NoVisible Scars

SCAR 023: M.Todd/L.Kerr-Beyond The Threshold pro Cdr 100 copies

2011-12-30T23:19:00.003-05:00

A collaboration from M.Todd(Transcendent Device) and L.Kerr(Steel Hook Prostheses).

Dark ambient/death industrail ala YEN POX, older LUSTMORD, ARCHON SATANI etc.

Pro full color shrink wrapped Cdr

M.Todd & L.Kerr-Track 3(Untitled) by NoVisible Scars

***Order via:***

Bandcamp:

http://novisiblescars.bandcamp.com/

(Includes immediate download of 8-track album)

Direct orders also at: novisiblescars(AT)gmail(DOT)com

***TRADE REQUESTS CONSIDERED***

SCAR 022: Reclusa/Degenerate Slug split c-60 50 copies

2011-10-12T04:10:00.003-04:00

Reclusa is an abstract mix of doom, industrial, and ambient. A twisted, surreal take on Godflesh, Wormphlegm and Beherit.

Degenerate Slug is the new project from POISON TONGUE creator Paul Von Aphid. Influenced by Dissecting Table, Sleep Disorder, Swans, Abruptum, cheap wine, Goblin, Havohej and drugs.

Full color/black and white front and back covers plus insert in 6 x 9 re-closeable poly bag. Cassettes feature black and white sticker facings.

RECLUSA-Penetrate by NoVisible Scars

Degenerate Slug -Deranged by NoVisible Scars

***Order via:***

Bandcamp:

http://novisiblescars.bandcamp.com/

(Includes immediate download of 9-track album)

Direct orders also at: novisiblescars(AT)gmail(DOT)com

***TRADE REQUESTS CONSIDERED***

SCAR 021:UR-Clandestine Meeting Park c-30(limited) c-60(single sided) 50 copies

2011-10-12T03:44:00.005-04:00

***Limited 15 copies on c-30 clear yellow chrome tapes.***

Rest are single sided c-60 black chrome tapes.

Full color front and back covers plus insert in 6 x 9 re-closeable poly bag.

Ur is a three-piece, out of Italy, born in early 2005 as a collaboration between Federico Esposito, Mauro Sciaccaluga and Andrea Ferraris. Their music is mostly based on free improvisation and its sonorities can't easily be described without referring to the well-known and wildest experiments of Industrial music of the late '70s / early '80s , but also to the psychedelic kraut-rockers of the late ‘60s / early ‘70s. Drones, samples and layers of electro-acoustic noisescapes coming from objects, field recordings, analog and traditional instruments processed using a load of pedals and effects: the sound ends painting a solid, harsh and dramatic industrial lounge where archaic instincts and modern obsessions meet. To use the words of a sound engineer after one of their live sets: “…it all sounds like early Pink Floyd on acid...on muriatic acid”.

Sample:

UR-Track 1 sample by NoVisible Scars

***Order via:***

Bandcamp:

http://novisiblescars.bandcamp.com/

(Includes immediate download of 8-track album)

Direct orders also at: novisiblescars(AT)gmail(DOT)com

***TRADE REQUESTS CONSIDERED***

(SOLD OUT)SCAR 020: Mania/Custodian Split Lp 150 copies

2011-08-28T19:49:00.008-04:00

***NOW ON SALE***

Scar 020: Mania/Custodian Split Lp

Each artist contributes 4 new tracks! The MANIA

material is raw, ugly basement old school

industrial/noise with some choice junk metal

stylings thrown in for good measure. CUSTODIAN side

is just balls out. Harsh, loud, brutal and "hard"

noise! Double sided insert included.

Samples:

MANIA-Untitled by NoVisible Scars

Custodian-Untitled by NoVisible Scars

***Order via:***

Bandcamp:

http://novisiblescars.bandcamp.com/

(Includes immediate download of 8-track album)

Big Cartel:

http://novisiblescars.bigcartel.com/

Direct orders also at: novisiblescars(AT)gmail(DOT)com

"While it’s impossible to divide any musical genre along binary lines, the majority of harsh noise artists plant themselves firmly into one of two camps: those trying to push the boundaries of what harsh noise can sound like, and those who feel that harsh noise is fine the way it is. On the recent 12-inch split between Custodian and Mania, each artist crafts a solid argument for one of these two approaches.
Milwaukee’s Custodian represents the traditional side of the argument, grinding out churning layers of bass-heavy, rhythmic distortion that give way to ear-piercing swashes of feedback. It’s a simple formula, but Custodian’s Jon Engman balances these two elements perfectly on his side of the disc (entitled Traces), fixating on one for long stretches of time, but always filtering in the other at just the right moment. A subtle use of texture also presents itself throughout the four tracks as thick, wet walls of all-encompassing sound break down to reveal dry, borderline thin tones working underneath the surface.
Where Custodian looks to the past to find aesthetic inspiration, Texas-based Mania (a.k.a. Keith Brewer of Taint fame) looks in a different and entirely unknown direction. All of the elements of classic harsh noise are present on Heralds Of Agony: feedback, distortion, scrap metal abuse, screamed vocals, and weird synthesizers. How Brewer arranges and uses these elements, however, puts his side into a category all its own. The record sounds as if it’s falling apart, with bass-heavy drones capable of rattling Fort Knox colliding head-on with what sounds like an ungrounded amplifier left to its own devices. Both elements perfectly bury some truly horrifying vocals that only rarely burst through the rest of the mix.
Personal taste will almost inevitably push listeners into one mode of thought, finding new energy in old sounds or looking for the next, new fix to satiate their hunger. When considering a musical cannon, though, is it more important to create new branches or to add to the existing foliage? If nothing else, this record shows that there’s a place for both approaches. "
By Peter J. Woods September 20, 2011
http://www.avclub.com/milwaukee/articles/custodianmania-tracesheralds-of-agony,61909/

Side A: Mania
"Oh, the things an emotionally disturbed mind can create through random white noise. I’ve always been a sucker for the true industrial/experimental where the buzzing of chainsaws, clanking of metal rods and chains, and the manipulation of feedback and various frequencies of sound can be crafted into a hallucinogenic state of insanity that’s as real as any sane mind would not want it to be. Much stuff found in this genre can be eardrum piercing, irritating, and uneasy to listen to, but Mania takes the shrill and the tremor inducing bass fuzz bombs, some field recordings and jumbled vocals and actually creates an experience out of it. It places it might make your ears ring, but their side of this LP is a cyborg/urban/dismal psychedelia that almost sounds as if you’re listening to the recordings of some alien race in their daily routine. It’s not really music, it’s a sci-fi audio sculpture that draws you in through curiosity, amazes you with atmosphere, amuses you and confuses the Hell out of anyone nearby catching a glimpse or two by ear of this deliberate madness. Artists like Mania take noise and power electronics to new heights of ingenuity, intensity and validity, so if you thought it was in fact ALL NOISE, I recommend Mania and Deathstench/Demonologists to rip your head off your shoulders and screw it back on correctly. The skills of mixing and layering sounds reminds me of the brilliance of Throbbing Gristle and Nurse With Wound, you still feel the manual working of tape reels,etc., but without that it would be polished “cut and paste” shit, all digital and clean, and lose texture and craft. If you want pretty, then you wouldn’t be reading this in the first place because this wouldn’t be a site/zine that’d appeal to you.

Side B: Custodian
Track one is somewhat of a high speed diesel train comings to a “screeching hault” while multiple explosions occur simultaneously in the background and you’re tied to the tracks. Not for the squeemish or sensitive, but beneath the high pitched stabs to your ears there is some incredible rhythms and textures in low-end frequency rumble. Ironically, I put this stuff on to think to, and it works really well as it’s hypnotic and has that same effect as low volume white noise for inducing sleep. All four Custodian tracks keep using the same components, but tweaking them differently so you get this “variation on a theme” effect where things appear similar on the surface but almost instantly unfold into unique experiences that are somehow connected, but not directly. The only thing that could improve upon this style and skill is to add a live bass underneath, maybe some weird jazzy horns, or something to live underneath it hidden and trying to get out that really creates something almost organic in a purely inorganic world."
By Janet Wills: http://forbidden-magazine.com/2011/09/no-visible-scars-label-feature-2/

(SOLD OUT)SCAR O19: Flesh Coffin "Seeing Things" c-30 50 copies

2011-05-17T21:49:00.009-04:00

Flesh Coffin-Seeing Things Part 1 by NoVisible Scars

FLESH COFFIN "SEEING THINGS" C-30

A harsh noise soundtrack derived by the ominous and bleak stillness of the shadows in the Norwegian winter woods.

-Hand numbered edition of 50 copies.

-Dubbed on white chrome and black cassettes with color sticker facings.

-7.25 x 7.25 artwork housed in 7'ep sleeve bag.

Sound samples also at:

http://soundcloud.com/novisiblescars

http://novisiblescars.bandcamp.com/

$6.00(US) $9.00(ELSWHERE)

ORDER AT:

NVS WEBSTORES:

http://novisiblescars.bandcamp.com/

http://novisiblescars.bigcartel.com/

***Bandcamp features both a psychical copy and free download for one price***

http://www.myspace.com/fleshcoffin

Copies available from:

MALIGNANT RECORDS

SELF ABUSE RECORDS

“Seeing Things” is a harsh noise entry by Flesh Coffin, and while this cassette doesn’t do much to deviate from a pretty typical harsh noise sound, “Seeing Things” has a nice dichotomy between cold, unrelenting harsh noise and lonely, isolationist ambient music going for it. While I feel like the juxtaposition of these two unlikely genres could have been exploited to a much greater extent on “Seeing Things”, the use overall is effective and creates a suitable contrast between the styles.
While the harsh noise of “Seeing Things” tends to get muddled in places, there are some sections of this album that are absolutely, uncompromisingly raw and blistering. Junk metal abuse combined with brutal feedback create an unrelenting and unforgiving harsh noise obliteration that strips raw any sort of musicality involved, which may play into the later juxtaposition of ambient music. Synthy tones lay hidden beneath the assault. The harsh sounds don’t do much in terms of variety with Part Three being the exception. That track takes on more of a higher frequency sound mixed with lower bass-y rumbles to create a pissed off, alienating effect.
Of course, the most poignant part of “Seeing Things” is the ambient parts. The first ambient section takes place at the beginning of the album. The sudden transition into the section seems a little cliché in its unexpectedness, but it works out well. The same goes for the lonely ambient work that ends this album satisfyingly."
While nothing new, harsh noise fans will definitely find something to delve into here.
http://existest.org/ee_v3/?p=3701

"Flesh Coffin is none other than Andreas Brandal from Bergen, Norway and has also been a veteran of extreme music for over two decades and here he gives us a 4 part harsh noise interpretation of a Norwegian winter.

Part 1: This one starts off with a muddy pool of oozing sounds that almost appear to be like jarbled speech…it’s completely insane. The source sounds are more than likely field recordings, audio clips, and other thing that were natural at one time and are now literally melted and molded into this controlled chaos. There’s plenty of surprising amidst the repetitive atmosphere that keeps it abstract and unmusical, but completely brilliant and compelling. This guy really knows what he’s doing and crafts the noise into something beyond description and dissection, it even ends with a nice Tagerine Dream synth wash (?), it just flipped on me and it never felt uncomfortable.

Part 2: Here we have serious low-end rumbling audio violence, it’s like the audio equivalent of being caught in the black smoke after an massive explosion or fire. You can’t breathe, you can’t see, you have no idea of what the hell has just happened and the sound hover and swirl around you like they’re trying to suffocate you. Somewhere along the way, underneath the mix comes echoing and drawn out militaristic vocal bit and pieces that appear and disappear just as quickly. The way the tracks each unfold into these constantly morphing entities is simply jaw dropping.

Part 3: Part 3 starts out again in full assault with dense violent sonic fuzz, screeching, and these really warped vocal clips that sound like people crying out for help in a swarm of chaos. This track is pure power electronic slaughter and less experimental then the others, but a great way to give the listener some massive ear and brain trauma.

Part 4: The way the sounds are modulated and manipulated, they’re almost fluid like the violent winds of an arctic winter blizzard that suddenly clears into this stark and peaceful ambient synth that reminds me of more ambient Biosphere drones. You might want to get clearance form a mental health professional before and after experiencing Flesh Coffin as it’ll undoubtedly have some lasting effect on your psyche."

http://forbidden-magazine.com/2011/09/no-visible-scars-label-feature-2/

"This is all destruction. Flesh Coffin's "seeing things" sounds like the inside of a tornado. Broken metal lawn furniture, giant uprooted trees, millions of shards of glass all swirl around you. It's unrelenting and intense until you get a short break. Things feel like they have settled, like you could try to gather your belongings. Then it hits again. It's pretty tough. This c30 is an excellent example of No Visible Scars' output. It's harsh, unsettling, and focused. Packaged in their usual 7" sleeve with full color inserts."

http://devdformats.blogspot.com/

"Excellent stuff. As grim and frostbitten as it gets."

http://hammersmashedsound.blogspot.com/

(SOLD OUT)SCAR O18: Death Factory "Chilling Impressions" c-30 50 copies

2011-05-17T19:24:00.013-04:00

Death Factory-Manifestation of Fear(Dedicated To Phantasm) Sample by NoVisible Scars

Death Factory -Feasting on Fear(Dedicated To Anthropophagus) Sample by NoVisible Scars

DEATH FACTORY "CHILLING IMPRESSIONS" C-30
Two 14 + min tracks dedicated to classic late 70's /early 80's grind house gore/horror/splatterfests. Industrial/atmospherics. This is a follow up to the double cassette box(Prophecy Of The Black Spider) released in 2009.

-Hand numbered edition of 50 copies.
-Dubbed on white and black chrome cassettes with color sticker facings.
-7.25 x 7.25 artwork housed in 7'ep sleeve bag with insert.

Sound samples also at:
http://soundcloud.com/novisiblescars
http://novisiblescars.bandcamp.com/

$6.00(US) $9.00(ELSWHERE)

ORDER AT:

NVS WEBSTORES:
http://novisiblescars.bandcamp.com/
http://novisiblescars.bigcartel.com/
***Bandcamp features both a psychical copy and free download for one price***

http://www.myspace.com/deathfactory

Copies available from:

MALIGNANT RECORDS

SELF ABUSE RECORDS

"One of my absolute favorites, it perfectly blends epic industrial with grindhouse/horror films. Each side is a 15 minute drop out into psychosis, stalkers, serrated blades, blood splatter, cold dead eyes filled with hate staring at you over a back drop of analog sound effects, violent film clips, and stainless steel ambience that’s as much an ideal psychotic soundtrack as it is a psychedelic trip through a sadistic mind. Lately, I’ve been kicking back and revisiting my collection of the dark and wicked, starting with the glorious Navicon Torture Technologies, Sewer Goddess, fucked up black psyche, and the bleak and haunting drones of Yen Pox.

Side A: “Manifestation of Fear (Dedicated to Phantasm)” is a journey post industrial screech feedback and hum, there’s echoing metal clanking objects and basically that last intro paragraph is based on my sitting here tripping out on the weird and somehow soothing atmosphere of pure horror/sci-fi/psychosis that is Death Factory.

There’s no actual beats initially, then about halfway through, this bass tone stomp comes in and it fully develops gradually into this complex and disturbingly ugly is beautiful soundtrack to insanity. Throughout the track there’s this continual droning and frequency modulation that is hypnotic and cycles through to create a pulse of something disturbing lurking beneath the gray haze and among the decay. Make no mistake, this epic track is alive and thriving on the murderous tension that it desperately needs to release.

There’s also a ray gun effect here and there, and so much building and modulating frequencies over the course of the song that it literally consumes your mind as you experience it. It’s so simple and to many, dissonant, but to those of us who know what it is we can actually pick out melodies in the whirs and blurps and somehow the experience becomes this relaxing and mind expanding trip. This artist knows what he’s doing with sound!!!!!

Side B : “Feasting on Fear (dedicated to Anthropophagus”)

If your brain hasn’t been completed dissolved from side A, then you’re treated with this amazing analog horror film synth line and a few loops to add to the feel of 70’s Italian slashers, it’s like Tangerine Dream (Phaedra/Rubicon) stripped down. There’s lot of the feedback fuzz and screeches on the surface with this eerie echoing electronic loop that fades in and out and warps as it does so, but the thing that really stands out is the dimensionality in the composition, it’s seriously 3-D. The clanking and banging of objects in the background ring through as the mist of frequencies clear and cloud back over like you are almost zoning in to an image of someone or something beneath the layers. Toward the 11 minute mark the sonic fog thickens and the clanking becomes intensified, the whirs turn into echoing bomb blasts from a war in the distance, this pulsing hum brings you closer to that clanking and you feel as if you’ve arrived somewhere, a hidden bunker with rusted meat hooks and mildew and remains of victims you just heard being dismembered post-mortem…(clank)."

http://forbidden-magazine.com/2011/09/no-visible-scars-label-feature-2/

"Yet another great release from the No Visible Scars label. Somehow they manage to keep churning out some of the best death industrial that I’ve heard released lately and it doesn’t seem to be slowing down any time soon. With Chilling Impressions Death Factory presents two long tracks, each one “dedicated” to a horror film. Chilling Impressions is just that, an aptly titled release and hopefully not the last from this excellent project. Once again, the tape is packaged with 7″ sized artwork for that something extra that NVS is becoming known for. If you are at all a fan of death industrial it is mandatory to check out some of the release from this label, and heed Death Factory as well because this is some quality stuff here. Feasting on Fear which takes up all of Side B is dedicated to the film Anthropophagus which I am unfamiliar with. If I knew better I would guess that some of the score is sampled here because Death Factory makes for a very original sound with this synthed-out creeper. The atmosphere calls to mind creepy 80s horror flicks with a touch more industrial thrown in. An original and interesting twist on the Slaughter Productions sound which makes so much sense. The track is long and takes it’s time to unfold as it’s masterfully composed with subtle restraint. The only downside here is that the tape I received seems to have been recorded incorrectly because there is not much signal at all in the left channel. A tragedy because this material needs to be experienced in all its glory. It is the downside of the tape medium though.Side A presents Manifestation of Fear which is dedicated to the film Phantasm, which I am actually familiar with. If I had to choose though, I would say that Manifestation of Fear is far creepier than the film and much more intense. The track contains an unrelenting death drone and begins with subtle metallic shifting and eventually becomes a monolithic rythmic machine pounding the shit out of my eardrums. The sound is most easily comparible to Megaptera or Negru Voda but perhaps with just a touch more harshness, yet just as bleak."

Existence Establishment

"Nightmare industrial meets John Carpenter soundtrack. So i guess, if I am getting this correctly, that the artist here decided to make two pieces dedicated to some awesome 70's horror films. Not so much soundtracks but almost audio love letters. Still working in the noise/industrial world but with a definite sense of the time these films were made. Truly capturing a real sense of dread. Excellent work. There is a mountain of talent packed into this c30. Very limited but I think there is a few copies left. Packaged in No Visible Scars usual 7" sleeve."

Dead Formats

"Deep, pulsating, factory industrial sounds that come in massive waves on one side, then washes of scuttering, bulldozing analogue frequencies on the flip side, with some '70s keyboard atmospherics mixed in "

Malignant Records

"Industrial/power electronics with fine atmospherics. 29 minutes of creepy music providing the soundtrack toyour scary movie nightmares." Hammersmashed Sound

(SOLD OUT)SCAR O16: Blessed Offal "Ep 2011" c-30 100 copies

2011-03-22T18:01:00.018-04:00

Death/doom/grind ala Repulsion, Autopsy, old Incantation, Disciples Of Mockery, Rottrevore, Funebre, Dead Congregation and Necros Christos. Great production with a thick bass sound and over all cold/empty atmosphere.

SCAR 016: c-30/100 Copies. $7.00(US). $10(ELSEWHERE) Price is postpaid. ***ACCEPTING PAYPAL, MONEY ORDERS AND OR CASH. CONTACT FOR ORDERING INFO AND

AVAILABILITY*** novisiblescars@gmail.com

Blessed Offal package: 7.25 x 7.25 covers/insert housed in a 7'ep re-sealable bag. 1' logo pin. Mastered on pro manufactured and imprinted(chrome)black cassettes. Album repeats on both sides of the cassette.

***DO NOT PAYPAL ME TILL YOU MAKE CONTACT! I HAVE A SEPARATE EMAIL FOR PAYPAL WHICH WILL BE PROVIDED WHEN CONTACT IS MADE***

"What is my favorite dish? I really love lasagna, grilled meat and baked potatoes but men, if I have to pick the winner of my all time hit parade of epic meals, I have to go for fried offals. So, receiving a tape of a band called Blessed Offal touches my senses in a lot of very different ways. I don’t know if there’s a subtle meaning to their monicker, but this American trio managed to clash together two terms which have strong (and very different) meanings without making them sound ridicolous. Yeah, maybe thinking of a priest blessing a veal’s brain stew can sound a bit funny, but I think that the first word brings the esoteric aspect in, while the second one smashes it gore and disgusting pictures of purulent and decomposing pieces of flesh. And, well, I think that esoteric purulence is a good way to describe the music of Blessed Offal. They hail from Boston, but they are one of the farthest bands of local offering of hardcore. The music you’re gonna hear once you put this tape in your deck comes directly from the entrails of the Planet, the soft belly of the beast called Hell. I’m not a huge metal fan, but I totally love when it mixes with doom, creating that tomb stenching blend of extreme music that I can’t do anything but love. Blessed Offal is huge, is monumental, in a word : cyclopic. They are slow but unstoppable, you can say like lava going down the cliff of a vulcano, I’ll say like the tentacles of Chtulhu rising from his abyssal tomb. Riffing will strangle you slowly, reducing the amount of hoxygen going to your brain little by little, with its muddy and discomfortable way of crawling through the songs. The classic influences on this band are pretty clear, you can drag them back to classics like Autopsy, Repulsion, Asphyx, early Amorphis but there’s also a bit of Cathedral’s Forest Of Equilibrium. Everything here stenches of early 90′s, with old school productions and a very cool taste in sound choice when it comes to solos. Fast facemelting notes will rip the tunes apart, making their way through the monolithic wall built by guitars, bass and drums. Vocal wise Blessed Offal sticks to a classic deep growl, which reeks of 91 like few other things. Reek. There’s a pretty good way to describe this tape. There’s almost an odorous feeling coming through these five songs. Like opening a tomb, or snorting a dacayed skull, or walking through a dying forest. I know these are pretty standard statements for a doom death band, but I think Bleesed Offal stands out with personality and GREAT taste in songwriting, creating a great mix of breathtaking slow tempos and groovy brainsplitting faster parts. There are awesome moments, like the soulless shrieks in the second half of An Unnatural Ending In Excrement or the solo during Ancient Realms Of Anti-Anthropocentrism or the amazing bass droning notes at the end of A Means To An End. When I listen to bands like this, the first feelings I can point out are death visions, pessimism, drowning and lack of reflexes, but with Blessed Offal I feel fatigue. Yeah, fatigue. I feel like a bunch of full iron balls are tied to my legs and arms, with a huge load on my back. Awesome. You like Coffins and Anatomia? You think that Dead by Autopsy is one of the best songs on Earth? You want to smash the face of the likes of Amon Amarth? Give Blessed Offal a listen and you can put again death in your Death Metal."

http://sorenauseaheadache.wordpress.com/2011/05/02/blessing-offals-is-for-those-who-are-dealing-with-death/

"Do you like your death metal grim and unforgiving? Then I think Blessed Offal might be the band for you. I have heard the name of this band muttered around the interwebs before but I never took the time out to actually listen to them until now. Holy shit, what was I thinking? These guys are dark, evil and punishing in their execution of death metal. Think Coffins meets Funebrarum to bastardize Incantation and you have the basis for Blessed Offal’s sound (in my opinion, of course). I, for one am a huge fan of the new wave of old school death metal (or NWOOSDM) bands like Decrepitaph and the already stated Funebrarum so Blessed Offal fall upon wanting ears in my case. Relentless riffing, charging blast beat drumming and rough, guttural death growls make up the core of Blessed Offal’s sound. Throw in a few appropriate and very well executed solos and you have the band in an evil little nutshell.
On top of the band’s uncompromising brute force death metal fashion, a certain atmosphere hovers overhead instilling misanthropy and grimness. This is very present during the more dooming parts of tracks. These dooming sections bring to mind bands like Hooded Menace as well. The band has found a home in this bloggers cold heart and I hope that they will worm their way into yours as well."
http://americanaftermath.net/2011/05/01/blessed-offal-harbingers-of-death-metal/

"Old school death metal is back with a vengeance, and I personally couldn’t be happier about it. Someone’s got to stand up for the heavy shit, especially in the face of 2011′s djent invasion, deathcore’s stubborn insistence on existing, and tech death’s soulless fretboard gymnastics. Someone’s got to tune low, play mean, and offer up sacrifices to the twin altars of Onward to Golgotha and Mental Funeral. It may be a bit of a trend, but it’s the best ‘trend’ to come along in a good long while, so fuck it! Blessed Offal hail from Boston, MA, and have been kicking around since 2004. Conceived as Exsanguination, they changed their name a year or two after forming, and have since released a rehearsal demo and a self-titled EP, both reeking of putrefaction and decay. This backward-thinking quartet have clearly done their homework, and the result is as filthy and satisfying as anything that crawled out of the Florida swamps decades ago. A near-perfect cross between Hooded Menace’s creepy death/doom dirges and vintage Death, the formula they follow is indeed fatal to the flesh, and just unique enough to stand out. They’ve sure got all the right ingredients – knuckle-dragging tempos, a genuinely unsettling atmosphere, tasteful solos, sepulchral roars, thick, chunky slabs of death metal riffage, and a doomed outlook on the afterlife. Blessed are the sick."

http://www.metal-army.com/?p=19990

"If you are feeling dramatic, you could say death metal has of late been dragged screaming through the mud (not in a metal way either) by the tech and slam metal that has replaced it in the minds of the general public. I’d say you should maybe relax a little, there are still plenty (PLENTY) of people out there that know if you can’t write a memorable song then you are pretty much sunk. Some of those people live in Boston. Some of THOSE people belong to Blessed Offal, who this month released their self-titled studio debut on Black Mass Records. Like the best of the new-wave-old-school death metal bands, Blessed Offal pay homage to the greats without being terribly obvious about which greats in particular those are. Their tonality and melodic sense are pretty American, but the production reeks of that freshly-exhumed corpse sound trademarked by the Swedes. Tempos range from grind-fast to Disembowelment levels and everywhere in between, making this EP something like a 10 speed bike except no hipster would ever touch it. The seamless mix of styles plus a very compelling atmosphere of venom and bile reminds me of Dragged Into Sunlight’s Hatred For Mankind, reissued earlier this year on Prosthetic (an album so misanthropic it even hated genres). Of course throughout, Blessed Offal remain recognizably death metal.
A pretty singular sound coupled with excellent songwriting chops makes this a very good album by a promising band. Those worried for the future of death metal really have nothing to fear, plus let’s face it, there are much better reasons to be afraid nowadays. If you like headbanging and maybe riffs too, you should check out Blessed Offal’s bandcamp page, where you can download a free song or the entire EP for 5 Murkin dollars. If physical copies are more your thing, you should mosey on over to Black Mass Record’s website and order there."

http://thenumberoftheblog.com/2011/04/27/blessed-offal-show-everyone-how-its-done/

"You have to admire labels that still release cassette tapes. I mean you see this here and there in Europe still, where some release on multiple formats including cassette, but cassette only releases in the US is unheard of. That is some pretty impressive dedication in my view. This label is run by Bill Connolly, who also ran a tape label back in the early to mid-90s. In fact, I ordered a couple comps he released and a cool demo tape he released by the band Moonburn back in like ‘93/94. I suppose for the most part this is an old mans game. I am not sure how many young metal fans even own a cd player, let alone something that will play cassettes haha! Being an old bastard, I not only have a large tape collection, but multiple sources to play them on. It brings me back to my tape trading days. Blessed Offal is a name I have heard around a bunch in recent years, but until now have not had the pleasure to experience. This band immediately makes me think of an old death/doom band I used to worship many moons ago that went by the name Disembowelment. Yet another influence for this band that I kneeled to the altar of is early Grave. It is a fine combination of immense death doom metal suffocation and hateful old school death metal in its finest form. The vocals are also in the Grave vein with some accompanying acidic higher accented vox. You also get some occasional great frenzied guitar soloing which works a lot better than you would think. What a great release and this is something I would suggest you under no circumstances pass up getting. This is for fans of Disembowelment, Grave, early Incantation and the like." – Dale
http://www.canadianassault.com/albumreviewsnewAtoD.html#blessed

"Now this is a killer little demo, or EP rather. Blessed Offal are a Boston-area band who play guttural, sledgehammer-heavy Death Metal that draws a lot of influence from old Entombed and Dismember albums. These guys play heavy as fuck, but they aren't afraid to put in a lot of dynamic, speeding up here, sloooowing down here. The riffs are solid, the playing is tight, and the recording job is first rate. A band to watch."
http://www.metalcrypt.com/pages/review.php?revid=6899

"AMAZING CS EP from Massachusetts death/grind band Blessed Offal. None of the frills of some of the more recent death metal, this is straight ahead brutality, the way death metal is "meant" to be. The thick, pounding bass and percussion renders this one o the heaviest things I've heard this year; definitely the best death metal I've heard this year. Honestly, it's not even close. This is dark, cold and sometimes doom-y, and it gets my highest recommendation. I'm delighted to know these guys are playing in my vicinity this summer - I will definitely make it out to see them. Can't wait to hear more from this band."

http://hammersmashedsound.blogspot.com/

"BLESSED OFFAL hails from Boston, USA and takes us, with this EP, into their darkened universe of heavy, and at places doomy, Death Metal. A juggernaut of an evil release with 5 tracks of relentless brutality. The Death Metal scene is on a rise, it's been quite some years since I've come across as many talented bands as I have the last six months - most of them excelling in good old brutal and dark Death Metal without too many modern treats and shenanigans. BLESSED OFFAL is also a purveyor in the oldschool vein, with their blend of grinding madness and doomy and eerie passages, with a dark and guttural growl from deep below, with both emotion, frustration and anger. We are getting thrown through the wall more than once, when the band changes pace from slow and almost droning to blasting and aggressive straight to your face Death Metal. The expression is intense all the way through the 5 tracks and it is hard to stop listening, when one first have entered the realm of BLESSED OFFAL. The band has some touches of the old Swedish Death Metal scene mixed with American Death Metal, though have made their own mark and distinctiveness. It is of course not original as such, it is Death Metal, though not many is or have been doing it as BLESSED OFFAL does it right now. When they go from intense and smashing moments to their atmospheric, heavy and dark as thunderclouds doomy passages, as they almost do in each song, the music and atmosphere become nothing less than jaw dropping. Just listen to the shifts in 'Seasons In Sepulchral Depths' and 'A Means To An End' and the majestic and ominous doom passage in 'Bottomless Grave', if such doesn't get you hooked on this band, nothing does, damn it's well made! Well the great melodic to raw guitar leads, the punishing drumming or the general good use of effective riffing and rumbling bass, could might also get a hook in you, when I think about it! The band has been going since 2004, first as EXSANGUINATION and later that year they changed name into BLESSED OFFAL and do only have one demo as the first, one as the latter and now this EP released, so be sure to pick it up before it is too late, as we can't be sure when we again will be hit with an attack from this monster of a band!"

Anders Peter Jørgensen(Voices From The Dark Side)

"Before I start the review I just want to get one thing out of the way… I don’t like the Name Blessed Offal. That’s probably what kept me from checking out this band the most. But I was told their stuff was right up my alley so I was willing to give it a shot. I am so glad I did because this album is killer. On my first listen it brought me back to high school, blasting Morbid Angel or Immolation on my shit box car’s stereo. From the opener “Bottomless Grave” you’re reminded of why Death Metal was awesome in the early 90′s and why it could be again. No slammy bullshit here. Just memorable songs, evil riffs, and blazing solos. It makes me want to crack open a beer and bang my head. I may have to actually leave my house to check out Blessed Offal live." Kevord(Obscenity Cult)

"If you’re gonna get your mouth ripped open by massive force until your jaw turns to dust while a titanic dick shoved down your throat chokes you until your skin sags and falls off the dick like a worthless used condom and then your asshole is the last bit to be flicked off of the pole, Blessed Offal is truly the band that’ll do it. I’m an oldschool death metal and doom death metal fanatic, but even this SOB has me shitting myself, it’s blistering, pummeling, raping, mutilating, and as filthy and hideous as the original bands but somehow rips you a different way this time around. Some stuff never gets stale, and crushing, brutal and vulgar is the unholy trinity for me. No time to bend over and grab your ankles here, the 12 minute brutal massacre of “Bottomless and Seasons” that serves as an appropriate opening for this album is a full blown “blitzkrieg” on all of your senses and will have you drawn and quartered, impaled, and decapitated before you realize your totally fucked. Brutal with classic control of rhythms, riffs, leads, solos, and an intense and brazenly evil atmosphere this thing reminds me of my first listening to Incantations “Onward to Golgotha”, it’s so evil and indescribably heavy, but the skill in song writing and the cohesion of the band makes this thing apocalyptically powerful!!!!! If that album still gives you the spins and the “Fight or Flight” mode kicks in, you HAVE to get this thing!!!!! Every death metal, warmonger metal head, and tyrannical lunatic must own this piece of audio violence, it’ll rape your ears and cum shit all over brain!!!! Everything here is classic, essential, and truly redefines brutal and slaughtering metal, you haven’t survived squat if you haven’t been mangled by Blessed Offal!!!!! I have a long list of amazing death metal right now in queue, including Dark Descent’s re-issue of the brutal Swedish band Uncanny and this one pulled me away from that one. It’s a cassette, but get it and look out for this bands upcoming release on Black Mass Records, some stuff just can’t be passed up.The vulgarity was totally called for here so no apologies there folks, it's as wicked as they come."

Janet Willis(Hellride Music)

Blessed Offal-An Unnatural Ending In Excrement by NoVisible Scars

http://www.myspace.com/blessedoffal

Distro:

HELLS HEADBANGERS:

http://www.hellsheadbangers.com/

PSYCHEDOOMELIC RECORDS

http://www.psychedoomelic.com/

(SOLD OUT)SCAR O15: Elders Of The Apocalypse "The Law of Iron" c-25 100 copies

2011-03-21T18:49:00.013-04:00

Apocalyptic Holocaust Metal along the lines of Blasphemy, Bestial Warlust, Black Witchery and old German thrash!

SCAR 015: c-25/100 Copies. $7.00(US). $10(ELSEWHERE) Price is postpaid. ***ACCEPTING PAYPAL, MONEY ORDERS AND OR CASH. CONTACT FOR ORDERING INFO AND

AVAILABILITY*** novisiblescars@gmail.com

Elders package: 7.25 x 7.25 covers/insert housed in a 7'ep re-sealable bag. Mastered on pro manufactured and imprinted(chrome)white cassettes.

Album repeats on both sides of the cassette.

***DO NOT PAYPAL ME TILL YOU MAKE CONTACT! I HAVE A SEPARATE EMAIL FOR PAYPAL WHICH WILL BE PROVIDED WHEN CONTACT IS MADE***

"Ok, let’s go back to middle 80′s, in an era made of sweating thrasher with long hair, denim vests full of patches or leather jackets and flying V guitars used without shame. Take three of those fuckers, dress them like a county medieval fair and force the trio to watch Conan at least 30 times in a row. What you will got is the prototype of what twentyfive years later will become Elders Of The Apocalypse. Let’s check the names, Sadistik Slayer, Plague Bearer and Bestial Tormentor. Ok, you can figure out that we are talking about some dirty, smelly and gore drenched war metal! Blasphemy, Black Witchery and also a bit of Bewitched are all smeared on a strong pattern of music taken directly from the deep and dark woods of the rural Germany. Kreator after Flag Of Hate? POSERS. Post Mortal Way Of Live Sodom? SHIT! If you approach this tape with that spirit you will surely LOVE what you are going to hear. Pounding and berserking induncing drums, faceripping fast guitar shreds and earth shaking bass smashes. Vocals are stuck to a deep bark, resounding like the screams of hate of a horde of mercenaries swarming through a battalion of orcs. There’s no originality here, not even a single pound, but Eleders Of The Apocalypse shouts its personality strongly, without letting the enemy pass. You can listen to this album without noticing that, but each song is a nice mix of old school classics, or you can deepen your listenings craving for solos, nice bass lines or amazing sound samples, everything drenched in a deep swamp of lo fi loving and overall messy production.Plague Lords and Spell Of Desecration are little gems of battle metal and ending the album with the cover version of Blasphemy’s Atomic Nuclear Desolation is really sweet. I’m not a big fan myself of this kind of music, even if I really love some of the bands that inspired it, first of them being early Sodom, but I’ve quite enjoyed The Law Of Iron, even if I think it can grow boring very fast if you are not a big fan of thrashing warmonging metal. I think that’s mainly a genre’s limit instead of being band’s bad, so I won’t throw down Elders Of The Apocalypse for the genre they’re playing. As for Blessed Offal, this pro printed tape is released in a very good looking 7″ layout, so it can also be a nice addition to your collection.Extra point : being raised among metalheads who thought modern epic metal is great, I’m always happy when I see bands like Elders Of The Apocalypse who can talk about that subjects without sounding weak, plastic-made or, simply, laughable."

http://sorenauseaheadache.wordpress.com/2011/05/05/tape-of-apocalypse-ruled-by-the-law-of-iron/

"Shake your fucking preconceptions off. If your poor-witted self was quick to pin this American trio as European power goofballs just because the cover artwork of The Law of Iron looks like the low resolution print out of a Manowar B Side, shame on you. We, hammerers of hammers, advise you not to exercise such poor judgment. Elders of the Apocalypse could easily crush De Maio and bros. Yeah, they are down one man and as far as their pic reveals, they pack no muscles and may have never even come near a gym in their lives, but fuck if their riffs are killer. Fuck, if the speed of their music doesn’t tramp every power metal anthem…ever… and fuck if, if their beyond chaotic tunes don’t show any disregard for all the laws of metal. Those who have never come near grass may remember the day when Slayer was first revealed to their ears. Doubts as to the manpower capable of flexing those muscles arose in more than one and when it came for solo time, Hanneman and King were ace, basically inventing the art of the desperate solo; imitated by many, perfected by none, and abused by all those extremists who couldn’t shed a melody even if they copied it note by note. Not to say that Elders of the Apocalypse sound anything like Slayer. Not at all, well, maybe a little, if only Slayer were a grind combo. That’s, mmmhhh, not to say that Elders of the Apocalypse are a grind band. Not at all. The Law of Iron is very much metal. From the name of the band to the monikers of the members (Sadistik Slayer, Plague Bearer, Bestial Tormentor), to the cover artwork and the title of this their first effort, these eleven cuts scream destruction and massacre, blackness and darkness, chauvinistic power and abusive might. Elders of the Apocalypse are metal even if your turn them inside out and you bath them in pink chocolate. Their songs crush so violently and move forward so abusively that they simply transcend the genre and evolve into something else entirely. It is thrashy and blackened and if the sound wasn’t so thin I’d say they roll down a mountain like a boulder. This reeks of putrefaction and seems to worship some of the highlights of Canadian metal history. Canadian lords Blasphemy, whose under a minute classic ”Atomic Nuclear Desolation” gets covered here, are prime example. No one with a love for life would declare them non metal, but the speed with which the cymbals crush and the shapeless blur that is every riff borders on the edge of punk and grind. As such, most songs deep down uncontrollably, attempting to take it to the next level. Achieving perhaps nothing that has not been achieved already, but adding ten originals and one cover that’s some of the wildest shit these ears have ever been graced with."

http://www.deafsparrow.com/elders-ofthe-apocalypse-review-2011.html

"Thrashy black war metal from Tennessee's Elders of the Apocalypse. Despite the cheesy-looking cover, this is actually pretty good. An all-out assault on humanity and everything peaceful. Chaotic, aggressive and over-the-top loud. Everything you can want from this style of metal".http://hammersmashedsound.blogspot.com/

"This one’s been on play with me for a few weeks as it perfectly captures the chaos, frustration, nihilism, and full on need to release aggression. The sound is raw, filthy, and sends a call to us from back in the early brutal thrash scene, it fits in so nicely with my current obsession, Sodom’s classic “In the Sign of Evil”, old hate fueled Kreator, and maybe even a rawer, cruder early incarnation of warmongering violent metal acts like Black Witchery. Whatever the hell it is, it’s mean and sheds oceans of blood in its path. The cassette overall, as with the labels inspiration, reeks of oldschool demo and it’s damn near impossible not to tear the roof off listening to it. Lots of promise shown here, Elders of the Apocalypse is a force to reckon with, so approach with caution. Absolutely essential for those who still love their metal fast, furious, spiteful, violent, and

perfectly lo-fi!!!!! "

— Janet Willis, HellRide Music

"Take one look at the cover of this cassette-only release and you might get the idea that this some sort of Manowar-style cheese metal, but that couldn’t be further from the truth. This is some very raw and bloody black/death/thrash hybrid. So raw, in fact, that if you decided to eat it, it could probably give you some sort of food-borne illness. Even reading the liner notes is a little misleading, because it says this was “produced.” Well, it doesn’t sound produced, and that is part of the charm. It just makes the noise on display here all the more uglier and crazier, like the band just decided to put their demo out and really not give a fuck.
Still, there is much fun to be had here. This will definitely scare your neighbors or your more evolved metal-loving friends, but fuck them. I mean, this is something Fenriz should big up on his blog, because judging from his tastes and his many interviews, he loves stuff that sounds like a demo. Well, here you go, buddy.
If this sounds like your cup of black vomited bile, then pick up a copy really quick, because as with most cassette releases, it’s in an ultra-limited batch. So I wouldn’t sleep on this one. The address is below, and, yes, it’s from Connecticut. Surprise, I bet you didn’t think stuff like this existed there, but it does."
Thomas Pizzola(Verbicide Online)

"You would think with a name like ELDERS OF THE APOCALYPSE we would have total BLASPHEMY worship by these guys, but no. We have some touches and flourishes of those ultra violent canadians BLASPHEMY with the utter violence and ferocity of "Illusions" era SADUS; the attitude, not the sound; it's more of an ANGELCORPSE like concoction that is quite on the spot and deadly. ELDERS OF THE APOCALYPSE do not fuck around. You want lush pretty and breathtaking, go elsewhere. Ok wait, actually ELDERS OF THE APOCALYPSE are breathtaking in the sense that they take your breath away by killing you. There's an all around sense of insanity around these guys: the drumming, guitars and vocals insanity. But controlled. To a point. They are aiming carefully their fire, at you! The cassette is full of utter ferocity. Everything is about ready to derail at any given moment but verily they do keep it together and attack us, ruthlessly, mercilessly. This is something you must listen to. And the fact that it is available exclusively on cassette, this is a record label after my heart! For when all true Metal heads are vinyl freaks, I am a cassette freak! Oh shit and let us not forget all the some would say "cheesy" intros from sword and sorcery epics like "Conan the Barbarian" and I believe "The Law of Iron" a spaghetti sword and sorcery copy of Conan (I think). Gotta love that shit too! Get this! Hail and kill but in a fuckin violent unholy ANGELCORPSE / BLASPHEMY vein. More info at www.myspace.com/eldersoftheapocalypse,www.myspace.com/novisiblescarslabel"

Luis M.L. Sallard(Voices From The Darkside)

Elders Of The Apocalypse- Ritual Sodomy by NoVisible Scars

More samples at:

http://www.myspace.com/eldersoftheapocalypse

http://nvslabel.blogspot.com/

http://www.reverbnation.com/eldersoftheapocalypse

http://www.myspace.com/novisiblescarslabel

Copies also available from:

Hells HeadBangers:

http://www.hellsheadbangers.com/

Wohrt Records:

http://www.wohrtrecords.com/

Ominous-Domain

http://ominous-domain.com/

SCAR 006: FOUR FLIES/WALLKEEPER/MY BLACK GLOVES "Giallo Box Set" c60&30 50 copies

2011-02-22T02:59:00.005-05:00

Giallo Box Sex featuring:

FOUR FLIES-HNW from RICHARD RAMIEREZ

WALLKEEPER-HNW from GERMANY

MY BLACK GLOVES-SADO DEATH INDUSTRAIL from USA

Double cassette packed in a black VHS box.

C-60 split(30 mintues from FOUR FLIES/WALLKEEPER).C-30 from MY BLACK GLOVES.

Full wrap around cover and insert.

Limited to 50 copies. $9.00(US/CANADA/MEXICO) $11.00(world).

Price is postpaid. Info and how to order at novisiblescars@gmail.com.

*DO NOT PAYPAL ME AT THIS ADDRESS* Please!

Make contact and I'll provide you with my paypal addrress.

Samples:

Four Flies-Cold Eyes of Fear (Your Last Scream will be the Loudest) by NoVisible Scars

Wallkeeper-Vier Fliegen auf grauem Samt by NoVisible Scars

My Black Gloves-Gutter by NoVisible Scars

(SOLD OUT)SCAR 013: Mazakon Tactics "Adorable Atrocities" C-30(50 copies)

2011-01-22T04:43:00.011-05:00

Heavy electronics/PE along the lines of more recent Prurient, Yellow Tears, and older Anenzephalia from Sascha of Namazu Dantai fame.

02 Promise.mp3 (Reload the page if song does not play)

$7.00(US/CANADA/MEXICO) $9.00(world). Price is postpaid. Info and how to order at novisiblescars@gmail.com. *DO NOT PAYPAL ME AT THIS ADDRESS* Please! Make contact and I'll provide you with my paypal addrress.

Copies can also be purchased from:

Malignant Records: http://www.malignantrecords.com/

Self Abuse: http://www.selfabuserecords.net/home.html

TeRRoR Distro: http://www.terror.lt/index.php?page=shop

More samples at:

http://www.myspace.com/novisiblescarslabel

http://www.reverbnation.com/label/novisiblescars#!

"Sascha Mandler of Namazu Dantai brings us a half hour cassette of bleak power electronics focused on whispery electronics, clanking metal, looping industrial rhythms, and guttural growls. On Adorable Atrocities, Mazakon Tactics hits the dark ambience hard with some fantastic, plodding moody aural arrangements. It’s the power electronics bent that he takes with his screams, however, that really throw off the listen. Opener “It Must End Here” carries on with a single, droning tone accompanied by varied poetical vocal outbursts. Where the calm of the background would almost ensure a hypnotic trance with its unwavering but solid pitch, Mazakon Tactics adds various screams and growls to the tone; while these screams might be good on a brutal death metal album, Mandler never really hits a solid range of vocal screams. Instead, they’re kind of all over the place, some growls and some higher pitched screams that become almost laughable in places. It’s only when Mandler finds a pattern with a closed-mouth snarl of “It must end here” that the track finds a happy medium, and at that point, it’s over. “Promise” brings things back to form a bit, an atmospheric opening with a nice whirl of abyssal drones, squeals, and then a looped pattern of scraping metal that sounds a bit like a gun hammer cocking and scraping throughout. Again, Mandler sees fit to growl over this pattern with unintelligible words and noises, and I would much rather the track be allowed to play out without that excessive riffing, because without the vocals that track is truly unsettling. Afterwards, the growls cut out for some waves of static played on top of the drone, and this part of the track really shows the depth Mazakon Tactics can hit without the need for vocals, although when they’re added on top it does create a tense display of anger. “Sliced Core, Spiked Lips” has a nice build to it in the beginning, and I will say that the harsh guttural vocals add a layer that juxtaposes that serenity of the droning tones behind it, where some instruments almost sound like subtle piano plinks. And the disturbing nature of the track’s latter half, with screams that echo like those of a prisoner in a dank cave, work well with the Mandler’s powerful growls, as though he is the Captor and we are the Captives. And Mandler certainly captures the industrial side of power electronics as well – the sharp clanks of metal and scraping that permeate through the thick noises are some of the best spectacles on this release. “Aries Axiom” has a spectacular build, the best track on Adorable Atrocities. Full of chaotic static with seriously pissed vocals rocketing through it, then scrapes and and an ambient whir that somehow grows to a climax, this track has got to be the harshest here because of its unrefined brutality. It is here, without the growls that seem to lack believability, that Mazakon Tactics cements the sound of absolute frustration the power electronics genre can achieve. Adorable Atrocities has a disturbing undertone to it, and that’s more apparent on the B-side of the cassette than the A-side (besides the almost throw-away “Almost There”). “Prostration for a Fathomless”‘s rich crumbles and looping create a catharsis hard to ignore, and if you can get over the guttural vocals that can be overwhelmingly cloying, Mazakon Tactics creates a soundtrack to a world that, while not dead, soon will be, and filled with the deepest darkness one can imagine."
http://memorywavetransmission.wordpress.com/

"Here is yet another quality release from this consistent tape label. Mazakon Tactics presents the darkest of death industrial sounds in this brutal 30 minute cassette. Merging the death industrial influences of Brighter Death Now with power electronic death grunts and some clanking metallic sounds Mazakon Tactics has formed one of the most dismal and hopeless records I have heard in recent memory. The cover is quite fitting as this could definitely be the soundtrack to someone being pulled down into the layer of the BTK killer or something. The tape has a good mixture of grit and clarity that compliment each other well. If I were to make any comparison to acts that are out there I might say mix BDN together with Dodsdomb and you have Mazakon Tactics. The album is consistent throughout, not letting even one beam of light into your darkened cell. There are some moments of droning isolationist tones which almost make me think that the sound will transition into a dark ambient atmosphere but the intense industrial always clangs back in before it actually happens. This is my first exposure to the project and they’ve certainly got my attention. Very nice work, only for fans of the most perverse and blackened industrial sounds out there."

http://existest.org/ee_v3/?p=2480

"The Mazakon Tactics CS is pretty damn good too. Heavy and harsh industrial that has touches of power electronics as well. This is actually an amazing tape that you really need to hear. There's an mp3 on the NVS site that you can hear, and it's pretty indicative of what is on this tape.The feeling I get when playing these tapes is something like this: Something is amiss in the house, and it's quite obvious, but I'm not sure what it is. Whatever it is, I don't want to see it, because it is going to force me to look in the mirror and probably reevaluate things - do I want to live, or do I want to get away? I can't do both, that much is certain. I'm just gonna have to live with this hanging over me for the rest of my life... which may not be long."
http://hammersmashedsound.blogspot.com/

"This is nuts. Right off the bat you get twisted and erratic harsh noise. Not a wall but a cacophony of stabbing and scraping noise. Then right as you are getting your mind around this someone with a very fucked up voice starts screaming at you. Dark and blackened howls that totally carry this release. Often times you get what sounds like a mix between vomiting and dying from the singer. It's pretty grim and it's right in your face all the time. Really excellent work on this release.

Limited to 50 copies and packaged in a 7" bag. Find it."

http://www.devdformats.blogspot.com/

"Heavy electronics/PE along the lines of more recent Prurient, Yellow Tears, and older Anenzephalia from Sascha of Namazu Dantai fame. Well, that's the label description, not mine. I don't necessarily see the Anenzephalia comparison. In fact, this strikes me as more death industrial than anything, and I want to say I find more reference points to Steel Hook Prostheses (particularly in the vocals), Control, or perhaps earlier Schloss Tegal, just more stripped down and straightforwardly rough around the edges and crude. In So, effective in that respect and certainly recommended to folks that appreciate that style, like me!" Jason(Malignant Records) http://www.malignantrecords.com

"Sascha Mandler is behind Mazakon Tactics and he uses electronics, stringed instruments, metals, lyrics and vocals. Mandler is apparently also from Namazu Dantai, whom I don't know. The music is that of power electronics, but doesn't always sound that harsh or loud per se. Voice seem to be an important ingredient for Sascha and there is definite cold atmosphere about these pieces, clinical and reminded me of the early of Anenzephalia. You expect any moment some doctors voice coming in to tell you about the patient's condition, who is lying in his bed, coughing. Pleasant is a word that hardly applies to this, but in terms of 'noise', not being super loud, or just distorted, but actually well balanced, ear damaging low end bass sound and a crash of metal/voice makes this a nicely affair. After all, nice" Vital Weekly (FdW)

http://www.vitalweekly.net/768.html

(SOLD OUT)SCAR O07: OVER "OVER" C-15 25Copies

2011-01-21T17:13:00.009-05:00

OVER is project by an NVS supporter/customer. An un-announced CDr and a Polaroid picture of a bed in an attic(?) arrived in the NVS PO BOX last fall just with a note asking for release consideration. I sat on this release for awhile, contemplating releasing it. The music(sound) is a pretty simple and lo-fi repetitive heavy electronic track looped. No vocals per, more like spoken word. Actually, more like spoken word "confessions". 15 mintues of emotional outburst, detailed intimate "family" sexual encounters, self hate etc. In a lot of way's reminding me of Buyers Market. When I asked the individual behind OVER for more insight into the project the response was "I'm OVER it, the events that took place and what I described, I needed to get these things off my chest". “This is the real deal, I lived this shit, my voice”. “It ain't taped/sampled off TV shows and HBO documentaries”. I haven't heard from the OVER individual in months, but if your somehow reading this. I've taken you up on your offer of releasing it. Hope you like!?

http://www.4shared.com/audio/dc4HB31V/O ... ample.html

$6.00(US/CANADA/MEXICO) $8.00(world). Price is postpaid. Info and how to order at novisiblescars@gmail.com. *DO NOT PAYPAL ME AT THIS ADDRESS* Please! Make contact and I'll provide you with my paypal addrress.

More samples at:

http://www.myspace.com/novisiblescarslabel

http://www.reverbnation.com/label/novisiblescars#!

"Fans of death-industrial should take note of the tape by OVER. spoken word over a cold synth loop. content is confessions of teenage fighting, masturbation, being accused of molestation... definitely something you actually have to LISTEN to. the label's descript is dead-on. RECOMMENDED" Keith Brewer(Taint/Mania)

"The first of these two releases is very obscure. According the No Visible Scars website the release by Over is by a supporter/customer of the label. Fifteen minutes of music/spoken word, although its hard to say what's about, but according to the website (again), its ""confessions". 15 minutes of emotional outburst, detailed intimate "family" sexual encounters, self hate etc". Now he's over it and behind it. Well, alright then, so are we. I couldn't say I particularly enjoyed it, but it wasn't bad either. Highly obscure, from every possible angle: that's for sure" Vital Weekly (FdW)

http://www.vitalweekly.net/768.html

"I kinda want to give this a 3 rather than a 2 but i am torn. When I first put this on I was instantly into it. A super dark and lonely drone that seemed to fill the whole room with dread. I was getting ready to start taking notes but then all of a sudden some samples came it. A man was recalling his childhood in short bursts of edited samples. Talking about being a kid, going to Toys r us, jacking off and molesting. Maybe it's my age or even my exposure to a lot of this stuff in the 90's (I don't want to admit how many times I listened to Buyer's Market by Peter Sotos as if it were music) but I think this doesn't really effect me anymore than making me a bit bored. The music on this release is excellent and right up my alley; super bleak and dark. When you add the samples over the top I get the feeling you want to force me to feel deep dark emotional torment and it becomes a bit contrived. Turns out the samples are not taken from another source. These are the artist's own confessions. That does make this a bit more interesting but sonically I still have the same issues. I think if I listened to one side of the tape and it was just the music and the other side was just the samples it would have been way more effective. That's the other thing. This tape is one sided. It's not exactly a deal breaker but you really need to go ahead and repeat the program on side B. Packaged in a 7" bag with a pretty grim photo on the cover though. Limited to 25 copies."

http://www.devdformats.blogspot.com/

"So the story goes, Connecticut’s NoVisible Scars, a DIY label that peddles in severly limited extreme metal and noise cassettes, received an unsolicited CDr through the post in late 2009 from a previous customer hoping to be considered for release. It was accompanied by a single Polaroid picture of bed in an otherwise unfurnished room. The contents of the disk were very minimal: for almost 15 minutes a single bleak, lo-fi synth wave extends and pulsates broodingly while a male American voice slowly describes short episodes from his childhood that include sharing sexual experiences with his brother in the attic room of his grandparents’ house – presumably the one depicted on the Polaroid. The label pondered its release for a year and finally decided to make 25 copies available.
The qualities of the sounds on this cassette place it firmly in an old-school industrial vein. Like countless tracks before it a taboo subject is frankly conversed over cold electronics. But the key difference with ‘Over’ is that the voice incorporated does not seem to be sourced from exploitative television documentaries or late night chat radio shows designed to appeal to the prurience of its public, rather it is, more simply, a self-confession. The voice is clearly distressed with occasional sobbing and is not presented clearly in the minimal mix, perhaps by design as it encourages concentration to fully grasp each word as they slowly form their few regretful memories.
Before releasing it the label asked for more information on the track and got the answer "I'm OVER it, the events that took place and what I described, I needed to get these things off my chest". Whilst it’s understandable and reassuring that this cathartic exercise helped its creator to an extent, it’s unclear what the rest of us are supposed to do with it. Of course, a genuinely unsettling feeling is achieved, particularly upon initial inspection as events first become clear and you hear how much the speaker hates his brother as a consequence, but it’s not the more lascivious episodes that unsettle the most, it’s the highly personal and intimate nature of the admissions.

http://www.musiquemachine.com/reviews/reviews_template.php?id=3184

(Sold Out)SCAR 011: Fornicator- "Demo 2000" C-25 100 Copies

2010-11-02T19:24:00.012-04:00

"Portland's kings of sleazy violence are unleashed once more! 10 years after recording their 2000 demo it is finally being released! Ain't NOBODY heard this except 5 people.... 14 songs, 1 unreleased and even more classic samples" Fornicator was formed in January of 2000 in Portland, Oregon. We recorded this demo at our rehearsal space on a 4 track as a 3 piece in April of 2000 and soon after that added 2 more members, played a party that Odin was at and was then signed to Moribund Records. With the exception of a few people no one has ever heard this demo and this is about as raw and heavy as it gets. 14 songs, 3 unreleased and with different samples. ENJOY.

Rob Fornicator 5/2010

Fornicator "Demo 2000" Re-mastered and for the first time officially released. Mastered on pro manufactured and imprinted(chrome C25)"prion clear" cassettes. Complete with 1 sided 4 panel layout pro printed on glossy stock paper. Demo repeats on both sides of the cassette. Hand numbered out of 100.

More samples at the:

Fornicator Myspace:http://www.myspace.com/youaregarbagetome

NVS blogspot:http://nvslabel.blogspot.com/

NVS Myspace:http://www.myspace.com/novisiblescarslabel

Brutalbands.com had this to say about Fornicator’s 2002 self titled cd from Moribund Records:

“Intense rapist grind. Highly recommended for all you murderous grindcore freaks!”

More recent interview with Rob Fornicator: http://www.theseattlesinner.com/fornicator.php

***Joint release withVaginal Apocalypse Productions out of Maryland***

$6(US/CANADA) $8(world wide).Post-paid. Accepting cash, money order, and payapl.

***PLEASE EMAIL FIRST BEFORE SENDING PAYMENT!!!***

novisiblescars@gmail.com

Copies can also be purchased from:

Hells HeadBangers

http://www.shop-hellsheadbangers.com/item.asp?cID=0&PID=18217

Necroharmonic Records

http://www.necroharmonic.com/Store/tabid/54/List/1/Default.aspx

Fornicator - Demo 2000 (No Visible Scars Label)
By Janet Willis
24November2010

"No Visible Scars comes through yet again with this sexually sadistic grind/raw early death metal porn release. For those who want Mortician with T&A and full on XXXX ratings and the grotesque and brilliant brutality in lyrics and sound of Autopsy will HAVE to score a copy of this release!!!!! ALL of the lyrics are raunchy and completely obscene…cocksucking, fucking, gang rape, an overly horny dog, golden showers (urinating on people without their consent), fecal fetishes, and so many more are indulged in on this release. I’m only halfway through and am honestly in pain from laughing my ass off.

This is an absolute MUST have for the fans of the raw, brutal, exploitation, and the purely perverted: Mortician, Autopsy, Mental Funeral (the band) fans especially take note. Nothing will amuse you, thrash and kick some ass, and either amuse or thoroughly offend others around you like this one will. It’s even better than the tapes that I had as a teen that we’d play to offend the neighbors when they were walking by the house coming home from work or walking their dogs/kids: one was a bunch of cuts recorded from the adult channel that was always scrambled but we could still here the whole thing, and the other was of a guy taking a huge crap complete with farts, pissing, and grunts; thankfully this one is actually something worth listening to on its own as it completely shreds and rips. You haven’t heard sleaze until you’ve heard Fornicator!!!!!! Folks like this make me feel better about my diseased mind and help me to wallow in filth even further. With the holidays coming up, you couldn't pick a better gift for the adoring perv in your life, this one has sent me over into the top for the last few days since I got it and I will unveil to a few stoned friends and unsuspecting coworkers this Friday for the ultimate test, especially for the one who couldn't make it through "Pink Flamingos" without pausing it for a break every five minutes"

http://www.hellridemusicforums.com/forum/showthread.php?t=23527

"I’m quite strange. When I think about American Death Metal, usually I don’t think about Death, Deicide, Cannibal Corpse or even Autopsy (Satan bless them). My first thought when I hear the words USA and death put together is surely about likes of Frightmare, Lord Gore, Blood Freak and Whore. All these projects share the mighty Maniac Neil on guitars and, let me tell you, I really love that man, but Whore also features Rob Fornicator on vocals. That man is a fucking sicko. He is probably one of the sickest minds in the scene and I think his works are all drenched in an unholy bucket of piss/pus/menstrual blood/sperm/filth/ebola virus/vomit/shit/whatever, giving to each song Rob made a recognizable reek of sleaziness and vulgarity. Back in the days I used to buy Metal Hammer (forgive me, I was young) and on an issue it featured a review of the infamous Unfinished Business by Whore, dismissing it as crap not talking about music but just stopping at the cover art. It was the first I’ve ever sent a mail to a magazine complaining about how stupid and unprofessional they was and I was even featured on the next issue! Whore was the first band I started fighting for, so I was really tied to it. Now it’s time for Fornicator and I’m pretty honoured to give this demo a review. The career of the band was quite short, with only a split EP with Meat Shits and a full length, which is dismissed by the only review about it on Metal Archives as pure garbage. I don’t know about it, but this demo is REALLY good. If you want your death metal to be original, progressive, technical, philosphy induced or full of ancient populations references, I think you’ll receive a huge blast of “fuck you” from this tape. This DEMO 2000 was recorded, guess it, in 2000, with a three-piece line up featuring Rob Fornicator on vocals, Stroker Ace on guitar and bass and Sexy Necrodeziac on drums. Their style was pretty intense, reminding me a lot early Pungent Stench, which is also covered with their classic Just Let Me Rot. Fornicator’s death metal is pounding and relentless, with the rhytmn session in full front, featuring very good drums and a great taste in bass picking. The song structure is really simple, with straightforward composition and easy to remind and brutal guitar riffs. Just like the bands from Maniac Neil, Fornicator doesn’t focus on technique or intricate songwriting, but prefers to put its effort in an intense and well balanced death metal, with predictable but catchy hooks and headbanging inducing approach to drum sections. Vocal wise, good ol’ Rob sticks to a guttural growl that enhanches the sick and twisted porno concept of this demo, with his menacing and filthy throat bursts. I have also to say that the production is very good and, even if it’s a demo, this tape can display a great sounding bunch of songs that wouldn’t be out of place on a full length album or, maybe, on a collection vinyl (this is a wish, anyone out there?). I’ve preferred to keep the gem for the end, but you will find on this tape and AMAZING version of Running Wild classic tune Under Jolly Roger. When I’ve read the tracklist I was expecting a joking version but what I’ve got is a great sounding and really humble cover of one of my all time favorite classic metal tune. Surely pirates were fornicators, so I think the song can fit very well in the concept too! This tape is limited to 100 copies and comes with great silk screened tapes and a professionally printed, great looking, inlay full of infos."

Co-released by No Visible Scars and Vaginal Apocalypse Records.
Huge thanks to Bill from No Visible Scars for the tape!
By the way, it’s Xmas night here and I’ve thought that reviewing Fornicator’s demo was the best way to salute all these hypcorite values and fake smiles….

http://sorenauseaheadache.wordpress.com/

"Over the past few decades multiple studies have been written about the effect music can have on a person's mood. Songs can inspire a person to sing, dance, laugh, cry or share a tender moment with a loved one. While the soulful tunes of Barry White can lead to an evening of tenderness and romance, the hate fueled down tuned old school death grind of Portland's Fornicator lead to an evening of violent ass fucking, fish hooking, tit slapping, tea bagging and throat gagging brutality.

The band's sole studio effort, a self released full length album released in 2002 on Moribund Records, was one of the most punishingly violent albums ever recorded, featuring 28 tracks of violent down tuned destruction. With a thick meaty guitar tone with simple catchy riffs, skull thumping drum beats, inhumanly deep vocals, twisted artwork and lyrics that resemble the insane rantings of a deranged sex offender, the release quickly became one of my all-time favorite albums and one that has received countless plays on my stereo, much to the chagrin of my neighbors.

Fornicator formed in early 2000, and shortly thereafter the band recorded a 14 song demo on a 4 track in their rehearsal space. Inexplicably this early recording never saw the light of day, as only a small handful of people actually heard it and the material was never formally released... until now. A full decade after the demo was recorded NoVisible Scars Records has stepped up to give the material a formal release in the form of a traditional demo cassette, hand numbered and limited to 100 copies.

The material contained on Demo 2000 is exactly what you'd expect from a bunch of violent misogynistic scumbags; violent, angry and disturbing. The songs are short, violent, angry and unpolished. Best of all, the thirteen tracks that were later re-recorded for the full length contain new audio samples and there's the bonus of a previously unreleased track, a cover of Running Wild's “Under Jolly Roger” included on the release.

The song structures are virtually identical to the polished full length effort, there isn't a vast amount of difference between the two recordings stylistically, but there is a huge difference in terms of production. The studio material has a much thicker and meatier guitar tone and the vocals are much more clear, the rehearsal demo material is a lot more fuzzy and raw.

This demo was released strictly for diehard Fornicator fans and will definitely appeal to anyone who enjoyed their full length, or any of vocalist Rob's other bands, namely Murder Basket and Whore. While I did greatly enjoy this release it still pales in comparison to the crushing hate of the full length, but, then again, everything pales in comparison to the band's self-titled release. I'll still definitely listen to this demo long after this review is completed, it's definitely worth dusting off the old tape deck to give this one a listen, just don't listen to it while trying to have a romantic evening with your significant other because it will only lead to torn buttholes, asphyxiation and an appearance on America's Most Wanted. Rape up"

http://www.teufelstomb.com/

Night Bitch "Sex And Magic ep" c20

2010-09-16T17:51:00.039-04:00

NightBitch is the Connecticut based occult heavy metal band featuring Hour of 13 frontman Phil Swanson (vocals) and Hour of 13 live session members Ryan Adams (guitar), Chris Taylor (drums) and Mark Eles (bass). They are currently playing shows throughout the Northeast US with the likes of Pentagram, Midnight, Black Pyramid, Earthflight, Valkyrie... They will be appearing in Ireland in September and have shows booked throughout the remainder of 2010. NightBitch is made up of veteran CT musicians all with their own lengthy resumes. They have joined together in NightBitch to bring back melodic traditional heavy metal elements to the state of Connecticut in its purest form.

NightBitch website : http://www.myspace.com/sexandforce

Local article/interview:http://www.ctindie.com/2010/08/meet-nightbitch-bitches.html

NB song samples here:

http://www.myspace.com/novisiblescarslabel

http://nvslabel.blogspot.com/

Blood Moon live at The Pint (Dublin) during Dublin Doom Days warm-up on 17th September 2010

"This is occult Heavy Metal of the extreme old school, similar to other retro acts like Gates of Slumber or Upwards of Endtime. The recording is muffled and analog-sounding, the riffs are Sabbathy and pretty seriously awesome, and the lyrics are a wonderful stew of dark and mystical topics. Swanson's voice can sometimes be a sticking point for me, as his voice is particular and only works with certain kinds of music, but this is exactly the kind of stuff his voice is good for, and he only adds to the whole underground, occult vibe. Fans of old-fashioned underground Heavy Metal would do well to check this out"

Nightbitch - Sex and Magic

18 September2010

"Nightbitch is an occult inspired horror metal band with massive doom leanings whose inner circle consists of: Phil Swanson (Hour of 13) on vocals, Ryan Adams on guitar, Chris Taylor on drums, and Mark Eles on bass; who have all come together to bring back the classic metal sound in it’s purest form. Aside form this release tehse guys are touring with: Pentagram, Midnight, Black Pyramid, Earthflight, and Valkyrie to name a few, and I can almost guarantee that if you enjoy those bands then you will be converted over to the Nightbitch cult willingly"

Vestal Claret sold out "Lost Loved Ones EP" FREE DOWNLOAD!

2010-08-23T15:48:00.014-04:00

Download the sold out "Lost Loved Ones EP" plus bonus covers tracks

for free! Special permission granted by Phil Swanson(Vestal Claret) to circulate this EP once more, this time via a free download with the inclusion of unreleashed cover songs!

http://www.4shared.com/file/dtv75vyy/Vestal_Claret_Lost_Loved_Ones_.html

-Final farewell Vestal Claret recording.

-Features the vocals of Phil Swanson(Upwards of Endtime, Seamount, , Hour of 13, Briton Rites, NightBitch)

-Anti-Christian, Occult, Satanic heavy metal.

-This EP features the material which was planned for the split vinyl LP with Hour Of 13th. Re-mixed and mastered and pressed on c-52 red chrome 24Cr tapes.Exclusive to this free download are 3 covers songs from: Thelema, Skin Yard, and Lubricated Goat.

-Orignal tape release was October of 2009. Limited to 100 copies and packaged a Vestal Claret 1' pin and 4X4 patch

NightBitch "Sex And Magic" EP cassette coming in September through NoVisible Scars! Free promo download here:

http://www.4shared.com/file/6IXNj3DU/Night_Bitch-3_song_promo_5-5-2.html

(SOLD OUT)SCAR O12: Poison Tongue "Lick You Sweety" c-34 50 Copies

2010-08-11T05:24:00.023-04:00

Side project from Pink Sexdeath member: http://www.myspace.com/pinksexdeath

Sexual witching occult industrial! Inspired by Havohej, Von, Fulci and Giallo films. Musicially comes off as a mixture of Beherit's non-metal compositions, Atrax Morgue, Steel Hook Prosthesis and Goblin soundtracks! 50 dubbed cassettes. 7.25 x 7.25 artwork housed in a 7'ep sleeve. Black chrome cassettes with 4 different colored sticker facings. Hand numbered card also included.

$8(world wide).

***PLEASE EMAIL FIRST BEFORE SENDING PAYMENT!!!***

novisiblescars@gmail.com

Copies also can be purchased from:

Malignant Records

http://www.malignantrecords.com/

Hells Head Bangers

http://www.hellsheadbangers.com/

Crucial Blast

http://www.crucialblastshop.net/

Necrocosm

http://www.necrocosm.org/

Back Alley Bazaar

http://backalleybazaar.wordpress.com/

Anything that describes itself as being influenced by "bad weed, solitude, Von's demos and Goblin's soundtracks" is sure to be a hit around the C-Blast office. This new one-man band came into being with the intent to fuse together the most morbid side of death industrial with the filthiest of the early 90s black metal camp (Von, Profanatica, Beherit, Archgoat), which sounds like a match made in heaven where we're concerned; although the death industrial side of Poison Tongue is much more obvious than the black metal side (with much of this reminding us of Atrax Morgue), we still loved this tape, the first ever release from this side project from a member of the lust-driven power electronics gang Pink Sexdeath.
Actually, the black metal influences are pretty hard to miss, especially after listening to Lick You a second time. The tape opens with a booming kettledrum cadence that echoes across a smoldering field of staticky synth drones and looped demonic mutterings and vomitous croaks, this charred black ambience laced with strange chiming sounds, bursts of bass flutter echoing through the subterranean abyss, distant wailing choruses, and sheets of slowly shifting keyboard drone, but as distorted synthesizer chords pulse beneath the metallic drones, the drooling demonic vokills that start to emerge turn this into something like hearing a Slaughter Productions death industrial tape with Nuclear Holocausto from Beherit invoking sex demons over it. From here, it continues on through a miasma of grinding black sludge, harsh high end drones and orgasmic beast-grunts; towards the end of the second side, these massive spaced out eruptions of thunderous blastage and barely-there drift suddenly give way to a hammering percussive rhythm, while blackened shrieks soar over the nightmarish industrial pounding. When the last track arrives, the sound shifts into a swirling stygian ambience, shrill metallic keening and eerie minor key darkness pooling out within clouds of noxious black smoke, abrasive streaks of fx pedal afterburn, and mutated, murky pipe organ dirge.
We're advising those of you into anything from Mortuor to Sewer Goddess to Havohej to Prurient to check into this thoroughly unhealthy debut from Poison Tongue. Like the RU-487 tape on No Visible Scars, this black chrome cassette also comes in a 7" style sleeve, with some unwholesome full color cover art and a small hand-numbered insert card. Limited to fifty copies.

http://www.crucialblastshop.net/search.php?page=0&numOfResults=0

"Lethal and addicting!!!! Make no mistake, this is one seriously dense horror narrative told through a power electronics format and with the coldness of the electronic whirs and clanks cunningly maneuvering through the haze of rumble and hums of bass toned feedback, and no other medium could capture this accurate of a slasher or insanity scenario. As each track plays out like the soundtrack to a scene in a psychological thriller you get to thoroughly experience the graphic stalking events of the maniac and the adrenalizing suspense as you would in watching a classic thrasher filmor reading a really great book on weird murders. Artists like Poison Tongue have the natural ability to create the most intimate and graphicly horrifying experiences that only can be understood through the experience of listening. I have to admit that my mind mine is completely thirsty for this album and seems to get thirstier after each listen.
Tracks like "The Lizard Lord", "Diabolos", and "Lust" build up the suspense as you travel through the inner workings of a derranged sexual sadist, complete with inaudible human voices in the distance that are either a result of delusions or are a display of how muddled his reality is, as his only true reality is his quest for inflicting excrutiating pain on others. The tracks seem to lead up to "interlude", which is a throbbing bassline, pulsing, ordered chaos...i.e. the absolute climax to where the flesh is finally severed and the perps sense of sadistic thrill hits it's maximum. The album then comes to a perfect close with an almost warm buzz and hum of the dark ambient on "Ripping".
Not everyone has the capacity to sit and watch and read some of the stuff that is depicted through sound on here, but thankfully I CAN and gladly do. Influenced by the great Giallo films and following in the blood trail left by the dark and brilliant works of acts like: Atrax Morgue, Navicon Torture Technologies, Steel Hook Prosthesis, Rasthof Dachau, and similar artists, Poison Tongue will deliver the stark post-industrial soundscapes and a massive mind fuck with it while walking the fraying tightrope over purely apocalyptic audio.
Released on classic black chrome C-30 casettes by one of the most gripping and promising labels in extreme audio, No Visible Scars,and packaged in a 7' EP sleeve these sounds will rip through you like a nice butchers blade through soft and still warm flesh.
Avaliable for purchase through Malignant Records and Hells Headbangers webstores (just click on thei logos at the top of the page and it'll direct you to those sites)or email NVS directly at: novisiblescars@gmail.com and they'll get back to you asap." Janet(Defecation On The Divine Radio)
http://defecationonthedivineradio.blogspot.com/

"I don’t even know what to do with myself when I hear something this mind blowing, and I promise, there is no sarcasm here. I really, really love this cassette in so many ways. This is my first exposure to Poison Tongue which is a side project from one half of the noise group Pink Sexdeath. First off, the packaging is simple but also kind of awkward. Seven inch size artwork, which is cool but then the cassette is just thrown in the bag. Design looks great though and fits well with the sounds.

These tracks are like Mörder Machine for the 21st century. The compositional strategies aren’t too much different, repetitive low pounding, mangled and moaning vocals, synthesizer bass. There is a twisted ambience that also pervades each track that brings Lick You Sweety a step above most Mörder Machine knock-offs. The textures are metallic and shiny, tons of delay everywhere but tactfully employed and it never sounds generic.

Some of the effects here may sound a little digital but they have this saturation that works perfectly and the full range of frequency spectra is used effectively. The pacing is perfect and the tracks never feel too long or short. The general atmosphere reflects the cover – sickened death industrial and horror movie influence even as stated on the back cover: “Mixing my fave Giallo/Fulci soundtracks with ambient black metal, like Von, Havehej, Beherit mixed with Atrax Morgue, SHP, etc. etc. etc.”. This kind of undisclosed candidness is one that I really enjoy, and it strangely fits well with such an esoteric release.

I have to state once again, this release is just phenomenal. The production, the sound, the atmosphere, and add to these already solid aspects a hint of originality and pure depravity and this forms a perfect convergence. A must have for fans of Atrax Morgue, horror soundtracks, Mörder Machine, Brighter Death Now, or any of the classic death industrial giants. Get it quick cause this puppy is limited to a mere 50 copies!"
http://existest.org/ee_v3/

Lick You Sweety appears to feel comfortable dwelling in perversity. From the lewd cover art to the dark pools of rhythmic noise, Poison Tongue takes the listener on a dark path while varying the sound with blasts of noise, leaving the listener to lick their wounds.

“Diabolos” begins with an eerie, dark ambient drifter of a piece, with muffled bangs along with some synth-like tones that dwell throughout the song. At times deep spoken word will filter in, a fairly indecipherable poem that adds to the atmosphere without drowning out the tones. It’s a swift-moving piece for 8 minutes, and where at first the mood is somewhat bleak, Poison Tongue drops the bass and windy moans for a more upbeat ending. “Diabolos” is a suitable name, as the drones showcase a fairly bleak environment perfect for Hell.

The dark ambience of “Diabolos” continues with “Sweet Desire,” this time with a similar background drone but with a perversity missing on the opener. Full of buzzing electronic outbursts and cackling dark growls in the darkness of the noise, “Sweet Desire”‘s impact comes directly from its themes and the unsettling vocals, along with the chiming sound of a distorted clock ticking away the hours. This is an excellent track to follow up with, and again, the witchery of the sound draws the listener into the shadows.

“Lust” is a short but intense track to end side A of the tape, beginning with a lilting buzz, some foreshadowing blasts, and then a noisy blast of screamed vocals and harsh noise. It’s somewhat out of place after the longer, drifting ideas of the previous tracks, but this also seems the point – a surprise shock to the senses before the tape flips for three more disturbing cuts. ”The Lizard Lord,” while being the longest track on the album, maintains similar ideas but incorporates some of the harsher noises of “Lust,” like screamed vocals along with blasts of static and crunchy tone shifts. It’s not too much different from the textures of the first two tracks, but it does follow the motifsLick You Sweety carries.

“Interlude” seems to provide the same type of intercession as “Lust,” breaking up the drone of the album with a fast-paced, bassy and pounding rhythm that’s very similar to power electronics, with manipulated and distorted vocals on top. It does its job well, shifting out of the monotony of the other songs just long enough to jump back into the ambience with “Ripping.” Featuring whirring tones underneath some higher end feedback tones and a horror-soundtrack synth line, “Ripping” differs from the deep dark mood of the other tracks by providing a welcome change in pitch.

Lick You Sweety is mainly focused on the dark ambient genre, with repetitious but rhythmic drones mixed with elements of horror soundscapes. Some of the tracks seem rather similar, but Poison Tongue manages to infuse different types of noise in the tracks to foster a sense of individuality; however, tracks like “Lust” and “Interlude” manage to improve the release by giving listeners a chance to leave the meandering drones for quick blasts of harsher noise. If these cuts weren’t on the tape, Lick You Sweety could have gotten stale; fortunately, that’s not the case here, and the C34 doesn’t lose steam except for perhaps a few moments on “The Lizard Lord.”

http://memorywavetransmission.wordpress.com/

"I wasn't sure what to expect from this tape release. (The review copy I had was on a CDr.) I was sure this was some sort of goth/alternative rock type of thing, what with the rather cutesy title and everything. But this turned out to be another well-done dark-ambient piece.
The first track reminds me of "Bad Jack" by Intrinsic Action except spacier and with a nice synth drone at the end. By the second track the Intrinsic Action influence continues with some hint of Brighter Death Now. There is quite a bit of reverb and delay on the vocals.

Side two and the long piece "the Lizard Lord" (whatever they're talking about here) sounds a little messed up as though they hiked it up a bit in the red. No matter, there's quite a bit of interesting metallic clatter here, followed by a drum-machine interlude. The final track "Ripping" is almost uplifting in a very foreboding way.

Poison Tongue could very well fit in with much of Cold Meat Industry's material. It's definitely not bad for a debut (at least I think it's their first tape.) For all you gravediggers and crypt-kickers out there having an appropriately Black Christmas..."

Lawrence J. Patti

http://www.musiquemachine.com/reviews/reviews_template.php?id=2937

(SOLD OUT)SCAR OO3: RU-486 "Iron Empire" C-50 100 Copies

2010-07-07T20:39:00.033-04:00

Debut full length out now through NoVisible Scars. Iron Empire musically features various forms of raped and beaten scrap metal, junknoise, feedback manipulation, and analog synth. In the tradition of the 80's Broken Flag style,(old)Controlled Bleeding and Bizarre Uproar.

SCAR 003: c-52/100 Copies. $8.00(US). $10(ELSEWHERE) Price is postpaid. ***ACCEPTING PAYPAL, MONEY ORDERS AND OR CASH. CONTACT FOR ORDERING INFO AND AVAILABILITY*** novisiblescars@gmail.com

RU-486 package: 7.25 x 7.25 covers/insert housed in a 7'ep re-sealable bag. Hand numbered card. Mastered on pro manufactured and imprinted(chrome)black cassettes. Album repeats on both sides of the cassette.

***DO NOT PAYPAL ME TILL YOU MAKE CONTACT! I HAVE A SEPARATE EMAIL FOR PAYPAL WHICH WILL BE PROVIDED WHEN CONTACT IS MADE***

Samples:

http://www.myspace.com/ru486noise

http://www.myspace.com/novisiblescarslabel

Copies also can be purchased from:

MalignantRecords
http://www.malignantrecords.com/

RRR
http://www.rrrecords.com

Self Abuse
http://www.selfabuserecords.net/home.html

Hells Head Bangers
http://www.hellsheadbangers.com/

Crucial Blast
http://www.crucialblastshop.net/

Unrest Productions

http://www.unrestprod.com/

Necrocosm
http://www.necrocosm.org/

Freak Animal

http://www.cfprod.com/fa/index2.ph

Back Alley Bazaar

http://backalleybazaar.wordpress.com/

Taking its name from the controversial "morning after pill", RU-486 doesn't fuck around with a Pollyanna outlook. This is the second full length tape that we've picked up from this grim industrial noise outfit (the first being an entry in RRRecords's Recycled Music series), and it continues with more of the dystopian industrial dread and technological nightmare visions that we're coming to expect from 'em. The Iron Empire seems to be a reference to the pervasive steel-and-concrete hellscape that we find ourselves surrounded by on a daily basis, and the material on this tape travels through an assortment of infernal regions that descend deep into technological ruin. Starting with the first track, they unleash massive rumbling bass and huge low-end drones churn beneath sinister spoken word passages and swirling malevolent feedback, the synths scream out unholy choral roars, and the synthesizer drones get so distorted that they feel like crushing metallic guitars. That makes this really heavy, heavier than the previous material that we've heard from RU-486 for sure. The production is thick and murky, the sounds covered in grime and rust, and it's got this definite Cold Mean Industries vibe, except heavier than most of the death industrial you hear on that label.

After that creepy first track, this shifts into violent scrap-metal chaos and writhing low-end feedback squeal and screeching contorted metal, vicious Knurl-like spasms of metallic noise that clot into rapid machine garble, blasting at deafening volume levels like the sound of a city being ripped apart. It moves into vast walls of rumbling distortion and blizzard-blasts of mechanical motor grind, ultra-heavy synth drones surface out of the depths, and there are rare moments of spacious clatter where the cacophony of grinding metal and screaming feedback disappears suddenly and all that’s left are random clanking metal sounds or metallic rattling that last for a moment before being swept back in to the chaos.

It's seriously brutal bass-heavy power electronics/harsh industrial driven by demonic logic. The tape comes in a 7" sized sleeve with black and white inserts and is hand numbered out of one hundred copies.

http://www.crucialblastshop.net/search.php?page=0&numOfResults=0

"No Visible Scars label presents one more high quality release. This time it's a tape from the owner of Destructive Industries label Thomas Mortigan and his noise/power electronics project RU-486. If I'm not mistaken, it's the first full-length release in more than 5 years of activity. Until now RU-486 was specialising in short releases - several mCDrs and short 10-15 minutes tapes, but perhaps such short length is already not enough to express his thoughts. Iron Empire is one sided C-52 tape (the same material recorded on both sides of the tape). It starts from dark drone/industrial track "Cast Iron Effigies" in which Austin Cooley from Concrete Violin reads some weird poem of industrial apocalypse. The poem predicts the final collapse and perfectly defines conception of the whole album. I'm really glad that this text is included, it helps to get more into the mood for the tape. The cover, made by Mike Page, appropriately representing a dismal industrial vision should be mentioned too. Standard packaging for NVS - 7" vinyl envelope with covers and inlays, depicting huge massive metal constructions. Following the first darker track is absolute harsh noise madness. Filthy and intensive noise, feedbacks, loops of synth or noise generator, contact microphones etc. Noise that doesn't become calmer for a second. RU-486 isn't enjoying consonances for more than several seconds. Eternal motion, development, evolution - all that directed towards self-destruction, towards absolute iron empire - iron grave. Sound floating in the air is very soft, filthy and pleasant. Proper format + good mastering job + good record. That was absolutely superb for my ears. This album, in my opinion, is not well thought and weighed statement, but elemental expression and destruction. Harsh noise in all its beauty. In fact, before listening to this release, I thought I'd find more structure, hooks, vocals and so on and not plain harsh noise, but my oh my was I satisfied with this tape. One more release that's worth paying attention to in this endless sea of noisy information. Listen to this release!"

TeRRoR zine http://www.terror.lt

This one was a little tricky. Here we have a “C52″ but it’s the same material on both sides so don’t think you’re getting that much bang for your buck. That’s ok though because this is some effective and dynamic thrashy harsh junk noise that hits hard right in all the soft spots. The packaging is a little awkward with 7″ artwork which is rad, but a tape just thrown in the bag.

The opener “Cast Iron Effigies” is also a little deceiving with it’s dark drone and great spoken word samples. The dialogue is deep and subtle, the drone detailed and ominous. Almost reminds me a William Burroughs reading – it might very well be, I don’t know. But don’t be fooled by the atmospherics in this opener because the rest of the tape is harsh and raw.

Loud, choppy, chunky, and monolithic is the noise on Iron Empire. The subtle atmospheres don’t make a return. I have to file this more under the harsh junk noise side of things than anything power electronics or death industrial. It’s almost like a simpler, rawer Paranoid Time which is not at all a negative thing.

Not what I was expecting, but definitely a great fix of harsh industrial junk noise right when I need. Hell, I don’t even mind flipping the tape and listening to it twice in a row. The first track is the only really memorable thing on here but the rest of the tape makes repeated listening quite enjoyable.

http://existest.org/ee_v3/

RU-486 is the nasty solo power electronics project of American Thomas Mortigan, known also for his collaborative work as a member of Richard Ramirez's project Black Leather Jesus. Up until Iron Empire, RU-486 has released only c-10s and split releases, but this release is a long overdue development for the project. Clocking in at a brisk 25 minutes of material (taking up one side of a c-50, dubbed on both sides), this tape marks the longest and most developed take on RU-486's sound, and boasts an impressive conceptual grounding in the collapsing totalitarianism of industry in America.

The tape features a lengthy, bass-heavy intro track featuring spoken word delivered by Austin Cooley of Texas harsh noise project Concrete Violin. This soon gives way to four other nasty tracks of absolutely brutal scrap metal abuse, which, as chaotic as it could have been, sounds carefully composed and deliberate. That's one of Mortigan's strong suits, the perfection that he strives for in his composition that enables him to make something so unrestrained and nasty sound carefully controlled and composed.

The packaging on this release, done by up-and-coming label No Visible Scars, maintains the awesome standard set by other releases on the label, such as the work done on the latest Subklinik and Profanatica tapes. Iron Empire is no exception, featuring a tape packaged in a 7” vinyl sleeve with 7”-sized cardstock inserts with release info and album art. The art itself is effective in evocatively conveying the feeling of dominance by faceless, dehumanized industrialism and makes for a bleak, yet highly engrossing, listening experience. One can only hope for more output of this caliber from a project who appears to be coming into his own.

Aaron Vilk for Special Interest magaine #4

RU-486 is a power electronics project from Thomas Mortigan, part of the collaborative project Black Leather Jesus. So while Iron Empire is the first full-length release from RU-486, Mortigan is no newcomer to the field. For this release on No Visible Scars, the album cover is a black-and-white picture of a metallic industrial machine, perfect for the angry power electronics featured here.

“Cast Iron Effigies” starts out with a distant screeching wave along with a pulsing drone underneath, and the tone never really changes from there. It’s got a really great texture, and that pulse underneath sets the mood of a very tense track, brimming with a cold and clinical atmosphere. At times, a deep, somnolent voice speaks dark poetry as the noise continues, although it’s difficult to decipher phrases as the words are somewhat muffled. Towards the end of the track, the howl cuts out, leaving only the drone and the voice, which fades out with an ominous “Thy kingdom is grave.”

“Watchtower Troops” delves into harsher territory with a high-pitched squeal of feedback and then some choppy, frayed noodling of electronics. Again, RU-486 shows great adherence to texture and sound and the finale of the track throws in some squalls of static coupled with some shredded feedback to torture the ears with industrial waste. This effectively transitions to “Slaves Sold as Scrap (Industrial Slavery Pt. 1),” which carries a similar chopped and mangled feel with higher feedback which alternates into a bassy buzz, until a flurry of fast-paced contractions kick in halfway through the track.

“Conveyor of Broken Dreams” hits with a fuzzy, warped drone of noise and static, whirring along on the conveyor belt of the title. The setup of this track is very similar to that of a really jumpy harsh noise wall track, building up those layers of static only to shift them into new textures. Some of the fuzz is really crushing in its weight, and with “Conveyor” being the longest track on the album, RU-486 washes away the world with some industrial chaos.

And then “Amidst Ascending Cranes” brings the high-end violence which has been hinted at throughout the release, a mix of higher sustained feedback and low rumbles that crumble together. It’s nice to hear a variability here, and the shrieks of electronics drive that industrial-tinged theme home while also providing a destructive soundtrack of scrap metal.

Iron Empire is 25 minutes in five shorter tracks, hitting highs, lows, and the middle ground in between with walls, drones, and even spoken word on the first track. Though I’d say Ru-486 plays it somewhat safe on this release, never really leaving the area of standard harsh noise and PE, Iron Empire is a good amalgamation of these genres.

http://memorywavetransmission.wordpress.com/

(SOLD OUT)SCAR O10: -Profanatica "The Years Of Pestilence" C-60 100 Copies

2010-05-25T00:18:00.014-04:00

-The Years Of Pestilence 7' release is a previously unheard rehearsal from the band's early days and officially licensed with permission from Paul Ledney. It is limited to 313 hand-numbered copies with blank labels and inserts. 50 copies come with a pin and 2 gig flyers

-This is an unreleased compilation of reh/live tracks from 90/91. The tape version of the recent sold out 7’ of the same name plus extra tracks that didn't make it on the ep. 100 copies manufactured on black chrome tapes with dark red ink lettering in addition to a special insert of Profanatica "cum rags". The songs themselves while being cleaned up a bit and edited for this release are un-mastered to retain the raw and authentic sound of the particular time period in which they were recorded at.

-Price: $10(US/CANADA/MEXICO) $12(Rest Of World). Price is postpaid.
***ACCEPTING PAYPAL, MONEY ORDERS AND OR CASH. CONTACT FOR ORDERING INFO AND AVAILABILITY*** novisiblescars@gmail.com

Copies can also be purchased from:

Hells Head Bangers:
http://www.hellsheadbangers.com

Crush Until Madness:

http://www.crushuntilmadness.com/

"Profanatica may just go down in history as one of the most infamous bands in black metal. Its members may not have killed anybody or may not have killed themselves in some accidental ‘ritual’, but if you Google one of the scarce interviews floating in the interhole you may find one of the most candid photos in black metal history. Dudes are not only covered in blood (nothing out of the ordinary for black metal), but are also out in their birthday suits with their wieners hanging out for more comfortable ventilation. Who can blame them? It must have been hot as fuck.

The Years of Pestilence is a five-song compilation of unreleased rehearsals and live material from the early days of the band. The cassette version is out through No Visible Scars and it includes plenty of bonus tracks. It is limited to 100 copies and comes with a black ‘cum rag’ to avoid all sorts of sticky situation. Fanatics of this American institution may find that rather useful. They literally get a boner every time something by Profanatica gets released so getting a hold of The Years of Pestilencemay have been cause for ejaculation, in which case, the cum rag comes really handy.

The audio quality varies greatly. As it is stated by the label, the audio has been cleaned up ‘a bit’ but not enough as to erase all traces of crudity. Trying to get past the mud and the static that seems to permeate every second of this recording, what we have is ultra primitive black metal the way it was done back in 90/91. Not many black metal bands sound like this today. Oblique riffs that evade melody with the skills of a criminal and that accelerate to substandard speeds for today’s standard velocity, varying tempos shifting awkwardly, sloppy and steady drumming and necrotic vocals dominating blasphemy which when not spewing hate totally going‘aaarrgghh’.

The Years of Pestilence is far from essential listening. However for the USBM enthusiast, a tape like this is an absolute must. If not for the muddy sounds, at least for the very handy cum rag."
http://www.deafsparrow.com/profanatica-tape-2010-review.htm

"Along with “Disgusting Blasphemies Against God”, the awesome cassette label No Visible Scars also just put out “The Years of Pestilence”, a previously unreleased compilation of rehearsals and live tracks form 90/91 which are un-fucked with to maintain the original sound of that era, I’d like to say virgin form as they are un-remastered and just moderately edited, but Profanatica has nothing virgin or clean about them. The ultimate in depravity, perversion, blasphemy, and brutal low-end heaviness has arrived!!!!! Listen and prepare to have your brain warped by this band like a mature case of Syphilis would."

Janet(Metal Maniacs On-Line).
Read the complete review of Profanatica's“Disgusting Blasphemies Against God” here: http://www.metalmaniacs.com/2010/profanatica-–-disgusting-blasphemies-against-god-hells-headbangers-2010/

Night Bitch-3 song promo 5-5-10

2010-05-05T05:15:00.007-04:00

CT sleaze rock from members of Ipsissimus and Hour Of 13

http://www.4shared.com/file/6IXNj3DU/Night_Bitch-3_song_promo_5-5-2.html

A taste of whats to come from the forthcoming 5 track debut demo on NVS. Coming soon! 100 pro done copies with a limited run of 36 copies leather bound.

(SOLD OUT)SCAR OO9: -Namazu Dantai "Nocturnal Veils" C-30 50 Copies

2010-03-18T18:14:00.029-04:00

-Brand new recording done in Oct 2009. 4th release overall from this project. Namazu Dantai along with Izanami's Labour Pain, and Mazakon Tactics are all works of German creator Sascha Mendler, who's harsh noise focuses on topics related to Japan, Japanese culture, history or mythology.

-2 long maximum harsh noise tracks ala Richard Ramirez, The Rita, Macronympha, The Cherry Point, Sewer Election. Pummeling yet amazingly hypnotic.

-Price: $6(US/CANADA/MEXICO) $8(Rest Of World). Price is postpaid.

***ACCEPTING PAYPAL, MONEY ORDERS AND OR CASH. CONTACT FOR ORDERING INFO AND AVAILABILITY*** novisiblescars@gmail.com

Copies can also be purchased from:

Malignant Records

http://www.malignantrecords.com/

RRR

http://www.rrrecords.com

Self Abuse
http://www.selfabuserecords.net/home.html

Back Alley Bazaar
http://backalleybazaar.wordpress.com/

Discorgaphy: http://www.discogs.com/artist/Namazu+Dantai

Namazu Dantai Myspace: http://www.myspace.com/namazudantai

"The “Nocturnal Veils” title may suggest lulling and grim ambient expanses, but there’s nothing darkly soothing or grimly subtle about this C30 tape- instead it ties you down & then gives you a detailed/thick noise battering. On offer here are two sides of raging and shifting Harsh noise with some very wallish like dwells taking over large sways of each side long track.Namazu Dantai is a Berlin based Harsh Noise and walled noise project that’s all the work of one Sascha Mandler whose other projects include the jarring harsh noise meets Japanese folklore themed sonic’s of Izanami's Labour Pains and Death Industrial/ Power Electronics of Mazakon Tactics.Both tracks here are made using a mixture of violin, cither and electronics which creates the detailed, shifting, rip ‘n’ roar sonic storms that Mandler lets loose with-in these two sides of tape. Side ones untitled track seems the most twisting, turning and shifting of the two sides here with Mandler mixing together: juddering 'n’ thick harmonic textures that may once have been violin or cither, bucking road drill like throbs, deep roaring engine like dwells, squalling & melted electronics locked inside cavernous judders, and caught ethnic like percussive drips mixed with junk metal like rips and hammers. Side two seem to concentrate more of roaring, crashing, tearing and thick sonic bombardments, and it gives you the feeling that Mandler has managed to harness the sound of ten or twenty thunder storms to play the track. This side is certainly the more set and wallish of the two tracks, through I’d still say this is deep ‘n’ thick psychedelic harsh noise with lengthy wallish dwells. Of the two sides I’d say the first is my favourite as Mandler pulls you through so much dramatic and crushing harsh noise matter. Side twos track is fine, but I don’t’ think it really stands as one of his best tracks because at times it almost feels like he’s treading sonic water and re-using similar noise storm & wall texturing tricks he’s used in the past. It’s hardly a bad track, I just expect a bit more from Mandler. So on the whole another good and brain melting release from this project that sits somewhere between Harsh noise & HNW." http://www.musiquemachine.com/reviews/reviews_template.php?id=2731

"Another brilliant addition to the world of Power Electronics, this is some uneasy listening, apocalyptic and esoteric as well, but amidst the turmoil also comes some deserted and unperturbed textures of a cratered and barren surface completely deviod of life aside from your own. The feel of a storm, complete with thunder and the pandemic of the down pour of rain told through audio. The use of tape loops and real hands on recording and production is present here, not to mention a completely intense and equally distinct atmosphere. There are many layers to this abyss of electronic sounds, each one delicately planned and placed, with surgeons precision in each cut made into the compositions, each type of instrument/effect/sample specially located to create the right incision into the conscious and subconscious reality of the listener. This is the type of stuff that doesn't need, but could very well contain hidden messages to warp your mind and slowly turn you into a true psychotic. A subliminal, explicit, and well crafted audio journey into the darkest cavities of your mind and soul, the genuine experience of meeting your evil side and facing it, but ultimately losing to it as you begin to slice through your skin with the blade-like object closest in reach. The authentic feel of losing yourself into a schizophrenic mind set where senses and perceptions are confused, some completely lost, as you dangle over the edge of sanity and want to let go and plummet, but can't yet. I really respect artists like this one, whose name I will leave out for a sense of anonymity, who are true to what they believe and speak. No hypocrisy here, no elitist shit, no bullshit, just honest Fuck you, humankind is worthless overall. I'm becoming more and more pissed off at labels and crap, NVS and anything supported on this site is against bullshit, the real DIY and independent spirit lives on!!!!!!!" (Janet from Defecation On the Divine radio) http://defecationonthedivineradio.blogspot.com/

"Namazu Dantai is a harsh noise wall project from Germany. The person behind it, Sascha Mandler, is also responsible for a couple more harsh noise/power electronics projects - Izanami's Labour Pains and Mazakon Tactics. From what I've seen and heard, it seems that he is one of those persons that you don't hear about everywhere, he is not constantly praised with every release, he's not hated for some reasons in the scene, he just creates noise according to his own vision and that's his strength, I'd say. His creations are associated with Japanese culture and mythology. You can see this if not directly in sound, but in artworks, song titles and so on. This cassette is my first acquaintance of Namazu Dantai. This project is not an exception in HNW scene and its' releases are thrown out only in very limited editions. This cassette is packed in typical (I think I could say that because it's the third release from NVS label where form of packaging is the same) for this label 7" plastic envelope with two sheets of thicker paper and couple of inserts. The cover itself radiates calmness of the night - meditating old man with beard is portrayed on it. Nice. But up till now I'm not sure whether I see solid bonds between sound and visual. But let it be. Material was recorded in October 2009. Violin, cither and electronics were used. Result is a powerful Ramirezque charge of noise when sonic wall does not isolate you in absolute static, but forces you to listen to the sounds with all your ears because constant movement, wars of microworlds are happening in between weaved noise layers and these important accents shows up in hardly audible changes in sound. Both sides of cassette has one long track each. In my opinion, the real nocturnal veil (veils not walls according to Namazu Dantai) is shown on the first side of the cassette - somewhat mystified, fearful vision of the unknown in the world. One massive layer of low sound covers the others like the curtain of the night. That way, impression of static is formed, but if you look deeper, it's not so. Here and there, especially when the track goes towards the end, you can hear clearer episodes of the track. The end of this side is weird. Wall of sound ends, then several seconds of silence and then several more seconds of noise on the right side. That's a nice one for the end. But as for me, I found the second part to be more interesting. If the first side was more meditative, the second one is more open and more aggressive. After some several seconds of rumble in the beginning, it seems that the sound explodes. When it goes from lower to middle frequencies, I get impression of openness and this side suits more for destruction and not for calm listening. Sonic elements are lighter, energizing and not pressing under the massive sound. This track is shorter too than the first one. All in all it is a good release. It should be interesting for HNW fans. Of course, you'll find no surprises in here apart from weird ending of the first side, but who wants to go looking for surprises in HNW? This record suits to enjoy the calmness and existence on this side of veil of darkness. Sometimes it's good not to know what's behind it. It's calmer that way". http://www.terror.lt/index.php

"As snow adds in the wake of the corn and soybean fields, their ruts become highlighted. These troughs seem deeper once accentuated at the base in white, with peaks of dark frozen mud waving into the next length of frost. Line after line they fool and mesmerize the eye. At once these fields are expansive, broad and encapsulating but then, simultaneously microscopic, effete and demure. The ratios flip flop back and forth. Looking at the whole begs for the detail. A single plough mark forces the entirety of the field.
Namazu Dantai (Sascha Mandler) bludgeons violin, cither and electronics with a similar finesse. Powering through this live recording is a tumult of noise, which too is impenetrable and effervescent. The two sidelong pieces are as full of death as they are life: heavy as they are weightless. Played at a high volume, the contents are crushing: void. Roll the volume down and the sounds are continuous confirmation: validation.
(This cassette is packaged in a 7” sleeve with one of the illest covers I’ve seen in a while. If I were in high school or had a locker somewhere I would totally hang this in there so that which ever one of the boring kids were my neighbors would have to look at it often and wonder about me when they can’t sleep.)10/10" John Collins McCormick http://www.foxydigitalis.com/foxyd/?p=4786