Ambient, Experimental, Post-Rock for fans of JESU, MOGWAI
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Originally released a year ago, here is the second effort of the highly acclaimed Polish powerhouse, now fully refreshed for a release on Selfmadegod with two bonus tracks. "Discomfort" delivers twelve discordant and chaotic shots full of mind-bending speed, technicality and savagery. It proves that vast grindcore made by ANTIGAMA is unparalleled. Punishing, shredding super-heavy modern-day sonic blast with most brutal and sickest vocals, powerful, precise guitar work and unbelievably fast and tight drumming stand out from most of the nowadays grind and metal bands. This greatly talented, unique quartet is the undisputed herald of a grind-squad assassination. Swallow.

If any album title suited a release perfectly, it'd be this one, as Polish punishers Antigama's devastatingly demented release DISCOMFORT cuts the bullshit and goes for the throat. Armed with malicious guitars that can sift through a crusty riff as well as blind you with technical wizardry, wickedly sadistic drumming, and the sort of vocals that scare little kids and household pets, this quartet's diabolical display of dissonance and distress takes the grindcore genre out of the shadows of Satan and straight to the horrors of real life. While the album goes 13 tracks deep and runs a bit over the half-hour mark, each song is given a proper amount of time to fester in your head, even as the cacophony whizzes by you at an alarming rate. If you dig Pig Destroyer, Impaled, or Nasum, you'll love what Antigama bring to the table. - In Music We Trust
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On their Relapse debut, Warsaw's Antigama are firing on all cylinders, combining the raw-power of old-school grindcore with the spastic acrobatics of modern technical metal. Roto-coaster drumming blasts through rough, angular riffing, creating a chaotic vortex of apocalyptic aggression and post-industrial spite. Resonance is a work of precision insanity, catchy misdirection, and psychotic momentum; certain to drive the listener to frenzied extremes never before experienced.
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Polish tremendous quartet Antigama takes another step forward with its third full length album "Zeroland" delivering extremely creative and diverse combination of various aggressive music styles. On this nine-song album the Warsaw powerhouse allows the listener to experience immeasurable number of speed light blasts, disharmonic grind and experimental noise. The creation gives the most intricate, dynamic and innovative sound of the genre. Manic drumming, heavy distorted guitars, gorgeous vocals and shrieks are inarguable trademarks of Antigama. Complex and twisted grind, forward thinking metal - avantgrind!

Without a doubt, Poland's Antigama offers some of the most sick and innovative grindcore we have heard in years. Furiously fast and pissed yet at times mind-blowingly technical, Antigama splices raw, old-school grind stylings with cinematic jump-cuts creating a maelstrom of sheer fury and mathematical precision. - Relapse.com
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Antigama from Warsaw, Poland and Drugs Of Faith from Virginia, USA team up for a split disc inspired by the Napalm Death / Coalesce split, In Tongues We Speak. Following in the footsteps of that bi-national split of grindcore and hardcore, Selfmadegod Records from Poland is poised to release the Antigama / Drugs Of Faith split 3"CD on an eager world audience.
The three songs representing Antigama's share of the CD are the last ones that the band is issuing before the awaited Relapse debut full-length, Resonance. The quartet turns in two original songs packed full of its trademark sound and a cover of a classic Goblin song.
As for Drugs Of Faith, this power trio delivers three new tracks that offer a taste of what the upcoming full-length on Selfmadegod may sound like. The band has new surprises up its sleeve, having churned out spanking new material for this team up with Antigama that takes its sound further down the road hinted at with the self-titled mini-album, both musically and lyrically.
Not content to have two bands from the same obvious genres or sharing the same influences go head to head on a split, as often happens, Antigama and Drugs Of Faith's individual sounds play against each other, resulting in a jolt for the listener as the tracks alternate between the two bands on Selfmadegod's latest release. The split 3"CD should be a must for fans of either or both groups. An old hand at steering grindcore in the studio, Szymon Czech (Nyia, Third Degree, Antigama), has mastered this double-barrel disc.
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Mike Hrubovcak's (Monstrosity, Vile, Divine Rapture) project. Experimental Industrialized Deathmetal. AZURE EMOTE mixes deathmetal with noise, trance, and electronic elements to produce passionate and strange sound manipulations.
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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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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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New CDep audio and video plus patch! recorded and mixed at Music Lab, Berlin / Germany by Harris Johns.

(Le) Scrawl was formed by Mario and Peter in 1989. Initially playing typical grindcore they eventually blended it with a bunch of different musical styles - not necessarily stuff they’re huge fans of, but music they’re listening to occasionally, like jazz, ska, swing, etc.
In the beginning they were mainly influenced by grindcore and death metal; by bands like Extreme Noise Terror, Terrorizer, and Napalm Death. They gradually tried to introduce other various styles of music.
In 1992 after recording 3 demo tapes they started to work with Ecocentric Records. In 1993 they played their first show (Bremen, Germany) followed by gigs with Anal Cunt, Cripple Bastards, Agathocles and fellow Germans, W.B.I., Necrophiliacs, and Pink Flamingos. In June 1997 they played their first gigs abroad (Slovenia).
In 2002 they reformed with a slighty changed line-up and established a new collaboration with “Life is Abuse” (US) and “Regurgitated Semen Records.” (GER).
(Le Scrawl has since toured California in 2004 and played the “Extreme Obsene” Fest in Czech). (last.fm)
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Toronto ambient/shoegaze duo NADJA illustrate their eclectic roots by covering their favorite artists. From My Bloody Valentine and The Cure to artists as impossibly diverse as Slayer and Elliot Smith, this album contains eight carefully-selected covers re-imagined through NADJA’s unique sonic blueprint.
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Noisecore Freak' debut release boasts 19 tracks of the most brutal and chaotic industro-grindcore composed. Digitally remastered and remixed, this uncompromising assault of chaotic madness will attack your nervous system without any remorse and there is no cure! Features 19 tracks.
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With Agathocles, Scrawl and 7 Minutes Of Nausea. One of the most amazing tribute-cover-songs compilations — most trax are absolute different to theire originales
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No matter whyever THE FANTASTIKOL HOLE quartet deserves to be on a label catalogue, they're simply uncategorizable in the current century and for that reason should be heard out by any passionate of freaky music out there. Melting both experimental and metal scenes in an all-star 26-track episode, this digital piece dwells in machine-driven grindcore.
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The extraordinary two-piece Zombi has reappeared with Surface to Air, the long-awaited follow-up to its acclaimed debut Cosmos. Surface to Air teems with the stirring, trance-inducing deluges of rhythm and sound the duo is renowned for. Swelling waves of melodic synth ride atop a broad bass and drum foundation. Sequences of repetition roll, build, and unfold with the measured patience of master artisans. Less an album than a moving, breathing mass of symphonic sound; Surface to Air creates boundless moving pictures that are nothing short of breathtaking.
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