Scar 030: Nightbitch-Particular Worship cassingle 2013



NVS "cassette single" series: 

Nightbitch are back and with the sensual menace that is Chris Taylor(drummer) on vocals, spreading its Hell-ordained gospel of tradish heavy fucking metal, riffs and sleaze with a sensual, occult bent. Nightbitch worship at the throne of Deep Purple, Black Sabbath, Judas Priest, Danzig, Led Zeppelin, Sir Lord Baltimore, Phantom's Divine Comedy, Whitesnake, Rainbow, W.A.S.P, and Motley Crue, Ozzy Osbourne.

Nightbitch- "Partculiar Worship"single
Listen/order: http://novisiblescars.bandcamp.com/album/peculiar-worship

1 brand new track plus a Black Hole(Ita) cover!! 

150 copies. Yellow tapes with red ink housed in clear cassette box with white 
backing. 






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Scar 027: Slumber Room-Slumber Room Ep 2012 cassette


Slumber Room-self titled cassette ep.


A new project from M. Krutsinger(ex-IN MEMORIUM) & M. Nihilist(ex-IN MEMORIUM, LORD GORE, ABAZAGORATH). Minimal industrial black metal. The project draws influence/comparisons to Burzum's "Filosofem" , Mysticum, and a bit of Type O Negatives "Slow Deep And Hard". Late Dec/early Jan release. 100 copies. Clear cassette with silver ink housed in clear cassette case. 

Listen/order:http://novisiblescars.bandcamp.com/album/slumber-room-ep

SLUMBER ROOM - Under The Dying Moon video:











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Scar 026: Ninika-Ninika Ep 2012 cassette







Stream/purcahse:

Direct orders/info: novisiblescars(at)gmail(dot)com

Khanate/Gnaw/Grave In The Sky industrial sludge and power electronics with deranged personal/love/sex lyrics. Featuring Paul Von Aphid(PINK SEX DEATH, POISON TONGUE, DEGENERATE SLUG) along with (Moz and Dee) from the dark noise kraut duo TEETH ENGRAVED WITH THE NAMES OF THE DEAD.


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SCAR 017 Vestal Claret/Ungod-Split cassette 2012






EVIL COMES TO YOU 2 WAYS! 

4 brand new tracks from each band. Vestal Claret's occult take on NWOBHM vs. Ungod's raw/unholy conviction to black metal ala Venom, Celtic Frost, Bathory, and Mercyful Fate. 

Professionally manufactured white chrome cassettes with brown ink in oversized case with double sided full color cover. 


Stream/purcahse:
http://novisiblescars.bandcamp.com/album/vestal-claret-ungod-split-2012

Purchase also from: 
http://novisiblescars.bigcartel.com/

Direct orders/info: novisiblescars(at)gmail(dot)com



VESTAL CLARET 

Members:
Philip Swanson - Voice 
Simon Tuozzoli - Guitars 
Michael Petrucci - Drums 

Hometown: Hamden, CT 

Anti-Christian, Occult, Satanic heavy metal/hard rock 

Vestal Claret was created in 2005 by Phil Swanson(Briton Rites, Hour of 13, Seamount, ex-Earthlord, ex-Upwards of Endtime, ex-Lepus, ex-Atlantean Kodex, ex-Nightbitch) with Simon Tuozzoli as an idea for an occult heavy metal / death rock project. Simon was running the studio Phil was recording at and asked if he would take part in the Vestal Claret recordings. "Blood Oath" and "The Templars Idol" were the first tracks spawned from this meeting. Jim Quinn originally of Upwards of Endtime sessioned on these recordings before Michael Petrucci joined the ranks full time. 




UNGOD

Members: 
Tairach-Vocals
Schiekron-Bass
Cryptic Tormentor-Guitars
Iron Incubus-Guitars
Condemptor- Drums 

Hometown: Gochsheim, Bavaria. Germany 

Black metal. 

Formed in Winter 1991 with the intention to bring back the old metal spirit that was lost through the years by stupid Trends and Crossovermentality. Early influences ranged from old Black Metal like Venom,Bathory,Sodom,Sarcofago,Destruction and the likes to (back then actual)Underground bands like 
Samael,Necromantia,Blasphemy,Rotting Christ etc.





"This  is  a  review  of  a  split  cassette  between  Connecticut's  Vestal  Claret  and  Germany's  Ungod  which  was  released  by  No  Visible  Scars  in  2012  and  we  will  start  off  the  review  with  Vestal  Claret  a  band  that  plays  occult  rock  mixed  in  with  traditional  and  doom  metal  influences.

  Drums  range  from  slow  to  mid  paced  drumming  with  not  much  in  the  way  of  fast  playing  or  blast  beats,  while  the  bass  playing  has  a  very  strong  and  powerful  tone  with  heavy  doom  metal  riffing  that  dominates  throughout  their  side  of  the  recording.

  Rhythm  guitars  range  from  slow  to  mid  paced  70's  occult  rock  style  riffs  that  add  in  influences  from  doom  and  traditional  metal  as  well  as  some  dark  sounding  melodies  being  thrown  into  the  riffing,  while  the  lead  guitars  are  very  70's  sounding  classic  rock/metal  guitar  solos  and  leads,  as  for  the  acoustic  guitars  which  are  only  utilized  briefly  they  use  full chords  to  give  the  music  a  more dark  and  evil  sound.

  Vocals  are  all  clean  singing  vocals  that  mix  traditional  doom  with  classic  rock  as  well  as  a  brief  use  of  spoken  word  parts,  while  the  lyrics  cover  Satanism,  Occultism,  Dark  and  Anti  Christian  themes,  as  for  the  production  it  has  a  very  strong,  powerful,  heavy  and  retro  sound  where  you  can  hear  all  of  the  musical  instruments  that  are present  on  this  recording.

  In  my  opinion  while  Vestal  Claret  is  not  the  material  that  ever  gets  reviewed  in  this  zine,  I  still  think  they  are  a  decent  sounding  occult  rock/metal  band  that  would  appeal  to  fans  of  this  genre.  RECOMMENDED  TRACKS  INCLUDE  "The  Cult  Of  Vestal  Claret"  and  "Three  And  Three  Are  Six".  RECOMMENDED. 

  Next  up  is  Ungod  are  a b and  that  has  been  interviewed  before  by  this  zine  with  a  musical  style  that  I  would  describe  as  being  raw  and  primitive  sounding  occult  black  metal.

  Drums  range  from  slow,  mid  paced  to  fast  drumming  with  a  good  amount  of  blast  beats  being  thrown  into  the  music,  while  the  bass  playing  has  a  very  dark  tone  with  riffs  that  follow  the  riffing that  is  coming  out  of  the  guitars  and  at  times  they  have  a  very  powerful  sound  to  them.

  Rhythm  guitars  range  from  slow,  mid  paced  to  fast  black  metal  riffs  that  are  very  dark,  raw,  and primitive  sounding  in  the  old  school  tradition  along  with  some  dark  sounding  melodies  being  thrown  into  the  riffing  and  there  are  no  guitar  solos  or  leads  present  on  their  side  of  the  recording.

  Vocals  are  mostly  high  pitched  black  metal  screams  mixed  in  with  some  chanting  ans  poken  word  parts,  while  the  lyrics  cover  Occultism  and  Darkness,  as  for  the  production  it  has  a  very  dark,  raw  and  primitive  sound  in  the  classic  black  metal  tradition.

  In  my  opinion  this  is  another  great  recording  from  Ungod  which  has  the  best  music  on  this  split  and  if  you  are  a  fan  of  old  school,  raw  and  primitive  sound  occult  black  metal,  you  should  check  out  this b and.  RECOMMENDED  TRACKS  INCLUDE  "Transsexual  Seraphs"  and  "Silence  In  The  Golden  Walls  Of   Endless  Hope".  RECOMMENDED.

  In  conclusion  I  feel  this  is  a  very  great  sounding  split  I  would  recommend  it  to  all  fans  of  occult  rock  and  black  metal.  RECOMMENDED  BUY."   

http://occultblackmetalzine.blogspot.com/2012/07/vestal-claretungodno-visible-scars2012.html



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SCAR 024 Death Factory-Maschinen Unter Kontrolle




Death Factory aka Michael Krause "noisescapes" run the gamut from heavy electronics to death industrial paying tribute to the likes of Throbbing Gristle, Nurse with Wound, Severed heads, Merzbow, Illusion of Safety, Intrinsic Action, Boy Dirt Car, RDS, MB, and early Controlled Bleeding not to mention cult movies, and weird sounds from factories in the Lakeview, Illinois neighborhood.


Pro CDr. All new material + one live track from 2007 recorded in Chicago. 75min. +. Full color artwork.

*Track 2 “Manifestation of Fear” (3rd version) is a tribute to 1979 film Phantasm directed by Don Coscarelli. The 4th version is on the Chilling Impressions cassette that NVS put out last year(2011).

*Track 7 "Demitri's Delemma" is a tribute to the 1974 horror Beyond the Door directed by Ovidio G. Assonitis



Only $6(plus postage). Stream/Order via: 

NVS BANDCAMP:
+ digital download

NVS BIGCARTEL:

Direct order info: novisiblescars(at)gmail(dot)com

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SCAR 025: Abazagorath-Abazagorath ep 2012

After years of hiatus, Abazagorath has returned in full force. Brand new 5 track ep.






Order now from NVS BANDCAMP(includes free download):
Or
Order now from NVS BIGCARTEL:

info: novisiblesacrs@gmail.com



"Abazagorath were on of the forerunners of the US Black Metal scene and their latest EP does their legacy justice. This is a true work of absolute evil which is being released by No Visible Scars on the 27th Feb (Moved forward from early April due to things moving faster than anticipated).

This EP opens up with some wonderfully dark acoustic playing on the opening track Conjuring. It conjures up images of walking through graveyards on the blackest night. When the full band kicks in, it is a beast of an introductory track with a slow mournful solo towards the end which makes it seem like the after mentioned graveyard has come alive and the living are now dead.

When the EP kicks in proper it is a magnificent piece of black metal, which as I mentioned before, does their legacy proud. As this is their first release after a hiatus, I was expecting the material to be a little rusty, but I was surprised beyond measure, by how intense the music is. This sounds like a band who will take no prisoners.

With songs titles such as The Antigod and Storms of Destruction, you can tell where their lyrical inspiration comes from, and their sound isn’t far from the majestic soundscape which is Behemoth. This is very high praise as Behemoth are one of this reviewers favourite bands.

For people into Black Metal and are looking for some lesser known bands from the origins of the USBM scene, this is the band for them, I can’t recommend them highly enough. They are fantastic, their musicianship is top notch and they are brutal as anything. I don’t have a single negative thing to say about this album, which is rare. I absolutely loved it."


"I've quite taken to the more experimental and progressive breed of black metal grown so rapidly in the past decade, worshiping bands like Enslaved and Klabautamann to no end. Such groups have evolved a genre not known for its technical courage to new heights of creativity and melody, increasing black metal's relevance in the present day. That doesn't mean, however, that a storm of bestial intensity can no longer enthrall the senses in our stuffy, elitist age of innovation equaling quality. Sometimes you just want a consistent torrent of sucker punches to the face, and in that light, Abazagorath has delivered in spades with their self-titled EP.

It would be fair to say that Abazagorath possesses a one-track mind, and luckily for us, that track is a mighty fine one replete with brutal yet catchy finesse. No screwing around is committed here. After a brief, subtle intro, "The Antigod" kicks it up a notch, blasting and pounding its way to the top with some melodic relief provided by the slower sections in between. In fact, this isn't just a voyage made by straight speed and aggression; the band expertly mixes in mid-paced riffs and patterns, making this swarm a bit more memorable and the tracks more distinguishable. Nihilist, if that is his real name, gives an appropriately tortured performance behind the microphone, and his vocal lines complement these tracks well. Sorry, weaklings: no clean vocals or ballads here. Heartbreaking, isn't it?

It's all cloaked in a modern (but not too shiny) production, so Abazagorath isn't exactly a second wave time capsule, not that it needs to be. The highlights are many, even for an EP. "Storms of Destruction" crawls from creation with a haunting and crafty intro, evoking the morbid resurrection of an ancient, evil spirit. The bludgeoning growls thrown in about halfway through only further such a vision as the subtle acoustics elucidate it. "Lapse" is the shortest complete composition here, and it doesn't fail to make a stirring impression with its blazing rhythms. Out of the 23 sharp minutes offered here, I can't really fault one, even if I found "Immortals" to be the least toxic of the bunch; not bad, and it certainly congeals with its surroundings, but it's not quite as memorable as the others.

I won't comment on this EP's place in Abazagorath's discography, as I'm not familiar with the older work of the band, but I really can't see this release disappointing any fan of primal, no-BS black metal. At any rate, Abazagorath should be a clear indication of a band alive, well, and thriving after four years of silence. I might like my black metal stirred with psychedelia and weirdness, but who's to say I can't pour a smooth glass of well-executed, abrasive chaos every once in a while? It's simple, it's relatively straightforward, but it's also sick and easily replayable. What could be wrong with that? A full-length release of this caliber could make some serious waves. Sure to provide a necessary component to your secret cult meetings."


"Well here's a band I haven't heard a sound from in ages, although the reason is obviously my own. I have their full length from 1997, Tenebrarum Cadent Exsurgemus, but while I slept they continued on to produce a few more releases. This is their latest release but before I even get into it I must say this. (oh no he's editorializing again) Many in the present day metal music media are clueless to the greatness which was the early days of USBM. I mean most of the crayola scribbled notes by present day scribes in the media never make mention of the black metal acts of yore which came out of places like Texas, Florida, North Carolina or in this band's case, New Jersey in the nineties. By the late nineties the old European black metal guard was mellowing out. In the states you had a handful of really good bands who were playing music which equaled or exceeded what their overseas peers were doing. ABAZAGORATH's Tenebraum Cadent Exsurgemus debuted in 1997 and quickly became a landmark album for USBM.

So here we have their latest release, a simple self titled five song EP. That's as far as the simplicity goes because this surpasses their past release I have easily with intensity born from Europe but honed to perfection here in the states. ABAZAGORATH comes off sounding like a retro fitted version of EMPEROR with the battle hardened ambiance of cascading melodies meeting the pummeled survivors out around the blasted bomb craters in no man's land. Only bassist Nyarlathotep and drummer Warhead have returned from this band's past. Half of the old band is better than one but I must mention how the newest member with a guitar in his hand, Maelstrom, is incredible. The riffs this man has created are just as savage as the thing on this release's cover. The solo work he adds sounds sick and macabre like. This is raw, melodic black metal which ABAZAGORATH was always known for but there are no keyboards on here. That's definitely a change along with a harsher vocalist in Nihilist.

All in all this EP floored me literally because of it's monstrous sound quality. It starts off with a subtle entrance on the beginning moments of "Conjuring". Twenty five seconds into the instrumental the onslaught has begun. The thing has arrived and loosened upon all the unsuspecting. To me this EP sounds like a concept piece about an apparent demonic summoning gone wrong. Then again the question begs to be asked, is there a right outcome for a demonic summoning? I'll have to look that one up later. While the various cuts on here come forth like detonating artillery explosive ordinance it's the final cut, "Storms of Destruction", which is an absolute masterpiece. Be all of that as it may by the end of the cut I had to have more from this second coming of ABAZAGORATH. Unfortunately all I was left with was a hope that this would not be the last. This self titled EP has set the bar so high for this band that going back to their debut full length would be punishment."
RATING: 5/5


"One rad thing about (extreme) music is that it’s not bound to country borders and time. A good song is now a good song as it will be in 5, 10 or 20 years. A gnarly band is a gnarly band no matter what continent, country or state it comes from. So blistering, aggressive and harsh Black Metal can be written and played 2012 in New Jersey as well as 1993 in Norway. The proof: US Black Metal warriors ABAZAGORATH. They have been around for 16 (!) years now, and with their new, self titled EP they easily mark their territory in current USBM – a demonstration you don’t want to miss.

Leaving aside contemporary tendencies ABAZAGORATH concentrate on classic Black Metal for sure, clearly influenced by the Scandinavian hordes, excellently executed and refined with a thick, super heavy production. By doing this they remind me a lot of the mighty Dissection in their Storm of the Light’s Bane phase, although I know that the classification as Black Metal is, from a strictly musical point of view, questionable for that album.

Anyway, raging blasts, melodic, sinister riffs, superb vocals, varying, smart song-writing and an intense athmosphere add up to a trvly fucking amazing record. And due to the length of an EP it’s all boiled down to only supreme songs – all killer no filler never fit better than here.

ABAZAGORATH may have released a few weaker records in their career, but with this EP they proof that they (still) are a band to be reckoned with. Haters gonna hate."


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


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



***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***


"8 tracks of purely malevolent and murky darkness - minimal and claustrophobic tonal drifts emanating from the shadows of the crypt, akin to Archon Satani, early Lustmord, and Yen Pox. What's not to like?"
Malignant Records On-line catalog.

"One of my favorite truly underground labels, No Visible Scars, strikes again, this time with a short (35 minute) CDrof dark ambient and death industrial from M. Todd (Transcendent Device) and L. Kerr (Steel Hook Prostheses). Falling more toward the dark ambient end of the spectrum, these recordings reflect bleak feelings of hopelessness and will leave you feeling unfathomably lost. There's honestly not a whole lot of difference from one track to the next, in some or most cases, but that's part of the beauty of the album - it works mostly as an organic whole. The subtle variations communicate deeper details, so this album should be played when you cangive it your full attention. Loud, and alone"

"I recently summed up the current listening habits, so that in combination the likes and the developments of the last two or three years - and I was as straight Inade s Incarntation of the Solar Architects , ran clear what immense importance and weighting of the sound field of dark ambient for I now occupy. It is just in the genre out to be incredibly difficult to explain this fascination with an outsider - since one hand is the (in) music, which deeply touched the other hand basically completely abstract, in many casesalmost does not exist But it just draws its strength, a perfect visual example controls the quality label NoVisible Scars on this topic at, and it is this one also carries eponymous henceforth: Beyond the Threshold .Because, you practice in the paradigm shift, we see that purely factual in the recorded music is very little audible material: in the best Lustmord / LDRTFS -style is Beyond the Threshold in its entirety from subliminal, slow and cryptic roar, here from the and there small islands in sound shapeprotrude a built in voice and sound samples, where they've come in sizes called a lot more superficial than is the case here. So to all aspects and really very fine, heard only by concentrating on touching details, it therefore requires the best possible sensory reduction solely on hearing. Then unfolds the true depth of this work.Because that is exactly what this music alive - from a focus on the few and the sound negative space, or by what means we only perceive incredibly quiet or whatever might be not there. Each directs sound to be heard inside the ear into the deep fades slowly and leaves finally alone with the secondary imagination. Because even at room volume has everything that the two gentlemen Todd M. ( Transcendent Device ) and L. Kerr ( Steel Hook Prostheses ) create here, in his gloomy darkness constant distance, the sound itself is not really simple to approach possible - as is it is always a little fascinated by the incomprehensible and tries to understand what is actually there in the distance, which attracts as always. Such as covert listening at a wall where you can never be quite sure what is really happening on the other side, you fixed but always pushes them to delve more and more. This kind of music means pure contemplation, it takes place when a fresh layer of perception in himself and his preoccupation with his own sound reception, by their content as an ideological void, but in contrast, constantly produced basic emotional-associative stimulation by these same negative space for me an anxiety-like feeling with simultaneous fascination with that event. If, in Beyond the Threshold fade away quietly people screaming into the void, then irritates the rubbing of the imagination, if the tonal darkness gentle birdsong breaks the expectation, then generates the inspiration, the ideas carries far, far away, when the hearing in bizarre Field recordings can not decide whether to hear the flow of water or the slow breaking up of a human body, it holds only curious pause and dips further - then that's perfect for me, atmospheric work. Beyond the Threshold actually moved into the beyond, beyond the threshold - namely, into nothingness and infinity of its own imagination, in the universe behind the forehead of each individual. The fact that once the depression a person has been processed, is not so very important, but contributes to the fascination. Here, the protagonists need surprisingly few resources to develop to enormous effect, but to make the course, again represents a hopeless undertaking, because in fact these are only a few sounds, not more ..."
Translated from German.

"What can be said about a collaboration between two artists working within relatively abstract genres and deciding to make that collaboration abstract as well. The idea of two artists coming together from noise, from what I understand, genres and wanting to make something a bit less noisy, I can get that concept. I was a little worried about how this would end up sounding however because it does seem like this idea is one that I've been coming across quite a bit within the noise and dark ambient communities. The eight tracks that make up this album are composed of exactly what I was talking about above, dark ambient soundscapes. In my head, I guess I kind of assumed that this would be based more or less in the industrial side of things but instead each of these tracks evokes a more shapeless atmosphere that morphs and moves around throughout its length. A lot of the sounds used throughout each track lends them to be more abstract and anthropomorphic than a lot of other dark ambient artists I've heard, at times recalling bits of what makes Lustmord a king of the genre. I don't want to give the idea that this is totally devoid of industrial elements though, because there are moments on here where a "harsher" and more "gritty" edge can certainly be heard from within the ambiance. But to be fair, the whole thing does have a sense of coldness that I wouldn't have expected from either side of the sonic spectrum from where this thing is coming from. It's that sort of isolated factor that does make this record stick out among other rather bland dark ambient records. I think it's a decent record that would be a good addition to anyone in the market for some rather cold sounding ambient music. I do refrain you from listening to this record in the car or when you're in a more crowded environment as it can, and most likely will, fade into the background where you forget you even had it on. I'd say it's ambitious enough to be interesting but not as groundbreaking as I've heard it was, still worth checking out though."
Overall Score: 7.5
Highlights: 1, 5, 8

"As usual NVS serves up another gourmet platter of dark and abysmal sounds with this classic nightmarish Lustmord ambient release from the duo M.Todd (Transcendent Device) and L. Kerr (Steel Hook Prosthesis). Beyond the Threshold is a droning and rumbling beast of dismal concrete landscapes and an uneasy “quiet before the storm” sensation running throughout but the storm never comes. The first three tracks begin to unravel from an almost silent muffled hum and resonance to a gradual increase in volume as you begin to feel as if you’re wandering through the image on the cover. There’s a horror film soundtrack meets minimalism and sci-fi that builds up in track 4, you can actually hear sounds in the background that appear to be getting closer of what sounds like machines breathing. It reminds me of the scene from the Matrix with the garden of humans being grown, and from the way the electronic sounds are manipulated an image of something cyborg and diabolical is present in the near distance. Track 5 is this humming and almost melodic whirring drone collage until about halfway in sounds of birds and nature begin to slowly become audible and a subtle bass tone acts as a beat to give some thrust and rhythm to the somnial dronescapes.“6” fades in with a heavy bass tone drone that rattles the speakers like a subway train passing underneath and muffled audio clips of what sounds like a television news broadcast or radio broadcast. The way the physicality of the bass drone combines with the stifled audio, it feels like a dream or some half asleep insomniac experience. Although the 8 untitled tracks consist mainly of drone textures, it’s the way the 8 surreal atmospheres are crafted from proper manipulation and effects usage that make the entire album cohesive and trance inducing without falling into the monotonous, sterile, and boring. It’s creations like Beyond the Threshold that mix that sense of hypnotic droning and dreamlike states with so much subtle detail that you can literally drive yourself insane trying to get out of that labyrinth of sound because it’s so complex and fluid, it keeps changing dynamics and direction within itself that it’s hard to determine if it’s coming of going although it’s clearly moving. M. Todd and L. Kerr further prove that subtlety can be more enticing than the blatant and bold."

"This is a deep dark record. Super low drones that are so low that they are almost inaudible. If there was sound in space this is what it would sound like. This is could also be described as soundtrack for a cold lonely death. Without words or melody it perfectly describes all the sad, forgotten shallow graves and empty wells that offer sleep to the corpses of our unfortunate brothers and sisters. I don't have too much more to say about this one. It's great. The layout is appropriate in it's minimalism. I would have liked to see them do a little more with the presentation and a little less with the thanks list but it's fine. Look into this one."

"After one listen to this release I knew was in for an evening of flashbacks. This release is a joint effort created by M.Todd of TRANSCENDENT DEVICE and L.Kerr of STEEL HOOK PROSTHESES. Lovely names aren't they? I wonder if they're listed in the book? Anyways what we have here is purely background noise to give you the willies. More specifically these are the types of sounds that you hear when you're laying on the bottom of a lake or even the ocean floor waiting to die. I say that from personal experience (obviously I survived) because when you're lying in that murky darkness not breathing there is still activity going on inside your skull. I don't know the medical term but you can hear this ominous pulse that grows and fades. It's almost comforting. Other times the sounds on here are like the back ground sound effects to some 50's Sci Fi flick most likely when viewing an alien world. There's also voice recordings so low you can barely make out what they're saying. It's almost like listening to the neighbor's radio from the other apartment window across the way in a tenement house. Personally it's not what's being said which is important. It's just that there's a voice an actual human voice which stays away the loneliness. Beyond The Threshold is eight tracks (all untitled with only their corresponding numbers as separations to designate one from the other) all reflecting like after images from some past shadow realm. It's the Twilight Zone put to tape and should be enjoyed loudly when you're sober and alone. Personally after a while of this I need coffee. When you stare at the cover art you can't help but think maybe this was an attempt at video game music. At least it's not the sound of a carnival carousel."
RATING 3/5

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