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Crucial Blast Releases

SNARES OF SIXES Yeast Mother: An Electroacoustic Mass DIGIPAK CD / DIGITAL

While renowned for his work as bassist for Agalloch and Sculptured, Jason Walton has also frequently ventured into other, stranger and more experimental regions over the past two decades, offering a range of baffling and captivatingly weird sounds with bands like Self Spiller, Especially Likely Sloth, and Nothing. And it's in that latter territory that we find the debut EP from Snares Of Sixes, his latest creation. On the band's debut EP Yeast Mother: An Electroacoustic Mass, Snares Of Sixes makes a bold and confounding introduction, tangling the listener in confusional, highly aggressive avant-prog. The genre-shredding sound taps into a warped confluence of frenzied King Crimson-esque progressive rock, faint traces of frayed, heavily mutated black metal, haunting atmospheric touches, and abrasive electronics, and the result leaves us deliriously disoriented....
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GNAW THEIR TONGUES Hymns For The Broken, Swollen And Silent GATEFOLD CD / DIGITAL

A shambling monstrosity Woven from charred bones and infernal technology, stitched with gristle and exposed wiring. Hymns For The Broken, Swollen And Silent lurches like a grotesque assemblage of tortured flesh and mangled machinery, revealing the latest nightmare from Dutch fiend Gnaw Their Tongues. After more than a decade, the band continues to disturb with its uniquely dark and depraved blend of black metal, industrial and noise, and the eight-song Hymns shows Gnaw Their Tongues to be in prime killing mode.
Coming in the wake of a series of live performances starting in 2015, this new material from GTT mastermind Mories (Seirom, Cloak Of Altering, Mors Sonat) seems to find him tapping into a heavier, more violent rhythmic element as well as a more pronounced use of synthesizers, producing yet another step in the evolution of GTT's sound. Throughout the album, the harsh drum programming offers a mixture of cacophonous blast beats and grueling, glacial detonations...
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After a nearly four year wait, this doom-laden darkwave outfit from Austin, TX has finally returned with the follow-up to their acclaimed eponymous debut. It was there that the band introduced their lush, lugubrious sound combining heavy synths, slow-motion rhythms and haunting vocal melodies, woven into infectious, brooding blasts of darkpop perfection; the songs seemed to emanate from some cavernous subterranean chamber, drenched in reverb and surrounded by shorter pieces of bleak ambience and grinding noise. A sinister, often abrasive edge gleamed from that early material, but it also featured some of the most stunning darkwave anthems we'd heard in ages. And with their first proper full-length album, Troller have expanded on that sound even further, their sensuous, dread-filled pop encrusted with those huge, otherworldly synths and distorted, grinding bass roar, rumbling across crawling drum machines and washes of glacial Carpenterian electronics, gorgeously gloomy synthpop hooks gleaming in the dimly lit corners of Graphic, as Amber Goers' soulful, utterly bewitching vocals once again haunt Troller's tenebrous depths....
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It's been nearly twenty years since we last had a full-length album from Ramleh operating in "rock" mode, but the sprawling new double album Circular Time sees these British noise rock legends returning with their most intense work since re-emerging in recent years. One of the key bands to emerge from the British post-industrial underground of the early 1980s alongside their Broken Flag label-mates Skullflower, Ramleh continually shifted between the extreme, confrontational power electronics of their early material and their later forays into searing, lysergic noise rock, right up until the band went on an extended hiatus in the late 1990s. The group would return later the following decade with a number of reissues and new releases, but up until now, almost all of the new material from the re-activated Ramleh leaned more towards their power electronics and harsh noise tendencies. But with this massive new album, these distortion masters (now comprised of founding member Gary Mundy, longtime member Anthony Di Franco, and new drummer Martyn Watts) have returned with nearly two hours of speaker-shredding, void-gazing psychedelia, pushing the pummeling, Hawkwindian meltdowns heard on classic 90's-era albums like Be Careful What You Wish For and Shooters Hill into realms of total obliteration...
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     One of many offshoots / alter-egos of the notorious Dutch industrial black metal outfit Gnaw Their Tongues, Cloak Of Altering returns to deliver the follow-up to the maniacal 2014 album Plague Beasts, unleashing yet another brain-scrambling blast of mutated symphonic black metal, nightmarish breakcore madness, and hellish electronics fused together into a sweat-soaked, chrome-plated nightmare. Compared to previous works, the seven-song Manifestation is a slightly less chaotic monstrosity, giving these blackened maelstroms added room to breathe, but the cumulative assault of Cloak Of Altering's sound on the band's fourth album continues to thoroughly scorch the listener. The sound is still rooted in a bizarre confluence of majestic synth-drenched black metal, skewed industrial heaviness, and fractured Planet Mu-esque electronic music, seemingly as informed by the hallucinatory throes of early Coil and the violent breakcore of Bong-Ra and Venetian Snares as it is by classic Nordic black metal. Strange contrapuntal riffs weave drunkenly amid crackling electronic glitch and eerie drones. Mournful synthscapes unfold across glacial rhythms and distorted doom-laden dirges. Blasts of foul, industrialized death metal pummel erupt alongside ominous piano figures and swells of sickening orchestral dissonance. Swarms of blackened tremolo riffage sweep across sputtering malfunctioning rhythms and strange electronic accoutrements. One notable difference from the previous album: the vocals, which here often take form here as a vile, guttural robotic croak, a sickeningly putrid android presence that is layered among the rest of the distant shrieks, anguished screams and chilling, garbled cries that all feel as if they are trying to escape the bowels of some nightmarish AI system...
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DIMESLAND Psychogenic Atrophy DIGIPAK CD

Appearing at the end of 2014 as a digital-only, self-released title, Dimesland’s Psychogenic Atrophy was met with little fanfare, yet made an immediate and powerful impression upon those who heard it. Described by Invisible Oranges as a "sonic nightmare of thrash...that blends instrumental ability with the progressive stabs of Dimension Hatross-era Voivod..." and landing on numerous end-of-year best-of lists, Psychogenic Atrophy flattened just about everyone who encountered it. With members of art rock legends The Residents' touring band and blackened prog-doom ensemble Wild Hunt amongst their ranks, Dimesland released the promising Creepmoon EP a couple of years prior on Vendlus, but even that only hinted at just how maniacal the band's sound was to become. The eight songs featured here combine dizzying musical complexity and fearsome dissonance with a sort of off-kilter thrash. The confounding and complicated arrangements and demented riffing recall the likes of Watchtower, Coroner and Atheist, but this is darker, weightier, more sinister stuff, the band hurtling through the jagged arrangements of songs like "Institutional Gears" and "Xenolith" with an almost No Wave-informed abrasiveness, but also frequently sprawling out into well-crafted sequences of abstract, unearthly ambience and forbidding, hallucinatory industrial noisescapes...
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Though Gnaw Their Tongues has hardly been quiet in the interim, what with recent collaborations with Alkerdeel, the release of the Collected Atrocities collection and recent high-profile performances in the US at Maryland Deathfest XIII and Apex VI, it's been a good three years since the last full-length album from this Dutch nightmare machine. But with new album Abyss Of Longing Throats, Gnaw Their Tongues has returned in full ravenous glory, offering another hellish cacophony of mangled industrial black metal, lurching deformed heaviness, twisted electronic carnage and bombastic orchestral power that sounds like no one else. From the frenzied black swarms that sweep across the doom-laden death industrial of opener "Lick The Poison From The Cave Walls" that eventually resolves into a glacial haze of bleary, blasted bliss, to the hallucinatory black metal of "Through Flesh" that fuses staccato violins, terrifying choral singing and grueling mechanical doom to one of the most emotionally stirring sequences yet heard in the band's catalog, Abyss continues to chart the evolution of Gnaw Their Tongues' sound. There's plenty of the grueling industrialized heaviness and violent orchestral sounds the band is known for, but this new material also expands upon the filthy blackened doom at the heart of Gnaw Their Tongues' music with those moments of striking melodic power, moments where all the horror surging through these songs suddenly transforms into something hauntingly elegiac. Brief passages of tragic beauty, scattered throughout an abyss roiling with relentless programmed blastbeats, somber chamber strings hovering mournfully amid tortured shrieks, harsh clanking percussion and blasts of raging orchestral chaos, all writhing together into another exhilarating descent into total demonic delirium from this monstrous outfit. ...
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    When it comes to slavering, skull-crushing heaviness and flesh-destroying death metal barbarism, nothing I've heard this year has fucked me up as much as the debut album from Legion Of Andromeda. Diabolical in its minimalist approach, the new album from Tokyo-based duo Legion Of Andromeda wormed its way deep into my brain upon first hearing it (thanks to a recommendation from fellow Maryland label Unholy Anarchy), unleashing a grinding nightmare of violent, industrial doomdeath rooted in a barbaric simplicity, moving in endlessly cyclical percussive patterns. It makes perfect sense that the band enlisted none other than Steve Albini to record this album, as the monolithic percussive pummel of Big Black is an admitted influence on Legion's sound. Iron Scorn was first released on vinyl by the aforementioned Unholy Anarchy, with At War With False Noise handling the European release, and is now being followed up with a CD release by Crucial Blast to further the blast radius of this immense debut. As opener "Transuranic Ejaculation" bellows across the first moments of Scorn, the band's combination of primitive bone-crushing riffage and minimal, mechanical tempo seems overly simplistic, even monotonous. Each song centers around little more than a pair of interchanging riffs that circle endlessly over an unfluctuating mid-paced drumbeat that rarely deviates from a simple combination of metronomic crash cymbal and rumbling double bass. Keep listening, though, and Legion Of Andromeda's seemingly atavistic heaviness begins to reveal a perversely hypnotic quality, the brutal repetition and savage cyclical flow of these seven tracks turning into surprisngly infectious blasts of ravenous, concussive doomdeath.....
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For nearly a decade, Dutch avant-black/doom entity, GNAW THEIR TONGUES -- named after a particularly evocative passage from the Book Of Revelation -- has been infecting the underground with a uniquely disturbing brand of chaotic heaviness. Fusing together malevolent, rumbling doom with rabid, noise-damaged aggression and blasts of fearsome orchestral power and industrial pandemonium, and draping these lurching, hellish dirges in an oppressive atmosphere thick with horror and despair, the intensely nightmarish music of GNAW THEIR TONGUES defies easy categorization. The sum of all GTT’s construction and execution is the work of sole architect and madman, Mories, also known for other destructive output with Cloak of Altering, Pyriphlegethon, De Magia Veterum, Aderlating, Mors Sonat, Pompidou, Dimlit Hate Cellar and others. Before the release of the band's Crucial Blast debut, An Epiphanic Vomiting Of Blood, in 2007, GNAW THEIR TONGUES crawled into the black metal/industrial underground via a number of ultra-limited EPs which quickly went out of print, and are now sought after by fans of the band's abject blackened horror. Collected Atrocities 2005-2008 is a new double CD anthology that gathers together essential, out-of-print early recordings from the band that span the first three years of GNAW THEIR TONGUES's existence, compiling the Preferring Human Skin Over Animal Fur, Horse Drawn Hearse and For All Slaves... A Song Of False Hope EPs, the material from the Static Hymnal compilation, and other rarities from the bowels of the GTT archive...
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EMIT Spectre Music Of An Antiquary DIGIPACK CD

The latest album of murky graveyard ambience, deranged synth, phantasmic dread and ritualistic black drift from this cult UK outfit, their first in nearly ten years. Surrealistic, spectral music and nocturnal delirium transmitted from beyond the veil and steeped in the mysteries of old Britain, like some twisted, eldritch fusion of Fabio Frizzi, In Umbra Malitiae Ambulabo-era Abruptum, and 80’s darkwave. 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...
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T.O.M.B. Pennhurst / Xesse DIGIPACK CD

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...
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EPISTASIS Light Through Dead Glass DIGIPACK CD

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)...
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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"...
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ENBILULUGUGAL Noizemongers For Goatserpent 2xCD DIGISLEEVE

Enbilulugugal's debut album Noizemongers For Goatserpent was a putrid eruption of low-fi black metal, harsh noise and experimental, anti-musical weirdness that arrived with a splat on the black/noise underground in 2004, infused with a Black Legions-style mix of weird invented mythology and garbled language. The album first appeared as a super-limited CDR released by the now-defunct Rusty Axe label, a home for some of the most demented experimental black metal of the past decade, and has been out of print in the physical realm for nearly a decade. It's been one of Crucial Blast's favorite releases from the band, a vicious, hideous mass of churning blackened hatred and brain-warping chaos that has now been resurrected as a deluxe double disc set that features more than an hour and a half of bonus filth, all re-mastered for maximum ear-hate by Enemata Productions, and presented in a new digipack design with artwork from acclaimed underground illustrator Jeff Zornow...
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THEOLOGIAN Some Things Have To Be Endured GATEFOLD LP

The latest offering from NY synth-death master Theologian (aka Leech, also the mastermind behind the renowned power electronics/death industrial outfit Navicon Torture Technologies), "Some Things Have To Be Endured" features eight new tracks of punishing black industrial, apocalyptic darkwave frequencies, and nerve-rending electronic deathscapes. "Endured" is a collection of collaborations between Theologian and a lineup of female vocalists/artists from both within the industrial / noise / dark ambient / coldwave realm and beyond, with contributions from Rachael Kozak (Hecate), Kristen MacArthur (Sewer Goddess), Rachel Maloney (Tonikom), Nikki Telladictorian (Prometheus Burning), Patricia Benitez (Fetish Drone), Gillian Leigh Bowling (Teloahqaal), Christiana Key (Delphic Oracle), Joan Hacker (Factoria), Shari Vari (Void Vision), and professional opera singer Melissa C. Kelly. The tracks shift from grinding industrial dread to ethereal coldwave beauty, blasts of rumbling blackened synthcrush met with washes of haunting electronic melody, while always remaining rooted in Theologian's bleak, jet-black industrial sound...
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THEOLOGIAN Some Things Have To Be Endured CD DIGIPACK

The latest offering from NY synth-death master Theologian (aka Leech, also the mastermind behind the renowned power electronics/death industrial outfit Navicon Torture Technologies), "Some Things Have To Be Endured" features eight new tracks of punishing black industrial, apocalyptic darkwave frequencies, and nerve-rending electronic deathscapes. "Endured" is a collection of collaborations between Theologian and a lineup of female vocalists/artists from both within the industrial / noise / dark ambient / coldwave realm and beyond, with contributions from Rachael Kozak (Hecate), Kristen MacArthur (Sewer Goddess), Rachel Maloney (Tonikom), Nikki Telladictorian (Prometheus Burning), Patricia Benitez (Fetish Drone), Gillian Leigh Bowling (Teloahqaal), Christiana Key (Delphic Oracle), Joan Hacker (Factoria), Shari Vari (Void Vision), and professional opera singer Melissa C. Kelly. The tracks shift from grinding industrial dread to ethereal coldwave beauty, blasts of rumbling blackened synthcrush met with washes of haunting electronic melody, while always remaining rooted in Theologian's bleak, jet-black industrial sound...
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Sickness In is the third album from Portland's most wretched, Trees. Following their similarly abject slabs of feedback-doused horror and quasi-formless dirge Lights Bane and Freed Of This Flesh on Crucial Blast, the band again presents a two-song assault, each one roughly fifteen minutes in length, each a slowly rotting heap of droning slow-motion deathdoom riffs decomposing into clouds of black amplifier hum, high shrieking voices and tortured screams drifting against the glacial roar of smoking amp stacks and short-circuiting hardware. Where the previous album had Trees employing some interesting rhythmic chaos and longer stretches of ambient filth, this time around the band drops some of their most leaden, majestic riffs yet into their slow-mo filthstorm, massive saurian doom riffs slipping WAY out of the confines of 'groove' and deep into rumbling fields of charred ritualistic chanting and almost Abruptum-like states of psychotic noise...
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AELTER Dusk Dawn / Follow You Beloved 2xCD DIGIPACK

One of several side-projects to emerge from the Wolvserpent camp, Aelter is the solo effort of Wolvserpent guitarist Blake Green. With Aelter, Blake explores a similar realm of dark majestic sound to Wolvserpent, with his massive downtuned guitar roar and bleak minor key melodies being the common thread between the two projects. But where Wolvserpent blends this chugging Melvins-esque heaviness and haunting slowcore arpeggios with violins, pounding drums, and a propensity for extended hypno-dirges, Aelter dispenses with the drums almost completely and goes for a more cinematic approach using layered keyboards and gorgeous harmonized voices that reminds me of something you would have heard on Beggers Banquet or 4AD being fused to a malevolent black heaviness. Both of the Aelter albums were only released on vinyl in limited editions of a few hundred copies and are close to going out of print completely, but we have now gathered both Dusk Dawn and Follow You Beloved together in a double disc set...
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The grand master of black ambience returns with this new missive from beyond the chthonic depths. Featuring three extended descents into jet-black drift, funereal chamber music, monstrous metallic noise, booming ritualistic percussion, slit-throat recitations of formless horror, and further abyssal abominations. Fragments From The Aethyr presents a triptych of long, sprawling pieces that descend through dark layers of cinematic sonic horror. The music shifts between violin-led passages of pitch-black, dissonant chamber music backed by booming kettledrums and traces of modern music composition and the rotting exhalations of the dead, to blasts of crushing shapeless doom where huge metallic chords thunder in the deep, sending tremors of doom-laden dronemetal rumbling through the strata of Funerary Call's demonic industrial nightmares. The sound of Fragments sometimes resembles a Bela Bartok piece drifting through a fog of black-mass ambience and the murmerings of the long dead, the sound imbued with a deep ominous feel but also glowing with a mysterious dark beauty as it builds to a crescendo of black majestic power...
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The third album from the avant-death/doom ensemble Ehnahre and the follow up to the critically acclaimed 2010 album 'Taming The Cannibals' on Crucial Blast, 'Old Earth' again finds the trio of Ricardo Donoso, John Carchia and Ryan McGuire (the latter two former members of avant-prog rockers Kayo Dot) exploring their unique fusion of hellish death-doom, blackened prog, avant-jazz and experimental modern music composition, to earth-scorching result...
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On Theologian's debut album for Crucial Blast The Further I Get From Your Star..., Leech established a new trajectory for his unique brand of pitch-black, rhythm-heavy industrial music that he'd previously explored with Navicon Torture Technologies. Under this new name, the power electronics and death industrial influences were merged into even darker, more majestic sounds, crafting something that was significantly more atmospheric than his work with NTT, while also reaching into new extremes of experience. On Theologian's latest, The Chasms Of My Heart, this sound is perfected, incorporating more melody and percussion into the long, oppressive dead-world ambience and pummeling electronic doomscapes, and it's one of the best albums that Leech has brought us.
Chasms opens with what may be Theologian's most stirring and evocative piece of music to date, a monumental end-time dirge titled "Abandon All Hope" that starts off as a swirling ocean of blackened synthesizer roar before morphing into the sound of pounding metallic percussion and skull-rattling bass frequencies. At first, it's the sort of pitch-black apocalyptic death-synth heaviness that Theologian has long claimed as its own, but when the layered vocals begin to pour in, soaked in distortion and climbing skyward in a gloriously miserable multi-part harmony above an eerie minor-key hook, this heaviness is transformed into something new. Like some kind of hellish fusion of industrialized shoegaze and thunderous power electronics, "Abandon All Hope" reveals a new side to Theologian's black-hole sound that is explored further throughout these eight tracks...
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When I was first introduced to the entity known as Stalaggh a few years ago, the Dutch blacknoise maniacs crawled under my skin immediately. Couldn't really come up with a precedent for what they were doing, taking recordings of the screams and wails of mental patients and layering them against a fearsome tableau of dissonant skull-scraping noise, Merzbow levels of grinding harsh feedback and heaps of low-fi improvised black doom all but hidden by their thick curtains of demonic skree. It certainly made for some demented, evil sounding noise, and the three albums that they released made up a suffocating, bizarre body of work that seemed to challenge even the mighty Abruptum for the crown of nihilistic, abstract black horror. In 2008, the band announced that they were going to alter their sound and change their name to Gulaggh, with the new incarnation of the band now focusing on creating their terrifying soundscapes using orchestral instruments instead of the blackened ultra-harsh distortion and feedback of their previous works. And while their new sound isn't as harsh or oppressive as the Stalaggh material, Gulaggh has managed to create something that is equally disturbing and nightmarish with their debut album Vorkuta, resembling some strange fusion of abstract European improv and the howling background sounds from an exorcism ritual...
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Appearing in the early 80's as an offshoot of the legendary UK power electronics band Whitehouse, Sutcliffe Jugend soon went to to become an equally confrontational and extreme purveyor of the early PE/industrial sound, producing some of the most abrasive and violent electronics albums ever with their early Come Organisation releases We Spit On Their Graves and Campaign . Since then, Sutcliffe Jugend has continued to pursue a unique sonic vision that combines transgressive subject matter and dark, cerebral musings on violence and sexual perversion with explorations into the use of brutal feedback and synthesizer damage. In the past decade, however, the band has delved into darker, more restrained (at least on a sonic level) sounds alongside their harsher work, and Blue Rabbit is the latest such offering, unfolding like a night-terror across the album's eight tracks. You won't find any of SJ's trademark power electronics sound here, nor the dark throbbing industrial of their recent album With Extreme Prejudice for Cold Spring Records; this is a darker, more unsettling experience, heavy with an atmosphere of doom and smoldering violence, as if Sutcliffe Jugend sought to channel the creaking dread of Nurse With Wound's Salt Marie Celeste through a series if blood-freezing psychosexual nightmares...
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For nearly a decade now, the shadowy collective known as T.O.M.B. (or Total Occultic Mechanical Blasphemy) have been creating a particular brand of industrial death worship with some of creepiest recordings that I've heard out of this realm. I discovered the band through their 2007 album Macabre Noize Royale on Todestrieb, whose grating industrial rhythms, blasts of blackened noise and malformed black metal left my skull a charred husk, and I've been following their clandestine electro-acoustic experiments and rituals of corpse-abuse ever since. Now, T.O.M.B. have brought us their latest album (and first for Crucial Blast) UAG (or Undercovered Ancient Gateways, and it follows the group of crypt-crawlers through eleven tracks of suffocating black ambience and lifeless industrial pummel that strips away most of the black metal elements of previous releases, crafting a more abstract, ambient sound this time around...
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GNAW THEIR TONGUES Per Flagellum Sanguemque, Tenebras Veneramus CD DIGIPACK

Per Flagellum Sanguemque, Tenebras Veneramus. Roughly translated, with blood and whip, we worship the dark. This is the latest collection of atrocities from Gnaw Their Tongues, an eight song investigation into the rites and rituals that emerge from the copper-scented frenzy of the serial killer, the obsessive acts of death worship enacted by those that live on the edge of abyss, the limits of experience sought by black cults. The sound is, as always, immensely heavy, with fractured drums and tunderous tympani skins reverberating within a maelstrom of seething black doom, screeching classical strings, horns, piano, and some of the most vomitous vocals imagineable. However, Per Flagellum Sanguemque is marked by the most frenetic percussive attack that we have heard from Gnaw Their Tongues, with volleys of chaotic drumming, fractured blasts, and maniacally complex patterns that sometimes seem to border on free-jazz drumming...
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Though the name may be new, those who explore the more terrifying sounds found at the intersection where black metal, industrial noise, power electronics and black ambience meet surely know the minds behind this collaboration. Featuring Mories (of Gnaw Their Tongues / Aderlating / Cloak Of Altering / De Magia Veterum infamy) and Australian black noise/metal technician Nekrasov, Mors Sonat sounds little like their other projects, crafting a cold, hallucinatory strain of aural dread that draws from a strange mixture of twilight chamber music, ghastly death industrial sounds, harsh electronic noise and gleaming dark ambient, while tapping into the sort of psychic unease and violent chaos that will be familiar to fans of their previous efforts...
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Originally released on cassette in 2004 in a limited edition of 100 copies, Badb is one of the earliest releases from the Saskatchewan-based black metal/noise duo Wold. The nine tracks featured here revolve around the mythology of the war goddess, the spectre of doom that lurks at the edge of the battlefield, and begins at the heart of a roiling black blizzard and proceeds through a charred nightmare soundscape of icy corroded black metal riffs, fractured blasting, melancholic melodies blurred and smeared into malevolent new shapes, and scathing distorted witch-screams ripping through the blackness, all doused and drowned in Merzbowian levels of feedback and distortion abuse. Now presented on Cd for the first time, this early swarm of Wold's psychotropic black metal/noise terror comes with all-new artwork from Pippi Zornoza...
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WOLVSERPENT Gathering Strengths / Blood Seed 2xCD DIGIPACK

Previously known as Pussygutt, the duo of blackened psychedelic dronemetallers from Boise, Idaho changed their name to the much more ominous sounding Wolvserpent in 2010. The name is the really the only thing that changed, as the occult hypno-doom and grim, folk-stained nightmares that populated their previous albums are all intact here. This double disc from Crucial Blast collects both the Gathering Strengths Lp (Olde English Spelling Bee) and Blood Seed Lp (20 Buck Spin), both of which were previously available only on limited edition vinyl. The material has been remastered for this format, and comes in an eight-panel digipack that features both the original album artwork as well as new imagery that further compliments Wolvserpent's avant-garde witch-sludge...
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EHNAHRE Taming The Cannibals CD DIGIPACK

The new full length (number two) from the Boston based avant-black/death/doom band Ehnahre, Taming The Cannibals, is one of the more cerebral and challenging "death metal" albums to have come through the Crucial Blast headquarters this year. After being turned on to their excellent debut from 2008 The Man Closing Up, I've been itching to hear more from these warped death abstractionists; their debut instantly dazed me with its jarring, alien approach to bestial slow-motion death metal, drawing heavily from the twelve-tone serialism of composer Arnold Schoenberg and the outer fringes of free-jazz and free improvisation as much as they do from the foul black pit of early 90's death metal and doom. Even after years of devouring the most dissonant strains of death metal that I could get my mitts on (Gorguts, Demilich, Immolation, Portal, etc.), these guys stunned me with their extreme chaotic dissonance and pitch-black chthonic textures, a combination of atonal 20th century classical music and vicious blackened death laced with squalls of free-jazz horns, stretches of intense choral ambience, and blasts of calcifying glacial doom...
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Evil Walks is the first widely available cd release for Crucial Blast from Korperschwache after almost a decade of smaller, limited-run discs released through the label's Crucial Bliss sub-imprint. It's also the most focused work yet from this utterly demented Texas outfit that started out in the mid 90s as a pure noise project but gradually evolved into this weird, lumbering black-dirge that we hear now.
The eight songs that make up Evil Walks feature the signature Korperschwache moves: thumping minimal drum-machine pound courtesy of the relentlessly decisive Doktor Omega, droning dissonant riffs that veer from hypnotic noise to dismal quasi-black metal buzz, RKF's narcoleptic croaking and malevolent sneer bathed in reverb and amp skuzz, guitars humming and droning against cranked-up amps while creepy news sound bites, the distant sad howling of wolves and ear-piercing screams drift across the background...Strange post-punk reverberations rumble all throughout this disc, nothing new to those who are familiar with the myriad other Korperschwache discs that have come out since 2001 when RKF first began flirting with his odd mix of simple, mesmeric gloom-guitar and black mechanical slime, but it's never sounded better to my ears than it does here, when the music forms into this stoned blackened hypno-rock thing, the buzzing guitars and acid-scorched melodies looping over the skittery industrial beats and weird dubbed-out snares and concussive Godflesh-esque rhythms, turning into something that sounds remarkably like a mutant cross between late-80s British psych/drone rockers Loop and those notorious improv-black metal freakazoids Abruptum...
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THEOLOGIAN The Further I Get From Your Star The Less Light I Feel On My Face CD DIGIPACK

The Further I Get From Your Star, The Less Light I Feel On My Face is the latest chapter from New York power electronics/synth-death demon Leech. This is the first full-length, widely available release from Leech's new incarnation as Theologian, which picks up where he left off with his long-running project Navicon Torture Technologies. Over the past decade, Navicon Torture Technologies blurred the edges of power electronics and dark industrial on albums like The Church Of Dead Girls (2002, Malignant), VTERVS (2008, NCC) and The Gospels Of The Gash (2009, Malignant) before ceasing operations in 2009. Now reconstituted as Theologian, Leech again explores the further realms of experience with a new form of blackened synth dread that combines many of the sounds that made up NTT's crushing electronic attack (Swedish death industrial, classic power electronics, harsh noise, powernoise) with a new level of heaviness and droneological power...
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...Riding atop the recent wave of black metal/noise hybrids who combine the bleak frosty riffs and blackened ferocity of underground BM with blown-out and corrosive strains of industrial noise (see also WOLD, Emit, Grief No Absolution, Enbilulugugal, Vargr), the Australian one-man band Nekrasov has so far made a substantial mark in the realm of extremist necro-racket with a series of limited edition, brutally abrasive albums (Cognition Of Splendid Oblivion, The Form Of Thought From Beast, etc) that have mostly been self-released, save for some recent offerings on labels like Siege Of Power and Chrome Leaf. Early on, Nekrasov's sound was steeped in caustic noise, a blazing industrialized black metal assault that was doused in heavy levels of irradiated distortion and Merzbowian skree. But more recently, it's mutated into less metallic regions, alternating the hyperblast black metal with forays into crushing, demonic wall-noise and blasted ambience. Now, Nekrasov is back with a new full length (the first for Crucial Blast), and it's the most advanced slab of their blacknoize terror that we've heard so far. An octagonal prism of isolationist drone, flesh-rending mechanical black metal, abstract otherworldly beauty, claustrophobic industrial dread, and the most violent, suffocating strains of harsh noise, Extinction is pure cyclonic contempt for humanity....
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GNAW THEIR TONGUES L'arrivée de la Terne Mort Triomphante CD GATEFOLD

...One of the extreme metal/industrial underground's most unique bands, Gnaw Their Tongues arises again with a new album of majestic, orchestral death-terror called L'arrivée de la Terne Mort Triomphante, a series of five hymns to the death shroud, a celebration of dissolution. This Dutch one-man avant black/doom/industrial band is responsible for two of the most chilling albums of abstract heaviness to have been released in recent years (An Epiphanic Vomiting Of Blood and All The Grand Magnificence Of Perversity, both from Crucial Blast), but with this new full-length, Gnaw Their Tongues peels back additional layers of it's bombastic horror to reveal moments of euphonic beauty more than we've heard on the previous albums...
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...Ohio is rotting. Fistula once again team up with Crucial Blast to deliver another heavy dose of their septic, filthy, lumbering death-sludge in the form of Goat, a five-song Ep of low-fi and low-end nihilistic filth and rabies-laced caveman thrash with songs based on the ghoulish discovery and subsequent investigation of the eleven decomposing bodies found in the Cleveland home of Anthony Sowell in the Autumn of 2009...
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TREES Freed Of This Flesh CD

...The mysterious Portland ensemble Trees return with their second offering on Crucial Blast, Freed Of This Flesh, with two new fetid death rituals scraped from the crypt. Each of these tracks averages around fourteen minutes, an extended death-rattle formed from black glacial riffs suspended in space, tectonic percussive rumbles, anguished shrieks of torment and abject suffering, deep guttural demon-toad throat singing, and endless sheets of glistening metallic feedback that spill and drift to the far edges of their extreme time-stretched ambient doom...
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...First appearing as a limited edition LP on the Spanish label Throne Records in 2008, Monarch's Mer Morte is now made available on cd and digital as a single unbroken thirty-four minute sludge-and-feedback feast that sprawls out further into the dismal black void that these French doom junkies have been lurking in for the past six years. As with previous releases, Monarch move through massive blackened tarpits of low-end riffage and sheets of gluey feedback that are stretched out into monolithic slabs of sound, a grim, glacial ultra-doom that crawls at a saurian sub-tempo. And vocalist Emilie sounds as gaunt and ghostly as ever, her vocalizations materializing across the spatial doomscape as distant ululating wails, breathy whispers, and putrid death shrieks ...
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YEAR OF NO LIGHT / KARYSUN Adoration / Salvation 7" EP

... a new limited edition split 7" featuring one exclusive track each from French underground sludge/metal bands Year Of No Light and Karysun, pressed on clear wax and limited to 1000 copies....

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... Eight Bells is the first new release from Subarachnoid Space in four years (following 2005's The Red Veil on Strange Attractors). Featuring the recording lineup of Daniel Barone, Melynda Jackson, Lauren K. Newman, Daniel Osborne and Steven Wray Lobdell, the music of Eight Bells continues in the heavy lysergic vein as their last couple of post-Release albums, fusing wicked metallic crunch with ethereal fx-laden guitar freakouts and some of the band's most narcotized jamming yet....
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... The second album from French deathtronix duo Whourkr, Concrete is a whirlwind of electronically processed and treated avant-death/grind that is as violent and brutal as it is complex and obsessively constructed, relying as much on samplers and sound-editing software as it does on bonecrushing technical riffs, vicious screaming and hyperspeed mechanized chaos deathgrind filtered through a futuristic cuisinart of ultra-aggressive electronica, like a freaked-out epileptic mashup of Atari Teenage Riot, Agoraphobic Nosebleed, Venetian Snares, Blut Aus Nord, and Fantomas...
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SCOTT HULL Audiofilm II 3"CD
CBR79 known for his amazing thrash/grind riffage in the bands Pig Destroyer and Agoraphobic Nosebleed, Scott Hull has been gradually revealing another side of his musical persona over the past few years, an obsession with cinematic soundscaping and dark evocative film scores, mutant electronic textures and pitch-black isolationism that employs brilliant production trickery to immerse the listener in a vibrant, active aural environment...on this second Audiofilm 3" CD, Scott creates a much more frantic and energetic soundscape, this one alive with minimal bass-shuddering pulses and keening tone manipulations, layered swarms of insectile electronic chitter, swells of shadowy ambience, brain-melting plasma blasts, and vast tectonic drones. A brief (at 12 minutes) but amazing dose of abstract dark ambient/noise that will appeal to fans of Bastard Noise, Astro, and freaked-out 70's sci-fi synth soundtracks...
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GNAW THEIR TONGUES All The Dread Magnificence Of Perversity CD

...Picking up where 2008's An Epiphanic Vomiting Of Blood left off, Gnaw Their Tongues is back with nine new tracks of fearsome blackened orchestral chaos and abstract horror that still sounds like little else out there. On Dread, we're feeling an even heavier bass-assault compared to the other releases, and this is easily the heaviest Gnaw Their Tongues release yet. This monstrous, noxious bottom-end roar that skulks and slithers throughout the album suggests a foul fusion of Abruptum (which is still the closest reference point to Gnaw Their Tongue's black chaos) and Leonard Rosenman's most nightmarish film scores, piled in towering heaps of sadistic noise, warped orchestral strings, degraded samples, shrieking voices, and punishing lurching doom draped in suffocating atrmosphere. Hyper-abstract black metal sound-collage? Wagnerian avant-doom psychosis? That's one way of putting it, but Gnaw Their Tongues is ultimately impossible to pin down, defying simple categorization as this album plunges even deeper into a black pit of total cinematic horror, sexual perversion, and shapeless heaviosity....
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... this forty-minute epic moves from pulverizing industrial dirge blanketed with heavily textured layers of processed guitar and fearsome gutteral roars intermixed with captivating female vocals, to passages of haunting dark ambience and bottom-heavy churn, and a magesterial finale that stretches gloom-ridden moody riffage, vaporous electronics and dramatic male/female singing across the song's final fifteen minutes, a tense, slow buildup that erupts into an earth-shaking crescendo of super heavy riffage. Immensely bleak and heavy, Born Again brings together elements of Godflesh's industrial pummel, black metal, tribal dirge , the violent nihilism of Swans, doomy death metal, and even some black strains of psychedelia into a monumental metallic black hole .....
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THE HUMAN QUENA ORCHESTRA The Politics Of The Irredeemable CD

...crushing and oppressive, a crawl through abstract fields of low-end sound that move from punishing blasts of ultra-heavy machine-doom and earth-shaking tectonic riffs, to thick fogs of black electronic ambience that shimmer with subsonic pulses and celestial drones, the presence of malevolent electricity crackling in the air around the lumbering, nightmarish electro-sludge monstrosity of the Human Quena Orchestra. And at the same time, there are passages of immense beauty on this album that lurk at the peripheries of HQO's malevolent crush; the track "Aspirations" for instance, where pummeling slow-motion industrial percussions grinds in an infinite loop beneath a swirling nightsky of kosmiche synthesizers and heavenly, blissed-out ambience...
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GENGHIS TRON Board Up The House Remixes Vol 5 LP

...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...
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...The 12" vinyl for Wildildlife's Peas Feast is coming soon, too. The band released this EP as a handmade CD-R that has been sold at shows over the past year, but the songs on Peas Feast are so cool that we wanted to give this a proper vinyl documentation, and have been remastered for vinyl by Scott Hull at Visceral Sound. The record will be pressed on yellow wax with black splatter in an edition of 1,000 copies, and will also come with a digital dropcard that will allow you to download the tracks from the Peas Feast EP as well as a digital-only EP titled Drongolet Demos that has a bunch of unreleased tracks from Wildildlife....
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SCOTT HULL Audiofilm I 3"CD

...a terrifying fug of demonic drone that utilizes delirious stereo panning and slabs of obsidian ambience, and it slowly unfolds over the length of the piece to reveal layers of malevolent black drone and unsettling voices seemingly lost between planes of shadow. Audiofilm I plays out like a wildly hallucinogenic horror film score, and anyone into Scott's previous ambient/soundscape work will find this to be one of his darkest pieces yet. The disc is limited to a single pressing of 1,000 copies, packaged in a tiny 4" x 4" glossy gatefold jacket with stunning full color artwork from artist Seldon Hunt. Recommended to enthusiasts of the isolationist terror of Painkiller’s Execution Ground ambient disc, Lustmord, and Scorn...
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BLACK ELK Always A Six, Never A Nine CD

Always A Six, Never A Nine is the second album and the follow up to the 2006 self-titled debut from Portland, OR aggro wreckers Black Elk, whose psychotic brand of crushing, noise-rock influenced heaviosity is a return to the unhinged underground rock force of bands like Jesus Lizard, Melvins, Black Flag and Hammerhead. This new album features ten songs of seething weirdness, with the dissonant, crushing riffage, lunging rhythmic push and awesome freaked out, Yow-esque vocals of singer Tom Glose that made their debut a fave among anyone who remembered the days when Amphetamine Reptile ruled the underground rock scene, but with some interesting new elements (bleak, blackened guitar ambience, a smattering of piano, skyreaching guitar harmonies, etc.) that add new shadows to Black Elk's ferocious sound. Always A Six, Never A Nine is packaged in a heavy four-panel gatefold jacket with an eight page lyric booklet.
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GNAW THEIR TONGUES An Epiphanic Vomiting Of Blood CD

Gnaw Their Tongues, an enigmatic project from the Netherlands that has wowed fans of messed-up heaviosity with the phenomenal Reeked, Pained and Shuddering CD that was released on Paradigms along with a host of super-limited CDR and cassette releases, is joining the Crucial Blast roster for the CD release of the new full length An Epiphanic Vomiting Of Blood, which was released as a limited edition vinyl release at the beginning of 2008 on Burning World Records. This undefinable mass of black amorphic horror is one of the most intense listens we've engaged in recently, a nihilistic pit of howling orchestral strings and blackened abstract doom, operatic female voices plunging into a fetid sewer of filth and blackness, equal parts avant black metal and splattered sludge and symphonic horror movie score. An overwhelming deathscape scrawled in jagged figures across pieces like "My body is not a vessel, nor a temple. It's a repulsive pile of sickness" or "Sawn asunder and left for the beasts", and flecked with moments of unbelievably crushing beauty that may surprise fans of Gnaw Their Tongue's previous work.
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GEISHA Die Verbrechen Der Liebe CD

This hour-long, six track monolith follows Geisha into a psychedelic black storm, their blown-out and raw rock infused with a bone-rattling recording and covered in a thick sheen of white noise and gritty distortion. As with their previous album, the spirit of seminal noise rock / sludge rock (think Cherubs, Melvins, My Bloody Valentine's Isn't Anything for coordinates) is combined with violent, chaotic NOISE and tainted with blurred VHS cassette visions and vague allusions to BDSM, and then jammed through an orgone accumulator, forming a ferocious, crushing rock beast that reveals it's powerful hooks and melodies underneath the churning distorted bass rumble and sludgemetal riffage , blasts of psychedelic drone-noise and corrosive skree, percussive pummel, and deranged singing. The sound is immense, and the first five tracks on Die Verbrechen Der Liebe deliver Geisha's in-the-red heaviness and hooks in surplus. "Prelude To Amber Pays The Rent", "A Wilderness, Except By Sight", "Sportsfister" - every one is a crusher.
But then Geisha pull out the monstrous thirty-minute, thirty-five second closer "Theme From Diana", and the tone changes completely. This track is a re-working of a "metal percussion" set that Geisha originally performed live several years ago, and it begins as a slowly building fog of voices and effects and shimmering metal that blooms into an expanse of droning, fx-heavy guitar, looping samples, cosmic effects, and improvised percussion. It's a kind of rumbling industrial dronescape that stretches out forever, until suddenly in the last few minutes the drifting drones and psychedelic guitars and sampled voices suddenly explode in an immolating nuclear blast of overdriven, speaker-annhilating noise and the track immediately, terrifyingly changes shape into a monstrous lumbering noise-metal dirge that bulldozes out of your speakers, whooshing Hawkwind effects swooping overhead, the band knotted together into a white-hot blast of ultra heavy riffage, distortion, and a wall of percussive force. "Diana" is one of the most crushing pieces of music that I have ever heard from Geisha, like some majestic and brutal conglom of Swans, Skullflower, Merzbow, and Burmese forged into a destructive space-metal supernova.
Crucial Blast is releasing the CD version of Die Verbrechen Der Liebe in a limited edition of 1,000 copies, packaged in a full-color gatefold jacket.
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The first real release from the Japanese glitch/shred duo Noism, following their appearance on the Relapse compilation Drummachinegun and a series of demos. Formed by guitarist Yoshiro Hamazaki and programmer Tomoyuki Akiyama in 1999 in Tokyo, Noism focuses on ridiculously complex and spastic death/grind instrumentals using programmed drums that are cut up and spliced back together into impossible rhythms, a million brain-melting riffs and dissonant shredding, all of which is chopped up and processed into abstract death blasts that defy physics. This twelve-song, twenty-one minute disc features a unique, glitched-out chop shop of Planet Mu-style beats delivered at truly meth'd levels of chaos fused with sweeping technical death metal. Insane. Highly recommended for fans of extreme, way-out avant-guitar spazz and absurdly technical deathgrind.
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TREES Lights Bane CD

The debut album from the Portland quartet Trees delivers two epic tracks of monolithic, blackened doom metal with a twisted, noise-damaged approach and a dank basement vibe. Trees craft glacial abstract riffs and rivers of ashen amplifier goo that fans of feedback-laden heaviosity will find highly satisfying, a kind of grinding, slow-motion black hole psychedelia that has a similiar hypnotic death-ritual quality as artists like Bloody Panda and Khanate, but with their own unique trance state of swirling guitar textures, horrific jet black dronescapes and ghoulish, excoriating vocals. Features members of the PDX psych-sludge outfit Tecumseh (Important Records). This CD edition of the TREE's debut comes in a Stoughton printed 4-panel gatefold case.
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NADJA Desire In Uneasiness CD

Following a wave of recent reissues and re-recorded versions of older CD-R titles, Desire In Uneasiness is an album of all new material from the acclaimed Canadian dreamsludge weavers Nadja. Five colossal jams of eternally-fuzzy, ethereal dirge that are powered by the interlocking bass guitars of Leah Buckareff and Aidan Baker, who set loose a wave of monstrous grinding bass riffs amidst a fog of beautiful, swirling electronic effects. Desire also marks the first Nadja album to feature a live drummer in place of the drum machine programming that has driven the band's previous recordings, and the difference in the band's sound is apparent from the first crushing beats of album opener 'Disambiguation'. The organic drumming here takes Nadja's music into new realms of spacious jazzy exploration, dubby rhythms and cavernous psychedelia, while also delivering some of the band's most grooving, crushing hypno-bliss yet. Desire also stands out from the rest of the Nadja catalog for it's bizarre artwork that Aidan commisioned from his friend The Reverend Aitor. Aitor's bright, bold lines and textured magic marker artwork gives the gatefold jacket we've presented this disc in the look of a twisted children's book on acid, with weird images of chickens, trees growing through chairs, and more. The package is a sturdy 4-panel gatefold jacket printed by Stoughton, and it looks killer.
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Heavy, crunchy riffage rolls over celestial FX freakout and gang choral voices: part gluey pop hallucination, part psychedelic blast furnace, part metalloid skullcrush. Super melodic and catchy but vaguely menacing and dark at the same time: this is WILDILDLIFE. Their debut full length Six follows up a fistful of CD-R and vinyl documents and summons a wicked whirlpool of dense distorto crunch and freaky singing, raging metallic percussive pummel, tribal rhythms and crushing effects-soaked guitars, subdued floatational drones and ecstatically gorgeous melodies, all let loose in a series of psychedelic slowcore eruptions and swirling cosmic sludge. Going back and referencing a review that Terrascope Magazine printed about one of the band's earlier CD-R releases, this sounds vaguely like Black Sabbath and Butthole Surfers jamming together with ancient forest mystics, an experience both brutal and beautiful, and which proves that Wildildlife have already established themselves as serious purveyors of blown-out mindmelt heaviness.
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A reissue of Skullflower's acclaimed 1992 album IIIrd Gatekeeper, featuring the lineup of Matthew Bower (guitar), Stuart Dennison (drums and vocals), and Anthony DiFranco (bass). IIIrd Gatekeeper is an immensely heavy album that was originally released on HeadDirt, the label run by Justin Broadrick of Godflesh/Jesu/Final fame back in the early 90's, and featured Skullflower at their heaviest, grinding out slow, sludgy riffs and crushing, almost industrial rhythms amid a tempest of psychedelic guitar noise and dense sheets of feedback - easily the most crushing, rock-based music that Skullflower ever produced. IIIrd Gatekeeper served up a skulldozing dose of post-industrial dirge rock that sat comfortably next to Godflesh, Swans, and Ramleh in terms of dark, druggy, hypnotic lumbering heaviness. This is one of our favorite albums ever at Crucial Blast, and we are presenting this reissue with new liner notes, a new package design that retains all of the original artwork from the HeadDirt release, and a remastering job courtesy of Scott Hull at Visceral Sound.
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A re-issue of the out-of-print 2004 monsterpiece from the Melbourne, Australian trio Grey Daturas. Originally released through the band's own Crashing Jets imprint, Dead In The Woods is a massive exhortation of lumbering metallic sludge rock, freely improvised amplifier noise and crushing riff splatter, and massive, sky-streaking psychedelic corrosion. The Crucial Blast re-issue of Dead In The Woods features a full remastering by Scott Hull at Visceral Sound, and will also come with a brand new packaging design via a 4-panel case printed by Stumptown Printers.
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Lush, shimmering guitar ambience and hypnotic, propulsive instrumental heaviness wind through the dusty highways and burnt twilight skies of "An Ocean Without Water," the sophomore album from Richmond's Souvenir's Young America. Divided into six flowing movements, "An Ocean Without Water" is filled with intensely beautiful melodies that drift on lonesome harmonica strains and sparkling, celestial electronics, shot through with mystic, western slide guitar, passages of crushing angular riffage, rolling tribal drumming, and transcendent blues. Through their intricate song arrangements and moody textures, Souvenir's Young America has created an epic, emotional narrative. The sound draws from the collected DNA of forebears like Popul Vuh, Earth, Labradford, and Neurosis, yet they form a powerfully evocative instrumental language all of their own. Features collaborations with Aughra (Magic Bullet Records) and Nick Forte (Sublight Records, ex Rorschach / Beautiful Skin).
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Richmond, VA's cinematic instrumentalists SOUVENIR'S YOUNG AMERICA present their second full length, "An Ocean Without Water," which will be released through Crucial Blast on both CD (on July 24th) and LP (shortly thereafter). The album was recorded with John Morand (Labradford, Sparklehorse, 4 Walls Falling) at Sound of Music. "An Ocean Without Water" comes in a 6-panel digipack designed by Sasha Barr.
Lush, shimmering guitar ambience and hypnotic, propulsive instrumental heaviness wind through the dusty highways and burnt twilight skies of "An Ocean Without Water," the sophomore album from Richmond's Souvenir's Young America. Divided into six flowing movements, "An Ocean Without Water" is filled with intensely beautiful melodies that drift on lonesome harmonica strains and sparkling, celestial electronics, shot through with mystic, western slide guitar, passages of crushing angular riffage, rolling tribal drumming, and transcendent blues. Through their intricate song arrangements and moody textures, Souvenir's Young America has created an epic, emotional narrative. The sound draws from the collected DNA of forebears like Popul Vuh, Earth, Labradford, and Neurosis, yet they form a powerfully evocative instrumental language all of their own. Features collaborations with Aughra (Magic Bullet Records) and Nick Forte (Sublight Records, ex Rorschach / Beautiful Skin).
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As part of our current plundering of the French art-metal underground, Crucial Blast presents the North American release of 'Nord', the colossal debut from French ensemble Year Of No Light that was originally released via the French label Radar Swarm in 2006. Year Of No Light bring an amazing set of songwriting chops to the 10 songs that make up 'Nord', a heavy, chugging metallic monster that channels both gloomy atmospherics reminiscent of The Cure, and crushing Neurosis-inspired dirgecore, heavy, raw, and lumbering, but at times extremely beautiful and epic. To us, YEAR OF NO LIGHT's Nord seems to orbit the guitar-heavy early 90's alt rock of bands like Swervedriver and Dinosaur Jr., The Cure and My Bloody Valentine, just as much as it draws from the arty, crushing metallic post-hardcore pioneered by Old Man Gloom and Neurosis. Sure, there are a ton of bands out there that touch upon similiar influences, but we can't think of anyone recently that has delivered an album in this style that is quite this catchy and well-written. Nord flows seamlessly between passages of ultra melodic post-rock and frenzied bursts of dissonant, crushing hardcore, to austere radiant guitar figures and gorgeous ambient drones, to massive doomy dirge metal, utterly gorgeous Loveless-esque melodic bliss, and some almost folksy, but unbelievably EPIC riffs, with powerful, strained vocals fighting through their wall of sound. Presented in a 4-panel gatefold case from Stumptown Printers, and featuring all new artwork.
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MONARCH! Dead Men Tell No Tales 2xCD

MONARCH! Dead Men Tell No Tales 2xCD

Hailing from the picturesque Northern Basque Country of France, MONARCH! unleash a slow motion avalanche of impossibly glacial, blackened sludge and hypnotic feedback, each song a series of epic tarpit riffage stretched out eternally over lumbering drums and the cavernous rumble of speaker cabinets. Over these yawning expanses of black void appears the demonic, throat-shredding shrieks and ghostly singing of Emilie, whose petite appearance belies one of the harshest throats in the underground Doom spectrum. Beyond heavy. MONARCH!'s mega-crawling ambient doom/drone/sludge follows in the grand tradition of fellow tarpit adventurers Melvins, Corrupted, Noothgrush, and Black Sabbath, and accompany their music with an iconoclastic design style that decorates their material with deceptively cute imagery drawing from the collective influence of Sanrio, Japanese animation, European graffiti, weirdo hardcore, and skateboard culture.
This double CD set contains both MONARCH!'s newest album Die Tonight, and the now out-of-print Speak Of The Sea LP, both released in limited vinyl editions as European imports, with additional unreleased songs exclusive to this release. The North Amercian version of Dead Men Tell No Tales is presented in an offset-printed, 4-panel case printed by Stumptown Printers, with all new original artwork in the band's unique design style.
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The fourth album from TOTIMOSHI. Slabs of crushing metered riffing and joyously ecstatic sludge ooze from the band's instruments over sunbaked vocal harmonies and flourishes of pure pop melodicism and bursts of old-school heavy metal energy. These songs wind through shadows of dusty blues and western music, riff-tastic instrumental rave-ups, squalls of immolating guitar noise, and smoldering post-punk dynamics clad in serious heaviness. TOTIMOSHI's distinctively elephantine rock grips the listener in the power of the big riff and saw-toothed hooks as it reconciles MELVINS/HIGH ON FIRE/KARP crush with pop and psychedelia, bolstered by powerful production courtesy of HELMET's Page Hamilton.



The eponymous debut from Portland, Oregon's BLACK ELK is a raging destructo rock eruption, heavy, catchy, and flattening. This ten song album contains a creeped out conglom of carnivorous charred hardcore punk, the sludgy power of primo Pacific Northwest tarpit rawk (think KARP, MELVINS, and early SOUNDGARDEN as reference points), twitchy Midwestern noise rage somewhere between Am Rep Records (circa-1991) and a more rabid DIE KREUZEN, and a goatheaded psychedelic backwoods black mass/dance party risen to a freakin' fever pitch. Total crush. Produced by Mike Lastra at Smegma Studios (EARTH, THRONES, JACKIE O MOTHERFUCKER).
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MICROWAVES Contagion Heuristic CD

MICROWAVES Contagion Heuristic CD

In the anti-tradition of whitebread Bay Area thrash metal, the violent morass of New York no wave, and a familiarity with Ralph Records / THE RESIDENTS insanity, Microwaves draws from a palette that is somehow as wide as it seems limited. Spiked skronk-infested guitars spit tonality-impaired riffs like so much chaff from a surgically calibrated tree shredder, while a propulsive fretless bass assault is jammed through all manner of alien effects, often rendering it as more a bowel-rumbling presence than an actual instrument. The percussive cyborg clatter and MICROWAVE's paranoid dual vocal attack serve to further blast MICROWAVES' dystopian thrash into the outer void. Features former 1985/CREATION IS CRUCIFIXION/CONELRAD/FATE OF ICARUS personnel.
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Tribulation. The new emission from the UK trance-noise legends SKULLFLOWER. A black-void beaming of utterly destroyed drone rock and crushing amplifier obliteration that rains down black ash and punishing blasts of feedback skree on the listener. A dynamic, bleary-eyed meditation. An avalanche of powerdrone that threatens to take your cranium apart and transport your grey matter into filthy new dimensions infested with melodic razor cuts and submerged mantras. A triumphant eruption of apocalyptic meta-metal and radioactive raga swarms, guaranteed to loosen eardrums. This album is one of the heaviest, harshest slabs of guitar armageddon from Matt Bower since the glory days of Total, and bridges the void between the krautrock/celestial free drone influence of the last few Skullflower albums, and the blackened molten death of his Mirag material.

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ACROSS TUNDRAS Dark Songs Of The Prairie

ACROSS TUNDRAS Dark Songs Of The Prairie CD

Dark Songs Of The Prairie, the first full-length album from Denver's ACROSS TUNDRAS, holds eight portraits of heavy majesty carved out of massive syrup riffage and spacious melodies. It's almost like hearing some mysterious 70's country rock outfit thawed out and refitted with mighty amplification, sludgecore tempos, and shoegazey shimmer that conjures up visions of the wide open prairies and looming mountains of the band's home territory. As weighty as the melodic heaviness coming from the from the whole "post-metal" camp, but coming from a different place altogether, ACROSS TUNDRAS draw a tangential line from Neil Young to HUM to NEUROSIS, and unleash a powerful new statement of rustic, crushing Americana. Features former members of Sioux Falls, SD post-hardcore outfits SPIRIT OF VERSAILLES and EXAMINATION OF THE...
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GENGHIS TRON Dead Mountain Mouth

GENGHIS TRON Dead Mountain Mouth CD

Dead Mountain Mouth is the wickedly anticipated full length album from GENGHIS TRON, and the follow-up to their imaginative debut EP, Cloak Of Love. Recorded at Godcity Studios with Kurt Ballou (Converge), Dead Mountain Mouth moves beyond the rapid-fire electro/grind genre-splicing of Cloak Of Love, and forms something more fluid and cohesive, an arcane union of digital dreams and brutal heaviness, where speedcore eruptions blossom from clouds of maximum beat-driven electronic bliss, and futuristic metal riffage seethes from your speakers. These ten gloriously-dense and triumphantly catchy jams soar through valleys of immense crush and alien vistas of 8-bit wizardry unlike anything you've heard before...
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GEISHA Mondo Dell'Orrore

GEISHA Mondo Dell'Orrore CD

Devouring/rebirthing the concept of "noise rock" into something frighteningly beautiful and brutally heavy, GEISHA deliver crushing blasts of impossibly hyperdistorted rock baked in massive frequency overload and massive hooks and melodies and sinister crushing riffs, all of it slathered in filthy throbbing feedback and white noise horror holocaust, like the early 90's alt rock of Isn't Anything-era MY BLOODY VALENTINE and DINOSAUR JR. mashed together with the most brutal sort of Unsane/Am Rep style racket and distortion-drenched psych/noise into a sludgy metallic mass, jamming with a small army of pedal-smashing harsh electronics troglodytes playing awesomely catchy/crushing pop songs buried beneath a hellish storm of skree and amp-blowing fuzz. Terrifying. Beautiful. Licensed for North America by Crucial Blast.
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THE GOSLINGS Spaceheater/Perfect Interior

THE GOSLINGS Spaceheater/Perfect Interior CD

Spaceheater/Perfect Interior collects the first two EP's from husband-and-wife duo the GOSLINGS, originally released as short-run CD-Rs on low-fi/indie noise imprint Asaurus Records in 2003-2004. Working with a signature palette of melted,low-fi indie pop and muggy/smeared psych-drone ambience ground through overdriven amplifiers and shot out into pools of swirling basement shudder, The GOSLINGS adorn their gorgeous powermurk with eerie field recordings, ghostly subterranean vocals, and crackling cable buzz.If SUNN O))) had, in actuality, been a late-80's dreampop outfit on 4AD Records, or if cult shoegazers MEDICINE had ever collaborated with drone-axe sorcerers EARTH, the resulting fug may have been similiar to this black-sugar avalanche. Simultaneously ethereal and blown-out,angelic strains of four-track mud-majesty shaking the walls of the ancient well it's buried beneath.
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NOT WITHOUT A FIGHT compilation 2xCD

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.
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This CDEP features one new, exclusive song each from New York tech/prog metal wizards BEHOLD...THE ARCTOPUS and shred meltdown duo ORTHRELM, overdosing the listener on spastic complexity and insane instrumental prowess that is sure to liquify your grey matter. Adorned in eye-blazing original artwork from VOIVOD's Away.

soihadtoshoothim alpha males & popular girls

SOIHADTOSHOOTHIM Alpha Males & Popular Girls CD

On their debut full length Alpha Males & Popular Girls , SOIHADTOSHOOTHIM complete their metamorphosis from purveyors of mid-90's art-damaged powerviolence to modern blastpop visionaries. Sugarcoated and venomous, these ten songs marry monstrous metallic riffing and surreal, swirling pop seizures to cyclones of gasoline-soaked noise skronk and arena-sized rock blowouts that are fronted with utter sass and ferocity, courtesy of frontwoman Libby Schaub. Alpha Males is a boldly imaginative debut, chock full of infectious hooks and crazed heaviness that references BLONDIE and indie pop, blasting powerviolence and NAPALM DEATH, pulverizing tech-metalcore, neon-hued dance punk, gleaming melodic bliss, and mutant stadium-rock anthems all in the same breath. Astounding.
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the mass perfect picture of wisdom and boldness

THE MASS Perfect Picture Of Wisdom And Boldness CD DIGIPACK

The 2nd album from Oakland California's THE MASS further refines the band's unique brand of malevolent indie-thrash, oozing a crawling heaviness not apparent on earlier releases. Crushing, epic, and melodic...moving beyond the hyperkinetic seizures of City Of Dis, here THE MASS whip out blazing, staccato riffs and multifaceted vocal attacks that knife through complex structures and sludgy, epic elegies, as wicked saxophone melodies interweave with angular crunch and creepy nocturnal post-rock. Like a stuttering, bat-winged Bay Area thrash metal outfit arming itself with Louisville/Chicago schooled math-thug asymmetry, pounding dirge-core, and fierce,evocative jazz flourishes while lobbing some whopping bonged-out grooves, THE MASS continues to evolve its cryptic heaviosity.
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totimoshi mysterioso re-issue


¿Mysterioso? , the second full length from Oakland, CA-based trio TOTIMOSHI, intersects earthquake-heavy rock and wicked sludge riffage with the wiry hooks and dynamics of 80's post-punk / new wave, Spanish melodies, and an adventurous, occasionally improvisational fuzz attack. It's like someone gave an old Beggars Banquet band a cocktail of steroids, huge amps, and battered copies of Melvins' Stoner Witch and Mainliner's Mellow Out. Heavy, crunchy, catchy,hypnotic - ¿Mysterioso? winds, grinds, and explodes every step of the way. This re-issued, re-tooled version features enhanced CD-ROM extras, including video , photos, and more.
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skullflower orange canyon mind

SKULLFLOWER Orange Canyon Mind CD

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


The infectious, adventurous debut EP from GENGHIS TRON unleashes an outrageous and virulent synthpop/grindcore mutation that smashes machinegun blastbeats, acrobatic shred, and screaming freakouts up against soaring electropop bliss. Cloak Of Love splatters the listener with lethal blasts and breakdowns one minute, and enfolds you in majestic tech-pop, gorgeous hooks, and utterly mutant dancefloor mayhem the next.
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jumbos killcrane the slow decay


The 4th album from Kansan doom-prog / dirge juggernauts JUMBO'S KILLCRANE. Leaner, darker, and far more crushing than their previous releases, The Slow Decay finds the Killcrane in an altogether apocalyptic frame of mind, unleashing subsonic frequencies that resonate with the decay of ages. Their monstrous riffs are more angular than ever, but this new manifesto also delivers soaring, stygian melodies that earlier releases only hinted at. Haunting and heartbreakingly heavy, the trio wind together barbed-wire hooks that snarl themselves around snail's pace rhythms and tarpit riffs.

infidel?/castro! bioentropic damage fractal double cd

INFIDEL?/CASTRO! Bioentropic Damage Fractal 2xCD

Undefineable, uncatagorizeable, INFIDEL?/CASTRO! return with Bioentropic Damage Fractal,a 14-part, 2-disc epic of electro-acoustic ambient metal destruction that travels the extremes of density and sparsity, speed and sluggishness, length and brevity, beauty and ugliness. Hyper-complex and hyper-epic, the band weaves an engrossing tapestry of spastic electronic carnage, sweeping melodic bliss, futuristic heaviness, and swirling, hypnotic walls of sound. Concepts of degradation and the inherent instability of the organic are thoroughly explored in this cohesive and focused double CD. Intense. For fans of Fantomas, Sigur Ros, My Bloody Valentine, Discordance Axis, and Scanner.

the mass city of dis

THE MASS City Of Dis CD Digipack

The US release of City Of Dis, the debut full length from Oakland, CA indie thrashers THE MASS delivers unto us a scalding blast of sax-assisted King Crimson-meets-Slayer art|thrash|core worship, all light-speed riffing, shrieking vox and burly singing, malevolent soft jazz,insidious tempo shifts, and bloodthirsty dynamics. Disparate elements of No Wave, damaged pop, grindcore, post-punk, thrash metal and math-rock are crafted into a blast of hyperkinetic fury, and is catchy as fuck. Pure audio dissent. THE MASS feature current and former members of FROM MONUMENTS TO MASSES and TOTIMOSHI. Recorded at Louder Studios in San Francisco with producer Tim Green (THE FUCKING CHAMPS, MELVINS, UNWOUND ). The Crucial Blast release of City Of Dis features enhanced CD-Rom video footage not available on the original European release, as well as slightly different artwork and design.
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suzkution service repair handbook

SUZUKITON Service Repair Handbook CD

Service Repair Handbook is the introductory unveiling of fine-tuned, tightly-wound instrumental heaviness from Richmond, VA riff-technicians SUZUKITON. Executing an elaborate schematic of progressive, technical musicianship and earth-shaking rock propulsion, Service Repair Handbook delivers an onslaught of anthemic, pulverizing tuneage that intersects math metal, heavy prog, and stoner rock. Features both former and current members of Relapse Records artist ALABAMA THUNDERPUSSY.
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burmese fistula split cd


Hyper destructive low-end violence from two of the American underground's most ferocious hate-sludge outfits. A dual assault from feedback-warriors BURMESE and battle-sludge titans FISTULA. BURMESE annhilate everything before them with a lethal blast of low frequency skree tantrums, cough-syrup drenched blastbeats, WHITEHOUSE-worshipping noise, and demonic free improvised violence. Think KHANATE, DROPDEAD, EARTH, and MERZBOW in an earth shattering, widow-making basement deathmatch. Ohio 's FISTULA batter up with megaheavy sludge, blistering blackened thrash, diseased rock, and some incredibly infectious riffs . Hear these tarpit battle anthems, hail the low frequency berserker. BURMESE burn you down...FISTULA pisses all over the ashes.
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doom capital heavy rock underground compilation

DOOM CAPITAL Maryland/DC Heavy Rock Underground CD

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

record of shadows infinite compilation


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.

jumbos killcrane carnaval de carne


Six tracks of angular barbarism from these Lawrence, KS cavemen with calculators. Awesome post-AM REP sludge rock, sorta like early NIRVANA on a pill bender jamming with US MAPLE. Think drunken prog rock cruising on gargantuan slabs of hammering distorto riffage and possessed wailing/crooning. This trio of grizzled Midwestern thugrockers deliver a squall of threatening runble and stutter. Cerebral and violent, subtle and thunderous,Carnaval De Carne sledgehammers the math-rock aesthetic into a twisted, towering monument of huge greasy riffs and defiant melodies. The latest evolution of pigfuck.
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spickle right to remain silent

SPICKLE Right To Remain Silent CD

This superb slab of epic instrumental metallic indie crunch is a masterful collection of complex, insanely melodic/anthemic heaviness. These New Orleans natives have created an incredible mixture of sludgy Southern swagger, soaring post-rock, and technical math-isms that have to be heard to be believed, all in succinct 2-4 minute bursts of musical perfection. Right To Remain Silent is the Southern-fried missing link between Don Cabellero, The Fucking Champs, and the Isis/Pelican/Keelhaul school of complex post-metal.
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below the sound more like a gunshot than a car wreck

BELOW THE SOUND More Like A Gunshot Than A Car Wreck CD

Desert thunder never sounded so good. BELOW THE SOUND emerge from the dust of New Mexico with a 7 track attack of stripped-down precision thud punk. High powered hooks, angular fuzz, and venomous lyrics all further entrench this trio in the guts of the current scud rock movement. Biting, catchy, and lethal, this recalls the minimalist power of the MINUTEMEN merged with NAKED RAYGUN's anthemic 'core and Am Rep noise.
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weedeater sixteen tons


A masterwork of southern fried sludgecore. The soundtrack to your next zombie beach party. Sixteen Tons churns out a black hole of thunderous, snarling Swamp Doom from acclaimed rebel rockers WEEDEATER (featuring Dixie Dave of confederate metal legends BUZZOVEN). With monstrous production courtesy of Billy Anderson (MELVINS, SWANS, CATHEDRAL), these ten whiskey soaked anthems are heavier than a mastodon trapped in a tarpit. Crusty, wasted, and buried.
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all is suffering the past:vindictive sadisms

ALL IS SUFFERING The Past:Vidictive Sadisms Of Petty Bureaucrats CD

Fueled by war and corruption, The Past:Vindictive Sadisms Of Petty Beauracrats collects both new studio recordings, plus demo and EP tracks from this visionary Maryland grind/crust/avant band. ALL IS SUFFERING combine rabidly violent grindcore and epic black/death metal with monastic chants, blackened drones, incredibly catchy melodies, and a cosmic endtime ambience. Some have compared them to HIS HERO IS GONE meets MARDUK interspersed with jet-black pools of Koner-esque drone. 14 blasts of adventurous, grim, and vicious disgust for diseased humanity.

samus desengano

SAMUS Desengano CD

Desengano is a surreal landscape of mutated freaked-rock comprised of lumbering sludge riffs that contort into tape/turntable manipulations amidst melodious keyboards and sustained guitar tones/drones. Ranging from the crushing droning doom-laden EARTH-esque guitar thud of "The Happy Sultan", and the bountiful melodies that playfully flow under the sugary electronica and plunderphonic jazz of "Super Orthopedic Caravan", to the expansive Ennio Morricone-influenced slide guitar ambience found in "Who's Pumping Estrada" and the wall reverbating drones and tape oscillating backwash that drifts into the no-wave dissonance of "Bone Ape Tit", SAMUS create a cohesive, multi dimensional soundtrack comprised of heavy duty psychedelia, avant-rock experimentalism, and opium-den cartoon soundtracks.
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dataclast earwigs split


Synapse-shredding splatter electronics!! Hyperspeed eGrind glitch violence vs. crushing cosmic electronic chaos! New Jersey duo DATACLAST forge an explosive amalgamation of hyperkinetic breaks and blastbeats organically fused to spastic glitch electronica and bestial vocals with their 29 tracks, bringing post-human grind screaming into the 21st Century. DISCORDANCE AXIS hand picked these guys to open their final show, if that tells you anything. For a point of reference, imagine the surgical grindcore of prime CARCASS brutally molested by KID 606, MERZBOW, and AUTECHRE.
And shadowy Northwest decibel merchants EARWIGS follow up a decade long career of twisted electronic noise abstraction with 6 tracks of new material that tanges from evocative shards of crystalline debris to Mecha-inspired blastquakes of apocalyptic throb.

haisha mizuko split


A meeting of two demented forces from the filthiest gutters of Los Angeles.HAISHA opens with a seriously grotesque noisecore/grind/trash hybrid, powered by jackhammer drum machines and miles of bad fucking attitude. Think early EARACHE grindcore, japanese trashpunk a la CONFUSE, and hardcore gabba smashed up in a crystal meth milkshake. Things only get worse when MIZUKO follow up with event-driven found sound ,grisly power electronics,and queasy death industrial that is misanthropic to its very core. Black transmissions from a rotting planet, unleashed on an unsuspecting ghost world. Presented in a sleek glossy gatefold package.

katastrofialue tuskatakuu 1994-1998

KATASTROFIALUE Tuskatakuu 1994-1998 CD

A 36 song semi-discography CD featuring unreleased and out-of-print material from this cult Finnish crustcore band. A must for fans of violent crust,raw-punk, and noisy blown-out thrash! Formed in 1992, the devastating Finnish ensemble KATASTROFIALUE (roughly translated as "Disaster Area") delivered some of the most pulverizing scum-encrusted thrash of the past decade. The band combined an unrelenting early DISCHARGE and SORE THROAT influence with minimalistic (yet BRUTAL) metal stylings, headcrushing speed,and excruciating inhuman vocals. The band excelled at incendiary songwriting and memorable,gritty (yet sometimes beautiful?) atonal riffs laced with acidic vocals that employed their native tongue....expressing nihilistic,transcendentially intelligent and morbid ruminations on life through the lyrics.Awesome,brutal crustcore.This full length semi-discography CD features an unreleased studio album, their tracks from the NOT WITHOUT A FIGHT double CD compilation on CRUCIAL BLAST, more unreleased studio tracks, and their material from the 1994 split 7" with FREAK SHOW."Tuskatakuu '94-'98" comes packaged in a DVD style shrinkwrapped plastic case and features a Glossy booklet with lyrics, Finnish-to-English translations, liner notes, and more.

bodybag romance gincrusher hymns


Fractured and fucked up, freaked-out black/grind/ sludge/mung metal driven by disharmonic riffage and sub-basement toilet bowl vocals. Heavy, bad-azzed metal with blastbeats and the occasional psych influence. The band deliberately combines traditional extreme-metal with seventies rock, Appalachian music, and influences from the new wave of 80's metal, plus a hearty love of Scandanavian death metal and punk, as well as Swan Song-era CARCASS. Swan Song fucking ruled, so eat it. The result is heavy as a dump truck, full of wildly unpredictable shifts in tempo, tone, and texture, a schizophrenic blunt musical trauma. This disc has six studio songs (including a deranged cover of MOUNTAIN's Mississippi Queen), followed by a couple of blown out live tracks and some chaotic demo tracks. Abrupt, churning guitars and intensely overdriven blastbeat drumming along with the aforementioned cover of the MOUNTAIN tune all absurdly downtuned and speeded up into a big atomic blur. The demo tracks are similar to the studio ones, with rougher production values (but still clear and every bit as intense). Early tracks like Workshed Assassination offer a thrashing mix of honking hell-wave guitar, churning beats, and pure attitude problem. Like the CONVERGE template being appropriated by neanderthals.Broken metal....scum doom....trashcan blast metalcore mashup. Comes packaged in a handassembled 5"x8" sleeve with handmade origami-esque inserts that are so intricate they're stupid. Defunct and swept under the rug.