The album consists of one long track of almost an hour in length so a moderate degree of perseverance and patience is needed when giving it a listen and therefore this will certainly not appeal to those who are looking for variety. The track itself is ultra-slow, raw and abrasive with fairly simplistic, repetitive and monotonous riffs, the production is not in any way polished and the atmosphere is as ominous and bleak as you would expect. So, in other words as far away from “accessible” as you can get. The question is whether this album is too inaccessible for some, especially those who are not so accustomed to the swamp-like depths that Sludge can offer. Around the 20 minute mark there is a section that is surprisingly reminiscent of the repetitive yet effective MCD released by SKEPTICISM entitled “Aes”, albeit a less grand and more filthy sounding “Aes”. This is certainly a higher point of the album as it changes the atmosphere slightly during this apocalyptic and colossal soundscape. The Black Metal elements heard here are fairly subtle, heard in riffs at times, though perhaps having more in common with the more depressive end of the Black Metal scale. The primitive nature of the release may appeal to those who look for this trait in Black Metal / Doom, however, HIGHGATE is an acquired taste as it is what could be described as extreme, ultra-primitive, minimalist Doom and is very far away from any form of technical wizardry.

Inspiration behind this release, of course, comes from the more negative aspects of life; with themes of War, death, suicide, and desolation being present. HIGHGATE are certainly masters of creating feelings of building tension, discomfort and nihilistic darkness. Overall the album is an unrelenting experience, perhaps not the most original but ideal for the most anti-social followers of the genres HIGHGATE combine in such an ugly manner.

During my near-seventeen years on this planet, I haven’t amassed the largest record collection nor the most esoteric, but I’m always searching for new shit and I’ve managed to find some pretty good stuff so far. Well here are some of my favorite tracks from some of my favorite albums. Hail the Goat!

1. Electric Wizard “Barbarian” Dopethrone 2000
   We start off with a track from an album that some might consider the heaviest of all time. Indeed, Dopethrone is so vast, so desolate, that upon listening, I often find myself astray among the monolithic riffs, far away from this planet. It’s heavy on so many levels, this track in particular. The vocals are so fucking nihilist and misanthropic. Jus Oborn sounds like a fucking sorcerer proclaiming curse unto the wind from atop a blackened peak. You think your civilised, but you will never understand!!!!
2. The Hand of Doom “They’re Ain’t No Running Away” Poisonoise 1979
   Here’s some solid heavy metal from the lone album of The Hand of Doom. The whole album is a great mix of punk, heavy metal, and rock ‘n’ roll. Straight foward songs with no bullshit about it and all them are so damn good and memorable. It is a shame these wild tunes were the only release from these guys.
3. Blasphemy “Darkness Prevails” Fallen Angel of Doom… 1990
   It’s been said many times before, but this is one of the greatest black metal albums of all time and “Darkness Prevails” probably is my favorite Blasphemy song. This record is so raw, it took me a little while to really appreciate it. It sounds like the master tape was unearthed from a 500 year old grave. So grinding and evil. I need this on vinyl! One day…
4. Davie Allan and the Arrows “Blues Theme” The Wild Angels Soundtrack 1966
   Worship at the altar of fuzzzzzz, where Davie Allan is god! Great west coast vibe from this song. Cruisin’ on a motorbike through the desolation of the desert….Watch out!



5. High Tide “Futilist’s Lament” Sea Shanties 1969
   More fuzzzzzz! Perhaps the heaviest record of 1969? Definitely the heaviest electric violin of ‘69. What a great record from start to finish, not just the heavy songs but also the lighter songs. The whole LP has this very distant, mysterious vibe. Very dreamlike, almost nostalgic. Spin this LP with your drug of choice and drift away.
6. Sonic Ritual “Don’t Wanna Feel Alright” Mother Hearse 2009
   I had trouble picking one track from this band cause they’re all so good! Sonic Ritual has such a unique sound and vibe. To me, it sounds like a mix a of “We Live”-era Electric Wizard mixed with the pure rock ‘n’ roll of Motorhead. They got it all, the riffs, the heaviness, the groove.
7. Black Flag “Thirsty and Miserable” Damaged 1981
   Black Flag has a huge influence on the Satan’s Satyrs sound, especially “Damaged”. It’s just a big noisy mess falling apart all over the place and it works. What can I say that hasn’t already been said? It’s one of the heaviest records ever. The production is SO perfect, that’s a big deal for me. The drums are so solid and they cut right through the noise. The guitar tone is so incredible, I could toil for hours trying to dial my amp just right to try on get that sound. The guitar sounds especially venomous on “Thirsty and Miserable”. Rollins is crazy motherfukker too. Fuck, I gotta go spin this right now….aaaaaaargh
8. Pentagram “Dying World” Relentless 1985
   Another band that we Satyrs hold in the HIGHEST regards. We just saw Bobby and Pentagram live, goddamn it killed! Anyway, I love this song. It’s fast doom with chugging riffs and Bobby’s vocals are ghoulish as all hell and I can’t really say much to do this band justice! WORSHIP!!
9. Archgoat “Hammer of Satan” Whore of Bethlehem 2006
   Pure and potent Satanic Black Metal of Death. What else is there to say? I remember first hearing Archgoat. I was fed up with hearing Darkthrone-rip-off myspace black metal all the time and Archgoat’s crushing sound just hit me like, well, a Hammer of Satan! (I had to do it) No bullshit about it. Pounding drums, sinister axe attack and some of the most malevolent vocals ever come together in this primal, ritualistic frenzy!
10. The Rolling Stones “Satisfaction” 1965
    60’s era Stones is the best era in my opinion. Hell, the original idea of Satan’s Satyrs came from getting stoned and spinning old Rolling Stones LP’s. Great fuzzy riff and great groove. Dig it!

In conclusion, I left out a lot a good stuff. Oh well…

Direct link to this Podcast.

REAKTOR 4 are one of those bands who have real personality and obviously don’t give a fuck about what anyone else thinks so the creative freedom here yields maximum results in terms of innovation and listening experience. One of the most attractive features of REAKTOR 4 is that the album has nightmarish qualities and listening feels like going on a dark headtrip into some of the most surreal and disturbing territories within the human psyche. Combining harsh Industrial and apocalyptic, clinical, coldly mechanical, urbanized Black Metal and possibly a large dose of mental illness and nostalgic melancholy, this is a truly warped creation that both hypnotizes and numbs the listener in equal measure. The monotonous and abrasive guitars, the dark electro beats, the scathing distorted vocals, hallucinatory effects, industrial rhythms, creepy organ and accordion sections and desolate urban atmosphere all make for an amazing listening experience. Although REAKTOR 4 do have an original sound, the best comparison is perhaps to imagine a combination of LIFELOVER, APATI and “Cleanse, Fold and Manipulate” or “Too Dark Park” era SKINNY PUPPY. If you generally enjoy hybrids of Black Metal and the darkest of Industrial then this album is an absolute must! May be a good choice for fans of bands/artists such as ABORYM, MZ.412, DIABOLICUM, THORNS, BLUT AUS NORD, SKINNY PUPPY, HOCICO, DOWNLOAD, LIFELOVER, WOODS OF INFINITY, STAHLMANTEL, SPK, APATI, AMESOEURS, etc.

REAKTOR 4 offer pure unadulterated negativity and soundscapes of mental disintegration. In my opinion it would be fair to say that this album is very cool, very strange and VERY essential…..what more could you ask for?!

VELNIAS use mature song-writing techniques (border-lining on progressive), making use of many moody acoustic passages and slow, sorrowful riffs that gradually build and shift throughout each track. Although it is possible VELNIAS may appeal to those who follow bands such as ENSLAVED, DRUDKH, AGALLOCH, OPETH, and suchlike, the formation of the songs on offer here actually have more in common with the techniques used by bands such as later ISIS and PELICAN, though VELNIAS offer a more melancholic approach to this style and of course a strong Pagan flavour. The Pagan sensibilities and themes are evident throughout the release, from the roughly performed vocals, to the aesthetics, track titles, band name, warm-sounding guitar and bass and also the unobtrusive samples taken from the natural world. This is basically a risk-free release as you know what should be expected, there is little doubt of this. It would be fair to say that this release is an ideal choice for those who are dedicated and perhaps obsessive followers of the Pagan / Progressive / Folk area of Black Metal as “Sovereign Nocturnal” is a more subtle offering than most in this genre though it is not without intensity, due to this fact the release may also be a good choice for those who follow Post-Rock and are looking for something a little different to their usual choice of music.

Overall “Sovereign Nocturnal” is a very promising and sensitively composed release from VELNIAS, however it is likely their very best output is yet to come (with “Sovereign Nocturnal” being their first official release following a demo recording). The band have well-established and strong ideas when it comes to the inspiration behind their work and so this focused attitude will no doubt continue to yield interesting and hypnotic results. VELNIAS are certainly what may be considered an “outsider” Black Metal band along with acts such as the arty and serene WOLVES IN THE THRONE ROOM who also base their works on nature. To sum it up; “Sovereign Nocturnal” is a superb choice for environmentalists, experimental Metallers and modern-day heathens.

The first track entitled “Ephaistos” begins with an experimental keyboard piece, before launching into a blistering Black Metal onslaught. Many still frown upon the inclusion of keyboards, but there is always an exception to every rule (and besides which rules were made to be broken). The keyboard highlights add a nightmarish, hallucinogenic quality to the already surreal compositions. The vocals are also a real standout point, combining both low guttural vocals and a high pitched, passionately executed shrieked vocal that at times reminds of BURZUM and early FORGOTTEN WOODS. The guttural vocals are effective in adding a Satanic feel to the tracks and are performed in a similar manner to bands such as TEMPLE OF BAAL (Fra), and perhaps also bringing to mind bands such as AKERCOCKE and GOATLORD (USA) considering the demonic overtones, heavy bass and dualistic vocals. The second track, “Elizabeth” is dedicated to the Blood Countess herself; Elizabeth Bathory and is a worthy ode to her memory. Dark, heavy, weird, twisted and evil…..perfect! The final track “Immortal Horde” is the longest of the three offerings and remains as macabre as you would hope for, leaving a lasting impression with its mind-raping intensity, though this time slightly slower and heavier. The track begins in a way that is surprisingly reminiscent early PARADISE LOST (circa “Lost Paradise”) or even early MY DYING BRIDE (“As the Flower Withers”), crossing genre boundaries from macabre Death/Doom before returning back to Horror-fueled Black Metal. Overall the sound is fast-tempo, bassy, lugubrious and of course cold and grim though not lacking in melody.

One short but sweet 7″EP, only around 10 minutes in duration but with so much to offer! GORGON are well worth checking out for anyone interested in the first wave of Black Metal, or indeed anyone interested in the more eccentric and unconventional realms of the underground.

One of the aspects of this album that is so magnetic is the skill of HAMMEMIT to transport the listener to the darkest of Medieval times, no doubt one of the most fascinating and sinister periods of History. The term “Medieval” can be thrown around a lot when it comes to both Metal and experimental releases, but in this case it would be fair to say that HAMMEMIT has a genuinely Medieval ambience with an accomplished sense of historical vision. Overall the composition of the album utilizes modern electronic effects and techniques with simple structure and subtle Dark Ambience, yet the effect is colossal. I tend to think of Black / Dark Ambient as having a sort of “Butterfly Effect” when listened to; minimal yet profound and compelling in its execution. The tracks on offer here tend to feature what sounds like creepy Ambient soundscapes combined with unearthly strummed guitar effects, ethereal keyboard / piano pieces, monastic chanting, eerie spoken and whispered voices. There is an esoteric / occult religious theme running throughout the release in terms of both sound, lyrical content and aesthetics. I am by no means an expert on these matters but as far as I understand the name “Hammemit” is taken from the Egyptian Book of The Dead. One thing is for sure, this album is certainly thought provoking and fires the imagination. “Spires Over the Burial Womb” can lead the mind to themes of secret Masonic ritual, the Knight Templars, majestic ruins, alchemy, ancient magic and dark archaic wisdom, for example.

As HAMMEMIT have forged such an original sound, it is difficult to compare with other musicians or bands. However, the closest comparison would have to be to DARK AGES (Ukr), although DARK AGES tend to be inspired by pestilence and plague more specifically. Both HAMMEMIT and DARK AGES do however evoke nightmarish soundtracks to Medieval times using Dark Ambient techniques; in this sense the comparison is relevant. “Spires Over the Burial Womb” may appeal to those who appreciate artists such as VALEFOR, DARKNESS ENSHROUD, BLACK FUNERAL, VOMIT ORCHESTRA, AGHAST (Nor), BLACK SEAS OF INFINITY, EXTINCTION, etc. HAMMEMIT is an ideal choice of music for those who wish to find escapism in its most enjoyable and macabre form.

Here is an early Hateful Abandon related post, looking back at Famine a year or so after release and talking about future plans for 2010 and beyond.

My band HATEFUL ABANDON, life, music and other

Hateful Abandon are my favourite band. Not that I have a huge ego, or because I have a messiah complex (although I do), or even that I think we are better than anyone else, but because of the possibility of what comes next.

We can do anything with HA, something I’ve said before ad infinitum, but so what? It’s a huge deal to me to have the freedom that we’ve blessed with to shape my thoughts and ideas. You’re going to hear some great things from the band this year as the next album is shaping up to be something really special. The irony is that not that many people will hear it. Not because of any failure on the record company’s part, nor because we haven’t got a presence on the Internet or the media, it’s because we are so hard to MARKET to any particular group of people and because we don’t have a BAND together to raise hell on a stage.

The last album, Famine, was a great starting point and a pretty good record, more importantly it cemented my relationship with Swine and I could begin to see what we would become. If I had anything particularly bad to say about the debut album I would certainly pick out the less original tracks such as ‘Painters Rope’ and ‘Riding the Blade’. I still like the songs, but they were derivative of a ‘Post-punk’ band and had the carbon copy bass lines to boot. I see this as a side-effect bought on by the freedom of breaking out of a certain ‘mould’. Nevertheless, it won’t happen on the new record.

The big problem I’m facing now is that I want people to re-evaluate their opinions and thoughts on HA because I know what we’re doing now is so much more special. Alas, it’s not finished…I have pre-second album depression. Brilliant.

Going back to the HA as a live band situation, even if we got a band together, who would we play to? Is there an audience? I don’t think there is. We should have been born earlier, or at least I should, Swine’s main band Salute, apart from being great, are doing very well and seemingly on their own terms. Can’t think of anything to say about that other than heart bursting pride for the lads and an envy bordering on the psychotic.

So, what can you expect in 2010? New album ‘Next Question’ should be heading out this Summer and will be harder edged than anything that has come previously. That’s not to say it will be ‘heavy’, if anything it’s even further from the Metal stuff I used to record. Expect a sharp drop in the ever dwindling Mypace friends list (semi-serious/sarcastic). Also I will be doing some solo stuff as well, I have loads of ideas that wouldn’t be suitable for HA. Just myself and an acoustic guitar. I don’t know who will put this out but I’ve never been short of offers, just fans (again semi-serious).

I’m going to write a book about my life as well, it’s been a pretty interesting one really. Mainly observing the way other people behave. I’ll publish this myself if necessary.

To 2010 then. Raise a beer…

Salute Interview Audio File

One of the elements that makes NEUROSIS so successful (when considering their later releases) is their aptitude for building amazing atmospheres through layer upon layer of slowly building walls of sound and sludgy feedback. YEAR OF NO LIGHT also manage to pull this off with ease while also maintaining their own character. “Nord” tends to take the basic NEUROSIS / ISIS format and really stretch it to its limits, throwing in some extra heaviness in the form of droning doom-laden riffs, subtle interludes and calming reflective instrumental sections, Post-Rock style crescendos, and cold, melancholic electronic ambience.

Considering this is only the first official release for YEAR OF NO LIGHT (though they have released further titles since its release in 2006), it is certainly a masterful album that is both mature and could easily be mistaken for the works of a longer established band. Perhaps then it is not so surprising to learn that the band shares members with none other than MONARCH among a number of other bands. Therefore it seems natural that YEAR OF NO LIGHT tend to veer towards Doom in their overall approach. Although this release may be loosely defined as Post-Hardcore, it is definitely at the more extreme end of the scale. The style of vocals performed also support this statement as generally they are harshly executed in a screamed or roughly shouted style. Admittedly this style of screaming that is certainly more common in the Hardcore / Punk / DIY community and will not be to the taste of those who strictly follow Metal in its truest of forms. However, “Nord” is the ideal choice for those who enjoy arty, experimental hardcore. YEAR OF NO LIGHT may be described as “thinking man’s music” and may easily appeal to fans of ENVY, CULT OF LUNA, EARTH, ISIS, SWITCHBLADE, MONO, BOTCH, NEUROSIS, 65 DAYS OF STATIC, THE OCEAN, ANDSOIWATCHYOUFROMAFAR, BURIED INSIDE, CONIFER, SNOWBLOOD, ROSETTA, CONVERGE, RUSSIAN CIRCLES, PELICAN, and HUMANFLY. Challenging Doom / Drone / Dirge / Post-Hardcore for the free-thinkers and well worth taking a chance on!

It’s obvious from the onset that FAAL have put a great deal of work and careful contemplation into the four lengthy compositions that feature on “Abhorrence – Salvation”. As you would expect, the hard work has paid off, resulting in a highly accomplished and unusual album. The high level of quality is something which may generally be associated with Ván Records releases as the label never fails to deliver individual and often genre-defying music (for example; RUINS OF BEVERAST).

“Abhorrence – Salvation” brings to mind “Dark Metal” era BETHLEHEM, combined with the apocalyptic yet hopeful Post-Rock compositions of MOGWAI, EXPLOSIONS IN THE SKY or MONO, the dark sonic drone of BLACK BONED ANGEL, and the grandiose Classical ambience of GODSPEED YOU ! BLACK EMPEROR. There are also highlights present such as the sporadic appearance of moody piano pieces that add to the overall dualistic feeling of the album. FAAL tend to blend together seamlessly atmospheres that are at once aggressive, melancholic, desperate, whilst also strangely hopeful and bittersweet. Inspiration comes from the sort of negativity that is to be expected from a band with funereal interests so expect themes of loneliness, grief, solitude, decay, death, hopelessness and isolation. May appeal to fans of (early) KATATONIA, SKEPTICISM, DOOM:VS, AGALLOCH, (early) BETHLEHEM, REMEMBRANCE, BEYOND BLACK VOID, WIJLEN WIJ, UNTIL DEATH OVERTAKES ME, etc. Limited to 200 and exquisitely presented so well worth checking out while you still can!

A list of ten (non-hierarchical) songs that I think of as inspiring works, etc. etc.

1. Alien Goodbyes by Tangerine Dream from the OST Wavelength (‘83)
   Being a fan of Edgar Froese and Peter Baumann, etc, I partake my share of “vicissitude enhancing” substances we’ll say, and when I seek sound to mimic my wondering this is often my choice for tuning out. Never saw the flick, you probably haven’t either, anyhow, enjoy this melodic and spacey post-70’s Tangerine Dream sound.
2. Eye Of The Hurricane by Fraction from the album Moon Blood (‘71)
   Great band out of LA, one l.p. wonders, mixes a cool blend of The Doors influenced rock accessibility with fuzzier psychedelic sounds of the era. The vocals drive this song over the edge of awesome, but expect some killer lead work, and proficient structure to match. Made to expand perspective (in smoke), this is a pretty representative sound to the heavier underground elements in southern California during the early 70s. Tune in…
3. Aguirre I (Lacrime Di Rei) by Popol Vuh from the original soundtrack Aguirre: The Wrath Of God (‘72)
   Brilliant Krautrock melodics, with choirs pulsing under deep tones pushing the patterns onward in a meditative cloud. A great soundtrack for an awesome movie, by a legendary director, and with Kinski’s image indelibly attached to these songs, I find this stuff pretty fucking epic. The contrast of the dimming of the dynamics, and that of the higher notes brightness, passing through darkly melodic harmonies brings a perfect mournful theme of paradise lost. A relative quality to a lot of what I enjoy. Native antara like sound at the end is a nice touch to close this out.
4. Bitches Sin by Bitches Sin from the album 12 Pounds And No Kink (‘80)
   A classic NWOBHM track from my pick for the bands best release, as this demo is packed with great Priest, Deep Purple, and Sabbath style riffing. This song really epitomizes the blues influence on the rhythms in the bands sound, and the then new British metal extremism. Aggressive, and neck wrenching heaviness pounds along with frenzied rebellion, and an insane solo tears your face off with total metallic force.
5. Suicide by Rage from the album Reign Of Fear (‘86)
   With a power/speed metal sound, and thrashy leans, this is some really cool old school metal. Everything about it just screams mid 80’s (this sound reminds me a lot of Raven before they went to shite). Suicide is
   a pretty metal topic, and has been used widely, and I suppose there’s two choices one probably has to make: end the suffering, or get angry, which takes us to the next track.
6. 99 Stab Wounds by GG Allin from the album Murder Junkies (‘91)
   I enjoy a fair bit of punk rock, but when I think about the ideals I most enjoy in punk music, I find GG pretty much embodies them at their utmost extreme. This is a classic track featuring Antiseen, recorded shortly after GG was released from prison. The message of the song is pretty succinct, I mean, who hasn’t felt the sadistic imp of abject hate pushing on them? Society is generally that worthless,… most of the time.
7. There Are No Rules by Hallow’s Eve from the album Tales Of Terror (‘85)
   An anarchist anthem with a punk punch. Aggressive and ugly, this could easily have been a Plasmatics song. Lyrically hits religion, politics, and all in between, and well, as the title suggests, “there are no rules”.
8. Bastard Sons Of Ignorance by Sarcophagus from the album Requiem To The Death Of Passion (‘98)
   Killer line up on here. This is a choice track which mixes a black, slightly melo-death sound, with short symphonic moments, and Akhenaten’s angry throat of hate. Seems like you can really hear the influences of bands from Sweden and Poland, of the same era. A lot of great metal bands from around Chicago IL, this is but one.
9. Unblessed by Obtained Enslavement from the album Centuries of Sorrow (‘94)
   Typifying melodic black metal track from the bands debut, mixing some interesting ideas with what was to become a traditional Norwegian sound. Definitely not the clean technical music the band would later put out, but much rawer, and more aggressive. The indecipherable, stressed, and cacophonous sound Pest’s vocals deliver on here is vicious.
10. In The Fog by Astrofaes from the album Idea.Form.Essence (‘07)
    I remember ordering Heritage from ISO666, long long ago, and really digging the direction the band was going in, relative to the Eyes Of The Beast release two years prior. Continued to pick up their releases, and though I recommend a good majority, I think this song ideally represents what these guys are capable of. Awesome track, captures that vivid melodic sense of wonder towards the unknown, and meditative, primal, blasting aggression. Great pagan black metal!

Thanks for the interview, enjoy the music.

- Kriglord

Direct link to this Podcast.

As with Pennhurst, the approach here moves away from the largely Black Metal-structured MNR, back to Sacrilegium era recordings. Meaning: Industrial drone, haunted noise!

Being part of the Pennhurst experiments, location recordings are from the Pennhurst State Hospital in Pennsylvania. This one-time Sanitarium is now a decaying shell, deserted after the accounts of institutional physical and mental cruelty became public knowledge and permanently closed after lengthy prosecutions.
Using techniques originating from the first demo, T.O.M.B. slams metallic receptors into the brittle walls and rusting metal structures within the building, bringing to life the decades old history buried in this Torture Palace.
Other locations visited include: Waverly Hills, Kentucky; an abandoned church in Philadelphia; tombstones; and on Blood Vortex: human blood.
The direct and reverberated sounds gathered – and later manipulated – are very strong. Clean and expansive. Then melted into well-mastered (Satan’s Palace – also MNR) collisions, distortions, abstractions…Noise!

As a full-length recording (approaching one hour) UAG is a complete and single-minded package. Each track explores subtly different techniques, the results vary from punishing power-electronic white blasts (Blood Vortex) to claustrophobic underground drones (Mausoleum Witchcraft). Throughout, the location recordings unify the sound; never allowing your own focus to shift too far. The track titles, e.g., Serpent Moon Seance, Graveyard Requiem, may suggest a different theme, but these too seem more abstract when taken in context. And personally, T.O.M.B.’s ability to choose locations with disturbing histories and shape equally disturbing music – to physically reawaken these places – is always the visual theme behind the sound.

A marked progression as T.O.M.B. continues to master this form of Black Noise brutality. The audio overload and organic, dirty, corporeal manner these recordings are crafted are what set T.O.M.B. apart as a leader within this ugly genre!

Updated: February 15, 2010.

The Lady… is a classic Black Metal record unjustly forgotten by many, overshadowed years later by far inferior bands. We hope this new edition will begin a rediscovery of this killer underground band!

MP3: The Lady Rides A Black Horse
MP3: As A Stone

Along with the album, we are including the following exclusive bonus tracks:

Fall as a Goal and Pseudomonarchia. Both of these tracks were recorded in 1994 and have never been released!

As extra bonus, the 1993 EP Immortal Horde will conclude this CD!

Artwork includes previously unseen photos from 1995 and complete album lyrics.

I need as many HA fans a possible at this, otherwise I’m going to get bottled off when Bowie, Joy Div. and Swans get played.
See you there.
V/M

Higher Quality Audio and Video

Higher Quality Audio and Video

Einz, drummer with Norwegian avant-garde band Virus, Lamented Souls, Beyond Dawn and retro-thrash outfit Inferno has compiled our latest playlist:

Normally I would have selected a few slightly more obscure tracks but I’ve been comatose all day from lack
of sleep, so I just went for the first ten I could think of.

1. JOY DIVISION – She’s Lost Control (Atmosphere/She’s Lost Control 12″)
   The 12″ version, infinitely better than the one on Unknown Pleasures, this song possibly has the greatest bass riff in history. The keyboards toward the end of this version – one word; HAUNTING.
2. DARKTHRONE – Atomic Coming (The Cult Is Alive)
   For me, Darkthrone made a great return to form with The Cult Is Alive. No better proof than this one, which sounds like a hybreed between Under A Funeral Moon and punk. UGH!
3. SWANS – The Sound (Soundtracks For The Blind)
   Swans are probably the greatest band that ever existed. I heard rumours of a reunion tour (oh.my.gawd)! This is from their swansong album, a must in every self-respecting music addict’s collection.
4. AUTOPSY – Severed Survival (Severed Survival)
   We covered this one in Beyond Dawn on our Frysh album, but you know what they say – you can’t beat the original (not that we even tried!)
5. LEE HAZLEWOOD – José (Lee Hazlewoodism – Its Cause And Cure)
   Lee Hazlewood had the greatest voice, the best lyrics and the coolest songs. The man was basically cool on two feet. Who else could pull off a song about a fucking matador – flamenco guitars, Morricone-ish choir et al.



6. MOTÖRHEAD – Shine (Another Perfect Day)
   From an underrated album, this shows a more melodic side of Motörhead, that still rocked like a fuckin’ mongoose in heat.
7. ENTOMBED – Evilyn (Clandestine)
   GRRRRoovy!
8. BATHORY – Home Of Once Brave (Hammerheart)
   You can’t have a podcast without Quorthon. You just can’t.
9. LADYTRON – Versus (Velocifero)
   If they get bored with doing their excellent icecold electropop they should consider doing a whole album in this style. Fuckin’ magic! Oh, and I’d gladly marry either one of Helen or Mira.
10. SWANS – God Damn The Sun (The Burning World)
    OK OK, I know. Two Swans songs in one podcast. That’s because this is probably the most beautiful song I know. And not in a cosy Frank Sinatra way. This is actually quite brutal if you listen to the lyrics. *reach for tissue*

Direct link to this Podcast.