In 1992 Mudhoney left Sub-Pop and signed with Warner Brothers’ subsidiary Reprise Records. Having already worked on a batch of songs, we set out to demo what we had. My buddy from high school, Rolf Bertieg, and his friend Jim Collier had set up a studio in the basement of Jim’s house in the Wedgwood neighborhood of Seattle, where, armed with a few tunes and several cases of beer we made these recordings. The songs on this record would eventually be re-recorded and released on our album Piece Of Cake, except “Knock It On The Head” which has remained unreleased until now. (Maybe there’s a reason for that, but I’ll leave it up to the listener to make that judgment.) The energy and the vibe of these recordings reflect how we wish the final Piece Of Cake would have sounded. Hope you enjoy this archaeological dig through our past.

GODTHRYMM was formed in 2017 by vocalist/guitarist Hamish Glencross (ex-My Dying Bride/Vallenfyre/Solstice) and sees the respected UK metal luminary return to his doom metal roots, creating the music he was known to help forge with Solstice (on the legendary “New Dark Age” album) and especially with the heralded My Dying Bride from the 2000 – 2014 time period. Further adding to the GODTHRYMM pedigree of doom, joining Glencross is ex-My Dying Bride/Anathema drummer Shaun Taylor-Steels who, after some slight lineup refining (following the band’s “A Grand Reclamation” debut EP), became the core of GODTHRYMM with Glengross as the two would end up recording the colossal GODTHRYMM debut album “Reflections” (the duo would add bassist Bob Crolla following the recording of “Reflections” making GODTHRYMM a true power trio of doom) set for release on (insert release date here).

Led by Dana Schechter who is now a member of the current incarnation of Swans and has worked/collaborated with Angels Of Light, Zeal & Ardor, Arabrot, Wrekmeister Harmonies, and Bee and Flower. - INSECT ARK now features SUBROSA drummer/producer Andy Patterson. - INSECT ARK toured extensively for their previous album Marrow Hymns and will continue to do so for The Vanishing . - For fans of Swans, Sunn 0))), Earth, Oranssi Pazuzu, and Bohren And Der Club Of Gore. TRACK LISTING: 1. Tectonic, 2. Three Gates, 3. Philae, 4. Danube, 5. Swollen Sun, 6. The Vanishing

First album by Acrimony, first time ever on vinyl Remixed and mastered in 2019 from original studio files by James Plotkin New artwork from JimBob Isaac (Taint/Hark) Leaves of Mellow Grace, the opener of Hymns to the Stone, which rolls out its nod like a clarion, finding Acrimony the five-piece of vocalist Dorian Walters, guitarists Stu O Hara and Lee Davies, bassist Paul Bidmead and drummer Darren Ivey immediately putting the groove first in a way that few acts at the time had understood how to do. Their influences were varied, from 70s rock to trance techno, but their riffs were undeniably heavy, with lyrics exploring the isolation of their hometown and the same kind of disaffection that once launched Black Sabbath to the outer reaches of doom from a blues rock beginning. Acrimony started out more as death metal or at least death-doom, but Hymns to the Stone was a point of discovery for them in terms of claiming their identity, and whether it s the nodding pub-homage The Inn or the myth-creation they engaged with Urabalaboom, the sonic drawl and spacey push of Spaced Cat #6 or the glorious noise-wash jam of Whatever ahead of brash closer Cosmic AWOL, Hymns to the Stone is a record that has been persistently undervalued, not just for what it set in motion in terms of Acrimony s all-too-short tenure as a band, but on the sheer merits of its material.

Second and last studio album by Acrimony. Remixed and mastered in 2019 from original studio files by James Plotkin New artwork from JimBob Isaac (Taint/Hark) Clocking in at a whopping 65 minutes prime CD era in 1997 and originally released through Peaceville Records, Tumuli Shroomaroom is a legitimate heavy rock classic. Its production was clearer, its purpose was clearer and it took the blow-the-doors-down promise shown throughout first album Hymns to the Stone and brought it to a point of full realization throughout extended pieces like Motherslug (The Mother of All Slugs), Heavy Feather and Firedance, not to mention the nine-minute opener, Hymns to the Stone, a title-track for the release before. Go figure. By 97, Acrimony s sense of world-creation was becoming clearer, and their songs not all of them, but definitely some had started telling a story beyond the riffs and nods. Of course, Tumuli Shroomaroom had and still has plenty of that too in Million Year Summer, Vy, Find the Path and The Bud Song the arguable meat of the album in its post-opener beginning and the middle of the nine-song tracklist but even amid The Bud Song s ultra-stoner janga-janga shuffle there s psychedelic flourish building on that shown at the outset of the song, and Acrimony s adventurous sensibility never really dissipates. It s just presented in dynamic fashion, and they use it to various ends throughout.