Coal magnates, ragers and grinding rock ´n´ rollers got up to cast, to hammer and to sharpen their new - never sober - CD album. As they promised - as they did and the album is here!!! 1/2 hour of HOPsaaHEYsaaDOBRaanDAYsaa GRINDing ROMPing sign: people want a fun password: we wanna drink answer: who is dancing - is not troubling bonus: two videoclips.
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20 tracks of viciously sick oldschool Finnish splatter Grindcore in the way of REPULSION, IMPETIGO, ULCEROUS PHLEGM, early CARCASS mixed with a solid dose of scandinavian Death heaviness. Includes a REGURGITATE cover as well!
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Legendary all woman Japanese HC band. 1/2 studio recorded other half excellent live recording at Gilman on their CA. tour. Awesome high energy HC!
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A perfect blend of hardcore, punk, emo and pop!
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The long-awaited debut CD from Garmonbozia, whose previous demo and comp. track releases did a complete injstice to their sound. Haunting crust from Minneapolis with female vocals and cello, which varies from quiet and intricate melodies, to full-on d-beat thrash. They have been compared to the sounds of Remains of the Day and Monuments to Ruins. Contains one unreleased track.
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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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French hardcore/rock/post-hardcore on Basement Apes Ind.
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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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Ontario, CANADA's Raw Studs Punk bastard GERM ATTACK!! Featuring Joe from Tioxin245 & BASTARDATOR this is their brand new 2nd full length album still playing 100％ radioactive raw noise HC like early DISORDER, DISCHARGE! More catchy and tuneful than their past releases total UK/DK style 80's british‐drunk‐noise‐punkish‐canadian‐gasmask‐crusty‐punk attack! From CHAOS to DISORDAAARGH! 14 tracks!
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PROFONDO GIALLO! The first official release from The GIALLOS FLAME. The new sound of the giallo following in the footsteps of the classic italian gialli sound. Prog meets horror in the grand tradition of goblin, fabio, frizzi etc. Contains the full release of the underground classic PROFONDO GIALLO and also rare unreleased demos never heard before. AUTHENTIC 70'S TERROR!!!
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GRIND/ GORE - Like Haemorrhage, Fermento, Mixomatosis, Dead and atmosphere of early CARCASS
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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. Once again, we've presented the cd version of this album in a deluxe heavyweight tip-on gatefold sleeve manufactured by Stoughton, exactly the same as the sort that we used for the cd release of An Epiphanic Vomiting Of Blood, and the package includes a six-panel full color booklet. Both the booklet and the gatefold features new artwork from Gnaw Their Tongues mastermind Mories, whose artwork continues to get more insane with each new release. Their are images of depravity, masochism, and sadistic enslavement captured here that we're betting are still haunting the poor saps who assembled these at the plant.
And again, the song titles evoke total nightmare visions: "My Orifices Await Ravaging", "Broken Fingers Point Upwards In Vain", "The Stench Of Dead Horses On My Breath And The Vile Of Existence In My Hands", "Gazing At Me Through Tears Of Urine", "Rife With Deep Teeth Marks", and the whopping "The Gnostic Ritual Consumption Of Semen As Embodiment Of Wounds Teared In The Soul". The album opens with a sudden blast of pounding tympani-like percussion and roaring distorted bass, a massive blackened dirge wading through a swirling storm of metal smashing against metal, howls of anguish and terror, bursts of majectic brass fanfare and distortion and epic string sections struggling to emerge from the chaos, then turning into a sea of tense strings and choral voices spreading out towards the end that creates a less noisy but still totally evil atmopshere before becoming devoured at last by the bulldozing black industrial doom. Then it's on to "Verbrannt und verflucht", a mechanical black dirge filled with darkly beautiful orchestral strings and stumbling chaotic drumming, weaving back and forth between a crushing lopsided industrial groove and bombastic riffage that's shot through with brief sections of shimmering ambient drift and echoing chimes and harsh whispered vocals.
The next track opens with an immense deep bassline, like the shuddering tones of a massive bowed cello rumbling through an underground cave system, then launches into another stumbling industrial groove, like a broken Godflesh track draped in harrowing Bernard Herrmann strings, dissonant riffage and some of the albums most overt black metal style vocals, a seriously pissed-off ripped-throat shriek soaring over the sludge. Halfway through, the song turns into a a gripping cinemtatic dirge, just heavy drums and looped strings and ominous bassline spreading out over several minutes, then sinking back into a morass of charred distorted drone, cello and weeping female vocals towards the end. "Stench" juxtaposes a reading of a poem from Gustave Flaubert over monstrous slow-motion doom, and " L’Ange qui annonce la fin du temps" reveals a seething mass of murderous whispers and demonic black ambience, deep pounding kettledrums echoing through the pit, dissonant piano and Lustmordian darkness swirling with swarms of atonal strings and hovering drones.
A heavy rhythmic orchestral loops opens "Gazing" and leads this track into one of the album's most "grooving" moments, a massive winding doom riff working its way across pitch-black film-score strings and later joined by scathing blackened vocals. "Rife" starts off with a full minute of granular black noise before dropping in to a chaotic lurching off-time riff and a churning maelstrom of distorted electronics and looped orchestral stabs, but evolves into dreamy dark ambience laced with piano and hushed female vocals in it's second half, then exploding into a monstrous speaker-shredding bass-heavy drone at the end.
And then as if things couldn't get any more terrifying and nightmarish, the title track appears, opening with a distant female voice screaming for help (a sample I recognize but can't place off of the top of my head), her frantic screams repeating over and over and over as the vicious black doom riffage and industrial percussion pours forth, massive blasts of brass fanfares and dense strings piled on top, the sound absolutely suffocating. But then four minutes in, the doomy heaviness and strings drop out suddenly and we're left with minimal fluttering drones and slow dissonant chords being smashed out of a piano for a minute, a brief moment of almost-calm, and then the drums begin to pound and the orchestral sounds and distorted riffage crashes back in with an epic final hook that's one of the most majestic moments on the album, almost sounding like My Dying Bride but drowned in noise and filthy buzzing bass and psychotic strings.
Finally, "Gnostic Ritual" closes the album with a simple two-chord bass riff over pounding, heavily echoing drums, a blackened dubby doomscape filled with super distorted shrieks and harsh noisy ambience, slow and crushing and utterly depressing, and as the track continues the stripped down industrial dirge is slowly joined by waves of rumbling orchestral percussion, distant warning sirens, murky strings and suspended high pitched drones that builds in intensity until finally fading out on a smoking trail of crackling feedback and distorted bass.

Tracklisting:
1. My Orifices Await Ravaging
2. Verbrannt Und Verflucht
3. Broken Fingers Point Upwards In Vain
4. The Stench Of Dead Horses On My Breath...
5. L'ange Qui Annonce La Fin Du Temps
6. Gazing At Me Through Tears Of Urine
7. Rife With Deep Teeth Marks
8. All The Dread Magnificence Of Perversity
9. The Gnostic Ritual Consumption...
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Debut full length disc. American doom-horror-grind! Amazing brutal slowed down grind with Sam of Hideous Mangleus doing the vocals. Recorded somewhere in the late 90’s, released in 2007.
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Dark, cold, evil and grim Black Metal has always been associated to bands coming out from the nordic countries, who in fact were the originators of this style, but this doesn’t mean that such sound and feeling can’t be obtained by bands coming out from other countries. To end with all that bullshit stereotype, GODÜS unleash an incredible debut album displaying one of the most raw, fierce and hateful Black Metal stuff ever to come out from Spain that is sure to please every fan of bands like DARKTHRONE, JUDAS ISCARIOT, KRIEG, ZYKLON-B, ISVIND and the likes. GODÜS is here to conquer and will set a new standard in the spanish Black Metal scene!! Hell... Fuck... this is the Demon Sound!!
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Gomory serve up straight forward brutal death metal. Sick release for sure.

Gomory consists of two members and are playing since 2001. But these two Frenchmen are playing some nice brutal death metal. Deep and low vocalstyle, fast drumming and melodic riffattacks with sharp leads. Due to the fact that the guitars are very catchy, the tempo of the songs is high but with the necessary breaks and it last 35 minutes this is a succeeded debut. I really enjoyed this album and think I will play it more often. Pluspoint. - Twan - BRUTALISM
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