Hermit_Lailoken

Once upon a time, creatures mighty and powerful walked the Earth. Their massive footsteps thundered throughout the land, their calls and roars echoed across the wilderness. Their primal spirit was awake in every stone, grass and tree. This shall be dedicated to some of them, with ten sacred totems of prehistoric animal spirit - and to all of them, in their prime time glory."

Eight full length album by Paleowolf dedicated to another ten totems of prehistoric animals. Each track is a symbollic representation of the creature's spirit and a channel towards, and from, the animal's energy. With massive powerful drums, shamanic chants, tribal grunts and dark, cavernous soundscapes, the journey to the prehistoric continues. The album is a spiritual successor to "Megafauna Rituals", as its inspired by the giants that once reigned and mysterious wilderness of the primeval Life.

The album features specially created "Paleoart" booklet in pdf with 12 full color pages of images and text about animals featured in the album. Also includes "Runebook" containing 10 cards featuring totemic runes dedicated to each animal and personally crafted by Paleowolf.

released July 26, 2021

Melding elements of Industrial Rock, Metal, Deathcore, Dark Ambient and Trap, 'And Then Oblivion' sees the cult US act further cement its status as lords of the Blackened Industrial scene, meanwhile pushing its musical boundaries towards an individualistic strand of heavy electro-metal achieved via a combination of juddering guitars, sheet metal percussion and thoroughly unholy electronics.

released March 21, 2025

Manchester’s Gnod and New York’s White Hills stand as titans of the exploratory rock community, stretching and bending the very notions of what rock can do and suspending our sense of time in a fluorescent fog. Together, their alchemical chemistry gave rise to the legendary, ongoing work that is Drop Out, an influential and sprawling series of extended pieces that expand and contract across the rock continuum and beyond. Originally conceived and assembled in the late 2000s from across the Atlantic Ocean, and further iterated in an extended, more widely released Drop Out II, the collective’s work has become a classic of 21st century psychedelia. Drop Out III further expounds on the lysergic glory of the previous versions with new arrangements, mixes, bonus tracks, and songs assembled as they were initially intended.

Drop Out III stands as a wholly new iteration of Gnod & White Hills’ initial collaboration. Reaching well beyond a mere reissue, Drop Out III is replete with sounds recorded in what the bands term the “Drop Out era” that have never been heard before. The double LP’s first two sides feature instrumentation and arrangements originally recorded but not included on previous releases. Embodying the two bands’ inquisitive natures, the already hypnotic flow of the songs take on new character, their timbres shifted and color palettes swirled in deft mixes. Classics like “Run-A-Round” and the eponymous “Drop Out” maintain their motorik drive and fizzing melodies, yet capture a new spirit. The latter two sides feature pieces never before included on vinyl, including the beautifully serene “Air Streams” in its original droning arc, previously broken bisected into separate tracks with completely different arrangements. In addition to those intoxicating pieces that will sound familiar and reinvigorated to fans, the album comes with a full album’s worth of bonus material, all crafted around the Drop Out era. White Hills’ “Decorating Time” (later repurposed into “Undressing Time”) showcases the depth of the band’s subtlety, rich with minute turns and a twist of psychedelic ambience. “Nothing NEU! Under the Sky” captures the invigorating pulse and dynamics of Gnod’s live performances.

Drop Out III’s new elements make clear the unified ethos of both bands. The reimaginings of these timeless pieces epitomize the sense of possibility brimming throughout the album. That an album over 15 years out from its inception could continue to grow well past its roots is a testament to Gnod & White Hills’ ability as artists and collaborators.

Gutternsipe and Cuntroaches are two collectives operating on the slimy, rotten edge of the world. After a European tour, both bands decided to go into studios in their respetive home towns - Berlin for Cuntroaches and Leeds for Guttersnipe - and document where they were. Across 4 tracks they individually map out the end of the world and the forging in fire and dirt of a new one.

Cuntroaches have been festering in Germany's Baccalian capital Berlin for a few years now, blurring the lines between an evil, masticated version of black metal and breakneck-speed punk. It's dirty as hell, punishing and thrilling. Cuntroaches taketh life and then they give it back in forms you don't know. A 3-piece, the group detour the conventional rock muzik line up into a blurred, vile, masticated, squat-grown language. Drummer Claire Panthere's pogo-ready rendition of primitive BM power-drilling deep into the frontal lobe while the instrumentation provided by bassist David Hantelius'and Martina Schoene-Radunski is twisted beyond sane recognition. I Can Tell Your Scum feels like an Ildjarn cut played by early Flux Of Pink Indians, Schoene-Radunski's vocals obliterated by ever rising delay. Brutality decimated by a dub approach. Inside Me launches further out, faster and more aggressive, with a crunched bass borrowing like a massive parasite into the track. Cuntroaches' fucked approach to punk takes into the basest, most disgusting form of high art.

Gutternsipe follow their debut My Mother The Vent for Upset The Rhythm with two tracks of blown out, deeply scary and alienating abstraction. It's a completely different approach sounding like Smegma or Hanatarash throwing rock instruments around a burning junkyard. It feels like freedom, wonderful, freedom. Tipula Confusa's approach to percussion is ecstatic, harnessing the approach of improvised music and No Wave into a Dadist abomonation. Urocerus Gigas is an octpodial Kraken, wretching and wrangling guitar forms and vocal screams from some unimaginable deep. You probably know the score with Guttersnipe, but on these tracks they go further. Poppyseed Pudendum feels like every Load Records release played simultaneously yet still manages to revel in space. A five minute blast that launches after incidental prelude, it's noise as ascension, as transmogrification. Return To The Cyanobacterial Slime is an 11 minute surrealist cut up played in real time by these undescribable entities. Way more spacious, here the group have been torn apart, broadcasting from a lonely place deep in enemy territory. Held hostage by aleatory percussion, Gigas's wordless pleas reach up, up before being confined to their own misery. When the duo break through into some fire music jamming, the freedom is complete. Will we ever want to go back?

While birthed in the late 1980s, it was in the 1990s that the “industrial metal” genre came to full fruition with the likes of Godflesh, Ministry, Pitch Shifter, Fear Factory, Front Line Assembly, and even Nine Inch Nails carving out (or in some cases sampling) metal inspired riffing over a backbone of electronic malevolence and brutal machine driven percussion. In that tradition, BLACK MAGNET offers the haunted pummeling synthesis that is their debut album, Hallucination Scene.

From the initial battering of opener “Divination Equipment,” it is clear BLACK MAGNET plays heavy guitar focused music with equal devotion to industrial rhythms and electronic machine thunder. Throughout the punishing lurch a dark melodic sense throbs with uniform attention paid to the club floor as much as the mosh pit. All the while BLACK MAGNET progenitor James Hammontree guides the hallucinatory torment and ecstasy with his acerbic delivery.

Spahn Ranch was an American electro-industrial group from Los Angeles. Active from 1992 to 2000, the band played a subgenre of industrial music with its fusion of electronic dance, industrial and gothic music.[1]

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Godflesh are an English industrial metal band from Birmingham. The group formed in 1982 under the original title O.P.D. (later Fall of Because) but did not release any complete music until 1988 when Justin Broadrick (guitar, vocals, programming) and B. C. Green (bass, programming) renamed the band and decided to use a drum machine for percussion. Melding heavy metal with industrial music and later with electronic music and dub, Godflesh's sound is widely regarded as a foundational influence on other industrial metal and post-metal acts and as significant to both experimental and extreme metal.[a]

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