Quote from label: "Here's the european reissue of the first AUSSITOT MORT (from Caen) record (initially released on the japanese label Oto Records in 2008 and now sold out) with their first ep record ("6 Songs", released in 2007) as bonus tracks. The colors of the original cover were totally redone to put all together these initial 14 songs of the band from Normandy with heavy post-metal tunes and long instrumental parts ("Montuenga" era) and strong post-hardcore songs woth screamo vocals ("6 Songs" era) always with original and franch lyrics. It's very hard to describe AUSSITOT MORT music with standard labels, finally the only thing we can say is their music is truly personal and honest".
Quote from label: "”A Clear Path” is a deeply personal work of loss, honesty and hope. A new focus on songs structure and personal lyrics. Cut from the roots and stylistic restrains of black metal COLD BODY RADIATION is now free to soar new highs and lows.
All they want to do is make new music and set their own standards even higher.
The depth and quality is tangible in every hair-raising moment, it is honest, textured sound and far more beautiful than a description can attest. ”A clear path” is the soundtrack to your inner growth, and should be approached with caution."
Quote from Crucial Blast "Board Up The House Remixes Vol. 5 is the final installment of the five-volume remix series that has been produced in co-operation between Genghis Tron and five labels (Relapse, Lovepump United, Anticon, Temporary Residence Ltd., and Crucial Blast), and features a myriad number of artists reshaping and reimagining various songs off of Genghis Tron's 2008 album Board Up The House (Relapse Records). Each volume is pressed in a run of 1,000 copies on colored vinyl that ties in with the sleeve art. Board Up The House cover artist, Jon Beasley, has provided each remix album with alternative artwork.
The Crucial Blast entry in the Board Up The House remix series features Tim Hecker (Mille Plateaux, Alien8, Staalplaat, Fat Cat) turning the title track "Board Up The House" into a fuzz-entombed bliss-scape, Aidan Baker/Nadja's fifteen-minute glacial vision of "I Won't Come Back Alive", and another remix of "I Won't Come Back Alive" rendered as a blur of distorted electro by Dudes You Can Trust, which is the solo project of Michael Sochynsky from G-Tron taking a heavy mangle approach. This remix platter is easily the most distortion-laden entry in the series! "
Quote from Crucial Blast "Call it some kind of dark providence, but back in early 2008 I had three different people all hit me up in the same week to tell me that we really needed to put out a US release of the new album from Overmars. I was already a fan of the French band's 2005 CD/DVD set Affliction, Endocrine...Vertigo, which reminded me of a mix of Neurosis-style slow-motion power and elements of Swans-inspired industrial rock, prog, classic old-school doom, goth rock, black metal, and the more adventurous end of the metalcore field a la Starkweather and Integrity (the former of which actually has a forthcoming split with Overmars on the horizon...), so I already wanted to hear their follow-up, which at the time had only been released in France on Appease Me, the label run by one of the guys from avant-black metallers Blut Aus Nord. After all of the raves I was hearing and the impassioned please to release the album in the US through C-Blast, I finally got in touch with the band and prepared myself for some major heaviness. But when I finally got my hands on a copy and listened to it for the first time, I was floored - that towering black/sludge/industrial/goth sound was there in full effect, but their sound was more oppressive and bleak and epic than ever before, and captured this in a single monolithic song that was almost forty minutes long. Born Again immediately became one of my fave releases of last year, a fucking devestating piece of music that documents the band evolving even further from the simplistic Isis/Neurosis comparisons that have dogged their previous releases.
The album descends deep into themes of self-immolation, horror, and rebirth, and becomes a harrowing narrative as it moves through a series of different musical moods. Overmars had already established their atmospheric, electronically-tainted sludge-metal sound on their excellent 2005 album Affliction, Endocrine...Vertigo and all of the previous splits with Donefor, Iscariote, Fugüe and Icos, but Born Again is something new from the band this forty-minute epic moves from pulverizing industrial dirge blanketed with heavily textured layers of processed guitar and fearsome gutteral roars intermixed with captivating female vocals, to passages of haunting dark ambience and bottom-heavy churn, and a magesterial finale that stretches gloom-ridden moody riffage, vaporous electronics and dramatic male/female singing across the song's final fifteen minutes, a tense, slow buildup that erupts into an earth-shaking crescendo of super heavy riffage. Immensely bleak and heavy, Born Again brings together elements of Godflesh's industrial pummel, black metal, tribal dirge , the violent nihilism of Swans, doomy death metal, and even some black strains of psychedelia into a monumental metallic black hole . Like I said, I really loved their last album Affliction, which I thought was an interesting variation on the Neurosis/psychedelic sludge sound with its heavy use of electronics, and if you liked that album as much as I did, I'm pretty sure that you'll be blown away by this darker new form that the band has taken.
This Crucial Blast release of Born Again features a distinctly different album design than the original version on Appease Me, and is also packaged in a four-panel digipack (where the Appease Me release came in a standard jewel case)."
The Bitters are Aerin Fogel and Ben Cook (Fucked Up, Young Governor). Formed in the east end of Toronto, The Bitters write and record their self-proclaimed Cave Pop from their studio, an artistic cooperative shared with Toronto\'s most creative musicians. Their debut 12\" EP, Wooden Glove, was released last spring on Captured Tracks and sold out shortly after, having been instantly well-received among tough critics and keen listeners alike. The band is a result of Cook and Fogel\'s prolific efforts and their ability to construct songs ranging from 50\'s melodies atop dark post-punk instrumentals, to 90\'s throwback alternative and grunge, which stems from their unique dynamic as friends and partners. Their collaborative work appears live with the help of drummer Jonah Falco (Fucked Up) and a rotation of starry guest bassists.
LP + Dropcard - The band released this EP as a handmade CD-R that has been sold at shows over the past year, but the songs on Peas Feast are so cool that we wanted to give this a proper vinyl documentation, and have been remastered for vinyl by Scott Hull at Visceral Sound. The record will be pressed on yellow wax with black splatter in an edition of 1,000 copies, and will also come with a digital dropcard that will allow you to download the tracks from the Peas Feast EP as well as a digital-only EP titled Drongolet Demos that has a bunch of unreleased tracks from Wildildlife.
The Peas Feast vinyl features four lengthy songs, starting with the zonked ultraheavy sludge and atonal, barbed wire guitar freakouts of "White Eyelidz" which goes from crushing glacial metal to drunken bassloaded punk rock in the bat of an eye, and then moves on to the pop genius of "Violent". "Violent" is the catchiest song these guys have, starting off slow with plaintive FX-soaked vocals swimming over pulverizing sludge metal riffage - think Harvey Milk but waaaaaay more freaked out and poppy and mutated by unnameable effects boxes....the hook here is so catchy it gives me a toothache, it's like hearing the saddest old alt rock song ever being played by Corrupted, complete with vocal harmonies. But then comes "Shining Son", another amazingly catchy pop song, still heavy but way more upbeat and driving, more noise rock than sludge, with a big burly bass riffs and ecstatic guitars that strafe the sky until the sludge rears it's head again, a massive swampy riff that rises up and flattens everything towards the end. MASSIVE. And then the final song, "My Song", formerly an acoustic song that appeared on Wildildlife's self titled debut 10", another amazing pop gem, but this time damaged and drunken sounding, the pop hook molten and oozing, the vocals a desperate howl, slow and sludgy and creeping but still unbelievably catchy and exuberant as it trails off into an almost Mammatus-like psych rock coda. Although this early material is more immediate and raw than the band's debut album Six, the music is crushing, catchy and totally spaced-out. On Yellow vinyl with black splatter in a run of 1,000 copies.