BLACK SABBATH - FORBIDDEN (1995)

You would think that after such a long absence, I might return bearing worthwhile gifts for my beloved readership, but alas, no such luck on this sunny Thursday afternoon--today I present you with naught but pure, undiluted garbage, in the form of the mighty Black Sabbath's final studio embarassment, Forbidden.
What constituted "Black Sabbath" in 1995 was a sad diminishment from even their lineup in 1992, much less the Dio years, much much less their heyday in the early-to-mid-seventies. What we have here is a broken, limping, generic-riff machine fronted by terminal no-name Tony "The Cat" Martin (above right), who even with the omnipresent Tony Iommi (no Geezer at this point--he was busy with GZR. LOL!) in tow couldn't muster an ounce of thunder on this resounding fart of an attempt at "hard rock". The handsome and talented Cozy Powell (who was later replaced by Blue Oyster Cult's Bobby Rondinelli, a dude that subsequently attempted to steal my girlfriend in the mid-00's--true story) rounded out the squadron on skins, but his servicable thumping is piss in an ocean to the utter, anachronistic misstep that is this album.

Did I mention that Ernie C from Body Count (left) was hired to produce this album? Or that esteemed thespian Ice T himself makes an appearance on the opening track? It's all true, which, in a way, is the only selling point to this album. It's pure novelty/curiosity, this ill-fated pairing of British rock legends and talentless urban street toughs, and really the only reason I brought it up today is that I find Tony Iommi's idea of what was "hip" and "edgy" in 1995 just about the most hilarious thing imaginable. His "go-to" was Body Count. Think about that shit.
Anyways, sorry to drop this turd in your proverbial punch bowl today, but hey, you can't win 'em all. Keep your head up, and just remember: RUSTY ANGELS, THEY CAN'T FLY.
Apologies.

Don't download HERE
Don't purchase HERE



Enjoy a low-budget documentary about the Tony Martin Era of Sabbath:

PURPLE SABBATH - The Black Sabbath Born Again Demos 1983

I think it's weird that everyone is talking about Sabbath reforming sans Bill Ward. Who the heck cares in 2012? Ozzy is a ghost of his former self, they play exactly zero deep cuts. Who get excited for this shit? Internet metal nerds? Dad? I don't know.

Let's take it back and look at what was up with Sabbath in 1983. Singer Ronnie James Dio just left the band along with then-drummer Vinnie Appice to start their own band Dio. The story goes: he had an epic battle with Iommi about the mixing of Live Evil (lol divas). Original Sabbath drummer Bill Ward was coaxed back in and the new singer was none other than the legendary Ian Gillan of Deep Purple fame. 

The result? Well thats up for debate. To me Born Again is up there with Vol 4. and Masters as one of their heaviest records. I love Ian Gillan's voice. Love it. Jesus Christ Superstar is one of my favorite rock records ever (Gillan plays Jesus, n00bs) and (in my opinion) his vocals worked perfectly with Iommi's evil riffage. The album was not received well by the public and generally trashed by the music press. I think thats weird. It totally rules. WTF, people?  

Ian said he never fit in with the band and he hated the album cover. I once read he smashed a whole box of records in his home because he was so disgusted. Also I guess this version of Sabbath inspired the 'Stonehenge' scene in This Is Spinal Tap. Check out this awesome story:

The album was apparently the victim of a terrible mix that had something to do with humidity + master tapes. Thats why what I'm posting here is so important. This is the unmixed, unmastered demos for the album (+ 1 song) that somehow surfaced in 2004 and it's fucking rad. This album has never received an official release on CD which is weird but fuck it. These demos are better anyway. One of my faves.

Download this now. 

Not with a Bang but a Bloop

IllCon East, cubicle #435 reporting for duty. Today we're going to talk about The Bloop. If you don't already know about The Bloop, hang in there, uncle these a beast will catch you up.

Way back in '97, NOAA caught this on tape:

The sound itself is pretty unspectacular until you stumble on its story (from Wikipedia):

The Bloop is the name given to an ultra-low frequency and extremely powerful underwater sound detected by the U.S. National Oceanic and Atmospheric Administration (NOAA) in 1997. The source of the sound remains unknown.

The NOAA's Dr. Christopher Fox does not believe its origin is man-made, such as a submarine or bomb, or familiar geological events such as volcanoes or earthquakes. The source is a mystery both because it is different from known sounds and because it was several times louder than the loudest known recorded animal, the blue whale.

Curious indeed. Animal in origin, yet notably louder than the loudest creature known to man. Which means this sound came from an animal we have not identified yet.

NOAA says the sound came from about 50 degrees South, 100 degrees West. I suspect they only publish an estimation because they don't want anyone to panic. Because if they admitted that the sound came from exactly 47 degrees South, 123 degrees West, like HP Lovecraft had predicted years prior, then we would all realize that this sound clearly came from the vestibular folds of Cthuhlu's slimy maw.

Observe:
Point A - the exact location of R'lyeh
Point B - the approximate location of The Bloop

I leave it to you to decide what the truth is.



Also, here's the best Jack Kerouac / Cthuhlu mashup novel you'll ever read: Move Under Ground. I haven't finished reading it but it has already augmented my lexicon - Manhattan is now "turd island" and big-fish-in-a-little-pond is now "king flea." I'm up to the part where R'lyeh pops up out of the ocean and Kerouac asks a 4 inch tall Ginsberg where he can find Cassady.

Also, here's Ruin Lust. Do you want breakdowns? FUCK YOU. They are a relentless onslaught of NWIWSNGDM (New Wave of Incantation Worship Super Nice Guy Death Metal). Quality of vid sucks. Enjoy it anyway.



Download / Buy? / Metallum / Last.fm

Nailbomb - Point Blank (1994)

This album should need no introduction whatsoever.

In fact, I don't have anything relevant to say at the moment anyway.

All I know is that the picture above is a good representation of how I feel right now (and probably look). My brain is fried due to my academic ventures (its finals week) and I have been under the gun so-to-speak the last three to four weeks.
In a nutshell, this album fits my overall mood at present.

Plus, I haven't contributed a post here on IllCon for at least a couple weeks so I kind of owe it to y'all I suppose.

So without further ado, I think I'm gonna go get hammed on Oly and listen to this noise on repeat for the next few hours while trying to repress the memories of the past weeks' events...
Sounds fun huh? Why don't you join me? Crap! For Fuck's Sake, I'm out of Oly.
Nevermind.

Must. Numb. Mind. Now.

Be Proud To Commit Commercial Suicide here
not here

(unlike these guys)

Metallum / Last.FM

Public Enemy - Muse Sick-n-Hour Mess Age (1994)

Muse Sick-n-Hour Mess Age was released in 1994. This was a post "The Chronic" world and rap glorifying drug use and violence was already the status quo for a couple years. PE was considered "old" and "corny" by most fans of the genre and the bad reviews started flowing in before the album even came out. The decline of PE in the eyes of the record buying public happened so fast. The switch from party rap and political hip hop dominating the charts to the overwhelming rise and popularity of so called "gangsta rap" happened in the blink of an eye. It's almost as if the prison industrial complex and high level music executives had a secret meeting to  calculate the gangsta rap trend, fill up prisons and make a quick buck!  That's crazy though. That would never happen in our pure white America!

Here's the facts ("facts" being used loosely):

• People slept on this album when it came out which caused it to not have much of a legacy.
• People are fucking stupid and this album is THE BEST, ANGRIEST, most listenable Public Enemy album. (Challop)
• It's heavy as fuck.
• Chuck D's "message" is still as relevant today as it was in 1994 if not more so. His delivery is straight up fierce on this album. 
• This is Flavor Flav's best work! (Challop)
• This is the most GROWN up PE record, as they grew out of their sexism and gay-baiting lyrics of the previous releases. They learned from their mistakes and made better music.

Seriously, and I know I will get shit for this, I enjoy later-period PE more than the early shit. The Bomb Squad's "throw everything at the wall" style of production just has not aged well. See also Ice Cube's AmeriKKKa's Most Wanted. 

Bottom line: don't be like the great unwashed masses and sleep on this album. The songs are awesome, the music is powerful, heavy, funky and FUNNY. It's their masterpiece as far as I'm concerned. PE still had it in '94 no matter what the music press wants you to believe. Also check out that beautiful cover!

Download it!

Buy it!

FUCK PIETY

These guys vs. Jesus, guess where my money is?

Straigh out of the frozen, hoary wastes of Singapore (home of the equally crushing Abhorer) comes IMPIETY, who you are no doubt fully acquainted and obsessed with by this late in the Satanic-blackthrash game. Formed all the way back in 1990 (Abhorer formed in '87, for the record), these non-pious Hessians have always worn their primitive influences (Sextrash, Sarcofago) proudly on their lengthily-spiked sleeves, as evidenced by their original band name (it was "Sexfago"--lols).
There is little to no bullshit present on these, their first two full-length releases--just an unrelenting onslaught of blasting drums, tremolo riffs, hoarse screeching about "Socerique Baphostorms", "Anal Madonnas", "Sodomythical Frostgoats", and "Hymnvocations of Nazarethian Nunwhores", and an abundance of seething, malevolent, diseased misanthropy. Oh, and some cool keyboard noises.
Happy Friday the 13th you fucking un-Baptized heathen scum.


ASATEERUL AWALEEN (1996)

Download HERE


SKULLFUCKING ARMAGEDDON (1999)

Download HERE
Purchase HERE


Metallum/Last.FM

JUNGLE ROT - SLAUGHTER THE WEAK (1997)

According to my blood-spattered Mickey Mouse wristwatch, I'm wayyyyy overdue on sharing some completely mindless, boring, middle-of-the-road death metal with you guys, so as a deep, heart-felt apology, please accept this, Jungle Rot's very first full-length--the aptly titled Slaughter The Weak.
Str8 out tha mean streetz of Kenosha, Wisconsin, Jungle Rot are the very epitome of generic midwestern DM--the type of band that shows up fourth-or-fifth billed on every goddamn metal fest, always lurking at the periphery, rarely venturing outside their comfort zone or well-worn lyrical themes (which Metal Archives list as "War, Torture, Death, and Killing"). But that's their charm, really. Uncle Aesop put it thusly (in reference to Deicide's first album): "Sometimes you just want a hamburger... Not a bacon double cheeseburger, not a western burger and definitely not some pussified garden burger, just a burger, plain and simple."
Jungle Rot is a fucking hamburger, too. I like hamburgers.


Download HERE
Purchase HERE

Metallum/Last.FM

Also, this:

Meco - Star Wars and Other Galactic Funk (1977)

We all know that there are plenty of things better than Star Wars and Illcon has made this public knowledge before. I mean, George Lucas has been shitting on his fans for quite some time now, what do you owe him? Nothing. Today's record is something that is also better than Star Wars.

The little dude above is a fella called Meco, Domenico Monardo to be exact. He was a pretty big name during the 1970's as a respected producer and trombonist. Playing on and producing records for Diana Ross, Neil Diamond, Gloria Gaynor and plenty of others. Things changed however, when in 1977 George Lucas released his cash vulture, Star Wars. Meco got pretty excited by this film. Even more excited by the stirring score courtesy of the always awesome John Williams. Meco hatched on the idea of creating a disco version. Of course, it was laughed at and not taken seriously. Who would believe that could work!

Meco believed and wouldn't let up. Luckily the score became a huge hit and the top brass relented, allowing him to see his idea through. Of course he would need a pretty sweet band to achieve this feat. The Sci-Fi Disco Band Meco was born.

Seriously

Despite looking like the outcome of letting Ming The Merciless assemble the Village People, the band managed to survive on the mean streets of New York for about 4 months performing live and providing a much needed visual element to this epic onslaught of disco. And it is an onslaught. The album contains the full 15 minute Star Wars suite encompassing the opening them, Imperial March, the cool flying music bits, all those schmaltzy parts and that stupid band in the bar. It also has robots dancing on the cover.

Meco - Star Wars and other Galactic Funk

Of course, a guy with the balls to disco a George Lucas cash cow must have a pretty sweet logo.

Meco proved the naysayers wrong. Those turkeys at MGM tried it themselves. look at the results...

Death Strike - Fuckin' Death (1991)

Holy Grape-nuts!!

Sorry ladies and gents, I just realized its been almost two weeks since my last post here at IllCon (found here). Man, I'm slacking hard these days! (these damn classes I'm taking are getting in the way... fuckin' A!)

To be brutally honest, I was a bit disappointed in all y'all out there as no one commented on my last post (again, found here) so I have no idea whether it was worthy or not. However people have been downloading the shit out of the link I provided so it is safe to assume that someone, somewhere out there must dig it, right?

Shit...

So in light of my absence here on IllCon as of late, I present you with this slab of awesomeness!! Are you excited?! You should be excited, as it is m@#$%!@#$%!@g DEATH STRIKE!! Bro!! Dude, man!

Straight out of Chicago, Illinois, Death Strike formed in 1984, long before many of the so-called "death metal" bands of today were even kernels of inspiration; long before the scenesters of today were barely even out of their diapers, including myself. They released one demo in 1985 under the same title name as their full length, Fuckin' Death, which was released in 1991. The band split sometime in 1992 after-which members went on to other bands, most notably the almighty Master. The sound is crude, reminiscent of Celtic Frost and Hell Hammer with some elements of hardcore but is just as heavy and brutal as any other release during that time. It reminds me of an earlier, more crude version of Usurper at times.
If anything, this release provides an interesting bit of retrospective in terms of understanding the origins of the death metal scene, particularly here in the States.

To quote ANUS, Death Strike are "[o]ne of the founding death metal acts... combin[ing] raging hardcore mayhem with old school metal to create a low-end flesh destroying death metal nightmare." Enough said!

...find 'The Truth' here...

...'Pay to Die' here...

Metallum / Last.FM

VOMITORY - Redemption (1999)

The Swedish have always been pretty handy at this death metal lark. If you asked someone to compile a list of favourite death metal bands then surely at least one would be Swedish. Its just the law of averages. Today's post, Vomitory, are Swedish and play death metal.

Redemption is the follow up to the primitive Swede-death brutality of  1996's debut, Raped In Their Own Blood. Catchy stuff, but Vomitory refined the brutality and blasted those teenage Venom and Slayer influences into shape with this album. Catchy, thrashing buzzsaw guitars, drums that shift between all out blasting and d-beat, some monstrous breakdowns and those depth of hell vocals combine with a pretty flawless production job courtesy of Henrik Larsson. From the opening blast of "The Voyage" to the crushing tempo shifting finish of "Partly Dead", there is no let up whatsoever. Swedish death wins again.

GET IT

Encyclopedia Metallum

BRUTALITY

Grinch - The Blacking Factory (1992)

So, I'll be upfront and simply come out and say that I have little knowledge regarding the background or history of this band other than the fact that my brother knew one or two of the members during his younger days while going to high school in Oakland. He more or less introduced me to the "scene", whatever that may entail. My brother basically was the shit. I have fond memories during my youth of often staying at his "house", a renovated industrial garage in west-Oakland, firing off shotguns, 22's, M80s and anything explosive in the front room while drinking beer and listening to classics from Frank Zappa, Rush, Ministry, Testament, and Primus among many others. Among these happened to be this little gem. He had introduced me to Neurosis and Yngwie Malmsteen by that point and I was finding myself digging the likes of Megadeth, Testament, and Poison Idea among others. He threw Grinch's The Blacking Factory on for me one afternoon and I subsequently have been forever changed since. For better or for worse? I'm not sure.

I rarely listen to this album to be honest. It had a inch-thick crust of dust on it when I pulled it out of my collection this afternoon if that tells you anything (damn digital media!). However, there is something about this album that still sends shivers up my spine every time I listen to it. There is something decrepit, raw, and macabre within the sound of The Blacking Factory. There is a tale to be told here and if you listen to it closely enough, it is quite a disturbing one at that. Maybe this reflects the time the album was made: the year 1992. Shit, I was a wee little squirt that year! 12 years young, if memory serves me correct... I was still running around thinking Magic The Gathering was the shit, pogs were the "new thing", and I had migrated from my BMX to a bro's go-cart (pathetic, I know). 1992 marked a turbulent and uncertain period for America: We had just witnessed the end of Reagan's reign followed by the flappant attempts of Bush Sr., the official end of communism, the Gulf War was over, a recession was knocking on our doorsteps, drug and gang-related crime were on the rise, the LA riots, the end of Thrash Metal had approached leading to the rise of Death Metal, the stirrings of "grunge" and everything "pop" infected our very well-beings (damn you MTV!)...

Sorry, not to bore you there! Just had some momentary flashbacks.
Anyways, what better climate for post-hardcore? The year 1992 was the perfect climate for this sort of music and what better place for it to be summoned other than Oakland?!

So some of you may remember that one band dubbed Machine Head? Eh, probably not. Anyways, based on an unconfirmed account it is speculated that Chris Kontos was the drummer for them when they debuted. He also went on to play in Testament, Exodus, Konkhra, and Verbal Abuse. Blah, blah, blah. It just so happens that Kontos was also in Grinch as well! There's even a rumor that local Bay Area heavyweight and percussionist extraordinaire, Aesop Dekker who runs this awesome blog here, toured with Grinch also. All in all, Grinch put out two full lengths then abruptly disbanded after a tumultuous tour in 1996.

That is all I know: Nothing more, nothing less.

...knead the muck...

Here.

FLUX INFORMATION SCIENCES - PRIVATE/PUBLIC (2001)

Flux Information Sciences were a quasi-No Wave artsy-fartsy Brooklyn band formed in the mid-90's by a Portugese/Brazilian guy and a Malagasy/French guy. Friend-of-the-blog Jumanji introduced me to their weird, twisted world some years ago via this very album, but the full impact of their off-kilter, Idiot-Flesh/Sleepytime brand of minimalist electro-punk didn't fully sink in until just recently.
Signed to Michael Gira (above right, who you might know from Swans AND a near-future episode of Illogical Contraption Radio)'s label Young God Records, F.I.S. quickly made a name for themselves in the hoity-toity art scene of millenia's-end NYC with both their chaotic live shows and fiercely primitive compositions, leaving bewildered onlookers to draw disparate comparisons to other loose cannons like Foetus, Ministry, Gang of Four, Einstürzende Neubauten, and Cop Shoot Cop. Undeniably, this is some bewildering, brain-melting shit, deserving of only your most intense and immediate attention.
PS: Rumor has it, Private/Public was recorded before a live audience who were required to stand before the band naked and blindfolded. So, uh, there's that too.

Download HERE
Purchase HERE

Flux Information Sciences on Last.FM

"Parking/Shopping":

TOO MUCH FUCKIN VUH

LOL @ this picture

I was re-watching Herzog's Nosferatu (yes, AGAIN) just the other night, and, once again, I was completely bowled over not just by the dismal/beautiful cinematography and natural wonder of the whole goddamn thing, but by the creepy, hypnotic score contributed by everyone's favorite Teutonic prog-jockeys Popol Vuh. As usual, brief ponderance morphed into lingering obsession, and today, I present you with two more droning Vuh/Herzog collabos, namely 1972's Aguirre, The Wrath of God and 1982's Fitzcarraldo. If you are looking to be utterly bummed/mind-blown by either a movie or a movie soundtrack, I can heartily suggest each of these entries--both films are super crushing in a depressive yet visually stunning way, and the swirling Vuh tapestries which accompany them are their perfect audio marriage.
Forget what you know about these two flicks. Forget Klaus Kinski completely losing his shit and driving everyone on set nuts with each successive role. Forget Herzog accidentally killing off, like, half of his crew with each movie he made from 1970-1985. Forget the fucking critical acclaim and forget the jungle diseases and forget that episode of Metalocalypse where they go all "Dethcarraldo" on the Amazonian natives.
Just soak in the dark, bummer vibes Popol Vuh is laying down for you on this rainy Tuesday afternoon, and thank sweet, sweet Odin that Hollywood still hasn't started on Aguirre 2: Pizarro's Revenge (starring Tom Hanks!) just yet... Nor Fitzcarraldo, Shot In 3D!
Some things are still sacred.


AGUIRRE OST (1972)

Download HERE
Purchase HERE




FITZCARRALDO OST (1982)

Download HERE
Purchase HERE



Also, LOL @ guy playing one ride cymbal

Popol Vuh Last.FM

STORM - NORDAVIND (1995)

Back in the early days of IllCon, I tried not to "cross streams" too much with Aesop over at Cosmic Hearse--that is, I figure anyone who reads this blog is already reading that blog, so why bother re-hashing shit that he's already covered in the greatest of detail? But hey: that was then, this is now. I don't really give much of a fuck about that kind of stuff anymore, and if there's any one album that deserves its moment in the sun here on our hallowed pages (Hearse or no), it's Storm's 1995 folk masterpiece Nordavind.

Thus spake Aesop: If you end up playing this for your non-metal-loving friend, prepare to hear one of them make a crack about the old Swedish Chef character from The Muppet Show. This would be as good a time as any to cleave them with your well-worn battle axe, and let their inferior blood stain the snow of your fatherland. Your friends are assholes, and aren't fit to be galley slaves in Storm's dragon-prowed longboat of old. If you can't enjoy Nordavind you are already dead, and Valhalla is lost to you.

Well, Valhalla is somewhat lost to you, because Uncle Aesop's link got eradicated in The Great Megaupload Cleanse of 2012. But fear not, for Cobras is rectifying his shameful negligence with a brand-new re-up today!
Storm was the ultra-short-lived project of our old pals Fenriz (left) from some band, and Satyr (below right) from some other band, who decided to get together with this chick Kari from 3rd And The Mortal to play electrified versions of Norse nationalist hymns, heavy on the simple, distorted riffs, war drums, yodeling, unbridled manfulness, and sick grooves.

Nordavind became something of a controversial album years later in Norway, when vocalist Kari decided to pursue a career in the pop-music world. You see, the "mainstream" Norse media found fault in the pagan/nationalist/anti-Christian messages she had seemingly taken part in with Satyr and Fenriz during the production of the album, and to this day she carries to lingering taint of heathen forest trolls and malevolent ice-giants.
I don't know. Look at the pictures of Satyr and Fenriz. Look at the picture of Kari. Look back at Fenriz and Satyr, then read the following paragraph.

From Encyclopaedia Metallum: After Nordavind was released, Kari Rueslåtten (left) stated in the Norwegian music newspaper Puls that when she agreed to join the project, she made sure that there would be no extreme lyrics in the songs, but then she felt betrayed by Satyr and Fenriz, because the latter one wrote a new end to the song 'Oppi Fjellet': "...en grusom død til hver en mann/som ikke hyller vårt faderland..." (...a horrifying death to every man/who doesn't hail our fatherland...) and "...om du noengang lukter kristenmannsblod/oppi fjellet, oppi fjellet/ja hent øksa og hugg dem ned/oppi fjellet, oppi fjellet" (..if you ever smell the Christian man's blood/up in the mountains, up in the mountains/then get your axe and chop them down/up in the mountains, up in the mountains). According to Kari "I reacted very strongly when I heard that they had changed the lyric, but I wasn't strong enough to say no. Now I want that people shall forget this. I feel totally crushed, and I feel that I have lost everything but people must accept that I have made a mistake. And they have to see me as the person I am, as the artist I am. I don't want to be punished more than I already have been punished through this".

Good luck with all that, Kari.

The Viking murder anthem in question (my JAM):



Download HERE
Purchase HERE

Metallum/Last.FM

No Visible Scars

As my esteemed colleague, Judge Shredd, mentioned below, We are in the end times. You only have to look at the economic and environmental situations across the globe, the rampant crime and disease rates, mankind has run its course. Mother Nature isn't too happy anymore and Megaupload is gone. We are facing extinction.
During these bleak times you need bleak music to soundtrack those last few heartbeats and breaths escaping you as the world slows down.
No Visible Scars managed to gain my attention with the 1970's/80's Giallo/Exploitation/Porn inspired artwork and imagery, they're love of the timeless C-90 tape,  and the fact quite a few of the digital releases are free. Most Illcon followers should be able to relate to one of those. I decided to give a heads up on a few of the releases worth investigating.

Elders Of The Apocalypse - The Law Of Iron (2011)

Get it

Nasty and ragged, thrashy death metal by guys with nasty names such as Plague Bearer and Sadistik Slayer. I guess the term "war metal" suits this best. I can hear elements of Kreator and Sodom in there alongside some  Bestial Warlust black noise and a slew of suitably apocalyptic samples. Awesome cover art included.

Nightbitch - Sex And Magic promo (2010)

Get it

This is the one I have been digging the most. Comprising the smooth pipes of that dude from Hour Of 13 with some total NWOBHM riffing crossed with proto-Doom jams. THIS SHIT ROCKS. This was a 3-track promo for the EP of the same name. They don't seem to have much else available but they have connections to a whole host of other bands according to Encyclopedia Metallum.

Poison Tongue - Lick You Sweety (2010)

Get it

That cover seem pretty attractive doesn't it? Bit more left field this time. Poison Tongue is Giallo/Exploitation inspired noisescapes. Its not full on harsh noise ( though it gets plenty harsh in places) but more ambient and unsettling due to the schizophrenic changes in volume and pacing. Kind of like those quiet bits in between Goblin freak outs crossed with Beherit's noise tendencies.

There you go gang. They have the usual places online here and here. I'm digging this label a lot recently. You should to.