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One of the finest new bands we've stumbled across here at Crucial Blast, New York based outfit Epistasis first appeared in 2012 with a self-titled album on The Path Less Traveled Records. Those early recordings revealed an interesting confluence of sounds, their often difficult, jagged arrangements traced with elements of prog rock and noise rock, black metal and avant jazz, and even the influence of modern classical composers such as Béla Bartók, Arvo Pärt and György Ligeti. Even then in embryonic form, Epistasis were hinting at the sort of abrasive, atmospheric metal that we're continually obsessed with over here at C-Blast, but it is with their second release (and first for Crucial Blast) Light Through Dead Glass that the band has re-emerged with a much more focused and fleshed-out sound. Now a quartet comprised of Amy Mills on vocals and trumpet (who has also contributed trumpet parts on new albums from Castevet and Psalm Zero), Alex Cohen (drums), Kevin Wunderlich (guitar) and Doug Berns (bass), Epistasis delivers a dark new vision of atmospheric dissonance and surrealistic heaviness with this six-song mini album recorded by Martin Bisi (Sonic Youth, Swans, Unsane).

With this new collection of songs, the band has evolved into something much darker, the music shifting from passages of moody, understated atonal melody into blasts of frostbitten discordant blackness and lurching, angular riffage. Beginning with the crushing, doom-laden dread that opens "Time's Vomiting Mouth", its yawning blackened heaviness glazed in a glistening electronic sheen, the band quickly erupt into paroxysms of jagged black metal-esque violence. Amy Mills's ghastly scream drifts vaporously behind those twisted, lurching grooves and blackened blasts, often trading off with the gorgeously ghostly sound of her trumpet bleating in the darkness, strains of spectral jazziness echoing through the depths beneath the band's complex, metallic assault. These subtle jazz-informed touches are met with the furious drumming of Alex Cohen, also a member of avant death metallers Pyrrhon and NY death metal titans Malignancy; his aggressive performance on Light... give these songs a churning rhythmic intricacy that even seethes beneath the band's more atmospheric moments. And Light... has plenty, from the eerie guitar strings that lilt across the opening minutes of "Finisterre", gradually disassembling into a haze of fractured folkiness before blasting into another swirl of savage blackened discordant metal, later giving way to mournful guitar melodies that cascade across the latter half of the song in limpid sheets of elliptical beauty; to the haunting ambience of "Grey Ceiling", all layered in those bleary horn tones and smeared jazzy drift. The more black metal influenced aspects of Epistasis's sound seem to be informed by the likes of Ved Buens Ende and Virus with a similar tendency towards difficult, off-kilter riffing and odd melodic shapes, and when the guttural chaos of "Witch" appears, there is almost a hint of some of the murkier, more abstract realms of death metal, but this is only barely glimpsed before the band hurtles into the further reaches of psychotic vocal delirium, blasts of controlled chaos and deformed out-jazz horror that make up much of this disc.

Much like label-mates Ehnahre, Epistasis craft an unconventional, complex sound that suggests just as much kinship with the darker and more malevolent realms of prog rock (Univers Zero, Present, "Red"-era King Crimson) as it does with the more outré fringes of black metal, delivering a kind of nightmarish dissonance shot through with scenes of shocking surrealistic violence and flashes of phantasmal beauty.
The CD version comes in digipack packaging.





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Pennhurst / Xesse is a new collection of rare material from the shadowy black industrial outfit T.O.M.B., featuring their ultra-limited Pennhurst album and the tracks from the one-sided Xesse 12" previously released on Prison Tatt. Featuring all new artwork and presented in a six-panel digipack, this full-length disc delivers over an hour's worth of the band's bizarre brand of vile electro-acoustic noisescapes, oppressive industrial drift and ghoulish vocalizations seemingly dredged up from the dank black bowels of some long-abandoned mausoleum.

Originally released in 2009 as an extremely limited CDR on Esto Perpetua Records, Pennhurst features five tracks of abysmal necro-industrial filth, formed from source material that the band recorded at the notorious Pennhurst State and Norristown State Hospitals, two Philadelphia-area mental asylums that have boasted disturbing legacies of abuse and experimentation in the past. As with their other releases, this centers around nightmarish industrial soundscapes built from the band's blighted blackened electronics and creepy field recordings, the tracks often erupting into blasts of suffocating hellish noise. The throbbing black distorted synthesizers that pulse across opener "Primevil Sorcery" rumble forth like waves of black lava, the band's signature suffocating bass frequencies rolling across fields of agonized, wraithlike screaming and crackling volcanic noise, while percussive metallic sounds echo and clatter in the depths, a miasma of abyssal sound that swirls and shudders in the darkness, revealing horrific aural details, eruptions of deformed blown-out melody and bursts of nightmarish agony within the massive, churning chaos that stretches out for nearly twelve minutes. As that stygian roar rumbles right into "Maz Ov Tha Damd", the band surges into a primal tattoo of ritualistic rhythm, pounding primordial drums thundering beneath their layered noise and field recordings and amplified metallic reverberations, blending a brutal improvisational percussive assault with more of that suffocating black noise, demonic shrieks and foul reptilian screams rupturing in the blackness, the sound growing more monstrous and violent as the drums give way to abrasive sheet-metal abuse. The nearly twenty five minute "Goetic Xaos" is the centerpiece of Pennhurst, another sprawling sonic nightmare of processed acoustic percussion and infernal drone, the sound dense and swirling and psychedelic, infested with stretches of slithering black ambience and deep tectonic reverberations that rumble deep below the surface, the air alive with ghostly found sounds and harsh metallic abrasions, warped transmissions of ancient voudou drumming and demonic EVP. The wailing voices that drift out of that thunderous din seep into the short interlude "Audi Alteram Partem", which almost resembles some demented Diamanda Galas piece lost in a fog of metallic skree and cathedral reverb, and then the album descends into the utterly monstrous title track, a blackened expanse of rotting electronics and crumbling concrete, the sound of entropy and psychological decay sped up into a blur of Merzbowian sonic horror that wraps up the disc. The whole thing adds up to one of T.O.M.B.'s most intense blasts of sonic terror.

The other half features T.O.M.B.'s Xesse, one of the band's more "ambient", droneological works. That's not to say that this is any less fearsome than the preceding tracks, though. This EP opens with a chorus of wailing voices, the sounds of abject suffering echoing and reverberating within some lightless underground crypt. A deep distant rumbling presence can be heard, just barely perceptible; it's quickly overcome by heavy waves of harsh crackling noise and fuzz that slowly sweep in and recede, washing away those screams of agony and leaving behind a residue of minimal, empty blackness in their place. From there, Xesse moves into crushing Lustmordian walls of drone, thick buzzing synthesizers rumbling under snarling, electronically-warped vocals and other demonic utterances, the synth dropping in and out as bits of minor key drift float in. Out of this growing graveyard chaos comes the sound of distorted chanting, sonic remnants of some unseen ritual taking place in the depths of T.O.M.B.'s soundscape. Heavier drones recede, leaving a cacophony of scraping metal noise and processed bass tones and what almost sounds like crushing, doom-laden guitars grinding deep in the murk. The recording constantly shifts between those placid lifeless drones and strange echoing graveyard rituals and the swells of hallucinatory heaviness, eventually giving way to some seriously mind-melting cosmic drift towards the end, the voices shifting from blasphemous ranting to garbled unknown tongues as it drifts out into an abyss of swirling dub effects, delicate chiming tones, and rhythmic metal pounding that finally erupts into frantic percussive chaos, the thunder of hammers on metal shaking the chthonic depths, then fading into silence.





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THE FIRST 200 ORDERS FOR PLAGUE BEASTS DIRECT FROM CRUCIAL BLAST WILL COME WITH A BONUS LIMITED-EDITION TWELVE-PAGE FULL COLOR ART ZINE DESIGNED BY GNAW THEIR TONGUES / CLOAK OF ALTERING MASTERMIND MORIES.

Although most would probably best know Dutch avant-metal madman Mories for his notorious blackened industrial/orchestral doom outfit Gnaw Their Tongues, he's also been involved with a number of projects that one could describe as being rooted in a much more recognizable "black metal" sound. One of 'em is Cloak Of Altering, a project that Mories started in 2011 as a continuation of his earlier black metal band Ophiuchus. The previous Cloak Of Altering albums explored Mories's fascination with the early symphonic black metal of In the Nightside Eclipse-era Emperor and Arcturus's early efforts, as well as the more fiendish and fractured forms of industrial black metal as practiced by the likes of Dødheimsgard. Each new release has moved deeper into stranger and more mutated realms of electronically-damaged symphonic black metal, though, and with Cloak Of Altering's third album (and first for Crucial Blast) Plague Beasts, Mories delivers a ferocious affront to black metal form and structure, combining his otherworldly strain of sweeping symphonic black metal with bursts of intense electronic chaos, waves of nebulous synthesizer and spastic rhythmic violence that, at times, feels more like something you'd hear off of a Planet Mu 12".

As with most of his other projects (Gnaw Their Tongues, Aderlating, De Magia Veterum, Seirom, etc.), this deforms aspects of black metal into something even more surreal, but where the likes of Gnaw Their Tongues feature heavy use of orchestral sounds, the seven songs on Plague Beasts showcase a much more pronounced use of synthesizers. The melodies that seethe and swarm throughout the album at times resemble some twisted nightmare version of prog rock keyboard freak-outs, or vintage 16-bit game soundtracks being fused to the gristle and graveyard stink of second wave black metal. As soon as opener Plague Beasts kicks in, the album begins it's pummeling assault of churning programmed drumming and nuclear rhythmic chaos, unleashing volleys of violent machinegun-like blastbeats and skull-crushing gabber kicks beneath a baleful swarm of frostbitten blackened riffs, spiteful howling vocals sinking into the underlying layers of orchestral murk. You can definitely pick up on Mories's signature use of horrific orchestral sounds, but those elements are submerged beneath the fuzz-enshrouded black metal riffs and those swirling elliptical synths, melting those epic symphonic black metal influences into a psychotic cyborg stew of washed-out trip-hop rhythms, garbled discordant tremolo riffs, bizarre gurgling vocals, and swells of stunning, almost shoegazey majesty that suddenly wash over the music, imbuing it for a moment with a luminous black glow of aching apocalyptic beauty. On other tracks like "White Inverted Void", the album shifts into glitch-damaged electro-black metal epics roiling with crazed synthesizer arpeggios and complex keyboard melodies, while "Ash666urA" lurches like some utterly malformed breakcore monstrosity, all slow motion lurch and spasm, discordant sour riffage and those guttural putrid vocals rolling into passages of strange twilight eeriness. There are blasts of hellish nightmare ambience woven into mutant blackened drum n' bass spasms ("Into Celestial Hell") and assaults of atmospheric black metal grandeur infested with splintered, ultra-violent junglist rhythms reminiscent of artists like Shitmat and Venetian Snares ("Altering Forever"). And on "Translucent Body Deformities" and "Chaos Magician Of The Abyss", lush layers of gleaming synthesizer and orchestral strings are draped over rabid mechanized blasts and mosquito-buzz guitars, forming into some strange fusion of early Nordic black metal fury and the baroque soundtrack work of Keith Emerson, the drums locking up into stuttering, broken rhythms and glitched-out pandemonium.

More than anything else from Mories, this stuff is closest in spirit to the malevolent necro-industrial and fractured drug-fueled machine-ecstasies of bands like Aborym, Blacklodge, Dodheimsgard, Mysticum, and Abigor. But as with anything that this guy is involved with, Plague Beasts seethes with a deliriously demonic atmosphere entirely its own.
Comes in six-panel digipack packaging.




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If you're a regular customer of Crucial Blast, or have been soaking up much of the extreme black/death metal that has surfaced in recent years, you've seen the visual work of Industrie Chimere Noire. This Québécois designer (aka Joce) has been behind the distinctive and imaginative album design and artwork for a host of hideous, hellish death metal, black metal, and extreme industrial bands, including the likes of Abyssal, Portal, Fistula, Hooded Menace, Morne, Nekrasov, Unearthly Trance, and Utlagr, among others. Beyond his visual art and design, though, Joce has also been creating sinister, spectral music of his own with his solo project Bête Lumineuse, which has to date released a handful of split tapes with bands like Actuary, Lortie and Neige Et Noirceur. Practicing a kind of nightmarish kosmische sorcery, Bête Lumineuse's sound is surreal and suffocating, centered around brackish dronescapes and drifting fogbanks of mesmeric murk that often resemble the sound of some particularly baleful 70's-era space music cassette (think Tangerine Dream circa Zeit) that has just been dug up after being buried deep beneath a forest floor for the past ten years.

After that series of splits, Bête Lumineuse has resurfaced with his first full-length cassette, Murmure du Charnier. A half-hour excursion into phantasmagoric black holes and charnel-house ambience, featuring ten tracks formed from the warped howl of mutated synthesizers that have been tortured into monstrous ectoplasmic deformations, and layers of black industrial rot. The tape opens with the crushing cosmic synthesizer roar that briefly blasts across the beginning of "Entree", the voices of ancient magicians echoing beneath the grinding electronic drones. From there, the album drifts into vast murky dronescapes filled with low subterranean rumbling and ghostly voices that waft across the background, smears of choral sound stretched into infinite, terrible howling across the nuclear-red horizon, the sound shifting from shorter passages of minimal distorted synthdrone to more atmospheric dark ambience like the ghastly murk that spreads throughout "Voix Dans Les Murs". As the album's minimal rumbling synths and meditative electronics unfold, you can hear where Bête Lumineuse is drawing some of its influence from the darkest recesses of early 1970's experimental space music. It's persistently creepy, though, with huge washes of unearthly EVP-like sound that comes barreling out of the blackness, horrific screams and eerie angelic chorales muffled and muted and melted down into a thick, swirling murk, like a more blackened, morbid take on Yen Pox's early dark ambient soundscapes.

Fragments of romantic symphonic music will occasionally bleed through the rumbling black drift, pieces of nostalgic melody that briefly materialize before being swallowed back up by the cavernous darkness, while pieces like "Possession Hypnotique" descend into more surrealistic realms, throbbing rhythms undulating beneath weird mewling tones, bizarre spacey effects and those densely layered drones. "Cosmos I: Pulsar Mourant" pushes that classic Zeit-era sound all the way into the abyss, and immense bass drones pulsate through the cacophonous roar of "Vision Trouble", thundering above strange processed voices lost in necromantic reverie as the track slowly evolves into an almost power electronics-style assault. Towards the end, "Combustion Spontanee" blossoms into a nightmare of anguished cries, scorching feedback and delirious noise , an infernal noisescape that shares some of the hallucinatory mausoleum ambience of T.O.M.B., testimonials of clandestine psy-ops activities descending into squirming synthesizer noise. "412 Yeux Qui Hurlent" is a short collaboration with Montreal power electronics artist Lortie that unleashes a throbbing industrial blast of rhythmic noise and looping drones and corrosive distorted buzz, and eventually dissolves into the final stretch of dark, dreamlike ritualistic ambience that closes the tape with "Sortie".

Released in a limited edition of two hundred copies as part of our Infernal Machines series, Murmure du Charnier comes on pro-manufactured cassette and includes a digital download code for the album.




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  I don't remember exactly where it was that I first discovered Bagman's blackened fusion of misanthropic electronics and oppressive harsh noise (probably the Men Who Solicit Sex disc that came out on Murderabilia), but I know that it had instantly seeped into my brain, infecting me with an utterly malignant atmosphere. This one-man UK outfit has been producing this pitch-black noise since at least 2008, and has already amassed a pretty impressive list of releases since then, each one a sonic representation of abject horror, the residue remaining after one gazes unblinkingly into the bottomless abyss that is humanity's capacity for evil and cruelty. When I throw on one of the few Bagman releases I've been able to track down, it feels like every mote of light in the room is being slowly crushed, leaving behind a caput mortuum of dread and disgust. Bagman's recordings ooze with the unfiltered horror of the human mind, translated into a series of violent audio frequencies. This stuff ain't no fun, that's for sure. Carrying on the tradition of transgression found in the early UK power electronics scene but combining it with a much more brutal and suffocating sonic assault, Bagman's early recordings are rumbling, bestial noisescapes littered with the voices of hate-mongers and murderers, criminals and degenerates and scenes of sexual deviance all suffused into the crushing walls of black static filth, junk metal devastation and monstrous electronics. Previously out of print, three of Bagman's malevolent early CDR releases have now been reissued on limited-edition cassette through the Infernal Machines imprint with all new artwork, recommended only to enthusiasts of the most nihilistic strains of extreme electronic noise and rabid industrial horror.

  Bagman's 2008 EP For Kenneth McKenna is another portrait of boundless human cruelty, inspired by parts of Max Call's lurid 1985 serial killer tome Hand of Death: The Henry Lee Lucas Story and the bizarre online mythology surrounding Florida inmate Kenneth McKenna that began to appear subsequent to that book. A purported member of the "Hand of Death Cult", McKenna was a denizen of the Florida prison system who claimed to have been involved with all kinds of bizarre crimes, including the production of snuff films that featured the feeding of humans to alligators and anacondas. The five tracks featured here continue to explore the charred sonic wastes between harsh noise wall and power electronics, summoning visions of those bizarre satanic prison cults and reptilian snuff videos in the volcanic fog of Bagman's chaos. Some of this material is actually a little more atmospheric than his typical sonic onslaught, the tracks alternating between brutal walls of crumbling blackened static, punishing high-frequency feedback abuse, horrific power electronics assaults formed out of crushing bass frequencies splattered with those signature monstrous vocals, to more haunting, solemn noisescapes like "Hand Of Death" that layer muffled metallic noises and eerie half-formed synthesizer melodies over fields of smoldering low-end rumble. Clocking in at just over sixteen minutes, McKenna is one of my favorite of all of Bagman's releases, permeated with a sickening atmosphere of rot and decay that seeps from every second of this raw electronic filth.

   Limited to two hundred copies on pro-manufactured cassette.




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AUDIO CASSETTE $5.98

  I don't remember exactly where it was that I first discovered Bagman's blackened fusion of misanthropic electronics and oppressive harsh noise (probably the Men Who Solicit Sex disc that came out on Murderabilia), but I know that it had instantly seeped into my brain, infecting me with an utterly malignant atmosphere. This one-man UK outfit has been producing this pitch-black noise since at least 2008, and has already amassed a pretty impressive list of releases since then, each one a sonic representation of abject horror, the residue remaining after one gazes unblinkingly into the bottomless abyss that is humanity's capacity for evil and cruelty. When I throw on one of the few Bagman releases I've been able to track down, it feels like every mote of light in the room is being slowly crushed, leaving behind a caput mortuum of dread and disgust. Bagman's recordings ooze with the unfiltered horror of the human mind, translated into a series of violent audio frequencies. This stuff ain't no fun, that's for sure. Carrying on the tradition of transgression found in the early UK power electronics scene but combining it with a much more brutal and suffocating sonic assault, Bagman's early recordings are rumbling, bestial noisescapes littered with the voices of hate-mongers and murderers, criminals and degenerates and scenes of sexual deviance all suffused into the crushing walls of black static filth, junk metal devastation and monstrous electronics. Previously out of print, three of Bagman's malevolent early CDR releases have now been reissued on limited-edition cassette through the Infernal Machines imprint with all new artwork, recommended only to enthusiasts of the most nihilistic strains of extreme electronic noise and rabid industrial horror.

  Originally self-released in 2008, Bagman's Welcome To My Fucking Misery was the first release from the project, delivering four lengthy tracks of vile, blackened noise and rumbling bass horror that stretches out for nearly half an hour. Tracks like "In Bonds" and "Power Thrust" explore the themes of deviant violent sexuality and bestial violence that course through the flesh of Bagman's electronic soundscapes like cancerous cells, the murderous whispered vocals blasted through so much putrid distortion that the images of depravity, sadism and savage lust become unintelligible murmurs, their hateful energy transmuted into a pestilential blur of sound. This is seriously heavy stuff, huge droning slabs of charred distorted rumble infected with those demonic vocals, often sinking into an almost HNW-style wall of distortion. There are strains of a more subdued, dread-filled atmosphere that lurk beneath all of the corroded blown-out drones, sputtering feedback, insectoid buzzing, punishing sheet-metal percussive rhythms and scrap-metal rituals, but moments appear briefly, quickly consumed within the pulsating black horror of Misery's foul, raw extreme electronic chaos and visions of abject suffering.

   Limited to two hundred copies on pro-manufactured cassette.




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AUDIO CASSETTE $5.98

  I don't remember exactly where it was that I first discovered Bagman's blackened fusion of misanthropic electronics and oppressive harsh noise (probably the Men Who Solicit Sex disc that came out on Murderabilia), but I know that it had instantly seeped into my brain, infecting me with an utterly malignant atmosphere. This one-man UK outfit has been producing this pitch-black noise since at least 2008, and has already amassed a pretty impressive list of releases since then, each one a sonic representation of abject horror, the residue remaining after one gazes unblinkingly into the bottomless abyss that is humanity's capacity for evil and cruelty. When I throw on one of the few Bagman releases I've been able to track down, it feels like every mote of light in the room is being slowly crushed, leaving behind a caput mortuum of dread and disgust. Bagman's recordings ooze with the unfiltered horror of the human mind, translated into a series of violent audio frequencies. This stuff ain't no fun, that's for sure. Carrying on the tradition of transgression found in the early UK power electronics scene but combining it with a much more brutal and suffocating sonic assault, Bagman's early recordings are rumbling, bestial noisescapes littered with the voices of hate-mongers and murderers, criminals and degenerates and scenes of sexual deviance all suffused into the crushing walls of black static filth, junk metal devastation and monstrous electronics. Previously out of print, three of Bagman's malevolent early CDR releases have now been reissued on limited-edition cassette through the Infernal Machines imprint with all new artwork, recommended only to enthusiasts of the most nihilistic strains of extreme electronic noise and rabid industrial horror.

  A gaze into the abyss. Originally released in 2009 as a limited edition CDR on the Greek label Subliminal Recordings, Bagman's In Their Blood And From The Gutter is one of his earliest recordings, a foul, hateful blast of brutal harsh noise and screeching feedback littered with disturbing incoherent samples, recordings of far-right American political extremists, and blasts of garbled verbal hatred. These four tracks stretch out for nearly half an hour, each one an expansive blast of crushing distorted rumble and caustic black static, blasts of howling feedback carved into strange rhythmic forms, the cacophony of collapsing structures often breaking away to reveal a seething core of bestial vocalizations and sputtering low-fi drone. Massive low-end synthesizers growl through the suffocating blizzard of crackling static and roaring distressed vocals, bringing a doom-laden feel to tracks like "Breath Constriction" and "Hunting Ground". Ultra-heavy, hellish electronic noise that often steps into power electronics territory without losing it's chaotic, skin-shredding abrasiveness. It is some of the heaviest material that this project has produced, fueled by a monstrous throbbing black rhythmic power, those distorted rumbling synthesizers pulsating like the core of a dying black star. Bagman strips away the civilized face of humanity, and finds a festering, demonic evil leering back at us.

   Limited to two hundred copies on pro-manufactured cassette.




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First released as an extremely limited cassette on Glorious North, Spectre Music Of An Antiquary is the first new material from Emit in over five years, a full length collection of murky ambience, deranged 80's style synth, ritualistic black drift, and stranger sounds forays into black noise. This British outfit has been creating their unique brand of experimental blackened delirium since the late 90s, branching out of a low-fi UK black metal band called Ante Cryst. With Emit, the members began to explore a creepy, synth-heavy sound that was unmistakably descended from black metal but supremely more deformed, combining harsh electronic noise, horror-movie soundtrack atmospherics, droning keyboards, wrecked and fractured black metal guitars, and bizarre vocals that would often push Emit's music into a strange realm of hallucinatory, ghastly psychedelia. On their latest tape Spectre, though, Emit's sound has morphed into something that more resembles some mutated, primitive 80's darkwave being completely taken over by malevolent spirits, with eerie electronic drones and distant moaning vocals often taking over; very different from what I've heard from Emit in the past, though no less weird or phantasmagoric. And as with other Emit offerings, this is concerned more with the occult lore and hidden history of the British isles than Satanism or goat worship or any of the other over-used black metal tropes, which all serves to enhance the wraithlike vibe of these songs.
The album opens up with that chorus-drenched minor key guitar sound that is unmistakably Emit, eerie choral drift intertwining around the vaguely off-key melody of this short intro track "Haunter Of Benighted English Summers", sounding dreamlike and hallucinatory and off from the start. That's over pretty quickly, and then it completely shifts gears with the throbbing distorted synth and gated drums of "Mors Wher Devels Are Abrod", an eerie melody woven around ghoulish vocals lost off in the background, that chiming, chorus-soaked guitar coming back in after a while; utterly weird, this sounds like some cross between something off Tangerine Dream's score for Risky Business, a rack of keyboards lifted from John Carpenter's Prince Of Darkness soundtrack, and a shambling low-fi basement black metal outfit, and the result is rather bewitching. Clanking industrial percussion, strange mechanical melodies and distant crooning blur together on "The Dusk Gardens Of Translucent Mansions", continuing the bizarre dreamlike feel of the album, sounding like some inebriated death rock band wandering through a graveyard of broken clocks, and then that murky, soundtrack-like sound returns on "Shades Over The Mere", with more distant Tangerine Dream-esque synths droning over heavy mechanical rhythms, those deranged vocals waaaaaay off in the distance, everything wrapped in a thick fog of tape hiss and low-fi corrosion, but still strangely pretty and haunting beneath all of the sonic slime. The rest of the songs are similarly delirious, "Sylvan Old Enchanter" drifting on waves of buried synth and deformed black metal guitar, washed out and bleary as it transforms into a wash of gorgeous organ-drift, like something out of a Hammer Horror film drenched in lysergic acid, followed by the ghostly ambience, strange melodic singing and plodding drums that almost sounds like a more stripped-down, minimal version of black psych weirdoes Yoga; that's followed by "The Meadow Reapers (A Field Recording)", which is pretty much just that, a stretch of minimal environmental sound flecked with strange nocturnal cries, mysterious rumblings, bits of ominous warbling synth and distant voices, everything slightly skewed and otherworldly.
The final track "Emanations From Beneath Far Hills, Beyond Far Moons", though, is closer to the sort of weird black ambience heard on older Emit releases like The Dark Bleeding Gods and the excellent Abortions collection, a dimly lit, murky wash of metallic resonance, soft shimmery pulsations of cymbal-like reverberations, these sounds coalescing in the blackness into strange, chiming, half-formed melodies. After awhile, mysterious percussive sounds begin to appear and disappear, soft ghostly knockings that drift up like transmissions from beyond the grave as the track slowly fades into total and utter darkness.
A must-hear for anyone into the murky surrealistic blackness of artists like Reverorum ib Malacht (a band that has shared members with Emit in the past), Yoga, Occultation, Uno Actu, Utarm, and Dapnom, Spectre is now available from Crucial Blast as a digital album and on CD in digipack packaging featuring evocative, all-new artwork.




CRUCIAL BLAST WEBSTORE: NEW ARRIVALS FOR SUNDAY, APRIL 27TH 2014

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

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

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

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

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


As always, that's just the beginning. There's much more mutant heavy music and misanthropic art to be found on our shelves and in our bins...keep reading below to check out all of the strange and extreme new music, film, and art that's included in this week's new arrivals list.

Go to the Crucial Blast Webstore to check out our list of new arrivals...