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



-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

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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


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Hells Head Bangers:



"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/




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Night Bitch-3 song promo 5-5-10


CT sleaze rock from members of Ipsissimus and Hour Of 13


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.

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


-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

RRR


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


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(SOLD OUT)SCAR OO8: -Subklinik "Musik For Dekomposition" C-30 100 Copies



-Never before released full length recording.
-Mastered and pressed on c-30 black chrome 24Cr tapes. First 50 copies come with exclusive acetate cover design(see last picture) and 11x17 poster of front cover artwork.
-Inspired by: Reality. Death, darkness, isolationism, sickness, perversion, cold. Atrax Morgue, MB, Korpse Korpses Katatonik, Mauthausen Orchestra, Brighter Death Now.
-Available: 80/100 copies.
-Price: $8(US/CANADA/MEXICO) $10(Rest Of World). $1 more for Paypal. Price is postpaid.

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


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SUBKLINIK continues to create some of the darkest death-industrial / necro-soundscapes in existence. SUBKLINIK has released many substantial recordings throughout the years that are either sold out or extremely hard to find. Electronic terror from the darkest depths of the mind. There is NOTHING beyond death...


RELEASES:

PT.I:PT.II - 7" - Waggletone Records

Unearthly Graves - MC ltd to 30 copies - Hour Of 13 Productions

Unearthly Graves - T-shirt - 12 white - Hour Of 13 Productions

Feasting On Souls - 2xMC ltd. to 100 first 30 w/ medical instrument - Slaughter Productions

Cremator - CD - Slaughter Productions

Dawn Of Desekration - CD - Live Bait Recording Foundation

Abominari w/ BAAL / DEISON / SUBKLINIK - AVA-ES1

Insights of the Profane - comp CD - MaKahru Dist.

Tabula Rasa - comp CD - Tabula Rasa

Premonitions Of Death - CD - Slaughter Productions

Death Invokation (Ritual Pt.II) - CD ltd to 20 copies in slipcase - AssertiveAktionUSA

Cremated Graves - CD - ltd to 100 copies - Katatonik Produkt

Musik For Dekomposition - T-shirts - 12 black / 12 white - Katatonik Produkt

Rare Remains - CD - ltd to 20 copies - Katatonik Produkt

UPCOMING RELEASES:

Morgue - T-Shirt - Katatonik Produkt

Musik For Dekomposition - CD - ltd to 50 copies - Katatonik Produkt

Musik For Dekomposition - CD - Overseas issue by Fall Of Nature

Unearthly Graves - CD - Reissue ltd to 50 copies - Katatonik Produkt

Black Kommunion - CD - tracks from The Abominari comp ltd to 50 copies - Katatonik Produkt

Korpororz:Induztrial - CD - New recordings showing a progression/regression of the SUBKLINIK sound into a more minimalistic and organic source. Still very much SUBKLINIK! Out in March 2010 on Katatonik Produkt.





"Never before released full length recording from Subklink, who create some of darkest, most morbid death industrial/necro-soundscapes in existence, as inspired by reality, death, darkness, isolationism, sickness, perversion, cold, Atrax Morgue, MB, Korpse Korpses Katatonik, Mauthausen Orchestra, Brighter Death Now. Lo-fi, unsettling, and ultra grim, this immediately takes me back to the early-mid' 90s and the heyday of the Slaughter cassette scene" JASON(MALIGNANT RECORDS)


"Browsing the forum boards a couple of weeks ago and found the cassette "Musik For Dekomposition" being advertised. Troniks / I Heart Noise forum board thingy. Something struck a chord in the sub conscious and I put pen to paypal and ordered a copy. It was whilst going through some LP's a couple of days back that I realised that I had a Subklinik track on the "Natural Order" compilation set thatStateArt put out in 1997. (White Box copy). Damn good track too - so that information must have been sat there in the dark recesses of....for 13 years and the name pops up again.
Research time. Subklinik is the project name of Chad Davis (what is Chad short for)? from Mass. USA. The cassette (a one-sided C30) comes packaged in a 7" single sleeve with a transparent cover. Reminded here of the Controlled Bleeding cassette "Distress Signals" that Broken Flag put out in the mid 1980's. Infact the whole package has a sense of mid 1980's. Style and content. All "C"'s are replaced with "K"'s : "Extraktion Procedure" + "Final Dekomposition" as exhibit A + B. Back in the mid 1980's I flirted with a couple of solo projects / releases as A:A:K + The Streetcleaner. "D.M.P.K. - Dead Meat Packaging Korps" being an album title of The Streetcleaner with "Konvulse Kontrol" + "Produktion" being a couple of tracks. It was a sign of the times. S.P.K. and Nekrophile being shining lights to us all back then. Even Michael DeWitt gets a "thanks" in the credits on this release.
It is good stuff. It is damn good stuff. All the sounds, the dark swirling electronic sounds come from 20+ year old machines. It created a fog whilst I was listening to it and it all ended too soon. Apart from a couple of Zero Kama reissues I have nought from theNekrophile catalogue anymore, this is a great reminder of those days. (1985/6). Strangely European for an American - file alongside Praying For Oblivion"



"Small No Visible Scars label have thrown out some good releases now and then and I've been pleasantly surprised with every one of those I've had a chance to hear. After listening to this tape it seems that it's time to quit being surprised and take the quality of the releases as a fact. No Visible Scars would surprise me if it'd release something awful (I hope that won't happen). I've heard just the title of this project until this cassette. Musik for Dekomposition is the tenth release of Subklinik in 15 years of activity. Initiator of this project, Chad Davis, is more or less active for 20 years not only in industrial, but also in black metal scene. All in all I count 16 projects that were or are still active. Truth to say I was a little sceptical about this release until the very first seconds of it took me by storm. In latter years I had an impression that if the release is described as inspired by/dedicated to Marco Corbelli (this does not go for this album. Between the inspirations of this album are: Reality. Death, darkness, isolationism, sickness, perversion, cold. Atrax Morgue, MB, Korpses Katatonik, Mauthausen Orchestra, Brighter Death Now etc.), most of the time you get some cheap waste. At the moment I remember at least 3 cases when under "dedicated to/inspired by Atrax Morgue" I found weak and non qualitative, boring minimalistic tones of cheap digital synths where their puniness, lack of motivation, idea and atmosphere or simply ignorance of the creator was tried to be covered with a famous name. Atrax Morgue was torment and lust for death and you could feel that with every cell in your body in some of his releases while the horde of his so called "followers" has nothing to offer, but a rare decent record. In the case of this album, I think that it's not a coincidence that the very first release of Subklinik was released via Slaughter productions. Since the very first seconds of the record the listener swallows a dark, devouring from inside worm and you can feel how it's eating you. Filthy sound of modular synth in this cassette sounds as it would've been recorded a couple decades ago. The first three tracks in the album are touched by some ritualistic mood when fragments of distant voice under effects sounds above disillusioned tones of synth. :Dekomposition I: is one of the most dismal tracks in this tape. Fragments of voice drowned in slow synth pulsations and periodical short bursts of noisier tone. Uneasy atmosphere drawing you in and drowning in poisonous juices of this album. The second track is different - almost rhythmical, not that oppressive as the first one, but it does not let go the mood of weird analog ritual. There are less vocals or at least it seems that way in the third one. This track once more overlies you with its full power and plunge you into stuffy modular minimalism. Vortices of absolute monotony, bleakness and minimalism goes in the next two tracks. It seems as it would be the other part of the album. A little different, a little lighter in places, but in places beating you with slow lines of sounds. It seems that they are coming from somewhere There, from darkness of the past, bringing fragments of death and leisurely implanting them under your skin so that you could feel the end of yourself everywhere you go. :Final Dekomposition: finishes this tape. Very uncomfortable atmosphere is created in those despairing loops and modest development. All this tape, that plays for half an hour is one long leaden nightmare. You don't want it to end. You're afraid of something Unknown, Unseen, Untouchable. But most of all you wish to wait and listen to these sounds more and more even if understanding that the acquaintance with Unknown might be disastrous. Or maybe it's better than reality you know? I liked this one. Forceful and strong work of Subklinik." (TeRRoR zine)


"It looks like Subklinik’s Chad Davis from Massachusetts has had a busy time since recording this charming suite two winters’ ago, apparently inspired by “death, darkness, isolationism, sickness, perversion, [and] cold…”. In the meantime he has also managed to record a second album under the name Mortuor - his ‘power electronics’ guise, a debut album as Anu – his black metal mode, while playing keyboards for space rockers, US Christmas, and joining forces with vocalist Phil Swanson as Hour of 13, a doom metal project. So seemingly led by the more darkly dramatic of genres, Subklinik is perhaps his most prolific pseudonym, reserved for investigations into early industrial sounds.
Musik for Dekomposition has six such ‘movements’ across half an hour, each employing modular analog synthesisers to create very similar combinations that, once established early on, are left to permeate a bleak and barren atmosphere with minimal modulation. The cassette opens to a machinic throb whose fast spin cycle is interrupted regularly by a crushed, distorted stab that keeps time as an abrasive wind rises and falls. Similar monotonous layers form the basis of all tracks, recalling the limited palette that underscored TG’s early work.

Points of difference can be found, though: the first three tracks have a subtly submerged baritone vocal intoning undecipherable syllables, giving them a foreboding sense of arcane ritual as the layers swim around gradually strengthening across the length of each track. But perhaps the greatest contrast between them are the tempos imposed by the grey synth pulses, from the slow and brooding opener, followed by the more complex rhythms of ‘Flash Dekomposition’, to the bludgeoning, car alarm-paced march of ‘Dekomposition III’, which, bereft of any other ingredients, is surely the most primitive piece of the set.

Consequently, ‘Musik for Dekomposition’ is largely an uneventful and unobtrusive work that acts like ambient music was originally conceived to – casting a mood on the environment without being too prominent in itself. And the mood conveyed strongly here feels dryer than decomposition, more suggestive of a cold, lifeless landscape rendered uninhabitable by all but machines whose carbon-based creators have long since decomposed. Although long since sold out on cassette, Musik for Dekomposition has recently been re-released on CD by Australia’s Fall of Nature Records ensuring its decaying disposition lives on."



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