Street date: 2020-12-31

The result of a day-long improvisation in deep dark south London, Furrier is the psyched out child of Daniel O'Sullivan and Antti Uusimaki from Mothlite plus Alexander Tucker, Jussi Lehtisalo (Circle), Dave Smith (Guapo) and Arrtu. Emerging from the hashclouds, and the smattering of Fins and Englishmen chatter, is a cavernous vista of blissed kraut-rock, stilted metal drifts and humming electric temples. These all bubble underneath the deep psyche vocal duets provided by O'Sullivan and Tucker to create what can only be described as a hairy monolithic beast. Furrier is an album bathed in its own entrancing astral shade.

Street date: 2009-06-15

Burial Hex presents two works here, following up on the critically acclaimed Initiations CD and 2LP of 2008. The first track 'Go Crystal Tears' is the first outing for the new Burial Hex sound and highlights influences such as 80's horror synth master John Carpenter and Goblin coming to the fore and blending with the almost black metal vocal style and "horror electronics" so successfully developed on Initiations. The second track 'Temple of the Flood', clocking in at a more usual 14 and a half minutes, is one of the final old-style Burial Hex tracks and proceeds in a style reminiscent of previous works with heavily processed analogue electronics and synths up until around seven minutes in where things take an unexpected turn with eroding layers of primitive percussion, water drops, and almost Martin Denny- style exotica piano runs before ending in a deluge of sub bass and redemptive church organ. Zola Jesus expands on the works presented on the 7inch releases with a 19 minute track that blends all the trademark sounds of this young Madison genius. Nika (aka Zola Jesus) plays and writes all her own material, though is joined here by Dead Luke, who also plays as part of the Zola Jesus' live sound. Nika's voice, reminiscent of a teenage Diamanda Galas or a more deranged Beth Ditto, soars and wails within an ever changing cloud of pulsing synths and analogue electronics up until the eight minute mark where a naive electronic drum pattern kicks in and is joined by a warm synth line. For some minutes the track takes a tuneful No Wave turn before gradually shifting again into a darker and more menacing beast. This is stunning stuff - expect more from Zola Jesus on Aurora Borealis in the future.

Street date: 2009-05-18

The Shaking, Waking LP consists of two lengthy tracks: 'Tidal Blackness' is a 23 minute cloud of improvised guitar and bass drone, underpinned with sparse percussive elements and dappled with the rays of ethereal melodies. This track, recorded live in Oakland in 2008, represents the more gentle side of Heavy Winged in some ways and is largely soothing. The second side harbours 'Morning Flesh', 18 minutes that veer towards the caveman Krautrock of the recent Alive in my mouth LP, drums pounding, Neanderthal guitar chugging, though with a melodic haze drifting across the musical landscape like a lysergic mistral, leading the listener ever further into the shifting sands of the forbidden zone. Heavy Winged have set the controls for the heart of the unknown.

Street date: 2009-05-18

In the time since the release of Kosmies Slachtafval, Silvester Anfang have grown into SYLVESTER ANFANG II, a more psychedelic beast, a more tangible creature in some ways, but one that defies and confounds standard classification. With cultish numbers swollen with new blood in the guise of Stef Anus (Kiss the Anus of a Black Cat), Father Sloow (Sloow Tapes pontiff), Bram (Ignatz) and Clay Ruby (Davenport, Burial Hex ), the sound is much fuller and more reminiscent of Krautish dope jams then ever before. Ruby's vocal additions create a whole new universe for the band, rather like if Dr. John had been born in a plague pit in Flanders, and the resulting tracks "The Devil Always Shits in the Same Graves" parts 1 & 2 are masterful examples of Flemish voodoo boogie. The new material is more hypnotic than before, and the band are sure to add new members to their fan cult as they slink across Europe like a fog in the coming months. Sure to upset parents and upstanding citizens with their occult themes and liberal European- style artwork, SYLVESTER ANFANG II reach new levels of consciousness with their mantras of goat worship and the orthodoxy of denial that states "Only analogue is real". Dust off your robes, sharpen the sacrificial blade, order in some Trappist beers... Tune in, turn on, evolve.

Street date: 2009-03-23

K11 is a project of Italian sound/installation artist Pietro Riparbelli that deals with the world of radio signals, trans-communication and other invisible phenomena. Voices from Thelema is an instrumental trans-communication action with short wave radio receivers realized inside Thelema Abbey in Cefalù, October 14, 2007. The ruined building stands derelict and on the verge of collapse, though still holds many secrets and has been a focus for much counter cultural activity since its foundation by Aleister Crowley in 1920 as a religious centre and commune where he could instruct disciples in his emerging Thelemic religion and systems of magick in a rural atmosphere, far from the overpowering prevailing morality of England. Activities included meditation and ritual magick, as well as the sensationalised drug taking and sex magick. The wall of many of the rooms were painted with fantastic murals by Crowley himself, depicting many of the elementals and demons encountered in his magickal exercises, and the remains of many of these adorn the accompanying booklet. After being ejected from Italy following scandal and outcry over the goings on at the Abbey, the walls were whitewashed and destroyed. Filmmaker Kenneth Anger, himself a devotee of Crowley, later uncovered and filmed some of its murals in his film 'Thelema Abbey' (1955), now considered lost, and the Abbey has been a place of pilgrimage for many ever since. K11 now revisits this site and seeks to uncover the genius loci, the very essence of the building itself, to reach out into the ether and construct meaning and reality from that which is beyond our grasp. The three tracks are the result of this work and, each bearing titles of Thelemic significance, can be said to hold the essence of all that remains at Cefalù, like the background radiation that tells of the Big Bang. DO WHAT THOU WILT SHALL BE THE WHOLE OF THE LAW

Street date: 2009-03-23

The band's second album, II:Ruined, is a massive, monolithic, introverted chapter of audial suffering and torment. It sees Atavist plunge further into the audial abyss by incorporating more layers and substance to their art (not unlike the way Japan's Corrupted portray their immaculate aesthetic). Heavier, more diverse, intricate, and melodic, II:Ruined is just that; an unforgiving observation of self-reflection, repentance, and desperation. With guest performances from Justin Greaves, (ex-Iron Monkey, Crippled Black Phoenix), and dark folk/rock/doomster Rose Kemp, (whose 'Unholy Majesty' LP saw release in 2008 on Aurora Borealis), II:Ruined is a decidedly darker beast, lurking in the shadows, evading the casual listener and rewarding the devotee.

Street date: 2009-03-09

L'ACEPHALE return with Malefeasance, a lengthy and complex affair that further explores their fascinations and strikes headlong into the darkest of musical vistas. The journey this time is perhaps even more academic: further ethnographic audio elements are now present, more spacious passages, a deeper approach. The album begins with 'Vainamoinen Nacht', a distinctly ambient and largely gentle piece, as warping tones begin to collide with the intoning of the Eddas and Slavic choirs. 'Hitori Bon Odori' continues themes found on Mord und Totschlag, repetitive acoustic riffing, joining with vocal chants and some executioner's snare rolls. 'A Burned Village' is a more Black Metal track, slow martial drums and staccato riffing, with layers of vocal and even some aetherial keyboard. Perhaps these last two tracks best show the nature of Set Sothis' collaborations with Markus Wolff (Waldteufel, Crash Worship ), sharing some of his vocal and percussive styles. 'From A Miserable Abode' takes us into more familiar L'ACEPHALE territory as droning distorted guitar is swallowed gradually and ineffably under panning layers of shrieked vocals, swathes of electronic noise and maelstrom before passing over into Tibetan ritual music like some horrific and excoriating funerary rite. The second disc begins with 'Sleep Has His House', a near 15 minute track of feedback scree cut through with repetitive heavy handed strumming and culminating in a curiously intoned vocal piece that recalls prime SWANS. Album closer 'Nothing is True, Everything is Permitted' is a knowing 23 minutes with some of the quietest moments on the album, as dreamlike interludes pass into arcs of harsh noise followed by acoustic guitars before once again entering the dream state, a field recording from beyond consciousness.

Street date: 2009-02-23

Hailing from grim Wisconsin, WORMSBLOOD have honed their craft since 2002 on solstice and eclipse. They create BLOOD SORCERY = Progressive Blackened Stenchcore. In The Stars is a tumultuous sonic cauldron overflowing with elements of true metal, noise, black metal, field recordings, free folk and eye of newt. Littered with occult references and clearly a work of some intelligence, In The Stars baffles the listener as it drags them through the bleak Oshkosh woods in a lysergic Wild Hunt: from the ritual / field recording sounds of primitive percussion and the united voices of animal and man that give way to epic riffing and the deranged vocals of opener Thundercall, its clear that these kids didn't have a lot of friends at school. Sabbath-esque riffs, putrid thrashing, animal howls, primitive blast beats, cheap keyboards, broken throat vocals, necro production, guitar solos, abyssic noise, and a theatrical sensibility for the epic make WORMSBLOOD defy attempts to pigeon hole. Nay, they take the pigeon, sacrifice it on a primitive wooden altar to the spirits unknown and stuff the corpse in your hole. "Outsider Black Metal" seems to be the best match, but In The Stars is so much more.

Street date: 2009-01-26

The band have an established cult following and this is their first full length CD release after limited CDRs. For fans of Neurosis, L'Acephale, Enslaved, Blood Of The Black Owl, Horna, Behexen, Wolves In The Throne Room, Ulver, Velvet Cacoon... CD will be packaged in a black arigato pack with dark grey print and inside is a four page insert. Gorgeous heavy weight, elaborate cardboard packaging.

Street date: 2008-11-17

Rose's unique, powerful vocal is sometimes operatic, sometimes fierce but always haunting. Her musical style is extremely difficult to categorise, being both folk-esque and heavy rock in style. Neither description sums up this exceptional album. Woven together with multi-hook harmonies and quality instrumentation, this album slowly buries itself under your skin. Lyrically the songs are compelling and their content is mysterious but backed up with heavy rock guitars, oversized drums, old synths and organs, the songs are infectious and thought-provoking.

Street date: 2008-11-03

Totally heavy, very psychedelic, and utterly sunkissed this is the sound of New Age Doom & Occult Desert Rock. JOURNEY TO IXTLAN are an anonymous badass rock band of desert dwellers, in some cases living outside the law at the very margins of society, who converge infrequently to render their physical surroundings in psychotropic sound. Their heavy sound owes as much to Doom Metal as it does to Psychedelia, as much to Now as it does to Then, as guitar, bass, drums, keys and vocal chants intertwine like shamanic smoke. To listen to JOURNEY TO IXTLAN is to participate in a ritual out of time, to tread the path of Don Juan, to lay on the mesa as a 'man of power' and be touched by the sun at the heart of the cosmic stage.

Street date: 2008-10-20

Loud and proud, Rye Wolves hail from the murky depths of the southern Willamette Valley of Oregon, USA. Oceans of Delicate Rain is their first full length recording and showcases the band's extraordinary talents at songwriting and musicianship across all that is heavy. From canyons of psyched-out doom into stratospheric bottom heavy spacerock, Rye Wolves traverse a globe swathed in oceans of discordant metal and mountains of math rock. Being only three strong, (Robin McDougall: guitar and vocals, Abram Hurd:bass and vocals, Gabe Morley: drums), Rye Wolves is truly a group effort with all members equally contributing to the crushing audio barrage. Rye Wolves are one of those rare bands who manage to both challenge and entertain the listener by turns. From the ferocious opener 'Frank Miller' to the subtle menace of 'Blood Moon' and on to the epic 11 minute long 'No Matter' that closes the album, Rye Wolves bring a mixed palette of the ultra heavy with complex and demanding sounds and time signatures, and a living, breathing vitality of essence. With mastering duties provided by master of the art James Plotkin.

Street date: 2008-09-08

A Feral Spirit takes the journey further into the heart of the forest. Combining Native American shamanic influence and the Germanic nature worship of Chet W. Scott's own heritage with an entirely transcendent musical vision, Blood Of The Black Owl gives praise to the spirits of nature and the unspoken bonds that tie man, beast and environment. With elements of doom metal, ambient, ritual and native musics in evidence throughout the album, Blood Of The Black Owl involve the listener in a timeless and spiritually expansive journey of discovery, evaluation and reflection over the course of the album's 73 minutes. "A personal cleansing woven through audible passages of earthbound ritualistic transcendence"...

Street date: 2008-08-25

Aurora Borealis proudly present this split seven inch between Burial Hex and Silvester Anfang. Burial Hex, who conjure all sorts of imaginings - nocturnal rites, lonely vigils with archaic analogue equipment, moonlight and madness - bring us the first track. They stun the listener with the ultra harsh yet brutally rhythmic 'Throne'. Screaming vocals and sheer cliffs of noise and feedback fight with a thumping pulse and total necro power electronics. The other side sees six minutes of pure heavy psychedelic guitar mantra from Silvester Anfang, with an increased line-up now including Ernesto of Bear Bones Lay Low. Silvester Anfang, who are the Funeral Folk collective gathered in a free folk drone band, mix together pounding drum patterns, multi layers of ethereal vocals, analogue synth and soaring wah guitar. They shred your mind as you are taken into new realms with 'Offerbloed Van De Maansekte' (or 'Sacrificial Blood Of The Mooncult' to the non- Flemish speakers). This is a total trip!

Street date: 2008-04-07

So here it is: The Seventh Goodbye, the debut full-length album from 23 year old Ben Nash. Clocking in at 34 minutes, its not an overly long album, but rather one that demands repeated listens, a collage of so many layers, patterns and textures so as to be as dazzling as the plumage of the finest peacock in paradise. Musical elements as diverse as folk, raga, Eastern percussion, drone, prog and noise collide and coalesce as the album unfolds, with each of the eight tracks providing new twists and turns, and never an element out of place. That this should all be the work of one man is quite astounding, and its clear that comparisons with Ben Chasny and Voice Of The Seven Woods are more than mere flattery.

Street date: 2008-03-24

Initiations, the debut recording for Aurora Borealis, is a lengthy proposition. Clocking in at one hour thirteen minutes, it represents a journey, a metaphysical odyssey of uncertain outcome. From the psycho-religious clamour of "Will To The chapel" with its jihadic cries, through to the somnambulant, subterranean oscillations of "Eight Pentacles", the way ahead is far from clear, the atmosphere claustrophobic and threatening. "The River Of Los" showcases a new breadth of vision for Burial Hex with layers of undulating analogue synth and gentle percussion, an opiate addled take on the horror electronics hinted at previously, and perhaps an indication of things to come. This long track takes the listener on a river journey, part Apocalypse Now!, part Orpheus in The Underworld, submerged in Carpenter's dense Fog, slow moving discomfort and ague. The album ends with the half speed collisions, static miasma and white noise squawl of "Bo -II- Ne", the listener deposited on shores unknown, prostrate at the feet of the infinite mystery.

Street date: 2008-01-28

Split TenhornedBeast / Marzuraan release. From deep within the hinterlands of northern England the TenHornedBeast is rising. Widely known for his 1990's work with English dark-ambient occultists Endvra Christopher Walton has let loose a new malstrom. Powered by biblical prophecy and oppressive volume TenHornedBeast stalks the neither-neither world between sound and invocation. "The Law Of The Needle" is a work of intense power and intelligence, carefully constructed for maximum effect on the attentive listener. Repeated listening reaps great rewards. Marzuraan pull out all the stops with their best recording to date. Drawing on all aspects of their previous work and building on their 2006 Solid Wood LP, "Into Countless Battles" sees the band in a hazy fog of narcotic bliss, swathes of warm guitar, droning arcs of bass and buried vocals: this track should never end.

Street date: 2007-12-03

WOLFMANGLER is the musical vision of Polish revelator D Smolken, formerly of DEAD RAVEN CHOIR. His music is slow, grim, noisy and shambling, a deconstructed hybrid of twisted folk and hinterland doom metal. Bowed double bass, electric bass, flute, French horn and violin merge with sinister growls and whispered vocals rich with the symbolism of life and decay creating a listening experience at once unsettling, twisted and darkly beautiful. Dwelling In A Dead Raven For The Glory Of Crucified Wolves takes his trademark raw buzzing intensity and pushes it even further down an uncharted thorny overgrown path creating a wall of noise that almost seems to suck the air out of the room, leaving a festering rotten discomfort - a real sonic alchemy - creating oil from sound.

Street date: 2007-11-19

Recorded live and under ritual conditions, Oriflamme was Wraiths' first creation. The insanely limited CDr release was quickly consumed by collectors of the truly profane and now this vinyl presentation has been ordained by the ghastly monks themselves in conjunction with Aurora Borealis. Blackened death-ambient drone meets howling, metallic noise. Over their short period of activity, Wraiths have released two well-received CDs (with glowing reviews from Terrorizer, The Wire, Rock-a-Rolla and Aquarius Records) and have played live with acts as diverse as The Law-rah Collective, High On Fire and Chicks On Speed; producing ferociously loud sonic blasphemy wherever they can set up their arcane devices.

Street date: 2007-09-24

The first thing to assault the listener is Smolken's disregard, nay contempt, for the concept, practice and orthodox theory of recording levels. In his own words "Everything was recorded using a Polish stereo microphone from the 1970s, mixed and mastered using headphones of roughly the same age and provenance and a more modern pair of PC speakers which I got for free from a guy who paid about $6 for them." The instrumentation is similarly basic, being entirely bass centred, be it the double necked electric bass guitar of which Smolken is so fond (though he is now the proud owner of a triple necked model...), or the more traditional bass fiddle. "I already knew from working with Wolfmangler that metal sounds better without guitars. Cleaning up the arrangements made things clearer and heavier." Raw, violent and organized, My Firstborn Will Surely Be Blind grips the listener immediately and threatens to overwhelm them with its brute force and unique sound. Smolken has transcended the avant-garde and moved beyond..

Street date: 2007-08-28

The Other Side Of The Island is the soundtrack to the sculptural works collected under the same name, both being the work of David J Smith. In addition to his percussion duties with Guapo, Smith has spent the last two years bringing his visions to life; life that emerged slowly, painstakingly, out of wax, coal, copper and lead. In much the same way, the soundtrack itself slowly writhes organically before the listener: the groan of the motherlode, the shifting of tectonic plates, the song of the Earth's crust. In collaboration with longstanding musical cohort Daniel O'Sullivan (with whom Smith plays in Miasma & The Carousel Of Dead Horses) and audio engineer Antti Uusumaki, Smith has created a strange work comprising of layered vocals, percussion, electronics and prepared strings. The Stargazer's Assistant offer up the soundtrack of eternal, elemental labour.

Street date: 2007-07-30

MOSS return with their debut full length, Cthonic Rites. A mighty slab of extreme Doom from beyond, a paean to the Elder Gods. Managing to pack two entire tracks into the 66 minutes, MOSS redefine torturous with a larger, more cosmically heavy sound with Jus Oborn (of Doom masters ELECTRIC WIZARD) taking production duties. Though each track retains the monolithic simplicity of a Martian pyramid, the production somehow increases the scope of the trademark MOSS wall of distortion and despair. MOSS create the heaviest and most tormenting extreme doom in existence. An expression of horrific bleakness and mind-numbing desolation through an otherworldly odes to madness, H.P.Lovecraft, and altered states. This is the band's second release for Aurora Borealis. "Cthulhu fhtagn"

Street date: 2007-06-18

Acéphale; from the Latin a-cephalus, headless or without a chief. Taking their moniker from George Bataille's political and cultural journal from the late 1930's, Portland, Oregon's L'acephale have created a ritualistic totem that stands as "a war machine against received ideas". Formed in 2002 and conceived originally as a one man project, Set Sothis Nox La birthed a sonic Lusus Naturae of Herculean proportion, taking equal inspiration from the current wave of Eastern European black metal (including Drudkh & Hate Forest), the more experimental approach of post-industrial neo-folk (Waldteufel, Toroidh etc.) and cultural writings & philosophies from neo-paganism through to the surrealism of the Inter-War years. Following on from other USBM ubermensch like Weakling, Wormwood, Leviathan and Wolves In The Throne Room et al, L'acephale create a heady brew - blasting whirlwinds of frenetic energy combine with more measured and eerie passages to create something potent, original and devastating. Housed in glorious deluxe packaging.

Street date: 2007-05-21

Silvester Anfang hail from Flanders, channelling an ancient spirit of blasphemous anarchy, transposing the nameless fiends of yore as free-flowing ritual psych occultic Flemish rock. Kosmies Slachtafval (trans. "kosmic slaughterhouse sweepings/debris") sees Silvester Anfang in dark, post-krautrock, heavy jam mode: guitars, bass, keys, flute and percussion combine with vocals to create a doomy funeral psych rich in the textures of ritual and worship. Through a series of cassette tapes and CD-r's released in micro editions, the arcane Belgians have garnered a fearsome and mysterious reputation for dark intense musical outpouring and idolatry. We are very proud to foist their first ever full length compact disc release onto an unsuspecting public.

Street date: 2007-03-12

The Sundown/Sunrise EP picks up where 2006's Silver EP left off, this time taking two songs and stretching them out over 35 minutes, mixing the bittersweet melody with huge swathes of oceanic drone and minimilist electronica - this is by far the most accomplished and ambitious that Jesu have sounded to date.

Street date: 2007-02-26

Threatening collaboration taking in parallel worlds of Extreme Computer Music and Black Metal. KTL is Stephen O'Malley (SunnO))), Khanate) and Peter Rehberg (PITA). A six part collision amongst the increasingly fading presences between the light and the dark, with some pieces recorded during a thunderstorm at night in a castle as well in glorious sunshine in a wintergarden. The collaboration came about as the two were working on a theatre production by Gisele Vienne and Dennis Cooper, entitled Kindertotenlieder.

Street date: 2007-02-12

Like Various Production, Knives Ov Resistance eschews the cardigan and commune imagery of folk revivalists in favour of a darker more contemporary take. Despite incorporating elements of hip hop turntablism, Knives' noir/folk contains no beats whatsoever - just pastoral swells, buzzing stringed bliss, layered samples (from birdsong and choirs through to blankets of the indistinguishable) and electronic fuckery... Amongst their members are Spykidelic - who combined guitar textures and hip hop breaks in his late 90's Lo Recordings project Echo Park and Demian Castellanos; responsible for the excellent Orichalc Phase and Mesma EPs on DC and Static Caravan respectively. A stunning piece of folk-concrete, or as dance mag One Week To Live stated "the sound of hip hop envisaged by druids and played by Popul Vuh."

Street date: 2007-02-12

Spawned in a city of cess, VILLAINS (an apt moniker fo' shizzle) deliver up their debut full length. Eschewing decency, production values, hygiene and good taste, this is music played by drunk heshers for drunk heshers. Songs about drinking, women, violence and drugs. Hearing this album for the first time creates some false sense of deja vu - Do we know these songs? Is this some long lost demo from a Chilean proto-thrash band from the 80's? Nope, all those wasted years on Mad Dog and meth must be catching up on you, Brah. Just relax, break a few bottles against the wall and drench yourself in the poisons. "This record smells like a bar mat" Stewart Voeglin, Oaken Throne issue 4

Street date: 2006-11-20

Wishing to forego the amplifier worship of previous projects, the trio set about using acoustic instruments to create a meditative and different kind of "heavy" musical landscape filled with the drone of traditional Indian Harmonium, Tamboura and Sruti Box alongside bowed and plucked guitars and layers of wordless voice. The resulting four compositions are powerful, reflective and extremely beautiful. The inspiration for this session came from the soundtrack work of Popul Vuh for the films of Werner Herzog and Alejandro Jodorowsky's collaborative music for his films from the early 70's along with more modern artists like Ben Chasny's 'Six Organs Of Admittance' and Jack Rose's Pelt. The sleeve features a drawing by Alex Tucker (himself an acclaimed comic artist) based upon an illustration by Russian Folk Artist Ivan Bilibin from the fairy tale "Vassilisa The Beautiful", and the inserts were created by all the band, making a cohesive package reflecting the mood and tone of the recording.

Street date: 2006-11-20

Two compositions from London based progressive avant-rock pioneers Guapo, and the first new material since their Ipecac debut Black Oni. The material was originally released as a 7 inch limited to 200 copies and Aurora Borealis made it available as a CDEP edition of 500 copies. The first track is very contemplative and structured around piano, and will come as a surprise to people who think of Guapo as some bombastic prog behemoth, while the second track is a more brooding, percussive track along the lines of what the band are known for. A tantalising glimpse of what is to come from this ever-evolving, ambitious band and a lovely little artefact for those that were impatient for the forthcoming album on Neurot Recordings

Street date: 2006-11-12

WOLFMANGLER is the musical vision of Polish revelator D Smolken, formerly of DEAD RAVEN CHOIR. His music is slow, grim, noisy and shambling, a deconstructed hybrid of twisted folk and hinterland doom metal. Bowed double bass, electric bass, flute, French horn and violin merge with sinister growls and whispered vocals rich with the symbolism of life and decay creating a listening experience at once unsettling, twisted and darkly beautiful. Dwelling In A Dead Raven For The Glory Of Crucified Wolves takes his trademark raw buzzing intensity and pushes it even further down an uncharted thorny overgrown path creating a wall of noise that almost seems to suck the air out of the room, leaving a festering rotten discomfort - a real sonic alchemy - creating oil from sound.

Street date: 2006-03-20

MOSS return with their debut full length, Cthonic Rites. A mighty slab of extreme Doom from beyond, a paean to the Elder Gods. Managing to pack two entire tracks into the 66 minutes, MOSS redefine torturous with a larger, more cosmically heavy sound with Jus Oborn (of Doom masters ELECTRIC WIZARD) taking production duties. Though each track retains the monolithic simplicity of a Martian pyramid, the production somehow increases the scope of the trademark MOSS wall of distortion and despair. MOSS create the heaviest and most tormenting extreme doom in existence. An expression of horrific bleakness and mind-numbing desolation through an otherworldly odes to madness, H.P.Lovecraft, and altered states. This is the band's second release for Aurora Borealis. "Cthulhu fhtagn"

Street date: 2006-01-23

FUNGAL HEX was a collaborative installation by Brooklyn, New York artists: Aaron Cantor (sculpture), Fritz Welch (illustration), Stephen O'Malley (sound & print design) and Rylan Morrison (text). Originally presetented by The Foundation and Center for Contemporary Arts Prague, the show was shown at Galerie Jeleni, Prague between October 29th 2001 & December 5th 2001. This double 45rpm picture disc edition aims to recreate some of the aesthetic of that exhibition. Sonically, O'Malley (SUNN O))), KHANATE, GINNUNGAGAP) displays a more mellow, experimental side, with each track consisting of drones, ambient waves and subtle guitar work. Eerie scraping sounds drift in and out, and the general feel is unsettling. This work represents a very different side to the volume based, mammoth drones of SUNN O))).

Street date: 2005-11-28

7 trks,43 mins. A grimm missive from the burgeoning US Black Metal scene. A bloodied and hectic attack from the one man Bay Area machine trapped in darkened picture disc nightmare.

Street date: 2005-10-31

Aurora Borealis present "Protected by the Ejaculation of Wolves", a split CD with 2 tracks from UK extreme doom gods MOSS and 5 from WOLFMANGLER, US based Polish forest doom malcontents. MOSS was formed in Southampton in mid-2001 by three disturbed individuals, wishing to document their sick thoughts and macabre visions onto tape via the medium of discordant, torturous extreme doom metal. Bound by hatred, disgust and despair, MOSS create the heaviest and most tormenting extreme doom in existence. An expression of horrific bleakness and mind-numbing desolation through an otherworldly dirge. Grim, primitive, nihilistic...fukked up and eternally doomed. WOLFMANGLER is the musical vision of D Smolken, a Polish political emigre, formerly of Dead Raven Choir. His music is slow, grim, noisy and shambling, a deconstructed hybrid of twisted folk and hinterland doom metal. Bowed double bass, electric bass and violin merge with sinister growls and whispered lyrics as WOLFMANGLER improvise dissonant doom riffs around lyrics taken from Hank Wiilams Jr, Georg Trakl and others, rich with the symbolism of life and decay.

Street date: 2005-10-31

INTEGRITY came into existence in the second wave of American Hardcore in the late Eighties. Eshewing the crewcuts, sportswear, and youthcrew positivity of their peers, The Cleveland combo set out on an altogether different path. Combining the anger of hardcore with imagery and demon-conjuring of Slayer and Black Sabbath, INTEGRITY were altogether a more evil beast, inspiring love and hatred in equal degree amongst an increasingly narrow minded scene and their conservative musical tastes. The particular show documented here in limited edition blood red vinyl, is the stuff of true infamy - the one where the "kid got stabbed" (allegedly) and the one where "Dwid shot someone" (allegedly). As an archive recording, you are not gonna get studio trickery, overdubs or pristine performances mimicking the studio album's sounds perfectly. What you are gonna get is the definitive lineup of one of the greatest hardcore bands of all time showing you exactly why, some 13 years on, INTEGRITY still live on. And how they inspired the legions of "metalcore" bands that came thereafter. The Dawn Of A New Apocalypse indeed.

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The White Daughter project serves to exorcise the demons of Bridge & Tunnel in a way. We have gone down the route of collaboration with others and found that it doesn't really work for us. We are best as a duo. We are very, very different as people but we have a sonic understanding between us that is very unique - almost perfect - and the 'opinions' of others just get in the way of the sexy magic? "'Stiff With the Invisible' is a goth album. It's also a bit country, a bit rock n' roll but it remains resolutely gothic in its intent. We're blue jean Goths prancing through sun dappled civic cemeteries, beckoning the end of days with a sigh, a whisper and a tear."- Nathan Bennett (White Daughter)