DEAD - Christmas - Cdr out on Spahn Records

1. I Won't Be Home For Christmas
Noisebed of harshblasted rippage under a layer of propaganda and mind control. Die with some dignity. Now we have some choice. Mother PLEASE! It will not hurt if you be quiet. Carbide Inserted Vibrator. Fucking great track.

2. Oh Come All Ye Faithful
Noise Dirge Bowel Purge epic doomed to make jam blow-out featuring DEAD-spasticwallguitar&blusterdrums George-tattereddrums&destructivekeyboard Sandy-bassinthepalce Wally-vocalsnojokels.

3. Syphilis Santa (DM Remix)
DEAD rolls out a Robitussin inspired dead-industrial war drone. Samples dropped like bombs. Lucidity gets cut with a knife. The holidays can be a motherfucker.  

Picked up from Wall of Sound

Booker T. & The MG'S - In The Christmas Spirit Reissue of 1967 LP out since 2000 on Sundazed

This' by far the most awseome Christmas Record I've picked up this year. Found it still sealed at Zions Gate. Some Seriously Jive Jukes in full stereo spread on this Groove. Booker gots his organ in full Christmas Spirit. I can't believe you don't already have this in regular rotation.  

Cascades Of The Absurd: A Pacific Northwest Compilation Of Out There Acts I-V And Sometimes Puppet Shows C-21 out on Dead Accents

Tons of awesome Pacific Northwest audio oddity on this c21. Curated by Caton Ajax for Dead Accents, kudos to both parties. This is a must have. A Real treasure. Artists you already know and love, packed and stacked with quality cuts. Noteworthy note: this is the first physical release of any Pink Void material.

A
Pink Void a long sample from some esoteric, possibly foreign 70's film. ...I’m so panic-stricken. I know this is the end, and I've finished. I’m just sinking, sinking into this great black void. It crashes head first into some cult power-doom for a bit. Really good shit. This should have been 10 minutes longer.
irr. app. (ext.) twing-twong-twang twizzle whomp whomp womp; you know, irr. app. (ext.). Doin' it and doin' it well.
At Jennie Richie some weird experimental sounds with some sort of tabla drumming. Channeling their inner-Nurse With Wound. This is what an African themed pin-ball machine in the heart of India would sound like.
Broken Penis Orchestra Lets begin, countdown, don't worry if you can't follow everything that's said. My twat is twitching do it now FUCK ME FUCK ME! Not yet! Burps, fart, Oh God No! Puke, drum-roll, ignorance is converted to knowledge, information is free. You will listen and obey. You will remember nothing you have seen or heard here.
Red Squirrels [featuring Extraordinary Pigeons] Warbly drag'n'drone birds chirping lofi trip-hop break-beat layer cake blended mocha breve, no whip. No, make that extra whip.
B
Broken Penis Orchestra doles out some 5-star BPO. remember to kill, ah, gay, raggedy ann, horors, of evil, that's no good, FUCK YOU I've been on a UFO, pot is a better drug than alcohol, I had a great time doing drugs. raggedy ann. this is cool. ok. we can cut the beginning off.
Ax Jxnnee Rxchee gives us a softly buzzing smooth drone pad, answered by a brief lull, a cock crow and then some heavy stereo weirdness. All threads pull through at the end. Not sure: Ax Jxnnee Rxchee isn't the straight-edge alter-ego of At Jennie Richie, but what would that have anything to do with anything anyways.
irr. app. (ext.) lavish twinkly drones crescendo & meet bowling alley ambiance.
Pink Void gots some dial-tone drone? Maybe, I can hardly remember what telephones used to sound like anymore. Darker. Brooding black ambient. Creeper me out horror or tense situation sample. Timbers are shivered.
Red Squirrels a song like lullaby played with some sort of hurdy instrument accompanied by reverberated vocal. It's called The Good Night Song. Gordon Lightfoot, eat your heart out.

Corpse Candle - Don't Kill The Messenger C48 out now on Lighten Up Sounds

Corpse Candle, Detroit native, currently London based, has delivered Don't Kill The Messenger through US label Lighten Up Sounds. This is only the 2nd release, by artist Robert Meldrum, I've gotten my hands on, but I'm definitely digging this Corpse Candle project. Twisted up gnarly sounds. Harsh sputters, collapsing drones, savage winds, ripple-whipping the crust-cutter. Rivers of distortion rage into a demonic pit of charred feedback laced with tons of delay and echo. Down pitched vocals of the damned. Spooky gutter death electronics. Don't Kill The Messenger is something you'd be caught dead listening to.
Translucent green tape, sticker on one side. The back of the case is painted green on the inside, and they did a fine job. No, seriously. I'm looking for a reason to blither, but can find none. It's not flaking or easily scratched when abused. Jcard is thick black card-stock w/white print. Hand number /50 copies. It's a keeper.

Some links:

http://corpsecandle.blogspot.com/

http://www.discogs.com/artist/Corpse+Candle

https://soundcloud.com/lightenupsounds

BH-36.66 apt j(ext)ie irrchie - Night Wearing Feathers / Sunshine Bus Rider LP + 2xC33 + 2x artprint boxset artist edition on Black Horizons

So here's a good one. At Jennie Richie, irr. app. (ext.), and Black Horizons have teamed up again to put out a wet panty-dropper of a release. Nice & thick, sexy slick gloss box, black & gold sticker affixed with moth metamorphosis development depictions. Pair of prints, signed and numbered by the bands, postcard of the cover art. Gold on black galore. Only 66 of these, so they're hard enough to come by. The LP and one of the tapes are previously released on BH's catalog already, so really the only things specific to this box set bundle are the other tape and the rad prints. We'll just graze on that other tape for now.

For You And Telly Savalas
c33 - exclusive to BH-36.66
Cool as fuck art work. All gold print on metallic flake black. Print on every outward panel. I cant really tell what anything is but there's some aboriginal costumes and some bird-like dinosaurs maybe? Its cool stuff. Nice sleeve within a sleeve style slipcase + insert.
At Jennie Richie gets down with some serious and slightly twisted John Carpenter worship on Automatic White Syndicate Dream (Two Ladies In Japan). Watching Cartoons is almost exactly like it sounds: some wacky orchestral stuff. Keeping The Peace is an automated public service announcement, and then more orchestral haunting.
irr. app. (ext.), The Monsters Are Due On Alder Court is a total psych kraut sludge jam. Begins all smooth and easy going, floating around all atmospheric, nearly whimsical. The drum set creeps in: doing what drumsets do. Shit starts all mellowing down, there's a horses squeal and BAM! Full on Dirge-a-dellic band. irr. app. (ext.) tells the story on the insert liner notes, so I'll transcribe much of it for you and Telly Savalas.

For You And Telly Savalas

I. At Jennie Richie - Automatic White

Syndicate Dream (Two Ladies In Japan) /

Watching Cartoons, Keeping The Peace

Happiness: Tapes, Contact Mic'd Chair

and Table, Effects.

Forever: Synths, Horns, Effects.

Leslie Nichols-Rage: Bass

wm.Rage: Drums

Recorded Live 1963, at The grassy Knoll,

Dallas Texas. Thanks To Everyone.

II. irr. app. (ext) - The Monsters Are Due

On Alder Court

In the summer of 2012 I invited my sister to

visit on the vague premise of "getting her

opinion on something", when she arrived I

handed her a guitar and forced her to play it,

which was something she had never

attempted to do before. At first I had her

play to a rhythm track I had created earlier

by using one of her dogs as a hand drum,

then I switched her to a long track played

on a conventional drum kit. After several

runs using a variety of effects settings I

switched her to an electric bass and we

started the process over again. This is the

second track resulting from those sessions

-- mostly using the drum kit recordings, but

a little modified extract of the dog drumming

makes an appearance in the middle

section. Big thanks to my sis, who took up

the challenge with enthusiasm and

unleashed her own brand of rock 'n

roll armageddon

Tracy Waldron: all electric guitars and

basses

Teddy the Pomeranian: body drum and

unbridled savagery

Lucy the Chihuahua squeaks, whines and

spastic tremblation

M.S. Waldrom: the rest of it

"Dedicated to TELLY SAVALAS who killed

himself in the name of television through

successful acts of self promotion".

Blsphm / Gezoleen / Hadals / Knoll - 4way cs - Tapes of a Neon God

BLSPHM a bedroom recording of darke harshend blackmetal blasted at the speed of grindcore with searing insane vocal hate. Its a superfast blur of drum+guitar-noise over buried throat abuse.  Near the 6ix minute mark, it turns into a chill drone piece. Perfect gateway to the next artist. 

Gezoleen Synth buzz& turntable or microphone bump looped with shining pads hovering above. Creates a nice dimensional textured rhythm with no gaps or empty spaces yet plenty of head & breathing room. Suddenly jarred by a flip in the script. VOCALS like that of a poor-man's Jerry Cantrell or Ardent Vein boom in with an old school Type-o-Negative kind of feel. The music totally changed as well, but there are some familiar elements like the looped mic bump but with some distorted guitar or bass and a low bit resolution effect somewhere in there. The music sounds completely interesting but the vocals killed my boner for awesomeness.

Hadals seep in from nothing. A massive kick gongs out, exploding exponentially, rolling thunderous grimy distorted ripples, asserting superiority and commanding respect from every corner of the universe. Wet & hostile, end of the world wall type shit. Gives way to an epic cool down featuring hiss and soft shimmery crystal goblet drones. Earthy and mystical. Comparatively the most ambient thing ever. Slowly fades back into nothing... Eventually another song begins, or so it seems. No, this is just some more, thick & bad-ass death-industrial end of the world wall type shit. Hadals giving you exactly what you want. 

Knoll kicks it off with a lo-fi sample and dives right into some harsh noise jams. Distortion and Delay pedal does most of the work on what sounds like a possible open room recording. The slightly lossy recording quality may be my imagination. Dude must have a bass guitar maybe? not sure. Sounds like he had a blast playing this stuff. I can find like zero info on this project other than his name, Kevin Wright, Birmingham AL. Plenty of distorted-delay/loop grooves that dont stick long enough to play out their welcome. Bang yer head. I'm bangin' mine. Let me know if you find any other Knoll recordings k?

Self Communion / Drowner split cs out on What We Do Is Secret

Self Communion is the solo project Nic Schmidt. Maybe you've heard of some of his other involvements: Mutant Video, Pig Heart Transplant, FEEDING. Anyhow this sounds like : Distortion saturated stagger-tone walking bass loops shadowed by droned zombie vocals. Stabbing rhythms, robotic living tissue, slow-smoked bath-salts. Self Com. Hairs on the back of my neck... Creep.

Drowner rips us a bouquet of junk metal doom, walls of searing slime, disgusting scum functions, and underlying dark-ambient hate. Jams. His tracks begin at the end of Self Communion's side which seems kinda weird sci-fi outer tape space. Kinda makes for a unique split though.

I would describe these as quality recordings that capture the tone and essence of each of these killer projects. Pro production values all around. Awesome artwork featuring armless naked female mannequin with inverted cross necklace YES! Nice dubs. Imprint. Released in 2010. What We Do Is Secret.

Rape Victim Revenge - I Kill Rich Cunts C30 out now On Crystal Lake Tapes

Rape Victim Revenge: Harsh Noise project, hails from Washington state's inland empire. This tape offers up some HNW, pure and simple. Nothing esoteric or experimental here. Full-on white-hot distortion worship. Static motion. Powerful display of restraint & discipline. Firm low-end rumble, not sub-sonic or muddy, nice and tight. Thin around the waste-line but with a busty upper mid-range. My ears are constantly drawn to this area. It's like those old impact /carbon copy printers predating fax modems. Dimming the dial a bit a the high side, these sounds poke at my brain directly behind my eyes and envelope around my ears. Very listenable. Rape Victim Revenge has no use for vocals, microphones, or conventional instruments of any kind. Just HARSH NOISE WALL. After several listens, I'm almost sure both sides contain the same track. Fuck all. Listen to HNW.

Keep an eye on Rape Victim Revenge. He's played only a handful of gigs and gaining quick momentum. His next live appearance will be opening for Blue Sabbath Black Cheer / Black Leather Jesus in Seattle on March 1st, 2013.

Crystal Lake Tapes is a brand new HNW off-shoot of the WORTHLESS RECORDINGS label. They made 21 copies of this, so get it while you can. 

Regosphere / Content Nullity "Claws of the Witch" Split c30 on Dumpsterscore Recordings

Dumpster Score Home Recordings has hand crafted a slick looking release here. Glossy, purple hued cover art features some sort of monolithic brick archway structure. Fitting, it seems to evoke the feelings of solace and time worn refection that the tracks themselves arouse. Vellum strip and purple lyric sheet w/ contrasted lo res performance photos add a nice touch of class to the package.

Regosphere side contains coagulated synths stewing in swelling bass cavities, lurking in the bowels of Morpheus. Mood-stabilizing fog of blown low-drone wavering modulated flutters of creepy newly sharpened automated industrial torture probes. Clear electronic haze attacks your senses. Distorted lightning in stereo. Expertly placed hillbilly rant about how ...God doesn't hate the sinner, he hates the sin... The death-industrial force is strong with this one. Just about all the bells and whistles are right here. On this tape. From 2011.

Content Nullity lays out a couple surrealistic composed dark-industrial tracks with some straight-up PE vocals plastered right on top. The tracks compositions are strong. Numbing midriff-fuzz drones blend with loop layers of rhythmic bleak synth. Constantly building. Turning up the heat. The vocals reign over this with an assertive underwater raspy-robot decepticon sound. A little hot in the mix, but I pay no mind. Typical syllabic PE vocal pace and delivery. Climax and the deconstructive break-down. 2nd track is unreal. Sounds so good in my ears. Could play this all day. Has a catchy loop-tape feel. Fluid melody and static-saturated bass shadow walks you slowly to your grave. This time the vocals creep in like an angelic choir lost in its own forest of loop-delay & endless decay.

Eraritjaritjaka / Bestand Aus Kleinen ‎- From One Side To The Other

Eraritjaritjaka crams a shitload of harsh walls, jarring distortions, noise, choice movie quotes, and thrash metal riffs into micro snippets, firmly juxtaposed together forming sort of a story. Breakcore speedranch collage style. Moving so fast, with so many cuts, its nearly impossible to tell where the first 6 tracks end or begin. Blistering hi-fi laptopped audio barrage executed with precision. Shits on fire. The final track is a recording of a live set. These sounds convey the honesty of the live medium but are much more lo-fi and distantly hollow, like many live recordings can be, and mostly amount to tape filler.

Bestand Aus Kleinen side consists of a single HNW track. The harsh erosive wall itself is thick, gritty, and full of textured crackle, but the recording seems muffled and distant. Not as completely enjoyable as most harsh wall noise jams. This is the latest in a string of releases from the side-project of Richard Ramirez, the highly prolific Texas noise monger. I'm not good with translations, but I believe this project name translates [very] roughly into: Collection of Young Girls.

Nite Shadez - Black Holes for the Face and a Graveyard C47 out on OUT-OF-BODY RECORDS

Hailing from Denton Texas, Nite Shadez is an audio/visual electro-dust-noise duo. Live shows feature tape layering and visual projections. The visual element isn't easily communicated onto audio cassette. The J-card artwork looks like it was designed by a 4th grader. Interlaced pixel screen-shot of a bolt of lightning. Deep black purple and green aurora behind a clear overhead transparency J-card with ghosts, graveyard and album title scrolled across the bottom. Pro dubs and nice print jobs. Comes with 1" pot-leaf sticker insert. Info card on heavy paper says no computers or overdubs, play at max volume with sunglasses. Reverse side has a contrasted out photo of two dudes in sunglasses.

Nite Shadez - Black Holes for the Face and a Graveyard. The meat and potatoes of these tracks consist of drum-machine, synth pad, bass lead sequences layered with vocal mutterings, distorted moaning screams, and spoken word samples played in reverse or at high speeds. These samples bring to mind Dr Phil, but I'm too lazy to play em in the other direction to try and find out. The drum sounds are cheap synthetic outsider rhythm industrial minimalism loosely cobbled together. Usually, I would tend to enjoy this sort of approach but here it falls a bit flat. Expertly amateur conception. The recording techniques are solid. The sound itself is quality. The content, not so much.
I'm not all that into this release, but I'll hype it up anyways, cause I'm sure some young fledgling noisephile will pick this up, becoming fascinated by this genre with an 'I can do it better' attitude, and will commit to pulling off some mind-blowing recordings of their own. I'll regard this tape as seminal in that respect.

Fissures - On Frozen Waste C62 out on Worthless Recordings

Worthless. It took me a long time to get into this one. Never heard of Fissures, but with and band name like that, and an album title like On Frozen Waste, I got interested. Plus Worthless Recordings rarely steers you wrong. So, I gave it at least half a dozen shots, but it just wasn't doing anything for me. Some morose bedroom guitar tankering & some minimally applied percussive rhythm or heart beat loop thing. It's like some broke ass dude in the middle of a depressive funk zones out to the patterns on his bedroom ceiling while plucking out some mundane melody for like an hour. But then this fine foggy morning, I played the side of the tape called Morning, and everything clicked. The right time and place. Now I'm hooked like an old hat. Serene doomy guitar layers over perfectly placed wisps and bomb samples from the 40's with a baby crying. Just had to get on here and tell you about it. Fans of the far reaches in chill fringe black metal need to listen up. File next to Du Hexen Hase and Horns Valder.

COMPACTOR - Desensitization Reprocessing C32 out now on Out-Of-Body Recordings

COMPACTOR is the glitch-bent live-PA industrial-beat brainchild of Derek Rush. Never quite crossing over into breakcore territory, these tracks pack a quick pulse and some breakneck transitions. Heavily treated sequenced drumbeat patters don't usually qualify as noise, but COMPACTOR shows us that, with enough distortion, even crappy drum-machine patches sound fucking great. Crunchy kicks and filthy fuzz as fuck. 3 tracks per side. The recordings are totally pro. Nice levels. Crystal clear, this shit ain't been stepped on. No vocals. No turds. Hey DJ; get this heard on the killer PA at your local goth club.

You can get it from Out of Body Records and keep an eye of for their future COMPACTOR VHS release.

OKHA / HHL / OSCILLATING INNARDS / REDNECK 2x7"

This beautifully crafted dual 7" is the elegant companion release that dropped a few months post the PURE HARSH NOISE WORSHIP event held in Portland Oregon in the Summer of 2012. This release will serve as a point of reference, a marker in time, commemorating one of the greatest west coast noise feats of 2012 and won't likely be leaving my collection any time soon.

HHL - Astral Incursion is a hailstorm of high-gain crackle that rides a full blown deep static groove. HHL was a no-show at PHNW; most likely due to the recent relocation from pdx to Tennessee.
OKHA - Universal Restitution (Live @ Baltigate 2011) features medium-high low frequency oscillations over a searing bedrock of harsh shrill. This is a live recording and it shows. This track isn't nearly as sonically sock-offing as his live set at PHNW 2012.

OSCILLATING INNARDS - Suspended In Vanity feels like a slow burning dig through the ruins of a Fukushima wasteland. Oscillating Innards did not perform at PHNW unless you count the Black Air collab set between Sam (Rita) and Gordon that kicked off the fest.
REDNECK - Faceless is an ultimate surge of a pure harsh noise geyser that erupts with full fury. Redneck pulled out a ripper set of harsh-wall smearing-shit-on-a-dead-stare face at PHNW. Pure. Harsh. Noise. Worship.

The Broken Penis Orchestra - PlAyS WiTh ItSeLf out now on Hypnagogia

This is a 2011 re-reissue of a convoluted BPO album that was created in 1999 and originally released in the year 2000 by PsychoChrist Productions. There's a bonus Broken Penis Orchestra track at the end, taken from a Comp titled "The Bone Tickling Nightmare Pig", released in 2004 by PsychoChrist.

Cut-up fragmented overload. A million bits of music, noise, samples, errant sound effects, and weird recordings blended, looped, and layered into a quilted sound collage. Rainbow stew for ADHD stricken ears. An opus of freakishly stitched-together chunks and morsels of pure audiophilliac indulgence. There's a ton of great listening to be had on here. The longer, more drawn out segments make it easier to digest the barrage of micro-snippets and disorienting deluge of multi-genre mash-ups. Burying the needle both ways. The cuts are about as seamless as you could hope for. The cerebral stimulation levels are off the charts. A lot of ground gets covered on here. There's hardly time to extrapolate the intent or meaning behind the sounds without getting lost in the swifter currents of progressive motion. This is a timeless classic. Highly recommended to fans and even non-fans of music, noise, and everything in between.   

Carrion Black Pit / Nascitari ‎- The Conqueror Worm - c60 out on Forever Escaping Boredom Records

This tape has an Edgar Allen Poe theme, yeah? Maybe? You can't really tell by looking or listening. It looks nice. Forever Escaping Boredom Recordings did a pretty swell job here. These may even be pro dup'd, I can't really tell. Attractive to tired and weary eyes, this tape usually gets played late. So late that I've accidentally fallen asleep the last few listens.

Carrion Black Pit - Low undulating floors of molten lava juxtaposed against the white noise-ish spewing purifier motor. Suddenly that stuff goes the fuck away and the harsh wall commences  for like 25 minutes. It's a great wall of dmp rumble and upper-end crackle, but its not all there if you know what I mean. It's got plenty of bass, but the rest is all crunch with not enough bite. Other than that one small hurdle, there's nothing standing between CBP and HWN enlightenment; or whatever it is that HWNphiles seek to obtain.

Nascitari - This intro is something right outta The Godfather soundtrack or the likes. The harsh wall drops in on cue and it feels like we're right back in the middle of the same wall from side A, but with slightly different E-Q adjustments. Just as before, the wall of distortion is stacked with plenty of what it takes to be bad fucking ass. Yet there is something to be desired; so much so, that I began playing with the controls and shaped it through my rig until it better suited my palate. Noise is fun. Thanks for the time.   

Lungwash - Swatting Hold - C22 out on Worthless Recordings

Lungwash recorded this in 2012. I've never heard any Lungwash, and this tape doesn't give all that much insight as to what this project is all about. So I'm left guessing. Grainy black & white forest scene feels pretty generic at this point. The tape labels are painted, thick, black, peeling up on the sides. No signifying marks as to which side is which. Not like it's going to matter.

Ambient walls of not so harsh distorted wind and churning 60 cycle hum buzz-drone. This could even be sourced from a live mic in the washing machine. Hard to say. Garbled. Dragged through the mud. Tarred & feathered. In all honesty, this sounds kinda shiddy, but for some odd reason, I'm sorta tracking with it. Tough to pin-point the real appeal here, it's a musty old damp rag in the corner that has been avoided for far too long. It demands attention but gets no love. Festering lumpy pile of mulch. I wouldn't be at all surprised to find out this was recorded entirely in the kitchen, doing chores and boiling water for tea while utilizing contacts mics and RF frequency static.

This stuff actually reminds me of some Zionist tapes. It's got that whole simplistic, lo-fi, field-recording-wall thing going for it. I wouldn't personally recommend this tape to any harsh noise heads, but I'd let my academia noise fiends, with slight gutter appeal, have at it.

Great Falls cd MMXI

Seattle's Great Falls have had a tight grip since their debut as Hemingway at the 1st Annual Splinter Squid Affair. Shane and Demain have refined and redefined their craft over the years, leaving a prolific trail of impacting live action and release crumbs. Demian's wealth of experience, from his heydays as a west coast hardcore-star, and his keenness for stark artistic design, seem to be the core of what makes Great Falls tick. Then again, Shane, drawing from his vast experiences as a writer, (think Hunter S. Thompson) might very well be what makes Great Falls so fucking great. Shane's role in the band, other than banging on his bass and shit, is ensuring an exceeded dose of spectral and physical chaos. There might even be blood. Indeed its the symbiotic-polar-opposite relationship these two share that have fueled the falls.

First thing to notice about this cd is that there's a drummer credited on the back, Phil Petrocelli. I always remember him as the drummer for Black Noise Cannon, but I think he even played drums in Swans for a bit as well. He's the one recording and producing this album, so rest assured, quality drummer at the helm, equates to quality product. After the shock of realizing that this album contains pretty much zero noise, be ready to digest some fucking music. It's not what I'd normally expect from Great Falls. This stuff takes me right back to the late 1900's when I first discovered Botch's American Nervoso album. It's tight like that. Damn I loved that album.
I'd hate to find out Great Falls did these songs live and I missed it. I'd be pissed. Seriously though. You have a soft spot for Post-Hardcore like this. Dead Accents gots copies. only $5.

DEADBEAT - Source Tape for Deviant Behavior - c15 out on Total Fucking Filth

I've sourced it too many times to know what's what. I won't stop. Not even when I go blind. Clean sounding dub, no labeling on the clear cassette. Orgy collage artwork printed on heavy stock. It'll make yer boat float.

• Noise sounds: dying cow moo pitchshifted down a few pegs, repeats at a slow paced rhythm. Here come the flies. Great big huge fucking flies with a low-ended hum like big, fat bumble-bees. Swarming disease. The agony of slow death. Decomposing tissue beneath sun bleached cowhide.
• Kill HN and then w/samples: How's your bicycle seat smell; after a long ride? Golden shower? Pee on me! Pee on my chest right now. Shit on my face. Would you like to do that? I can show you a good time.

COMA CENTAURI / CREATURE FEATURE split tape out on WORTHLESS RECORDINGS

Side A: Coma Centauri - The Story of Wood Acts 1, 2, 3. The guy comes on telling us: "This is the story of the most versatile of all living substances. It has held man in his cradle, it warmed his hearth, it will make him his last long home. This is the story of wood." The story turns out to be a classic tale of harsh noise. Soon as the scratchy vinyl sample drops out, there's a fast stick count and you're immediately drenched in full-throttle noise. Thick and harsh bursts of blown static mixed and layered with moments of degenerating delay decay and algorithmic squall. 2nd Act has mostly the same blown-out distorted cut-up walls of static but with a clean airy synth pad floating up above and some jacked-up knob frenzy fuckery resonated sine/pitch all up in the middle. Steady gear-shifting, but cohesive enough to keep it interesting. Act III: sample: Talking about how the metamorphosis of Dr. Jekyyl in Mr Hyde is void of all good; the embodiment of evil. Evil. Yeah I guess this is a pretty evil sounding harsh ass jam. Short and sweet, maybe 45 seconds. The buried and blurred source screams kinda give it a made-for-TV-evil sort of feel. So we know its not real evil; its Hollywood evil.

Side B: Creature Feature - More Than a Monster. This is some really good Harsh Cut-up Wall. Never still or stale, there's stereo wall weirdness and dual wall manipulation. Perfect swells and grueling lulls. Tonally blown. Overload reverberation stabbed with searing breaches. Constant contact. Steady restraint. United separation. Nay a sour frequency. Crashing waves in harsh and battered seas. Creature Feature didn't throw down any old monster movie samples. Nope. They just throw down. It'd be cool if they came throw it down in my town. Let me know if you come across any more of this killer Creature Feature stuff... and no, not that emo looking band called Creature Feature. No no no no.

Shattered Hymen / Hate Basement / Hadals / Fantasy Island - 4way split cs out on TOANG

Split out on Tapes of a Neon God
Masochistic artwork with translucent red cassette tape. These tracks are an ideal length, not too anything.
Shattered Hymen is our introduction to this loaded split. His track "Gay Scene" comes on full boar kitchen sink wall. A mountain of hate and junk noise dropping pianos, breaking glass, mowing the yard in the rain. Blustering discordance. Spitting out teeth. Choking on your own rage to the soothing sounds of a wind blown Dictaphone. Turn up the bass, hot or go home. Be glad knowing this is the first track, they all get better from here.
Hate Basement drops some guitar hits like gongs for the first minute of  "Semenalized Quim" before bringing it. Creeping in the deep down and dirty harshest of harsh walls. The guitar thing passes and gives way to the complete supremacy of all that which can attain harsh stature as this. This growing mass envelops and spins you up like Gravitron. Static tendrils flung into oblivion while you wait trapped in the vortex. Just when it gets to be too mind ripping: squeal like a pig and its done. Fuck. Its damn good. I could live without the intro all together, but that harsh tone is to die for. Brutal Brutes. This might be the new heavyweight contender shit.
Hadals - "Swaddled in Bape" begins with a new age medicinal synthscape from the twilight-zone with just a tinge of blistering overdrive. This evolves into more complex mix of thick pitched ear tweezing. An array of tonal layering manipulation. Is it alive? Does it breathe? Frantic unrest; blood pressure rising. Scattered bursts of lunatic screams beneath walls of static dismay right up to the breaking point. And then chill. A calming drone. Quiet, deep. Relaxed. Before you know it, you're swept back into the madness that which you have become attune. Only this time its in focus. It's slower. You understand. You're one with the dark side. This might also be a protest song against urban clothing. I dunno.
Fantasy Island - "Chris Brown" Reborn in an intense blast of phoenix fire. It burns hot, and it burns long. Feel the fucking heat. Who do you think Chris Brown is? Huh? This is some great Harsh Noise. Fuck all the lurking hipsters. Just blistering like a motherfucker. Revs and pulls in any direction with enough horsepower to put you back in your seat. Really full tones. Above par EQing and executioning. Tender juicy crunch. Balls out FTW. See if yer mom can get some KFC on the way cause I'm hungry for more.

The Broken Penis Orchestra meets At Jennie Richie - Psychform Records 2006

The complete Dick Rage Sessions Vol 1 & 2

The Broken Penis Orchestra is Dick Flick (with several martian chimps in tow)
"Nuts!"
At Jennie Richie is Happiness & Forever + Johnny Mumbles
"Dedicated Perversionists Everywhere"

This is a double c1. Side stamped: AJR1/BPO1 & BPO2/AJR2 respectively. Slickly over-sized dual tape case. Trippy collage head-fuck/face-fuck artwork. It all looks and feels nice, but damn, this is sort of extravagant packaging for four 30 second tracks. It takes longer to read the liner notes than it does to listen to the tapes, especially if you're minding the gap. But these things and more are what's in store when you get these folks all in the same room.

BPO1 Have You ever tried to loosen the screws? - This is a song about vegetables. hysterical laughing thing trumpet accordion we dont understand people with diseases of their brains, because brain chemistry trombone fair cut snip loop fragmented collage wall.
AJR1 Streetsweeper Phone (Johnny Mumbles What?) -  is an inaudible vocal loop delay trip-out flashback. "Gip g-g-g-gip, whonuhtemr" I'm not really sure what Johnny was trying to say... My best guess: "Go, whenever you're ready"
BPO2 Marble Maker Breakdown - Distorted zips & blips blast rip tink and clank, happy little western tune sneaks in, cartoon sound effects style horns over the top. Makes me wanna go jump-up&down on the bed.
AJR2 Big Black American Homosexual (drum machine mix) - Stuttered uttered vocal wall echos, a single gong rings out, deep voiced guy says "BIG DEAL", a little jazzy trumpet jive tune with too much bass and the crowd roars. There is little to no drum machine flavor up in here.

It makes me smile, just knowing these exist. Someone in Canada has a copy for sale on discogs right now.
Just sayin'

The Barracks of Afghanistan - Mother Tongue on Spaceless Jam 2007

The Barracks of Afghanistan was the solo project of a young spunk named Ben-David. His live sets were balls to the walls all-out table-core harshness. He'd wreck his whole rig if he thought it would help it sound more rad. I read somewhere that he thought the project had run its course, so I grab-up old Barracks of Afghanistan releases whenever possible. Mother Tongue is a blistering hurricane of low rumbling distortion and errant feedback topped with aggressive knob twisting. This thing is completely solid. After toying with you and churning you out full blast, the hammer drops, completely full-bore wall on wall action. Top notch. This tape really captures the intense live feel. Levels so hot, my deck is almost smoking. Sound drops out of the right channel for a minute, just before the tape is over. Perfect cool down. Side 2 is blank. I'll get over it.

The Prowler

The Prowler, If you think you're safe, you're DEAD wrong! Coming from Worthless, you'd think this was another slasher film put to audio cassette. It's not. Pure HWN on both sides. Got to be a c40 at least. You guys know what HWN sounds like by now, but I'll tell it. Blown out static. Constantly exploding, forever. Little to no changes. Just Harsh Wall Noise. Thick. Loud. Crackling like fire. Steady like rain. Distorted Distortion. It can fuel the aggression, it can soothe the beast. It can drive you mad, it can keep you sane. It is everything all at once. It is nothing, never was, never will be. Or whatever. It's got just about all the ingredients of a bad fucking-ass HWN tape, but since The Prowler isn't here with his pitchfork all up in my face, I can be a picky-bitch and say that I'm just not feelin' this one. It's got some slight EQ issues. The levels are fine, one side is a little bass heavy and bloated, the other is just not as awesome as I'd like it to be. Fuck it. I like the splatter paint job, a lot. 

Nervous Corps + Peiiste c62 out on Human Ignorance

Nervous Corps + Peiiste is collaboration tape, near as I can tell. Nervous Corps, or Nervous Corpse as we like to say, is a solo project from one of the Blue Sabbath Black Cheer dudes. Peiiste, prolific purveyors of PE and harsh noise, are a duo from Louisiana. The first side, Against Art, Against Religion, starts off with Nervous Corps's unique brand of skewed HWN. Not all fully-blown super harsh as can be, but subtly tweaked or notched for specific frequency response. A sustained wall of unchanging harsh noise like listening to t.v. static through a hole in the wall. The track seamlessly blends into something a little crunchier, thicker, more distorted primal HN with some agro-vocals buried in the back. I may be wrong here, but this sounds more like the power electronics of Peiiste. The mix seems to blend effortlessly back and forth between the two respective styles every 5 minutes or so, which would make this a collab rather than a split, I think.
Side 2 is like a boat trolling hard through the waves of concrete distortion. Chunks fly. Sputter into overdrive, it's gunna get hairy. Crashing walls of chaos and restrained garbled harsh wall. Shit, maybe this is Peiiste's side. Maybe its going back & forth again?  I'm not even sure whats going on anymore. Somebody's making a fuck-lot of noise on this tape. No breaks, no beats, no drones, no samples, not many stupidtones to speak of, just the clutter of clatter that is HNW.

COMPACTOR - Self Destruct Sequence c20 out on WORTHLESS Recordings

Worthless Recordings finds some pretty diverse & interesting acts, like COMPACTOR. Self Destruct Sequence, Step 1 starts out like a death-industrial track with repetitious modulated pitch bursts. Some heavy breathing of Morpheus. The structure unfolds into an honest to goodness old school industrial beat sequenced with noisy little extras. No vocals, no samples, no bullshit. Think old Front 242 without the "vocal" loops. It's not a big hit really. You may not hear it spun at the local goth club; but it is cool to find out tracks like this are still being made.
Step 2 is the real gem here. It's a well plotted stroll through dark industrial-deathland. Pitch-down motor sound with low-res scraping and clanging clatter grow a rhythmical living wall of cold & grey. Eventually this single huge crashing distorted kick drops in with the decay of a falling chunk of iceberg, and its looped in perfect time: fuck-yeah, rules. Thanks for that.
Cool black and white photo of some wasted old motor from one of those Thunder Dome cars. Nice layout with the label and band contact info. Check out their Bandcamp, there's some more stuff on there. I haven't checked it out, but let me know if you come across any more physical releases of theirs.

Repeat Offender - Porn Fed out on Total Fucking Filth

With a name like Repeat Offender - Porn Fed, you should have a pretty good idea of what's in store. PE vocals. Gratuitous cliche standard: pissed-off yelling over some punchy pedal chain wall. I can almost make out the lyrics, but rest assured they're the same lyrics that every other Power Electronics act has.

I never loved you. 

I hate every thing. 

I fucking fucked to fuck!

On your knees!

You never loved me... 

The harsh noise seems thin and distant. The vocals & microphone feedback overpower the mix. That's the only trick this pony knows. These are 7 different takes of the same track maybe? The final song finds itself a balanced mix. I can actually begin to hear the raw appeal this type of PE has. RO would have been better received by trashing the rest and putting this track on a comp or split.
No liner notes. The artwork is a full color printed porno-collage on heavy paper. Attractive but shallow and ultimately empty.

Astromason + Blue Sabbath Black Cheer - Endless Black out on Worthless Recordings

Worthless didn't even put their name on this. Shame. The sides are called Endless Black I and Endless Black II. I'm guessing that this is a collaboration, not a split per say. Side I has the signature sounds of BSBC, with the super-low pitch-shifted gnarled tree-trunk vocals and hellacious rumbling wall of static. There's is also a bunch of high pitched caterwauling on top here that must be the trademark styling of Astromason. I don't know much about them, other than they're seasoned noise junkies in Japan, and that this is the 2nd Astromason/BSBC split tape.
Side II has a little bit more of the heavy wall of rumble and distortion with the high-pitched fuckery lurking slightly in the shadows. It goes down easy if you can dig easy-to-listen-to re-fried HN sludge. Overall I like side II better, because it's a solid hunk of what I love about BSBC tapes; the harsh low-blown bog-drudge goodness. Still though, the discerning ear can tell there's amateur bits of crap layered in there that makes me think BSBC has started slightly diluting their standards in regards to quality control. Even with that being said, this tapes still more jammable than most. bitches.

Vomir ‎– Petites Amoureuses Ensevelies cdr out on Victimology Rec.

Vomir - Petites Amoureuses Ensevelies. I guess I've never gotten around to checking out Vomir. Always assumed he was some dude dressed like The Crow, puke&gag vocals, slobber and tears running his make-up. Especially with album titles like this, I may still have my suspicions. As it turns out, this album is just a big rad HNW tack. Blast this like napalm in the morning, your neighbors will love it. Full bodied low-end rumbling, rich with crackling texture. Robust aroma of pure Harsh Noise Wall stench. Static, suspended in motion. Hmmm, time for a pot of coffee.

White Gimp Mask / Dead Body Collection - "My Grandfather, The Hoarder" / "Rues Sanglantes" split cdr

White Gimp Mask - My Grandfather, The Hoarder is a straight-up slab of nicely executed HNW. Static, unchanging, slow moving, fully-blown. Deathmetal pedal set to kill. Amped-up agro-noise to the nth degree, counter-intuitively soothing harsh drone or beard-stroking fodder for the nuances-of-crackle fixated, it is, what it be.
Dead Body Collection - Rues Sanglantes turns up the heat with an even more blistering display of restraint. I'm thinking DBC lit up his rig and didn't so much as even touch it for the entire 20 minutes. In pure-HNW terms, this is much more a compliment than a complaint. For some reason, less is more. This insert says "No mastering!!" So you know it's as raw and pure as can be.
Slim-sleeve 2-track cdr, no frills keeps it simple; will likely check out more from these artists. They have like 500 releases between the two of them, so it's bound to happen.

Wilt / Bereft - First Chain To the Moon / Gathering Strength out on Danvers State Recordings 2009

Wilt - First Chain To The Moon. Wind whispering soft and hallow. The deep-dark drone machine comes to life. Low and subtle wavering darkness swallows you slowly. Journey of the damned. Rotting feedback. Clanking iron. Choir winds. Numbing the pain. Haunting the abyss. Restless turmoil comforts you down. Float the blackest sea. Face the primordial nothing. This is the shit you wanna listen to for hours.

Bereft - Gathering Strength. A thick and sturdy slow-burn lone bass drone out. Just a tinge of distortion. Sinusoidal saw-tooth zonefest. Dark ambient industrial tone from the depths. In the red +1dB, just where we like it. 15 minutes of this flies on by. A Cleansing is Coming. The bass drops in. Big sustained hum answered by smothered feedback, plays a game of tug-o-war. Bathe in the ebb and flow of charred sludge.

WEEPING SWORDS - death wins every war C40 on WORTHLESS RECORDINGS

This isn't noise, but I'm digging it. It's an ethereal gloom-doom black-metal project with some sort of post martial-industrial side. The recording is pretty clear, polished, the overall sound is potent. The vocals have a raspy hoarse texture, not all gag&puke sounding. Down-tempo drum machine, dark-choir synth, dreary extras. The tracks are each solid and bring something unique to create a refreshing mix. There'r no sore thumbs here, just an unexpected sense of renewal. I'm not sure what circles Weeping Swords run in, but it feels like I'm listening to some well kept secret.

Modest, black&white Jcard, no mention of Worthless Recordings. Seek this out, you'll be glad you did. 

DEAD! vs. Dolly out on Crystal Death Records - 2007

DEAD! - Now retired Harsh-Noise solo act from the PNW.  DEAD! also is, and or was part of groups: Microscopic Suffering, Crystal Warrior, Goly Grim, and Funeral. My first DEAD! experience was at MethFest circa 2006. Back then, he was just some guy making a bunch of noise; since then, he has become one of my all-time favs.
Side 1). Dolly, yeah, that Dolly, reads aloud a letter written to her folks when she had just moved to Nashville. She's telling them not to worry, and she loves them, and she'd gotten a job etc... A sad harmonica plays to her monologue. Then there's some blown out honky-tonk yea-haw hey-hey yoda-laaaddyyyy hoe down'n. It's pretty bitchin'. Thow ya money down. Thow it down boys. Thow it down.
Side 2). DEAD! starts off with some low DSP clipping: klig;klig;klig;klig, introduces the low modulation, and sprinkles in the decay and delay. Its not super harsh really, it even gets a little wonky for a minute. The bass-fuzzed drone groove kicks in, drags you through the fog and it's smooth sailing for a moment and the tape is done. Hail DEAD!.