NUCLEAR DEATH 1986 - 1991: Five Years Of Death 4xLP BOXSET YELLOW VINYL **NEW**

$

90

NUCLEAR DEATH 1986 - 1991: Five Years Of Death (Yellow Vinyl) 4 x LP BOXSET

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(The Crypt)
*** This is a new and unplayed item, direct from the CRUCIAL BLAST shop. ***

DESCRIPTION FROM CRUCIAL BLAST:
While it's not the complete discography that I was hoping for, The Crypt's new four-LP boxset 1986 - 1991: Five Years Of Death is still an awesome collection of the earlier recordings from the cult death/grind band Nuclear Death. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.
With the Wild Rags releases long gone, and even their slightly more recent CD reissues that came out on Extremist Records around twelve years ago have turned in to sought-after collectors items, a comprehensive collection of Nuclear Death's early material has been a long time coming. Packaged in an attractive casewrapped box, the four Lps contain the band's first two albums Bride Of Insect and Carrion For Worm as well as all four of their demo tape releases, each set of Lps packaged in a full-color gatefold jacket with a huge foldout poster of the cover art, and a twelve-page zine-style booklet that includes old photos, interviews, artwork, show flyers, press releases, and liner notes written by Michele Toscan from Nuclear Abominations. The records come on black, green or yellow vinyl (we have all three in stock), and the entire release is limited to six hundred and sixty copies....
I still remember when I first saw the ad for Nuclear Death's Bride Of Insect when it appeared in a 1990 issue of Metal Maniacs, I could barely take my eyes off of the grotesque hand-drawn artwork depicting a clan of irradiated abominations surrounding a withered hag licking the slop off of some mutant infant, a huge skull-faced spider-like monstrosity hovering over them. The band name and that artwork suggested that Bride held sublime sonic horrors, and I couldn't wait to get my hands on it. The album's twelve songs featured a slightly less chaotic version of Nuclear Death's psychotic bestial death metal, but this stuff was (and is) still plenty bizarre, the songs whipped up in a nail-studded whirlwind of sloppy blastbeats and murky riffs, the songs spinning off in weird off-kilter anti-grooves and angular breakdowns, while Lori's awesome, seething vocals echo through the band's cyclonic violence, with some subversively catchy hooks lodged like stray bits of bone matter in these chunks of blackened grind. Tracks like "Necrobestiality", "Feral Viscera", "The Misshapen Horror" and the title track continue to evoke the band's unique nightmare visions of rotting bodies fused together in dripping carnal combinations, mutant birth-sacs and surreal sexual depravations dredged from the deepest recesses of the human psyche. The combination of ripping thrash riffs, Scum-level chaos, and sludgy discordant death metal is intense to say the least, but compared to the delirious sonic vomit that would follow, this is probably their most straightforward work.
It was with 1991's Carrion For Worm that Nuclear Death transformed into one of the strangest death/grind bands around, taking the murky, blurred chaos of their previous album and adding in an array of bizarre noises, hideous atonal guitar sounds, counter-intuitive rhythms and some of the most insane vocals that Bravo ever produced for this band. The songs careen through weird tempo changes and stomping off-kilter breakdowns, the blasting deathgrind splattered with Hampson's lysergic solos, which are ten times more crazed and discordant here than on the older Nuclear Death records. On some of these tracks, the band hurtles into passages of such cyclonic violence that it turns into a kind of blackened, gore-splattered noisecore, chainsaw guitars rumbling beneath the overdriven blastbeats and waves of rumbling noise, and Bravo uses extreme delay effects on her voice to produce some truly terrifying psychedelic effects on songs like the discordant, Autopsy-esque sludgefeast "Greenflies". There's a scornful review of this record that was posted by someone on the Metal Observer site that complained about what he perceived as Carrion's utter unlistenability, where he describes the sound of this album to being "like if Blasphemy and Beherit would interpret together some Einstürzende Neubauten songs, and while I'd certainly question his taste, he might be on to something there. There's a weird, experimental edge to a lot of these songs that shows up in the form of that blasting formless guitar noise and the heavily processed effects that the band uses on their instruments and vocals, and it's clear that Nuclear Death were trying to create something extreme and otherworldly here. They definitely succeeded, producing one of the era's most bizarre death metal albums.
The other two Lps in the set feature the band's various demos, which were never re-issued prior to this. The 1986 demo Wake Me When I'm Dead was the band's first recording, and it features five tracks of thrashing cavernous evil that has more of a traditional thrash metal sound than their later stuff, though these tracks still have that signature unhinged quality that infects all of Nuclear Death's material. The same goes for the Welcome To The Minds Of The Morbid demo that followed the next year, which has a number of songs that would be later re-recorded on their debut album; you can really start to hear the band growing more maniacal on this demo, though, as the thrash metal riffs and the drumming are continuously pushed into the extremes, the band striving for ever faster, ever more violent velocity, with songs like "Cremation" and "The Third Antichrist" delivering some amazing blasts of chaotic grind, and some weird touches like the robotic devil-vocals on "A Dark Country". The A Symphony Of Agony demo fron 1987 is a mix of live and rehearsal tracks, and the sound quality is surprisingly good considering the age and source of these recordings. The live tracks in particular were great to hear, as live recordings from Nuclear Death have always been hard to come by (for me at least). Out of all of these demos, the 1988 tape Vultures Feeding is my favorite; while it has a heavier and clearer recording than the previous demos, the band sounds more unhinged than ever, their chaotic, noisy, sound again bordering on total noisecore, the riffs and drums going in different directions, a spiraling mass of buzzing death metal riffs and caveman blastbeats caught in a vortex.
An essential collection of some of the most chaotic, brain-scrambling and utterly filthy extreme metal ever unleashed. © CRUCIAL BLAST
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