Night Bitch "Sex And Magic ep" c20



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.


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"



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


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!


-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:




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

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

Hells Head Bangers

Crucial Blast

Necrocosm

Back Alley Bazaar


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)



"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!"


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.”



"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



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


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:


Copies also can be purchased from:


MalignantRecords

RRR


Hells Head Bangers

Crucial Blast

Unrest Productions
Freak Animal

Back Alley Bazaar

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.



"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.



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.

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