melodic figures and heavy amplifier sludge into something akin to a Goslings jam, but with that unique Jazzfinger drone-ritual quality. Compared to much of the other Jazzfinger stuff that I've been listening to of late, this is positively epic, with two ultra-long drone monoliths instead of the shorter, clattery improv-drone pieces that we're used to hearing from them. They stretch these jams waaaay out, with the whole disc coming in at over sixty minutes, giving each of these pieces plenty of time to rise and fall in volume and heaviness and skull-blasting power. The first track "Legs In The River" relies on waves of thick guitar feedback and roaring synth tones to create a beautiful rush of crumbling melodic riffage, with a single sweet melodic riff at the center of it all for more than forty minutes, turning over and over again amid the roaring feedback harmonies and crushing overtones, swallowing you up in slowly swirling cloud of buzz and hiss and grinding sludge-throb despite the relatively low-fi recording quality. Jazzfinger are one of the few bands doing this sort of psychedelic guitar/electronics based dronecrush that manage to infuse their basement-grade recordings with a boneshaking density, and you can really feel it here, especially when you crank this disc to maximum volume. Think Goslings and Sunroof melted together into a crackling, layered mass of glorious ambient sludge, eventually flatlining in the last ten minutes or so into corroded high-end drones.
On the second track "Burnt Hole", they go for a shorter, heavier dronesludge attack, letting loose a flood of gut-rumbling low-end roar for twenty-five minutes that takes the fried, rusted-out textures of the first track and stretches them into a thick grinding undercurrent of crushing bass frequencies and fluttering feedback and sinister electrical hum. Over top of this surging molten mass of corrosive machine thrum, a single simple keyboard melody rises up every few minutes, a vaguely melodic descending riff contrasted against the doomy oceanic waves, and things get progressively more and more tweaked as it heads towards the end, bits of fractured glitch and static noise building, the sound becoming more chaotic and noisy towards the end.
So far, this is one of my favorite Jazzfinger releases, and definitely the heaviest that we've managed to stock so far.
Track Samples:
Sample : JAZZFINGER-Grief To Grind The Fire
Sample : JAZZFINGER-Grief To Grind The Fire



JAZZFINGER / CULVER & FORDELL RESEARCH UNIT   split   LP   (Blackest Rainbow)    19.98



An extremely limited (only 275 pressed) split LP between two of the UK's heaviest free-drone outfits, already out of print from Blackest Rainbow. This record looks like it should actually be a bootleg of an obscure 80's death metal demo with the slimey grossout artwork that is pasted onto the cover, a huge black and white panel that features a rotting, pustulent nun spreadeagled in front of a huge white cross, her demonic embryo exposed but still firmly lodged in the pasta-like wreckage of her decomposing abdomen. Nasty! It looks like something out of an old issue of Gore Shriek.
Two bands, two sides, Jazzfinger on the first with a single side-long track, a collaboration between Culver and Fordell Research Unit on the other. The Jazzfinger side has "Killed In A Clear Sky", a massive buzzing sprawl of scraping guitar noise, throbbing low-end amplifier drones and droning distorted feedback, huge distorted powerchords crashing down over a tangled wasteland of howling, blackened improv sludge, a black boiling cloud of menacing metallic clatter and scrabbly percussive noise crawling out of wrecked fretboards and detuned guitar strings flopping and flapping against their battered instruments, while wobbly prayer-bowl tones seem to wind down on dying batteries in the background. Later in the track, moaning voices appear, possibly pouring out of human throats but more likely the creation of battered guitars being bent and punished to further extremes - this piece is one of the heaviest, darkest Jazzfinger jams I've heard, it's crushing and cacophonic and sounds like some of the new, blackened Skullflower stuff being rammed down the throat of the Dead C and attacking people with steel pipes, up until the strange warbling tones at the end where it almost sounds like a Native American flute has materialized within the center of a black haze of demonic high pitched feedback.
And then on to side B, where we find Culver (a.k.a. Lee Stokoe, who himself has been playing with Matt Bower in Skullflower for over two years now) joining up with something called Fordell Research Unit on a likewise twenty-minute long track called "Octodog Meets Mecha-Catzilla Uptown". I was expecting something super heavy and sludgy and lumbering from the schlocky kaiju reference of the title, but wow, this is the prettiest piece of music that I've heard from Culver, a vast slab of fuzz and deep tectonic drones rumbling underneath of eternally suspended strings and a devestating melody that is so fragile and heartbreaking, it is almost overwhelming. It is really heavy, too, the grinding low-end sounding like it's flowing out of a towering wall of hissing amplifiers all cranked to maximum volume, flowing with rumbling distorted guitars leaning against their amps and left to vibrate and hum, a super thick, super dense ocean of murky sound that washes over you with endless waves of fuzz, but that melody is heavenly, sometimes way out in front, others receding to the back and swirling just underneath the black waves of guitar, a sulfurous ethereal doomscape that sounds to me like Tim Hecker's gauzy distorted ambience applied to crushing ambient doom, beatless and bleak disembodied. Wow!
I only have about half a dozen of these in stock, so when they are gone, that's it.


JFK   La Bas 1987-1992   CD   (Fourth Dimension)    17.98



After helping to create the lumbering blown-out post-industrial psychedelia of Skullflower and the mangled power electronics of Ramleh, Anthony Di Franco went on to record under a variety of names, producing a bunch of amazing releases throughout the late 80s and early 90s with the blackened synth industrial outfit AX and the crushing lysergic noise of Ethnic Acid. Less well known was Di Franco's solo project JFK, which actually predated his other bands and initially formed as a low-fi bedroom project in the early 80s. Over the following decade, though, Di Franco ended up recording a number of releases under the JFK name, some of which appeared on labels like the flagship UK power electronics imprint Broken Flag and Fourth Dimension Records. JFK's sound was a kind of brutal industrialized post-punk, driven by pounding machinelike kick drums and slithering distorted bass-lines, droning and monotonous and mechanical as sheets of corrosive guitar noise, squealing feedback and eerie death-rock melodies slowly drift overheard.
In some ways, these songs are comparable to a darker and more gothic-tinged version of Skullflower's late 80's thud rock, taking the kind of hypnotic, pummeling low-fi sludge rock that Matthew Bower would later perfect on albums like Xaman and IIIrd Gatekeeper and fusing it to a super-heavy, sludgy gloom-punk sound that almost feels like a more psychedelic take on the reverb-drenched gothic sludge of bands like Peace Corps and Mighty Sphincter. Di Franco's nasally vocals even fit that death rock mold, but that sound was largely restricted to the earlier JKF recordings. The later track center around dark droning riffs that are repeated over and over while the simple plodding drums tick away in the background and pieces of scrap metal clank and bang, while other songs like "Will To Love" are sprawling twelve minute psych-dirges built around malfunctioning synths and whirring effects, bleeping Hawkwindian electronics and trance-inducing junk rhythms, eerie flute sounds and garbled tape noise all woven into abstract industrial clankscapes that stretch out into infinity, or slip into a mangled mess of Flippery sludge-punk. The song "Avernus" unleashes an ocean of churning black synthdrift that is as oppressive and menacing as Di Franco's blackened drones in Ax and Novatron, and there are three tracks that feature Matt Bower on guitar ("Black Tower", "Sexodus (Alternative Version)" and "Teenage Fantasy") that offer up huge grinding drone-rock monstrosities with crushing blown-out riffage looping around slippery, slime-slick guitar skree.
The later tracks that come off the Sexodus 7" also present a slight shift in sound, from the killer motorik drone rock crunch of "Temple Of Set" (whose super heavy and hypnotic metallic riff locked on repeat could almost pass for a Circle song) to the swingin' Sabbathoid noise rock of "Sexodus" delivering a heavier, more rocking sound. All of these recordings will be of interest to fans of the 80's post-industrial underground for obvious reasons, but the later JFK material is especially recommended if you're into the more rock-based, heavily distorted music of late-period Ramleh and Skullflower, early Godflesh, Head Of David and Splintered. There was already a vinyl-only collection of JFK material called Teenage Fantasy that came out a while back, but this features completely different material, with most of the songs never before released. Comes in digipack packaging, and limited to three hundred copies.
Track Samples:
Sample : JFK-La Bas 1987-1992
Sample : JFK-La Bas 1987-1992
Sample : JFK-La Bas 1987-1992



JK FLESH   Posthuman   CD   (3BY3)    16.99

Posthuman IS CURRENTLY UNAVAILABLE FOR ORDER








Track Samples:
Sample : JK FLESH-Posthuman
Sample : JK FLESH-Posthuman
Sample : JK FLESH-Posthuman
Sample : JK FLESH-Posthuman



KHOST   Copper Lock Hell   CD   (Cold Spring)    13.98



   The debut full-length from this new duo features a couple of vets from the UK industrial rock underground, Andy Swan (a frequent collaborator of Godflesh's Justin Broadrick, having previously worked together in Smear Campaign, Final, and Atrocity Exhibition, as well as a member of ambient rock outfit Iroha) and Damian Bennett, a former member of industrial punk-jazz destructo unit 16-17 and the cult avant-industrial doom outfit Deathless. Their collected CV would've been enough to tantalize me, but I wasn't even aware of who was behind this project the first time I heard it; it was the sheer heaviosity of Khost's sound that sucked me in and flattened me utterly when I first gave Copper Lock Hell a spin.     Khost's sound comes from the heaviest end of the UK post-industrial sound, forging creepy, oppressive noisescapes from looped distortion and rumbling rhythmic industrial churn, but they also incorporate some fantastic atmospheric qualities like raga-like drones and Indian flute melodies and the mournful groan of guest cellist Jo Quail, her tortured strings adding a funereal vibe to the ultra-pulverizing dronedoom that lurches out of the depths of tracks like "14 Daggers". These guys are ridiculously heavy, but also have an interesting, imaginative variation on this sort of extreme heaviness, taking the monstrous abject doom of bands like Moss or early Corrupted and twisting it into something stranger and more psychedelic by layering strange ululating cries and chant-like singing over it, transforming that evil glacial crush into something ritualistic and ecstatic, blending in aspects of what sounds like traditional Asian music into the downtuned dronecrush. Massive mega-distorted riffs lumber in slow motion over blasting, reverberant drums that seem to have been slowed down even further in post-production, turning them into a slurred, skull-rattling blast of percussive power, while those flutes and strings bring a uniquely trippy vibe to Khost's psychedelic industrial doom. Grainy samples are looped into a hallucinatory sonic haze, forming murky drones that swirl throughout the album's black delirium; thick layers of crackling static and corrosive fuzz saturate the recording, often choking out the squalls of screaming noise and grinding low-end churn. Ghostly female singing appears over the blown-out lurch of "In The Nest Of The Red Throat", joined by more spectral psychedelia contributed by fellow Cold Spring artist Tunnels of Ah. It's moments like that lend a dark dreamlike beauty to Copper Lock Hell that contrast deeply with the band's corrosive heaviness. The album also breaks down into long stretches of abstract creepiness, from the tribal rhythms that clank beneath a spoken word piece from Oxbow's Eugene Robinson that appears on "Drain", to the stretches of grim ambience that open up out of the band's suffocating sludge, to the nightmarish sound-collage that starts off "Pacify". And the last track is a remix of "14 Daggers" from Novatron / Transitional's Kevin Laska, which turns into something even more majestic and melancholy, stretched out into a vast, mournful blast of tectonic heaviness strafed with droning feedback and more of that haunting cello.
Track Samples:
Sample : KHOST-Copper Lock Hell
Sample : KHOST-Copper Lock Hell
Sample : KHOST-Copper Lock Hell



KLEISTWAHR   The Return   LP   (Noiseville)    22.98



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


KLEISTWAHR   The Return   LP   (Noiseville)    22.98












LEGION OF TWO   Riffs   CD   (Planet Mu)    14.98











Track Samples:
Sample : LEGION OF TWO-Riffs
Sample : LEGION OF TWO-Riffs
Sample : LEGION OF TWO-Riffs



LEGION OF TWO   Riffs   2 x LP   (Planet Mu)    17.98











Track Samples:
Sample : LEGION OF TWO-Riffs
Sample : LEGION OF TWO-Riffs
Sample : LEGION OF TWO-Riffs



LILES, ANDREW   Wanton Wives, Monstrous Maidens And Wicked Witches   LP   (Blackest Rainbow)    27.99



     One of the latest in Andrew Liles' extensive ongoing Monster series, Wanton Wives, Monstrous Maidens And Wicked Witches is another whacked-out conglomeration of experimental horror synth, murderous nocturnal jazz, and abstract dread-filled weirdness from surrealistic soundscaper and Nurse With Wound member Liles, who is accompanied by a spoken-word read of an original horror story that takes up the entire b-side of the album, backed by Quentin Rollet's creepy avant jazz score. Like much of the other stuff in this series, it's another weird faux-horror "soundtrack", released back to back with the similarly minded Maleficent Monster album that plunges into a bizarre sonic netherworld of alternate-dimension library music records, mutated Caedmon LPs and demonic exotica.
     The album wanders through a delirium of midnight movie soundtrack detritus. A woman's voice whispers in French amid swells of ominous gong-like shimmer and eerie, atonal folkiness, cellos and other strings winding around a broken harp melody that grows ever more disturbing as it progresses. Seek Carpenterian synthesizers glide over minimal percussive propulsion, like some obscure theme from a long-lost slasher from 1982. Tiki torches flicker at the edges of delirious black magic rituals taking place in the heart of some sweltering jungle, creating a kind of cannibal kitsch as tribal drums combine with monstrous chants, orgasmic cries and stock Amazonian animal noises, like something out of a cough-syrup fueled Deodato / Lenzi gut-munch hallucination. Experimental loopscapes are drenched in gothic organ, spinning into an almost Goblin-esque vibe that tumbles through the blackness. Spectral xylophones drift through haunted passageways and down cobwebbed stairwells, before everything erupts in a bizarre blast of frenetic, flute-streaked jazz-funk surrounded by the nightmarish squealing of a wild pig. Shrieking electronic hellscapes blast like malevolent transmissions out of the center of a black hole. Pieces of oddball noir jazziness meet blasts of nerve-shredding orchestral terror akin to a meth'd-riddled Bernard Herrmann score. It's an impressively loopy trip, playing out like some crazed, hyper-obscure record of library music from the late 70s/early 80s, but then the second side features that piece of spoken-word fiction for "La Sensation D'Engourdissement", where Isabelle Magnon reads a French translation of a short story from Liles, an eerie, understated piece of medical horror backed by Rollet's ghostly sax and washes of dark electronic ambience. Perfect for midnight turntable sessions.
     Once again, this gets another killer Graham Humphreys cover, and it also includes the original English-language text of Liles' story printed on the back of the jacket; the vinyl itself is pressed on candy-crazed, one hundred eighty gram splatter wax, and issued in a limited run of three hundred fifty copies.


LILES, ANDREW   Schmetaling Monster Of Rock   LP   (Dirter)    25.99

Schmetaling Monster Of Rock IS CURRENTLY UNAVAILABLE FOR ORDER

Despite being a big fan, I don't carry the Nurse With Wound catalog here at C-Blast as it falls outside of the shop's general focus, but every once in a while we'll see something new from NWW member Andrew Liles that crosses over into our realm of metallic weirdness. Liles has been an outspoken fan of metal and has collaborated with an assortment of folks from the Scandinavian black metal scene, legends of the isolationist ambient community, and even has an upcoming collaboration with black noise fiends Sutekh Hexen coming on the horizon, and whenever this guy starts fooling around with metallic sounds, the results are almost always amazing (and amazingly bizarre).
Part of what aims to be an ongoing series, the new Schmetaling Lp features Liles working alongside two legendary black metal vocalists, Maniac and Attila Csihar, both of whom have fronted the Norwegian black metal band Mayhem, and fellow NWW member Matthew Waldron (also of irr. app. (ext.)) is also brought in. Before I threw this on my deck, I was sort of expecting something along the lines of Liles's previous collaboration with Maniac Det Skjedde Noe Når Du Var I Belgia, a mutant hydra of NWW-style sound fuckery, black industrial and blown-out noise-punk slime. There is a bit of stuff here as well as that Nurse With Wound style of sound collage and surrealistic weirdness as you would expect, but the music ends up being MUCH heavier and more freaked-out than anything these guys did on Det Skjedde....
Gorgeously presented in a thick gatefold jacket and pressed on red vinyl, Schmetaling Monster Of Rock starts off with the pounding metallic noise and Maniac's vicious demon-shrieks of "Liberte", a crushing slab of black industrial that evokes the hellish sounds of Mz.412 and Skitliv. But from there, the rest of the album starts to center around a kind of wigged-out, heavy duty psychedelia that's not too far removed from the sort of metallic neo-krautrock sounds that Circle and their Ektro brethren experiment with. The version of heavy metal that Liles seems to be paying homage to is that of the 70's-era, hard rockin', axe-wailin' kind, a la Rainbow, Black Sabbath, early Priest. The musicians switch things up constantly and jarringly, suddenly segueing from a crazed take on classic early NWOBHM with insane falsetto screams and tinny, spastic guitar solos into weird dark and doomy acoustic death-folk that transforms into minimal electronic noisescapes ("Bitter Suite"), stomping, wailing metallic krautrock jams like the instrumental "Death Row Diner" and chopped up liturgical/operatic ambience ("Zygonic Model"). Lots of surrealistic weirdness appears in the form of pornographic sound effects, bizarre electronic sounds, cut-up processed voices and horror movie samples, test-tone drones, discordant piano, and even a little bit of Sabbathian doomcrawl that's strewn through the psych-metal delirium. That black-industrial vibe does re-emerge later on, on the creepy "Schwarze Nacht, Ruchlos Nacht" where Attila snarls and chants over a blackened mix of satanic jazziness and droning trance-metal. But then it's back to the closing track "Ditchdigger" where more of that heavy mutoid boogie is met with Waldron's gargled growls, sounding like a hydrocephalic Leonard Cohen.
This is a thoroughly avant-garde album that most metal fans won't be into, but if you dug Liles's other forays into mind-melting and surrealist metal/electronic delirium and his bizarro blackened prog band Sehnsucht, you'll dig this.
Limited to five hundred copies.


LULL   Continue   CD   (Release)    12.98

Continue IS CURRENTLY UNAVAILABLE FOR ORDER

1996's Continue was the fourth full-length album from Lull, the isolationist dark-ambient project of Mick Harris, legendary former drummer of grind godfathers Napalm Death and jazz-dub thrash outfit Painkiller. Like his other post-Napalm work in Scorn, this was sonically as far from the lightspeed violence of Scum as you can get, while sharing a very similar apocalyptic, bleak-as-hell aesthetic. Along with Lustmord, Lull was reponsible for some of the bleakest and most terrifying dark ambience from this era, and Continue is as strong an album in the Lull catalog as any of his releases, though maybe a bit more of a time investment than previous releases; the tracks on his earlier Sentrax discs were certainly epic in their own right, often sprawling out beyond the forty-five minute mark, but this goes even further, a massive sixty-two minute slab of rumbling, shadow-filled ambient drone, which starts off as minimal swells of distorted low-end texture and whirling metallic tones drifting through a lightless underworld, but then evolves into a great swirling ocean of cavernous reverb, dense layers of bass tones stretched into infinity and shimmery prayer-bowl intonations that slowly bloom and echo across the hour-plus expanse of dark, intensely creepy drift. Spacious and glacial, this is dronemusic as an abyssal descent, a terrifying and ultimately suffocating passage into the blackness filled with constantly changing shapes and sounds that include tidal washes of blurred distortion, far-off smears of choral melody, and formless strains of minor-key drift snaking its way slowly through the emptiness. One of the finer Lull albums for sure, and a recommended disc for disciples of the darkest, bleakest realms of ambient drone. This was Lull's first release in a brief but excellent run with the Relapse experimental sub-label release in the late 90's, and the disc is nicely packaged with heavy textured paper inserts with silver-screened print.
Track Samples:
Sample : LULL-Continue



LYSERGENE   Critical Mass   CD   (Aesthetic Death)    11.98



A couple of months ago, I picked up the debut album from Dead Beat Project, the electronic solo project of Olivier Goyet from the cult UK doom band Esoteric. The album was released by Aesthetic Death, the UK label that had also released several of Esoteric's early albums, but this was far from the mindbending extreme doom of Esoteric - Dead Beat Project's sound was firmly planted in the soil of 80's EBM and darkwave, a kind of orchestral darkwave like In The Nursery streaked with bits of subsonic doomy heaviness that betrayed Goyet's deathdoom roots. As far removed as Dead Beat Project's sound was from that of Esoteric, I still loved it's lush dark textures, electronic beats and bits of dark heaviness that appeared in the later half of the disc. I guess it also helps that I've been a fan of old school darkwave, EBM, and industrial rock since the 80's, so I've always had a soft spot for that sound.
And then I get word from Stu at Aesthetic Death that he's got another Esoteric-related side project coming out, this time it's a project called Lysergene and it's the alter ego of Esoteric guitarist and founding member Gordon Bicknell, and I can't wait to hear it. The release was hung up for a couple of months due to pressing plant delays or something, but we just got it in this week and I'm in fucking love. Again, we've got a member of one of the heaviest doom bands on the planet going off in a completely different, electronica-based direction, but Lysergene's sound is one that I think even hardcore Esoteric fans will want to check out. The core of the sound is definitely EBM and techno/industrial, with lots of pounding, thumping beats and crushing breaks, and it sounds at first like this came right out of the Wax Trax era of heavy dance industrial. Think early Ministry, Front 242, Skinny Puppy, Velvet Acid Christ. Lots of dark electronic textures layered over one another, pounding 4/4 beats, lush dark ambience, with a clear nod to the classic EBM sounds of the late 80's/early 90's. But as Critical Mass unfolds, I'm hearing undercurrents of heavy, distorted guitar drone beneath the pulsating electro rhythms, as well as awesome vintage kosmiche sounds that are right out of the 70's. The track "Twisted And Evil" is a perfect example, a ten minute dancefloor epic filled with creeped out black ambient textures, buried metal solos, glitchy techno beats, and ELP-esque synthesizers. It's followed by "MOnolith", which sounds like a heavier track off of Ministry's Twitch, and the awesome Depeche Mode-meets-Front 242-meets ambient space doom of "L.S.D.". "Neon Flow" and "Network TV" are throwbacks to the hardest industrial dance music of the late 80's but with an advanced level of noise manipulation and malevolent black energy. It's enough to make a fan of the old Wax Trax and Nettwork sound (like myself) go completely apeshit. These tracks are amazingly constructed, super catchy and dark and cybernetically funky, it's some of the best EBM/industrial I've ever heard, for real.
But then the album throws a MASSIVE curveball with the seventh track, "The Groke". Where the previous tracks were all scorching drone and metal-laced dancefloor assaults, "The Groke" rises up out of a distorted noise loop, clanging machines grinding in the background, and suddenly an incredibly distorted guitar riff takes form, total glacial DOOM, a monstrous crushing doom metal riff that begins to lumber forth over that distant machine rhythm. Gradually, voice samples and electronic noises begin to enter the fray, and for the next eleven minutes the track goes through a series of subtle changes, blossoming into a monolithic wash of blissed out blackened industrial cosmic doom, a mix of Tangerine Dream and Esoteric, fuzzed out to obliveon, huge droning powerchords cruising through space like sheets of black ice. Completely unexpected, and fucking mindblowing the first time I spun this disc.
After that comes "The Becoming", and we're back to the dark EBM of the previous half of the album, shimmering black electronic drones underscoring pulsating electronic beats, but the EBM is dronier and darker than before, a steady distorted buzz continuing throughout the entire track. And then comes the closer, "Shock Treatment", which seems to rip through the sonic fabric of the preceding track as it begins, a deep, distorted burst of subsonic unlight that flares out over a massive industrial rhythm, even heavier than "The Groke", a nine minute industrial deathdoomdrone that finally brings together the EBM and industrial and cosmic extreme doom together into a stunning display of heaviosity that'll blow you out of the fucking water. As awesome as all of the previous tracks on Critical Mass are, this closing track is a showstopper, so insanely heavy and rhythmic and grooving and trippy, a black hole fusion of Esoteric and Megaptera, Tangerine Dream and Thergothon, Front 242 and Black Boned Angel.
Beyond recommended!!!!!
Track Samples:
Sample : LYSERGENE-Critical Mass
Sample : LYSERGENE-Critical Mass
Sample : LYSERGENE-Critical Mass
Sample : LYSERGENE-Critical Mass



MANIAC / LILES / CZRAL   Det Skjedde Noe Når Du Var I Belgia   CD   (Dirter)    14.99



Ok, so you've got two legendary members of the Norwegian black metal elite involved with this project, former Mayhem front man Maniac (currently of Skitliv and Sehnsucht) and Czral (aka Carl-Michael Eide) from Ved Buens Ende, Virus, Dodhiemsgard and Aura Noir, so naturally you'd expect to find at least some semblance of the icy metallic blackness that these guys are known for. But no, there's none of that to be found on Det Skjedde Noe Nar Du Var I Belgia, the first album from a long-running studio project that actually dates all the way back to the mid-90's. It's a trio that features the aforementioned black metallers teaming up with British experimental musician Andrew Liles, who is known for his solo work and his involvement with the current lineup of Nurse With Wound. And it's Nurse With Wound that seems to be primary influence on this project, as soon as Det Skjedde... starts, it's pretty obvious that the musicians all share a combined appreciation for the surreal noisescapes of early NWW, which the trio channels into these eerie nightmare hallucinations of sound and voice. The only thing that betrays the black metal background is the hideous croaking vocals of Maniac that skulk throughout the fourteen tracks of Det Skjedde Noe Nar Du Var I Belgia (which translates to "Something Happened While You Were In Belgium"); otherwise, there's nothing blackened or heavy here, although the band certainly know how to create some seriously creepy and unnerving sounds.
The tracks flow together into a strange collage of aural hallucinations and night terrors, with rambling answering machine messages and shimmering metallic drones, spare dissonant piano notes drifting off into space, tinny Asian melodies played on out of tune instruments way off in the distance, chirpy munchkin voices, haunting female voices looped into mesmeric folk melodies, contrasting with backwards moaning and weird percussive sounds, all sorts of strange effects weaving through creaking electro-acoustic noise sculptures, floating fragments of opera voices, detuned strings, digital crackle and hiss, mewling high-pitched noises, bizarre chipmunk gibberish, demented Casio pop fuckery, passages of eerie chamber doom with abstract piano, howling strings and monstrous growls cloaked in Lustmord-esque darkness, bits of mutant jazziness, all treated with lots of weird production trickery and stereo panning , and fronted by Maniac's demonic, blackened, slightly processed rasp.
"Piker, Våpen Og Gitarer (Generalen Kommer Som en Reddende Engel)" is the album's only moment of heaviness, or actual rock for that matter, with the musicians lurching into a pounding garage punk jam doused in scorching wah-soaked soloing and demented vocals that shriek and moan, sorta Stooges-like but with the treble cranked into the red, the whole sound intense and harsh, with a single grinding riff played over and over, like a bunch of black metallers cranking out some super white-hot hell-bent garage rock, which I suppose is exactly what this is.
Not at all what I was expecting at first, but a fascinating album of experimental creepout that should certainly appeal to fans of Nurse With Wound.
Track Samples:
Sample : MANIAC / LILES / CZRAL-Det Skjedde Noe Når Du Var I Belgia
Sample : MANIAC / LILES / CZRAL-Det Skjedde Noe Når Du Var I Belgia
Sample : MANIAC / LILES / CZRAL-Det Skjedde Noe Når Du Var I Belgia
Sample : MANIAC / LILES / CZRAL-Det Skjedde Noe Når Du Var I Belgia



MASAKARI   The Profit Feeds   CD   (Southern Lord)    14.98











Track Samples:
Sample : MASAKARI-The Profit Feeds
Sample : MASAKARI-The Profit Feeds



MASTER SLAVE   Amplifier Graveyard   CASSETTE   (At War With False Noise)    6.50

Amplifier Graveyard IS CURRENTLY UNAVAILABLE FOR ORDER

Just unearthed some copies of this now out-of-print cassette from the British improv drone/sludge outfit Master Slave, a trio that features Mike Vest from UK drug-sludge heathens Bong and the crushing avant noisecore outfit Ultrashitinferno. Alongside fellow member Pete Ryde and guest bassist Dave Terry from Bong, Vest unleashes a crushing psychedelic din of wailing wah-drenched guitar, rumbling amplifier noise and grinding feedback across "Amplifier Graveyard", a live jam that was recorded in Glasgow at the underground music venue 13th Note in early 2010. The band drowns the listener in a suffocating fog of low-fi acid sludge and freeform space rock noise, a massive twenty-five minute drone-spasm that sort of resembles one of Skullflower's most wah-damaged jams circa Orange Canyon Mind, but tethered to a punishing low-end heaviness that invokes a more sinister, doom-laden presence, a crushing bottom-end churn that feels more like something seeping out of an old practice tape from Boris or Earth circa 1995. The murkiness of this recording just adds to the mind-melting quality of Master Slave's oppressive roar as far as I'm concerned, allowing the band's huge caveman riffs to fully dissolve into the undulating waves of acid-fried amp gunk and soaring lysergic wah-wah abuse that is splattered all across this tape. A maelstrom of monstrous freeform psychedelia rushing out of the bowels of hell, violent eruptions of guitar noise and low-end rumble cast against the apocalyptic glow of a meat-red horizon. Fans of Bong's dope-fueled low-end rituals won't find any of that band's glacial riffage here, but there's a similar energy in Vest and co.'s assault on the senses, in their relentless onslaught of crushing amplifier volume.
Released in a limited edition of fifty copies.
Track Samples:
Sample : MASTER SLAVE-Amplifier Graveyard
Sample : MASTER SLAVE-Amplifier Graveyard
Sample : MASTER SLAVE-Amplifier Graveyard



MEATGRINDER   Fear Into The Heart Of The Victim   CDR   (Der Bunker)    5.00



This sick little Ep is one of the many offshoots of Hal Hutchinson, the Brit gentleman who's been audio-fucking my eardrums over the past couple of years through various projects like Pollutive Static, Execution Support Act, and the junk-noise destruction he's been releasing under his own name. If you're a regular lurker around the C-Blast site, you've probably noticed some gushing about his work on my part. Anyways, I was clearing some space in the stockroom this week and came across a very small stack of discs from his older project Meatgrinder, a short-lived harsh noise alter-ego from Hutchinson that only released a handful of tracks under the Meatgrinder name in 2010. For some reason these were never listed on the site, so here you go: "Fear Into The Heart Of The Victim" is a nearly seventeen-minute piece that was released on Cd-r on Hutchinson's own imprint in a numbered edition of fifty copies (packaged in a simple black and white xeroxed sleeve), and it swamps the listener with relentless churning amplifier-roar and blackened static, with that hypnotic, time-devouring quality when experienced at high volume that all of the best HNW stuff is capable of. He doesn't slam you over the head with it at first, though; the track is book ended with a couple of minutes of post-mortem buzz, a cloud of dead grey drift hovering in blackness, suddenly erupting into the electrical inferno that comprises most of the disc. Not really all that far removed from his Pollutive Static recordings and with the same tendency towards controlled shifts in speed/texture/intensity; fans of his PS tapes will want to pick this up. As always though, this shit is for hardcore HN junkies only.
Track Samples:
Sample : MEATGRINDER-Fear Into The Heart Of The Victim
Sample : MEATGRINDER-Fear Into The Heart Of The Victim



MECHANICAL CHILDREN   Blue Mouth   CDR   (Blackest Rainbow)    9.98



A re-issued disc from this offshoot from the mysterious British drone-ritual collective Jazzfinger, Blue Mouth is one of the few released from the duo of Ben Jones and Sarah Sullivan under the Mechanical Children name. The original first edition came out in an oversized LP-style jacket and sold out soon after it's release, so Blackest Rainbow brought it back out in a small second run of 140 copies in a smaller parchment sleeve with the exact same weirdo collage artwork from David Payne of Fossils. Soundwise, there's some obvious connections between Mechanical Children's dark industrial ooze and the shadowy drone n' clatter improvisations of the 'Finger, mainly in the deep cloudbanks of distorted metallic guitar-fug and squealing feedback that enshroud these two lengthy jams, but here the duo rakes the doomy amp-roar over a scraggly industrial wasteland that heads off into a thumping scrapyard nightmare closer to Wolf Eyes territory. The first track "Starlight For The Beatle" is almost cheery, with a richly melodic riff blasting out of tinny speaker through a wall of rumbling amplifier sludge and buzzing instrument cables, revealing an almost poppy hook beneath the layers of squealing electricity and aural crud, but when they lurch into the following track "Dragonflies Dream", things get mucho darker, with squalls of grimy guitar noise and crushing amp-generated sinewaves creeping over blurts of busted drum-machine rhythm that clack and pound erratically like rusted wheezing machinery buried under three feet of scrap metal, creating a heavy, putrid, low-fi industrial dirge somewhere in between Wolf Eyes and Total and the blasted occult buzzstorms of Jazzfinger.
Track Samples:
Sample : MECHANICAL CHILDREN-Blue Mouth
Sample : MECHANICAL CHILDREN-Blue Mouth



MIRAG   Black Temple Carved In Smoke   CD   (Battlecruiser)    13.98

Black Temple Carved In Smoke IS CURRENTLY UNAVAILABLE FOR ORDER

I think that it's finally starting to catch on that this mysterious Mirag project that has been releasing a handful of skull-scorching metallic drone platters over the past year and a half is actually none other than Matthew Bower of Skullflower/Hototogisu/Sunroof!/Total fame, delving headfirst into a black abyss of goatheaded feedback loops and mega sinister ambient death riffage. Originally, the Black Temple Carved In Smoke EP came out as a CD-R on the Battlecrusier imprint about a year ago, the drone/skuzz/free metal imprint run by Campbell Kneale of Black Boned Angel/Birchville Cat Motel in tandem with his Celebrate Psi Phenomena label. Lucky for all of us who missed out on the original CD-R version, Battlecruiser is now releasing their sounds as actual CDs instead of CD-Rs, and the first round of "real" CDs includes this crucial re-issue. Black Temple contains two tracks of melted, charred melodies floating out of an ocean of tar-black amorphous amplifier hum and swirling ultra distortion, a midnight guitar noise nightmare with far-off, buried drumbeats throbbing like some hellish engine, pushing the waves of glistening feedback and glacial winds forward over desolate, barren landscapes. Beautiful and crushing, burnt and blackened, a psychedelic scorched earth doom drone interpretation of Bower's work in Hototogisu crossed with the abyssal sludgery of Corrupted. The trademark Battlecruiser silver-on-black printing of the CD wallet will have serious heavy dirge freaks scurrying to collect this label's output.


PITCH SHIFTER   Submit   CD   (Earache)    9.98

Submit IS CURRENTLY UNAVAILABLE FOR ORDER

Forerunners of the industrial doom/sludge sound, Pitch Shifter started off in the British underground metal/noise scene of the early 90s as an unabashed bit of Godflesh worship, cloning the pounding Swans-influenced industrial rhythms, feedback-streaked monolithic riffing and apocalyptic vibe of Streetcleaner and dragged that sound into darker, heavier realms. After the band signed on to Earache, their crushing industrial dirge reached an apex of skull-battering heaviness with the remix/studio track collection Submit and the follow-up album Desensitized, and in my book both of these discs are crucial albums within the spectrum of ultra-heavy, dystopian mechanical sludge. After this period, the band would move into a more commercial techno/drum n' bass sound that I wasn't too keen on, but the 1991-1993 era is total crush. With all of the industrial-tinged doom that I've been listening to lately (Human Quena Orchestra, Black Sun, Hordes Of Satan, Vennt, Nevath, Wicked King Wicker, etc.), it was just a matter of time before I pulled out my early Pitch Shifter albums and gave them a fresh listen, and I've been rediscovering how much of a devastating listen these Earache titles still are. Niether of these discs have been carried here at Crucial Blast before, but both of these are essential listening for fans of industrial-influenced sludge.
The first release for their then-new label Earache, 1992's Submit only partially moves beyond the heavy Godflesh influence that marked their early releases. The hypnotic down tuned riffing and (especially) the wailing feedback leads all still heavily smack of that early Godflesh sound, but at this point Pitch Shifter had begun to introduce more death metal elements (in the form of much deeper, more guttural death metal-style vocals, heavier sludgier riffs, bursts of speed that sometimes approached full-on thrash), and whenever the band would rest the grinding guitars and bellowing vokills for a moment, the stretches of purely percussive, mechanical drum-machine throb and samples could evoke the grimy clatter of 80's industrial in a way that Godflesh was rarely able to. Submit features a selection of re-recorded tracks from their debut Death Industrial 7" and the Peaceville album Industrial, a new instrumental track called "Silo", and live versions of "Deconstruction" and "Landfill". If you had an itch to hear a death metal version of Godflesh, then this is what you'd been waiting for.
Track Samples:
Sample : PITCH SHIFTER-Submit
Sample : PITCH SHIFTER-Submit



PITCH SHIFTER   Desensitized   CD   (Earache)    12.98

Desensitized IS CURRENTLY UNAVAILABLE FOR ORDER

Forerunners of the industrial doom/sludge sound, Pitch Shifter started off in the British underground metal/noise scene of the early 90s as an unabashed bit of Godflesh worship, cloning the pounding Swans-influenced industrial rhythms, feedback-streaked riffing and apocalyptic vibe of Streetcleaner and dragged that sound into darker, heavier realms. After the band signed on to Earache, their crushing industrial dirge reached an apex of skull-battering heaviness with the remix/studio track collection Submit and the follow-up album Desensitized, and in my book both of these discs are crucial albums within the spectrum of ultra-heavy, dystopian mechanical sludge. After this period, the band would move into a more commercial techno/drum n' bass sound that I wasn't too keen on, but the 1991-1993 era is total crush. With all of the industrial-tinged doom that I've been listening to lately (Human Quena Orchestra, Black Sun, Hordes Of Satan, Vennt, Nevath, Wicked King Wicker, etc.), it was just a matter of time before I pulled out my early Pitch Shifter albums and gave them a fresh listen, and I've been rediscovering how much of a devastating listen these Earache titles still are. Neither of these discs have been carried here at Crucial Blast before, but both of these are essential listening for fans of industrial-influenced sludge.
1993's Desensitized finally saw Pitchshifter move beyond mere Godflesh worship into a more lush, more rocking industrial metal sound of their own. The twelve songs on the album are still seriously crushing and metallic and bottom-heavy, no doubt about it, but the riffs are catchier than before, and are in fact quite fucking awesome (as on the industrial-rock battering ram "Ephemorol"), the songs a bit faster paced and groovier, with sheets of churning chorus-heavy guitar swirling over the relentless tribal drumming and pounding mechanical crush, and a much heavier presence of electronic effects and synth-like layers of sound shooting through these chugging machine-metal mantras. All of this gives the songs a gloomy, psychedelic feel, and there's a post-punk quality to much of this that also makes this stand out from their previous work, which reminds me of the early 90's Ministry stuff as much as it does of Godflesh. Really, this album is one of the few to successfully pull off an amalgam of that super-heavy Godflesh sound and the more kinetic Wax Trax/Ministry style of industrial metal, forging it into an intense slab of pummeling, rhythmic fury. The last blast of pure thunderous mecha-crush before the band would evolve into a blend of nu-metal and techno/drum n' bass, Desensitized is crucial listening for fans of early 90's industrial metal.
Track Samples:
Sample : PITCH SHIFTER-Desensitized
Sample : PITCH SHIFTER-Desensitized
Sample : PITCH SHIFTER-Desensitized



POLLUTIVE STATIC   Turn On The Fuck Soundtrack   CASSETTE   (Nil By Mouth)    7.99



As much as I dig all of Hal Hutchinson's assorted projects and pseudonyms (Execution Support Act, Meatgrinder, Controlled Property, even sometime collaborator with The New Blockaders), it's his straight-up harsh noise project Pollutive Static that I've been listening to most. Maybe it's just because I've been coming across more PS releases lately, but regardless, the brutal throwback noise that he works with here has been solidly cathartic to my ears.
Fuck Soundtrack offers nothing for those looking for nuance and subtlety; these seven tracks are purely brutal exercises in electronic skull-fuck. Recorded hot and low-fi, the untitled noise tracks crumbling beneath their own weight and excess, this tape subjects the listener to an evolving tapestry of extreme feedback, effects and distortion with no apparent intellectual thought. Hutchison sculpts massive sweat-soaked orgies of amp/metal abuse, bludgeoning the air and flesh with swooping flanged sine waves, over-modulated noise collages, and suffocating walls of distorted roar that are suddenly erected, then come crashing back down just as quickly. The abuse that Hutchison unleashes on his synthesizers is merciless; the electronic instruments vomit out endless torrents of distorted low-end judder, long stretched-out drones caked in black static, spewing blown-out burbling chaos from end to end. Sputtering, spasmodic pedal squeal collides with searing metallic synth-hum, and huge stacks of metal are dragged across vast concrete surfaces, and then hurled into an abyss. Massive rusted-out engines are force-fed human flesh, and then are left to break apart and belch black smoke into the heavens as snippets of country music flash in and out of view from behind a wall of caustic amp-scrape. The amplified roar of blood from the tumescent meat held fast in the grip of a black leather glove. It's violent, psychedelic, recommended only to fans of the most brutal practitioners of noise a la Custodian and Sickness.
Limited edition of 120 copies. The tapes comes in a wild-looking package that has a black cardstock slipcase with artwork and some metal mesh attached to the front, and a full-color tape cover that has some extremely graphic vintage S&M visuals. Please note: Due to the explicit nature of the artwork on this cassette, it is only available to customers 18 and older. Please include an age statement in the "message" section at checkout, if ordering this item.


PROJECT: VOID   The Anthropogenic Process   CASSETTE   (Crucial Blast - Infernal Machines Series)    5.00

The Anthropogenic Process IS CURRENTLY UNAVAILABLE FOR ORDER

Through a fusion of brutal power electronics, harsh noise influences and the blackest, filthiest strains of death industrial, Project: Void offers a litany of human failure and squalor with The Anthropogenic Process, a full length album released through our cassette/digital imprint Infernal Machines. There's nothing subtle about Project: Void's worldview - this is utter contempt for other human beings, a deep seated misanthropic outlook steeped in disgust that borders on the physical. That attitude by itself is enough to endear this project to the hard hearts here at Crucial Blast, but the excoriating humanhate is delivered via an incredibly nasty noise assault that kicks some serious ass. The album features ten tracks of bestial electronics that incorporates elements of extreme junk-noise and blackened industrial into an extremely heavy power electronics attack; I can hear traces of that classic Slaughter Productions sound seething under all of the feedback scrape and monstrous cackling, but The Anthropogenic Process has other ingredients that also set this apart. On a couple of tracks, heavy pounding drums appear, providing a thunderous backing rhythm to the flesh-rending electronic chaos, and elsewhere on the album, the sound of maniacal carnival organs appear, writhing over brutal blasting feedback. Controlled bursts of immolating harsh noise are cut with minimal black synth throb, and crushing and massively distorted bass riffs materialize alongside primitive keyboard soundtrack pieces that give birth to crushing bass frequencies and ultra-distorted percussive noise. It's Project: Void's vocals that really make this monstrous, though; the violent electronics are fronted by a mix of processed gurgling throat-slime and a scathing, almost black metal-style vocal style that adds a definite black industrial vibe. This full-length cassette from Project:Void presents one of the first official collections of their bestial black electronics; it's limited to 100 copies, and also includes a unique download code to obtain a digital copy of the album. If you're one of the few hardcore enthusiasts of the heavier strains of modern power electronics and black industrial found in the works of such hell-bent outfits as Demonologists, Iron Fist Of The Sun, The Vomit Arsonist, Fecalove, Deathkey, Black Post Society-era Prurient, and Deadwood, is a recommended addition to your "to-get" list.
Track Samples:
Sample : PROJECT: VOID-The Anthropogenic Process
Sample : PROJECT: VOID-The Anthropogenic Process
Sample : PROJECT: VOID-The Anthropogenic Process



PUTREFIER   Trace Element Syntax   CD   (RRRecords)    9.98



Brutal UK noise skuzz from this Broken Flag alumnus, released via the PURE Series in 1997. PUTRIFIER, a.k.a. mark Durgan, has been serving up primo noise assaults since back in 1986, with tapes on the Broken Flag and Birthbiter imprints as well as the MSBR label and a select few other releases. This '97 full length captures 7 tracks/72 minutes of PUTREFIER's (love that name!!) electroacoustic / feedback horror, summoning up pits of writhing malfunctioning guitar cables, a more sinister take on VOICE CRACK style improv noise, early MERZBOW level skree, and a diseased scum pulse that not only reminds me a bit of RAMLEH, but also predates the sort of woozy, gross tone subversions that WOLF EYES / UNIVERSAL INDIANS engaged in. Trace Element Syntax is packaged in a minimalist PURE Series style xerox-wrecked wallet sleeve.


RAMLEH   We Created It,Lets Take Over The World Vol. II   CD   (RRRecords)    9.98

We Created It,Lets Take Over The World Vol. II IS CURRENTLY UNAVAILABLE FOR ORDER

In our ongoing lifequest to attempt to document and deliver the best in form destroying UK noise rock, it was just a matter of time before we landed this unholy triumvirate of seminal and ESSENTIAL brootal lo-fi feedback violence/blackened cosmic dirgedrone/evil amplifier destruction from the O.G. UK noise outfit Ramleh. Philip Best (formerly of influential UK noise operatives Whitehouse) and Gary Mundy (of Breathless,Skullflower,and owner of the Broken Flag label) were the brains behind this operation, and the history books have always lumped Ramleh and the associated Broken Flag label in with the whole proto-power post-Whitehouse electronics movement, which it certainly has ties to. But perspective (and heavy drugs) also allow us to parse Ramleh's primal power-howl as a precursor to the hot-shit free-rock/destructo noise/drone rock wave that's all the rage currently...I mean, some of this shit came out in fucking 1982, for chrissakes, and it hasn't lost one iota of bone crunching power in the interim, dishing out grueling, sinister feedback and amp drone burn as potent as anything from Wolf Eyes or Gravitar, or Boris' drone blowouts, or Skullflower or Hair Police or any other extreme noise rock dealers. At least, that's our take. So, what's the fuss about?
This 2nd entry in RRRecords We Created It, Let's Take It Over trilogy collects assorted jams dating back to 1982-1983 and mostly collected from early tape, vinyl and compilation releases, and includes the tracks "McCarthy","Purge", "Drancy", "Korpolagnia", "Return to Slavery","Nordhausen","New Force",and "Phenol". Taking severely abused synthesizers,tapes, mongoloid space guitar riffs, ANNIHILATING feedback,planet-crushing drumming,n' howling screaming anti-vocals, Ramleh threw it all together into long-form, mostly improvised orgies of lithium violence that go far beyond brothers-in-pain Skullflower. We are talking total bedlam at times, with some of the most incendiary, crushing freeform noise feedback ever commited to tape. The guitar pummel and feedback pyrotechnics on this mother are def in the vein of what Skullflower was doing around the same time, but Ramleh's outrages just seem way more anti-social. It's that intense, a dark, droning, apocalyptic and psychedelic mass. Absolutely crucial to fans of UK noise rock (Skullflower,Total,Splintered). The We Created It, Let's Take It Over trilogy was released as three separate CDs on Pure in 1995, and we've got all three in stock. The cover for all three CDs is identical except for the volume number on the sticker. All three are collections of earlier Ramleh material, generally from cassette releases. Essential.


RAMLEH   Circular Time   2 x CD   (Crucial Blast)    12.98



     It's been nearly twenty years since we last had a full-length album from Ramleh operating in "rock" mode, but the sprawling new double album Circular Time sees these British noise rock legends returning with their most intense work since re-emerging in recent years. One of the key bands to emerge from the British post-industrial underground of the early 1980s alongside their Broken Flag label-mates Skullflower, Ramleh continually shifted between the extreme, confrontational power electronics of their early material and their later forays into searing, lysergic noise rock, right up until the band went on an extended hiatus in the late 1990s. The group would return later the following decade with a number of reissues and new releases, but up until now, almost all of the new material from the re-activated Ramleh leaned more towards their power electronics and harsh noise tendencies. But with this massive new album, these distortion masters (now comprised of founding member Gary Mundy, longtime member Anthony Di Franco, and new drummer Martyn Watts) have returned with nearly two hours of speaker-shredding, void-gazing psychedelia, pushing the pummeling, Hawkwindian meltdowns heard on classic 90's-era albums like Be Careful What You Wish For and Shooters Hill into realms of total obliteration.
      Still forged from a simple but savage combination of pummeling mogodon drumming, monstrously overloaded synthesizers and elliptical, sludge-encrusted bass riffs that anchor the squalls of brutal, electrified guitar noise that crash across these thirteen tracks, Ramleh's sound remains hypnotically crushing. From the almost pastoral strum of opener "Re-entry" that ends up exploding into a frenzy of howling feedback and motorik propulsion, the galloping power and delay-drenched delirium of "Incubator", to the lurching post-punk of "The Tower", the ferocious, volcanic ragas of "Renaissance Warfare", and the lumbering, almost Sabbathian bass-thud and longform guitar exploration that winds through songs like "The March" and "American Womanhood", Ramleh excavate some of their most monstrous riffs and amplifier meltdowns to date. Heavy, zoned-out drone-rock grooves are unleashed amid gales of sky-scorching guitar noise, with epic psych-shred workouts stretched out across storms of nebular effects. Eerie choral ambience rises above over-modulated bass-lines and tumultuous drumming. Distant vocals howl beneath sheets of shimmering guitar, and streaks of twisted, mutant dub materialize within some of the album's catchier moments. Cacophonies of blissed-out guitar squall and violent drumming come tumbling out of the speakers in a rush of freeform psychnoise, and vast, rumbling dronescapes unfurl in the abyss, enfolding majestic but brutally distorted melodies in waves of shadowy low-frequency synth. It's dark, often brutal music, but also shot through with moments of sweeping, apocalyptic beauty, building to the powerful back-to-back finale of "Weird Tyranny" and "Never Returner" that are as utterly blasted and majestic as anything we've heard from Ramleh in the band's thirty-some year existence.
Track Samples:
Sample : RAMLEH-Circular Time
Sample : RAMLEH-Circular Time
Sample : RAMLEH-Circular Time
Sample : RAMLEH-Circular Time



RAMLEH   We Created It,Lets Take Over The World Vol. I   CD   (RRRecords)    9.98

We Created It,Lets Take Over The World Vol. I IS CURRENTLY UNAVAILABLE FOR ORDER

In our ongoing lifequest to attempt to document and deliver the best in form destroying UK noise rock, it was just a matter of time before we landed this unholy triumvirate of seminal and ESSENTIAL brootal lo-fi feedback violence/blackened cosmic dirgedrone/evil amplifier destruction from the O.G. UK noise outfit Ramleh. Philip Best (formerly of influential UK noise operatives Whitehouse) and Gary Mundy (of Breathless,Skullflower,and owner of the Broken Flag label) were the brains behind this operation, and the history books have always lumped Ramleh and the associated Broken Flag label in with the whole proto-power post-Whitehouse electronics movement, which it certainly has ties to. But perspective (and heavy drugs) also allow us to parse Ramleh's primal power-howl as a precursor to the hot-shit free-rock/destructo noise/drone rock wave that's all the rage currently...I mean, some of this shit came out in fucking 1982, for chrissakes, and it hasn't lost one iota of bone crunching power in the interim, dishing out grueling, sinister feedback and amp drone burn as potent as anything from Wolf Eyes or Gravitar, or Boris' drone blowouts, or Skullflower or Hair Police or any other extreme noise rock dealers. At least, that's our take. So, what's the fuss about?
This 1st entry in RRRecords We Created It, Let's Take It Over trilogy collects 79 minutes of assorted jams dating back to 1982-1983 and mostly collected from early tape, vinyl and compilation releases, and includes the tracks "Suction", "Throatsuck", "Deathtoll", "Ramleh", "Emaciator", "Onslaught", "Phenol",and "Fistfuck". Taking severely abused synthesizers,tapes, mongoloid space guitar riffs, ANNIHILATING feedback,planet-crushing drumming,n' howling screaming anti-vocals, Ramleh threw it all together into long-form, mostly improvised orgies of lithium violence that go far beyond brothers-in-pain Skullflower. We are talking total bedlam at times, with some of the most incendiary, crushing freeform noise feedback ever commited to tape. The guitar pummel and feedback pyrotechnics on this mother are def in the vein of what Skullflower was doing around the same time, but Ramleh's outrages just seem way more anti-social. It's that intense, a dark, droning, apocalyptic and psychedelic mass. Absolutely crucial to fans of UK noise rock (Skullflower,Total,Splintered). The We Created It, Let's Take It Over trilogy was released as three separate CDs on Pure in 1995, and we've got all three in stock. The cover for all three CDs is identical except for the volume number on the sticker. All three are collections of earlier Ramleh material, generally from cassette releases. Essential.


RAMLEH   Hole In The Heart   2 x CD   (Dirter)    22.98

Hole In The Heart IS CURRENTLY UNAVAILABLE FOR ORDER








Track Samples:
Sample : RAMLEH-Hole In The Heart
Sample : RAMLEH-Hole In The Heart
Sample : RAMLEH-Hole In The Heart



RAMLEH   We Created It,Lets Take Over The World Vol. III   CD   (RRRecords)    9.98

We Created It,Lets Take Over The World Vol. III IS CURRENTLY UNAVAILABLE FOR ORDER

In our ongoing lifequest to attempt to document and deliver the best in form destroying UK noise rock, it was just a matter of time before we landed this unholy triumvirate of seminal and ESSENTIAL brootal lo-fi feedback violence/blackened cosmic dirgedrone/evil amplifier destruction from the O.G. UK noise outfit Ramleh. Philip Best (formerly of influential UK noise operatives Whitehouse) and Gary Mundy (of Breathless,Skullflower,and owner of the Broken Flag label) were the brains behind this operation, and the history books have always lumped Ramleh and the associated Broken Flag label in with the whole proto-power post-Whitehouse electronics movement, which it certainly has ties to. But perspective (and heavy drugs) also allow us to parse Ramleh's primal power-howl as a precursor to the hot-shit free-rock/destructo noise/drone rock wave that's all the rage currently...I mean, some of this shit came out in fucking 1982, for chrissakes, and it hasn't lost one iota of bone crunching power in the interim, dishing out grueling, sinister feedback and amp drone burn as potent as anything from Wolf Eyes or Gravitar, or Boris' drone blowouts, or Skullflower or Hair Police or any other extreme noise rock dealers. At least, that's our take. So, what's the fuss about?
This 3rd and final entry in RRRecords We Created It, Let's Take It Over trilogy collects assorted jams dating back to 1982-1983 and mostly collected from early tape, vinyl and compilation releases, including the Hand Of GLory single in it's entirety, as well as the tracks "Squassation","Prossneck",and "Live at the Roebuck". Taking severely abused synthesizers,tapes, mongoloid space guitar riffs, ANNIHILATING feedback,planet-crushing drumming,n' howling screaming anti-vocals, Ramleh threw it all together into long-form, mostly improvised orgies of lithium violence that go far beyond brothers-in-pain Skullflower. We are talking total bedlam at times, with some of the most incendiary, crushing freeform noise feedback ever commited to tape. The guitar pummel and feedback pyrotechnics on this mother are def in the vein of what Skullflower was doing around the same time, but Ramleh's outrages just seem way more anti-social. It's that intense, a dark, droning, apocalyptic and psychedelic mass. Absolutely crucial to fans of UK noise rock (Skullflower,Total,Splintered). The We Created It, Let's Take It Over trilogy was released as three separate CDs on Pure in 1995, and we've got all three in stock. The cover for all three CDs is identical except for the volume number on the sticker. All three are collections of earlier Ramleh material, generally from cassette releases. Essential.


RAMLEH   Be Careful What You Wish For   CD   (Sympathy For The Record Industry)    14.98












Track Samples:
Sample : RAMLEH-Be Careful What You Wish For
Sample : RAMLEH-Be Careful What You Wish For
Sample : RAMLEH-Be Careful What You Wish For



ROUGH SEX QUARTET   Recycled Music Series   CASSETTE   (RRRecords)    4.50



A 2006 recording from Newcastle, England's Rough Sex Quartet, relased as part of the RRRecords Recycled Music series. I thought that the Rape Baby CDR that this mysterious ensemble released on At War With False Noise was one of the better harsh-wall releases that the label has put out, and this earlier recording keeps up the punishing sado-drone with two untitled sides of massive low-end distorto-avalanche that rumbles through my nervous system with an effect similiar to that of standing in a room with twenty full Marshall stacks all cranked to eleven and just...sitting...there. Like the rest of the Quartet's output, this recording is made up of behemoth uncut slabs of monotonous distortion that is a bit murkier and more bass-driven than, say, similiarly themed works from artists like Vomir and The Rita. There is something much more hypnotic and meditative about the Quartet in action, possibly due to the almost total lack of high end tones in their ocean of distortion. Like I mentioned in the review for Rape Baby, this is about as far as you can go with undynamic harsh noise. It's like a sample of a rockslide being looped infinitely and blasted at your head at maximum volume through a wall of down pillows. No fun, no energy, just a light-devouring mass of churning stygian power-ambient. For those few mutants who lust for harsh wall noise as much as I, these guys are righ up there with the aforementioned artists along with Cherry Point and Concrete Threat. Brutal! As with all Recycled Music series cassettes, this comes on a used commercial cassette tape covered with duct tape and scrawled on by Ron from RRR.
Track Samples:
Sample : ROUGH SEX QUARTET-Recycled Music Series
Sample : ROUGH SEX QUARTET-Recycled Music Series
Sample : ROUGH SEX QUARTET-Recycled Music Series
Sample : ROUGH SEX QUARTET-Recycled Music Series



SCORN   Colossus   CD   (Earache)    12.98

Colossus IS CURRENTLY UNAVAILABLE FOR ORDER

That double disc re-issue of Evanescence/Ellipsis that Earache out out at the end of '09 compelled me to dig up the rest of Scorn's Earache output so I could get them in the bins here at C-Blast; the earlier, heavier Scorn stuff is some of my favorite music from Mick Harris's long-running industrial dub project, and we've had a lot of our customers asking about the hard-to-find Scorn stuff ever since the reissue set was listed. Much of Scorn's early 90's catalog is out-of-print now, but I was able to get several of their albums, including the amazing Colossus, the Deliverance reissue, a few copies of the rare Gyral album, and the debut album Vae Solis, which has seemed to have slipped into obscurity in recent years. I hardly ever hear anyone talk about this particular album, which is surprising seeing as how it not only features the entire lineup of Napalm Death's a-side of Scum (Nic Bullen, Mick Harris, Justin Broadrick), but is also a crushing slab of post-Godflesh industrial dub metal that newer fans of Godflesh, Swans and Pitch Shifter should be going apeshit over. The rest of these albums are equally rad, if you're into this kind of dark, doom-laden industrial dub/trip-hop; along with Painkiller/Bill Laswell, Techno Animal and Ice, Scorn was one of the most fearsome practitioners of post-industrial dub in the 90's, fusing grim electronic ambience with dub-heavy break beats and spacey effects. All of these discs are big favorites of mine.
1994's Colossus is an absolute must-have if you're a fan of Scorn's seminal industrial dub; this is the album where former Napalm Death members Mick Harris and Nic Bullen fully shook off the thrash elements of their Vae Solis debut and immersed themselves fully in their bleak, often nightmarish apocalyptic dub soundscapes, combining distorted guitar and hypnotic bass lines with skittering programmed beats, pounding industrial rhythms and sampled percussion slathered in reverb and delay, the crushing mechanical break beats and dubby snare hits slithering and snaking across the fields of dystopian ambience and dark electronic textures. You can still hear hints of Godflesh in Scorn's sound on the album, but the crushing riffage has been almost completely replaced by a thick bass-driven throb, the sound much more spacious and bleak than before. These eleven tracks are lumbering, monolithic slabs of pulsating darkness, massive slow motion break beats and glacial snares hammering out a trance inducing groove through super-heavy tracks like the guitar-strafed "Crimson Seed", the black acid dub of "Scorpionic" and the delirious doom of "Nights Ash Black". A few passages of beatless industrial ambience arise (the coruscating metallic shimmer of "Sunstroke", and the dark isolationist expanse of "Little Angel", which moves the album briefly into Lull/Lustmord territory), but Colossus is mostly a massive beat-driven experience, sludgy and druggy and mesmerizing. A personal favorite.
Track Samples:
Sample : SCORN-Colossus
Sample : SCORN-Colossus
Sample : SCORN-Colossus



SCORN   Gyral   CD   (Earache)    12.98

Gyral IS CURRENTLY UNAVAILABLE FOR ORDER

That double disc re-issue of Evanescence/Ellipsis that Earache out out at the end of '09 compelled me to dig up the rest of Scorn's Earache output so I could get them in the bins here at C-Blast; the earlier, heavier Scorn stuff is some of my favorite music from Mick Harris's long-running industrial dub project, and we've had a lot of our customers asking about the hard-to-find Scorn stuff ever since the reissue set was listed. Much of Scorn's early 90's catalog is out-of-print now, but I was able to get several of their albums, including the amazing Colossus, the Deliverance reissue, a few copies of the rare Gyral album, and the debut album Vae Solis, which has seemed to have slipped into obscurity in recent years. I hardly ever hear anyone talk about this particular album, which is surprising seeing as how it not only features the entire lineup of Napalm Death's a-side of Scum (Nic Bullen, Mick Harris, Justin Broadrick), but is also a crushing slab of post-Godflesh industrial dub metal that newer fans of Godflesh, Swans and Pitch Shifter should be going apeshit over. The rest of these albums are equally rad, if you're into this kind of dark, doom-laden industrial dub/trip-hop; along with Painkiller/Bill Laswell, Techno Animal and Ice, Scorn was one of the most fearsome practitioners of post-industrial dub in the 90's, fusing grim electronic ambience with dub-heavy break beats and spacey effects. All of these discs are big favorites of mine.
1995's Gyral was the first with Mick Harris as the sole member following the departure of Nic Bullen, and the sound is appropriately sparse and skeletal, a reductionist version of the band's previous industrial dub sound. The pounding languid break beats are wound into looping circular mantras that anchor the dark, ominous ambient drift and electronic ether that float by, sonar pings and fragments of piano echoing through the shadows, percussive samples locked into air-tight tick-tock grooves, snares popping and leaving incandescent tracers dissolving against the blackness, the speaker-rattling bass coiling almost subliminally in the background. The whole atmosphere of Gyral is dreamlike and ambient, not quite as apocalyptic as releases like Deliverance, but definitely still quite sinister and bleak, with none of the vocals that were so prominent on prior albums. Eight tracks: "Six Hours One Week", "Time Went Slow", "Far In Out", "Stairway", "Forever Turning", "Black Box", "Hush", "Trondheim - Gävle". Gyral is an engrossing slab of industrial trip-hop/dark ambient dub, one of Harris's most hypnotic and heavy-lidded albums, and another personal favorite of mine from Scorn. SUPER LIMITED, I was only able to get a couple of copies of this album as it appears to have gone out of print, so move quick if you want to pick this up!
Track Samples:
Sample : SCORN-Gyral
Sample : SCORN-Gyral



SCORN   Gyral   CASSETTE   (Scorn Recordings)    6.50



    Just unearthed some copies of the long out-of-print cassette version of Scorn's Gyral, released by the Earache sub-label Scorn Recordings back in 1996. It's a classic slab of dark, doom-laden industrial dub/trip-hop from the former drummer and founding member of grindcore gods Napalm Death, Mick Harris; along with Painkiller/Bill Laswell, Techno Animal and Ice, Scorn was one of the most fearsome practitioners of post-industrial dub in the 90's, fusing grim electronic ambience with dub-heavy break beats and spacey effects.
    1995's Gyral was the first with Mick Harris as the sole member following the departure of Nic Bullen, and the sound is appropriately sparse and skeletal, a reductionist version of the band's previous industrial dub sound. The pounding languid break beats are wound into looping circular mantras that anchor the dark, ominous ambient drift and electronic ether that float by, sonar pings and fragments of piano echoing through the shadows, percussive samples locked into air-tight tick-tock grooves, snares popping and leaving incandescent tracers dissolving against the blackness, the speaker-rattling bass coiling almost subliminally in the background. The whole atmosphere of Gyral is dreamlike and ambient, not quite as apocalyptic as releases like Deliverance, but definitely still quite sinister and bleak, with none of the vocals that were so prominent on prior albums. Eight tracks: "Six Hours One Week", "Time Went Slow", "Far In Out", "Stairway", "Forever Turning", "Black Box", "Hush", "Trondheim - Gävle". Gyral is an engrossing slab of industrial trip-hop/dark ambient dub, one of Harris's most hypnotic and heavy-lidded albums, and another personal favorite of mine from Scorn. Extremely limited!
Track Samples:
Sample : SCORN-Gyral
Sample : SCORN-Gyral



SCORN   Vae Solis   CD   (Earache)    12.98

Vae Solis IS CURRENTLY UNAVAILABLE FOR ORDER

That double disc re-issue of Evanescence/Ellipsis that Earache out out at the end of '09 compelled me to dig up the rest of Scorn's Earache output so I could get them in the bins here at C-Blast; the earlier, heavier Scorn stuff is some of my favorite music from Mick Harris's long-running industrial dub project, and we've had a lot of our customers asking about the hard-to-find Scorn stuff ever since the reissue set was listed. Much of Scorn's early 90's catalog is out-of-print now, but I was able to get several of their albums, including the amazing Colossus, the Deliverance reissue, a few copies of the rare Gyral album, and the debut album Vae Solis, which has seemed to have slipped into obscurity in recent years. I hardly ever hear anyone talk about this particular album, which is surprising seeing as how it not only features the entire lineup of Napalm Death's a-side of Scum (Nic Bullen, Mick Harris, Justin Broadrick), but is also a crushing slab of post-Godflesh industrial dub metal that newer fans of Godflesh, Swans and Pitch Shifter should be going apeshit over. The rest of these albums are equally rad, if you're into this kind of dark, doom-laden industrial dub/trip-hop; along with Painkiller/Bill Laswell, Techno Animal and Ice, Scorn was one of the most fearsome practitioners of post-industrial dub in the 90's, fusing grim electronic ambience with dub-heavy break beats and spacey effects. All of these discs are big favorites of mine.
Scorn is mostly know for the dark, apocalyptic industrial-dub that Mick Harris and Nik Bullen pioneered with albums like Evanescence and Colossus, but when they first started out, they were an entirely different sounding band, a crushing mix of industrial thrash and sprawling, rumbling death-dub ambience that also featured none other than Justin Broadrick on guitar. Yep, on 1992's Vae Solis, Scorn was made up of Nik Bullen, Mick Harriss, and Justin Broadrick, the complete lineup on Napalm Death on the a-side of Scum! No grindcore here, though; the band used samplers and programmed beats along with massive bass and Broadrick's howling riffs to forge driving industrial dirges that combined the propulsive mechanistic crush of early Godflesh with more rocking tempos, pounding hip-hop/dub breaks, and long stretches of bleak industrial ambience. Harris's vocals alternate between the narcotized moan of later Scorn albums and a deep roar that evokes the Godflesh sound even further. The massive grinding riffs fall away in spots, revealing huge fields of reverb-soaked drone and rumble, and at other points the band slips into a slow, grueling dirge that sounds more like early Swans than anything. One of the album's most intense tracks is the crawling abject horror of "Deep In - Eaten Over and Over" , an 8+ minute sprawl of slow-motion industrial doom and looped vocals and thick layers of samples and effects that creates a suffocating feeling of dread. That's followed by the hypnosis of "On Ice", another epic track that shifts into a brooding synth-heavy industrial dub dirge of ominous bass lines, druggy vocals, sampled percussion, looped samples from The Wicker Man, and keening feedback guitar, a foreshadowing of the direction Scorn would take after this album. Compared to other earlier Earache albums, Vae Solis has become one of the more obscure titles, but this is ripe for rediscovery by fans of that UK industrial/dub/metal sound, Godflesh, Pitch Shifter, God, Ice, etc. The CD version of the album features four tracks that weren't on the original vinyl version: the slithering endtime mecha-dub of "Scum After Death (dub)", a Godflesh-esque dirge called "Fleshpile (edit)", the sinister soundtracky dronescape of "Orgy of Holiness" littered with gongs, choral effects and piano, and the robotic ethno-drone of "Still Life" that feels more like one of Harris's isolationist works under the Lull moniker. Recommended!
Track Samples:
Sample : SCORN-Vae Solis
Sample : SCORN-Vae Solis
Sample : SCORN-Vae Solis
Sample : SCORN-Vae Solis
Sample : SCORN-Vae Solis



SCORN   Deliverance   CD   (Earache)    12.98



That double disc re-issue of Evanescence/Ellipsis that Earache out out at the end of '09 compelled me to dig up the rest of Scorn's Earache output so I could get them in the bins here at C-Blast; the earlier, heavier Scorn stuff is some of my favorite music from Mick Harris's long-running industrial dub project, and we've had a lot of our customers asking about the hard-to-find Scorn stuff ever since the reissue set was listed. Much of Scorn's early 90's catalog is out-of-print now, but I was able to get several of their albums, including the amazing Colossus, the Deliverance reissue, a few copies of the rare Gyral album, and the debut album Vae Solis, which has seemed to have slipped into obscurity in recent years. I hardly ever hear anyone talk about this particular album, which is surprising seeing as how it not only features the entire lineup of Napalm Death's a-side of Scum (Nic Bullen, Mick Harris, Justin Broadrick), but is also a crushing slab of post-Godflesh industrial dub metal that newer fans of Godflesh, Swans and Pitch Shifter should be going apeshit over. The rest of these albums are equally rad, if you're into this kind of dark, doom-laden industrial dub/trip-hop; along with Painkiller/Bill Laswell, Techno Animal and Ice, Scorn was one of the most fearsome practitioners of post-industrial dub in the 90's, fusing grim electronic ambience with dub-heavy break beats and spacey effects. All of these discs are big favorites of mine.
Released in 1997, Deliverance was actually a collection of one of Scorn's earliest releases (the Deliverance 12" from 1992) and three remix versions of "Exodus" (from the Evanescence album) by the techno/dub collective Sabres Of Paradise. Released around the same time as their industrial/dub/thrash debut Vae Solis, the Deliverance 12" featured the stripped down, throbbing industrial-dub that Scorn would continue to experiment with throughout the 90's. The demonic processed goth-moans, watery snares, rumbling industrial break beats and waves of sinister dark ambience that sweep across the title track "Deliverance" sets the stage for the dark crushing dub that the group would explore on Colossus, while the following tracks mutate "Deliverance" into a series of more abstract soundscapes: "Deliverance Through Dub", like tht title suggests, is a skeletal dubbed-out reworking of the track that stretches out for almost twelve minutes, and "Delivered" is a spacious slab of dark ambient drift, industrial clatter and sparse beats almost totally devoid of vocals; "To High Heaven" takes the pounding skittering beat and piles on the distortion, blowing it out, creating a crushing speaker-shredding doom-dub blast, and "Black Sun Rising" jettisons the beats entirely, looping the vocals over and over into a hallucinatory noise-streaked dronescape. Scorn's endtime dub has rarely been as nightmarish sounding as it is here.
But the "Exodus" remixes from Sabres Of Paradise take this sound in a different direction, starting with the dreamy loopy dreamdrift of "Mix 1", an almost Tim Hecker-like smear of washed out melodic drone and blurred noise, through which emerge bits of ominous Tangerine Dream-like synth and sparse industrial percussion; the second remix is more dark ambient in tone, a short soundtrack-like bit of looped bass, minimal electronics, minor key synth, and creepy whispered vocals drifting across the background; and the fourth is a trancey techno mutation flecked with electronic orchestral hits and underwater effects.
Track Samples:
Sample : SCORN-Deliverance
Sample : SCORN-Deliverance
Sample : SCORN-Deliverance



SCORN   Evanescence / Ellipsis   2 x CD   (Earache)    15.98

Evanescence / Ellipsis IS CURRENTLY UNAVAILABLE FOR ORDER

I was so stoked to see this double disc set come out from Earache. I've been a fan of Mick Harris's apocalyptic industrial dub/breakbeat project Scorn for years, but have had a hell of a time getting my hands on a copy of the remix album Ellipsis before now. Earache just released this new set that combines both Scorn's classic early 90's album Evanescence, and that follow-up remix album Ellipsis together, remastered and packaged in a oversize slipcase; when these albums originally came out, Earache was still primarily known for releasing grindcore and death metal, and Scorn's dark electronica/dub was radically different from what people were used to hearing from the label, let alone the former drummer for grindcore pioneers Napalm Death and jazz/grind/dub geniuses Painkiller. Both of these releases are considered to be among the best in the Scorn catalog, and this set is essential for fans of Harris's brand of crushing beatscapes and dystopian ambience.
If you're familiar Scorn's most recent experiments in extreme depth-charge bass and doomdub, 1994's Evanescence almost sounds like an entirely different project. Early in the 90's Scorn started off as more of a nightmare version of trip-hop, constructing heavy, hypnotic breakbeats that are layered beneath grim electronic drones, menacing minor key synths, and tripped out vocals, the music immersed in darkness and dread and dystopian paranoia. Several tracks on the album feature guest guitars and synths from James Plotkin (OLD/Khanate/Phantomsmasher), and the mix of darkly melodic guitar and the booming hip-hop influenced breakbeats make these tracks some of Scorn's most accessible. The album starts off with the dark, doom-ridden trip-hop of "Silver Rain Fell", then moves into the grim jazzy ambience, lilting guitars, feedback swells and ominous loping basslines of "Light Trap". "Falling" combines narcotic tribal drum loops, lush orchestral strings and swirling ambience, then shifts to the grinding machine processional of "Automata" and the almost gothic dance-rock dubthrob of "Days Passed". "Dreamspace" is a malevolent industrial dub/trip-hop trance with huge percussive bass pulses, sinister synth lines and processed vocals, and stomping kick-drum loops underscore the druggy Depeche Mode-esque melancholy of "Exodus", which breaks off into a bizarre didgeridoo workout halfway through the track. Hard-edged EBM rhythms and creepy dark ambience come together on "Night Tide", and the swirling pitch-black dub heaviness of "The End" is indicative of where later Scorn material would head, with warm swells of muted strings and horns, blackened raspy vocals, eerie electronic textures, and rhythmic synth noise evoking a crepuscular subterranean vibe. Evanescence ends with the purely ambient darkness of "Slumber", which begins as just a whirring electronic pulse but slowly evolves into a dronescape of strings and other warped and melting orchestral sounds tumbling into the abyss, very reminiscent of Mick Harris's other, more ambient project Lull.
1995's Ellipsis is a very different sort of album. This disc, which has been out of print for years, is a compilation of remixed Scorn material taken from Evanescence and reworked by an impressive lineup of guest collaborators that include Coil, Autechre, Meat Beat Manifesto, and PCM. It opens with Meat Beat Manifesto funking up "Silver Rain Fell" in their distinct style, stretching it out for almost nine minutes but sticking pretty close to the sound of the original. Harris does his own remix of "Exodus", which also makes some subtle changes to the track, but Coil take the source material in a much darker and more infernal direction for their rework of "Dreamspace". The UK industrial legends stretch the track out to almost twelve minutes, creating a wheezing, creaking trip-hop nightmare coated in grimy distortion, sinister bass, demonic voices, but then turn the second half into an epic orchestral ambient peice, letting looped strings drift over muted drums and skittering electronics, and it's without a doubt one of the highlights of Ellipsis. Next, Bill Laswell (who had performed with Harris in Painkiller) turns "Night Ash Black (Slow Black Underground River Mix)" into an even longer dose of epic dubdirge that's almost a whopping sixteen minutes long. Laswell stretches out the didgeridoo drones of the original version across a stygian chasm, drifting black ambience and rumbling drones inhabiting the first few minutes before a CRUSHING bassline drops in alongside a steady hi-hat keeping time, the track turned into a monstrous doomed-out darkhop dirge, super heavy and sinister, with samples of Harvey Keitel from Bad Lietunient looping in the background. If you thought that the original version of this track was pretty heavy, wait till you hear this....
Scanner follows and deconstructs Scorn's throbbing low end beats for "Night Tide (Flaneur Electronique Mix)", stripping it down to the rudimentary rhythm and fusing the beats to creepy samples. Autechre's re-imagining of "Falling (FR 13 Mix)" isn't as wacked out as I thought it might be when I first spun this disc, but it's still a twisted and fractured take on the original, the beats chopped and clipped, distorted and skipping across a minimal dark soundscape populated with all sorts of clicks and glitches and rhythmic pops and dub effects. Probably the most radical reshaping of Scorn's music comes from P.C.M., an obscure drum n' bass project that would later take part in continued collaborations with Mick Harris; these pioneers of dark, heavy jungle take the eerie melody from "The End" and strap it to a combination of spastic, pounding junglist rhythms and digital dub grooves. Germ's remix of "Automata" is also another dark drum n bass workout, but here the remix is slower and heavier and closer to the pounding industrial throb of the original. The disc ends with Harris once again remixing his own material, giving "Light Trap" a stripped down, blissed out redux, the end result both jazzy and dark, but quite mesmeric and pretty. Essential for Scorn fans and those into Dalek, Tackhead and Justin Broadrick's heavy dub/beat experiments in Godflesh, Ice and Techno Animal.
Track Samples:
Sample : SCORN-Evanescence / Ellipsis
Sample : SCORN-Evanescence / Ellipsis
Sample : SCORN-Evanescence / Ellipsis
Sample : SCORN-Evanescence / Ellipsis
Sample : SCORN-Evanescence / Ellipsis
Sample : SCORN-Evanescence / Ellipsis



SCORN   Logghi Barogghi   CD   (Earache)    12.98



That double disc re-issue of Evanescence/Ellipsis that Earache out out at the end of '09 compelled me to dig up the rest of Scorn's Earache output so I could get them in the bins here at C-Blast; the earlier, heavier Scorn stuff is some of my favorite music from Mick Harris's long-running industrial dub project, and we've had a lot of our customers asking about the hard-to-find Scorn stuff ever since the reissue set was listed. Much of Scorn's early 90's catalog is out-of-print now, but I was able to get several of their albums, including the amazing Colossus, the Deliverance reissue, a few copies of the rare Gyral album, and the debut album Vae Solis, which has seemed to have slipped into obscurity in recent years. I hardly ever hear anyone talk about this particular album, which is surprising seeing as how it not only features the entire lineup of Napalm Death's a-side of Scum (Nic Bullen, Mick Harris, Justin Broadrick), but is also a crushing slab of post-Godflesh industrial dub metal that newer fans of Godflesh, Swans and Pitch Shifter should be going apeshit over. The rest of these albums are equally rad, if you're into this kind of dark, doom-laden industrial dub/trip-hop; along with Painkiller/Bill Laswell, Techno Animal and Ice, Scorn was one of the most fearsome practitioners of post-industrial dub in the 90's, fusing grim electronic ambience with dub-heavy break beats and spacey effects. All of these discs are big favorites of mine.
Scorn's last album for Earache, 1996's Logghi Barogghi was the second album from the Mick Harris solo version of Scorn, and continues in the largely instrumental dubscape direction that the project began with Gyral. The fourteen tracks are more experimental versions of Scorn's grim pounding dub, more spacious than ever, the echoing, throbbing beats treated with harsh effects and prominently pounding away at the forefront of the mix, while rattling dub effects and minimal drones writhe between the staccato rhythms. There are blown-out rhythms that foreshadow the grinding beats that dubstep would claim for itself a decade later, and more minimalist and subdued beatscapes, and descents into wheezing trip-hop with bleating trumpet-like samples stretched out into streaks of bizarre mewling ("Spongie"); "Out Of" is one of the most powerful tracks, a huge stuttering dubstep-like groove pushed into the red, layered with Mick's warped processed vocals and a fractured guitar melody, while "Black Box II" uncoils massive murky underwater doom-dub beneath a swirling black sky. The crushing "Nut" ranks as one of Scorn's heaviest, another distorted breakbeat and buzzing overdriven synth line, bass-heavy and ominous, and somewhat similar to Kevin Martin's Ice, and the minute-long title track even ventures into a mutant jungle seizure. The strangest of all of Scorn's Earache-era albums, this is still a highly recommended platter of heavy industrial dub.
Track Samples:
Sample : SCORN-Logghi Barogghi
Sample : SCORN-Logghi Barogghi
Sample : SCORN-Logghi Barogghi



SHIFT   Unable To Abide The Silence Of This World   CD   (Unrest)    13.98

Unable To Abide The Silence Of This World IS CURRENTLY UNAVAILABLE FOR ORDER

On looking at the murky black and grey hand-numbered slipcover that holds the jewelcase and the harsh, abstract artwork that accompanies Unable To Abide The Silence Of This World, you would be right to assume that this is going to be some seriously grim industrial music. Geometric symbols and wreaths of eagle heads circle a blurry photo of a charred forest, and the rest of the inserts and packaging for the album is similiarly murky and threatening in appearance. And once the discs begins to spin, this debut from the UK power electronics unit Shift does indeed creep through a slow-moving, brooding domain of blackened machine rhythms, hissing drones, and crushingly heavy industrial noise. The first few tracks skulk from grey slabs of washed out distorted white noise and grinding power electronics with vicious gutteral screams ripping through the fog of amplifier buzz, but it's on the third track that Shift reveal themselves as purveyors of utterly monstrous machine-dirge. "Crying" is a twelve-minute nightmare of massive, suffocating industrial doom-throb, a black miasma of fluttering feedback and swooping oscillator noise, vomiting death roars and ominous melodies buried deep in the meat of Shift's electronic wreckage, and a pounding, piston-like rhythm that sounds and feels like a mighty metal gear press crunching over and over in a thunderous martial loop, a thunderclap of rusted metal and oiled gears turning bones into dust and flesh into water. By itself, it's one of the heaviest black-industrial jams ever. The rest of the album explores similiar territory, a corrosive wasteland of demonic industrial throbs and churning, rhythmic noise, martial rhythms slick with oil and distorted acid-hiss, subsonic rumbling and hellish vocals, corroded noise loops and grinding bass, a hideous apocalyptic noisescape. I'm reminded of the evil power electronics/industrial noise of Control and Goatvargr, and at times even the ritualistic subterranean rumblings of Tenhornedbeast (particularly in early minutes that give birth to the grinding machine-doom clatter and buzzsaw ambience of "Look Now") and the Death Industrial stylings of Cold Meat artists like Brighter Death Now. But Shift are much harsher and heavier than any of those entities (save maybe for Goatvargr), a murky, bass-heavy and terminally doomed vision of power electronics generated through analogue synths, effects pedals, contact mics, sheet metal, and samplers. The disc is limited to 300 hand-numbered copies and packaged in the handassembled slipcase.
Track Samples:
Sample : SHIFT-Unable To Abide The Silence Of This World
Sample : SHIFT-Unable To Abide The Silence Of This World
Sample : SHIFT-Unable To Abide The Silence Of This World



SHIFT   Bulk   CD   (Unrest)    11.98



Unable To Abide The Silence Of This World, the last album from the UK death industrial band Shift, was as heavy as I could have hoped for, a furious apocalyptic mass of charred power electronics, grueling factory rhythms, and devastating distorted industrial drone that frequently pushed Shift into blackened industrial territory that reminded me of some of Nordvargr's more CMI-like moments. On the new album from Shift, some of that crushing death industrial sound has been scaled back, though, with the emphasis placed more on towering walls of insanely distorted (yet surprisingly melodic) power electronics. Bulk features three tracks, each one ranging from ten to twelve minutes, each a deafening slab of ultra-distorted synth noise formed from massive layers of churning over-modulated buzz and torrential monsoons of blackened noise, with raging demonic vocals howling and crooning behind the wall of sound. Shift is obviously taking notes from the classic UK power electronics scene here, with Genocide Organ, Whitehouse, Sutcliffe Jugend and Con-Dom all springing to mind when I spin this, but there's also the subversive melodies that surface on the first and third tracks, where huge gleaming veins of cosmic drone and ecstatic harmonies burrow their way through the roaring blast-furnace synths. These two tracks on Bulk remind me of the similar melodic moves found on Prurient's Pleasure Ground, and set this apart from the rest of the neo-PE movement. On the other hand, the middle track is as violently static and putrid a slab of power electronics as you could wish for, a skull-crushing thirteen minute endurance test that encases your brain in a brutal fog of grinding distorted mid-range frequencies. The last track, while having that unexpected melodic quality running through it towards the end, is also a punishing heavy blast of distorto-drone, with the blown-out synths pushed to the limit and turned into a monstrous low-end crush that actually sounds more like the ultra-mangled black-drone of recent Skullflower albums, albeit dunked in tar and set aflame, the destructive rumble so powerful that it threatens to melt your stereo speakers down into a black clumpy mess. Harsh Wall fanatics will LOVE the power on display here, but this is sure to appeal to fans of modern ultra-heavy PE and death industrial as well. The beautiful packaging consists of three separate insert cards, each one printed with spot varnish symbols and full color photos, and the release is limited to 300 copies.
Track Samples:
Sample : SHIFT-Bulk
Sample : SHIFT-Bulk
Sample : SHIFT-Bulk



SHIT AND SHINE   Kuss Mich, Meine Liebe   2 x LP   (Load)    15.98











Track Samples:
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe



SHIT AND SHINE   Kuss Mich, Meine Liebe   CD   (Load)    12.98











Track Samples:
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe
Sample : SHIT AND SHINE-Kuss Mich, Meine Liebe



SKULLFLOWER   IIIrd Gatekeeper   CD   (Crucial Blast)    9.98

IIIrd Gatekeeper IS CURRENTLY UNAVAILABLE FOR ORDER

A reissue of Skullflower's acclaimed 1992 album IIIrd Gatekeeper, featuring the lineup of Matthew Bower (guitar), Stuart Dennison (drums and vocals), and Anthony DiFranco (bass). IIIrd Gatekeeper is an immensely heavy album that was originally released on HeadDirt, the label run by Justin Broadrick of Godflesh/Jesu/Final fame back in the early 90's, and featured Skullflower at their heaviest, grinding out slow, sludgy riffs and crushing, almost industrial rhythms amid a tempest of psychedelic guitar noise and dense sheets of feedback - easily the most crushing, rock-based music that Skullflower ever produced. IIIrd Gatekeeper served up a skulldozing dose of post-industrial dirge rock that sat comfortably next to Godflesh, Swans, and Ramleh in terms of dark, druggy, hypnotic lumbering heaviness. This is one of our favorite albums ever at Crucial Blast, and we are presenting this reissue with new liner notes, a new package design that retains all of the original artwork from the HeadDirt release, and a remastering job courtesy of Scott Hull at Visceral Sound.
Track Samples:
Sample : SKULLFLOWER-IIIrd Gatekeeper
Sample : SKULLFLOWER-IIIrd Gatekeeper
Sample : SKULLFLOWER-IIIrd Gatekeeper
Sample : SKULLFLOWER-IIIrd Gatekeeper



SKULLFLOWER   IIIrd Gatekeeper (X-LARGE)   SHIRT   (Crucial Blast)    13.98



The second in our series of SKULLFLOWER shirts created in cooperation with Matthew Bower from the 'Flower, this design features the classic IIIrd Gatekeeper cover artwork printed in metallic silver ink, with the Skullflower logo and album title printed in metallic silver and white ink, printed on a black Hanes heavyweight 100% cotton preshrunk garment.
Click on the shirt image for a more detailed look at the shirt design.






SKULLFLOWER   Kino II: Form Destroyer   CD   (Shock)    20.98



  The second disc in this killer Kino series of early Skullflower reissues, Form Destroyer is another classic slab from the band's early days, re-mastered and re-released in new packaging along with a bunch of amazing bonus tracks, making this pretty essential for fans of the band who have been hunting for the extremely hard-to-find original release. Along with Birthdeath, Xaman, and Black Sun Rising, this stuff is required listening for anyone into the 80's UK industrial/noise rock underground, and the Form Destroyer album in particular shows just how heavy a racket a bunch of ratty British kids on cheap blotter acid could produce. Form Destroyer was the band's first full length album following their seminal Birthdeath 12", released in 1989 on Broken Flag to an entirely unprepared audience. Made up of Stefan Jaworzyn (Ascension, ex-Whitehouse), Matthew Bower (Pure) and Gary Mundy (Ramleh) along with a couple of guest players, this version of Skullflower deconstructed the standard rock format and mutated it into a monstrously distorted, FX-mutated monstrosity that would prove to be highly influential on an entire generation of musical extremists, sludge rockers and amplifier-destroyers in the following decade.
   The disc opens with two colossal unreleased tracks that were recorded around the time of the Birthdeath sessions, "Serve No Master" and "Serve No Purpose", both of 'em grueling exercises in repetitious Swans-esque pummel, howling guitar noise and heavily drugged verbal slime. The first song bashes in the listeners skull nonstop for eight minutes with its thuggish caveman pounding and brain-burning FX overload, while the latter is a bit more subdued, with weird dubby vocals echoing over the black plumes of melodious feedback, the rhythmic scrape of the guitar, and veins of rumbling bass drone that seep out of the amplifiers, turning this into a strangely dreamy bit of bottom-heavy drone rock. Then there's the two tracks that appeared on the 1990 anthology CD Ruins, "Eat The Stars" and "Black Ass Bone", crushing slow-motion black-hole dirges awash in searing psychedelic guitar noise and effects, the drums locked in an off-kilter, elephantine rhythm, stomping hypnotically through the whirling cosmic slime, heavy and monotonous and totally fried, the latter song one of Skullflower's heaviest, a squalling malevolent dirge underscored with some crushing distorted pummel that sort of resembles early Godflesh.
   The last six tracks all make up the band's 1988 12" Form Destroyer, and it's amazingly some of the band's heaviest, most spaced out music ever, thanks in part to Matt Bower's seemingly syrup-soaked performance. On songs like "Elephant's Graveyard", Skullflower move at lugubriously slow tempos, a sort of Sabbathian drag, lumbering loosely over the glacial pound of the drums, the band locking into this seriously intense apocalyptic quasi-space rock. The guitars blast off deep into the void, streaking wah-drenched drones and eerie, ethereal melodies moving through solar gases and the vast glare of deep space nebulae. This shit is crushing, especially considering when it came out in the late 80s - aside from Swans and Godflesh, I can't think of anyone else around in '88 doing anything nearly this heavy. The band cut a wide swathe through the cosmos on that song, a doomed Hawkwind jam drenched in cough syrup and stretched waaaaay out into something crushingly beautiful. The looping, circular psych rock of "Big Muff" is bathed in strange, almost Middle Eastern-influenced melodies and a bright irradiated glow, and "Thirsty Animal" is a driving, droning feedback jam that really picks up steam when a pounding motorik Steve Shelley style floor-tom beat drops in. Former Coil member and underground film scribe Steven Thrower shows up again on "Woodland Death March" and "Solar Anus", where Bower swaps seats with Thrower and delivers a distorted, menacing bass riff that cuts through the dense delay-drenched guitar noise fog and menacing vocals; the latter is another of my all-time favorite Skullflower songs, where they unleash tendrils of corrosive psych-shred over an intensely catchy, sludge-encrusted hook. The last song "Procession Of Eternity" is another favorite of mine, one of the few older Skullflower tracks that drops the drums completely, and unfurls vast sheets of rumbling amplifier drone, buzzing squelchy synth-like noise, delirious vocals drifting way off in the distance, and bursts of ominous, fractured electronics.
   Absolutely essential. Like the other entries in this reissue series, Form Destroyer comes in a glossy four panel gatefold jacket with new artwork by Matt Bower, and includes a printed inner sleeve and booklet with new liner notes, reviews and other archival material.
Track Samples:
Sample : SKULLFLOWER-Kino II: Form Destroyer
Sample : SKULLFLOWER-Kino II: Form Destroyer
Sample : SKULLFLOWER-Kino II: Form Destroyer
Sample : SKULLFLOWER-Kino II: Form Destroyer



SKULLFLOWER   Desire For A Holy War   CD   (Utech)    14.98



Utech announced their ambitious URSK series recently, and I've really been looking forward to the first installment. Curated by Utech, the series is going to be comprised of limited edition CD releases from a variety of artists, and each one will be tied in with a specific peice of artwork from Stephen Kasner, the Ohio based artist that I mentioned here a month or two ago when we listed the Works: 1993-2006 book from Scapegoat Publishing. Kasner has long been one of my favorite artists in the underground, and his dark, quasi-mystical visuals become an integral part of the experience for any album that he is a part of, so the thought of seeing him teaming up with a lineup of artists like Skullflower, Aluk Todolo, Final, and Runhild Gammelsaeter was an exciting one.
So here we have the first installment in the series, limited to only 750 copies, from no less than Skullflower. And from the first seconds of Desire For A Holy War, there is no mistaking this for one of Matt Bower's space-rock obsessed excursions. No way. As soon as "Your Cities, Your Tombs" (a reference to Lamberto Bava's Demoni, methinks?) erupts in your face with a blast of excoriating amplifier noise and feedback, it should be pretty clear that this is going to be a scathing assault in the vein of Skullflower's Tribulation and the Mirag discs. But underneath the intense, blackened high-end skree, grating feedback and white-noise distortion, I'm also hearing the most METAL riffs I've ever heard from Skullflower. On "Moses Conjured A Blood Niagra", thick layers of Merzbowian crunch and roar obscure mangled metallic riffs that are buried way down in the chaos, still discernable but only occasionally managing to break through the storm of feedback and amp roar. And while this is a grinding, white-hot furnace of sonic wreckage, there are also some amazing melodies buried under the murk and noise as well that vaguely hint at Skullflower's riffier past but never allow the corrosive guitarnoisescape to let up.
An amazing variety of texture manifests across these tracks, though. "Eve's Dream" is a dark, churning storm of amplifier hiss cranked up to skull splattering levels of volume, and at the core of this whirling wall of white noise are faintly heard acoustic guitars being strummed, some kind of clattery percussion, deep moaning vocal chants, and weird, overmodulated melodic scrawl. A distant, blasting black metal pulse powers "Frozen Spectres", with muffled double bass drumming and blastbeats obfuscated by a thick blanket of hiss, dirgey acoustic guitars, and overloaded guitars warble a gorgeous somber melody. This track by itself is one of the most gorgeously grim pieces of music I've heard from Skullflower. Then comes "Serbonian Bog", a howling noisescape of feedback and helicoptering distortion poured over more of those austere acoustic guitar chords, a grinding rhythmic churn that sounds like a lawnmower engine being used as some kind of percussive instrument, eventually pierced by an epic sounding melody forged out of scorched high end guitar skree. The last track is one of the heaviest, "Divinvis Devs", and it kicks up a blackened sky filled with zonked space-psych soloing right out of Skullflower's Exquisite Fucking Boredom accompanied by roaring winds of amp hiss and screeching distorted feedback, charred raspy vocals, and crunchy riffing over a stuttering, lopsided pulsating beat, like a heavily drugged Wolf Eyes on a wicked Hawkwind/Black Metal kick.
Essential for Skullflower fans, if you haven't already figured that out. The disc comes in a simple six-panel foldout sleeve with Kasner's artwork. Recommended.


SKULLFLOWER   Obsidian Shaking Codex   CDR   (RRRecords)    8.98



In conjunction with our release of "Orange Canyon Mind", we're stoked to offer this early 90's full length from the mighty Skullflower, "Obsidian Shaking Mind". Released on RRRecords and kept in print via RRR's short run CD release, this 5 song, 72+ minute full length features an incredible haze of beautiful droning feedback and freeform heaviness from Matthew Bower and crew. Songs like "Sir Bendalot" and "Circular Temple" create a dense fog of improvised violin screech over cyclical, melodic guitar riff and buried freeform drum bashing, while "Crashing Silver Ghost Phallus" starts off pretty with a lazily strummed acoustic guitar that quickly gets obliterated by a roaring jet-engine drone and a swarm of chiming bells. "Diamond Bullet" weaves wah-wah soaked guitars and oscillating feedback around a steady rock beat, and the disc closes out with one of the best Skullflower songs EVER, "Smoke Jaguar", a 10+ minute drone epic with a recurrent,triumphant melody and miles of hypnotic humming feedback and free-jazzy drum skitter, awesome and meditative, heavy and psychedelic.
Being one of RRRecords shortrun CD releases, this is packaged similiarly to the simple, but effective "Pure" series: a black cardstock wallet sealed by a paper label that wraps over the sleeve (we had to whip out the Exacto knife to slit ours open without mangling the cover), which contains a plain silver disc with a small label affixed to the face.




SKULLFLOWER   IIIrd Gatekeeper (SMALL)   SHIRT   (Crucial Blast)    13.98



The second in our series of SKULLFLOWER shirts created in cooperation with Matthew Bower from the 'Flower, this design features the classic IIIrd Gatekeeper cover artwork printed in metallic silver ink, with the Skullflower logo and album title printed in metallic silver and white ink, printed on a black Hanes heavyweight 100% cotton preshrunk garment.
Click on the shirt image for a more detailed look at the shirt design.






SKULLFLOWER   This Is Skullflower   CD   (VHF)    13.98



Finally back in print! The last album from Skullflower to be released in the 1990's, the classic This Is Skullflower is one of the legendary drone-rock group's most acid-soaked and albums, nixing the pummeling pipe battles that typified much of their previous work and sounding a whole hell of a lot like a conceptual bridge between the roaring, blasted power-ragas of Transformer and the soaring sun-baked skree drones that Matthew Bower would busy himself with in Sunroof, his solo project which would occupy most of his attention throughout the rest of the decade.
Fans of the Exquisite Fucking Boredom and Orange Canyon Mind albums will find common ground here; while the guitars aren't as searing and distorted as they would get on Bower's post-y2K efforts, these four lengthy tracks are still shot straight through the heart of the sun, scraping strings and buzzing meditative guitar hum streaming endlessly out of a white-hot blast of amplified light, each of these long form stoner-buzz-rituals extended into infinity, infinite Hawkwind-ian psychdrone workouts built from dense billowing cacophonies of guitar and viola and sheets of metallic feedback, driven by clattery hand percussion and Stuart Denison's shambling sub-motorik drumming.
The piano sets the album apart from most of Skullflower's oeuvre, though; clanking keys and improvised piano lines scuttling across the smoldering dronescapes and mutant acid-guitar freak outs, adding a strangely jazzy vibe to the album. But even in spite of all of the sun-dappled psychedelic dronebliss, Skullflower still can't help but emit an ominous, otherworldly vibe on This Is Skullflower, and the final track "The Pirate Ship of Reality Is Moving Out" is an almost forty minute performance of apocalyptic freeform scrape and roar, a sprawling monstrous din that was recorded live at a club performance in 1995 which bleeds somber strains of softened psych guitar into a blistering mass of crushing feedback, amp buzz, and free-jazz skronk.
The lineup of the band for this album consisted of Matt Bower alongside Richard Youngs on guitar, John Godbert on piano and hand drum, Stuart Dennison on drums and viola and Russell Smith (God/Terminal Cheesecake) on guitar. Essential for Skullflower fans and anyone into the heavy-duty drone rock of Pelt, Flying Saucer Attack and Vibracathedral Orchestra.
Track Samples:
Sample : SKULLFLOWER-This Is Skullflower
Sample : SKULLFLOWER-This Is Skullflower



SKULLFLOWER   Gatekeeper Limited (SMALL)   SHIRT   (Crucial Blast)    13.98

Gatekeeper Limited (SMALL) IS CURRENTLY UNAVAILABLE FOR ORDER

We have an EXTREMELY limited (five!) amount of the Skullflower limited-edition preorder shirt design, available in size SMALL ONLY...there was a slight overrun on this size when we received the preorder shirts from the printer, so we're offering these shirts through the site while supplies last. There are only five available, and since this is the preorder design, these WILL NOT BE REPRINTED! This design features the artwork from the interior spread of the IIIrd Gatekeeper booklet designed by Matthew Bower, printed in metallic silver and white ink, with the Skullflower logo and album title printed in metallic silver and white ink, printed on a black Hanes heavyweight 100% cotton preshrunk garment.






SKULLFLOWER   Pure Imperial Reform   CD   (Turgid Animal)    11.98



Another new disc from the mighty Skullflower this week, Pure Imperial Reform captures Matthew Bower's heavy psychnoise outfit in the live setting from a concert last year in Belgium. For this performance, Skullflower appeared as a duo with Lee Stokoe from Culver joining Matt Bower, a new lineup that has carried over onto the new Desire For A Holy War album as well as a bunch of other forthcoming releases, and man does this burn. Three songs in forty-two minutes, "Forest Chasm", "Nailed To The Stars", and "Mist Of Solitude", all sequenced together as one massive track on the disc. Now, after listening to this all week on top of the Holy War disc, I'm thinking that Skullflower may have put the sunburnt hypno-psychedelia and Hawkwind/Sabbath worship of Orange Cayon Mind and Exquisite Fucking Boredom on hiatus, 'cuz this new stuff is even blacker and more vicious than the hard turn that was made with Tribulation. Where those two aforementioned albums felt like they were assimilating some of Sunroof's high end raga-skree and blissed out feedback into the 'Flower's lumbering rock beast, Tribulation and everything that has followed makes it look like a bit of Bower's old Total project is rearing it's head. Hell, this disc especially reeks of Total, and it's a sound I love to hear. All lines intersect in time, it seems. So with this set, Skullflower manufactures a massive wall of feedback and amp roar, and even with the live recording it's thick as hell and just as heavy; two guitars generating brutal skree and an ocean of midrange buzz, and lodged deep in the mix are those sizzling kosmiche electronics, tortured screams and wailing reaching up and out, and one hundred concurrent melodies all squirming together in the scraping metal chaos, almost obliterated by the screaming amps and sheet metal violence. One of their most brutal celebrations of the incinerating power of guitar noise since Tribulation, thats for sure...and due to the live, mixed-together-as-one-black-hole energy of the recording, this disc is even comparable to the fullblast noise wipeout of Japanese noise groups like Incapacitants and Pain Jerk. Put that together with some crudely designed packaging and a bunch of pilfered Albrecht Dürer images and you get one nicely blackened bout of crushing freenoise carnage from Bower and company. Limited to 1000 copies.


SKULLFLOWER   Tribulation   CD   (Crucial Blast)    9.98



The new emission from the UK trance-noise legends SKULLFLOWER. A black-void beaming of utterly destroyed drone rock and crushing amplifier obliteration that rains down black ash and punishing blasts of feedback skree on the listener. A dynamic, bleary-eyed meditation. An avalanche of powerdrone that threatens to take your cranium apart and transport your grey matter into filthy new dimensions infested with melodic razor cuts and submerged mantras. A triumphant eruption of apocalyptic meta-metal and radioactive raga swarms, guaranteed to loosen eardrums. This album is one of the heaviest, harshest slabs of guitar armageddon from Matt Bower since the glory days of Total, and bridges the void between the krautrock/celestial free drone influence of the last few Skullflower albums, and the blackened molten death of his Mirag material.


SKULLFLOWER   IIIrd Gatekeeper (LARGE)   SHIRT   (Crucial Blast)    13.98

IIIrd Gatekeeper (LARGE) IS CURRENTLY UNAVAILABLE FOR ORDER

The second in our series of SKULLFLOWER shirts created in cooperation with Matthew Bower from the 'Flower, this design features the classic IIIrd Gatekeeper cover artwork printed in metallic silver ink, with the Skullflower logo and album title printed in metallic silver and white ink, printed on a black Hanes heavyweight 100% cotton preshrunk garment.
Click on the shirt image for a more detailed look at the shirt design.






SKULLFLOWER   Malediction   CD   (Second Layer)    15.98

Malediction IS CURRENTLY UNAVAILABLE FOR ORDER

There's been a real flurry of activity from the Skullflower camp lately, limited edition discs and LPs on labels like Turgid Animal and Noiseville, super limited cd-rs released by the band, European festival dates, even a U.S. date that saw Skullflower headlining the final night at this years No Fun Fest in Brooklyn ( which I sadly had to miss out on...). With all of this activity and the steady flow of new releases that has been coming out from the mighty 'Flower, the one thing that has been becoming more apparent in their music is an inceased fascination with the aesthetics of black metal, traces of which have been creeping into their music for some time now. Back when Tribulation came out in 2006, I could hear those trace elements of blackened buzz buried deep underneath all of the layers of caustic, skull-swallowing guitar roar that album was forged out of, but with the newer Skullflower stuff, and in particular this brand new album Malediction, that black metal influence isn't all that subtle anymore.
Released on Second Layer in a limited edition of 1000 copies, Malediction is noteworthy for a couple of reasons. First, it's the first Skullflower album to come out with something approaching a full band in ages, with the core duo of Matt Bower and Lee Stokoe (also of Culver) now joined by a couple of other players. Second, one of those other players is Stuart Dennison, the original Skullflower drummer from the classic late 80's/early 90's era of the band, the era that gave us their essential IIIrd Gatekeeper and Xaman albums. Dennison's involvement here will probably make some of you old school Skullflower fans perk up yer ears, but make no mistake, this is still definitely 21st century Skullflower, the band sculpting massive walls of guitar-heavy blastdrone and nothing near to the crushing noise rock groove of the bands earlier material. But what really makes this album stand out is how Bower and friends have actually harnessed several aspects of black metal for the music on Malediction, delivering three lengthy tracks that follow the band into their most crushing, blackened recording of the past decade.
Three tracks, each running ten to twenty-four minutes in length, and made up of thick, thunderous walls of sound built from wailing, howling vocals drenched in fx, sheets of hypnotic feedback drone, grinding low-end guitar rumble, cello and violin, drums and crashing cymbals, and at first it's very similiar to the mighty amp-rivers of hellish high volume distorto-raga that Bower has explored lately, but as the guitars and drums slowly take shape on the first track "A'arab Zaraq - Ravens Of The Burning Of God ", sinister minor-key riffs coalesce under all of the skree and noise, and the drumming appears in stuttering bursts of speed and chaos, one second hammering out a crude blastbeat, the next unravelling in a cluster of free-jazz percussive clatter. It's like the blazing amp-mantras of the last few Skullflower discs draped over a PCP fueled improv-blastbeat assault that goes on and on and on...
But it's the second track, "Ghost Bitch Of Black Flame", that the band really approaches a kind of mutant free-noise black metal meltdown. Ten minutes of deafening roar sweeps over you as the band stacks endless space rock noodling and crushing buzzsaw ur-chord riffing over an avalanche of heavy drumming, a massive low-end undertow swirling around everything, hideous screamed vocals and gnashing teeth obscured behind a veil of fuzz, the sunblasted acid-rock of Orange Canyon Mind smeared across a cacophony of sub-Beherit riffslop and endless plodding percussion. Pretty goddamn awesome!
The final track "Drenched In Moonsblood (Waxing Gibbous)" is the calmest one on here, but that's pretty relative. The percussion is more muted, mainly huge swells of cymbals and distant tympani-like thunder echoing across a reddened wasteland of smeared organ tones, buried psych-guitar squiggles, howls of anguish drifting without direction, wailing spaced-out feedback, this ominous psychedelic dronescape sprawling out into infinity, dark and evil sounding, kind of an insane hell-vision cribbed from the older psych-drone modes the band found themselves in on albums like Obsidian Shaking Codex and Carved Into Roses.
Gorgeously packaged in a full color six-panel digipack with original artwork from Matt Bower, limited to 1000 copies. Highly recommended!!!
Track Samples:
Sample : SKULLFLOWER-Malediction
Sample : SKULLFLOWER-Malediction
Sample : SKULLFLOWER-Malediction



SKULLFLOWER   The Paris Working / La Noche De Walpurgis   CASSETTE   (Cathartic Process)    10.98

The Paris Working / La Noche De Walpurgis IS CURRENTLY UNAVAILABLE FOR ORDER














SKULLFLOWER   Transformer   CD   (Sympathy For The Record Industry)    14.99













SKULLFLOWER   Kino III: Xaman   CD   (Shock)    20.98



  A fucking bludgeoning blast of classic industrial noise rock from British band Skullflower, their 1990 album Xaman has long been one of the most elusive of all of the band's early releases, sought after by collectors for years and hard to find due to the fact that the original pressing of the album (which came out on Shock Records) were stricken with a case of something called "disc rot", a pressing defect that caused many (and possibly all) of the CDs to deteriorate and be rendered largely unplayable. Some seemed to think that the album would disappear completely, thinking that the original master has also been lost in the decades that followed, but lo and behold, Xaman has indeed been resurrected as part of this new reissue series, now newly re-mastered, and it's definitely one of the heaviest of all of these early Skullflower discs. At this point in their career, Skullflower had evolved into something not too far removed from their pals in Godflesh, a kind of sludgy, noise-drenched hypno-rock that would often be underscored by crushing distorted bass guitar and pummeling, trance inducing drumming, and you can hear how this stuff would have been at least a minor influence on the sort of sprawling apocalyptic heaviness that Neurosis would develop into later on in the following decade. Xaman would also prove to be the last Skullflower album to feature the lineup of Matthew Bower, Alex Binnie (Pure / Zos Kia), Stuart Dennison (Ramleh) and Shock Records boss Stefan Jaworzyn (Ascension / Whitehouse / Shock Xpress).
   Opening with the shambling effects-drenched horror of "Slaves", Xaman gets really heavy really quickly, dropping this lurching two-chord noise rock dirge down a shaft into a pit of shrieking feedback and extreme stompbox overload, a monstrous droning riff plowing through the bands oppressive fog of malfunctioning amplifers and wailing delay-soaked leads. Classic hypno-sludgery, producing an utterly wrecked trance-state of gluey bass-heavy dirge and squalls of zonked-out guitar noise. Listening to this, you can hear where Brainbombs could very well have taken a big chunk of their sound from. The following song "Sunset" erupts into a Technicolor vomit blast of demented space rock guitar-fug and burnt psychedelic tones, a short but gorgeous piece of extreme lysergic psychedelia. The title track returns to that lumbering monotonous heaviness and fucked-up guitar skronk, Skullflower founder Matt Bower howling somewhere way off in the background, his tuneless yowl drifting crazily through the dense rumbling mass of improv fret-board scrape and churning concrete-mixer bass. Weirdly crushing and industrial-tinged, the song slips off into long stretches of aimless amp noise and creepy effects shimmering through the air like dark wraiths. Gary from Ramleh contributes his own primal howl to "What Did You Expect?", a more free-from blat of drugged-out heaviness that sort of resembles one of Hawkwind's more experimental, improvisational jams, but it's shot through with a ton of dark, abrasive noise, like a spaced out industrialized free-jazz meltdown draped in grinding, heavily distorted guitars. Stuart Dennison handles the vocals on "The Shit Hits The Fan", and this might be the album's heaviest song, a pounding industro-dirge and another one of those old Skullflower songs that could actually pass for something from early era Godflesh, if that band had been prone to absolutely skull-destroying levels of cyclonic guitar noise and wah-overloaded psych shred. A single pounding monotonous riff and almost mechanical drumbeat cuts a brutal swathe through the band's maelstrom of crazed layered vocals and atonal guitar noise, the "riffs" screeching and skronking like stray fragments from a Sonny Sharrock session, erupting into some of the nastiest freeform shred ever. The last two tracks are just as warped, "Barbed Wire Animal" featuring another crushing droning groove cut through the sprawl of wild guitar noise and effects, and then it ends with the monstrous, nearly half hour long "Wave", featuring a guest appearance from Pure/Zos Kia member Alex Binnie on bass guitar, another massive lumbering psych-dirge , a sprawling dronerock workout that gets blasted with some seriously scorching wah-wah abuse and flesh-blackening feedback.
   As with the other Skullflower reissues in Shock's Kino series, this disc comes in a glossy, four-panel digi-sleeve that features new album artwork taken from Matt Bower's archives, the disc housed in a printed inner-sleeve, and also includes a glossy booklet that reproduces the original album cover art and features liner notes written by the band along with a smattering of vintage record reviews and old interviews. Essential.
Track Samples:
Sample : SKULLFLOWER-Kino III: Xaman
Sample : SKULLFLOWER-Kino III: Xaman
Sample : SKULLFLOWER-Kino III: Xaman
Sample : SKULLFLOWER-Kino III: Xaman



SKULLFLOWER   IIIrd Gatekeeper (XX-LARGE)   SHIRT   (Crucial Blast)    15.98



The second in our series of SKULLFLOWER shirts created in cooperation with Matthew Bower from the 'Flower, this design features the classic IIIrd Gatekeeper cover artwork printed in metallic silver ink, with the Skullflower logo and album title printed in metallic silver and white ink, printed on a black Hanes heavyweight 100% cotton preshrunk garment.
Click on the shirt image for a more detailed look at the shirt design.






SKULLFLOWER   Taste The Blood Of The Deceiver   LP   (Not Not Fun)    19.98

Taste The Blood Of The Deceiver IS CURRENTLY UNAVAILABLE FOR ORDER

With each new Skullflower release that followed Orange Canyon Mind, Matt Bower has dialed up the corrosion in his longrunning UK drone/noise/rock project. Anyone that was hoping for more of the sunburnt Hawkwind-style riffola that Exquisite Fucking Boredom and Orange Canyon delivered when the follow-up Tribulation rolled out in 2006, they sure didn't get it. Tribulation turned Bower's eternal raga guitar crunch into a nuclear eruption of blackened feedback drone and eternally grinding distortion. Sounded like heaven to me, and since then Skullflower has continued down this darker, heavier path, and on recent discs from Turgid Animal and Utech, has even began to flirt with buzzing guitar riffs lifted from the most hypnotic corners of black metal.
This LP is not only one of the newest slabs of blackened trance from the 'Flower, but also the first LP that the group (a duo now, actually, since Culver's Lee Stokoe is plays on most of the new stuff) has issued in a decade. The six lengthy tracks on Taste The Blood Of The Deceiver are crushing and utterly hypnotic, which is no surprise in the wake of the holocaustal amplifier trance of the Desire For A Holy War disc tat Utech put out a few months ago. What did surprise me a little is how much parts of Taste The Blood remind me of OCM. It sounds like Matt managed to fuse the looping, Hawkwindy guitar riffs and lysergic haze of his pre-Trib stuff with the formless, blackened noiseblast of the newer releases, and it's pretty mesmerizing. The first track opens the LP with one of Bower's awesome churning hypno-riffs, a massive metallic guitar chug that repeats over and over, surrounded by a dense miasma of howling feedback and swirling chunks of feedback, super heavy and thick and crushing, like one of those OCM acid riffs blasted through a wall of Black Boned Angel-strength dronemetal. The second half of the A-side gets more abstract, and unleashes a real meaty ocean of ultra-distorted rumble, the roar of twenty overdriven, smoking amplifiers cranked to eleven and abandoned to drown in feedback. Over this wall of crunch, the guitarists strafe and streak the chaos with trebly shards of melody. Pretty intense, and very reminiscent of Tribulation. The second side descends into further pits of abstract black ugghh, offering up monolithic psych guitar riffage and pounding drums that are drowned in distortion, buried industrial percussion that you can only barely make out through the murk and feedback, weird shouting vocals that break through in spurts, lumbering doomic dirges and unexpected flashes of melodic riffing, and dreamy washes of orchestral sound. It's a killer slab, for sure. Heavy and abstract, freaked out and blackened. We only have a couple copies of this LP as it sold out immediately from the label, who issued it in a limited edition of 500 copies. On black vinyl, in matte jackets with high contrast black and white artwork.


SKULLFLOWER   Vile Veil   LP   (Noiseville)    14.98

Vile Veil IS CURRENTLY UNAVAILABLE FOR ORDER

This brand new super limited Lp from Skullflower features three new tracks, only available on this vinyl exlcuisve release that was put out by Noiseville to coincide with the band's appearance at the 2009 No Fun Fest in Brooklyn (which I had to regrettably miss out on...). Vile Veil is limited to a mere 300 copies and is already sold out from Noiseville, so once we sell out of the twenty copies that we have in stock, that'll be it.
Ever since Tribulation, Matthew Bower has been slowly growing his new version of Skullflower into an actual band, first adding on Lee Stokoe (Culver) and then bringing in some other players over the past year to help out live and in the studio. At the same time, the Skullflower sound has been getting darker and heavier and bleaker, seemingly informed by Bower's newfound appreciation of black metal which has been seeping into his trademark sound of overdriven massed guitars and psychedelic skree. This latest blast from the master is possibly the result of a larger band, or maybe it's just Bower, I can't tell, as the record doesn't come with any liner notes or information aside from the tracklisting and a weird bit of poetic writing on the back, but fuck, it sounds huge, a brilliant black blast of brainmelting guitar armageddon spread out across three lengthy tracks. The first side has two, starting off with the title track "Vile Veil" where we're razed by a blown out mass of howling blackness, trebly razor-thin riffs and smeared howling vocals stretched over a buried, almost totally indistinct percussive thumping that sounds like it might be a blastbeat buried under miles of murky distortion and feedback. Very black metal sounding, but also very VERY abstract, like some old 10th generation black metal demo buried in sheets of buzzing guitar noise and fx-drenched feedback and psychedelic skree. It's strangely furious sounding at the same time, that distant thumping propelling the music through clouds of icy cathedral ambience and massed blown-out guitar strings, gleaming with obsidian slime and encrusted with blood and filth. Sure doesn't sound like any black metal that I've ever heard, but it's easily the most blackened thing that Bower and company have ever puked up, an amazing and mesmeric dose of grinding orchestral blackpsych that points to an awesome new direction for this venerable outfit.
The second track "Mauvais Ange" pretty much continues right from the previos one, only here the percussive element disappears completely, and we're lost in a hazy, abstract storm of symphonic guitar strings, droning amplifier blurt, and a high end wailing loop begins repeating over and over, a shrieking air raid siren pulsating in the center of the swirling fractured riffs and epic treble-overloaded drones.
On the flipside, the single sidelong track "Vinum Sabbati" finishes this off with an furious crushing wave of harsh, hypnotic guitar skree, screaming high end feedback layered over roaring klaxon-like blasts of orchestral riffage, screeching treble and soaring blackened melodies over the impossibly dense roar of amplifiers driven to the max. It's noisy and chaotic as hell, but also formed into something strangely musical and epic, a massive cloud of corrosive, symphonic blast that sounds to my ears like one of Bower's older tracks under the Total name taking on some buzzing, breathtaking black metal-strength majesty.
Only 300 made, sold out from the label, once these are gone, they're gone! Packaged in a black and white sleeve with artwork by Matt Bower, pressed on black vinyl.


SKULLFLOWER   Strange Keys To Untune Gods Firmament   2 x CD   (Neurot)    17.98










Track Samples:
Sample : SKULLFLOWER-Strange Keys To Untune Gods Firmament
Sample : SKULLFLOWER-Strange Keys To Untune Gods Firmament



SKULLFLOWER   Kino I: Birthdeath   CD   (Shock)    20.98



  Definitely one of the most looked-forward-to reissue campaigns I've been anticipatin' this year, the Kino series of early Skullflower reissues is long-awaited and much needed, as the majority of this stuff has been near impossible to track down in recent years without having to shell out ungodly sums of cash. Indeed, much of this material that is now surfacing as part of the series was long thought to have been completely lost, so needless to say, if you're a Skullflower fanatic like myself, you'll be falling over yourself to get your hands on all four of these new discs. Not only do they feature re-mastered audio for the band's pre-1990 12" and album material, but these discs are also packed to the hilt with rare demo, 7" EP and compilation tracks, much of which has never before been heard.
   The first installment in this reissue series, naturally, is the Birthdeath disc, which features the band's seminal 1988 12" of the same name, originally released on Broken Flag. But before you even get to the Birthdeath tracks, the disc opens with five tracks of previously unreleased material. For more than fifteen minutes, the low-fi shambling monstrosity "Anaphora" spurts some seriously harsh needlepoint slide-guitar skree and other more hideous axe-generated dissonance, as Skullflower's Matthew Bower drools and moans incomprehensibly over the monotonous clack of the drum machine. Pure primitive skronk rock that feels like its drawing equally from the brain-damaged slop-punk sludge of Flipper and the repetitive, trance inducing slow-motion pummel of early Swans. "Like A Disease" has a demented, Stooges-esque lurch to it while maintaining that same repetitive head-banging-against-the-wall repetition, the sound hypnotic and beautifully ugly, a mutated garage rock stomp crafted out of broken-down machinery and barbiturate crooning and bursts of painful no-wave guitar skree. The track "Slaves I" is, according to the liner notes, the earliest Skullflower recording that the band was able to find, a crossover from Bower and Alex Binnie's Pure project, a short slithering mass of echo-drenched howls, sinister guitar noise and pounding drums heard through the haze of a shitty Walkman recording, oozing slowly through a fog of reverb and feedback. Coil member / Nightmare USA Steven Thrower appears on bass guitar on "Shit Strasse" from 1988, and it's one of the faster tracks included in this collection, a surging wall of tribal rhythms and droning guitar notes, fluttering feedback and high-end drill tones, burly and blown-out and too damn short. And "Marilyn Burns" is another early Skullflower song that was never given a proper recording, captured here in it's shambling feedback-trance glory, hinting at the heavier, more psychedelic sound that the band would dig into deeper on the Birthdeath 12".
   And those four songs from that 12" are indeed classic Skullflower, the opening title track laying down a pummeling slow-motion dirge, thick guitar gristle draped over the pounding, borderline tribal drumming, the howling vocals coming in from different directions, slathered in delay and other effects, the lead guitars spitting out shards of sinister melody as they meander through the thick black fog of layered noises and broken electronics. Then there's "Grub", a perfect dose of the band's weird fusion of gothy reverb, pounding motorik rhythms and wailing, go-nowhere acid-guitar leads that they had pretty much perfected by this point. Weird flute-like sounds emerge out of "Timebomb"'s dubby, mesmerizing psychedelic chug, and the band slows down substantially for the drugged-out skyburning haze of "Blood Harvest", as waves of droning tremolo riffage crashes over the drawn out tribal pounding and random, wah-drenched string noise that come swarming up off of the guitar necks. Beautiful, crushing stuff.
   The disc closes with one other previously unreleased recording, "Language + Trance", and it's actually one of my favorite songs on the disc. Waves of dark distorted guitar drone wash over bursts of improvisational drumming, forming into a rather epic sounding slab of apocalyptic ambience, swirling black thunderclouds of amplifier hum and speaker-buzz drifting across a simple, super dramatic riff that would be right at home on a Neurosis record, proving again just how much Skullflower foreshadowed the more experimental sounds that underground metal would explore more in the following decade.
   Absolutely crucial listening for anyone into the industrial/psych/noise rock underground that surrounded the Shock, HeadDirt and Broken Flag labels, as well as anyone into the dronemetal and experimental metal that would follow in the 90's, almost all of which owed a considerable debt to the monstrous noise-damaged heaviness that Skullflower helped pioneer with these recordings. As with the other Kino reissues, this comes in a glossy gatefold jacket with a printed inner sleeve and booklet filled with new liner notes from the band, reviews, and other ephemera excavated from the band's archives.
Track Samples:
Sample : SKULLFLOWER-Kino I: Birthdeath
Sample : SKULLFLOWER-Kino I: Birthdeath
Sample : SKULLFLOWER-Kino I: Birthdeath
Sample : SKULLFLOWER-Kino I: Birthdeath



SKULLFLOWER   Exquisite Fucking Boredom   CD   (Tumult)    13.98

Exquisite Fucking Boredom IS CURRENTLY UNAVAILABLE FOR ORDER

Kind of a big deal when it came out, at least if you were at all into the heavy psych and UK post-industrial scenes back when Skullflower was inarguably one of the heaviest bands on the planet. Before Andee at Tumult released Exquisite Fucking Boredom through his unstoppably awesome Tumult label in 2003, it had been seven years since the band's last album This Is Skullflower, and in the meantime a whole new generation of underground music fans were just beginning to discover the massive body of work that Skullflower had created. This album showed another, heavier side to Matt Bower's band though. Where the mid-90's albums had been heading off into much more abstract (though still great) free-drone territory, Exquisite dropped a massive dose of heavily stoned riff-trance on your head. Bower's love of legendary UK space rockers Hawkwind was mainlined into a dense haze of narcotic feedback and overloaded fuzz boxes, droning riffs and crushing propulsive rhythms, a lumbering dopefog of mesmerizing heavy psych rock.
A massive four-part suite called "Celestial Highway" makes up the bulk of the album, four different takes on the same big riff. An acid-soaked, fuzz-laden riff ripped right out of the Sabbath/Blue Cheer/Hendrix manual and pounded into an eternal locked groove, repeating over and over again as it decays and corrodes, each chapter of the suite running this hypnotic jam over a swirling wash of buzzing hum, pulsating electronic keyboards, the chirping of birds, and syrupy waves of amplified ooze. Malformed shredding gets strewn over the central stomping riff, layered guitars fall out of phase with each other, and pulsating fuzz gloms to all edges of your periphery - eventually that riff is buried underneath a pile of ethereal feedback and fuzz, obscured by mounting layers of amp rubble and in-the-red distortion.
The other two songs "Saturn" and "Return To Forever" move on murky, disembodied drumbeats, buzzing Hawkwindian synth drones, and slowly surging waves of wah guitar. The drumbeats are clunky and mechanical on "Return", giving the song a kind of damaged Krautrock propulsion, clattering away under a scorched sky of pink feedback and growling, doped drone. Here's what Andee compared the amazing narco-rock of Exquisite to: "Like UK mantric rockers Loop, on repeat play, while your boombox runs out of batteries, or a sweeter, prettier version of Dutch minimal metal gods Gore, or imagine Steve Reich or Terry Riley composing for Black Sabbath." Packaged in a cool two-tone digipack.


SKULLFLOWER   Orange Canyon Mind   CD   (Crucial Blast)    9.98

Orange Canyon Mind IS CURRENTLY UNAVAILABLE FOR ORDER

The new full length from the legendary UK free/drone/psych outfit Skullflower, featuring some of the most searing, synapse scorching droneworks that Matthew Bower (the man behind Skullflower, as well as Sunroof!, Total, and The Hototogisu) has unleashed to date, in our humble opinion. Orange Canyon Mind is the follow up to 2002's awesome Exquisite Fucking Boredom (Tumult Records), and continues that albums utter mutation of stoned out riffs pulled taffy-like into eternity/oblivion and star-rupturing blasts of sonic white light. Over the 8 tracks/60 minute running time, Bower and cohorts build massive horizontal drones and melodic supernovas. Superb, beautiful, brain melting stuff.




SKULLFLOWER   IIIrd Gatekeeper (MEDIUM)   SHIRT   (Crucial Blast)    13.98

IIIrd Gatekeeper (MEDIUM) IS CURRENTLY UNAVAILABLE FOR ORDER

The second in our series of SKULLFLOWER shirts created in cooperation with Matthew Bower from the 'Flower, this design features the classic IIIrd Gatekeeper cover artwork printed in metallic silver ink, with the Skullflower logo and album title printed in metallic silver and white ink, printed on a black Hanes heavyweight 100% cotton preshrunk garment.
Click on the shirt image for a more detailed look at the shirt design.






SKULLFLOWER   Kino IV: Black Sun Rising   CD   (Shock)    20.98



  The fourth and thus far final entry in the new Kino series of 80's era Skullflower reissues, Black Sun Rising is a collection of non-album odds and ends, including a couple of unreleased tracks, the Rift / Avalanche, Slaves and I Live In The Bottomless Pit / Bo Diddley's Shitpump 7"s, and their track off of the cult classic Portable Altamont compilation, which came out in 1991 and featured Skullflower alongside the likes of Drunks With Guns, Nurse With Wound, Coil, and Current 93. All of this stuff has been re-mastered and sounds heavier than ever, an absolutely classic, crucial collection of crushing drone rock and psychedelic noise from one of the most influential bands to come out of the late 80s UK underground.
   The disc kicks off with two of those unreleased tracks, the opener "Night Tripper" is primo late 80s Skullflower, a dragged out drug-drenched psychedelic sludge jam in the same vein as their stuff off of Xaman and IIIrd Gatekeeper, huge rolling waves of blown-out concrete-mixer bass riffs and stumbling, partially improvised drumming, the rhythm section careening beneath the onslaught of squealing, squalling wah-wah abuse, bizarre moaning vocals and brutal feedback. This stuff is super heavy and seriously stoned, blending Sabbathian heaviness with a fucked-up sort of noise-punk mentality that definitely bears a resemblance to the brain-damaged stomp of bands like Flipper and Brainbombs. The second, "Kasso's Blues" sounds even more fucked, a stumbling elliptical dirge wrapped around maniacal howling vocals and a deliriously lobotomized guitar riff caught in a locked groove, looping incessantly through the acid-drenched fog of effects and feedback.
   The back-to-back crush of "Rift" and "Avalanche" is off of the band's classic 1990 7" that came out on Majora; the first song bores a hole through black space with its relentless droning riff and smears of vast guitar rumble and intoxicating amp-hum, a lush trance-inducing slab of slow-motion dronerock heaviness, vocals echoing endlessly through the murk. It's Skullflower at their trippiest and heaviest, as is the latter song "Avalanche", which has that weirdly gothic feel that a many Skullflower songs from this era had, laid out over pounding almost tribal rhythms and those brain-flaying blasts of feedback and psych guitar abuse.
   The two songs off of the 1990 Forced Exposure 7", "Slaves" and "Hoof" (the latter originally titled "Satan My Black Ass, Steve Albini = Jim Steinman") are even more raw and low-fi, delivering some filthy howling psych-stomp, a tar-soaked mess of damaged Stooges-ish lurch and pulverizing amplifier vomit. "Black Lizard" is another unreleased track, heavy and looping and noisy as hell, followed by the two songs from the 1989 Shock 7"; these are pretty rocking, at least by Skullflower standards, with "I Live In A Bottomless Pit" churning beneath gales of Hawkwindian guitar and effects, and the ridiculously titled "Bo Diddley's Shitpump" breaks into what might be one of Skullflower's most swingin' songs, a seething blast of feverish apocalyptic garage rave-up formed out of hypnotic, blown-out bluesy stomp.
   "Against Everything" (taken from that Portable Altamont compilation where it originally went under the title "A Guide To Canine Foreskin Retraction") is a thunderous noise piece, booming tribal drums circling endlessly beneath squalls of violent wah-pedal noise and fragments of eerie guitar melody and a constant, crackling layer of distortion. The disc closes with three other unreleased tracks which were actually recorded during the sessions for Xaman, including the circular, effects-drenched garage stomp of "March Of The Lemmings" with its screaming spaced-out electronics and furious free-from guitar noise, joined by what almost sounds like a saxophone filled with glue; "Thank You And Goodnight"'s brutal, atonal dirge drowning in feedback; and "The Punk Rock Song", a surprisingly catchy track that does indeed sound like some sort of three-chord punk, albeit deformed by the noise and distortion overload of Skullflower's sound.
   As with all of the other entries in this amazing series of early reissues, Black Sun Rising comes in a glossy gatefold jacket that includes a printed inner sleeve and a booklet that features new liner notes written by the band, reproductions of the original 7" covers, along with other rare materials (reviews, etc) dug up out of the bands archives. Essential.
Track Samples:
Sample : SKULLFLOWER-Kino IV: Black Sun Rising
Sample : SKULLFLOWER-Kino IV: Black Sun Rising
Sample : SKULLFLOWER-Kino IV: Black Sun Rising
Sample : SKULLFLOWER-Kino IV: Black Sun Rising



SKULLFLOWER / WHITE MEDAL   split   7" VINYL   (Turgid Animal)    11.98



An awesome recent arrival from Turgid Animal that pairs together one new track from the mighty Skulllower, and one new track from the crushing black metal/noise beast White Medal.
The Skullflower side features "Great Hunter", a new dose of super-dense and heavy abstract guitardrift that's actually different from the harsh out-guitar bleakscapes that Matt Bower has been creating on recent releases. This is much more layered and textured and atmospheric, a dense wash of blackened melodic guitar ambience that almost sounds like epic black metal stripped down to just the guitars, a grim soaring riff overlaid with melancholic leads and layers of fuzzy, blurry, gorgeous low end throb and smeared melodic buzz and woozy drone, equal parts Loveless and warped metallic black drift. Harsh and heavy but totally immersive.
On the b-side, White Medal unleashes a brutal blast of super-heavy downtuned dirge with "On't Borough", the vocals slurred, drums thrashing away way down in the mix, obscured by the swirling blown-out guitars and chaotic sludgy noise. The vocals are fucking nuts, a super deep and slurred roar that sounds like the turntable is playing the record at the wrong speed. The song breaks off into abstract woozy drift with seasick blackened arpeggios and waves of distorted drone buzzing and hissing as the song becomes a psychedelic blackened deathdirge, everything becoming buried under warping shifts in speed and distortion, finally building into an ultra-heavy, vaguely industrial sounding doom dirge. The White Medal side kills just as much as the Skullflower track, both bands deliver some amazing material for this Ep. Recommended! Limited to 400 copies.


SLEEP RESEARCH FACILITY   Nostromo   CD   (Cold Spring)    13.98



Sleep Research Facility's debut album Nostromo from 2001 is a classic slab of black ambient, and in the years since has been considered one of the finest examples of the form. The album went out of print for awhile, but was recently reissued by Cold Spring with a previously unreleased bonus track. If you know and love Ridley Scott's 1979 sci-fi/horror classic Alien (and why wouldn't you?), you'll recognize the title of this album immediately. The Nostromo is the name of the enormous deep-space freighter ship that serves as the setting for the film, and it's labyrinthine, Gothic atmosphere made it as much a character in the film as the human actors and the Alien itself. The first eight minutes of Alien show the ship moving slowly through space, a massive cathedral like construct drifting through the cosmos, and it is this sequence that serves as the inspiration for this album. With five tracks titled "A-Deck" through "E-Deck", Sleep Research Facility creates vast expanses of ultra deep, pitch black ambience, each subsequent track taking you deeper into the ship and crafting minimalist driftscapes that become more ominous and claustrophobic as the album progresses. The sound is pure ambient drone, impenetrably black sheets of amorphous, whirring low-end and deep bass frequencies, laced with distant streaks of feedback, the eerie crackle of radio static, echoing pulses, cavernous reverb and the thrum of huge, unseen engines. Utterly colossal and ice cold, it's still one of the bleakest pieces of dark isolationist ambience you will ever hear, at the top of the heap of dark ambient/iso-drone masterpieces alongside Lustmord's Heresy, Lull's Cold Summer, and Thomas Köner's Daikan.
The bonus track "Narcissus" will come as a surprise to anyone that has already heard Nostromo, as the closing piece has a different tone than the five lengthy tracks that make up the album proper. That's because the "Narcissus" is a different ship, the small landing craft that the crew of the Nostromo used to land on the planetoid to investigate the mysterious radio signal in the film. The eight minute track is more active than the original album material, a shimmering metallic dronecloud of fluctuating bass-pulse loops, distorted grinding, high-end hiss, and churning droning electronics that kind of sounds like a dark ambient version of K.K. Null's chaotic space-noise.
Absolutely essential.
Track Samples:
Sample : SLEEP RESEARCH FACILITY-Nostromo
Sample : SLEEP RESEARCH FACILITY-Nostromo



SOL INVICTUS   Lex Talionis   CD   (Infinite Fog)    13.98

Lex Talionis IS CURRENTLY UNAVAILABLE FOR ORDER

When it comes to old school apocalyptic deathfolk from the UK, one of the key bands from this scene was Sol Invictus, the industrial-tinged neofolk band headed up by Tony Wakeford, a former member of the early peace-punk band Crisis and the influential neofolk band Death In June. Long out of print, the Sol Invictus album Lex Talionis was originally released in 1990 as part of a limited-edition vinyl boxset that also contained Current 93's Horse and Nurse With Wound's Lumbs Sister, and then later released on CD on Wakeford's own Tursa label before going out of print for most of the next decade. Now reissued by the Russian label Infinite Fog in a digipack with a seven page booklet bound into the inside of the case, this long-lost piece of British neofolk history is available again for collectors, at least for as long as this limited pressing of 1000 copies lasts. The album is a strange mixture of industrial noise and dramatic dark folk that draws alot of it's influence from traditional British folk music, blending his signature circular fingerpicking style with deep theatrical singing, very 80's sounding synths, martial percussion, and dark ambient textures, and it's joined with lyrics that stand in opposition to Western moderization and Christianity and take a very pro-pagan stance. Some of the music on this album can get pretty melodramatic and over the top, but there's plenty of arresting moments on here, like the dark pounding folk-dirge "Kneel To The Cross" (which was actually later covered by Agalloch on their Of Stone, Wind and Pillor EP) and the Joy Division-ish "Blood Against Gold". It's similiar in ways to Current 93 and Death In June, but Wakeford injects a much darker tone into the music of Sol Invictus. Includes all of the lyrics which weren't included in the original release, and a previously unreleased live version of the song "Black Easter".
Track Samples:
Sample : SOL INVICTUS-Lex Talionis
Sample : SOL INVICTUS-Lex Talionis
Sample : SOL INVICTUS-Lex Talionis
Sample : SOL INVICTUS-Lex Talionis



SPLINTERED   Noumena   CD   (Amanita)    9.98



Back in stock!
We've unearthed yet another obscure find from the UK drone rock/heavy noise/dirge rock underbelly, and are we stoked! Splintered's Noumena was released in 1995, and falls somewhere between the feedback and howling guitar sheets of early 90's Skullflower, the apocalyptic/hypnotic dirges of Swans and Godflesh, and the epic unfolding might of Neurosis. Sounds pretty rad, right? It is. Formed in 1989, this UK outfit maintained a relatively low profile during their existence in the late 1980's/early 1990's, releasing a healthy series of limited singles, four albums (to the best of our knowledge), and recording two Peel Sessions. The seven tracks on this full length blend relentless rhythmic structures and improvised guitar noise / feedback worship into monstrous squalls of ominous dirge rock, replete with thundercloud summoning drones and loops, crushing analogue synth buzz, bamboo flute, splattered samples, metal percussion, and vocals that sound like Gregorian chants recorded at the bottom of a submerged cavern, all coming together into lengthy, repetitive, droning hypno jams with titles like "Black Dwarf"! As dark and desolate as wasted urban landscapes and decaying skylines. Seriously hypnotic and heavy and eerily melodic, and definitely highly recommended to fans of punishing drone rock / dirge metal, particularly anyone into old Skullflower and Cosmonauts Hail Satan and other old school UK guitar abusers/feedback worshippers.
Track Samples:
Sample : SPLINTERED-Noumena
Sample : SPLINTERED-Noumena
Sample : SPLINTERED-Noumena
Sample : SPLINTERED-Noumena



SUTCLIFFE JUGEND   This Is The Truth   CD   (Hospital Productions)    14.98

This Is The Truth IS CURRENTLY UNAVAILABLE FOR ORDER

Sutcliffe Jugend were one of the earliest pioneers of the early 80's power electronics/industrial noise scene alongside peers Whitehouse, SPK, and Throbbing Gristle, formed in 1982 by Kevin Tomkins (who was then a member of Whitehouse) and Paul Taylor. The project gained immediate notoriety as one of the harshest, most confrontational proponents of the original U.K. Power Electronics underground, with terrifying verbal outbursts underscored by harsh, brutal electronic feedback manipulations. The group went into hiatus for years, finally resurfacing in the mid-1990's, and we've been seeing some increased activity from Sutcliffe Jugend in the past few years, including live dates in the UK, the ferocious Live Assault 01 CD that RRRecords put out last year, and this brand new full length album, This Is The Truth, which is the first studio album from the duo in over eight years. Across the eight songs of This Is The Truth, Tomkins uses electronics, loops, effects pedals, violin, tapes, and guitar to create a carefully constructed, dynamic noise narrative, with Taylor contributing additional keyboards, damaged guitar noise, eBowed guitar textures, samples and loops to the din. The album is one of the more intricate harsh electronics statements of the decade, the tracks moving from abrupt blasts of sculpted feedback, to textured haunting drones and crushing amplifier hum. Tomkin's vocal delivery really sets this apart, as he unleashes a litany of hysterical accusations, mocking challenges, weird, damaged, almost R&B style singing, and unsettling mewling cries that rip through SJ's veil of seething high frequency violence. An excellent document of electronic immolation that's on my list for noise album of 2007, and a crucial dose for anyone that wants to hear where Prurient gained much of it's inspiration from. This CD version of the album comes in a full color jewel case which includes an eye-popping set of six individual photo cards a la Boris' Mabuta No Ura, capturing Sutcliffe Jugend in neon live action mode. Highly recommended.


SUTCLIFFE JUGEND   With Extreme Prejudice   CD   (Cold Spring)    12.98












Track Samples:
Sample : SUTCLIFFE JUGEND-With Extreme Prejudice
Sample : SUTCLIFFE JUGEND-With Extreme Prejudice
Sample : SUTCLIFFE JUGEND-With Extreme Prejudice



SUTCLIFFE JUGEND   Pursuit Of Pleasure (RED / GOLD VINYL)   LP   (4iB Records)    34.98



  Exclusively released on vinyl by the up-and-coming Singapore noise label 4iB, and available on both black/clear and red/gold colored vinyl, each version issued in an edition of three hundred copies, Sutcliffe Jugend's Pursuit Of Pleasure is a symphony of sinister feedback drones and dark malformed synthesizer melodies from the venerable British transgressive electronics duo. At times resembling Metal Machine Music steeped in psycho-sexual dread and reshaped into something much more malevolent, Pursuit is filled with cancerous black electronic pulses and bursts of erotically-tinged horror created with an array of distorted guitar, k-pads, autoharp, violin, percussion, electronic sound generators and synthesizers.
   The album moves from the stunning nightmare ambience of the opening instrumental track "Involuntary Abortion Slide" into brutal assaults of spastic power electronics, Tomkins's distinctive high pitched shriek echoing over the shrill, ear-fucking electronic chaos. More subdued sprawls of smoldering bass rumble follow, flecked with distant squealing synths, blasts of belligerent ranting that spew visions of abject horror and abuse and acts of bestial butchery, eerie wailing tones, the sound often building into almost unbearable levels of tension. The grinding bass loops and squealing vermiform synths sit at the center of much of this material, with those psychotic mewling vocals sending the album through various stages of disturbance, eventually making its way to the whirring loopscape of tectonic bass drone and manipulated feedback that closes the first side, those threatening vocals throwing spittle-flecked ravings of Sadeian poetry over the deep mechanical drones.
   The second side features just two long tracks. The first, "Pig Hole", is a festering pit of guttural voices and whispered perversions, a steady cardiac bass-throb beating at the heart of this noxious spoken-word performance, the track gradually spreading out into noisier, more abrasive terrain as gales of maniacal distorted guitar-noise sweep in, shifting into a strange sort of psychedelic terror, Tompkins's half-muttered vocals transforming into an oddly disturbing croon over a minimal techno-like pulse. The other is a fourteen minute mass of fluttering drones and ominous feedback, Tompkins continuing to unleash his malevolent ravings and skincrawling squeals across the rippling electronic ambience, building to a pandemonium of churning, looping noise, vast and terrible and trance inducing.
   Comes in a heavy gatefold jacket with a thick sepia-toned printed inner sleeve and a large poster insert, each one individually numbered and pressed on 180 gram vinyl.


SUTCLIFFE JUGEND   Pigdaddy   CD   (Cold Spring)    13.99



British industrial music and power electronics receive a lot of play around the C-Blast office, and one of my favorite groups is Sutcliffe Jugend, the seminal duo of Kevin Tomkins and Paul Taylor that initially took form as an offshoot of Tomkins main band Whitehouse. Named after the notorious serial killer Peter Sutcliffe, Sutcliffe Jugend were one of the heaviest, most evil sounding groups to emerge from the Broken Flag/UK Industrial scene of the eaqrly 1980's. The last two years has seen a handful of great new releases come forth from SJ, like that brutal feedback orgy/live concert recording on RRRecords, last years corrosive full-length This Is The Truth on Hospital, and now in the past month we've been graced with not only an excellent double LP collaboration between Sutcliffe Jugend and Prurient (also reviewed in this week's New Additions list) but also this disturbing new album Pig Daddy, which is the group's first release on Cold Spring since 1997's We Spit On Their Graves. Pig Daddy is a seedy, depraved collection of six "stories" with titles like "Insult", "Defacer", "Dith", "Dirty", etc., each one a portrait of greasy, noxious sexuality and depraved lust that oozes from throbbing, repetitive basslines and densely layered industrial soundscapes formed out of pulsating, low-frequency drones, high-pitched microphone feedback, voice and noise samples that are heavily fucked-with and twisted into evil-sounding loops, buzzing, brutally heavy synths, and bursts of mangled guitar noise and heavy riffing. As always though, it is the fucked-up vocals of frontman Tomkins that makes Sutcliffe Jugend's recordings such a harrowing experience. Like his former associates in Whitehouse, Tompkins delivers a litany of profanity and bizarre rambling that is run through a wall of distortion, but his delivery is unique, veering between harsh bellowing shouts, mocking, derisive whining, and a kind of weird crooning that sounds like a brain-damaged R&B singer drooling over the looping, throbbing noise. This is unquestionably harsh going, and is one of the more fucked up sounding albums from SJ's recent output.
Track Samples:
Sample : SUTCLIFFE JUGEND-Pigdaddy
Sample : SUTCLIFFE JUGEND-Pigdaddy



SUTCLIFFE JUGEND   Blue Rabbit   CD   (Crucial Blast)    9.99



Appearing in the early 80's as an offshoot of the legendary UK power electronics band Whitehouse, Sutcliffe Jugend soon went to to become an equally confrontational and extreme purveyor of the early PE/industrial sound, producing some of the most abrasive and violent electronics albums ever with their early Come Organisation releases We Spit On Their Graves and Campaign . Since then, Sutcliffe Jugend has continued to pursue a unique sonic vision that combines transgressive subject matter and dark, cerebral musings on violence and sexual perversion with explorations into the use of brutal feedback and synthesizer damage. In the past decade, however, the band has delved into darker, more restrained (at least on a sonic level) sounds alongside their harsher work, and Blue Rabbit is the latest such offering, unfolding like a night-terror across the album's eight tracks. You won't find any of SJ's trademark power electronics sound here, nor the dark throbbing industrial of their recent album With Extreme Prejudice for Cold Spring Records; this is a darker, more unsettling experience, heavy with an atmosphere of doom and smoldering violence, as if Sutcliffe Jugend sought to channel the creaking dread of Nurse With Wound's Salt Marie Celeste through a series if blood-freezing psychosexual nightmares.
The first song "Solace" begins with washes of black tidal drift and eerie creaking sounds, wheezing string-like drones, the scrape of bones against the rusted strings of a cello, brief flashes of piano, and strange low-frequency muttering, snatches of melody drift in and out of clarity, while a male voice murmurs just below the surface of this seasick soundscape. The vocals never break into the kind of high, manic screaming that you'd hear on previous SJ albums, instead appearing as a malevolent presence, a depraved narrator lurking in the dark corners of Blue Rabbit. The album creeps through ever more disturbing scenes, from the sparse electro-acoustic collage of percussive noises, asthmatic scraping strings and reedy feedback tones that make up "Seed", a collage of warbly electronic tones, the thump of an oil tank, evil whispers guiding the listener through these aural hallucinations, the track eventually resembling some nightmare free-improv session.
Then there is "The Bad Mannered Prophet", an almost orchestral dark ambient epic unlike anything that I have ever heard from Sutcliffe Jugend, magisterial and haunting, a stirring dark melody and sounds of distant chanting looping repeatedly beneath a creaking, crashing oceanic soundscape. And the rest of the album drifts further through these realms of bad-dream ambience, strange somnambulant improv and the sounds of organ, murmuring voices, mewling cries, jazzy bass frozen into a glacial drip, minimalist drones that waver and fade against the darkness, the slow scrape of the bow across strings processed into buzzing, wasp-like tones, clouds of billowing melodious keyboard, the songs at times resembling the din of a house of clocks gone haywire, finally culminating in the frenzied depravity of "The Death Of Pornography".
For fans of the band that are primarily familiar with their harsher output on Come Org and Cold Spring, this is a revelation; a seething quasi-ambient nightmare that lingers with the listener, enhanced in it's creep factor by the unsettling paintings from Sutcliffe Jugend's Kevin Tomkins that make up the album art. Comes in a full-color digipack.
Track Samples:
Sample : SUTCLIFFE JUGEND-Blue Rabbit
Sample : SUTCLIFFE JUGEND-Blue Rabbit
Sample : SUTCLIFFE JUGEND-Blue Rabbit
Sample : SUTCLIFFE JUGEND-Blue Rabbit



SUTCLIFFE JUGEND   First Official Live Action Ever   CD   (RRRecords)    8.00



Absolutely skull shredding live document of the "first and last" Sutcliffe Jugend live performance, recorded in August 2005 at the Red Rose in London. Formed in the very early 1980's, this group were key players in the seminal UK scum electronics movement alongside Whitehouse, Consumer Electronics, Ramleh, etc. Like a Cenobitic facial assault of Prurient's richly textured amplifier screams and total Whitehouse hate, this half hour jam erases all hope as SJ members Paul Taylor and Kevin Tomkins melt the audience with waves of crushing industrial guitar-noise throb, deviant misanthropic ranting, blasts of brutal speaker blowing high-frequency skree, charred black drone, and synthesizers bursting into flame. Total devouring electronics.


SUTCLIFFE JUGEND   Pursuit Of Pleasure (BLACK / CLEAR VINYL)   LP   (4iB Records)    34.98



  Exclusively released on vinyl by the up-and-coming Singapore noise label 4iB, and available on both black/clear and red/gold colored vinyl, each version issued in an edition of three hundred copies, Sutcliffe Jugend's Pursuit Of Pleasure is a symphony of sinister feedback drones and dark malformed synthesizer melodies from the venerable British transgressive electronics duo. At times resembling Metal Machine Music steeped in psycho-sexual dread and reshaped into something much more malevolent, Pursuit is filled with cancerous black electronic pulses and bursts of erotically-tinged horror created with an array of distorted guitar, k-pads, autoharp, violin, percussion, electronic sound generators and synthesizers.
   The album moves from the stunning nightmare ambience of the opening instrumental track "Involuntary Abortion Slide" into brutal assaults of spastic power electronics, Tomkins's distinctive high pitched shriek echoing over the shrill, ear-fucking electronic chaos. More subdued sprawls of smoldering bass rumble follow, flecked with distant squealing synths, blasts of belligerent ranting that spew visions of abject horror and abuse and acts of bestial butchery, eerie wailing tones, the sound often building into almost unbearable levels of tension. The grinding bass loops and squealing vermiform synths sit at the center of much of this material, with those psychotic mewling vocals sending the album through various stages of disturbance, eventually making its way to the whirring loopscape of tectonic bass drone and manipulated feedback that closes the first side, those threatening vocals throwing spittle-flecked ravings of Sadeian poetry over the deep mechanical drones.
   The second side features just two long tracks. The first, "Pig Hole", is a festering pit of guttural voices and whispered perversions, a steady cardiac bass-throb beating at the heart of this noxious spoken-word performance, the track gradually spreading out into noisier, more abrasive terrain as gales of maniacal distorted guitar-noise sweep in, shifting into a strange sort of psychedelic terror, Tompkins's half-muttered vocals transforming into an oddly disturbing croon over a minimal techno-like pulse. The other is a fourteen minute mass of fluttering drones and ominous feedback, Tompkins continuing to unleash his malevolent ravings and skincrawling squeals across the rippling electronic ambience, building to a pandemonium of churning, looping noise, vast and terrible and trance inducing.
   Comes in a heavy gatefold jacket with a thick sepia-toned printed inner sleeve and a large poster insert, each one individually numbered and pressed on 180 gram vinyl.


SUTCLIFFE JUGEND   The Fall Of Nature   CD   (Hospital Productions)    15.98

The Fall Of Nature IS CURRENTLY UNAVAILABLE FOR ORDER

Anyone that thinks that Sutcliffe Jugend can be easily catagorized and filed away as "power electronics" need only turn to this album for proof of their ongoing evolution within electronic extremism. The duo of Kevin Tomkins and Paul Taylor will always be thought of as part of the seminal 80's UK power electronics scene and connected to the influential Come Organization/Broken Flag aesthetic, but I am constantly amazed by the diversity of their more recent work, which often goes beyond mere PE and industrial noise into some other debauched realm altogether. Or, in the case of The Fall Of Nature, reaches skyward to grasp the sun in a show of staggering beauty that took my breath away the first time that I spun this disc. Released jointly between Ground Fault and Hospital Productions, this is a single 58 minute long track that begins with softly fluttering electronics streaking from one speaker to the other and a soft voice trilling and moaning from within clouds of rich cavernous reverb. Slowly, deep rumbling drones begin to appear, and then around fivge minutes in the music becomes overwhelmed by a battalion of heavily distorted synthesizers all blasting a single wavering drone straight up into the heavens, a thick corruscating blast of mesmerizing white heat that begins to waver and shudder like a massive plasma ray of symphonic bliss. It's almost like a Terry Riley piece played back at ear-destroying volume. Over the course of the next half hour, Sutcliffe Jugend sculpt and shape this monstrous solar drone into viscous waves of sawtooth grind and skull liquifying squelch, spewing feedback and mangled guitar snot and skull matter across your field of hearing, jacking up their instruments into brutal squalls of skree and noise and mangled high-end destruction but always, always circling that heavenly, blissed-out drone core that bores a hole into infinity. This synth-overload powerdrone also reminds me of some of Prurient's more recent experiments with heavily distorted synth, but these guys take it to the max. But then at the 30 minute point, that drone fades away completely, and suddenly the piece changes shape into a soundscape of minimal pulsating glitch and dark drifting ambience. Huge swells of distorted low-end roar emerge from some previously unseen abyss, and sparkling high-frequency tones flit about high up in the mix. It becomes this kind of massive cosmic noise-wall, and after awhile those vocals begin to fade in, harsh shrieking and demonic squeals dropping in from above, bathed in caustic feedback, a noxious obliterating power electronics assault that continues to assault the listener until right up to the end, when the music again changes shape, this last time into a murky ocean of distorted bass frequencies and distant roaring that closes the album. Intense and epic, for sure.
Track Samples:
Sample : SUTCLIFFE JUGEND-The Fall Of Nature



SUTCLIFFE JUGEND & JUNKO   Sans Palatine Uvula   CD   (4iB Records)    17.98



  Another recent offering from the infamous UK electronics duo Sutcliffe Jugend to surface on Singapore noise/industrial label 4iB, Sans Palatine Uvula is an experiment in extreme sonic terror that sees the regarded noise duo producing a series of brutally abrasive soundscapes generated by guitar, autoharp, electronics and synthesizers, which becomes the backdrop to a vicious, blood-curdling vocal performance from Hijokaidan member Junko Hiroshige. Using her voice as an instrument, Junko splatters the recording with a non-stop volley of vicious screams, squeals and abstract screeching that is processed and manipulated into an abrasive sonic assault somewhat akin to the extreme reed abuse that legendary free-jazz trio Borbetomagus inflict on their saxophones.
   The mysterious acoustic clank and crackle of opener "Mouth Ripping" erupts into a din of hysterical screaming and garbled electronic chaos, an ultra-violent sonic spasm like hearing a knife murder taking place within a massive malfunctioning mainframe computer. From there, the remaining tracks keep it extreme, from the bizarre gibberish and distorted synth rumble of "Throat Ripper", to the glitchy ambience and grinding cello-like drones of "Mouth Leak". Later tracks scrape through minefields of splintered electronic noise and blasts of heavily processed skronk that fall somewhere between violent improv sax screech and the bellowing of dying elephants; bursts of harmonium-like drone and nauseating electronic squiggle; cut-up screams and bubbling synth clicks re-arranged into a ghastly abstract nightmare. The track "Sans Larynx" has a similar off-kilter ambience as what Sutcliffe Jugend were doing on Blue Rabbit, a heaving, seasick dronescape of malformed orchestral sounds and ominous rumblings, but accompanied by Junko's high-pitched screams it becomes something far more disturbing. Ghostly moaning is draped across creepy, corroded soundscapes, and more of those cuisinarted screams are scattered over looped cello abuse and electronic glitch. Fragments of backwards melody surge around strange accordion-like wheezing and eerie pulsating tones.
   The centerpiece of Sans Palatine is the nearly fifteen minute title track. It's also one of the more restrained tracks, relegating Junko's vocals to a point far off in the background, the music a swirling dark drift of softly scraped metal and crackling static, an eerie keyboard melody looping through the gloom, weird flatulent electronics and bleating horn-like noises swelling out of the deep. It's a striking piece of sinister abstract ambience that maintains a dark atmosphere through the entire track.
   This is seriously extreme stuff that even power electronics purists might find too abrasive. At times, Sutcliffe Jugend and Junko produce a cacophony of sound more in the vein of Dave Phillips and Randy Yau's aktionist-inspired gut/throat noise experiments, and achieve a similar degree of sonic terror. Comes in a four-panel gatefold jacket with a full-color printed inner-sleeve and an eight page booklet with painted artwork from SJ's Tomkins, each copy hand-numbered in an edition of five hundred.
Track Samples:
Sample : SUTCLIFFE JUGEND & JUNKO-Sans Palatine Uvula
Sample : SUTCLIFFE JUGEND & JUNKO-Sans Palatine Uvula
Sample : SUTCLIFFE JUGEND & JUNKO-Sans Palatine Uvula



SUTCLIFFE JUGEND / PRURIENT   End Of Autumn   2 x LP   (Troubleman Unlimited)    19.98



Malignant power electronics conjured from the meeting of master and protege. End Of Autumn is a live collaboration that took place in April of 2006 between Prurient (Dominick Fernow) and UK power electronics/scum-industrial legends Sutcliffe Jugend (Kevin Tomkins, formerly of Whitehouse, and Paul Taylor) in Tunbridge Wells, UK. Just like I expected, this is a brutal performance that subsumes both artists into a decimating sum total, and I can only imagine how overwhelming it probably was to have actually been there at the performance. End Of Autumn is divided into four sides, and each side is titled after a different season. The liner notes state that the lyrics have all been taken from old death poems written by Japanese monks, but the words are impossible to make out due to the babbling, garbled screams and modulated vocals that sound like someone in the throes of demoniac control; the sound itself is total industrial chaos, and each section is a relentless assault of raging high end feedback and tsunami waves of distortion flowing out of massive amplifiers, aggressive metallic scraping and contorted mic feedback that drills through yer mind like a lifetime of regret. Dominick Fernow's trademark microphone/feedback lashings start to become more noticeable the deeper you get into the set, but the majority of this is dominated by crushing whirlpools of low-end guitar roar and earthshaking synth drones. Intensely brutal and HEAVY industrial noise, with Kevin Tomkins from Sutcliffe Jugend ranting and screaming hysterically, sometimes bellowing manic tirades into the incendiary eye of their noise-storm, other times reciting the poetry in a reserved spoken manner over some of the more subdued ambient sections. The tracks for the most part are along the lines of Sutcliffe's most dense and crushing work, or a more psychedelic Whitehouse, but the third side stands out as an exception. On the title track, the members of Sutcliffe and Prurient create a weirdly rhythmic soundscape of looping mechanical rhythms, squelchy toy noises, spacey FX, eerie horror ambience, deep growling electronic pulses, and horrific voices transplanted from a psych ward. It starts off almost like some weird drum n' bass/jungle, all skittering chopped up rhythms, but then moves into harrowing Penderecki-like strings timestretched into infinity and trippy trombone-like tones. This sounds unlike anything else I've ever heard from either of these artists, and as the side continues to plunge into blackness with metallic whistling and chirping and surges of distorted low-end, it starts to sound like a nightmarish 70's experimental electronic music score.
The records are presented in a beautiful gatefold sleeve with full color photography, and limited to 800 copies.


TENHORNEDBEAST   My Horns Are A Flame To Draw Down The Truth   CD   (Cold Spring)    11.98



The first widely available album from Tenhornedbeast (2007's The Sacred Truth) was an amazing slab of occult black ambience, one of the heaviest and most evil sounding albums that Cold Spring ever released aside from their Nordvargr-related output. And while I'm still waiting to hear a brand new album of grim, fearsome ambience from THB, this recently released collection of unreleased studio material and remixed recordings is a fine enough way to hold over, with most of the material on this disc essentially sounding like all new music. My Horns Are A Flame To Draw Down The Truth features three tracks that use the original recordings from The Sacred Truth as source material, but remixes and restructures the tracks until they become something almost completely different, crafting all new worlds of dark, terrifying sound. The other two tracks are from the same recording session that produced Sacred Truth, but are appearing here for the first time. It's pretty essential if you loved that album as much as I did. Each track (which span anywhere from eight to thirteen minutes) is a dark, shadow-filled sonic realm, inhabited by swirling clouds of malevolent disembodied voices, thunderous swells of reverb and fx that sound like it's all being pumped through endless underground catacombs, thick slabs of terrifying black ambience drifting slowly through space, spacious fields of crushing psychedelic drone, harsh industrial textures, and immense gusts of cavernous Lustmordian drift. These reworked/rebuilt tracks all tend to be more minimal and spacious than the original Sacred album and veer much deeper into pure dark ambience, but there are some rare moments of the crushing heaviness that made that album so monstrous, like the punishing Sunn-like sludge and rumbling industrial plod that powers the title track, and the shamanic drum in "The Sword Was Our Pope" that throbs through the endless anguished voices that escape like mist through cracks in the earth. The most metallic of all of the tracks however is the final one, "Fenris-Wolf"; here, droning black metal guitars drift like echoes of orchestral strings across a charred wasteland of grinding synthesizer drones and utterly bleak black ambience. It's one of THB's finest moments. With Tenhornedbeast, Chris Walton continues to explore the psychic terrain he first traveled through with his dark ambient project Endvra, but here the journey is so much bleaker and heavier. Another favorite in the canon of black ambience and the fearsome ritualistic industrial shared by MZ.412, Deadwood, Wolfskin, and Nordvargr. Comes in a gorgeous matte digipack with spot-varnish printing.
Track Samples:
Sample : TENHORNEDBEAST-My Horns Are A Flame To Draw Down The Truth
Sample : TENHORNEDBEAST-My Horns Are A Flame To Draw Down The Truth
Sample : TENHORNEDBEAST-My Horns Are A Flame To Draw Down The Truth



THEME   Valentine (Lost) Forever   CD   (Heart & Crossbone)    11.98



Didn't realize it until after we got these in, but the new British industrial/drone band Theme features Richard Johnson from Splintered as one of it's members. I'm a big fan of Splintered, a UK psych-industrial band that was active in the late 80's/early 90's Brit noise rock scene alongside Ramleh and Skullflower, but I hadn't been aware of what the members of Splintered were involved with nowadays, since that project has been in a state of permanent hibernation for over a decade. Johnson apparently formed Theme right around the time that Splintered ceased activities in the late 90's, heading in a much more abstract and droneological direction and releasing a couple of albums on the Fourth Dimension and Lumberton Trading Company through the first half of the 'oughts. Valentine (Lost) Forever is the band's first new album since 2006, released on our favorite Israeli extreme music label Heart & Crossbones, which seems like an odd pairing at first until you stop and consider how many of HCB's releases are influenced by classic industrial. And that's where Theme's sound is based, a good portion of it at least, with the seven tracks on Valentine (Lost) Forever made up of repetitive chanting and vocals, fractured music-box melodies cast in liquid nitrogen, and abstract digital noisescapes woven into seriously creepy looping industrial ambience. The influence of the occult post-industrial music of Coil and early Current 93 on Theme's music is pretty obvious, especially when the lead male vocals appear, a dramatic rasp not unlike that of David Tibet, and the music is steeped in a similar grim, apocalyptic aura as Current 93's hallucinatory masterpiece Dogs Blood Rising; Theme also work in a few moments of crushing industrial weight, as well, as on "An Answer To All Life" and the very end of "Burn The Truth", where the band combines the droning sound collage and endtime dread of C93 with pummeling slow-motion drum dirge that reminds me of early Swans. The final track is a remix from Steven Severin (formerly of Siouxsie & the Banshees), who takes the core elements of "Burn The Truth" and sculpts them into a pounding rhythmic industrial dirge that would have sounded out of place on one of Charnel Music's Arrhythmia compilations.
Track Samples:
Sample : THEME-Valentine (Lost) Forever
Sample : THEME-Valentine (Lost) Forever
Sample : THEME-Valentine (Lost) Forever



TOLL   Christ Knows   CD   (Cold Spring)    13.98



The whole 1980's Broken Flag/UK Industrial scene has always fascinated me. I started exploring the label's artists and discography a couple of years ago when I started to really hunt down Skullflower records in earnest, and discovered the label's history online primarily through websites like Monotremata. For those that are unfamiliar with this chapter of underground UK music, Broken Flag was a label established in the early 1980's by Gary Mundy, a longtime guitarist in legendary improv-noise outfit Ramleh and a key figure in the early years of Skullflower. Broken Flag released several seminal LPs from bands like Skullflower and Ramleh, as well as a ton of cassettes from Ramleh, Controlled Bleeding, Total, Con-Dom, and many others. One of these Broken Flag cassettes was the "Christ Knows" tape from a band called Toll, a sort-of Ramleh side-project that featured Mundy, Matthew Frith, and Tim Soar. The cassette would eventually also be released on LP through the label in 1986, and part of it's word of mouth mystery over the years is due to the additional players on these recordings: two of the tracks feature a pre-Stereolab Tim Gane on electronic percussion, and avant/industrial legend Paul Lemos (of Controlled Bleeding, Skin Chamber, and freakout-prog unit Breast Fed Yak) contributed electronics to some of this material as well.
Toll's music stood out from the largely free-skronk/destroyed electronics of the Broken Flag roster, blending weird, post-punk style hooks and wiry guitars with washes of psychedelic electronics, heavily affected layered downer singing and haunting chant-vocals, eerie industrial drones, heavy low-frequency ambience, caustic fried electronic noise, pretty, minimalist casio melodies and basslines that remind me of old Cure songs, grinding machine rhythms banged out of thunderous sheet metal, guitar drones, violin, heavy spacey dark dirge riffs, and a dark and weird sense of humour mixed together into an eerie twilight dream fog. Their sound evokes a similiar sort of hallucinogenic, urban paranoia that is found in 80's UK power electronics/noise/skum, but Toll's approach is more surreal and subdued, like Nurse With Wound mixed with dark 80's post-punk and grim, grinding Industrial fear. There are parts of this album that even sound almost like an instrumental early singles-era The Cure jamming with the ripping early power electronics of Ramleh. This is a pretty strange, amazing album, the original LP has been out of print for years, but Cold Spring recently re-issued this legendary album, along with three additional unreleased tracks. Kudos to them for resurrecting this creepy dose of 80's post-Industrial gloom and sparing me the wallet demolition of trying to obtain the original LP! Recommended.


TOTAL   Here, Time Is Space   2 x LP   (Majora)    19.98

Here, Time Is Space IS CURRENTLY UNAVAILABLE FOR ORDER

We've got an extremely limited quantity of the 1994 double LP Here, Time Is Space from Matt Bower's solo project Total, which was released by Majora Records. As far as I know, that label has been out of commission for some time, but amazingly I was able to unearth some sparkling new copies of this headcrushing slab of psychedelic guitar damage from one of our more esoteric suppliers. Of course, we all know and love Matt Bower's main band Skullflower, one of the most influential and pulverizing bands to come out of the UK post-industrial underground and who are still releasing awesome albums of superheavy guitar dominated drone/noise/dirge, and of course Hototgisu and Sunroof too, but back when Skullflower was in it's full band mode in the early 90's, somewhere in betwixt their more opiated albums Obsidian Shaking Codex and Carved Into Roses, Matthew released this massive collection of dense axe rituals under the then quite active Total banner, the project's third album by this point, where he distilled his own particular language of satori through guitar/amp obliteration solo...here we have ten lengthy jams spread out across the four sides, vast swirling expanses of dark feedback drone and languid psychedelic guitar solos oozing out of his guitar like gobs of lava-lamp expectorate. All over the album, Matt chants and groans like an blind monk just freshly dug up from some rotting casket and plunked down in the middle of a small symphony of clanging guitar strings, deep rumbling vibrations, grim chord progressions ringing out over bottomless chasms of blackness, brief flashes of massive distorted riffing that, listening to this now, seems to presage the black metal-tainted guitar textures found on the newer Skullflower albums. On "Parsifal", huge clusters of clanging guitar strings that sound like Japanese wind chimes crash together through a fog of fragmented sorrowful melodies and icy feedback, and it's majestic and beautiful, like hearing an orchestra tuning up eternally at the rear of an immense wind tunnel...and the opening track on side three, "Nothing", is one of Total's most apocalyptic pieces; sampling bits of a classical symphony, the chunks of dramatic strings and horns are interjected into a pulsating krautrock jam with endlessly rattling percussion and huge swells of crushing, minor-key riffage. "Alien Penetration" features some damaged psych guitar slime across a shimmery Sunroof style high end drone, but then "Veildust Eternity" comes in a a black tide of low-end amplifier roar that washes over everything and closes the side in a roiling sea of blackened prayer bowl drone and buzzing, murky sludge, broken up by the distant tolling of bells and air-raid sirens. It's not all that dissimiliar from some of Black Boned Angel's more ambient moments, actually.
And the fourth and final side has some of my favorite Total music ever...it opens with the evocatively titled "Heavy Rectum", a masterwork of zonked out psych guitar freakout over buzzing drones, heavy distorted chugging buried way down in the mix, squealing volleys of feedback, and an intensely ominous feedback-riff in the forefront that sounds like several cellos playing the same menacing minor-key melody in unison. And then it moves into "Circular Temple", a massive fifteen minute drone-dirge that creeps through deep space; a simple, distorted riff repeats over and over as it drifts through a dreamlike space filled with flutes, lysergic guitar solos, tinkling percussion, weird spaceship-computer sounds, and various other electronics and amplifier-generated textures, a super abstract, terminally damaged psych trance that taps into Bower's love of old Hawkwind and space rock while submerging those influences in druggy murk and crumbling amp noise. This final track sounds a lot like something from Skullflower's Orange Canyon Mind album, but darker and sludgier.
The set comes in a glossy black and silver jacket with awesome, Sav Pencil-style artwork.
Track Samples:
Sample : TOTAL-Here, Time Is Space
Sample : TOTAL-Here, Time Is Space
Sample : TOTAL-Here, Time Is Space
Sample : TOTAL-Here, Time Is Space



TOTAL   Glassy Warfare   CD   (RRRecords)    7.99



Here's the crucial 1995 artifact from Total, another killer project from Matthew Bower of Skullflower and Sunroof! Released as part of the classic 90's Pure Series on RRR, you get awesome seminal guitar/feedback noise that shakes buildings. This full length sports four LOOOONG tracks of sky rupturing freeform guitar noise and chunky ear-shredding amp feedback that swirl together into thick gobs of churning,blackened drones, dreamy hums, and harsh noise storms. This definitely ranks among Bower's more brutal jams, with much of the album sounding like a gang of massively distorted electric guitars battling mutant vacuum cleaners in a brutal,cathartic mass of crushing jet-engine roar. The first track, "Glassy Warhead", features violin from Philip Best. The final track sports some teeth drilling guitar skree over top of symphonic recordings for bizarre effect. Hypnotic, buzzing,endless axe splatter. Pure power. Glassy Warhead straddles the realms of the transcendental drones of Double Leopards,Vibracathedral Orchestra,and Burning Star Core...the earth shaking amplifier ooze of Sunn O))), Earth, and Boris...and of course, the incendiary interdimensional guitar explosions of Matthew Bower's other bands (Skullflower, Mirag, Hototogisu).


TRANSITIONAL   Nothing Real Nothing Absent   CD   (Conspiracy Records)    13.98



I was really stoked to hear this debut from Transitional when I found out that Dave Cochrane was involved...the former member of industrial hip-hop squad Ice (alongside Kevin Martin and Justin Broadrick), jazz-punkers God, legendary industrial heavies Head Of David, the terminally underrated Sweet Tooth and now current member of Jesu has long been one of my favorite musicians in the UK underground, and I always know that anything this guy is involved with is going to be an instant fave. He's joined by Kevin Laska, who I know from his role in Novatron, another immensely underrated outfit that also features Anthony Di Franco (Skullflower) and some of the heaviest black-hole industrial/dirge/metal ever on the album New Rising Sun that came out on Cold Spring back in 2000. So here we've got two longtime members of the UK underground teaming up, and maybe not too surprisingly, they create a sound that is comparable to the pounding industrial metal of Godflesh, a comparison that is aided by Justin Broadrick's mastering job on the album...several of the songs on this disc feature lumbering, ultraheavy programmed drums that grind away at huge slo-mo breakbeats and crushing dirges, massive crunchy guitars and percussive riffing that reminds me of the first few Godflesh albums, while putting their own little spin on the sound with vocoder vocals, layers of processed distortion and electronics, and droning synths that have an almost New Wave tone. It's actually a lot like the really early Nadja stuff, when Nadja where much more obviously inspired by Godflesh and before they turned into the melodic, blissed out dreamsludge they are now. But the other half of the album is quite different...tracks like "Abandonement" and "Fractured" are epic washes of distorted guitar ambience and fuzzy electronic textures, throbbing dronescapes spotted with weird electronic noises and damaged, overdriven guitar riffing, glitchy fragments of rhythm and subharmonic elextronic squelch, dark industrial drone music, abstract and expansive, and it reminds me of a combination of artists like Maeror Tri, Cranioclast, and Coil. The mix of ultraheavy machine dirge and menacing industrial drone comes together nicely, and makes Nothing Real a more experimental take on the slomo bliss/sludge sound shared by Jesu, Nadja, and The Angelic Process. Very cool. Comes packaged in a full color digipack.
Track Samples:
Sample : TRANSITIONAL-Nothing Real Nothing Absent
Sample : TRANSITIONAL-Nothing Real Nothing Absent
Sample : TRANSITIONAL-Nothing Real Nothing Absent



VACANT LIFE   Pain Compliance   7" VINYL   (Iron Lung Records)    9.98



     Once again, we get some forward-thinking, noise-damaged hardcore savagery from the Iron Lung label. Vacant Life's debut EP Pain Compliance hit me with a serious frag attack, banging out four quick blasts of blown-out, malevolent punk that fused marauding speed-fueled riffs and a satisfyingly irate singer with a high level of feedback abuse and over-the-top distortion. These guys come out of Seattle, but there's a distinctly Midwestern ugliness to their music, combining their breakneck hardcore with a seething undercurrent of gnarly, Am Rep -style discordance (something that we're hearing more and more often with bands of this ilk). When they crank up the aggression on songs like "Erasure", though, it makes for some supremely potent hardcore, with particularly violence-inducing tempo shifts and an abrasive guitar tone that seems to constantly be on the verge of splintering into total overdriven speaker-shredding chaos. One hell of a nasty EP, and it wraps things up with an especially gruesome dirge called "Press Gang" that sort of resembles a Flipper/Kilslug-style scum-beating combined with a heavy dose of power electronics style mic-annihilation. Fuckin' gruesome.
     Limited to four hundred copies, and issued with a download code.
Track Samples:
Sample : VACANT LIFE-Pain Compliance
Sample : VACANT LIFE-Pain Compliance
Sample : VACANT LIFE-Pain Compliance



VALLEY OF FEAR   self-titled   CD   (Legion Blotan)    11.99

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER








Track Samples:
Sample : VALLEY OF FEAR-self-titled
Sample : VALLEY OF FEAR-self-titled
Sample : VALLEY OF FEAR-self-titled



VARIOUS ARTISTS   Fathers Of Our Flesh: Tribute To Godflesh   CD   (Fobofile Productions)    12.98



    Available on both CD and double LP in gatefold packaging, the latter limited to three hundred copies.
    There's no denying the immense influence that pioneering British band Godflesh had on countless bands since the release of their self-titled debut in the late 80s. The band almost single-handedly created the "industrial metal" sound, and would help shape numerous other directions in underground metal, rock and electronic music in the decades to follow. Enlisting a bunch of bands to pay homage to Godflesh is a breeze (and has been done before), but while we've seen a couple of tribute anthologies to Godflesh in the past, the new Fathers of Our Flesh compilation is by far the best. It succeeds not only because of the strong lineup of bands that were assembled for this project (including the likes of Knut, Nadja, Gnaw, Omega Massif, Author & Punisher and Wormed), but also because each band offers an interesting re-interpretation of the music rather than just running through by-the-numbers renditions.
    The line-up is a who's-who of contemporary avant-garde metal and extreme experimental rock: long running Swiss math-metal/noise rock outfit Knut transform "Merciless" into their own jagged, droning image, the melancholic vibe of the original meshing nicely with Knut's crushing down-tuned lurch while definitely putting a different spin on the song, and one-man machine-orchestra Author & Punisher forges a pulsating dancefloor monstrosity out of "Body Dome Light" that at first resembles a super-heavy version of Wax Trax-era industrial, before dropping into a wicked blast of bone-rattling bass-bin destruction and ultra-distorted mechanized heaviness that leaves the song only barely recognizable. And the covers keep getting more imaginative. Italy's Ovo deliver one of the compilation's most harrowing tracks with their cover of "Like Rats"; they throttle it into a bizarre blend of wobbly dub-step rhythms, droning industrial metal and tribal percussion, singer Stefania spitting out the lyrics in a spiteful wheeze that gives this an even more demented vibe, especially towards the end when the band start to unleash an avalanche of rumbling noise and juddering percussive power. And ex-Iceburn power-sludge dup Eagle Twin likewise put "White Flag" through a ringer, extrapolating on the song's haunting melody as they stretch it out and pull it apart over a crushing saurian dirge, Gentry Densley's almost Tuvan croak soaring through a fog of delay and echo, turning this into a majestic wash of searing Brötzmann Massaker-esque feedback obliteration and skull-warping dub-sludge delirium.
    You get Drugs of Faith running "Paralyzed" through their ferocious grindcore discordance, followed by some band called Mandemiurgeshit whose contribution here is apparently their only release so far; it's a pounding rendition of "Predominance" that strips away the concrete-mixer riffage of the original for throbbing electro-industrial rhythms and doom-laden, heavily distorted synthesizers. Unsurprisingly, Gnaw's appearance makes for the most terrifying moment on Fathers, as they transform "Life Is Easy" into a nigh-unrecognizable rotting carcass of shrieking electronics and putrid screaming, that stirring melody from the original almost obliterated by the shambling, slow-motion horror that the group drag out across the floor. And in the hands of French sludge metallers Omega Massif, "Don't Bring Me Flowers" is reconstructed as a monumental slab of hypnotic, instrumental doom awash in layered guitar noise, while Spanish avant-deathgrinders Wormed counter with their savage intergalactic death metal vision of "Tiny Tears", one of the fastest tracks on the record as they send it hurtling through a vicious storm of off-kilter blastbeats, psychedelic shred and bowel-beast vocalizations.
    One of the covers I was most interested in hearing was Transitional's take on "Avalanche Master Song", seeing as how the band is fronted by frequent Broadrick collaborator Dave Cochrane (God, Head Of David, Ice, Greymachine); his crew sticks pretty close to the original, while casting some interesting dark textures across their version, bathing it in an additional wash of cinematic ambience and some trippy dub-informed effects. Very cool. Wasn't familiar with the two bands that followed, though both are impressive; Japanese breakcore/grind maniac Maruosa with his hyperspeed glitched out take on "Defeated", shooting it through a cyclotron and spitting it out into a zonked-out speedcore assault threaded with acid-damaged Hammond organs; and Warsawwarsaw turn "Pulp" into an abstract mass of misshapen metallic clank, acoustic strings and sinister post-punk that becomes quite gripping, and probably the furthest afield anyone goes on this comp in re-interpreting Godflesh's music.
    Which leads to the sprawling epic closer, a fifteen minute rendition of "Go Spread Your Wings" from dreamsludge duo Nadja. Their presence here makes perfect sense, as Godflesh's music has been a major influence on Nadja's sound from the start, but here Nadja diffuse Godflesh's heaviness into something different from the Jesu-like shoegazer crush you might expect, instead stretching this out into a fuzz-drenched dirge that smolders and crumbles across it's length, Aidan Baker's murmured vocals almost lost beneath the static-crackle of the guitars, the minimal pulse of the drum machine buried beneath waves of blissful, bleary drone and somnambulant, saturated dirge. A perfect closer to this collection.
Track Samples:
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh



VARIOUS ARTISTS   Fathers Of Our Flesh: Tribute To Godflesh   2 x LP   (Fobofile Productions)    25.00

Fathers Of Our Flesh: Tribute To Godflesh IS CURRENTLY UNAVAILABLE FOR ORDER

    Available on both CD and double LP in gatefold packaging, the latter limited to three hundred copies.
    There's no denying the immense influence that pioneering British band Godflesh had on countless bands since the release of their self-titled debut in the late 80s. The band almost single-handedly created the "industrial metal" sound, and would help shape numerous other directions in underground metal, rock and electronic music in the decades to follow. Enlisting a bunch of bands to pay homage to Godflesh is a breeze (and has been done before), but while we've seen a couple of tribute anthologies to Godflesh in the past, the new Fathers of Our Flesh compilation is by far the best. It succeeds not only because of the strong lineup of bands that were assembled for this project (including the likes of Knut, Nadja, Gnaw, Omega Massif, Author & Punisher and Wormed), but also because each band offers an interesting re-interpretation of the music rather than just running through by-the-numbers renditions.
    The line-up is a who's-who of contemporary avant-garde metal and extreme experimental rock: long running Swiss math-metal/noise rock outfit Knut transform "Merciless" into their own jagged, droning image, the melancholic vibe of the original meshing nicely with Knut's crushing down-tuned lurch while definitely putting a different spin on the song, and one-man machine-orchestra Author & Punisher forges a pulsating dancefloor monstrosity out of "Body Dome Light" that at first resembles a super-heavy version of Wax Trax-era industrial, before dropping into a wicked blast of bone-rattling bass-bin destruction and ultra-distorted mechanized heaviness that leaves the song only barely recognizable. And the covers keep getting more imaginative. Italy's Ovo deliver one of the compilation's most harrowing tracks with their cover of "Like Rats"; they throttle it into a bizarre blend of wobbly dub-step rhythms, droning industrial metal and tribal percussion, singer Stefania spitting out the lyrics in a spiteful wheeze that gives this an even more demented vibe, especially towards the end when the band start to unleash an avalanche of rumbling noise and juddering percussive power. And ex-Iceburn power-sludge dup Eagle Twin likewise put "White Flag" through a ringer, extrapolating on the song's haunting melody as they stretch it out and pull it apart over a crushing saurian dirge, Gentry Densley's almost Tuvan croak soaring through a fog of delay and echo, turning this into a majestic wash of searing Brötzmann Massaker-esque feedback obliteration and skull-warping dub-sludge delirium.
    You get Drugs of Faith running "Paralyzed" through their ferocious grindcore discordance, followed by some band called Mandemiurgeshit whose contribution here is apparently their only release so far; it's a pounding rendition of "Predominance" that strips away the concrete-mixer riffage of the original for throbbing electro-industrial rhythms and doom-laden, heavily distorted synthesizers. Unsurprisingly, Gnaw's appearance makes for the most terrifying moment on Fathers, as they transform "Life Is Easy" into a nigh-unrecognizable rotting carcass of shrieking electronics and putrid screaming, that stirring melody from the original almost obliterated by the shambling, slow-motion horror that the group drag out across the floor. And in the hands of French sludge metallers Omega Massif, "Don't Bring Me Flowers" is reconstructed as a monumental slab of hypnotic, instrumental doom awash in layered guitar noise, while Spanish avant-deathgrinders Wormed counter with their savage intergalactic death metal vision of "Tiny Tears", one of the fastest tracks on the record as they send it hurtling through a vicious storm of off-kilter blastbeats, psychedelic shred and bowel-beast vocalizations.
    One of the covers I was most interested in hearing was Transitional's take on "Avalanche Master Song", seeing as how the band is fronted by frequent Broadrick collaborator Dave Cochrane (God, Head Of David, Ice, Greymachine); his crew sticks pretty close to the original, while casting some interesting dark textures across their version, bathing it in an additional wash of cinematic ambience and some trippy dub-informed effects. Very cool. Wasn't familiar with the two bands that followed, though both are impressive; Japanese breakcore/grind maniac Maruosa with his hyperspeed glitched out take on "Defeated", shooting it through a cyclotron and spitting it out into a zonked-out speedcore assault threaded with acid-damaged Hammond organs; and Warsawwarsaw turn "Pulp" into an abstract mass of misshapen metallic clank, acoustic strings and sinister post-punk that becomes quite gripping, and probably the furthest afield anyone goes on this comp in re-interpreting Godflesh's music.
    Which leads to the sprawling epic closer, a fifteen minute rendition of "Go Spread Your Wings" from dreamsludge duo Nadja. Their presence here makes perfect sense, as Godflesh's music has been a major influence on Nadja's sound from the start, but here Nadja diffuse Godflesh's heaviness into something different from the Jesu-like shoegazer crush you might expect, instead stretching this out into a fuzz-drenched dirge that smolders and crumbles across it's length, Aidan Baker's murmured vocals almost lost beneath the static-crackle of the guitars, the minimal pulse of the drum machine buried beneath waves of blissful, bleary drone and somnambulant, saturated dirge. A perfect closer to this collection.
Track Samples:
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh
Sample : VARIOUS ARTISTS-Fathers Of Our Flesh: Tribute To Godflesh



VOLTIGEURS   self-titled   CD   (Turgid Animal)    12.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

"Brand new project from Matthew Bower of Skullflower and Samantha Davis' of GYR/Harm. This album definitely demostrates the direction in which Mr. Bower has been taking with his other projects as of late and could easily be described as Black Metal in it's purest form but this is no Skullflower rip off. Samantha's Davis' input has certainly altered Mattthew's musical vision and it is easy to hear the sound of a true collaboration at work. Six long tracks of heavy music running in at a total of nearly 65 minutes." - Turgid Animal
Track Samples:
Sample : VOLTIGEURS-self-titled
Sample : VOLTIGEURS-self-titled
Sample : VOLTIGEURS-self-titled



VOLTIGEURS / HORSEBACK   split   10" VINYL   (Turgid Animal)    15.98



Finally got around to picking up a bunch of Horseback's older releases on Turgid Animal for the shop, including this split with Voltigeurs. Both bands create a kind of black, noise-drenched psychedelia and so compliment each other nicely on this 10", though each has a distinctly different approach to their sound.
Horseback is up first, with two songs on their side. The first is "High Ashen Slab", a killer dose of blackened prog with Hammond organs circling around a heavy hypnotic riff, which has a heavy psychedelic feel, with soaring effects-laden and vaguely bluesy guitars rising off the spidery riffing. It's almost Circle-esque, but the snarling animal shrieks are clearly informed by black metal. This trance-inducing slab of blackened psych locks into a massive droning groove at the end, but when the drums fall away, the Hammond organ remains with it's warbling melody circling around a distant fuzzed out black metal-style riff and distorted vokills, everything blanketed in fuzz. The other song "Another World" is just as cool, and reminds me of Prurient's newer stuff with it's various layers of distorted melodic synth and guitar playing over a buried murky blast beat-like rhythm, a rapid fire pulse beneath the swirling fuzzy chordal shimmer, blackened shrieks ripping through the psychedelic haze, resembling the sound of some melodic black metal filtered through the gauzy distortion of Tim Hecker.
It's no surprise that Voltigeurs brings a more brutal sonic attack on the other side, this being the black psychnoise side project from Matthew Bower of Skullflower/Sunroof. It's one massive side-long epic titled "Dew Blest Adawning", a mass of monolithic black noise ecstacy that will be familiar to fans of this band's other releases. On the surface, it's a cacophony of distorted drones and blackened screaming vokills, wave after wave of dense, suffocating noise, but underneath it you hear some truly magnificent melodies, melodic guitars amassed in a howling symphony at the heart of this churning black maelstrom. This melodic blur is obscured by layers of scorching feedback and amp noise, squalls of deafening Merzbowian roar building into orchestral blacknoise with what sound like violins joining the endless blackened tremolo riffs piled up to the heavens.


WHITEHOUSE   Great White Death   LP   (Very Friendly)    24.98

Great White Death IS CURRENTLY UNAVAILABLE FOR ORDER

The ambitious Whitehouse Vinyl Collection Series has produced high quality vinyl reissues of much of Whitehouse's catalog going back to their earliest releases; unfortunately, these reissues are already becoming hard to come by, some of the titles having already gone out of print, with others available in very limited quantities. We did manage to get some of these Lps in stock though, and with much of the Susan Lawly catalog now out of print, this is the only way to get some of these albums in physical form.
Probably the most notorious band to come out of the British post-industrial underground of the 1980s, Whitehouse has released a formidable catalog of recordings over the past three decades which has had a profound influence on the field of extreme electronic music, including pioneering the whole "power electronics" sound, a term coined by the leader of Whitehouse himself, William Bennett.
I still rank 1984's Great White Death as one of the most terrifying noise albums in my collection. It's crucial early 80s power electronics helped to formulate the template of extreme electronics, and even though this material seems rather primitive compared to the heavier, more densely constructed recordings that Whitehouse created in the 90s, these six tracks are ferociously violent and psychologically confrontational. Compared to other albums, the sound on Great White Death seems less overtly abrasive and ear-wrecking, with more focused placed around extreme low frequency synth drones. It begins with the slurred horrific black mass of the title track, a flock of chirping feedback, pitch shifted voices, and grinding distortion, and continues with the classic transgressive anthem "Ass-Destroyer", whose orgiastic bass abuse, screeching vocals, manipulated tape speed and delay is used to craft one hell of a harrowing psychological nightmare. Another classic sado-anthem is "You Don't Have To Say Please", which seethes with crushing bass synth drone and Bennett's maniacal vocals, followed by the claustrophobic anguish of "Rapemaster" and the shrill sinewave abuse of "I'm Comin Up Your Ass". The lethal combination of extreme electronic noise and the themes of brutally violent sexual behavior, sadism and abuse still make for a seedy, skin-peeling listening experience, and it's essential for any fans of early power electronics.
Track Samples:
Sample : WHITEHOUSE-Great White Death
Sample : WHITEHOUSE-Great White Death
Sample : WHITEHOUSE-Great White Death



WHITEHOUSE   Quality Time   LP   (Very Friendly)    24.98

Quality Time IS CURRENTLY UNAVAILABLE FOR ORDER

The ambitious Whitehouse Vinyl Collection Series has produced high quality vinyl reissues of much of Whitehouse's catalog going back to their earliest releases; unfortunately, these reissues are already becoming hard to come by, some of the titles having already gone out of print, with others available in very limited quantities. We did manage to get some of these Lps in stock though, and with much of the Susan Lawly catalog now out of print, this is the only way to get some of these albums in physical form.
Probably the most notorious band to come out of the British post-industrial underground of the 1980s, Whitehouse has released a formidable catalog of recordings over the past three decades which has had a profound influence on the field of extreme electronic music, including pioneering the whole "power electronics" sound, a term coined by the leader of Whitehouse himself, William Bennett.
The hateful 1995 album Quality Time is a brutal listening experience, mixing bone-rattling bass heavy electronics and sonic acupuncture via controlled feedback into some of the heaviest tracks in the group's career. This was Whitehouse’s fourteenth album, and was recorded right in the middle of their run through the 90s with Steve Albini behind the board. This era of Whitehouse produced some of their most layered and textural work, an advancement beyond the simple (yet still murderously effective) feedback abuse of their early Lps. Opener "Told" drapes a delicate filigree of high-end feedback across a smoldering magma-flow of rumbling, throbbing low-end distortion, right before Bennett begins his excoriating ranting and screeching, unleashing a litany of accusations and demands for sexual domination, leading right into the sputtering horror of the title track. On this, thick crackles and glitches seethe under more of that omnipresent feedback agony. Then there's "Baby", which is one of the most disturbing pieces I have ever heard from Whitehouse; a subsonic bass presence lurking beneath a recording of what sounds like different manipulated recordings of children laughing and squealing in a bathtub, which slowly transforms into the gurgling, gasping sounds of a drowning. The feedback/distortion holocaust "Execution" opens the second side in classic Whitehouse fashion, with crushing low-end bass-grind, shrill high frequency feedback that drills straight through your eye sockets, and buried percussive sounds that are all but obliterated by the rushing speaker abuse. The Philip Best fronted "Just Like A Cunt" is over-the-top and bordering on maniacal, a ferocious outpouring of misogynistic bile, and closer "Once And For All" is as savage a feedback assault as you will ever hear from these guys. At times absurdly extreme and confrontational, this album still sears flesh. As with most of their 90s output, this also features beautiful album art by Trevor Brown.
Track Samples:
Sample : WHITEHOUSE-Quality Time
Sample : WHITEHOUSE-Quality Time
Sample : WHITEHOUSE-Quality Time



WHITEHOUSE   Erector   LP   (Very Friendly)    22.00

Erector IS CURRENTLY UNAVAILABLE FOR ORDER

"Extreme Electronic Music - Please acquire with due caution."
Thus states the warning on back cover of Whitehouse's crucial debut album from 1981. They really weren't kidding, either. By today's standards, Whitehouse's first album sounds almost ascetic when you compare it side-by-side with the blastwalls of noise employed by many current power electronics artists, but cranked to upper levels of volume and allowed to run it's course on your deck, Erector is a goddamn demon. The opening title track, for example, is little more than a minimal juddering bass frequency fluttering underneath the controlled bursts of static white noise that are interspersed between the squealing high-pitched feedback and distorted, processed vocals that howl and whine high up in the mix. But as minimal as this recording is, it's still extremely abrasive listening, evoking the drooling lust of a sexual predator transmitting an assortment of obscenities via short succinct blasts of electronic shock. The same formula is repeated on "Shitfun", but the high frequency sounds are even harder on the ears and nervous system, the feedback tones almost disappearing into the upper range while noxious bass rumbles and microphone abuse are strewn over Bennett's fey, ranting vocals. On the other side, the band switches to a simple fluctuation electronic pulse on "Socratisation Day", sounding like a warning signal being emitted from a malfunctioning mainframe computer while other wriggling feedback tones and a steady stream of granular hiss appear. When Bennett's voice comes in, it's a ghastly processed howl that is almost impossible to understand. The album's most menacing track though is the closer, "Avisodomy"; here, Bennett dials down the hysterics and instead offers a contemptuous sneer and orgasmic wailing as the synths spew bubbling rivulets of black filth and shrill, noxious, fluttering feedback. Essential early power electronics required listening for any newcomer to the art form for a true understanding of what "PE" truly means. Prurient, Masonna, Genocide Organ, The Grey Wolves, Nicole 12, Wolf Eyes, Bizarre Uproar - it all seeps from the putrid black lacerations of Erector.
Finally available again on vinyl thanks to Very Friendly's recent reissue campaign of the Whitehouse back catalog, this record features the original censored artwork (created by Stephen Stapleton from Nurse With Wound) and an otherwise super-minimal jacket design that includes a jet-black blank inner sleeve. A perfect visual summation of the voids captured in the grooves of this record.


WHITEHOUSE   Halogen   LP   (Dirter)    27.00



      Adorned in Trevor Brown's always captivating sleeve art, this slab of skull-splitting electronic sadism appears here on vinyl for the first time ever (only previously available on CD from the band's own Susan Lawly imprint, now out of print), remastered and reissued on 180 gram black vinyl, making this a perfect opportunity for any of you wax addicts looking to challenge your pain threshold. Halogen is the synapse-shredding 1994 album from British power electronics pioneers Whitehouse, recorded by Steve Albini and released at a time when the notorious group (which was here comprised of founding member William Bennett, Peter Sotos and Jim Goodall) were tempering their piercing, horrific feedback abuse with a slightly more restrained approach, adapting coldly digital ambient textures to their offensive. Don't think for a second that they've gone soft, though - em>Halogen is still an utterly ugly and violently emetic listening experience, blending their shrill, hysterical screams and garbled, distorted ravings with sprawls of smoldering, rumbling noise and layered sawtoothed synth-drones. And with their usual lyrical themes of depravity and degradation explored, though not without a sense of humor, as jet-black as it might be. While the trademark blasts of eardrum-puncturing high-end feedback are used sparingly here (at least relative to Whitehouse's earlier, harsher works), this is still extreme stuff.
      Much like the excellent Quality Time album that followed, this material is formed around denser abstract noisescapes, layering a variety of abrasive sounds from distorted piano to those clotted, crunchy synths, eerie childlike lullabies lurking within ominous minor-key keyboard melodies, scattered amid blasts of pure static and machine noise, swells of jet-black ambience and bizarre sound collage, and assemblages of violent, broken electronics, with some monstrously tortured pitch-shifted vocals showing up later on, bellowing over symphonies of chirping mechanical sounds and malevolent low-end pulsations. There's a kind of sophistication, even a certain level of musicality to this album that would be further developed over the next several albums, the group expanding on their core power electronics sound without sacrificing the overall violent intensity inherent to their work.
      While this is definitely a different beast than the primitive, transgressive noise of their early 80s output, this era of Whitehouse features some of their most interesting and experimental material. A must-hear for anyone intent on exploring the work of this pre-eminent power electronics band.
Track Samples:
Sample : WHITEHOUSE-Halogen
Sample : WHITEHOUSE-Halogen
Sample : WHITEHOUSE-Halogen



WRAITHS   Plaguebearer   CD   (Paradigms)    13.98

Plaguebearer IS CURRENTLY UNAVAILABLE FOR ORDER

One of the newer releases from the always-great Paradigms imprint (who have provided us with crucial tuneage in recent months from The Angelic Process, Throne Of Katarsis, Utlagr, Titan, Hjarnidaudi, Amber Asylum and a host of others) , Wraith's Plaguebearer is a heavy, forbidding nightscape that has been engineered from modified sound equipment, field recordings, and human voices, five long tracks that collectively stretch out to almost an hour, plummeting the listener into a nightmarish factory inferno and then transporting you across a hellish wasteland of dead cities and mindless machinery shrieking in it's death throes. A swirling storm of super heavy improvised industrial psych-death, with howling distorted vocals swimming through chain links of FX, screeching feedback melting into silvery rivulets of drone, deep rumbling frequencies shaking the earth's crust in a thunderous bass-heavy miasma, cracked by the sound of brutally pugilistic tribal drumming. Like the Aural Hypnox ritual-deathdrone sound run through the rabid noise-thud of Wold Eyes arranging the score for apocalyptic black death. The track titles set the mood: "Nihil Rex", "Plaguebearer", "Bone Flutes & Skull Drums", "To Corrupt The Waters Of Lethe, Ghoulsong". The consistent presence of the drumming, which seems to be trapped in between dimensions with the beats bouncing around the darkness like a dub track gone horribly wrong, really sets Wraith's apart from the "dark industrial ambient" pack - this is heavy, corrosive drift from the Styx, at once mystical and skullscraping. Limited to 500 copies, and presented in a DVD case with full color artwork and a black and white insert sheet.

  




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