By squelching, triggering, amputating, stretching and tormenting sounds achieved from the execution of heavy machinery into vivid instruments, Tristan Shone, the man behind Author & Punisher, offers "Drone Machines", One of thee most eviscerated and innovating albums to come out in years. Nonetheless, "Drone Machines" is beyond avantgarde, in that exciting sense that it brings together slow-paced DOOM whips, modern technology, an eerie flood of vile drones and heavy machinery in a whole new perspective. It's also an album that is reviving the INDUSTRIAL METAL genre from its ashes and rephrasing the primeval passion for that classic bestial drum pound with rancid low end and sonic-metallic scraping - and this unblemished contrast - between concrete innovation and the reinvigoration of lost sounds, is exactly what makes "Drone Machines" such an important, groundbreaking and iconic album. For years to come.

Recommended if you like Godflesh, HALO, Swans, Human Queena Orchestra, Dead World, Grave in the Sky, Khanate, Black Mayonnaise, Caspar Br–tzmann Massaker, Trust Obey etc.

BAHOREF-KARR
OFFICER-ARREST-MAN
OCCUPATION-JIHAD
HAYAL-SHEL-UGA
HUMAN-ABUSE-AS-ANIMAL-ABUSE
SWEET-HOME
NO-CONCLUSION

Recorded live at PitKit, as part of
[Refusing to be Occupiers &/or Occupied]
"Mesarveem Lihiyot Covshim"
January 2009, Jaffa

LIMITED TO 100 COPIES

An Intangible split between newcomers Artemisia Absinthium and experimental luminary Weasel Walter, mostly known for blasting beats and piercing conventions with The Flying Luttenbachers, 7000 Dying Rats, Behold... The Arctopus, Hatewave, Lake of Dracula, and XBRX, to name but a few.

Letting the good times start rolling with the Artemisia Absinthium tracks on side A, this Fresh French quartet can easily be crowned as the official heirs of the Luttenbachers legacy, while stretching it all the way to the spearheads of the prog-core and grind-jazz scene such as Painkiller, Last Exit and Ruins: A howling alto sax shattering into a boisterous bass and drums debate while toys are being molested in the background, and an angry French dude screaming his lungs out.

Surprisingly enough, or maybe not at all, the Weasel Walter side is less brutal than you would expect, yet obviously this visionary man deliver the goods in a quirky fashion: four tracks of blazing originality that were recorded between 1999 to 2008 and range from incisive psychedelic twitches to crooked classical music and math-rock dirges.

Pressed on a clear green vinyl. limited to 500 copies.

(co-released w/ WeeWee, Bande Noire, Electric Junk, Saucisse Lentilles & Amertume)

Japans' best kept secret are back with a new album! Fronted by Kan of the legendary 80's punk-thrash act The Asbestos, MONE¥I$GOD has been flooding the Japanese underground scene with sheer originality for over a decade by practicing their perpetual belligerence and inimitable crossover between virulent sludge-doom, grim noise rock and endless post punk latitudes .

M.A.R.K.Z kicks off with the tribal pummeling of "Cancer" and continues with the supposedly friendly "Murasaki", but it's only a devious act of diversion before "Black Rainbow" smoothly barge in with a caustic ska rhythm section, super-thick bassline, and above all, Kans' matchless gargling vocals that rumble throughout the entire album like a decisive instigator. "Waltz" lashes right after as a scorching crescendo with its' perforating and frantic gradual guitar parts and functions as a great build up for the epic "Hate Song" - a panegyric-like wayward track of unblemished loathing for humanity. The doom-dubbed remix for "Black Rainbow" by Balata (David OPP & Finkelstein of Lietterschpich fame) is the final aggressor that perfectly ends this veritable album of gashed hymns and surged audacities.

Recommended if you like Killing Joke, Zeni Geva, LEWD, Pailhead, Arab on Radar, Christpunchers, Six Finger Satellite, The EX, Nomeansno etc.

Assembled between April and June 2009 as part of a therapeutic process during a period dominated by severe disturbances of loss, mental abysses and despair, "?" is the new gospel from Swiss experimentalist Dave Phillips, co-founder of grindcore legend Fear of God, a member of the sense perplexing Schimpfluch-Gruppe and the pulverizing force behind the Rudimentary Peni one-man-doom-drone worship act Dead Peni, among numerous other projects.

"?" offers a 79 minutes album of field recordings oriented compositions that feature murky cello, piano and accordion parts, nocturnal voices, a vast array of concrete snippets and more resonances of existences that give Albert Aylers' "Music is the healing force of the universe" new depths and meanings. "?" sees Phillips observing and carefully dissecting his human psyche into ten intimate and innovative music pieces, confronting them with the bile and degradation of the omnipresent while deconstructing his own ravage with a binding urge to cleanse. And it's a fascinating insight to listen to.

Brilliantly mastered by Rashad Becker.

Valentine (Lost) Forever, the new (and third) album from Theme, a band comprised of Stuart Carter, Jeanne Boyer and Richard Johnson (from Splintered fame), is a hallucinogenic musical intersection where barbed words alter into shady mantras over a mesh of krautrock-inspired drones and cascading guitar strums collide with an oblique tamboura and foggy electronics, catching Theme exploring their environment with renewed vigor and nothing but questions left: Either open-ended or vying for interpretation.

With an additional remix by ex-Siouxsie & the Banshees bass player Steven Severin, this genuine album functions as an apocalyptic sound mirage that recalls the experimental and post industrial works of :Zoviet*France and Coil, as well as the occult-like numbness of Current 93 and the bleak avant-electronica of Andrew Liles. In that sense, Valentine (Lost) Forever is a definite masterpiece in the ever-evolving legacy of the U.K. industrial scene, and if this is the end, then it's time to burn the truth.

Named after one of the most imaginative and infamous key roles in the Israeli occupation, D9 is as merciless as this monstrous bulldozer, ramming reality in its' forehead with their post apocalyptic hectic predictions, directed towards the Israeli state and the worlds' systematic moral corruption, fueling their fury with an offensive portion of old school hardcore punk, and generating this boiling wrath into an original crushing blend of sly grindcore and bare boned power violence hostility, with a fair amount of devastating sludgy riffage and obscure electronic noise intervals to make their squashing sound even more quirky and disturbing.

Recommended if you like Dropdead, Pig Destroyer, Man is the Bastard, Burmese, early Facedowninshit, Capitalist Casualties, Dystopia and Siege.

A brutal slap in the face coming your way from Belgium's Raxinasky. With six tracks, representing six cathartic days in less than 45 minutes, Raxinasky are taking their multi-ultra-anti-musical and hateful attitude one step further into a sonic battlefield of nihilist prog-core, slanted death metal, deranged NO-WAVE and mutant grindcore revolts.

Recommended if you like The Flying Luttenbachers, Monno, Ruins, Hella, ZU, Happy Family, Discordance Axis and Cephalic Carnage.

not a tribute album for the legendary U.K Grind-Crust band, nor a religious initiative, but a glimpse into the cathartic underground of the Japanese and Israeli noise and doom scenes.

All tracks are previously unreleased & exclusive for this compiation; blasting off with the traditionally-oriented and bizarre doom of Osaka's Ryokuchi, This is an exquisite slow-paced 10 minutes guilt trip down memory lane. Next up are Jaffa's Cadaver Eyes, taking this trip off track with their corrosive Sloth-Doom: Zenocide drag you down the wilderness, while wiping the soil with their lo-fi sludge-core indignation, and then cums LietterSchpichDiet, with their demonic Doom-Dub and heliocentric swirl: MONEYI$GOD are up next, spreading their own cancer with a lethal dose of industrialized and Sludge-grudge, before Poochlatz poison the air with their battered Power Electronics and primitive industrial: Jerusalem's Remesh elaborate the damage with a hellish ceremony of their own, dripping gradually brutal drops of industrial-noise before Osaka's Nerveless wraps it up with a squashing, heavy as fuck, guitar-drone that would linger on and on.

The Lord never seemed so pleased.

*due to a printing error, Nerveless appear in the credits as Neverless.

The latest band to join the Heart & Crossbone rooster is Remesh,
a three-piece act from the holy city of Jerusalem.
Influenced by the pagan-industrial of Coil or Swans, and the contemporary avant-garde black metal of Leviathan or Xasthur, while wallowing in self-loathing, "Choke" is a bit more than 15 minutes of epic-noise anointment, accompanied by deviant sensibilities of refined abhorrence.

Collaborating Torture is one of the last known recordings made by Matt Gibney AKA Hollowing, who died in January 2006. Gibney, a member of SOIHADTOSHOOTHIM who was also running the important Rectrix label and mail-order, was joined here by the prolific Maor Appelbaum (Grave in the Sky, Poochaltz and Maurizio Bianchi, to name but a few...) to create a brooding and massive 54 minutes track of dark pitch-black ambient of hypnagogic swirls and industrialized drones. Sometimes subtle, yet mostly haunted and delirious, this is highly recommended if you like Wilt, Murderous Vision, Brighter Death Now, Aidan Baker, Z'ev, Daniel Menche, The Caretaker and John Duncan.

Like demented twins in crime, Burmese (tUMULt / Load Records) & Cadaver Eyes rephrase Doom, Grindcore and Power Electronics by using an agonizing mechanism of plain brutal aesthetics, ascending these genres to a higher level of cognitive surge.

This split CD is difficult and pungent, a warm spew in the face and an endless buzz in the eardrum that fiercely occupies the brain and treats the grey cells as if they were an ashtray. A crude awakening and a classic case of ponderous self indulgence.

(Something on the Road / Woolwung / Heart & Crossbone)
Named after River Lagan in Belfast, here comes a new sonic oddity from Israel, this time by Lietterschpich members David OPP (also; Barbara and Cadaver Eyes) and Lil' Oof (also; Panda Porn).

The Lagan Tapes is the aftermath of a Lietterschpich gig at the Sonorities Festival held in Belfast in 2005. The day after, while killing time before the flight back to Israel, David and Lil' Wolf found themselves walking across The River Lagan whereas David was thumping on fences and banging on random garbage cans with his bare hands, while Lil' Wolf was documenting the rawkus with her broken Sony TCM-323 Cassette-Corder that gave this recording its' essential lo-fi quality.

The result sounds like a regressed Gamelan workshop that evolved into an occult of modern primitives, providing tribal rhythms & haunting sounds reminiscent of MCMS, Crash Worship, Pain Teens, early 80's Sonic Youth, 23 Skidoo, Gamelan Son of A Lion and the Ince Ore & Lemon Bear Orchestra.

14 tracks, total running time: just under 30 min

Juxtaposing noise-core, grind and doom, with strong hints of black metal, it's hard to accept the fact that Barbara's instrumental line-up is comprised only by a drummer (David OPP A.K.A Cadaver Eyes) and a bass player (Re-em H), both of them also deliver the screams and perverse whispers on their first album in four years, a hectic and mindless anti-musical rupture.

For fans of Today Is the Day, VOG, Truman's Water, Burmese, Lightning Bolt and Pig Destroyer.

[cd $10.00]

If Mark Stewart was joining Khanate and Bad Brains were playing black metal, there's a slight chance that a resemblance to what Lietterschpich (Hebrew for Liter of Cum) has achieved with their debut album will arise. This bleak digital-doom-dub shriek is bound to slap the hard-core fans of innovative harsh music.

It doesn't get more extreme than this! Featuring members of Barbara and Grave in the Sky, this is highly recommended if you like Throbbing Gristle, Volt, Stallagh, Menstruation Sisters and White Mice.

The Sludge-core scene is injected with a poison: Horror movies DVD subtitles are being gargled and forced into song lyrics, backed up by heavy poundings and black metallic space-rock dirges, on this new release from Rani Zager (Poochlatz /Lietterschpich), Maor Appelbaum (Poochlatz/Sleepless/Screening) and Matan Shmuelly (Armilos).

Check this out if you're into Hey Colossus, Corrupted, Gravitar, Darkthrone and Electric Wizard.

Against all odds, we strive for excellence - we pray for prey, but shudder helpless - what's the meaning of this perverse? I've got them infecting on the flaws, questioning the truth - if needed, they will convert heaven into a burning hollow space - but once anxiety will slap me back, sanity will strike some points - could it be that everyone needs a miss to flourish?

Get down to it and finish the job: Poochlatz debut CD, Victims of Self Preservation, is out now - a limited edition of only 999 copies

Ultra noise distortion with; Maor Appelbaum: bass and production, Rani Zager: distorted vox

Future grindcore is here, this release contains; "NO TIME TO HASTE" recorded aug, 2001 @ Austin Enterprise by Steve Austin of Today Is The Day, and "THE ACQUISITION OF POWER OVER FIRE EP" recorded at Day-Dream 2004.

19 tracks + 5 more tracks = 42 MIN of blasting future grind - these 24 annihilating tracks range from ultra blasts to death doom and from black metal to industrial noise.

MILDEW aka; OVESH, David Opp, [drummer of] Shalosh Hait, barbara, Lietterschpich, & Cadaver Eyes] from blazing fast to super slow, dark & repetitive electronics, drum machine gone out-of-control, a digitized binhexed godflesh floating in cyber-outer-space. -- Recorded back in 11.1998, this project marks the birth of Cadaver Eyes - played live only once: [TransHudson Gallery, NYC, 1999] - tracks appeared in compilations, soundtracks & installations in the US & Japan.

This release includes "EXTERNAL CONTROLLER 1.06b" [interactive piece, runs on Mac & PC] CD RUNNING TIME = 50MIN

"The recording quality is top notch, in an overblown, loud as fuck blowout, as BARBARA tears through 9 songs of harsh black metal / prog punk brutality, with a crushing bass guitar attack, crusty witch vocals, and fastpaced drumming.

Lots of weird math-y breaks amongst jazzy tornado thrash and slow, sludgy dirges"
taken from crucial blast
over 40 min, 9 tracks.

"3H" hcb-001 [released 1991 as OPP-001]
post punk trio, vinyl released in jerusalem 91,
a limited edition, hand numbered, found 20 or so
copes in storage.