{"title":"Flenser","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe Flenser is a San Francisco label specializing in releasing black metal, doom, and other dark music. With a reputation for pushing boundaries and exploring the depths of sonic darkness, The Flenser has become a go-to destination for fans of heavy and atmospheric music. Whether you're looking for haunting melodies or bone-crushing riffs, The Flenser offers a diverse roster of artists that will satisfy your darkest cravings.\u003c\/p\u003e\n\n\u003cp\u003eKnown by many simply as \"Flenser,\" this label has established itself as an authority in the underground music scene. From its humble beginnings to its current status as one of the most respected labels in the genre, The Flenser continues to curate and release groundbreaking albums that challenge conventional notions of what heavy music can be.\u003c\/p\u003e\n\n\u003cp\u003eWith an impressive catalog spanning multiple genres within the realm of dark music, The Flenser is dedicated to supporting both emerging talent and established artists who push boundaries. Explore their extensive discography and discover new sounds that will transport you to realms unknown.\u003c\/p\u003e","products":[{"product_id":"vida-blue","title":"Vida Blue","description":"\u003cp\u003eCassette is also for indies only. San Francisco Bay Area-based metal desconstructionists’ latest is both inspired by the loss of a bandmate and the legacy of Oakland A’s legend Vida Blue. Time is a slippery fish. Loss has inspired Mamaleek’s latest full-length album, titled Vida Blue. This marks the San Francisco Bay Area metal deconstructionists’ eighth album and their third as a full lineup. Tragedy struck in March of 2023 when the band lost a longtime friend and member, keyboardist Eric Livingston, leaving the group, which began as a duo of two brothers and later expanded to a five-piece, now with only four members. Despite this profound loss, Mamaleek persevered, performing as a quartet at various festivals, including the 2023 edition of Tilburg. The band returned to the studio to create new material that appropriately reflects their journey through loss and honors their fallen comrade. The resulting album draws inspiration from the legacy of Oakland A’s baseball legend Vida Blue, whose former team coincidentally announced its relocation to Las Vegas that same year. The band members themselves describe this poignant chapter in their own words: “Time is a slippery fish. Maybe only someone like Vida could grasp it. Although he’s left time behind, his image and that lefty heat remain in the memories of many. Eventually they’ll be forgotten, and hopefully replaced with even more exultant ones. This musical recording is a reflection on loss and its acceptance. We explore several examples for each song, including the loss of pride, of money, of glory, of country, of sanity, of a favorite sports team, of significant others, and, every day, one’s self. It also explores various associated moods fear, panic, reverence, stoicism, and steadfastness—to arrive at a resolution: Loss is only a test, the glue that holds and erodes each memory, the connection that binds and loosens us all, pitch by pitch, inning by inning. This is your celebration.” Vida Blue is a person, moment, and memory, together the crystallization of apocalypse: “unveiling,” “disclosure.”\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"Green LP","offer_id":50380083134795,"sku":"2208518","price":44.99,"currency_code":"GBP","in_stock":true},{"title":"Black LP","offer_id":50380083298635,"sku":"2208524","price":43.99,"currency_code":"GBP","in_stock":false},{"title":"Tape","offer_id":50380083364171,"sku":"2208526","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Mamaleek__Vida_Blue_224a26f2_thumbnail_4096.jpg?v=1726206544"},{"product_id":"the-promise-of-rain","title":"The Promise Of Rain","description":"\u003cp\u003eExperimental black metal from Brooklyn featuring members of Pyrrhon, Krallice, Sigur Rós, The Glen Branca Ensemble, Steve Reich. Recorded by Colin Marston (Dysrhythmia, Krallice, Liturgy). Follow-up to the bands well received 2022 debut Aveilut. The Promise Of Rain, the sophomore album of the experimental black metal band Scarcity, is an embodiment of the hard-to-believe truth that burdens are easier to bear when distributed, a realization Brendon Randall-Myers (conductor of the Glenn Branca Ensemble) grappled with extensively while writing this record. This is a sweat-drenched album about dispersion, about spreading, about the collective relieving of burdens through shared experience: one doesn’t have to go through everything alone. When Scarcity’s debut album Aveilut was written in early 2020, Randall- Myers and vocalist Doug Moore (Pyrrhon, Weeping Sores, Glorious Depravity, and Seputus) never expected to be able to play their songs live. The cathartic experience of playing something that came from a place of isolation out to people in a live setting is the root of the intensity in The Promise Of Rain. The Promise Of Rain begins where the craziest climaxes of Aveilut end, and is the first Scarcity record to include Tristan Kasten-Krause (Sigur Ros, Steve Reich, LEYA) on bass, Dylan Dilella (Pyrrhon) on guitar and Lev Weinstein (Krallice) on drums. Rather than building density with the quasi-orchestral layering on Aveilut, Scarcity challenged themselves to document what five people in a room could do, recording most of The Promise Of Rain in one or two takes, capturing the physical effort and urgency of a live performance. Scarcity forges a completely fresh sound in The Promise Of Rain with their alarming guitar work and melodic arpeggiating, shedding dead skin and breaking ground with sheer vulnerability. The lyrics for The Promise Of Rain were inspired by a trip Moore took to the high deserts of southern Utah in 2023. “To thrive in the desert is an act of abnegation—” he observes, “you do right by the land and receive its gifts, or it does away with you.” The necessity of adaptation is as evident in the desert as it is to the landscape of the human experience. The transformation of ideas and beliefs, the grief of losing relationships that had to end, and the fear involved in forming new ones under the grip of mental illness is conjured over and over again on this panoramic album.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"Green LP","offer_id":50380157354315,"sku":"2203336","price":36.99,"currency_code":"GBP","in_stock":false},{"title":"Black LP","offer_id":50380157550923,"sku":"2203350","price":32.99,"currency_code":"GBP","in_stock":false},{"title":"Tape","offer_id":50380157813067,"sku":"2203353","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50380158107979,"sku":"2203355","price":15.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/The_Promise_of_Rain_e3806aa5_thumbnail_4096.jpg?v=1726209775"},{"product_id":"orbweaving","title":"Orbweaving","description":"\u003cp\u003eHeaven metal meets classic shoegaze via desert and plague mythology in the first collaboration between these artists. Madeline Johnston and Angel Diaz became close friends in 2020, regarding each other as a lifeline when things were difficult in their personal lives. This friendship was born from music but quickly became so much more than that. The two met in person in 2021, when Diaz came for a recording residency at Johnston’s studio in New Mexico. It was during this session that they wrote and recorded Orbweaving, in the heat of summer in the arid Chihuahuan Desert. Orbweaving combines the best parts of Midwife’s “heaven metal” and Vyva Melinkolya’s sentimental, classic shoegaze in a way that distinctively elevates both artists. The record explores themes of hopelessness, calling on a higher power, being alone, and the sublime horror of the natural world.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"LP","offer_id":50383743254859,"sku":"2020940","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Midwife__Vyva_Melinkolya__Orbweaving_f4959e6b_thumbnail_4096.jpg?v=1726277132"},{"product_id":"the-lamb-as-effigy","title":"The Lamb As Effigy","description":"\u003cp\u003eExperimental rock quintet from Los Angeles for fans of Unwound, Duster, Slint, and Lowercase. Mixed and engineered by Tim Green at Louder Studios (Unwound, Melvins, Jawbreaker). Live appearances with Flenser labelmates, Have a Nice Life, Chat Pile, Midwife, and tour dates planned throughout 2023. Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain’s evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated 8 this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band’s artistic and conceptual essences. The most extraordinary of art isn’t created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album’s fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line. Clocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent’s dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"LP","offer_id":50389975531851,"sku":"2056810","price":43.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Sprain__The_Lamb_As_Effigy_fff391e7_thumbnail_4096.jpg?v=1726377373"},{"product_id":"desolations-flower","title":"Desolation’s Flower","description":"\u003cp\u003eFor fans of Mt. Eerie and Wolves In The Throne Room. Experimental, highly idiosyncratic take on black metal from Oakland California \/ Olympia Washington two piece. Recorded, mixed and mastered by Nicholas Wilbur (The Microphones, Have A Nice Life, Planning For Burial). Previous releases with on cult DIY label An Out Recordings. 2018 split release with Thou. Ragana is a duo whose members alternate duties on drums, guitar, and vocals to produce some of the most unique and affecting dark music in metal today. The two-piece came together in 2011 in the DIY punk scene of Olympia, WA and are now based in Olympia and Oakland, CA. In their time together so far, Ragana have self-released five albums and teamed up with genre-favourite Thou for a split release in 2018. The following year, Ragana released their heralded We Know That The Heavens Are Empty EP and have quietly been working on new music ever since. The band signed with The Flenser in late 2022 and now present their forthcoming debut album for the label, Desolation’s Flower. On Desolation’s Flower, Ragana draws upon a number of influences from the flora and fauna of their Pacific Northwest origins to the darkly nostalgic folk of Mt. Eerie and, yes, their Olympian forebears Wolves In The Throne Room, synthesising them into an experimental, highly idiosyncratic take on black metal. Held together by an intense focus on raw emotion and haunting atmospherics, Ragana shifts seamlessly from tender, mesmerising vocal harmonies to piercing, heart-ripping screams and back again, yielding music that is heavy, beautiful and punishing all at once. Written over the past few tumultuous years, Desolation’s Flower is the band’s most devastating effort to date, containing seven incantations of loss, rage, pain and hope. Expertly engineered by the masterful Nicholas Wilbur at the Unknown Studio in Anacortes, Washington (Planning For Burial, drowse, Divide and Dissolve, Have a Nice Life), the album serves as the culmination of the past decade plus of the band’s ethos and execution.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"Clear LP","offer_id":50390031663435,"sku":"2056809","price":34.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50390031860043,"sku":"2056815","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50390032056651,"sku":"2056817","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Ragana__Desolations_Flower_35681893_thumbnail_4096.jpg?v=1726380282"},{"product_id":"agriculture","title":"Agriculture","description":"\u003cp\u003eFull length debut of “ecstatic black metal” band from Los Angeles. Recorded by Jack Shirley (Deafheaven). \u003c\/p\u003e\u003cp\u003eFor something to be “ecstatic,” the feelings and emotions it evokes must transcend what one tends to experience most regularly in their life. Ecstatic joy isn’t just happiness; it’s a feeling of jubilation which impacts one emotionally and in a metaphysical, arguably spiritual sense too. Although it has long been associated with connotations of the dark and macabre, extreme music has the ability to be a powerful mode of expression for these feelings of absolute bliss, overwhelming love, and awe-inspiring sublimity. Extreme emotions no less and those which black metal quartet Agriculture evokes with its ecstatic subversion of the subgenre’s tropes. \u003c\/p\u003e\u003cp\u003eWhat was initially a meeting and subsequent series of jam sessions between Kern Haug and Daniel Meyer, two musicians in the Los Angeles underground 4 noise scene, would eventually manifest as a shared vision to portray the sublimity of the human experience through the vehicle of heavy music. Following the additions of veteran guitarist Richard Chowenhill and bassist \/ vocalist Leah Levinson to the band’s lineup, this idea would crystalize into the “ecstatic black metal” backbone of Agriculture’s music, first heard on the band’s 2022 debut EP, The Circle Chant. With Agriculture’s self-titled record and first full-length LP, it’s abundantly clear that the band’s use of heavy music to showcase the most resplendent emotions and moments of the human experience has a far deeper meaning. Woven between the flurries of soaring tremolo picking, crescendoing guitar harmonies, celebratory screamed vocals, thoughtful improvisation, and meditative atmospheric passages is the record’s mission statement to experience the wonders and joys of both the esoteric and physical world.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"LP","offer_id":50397241934155,"sku":"2028259","price":34.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50397243474251,"sku":"2028265","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Agriculture__Agriculture_ab50807a_thumbnail_4096.jpg?v=1726488894"},{"product_id":"deathconsciousness","title":"Deathconsciousness","description":"\u003cp\u003eIn 2008, Have A Nice Life released their now cult classic\u003ci\u003e Deathconsciousness\u003c\/i\u003e album to a whimper and critical non-interest. Six years after its release the band followed up with 2014’s stunner \u003ci\u003eThe Unnatural World\u003c\/i\u003e, and by then Deathconsciousness had become a force of influence and fanatic obsession. Seamlessly blending shoegaze, post punk, new wave, industrial and noise with unparalleled depth and weight, the album was originally released by Enemies List Home Recordings founded by HANL members Dan Barrett and Tim Macuga. \u003c\/p\u003e\u003cp\u003eNow, longtime HANL collaborator The Flenser will reissue Deathconsciousness on the long-requested CD format, with a deluxe packaging option, including the lengthy accompanying zine and housed in a heavy box. The 75-page booklet accompanying the deluxe format of Deathconsciousness details the dark and forgotten history of the Antiochean cult. Blurring the lines between novella, liner notes, and academic text, the zine itself presents an engrossing narrative. The corresponding album is rhythmic, primal and expansive, and is a gloomy-post-punk masterpiece—a mediation on death, loss and existence. It feels more fresh and engaging with every listen and has held up as a remarkable piece of art. Fans of Have A Nice Life exhibit both cultic thought and action for good reason it is perhaps a fanbase as dark and mysterious as the Antiochean’s, which the album itself revolves around. \u003c\/p\u003e\u003cp\u003eFor fans of Enemies List Home Recordings, Giles Corey, Black Wing, Planning For Burial. \u003c\/p\u003e","brand":"Flenser","offers":[{"title":"CD | x2.","offer_id":50409473016139,"sku":"1133147","price":22.99,"currency_code":"GBP","in_stock":false},{"title":"Black | LP | x2","offer_id":50409473671499,"sku":"2191690","price":47.99,"currency_code":"GBP","in_stock":true},{"title":"Green LPx2","offer_id":50409473474891,"sku":"2170870","price":54.99,"currency_code":"GBP","in_stock":true},{"title":"CD | x2","offer_id":50409473147211,"sku":"1133146","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ddc8ff5a-1e8c-4ef5-b434-68166c793178_thumbnail_4096.jpg?v=1726614950"},{"product_id":"this-dungeon-earth","title":"This Dungeon Earth","description":"\u003cp\u003eIn the summer of 2019, a newly formed, Oklahoma Citybased rock band called Chat Pile would release its debut four-track EP, This Dungeon Earth. Little did anyone know at the time, but this initial taste of grotesque, confronting, and visceral noise rock courtesy of four slacker Okies would kick off the story of what would soon be one of the most widely lauded underground acts in years. Like the towering mounds of toxic waste from which it gets its namesake, Chat Pile’s body of work is emblematic of a distinctly midwestern flavor of American dread, with This Dungeon Earth being no exception to the rule. While raw in presentation, Chat Pile’s debut EP comes across as anything but a rough draft. Much of the band’s hallmark traits, spanning the unhinged vocals of frontman Raygun Busch, the grotesquely contorted guitar riffage, and the industrial smack of heavily processed percussion, appear as far back as this earliest chapter. If anything, the raw, DIY-rooted origins of these uncompromising thirteen minutes of sludged-out carnage make This Dungeon Earth all the more impactful. Between its biting social commentary and gratuitous grindhouse insanity, the unfiltered brutality of Chat Pile’s debut recording has seen tracks like “Rainbow Meat”, “Face”, and “Ratboy” become mainstays in its notorious live shows. Although it depicts the band’s monstrous amalgamation of noise rock, sludge metal, hardcore, and more as it is just beginning to congeal, This Dungeon Earth comes off as the furthest thing from a simple intro and more of an essential first chapter in Chat Pile’s story.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"Tape","offer_id":50413462520139,"sku":"2190527","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Chat_Pile__This_Dungeon_Earth_6b17518f_thumbnail_4096.jpg?v=1726674084"},{"product_id":"remove-your-skin-please","title":"Remove Your Skin Please","description":"\u003cp\u003eReleased only a handful of months following the band’s breakthrough debut EP, Remove Your Skin Please signaled that whatever Chat Pile was doing wasn't just a one-off novelty of Midwest metal nihilism. While the band’s foundational sound of caustic and cacophonous noise rock crystallized with its debut, the release of Remove Your Skin Please signposted the vast extent to which Chat Pile could stylistically tinker and conceptually iterate atop it. Heard in the gothy post-punk dirge of “Mask” and the dissonant extreme metal fervor of “Davis'', the more experimental ideas present on Remove Your Skin Please come off less like a selection of the band’s conceptual prototypes and more like fully realized reflections of its member's own tastes and preferences. That doesn’t mean Chat Pile’s noise rock foundation is diluted in the slightest as EP bookends “Dallas Beltway” and “Garbage Man” push its twisted take on the genre to new aural extremes in its instrumentation and subject matter spanning grisly serial murders to the slow festering death of the environment at the hands of mankind. For as ugly and unhinged as Chat Pile’s tales of 21st-century American dread are, Remove Your Skin Please asserts something that is somehow subtly even more terrifying: If a quartet of otherwise ordinary Okies can convey such apocalyptically bleak yet resonate messages in its music, that may mean we feel that same nihilism, too.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"Tape","offer_id":50413463044427,"sku":"2190526","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Chat_Pile__Remove_Your_Skin_Please_ddbda9a9_thumbnail_4096.jpg?v=1726674103"},{"product_id":"gods-country","title":"Gods Country","description":"\u003cp\u003eMost anticipated debut full-length from Oklahoma-based noise rock band, \u003cstrong\u003eChat Pile\u003c\/strong\u003e. Multiple vinyl pressing of the band’s EPs on cult noise rock label Reptilian Records have quickly sold out.\u003c\/p\u003e\n\n\u003cp\u003eThere’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then \u003cem\u003eGod’s Country\u003c\/em\u003e, the first full-length record from Oklahoma City noise rock quartet \u003cstrong\u003eChat Pile\u003c\/strong\u003e is the aural embodiment of such a concept.\u003c\/p\u003e\n\n\u003cp\u003eHaving lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of \u003cstrong\u003eChat Pile\u003c\/strong\u003e, and especially so on its debut album.\u003c\/p\u003e\n\n\u003cp\u003eExasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” \u003cem\u003eGod’s Country\u003c\/em\u003e is as much of an acknowledgment of the Earth’s most assured demise as it is a snarling violent act of defiance against it.\u003c\/p\u003e\n\n\u003cp\u003eWithin its over forty-minute runtime, the album displays both \u003cstrong\u003eChat Pile\u003c\/strong\u003e’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, \u003cem\u003eTenkiller\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eIn the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"LP - Red","offer_id":50415965667659,"sku":"2002132","price":29.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50415964488011,"sku":"1158660","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"LP - Black","offer_id":50415964815691,"sku":"1158659","price":28.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Yellow","offer_id":51374533935435,"sku":"R4495-6378","price":32.99,"currency_code":"GBP","in_stock":false},{"title":"Tape","offer_id":52039014318411,"sku":"R4495-0512","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"LP - Purple","offer_id":53447527727435,"sku":"R4495-5950","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/102175c1-4e31-4098-9cd4-30efae520709_thumbnail_4096.jpg?v=1726694196"},{"product_id":"have-a-nice-life","title":"Voids","description":"\u003cp\u003eFor fans of Duster, LSD and The Search for God, The Microphones. First official physical copy of fan-made compilation of alternate tracks and demos from cult phenomenon album \u003ci\u003eDeathconsciousness\u003c\/i\u003e. Freshly remastered. With the broader adoption of the internet around the turn of the century, how people would engage with and discover underground music would change forever. As a result of the new digital era, DIY was now worldwide, and no band embraced this new frontier better than Have A Nice Life. \u003c\/p\u003e\u003cp\u003eFormed in 2000 by duo Dan Barrett and Tim Macuga, the Middletown, CT-based pair would, throughout the 00s, self-release and share a number of demos and home recordings via early social media channels as well as establish its in-house label Enemies List Home Recordings. These first steps set in motion Have A Nice Life’s rise to renown as an icon of underground music in the internet age, culminating with the release of its pivotal 2008 debut album, \u003ci\u003eDeathconsciousness\u003c\/i\u003e. Through word of mouth and online discussion, \u003ci\u003eDeathconsciousness\u003c\/i\u003e became subject to viral praise thanks to its synthesis of bleak post-punk, lo-fi shoegaze, and carpets of hypnotic drone music. Eventually, this humble self-released project would attain the status of a post-internet cult classic, amassing Have A Nice Life a fervent online following that the band would interact with in kind. \u003c\/p\u003e\u003cp\u003eIn an effort to thank and continue to engage with Have A Nice Life’s internet cult following, Barrett and Macuga would regularly share links to old demos, works in progress, and outtakes from the recording of \u003ci\u003eDeathconsciousness\u003c\/i\u003e. Over time, a group of fans would compile these demos into an unofficial release. Dubbed \u003ci\u003eVoids\u003c\/i\u003e, this fan-made compilation several alternate takes of tracks from \u003ci\u003eDeathconsciousness\u003c\/i\u003e, as well as a handful of early versions of songs that would appear on Have A Nice Life’s two following albums,\u003ci\u003e The Unnatural World\u003c\/i\u003e and\u003ci\u003e Sea of Worry\u003c\/i\u003e. While undeniably reminiscent of their final album version counterparts, the earlier versions of these tracks each feel distinct in a way that makes the moody, decidedly lofi aura of Voids an essential slice of the Have A Nice Life discography. Hungry for more from the enigmatic duo, fans swarmed around this compilation, accompanied by loud calls for it to receive a physical release. Seeing that demand and with the band’s blessing, a pair of fan-made tape pressings of \u003ci\u003eVoids\u003c\/i\u003e would be released via Music Ruins Lives, a DIY label run by Have A Nice Life superfan Thom Wasluck, also known for his band Planning for Burial. 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The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion. No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving. Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen. 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Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems.\u003c\/p\u003e\u003cp\u003eThough very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on \u003ci\u003eCool World\u003c\/i\u003e not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt\/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.\u003c\/p\u003e\u003cp\u003eBesides stylistically stretching the boundaries of the Chat Pile sound, \u003ci\u003eCool World\u003c\/i\u003e is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.\u003c\/p\u003e\u003cp\u003eWhile Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on \u003ci\u003eCool World\u003c\/i\u003e is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. 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Follow up to 2019’s industrial noise classic, The Origin Of My Depression. Uboa’s fifth album Impossible Light almost never made it out of the dark. From its initial conception in 2018, this record went to hell and back, dragging its immensity and too-big-to-hold emotion through the torturous process of translation to sound and returned triumphantly as a full-bodied record in a distinct new style. Impossible Light begins where Uboa’s 2019 breakout album The Origin Of My Depression left off—and ends somewhere entirely different. The Origin stunned with its methodical use of doom, harsh noise, and ambient soundscapes while documenting a raw, unhindered account of Xandra Metcalfe’s experiences with her transition and her struggles with mental health. Over time The Origin steadily grew a cult-like following which developed into a full-fledged internet community focused around noise, neurodiversity and transness. While Uboa’s signature style of highly polished, cinematic “hypernoise” is front and center in Impossible Light, there is also a daring departure into the genres of industrial metal \/ rock, setting it apart from any other Uboa release thus far and distinguishing it from other contemporary noise records. Metcalfe kept the lyrical content of this record as a time capsule of the catastrophic ups and downs and rapidly changing environments within herself and in the world from 2018-2023. Key collaborators include Blood Of A Pomegranate, Otay:onii, Charlie Looker and Haela Hunt-Hendrix of Liturgy. Impossible Light dives fearlessly into queer sexuality, trans embodiment, grief for those who couldn’t make it, solidarity for those facing unimaginable discrimination, the toxic spread of transphobic hatred and misinformation, and the ultimate hope of recovery from trauma and mental anguish. 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A new EP plus first vinyl release of their first EP. Appearing prominently at the 2024 edition of Roadburn. US and European tour dates in the works through 2024. Video for title track featuring Flenser goons, Chat Pile. This new EP will be paired with the band’s debut EP, The Circle Chant. For the first time, both EPs will be pressed together on a single 12-inch vinyl record as well as a cassette format Living Is Easy represents a significant new statement from the band. With their debut self-titled, Agriculture embarked on a journey to explore how heavy music can provide insights into the joys of life, both everyday and divine. Their extensive touring with this material led to a profound experience of ecstasy, surpassing expectations as they shared the intensity and joy of these songs with audiences worldwide. This experience was a catalyst for the band, inspiring them to delve even deeper into the realm of “ecstatic black metal” music. They believes that with this release they have pushed this concept to its limit, resulting in a transformative explosion of sound and meaning. The record delves into themes of community connection, holiness, violence, and the 10 cycles of life. The title track is especially notable, featuring a retelling of a story from one of the Buddha’s past lives. In this narrative, the Buddha encounters a starving family of tigers and sacrifices himself to save them, a tale of serenity and selflessness. This story resonates deeply with the band, reflecting the humility and inspiration they find in their collaboration and echoing the generosity and interconnection they strive to explore through their music. Touring holds a special place in the heart of Agriculture. It brings them immense joy to share their music, visit new places, and meet new people in cities around the world. This constant interaction with diverse audiences serves as a continuous source of inspiration for this work. 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Cremation Lily’s debut album for The Flenser, \u003ci\u003eDreams Drenched In Static\u003c\/i\u003e exists at the convergence of consciousness and disintegration. Artist and multi-instrumentalist Zen Zsigo’s ingenuity and vulnerability is on full display throughout the course of the album’s ten tracks — glacial soundscapes float alongside earnest lyrics that capture the author in the midst of collapse.Written throughout a culmination of years of chaos, \u003ci\u003eDreams Drenched n Static\u003c\/i\u003e serves as part diary and part comfort blanket. The album was penned over countless sleepless nights and documents the liminal moments at the edge of sleep and the distressing thoughts that often accompany late-night R.E.M. disturbances. The lyrics were largely written in the darkest hours of the morning and serve to evoke reflection, depression and meditations on death that seem to haunt these early hours. Through the use of radiant tape hiss and degradation, guitar noise, frenetic vocal melodies and field recording samples, Cremation Lily creates a distinctive sensory experience. \u003c\/p\u003e\u003cp\u003eAt times ambient and atmospheric, at others meditative and euphoric, \u003ci\u003eDreams Drenched In Static\u003c\/i\u003e floats back and forth from fantasy to reality. Zsigo’s penchant for creating and dismantling traditional songwriting by using one-of-a-kind home-modified devices such as cassette walkman, micro-cassette dictaphone, circuit-bent Casio keyboard, various sequencers and self-created and tape loops weathered by nature and environment, creates an aqueous and all-encompassing aural encounter. Zsigo comments, “The processing on the album and the concept of it is a product of how it was made. After expressing pain and suffering in the recording of the songs, I was often completely numb and felt like all I could do at times was process vocal stems via cassette or record gentle streams to layer over the album. The LP’s fractured mood comes from that more than anything.”For over a decade, UK-based Cremation Lily has explored countless subsets of underground music and has consistently defined and redefined its boundaries. 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Plumbing the depths of modern death metal with primitive elegance, Succumb have returned with their sophomore release\u003ci\u003e XXI\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003eOne of the strongest up-and-coming metal bands in recent years, what sets Succumb apart from their peers is vocalist Cheri Musrasrik; the juxtaposition of death metal riffing and propulsive drums with Musrasrik’s cavernous howl and sophisticated lyrics make a unique listening experience in today’s crowded landscape. Musrasrik cites authors and poets like Yeats, Genet and Zola as her primary lyrical influences. XXI sees an allegorical look at the elements and their related mythologies. Talks about Lilith, the Orphic poems, ocean and nature deities, Dionysus, Arthurian literature, fly agaric as soma, the cosmic egg, and the Boxer Rebellion. 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The San Francisco-based duo released their third album of weirdo black metal, \u003ci\u003eKurdaitcha\u003c\/i\u003e, on the legendary cult label Enemies List Home Recordings (Have a Nice Life, Giles Corey), and it quickly sold out. For years the LP has been a hard to find collector’s item. \u003ci\u003eKurdaitcha\u003c\/i\u003e finds the project in its initial period of creating music influenced by black metal, hip hop, jazz, and spirituals.\u003c\/p\u003e\u003cp\u003eFounded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers. This pressing of \u003ci\u003eKurdaitcha\u003c\/i\u003e has been remastered and features a previously unreleased bonus track with a gold foil stamped jacket. \u003c\/p\u003e\u003cp\u003e“Mamaleek are the great destroyers.” — Invisible Oranges \/\/ “An incredibly rich and rewarding experience.” —Heavy Blog Is Heavy \/\/ “Is it good, though? It’s fucking mental. It’s amazing. It’s absolutely horrible. It’s barely listenable at times and yet you can’t turn it off. The music is perfect. Like broken glass is perfect.” —Echoes And Dust \/\/ “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” — FORBES\u003c\/p\u003e","brand":"Flenser","offers":[{"title":"Black | LP","offer_id":50513387979083,"sku":"1150464","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/b6162098-03ba-4967-a3e4-d72a77b704a5_thumbnail_4096.jpg?v=1727929690"},{"product_id":"this-dungeon-earth-remove-your-skin-please","title":"This Dungeon Earth \/ Remove Your Skin Please","description":"\u003cp\u003eIn the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fueled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s \u003cstrong\u003eChat Pile\u003c\/strong\u003e made an immediate impression.\u003c\/p\u003e\n\n\u003cp\u003eSoon culminating in the release of its landmark 2022 debut album, \u003cem\u003eGod’s Country\u003c\/em\u003e and recent \u003cem\u003eCool World\u003c\/em\u003e full-length. 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Yet another daring study in genre synthesis, the band continues to push boundaries in both sound and aesthetic, blending jagged fragments of black metal and shoegaze as they have done since their influential 2008 Hydra Head Records debut, only this time adding the unconventional layers of reggaeton and neoperreo to both voice and rhythm. Named after the ancient Greek philosopher, Pythagoras represents the band’s ongoing commitment to innovation, and the perpetual juxtaposition of the delicate and the devastating, embracing complex musical structures and rhythms that both challenge and captivate the listener. At the heart of the album lies an intricate balance between aggressive blast beats and the syncopated pulse of reggaeton’s signature dembow rhythm—a concept born from founder Rich Loren Balling’s own immersion in both extreme music and pop genres. To bring the album’s vision to life, Pyramids enlisted vocalist Emy Smith, whose neoperreo-influenced vocals add a haunting, ethereal layer to the dense soundscape. The album’s cover art, created by Miami-based nail artist Kro Vargas (aka Krocaine), further captures the ominous yet captivating essence of the music, hinting at the fusion of genres and cultures that defines Pythagoras. Pythagoras is not just a sonic evolution—it is an exploration of the cycles of musical extremes. Balling believes that genres, like metal, evolve towards greater intensity until they reach a point of such sonic density and noise that they return to something beautifully melodic and transcendent. This concept is reflected in the album’s dense, layered compositions and its ability to both overwhelm and soothe the listener. The album’s rhythm is a complex mathematical interplay, where the familiar blast beat and pounding dembow rhythm intersect, creating a sound that is both chaotic and hypnotic. 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Levinson’s songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Her writing asks how to honor queer community and collective struggle without turning it into identity branding or personal mythmaking: how to stay honest, how to stay present. Though distinct, their voices converge in a singular spiritual grammar—one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAgriculture’s formation mirrors this duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation was laid on 2022’s \u003cem\u003eThe Circle Chant\u003c\/em\u003e, expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s \u003cem\u003eLiving Is Easy:\u003c\/em\u003e a record that embraced devotional intensity and radiant heaviness in equal measure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAgriculture doesn’t offer salvation. \u003cem\u003eThe Spiritual Sound \u003c\/em\u003eisn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. 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Surrounded by fir and aspen, she lived in quiet self-reliance, her days shaped by isolation and resilience. The album combines Ragana’s heavy, emotionally charged metal with Drowse’s textural approach to sound. Across four long-form pieces, the trio’s voices and instruments move between stark intimacy and overwhelming intensity, culminating in a collective refrain: “there is nothing to lose.” Ash Souvenir is a sublime experience, conjuring both the power of a devastating eruption and the eerie stillness that lingers in its wake, ashen memories drifting through night air before rejoining the earth. Ragana have carved their niche as pioneers of the Pacific Northwestern queer black metal scene. They have released five albums since their formation in 2012, with 2023's Desolation's Flower as their first for The Flenser. Kyle Bates specializes in moody, glacial drone as Drowse, a vision that has spanned across five albums since beginning the project in 2018. 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Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCamgirl\u003c\/em\u003e is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCamgirl\u003c\/em\u003e follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.\u003c\/p\u003e\n\u003cp\u003eOriginally released on vinyl by Portrayal of Guilt Records, the first pressing of \u003cem\u003eCamgirl\u003c\/em\u003e sold out quickly. 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To confuse the performance of darkness with its actual weight. \u003cem\u003eHidden Fires Burn Hottest,\u003c\/em\u003e the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHidden Fires Burn Hottest\u003c\/em\u003e finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place\"\" describes a space that can't exist but does anyway, somewhere between thought and location. \"\"Immortality Project\"\" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eTracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018. The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eComing off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes \"\"Mementos,\"\" which might be considered the first love song the band has ever written.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. 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Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centres on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.\u003c\/p\u003e\n\u003cp\u003eMohr describes \u003cem\u003eCarve\u003c\/em\u003e as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. 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Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction. Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume. The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. 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The album cover was shot on film by the band on Avenue du Parc in Montreal. A figure perches atop a small Quebecois-style house, handbuilt from reclaimed materials, spine curved, legs pulled in, bare-backed against a skyline that dwarfs everything beneath it. A rural thing dropped into the grit of the city, small and out of place and refusing to disappear. The body is naked and defenseless, open to every stimulus the world cares to deliver. This is the album in a single image. \u003cem\u003eThe Weathervane is my Body\u003c\/em\u003e is a continuation, an expansion, a further scribbling together of that angry statement of purpose that is their debut album, aptly titled Violence. 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