AGALLOCH   Pale Folklore (Reissue)   2 x LP   (The End)    29.99

ANEMONE TUBE   Death Over China   CD   (Silken Tofu)    15.99

Track Samples:
Sample : ANEMONE TUBE-Death Over China
Sample : ANEMONE TUBE-Death Over China
Sample : ANEMONE TUBE-Death Over China

BLACK FLAG   Nervous Breakdown   7" VINYL   (SST)    5.98


Now that I've been blasting so much newer weirdo hardcore and fucked-up punk, I've been getting a gnawing urge to pull out all of Black Flag's old records that had such a strong hand in influencing not only all of the bent adolescent skuzz that I'm addicted to, but also much of the noisy, brutal rock and sludgy crush that makes up so much of the music that I carry here at C-Blast. And what better place to start than with those early 7"s that introduced Black Flag's ferocious punk to the world...

Here it is, the first record from Black Flag, five minutes of visceral suburban mutant rage circa 1978 blasted with all of the immolating heat of a nuclear explosion, packaged with the Raymond Pettibone's disturbing, iconic artwork. This of course is from the original lineup that had Keith Morris (later of the Circle Jerks) on vocals, and if you're some poor soul who loved that box set from Morris's new hardcore band Off! and hasn't heard his work from 'Flag, oh boy... The a-side "Nervous Breakdown" is a classic Black Flag jam, a snarling ode to psychological destruction painted in raging buzz saw guitars and howling distress as Morris slobbers his cynical lyrics all over himself. Compared to where hardcore would head a couple of years later, it's not that fast or extreme, but it's definitely loaded with power, and in 1978 this was as violent as music could get. The flipside then jams three more songs down yer throat in a row, "Fix Me", "I've Had It", "Wasted", each one a perfect blast of primitive hardcore. Of course, Black Flag would get wonkier and weirder with later albums and lineups, but this early stuff is unfuckwithable, the apex of brutal L.A. punk.

Track Samples:
Sample : BLACK FLAG-Nervous Breakdown
Sample : BLACK FLAG-Nervous Breakdown

BOREDOMS   Pop Tari   CD   (Very Friendly)    14.98


The fact that three of the early Boredoms albums came out on Warner/Reprise in the 90's is still one of the oddest moves in major label history. How anything this crazy and weird and far-out got that kind of mainstream exposure is still pretty unbelievable, even by today's standards, the music of the Boredoms is anything but accessible. Early on, the band was influenced heavily by the wacko acid-punk of the Butthole Surfers, but they took it into far more extreme and cacophonous directions; any one of their songs could smash together random noises, raging hardcore punk, super noisy guitars, weird studio effects, crazy cartoon voices and random babbling, whipped into a frenzy of jarring, totally unpredictable arrangements. All three (Onanie Bomb Meets The Sex Pistols, Pop Tari, and Chocolate Synthesizer) eventually went out of print, but were later reissued on Very Friendly and are finally in stock here at C-Blast - the early, hardcore-laced Boredoms albums are my favorite releases in their canon (along with the classic Soul Discharge), and are prime for discovery for anyone new to their insane, psychedelic, speed-charged Bore-mania...one listen to any of these albums, and you'll hear where an entire generation of noisecore/noise rockers got their inspiration from...

Album number three from the Boredoms Pop Tari opens with the electro-shock of "Noise Ramones", which is nothing but extreme high-pitched tones layered on top of each other, then heads off into a warped realm of musical nonsense that occasionally comes close to actual song-like forms. There's loungey guitar on "Nice B-O-R-E Guy Boyoyo Touch" joined by softly mewling vocals and weird casio pop that could almost be described as catchy, but it's not long before the band dives back into total chaos, random drumming that starts and stops abruptly, songs erupt into crazed thrashy punk, or sludgy mangled rock, or damaged junkyard hip hop, while frontman Eye Yamatska and company spew all kinds of weird psychotic vocalizations, random vocal noises, and over the top soulful rock singing over it all. It's full-on Bore-insanity, assembled according to some kind of whacked out noise logic that fuses together

blasting ray gun synths, electronics and tape noise with chaotic noisecore jams, mutant dub-reggae, opera singing, improvised funk rock, passages of nothing but screaming women, sitars, tribal percussion freakiness, death metal roars over choppy hardcore punk, bits of sloppy exotica and weird radio intercepted voices, random screams and moans and chanting and free-jazz horns...yikes! This album fits right next to Mr. Bungle's first LP and Naked City's Torture Garden, a maniac pastiche of extreme genre-mashing punk-fuckery .

Track Samples:
Sample : BOREDOMS-Pop Tari
Sample : BOREDOMS-Pop Tari
Sample : BOREDOMS-Pop Tari
Sample : BOREDOMS-Pop Tari

BRUTAL BLUES   self-titled   CD   (Selfmadegod)    10.99

   Despite their name, the debut EP from Norwegian duo Brutal Blues in fact delivers absolutely zero blues, but rather a whole lot of confounding, nerve-scorching avant-grind. Well, maybe not a whole lot - this disc is only fifteen minutes long - but the six songs featured here are seriously blistering, assaulting the listener non-stop with a maniacal blast of mathy time signatures, crushing hyperspeed grindcore, and some of the most abrasive riffing you're going to find on this week's new arrivals list. Both members of Brutal Blues are involved in a number of other bands and projects that I've been a fan of over the years, drummer/vocalist Anders Hana with Jaga Jazzist, Noxagt and Ultralyd, and guitarist/vocalist Steinar Kittilsen with the psychotic grind outfits Parlamentarisk Sodomi and Psudoku; together, these guys whip up some crazed angular grindcore, somewhere in between the ragged brutality of latter-day Brutal Truth and the cutting edge extremism of Gridlink, the songs filled with hideously spastic blastbeat drumming and jarring stop/start arrangements, and a discordant, weirdly jangly guitar sound. But over this brutal blast-assault the duo splatter all sorts of trippy electronic noise and spacey synth slop, turning this into something strangely psychedelic; the vocals are pretty insane as well, infuriated screams that are run through an echoplex machine cranked all the way to ten, the bellowing aggression swooping and echoing endlessly through the band's progged-out blast-metal; they slash and scrape at the guitars, strafing the songs with abrasive guitar noise that sometimes sounds like they're dragging rusted hunks of metal down the fret board, and the songs lunge wildly through this noise-addled hysteria, surging out of those spastic, stuttering grind assaults into clouds of grainy digital noise and electronic drone. Intensely abrasive and intricate stuff, with a discordant No Wave-esque edginess applied to their precision hyper-violence. A phenomenal fuckin' debut.

Track Samples:
Sample : BRUTAL BLUES-self-titled
Sample : BRUTAL BLUES-self-titled
Sample : BRUTAL BLUES-self-titled

CAUL   Kairos   CDR + CHAPBOOK   (Aglaia)    22.00

The latest release from Caul is admittedly pretty expensive, but it's more than just a cd, too. Caul assembled this gorgeous photo book/disc set and issued it through Caul’s own label Aglaia in what is presumably an extremely limited printing, and it's visually very striking. The 7" x 7" booklet features seventeen full color photographs of haunting abstract images, printed on high quality paper and bound with a full color glossy cover, with the disc enclosed in a plastic sleeve that's attached to the inside back cover. Sound wise, this is really different from the other recordings that I've heard from Caul. The eight tracks on Kairos maintain the deep, drifting dark ambience of the other releases, but now dark industrial dub has been introduced, taking this into pure Scorn territory. Hypnotic minimal breakbeats skitter beneath vast expanses of eerie ambient drone, the rhythms pulsating within slowly swirling fogbanks of guitar feedback and shimmering low-end thrum. I can hear some echoes of Troum in here, too; the parts of this disc where the slow, druggy beats disappear and the sound extends into long stretches of keening feedback and deep distorted drone, there's a clear resemblance to the sort of gothic post-industrial ambient that the German duo helped to pioneer. Deep immersive ambient dub with massive basslines, deep distorted horns and cello-like sounds, the sound sometimes getting vaguely jazzy with the bass, and especially with the parts where the saxophone enters and the rhythms begin to get a little more skittery. As the album goes on, vast washes of celestial synthesizer ambience spread overhead, and massive low-slung beats merge with haunting vibraphone melodies, screaming free-jazz trumpets begin howling, horns become smeared in shadow, and the atmosphere begins to get somewhat apocalyptic, definitely VERY dark, by the end of the album sounding like a dystopian jazzy dub, a mutant hybrid of Bohren And Der Club Of Gore and Scorn. It's a stunning album, somewhat similar in feel to that recent [Other] Dub disc from Lustmord, and Mick Harris fans definitely need to hear this.

Track Samples:
Sample : CAUL-Kairos
Sample : CAUL-Kairos
Sample : CAUL-Kairos

CELESTE   Nihiliste(s)   CD   (Denovali)    12.98


Back in stock, this time with a gloss-finish jacket.

On the last Crucial Blast new arrivals list, I talked up the new album from a band called Celeste from France that had blown me away upon first hearing it, a crushing mixture of ultra-heavy metallic dirge and discordant black metal with a distinct French flavor to it. I compared Misanthrope(s) to both older Neurosis (specifically, the oppressive apocalyptic vibe of Through Silver In Blood-era Neurosis) and the evil experimental black metal of bands like Glorior Belli and Deathspell Omega, without the overblown philosophical lyrics and intellectual nihilism. That doesn't mean that Celeste isn't surrounded by it's own enigmatic aura - the completely indecipherable lyrics and surreal artwork that makes up the packaging for the band's first album Nihiliste(s) is creepy and mysterious enough - but Celeste are much more concerned with caving your skull in through a relentless, almost unbearable application of ultra-heavy riffage and ponderous tempos. 2008's Nihiliste(s) is slower and heavier compared to the second album, with fewer blasts of black metal ferocity and speed; instead, the blackness is almost totally soaked into the slow, doomy riffing and tangles of chaotic mathy guitar, putting this album closer to the hellish sludge of Omega Massif, Amen Ra and Overmars. The riffs are discordant and gnarly, and shift between passages of atmospheric glacial groove and skullcrushing pummel, the vocals are harsh and torn, at times reminding me of a blackened and snarling version of Jacob Bannon (Converge), and the drumming is huge, complex, way more complex than most sludge bands, with tons of tightly-wound fills and an almost industrial percussive pound. The sixth track "Tu Regardes Trop Fort, Tu penses Trop Fort, Tu Parles Trop Fort" kinda sums the whole album up, starting off with a huge angular riff and sinister leads, then exploding into fragmented blastbeats and hectic black metal for a moment before shifting into some martial militant snares that build into another explosive crescendo of blackened metallic sludge.

Track Samples:
Sample : CELESTE-Nihiliste(s)
Sample : CELESTE-Nihiliste(s)
Sample : CELESTE-Nihiliste(s)

CYNIC   Traced In Air (GREY VINYL)   LP   (Season Of Mist)    24.98


Now in stock - the limited edition colored vinyl version of Cynic's incredible new album Traced In Air, in a full color gatefold package with a full color printed inner sleeve with expanded artwork.

There aren't many bands that could drop just one debut album in the early 90's, have it turn into an instant masterpiece, then break up almost immediately after and achieve almost mythic status in the metal underground. Even fewer that could reform fifteen years later and record a follow-up to their now classic debut and have the entire metal scene anticipating it like it's the Second Coming. That goes to show just how immense and influential Cynic's Focus was when it came out in 1993. The Florida band's first album was unlike anything else coming out of the Floridian death metal scene back then. The closest antecedents were Death's Human and it's weird, disharmonic guitars and the jazz-influenced death metal of Athiest. Both of which, it should be noted, included members of Cynic. Cynic's music was an utterly unique fusion of progressive rock, jazz fusion and death metal with bizarre robotic vocals and played by total virtuosos. Their experimental, avant-garde progressive death metal was groundbreaking and enormously influential on the development of all of the proggy extreme metal that followed this album - we certainly wouldn't have bands like Behold...The Arctopus, Meshuggah, Candiria or Between The Buried And Me without it.

It's been around fifteen years since we last heard from Cynic, and it's amazing how much buzz and anticipation has surrounded the release of their follow-up album Traced In Air. The reunited band features almost all of the original members, but what would this sound like? A return to the groundbreaking death/prog/fusion of Focus? Alot of us would have been content with that, but in the decade and a half since that last album, the members of Cynic have progressed drastically as musicians, and with the obsessive, ultra-detailed approach that they have always taken to their music, it wouldn't make much sense to simply revisit the same sound that they essentially invented in 1993. Instead, Traced In Air amazingly manages to be just as groundbreaking and fucking mindblowing as their debut, a kind of majestic death/tech/prog/pop, still rooted in elements of technical death metal with insanely intricate guitar playing and pummeling double-bass driven drumming, and still imbued with those astounding prog/jazz fusion qualities, but now there's this gorgeous ethereal pop sound sharing space with the dizzying arrangements and lush instrumentation, and those weird computerized vocals (which were a sticking point with a lot of listeners on the first album) are integrated so much more seamlessly here, while still injecting the occasional death growl. The songs on Traced In Air are so ridiculously catchy, which is hard to wrap your head around at first since this stuff is so complex when songs flow from airy acoustic guitar breaks and awesomely cheesy, virtuosic fusion playing to impossibly dense polyrhythms and futuristic guitar synths and ambient pop.

This album is so amazing, so mindblowingly pop yet so unbelievably complex and heavy, it's absolutely essential for anyone who loves technical, weird prog and avant-garde death metal.

Track Samples:
Sample : CYNIC-Traced In Air (GREY VINYL)
Sample : CYNIC-Traced In Air (GREY VINYL)
Sample : CYNIC-Traced In Air (GREY VINYL)

DARSOMBRA   Nymphaea Remixes   CDR   (Public Guilt)    7.98

Public Guilt Commissioned this compilation of remixes for the Darsombra track "Nymphaea", which appeared on the debut album Ecdysis in 2006. It's one of the best tracks from the Baltimore one-man psych/dirge project, a throbbing kraut-y bass groove riding on waves of melodic distorted guitar and droning distorted ambience, and lends itself nicely to a variety of interpretations and mutations. The original studio recording of "Nymphaea" opens the disc, and it's then followed by twelve different artists all doing their own unique reconfig of the song, and the lineup includes a bunch of my favorite drone/ambient/noise groups, including Max Bondi, Ala Muerte (both of who shared their own collaborative limited edition CDR on Public Guilt not long ago, a really fantastic little dose of blown-out, blissed out ambient crunch), Pulsoc, Japanese speedjunknoise god Guilty Connector, Magicicada, Swiss turntable droneologist Strotter Inst., Destructo Swarmbots, Blood Fountains (the new dark ambient project from artist Stephen Kasner), Decimation Blvd. with Darla Hood, The Heirs Of Rockefeller, Le Knell, and last but not least, the new C-Blast house band Perfekt Teeth. These interpretations run the gamut from strange drone-pop numbers littered with the sounds of children's toys, to pulsating dronescapes with an amazing soulful female voice singing in Latin, massive slabs of blown-out ambient sludge, guitar-heavy riffscapes, and minimalist deconstructions of the original track's skeletal form, each track extrapolating on "Nymphaea"'s throbbing bass and vaguely Middle Eastern sounding guitar lines. Pretty damn great, and I bet that even drone fans who have never heard the original Darsombra album would dig this disc heavily. Released in a limited edition of 250 copies and packaged in a very cool silkscreened sleeve with a translucent vellum insert, all designed by artist Chase Middaugh, who has put together the artwork for releases from Suishou No Fune, Aidan Baker, and Heavy Winged, among others.

Track Samples:
Sample : DARSOMBRA-Nymphaea Remixes
Sample : DARSOMBRA-Nymphaea Remixes
Sample : DARSOMBRA-Nymphaea Remixes

DEVIL DOLL   The Girl Who Was Death   CD   (Hurdy Gurdy)    11.98


Here's another one of those albums that's been around for ages (in this case it came out over twenty years ago) that I just stumbled across and am in disbelief that I never heard it before know. I'd seen the Devil Doll name thrown around over the years, but they're another example of a band that I made these weird assumptions about what they sounded like simply based on their name, thinking that they were some sort of glam band. Once I finally sat down and listened to Devil Doll, though, I was fucking floored by what I heard. It was this 1989 album from the Italian/Slovenian band that won me over, totally hooked me on their astounding horror-prog-metal, which is so unique and creepy and weird that I can't really compare them to any other band out there. It's hard for me not to gush - this disc is awesome, a single album-length epic that's arranged like a rock opera of sorts, moving through a series of different movements that are all tied together by some grandiose prog sensibilities. Devil Doll's music will go from these incredibly eerie piano parts with Mr. Doctor's unique raspy high-pitched vocals, to ripping heavy metal gallop to sweeping synth-heavy prog that sounds a lot like Goblin, but piles on all these other orchestral sounds and bizarre vocals that really make this sound like nothing else I've ever heard before. There's a HUGE metal element to this album, but it's perfectly balanced with the progressive rock and theatrical elements in their music, these different elements flowing from one to the other for maximum dramatic effect, slipping from classic thrashing heaviness into gorgeous sections of angelic female vocals, ghastly organ melodies and intricate guitar parts. Angular violin-led prog metal freakouts suddenly veer into utterly mournful funeral strings, and these killer fist-pumping metal raveups drift into chilling abstract horrorscapes laced with chamber strings, heavy drums and blackened orchestral bombast, and end up among some wild evil circus music. The closest comparison I can come up with to Devil Doll's music on The Girl Who Was Death is if you can imagine King Diamond being backed by a band made up of members of Goblin and Univers Zero, engaging in an over the top album-length prog metal opera. Fucking brilliant, a cult classic for sure. Be sure to stick around for the KILLER "hidden" song tucked all the way at the end of the disc...

Track Samples:
Sample : DEVIL DOLL-The Girl Who Was Death
Sample : DEVIL DOLL-The Girl Who Was Death
Sample : DEVIL DOLL-The Girl Who Was Death

DOG   Ancient Crypt Metal   3" CD   (Autopsy Kitchen)    5.98


Along with the super-limited, now out-of-print split 7" from the Hungarian black metallers Vorkuta and Marblebog that we have in stock this week from Autopsy Kitche, we also have this short four-song EP from a new band called DOG that features both Blizzard from Vorkuta and Gabor from Marblebog, pressed on a tiny 3" CD and packaged in a miniature jewel case. These guys have teamed up to play an incredibly fucked-up brand of atavistic blackened thrash, totally killer old-school primitive slop with trebly guitars overloaded with fuzz, awesome punkriffs buzzsawing over simple drumming that veers from tinny thrash beats to blazingly sloppy blastbeat speed, the sound is all noxious and heavy with a black fug of decay and corruption that was, according to the liner notes, "recorded in miasmatic moors under a puss moon", whatever the hell that means, but it's the vocals that really make this stand out. They're completely wrecked, and fucked up, vomiting grunts and mumbling gruff death metal growling and crazed wordless howls that are so slurred and unintelligible that it's impossible to make out the insane lyrics that deal with hordes of zombie troops and ghouls stalking cemeteries and leper-priests. These are some of the most fucked black metal vocals I've heard lately. Weird, sloppy, over the top damaged , like hearing old Celtic Frost and Abruptum fused together into a blast of stumbling, messy necrothrash. Weird and brilliant and right up there with the brain-damaged black mania of Funereal Moon, Vondur and Abruptum, I can't wait to hear more from DOG and their whacked out "Ancient Crypt Metal". KILLER.

Track Samples:
Sample : DOG-Ancient Crypt Metal
Sample : DOG-Ancient Crypt Metal

DREAMS FOR DEAD CATS   Short Films Collection 2010 - 2018   DVD   (Dreams Of Dead Cats Productions)    9.99

EQUIMANTHORN   Exalted Are The 7 Throne Bearers Of Ninnkigal   CD   (From Beyond)    11.98

As with their previous full length, the latest album of Equimanthorn's mesmeric Sumerian-influenced soundscapes also comes to us from the Dutch label From Beyond, which normally specializes in cult death metal and grind releases. There's nothing metallic in the slightest with the music of Equimanthorn, though, even though the band is made up of members of the (similiarly Sumerian-obsessed) black metal bands Absu and Melechesh. Equimanthorn also includes musicians who play in the occultic neo-folk projects Hexentanz and The Soil Bleeds Black, which is a little closer to the sound of Equimanthorn, though not by much. This is definitely dark and intoxicating stuff though, completely immersed in esoteric ritual magic and intensely researched Mesopotamian mythology, and the members of Equimanthorn use a combination of lush Middle Eastern folk music and dark ambience and dark proggy synth music as soundtracks for their strange recitations. Like they say in the booklet for Exalted, "These recorded efforts should only be listened to under the influence of candlelight". That's entirely your call, but this is definitely music best experienced with a minimum of light and outside interference, an immersive soundscape for sure.

There are some differences between the last album and this. Where Second Sephira Cella equally mixed the Goblin/John Carpenter-esque synths and Middle Eastern folk and industrial elements together into a strange sonic whole, these elements are explored in individual detail on Exalted. The first five tracks are almost entirely made up of the Middle eastern folk music, each track dramatic and mysterious, assorted percussion instruments and

the high-pitched hand drum called the darabukke (or "goblet drum") interweaved with the stringed bouzouki, chimes, flutes, recorders and other exotic instruments, the sound wreathed in shadow and hash smoke, with deep black ambience swimming below the music.

We don't hear those buzzing vintage synth sounds until all the way at the end with the last two tracks, but both are fantastic and totally worth the wait. Both "Irkalla: To Enter the Great Above and the Depths Below" and "The Submissive Myth Genesis of Mirror Waters Rising" are synth-heavy, dread filled progscapes...sinister low-end synthriffs repeated over swirling black ambience and swells of spacey keyboards as pounding martial drumbeat enter alongside a dramatic spoken word passage. The heavy synths are straight out of the 80's, and the first of the two sounds like an old British post-industrial band with John Carpenter on the Moogs. "Submissive" is more ambient, with almost no rhythmic elements until the very end when slow, minimal gongs and cymbals arrive to ceremoniously lead the creepy synth hook straight into the void. Together, these two tracks make up favorite part of the album, but the entire experience of Exalted is great. Not as deliciously strange as Second Sephira Cella , maybe, but still thoroughly narcotizing and hypnotic...

Track Samples:
Sample : EQUIMANTHORN-Exalted Are The 7 Throne Bearers Of Ninnkigal
Sample : EQUIMANTHORN-Exalted Are The 7 Throne Bearers Of Ninnkigal
Sample : EQUIMANTHORN-Exalted Are The 7 Throne Bearers Of Ninnkigal

FLIPPER   Fight   CD   (MVD)    14.98

There's only a couple of bands whose live albums I personally feel are all essential, and Flipper is one of them. I love all of the early Flipper albums and I've been spinning their recent reissues like mad, but the reissue of their Public Flipper Limited live album might be getting the most play of all - these guys were fucking madmen on stage back in the 80's, and they are one of those rare bands that sound just as brutal and powerful live on tape as they do in the studio. And their stage banter between (and sometimes during) songs is brilliant and awkward and often really hilarious. I'm stoked that the new incarnation of the band has released this new live disc as a sort of companion piece to their new album Love, as it's got all of that primo Flipper-live action that I dig so much. Snarled performances, slobbering stage banter, but this time their live sets have a monster recording to give them all of the massive heaviness and oomph that their earlier live recordings might have lacked. Fight is comprised of material taken from two sets that were recorded in Seattle and Portland throughout 2007, both recorded and mixed by the legendary Jack Endino, and the sound is really huge. Half of the album is older classic material, songs like "Way Of The World" and "Shine" which open the album with a huge undertown of drugged heaviosity, and the other half features new songs from their album Love. New bass player Krist Novoselic (of Nirvana fame, natch) plays on all of the songs, and while I gotta admit that I was apprehensive about what the new Flipper songs were going to sound like, I'm pleased to report that the new stuff sounds pretty much just like the old stuff, that being loud, dissonant, sludgy art-punk monstrosities. Actually, some of these new songs are really growing on me quickly, like the dark, Sabbathoid "Why Can't You See" and the inebriated pogo bounce of the anti-authority anthem "Be Good, Child!". The classic cut "Sacrifice" sounds as heavy and sinister as ever. Bruce Loose's vocals are wrecked and powerful and slurred all at the same time, and the band is both loose and punishing, slamming through nine songs of their heavy, damaged art-punk. Essential for hardcore Flipper fans.

Track Samples:
Sample : FLIPPER-Fight
Sample : FLIPPER-Fight
Sample : FLIPPER-Fight
Sample : FLIPPER-Fight

GEHENNA   Land Of Sodom II   7" VINYL   (A389 Records)    14.98

Virtually impossible to find when originally released, Gehenna's Land Of Sodom Ep has been resurrected by A389 in a handsome new edition that combines an improved, re-recorded version of the 7" with a Cd containing the Ep tracks as well as the Under The Gravehill album, which up until now had only been available on vinyl. The disc and 7" are packaged in a customized gatefold jacket that reproduces the cover art from both releases and includes a poster insert.

The Land Of Sodom Ep is some of Gehenna's most vicious music, and that says a lot if you're at all familiar with the savagery that these maniacs unleash on their records. The record opens with the borderline-sloppy, bestial blackthrash of "I Am Your Tormentor" with it's Teutonic riffing, pounding almost blastbeat-speed drums and Mike Apocalypse's awesome throatripped snarl, the song sounding like some diseased mutation of early Sodom. Then "Possessed" crashes in, following suit but sounding even more crazed and chaotic, the bestial thrash exuding total savagery, total power. "Caveman" (which was also recorded by the Gehenna black metal side-project Sangraal) is rendered here with all of the frothing-at-the-mouth insanity that Gehenna is capable of summoning, a blazing blast beat ridden killgasm that ranks as one of their most vicious hate anthems. The b-side has the title track, and it's a completely different beast, a slow, lumbering blackened dirge, almost Sabbathian heaviness as the band grinds away on a series of simple, flattening riffs while strange manipulated voices and garbled speeches seethe below the surface; here, you can definitely sense the seed of what guitarist DC Grave would later develop into his similar noxious drugdoom project Witch-Lord.

Released in 2003, Under The Gravehill is more of the Gehenna's perfect fusion of West Coast power violence and crude bestial black metal. Gehenna are one of the most infamous and mythologized bands to ever come out of the American hardcore underground, with stories of stabbings, hardcore drug abuse, random violence, and other anti-social activities surrounding the band. Their music was a delirious fever-dream of visions of mass death, plague, global apocalypse and societal collapse set to some of the most misanthropic thrash ever. Upon The Gravehill was the bands last "full length", a fifteen minute long rampage of super short songs that typically clock in at around a minute and a half. Sloppy blast beats and thrashy slipshod drumming combine with primitive Hellhammer-esque riffs and metallic hardcore of the ugliest sort, fronted by the awesome strangled snarl of frontman/provocateur Mike Cheese. It all comes together into one of the most violent, ferocious sounds ever, laced with bits of gnarled feedback-soaked doom, the maniacal influence of Japanese metalpunks GISM, and weird ambient parts. The song "No One Will Ever Miss You" is one of the heaviest songs the band ever slugged out, a chugging slow motion gallop building to a devastating war anthem, and there's loads of filthy early black metal DNA that creeps into songs like "To Lay Waste", "Sadist", and "Trample This Earth". The band never sounded more metal than they do here, but their brand of thrash is still rooted in the most vicious, depraved strains of hardcore and punk.

Absolutely crucial for disciples of apocalyptic thrash and the "Holy Terror" circle of bands from the 90s.

Track Samples:
Sample : GEHENNA-Land Of Sodom II
Sample : GEHENNA-Land Of Sodom II
Sample : GEHENNA-Land Of Sodom II
Sample : GEHENNA-Land Of Sodom II

GENGHIS TRON   Board Up The House Remixes Vol. 2   LP   (Lovepump United)    14.98


Heres the second 12" in the ambitious five-part series of remix records for Genghis Tron's Board Up The House; the first record that came out on Temporary Residence (which appears to already be sold out) featured remixes from Jesu, Steve Moore (Zombi), ROb Crowe (Pinback), and Eluvium, and ran the gamut from blissed out quasi-dubstep mutations to freaked out slice-n-dice blast collage to sinister Goblin-style prog rock atmospheres. Temporary Residence's first installment was pretty eclectic, but on the Lovepump entry in the series, the remixes turn Genghis Tron's original music into a fog of weird 80's electro-pop and mutant krautrock.

The first track comes from Tobacco, the guy behind the band Black Moth Super Rainbow. He takes Tron's "Relief" and wraps Mookie's haunting vocal line around some sweet 80's style breakbeats and old school synths, throws extra layers of synth and buzz and electronic whirr over it, and suddenly the track becomes this weird Madchester pop, super funky and danceable but still maintaining the grim moodiness of the original song. Very cool, and I'm intrigued enough by what he did with this remix to check out the new album Fucked Up Friends that Anticon just put out.

Next is Circle, who take Tron's "Recursion" and...well, I don't want to say "remix" the song, because this doesn't really sound like a remix at all. And next to the Justin Broadrick remix on the first record, this track is my favorite in the series so far. What it sounds like the Finnish hypno-rockers have done is taken just one element from the original track, the central synth melody for "Recursion", and constructed an entirely new piece of music around it, a dark sprawl of darm ambience and strange abstract clatter, an ambient soundspace laced with percussive noises swimming in delay, all dubbed out and menacing, but the most unexpected thing about Circle's "remix" are the vocals. Mookie's original vocals don't appear here at all, at least not in any way that I can recognise them; instead, we get these weird, gutteral almost death-metal like grunts, presumably from Circle frontman Mika, that appear over the abstract dronescape. Very strange, but very cool, and so far this is the most out-there interpretation of Genghis Tron that I've heard in the series!

On side two, we start off with a remix of the same song, "Recursion", from the French Canadian electro-pop artist CFCF, who has been getting alot of buzz lately with his remixes for Crystal Castles, Apache Beat, Sally Shapiro and Health. Like the Tobacco remix, this has a mutant retro 80's dance pop feel, but CFCF puts "Recursion" through a strange otherwordly soundfilter that morphs the music into a kind of brooding disco, colored by atmospheric Tangerine Dream keyboards and awesome droning synth textures that evoke Claudio Simmonetti, flecked with crunchy SEGA 8-bit tones and poured over huge dubbed-out beats and a thick grooving bassline, no vocals, purely instrumental. So great! And the last track from DNTEL, wow...who would have thought that the guy from The Postal Service would be the one to give us the heaviest, most aggressive remix on the record? Jimmy Tamborello's electro-pop project takes "The Feast/Ergot" and melts the riffs and keyboards down into a crushing cosmic miasma, super distorted and modulated, the music folded over onto itself and formed into a crushing slab of lown-end drone that grinds and drifts until in it's last minutes it begins to reconstitute into a hesitant, looping rhythm, surging forward in fits and starts, and finally collapsing into a cloud of granular fuzz that dissipates into the ether.

On yellow/purple splatter vinyl, limited to 1,000 copies.

GENGHIS TRON   Board Up The House Remixes Vol. 5   LP   (Crucial Blast)    17.98

Board Up The House Remixes Vol. 5 is the final installment of the five-volume remix series that has been produced in co-operation between Genghis Tron and five labels (Relapse, Lovepump United, Anticon, Temporary Residence Ltd., and Crucial Blast), and features a myriad number of artists reshaping and reimagining various songs off of Genghis Tron's 2008 album Board Up The House (Relapse Records). Each volume is pressed in a run of 1,000 copies on colored vinyl that ties in with the sleeve art. Board Up The House cover artist, Jon Beasley, has provided each remix album with alternative artwork.

The Crucial Blast entry in the Board Up The House remix series features Tim Hecker (Mille Plateaux, Alien8, Staalplaat, Fat Cat) turning the title track "Board Up The House" into a fuzz-entombed bliss-scape, Aidan Baker/Nadja's fifteen-minute glacial vision of "I Won't Come Back Alive", and another remix of "I Won't Come Back Alive" rendered as a blur of distorted electro by Dudes You Can Trust, which is the solo project of Michael Sochynsky from G-Tron taking a heavy mangle approach. This remix platter is easily the most distortion-laden entry in the series!

Track Samples:
Sample : GENGHIS TRON-Board Up The House Remixes Vol. 5
Sample : GENGHIS TRON-Board Up The House Remixes Vol. 5
Sample : GENGHIS TRON-Board Up The House Remixes Vol. 5

GENGHIS TRON   Board Up The House Remixes Vol III   LP   (Relapse)    15.99

Finally managed to get the third entry in the Genghis Tron Board Up The House remix series that Relapse put out back in December. We've picked up a bunch of the red and blue splatter version of this record, which was released in a run of 1000 copies, and it features one of the wildest lineups of the entire series with remixes from Scott Hull (Pig Destroyer/Agoraphobic Nosebleed), Danny Lohner (of Nine Inch Nails fame), Phillip Cope (Kylesa/Damad), Ulver, and Drumcorps. Jesus! And it's as varied an assortment of approaches to the source material as you might imagine as each of these remixers takes the seething synth-heavy Goblinoid grindmetal of the original tracks and turns 'em into everything from dancey industrial rock to crushing cyber-metal to glitchy abstract breakcore.

The first of the tracks is Danny Lohner's remix of "Board Up The House", and it stands out for having only trace amounts of the original track appearing in it's newly configured form. Here, Lohner has deconstructed the original into a plodding rhythmic industrial jam that sounds alot like, well, Nine Inch Nails, which isn't that surprising, and it makes for what is probably the most accessible of all of the BUTH remixes. That's followed by Scott Hull's mutated version of "The Feast", to which he has attached massive plates of cybernetic armor and pneumatic drills, turning the track into a seriously fucking crushing slab of slayerized robo-metal. Once the super-processed guitars and lumbering drum programming kicks in about a minute in, shit gets ridiculously heavy, like some futurist mixture of Meshuggah and Zombi, the soaring 80's synth melodies bubbling over a sputtering mechanical thrash riff. Easily one of my favorite remixes out of the whole series.

Then we move on to Phillip Cope from Kylesa, and his remix/fusion of the songs "City On A Hill" and "The Whips Blow Back". The songs are ripped apart and melted back together into a chaotic blur of dubbed-out blastbeats and fragments of the original song's main hook, vocals now drifting disembodied over fractured synth melodies and riffs, everything smeared into a dreamy surrealistic wash of glitched out samples and drifting rhythms, the vocals eventually becoming chopped and screwed towards the end as an ominous church-organ like synth line repeats over and over like some weird gabber/IDM/sound collage nightmare.

Ulver takes "I Won't Come Back Alive" and delivers one of the more haunting remixes. The original song was already one of the albums strongest tracks, with Mookie laying down some of his eeriest vocals and centering around a killer metallic riff...but here, Ulver strips it apart and modifies a new arrangement with creepy stringed instruments, the sort of lush trip-hop manuevers that Ulver has displayed on their past few albums, some symphonic drum n bass towards the end and some amazing harmonies drawn out from the source material.

The most surprising remix though is the last track from Drumcorps. The other Drumcorps releases that I have tend to focus on Aaron Spectre's ability to combine brutal metallic riffing with crazed jungle programming, but here he goes for a much more restrained approach, taking what was originally a four minute song and reassembling it into a seven minute epic electro-dirge, mixing in oh-so-brief blasts of junglist carnage with more atmospheric passages made up of booming rototom sounds and looped riffs creating a dense, psychedelic atmosphere.

Obviously, if you've been picking up the rest of these remix albums, this one is just as essential. Comes on red vinyl with blue splatter, in a full color jacket with artwork from Jon Beasley.

GENGHIS TRON   Board Up The House Remixes Vol. 1   LP   (Temporary Residence Ltd)    15.98


Barely got this one in stock, due to the first pressing of the Temporary Residence installment selling out within a week or so! This is the first of the Board Up The House Remixes 12" series that is being put together by five different labels, Temporary Residence, Anticon, Lovepump United, Relapse, and yers truly here at Crucial Blast. Each one of these 12"s features various remixes of songs from Genghis Tron's latest album, the prog-colored masterwork that is Board Up The House, and are pressed on colored vinyl and packaged in full color sleeves that have been "re-mixed" by original cover artist Jon Beasley. The Temporary Residence record kicks the series off with a knockout lineup of remixers that includes Justin Broadrick from Jesu/Godflesh, Rob Crowe from Pinback/Goblin Cock/Heavy Vegetable, Steve Moore from Zombi, and Eluvium.

The first track is from Steve Moore, and he turns the album's title track into a gloriously creepy Italo-horror throb, taking the twilight progginess of the original song and morphing it into a totally 80's style synth piece a la Goblin or John Carpenter, just like we were hoping for. You could easily mistake this for an actual Zombi track with the buried swells of orchestral synth-strings and pulsating drum machine beat and hypnotic bassline, and the awesome synth hook that kicks in towards the end. I can close my eyes an immediately see images from Fulci's City Of The Living Dead or Argento's Phenomena crusing past my orbs. Awesome.

For Broadrick's remix of "Colony Collapse", I was expecting the kind of blurry, blow-out distorto blissout that he gave to remixes for Agoraphobic Nosebleed and Isis. Instead, he takes a chunk of rhythm from the song and reshapes it into a bouncing, crunchy percussive loop that almost sounds like a distorted dancehall beat, like something you'd hear from Broadrick's longtime collaborator Kevin Martin and his Razor X Productions stuff. Over this grinding loop, he drapes the track in all kinds of fuzzed out Jesu-like distortion, splatters the vocals into abstract smears of fx-damaged screaming, and brings in some pretty orchestral strings, shimmering streaks of feedback and noise. The result is a weird, dreamy slab of blissed-out, metallic trip-hop, heavy and eerie but really, really beautiful, too.

Rob Crowe's remix is the weirdest when he takes the song "Things Don't Look Good" and chops it all up, stitching the parts back together into a manic mess of chamber strings, weird tribal drumming, acoustic guitars and atonal piano, dousing the track in effects and spacey electronic noises, eventually becoming a wall of heavy tandem drumming that builds and builds, then abruptly shifts into a metallicized version of the original song.

Eluvium closes the record out by taking the song "Ergot" and stretching the guitars and keys out to infinity, removing the drums and transforming the track into a blissed out expanse of fuzzy ambient drone. The original chords and melodies are all smeared and obliterated, leaving just a slow swirling melodic haze and swells of deep shimmer, streaks of high end skree drifting across the horizon of Eluviums' solar hymn, reminiscent of Sunroof or Tim Hecker. Immensely beautiful.

The record comes on rad gold/grey swirled vinyl in full color packaging, and it's already sold out from the label. Don't drag yer heels!

GOSLINGS, THE   Occasion   CD   (Not Not Fun)    14.98

Track Samples:
Sample : GOSLINGS, THE-Occasion
Sample : GOSLINGS, THE-Occasion
Sample : GOSLINGS, THE-Occasion

HEGRE, JOHN   Colors Don't Clash   CD   (Dekorder)    11.98

Jazkammer's Lasse Marhaug appears to be keeping a constant high profile in the avant-noise scene with a constant stream of limited edition solo releases and collaborations with Sunn and Merzbow, but we don't hear as much about his partner in the legendary Norwegian noise duo, John Hegre. That's not because Hegre has been slouching, I just think his other projects lean towards a less noisy form of experimental music that's not as visceral as much of Marhaug's work. When not touring and recording with Jazkammer, Hegre has kept busy working on collaborations of his own with Maja Ratkje and putting together his first solo album Colors Don't Clash which came out on Dekorder in 2007. This just came in to Crucial Blast, and chances are that most of you probably havent heard this yet since it hasn't received a whole lot of distribution outside of Europe. It's an excellent collection of abstract sound collages with a few moments of serious heaviness that Jazkammer fans need to check out.

Colors Don't Clash is divided into five interconnected pieces that move one right into the next, and the array of diverse sounds and how these tracks fit together reminds me of the interesting direction that Jazkammer took on last year's Balls The Size Of Texas album. There;s a similiar sonic palette being used here that incorporates the harshly abrasive computer-noise that Jazzkamer is known for, as well as detours into hypnotic, bluesy rock riffing and gorgeous abstract drones. The album starts off with the delicate "Don't", where a softly manipulated and looped electric guitar blossoms into clusters of notes and crystalline pulses. Things become much more abrasive with the second track as it starts off with a brutal blast of harsh high end feedback skree, followed by a swarming cloud of clicking particles and airy, metallic drones, like hearing masses of tiny buzzing robotic insects swirling back and forth around your head while heavy guitar drones rise up from below. The last half of the track fuses a fractured jazz guitar chord progression with muted percussive loops and strange blips and glitches. That's followed by the most brutal piece on here, the 9+ minute "They", a brutal storm of grinding wall-noise and churning low-end drones. "Never" is about 7 minutes of crushing blackened free-rock that has corroded sludge riffs and mangled, discordant chords oozing out of heavily distorted amps and flecked with glitchy electronics. That one almost approaches KTL/Fushitsusha territory. Lastly, the last track takes us out with some hazy, softly played psychedelic blues that goes on for a few minutes, becomes more and more abstract, and is then replaced by a few minutes of scraping, droning sounds, childrens voices and other found-sound weirdness. The album vacillates from dreamy surreal soundscapes to abstract noisy heaviness, weird and confounding and quite beautiful, really. Comes in a full color gatefold with brain damaging sleeve design by yasutoshi yoshida of Government Alpha.

Track Samples:
Sample : HEGRE, JOHN-Colors Don't Clash
Sample : HEGRE, JOHN-Colors Don't Clash

HELMS ALEE   Lionize / Truly   7" VINYL   (Hydra Head)    11.49

A brand new two-song 7" EP from Seattle sludge-pop rockers Helm's Alee, whose debut album Night Terror on Hydra Head is also listed in this week's new arrivals list. Like I mentioned in that review, Night Terror was one of my favorite albums of 2008 and one of the best things that Hydra Head put out in a year that was already full of awesome releases. Super catchy, epic heaviness with a gorgeous pop sensibility hidden under all of the massive Melvinsy riffage and the bellowing vocals of frontman Ben (formerly of Harkonen), heightened by the dual female vocal harmonies provided by the guitarist and drummer who push the album in this awesome Karp-meets-Pixies sort of ultra-heavy powercrush.

This 7" features two exclusive new songs on a super thick piece of wax - the first, "Lionize", shows the darker, heavier side of Helms Alee, a series of crushing sludge riffs and slow, pummeling dirge, dark and doomy, with spidery math-rock guitar parts dropped in the midst of the downtuned heaviness, the vocals harsh and howled. Definitely one of the heavier, sludgier Helms Alee songs.

On the b-side we get "Truly", and this is more like the poppier stuff from the album, starting off with a jangly indie rock riff over a pounding drumbeat, very early 90's sounding, kind of reminds me of Archers Of Loaf or Superchunk at first with soft emotive singing over a simple, moving melody, but then the crushing guitars and Ben's bellowing vocals drop in and it turns into a punishing sludge-metal riff. The song continues into delicate math rock with majestic piano accompaniment, gorgeous female vocal harmonies, and the slow-burning metallic sludge, totally captivating and catchy, like Melvins and Karp being filtered through chiming old school indie rock. I love this stuff.

The 7" is on the sort side, but is limited to 1000 copies, available on a mix of colors and pressed on incredibly thick vinyl and packaged in a cool foldout jacket with spot varnish printing, making this a neat collectors item for anyone that was as hooked by Helms Alee's debut as I was.

HORDES OF SATAN   self-titled   LP   (Streaks)    19.98


Remember Pitch Shifter? If yer a fan of old school industrial metal, I bet you do. That British band was one of the heaviest mecha-metal outfits that Britain had to offer back in the early 90's, a pioneering group of Godflesh-influenced sludge-thugs who took the repetitive machinegrind of Streetcleaner and applied it to a grooving concoction of sluggish but near-danceable beats, ultraheavy downtuned guitars and catchy riffs that bordered on some kind of ultra-heavy metallic rock, and heavy use of textured electronic noise and samples. Later on towards the end of the 90's, Pitch Shifter would begin to incorporate elements of drum n' bass and jungle into their sound, but those early Earache albums were pure molten robo crush that would eventually influence bands like Neurosis, Dead World and Fear Factory. I haven't paid a whole lot of attention to the later Pitchshifter stuff (the band dropped the space in their name when their style began to change) as those latter albums are nowhere near as heavy and abrasive as their first few, but I was stoked when I found out that Pitch Shifter guitarist Stuart Toolin had a new band called Hordes Of Satan that was apparently a return to the industrial sludge metal of the early PS days. This debut LP is the only release so far from the HOS duo, and it's already sold out from the label - the copies we have in stock are the last ones available anywhere, to my knowlewdge. Four long, bludgeoning tracks of sludgy slow motion doom powered by plodding drum machine beats and insanely heavy downtuned guitars and bass, each track made up of only one or two riffs that build into a suffocating wall of gloomy, dismal atmosphere and hypnotic repetition, comparable to an apocalyptic cross between Godflesh and Corrupted. This mother is ultra-heavy, equal parts industrial metal and glacial death doom, like early Pitch Shifter but even heavier, slower, more desolate, more along the lines of Toolin's little-known project Skin Limit Show, with deep gutteral death metal roars. There's even a cover of Pitch Shifter's "Landfill" on here that absolutely crushes. Seriously massive mechanical doom heaviosity, and one of the heaviest LPs sitting on my record player right now. The record comes in a grey-toned sleeve with morbid artwork with a fold out insert.

HOWLING VOID, THE   Shadows Over The Cosmos   CD   (Solitude Productions)    11.98


The second album from this one-man doom band from Texas, who combines empyrean synthwork and crushing funereal doom for a heightened cinematic experience on this release from the Russian doom metal imprint Solitude Productions. Like many of the Russian doom bands that we hear from Solitude, The Howling Void heavily incorporates keys and electronics into their sound and creates a sort of ethereal kosmiche doom with that same stellar vastness that we hear in bands like Ea, Abstract Spirit, Frailty, and Opaque Lucidity, so this fits in perfectly with the rest of the label's output. The thing that sets this apart is the addition of swirling, lush orchestral strings, choral voices and some really well-executed piano melodies that turn Shadows Over The Cosmos into something more akin to a cross between gloomy, filmic neo-classical music, Vangelis, and, of course, the most glacial extremes of the early 90s Peaceville doom bands. While this album is undeniably heavy, much of Shadows is pure ambience, soaring off into washes of deep-space synthesizer that extend into looooong stretches of Ashra-style ambient drift, softly swelling waves of droning keyboards and repetitious piano and guitar entwining into darkly ornate melodies. When the music drops back into the slow-motion doom metal after these long passages of cosmic ambience and orchestral sound, the transition can be devastating, the sound of the world crashing back in with the weight of aeons, the despair amplified by sparse blackened tremolo riffing and the impossibly deep guttural vocals rumbling up in the depths. The song "The Hidden Sun" that shows up at the end of the album is one the most dramatic tracks on here, and it's totally devoid of doom metal; this track is purely made up of neo-classical strings and piano woven with haunting choral voices into a somber coda. For fans of Ea, Evoken, Mindrot and similar doom metal bands with a flair for sweeping majesty.

Track Samples:
Sample : HOWLING VOID, THE-Shadows Over The Cosmos
Sample : HOWLING VOID, THE-Shadows Over The Cosmos

HYPER-ANNOTATION   001   BOOK   (PostHuman Magazine)    19.99

INTEGRITY   Walpurgisnacht   CD   (Magic Bullet)    11.98

This EP is kinda pricey, but for hardcore Integrity fans, it's still a pretty wicked collectors item. This disc features the two original tracks from the 7" version of Walpurgisnacht that came out on A389 Records with another two tracks that are actually Ingrity covering the mighty Septic Death! Indeed, the whole vibe around this EP is pretty similiar to the cool collectors editions that Pushead used to do with his Bacteria Sour imprint, as this disc comes packaged inside of a hand-silkscreened sleeve and also includes a hand-screened Integrity skull logo patch and an insert sheet with lyrics and more artwork from Florian Bertmer. There might only be four tracks on this disc, but man, they rip.

Here's the original review for the 7" vinyl version:

It has been five long years since the last time I heard from the mighty Integrity, but at long last we've got this new two-song EP, the first new Integrity jams since 2004's To Die For came from out of nowhere and kicked my ass wholly and completely with an awesome return to form from one of the most influential and groundbreaking bands in the American metal/hardcore underground. I'm not exaggerating when I say that these guys are one of my all-time favorite bands; In the beginning of the 1990's, Cleveland's Integrity were an unstoppable force, something darker and heavier than any other band in the American hardcore scene, and their fusion of Slayerized speed metal, youth crew hardcore, and sinister ambience all rendered through an apocalyptic worldview and Boschian vision of hell on Earth is as potent and ferocious today as they were nearly twenty years ago. This is ground zero for what would later become known as "metalcore". As Integrity progressed through the 90's, the band shed members and experimented with it's sound, but Integrity always orbited around the charismatic constant of singer Dwid Hellion. Now five years after the band's last album, we have this short but lethal EP, and man does it deliver. It's essentially a taste of what's coming in '09 with the next Integrity album The Blackest Curse which I can't fucking wait to get my hands on, and the EP primes the adrenaline with two new songs of primo Clevo violence: "Walpurgisnacht" sounds like it could have come screaming off of Integrity's Systems Overload, a vicious blast of speed-thrash aggression with Dwid's trademark bellow that explodes at the end, leaving behind a pair of sorrowful acoustic guitars. "Mirror In Reverse" reminds me of the later Integrity stuff; starting off with an ominous, doomy riff and over the top shredding, the song kicks into high gear as raging thrash metal guitars ride a thunderblast of doublebass drumming, then breaks into a crushing mid-paced chorus that is also really weird sounding, the monstrous thrash riff layered with strange effects and samples, which become more prominent as the song moves forward as acoustic guitars, strange dissonant ambience, heavily processed vocals and other sonic chaos appear. Reminds me of the more experimental stuff that Integrity was doing on Seasons In The Size Of Days, but heavier and thrashier. Awesome. Can't recommend this one enough, especially if you are a fan of Integrity. The great artwork is courtesy of Florian (Agoraphobic Nosebleed, Napalm Death).

Dwid from Integrity has long professed his love for Septic Death, and one of the wildest releases that Integ ever put out was a 7" that came with an issue of Dwid's fanzine BloodBook back in 1995 that featured covers of Septic Death's "Thaw (Cold World)" and "Change". This eventually would come to be known as the"Septic Death Karaoke EP" as these tracks were actually just Dwid singing over the original versions of the Septic Death songs. Any other band that did this would probably be laughed out of the room, but fuck, any opportunity to hear Dwid lay down hellfire with those pipes of his is good by me. Well, not too long ago Integrity released a split 7" with the Japanese band AVM and once again, they break out a couple more Septic Death covers (this time "Poison Mask" and "Dream Silent") and it appears to be another karaoke performance just like the old Bloodbook 7". These two tracks have been tacked on to the Walpurgisnacht EP, and they sound just as crazed as you'd expect.

Track Samples:
Sample : INTEGRITY-Walpurgisnacht
Sample : INTEGRITY-Walpurgisnacht
Sample : INTEGRITY-Walpurgisnacht

ISIS   Oceanic: Remixes / Reinterpretations   2 x LP   (Hydra Head)    23.99

Oceanic: Remixes / Reinterpretations IS CURRENTLY UNAVAILABLE FOR ORDER

KRIMINAALISET METSANHALTIJAT   Anarkkia, Kaaos, Maailmanloppu!   CD   (Bloodlust!)    13.98

I love Finnish hardcore and black metal, but I've hardly heard any Finnish industrial music. Most of what I have been exposed to has come out on the Kaos Kontrol label, which specializes in grating, psychedelic old-school industrial, and if you told me that this album from the Finnish band Kriminaaliset Metsänhaltijat was in fact a Kaos Kontrol release, I wouldn't doubt it. It's actually on the American power electronics/industrial label Bloodlust!, however, and is a reissue of a super-limited cassette that came out on Triangle Records in 2008. The band has been around since the 90's but is only now beginning to get some exposure over here in the States, a good thing, too, as this disc points towards a very cool and heavy form of apocalyptic machine music.

The six tracks on Anarkkia, Kaaos, Maailmanloppu! have an obvious old-school Throbbing Gristle/S.P.K. influence with lots of clanging metal rhythms, buzzing distorted bass-tones, looped feedback, dense clusters of dubby percussion, blasts of pure white noise, warning sirens, radar pings, but also incorporating some really menacing and doomy synth-bass lines and creepy melted samples that make this a heavier, more evil sounding version of classic industrial. One of the things that really set these guys apart are their vocals, which are snarled and distorted and are all over these songs. The band not only cites early Japanese noise and classic Industrial as primary influences on their thick, cacophonous industrial dirge sound, but also the ferocity of Finnish hardcore, a strange sounding mix at first, but when you actually hear Kriminaaliset Metsänhaltijat it makes sense, a fierce and furious sheet-metal attack with intensely psychedelic noise, howling hardcore vocals and dub effects swirling around the dark, nihilistic atmoshere, all set to an extremely raw and hissy recording that makes this sound like it was recorded in the hallways of an old abandoned mental hospital. Kind of like a heavier, angrier, more PE-influenced Wolf Eyes.

Track Samples:
Sample : KRIMINAALISET METSANHALTIJAT-Anarkkia, Kaaos, Maailmanloppu!
Sample : KRIMINAALISET METSANHALTIJAT-Anarkkia, Kaaos, Maailmanloppu!
Sample : KRIMINAALISET METSANHALTIJAT-Anarkkia, Kaaos, Maailmanloppu!

KRISTOFFER NYSTROMS ORKESTER   Overlook Hotel   CD   (Malignant)    9.98

Last time we heard from the duo of legendary Swedish industrial artist Peter Nystrom (Megaptera, Negru Voda) and Kristoffer Oustad from the industrial avant-black metal band V:28 was on the brakeHEAD album back in 2006. For their latest, the Kristoffer Nystroms Orkester returns with a darker, creepier sound and an obsession with the floor plan of the fictional hotel from Stephen King's The Shining. Compared to the grinding industrial of the previous disc, Overlook Hotel works on more of a psychological level, evoking dread and emptiness over and over again as the listener passes through each track.

Beginning with an eerie looped female vocal, the record takes shape slowly as deep pulsating electronics and abstract rhythmic sounds fade in and form into a hypnotic electrical field of black energy, the sound evolving into a swarming static-flecked drone before suddenly breaking into a heavy mechanical rhythm on "The Colorado Lounge", an almost breakbeat-like rhythm pounding beneath the trails of ominous minor key creep and abrasive noisy textures. From the start, this is the most cinematic sounding music that I've heard from KNO, the blend of hazy dark ambience and machine-like rhythm sounding like it could work exceedingly well as a film score. When conjuring images of this notorious site (best known of course as the evil sentient ski resort from Stephen King's The Shining, though you won't find any direct references to that book here), though, this inhabits a strange surreal dreamworld, consistently threatening and filled with a sense of lurking dread, but the washes of cloudy metallic drone and richly layered synthesizer drift and metallic percussion often take the album into a kind of surreal nocturnal terrain that's closer to Hoor-Paar-Kraat than the relentlessly horrific death industrial of Nystrom's work with Megaptera. Some of the tracks on the album move into a kind of minimal haunted techno pulse that reminds me of the black electronic Kompakt-like moves of some of Nordvargr's material, but then break down into the sound of distant chains being dragged and rustled amid deep ambient drones. Other songs deliver jackhammer blasts of industrial drumming that wouldn't sound out of place on a Ministry album, volleys of crushing wall-shaking percussion pounding away incessantly beneath fields of evil voice samples and electronics. There's moments of pure horror to be found here as well though, in the blasts of smoldering MZ.412-esque industrial and creaking factory death-marches that come into view in the last third of the record, and the closing symphonic swells of unearthly horns and wavering drones on "The Dormer". If you're a fan of Nystrom's other projects, this is very highly recommended. Released as both a digipack Cd and a limited-edition Lp in an edition of 217 copies.

Track Samples:

KRISTOFFER NYSTROMS ORKESTER   brakeHEAD   CD   (Malignant)    8.98

Though it may be one of the more obscure titles on the ever-crushing Malignant label, the oddly titled brakeHEAD is also one of the imprint's heaviest releases, a brutal fusion of Scandinavian industrial and skull-crushing doom-noise that blew me away when I picked up a copy of this disc last year. It's not new, a 2007 release as a matter of fact, but when I started digging around the Malignant catalog recently to see what older titles that I've overlooked here at C-Blast, this one popped up immediately as a must-get.

Just the lineup should have a good many of you mechafreaks drooling...Kristoffer Nystroms Orkester is the duo of legendary death-industrialist Peter Nyström (of Megaptera fame) and Kristoffer Oustad of the experimental post-black metal band V:28, which should give you a vague idea of what direction this collaboration heads in. The Orkester delivers four tracks of lumbering, ultra-heavy black industrial with the nearly twenty minute long "ExtenDEAD Konnektion " as the centerpiece of the album. The rest of the tracks are shorter, five to eight minutes, with the opener "Biter" draping huge black curtains of ultra-distorted black drone and dark orchestral ambience over a foundation of throbbing industrial rhythms and pounding tribal oil-drum percussion, and " High_Level_Input - Slow_Speed_Output (Well Done)" blasting skull fragments apart with it's thunderous roar of white noise, screaming, heavy machine throb and massive tribal drumming exploding in a Merzbowian rush of distorted heaviness that gradually burns off into a trail of slimy, dank factory ambience. But it's with "ExtenDEAD" that the Orkester guys really drag the listener down into hell, starting the track off with muffled voices and smears of lush dark ambience and subterranean rumble, then slowly introducing the clatter and clang of various metal objects being smashed together and forming crude scrapyard rhythms as a syrupy wave of ultra-heavy metallic doomdrone slowly pours in from a rift torn across a midnight sky, unleashing massive black drones and crushing Sunn-esque amp-roar across a cacophony of broken machinery and swooping space FX. The first six minutes or so showcases some seriously heavy ambient doom, and then starts to being in pounding percussion and added layers of oscillating electronic noise and dubbed-out rhythmic elements before fading into a stretch of granular noise and strange voice samples. Eventually, the grinding ultra-heavy guitars and looping distorted noise seeps back in for a few more minutes, but then the final third of the track wanders into more abstract areas, the heavier metallic sounds dropping away and leaving just a bleak, barren wasteland of fragmented radio newscast recordings and ominous melodies buried beneath a blanket of ashen noise and eerie ambience. Then the album closes with "Asphalt Flowers", another relatively shorter piece that's completely crushing, opening with chiming metallic percussion and dread-inducing news reports as huge distorted drones slowly gather overhead, and then suddenly it all caves into a fucking MAJESTIC riff, the greatest epic doom metal riff you've never heard roaring over clanging pipes and swirling rusted-out space synths and more of those panic-stricken media broadcasts. An awesome final statement of total despair on this crushing album...it goes without saying that fans of Swedish death industrial will be all over this, but the Orkester are more than just another CMI style outfit. This is like a kind of blackened post-industrial doomdirge, part Archon Satani, part Megaptera, part Black Boned Angel, totally crushing and brimming with a bleak satanic menace. This is fucking great! Limited edition, digipack packaging.

Track Samples:

LA OTRACINA   Blood Moon Riders   CDR   (Colour Sounds)    8.98


Holy Mountain released the LP version of Blood Moon Riders last year, but Adam Kriney's Colour Sounds imprint has just issued a limited edition cd

version of the album. These New York psych rockers just keep cranking out the goods, and Blood Moon is another in their recent spate of heavy duty

riff-feasts that combines sinister krautrock and Hawkwind style vibes with a (sometimes) subtle amount of proto-metal crunch. It's spacey, heavy, and highly

exploratory; the band opens the album with a fifteen minute monster called "Inner Mind Journey" that takes up the entire first side of the LP, a massive

winding jam that's loaded with soaring fx-soaked guitar, endless pummeling drum workouts, bursts of crunchy metallic riffage, meandering jazzy basslines, and

endless clouds of effects all congealing in an epic sprawl of burly freeform prog heaviness. It's along the lines of Acid Mothers Temple and Hawkwind, but

with more of a metallic hard rockin' edge. Halfway through that first track, La Otracina break into a killer Sabbath-like jam with wild organ-like synths and

swirling fx, then veer off into some extended space-prog jamming with killer vintage synth buzz and endlessly delayed acid solos trailing off into the

cosmos, and finally breaks down at the end into a krautrocky groove.

For the other four tracks, La Otracina pulls back on the throttle a bit while still keeping things very zonked. "Ballad Of The Hot Ghost Mama Part 1" is a nebulous cloud of druggy phased wah-soaked guitar, swells of minimal cymbal shimmer, drifting Hawkwind space-synths, a total nod-out tumbling through the cosmos. "Zunblazer" opens with swirls of cascading guitar before moving onto a heavy, head-nodding krautrock jam, slow and melodic with bits of early 90's math rock creeping into their massive propulsive throb. The second half of "Ballad of the Hot Ghost Mama" follows, a darker and more ominous continuation of the first, opiated blues guitar snaking around washes of abstract cymbal patterns and surges of dubby percussion floating through the kosmiche fog. And then on to the final song, "A Drifted Memory"; the first few minutes are a slowly churning ocean of muted guitar ambience and glorious MBV-like textures, a gorgeously blurry and crushing wall of reverberant amplifier goo, then suddenly halfway through the song switches into this killer mathy surf rock jam, a super catchy melody repeated ad infinitum over a frenetic propulsive drumbeat.

It's great to hear a band deliver this sort of soaring spacey psychedelia with some real muscle, and La Otracina are one of the contempo psych scene's most rockin' trios; crucial stuff for fans of Mammatus, Titan, Earthless, Hawkwind, Cuzo, Gnod, and all things proggy, cosmic and crunchy.

Comes in a full color wallet sleeve, limited to just one hundred copies!

Track Samples:
Sample : LA OTRACINA-Blood Moon Riders
Sample : LA OTRACINA-Blood Moon Riders

LAMONT, BRUCE + RIGHT EYE RITA + MARK SOLOTROFF   self-titled   CD   (Bloodlust!)    12.98

This disc documents an almost twenty-minute live piece that was performed in September of 2008 by an improvisational group made up of Chicago artists Bruce Lamont, Mark Solotroff, and Right-Eye Rita, which took place at the Chicago art space AV Aerie. Lamont, of course, is well known 'round here as the frontman and sax-blower for avant-metallists Yakuza, whose albums have long been faves of ours. Mark Solotroff is also a known quantity from his work in the Chi-town power electronic/industrial groups Bloodyminded, The Fortieth Day, Intrinsic Action, and for running the excellent Bloodlust! label which released this slab of strangeness. On the other hand, I had only heard the name Right-Eye Rita in passing before and wasn't familiar with any of her music. It's kind of a moot point though, as the sum result of this particular live set is so dense and layered that I can only occasionally pick out individual pieces that I can attribute to one of these folks. The performance consisted of the three musicians taking their voices and building a powerful wall of sound using both treated and natural vocal sounds, and they manage to construct a chilling soundscape that frequently sounds totally alien and unlike anything from the human throat. The piece starts off with a vocal sound loop turned into a clanking quasi-rhythm and Rita's eerie, speaking-in-tongues gibberish floating through a sea of reverb, and this is gradually joined by Lamont's deep chanting tones that are reminiscent of throat-singing and which I've heard him use before in Yakuza. As the performance continues, additional layers of vocals are piled on, some sounds manipulated into inhuman electronic textures and drones, while some of the voices are layered into haunting harmonies. The first half is pretty calm going, but by the halfway point, they begin to warp the sounds into strains of aggressive feedback and waves of blackened hiss, turning the sound from dreamy and surreal into something much more dark and nightmarish. The cavernous space of AV Aerie is used to create a huge billowing ocean of reverb that the vocalists ride on, looping their wailing, chanting vocals over an increasingly threatening atmosphere, until the last few minutes when the sound slowly begins to die down, leaving stray bits of reverb-soaked squeal and anguished wailing and infinite streaks of silvery feedback to rot away into silence. This performance is pretty cool, I don't get very many experimental vocal recordings around here since that sort of stuff generally doesn't fit in with the scope of Crucial Blast, but when the label cites Abruptum, Coil and Diamanda Galas as reference points for the strange nightmare chant-ritual that these folks have summoned here, I'm all over it. And those references do give you a fair idea of what's going on here - the sound, at it's most intense, does channel the washed-out, corroded vibe of early Industrial, while tracing creepy signatures with the wailing, increasingly deranged vocals that towards the end does indeed remind me of some of Abruptum's most abstract and atmospheric freakouts.

Track Samples:

LOOP   Fade Out   2 x CD   (Reactor)    16.98


Heavy, drugged-out and utterly hypnotic, Loop invoked a dark, trippy sound that was unlike most other UK underground rock bands in the late 1980's. Blending together the trance-inducing psych riffage of Hawkwind, the stoned Detroit garage stomp of the MC5 and Stooges, and the mesmeric motorik throb of Can, Loop were a band whose sound was a mirror image of their name: cyclic, circular riffs pounded out over heavy duty propulsive drumming, plowing through thick clouds of feedback and lysergic lead guitar, with dreamy, disinterested vocals drifting in through a field of reverb. Along with the Spacemen 3, these bands breathed new life into the idea behind space/drug rock, but where Spacemen 3 were super wasted and spaced out, Loop had a much heavier, crunchier sound, with guitars that could be heavy and distorted enough to sound almost metallic. Hell, Loop were heavy enough to have ties with Godflesh, for fuck's sake, as the legendary Godflesh/Loop split 7" will attest. All of Loop's output has been out of print for years and tough to find, but we're finally seeing their albums being reissued through Reactor, in gorgeous new packages with loads of extras, starting with the band's first two albums.

As awesome as Loop were, they've mostly enjoyed a cult underground following and aren't well known outside of psych/noise/avant rock circles. I think they were ahead of their time in so many ways, and if you dropped Loop in front of an audience at a current heavy psych show, people who had never heard of them would probably go nuts over them. Huge, buzzing metallic guitars, head-nodding riffs looped over and over, big booming motorik drums, simple three chord riffs grinding over and over, super catchy and blown and soaked in effects and feedback, the singer's narcotized crooning just barely cutting through the thick haze of drugged out rock. So goddamn great. They were like this massive supercharged krautrock band, but overloaded with trippy effects. After Loop disbanded in the early 1990's following the release of A Gilded Eternity, members would go on to form other projects like Hair And Skin Trading Company and Main, but none of those projects were as heavy and spaced-out and druggy as Loop.

When Loop came out with their second album Fade Out in 1988, you could hear them evolving beyond the raw, noisy Stooges/Can drugjams of their debut with a cleaner, more polished production and a streamlined approach to their sound that sounds even more unique here. The eight songs on Fade Out are way heavier and crunchier than before, the bass more audible, drums more complex and driving, and more than anything the guitars are more pronounced, with a huge crunchy distorted tone that casts off most of the stoned, feedback-coated haze of their debut. A thick cloud of guitar whir opens the disc, shuttling us into the heady propulsive throb of "Black Sun", distorted garage riffage and echoing chord clusters exploding over a pulsating bassline and busy motorik drums, hinting at the psychedelic feedback of the debut but pointing towards a more focused, acid-scorched hypno-rock sound. "This Is Where You End" is another classic, again jamming layers of buzzing guitar drone-riff and wailing wah guitar over a heavy krautrock beat. The song "Fever Knife" is one of the slowest tracks on Fade Out, a sludgy bloozy guitar riff plodding alongside multiple lead guitars breaking out into druggy wah-wah overload, the track moving in and out of phase at times and even being devoured entirely by massive flanger effects. This one is super druggy and psychedelic and stomping and it's the closest we get to Loop's earlier sound. But that's followed by the heaviest Loop song yet, "Torched"; here the guitars get super distorted and chunky, a huge wrecking-ball riff crashing through the endless wah, almost overwheling the distorted bass and frenetic drumming, getting noisier and more blown out and caustic at the end - definitely one of my all time favorite Loop songs! Then it's back to another slow syrupy drug crawl with the title track; the central riff is a massive plodding dirge, grinding slowly over a steady propulsive pulse and the weary, effects-heavy vocals, the whole thing dark and heavy and oppressive. "Pulse" is another catchy midtempo rocker, lots of wavering tremelo guitar and trippy wah-buzz and heavy distorted riffage, followed by the equally crunchy jams "Vision Stain" and "Got To Get It Over", the latter of which closes the album out in a dark fog of rumbling low-end feedback and haunting ambience.

As with Reactor's reissue of Heaven's End, Fade Out is given the deluxe treatment, packaged as a double disc set in a metallic silver Stought style gatefold sleeve with printed inner sleeves. The first disc features the remastered album, and the second disc has even more awesome extras this time around, including alternate mixes of three songs from Fade Out that are drenched in feedback, a demo version of "This Is Where You End", a three song Peel Session from 1988, and a bunch of textural guitar loops played by Robert Hampson for the Fade Out sessions; these five loops range from wailing feedback blur to rumbling slabs of heavy drone, and these abstract guitar pieces forshadow the more experimental guitar-based music that Hampson would explore with this project Main after the demise of Loop.

Track Samples:
Sample : LOOP-Fade Out
Sample : LOOP-Fade Out
Sample : LOOP-Fade Out

LULL   That Space Somewhere   CD   (Cold Spring)    17.99

It was a pleasant surprise to have this new Lull album pop up at the end of last year - like the label states, this is the first brand new album from Mick Harris's dark ambient project in fourteen years, long enough that I really didn't expect him to revisit the ice-cold stygian dronefields that he helped to trailblaze in the early 90s alongside Lustmord and Yen Pox. Lull has always been one of my all-time favorite dark ambient outfits, Harris just seems to have this spectacular touch for weaving impossibly deep webs of subterranean murmur and barren volcanic drift that stands out from anyone else in the field. Definitely muich more than just "that electronic side-project from the former Napalm Death drummer" to me.

Covid-era sessions

Impressionistic driftscapes that evoke oceanic vastness, an immense and empty terrain cast with an ominous, crepescular glow, somewhere on the razor's edge between twilight and nightfall. Fields of immensely ancient ice sprawling all the way to the horizon, the dim, fading solar glow rising over that distant flatline horizon, vaporous clouds of freezing air and condensation swirling upwards into the troposphere. A single, blinding beam of light shoots straight down into the ice-fields, stretching skyward from the surface like a lunar ray that ascends to the point of invisibility. Borealis-like smears of lightform shifting imperceptibly beyond the vanishing point. The pieces, titled "Range", "Expanse", "Unplumbed", "Way" feel like a fractured phrase, each one stretching from eleven to seventeen minutes and flowing together like a black haze of sound. Pieces of something approaching sonority slip beneath the surface of these glacial sheets of sound, bleeding into each other, blurring and melting together.

Make sure you've got a good system for low-frequency playback. For an hour, Harris draws the listener through a boundless sonic environment, the drones and rumblings and reverberations and echoes moving constantly in all directions, washing over you again and anagin with huge swells of deep bass tones and lush chordal forms, spires of majestic tonality piercing through the gloom and shadow and casting a luminous glow across the billowing, gamboling cloudscapes, awe-inspiring choral textures rising out of unseeable depths. This is unmistakeably Lull, scultping vast and ominous sound into dramatic movements that completely surround you, quite different from the other early "dark ambient" and "isolationist" artists; Harris utilizes his layering of low-frequency / low-end soundscapes to create something almost symphonic, opener "Range" being a perfect specimen of this approach as the track unfurls into something akin to a cosmic event, with peaks and valleys of intensely cinematic magnitude arrayed into deeply moving formations. Aside from having an extremely subtle rhythmic substratum in his dronescapes, Harris and Lull usually brings a meditative element to this music that distinguishes it in the field, with series of forms and patterned movements that reveal themselves to the attentive listener, especially on the first two tracks of That Space Somewhere, "Range" and "Expanse". As the album moves into its second half, though, it feels more meteorological, those giant tectonic tones and reverberations giving way to a slightly more etheric sprawl of endless shimmer and metallic whirlpools. "Unplumbed" and "Way" develop into slightly more harrowing topographies, less physically visercal tjhan the begining of the album but no less immersive and evocative. Like waves of tone emitting from planetary-sized prayer bowls, rippling through the cosmos.

Track Samples:
Sample : Way
Sample : Expanse
Sample : Range

MAEGASHIRA / SOWBELLY / OSSM   split   CD   (Shifty)    9.98


Gary over at Shifty Records is all about turning us on to new sludge and doom bands. He's released a couple of the better sludge compilations you'll ever hear with the two-part Crushers Killers Destroyers series, and I'm always discovering new purveyors of slow n' low heaviosity with the split 7"s and split albums that he puts out through his label. This brand new full length disc from Shifty features three bands, a tryptich of swampmetal from Maegashira, Sowbelly, and Ossm, all of whom pay homage to the junkie doom and New Orleans sludgecore sound pioneered by Eyehategod. Any one of these bands would have done a fine job of covering EHG on that tribute album that Emetic put out, I'm sure. While none of them make any drastic changes with the sludge metal template, each band puts their own twist on the sound, and fans of this kind of Deep South sickness should find all of 'em satisfyingly crushing.

Maegashira are the only band on here that I had heard of before. We received a demo from them a while back that was pretty rad, and the three songs that open this disc are pretty much in the same vein. Massive bloozy Eyehategod style sludge mixed with creeping old school doom a la Saint Vitus and some interesting blues/country influences, and brutal vocals that are a lot more varied than the norm. The singer is able to drop a monstrous death metal roar or a drunken southern rock bellow at the drop of a hat, but mostly he whips out these abrasive, freaked out screeches that are pretty fearsome. I really dig it when these guys break out the slide guitars on "Thanks, I'm Fine".

Oops. Sowbelly actually were on that Eyehategod tribute album. My bad. The three songs that this Michigan band contribute are filthy and droning, very much in the vein of Weedeater, Buzzoven, Eyehategod, that sort of drug-blasted, antisocial crustiness, with sleazy samples and huge Sabbathoid riffs that leak bad attitude and alienation all over the place. And when these guys put together a riff that they think is especially crushing, these mutants will ride the fucking thing endlessly, turning their snarling sludgecore into a hypnotic riff-mantra that goes on and on, beating your grey matter into mush while the singer vomits all over their amps. Good stuff.

What's an Ossm? According to the band, it means "Kentucky Fried Hydro Sludge". It seems odd that we don't hear more sludge bands from Kentucky, but they are a rare thing indeed. Ossm's song titles are kind of retarded - the first one is called "The Beer Halloween", which is followed by "Where's The Groove" - but I like the fact that these guys don't give a fuck about fidelity and opted to go for an utterly noxious low-fi recording that is perfect for their grease-stained brand of mongoloid sludgecore. I'm also a fan of how the singer sounds like Dixie Dave from Weedeater choking on a piece of chicken gristle. Utterly fucked up low-fi skumdoom that's equal portions Buzzoven, Cavity, Burning Witch, and old Sloth.

Killer artwork rounds out this taster of some new blood from the American metal underbelly. Hardcore sludge and doom fanatics, and worshippers of Toadliquor, Sleep, Grief, Weedeater, Eyehategod, Warhorse, Electric Wizard and Bongzilla should all investigate.

MERZBOW   Zophorus   CD   (Blossoming Noise)    10.98


Merzbow's Zophorus came out a while back on Blossoming Noise, but I never got a chance to check it out until just recently. I was missing out, too, as this 2007 album is one of the more psychedelic of Masami Akita's recent albums. Well, all of his stuff is pretty psychedelic, but Zophorus is even more so, with seriously dense noisescapes that have some fantastic melodic motifs squirming beneath the roaring chaos that he constantly returns to over the course of the tracks. The opener is a perfect example of this; for more than thirteen minutes, that first track soars through an immensely thick and textural cloud of whiplash oscillations, Hawkwind-strength synth freakout, waves of fuzz and distorted sub-bass, shards of electronic glitch and whir, but underneath this massive bleeping, roaring, grinding slab of mind melting electronic chaos, a simple two-note melody loops over and over endlessly, and it continues to repeat itself throughout the entire track, wavering back and forth, an eerie melodic undercurrent that gives this a strange kosmiche quality that you don't often hear in Merzbow's pure noise constructs. The other tracks on Zophorus are more formless and brutal, each featuring tons of frenzied oscillator abuse and throbbing low-end distortion, and much of the album actually reminds me of Bastard Noise, but even when the Merz-blast is at full tilt here, these fragments of melody continue to surface, like the eerie flute-like figures that surface on the third track, and the weird orchestrated tunes that manifest on the fourth track, pieces of prerecorded music sped up to light speed blur, pounding mechanized percussion, the wall of sound becoming almost like a fucked-up, hyper-abstract kind of digital grindcore at times, which also makes it one of the album's most vicious pieces. The final track just about rivals it, though, with a massive wall of sputtering percussive noise and brutal locust-swarm noise. Zophorus is as crushing and heavy as anything that Merzbow has released, and sounds like much of the noise may have been guitar generated. If you want pure sonic catharsis, this disc most definitely delivers. Packaged in a full-color digipack with artwork from Masami Akita himself.

Track Samples:
Sample : MERZBOW-Zophorus
Sample : MERZBOW-Zophorus

MOURNFUL CONGREGATION   The June Frost   CD   (Weird Truth)    11.98

After forming in the early 90s, Australia's Mournful Congregation released a couple of demos that were instrumental in

defining the burgeoning 'funeral doom' sound, and would place this band in the pantheon of funereal pioneers alongside the

likes of Thergothon, Funeral, Evoken and Skepticism. Made up of members of several other noteworthy Aussie metal bands

(Portal, Chalice, Stargazer, Cauldron Black Ram), Mournful Congregation mastered the art of matching an atmosphere of utter

despair to an array of incredible melodies and dreamlike crush With their combination of achingly mournful melodies, glacial

tempos, dark burial-rite ambience and monstrous slow-motion riffs, making their music absolutely essential to anyone

interested in this particular realm of extreme doom. For years though the Mournful Congregation albums were hard to come by

here in the Us having been released exclusively on small overseas labels, but now we've got both a number of the Japanese

import releases of their older discs in stock as well as the recent spate of excellent Cd reissues that 20 Buck Spin just put

out at the end of 2012; I've been listening to these albums constantly since we got them in, and I really can't recommend

this stuff enough to fans of massive, miserablist metal.

Album number three from the masters of atmospheric funeral doom, The June Frost has gone in and out of print since its release, briefly appearing on Cd via the ill-fated Enucleation label along with a Japanese release on Weird Truth; we've got both that Japanese edition as well as the newest American version on 20 Buck Spin, though the two versions are essentially identical in terms of music and album art.

One of the main things that sets this band apart from the droves of funeral doom bands slogging across the earth is the fantastic guitarwork that makes Mournful Congregation's music so stirring, with solos and melodic leads that soar like the best arena rock, but which remain tethered to their supremely heavy riffs and slow-mo tempos. The June Frost is filled with this stuff as well as a heavy helping of the bands trademark funereal ambience, opening with the tolling bells, strings and pipe organ of "Solemn Strikes The Funeral Chime", a gorgeously grim funereal hymn that establishes the somber mood immediately. Those mournful lead guitar harmonies drift in after a few minutes, setting up the sorrowful feel for the epic second song, the seventeen minute "White Cold Wrath Burnt Frozen Blood"; this glacial deathmarch of soaring sorrow- wracked guitar harmonies, deep, guttural death metal vocals and deep baritone muttering, and crushing slow drums is one of the heaviest songs on the disc, but it also breaks into brief interludes of gorgeous acoustic strum and choral drift as it moves through a series of different passages, long ascending riffs and gleaming slide guitar slowly climbs skyward into swathes of black gothic beauty that almost sound like a doom metal Fields Of The Nephilim, and punishing doomdeath crush that rises up at just the right moments, making this one of the highlights of the album.

Nearly twenty years on, Mournful Congregation remain one of the best songwriting outfits in the field of funereal doom, each and every song rife with deeply affecting melodies and skillfully arranged music that concentrates on atmosphere without sacrificing any of their bone-crushing heaviness. You hear it in the slow-motion deathcrawl of "Descent Of The Flames" brings in piano and lush acoustic strings amid the crushing doom, and in the title track that appears in the middle of the album as a beautiful proggy interlude with more of that soaring virtuosic lead guitar winding around more delicate, doleful acoustic strum. Elsewhere, they add other instrumental interludes of creepy psychedelic ambience, clouds of guitar noise and graveyard mist, electronic drones snaking through a black fog of reverb, amp drone and dungeon-drift.

It's hard to pick a favorite out of all of Mournful Congregation's albums as they're all pretty consistent in quality, but June Frost definitely stands out as one of the discs that I've found myself returning to over and over since its release. One of the best funeral doom albums that we've carried here, and highly recommended to fans of the form.

Track Samples:

MUTANT VIDEO   Missing Fingers   CASSETTE   (Iron Lung Records)    7.50

NEKRASOV   The Form Of Thought From Beast   CD   (Exotic Corpse)    15.98


The second album from the Australian industrial black metal alchemist Nekrasov, following up that amazing Into The No Mans Sphere Of Ancient Days disc. I loved the debut, which I had thought sounded like an offshoot of the frozen black metal/industrial sound of French label Flamme Noir and bands like C.Y.T. and Drastus. Harsh noise textures and a blackened industrial sheen married perfectly to blazing, low-fi black metal, without ever diminishing the black metal core of the music. Amazing stuff, and this new disc explores this sound further with eight tracks that sometimes isolate these elements.

The opening track "Debris; Soul As Dust" is short, beginning with distorted pulses that almost sound like bombs going of in the distance as a dark, rumbling presence descends, a sinister dronefield of ultra desolate minimal blackness inhabited only by weird swirling hissing and deep subterranean moans. Then the second track "Mountain Ash" suddenly kicks in, and we're abruptly wrenched from that icy ambience into a ferocious BLACK METAL assault, raw and buzzsaw thrashing, without any overtly industrial elements making themselves heard. It's still epic and massive though, a heavy coat of reverb all over the malevolent riffs and the jackhammer blastbeats, slipping in and out of near-rocking grooves with some deliriously catchy melodies hidden underneath the thrash. From there we move to "Today The Sun A Golden Illusion"...and again the form of Nekrasov transforms before us as a massive droning riff is unleashed, a simple two-note wall of orchestral buzz that floats over a simple midpaced drum machine rhythm with pulsing cymbals twinkling over spaced out beats, a single riff looped over and over surrounded by swirling distorted chords and bestial, noise-cloaked vocals howling through the blackness. The whole track starts to sound like a blackened majestic kosmiche trance, blossoming into deeper shades of black and grey, droning endlessly until it comes to a sudden stop. The next track "Dreams Of Swallowing Black Space Expansion" is even further out...a horrific noisescape filled with rushing ice winds and lush distortion, a psychedelic blizzard of snarling vocals washed out in white noise, a rattling thunderous clanking overwhelming everything like the sound of a train passing overheard, the echo of the tracks and whooshing winds crashing all around you. "Neti" returns to the black metal with awesome frosty riffing and thundering, galloping double-bass drumming, a triumphant grim hook powering the song to it's blown-out chorus where dense layers of underlying melody and electronic noise suddenly seep up from below. "Continuum Of The Beast" features immensely sorrowful symphonic synths over darkened ambient drift, sounding like a funeral hymn being played on woodwinds above a slowly swirling minor key organ drone...gradually joined by an oncoming tide of crackling distortion. When "And Then Seared That Heart" comes in, the dark ambient synths of the previous track reappear, droning alongside ferocious psychedelic black metal riding on a churning double-bass rhythm. Screeching vocals appear out of phase, multiple distorted voices crashing in one another, the hypnotic buzzing riff repeating over and over - very trancey and delirious. And then we come to the final track, the title track, "The Form Of Though From Beast"...it starts off as a desolate droning industrial waste, filled with deep rumbling drones and weird chain-rattling sounds, distant barely-there Gregorian like chants, creepy hooting sounds bouncing from speaker to speaker, super abstract, a little like a blackened Universal Indians maybe, but then several minutes in we begin to hear the surge of a massive distorted riff, a behemoth buzzsaw hook grinding in mid-void. There's a melody in this murk as it moves into an even more spacious, trippy ocean of otherworldly sounds and looped noises, until it suddenly explodes into a blazing sphere of ultra-distorted blackdrone, howling shrieks pulled into endless distorted screams, spacey fx swirling everywhere, with another massive majestic riff buried way down below the blasting, buzzing murk, an almost orchestral wall of sound that then gives way to waves of stuttering blastbeats tripping over each other, creating a weird displacer effect. Those weird stumbling blastbeats melt into the miasma of buzz and beautiful obsidian drones and cosmic streakings and finally collapses in on itself, ending the track in an avalanche of crumbling distortion. Absolutely mind-melting.

Can't recommend this enough - like the first album, this is a must-get for anyone into abstract, deformed black metal, bands like Wold and Portal, Abruptum and Vargr and C.Y.T. Seriously amazing. And we've got the super-limited version of the disc too, but just a tiny TINY handful of copies...this version of the disc is packaged in a glossy black-and-white foldover sleeve which is enclosed in a large envelope that has been hand painted in heavy red and black, some abstract fungoid artwork covering the entire front of the envelope...pretty cool. Only 100 of these were made, these handmade versions of the disc are already long gone from the label and we've got the last of 'em.

PARKER, EVAN + JOHN WIESE   C-Section   CD   (Second Layer)    12.98

My exposure to British free-jazz sax legend Evan Parker has been criminally limited up until till now, with this recently released collaboration with Cali noise technician (and former Bastard Noise member) John Wiese being the first full album from Parker that I've actually listened to. Now that I've discovered the guy, I can guarantee that I'll be chasing after the rest of his body of work soon enough; when I had been looking up information on the C-Section duo, I kept seeing Parker being referred to by jazz writers as the UK's equivalent to Peter Brotzmann, which in itself is enough to pique my interest, but after hearing C-Section, the fire has been well and truly lit. In early 2008, Wiese and Parker had teamed up for a handful of live improvised performances in the UK (as part of the "Free Noise Tour"), and were able to carve out some studio time in between the concerts. C-Section collects a set of four studio improvisations from this session that features Evan Parker setting off seemingly endless blasts of melodious skronk fueled by his trademark circular breathing technique against a seething undercurrent of electronic grit, malfunctioning tape noise and chaotic computer textures produced by Wiese. The electronic noise elements never overwhelm these tracks, instead acting more as a churning, sputtering backdrop of deformed circuit-blurt that Parker streaks across energetically. This never achieves the full-on furnace-blast fury of electronic/free jazz workouts from, say, Borbetomagus, but Parker and Wiese still slip into some moments of pure blistering mayhem. Good stuff. Limited to 1000 copies, packaged in a six-panel digicase.

Track Samples:
Sample : PARKER, EVAN + JOHN WIESE-C-Section
Sample : PARKER, EVAN + JOHN WIESE-C-Section

PATARENI / BUREK DEATH SQUAT   split   7" VINYL   (Haunted Hotel)    5.98

Burek Death Squat were a new one to me, and actually appear to be a side-project from all of the guys in Patareni if I'm reading the liner notes correctly, but the real star of this 7" is the aforementioned Patareni. This Croatian band was a staple of noisecore 7” lists back in the early 90s and is considered to be one of the earliest noisecore bands, even counting Seth Putnam from Anal Cunt as one of their diehard fans.

The thing about Patareni, though, is that they were never purely a noisecore band, and were just as likely to break out some fast paced melodic punk or brutal grind. Which is why I’m not surprised that there's no real noisecore to be found on their side of this split. Patareni's side serves up a couple of tracks of burly, metallic hardcore laced with anthemic hooky riffs, brief bursts of blasting grind, and gruff death metal-esque bellowing on "Beat The Bastard", which turns into weirdly poppy thrash at one point, then abruptly shifts into a bizarre bit of lopsided ska before blasting off into grindcore again before ending; the other song is a cover of "Live To Die" by 80's Canadian hardcore band Death Sentence's, beefed up with an additional dose of metallic crunch.

Patareni side-project Burek Death Squat takes over the b-side with their homage to blazing 80's Japanese hardcore, blasting through a medley of covers from notorious psychopunks G.I.S.M. ("Endless Blockades Of The Pussyfooters"), Lip Cream and more, as well as some boisterous ska-core action of their own that combines raging anthemic ska-punk a la Mighty Mighty Bosstones with monstrous gutteral vocals and a heavy layer of crust.

It's a couple of leaps away from what I remember Patareni sounding like back in their noisecore heyday, but this new genrefucking grindpunk stuff is pretty cool too, and it'll be of particular interest to fans of the weirdo ska-lovin' grindcore bands that came out of Eastern Europe in the 90's like Massick and Le Scrawl. On colored vinyl.

Track Samples:

PYRAMIDS   WVNDRKMMER   5 x CASSETTE BOXSET   (Small Doses)    35.00


WVNDRKMMER is an incredibly ambitious release from Small Doses and those strange blackened avant-metallers Pyramids, which started out when the band decided to send various songs of theirs to a diverse list of bands and artists to take and reshape into all new works of sound. The lineup of bands that are collected on this massive compilation is fucking wild, and includes a ton of artists that we're huge fans of, like Yen Pox, Light Of Shipwreck, Across Tundras, Amber Asylum, Tenhornedbeast, Burial Hex, Encomiast, Rise Of Because, Neuntoter Der Plage, At The Head Of The Woods, Luasa Raelon, Exit In Grey, Windy & Cark, Josh Lay, Bass Communion, Fear Falls Burning, Ala Muerte, This Will Destroy You, Hoor-Paar-Kraat, Teeth Collection, Bones Of Seabirds, Wereju, Mamiffer, Wyrm, Bjerga/Iverson, Black Seas Of Infinity,Oakeater, Blood Fountains, and Black Roller Crop Rotation. And there's lots of less familiar (but no less interesting) artists like Andrew Weathers, Le Knell, Jeremy Bible, Great Falls, 9922, Nicholas Szczepanik, The Spirit Dies, Mystified, Romance Of Young Tigers, Sin Of A Higher Strain, Drowning The Virgin Silence,Ulan Bator, True Colour Of Blood, Rabbit Girls, Fences, Paradin,Sigullum Dei, Hiroki Sasajima, Wicked Messenger, Nils Helstrom,Offthesky,Lunar Miasma and Ghoul Detail. As you can no doubt guess from that diverse gathering of bands, the sounds on WVNDRKMMER veer all over the place, from the gorgeous dark chamber-prog of Amber Asylum to Neuntoter Der Plage's swirling fly-struck black ambience and demonic haunted house power electronics, Tenhornedbeast's ritualistic percussive black driftscape and the bizarre blackpsych of Rabbit Girls with it's strange mix of frantic screams, distant blastbeats, and proggy Hammond organ drift; the clanking nightmraish sounds of Hoor-Paar-Kraat and eerie glistening ambience of Wyrm, Across Tundras's dusky sludgy Americana, and psychedelic black electronica of Black Seas Of Infinity; the swirling dark industrial ambience of Bass Communion, and Light Of Shipwreck's crushing orchestral guitar drones and swarming buzz and percussive might. And that's just a sampling of what is spread out across these five cassettes; we're talking about six hours of exclusive music here, all germinating from the otherworldly psychedelic blackened metallic bliss of Pyramids but reconfigured into totally new shapes by each artist. It's assembled into a stunning package, too, the five tapes professionally printed with silver ink, all bundled together in a vinyl cassette album, with a metallic silver insert printed with black ink, the case itself sealed with a full color wraparound glued-on cover, and enclosed in a black cardstock slip sleeve that is sealed with a silver wax seal. Very impressive looking, and this "black" version limited to just two hundred copies.

SCORN   Yozza   CD   (Ohm Resistance)    9.98


In the wake of last year's excellent Refuse; Start Fires, Scorn's Mick Harris (formerly of grind legends Napalm Death and Painkiller) has produced a a new Ep of brutal, malevolent industrial dub that's more blown out and corrosive than usual, while continuing to use the live drums that Scorn began to incorporate on Refuse. The four new tracks that are featured on Yozza are Scorn at it's heaviest, the shotgun snare drums and deep wobbly bass shaped into robotic time signatures, a throbbing, skulking dubstep monstrosity that's quite different from the sparse, down-tempo ambient dub of his 90's output on Earache Records. Here, the pounding industrial-dub beats of "Piper" crawl with a nightmarish 70's horror vibe, producing one of the heaviest Scorn tracks I've heard in ages, with a pulverizing bass assault grinding across a surreal nocturnal landscape lit by halogen lights and blanketed in black ash. The stuttering, lurching rhythms and fractured tectonic dub-bass that appears on "Turn Ting Up" turns it into a sort of warped, pitch-black cybernetic dancehall mutation that is laced with murderous drill tones and wobbly low-end pulsations. "Shake Hands" picks up the tempo with it's malevolent industrialized raggacore throb, unleashing a crushing break beat attack infested with growling machines and gut-rumbling low end, and closing with the gruesome black dubstep of "Names".

Comes in a digipack illustrated with killer artwork from Khomatech.

Track Samples:
Sample : SCORN-Yozza
Sample : SCORN-Yozza

SLAUGHTERED LAMB, THE   The Path Of Ashen Bone   3" CDR   (Black Goat)    5.98


A limited 3" CD from the Cali duo The Slaughtered Lamb, whose members are also part of Welter In Thy Blood and A Taste For Decay, all members of the closely-knit roster surrounding the Black Goat label, a tiny imprint that specializes in starless, stygian depths of black sonic void. It's a similar sound going on here, a mix of abstract noise and blackened doom and bleak nightmare ambience, but The Slaughtered Lamb gets even more abstract, more formless compared to Welter In Thy Blood, using a limited palette of guitar, bass and noise to sculpt a form of minimal industrial blackdoom. This disc features two lengthy tracks, the first more ambient and droning, the second heavier and more chaotic.

First up is "A Cold Beneath", eight minutes of minimal black drone, crawling dungeon ambience, distant swells of distorted low end, a muted riff drifting across a yawning black void, like the sound of a doom metal band playing at the bottom of the ocean, totally devoid of forward movement, just a heavy, formless black fog slowly undulating in the depths.

The second track "The Black Lodge" is much heavier, almost fourteen minutes of slow swirling clouds of ghastly graveyard mist and howling winds, far off metal scrape and clank echoing in the distance, deep whispering voices blending in with the susurrant breath of demons, then finally after a few minutes the guitars enter, a massive blackened doom-laden heaviness hovering overhead, blackened and menacing, slicing through the oppressive sonic fog, the vocals now becoming scorched, bestial screams swooping through the swirling black drift, a shapeless, monstrous black industrial crawl devoid of percussion or propulsion. Eventually the heaviness and harshness slowly falls away bit by bit, until the last few minutes become a bleak, minimal wash of low drones and black ether.

Released in a limited hand-numbered edition of 100 copies.

Track Samples:
Sample : SLAUGHTERED LAMB, THE-The Path Of Ashen Bone
Sample : SLAUGHTERED LAMB, THE-The Path Of Ashen Bone

THEOLOGIAN   A World Of Rain And Failure   CDR   (Annihilvs)    8.99

THOUSANDSWILLDIE / PSYCHOFAGIST   Raiz Diabolica   CD   (Nothing Positive)    10.98

Two bands, one American, the other Italian, and both serving up some brutal noise-damaged grindcore brutality that clocks in at right under 20 minutes. Psychofagist, I love those guys. I've been a fan since I picked up their debut album that that Italian label Headfucker put out years ago, and anytime these guys put something new out, I'm going to be all over it. Mixing together jazz and grindcore isn't new - hell, it's been almost 20 years since Painkiller blew our skulls apart with their potent free jazz/grind/death dub experiments - but there just aren't that many bands that have the jazz chops as well as the grind chops. Psychofagist are one of the few that do, and I'm really stoked to hear their new stuff now that the guy from Zu has joined the band.

The Psychofagist tracks on this split CD, of which there are three, were recorded before the new lineup changes took effect, but these songs still deliver everything I love about this band: brutal grindcore with awesome gutteral vocals and chaotic minigun blastbeats, wailing free-jazz sax skronk, skronky improvised free-noise clatter, and crushing, angular prog/no wave riff workouts wedged in between the hyperspeed grind blasts. There's two new songs here, plus a weird cover of "Laredo" from Tomahawk that includes the singer doing his best Mike Patton impression (which actually ain't all that bad), about ten minutes of brutal howling jazz-grind chaos. Killer!

Now, Thousandswilldie were new to me when I picked this up, but they don't disappoint either. This guitar/drums/vocals trio are from the Bay Area and have another 7" that came out on R.S.R. that I'd like to check out, and there are also some awesome live pics floating around online of these guys playing live that look like they put on an insane show, all covered in blood and setting their cymbals on fire and tearing up the stage like a youth crew band that was slipped some angel dust. Which is exactly how I pictured them when listening to their side of this split. Thousandswilldie rage through sixteen songs, hardly any of them more than 40 seconds long, blazing through feral hyperspeed grind that sounds like a collision of old school Earache blast and Man Is The Bastard style hardcore, the singer somehow leaping from insane gutteral roars to punky, super pissed off screams in the blink of an eye, and blending in an assortment of looped samples, grungy electronic noise and murky ambience with the grind. The noise/loop stuff actually shows up alongside the grind riffs and blastbeats in some of the songs or is used as interludes between songs, and it reminds me of the murky noise experiments you could have found on an old RRRecords cassette from the 80's. I really dug these tracks, and will be on the lookout for more stuff from these guys for sure.

Packaged in a six-panel full color digipack.

Track Samples:

TO BLACKEN THE PAGES   Semblance Of Something Appertaining To Destruction   CD   (Colony)    12.98

Track Samples:
Sample : TO BLACKEN THE PAGES-Semblance Of Something Appertaining To Destruction
Sample : TO BLACKEN THE PAGES-Semblance Of Something Appertaining To Destruction

TWODEADSLUTS ONEGOODFUCK   self titled   LP   (A-Pop)    11.98


A new, limited edition LP version of a self titled CDR that the band released in late 2007, this short-but-bulldozing slab of power electronic hatred features six tracks of extremely distorted and hyper-violent cement mixer noise from this confrontational, controversial outfit. Twodeadsluts first appeared a couple of years ago as a crude digital grindcore project started up by some art school students, but has since evolved into a brutal electronics outfit that has taken a fistful of pages from the Whitehouse book, constructing crushing walls of distorted white noise that are sculpted into swirling black holes of feedback, rumbling low-end, warbling feedback that seems to form into strange melodies, and multiple vocalists who spew all manner of horrific, sociopathic imagery that gives Peter Sotos and William Bennet a run for their money. These cats sure have pissed off their share of politically correct indie noiseniks with their abusive song titles and banter that seems to revolve around prostitution, deviant sexuality and mindless violence, and their live sets are pretty notorious for the members of Twodeadsluts getting completely naked, hurling themselves off of tables into the audience and sending microphones and equipment hurtling into whatever onlookers have the cashews to get knee deep in the groups transgressive tantrums. It's either GG Allin grade geekshow or a pitch-black investigation of the filthiest corners of the human psyche, depending on where you lean, but either way there's no denying that these goons are blasting some top notch electronic deathwarp. On this particular slab, the tracks move from crushingly heavy and depressing synthesizer dirges to calmer ambient sections formed from immense low-end buzz, and back to ferocious feedback assaults and pulsating waves of death industrial crunch a la Brighter Death Now, and it's all given a serious sonic heft courtesy of the mastering job from James Plotkin. One of the few American outfits next to Prurient and Slogun that I can legitimately recommend to fans of harsh Power Electronics like Con-Dom, Sutcliffe Jugend, and Whitehouse. Limited to 300 copies, and packaged in a black sleeve silkscreened with metallic silver artwork that features a really gooey money shot on the cover.

Track Samples:

TWODEADSLUTS ONEGOODFUCK   Girls Born In The Nineties   3" CDR   (A-Pop)    8.98


Here's another installment in A-Pop Records weird little Pasteur series, where they package handpainted 3" CDRs in little plastic petri dishes filled with some kind of hardened wax. I've listed some of their other releases in the series from Warhammer 48K and Sword Heaven in the past, and now we've got the very first disc that came out in the series, the now out-of-print Girls Born In The Nineties from Twodeadsluts Onegoodfuck.

The Boston power electronics/skumblast ruffians in 2DS drop what might arguably be the most offensive and vile recording that they've subjected us to so far. Just chew on that title for a little while and let all of the sordid implications soak in. I'm not even going to list the goddamn song titles here. In the space of eight minutes, Twodeadsluts create a soundtrack for the next time you sit down to peruse those PDF scans of Peter Sotos' PURE Magazine you downloaded off of the net last night, taking us through a number of harsh, six-second blasts of feedback overload and harsh power electronics, orgies of ultra-grating, high end skree, and assorted profanities shouted en masse through a wall of acidic distortion. The only exception to this Prurient-style assault is the very first track, a two minute track of crushing, blackened industrial dirge comprised of hellish screams, pounding metallic percussion and huge shuddering machine rhythms, and abrasive buzzing textures.

Super limited and long gone from the label, we only have a couple copies of this in stock!

Track Samples:
Sample : TWODEADSLUTS ONEGOODFUCK-Girls Born In The Nineties

VARIOUS ARTISTS   Climax Denial/ Discordance/ Human Larvae/ Moribund/ Sewer Goddess/ Sharpwaist   6 X CASSETTE BOXSET   (Phage Tapes)    25.00

Climax Denial/ Discordance/ Human Larvae/ Moribund/ Sewer Goddess/ Sharpwaist IS CURRENTLY UNAVAILABLE FOR ORDER

VARIOUS ARTISTS   4 Seasons Pizza   LP PICTURE DISC   (Sonic Belligeranza)    12.98


One of several picture discs that recently came in from the Italian glitch/noise/splattercore label Sonic Belligeranza, the Four Seasons Pizza 12" is a compilation of face-shredding electronic noise from the Italian underground that's presented via a ridiculous pizza-themed concept. There's four different artists featured on the record: DJ Balli is the guy behind the Belligeranza label as well as a prolific producer of extreme electronic noise and experimental breakcore; the Bruital Orgasme duo combine random noise, field recordings, synth and turntables among a myriad other instruments to create their abstract drone/noisescapes; the unpronounceable Zr3a has previously released stuff through Grindcore Karaoke; and Stefano Di Trapani's System Hardware Abnormal is but one of the many underground noise projects from the Rome-based artist. On the first side of the record, each of these four artists deliver a single track of pure harsh noise, beginning with DJ Balli's "Col Fischio O Senza? (Mushroom Mix)"; this short track is blasting Merzbowian noise cut up with weird samples of classical music, cartoonish laughter, and someone yelling in Italian, scattered throughout the ultra-abrasive electronic carnage. Would definitely appeal to fans of the more maddening, psychedelic extremes of Government Alpha. That's followed by Bruital Orgasme's "Pizza Concrete (Artichoke Mix)", a slightly more subdued harsh noise track that blends in dark droneological rumblings with abrasive feedback, swooping electronic effects and bursts of savage distortion. Zr3a also delivers a harsh-as-hell electronic assault with "Pichi Pichi Gal (Sausage Mix)" that again reminds me of the fast-moving chopped-up violence of Government Alpha, and last is System Hardware Abnormal, who unleashes high pitched squealing tones and chaotic chirping noise a la Bastard Noise on "CiNapoli (Raw-Ham Mix)".

The flipside of the 12" basically takes all four of those tracks and has them mixed together into an entirely new composition, hence the whole "pizza ingredients" concept. Titled "Enjoy Pizza Bokassa Kill Kill! (4 Seasons Mega-Mix)", this is a densely layered noisescape filled with rhythmic mechanical chirping and harsh fluttering distorto-drones, rapidly chopped-up blasts of over-modulated noise, piercing tone fuckery, crazed shrieking vocals and weird backwards tape sounds, later evolving into a total whiteout of crushing electronic noise that ends up dropping into some locked-groove style rhythms towards the end. Its abrasive as hell, and pretty much for harsh electronic noise junkies only...

VARIOUS ARTISTS   Ennui ( Actuary / Liver Cancer / En Nihil )   CDR   (Roil Noise)    7.98

  Ennui teams up three of the more brutal practitioners of extreme electronics and modern death industrial for an hour of intense noise; two of these outfits (California harsh noise sculptors Actuary and long-running death industrial outfit En Nihil) are longtime Crucial Blast faves, but this is my first time hearing Liver Cancer, a newer band belting out some of the heaviest stuff on the disc via a hellish power electronics assault fused to some massive subsonic rumble.

   Actuary are up first, with two long tracks of their sinister loopscapes and harsh electronic chaos. It starts off with fractured synth-like melodies circling endlessly through the void, but then morphs into a much more abrasive noisescape of distorted drones, eerie chopped-up melodies, crushing hypnotic synth buzz and violent feedback manipulations. It's got that psychedelic edge that all of the other Actuary recordings have, joining their heavy Bastard Noise influence with a chopped-up inchoate chaos. The other track is more garbled electronic horror, monstrous howls looped into endlessly elliptical patterns, drifting through thick clouds of crackling, squelchy noise and pulsating black synths.

   Next is Liver Cancer, who as it turns out has basically the same lineup as the noise outfit +DOG+. Here, the band flexes more of an intense power-electronics assault, employing a heavy malevolent bass presence that may resonate with fans of Genocide Organ. These guys unleash a swirling surreal noisescape called "Birth/Suffering/Death" that stretches for nearly twenty minutes, shifting constantly between garbled distorted noise infested with deep demonic vocals and deformed, guttural synth-drones, percussive rattling drenched in echo, and blasts of extreme brain-melting feedback. Good stuff, definitely has me wanting to hear more from this project.

   The last three tracks from En Nihil lean more towards the harsh noise end of things and away from the grinding death industrial heaviness of some of his more recent offerings. It's still plenty grim, though. Titled "Cold", "Dead", and "Empty", these tracks move between long stretches of rumbling low-end noise strafed by eerie keening drones, distant Tangerine Dream-esque arpeggios and blasts of churning black static, often erupting into surges of crushing harsh noise a la Macronympha, and even a few passages of full-on harsh noise wall.

   Packaged in a slimline DVD case.

Track Samples:
Sample : VARIOUS ARTISTS-Ennui ( Actuary / Liver Cancer / En Nihil )
Sample : VARIOUS ARTISTS-Ennui ( Actuary / Liver Cancer / En Nihil )
Sample : VARIOUS ARTISTS-Ennui ( Actuary / Liver Cancer / En Nihil )

VARIOUS ARTISTS   No Speed Limit: Essential Quebec Metal Demo Tapes   8 x CASSETTE   (Nuclear War Now! Productions)    46.98

Dig French accents and raw old-school thrash metal? Well then, here's your new favorite boxset of 2015. Nuclear War Now put out this killer collection in collaboration with Cauchemar's Annick Giroux as a kind of companion pieces to Felix B. Desfosses's recently published history of French Canadian metal L'evolution du Metal Quebecois, gathering together eight of their favorite demo tapes from the Quebecois thrash scene of the mid-to-late 1980s. It's lovingly assembled, each tape reproduced down to the original label design and with a reproduction of the original xeroxed tape cover tucked behind each tape, everything housed in a big chunky plastic box with cover art from Voivod's Away, with a sixteen page booklet with liner notes and band info written in both English and French. Very cool. This whole collection is a wicked blast from the past, and a great look at how vibrant the French Canadian metal underground was during this era. Just by looking at the thanks lists in each of the demos, you can see how Voivod were the nucleus of the burgeoning Quebec thrash scene, but at the same time there was a lot of variety coming out of this region. Some of these demos had previously been reissued on vinyl and/or CD by NWN, but here they are reproduced in their original form with an impressive attention to detail.

For fellow fanatics of weird 80's thrash, the centerpiece of massive boxset is Voivod's No Speed Limit Weekend live demo, recorded at The Spectrum in Montreal on October 12th, 1986 and originally released exclusively through the band's Iron Gang Fanclub prior to their excursion to Europe to record Killing Technology. These guys were at the top of their game at this point, brilliantly combining their prog rock influences with a ferocious, off-kilter thrash metal assault that was heavily tinged with the chaotic energy of US hardcore. Taking the stage as the theme from John Carpenter's The Thing plays over the PA system, the band tears through a ferocious hour long set, racing through blistering renditions of various songs off of Rrroooaaarrr, War And Pain and the Thrashing Rage 12". Sound quality is actually pretty great for being a soundboard recording, punchy enough that the band's zonked-out, dissonant sci-fi prog thrash totally irradiates you as they tear pell-mell though these breakneck versions of classic tunes like "Ripping Headaches", "Iron gang", "Warriors Of Ice" and "Voivod".

While they didn't achieve the level of fame that Voivod did, Obliveon were another amazing prog-thrash band that came out of the Montreal area around this times, and were themselves clearly influenced by the proggy weirdness of Voivod. The band's Demo #2 is included here, an awesome dose of unusual thrash metal that was already starting to show the spacey atmosphere, oddball riffing and chord structures, the nimble, dizzying bass work, savage death metal-esque vocals, and churning rhythmic complexity that would define their later albums. You can hear that heavy prog influence, but it's balanced with lots of speed and ferocity, and this along with the band's first album are pioneering pieces of Canadian tech-thrash history.

Barely out of junior high and looking like a cross between KISS and Venom in the high-contrast band photo that appeared on the sleeve of their 1987 Thrash Till Death demo, Quebecois numbskulls Vensor offer up one of the more bizarre demos in this set, with awesomely crude cover art and provocative use of swastikas and rude song titles for shock value, and a crude, low-fi attack comprised of raucous, sloppy thrash metal, some major delay-overdose on the vocals and a generally tilted vibe that makes this one weirdly endearing for fans of teenage violence. It's a nicely fucked-up stew of primitive brain-damaged speed metal, ambient weirdness that borders on Abruptum-esque, and unbridled adolescent misanthropy.

The craziest demo in this set might be Soothsayer's 1986 To Be a Real Terrorist tape. Easily the most maniacal outburst in this collection, the debut recording from this crazed outfit took Slayer-influenced thrash a few steps further into rabid, shrieking hysteria. With a demented, frothing at the mouth vocalist whose shrieks and near death metal-level throat-hate propels these five ripping blasts of spastic ultra-thrash into the further reaches of PCP-addled insanity, Soothsayer deliver their violence at a terrifying level of intensity. Musically, this demo fucking shreds, but those vocals are some of the most animalistic I've heard off a thrash tape from this era, so nutzoid and out of control that it's kind of reminiscent of Siege. Now I'm kicking myself for not grabbing that discography release that NWN put out a few years ago.

Even the more straightforward bands featured in this set are the creme de la creme of 80's era speed annihilation. The 1987 Trials of War demo from St-Bruno speedbeasts Treblinka delivers war-obsessed thrash ferocity, racing through six tracks of 100 mph fleshrip that has an unmistakable Slayer influence, but with a weird vocal delivery that goes from piercing Araya-style screams to an odd drawled moan. Denim-and-leather-clad street mutants Aggression are represented here with their 1995 Demo #1, which featured two songs that would later appear on the legendary 1986 compilations Thrash Metal Attack and Speed Metal Hell Vol. II on New Renaissance Records. Playing a violent brand of early thrash metal spiked with a noticeable hardcore punk influence, the band belted out this savage four song demo in 1985, combining evil, morbid imagery with a ferocious, super-catchy brand of filthy, punky thrash n' buzzsaw guitar assault that really rips, splattering insane guitar solos over their brutal speed bursts, slipping into titanic Frostian breakdowns and other savvy tempo changes to incite maximum mob-violence. The Buried Pieces 1984-1986 cassette combines two different demos from the obscure Montreal-area outfit Outrage, who briefly flirted with a record deal with Roadrunner in the late 80s before breaking up and disappearing into obscurity. It's another no-frills blast of rough-hewed thrash, at their core these guys were channeling some primo Motorhead-style speed metal (singer Nick Arrow sounds eerily akin to Lemmy) with mucho sass and some killer hooky songwriting ("Until You Bleed In" will likely be rattling around in my skull for at least a few more days), juicing that up with some heavy doses of later-era thrash metal, NWOBHM informed guitarwork, and even some flirtations with an early death metal vibe on the later recordings featured here. Burly stuff, across the board. And Voivod's hometown buddies in Voor spat out their own venomous brand of primitive blitzoid speed metal via their Evil Metal demo from 1985, a brief blast of wicked thrash that stood out for it's sheer unhinged chaotic energy and the singer's relatively extreme vocal style, a bestial bark that echoes wildly across these four songs; that gruff, unhinged delivery and the band's penchant for morbid imagery and satanic insanity reveals this to be a kind of lost proto-death metal artifact, somewhat comparable to early Possessed but infected with it's own unique strain of Quebecois madness. The violent energy on this awesome demo is through the fucking roof.

Aside from layout out an absurd stack of cash for original copies, No Speed Limit is the only way you're going to get these killer demos on the original format and with the original covers; it's one of the coolest cassette boxsets I've ever seen, and laying this thing out in front of me and blasting these tapes at maximum volume might be the closest thing to time travel I'll be able to manage for the moment. Totally recommended for fellow obscuro thrash addicts.

Track Samples:
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes
Sample : VARIOUS ARTISTS-No Speed Limit: Essential Quebec Metal Demo Tapes

VARIOUS ARTISTS   Diseases of the Head: Essays on the Horrors of Speculative Philosophy   BOOK   (Punctum Books)    27.00

VARIOUS ARTISTS   Void: Daeva Durzeiriche / Moloch / Saturn Form Essence / Magatsu Juso   CD   (Sabbathid Rex)    11.98

VARIOUS ARTISTS   Be Very Afraid: Electronica Obscura Vol.1   CD   (Dead Mind)    11.98

This first volume in the Dead Mind "Electronica Obscura" series is exactly that, an ultra-diverse collection of left field electronic drones, beats, noise, and avant-electronica...every track is excellent, and there are some real gems from little-known artists in the underground avant-electronics scene.Monotonos delivers some sublime sine-drone, followed by Bag Lady and Ostomy, who both lay down some glistening glitchbeat and hypnotic fractured electrofunk. Brutal gibbering noise and crunchy Atari blasts follow from the Crank Sturgeon vs. Outermost collaboration, "Sonic Sluggard", then Truck Van Rental emits some whooshing sci-fi space-noise whirr. Kamp Chaos mashes up dub vocals over a grinding distortion bass loop...heavy, trance inducing stuff. The Rubber O Cement VS. James Twig Harper jam, "Subaceous Gland Shoppers" is a 3 part skulldrill of deranged feedback honk, merciless distortion honk, and epileptic oscillating freakishness, not too unlike Harper’s NAUTICAL ALMANAC. Dead Husbands follow with a minimal, almost micro- breakbeat jam, all clicks and squeaks and funky damaged breaks.Mouse On Mars collaborator Harald Sack Ziegler drops "Landebahn 2002", a gorgeous, totally charming and beautiful song that starts off like a bombastic techno pop number, then quickly turns into an orchestral-Tangerine Dream-like synth epic with cute squelching electronics and horns and tinkling cascades of chiming electronics like looped Steve Reich pieces, and a beautiful, insanely catchy melody (that sound like sad female vocals, but I’m not quite sure-ending with a keening, smoky sax solo. Hands down the best track on this compilation, and I can’t wait to hear more from Ziegler. Awesome stuff. Buckettovsissors follows with "Genomic Injunction", a bone breaking exercise in brutal powernoise. The drill noise beat is skullcrushing. Kingdom Scum are next, and dig in immediately with an old school breakbeat backing rhythmic snorting noise and bells. Hard as nails. The final track from Tumour, "Prepare To Putrefy",closes out the compilation with a ferocious blast of grindnoise gurgle,hyperspeed micro-blastbeats,and subterranean metallic puke loops. This compilation RULES. Essential for fans of left-field underground electronics.

VARIOUS ARTISTS   Virus Has Been Spread   CD   (D-Trash)    12.98


The newest release from the long running Canadian label D-Trash is a tribute compilation to Atari Teenage Riot, and there's probably no other label better suited to curate a collection of artists ready to pay homage to the masters of digital hardcore than D-Trash. They've basically been a North American arm of the DHR label since the label came into being in the late '90's, and D-Trash artists like Schizoid and Unitas have been featured on DHR compilations and released through the DHR imprint. So here we are, seven years after Atari Teenage Riot ceased operations, and D-Trash takes stock of the current state of hardcore techno/gabber/speed metal techno with this 16-track compilation that features Schizoid, Rabbit Junk, Howard Roark, Zymotic, Unitus, CTRLER, NOCORE, The Secret Life Of Teenage Girls, Phallus Uber Alles, Hercklekot, Cyanotic and The Phoeron each doing a version of a classic ATR track. Most of the renditions here stick pretty close to the originals, just ratcheting up the noise and speed levels when they can, and some of this shit is the fastest speed metal/techno I've ever heard. Some of the standouts: Howard Roark's version of "No Remorse (I Wanna Die)", which was a collaboration between ATR and Slayer that appeared on the soundtrack for the movie Spawn; his version is appropriately shredding, complete with maniacal Araya style yelling blasting through a distorted megaphone; Schizoid, who we can always rely on for sheer blasting blackened breakbeat mayhem, drops a scorching buzzsaw cover of "The Future Of War". And Unitus slows "Death Star" down into a crushing dirge that sounds like a breakbeat-heavy Godflesh being sucked into a black hole. And this compilation also works well as a introduction to the speed-metal infested digital hardcore underground, as most of these tracks rip mightily, fusing fierce distorted breakbeat action to speed/thrash metal guitars and gobs of vicious electronic noise.

VARIOUS ARTISTS   Dreams Of What Life Could Have Been   CD   (Psychedoomelic)    11.98


A who�s who of contemporary, grisly sludgecore. 80 minutes of extreme nihilistic sludge and blackened doom. SOULPREACHER starts off with 2 tracks of surprisingly melodic and psychedelic sludge that winds down into monstrous crushing dirge destruction, with excellent contrasting clean/witch vocals. FISTULA demolish 2 tracks of stonerized sludge mastery with more of their patented battle riffs that will glue themselves to yer skull for days. Hate sludge legends GRIEF emerge into the blackness with 2 songs of energetic, suicidal doomcore. Excellent! Belgian psyche-sludgelords. THEE PLAGUE OF GENTLEMEN present an epic, unnerving tracks "Your Love Is King (of the dead) Part 2 & 3", that will nail you to the floor with its proggy tempos and riff changes and slow and low riff thuggery. NY sludge veterans return with "Nod", a bludgeoning, super-downtuned space doom anthem. And from the Uk hails the mighty RAMESSES, featuring the former rhythm section of ELECTRIC WIZARD - "Black Domina" is loaded down with noisy, infectious, sludgy riffs, as crushing as you�d expect from this skilled battery team. And fellow UK doomsters MOSS cap this nuclear blast off with "Beyond Despair", an oozing epic of sledgehammer distorted dronery and hopeless witch vocals and an excellent low-fidelity skin peeling attack that will have you reaching for the Nyquil in no time. A crucial collection of modern tarpit violence and droneriff despair, haunted by the ghosts of WINTER, HELLHAMMER, and AUTOPSY.

VARIOUS ARTISTS   Icing On The Gravy   CASSETTE   (Coaxt)    5.98


This cassette comp features a ton of unreleased/hard to find stuff from all kinds of 90's extreme HC bands like ASSHOLE PARADE, MRTVA BUDOUCNOST, KUNG FU RICK, AUTORITAR, VILENTLY ILL, KATASTROFIALUE, PALATKA, WARSORE, DENAK, GODSTOMPER, THE END OF THE CENTURY PARTY. Full color packaging.

VARIOUS ARTISTS   Means To An End   LP   (Armed With Anger)    7.98

This compilation LP features exclusive tracks from VOORHEES, MANFAT, HARD TO SWALLOW, UNBORN, SOLANKI, STALINGRAD, TRIBUTE, SCHEMA, BABY HARP SEAL, and BOB TILTON. Released as a benefit for the 1 In 12 Club, a long running underground anarchist venue in Bradford,UK. A great mix of UK bands, ranging from hateful thrashcore to nightmarish dark hardcore,futurist crust visions to melodic heavy emotional hardcore. These were dug out of the shadows, and have some shelf wear on the edges of the sleeves, hence the low price.

VARIOUS ARTISTS   Old Tyme Lemonade: Providence & Olneyville RI   CD   (Hospital Productions)    11.98

Old Tyme Lemonade: Providence & Olneyville RI IS CURRENTLY UNAVAILABLE FOR ORDER

Originally released as a retardedly ultra-limited cassette comp, this super-sweet compilation disc showcases one of the coolest scenes anywhere:

Providence / Olneyville , Rhode Island ! All exclusive shredz from LANDED , NOISE NOMADS , NECRONOMITRON , MINDFLAYER , KNIGHTS OF TIMBRE , EM DATH RIR ,


BOLT,KNIFESTORM,MEERK PUFFY,WHITE MICE,and PATOOTIE LOBE. Providence rules! You've got everything you need here: gnarled warp-prog no-wave metal, free-noise

jam assaults, glacially drifting post-rock, sweaty drum/noise stomping freakouts, loopy plunderphonia, hyper-primitive bedroom blackened grindcore, Am Rep

noise-rock worship blasted to smithereens, blazing thrash...Standouts? DROPDEAD's fucking awesome live track from Finland circa 1996, where a droning washout

reminiscent of DEAD C or SONIC YOUTH emerges from the wreckage of their 1000mph onslaught of thrash... LIGHTNING BOLT's loose, hypnotic dirge-riot...FOOTBALL

RABBIT's stomping, proggy metal n' handclap crunch...tis' a killer comp, much of it low-fi and raw around the edges, but this stuff wasn’t made for sissies.

Get it and get yer head caved in.

VARIOUS ARTISTS   Spill Your Guts Friend   CASSETTE   (RRRecords)    5.98

Do you need an injection of paint peeling early 90's noise/punk damage? This DIY tape compilation compiled and released by Stomache Ache Records will

deliver. This comp features about 40 minutes or so of weird noise improv, scorching noisy punk rock, and fucked up heaviness from the likes of GG Allin, ANA,

Emil Beaulieau, Bringdownzz, Brown Supper, Faxed Head, Gerogerigegege, Needles, Out Cold, Lee Ranaldo, Royal Trux, Specula, Squirmbo, Steeplesnakes, Gregg

Turkington, and also includes a vocal/cut-up intro from Eye Yamatsuka of Boredoms/Hanatarash ! Cool shit, a perfect soundtrack for your next 'Tussin binge in

the basement with your buds. The tape comes in a regular tape case with a green cardstock xeroxed sleeve.

VARIOUS ARTISTS   Where Is My Robotic Boot   2 x CD   (Hydra Head)    15.98


The compilation gets no love anymore. That sad fact is probably due to the sheer number of shitty, ill-advised compilations that labels have put out with no

unifying theme or context over the years. But for me, there's a sort of adventurous spirit that I feel that I tap into whenever I get my hands on a

really well-assembled compilation, one that has a single completed thought that ties together all of the songs and artists gathered together. And I

think that the best compilations are the ones that have a personal feel, like a mix tape that you assemble for a friend, with all sorts of diverse

sounds that have been matched up to convey a certain feeling, or idea, or a moment in time, every band thought about ahead of time, each song hand picked,

staying up late sitting in front of your stereo compiling all of these killer tunes and sounds that you really want your friend to hear, because you

want them to flip out over these jams just as much as you did the first time you heard them. Well, Where Is My Robotic Boot totally has that same

vibe, collecting a shitload of bands and artists from across the spectrum of contemporary avant-metal and heavy electronic drone music, with a rad mix of

more well known names that are tight with the Hydra Head compound, and newer, way more obscure bands that the HH guys think you should know about. Each of

the two discs in this set focus on a different end of that spectrum...the first disc has the drone/noise jams, with tracks from Kid606, Final, Shifts,

Stephen O'Malley of Sunn O)) and Khanate, Craig Dongoski, Tribes Of Neurot, Merzbow, and Monotonos. All of which present killer contributions, ranging from

the blissed out grit of Justin Broadrick's Final, to a crushing slab of electronic noise from Merzbow, to Craig Dongowski's eerily intricate shortwave radio

ghost voices. The second disc brings out the metal guns, with spastic, chaotic post-grind from Jan Michael Vincent Car Crash and The Abandoned Hearts Club,

to the Am Rep/Big Black/Godflesh jackhammer of The Austerity Program, Gezoleen's caustic black-hole rock, mental grinding cut-up from Phantomsmasher, an

AWESOME shred workout from Orthrelm, and a live recording of Khanate's "German Dental Work" live on WFMU. Highly recommended to everyone. One of the best

compilations to come out lately, really. To top it all off, the packaging has wonderful glitch chaos artwork from Seldon Hunt and liner notes from Jim Haynes

putting everything in perspective.

VARIOUS ARTISTS   The World Will End Yesterday   CDR   (Colour Sounds)    9.98


Brooklyn based drummer Adam

Kriney is seriously hyperactive. And I don't just mean his playing, although this guy is an amazingly spastic and frenetic drummer and noise

thinker. But he also does time in at least half a dozen assorted free jazz/psych/improv-grind/noise outfits, and operates his consistently great Colour

Sounds imprint which just put out a stack of limited-edition, visually delicious vinyl and CD-R releases over the last half of 2006. We've recently stocked a

few of the noisier Colour Sounds releases, including the ghostly improv/shred ritual Once There Were Some from Quivers, and that killer 12"" of

brutal Borbetomagus/Painkiller style brute improv from Rust Ionics. And here we have a three-way split CD-R, in an extremely small, limited edition pressing

as usual, which connects a variety of weirdness associated with the label. The disc opens with three tracks of skronky, exploratory free-jazz-noise from the

long running Hat City Intuitive collective. These guys have been at it since the early 90's, and bring a blazed intensity to their druggy jams that

references points between Ayler and Amon Duul. Next, Colour Sounds owner and freakazoid drummer extraordinaire Adam Kriney emerges with his own La Otracina

group, who produce a single massive track of heavy haunted drift that demands repeated spins. Built from an assortment of live recordings captured in 2006

while on tour, the layers of live action are collaged together into an immense, ominous cloud of backwards cymbal hiss, layered stoner guitar, dubby free-

jazzy blastbeats drowning in reverb, peals of room ambience, throat hymns, and shimmering feedback, all congealing into a monolithic, mystical free-drone

dream that floats in a similiar temporal plane as Fushitsusha. Seriously great. But it's the

last two jams from Big Nurse that make this total Crucial Blast

material...based out of Nashville/Murfreesboro, Tennessee, these punks spew an intoxicating form of deconstructed free 'core that closes this disc out on a

blast. The first track ""66 Pricks"" emerges out of a haze of stumbling free-improv, wrapping mangled guitar skronk around splattered cymbals and vertically

-moving un-rhythms, and at the tail end comes

together as a mass of minimalist riffing and Siltbreeze inspired noise. But then Big Nurse explodes into ""New

Constitution Part 2"", a nearly 13

minute skullfuck of low-fi early 80's hardcore ugh that's mashed with slobbering psych guitar and rampant amp noise, and

it's just as righteously destructive as any of the recent jams from those Eastern PA feedback thugss Violent Students and Pissed Jeans. Heavy, damaged

exploratory riffing collides with a seriously hard-hitting drum performance that bulldozes through the murky recording, and the vocals are kept

to a bare

minimum. A quick glance at the bands webpage reveals the influence of both Flipper and Nihilist Spasm Band, and you can hear it in

these two confusional

assaults. Limited to only 107 copies, and presented in a cool hand-numbered sleeve printed on paint-splattered art paper.

VARIOUS ARTISTS   Selection Of Drones Past-Singles 1993-2000   2 x CD   (Tumult)    16.98

Selection Of Drones Past-Singles 1993-2000 IS CURRENTLY UNAVAILABLE FOR ORDER

For over fifteen years, the German label Drone Records has specialized in released limited edition, beautifully handcrafted vinyl 7"s from an array of artists who focus almost singlemindedly on the exploration and creation of drones, intense and moving music that is pure atmosphere, a kind of "dream music" that is felt as much as it is heard. These EP's, designed by the artists themselves and released in extremely small editions, tend to go out of print soon asfter they are released, and are highly sought after documents of heavy, soul stirring drift. This two disc set Tumult Records came out about a year or so ago and did us all a huge solid by collecting some of the best material ever released through the Drone series, bringing these long out-of-print tracks to CD for the first time ever and creating a massive collection of drone music that's pretty essential for anyone that is a fan of the form. The collection features tracks from Maeror Tri, Aube, Reynols, Yen Pox, Francisco Lopez, Tarkatak, Spear, Alio Die, Dual, Ultra United, Vir, Kallabris, Klood, Vance Orchestra, Inade, Delphium, Dronaement, Toy Bizarre, Die Feinen Trinkers Bei Pinkels Daheim and Osso Exotico, each one a mysterious and darkly shadowed world of slowly shifting nebulae and tonal colors, ephemeral melodies and blissed out fuzz. So beautiful. And completely essential for fans of the drone and artists like Aidan Baker, Fennesz, Colecough, Noisegate, William Basinksi, Philip Jeck, Luasa Raelon, Envenomist, Chalk, Tim Hecker, Troum, and Lustmord. The two discs come packaged in a beautiful, austere gatefold jacket, with a full color foldout poster that features the original 7" cover art from the releases reproduced on the one side, and liner notes on the other. Highly recommended.

Track Samples:
Sample : VARIOUS ARTISTS-Selection Of Drones Past-Singles 1993-2000
Sample : VARIOUS ARTISTS-Selection Of Drones Past-Singles 1993-2000
Sample : VARIOUS ARTISTS-Selection Of Drones Past-Singles 1993-2000
Sample : VARIOUS ARTISTS-Selection Of Drones Past-Singles 1993-2000

VARIOUS ARTISTS   100 Way Splatter Fetish   CD   (Alarma)    9.98


Remember the Bleeeeaaargh compilations from Slap A Ham back in the 90's? Where a single 7" would feature something like fifty 10-20 second songs from a buffet of powerviolence, grindcore, and noise bands? Well, Alarma have taken the same concept and used it to curate this insane compilation of one hundred different bands from the global extreme grind scene, and all of them are from the gore-soaked, porno-obsessed, LSD-overloaded, seriously fucking bizarre end of the underground. The cover art alone is enough to have any non-splattergrind fans racing from the room immediately to claw their own eyes out, a cartoon tableux so fucking vile and scato-rific that I can't even describe to you...and most of the band names listed on the booklet leave no question as to what kind of thematic territory is being explored here, with some of the most ridiculous standouts being Bowel Fetus, Bowel Stew, Soldered Poon, Anus Tumor, Diaper Fetish, Shredded Colon, Vomit Slit

, and, uh, Necro Tampon. So by this point yer probably in or out, but if yer a fan of far-out grind, warped noise and demented gore metal, this compilation serves up an incomparably weird feast. Since there's one hundred freakin' bands featured here, I'm not going to go over them all, but some of my favorites are drum-corps techno gore of Spermswamp, the insectoid electro spew of Brutal Nekkro Sex, S.M.E.S. and his awesome Atari driven gabber goregrind, and Absurdgod's awesome jungleist noisegrind blast. There's glitchy hard drive grind (Otto VOn Schirach, Snuffgrinder), fungoid hypergrind with programmed beats so fast that they defy logic, awesome stoner-boogie grooves ( as on Nothin'Suss' "Stalker"), Jig-Ai's perverted harsh Japanese noise/grind hybrid, the psychedelic industrial-deathcore of Avariral Anal, the old school hip hop beats-meet-Carcass fuckery of Sperm Injection.....jesus! It's almost too much to take. A large share of the bands on here incorporate v

arious electronic music elements in their sound, like hardcore gabba beats, techno, dub, old school 8-bit game music, even bits of glitch and IDM, and there's also alot of brutal harsh noise that figures into the mix as well as funky breakbeats, cheesy dance music detritus, and loads of samples. What unifies the compilation is the absurd scatological imagery and the waaaaaay over the top vocal styles, which range from electronically processed intestinal rumblings to sickening avant-throat shredding and all points in between. Obviously, grindcore purists will likely burst an artery listening to this stuff, but it's an essential listen for any of you mutants who are looking for the weirdest, most damaged/freaked out/fucked up splatterific grindcore imaginable!

VARIOUS ARTISTS   Sacrifice At The Altar Of The Satanic Blood Angel   CD   (Rusty Axe)    9.98

The defunct Californian black metal band Von are one of the more obscure USBM that I've found out about, but they were also possibly the first ever USBM band, dating back to 1989, making them an important link in the lineage of American black metal; coupled with the fact that Von's music was a forerunner to the whole noise/black/skuzz thing and that their ultra-rudimentary, trippy blackbuzz minimalism was completely and utterly intoxicating, they are often seen as one of the most influential early black metal bands. Despite the fact that Von only recorded a handful of songs across two demos, they influenced tons of second wave (and onward) black metallers, both American and otherwise, and in the past their songs have been covered by bands like Leviathan, Enthroned, Dark Funeral, Taake, and Watain took their name from a Von song. When you hear folks toss around the word "kvlt", Von is one of the bands that really embodied that notion. Somewhere else in this week's update list, I mentioned that Ildjarn was square one for the kind of filthy, primitive, trance-inducing blackpunk peddled by Bone Awl, Akitsa, and Ash Pool. You can now scratch that. After revisiting a handful of Von tracks today, it's clear that Von is precursor to all of those bands, an influence on Ildjarn (as well as a bunch of other Norwegian bands) and the raw DNA for all of the three-chord distortion-soaked minimalistic blackscumbuzz thugs that followed.

Rusty Axe went the extra mile though and fully documented the wide influence that Von has had on modern underground black metal by curating a twenty-four artist compilation; twenty-four artists all paying deference to the foul influence of Von via covering their small body of work. The bands featured include Blasphemophagher, Beastcraft, Tjolgtjar, Unholy Crucifix, Frostmoon Eclipse, Sumeria, Askelon, Esprit Derange, Godslaying Hellblast, Raw Hatred, Necroholocaust, Enbilulugugal, Sjenovik, Brobdingnagian, Dawn of Sorrow, Exekrator, Sermon of Foulness, Godless, Black Vomit, Burning Blood, Volkermord, Nuclearhammer, Ceremonial Castings and Istidraj. Coming from Rusty Axe, it's little surprise that the bands selected for this comp come from the weirder, low-fi edges of the black metal spectrum, "outsider black metal" as is the label's forte. Since Von only had about fourteen songs total across those two demos, there are obviously a bunch of tracks on here that show up more than once, covered by multiple bands; it's a wide variety of approaches though. Some of my favorite tracks here include the ultra-blownout Merzbowian stumble and bizarre audio dropouts of Brobdingnagian; Enbilulugugal's acrid blackblast noise that sounds like an even more jacked-up version of early Abruptum; the sub-low-fi doomthrash of Unholy Crucifix; the gurgling glitch noise of Black Vomit; the freaked out almost gabba-like hammering and busted speaker hiss of Esprit Derange. All of the bands are fast, and raw, insanely raw and blackened blasts of simplistic but intense and malicious riffing and mindless, hypnotic blastbeats, but with each band putting their own unique stamp of thrashing, low-fi, noisy skuzzy and terminally GRIM blackness on their selected track. This comp is certainly recommended to any fans of outsider and low-fi black metal, Von themselves, and all those that worship at the altar of fucked-up primitive BM like Akitsa, Bone Awl, early Beherit, Ancestors, Ash Pool, early Ildjarn, Absurd, etc. Comes with a thick 16-page booklet with a page of liner notes/artwork/photos from each band, and original album artwork from Von vocalist/guitarist Goat.

Track Samples:
Sample : VARIOUS ARTISTS-Sacrifice At The Altar Of The Satanic Blood Angel
Sample : VARIOUS ARTISTS-Sacrifice At The Altar Of The Satanic Blood Angel
Sample : VARIOUS ARTISTS-Sacrifice At The Altar Of The Satanic Blood Angel

VARIOUS ARTISTS   Audio Apogee   2 x CDR   (Frequency Thirteen)    9.98

Believe it or not, I really wasn't intending to get as deep into a written review of this compilation from Frequency Thirteen as I did, but once I started exploring all of the sounds documented on this new double-disc set, i just couldn't help myself from trying to lay out for you all of the strange and deranged sounds that have been collected here. I dove into the Frequency Thirteen label earlier this year after we received a bunch of their releases from bands like Dukkha, Skultroll, Ice Bound Majesty, Black Vomit and Torture Gnosis, all of who sounded nothing alike, but who shared a similiar propensity for blending together elements of krautrock, black metal, doom, prog, kosmiche ambience, and electronic noise into strange and intoxicating new sounds. Almost everything on the label comes from the UK burg of Sheffield, and the label has rallied it's roster and fans around the emblem of "True Sheffield Black Psychedelia", which is far less about a specific sound as it is the general headspace that these cats inhabit which allows them to produce such mutant heaviness. I loved all of the stuff that we picked up from Freq Thirteen, as did many of you guys, as we've continued to mail out loads of discs from the label ever since we started listing 'em.

Now, the label has come out with a compilation called Audio Apogee that captures a staggering amount of new music from both known bands on the label and new names that I havent't heard of before, but all of them are connected by the Sheffield scene and the warped and blackened psychedelic aesthetic that seeps into the music of every single one of these bands. If you though that the Freq Thirteen/"True Sheffield Black Psychedelia" sound was varied before, wait till you get a load of this...there's fractured industrial Grime filered through sputtering electronic noise, dark nocturnal dub, ferocious low-fi black metal awash in skull-peeling white noise, SST-infected motorik groove, dreamy dark krautrock, pitch-black kosmiche ambience, dark folk covers of blacknoise tracks, epic jangly hypno-sludge, instrumental gutter doom, grinding psychedelic blackblast, jagged doom/grind, proggy mongoloid thrash metal, oceanic dronesludge, even some strange off-kilter Britpop that sounds like a heavily drugged and deformed Stone Roses viewed through the wavering portal to another dimension. Every song takes you in a different direction, but at all times, you're situated right in the middle of the wonky Sheffield scene, making this one of the few real scene-documenting comps that I've picked up lately. To top it all off, the package is AMAZING, an extravagant foldout/diecut sleeve that was obviously labor-intensive to create, and one of the finest cd-r packages that I've ever seen.

The Frequency Thirteen disc opens with the ten minute "Bookdust" from Syn, a project from one one of the members of TheKevorkianSolution and Unholy Warlock. Beginning with a few minutes of whooshing, windswept cosmic drift and faded voice samples, this then kicks into a shuffling trip-hop rhythm and slithery bassline that lurches beneath a canopy of eerie samples, looped jazz piano, and loads of trippy electronic effects. Dark, ominous industrial-flecked trip hop grooviness. Then it's on to Dukkha, one of my favorite Frequency Thirteen bands, whose "Deu!" takes off immediately with a pulsating, fastpaced krautrock groove, a simple repeating guitar line over a pounding motorik beat, dark and hypnotic, obviously taking cues from Neu! and other classic krautrock bands like the song title suggests, but injecting it with that heavy weirdness that's a part of anything Dukkha does, especially at the end when the guitars get skronkier and more spikey, the drums erupt out of the motorik beat into a flurry of pounding rolls and it suddenly turns into instrumental hardcore, very SST-esque. Next is Jani Hellen, Who is actually from Finland but has been embraced by the Frequency Thirteen camp, not surprising when you hear the very strange, very gorgeous alien dronescape of "Piirit/Spheres"...this piece is constructed entirely from samples of Mellotron choir sounds that have been manipulated and layered on top of each other to create a nightmarish world of melting voices and lush angelic wails dripping down a vast black nightscape. Back to Sheffield, Pulsar's "Praeternatural Light" is a high quality live track (sounds like it came out of a studio to me) from this electronica group, who blend together vintage analogue synthesizers with a sputtering, lurching breakbeat assault, like an acid-dosed electro Hawkwind. Kptmichigan are from Germany, and deliver a relatively short piece of droning chorale synths, backwards melodies, wisps of white noise, and trance-inducing percussive loops into something that resembles a much more krautrock-infected Black To Comm, would definitely like to hear more from this mysterious project. Republic Of The Elms is one of the first real blasts of heaviness to appear on this disc...the duo erect might black walls of grinding glacial doom riffs and murky, dub-flecked machine rhythms beneath an endless sky of black electronics and epic melodic synths that almost sound like delayed horns blasting through the void. Blurts of crushing, almost dubstep-esque bassline and gusts of blackened noise appear throughout, and reminds me a bit of that new album from Legion Of Two. I really want to hear a full length from this project. The track then segues perfectly into the next, "Skunkstreet, Swaying" from Scum Also Rises, and holy shit, is this killer. Think UK grime, but slowed down, way down, to a stomping Godflesh-like pound with sinister synth pads and distorted basslines and laconic, reverb-soaked rhymes over top, bursts of mechanical double-bass flutter in the background kicking in and the creepy industrial groove morphs into frenetic drum n' bass halfway in, the rhythms becoming more energetic and furious and chaotic, the vocals disappearing completely and replaced by swarms of ominous sounding old-school 8-bit melodies, until everything gets chaotic and blasting at the very end, drum machine blastbeating, electronics going haywire, and finally sputtering to a close. Even if you've been following the Freq Thirteen label for a while, this track is still surprising to hear, but is so heavy and creepy and fucked-up that it fits in perfectly.

Microkoto contributes a nice track of dark, dreamy electronica called "Neptu", a swirling cloud of glitches and orchestral strings welling over skittery beats and eerie piano. Then Trolskull, which Freq Thirteen fans will probably deduce is an offshoot of the band Skultroll, whose disc on the label was reviewed here a few weeks ago. "Chant Of The Cryptical Priests" doesn't sound a whole lot like the super-distorted blackened hypno-rock that the Skultroll disc battered us with; instead, this four and half minute piece starts off with dark cumulus formations of metallic prayer-bowl whirr, digital distortion and haunted moans that loop around and around, a very Aural Hypnox sort of ritual black ambience, but as it gets deeper in, roaring squalls of distorted guitar and resonant waves of bell-like tones seep in, becoming pretty damn heavy by the halfway point, and then slides back out into the ether in a cosmic trail of feedback tones and creaking strings. Again, this track blends right into the following, OBM's "I Am The Middle Of The East", another foray into dreamy twilight electronica, this time composed of flurries of hand chimes and soft guitar melody interlaced over a murky rhythmic backdrop of tribal drums wound into vaguely krautrock like patterns. Fans of Muslimgauze, Vidna Obmana and Pellarin would dig this.

The next track is one the strangest on the compilation. The Disobedients are a band that according to the liner notes employs hip hop methodology, turntables and electronics into their normal activities, but what we get here is a cover of the song "Demons In The Black Smoke" from Black Vomit, one of our favorite Freq Thirteen bands (whose latest album on Rusty Axe was a featured release a few months back); you'd never recognize it though, as the band has taken this song and turned it into a dark and gloomy folk lament with the simple acoustic riff and plodding bassline accompanied by soft, hushed singing and the faint presence of electronic ambience in the background. It's really quite pretty, actually. Next comes "Singular Labyrinths" from Sluglord, who unleash lush dungeon atmospherics through time-stretched cymbal crashes, clanking percussion, sheets of blackened ambience, chest-rattling bass, and lonseome, extremely pretty guitar melody that's been warped and dunked in tar and stretched out across this vast expanse of stygian reverb-cloaked blackness. Kinda sounds like a more minimal kosmiche Goslings, which ain't no bad thing. And the last entry on this disc takes us back to Syn, who closes this out with the skittering, jazzy digital dubstep and nocturnal ambience of "Bloodlust".

Where the previous disc leaned more towards the druggy and dreamy krautrock and dub-flecked driftscape end of the Sheffield Blackpsych sound, the Night Angels Serve disc showcases the heavier end of the scene, starting with the pounding doom dirge of Beadle's "Withered Hand", a rumbling black-tar mass of instrumental Electric Wizard-esque riffage robed in droning feedback and interesting counterpoint riffing, stretched into a repetitious near-ten-minute hypnosludge jam. Then Dukkha breaks out "Nut Ward", the most rocking song I've ever heard from the project, mixing together skronky Greg Ginn-esque guitar around a skullpounding motorik beat - this fucking RULES, even though it's over in a minute and a half, FAR too short, and apparently this is also the last ever track from Dukkha, making this doubly bittersweet. Brobdingnagian follows with "You, you smell like death", which follows in the vein of their scathing disc on Rusty Axe with a hellstorm blast of low-fi black metal and ridiculously distorted noise that morphs into a round of pummeling tribal percussion before disintegrating into creeping black sludge. The track goes all over the place from there, exploding into nauseating chaotic black metal shot full of grating industrial noise and fucked-up vocals, then dropping into dark doomy jazziness that reminds me of Bohren & Der Club Of Gore, and finally evacuates in a blur of digital noise. "Reptilian Lairs" kicks in immediately from Drawn From Ichor, whose amazingly fucked n' chaotic blackened grind sounds like ten different Beherit songs all playing at the exact same time, becoming a massive roaring wall of blastbeat-ridden sonic scum. Insane guitar solos, weird damaged percussion, gurgling black vomit vocals, and even some strains of epic melody can be heard squirming around in their ultra-dense psychedelic blacknoise. Another favorite from this comp, for sure. We get another Trolskull track, the eleven minute "Unutterable Hideousness", which starts off as an expanse of black kosmiche drift, pulsating low-end streaked with digital glitchery and gorgeous deep-space synths and distant chiming guitar and strange processed vocals, but then explodes a few minutes later into a massive grinding dirge, crushing bass and orchestral darkness flowing over skittery rhythms and dubbed out percussion buried inside the mass of noisy electronic sound, turning this into a blackened electronica version of Nadja for a few minutes, before drifting back out into the void on thick clouds of interstellar fuzz, swelling synth drones, distant mechanical throb, and abstract digital noise.

Ydintalvi shows up and blew my doors off with "XV", a swirling blast of black metal chaos cloaked in white noise, Abruptum-like howls of torment, and ramshackle blastbeats, with a KILLER melodic riff at the center of it all, and hints of old school Finnish hardcore thrash lurking around the edges. It flows directly into "Myth Cycle" from Ice Bound Majesty, which is one of the tracks/bands that I was really looking forward to hearing on here. The Ice Bound Majesty disc on Frequency Thirteen was one of the label's best, a bizarre and totally unique fusion of damaged black metal, industrialized doom, grim Lustmordian ambience, and warped psychedelia, and I've been dying to hear something new ever since. "Myth Cycle" doesn't disappoint, though it's hardly what I was expecting. Things start off with a looped female vocal that sounds more like something you'd hear from some old UK dance remix single, while blackened guitars and sheet metal ambience clusters in the background, and then wham, everything explodes suddenly into a furious black metal assault, slamming programmed blastbeats alternating with thunderous double bass, scathing shrieks cloaked in distortion, a simple dreary melody repeating over it all. The song twists and turns, going from this raging computerized black metal weirdness, to weird techno-esque breakdowns, or stretches of psychedelic ambience and that ever-present female vocal loop floating over extended blastbeats. Ferocious!

And that's followed by what I think is the most unexpected piece of music on the comp, a catchy, kinda demented bit of shuffling groovy dance-rock from a band called Economy 9. Their "Yer Good Self Has Died" comes across like a dark, trippy version of early 90's Manchester sound, like Happy Mondays and Stone Roses, but infected with that weird effects-drenched Sheffield psychedelia. Crooning vocals and funky off-time rhythms and a shadowy vibe permeate this track, and while it seems to come out of nowhere after the blazing noise-damaged black metal that has preceded it, after a moment it starts to feel right at home within the offbeat Sheffield soundworld.

The rest of the disc features a raw, earhole-blowing jam of stop-start grindcore mayhem and angular doom from TheKevorkianSolution, and another gorgeous bit of weirdo psychedelic from KPTMichigan, which this time sounds like a weird country-pop hook blown through a digital processor and looped over jangling krautrock rhythms and backwards distortion. There's an actual Skultroll track, "The Dreaming Spires", featuring bleak ambient wash over distorted hypno-dirge and blossoms of queasy Hawkwind-style effects - heavy, druggy shit, like a slowed down Gore matched up with broken Teutonic synths and played back on a tape deck with dying batteries. The ingeniously named War Ethic start their track with a splattering of electronic beat fuckery that warps straight into some brutal low-fi thrash metal, seemingly all instrumental (at least, I can't hear any vocals going on here), with weirdo riffing going all over the place while the drummer freaks out in a big way. Weird and kind of proggy and brain-damaged at the same time.

And finally, the disc is closed out with "Threnody For Ron Asheton" from Charles Dexter Ward. This one-man band pays tribute to the deceased Stooges guitarist with a sprawling instrumental doom lament that for all of it's low-fi grit actually sounds pretty damn epic. Chugging, majestic fuzz-caked riffing wanders over simple, dirgey percussion, veering into psychedelic guitar noise and jangly strum - a strange mix of plodding doom, Swans, Goslings, and psychedelic jangle. Very cool!

The packaging for Audio Apogee is one of the coolest that I've ever seen for a CD-R release. I wish that a quarter of the people out there releasing CD-Rs would put this much effort and creativity into their presentation. The two discs come in a full color sleeve that folds into a multi-panel package, which is filled with a bunch of different full-color insert cards with strange abstract artwork and information on the label, the sleeve itself features liner notes on every single song printed on the inside of the sleeve, the discs are held together by a foldover obi-strip, and the front of the sleeve has a small square die-cut that reveals the Frequency Thirteen emblem underneath of it. What is most amazing about this package is that it's obvious that this was all done by hand, with an intense attention to detail and quality. Easily puts almost everyone else releasing cd-rs to shame. I highly recommend clicking on the cover image to see an actual photo of this compilation all spread out.

Audio Apogee is hands down my pick for best compilation of 2009. It showcases a wide breadth of sounds from within the warped nocturnal soundworld of the label and True Sheffield Black Psychedelia, with both current favorites on the label and new names that provided some of the most interesting sounds on the compilation. If you've been as infatuated with the weird psychedelic heaviness and shadow electronica of the Sheffield scene (and it's satellite partners) that same that I have been, then this comp is essential! Highly recommended.

Track Samples:
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee
Sample : VARIOUS ARTISTS-Audio Apogee

VARIOUS ARTISTS   Grind Bastards III   CD   (Grave)    11.98

The third entry in the ongoing Grind Bastards series of Japanese grindcore compilations is here, and fans of the previous installments will find just as much brutal underground blast violence to sink their teeth into as before. One thing you can always count on with these compilations is that even the more straightforward bands are still going to shred in a big way, 'cuz nobody grinds quite like the Japanese. And we get loads of it on here, as well as a couple of left-field entries that keep you on yer toes as you navigate your way through these twenty-six chunks of hyperspeed chaos.

There's the wickedly rickety and noise-riddled grindpunk of Little Bastards, who deliver two songs with one of the weirdest snare drum sounds ever on the song "Killed By Justice", and the furious death metal tinged Napalm Death-worship of Magnicide. Then comes the mighty Mortalized, who you might remember for contributing the best song on the last Grind Bastards comp...here they deliver another two tracks of their warped Discordance Axis-esque grind, not as melodic as their last appearance, but still very fucking cool and with some really oddball guitar sounds. Butcher ABC (who feature members of C-Blast faves C.S.S.O. !) follow 'em with two new songs of low-fi, gruesome and seriously ROCKING garage-grind, and then Cortecuellos come in with a cover of Anal Cunt's "Don't Call Japanese Hardcore Japcore". Brob do the gutteral old-school grind thing with tons of energy, crushing riffage and some choice D-beat drumming, and Fortitude tear through a ferocious minute and a half blast of noise-damaged blurr called "Ptomaine Poisoning", followed by Bleeding Humanity, who delivers three tracks of punky old-school grind a la S.O.B. and Napalm Death.

It's been awhile since I've heard anything new from D.I.E., whose insane mix of hyperfast thrashcore and pure Merzbowian noise is always invigorating; they offer up two new ones here, "Aberchus" and "Overheat Mountain" for a total of two and a half minutes of brain-melting blurr. Kutsujoku are a new name to me, but their epic grind is some of the cathciest on here, with some traditional heavy metal elements peeking through their buzzing distorto blast. Deadly Spawn serve up the comp's longest track, the almost five minute "Omnipotence Is Impotence" that adds some proggy guitar noodling and complexity to their otherwise barbaric grind, and Zagio Evha Dilegj contributes the comp's most insane vocal performance with their singer's impersonation of a Hoover vacuum over their complex chaotic blasting. Though maybe that award should go to Takaho from Unholy Grave; their "Cruel Terror" closes this out with another one of their instantly catchy and punky grind anthems, with Takaho's wonky Jello Biafra-in-a-wind-tunnel delivery cranking up the weirdometer as we hit the door.

As with the first two discs in this series, there's always one band that stands out from the rest with a style that's so weird and freaked out that they instantly become my new favorite grind band. In this case, though, the band in question can't even be described as grind, or even metal, for fuck's sake. Manchild comes out of nowhere right in the middle of the disc with "Ghoul Gurumand", a pulsating old-school industrial number, and follows that up with a pummeling industrial remix of Unholy Grave's "Broken In Pieces", complete with blasts of gabba drum programming and sheets of noise. Ever wonder what Unholy Grave would sound like after being run through Wax Trax? Here's your answer.

Like the rest of the series, the disc comes in a large foldout sleeve with band info and artwork.

Track Samples:
Sample : VARIOUS ARTISTS-Grind Bastards III
Sample : VARIOUS ARTISTS-Grind Bastards III
Sample : VARIOUS ARTISTS-Grind Bastards III
Sample : VARIOUS ARTISTS-Grind Bastards III

VARIOUS ARTISTS   Songs For A Child: Tribute To Pier Paolo Pasolini   CD + PENDANT + POSTCARD SET   (Rustblade)    40.00

Few films can honestly claim to truly extreme on both a visual and cerebral level, but anyone who has seen Salo: 120 Days in Sodom will vouch for the film's lasting power. The career-defining masterpiece from the controversial Italian director Pier Paolo Pasolini has remained one of cinema's most extreme and challenging works, an escalating litany of atrocities (including acts of extreme violence, sadism, mental torture and coprophagia) that act as metaphors for Pasolini's views on sexuality, political corruption, and fascism. It's no wonder that Pasolini and his films have inspired artists within the more extreme regions of underground music, and this compilation features a noteworthy lineup of industrial, dark ambient and neo-folk bands paying homage to Pasolini's art. Released by the industrial label Rustblade in a special edition DVD style package, Songs For A Child includes tracks from Coil, Ah Cama-Sotz, Alio Die, and In Slaughter Natives along with ten other artists, many hailing from the Italian industrial scene, and the disc comes in a gorgeous package that includes stunning original artwork from Saturno Buttò and Alessia Catanuto, as well as an eight-page full color booklet, full color postcard, and a "magic" amulet.

The compilation begins with the mighty UK post-industrial masters Coil, who contribute their song "Ostia (The Death Of Pasolini)" from the album Horse Rotorvator, a stunning nocturnal drama written in terrifying strings, baroque new-wave and John Balance's eerie croon. That's followed by Italian post-industrial dread from Bahntier, and the dark gothic acoustic pop with chamber strings of Spiritual Front's "My Erotic Sacrifice". Ah Cama-Sotz crafts delicate techno-infused industrial darkness for "Les Millet Et Une Nuits" , and Alio Die's "Splendido Struggente" is a shimmering black drift of droning cellos, decaying EVP voices and crying waterfowl. The creepy, hallucinatory industrial rhythms and dream-like ambient dub of Teatro Satanico's "Ppppetrolio" vaguely resembles the music of Scorn, and leads into one of the compilations most powerful contributions, "Never Closed My Eyes" from In Slaughter Natives.

This exclusive track from the legendary death industrialists isn't bombastic, like so much of their work; instead, this is In Slaughter Natives at their creeping, brooding best, a malevolent droning dirge with ominous harpsichord melodies, soft female backing vocals, sinister whispered male vocalizations, and deep chanting laying out a dark, brooding atmosphere that only towards the end begins to reveal the heavy orchestral percussion that the group is known for. The minimal dark electro-industrial of Condanna is next, followed by the psychedelic Coil-esque post-industrial eeriness of Black Sun Productions, who blend together marimbas, flutes, pounding tribal drums and dark electronic shadows. The German duo Nueva Germania create disturbing industrial drones and crackling percussive noise, while The Frozen Autumn perform some fantastic Xymox-esque industrial darkwave, heavy and gorgeously ethereal. Sandblasting's "Memories" is bleak nightmarish ambience with piano and dubby abstract beatscapes, and Wertham make the most overt musical reference to Pasolini's Salo with their grim, crushing slab of muted industrial power drone "30.09.1949", which samples a segment of the original Morricone theme for Salo and loops it beneath a wash of desolate industrial noise. The last track is from the ridiculously named (and costumed) Catholic Boys In Heavy Leather, which features Joke Lanz from Schimpfluch-Gruppe/Sudden Infant and Roger Baumer from Bloodstar engaging in some leather-fetish industrial powernoise.

Issued in a hand-numbered edition of 696 copies.

Track Samples:
Sample : VARIOUS ARTISTS-Songs For A Child: Tribute To Pier Paolo Pasolini
Sample : VARIOUS ARTISTS-Songs For A Child: Tribute To Pier Paolo Pasolini
Sample : VARIOUS ARTISTS-Songs For A Child: Tribute To Pier Paolo Pasolini
Sample : VARIOUS ARTISTS-Songs For A Child: Tribute To Pier Paolo Pasolini
Sample : VARIOUS ARTISTS-Songs For A Child: Tribute To Pier Paolo Pasolini

VARIOUS ARTISTS   Wired At The Dis-core-Theque   12"   (Legs Akimbo)    11.98

I've become pretty infatuated with the UK label Legs Akimbo, as anyone reading through the entirety of this week's new arrivals list is bound to notice. I've been into the most violent extremes of techno and speedcore ever since I was first turned on to the stuff through Jay Randall's old Blast Beat imprint, and my ongoing search for the most brutal strains of this sort of electronic music has led me to some pretty sick stuff. Enter Legs Akimbo, a primarily vinyl-centric label that is currently covering some of the nastiest stuff out on the fringes of speedcore, black metal, electro-grindcore, and harsh noise, with a whole rack of killer records from the likes of Pressterror, Skat Injector, Total Fucking Destruction, Yudlugar, Moloch and ScreamerClauz that I've picked up for the C-Blast shop, all primed to destroy your goddamn eardrums. Along with that stuff, we also picked up this 12" compilation that features a couple of different speedcore extremists that fit perfectly with the Legs Akimbo aesthetic, blending elements of brutal noise and extreme metal with their speedcore / breakcore / splittercore savagery.

UK necro-blast extremists Hatewire take over the entire first side of the 12", delivering two tracks of their punishing blackened speedcore, "Every Sort Of Filth" and "Priest-o-phile"; both tracks unleash a intensely raw assault of pounding headache-inducing gabber beats, blasting speedcore rhythms, monstrous gurgling vocals and fuzz-drenched black metal guitars, cut up with looped vocal samples and weird blackened noisescapes, with the former track slipping into some killer swirling black murk that almost feels like something off of an Abruptum record, while the second one is the original version of the anti-priest screed that was remixed on that new Pressterror 12". I've only heard a couple of tracks from this project so far, but Hatewire is fast becoming one of my new favorite outfits in the extreme speedcore field. Can't wait to hear more.

On the other side, German speedcore producer Rico Schwantes (aka Disco Cunt) brings us the militant 1000 bpm terror of "Cuntcentration Camp", an artillery assault of hyper-fast programmed kicks, inhuman death metal-esque screams and blasts of excoriating harsh noise that makes this track sound more like some kind of industrial grindcore than anything even remotely connected to the techno scene. That's followed by Corecaine's ode to demonic possession, "Anneliese Michel", where his brutal Bloody Fist-style speedcore/breakcore blasts are smeared with ancient recordings that were made of the notorious 1976 exorcism of the titular German teenager. The closer features another Disco Cunt track, this one a remix of "Against Us" by Pressterror that transforms the Cunt's jackhammer speedcore into a juddering, skipping symphony of horrific noise and violent blurred beats.

Comes in a plain black Dj style jacket, limited to two hundred forty-nine copies.

VARIOUS ARTISTS   Tliltic Tlapoyauak   3 x LP BOXSET   (Ajna Offensive)    58.00


Track Samples:
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak

VARIOUS ARTISTS   Frozen In Time II: Music To Accompany The Films Of Ingmar Bergman   3 x CASSETTE   (Black Horizons)    19.99

     Here's the second installment in Black Horizons' Frozen In Time series, where an interesting array of artists have once again been hand-selected to create original music inspired directly by the films of Ingmar Bergman. As with the previous volume, this features three cassettes in an oversized plastic case, each artist taking up an entire side, with the tapes enclosed in a strikingly designed foldout cover with silver print; as with everything else on this label, it's gorgeously presented. This time around we get twenty-minute contributions from such C-Blast faves as L'Acephale and Spettro Family, along with material from Micromelancolié & Sindre Bjerga, German Army, Head Dress and Night Worship. These tracks are again presented as alternate soundtracks to the films they are inspired by, and include time codes for those intrepid listeners interested in synching up the music with the film. It's great stuff on its own, though, beautifully bleak fields of midnight drone and regal black metal, dark formless noise and eerie soundtracky ambience, as diverse a mix as the first installment in the series.

     The set opens with a twenty minute long piece titled "En Pasjon" from Nordic noise artists Micromelancolié & Sindre Bjerga, once again collaborating on a murky, muffled driftscape laced with fragments of industrial clang, deep buzzing drones, and half-glimpsed voices that swirl together into a gorgeously monochrome wash of corroded ambience akin to the sound of ghosts moving through an antique clock shop, then building into a wall of molten black drone. Cali experimental band German Army contribute "People Of Bamboo", a mesmeric haze of tribal drums, distant cries and bursts of electronic noise that circle and shift endlessly throughout their grey-washed soundscape. Northwestern avant black metal/neo-folk ensemble L'Acephale incorporates bits of dialogue and sound from Bergman's Seventh Seal into their epic "Totentanz", opening with languid acoustic guitars and mournful minor key chords, unfurling a moody sprawl of ominous folk across the first half of the track, slowly building into a rumbling wall of guttural piano and anxious feedback that finally explodes in a rush of majestic low-fi black metal fury. That's followed by the band Head Dress, who I'd never heard before; they offer up a three-part saga that drifts down into gorgeously moody depths of cinematic ambience and ominous murk, resembling one of the more staid John Carpenter scores, a slow seething mass of minor key drift and sinister pulses that slowly evolves into a vast wash of blissed-out kosmische shadow. It's amazing stuff that definitely makes me want to hear more from the band. Italy's Spettro Family delivers a similarly cinematic piece of music with "L'ora Del Lupo", one of the most beautiful pieces in this collection; an aching piano melody drifts through a haze of dust motes and ghostly strings, revealing a stunning piece of instrumental moodiness that moves from ghastly graveyard jazz into something that sounds like the prettiest thing that Fabio Frizzi never recorded. And on the final side, the mysterious Night Worship billow out across a vast empty expanse with a fog of nocturnal jazziness, trombones smeared into distant peals, voices dissolving into a haunting choral mist, everything rising in waves of sinister jazz-murk, like the sound of angelic swarms tumbling in slow motion into a distant black hole.

     Limited to two hundred copies.

Track Samples:
Sample : VARIOUS ARTISTS-Frozen In Time II: Music To Accompany The Films Of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen In Time II: Music To Accompany The Films Of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen In Time II: Music To Accompany The Films Of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen In Time II: Music To Accompany The Films Of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen In Time II: Music To Accompany The Films Of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen In Time II: Music To Accompany The Films Of Ingmar Bergman

VARIOUS ARTISTS   An Evening Of Serious Noise   2 x CASSETTE   (RRRecords)    11.98

This double-cassette set is no joke, archiving on tape an entire session of live noise recorded on October 14th, 1996, as part of the RRRecords anniversary celebration. You get absolutely on-fire sets from MERZBOW, MASONNA, EMIL BEAULIEAU, NIGHTSTICK (featuring ex-SIEGE personnel weaving streams of psychedelic noise rockers/drug doom concurrent with the sort of stuff BORIS is doing now...in a word, AWESOME...), SKIN CRIME, and JAPANESE TORTURE COMEDY HOUR (the head cracking harsh tronix assault masterminded by PIG DESTROYER's Scott Hull which fused the anti-music noisecore of his work with ANAL CUNT n' AGORAPHOBIC NOSEBLLED, with a total Japanese noise inspired electro soulfuck). Crushing. The tapes are housed in a boss moulded audio box covered in transgressive art spunk.

VARIOUS ARTISTS   Crushers Killers Destroyers II   CD   (Shifty)    9.98


The second installment in Shifty Record's Crushers Killers Destroyers series, this full length compilation CD features 8 of the best bands in the underground sludgecore movement, with 1-5 exclusive tracks from each. Every band has their own unique take on slow, bruising, filthy sludgecore, keeping the compilation interesting throughout without ever relenting from battering-ram heaviness. HEADACHE starts off with 3 tracks of grueling pounding sludge, with dueling vocals screaming "Die!", barbiturate references, loud production, and a GRIEF meets KARP sense of bottom heavy dynamics. WEEDEATER give us 2 new tracks, with Dixie Dave's lung-scraping vocals snarling over some killer vile riffs, and "Long Gone" also has Muleboy from BONGZILLA guesting on vocals. Awesome. FISTULA follow up with a single blast of headcaving heaviness, like a meaner, jailbound sibling to the MELVINS' "Boris". KING TRAVOLTA rip through a whopping 5 tracks of fierce doomcrust that includes a hilarious stab at QUEENS OF THE STONE AGE. CRUEVO appear with a posthumous track, "Black Maria", that again displays the awesome sludgerock these guys possessed while they were around. Another eulogy appears in the form of 2 tracks from defunct bass terrorists TUSKS OF BLOOD, sounding more than ever like MAN IS THE BASTARD on one hell of a bad trip, dual-bass buzz thud smacking against your ribs painfully. Madrid's MOHO bring some depth and "progression" to the comp, with 3 tracks of swinging, snarling, superdope sludgerock that picks up the pace with a hellish, undead version of US Southern Rock. Some seriously fist-raising shit. SLOTH finishes off the comp with a track called "Sloth Loves Floor", and yes...it's an uncanny interpretation of FLOOR's patented bomb-string sludge via their song "Lolita", but more fucked and drunk and downtuned than the original. Sick. Altogether, and amazing collection of destructive, low end crush.

VARIOUS ARTISTS   Tel Aviv Aftermath   CD   (Topheth Prophet)    14.98

An extensive compilation showcasing the little known (but quite diverse) Tel Aviv avant/noise/experimental music scene. Some of the standouts on the album include the opening krautrock-ish arrangement by Grundik/Slava, the New Jerusalem Defense Forces' 'Make Law,' a malevolent burst of raw-nerve power electronics...Avant-garde bassist Igor Krutogolov's intense, frightening solo piece...Chaos as Shelter's excellent drone track using chimes and shortwave signals...and Vera Agnivolok's rendition of 'The Golden Skull', a ragged mix of stately chanting, piano accordion and other instruments. Most of the remainder of the album is made up of solid left-field electronica from Screening, Forma's robo-glitch (reminiscent of K.K. Null), HU's field-recording manipulation,and the swirling, Aphex Twin-esque dream-industrial of Vectorscope. The compilation closes with a lengthy improvisation by the Crossfishes, all stumbling rhythms, honking clarinets, and muted electronica that coalesces into a dark anti-war message.

VARIOUS ARTISTS   Hand/Eye   2 x CD   (Hand/Eye)    14.98


The Hand/Eye label has been bringing the world modern experimental-folk and psychedelic music since the early 1990s. Hand/Eye has forged a unique and varied catalog which, along with parent label, Dark Holler, has given the world everything from deep-space astral explorations to traditional fiddle tunes. For the 10th Hand/Eye release they've gathered friends and associates from the world over, hand-picked for this celebration of music. All of the artists have provided exclusive material for this compilation. There are no convenient names for this gathering of music: Psychedelia, wyrdfolk, acid-folk, experimental, astral-folk... call it what you will, it cannot be bottled under one small label. The music shall speak for itself. Disc one features


VARIOUS ARTISTS   Land of The Rising Noise Vol. 3   CD   (Charnel Music)    11.98


We just managed to get the LAST THREE COPIES of this killer compilation from the label - once these are gone, this title is sold out for good!

3rd in the series of the New Music From Japan series spearheaded by Charnel, which brought together a diverse range of sounds from the fertile Japanese noise/psych/heavy underground of the 1990's. Diversity is the word here: you get an excellent cosmic feedback drone jam from Acid Mothers Temple called "Super Sunshine", Grind Orchestra's radioactive mutant hippie drum circle, some fucking isolated sinewave doom from I.S.O. featuring Otomo Yoshihide that combines almost Khanate style plod with ultra-minimalist electronic tweak...plus there's weird sylvan prog-ambient from Mitsuru Tabata of Zeni Geva, classic brutal Japanese noise from K2 that sounds like a kitchen being electrocuted, trippy psych from Mady Gula Blue Heaven, more brutal Japanese noise from Shincho 2m and some skull crushing post-Killer Bug damage from Kazumoto Endo, a freaking awesome collaboration from Coa & Keiji Haino that takes bulldozing noise rock guitar into severely overmodulated improv dimensions, freaked out psychedelic garage-pop-noise weirdness from Ultra Fuckers, seriously creepy howling witch-in-a-cavern drones from Yukiko, and a 11+ minute jam of awesomely stumbling, destroyed, vaguely grungy psych/sludge/indie/folk weirdness from Kaneko Jutoku of Kosokuya. Awesome comp with no duds, and the packaging features photography of Remi Futoyama's exquisitely creepy doll sculptures, making this a solid compendium of shadowy Japanese psychedelic strangeness.

VARIOUS ARTISTS   Not Without A Fight   2 x CD   (Crucial Blast)    4.98

We must have been huffing freon back in January, as we totally neglected to add the Not Without A Fight 2xCD compilation re-issue to the Crucial

Blast webstore when it was released. So for anyone who missed this on the Crucial Blast main page, here's the scoop:

This limited-edition re-issue of the 1999 double CD compilation NOT WITHOUT A FIGHT is Crucial Blast's homage to the scuzz-caked

grindcore/noise/sludge/speedpunk underground of the mid/late 1990's embodied in cheap cassette compilations and xerox-sleeved split 7" EPs. One of Crucial

Blast's first ever releases, we grabbed exclusive outbursts from an array of subterranean sonic abusers, including BASTARD NOISE, AGATHOCLES, DAHMER, CRIPPLE

BASTARDS, MACRONYMPHA, UNHOLY GRAVE, and loads of other purveyors of damaged, anti-social grind and noisecore, free noise and power electronics, spoken word,

brutal fastcore, blazing D-beat driven crustcore, and lysergic psych-sludge. This second edition is limited to 1,000 copies, never to be repressed. NOT

WITHOUT A FIGHT is packaged in a DVD style plastic double-disc case that holds both CDs and a mega-thick, 64 page fanzine-style newsprint booklet loaded with

band info, art, stories and rants. ARTIST LISTING: Mark Bruback, Cruel Face, Strong Intention, Bastard Noise, RPOD, SoIHadToShootHim, Katastrofialue,

Unfound, Dark Skies Fallen, Retribution, Global Holocaust, Flammable Child, Depressor, John Bender, Aural Torture Mechanism, The Last Day No Human Voice,

Agathocles, Daybreak, Puncture Wound, None Of Your Fucking Business, Dahmer, Samus, Mizuko, Cripple Bastards, Miseries AD, A Death Between Seasons,

Macronymhpha, Unholy Grave, Falsies, Final Exit, JDog, Bloodstains & Bulletholes.

VARIOUS ARTISTS   Senza Tregua   LP   (Enterruption)    14.98


Man, this LP is nothing but MAXIMUM FANG from the heydey of noisey Italian hardcore (we're talking 1983 here), each band offering a savage primitivism and

raw weirdness that's totally "out" compared to almost anything you'd wanna call hardcore, yet start-to-end, this is total ferociousness and speed, a

snaggletoothed mixtape of grade-A aggro. Senza Tregua is a commemorative vinyl re-issue of the seminal cassette comp originally released through BCT

Tapes back in 1983...fans of Italian hardcore just need to see the lineup on this mother: CHEETAH CHROME MOTHERFUCKERS, STATO DI POLIZIA (SDP GR), WARDOGS,

PUTRID FEVER, I REFUSE IT!, TRAUMATIC, and JUGGERNAUT. Crucial. These are manic, super noisy, totally pissed punk disasters from all involved, every song

coming apart at the seams and whipping out ridiculously catchy hooks with some completely OFF THE CHARTS guitar playing, but each band has their own amazing

style too, the grooves on this LP overflowing with pure raw energy and anti-social slobber that makes me want to climb the walls. EVERY SONG on this

shreds, but we really freaked out over the eardrum bursting feedback-infested political 'core of STATO DI POLIZIA, the out-of-control speedcore slop

of WARDOGS, SKULL SHREDDING thrash from CHEETAH CHROME MOTHERFUCKERS, and I REFUSE IT!'s unreal speed/art/thrash that just freaking wasted us.

Obviously essential for fans of Italian/international hardcore from the 80's, we also gotta suggest this comp to any lunk that thinks BAD BRAINS were the

final word in totally weird, awesome, bouncing-off-the-walls hardcore thrash! Edition of 1000 copies, released by our pals at Enterruption, who have also put

out essential items from GRAVITAR, LARSEN, and GODSTOMPER. Comes in a gorgeous Winston Smith -illustrated sleeve, with a dope liner-note loaded booklet


VARIOUS ARTISTS   Tungt Svenskt   2 x 7"   (Game Two)    11.98


This Double 7" set features four exclusive cuts from today's top Swedish Rockers and Doomers. This stellar comp was produced on double-blue vinyl and is

limited to 1000 copies. GENEROUS MARIA, THE MUSHROOM RIVER BAND, RISE & SHINE and SPACE PROBE TAURUS are showcased here. A heavy duty dose of rocking

Swedish Doom and stoner rock.

VARIOUS ARTISTS   Ah! Quelle Belle Journee   CD   (Amanita)    5.00

We've unearthed this obscure 1994 compilation from French avant rock label Amanita that features an exclusive mix of international avant- electro/beatbox heaviness, experimental hardcore, and Euro-style SONIC YOUTH worship, with most of the artists providing multiple tracks. You get some mutant outsider hip hop from NY's KRACKHOUSE, and some heavy industrial electro-metal from ESCARE, awesome noisy improvised hardcore from FREICORE. The VOODOOMUZAK tracks here are totally unlike anything else we've heard from them, weirdly layered and cut up and brutal snarling noise rock, and only begins to hint at the intricate polyrythmic post-rock of their recent material at the very end of their second song on here. Weird. This is followed by JAYWALKER's narcoleptic, Sonic Youth / Dinosaur Jr. worshipping indie rock, which is quite good. RWA does a manic mix of chaotic, noisy hardcore and bebop/free jazz which is pretty ripping. You'll also find some wonky noiserock from XRATEDX, the icy howl of KILL THE THRILL 's "Jesus And Mary Chain on a Sonic Youth and Wax Trax binge", WOO's stoned free jazz/punk/no wave skronk, and ONE ARM's killer no wave/dance punk. Rad. 19 tracks, over seventy-five minutes of music. Comes in a Bruno Richard designed digipack with a long fold out booklet built into the packaging.

VARIOUS ARTISTS   DTrash Music Videos   DVD   (D-Trash)    12.98

The Canadian extreme electronica label DTrash has been at it for ten years now, and they've amassed an impressive catalog of releases from the deep underground of aggressive and confrontational beat-driven electronic music. What's especially cool about this is that the label has maintained a diehard DIY aesthetic since day one, which is something that we love to see and support. Most of the DTrash output has been associated with the "digital hardcore" movement, and the label has long been a compatriot of the legendary Digital Hardcore label operated by Alec Empire from Atari Teenage Riot, but there's more to the Dtrash sound than just speed-metal inflected breakcore and techno. The label has also released all kinds of releases that span harsh noise, dark ambient, industrial, IDM, and more, but there is almost always an undercurrent of heaviness to their bands that is what made me check them out a couple of years ago. I first got into the Dtrash label after hearing Schizoid, the black metal-infected breakcore project that is one of the labels flagship artists, and from there discovered stuff like the awesome doom n' bass of Unitus and the fucked-up plunder techno of CPU War.

Now they've put together their 100th release, a DVD that commemorates their ten year anniversary by stuffing a disc to the brim with music videos from a ton of Dtrash artists, live concert footage, a jukebox loaded with over three hours of music from the Dtrash vaults, and more. The music video section of the DVD features professionally shot videos from Schizoid, Bastards United, Hansel, Oxygenfad, DHC Meinhof, 64Revolt, Rabbit Junk, Celebrity Dead, Mind Disruption, F-Noise, NoCore, Hyperdriver, Princess Rotative, and Faux Pride. Eighteen music videos in all from a ton of D-Trash artists, some of whom are gonna be familiar to fans of underground digital hardcore stuff (Schizoid, DHC Meinhof) and a bunch that I've never heard of before, but pretty much all of this is killer. There is a wide variety of film styles used for these videos, which makes for interesting viewing.. The anthemic midpaced electro-thrash of Schizoid's "Generation Fuck You" is matched with grim, flash-animated urban landscapes; Bastards United keep it old school with layered black and white live footage of the band busting out the raging, supercharged cyber-hardcore punk of "Less Is Not More"....if it weren't for the vicious digital breakbeats that strafe the performance, I could almost be fooled into thinking that this was some long lost Midwestern hardcore squad. Hansel shows up a couple of times on the disc, both with the minimalist glitch dirge "Grid" (which looks surprisingly "pro", like you could see this vid play on an alternate Earth where MTV blasts grindcore, gabba, and breakcore music videos all day long), and the NIN-ish dirge "Blipverts".

Oxygenfad were another one of the bands that was news to me when I popped this into my deck, but fuck if their song "Find Your Own Identity" isn't a straight up ripper that sounds like what might've happened to Ministry if they had been way more obsessed with the melodic hardcore punk of Dag Nasty than speed metal. Pair that thrashing instrumental jam up with some bizarre, dayglo ninja battles and you've got one of my fave bits on here.

Sure, DHC Meinhof are cheesy in the way that alot of that DHR stuff comes off as cheesy over a decade later, but I don't care - I still think that the videos of the members dressed up in quasi-fascist uniforms, ski masks and black leather as they yell at the camera with heavy arch German accents are totally fun, and man, they bust out some beefy drum machine breaks on "Like A Fire" that are heavy DUTY that kinda remind me of the sick distorted breakbeats that Godflesh used to drop at the height of their hip-hop obsession. Nice.

Another new one to my eyes and ears, 64Revolt break out with a killer video for their terminally catchy electro punk anthem "Next Generation", and the combo of 80's style music video and hammering electro dance pop makes me think that I'm hallucinating some unseen Information Society video calling for youth revolution. Rabbit Junk are similiarly super catchy and on the more accessible side of of this comp, and they also have some of the coolest animation in their video for "In Your Head No One Can Hear You Scream" courtesy of Kandykore, who create a weird cartoon world of massive lavendar plants and graf-spraying bunnies and urban malaise. And that's just the first half of the videos. There's more vids on here from Celebrity Dead, Mind Disruption, the blistering F_Noise, NoCore, several more vids from G4Revolt, Hyperdriver, Princesse Rotative, and Faux Pride, all of which are rooted in the hardest of digital hardcore and electro punk sounds, and accompanied by cool, creative videos. I still can't believe how "professional" most of these look, almost all of these coulda been played on MTv if that channel had ever had any connection to confrontational, truly underground music. This is a killer collection for anyone into the sounds of D-Trash or their sister label Digital Hardcore and that whole DHR/Atari Teenage Riot sound.

But that's only part of what makes up this DVD. The Dtrash Jukebox section has 100 tracks that you can scan through, with one track culled from each of the labels 100 releases, and it adds up to over three hours of music. In addition, there's a section titled "Xtra TRash/Warez" that features low-fi but totally watcheable live performance footage from Schizoid, 64Revolt, Zymotic, Punishyourself, Exist, and Phallus Uber Alles.

There's a TON of stuff on this DVD that will take you a while to get through, and it's a cool visual collection for fans of Dtrash's hard-edged breakcore/digital hardcore sounds. The DVD is packaged in a full color plastic case, with a complete track listing on the back.

VARIOUS ARTISTS   Encapsulated Results   CASSETTE   (No Horseshit)    5.98

Mike Haley curated this conceptual anthology that brings together a squadron of heavy noise makers from the current DIY basement scum underground

together to pay homage to and tear limb from limb the music of classic sitcoms through the ages. The results are pretty surreal when you hear stuff like the

Three's Company theme song turned into a crushing low-fi dirge of garage doom drumming and tape loops by DD6, or Love Letter's plundering of the

MASH theme and the ensuing blast of intensely caustic sludge noise. Each artist works with a different sitcom theme on here, except for the opening

track from Himei Koukotsu, which appropriately enough is a thick, explosive wall of harsh noise formed from blown out recordings of canned audience laughter.

Along with the previously mentioned artists, there are additional tracks from Boggs, Wether (who delivers an awesome blast of blackened industrial ooze

centered around the theme from ALF!), harsh deathtronix slicers Death By A Thousand Cuts, Corsican's Whore, Dictionaries, Emilio Esteben, Fecalove,

Kaep Yroc, Mark Meloche, Star Dot Star, Sick To The Back Teeth, and Torturing Nurse.

VARIOUS ARTISTS   The Red Badge Of Courage   VIDEOCASSETTE   (RRRecords)    10.98

I know that there's still a contingent out there like me that collects these old videocassette compilations, as they are still some of the best archives of full power noise jams from the golden era of American noise. None of the RRR videos have been released on DVD, so for any fans of brutal noise and American industrial, these are reason enough to pull out that dusty VCR.

Here's another crucial video document from the heyday of American underground noise, released all DIY stylee as a joint venture between RRRecords and the long-gone and mucho lamented Stomach Ache Records, and the lineup of performances on this compilation is beastly; you get performances from Little Princess, Thurston Moore (of Sonic Youth fame, natch) with John Voigt and Lawrence Cook, Midwestern chaos 'tards Cock ESP, The Bringdownzz, Chris Cutler and Tom Dimuzio, brutal noise god Government Alpha, Due Process, Mark Jackman, The Jaunties, Achim Wollscheid and Jason Lescalleet, junk noise sorceror and basement comedian Crank Sturgeon, Beast People, Compomicro Dexail, Geddys Fork Players, Slusser, Brian K. Smith, W2/NNENG, a pre-major label Andrew W.K. (here listed as Andrew Wilkes-Krier), and Walter Wright with Zipper Spy.This tape is pretty damn weird, as it not only features lots of footage of harsh electronic noise and gnarly noise rock performances and sets of strange o

utsider music and abstract electronica, but there is also a lot of footage of dogs barking at noise artists, weirdos staring into the camera lens, freeze frames of evil-looking nutcracker dolls, fucked up scum-rock covers of Rolling Stones jams, trippy video collage art, scarecrow puppets, and other visual strangeness. Comes in a hardshell plastic case with cut-and-paste xeroxed covers.

VARIOUS ARTISTS   Shadows Infinitum   CDR   (Crucial Bliss)    6.50

A companion piece to the RECORD OF SHADOWS INFINITE compilation CD on Crucial Blast. The wrangling of top-notch drone/psych/drift artists continues with this full length, extremely polished CD-r release, limited to 250 copies. Exclusive tracks from DEAD RAVEN CHOIR, ENCOMIAST, KORPERSSCHWACHE, EXISTENTIAL DILEMMA, BURNING STAR CORE, FEVERDREAMS, NADJA, MARAX, and UNHOLYDEATHMACHINE run the gamut: these further explorations of the drone touch on blackened folk creep, glacial hum and gorgeous ambient bliss, buzzsaw feedback rituals, imploding-sun droneblast, improvised clatter and drift, epic driftmetal, vampiric dronenoise, and schizophrenic kool-aid burble riots. Another exercise in intelligent, outsider droneworks from CRUCIAL BLAST.

VARIOUS ARTISTS   Fear Power God   CD   (Blackhouse Records)    13.98

     Newcomers to the genius and power of the mighty Oxbow might be surprised by how long and how active Oxbow frontman and general polymath Eugene Robinson has been within the American underground over the course of the past three decades. Long before Oxbow took shape in the later part of the 1980's, Robinson published his own magazine called Birth Of Tragedy which featured interviews with a wide array of personalities and thinkers from within the American underground, post-punk and otherwise. In 1987, the project culminated in a cassette (and later LP) titled Fear Power God, a collection of spoken word pieces, Industrial soundscapes and sound art that has been out of print for years, which featured pieces from Jello Biafra, Allen Ginsberg, Anton La Vey, Henry Rollins, Lydia Lunch, Whipping Boy, Matt Heckert, Charles Manson, Mr. V.O. Real, and Lawrence Ferlinghetti. The compilation has been reissued on CD for the first time ever by the new label Blackhouse Records, and it's a cool look backwards at a moment in the 1980's when spoken word was still an interesting artform.

    Being a fan of this sort of stuff from back in the day (sure, I've got a handful of Rollins' spoken word albums, I'm not afraid to admit it), I was really interested in finally hearing this collection, and while it definitely sounds "of its time", so much of this album sounds like some weird sound art experiment than just straightforward spoken word pieces that I've been listening to it a bunch since we got them in. Lydia Lunch kicks this off with one of her trademark snarling polemics titled "The Human Animal", followed by an ominous Industrial dronescape from Matt Heckert of Survival Research Labs. Legendary bohemian author Lawrence Ferlinghetti contributed his version of "The Lord's Prayer", and recordings of Charles Manson playing some of his country music songs are collaged together into a haunting piece - Manson eerily sounds like Willie Nelson here. The tracks from Church Of Satan founder Anton La Vey, Henry Rollins, Allen Ginsberg, and Jello Biafra are pretty much what you'd expect from each of 'em if you are already familiar with their particular style, but it's all cool stuff. And the final track that is featured here is one from Whipping Boy, Eugene Robinson's early 80's pre-Oxbow band, titled "The 3rd Secret". I had never heard Whipping Boy before, having only been aware of the band after getting into Oxbow, but holy shit, if the rest of their stuff is anything like the two-minute rush of pitch-black evil Industrial drone n' clang going on here, I've got to track down whatever else they recorded pronto.

    Overall, this is a pretty cool reissue, especially if you've got a taste for 80's-era counterculture spoken word performances, and it's presented with some liner notes from Eugene himself, as well as artwork and repros of the original magazine covers.

Track Samples:
Sample : VARIOUS ARTISTS-Fear Power God
Sample : VARIOUS ARTISTS-Fear Power God

VARIOUS ARTISTS   13 Bands Who Think You're Gay   LP   (Menace To Sobriety)    14.98


Uh oh. Here's what happens when you give Seth Putnam from Anal Cunt license to put together his own compilation album of like-minded sickos and sociopaths, as as expected, it ain't pleasant. This infamous comp came out back in 2004 but it wasn't available to us until now, so now at long last we can all revel in the absolutely hateful and ridiculous PC-baiting racket that Putnam assembled here, with a lineup that ranges from the brutal Boston hardcore and grind of AxCx, Seige, and PTL Klub, to several offerings from the notorious Ohio "tardcore" scene, to punishing sludge from the likes of Eyehategod, Angry Hate, and the mighty Kilslug.

The Lp opens with Anal Cunt's blazing punky one-two noisecore punch of "Ha Ha Holocaust" and "We're Not 'In Da House' You Fucking Wigger", and then delivers a track of over-the-top anti-PC thrash metal from Chicago's Raunchous Brothers that makes the previous Anal Cunt jams sound like fucking peace-punk. Seriously offensive stuff. Then Boston downer freaks Kilslug are up with a previously unreleased track of primo sludgepunk slime called "Glowing Kanibals", followed by four songs of low-fi, brain-damaged Casio punk slop from Fossil Fuel, aka Dave Schall, aka Food Fortunata of Sockeye, the godfather of the Ohio "tardcore" scene. Fossil Fuel is sort of an idiotic punk version of Sockeye, with ridiculous songs like "I Fuck Cripples", "Tie Up You", "Everybody Die", and "Nat'l Monuments Suck". Next us a track of ultra-hateful drum machine grindcore from Mudoven, and the side closes out with a very early recording of EyeHateGod's "My Name Is God And I Hate You" that was recorded in 1989, opening with heavy looped samples, then lurching into the ultra raw, ultra low-fi dirge, a terminally ugly and feedback soaked recording that sounds like it was recorded on a battered old four track deck.

Side two starts off with the ridiculous tongue-in-cheek heavy metal assault of "Metal Head" from Connecticut goofball heshers Nasty Disaster, followed by Nunslaughter's gruesome black metal primitivist blasphemy "Resurrection" and the anthemic "Back For Blood" from Canadian heavy metal lifer Thor, an early version of the song that later appeared on his 2004 album Triumphant. And then we get a previously unreleased track from legendary Boston hardcore/grinders Siege called "Cameras" that was recorded in 1991 when the band briefly reunited with Seth Putnam on vocals, a vicious, super short blast of grindcore that is all too brief. Angry Hate are another Putnam project, where he plays awesomely demented, noisy sludge punk alongside Larry Lifeless from Kilslug/Upsidedown Cross; their "Bad Mood" is total cacophony, ultra skronky and dissonant slow motion damage with drunken yowling from Lifeless, the sound equal parts Brainbombs and Kilslug and Hijokaidan. Killer! Then another blast of "tardcore", this time from Krapper Keeper (the duo of Food Fotunata and Michael Pilmer from the old noise band Silica Gel); their "Captain America Jerked Off On Your Dad" is a mess of janky drum machine beats and stoopid hardcore vocals. The side wraps up with four raging live tracks from Boston thrash punks PTL Klub that were recorded in 1999 at a reunion show in Cambridge, MA.

WIth its ridiculous album artwork, outrageously hateful and absurd music, and overt "fuck you" vibe, this comp isn't for the easily irritated or offended; but for fans of Seth Putnam's terminally nihilistic and anti-PC sense of humor, this was made for you. Comes with a big full color foldout poster, and limited to 720 copies.

VARIOUS ARTISTS   Nuclear War Now Live Ritual Volume 1   DVD   (Nuclear War Now! Productions)    13.98


I remember how envious I felt when Nuclear War Now announced that this festival would be taking place in Germany last year. Germany? It's hard enough for me to get outside of the Baltimore area. I was tempted to check out the flights though, as this first annual festival that was curated by the esteemed black/death metal label Nuclear War Now! had a lineup that would make most fans of extreme underground metal drool. Thankfully, for those of us who could not pony up the cash and/or time to attend in person, NWN has produced this high quality Dvd that documents most of the artists who appeared. It's one of the better underground black/death metal Dvds that I've seen, thanks to Alan Dubin's (Khanate/OLD/Gnaw) editing and production. The picture and sound quality is of high quality, and the footage for the most part features multiple camera angles. Most of the bands featured have two or three songs from their set presented here, and while it would have been awesome to have a complete, exhaustive documentation of this event, you still get around two hours of non-stop extremity and evil.

The Dvd begins with a single song from opener Hellias, who delivers some chugging, heavy duty modern thrash. They are followed with three songs from noisy blackened death merchants Blasphemophager, and "Perversion Extol" from blasting black metallers Terrorama. There’s Australian black thrasher Nocturnal Graves, two songs of Germany's Pest doing their majestic BM, crushing blackened death from Embrace Of Thorns, long running California black/death metallers Morbosidad, apocalyptic death/thrash from the mighty Ares Kingdom, and three blown-out blasts from legendary Spanish black metallers Proclamation. Some of the other highlights on this disc include Bone Awl, who appear here as a three piece but lose none of their primal power as they pound through four songs of trance-inducing blackened punk filth ("With My Hands", "These Days Are Marked", "Lindow Man", "Black Beasts"). And there's three songs from libidinous NY black thrashers Villains ("Zero Kingdom", "Acid Punk" and "Crazy For Blowjobs"), a longtime favorite of mine; their segment is fucking awesome, the singer drunkenly prowling the stage as the band rips through their sleazy satanic sex anthems with a noxious hardcore punk vibe. Both Ignivomous and Dead Congregation deliver pulverizing sets, each band featured with two songs of their sludgy Incantation-influenced death metal, and they're followed by one of my favorite bands on the festival, Abigail. The Japanese blackthrash punk perverts blaze through "Bitch We Gonna Kill You", "Attack With Spell" and "War 666" with total abandon. Ohio's Midnight, decked out in chains, Deep Wound shirts, hoods, and black mesh pulled over their faces, offer an awesome necro-punk assault of mangy Venom-esque thrash with their sing-along anthems "Endless Slut", "I Am Violator" and "Unholy And Rotten", and hooded and cloaked Floridian heathens Black Witchery detonate two songs of their primitive Ross Bay-influenced black chaos ("Desecration Of The Holy Kingdom" and "Chaostorms of Demonic Hate"). The disc closes with a rare performance from noisy Canadian black holocaust blasters Revenge, who bring us "Traitor Crucifixion" and "Blood Of My Blood", closing out the festival in a hatestorm of cyclonic buzzsaw black/death chaos.

VARIOUS ARTISTS   Le Triomphe Dans L'Endroit De La Duperie   CD   (Ambiente H)    9.99

Track Samples:
Sample : VARIOUS ARTISTS-Le Triomphe Dans L'Endroit De La Duperie
Sample : VARIOUS ARTISTS-Le Triomphe Dans L'Endroit De La Duperie
Sample : VARIOUS ARTISTS-Le Triomphe Dans L'Endroit De La Duperie

VARIOUS ARTISTS   Reproach   7" VINYL   (Ugly Pop)    15.00

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

    These copies of Reproach are unplayed, but due to their age, they all have some slight ring wear on the back cover, so keep that in mind if you're particular about the condition.

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

   You get a pretty lethal lineup of skull-scraping cut-up noise on this 7" compilation that came out a while back from Phage, potentially the first in a series from the label that focuses on quick blasts to your nerve-system, featuring a bunch of short pieces from some well-known names in the harsh noise field. Engines features exclusive material from Facialmess, John Wiese, K2, Baculum and Ahlzagailzehguh, as well as stuff from a couple artists I wasn't familiar with, A Fail Association and Chrysalis (who here collaborates with Aussie noise artist Agit8).

    Each of these featured artists spew out a blast of garbled noise using a cut-up style of assemblage, each track typically running right around a minute long, producing eruptions of screaming distortion and clanking metallic chaos, severe speaker-shredding bass abuse and skin-flaying contact mic savagery, blurts of alien ambience and brief pauses of near silence, brutal FX-pedal fuckery and glitched-out mayhem, sputtering blasts of shredded, fractured chaos that all come together to create a highly disorientating and thoroughly emetic listening experience that ultimately refuses to end, as the b-side gets stuck in a punishing lock groove that proceeds to drill down through your brain matter for eternity.

    Limited edition of three hundred copies.

VARIOUS ARTISTS   Tunes From The Toilet Volume II   7" VINYL   (CONTINUUM.)    6.98

     Say adios to coherency, pal. Continuum hits us with another repulsive blast of scatological low-fi nonsense with their second volume in the Tunes From The Toilet series, this time packing an absurd fifty-seven bands onto a single 7" in the tradition of Bllleeeeaaauuurrrrgghhh! - A Music War. Like the previous installment, this is an anti-musical manifesto to the extreme. The sonic shitstorm ranges from heavy amounts of barbaric noisecore to primitive harsh noise experiments, fucked-up industrial metal weirdness to hyperfast improv clatter, brain-damaged hardcore punk to torturous power electronics, with washes of murky industrial ambience and heavily mutated drum-machine grind thrown in for good measure.

     It's a ridiculous assembly of bands on here, most of whom I'd never heard of; aside from Continuum alumni like Harsh Supplement, Waves Crashing Piano Chords and Hades Mining Co., pretty much all of this stuff was new to me. This is some rap sheet: the compilation features the likes of Filth, Terrorist Financing, Kolostomy Bag, Nephalist, Extreme Chafing, Adolf Shitter, I Benign, Foul Bowel Growl, Hate Speech, Yatagarasu, Methlab Explosion, Genital Stigmata, Total Hipster Crusher, Blonie, Foiled, Disleksick, Fatal Position, Godpiss, Crazies, Limbs Bin, Cheesecats, V2, Anti-Freeze, False Flag, Victim Of Circumstance, Aqua-Eroticum, Holidayxsuckers, Puncture Wounds, Spaghettiman, A.P.F.A.P.W.A.A., Tit For A Funeral, The Scarlet Meow, Mphiat, The Economy, Aterpe, The Answer To All Your Questions, A Descent Into The Maelstrom, Crack Addict, Contraktor, Kamp Crystal Lake, Breakdancing Ronald Reagan, Phosphorus Rex, Sleep Disorder, Bruise Halo, Avalanche Of Faces, Colostomy Baguette?, Piss Junkie, Hate Junkie, Resinator, Life Sucks, Cocaine Breath, Sorcerer Torturer, Tanner Garza, and Eoforwine, with the majority of this insanity leaning towards the noise/blurr/grind end of the spectrum.

     Good luck trying to follow the track listing on this thing, but if you're addicted to the filthiest noisecore / shitnoise / no-fi extremism, this comp will absolutely get you fucked up. Limited to three hundred copies, and includes various xeroxed inserts.

VARIOUS ARTISTS   America The Beautiful   2 x CD   (RRRecords)    9.98


Stunning digital mixtape of maximum earbleed circa 1994, of American extreme underground artists "commemorating" life in America, reissued by RRR in this xerox-package double disc version. A celebration of 10 years of RRR. Total punk. Extreme sounds range from turntable junk, plunderphonics, and pop culture/speedmetal cobble, dense noise-metal tape eruptions, druggy industro-tribal percussive jams, devestating hardcore noise holocaust, insectile twilight death drone, avant-garde death metal, and fuggin' snuff jazz...The lineup is fucking massive: you get unique jams from Faxed Head, Borbetomagus, Lee Ranaldo (SONIC YOUTH), Neil Hamburger, Rougeux/Negativland, The Haters, Kings Of Feedback, Thomas Dimuzio, Mandible Chatter, Chop Shop, Slughog, Barry Dalive, Mono Pause, AMK, Vampire Rodents, John Wiggins, ST 37, Idea Fire Company, Gregg Turkington, Luxurious Bags, Grae.Com, Small Cruel Party, Hands To, TAC, Randy Greif, Out Of Band Experience, Phil Milstein, Horse-Cow, Commode Minstrels In Bull Face, Goosewind, The Easy Goings, Phillip Perkins, Blowhole, Shrilltower, Specula, Nisi Period, Nicolas Collins, Crawling With Tarts, Condemek, and Scott Marshall & Mark Giangrande.

The standouts include the completely fucked UP awesomeness of FAXED HEAD's buzzsaw death/black metal + sudden cut-and-paste edit/splicing + retarded vocals...KINGS OF FEEDBACK's vitriolic sludge feast, like BRAINBOMBS with Jello Biafra on vox...stunning avant-horror cabaret from VAMPIRE RODENTS...horrifying nocturnal death-glitch from SMALL CRUEL PARTY...an affecting in-the-moment statement of purpose from TAC...fucking grueling noise/sludge/rock from SLUGHOG...some Dadaist Evil Dead action from Sonic Youth's Lee Renaldo...violent death-improv from BORBETOMAGUS....and lots, lots more. The whole comp rules. RULES. A blood-pumping testament to the vital musical underground of the early 90's. Fucking A. Packaged in a punk-as-fuck xerox-junk sleeve. TOtal mandatory.

VARIOUS ARTISTS   Brutalmageddon   CD   (Coagulated)    2.00

A 3-way eruption of sickoid mutant European splatter grind. This 3-way split CD features 4-7 songs each from ATAVISM, DRAIN OF IMPURITY, and MINCER. ATAVISM follow up their split EP with FLATULATION with brutal as fuck goreblast. Think MORTICIAN with real drums and vocals like California's DISGORGE. Uber-sick gore grind from Greece. Austria duo DRAIN OF IMPURITY (members of CENOTAPH) are next with drum-machine fueled grindcore vomit a la AGORAPHOBIC NOSEBLEED or RETCH. Shredding squealing riffs and spastic leadwork enhance this belching blast, with super low,repulsive vocals.Another two-piece , MINCER, closes out this split with seven short bursts of rotten goregrind.

VARIOUS ARTISTS   Drum Machine Madness   7" VINYL   (Robotic Empire)    5.98


Another sorta-warehouse find, the Drum Machine Madness 7" is a one-sided platter pressed on marble green vinyl and featuring five of the craziest drum-machine powered extreme grind bands in action. The blast feast kicks off with Wadge, who start off with a sputtering fractured breakbeat that fooled me into thinking someone was going to bust into some old school hip hop for a second, until the hyperspeed grindcore kicks in, roaring vocals, 1000 mph programmed blastbats, total violence. Nemo follows with "Robosong 1"'s microburst Atari grind that sounds like a cross between Octis and Dataclast; then Pilgrim Fetus rip into the robotic gorethrash of "Piece By Piece Replacement". Alien Cricifixion mashes dizzying math-death with tinny machinegun blasts, like a computercore version of Necrophagist, and then the godfathers of drum machine grind wrap shit up with "Malformed", a crushing blast of antisocial grind complexity that was originally recorded for their Poacher Diaries session for the split with Converge, but which appears here for the first time. A killer serving of hyperspeed grind weirdness.

VARIOUS ARTISTS   Exit Zero: Electronica Obscura Volume II   CD   (Dead Mind)    8.00

The second in Dutch label Dead Mind's ongoing series of underground avant-electronica compilations, the first of which is also back in stock and highly recommended! Just as diverse and excellent as the previous installment, this compilation features the arctic ambient,deep drones, and Boards Of Canada -esque bliss of Contagious Orgasm, Clay Figure, Die Plagen Des Himmels...the spacey bleep, celestial noise loops and driving beats/mutant bedroom techno of Telepherique, Zyrtax, Yasushi Miura, and Tote Stadt...the lunar post-rock and frenetic squeak funk of Crucial Blast alumni SAMUS...Evil Moisture’s hard white-noise squonk...Massaccesi's choking beats and sub-bass Nintendo spasms...Fckn Bstrds' murderous gabba eruption...Bongoleeros' transgressive group improv junk noise (reminiscent of REYNOLS)...Deep's awesome SUNN O))) / EARTH 2 / Skullflower -esque feedback and amplifier driven powerdrone...Howl In The Typewriter's infectious damaged synthpop mutation...The Machine Gun TV's rubbery dance-industrial /space noise...Ubique Daemon's high-frequency chainsaw sine-wave destruction...Lume's skipping-CD drone and eerie piano melody...and Rony And Suzy close this out with a wiry track of melodic, pretty, and distorted drum n' bass / trip hop. Great stuff all around, not one bogus track. A killer collection for adventurers into the far reaches of underground indie electronica, drones, and experimental beats.

VARIOUS ARTISTS   Oceanic:Remixes/Reinterpretations   2 x CD   (Hydra Head)    16.98

This double CD collects tracks originally released on the "Oceanic:Remixes" vinyl LP series (Robotic Empire) onto one handy digital format, and adds the previously unreleased second version of "Carry" from Tim Hecker. This collection of remixes takes the word to the extreme: these are complete re-interpretations of material from Isis legendary Oceanic album, taking the most fundamental elements of the original songs (sometimes just a beat or shadow of a guitar riff), and bends and warps them into vivid,radical new forms. It's way more interesting than I originally anticipated it being, that's for sure.

Some of the highlights for us included Fennesz's total washing out of "Weight", turning the song into a gauzy,wispy dronescape with subtle ,crackling textures...the shimmering, almost trip-hop of Teledubgnosis' take on "Maritime", and Venetian Snares utterly bizarre and righteous tripped-out-dub-with-grindcore-vocals assault on "The Beginning And The End". Theres alot more on here too, raging from epic drones and crushing beat driven noise to the ripping version of "False Light" as done by The Oktopus ( aka Dalek ). Other artists on this double CD include Thomas Koner, James Plotkin (OLD, Khanate), Tim Hecker, Mike Patton (Fantomas,etc), Ayal Naor (27), DJ Speedranch, Crucial Blast faves Destructo Swarmbots, and Justin Broadrick (Jesu, Godflesh, Techno Animal).

VARIOUS ARTISTS   The Nature Of Systems   CD   (Carbon)    9.98

This excellent compilation has been out for awhile, but we've never carried it before, and with the great mix of artists/bands on this CD, we just had to offer it for anyone who hasn't come across this stellar psyche/drone/free noise/deathjazz comp previously... Featuring exclusive songs from CHARALAMBIDES, THE FLYING LUTTENBACHERS, PELT, LOREN MAZZACANE CONNORS, BARDO POND, as well as THE ARTHUR DOYLE ELECTRO-ACOUSTIC ENSEMBLE, Andy Gilmore, FINKBEINER, THE GOLDEN CALVES ESKIMO LIME BAND, BURLAP, JOE+N, NOD, MICK TURNER, SHEET, SQ, Karl Precoda/Mike Gangloff, and PENGO. Arthur Doyle Electro-Acoustic Ensemble starts off the disc with "Flue Song," a queasy flute melody delivered overtop what sounds to be field recordings of frogs with some spacey whoosh appearing throughout. Nice. Andy Gilmore follows with some pleasant string-bending ambient guitar abstraction, all subdued haze and hum with a strange voice sample appearing briefly halfway through, and ending with a chime-driven climax. Charalambides donate "Mansfield Dam", a minimal, glacially paced piece of abstract folk drift, not too far from their "Being As Is" material released on Crucial Blast, though it sounds strangely "digital", with the sporadically plucked acoustic strings being processed into little blips of melody that zip by via tape editing and masking. Eventually a minimal riff appears reminiscent of LOW and Charalambides "Home" and "Houston" CD, as Christina Carter's angelic voice loops in and climaxes the track with an absolutely GORGEOUS haze of droning bliss as her vocals become layered upon each other into infinity. Next up is FINKBEINER, with a dusty, cosmic drone-jam that straddles the line between sublime 70's sci-fi sound effect bleepery and Ennio Morricone style epics. Golden Calves Eskimo Live Band emerge from the shadow of TOWER RECORDINGS, with a brief duet between a roughly Jandekian acoustic guitar and what might be the weird recorded laughter of a battery-operated talking doll. Thoroughly creepy. The Flying Luttenbachers appear next with "Maximum Cruelty", a BORBETOMAGUS -esque blast of improvised-with-cues free-jazz-meets-death-metal splatter. Burlap’s "Coming Home" features a haunting, repetitive bass and guitar melody with wheezing electronics and shimmering blip noise. Pelt's track is recorded live and is more of their basic ethno-forgery drone sound, being a cavernous/ominous jam by an actual violin quartet, reminiscent of Sun City Girls collaboration with Eyvind Kang. Joe+n delivers some droning vinyl pops layered over ORGANUM style metallic shimmer. Loren Mazzacane Connors coaxes a dreamlike melody from gently reverbed guitar. Nod do their usual shambolic garage-rock, although "John Henry vs. The Smog Monster" infuses it with a country blues vocabulary, making it a wistful, vaguely Dixieland-sounding burst of free-rock stumble. Mick Turner of the Dirty Three follows and defies expectations with a rather wild cut-and-paste plunderphonic 'contemporary classical' type piece. Sheet is another Rochester-ite doing 'sheets' of noise. Kind of John Wiese-y, though with less "digital shock" and more on the "incendiary robo-drone" tip. SQ brings back the free-death-chaos with "After Being___So Long", an icy room-ambient piece with distant amp buzz, improvised cymbal splatter, and eternal feedback that mutates into shrieking skree collapse. Bardo Pond lumber through "Vagabond", a gnarly drone rock abrasion that sounds like SHELLAC drunk on cough syrup and stuck on a merry go round. Karl Precoda and Mike Gangloff team up for "Metal Shop", fusing field recordings of the aforementioned locale to a lower-register bowed-string drone. And Pengo end the disc with a jam called "New Loft Elevation 2001." At the raucous beginning, John Schoen's 'sound sources' create a feel more like To Live and Shave in L.A. than what one would expect from these guys, although it soon dissipates and out of the dust emerges a percussion-driven ethno-forgery jam with weird multi-tracked reed playing by Joe Tunis. The last few seconds are really great stuff, as the percussion groove morphs into a lurching electro-glitch groove. Overall, a superb diverse collection of drones, psyche-folk, free-noise, and deathjazz!

VARIOUS ARTISTS   Reno: Where Dreams Come To Die   CD   (Sedition)    8.98


This compilation kills on contact. If ever there was a city whose hardcore community was disproportionately massive compared to its population it would

have to be Reno. Each band on here is impressive in its own right, you've got everything from old school thrash to neo-black thrash to noise thrash to THIS

COMPUTER KILLS (who sound like VERBAL ASSAULT would have if they were a thrash band). Full-on, top-notch fastcore, scuzz punk and occasional grind here (plus

SCURVY BASTARDS pirate punx closing track) representing Reno. Features exclusive tracks from Redrum, Headgrenade, Vae Victis, This Computer Kills, The

Livid, Bloody Victim, Iron Lung, All Opposed and the Scurvy Bastards.

VARIOUS ARTISTS   Triad   CD   (Neurot)    11.98

Neurot presents this three-way split that showcases three of the label's newer outfits, Made Out Of Babies, Red Sparowes, and Battle Of Mice. Red Sparowes

have already made quite a name for themselves with a couple of really well-received albums of moody, explosive instrumental rock epics, and here they offer

two live tracks recorded at KFJC's 'Live in the Pit' series, "Alone And Unaware, The Landscape Was Transformed In Front Of Our Eyes" and "Buildings Began To

Stretch Wide Across The Sky, And The Air Filled With A Reddish Glow", both as massive and panoramic as their verbose titles would suggest. The recording of

these live jams is PERFECT, sounds like they could be studio tracks, both beautiful winding blasts of melodic shimmering distortion and symphonic walls of

spacey fuzz, steadily climbing twin guitars, propulsive drumming and proggy basslines building and exploding into crushing cosmic crunch. Totally amazing and

stirring - these guys have definitely formed their own language of instrumental majesty , but if you're also a fan of Mono, Explosions In The Sky, Souvenir's

Young America, you'll love Red Sparowes.

Battle Of Mice, who have quickly become one of my new favorite bands, contributes two tracks to this disc: "Sleep & Dream" and "Lamb & The Labrador", both

of which appeared in slightly different form on their album A Day Of Nights (which is listed elsewhere in this weeks store update). BOM features a

member of Red Sparowes and Made Out Of Babies singer Julie Christmas; if you've heard Made Out Of Babies, then you're already familiar with Christmas' unique

vocals. Her singing style shifts between a creepy, breathy little-girl voice, sultry hushed whispering, and fucking fierce screams that she really

belts out, and for Battle Of Mice she leans more towards the softer singing, at times reminding me a little bit of Bjork. The music has some of Made Out Of

Babies aggressive noise-rock crunch, and there's also a celestial quality that reminds me of both Red Sparowes and Isis a little, rolling tribal drumming,

ominous melodic shadows and monstrous sludgy metal riffs, super creepy and catchy and icy vibes, a menacing mutant alt-metal unlike anything else out there.

I can't fucking wait till their upcoming split with Jesu comes out!

Then it's Made Out Of Babies closing this out, again with Julie Christmas singing, but much more agressively, her harrowing screams and dramatic croon

trading off as the band busts out "Gunt" and "Proud To Drown", histrionic eruptions of percussive post-Am Rep metal, lurching angular riffage and pounding

beats that bash it out like an apocalyptic meeting of PJ Harvey, NYC pigfuck, brooding metallic postrock figures and Jesus Lizard street sleaze.

Comes in a full color case with awesome artwork from Seldon Hunt.

Track Samples:

VARIOUS ARTISTS   The World Will Fall Soon And We Will All Die   CD   (Selfmadegod)    5.00

A triple-header of Polish grindcore, blasting yer cranium at mindbending speed! And what has us extremely stoked on this 3-way split CD is the fact that

it opens with six, count 'em, six exclusive tracks from the unstoppable ANTIGAMA! Hell yes, we've been waxing fanatic about these futuristic blast

merchants since we first heard their amazing Zeroland album, and we're always needing more Antigama! So yeah, this killer split, covered in

nihilistic anti-war imagery, opens with six Antigama tracks, all of which are exclusive to this disc. The songs are pretty much in the same vein as their

Zeroland material, jagged, tightly controlled blasts of technical grindcore that seem to move in odd time signatures, with a feel similiar to that

of Napalm Death's experimental mid-90's stuff (think Diatribes) and Brutal Truth, but with an otherworldy patina of alien discordance on their

avant-grind attacks. Some of the truly mind melting moments can be found in "Questions" when Antigama's drummer suddenly launches into a series of fucking

insane percussion freakouts closer to out-jazz than anything else, and the mindmelting guitar noise employed on "Repeatedness" that sounds like one

of the guitarists suddenly decided to dismantle his instrument mid-song. Amazing. This album would be totally worth it just for the Antigama tracks, but

luckily Selfmadegod saw fit to match them up with two totally worthy partners. Third Degree deliver three tracks of raw, violent grindcore with a singer

named Czarny who manages to leap from deep gutteral monster growls to horrific, slit-throat cackling vocals over a speedy apocalyptic grindpunk assault.

Their four songs here seem to be less percussive than their awesome full length on SMG, which we remember sounding something like a mix of Godflesh and

Napalm Death. This is brutal, unrelenting grind though, no doubt, layering discordant guitars and catchy hooks a la recent Napalm Death. And who best to wrap

up this grind feast than a band that features members of both Antigama AND Third Degree, the strangely named Herman Rarebell! We presume that the band is

named after the drummer from the Scorpions, but who knows. These guys blaze through seven tracks of speedy grindcore that's even rougher and more raw than

Third Degree, but just as crushing. Blistering barbaric grindmetal with fucked up gargling screams, weird rhythmic changes, and ending with a ripping cover

of "Mutual Trust" by Defecation. Awesome. Love the layout for this too, using lots of high contrast, politically charged imagery and metallic silver


Track Samples:
Sample : VARIOUS ARTISTS-The World Will Fall Soon And We Will All Die
Sample : VARIOUS ARTISTS-The World Will Fall Soon And We Will All Die
Sample : VARIOUS ARTISTS-The World Will Fall Soon And We Will All Die
Sample : VARIOUS ARTISTS-The World Will Fall Soon And We Will All Die

VARIOUS ARTISTS   Lo Dubs Presents: Analog Clash   2 x CD   (Lo Dubs)    14.98


I haven't carried much dubstep here at Crucial Blast in the past, despite the fact that I've been becoming more and more obsessed with dubstep, breakcore, and the really hard ragga stuff lately. Our focus is and will always be targeted on the heavier end of the spectrum, so most dubstep falls outside of the scope of Crucial Blast, but occasionally I come across something from this scene that does fit in here with our general focus.

The Portland based record store and label Anthem Records has already made a name for themselves with excellent 7" releases from Nadja, Brainbombs, Daniel Menche and others, but they also have a new side-label called Lo Dubs that alot of you probably aren't as aware of. Over the past two years, Lo Dubs has released a bunch of killer 12"s featuring crushing, bass-crazed dubstep from a host of newer North American dubstep artists. Most of the UK dubstep that I've been listening to is more laid back, but their North American cousins go for a much heavier and more menacing vibe, and Lo Dubs has made that brand of heavy, mangy dubstep their calling card.

The thing is, is that most of the Lo Dubs 12"s have gone out of print pretty quick, and you'd have to be pretty quick to collect them all as they came out. Luckily for me, the label has collected all of these 12" tracks on the second disc in this new set, and it's an asskicking collection of little-known but punishing dubstep artists like Solvent, Starkey, South3rn, Bombaman, DZ and more. Each one of 'em takes that signature stuttering dubstep sound and warps it into their own image, with lots of crushing, distorted beats and fucked-up raga breaks, grinding distorted synths, buzzing low-end noise, tripped-out dancehall reggae toasting, and it's all surrounded by this dark, sinister atmosphere. There's alot of variety between the tracks, moving from minimal juddering grooves and skittery rhythms to mutant dub reggae and vicious synth bass. Killer shit, definitely a must-hear for anyone into the current dubstep sound, The Bug, Venetian Snares, and Razor X Productions.

The other disc features a ton of new remixes and tracks mixed by LA's 6BLOCC, all exclusive to this release and woven/blended together into a massive hour-plus workout of heavy mutant dubstep, with reworked tracks from DZ, Bombaman, DZ & Awaken Lion, Starkey, XI, South3rn, Hoodz, Pacheko, Cardopusher, and Nadja.

Yep, there's a track from dreamsludge faves Nadja, only it's a remix of their song "Alien In My Own Skin" by Vex'd, who takes the song's howling feedback textures and grinding guitar churn and layers chunky, sputtering beats, bleeping electronic textures and ominous buzzsaw synth over top. It's pretty crushing, and definitely one of the heavier tracks on here.

Track Samples:
Sample : VARIOUS ARTISTS-Lo Dubs Presents: Analog Clash
Sample : VARIOUS ARTISTS-Lo Dubs Presents: Analog Clash
Sample : VARIOUS ARTISTS-Lo Dubs Presents: Analog Clash
Sample : VARIOUS ARTISTS-Lo Dubs Presents: Analog Clash

VARIOUS ARTISTS   Doomed To Death Damned In Hell   CD   (GrindMind)    11.98

Grab a bottle of sake, a fat bag of dirtweed, and pump your skull full of the sickest Japanese death sludge to be found with this awesome new three-way split CD from the Italian label Grindmind. Doomed To Death, Damned In Hell is the name of the album, and it's the fucking ultimate in gory, detuned doomy death, with each of the three Tokyo bands featured delivering their own unique style of super downtuned, bestial, doomic death metal. Two of the bands were new to me, Anatomia and Grudge, but Coffins are one of my favorite death metal bands ever, so their inclusion on this disc made it essential for me from the start.

Anatomia from Tokyo start the disc with five tracks of mostly midpaced death metal, a power trio a la Coffins, with members of the cult Japanese deathdoom band Transgressor playing gruesome, reverb-heavy death with impossibly gutteral, drooling grunts, droning minor key riffing, boiling double bass drumming, and awesome sludgy breakdowns. No lyrics are included but it's obvious that their songs are hardcore gore hallucinations with titles like "Necrcannibal Instinct", "Mournful Cremation" and the hysterical "Severed Infant Waste". They keep things interesting too, with weird metal percussion sounds hooking up with the pounding drumming. Think Incantation, Autopsy, Winter, Celtic Frost, you get the idea. Awesome, slow dirgey death metal primitivism.

Grudge were the one big surprise on this disc. Like Anatomia, Grudge hail from Tokyo and this was my first exposure to the band, and I was completely fucking blown away by their four songs on here. Ungodly heavy, Grudge's brand of evil, massively downtuned sludge almost reaches Corrupted-like levels of decimation, with glacial subsonic riffs oozing over their strangely ramshackle drumbeats, the double bass rolls and massive tom beats bashed out in a super sloppy attack that at times almost sounds inept and off-time but which makes the songs sound that much more barbaric and monstrous. But it's the vocals that really make my fuckin' hair stand on end...Grudge's singer sounds like the guy was freshly exhumed from the grave before they stuck him in the studio to record these jams. Much of the time, the vocals are gutteral howls blasted with FX, but he also lets loose with these awesome, ghoulish moans, wailing utterances and wordless rasps that sound like something right out of an Asian horror movie. The combination of stumbling, sloppy percussion, diseased sludge and distinctly Japanese sounding zombie howls give Grudge a really nasty graveyard vibe. Awesome stuff, you can bet that I'm going to be trying to track down more stuff from these guys post haste.

And then we're on to Coffins, with four new tracks of gnarly, midtempo death metal sludge, super noisy and distorted and blown out, the guitars tuned way WAY down and cranked on the midrange, a filthy razorblade tone that infects their brutal atavistic DM riffing. Blasting midpaced doublebass and pounding dirgey beats and downtuned bass, awesome fucked-up Hanneman style soloing, gurgling gutteral vomit roars. Three original tracks, "Abysmal Blood Sea", "Cremated Remains" (one of the slowest Coffins jams ever !!), "Stillbirth", and a cover of the Asphyx jam "Wasteland Of Terror". Think Corrupted meets Autopsy meets Celtic Frost. Devestating!

Three of the heaviest death sludge bands from Tokyo, gathered together on one monstrous disc, with amazing artwork from Rafal Kruszyk depicting biomechanical gasmask horrors, skull mounds, and undead wraiths.

Track Samples:
Sample : VARIOUS ARTISTS-Doomed To Death Damned In Hell
Sample : VARIOUS ARTISTS-Doomed To Death Damned In Hell
Sample : VARIOUS ARTISTS-Doomed To Death Damned In Hell

VARIOUS ARTISTS   Slave To The Power: The Iron Maiden Tribute   2 x CD   (Meteor City)    11.98

Slave To The Power: The Iron Maiden Tribute IS CURRENTLY UNAVAILABLE FOR ORDER

We all know compilations of cover songs can be a hit or miss affair, but when you've got bands doing their own wildly inventive takes on the music of one of their own favorite bands, that's when it gets interesting. This hefty double-disc compilation tribute to Iron Maiden was released by Meteorcity back in 2000, but I finally just picked it up for the first time after hearing the Eternal Elysium cover that appeared on here ater a friend played it for me. Their version of 'Innocent Exile' frankly killed, so I was curious to see if this set had any other cool mutations of classic Maiden tunes. Well, the tribute compilation is pretty much split down the middle in terms of how much liberty the artists involved take with the original; alot of the bands on here do solid if 100% faithful renditions of their favorite Maiden songs, like New Jersey doomlords Solace (who actually show up twice with covers of 'Another Life' and 'The Prophecy'), Skid Row frontman Sebastian Bach (whose

cover of 'Chldren Of The Damned' is pretty awesome, as that dude has some of the greatest pipes in metal), Dofka, Shallow, power metallers Ian Parry and Kamelot, Holy Mother, Eleventh Hour, Iron Saviour (featuring members of Helloween, Gamma Ray, and Blind Guardian), killer Canadian proto-metallers Tchort, Cosmosquad (with Ray Alder from Fates Warning on vocals), Fates Prophecy, and Pharaoh.

The standouts on here that make Slave To The Power really worth picking up though are the wild cards that deviate bigtime from the original song:

the aforementioned psychedelic Japanese sludgelords Eternal Elysium turn their version of 'Innocent Exile' into a twisted psych jam that starts off as reggae-tinged blues, and then kicks into maximum heaviness with a lumbering Sabbath-strength version of the song joined by Yukito Okazaki's quirky singing before segueing back into chill lounge jazz. Really stoned, and incredibly groovy.

A Finnish band called Hoyry-Kone win the award for the weirdest version of a Maiden song with their orchestral prog-folk-metal cover of 'The Trooper' that uses trombones, cellos, and sax along with the requisite bass, drums, and guitar, and ends up sounding like a crazed Metal In Opposition jam from Sleepytime Gorilla Museaum. Very cool.

Electric Frankenstien do a snotty punk rock version of 'Aces High' that puts a ragged pogo attack spin on the classic Maiden jam; NOLA sludge masters Crowbar take 'Remember Tomorrow' and turn it into a psychedelic doom crawl that is unsurprisingly one of the heaviest jams on the disc; the heaviest Maiden cover, though, would have to go to the insane concrete doom of Boston's Warhorse, who turn 'Total Eclipse' into a slab of twisted monstrous dirge tuned so goddamn low that when the song kicked in, all of my McFarlane Dragons went flying off the top shelf. Stoner rockers Archie Bunker (who team up with Solitude Aeturnus singer John Perez to put a gritty, desert rock spin on 'Wrathchild', Wardog reinvent 'Purgatory' as old school 80's thrash metal, and Rotors To Rust do a neat heavy psych raveup of 'Invaders'. Las Cruces put their stoner desert doom twist on 'The Prisoner', Swedish stoner rockers The Quill push 'Where Eagles Dare' into the ultimate driving jam, and the final tr

ack on disc two is a progressive thrash version of 'Run To The Hills' as envisioned by John West and Chris Caffery from Trans-Siberian Orchestra.

One of my favorite tracks is from the shortlived Finnish doom band Conquest, which featured members of Nightwish...they do a doomed cover of 'The Evil That Men Do' that is fucking AWESOME, turning the already majestic melody of the original into molten doom metal a la Candlemass or Solitude Aeturnus, with swirling cosmic prog-rock keyboards floating around in the background. It's totally faithful to the spirit of the original song yet turns into something new sounding and even more epic and spaced out, a crushing prog-doom epic that had me hitting repeat about half a dozen times just trying to write this interview.

While I take issue with the fact that this set doesn't use the Eddie Maiden character anywhere in the album art, it does come with a thick booklet loaded with liner notes and writings from the bands regarding their feelings about the songs they chose. Pretty cool!

Track Samples:
Sample : VARIOUS ARTISTS-Slave To The Power: The Iron Maiden Tribute
Sample : VARIOUS ARTISTS-Slave To The Power: The Iron Maiden Tribute
Sample : VARIOUS ARTISTS-Slave To The Power: The Iron Maiden Tribute
Sample : VARIOUS ARTISTS-Slave To The Power: The Iron Maiden Tribute

VARIOUS ARTISTS   Knormalities Volume I   7" VINYL   (Dephine Knormal Musik)    6.98


First in Moe! Staiano's killer 7" compilation series that focuses on the best in out-there, noisy prog,improv/out-jazz,and avant pop. Volume one,originally released back in 1998, features exclusive tracks from VACUUM TREE HEAD (killer freejazzpunkthrash), FLYING LUTTENBACHERS (the masters, with their free-jazz lineup), MONO PAUSE (percussion heavy spy-fi rock that combines tribal percussion a la early SWANS with an almost RESIDENTS type influence), MELT BANANA (hell yeah!), MOLECULES (with one of their best songs ever, "Blah"), MOE! STAIANO (with "Chased By Bats In Vats", a crunchy found-item percussion jam), and Japanese prog-skronk heroes/gods RUINS, with their "Hard Rock" medley (attacking riffs from AEROSMITH, LED ZEPPELIN, IRON BUTTERFLY, and more)! On black vinyl, limited and hand numbered to 1100 copies.

VARIOUS ARTISTS   Record Of Shadows Infinite   CD   (Crucial Blast)    5.98


A diverse collection of drones, post-rock drift, and modern neo-minimalism, Record Of Shadows Infinite brings together eerie twilight hum, harrowing field recordings, intoxicating soundscapes, and hazy psychedelic ambience from across the globe. From pastoral to apocalyptic, a wealth of evocative aural vistas are contained within. Features new recordings from TROUM, FRANCISCO LOPEZ, HOUSE OF LOW CULTURE, THUJA, UNEARTHLY TRANCE, CHAOS AS SHELTER, AMON, BENEATH THE LAKE, SCOT JENERIK, and RUHR HUNTER.

VARIOUS ARTISTS   New York Vs The Belzebu / Empty Grave / Pure Noise   CD   (Latincore)    11.98

New York Vs The Belzebu / Empty Grave / Pure Noise IS CURRENTLY UNAVAILABLE FOR ORDER

Take a look at the back of the jewel case for this CD, and where there would normally be a track listing or some other similar indicator of the content within, there are only the words “172 Songs” beneath the nearly incomprehensible logos of the three bands that make up this 3-way split CD. This absurd statement should hopefully prepare you for the ridiculously wicked blitz of freeform Brazilian grindnoise on order here from NEW YORK AGAINST THE BELZEBU, EMPTY GRAVE, and PURE NOISE. While virtually extinct in other regions of the globe, it would seem that the AN*L C*NT / FEAR OF GOD / SORE THROAT noisecore legacy lives strong in Brazil. NEW YORK AGAINST THE BELZEBU, who are virtually legends in this “scene”, open this up with 28 blasts of nonsensical blastbeat mayhem, brainmelting Casio melodies, entire riffs lifted from VAN HALEN and RUSH, and mongoloid thrash breakdowns mashed together into a blur of lo-fi speed chaos. Imagine early BOREDOMS action as filtered through the noxious grind of AN*L C*NT.

EMPTY GRAVE are a tough-looking drums’n’guitar duo whose 69 songs flirt a little more with old school death and speed metal, busting out some pretty viscious lo-fi speedcore riffs and monstrous breakdowns, but the frequent forays into nursery rhymes, 5-second "songs", and roaring walls of distortion that barely obscure the frenetic, sloppy blastbeating relentlessly going on in the background keep this firmly entrenched in the noisecore/blurr orbit. The production here is slightly improved over NEW YORK AGAINST THE BELZEBU’s vaccum-cleaner eruptions, but it’s still no picnic. Mostly it’s multi-second riffblast on par with early CRIPPLE BASTARDS and FEAR OF GOD accented with moments of brootal mid-tempo crustcore, evil monk chants, old time spirituals, and f***ed structures like a retarded NAKED CITY, complete with dual cave troll/rabid warthog/electrocuted housewife vocals.

PURE NOISE wrap it up with what would appear to be 75 individual compositions, but since a CD can only have 99 labeled track ID’s, all of the PURE NOISE material has been squashed together as one continuous stream of improv blast violence on track 99. None of this really matters…what does matter is that PURE NOISE sounds like Scum -era NAPALM DEATH channeling old school Japanese harsh noise through their sh*tty practice amps and attempting to lock into some flesh destroying free-jazz thoughtwaves. Obviously, this feast of blast is only recommended to serious noise heads, old school grind freaks, and fans of truly adventurous/fried brutal improv. This disc is packaged in blown color Xerox graphics which make this appear more like black market Brazilian snuff vid product than it has any right to.

Track Samples:
Sample : VARIOUS ARTISTS-New York Vs The Belzebu / Empty Grave / Pure Noise
Sample : VARIOUS ARTISTS-New York Vs The Belzebu / Empty Grave / Pure Noise
Sample : VARIOUS ARTISTS-New York Vs The Belzebu / Empty Grave / Pure Noise

VARIOUS ARTISTS   In Hoc Signo Vinces   CD   (Black Goat)    12.98


Track Samples:
Sample : VARIOUS ARTISTS-In Hoc Signo Vinces
Sample : VARIOUS ARTISTS-In Hoc Signo Vinces
Sample : VARIOUS ARTISTS-In Hoc Signo Vinces
Sample : VARIOUS ARTISTS-In Hoc Signo Vinces

VARIOUS ARTISTS   Three Revelations To A Nuclear Funeral   CASSETTE   (Vaginal Apocalypse)    6.50

A killer three-way split of crushing industrial filth, mutant mechanized funeral doom, and violent power electronics from Moved Beyond Murder, Diseased Oblivion and Sodomitical Anguish, released in a limited edition of one hundred copies. This one is for the filth-junkies only, with some of the nastiest underground sludge/noise imaginable.

First up is Moved Beyond Murder, a one-man band from Nashville whose only recorded output appears to be the first two tracks on this tape. It's good stuff if you're a fan of having hallucinatory low-end muck wash over you in slow motion. Utilizing field recordings, sampled music, filthy bass-heavy electronic noise and some intensely ugly sludgy heaviness, these two tracks uncoil into strange low-fi nightmares of random sound and buzzing noise, bits of death industrial-like creep surfacing amid a clamor of layered television signals and random voices, a sound that hints at the influence of both classic Euro industrial filth a la Genocide Organ and Bizarre Uproar and the deformed black roar of Blue Sabbath Black Cheer, rendered via some seriously skuzzy production.

Next is the titanic Diseased Oblivion, a terminally low-fi funeral doom duo that features the guy from Reclusa; it was actually through this band that I originally discovered Reclusa, after I picked up the split CD that Diseased Oblivion did with Sewer Goddess a few years ago. I loved their side of that split, a slime-coated, washed out wave of glacial misery that sounded like a weird industrialized version of Skepticism being slowed down to a near beatless crawl. The three tracks that Diseased Oblivion deliver here are along the same lines, painfully slow slabs of creeping funereal riffage buried beneath a dense toxic cloud of weird melting synth-like noises, swirling distortion and psychedelic effects, the vocals barely noticeable as they gurgle and rupture beneath the oozing noisy sludge. It almost has a Black Mayonnaise-esque sense of wrongness to it, a mutated atonal dirge drowning in grave-filth and irradiated slime that sounds exactly what tracks like "Buried In Black Fungus" and "Scabbed Crustacean" should sound like. Filthy, putrid funereal drug doom seeping out of collapsed grave sites. I love this shit.

And last is Sodomitical Anguish, who has also shown up on the America, The Grave compilation put together by Leech from Theologian/Annihilvs; these three tracks are exercises in piercing power electronics, layered feedback and extreme high-end skree smeared with weird samples and bits of ominous dialogue, buzzing black drones that squirm through the rumbling synth-filth, nauseating flanger manipulation and percussive clanking, occasionally interrupted by guttural frog-like grunts. A solid blast of filthy noxious PE that is firmly in the Whitehouse school of electronic ear-abuse.

Track Samples:
Sample : VARIOUS ARTISTS-Three Revelations To A Nuclear Funeral
Sample : VARIOUS ARTISTS-Three Revelations To A Nuclear Funeral
Sample : VARIOUS ARTISTS-Three Revelations To A Nuclear Funeral

VARIOUS ARTISTS   The Information Apocalypse   CD   (Annihilvs)    9.98

Leech's label Annihilvs released this limited edition compilation of power electronics / death industrial / powernoise artists in 2002 but it's still in print, now being stocked here for the first time. The Information Apocalypse features some big names in the field of black electronics, including exclusive tracks from Navicon Torture technology, Gruntsplatter, Tarmvred, Wilt, Death Squad, Control, and Jarl.

The disc opens with Navicon Torture Technologies's "A Morte Perpetva", a sprawling mass of horrific death industrial formed from misanthropic samples over

a distant mechanical rumble, crackling wind-like noise sweeping across the grim apocalyptic ambience. A steady droning hum rises to the surface, followed by hostile ranting that is carried across the abyssal gulf, while insectile buzzing slowly drifts in through the slow motion industrial crawl. Gruntsplatter's "Genomic Rituals" is a hellish rumbling soundscape of swarming electronics and high frequency fluctuations, a churning machinelike rumble in the depths and squeals of feedback flowing on slow surging waves of black electrical energy. "H" is a chilling soundtrack-like piece from Lab Report, pulsating distorted feedback and blasts of looped symphonic electricity, and US power electronics master Control delivers a hellish PE assault swirling within a radioactive storm on "Destroy You". The pitch-black PE vibe is continued with vile offerings from Land:Fire, whose fearsome death industrial is laced with sample-laced drones, and Death Squad's grimy, psychedelic power electronics make an appearance with the track "AP 9.6", blossoming with shrieking feedback ear-hate and blooms of filthy distortion.

The more ambient end of the spectrum is well represented here, with Wilt delivering an evil piece of black ambience, constant metallic gong-like echoes

and swells of feedback hum drifting in clouds of vague black drift, hovering at the precipice of some vast abyssal void, the sound very minimal until the last few minutes, when droning muffled strings and strange clock-like noises swell up out of the darkness. The surreal noisescape of Hollowing's "An Ageless Contempt" is made up of hissing, clanking loops, oscillator sweeps, granular white noise, and blasts of chopped-up abstract samples; and Jarl's "No Response" is bleak dark oceanic ambience, fluttering rumbling activity, and washes of dense crumbling distortion.

The other half of the disc features a more rhythmic form of nightmare industrial. Tarmvred is one of the key figures in this particular field, and "Moralpanik" freezes the blood with menacing rhythmic noise surrounded with claustrophobic ambient drift and sheets of ominous distorted synth layered over a crackling, smoldering machine-groove. The brutal electro-industrial of Unter Null's "Tender Mercies" combines pounding distorted drums and nightmarish electronic textures into a hammering frenetic wall-of-rhythm, and Abfall's "T.T.N.F.M.V." unleashes a violent lock-groove rhythm with spastic screaming hysteria over distorted throbbing techno-esque rhythms and gabber-like blasts of machinegun violence.

We weren't very familiar with Converter before hearing this compilation, but their track "Offal" turned out to be one of our favorites here. This horrific dose of black industrial begins as a terrifying fly-struck swarm of buzzing chaos that heralds a nightmare of screaming vocals, churning low-end immolation, and gusts of pneumatic machine noise that evolves into an ultra heavy mechanized death-dirge. Ultra distorted drum loops pound away as throngs of black flies descend on factories belching black smoke. Also noteworthy is the appearance of Nothing, the dark industrial project from Jason William Walton of Agalloch and Sculptured. He brings a sputtering, squealing, scraping stop-and-go blast of harsh noise, musical fragments and gargling vocals on "There Is No Infection Here", a mangled vomit-blast of noxious power electronics.

Track Samples:
Sample : VARIOUS ARTISTS-The Information Apocalypse
Sample : VARIOUS ARTISTS-The Information Apocalypse
Sample : VARIOUS ARTISTS-The Information Apocalypse
Sample : VARIOUS ARTISTS-The Information Apocalypse

VARIOUS ARTISTS   Harsh Purification   4 x CD-R   (Corrosive Art Records)    16.98


A massive four-disc set that basically contains four full length albums from some of the best of the current harsh noise underground: Vomir, An Innocent Young Throat Cutter, Torturing Nurse, and Government Alpha. The sounds range from brain-blotting HNW to extreme psychedelic speaker desruction, and will test your limits for sure...

If the blank walls of black static on the first disc remind you of Werewolf Jerusalem (as they did to me), that makes sense; WJ mastermind Richard Ramirez is also the sole force behind this incarnation of the giallo-obsessed HNW project An Innocent Young Throat Cutter. Like he does with Werewold Jerusalem, Ramirez crafts epic slabs of pure static here that are for the most part untainted with extraneous noise, creating massive fields of hypnotic mindblot, save for the third track, a shorter piece that does get pretty brutal with it's onslaught of pummeling low-end distortion. A little more corrosive in texture and less meditative than what he does with Werewolf Jerusalem, maybe, but it's still a total voidstorm that fans of that project should definitely check out.

The disc from France's Vomir disc serves up a single untitled half-hour blast of his signature style of speakershred inferno. A massive rumbling scrapescape of crunchy mid-range distortion and deeper seismic frequencies fused together into a monolithic noise-trance that at first sounds like the whole of the world is on fire, but through deeper listening reveals a swarming microcosm of white-noise activity that continues to be some of the most engrossing HNW being made right now.

With Torturing Nurse's thirty-five minute ear-rape "Corrosion Resistance", we leave the HNW aesthetic behind and tumble headfirst into extreme cacophony. This sprawling sado-collage has a handful of elements at it's core that struggle to maintain some semblance of orbit in the form of crashing percussion that sounds like a drum kit being hurled into a mineshaft, and the shrieking electroshock vocals that almost turn this into a kind of extreme noisecore, but these are almost totally consumed by the maelstrom of extreme feedback, chopped up samples, strangulated guitar shred and howling static that Torturing Nurse has blasting off this disc for the entire run-time. It's a suffocating dense, psychedelic skullblast, almost like hearing early Boredoms being blasted out of a jet turbine. If I did PCP, I'd listen to this track all of the time.

Last in the set is a monumental offering from Government Alpha, a legend in the Japanese noise underground. Titled "Erebus", these two tracks are of epic length, and savage the listener with a mix of scouring feedback drone, crushing effects-pedal manipulations, and harsh fluctuating waveforms that alternately resemble a brutally distorted sci-fi film soundtrack, mountains of steel and concrete crashing to the ground, full-scale laser assaults, crushing ultra-distorted rhythmic loops, extreme synth abuse, a nearly forty minute rush of world-devouring psychedelic electronics.

The discs come in a heavy dvd case with full color artwork and a set of full-color printed inserts, and is limited to one hundred copies.

Track Samples:
Sample : VARIOUS ARTISTS-Harsh Purification
Sample : VARIOUS ARTISTS-Harsh Purification
Sample : VARIOUS ARTISTS-Harsh Purification
Sample : VARIOUS ARTISTS-Harsh Purification

VARIOUS ARTISTS   Poison Gas In The Living Room   CD   (Bleakscape)    11.99

  Bleakscape boss and sole Derelict Sermon member Martin Daniels put together this compilation featuring a variety of oddball sonic extremists, electronic terrorists and abyssal gazers, all of whom have a connection to the Bleakscape label in one form or another. It's an interesting mix of sounds that Daniels has assembled here, ranging from brutal power electronics to shadow-world electronics to crushing industrial sludge metal.

   In fact, several of these projects come from Daniels himself: "Regina Filomena Rachid" is an old recording from 1997 from his short-lived industrial/power electronics project Survivalist, here taking shape as a lunatic frenzy of looped laughter and sinister low-end rumble, bursts of harsh feedback and distortion and chirping mechanical rhythms. Short, but unsettling. Melrose Ave opens the disc with a suitably bleak mixture of cold industrial drone and ominous spoken-word material called "Franklin Bollvolt The First"; this duo features Daniels unleashing a rumbling black hell of monstrous low-end drone and crushing distorted synth, a heavy duty death industrial assault that echoes some of the heavier works from Megaptera and Steel Hook Prostheses. And the tracks "As I Seep Out (Black Wolves In My Mind)" and "Poison Gas World" from The Terror Couple (another project from Daniels, here teaming up with Leoncia Flynn) is an interesting bit of dreamy dark ether, a combination of ghostly electronic soundscapery, distant hymns, eerie Dead Can Dance-esque vocals and surreal spoken word readings. But it's Daniels's main project Derelict Sermon that really crushes, with a weird industrialized sludge-metal workout titled "Theme To Black Communion" that combines more swirling spacey keyboards and cosmic electronic whoosh with his intense screaming vocal attack and blown-out, angular metallic crunch. A strange, chaotic confluence of sounds.

   The other bands featured on Poison Gas In The Living Room include the likes of Mahler Haze, whose "The Curtains Are Twitching" is a gorgeous mass of glimmering kosmische electronics, darkened space-music set adrift over strange electronic noises and percussive detritus, a riff on the deep-space void meditations of Zeit-era Tangerine Dream steeped in hypnotic, rhythmic throb and distorted synthesizer loops. The Dirty Brothers mix up mournful rickety folk music and creepy electronic fuckery and noise on their two-part "Those Friends Of Ours", the resulting din of sad harmonium melodies and withered strings and witch-like shrieks, weirdly resembling a jug-band performing for an Inquisitor's torture session. The grinding industrial of Imprint's "Feedback" might be a little too Metropolis Records-friendly for those of you with more extreme tastes, but the teenage rivethead in me really dug this band's brand of distorted female singing, pulsating rhythms and buzzsaw synthesizer melodrama. More of that classic kosmische synth sound returns on Bad Blood's "Night Lands", again hinting at a vintage Tangerine Dream influence, but mixing those gleaming glacial synths with a fog of fractured distorted electronics and almost Tim Hecker-like gusts of granular static. And the disc closes with the only other band I was previously familiar with, the mighty UK hate-squad Bagman who delivers another burst of venomous power electronics via "Penance", a pulsating mass of cancerous electronics and fluttering noise that absolutely oozes with a weird detached sense of dread.

   An interesting collection of sounds crawling around in this one little corner of the UK underground. Comes in a gatefold sleeve, and extremely limited, with only one hundred copies produced.

Track Samples:
Sample : VARIOUS ARTISTS-Poison Gas In The Living Room
Sample : VARIOUS ARTISTS-Poison Gas In The Living Room
Sample : VARIOUS ARTISTS-Poison Gas In The Living Room
Sample : VARIOUS ARTISTS-Poison Gas In The Living Room

VARIOUS ARTISTS   Frozen in Time: Music to Accompany the Films of Ingmar Bergman   3 x CASSETTE   (Black Horizons)    19.99

Frozen in Time: Music to Accompany the Films of Ingmar Bergman IS CURRENTLY UNAVAILABLE FOR ORDER

� An impressive, rather eclectic collection of artists has been assembled for this tribute to the works of legendary filmmaker Ingmar Bergman. Persistence In Mourning, Fear Konstruktor, Swamp Horse, Terence Hannum, Ryan Unks, and King Dude are each given an entire side of one of the three cassettes included in this set, where they essentially create their own alternate soundtracks to the films Persona, Face to Face, Wild Strawberries, From the Life of the Marionettes, The Serpent's Egg, and Summer with Monika, respectively, the sounds ranging from bleak experimental drone to abstract low-fi doom metal to crushing dark power electronics.

� Persistence In Mourning's "Dualitet (A Modernist Horror)" sprawls out for nearly twenty minutes, first taking form as a mysterious folk-flecked dronescape where a lonely acoustic guitar is slowly strummed over strange vocal samples, distant shrieks and whirring mechanical hum, then slowly begins to reveal faint, distant guitar leads off in the distance. A strange withered folk dirge laced with dissonance and feedback, eerie and more than a little damaged. That eventually drifts off into tangles of harsh noise and raging power electronics, passages of plaintive slow moving piano ambience, and then turns into the sort of clanking low-fi funeral doom that this project is best known for. When the heaviness finally kicks in, it's a crushing, almost industrial-tinged dirge of super-heavy riffage and metallic percussion. Another grueling assault of extreme doom and experimental weirdness from this noteworthy outfit.

� The Fear Konstruktor side starts out with a creepy minimal soundscape of chiming sounds and nocturnal noises. whirring metallic drone and chirping crickets, but then bits of dissonant piano and other instruments begin to creep in, fragments of sinister reverb-drenched sound that slowly begin to increase the feel of unease, growing more malevolent as the track progresses. The second half transforms into an extremely abstract, surreal noisescape that goes from minimal dark ambience to strange symphonies of sampled sound to a roar of distorted guitar noise and murky doom-drone riffs rumbling through the ether.

� Featuring Josh Lay from low-fi black noise metallers Glass Coffin and Morgan Rankin from Lay's old grind/noise band Cadaver In Drag, Swamp Horse belt out a killer dose of murky shoegazy ambience, swirling choral drones and eerie cello-like melodies unfurling off in the distance, the sound shifting between an almost Loveless-like cloud of incandescent feedback drift, and creepier, more dissonant clusters of hypnotic, instrumental post-rock guitar and deformed synth. An intoxicating mix of murky industrial sounds, blown-out metallic drone rock, mournful slowcore and primitive electronic horror-movie soundtrack influences.

� Locrian's Terence Hannum offers up two of his minimal synth-based pieces, "I Dreamed That I Was Sleeping / I Dreamed That I Was Dreaming". This is gorgeously creepy stuff, billowing black clouds of murky synthesizer drone and ghostly, glimmering feedback swirling with these super eerie little melodies that circle around and around within these clouds of shadow and reverb. The tracks grow more intricate and more powerful, the blown-out melodies becoming consumed by blasts of crushing black synthdrone, transforming into searing blasts of mournful, apocalyptic power electronics.

� Ryan Unks (formerly of The Human Quena Orchestra and Creation Is Crucifixion) delivers a strange industrial dirge that starts off by piling heaps of distorted low-end and rumbling noise onto a shambling, slow-motion drumbeat slathered in crashing cymbals, then drops off into a long stretch of super-minimal feedback drift, whirring drones fading off into the depths. This stretched-out feedback and bits of abstract glitch are slowly transformed into an expanse of gleaming electronic thrum, becoming strangely haunting as it slowly burns out, fading into the distance.

� The last side features an untitled epic of ghostly psych/folk ambience from King Dude, an eerie almost Goblin-like array of distant drums and percussion, ghostly acoustic strings, delay-drenched whispers, distant wailing vocals and droning keyboards, the sound super dark and murky and evocative. The vocals are an indistinct moaning mantra, deep buzzing chant drifting out of the depths, curling like tendrils of black smoke around the morose strum of the acoustic guitar. And the steady, regal blare of breath through hollowed-out gazelle antlers resounds like unearthly trumpets far off over the horizon, leading the twenty-minute song into increasingly sparse and ritualistic depths of shambling cave-psych and dark kosmische drift.

� The package design for this compilation is striking, the three tapes housed in a clear plastic case with a large fold-out black cover insert printed with metallic silver ink, everything tied together with an interesting, minimal visual concept. Very cool. Limited to two hundred copies.

Track Samples:
Sample : VARIOUS ARTISTS-Frozen in Time: Music to Accompany the Films of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen in Time: Music to Accompany the Films of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen in Time: Music to Accompany the Films of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen in Time: Music to Accompany the Films of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen in Time: Music to Accompany the Films of Ingmar Bergman
Sample : VARIOUS ARTISTS-Frozen in Time: Music to Accompany the Films of Ingmar Bergman

VARIOUS ARTISTS   Horseback / Njiqahdda / Venowl / Cara Neir   CASSETTE   (Handmade Birds)    8.98

Horseback / Njiqahdda / Venowl / Cara Neir IS CURRENTLY UNAVAILABLE FOR ORDER

VARIOUS ARTISTS   P.H.N.W. (Pure Harsh Noise Worship)   2 x 7"   (Antropofago Ateo)    14.98

     Showing a variety of approaches to harsh noise, this double 7" set was curated by Sissy Spacek's Charlie Mumma, and delivers pure, ego-destroying distortion from both current and former denizens of the Pacific Northwest noise scene. The P.H.N.W. compilation delivers four tracks of exclusive harsh noise, featuring side-long blasts of sonic destruction from Oscillating Innards (which features one of the guys from blackened grind metallers Knelt Rote), Okha (featuring a member of funeral doom outfit Aldebaran), Redneck, and HHL, who some of you might remember from their split tape with Demonologists that we did a few years back.

     And in keeping with the ultra-violent nature of everything else I've heard from that project, HHL's "Astral Incursion" is another crushing blast of severely distorted, ultra blown out noise, which sounds like it could have originally been a death metal recording that has been so over-modulated and distorted and strangled with shrieking feedback that it transformed into this roar of monstrous, rumbling, speaker-shredding noise. Nothing hypnotic about this one, it's utterly violent and seriously heavy. The flipside of that first record follows with Okha's "Universal Restitution (Live @ Baltigate 2011)", an alien electronic noisescape teeming with looping bird-like cries and repetitive whooping shrieks, laid out over a field of similarly looped low-end throb and whorls of guitar-like noise. It's certainly abrasive, but Okha also reveals a weird, musicality within this dense din of noise and loops, an eerie droning melody taking shape as the track evolves. It's sort of similar to the chirping psychedelic blasts of Bastard Noise, and with a comparable level of intensity.

     The second record starts off with Oscillating Innards' "Suspended In Vanity", another one of Gordon Ashworth's hyper-detailed pointillist harsh noise pieces; here, micro-bursts of static and fluttering bass tones flame out in a vast black void, gradually accompanied by distant metallic rattles that echo in the depths, becoming more abrasive and active as the track evolves. There's a muted junk-noise aspect to this, but there's also an attention to space that you don't hear as often with artists like K2 and Hal Hutchinson. The set closes with Redneck's "Faceless", a wall of merciless black static and distorted rumble that's the only real adherent to the "HNW" aesthetic on this compilation. It unleashes a mesmeric mass of searing distorted pulses and skull-crushing distorted rumble that sounds especially savage when played at higher levels of volume, and fans of both Vomir and The Rita will find a similar oppressive, nihilistic vibe with this stuff.

     Comes in a black and white sleeve with a printed foldout insert, limited to two hundred fifty copies.

VARIOUS ARTISTS   Leper Creativity: Cyclonopedia Symposium   BOOK (TRADE PAPERBACK)   (Punctum Books)    23.00

VARIOUS ARTISTS   Autocrine (K2 / RISARIPA / VIVIANKRIST)   CD   (Phage Tapes)    9.99

VARIOUS ARTISTS   Arrhythmia III   CD   (Charnel Music)    9.98

Third installment in Charnel's excellent Arrhythmia series that focused on rhythm and percussion in outside sonics. III boasts a strong body of tracks heavily influenced by tribal/ritual sounds, with a lineup that includes Neurosis side project Tribes Of Neurot, Raksha Mancham, ABGS, Scot Jenerik, Glod, COTA, Tekachi, Batterie Acid, Ancient Rites, John Herron, Then Tingari, and more. Lots of swirling drones and post-industrial clatter backed by resonant polyrhythms and fierce tribal drumming...fans of Crash Worship, O Yuki Conjugate, and Voice of Eye will love this compendium up-and-down. Nice jewel case package with gold foil stamped cover.

VARIOUS ARTISTS   Moby Dick   VIDEOCASSETTE   (RRRecords)    11.98

A killer piece of handmade videocassette art from RRR, compiled in the mid-90's and packed with all kinds of random pop-culture debris collage, surrealist puppet skits, some inspired editing, frequent moments of awkward hilarity, and skull exploding live performances and footage from a feast of noise punk / improv-grind / harsh noise artists, including Emil Beaulieau, Big City Orchestra, Borbetomagus, Bulge, Die Todliche Doris, Dilaudid, F/i, Lance Gargoyle, The Haters, Japanese Torture Comedy Hour, Joiesko, LAFMS, Macronympha, Rougeux, Adam Spellman, The Whales, and John Wiggins. Yikes! This tape is 60 minutes long, and comes in a pink hardshell case.

VARIOUS ARTISTS   Destroying Southern Tradition   7" VINYL   (At A Loss)    4.98


This 7" comp features exclusive tracks from DEATHREAT, DAMAD, SUPPRESSION, and EQUITY.Awesome layout and artwork on this baby. Total Southeast US darkcore,grind, and hellcrust brutality.

VARIOUS ARTISTS   I Am Vengeance (OST)   CD   (Meteor City)    8.00

This official soundtrack to the psychedelic indie-splatter film I Am Vengeance features a smorgasboard of doom metal and stoner rock sandwiched between dialogue clips from the film and pieces from the original score. I haven't seen the movie itself, but apparently low-budget underground director Richard R. Anasky drew his inspiration for this movie from both 80's slasher flicks AND classic 80's doom metal (specifically, Wichfinder General, according to the liner notes and the film's IMDB page). Sounds pretty rad to me. As a compilation of Sabbathian doom rock, this is pretty extensive: the filmmaker teamed up with Meteor City to assemble a massive lineup, including Lowrider, Doomsday Gouvernment, Blood Farmers, Sheavy, Count Raven, Eternal Elysium, The QUill, Space Probe Taurus, Las Cruces, The Awesome Machine, and many others. There is a TON of Sabbath worship going on here, with both Count Raven and Doomsday Gouvernment winning the "sounds most like Ozzy" award, and the more uptempo stuff has that post-grunge, stoner rock sound that Man's Ruin branded back around the turn of the decade. All of the songs are exclusive to the compilation, except for the Blood Farmers track "Bullet In My Head", which originally appeared on their out-of-print Hellhound debut; and Sheavy's "Sea Of Tomorrow", which appeared on their also-out-of-print debut Blue Sky Mind. Standout tracks include the massive psych-sludge of Japan's Eternal Elysium, and Count Raven's admittedly awesomely goofy Sabbath homage. The booklet contains extensive liner notes, lyrics, film stills, and commentary by the film's director/creator Richard R. Anasky.

Track Samples:
Sample : VARIOUS ARTISTS-I Am Vengeance (OST)
Sample : VARIOUS ARTISTS-I Am Vengeance (OST)
Sample : VARIOUS ARTISTS-I Am Vengeance (OST)
Sample : VARIOUS ARTISTS-I Am Vengeance (OST)

VARIOUS ARTISTS   Masters Of The Scene: The Definitive ABBA Tribute   CD   (Nihilist)    14.98

Back in stock!

I was never the biggest ABBA fan. Their supper-sunny Swede pop was played around the house alot when I was growing up, and I was pretty sick of them by the time I hit my teens. So maybe it was my sadistic side that wanted to hear this 24 song "definitive tribute to ABBA" put out by harsh noise label Nihilist Records...the lineup on compilation features names like Sockeye, Guilty Connector, Sudden Infant, and Viki, so one would expect an orgy of power electronics and high-impact noise pulverizing the living crap out of ABBA's hits, no? Well, you definitely get some of that, but theres alot more here as well. All of your fave ABBA anthems are distorted, cut up, and rebirthed by a wide variety of modern noise/psyche/damaged pop artists. Some of the "covers" are really cool and pretty re-imaginings of the original songs - the best track on here is the rendition of "Eagle" by I & Makoto (Cotton Casino and Kawabata Makoto of ACID MOTHERS TEMPLE) , which layers Cotton's heavenly singing over a sublime guitar drone from Kawabata. Awesome! The irr. app. (ext.) cover of "Knowing Me Knowing You" is a beautiful drifting morass of in-key/out-of-key vocals and psychedelic guitar strum, very nice.

Guilty Connector and Sudden Infant deliver devestating harsh noise ABBA "covers". Sockeye does an expectedly retardo,noisy garage-pop cover of "Take A Chance On Me". There's some ridiculously great beat-driven noise-fests from Canned Hamm,Kazumoto Endo's atonal electro/plunderphonic/noise rendition of "Gimme Gimme Gimme (A Man After Midnight)", and Evil Moisture's spastic cut-up of "One Night In Bankok". Other artists featured are Vertonen, Ungrateful Deadbeats (aka Strangulated Beatoffs), Ski-Mask And The Bucketmen, Absorb, Waldchengarten, Brain Transplant, Foamula (aka Metalux / Magic Is Küntmaster), Spider Compass Good Crime Band (aka CAROLINER !), Body Tong, The Rib, Wounded Head, Gunshop, Viki, Julia Sets, and Methypnox. Altogether, this is a fascinating and highly listenable translation of ABBA's pop sweetness, enough to make me want to check out the original music! Limited to 500 copies.

Track Samples:
Sample : VARIOUS ARTISTS-Masters Of The Scene: The Definitive ABBA Tribute
Sample : VARIOUS ARTISTS-Masters Of The Scene: The Definitive ABBA Tribute
Sample : VARIOUS ARTISTS-Masters Of The Scene: The Definitive ABBA Tribute
Sample : VARIOUS ARTISTS-Masters Of The Scene: The Definitive ABBA Tribute
Sample : VARIOUS ARTISTS-Masters Of The Scene: The Definitive ABBA Tribute
Sample : VARIOUS ARTISTS-Masters Of The Scene: The Definitive ABBA Tribute

VARIOUS ARTISTS   OC/LA GRIND: Pure And Sick   VIDEOCASSETTE   (Scumproductions)    11.98

We just unearthed a couple copies of this obscure DIY video compilation from the mid 90's, a serious blast-from-the-powerviolence-past, collecting all sorts

of live detritus, show clips, and performance footage from a wealth of Southern California extreme hardcore/grindcore/stench/noise outfits, including

Carcinogen (grinding crust gristle from members of Dystopia), Narcosis, Stapled Shut, funeral doomsters Morgion, Excruciating Terror, Gasp (Crucial Blast's

favorite psychedelic powerviolence band ever!), psych crusties Dystopia, Dead America, Mange, Mindrot, Phobia, and Crom. OC/LA: GRIND is a totally

DIY punk affair, with loads of video camera footage and blown recordings, but the grittiness of this video comp only adds to the total filth/noise vibe. The

tape is packaged in a hardshell plastic case with a full color cover that notes the dates and locations of each band's footage.

VARIOUS ARTISTS   Six Doors   CD   (Housepig)    11.98

A powerful presentation of modern extreme waveform manipulators. This six-way split CD features six epic tracks, each one clocking in at around 11-12 minutes

in length, from Unicorn, Aube, Bastard Noise, Luasa Raelon, Guilty Connector and Tabata, and Oblong Box. Unicorn offer "Sleeper Wave", a gentle Rhodes piano

melodic figure blossoming slowly into purring drone hiss, quite meditative and just as cool as last year's stellar Playing With Light material.

Japan's Aube follows with "Shackle", an epic pipe fight and metallic scrape feast, generating skin crawling tension over it's 12 minute duration. The mighty

Bastard Noise resurfaces with "Flesh Near Automation", which begins as broootal death drone with Wood's signature monster vocals proclaiming endtime over

caveman electronics and distortion gristle, but then morphs into a gorgeous shimmering hissing drone that's more akin to Maeror Tri, Troum, and Sunroof! than

the usual violence we'd expect from Bastard Noise. Awesome! Luasa Raelon "Infradimensional" is another beautifully depressing and ominous slab of dark

ambient drone, similiar in feel to the heavy shit presented on the Poison City album released on Eibon last year. Moaning submerged synths glide

underwater, beneath a swirling miasma of black oil, buzzing UV electronics, and distant industrial loops, connecting the dots between Bastard Noise at their

most subdued, and the nightmare drift of Lustmord. This is followed by "France Oscillation From Limbo", a masterpiece of squiggly bashed electronics and

transcendent guitar drone from the duo of Guilty Connector and Mitsuru Tabata, K.K. Null's co-guitarist in Japanese heavies Zeni Geva. Howling feedback tones

and wildly oscillating electronics are tempered by a subtle melodic structure, and this track becomes a highly hypnotic dronework filled with detail and

slowly shifting melodic figures, a psychedelic merger of heavy pedal-stomping noise with psychedelic electro drones, guitar ambience, and minimalist strokes,

like Oren Ambarchi and K.K. Null fusing together in a ten minute vertical stream. Oblong Box wrap this compendium up with "The Knife That Cuts The Handler",

another forbidding drone creepout with moaning chant vocals and buzzing cable hum and midnight ambient float that reminds us of Troum and Yen Pox and bad,bad

dreams. Six tracks, 71 minutes, highly recommended to drone/drift/ambient noise fans...every track here is a keeper.

VARIOUS ARTISTS   We Would Be Happy: A Noise Opera   CD   (Little Mafia)    5.00

Noise opera? As weird as that idea might seem, We Would Be Happy does largely focus on a bizarre, surreal story arc formed out of singing,

transgressive monologues, and downright weird ranting from French noise/performance/outsider artist Jean-Louis Costes, who was formerly a member of the

Suckdog Circus, the agit-art performance group whose actions were centered around the noise music "operas" written by Costes and Lisa Suckdog. We Would

Be Happy is a composed work that continues in that spirit, a dark dreamlike narrative with Costes and Cock E.S.P.'s Elyse some unnamed human drama, his

violent rambling the counterpoint to Elyse's sinister suggestions of love, rape, and castration. Their story is underscored by a combination of eerie minimal

drones and crushing harsh noise material both composed by and collaborated on by a truly impressive lineup of extreme noise heavyweights, namely

Lasse Marhaug, K.K. Null, Richard Ramirez, Smell & Quim, Cock E.S.P., and Costes. This album is definitely something different from any other heavy noise

album we've heard, and is an unsettling psychic journey. Heavy.

VARIOUS ARTISTS   Fun From None: No Fun Fest 2004-2005   2 x DVD   (Load)    18.98


The best music/concert DVDs and videos always make you wish you could have been there. Fun From None documents a ton of explosive performances from the 2004 and 2005 No Fun Fests held in Brooklyn, New York, and you'd better believe that witnessing the sweat-soaked sets captured here have me majorly regretting my missing these events. This two-DVD set, shot and edited by esigned by Chris Habib from Visitor Design, is bound in a DVD case with gnarly artwork and a trifold booklet of liner notes from the key producers involved. The first disc explores the festival's 2004 lineup, with footage of To Live And Shave In LA, Alan Licht's 1970 (a quartet featuring Licht, Chris Corsano, Matt Heyner and Tamio Shiraishi engaging in some awesomely heavy noise-rock destruction), Kim Gordon and the Sweetride, Giffoni/Nyoukis, Wolf Eyes, Hair Police, Nautical Almanac, Double Leopards, and a scorching feedback/rock jam from Lee Renaldo, William Hooker, and Roger Miller. There is a lot of static, strobing footage on many of these sets, but the recording is excellent, and some of the sets (Wolf Eyes and Nautical Almanac, for instance) are intoxicating to view. Some of my fave cuts on this one include the opening blast of fucked-up beatbox glitch/improv from To Live And Shave, the headbangin' Wolf Eyes jam with the Olson/Young/Dilloway line-up crunching out a brutal rendition of ""Black Vomit"", and a thunderous slab of free floating power-drone from Double Leopards.

The second DVD captures No Fun circa 2005, and has even better film footage (this time with multiple cameras), with on-fire eruptions from all

included: Prurient opens the disc with Dominick Fernow in total Rock God mode, exploding skulls with intense high-frequency feedback manipulation delivered with a Hardcore level of aggression, and Magik Markers slur their way through a dreamlike fug of deconstructed noise

rock. Another uber-gang made up of Brian Sullivan (Mouthus), Chris Corsano, Trevor Tremaine (Hair Police), and Carlos Giffoni, The Giffoni Death Unit rage through a lengthy blizzard of free drumming and earth shaking electronic noise that is one of the more mind-bending performances on here. Jazzkamer invoke a crushing industrial noise behemoth, Heathen Shame summon up a cyclone of crushing turbo free-rock, and Dead Machines create another one of their weird, creepy alien landscapes with squealing reeds and glitchy electronics. I fucking love Mouthus ever since I first heard them open for Dinosaur Jr., and their stuff here is likewise righteously crushing, sounding like fragments of some massive indie pop band buried underneath a mountain of delay, distortion, and feedback.

Nihilist Assault Group is a trio made up of, from what I have been able to gather, Richard Rupenus (of New Blockaders), Dominick Fernow (of

Prurient) and an unidentifiable third party. Their set consists of two of the masked members going ballistic on an arsenal of turntables, contact mics, and other sound generating tools, as the third masked member sits in a chair at the front of the stage sipping a glass of wine. This is probably the weirdest set from the entire DVD, and one of the loudest/heaviest, too. Sweet. Then comes 16 Bitch Pileup's dreamlike footage, a mass orgasmic dogpile on the basement stage backed by a wall of slurred, syrupy, howling splatter drone, filmed in fuschia with layers of film footage overlapping. What the fuck. That's gotta be some of the most Dionysian noise footage I've ever seen. Monotract belts out a bruising, hypnotic no-wave assault that's a welcome shift in sonics.

Macronympha's set has Joe Roemer accompanied by Dominick Fernow and a girl in bondage gear; Roemer and Fernow whip up a devestating wall of amplifier-humping, contact-mic vomiting distortion aggression and sexual festishism. Intense shit. And then comes the festival closer, an

explosive set by the godz of SNUFF JAZZ, Borbetomagus, their double saxophone/noise guitar combination emitting a hallucinatory cloud of skree, amp hum, and ominous sax grunt.

Whew! It's a fucking who's who of the whole American avant/noise rock/brutal improv/noise punk/harsh noise underground. A total ear n' eye feast. Highly recommended.

VARIOUS ARTISTS   Basement Tapes   DVD   (Chrome Peeler)    9.98

A rad homemade DVD compilation that collects seven live sets from some heavy names in the underground dirge/noise/thrash/scum scene, all of which took place in two different basements where the hosts were throwing ripping DIY shows. The disc opens with a crushing set from Throwing Shrapnel, a band that I hadn't heard before checking this out but who unleash some wicked, mathy sludge/noisecore heaviness. They're followed by Team Robespierre, who shared a split 10" with Brevator on Chrome Peeler that we listed a month or so back; their set is a synth-heavy session that looks like it was a blast to bear witness to, like some screamo/deathpunk death march down into the cellar. Battletorn are up next with a short but ripping set of their chirpy speedcore, equal parts DRI and Melt Banana delivered by a tiny girl hopped up on thrash and backed up by a spartan drum/guitar duo. Death By A Thousand Cuts follow with a heavy machine drone performance backed up by weird video loops projected onto the wall behind them, which is a similiar visual performance that Abandoner uses for their set. This duo was one of the main reasons that I picked this DVD up, ever since I first heard Abandoner on their collab CDR with Death By A Thousand Cuts, I can't get enough of their hybrid mix of blackened dronedoom loops and low frequency noise manipulations. Their short, seven minute set is massive, a black wave of detuned monochord riffing cycling over and over, surrounded by freakish noises and video projections of Eddie Murphy. Surreal and psychedelic improvised doom/noise from this Unearthly Trance side project.

And then comes Crank Sturgeon, and let me tell ya, his segment is something else. Coming into the basement dressed up with a huge handmade fish mask and otherwise naked except for a huge piece of exhaust pipe that's attached to his junk, this guy proceeds to devour contact mics and wrestle with a table filled with mixing equipment and patch cables, conjuring a violent storm of junk noise and harsh electronics with one of the most entertaining noise performancesI've ever seen. Finally, Emil Beaulieau closes out the disc with a fifteen minute performance where he does some conjuring of his own, filling the basement with a dynamic, constantly shifting harsh noise holocaust generated from contact mics and his treated phonograph and other devices, at first constructing a brain erasing blast of wall noise but then settling into a seriously crushing lock groove that he rides right through the foundation of the basement. At an hour long, this is an easily digestible and really entertaining nugget of DIY basement show documentation from the NY underground. Comes packaged in a slimline snapcase with full color artwork.

VARIOUS ARTISTS   The Best   LP   (RRRecords)    13.98


Ron from RRRecords just compiled this new LP that showcases exclusive tracks from six of his favorite brutal noisemakers, and each track was handpicked by

Ron as "the best" from each artist. I can't argue with his logic, as these tracks are indeed some high quality deathtronix jams, and half of 'em are from

noise artists that I'm hearing for the first time here, making this a cool introduction to some new RRR-approved feedback thugs.

The party begins with New York City's Halflings and their ear scraping blasts of feedback and scathing vocals and malevolent low-end throb that make up

"Extraction Process". I'd call it "power electronics" but that honestly seems like too swishy of a term for the short but vicious assault that they deliver

here. They are followed by the extreme laptop terror of Cathode Terror Secretion, who make one of the sickest vocal entries ever into "American Bravado

Decimation"'s controlled, almost melodic sculpting of shrieking feedback. And then Ichorous drops the lengthier "Surreal Visions" on us...his combination of

ultraviolent junk-noise carnage and death metal vocalizations made his previous CD-R releases on RRR and Audiobot personal faves of mine, but this piece is

more like a throwback to old school Pain Jerk/Killer Bug style wall-of-crunch chaos.

The other side of the LP kicks off with "The Top Priority" from Is, whom I know nothing about but who dish out the brutal sputtering wall-noise here as

adeptly as anyone on the Troniks roster. At least that's what the first half of the track is like, until Is suddenly veers off into abstract fields of high

pitched feedback sculpture a la Prurient's Fossil album, then shifting yet again into a crushing doom-loop towards the end. Nice. On "Parenthesis",

Brutophilia mix spastic feedback/distortion cut-up with raging vocals so blown out that I didn't even realize they were vocals until I gave the record a

second spin. The Cherry Point deliver "Fuck Death" for the last track, another one of their crushing cement-mixer dronescapes.

Each record comes in a unique hand decorated jacket that Ron put together using duct tape, xeroxed patterns and collage art, and includes a pile of random

printed matter and inserts.

VARIOUS ARTISTS   Merzbow / Sutcliffe Jugend / Satori   CD   (Cold Spring)    9.00

On April 19th, 2008, the ULU in London became the site of a staggering performance that consisted of full sets from Japanese noise god Merzbow, seminal UK power electronics pioneers Sutcliffe Jugend, and the long-running UK power electronics/harsh noise duo Satori. What a show that must have been! The aftermath of that lineup shoulda resulted in a mass tinnitus plague, I bet. In commemoration of this show, Cold Spring released a limited edition EP which was sold at the show that night, and whoch features one exclusive studio track from each of the performing artists. Limited to 1000 copies, the disc is packaged in a full color cardstock wallet, and if you're a fan of any of these artists, well, this is all top notch stuff.

Merzbow opens the disc with the nearly fifteen minute "Feedyellow Mix.1", and it's prime, skull-shattering Merz, a blast of massive white noise and bass-heavy low end squelch that is looped endlessly, with powerdrill noises and crunchy distortion and splattery sinewaves strewn over it all. Heavy and rhythmic and LOUD, the rhythmic sample that pounds away incessantly at the front of the mix actually sounds like tribal drumming run through a bunch of filters and fx processors, and creates a hypnotic percussive effect.

Sutcliffe Jugend are next with "Pigmother", a riff on the transgressive power electronic sludge of their latest album Pigdaddy. It's a shorter piece, just shy of five minutes, but Tomkins and Taylor create a nicely filthy and evil vibe in that short time, a horrific deathdirge of droning black sinewaves and honking feedback that sounds like someone blowing a death scream through a broken clarinet, swirling malevolent noise and looping vocal samples, and over top of it all is the voice of Kevin Tompkins muttering and mewling his scowling, derisive lyrics. Awesome.

Brit death-ritual industrialists Satori wrap this up with "Paralysis (Hypnopompic Mix)", and it's crushing. This is my first time hearing Satori, and I'm really digging the heavy machine dirge of this piece. Waves of electronic noise and blackend hiss are layered over distant tribal percussion and pulverizing piston blasts, while gutteral fx-damaged vocals hiss and vomit over top. Crushing.

Track Samples:
Sample : VARIOUS ARTISTS-Merzbow / Sutcliffe Jugend / Satori
Sample : VARIOUS ARTISTS-Merzbow / Sutcliffe Jugend / Satori
Sample : VARIOUS ARTISTS-Merzbow / Sutcliffe Jugend / Satori

VARIOUS ARTISTS   The Black Box   SOUND DEVICE   (Flingco Sound System)    19.98

Everybody went nuts over those Buddha Machines that came out two years ago, those small handheld transistor soundboxes that featured nine sound loops from the electronic duo FM3 that could play infinitely if one chose to do so. The sounds on the Buddha Machine ranged from deep rumbling drones and swells of electronic noise to dessicated fragments of melody and resonant metallic buzz; any of these loops would become a dizzying, woozy blur of meditative sound once you left them to cycle over and over. Pretty genius, and it was no wonder that people snatched 'em up quick.

Now we've got Flingco Sound moving in on the Buddha Machine template, putting their own dark spin on the concept with their Black Box. The idea is very similiar to the original Buddha box, a small transistor type sound device with nine loops that can be played endlessly, but if you've heard any of the warped abstract sounds that Flingco specializes in, it's no surprise that things are much creepier with this one... To begin with, the box itself is black (obviously), and shaped like a tombstone with the Flingco logo printed in gold at the top edge. There's a switch that doubles as the on/off and the volume control, a headphone jack and an input for an external power source (it also runs on two AAA batteries, not included) and a button that switches between tracks, and the device comes packaged in a nice black cardboard box. Where the Black Box differs from the Buddha Machine is with the sounds, which are all new recordings made specifically for this project by several of the artists on the label, including Wrnlrd, Cristal and Haptic, along with two spoken word pieces. It's the darkside counterpart to the Buddha Machine, a collection of eerie and disturbing downer-drones and blacknoise loops that are far from soothing, and most of these pieces are actually pretty creepy. This thing is totally irresistable if yer into the gnarlier, darker side of droning bliss and dread-soaked atmospherics...

The first loop found in the Black Box is a brief snippet of spoken word from Chicago artist Annie Feldmeier Adams, who simply repeats the phrase "...today, I will not kill myself..." over and over, the phrase slightly changing in intonation once or twice, but when caught in the infinite moebius loop of the Black Box, becomes an eternal mantra chanted over and over...

There are three loops from Haptic: the first is a churning, blown-out blur of pulsating feedback and oscillating metallic whir that becomes a massive sheet of drone-noise; the second, a black cloud of deep, crushing low-end rumble flowing through layers of shortwave static, strange percussive sounds and streaks of brittle high-end skree; and the third Haptic loop is an almost static feedback pulse sustained over what sounds like a super-minimal plodding drumbeat that goes on forever...

The mysterious drone project Cristal contributes two loops, the first a simple but utterly hypnotic loop of pulsating, almost musical high-end feedback drone and warbling heartbeat-thump that sounds like some sort of extreme minimal techno...but the second loop is a much more sinister chunk of sound, made up of an ominous deep riff that almost sounds like a snippet of a droning downtuned bass guitar riff cycling infinitely while electronic pulses and noise swirls around it - this is one of the heaviest and most trance-inducing loops on the Box, an endless industrial-sludge mantra that had me zoning out after only a minute of listening to it.

Then there's two loops from the twisted outsider black metal project Wrnlrd, both of which are titled "Hoax"...the first loop is a blast of total sonic chaos that sounds like haunting harmonized voices and garbled television transmissions and distorted noise chopped up and melted together in a brutal ten-second aural hallucination, and the second seems to use the same source material for an even more crazed and chaotic chunk of sound. Wrnlrd's contribution to the Box is anything but meditative, and sounds more like one of the violent noise cut-ups you'd hear on one of those locked groove compilation LPs on RRRecords. This doesn't sound anything like the same band that did the Oneiromantical War LP, but it's pretty damn brain melting.

And in the middle of the sequence is another spoken word bit from Adams, who repeats the phrase "I don't feel anything", her voice pitchshifted down an octave and distorted, the loop turning into another mantra of pure negative energy...

Limited to 2,000 units.

VARIOUS ARTISTS   Dolor Del Estamago   CASSETTE   (Stomach Ache)    4.98

The Stomach Ache label released all kinds of awesome noise and freakoid out-rock 7"s back in the 1990's, including some crucial records from Aube, Evil Moisture, comedy grinders 7000 Dying Rats, brain damaged death metal/cut-up from Faxed Head, Gerogerigegege and more. You can forget about trying to find any of that stuff now though, especially the 7"s from the more well-known Japanese noise groups. Those records have all been out of print for years, and go for a mint on Ebay. To satiate my craving for some of this stuff, RRRecords hooked us up with this compilation tape called Dolor Del Estamago, an old-school comp tape that was put together by the mysterious figure that used to run Stomach Ache, Charlie Ward. All of the stuff that has been crammed on to this tape is taken from various out of print Stomach Ache releases, and it's a feast of ear-damage that includes tracks from Anchor, Bigfoot, Pee 69 Deflower, the Merzbow alias Abe Sada, legendary noisecore freaks Gerogerigegege, Evil Moisture, musique concrete artist Geoff Dugan, ambient noise from Mev, industrial psych-rockers Nisi Period, insectile ambience from Pork Queen, Aube's "Aquatremble", free-noise legend Omit, guitar improvisor Brian Ruryk, and a band called The Jaunties that features a pre-Leprechaun Catering Jason Willet. This is a cheap and easy way to get a bunch of sides from the Stomach Ache catalog, and on it's own, Dolor is a deeply weird mixtape of mutant psychedelia, harsh industrial noise, and subterranean rock.

VARIOUS ARTISTS   Beauty. Darkness. Chaos.   CD   (Ars Magna)    9.98

An excellent three-way split that teams up two of my favorite underground black metal bands and a third that I'm discovering here for the first time. The lineup of Chaos Moon, Frostmoon Eclipse and Benighted In Sodom is the same as a US tour that the three bands recently undertook, and Ars Magna compiled three to four tracks from each band for this disc that was originally meant to come out for the tour. It ended up getting delayed by one of their manufacturers and didnt come out until after the tour, but it's a killer disc regardless, and more than likely if you caught this tour, yer going to want to pick this up.

Tennessee (oops, not Mexican as I had erroneously written before!)black metallers Chaos Moon are back with three new exclusive tracks, and it's more of their awesome, warped ambient black metal that I fel in love with on their last full length for Ars Magna. Each song drifts dreamlike through blazing black metal filled with their trademark slippery riffage and stuttering blastbeats and psychotic howls, moving in and out of discordant doomic dirge and fields of almost silent ambience and droning cosmic drone. And there is also plenty of those weird, almost poppy melodies that distinguish Chaos Moon's sound, as if yer hearing some sunny indie rock band buried way down underneath the ferocious occult-and-death obsessed black blast.

Frostmoon Eclipse are one of my favorite Italian black metal bands, and here they give us one exclusive new track and three of the songs off of their now out-of-print I Am Providence 3" CD in the H.P. Lovecraft tribute series that God Is Myth released a while back. I never got a chance to get that disc, so it's cool to have those tracks included here, especially since they fucking rage. All four tracks follow in the Frostmoon style of blazing old school Norwegian black metal mixed with moody, shadowy gloom-rock. Their songs are fierce and buzzing assaults of blastbeat ridden blackness a la Emperor that suddenly shift into lengthy passages of brooding acoustic strum and oddly catchy hooks.

I had never heard the third band Benighted In Sodom before this came in, but their four tracks (which are all exclusive to this disc) have me totally sold. A one-man black metal outfit from Florida of all places, Benighted In Sodom go for a terminally negative, dismal black metal sound, guitars layered into dense clouds of dissonant chords and painfully beautiful harmonies, drums pounding out mostly slow hypnotic dirges and occasionally unleashing a rain of blastbeats. These songs are intensely bleak and hypnotic experiences, and remind me a bit of the newer Xasthur material up to the point where Benighted In Sodom brinds out the thick, droning synthesizers and blankets the music in heavy waves of dark kosmiche drift. This is one of the bleakest black metal bands that I've been turned on to lately, utterly cloaked in dread and despair and an infinite aching beauty.

The disc comes with an eight page booklet of lyrics and track information for all three bands; highly recommended for anyone looking for more excellent contempo black metal weirdness.

Track Samples:
Sample : VARIOUS ARTISTS-Beauty. Darkness. Chaos.
Sample : VARIOUS ARTISTS-Beauty. Darkness. Chaos.
Sample : VARIOUS ARTISTS-Beauty. Darkness. Chaos.

VARIOUS ARTISTS   RRR - 1000   LP   (RRRecords)    20.00

Holy crap! I missed out on the original Locked Groove releases that came out on RRRecords in the 90's, the first of which I believe was the RRR-100 7" from 1993 that featured extensive locked grooves from Skullflower, Jim O'Rourke, Controlled Bleeding, Trance, Brighter Death Now, Borbetomagus, F/i, and a whole host of classic industrial/noise groups, and I'm still dreaming about finding a quality used copy of the massive RRR-500 LP that followed in '98, which contained 250 locked grooves per side and featured a staggering lineup of contributing artists that ranged from 7000 Dying Rats to Kazumoto Endo to Birchville Cat Motel to Sonic Youth to Lockweld to dISEMBOWELMENT (!!!) to Atrax Morgue...

Never imagined that RRRecords could top that, which lineup-wise is probably impossible, but in a manner of speaking Ron has taken the concept a step further with this new collection that features - count 'em - one thousand locked grooves, five hundred per side. Colossal! The lineup is much smaller with only twenty contributing artists, but it's an impressive gathering of current movers and shakers in the extreme sound art/noise underground, and who would want to try to coordinate a thousand different artists on a single release? Fuck that idea. The names for the mighty RRR-1000 include Japanese noise legends Incapacitants, AMK, Aaron Dilloway, Otomo Yoshihide, C. Spencer Yeh (Burning Star Core), New Blockaders, Lasse Marhaug, Prurient, Damion Romero, Sudden Infant, Runzelstirn & Gurgelstock, Thomas Dimuzio, Kevin Drumm, Carlos Giffoni, Francisco Lopez, GX Jupitter-Larsen, Jason Lescalleet, Jerome Noetinger and RLW, lots of great masters in there along with a smattering of newer names I'm not familiar with, but everyone delivers top notch recordings. Each artist provides fifty different locked grooves, which allows them to explore the concept more extensively, crafting each lock into a single (potentially) neverending blur of sound, which in the case of RRR-1000 is mostly caustic, often BRUTAL noise.

The record comes in a heavy handmade cover created by RRRecords labelhead Ron himself, with the artist order, bits of pilfered magazine images, duct tape, weird photos and other imagery cobbled together into a delirious collage, each record jacket being totally unique.

VARIOUS ARTISTS   Disgust / Gnawed / Nyodene D / RU-486   2 x CASSETTE   (Phage Tapes)    11.98

Disgust / Gnawed / Nyodene D / RU-486 IS CURRENTLY UNAVAILABLE FOR ORDER

This double-cassette compilation from Phage might not be very long (each artist's side only features one track), but they make up for that with this assemblage of top-notch material from everyone involved; in fact, I think that this set is one of the heaviest fuckin' death industrial/PE releases that I've heard all year. With exclusive stuff from Nyodene D, Gnawed, RU-486 and Disgust, this gives fans of extreme electronic violence a cross-section of some of the heaviest and most potent artists working in this grimy corner of the industrial noise underground.

Disgust start it off with a fearsome blast of black electronics titled "Mercy", which begins with a long ominous sample from a news report involving murder, then erupts into a massive distorted synthesizer riff that's so blown out and crushing that it almost resembles a doom metal riff being filtered through throat-clogging amounts of speaker howl, black ash, and cranked over modulation. The harsh, layered vocals are treated with heavy amounts of delay but are carefully preserved in all of their larynx rending hysteria, producing one hell of a heavy, metallic take on death industrial. I'd never heard this project prior to this compilation, but now I'm a confirmed fan. On the other side of this first tape, Gnawed shambles out of the feedback-filth with "Kill What I Eat", another concrete slab of looped noise and amp-scream sculpted into crushing industrial grooves that roll like spiked tank treads on a gore-splattered half-track rolling across the corpse littered wastes of some nightmare deathworld. And just like it did on that amazing cassette Devolve that also came out on Phage, this evokes this previous unheard fusion of extreme industrial-sludge heaviness with demonic power electronics like nothing I've heard before. This is one of the heaviest, most savage projects in the Phage catalog, without a doubt.

Tape two leaves you with little pause for breath, though the distant thunderblasts of klaxon synth and the crunch and scrape of shoveled grave-earth creates a more subdued atmosphere of dread on Nyodene D's "The Measure of a Man". This newer PE project has made an impression on me as of late with his deft use of black ambient sound and pulsating drone within the structure of fairly traditional power electronics, and this piece is of the same level of quality and seething malevolence. And last up is "Kathoey" from RU-486, who has at least one other recent release on this week's new arrivals list, part of a fairly prolific year of output that's continued to deliver some really nasty rhythmic death industrial from the Mississippi based outfit. The core of RU-486's sound is a massively distorted PE assault formed upon thick, bone-rattling layers of synthesizer drone, guttural vocals and lyrical observations of sexual debasement that bears a strong resemblance to older Prurient, but this sound is joined by abrasive junk-metal textures that transforms it into an ugly, ear-grinding beast of it's own. Great shit.

Like all of the other stuff that I've gotten from Phage, the packaging and presentation is great; the pro-made tapes are housed together in an oversized plastic case with a three-color screen printed cover insert (which includes lyrics, thankfully!). It's extremely limited, of course, released in an edition of one hundred and twenty five copies. I really can't recommend this enough if you're a fan of the heaviest strains of American PE.

VARIOUS ARTISTS   Rising Of Yog-Sothoth: Tribute To Thergothon   2 x CD   (Solitude Productions)    14.98

Rising Of Yog-Sothoth: Tribute To Thergothon IS CURRENTLY UNAVAILABLE FOR ORDER

I always wanted to carry this compilation of doom metal bands paying homage to the Finnish deathdoom masters Thergothon, but never had a chance to stock it as it ended up going out of print not too long after it's release. It's not surprising that it did, based on the lineup of bands that are featured on this two-disc set: Solitude brought together some of the biggest and best names in funeral/death doom, including Asunder, Evoken, Umbra Nihil, Worship, Mournful Congregation and Officium Triste, and there's also a bunch of stranger doom metal bands that appear here that I'm a fan of such as Persistence In Mourning, Aarni, and Astral Sleep.

Asunder's version of "Who Rides The Astral Wings" opens this album with their trademark mega-heaviness, injecting the song with the Bay Area' band's own strain of lumbering, saurian crush while bringing in Jackie Perez-Gratz (Amber Asylum, Giant Squid, Grayceon) to contribute her achingly beautiful cello to the already quite miserable atmosphere, which they stretch out for more than eleven minutes. Dutch funeral doom metallers Officium Triste do a fairly straightforward, solemn rendition of "Crying Blood And Crimson Snow", and Evoken smear a load of growling distorted space-synth across "Yet The Watchers Guard" and transform it into their own monstrous, vaguely psychedelic deathdoom image; these guys are one of the few doom metal outfits that successfully use keyboards without losing an iota of their bone-crushing heaviness, and even when the synths really start to kick in towards the end of the song, this remains relentlessly crushing. There's Imindain's liturgical doom, and the epic heartache of Colosseum's gloompop-soaked version of the Lovecraftian "The Unknown Kadath In The Cold Waste". The mighty Mournful Congregation offer up a gnarled take on "Elemental", that seethes with ghastly vocal exhortations and mangy, murky riffage, and Worship's version of "Evoken" is as fucked-up and hellish as one would hope, flaying even more of the flesh from the already skeletal song structure and twisting it into even more of a putrid funeral march, so abjectly miserable and deformed that it takes on a wretchedness that is unparalleled on this album; when the violin-like sounds rise up towards the end, it sounds fuckin' amazing. Then Finnish prog-doom weirdoes Umbra Nihil turn "The Twilight Fade" into something that more resembles a warped Sabbath jam laced with some killer psychedelic guitar freak-out, and Persistence In Mourning's version of "Dancing In The Realm Of Shades" is a caveman dirge shocked with squealing electronic noise and effects, sounding more like a doomdeath version of the newer Bastard Noise stuff at times.

The strangest interpretations of Therogothon's music are found on the second disc. One of my favorites is the first track of grim space-rock laced heaviness from Nojda, who blend the sound of jaw harp, ceremonial drums and cosmic synths in with the funereal dirge, crafting something that sounds strangely like a cross between the majestic folk of later era Swans and a Hammond-organ wielding Skepticism on a major LSD trip. Otzepenevshiye's take on "The Unknown Kadath In The Cold Waste" is a trippy mix of post-industrial darkness and psychedelia, the programmed rhythms skittering across the desolate frost-covered soundscape of strings, bizarre vocal sounds, electronics and swirling distorted guitar that ends up bearing a striking resemblance to a spacier version of Korperschwache, especially when the icy, buzzing black metal guitars start to swarm in later in the song.

One-man funeral doom band Krohm offer a haunting version of "Everlasting" that uses a blackened-up version of the classic Peaceville death/doom sound, but then Inter Arbores follow with a deconstructed interpretation of "Who Rides The Astral Wings" that reduces the original music down to not much more than the basic bass line of the song for the first few minutes, weaving that bass guitar through a crumbling soundscape of low-end noise. Eventually the band comes together, lurching into a spare, skeletal dirge that's mainly carried by the drums and bass while wheezing harmonica and fragile guitar notes spin out overhead, slowly evolving into a gloomy piece of crunch-laced post-punk. Finnish doom-weirdos Aarni deliver one of the strangest re-envisioning of Thergothon with "Verivaikerrus - Hurmehanki", a mix of dreamy folky flute melodies, atonal guitar chords and bizarre drawled vocals, and Astral Sleep slow down "Yet The Watchers Guard" by at least half, using a contrabass for deep resonant cello-like rumble as their washed-out ambient deathdoom surges forward on a cloud of black fog and spacey electronic textures.

The cover of "Elemental" from Canadian death metallers Axis Of Advance (which also featured members of Revenge, Weapon, Blood Revolt, and Kerasphorous) was one of the last appearances from the band before their breakup late in the last decade; it's actually one of the more faithful cover versions on the compilation, sticking pretty close to the sound and feel of the original, though these guys do inject a bit of their signature blackened heaviness as well as Vermin's chant-like vocals into the mix. And the final track comes from bleak solo black metaller Singultus, who offers up a brief, intensely anguished version of "The Twilight Fade".

Includes a twelve-page booklet.

Track Samples:
Sample : VARIOUS ARTISTS-Rising Of Yog-Sothoth: Tribute To Thergothon
Sample : VARIOUS ARTISTS-Rising Of Yog-Sothoth: Tribute To Thergothon
Sample : VARIOUS ARTISTS-Rising Of Yog-Sothoth: Tribute To Thergothon
Sample : VARIOUS ARTISTS-Rising Of Yog-Sothoth: Tribute To Thergothon
Sample : VARIOUS ARTISTS-Rising Of Yog-Sothoth: Tribute To Thergothon
Sample : VARIOUS ARTISTS-Rising Of Yog-Sothoth: Tribute To Thergothon

VARIOUS ARTISTS   Tliltic Tlapoyauak   2 x CD   (Ajna Offensive)    15.99

Track Samples:
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak
Sample : VARIOUS ARTISTS-Tliltic Tlapoyauak

VARIOUS ARTISTS   Clone - Play Slow, Die Fast Volume IV   2 x LP   (Blind Date)    27.00

    My favorite out of the series, Clone IV is the final installment in Blind Date's ambitious covers-collection of various sludge, punk and doom metal outfits, both known and unknown, taking on a variety of classic tunes and obscure personal faves. As with the other records in the series, this comes in an embossed, die-cut chipboard jacket with the inlay art peering out through an oval in the center of the jacket, the full artwork presented as a full-color printed insert, and also comes with a thick oversized booklet loaded with artwork and info from all of the featured bands.

    They kick this off with probably my favorite track from the series, a killer cover of the Wipers classic "No Fair" from Canadian sludge metallers Haggatha that turns the punk pop of the original into this fantastic piece of hauntingly lovely heaviness, the huge hooks countered with the screeching abrasiveness of the vocals, the guitar tone massive. It's one of those covers that kinda makes you wish that the band would actually pursue this sound even deeper with their original material. That's followed by Finnish filth-crawlers Frogskin, who drag their rotting bulk through the sewer for a cover of Regurgitate's "Bleeding Peptic Ulcer", dissolving the song into a putrid pool of rumbling gore-sludge. Experimental doom metallers Black Shape Of Nexus give us a cover of an old Vorkriegsjugend tune that pulls a similar move with the cult German punk outfit, transforming their old-school punk rock into a droning, hypnotic tar-pit creep, while Laudanum filters "The Life Machine" from the early Gary Numan new wave band Tubeways Army through their blackened, industrial-tinged sludge for another highlight moment on the compilation, producing what is easily one of the LP's most desolate, atmospheric pieces.

    Sweden's Modorra are gone in a flash with their faithful cover of Napalm Death's micro-blast classic "You Suffer", leading into another one of my favorite tracks on the LP, a bilious cover of Mudhoney's "Sweet Young Thing Ain't Sweet No More" done by Aussie sludge-thugs Fattura Della Morte, which keep things bludgeoning and nasty without slowing down too much. One of the more unusual choices for a cover song appears with Black Shape of Nexus side-project Ghost Of Wem, who take the old straight-edge hardcore band Chain Of Strength and transform their "Impact" into a churning, feedback-infested sludgepunk dirge, while Poland's Enth take "Down My Throat" from cult crustcore band Disrupt and turn into a crushing wave of vomitous filth. Black Flag songs almost always acquit themselves well to this sort of slugfuck noise, and Unearthly Trance turn their classic "In My Head" into a more metallic beast, fairly faithful to the original but rumbling with the Trance's own trademark blackened power. The set is rounded out by a belligerent cover of Venom's "Countess Bathory" from Chilean doompunks Electrozombies, followed by a bone-splintering, weirdly halting rendition of the song "Suffocation" from Tokyo death metallers Transgressor, performed by Japanese doomdeath band Funeral Moth, and it fucking kills.

    Limited to six hundred copies, on black vinyl.

VARIOUS ARTISTS   Electro Grind Gore   CD   (American Line)    11.98


I've certainly never been shy about my adoration for the most twisted forms of drum-machine-n-electronica augmented grindcore. Throughout the history of Crucial Blast, we've championed the grindtronix underground with an assortment of releases from bands as diverse as Genghis Tron, Dataclast, and Haisha, all of which utilized electronic programming and blasting drum machines in various manners. And as much as we love grindcore bands that fuse themselves to mutant techno and electronica forms, our favorite format for this sort of stuff is the compilation, allowing us to feast our skulls across a wide palette of electro blast freakdom. The new Electro Grind Gore comp CD is one of the best electro-grind "mixtapes" we've heard, and showcases 17 bands from across the planet for 28 tracks of deformed metal riffage, extreme death vocals, spastic techno rhythms, and all sorts of weird, mind bending electronic noise and effects. It's a pretty diverse serving of techno/grind mashup: Avulsed drop "Hash-Perversions", a skull crushing grinder that comes off like an insane hybrid of Cannibal Corpse, Ministry, and 4-on-the-floor techno; another dope hymn from Absurd God via "4 Pot"'s crushing downtuned industrial/techno death sludge; the ridiculously awesome drum-machine driven psychedelic space rock/industrial/techno sludgefunk and gory Spanish hip hop-esque vocals of Atomik Surfing; SMES' gutteral death/electro/pop with sub-intestinal beast belches and aerobics-class worthy rhythms; porno-flavored techno bliss from the bizarrely named

Project Your Sister On Four, who come across as a combination of Lords Of Acid and gut-exploding hyper goregrind; Murder 2099's harsh synthesized blast gabba; brutal junglist/gabba beats and mutant vocal spew from Posthuman Worm; Sweet Dominique and Shunt Incision's horrific pigfuck/electro grind; spastic, viscera-splattered glitch/grind/techno from Tourette Sindrome; high-gloss techno filth and harsh noise cut-up from Skrotum; the always-mindblowing, hellishly psychedelic hentai/splatter/breakbeat/tronix and unsavory theatre-of-the-mind action from Basket Of Death; brain melting ambient-speed-metal from 666.Porn.Star; killer intergalactic electronic gore metal from Virus; avant-robot-grind from Denigrare; Fibrosarcoma's minimalist, glitchy fungal-vomit grind; and the Carcass-ish raw drum machine grindcore of Vomitrone. It's a killer compilation for fans of electro/drum machine augmented splatter metal, with almost an hour of blasting, beeping, techno death weirdness. Grab your bib.

VARIOUS ARTISTS   Crushers Killers Destroyers   CD   (Shifty)    9.98


The first in Shifty Record's sludge compendium series, this 5 band battering ram is back in stock for anyone who missed it the first time around. An hour and fifteen minutes of unrelenting sludge and doomcore starts off with 3 songs of MUGWART's melodic sludgecore, like a more upbeat Eyehategod but still ugly, snarling, and downtuned. The song "40/90" features sick guest vocals from Ben of BEATEN BACK TO PURE. Canadian doomcore sadists GOATSBLOOD follow with 3 brutal dirges, with strafing blastbeats and dual psychotic screams/deep deathgrowls punctuating their suicidal ultraslow sludge. MOLEHILL continue with 3 songs of unabashed Eyehategod worship. Loaded with Southern groove and a melodic attack similar to that of MUGWART, Molehill have that New Orleans blues-metal sound nailed. FISTULA deliver a single track, "Dysfunction", but at nearly 15 minutes long, it's a devastating sludge stomper that degenerates into heavy,hypnotic feedback drone, orgiastic free-guitar skree, and pounding battle drums. Totally fucking narcoleptic. SLOTH wrap it up with 7 tracks of bizarre Midwestern dirge...their songs are a weird, tweaked mashup of blown-out low fi black metal murk played at quarter speed, with rasping vocals and simple, haunting melodies and gut-churning bass thud. It's sort of like a brain-damaged version of old FLOOR recordings, mixed with BLACK MASS OF ABSU or something. Overall, this is an excellent compilation of modern American sludge-fans of the style would do well to check this and the second CD in the series (which we also carry) out!

VARIOUS ARTISTS   You've Got Your Orders Volume II   CD   (Chrome Peeler)    5.00

The second in the series of compilations curated by CP label owner Jason Ziemniak, where a variety of artists are given a song title and instructed to write a song around it. This collection sees less of the rock that was delivered in the last release. Rather, the CD delves much further into sagacious weirdness, many tracks being ambient stuff from the likes of Phil Puleo from Cop Shoot Cop/Swans ("Albino Rainbow") and sometime Stooges saxophonist Steve Mackay, who gives a smacked-out Bitches Brew-era tribute to Miles Davis during "You Could Smell the Nightmares on the Pillow". Likewise for offerings from avant-garde composer- guitarist Elliot Sharp ("Barbed Wire Hotel") and trailblazing ’70s space rocker Simeon Coxe of Silver Apples ("Empire of Ashes"). There are some shin-kickers as well, however. The Testors’ Sonny Vincent rips out a scorching "Totally Fucked", and the Scheme (featuring David Thompson of Boston neatnicks the Pills) gleefully deliver the sardonic "Teenage Millionaire". Other honorable mentions include Fu Manchu/Kyuss drummer Brant Bjork’s aviator-sunglass-Palm Desert-funky "Cop Moustache" and Los Staightjackets hatchet man Eddie Angel’s caustic surfer twang in "Space Monkey Vertigo". Also includes Nikki Sudden (SWELL MAPS), Rich Hoak (BRUTAL TRUTH), Amps For Christ, The Scheme, Brent Eyestone (Corn On Macabre/Waifle/Forensics),Black Lipstick,Stephen Brodsky (New Idea Society/Cave In), Paradise Island (aka Jenny from Erase Errata), and more.

VARIOUS ARTISTS   Grind Bastards   CD   (Grave)    11.98

Does the world really need another grindcore compilation? When one is curated and compiled by none other than Chew from Corrupted and the selection is squarely focused on the craziest, noisest Japanese grindcore bands kickin' it in 2007, then we are in good fucking shape, sister. This disc is wrapped up in a glossy foldout sleeve covered in band logos and info, and it has anywhere from one to seven songs from Little Bastards, Black Ganion, Brob, Butcher ABC, Disgust, Mortalized, Realized, Gate, Fortitude, Impale, Zone Defection, Red, Easies, Boltstein, Impotence Trichomonad, Zagio Evha Dilegj, World Downfall, and Unholy Grave. There's a healthy amount of both classic old school grindcore and some left-field curveballs on here - some of the standouts include Black Ganion's microburst atonal noisecore, Mortalized's freaked out atmospheric blasts, Realized's crushing acid/doom/grind, and the maniacally percussive ultragrind/blurr/noise of duo Gate. Then there's the awesome Zone Defection, whose super-blown-out grindnoise is combined with trippy bestial vocals zonked on FX abuse. And Easies, who engage their ripping grindpunk with some serious spacecase flanger noise. Impotence Trichomonad deliver some bizarre, effects-dosed goregrind weirdness. And of course there's Unholy Grave, with three rehearsal tracks of vicious, catchy punky grind and Takaho's trademark vocal weirdness. The recording quality of the songs range from decent grind recordings to total dumpster productions; indeed, the more blown out and noisy tracks on this comp are some of the most ferocious.

VARIOUS ARTISTS   Land of The Rising Noise Vol. 2   CD   (Charnel Music)    11.98


2nd installment in the excellent New Music From Japan series spearheaded by Mason Jones at Charnel, which brought together a diverse range of sounds from the fertile Japanese noise/psych/heavy underground of the 1990's. All sorts of mutant Japanese sounds are collected here:

dense psychedelic space rock from Kadura (whose Charnel full length is reviewed elsewhere in this list, a dreamy journey into heavy tribal psych/noise), a heavy metallic industrial march from Der Eisenrost (featuring Chu Ishikawa of Tetsuo: The Iron Man soundtrack fame!), gorgeous medieval, Ren Faire music from Kuroyuri Shimai, a ripping blast of noisy ultrafast no wave thrash from Melt-Banana, forbidding atmospheric drones from Onnakodomo, demented puzzle-punk from Wnico, Shizuka's incandescent psychedelia, a terrific collage of ringing cathedral bells and urban sounds layered with alien electronics from Contagious Orgasm, psychedelic J-pop from Volkha Dots, weird noise-punk from Gaji, and ominous rhythm & noise soundscapes from Amgsphont. An excellent mixtape transmission from the deep Japanese undergorund circa 1996! As with the other installments in this must-have series, Charnel has illustrated the packaging with very creepy doll sculpture photography from Shizuka. Recommended.

VARIOUS ARTISTS   No Tribute: Music Of The Nihilistic Spasm Band   CD   (Little Mafia)    11.98

No Tribute: Music Of The Nihilistic Spasm Band IS CURRENTLY UNAVAILABLE FOR ORDER

Out of print, we just snagged the last few copies from the label! No Tribute is a 24 band tribute album to The Nihilistic Spasm Band.

Formed in Canada in 1965, the Nihilistic Spasm Band have become legendary for their boundry exploding free-noise aesthetic and have influenced an entire

generation of instrument abusers across the globe. This compilation has a killer lineup of modern noise, improv, and free-destruction outfits paying homage

to The Nihilistic Spasm Band through reinvention and subversion of the original music. Just check this out: Hijokaidan, Wolf Eyes, Alan Licht, Smell & QUim,

V/VM, Carlos Giffoni, Reynols, Cock E.S.P., Baku, U Can Unlearn Guitar, The Pin Vs. Bellchamber, Unconditional Loathing, Jacopo Andreini, Winter Carousel,

Roughage, Dapper, Madame Chao, Inca Eyeball, Del, Pengo, Panicsville, Wrong, Newton, and Glands Of External Secretion. Holy shit. 72 minutes long,

released in a limited edition of 500. We only have a couple in stock, so move fast!

VARIOUS ARTISTS   Secrets And Sounds   CD   (Animal Disguise)    11.98


A great mix of true basement noise/rock/blast freakdom circa 2004 from Animal Disguise, which has quickly become one of my favorite labels currently dealing

in this sort of challenging ear mess. This disc is jam packed at 74 minutes, with 22 previously unreleased, exclusive jams from artists with releases on

Animal Disguise (Football Rabbit, Viki, Mammal, Growing, Meerk Puffy), and friends and affiliates of the AD imprint, including more well known names like

Hair Police, Prurient, Neon Hunk, and Sinking Body, amongst others. It's a solid comp with killer cuts from all involved, and you couldn't ask for a more

varied buffet of noisy destruction: blown-out noise/scum rock seizures from Hair Police and Football Rabbit; gnarly, infectious noise-electro-pop-trash and

strange beat experiments from Viki, Libythth, Panama, Meerk Puffy, ROTFLOL, The Lowdown, Ferox Head, and Neon Hunk; crushing electronic power, junk noise

sculptures, and psychedelic circuit mangle from Prurient, Arnoux, Nautical Almanac, Zombi, Liger, Charles Lareau, Smashed Femur Dance Party, Ton B, Sinking

Body; Mammal's head exploding techno corrosion; Cipher Fox's kaleidoscope of maximalist electronic fractal-melody that makes me think of newer Growing

material on crack; and the too-brief kosmiche blissout from Growing themselves that closes out the compilation, entitled "F-4 Phantom Flying Overhead". One

of the best scene snapshots since the Old Tyme Lemonade compilation.

VARIOUS ARTISTS   Waterloo   CD   (Underhill)    5.00

You want a four-course meal of some of the progressive metalcore/sludge bands the Spanish underground currently has on offer? Look no further than this full

length, 4-way split which features multiple exclusive tracks from Moho, Moksha, Adrift, and Another Kind Of Death. Waterloo is actually the name of a heavy

music festival in Madrid that featured these four bands, so this is kind of an event program showcasing each band's twist on contemporary metallic hardcore.

Madrid's own Another Kind Of Death open Waterloo with three tracks of fierce, technical metalcore with heavy grind elements; I was already familiar

with 'em from their No Signal album on Red Cobalt from a couple of years ago, and these tracks continue to dish out the complex, super-rocking

heaviness with weird intricate polyrhythms, spacey FX textures, and vicious layered vocals, sort of a cross between Botch and older Cave In. Also from

Madrid, Adrift follow with an even more progressive take on churning metalcore crunch, their first two songs featuring hypnotic mathrock guitar figures and

droning metallic riffage weaving around crushing drumming that surges in epileptic fits. Super complicated and proggy, and reminding me of everything from

Neurosis to Meshuggah to Pelican all at the same time. But their third track "Paseo por el Nilo" shifts gears as it opens with a brooding ambient guitar chug

that sounds a little like something off of Earth's Pentastar before the rest of the band kicks in with a huge lumbering riff, turning the song into

a massive menacing doom instrumental, then giving way to an extended math rock workout with chiming angular guitar lines and rubbery basslines that squirm

around the drummer's dynamic offtime beats. Imagine a more convoluted, prog-rock take on Isis' chugging dronemetal jams on Celestial. Ultra heavy

and very cool.

Next up is Moksha, who crank up the aggression level even more with their fast paced doomcore assault that sounds like a combination of Entombed's later

death n' roll stuff, burly grind-influenced hardcore, some slight psychedelic elements a la spacey effects floating around in the background, and that weird

shit that German chaoscore pushers Systral were doing on their last album when they suddenly decided to start applying Motorhead riffs to their atomic-blast

Teutonic meltdowns. In other words, Moksha's jams are mega rocking, you could almost call this stoner boogie riff-rock if it didn't have so many chaotic

blastbeats, fucked-up rhythm changes, weird electronic effects, and straight up deathcore breakdowns tossed into their fiery raveups.

Last is the longrunning Spanish power-trio Moho, who you've probably already heard if you follow the Shifty Records/Throne orbit of DIY sludge rock. They've

only got two tracks here, but each run 6-9 minutes long and are chock full of Moho's trademark molten riffage, raspy ripped screams and ridiculously swampy

groove. Midpaced bluesy stoner crush downshifts into sticky slabs of gargantuan Sabbathian sludge. Essentially the Spanish answer to Buzzoven, early Floor,

High On Fire, and Weedeater. Their last track "El Segador" is a freaking streetcleaner, laying down one of the heaviest, most droning and hypnotic sludge

riffs on the whole disc that seems to pound away at forever.

Track Samples:
Sample : VARIOUS ARTISTS-Waterloo
Sample : VARIOUS ARTISTS-Waterloo
Sample : VARIOUS ARTISTS-Waterloo
Sample : VARIOUS ARTISTS-Waterloo

VARIOUS ARTISTS   PCP Torpedo: Agoraphobic Nosebleed Remixed   LP   (Blastbeat)    11.98

PCP Torpedo: Agoraphobic Nosebleed Remixed IS CURRENTLY UNAVAILABLE FOR ORDER

Along with that killer Nevermind 12" that we have also reviewed in this weeks store update, this limited edition 12" version of the Agoraphobic Nosebleed PCP Torpedo remixes heralds the debut of the new BlastBeat imprint headed up by Agoraphobic Nosebleed frontguy Jay Randall.

It's appropriate then that this second release in the BlastBeat series is a slammin' vinyl version of the speedcore/terrorcore remixes off of the Agoraphobic Nosebleed remix disc that was included with the recent PCP Torpedo re-issue on Hydra Head (see the last store update for our rundown on that essential double-disc set). This 12", released in a limited edition of 300 (we think?) and packaged in a DJ style labeled record sleeve, contains the ANb reworks from Drokz + Tails, Hellz Army, Substance Abuse, and Submachine Drum for a crushing bout of grindcore/brutal techno/speedcore mutation. All of these jams are ultrafast, 1000 bpm exercises in neck snapping techno ferocity, rendering the original Agoraphobic Nosebleed tunes unrecognizeable beneath the swarming machinegun blasts, mangled samples, and nearly inpenetrable noise filth. Crucial! On black wax, in a standard DJ style 12" black sleeve with center hole cut and DJ sticker in the upper corner. Throw this one on at your next meth amphetimine dance party.

VARIOUS ARTISTS   Black On Black: A Tribute To Black Flag   LP   (Initial)    6.98


Black Flag are pretty much unfuckwithable. Sure, you've got plenty of people who are dismissive of certain eras of the 'Flag, but I don't know if I've ever met anyone that is into hardcore or metal that doesn't like Black Flag to some degree. They were so influential, not just on an entire generation of bands, but also in kickstarting what we now think of as the DIY hardcore ethic. Black Flag were crucial. So a tribute album to the 'Flag was a risky project, even though it was also inevitable. Who really wants to shell out for covers of one of the greatest hardcore bands ever being performed by lame-o bands that don't hold a candle to the originals? Why not just listen to the original records? For the Black On Black series of 7"s that was curated by Initial Records in 2003, the label was smart and picked a knockout lineup of bands to be involved, with some of the most important names in modern hardcore included here, each doing their own interpretation of Black Flag originals: American Nothing, Anodyne, Burnt By The Sun, Coalesce, Converge, The Dillenger Escape Plan, Hope Conspiracy, Planes Mistaken For Stars, and Playing Enemy all out in solid covers. A bunch of these bands were already rooted in brutal, Am Rep influenced noise rock (Anodyne, Coalesce, Playing Enemy), so hearing them take on gnarly Flag classics like "Six Pack" and "Life Of Pain" makes for some heavy shit. The most off the wall version comes from Dillenger Escape Plan, who turn "Damaged II" into a crazed noise punk freakout that ends as a weird free-noise dirge/drum n' bass bugout, but my favorite version on here is Converge's take on "Annihilate The Weak", the most vicious, annihilating track on the record, a sickening, feedback-infested Slayerized mutation on the original. Initial shut its doors about two years ago but we found some of the vinyl version of this compilation floating around. The ones that we picked up are on grey marble vinyl and were pressed in an edition of 2,500 copies, and the record is packaged in a simple clear plastic sleeve with a two-sided insert card. Limited quantities!

VARIOUS ARTISTS   Bild Quilt: Films by Lori Felker   DVD   (Ignivomous)    8.00

Bild Quilt is a interesting little DVD project from the young avant-garde filmmaker Lori Felker that blurs the lines between harsh noise and

psychedelia, experimental film, and digital collage art. Bild means "image" in German, and the crux of this project was to create a "virtual quilt"

of original short films from Lori that are set to new peices of music that she commissioned from a variety of underground artists including Cotton Museum,

Carlos Giffoni, Bradley Heiple, Intro to Pterodactyl, Leslie Keffer, Dave Kuzy, Jim Lingo, Mesaplex, Irene Moon, Jeffrey Schreckengost, Mike Shiftlet, Adam

Strohm, Torus, Weasel Walter, C. Spencer Yeh, and Scott Young, with the only stipulation being that each piece of music need be exactly two minutes in

length. The DVD itself is divided into four sections that basically document each step of Lori's creative process for the Bild Quilt project: the

first sectionfeatures each individual artists contributed track as an audio-only DVD track, and the second again features each track but with the addition of

the two minute film that Lori created for each one using the music as her primary influence; in this part of the DVD, you can select each artist and video

seperately by name. The third section of the DVD just combines all of the music/films into a randomly generated playback, and the fourth area of the DVD

showcases the final product, a single screen with all sixteen of the films shown as smaller thumbnails, a "digital quilt" of sorts, with all of the audio

tracks being played back simultaneously. It's a nightmarish cacophony that, combined with the symphony of digital images flickering out from the screen,

burns a hole right into your frontal lobe. Both seperately and as the finished piece, Lori's films recall the surrealist cut-ups of Antony Balch and William

S. Burroughs', dayglo LSD hallucinations, and giallo shadow techniques, with images of deformed plush monstrosities, melting children, bizarre moving

sculptures, and deeply creepy nighttime footage of weird alien insects crawling across cracked pavement, and the music moves from harsh droning electronics

to strange, distorted acid synth workouts...some of my favorite pieces include "Two Way Mirror Mountain" from Dave Kuzy of Microwaves, who contributes an

awesome instrumental space-synth piece that sounds like an excerpt from an Italian horror movie from the late-80's, complete with pulsating techno beat,

sweeping analogue Moog tones, and sinister slasher ambience; and Weasel Walter from The Flying Luttenbachers delivers the simply-titled "Two Minutes", a

blastbeat-afflicted bit of creepy prog rock. Comes in a regular jewel case with liner notes that outline the project.

VARIOUS ARTISTS   Testament II   VIDEOCASSETTE   (RRRecords)    10.98

I know that there's still a contingent out there like me that collects these old videocassette compilations, as they are still some of the best archives of full power noise jams from the golden era of American noise. None of the RRR videos have been released on DVD, so for any fans of brutal noise and American industrial, these are reason enough to pull out that dusty VCR.

Testament II is the second in the RRRecords videocassette compilation series from the late 80's that combined music videos, underground avant-video art, harsh noise, and industrial music in a warped Night Flight style blast of brain warping sound and visuals. Each one of these tapes is a total timewarp to the late 80's post-industrial scene. This second volume starts off with a vibrantly colorful music video from Monty Cantsin for the song 'I Am Monty Cantsin", a twisted Teutonic industrial-pop jam that reminds me of a mutant version of Front 242 or Nitzer Ebb. That's followed by the bizarre plunderphonic/demonic sound collage and monstrous beast-headed host for the mock commercial from Out Of Band Experience, and then a collage of distorted video textures, nightmarish animation and gritty rhythmic noise from Japan's Takell-Kizimecca. There's a weird dayglo mindfuck from M. Nejnah and Pile Of Cows that blends mutant old home video footage with droning violi

n strings, electronics and rubbery, noxious bass guitars; Naram-Sin performs a spoken word/industrial dirge piece called "Natural Selection" over more horrific video loops reminiscent of some of the Swans music videos, complete with teeth. This whole track reminds me of older Swans, really. Pounding primal drumming, grating guitar noise and corrosive electronics at creep speed. Pretty awesome. David Atherton's 'Babylon' is a detached urban noise poem; Chop Shop lay on a documentarian video that depicts stills of an audio installation over crushing distorted drone and wavering synths. 'Scanners' from Arcane Device and M. Jankowski is hardcore feedback miniliasm that foreshadows Prurient, combined with video waveforms that bend and morph as the feedback is manipulated into theremin-like howls. And then comes the highlight of the tape, a live peformance from Merzbow recorded at WEBO in New York City in September of 1990 - the footage is compiled from a mix of still images and v

ideo, and features Masami Akita and a woman who I presume is Reiko Azuma conjuring a violent distortion storm of analogue noise and feedback as they pound on metal objects and crouch over effects generators. The set is light on action but it's still an awesome bit of performance footage from the Japanese noise god. The tape comes to a close with an awesome commercial-cum-documentary for the outsider/industrial music and art store Generator in NYC, which I had never heard of but man, after seeing this commercial do I wish I could have visited it back in the early 90's when it was around!

VARIOUS ARTISTS   Knormalities Volume III   7" VINYL   (Dephine Knormal Musik)    7.98


Long awaited third installment in this excellent avantprogpunkjazzpop compilation series, released in spring of 2005 (keep 'em coming, Moe!). This slab features AWESOME exclusive songs from THE EX (with "Giant"), CHEER-ACCIDENT (with "The Stars", a gloriously beautiful number, these guys are right up there with DEERHOOF in terms of avant pop godliness), SLEEPYTIME GORILLA MUSEUM (with a massive rendition of THIS HEAT 's "S.P.Q.R."), and VOODOO MUZAK (with "Ibanen Dake", another killer percussion heavy jazz/post rock/drum n' bass workout from these guys, featuring former GOD / LAIKA drummer Lou Ciccotelli). Crucial. Every song is a winner. This is a limited edition, hand numbered 7" out of 1030 copies on orange coloured vinyl, with cover artwork by Carla Kihlstedt (Sleepytime Gorilla Museum,Tin Hat Trio,Two Foot Yard, etc. member).

VARIOUS ARTISTS   Dodge, Chris / Solmania / Speedranch   CD   (Even Stilte)    13.98

Dodge, Chris / Solmania / Speedranch IS CURRENTLY UNAVAILABLE FOR ORDER

This is such a wonderfully bizarre matchup. Even Stilte grabbed Chris Dodge (from SPAZZ / EAST WEST BLAST TEST) for some raging avant grind noise fits, adds Japanese noise legend SOLMANIA, and gets the UK's DJ SPEEDRANCH (from Phantomsmasher and Speedranch & Jansky Noise) to turn the previous artists inside out. Chris Dodge starts the disc with twelve blastarific songs of hyperfast powerviolence and harsh noise with laser zap electronics, casio breakbeats, and quirky little hooks going off all over the place, like INFEST or SPAZZ meets MELT BANANA. Solmania follows with "Ice Cream", an eleven-minute long track

of awesome textured oscillator thud, foghorn guitar noise, and monolithic feedback/dirge pulse. After that, DJ Speedranch wraps it up with three blasts of nutzoid distorto beat violence that pillages/re-interprets both Chris Dodge's stuff from earlier on the disc, as well as the Solmania album Trembling Tongues, and mashes all of that up with disjointed samples, effects, and severe rhythmic cut-up. A killer conglom of fucked up raygun powerviolence / cut up beats / massive guitar noise!

VARIOUS ARTISTS   Under The Axe Volume 4   CD   (Rusty Axe)    7.00


There are lots of little DIY style black metal labels out there that I try to follow as much as possible, picking up their new releases and trying to turn people on to the obscure weirdness that they put out, and one of the coolest and weirdest labels that I can think of is Rusty Axe, a tiny imprint from somewhere down in Virginia who has an immediately recognizeable aesthetic. Releasing nothing but the most primitive and bizarre black metal bands you've never heard of, I try to get my hands on everything that Rusty Axe pukes up. The label has been putting out these killer label samplers and is up to volume 4 now, and these compilations are an excellent chance to peer through the rusted keyhole into Rusty Axe's otherworld of deformed blackened genius.

On Under The Axe Volume 4, we get a whopping twenty-one tracks, many of which are exclusive to the comp. Fans of obscure weirdo metal will probably recognize at least a couple of the bands featured here: Tjolgtjar, Volkermord, Brobdingnagian, V.A.C.K., Black Vomit, Enbilulugugal, Godless, and

The Wizar'd are all bands that I've carried in form or another here at C-Blast, but there are even more names on this disc that I have never heard of before like Sacrificial Blood, Toil, Meridian Pain, Marks of the Masochist, Talk Sick Earth, Giamon, Taberah, Esprit Dérangé, Dead...Again, Infinite Missiles, P.V.D., Trasher, and Sermon of Foulness. All of this stuff kills though, dousing you in a massive seventy-nine minute splurt of noise-damaged, brain-damaged black metal, doominess, and thrash freakery. Some of my favorite tracks include Tjolgtjar's awesome "Paapankamwa", a blackened blast of retro weirdness that sounds like a black metal Dio doused in cheap LSD and blown amplifiers, and the black-hole noise holocaust of P.V.D.'s "Ultimate Oblivion", with awesome blackened rock riffs buried under a storm of distortion and filth...Sermon of Foulness serve up some punky, catchy Venom-influenced thrash with weird howling vocals, and Volkermord unleash hell with their trance inducing Von-style filth. Toil are all fucked up low fi terror, filled with weird squiggly leads and seriously FX-damaged vocals over some killer old school metal riffs. Aussie doom weirdos The Wizar'd return with a cover of Witchfinder General's "Free Country", shambling slop drumming and ultra-distorted guitars buzzing out of control. "Reeking Of Diseased Goatbile" from Enbilulugugal is another cystic spurt of awesome primitive blackened thrash drenched in crazed, screaming gnome-vocals and insane wiggly riffing. And Black Vomit gives us a massive eight minute slab of satanic distortion, a slow lumbering crawl smeared with crazy spaced out FX and demonic screams pulled WAY OUT, stretched into inhuman howls of distorted filth, everything so distorted and blown out it becomes a furious corruscating wash of grinding noise. But all of this stuff rules, every track is a different, unique take on weird and damaged outsider black metal.

Track Samples:
Sample : VARIOUS ARTISTS-Under The Axe Volume 4
Sample : VARIOUS ARTISTS-Under The Axe Volume 4
Sample : VARIOUS ARTISTS-Under The Axe Volume 4

VARIOUS ARTISTS   Painted Black   CD   (Tumult)    13.98

Track Samples:
Sample : VARIOUS ARTISTS-Painted Black
Sample : VARIOUS ARTISTS-Painted Black
Sample : VARIOUS ARTISTS-Painted Black

VARIOUS ARTISTS   The Stranglers: Chapter One   2 x CD   (Choking Hazard)    11.98

Choking Hazard has an ambitious project planned with this Stranglers series of compilations, which is apparently going to consist of three different double-disc compilations that will showcase a big chunk of material from a wide variety of bands from the sludge/doom underground. Their first entry in the series is loaded with extreme slow-mo heaviness, featuring two discs that are packed with music from an array of bands that include both known names and newer, lesser-known outfits; it's a solid collection that'll satisfy any doomhound looking for a serious fix of ugly, slow-motion heaviness, and I'm definitely looking forward to future volumes.

The Stranglers: Chapter One has just under two and a half hours of music, so there's a lot to hear. All of the bands on the first disc are familiar names; we've carried releases from all of them here at Crucial Blast at one time or another. The disc opens up with probably the best known of all of the featured bands, the UK doomlords Atavist, who offer up an untitled (it's listed only by it's track length, "20:11") song that had previously appeared on their self-titled album from 2005 on Invada. This monolithic doom epic starts off with pretty jangly guitar and sparse, spacious ambience that stretches onward for around five minutes, until a creepy vocal sample appears (taken from the excellent psychological horror film Session 9), and suddenly the band erupts into monstrous molten sludge, slow pounding metallic crush, while that pretty un-distorted melodic guitar continues to play in the background, obscured by the massive slow mo riffage and heavy drumming and deep deep guttural grunts, a sorta slow core deathdoom jam, like Corrupted crossed with Codeine, epic and immense.

British Eyehategod disciples Moloch are next, and their entire 2007 demo is included here, three songs in sixteen minutes, a brutal wave of noxious crusty hatesludge in the vein of Iron Monkey, Cavity and Eyehategod, the singer's ripped trachea spewing vile snarling screams across long stretched-out clots of putrid sludge blooze and musty New 'Awlins swamp groove.

That's followed by The Austrasian Goat, who also contribute three songs, which I believe are exclusive to this compilation. these tracks are similar to the other records that I've picked up from this one-man band, super slow motion blackened ultradoom, but way more miserable and funereal sounding than ever. The first track almost sounds like Skepticism, or Morgion or Thergothon, glacial slow, super heavy, with majestic slow-motion guitar misery flowing over distant echoing drums and stretched out blackened shrieks, huge gusts of droning feedback, all quite beautiful and sorrowful, The second track is even more melodic, a gothic slowcore creep with folky acoustic strum rising out of the black pit, the roiling waves of blackened funeral doom peeling back to reveal a gorgeous Katatonia like dirge later in the song. Finally, the third track appears, darker and more dismal than the previous, discarding the melodic elements for a cavernous deathdoom sound, creeping hellish riffing oozing beneath a pitch-black night sky streaked with ominous effects and gasping, distorted black metal shrieks. Awesome!

The last band on the first disc is The Whorehouse Massacre, and we get three tracks from their 2007 self-titled demo. I previously heard this one-man band on the IV - The Death Tree LP on Streaks Records, and this stuff is in the same vein, a brand of thoroughly fucked-up basement doom, and not surprisingly, the Whorehouse Massacre tracks are the most warped songs on this disc. The first track is a mixture of primitive drum machines, bedroom death metal, and mangled deathdoom riffs woven into stuttering loops, with the sparse vocals filtered through a ridiculous amount of distortion and effects and manic chopped-up editing. It's a really weird, low-fi hypno-deathsludge workout. The second song is a little bit less whacked-out, a pounding slow mo atavistic death metal dirge made up of a simple chugging detuned riff and even simpler, almost industrial drums that repeat over and over, those hissing, white-noise soaked vocals sneering over top, heavy and plodding and ultra-repetitive, almost like an early death metal band trying to cover a Swans song. The last Whorehouse Massacre song is another slab of lumbering primitive deathsludge, but things quickly get weird as glimmering psychedelic guitars begin to unwind across the heavy riff, spacey effects and a soaring melody begins to glide over the pounding deathdirge, with more bizarre distorted production overload kicking in at as it goes along, with almost sing-song distorted vocals showing up, and some muted Deathspell-ish dissonant guitar chords, turning this into an odd, blackened, martial-sounding industrial sludge march.

Switching over to the second disc, we're greeted by a New England-based band called Stasis, who delivers three songs from their 2006 We Are Falling Upwards demo. It's more than twenty-two minutes of vicious blackened sludgecore, the vocals are totally over the top, snarling bestial shrieks and gargling snarling vokills that remind me of Cavity, lots of twisted Sabbathy riffage and creepy creaking guitar noise, trippy flanger effects and harmonics floating around. The song "Expression Of Sin" breaks off into some deep emotive Dax Riggs-style crooning and acoustic guitar, and the whole song is reminiscent of Acid Bath, where at other times Stasis sounda bit like a crustier, more hardcore-tinged Crowbar with their diseased guitar harmonies. Good stuff!

Next is another one-man band called Feast Of Sins that has a guy named Roj handling guitar, bass, drum programming, vocals and samples. This seems to be the first ever appearance from this British band, and there's no shortage of heaviness...the sound is pretty simple and straightforward, ultra-slow, crushing down tuned doom with stretches of cavernous ambience that open up in the fissures that appear between the megalithic riffs, with simple plodding drum machine rhythms and hoarse desperate shrieking vocals. It's a pretty punishing blast of glacial industrial deathdoom.

Italian sludge metallers Ghost Empire follow with two tracks of tortured molasses crush that also seems to take cues from the New Orleans underground, playing gnarly swamp doom in the vein of Cavity, Eyehategod and Acid Bath tinged with faint traces of black metal and psychdrone. There are two different vocal styles working in tandem here, one a fierce strained scream and the other a soulful croon, and the two distinct voices come together on the choruses for an odd displaced effect.

The final band on disc two is also probably my favorite. The oddly named Los Angeles trio Welter In Thy Blood appears with a single fifteen minute song called "Despondent Unto Death", and it's probably the most "out" offering on the comp. These guys play a sort of blackened funeral doom that is incredibly slow and spacious, huge dissonant chords dropping like waves of black energy, vocals soaked in reverb and delay and floating like gusts of putrid corpse air rising out of a disinterred gravesite, minimal barely-there drums, long stretched-out rumbling drones, creepy spoken word recitations. Think Nortt, Khanate, Amort, that sort of bleak spacious blackened doom, but combined with a gnarly primitive heaviness akin to hearing Hellhammer slowed down to quarter speed. This is a killer dose of dismal crypt-doom, and I'm dying to hear more from these guys.

This comp is a real feast for fans of extreme doom metal and sludge, especially if you are unfamiliar with most of the bands. The discs come in full color packaging that includes a thick booklet loaded with artist info, lyrics and artwork.

Track Samples:
Sample : VARIOUS ARTISTS-The Stranglers: Chapter One
Sample : VARIOUS ARTISTS-The Stranglers: Chapter One
Sample : VARIOUS ARTISTS-The Stranglers: Chapter One
Sample : VARIOUS ARTISTS-The Stranglers: Chapter One
Sample : VARIOUS ARTISTS-The Stranglers: Chapter One
Sample : VARIOUS ARTISTS-The Stranglers: Chapter One
Sample : VARIOUS ARTISTS-The Stranglers: Chapter One

VARIOUS ARTISTS   Outbreak Of Evil IV   7" VINYL   (Nuclear War Now! Productions)    5.98


This ongoing series of 7" compilations from Nuclear War Now rules; each installment has featured four bands from around the world raising the flag for scummy, blackened thrash metal, free of polish and posturing. The fourth edition of Outbreak Of Evil brings us another four obscure black/thrash bands, and there's some really bad filth on here.

First up are US thrashers Possessor (who feature members of thrashcore legends Holier Than Thou? and Annihilation Time) with an awesomely sloppy track of drunken, violent Bulldozer/Venom style speed metal, some incredibly wrecked and strangled vocals, and an altogether brain-damaged and mangled sound that totally rips. Those mutants are followed by fellow Yanks Bludwulf from Rochester, which features a guy named Reverend Sinn on vocals that I remember from a crust punk band called The End back in the '90s, along with some dudes from Toxic Holocaust; their song "Nightbreed" is a killer blast of raw, catchy metalpunk that's part Venom, part GISM, part LA sleaze and part UK stench, and I've got to get my hands on more of their stuff, fast.

On the other side, Mexico's Strikemaster barrels through the thrash blitz of "Thrashing The Blind School", Bay Area inspired riffing and impassioned yelling and hammering drums all rushing together in a energetic, loose blast of ragged early Metallica worship with some really fucking weird drum sounds.

Japan's Metal Skull is last with the weirdest track on the Ep, a song called "Satanical Holocaust Massacre”, which actually sort of sounds like something from Ruins or Magma, someone whistling over a jagged off-time bass/drum groove, very prog sounding with weird organ sounds (or is that guitar?) locked into an aggressive, repetitious, ominous groove...a very weird entry on this compilation, and a perfect example of why I love these NWN comps so much.

VARIOUS ARTISTS   Gathering Of Shadows   2 x DVD   (Pagan Flames Productions)    14.98


A two-disc set collecting footage from three ambitious underground black metal events spanning several years, Gathering Of Shadows is a raw but ferocious document that features live performances from some of the US black metal underground's elite forces.

The picture quality for the Night Of The Black Pentecost show from June 2004 is pretty dark and murky, and almost feels like you are watching the bands in a dimly lit basement; the sound quality is fucking loud, though, and the single-camera angle is right on top of the stage, at least. The bands all kill, too. Black Twilight Circle members Ashdautas open the show cloaked in almost total blackness as they tear through some killer messy black metal, and are followed by the vicious blackened death of the mighty Ibex Throne. Salt Lake City black metallers blast through a murky, brutal set of second wave influenced black metal with some ferocious punky mid-tempo parts, and then we get a big chunk of Nightbringer's set, the Colorado band delivering their ornate, orthodox black metal with relentless precision and their trademark spacey, eldritch atmosphere.

The Cults Of The Black Flame concert footage is visually clearer, with a single camera shot from the side of the stage and the bands bathed in green light; however, the sound quality here is a bit murkier and more blown out. Definitely enjoyable though, with Krieg up first with an energetic set despite the cramped conditions on the stage, ripping through their killer post-punk tinged black metal. Nibiru is next, and is one of the sets on this Dvd that I had been really looking forward to checking out, being a big fan of their atmospheric, spacey, synth-heavy black metal. These guys have this heavy Tangerine Dream vibe to their keys that I really dig, and luckily those keys are way up in the mix for their performance. In fact, theirs is by far the best sounding set from this particular show. In contrast, the Nachtmystium recording is so blown out that it's just a massive wall of noise. When their set starts, it's so distorted that if I close my eyes, I'd think that someone was spinning a Cd from The Rita. Their sound does get a little clearer as it goes on and the guy behind the camera shifts position, but it's still pretty gnarly sounding. Of course, this may be just what you want to hear...

The second disc features the Rise Of The Full Moon Temple event from June 2006, which included more than seven death and black metal bands on the bill. The disc opens with warped, unsettling ambient darkness and footage of driving through the Rocky Mountains where the event took place, and includes several title cards that describe the nature of the event - an outdoor performance lit only by torches in the middle of the forest, and only open via initiation. The footage of the bands playing in the woods on a makeshift stage with full sound system and adorned in corpse paint and metal gear is pretty interesting, and the sound quality is remarkably good considering where this was filmed. You get segments of the sets from Legions Of Astaroth, Dagon, Demoncy (their set is fucking vicious, with multiple camera angles, smoke, and an overall ferocious performance), Tenebrous, the folk-flecked black blast of Abyssmal Nocturne, and finishing with the trance inducing power of Crimson Moon.

VARIOUS ARTISTS   Drum Machinegun   CD   (Relapse)    11.98

Track Samples:
Sample : VARIOUS ARTISTS-Drum Machinegun
Sample : VARIOUS ARTISTS-Drum Machinegun
Sample : VARIOUS ARTISTS-Drum Machinegun
Sample : VARIOUS ARTISTS-Drum Machinegun
Sample : VARIOUS ARTISTS-Drum Machinegun
Sample : VARIOUS ARTISTS-Drum Machinegun
Sample : VARIOUS ARTISTS-Drum Machinegun
Sample : VARIOUS ARTISTS-Drum Machinegun

VARIOUS ARTISTS   Freak Power   LP + ZINE   (Fuck Yoga)    17.98

Not a big fan of one-sided Lps, but Fuck Yoga has put out a couple of 'em and I gotta say, they're all pretty killer. For the label's diverse extreme/experimental hardcore compilation Freak Power, the blistering lineup of bands and the whole visual presentation (and inclusion of a small half-size zine) made it a must-get for me; it's been out for awhile, but I was never able to get enough to list until now. Freak Power has a similar vibe as the classic Bllleeeeaaauuurrrrgghhh! - A Music War compilation, featuring a selection of exclusive tracks from some of the most vicious eardrum-destroyers in the current international grind/noise/hardcore/doom underground that includes the likes of Iron Lung, Crime Desire, De Novissimis, Nihilist Commando, Sete Star Sept, Hatred Surge, Wadge, Apartment 213 and a bunch more, each band offering up a single short track.

Some of the highlights include Burmese's "Dipped In Blood", a brutal blast of noise-damaged grind violence that kicks off the record, followed by Apartment 213's lethal power-violence assault; Japanese noisegrinders Sete Star Sept detonate another one of their vicious freeform blast-spasms, while Wadge delivers another bizarre Tiki-themed industrial grindcore offensive. Potop does a medley of Big Black's "Crack" and the Swans song "Freak", mashing them together into abject noisy sludge along the lines of their killer Channels Cd from a few years ago, and Iron Lung do their discordant Infest-gone-mathrock thing on "Hiroshima". Crime Desire rip through one of their occult-influenced hardcore jams, and bands like Brain Dead, Judas, Bud Junkees, Senata Fox, Warfair? and Monsters Of Pot all contribute short, violent tracks of chaotic hardcore, low-fi grindcore and noise-damaged thrash, while the blurr / noisecore contingent is represented by the appearance of Mikko Aspa's Nihilist Commando and Atentat Na Sluh. Irish sludgecore band De Novissimis crawl through a heap of drug-fueled nihilism and slow-mo crust, and weirdoes Makua Valley Blast Test produce an oddball mix of extreme hardcore and mangled prog on their track. All known corners of the extreme hardcore underground are explored.

The Freak Power zine that comes with the record features thirty-six black and white pages, consisting of interviews with Sete Star Sept, Steve Makita from Apartment 213, reviews of cult horror films written by Colin Tappe from Crime Desire, Burmese, an in-depth essay on Agustí Villaronga's 1987 art-house shocker In A Glass Cage written by film theorist Donato Totaro, and a Q&A with Andrew Nolan from The Endless Blockade / Column Of Heaven that, frankly, is worth picking up Freak Power up for alone. On black vinyl, limited to four hundred copies.

VARIOUS ARTISTS   Yogsothery- Gate I: Chaosmogonic Rituals Of Fear   CD   (I, Voidhanger)    11.98

  Finally have this killer compilation on I, Voidhanger in stock, the first in a planned trilogy of compilations featuring underground avant/metal outfits paying homage to weird lit pioneer H.P. Lovecraft and his Cthulhu Mythos. It's a mind-warping collection of outer fringe dwellers of the Finnish metal scene, all channeling Lovecraft's cosmic horrors through a mixture of dark nightmarish prog and bizarre mutant doom metal, and it's one of the best compilations I've picked up recently. The theme of the album is consistent and focused (and who doesn't want to hear more weird crushing metal and dark prog dealing with the nightmarish mythology that Lovecraft cooked up?), and features some seriously bitchin' album art produced by legendary French comics artist Philippe Druillet, one of the founders of Métal Hurlant / Heavy Metal Magazine, taken from his classic early 70's books Yragaël and Les six voyages de Lone Sloane. The disc features exclusive material from all four bands, most of which I'd already been a fan of: there's more superb kosmische terror from Jääportit, crushing crawling prog-doom from Aarni and Umbra Nihil, and an awesome blast of funereal space doom from Caput LVIIIm.

   First up is Jääportit's "Kuihtuman Henkivi", a sprawling twenty-five minute soundscape that blends the Finnish artists dark brand of kosmische dread with muffled birdsong, crafting a vast, otherworldly ambience that billows out across more than a third of the album; those signature Tangerine Dream-style synth arpeggios start to drift in after a few minutes, rising on the back of wailing choral voices and searing electronic noise, the sound transforming out of that dreamlike aviary ambience into an alien synthscape, rattled by distant deep rhythmic reverberations and endless electronic squiggles. There's a really heavy 70's space/kraut influence hanging over this stuff, but Jääportit warps it into something much stranger and alot more nightmarish, allowing ghoulish, monstrous vocalizations and surreal atonal electronic melodies to surface throughout this epic prog-nightmare, descending into dank dungeons of murky Lustmordian drift, puffs of opium smoke rising from flutes carved in human bone, shades of ancient, pre-Christian music fusing with mutant electronics, eventually weaving its way into a chilling finale where violins become swept up in the lush cosmic electronics, and the music becomes a hallucinatory death-march, all staccato strings and nebulous keyboard drift, like some strange Michael Hoenig score for The Shadow Over Innsmouth. This guys stuff remains criminally underrated and obscure, but it's another in a steady line of solid, sinister soundscapes and kosmische-tinged horror from the artist.

   Umbra Nihil's "Suur-Nikkurin Virsi" is another one of the Finnish prog-doom band's epic sludgy deliriums, all blackened riffs and lugubrious, Sabbathy doom lurching beneath a blood-red moon, the vocals a deep, incantatory singing, with bits of eerie vocal harmony showing up in some of the brighter moments, the music slipping into a number of slippery, reptilian doomgrooves. There's some weird vocal processing that shows up, adding to the song's dreamlike feel, and like their other stuff this has a vintage feel to the recording, the production stripped down, the narcotized doom bursting into slightly off-kilter blues guitar leads, or dropping out completely and leaving behind just fucked-up LSD-splattered guitar noise wig-outs, or suddenly shifting into an oddball chugging mid-paced riff with crazy, almost Voivodian chordal weirdness and dissonance.

   Aarni follow that with their own fucked-uo version of prog-damaged doom metal on "Lovecraft Knew", and this is even more bent; the whole track is a mess of monstrous guttural speech, bizarre electronic flute-like melodies chortling madly in the background, deformed downtuned riffage and atonal guitar skronk that almost sound like something off of a Last Exit record. It's like some mutated form of sludge-jazz, all the way up to the second half of the song where they suddenly pull it together into a killer blat of brain-damaged psych-sludge, the chugging stop-start riffage and stumbling, haphazard drumming lurching around while some seriously stoned synthesizer jamming goes on and a litany of inhuman voices and weird robotic goblin vocals slink through the mix.

   And then there's the final track "Resurgent Atavism" from Caput LVIIIm, the one band on this compilation that I hadn't hard before. It's also the longest goddam song on here, a full half hour of rumbling glacial heaviness that spills forth from the opening of the track like the gravitational pull from some wayward black planet, a crushing funereal doom epic that flattened me as satisfyingly as anything from Thergothon or Evoken. Crushing mournful doom wrapped in a single majestic riff, surrounded by whirring Hawkwindian electronics and skillfully layered lead guitar. Space rock-tinged funeral doom, huge and awesome, but further in, the band gets more abstract, more experimental, dropping off into strange psychedelic dronescapes of buried organ, terrifying field recordings and gurgling electronics. These parts always build right back up into more of that vast glacial doom, though, and when the band drops back in that slow motion heaviness and those distant, distorted screams, it sound intensely powerful. Apparently this is the only thing that Caput LVIIIm ever recorded, but it's a whopper, as good a slab of kosmische doom as I've heard, and it's a perfect ending for this comp.

   Comes in a full color cardboard slipcase and includes a thick twenty page booklet filled with additional artwork, lyrics and liner notes.

Track Samples:
Sample : VARIOUS ARTISTS-Yogsothery- Gate I: Chaosmogonic Rituals Of Fear
Sample : VARIOUS ARTISTS-Yogsothery- Gate I: Chaosmogonic Rituals Of Fear
Sample : VARIOUS ARTISTS-Yogsothery- Gate I: Chaosmogonic Rituals Of Fear
Sample : VARIOUS ARTISTS-Yogsothery- Gate I: Chaosmogonic Rituals Of Fear

VARIOUS ARTISTS   The Exorcist (Musical Excerpts From)   CD   (Perseverance)    12.98

The Exorcist (Musical Excerpts From) IS CURRENTLY UNAVAILABLE FOR ORDER

     Always been interested in the intersection between avant-garde music and horror cinema, and the original soundtrack to William Friedkin's groundbreaking 1974 masterpiece The Exorcist is still one of the best examples of the use of experimental music in horror. Prior to The Exorcist, filmmakers had used experimental music and some more adventurous jazz music in a number of horror films, mainly throughout the 1960s, but The Exorcist was the first soundtrack to heavily draw from the radical sounds of contemporary avant-garde composers. Friedkin's brilliant curation drew from progressive rock, the most terrifying depths of contemporary classical, and extreme avant-garde music, much of it assembled from his own personal music library in a collage of sounds that served to underscore his documentarian approach to the narrative. Musical excerpts from Penderecki, Webern, Henze and Crumb were incorporated into the film, and original interstitial pieces were commissioned from minimalist composer David Borden and avant-garde composer Jack Nitzsche, with Nitzsche creating his piece using the reverberant sound of glass being rubbed alongside recorded voices. The result is a witchy, weird sonic nightmare that can create a deep sense of unease even when listened to outside of the film.

     The chilling insectile ambience of Nitzsche's "Iraq" that serves as the introduction to the soundtrack is a brief but portentous piece that blends Muslim calls to prayer with dissonant strings and ambient sound from the film, leading directly into Oldfield's mesmeric and instantly recognizable "Tubular Bells", featured here as a nearly six minute edit; those icy, elliptic synth keys and ominous piano melody still have an eerie, hypnotic power, essentially inextricable from the film itself. There's just a short excerpt of Webern's "Five Pieces For Orchestra, Op.10 (Sehr Langsam Und Äusserst Ruhig)" that, while drastically edited from the full version that appeared on the old vinyl release of the score, still conveys a strong disturbing feel in the short time it has here. There are some other tracks that are unfortunately featured here in edited form, like Crumb's classic "Night Of The Electric Insects", but thankfully this reissue does feature extended versions of the Penderecki pieces. As "Polymorphia" slowly billows out of some deep, lightless crack in the earth like an amorphous black stain, at first an exercise in dark ambience that rivals anything from Sleep Research Facility or Lull; as the track unfolds though, and those wormy, atonal strings gradually writhe up out of the depths of the mix, it transforms into something much more nightmarish, a slow realization of abject horror bathed in blackened dissonance and ghostly clatter - even removed from the film, this is one of the key tracks from this soundtrack, a deeply unsettling and frightening presence. And Penderecki's hellish "Kanon For Orchestra And Tape" is one of my favorite horror movie musical sequences of all time, blending the shocking demonic frenzy of the orchestra with a mass of nightmarish tapes that produces and almost proto-industrial delirium. "String Quartet (1960)" offers a similarly disturbing atonality, the musicians scraping and torturing their violins and cello to produce a perverse pointillist hallucination, and Harry Bee's "Windharp" emits a dank blast of cavernous ambience. And the final two tracks are another pair of shorter excerpts, one a brief reprise of "Bells", the other the stunning performance of Hans Werner Henze's "Fantasia For Strings" that serves as a coda to the film.

     Despite some of the shorter tracks, this is still presents one of the most important horror scores of the 70s, essential for soundtrack collectors and fans of nightmarish dissonance. The re-mastered Perseverance reissue includes new liner notes from soundtrack expert Randall D. Larson (Musique Fantastique: 100 Years Of Music For Fantasy, Science Fiction & Horror Films).

Track Samples:
Sample : VARIOUS ARTISTS-The Exorcist (Musical Excerpts From)
Sample : VARIOUS ARTISTS-The Exorcist (Musical Excerpts From)
Sample : VARIOUS ARTISTS-The Exorcist (Musical Excerpts From)

VARIOUS ARTISTS   Godzilla: The Showa-Era Soundtracks, 1954-1975   18 x LP BOXSET   (Waxwork)    499.99

VARIOUS ARTISTS   Beyond Good & Evil: Tribute To Anarchus   CD   (American Line)    9.98

Modern death/grind bands pay homage to the Mexican masters of apocalyptic grindcore! Features RAVAGER, SOL NEGRO, MORBOSIDAD, DISGORGE, BOWEL STEW, DEA, PURGATORIA, OXIDISED RAZOR, CATIVEIRO, NO MAS NO, CARNE, STRESS, HOL A WIT, PULVERIZER, HORRIFIED, INFAMIA, and APOKKRIFOS. More filthy graindcore noise than you can possibly handle.

VARIOUS ARTISTS   Rising Tide   CD   (D-Trash)    12.98

We've got some great stuff in this week from the Canadian label D-Trash, a mix of both new and old stuff that fans of extreme electronica and brutal gabber/breakcore action are going to wanna take a big bite out of. And this heavy compilation of exclusive tracks from the D-Trash camp is probably one of the best places to start for anyone new to the sound and looking for a loaded mixtape of what those mutants at D-Trash and their affiliates are doing. Essentially acting as the North American arm of Alec Empire's Digital Hardcore label, D-Trash has compiled a small army of artists on this disc including Unitus, Schizoid, Contra, Exist, Nocore, CPUWar, Knar, The Bureau De Chnage, Stunt Rock, DHC Meinhof, Ambassador 21, Zymotic, and Asure. All of the jams on this disc are great, but my personal favorites are Schizoid's crusty Burzum-meets-Atari Teenage Riot blackened breakcore and his fiery anarchopunk ranting, Unitus' crushing metallic breakbeat doom, the hyperkinetic gabba cutups of Contra, CPUwar's ultra distorted techno, and DHR Meinhof's awesome fusion of melodic anarchopunk and harsh digital blastcore. It's a stellar lineup across the board though, and any fan of the noisiest, heaviest, fastest breeds of electronica will blow their top over this orgy of extreme breakbeat action.

VARIOUS ARTISTS   Economised   CD   (Manifold)    11.98


A monstrous collection of crushing DarkHop, evil atmospheres and frenetic d&b sickness! This hard-hitting first release from Manifold's new sub-label, Economy Records, focuses on the dark drum & bass, ambient sound that's been the backbone of what is a currently under-published scene. Economi$ed gathers an assortment of styles, but manages to retain that flavorful, fast flow from one track to another, beginning to end, with very off-kilter, heavy beats and merciless background atmospheres with an unpredictability coursing through them. Features all-exclusive, unreleased tracks by Quoit, Cylon, Ocosi, Su8m3rg3d, Totemplow, Gone Postal, PCM, Mothboy, Blankmove, Nos, and Otraslab. Cylon is Justin Broadrick's (GODFLESH / JESU / TECHNO ANIMAL) project, he contributes two pieces, a lengthy original, and a remix of Quoits 'Plug 8'. Totemplow remixes Quoits 'Off'. Not just a label sampler, as all the tracks are previously unreleased!!! Economise now!

VARIOUS ARTISTS   International Blast Fighter   7" VINYL   (Torture Garden Pictures)    5.98

Along with that killer new 10" from the Monarch! garage-pop-punk-powerviolence alter ego Rainbow Of Death comes this new compilation 7" from Torture Garden Picture Company that holds, count 'em, twelve different grind pushers from across the globe - you get anywhere from one to three new jams each from bands like Finland's hyperspeed hardcore punkers Vaarinkasitys, Virginia's Aghast channel ultra-noisy Japanese hardcore, two songs from Rainbow Of Death (sadly, these aren't exclusive to this comp, as both songs also appear on their 10"), turbo speedcore vets Yacopsae (one of the fastest, tightest thrashcore bands on the freakin' planet!), raw-ass San Jose grinderz In Disgust, and a fucking awesome jam from Finnish noise-punk destroyers Kuolema, who have been kicking it since 1982! Plus blazing grind violence from Swedish blasters Netjajev SS, Thai thrash punkers Low Fat, Virginian crustmetal ragers Parasytic (who feature Erik from Alabama Thunderpussy in their ranks), groovy Spanish grindcore thugs Nashgul, Dutch blastnoise from Matka Teresa, and a face-smashing rendition of Frost's "Into The Crypts Of Rays" by Texans Insect Warfare. Dope! Noise not music, ya know? Honestly, I think this is the best grind/speed/blurr comp I've heard since the first Barbaric Thrash Detonation. And dig the sweet Cthulhu-esque cover art from Bill Hauser!

VARIOUS ARTISTS   Most Unwanted : Electronic Compilation 2006   LP   (Borft)    15.98

Most Unwanted : Electronic Compilation 2006 IS CURRENTLY UNAVAILABLE FOR ORDER

Super limited (300 copies) LP compilation of international electronic drone/free/noise mediums: Interzone inc, Treriksröset, CPU, Jeanne Fremaux, Inyurmania, Maor Appelbaum, Alvars orkester, Commando Laarz, Goz mongo alliance, Smell & quim, En halvkokt i folie, Eugenics council, FDASFDA, Five o´clock traffic, Sewer election & Enema syringe all appear on this black slab. Borft and the whole gang have assembled a flowing compendium of totally intoxicating deep space/back hole electronics that ranks as one of the best wyrd-circuitry comps of 2006...from the goatness of the cover art, to the manifestations of Lustmord-ian abyss ambience, stoned free jazz utterances, some exquisite amplifier feedback droneology, Lovecraftian cosmic synth burbling, and charred post-punk noise burnout, this comes off like a Black Mass of deep outtsider electronica.

VARIOUS ARTISTS   Realicide / Evolve / Capital Hemorrhage : Live   CDR   (Realicide Youth)    5.00

An hour of live performances from three bands that are part of the really cool and vibrant progressive/noisy hardcore scene that's happening in the

southern Ohio area, this split was released primarily for Realicide to sell on their U.S. tour this summer, but we were able to get a few for C-Blast.

Features a bunch of live tracks from each with fairly solid recording quality that sounds like it came off of a soundboard, but most importantly each set is

super energetic and a great document of how wild each of these bands are. The only outfit on here that we had seen before in a live setting is Captial

Hemorhhage, who we caught at the 611 Florida house in DC back in December '06...their set of brutal "aktionist hardcore" os from a show in St. Louis from

March of 2007, and it's just as nasty and violent here as it was when we saw 'em, a drummer and guitarist two-piece unleashing gnarly noisy hardcore,

deformed Am Rep noise rock riffs, throwing cymbals and lead pipes around the room, and devolving into formless sludge. Evolve is a guy named Colin Murray who

performs a kind of sound collage/avant hip hop hybrid that's firmly rooted in old school Industrial moves, graff culture and a passionate DIY punk aesthetic.

His set from Johnson City, TN in December '06 is a spacey experience, with airy dub beats and heavy drum machines rattling beneath layers of field recordings

and effects-heavy tape collages. Last up is Realicide, the noisecore/gabba/electronics trio featuring Robert Inhuman's spoken-word/hip hop inspired anarcho

rants. Their set is from Nashville in December '06, with second vocalist Jim Swill and drum machine/sampler/synth abuser Mavis Concave joining Inhuman in

whipping up brutal wacked out panic speedcore, rhythmic blocks of noise, blastbeats and breakbeats, sometimes sounding like a fucked up mixture of Nine Inch

Nails, Atari Teenage Riot, and hard drive grindcore. It's a cool little live document, the disc sorting a cool screenprint on it's face, and packaged inside

of a plastic wallet sleeve with a large xeroxed poster insert. Released in a tiny edition of 110 copies.

VARIOUS ARTISTS   Supersonic Sounds From The 'Fuck You' Movement   CD   (Chaotic Noise)    11.98

Supersonic Sounds From The 'Fuck You' Movement IS CURRENTLY UNAVAILABLE FOR ORDER

Assorted bits of noise rock, prank calls, bizarro avant-racket, and overall punk as fuckness are gathered here on this 25 track, hour-plus long compilation



VARIOUS ARTISTS   Woman Taken In Adultery   CD   (Carbon)    6.99

Pure heavy free noise drone bliss. That’s what all five artists featured on this unassuming little disc have to offer. Norway's NOXAGT open up with a

cacophonous attack of utterly danceable drum noise and rubber-band-y bass in yer face, then shift abruptly into a stumbling, heavy, wheezy drone rock jam

with the second track, like marching music for some weird camel parade, and wrap up their appearance with track 3, a totally stoned psyche/bong riff jamming

into eternity with a ghostly turntable loop doing the eerie creep. New Zealand's FLIES INSIDE THE SUN follow with a single track of skittery drone, subdued

improv guitar flutter, and disembodied radio chatter...very pretty stuff. Belgium's RANDOM REFLECTIONS give us 3 tracks of excellent ominous twilight drone

via amplifier/guitar hum and feedback and string-scrape, sort of like a quieter, more subdued version of Boris' feedback free-for-alls. LOVELY MIDGET and

METRALLETA are both from New Zealand; LOVELY MIDGET's Snow Engineer is a gorgeous, spartan micro-hymn, with Rachel Shearer's buried and

layered and positively spooky vocals over a dark , ominous guitar drone...like a shoegazer song for bad dreams, a post-rock lullaby buried

underneath ruins, AWESOME in its brevity. Rachel Shearer also counts herself amongst METRALLETA, whose Papakura is yet another drone-psyche gem,

flickering pulses of guitar and raga-esque melodies shimmering...great stuff, And Loren Conners closes this disc out with 2 beautiful tracks of delicate

post-rock guitar ambience, exquisitely pretty and sad, particularly "For NY 9/11/01". For fans of Loren Conners spare post rock ambience, these pieces

definitely do not disappoint.

This CD is packaged quite minimally, with a spare white and grey cover and a small card insert inside the wallet with the disc - it's definitely nothing

fancy, but if you’re a fan of psyche-drone haze and evocative hum, you gotta get this CD for the LOVELY MIDGET and METRALLETA tracks...the rest of the bands

and songs on here are so excellent as well, not a single dud on this disc, but those particular tracks are a must-hear.

VARIOUS ARTISTS   BASTARD NOISE / MOZ / HERMIT   7" VINYL   (Balefire Recordings)    4.98


This new 7" features 2 tracks,The Moralist Factor parts 1 and 2, resulting from mail collaboration between experimental electronics artists

BASTARD NOISE, MOZ, and HERMIT. A dynamic mix of whirr, crystalline drones, and staticky noise abstractions. Sleeve design by Crionic Media. Limited to 300


VARIOUS ARTISTS   Infernal Proteus A Musical Herbal   4 x CD + BOOK   (Ajna Offensive)    44.98


This handsomely illustrated, hardbound book came out a few years ago from the publishing arm of the esteemed black metal/black ambient label Ajna Offesnive and for the longest time was thought by myself to be out of print. It turns out that we were able to get ahold of a few copies of this book, which is not only a book, but also a massive 4-disc compilation set, a "musical herbal" as Ajna boss Tyler Davis calls it, and it's a massive head-filler for anyone that is into the darker corners of ambient music, heavy drones, and experrimental post-rock. The book is a professionally printed and bound full-color tome, 96 pages thick and filled with full color artwork, with each of the featured musical artists picking a plant, herb, or tree that they identify with in some manner and contributing a new, unique song in honor of the plant. The presentation of the images is gorgeous, ranging from full color photographs to antiquated engravings and more astract artwork, and each artist is given a full 2-page spread with a full page for the artwork and the facing page featuring assorted text, poetry, notes, etc. The lineup of artists in the compendium is staggering: Ah Cama-Sotz, Alio Die, Allerseelen, Alraune, Amber Asylum, Apoptose, Aube, Baradelan, Chaos As Shelter, Circe, Coleclough & Hill, Jason Craban, Yannick Dauby, black ambient overlord Endvra, Hekate, Hu, Igor18, In Gowan Ring, Inade, Israfel In Necropolis, Dave Knott, Lotus Eaters (featuring Aaron Turner of Isis and Stephen O'Malley of Sunn O)))/KTL/Khanate/Burning Witch), Kawabata Makoto of Acid Mothers Temple, Mania, Mnortham, Seth Nehil, Nerthiagh, Numinosum, O Paradis, Rain, The Red King, Steve Roden, Troum, Ultra, Unto AShes, Venereum Arvum, Waldteufel, Wolfskin, and David Woodward...whew! Like I said, massive. A conceptual grimoire of dark green magic, summoned in the guise of esoteric ambient, dark folk, avant-metal, lovely chamber doom, occultic field recording manipulations, and sounds from even further beyond. Might just be the most ambitious, stunning looking compilation I've ever picked up.Limited to only 2,000 copies!

VARIOUS ARTISTS   A Bullet Sounds The Same In Every Language   CD   (Shove)    9.98

From what I've been able to sort out, A Bullet Sounds The Same In Every Language seems to be some kind of abstract rock opera that features three bands from the Italian avant-metal underground all contributing original music to a singular concept that has something to do with...well, I'm not really sure, the album is split into three acts and appears to have a central character named Sally Realdeal who might be a cyborg? Despite my inability to figure out what the conceptual element to this CD is all about, I have nevertheless been raging to this fucker for a good two months. The music on this disc points to Italy having in it's possession one hell of an avant-heavy scene, and all three of the bands featured here kill it with their contributions.

The disc opens with Act i: Courage, Fork, And Knife, as played by the "sci-fi grind n' roll" band Inferno. I already knew these guys from their first full length CD that came out in 2004, which was good stuff...but now Inferno sound even more intense, and have apparently been hard at work since their debut fine-tuning their style of weird, "sci-fi" metalcore. They open with the drifting dark ambient techno of "Inferno Overture", which is actually performed by an artist known as Reeks, but after a minute or two of that, Inferno kicks in with their ripping, rocking metalcore-meets-space-prog attack, all churning mathmetal riffage and awesome old-school anologue synth sounds, like Rick Wakeman jamming with Botch! Sounds whack, but holy fuck does this rule. The metal is full-on, crushing hard rock riffs colliding with chaotic knots of angular crush and blastbeats, very much like Botch or maybe Dillenger but with more rock and MORE PROG (especially on the Magma-esque "Sa

lly Realdeal") and those awesome omnipresent synths warbling and bleeping prominently in the mix. AWESOME!

Next is Act II: The Soft Humanoid Parade as performed by Psychofagist. These guys are a well-kept secret outside of the Italian metal scene, but fans of schizoid avant deathgrind fans that haven't heard Psychofagist yet will probably blow a synapse when they catch an earful of their hyper-technical death metal. Their segment of this opera begins with the tinkling atonal piano intro for "Unstable Parte II" that sounds like it was lifted from a 20th century modern classical piece, but then it's obliterated by the impossibly intricate and dissonant math-damaged death metal, a whirlwind of angular riffs, fucked up time signature contortions, jazz basslines, and dramatic clean vocals devoured by fierce death roars. Then a bluesy Hammond organ appears to introduce "Il Respetto Di Nostro Signore Per Gli Invertebrati" before the song again blooms into warped deathgrind riffing, chaotic blastbeats, and a country music sample that appears in the middle of the song. The last t

rack "Veil|Inconsistence" is the weirdest, beginning with electronic pulses and abstract vocal noises screamed over a plunky guitar line, then moving into dizzying no-wave damaged grind, that atonal 20th century piano appeaaring again but now over a looping funky bassline and free jazz drumming, huge stop/stop start riffs, vicious screaming that's heavily processed by electronic fx, slippery dissonant riffage, crushing and atonal and challenging, a mix of Fantomas and Gorguts and Cynic wound together into an alien avantblast spasm. Immensely cool.

The third and last act of the disc is Act III: (Epilogue) Narciso, from Ovo. I've heard Ovo in all of their different guises before, but this is the duo at their absolute slowest and heaviest and most threatening. If you liked the weirdo no-wave tinged doom of their Load album, you'll love their contribution to this split, a thirteen minute nightmare ritual that opens with Stefania Pedretti whispering evil recitations in that creepy little-girl-is-actually-a-cemetary-witch voice of hers over minimal electro-acoustic crunch and drone that builds into a super downtuned doom riff, the guitar distorted into a thin, toxic buzz, the drums clanging in slow motion and accompanied by shrill metallic sounds that sound like pipes being struck. It would remind me alot of Khanate if not for those creepy girly whispers. But then the song takes an abrupt left turn at the nine minute mark as Ovo suddenly starts banging away on a kind of industrial no-wave jam, all skronky scrabbly

guitar noise and screeching and spastic double bass drumming and atonal pipe-smacking dirge that lasts for two minutes or so and then sinks right back into the black tar, now with Stefania doing this weird throat-singing thing that sounds even more psychotic, the guitar becomes even more abstracted as the ends of the strings around the tuning pegs are plucked and scraped, closing the song in a black fug of chiming strings, heaving breathing sounds, and amplifier hum.

An amazing quasi-conceptual compilation that showcases the three weirdest, most freaked out denizens of the Italian metal underground, each one with their own unique, experimental sound, all wildly different from one another but somehow all flowing together perfectly in this crazed avant-metal collection. The packaging is terrific too, all metallic gold and black with the the cover comprised of a printed sleeve that holds three seperate gold sheets, one for each artist, that include the lyrics, track info, artist info, and artwork, designed so that the different sheets can be switched around to give the album different covers. Highly recommended.

Track Samples:
Sample : VARIOUS ARTISTS-A Bullet Sounds The Same In Every Language
Sample : VARIOUS ARTISTS-A Bullet Sounds The Same In Every Language
Sample : VARIOUS ARTISTS-A Bullet Sounds The Same In Every Language

VARIOUS ARTISTS   Cock E.S.P. + Appliancide / Waffelpung   CD   (Sunship)    10.98

Confoosingly titled 3-way split CD featuring a collaborative freakout from Midwestern avant-noise brats COCK E.S.P. and UNCONDITIONAL LOATHING offshoot APPLIANCIDE, and a cable-buzz epic from Norway's WAFFELPUNG. We're big fans of COCK E.S.P. around here, so this disc gets high scores from us just for the COCK's tracks. Their absurdist take on modern avant-garde music sucks in all sorts of influences, including punk rock, modern composition, free jazz improvisation, Japanese noise, hardcore industrial, 80's metal, and electronica, and spits out a loud, often violent shitstorm of random chaos, clatter, and intense noise...right up our freaking alley, you know? The first ten tracks on this split CD feature COCK E.S.P. and pals APPLIANCIDE rolling around in a mound of malfunctioning instrument cables, dialogue cut-up, electronic drones, mutant beats, and a track featuring Elyse playing acoustic guitar as accompaniment to samples from Stryper's 1987 home video, along with other surrealistic free-noise antics. Excellent, hyperactive chaos. The other half of the disc is WAFFELPUNG, which is the alter ego of Norweigen Sten Ove Toft, whos serves up a single 15+ minute track of satisfyingly abstract post-industrial splatter that swirls together chunks of atonal modernist piano loops, noisy harsh electronic violence, some more subdued drones, and severe scrap metal battering. The disc comes lovingly packaged inside of a full color wallet which is in turn enclosed inside of a heavy canvas folder in a mylar sleeve. Highly recommended to fans of heavy mutant electronic improv!

VARIOUS ARTISTS   Fiesta Comes Alive   CD   (Slap A Ham)    4.98

Long before the Maryland Death Fest became the country's premier live festival for underground extreme music, Spazz frontman and Slap-A-Ham label boss CHris Dodge was holding a yearly bash at the legendary Gilman St. Project in Berkeley, California called Fiesta Grande. The annual festival started in 1992 and featured a weekend chock full of the most punishing grind/hardcore/punk/doom/crust/sludge/noise bands around, and the lineup of any given year of Fiesta Granda would be a who's who of extreme music, with many of the most crucial underground bands of the decade appearing. 2000 was the last year of the festival, but it had been documented a few years prior with the 1997 compilation Fiesta Comes Alive on Slap-A-Ham, which featured forty tracks taken from various live performances that span five years of Fiesta Grande.

After Slap-A-Ham shut down in 2002, most of the label's releases disappeared, including this one, but we just found a lost stash of this amazing comp for really cheap, much to my surprise. This disc is like a holy grail for powerviolence fans, filled to the brim with total aural devestation!

There are ripping tracks from the world's best Infest clone, Lack Of Interest, Excruciating Terror, Bludgeon, a scathing performance of "Backstabber" from Dystopia, No Comment, mighty Floridian sludgelords Cavity, Discordance Axis laying waste with the 57 second "Panoptic", legendary grinders Phobia, a short blast of synth-loaded sci-fi grind from The Locust, Gob's punishing bass-heavy sludge, a pure wall of blastnoise from Enemy Soil, hilarious mutant hardcore from Nuclear Armed Hogs, FOUR massive tracks from Man Is The Bastard (whose nearly six minutes of material here alone makes this worth picking up), blazing grindcore and thrash from Capitalist Casualties, Stapled Shut, Cop Out, Spazz, No Less, Hellnation, Utter Bastard, His Hero Is Gone, Evolved To Obliteration, Crossed Out, Benumb, and hardcore legends M.D.C. doing "Nazi's Shouldn't Drive".

Some of my favorite moments on here are Cali doomtitans Noothgrush and their devestating "Gage", the murky, droning, angular Satanic sludge of Cattlepress's "My Only Wish Is To Destroy", the totally fucked-up Man Is The Bastard-meets-Hellhammer PV-slop of Agents Of Satan, and freaked-out psychedelic gangsta-powerviolence from Plutocracy. The whole compilation RULES though, it's pretty cruycial if your a fanatic for 90's West Coast hardcore and grind as ALL of the greats are featured here, with anywhere from one to four tracks per band, and appearances from cult East Coast bands like Enemy Soil and Discordance Axis. The sound quality ranges from tinny and rough on the oldest recordings, to totally in-your-face and punishing for the most recent stuff, and the tracks are bookened with loads of stage banter and crowd involvement. If you were there, this is a forty-nine minute timewarp to the greatest extreme hardcore party that ever existed during the 1990's, and if you weren't able to make it (like me), this gives you a thorough taste of just how nuts those shows were.

VARIOUS ARTISTS   Brick By Brick   7 x 3" CDR BOXSET   (Small Doses)    26.98


This compilation from Small Doses showcases an array of noise artists working within the aesthetic of HNW, and covers more well-known names like Vomir and the Italian horror movie obsessed group Four Flies, as well as newer artists (at least to us) White Plague, Ryan Bloomer, Griz-zlor, A View From Nihil, and Infirmary. There's almost two and a half hours of harsh, crushing, immersive walls of distortion that are mapped out across seven discs, each artist featured on a separate disc, and the set is attractively packaged in a chunky black binder-box with black-on-black artwork, a printed HNW manifesto from Vomir, a twelve-page booklet, and a 1" HNW button.

Disc one is A View From Nihil's "Creation In Order To Subdue The Torment Of Perception", a massive, churning twenty-minute dust storm of buzzing particulate matter and swirling grit, the distortion whipped around in great loops and whorls with ghost traces of melody taking form deep beneath the layers of crunch. This slab of wall-noise is quite hypnotic and ominous. The second disc has "Taking It On The Jaw" from Canadian noise artist Ryan Bloomer, whose rapid, fluttering distortion beats black wings against clouds of minimal hiss, getting more and more active and chaotic, somewhat similar to the suffocating crackle of The Rita's recent album The Voyage Of The Decima MAS, building into a dense wall of static, roiling crunchy sheets of brutal chopped up glitch chaos.

The Four Flies disc features two tracks; another HNW project from Richard Ramirez who teams up with Christian Perdome, Matthew Solondz & Hageshiseto Ohno, blasting through “I Was Made Of Blisters And Remorse”, a sixteen minutes monolith of crushing looped blasts of distorted bass and rhythmic pounding punishment; the second, "The Beast Of Scars" more muted, releasing a smoldering black lava-flow of creeping static and throbbing bass flux.

Griz+zlor's untitled twenty minute offering is a maelstrom of immersive black buzz, a thick & murky take on HNW that's similar to Vomir, the dense and almost completely unchanging roar delivering a constant & brutally hypnotic attack. Infirmary's disc "Hold" is equally merciless; a roaring thick slab that

pretty much loops the same bellowing oceanic frequency over the entire length of the track, a total avalanche-of-metal void.

The untitled disc/track from France's Vomir is more of the master's incredibly focused and minimalist form of drone-noise, made up of two main tones; one a taut static buzz, and the other a deeper, more tectonic bass-heavy rumble, fused together into a crushing non-dynamic blast of black fire. And on the seventh disc, the duo White Plague brings us "Viral Replication", another brutal, enveloping sea of crackling, roaring low-end violence, constantly churning and rumbling, with slight, almost imperceptible shifts in speed and texture that occur over the duration.

A wealth of high quality harsh noise collected together in a fantastic package, recommended to fans of time-melting meditative noise.

VARIOUS ARTISTS   Noise Propaganda Volume III   CASSETTE   (Corrosive Art Records)    7.98


Cool compilation of contempo power electronics / death industrial / HNW outfits that was curated by Corrosive Art; with all exclusive material, this features a bunch of the best extreme electronics projects around and includes some of my current faves.

The track from Finland's Haare begins with sampled dialogue from an old LSD documentary before shifting into a crude, painfully abrasive assault of psychedelic noise, waves of distortion and feedback crashing into an ocean of reverb, deformed synthesizer blurt, and chaotic horror. The last few minutes sound like K2 performing in a haunted house. Sick Seed turns in another of his brutal slabs of rotting industrial pummel and oozing feedback-slime on "Swollen Pigface", while the consistently awesome Steel Hook Prostheses drags you down into more of its crushing, clinical deathpulse and hellish mechanical dirge - this track ("Logs") rules. The crumbling black walls on Shift's "Splinter You Into A Thousand Pieces And Scatter You To The Wind" goes for a more subtle sonic assault, transmitting ominous broken radio signals through a suffocating blizzard of nuclear fallout, and producing the compilation's most carcinogenic track. Lots of other, equally evil demonstrations of electronic terror abound: Poland's Brandkommando channels the frisson of open warfare into a squirming synth-throb, an unleashing of panzer-industrial nightmares, followed by Climax Denial's rumbling, whirring meltdown, much harsher than the other stuff I've heard from this project and sounding vaguely like something from C.C.C.C.

"Pour En Finir Avec Le Jugement De Dieu" is a solid chunk of hypnotic black static from Alo Girl, opening the second side in an avalanche of noise, and Graon Belt does a similar turn away from the domination of PE on the tape by dropping a colossal mountain of junk-noise and cut-up deathsqueal on top of you for more than five minutes. On "Toilet", Content Nullity appears in pitch black ambient mode before setting loose the heaviest fuckin' track here, a grinding, earth-chewing nightmare that's the one genuinely terrifying piece of "music" on III.

Some of the artists who I wasn't familiar with turn in some killer PE punishment. Diutesc's "Babylondon" starts off like your standard feedback-rant, but it quickly turns into something very different as a hypnotic looping rhythm takes over. A heavily distorted voice chants in a rhythmic cadence over top, and feedback and static is woven into a throbbing black mass; it reminds me of early 80s industrial like SPK and Throbbing Gristle. And Vidine Ramybe summons a blast of black volcanic fire on "Papinuke" that seeks to consume the earth. It's Disciplinia Urbana's black-gloved stalker "Face Humana" that made the biggest impression, taking a simple mesmerizing machine-throb and the grainy audio of a girl pleading in French and turning them into an arresting piece of sonic dread.

The tape comes in a xeroxed 12-page booklet with artwork from each artist, packaged in a clear zip-loc bag, and limited to just 97 hand-numbered copies.

Track Samples:
Sample : VARIOUS ARTISTS-Noise Propaganda Volume III
Sample : VARIOUS ARTISTS-Noise Propaganda Volume III
Sample : VARIOUS ARTISTS-Noise Propaganda Volume III
Sample : VARIOUS ARTISTS-Noise Propaganda Volume III

VARIOUS ARTISTS   Grave Command: All Hallowed Hymns   LP PICTURE DISC   (Unseen Forces)    14.98

Back in stock! This killer compilation assembled by the Unseen Forces crew is a mishmash of different artists, all connected presumably by their shared intoxication of cemetery fumes and morbid visions, and presented as an eye-popping picture disc package with amazing artwork from Brian Profilio. All of this stuff is previously unreleased and exclusive to this compilation save for one, and it's a wild mix of styles that ranges from bizarre Finnish black metal to creepy electronic synthscapery to ancient doomed psychedelia.

Ghoul's "Noapte De Fantome Vii In D Minor" is up first, and instead of the frenzied surf-rock-tinged thrash metal that you'd normally expect from these hooded mutants, they drop a slab of haunted house soundtrackery and ghoulish pipe organ creep, which is as good an intro to this comp as you could ask for. That leads into cult 80's Portland heavy metallers Xinr and their track "All Hallows Eve", a vintage hard rock anthem in the vein of their recent Lp with ripping classic metal riffage and those oddball yowling vocals, followed by the equally vintage-sounding "Demon's Eyes" from Cali psych-doom throwbacks Orchid, an eerily anthemic blast of 70's era proto-doom rock complete with gritty, soulful vocals that help give this stomper a nice, rough edge to it's haunting hook. The mood abruptly changes when "Insects Fled To The Core Of The Earth" kicks in from Finnish black metal/psych weirdoes Ride For Revenge, a filthy, blown-out black dirge that loops around in a mid-tempo lurch, hypnotic and hideous, like a Beherit jam reduced to a low-fi hypno-metal workout, the simple monotonous riffage super heavy and distorted, the vocals a vomitious inhuman growl, the song continuously slipping in an out of faster paced thrashiness and that lurching Neanderthal groove, eventually collapsing into a mass of weird noises and garbled electronic. The side finishes with Xander Harris's "The Piper Of Soggoth", a killer bit of classic analogue synth-creep in the vein of Umberto, mining that same sort of vintage Italian soundtrack synth a la Fabio Frizzi and Claudio Simonetti but transforming it into a weird sort of galloping horror-prog. I'm totally hooked after hearing this, and will definitely be picking up his other stuff on Not Not Fun...

The b-side starts off with "Black Incantations" by a band called Grave Violators; never heard of these guys prior to thuis, but their primitive blackened thrash is savage stuff, with a reckless, chaotic undercurrent that combines with the weird, garbled vocals and hellish guitar heroics for maximum sonic evil. Old-school death metallers Deceased counter with the crushing thrash of "Torn Apart By Werewolves", showcasing the band's potent combination of classic Maiden-esque hooks and rampaging death metal. Occultation, the surrealistic goth/doom side-project from members of Negative Plane, makes an appearance with the amazing "All Hallows Fire", haunting female singing and gothic minor-key melodies wrapped around doom-laden heaviness and vast billowing plumes of reverb, slipping into some faster paced blackened progginess later in the song; definitely one of my favorite entries in this compilation. German black/death metallers Venenum do a cover of Mighty Sphincter's "Waltz In Hell", transforming the bizarre gothic hardcore of the original into an equally weird sounding blast of discordant and deranged death metal, and it's wrapped up with "Grave Command (Main Theme)" by Portland psych heavies Danava, who whip out the synthesizers for another amazing foray into classic horror-prog soundtrack music, their throbbing backbeat and creepy keyboards invoking the likes of John Carpenter and Goblin as they bring the album to a ghastly close...

One of the coolest compilations I've picked up lately, issued in a full color jacket and limited to one thousand copies.

VARIOUS ARTISTS   Ives / Hot Graves / Nak'ay / Cellgraft   CASSETTE   (Primal Vomit)    5.99

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

VARIOUS ARTISTS   Epicurean Escapism III   CD + DVD   (The Epicurean)    26.98

VARIOUS ARTISTS   Anti-Social Hurt Yourself Jams From America's Unde   CDR   (Chaotic Noise)    9.98

CNP Records graces us with another boss collection of head-exploding noise-punk action radiating outward from SUPPRESSION's Richmond HQ. This disc features exquisite, exclusive jams from THE YES SIRS, HALLELUJAH!, INSOMNIACROBATS, SUPPRESSION, MR.SEAHORSE, THE AMOEBA MEN, MAN SPEAKING CHINESE, MATTRESS FOX as MR. ATOMATRON, SILVER NINJAS, LEPER COLONY, RECTAL PUS, P.C.P. ROADBLOCK and MUNGE LITE, ranging in attack from rippin' avant-garage snot, to slurred psychedelic punk, to freaked out prog slop, mutant techno, noisecore, and more, all baked in the glow of CNP's particular brand of anti-social punk nightmare. Personal faves/standouts include crunchy bass/drums thrash insanity from SUPPRESSION themselves, kult noise action from RECTAL PUS, and boozy No Wave bliss from The Yes Sirs and Hallelujah!. Delivered on a hand-scrawled CD-R in a glossy full color wallet sleeve.

VARIOUS ARTISTS   People Will Eat Anything   DVD-R   (Acerbic Noise Development)    5.98

Between 1999 and 2004, the tight-knit indie scene around Montgomery,Alabama began to grow into a viable community of noisy indie rock bands, building momentum but eventually burning out after five years. This two-hour DIY documentary chronicles the rise and fall of the tiny but energized Montgomery underground music scene throughout these five years, initially focusing on The Ed Kemper Trio, a kickass noise rock group whose growing popularity outside of Montgomery becomes a sort of flashpoint for the local scene, and then extends to the lives and music of other up and coming bands in the community. Made up of in depth conversations with a variety of band members and local kids, People Will Eat Anything is a sometimes awkward,occasionally depressing, but always entertaining and inspiring (and quite funny!) look at the fragility of a small rural underground music ecosystem that thrived on it's inherent diversity and eclecticism. Aside from The Ed Kemper Trio, the documentary features live performances from Hematovore, Saragashum,Spiders And Flies,and many others ranging from noise rock to brutal metal to junkyard noise percussion. Anyone that has ever come from a small indie/underground/punk music scene will immediately identify with this film and its universal glimpse of the rural indie microcosm. Professionally filmed and edited, and released on DVD-R in a handassembled double-disc case,the people behind the project put a lot of effort into making this and it definitely shows.Thoroughly entertaining. In addition, the DVD comes packaged with an "original soundtrack CD" chock full of music from bands featured in the film, along with other Montgomery/Central Alabama groups, including Hematovore,Ed Kemper Trio,Gezoleen, and Saragashum.

VARIOUS ARTISTS   Decide On Change   LP   (Mountain Collective)    5.00

Featuring some of the best hardcore bands from recent times, with exclusive tracks from STRAIGHT TO HELL, TOTALITAR, BALANCE OF TERROR, LAST SECURITY, DIALLO, SCHOLASTIC DETH, SELF DEFENSE, ESPERANZA, COCKROACH, SOMETHING IN THE WATER, MELEE, and VUUR, to support the NYC More Gardens Coalition. Contains extensive literature on the reclamation of public space in urban areas. Thought provoking stuff with a raging thrash / crustcore soundtrack to back it up.

VARIOUS ARTISTS   He's No Good To Me Dead   CD   (Game Two)    9.98


An essential gathering of the grimiest in US sludgecore. He's No Good To Me Dead features 74 minutes of exclusive tarpit metal from GRIEF,BONGZILLA, SOUR VEIN, NEGATIVE REACTION, and SUBSANITY! Band by band,you have: NEGATIVE REACTIONS, with three tunes, MMU Man, Cosmic Vertical Overlap, and Hurtling Through the Cosmos, all with an amped up SLEEP/SABBATH Vol. 4 cosmic doom vibe. GRIEF lay down plodding, feedback drenched extreme doomcrust. Actually, these songs are a bit more uptempo crustcore than most of their earlier stuff.You can hear the DISRUPT lineage here, but it's still straight suicidal doom sludge. SUBSANITY grind out a unique mix of crusty death metal riffs, doom tempos, and sludge style vocals.BONGZILLA contribute two live tracks, The sound quality is great and the performance is crushing. SOUR VEIN feature ex-members of BUZZOVEN,CAVE IN, and 13.Like a more rocking stripped down version of BUZZOVEN, huge slurred sludge riffs hammering at your skull. Essential for fans of sludgecore, doom, and crustcore.

VARIOUS ARTISTS   Locked Grooves   2 x 7"   (Little Mafia)    9.98

Very cool concept: Little Mafia's Locked Grooves double 7" set features 2 EPs of heavy drone/psych/improv that have been mastered to play backwards. Each track begins at the inside groove and plays outward, eventually ending in a locked groove at the lip of the record where it plays into eternity. Subarachnoid Space founder Mason Jones' cut offers up some beautiful guitar soundscapes and eletronic effects that coalesce into gorgeous drone fields...excellent stuff that Troum fans will love. Cock E.S.P.'s blistering "Cock VH1" is another blast of brutal improv-electronics demolition. Total freaking destruction. Ashtray Navigations drapes a thick, heavy curtain of melodic amplifier drone and lovely overtones, like a psych-folk Earth...our fave track on this release, very beautiful and heavy and LOUD, the locked groove at the end sending a distant bleating radar ping spiralling out into the abyss. And Fellaheen wraps the set up nicely with a loose blast of free-jazz/punk shred/improv entitled "Brotzmann", their tenor sax/electric bass/drums lineup scuttling up cliffsides and emitting roars of octopoidal noise. Released in a limited edition of 300 hand-numbered copies. The two EPs are wrapped in a cool silkscreened foldover sleeve that is held together by a metal bolt (easily openable, though).

VARIOUS ARTISTS   Obsolete View   CD   (Rectrix, The)    7.98


Three underground blackened ambient / corroded drone industrial acts on one full length cd. HOLLOWING bring a mind-melting sonic barrage, aggressive as

ever. Tribal electronic rhythms, paranoid sampling, and a sick and twisted world view. AERE AETERNUS gives us a serene and gripping neoclassical ambient

mixture, featuring two members of the Dark Sanctuary cult. And METANEMFROST unveils minimal twisting rhythmic structures flirting with the psychotic void of

uncertainty. First, Hollowing gives us 3 tracks of unsettling apocalyptic electronics. 'Call to Arms: Xowardice' has a martial feel, with threatening

percussion and militant vocal samples. The song starts rather bare and minimal, which is effective as an introduction. Towards the end of the song it gets a

bit stranger and more chaotic and nosiy. The next track is a 12-minute tranquil soundscape, with rumbling machinery and guitar ambience in the background.

After a few minutes some brooding horn sounds are introduces, followed by noisy rhythmic blasts. Halfway it really gets loud and aggressive. Towards the end

the song slows, and even incorporates some piano. Strange machines whirrr in the background. 'Convergence upon the Biopsychic' starts with some triumphant

straightforward drumming. Shrill noises and filthy voices are added to the mix, as well as gritty drones and buzz. A strange, short composition.Aere Aeternus

offer 4 tracks, filled with neo-classical ambience. Epic cinematic atmospheres abound on 'Of suicide, pain and old age', a track that is classical in nature,

yet infests itself with some difficult industrial elements and slightly bombastic drums. Awesome. 'Uselees, the obsolete view' is a track of VERY dark

ambient, ulta low subterranean thrum to make your speakers rumble.And 'I should have missed my birth' features some subtle acoustic guitar work and nice

atmospheric drones. Their last contribution is a long, experimental ambient track, with unsettling high tones piercing the drift. As the composition

progresses it gains in volume and fullness, developing more and more interesting layers of sound.Last but not least is Metanemfrost, aproject of Adhab Al-

Farhan, born in the Philippines, and also active in a few metal projects. 'Chtonian' starts with a dark orchestral intro, a la Puissance. But then the music

shifts to a spacious, atmospheric sound, filled with slow and repetive, powerful beats. Very nice. 'Black Flames' of Phlegethon' is more noisy and dense, but

with a beautiful classical outro. 'Empire Ablaze' nicely builds up the tension, with subtle changing rhythms and electronic sounds. 'Ancient Blood

Scriptures' is a ritual soundscape, which invokes obscure ceremonies, performed in deep hidden cellars. Finally 'The Black Vortex' reminds one of classic

power electronics, with very low, distorted beats crunching through the grit. All in all an exciting collection of three experimental electronics artists

that covers a variety of dark electronic styles. Comes packaged in a nice full color wallet. Another stellar release from THE RECTRIX.

VARIOUS ARTISTS   Showtunes Of The Condemned   CD   (Hospital Productions)    9.98

Another cool compilation from Hospital, this time gathering together anywhere from 1-4 songs each from SINKING BODY, PLEASUREHORSE, KITES, WORK/DEATH,

SMASHED FEMUR DANCE PARTY, and MEERK PUFFY. Lots and lots of terrific urban buzzsaw drone-noise, nuclear-wasteland techno, and danceable test tones ,often

driven by some mutant ultradistorted beat or pulse. Low-fi fuzz skitters across ambient soundscapes, gonzo sound collages rot before your ears, while other

tracks deliver pounding and terminally funky powernoise rhythms. Each artist has about 15 minutes of stuff on here, so you get a great big bag of primo

Providence,RI outsider-electronica and noise freakouts. Booklet includes a "short story of contemporary mythology" from Scott Wilson.

VARIOUS ARTISTS   Unlucky For Them   CASSETTE   (Borft)    7.98


A hour-long, hallucinogenic dose of industrial cassette culture and heavy drone dreams/midnight noise captured on this rare Borft-issued tape comp from 1992,

released here in a numbered edition of 75 copies. Just like the Most Unwanted LP comp we boosted from Borft, this anthology seeds your submerged

mind with exclusive trance-loop constructs from Mohr, Disumana Rez, Etat des stocks, DSIP, Alvars Orkester, Paul Kelday, A.B.O., PPP, Nux Vomica, New 7th

music, Smell & Quim, and Las cometras alegres, each artist fabricating droning, dreamlike soundscapes formed from carefully assembled sound collage, mellow

electronic urk, and drugged ambience. We jam this tape when we're driving 'round town late at night, a perfect soundtrack for a.m. asphalt silence. Comes

with a strangley parchment like jcard sleeve in plastic case.

VARIOUS ARTISTS   Does Time Affect Memory?   2 x CD   (Amanita)    5.00


Another killer mixtape from our fave French noise/hypno/post rock label Amanita, this time in the form of the sprawling double compact disc set Does Time Affect Memory, an expansive overview of avant rock and noise scene surrounding the Amanita/Trost/Trottel labels, circa 1998, which were (and still are, in the case of Amanita) spitting out some absolutely awesome underground experimental music. Most of this stuff is either exclusive to the compilation, or is totally out of print in their original form, making this comp the last place to grab these tracks. Some of our favorite tracks on here include the GODLIKE heavy post-rock/drone rock of FUEHLER with "Am Werk", a gorgeous life-affirming mix of Don Cab meets Mogwai meets Rhys Chatham/Glenn Branca/Band Of Susans sheets of sky-bursting guitar drone and motorik rock that makes our hearts leap everytime we hear it...one of our favorite songs from one of out favorite bands EVER...there's some killer Carl Stalling-gone-no wave jazz skronk from Ron Anderson, and wheezy boing-boing prog from The Molecules...the heartbreaking "Ballad Of The Panatonic" from Miss Murgatroid,an epic, beautiful elegy played on an accordion and upright bass, sounding both ancient and brilliantly modern...so incredibly beautiful. Finnish hypno rock legends CIRCLE drop "Argont", yet another killer drone/kraut jam with angelic dream synths and epic payoff. SPACEHEADS drift on magnificent Spanish horns and droning, shimmering ambient loops with "Those Stately Fools In Granite Ships". And theres tons of other great stuff on here too, like the no wave/Euro free jazz/improv skronk of Splatter Trio, RWA, Figurehead, Happy New Year, and Raeo, the sweet chamber pop/prog of Scrooge, utterly weird, witchy (and distinctly European) prog-folk from Shunatao and Pest, sci-fi noise murk from Phased 4, cool avant dub pop from Badgewearer, post punk-meets-avant pop from Zuno Men, Fin De Sciecle, Headbutt, and Trottel, nocturnal jet engine/streetlight/ping-pong psych-drone and trance loops of Nid, D.A.R.K.,TV Pow, and Climax Golden Twins, unclassifiable tribal clatter weirdness from Konic Thtr and Keuhkot, moaning glitchtronics from Gino Robair, and

VoodooMuzak's looping live-action drum n' bass/free jazz fueled post rock freakout. 27 bands, 131 minutes...an afternoons worth of quality Euro avant rock listening. Does Time Affect Memory comes in a gatefold cardboard sleeve that folds out to 4 panels, with eyeburning Bolino-designed artwork.

VARIOUS ARTISTS   Three Way Dance   CD   (Striving For Togetherness)    8.00

This three way split album was released by the shortlived but influential New York hardcore label Striving For Togetherness in 1998, and has been out of print ever since the label ended up closing it's doors a few years ago. There is a goofy pro-wrestling theme that runs through the entire disc, and lengthy, stoopid skits from an imaginary pro-wrestling event appear between each band's set of songs, announcing their arrival. The booklet even has a huge picture of the members of all three bands going totally ballistic in a massive tornado tag team that has decapitated heads flying amidst arterial spray, impending tack-action, and other ultraviolence. In reality, despite the bloodshed that's depicted in the album art, these bands were all buddies and toured together down the East Coast roughly around the same time that this came out, and they made up a weird multi-cultural hardcore roadshow that I caught when it came through Maryland. And on this disc, each of the bands offers five songs, including covers of each other's material and originals. Every one of these bands rip! I picked up the last copies of this split from a distributor that had some playing around because I thought that Romantic Gorilla and Six & Violence would particularly interest Crucial Blasters, each one delivering several tracks of their freaked out psychocore.

Romantic Gorilla from Japan are one of hardcore's best kept secrets. Or most overlooked thrashgods, I'm not sure which. Even though they released an AWESOME album on Sound Pollution, toured the US and were doing their thing at the height of the fastcore/thrash/grind explosion, I don't hear people talk about these cats in the same way that they do with, say, Spazz or Charles Bronson. But man, Romantic Gorilla rip! The music is superfast thrashy punk blasting off at near-grindcore speeds, a hypercharged mix of catchy riffs, machinegun thrash drumming, raging racing basslines, with weird stuff like goofy backup chanting and stabs at lounge jazz that don't quite make it thrown into the mix. Fast and ferocious and quirky, but it's the voice of singer Gori, the tiny girl that fronts Romantic Gorilla, that makes them sound totally fuckin' nuts. Her acrobatic screams swoop from weird growling to chirpy girl shouts and an awesome demonic screech that sounds alot like Pushead from Septic Death. Imagine taking Melt Banana's more straightforward hardcore thrash tunes, stripping away the sci-fi guitar noise and effects, and combining it with Septic Death, and that is sort of what bwe get with Romantic Gorilla. Their five songs on this disc are surreal and nonsensical and read alot like Melt Banana jams but even goofier, with titles like "Hamburger Hairdo" and "Kitty Revenge" and lyrics like "...Hello Kitty / Why do you revenge me? / Did you forget me? / Why do you return evil? " I love this band.

Six & Violence show up elsewhere on this weeks C-Blast new additions list, and I can't get enough of their wacky, double-drummer prog-polluted New York hardcore. The five songs that they contribute follow the same vibe as their album, heavy, thrashing hardcore punk meets metallic thrash, total crossover a la Ludichrist (with whom they've shared members) and later Agnostic Front (whom Six And Violence pay homage to here with a straightforward cover of "Victim In Pain"), but with two different drummers who play standing up and who synch up with these huge tandem beats that get kinda complicated, even whipping out some crazy polyrhythmic patterns when the band is thrashing away at top speed! Then there are the spacey guitar effects, retarded funk parts, and cribbed riffs from Rush and Metallica that are worked into their songs, the unexpected twists in song structure, there's way more cool stuff going on with Six & Violence than you would expect from a New York hardcore band, which they totally are, but they are the weirdest, silliest, most complex and percussion-heavy New York hardcore band ever!

And then there's No Redeeming Social Value, who open up the disc. Kind of like Murphys Law but even drunker, these guys are actually alot better than I remember them being. The music is hard and fast heavy punk with really goofy lyrics about skinheads and being kicked out of Italy and going to the laundromat, and they toss in bits of funk and jangly guitar rock and even full-blown grindcore into their wacky hardcore mix, which suggests that No Redeeming themselves were taking some pointers from Six & Violence. If you were ever into the heavier, later NYHC stuff, you'll love these guys.

We have a small quantity of this out of print warehouse find - these are the last copies we'll ever get.

Track Samples:
Sample : VARIOUS ARTISTS-Three Way Dance
Sample : VARIOUS ARTISTS-Three Way Dance
Sample : VARIOUS ARTISTS-Three Way Dance

VARIOUS ARTISTS   Erase Yer Head #9   7" VINYL   (Pandemomium)    4.98

For fans of fucked up noise rock and avant-garde hardcore, the Erase Your Head 7" single club from the French label Pandemonium was like manna from heaven. Each installment of this long running series would feature anywhere from two to four bands on each record, and the ten 7"s that the club produced read like a who's who of late '90's spazz/noise rock genius: Zeni Geva, Cows, Headcleaner, Samiam, Guapo, Unsane, Ruins, Alboth!, Molecules, Headbutt, and Kepone were all featured on different records in the series. These singles are all long, long gone, but in my eternal quest for lost treasures from the freakcore underground, I've managed to obtain a lost stash of the 9th and final installment in the Erase Yer Head club from 1999, which features tracks from Melt Banana, God Is My Copilot, Tear Of A Doll, and Camp Blackfoot. The unifying thread on this final installment was that all four of the bands featured female vocalists, and the lineup delivers an amazing array of ferociously feminine avant-thrash: Melt Banana's "Crack Up To Planet Q" is

a scratchy no-wavey dance/thrash pop jam from the Charlie era that, amazingly, wasn't included on their singles collection 13 Hedgehogs, making this the only place you can get this song! Camp Blackfoot were an obscure US band that took an experimental approach to fast paced hardcore, and their "It was too bad for Marie Antoinette, and now it's gonna be too bad for you" combines thrashing American hardcore temposa la early Black Flag, chiming post-rock guitars, electronic noises and loops, and is fronted by the chirpy, almost rap-style cheerleader taunts of singer Sara Rogers, making them an absolutely perfect match for Melt Banana's side of the split.

On the flip side, the experimental French punk band Tear Of A Doll contributes a bizarre collage of distorted heavy riffing, swirling electronic noise, spoken word and sampled voices, industrial rhythms, and other sonic flotsam. And legendary NYC band God Is My Copilot deliver "On Death", a spazzy, catchy blast of experimental noise rock, hardcore energy, and epileptic jazz punk skronk with heavily damaged guitars, bleating sax, and nursery-rhyme style lyrics.

The record is on marble-grey colored vinyl, and comes in a full color, three panel gatefold sleeve filled with liner notes and information on the other singles in the series. And again, these tracks are all exclusive to this 7", including the Melt Banana song!

VARIOUS ARTISTS   Asymmetry   CD   (Total Rust)    11.98

Here's a quality compilation of current doom metal bands that presents a nicely varied assortment of slow motion heaviness from around the world, with the overall vibe leaning more towards the gloomier end of the spectrum, all curated by the folks at Total Rust, and released in a limited edition of 750 copies and accompanied by quality graphic design. The comp is packed with 74 minutes of doom, beginning with the dreamy Gothic doom of Italy's Lux Incerta, whose gorgeous double-bass driven metal is fronted by dramatic lyrics sung in both French and English and rocks some amazing melodic hooks. Denmark's Whelm follows with a nearly 11 minute dose of bleak dronedoom with gutteral roars switching off with hoarse screams, eerie keyboard textures swirling over the monolithic riff. Remembrance follows with an alternate version of "Beyond The Waters", a melancholic doom epic laced with slow, mournful piano melodies, far-off screams, and ghostly whispers that flit in and out of hearing, like My Dying Bride stripped down into pure lumbering atmosphere. So beautiful. On the other hand, the Dutch band Mary Bell, who have a new CD reviewed elsewhere in this week's store list, drop their diseased dirge "Armageddon Jam" with a feedback-soaked junkie vibe and a vocalist spitting up blood and drug-induced hallucinations. Asofy from Italy present one of most intriguing tracks on the album, "Luce", which combines haunting singing and gasping croaks with strange, dissonant chords and clean guitars, kind of like a doomy, spacey and atonal Codeine with ghoulish black metal vocals. Very cool, and definitely a band that I'm going to be looking out for. Isreali doomsters The Knell already punished us with their last album on Total Rust, and here they kick out a new exclusive jam called "Into Shattered" that delivers more of their weird death-doom that's laced with jazzy clean breaks that erupt back into the sludgy heaviness, and which blasts into full blown reverb-drenched death metal towards the end. Chilean psych/prog/doom alchemists Mar De Grises do their awesome theme song that also appears on their Firedoom full length, an epic blast of synth-heavy cosmic prog moving in low gear. Saturnus from Denmark start off as gothy, metallic hard rock with epic dual guitar leads and goofy metalcore vocals, and don't shift into the doomier slow parts until later in the song. Wreck Of Hesperus show up with the nearly 10 minute long vomit blast of "Utter Rot", all raw, rotten scumdoom with some of the most fucked up death metal vocals ever. I was already a big WOH fan before I picked up this comp, and the inclusion of this exclusive jam from them makes this a must get for me just by itself. And finally Abysmal Darkening from the Netherlands close Asymmetry out with the suicidal anthem "End It", all mid-paced blackened death doom with insane sounding babbling vocals that really do sound like this guy is about to open a vein.

All in all, a solid compilation with a specific focus on what was happening in the bleakest, most depressing corners of the doom metal underground circa 2006, packaged with a thick booklet that gives each band their own page for photos, liner notes and band info. Some of the tracks have previously been released, but the tracks from Asofy, The Knell, Remembrance and Wreck Of Hesperus are all exclusive to this compilation.

Track Samples:
Sample : VARIOUS ARTISTS-Asymmetry
Sample : VARIOUS ARTISTS-Asymmetry
Sample : VARIOUS ARTISTS-Asymmetry

VARIOUS ARTISTS   Merzbow - Frog - Remixed And Revisited   2 x CD   (Misanthropic Agenda)    14.98

This mammoth remix release pulls out all of the stops: it's presented in a two-disc edition with an incredible lineup, with Boris, When, Ulver, Fennesz, Sunn O))), Hrvatski, Pita, House Of Low Culture, Tim Hecker, Russell Haswell, John Wiese, Terror Organ, Gerrit, Never Presence Forever, and even Merzbow himself all reconfiguring elements of the excellent Frog album (which we also just now got in stock and is reviewed elsewhere in this weeks update). All of the remixes on here are pretty rad, and my favorite tracks include the epic 20-minute long "Froggie Bee-Baa" from Boris with it's oceanic waves of rumbling guitar drones surging over layers of shortwave noise, the pastoral noise-bliss of both Tim Hecker's "Cloned Frog Language" and Fennesz's "Frog Remix", the beautiful dronescape of distant groaning guitars of Sunn O)))'s "Catch 22(Surrender Or Die)", and Ulver's minimalist horror movie score conjured from cut up slices of Merzbow noise and disorientating minor key melody. This is an excellent companion piece to Merzbow's Frog, which in my opinion is one of the best post-analogue releases from Masami Akita, but Frog - Remixed And Revisited just as easily stands on it's own as a high-quality collection of big names in the avant-heavy underground scrawling their own manifestos with the spewings of the master of Japanese noise. Comes in a beautiful glossy foldout package covered in awesome psychedelic artwork by Aaron Turner from Hydra Head/Isis.

VARIOUS ARTISTS   The End Of The Fear Of God   CD   (Tochnit Aleph)    19.98

Released in 2004 and finally available again from the Isreali noise label Tochnit Aleph, The End Of The Fear Of God is both a tribute to and appropriation of the groundbreaking extreme hardcore/grind that Swiss blastlords Fear Of God unleashed at the twilight of the 1980's. While they only released a single album and a couple of 7"s, Fear Of God were just as influential on the formation of extreme metal and grindcore as Napalm Death, pushing hyperfast hardcore into previously uncharted realms of noise and speed. This 70 minute compilation features a staggering lineup of artists all paying homage to Fear Of God by either taking their music as source material and reshaping/remixing/deforming it into new, mutant strains of experimental carnage, or by covering classic Fear Of God songs but reinterpreting them in unique ways. I couldn't believe the list of artists on here when I first got this: Mike Patton of Mr Bungle/Faith No More/Fantomas fame, Sudden Infant, RLW., N.O.G., Kid 606, DJ Smallcock, Jim O'Rourke, a Dropdead/Outosushi collaboration, Swiss turntable dronologist Strotter Inst., Gorebitch, Japanese noisegrinders Unholy Grave, Kevin Drumm, Pita, Machine Gun TV, Eric Boros & Jason Flowers, Voice Crack, Evil Moisture, Eye Yamatsuka (Boredoms/Hanatarash), Hecker, K2, Merzbow, NorbertM Slang, Rudolf Eber, Soviet Subliminal Seduction, Suntour, Andrew Phillips, Schurer, Idealist, Randy Yau, Bela Kiss, Killer Nuts, Massaccesi, Dylan Nyoukis, Kure Kure Takura, Stress, Imperative, Jason Kahn, Glands Of External Secretion, Shoji Goto, Runzelstirn & Gurgelstock, The Haters, RUssell Haswell, Zbigniew Karkowski...whew! And that's not even all of them. In keeping with Fear Of God's aesthetic of packing in a maxmimum level of aggression and sonic power into as small and compact a space as possible, these remixes/covers are pretty short, and some are only a few seconds long. There's plenty of aural extremism to sink your teeth into here though, and the disc is packed with blastbeat-ridden explosions of horrific power electronics, weird pop/grind/loop collages, feedback-damaged grind abstractions, shapeless smears of caustic junknoise, Fear Of God riffs pulled apart into droning industrial heaviness, and way-out electronic alchemy that renders the band's source material totally unidentifiable. The compilation was assembled by Dave Phillips from Fear Of God, and includes a 12 page booklet that has a strange short story written by G.X. Jupitter-Larsen from The Haters. Limited to 1000 copies.

Track Samples:
Sample : VARIOUS ARTISTS-The End Of The Fear Of God
Sample : VARIOUS ARTISTS-The End Of The Fear Of God
Sample : VARIOUS ARTISTS-The End Of The Fear Of God

VARIOUS ARTISTS   Those Who Dwell Beyond   CD   (Black Mass)    11.98

Black Mass curates this three-band compilation that features a mix of dark heavy sounds, from nightmarish orchestral ambient doom to blackened psychedelic kosmiche music to grim atmospheric gloompop drift, and all of it is great. I've already been digging the band Like Drone Razors Through Flesh Sphere that opens this disc, after picking up their excellent collaboration with avant-guitarist Miguel Prado, but the other two bands that appear on Those Who Dwell Beyond are new to my ears.

The mysterious blackdrone entity Like Drone Razors Through Flesh Sphere opens the album with a thirty-two minute epic called "I Invoke", an intensely ominous black dronescape that moves between massive stygian rhythmic throb and slabs of thunderous ambient doom that sounds like an ultra-heavy blackened version of Scorn, with massive bass drops rumbling way off in the distance, surges of crushing blackened doom riffage, crawling sheets of black drift, distant choral singing that sounds lost in the depths of an infernal pit, high pitched sine waves, and the slow groaning wail of cellos drifting through the darkness and gradually joined by violins and horns that sound slightly warped and out of tune. This sprawling dronescape mixes together abstract chamber music sounds and crushing blackdrone, laced with strains of folk melody that float and tumbling in slow motion into the sulphurous abyss, ground beneath the pounding force of slow, throbbing rhythmic bass, eerie strings and horns bent and deformed, like an Arvo Part performance slowed to a crawl and spun backwards. But about twelve minutes in, actual drums materialize, pounding out a super slow spacious beat, sort of Swans-like, an angular juddering rhythm that lasts for a minute before all of a sudden the earth cracks open, and the sound is transformed without warning into a savage tempest of ultra-distorted blacknoise and insanely pitchshifted vocals, the music now unbelievably harsh and oppressive, like hearing a deathdoom band slowed down to an insanely slow tempo and with the distortion pushed into speaker-shredding levels of noize. Eventually, this blacknoize holocaust dissipates, and we're returned to the swirling black miasma from earlier, an infinite expanse of subterranean catacomb drone, the strings and horns now replaced by an ever present distorted rumbling and strange noises, voices muttering in Latin, clanking chains, weird backwards effects, rattling percussive sounds, and in the last few minutes of the track, a single distorted demonic voice appears, intoning a strange ritual spell as massive kettle drums thunder in the distance. What a trip. It has a

similar fearsome hallucinatory vibe as Revorvorum Ib Malacht, but much more abstract and shapeless.

Gate To Void follow that with three tracks of superb wrist-slashing/pill-devouring black ambience. The first, "LIfeless (A Journey Towards The Inner Death)" mixes clean guitar and orchestral synths in the beginning, then shifts into a formless mass of fx and percussive chimes and rumbling drones, moving back and forth between keyboards and strings and thick waves of dense fx-soaked electronics and the sound of a crackling bonfire. The cover of Xasthur's "Forgotten Depths Of Nowhere" is rendered as a solemn synth piece, like Tangerine Dream drowning in suicidal melancholy, the music reshaped into incredibly sad and somber washes of analogue synthesizer drone, with delicate piano and choking sobs appearing later in the track, sending it even deeper into depths of abject misery and loss. And "Dreams Of Cosmic Failure" is a collaborative effort between Gate To Void and Like Drone Razors Through Flesh Sphere, twelve minutes of pitch black drone filled with rumbling distorted synth, airy keyboard drift, metallic reverberations, streaks of shimmery feedback, echoing pulses decaying into the shadows, a great Lustmordian vastness with vague shapes of doom-metal guitar wavering in the far horizon. Fans of Vinterriket, you should especially investigate this band.

And Æon Nought closes the disc with two long tracks of gorgeously ghoulish ambience. The first track "Mined Fades Away" blends a depressingly morose guitar melody with tinny, gong-like percussion, high pained shrieks, softly whispered female vocals, and hypnotic electronic drones, a strangely romantic and melodic black ambience covered in a fuzzy low-fi haze, almost poppy in a gloomy, weepy, 4AD sort of way, especially when the piano comes in towards the end playing a beautiful melancholy melody. The other track "Monolith/Prelude to the Previous Universe" is heavier on the drone and whir, a mostly Lustmordian expanse of black ambience colored by sorrowful piano at the end.

Nice packaging that consists of a six-panel foldout sleeve with creepy high-contrast black and white artwork, with the disc attached to the jacket by a foam hub.

Track Samples:
Sample : VARIOUS ARTISTS-Those Who Dwell Beyond
Sample : VARIOUS ARTISTS-Those Who Dwell Beyond
Sample : VARIOUS ARTISTS-Those Who Dwell Beyond

VARIOUS ARTISTS   Black On Black: A Tribute To Black Flag   LP   (Initial)    6.98


Just dug up a few more copies of this out of print comp...

Black Flag are pretty much unfuckwithable. Sure, you've got plenty of people who are dismissive of certain eras of the 'Flag, but I don't know if I've ever met anyone that is into hardcore or metal that doesn't like Black Flag to some degree. They were so influential, not just on an entire generation of bands, but also in kickstarting what we now think of as the DIY hardcore ethic. Black Flag were crucial. So a tribute album to the 'Flag was a risky project, even though it was also inevitable. Who really wants to shell out for covers of one of the greatest hardcore bands ever being performed by lame-o bands that don't hold a candle to the originals? Why not just listen to the original records? For the Black On Black series of 7"s that was curated by Initial Records in 2003, the label was smart and picked a knockout lineup of bands to be involved, with some of the most important names in modern hardcore included here, each doing their own interpretation of Black Flag originals: American Nothing, Anodyne, Burnt By The Sun, Coalesce, Converge, The Dillenger Escape Plan, Hope Conspiracy, Planes Mistaken For Stars, and Playing Enemy all out in solid covers. A bunch of these bands were already rooted in brutal, Am Rep influenced noise rock (Anodyne, Coalesce, Playing Enemy), so hearing them take on gnarly Flag classics like "Six Pack" and "Life Of Pain" makes for some heavy shit. The most off the wall version comes from Dillenger Escape Plan, who turn "Damaged II" into a crazed noise punk freakout that ends as a weird free-noise dirge/drum n' bass bugout, but my favorite version on here is Converge's take on "Annihilate The Weak", the most vicious, annihilating track on the record, a sickening, feedback-infested Slayerized mutation on the original. Initial shut its doors about two years ago but we found some of the vinyl version of this compilation floating around. The ones that we picked up are on grey marble vinyl and were pressed in an edition of 2,500 copies, and the record is packaged in a simple clear plastic sleeve with a two-sided insert card. Limited quantities!

VARIOUS ARTISTS   The Show That Ends The World   10" + DVD   (A389 Records)    25.98


This show may not have truly caused the end of the world, but the bands that played certainly gave their best effort to ring it's death knell. I myself was in attendance at this amazing show; I say "amazing", because it gathered together some of the top names in what was once called the "Holy Terror" circle, a loosely-knit cadre of bands that had come out of the underground hardcore and metal scenes and were connected through their apocalyptic worldview, brutal anti-social attitude, and proclivities towards the occult. I never thought that I would have the chance to see the likes of Gehenna, Ringworm, and Integrity all in the same room together in downtown Baltimore, but there we were on January 22nd, 2010, crammed into the club room at Sonar, watching three of the most vicious bands to come out of the 1990s laying waste to the crowd with zero mercy.

A year later, A389 Records revealed that they had recorded this same show and were releasing select performances from all of the bands on a compilation record that would also come with a Dvd of live footage. This extremely limited vinyl/dvd/digital package put together by Dom at A389 is a beautiful thing, packaged inside of a full color sleeve that reproduces the awesome satanic Manson artwork from the limited edition poster for the show, and includes a black and white xeroxed booklet and a download code for a digital copy of the album. The 10" features one song each from the bands that played, starting with the grueling, bloozy, frothing-at-the-mouth Southern-tinged sludge metal of Gray Ghost and the galloping, sludgy force of "Seraphim", then into the feast of Holy Terror violence that goes from Baltimore's frantic thrashers Pulling Teeth. The drug-fuelled terror of the legendary Gehenna (who stole the show that evening with a truly fearsome performance that sent most in attendance scrambling for the back of the room) is a highlight, followed by Ringworm's crushing occult blackthrash/hardcore hybrid and Integrity's earth-shaking closing set. I wish that we could have gotten a complete Dvd of this show (especially of the Gehenna set, which felt more like street warfare than a hardcore band playing on stage), but as far as live show documents go, this record/dvd set is fucking terrific.

The DVD portion of this package is well-put together, with a simple menu that allows you to access live footage of each of the songs that are presented in the 10" (or watch them in consecutive order). Like the record, the sound quality is taken from the soundboard and is very good, and the camera angle is right on top of the bands and stage to capture the maximum amount of mayhem. Limited to just two hundred copies.

VARIOUS ARTISTS   Old Ways, Once More   CASSETTE   (Legion Blotan)    6.50

I'm a big fan of cassette compilations. Even moreso when it's a compilation of strange, highly abreasive black metal scum. Legion Blotan services a very specific audience, one that's got a craving for mutated, noisy, incredibly fucked-up music coming from a strange small corner of the European black metal underground, so this stuff is not for everyone. Seriously. You've got to be a real goblin to dig this compilation of exclusive no-fi black metal and barbaric black noise from the Legion Blotan, where all of the bands utilize archaic recording techniques and delivberately achieve the cruddiest, dirtiest recording quality they can, each band puking up their own unique, abrasive, ugly brand of black metal. Me? I've listened to Od Ways Once More at least a half dozen times this week. This tape fuckin' blisters.

Legion Blotan's flagship band White Medal (featuring label boss and Mutant Ape noise-terrorist George Proctor) opens the compilation with a crushing low-fi blackdoom assault titled "Northumbrian Tyrants", draping regal fuzz-soaked riffs over stomping Celtic Frost-esque sludge and bathing the whole song in a black cloud of four-track murkiness that becomes a cyclone of black chaos at the end. Punishing, as always. Axnaar follow with four songs of their peculiar brand of grotty psychedelic no-fi necropunk, the recording so filthy and blown-out that everything sort of blurs together in a rumbling mess of echoing panther screams and garbled backwards snarling, simple repetitive two-chord riffs drenched in delay, crackling noise, sudden blasts of bizarre effects erupting through the din, and pounding hardcore-style drums buried deep beneath several feet of grave-soil. Absolutely fucked - I love this stuff. Never heard Dumhammer Nat before this, but the two songs that they contribute are pretty killer, primitive blackened metal with throaty guittural vocals that have a distinct Brit accent and more catchy Frostian riff, offering up some of the catchiest songs on the tape. I can't wait to hear more from this band. The tinniest recording comes from the mysterious Wóddréa Mylenstede, who offer two untitled songs of fast, majestic melodic black metal that sound so brittle, it's as is you are hearing some obscure second-wave Norwegian black metal demo that was recorded andplayed back on an ancient phonograph cylinder. The side closes with the song "Holtwudu" from black abstractionists Satanhartalt, a dismal, intoxicating bit of improvised graveyard ambience with rotted piano notes that wander among shambolic percussion, murky atonal guitar and droning bass, eventually becoming a lumbering mass of ghastly doom haunted by strange knocking noises, muted horn blasts, and swirling clouds of dank, toxic corpse-gas, further evolving into long stretches of rumbling, muddy industrial noise, creepy whistling, and churning black ambience...fans of Aderlating should check out this band pronto.

Sump are another key band on the Legion Blotan roster, and the five songs that they have contributed to Old Ways are primo blackened hardcore, which these guys do better than almost anyone. Songs like "Wood Mill / Lady Of The Lake" rip at near thrash speeds, more of metallic bite to the riffing than usual even as some of the songs have these anthemic hooks that sound almost "poppy", while the drumming is the standard barbaric HC stomp that infests all of their music. Nobody does the Negative Approach-gone-black metal sound like Sump, and all of these tracks are fucking vicious. Nothing, however, rivals the band Balisong when it comes to absolute no-fi putresence. Their three untitled tracks are the nastiest recordings on the entire tape, so raw and noisy that it sounds like you're listening to a live micro-cassette recoridng of a blackened punk band jamming two rooms away while someone is operating a very loud rock tumbler right next to the microphone. It's obnoxious and abrasive and very, very ugly, and with all of the bizarre vocal effects, warping tape noise, crashing cymbals and busted-speaker static, the result is a beautifully damaged blast of violent septic slime. Last is Vanyar, whose rather classic black metal timewarps me back to the early 90s with the icy, magesterial guitars and visions of noctural Nordic-influenced grandeur that are channeled through long, sprawling songs dripping with atmosphere; they've got two songs here, and I was left lusting for more as soon as the tape came to an end.

Note: this is the "unmarked: version of the cassette without the on-shell printing. Packaged inside of a PVC bag with a sixteen-page booklet that includes one page of lyrics, liner notes, and artwork from each of the bands.

Track Samples:
Sample : VARIOUS ARTISTS-Old Ways, Once More
Sample : VARIOUS ARTISTS-Old Ways, Once More

VARIOUS ARTISTS   Noise And Junk Omnibus   CDR   (RRRecords)    5.98

Long out of print, this 1991 compilation from RRRecords has recently been re-issued on Cd-r by the label, although it unfortunately does not include a reprint of the RRReport Japan magazine that came with the original release. I'd kill to get my hands on a copy of that zine. On it's own, though, this disc still offers a cool mix of extreme Japanese sonic warfare from the early 90's, with material from some legendary artists like The Gerogerigegege, Incapacitants, and Dissecting Table, wrapped up and presented in that signature style of Xeroxed collage-sleeve that RRRecords does.

The disc starts with a super short track of free improv squeal from the duo of Junji Hirose and Yoshihide Otomo that sounds like a extreme free jazz outfit jamming on some Japanese folk melodies for a minute, then goes into "The Ritual Mask" from Vasilisk, a creepy, shadowy bit of freak-folk twang and drone that has a Sun City Girls/Pearls Before Swine feel to it. There's a killer song from Dissecting Table called "Transfer The Object By The Spirit" that mixes together monstrous vocals, weird cybernetic electronics, pounding drums and clanking piano into a very strange and disturbing noise rock jam that is very different from what I'm used to hearing from this project, especially towards the end when the horror-movie string sections come in and the song transforms into this nightmarish future-prog workout, almost sounding like a blackened. industrialized Univers Zero. Another short interlude of murky samples and noise abuse comes via the Emil Beaulieau side-project Needles and their track "Including Eye Injection", a re-working of some Hanatarash material.

That's followed by a nearly seven-minute blast of repulsive masturbatory groaning and extreme noisecore/junk noise violence from the mighty Gerogerigegege titled "Violence Onanie" - while Gero frontman Juntaro Yamanouchi faps away mercilessly, avalanches of rusted metal crash down from above while bugle calls and terrifying air raid sirens howl across the horizon.

Violent Onsen Geisha's "Hey Bo Didley!" is a feedback-damaged rockabilly loop repeated ad nauseum beneath ultra-distorted vocal noises and screaming, and Keiich Inoue (one of the more obscure artists featured here) presents a ear-wrecking piece of extreme feedback and noise called "Your Mothers Cunt". "Ecologist" from Takell-Kizimecca is another extreme noise track, a swarming mass of squealing feedback and harsh glitch that splices in distressed chunks of traditional Japanese folk singing, and Japanese noise gods Incapacitants unleash one of the compilations most bruising noise assaults on "Live At 20,000", another long (seven-plus) minutes exercise in brutal feedback/junk noise/amplified chaos that sounds like it was recorded live in a machine shop where every object in the room is beaten and bashed simultaneously.

Solmania's "Drive Time" is one of my favorite tracks on Omnibus, with its squalls of ultra-distorted guitar howl erupting in cloudbursts across the pounding tribal drumming and murky feedback. It's really low fi, with a sound like it was recorded in a basement on an overdriven 4-track, but it’s crushing and skull-scraping all at once.

KK Null's "Infinity" is a hypnotic cluster of phased distortion and melodious droning guitar notes swirling together in a nebulous cloud of warped sound, and Hideaki Shimada's Agencement project contributes a track of his amplified violin-based noise sculpture called "Maceration" that will appeal to fans of the more ambient-type stuff that you might hear from Aube or The Haters, a chiming, clinking waterfall of tiny metal pieces crashing and swirling over each other endlessly.

The disc finishes with the return of the Hirose-Otomo Duo, who end the album with a longer improvisation that blends together creepy bass pulsations, Japanese folk singing, fragments of ancient dust-covered swingtime 78 records, field recordings, and swathes of ghostly ambience.

There's an hour of extreme skull-abuse here, much of which isn't found anywhere else.

Track Samples:
Sample : VARIOUS ARTISTS-Noise And Junk Omnibus
Sample : VARIOUS ARTISTS-Noise And Junk Omnibus
Sample : VARIOUS ARTISTS-Noise And Junk Omnibus
Sample : VARIOUS ARTISTS-Noise And Junk Omnibus

VARIOUS ARTISTS   Schatten Aus Der...Bethlehem: A Tribute To Dictius Te Necare   CD   (Ostra Records)    12.98

Track Samples:
Sample : VARIOUS ARTISTS-Schatten Aus Der...Bethlehem: A Tribute To Dictius Te Necare
Sample : VARIOUS ARTISTS-Schatten Aus Der...Bethlehem: A Tribute To Dictius Te Necare
Sample : VARIOUS ARTISTS-Schatten Aus Der...Bethlehem: A Tribute To Dictius Te Necare
Sample : VARIOUS ARTISTS-Schatten Aus Der...Bethlehem: A Tribute To Dictius Te Necare

VARIOUS ARTISTS   Those Who Dwell Beyond (JEWEL CASE VERSION)   CD   (Black Mass)    11.98

Just got the more recent version of this killer death-ambient/black industrial three-way that comes in jewel-case packaging.

Black Mass curates this three-band compilation that features a mix of dark heavy sounds, from nightmarish orchestral ambient doom to blackened psychedelic kosmiche music to grim atmospheric gloompop drift, and all of it is great. I've already been digging the band Like Drone Razors Through Flesh Sphere that opens this disc, after picking up their excellent collaboration with avant-guitarist Miguel Prado, but the other two bands that appear on Those Who Dwell Beyond are new to my ears.

The mysterious blackdrone entity Like Drone Razors Through Flesh Sphere opens the album with a thirty-two minute epic called "I Invoke", an intensely ominous black dronescape that moves between massive stygian rhythmic throb and slabs of thunderous ambient doom that sounds like an ultra-heavy blackened version of Scorn, with massive bass drops rumbling way off in the distance, surges of crushing blackened doom riffage, crawling sheets of black drift, distant choral singing that sounds lost in the depths of an infernal pit, high pitched sine waves, and the slow groaning wail of cellos drifting through the darkness and gradually joined by violins and horns that sound slightly warped and out of tune. This sprawling dronescape mixes together abstract chamber music sounds and crushing blackdrone, laced with strains of folk melody that float and tumbling in slow motion into the sulphurous abyss, ground beneath the pounding force of slow, throbbing rhythmic bass, eerie strings and horns bent and deformed, like an Arvo Part performance slowed to a crawl and spun backwards. But about twelve minutes in, actual drums materialize, pounding out a super slow spacious beat, sort of Swans-like, an angular juddering rhythm that lasts for a minute before all of a sudden the earth cracks open, and the sound is transformed without warning into a savage tempest of ultra-distorted blacknoise and insanely pitchshifted vocals, the music now unbelievably harsh and oppressive, like hearing a deathdoom band slowed down to an insanely slow tempo and with the distortion pushed into speaker-shredding levels of noize. Eventually, this blacknoize holocaust dissipates, and we're returned to the swirling black miasma from earlier, an infinite expanse of subterranean catacomb drone, the strings and horns now replaced by an ever present distorted rumbling and strange noises, voices muttering in Latin, clanking chains, weird backwards effects, rattling percussive sounds, and in the last few minutes of the track, a single distorted demonic voice appears, intoning a strange ritual spell as massive kettle drums thunder in the distance. What a trip. It has a

similar fearsome hallucinatory vibe as Revorvorum Ib Malacht, but much more abstract and shapeless.

Gate To Void follow that with three tracks of superb wrist-slashing/pill-devouring black ambience. The first, "LIfeless (A Journey Towards The Inner Death)" mixes clean guitar and orchestral synths in the beginning, then shifts into a formless mass of fx and percussive chimes and rumbling drones, moving back and forth between keyboards and strings and thick waves of dense fx-soaked electronics and the sound of a crackling bonfire. The cover of Xasthur's "Forgotten Depths Of Nowhere" is rendered as a solemn synth piece, like Tangerine Dream drowning in suicidal melancholy, the music reshaped into incredibly sad and somber washes of analogue synthesizer drone, with delicate piano and choking sobs appearing later in the track, sending it even deeper into depths of abject misery and loss. And "Dreams Of Cosmic Failure" is a collaborative effort between Gate To Void and Like Drone Razors Through Flesh Sphere, twelve minutes of pitch black drone filled with rumbling distorted synth, airy keyboard drift, metallic reverberations, streaks of shimmery feedback, echoing pulses decaying into the shadows, a great Lustmordian vastness with vague shapes of doom-metal guitar wavering in the far horizon. Fans of Vinterriket, you should especially investigate this band.

And Æon Nought closes the disc with two long tracks of gorgeously ghoulish ambience. The first track "Mined Fades Away" blends a depressingly morose guitar melody with tinny, gong-like percussion, high pained shrieks, softly whispered female vocals, and hypnotic electronic drones, a strangely romantic and melodic black ambience covered in a fuzzy low-fi haze, almost poppy in a gloomy, weepy, 4AD sort of way, especially when the piano comes in towards the end playing a beautiful melancholy melody. The other track "Monolith/Prelude to the Previous Universe" is heavier on the drone and whir, a mostly Lustmordian expanse of black ambience colored by sorrowful piano at the end.

Track Samples:

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

    One of the premier collections of horror-related library music that surfaced in the past decade. And it took forever for me to finally get this thing in stock, as it apparently went out of print for a period of time. It seems that this killer disc was just recently repressed though, another crucial vintage horror score that we nabbed from UK label Trunk (who also brought us that amazing Psychomania soundtrack that also just got repressed and featured on this week's list): Unreleased Soundtrack Music From George A. Romero's Dawn Of The Dead is a comprehensive collection of music that makes up the other score to Romero's iconic 1978 splatter-epic, which is universally considered to be one of the greatest films of apocalyptic zombie carnage ever made.

    When most folks think of the music for Dawn Of The Dead, it's the pounding prog-funk score that Italy's Goblin produced for the film that we tend to think of first. But just as synonymous with the film as Goblin's action-funk is the track "The Gonk", that weird piece of marching music that is featured over some of the film's key sequences, and which any fan of the film would recognize immediately. That and other tracks on the film's score were pieces of incidental stock library music that came from the highly regarded British production music company Music De Wolfe, but amazingly this music had never been collected together in one place until Trunk put this together a few years ago. While it's not entirely complete (there are a few incidental stock music tracks that were so short, a few seconds if that, that their inclusion on the disc didn't make much sense), all of the significant library music that appeared in the film is gathered here, and if you're the sort who has worn out your old Thorn/Emi copy of Dawn of The Dead from countless late-night re-watches, this disc is a goddamn nostalgia bomb: the iconic "Gonk" from British composer Herbert Chappell opens the collection, of course, and is followed by everything from the chillingly beautiful orchestral ambience of Paul Lemel's "Cosmogony Part 1" and Even De Tissot's dread-filled "Sinestre" to the country-fried pop of "Cause I'm A Man", performed by De Wolfe house band The Electric Banana's (which was in fact the stock music instrumental alter-ego of legendary UK garage rockers The Pretty Things).

    Some of this stuff is wonderfully eerie, like the mix of morbid drones, jazzy keys and icy horror electronics that appear on Simon Park's tracks, and Jack Trombey (aka Jan Stoeckart)'s brilliant jazz-tinged orchestral pieces likewise stand out in this collection, oozing a mix of gothic atmosphere and action-oriented energy. Brief cues from British Moog pioneer Derek Scott appear alongside the delicate beauty of French composer Pierre Arvay's minimalist modern classical piece "Desert De Glace", and "Dank Earth" from Don Harper (which is unfortunately listed incorrectly as "Dark Earth" and attributed to Trombey) remains another highlight with its unsettling mix of metallic dissonance, booming tympani and nightmarish organ music. It's a fantastic collection that hardcore splatter-soundtrack aficionados will want to add to their collection, even with the discrepancy in the credit for that track. Definitely a great addition to the library of any collector of obscure horror film music with its wild mix of spooky chamber pieces, proggy organ arrangements, weird Radiophonic-style electronic music, and jazzy instrumentals, rounded out by liner notes from label boss Johnny Trunk and vinyl collector Joel Martin that sheds light on the extensive process of assembling and releasing this creepy collection.

Track Samples:
Sample : VARIOUS ARTISTS-Unreleased Soundtrack Music From George A. Romero's Dawn Of The Dead
Sample : VARIOUS ARTISTS-Unreleased Soundtrack Music From George A. Romero's Dawn Of The Dead
Sample : VARIOUS ARTISTS-Unreleased Soundtrack Music From George A. Romero's Dawn Of The Dead
Sample : VARIOUS ARTISTS-Unreleased Soundtrack Music From George A. Romero's Dawn Of The Dead

VARIOUS ARTISTS   Dope Gun's And Fucking Up Your Video Deck: Vol. 1-3 1990-94   DVD   (Amphetamine Reptile)    14.99

VARIOUS ARTISTS   ScatterBrain JukeBox 3   DVD   (Statutory Tape)    7.99

VARIOUS ARTISTS   DestroysAll: A Tribute To Godzilla   CD   (Shifty)    9.98


Finally back in stock! DestroysAll combines two of my favorite things in life: Japanese Kaiju movies and bone-crunching sludge rock! Hell yes. Well, not all of the music on DestroysAll is "sludgy", but it's pretty much all heavy as hell, and leaning heavily towards the tarpit-metal brigade that we love so much. The concept behind this compilation was thunked up by Gary at Shifty Records, who decided to ask a bunch of bands he was into to write original music in commemoration of the 35th anniversary of the classic giant monster movie Destroy All Monsters, which if yer not familiar with it, is the pinnacle of the rock 'em, sock 'em Japanese giant monster movies of the 1960's. The bands enlisted include Mammoth (a solo project from Chris Smith of Keelhaul, who opens the disc with an awesome avant-doom eruption that begins with a couple minutes of deep, wordless, Tuvan-style throat singing that evolves into an awesome megalithic dronedoom dirge...where can we find more stuff from Mammoth!?), Terminal Lovers, Sloth, Hangnail, Gigantasaurus, Space Face (awesome drugged-up Blue Cheer style boogie metal), Fistula, Dot(.), Negative Reaction, Rwake, Patheticism, Leviathan A.D., Third Degree Burnout, The Crunky Kids, and Solace. All of the songs are exclusive to this compilation, and each track pays homage to Godzilla or any one of the other Japanese kaiju monsters. Weirdo hardcore punk, crushing stoner metal, psychedelic Sabbathian doomsludge, and dementoid thrash all show up: Dot(.), who are surprisingly the only Japanese band included here, start off "Nonresistance City" with sampled music from the beginning of the original Gojira, then lurch into a monstrous detuned death-sludge version of the classic "Godzilla's Rampage" cue.

In addition, the comp features some amazing original artwork from artist Chris Scalfa that renders Godzilla, King Ghidora, and a host of other kaiju beasts in glorious full color detail. Negative Reaction's "Godzilla Vs. Noo Yawk" is an eight-minute psych-sludge meltdown that wanders off into a trippy, meandering instrumental before finishing off with the opening bars from Blue Oyster Cult's "Godzilla".

Crunky Kids spew an economical 2-minute blast of Japanese-inspired hardcore with "Gojira No Gyakushu" which again cops strains from the "Godzilla's Rampage" cue before it ends with the sound of Godzilla's iconic roar. Lastly, Solace serve up the extended instrumental "Mother Godzilla", an awesome, wordless prog-kraut-metal jam that spreads out across King Crimson-gone-doom metal riffage, soaring psychedelic guitar leads racing across the horizon, and manipulated tape loops. One of the heaviest, most freaked things I've ever heard from those guys. Top notch compilation.

VARIOUS ARTISTS   Contre Tous   CD   (Dead Mind)    10.98


This Dutch compilation features 4 diverse experimental bands: Infidel Castro start things off with two tracks, the first, a spacious almost Melvins/Harvey Milk-ish sludge, with stretched out guitars and almost-pulled-apart beats, but with Mr. Roboto style vocals and lots of glitched out mayhem and high-end splatter, verging on new wave/electro at moments. The second is a weird and rumbling, claustrophobic soundscape, with chiming guitars and warm waves of sound, again augmented with some strange production glitchery. Next up are the Dead Husbands with a beeping, clicking sort of whimsical elctronica goofiness, kind of like an instrumental People Like Us. The oddly named Pidpi are also mostly electronic, but keep things a bit more serious, with fuzzed out rumbling drones, abrasive scraping, swarms of crunchy white noise, strange voices, and chopped up weirdness. And finally we have De Fabriek, who follow in the same sort of elctronic, chop and glitch, weird and almost goofy collages of hooting owls, ringing phones, throbbing pulses, scratching sandpaper rhythms, childrens voices, foreign cartoons, and squelchy synths, but finishing off with a super distorted, almost Laddio Bolocko style rhythmic jam.

VARIOUS ARTISTS   The Wine Of Satan: Volume II   CD   (Necroterror)    12.98


The original Wine Of Satan comp LP from 1993 is a holy grail of underground black metal, featuring tracks from Beherit, Bestial Warlust, Pandemonium, Masters Hammer, Mortuary Drape and a number of other second wave bands that altogether captured the most grisly aspects of this era of black metal. Fast forward fifteen years later, and the Greek label Necroterror has picked up the torch to continue the saga with The Wine Of Satan Volume II, keeping the same filthy satanic tone as the original while showcasing some of the weirdest and most violent denizens of the black metal underground circa-now. It's a killer mix of familiar names (Furze, The One, Bestial Mockery) as well as several bands that I'm hearing here for the first time, and every single track is a winner, with some of these songs impressing me enough that I've already started to search out the rest of the band's catalogs...

As soon as I heard the Root song "Sonata Of The Chosen Ones" (taken from the band's 2007 album Daemon Viam Invenient) that opens the disc, I became an instant fan. Holy shit, this band is amazing...I've been hearing about this long-running Czech band for awhile but just never had the chance to check them out until now. The song starts off with a killer pounding thrash riff, simple pummeling drumming, ferocious riffage, but then the vocals kick in and it gets very strange...suddenly the song begins to veer from ridiculously catchy operatic hard rock to absolutely fierce black thrash. This is AWESOME. It's proggy and rocking, super tight and powerful, but with those almost loungey, kinda Joy Division-esque vocals from singer Big Boss. Definitely a promising start to this compilation...

Bestial Mockery counter with the punishing primitive blackthrash of "Attack Of The Morbid Coven", a hyperfast Darkthrone-esque assault that kinda sounds like old hardcore with the basic but ferocious riffs and the raging, rocking mid-tempo part that kicks in halfway through. At the same time, this is cloaked in some seriously skuzzy low-fi atmoshhere and swirling black reverb; as they proclaim on their page of the booklet, "Unpure, Unholy, Untight". Killer!

Irreverent were another new name for me, but their track "Infernal Entity" is a legit slab of satanic filth, equal parts Beherit and Autopsy, slimy old school deathdoom drenched in sloppy black blast recorded back in 1992 during the band's brief existence.

Hell Militia serve up "Ultimate Deception", a fearsome dose of dissonant progressive black metal with insane howling vocals, strange chords, and a heavy satanic vibe, very similiar to Glorior Belli and Deathspell Omega, but with some weirdlky groovy stop/start arrangements.

"T.W.O.S." follows, a new track from the bizarre Greek blackthrashnoize duo The One...and it's a fucking awesome swarm of furious buzzing droneriffs and dissonant chords, moving from blinding walls of abstract grinding blur to ripping thrash to epic stumbling doom, all of it layered with bizarre vocal noises and weird psychedelic effects. If you've heard their albums on Total Holocaust, you know what to expect...

Dutch band Funeral Winds contribute an exclusive track called "The King Of Tyre", another blazing low-fi black metal assault with one of the harshest guitar tones on the comp, a trebly blur of tangled razorwire wrapped around the relentless blastbeats and the blood-puking snarls of singer B.Xul. Fierce!

Then of course there's Furze, already a big favorite of mine, here contributing the exclusive song "Baphomet Wade". It's another one of his bizarre blackened psych freakouts, recorded during the same session that produced the Trident Autocrat album. Sabbathy low-fi riffs, demented synths, weird, almost fey vocals, a whacked-out drum "solo", and fucked-up effects all come together on this perversely catchy number.

And then it's on to Code's "Pollen Of Black Plume", a rerecorded version of a song that had originally appeared on their 2002 demo. It's a punishing blast of midpaced black metal that reminds me of the latest from Orcustus - simple, crushing, hateful, with massive thrash-based riffage...up until the middle of the song, when the crooning, gothy vocals take hold, and the band slips into a devestating chunky thrash groove before turning into a lush wall of gorgeous black buzz, majestic and beautiful and ferocious...defintitely another band that I'll be exploring at length A.S.A.P.

The compilation has fantastic blasphemous artwork from the always-reliable Chris Moyen, and it's limited to six hundred and sixty-six hand numbered copies.

Track Samples:
Sample : VARIOUS ARTISTS-The Wine Of Satan: Volume II
Sample : VARIOUS ARTISTS-The Wine Of Satan: Volume II
Sample : VARIOUS ARTISTS-The Wine Of Satan: Volume II

VARIOUS ARTISTS   Gorezoo   CD   (Meat5000)    9.98


This 4-way split CD (40+ songs) full length pretty much went out of print immediately after its release, we just managed to grab some copies before it disappeared! Ranging from crushing crust to ultraweird avant-grind, this full length CD from french grindcore label Meat 5000 delivers a severe grindblast to your face, featuring Tekken, Sergent Slaughter and Fate from France and the legendary Suppository from The Netherlands! The first band featured is TEKKEN; since 1999 they have delivered a fierce blend of noisy powerviolence/thrash and sickoid grindcore, with sarcastic,smartass lyrics.Their 13 tracks here include rare and remixed material. Next band up is SUPPOSITORY, featuring 8 new ultra-fierce tracks recorded during the Grindcore Knockout tour 2002; this cult grindcore band is a direct descendant of NAPALM DEATH's Harmony Corruption-era noise brutality. SERGENT SLAUGHTER follows up with 8 tracks of intense groovy grindcore and full on pig-monster vocals...superb ultra filth grind, no wonder the guys from MORTICIAN are working with them on an upcoming release on Primitive Recordings. Last is FATE, ripping out some brutal grind/death but with weird DJ samples and scratching! In similiar headspace as the weird electro grind experimentalism of Relapse-favorites CONTRASTIC.

VARIOUS ARTISTS   Japanese Real Underground Statement   CD   (Negative Federal Fund)    11.98

Japanese Real Underground Statement IS CURRENTLY UNAVAILABLE FOR ORDER

Our pals from Exactly Violent Style hooked us up with this new compilation disc straight from Japan, showcasing 4 of the Japanese scum-grind undergrounds most zonked exports. Exactly Violent Style opens this comp up with 4 new jams of their insane nuke attack, part free-jazz-grind, part swampy NOLA style stoner grind, part epic n melodic Isis/Mogwai/Envy post-metal majesty. Freaking amazing. Here's what we said about their

self-titled album from a few months ago...."Absolutely insane blown-out noise grind chaos from Japan! EXACTLY VIOLENT STYLE specializes in brutal blasts of freeform metalcore, a psychedelic feedback grind that makes up one of the most manic "hardcore" albums we've ever heard. And this is hardcore, but totally mutant and torn free from conventional structure and loaded with a million different tempo changes and lightning fast riffs n' axe squiggle. Imagine FUSHITSUSHA teaming up with BRUTAL TRUTH and DEADGUY... Or DISCORDANCE AXIS sitting in on some GRAVITAR jams. It's fucking insane. And amazingly catchy when the band falls into an epic, melodic indie-metal dirge....but this is mostly a skull-bashing session of heavy-duty, speedy, totally damaged hardcore riffs and avalanche drumming coalesce into a hellstorm of apocalyptic improv grind. It's like each of the three guys in EXACTLY VIOLENT STYLE are playing a completely different song, each one complex and furious, all at the same time, a cacophony of blazing speed and anger, but instead of being a huge chaotic mess, it's a huge chaotic blast of totally pissed off power...." We fucking love this band, and this comp CD is worth it for the EVS songs alone.

EVS is followed by Sete Star Sept, who vomit 3 tracks of their gross speed metal/grindcore hybrid with raw production and PO'd gorilla vocals out the yin, complimented by some flame throwing guitar solos straight offa Reign In Blood, and some unexpected major key doominess that sheds some light on their filth. Then there is Cunts, offering up a single live track, "Live At Budokan In 2005", which showcases their utterly retarded/regressive/cathartic vocal/drums improv. Freeform grindcore drumming bashes skulls with a mental patient having an amplified meltdown. Finally, Hell Missionells wrap it up with 4 tracks of over-the-top thrash metal/grind/metalcore that sounds like it was ripped straight out of 1991, with awesome screaming guitar solos and crazed dual vocals and city-killing deathcore breakdowns. All in all, this is a pretty shredding snapshot of the Japanese grind underbelley circa 2006. Minimalist jewel case packaging.

VARIOUS ARTISTS   Noise   3 x CD BOXSET   (Public Guilt)    14.98


Oh man, this is ridiculous. If you're at all following what's going on in the current "noise" underground and are digging the multi-faceted, diverse ranges

of heavy abstraction that's happening right now, then friend, you're going to love this massive feast of electrical chaos. Curated by no less than

three labels operating at the fringes of underground noise/metal/rock (Public Guilt, Epicene Sound System, and Underadar, all three long-time favorites here

at C-Blast), and spread out across three full length CDs filled to the lip with exclusive and semi-exclusive material from just about every static-charged

band of psychonauts currently active as of 2005-2007. 225 minutes long, this compendium took over a year and a half to assemble, and the final product is

stunning: each of the three discs are attached by hubs to individual cards that have screenprinted artwork on one side, and liner notes/track listings on the

other; these are collected, along with an additional insert of boxset credits and artwork, in a 5" x 6" x 1" kraft paper box which is then wrapped with a red

paper band printed in gold ink. There are four visual artists involved with the screenprints, with 2 pieces each from Shaun Flynn (of Wzt Hearts, Christopher

White (of Magicicada), Jason Zeh (as himself) and Matthew Reis (Teeth Collection); all four also contributed tracks to the compilation. It's a beautifully

realized boxset, and and the lineup is serious:

Disc 1 features one track each from Black Meat, Door, Noveller, Jason Zeh, Teeth Collection, Earwicker, tENTATIVELY, a cONVENIENCE, Gerritt, Sonic Youth's

Thurston Moore, Wzt Hearts, Skullcaster, Steve Bradley, Wether, Mermaids, Strotter Inst., Mike Shiflet, Leslie Keffer, and Magicicada.

Disc 2 features Burning Star Core, Oblong Box, Aughra, Travis Ryan, Donna Parker, Robert Inhuman, Yellow Tears, 1thousand holy shards, Back from Iraq, Sick

Ill Cell, Dead Machines, Herpes Ö DeLuxe, The Cherry Point, Scutopus, Ben S. Jacobs, Blango, Decimation Blvd., Ultra//Vires, Subterrane, Destructo

Swarmbots, and Darsombra.

And Disc 3 has Panicsville, OP Rechts, Bet Hell, Gerritt & John Wiese, Josh Lay, Cotton Museum, Big China/Little Trouble, Forbes Graham, Small Life, Iovae,

Heirs of Rockefeller, Perfect Teeth, Hum of the Druid, Sword Heaven, Tonight Golden Curls, and Guilty Connector.

Holy shit. And the range of diversity on this compilation is huge - you get everything from death electronics and possessed metal clatter, psychedelic

cosmic doomtroniks, harsh dronescapes, icy, glacial dronescapes, beautiful futuristic New Age dronescapes, overloaded glitch/guitar feverdreams, drug-fueled

improvised scap metal rituals, funeral marches for diseased toys, blown-out melodic blasts of fuzz, demonic blacknoise assaults, ghostly feedback hauntings,

rumbling wall noise, and of course, lots of mind-melting, ear-destroying, psychotropic HARSH NOISE DESTRUCTION. Some of the standout tracks I tripped out on

the first time I listened to this included Josh Lay's charred and sludgy necro-trip-hop, the crushing tribal Swans dirge of Sword Heaven's "Skinned & Glued",

Travis Ryan from Cattle Decapitation unleashing a blast of apocalyptic ambient doomsludge, another skeleton-disintegrating dose of crushing sludge-noise from

our personal favorites Yellow Tears, some awesome, obliterating free-improv noise rock/noisecore/noise terror from Teeth Collection, Black Meat's hyperspeed

electronic noisecore, Thurston Moore and his crushing guitar-noise freakout, and Darsombra's awesome Earth/Thrones-esque beatless sludge rock. This is

already in the running for coolest compilation of 2007 - noise/avant/heavy drone/abstract sludge fans aren't going to want to miss this. Highly recommended.

VARIOUS ARTISTS   Resistance Is Futile   7" VINYL   (Invertebrata)    4.00

Rare, out of print import harsh hardcore comp feat. exclusive tracks from STALINGRAD (avant-darkcore),NO COMPLY (hyperthrash duo),GRIEVANCE

(technical crust metal), and KONSTRUKT (chaotic hardcore grind).

VARIOUS ARTISTS   Tryptaphonic Mind Explosion   CD   (Mandragora)    9.98


This compilation from 2001 features a cross-section of some of the heavy psych-noise-rock underground's best, and charts several streams in the damaged space

rock / free noise paniverse. There's some crushing freeform amp-death-drone from Robot Vs. Rabbit that combines Total, Earth, Sunn O))), and Skullflower into

a single chainsaw mantra that'll kill planets... Pink Floyd meets Circle hypno-rock sorcery of Japan's Mandog... some gloriously wasted Boredoms -on-acid

jamming from Acid Mother's Temple, who unleash a nicely fucked Cotton Casino-led cosmic freakout...Primordial Mind's waves of anti-gravitational amplifier

hate...drugged space-prog splatter from Interferents... Escapade offers up waves of howling synth noise backed by thunderous drum rolls on the Krautrock /

psyche dream "It Gets Banished Forever", and the mighty Reynols gives us another slice of their surrealist shamanic splatter prayer, like a Catholic high

mass taking place on the set of Conan The Barbarian. Finnish trance rock heavies Circle delivers more spacious ambient journeys with "Harmaat",

while Pine Tree State Mind Control's proto-industrial drone chug exhumes the corpse of early Chrome and rattles walls. Theres lots more too, a killer heavy

comp that could well be the equivalent of No Mew York for the modern heavy cosmic-gunk-rock underground.

VARIOUS ARTISTS   ZUM Audio Vol. III   CD   (Zum Audio)    12.98


An excellent compilation of outsider/avant/berserk punk, no wave thrash, DIY droneology, and bedroom noise that has been lovingly curated and assembled by

the folks at ZUM Audio. This compilation features a heavy lineup that emphasizes joyous dissonance, with exclusive tracks from Channels 3 and 4, Beak Full of

Rubies, Coughs, Child Abuse, John Wiese, Silver Daggers, Lakes, TG, Huts, Antifamily, KIT, Micose and the Mau Maus, Stefan Udell, Axolotl, Bromp Treb, We

Quit, Can't, Deerhoof, My Little Red Toe, Dim Diamond, Yellow Swans, Shoplifting, and Ghost to Falco. This comp is worth it for the KIT track "Forest" alone,

a silly nursery rhyme about little forest animals that erupts into a brutal skronky Melvins-style dirge rocker that flattens everything. Packaged in a rad

gatefold sleeve from Pinball Press.

VARIOUS ARTISTS   Doctor Who Vs The Noise   CDR   (Institute For Organic Conversations)    8.98

The theme music for the cult British science fiction series Dr. Who has long been recognized as an important part of the history and evolution of electronic music, and it's trippy, theremin-derived strains are instantly recognizeable to anyone that's heard it. James Keeler from Wilt apparently shares our love of that seminal theme music 'cuz he went through the effort of compiling this full length disc on his Institute For Organic Conversations label that has a plethora of heavy underground noisemakers contributing exclusive tracks of Dr. Who worship that evoke images of Daleks and reptilian aliens, time travelling Brits and bizarre 70's effects. Packaged in a full color DVD case with a collage of melted images from the television show, this compilation definitely leans towards the really psychedelic end of the electronics/noise scene. And who better to open up an anthology like this than death-synth wizard Pulse Emitter, whose original works themsleves evoke the cosmic weirdness and the vintage analogue electronics of Dr. Who...PE's take on the Dr. Who theme song is fractured and distorted but recognizeable, and sets the psych'd out, intergalactic vibe of the rest of the disc. After that, Andy Ortmann from Panicsville/Plastic Crimewave contributes a 10 minute epic of deep space circuit whoosh, and Yeti combines dark orchestral samples with gleaming black drones. Abhorrent Strain pays homage to the "Kult Of Skaro" with grating, ultradistorted power electronics. Wilt's "The Horror Of Fang Rock" is a lush black dronescape filled with rushing torrents of distortion, while Rodmaker contribute a track of deformed improvised guitar noise. Oubliette's "Brain Of Morbius" takes the award for most brainscraping track on here, a short but gruesome blat of improv feedback violence that sent the Crucial Bunny flying out of the room. Flippin Idiots serve up a simmering, scraping drone, followed by psychedelic sound collages from Church Of The Apocalypse and Big City Orchestra. Former Wolf Eye Aaron Dilloway presents "Infinite Sarah Jane", a crushing wave of distorted oscillator sculpture, and then comes my fave track on the comp, "Planet Of Doom" from Hedorah, the devestatingly heavy noise-doom alter ego of Wilt. Brutal, slomo sludge riffage and deathmarch rhythms buried under and avalanche of white noise. Fucking awesome. And finally Pulse Emitter returns to close the compilation out with another variation on the Dr. Who theme. A great comp, highly recommended to fans of sci-fi psych noise!!

Track Samples:
Sample : VARIOUS ARTISTS-Doctor Who Vs The Noise
Sample : VARIOUS ARTISTS-Doctor Who Vs The Noise
Sample : VARIOUS ARTISTS-Doctor Who Vs The Noise

VARIOUS ARTISTS   Testament I   VIDEOCASSETTE   (RRRecords)    10.98

I know that there's still a contingent out there like me that collects these old videocassette compilations, as they are still some of the best archives of full power noise jams from the golden era of American noise. None of the RRR videos have been released on DVD, so for any fans of brutal noise and American industrial, these are reason enough to pull out that dusty VCR.

The first installment in the Testament series of videocassette compilations from RRRecords features Smegma, Illusion Of Safety, Stan Brakhage, Entropy, John Duncan, Due Process, P. Children, Sleep Chamber, Psyclones, and Psy 231; this tape is a classic piece of underground avant-noise documentation from 1987 that'll be a timewarp for anyone who was following the American experimental noise scene at the time. The tape opens with an awesome music video for Illusion Of Safety's 'Katalavox', a montage of apocalyptic footage projected over the songs hammering industrial dirge. Heavy shit. Next is a short film from legendary experimental filmmaker Stan Brakhage that features a quickly shifting field of smudged crayon-like colored textures accompanied by a crackling noise soundtrack. That's followed by another music video, this time for the group Entropy who combine eerie photo stills with a short blast of guitar orchestration a la Rhys Chatham or Glen Branca that actual

ly almost sounds like an interlude from one of the more Slint-influenced modern black metal outfits. I really wish Entropy's segemtn had been alot longer! John Duncan's video is a really disturbing mix of grating noise, slow motion footage of rockets falling to earth, and what sounds like a little girl crying in fear. Due Process merge low-fi video noise and slow motion footage of probed nipples, tracking shots of basement floors, scrambled Japanese cable porn signals, and creeping industrial drones to surreal, creepy effect. The rest of the compilation contains more of these noise/industrial/video art pieces of various length, bridging abstract, avant-garde underground film with harrowing electronic soundscapes.

The videocassette comes packaged in a hardshell plastic case with a xeroxed outer sleeve.

VARIOUS ARTISTS   Knormalities Volume II   7" VINYL   (Dephine Knormal Musik)    6.98


Second in this killer 7" avantprogpunkjazzpop comp series from percussion sorcerer Moe! Staiano. On Volume 2, Moe! has assembled a lengthy track from Swiss outfit ALBOTH! (piano-heavy NAKED CITY -esque post-industrial jazzcore post-rock with gorgeous,chilling bent vocal harmonies, originally released on the CD-only French album Ecco La Fiera on Sonore), NELS CLINE (ex-GERALDINE FIBBERS, and one of the greatest out-guitarists on the planet, here working with Carla Bozulich on a thrashy guitar noise eruption),, and the Bay Area's massive MOE!KESTRA, featuring a 16-piece version of the ensemble doing an ear-splitting cover of THE EX 's Godgloeiendeeteringklootzak. Limited to 595 copies, hand numbered on grey colored vinyl. Released in 2000.

VARIOUS ARTISTS   Riche En Fruits   CD   (Amanita)    5.00

This hard-to-find compilation was released in the late 90's on Amanita Records to showcase the French noise-rock underground. What can we say? WE LOVE FRENCH NOISE ROCK. And this fifteen blast compilation gives it up. What you get with pretty much all of the bands is a weirder, stripped down, distinctly French approach to the Am Rep / NYC pigfuck sound, resulting in an even mixture of bruising, brutal riffage and utterly weird indie noise. Standouts include Fleur, with their majestic angelic choir over brutal hypno riffs and GODFLESH -heavy drum machines, building a massively heavy technoid metal dirge before ending in a fog of chant drones and clattering noises. Andy's Car Crash open the comp with "E 240", an awesome melodic noiserock chugger, equal parts CURE, shoegaze, and UNSANE-style howl. Zadig's minimal Helmet -esque crunch is blown apart by some Catherine Wheel flange storm. Also included is the skittery dark improv rock of Shut Up, the blown out aggression of Microsquane, Miam, Owun, Rogojine and Bianca, as well as Skrewed Ass' Tom Waits-on-quaaludes mess, the seething ambient/drone/no wave of Alma Fury, and the circular trance pop of Mo-e. Very cool.

VARIOUS ARTISTS   Grind Bastards II   CD   (Grave)    11.98

Chew from Corrupted is back with the second installment in his series of underground grindcomps that he has been releasing through his GRAVE/Grindfreaks imprint, and if you thought the first one was a serious blastfeast, wait till you get a load of the insane shit that he has collected for this disc. There are a ton of Japanese grindcore bands of every shape and form on here, with one U.S. band thrown in for cultural diplomacy: Mortalized, Butcher ABC, Insect Warfare, Gibbed, Disgust, Gate, Motiveless, Little Bastards, Breed, Top Breeder, Red, 48, Unbiased, Spiral, Gods Of Grind, Exgreed, Fortitude, Black Ganion, and Unholy Grave all contributing exclusive material. Some of my favorite tracks on here: the opening track from Mortalized called "Nailing Descartes To The Wall", which is actually a cover of political pop-punkers Propagandhi done up hyperspeed grind style - awesome! Butcher ABC serve up a steaming chunk of their trademark surreal goregrind with bizarre layered vocals and crushing midpaced riffing; the one track from Gibbed is an insanely noisy low-fi blast of old school grind that sounds like it was recorded on a broken boombox and then hurled down an elevator shaft before mastering it for this compilation; Gate bring another one of their awesomely wonky, vaguely Discordance Axis style slices of jagged, angular grind; Motiveless blend together epic, almost black metal style riffs with snarling garbled vocals and blazing blastbeats on their two tracks; Red interjects their low-fi grind with blats of fierce Merzbow/Pain Jerk style noise; Spiral's weird, industrial-noise tinged crust; Black Ganion's killer fusion of prog and early Napalm Death; and last but not least, another new jam from Unholy Grave, who drop a monster splat of Motorhead-paced noisecrust complete with Takaho's bizarre vocal noises and singing style. Hell yes. The recordings for many of the bands can get pretty raw and blown-out, and there's alot of tracks that sound like the bands had someone like Masami Akita mixing their songs for maximum blown-out ear destruction. So if you like yer Japanese grindcore fast, freaked out, and noisier than hell, you'll have much to feast yer ears on here. The disc is packaged in the series' trademark foldout poster sleeve with artwork and info from each of the bands.

Track Samples:
Sample : VARIOUS ARTISTS-Grind Bastards II
Sample : VARIOUS ARTISTS-Grind Bastards II
Sample : VARIOUS ARTISTS-Grind Bastards II

VARIOUS ARTISTS   100 Way Splatter Fetish Volume II   CD   (Alarma)    11.98


Grindcore compilations can be a tough sell. There are some crucial classic comps that have come out - Hardcore Holocaust: The Peel Sessions, the Grindcrusher comp, North Atlantic Noise Attack and Bllleeeeaaauuurrrrgghhh! - The Record all spring to mind - but even with a top-notch lineup of bands, a compilation of nothing but grindcore can be a real endurance test. If I'm going to listen to an assload of bands blast and growl and shriek at insane speeds and deafening levels of volume, the only way it's going to keep my interest is if there's a certain level of unpredictability in the program. While there is a lot of straightforward grind brutality packed onto the 100 Way Splatter Fetish compilations, these comps also have some of the craziest, most ridiculous grind bands you might ever hear, and the mix of over-the-top brutality and totally unexpected weirdness makes 'em one of my favorite series of comps. Volume II in the series again comes to us from the Mexican death/grind label Alarma Records, and follows up the first disc that came out back in 2007. This second entry again follows the template set down by Slap A Ham's old Bllleeeeaaauuurrrrgghhh! comp: the disc is maxed out with as many tracks as they can squeeze on here , with one hundred different bands each serving up a super-short song that tends to average around a minute or less in length. The album is also again graced with some of the most loathsome sover art ever, another hideous, garishly colored cartoon depicting scenes of pervo depravity that are better left undescribed, and as you'd expect with an album filled with bands that have ultra-grossout names like Womb Goo Gai Pan and Rectal Smegma, you get a richly flavored serving of atrocious song titles like "Shy Lesbians Defecation", "Dildo Arse Pumping", and, yes, "Scrotum Paturei". It's a goregrind aficionados wet dream, an oozing grab-bag of face-shredding sonic violence that's got a gazillion left-turns, and much of Splatter Fetish II actually ventures into pretty far-out and avant grind territory, a large number of the bands falling into that weird grind/gabber/techno/industrial grind realm.

There's always a couple of bands on compilations like this that leap out from the mix: one of my favorite tracks on here is "Inevitable Foot Mush" from the band Eustachian; the song clocks in at just over a minute, but they manage to combine a KILLER classic sounding metal riff with wild electronic effects and guttural, tough-as-nails death metal vocals, vaguely sounding like a cross between Genghis Tron and Painkiller-era Judas Priest...this song is pretty killer, and I'll definitely be hunting down some more stuff from these guys. Another new favorite that I've discovered on Splatter Fetish II is Malchemist, an American one-man band who blends together primitive drum n' bass, synthpop, menacing (but ridiculously catchy, too) synth-bass riffs, and some insanely deep and hellish-sounding vocals; his track "My Life As A Maggot" sounds like some early 90's industrial/techno outfit possessed by Candarian demons.

And just like Volume One, this compilation is overstuffed with loads of other super-short but brilliantly demented blasts of weirdo-grind. Some of the standouts, in no particular order: Vulvulator's thrashy and catchy grindpunk anthem "Anal Yog-Sothoth", the awesomely blown-out and filthy grind of Dead Infection, and the manic mach ten energy of Viscera, who combines insane-sounding gibbering high-pitched vocals with hyperfast hardcore. Italy's Spermbloodshit break out another short dose of their killer mixture of goregrind and Italian hardcore that I dug so much on their album from earlier this year, and the bizarrely named Grandma delivers some of the most vile, "liquefied" pitchshifted vocals I've ever heard on their super-catchy goregrind jam "Diggin' Da Dumpster". Ebolie's "Tongue Surfing The Vegemite Pit" manages to wedge in about eight seconds of funk in the middle of a furious grind assault, while Holocausto Canibal's "Empalada Via Espinal Dorsal Empalamento II" features some crazed bass soloing and squiggly fretboard burn over their primal goreblast.

It just keeps coming: Cannibal Motivation employ some weird backwards percussion effects and programmed blasting for their putrid goregrind, and the pitchshifted vocals for Vaginal Tormentor alternately sound like a swarm of crickets and a six-hundred pound warthog whose entire head is buried in a vat of jello. There's supremely brutal jackhammer-gabba from Electo Toilet Syndrom, who sound like Nasenbluten crossed with Cannibal Corpse, and Duodildo Vibrator features massive detuned chugging and bizarre, almost industrial percussive sounds, as if the band was playing tribal rhythms on a row of old oildrums and engine blocks. There's the weirdo garagey grindpunk of Breakteeth Pan's "Necrocannibalistic Vomitorium", complete with nuclear surf guitar, goofy sing-along casio polka, drunken hoe-down samples and gastrointestinal vocals from Rectal Smegma, the bizarre, almost hip-hop like cadence of Noxious Coitus's sub-harmonic toilet bowl monster vocals, drum-machine powered robo-goregrind with electronic basslines from Pigtailes, and groovy garage grindrock from Anal Gut Haemorrhage, who play something similiar to a metal version of the Spy Hunter theme but with a singer who sounds like a malfunctioning toilet backing up.

I'm always stoked to hear some more new stuff from that absurd techno-gore outfit Womb Goo Gai Pan, and they deliver another short blast of old-school techno with gaseous pitchshifted goregrunts with "Hyperlabia". Wormfarm's "Deep Laceration Wounds" is a monstrous mashup of mid-paced goregrind, programmed electronic beats and multiple vocalists all shrieking, bellowing and puking at the same time, while Cemetery Rapist play catchy, brutal death metal with, again, a giant cricket for a vocalist. Contenders for one of the best named bands on this disc, Vomit Inducing Scrotum Punch are another goregrind outfit using whacked out electronic blasting and ultra-downtuned vocals, but also add on a ton of distortion, noise, and fucked-up vocal processing. There's some silly, psychedelic casio-grind from Headcrash, who remind me of a much heavier version of S.M.E.S., and Malignant Germ Infestation starts off as low-fi grindcore, then morphs into pulsating old-school techno at the end.

And there's so much more weirdness going on here as you get deeper into the compilation: the crushing distorted gabber beats and immense distorted riffing of Tourette Syndrom, trippy, electronically-warped deathtronix from Gross, splatter-casio/techno weirdness from Choked From Anus, amazingly nightmarish industrial dub-dirge of Fried Human Meat's "Behind You", which sounds like Throbbing Gristle remixing a late 80's death metal demo track, and the wicked bestial drum n' bass and gore-gabber mashup of Battery Acid Facial's "PCP Cage Fight".

Anal Odor Nicht Sein are one of least grinding bands on here, with a track called "Lochfrass" that combines treated percussion sounds and crazed non-verbal gibberish into something more like an early Boredoms jam, and CheezFace spreads vile vomitous vocals across buzzing electronic noise, making their track sound more like some Japanese noise offering. DJ Urine's "Unicorn Rapist" is a psychotic collage of 8-bit melodies, goregrind vocals, splattery gabber beats, chaotic tape noise and loads of other electronic mayhem, while Deleete emits a brutal beam of sped-up, carnivorous digital gabber with "Giant Shrimps".

There's RxAxPxE's pure hard drive meltdown, a drug-fueled mashup of fucked-up chopped-up grunts, overmodulated rhythms, exploitation movie samples, and digital glitch, a Haters-esque free-noise/grindnoise jam from I Will Decapitate Your Chihuahua, and the looped vocal, sheet metal percussion, and feedback infected noisecore of Noiseconcrete. El Muermo's pure Merzbowian noise blossoms into stuttering, immense low end deathgrind, and Gorgonized Dorks deliver some psychedelic thrashpunk. And Succulent Torso sound like someone mixing Merzbow, Agathocles, and Delta 9 together into a whirlwind of white-noise destruction, a short but skull-wrecking blast of bile-splattered low-fi ultranoize speedcore. And both A Child Corpse In A Trash Bag and Epiploenterocele Pusliquid Wormchunk sound like hyperspeed drum programming set to an Emil Beaulieau noise set.

Plus plenty more ridiculously brutal grindcore and microblast death metal from Stoma, Spasm, Stickoxydal, Emetica, The Bitch In The Van, Horrificia, Chocked By Own Vomits, Dismembered Fetus, Sperm Of Mankind, Rubufaso Mukufo, Ass To Mouth, Rectal Foreign Bodies, Ultimo Mondo Cannibale, Rompestromper, Englufed In Flies, Vaginal Necrosis, Oerjgrinder, Fekalizator, Nefarious Baptism, AAS, Hybrid Viscery, Patisserie, Scatological Madness Possession, Social Shit, Carnivore Mind, Mixomatosis, Flactorophia, Intumescence, Brutal Decomposition, Cerebral Oedema, PxUxSx, Abosranie Bogom, Compulsive Vulvolatric Intruders, XXX Maniak, Visceranalspermatorgiasticpus, brutal drum-machine driven and electronically-enhanced grindcore from Psychotic Sufferance, VxRxVx, HxAxSx, Decomposing Serenity, Scumfuck, DxSxOx, Gore, Throatplunger, Libido Airbag, Septic Mutation, Carnival Of Carnage, Raped Bitch, Malaria, Anal Birth, Sexchange, and gabber/hardcore techno-infected sickness of Foetal Fuck Aphrodisiac, Red Hot Piggy Pussys, Ladyscraper, Lacerated Tissue, and Mutilated Ear-Drum.

Whew! It should be obvious that this is for extreme grind/death/noise fanatics only, as the brutality/insanity is cranked to eleven from start to finish. For grindfreaks with a taste for the weird, however, there's a TON of amazingly freaked-out bands on here to blast your ears with!

Track Samples:
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II
Sample : VARIOUS ARTISTS-100 Way Splatter Fetish Volume II

VARIOUS ARTISTS   Grind Madness At The BBC   3 x CD   (Earache)    17.99

Some of my earliest experiences with the Earache bands and the late 80's grind/death scene coming out of the UK came in the form of the Hardcore Holocaust compilation cassettes and Peel Sessions full lengths that came out on the Strange Fruit label. Those classic early recordings of bands like Napalm Death, Extreme Noise Terror, The Stupids, Bolt Thrower, those Strange Fruit discs were my introduction to all of the brutal underground noize that was coming out during that period. Those old Peel Sessions releases have all been out of print for years, but Earache just compiled the complete Peel Sessions for their flagship bands on this massive 3-disc set that features scorching performances from some of the UK grind scene's most seminal outfits. I couldn't ask for a better lineup on this - you get the crucial Peel sets from Napalm Death, Bolt Thrower, Carcass, Extreme Noise Terror and Godflesh, as well as sets from lesser known (but still RIPPING) thrash bands like Unseen Terror, Heresy, and Intense Degree.

The first disc packed with multiple sessions from Napalm Death and Extreme Noise Terror; the Napalm Death sets are possibly the band's most extreme and bestial recording ever, drawing heavily from Scum, the songs played at nuclear tempos, the vocals distorted and animalistic, everything blown to hell, all three sets (from 1987 through 1990) doused in gasoline and blasting violently, with the band delivering a skull-shredding cover of Siege's "Walls" that I've never heard anywhere else. Awesome. Then there's the total grind/crust overload of the Extreme Noise Terror sessions, a thrashier and more hardcore style assault, total crustcore violence, unhinged D-beat drumming blasting through manic detuned riffs and the turbo-demon vokills.
On disc two, Carcass are raw and crushing, a frenzied, impossibly chaotic grind assault that includes devastating renditions of classic tracks like "Empathological Necroticism", and are followed by the thunderous crusty death metal of Bolt Thrower, their set drenched in reverb, starting with the thrashing "Forgotten Existence" and then making their way through their crucial late 80's death metal jams.

Godflesh start off the third disc with a sixteen minute set that includes "Tiny Tears", "Wound (Not Wound)", "Like Rats", and "Pulp", these versions filthier and rougher than the studio versions; this set is particularly notable for featuring Kevin Martin (The Bug / Ice / God / Techno Animal) blasting some screeching, hellish free-jazz saxophone blurt over the last half of "Pulp", dropping some scathing Borbetomagus-like sax noise over Godflesh's pounding industrial metal. Then it's Unseen Terror's awesome blistering Brit ultrathrash, their fusion of classic hardcore and death metal so ridiculously aggressive and fast, ending with a supersonic cover of "It's My Life" from NYC hardcore band Madball; followed by speedcore legends Heresy, who blaze through a bunch of short, catchy blastcore jams, their super-fast hardcore thrash riddled with poppy, anthemic hooks. It ends with Intense Degree's insanely fast grinding speedcore assault, ferocious and sort of Siege-esque, with a raging rendition of their classic jam "Skate Bored".

The set comes in a cardboard slipcase and includes a thick booklet that features an interview with Mick Harris on the influence that John Peel and his BBC show had on the burgeoning grindcore scene in the UK in the 80's along with liner notes and photos.

Track Samples:
Sample : VARIOUS ARTISTS-Grind Madness At The BBC
Sample : VARIOUS ARTISTS-Grind Madness At The BBC
Sample : VARIOUS ARTISTS-Grind Madness At The BBC
Sample : VARIOUS ARTISTS-Grind Madness At The BBC
Sample : VARIOUS ARTISTS-Grind Madness At The BBC

VARIOUS ARTISTS   White Trash Motherfuckers   CD   (Shock)    14.98


I was shocked to find a stack of these compilation Cds stashed away with one of our suppliers, as we had figured the Shock Records catalog to be long sold out and unavailable. Released in 1993, White Trash Motherfuckers compiled a host of the UK's skuzziest underground noise outfits, and it's a diverse gang that is gathered together here, ranging from the abrasive improv skronk of Ascension and the sample-heavy industrial sludge rock of Cosmonauts Hail Satan to the bizarre noise dirges of Beautiful Penis and the psychedelic tribal crush of Splintered, and it's a highly recommended collection of some of the heaviest shit that was oozing out of the UK noise rock underground in the early half of the 90's, adorned with fantastically horrific artwork from Savage Pencil.

First up is Ascension with three tracks of fearsome black-hole improv. On these tracks the band moves from droning howling feedback guitar and clanging and metallic axe noise to heavy, pummeling freeform drumming that builds into a strange hypnotic skronk-fest, like a brutal Sharrock-on-steroids free-noise jam. Next are three tracks from Beautiful Penis, an obscure group that features future members of Vibracathedral Orchestra. The band plays a kind of weirdo sludge-punk slop that starts off like a Kilslug/Brainbombs style hate dirge, but then ends up in ear-wrecking noise territory, their guitars erupting into an orgy of noise, then shifting into pounding Swans-esque sub-industrial pummel.

One of my favorite bands from this era, Cosmonauts Hail Satan are one of the highlights of this compilation. Their first song "Across the River of Blood" mixes together apocalyptic fundamental Christian samples over a sinister industrial sludge-guitar dirge, buzzing looped chords, and clanking industrial rhythms. Their sound is swirled with eerie melodic feedback and hypnotic noise, and heads into the short interlude "Clubbed to Death between Two Worlds" where creepy old sci-fi movie samples are layered across trippy raga guitar buzz, looped feedback, and backwards melody. Then "Stranger In A Street Of Dogs" crashes in with AWESOME blown-out psychedelic black hole guitar whoosh and grinding evil riffage over a heavy shambling break beat, diabolically groovy and noisy, almost like Godflesh but way more druggy and effects-damaged. Their last song "New Scientific Civilization" is another groovy beat-heavy psych-industrial jam, a sitar-like melody looping endlessly over strange spacey fx and sampled voices, with a murky pounding break beat hidden below it all.

And then there are the lesser known bands like Derv and The MikePostMortem; the former was the free-noise-rock solo project from Tony Irving of Ascension, who contributes four pieces of crazed post-Sharrock/Bailey skronk blast in the vein of Ascension but a little looser and less bleak in tone, with brutal guitar noise showered over heavy free jazz drum meltdown and splattered in brain-damaged blues licks. An enjoyable avant guitar freakout, and one of the few appearances that Derv ever made. This was also apparently the only released material from the weirdly named Mikepostmortem, but their three tracks are more brutal caveman industrial low-fi dirge rock that's always welcome around here, part Swans-like pummel, part Cosmo Hail Satan-style sample driven drudge, guitars scraping against walls and distorted growling muffled vocals over piercing feedback. It sounds pretty psychotic, like Swans crossed with Butthole Surfers.

And last is Splintered, another one of my favorite early 90s UK bands. They end this compilation with a towering twelve minute tribal-industrial-sludge epic, a wall of heavy polyrhythmic percussion hammering behind a dense, swirling mass of howling vocals, druggy chanting, serpentine guitar riffing, rumbling bass and synthesizers; it's part early Neurosis, part Loop, part Killing Joke, but infused with the deranged experimentation of early 90s UK industrial rock, a monstrous filthy groove at the heart of this sinister psychedelic sludge jam.

Track Samples:
Sample : VARIOUS ARTISTS-White Trash Motherfuckers
Sample : VARIOUS ARTISTS-White Trash Motherfuckers
Sample : VARIOUS ARTISTS-White Trash Motherfuckers
Sample : VARIOUS ARTISTS-White Trash Motherfuckers
Sample : VARIOUS ARTISTS-White Trash Motherfuckers
Sample : VARIOUS ARTISTS-White Trash Motherfuckers

VARIOUS ARTISTS   Knife Vs Skull Face   7" VINYL   (Saxon Gregory)    6.98

The Saxon Gregory records aren't for just anyone. The appeal that these strange, anonymous collections of cult horror audio have is recognizable only to those nocturnal troglodytes who worship the sensuous nightmare imagery of 70s Italian creepers diffused from spools of moldering videotape and staticky cathode glow. For those of us infatuated with the art of the Eurohorror trailer, though, these records are amazing little fetish objects. The Knife Vs Skull Face 7" is particularly delicious, collecting the audio tracks from the trailers for the 1971 shocker La bestia uccide a sangue freddo, the legendary giallo Strip Nude For Your Killer,

z-grade trash-classic The Embalmer, and Antonio Margheriti's 1963 gothic nightmare The Virgin Of Nuremberg. The trailer for La bestia uccide a sangue freddo (aka Slaughter Hotel) is a strange collage of delayed screams, damaged psych-funk, underwater haunted house organs, and murky catacomb ambience that works on it s own as creepy bit of sound art. There's the demented jazz/funk score behind the trailer for Strip Nude For Your Killer that acts as the background for more sugary strings, car crashes, weird percussive sounds, bits of ominous film dialogue and more horrific screaming, and The Embalmer's trailer fetaures a classic voiceover style preview. Best of all is the the Virgin Of Nuremberg track, a wild rush of jazz and Riz Ortolani's's orchestral strings with the original Italian voiceover.

Released in a limited edition of one hundred fifty copies.

WORMED   Exodromos (BLUE VINYL)   LP   (Willowtip)    24.99

Now available on vinyl.

Avant-garde psychedelic sci-fi slam-death? One of the few contemporary bands to come out of the "brutal" death metal underground that I've found to be at all worthwhile, Spain's Wormed have been offering a very strange, ultra-complex sound for over a decade now; although they've had a couple of crushing EPs come out over the past decade (like 2010's batshit insane Quasineutrality and a three-way split with Goratory and Vomit Remnants) and have made some notable appearances at extreme metal festivals like Maryland Deathfest, this is actually the first new album from Wormed in ten years, and sees the band pushing their sound into even more dizzying extremes of complexity and heaviness. They take the slamming, bone-crushing power of that whole Suffocation / Devourment / Cryptopsy end of the death metal spectrum and blasts it through a stargate, creating a vicious strain of mutant death metal woven from quantum physics hallucinations and eldritch alien horrors vomiting out of deep-space wormholes. On the band's long-awaited second album Exodromos, Wormed's vicious angular metallic crunch is further slathered in electronic textures and glitchy ambience and fused to confusing, near incomprehensible time signatures, and fronted by a singer who shifts between bestial pig-grunt vocals and an utterly bizarre, seemingly pitch-shifted gurgle that gives one the impression that you are, in all actuality, listening to the vocalizations of a giant insect. All of that would make this stuff weird enough, and put it right up my sci-fi metal lovin' alley, but Wormed take these concepts and musical complexity into such extremes that it manages to transcend the brutal death metal sound and becomes something much more outre.

A bizarre concept album about the last surviving human being left in the wake of a universe-collapsing wormhole, this is some of the most complex, mind-melting death metal I've heard since the new Gorguts album. The songs on Exodromos spiral out into seemingly endless riff-whirlwinds, the blenderized rhythms and discordant riffing welded together with a malicious, reptilian intent, each song riddled with sudden and violently jarring tempo and time signature changes, the riffs as fucked-up and atonal as anything off of Gorguts's no wave-damaged death metal classic Obscura. But Wormed are just as skilled at suddenly dropping into a bone-crushing groove that feels like the sound of that Hadron Collidor starting to warm up, or slip into a vicious, stuttering, twisted math-metal workout. The drumming on this album is fucking mind-blowing, super technical and precise, virtuosic even, often lurching into sickening stop/start arrangements, guiding Wormed's churning deep-space chaos out of the angular, ultra-blasting progdeath and into some killer classic metal riffage or sweeping melodic guitars that offer a striking contrast with the jagged discordant blast. The album is littered with tracks like "Solar Neutrinos", which combines creepy spoken word passage and looping guitar ambience with weird synthesizer effects, an interlude amid the crushing mechanized death metal, and there are several short electronic noisescapes that start and end various tracks. On "Multivectorial Reionization", they detonate some robotic Meshuggah-esque deathchug that's so heavy that it'll rumble the walls of your stomach, and "Spacetime Ekleipsis Vorticity" slips into breathless torrents of cyborg-calliope fretboard insanity. More of that crazed prog-shred shows up on "Stellar Depopulation", and some of those rapid-fire tremolo picked melodies have a staccato feel that sort of reminds me of some of Mick Barr's (Orthrelm) stuff, like on the majestic closer "Xenoverse Discharger". These guys have turned into one of the most interesting tech-death bands out there, blending their downtuned bone-rattling extremity with epic kosmische electronics and the result sounds like nothing else. Exodromos comes highly recommended to fans of everything from latter-day Gorguts to Ulcerate and the sci-fi death metal of Nocturnus, Demilich and Timeghoul.

Track Samples:
Sample : WORMED-Exodromos (BLUE VINYL)
Sample : WORMED-Exodromos (BLUE VINYL)
Sample : WORMED-Exodromos (BLUE VINYL)


Join the Crucial Blast E-Newsletter
Enter your name and email address below:
Subscribe  Unsubscribe