Security, Religion, Social Destruction
Sex and Drugs, Violent Seduction
Creedence Clearwater Revival, Hyestr Explosion
Cadaver Eyes Leads to Mental Erosion
Brutal than Never Ever Before
Class Mammal is a Doom-Drug Against War!
Line after Line
Round after Round
Mudhoney's Acetone
Fall to the Ground
Slower than Traffic
High as a Spliff
Sonic Bombardment
Darker than Grief
Stronger than Never Ever Before
Class Mammal is a Doom-Drug Against War!
Noise for Needles
Upanishad Injection
Tall Mountains
Love and Affection
Total Sedation
of Longing Desire
Prosumer Conducer
In Friendly Fire
Stronger than Never Ever Before
Class Mammal is a Doom-Drug Against War!
Brutal than Never Ever Before
Class Mammal is a Doom-Drug Against War!

With the spirit of ancient Persian poetry and Sufi philosophy comes "Alchemical Tones", the canonical debut album from Owl Glitters, and a resplendent sonic shrine of psychedelic rock and ascetic occult-doom rituals.

The album kicks off with "Dervishes" whereas an enchanting Spaghetti Western theme switches all of a sudden into an angelic raga with the most convincing "I Shall Rise" chant you've ever heard. Track no. 3 , "Mindfull of Gems", with its' haunted bassline and pugnacious tribal tempo, epic barbed wire guitars and frenzied vocal changes, offers some sort of a vivacious Acid-Eastern flavor with a transcendental black metal vibe. "Above the Mountains" is an alluring bona fide dream-pop-psych perfection, and "By the Candle Light Our Eyes Welcome Glimmers of Eternity" is a decorous placid drone closure to this celestial masterpiece, which manage to generate an unaccustomed and engrossing new mystic sound and standards.

On his previous album, "A Great River", Nate Hall gave his passionate interpretation to gloomy folk and somber country. This is what he had to say about "Electric Vacuum Roar": "I always used to get shocked by the first guitar chords I had. They were really bad, With wires poking out and duct-taped ends. If you touched another guy plugged in, the power would snap your fingers and tingle for hours. It hurt. But it impressed on me the raw power of the instrument."

In deed, the second solo album from U.S. Christmas vocalist and guitarist sees him submerging deeper in a free form manner, applying his veritable sonic skills, and becoming one with his electric guitar and its' infinite orphic powers. Opening track "Dance of the Prophets" is 16:44 minutes long and finds Hall chanting & looming over a multilayered psychedelic fizz a la Earth's influential classic "Pentastar: In The Style Of Demons". Second track "Long Howling Decline / People Fall Down" is almost 12 minutes of a dreamy-nightmarish-distant-guitar-drone-whip, whereas The "People Fall Down" part is in fact a Caustic Resin cover (and Brett Netson play additional guitar and bass on the album!) which sounds as if Hall was the last man standing on sick planet earth. Now isolate yourself, close your eyes and press play.

Give me convenience or i'll give you 'Dead Language': An anomalies portion of post punk wit, ballistic retro vs. futuristic electronics, apocalyptic cold wave and palpable industrial integrity which is at the same time heartfelt, contemporary and clairaudient substrate of Mujahideen's hometown, Jerusalem - A bewildered city which is also a microcosmos of Israeli society ongoing debasement and vulnerable sphere for a daily clash of repressed enslavement, traditions, values and languages struggling to survive.

No wonder that side A hits off with "Greed", a cover version for the seminal 1988 underground classic from Israel Band - which were, and despite their band name - thee most controversial anti-officialdom group ever existed in the land of rape and honey. Mujahideen renew this mournful song with a killer groove and a straightforward sentiment. "Vengeance" comes more aggressive right after and takes out the knives by highlighting their oriental and acidic edge which is quite dominant throughout the entire album, yet "Culture Slaves" is more laidback and minor, and brings to mind the lament sound of P.I.L circa "Metal Box", detaching from the ground every time its' soulful chorus comes around. "Progress And Order" is contemplative,romantic and almost apologetic, before it explodes into a vindictive and keen spectacular.

Flipping over to Side B, "Stillness" keeps pushing the industrial beats to an infinite limit, with the spellbinding vocals of singer Alon Ovnat as their prurient catalyst. "A Path" and "The Human Factor" express an unequivocal accusation addressed to those few ramming anything in their way to subjugate and achieve crowd control, and "Blame Blues" is the ultimate epilogue for such an emotionally and politically charged album: First minute or so is placated and bare, before switching to a full on electronic upheaval grand finale with one of the best basslines ever recorded.

Fans of Mark Stewart & The Mafia, The Fall, P.I.L, Killing Joke and Suicide - You need this!

Mastered for vinyl by James Plotkin, limited to 300 copies.

Originally released in 2011 and now reissued by Heart&Crossbone;, XI by Denmark's Hexis is a punishing mindset of rapid black metal and extinction-obsessed hardcore bloodletting with a crusty uproar flavour. Opening Track "Evinco" is the sound of vengeance made by a bestial horde, "Aspernatio" and "Procella" are short & spiteful anthems against mankind, "Crux" is a four letter word of iconoclastic-fueled loathing, "Nex" is a dissident extreme metal dissipation, "Seputus" is a church burning campfire spectacle and "Fatum" is an ebonized Nordic hardcore spit in the face of oblivion...

"Your Son Died Laughing" is a spiritual mutilation of carnal tectonics, obsessed with a sluggish and sorrowful doom riffs. Strongly influenced by early 80's Swans, and reminiscent of Zeni Geva's noise rock desire for agony, Skin Chamber's industrial torture technique, and Godflesh's grinding tribal pound and poignant grief, it captures the hard-to-digest essence of lost tormented souls' intrinsic strife and self-inflicted agitation through dismal, muffled and off the wall six tracks, each of them clocking between 7 to 13 minutes and demonstrating a disturbing sight of hellish sludge hedonism.

Originally released on CD in 1997 by Dutch label Supreme Tool Supplies, this underground masterpiece went way way down and under. Remastered by James Plotkin for a double LP reissue, Heart&Crossbone; is honored to make it surface again, if not for the very first time.

Limited Edition of 300 copies.

Armed with a Revox tape recorder as his main instrument - while constantly reeling his way up as one of the rising forces in contemporary improv electronics in recent years - it was only a matter of time until Mimmo Napolitano aka SEC_ will finally unleash his masterpiece, "Outflow".

On his 5th solo release, SEC_is providing a tremendous atmosphere via a meticulous experiment in sound, composed noise bursts and feedback burps, shambling rhythms and interrupting erratic-static radio irruptions, agitating electromagnetic fields against distant field recordings and blurring beyond recognition the semi-suspicious borders between analog and digital. This is an intrusive and challenging take on experimental music. come and get it

Without any hesitation, Sweden's Pyramido deliver a masterpiece after a masterpiece and their 3rd album in four years sees them blossoming solely in the killing fields of random sludge and doom with their new eponymous full album titled Saga.

Massive sludge-doom and acid-riffage this way comes 25 seconds into the opening track of "Varje Steg Är Ett Snedsteg",continued by the epic-gut-wrenching 90's-Neurosis like conjuring cry out of 2nd track "År Av Onåd", with guitars echo-blazing in the background to build up the puncturing blackened-tension of following track "Foise". Then comes the tribal-psych-occultism of "Klockrike" as a secret path to the pneumatic intensity of "Ingen Människa Är En Ö" and its' transcendent post-rock ridden hooks while the sixth track, "Tiden Är Kommen", is a cathartic and a compelling closure for the album with over seven minutes devoted to taking the skies all the way down, and scattering them back on earth where they truly belong.

"Mass Burial Dream". An album which sets off with such a misanthropic statement should definitely not go under the radar. This is the case with "Purge" by French adversaries Lamort - A formidable eleven tracks album and a vile eulogy for mankind.

Once the mass burial vision grinds to a halt comes "Unrest" fully loaded with acerbic rage, and sets the tone for the ultra-hypnotic instrumental aftermath of "Wowairt Gnaat Traut Isam" which recalls Brainbobms fulfilling their most horrifying secret desires in a nerve-racking patience. "Fialure" is yet another notable track with it's nihilistic plagued doom pace overruled by emetic and vindictive vocals, giving way to "Spinning Wheel of Rats" - a ruthless instrumental track that blossomed in the reeking gardens of embitterment.

Wrapping up this purge crusade are "Rat Crevé" with its' sludgy landslide crushing down on a purified altar of odium, and "Do What Disease's Eyes Hardly See" - a mockery masterpiece for a song you'll probably know and recognize, with Lamort giving this classic the standoffish requiem it deserves.

Recommended if you like Upsidedown Cross, Brainbombs, Rusted Shut, Kilslug, Power of Jism, Zeni Geva and Flipper.

Outstanding albums need to be heard! So it's only fair that a CD version of the 2012 masterpiece debut LP from Sweden's This Gift is a Curse will be available on that format that everybody seems to hate lately.

This CD reissue also contains 4 bonus tracks from their self-titled 2010 EP, which are not available on the vinyl version, and make I, Gvilt Bearer sound even more menace 'n malice with its' total uprising sound of desolation and iconoclastic crusty-sludge aggression which naturally crossing over to Scandinavian black metal inferno that is shrouded by scabrous doom metal occultism. It's an almost 70 minutes hell ride through the disparate sicknesses of mankind - and once you'll be on it - you'll never want to get off.

Recommended if you like Celeste, Atriarch, early Neurosis, The Secret, Culted, TamutAmen, early Converge, Hexis, Unearthly Trance etc.

Formed in Hong Kong in 2006 and relocated to the United States a few years later, Queen Elephantine has produced some of the finest doom albums and splits (with Sons of Otis, Elder, and Alunah) in recent years, driven by sheer originality and mystical force embodied in resplendent shrines of sound.

Mastered by the omnipotent Billy Anderson (Melvins, Neurosis, Sleep and so many more), Scarab is Queen Elephantine's 4th album: A work of grandeur which finds the band digging even deeper into delirious and psychedelic threnodies, abysmal doom observances and mild invocations, offering deep, heavy sounds straight from the soul-realm woven through the geometries of the cosmos - A funerary procession danced by a mighty double-trio of two axes, two drum sets, and two insectoid drones.

Opening track "Veil" is the sound of a Mercurial navigator galloping through epochs, a coarse voyage through unspeakable ancient rites. "Crone" is up next, revealing a shadowy affinity between minimal tribal-doom and elusive math-psych. Third track "Snake" is an 11-minute squirm of primordial suspension and reproach with sonorous and radiant vocalizations, swallowed by the caliginous doom wreckage of "Clear Light of the Unborn" which takes this masterpiece to its' end in a chariot of headless horses heaving a monolithic obsidian temple across the dense, lightless extremes of space.

Compiled from recordings made between 1995 to 2011, 'A Collection of Hair' is a sequel to 'A Collection of Curses' (2006) and gathers hard to find tracks, compilation contributions, re-workings, live recordings as well as unreleased pieces by Dave Phillips: A mutinous punk, Aktionist and activist, a member of Schimpfluch-Gruppe and OHNE, the man behind Dead Peni and a mingler and a mangler in numerous other projects.

With 32 tracks/150 minutes of sound, including a video by Gina Kamentsky to dp's tribute 'A Drink on Spike Jones', an unreleased recording from 'Abolishing Religion', a unique Tel Aviv performance, a radio piece curated by 23five, an edit of the Schimpfluch-Commune Berlin wild boar feeding grounds piece and lots more, "A Collection of Hair" is all about Psychoactive sonics of minutiae micro-compositional rackets juxtaposed with flourishing audio-pastures, psycho-acoustic shock treatments and an almost scientific approach to musique concréte - A wide spectrum of recordings that illustrates the convulsive and always channeling body of work from the blackened man in black.

If Ozzy was dead he was rolling over in his grave. Thank God he isn't.

On a second thought, Thank Satan and check out this 10 tracks of re-edited, chopped-up tracks from Black Sabbath's first album and Master of Reality.

It's wicked! [100 copies]

Caduta dei Gravi (Italian for "The Falling Bodies") is the debut album from this new French duo, consisting of Karl S.of noise-core spades Danishmendt and Sébastyén D. from ethereal darkwave act Opium Dream Estate.

With influences and stringent sounds reminiscent of the Filth-pound-Cop-punch era by Swans, The Young Gods' rebuked poetry and industrial venom of their first album, Sigmund und Sein Freunds' boisterous dark rock and Caspar Brötzmann Massaker's merciless aggro-guitar minimalism, Saison de Rouille (French for "Season of Rust") abolish mundane gravity, reap and wallow in the infinite battlefields of agony with a misty sonic squirm, and forcing a bright light on the most humiliated and darkest corners of the mind, whilst a raging vortex of lost souls enslave to their tumultuous lamentations.

(co-released with OPN, Kaosthetik Konspiration, Ocinatas Industries , Cold Void Emanations and Le Crépuscule Du Soir)

Offering a firm interpretation to William Blake's thorough stance of duality in mankind existence, and the significance of good and evil (as primarily featured on his book, "The Marriage of Heaven and Hell"), Holism Gaea is a new duo that valiantly leaps into this torrid maze of a multi disciplinary work of art - and transferring it to a new domain - by translating it to sound through space and time.

Charged with a portion of noise and post industrial alienation, 'Blakesian Williamness' erupts with "Antares Fall": a hypnotic monotonous beat leading a bleak and astral space-noise journey into hell, followed by a psychedelic twang and some static noises that leak into "But in the Wine Presses..." who recalls Coil and the finest indifferent moments on Spectrum's "Forever Alien" album, before landing in cosmos heaven with the surprisingly gentle and quasi-melodic "Ah! Sunflower", a beautiful poem by Blake which at this point makes every word, coming out of Holism Gaea's vocalist, shiver: "...Where the Youth pined away with desire/ And the pale virgin shrouded in snow / Rise from their graves and aspire / Where my Sunflower wishes to go"

More elevating cosmic noise tracks to follow, such as the epic and dark "The Argument", yet once "Blakesian Williamness" ends, peaceful silence will never seem so out of reach and will never be taken for granted again.

(co-released with Topheth Prophet)

Incarnated in 1990 as an offshoot from the grind-noise deformation executed by Seven Minutes of Nausea, it's been ages since End of Silence last released something.

"Auditorium" captures their supreme 2012 comeback with a new and impressive full album: A purifying out of body experience for those who opted the subterranean path that leads you from eerie noise temptation to evil pendulum-doom hypnosis and all the way back through the power and the glory of wildernesses' drones: A measured portion of endless, magnetic, drilling and agitated audio-apocalypse.

(co-released with Ecocentric Records)

Breaking into the scene only about a year ago, TamutAmen are already a cryptic and unholy force majeure from Israel that is rapidly hitting bong bottom in the speed of adorned demons.

Their debut EP is a perfect crossover between the perpetual defiled extremities of hardcore-punk and black metal's clenching misanthropy, smoking out loud and clear with the roaring anger management delicatessen of "The Creatures", the epic hedonism-nihilism abusment perk of "Million Pills", the switchblade sprawl of "She Returned", the monumental damnation of "Ancient Demon" and the royal blackened stab of "The Elite". This is the new testament of subversive metal and it's here to slay.

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.

Silk screened and handmade release poster for the "Salt the Wound" reissue.

Designed by Dekel Hevroni

Limited edition of 50 copies.

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.

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.

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.

A joint release with the Der Schöne 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 Schöne 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.

"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.

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

1. RING AROUND THE ROSIE
2. SEE SAW MARGERY DOW
3. YOU ARE MY SUNSHINE [WE ARE ALL TERRORISTS]
4. SESAME STREET [THEME OPENING]
5. MABALATA

Music by D. Opp. & Finkelstein
Recorded live at Frequency Humiliation #5 (Rogatka, Dec. 2010)

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.

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.

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 Brtzmann 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.

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,
edition of 500, hand numbered.