This idea was birthed during the fall-out blizzards of 2010, while relentless storms shut down air traffic and I was stranded in the bunker sick in bed with the flu. During this time I re-discovered many of my favorite old cassette compilations from the 90's that brought many disparate groups together under one banner. 'original soundtrack', released on italy's less than zero, was of particular interest, with its sonically and geographically diverse lineup. also at this time a friend had given me a book on 20th Century Russian history, emphasizing strife in Russia and the overwhelming destructive forces of nature and man's place within it. not only were troops engaged in the largest man-made conflict in history, but were, at the same, battling nature. without coats, winter ended soldiers lives before bullets could find them. It was then that I decided to combine the themes of the book with the idea of a dynamic compilation that brought together many of the genres that the label has explored.

dominick fernow

october 31st, new york city, 2011

featuring:

genocide organ

ffh

gaze campaign

deathpile

whorebutcher

consumer electronics

mlehst

asm

mangled clit

viodre

forcible confinement

sutcliffe jugend/prurient

controlled bleeding

anti-aquarian

non

contrepoison

militia

alberich

bus de la lum

vatican shadow

the grey wolves

ethnic acid

ames sanglantes

lussuria

sleepchamber

smell & quim

anal drill

ahlzagailzehguh

cloister

karasyozoku

age of enlightenment

human liberation technology

geography of hell

hiv corner

praying for oblivion

outermost

incapacitants

exploring jezebel

thirdorgan

ramleh

stillbirth

spastic colon

flutter

sickness

gasolineman

deterge

yellow tears

k.p.

the haters

emil beaulieau

blackhumour

con-dom

further words from marco of seed stock records regarding the new blackdeath:

Hot blood in the frozen wastes, tormented sleeps, no rest, no peace - always some war to be fought. Black Death keep fighting, living life as war. On this new album, all of the wildness and violence that Black Death have been renowned for have now hardened into an idiosyncratic and cracked style: manic vocals that switch between black rasp and psychotic singing, nordic style riffs that are somehow bent into a weapon with sharper angles, and a song progression that is equal parts percussive brawl and wide-eyed revelation. After 6 albums you'd think that they would have plateaued, or grown tired, but no. Rather, here, you find them in the strongest form since the band's inception back in 1998.They now have finally secured themselves a real drummer, and full-professional studio sound. For some underground  black metal bands, that might equal an awkward combination, but Black Death have always been stubbornly focused on quality of riff and refined composition of song which translates perfectly in this level of production. "Black Death means black metal" and effectively it is presented here on Katharsis without the trappings of politic or theologian rhetoric, and it's given in its most potent and straightforward dosage.

the ephemeral and seeming lightness of the tones hang with taut balance in contrast to the method in which they are overlapped and rotated with deadly weight.

How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide. While you may not find an answer, you can certainly get lost in the question.

Opening track “Cellar” immediately sets the pace of barraged edits and percussive electronics as startling vocals spit from the dry throat and remain unfiltered for the first time breathing a clear litany of scorn. a new voice is rising and it isn't happy. throughout the album non-electronic beats created from live drums replace programming while colliding tape loops and junk metal bring new unstable rhythm like a house with erroding foundation. “Living Stone” shows a more natural state of acoustic composition highlighting the despondent subtle plucking of controlled guitar improvisation that could come from natures ghost. forging ahead in “We All Hate You” loud tonal horns and architectuarly placed electronics. however their aesthetic core of pummeling hasn't been abandoned as the aggressive “Broken Order” takes hold with shrill feedback fueling industrial cannon blasts of white hot noise that burn the body from the neck down. an eerie harmonica driven death march straight out of "once upon a time in the west" cries on the closing track 'droll/cut the dog'

Immediately it is clear that Wolf Eyes have crafted a statement with maturity that stands at the top of their mysterious discography. Always Wrong is a denial against conformity and the triumph of walking a path alone. Young, Olson, Connelly.