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Some items below may be tagged with a bold, red, all-caps "out of print/unavailable" notice. This does NOT mean that all other items not so tagged are, in fact, in stock -- or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us -- please email our mailorder department for availability status -- or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.


album cover !T.O.O.H.! (!TOTAL OBLITERATION OF HUMANITY!) Order And Punishment (Earache) cd 15.98
Tooh? Tee-oh-oh-ech!!? What's that? Oh, TOTAL OBLITERATION OF HUMANITY! Nice. Of course, they're one of those mean and blasting grindcore bands, and a really good one, on the weirder side of the genre -- or genres, in their case, since the Czech Republic's misanthropic !T.O.O.H.! tend to blenderize metal, punk, jazz, and other elements in their music.
We've actually been fans of these freaks for a long time, and were pleased to see 'em get a release on big time extreme metal label Earache, especially as we'd never been able to stock their cds regularly before, since they were all hard-to-come-by Middle European imports. Now we can get Order And Punishment anytime we want to spank all y'all with. And a sonic spanking it is, an utterly spastic spanking of technical death grind insanity. Ripping rollercoaster songcraft, full of widdly neo-classical guitar, vehement vocals in Czech (about what, we don't know), dizzying changes, and some valiantly thrashing riffs... it's really those "classic" metal elements that turn this into a headbanger's ball for us, and make Order And Punishment a worthy repeat listen. What a bunch of nutters.
MPEG Stream: "Abu-Hassan"
MPEG Stream: "Padaji, Piskaji"

album cover 1349 Beyond the Apocalypse (Candlelight) cd 15.98
If you walked into Aquarius right now and came up to me and asked: hey I want to hear some truly violent and grim Norwegian black metal! And it better be good! I want my ears to fill with black blood and my face to instinctively become a snarling grimace as my head bangs uncontrollably!! What would I do? Well, I might point you towards Immortal or Gorgoroth... or I might just hand you this new disc from Norway's numerically-nomenclatured 1349. Already notable for boasting the legendary drummer Frost from Satyricon in their ranks, this band became underground superstars upon the release of their previous full-length, Liberation, which was simply one of last year's best black metal albums. Just ask Wrest from Leviathan, who provided AQ's rave review of it at the time. The prospect of a new 1349 made our black metal lovin' hearts go pitter-pat and we're not disappointed with it now that it's here. Still fast still grim still better than 99 percent of their competitors. Compared to Liberation, this is marginally less fuzzy and buzzy, revealing what sounds a bit more like a 'real metal band' than some trance-inducing drone act. They're breaking no new ground riff-wise, but the guitars are savage and bleak, the drumming simply insane, and surprises lurk in dark corners of this record. 1349 are just so ...classy. So, in answer to your question, I would confidently say, get Beyond the Apocalypse!
MPEG Stream: "Nekronatalenheten"
MPEG Stream: "Blood Is The Mortar"

album cover 1349 Demonoir (Prosthetic) cd 14.98
It seems like we were the only people who loved the last 1349, the experimental black industrial aboutface that was Revelations Of The Black Flame. A twisted, lurching tangled of convoluted blackness, and abstract black drone, some of the darkest weirdest black metal shit we'd heard in ages. But folks pissed and moaned, "why isn't it fast?", "where are the blast beats?" and on and on and on. But c'mon, were we the only ones who did NOT want to just hear Liberation Part 4, or Beyond The Apocalypse Part 3? Seems like it.
Well, all the haters can breathe easy, cuz Demonoir is a return to the frenzied black blasts and insanely furious buzz that defined 1349's sound, but listen close, and there's still some weird shit going on. First off, every song is separated by a short instrumental track, each one denoted "Tunnel" plus a digit, contributing to the seamless flow of the record, and allowing the more by-the-numbers blackness to get some breathing room. These interludes range from effects drenched metallic drones, to creepy backwards pianos and acoustic guitars, woozy minor key melodies, and blackened industrial wastescapes, super tense Herrmann like cinematic ambience, to deep cavernous drones, and washed out shimmery white noise.
But it's not just the interludes, the band may have managed the impossible, melding their grim frosty blast of old, with their obvious desire to twist and transform and experiment. The result is some seriously epic and convoluted and yeah sort of experimental black metal, but subtle enough that folks how just want to bang their hands or thrash about, will be perfectly happy, while the rest of us can strap on headphones and get way lost.
"Atomic Chapel" is total classic 1349, but not quite, creepy spoken word, some weird start stop arrangements, some atonal piano buried in the mix, mysterious voices, chanting, all tangled up with some of the fiercest black metal ever. It's a pretty potent mix. Elsewhere the blasting blackness gets weirdly melodic, almost NWOBHM in parts, but then the band stretches it out, transforming it into a droned out chugscape, rife with wild moaning leads, that turn into effects drenched squiggles.
The pianos pop up now and again throughout the record, as do some more surprising melodies, more unlikely arrangements, the title track being maybe the strangest of the bunch, a woozy midtempo workout, all hissed and whispered vox, tangled spidery guitars, a super progged out arrangement, psychedelic and moody and fucking awesome.
On first listen we were sort of bummed out, thinking that the band had caved, and ditched the experimental stuff to placate the naysayers, but after listening a bit closer, we're beginning to think that in some ways, it's almost MORE subversive than Revelations Of The Black Flame, not so overtly fucked up, but infused throughout with a sort of insidious weirdness, that will worm itself into the minds and souls of the grim kvlt masses, whether they realize it or not.
MPEG Stream: "Atomic Chapel"
MPEG Stream: "When I Was Flesh"
MPEG Stream: "Psalm 7:77"

album cover 1349 Hellfire (Candlelight) cd 14.98
RAGE! This is the brand of blazing fast, berserker black metal that, if you were perhaps a less civilized and controlled person than we'll assume most readers of the AQ list to be, would perhaps result in you throwing yourself bodily about your room, thrashing, trashing, destroying things until your cd player suffers a critical blow and some semblance of reason returns to you with the sudden silence. Well let's hope that scenario never takes place (or if it does, nobody blames us for recommending this album). But listening to this frenzied blackness can certainly be cathartic even if there's no physical (only psychical) reaction. It's exuberant and extreme corpsepainted carnage up there with the best of 'em -- we're reminded particularily of the fiercest tracks by Immortal.
Yes indeed, the high expectations we had for upandcoming Norwegian black metal battle cruiser 1349's third outing, are met or exceeded in spades with the release of Hellfire, which features as always the inhuman drumming of Satyricon skinbeater Frost, who slows things down for some well-deserved headbangs only occasionally, but mostly drives the album forward faster than an Aquarius customer pouncing on a new limited edition vinyl Boris release! The blurring speed of Frost's drumming is well-matched by singer Ravn's angry, raspy throat abuse and the jagged riff shrapnel flying from the guitars. Swathed in an atmospheric cloak of evil, buzzing, distorted near-melody (especially the album's final, title track, which somehow clocks in at exactly 13 minutes and 49 seconds!), Hellfire is hyperspeed ultraviolence of the highest calibre. If you already like 1349 you know what to expect. Everyone else, watch out.
MPEG Stream: "I Am Abomination"
MPEG Stream: "Sculptor Of Flesh"

album cover 1349 Hellfire (Back On Black) 2lp 23.00
Now available as a super deluxe limited 2lp!
RAGE! This is the brand of blazing fast, berserker black metal that, if you were perhaps a less civilized and controlled person than we'll assume most readers of the AQ list to be, would perhaps result in you throwing yourself bodily about your room, thrashing, trashing, destroying things until your cd player suffers a critical blow and some semblance of reason returns to you with the sudden silence. Well let's hope that scenario never takes place (or if it does, nobody blames us for recommending this album). But listening to this frenzied blackness can certainly be cathartic even if there's no physical (only psychical) reaction. It's exuberant and extreme corpsepainted carnage up there with the best of 'em -- we're reminded particularily of the fiercest tracks by Immortal.
Yes indeed, the high expectations we had for upandcoming Norwegian black metal battle cruiser 1349's third outing, are met or exceeded in spades with the release of Hellfire, which features as always the inhuman drumming of Satyricon skinbeater Frost, who slows things down for some well-deserved headbangs only occasionally, but mostly drives the album forward faster than an Aquarius customer pouncing on a new limited edition vinyl Boris release! The blurring speed of Frost's drumming is well-matched by singer Ravn's angry, raspy throat abuse and the jagged riff shrapnel flying from the guitars. Swathed in an atmospheric cloak of evil, buzzing, distorted near-melody (especially the album's final, title track, which somehow clocks in at exactly 13 minutes and 49 seconds!), Hellfire is hyperspeed ultraviolence of the highest calibre. If you already like 1349 you know what to expect. Everyone else, watch out.
MPEG Stream: "I Am Abomination"
MPEG Stream: "Sculptor Of Flesh"

album cover 1349 Liberation (Candlelight) cd 15.98
1349 was once an obscure Norwegian black metal entity with one ep featuring Satyricon's Frost as session drummer. It was really great, actually, but it's only now with their full-length debut that people are starting to pay attention. Frost judged 1349's merits well and has joined as a permanent member -- if that isn't recommendation enough to you, here's what black metal expert Wrest (of tUMULt label black metallers LEVIATHAN) had to contribute:
"15 or so years after the birth of the second black metal storm, most of the so called 'original' black metal bands have changed direction in an effort to evolve. These acts have chosen to add different elements (rave, techno, way too much synth, etc...) or go in directions of so-called 'growth'. Fortunately, this is not the case with 1349's Liberation. From start to finish, Liberation is Arctic blackened terror, rendered at hyper velocity. The production is appropriately raw and cacaphonous, which makes for a guitar tone like a sonic guillotine, headed for your face at eye-level. At first listen the drums sound like they must be sped up. NOBODY can play that fast! Not so. It is merely a new snare-drum sound for Frost (a man few can hope to match at any speed). Most impressive is 1349's mastery of what most 'black metal' bands choose to leave out: the METAL! Along with loathsome, Satanic lyrics there are tasteful shards of igneous thrash and true metals. This record is a death-threat to all the 'evolved' black metal acts, prancing about flamboyantly in their pathetic raver-existences. Not to be missed... if you like the real thing."
And as purely Metal as Wrest insists this is, we'd be remiss if we didn't also point out that the insanely fast drumming and the solid buzzing hiss of the guitars make this disc a trance-drone record capable of appealing also to open-minded avantgardists as well as Immortal and Dissection fans!
MPEG Stream: "Riders Of The Apocalypse"
MPEG Stream: "Legion"

album cover 1349 Revelations Of The Black Flame + Works Of Fire Live (Deluxe) (Candlelight) 2cd 13.98
A quick look online reveals a crazy amount of negative feedback and terrible reviews for this, the newest record from Norwegian black metal supergroup 1349. Most of that negativity stems from the fact that everyone seemed to be hoping for a Hellfire Part 2. Hellfire being their last record, a frenetic non stop blast of frenzied lightning speed berserk blackened buzz. Which is strange, because we were actually hoping for something different. Hellfire was SO fast, and SO relentless, so much so that in many places it just became a furious black blur, which is fine, and we do love that record, but where does a band go from there? Certainly not faster, but somehow, faster seemed to be what most folks expected. What we can tell you is no one expected THIS. Slower. Weirder. Even a Pink Floyd cover. Could this really be 1349? It is, and it's awesome. Dark and lurching doom-ed blackness, shades of Celtic Frost for sure (whose Tom G. Warrior did some production work here). So fuck the haters, we already have a Hellfire, this is something way more interesting and original.
The record opens with some anguished screams, which give way to a long drifting dronescape, deep rumbling dark ambience, thick and layered, caustic and ominous, before finally lurching into song, but not in a black blast, more of a chugging pound, a little bit of tangled blackness, and then woozy, midtempo meander, atonal chords, off kilter rhythms, lots of start and stop, the tempo sort of sea sick, the vibe still WAY sinister, but much more abstract and avant, and way doomier, and it suits them. At first it seemed like maybe drummer Frost was wasted here, but finally, he has the opportunity to do something other than blast maniacally.
The second track is more of the same, a lumbering doomy bit of avant blackness, with gnarled riffs, simple pounding percussion, the arrangement mathy and convoluted, sounding more like Thorns or Khold or Tulus, which is a very good thing.
The record does offer up some blasting black metal, but not a whole lot, as one disgruntled reviewer put it "there's like maybe 10 minutes of ACTUAL black metal on the whole record!", which is true, the majority of the record is still 'black', but much weirder, slower, atmospheric, with a few straight up ambient tracks, long snarling dronescapes, spaced out stretches of gauzy piano wrapped in streaks of feedback, and bits of glitchy buzz, drifty chunks of guitar flecked rumble and whir, all butted up against awesomely twisted bits of black doom weirdness.
One of the best tracks sounds like a Deathspell Omega jam slowed way down, "Uncreation" is all woozy and tangled and almost gothy at points, but with cool bursts of staccato almost industrial sounding chug, and those dense black riffs, pulled apart and wrapped around the pounding rhythms.
The record closes with the haunting "At The Gate..." which begins like some doomdrone record, all downtuned guitar drone, thickening and sprawling like some noxious black cloud, it eventually splinters into a song, but all that means is the wall of guitar buzz and grinding low end is peppered with occasional drum pound, distant guitar leads, and super creepy processed vocals, before eventually blissing out and drifting off.
And let's not forget the Pink Floyd cover. It's almost unrecognizable, but for THAT bass line, super fuzzy and distorted, drifting through swirling layers of effects, the vocals whispered and doused in delay, the drums a machinelike pound, the guitars unfurling all manner of strange sounds, drones and whirs and shrieks and buzzes, no proper riffs, it's the bass and drums that drive this track, the guitars left to fill in the surrounding space with all manner of blurred black ambience. Haunting and spaced out but still plenty black.
As if that weren't enough, while we have 'em, Revelations comes housed in a slipcover, with a bonus disc, a live recording, from in Sweden in 2005, raw and lo-fi and fierce and furious, perfect for folks still hankering for some Hellfire, this should definitely satisfy, meanwhile, the rest of us can revel in 1349's strange new direction. WAY recommended.
MPEG Stream: "Invocation"
MPEG Stream: "Serpentine Sibilance"
MPEG Stream: "Uncreation"
MPEG Stream: "Set The Controls For The Heart Of The Sun"

album cover 1349 Revelations Of The Black Flame + Works Of Fire Live (Deluxe) (Candlelight) 2lp 28.00
NOW ON VINYL!!!
A quick look online reveals a crazy amount of negative feedback and terrible reviews for this, the newest record from Norwegian black metal supergroup 1349. Most of that negativity stems from the fact that everyone seemed to be hoping for a Hellfire Part 2. Hellfire being their last record, a frenetic non stop blast of frenzied lightning speed berserk blackened buzz. Which is strange, because we were actually hoping for something different. Hellfire was SO fast, and SO relentless, so much so that in many places it just became a furious black blur, which is fine, and we do love that record, but where does a band go from there? Certainly not faster, but somehow, faster seemed to be what most folks expected. What we can tell you is no one expected THIS. Slower. Weirder. Even a Pink Floyd cover. Could this really be 1349? It is, and it's awesome. Dark and lurching doom-ed blackness, shades of Celtic Frost for sure (whose Tom G. Warrior did some production work here). So fuck the haters, we already have a Hellfire, this is something way more interesting and original.
The record opens with some anguished screams, which give way to a long drifting dronescape, deep rumbling dark ambience, thick and layered, caustic and ominous, before finally lurching into song, but not in a black blast, more of a chugging pound, a little bit of tangled blackness, and then woozy, midtempo meander, atonal chords, off kilter rhythms, lots of start and stop, the tempo sort of sea sick, the vibe still WAY sinister, but much more abstract and avant, and way doomier, and it suits them. At first it seemed like maybe drummer Frost was wasted here, but finally, he has the opportunity to do something other than blast maniacally.
The second track is more of the same, a lumbering doomy bit of avant blackness, with gnarled riffs, simple pounding percussion, the arrangement mathy and convoluted, sounding more like Thorns or Khold or Tulus, which is a very good thing.
The record does offer up some blasting black metal, but not a whole lot, as one disgruntled reviewer put it "there's like maybe 10 minutes of ACTUAL black metal on the whole record!", which is true, the majority of the record is still 'black', but much weirder, slower, atmospheric, with a few straight up ambient tracks, long snarling dronescapes, spaced out stretches of gauzy piano wrapped in streaks of feedback, and bits of glitchy buzz, drifty chunks of guitar flecked rumble and whir, all butted up against awesomely twisted bits of black doom weirdness.
One of the best tracks sounds like a Deathspell Omega jam slowed way down, "Uncreation" is all woozy and tangled and almost gothy at points, but with cool bursts of staccato almost industrial sounding chug, and those dense black riffs, pulled apart and wrapped around the pounding rhythms.
The record closes with the haunting "At The Gate..." which begins like some doomdrone record, all downtuned guitar drone, thickening and sprawling like some noxious black cloud, it eventually splinters into a song, but all that means is the wall of guitar buzz and grinding low end is peppered with occasional drum pound, distant guitar leads, and super creepy processed vocals, before eventually blissing out and drifting off.
And let's not forget the Pink Floyd cover. It's almost unrecognizable, but for THAT bass line, super fuzzy and distorted, drifting through swirling layers of effects, the vocals whispered and doused in delay, the drums a machinelike pound, the guitars unfurling all manner of strange sounds, drones and whirs and shrieks and buzzes, no proper riffs, it's the bass and drums that drive this track, the guitars left to fill in the surrounding space with all manner of blurred black ambience. Haunting and spaced out but still plenty black. WAY recommended.
MPEG Stream: "Invocation"
MPEG Stream: "Serpentine Sibilance"
MPEG Stream: "Uncreation"
MPEG Stream: "Set The Controls For The Heart Of The Sun"

16 Bridges To Burn (Relapse) cd 14.98

MPEG Stream: "Throw In The Towel"
MPEG Stream: "Skin And Bones"
MPEG Stream: "Me And My Shadow"

album cover 3 INCHES OF BLOOD Advance and Vanquish (Roadrunner) cd 16.98
Without even reading this review, you probably know already if you're the sort of person who'd be interested in purchasing an album with song titles like "Destroy The Orcs", "Crazy Nights", "Axes Of Evil" and "Wykydtron". And if you are, AQ sez you should definitely buy this one! But read on for the details.
Listening to this album, you could be forgiven for thinking it was a German power metal troupe from 1985...but this disc is brand spankin' new, and the kids in 3 Inches Of Blood are from Vancouver! And their thanks list includes the likes of Teen Cthulhu, Goatsblood, and Harkonen. Presumably they followed the unlikely but ultimately excellent path from punk and hardcore to metalcore to, now, full on balls-in-a-vice, galloping guitars, swords and sorcery M to the E to the T to the A to the L. The singer screams and shrieks with the best of 'em (reminding us of Lizzie Borden, Udo and Metal Church's David Wayne), the music is both punishing and melodic, and a lot of the lyrics are even ABOUT metal, a la Manowar. So, the metalheads here at AQ were instantly hooked (oh yeah, it IS hooky). Not bad for some Canadian kids! Sure, great bands like Avenged Sevenfold and Darkest Hour and Mastodon have already allowed strains of '80s true heavy metal to seep into their metalcore mosh-math but 3 Inches Of Blood go waaaay beyond that. You will hear the metalcore origins in how this is tougher and heavier and noisier than their '80s inspirations, but still, it's pretty darn D&D.
What's really fucked up is, how'd they get on Roadrunner? This ain't nu metal, this ain't rap metal, this ain't even death metal. Not only that, someone spent some big bucks on it: produced by Neil Kernon (who has twiddled knobs for everyone from Hall and Oates to Macabre), mixed by Colin Richardson (another big name, most famous around here for his work with Carcass)...the cover art is even by the guy who did Megadeth's signature Vic Rattlehead cover paintings. Well, apparently this band somehow wound up touring with The Darkness, and loads of good press in the UK ensued, followed by this Roadrunner deal, after one previous indie-release we haven't been able to get a hold of yet. And sure, these guys are a bit tongue in cheek like The Darkness, but the music they are inspired by (no, not parody) isn't nearly as commercial and pop as the '80 hair metal and '70s cock rock The Darkness favors. The bands these guys emulate were way more underground and fast and heavy, stuff like good, old Helloween fer instance. Or (not so underground but important) Judas Priest's Painkiller album. All right, 'nuff said. Basically, it comes down to: "Destroy The Orcs", yay or nay? We say yay, destroy those pesky orcs!!
MPEG Stream: "Destroy The Orcs"
MPEG Stream: "Deadly Sinners"

album cover 3 INCHES OF BLOOD Fire Up The Blades (Roadrunner) cd 14.98
Right from the majestic, martial instrumental intro of "Through The Horned Gate" that begins this album, it's clear that the return of 3 Inches Of Blood is also the return of true, speedy, spikes n' leather metal in an updated '80s vein, hypercharged with aggressive modern metalcore technology. It's all about relentless shrieking, Maidenesque guitar frenzies, and song titles like "Night Marauders" and "Demon's Blade". Total galloping speed metal mayhem, and then some. It's like Judas Priest's Painkiller as performed by Converge!
Of course, 3 Inches Of Blood aren't the only band these days looking back to the glory days of the '80s for (ironic?) metal inspiration. But this Vancouver sextet is one of the best, most wholehearted, and surprisingly successful sales-wise (among North American bands anyway -- and this is way cooler than Dragonforce) and also have their own unique approach to this sound, which can be ascribed both to their hardcore heritage and to the presence of two vocalists (that's all they do!) in the band, doubling up on the mics, one a long-haired, raspy-but-melodic high-end falsetto specialist, the other short-haired one dealing in growlier throat abuse. And they kinda need two singers/screamers to compete with all the dual guitar fireworks going off around them.
Fire Up The Blades is a fine follow up to their breakthrough second album Advance and Vanquish, and is also already a definite headbanging AQ fave. We're into what seems to be an extra dose of, uh, rock n' roll riffage here -- there's some cowbell happenin' too. But it's still all pretty much rockin' at 150mph, pedal to the metal. This is one fierce, energetic album! For fans of everything from Accept to Children Of Bodom to Laaz Rockit to Darkest Hour to Lizzie Borden to Mastodon to Metal Church... gotta highlight this, as the FUN, fist-in-the-air quotient compared to some of the grim black metal we're always recommending is extremely high.
MPEG Stream: "The Great Hall Of Feasting"
MPEG Stream: "Trial Of Champions"

album cover 3 INCHES OF BLOOD Here Waits Thy Doom (Century Media) cd 15.98
Ready for another ripping, rousing session of state of the art, orc slaughtering, ultra-metal action?? That's right, Canada's remarkably popular (both at AQ and elsewhere - they have their own signature Nike sneaker now, we're told!) 3 Inches Of Blood are back, let the headbanging commence! Their entertaining, energetic brand of '80s influenced power metal (birthed, though, from the modern metalcore scene) is as thrillingly, thrashingly over the top and unabashedly METAL as ever. Un-ironically so, we think, though the song title "All Of Them Witches" sounds like something The Fucking Champs would have come up with (psst, it's actually a reference to the movie Rosemary's Baby). Other titles though, like "Rock In Hell", "Fierce Defender" and "Battles And Brotherhood", are definitely sincere, face-value, heavy metal to the death declarations.
Shredding and shrieking, the eleven tracks of Here Waits Thy Doom pretty much all traffic in triumphant galloping glory. "Preachers Daughter" is a bit of a departure, more of a mid paced, blues metal stomp, in which we realize that the high pitched, always on the verge of a gargle vocals of the appropriately named Cam Pipes remind us slightly of a power metal version of Eric Wagner from Trouble. There's also an all-acoustic instrumental interlude (penultimate track "12:34") before the album concludes. So there's some variety, but what you'll mainly find here is an enjoyable overdose of balls to the wall speed metal from a band who owe a lot to the '80s but are definitely modern metal extremists as well.
Oh, and this is the first album without their other vocalist (they used to have two), the lanky short-haired guy who did the more growly hardcore/death metal vox. He retired or something, so now it's all ragged high-end, long-haired singer Pipes' show, although one of the guitarists does chip in with some more guttural backing vocals now and then.
Fuckin' awesome. And yes, our gratuitous use of such fuckin' language is perfectly suited to this album and band!
MPEG Stream: "Fierce Defender"
MPEG Stream: "Preachers Daughter"

324 Rebelgrind (HG Fact) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Latest and definitely greatest from these old school Japanese grind thrashers. Noisy, heavy, brutal, punishing, and weirdly catchy.

album cover 40 WATT SUN The Inside Room (Metal Blade) cd 14.98
The Inside Room is the debut from highly touted UK melodic doom outfit 40 Watt Sun, a group born from the dissolution of the late great Warning, both bands fronted by vocalist Patrick Walker, whose unique and passionate singing style pretty much defined Warning and continues to define his new band. Unlike most doom bands, who employ either an over the top near operatic wail, or conversely, some sort of demonic guttural gurgle, Walker actually sings, his voice emotional, but not ridiculously dramatic, he definitely sounds like a proper pop singer, who just so happened to start a doom band. Which will no doubt rub some troo doomlords the wrong way, but for the rest of us, it's pretty awesome. Definitely reminding us of Katatonia, the same sort of sweeping bombast, a similarly mournful melancholia, but that voice, it's really all about the voice, driving the songs, defining them, passionate and emotive, it helps that those vocals are supported by big booming drums, guitars so thick, and so distorted, the chords seem to crumble, occasionally wreathed in a sitar-like buzz. It's actually a little difficult to keep from imagining these songs sans distortion and drums, just say an acoustic guitar and vocals, these would be instantly transformed into some sort of heart rending ballads, but when coupled to some churning downtuned heaviness, the sound becomes a sort of glorious, emotional doom pop, or gloom pop, the pop element is definitely everywhere, and while the sound is definitely not that far removed from the sound of Warning, it is most definitely poppier, and Walker's vocals much improved, his delivery so heartfelt, like a soul laid bare, definitely transforms this from run of the mill doom, to something special. If there was ever an actual doom band that had the potential for some sort of crossover appeal, it would be these guys (there's a sort of Alice In Chains gone doom vibe going on that's actually pretty pleasing), with their keen melodic sense, and that voice. And while the track do occasionally get dynamic, with some cool stop/start arrangements, for the most part the music is languid and flows darkly, thick layered chords, a lush doomscape that perfectly meshes with Walker's gorgeous vox.
This is definitely WAY too melodic for the most extreme of ultradoomlords out there, but for anyone after some darkly melodic heaviness, this might just hit the spot! Domestic cd release and import vinyl available.
MPEG Stream: "Restless"
MPEG Stream: "Open My Eyes"

album cover 40 WATT SUN The Inside Room (Cyclone Empire ) 2lp 40.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Inside Room is the debut from highly touted UK melodic doom outfit 40 Watt Sun, a group born from the dissolution of the late great Warning, both bands fronted by vocalist Patrick Walker, whose unique and passionate singing style pretty much defined Warning and continues to define his new band. Unlike most doom bands, who employ either an over the top near operatic wail, or conversely, some sort of demonic guttural gurgle, Walker actually sings, his voice emotional, but not ridiculously dramatic, he definitely sounds like a proper pop singer, who just so happened to start a doom band. Which will no doubt rub some troo doomlords the wrong way, but for the rest of us, it's pretty awesome. Definitely reminding us of Katatonia, the same sort of sweeping bombast, a similarly mournful melancholia, but that voice, it's really all about the voice, driving the songs, defining them, passionate and emotive, it helps that those vocals are supported by big booming drums, guitars so thick, and so distorted, the chords seem to crumble, occasionally wreathed in a sitar-like buzz. It's actually a little difficult to keep from imagining these songs sans distortion and drums, just say an acoustic guitar and vocals, these would be instantly transformed into some sort of heart rending ballads, but when coupled to some churning downtuned heaviness, the sound becomes a sort of glorious, emotional doom pop, or gloom pop, the pop element is definitely everywhere, and while the sound is definitely not that far removed from the sound of Warning, it is most definitely poppier, and Walker's vocals much improved, his delivery so heartfelt, like a soul laid bare, definitely transforms this from run of the mill doom, to something special. If there was ever an actual doom band that had the potential for some sort of crossover appeal, it would be these guys (there's a sort of Alice In Chains gone doom vibe going on that's actually pretty pleasing), with their keen melodic sense, and that voice. And while the track do occasionally get dynamic, with some cool stop/start arrangements, for the most part the music is languid and flows darkly, thick layered chords, a lush doomscape that perfectly meshes with Walker's gorgeous vox.
This is definitely WAY too melodic for the most extreme of ultradoomlords out there, but for anyone after some darkly melodic heaviness, this might just hit the spot! Domestic cd release and import vinyl available.
MPEG Stream: "Restless"
MPEG Stream: "Open My Eyes"

album cover 5/5/2000 Reflektionen Musique (Post Replica) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A long look through a dark tunnel into the cloudy past of drone explorationists 5/5/2000, a duo made up of aQ pal Nathan Berliguette, formerly of tech grind outift Creation Is Crucifixion as well as the man responsible for bringing the glorious sounds of the Arboga Teenage Riot to these shores and our ears (and for that we he will never be forgiven, er... I mean forgotten) and Travis Ryan, frontman of gore soaked death metallers Cattle Decapitation and nominee for Sexiest Vegetarian In The World. But none of that really prepares you for the sound of 5/5/2000, named for a rare planetary alignment that was supposed to signal the coming of the Antichrist. Their sounds is not technical, not grind, not metal, instead, these three extended tracks explore different facets of the drone, from soft billowy tranquil ambience to soaring space like shimmer to creaking, corrosive machinelike whir to a thick whirl like the washed out fuzz of a million vacuum cleaners to the out of focus sepia toned drift of soft edged rumble and melancholy instrumental mumble. All three tracks are gorgeous, dense drones thick with swirling reverb, fuzzy tape hiss, and all manner of fragmented melodies and layer after layer of rich warm sound. While supplies last, you'll get the special limited edition version, limited to 100, hand numbered, packaged in an oversized sparkly silver, velcro sealed cardboard sleeve, with three pins affixed to the front. After those are gone it's back to the normal jewel case version...
MPEG Stream: "There Was Never A Moment When The End Of The World Was Not Real"
MPEG Stream: "Surface Of The Sun"

album cover 500 FT. OF PIPE Dope Deal (Beard of Stars) cd 14.98
Detroit's 500 Ft. Of Pipe are another new band of hard-rockin' hopefuls in the crowded stoner rock arena, and they are better than most. What with their Motor City pedigree, they align more with Stooges-fans Monster Magnet than with Kyuss (Kyuss being the most common template for young stoner rock bands to follow, y'know). There's (of course) a big drug fixation going on here -- witness song titles like "420 to Go", "Dope Deal", and "D.E.A." Loud, bass-heavy, rock action, with psychedelic balls enough to cover Donovan's "Sunshine Superman"! Allan's fave stoner rock disc of the year.
RealAudio clip: "Detroit City (Never Done Me No Good)"
RealAudio clip: "Wear It Out"

500 FT. OF PIPE The Electrifying Church Of The New Light (Beard Of Stars) cd 14.98

album cover 5IVE Hesperus (Tortuga) cd 14.98
The cover photo on this digipack release shows placid waters, probably some sheltered harbor near Boston, from whence this guitar-drums two-piece hail. The photo on the interior gatefold also depicts relatively calm seas. But the sonic waves that 5ive stir up are something else, bigger and meaner! 5ive's relentless and riff-repetitive, mostly-instrumental music is HEAVY all right. And thus, floats our boat, even as it tosses said boat about upon its stormy waves.
We've been waiting for some new 5ive for quite some time. This is their first full-length of new material in forever. 2006's Versus ep, featuring a couple remixes by Justin Broadrick (Jesu), only left us hankering for more... so we're glad to report that this new 5ive is finally here and it's got what we want. Thick n' distorted stoner rock meets post rock jams, full of loud soft dynamics for maximum sludgecore beauty and power. Tracks like "Heel" and "Big Sea" have plenty of rollicking psychedelic swing to 'em, after the pretty parts that set you up for the heavier hitting... and while the likes of "News II" gets up into the 12 minute range, even the shorter tunes here manage some epic, hypnotic heft. Fans of 5ive won't be disappointed, and if you haven't heard 'em before check this out if stuff like Pelican, Kinski, godheadsilo, Isis, Old Man Gloom, etc. is on your personal playlist.
MPEG Stream: "Gulls"
MPEG Stream: "Big Sea"

album cover 5IVE s/t (Tortuga) cd 13.98
Not to be confused with the identically named "ladband" we discovered while trying to look up info on this one on the internet -- no, this 5ive are no boyband, they're a Boston psychedelic-doom-core duo making their cd debut after releasing one amazingly heavy LP last year. Their label Tortuga is also the home of AQ-faves Old Man Gloom. Following in the prolific footsteps of OMG (and GnR for that matter), 5ive have not one but two simultaneous new releases. The self-titled one is actually just the cd version of the aforementioned LP. And it's a monster. Six long tracks of mostly-instrumental sludge heaviness. Their weighty distortion-dirge-demonics are in a league with Gore, Earth, Corrupted, Electric Wizard, and fellow Bostonians Warhorse. That hypnotic, heavy, and stoned! Follow-up full-length "The Telestic Disfracture" is similarly heavy, and adds not-entirely necessary guest vocals (from another Boston metalcore band, Milligram) on several tracks. Brutal. Again, the songs are long and droney, but with good use of quiet/loud dynamics for maximum punishment effect (and surprising beauty too). These discs would make that ladband go running for mommy!
RealAudio clip: "The Baron"

album cover 5IVE The Hemophiliac Dream (Tortuga) cd 10.98
Boston's 5ive (who may be changing their name to Continuum Research Project, as that's what the top obi on this li'l disc says -- I think the Euro boy band 5ive's lawyers might have something to do with that) unleash another super heavy and mesmerizing instrumental metallo-drone experience, consisting of the 23 minute track "Part I: The Hemophiliac Dream" and then "Part II", a quite worthwhile 14 minute remix done by the Jim O'Rourke of the avant-metal underground, James Plotkin (Phantomsmasher, Khanate, OLD, Joy Of Disease, Flux, Romance, Lotus Eaters, etc.), giving 5ive the computer/electronics treatment for some this-side-of-Merzbow-noisy (yet quite listenable), stereo-panning-gone-wild weirdness. A claustrophobic headphone trip. In sum, "The Hemophiliac Dream" is psychedelic, sludgy, and a little post-rock in places -- total beauty-in-heaviness stuff for fans of Boris, Acid Mothers Temple, Old Man Gloom, Melvins, Tarantula Hawk, Swans, Kyuss, all that. And Pink Floyd fans might recognize its origins...
RealAudio clip: "Part I: The Hemophiliac Dream"

album cover 5IVE The Telestic Disfracture (Tortuga) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Not to be confused with the identically named "ladband" we discovered while trying to look up info on this one on the internet -- no, this 5ive are no boyband, they're a Boston psychedelic-doom-core duo making their cd debut after releasing one amazingly heavy LP last year. Their label Tortuga is also the home of AQ-faves Old Man Gloom. Following in the prolific footsteps of OMG (and GnR for that matter), 5ive have not one but two simultaneous new releases. The self-titled one is actually just the cd version of the aforementioned LP. And it's a monster. Six long tracks of mostly-instrumental sludge heaviness. Their weighty distortion-dirge-demonics are in a league with Gore, Earth, Corrupted, Electric Wizard, and fellow Bostonians Warhorse. That hypnotic, heavy, and stoned! Follow-up full-length "The Telestic Disfracture" is similarly heavy, and adds not-entirely necessary guest vocals (from another Boston metalcore band, Milligram) on several tracks. Brutal. Again, the songs are long and droney, but with good use of quiet/loud dynamics for maximum punishment effect (and surprising beauty too). These discs would make that ladband go running for mommy!
RealAudio clip: "Nitinol"
RealAudio clip: "Shark Dreams"

album cover 5IVE Versus (Tortuga) cd ep 10.98
It's been almost a year since we heard anything from instru-metal rockers 5ive, and even then it was just a weird remix thing with Kid 606. The last proper record they did was way back in 2002! So what the heck have those guys been up to for the last 4 years? Not recording a whole lot of new music that's for sure, as this new release is also a sort of remix ep. But we're not gonna complain. We've been dying for new material from this heavy as hell drums and guitar duo, so we'll take what we can get. And what you get here is 4 tracks, 25 minutes, of epic and spacious, almost cinematic doom bliss. Two 5ive tracks and two "remixes" of 5ive tracks by Justin Broadrick of Jesu. The opening track, one of the two remixes sounds like some metallicized Morricone / Goblin hybrid. Swirling sound fx, and a simple plodding rhythm. You can definitely hear some Jesu in there. The second track is WAY more classic 5ive, a groovy loping post rock workout, that builds and builds into huge lurching staggering stoner rock. Part way through everything sort of blisses-out into a keening tribal drum, guitar jangle drift, that slowly grows in intensity into a huge wall of massive churning guitar, which becomes a super tense stop start doom thing, before exploding back into full on metal groove. The second track "Soma" is the original from which the two Broadrick remixes are culled. A convoluted doomic dirge, grinding and slithering, thrashing and grooving, equal parts Dazzling Killmen, Isis, Lightning Bolt and Laddio Bolocko, a relentless chaotic dirge thrash, swirling and pounding, dense and ultra heavy. For the final track, Broadrick removes most of the heavy guitars, leaving just the simple clean guitar melody and a hypnotic looped drum line. Over that he drapes sheets of sonic shimmer and clouds of fuzzy ambience, an epic ambient plodding doom soundtrack to the end of the world, like a more metallic Mogwai / Brian Eno mashup. Totally gorgeous. But not enough!! Now we're completely jonesing for more 5ive AND more Jesu! C'MON! WE NEED IT!!!
MPEG Stream: "Reso-I"
MPEG Stream: "Soma Remix By J K Broadrick (Stage 2)"

album cover 7000 DYING RATS Season In Hell (He Who Corrupts) cd 13.98

MPEG Stream: "Altar Of Goat Skulls"
MPEG Stream: "Hack To Bits"
MPEG Stream: "Annihilator The Devastator"
MPEG Stream: "Horrible"
MPEG Stream: "We Had "Dying" In Our Name Way Before All Those Metalcore Cocksuckers Came Along"

album cover 7000 DYING RATS The Sound of No Hands Clapping (tUMULt) cd 11.98
It takes a lot of...well guts maybe, to be a fucking ultra-tight, super brutal grind metal powerhouse and to purposefully alienate/annoy a huge legion of possible fans by not taking your metal seriosly enough: by telling jokes, talking about cocks, mocking the sense-of-humourless metalheads you find yourself playing in front of, having skits, mixing in 80s hair metal, and synth pop and just being generally silly and goofy (but still totally killer musically, not just a "well, we can't play that well anyway" joke).
This is record number two from the Rats (following 'Fanning the Flames of Fire', a joint release between Caroline and Chicago's Up Jumps the Devil) and it's a doozy. Imagine the spazz inflicted genre hopping of Mr. Bungle, only more black metal and Venom, more Thin Lizzy, more comedy and more like your older hesh brother that's been working at the 7-11 since he dropped out of high school. The jokes are funny (kind of) and the music is punishing and furiously brutal (when it's not silly and moronic). With song titles like "Gary Drug Abusey", "Uncle Tom's of Finland", "Paper Thin Lizzy", "Straight Up Comedy Grind" and an 80's metal cover of the theme song to Beverly Hills 90210 (with a 90210 sample poking fun at fellow midwestern grinder Weasel Walter -- he of the Flying Luttenbachers, Lake of Dracula and Hatewave, among others), you might be inclined to pass off 7KDR as a novelty item -- but take out the comedic element, and you'd have a hellish, brutal metal record, better than most of their more serious minded contemporaries. I mean, if they dropped their comedy schtick and just played straight up grind/metal, they would be huge. Probably on Relapse, and selling thousands of records. But thanks to those guts, they're on tUMULt, and they're liable to sell a few less than that!!! Fans of Anal Cunt, Pig Destroyer, Drop Dead, Agoraphobic Nosebleed, Dying Fetus, Bathtub Shitter, Fuck...I'm Dead, Mr. Bungle, Faxed Head and Neil Hamburger will love this.
MPEG Stream: "This Close"
MPEG Stream: "Uncle Tom's of Finland"
MPEG Stream: "A Rat's Ass (Judas Priestly)"
MPEG Stream: "Strippers on Ecstasy"
MPEG Stream: "Lair of Deadly Gigantic Scorpions"

album cover 9DW / BORIS Golden Dance Classics (Catune) cd 16.98
It's been a while since we've heard from Boris, mostly because they've seemingly been touring non stop for the last few years, but it looks like finally some new music is happening, including a forthcoming split with low end sludge popppers Torche, and this, another split with a Japanese band we've never heard of called 9DW, who as far as we can tell is sonically about as far removed from Boris as any band could be. A sort of eighties cosmic disco, like a way less edgier Justice maybe. More on those tracks in a second, since odds are most aQ customers will be all over this for the two brand new Boris tracks.
But be warned, not sure if it's a general shift in sound, or they were just trying to mix it up for this split, but this is Boris like you've never heard them. The first Boris track, "Tokyo Wonder Land", in a blind listening test, everyone here, when asked who they though it was, invariably said Ariel Pink, or John Maus, yep, a warbly warped blurry lo fi alien FM radio pop, with primitive drum machine, mumbled vocals, shimmery eighties production, whirring synths, jangly reverbed guitar, buzzy rubbery cop show basslines, super woozy and trippy and WAY druggy, there are even some falsetto 'oooh's. It only really gets Boris-y briefly in the middle with a wild tangle of super distorted psychedelic leads. Woah, What the fuck? Not sure what's going on, or what happened, but we are digging it BIG time, in fact, we might go so far as to say, this is one of our favorite Boris jams in ages, as is the second track here, "Akirame Flower", which finds Boris in full on washed out bleary eared nineties shoegaze mode, My Bloody Valentine, Bailter Space, fuzz guitar, weary vox, tons of delay and reverb and effects, all smeared and blurred into a gorgeous hazy 16 Candles / Dinosaur Jr / M83 soft focus, dream jam. Fuck. Awesome.
So what the heck are Boris doing with a band like 9DW? Can't say, and can't really say, how often we'll find ourselves listening to their two tracks, groovy, slightly jazzy, a little house-y, definitely eighties, not one guy, an actual band, sounds a bit like M83 if he were to do a techno record, stir in a little Justice stomp, some post rocky skittery, looped synths, and some total eighties MTV new romantic guitar jangle, a little Shadowfax and some worrisome funkiness...
But fuck it, Boris is why you're here, and if you're an adventurous Boris fan, who won't be disappointed by the lack of fuzzed out buzzy psych rock, then two Boris jams will kick your ass something good. Dying to hear if they continue on in this direction, and give the rest of the warbly new wave noise pop outsiders a run for their warped druggy money.
MPEG Stream: 9DW "Stingray"
MPEG Stream: BORIS "Tokyo Wonder Land"

album cover 9DW / BORIS Golden Dance Classics (Catune) lp 16.98
It's been a while since we've heard from Boris, mostly because they've seemingly been touring non stop for the last few years, but it looks like finally some new music is happening, including a forthcoming split with low end sludge popppers Torche, and this, another split with a Japanese band we've never heard of called 9DW, who as far as we can tell is sonically about as far removed from Boris as any band could be. A sort of eighties cosmic disco, like a way less edgier Justice maybe. More on those tracks in a second, since odds are most aQ customers will be all over this for the two brand new Boris tracks.
But be warned, not sure if it's a general shift in sound, or they were just trying to mix it up for this split, but this is Boris like you've never heard them. The first Boris track, "Tokyo Wonder Land", in a blind listening test, everyone here, when asked who they though it was, invariably said Ariel Pink, or John Maus, yep, a warbly warped blurry lo fi alien FM radio pop, with primitive drum machine, mumbled vocals, shimmery eighties production, whirring synths, jangly reverbed guitar, buzzy rubbery cop show basslines, super woozy and trippy and WAY druggy, there are even some falsetto 'oooh's. It only really gets Boris-y briefly in the middle with a wild tangle of super distorted psychedelic leads. Woah, What the fuck? Not sure what's going on, or what happened, but we are digging it BIG time, in fact, we might go so far as to say, this is one of our favorite Boris jams in ages, as is the second track here, "Akirame Flower", which finds Boris in full on washed out bleary eared nineties shoegaze mode, My Bloody Valentine, Bailter Space, fuzz guitar, weary vox, tons of delay and reverb and effects, all smeared and blurred into a gorgeous hazy 16 Candles / Dinosaur Jr / M83 soft focus, dream jam. Fuck. Awesome.
So what the heck are Boris doing with a band like 9DW? Can't say, and can't really say, how often we'll find ourselves listening to their two tracks, groovy, slightly jazzy, a little house-y, definitely eighties, not one guy, an actual band, sounds a bit like M83 if he were to do a techno record, stir in a little Justice stomp, some post rocky skittery, looped synths, and some total eighties MTV new romantic guitar jangle, a little Shadowfax and some worrisome funkiness...
But fuck it, Boris is why you're here, and if you're an adventurous Boris fan, who won't be disappointed by the lack of fuzzed out buzzy psych rock, then two Boris jams will kick your ass something good. Dying to hear if they continue on in this direction, and give the rest of the warbly new wave noise pop outsiders a run for their warped druggy money.
MPEG Stream: 9DW "Stingray"
MPEG Stream: BORIS "Tokyo Wonder Land"

album cover A FASHIONABLE DISEASE s/t (My Pet Goat) 7" 4.50
Totally ass kicking and weirdly fucked brutality fills this little 7" from Santa Cruz's own, A Fashionable Disease! Another one of those what the fuck, seemingly impossible combinations of influences, synthesized in such a unique and successful way, that makes us kind of scratch our heads and lament that we haven't been turned on sooner. How do you describe this? Maybe filthyfreejazzcrustyfiedsatanicdamagedgrindpunkavantskronk? Or maybe just Crass meets Ayler meets Pig Destroyer meets Sun Ra meets Schoenberg meets Anal Cunt meets Mahavishnu. We don't fucking know, but it rules! Super demented, ultra damaged grind-jazz, complete with horn section! Putrid angular metallic guitar discordance, feculent terrorist manifesto screeched vocals, growling horns, blasting drums. The first cut, "Veal Medallions" starts with a blast of feedback before hurling into a psychotically chromatic guitar and piano line, ending up in a blasting tumult of throat tearing vocals and frenetically crazed drumming! Some of the lyrics from this number kind of sum up what these fellas are about... "skulls converge ruins/ rainbows ejaculate onto your face/ quiet in the piss-stained evening/ spring wind blows perfume of 1,000 rotting carcasses...". Fuck yes. The rest of the 7" is just as killer. Totally fucked and totally great! For fans of Zorn, Bathtub Shitter, Rudimentary Peni, Crass, Coltrane, Dystopia, Cecil Taylor, or anything filthy, proggy, grindy, avant-jazzy, and totally shredding! Recommended!

album cover A PERFECT CIRCLE Emotive (Virgin) cd 16.98

MPEG Stream: "Gimmie Gimmie Gimmie"
MPEG Stream: "Let's Have A War"

A PERFECT MURDER Rehearsal (Cyclop Media) cd 10.98

album cover A PREGNANT LIGHT Death My Hanging Doorway (Colloquial Sound Recordings) cassette 5.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
One of two new releases on this week's list from the Michigan based Colloquial Sound label, a label we just discovered, and who have an incredible catalog which we plan on slowly working our way through! Elsewhere you can read about (and order) the atmospheric Indian black metal of Dressed In Streams, and then there's this, the first we've heard from this experimental avant garde black metal one man band who also just so happens to hail from Michigan, Grand Rapids to be exact, and on this tape offers up a single sprawling 20 minute epic, which begins all clean guitar strum and dense tribal drumming, chugging and droned out and hypnotic, sort of psychedelic too, minimal and stripped down, not at all what we were expecting, but it ends up that's just the intro, which gradually fades out, before the track proper explodes, a furious black swirl of sound, everything DOUSED in reverb and echo, the drums and guitars a chaotic whorl, beneath bellowed vox, eventually, the sounds coalesce into something more structured and rhythmic, super hypnotic and almost mathy sounding, the sound seesawing between that rhythmic mathiness, and more loose howled blackened chaos. But that mathiness is most definitely a core component, the sound constantly returning to a cool intricate math metal, rife with melody, and whether the sound is strummed clean guitar psychedelic shimmer, or seriously grinding blackness, or one particularly cool stretch where the sound locks into an almost Helmet-y groove, albeit way more raw and washed out, it's that rad math rock thread that holds it all together. Seriously cool stuff. And it seems like this guy/group has way more stuff out, and odds are like us, you're definitely gonna want to hear more.
MPEG Stream: "DMHD"

album cover A SCANNER DARKLY s/t (Gilead Media) cd ep 10.98
This Philip K. Dick obsessed band's debut offers six tracks of heavy, raging, artful metalcore. Named after one of PKD's paranoid sci-fi novels (soon to be a major motion picture directed by Richard Linklater!) these guys specialize in unleashed terror in the form of low-end dirge, screaming vocals and guitars, and battering drums. It's kinda like a post-rock band that's REALLY REALLY UPSET about something, combining the atmosphere of an imaginary, scary sci-fi soundtrack ('specially on the mostly ambient track six) with loud, fast, crushing 'core. For fans of Coalesce, Neurosis, Old Man Gloom, Discordance Axis, Isis, Knut and the whole Hydra Head scene.
MPEG Stream: "Do Androids Dream Of Electric Sheep?"
MPEG Stream: "Flow My Tears, The Policeman Said"

album cover A STORM OF LIGHT As The Valley Of Death Becomes Us, Our Silver Memories Fade (Profound Lore) cd 13.98
Latest slab of epic, apocalyptic, psychedelic doom from A Storm Of Light, the project of Josh Graham, who also plays in Red Sparowes, Blood And Time, and of course the psychedelic doom sludge granddaddies of them all Neurosis. So it makes sense that Graham's project explores similar sonic territory, but where Neurosis is all downtuned crush and bellowed howl, ASOL is more spaced out, more Hawkwind, more melodic, more atmospheric. Even moreso than the last full length, As The Valley spends much of its time drifting, and smoldering, hovering and shimmering, but when the songs do lock in, and get heavy, it's still on the melodic psychedelic side of heavy, the vocals the driving force, way up in the mix, wreathed in echo and delay, giving the sound a bit of a Kyuss vibe, which is definitely not a bad thing, but when the band do crush, the sound MASSIVE, the guitars impossibly heavy, the production epic, but those stretches of extreme heaviness surprisingly brief with the tracks more often than not slipping back into the broodier moodier minimalism that much of the record explores, and those pronounced vocals, and the vocal heavy mix, definitely give this As The Valley a distinctly pop vibe, which probably screams sell out to some, but to us, just makes this less a doom metal record, or a post doom record, or whatever you want to call it, and transforms it into something tougher to pigeonhole, a sort of pop flecked metallic psych, or psychedelic doom pop. But let's to put too much of an emphasis on the pop element, cuz this stuff is still pretty goddamn heavy, it just happens to have hooks and melodies, and chooses not to bury them, and instead flaunts them, and often lets the melody, instead of the riff, drive the song. Which is actually pretty refreshing...
MPEG Stream: "Missing"
MPEG Stream: "Collapse"
MPEG Stream: "Black Wolves"

album cover A STORM OF LIGHT As The Valley Of Death Becomes Us, Our Silver Memories Fade (Burning World) 2lp 33.00
Latest slab of epic, apocalyptic, psychedelic doom from A Storm Of Light, the project of Josh Graham, who also plays in Red Sparowes, Blood And Time, and of course the psychedelic doom sludge granddaddies of them all Neurosis. So it makes sense that Graham's project explores similar sonic territory, but where Neurosis is all downtuned crush and bellowed howl, ASOL is more spaced out, more Hawkwind, more melodic, more atmospheric. Even moreso than the last full length, As The Valley spends much of its time drifting, and smoldering, hovering and shimmering, but when the songs do lock in, and get heavy, it's still on the melodic psychedelic side of heavy, the vocals the driving force, way up in the mix, wreathed in echo and delay, giving the sound a bit of a Kyuss vibe, which is definitely not a bad thing, but when the band do crush, the sound MASSIVE, the guitars impossibly heavy, the production epic, but those stretches of extreme heaviness surprisingly brief with the tracks more often than not slipping back into the broodier moodier minimalism that much of the record explores, and those pronounced vocals, and the vocal heavy mix, definitely give this As The Valley a distinctly pop vibe, which probably screams sell out to some, but to us, just makes this less a doom metal record, or a post doom record, or whatever you want to call it, and transforms it into something tougher to pigeonhole, a sort of pop flecked metallic psych, or psychedelic doom pop. But let's to put too much of an emphasis on the pop element, cuz this stuff is still pretty goddamn heavy, it just happens to have hooks and melodies, and chooses not to bury them, and instead flaunts them, and often lets the melody, instead of the riff, drive the song. Which is actually pretty refreshing...
MPEG Stream: "Missing"
MPEG Stream: "Collapse"
MPEG Stream: "Black Wolves"

album cover A STORM OF LIGHT Forgive Us Our Trespasses (Neurot) cd 14.98
Maybe some of you remember the awesome Primitive North split lp between Nadja and A Storm Of Light, the newish project of Josh Graham (Red Sparrows, Blood And Time, Neurosis visuals dude). Some of us neglected to take note of A Storm Of Light's debut, which we're now kicking ourselves over, because the band's latest, Forgive Us Our Trespasses, is certainly satisfying our sweet tooth for epic, metallic post rock grandiosity with a healthy dose of DOOM. Like Neurosis, ASoL takes things into sprawling psychedelic territory, but Graham's clear and powerful vocals may actually be enough for this to appeal to the non-metalheads as well. The sound here is absolutely HUGE, and the awesome/ridiculous artwork, with its collection of discarded objects, animals, and massive landforms, should give you a pretty good indication of the surreal, dreamlike qualities represented on this disc. It's pretty refreshing hearing a band bring such crushingly heavy sounds into a realm that is also very tuneful, catchy, and triumphant. Thematically, the album seems to revolve around some sort of post-industrial collapse - you know, like the one just around the corner - perfectly represented on the opening track, which features a chilling spoken word piece by Lydia Lunch accompanied by a... banjo? Yep, the "almost sea shanty-ish" arrangements we described on Primitive North prevail here as well, not that you'll be thinking of pirates (or maybe you will), it's just that the songs take on a massive, back and forth sort of sway like they are being controlled by the elements.
So yeah, maybe it took us a while to take note of these guys, but we're sure glad we did. Better late than never.
MPEG Stream: "Amber Waves Of Gray"
MPEG Stream: "Tempest"
MPEG Stream: "The Light In Their Eyes"

album cover A STORM OF LIGHT Forgive Us Our Trespasses (Neurot) lp 22.00
Maybe some of you remember the awesome Primitive North split lp between Nadja and A Storm Of Light, the newish project of Josh Graham (Red Sparrows, Blood And Time, Neurosis visuals dude). Some of us neglected to take note of A Storm Of Light's debut, which we're now kicking ourselves over, because the band's latest, Forgive Us Our Trespasses, is certainly satisfying our sweet tooth for epic, metallic post rock grandiosity with a healthy dose of DOOM. Like Neurosis, ASoL takes things into sprawling psychedelic territory, but Graham's clear and powerful vocals may actually be enough for this to appeal to the non-metalheads as well. The sound here is absolutely HUGE, and the awesome/ridiculous artwork, with its collection of discarded objects, animals, and massive landforms, should give you a pretty good indication of the surreal, dreamlike qualities represented on this disc. It's pretty refreshing hearing a band bring such crushingly heavy sounds into a realm that is also very tuneful, catchy, and triumphant. Thematically, the album seems to revolve around some sort of post-industrial collapse - you know, like the one just around the corner - perfectly represented on the opening track, which features a chilling spoken word piece by Lydia Lunch accompanied by a... banjo? Yep, the "almost sea shanty-ish" arrangements we described on Primitive North prevail here as well, not that you'll be thinking of pirates (or maybe you will), it's just that the songs take on a massive, back and forth sort of sway like they are being controlled by the elements.
So yeah, maybe it took us a while to take note of these guys, but we're sure glad we did. Better late than never.
MPEG Stream: "Amber Waves Of Gray"
MPEG Stream: "Tempest"
MPEG Stream: "The Light In Their Eyes"

album cover A STORM OF LIGHT Untitled (Latitudes / Southern) cd 14.98
The latest in the ongoing series of limited Latitudes releases comes from psychedelic doom heavies A Storm Of Light, whose most recent full length, As The Valley Of Death Becomes Us, Our Silver Memories Fade, we just reviewed on last week's list. ASOL is the project of Josh Graham, who is a member of epic doom sludge legends Neurosis as well as Blood And Time and Red Sparowes.
And like that full length, this is another killer batch of epic psychedelic doom jams, the guitars chugging and churning, the melodies epic and soaring, the drums a colossal pound, the vocals effected and tripped out, the sound like a swirling druggy hybrid of Neurosis, Hawkwind and Godspeed, the tracks smoldering slow burners, which sometimes erupt into full on crushing metal blowouts, but just as often, remain murky and psychedelic and droney and dirgey.
"Tempest" starts out kinda weird, with some cool lo-fi backwards guitars, some creepy whispered vox, dark dolorous piano, a staticky field of what sounds like chirping crickets, before finally exploding into a lumbering, mathy post metal workout, and their version of Joy Division's "Day Of The Lords" sounds like it could have been an ASOL original, but the big surprise is the final track, a spacey psychedelic cover of Big Black's "Kitty Empire", which definitely adds a new twist to an already ruling jam.
A handful of guests pop up too, one of the Wolves from Wolves In The Throne Room, and the legendary Lydia Lunch, among others. Packaged as usual in that distinctive Latitudes packaging. the cd in a brown and white origami style sleeve, with a red metallic foil stamp on the front, and a full color insert inside with liner notes, the lp in a black and white sleeve, with the same insert. BOTH LIMITED TO 1000 COPIES, each one hand numbered!
MPEG Stream: "Day Of The Lords"
MPEG Stream: "Vast And Endless"

album cover A STORM OF LIGHT Untitled (Latitudes / Southern) lp 16.98
The latest in the ongoing series of limited Latitudes releases comes from psychedelic doom heavies A Storm Of Light, whose most recent full length, As The Valley Of Death Becomes Us, Our Silver Memories Fade, we just reviewed on last week's list. ASOL is the project of Josh Graham, who is a member of epic doom sludge legends Neurosis as well as Blood And Time and Red Sparowes.
And like that full length, this is another killer batch of epic psychedelic doom jams, the guitars chugging and churning, the melodies epic and soaring, the drums a colossal pound, the vocals effected and tripped out, the sound like a swirling druggy hybrid of Neurosis, Hawkwind and Godspeed, the tracks smoldering slow burners, which sometimes erupt into full on crushing metal blowouts, but just as often, remain murky and psychedelic and droney and dirgey.
"Tempest" starts out kinda weird, with some cool lo-fi backwards guitars, some creepy whispered vox, dark dolorous piano, a staticky field of what sounds like chirping crickets, before finally exploding into a lumbering, mathy post metal workout, and their version of Joy Division's "Day Of The Lords" sounds like it could have been an ASOL original, but the big surprise is the final track, a spacey psychedelic cover of Big Black's "Kitty Empire", which definitely adds a new twist to an already ruling jam.
A handful of guests pop up too, one of the Wolves from Wolves In The Throne Room, and the legendary Lydia Lunch, among others. Packaged as usual in that distinctive Latitudes packaging. the cd in a brown and white origami style sleeve, with a red metallic foil stamp on the front, and a full color insert inside with liner notes, the lp in a black and white sleeve, with the same insert. BOTH LIMITED TO 1000 COPIES, each one hand numbered!
MPEG Stream: "Day Of The Lords"
MPEG Stream: "Vast And Endless"

album cover A STORM OF LIGHT / NADJA Primitive North (Robotic Empire) 2lp + cd 25.00
Not sure why we never reviewed the recent full length from A Storm Of Light, if we remember correctly, it was a pretty excellent collection of post Neurosis brooding metallic heaviness. But we can't review everything, so we'll try to make up for it with this one, which features ASoL teaming up with big time aQ faves Nadja for some seriously blissed out doom drone heaviness.
The A side features two tracks from A Storm Of Light, "Brother" and "Sister", the first, a sort of Neurosis / later period Swans hybrid, the verses a sprawling snare flecked rumble, the male vocals a deep croon, countered by more ethereal female vox, the verses crashing into an explosive chorus, huge soaring downtuned guitars, howled vocals, pounding drums, dirge-y but not doomy so much as epic, the guitar layered into thick swells, the whole thing getting almost orchestral near the end. "Sister" follows up with something a bit more mathy and lurching rhythmically, the vocals more raspy and rough, the guitars wreathed in effects, keyboards swirling and shimmering, the drums tribal and solid, the middle part features long stretches of softer drift, the arrangement almost sounds almost sea shanty-ish, albeit lumbering and heavy as fuck, super dramatic, and almost emo sounding when the two vocals harmonize near the end.
Nadja counter with a sidelong jam called "I Make From Your Eyes The Sun" which begins with warm muted backwards guitars, skittery barely there percussion, tinkling chimes, woozy sun baked melodies, lots of gauzy hiss and whir, even some piano, eventually, as it always does, the song blossoms in a slow motion supernova of sound, the guitars thick and viscous, the vocals a near whisper way down in the mix, the drums spare and simple, a gentle pop song buried beneath all manner of distortion and decay, woozy and washed out and dreamy and distant, although at one point, the ethereal guitar parts coalesce into some serious chugging, and for a short stretch the sound of Nadja gets all Godfleshed, a fierce industrial pound, beneath streaks of feedback, and undulating layers of buzz building and building and building to a warm, wonderfully warped climax, before the parts gradually slough off leaving just a minimal bit of warm whir.
The last two tracks are remixes, the first lets Nadja transform ASoL's "Brother" into something very Nadja-like, a slow, brooding build up, all deep swell and swirls of muted feedback, warped reverby guitars, bits of backwards swoop, gentle tinkling keyboards, until the MASSIVE breakdown, ultra heavy pounding crush, the guitars epic and crumbling and fierce as fuck, the drums distorted and pummeling, the drums eventually dropping out for the most part, leaving just the guitars to drone and buzz their way to the end. And finally, A Storm Of Light gets to tackle the Nadja track, and right out of the gate, they chop it up quite a bit, bumping the vocals up in the mix, muting most of the guitars except for a little industrial squall of grinding buzz, stretching it out into something less warm and woozy, but still dark and ominous, eventually letting the guitars tangle and wrangle over the roiling sea of murk below, all sort of atonal and off kilter, the drums more machinelike, finishing off with a weirdly dreamy stretch of crumbling chug.
Normally there would be a side 4, but here, that side is instead rendered unplayable by a beautiful super detailed etching. And both lps are pressed on super subtle blood red / black vinyl. And the packaging, holy shit is it over the top. The artwork is super eye popping photoshopped fantasy art with strange humanoids and polar bears and sweeping expanses of tundra and starlit skies and ruined castles, and birds and rams, it's almost silly it's so over the top but it's VERY striking. Gatefold, super thick, inside there's also a full color printed lyric sheet with liner notes AND a cd (not a cd-r) featuring all the music from the two records.
MPEG Stream: A STORM OF LIGHT "Brother"
MPEG Stream: NADJA "I Make From Your Eyes The Sun"

album cover A STORY OF RATS Vastness & The Inverse (Translinguistic Other) lp 16.98
Latest from these Pacific Northwest doomdronedirge crushers, and it's another fantastically epic sprawl of tranced out blackness in the form of two sidelong jams, PLUS a 'reinterpretation' of the A side by Author And Punisher included with the digital download - more on that in a second.
While these guys are most definitely heavy, historically they've tempered their churning creep and abstract black ambient drift, with something much more melodic and psychedelic, never moreso than here, the A side beginning with a simple plodding, ritualistic drumbeat, which is soon joined by some dreamy sitar like buzz, swirling swaths of chordal drone, and some effected chantlike vox. Imagine a more mellow Sunroof" mixed with a little Om-ish dirgery, and then spaced out into something much more prismatic and dreamy. It's not until about half way through that things get truly doomy, the residual synthy swirls and woozy melodies remain, but in the place of that slow tribal plod, the drums have become a caveman pound, the guitars too, now corrosive and crumbling, the whole song shifting into full on doom dirge mode, but everything swathed in a hazy sun dappled dreaminess, that makes everything sound less heavy, and more hypnotic, sans the vokills, this could be some lost instrumental Nadja jam. It also reminds us of recent aQ slowcore doom faves Bell Witch.
The B side offers up a similar variation, working with the same sonic palette, but this time beginning with a softly pulsing dronescape, all distant rumbles, buried melodies, murky textures, slow soft swells of chordal thrum, which gradually gives way to a lumbering slowcore dirge, but more washed out and weary, that heavy, clean guitar chords are hung over the simple drums, the harsh vox buried way back in the mix, the result a sort of woozy, buzzy ballad, those clean vocals resurfacing again, making the whole thing sound more gloomy and gothy than metal, a sort of gloomdirge dreaminess, which here blossoms into something epic and majestic, soaring melodies, all the sounds building and building to a post rock style denouement, but again, still retaining all of the darkness of the group's doom core. The last few minutes finds the heavy guitars peeled back, and the drums dropping out, leaving just a gorgeous stretch of blissed out psych-drone drift, melodic, melancholy, and surprisingly lovely.
The accompanying download includes the songs proper of course, but also a bonus track, a reworking from Author And Punisher, who employs his arsenal of homebuilt noise makers, to at least initially, make the sound even more abstract, a sea of roiling rumbles beneath the simple drum plod, and creepy cinematic main melody, before adding some serious industrial pummel, and robotic pound to the second half, as well as a corrosive layer of crumbling buzz, culminating in an epic outro, that whips all the sounds up into a dense, tense, emotionally charged, and sonically punishing finale.
Super swank silkscreened packaging, metallic silver and grey on matte cardstock sleeves, with a download coupon obviously as well.
MPEG Stream: "Huldrefolk"
MPEG Stream: "Her Teeth Are Nil (Author & Punisher Remix)"

album cover A TORTURED SOUL Kiss Of The Thorn (Eyes Like Snow / Northern Silence) cd 11.98
A change of pace from the usual black metal grimnity we expect from the Northern Silence label (who have brought us the likes of Angmar, Alcest, Amesoeurs, Stielas Storhett, Necrofrost...) comes from Milwaukee metallers A Tortured Soul (not to be confused with another metal band called This Tortured Soul fyi). In truth, they're on a Northern Silence sub-label called Eyes Like Snow, and actually ARE pretty grim. But not in a black metal way, unless you count Mercyful Fate/King Diamond as black metal (which they were definitely considered, back in the day, due to KD's LaVeyan Satanic philosophies). This is '80s styled epic power metal, with soaring-with-the-eagles, then-tearing-them-to-shreds singing that reminds us at times of Judas Priest's Rob Halford -- or even ol' Ozzy Osbourne -- especially on this album's best track, "Not Tonight"...
Vocalist Black (that's his name) has a high falsetto attack that mixes it up with more growly-man discourse. Likewise, A Tortured Soul's music ranges from moody n' melodic to ball-crushingly heavy, from doomy plod to speedy chug, doing their damnedest to deliver on their negative, depressive moniker. For fans of KD's outfits, also Justice-era Metallica, Nevermore/Sanctuary, '90s Judas Priest, Iced Earth, maybe even Shadows Fall. All despite the looks of their very black metal seeming band logo/symbol!
MPEG Stream: "Tomorrow's Door"
MPEG Stream: "Not Tonight"

album cover A.M.S.G. Anti-Cosmic Tyranny (Profound Lore) cd 13.98
Black metal bands often usually make a big deal about worshipping Satan, of course, but c'mon, at this point, while we still really enjoy the music, we're kind of over the ooooh, Satan part of it all. But, some bands can still make the Satan stuff seem interesting and seriously potent, like maybe this band really DOES believe in Satan and maybe that's actually kind of scary. Such is the case with Canadian two-man horde A.M.S.G. (not a food additive, the acronym stands for the Latin phrase Ad Majorem Satanae Gloriam, you can probably figure out what that means), featuring members of Rites Of The Degringolade and Gloria Diaboli. A.M.S.G.'s debut full-length for Profound Lore conjures an incredibly convincing and intriguingly original Satanic atmosphere, being in the grand Nordic church-burning black metal tradition (including one of the members having done a stint in jail for selling drugs and guns to finance his band activities) with plenty of cold freezing riff-blurr and rasping croaking vox that remind us of Inquisition, but also bringing in truly extreme blacknoize distortion (the opening moments of the album crackling like Merzbow's electronics) and also, the big surprise, saxophone! Not all the time - but on a couple tracks, probably our favorites here, you'll hear mopey, smokey, noirish sax improv emerge amidst the miasmatic skitter and plod and fuzz, resulting in gorgeously dark and moody but melodic creepy-crawl vibes and making A.M.S.G. the sort of black metal that fans of Bohren & Der Club Of Gore (that band themselves hugely into black metal) ought to check out.
And as strange as the Satanic Sax ritual is, that "jazz" element isn't the only surprise here, 'cuz A.M.S.G. worship Satan as much through sound as through song, so while they do standard black metal minor key blasting (and string together some effective hit-you-in-the-pit-of-your-stomach-from-the-pits-of-hell riff sequences), it's often the sheer sounds, and some strange juxtapositions thereof, they conjure with that really gets to us - the way they mix in not just the sax but all sorts of sound FX, noise, varied percussive patterns, mysterious sinister samples, and extreme vokill approaches. It makes for a disturbing headphone listen with the whispered / chanted vocal incantations - if you read the lyrics, its clear that each song is intended as some occult ritual, torn from the pages of the Necronomicon or some other forbidden tome. Their songs will take whatever twists and turns (well, left hand ones only, presumably) that lead to the greater glory of Satan. We might not worship Satan ourselves, but we'll consider worshiping A.M.S.G., at least for the duration of the disc's run time. Unique and compelling.
Comes in slipcased jewel case packaging.
MPEG Stream: "Black Rites Of Black Shadows"
MPEG Stream: "Reincarnation Of The Sun"
MPEG Stream: "Gnosis Granted From The Bloodline Of Fire"

album cover AANAL BEEHEMOTH Forest Paranoid (Suffering Jesus Productions) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We know you're not supposed to judge a book by its cover, but c'mon!!! When that book is a cd by a couple of Finnish primitive black metal weirdos called Aanal Beehemoth and said cover features one of the members getting all Nosferatu in shades of green and white under a scrawled metal logo, with a little circle in the corner that reads "In Nekro Satanik Stereo Paranoia Sound"!! And on the other side you'll see both band members in ultra creepy clown-like corpsepaint, tongues out, shooting up, next to some ransom letter text that reads "100% Ultra Misery Blackout Metal Nekropunk Psykosound", and then let's not forget the inside cover, that features again both band members, in crazy corpsepaint, their names now revealed to be Deathly Fightar and Crazy Bomber (umlauts over the vowels of course) who play respectively: Deathbeat, OD guitar, bass and BG vox (that's Deathly) and Exorcism, bass, fuzz guitar and organ (!) (that's Crazy)...
You see what we're getting at, we knew this would rule before we even threw it on, it was just a matter of HOW it would rule, and just how much. The answer of how much is easier to address, cuz it's a WHOLE FREAKING SHIT TON, that's how much it rules, but exactly how might be a bit harder to explain. Needless to say, these guys are fucked up and freaky, their blackness not so much of the blasting buzzy variety and the pounding punkish lo-fi raw and primitive variety, think Akitsa, Malveillance, Ash Pool. Ancestors, but even more punk rock, and weirdly poppy. Just check out the kick ass opener (after the ubiquitous creepy intro) "Dirty Soul", it almost sounds more like Turbonegro or Brainbombs, bounding punk rock rhythms, looped stripped down riffage, but then they paint it black and wrap it all up in tangled squiggly leads, the vocalist delivering his hellish sermons in an awesome croak / bark vokill, totally wrapped in reverb and seriously unhinged. The reverb sometimes going haywire making the vocals sound all dubbed out.
As the record goes on, the blackness recedes and these guys sound more and more punk rock, which is not a bad thing at all, the sound is maybe like Darkthrone at their punkest, but this is Finnish after all, and these guys are nuts, so tracks slip into washed out woozy ambience, guitars explode into squalls of atonal Greg Ginn-ish freakouts, fuzzy organs drift in and out giving some of the tracks a weird underground garage psych vibe (check out "Witch Hunt"), that said, there are definitely some moments of full on frenzied classic sounding blackness, it's just that more often than not those parts lead directly into something much more fucked up and off kilter and WAY bizarre.
This got released as a free download a while back, but it's way cooler to actually finally have the cd, with all its garish freaky green tinted artwork and weird scrawled lyrics, and of course with the download you would never have know that this was "recorded in stinky misery cubic helvete during period of total black morkness, mental distortion & painful agony of ghouls with the helping hands of Satan (naturally) $ Ass Lipstick, Pelvis, Onslow, under the influence of HELL!!!!".
MPEG Stream: "Forest Paranoid"
MPEG Stream: "From Aanal With Love"
MPEG Stream: "Penetrator"
MPEG Stream: "Frost In Head"

AARNI Bathos (Firedoom) cd 14.98

AARNI Tolcoth (Epidemie Records) cd 15.98

album cover ABDUL-RAUF, LEILA Cold And Cloud (Saadi Saati / Pesanta Urfolk) lp 19.98
Local metal guitarist Leila Abdul-Rauf (Vastum, Hammers Of Misfortune, Amber Asylum, Saros, etc.) shows us a surprisingly different side to her talents with this vinyl-only solo debut! Here she's set herself up as a cinematic-style composer, working with brass and piano, and a little gentle singing, amongst other sonic elements woven into the dreary, drifty, droney soundscapery of Cold And Cloud, the title of the record and its music apparently (not that we doubt it!) inspired by summers in San Francisco (& probably winters too, just look out the window today...). You know the old saying attributed to Mark Twain, about the coldest winter he ever spent being a summer in San Francisco.
Ambient and intimate, this is probably something that those who know Abdul-Rauf from her work with chamber goth group Amber Asylum will likely be more into, than those who know of her as a six-string shredder in filthy deathmetallers Vastum or the progoperatic Hammers.
Album art by Tor Lundval.

album cover ABDULLAH Graveyard Poetry (MeteorCity) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ohio stoner/doom/post-grunge metal band Abdullah return with their 2nd proper album, continuing (sort of, read on) their tradition of heavy Black Sabbathy guitars/riffs overlaid with melodic vocals, that kinda sound like those of Dax Riggs of Acid Bath/Agents of Oblivion/Deadboy and the Elephant Men. Songwise, Abdullah are a bit like a slightly doomier version of the late lamented Spirit Caravan (if you didn't hear, Spirit Caravan recently broke up -- but don't worry, Wino joined up with Victor Griffin in his band, Place of Skulls...dunno if that means Wino's a Christian now, but whatever...ok, back to the Abdullah review) but with some big twists this time out. Before we heard "Graveyard Poetry", we were a bit surprised to see that that Abdullah's European record label was comparing this release not only to doomsters like Trouble as we'd expect, but also to a bunch of obscure, traditional 80s metal acts, among them, local SF semi-legends Brocas Helm! Well, it's kinda true, at least on a few tracks anyway (like "Deprogrammed" and "They, The Tyrants"), wherein they leap from the moody, grungy doom style they established on their previous releases (and much of this one) into full-on rockin', quasi thrash metal territory. In this context, the vocals remind us a lot less of Dax Riggs and a lot more of the guy from Diamond Head!! I guess they've been listening to, if perhaps not Brocas Helm, at least some early Metallica and NWOBHM stuff!! Cool. A nice surprise. Although, while WE like the mixture, it might be a problem for some folks who will either dig the 60 percent doom content, or the 40 percent thrashin', but maybe not both.
RealAudio clip: "Black Helicopters"
RealAudio clip: "Deprogrammed"
RealAudio clip: "Secret Teachings Of Lost Ages"

ABDULLAH s/t (MeteorCity) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ohio stoner/doom band, with grunge leanings. Maybe not as doomy as one might hope, 'cause the drummer/vocalists Ozzy-ish voice makes one wish for more Sabbath, less Soundgarden. Good tho.
Nice cd booklet art/design, kind of a surprise coming from the usually aesthetically-impaired Meteor City...

album cover ABDULLAH / DRAGONAUTA split (Dias De Garage) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We last heard from Sabbathy stoner rockers Abdullah back in 2002, when the Ohio-based quintet released their second album, Graveyard Poetry. Now they've reappeared on this split release in the company of Argentinian weirdos Dragonauta, whose previous full-length Luciferatu was justly celebrated 'round these parts when it came out last year. Celebrated by those of us at AQ who like eccentric, proggy doom metal, that is! It's nice to hear something new from both bands, and although they take differing approaches to the stoner/doom style, they both have a love of Black Sabbath in common and also aren't afraid to be, well, a bit different (in very different ways, we should add).
Abdullah serve up six new tracks of moody, dynamic rock/metal with what we've described before as having somewhat of a "grunge" flavor. But Abdullah are much darker and heavier than the average Seattle band of the '90s... For fans of Down, CoC (circa Blind or Deliverance), Alice In Chains, and Acid Bath, we'd venture to say.
After the relatively mainstream and melodic Abdullah, Dragonauta seem even less "normal" than they already are (aren't?). They offer three new studio cuts and two live tracks, all of 'em being creaky, spreaky, riff-freaked workouts marked by fat psychedelic guitar noodle and raspy, strangulated Spanish-language vocals. From headbanging gallop to mellow jazz chords, Dragonauta take their compositions to various unexpected extremes, wild-eyed and drunkenly metallic at all times (except for when they're not). They're a bit like Los Natas but with even more of a 'we're crazy and we don't give a damn, let's play!' attitude. As far as we're concerned, they're the main reason to get this split, even though we like the Abdullah stuff ok too. But Dragonauta are just plumb loco and that really floats our boat in their moat.
MPEG Stream: ABDULLAH "Grey Sky Faith"
MPEG Stream: DRAGONAUTA "Revolucion Luciferiana"

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