Frustration is welling up here like rushing water jamming into a stubborn dam of mud, sticks, and leaves, with that only being able to hold for so long. Look, lots of people have it was way worse, and most of my issue is made of daily annoyances that are doing an awesome job stock-piling. That said, I’m not in King Happiness mode at the present time.

I was sitting down over the weekend to give a final critical listen to Fortress’ debut long player “Unto the Nothing,” a misery-inducing, depressing, dark collection of slowly meted-out doom that felt just how my brain was functioning. Wallowing in the muck, letting negativity have its way (which I argue can be a good, productive thing), and mentally lashing out at things that bother me only seemed to go better when taking on these seven tracks. The Hagerstown, MD., band piles sludge, funeral doom, and any element of sorrow and anger into their music. It certainly won’t pick you up when you’re feeling down. It’ll kick you and scrape at your cuts and bruises, especially the mental ones. It’ll drag you on a long, brutal journey that, if you can’t ride the bumps and use the music as a form of catharsis, you’re going to wind up a shaking, heaving mess.

Fortress is the work of three individuals, that being guitarist/vocalist Chaz Campbell, bassist/vocalist NAM, and drummer Andy Myers. There are so many riffs here, and not just ones that bring skullduggery. There is dark, thorny melody beneath much of what’s going on here, and a death blues pulse also beats relentlessly. If you’re a fan of doom bands as diverse as Aldebaran, St. Vitus, Mournful Congregation, Eyehategod, and, of course, the mighty Sabbath, you’ll find plenty of meaty bits here to devour while you’re being reminded over and over again the pressure pushing down on your psyche as you endure everyday existence. But it’s all done so damn creatively, you might not even mind you’re being reminded of all of this. The band’s just that damn good.

“Cost of Freedom,” the shortest song on the record, gets things started with clean guitars that work their way into heavy buzzing and drawn-out passages designed to evoke the dreariest of emotions. The growls are harsh and unfriendly, oppressive noise hangs in the air, and the track bleeds out into the night. “Fight the Son” is a crusher, with the opening strains rumbling and crumbling hard, and a grisly melody swimming beneath the mud. The song pounds slowly and heavily, like they’re making you wait and anticipate the blows you know are coming, with howls of, “The son will fall!” lying alongside the deliberate, killer riffs and devastating power. “Lies and Fears” is the longest song at 11:11, and it starts in a haze of drone that smothers and boils until some Sabbath-style riffs break down the wall. The growls are hissed and deadly, with lines such as, “Stand up to meet your maker,” coming across like a threat and not an invitation. There are clean and ominous moments, making your bloodstream slow down due to ice floe, but eventually filthy melodies return and dress the back end of the track in evil intent.

“Fortress of Gods” is built on chunky riffs and punchy playing, with a nice, slow groove setting up shop and pushing the track forward. The passage feels deadly and foreboding, with warnings of, “This is your new church, worship,” and the infrastructure of this thing feels like it’s closing in on you, with the only end result being your guts splattered everywhere. “The Nothing” has piercing guitar shrieks, a drubbing tempo, and slowly delivered growls that are making certain you receive the message of, “You’ve been broken, this is your fate,” so that there is no misunderstanding. A female voice sits behind the mire, offering a brief sense of beauty to what’s otherwise horrific, and a grumbling monologue walks hand in hand with wailing noise as the cut fades away. “Stolen Graves” trickles cleanly like a muddy stream at first before there’s a vicious power surge and monstrous growls that break through the surface. The arrival of “a new level of hatred” is announced, as elegant melodies similar to what Pallbearer do so well bleed forth, showing different colors and sides of the band. The whole thing glimmers and glows with energy, giving you a serious jolt unlike anything else on this album. “Dead Alone” is a bonus cut available via download for those who buy the vinyl. As you might guess, it’s totally worth it, bristling with power and fury, dressed in noisy chaos, and again inviting melodies that can haunt and cause your imagination to burst with life. Not a bad thing considering most of this record is dour and sans hope.

This is a perfect complement to seasonal depression. It could be the soundtrack, come to think of it. Fortress is a lumbering beast of a machine, and “Unto the Nothing” is an awesome late-year addition to 2014’s bubbling doom pool, and it’s one you should go out of your way to hear, especially as the annoyances of the final weeks of the year come to roost. It’s OK to be miserable, and Fortress will help you get the best out of the muck.

For more on the band, go here: https://www.facebook.com/fortress.of.gods

To buy the album, go here: http://www.store.unholyanarchy.com/

For more on the label, go here: http://www.unholyanarchy.com/

I have trouble waking up in the mornings sometimes. I just can’t be motivated to move by the annoying alarm I set on my phone, and I need something more forceful and shocking to jar me awake and get me moving on my day.

Perhaps setting my alarm to play something from Baring Teeth would do the trick. This Dallas-based death metal trio creates music that isn’t shocking for any of the normal death metal standards but instead for how they deliver the goods. The music is choppy but atmospheric, violent yet thought-provoking, and it’s impossible to sit still during their records because so damn much is going on. That’s again the case with their second album “Ghost Chorus Among Old Ruins,” a platter that’s sure to rip you right out of your bed, leaving you wondering what’s going on and how you should react to such tremendous racket. Their style is mathy, bewildering, intellectually aggressive, and heavy as hell, making them one of the most interesting bands in the sometimes heartless world of technical death.

The band used to go by the name Soviet, but they changed their moniker to the more fitting Baring Teeth and delivered their debut record “Atrophy” in 2011 on Willowtip Records. Comprised of guitarist/vocalist Andrew Hawkins, bassist/vocalist Scott Addison, and drummer Jason Roe, these guys make a special kind of noise. It should satisfy those who want things brutal and guttural, as Baring Teeth deliver that in large doses. But it also should find favor with listeners who want something a little more challenging for their brain and ears, similar to what groups such as Gorguts, Gigan, Krallice, and Artificial Brain have to offer. Trust me, these cuts will get your head spinning, and at eight tracks and a slim, trim 38 minutes, it is perfectly paced and just the right serving amount.

“An Illusion of Multiple Voices” would be a weird way to begin a record for any band other than Baring Teeth. The sounds bleed in, making it feel like something out of a fever dream, before machine-like chugging enters the picture and sends everything into disarray for most of its two minutes. “Mountain” spews guitar work all over the place, sending you into a state of controlled madness. The melodies buzz hard, and there’s a futuristic, scientific feel to it all, while the vocals are grisly and forceful. It’s both mind altering and chest bruising. “Visitant” wastes no time blowing down the doors, with thick guitars chugging before everything is sent on a rocket to outer space. This is some strange, compelling fun, with the song taking its time and the sounds boiling in a soup of its own filth, allowing the flavors to intersperse perfectly. Mmm, gross. “The Great Unwashed” has a titanic entrance, with the band going for broke and unloading thick, burly melodies that sound as scary as they do creative. The back end of the song has the band delving into speed and playing that could eat away at the psyches of anyone who regularly falls prey to panic.

“Terra Nullius” unfurls slowly, dripping and lurching, covering the whole thing in a thick, cold fog. This instrumental cut feels formless and scary during most of its run, with guitars stabbing where they must, and the rest of the elements soaking and bubbling. Finally, everything comes together, and the band hits on a loopy assault designed to maim. “Dripping Sun” bounces all over the place from the start, with everything stretching to far-off boundaries and the vocals coming at you as if they’re being transmitted by razor blades. The drums absolutely explode on this one, providing the lion’s share of the punishment, while the dizzying fury that results subsides just in time for the guys to treat you to a precision-emblazoned finale. “The Unwilling” feels chilly and drizzling at first, like being soaked in a dusk rain shower. The band enters into doom’s realm for a moment, passing through dark caverns and spider webs before dusting themselves off and spreading terrifying pain. The vocals again sound traumatic, with the band playing some of the ugliest, darkest bits on the entire record. The closing title track gets off to an explosive start with everything hitting you from all corners. The pace is mauling and relentless, with crunchy riffs prevailing and even some sludgy terrain stomped over. The final moments are awash with grinding guitars that meet up with a pool of corrosion that brings the record to a crushing end.

Baring Teeth’s run so far has been impressive and uplifting, and this second record appears to be evidence that their might is growing by the day. “Ghost Chorus Among Old Ruins” manages to surpass their stellar debut record and offers the death metal congregation something fresh and exciting for their ravenous consumption. These guys keep things technically sound but never fall victim to their creative whims, and this ideally portioned record is one that stays fresh and fiery from the opening moment to the acidic end. Great work by one of modern death’s most impressive young bands.

For more on the band, go here: http://www.baringteethmetal.com/

To buy the album, go here: http://www.willowtip.com/store/

For more on the label, go here: http://www.willowtip.com/home.aspx

There’s nothing better than ending the week on a loud, destructive note, especially if the four days that preceded your Friday have been busy, aggravating, and annoying. It’s time to blow off steam, get the negative energies out of your body, and indulge in something that offers a positive outlet for your chaos. Well, at least it’s more positive than burning down a house.

The whole crossover thrash thing somehow hasn’t been pulverized the death the last few years. At least not in the same way thrash and death have been beaten to a pulp. You have bands such as Iron Reagan, Power Trip, and Noisem (who hover a little closer to death, to be honest) picking up the trail first blazed by bands including D.R.I., Cryptic Slaughter, Cro-Mags, and many others. We haven’t been inundated with the sound, and therefore, it’s still a pretty fresh, fertile place in which to create. But now comes a band that will give the other new crossover maulers a real run for their money, and when all is said and done, might rule the entire place.

Arriving via Finland, where we usually get our fair share of death and black metal, come Foreseen HKI. Together since 2010, and with a few smaller releases under their belt, this Helsinki band of marauders has risen up with their smashing, awesome debut full-length record “Helsinki Savagery.” From the word go, this thing is like a bomb tearing a hole in the wall of even the most sound fortress, with these guys raging through like a bunch of barbarians. Frontman Mirko Nummelin definitely stands out for his scathing, raspy, in-your-face delivery and wicked charisma, and clearly he has a grasp of how the right singer can make a huge difference for a band, Making the hell fire along with him are guitarists Erkka Korpi and Lauri Martiskainen, bassist Tatu Kuisma, and drummer Marten Gustafsson, and they’re a killing machine that’ll overwhelm you and drag you off into the battle.

A lot of these songs seem to mash into each other and congeal, but that’s part of the fun. “Slam Savagery” kicks the record off hard following what sounds like engines revving up, which makes total sense for this assault. The band starts thrashing heavily, with killer lead lines blazing over top, and it’s a meaty, ideal stage setter. “Death Injection” is hammering and savage, with nasty vocals letting the attitude overflow, gang vocals making the track feel like a team effort of brutality, and a nice thrust toward hardcore to make this more violent. “The Prowler” has rapidly spat-out vocals, a tempo that races forward with reckless abandon, and the lead work just going off. The song is short and to the point, which is just as it should be. “Market Target” brings more fury into the picture, with some delayed vocals at the start that eventually turn into venomous howls. This song is heavy and fun and has the worst of intentions in mind. “Bonded By United Blood” is a spirited one, with a nice bit of crunch and some calculated playing initially before the track explodes and emits sparks. Gnarly yelling, more gang shouts, and another dose of speed also are packed into this one.

“Interlude” is what its title says it is, a short bridge built with noise, drums filling the room with dust, and guitars cutting through it all. “Structural Oppression” gets off to a raucous start, with punchy, catchy riffs, vocals delivered with attitude, spite, and creativity, as well as more hardcore-laced mashing. The last part of the song throws a changeup as the music gets more spacious and the guitar work gets damn near classic metal on us. “Delusion of No Consequence” is heavily mashing, with the lead growls mixing in with some gurgly backing vocals that sound like blood is being gargled. The song is a blistering one that leaves an indelible mark. “Both Sides Lose” is fast and furious, with energized riffs, raspy shouts, and guitars that go off the rails, squealing and shredding your senses. Closer “Paving the Way” is a great, clobbering finale, with the song bursting open and a massive pocket of thrashing pulling you in like a sarlac pit. The guys crush hard, as aggressively as they do anywhere else on this record, with the tempo growing more menacing and the song closing on a really catchy high, leaving your adrenaline surging as the album releases its hold. Seriously, what an awesome record.

Definitely, if you’re a fan of thrash or crossover, you must get up to speed with Foreseen HKI immediately. This is one of the best debut records of the year so far, which is a weighty statement to make in November, and “Helsinki Savagery” will keep you bloodied and battered for hours on end as they beat your daylights out. This is a killer record, bottom line. Nothing else needs to be said. So I’ll shut up.

For more on the band, go here: https://www.facebook.com/Foreseen

To buy the album, go here: http://www.20buckspinshop.com/

For more on the label, go here: https://www.facebook.com/20buckspin

When the digital promo for “Carrion Skies,” the latest album from British progressive black metal band Fen, arrived in my inbox, I had a pretty strange reaction to it once I downloaded and absorbed it the first time. I thought the music would sound ideal traveling on Thanksgiving Day visiting family and friends.

That doesn’t sound very cult (or kvlt), but I had the same reaction to Agalloch’s “Marrow of the Spirit” a few years back, and sure enough, that was the holiday’s soundtrack. The tracks don’t sound like something that would fit behind a warm family gathering or anything, but the music feels like what I’d want to experience doing a load of driving, gazing at leafless trees, and getting beaten by the cold. Yes, Fen, a band named after a territory in England called the Fens, a relatively marshy region near where the band members grew up and took their inspiration, is going to be playing in the car that day while I try to figure out a way to battle my annoyance. The music on the band’s previous three full-lengths all feel like something borne out of nature and are ideal for enjoying during the late fall. We’ve had a lot of that music on these pages the past couple weeks. I guess we’re just getting a great deal of art that works well in the current season.

“Carrion Skies” is a natural progression for Fen from last year’s “Dustwalker.” The melodies are bigger, the black stuff is grislier and has sharper teeth, and the progressive elements are far more realized and dominant. Fen—guitarist/vocalist The Watcher, bassist/vocalist Grungyn, and drummer Derwydd—are developing much in the same way Opeth did before them, but with these guys maintaining and even sharpening their metallic edge. As for their storytelling, both musically and lyrically, the guys are branching out and unafraid to embrace myriad emotions, sounds, and shades, and that daring mission has made the band even more interesting than they already were.

“Our Name Written in Embers Pt. 1” is the opening epic on an album full of lengthy compositions, and it immediately carries you under the roaring waves, with charged-up playing that should get your adrenaline racing, harsh growls that blister the skin, and great melodies roiling with the thunder. We noted Opeth earlier, and there are times when the band feels like they’re walking the same path as those Swedish prog warriors, injecting color, mood, and texture to the piece. There are jazzier parts, where the song seems to be trickling like water, and the track finishes with an aggressive pace, growls that ignite, and a blistering final few moments that take this song into the mist. “Our Name Written in Embers Pt. 2” follows right out of the end of the first piece, with guitars bending, melodies breezing along like a draft in the woods, and things eventually breaking out into fire. The guitars chug heavily, with the vocals sounding menacing, and the end is colored with cascading playing, gorgeous compositions, and wild cries that feel animalistic. “The Dying Stars” steps out of the cold with an adventurous start that toughens up with muscular guitars. There is a woodsy feel to the carnage, and that eventually meets up with calm passages that provide a chance for a deep breath and reflection. The leads guitar work gets dark again as the track winds down, and the growls devastate everything.

“Sentinels” changes things up a bit, diving into the deeper end of the progressive pool and delving into psyche rock territory that could help you see the stars. Naturally, the song tears open, with creaky growls telling the tale, powerful melodies bursting everywhere, and some playing that reminds of Rush at their most propulsive. Some alien-like clean vocals slip in, giving the song a cosmic feel, but eventually it’s back to abject heaviness, growls that sound like they scar the throat, and wrenching passion that is undeniable. “Menhir – Supplicant” is the second-longest cut at 11:51, and it bathes in spacey ambiance while the band takes its time setting the scene. Savagery and madness arrive, with monstrous growls tangling with creative guitar playing, making the track one hell of an interesting struggle. A dialog kicks in at one point, seeming like a message being delivered by the gods, and from there the cut gets into dreamy gaze and a final assault of breath-taking tempo changes. The 12:54-long finale “Gathering the Stones” is the lengthiest song on the record, and its bones rip out of a comfortable ambiance that you know just cannot last. Emotional singing balances the monstrous growls on the song, giving it dual personalities, while psychedelic effects ensure your mind goes swimming in fog. There is a last push, as the guitars rage heavily and the vocals deliver menace along with them, but the last few minutes are bathed in calm, as the listener gets set down easily on the damp leaves after one hell of a journey.

Fen’s music just gushes with emotional and soul, and the further these guys advance in their career, the better they get as a band. “Carrion Skies” is their most ambitious, full-bodied record to date, and it’s one that reveals new sides to it each time you take a journey with the music. If you’re into bands such as Winterfylleth, Falls of Rauros, and aforementioned Agalloch and haven’t yet discovered this band, get ready to have the rest of your year fully occupied by this great new record.

For more on the band, go here: https://www.facebook.com/fenofficial

To buy the record, go here: http://www.auralwebstore.com/

For more on the label, go here: http://www.code666.net/

Mid-November through the end of a calendar year typically is a dead zone for new music. Most of the good, vital stuff already has been released so people can buy it up for the holidays and so they can make the year-end lists. Tough for those late releases to get the respect some of them rightfully deserve.

Well, 2014 is turning into a different story. There’s a lot of good, worthy stuff still to be released, even if some of it still seems to be flying under the proverbial radar. A good example of that is “Global Purification,” the sixth release from long-running Dutch death metal band Thanatos. This band is 30 years into their run together, and while they’re only averaging a new record every five years or so, they have proved less can sometimes be more. The new one, a 10-track scorcher that runs just under 40 minutes, is devastating and passionate, something you can’t say about a good deal of the newer death bands out there, and it comes via Century Media, one of the largest metal labels in the world. It’s a digital-only release, sadly, here in the States, but that shouldn’t bug a lot of people hungry for some fire-breathing death.

Along with what these guys have done with Thanatos since 1984, its members dot other notable bands such as Hail of Bullets and Asphyx. Guitarist/vocalist Stephan Gebedi is your sole remaining original member, and he sounds as pissed off and channeled as he ever has before. He’s just blazing on this thing, especially when it comes to his furious vocals. Along with him are guitarist Paul Bayeens (himself a member since 1999), bassist Marco de Bruin, and drummer Yuri Rinkel (who did time in Mesopotamian-inspired death band Melechesh). I can’t stress enough how full of energy and chaos this record is, and it’s one you definitely should not rule out hearing before you compile your own best-of-2014 list. It’s one of the best things Century Media released this year, right behind Triptykon’s and Morbus Chron’s new opuses.

Strange industrial noises greet you at the start of the opening title cut, but that doesn’t last long as the guys bulldoze that wall and start their campaign. This is speedy death with its eyes set on engulfing everything with madness, and the gruff vocals paired with blistering drums help set the tone. “The Murder of Innocence” is built with punchy death riffs, more drums that seem hell bent on tearing down barriers, and even some spacious leads to inject atmosphere into the warzone. “Infestation of the Soul” is grimy at the start, with the vocals sounding absolutely brutal and the riffs cutting everything down. Gebedi later howls, “The terror won’t stop, the pain will never end,” as the rest of the band hits you with so much power, you can’t help but heed those words. “Queen of Gore” is a real treat and even feels a bit like early Carcass in spots. The song is outright devastating, with a sick glee coming through in the vocal delivery, and the chorus is both really catchy and wholly violent. “Nothing Left” levels you with Gebedi’s declaration, “Life as we know it is based upon lies,” while the band unleashes off-kilter playing and razor-sharp lead guitar lines.

“World Jihad” sounds like that very thing, with crazed and fast playing, angry vocals to hammer the message home, and some great dual lead lines that give the track a nice classic metal feel. “The Demonized Minority” is slow-driving and mean at first, but then it explodes with a punishing thrash attack and more tremendous soloing that, in case you haven’t been paying attention, is a recurring element on this record. “Feeding the War Machine” doesn’t need terribly close dissection lyrically to pull apart the meaning of this song, and the way the band plays, it seems like they’re fighting tooth and nail against that oppressive, blood-shedding authority. The song utterly destroys shit. “Blood Will Be Spilled” has splattering drums that pepper you with punches, though the bulk of the track is nasty and calculated as it picks its spots. Gebedi goes off, shouting the song’s title over and over while the band puts their boots to your throat. Closer “Bastion of Blasphemy” is a fitting finale, as the band takes its final shots, especially vocally as the words seem to drip with a little extra venom. The guitar work burns brightly again, driving the song to an end that’s adorned with war noises and the sounds of hell on earth.

These guys might not get the ink and attention of Arch Enemy or … gulp down bile … Butcher Babies, but they absolutely deserve that kind of exposure. Three decades haven’t slowed down Thanatos, and perhaps the time between records has worked to keep their embers blazing. Whatever it is, these guys are still killing, still taking serious shots at the forces that annoy them, and still have what it takes to leave you a heaving, bloody mess. Now pay them the proper respect by checking out “Global Purification,” one of the most genuine slabs of death Century Media released this year.

For more on the band, go here: https://www.facebook.com/thanatos333

To buy the album, go here: http://www.cmdistro.com/

For more on the label, go here: http://centurymedia.com/

Terrible frustration, unending anger, things being complete bullshit seemingly all the time. Those are situations and moods we all face from time to time, and when it’s all three at once, existence seems like it’s the worst, something that’s a struggle to grasp and make even a slightest bit of sense out of.

Funeral doom is not a sub-genre that was born out of happiness, pleasantries, and comfort. It’s cold, dark, and abrasive, and sometimes it feels like a thing that’s weighing on you for a million years at a time. It’s also an excellent source of power when you’re feeling at your worst and can’t come to grips with daily frustrations, and a band such as Usnea could be just what you need when you need to spit the venom welled up inside of you. The Portland, Ore., doom band is oppressive, angry, and fierce in the best possible way, and their second release “Random Cosmic Violence” should reach way more ears via their alignment with Relapse. It’s a union that makes a lot of sense, and with the dreaded seasonal depression about to sink its teeth into many of us, this record could be the monster that helps pull us through the murk and hell.

At four tracks and just under an hour long, this dreaded document is a fiery, harsh, and unpleasant experience, which I mean in a good way. The band–guitarist/vocalist Justin Cory, bassist/vocalist Joel Banishing, guitarist Johnny Lovingood, and drummer Zeke Optimo Rogers–reveal black personalities, strange ways of expressing their darkness, and torturous practices to make their weight felt. These songs are not for the faint of heart, the easily wounded, or those who want three minutes and a cloud of dust. You must commit, feel each thorn press into your skin, and do what you must to make sense of this cauldron of madness that’s not exactly excited to make its intentions clear.

“Lying in Ruin” is the first beating up, beginning with bizarre noises and cosmic weirdness that seems to be setting itself up for a volcanic trip through space. The doom floor eventually drops, as expected, and the vocals sound crazed and anguished, like they’re going to squish your bowels until death arrives. A sweeping atmosphere arrives, and the vocals slip into a chant, making the track feel ritualistic. There is a lot of back and forth, heaviness paving the way for calm and vice versa, and the final moments have the drums driving and static eroding everything. “Healing Through Death” mauls you for 14:20, beginning right away with banshee wails that might cause you to jump. The band heads into slow-driving gore, with deranged cries and menacing hell before it changes over to clean and spacey. As is the case with most of the songs on here, the track doesn’t stay in one place for long as it shifts toward slithering death, calculating punishment, and an ending that makes sure it gets in as many vicious blows as it can before it lets you go.

The title track runs 14:44, and it opens with rustic acoustic guitars and slow, moody melodies. There is singing that again feels chant-like, almost like they are detached from this plane of existence and staring deep into unknown realms. But just when you feel like you’re locked in a trance, the song ignites and hammers the hell out of you. The vocals are monstrous and the pace is sludgy, but then the tempo pushes ahead again and gets thrashy and ugly. New riffs emerge that freshen the scene but also keep draining the blood, and melodies that seem like they’re repeating on a loop give way to the same acoustics that started the track. “Detritus” is the longest cut yet at 15:47, and it has a chilling, doom-infested opening that signals death’s arrival with the ringing of bells. The track takes its time building up storm clouds, and you just know the other shoe is going to drop. Obviously it does, with solemn, mournful playing, psychotic wails that make you think the worst is finally at hand, and damaged melodies that sound as battered as you are. The song sounds like it epitomizing the end, with gazey guitars spilling in, the pace continually churning, and the track ever so slowly fading away.

Usnea won’t provide an adrenaline rush or something to help you crush beers, but it will feel just right when you’re at your lowest point and need something that feels even miserable than you are. “Random Cosmic Violence” is a perfect debut for their new label, where they should find plenty of people who need a horrifying doom fix. These guys will disgust and destroy you, and don’t be shocked if you find you’re enjoying every minute of it, even at your personal worst.

For more on the band, go here: http://www.usneadoom.com/

To buy the album, go here: http://www.relapse.com/store.html

For more on the label, go here: http://www.relapse.com/