A few years back, I wrote a piece about Release Entertainment, the long lost sub-label of Relapse Records dedicated to experimental sounds of all kinds, from dark ambient to noise to death industrial. One of the the most extreme albums to come out under the Release banner was Merzbow’s Venereology, a salvo of pure, corrosive sound that would serve as a gateway for many metalheads (including yours truly) into the world of harsh noise. I previously bemoaned the fact that Relapse seems to have no interest in preserving the legacy of Release Entertainment, but perhaps they’ve come to their senses at least somewhat, because in honor of Venereology‘s twenty-fifth anniversary, they’re giving the album a rather lavish-looking vinyl reissue, replete with remastered sound and re-touched artwork, as well as three previously unreleased bonus tracks.
WARNING: This is not one of my usual videos of me sitting in front of the camera and talking. This is a 5 minute “micro documentary” celebrating twenty-five years of Merzbow’s harsh noise masterpiece, Venereology.
Listen and purchase: https://merzbow.bandcamp.com/
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If there’s one thing Metal Twitter™®© is good for, it’s manufacturing non-controversies within the scene. The latest of these flare-ups occurred when Philly-based death metallers Pissgrave unveiled the cover art for their new album Posthumous Humiliation, set to be released March 1st via Profound Lore.
Normally I’m not one to make a big deal out of teaser tracks, but for Texas-based black metallers Nyogthaeblisz, I’m more than willing to make an exception. The band’s current label Hells Headbangers (who seem uh, hell-bent on on defying the metal PC police this year) recently premiered “Ordnance for Adamic Holocaust and Cosmocidal Entropy” from their long awaited debut full length Abrahamic Godhead Besieged by Adversarial Usurpation and from the sound of things, the album will be everything fans have been waiting for.
My introduction to Southern California’s Lord Time was 2013’s Drink My Tears, an hour-long mind-fucking odyssey to the outer fringes of black metal, noise and experimental music which ended up being one of my favorite albums released that year. Since then, the one-man project has only gotten darker, harsher and weirder, as evidenced by the utterly warped Mandatory Human Livestock Reduction, released earlier this year on sole member Andorkappen’s own Universal Consciousness.
Those of you that read IG on the regular or follow me on social media know that I’m always up for some good noise rock. As such, White Spot’s Father Songs proved to be one of 2015’s most pleasant surprises so far, a noise rock album that showcased mainman/madman Marcus Lemoine’s knack for concise yet devastating songwriting and an attention to craftsmanship not often seen within the genre.
It’s been a few weeks since I saw Melt-Banana at Harlow’s, and for some reason I just can’t get their set out of my mind. Part of this is no doubt due to the fact that I actually got to see Melt-Banana; sure, they’ve toured the states many times, but keep in mind that I was living in the middle of Iowa up until a year ago, not exactly a hotbed for extreme and/or experimental music. Since we’ve moved to Sacramento, I’ve already had the pleasure of seeing a handful of bands I never imagined I’d get the opportunity to see without traveling great distances (Sargeist and Ufomammut immediately spring to mind), and the Japanese duo are probably number one on the “holy shit, I can’t believe they’re actually playing where I live” list so far.