Yeah, it's no surprise to find out once again that Rich Hoak is a mad man. but he is no mad scientist, and that's actually good, because Hoak, apparently, is also a mad Caveman and those of you asking what the fuss is all about should grab a copy of this super-limited to 33 copies 3XCDR reissue from the kinetic Brutal Truth and Total Fucking Destruction drummer.

So what you got to start here with is the "Caveman Demo", and the opening track is called "Man vs Dinosaur", and Danny Lilker is the fucking dinosaur! I guess the Caveman kills the dinosaur and then there's some primal tribal drumming that captures an abominable glimpse of a Cavemans' daily routine, where he is mating (well, he's a Caveman after all!), worshiping nature, fights ugly to survive and getting high on sacred mushrooms.

And if that's not enough, on the second part of this CDR, Hoak plays abolished and unpolished free jazz which sounds like a Caveman's nude awakening for the entire human race. Yep, it's that good!

Then you have the 2nd and 3rd CDRs, both are credited under Hoak's alter ego as 'Peacemaker', where he offers doubtful ambient and noise soaked in the holy blood of butchered angels. The road to sanity never seemed so far and off track as it seems now.

All three CDRs were originally released as MP3 releases on Clinical Archives

New Zealanders Antony Milton (Mrtyu/Glory Fckn Sun) and James Kirk (Black Boned Angel/Sandoz Lab Technicians) are back with a mighty newborn NOISY rumble - A renewed gospel debauchery of massive psychedelic chunk!

And a savage chunk it is! "AKU" is a sordid and relentless swirl of blunted in-the-red lo-fi noise, subhuman rock 'n roll structured decomposition and marbled psychedelia splendor solipsism, reminiscent of the seminal recordings made by Les Rallizes Denudes, Mainliner and Skullflower blended with the New Zealand natural and almighty trademark of savant-guitar-noise, from The Skeptics to The Dead C to Wolfskull that result in a splendid colossal noise coming down from the sky while shouting at the ground. and it is purely, astonishing.

Originally released in 2005 and then (officially) by R.A.I.G. in 2006, "Salt the Wound" is already considered a milestone within the stoner rock underground. It clearly stormed and swept the scene with its' sincere and emotionally-charged qualities, comparable to the likes of Neil Young's starving curiosity on his early albums, Neurosis' thoughtful later ones, Caustic Resin's spaced-out ones and The God Machines' only two mournful albums, while delivering a genuine, graphic and terrestrial diatribe with an impact that is still throbbing nowdays.

"Salt The Wound" brilliantly starts with "Lazarus": a slow-paced and darkly North Carolina Appalachian-blues ballad that gradually builds up into a sonic statement of abrasive electric guitars, steady and acumen theremin flickering and feverish synths, which create this impressive cosmic wizardry the acclaimed masterpiece that it is. From the attack in full force through the foggy-blackened upbeat of "Death By Horses" to the acidic bubbling doom of the "Devil's Flower" to the monolithic instrumental hard rock of "Thin The Herd" and back again to the hazy (and also instrumental) space-rock dirge of "Norpo", "Salt The Wound" is a rare uncut diamond of surreal sludge beauty that should be referred to as a contemporary classic. We still can't believe it went out of print and we are honored to be the ones to reissue it.

Remastered and comes with new artwork and two studio tracks from the original 2005 release that were not featured on the R.A.I.G reissue.

Love Is Thicker Than Dicker
Mama Papa Teacher
I Wanna Run For Mayor
You Know
Oi Vey Racism
I Don't Like A's
We're Fifteen And We Don't Like It
Belsen
More Than A Shilling
Raus / Sonic Reducer
Twist 'n' Shout
Get Off My TV
Rock 'n' Roll
Troops Of Tomorrow
Lonely Boy

Can we finally all agree, after all these years, that "Love is Thicker than Dicker"? Even if the answer would still be "NO!" it's still about fuckin' time we'll reveal 'n reissue the dusty recordings of one of the most important Israeli punk bands that ever existed to be released for the first time, and consisting of 15 tracks from recorded rehearsals.

Cholera originated in Jerusalem and was mainly active between1982 to 1983, consisting of Marcelo "Hameshalshel" Hervitz on guitar and Amir Yagil aka Anwar Yogli on vocals, with Ran "Div" Slavin on bass and David Oppenheim aka Dudik Dal-Moach on drums. Slavin and Oppenheim later formed the influential post-punk band Shalosh Hait and continued to other varied musical experiences: Slavin joined Rir and became a high-profile audio visual artist with multiple releases for Cronica, Mille Plateaux and Sub Rosa. Oppenheim moved to New York, formed Barbara with Shalosh Hait bass player Re'em Hareuveni, established the Heart & Crossbone label, invented the manic Cadaver Eyes one-man drums-and-triggers-band (that eventually evolved into a duo), joined Lietterschpich when he got back to Israel, and spread (and is still spreading!) left-winged-human-rights-terror-noise with Balata.

But before Slavin and Oppenheim have become so diligent, they played bastard high-school punk rock and lavish hardcore with Hervitz and Yagil in Cholera, where they were making up punk anthems like the aforementioned "Love is Thicker than Dicker" and "We're Fifteen and We don't Like it", mocked inalienable classic rock assets such as Boston's biggest hit with "More than a Shilling", puked over bigotry with "Oi Vey Racism", and massacred their favorite punk classics like The Dead Boys' "Sonic Reducer", Vibrators' "Troops of Tomorrow" and Rami Fortis' proto Israeli punk masterpiece "Get of my TV". Comes in local dog poop bags snitched from open public places or in cheap purple paper bags to protect fruit from birds 'n shit, but were never used by Davids' mother.

limited edition of 100.

A joint release with the Der Sch��ne Hjuler-Memorial-Fond label, for the "Formatology" exhibition that was Curated by Heart&Crossbone; Records and presented at the Yaffo 23 Gallery in Jerusalem between October 27th to November 25th, 2011.

"Fluxus, Funk Und Die Klagemauer" was originally released as a 222 copies edition by Der Sch��ne Hjuler-Memorial-Fond and was titled "Fluxus & Funk Series, Pt.2". Kommissar Hjuler offered Heart&Crossbone; to release another version which resulted in this exclusive and super-limited edition of only 19 copies, In the spirit of the "Formatology" exhibition that featured unique underground, DIY and handmade music packaging. Each cover was handmade by Kommissar Hjuler, and by adding the word "Klagemauer" (German for "The Wailing Wall") to the album title, he phrased the perfect concept for it: 19 different Wailing Wall oriented works in an abstract, sometimes deviant manner, emphasizing Kommissar Hjulers��� unique trademark of assemblages, collages and paintings which remodel and suggest original & subjective interpretations to familiar symbols in Jewish/Israeli culture: From the Star of David (shaped by yardsticks!) to the endless tension between Jewish orthodoxies and bare women to the former ���n infamous prime minister Ariel Sharon, among other funny looking and perverse gestures, as seen and experienced through Kommissar Hjulers��� unkempt imagination.

Music wise, you get three tracks of pointed post punk-funk ���n might from the Legendary Medium Medium, as recorded live at the "Part Time Punks Festival" at the Echoplex in Los Angeles in 2009, and six intangible and playful tracks from Kommissar Hjuler diving deeper into neo-dada abyss with unusual vocals, malfunction-like non music and primal poetics.

19 copies

"By doing certain things, certain results will follow" (A.Crowley)

An algid five tracks Occult homage to Lady Frieda Harris (mostly known as the artist behind Aleister Crowley's Thoth tarot deck) is the case with this new creation by Nick Hoffman aka Katchmare.

"Frieda Harris" Represents both progression and realization Hoffman explored on previous Katchmare albums that he recorded during winter time, as it substantiates in the 25 minutes album opener "Winterreise"- A gesture to the renowned Schubert winter piece in the shape of saturnine and freezing drones that shifts to "Unseen Chariot", a picturesque track that offers noise washes alongside silent intervals and sensory drones gliding in idiosyncratic space heaven. "Wind Canticle" comes next as a methodical winter hymn with bitter ceremonial qualities, whilst "Shifting Snow" is a short and intimidating segment before "Ulrikke" rigorously end this album with an evident observation: Destruction implies creation. Death implies life. Winter is Death.

Realized and recorded November-December 2008

Track List: 1. Winterreise 2. Unseen Chariot 3. Wind Canticle 4. Shifting Snow 5. Ulrikke

limited edition of 100.

Clock says done. Time has come for the new admonishment from Eric Lunde: An inductive sound revolutionist, a founding member of the Milwaukee avant-industrial noise squad Boy Dirt Car, and an acrimonious underground writer & musician with over 40 solo releases dating back to the mid 80's.

"A World Of Hurt In The Kingdom Of God" derives its name from a series of 2-ply plastic engravings Lunde did in 2004, The original title being "A World of Hurt in the Kingdom of Gosh". It is primarily a product of the concerns Lunde still have (and expressed in his book "Prison Sex", from which the majority of the text on this album is taken from) with the latent cruelty of humans in regards to their alleged relationship with a fabricated supernatural being and how is it that religious people have to prove nothing, but the atheist ones have to prove everything.

So what's there to be found in Lundes' dragnet this time regarding these issues? A dish of sober mischief noise served cold, bubonic industrial and irate sound poetry created in the detrimental corners of the mind where the proof reproduces the intimate bonds of brutality that men create between themselves. Clock says done

As the veneer of the democracy rapidly continues to fade in Israel, no clapping hands will welcome Balatas' debut album anytime soon. So we better get this out while we still can: This new joint venture of politically-charged hardcore-doom-noise by Lietterschpich members David Opp and Aviad Albert is named after a Palestinian refugee camp (the largest one in the West Bank), and cleverly translates the arbitrary resolutions of the Israeli government, the systematic cruelty of the Israeli army and the apathy of the Israeli citizens, into a merciless and resonant attack of curved ballistic beats, splattered cut-up noises and anguished rebukes that lead to one major conclusion: We Are All Terrorists. And yet, it's not even a new realization or a shrewd homage to The Pop Groups' classic "We Are All Prostitutes", as much as it's a precise observation of the latest outgrowth to cascade in the Israeli states' decomposing moral body.

Juicy, steamy, succulent or raunchy You name it - If it moves, Dirk Diggler wants to fuck it! The Israeli pornogrind trio is a super-slick and refreshing deviation that unleashes fury as it was cum taunting a teary-eyed virgin. With 14 tracks clocking at 20 minutes of unlimited and sporadic grindcore blastbeats, vocal vengeance and riffs mutilation, these bastards manage to piss off and shake the grounds of every thinking human being; Not just because of the foul language, pedophile hints or the brilliant quasi-macho lines like "A true rider rides a Pony", but mainly because of the overall contempt roughly pointed at the superficiality of todays' society - Its' goals, fixations and lame everyday embodiment as modern slavery not worth living for. No wonder you wanna end up as murderer, child molester or an old women sex offender.

Recommended if you like Pig Destroyer, D9, Meat Shits, The Locust, Discordance Axis, Abscess, Anal Cunt, Mesrine, Necrocannibalistic Vomitorium, Foetopsy etc.

(Co-released w/ Knife Cult, Edition Zero and Blossoming Noise)

Anti-Christian minds never rest - so there you have it - A Spanish-Swiss blasphemous sermon conducted by two of Europes' profane hypodermic forces: C-utter and Dave Phillipsaka Dead Peni: C-utter set the skeletal rules as if they were desecrating a burial ground while Dead Peni purifies what's left in a methodical manner .

It actually starts with dogs barking in fear and then church bells chiming their divine doctrine for the last time before C-utter lay down their disgust doom virulence, defiling anything in their way. Dead Peni implements the verdict right after with two tracks of sludgy-droney torture chamber treatment for priests, whilst the later of these two is inspired by Laibach's "Bogomila - Verfhrung" from the "Krst Pod Triglavom - Baptism" album. "W.I.T.C.H" by C-utter brings to mind Diamanda Gals' "Plague Mass" and quotes from "Comunicados Y Hechizos", an announcements and spells book to practice and demonstrate another victory for the dark forces. Over and out.

1. Special Olympics - Behemomammoth
2. Ptomain - Crash Curse

The duo of former Lietterschpich members Eran Sachs and Rani Zager finally unleash some of their first mordant recordings and are joined by the harsh noise wall of Berlin's Ptomain for this two-tracks split CDR.

"Behemomammoth" by Special Olympics is a bottomless 21 minutes track with Zagers' pseudo-vocals ranging from repulsive to hermeneutic whereas his more profound gargles elevate into speaking in tongues unknown lost in Sachs' labyrinth of impure low frequency drones, blasting loop-o-rama and illectronics delivered from his blasphemous no-input mixer. Add to this more flipped out electronics and necro-soprano feedbacks from guest musician Daniel Davidovsky and what you get is an athletic pre-historic beast that chews and digests on free improvisation seizures, Japanoise allegiance and sacrificial black metal.

"Crash Curse" by Ptomain barge in violently right after and offers an exact and rapid 20 minutes discomfort of what Steffen Cordts aka Ptomain refers to as HNW ��� Harsh Noise Wall: A turbulent and earth shaking in full force noise maneuver that sweeps, accumulates and purges anything on its' way (and all the way) to self fulfillment as an organic total noise eruption continuously churned by corrosive vagary.

Comes in a motion sickness bag from various airline companies and limited to 50 copies.

Sand, Wind and Carcass
Burrow Below
Doppler
Beginning of End
Skies O'er
NTG Part 1 - Time
NTG Part 2 - Pressure
Lust for Scales
Blue Flame
Throttle and Hymm>br> Final Hours

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.

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)

1. M-1 Cancer
2. M-2 Murasaki
3. M-3 Black Rainbow
4. M-4 Waltz
5. M-5 Hate Song
6. M-$ Black Rainbow [Monkey WA$ Dubbed Remix]

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.

Includes 10 untitled tracks

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.

THEME - "Valentine (Lost) Forever" - HCB - 023

1. Valentine (Lost) Forever
2. Point of Everything
3. An Answer to All Life
4. Time Always Wins
5. Burn the Truth
6. A World Away
7. Burn: Redux (Steven Severin remix)

The third album from Theme, a band comprised of Stuart Carter, Jeanne Boyer and Richard Johnson (from'90s influential industrial-experimental band Splintered and head of the Lumberton Trading Company label), is a hallucinogenic intersection, where the exploration of twilight spaces, dreams, bitter reflections and hopes collide with a sense of escape (to better places?) or an abandoned 'self', either lost or searching for much needed identity.

More 'song'-based than their previous album, on Valentine (Lost) Forever Theme often witnesses barbed yet oblique words cut-up and formed into mantras over a mesh of cascading drones, textures, blissed-out guitar strums, submerged tamboura, metallic sheets of electronic frah, occasional drum pounds and chilling swells 'n' flecks of musique concrete. Overall, it catches the group exploring their environment, in more senses than one, with renewed vigour and nothing but questions left either open-ended or vying for interpretation. It's a world of rubble, dust and sprawling collapse, psychological or otherwise, screaming for meaning and purpose in a world gone mad where inner conflicts, vulnerability and regret are drowned in vast existential pools...

With an additional remix by ex-Siouxsie & the Banshees bass player Steven Severin, this genuine album offers an apocalyptic sound mirage that recalls the experimental and post industrial works of :Zoviet*France, Throbbing Gristle and Coil, as well as the occult-like numbness of Current 93, the bleak avant-electronica of Andrew Liles and the psychedelic drones furrowed by the group's own previous work in both Splintered and Theme. 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.

D9 - "[Self titled]" - HCB - 021

1. Mitkafa Matmedet
2. Niputz Matzeva
3. Boroot
4. Ikhud Datot
5. Yeush
6. Alot Shlufot
7. Al Kol Yeled SheMet
8. Gush Katif Belehavot
9. Kenut Menupetzet
10. Una Meruseket
11. Pakhit
12. Hamahapekha HaTa'asiyatit
13. Meturbatim
14. H.S.K.H.H.L.M.A.B.
15. MONUMENTS OF DECAY
16. Terutzim Zolim
17. CCB
18. Yabeleth
19. Outro

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.

(Urban Decay / Heart & Crossbone)

RAXINASKY - "The Anti-apopathiaphulatophobicoustical Days " - HCB - 019

V/A - "What Pleasing the Lord Looks Like Marriage:
Extreme Noise…and Terror from Japan and Israel" - HCB - 020

1. Ryokuchi - Miezarumon no Kage
2. Cadaver Eyes - Bahoref Karrr
3. Zenocide - Room
4. LietterSchpichDiet - Par Avion Ramblin'
5. MONEYI$GOD - Cancer
6. Poochlatz - A Stairway to the Scars
7. Remesh - Zvaha
8. Nerveless - Hopeless

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.

Remesh - "Choke" - HCB - 018

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.

1 track, 15 min long.

(Alamut / Heart & Crossbone)

1. War vs Women
2. Hard Cell
3. Your Job
4. 10,000 Knights In Baghdad
5. Execution Procedure # Three
6. Grow To Hate / Officer Arrest Man
7. No Blood No Cum
8. Dip In Blood
9. Boys Who Just Cried
10. Only The Good Die
11. The White Supremacy
12. Chocolate Soldier Disintegrates
13. Railway Of Death
14. Bible
15. Cut Across
16. Ba Yom Yom / Sweet Home Alabama

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.

40 min long
(New Scream Industry / 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, 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
(Sotr / Woolwung / Heart & Crossbone)

1. Donnie Darko
2. The Descent
3. Straw dogs
4. The Devil's Rejects
5. Scum

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.

Overblown as fuck, 44 min long, 999 copies.

I. STOCKFISH
II. MUD AND FUN
III. I CUM BLOOD IN THE FISH TANK
IV. MALEVOLENT RECREATION CELEBRATION
V. A HORSE AND A WALK IN THE PARK
VI. ZIZ
VII. VENTILATION
VIII. PETTY BOURGEOIS [WORD OF FRAUD]
IX. MIRE BLOT
X. COOKIES DOWNTOWN
XI. CELEBRATION SEGGREGATION
XII. ONE THING LED TO THE HIT

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 �ļ 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.

roughly an hour of DOOM NOISE TERROR, 999 copies.

1. SCHNELL
2. THE PHILOSOPHER UNDER PRESSURE
3. AKUM
4. NO COMPROMISE
5. SATANAH
6. EVIL DOING
7. PRAY TO BLACK
8. THE FEEDBACKER
9. NEVER MIND THE SCREAMING
10. PEGER
11. SHMAA

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.

Psycho Doom Grind, 44 MIN, 999 copies.

1. Black Milk
2. I Will Not Survive the Ravage
3. Imitate-Meditate
4. Not Just A Conflict
5. Note to Myself
6. We Degrade
7. I Got Mice on It
8. To Grief and to Hold
9. Get Down and Finish the Job
10. My Sister

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

1. BE ERETS HA-KODESH
2. THE ACQUISITION OF POWER OVER FIRE
3. BA-YOM YOM
4. NO AFTERTHOUGHT
5. DIVE INTO THE ABYSS
6. SCANDAL SHAARURIYAH
7. POWERLESS EMPEROR
8. COMMERCIALS
9. GRAZED ON PARANOIA
10. EXECUTION [PART ONE: HEADING TO THE DESERT]
11. EXECUTION [PART TWO: THE PROCEDURE]
12. EXECUTION PROCEDURE STEPS
13. SLOWED DOWN PAUSE
14. MONKEY
15. TOU DONT SEEM TO LISTEN
16. CONCETRATED EVIL
17. FREE MIND
18. SWEET HOME ALABAMA
19. PRE DRACONIC
20. THE DRACONIC DISEASE OF EXPERIMENTAL ENVY
21. REVISED HELL - [NO TIME TO HASTE]
22.INTERNAL ORGANS ARE HANGING FROM THE OUTSIDE OF
23. BA- YOM YOM
24. HA-SHKARIM HA-KTANEEM HA-ELE / [P.KOL]

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.

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

[SOLD OUT]

1. nov's'insane2
2. nov-death
3. nov-low
4. nov-endlessloop
5. track 3
6. nov-blood feud
7. nov's-sane
8. nov-first
9. nov-paranoia

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 [os 9.2 tested] & PC] CD RUNNING TIME = 50MIN

1. Pest Control
2. Skinny
3. Hotdog
4. Success
5. Heart of Thorns
6. Utopia
7. Nothing is so fine
8. Concrete Heaven
9. Morbidity

"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 www.crucialblast.net
over 40 min, 9 tracks.

hcb-007 CDR [released 2002] recorded 2001 at Austin Enterprise. extreme future grind, 20 track of mostly fast grind/death with black & industrial metal influances

1. Deconversation
2. On Wheels
3. Pigeons
4. Heart of Thorns

hcb-003 EP/CD [released 1997] Industrial / doom / HC

1. AL TITSAAK
2. I AM THE WORDS
3. SWALLOW THE TRACKS
4. MOSHE
5. BRARA
6. FEEL THE EARTH
7. FILM
8. KANKAN
9. WORDS
10. HOLYLAND
11. CROWN OF THORNES

"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.

hcb-004 CDR [RELEASED 1999] MAC ONLY CD ROM WITH OVER 300MB OF COMPRESSED DATA featuring works by: Noah Stollman, E13, C404, & David Opp pack includes 21.5" x 8" poster featuring an upside-down dried boiled anchovy and a bunch of stickers. [permanent collection SF MOMA], available also at http://www.shift.jp.org/ & http://fiftyfifty.ORG spain.