$28.00SEASON OF MIST
Norwegian black metal tyrants 1349 deliver aural hellfire with their long-awaited new album 'Massive Cauldron of Chaos'. Over four years in the making, 'Massive Cauldron...' builds on their storied career and sees the band sharpen their orthodox black metal assault with a thrashier edge. Iron-handed tracks like "Slaves", "Godslayer", "Cauldron" and more show that without a doubt, 'Massive Cauldron...' is true Norwegian black metal and 1349 at their most savage and cruel.
This Canadian trio's debut album after the great 'Thralls' DEMO (Zombie Ritual Tapes), ''All Idols Fall Before the Hammer'' is an aural assault which blasts the listener through eight songs in over 36 minutes of blackened metal of death. Prepare to be struck by the Hammer of ADVERSARIAL!!
The Bastard Noise lend four tracks to this split, with some bass-guitar-heavy hardcore/punk/noise with strange samples and plenty of random background noises that is their most "musical" output since the inception of the Bastard Noise Project. They, of course, feature former members of Man Is The Bastard and Neanderthal. The Endless Blockade provide a 14-minute power violence epic that runs the gamut of hardcore and punk sounds.
Bizarre Uproar is one of the colossal phenomenon in Finnish harsh noise scene. Throughout the years, this artist has gradually taken the Bizarre Uproar concept to more and more extreme level. Wrapped in darkness, tight as second skin. Suffocating (like) latex mask. Likainen Ehtoollinen, was released on F&V tape in 2008, is the purification in filth and violence, cleansed in flesh and blood that are shit and piss, enlightenment in everlasting ejaculation. New extremes in sonic bizarre domination! The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 199 copies w/double face insert.
$22.00NUCLEAR WAR NOW
Fifteen years ago, Black Witchery and Conqueror, both still virtually unknown outside of a small cult of maniacal blasphemers, united for the split release entitled Hellstorm of Evil Vengeance. Exploring a style that few North American bands dared approach at that time, Black Witchery and Conqueror inherited their extremist tendencies from the likes of Blasphemy and Sarcofago among others. Looking back, the release can now be regarded as something of a statement of intent in that it signified the establishment of a second wave of Bestial Black Metal and set the course for the future of the genre. Although external circumstances would necessitate the termination of Conqueror’s mission immediately following the release of the split, J. Read continued treading the path of the Superion with Revenge and R. Forster was initiated into the ranks of Blasphemy. Black Witchery also persisted through the years, assuming a well-deserved, prominent place among the bestial legions. Since the split release in 2000, Black Witchery and Revenge have shared numerous stages all over the world and maintained a united front within the underground. Similarly, NWN!, which also began its campaign of atrocities in 2000, established its dominion over the chthonic depths of the Bestial Black Metal underground. Having settled into their respective roles as progenitors of a particular faction of extreme metal, it is time to assemble the unholy triumvirate of Black Witchery, Revenge, and Nuclear War Now! once more. For this release, Black Witchery turn in one of the band’s most primitive and punishing recordings to date. The three tracks on this record herald the arrival of Black Witchery’s new guitarist Alal'Xhaasztur (of Nyogthaeblisz, Hellvetron, and Nexul) alongside core members Vaz and Impurath. While the Black Witchery tracks approach regions of boundless chaos, the Revenge side is a frenetic display of precision attack. Revenge's sound on these tracks is more refined, focused, and violent than ever. Holocaustic Death March to Humanity’s Doom, honors fifteen years of relentless warfare while simultaneously ushering in a new aeon of darkness.
Re-issue, 350g cover, 220 printed innercover, limited to 250 red vinyl.
Re-issue and limited edition to 400 black vinyl 180g, 12 page booklet, 350g cover matt lamination with 5mm spin.
doom and gloom from 2011
$20.00BREATHING PROBLEM PRODUCTIONS / TORN LIGHT
2LP housed in full color gatefold jacket with booklet.
"“Bed of Sex, Pit of Tar” does not hold back. This album is not for the average listener, but it’s extremely rewarding for those who are open to it. It has a more industrial sound than most of the material coming out of Austin’s noise scene recently, which has been putting out great power electronics and textbook harsh noise.
The album deals heavily with romantic relationships, which is interesting considering Kelley and McKay are actually romantic partners. They wear their emotions on their sleeves on every track, creating an impactful experience from start to finish. Every emotional high is mirrored by an emotional low, crafting a cohesive experience that is hard to forget.
As a result, “Bed of Sex” is a very heavy album to listen to. It’s often unsettling, which is exactly what it sets out to be. The album works best at setting a mood, sucking listeners into its heavy atmosphere for the entire 59 minutes. It evokes the image of a city slowly being destroyed in a way that’s tragic, but impossible not to watch. The last few songs show the aftermath of the destruction, and the album’s final track acts as the credits to the spectacle.
“Bed of Sex” is a beautiful album that touches on some raw, primal human emotions in an uncommon way. Lyrically, it deals with romance, sex, fear, violence and other aspects of humanity, but it’s the instrumentation that really allows these feelings to come to fruition. The synths and percussion bring out the subconscious anxiety we try to suppress when talking about these emotions in a regular conversation. You can feel the pain the artists are trying to convey with every scream they let out, a level of emotion that’s hard to replicate in other genres.
The album’s interludes also add to the raw human emotion that went into its making. The instruments are stripped down and prolonged, sexual vocal samples come to the forefront, making the harshness the star. These spots, which are called “sessions,” allow the listener to truly understand the goal of the entire album — they were the songs that impacted me the most. They summon feelings of isolation and discomfort, but they also create a feeling of euphoria when they segue into the next track — further proof that the album must be listened to in one sitting." - Armando Maese (Orange Magazine, Austin TX)
Complete mind-numbing destruction by PHIL BLANKENSHIP and BRYAN THROLL. Edition of 150.
Full length LP.
Sexual-psychosis, dark power electronics.
For those devoted.
New home/studio recordings; two tracks documenting collaborations between Constrain & Fenian and HHL & Unexamine from spring 2015. These artists performed together for the Mata Noise Gallery Los Angeles two year anniversary. These recordings from that time present the convulsive blasts of chained explosions, bellows of static and junk tearing through fields of feedback ending in a whiplash of churning dissonance.
(limited to 100) documents the first release on vinyl for Long Beach based KDM (Kevin McEleney) and Los Angeles/Long Beach based Nial Morgan. Both well known for their phenomenally original approaches to noise composition and live performance; this Oxen release of new tracks showcases the potent combination of symmetrical equanimity and malice on ‘Mutual Transgressions’ and ‘Solitary Source’.
Wrong Hole: Nial Morgan, slashing paths through forests of electro-tape destructive territory with sleep deprived swagger, his compositional prowess is on rare and inspiring form throughout Mutual Transgressions’ specifically obtuse personal narrative.
Constrain: Solitary Solace, exceeding the expectations of his always brilliant razor burst cut-up noise infamy, here he expertly delivers a punishing scything. The track deftly ladders to a crushing apex, explodes all the listener’s cognizance before submitting to KDM’s sonic design certainty and returns rattled consciousness ending 5 minutes and 21 seconds of sublime cacophony.
$4.00WHAT IS MAKING US SICK
Crash At Every Speed is fairy long running high signal feedback based HNW project of Texas noise legend Richard Ramirez, started back in 2001. All of the projects work is themed around car crashers & road accidents. Vehicular Manslaughter is new full length work on vinyl and in forty minutes split on two sides Ramirez alternates between interlocking seas of uniformed crackling static & burst of off-pattern static based noise making with urgent jittering trails, distant/buried ‘n’ churning radio like harmonic squawking / baying pitches, more rapid lines of crackle, & split stereo channel static crackle. The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve with artwork of car crashers, limited to 99 hand numbered copies w/insert.
Over the last several years, Daniel Rizer of Dayton, Ohio, has been producing some of the most hypnotic and texturally-innovative experimental music utilizing minimal equipment that yields maximum auditory results. With cassette players, a reel-to-reel tape recorder, and an old DJ mixer, Rizer manages to conjure jagged and corroded compositions of effected field recordings that are looped and continually reassembled into dynamic and forward-moving compositions of rough noise. He is also known for his involvement in other previous projects including Budweiser Sprite, Glom, Shitty Vibe Smasher, and Yes, Collapse, as well operating Together Tapes, a DIY cassette label featuring meticulously psychedelic packaging and artwork. Although previous efforts have displayed the prowess of Rizer's abilities, CONTAMINATED TIME is his most fleshed-out and complete recording to date, a statement solidifying his position as one of the finest and most underrated artists currently active in noise & experimental music. Mastered by Viktor Ottosson. Edition of 300 copies.
It feels like I’ve been writing about DEAD BODY LOVE for as long as I have been recording harsh noise.
What else can be said? I can’t express enough how much of an influence Italian harsh noise has had on my own personal works, but It also lets me and several peers investigate the techniques and styles of the 1990s harsh noise and the atmosphere that was created expressed from different regions of the world. The more I listen and revisit the material of 90s Japanese harsh noise, the 80s UK power electronics and the celebrated rougher tendencies of 90s Americanoise, the Italian material and different projects flare up that dictate a powerful ‘Coles Notes’ of harsh noise and how it can be deconstructed and eventually materialized into vivisected lines and layers of crumbling, throbbing, cracking and creaking sound.
I always trail back to MAUTHAUSEN ORCHESTRA and its insurmountable importance to abrasive sound and its developments, especially in sub sect harsh noise genres of the 2010s; the project’s more minimalist and focused influence on later Italian projects such as the 1990s DEAD BODY LOVE as DBL’s material exemplified aspects of crushing avalanches of crumbling sound, layered and sometimes delayed, a major player against and with the Americanoise sound of the 1990s expressed by MACRONYMPHA and SKIN CRIME to name a couple. Then you take the obsessions and the lines of moving sound and have them expressed by something like the fanatical ATRAX MORGUE.
Fearsome concentration and jarring meditation on lines of warbling and predatory analog synth work portray something invariably real about the obsession acted out from the Italian project ATRAX MORGUE. A different display of penetrative and studied sound seethes from ATRAX MORGUE as now the listener and ‘fan’ of Italian Industrial and harsh noise is confronted with another genre defining sound that pits throbbing and rough synth against haunting and manic vocalizations, disturbing the listener with its undeniable dedicated concentration. The resulting split tape with material from DEAD BODY LOVE and ATRAX MORGUE isn’t as black and white as one might think. DEAD BODY LOVE makes use of dark and rough early industrial-like lines and meld into the eventual crushing forces that he is known for. In the vein of ATRAX MORGUE, samples are also manipulated and drawn out for the listener reminding us of his more delay heavy work. ATRAX MORGUE’s material works with DBL’s material almost seamlessly via further haunting and throbbing dark material, slowly churning and deconstructing into his own distinct sound of heavily concentrated focus and mania for singular sounds and how they can repeat, move and create total atmosphere.
A celebrated once in a lifetime example of a split release re-issued on vinyl by Urashima.
- Sam McKinlay
The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 199 hand numbered copies w/sheet from The American Journal of Forensic Medicine and Pathology.
$25.50CHROME PEELER RECORDS
Essential double LP collection of work by Jonathan Canady (Dead World, Angel of Decay, Nightmares) of crushing American power electronics for fans of Sickness, Whitehouse, Prurient. Taken from deleted cassettes, 7"s and CD-R releases, expect nothing but extreme power electronics at its best. By the time this record completes its run you will feel exhausted with an inner ugly that doesn't seem totally healthy yet is rawly satisfying at the same time.
The gatefold features new artwork by Nicola Vinciguerra (Fecalove) and layout by Canady. Limited to 500 copies on randomly mixed color vinyl with digital download card. Randomly mixed color vinyl is a random blend of colors that comes out with a marble like appearance. No two mixed color records look the same.
Note: the tracks “Blunt Anal Trauma,” “Execration” and “Slaughterhouse Pornography” from the 2005 CD version of this compilation have been omitted to fit the vinyl format. However, the digital download includes these missing songs. LIMITED TO 500 COPIES.
After over a years worth of delays Due Process Combine XXIII - XXXV is finally ready to go.
Here is a description of the record written by Thomas Dimuzio.
In 1994 Ron Lessard set up a Due Process mail collaboration with John Wiggins and Thomas Dimuzio. The project found Lessard sending off source recordings to Wiggins and Dimuzio, with Dimuzio and Wiggins in turn exchanging their recordings for further deconstruction. All sent back to Lessard who curated the release "Combine I - XVIII" for RRRecords. Option magazine wrote, "Ahh. Here's some serious art damage that careens from ambient industrial to the astringent squonks, bleeps and clamor of '60s avant-garde to the angst-ridden sonic shards and noisy electronic reflections of the post-industrial mess we find ourselves in now."Afterall, that was the year of the O.J. Simpson trial among other events. Fast forward to 2007 with "Combine XXI, XXII" to find Jason Lescalleet and Ron Lessard continuing the tradition for We Break More Records. Phage Tapes now presents the latest from Due Process and in all of its 150 gram vinyl glory. "Combine XXIII-XXXV" brings John Wiggins and Thomas Dimuzio back together in the fold where each sound mongrel completes an album side. Zanstones is among the sound sources at hand by contributing a number of squeezebox ditties (as well as the design of the striking cover art), plus live performances of Due Process all get squeezed through the sonic ringer and agitated, and with their own brand of detergents and stripping agents.
The record comes with full color center labels all packaged in full color double sided folded covers designed by Zan Stone. The record was pressed in an edition of 500 copies.
The intrinsic fandom tendency toward Eurotrash actress Edwige Fenech has possibly been one of the most encompassing examples of ‘obsession’ translating into layers of pummeling abrasive sound, especially in the building block heyday of the heavier OVMN and Incapacitants inspired style of International contemporary early 2000s harsh noise artists. EDWIGE FENECH – just the name sends the educated into a whirlwind of her cinematic stylizations, objectification, and glorious portrayal and generator of mandates for various Eurotrash genres.
The inconceivable layered work with Rosalba Neri in THE SEDUCERS. The cropped model shoot hair and painted skin of WHAT ARE STRANGE DROPS OF BLOOD ON THE BODY OF JENNIFER. The awe inspiring bobbed haircut and mannerisms of GENTLY BEFORE SHE DIES. The sex worker apparel and curly blonde wig from TAXI GIRL. The slicked and pinned back hair and nylon worship of DR. JEKYL LIKES THEM HOT. The crew cut haircut and bare feet glimpses from STRIP NUDE FOR YOUR KILLER. The 70s wavy, curly hair and the stockings during the sultry couch scenes from LOVER BOY. The courtesan role intense leg worship and playful mannerisms of GIOVANNONA LONG THIGH. The sun-tanning and fetish exercise programs of VICES IN THE FAMILY acting alongside Susan Scott. The medieval maiden and mistress aesthetic of UBALDA ALL NAKED AND WARM.
The examples and details listed above can be watched and mentally layered to achieve a generative aesthetic that pushes the visceral tendencies of the abrasive sound artist. Not unlike the pornography and the extreme lifestyle fascination of the 1990s Americanoise, the interests continued to be deconstructed and melded into harsh noise as the conscious and studious harsh noise artists of the 2000s continued to study the European cult film and its objectified actresses and fetish driven aspects. The experience is cumulative the more you watch, collect, and study the various genres that Edwige Fenech was featured in and that inspired the cumulative and layered aspects of the harsh noise project Edwige with the original line-up of Keith Brewer (TAINT, MANIA), myself (THE RITA) and Dan Johansson (SEWER ELECTION) and later Nolan Throop (KAKERLAK) filling in for Keith Brewer on a 2008 American tour. Between the sets on the 2008 tour from myself, SEWER ELECTION, KAKERLAK and DOG HOLOCAUST (Nolan and Dan – maybe the loudest thing I have ever heard), the 90s rough American style harsh noise worship was palpable. It’s only natural that a tape was generated as exemplary from the tour days of 2008 including later collaborations with the eventual line-up of Dan Johannson, Nolan Throop and myself.
Now available on vinyl from Urashima.
- Sam McKinlay
The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 199 hand numbered copies w/ black & white poster.
Recorded Dec 2014 - Jan 2015 in Meridiana. Blue offset printed sleeves.
Subtext I \ II
Long-awaited vinyl debut from Vancouver underground noise legend flatgrey. Industrial noise. Harsh, industrial noise. Pure sound. Mechanical, electrical, valve and tube. Scrounged, rescued and resurrected. Filtered through obsession. Menacing roars of bass pushed along grinding mechanics, like millions of rows of pneumatic teeth. Heaving, gnashing. Compressor hiss, and blast furnace tongue. incendiary atmosphere, superheated, and forced through junked magnets and shredded cones. A nameless exercise. 1-sided gold offset-printing on heavy black paper. One-sided 12" 33rpm vinyl record with silk-screened b-side. Housed in a crystal-clear, heavy polyvinyl sleeve. Featuring art and layout from the artist.