Not Waving shirt from the 2016 Diagonal Records North American Tour!!!
100% cotton – Alstyle apparel & activewear classic brand.
tape version of the criminally underrated black death monster from france. just take the violence of early deicide and the tom-heavy drumming of de mysteriis dom sathanas set to a contemporary but timeless sense of french satanist expression and you have what is destined to be an underground grail. true french black death metal! co- release with of crawling shadows records.
edition of 100.
With their self-titled debut, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock. The album took the trio – Charles Bullen, Charles Hayward and Gareth Williams – two years to create, and placed them at the forefront of experimental music.
The follow-up, the 20-minute Health and Efficiency, proved to be a less labored – and more conventional – record to make. Bridging the gap between the debut and their masterpiece, Deceit, the 1980 release found the band settling into a groove at their Cold Storage Studio.
The eight-minute title track, remembers Charles Hayward, “was improvised pretty much fully-formed,” and included the sound of the neighboring school’s playground and the band rolling bottles around in the gallery space next to their studio. That’s where they found the maxi-single’s sleeve too – Pete Cobb’s blue and white image was on display in the same gallery. The track was recorded using a mobile unit found in the back of Melody Maker – the 16-track Zipper Mobile studio – and elements of second album Deceit were laid down at the same time. As Charles Hayward notes: “Everything seemed to fall into place.”
On the B-side, the drone for “Graphic/Varispeed” came from the song “24 Track Loop” on the first album, albeit manipulated, slowed down and sped up. “In the process, we realized that we liked the morphing of the sound from one state to another as the vari-speed combed the sound across the equalization, like a microscope. So we recorded the process itself, which is what you hear here,” says Hayward. The intention was for the single to be able to be played at 33, 45 or 78RPM – which you’re welcome to do with this reissue, too.
This Heat were feeling their way around the recording process, trying things that had never been done before. And though they had just one album left in them before Williams departed on another voyage of discovery to India, there was still much experimentation to come from the Brixton trio.
Celebrating This Heat’s 40th anniversary in 2016, Modern Classics Recordings will re-issue the band’s catalog – 1979’s This Heat, 1980’s Health and Efficiency, and 1981’s Deceit – with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat’s process can once again be a revelation for new audiences.
The classic 1975 Italian thriller Gatti rossi in un labirinto di vetro (Eyeball), directed by Umberto Lenzi (Spasmo (RED 216XRAY-LP, 1974)), features a truly pleasant and entertaining score by the greatBruno Nicolai (The Case of the Bloody Iris (1972),The Red Queen Kills Seven Times (RED 209LP, 1972)), with an authentic ’70s Italian cinema feel to it and a catchy main theme that is definitely one of his best. Another giallo ace on Dagored. This is the first release of the complete soundtrack on vinyl. Limited edition of 1000 “splatter” colored LPs.
2015 release Hospital Productions.
We’re pleased to announce the details of brand new On-U Sound compilationScience Fiction Dancehall Classics. A curated selection of classics, rarities and unreleased tracks from the On-U Sound vaults by DJ & Audio Visual artist Trevor Jackson (aka Playgroup / Underdog). Renowned for his Metal Dance compilations of industrial-dance on Strut Records, having worked with the likes of LCD Soundsystem and Four Tet via his Output Recordings Label, and a recently released acclaimed multi edition album of his own music (FORMAT) via the vinyl factory.
This is the electro-fried avant-garde side of On-U Sound. Whilst still containing the dub DNA that define Adrian Sherwood’s productions, these tracks document a period when this sonic vision was realized through saturated sheets of electronics, reverberating drum machines and extreme chopped-up tape edits.
Manufactured and Distributed exclusively by Mount Analog for Downwards Records. Limited to 300 copies, clear vinyl. First time vinyl release of Black Dollars, from Justin Broadrick of Godflesh’s ambient leaning alias FINAL, arguably Justins’ finest moment, with “filtering interstellar guitar tones, pristine drone passages and meditative vocal melodies through layers of frost and fog”.
When the opening guitar riff of ‘From the Devil’s Tomb’, the first song off of the album by the same name, first rolled out of my speakers, I had to check that all of the wires and connections to my sound system were in order, such is the remarkably fuzzy nature of the guitar tone. It is, in fact, so fuzzy that you’ll want to name it Cuddles and snuggle up to it every night in bed. Possibly. It says something about the album though, and despite the sometimes rather grandiose musical vision, the production is fairly restrained with a rawness that evokes early 90s metal releases.
Weapon hail from Calgary, Canada, though the band was originally conceived by Bangladeshi frontman Vetis Monarch (probably not his real name) before his arrival in the snowy north in 2005. Presumably he thought that the winter climate would best serve his particularly frostbitten blend of death and black metal.
As with all of Weapon‘s output, this is an overtly Satanic record that doesn’t just flirt with the aesthetics of Satanism; it wallows in the nitty girtty theology. It also has an Eastern tinge to its instrumentation, making use of chords and scales that have no doubt stemmed and flourished from Monarch’s roots.
Taking the ambience of black metal, a certain vocal rasp and the occasional tremolo picked riff, the band emerge with a particularly eerie and atmospheric take on the death metal genre; one that focuses on riffs and songwriting as opposed to technical wizardry. ‘Vested in Surplice, and Violet Stole’ is a textured composition that writhes and seethes with machine gun drumming and neck-wrenching riffery before withdrawing into itself and taking time for some ambient reflection. Before long it’s off on another wrecking ball rampage again. The instrumental ‘LEFTHANDPATHYOGA’ is more of a melodic, mid-paced affair that makes use of acoustic guitars and soulful solos with so much reverb on them that they sound like they’re breaking through from a parallel universe. It also fills a niche market for yoga and extreme metal fans, providing a great soundtrack for corpsed-up metalheads everywhere to throw Tittibhasanas to their hearts’ content. ‘Sardonyx’ on the other hand, is a piece that begins with a strong Eastern flavour and healthy dose of tribal drumming before exploding into a lightning fast death metal cacophony.
Dynamic indeed. The album isn’t without its faults though. The stinging rawness of the production leaves the drums at the forefront of the mix, which wouldn’t be such a problem if it weren’t for The Disciple’s (that’s the drummer’s pseudonym, not one of The Twelve Apostles) propensity for using his snare drum, which at times drowns everything else out. The vocals, incomprehensible as they are for the most part, can also seem forced at times, like watching your mum try to squeeze into that pair of jeans she used to love when she was nineteen (a little analogy there for those of you who make a habit of watching your mum getting dressed).
This is a decent and commendably original album brought to life by its Eastern flairs, ambient acoustics and operatic backing vocals, yet still rooted in a very coarse, unrefined death metal sound.
JK Flesh is the new alias adopted by Justin Broadrick, the man behind revered extreme music pioneers like Napalm Death, Godﬂesh, and Jesu. But Broadrick has also always been a sonic explorer into new realms of dark, experimental electronic-fueled music, whether in his early ambient forays under the moniker Final, the warped club-music throb of Techno Animal, or his more recent caustic bludgeonings as part of the Greymachine collaboration. As JK Flesh, Broadrick has taken his knowledge of electronic sound manipulation and his penchant for violent and foreboding music and melded them into one of his most alarming and abrasive releases to date. Inspired by contemporary
artists like Prurient and their noise scene crossover industrial dance music, JK Flesh ﬁnds Broadrick rekindling his passion for the brutal, heavy, and caustic sounds that ﬁrst put him on the map while employing the electronic components that have pushed his music forward.
It’s only ﬁtting then that JK Flesh would team up with a bright new noisemaker like Dominick Fernow. Under his alias as Prurient, Fernow’s extensive discography delves into pure, unadulterated noise but also veers into more synth-conjured, melody-driven compositions. You might ﬁnd Fernow alone on a stage, shirt oﬀ, shrieking into his table of electronics, or you might ﬁnd him on stage as a member of Cold Cave’s neo-EBM live band. It’s a duality directly inspired by Broadrick’s legacy, and thus a perfect compliment to a split album release. e resultant split oﬀers up two distinct voices experimenting with a similar theme—how close can you come to total cacophony while still transmitting the basic components of a traditional song? How ﬁlthy and wretched can you render your tones while still hinting at a melody? How far can you
deconstruct a beat while still sustaining a recognizable rhythm?
Worship Is e Cleansing Of e Imagination is a product of mutual admiration, a result of two generations of artists inspiring each other and feeding oﬀ their sonic revelations. It’s only ﬁtting that this meeting of minds, this exercise in mining new territories, and this bridging of a generational gap serves as the ﬁnal release for the long-running art-metal label Hydra Head Records. While both an acknowledgment of an artist that served as an impetus to the label and an embrace of one of the underground’s most daring and invigorating young noisemakers, this split release perfectly encapsulates Hydra Head’s musical vision. While the self-proclaimed “imminent demise” of the label is certainly a tragic blow to the international community built around Hydra Head’s art metal predilections, it’s reassuring to see their swan song so perfectly capture the essence of its mission statement. Prepare to be pummeled.
“Five years in the making, Montreal’s Akitsa delivers their fifth album of spirited and inevitable black metal fatalism. A respected and passionate disciple of the black metal underground from its earliest days, Akitsa’s Outre-Tombe has remained true to the spirit of the genre, while carving out a personal space within it. Akitsa was founded in an environment of isolation. A pre-Akitsa Outre-Tombe gained experience from early maneuvers out of the DIY cassette culture of the early 90’s experimental mail circuit, and he eventually transmuted this abstraction and freedom back into misanthropic black metal — and Akitsa was born. This passionate yet primitive North American black metal pioneer came into existence regardless of any local indifference to the need for it. Fusing a love for industrial noise, punk, and creepy synth soundscapes with pure raw black metal, Grands tyrans is the most challenging, powerful, and fully realized synthesis of these various strands to date. While sonically Akitsa has matured into a perfect amalgamation of extreme music (metal, punk, experimental), Outre-Tombe’s voice has the rude and fearless energy of youth expanding upon the diversity of emotions that black metal festers in the complex mixture of violence and introspection.Grands tyrans masterfully strikes with urgent immediacy like the falcon springing through frost covered branches commencing the hunt.”
Joakim of Tigersushi Records & Furs joins the Far Away family for the latest cassette release. “This mix was recorded on a Mercury-retrograde full moon night in my studio with an odd pair of turntables, an E&S mixer, some FXs, and a selection of vinyl I recently unpacked after moving to NYC. These 80 minutes show a little spectrum of what I listen to at home – i.e. when i’m not working as a DJ – and things that inspire me. Old personal classics, oddities, recent discoveries. It was recorded 100% sober.”
Ildsvanger is the first full-length offering from the Copenhagen-based black metal project Slægt, and it’s also unarguably their strongest and most mature release to date. Performed and recorded by protagonist Oskar J. Frederiksen with drums byAdam Ccsquele Nielsen, Ildsvanger follows the same path as laid out on their earlier releases but the ten tracks that shape their new full-length takes us much further into the darkness. With Ildsvanger, Slægt manages to deliver some of the hardest hitting anthemic black metal magic that has come out of Denmark in a long time. Co-released with Final Agony Records. Limited to 500 copies.
Raspberry Bulbs is the invention of visual artist and musician Marco del Rio, who, under the guise of He Who Crushes Teeth, co-founded Bone Awl — one of the most distinguished black metal projects ever to come out of the U.S. Raspberry Bulbs’ debut album, Nature Tries Again, emerged in 2011. Hitherto a solo endeavor, RB expanded to a five-piece in the wake of Nature’s release, and sought to make a definitive break from black metal’s musical signifiers, if not its underlying themes of alienation and abjection — a path of self-discovery that culminated in the bruised, dynamic visions of their sophomore LP, Deformed Worship (BLACKEST 018LP). Privacy arrives barely a year after its predecessor, but it’s a markedly more developed and far-reaching album. Songs of excoriating intensity once again form the basis of the work — the no-frills 4-track recording capturing all the violence and nuance of del Rio’s vocals, of the dual guitar rapport, and the machine-gun rhythm section — but this time they’re interspersed with eerie electronic miniatures, instrumental pieces that suggest unseen worlds, malign energies, forces beyond our comprehension and control. This aura of the uncanny is no accident. Though it’s practically impossible to describe Raspberry Bulbs’ music without mentioning punk or metal, the band’s most important influences are literary: in particular Lovecraft, Machen, Chambers’ et al. Includes mp3 download.
Godflesh hasn’t released an album since October 2001. A World Lit Only By Fire, which follows an EP released earlier this year. Combining industrial with the sludge of heavy metal and the bass-heavy throbs of post-punk, A World Lit Only By Fire is one of those records that grabs you by the throat. There’s actually a great resemblance to the metal group Prong in this outing, which is somewhat ironic considering that Godflesh once boasted two members from that outfit. However, this incarnation of the group – consider it Godflesh 2.0 – just features founding members Justin Broadrick and G. C. Green. Full of pummeling hooks and dark visions, A World Lit Only By Fire basically rewrites the rule book for industrial.
Jealous God 01
Regis, Silent Servant and James Ruskin have revealed details of their new art and music endeavour, Jealous God.
The venture will be directed and run by Karl O’Connor (Regis), with Juan Mendez, AKA Silent Servant, working as visual director and Ruskin holding the title of music director. It falls under the umbrella of O’Connor’s long-running Downwards label (which recently launched a North American division). As with Mendez and O’Connor’s previous project, Sandwell District, Jealous God looks likely to be more than an average record label: its mission statement says the goal is to “question the here and now,” and is “intended for the mutants of our age.”
Due out in late May, the first release is a 12-inch called Sicario de Dios from SS/S, a collaboration between Silent Servant and Semantica chief Svreca. This will be followed by a record from Ruskin, then further releases from Silent Servant in solo mode (with a Powell remix), O/V/R (AKA Regis and James Ruskin) and Minimal Wave regulars In Aeternam Vale. Each release will be accompanied by an art zine, while the first 100 will also feature an additional product—or “artifact”. The first record comes with a tote bag, the second with an engraved logo dagger, and the third with a military logo badge.
Jealous God follows on from the closure of Sandwell District, the collective that O’Connor and Mendez ran with Dave Sumner, AKA Function. The label shut up shop at the end of 2011, and the recent fabric 69 mix—which featured two Jealous God tracks—was the final Sandwell District transmission (the Sandwell-affiliated Wherenext? Tumblr has also been deleted).