Label Spotlight: Prison Tatt Records

Prison Tatt Records is an eclectic and fiercely independent American record label releasing black metal, punk, and noise records through limited analog runs. What is so striking about Prison Tatt is how completely D.I.Y. the entire operation is. Wm. Berger, mastermind and workhorse, has fully dedicated himself to the vitriolic aesthetic of nearly all those he works with through his label. The label serves as a place for it's single proprietor to join forces with others who carry a similar passion for the darker side of music and noise. Each release outlined below is completely different from the rest, highlighting Prison Tatt's dedication to all forms of strange extremity. In the past I have encountered, loved, and exposed others to a couple of Prison Tatt releases like the recent joint effort with Sibir Records to release Yellow Eyes' beautiful and scathing Stillicide, Intolerant's prideful and scorn-filled Snow Stained with the Blood of Traitors, and Sesso Violento's absolutely brilliant/perverse punked out black metal hell Molestador. The passion of Wm. Berger is exceedingly clear through everything from the packaging of the releases to the handpicked roster of the label.

Smoke - Haat Laatste Oordeel

Smoke is a now unfortunately defunct improvisational black metal duo from the Netherlands. Haat Laatste Oordeel serves as the bands swan-song, and is a fitting end the band's distinct black madness. Eerie and deranged the one sided record careens down its dark path with strange howled vocals and wicked rasps taking charge over the cacophonous rattle that is the music. Improvisation can often times lead to two negatives, timid stagnancy or completely unlistenable chaos, neither of which gains hold over Smoke. Both musicians, K and M, maintain complete control throughout the entire recording. Falling somewhere between the stomping madness of degenerate punk and the cold seer of raw black metal, Smoke channels cavernous black energy. The clattering of drums flies full force against the churning wall of mangled and completely distorted guitar noise. The whole record is a writhing and screeching testament to the power of improvisation. The liberation from structure allows for the two musicians to craft a compellingly dark journey through the franticly pummeled drums and cobweb covered guitar expressions. Haat Laatste Oordeel serves as Smoke's final hour, an end to this duo's improvisational destruction. Both K and M are still very active in other projects, some belonging to the alluring Black Hermetic Order, a collective of projects releasing dark and suffocating raw black metal and noise mainly through K's own The Throat imprint. While Smoke is gone the will of it's creators continues.

Malkuth - Tamahprabha

Experimental black metal stalwarts Malkuth have recently joined the Prison Tatt roster. The trio specializes in a style of black metal rooted partially in traditional black metal aesthetics, swirling guitars, epic chords, and blistering blasts. However, Malkuth strives to reach a new plateau of black expression. Dark, spiraling madness presents itself immediately through majestic and hypnotic dual guitar work. The vehicle is obviously black metal but it's execution is raw, passionate, and shamanic. Melody plays a large role throughout the album, most of the music is soaked in sinister melodies and ancient sounding chord progressions making for a very mystical experience. Tamahprabha can be seen as a path to tread to the deepest reaches of dark eastern mysticism, one can follow the sweeping melodies, the malicious barking, and the palpable evil far into grim hypnotic bliss. Songs are given names that follow mainly the Jain faith, giving the album a feeling of religious significance, as if it acts as an expression of its creator's devotion. The final work of the album, "Naraka" is named for the place of torment in some schools of Hinduism and Jainism among others, and is completely representative of it's horror. The track serves as the opus of the work through its twisting rhythms and it's completely immersive guitar bewitchment. Rawness is the key, behind the cataclysmic racket of of guitar and drum sits a layer of solemn buzzing. The entire album is audible without being polished, raw without sacrificing spirit or musicianship, a perfect balance is struck and a pitch black mesmerism stands firm. Tamahprabha is Malkuth's fourth effort and serves as a companion to Hathir Sakta, released by the band last year.

Tomhet - Caliginous

A grinding and cosmic noise intro begins this, Tomhet's latest full-length, Caliginous. Released in 2012 Caliginous sees Xaphan, Tomhet's sole member, pushing the project deeper and more violently into the depths of depressive black metal. While the album is at it's heart a depressive black metal album it does well to not fall into many of the tropes and cliches associated with the often scorned form of black metal. By not relying to heavily on keyboard flourishes or slow to mid paced sulking Xaphan works to elevate the genre. Almost immediately one can pick out actual riffs amongst the gloom, for instance at the end of the first track, "Contrachristian" a massive and ugly riff rears its head. Also present is influence from harsh noise and dark ambient. The track, "Whispering Leaves" is an oppressive and dismal piece of noise which sits between two works of tortured black metal. "Sounds Like Memories" is a synth-soaked industrial work that brings with it waves of emotional weight. What sticks out about Xaphan's execution of the depressive black metal genre is the stunning amount of diversity brought to the table. Yes, the cornerstones of thick atmosphere, slow tempos, and pained vocals are all there but they thrive amongst waves of outside influences and frankly unique additions to the often stagnant genre. An absolutely scalding vocal performance also sits at the heart of Caliginous, everything from high pitched torturous screams to guttural and disgustful barks find themselves at home on the record. Caliginous is a brilliant and innovative depressive black metal album, a testament to the genres ability to exist outside the confines of the commonly one-dimensional genre.

Nuit Noire - A Beautiful Belief

The often mocked and misunderstood, weirdo and absolutely French genius of Nuit Noire has also found a home on Prison Tatt Records. Now the one man black/punk project of Tenebras, Nuit Noire has been churning out some of the most eccentric, stomping, and whimsical black metal ever recorded. Lyrics (printed in flowery cursive on the back of the sleeve) concern fairies, night, moonlight, trees, and all other sorts of non-traditional subject matter are sure to make any "trve" black metal warrior scowl. The beauty of Nuit Noire lies in Tenebras' ability to craft catchy, melodic, and rousing punked out black metal devoid of any sort of gimmick or showmanship. It's clear that he lives in his own world of fairies and wonder and a feeling of giddy discovery is palpable on A Beautiful Belief. Tenebras' black metal exists outside the spectrum of traditionalism and influence, serving as his way to bring others into his fantastical world. Black metal and punk have equal bearing on Nuit Noire's sound, however the product is barely reminiscent of other works that utilize both genres. There is no scraping hate of Bone Awl or stomping pride akin to Akitsa found here, instead the product is full of frivolity and subscribes to only Tenebras' unique vision. His vocals are, like the rest of the music found here, lighthearted and full of melody and emotion. Emotion is a key componant to Nuit Noire's music and the only emotion found here is one of pure elation. Nuit Noire's goal, one they absolutely succeed in on A Beautiful Belief, is to pull the listener by the hand with them as they frolic through moonlit fields alongside fairies into a world of eternal night and mystery.

All four of the above records serve as examples of the sheer unconventionality of all the projects associated with Prison Tatt. Smoke's improvisational severity, Malkuth's hypnotic, swirling passage towards insanity, Tomhet's dismal yet innovative depression, and Nuit Noire's brilliantly obscure punked out ramblings. Each carries with it a mark of innovation and progress in the world of dark music. Prison Tatt continuously proves to be a unique force in the worlds of black metal, punk, and noise and deserves infinite support. All Prison Tatt releases can be purchased here.

Review: Vorde - Vorde (Fallen Empire Records & Psychic Violence Records)

New York's Vorde is a relatively young band, having existed since 2012 and in that time releasing two demos of raw, disorienting black metal. Yet, while the project itself is young Vorde is partially the brainchild of Mike Rekevics of Fell Voices and Vilkacis amongst a host of other projects. Rekevics has made a name for himself in the world of metal mainly through the aforementioned Fell Voices, an expansive project whose wall-of-sound approach to black metal is stunning in it's scope and unrelenting devotion to creating an immersive atmosphere. On this, Vorde's first full length, the band utilizes a similar immersive approach, however the intent within is far more sinister. The album is a scathing rampage of eerie chords, oppressive drums, and a truly manic vocal performance. A journey through a dark cosmic landscape, rooted firmly in traditional black metal yet not tethered to rote regurgitation.

Take the album's second track, "Transformations of the Vessel" with it's introduction of nefarious guitars dancing above throbbing percussion. The track continues forward, descending deeper and deeper into lunacy; icy tremolo picked guitars glide like wraiths over the constant pulse of the drums, carrying the song at a quick pace. While more aggressive moments like the entirety of the aforementioned track are commonplace on the album, more morose and ominous sections are also a crucial element to Vorde's sound. The introduction to "Blood Moon" utilizes nearly Xasthur-esque washes of echoing guitar to usher in a dreadful atmosphere. No matter the pace the entirety of the album is drenched in a macabre feeling of religiousness, a perverse expression of cosmic longing. Its as if the members of Vorde are attempting to communicate directly with the void, throwing themselves haphazardly blasting towards dreadful oblivion.

This near religious feeling is reinforced by the outstanding vocal performance. Vocalist, Aziel never resorts to a typical black metal screech or growl, instead performs a ghoulish croaking call or an anguished howl. Similar to a less frogged-out Dagon of Inquisition or Attila Csihar but less spastic and more based in chant. The performance is direct and the chanting works to solidify the mystical sonic environment created by the band. Aziel's vocals and the rest of the bands instrumental accompaniment work in tandem to create an aura of black psychosis.

"Funeral Vortex" stands as the bands opus, an unhinged descent into the void. Angular riffing crashes against the steady assault of progressively structured drums. As the title suggests the track carries with it vortical motion, a swirling madness complete with Aziel's insane utterances seeming to draw the quartet deeper into ritual. The track takes a final turn with a similar distant guitar sound found on "Blood Moon" making a reappearance. As the album drifts to it's conclusion and the communion comes to a close one is left with a feeling of otherworldliness. 

Traditionalism collides with fearlessness and the result creates a more than impressive first full length. The deep roots of black metal's many forms are evident within Vorde's sound; however while the band grasps at black metal and it's variety of stylistic divisions they remain unafraid to create their own vision. The debut, out now on Fallen Empire Records and Psychic Violence Records is a testament to black metal's continued growth and expansion.

Review: Yellow Eyes - Stillicide (Sibir Records & Prison Tatt Records)

A twanging ushers in the madness. Unassuming and pleasant, the sounds of a simpler time. Soon feedback enters and shortly one is trapped in a whirlwind, a chaotic frenzy of expansive riffs and blasting drums. This is only the beginning of Yellow Eyes' new EP Stillicide, a fourteen minute expression of grief, spite, abstraction, and mystery. Like the rest of Yellow Eyes' staggering catalogue Stillicide resides firmly in the realm of black metal, yet the effort is not marred by traditionalism, quite the contrary actually. On this new EP Yellow Eyes continue to push black metal to new soaring heights while remaining mindful of the genre's roots.

In a brief amount of time Yellow Eyes are able to cover an astonishing amount of emotional ground. The style of black metal that the band plays is full of twists and turns, abrupt switches in tempo and feel. Take the second track, "Heat From Other Days," which transitions sharply from aggressive, churning darkness to lush, chiming intricacies, each of which carries a different emotional weight. Vocalist Will Skarstad's characteristic high-pitched rasp is utilized, in it one hears sorrow, triumph, and malice. The lyrics, in typical Yellow Eyes fashion are abstract expressions. Take these lyrics from the final passage of "Heat From Other Days":

"When I was old enough
I pushed aside a tile
And snaked through the cold muck
Into the vast and brittle day
I took the lower path
Full of pellets, unresolved
And I let the heat from other days become my fire"

Yellow Eyes transcend the generic carbon copy black metal lyrics in favor of a more poetic, deeply expressionistic, and symbolic approach. The lyrics found on every Yellow Eyes release further solidify the band's place as an innovative force in black metal.

The music found on Stillicide is very dense, resembling the sound the band utilized on their last release, The Desert Mourns. Both releases see Yellow Eyes moving towards a more lush and bleakly thick sound. The opening of the EP displays this opaque aggression as a torrent of riffs speeds forward backed by relentless percussion, towing the line between shimmering vibrance and raw murk. On Stillicide a new layer of clarity exists, each distinct feature from the duel guitar harmonies to the pulsating throb of the bass to the pounding of the drums can be heard and felt. The high-pitched harmonies that were such a prevalent force in the band's earlier material make a refreshing return on Stillicide but are more fully integrated, adding to the colossal vortex of sound Yellow Eyes creates.

Stillicide sees Yellow Eyes striving forward along the path they have treaded since their inception, that of ingenuity with an eye on tradition. Nothing that exists here will surprise fans of the band's expressive approach to the genre but it will solidify them once again as a unique force in the landscape of millennial black metal and black metal as a whole. Stillicide will be released soon as a joint effort between Sibir Records (a label run by members of the band) and Prison Tatt Records.

Grst - Plague Seed (Glossolalia Records)

What struck me immediately about Grst's first full length is the amount of confidence that is contained in the four tracks that make up Plague Seed. While the band materialized in 2009, they did not release something until earlier this year. Besides a one track on a split, the band's first release, the band put out an EP of Weakling cover songs. While the covers were brilliantly executed and did the American masters justice, it seemed odd. One would think a band with this much talent would put their efforts into composing their own material, working with original ideas and expanding. Let alone releasing a tape of covers can be risky, some may see it as a sign of unsureness and honestly I did.

Enter Plague Seed an album which was composed in 2009, according to an interview with the ever excellent Western Lamb. What Grst has brought us defies all worries I had about the bands potential for growth. An album that is characterized by its mastery and ambition. All three members of Grst have been in a litany of excellent projects linked to the Glossolalia family; the harsh noise wall act Willowbrook, the violent math-addled blackened crust of Banewreaker, and the hallucinogenic teach-death outfit Arkhum among a slew of others. The three musicians combine their obvious skill and knowledge of dark and heavy sounds to create something that will leave black metal devotees stunned and completely convinced.

Grst continues the American tradition of pushing the boundaries of black metal forward. Their style calls to mind Northwestern American luminaries and of course Weakling. Grst's vision, however, is far less limited in scope than many of their so called "Cascadian" counterparts. They play black metal that is completely immersed in the expansive nature of the transcendent style yet still retains a firm grasp on aggression and cathartic release. Take "Plague Seed" the album's opening track. While the riffs are cloaked in the mystical buzz of the mountainous Northwest there is lingering traces of pure devastation. The track itself is a furious blast-beat driven cathartic experience. Vocalist Kenneth Parker barks and screeches powerfully over the ripping aggression of both guitar and bass of Nathanael Kelley and Joshua Vincent.

Noise influence takes hold on the interlude track "Abandon" consisting of an airy, ominous drone accompanied by somber guitar. The track is calming and indicative of the moments of clarity exist throughout the album. This contemplative nature shows itself again during the opening minutes of "Pondering the Wastes." Twin guitars entwine their melodies and bring with them a sense of longing. This signals the torrential, mesmerizing riffing to come that is unleashed when the song begins to rip forward. The guitars continue to weave melodies as the track descends into a more aggressive state. The contrast Grst creates between moments of mournful reflection and driving rage is exactly what separates them from a slew of bands playing atmospheric black metal. The wide variety of emotional weight contained in the debut is overwhelming. Rage, mourning, tension, and release all exist within the onslaught. The musicianship exhibited by each of the bands three members is astounding, again showing self-assurance. Vocalist Parker is able to navigate between coarse rasps and hollow sounding growls with precision. Both Kelley and Vincent handle guitars and their work is equally impressive. Cascading riffs collide with one another creating the furious and meditative sound that emanates from the album.

Plague Seed took me by surprise. I in no way expected an album of this scope and magnitude. Ripping black fury is contrasted with sweeping and entrancing melodies, taking cues from a multitude of styles while still maintaining a sound that is completely Grst. Plague Seed is available from Glossolalia records in digital and vinyl formats here. If you are a fan of black metal either in its purest of forms or in its more expansive wanderings don't sleep on Grst.

Review: Venowl / Highgate (Tartarus Records) & Cara Neir / Venowl (Broken Limbs Recordings)

Venowl is an enigmatic group. The three members choose to represent themselves with symbols; ::, //, and ][. The band creates some of the most caustic and disjointed music to ever grace these ears. Doom, black metal, noise, and general disregard for convention are combined to create something wholly earth shattering and devastatingly depraved. Lurching and ominous the band utilizes improvisation to create their horrid, torturous sonic landscapes. The band has seen two new releases in the months of September and October, both splits and both are nothing less than expressions of sonic torment. On each split Venowl is joined by an equally groundbreaking and impressive band. Both Highgate and Cara Neir easily match Venowl's jagged intensity with more structured pieces, Highgate brings lumbering blackened doom while Cara Neir drags the listener through swarming, diverse black metal.

Venowl / Highgate

September saw the release of a split between Venowl and Highgate. Venowl begins with "Vacant Cellar" a song without defined structure or reason. The track continues the Venowl tradition of being completely disjointed and improvised, however it is more structural and rhythmic than much of Venowl's music. Taking on more of a doom-like structure the band experiments within those confines. However, the band does no use this as a limitation, instead utilizing the loose structure to further enhance their descent into madness. Slowing moving towards oblivion, painful shrieks usher in layer upon layer of madness. Feedback slices through the grime accompanying the manic screams and shouts. Where Venowl truly succeed is in creating sickening atmosphere. Conjuring images of an old vacant house, filled with an aura of horrible deeds and broken bones. A place of destruction and most importantly a place of torture. Living up to the description of "torture doom" and completely embodying all that is horrific and depraved.

Highgate also implements elements of black metal and noise into their murky doom. Considerably more riff based and structured than Venowl, Highgate provide the listener with a more traditional and in some ways comprehensible take a similar formula. This is not to say that "Carved into Winter" is easy listening by any means. The Kentucky quartet offers up spirit-breaking doom, massive riffs collide with crashing drums and vicious rasps and grunts. Utilizing repetition as a tool for complete annihilation Highgate drags the listener deeper and deeper into their horrid cave. Ghastly melodies accompany the sludge addled riffs, suddenly the track dissolves abstraction. Pulsating rays of noise fade in and out creating a disorienting interlude to the rest of Highgate's track. Taking a more mournful form the track progresses slowly before disintegrating into feedback, ending the excellent work. 

The split can be heard and purchased here through Tartarus Records. A triumph of blackened doom, and a perfect pairing of two bands with different takes on the same devastating combination.

Cara Neir / Venowl

The second split is forthcoming. A reunion between Venowl and Cara Neir set to be released by Broken Limbs Recordings in mid-October. Cara Neir opens the split with three tracks of screamo influenced, post-hardcore injected, crusty black metal. Vocalist Chris Francis uses his powerful voice to push the songs to further levels of intensity while multi-instrumentalist Garry Brents displays his immense talent on each instrument. Playing everything from ripping hardcore chords to reflective even jazz-like melodies. Opening with "Aeonian Temple" with technicality at the forefront, Brents plays riffs like a madman while Francis offers frantic barks. The second and third tracks take on more reflective tones. "Nights..." sounds akin to the lighter moments 90s screamo artists like Saetia, utilizing harmonies and calm echoed vocals. The track provides the perfect amount of reflection before "Pitiful Human Bindings" rears its head. Combining the best parts of the first two tracks, ripping aggression and cryptic reflection. Madness and contemplation are joined as one, creating a track unconcerned with any sort of tradition, merely following the creative will of two immensely talented musicians. With their contributions on this split Cara Neir prove yet again that they are one of the most interesting and inventive bands currently active.

Venowl's track "Scour (Parts I and II)" is again another journey into the deepest abyss of the darkest aspects human consciousness. A completely soulless evil which takes the form of disjointed, dragged out chords, pained shrieks, and spastic drumming. Trudging through the mire, sickeningly dense and calamitous. The improvisational beast could only be described as ugly, completely without any trace of human attachment. The whole track is a confusing and harrowing journey deep into the minds of the three nameless specters. Formless and yet containing remnants of structure shaped by completely ruinous riffs. When a structural riff rears its head it becomes all the more powerful, cutting its way through the murky mess of incoherent chords and triumphantly presenting itself as supremely devastating. Venowl's contribution to this split is corrosive and scathing, providing the listener with layer upon layer of discord and bleak expressionism.

A union of two very different bands create something wholly unlike any other split release I have ever come across. A true testament to the fragmented nature of man. The tape will be available from Broken Limbs Recordings soon.

Interview: A. Poole (Chaos Moon, Esoterica, Lithotome)

A. Poole is a multi-instrumentalist who is responsible for some of the most forward thinking and innovative metal music today through projects such as Chaos Moon, Esoterica, and Lithotome. He recently released the latest Chaos Moon album Resurrection Extract via I, Voidhanger Records, which is a journey of blistering black metal bathed in dark psychedelic textures. I recently sent him some questions regarding the new album and his multitude of bands among a slew of other things. His music can be found at the following places: Chaos Moon, Esoterica, Lithotome. All three come with the highest recommendation possible, if you haven't heard them do so.

Horn of Woe: You abandoned the Chaos Moon moniker in order to start playing as Esoterica, what led to the creation of the new project? Did you see Esoterica as a continuation of what you were doing in Chaos Moon?

A. Poole: I had a major block writing in the style I wanted to write in for Chaos Moon. So, I approached writing in a new method which resulted in the formation of Esoterica. At the time, it did seem like a natural progression and I considered Chaos Moon dead, but something clicked and I was able to articulate what I wanted for Chaos Moon.

 HoW: You have recently resurrected Chaos Moon and have just released a new album Resurrection Extract. Why did you revive the project and what does a new Chaos Moon record mean for you?

AP: I “accidentally” wrote in the style of Chaos Moon again. I couldn’t release it under the Esoterica name, because it wasn’t the sound I was going for with that, so I had to bring it back from its short coma. Reviving the project has been a fulfilling experience for me because I was able to tap into something that I had been trying for years to tap into again. I didn’t want to write an album of “Languor Into Echoes, Beyond” tribute songs, I wanted to write something new, but from that same “place.”

Resurrection Extract

HoW: Lithotome is completely different from both of your more black metal oriented works, with a sound that is almost entirely rooted in the realm of death metal. What was this project born out of?

AP: Lithotome came about during the writer’s block time. I was experimenting with various tunings and the album wrote itself.

HoW: You are obviously extremely immersed in numerous forms of dark music, having been involved in several bands for over ten years now. What first drew you to heavy and dark music and what continues to drive your prolific output?

AP: I’ve always been attracted to darker or “sad” music, even when I was a child. Music that made you really feel something. I stumbled upon “In the Nightside Eclipse” by Emperor my first year of high school and that did it for me. I immediately tried to write music like that and haven’t stopped since. I’m addicted to recreating that feeling. 

HoW: With several projects you must dedicate an immense amount of time to the writing, I’m interested in finding out more about your creative process. Do you keep each project separate during creation or do you simply write and see where it fits best?

AP: I let the ideas come naturally. Sitting down and forcing myself to write music 98% of the time ends in failure or something down the road that needs a lot of work. I have to let the excitement of creating hit me and then I can write music that is honest. It’s all about conveying feelings or ideas, not writing like the band/style you’ve been listening to a lot. Because of this and the amount of projects I’m involved in, it’s easy to write a song after feeling inspired and sort it to the appropriate project.  

Esoterica Live

HoW: I’m very curious about the lyrical themes for each of your bands. Is the lyrical subject matter similar for all three or do you use each as a place to explore different topics and ideas? Are there any catalysts you take direct or indirect inspiration from when writing lyrics?

AP: Lithotome’s lyrics are handled by Neill Jameson, but the other two projects come from various places, but are still pretty closely related. Chaos Moon is more personal, when I do write for it, but this past release has lyrics from myself and a few other individuals while still remaining thematically cohesive. Esoterica plays more into darker trains of thought and relies more on concepts. My experience with various psychedelics has played a huge part in the lyrical influence. Unlocking the mind yields maximum results.

 HoW: Along with your various other bands you are now a full-time member of Krieg. How did you join the band and what do you personally contribute?

AP: My wife introduced me to Neill (Imperial) a while I was still living in Nashville, TN. We became good friends, worked on Lithotome together, and I finally moved up into the Philadelphia area. I was pretty much forced into playing guitar for Krieg, which was a very unusual experience being a fan of the band several years prior. I am the full time studio/live guitarist and I assist with writing, arrangement, and recording (when needed) duties. 

Krieg

HoW: What’s next for you? Are you continuing forward with Chaos Moon once again or is it back to Esoterica? Will new Lithotome material ever surface?

AP: I’m currently writing for a new project called Martröð with H.V. Lyngdal (Wormlust), MkM (Antaeus/Aosoth), Thorns (Acherontas/Blut Aus Nord), and a few others. We’re finishing up a 7” that will hopefully be out sometime later this year. Krieg’s full length we recorded back in February will see a release in early September. Esoterica has a mini-album called Lesser Sun that will be out later this year and will be the final release of that project for a while. Lithotome is in limbo right now due to a large number of issues,  but I’m sure that material will surface eventually.

HoW: Thank you for answering my questions, anything else you would like to add?

AP: Thank you.