Lets Start A War

2017 was a bogusly shit year, but at least it managed to squeeze out a brand new Lace cassette! The One and Only Lace, the one true Lace, fuck what you heard about the rest. Lace is a beloved project to me, I tend to fawn over everything the duo does. This c22 tape, "Reclamation", was released on the new Persona Press label in a run of 60 copies. 

Lace have kept it pretty quite since their excellent 2015 cassette release, "Facade". Both members of the project have been keeping active with other projects (Weston has had an incredible run of Sunken Cheek releases, Valentine still crushes my soul with the V. Sinclair output). But alas, the time has come for the One and Only Lace (or Lace (20) if you're looking on Discogs), to rise up again. The time for reclamation is nigh. Over both sides of this sturdy, little, black shelled cassette, the duo twist and derange the output of those foolish enough to use the name Lace. Smashing it into an unrecognizable state, totally changed, and made their own.  

I was told that this session was a pretty cathartic one; going for more of a free and aggressive approach. It is a bit of a different sounding release, but mainly just with how the duo performs and presents themselves. There's a curious amount of swagger, that I pick up on anyway. Especially on the A-side track, "Let's Start A War". Valentine screaming wildly over rumbling low end crunching and a very anxious and steady dull rhythm hit. Towards the end the vocals go really off the deep end, y'all like some Whitehouse falsetto's? However the quality of Lace's plodding soundscapes, and the completely chilling and sorrowful atmosphere is very much here. The chemistry of this duo is just incredible, sound and style both executed perfectly. Both members are obviously totally on the same wave length. 

This is an excellent first release for the Persona Press label. Once again winning me over with a tidy, and consistent aesthetic and layout. The tape sounds great too, thankfully. 

Hail the one true Lace! Hopefully it won't take 3 years for another release, but if it does I'll accept the wait. 

~VII

Fuck A Job

Another new split 7" self released by NY's Waves Crashing Piano Chords project. Joining up with the bad mushroom trip noisecore mess that is Michigan's Farting Corpse. Another pairing of bands that seems somewhat strange at first, but is another great showcase of friends supporting friends, and sharing a release based on equal appreciation of each others craft. WCPC, is an artist that is appreciated more in the Midwest more than probably anywhere else. Footage of the Harshfest sets are pretty big examples of this. WCPC's antics are seemingly celebrated down there. It's the only region I can see where getting punched in the head with a microphone or having a whole bottle of blue Faygo sprayed in your eyeballs is a highlight of a show. This split 7" was released in a run of 230 copies, black vinyl, 45 RPM.

Waves brings us a completely new song on their side, entitled "I Like You Better". Opening with subtle sounds of movement for a few seconds until the sharp squeal of the trademark microphone feedback clicks on. The track is typical WCPC, not a ton of new things to highlight here. The vocals are appropriately tough and antagonistic, and the sudden stops of silence between the words "I...Like...You...Better!" is a nice little bit of composition. The song ends with about a minute of manipulated mouth noises, which is a sound I think I would like to see Sean work with more, it works. Not the strongest track in the Waves catalog, but still solid and enjoyable.

I admittedly only own one other release from Farting Corpse (the possibly unofficial split with Penis Geyser), so I'm not entirely familiar with a lot of their recordings. The 25 tracks that they perform on their side is something I know I really enjoy though. This band is freak out, psychedelic, gutter noise sound vomit. Custom guitar/Kaossilator noise swirls and skrongs over warp speed hyper blasts and heavily manipulated vocals. Little bits of what sounds like cut-up edits pop up at the end of some of the tracks which give it even more of a frantic sound. This recording is that hypnotic, repetitive kind of brutality that you just get lost in and let it do whatever it wants to your eardrums. It's over in the blink of an eye though, they waster no time with the three and a half minutes they have. I've heard of this band performing for almost a couple hours before, I hope I get to see them live someday.

There is absolutely no info about any of the bands on this release. 

You can buy this split HERE!

~VII

Bliss Tech

Thanks too a few of my friends getting flexi discs released for their projects, I've grown to have a lot more appreciation for the format. I think it's because they perfectly suit my preferred amount of time for a release, one side of a 7" record. Plus they just look cool, and I'm always interested to see what people can do for their packaging. Limbs Bin was among the bunch to release a flexi this year, a strong little EP entitled "Bliss Tech". Released by Follow My Into The Laser Eye and Moon Mechination records, 33 RPM.

"Bliss Tech" is classic, brutal Limbs Bin as we know it, but at the same time this release highlights a more subdued and methodical approach in it's use of sound. The usually active and swirling modular tones are instead a slow, churning, bassy frequency that changes and moves gradually as songs begin and end. Similar to a lot of Limbs Bin's live shows. The trademark vocal and drum machine bursts sever the tension building tones in short but sweet, punk-minus-the-band style. I've always described Limbs Bin as a punk band in it's true nature. From the Infest style vocal patterns, to the introspective and personal lyrics that are pretty cryptic at times, but leave an impact. The shortest song on here, "Why Change?" is a good example of that. It's interesting reading the lyrics for "Bliss Tech" knowing the general inspiration for it. The story the lyrics paint leaves me with some open ended scenarios in my head. I really enjoy this EP, it's some of Josh's best stuff, I'm happy that other people seem to be digging it as well.

The packaging consists of one double-sided insert, one side being the art side, lyrics and info on the other. As usual, the art was all done by Limbs Bin's visual partner, Alex York. I really like the use of orange on this release, it stands out amongst the grim black and white only crowd. The flexi also managed to capture a ton of the low-end that this EP needed to have the best impact, very good production.

Copies of this can be purchased HERE!

~VII

A Stream Of Random Events

A new post; a new return; a new set of starkly designed sheets as a background. There have been so many releases I need to talk about that have come out this year, and trying to catch up and get to them all would be too much of an ambitious undertaking for me at this point. But I figure I should highlight some of the real standouts of 2016 as much as I can. It's always these odd-numbered years that generally have good music being pumped out in the truckloads. Ironically, these sad, confusing times have only gotten much worse as of late, and for me I'm taking more and more solace in my days of collected angry music.
One of the best tapes of the year came out this summer under the trustworthy production of the Smash Music and Follow Me Into The Laser Eye labels. The epic 4-way split with Limbs Pin, Penis Geyser, OPS-PSF and Parasite Social. Limited to 100 copies.

The A-side kicks off with the spastic majesty of OPS-PSF. A cult noisecore band from Japan that a lot more people should know about, especially since their recent resurgence of activity. Definitely a must listen band for anyone into unhinged/cut-up noisecore. "104 Storys of Fake Adventure" is a mind-shifting, relentless collage of sounds. Some sort of movie trailer sample introduces the track, with only a few seconds of jarring, guitar and drum stabs coming in from time to time. As the piece goes on into about the 2 minute mark, it's blast off time, and OPS-PSF create a beautiful, chaotic explosion. Muddy, distorted, z-tuned guitars, clean jazz chords, stick clicks, cymbal hits, a kick drum or two; scronks, squeals, screams, all going by at the speed of light. Magnificent!!!! Limbs Bin proceeds immediately after with one of the harshest recordings the project has ever done. The usual drum machine bursts are almost completely buried under searing distortion walls and some of the hottest microphone distortion I've heard of tape all year. Everything here from the vocals to the instrumentation is manipulated and drenched in so much sonic sewage. At the same time, the textural pops and crackles that spew from all the distortion and the mastering make this track as captivating to hear as it is painful on the ear drums. Wonderful!!

The B-side opens with Parasite Social, a new band to my ears, and honestly their contribution is the least exciting part of this tape for me. Pretty standard and by the books grind/noisecore, almost bordering on gorenoise from the gutteral vocals and bass heavy, riffless guitars. The short bursts of songs come and go in a pretty linear, suitable way. It's not terrible by any means, but it lacks the distinguishable characteristics that all of the other three bands possess. Which leads us right into Penis Geyser, truly one of the USA's strongest examples of genuine noisecore garbage. And I say that with all of the best intentions. It sounds like it was recorded on a broken cassette walkman in a basement with one hanging lightbulb dangling from the a mold covered ceiling, and I love it. The tension and unpredictability of a Penis Geyser performance shines through here. You're never really sure what kind of attack you're going to get, or how long until the drums finally decide to come back and lead the band into "go time", or for how long that will even last. But I desperatly wait in anticipation for the next blast. Free music of some of the highest caliber and dedication.

The stark collage work of Alex York that covers the Jcard is interesting. I feel like I have to look very deep into it to see the real picture. It's a very wonderful presentation, I love that trademark Smash Music spine design. The tape is also dubbed very very well, everything sounds as loud and intense as it should.

I say this is definitely one of the mandatory harsh noise/noisecore releases of the year. Spend your money wisely and buy this HERE and HERE!

~VII

Our Earth's Blood Part V.

I have been on a tremendous Bastard Noise and Man Is The Bastard kick lately. I can't seem to get enough eartime with the countless hours of legendary SKULL recordings. I have been leaning more towards the Bastard Noise side of the coin though. I'm pretty sure the news of the upcoming Bastard Noise/Sickness collaboration 12" and the "The Honesty Shop" LP with the Eric Wood/Anthony Saunders line-up set it off. Needless to say, I'm extremely excited to hear both. Saunders and Wood blew my brain apart when I saw them this year in NYC. They performed some classic tracks ("Remember Thy Creator" was amazing), and some wonderful improvisations of harsh, sci-fi electronics. One of the coolest sets I've ever seen by far.
Recently Mr. Wood was very kind to me and sent over a handful of newer Bastard Noise records. To say I was deeply grateful is an understatement. This new 7" here, the 5th installment in the legendary "Our Earth's Blood" series, is one I've been very curious about since it was announced. A new nine track 7" of collabs with some of Japans best extreme sound artists. Released under Eric Wood's own label, Skull Records, limited to 300 copies on orange/yellow mix vinyl, 45 RPM.

The "Our Earth's Blood" series have all been pure noise records. Started in 1993 when the first 7" came out under the Man Is The Bastard name. Still, a very overlooked part of the SKULL's output. The 1st 7" and the follow in the series, the split 10" with The Locust, are two of my favorite records in MITB's catalog. I'm always trying to push the later on people because I think it's so brilliant. "Part IV" came in the form of a staggeringly massive 5xCD box, released in 2009. Featuring long-time and new collaborators on almost every track. This also meant longer song lengths, and is one of the most extensive Bastard Noise releases ever. "Our Earth's Blood IV" certainly dwarfs it's 7" follow-up, but this records impact is not to be underestimated. Released mainly to coalesce with the Bastard Noise Japan tour earlier this year. The line-up of collaborators honoring and "hailing" that country proudly.

"Our Earth's Blood V", is yet another unfortunately urgent and timeless message to society and the human race at large. That we are the true scum species on the Earth, and the #1 threat to it's health and beauty. The apocalypse is now and only love can help slow it down. Another diatribe of vitrol from Bastard Noise to the modern age, in both directness and sound. The recordings here are remarkably clean and clear, every texture and sound shine out in the mix. Obviously, all the tracks are on a severely tight time frame. But these masters of sound use their talents and time very efficiently. Personally I find these short, to the point, vignette type pieces to be incredibly inspirational. They hit me the same way a good 1-minute grindcore or punk song does. They get everything they need to say and play out in no time at all without any bullshit. And the consistency in quality and message on this record does not drop at all in it's run time.

Each of the nine tracks on here are simply titled "Statement I-IX", going down in numerical order. The title's reflect the lyrical format perfectly. Every song is indeed a "Statement", oftentimes only lasting a few sentences and less then a minute. But the message Eric Wood and Co. are yelling at you couldn't be more clear. The crazy amount of exclamation points in the lyric sheet should help hit the nail on the head even more. Transitioning to the music side of the record, it's exceptional. Every track balances each artist evenly. You can always tell when any of the Japanese artists are lending their own unique contributions. Naturally sticking largely to the harsh noise/power electronics side of the spectrum. All tracks but one features the classic Eric Wood growl and screech. The first two tracks, with Guilty Connector and Shayne Bowden following, are solid openers that set up the climbing intensity that follows. The tracks with Facialmess, Government Alpha and K2 are solid, abrasive sets of PE. With the classic cut up/harsh noise that these respective artists are known for. The only instrumental track with Toshiju Mikawa (most famously a member of the noise legends The Incapacitants), is a real highlight for me. Cut up edits, Trogonomic oscillations and some wonderful stuttering, staccato textures are all active and sounding off. And what sounds like a stretched, digitized vocal sample? It's a wonderful track. The A-side closer with Hiroshi Hagasawa (who most noticeably goes under the C.C.C.C name), is another one of my favorite tracks on here. Super harsh distorted walls of junk metal crash and form into ambience and vocals. Eventually climaxing in an explosive synth chord, and more harsh noise. The closing track, the shortest on the record, is a duet of sorts with Makiko Suda (vocalist for Flagitious Idiosyncrasy In The Dilapidation). Both her and Eric roar and yell over the prettiest ambience and synths on the record, signing off before you barely even said hello.

The packaging for "Our Earth's Blood V" is classic SKULL aesthetic. Bold, black font, quotation marks everywhere, and stark, black and white imagery. The record sleeve is a glued one (my favorite), and comes with a double sided insert with lyrics. Eric really does treat his records well and has spared no expense on this project. A numbered, test press version was also released for the previously mentioned tour, on black vinyl and limited to 100. It came with a shirt or a patch I think.

"WE ARE THE ONLY FUCKING MENACE TO EARTH!!!'

Another triumphant chronicle in the "Our Earth's Blood" series, and another essential item in the Bastard Noise catalog. Thankfully, you can still find this record in many distro's with a quick google search. Best band ever. 

~VII

Facade

Another new tape from Prime Ruin, and one of my favorite new power electronics tapes at the moment. The latest EP from Lace, a duo comprised of noise makers Weston Czerkies and Valentine Sinclair. A tape simply known as, "Facade". C24 tapes in white shells, limited to 60 copies. 

"Facade", a two song offering, uses it's mere 20+ minute run time with an expert level of efficiency. The dominant A-side title track weaves and segways between a multitude of textures and styles. Opening with the stuttering and distorted samples of human chatter, echoed and quickly layered into a wall of delayed distortion and ambient feedback. Eventually more junk metal sounds and the unmistakable rumble of a spring reverb show up. The lo-fi recording is wonderful, totally complimenting the influence of sounds from the early Broken Flag PE groups and 80's extreme industrial. When the flanged vocals kick in, the track instantly turns twice as menacing, and "Facade" turns into a mean and glaring power electronics track. Rumbles of distortion, squealing microphone feedback peaking everywhere, and abused metal crashes. I'm a sucker for that echoed, waved and flanged vocal effect, and the delivery here is excellent. Patient, controlled, only rising in inflection and volume when they needs to. Groups like Ramleh come to mind for sure. The walls of sound eventually decay and leave only the indecipherable vocal samples that started it up. It's a fantastic track, I've played it twice while writing this. 

The B-side, "Visual Anonymity" , is an instrumental and a great compliment to it's other half. A much more ambient and chilling track, beginning with slow moaning chants, and murky, dark textures. Mic'd up scrapes and dragging sounds claw their way into the mix, and eventually a wall of cold, metal screeches and synth chords has been built up and has you. The different dynamics here are effective, and don't stray too far away from the brutal A-side. Would I have preferred more vocals? Perhaps, but this song is wonderful regardless. 

Very tidy layout and printing on the thick 3-panel Jcard. Prime Ruin does a superb job as always. 

If you're quick, you can still pick up a copy of this tape at PRIME RUIN. Highly recommended!

~VII

Oracles Of Ash

This will be the 3rd time that the Texas based, moody synth project Funeral Parlor has been featured on the blog. A curious one-man project created by head funeral director Josh Doughty. This is not the kind of music that I normally listen to, but I've always enjoyed revisiting Funeral Parlor and checking in. And Josh was so kind enough to send me a couple tapes of his respective projects for me to check out. If you're reading Josh I'm sorry it took a while. This tape is a split between Funeral Parlor and Nihilarch. Released on Perfect Hue and limited to 25.

Funeral Parlor always reminded me of music that would fit into the soundtrack of Twin Peaks. And no that isn't a diss. We get two tracks per side, Funeral Parlor still sounding as dreary and droning as ever before. Each track really has time to build here, each one going over the 6 minute mark. Plenty of time to let the über saddness stain your ears.  "Believe" opens up with a sample that sounds like it was taken from a Harrison Ford movie. The bleak tone is set straight away, and very soon the minor key synth chords come out. Staying consistent in it's 4everbummer mood, the synths drone on and on adding layers very sporadically, nothing harsh though. The next track "Tourist" opens with a surprisingly industrial, machine work sample that stays active throughout this tracks run time. For how minimal everything is it's actually pretty captivating. Good music to bury a body too.

On the flip side we get two tracks from yet another synth-centric project, Nihilarch. A one man show out of California I was unaware with until this split. Upon a few listens I can definitely find a lot of stuff to like in these two songs. Lots of Prurient adoration on here, and I wouldn't be surprised if dude had a few John Carpenter or Goblin soundtracks in his possession.  The opening track "Sanctuary" takes it's sweet time building up, stacking synth riffs and bass tones (minor key or bust). Waiting until the last minute to unleash screamed distorted vocals in a surprising twist into power electronics. The next track "Oracles Of Ash" is the real star of this whole split. I love the classic horror movie sountrack synth arpeggios that float all over this track. And the fantastic distorted rumbles that boom when the vocals take a step back. Sounds like something mad decent that would come off the Hospital Records catalog. I'd say this was the perfect way to close things off.

I somehow managed to get #1/25. Thank you Josh!! Standard 1-sided J card packaging. Sealed with a sticker. 

Pick this tape up HERE

~VII

The Leader Of The Fucking Assholes

Mr. Waves Crashing Piano Chords has been treating me very well lately. Very graciously and generously hooking me up with several exclusive editions of his latest releases. All of which I aim to post reviews about in the coming weeks, starting out with the most recent piece of output. A 5-way split flexi disc 7" with Ad Nauseum, Contraktor, MPHIAT, and Funeral Parlor. This is the black flexi edition out of 150 copies, 33 RPM.

I've known about of most of these artist's prior to this record (Funeral Parlor of course being on a previous WCPC split). A smattering of mostly unknown artists that have all been kicking it for a couple years. This split actually has a good amount of variety of styles included throughout, but all are still basically rooted in power electronics. I got to say though, given how short the amount of time all these projects are given, each one does a pretty decent job with what they have. 

Ad Nauseum's track has an excellent eerie and shrieking instrumental. Very inspired by the sounds of early Ramleh and Grunt, but with a modern vocal style. Going even rawer, WCPC gives a grindcore length microsong of his singular vocal and microphone feedback delivery. It's Waves doing Waves, it love-punches my ears still. MPHIAT and Contraktor surprised me with their tracks honestly. MPHIAT doing an absurdly high pitched, throat trashing scream over an overblown, rythmic instrumental. It's super loud and fucked up. And Contraktor close it off with probably my favorite track on the disc. Starting off with a crushing wall of distortion, slowly morphing into more feedback and vocals. It's fucking nuts, and a wonderful switch from his usual death industrial focused recordings. Funeral Parlor honestly should have closed this off though, and unfortunately he's the one who suffers from the time length the most. "Nostalgia" only consists of a simple minor-key synth riff, and while it certainly does a good job setting the tone and atmosphere it's going for, it's just too short. This more "funeral" style of keyboard work definitely requires an 8-10 minute time length to feel justified, I think. But this still would have been an excellent closer. 

For a flexi disc this is actually a pretty sturdy record. It's actually got some weight and thickness to it, which I was very surprised and delighted by. Maybe I can get more then 4 plays out of it before it starts sounding like garbage! Making up for the lack of cover art, each artist gets a small vinyl sticker that is considered packaging. If you wanna keep this baby mint, don't put those stickers anywhere, nerds. 

Pick this record up over HERE.

~VII

Estuary English

How amazing is it that both of the strongest members of the pioneering English power electronics band Whitehouse would release full lengths in the same year. How about that those albums are what many consider the strongest works in their respective projects to date? Mr. Bennett has been busy sitting on his laptop whipping out 12" after 12" of his "afronoise" project, Cut Hands. An interesting concept, I guess, but one I never took a lot of interest in. There's a very big blur of noise and techno/house music nowadays that is often times piss poor to my ears, but with a few very occasional exceptions. And I will admit the new CH record, "Festival Of The Dead" is at least decent and the most captivating bunch of songs I've heard from William so far. Meanwhile the second nut of Whitehouse, Philip Best, has stuck tremendously close and loyal to the roots of his greatest band with his side project, Consumer Electronics. Those roots being loud, abrasive, monolithic walls of harsh noise, perverse feedback abuse, and strong lyrical vitriol shouted out at demandingly fast rates. Here is their latest 2xLP, "Estuary English".

I probably will be playing a little catch-up with 2014, since this year has so far not given me very many incredible records yet. When "Estuary English" came out at the end quarter of 2014, it instantly ended on my best in the top 5 of the year list (which I've never posted, my bad). It is a brutal, hateful, diverse piece of electronic filth. Finely crafted and delivered with masterful performances by one of the genre's pioneers. This new chapter of Consumer Electronics is also a triumphant welcoming of the newest members of this unit. Philips now-wife, Sara Froelich, and Russell Haswell. Both doing a fare share of electronic work.

The bulk of "Estuary English" and it's 25 minute run time is Mr. Best and Co. performing their tried and true sound exactly as it should be. And time and age has only given Phillip more grit in his throat and more provocative, topical opinions. Tracks like "Affirmation", "Come Clean", and the title track
are brutal, punishing power electronics harkening back to the wonderful 90's Whitehouse records. And Philip sounds more dominant and frustrated then he ever has. Proving still that he is one of the genres more consistent and legendary performers.

Now of course, "Estuary English" could have been just another Philip Best PE record, and that would have honestly suited me just fine. By this point, they could all probably bang out albums like this in their sleep. Which eventually can probably make a musician feel a little stagnant. The array of sounds an influences on this were upon first listen surprisingly large. The brilliantly minimal opener "Teknon", is a jarring track comprised of just thuddy bass blips and searingly aggressive vocals. Immediately I think of Whitehouse tracks like "Cut Hands Has The Solution". The centerpiece of this whole record, "Sex Offender Boyfriend" has the most ferocious vocal performance I've ever heard from Philip Best. Gone are the strongly enunciated, macho vocal jabs. Lyrics are toppling over each other here, spit in flying in your face, teeth are being gnashed and ground as everything is trying to get out at once. It's the vocalings of someone literally fuming with blind rage, absolutely astonishing. This is also the first taste of CE playing around, surprise, beats! A much more traditional, industrial style thankfully, with strong influence taken from classic Throbbing Gristle records.

There does seem to be some sort of underlying concept and narrative on here. There are many jabs at English society, noise artists, and modern trends. From what I can loosely gather, the main protagonist is a younger woman who eventually slips deeper and deeper into the darker sides of the rave and club scenes. Which could explain the track "Co-Opted", a pulsing heavy house track with the only lyric being "Co-opted by cunts!" yelled over and over again. I imagine it be a track with sarcasm entirely in mind. Honestly, it's probably the albums weakest moment, mostly because it tracks on to an insufferable 5+ minute run time. The end track, "Air Lock" describing "these final moments", perhaps signifying the end, or the point of no return for our main character.

Presentation wise, "Estuary English" is stunning. Packaged in a beautiful, glossy gatefold jacket, and two thick pieces of wax cut at 45 RPM. The first run came with a CD of the album mastered spesifically for that format. My CD isn't pictured, but there's not much to show. 

You can thankfully still pick up this album pretty easily. It's by far one of the most mandatory noise records of last year, and another proud achievement in Consumer Electronics career.

~VII

I Hope I Get AIDS

The 2nd Waves Crashing Piano Chords 7" I picked up was this split with Funeral Parlor, from Texas. A curious pairing of two acts, performing very different styles of noise music. Black vinyl, limited to 64 copies, 33 RPM.

Waves is up first with yet another live documentation, again comprising of two pieces. Starting right off with sharp, metallic feedback, and a completely painful slow, piercing drone, going into "I Hope I Get AIDS". A staple of the WCPC live performance. It's a solid, active, clanging rendition of this hit song. I do like how this recording shows off some more nerdy things like "dynamics" and "arcs" in his set. "...Or Is It Me" is a slow, sorta atmospheric track of sleazy fantasy. There's overall a lot more slow parts on this recording, but with basically the same amount of intensity. No applause at the end too.

Funeral Parlor is a one-man harsh drone/noise act, who gives us the track "Sway Away". I was unfamiliar with this artist before grabbing this record, and it's honestly definitely not the kind of noise I go to for casual listening. A mid heavy, static feedback wall with a sad, repetitive, minor key synth riff over it comprises basically this whole track. It's the audio equivalent of a graveyard during a heavy downpour, nothing but grey sky's and black trees. Kind of reminds me of what Prurient was doing for the "Cocaine Death" affiliated tapes, but with that extra bit of pure aggressiveness I look for. Some vocals might have helped I suppose. A harsh wall closes out the track giving it a little more variation, but I wasn't sold. I can see creepy bedroom lurkers liking it.

Great silkscreened sleeve again, with fantastic photos. Out of the total 105 run of this record, 64 were on black. And I'm sure it is now sold out.

~VII