Ninkharsag – The Essential Salts of Human Dust

Posted in Black Metal with tags , , on September 1, 2013 by Badass and Grim


This was a brutal 6 minutes 47 seconds that I wasn’t expecting to be added to my day. I’ll level with you, I’m having a shitty week, and this has been a good pick me up. Ninkharsag are a band I’ve never heard of until ten minutes ago, and a band you’ll never hear me try and pronounce. “The Essential Salts of Human Dust” is however, a great name for an EP, and is lifted from the short story “The Case of Charles Dexter Ward” which peaked my interest.

Track 1 is the title track, and let me tell you, this is some frosty shit. This is English Black Metal, but forget the oaken woodland tones of Wodensthrone and Winterfylleth, this is like having shards of ice fired into your face by a very angry tundra dwelling Jotun, charging into your Fen laden picnic screaming “NO, NO hippies!!!, It’s THIS, THIS Black Metal, the kind that freezes your veins while beating you over the head until you curl into a shivering mass of emotionally scarred man-fetus!!!” (I probably just put a metaphor inside my metaphor, the review just turned into Inception for poor analogies.) This is second wave inspired grimness with enough fresh musical corpses ground in to keep things spicy.

The Essential Salts of Human Dust has catchy ass melodies which is no way detract from the fact that you’re being blast beated into the floor. Around the 2:20 mark there is some pretty handy bass work which is pretty novel for the genre which normally dispenses with the instrument all together or mixes it into oblivion.

Second Track “Liber V vel Reguli” continues in a similar vein, and is equally pleasing to my frankly “I’ve had enough of this fucking week, can it please end now so I can forge into the sunset of solving the mountain of shit on my plate” eardrums. Makes a change from having The Wild Hunt on album repeat anyway. Excellent work from these guys, and highly recommended to fans of Taake/Windir, its got that melodic dominance and interesting guitar harmonies. Can’t wait to here a full length release. 








B and G Podcast – Viking Special

Posted in Badass and Grimness Podcast, Black Metal, Blackened Death Metal, Cake, Death Metal, Folk Metal, Heavy Metal, Pagan Metal, Prog, Viking Metal with tags , , , , , , , , , , , , , , , on August 14, 2013 by Murderdeth

B and G Podcast – Viking Special

From the Havamal –
Has too often
Been praised by poets.
The longer you drink
The less sense
Your mind makes of things.

That pretty much sums up the following.

It’s been a long, long time coming but here it is in its full, glorious 90 minutes….

“The Badass and Grimness Podcast, Viking Special.”

Featuring: Bathory, Amon Amarth, History Channel’s “Vikings”, Tyr, Wardruna and three progressively drunken idiots!

Not Featuring: Unleashed, Windir, Burzum, Arkenham and many others.

Thanks to JMG for joining us on this one. You can find him on twitter @jmgcreative.

Please remember to subscribe on iTunes and follow on Twitter. Other social networks are available, links can be found below!



Photo on 29-06-2013 at 22.07 #3

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Orphaned Land – All Is One

Posted in Folk Metal, Prog with tags , , , , , , on July 1, 2013 by Badass and Grim


My first encounter with Israeli act Orphaned Land was the truly epic “Never-Ending Way of ORwarriOR”. I was completely hooked by the 78min mix of death, prog and traditional Middle-Eastern music, and have nothing but respect for their aim of using their music to build bridges in their incredibly fraught region of the world. They continue this trajectory on recent release “All Is One”, although shedding the remaining vestiges of their death metal influences, using clean vocals to further increase the clarity of their message. I’d normally get a little wary around this level of politics in metal (Barny Gumble in the back of my head is shouting “Preachy!!! at Green Day”, but in this case the message of “hey guys, we’ve been at this for a few thousand years, do you recon’ we could stop slaughtering each over now” is such an obviously unobjectionable question that I’m 100% behind them.

Planting the flag firmly for the cause of tolerance and peace the album cover is a bold mission statement with the Crucifix, Crescent and Star of David intertwined and radiating, “All Is One”, for myself highlighting the inherent stupidity of three religions which for the most part venerate the same figures and with so much textual overlap fighting each other with such bitterness for so long.

So onto the music. The songs are definitely a lot snappier than the previous release, and the total album length has come down some, but this has only served to distil the quality of these musicians and songwriters. There is a great mix of progressive riffing and the use of folk influences. The latter are definitely stronger than ever, but they don’t overwhelm the fact that this is still a metal act. Songs like “Ya Benaye” do for middle-eastern traditional music what Tyr achieve for scandanavian folk, creating a refreshing mix of new and ancient. The strings in this album are also excellent, performing flawless glissandos throughout, a technique which is incredibly difficult to accomplish on the violin without sounding like a bag full of cats being thrown down the stairs.

Particular favourites include “Brothers”, which focusses on the legendary patriarchs of Arabs and Jews, Ishmael and Isaac respectively. In the biblical tale, Abraham has Ishmael by his second wife / servant Hagar, and when his wife Sarah gives birth to Isaac, she makes Abraham cast Ishmael out into the desert. The track is from the perspective of Isaac asking his brother’s forgiveness and reconciliation “Forsaken like a nomad, deserted in the flood, forgive me brother…from this tiny cornerstone we can build a realm of light”, which has obvious overtones in light of modern events. “Let The Truce Be Known” is also a moving track, and is the story of two boys who grow up together, end up fighting in separate armies, meet during a ceasefire only to kill each other the following night.

Metal is a genre which is often escapist and fantastic, so its incredibly satisfying to listen to a band with something relevant to express in their art, and which is so thoughtfully and beautifully articulated as in this album.



Metal Eurovision 2013 – Part Two

Posted in Black Metal, Death Metal, Doom, Goregrind, Hardcore, Psychedelic, Sludge, Stoner, Thrash on June 18, 2013 by Badass and Grim


Tricifix – Monothist (death metal)

As with Eurovision tradition, some golden oldies are brought out when there’s no hope left to relive their wonder years. This bunch from Donegal formed in the late eighties, and the track is taken from their 1991 album Diurnal Decay. Mixing smoothly flowing bass lines with an intricate and thrashy approach to death metal, Tricifix are worthy additions to any early death collection.


Betzefer – Doomsday (groove metal)

From their 2011 album Freedom To The Slave Makers, this track nods to Betzefer’s influences of Pantera and late Sepultura while still maintaining an original sound. Proof that keeping it simple can be as effective as any uberwiddly solo, the chorus chant has a tendency to lodge in your head all day.


Murk – In The Kingdom Of The Dead (black metal)

From Florence in Tuscany, Murk bring a dissonant and haunting breed of BM. Vocals are a little too reminiscent of a comical Strepsils advert for my taste, though these improve as the song progresses. Guitar tone and tempo however are spot on. Taken from the 2007 album Unholy Presences.


Grondh – Bads (black metal)

Taken from their only album Necilvēks, not much has been heard of the band since 2011. The track hurtles in at a gallop rather than creating atmosphere, but the vocal style is commendable.


Dinozauras – Įpareigotas Maitoti (sludge/goregrind)

While seeming an unlikely genre, it’s certainly proof that in metal anything is possible if you hit things hard enough. Meaning ‘Obliged To Defile’ in Lithuanian, crushing drums and staggering riffs create a disgustingly brutal tone reminiscent of an explosion in an abattoir, and while the grind part is seemingly absent, the gore is definitely there. From their album Ecce Cruor!, released in 2012.

Macedonia (FYROM)

Furion – Queen Of Thieves (thrash)

Released in February of this year on their first full-length album Thrashing Folks, Furion have a solid style of thash that brings in elements of their native music with great effectiveness, seen best in the way the track boots back from an instrumental break into full headbanging glory. Even before this album release, Furion won a Battle Of The Bands contest and played at Wacken in 2009. Certainly one to get heads nodding.


Thy Legion – Sadism Through Holy Intervention (blackened death)

Playing at Chains’R’Us is certainly a good formula for a music video, but it helps if the music is good as well. These Maltese metallers certainly deliver, with machine-gun blast beats, effective vocals and catchy guitar riffs. Taken from Venerato Diaboli, released in 2010.


Caligo – Behold Ragnarok (one-man black metal)

Immortal-like vocals reside in tin-can style production quality, adding to the grimness of this great track from solo black metaller Caligo. Released in February of this year, it’s the second track off his demo album Residing In The Black Void, which also features a cover of Darkthrone’s ‘Skald Av Satans Sol’.


Zaimus – Under The Unholy Spells Of Night (black metal)

More black metal, this time with two members, Khamul and Asmodai. While relying quite heavily on just a few riffs throughout the majority of the track, the track has a pretty nice tempo to it, lyrics are pretty good, and programming adds something new, particularly at around five minutes in. Taken from their self-released EP of the same name.


Acid Deathtrip – The Aftermath (sludge/doom)

Wonderfully crushing sonic dystopia, complete with ’60s moustaches and boobs. A relatively new band, they released their first EP on the 18th of March this year. Describing themselves as ‘blasphemous boogie’ and ‘getting face-banged by nudist midgets under a pagan moon’ should give you some idea. One to watch!


Summon The Crows – Menneske (crust/death)

Renowned for its prowess at most other kinds of metal, it was hard to find something a bit different for Norway’s entry. Translating as ‘Human’, this track from crusty riff-jugglers Summon The Crows is short-lived but amazingly intricate. It is the penultimate track on their EP; since then they have made two more full length albums and a split with Deviated Instinct.

A close second came Dødfødt with ‘Krigen’.


The :Egocentrics – Mystic Initiation (psych/stoner)

A truly commendable effort, this song just builds and builds with some truly amazing tone. This stoner-psych behemoth is from their demo, and checking out their other releases is highly recommended for lovers of the overweight chub riff.


Камни (Kamni) – Bong of Satan (stoner/doom)

Taken from their 2010 EP, crushing riffs and some pretty awesome wah-pedalling make Kamni’s ‘Bong Of Satan’ a pretty damn good track. Vocals sound oddly like Ramesses pretending to be Phil Anselmo, but it fits the style they’ve created nicely.

San Marino

Nothing Inside Eyes – The Day Skies Fall On Earth (thrash/hardcore)

The ever-valued Encyclopaedia Metallum is often vital in searching for new bands, but unfortunately San Marino, a country of just over twenty-four square miles, turns up two results, both of whom had split up. One of those, Alchimia 2012, went on to create this band after departing, and the result is a pretty modern-sounding ‘core affair. Released in July of last year.


Putrid Blood – Kontraudar (thrash)

Meaning ‘Counterattack’ in Serbian, ‘Kontraudar’ has that rare quality of native-tongue songs that means once the words (or at least their approximate sounds) are learnt, it’s just as fun to chant along to as any other song. Even with Google Translates’ erratic guessing, the lyrical themes are pretty key to many other thrash tracks, and the riffs hammer them home well. Taken from their 2012 album Absolute Profit.


Somrak – Howls From The Devil (black metal)

Slovenian for ‘Twilight’ (though luckily no relation to a franchise of the same name), Somrak focus on Satanism and the occult as their inspiration, and between the four of the they’ve created some pretty good stuff, even if the vocals falter at times. Taken from the 2007 album The Abhorred Blessings.


Monkeypriest – Hanuman’s Dance (sludge/doom)

Breaking straight out with some Phurpa-style throat singing, ‘Hanuman’s Dance’ soon settles into a distinctly crushing plod, almost impossible to resist nodding along to. The opening track from their 2011 album, The Psalm, it sets both the pace and tone for the remaining six tracks brilliantly. It’s well worth listening to the album in one hit to get the full effect of it.


Soliloquium – Crossroads (doom/death)

From Sweden hail Soliloquium, a two-piece band from Stockholm. The band mixes atmospheric clean-sung passages with more brutal sections, similar to the style of Katatonia and October Tide, but still manages to remain unique and intriguing, using switches between both vocal styles and tempo to keep the listener’s interest peaked. Taken from their new album The Concept Of Escape.


Moonfrost – Cleanse (black metal)

With their name winning triple points in Black Metal Scrabble, Moonfrost bring this fantastically desolate track forth from the land of snowy peaks and traffic incursions. It has some brilliant instrumental parts at the beginning that lead back nicely to well-paced BM, but the piano sections at the end may lead some to turn it off early. From the album Starfall, released in December 2011.


Marauder – Atrophied King (thrash)

With a vocal sound akin to Australian thrashers Mortal Sin, this Kiev bunch throw themselves headlong into a superspeed thrash assault for just over two minutes. Short, but sweet. Taken from the single of the same name, which was released in February of this year.

Venus in Binbags

Dead Awaken – Where Hope Turns Dripping Red

Posted in Death Metal with tags , , on June 15, 2013 by Badass and Grim


First order of business, “Where Hope Turns Dripping Red” is a great name for a great Death Metal album. You know exactly what you’re getting involved in. Secondly, this cover art is awesome, the font and image look like a fan mod for The Ultimate Doom, Wolfensteining it up with a spawn in the middle of WW2 with commandos and those weird shit coloured Imp things hunting you down with a furious salvo of 16bit devastation.

I shit you not...

I shit you not…

This is a near perfect, no bullshit execution of the death metal sub-genre. Each and every track on this album is a lesson in the blood splattered art, flowing seamlessly through blast beat intensity to neckbreaking groovefests and machine gun tight rythm delivery. Particular stand out points as follows: “Kingdom of Damnation” adds a sparing yet complimentary use of D-Beat which creates a welcome rythmic shift from the 4:4 double kickdrum, and gives the latter more impact when it does kick back in. “Deutsches Afrika Corpse” sums up everythings that is great about this album in it’s first minute, (Killer Riff – Brutal Gut Destroying Blast – Wyldesque heapings of Pinched Harmonics – Unstoppable Groove Machine). “Rocket Symphony” is a well placed mid-tempo effort with slow march riffs providing some gnarly relief from the more fast paced songs flanking it. There is no compromise here with complacency and over indulgence, no filler; these songs are so dense with quality material its like a pepperami constructed from prime veel, Ingredients: 200% industrially condensed blindly shrieking taste sensation. This holds true as much for the album as a whole as for individual tracks, clocking in at around 34 minutes it never outlasts its welcome and holds up after repeataed plays.



I’m finding it difficult to find anything critical to say about this release, the mission statement seems to be to carpet bomb the aural tracts of anyone who happens to be in the sonic vacinity, and essentially what you’re left with is a decimated firestorm where your ossicles used to be. “Where Hope Turns Dripping Red” is a living corpse that will throttle you to death with its gore caked talons.






Metal Eurovision 2013 – Part One

Posted in Black Metal, Death Metal, Sludge, Thrash with tags , , , on June 9, 2013 by Badass and Grim

It’s been that time of year again, when countless screaming wannabes and several metric tonnes of glitter and sequin have been poured into a studio and left to simmer for two weeks in a bid to show everyone how lovely Europe can be when we’re singing and not kicking the shit out of each other or hunting cats for food. However, despite the best efforts of strange falsetto-singing Romanians and Thor in a dinner suit, it turns out that several people around the globe quite like kicking the shit out of each other and hunting for, if not cats, then at least the nearest bar. This is the B&G metal version of Eurovision, with enough grind, death, thrash, stoner, doom and black metal to drown out the sound of next door and their skinny-gin-and-tonic caterwauling. There’s a band for each country that entered this year’s spandex-fest, some of which you may have heard of. Some are resurrected, some no longer around, but in the fashion of the original show, hopefully most will be new to you.


Gverr – Sprained Instinct (prog-death)

First up are Albanian band Gverr, purveyors of prog-death and tasty basslines. Formerly known as Trout (?!), they blend an intriguing mix of old-school death and thrashiness with compelling guitar solos. Taken from their 2010 album, nothing has been heard from the band since 2011. Shame really!


Bokrag – Mental Sickness (death/melodic death)

Armenian metallers Bokrag bring at first a slightly more brutal flavour of death metal, with ample technicality and catchy riffs. Rasping vocals courtesy of Alex Amiryan lend a more sinister edge to it than conventional death growling, but the melodic section is quite surprising after the initial fast pace of the first few minutes.


Ellende – Von Vergänglichkeit und Trost (black metal)

Translated as ‘Of Transience And Comforting’, this track clocks in at almost nine minutes long, and while mostly instrumental paints a satisfyingly bleak landscape in native German and haunting cries. Taken from Rückzug in die Innerlichkeit, the four-track album is available on Bandcamp.

A close second was ‘Todesschrei’ (Death-Cry) by Dunstzorn. Taken from their 2011 Mein Inner Kampf, it has an appealing lo-fi dustbin-lid feel to the drums, and keeping things simple riff wise ensures that they lodge in your head all day long. The militaristic vocal style is a nice touch, too.


Fatal Nation – Lord Of Another World (crossover thrash)

Though spoken in broken Englishes, it’s certainly better than my Azerbaijani and is ten times more relatable than most Rihanna songs. A commendable effort mixing thrash with Eastern music influences makes for something quite unique.


Infestum – Void Of Nebulae (black metal)

Think Space Black Metal didn’t exist? Think again! These Belarusian black metallers use the gaping galactic maw as inspiration for fast-paced riffery, with synth and industrial tones to boot it into more suitably futuristic realms. Taken from the 2012 album of the same name.


Saille – Fhtagn (symphonic black metal)

This Flanders band have based their most recent album, Ritu, around the writings of H.P. Lovecraft with suitably epic songwriting to boot. Indeed, the name of the track is part of a phrase in the Cthulhu mythos, roughly translating as ‘Dreams’. The haunting guitar tones are backed by well-executed and menacing vocals, and orchestral parts are tastefully restricted to eerie choirs rather than listening to Moonspell drive off a cliff with a full orchestra in tow.


Enthrallment – Cane The Messiah With The Crook (death metal/grindcore)

Cookie Monster vocals and rapid-fire blast beats abound in this track taken from their 2008 album Immerse Into Bloody Bliss. Fronted by Ross Kemp’s Bulgarian twin, Enthrallment have been happily chugging away with Suffocation-style death metal since 1998.


Nekrist – Slava Satan (blackened death metal)

Unfortunately no longer with us, this track was taken from their final 2010 album Dux Deus, which is also their only full length album. It’s a shame, as their satisfyingly blasty approach to black metal (complete with key changes) would be a fine addition to playlists everywhere.


Sabbah Navahthani – Pions And Prutend To Omit (sludge/doom)

This track, taken from their self-titled album of 2007, is a veritable bowel-rumbling doom effort from Nicosia. Catchy riffs and rolling basslines are great to bang your head along to, and feature members from Great Coven and Eight Hands For Kali. The drummer, Tas, also played bass for Electric Wizard from 2008-2012.


Essence – Lost In Violence (thrash)

These Danish brutes have been dishing out Big Four-worthy thrash metal since 2005, and their new album, Last Night Of Solace, came out in March. This track, taken from the previous album of the same name, is pretty lengthy at nearly eight minutes, winding seamlessly through balls-out thrash and slower but beautifully intricate bass parts.


Talbot – Cayenne (stoner/doom)

Wonderfully crushing, Talbot also have a new album this year that came out in April. From their previous album Eos comes this little beauty, full of lead-laden tones and lashings of cymbal bashing.


Garden of Worm – Hollow (doom)

And for Finland…Lordi! Only joking. Instead come Garden Of Worm, named after a King Crimson song. This track from their 2010 self-titled album initially sounds pretty much like old-school heavy metal slowed down with a couple of tonnes of lead thrown in for good measure. Clean vocals have a fairly monotonous and dirge-like tone to them (which sounds better than it reads), which can make an interesting change to other similar-sounding bands.


Benighted – Slut (death metal with grind influences)

A genre not often seen, but you can really see it work at around thirty seconds in as precise blast beats marry perfectly with death metal manic shredding and growling vocals. Taken from the 2008 album Icon, this track shows influences of Dying Fetus and Aborted but still manages to sound somewhat original.


Bohema – Eternal Slaves (brutal death metal)

Another death metal band, this time a more brutal mix incorporating Sumerian mythology and mysticism, and some fairly intricate bass lines. Their new album came out around Christmas, but this track off their first album of the same name slows slightly more ferocity and inventiveness, and some bloody nippy double-pedal to boot.


Obelyskkh – Horned God (stoner/psych/doom)

Delivering a wonderfully rich and crushing tone reminiscent of Monolithian, this song is one of many delights found on their 2012 album Mount Nysa. Describing their band interests as ‘weed, acid, space, Captain Future’ etc. is certainly a good start for such a genre, but the all important wall of sound has certainly been perfected here.


Convicted – Merciless (thrash)

With a distinctly Rob Dukes Exodus-like tone to the vocals, ‘Convicted’ is perfect headbang induction material. Chugging riffs, war-cry lyrics and solid drumming make this and the rest of the self-titled album worth a good listen.


Grizzly – Dagon (stoner/sludge)

Free album downloads are always good, particularly when the music you’re getting is as well-written as this. These Budapest-based stoners mix crunching riffs with Orange Goblin-esque stoner, with the addition of extra sludginess. Taken from their 2012 album Fear My Wrath, available from Bandcamp.


Svartidauði – Flesh Cathedral (black)

Meaning ‘Black Death’ in Icelandic, Svartidauði use urban decay and more modern themes to bring about sonic destruction. Looming and oppressive, the sound they have created in this behemoth 11-minute track, and throughout the album of the same name, is a must-hear for lovers of ingenuity and the art of crushing terror.

Obivionized / Plague Widow Split Release – This Black Earth

Posted in Grindcore with tags , , , , on May 15, 2013 by Badass and Grim




Making up the first menacing half of this split is North-London based three piece Oblivionized, purveyors of avant-grind and maulers of inner ear workings. While most groups focus on the music they produce at suitably ear splitting volume, Oblivionized have decided that this leaves a spare hour in the twenty-four provided each day, and have filled that with recording, producing, designing, tweaking, recording studio footage for YouTube, going on tour, commuting and a hell of a lot of other legwork, with the odd beer in between. Rarely does a band throw itself so headlong into its own work, and it shows. The first track, Hope Is The First Sign Of Defeat, begins with a suitably melancholic spoken-word piece backed by looming tones that crash into discordant guitar riffery. It continues winding through a labyrinth of furious drum battery, tempo changes, breakdowns, destructive industrial-bleach-tinged vocals and spoken propaganda-like rantings. The guitars switch from the beautifully complex to head-nodding simplicity, supported by innovative drumming, and the space between the end of First Sign and the second track, Just Show Me How It Ends, is dominated by almost a full minute of ominous feedback and looming overtone, making it easy to imagine a crowd tearing open for the creation of a pit.

The song kicks in around fifty seconds from the start, with a chugging riff that matches the blood pulsing in your fists. This is quickly overridden by more technical wizardry from guitarist and bassist Sammy Urwin, who was also responsible for the commendable production and sound engineering of the two tracks. The trio have worked hard to produce something unique, and their technicality with both guitars and drums have certainly set them apart from other grind bands.

Plague Widow

Admittedly, when this split delight dropped through the floorboards and near to one of my limbs, I was in the process of reviewing Sacramento-based Plague Widow’s self-titled EP. Grind is one of those strange beasts that has mutated into many different guises over the years, and it’s intriguing to hear two sides of the same coin share a split, and this particular pairing of bands works brilliantly. While Oblivionised work from the sheer energy of frustration and anger, Plague Widow are the masters of dread, and there is nothing like fear to overcome angry spewings. Their self-titled album was riddled with deathly ambience and passages from H.P. Lovecraft’s ever-pronounceable ‘Nyarlathotep’, recorded with chilling hostage negotiation tape distortion. On this split, Plague Widow continue their disturbingly blackened breed of grind with their first track, Malignant, cutting short a haunting ambient intro in favour of full-on sonic battery. Unlike Oblivionized, Plague Widow have chosen the juggernaut death-machine approach to grind over the technical ecstasy of drum and guitar combinations, and it’s something that remains just as effective. There are still plateaus of breakdown and the occasional squeal, but the feel is much more death-like and sinister, particularly with vocalist Marc Dickinson’s abyssal utterings. Guitar passages penned by the aptly named Hal Rotter (also responsible for the cover art) and meticulous sonic discharge by session drummer Gabe Seeber seem almost effortless in the studio footage, but bring a ferocious energy that charges right through to the second track, Paralytic Levitation, releasing just under two minutes of pure blackened deathgrind that leaves you breathless.

The pre-order CD version of this split lasted just 26 days before it sold out all one hundred copies completely, which given the quality and sheer effort from both bands isn’t surprising. Not to worry for hard-copy lovers, however; BuriedInHell Records have shiny 7-inch versions of the split in various colours, replete with posters and stickers too. Digital copies via Bandcamp currently hold only two tracks out of the four, with the other two due to be released in June. If you can get your hands on a copy, do so, and if you can make it to the Czech Republic in July for Obscene Extreme Festival you can see Oblivionized destroy the place with the likes of Napalm Death, Cryptopsy and Aborted. Being over the pond doesn’t excuse Plague Widow, either – for more of their terror-music, check out their EP (which is available now in various formats), crank the speakers and turn out the lights.

Venus in Binbags