I highly doubt there are many people out there who ever thought they'd see the day that Amebix would reform, much less that said day would arrive more than 20 years after the band's initial demise… but indeed that day did come. Rob "The Baron" Miller and his brother Stig joined up with new drummer Roy Mayorga (it seems absolutely inconceivable that Amebix, of all bands, would ever share a member with Stone Sour, but let's not forget that Mayorga got his start with Nausea, who – along with Amebix – are probably amongst the top five most noted bands associated with the "crust punk" genre) in 2008, and a few years later this EP, "Redux" (from the legendary Profane Existence), sees the (even more legendary) band revisiting a handful of classic tracks.

Despite having been a longtime Amebix fan, I have to confess that when I found out this EP was going to consist solely of re-recorded material, I was a little disappointed. In some ways the band may be overlooking just how good their original work sounded "back in the day". Those old school recordings have such a weird sense of distance to the mixes, and a truly unique ruggedness that always played a significant role in the feeling of their work. So, do I think this was necessary? Nah. But that being said, I've been very pleasantly surprised by how good "Redux" is. There's absolutely no denying that these re-recordings are instantly identifiable as Amebix. For the most part they've stayed well true to the original arrangements and really do seem to simply be using modern technology to bump up the overall clarity and atmosphere of the compositions. The guitars are heavier and much more focal, but they haven't restrained any of the noisy textures or ringing dissonance, and the basslines are still fucking outstanding (and hugely prominent) – as are the vocals. The biggest change is that eerie synths (which are generally very tasteful) add subtle melodies or ambient soundscapes in far more obvious fashion here. This is only questionable during "Chain Reaction" (from "Monolith", easily my favorite Amebix release), which is the one track that feels ever so slightly "off" to me, as it's been slowed down and saturated with keyboard melodies that alter the original vibe of the piece more than I'd prefer. Perhaps they also went a little overboard with the intense reverb on its vocals. "Winter" sounds totally stunning, though: I think I could even argue that this rendition's better than the original!

The digital download version of the release includes a live rendition of "Progress?" as a bonus/preview for the band's forthcoming live album/DVD, which sounds shockingly awesome. It's well-documented that I almost always hate live performance recordings, but this shit sounds damn near as convincing as the three studio cuts. I'm impressed. When all's said and done this EP has me very eager to hear the new full-length the band is working on, so it certainly does its job…

Amebix "Winter" (excerpt)

The 12" comes with a download card (which means you'll be able to get the bonus live track) and a 5" x 6" embroidered patch, so… the vinyl kinda trumps the CD in terms of physical copies here.

Purchase:

@ Profane Existence (12")
@ Profane Existence (CD)
@ Amebix (mp3)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

Gods and Queens' latest untitled effort comes to us from Italian label Sons of Vesta, and sees the band unloading six more title-less tracks (one of which is an awesome cover of Quicksand's "Head to Wall") in just under 16 minutes. Overall I'd say this material is very comparable to their debut, just with slightly shorter songs, so expect a moody fusion of indie/noise rock interspersed with guitar textures that some would probably characterize as "shoegaze", and maybe even a little "emo" in the melody department (and I mean no offense there). It's also entirely possible that many, including the band, might say I'm completely full of shit and off the mark there, who knows? I know I'm not familiar with a lot of the influences these guys are building from, but… I really like what they do, and that's what it sounds like to my ears. The natural warmth of the recording accentuates the pulsing rhythms of the lightly fuzzed basslines and dry percussion, the subtle textures and intricacies of the angular riffing, and the way vocals are mixed right in alongside the instruments, and you can't complain about any of that. Once again I look forward to hearing more. Check 'em out for yourself and make your own assessment…

Gods and Queens "Untitled 8"

The vinyl's limited to just 500 copies, so act fast if that's your chosen format…

Purchase:

@ Gods and Queens (12")
@ Sons of Vesta (12")
@ Robotic Empire (12")
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

If you support the band/label with a digital purchase, you won't get the Quicksand cover. However, the EP's also available as a free download, so you can always score the added track that way:

[DOWNLOAD] Gods and Queens "Untitled 2" (@ Sons of Vesta)
[DOWNLOAD] Gods and Queens "Untitled 2" (@ Gods and Queens)

Add another release to the list of reasons why I love the Finnish hardcore scene! This cooperative effort between Killing the Legacy Records and Poolside Records sees Ill Omen teaming up with Get Stitches! to offer up two songs apiece for about 12 minutes total of high-quality, no bullshit metallic hardcore. Ill Omen kicks things off with their strongest material to date, spicing up standard doses of power chords with loads of thrashy picking patterns and hints of subtle melody that lend a slightly more metal-based feel to a good chunk of the riffing. Get Stitches! then follows with a similar approach that leans more heavily on chugging midpaced grooves and carries a bitter sneer to the vocals, not to mention a really crisp recording that works well for their straightforward style. They do occasionally layer in some additional guitar work or suddenly break into a fast-paced charge of thrash, but the overall vibe is definitely one of straight up, traditional metallic hardcore in the NYHC type of vein. I hate to keep this so brief, but the material cuts to the chase and speaks for itself. Both bands make a great showing here, and I'd love to hear more from each of 'em…

Ill Omen "Dear Friends" (excerpt)
Get Stitches! "80 Cent Days" (excerpt)

The 7" is limited to just 300 copies, so I'd imagine it will sell out sooner than later. If you're interested in scoring a copy, contact the bands/labels via the links above to inquire about ordering information while you still can!

Bastard Sapling – from right here in Richmond, VA – started out as a one-man band in 2007, and has now grown to include members of Inter Arma and Battlemaster in its five-piece lineup. "V: A Sepulcher to Swallow the Sea", is their latest output: A 10-minute, two song (technically one song divided into two parts, I guess) 7" released by Tension Head Records (a label so underground I still can't find so much as a MySpace page for 'em). This is actually my first exposure to the band, referred to on their MySpace page (probably jokingly) as "typical Richmond black metal". I didn't know there was such a thing, but that phrase absolutely sounds like something you might overhear someone from Richmond say about a local black metal band, ha. And that's especially amusing because, if this is "typical Richmond black metal", I'd love to hear the rest of the bands doing it, 'cause this is some fuckin' great material! They're not trying to reinvent the genre or push the boundaries per se, and that's absolutely fine. In fact, that's a good thing. This is generally what I want black metal to sound like: Blasting percussion, rugged tremolo picking and pounding midpaced rhythms with just the right amount of dissonance, audible bass, viciously snarled vocals with a hint of reverb creating depth in the mix, a recording that's neither overly raw nor remotely polished, and songwriting that creates a certain sense of feeling/atmosphere. Just solid, straightforward, true to form black metal. This is awesome. Apparently they're working on a full-length now, and I'm really looking forward to hearing it.

Bastard Sapling "V: A Sepulcher to Swallow the Sea (Part 1)" (excerpt)

7"s are $4 plus shipping, so send an email to Tension Head Records to get your hands on one. I'm assuming at least one or two distros will be selling copies online in the coming months, but who knows?

One more long-awaited gem recently seeing the light of day via Deathwish Inc. is "This Sheltering Night", the latest from another of my all-time favorite bands, Starkweather. It's been about four years since the release of "Croatoan", and these recordings have actually been finished for about two years (half of them have roots in the "Croatoan" sessions), but as is all too often the case various setbacks and delays hampered the final release date. The presence of only six new Starkweather tracks may create the impression that this is an EP, but be not misled, as all but one of these compositions top seven minutes, so Starkweather's material alone surpasses the 45-minute mark. Furthermore, the CD also includes ambient experimental noise interludes from Sophia Perennis and Oktopus, making for more than an hour of music when all is said and done.

Somewhat comparable to what I cited was going on with Integrity's latest full-length, this material sees Starkweather putting forth consistently longer songs that are significantly more involved than much of the band's past work. Whereas the vocals may have been the initial "stumbling block" for some listeners during the band's early years, the songs of "This Sheltering Night" often build from core riffs with layer upon layer upon layer of gnashing chords/textures; an even wider vocal range of screams, snarls, and croons; wildly blistering solos provided by "auxiliary" contributor Bill Molchanow; Forbes Graham doing some trumpet and euphonium work (which, when recognizable at all, is still rather abstract); and other assorted effects that often result in a swirling cacophony of sound that takes some time to wrap your head around. Even "Bustuari", one of the tracks started during the "Croatoan" sessions and bears the most immediate resemblance to that material, starts to bend in a different direction when these additional layers are piled on and peeled away.

All the staples of the Starkweather sound are still present: Rennie's insane and inimitable vocal delivery (obviously); Harry's absolutely amazing, freeform drumming style (and I'm actually starting to notice that his brother Vince often takes a similar approach with his bass runs, which is just awesome); unexpected clean passages or surging melodies; etc. It's just generally more twisted and fucked up now! Is that a good thing? I don't think the answer to that question matters. In many ways I think that Starkweather fans have to possess a certain reverence for what the band creates, and if that means being a listener requires some actual effort, well… that makes sense. This is a band that's been doing whatever the fuck they want to do in their own little world for more than 20 years now – whether anyone knew about it or not. They don't care about any of the petty, extraneous bullshit that most bands concern themselves with. This is it. And that's why we love 'em…

Starkweather "One Among Vermin" (excerpt)

Rust washed skies embittered and enraged. Sweltering heat just out of reach on the boundaries. Unmistaken the keening wail of machinery. Craving collapse again…

Purchase:

@ Deathwish Inc. (CD)
@ Deathwish Inc. (LP)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

Released by Local Cross Records, this two-song EP (it's also known as the "Disaster Prone" 7", but my philosophy is that if there's no title on the packaging, the name of the first song shouldn't automatically become the "title" of the record) is the latest output from Detroit's Bill Bondsmen. The band has released a few other 7"s and a full-length since 2004, but this is my first exposure to their work, which I find to be pretty interesting. Honestly, I'm usually not really into this style of stripped down and intentionally "dated" sounding traditional hardcore/punk, but there's a darker sort of atmosphere to these tracks that really grabs my attention and gives the Bill Bondsmen a completely different feel than any other band of this nature that I've encountered. Hell, the first half of "36th" even reminds me of Joy Division or something with its droning guitars over pulsing bass (the basslines are great throughout the entire EP). And even when they're dealing with the more straightforward hardcore/punk structures they throw in a lot of angular, Fugazi-esque riffing that keeps the material from feeling stale and rehashed, which is just awesome. I'm not sure how this compares to their prior work, but if it's all along these lines I'll have to pick up some of those records, too. I've been very pleasantly surprised by this 7". Nicely done…

Bill Bondsmen "Disaster Prone"

Purchase:

@ Local Cross Records

"No Light for Mass" is the first full-length outing from Norway's Okkultokrati (released on CD by Fysisk Format and on LP through a cooperation between Fysisk Format, Lilla Himmel, Odio Sonoro, and the band's own Ormeyngel Records label), which sees the band unloading nine tracks in about 25 minutes. Their energetic brand of unusual hardcore/punk remains intact with loads of rocked out power chords and D-beat styled rhythms, some sludgy midpaced churning, unexpectedly angular riffing, and even the occasional wisp of dissonant black metal (which works well with the strained and often maniacal snarls/yells of the vocals). The production is absolutely awesome, too. Everything is super crisp and well-balanced, with plenty of grimy texture to the distortion and a really natural sense of warmth for the rhythm section. Excellent work there, without a doubt. The recording really gives the material a heavier punch that brings out different qualities of the band's approach, and I think that might help more listeners take note of what Okkultokrati's doing here. Great work from a curious band, and I'll again look forward to hearing more…

Okkultokrati "On Mouth of Hells"

Purchase:

@ Fysisk Format (CD)
@ Fysisk Format (LP)
@ Lilla Himmel (LP)
@ Ormeyngel Records (CD)
@ Ormeyngel Records (LP)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

"The Blackest Curse" (once more from the Deathwish Inc. label) is the ridiculously long-awaited new full-length from the almighty Integrity. It's been seven years since Integrity's had a release that contained more than a handful of songs, and many would consider this the first true Integrity full-length since 1997's "Seasons in the Size of Days" – which is probably at least part of the reason why so many parallels are being drawn between said masterpiece and "The Blackest Curse". There are similarities, however… and not just the black and white aesthetic of the absolutely massive 36-page booklet (which can barely be contained by the slim digipack), with its sinister portraits of the band members and obscured imagery that probably has all sorts of suggestive conceptuality buried beneath the surface.

For the majority of Integrity's heyday most of their songs were less than two or three minutes apiece, and in their current age (which I'd consider to encompass their post-"To Die For" output) the band has been moving towards longer, darker, more involved compositions. Here, the running times are generally moving back towards that slightly more concise format, but the overall atmosphere of the material still takes a little more time to digest. Therefore, "The Blackest Curse" is a 37-minute album that actually feels more like an hour-long album. And of course there are tons of chaotic, Melnick-influenced solos to be found here (that approach is a huge staple of the Integrity sound, after all), as well as some crunchy grooves reminiscent of "To Die For" (especially during "The Last Great Seance"). But the bulk of this work is forged in the slightly different forms of explosive aggression and experimentation heard on the "Walpurgisnacht" and "Love is the Only Weapon" EP's. For instance, the insane blasts and tremolo picking of "Simulacra" damn near come across as blackened thrash metal; and then there's the eight-minute "Before the World Was Young" (which also boasts the esteemed mystique of joining the trio of tracks towards the end of the album that have their lyrics omitted from the booklet), with its whispered vocals over winding, dissonant riffs and midpaced palm-muting – bookended by Roses Never Fade/"Heaven Inside Your Hell"-esque acoustic passages.

Perhaps some of these added twists and turns result from the band's increasingly collaborative approach, what with the booklet noting that every track was composed by multiple band members and additional contributions are made throughout by the likes of Boyd Rice, Mike Cheese (Gehenna), Nick Brewer (Pale Creation), Thorsten Wilhelm (Vegas), etc. Whatever the case, "The Blackest Curse" proves that Integrity is still producing intriguing, creative material that holds true to the apocalyptic vision the band solidified in the late-90's. There are always going to be stubborn old school fans out there who'll refuse to acknowledge anything Integrity records that doesn't feature the Melnicks, which I can understand to some small degree due to the band's historically significant impact on the genre and therefore their back catalog's personal impact on individual listeners. But that really is an irrelevant line of thinking now (and I'll take this time to quickly point out that the bass playing on this album really stands out, and is arguably the best Integrity's ever had). Is it the same? No. But it's not supposed to be the same.

Integrity "Learn to Love the Lie"

As the lies are unwound and hell is forgotten we bleed alone beneath the stars. Barren light pours out of our eyes. We finally see the breathing dawn…

Purchase:

@ Deathwish Inc. (CD)
@ RevHQ (LP)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

"Restored to One" (released by The Ajna Offensive and Feral House) is an incredibly unique outing from Sabbath Assembly, a project formed by Jex Thoth and Dave Nuss to "re-process" the hymns of The Process Church of the Final Judgment. Here's some quick background from the album's press release, which gets the job done better than I would:

"Restored to One" is a modern response to the musical activities of a cult known as The Process Church of the Final Judgment, who used music to spread their visions of Gnostic reconciliation in a time of cataclysmic change. Sabbath Assembly has re-charged the original hymns of The Process Church and worked them into moving renditions that unite the trinity of rock, psychedelic, and gospel into one triumphant re-awakening.

The Process Church was an intensely creative, apocalyptic shadow side to the flower-powered '60s and New Age '70s. The influential group opened chapters in London, Europe, and across the United States. Dressing in black cloaks and walking the streets with German shepherds, they created their own intricately designed magazines, and promoted a controversial, quasi-Gnostic theology that reconciled Christ and Satan through deeper awareness and love…

Many reading this site may be aware that some of Process founder Robert DeGrimston's early writings (mainly "Humanity is the Devil" and "The Gods on War") played a role in the inspiration behind Integrity's first all-out "holy terror" assault during the mid- to late-90's – which is what initially sparked my interest in The Process – so I've had photocopies of many old Process magazines and assorted documents laying around for years. Thus, I was super excited when I first heard about Sabbath Assembly. I mean, recording an album full of interpretations of decades old cult hymns? Who does that!?

In some ways, the album feels like a bit of a companion piece to Feral House's recently released (and also highly recommended) book "Love Sex Fear Death: The Inside Story of The Process Church of the Final Judgment", and this interview with Jex actually points out that the book is what brought these recordings about:

…inside the book, one will also find… the sheet music to three original Process hymns. We asked Timothy if he knew of any recordings that might exist and he said, to the best of his knowledge, they had never been recorded. With that, we began to conceive of "Restored to One". We played through the hymns (of which there are more than 60) to determine which of them felt like a good fit for us. We also contacted several original Process members, the ones we could find, and asked them which ones were their favorites. We continued whittling down the list until we settled on these.

Even if this isn't your thing, you've gotta respect the amount of effort and dedication it must take to put something like this together. I've honestly not been a fan of Jex Thoth's other work, but her vocals and approach are absolutely perfect for this project, and my conceptual interest in this release has brought with it a greater appreciation for the overall aesthetic and atmosphere of what's going on here, so I should probably revisit some of her other music now to see if my impressions have changed. I realize I've said absolutely nothing about the actual music on this release, but the press release's reference to the material's blend of "rock, psychedelic, and gospel" is dead on. Everything sounds shockingly authentic (and dated), and I'd have no idea how to properly describe the subtle nuances here since everything's outside of my general realm of experience. You've gotta hear it for yourself to understand, anyway. Here's an excerpt to give you a taste:

Sabbath Assembly "Judge of Mankind" (excerpt)

I haven't picked up a physical copy yet (though I damn sure will, since this is such a cool outing), so I'm not sure what the complete packaging holds, but vinyl fanatics should be pleased with the fact that the LP's pressed on 180 gram gold vinyl. As always, make the grab if you like what you hear…

Purchase:

@ Ajna (CD)
@ Ajna (LP)
@ Feral House (CD)
@ Amazon.com (mp3)
@ iTunes (mp3)

A few months ago, Adel from The Feast of Hate and Fear asked me if I would host the next episode of his online radio show, so of course I agreed. Having been aware of his show in the past, I'm ashamed to admit I had never really taken the time to explore any of his complete playlists prior to preparing to put together my own, and that was a huge mistake. His knowledge of/interest in a wide range of musical styles puts mine to shame, and while some of his interests spread beyond what I enjoy listening to, I was thoroughly blown away by both "The Dark Side of Folk Music" (show #14) and "My Heavy Metal Weighs a Ton" (show #17) episodes. I've already purchased a number of albums based on those two shows alone, so I highly suggest going to download them immediately. And check out some of the others while you're at it!

Obviously you can listen to or download my episode at the top of the page while you're there. It's a little over an hour's worth of various hardcore and metal, some of which I've never covered here, so hopefully you'll encounter something new to explore. My complete playlist with links and purchasing information is below. I absolutely hate the sound of my own voice, so do your best to ignore my awkward ramblings as you try to enjoy the tunes! And please do let me know what you think!

[DOWNLOAD] The Feast of Hate and Fear Internet Music Show #19 (@ The Feast of Hate and Fear)

1. Lash Out "Caress of Solitude"

   From the Lash Out/Ambition split CD (1996), released by Discipline Records.
   Purchase: This song will appear on an early discography collection slated to be released on Get By Records later this year.

2. Invocator "Through the Nether to the Sun"

   From the "Weave the Apocalypse" CD (1993), released by Black Mark Records.
   Purchase: Out of print. And sadly, for some reason this is the only one of the band's early albums that's not available digitally via iTunes, eMusic, etc. Try eBay.

3. Mongoloid Village "Shittown, U.S.A."

   From the "s/t" CD (2008), self-released.
   Purchase: Contact the band via MySpace to inquire about getting your hands on this one.

4. Benümb "Struggle On"

   From the "Soul of the Martyr" CD (1998), released by Relapse Records.
   Purchase: @ Amazon.com

5. Temporary Insanity "Arrogant Fuck"

   From the 1991 demo CS (1991), self-released.
   Purchase: Contact the band via MySpace to inquire about getting your hands on more material.

6. Parallax "Momentum"

   From the "Mediums & Messages" CD (2006), released by Counterintelligence Recordings.
   Purchase: Out of print.

7. Place of Skulls "Feeling of Dread…"

   From the "Nailed" CD (2002), released by Southern Lord.
   Purchase: Out of print. Try eBay.

8. No Escape "Silenced"

   From the "Rebuilding" compilation 7" (1990), released by Temperance Records.
   Purchase: @ Amazon.com

9. Arkangel "How We See the World"

   From the "Hope You Die by Overdose" CD (2004), released by Private Hell Records.
   Purchase: @ Goodlife Recordings

10. Crux "The First Key"

    From the "Řev Smrti: Scream of Death" CD (2007), released by I Hate.
    Purchase: @ Relapse Records

11. 16 "Fucked for Life"

    From the "Cry Now, Cry Later Compilation 2" 2×7" (1994), released by Pessimiser / Theologian Records.
    Purchase: @ Amazon.com

12. Kilara "Travels of a Handgun Pt. 2"

    From "The Funeral Fix" CD (1997), released by Rhetoric Records.
    Purchase: Out of print. Try eBay.

13. Caustic Affliction "Cremation"

    From the "All Thrashed Out and No Place to Go!" compilation CD (1989), released by 97 Underground.
    Purchase: Out of print.

14. Apartment 213 "Mutilation"

    From the "Vacancy" 7" (1994), released by Dark Empire Records.
    Purchase: @ Interpunk

15. Rigor Mortis "Foaming at the Mouth"

    From "The Decline of Western Civilization Part II: The Metal Years" CD (1988), released by Capitol Records.
    Purchase: @ Amazon.com (mp3)

16. Calhoun Conquer "You Mean Nothing"

    From the "Lost in Oneself" CD (1989), released by Aaarrg Records.
    Purchase: Out of print. Try eBay.

17. Deadeffect "Driving

    From the "s/t" CD (2002), self-released.
    Purchase: Out of print.

18. Seance "Reincarnage"

    From the "Fornever Laid to Rest" CD (1992), released by Black Mark Records.
    Purchase: @ Amazon.com (mp3)

19. Fall of Because "Merciless"

    From the "Life is Easy" CD (1999, recorded in 1986), released by Alleysweeper Records.
    Purchase: @ Amazon.com

20. Geisha "Bondage Death"

    From the "Mondo Dell'Orrore" CD (2005), released by SuperFi Records.
    Purchase: @ Interpunk

[DOWNLOAD] The Feast of Hate and Fear Internet Music Show #19 (@ The Feast of Hate and Fear)

"A Rage of Rapture Against the Dying of the Light" is the debut self-released EP from Dutch act Terzij de Horde (technically they released a demo, but they were known as Liar Liar Cross on Fire at the time), and an impressive debut it is. Expect four songs in about a half-hour that seamlessly combine black metal, doom, and even what could arguably be referred to as subtle "screamo"/hardcore influences. Yeah, I know that the prospect of fusing anything of that nature with black metal sends up the "bullshit flag", but trust me, there's nothing to worry about. This shit is great. There's a good amount of completely ripping, precisely-delivered tremolo picking; blasting percussion; bent up and warped dissonant chord phrasings; droning hums and earsplitting feedback; pounding, sustained power chord rhythms; etc. And then there are some peculiar passages from beyond that scope that are slightly melodic, occasionally harsh and chaotic, but definitely not black metal. And that's perfectly fine, I'm not complaining or passing judgment in any way, just making an observation. While the vocals are relentless screams, they really do have more of a hardcore type of vibe (in that they're not completely over the top and fall into more of a bitter, midrange snarl), so I actually think that helps all of the varying influences blend together so well. The recording's nice, too. Obviously they're not going for any kind of brutally raw, "true" black metal aesthetic here, so it's fairly crisp without coming across as polished, and they can get a grating bite out of the guitar work/vocals without drowning out the basslines. Good stuff. I'll look forward to seeing where they go from here.

Terzij de Horde "Non Timetis Messor" (excerpt)

If you like what you hear, please do pick up a copy from the band through the link below. They're hoping to secure better distribution, or perhaps a release on vinyl, so get in touch with 'em if you'd be interested in any of that, too!

Purchase:

@ Terzij de Horde

Still kickin' after nearly two decades of (unwarranted) relative obscurity, Pale Creation has suddenly resurfaced with this brand new, self-titled, two-song 7" on A389 Recordings. This time out the band's ever-shifting landscape of gloomy metal with smatterings of hardcore is largely driven by reverberated clean guitars and monotone singing countered by chugging power chords and raw, stripped down screams – including some guest vocals from Dwid during opener "Wake of Temptation", which also features loads of droning melodies that occasionally open up into scorching, Integrity-esque lead bursts. And before branching out into a similar approach, "Rose Colored Haze" even starts out with some eerie ambient drones, piano, and martial percussion – proving once again that Pale Creation remains unconcerned with the traditional limitations of their core genre(s). Since the entire EP's just two tracks in about 10 minutes, here's an excerpt to give you an idea of what to expect:

Pale Creation "Wake of Temptation" (excerpt)

I believe the red vinyl pre-orders are already sold out, and the remaining copies (on black) will likely follow. Each record comes with a digital download card, so you'll be good to go even if you don't have time to spin the vinyl. Pick one up if you like what you hear, as always…

Purchase:

@ A389 Recordings

"Destroyer | Borderlines" (released on CD by Let it Burn Records with Apil Records handling the vinyl) is the latest full-length outing from prolific German act Goldust, unloading another 12 tracks/nearly 40 minutes of their always solid metallic hardcore. Going off track for a minute, I must say that I really appreciate Goldust being so good about keeping me posted on their latest activity. The majority of the bands that I write about never really keep in touch after the fact, and I'm so busy/absent-minded these days that I have a really hard time trying to follow-up with hundreds of MySpace pages to determine when bands have new material available, etc. Goldust, however, is always quick to let me know when a new release is on the horizon – hence this is already the fifth time I've written about this band (two splits, an EP, and two full-lengths since 2007), and they even did a demo and a 7" before that!

With such a constant stream of output, you'd almost have to expect the quality of Goldust's material to start fading out a little bit, but that's not the case at all. In fact, this is easily their strongest outing to date. Once more the band has started to introduce subtle new shifts that make a huge difference. This time out it's a handful of sludgy, slightly rockin' riffs/leads; and more importantly some unexpectedly melodic fare that provides an almost catchy sense of energy. This may suggest some sort of significant stylistic shift, but fear not, as the core of the band's approach is still straight up metallic hardcore with plenty of those chugging rhythms and a dark, dissonant edge – accented by occasional fits of more metal-based influences like near-grinding blasts and thrashy picking patterns. Though I must admit that I think the intriguing melodic tendencies heard in "The Clawed One", "To No Avail", and "Passage" should definitely be explored further! Since I've posted about these guys so many times now I feel like I'm running out of stuff to say, so… here's a track to judge for yourselves:

Goldust "Passage"

Purchase:

@ Let it Burn Records (CD)
@ Apil Records (LP)
@ Interpunk (CD)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

Carrion Spring is a relatively new band from Portland, OR that formed late last year and has already released this two-song demo of completely fucking awesome, totally top-notch "screamo" (or whatever the hell you want to call it). This is definitely the best material of this nature that I've heard in quite some time, and I'm really flippin' out over the excellence of the songwriting here. The overall approach is fairly familiar in terms of utilizing softer clean passages and lush melodies that explode into surging bursts of frantic drumming and loosely chaotic riffing – loaded with hard-panned guitars that piece together all sorts of dissonant chord phrasings and hammer-on/pull-off runs. And the screaming/shouting vocals don't go overboard either, which is always a plus. The recording is perfectly balanced with just the right amount of acerbity to the guitar parts, a huge bass tone that always hammers away right in the center of the mix, and an overall aesthetic that matches the 90's-styled angle of the music without venturing into overly raw/stripped down territory. The songs completely hit the mark on every level, and I can't wait to hear more from these guys. Love it.

Carrion Spring "Scumfuck Angels"

…these hands may appear to be folded and dormant. Well, these hands they will appear someday around your fucking necks. This year's model has been breaking ground, while last year's heroes are buried, still breathing. So let the bodies pile high. We're bringing out our dead to begin again.

I don't even know if physical copies exist, but you can download both tracks for free over at Last.fm:

[DOWNLOAD] Carrion Spring "2010 demo" (@ Last.fm)

"Solitude" is the final self-released EP from Minneapolis, MN's Cowards, who played their last shows a few months ago. This is not the first time I've been introduced to a band with their final release, but better late than never, right? I'm not really sure how you'd classify this material, though. Not that it matters, of course, but… they've definitely got an interesting blend of styles going on here, and everything comes together so fluidly that the lines between their various influences are quite blurred. I guess you'd say it's rooted in melodic/post-hardcore, but it's still pretty heavy, and the vocals fall on the more aggressive side of things, too. That being said, there are also some subtle little emo influences to be found (and of course when I say "emo" I mean the good kind), granted there's a good deal of angular riffing and some really beefy basslines throughout as well, so… who knows!? Whatever you want to call it, the songwriting's solid, everything comes across as sincere, and it's not generic at all. What more could you ask for?

Cowards "No Builders, None"

If you'd like to get your hands on a physical copy of the EP, contact the band via the MySpace link above for details. Or, you can download the entire thing for free via their Bandcamp page:

[DOWNLOAD] Cowards "Solitude" (@ Bandcamp)

"And So Our Troubles Began" is a new six-song 12" EP (co-released by Headwrecker Records, De Graanrepubliek, and IFB Records) that marks my first exposure to Dublin, Ireland's Drainland. The band cites some of their primary influences as Dystopia, Cattlepress, Unruh, and Godflesh, and you can definitely hear that in their approach – which reminds me of a somewhat stripped down Dystopia with some of that loose, noisy guitar work you'd associate with Godflesh's earlier work. Expect a multi-vocal attack over loads of churning riffs where gnarled, dissonant guitars interact with massive pulses of sludgy bass in the form of everything from slow, pounding rhythms to quick bursts of grinding speed. And then there's also "The Scouring Process", which comes across as more of a surprisingly effective two-minute assault of power electronics. Part of me wishes the recording was a little more blatantly heavy and in your face, but at the same time the rugged sense of space they've got going on here does allow for some nice flourishes of texture, so it does add character aesthetically. I'm really diggin' this. The songwriting is strong, the diversity makes sense, and the overall feeling/atmosphere is right on the money. Great work, and I look forward to hearing more…

Drainland "Limb Template"

Pick it up directly from the band or one of the labels if you like what you hear, and look for more distro options (Crucial Blast, etc.) soon.

Purchase:

@ Drainland
@ De Graanrepubliek

Being the out-of-the-loop hermit that I am, Inter Arma is yet another band from here in Richmond, VA that I had never heard of prior to receiving this album for review. I believe "Sundown" is the band's first full-length outing (released by Forcefield Records), and after a 40-second intro consisting of soft, melodic piano, things burst forth with harsh, unrelenting screams over an unexpected (and shockingly fluid) mix of black metal and sludge. The sludgier aspects of the riffing definitely have that southern-tinged groove happening, but they're certainly not overly rocked out or what have you, and that's probably what helps them blend so well with the blasting percussion and discordant tremolo picking runs that creep into the song structures from time to time. The majority of the compositions surpass six minutes, but they keep things moving with a number of tempo changes and occasional forays into slow, pounding rhythms with a little hypnotic repetition happening, as well as lightly "progressive" elements during some of the instrumental breaks. There are some pretty damn raging solos in a few spots as well, not to mention a nice acoustic instrumental, so… expect a lot of cool surprises and twists throughout. Everything's topped off by an excellently appropriate recording that keeps things fairly dry and rugged, so there's a lot of natural warmth to the mix and the tones/textures have that "right there in the room" kind of feel. Here's an excerpt from one of the tracks that covers enough ground to give you an idea of what's in store here:

Inter Arma "All Time Low" (excerpt)

All copies of the LP come with digital downloads, so you should be good to go even if you don't spin vinyl all that often…

Purchase:

@ Forcefield Records
@ Forcefield Records (colored vinyl)

I was unfortunately late to finally checking out the 1.6 Band (who originally called it quits way back in 1993), as it was just within the last two years that I picked up and was thoroughly impressed by their Gern Blandsten-released discography collection, "Broke Up". So imagine my shock when I learned that the band had gotten back together for some live performances, and was even releasing a new 7" on Metastasis Records!? The new material pretty much picks up right where they left off, with that hard-to-categorize foundation of hardcore roots (members have also been involved with Beyond and Die 116, among others) loaded up with quirky, technical riffing that flirts with everything from progressive to indie to noise rock. There are definitely some caustic, loosely chaotic elements to the guitar work and off-the-wall drumming, but there's also just the right balance of curious dissonance and odd melodic sensibilities. Combine that with vocals that aren't particularly aggressive at all, and the overall vibe of the material really shifts away from any pre-defined genres. It's awesome that well over a decade later these guys still have their own immediately recognizable aesthetic that remains unique compared to most of what's out there. Hopefully they'll keep working on new material, 'cause their killer musicianship and unexpectedly catchy songwriting never fail to grab my attention. Good stuff.

1.6 Band "The Pets Still Think He's Coming Back"

The band and label have been awesome enough to make the entire 7" available for free download, so you can grab the whole EP here:

[DOWNLOAD] 1.6 Band "The Checkered Pasts of All Kings Present" (@ MediaFire)

That being said, physical copies of the 7" are available for a mere $5ppd in the US, so vinyl junkies and fans looking to show some support should absolutely pick one up.

Purchase:

@ Metastasis Records

Definitely track down the "Broke Up" collection as well if you like what you hear. Highly recommended!

Anvils Drop is a hardcore/punk band from Finland that also features members of Lighthouse Project, Sixtus, and Scream for Change. I believe "Death Worship" is their first proper outing, released by the band along with Poolside Records. Expect a rugged recording with an appropriately harsh edge to it and a style that seems to combine influences from classic Finnish hardcore/punk as well as more "recent" metallic hardcore stylings. In addition to the standard dose of fast-paced power chords and screaming/shouting vocals throughout, there are a lot of subtly rocked out riffs that possess more of a catchy sense of energy, plus some crunchier breaks and lots of cool little dissonant riffs tucked away beneath the surface. As with most bands of this nature, they're not exactly trying to break new ground (which is fine with me), but they do wind up sounding different than most of the hardcore bands that I encounter from Finland. Four songs, about 12 minutes, and that's all there is to it. Here's a taste of what the band has to offer:

Anvils Drop "Odota Vastarintaa"

This is another one that's not available online at the moment, so contact the label/band via the MySpace links above or shoot 'em an email for ordering information. It's supposed to be €5 plus postage, depending on where you're located.

I was introduced to Icelandic metal band Momentum a few weeks ago thanks to Birkir at Halifax Collect, and their latest full-length, "Fixation, at Rest", has just been released by Molestin Records. Apparently the band started out as a one-man black metal project, but they've obviously come a hell of a long way, and this must be their most progressive outing to date. They're working with quite a wide range of influences: From soft singing and relaxed clean passages with tactful post-rock atmospheres somewhat reminiscent of Radiohead to a Neurosis-esque level of completely crushing heaviness characterized by intense vocal layering over discordant, staccato bursts, monstrous power chords, and subtle layers of additional sound texture. I hate to keep comparing them to other bands (though keep in mind that these are just points of reference), but they remind me of a more aggressive and expansive City of Ships as well. But all of this is spiced up by peculiarly winding little twists and turns filled with somber melodies, not to mention the diversity of all the vocal stylings, so there are a number of elements herein that push the band towards their own individual approach. The songwriting is extremely impressive, too. They obviously pay a lot of attention to transitions, dynamics, and musicianship. There are a number of jaw-droppingly awesome moments where surprisingly excellent singing and lighter fare explode into huge surges of truly moving, high-impact metal. Very much recommended. This is one of those effectively ambitious albums that I would expect to be extremely well-received by all of the bigger metal magazines were the band on a fairly known record label, so I hope the record's somewhat more obscure nature doesn't see it slip by under the radar. Do your part and spread the word if you like what you hear!

Momentum "The Conduits Lead"

…in these cold days, our primitive ways bring us to our knees. Right, towards the end. Wrong, we shall pretend. As for those colors who have not turned to gray, in time they will surely fade away. In the darkness his eyes could see through all the pain and misery. His hope consists of what might be.

Purchase:

Record Records (CD)
Gogoyoko (mp3)

This self-released, self-titled six-song EP is the debut from Canadian outfit Red Vienna, and it really hit the spot for me right away. As usual, I'm not entirely sure how you'd accurately classify this material since it's a little outside of my general listening habits. I guess maybe alternative rock with a little bit of shoegaze fuzz and hints of that dark/somber "new wave" type of edge? I don't know. And I don't care, either, 'cause the songwriting is absolutely fucking awesome. Expect softer, more spacious passages centered around thick, pulsing basslines while washes of hard-panned guitars bounce chords and notes off of one another; harder-hitting and more rocked out power chords that boast unexpected dashes of heaviness; and loads of riffs that throw in killer melodies and vocal hooks. I'm such a sucker for catchy songs, and a number of these tracks touch on that rare quality where you're able to start singing along before the song's over on the first listen. I love that, and am really wanting to hear more from this band pronto. Very much recommended. I'm seriously flipping out over how catchy some of this stuff is. Here's an example of just how damn great these tunes can be:

Red Vienna "The Best Words"

Get the CD for $5 or name your price for mp3 downloads, all via Bandcamp…

Purchase:

@ Bandcamp (CD/mp3)

"Unsilent Death" is the latest 10-song EP of blistering, in your face hardcore/punk from Nails (once more via Six Feet Under Records). The label refers to the sound as "not unlike the late 80's Earache Records catalog mixed with early power violence", and I can definitely agree with that. They're still utilizing a raw, gritty recording with loads of distortion that occasionally caves in to straight up feedback/noise, but the guitars have that killer Swedish-tinged "Sunlight sound" this time out, which is awesome. The songwriting has improved as well, though, as the sparse D-beat blasts and completely hammering speeds are laced with vicious midpaced breakdowns and some really memorable arrangements throughout. I really don't know why, but judging from the explosion of comments the last time I posted about Nails, this is a band that a number of people "love to hate", apparently. I'd like to believe the improvements made on this outing will change a few minds, but it's probably unlikely. That being said, the entire record runs just 14 minutes, and the more I listen to it, the more I like it. Those of us who care more about the music than who's in the band or who else thinks it's "cool" can find plenty to appreciate…

Nails "Suffering Soul"

Unless you get it from eMusic, this is one of those rare cases where buying the album as mp3's is actually more expensive than buying the CD (which is just $6 from the label), so… keep that in mind if you're looking to pick this one up!

Purchase:

@ Six Feet Under Records (CD)
@ Six Feet Under Records (12")
eMusic (mp3)

Right out of the "unexpected and seemingly out of nowhere" department, Holy Terror Records (along with a mysterious entity under the ATWA Records banner) has just released this three-song, 14-minute 7" of new, previously unreleased Charles Manson material. How a release of this nature comes to fruition is beyond me, but… you can't deny it's a curious occurrence! I'm not going to sit here and pretend that I'm a diehard fan of Charles Manson's musical output, as I honestly haven't heard a great deal of it over the years, and it's just not the type of thing most people listen to on a regular basis – or necessarily for its musicality, in many cases. Beyond those who possess a keen interest in all things esoteric, there's the simple fact that the man's psyche tends to put forth some intriguingly odd shit, you know? In this case, the "songs" seem to have been separated out from what was likely a largely improvisational, stream of consciousness recording session – one that quickly transitions from standard blues riffs or loose guitar noodling to hypnotic lulls of repeated notes as background texture; while Manson's peculiar subject matter is delivered through relaxed singing, hushed whispers, or even straight spoken word during "Labor of the Mind". The sound quality's as rugged as you'd expect from a performer who is and has been incarcerated for decades, but such a reality obviously makes perfect sense. It won't be for everyone, but it is an interesting and unusual piece of work that should not be deemed a mere "collector's item". Here's a little taste of what's to find:

Charles Manson "Air" (excerpt)

I believe the 100 red-vinyl pre-orders sold out rather quickly, and I'd wager the remainder of the pressing (1,000 copies on black) will be on that path as well, seeing as there are quite a few Manson collectors out there. Whatever your rationale, if this is something that interests you, pick one up while you still can…

Purchase:

@ Holy Terror Records

Parasitic Skies is a vegan straightedge band from Seattle, and "The Descent" is their forthcoming full-length on Seventh Dagger Records. I had never heard the band prior to this, but I dig their take on various 90's "metalcore" influences. Musically they fuse fast-paced hardcore rhythms (given an in your face boost by the raw aggression of the recording) with some of those churning, H8000-esque tremolo picking riffs and a good dose of breakdowns; while the intense vocals have somewhat of a Catharsis meets death metal thing goin' on. They flirt with some pretty killer dissonant riffs (and well-placed samples) in instrumental tracks like "Nadir" and "The Descent" as well, and on occasion the texture of the recording gives certain facets of their approach a little bit of a sludgy kind of vibe that also hits the spot. Good stuff. Here's a little taste of what to expect:

Parasitic Skies "Choke"

…the whipping wind stings your eyes – black smoke and ash of man. Withered dissolving creation, all time asleep in the sand. Crippled before the circle, black blood drowns the dirt. The thunder in your throat chokes the words, and the end will crown the work. In the broken spaces behind iron doors, so are the deserts as the bloodstained floors. Pieced together to be torn apart, the secret step in a violent art. These are the last days – the final arc. This is the last time before it falls apart.

I believe the album's slated to officially hit the streets on May 10th, so it's only available as a pre-order package with a t-shirt and a back patch at the moment. A damn solid deal for $18, but if you just want the tunes, you should be able to order the disc by itself sometime next week.

Purchase:

@ Seventh Dagger Records

"Weight of the World" is the latest EP from Dutch hardcore act Said and Done (released by Carry the Weight Records), which sees the band continuing to improve upon their unique style of hardcore. The driving midpaced rhythms and sincere vocals (which combine a gruff edge with vague hints of actual singing) are still the driving force, but there are a few more tempo changes happening this time around – lending both a little more crunch as well as a little more melody to the songwriting. There are a lot of quick little lead riffs going on, and the basslines feel more active here as well, which is always a plus and makes perfect sense given the band's solid sense of groove. It's the vocals that really give the material a different energy than a lot of what's out there, though, and that makes a huge difference for me. I guess European hardcore bands still tend to fall on the underrated side of things, 'cause if Said and Done was from the US and signed to a label like Deathwish Inc. or something, I can't help but think more people would be all over this shit. With four tracks in just over 11 minutes you're certainly left wanting more, so it's definitely about time for these cats to drop another full-length!

Said and Done "Weight of the World"

The 7" is limited to just 500 copies, and colored vinyl is still available, so make the grab while you still can if you're into it…

Purchase:

@ Carry the Weight Records

Upright is a new Finnish group, and yet another band that continues to reinforce my claims that Finland still has one of the best metallic hardcore scenes out there these days. Their brand new, debut demo unloads four songs in just eight-and-a-half minutes that are jam packed with absolutely killer riffs that take that crunchy late-80's/early-90's NYHC sound and throw in just the right amount of thrash metal crossover, plus those burlier than average vocals that tend to be more common coming from European bands. They're certainly not trying to push the boundaries or get too creative with their approach, but as I've said many times before, I don't give a shit about originality as long as the songwriting hits the mark. These dudes have a fuckin' great sense of midpaced groove, well-placed breakdowns, and the formula works, so… I'm into it. I hate to keep it so brief, but the songs blow right by and leave you wanting more, so there's not much more to say. Here's a quick taste of what to expect:

Upright "Face the Consequences"

Get in touch with the band via the MySpace link above to see about getting your hands on the tunes, and keep your eyes out for more from these guys down the road!

The oddly named Cripple and Casino is an excellent band from Croatia, and their self-titled debut full-length was released by Olympia, Washington-based label Radio is Down sometime last year. I was familiar with neither the band nor the label prior to receiving this album for review, but I love situations like this where I'm randomly taken by surprise and really dig a random album I had never heard of before – especially when it's from somewhere like Croatia, since you just don't get exposed to Croatian acts every day, you know? The band describes their sound as a combination of "post-punk, noise rock, and post-hardcore" that continues "the sonic legacy of Fugazi, The Jesus Lizard, Sonic Youth, Jawbox, etc." Admittedly I don't listen to a ton of bands of this nature, but I'm always interested to hear more quality music from this general realm, and I certainly agree with their assessment of their sound (which has a definite 90's vibe, in my opinion). Most of the vocals are kind of half-spoken, half-shouted, or half-sung, and the music is loaded with a strong blend of caustic, angular riffing around roving basslines; driving "alt. rock" power chords; little bits and pieces of melody; and plenty of spacious breaks that let the rhythm section do most of the legwork. They do a great job of creating memorable (and almost catchy, at times) arrangements from all of these assorted sounds, and I really am a huge fan of this stuff, so I'm glad the band contacted me about checking out their work! Here's an idea of what to expect:

Cripple and Casino "Movie Star"

And the band has been kind enough to make the entire album available as a free download (in a variety of formats) from their Bandcamp page, so you can check out the whole thing over there:

[DOWNLOAD] Cripple and Casino "s/t" (@ Bandcamp)

Physical copies are available for just $10, though, so… don't hesitate to pick one up if you like what you hear:

Purchase:

@ Radio is Down

The latest from the always curious and atypical Lyderhorn Records is "Pakt" – a six-song, 35-minute journey from Norwegian outfit Detritivore. The label states that the release is "essentially a concept album depicting disillusionment with religion and subsequent descent into darkness", and describes the material as "a harrowing experience of not quite drone, not quite noise, and not quite doom metal, but a true amalgamation of the three". I'd have to agree with that assessment, as the majority of the material sees sparse appearances of subtly fluttering clean guitars or concrete riffs bubbling up to the surface amidst spacious layers of pulsing, ominous hums and gritty, sustained power chords. Assorted little background textures also creep in from time to time (occasionally with some excellent panning effects to keep you on your toes), and you could describe a handful of moments as "psychedelic" atmospheres, but that stripped down type of ambient doom/drone delivery is definitely the dominant factor overall. As far as I can tell there are some droning vocals in the opening track, but that's about it, and there's no percussion either. Many bands of this nature tend to let the compositions run on and on and on – be it through hypnotic repetition or loose, open-ended improvisation – but thankfully that's not the case with Detritivore. I'd say both of those tactics play a role here from time to time, but most of the songs hover right around five or six minutes long, so you don't feel like you're sitting down for a marathon-length test of endurance with this album at all. Here's one track to give you an idea of what the band has to offer:

Detritivore "Pakt"

Purchase:

@ Lyderhorn Records (CD/LP)
@ Crucial Blast (CD/LP)
@ All That is Heavy (CD)
@ All That is Heavy (LP)
@ Nuclear War Now! Productions (CD)
@ Nuclear War Now! Productions (LP)

"Beacons" is the debut full-length from Canada's Cold Craving (released by Eschaton Industries), and I have to say that its breadth of influences is pretty damn impressive. Never in a million years would I have expected to encounter a band that occasionally throws total black metal riffs into a combination of different little elements from emo/"screamo", angular indie rock, and droning "post-rock", but… Cold Craving does it. And effectively, too!? The vocals range from super polished singing to harsh screaming and a few approaches that fall somewhere between the two. The singing is so strong that it really suggests the type of band that would be all about huge choruses and catchy songwriting and stuff, but that's not really what this band is about at all, which creates an interesting contrast. Most of the songs top five or six minutes here, and the more memorable moments tend to result from combinations of the vocals with some of the more frantic riffing – which generally comes in well-focused, energetic bursts throughout the album. There's almost always some melody tucked away in there, though – be it through that ringing sense of post-hardcore dissonance that a lot of the chord phrasings and layers create, or more obvious treatments. But you'll also encounter pulsing throbs of distorted bass, quick fits of chunky rhythms/picking patterns, sparse electronic textures, acerbic guitar work with blasting percussion, and numerous other bits and pieces. As usual I'm starting to feel like there's no sense in trying to properly describe what's going on here, so check out the track below and judge for yourself…

Cold Craving "Cold"

This one's limited to a mere 250 copies (100 on green/white swirl, 150 on beige with gold haze), so vinyl fans should act fast, as I'd be shocked if this didn't sell out. For everyone else, it's also available on iTunes, so… you know what to do!

Purchase:

@ Eschaton Industries (LP)
@ iTunes (mp3)

I believe "At the Mouth of Madness" (released by Thirty Days of Night Records) is the second EP from UK act Santa Karla, though it's my first exposure to their work. Its three songs/11 minutes display a quality blend of metallic hardcore styles, from stripped down midpaced chugging with dense, prominent basslines to riffing that carries the more caustic edge of bands like Turmoil – all fronted by harsh, relentless screams that work quite nicely. There's just a smidge of melody tucked away in there as well (largely amidst the more metal-based runs), and another cool point is that some of the rhythms that have more of a traditional, old school hardcore type of structure are twisted around to come from a more discordant angle. Closer "Iron Skye" even hits on some unexpected little bits of gritty, not-quite-rocked-out sludge riffs, so there are a good amount of different influences swirling around here. Since it's such a short EP, I'll just include an excerpt of what's offered:

Santa Karla "Whispers" (excerpt)

Pick one up if you like what you hear. The vinyl's limited to just 300 copies total (on two different color combinations), but it's also available on iTunes if you're more into the convenience of mp3's…

Purchase:

@ Thirty Days of Night Records (white/blue vinyl)
@ Thirty Days of Night Records (red/black vinyl)
@ Thirty Days of Night Records (both colors)
@ iTunes (mp3)