ASVA - FUTURISTS AGAINSTS THE OCEAN [2005]

"For those who are paying attention to the doom metal scene, Futurist's Against the Ocean sells itself without one note being heard. Just look at who is involved and their pedigree: G. Stuart Dahlquist from Sunn 0))) on bass, B.R.A.D. from Burning Witch on drums and vocals, and Trey Spruance from Mr. Bungle on guitar, piano, and tubular bells. Rounding out the lineup is John Schuller from Master Musicians of Bukkake on guitar, Jessika Kenney from Gamelan Pacifica on vocals, and Troy Swanson on organ. If that was not enough to get the salivary glands pumping, Billy Anderson is behind the producer's desk like he was for High on Fire, Sleep, and Melvins. For those familiar with the names, Asva's sound should come as no surprise. But where other avant-metal supergroups (Fantômas, for example, or Tomahawk) don't deliver on their promise, Asva takes a glorious heavy racket, removed from the regular tropes of the doom scene enough to make both this group and this album something really special. The opening track, "Kill the Dog, Tie Them Up, Then Take the Money," is the most conventional track, moving at a glacial pace, with guitars inching from one note to the next, almost as if the metallic drone of the amps were playing through the guitars, and not the other way around. But by track three, "Fortune," the ambience has taken over, and the metal melts away. Droning organ, loping bass, and spiders-on-the-fretboard guitar scrapings set the scene for Kenney's vocals. More operatic (think Diamanda Galás) than tortured (like Khanate's Alan Dubin), Kenney's pure tones are easier on the ear than the scene-standard barked whisper/growling. This leads right into the epic closer, "By the Well of Living and Seeing," which melds the ambience of "Fortune" and the droning assault of "Kill the Dog" to Kenney's multi-tracked chanting vocals and a guitar straight out of an Ennio Morricone score. It is a perfect summation of the album, and Asva's sound in general: operatic ambient western doom metal, to pin words on it. Recommended heartily for those interested in the avant-metal scene." AMG

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CORRUPTED - EL MUNDO FRIO [2005]

"When doom titans Sleep recorded the seminal, one-hour-long song, Dopesmoker (aka Jerusalem), they created a stone cold classic; they also created a monster. Although hardly the first album-length "song" by any stretch (artists as diverse as Jethro Tull, Mike Oldfield and Green Carnation had already tried their hands at similar projects beforehand) Dopesmoker probably introduced the concept to a ready and willing "why didn't I think of that before" doomster scene, paving the way for several subsequent attempts both worthy and, well, unworthy. So, without even trying to pronounce said verdict just yet, never mind opening the can of worms defining what exactly constitutes a big-ass song versus a bunch of different ones strung together, the "attempt" which concerns us here is Corrupted's El Mundo Frio -- a 71-minute colossus whose existence, when you stop and think about it, is really no more preposterous than that of a Japanese band that insists on writing lyrics in Spanish. Breaking it all down: El Mundo Frio starts off with about ten minutes of slowly (make that s-l-o-w-l-y) escalating bass hums, piano chimes, soft-picked guitar notes, and oh-so-gentle, unhurried percussion; bursts into ten more minutes comprising city block-leveling groan chords; proceeds into 12 minutes of funeral doom with actual vocals of the Cookie Monster variety; settles into 15 minutes of mellow keyboard patterns and plucked acoustic guitar melodies; followed by 11 more minutes of funeral death/doom metal; and finally decays into a closing 12 minutes of barely audible chimes, echoing forlornly in the agoraphobic ether. The album's long-awaited verdict at last: is it diverse? Yes; Intriguing? Sure thing; Suitable as background music? Why not; Ambitious? Most certainly; Classic? Not really. A classic wouldn't leave one wondering what the whole darn thing might sound like if it were sped up to wrap in under ten minutes, and as long as El Mundo Frio's different sections take to actually resolve themselves, this question becomes almost inevitable. Ultimately, with over a decade's work and countless releases under their belts, there's no doubt that Corrupted have a well-established (if peculiar) M.O. and really know their way around a doom/drone epic; but perhaps they'd be better served leaving the album-length concoctions alone." AMG

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CORRUPTED - SE HACE POR LOS SUENOS ASESINOS [2004]

"One of Japan's most interesting bands is the sickening Sludge/Doom ensemble Corrupted. Being completely averse to any form of promotion, they do not do interviews, but instead decided to let their music represent them. And with a stunning total of 13 splits, 7 ep's and four full-lengths (at the moment), they could not ask for a better spokesperson.
Se Hace Por Los Suenos Asesinos", their third full-length, was the first album that came across my path in physical shape. As I was familiar with the name, and acquaintances had made a lot of promises about the band, I had no choice but to pick it up. At that time, little did I know it would turn out to be one of the most bewildering and obsessing experiences in ages.
Opening up with a warm and comforting acoustic strumming, my expectations rose higher and higher. Sure, it is always a good idea to cheat the listener with a calm intro, to ensure maximum effect when hell finally breaks loose. When the first few minutes passed, my patience become more and more troubled to maintain itself. An appalling feeling stealthily took a hold of me. When the slideguitar kicked in after more than five minutes, I panicked. Was this a mistake? Some kind of sick joke? Finally, I had a chance to get Corrupted on some cd, and someone accidentily gave me the wrong disc. But hadn't the cd itself had "Corrupted" printed on it, bright and clear? I settled down again. Perhaps I had just picked their only acoustic cd. What also worked soothingly was the immense quality of the music, which I only noticed at that point.
The tender, gentle and warm guitars are an absolutely delight to the shattered, blood-stained eardrums of every seasoned metalhead out there. The powerful, sonorous bass of vocalist Hevi works better than the best herb out there to reach utter relaxation. His unintelligible lyrics allow the listener to release focus and slowly drone away. The full seventeen minutes that this song lasts, are an absolute oasis of peace.
But then. Of course, in the unholy land of Heavy Metal, such a comfortable state of mind can never sustain itself long. As soon as "Gekkou No Daichi" ends, the second song "Rato Triste" violently crushes every bit of peacefulnes around you. With its squeeling guitars, monstrous bass and hellish old school death growls it morphs every listener into a mindless zombie, with only one thought in mind: SLUDGE. DOOM. DEATH. In the third song, they pick up the pace a bit, resulting in a song with the rampaging force equal to a horde of wild bulls. Corrupted are out to destroy, with their unholy mix of old school Death, Doom, Sludge, Drone and a lot of feedback. Nasty shit.
The latter two songs add up to around seventeen minutes as well, so this album is nicely balanced. Tender subtly versus frantic force. A full-out war between heaven and hell, no compromises. Abandon all sanity and become C o r r u p t e d." metalstorm.ee

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KHANATE - CAPTURE & RELEASE [EP] [2009]

"Khanate is the sound of true doom metal -- where the songs are torturously slow and excruciatingly drawn out (their albums only feature a handful of songs, due to each one's extended length). On their first release for the Hydra Head label (and third full-length overall), 2005's Capture and Release, Khanate has somehow managed to outdo themselves, by issuing a single album comprised of only a pair of tracks that clocks in at nearly 45 minutes -- something Yes didn't even accomplish back in their heyday. In fact, Khanate has more in common with free-form jazz improvisers from yesteryear, as it appears as though the quartet focuses more on feeding off each other more than following any set song structure. And as evidenced by both tracks, "Capture" and "Release," Khanate likes to stick to the original game plan from start to finish -- indecipherable/screamed vocals and sludgy, single-note guitar drones are the group's obsession." AMG

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KHANATE - THINGS VIRAL [2003]

"There are many adjectives that can be used to describe Khanate's Things Viral -- adjectives that include tortured, twisted, dark, morbid, despairing, ominous, and pessimistic. But one thing that this doom metal CD will never be called is fast. While grindcore, death metal, black metal, and thrash metal are all known for their insanely fast tempos, Things Viral is the exact opposite -- Khanate's Black Sabbath-influenced riffs crawl along at an amazingly slow tempo. But then, Sabbath's albums were never as consistently slow as Things Viral -- and Sabbath never had a lead vocalist who sounded like AC/DC's Bon Scott. Alan Dubin, Khanate's lead singer, does have a very Scott-like voice -- although what he does with it isn't very AC/DC-ish. AC/DC has always been a party band; Things Viral, however, is far from party music. This is doom metal at its most depressing, and no rays of sunlight enter the world of despair that Dubin describes in a most painful, tortured way. Both musically and lyrically, this CD has an extremely dark cloud hovering over its head. And while some doom metal is melodic and musical, Khanate's ultra-slow brutality is dissonant, noisy, distorted, and abrasive. Things Viral has a lot in common with the equally unforgiving Grief; like Grief, Khanate epitomizes doom metal's lunatic fringe. Of course, metal as extreme as Things Viral isn't everyone's cup of tea -- like grindcore, death metal, free jazz, and techno/rave music, this type of doom metal is very much an acquired taste. But that doesn't mean that the members of Khanate aren't good at what they do -- actually, they're great at what they do. And for those who have a taste for Grief and similar doom bands, Things Viral offers considerable rewards." AMG

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KHANATE - KHANATE [2001]

"Doom metal may be the only genre where the words "dismal" and "wretched" are used as compliments, but if that seems strange, then take a brief listen to this album -- very much a doom metal recording -- and then try to imagine the band taking issue with such descriptions. Everything about it is carefully designed to evoke some feeling of pain, dread, or misery. The tempos are exaggeratedly slow, the vocals are yelped out in a high-pitched streak, the bass is distorted and sludgy, and the guitar spews out blasts of acidic feedback all over the place. But, Khanate realizes the difference between "good" dismal and "bad" dismal. Their songs are memorable, if unsettling -- "Pieces of Quiet" and "Skin Coat" are as close as this kind of discordant, snail-paced music comes to being "catchy" -- and they know how to pace their movements well enough to keep their ten-plus minute songs from wearing out their welcome. The production is also excellent, resulting in a very textured sound that's well defined on both the low end and the high end. All in all, an impressive debut that should appeal to fans of this type of bitter, black-hearted doom metal as much as it should repulse pretty much the rest of the listening public."

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AGALLOCH - THE SILENCE OF FORGOTTEN LANDSCAPES [2009]

"Disenchanted and frustrated with the confines of their previous projects, Agalloch began in 1995 as the creation of John Haughm and Shane Breyer. In early 1996 in Portland, Oregon, USA, songs began to be produced by the duo and, during the summer, Don Anderson was added to the band to further refine the material. These songs would later become the From Which of This Oak demo tape in the autumn of that year. This recording showed a large amount of black metal influence, with an amount of material which would later appear on subsequent albums in one form or another. Shortly after the recording, Jason William Walton was added to the line up as bassist.
In 1998, the three recorded a new promotional tape solely for labels. It caught the attention of The End Records, who offered them a record contract, resulting in the Pale Folklore album. The album features less of a black metal influence than before, many totally reworked demo songs, more folk elements and neoclassical interludes. The album was met with much critical acclaim. After the recording was complete, Breyer departed from the band line up.
After a quiet period, the band released an EP of unreleased material from 1998-2001 entitled Of Stone, Wind, and Pillor, revealing even more of a neoclassical and experimental element of the band and generally less distorted vocals. The EP also includes a cover of folk noir band Sol Invictus’ Kneel to the Cross, that would later be released on Sol Lucet Omnibus, French label Cynerfierrd’s tribute compilation to Sol Invictus." LAST.FM

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BORIS WITH MERZBOW - ROCK DREAM [2007]

"For starters, leave all expectations of what a(nother) collaboration between Boris and Merzbow might sound like, because Rock Dream is nothing like Sun Baked Snow Cave, which was released by Hydra Head in 2005. This limited-edition double CD (5,000 numbered copies) was recorded live in November of 2006 at Tokyo's Earthdom festival. Rather than a free-form improvisation drone and noise fest, it features Boris running through their own set with the mighty noise master (here known as Merzbow One Man) as an additional member of Boris, transforming the power trio into a quartet. The band runs through its set, or, rather plods and hammers through it, from the 35-plus-minute "Feedbacker" and "Black Out" to "Evil Stack" and "Rainbow" on disc one. Make no mistake, there's plenty of noise here. Boris have never backed away from the loud and proud; it's just that Merzbow's textural additions give the band's already loosely based tunes on disc one more power and presence. The fantastic sound quality makes every one of these nuances ring in crystal distorto-sonic. Evidence as to what actual Boris songs sound like -- which are more in evidence on disc two -- can be previewed in the smoking rendition of "Rainbow" that closes the initial CD, with Wata's spooky voice and freakout guitar solos contrasted with the otherwise subdued tune. Merzbow brings a shockingly primeval yet controlled power to that mix. For all of its improvisation and volume overload, "Feedbacker" itself is amazingly listenable and its melody distinct. When it comes to "Black Out," it gets rougher, and "Evil Stack" is simply too much for mere mortals.
But it's on disc two where everything really kicks into gear. "Pink" starts it off with a bang, and the band is in full throttle, rocking it to the rafters and beyond. Merzbow's complementary swathes of power electronics add so much to Wata's guitar and Atsuo's drumming is double and triple time, leaving Takeshi to hold this machine to the ground. "Woman on the Screen" is pure punk metal pyrotechnics, with drum whomp and bass and guitar scree poured through Merzbow's wildness -- in this short track he is totally unhinged. Think of Motörhead-accompanied power tools. As the band literally rages through "Nothing Special," "Ibitsu," and "A Bao a Qu" -- with lots of whoops and hollers to underscore this pure rock-out orgy -- the energy is unrelenting. The first 17 minutes of this disc are some of most intense in freak rock existence. Things slow a bit on "The Evileone Which Sobs," but only in tempo. It's still pure guitar, bass, and drum insanity and Merzbow ups the ante with enormous drones and a high-pitched swell that never goes above the higher end of Wata's guitar scream, keeping it all in some middle range of the doom zone. (Is she the hippest guitar player in rock or what?)
The greatest moment of the entire proceeding, though, has to be the off-the-rails version of "Just Abandoned My-self," which begins at about 95 mph, gets to 120 mph, and then heads further into the red-line zone without abandoning its RAWK crunch. When Wata cuts loose on the solo, Merzbow gives her the biggest hammering wall of absolute maximum power to play off of, matching pitch and texture without being tempted to take it over the ledge into chaos. It walks the tightrope for the entire proceeding without once hesitating or falling over into simple excess. Feeling like a showstopper, it turns out that Boris has one more in the can in an eight-minute version of "Farewell" that could make Sonic Youth at their best look on in disbelief and total envy. Indeed, it's almost as if Jimi Hendrix and his keen melodic sensibility were backed by Glenn Branca's multi-guitar orchestra, but it's all just Boris and Merzbow. When Wata lets herself go here, it's sublime; she climbs that monolithic pillar of racket and brings order to the chaos with her solo temporarily bringing it near the ground again before it just explodes for the finish. This is a breathtaking gig and more than anybody would have hoped for, or, based on past listening experience, had any reason to hope for. Indeed, Rock Dream is exactly that, and sends heavy music in 2007 off with a grand display of mercurial, majestic sludge and wail." AMG

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SUNN O))) & BORIS - ALTAR [2006]

"Longtime Southern Lord labelmates, tourmates, and metal bands Sunn 0))) and Boris seem like natural collaborators, though they approach their music with disparate intentions: Sunn 0)))'s blood-covered drone subsumes everything around it, while Boris' blend of patiently unraveling noise and fractious thrash entices and then dramatically repels an audience. With that contrast between push and pull in mind, Altar-- written and recorded largely before a joint tour last fall-- risks leaving an audience stranded in the middle by inertia.
Indeed, the second half of Altar does just that, leaving the audience adrift in left field with little direction or purpose. But, together, the first three tracks are a perfect capitulation of their conjoined aesthetics. Opener "Etna" creeps in through feedback and slowly building and shifting bass tones before a huge guitar sweep-- split between Sunn 0)))'s Greg Anderson and Boris' Takeshi-- takes charge a minute in. A veritable war of tones follows, Boris drummer Atsuo filling the low-lying space between the subterranean guitar arches with cymbal rolls. Six minutes later, the air forces-- piercing, upper-register, signature-Boris guitar attacks-- obliterate the lowly, warring miscreants, razing the drama and letting it slow burn into "N.L.T."
The follow-up-- featuring the bowed bass of Sunn 0))) collaborator Bill Herzog-- is a vibrantly bleak and texturally captivating work reminiscent of Daniel Menche. Atsuo-- the only other musician present-- splatters the canvas, lustrous edges shaped from the sound of bowed cymbals and a carefully managed gong. It's followed by Altar’s centerpiece and masterpiece, "The Sinking Belle (Blue Sheep)". "Belle" is the one track on which its players conspire to subvert outside notions of both bands. Sunn 0)))'s glacial motion is intact, as is Boris' lucid use of almost-gentle tones. But the amplifiers are turned down, and distortion is all but lost. Instead, warm analog delay lets the sound drift in plumes, and beautiful, understated slide guitars and O'Malley's careful piano create a cradle for Jesse Sykes. Here, her voice shifts and floats like the retiring wafts of blue-gray smoke from a funeral pyre at a misty dawn. It’s an exhalation, a last breath of robust beauty.
But, on the heels of such an overwhelming, unexpected triptych, Altar never recovers, essentially moving in redundant circles for 32 minutes. Three tracks either highlight the magic Sunn 0))) and Boris have crafted separately for a decade or the pitfalls that such work has avoided. The deftly fragmented chords that end "The Sinking Belle" open the door for the record's second side, but "Akuma No Kuma" is waylaid early by a harangued vocal take, an out-of-place horn fanfare, and overly involved Moog lines. Wata's eerie voice and the nebulous echo on everything in "Fried Eagle Mind" builds a paranoid sleep-state eclipsed after seven minutes by a solid sheet of guitar noise. It fades barely, slamming hard into "Bloodswamp", a 14-minute, multi-textural drone that would be an accomplishment for most other bands.
Asymmetrical and leaning, Altar isn't the metal icon its lineage would suggest: It bears neither the rapturous juggernaut geography of Sunn 0)))'s White 2 or Black One nor the transcendent overpowered amorphousness of Boris' Pink or Amplifier Worship. But it does speak of things to come, brave new directions for bands respectively referred to hitherto either as sheer sonic titans or on-off schizophrenics. Those descriptions are much too reductive, and such evidence is the onus and gift of Altar.
" PITCHFORK

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NADJA - TRUTH BECOMES DEATH [ 2005]

"Nadja is a Canadian duo featuring multi-instrumentalist Aidan Baker and bassist/vocalist Leah Buckareff. Originally formed in 2003 in Toronto, Canada as a Baker solo project, Buckareff joined in 2005 to bring the project out of the studio and into live settings. The now-duo creates music that has been variously called ambient doom, drone metal.
To date, Nadja has released 14 full-length CDs, in addition to various eps, splits, and collaborations with such artists as Atavist, Black Boned Angel, Fear Falls Burning, A Storm of Light, Pyramids. Nadja works with a variety of labels, including Alien8 Recordings, Important Records, Beta-lactam Ring Records, Crucial Blast, and The End Records." LAST.FM

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THE ANGELIC PROCESS - WEIGHING SOULS WITH SOUND [2007]

"The Angelic Process consisted of K. Angylus and M. Dragynfly, out of Jacksonville, AL and Athens, GA, respectively. They formed in 1999 in Macon, Georgia, USA, and released their debut “…And Your Blood Is Full Of Honey” in the same year. Their follow-up album “Coma Waering” was originally released in 2003 (by Artwrek) but The Angelic Process remained completely unknown until Paradigms Recordings re-released “Coma Wearing” in 2006. The Angelic Process signed to Profound Lore Records, and their last album “Weighing Souls With Sand” came out in may 2007. As of October 2007, the band was put on hold indefinitely due to K.Angylus’ severe hand injury." LAST.FM

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JESU - OPIATE SUN EP [2009]

"Jesu is a band formed in 2003 in Abergele, Wales, UK by Justin Broadrick following the breakup of Godflesh. Jesu was the name of the last song on the final Godflesh release, Hymns, and Broadrick decided to adopt it as the name of his new project.

The first release, the Heart Ache EP, was released in 2004 and featured Broadrick playing all of the instruments. It was followed in 2005 by the full-length self-titled LP, which featured the addition of bassist Diarmuid Dalton and drummer Ted Parsons, although not every song featured both new members.

With their third release, 2006’s four song Silver EP, Jesu took a more melodic and layered approach, gaining comparison to shoegazing band My Bloody Valentine.

Their second full-length album, titled Conqueror, was released in February 2007 in the US, UK, in Europe and Japan. The Japanese edition also contained a bonus disc featuring the two tracks that constitute the ‘Sun Down’ / ‘Sun Rise’ EP, released elsewhere as a 12” album on April 23.

The band made their United States live debut, in March of 2007, as an opening act for Isis, although work permit problems caused them to miss the first three weeks of the tour. Neither Ted Parsons nor Diarmuid Dalton were able to participate in the tour and were temporarily replaced by Danny Walker, of Intronaut, and long time Broadrick collaborator, Dave Cochrane, respectively. During this tour, Jesu also made its South by Southwest debut as part of a Hydra Head showcase." LASTM.FM

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BLACK BONED ANGEL - SUPERECLIPSE [2003]

"Black Boned Angel is a Wellington-based drone metal project of New Zealand experimental musician Campbell Kneale (who also performs solo as Birchville Cat Motel). Originally a duo with James Kirk (of Sandoz Lab Technicans, The Stumps, The Idle Suite), recently Black Boned Angel has expanded to include Jules Desmond (of 1/3 Octave Band). Black Boned Angel incorporates elements of drone, industrial, dark ambient and influences taken from doom metal music. The project takes its name directly from a song by the band Godflesh, which can be found on their album "Selfless." Black Boned Angel have released material on Kneale's own labels Battlecruiser and Celebrate Psi Phenomenon, as well as on 20 Buck Spin and Riot Season, and have been compared to artists such as Earth, Sunn O))), and Corrupted." WIKIPEDIA

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BONGRIPPER - THE GREAT BARRIER REEFER [2006]

"Bongripper is an Experimental Doom band from Chicago started in 2005. They released “The Great Barrier Reefer” in 2006. which was one track, 79 mins and 27 secs long.

Their second full length “Hippie Killer” was released on June 20, 2007. It is 79 mins and 59 secs long, but separated in 10 tracks. Also, in 2007, they released a noise drone album sans drums entitled, “Heroin.” It was initially limited to 25 with the special edition “Heroin Kit” complete with shooting up materials.

Bongripper’s fourth album, “Hate Ashbury” was released on April 23, 2008. A 65 minute song comprised of dirty heavy doom, drone and noise." LAST.FM

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NADJA - BODYCAGE [2005]

"Based in Toronto, this ambient doom/metal/electronic duo was the brainchild (and originally the solo project) of Aidan Baker. Already a prolific musician who had released a number of works with labels worldwide -- including a vast catalog of CD-R only releases -- Baker used Nadja to explore the darker aspects of his musical soul. Taking on vocalist and bass player Leah Buckareff allowed the expansion of Nadja's sound, as well as the ability to play live. Established in 2003, Nadja's early releases followed the pattern already established by Baker, that is to say a lot of CD-R limited releases, but by 2005, the duo was ready for official release, and Alien8 released that year's Truth Becomes Death. More releases followed, including EPs and collaborative efforts, and in 2007 Alien8 and Nadja released the well-received Touched. The band also built a following by opening shows for such post-metal luminaries as Ocean and Isis. " AMG

SIMILAR/RELATED: AIDAN BAKER, THE ANGELIC PROCESS, FEAR FALLS BURNING & NADJA, METHADRONE, NADJA & BLACK BONED ANGEL, LEAH BUCKAREFF, SUNN O)))

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JESU - JESU [2005]

SIMILAR/RELATED: FINAL, GODFLESH, NADJA, ISIS, ROSETTA, PELICAN, BATTLE OF MICE

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JESU - INFINITY [2009]

"Full album length song ‘Infinity’ on Avalanche Recordings (AREC017), written, recorded and mixed early 2009, with all instruments by Justin K Broadrick. ‘Infinity’ is the most expansive and organic jesu release to date, here JKB revisits his roots of heavy guitar driven music yet still retaining the ethereal atomsphere / soundscape of modern jesu.” justinkbroadrick.blogspot.com


SIMILAR/RELATED: FINAL, GODFLESH, NADJA, ISIS, ROSETTA, PELICAN

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BONGRIPPER & WINTERS IN OSAKA - MEAT DITCH [2008]

SIMILAR/RELATED: WEEDEATER, YOB, BONGZILLA, UFOMAMMUT, BURIED AT SEA, SONS OF OTIS

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SUNN O))) - MONOLITHS AND DIMENSIONS [2009]

TRACKLIST:

1 Aghartha 17:34
2 Big Church [megszentségteleníthetetlenségeskedéseitekért] 9:43
3 Hunting & Gathering (Cydonia) 10:02
4 Alice 16:21

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MELVINS - LYSOL

TRACKLISTA:
"Untitled" – 31:23

1. "Hung Bunny" – 10:42
2. "Roman Dog Bird" – 7:38
3. "Sacrifice" (Flipper) – 6:07
4. "Second Coming" (Cooper) – 1:14
5. "Ballad Of Dwight Fry" (Bruce/Cooper) – 3:11
6. "With Teeth" – 2:25

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PASS: morbidmindz.blogspot.com