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: 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.

Review: Jute Gyte/Venowl - Split (Black Horizons)

Black Horizons is a label that is constantly pushing the boundaries of what dark music can become. The label has increasingly become a house for the obscure, releasing works from acts like death industrial legend Trepaneringsritualen or a recent demo from American black metal luminaries L'Acephale consisting of original tracks and completely reimagined covers of Darkthrone, Current 93, and Emperor. Everything the label releases is challenging and makes the listener rethink the confines of dark music, which, in turn makes it the perfect label to release this split. A union of two bands that take their respective genres and completely warp them until the foundation is non-existent, only leaving traces of what was, Jute Gyte and Venowl act as perfect compliments to one another.

Jute Gyte strikes first on the split, the project of sole member Adam Kalmbach who creates eerie and surreal black metal. The music created by this individual is honestly unlike anything else, it squirms and writhes creating an incoherent cacophony of squealing guitar, bashing drums, and snarled vocals. At times there is a break from the reckless abandon of the song and a heavy riff will present itself, showcasing a more straightforward form of madness. Jute Gytes approach is discordant and unsettling, relying heavily on odd time signatures and layers upon layers of noise accompanying the metal. The second track from Jute Gyte, "The Rib" immediately hits the listener with disjointed doom, seemingly off-key notes piece through a trudging malice the track presents. Soon after this the doom is gone and back is Kalmbach's frantic style of playing, chords and notes are scattered over noise and ambience. His contribution ends with an almost deathrock feel, echoing guitar and haunting ambience, creating a wholly unsettling atmosphere, a fitting end to the spastic horror found on Jute Gyte's side of the split.

Venowl have recently become a staple of my listening habits. Their brand of black/doom/noise/insert another arbitrary genre here is exceptionally challenging and disturbing. The three members who are simply called ::, ][, and // approach music in a way that, like Jute Gyte, is completely outside the realms of influence and categorization, meaning there is no reference points. One could point to funeral doom or black metal or noise but in reality what Venowl create is something different, something completely their own. A creation that is non-musical yet extremely meticulous and oddly rhythmic. Utilizing the sinister ambience of a violin along with crushing guitar and bass trudging, minimalist drumming, and horribly pained shrieks, Venowl's piece "Snowbed" is twenty-seven minutes of drudging and depraved pandemonium. The only comparison I can make is that of a machine lurching to a grinding, violent halt after being over-worked for hundreds of years the sluggish, lumbering approach is industrial yet strangely organic. Through "Snowbed" the three musicians have yet again solidified their place as one of the most exciting and forward thinking acts currently active.

This split is a testament to how well splits can be executed, a perfect pairing of bands who are both pushing sonic boundaries rather than rehashing ideas. Jute Gyte's atonal and vicious black metal is complimented perfectly by Venowl's horrific dirge. Through this release Black Horizons, Jute Gyte, and Venowl yet again solidify themselves as a major forces within the underground dark music scene. Highly recommended and can be ordered here.