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CRUCIAL BLAST is stoked to be re-issuing the colossal, previously 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 dirge, freely improvised amplifier noise and crushing riff splatter, and massive, sky-streaking psychedelic corrosion, travelling the speaker-shredding void between The Dead C, pulverizing sludge, and Skullflower's heaviest jams. 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, in the vein of our other recent re-issues of crucial overseas heaviness from MONARCH! and YEAR OF NO LIGHT.
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REVIEW FROM AQUARIUS RECORDS: "...A blurry druggy mix of Hawkwind, the Dead C, Comets On Fire, Residual Echoes, Dead Meadow and Bardo Pond. The Daturas' sound is all over the map, from churning, throbbing fuzzdrug churn, with squealing feedback and choppy uneven riffing, to drifting dreamy stripped down post rock, all careening wildly between thick swaths of super overdriven psych fuzz, and drenched in crumbly distortion and all manner of wah. When they kick out the jams, it's fierce and mesmerizing, pounding and relentless, with simple propulsive percussion and spaced out swirl. Often stretching out into head nodding Krautrock jams, spacious and hypnotic. When the storms calm and the band drifts off and just sort of meanders, we're reminded of Codeine and other like minded practitioners of drowsy, druggy slow core. Still noisy, but mellow and intense, brooding and subtly aggressive... "
REVIEW FROM THE WIRE MAGAZINE: "If the melbourne sunshine puts a smile on most of its native's faces, this must be compensated for by the scowls of the Grey Daturas, an improvisational three piece intent on wiping all that is bright, clean and decent from the sunkissed land and drowning it in a muddy grave in the gape of the Pacific. "Repeat Until False" rides leaden and brutal, striating and immolating all in its path. "The Hanging Man Is No Peacock" twists in the wind, Bonnie Mercer's guitar harmonics like crows picking the corpse's eye while the sullen and cruel drums and bass of Robert McManus and Robert Mayson look on with impassive, unflinching, sunken stares. Although they cite the Stooges and Sonic Youth as influences, this is altogether darker.."
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