Reviews of various releases.


“Meditations on Giving Up Completely” CD (Malignant Records) – review by (translated from German)

THE VOMIT ARSONIST , the ANDREW GRANT’s noisy outfit that has been active for over 15 years, has undergone a musical process of self-discovery that began with schraddeligen Power Electronics, to bring this stylistic positioning increasingly towards classic US noise over the years. Sounds to condense and finally to make a decided shift into the clutter of PE-heavy Death Industrials with subdued dark ambient bonds, with the occasional critics and end users with good reason occasional comparisons with BRIGHTER DEATH NOW, NAVICON TORTURE ELECTRONICS, STEEL HOOK PROSTHESES et al. provoked. This course is consistently maintained and perfected on “Meditations On Giving Up Completely” , without, however, expanding the overall musical concept by significant innovations. The accompanying text, with which the leading traditional label MALIGNANT RECORDS announces that “there is no prevention of the sound and no voting off course, but rather a narrowing of the sonic palette, condensed into a continual free-fall of complete despair and nihilism” Warwick / Rhode Island’s current album (ironically quasi a suburb of Providence, the hometown of notorious horror novelist HP Lovecraft) advertises – and pretty much hits the poodle’s core.

The profoundly nihilistic impetus that characterizes and bears the present album is already reliably revealed to the interested recipient by the title: “Meditation On Giving Up Completely” bears witness to that existential resignation that results from a focus on the objective meaninglessness of phenomenal existence can adjust – and at least at the musician Mr. GRANT has obviously adjusted . In this sense, at least, he adds on the facebook page of THE VOMIT ARSONIST the title “meditations” to the following quote from Charlie Kaufman’s brilliant film “Synecdoche, New York” , which since time immemorial – Gilgamesh, Job, Bonaventura & Co. Greetings – repeated and varied song of the irrelevance of earthly existence once again formulated expressis verbis: “What is once before you – an exciting, mysterious future – is now behind you.” You realize you are not special. You have struggled into existence, and are now slipping silently out of it. This is everyone’s experience. In this, somewhat disillusioned, perspective, the words “ahead, nothing” positioned centrally on the left-hand side of the 6-panel DigiPak are quite casual, complemented on the far right with the suffix “only emptiness” . We see: As a mood brightener in depressive episodes, the fifth studio album by THE VOMIT ARSONIST is likely to be in fact rather unsuitable: “Those with a fragile mental state may want to steer clear of this one,” warns the promo text accordingly, to the work of the actual Target group – “those who are looking for the curtains drawn or at the end of a rope” – only more urgently than “unwavering in its direction and resolute in its approach” to recommend.

The sound is dense, heavy and harsh: it rumbles and growls, rumbles and clatters like iron chains and heavy equipment, the tempo remains consistently restrained to slow, while the usual up to complete dislocation distorted and washed-out vocals in the face of all-encompassing, agonal thrownness of being grumble and yell until the doctor comes – or, better yet, the four horsemen of the Apocalypse to put an end to the depressing existential Kaspertheater once and for all. The … uh … beat elements – if you want to shake the massive, low-frequency beats and bumps, which sometimes more, sometimes less rhythmically, the membranes want to call it – compared to its predecessor “Only Red” a little more economical and decent used, which additionally conveys the consistently dark, desperate overall impression of the album. Once again, the notorious sound chef and STEEL HOOK PROSTHESES mastermind JOHN STILLINGS are responsible for the mastering, giving the presented, acoustic slab the unmistakable, final spiciness that one is used to from MALIGNANT.

With “Meditations On Giving Up Completely,” THE VOMIT ARSONIST may not be an innovative, even revolutionary, milestone in the genre, but with the remarkably bleak, intense and dense atmosphere that characterizes the entire album, but still convincing. If you compare it with its predecessors, so what was initially referred to as the “self-discovery phase” of the project, at least be considered confiscated as complete: THE VOMIT ARSONIST has blossomed to a solid and independent size at the head of the US Noise, with which is definitely to be expected now and in the future. – The CD has been released in the sneaky 6-panel DigiPak and can be purchased by anyone who has a soft spot for the reference objects mentioned above, absolutely without hesitation. In this sense: well, get it! And while listening to nihilistic listening please never forget what Albert Camus has told us in his boundless wisdom: “We must imagine Sisyphus as a happy person.””

“Meditations on Giving Up Completely” CD (Malignant Records) – review by Santa Sangre
“One day I woke up, looked at the sun outside, shining brightly and happily. Then I opened the window for a minute to listen to the birds singing and feel the gentle summer wind on my face. Then I grabbed the last The Vomit Arsonist CD, put it into the player for the first time and after a few moments I started looking for a razor.

Seriously, when I looked at the title, I began to wonder, can you imagine a more depressive title? “Meditations On Giving Up Completely”, I mean come on. But the title is one thing, finding a good phrase is… maybe not trivial, but obviously easier than producing music that would match up to it. So will you give up completely after listening to this The Vomit Arsonist opus? One thing is for sure, some people will give up completely on listening to this album, I mean those with the positive and friendly outlook on life as its foundation may tremble after these forty-something minutes.

I don’t know Andy, so I can’t say whether it is indeed the reflection of his deep depression or rather an artistic interpretation of such a state of mind made by the talented musician with a strong feeling of empathy. It’s not that important though, it’s evocative enough to forget about this issue. The music is based somewhere between the dark (I mean DARK) ambient and power electronics, which is present mostly in the vocals, or rather desperate screams to be more specific. They go hand in hand with the crawling bass drones, machine rumblings and ornamentations deriving from good old industrial music. The album reaches its dreary climax with the fifth piece, “When The Last Flame Has Been Extinguished”. Slow and distant pulsating, sounding like the heart giving up on beating, the aggressive feedbacks and the screams which this time are definitely brought to the foreground make you think that you’re standing next to the guy who’s about to jump off the ledge of the tenth floor of the building next to a bustling street. After this one, I’m pretty exhausted and it doesn’t happen often while listening to music.

Because it’s not entertainment, it’s an experience. Many producers try to achieve something more with their sounds, to make it something more than just music. Only few manage to do it, Andy is one of them – don’t give up completely man, but if you do, record another album after that point, because I want to know if it is possible to cross the boundary of malaise you reached this time.”

“Meditations on Giving Up Completely” CD (Malignant Records) – review by The Grim Tower
“I’ve always had a love/hate relationship with Andrew Grant and The Vomit Arsonist. Furthermore, I have no idea what he thinks of me or my reviews. Though I believe I’ve covered at least three or four of these records now and here’s another on my desk. By now, it is obvious that Grant is experiencing some level of depression towards humanity and that’s never been more apparent than this one. The industrial sense that we’d expect continues on this one with “Meditations” actually sounding like a grim meditation in itself, which culminates into a slight moment of industrial rattling and what almost feels like a spoken word suicide note in foreground. “What’s Left” continues that nature, almost feeling a bit like Coil in it’s steely trance. Though it’s improper to say this is trance – there’s something a bit more dismal, less euphoric going on here. Harsh vocals come out from the static again, even though I feel like it would have been better that they’d been left out altogether. It cheapens the bleakness of the album, adding unnecessary angst to what feels like a depressive state in itself. “It Never Ends” continues the steel-factory nature, though adds slight moments of harsh static fuzz vocal in areas. Though for this one, it would just kind of sound like a factory if he hadn’t utilized vocals. “On Living” starts out nearly silent, though features harsh vocal pieces as part of the atmosphere, rather than right out in the open. It’s different for the artist. “When The Last Flame Has Been Extinguished” is fairly light, aside from a few static sparks.

It’s almost non-existent as well. This is definitely a much different record, a stripped down approach that I never would have expected. The same can be said with “There Is Nothing Here” which fits the piece, as it does just feel like a bleak factory of sorts. We hear the whirring of the motors and little else. Again, this is meant to be something of an industrial meditation album, so that fits. Too much noise would kill the feel there. “Sick Of Trying” closes out the performance on an expectable note, where we are once again exposed to the sounds of bleak, dismal and rather melancholy factory.

Don’t get me wrong, as I do understand what The Vomit Arsonist was trying to do here. There was too much noise in the beginning, but I feel that the record might work as a negative meditation album (as odd as that sounds, this isn’t the first time I’ve come across albums that sound that way) and instead help the listener to experience anxiety and depression over all of the horrible things in this world. It seems like The Vomit Arsonist might be a source of therapy for Andrew Grant, and that I would feel is a good thing. Maybe others can use this kind of music as therapy for their own problems and there’s the appeal for such a forlorn atmosphere as this. Meditations On Giving Up Completely sounds like a factory that is about to shutdown and give up completely, but that might just be what someone else needs to get their own factory going again. People need a chance to break down so that the brain can heal itself, but society doesn’t demand it, so they often bottle everything up into what later results in mental issues across the board. This is because stress is trauma on the brain. It was described to me in the same way as cutting into your arm with a sharp blade. If you go back and imagine that stress and trauma as the knife cutting into your arm, just imagine what it is doing to your brain. Of course, these kinds of brain injuries will result in a variety of mental health issues. I am not sure how people dealt with it back then, but I can say that the horde of mental issues we’re all experiencing in some respect these days are all a part of brain damage caused by the rigors of life in general. I think the takeaway from this album is that “we’re all fucked” yet I often find escape within artistic mediums, like this album for instance. 7/10

“Meditations on Giving Up Completely” CD (Malignant Records) – review by
“A fitting follow-up to 2015’s Only Red, Andy Grant again delivers a strong suite of harsh, aggressive electronics, but with a slightly different mood to it.  Anger and frustration still abounds, but it seems to be shaded with a self-aware futility and nihilism that is very fitting and appropriate for the title.


Meditations on Giving Up Completely sticks with Grant’s penchant for slow, lugubrious pseudo-rhythms mixed with aggressive electronics and enraged, but heavily processed vocals.  “What’s Left” is a perfect example of this:  crunchy, overdriven bursts of noise lead into manic, ridiculously distorted shouting.  In some ways it is textbook power electronics, but his use of open space in the mix is extremely effective, making all the harshness hit all the harder, but also giving the sense that Grant’s aggressive delivery is tantamount to an enraged, ranting diatribe delivered to an empty auditorium.

This unconventional inclusion in a well-known approach to noise is a recurring theme throughout the album.  Over an especially bleak electronic expanse, Grant introduces an excellent mechanical banging that never relents, soon bringing in his heavily flanged/phased vocals.  In this case, however, the volume and dynamics are surprisingly restrained, casting all of this violent aggression in an insignificant, impotent light.  The depressive synths and distorted thuds of “There Is Nothing Here” end up feeling similar with its heavy, yet hollow overall sound.

That nihilistic mood to the album does not fully define it though:  the dark murk of “It Never Ends” gives the first third a feel somewhere between harsh noise track and unsettling field recordings before he brings in the big, boisterous crashes and vocals, congealing into a wonderfully raw dense wall of sound.  “When The Last Flame Has Been Extinguished” is a blend of big, thunderous bass thumps and brittle, insect-like buzzing that is soon mixed with feedback and shrill electronics, culminating in a strong blend of low-end rumble and tinnitus squeak.  The nearly ten minute closer “Sick Over Trying” is the perfect unfulfilling climax to the album.  Surging, but hollow synthesizers and rattling noises lead off, eventually mixed with some tonal dirges to bring the closest thing to melody on this record.  Metallically distorted vocals appear at around the half-way mark, and the piece continues on its slow, repetitive lurch until ending flatly.

In a lot of ways, Meditations on Giving Up Completely is the symbolic representation of “if an angry dude is screaming into a distortion pedal but nobody hears it, did it happen?”  I think in most cases that would come across as an insult, but that would seem to be the entire point of this album, being seven examples of the banality and futility of macho aggressiveness.  Peppered throughout Andy Grant’s paean to frustration and nothingness are some really great power electronics moments though, making for a consistent album that is conceptually strong, but is still very powerful divorced from context as well.”

“Meditations on Giving Up Completely” CD (Malignant Records) – review by No Melody Magazine (translated from Spanish)
Following the success of his latest studio work, Only Red, Rhode Island’s The Vomit Arsonist project again freezes our arteries with a collection of such sepulchral and shocking subjects. Meditations On Giving Up Completely is an indispensable record for lovers of industrial death sound.

Andrew Grant’s expertise in shaping potent and dilapidating issues is indisputable. A couple of years ago, the American house Malignant Records, focused on the harshest and flagellating sound of the industrial side, published Only Red, a CD that consolidated the decrepit and punitive style of The Vomit Arsonist. Pure industrial death of the highest quality, close in acoustic to projects like Abjection Ritual or Trepaneringsritualen. Well, what is now presented complements perfectly the already known, and even manages to overcome it. Meditations On Giving Up Completely is vertebrate by seven cavernous cuts in which proliferate all kinds of industrial nuances of the most extreme crudity: From deadly serious drones to cadenceous percussions conformed by metallic sounds in constant saturation. Every act has a purpose, and in the case of music raised by The Vomit Arsonist, the intention is to represent fear in its pure state. Cortes like “What’s Left” or the distressing “It Never Ends” manage to subsume us in absolutely agonistic contexts, full of tension and uncertainty. Sound landscapes covered by desolation and restlessness. Linear noise escapements that suddenly fracture when colliding with any noise boulders.

The great majority of his subjects inherit a plasticity close to the dark ambient that is nourished with acoustic elements in charge of granting a balanced dynamism. In turn, Andrew Grant’s voice sounds cursed and poisoned, filled with fury and cold, adapting to perfection to the outlined acoustic structure. One of the star themes of this spectacular CD: “When The Last Flame Has Been Extinguished”, in which the tenebrismo succeeds in crystallizing itself to explode.

Meditations On Giving Up Completely has been released in CD format protected by a three-panel ecopak. Few jobs have managed during this year 2017 to dive deep into the hieratic and piercing sound of the way The Vomit Arsonist does it. We speak of one of the top discs of this American group, as much for its sizing as for its composition and sound quality.

“Meditations on Giving Up Completely” CD (Malignant Records) – review by Resounding Footsteps
Have you ever wondered what depressive black metal would sound like if it weren’t black metal? No? Honestly, before I began listening to The Vomit Arsonist, neither had I. It’s not a bad thing, it’s just something that doesn’t cross the minds of most people. Luckily for us though, The Vomit Arsonist was one such person that did ask that question. And he has spent his entire discography trying to discover what depressive black metal would sound like if there wasn’t any metal involved. Meditations on Giving Up Completely is his latest work of “art” from the illustrious and infamous Malignant Records. This is an album that I’ve been waiting for since I started working with Malignant Records nearly a year ago. This is the match between label and artist that only comes around once every few years. An album so perfectly representative of what the label stands for that it transcends the label and grows to redefine what the label and the artist is capable of producing. It was a match made in Hell and the stars were finally right to release it upon the world. Meditations on Giving Up Completely is the album that will be able to answer all those questions that you never thought about until the question was asked.

The Vomit Arsonist is the mysterious giant that lives out in the hills, shrouded in decay, mists, and shadows. It’s spoken in reverence but also in fear. The project is an ever present reminder of just how dark and gloomy dark ambient can truly be. I set out on this journey to understand the giant, and hopefully not be consumed by the monster before I had a chance to discover what his secrets were.

Meditations on Giving Up Completely is not a flowery release, filled with metaphorical sounds that poetically represent something else. This is a straight forward album that strips away everything pretty and coherent. It’s blunt. It’s unkind, it’s dark and brooding and raw. The album is the sonic equivalent of a rusty knife. The noise of the album is truly noise, it’s disquieting and eerie. Each song starts off quietly and unobtrusively but after just a few moments the sound becomes a cacophony of dizzying and disorienting noise. There is so much noise in fact, that even though I said there is nothing poetic about the album, there has to be something it’s representative of. Even in the depths of the muck of death industrial there is a narrative. It’s often crueler and uglier than any other genre, but it’s there and it is worth trying to discern. This is an album where everything is unclear and out of focus yet we don’t need to see anything to know what we are facing. Reality is utterly clear here.

One of the most discernable noises, easiest to recognize at least, is the broken voices that appear on nearly every track. I’m left asking, though, whose voices are those? Are they the inner voices of despair, loneliness, and psychosis of the artist or are they representative of the listener, merely recreated by the artist to shove back in the faces of his listeners? Honestly, I haven’t figured out which is right, or at least closest to the mark, but I feel as though they could both easily be true. These voices are coming from the mind of someone, someone who knows complete and utter despair. With such a universal feeling, these voices could be anyone’s. They could be yours, they could be mine.

Meditations on Giving Up Completely, too, is about chaos and the void. Each person is born into chaos and that chaos, from the moment of their birth, is trying to consume them. Each day that chaos come closer. We long to be released from the chaos of life and seek the void, that thing from which chaos was born. We long for the release the void promises us. Can we find the place where the void merges with reality to escape the monster that is chaos?

Meditations on Giving Up Completely truly is black metal without the instruments. It has the same maliciousness, the same aggression and hatred that so defines depressive black metal yet The Vomit Arsonist does it all without the benefit of traditional sound. The Vomit Arsonist has tapped into the emotional buzz saw and recreated it using sounds familiar but distorted into a horrifyingly malignant creature. The Vomit Arsonist is Frankenstein and Meditations on Giving Up Completely is Frankenstein’s Monster. If you have ever thought about what despair could sound like, this is it. This is the album that all depressive black metal bands need to hear to understand exactly what they want to do. The Vomit Arsonist does not disappoint. The stakes have been raised.

Highlights: On Living, There’s Nothing Here, What’s Left
If you enjoyed this try: Gnawed, Steel Hook Prostheses, Concrete Mascara

“Meditations on Giving Up Completely” CD (Malignant Records) – review by This is Darkness
Death industrial powerhouse, The Vomit Arsonist, is back with another album on Malignant Records which is sure to invoke revulsion and terror. The Vomit Arsonist has been through many phases and progressions as an artist over the last decade. Yet, one thing always holds true, his sense of loathing and abhorrence toward the modern world. This seems to hold especially true for his latest Malignant release.

Owner of Danvers State Recordings, Andy Grant knows what he wants out of music, and he knows how to bring his visions to reality. Grant’s own label focuses on cassette releases, one of which was previously reviewed here; Pulsed in a Dull Glass Bell, a harsher project by R.C. Kozletsky which falls somewhere between Apocryphos and Shock Frontier.

Meditations on Giving up Completely is quite possibly the best work to date by The Vomit Arsonist, bringing forth all the forms of aural assault that Grant has honed over the years. The result is close to perfection of the death industrial sound.

On Meditations, The Vomit Arsonist has finally gone too far in the sense of mental stability. It could be the case that Meditations is only meant as a representation of the mind of the author but it does seem to speak on a grander scale.  The album seems as if his thought process has moved from individual despair to a loathing and invocation of an impending doom for the entire planet. Always one to appreciate nihilism, The Vomit Arsonist writhes and seethes within an apocalyptic vision of total death and destruction, the final chapter for the entirety of Earth’s inhabitants.

If The Vomit Arsonist found and learned to live with himself on Only Red, Meditations could be seen as the first studio album where Andy Grant is able to totally and unquestioningly be himself. Meditations is that moment when an artist is in full control, knows what they want and delivers it without ever skipping a beat. While his career has been rather long, and quite illustrious, Meditations may be the masterpiece, the total acceptance of himself and his capabilities.

Meditations has a cinematic edge which flows through it. One gets the idea that Grant sees himself as a bystander in the final war, taking cover in the basement as the world tears itself to pieces just outside his door. Yet at the same time, it’s also easy to imagine him as taking to the frontline in this battle. His vocals shouting orders to his followers as an apocalyptic destruction ensues. This dichotomy could be intentional or subliminal, he could be characterizing the views of two seperate people, or showing his own mixed emotions with regards to fighting an internal or external battle.

The digipak, released through Malignant Records is quite the high quality release. A glossy black and gray finish displays a distorted image, which appears to be a man either standing on a bridge or a dam. The thoughts in his head can be deduced from the album content. According to Grant, there will be a cassette extension of Meditations released on Smrt Productions in the near future. After hearing the entirety of Meditations on Giving up Completely on multiple playthroughs, I’m sure readers will be as eager to hear some extra material as I am.
The Vomit Arsonist
should find the acceptance of many varied listener bases with this release. For death industrial fans, there is everything to love about this sonic assault. There is very little downtime and from the vocals to the booming bass The Vomit Arsonist delivers with perfection. Dark ambient fans of the strictest sense will find Meditations to be a bit overwhelming and a bit too loud, but those on the periphery who love blending of styles and a harsher edge to their soundscapes will welcome Meditations happily. Even moving into the power electronics and industrial scenes, Meditations should hold its own, standing up to the greatest of critiques.

Realizing himself, honestly, over the last few years, The Vomit Arsonist has no scruples with doubling down on his style. This is where he feels he belongs, and it really shows on Meditations. Everything done previously by this artist seems to come to a head on Meditations. Listeners should immediately recognize the intensity of the release, an intensity which rarely is diminished through the entirety of the album. I would highly recommend Meditations on Giving up Completely to any readers of This Is Darkness who don’t mind a bit of extra heavy distortion and apocalyptic martial vocal tones. If Meditations is the soundtrack to the end, then we are in for a hell of a climax.

Written by: Michael Barnett

“Meditations on Giving Up Completley” CD (Malignant Records) – review by Noise Receptor
With a substantial discography extending close to 40 releases since 2004, ‘Meditations On Giving Up Completely’
is in fact only the 5th full length album from Andy Grant’s solo project.  In then taking a quick looking at Andy’s creative arc over the last few albums, ‘Only Red’ from 2015 was notable in that it took the brooding death industrial sound of 2013’s ‘An Occasion For Death’, but opted to ramp it up with an aggressively rhythmic approach.  But rather than potentially continuing on that more direct path, ‘Meditations On Giving Up Completely’ shows clear sense of honing, refinement and restraint in order to create claustrophobic death industrial atmospheres (…to rival the best moments of early Brighter Death Now).

‘Meditations’ opens the album with a minimalist “yawning chasm” tone (…this metaphor is to be read as industrial hum, echo & rumble), and with its semi-buried dialogue sample it very much feels as an introductory piece to set the mood. The following piece ‘What’s Left’ then features as an excellent offering constructed around a slow pummeling death industrial ‘beat’, idling machines and general wasteland ambience, as Andy’s agonized and unintelligible distortion charred vocals articulate a mood of anguish and desperation. Thus from the template established by the first two pieces, the following tracks effectively play out as further variations on these established theme. However to talk of notable elements, the wailing siren sound on ‘It Never Ends’ is a standout when set against a monolithic and slow pounding beat, as is the morbidly cavernous depth and gradually rising dread of ‘On Living’. During the album’s last third, ‘There is Nothing Here’ features a pounding beat that despite pushing towards a mid-paced rhythm the overall mood remains of one of brooding restraint, and with this same tone seeping into the final track ‘Sick Over’ (..which itself bleeds out in shuddering convulsions over 10 minutes).

With each track spanning around 6 minutes or longer, each of the 7 tracks are effectively elongated death industrial meditations on nihilism, underpinned with an enveloping sense of brooding despair. Likewise given the album’s general minimalism and restraint in deliver, its layered sonic elements and sporadic vocals have been meticulously combined for substantive impact. Without seeking to significantly deviate from what has preceded it, ‘Meditations On Giving Up Completely’ features a clear sense of honed refinement, and in the process has issued an imposing death industrial statement.


“Only Red” CD (Malignant Records) – Review by
On his first full length album since 2013’s An Occasion For Death, Andy Grant (The Vomit Arsonist) has crafted a record that clearly shows his influences, but bears his own distinct mark and sound.  An extremely aggressive album, it is also an exercise in  restraint, resulting in a set of songs that lurch more than assault, but is jam packed with evil and violence that festers dangerously close to the surface.

Much of Only Red was inspired by Grant’s tour last year with genre innovators Brighter Death Now, who have made an entire career of presenting extremely sinister and violent noise in a barely restrained, structured capacity.  That is the influence that he most clearly employs on this album.  The feeling of something horrible happening just below the superficial, held back only through weakening repression and fighting to get out.

Opener “Choice” exemplifies this approach.  With an ambience that sounds like reverberations within the concrete and steel of a parking garage, he builds the sound up from a loop, adding tension and dissonance with each passage.  Finally, pummeling and crunchy rhythms appear, mixed with heavily processed vocals that are extremely aggressive, yet mixed extremely low.  “Only Red” comes from a similar scraping, grinding space, with the slow jackhammer beats and screamed voices conveying an undeniable sense of frustration and an urgent need to be heard.

On “It Just Is,” Grant employs similar techniques, but at first in a more open, spacious context.  The percussive blasts and screamed vocals appear later on, and contrast the less oppressive opening extremely well.  “I’m Not Fine” slows the rhythms down and buries them in distortion to give the whole piece a distinct fuzzy crunch, occasionally stopping to allow what sounds like a carefully controlled passage of feedback to move to the forefront.

While the mood may not vary greatly from song to song, the structures and compositional methods do.  “Nothing Matters,” a reworking of Hank Williams’ “It Just Don’t Matter Now,” is a sustained roar, heavier on the chugging noise and explosive bursts of sound.  With the vocals added, it is an undeniably menacing, vicious piece of music.  “Unwelcome Peace” has Grant instead opting for a more uncomfortable mood, allowing bits of what sounds like cello to loom amongst strange, menacing noises.

One of the strongest features of Only Red is just how well Grant is at employing the expected sounds of noise and power electronics into a different structure, one with a greater depth and complexity rather than just being pure dissonance.  That, coupled with the palpable sense of frustration and anger (but not in the stereotypically destructive framework) that he generates, gives an added depth to an extremely strong record.

“Only Red” CD (Malignant Records) – Review by Side Line Magazine
Andrew Grant likes to collaborate with other artists, but for his latest opus he strikes back alone to release one of his most surprising albums ever.

“Only Red” sounds to me more like a conceptual release moving towards ritual-ambient elements. We immediately enter into the strange universe created by The Vomit Arsonist, which embraces disturbing sound creations and reveals genius writing and sound production. The next cuts will simply reinforce the conceptual- and ritual impression of the work.
It feels like an industrial mantra composition composed by heavy resonating and somewhat didgeridoo sounding sound effects. It creates a low vibrating sound wave that will give you goose pimples. I got the impression that real voices (a kind of mantra) have been transformed to reinforce the vibrating element. When you play it loud you really will feel the walls trembling around you.
The tracks have a kind of monotonous aspect, but which is totally appropriated for this kind of creation. You progressively feel like you are entering into a transcendental dimension leading you into a strange rite. The sound waves get heavier and are sometimes joined by screams lost in a kind of endless space. The tracks are pretty long, which gives enough time to have a real freaky impact on the listeners.
Some passages only get darker and darker, and progressively join the ultimate point of horror called “GW (Rdx)”, which features Kristoffer Oustad. We recently discovered the debut album (cf. Filth Haven”) by K. Oustad, which was a successful piece of dark-ambient. “GW” (“Go Without”) is a remix of the title song that was released in 2012. This remix totally matches with the global atmosphere running through “Only Red” and is a perfect cut to end in a freaky way.

Conclusion: What I like on “Only Red” is the easily recognizable sound treatment, which is absolutely terrific, but still rather unique in its genre. This is a genius mix between dark-ambient and ritual elements.
Best songs: “Choice”, “Only Red”, “Nothing Matters”, “GW (Rdx) feat. Kristoffer Oustad”.
Rate: (DP:8½)DP.

“Only Red” CD (Malignant Records) – Review by Nonpop (poorly) translated by Google

THE VOMIT arsonist is a project that not necessarily each is probably due to its location and labels in the US here familiar. The project represents sounds at the interface between Death Industrial and Power Electronics who do not get even in Europe many bands better. Starting point for the new, simple “Only Red” titled album active for about ten years the project was, through its own development, the legend, a live performance of BRIGHTER DEATH NOW in the USA in 2014. Comparing “Only Red” Now with the previous albums, then drops a turn to the sound aesthetics and the Industrial Cold Meat era on as the new millennium.
Of course, the sound of THE VOMIT arsonist was there always vicious and seasoned with nagging, distorted vocals; however, he was even more Power Electronics-influenced what mostly in edgy and rough analog sounds that were prominent in the mix, was found. These sounds have disappeared on “Only Red” or blend into the already significantly smoother, more perfect technical production a thing you can find a pity. In addition, adds ANDREW GRANT, the man behind THE VOMIT arsonist, the sound markedly more rhythmic elements in the form of deep, powerful blows added, which gives the pieces a menacing, slow rolling groove. In combination with the abysmally rumbling, broadly drawn and spatial Bass primers to get so acts like IN Slaughter Natives SOPHIA – compared to two but with more vocal swing and without the symphonic bombast sounds and thus walk – or even BRIGHTER DEATH NOW closer.
The mood is relaxed so far, of course, not when ANDREW GRANT border in addition to the nightmarish soundscape his anger into the world. For the listener also is likely to be over the fun when he reads that even a cover of Country-piece “It Just Do not Matter Now” – known by Country-God HANK WILLIAMS – called “Nothing Matters” is represented on the album , That the fun for ANDREW GRANT is indeed over, heard the version, however brutal, since you can see similarities to quite ordinary country song only the text and the translation of the text. At the end of the album you still treat yourself to a reworking of the track “Go Without” – originally from the well-to-get rather bad today, same 2012er album – in which Kristoffer OUSTAD (including Kristoffer Nyström Orkester) was at work. This piece now looks smoother and production technology is otherwise some tonal accents that add momentum to our original piece of something and let it work even more dramatic. There are also on album length brute, seething anger that through song titles like “I’m Not Fine” or “No One Can Help You” is sufficiently illustrated.
If you wanted to find fault, it might be but the slightly smoother sound of the album also appeal to the, in my view somewhat less variety in the sound than on previous productions. Otherwise, you have a long time not dealing here with pleasing music, but with an absolute mind low blow, which impresses with an excellent production, and thus is absolutely competitive, although of course ANDREW GRANT not reinventing the wheel.

“Only Red” CD (Malignant Records) – Review by Absolute Zero Media
Andrew Grant maybe someone that is not on your radar yet but with is 2nd full release on Malignant there is no excuse not to listen and see why he maybe one of the best artist today making power electronics/ Death Industrial today. With this release “Only Red” Mr Grant seems to be in a much more sinister mode of music creating . It’s much more extreme and dense this time out and seems to be layered to the point of madness. You can feel the pain and nightmare in his mind ebb and flow through each track. The harsh elements are mixed with a underlying droning movement that makes the hair on the back on your neck stand at attention. ” Only Red” builds into something many Extreme Noise artist are missing . There is a rhythm and melody to all that is going on here. I know it’s subtle but oh it’s there.  Vomit Arsonist as made a genre defining release with only red. I feel like the 1st time I heard Sickness, Brighter Death Now, Schloss Tegal or Nordvagr.  This with Sewer Goddess are two albums of the year on Malignant..

“Only Red” CD (Malignant Records) – Review by Necroweb — (poorly) translated by Google
Two years have passed, since by “An Occasion For Death” the world of Death Industrial to a fine disc was rich. The Vomit Arsonist is the brainchild of Andrew Grant, who was the inspiration for the new plant in Brighter Death Now. Clear are as no worlds between the stylistic sounds, as well as Steel Hook Prostheses come here to the recipient in mind. But what I actually red now great to the porridge, is “Only Red” but a murderous album, which crash fetishists will captivate the highest degree – in full attack mode break mighty crash walls out, accompanied by a distorted articulation and diverse rhythms. Especially the title track is an improbable seeming monolith a bulwark raises the same steadfast and unyielding the flag of Death Industrial in the air, and flanking from likeminded hopefuls such as insulator, gnawed, U-731 and Teeth Engraved With The Names Of The Dead experiences. All these names have found their home in the manufactory Malignant Records, where primarily the crude stylistics receives growth periodically. The Vomit Arsonist is canceled perfectly in this family and was already einheimsen with its predecessor the highest grade. And this disc is a valuable matter, in which Kristoffer Oustad contributed a remix and nobody abmischte than John Stilling this publication. The results are violent eruptions of enormous intensity, and it basically is not possible, a track so really emphasize. “Only Red” should be evaluated as a whole and what remains is a dark nightmare whose excesses fascinate as well as disturb – I’m thrilled!

Individuals who are looking for the once again a really cool Death Industrial plant with bonds of Power Electronis, are by no means “Only Red” come around. The potential of Andrew Grant seems inexhaustible – my absolute recommendation!

“Only Red” CD (Malignant Records) – Review by The Grim Tower

Rhode Island’s Andrew Grant is back with another chilling chapter in The Vomit Arsonist. This one is a rather forlorn recording known as Only Red which seems to come with packaging and track titles that convey that feeling almost completely. The album begins with “Choice 7:24″ as atmosphere scrapes up against metal, heading closer into the vile clutches of a machine. The title track “6:42″ seems to meld horror soundtrack inspired synths in with thunderous dirges, which also convey the thunderous mechanical bellows of the frontman (truthfully, I’d love to hear a metal disc with this kind of vocal affront) as “Nothing Matters 4:55″ comes into play with ghastly wails and further vocal instrumentation. Grant uses his mouth as an atmosphere, almost sounding like a mix between a man on a soapbox and a cybernetic call-to-arms. I only wish that I could make out exactly what he is saying (the distortion effect is so great that I can barely clarify his words) in order to be able to understand the concept better. I also need to add that the aforementioned is in all actuality a Hank Williams cover originally titled “It Just Don’t Matter Now.” But trust me; you wouldn’t be able to tell from the track alone. As far as lyrical content, all I was given is a rather thick Thomas Ligotti quote from The Conspiracy Against The Human Race which could basically be summed up as “everyone is a false pawn and a slave to their emotions, so you might as well just deal with it or die.” I guess I’ll have to research this guy a little more and see exactly what his life was like, and what he was on as far as drugs and prescription medications are concerned. These can be quite fundamental to the way a person thinks and behaves as they affect brain chemicals in a way that is truly not understood by science, yet claimed to be understood by science. It’s quite true that we wear a plethora of masks and hats, observing different personas and not actually discovering that which we really are. Most people do it, most aren’t aware of it and more than half of the world could probably give a fuck less about it. As long as they have that which they desire, or what makes them happy for a given amount of time, they’re content with their reality. We are a society of instant gratification, which is just a part of human life in this era. Get over it or jump off a building. But if you do, I hope someone records it. Instant gratification, as I said. Getting back to the album, “It Just Is 6:32″ continues the mechanical and depressive onslaught, as “I’m Not Fine 5:13″ takes us further into the misty depths of despair. There are slight twinkles amidst the chaos, but I’ll admit that Grant’s vocals are really grating on me now. “No One Can Help You 5:51″ is the next track here, observing more atmosphere while making me think of the passing trains in a subway station. “Unwelcome Peace 3:55″ proves to be my favorite track on the album, utilizing more horror aspects and some ghastly whispers. This is definitely more like it, as far as I’m concerned and I’d definitely prefer it over the harsh rants and raves I’ve been hearing throughout most of the disc. There are plenty of places to hear rants and raves online these days; the internet is literally chock-full of everyone bitching about everything. Its madness, simply put. Yet in all honesty, it could really be madness – people don’t sleep as well as they used to, they stare at screens all the time and are more antisocial than ever, not to mention the fact that they ingest several chemicals in the food, water and air. Think I’m joking? Newborns have been found to have been born with more industrial grade chemicals in this age than any other that has come before it. None of these chemicals are native to our genetic makeup, so there’s really no telling what they are and what they’re doing to us. So could the chemicals in my body, Grant’s body and your body be making us all literally insane? That’s for you to decipher. Nevertheless, I feel that all of this instant gratification and chemical talk goes hand in hand with the depressive madness that seems to be eliciting from such a record as this one. The disc closes with a redux of “Go Without” here entitled “Gw (Rdx) 8:00″ which serves as rather lengthy finale for what is a truly horrendous and terrifying experience. The synths seem a little more eerie here than in previous tracks, and sometimes it even feels like a static scream is being uttered as the techno-laden roars of Grant continue to echo with the viciousness of massive flesh crushing mechanical gears. In the end, The Vomit Arsonist feels preachy and parallels the southern Baptist “fire and brimstone” sermon, except for the fact that Christ is nowhere to be found and instead an inferno of bloodshed and machinery seems to fill my ears with several screaming mounds of rhetoric that I really would like to understand. Perhaps he doesn’t release the lyrics for personal reasons, but the whole thing feels impersonal when I can’t understand any of it. Nevertheless, I would recommend Only Red to those of you looking for an extremely cold and ferociously virulent approach to industrial. It sometimes sounds like classic Skinny Puppet without the beat. It’s unrelenting, destructive and ultimately terrifying… but for some reason it sounds like a man screaming at a wall that doesn’t budge. But I digress and will admit that we all need our catharsis, just as I seek within my own musical outlet. (8 Tracks, 48:00), 7/10

“Only Red” CD
(Malignant Records) – Review by I Die:You Die

Death industrial remains a fascinating nexus of genres for me, especially as noise (of all stripes) seems to be making further inroads into a broader audience thanks to the recent success of the likes of Burial Hex and Prurient. While just as relevant to modern extremes and tastes as those acts, death industrial never attempts to present itself sui generis, acting as if there wasn’t a near forty year history of (mis)using technology to both reify and exorcise the demons and excesses of the modern condition. The likes of The Vomit Arsonist, conversely, stay partly rooted in an uncompromising past and are open to structural and sonic experimentation rarely found in “pure” power electronics.

Now, all that being said I have to admit I’ve had relatively limited exposure to The Vomit Arsonist’s work, though that’s entirely happenstance rather than design. Only Red comes just after Andrew Grant’s tenth year of releasing powernoise and death industrial under his regurgitory moniker, which seemed as good an opportunity for me to play catch up. The press copy heralds Only Red as a return to Grant’s more violent and less restrained roots, but the overarching impression left on me by the record was nowhere near as abrasive. Even at its most clattering and ostensibly “noisy”, the finely granulated static which coats just about ever second of Only Red gives it a strident austerity and distance which frames the listening experience. The effect, rather, is not unlike watching a nebula or some undersea horror undulate and writhe at a distance. Potentially disturbing, but also holding the potential for hypnotic comfort.

In theory the vocals which show up on a few tracks – either punctuating more strictly rhythmic tracks or just sliding over the more freeform pieces – should disrupt things and angry up the blood somewhat. To be sure, Grant likely isn’t barking a paean to newfound love between the concrete pulses of “Nothing Matters” or over the near subtonal hum of “No One Can Help You”, but after a couple of passes the vocals become a slightly more dynamic counterpoint to the grinding loops. It’s really in that balance of rhythmic repetition and overwriting that Only Red excels. Arising out of soupy, primordial noise a stoic pattern emerges, establishes itself, and is perhaps played with or gnashed about in Grant’s chops. The sound design on ambient tracks, like “Unwelcome Peace” with its wet, sandy slithering atop detuned brass, stands out more for its break from this pattern, as do the more syncopated percussion segments (Hell, “It Just Is” has a rhythm nearly identical to Barrett Strong’s “Money”).

Only Red will likely mirror back to the listener a good portion of their history with or impressions of its markers; noise in the broadest sense or death industrial in the most particular. If material of this ilk is new to you, you might indeed be struck by its lack of compromise, its steely aversion to harmonics and melody. If, conversely, you’re still pining away after the folding of Cold Meat Industry, then you’ll respect the fealty Grant pays to those who came before him as he enters the veteran phase of his career, even as he finds new textures and structures with which to field test old templates. In either case, there’s good work to be found on Only Red.

“Only Red” CD (Malignant Records – Review by Traumatic Static

Ok so this album seems to pick up where we left off with “An Ocassion For Death” a couple years ago, Only this time it’s all aggro. It seems like Andrew Grant has spent those last couple of years baking in his own anger and aggression with “Only Red” being his only release. This album is extremely heavy and dark as all Hell, And when I say dark I mean a true darkness…Not some thin sounding, pre-pubescent Post Black Metal bullshit, But rather, Dark in the way that the human is flawed, bitter and full of hatred.Truly Misanthropic music. The level of unease invoked by
listening to this record is unreal.I didn’t think that anyone would top the debut album from UNITED FRONT, “By All Means” (Which Andrew Grant contributed vocals to.)  In terms of grim and gritty terror in a real and logical sense…But Andrew Grant has at the very least created a record that is right along with it if not even more terrifying.I always love it when an artist can transport the listener into another world…But here that world is a bleak and barren apocalyptic landscape paved in dry blood and crusted bile.A place where entering will stir something within you that would’ve been better off in an eternal slumber.
It begins with “Choice” where we are greeted by a slow rising ambiance like smoke swirling around the sounds of industrial wreckage. Creaking metals and gaseous waves of dense sub-bass that pushes air out of your speakers like an A.C. on full blast. Stomping percussions come in a hard, mid-tempo death rattle as the ambiance grows and shouted, processed vocals lash out like knives jabbing at your face. The density is intense and overwhelming unlike anything I have ever experienced.So deep and heavy that it rattles your skull. Everything seems to grow louder as the track continues until it feels like a vice grip clamping around your head with immense force and pressure.
The title track “Only Red” is simple. Total aggression that boils and oozes like a toxic chemical. It begins in a similar manner as the previous track but a little more chaotic and wreckless as metal is carelessly slammed across metal and deep, dark ambiance rolls out and slowly recoils like a restless serpent.High end ringing rises out of the haze, quickly followed by corroded industrial rhythms that sound like falling boulders chipping away at the landscape as they roll to crush all in their path.The lyrics are violent, enraged and delivered as such. Hostile rasps forced through a throat filled with debris and gravel. Slow and calculated like a pre-meditated murder. The soundtrack to a bloodsoaked
night of revenge. Once again the intensity is mind numbing as is pretty much the case throughout the entire record.
“Nothing Matters” which is a very loose Hank Williams cover oddly enough begins with quaking bass drones and hissing breaths that sound like negative forces gathering and manifesting as a living entity.What sounds like the rattling of thick power lines in the wind is heard right before a barrage of ultra dense bass drums in an absolutely crushing mid-tempo assault. Screams seem to come from all directions and swarm around your head in a furious frenzy. There are quite a lot of layers in the mix but they all blend into a solid slab like cement bricks stacked upon your chest. In other words, this will smother you.
“It Just Is” sweeps in on hazzardous winds filled with inhuman voices.Distorted noise like the crackling of fire fills in the empty spaces. What sounds like the panic of swine in a slaughterhouse adds an eerie atmosphere and then those drums kick in again.Loud and harsh like iron doors being slammed in a slow, foreboding rhythm.Secondary rhythms create an almost tribal vibe.The most primal state of man stripped bare and exposed like the violence of a crucifixion in the downtown area of a modern city.Disgusted and fed-up vocals tell it like it is without holding back until the echoes of their message are all that remains.
“I’m Not Fine” arrives on some of the deepest drones I have ever heard, accompanied by harsh distorted patterns and then BOOM! Drums like giant hammers on a rampage across the countryside roll in like thunder. The vocals come quick and lash out over ringing feedback in timed succession. Longer screams hang over like a black hand of death over a small town, Ready to come in and suffocate the life out of every resident. Phasers and other filters are applied to the vocals and give them an effect like a swarm of insects come to collect in a carrion banquet.A final scream stretches out and then all fades into debris and dust.
“No One Can Help You” is a tidal mass that floods out over grinding machines and rumbling bass quakes.Distortion dances on the horizon and loud, muffled screams come in deep tones like the voices of monolithic monsters stirring from the depths of the ocean.This is the most dense track by far and that is quite an accomplishment. Shrieking winds cry like banshees as anxious electronic patterns float like glowing insects.Shrill feedback and electric pulses fill the air as everything builds like a volcano preparing to rain down in a glorious display of molten hell fire.
“Unwelcome Peace” opens with traditional Death Industrial style ambiance and bellowing synths that sound like downtuned horns signaling war.Clean ambiance radiates like dim light through a thick covering of trees as shifting sounds and reversed winds surround. Weird wet sounds and clanging pipes create the atmosphere with all the comfort of a Saw or Hostel movie. Pure cold Death Industrial at it’s finest.
“GW(Rdx)” is a remix of the title track from THE VOMIT ARSONIST’s album Go Without. Re-constructed by Kristoffer Oustad who is mostly known for his contributions with KRISTOFFER NYSTROMS ORKESTER, but after the release of his debut album “Filth Haven” on Malignant records has been recieving a lot of praise for his solo works as well. Here he strips this track bare and rebuilds it into a total disaster. Everything is amped up and in your face. The vocals are pure fury over a charred soundscape of ash and decay. Kristoffer Oustad’s addition of soaring synth frequencies create even more intensity then I would have thought possible. A perfectly brutal way to close the record and a demonstration of Oustad skills. This is a man that not only understands this music, but also knows what he’s doing. By the time this album finishes you will be wrecked.  IN TERMS OF BRUTALITY…A NEW BAR HAS BEEN RAISED: 9/10

“Only Red” CD (Malignant Records) – Review by Toilet Ov Hell

Only Red, the new album from Andrew Grant’s The Vomit Arsonist, doesn’t seem to fit anywhere.

Like the best of the genre (such as Theologian or Brighter Death Now, who is even name-checked as an explicit inspiration in the album’s press notes), Only Red is a dark, moody work able to draw on convention and coax forth new sounds, constantly pushing back boundaries and redrawing the boundaries of death industrial. Stomping power electronics, wispy dark ambient and unrelenting noise come together in Grant’s most successful balancing act yet, and perhaps his first moment of real greatness.

In our interview last year, Grant went deep on his anxiety and the catharsis only his music can bring. It’s all there on Only Red, his most emotionally exhausting and multifaceted work so far. Behind the nigh-constant thundering of bass drums, ethereal synth pads and a mask of distortion, Grant wails expressive self-portraits as if each track is a new bulldozer coming to crush him beneath. His words may be obfuscated by a plethora of vocal effects but his meaning is always clear.

Matching Grant’s harrowing vocal performance is the racket happening simultaneously. Dynamics wander around, never content to settle on simply alternating between loud and quiet, instead subtly changing and moving organically as if to copy the stream-of-consciousness vocals.

Tiny flourishes such as these are part of what help to propel Only Red to its status in the lofty upper echelon of the genre. The devil is in the details, as demonstrated by the tormented bellowing in “No One Can Help You” and “I’m Not Fine” or the surprisingly delicate transformations to the main beat in “It Just Is.” Sporadic synths flesh out the especially emotive moments when the percussion drops out completely, keeping a constant stream of sound going throughout almost the whole album. The aforementioned “No One Can Help You” is a fine example, with bassy noise spraying gray skies behind Grant’s pained shouting.

Thematically, Only Red doesn’t seem to touch on much new ground for Grant, but what matters is the way his music reflects more than ever his dark personal philosophy. Without a single word, the penultimate track “Unwelcome Peace” manages to cultivate what is easily the most unsettling four minutes in Grant’s discography, all washing synths and choppy breathing.

Only Red has no shortage of highlights, but the album’s closing tracks are where it truly hits its stride. Beginning with “It Just Is,” each track is an improvement on the last, culminating in the incredible, slow-burning trilogy of “No One Can Help You,” “Unwelcome Peace” and a brilliant reworking of “Go Without” from 2012’s album of the same title by Kristoffer Oustad (whose stellar new album, Filth Haven, is also out now on Malignant). The final track in particular features clanging, metallic percussion and a siren-like synth lead between explosions of utterly vitriolic screams and pounding bass.

Ultimately, Only Red is about as close as noise gets to anthemic while still being unafraid to challenge its audience with cryptic freakouts. The balance between the two is key and it’s what works to make this album The Vomit Arsonist’s best.


“An Occasion For Death” CD (Malignant Records) – Review by Santa Sangre Magazine
When god was declared dead by philosophy, man was confronted with a compulsive challenge: to ascertain another point of reference based on a rational explanation for existence. Science or egocentrism are still standing on volatile grounds. It’s fair to say that after setting aside a disconcerting self-illusionism, only artists are able to picture an image of this modern state of existence in undecided bereavement and disequilibrium. Among these creators without a Creator we find the American Andrew Grant with his death industrial project The Vomit Arsonist. The introduction song “Think God Out Of Existence” situates the reader/listener in direct insight of such an absolutist, in terms of negativity, perspective.

The tone of the disc is set out following this mandatory coping with an absurd existence which is aggravated by decease. There is no continuity beyond reality’s plane: “At The Edge Of Life, Everything Is An Occasion For Death”. And this dying and catastrophic all becomes a muse to inflict and filter an artistic sense of violent despondency. Within the record the sounds are fatally fused through intentional aggressiveness and spite towards a rational explanation of life: this second track blows fiercely in percussive pumping, similar to a non-symphonic Karjalan Sissit merged into a Gnaw Their Tongues insalubriousness.

The American artist further changes his approach into a power electronics rumbling accessorized with a drone substance and harsh, dissenting vocals akin to Fire In The Head. “Invita Minerva” shows his acquaintance with rampant audio musical violence that seeks action where artistic inspiration fails, and mumbling irrational fetishism takes its place.

A coincidental paradigm feeds this rebellious pastiche back into the next delivery, “Black Bile”. Here we have in coincidentia oppositorum the fervor revolt of the ars militaria style, together with the decadent perversion of a poetical spleen. Like a soldier with nothing to fight for and nothing to flee from, rhythms of honor and resistance are mangled into decayed tonal stenches. The Vomit Arsonist bears a particular style-stamp made of linear percussion articulated on doom/ bleak ambient – satanic in effectiveness, reminiscent of MZ 412 on “Infernal Affairs” – and nuanced by deflective spiteful vocals.

This whole heavily consolidated, noise-scented fortress is carefully detailed in order to connote philosophical aspects of the artist’s personality. “Torn Between Will And Desire” – by all means the brightest track – flows menacingly in noise-crumbling frequencies towards an expected explosion. Thus, the resonating conflict that opposes one’s will to his outbalanced desire is illustrated with a realistically epic sense and moved towards an inexistent solution. This will to take life further and gain material possessions is indirectly hindered by libidinal felicities, and like in the Stendhal novel ‘The Red And The Black’ this tragic hero – something which that man thinks he is – cannot find resolution but in death.

“The Absurd” follows with a rhythmic, strongly sardonic beat movement, facing a confusing ambient flux punctuated by blindfold vocals. It almost makes you feel replicated in fruitless residual aspects of your own personality in this endeavor to find a scope for life. And as you are unable to determine such an objective, The Vomit Arsonist offers you a “Means To An End”, closing the album expressively. The track literally works as a slow process of asphyxiation; you are progressively buried under slabs of drones until only a disinfected voice remains.

The Vomit Arsonist exists since 2004, and I believe that with this Malignant productions release has now offered his major record. It is the brightest occasion to become acquainted with his craft and death.

“An Occasion For Death” CD (Malignant Records) – Review by Crucial Blast
Jason over at Malignant has cultivated an exceptional ear for the finest in heavy power electronics and death industrial, and 2013 saw a number of new albums from some of the best names in the field, one of the latest being the new full-lengther from Andrew Grant’s solo project The Vomit Arsonist. Also a member of the severely spiteful power electronics duo Bereft, Grant has increasingly turned this project into an outlet for more atmospheric, though no less unsettling noisescapes that skillfully combine bleak blackened droning electronics and moody synth melodies with blasts of intense distorted heaviness. The latest entry in the Arsonist’s arsenal of soul-crushing sonic nihilism is An Occasion For Death, the project’s first release for Malignant, which finds the death industrial outfit now sitting alongside the esteemed likes of Steel Hook Prostheses, Nyodene D, Xiphoid Dementia, Control and Sektor 304. The seven tracks that make up this album are in the same dread-filled vein as the Arsonist’s previous releases, combining crushing low-end drones and swirling black synthesizers with echoing, time-stretched voice samples, but this time the production feels a lot heavier, as if there are new depths to these dark rumbling drones, more monstrous exhalations of industrial dread.
The nauseating waves of black drone that surge over the opener “Think God Out Of Existence” are slowly joined by sheets of fearsome orchestral drift and intense choral textures; when the next track “At The Edge Of Life, Everything Is An Occasion For Death ” kicks in, the effect is crushing, as ponderous, ominous oil-tanker percussion rumbles and reverberates beneath whirring celestial synths and Grant’s ferocious distorted screaming. This has gotta been one of the heaviest things that I’ve ever heard from this project, with an almost Swans-like slow-motion pummel taking form, the sound stretched out even further into thunderous waves of soul-crushing industrial power. From there, the album continues to bloom into vast rumbling dirge, a sound that at times almost suggests that Grant is drawing just as much energy from the apocalyptic industrial metal of early Godflesh and the most glacial, blood-freezing extremes of doom metal as his is from the darkest realms of power electronics. The result is, of course, something that sounds pretty unique, certainly different from most of the other PE/death industrial outfits I’ve been listening to lately. That grinding, super-heavy deathdirge returns on “Black Bile”, where eruptions of filthy bass are crushed beneath the slow, saurian blast of the drums. Other tracks like “At The Edge Of Life, Everything Is An Occasion For Death” and “The Absurd ” are more minimal, still surrounded by a constant seething subterranean rumble, but with the rhythmic elements stripped out in favor of a basic black pulse that rises and falls, a pitch-black beacon blasting it’s plutonium glow through the otherwise impermeable night of the Arsonist’s apocalyptic vision. The whole album shifts slightly between these crushing pneumatic dirges and the more droneological depths of the Arsonist’s sound, but even during the album’s less aggressive moments, this is still extremely heavy shit. The last track “Means To An End” features guest synthesizer from Murderous Vision’s Stephen Petrus, and washes over the album’s last ten minutes with a mixture of malignant field recordings, distant grinding distortion and earth-shaking bass frequencies that resemble the roar of blood within one’s own skull while bound and blindfolded in the soundproofed basement of some suburban sadist.
Oh yeah. One of C-Blast’s favorite death industrial releases of 2013. Comes in a six-panel digipack.

“An Occasion For Death” CD (Malignant Records) – Review by Cvlt Nation
I’ve met the ragged brain behind The Vomit Arsonist. One listen through the project’s latest output, “An Occasion for Death” would leave you imagining him as a drugged-out cutter who lives in a dark hole and sleeps on piles of trash. In reality, Andrew Grant is about as personable a fellow as you might find in Eastern Rhode Island. In fact, nearly every person I’ve met involved in creating Power Electronics is the same way. Maybe it’s the cathartic nature of the music that lends them all some sort of inward peace. “An Occasion for Death” certainly sounds as if Grant had gathered up all the bitterness and dank black sludge in the souls of a thousand murderers and filtered it through his own heart, crushing the result into as dark an audio experience as has ever existed. It is an album of unstoppable power, constantly grinding away at the will of the listener.

Finding your path through “An Occasion…” is an exercise in meditative self-injury. From the opening “Think God out of Existence” through to the knife-edged synth swells of “Black Bile”, each track is a pulsing drone meant to lull and engage while simultaneously generating a backdrop of profound illness. Grant’s vocals grind over it all, ranging from a distorted snarl to the raspy effected warble in “Torn Between Will and Desire”. The vocals always ride above the intense drones and serve as the textural focal point despite the battering of the electronic hate wall. While the production might seem overwhelming, the flourishes and textures that emerge with repeated listens draw the listener in with a sense of novelty. I’m still uncovering details buried in the muck of Grant’s audio wall.

The looping and rhythmic nature of the sounds that Grant has coaxed out like a sick shaman lends the entire album a sense of structure and purpose, escaping the formlessness and lack of dynamics so common in dark electronics. The Vomit Arsonist skirts the line between a rock hard rain of blows and a more ambient approach that, while still noisy, is listenable in a way that many artists in the genre are not. Grant displays a firm grasp not only of the drama that can be wrung from such a mutable format, but also keeps a firm eye on the more traditional tropes of harsh noise.

“An Occasion For Death” CD (Malignant Records) – Review by Ave Noctum
Can you imagine being able to spew up liquid fire? That would be fantastic really although you would have to be so careful if you were going out on the piss. It’s one thing getting barred from the pub but to accidently burn it down would be tragic. It could be fun in church though. “The power of Christ compels… spew” whoops I did it again. Anyway enough of that silliness as the Vomit Arsonist is what can only strike me as a very serious act. This one man project helmed by Andrew Grant from Rhode Island USA blends together elements of power electronics and dark ambience. Now if you think about it those are two pretty damn contrasting components in themselves. One is generally loud and brash and noisy and the other the complete polar opposite and I had no idea how these seven tracks were going to bridge these parts.

Naturally they do so in a disquieting and unsettling fashion and this is one of several discs that have arrived lately that I would place in the “music for serial killers” category and it is perfect listening for pre or after the act. In fact it is surprisingly chilled and I would be tempted to put this on to unwind after a hard night of dismemberment when all the cleaning up had been done and you just wanted to relax and unwind.

Disquieting talk urges us to ‘Think God Out Of Existence’ explaining that we are all just atoms. This starts the album off over a backdrop of low droning noise. It is kind of preaching to the converted as far as I was concerned and once the talk ceases the mesmerising drones and subtle waves of background noise are left to flow through you like the dispersal of so many atoms. With titles like ‘At The Edge Of Life, Everything Is An Occasion For Death’ it’s so easy to envisage a canvas of images from those films we watched in formative years delivering images that  were implanted never to be forgotten (even if many were faked). This is Faces Of Death musically and it is delivered with dismal funereal melody over a slow tolling drum beat and snarling electronic vocals. It’s not possible to make out what is being said but it is cold, calculated, robotic and alien, putting the listener on edge.  Different experimental effects give the songs their own identities. There is a mechanised rumble to Invita Minerva for instance and the vocals suddenly fly out the void with caustic venom about them.

At 40 minutes the album feels about right any longer and it could send you into a very deep coma as the trance like qualities of the ambient noise work like valves and pistons through the mind lulling it into somnambulism before driving it back into bursts of mania like a programmed message telling you to go out and kill! The question has to be asked just who is this sort of music designed for and what is its purpose? Perhaps it’s for those already in the grip of mania or those on the verge of it, to help push them over that crumbling precipice and into madness? By the 10 minute long ‘Means To An End’ finale which clanks and drones over a French spoken word passage your frail sanity should no doubt be close to corrosion. An Occasion For Death is an interesting ‘experience’ and I find that word better than ‘listen.’ Its thought provoking and challenging, yet at the same time inherently futile, just like existence itself.  (7/10 Pete Woods)  

“An Occasion For Death” CD (Malignant Records) – Review by Black Metal and Brews
The Vomit Arsonist was instantly a curiosity for me. While the name is slightly curious to me (does he set vomit on fire? is his vomit made of fire?), this album is as serious as it gets. The mechanical percussion sets a fantastic dirge pace for the depressing synth-laden drones, churning static, and violent yelling that make up the meat of this album. It’s both somber and terrifying–perfect for dimly lit rooms and long nights of self-loathing. Suicide, or death as a whole, is an easy theme to prey upon for darker music, yet The Vomit Arsonist captures this heavy subject matter in a respectable and convincing light rather than simply throwing out something vaguely negative. There is a true sense of despair and ugliness here that really inspires my faith in death industrial and power electronics as truly expressive forms of music rather than simple ways of shocking people with machinery. The passionate violence here sticks with me long after it’s finished, leaving a dull emptiness in its wake. Order a copy here.

“An Occasion For Death” CD (Malignant Records) – Review by Side-Line Magazine
Andrew Grant is a rather famous and renowned name active in the wide industrial fields. Grant released an astonishing number of releases under The Vomit Arsonist moniker in less than 10 years. But he’s also running several other projects in the genre.
This new album is the 1st release of The Vomit Arsonist on Malignant Records. You better be prepared to endure more than 40 minutes of pure terror music. This is the kind of dark work you’ve to listen to at maximum volume, but be warned it might provoke some serious damage at home. The heavy vibrating bass blasts will instantly tremble the windows and you feel the vibes deep inside your body. Zombie-like growls haunt the background of the work. You will also notice some resonating drones coming progressively over you.
“An Occasion for Death” really sounds like coming down from the afterlife. This is a haunting universe built up with a maximum of disturbing sounds reaching an imaginary cataclysm. It all sounds that tormenting that even the most evil ghosts would become anxious listening to this obscure sound wizard.
This is the kind of record that can’t leave you unaffected. It’s a traumatizing experience that you’ll not forget that soon. “An Occasion For Death” moves ambient music to a pure hard-core dimension. Seven tracks filled with a perverted passion for the ultimate point of obscurity. Hell sounds like the antechamber to enter the unexplored universe of The Vomit Arsonist.  Get ready for a real sonic shock. This is an absolute masterpiece in the most deranged and tormenting format of industrial & ambient music.

“An Occasion For Death” CD (Malignant Records) – Review by KFJC Radio
New release from Rhode Island’s Andrew Grant, AKA the Vomit Arsonist out on Malignant Records. Grant is quite prolific in the death industrial and power electronics scenes, with this being the 13th full length release since 2004. Dark and droned out doom, distorted vocals, filtered loops and heavy synths on an album with themes of independence from metaphysics and the overwhelming saturation of existence. “At the edge of life, everything is an occasion for death.” Heavy, intense droning noise with black metal influences and subdued power electronics, tormented words punching through the layers of pulsing, grinding synths to deliver messages of emptiness and hopelessness. Good fun for the entire family.

“An Occasion For Death” CD (Malignant Records) – Review by Obskure Pandemonium Zine
We start out with an intro track of low down tuned pitch shifted sinister spoken word samples.  A hopeless speech assuring us that we are alone in the universe.  The music sounds like the theme of a world where man is left to rely on their own feeble devices in futility.  Miserable and murky dark ambient with a death industrial rattle.  Track two “At the edge of life everything is an occasion for death” is one of the albums highlights.  Crushing percussion like an earth and ear shattering quake.  Deeply sorrowful ambient strings hover throughout like a pale specter that has come to warn us of our quickly arriving demise.  A haze of static and rushing steam.And vocals that scream in a voice of atrocity.  We are thrown from this gloom into further doom as “Invita minerva” begins with an electric hum and fields of buzzing static and hissing feedback far in the distance.  The percussion sounds like the slamming of the door to a prison cell.  Trapping us in this desperation.Horrid screams begin.Engulfed in effects and strange warping sound.  Much along the lines of the vocals heard on many STEEL HOOK PROSTHESES albums.  This album flawlessly embodies the death industrial style while at the same time making it it’s own.  The next three tracks: “Black bile/Torn between will and desire/The absurd” are perfect examples of this.  Dreadful synths moan on in endless agony as thundering drums pound all into a crippling mind numbing submission.  The vocals vary between total hate stained blasts of static violence to strangled effect molested living nightmares.  Everything that THE VOMIT ARSONIST does best shined on this release with the ferocity cranked up far beyond ten.  This triumphant collection of curses on humanity ends with the ten minute epic “Means to an end.” A gaping black hole of metallic noize and wretched droning synths.  It sounds like someone is preparing instruments of torture for an unwilling awaiting victim.  Slow,methodical and deadly.  Sampled vocals add a layer of eeriness to an already unsetteling closer.  Then the torture begins in a rage of distorted screams.  Pure audio trauma.In my oppinion THE VOMIT ARSONIST’s best work to date.  If someone where to ask what death industrial was…This is the record I would present to them.For anyone new to the genre this is the perfect place to start. 10/10.

“An Occasion For Death” CD (Malignant Records) – Review by Noise Receptor
If not counting the numerous cassettes and CDr’s issued by The Vomit Arsonist since 2004, ‘An Occasion For Death’ represents the third official album and the first issued by the leading underground label Malignant Records (which is certainly a welcomed pairing). As the last album ‘Go Without’ was well received around here it also goes without saying that this new album was awaited with anticipation.  Yet for those still not familiar with The Vomit Arsonist, this is the solo project of American artist Andrew Grant who typically excels at the blurring death industrial and power electronics sounds.  However from cursory listens to ‘An Occasion For Death’, it is immediately evident that this time around Andrew has focused less on a brutal power electronics edge and opted for a slightly more brooding death industrial tone.  Thus being more harrowing than brutally heavy, this album is both bleak and nihilistic to its core.

The album opens with ‘Think God Out Of Existence’ which has the feel of an extended introductory piece, being a desolately ominous death industrial soundscape of ebbing and flowing layered synth drones, which also contains a lengthy dialogue sample of atheism taken to a logical and heretical extreme.  Yet it is the second track ‘At The Edge of Life, Everything Is An Occasion for Death’ where there album really steps up a notch – aka slow looped bass pounding beat, sustained melancholic piano notes/ synth lines, a dose of unobtrusive static undercutting the composition and the distinctive distortion wracked vocals.  In simpler terms This track this is The Vomit Arsonist’s own sound done to absolute perfection.  ‘Black Bile’ represents another stand out composition, structured with an almost militant tinged mid paced percussive thump, grinding static, bleakly ominous synth lines, and the trademark distortion eviscerated vocals.  Alternately ‘Torn Between Will and Desire’ opts for a more forceful sound with a heavy combination of grinding static loops and mechanised idling factory noise, where the emotion wracked vocals again take a central focus (being distorted to the point of indecipherability).  For the final of the seven album tracks, ‘Means To An End’ mixes cavernous warehouse type ambience and rising synth drones to ratchet up the tension, before the introduction of a French dialogue sample and one final segment of grinding static and furnace blasted vocals.

Although less blunt force than earlier albums, here the reduced brutality has been replaced with an atmosphere of harrow bleakness elevated to central prominence.  While only 43 minutes this is not an overly lengthy album, yet ‘An Occasion For Death’ pack a heavy emotional punch within the available run time and in the process sees the The Vomit Arsonist really coming into his own.

“An Occasion For Death” CD (Malignant Records) – Review by Absolute Zero Media
“There are few Death Industrial bands that really make me say I would have never thought of  making an album like this and it still becoming some Doom filled and bleak well Andy you have just kicked my ass with An Occasion for Death. The Industrial suffocation element is fully here. This album is so dense these is no more room for any kind of sounds or layers. If you tried to do so it would created a musical black hole and would suck all sound straight through it. Over the course of seven tracks every possible nightmare and fear have come through my mind and I’m actually more unsettled them when I started listening to The Vomit Arsonist.  This kind of release reminds me of The Death Factory releases that CMI did . There is a complete sickness and lack of certain mindsets when one creates such a hopeless landscape but makes it so Goddamn impossible not to listen to over and over again. Slogun, In Slaughter Natives, MZ412 and  Brighter Death Now all come to mind when listening to this over and over again. There are few albums of late that can change the landscape of Extreme Industrial sound and this is one of them.”

“An Occasion For Death” CD (Malignant Records) – Review by Tenebrous Tongues
Another Malignant Records release they were kind enough to send my direction. We have, The Vomit Arsonist’s “An Occasion for Death.” Join me in what will assuredly leave you questioning reality.  A slow churning in the bowels of the machine quietly hide behind a powerful sample starting off “An Occasion for Death,” on the first track, “Think God Out of Existence.”  The churning becomes more alive, gradually increasing in volume and depth. The voice gives way to the atmosphere. Slow, meandering, oppressive, moving with a distinct goal.

“At the Edge of Life, Everything is an Occasion for Death” flows from the aftermath of “Think God Out of Existence.” Darkly ambient, haunting. A slow, tortured, drum beat begins to take form; plodding and enhancing the ominous field of sound. A shrill voice takes hold. Distorted and eerie, seemingly wrapping around the ears. Droning, but intriguing. Never allowing one to drift off, or forget where they are.  “Invita Minerva” boils through. Haunting, delayed vocals, echo throughout sending chills down the spine and embedding deeply. Rolling, static noise lie just behind, rumbling and swarming. Slow, but effective in its crawl. “Black Bile” comes in on the hindquarters of “Invita Minerva” with another slowly plodding, highly mesmerizing drum pattern. Tribal-like in their demeanor.  The distorted vocals reappear, menacingly, agonizingly. The voice becomes more strained, giving way to unnerving effects, ending the track on an unpleasant note.

“Torn Between Will and Desire” sways into the ears. Swooping back and forth, hanging among a cloud of despair. Noise infiltrates harshly but not unbearably. Penetrating high ends mingle amongst a low creeping torture that sluggishly brings brute drumming into play. Whispers of insects play to and fro with harsh vocal disturbances that crumble and decay leading to “The Absurd.” A clutter of natural sounds mix with high-end murmurs as the ghastly voice once again makes its appearance, unintelligibly, drenched in affliction. The sounds of metal scrape along once again, chilling the spine. Aptly titled, “A Means to an End,” comes in as the last track of the album. Setting foot into a natural setting, clanging, chopping, surgical, like the ambiance of a morgue. Disturbing, fleshly sounds introduce another sample spoken in foreign tongue. The machine continues its churning, contorting the background clatter. Returning is the distorted, anguished voice. Making its final, unsettled, appearance. The horrifying atmosphere sets on edge, the fears unknown. The subtleties and combinations of sounds allow for the mind to enhance as it pleases. Before long, the aura fades away. The sounds have dissipated but the feeling is residual in bone. Walking away, no longer feeling secure. A magnificent feat to achieve.

“An Occasion For Death” CD (Malignant Records) – Review by Forbidden Magazine
“Personally speaking, An Occasion for Death is one of those perfect albums that does not require a particular mood or mindset to fully embrace it on the multiple levels of which a good album has many of.  The spaciousness of the songs on this album allow for a lot of breathing room and vaporous atmosphere but never wanders too far from being able to instantaneously condense those spread out masses into strangling intense moments that will gradually wring your neck with deadly virility such as is done via “At the Edge of Life, Everything is an Occasion for Death”. Clocking in at about 5-and-a-half minutes in length Vomit Arsonist will cover terrain that goes from  being a dreamy drifting through a vacuum of dark cosmic ambience loaded with rumbling bass frequencies underneath the neo-classical/militaristic percussion that brings to mind label mates Phelios and Phaenon, to the explosive bastardized neo-classical heathendom of In Slaughter Natives. Aside from the versatility and craftsmanship of the artist the quality of the recording also lends a heavy assistance to the already domineering stature of the composition itself enabling it to come off as an audio analogue to lying relaxed in a field of crop circles that suddenly ignite into scalding red flames as a giant spacecraft hovers over you to within an arms reach. And ,”NO”, I’m not over exaggerating with that analogy.

And as much as I hate to draw comparisons to others acts, Vomit Arsonist does seem to touch on the highlights of many such as those just mentioned and then amplify those traits into  new reverberating specimens of their own self defining and the glorious PE sonic stomp of “Torn Between Will and Desire” with hints of Navicon Torture Technologies, Rasthof Dachau, and Stahlwerk 9. The combination of authoritarian propaganda-like speech spewed through a maze of static and whirring frequencies that feels fuzzy and brainwashing, sort of  like waking up from a GHB cocktail only to be barely able to consent to the abrasive rubbing of a barbed sand paper on your bare ass until the raw exposed flesh burns and swells with pulse to a marching fascist beat.All in all this is superb, done by an established act, that is like a super clone containing of all traits form the many different styles presented but yet still different and evolved into it’s own being.”


“Go Without” CD (Assembly of Hatred) – Review by Zero Tolerance Magazine
“This is the kind of record that makes you worry for the artist’s mental state. Imagining the toll upon the person who has created something as truly fucking bleak as “Go Without” is enough to ruin your week. Taking its core ideals from a source as negative/terrifyingly self-aware as Cormac Mccarthy’s “The Sunset Limited” was never going to be an easy ride. This suicide-note-heavy combination of industrial noise and death-infected soundscapes is about as pleasurable as nihilism is ever going to get. [4/5]“

“Go Without” CD (Assembly of Hatred) – Review by Plague Haus
More and more my reviews seem to begin with reasons why I rarely write them anymore, so I’ll continue that trend. As public outlets become more readily available to anyone who chooses to call themselves an artists, it becomes a Herculean task to separate the wheat from the chaff. After awhile it all runs together, this weeks favorite takes it’s place at the bottom of the pile, possibly never to be heard again or recycled through some secondary emporium. The Industrial/Noise/PE genres are as guilty as most, possibly tying Metal for sheer per week volume of release. For me, one that continues to rise above the din is The Vomit Arsonist, choosing the path of quality over quantity.

It’s been roughly three years since the last full length, with a handful of splits and EP’s in between. While never having been accused of being a ray of sunshine, “Go Without” is more dark and oppressive than most of the previous output, and I mean that in the best possible way. According to the man behind the curtain, Andrew Grant (who also runs the Danvers State Recordings label as well as being half of the PE duo Bereft), the album was influenced by the play and recently a film written by Cormac McCarthy, “The Sunset Limited”. I rented the film myself on Grant’s advice and was completely blown away. The entire thing is basically Mr. Black, played by Samuel L. Jackson, debating Mr. White, played by Tommy Lee Jones, on the existence of God, human suffering and why Mr. White should continue living after Mr. Black intercedes on his suicide attempt. It’s extremely powerful and I definitely feel the connection in this work. The track “The Futility Of Life” even includes a sample of the film. I will let the listener take a wild guess on which side of the line the album sits.

One of the things I appreciate most about Mr. Grant’s work is his ability to blend melody within the typical harsh, Power Electronics song structure. Beneath the metallic rhythms, strains of feedback and shouted vocals is an eerie beauty. He’s like the Doom Metal equivalent to PE. This doesn’t apply to all of the tracks, there are some that are more akin to in your face aggression, but still maintain that simmering just below the surface quality I’ve come to know and love from VA. Let’s face it, virtually anyone can thump a bunch of effects pedals and scream, but it takes a bit of thought to construct a song.

In my mind there are a handful of American acts that continue to blur the lines between Death Industrial and Power Electronics as well as push the boundaries of both: Bereft, Steel Hook Prostheses (member John Stillings mastered this release), Navicon Torture Technologies/Theologian.  The Vomit Arsonist of course fits snugly into this group. It’s one of the few projects I look forward to hearing from and will continue to follow. Listen and judge for yourself.

“Go Without” CD (Assembly of Hatred) – Review by Heathen Harvest
This release by Andy Grant’s noise project The Vomit Arsonist is very thoughtfully composed and presented, representing the most focused and singular assault of Industrial noise from TVA to date. This release in particular is a pro-CD put out by the Assembly Of Hatred label from China… rare to see Power Electronics releases coming from that particular country. Assembly Of Hatred is the label of long-time Chinese Power Electronics artist Crow, who is behind the project Hatred In Eyes. The Assembly Of Hatred label has been around for quite some time, and I remember being quite surprised at its existence because I had just read an article about the Chinese government torturing people to death (and harvesting their organs) for having pictures of the Dalai Llama… However, the work of Hatred In Eyes in particular is more of a conservative angle, he screams in his work about being pissed off about immigration and so forth, and so I suppose this is not as much of a threat to the government as a photograph of an elderly smiling bald man might be. Anyway, the AOH label has presented work in the past by Xenophobic Ejaculation and some other power electronics luminaries, and The Vomit Arsonist is a good next choice for a full-length cd release.

Rather than the more womb-like and synthesizer/feedback based older material, on this release Andy fleshes out the ambience very nicely with an assortment of moods and textures, mostly of a harsh Industrial angle. In fact, more so than on previous releases I think I detect somewhat of a concentrated influence from the Texas Industrial group Steel Hook Prosthesis… in this case it is a welcome flavor to the overall Vomit Arsonist palette because he definitely does his own thing with is. There is a lot of rhythmic percussive sounds with a strong tribal feel, sounds of steam releasing and factory hisses rounding things out. The whole release has an incredibly stark and cold feel to it that will strongly appeal to fans of European Industrial/PE sort of sounds. I have caught The Vomit Arsonist live a few times, and as the years have gone on his sets have become more involved and intricately composed, and this release reflects a good direction for future material from this project. As a whole, the presentation is extremely well thought-out and coherent, with very nice depressive photography by Desiree Delorge of an abandoned (and now destroyed) mental institution.

The main theme of the release is very personal, and seems to be based around the idea of mental processes and the use of psychiatric drugs. Although bleak and tortured in its presentation, the driving message behind the release is leaving behind a dependence on outside things and curing yourself using the power within yourself… a theme of personal responsibility and self-awareness that is quite commendable. The vocals sound very upfront but are still perfectly mixed with the sounds, a nice balanced sound. There is a strong feeling of darkness and decay on this release, but it is flavored with a drive for survival against insanity and self-deception that many listeners can relate to. This is a release that will definitely come as a pleasant listen for those folks looking for some good Cold Meat Industry-style Industrial coming from this hard-core Yankee noiseman. If all of this sounds appealing to you, you could do much worse than picking up a copy of this one. Limited to 500 copies, nice professional CD in a trim case with a small three page booklet… looks good and the sound mastering is top notch. Worth a listen for Industrial and PE fans, a little darker and more subtle sounds from Vomit Arsonist here.  Rating: 4.5/5

“Go Without” CD (Assembly of Hatred) – Review by Pure Nothing Worship
“Three long years passed since the last full length. Go without was released in august of this year for the Assembly of Hatred from Hong Kong. The publisher released a beautiful digipack in 500 copies. The Vomit Arsonist is known for a dark approach to power electronic and death industrial. This album is even darker from the previous works and the sound is more based on death industrial and dark ambient than power electronics. Go Without is made from depressive and monotonous minimal ambient arangements followed by murky and distorted vocals while in the background can be heard brooding death industrial with a bunch of samples. This is a release with which you will know yourself and your darkest needs. This is a soundtrack for all your fears and mistakes in life. Go without…hope.”

“Go Without” CD (Assembly of Hatred) – Review by Noisereceptor
“Noting that The Vomit Arsonist labels their own sound with the descriptive tags of death industrial and power electronics, I must admit this is pretty much spot on the money.  However, rather than having separate tracks in these two styles, their sound seeks to blur the line, constituting a careful blending of the two – i.e. merging the ominous factory rhythms, echoed warehouse atmospheres and bass pounding tone of death industrial, mixed with the harsher, distorted vocals and junk metal sound of power electronics.  Likewise across the 7 tracks and 45 minutes, a broad consistency to the sound is evident.  Thus depending on the piece, the various tonal aspects include: stalking synth lines, metallic percussive / scraping sounds, mechanised factory conveyer belt type rhythms, which are further complimented by harsh distorted vocals.  Finally these various sound elements have then been treated with a cavernous, rumbling, echoed and bass driven production. For sake of comparisons, The Vomit Arsonist shares a certain linage to the sound of other US based projects, with elements of Steel Hook Prothesis, Navicon Torture Technologies and Nyodene D all coming to mind.

Thematically the cover art alludes to disturbed mental states and a dependency on prescription medication, and whilst the vocals are rendered indecipherable through the yelled / distortion treatment, the song titles only serve to emphasise themes of self loathing and negativity (i.e. titles like ‘where there is none one else to blame, I must blame myself’).  These predominant themes of ‘Go Without’ are further embedded through the use of vocals samples, where ‘Anhedonia’ includes a vocal sample which seems to reference drug addiction / dependency, whilst ‘The Futility of Life’ contains another great vocal sample focusing specifically on nihilism.  So whilst ‘Go Without’ does not break the mould, The Vomit Arsonist instead has focused on clearly understanding the core elements of the death industrial / power electronics to deliver a strong, focused and forceful album.  With this agenda in mind, ‘Go Without’ absolutely delivers the goods.”

“Wretch” CD (Cipher Productions/Force of Nature)
Review by Plague Haus
“Andy Grant is a name that’s been making a regular appearance on my personal playlist as of late. Besides running his own Danvers State Recordings label and being one half of US PE outfit Bereft, he’s also been a busy boy as of late with his own releases, all of which seem to get progressively better, “Wretch” being the jewel in his crown so far.

This disc is a co-release between Aussie noise label Cipher Productions and the US Force Of Nature label, who just happens to be owned by Grants partner in crime from Bereft, Peter Lee. As with the previous tape I’d grabbed, the split with Houston’s Concrete Violin, Grant seems to have found that perfect blend of Death Industrial bleakness and pure Power Electronics attack.

The disc begins with “The Warm Body Complex”, a slow builder that sounds like a jet revving up from LAX on a non-stop flight to the Ninth Circle. Subtle synth rumbles give way to heavily filtered vocals that seem to come at you from all directions. The whole track sounds like it was recorded over some scratchy old 78. “Until Death”, as the title would suggest, has a foundation of Italian Death Industrial, but adds the 1-2 punch of aggressive PE vocals and lengthy strains of heavenly feedback. There’s even a hint of some junk abuse. The beginning of “A Moment Of Clarity” reminds me a lot of Texas DI legends Steel Hook Prostheses, but again that injection of feedback that keeps you from getting too comfortable. There’s just enough noise to keep you from relaxing, but not excessive enough to be that vomit inducing ear rupture. The short and subtle “Time Passing” is actually one of my favorites. A simple old school Industrial rhythm coupled with slithering tendrils of synth, or guitar, I’m not sure and it doesn’t really matter. It’s an amazing track, I just wish this one was a bit longer.

“The Light” begins as this beautiful, piano based melody, but almost as a reminder of who and what your dealing with, enter the heavy static rumble. About the halfway mark things turn really ugly as the PE-style shouts begin and the deterioration continues. I love the juxtaposition of light and dark through the first half and always enjoy when artists explore that method. “Beating And Twitching” is a more standard PE offering, heavy rumbles and yelled vocals. one of those tracks that sounds best really LOUD. The disc closer is “Power”. This one seems to be almost an extension of the previous track, but adds some noisier moments so things go out with a bang. The last couple of minutes end the disc perfect with more subtle synth work over the stuck end groove of an LP, which by the way, this release would be perfect for.

I know I sling the “not to be missed” slogan around a lot, but mainly because I buy those things I’m pretty sure I’m going to love. This is one. But hell, don’t take my word for it, you can preview the whole disc at the FON website . Do it, then buy it. Housed in a cardboard slipcase with minimal but appropriate art work.”

“Wretch” CD (Cipher Productions/Force of Nature) Review by Existence Establishment
“The Vomit Arsonist is the project of Andrew Grant based out of Rhode Island. Although he has been coined as power electronics in the past Wretch walks the line between death industrial, dark ambient, and power electronics effortlessly blending the genres together to form a cohesive and strong work. As the first proper CD release from the project Wretch is a success in all aspects.

The opener “The Warm Body Complex” introduces the disc well with a low-end drone that builds into textured ambience with swells of distorted noise and subtle vocals seething into the mix, add to that atmospheric industrial sounds and subtle spoken samples and The Vomit Arsonist is already presenting a consistent and strong mix of sounds with this first track. “Until Death” brings things around to more death industrial territory with low drones and more metal clashing, creaking, and high-pitched feedback tones. The music brings to mind images of filthy isolated wastelands, abandoned warehouses and coupled with lyrics like “mine is a life of dissappointment” it also calls to mind negative attitudes, and generally the dark side of humanity. The movement of the tracks are slow and plodding, but always persistent and contain a great deal of depth that is less common among much noise today.

“A Moment of Clarity” is the weakest track here with low-end synthesizer tones reminding me of something Angelo Badalamenti might have produced from the soundtrack of Twin Peaks. Combine this with subdued harsh noise, feedback, and screamed vocals and it just seems like the track is a bit confused on where it wants to be. Luckily the rest of the tracks are up to par with the first two, as “Time Passing” brings in the more focused death industrial rhythms nodding to influences such as Megpatera and combines some great melodic synth work in here that harkens to some NTT influence as well. In general The Vomit Arsonist has a knack for combining these floating synth melodies with dark and noisy atmospheres.

“The Light” works on this combination of almost new-age synthesizer pads and harsh noise but is more successful than “A Moment of Clarity”, especially when the apex of the track is reached and scathing, distorted vocal attacks take center stage. The final two tracks “Beating and Twitching” and “Power” are the most consistenly power electronics tracks here, but still maintain some of the industrial atmospheres that help to make The Vomit Arsonist’s sound unique.

Wretch is a great effort and one that well deserves a full CD release. It’s an album that spans the depths of several of the “dark” noise genres and does it with clarity and precision. The atmosphere is one of bleak hopelessness and there’s little room to breath in the suffocating low-end production. Very good work and recommended to fans of acts like Gruntsplatter and Brighter Death Now.”

“Wretch” CD (Cipher Productions/Force of Nature) Review by
“Despite the fact that the title “The Vomit Arsonist” is quite often seen here and there, this is the first work of this artist from USA that I have a chance to know better. And what I can say, I’m very satisfied with the sounds I hear and make a note to myself in some corner of my brains that I should follow more carefully the forthcoming releases of Andy Grant (who also takes part in Bereft, Nau-Zee-auN and Thee Virginal Brides). I was expecting harsh and brutal sound attack with loads of improvisations and what I got was dark, oppressive, carefully constructed and gushing with depressive agression release. Album is constructed in such way that it seems that stress and agression is constantly growing. At the beginning of the album rich and dark ambient, based on low sounds dominates with motives of death industrial/power electronics covering it while at the end of the album dismal is changed by absolute rage. “Wretch” starts with “The Warm Body Complex”. Clear talking voice, slight pulsations of noise appearing and disappearing and uncomfortable ambience. The song grows, but finally you are left to wander in darkness for nobody had shown you the exit. “Until Death” – first bursts of aggression, understanding that not only darkness is around you, but also something threatening. And also this song is very beautiful. Started with static tone of synthesizer and sounds of junk in the background (this aspect, because of it’s light touches in this track, makes it so good to me) and The Vomit Arsonits explodes at the end of the track. Slowly placed words with effected voice strengthens the whole impression about the song even more. “A Moment of Clarity” is time for thinking. Dissonance between calm chords of synth and fierce feedbacks plus screaming voice somewhere in distance. Weird weird mood. If you feel yourself deeply in this song, it strikes you with such power that the title of the song sounds like mockery from you for all sounds embodies absolute hopelessness and nothing more. “Time Passing” does not help to climb out of nightmares, formed by last song. Heavy and dirty loop sounds like dragging of your own body on metallic surface. Later strangely light melody appears. At that moment this song seems to me like a prison cell. You drag yourself along in the dark cell around the shining spot of sun on the floor. For a long time already. Is it hope or quite opposite, reminescence of the outside world that exists behind these walls and that you cannot reach? With such thought I bump into a track called “The Light”. The longest piece in the album. Light melody of synth, covered with noises, lasting for around half of the song and then vocal of Andy appears. And approximately from this minute, liberation from dark obscurity to agressive madness starts and it lasts almost till the end of the album. “Beating and Twitching” – noisy track. Atmosphere is enriched with metal banging or so in the background. Despite the fact that these are just echoes, but they are responsible for constructing all the space in the album. And the final one in the album – “Power”. Since the very first second – massive wall of noise, feedbacks and vocal which appears in this song not so heavily effected, not so slow, but fiercer and more expressive. Again, after half of the track, sound calms. Left are just crackling and unclear reminescences of experiences in the album. I don’t know what was the authors’ idea, but my main thought about this album is “liberation in madness”. Trying to control yourself in unbearable darkness of your mind, unable to find a place to settle down while elucidation comes in the moment of madness. I do really recommend this work. Packed in an envelope with insert. By the way, it can be listened to here

“Wretch” CD (Cipher Productions/Force of Nature) Review by Mikko Aspa (Freak Animal, Grunt, Pain Nail, etc.)
I was quite positively surpriced this. What I recall from moment of first hearing name of project, I checked some mp3 online and filed it immediately under “some noise with yelling” US PE category, hah.. Well, what do you know, infact, this album is much more in field of death industrial afterall. c. 40 minutes playing time feel somehow short. Couple times listening this, and each time it’s like “it’s over now?” I thought it must be 30 minutes long or so, but it really is 40+.
I think I may like the early part the most. When vocals are just dismal talking over layers of bass heavy rumbling suffocated death industrial sounds.  When level of violence grows, it basically means that band applies distortion and long delay on vocals and starts shouting as loud as possible. The contrast of slow and morbid bass rumblings and eerie drifting songs, as opposed to “hardcore yelling”, is something what I don’t quite “get”. I think it has similar problem as for example Institut LP, where sound is nice, vocals are nice, but they seems to be on very different “layer”. Not blending in, giving impression of material performed at the same time. But I’m guessing, that this element is something what sets band apart, or lets say above a lot of gloomy & flegmatic death industrial, adding dose of aggression what may be missing from many in the genre. I do like this. It is above my expectations. I do feel that band has more to offer. Now album is very solid piece in its approach. It offers really no surprices. Range of sounds, range of vocals and such are basically introduced in the beginning and that’s the frame he works whole album. Something you can trust with bands like Mörder Machine, BDN etc. But I personally, wouldn’t mind that each track would have its own range of sounds. That album could surprice more during its playtime. CD is packaged in cardboard wallet style sleeve with small insert and very minimal artwork. I do recommend this especially to obsessives of the genre.

“Reason” C30 (Nil By Mouth) – Review by Crucial Blast
“Finally getting around to listing this 2010 cassette release from the increasingly prolific Vomit Arsonist, Andrew Grant’s formidable death industrial outfit who also just put out that excellent new album An Occasion For Death on Malignant. That newest album really marks a new stage in Andrew Grant’s evolution, delivering his most focused and powerful deathscapes yet, but even here in a rougher and less polished form his work with the Arsonist produces some terrific death industrial sounds that seep deep into your nervous system.  Reason comes to us from the excellent Italian power electronics/harsh noise imprint Nil By Mouth, complete with that label’s signature style of offbeat handmade packaging: a black tape in black packaging, sealed in a black trash bag with a set of five black and white inserts, the half-hour tape featuring five tracks of filthy, crushing noise and junk-carnage. Opener “Lifeless” kicks things off with a suitably savage eruption of clanking crashing sheet-metal abuse, delay-drenched guitarscrape and punishing bass rumble, setting a churning concrete-mixer ambience over which Grant bellows and screams like a beast unleashed, his misanthropic ravings echoing madly across the smoldering black noisescape. It’s somewhat comparable to some of Mikko Aspa’s recent work with Grunt in the way that these recordings deftly mix raw metal/junk acoustics with a burly power electronics assault, but Grant smears all sorts of ghostly vocal remnants and pulsating soundtracky synth across the tracks, giving this a much more desolate, brooding atmosphere, one gently laced with some effective melancholy melodies that drift half-formed through the blackness. The following tracks (“Environment”, “Existence”, “Purpose”) are just as bleak, each a seething vision of psychic distress and terminal nihilism, blending eerie synth drones and sheets of warbling cosmic keyboards with deep slow-motion tectonic rhythms, bursts of electrical hum, swells of murky factory ambience, and those vicious insectoid vocals that are continuously scattered throughout the recording. And once we reach the end of the tape, Grant abuses us with a cover of the Bloodyminded track “Ten Suicides”, their 2005 collaboration with Eyehategod frontman Mike Williams; with this version, Grant cranks up the murkiness and fungal horror substantially, while remaining pretty true to the structure and dreadful vibe of the original.”

“Reason” C30 (Nil By Mouth) – Review by Noisereceptor
“Given this tape obviously predates the excellent ‘Go Without’ album from 2012, it illustrates sole project member Andrew Grant in slightly less refined form, but still resulting in an interesting and solid release.  ‘Lifeless’ opens the tape with a grinding pulse and loosely constructed metallic factory clatter all wrapped up in a cavernous tonal aesthetic, upon which the aggressive, echoed distorted vocals are spewed forth.  ‘Environment’ plays with similar sound, but comes across as more aggressive in the vocal department (“GIve me one reason. Give me one fucking reason”), whilst also evoking a melancholic tone due to some some depressive synth lines.  The highlight track of the tape is found in the form of ‘Existence’, which features layered ominous descending synth drones and distortion drenched vocals, which although simple in construction absolutely hits the mark.  Alternately ‘Purpose’ opts to deliver an aggressive and loosely looped power electronics piece, which makes way for the final track ‘Ten Suicides’ which is a cover of a Bloodyminded song.  Although less bleak than the original, it does manage to match the intensity within the frame of The Vomit Arsonists’ sound.  Packaging is suitably DIY for the tape format, including black spray painted case and photocopied card inserts which are housed in a sealed mini ‘garbage bag’ style sleeve.”

“Split w/CONCRETE VIOLIN” C30 (Danvers State Recordings) – Review by Plague Haus
“…The VA takes the reins on side B. with this tape I realized I’d been buying his releases but had never actually heard his own stuff other than with Bereft, which he’s also half of. The tape leads in with “Moth” and I am as one to a flame with big, beefy synth lines that undulate and disintegrate. I really was expecting the Death Industrial vibe and since that’s one of my favorite genres of all time, it’s a happy realization. This thing moans and groans like a French whore and sizzles like acid poured down her privates. Really subtle, heavy delayed vocals set the whole thing off. I detect a heavy Navicon Torture Tech influence and that’s never a bad thing. “Flame” is along the same lines, but more influence on the vocals, lot more disintegration of sound and some feedback throw in for fun. I like it, but “Moth” is definitely my favorite of the two.”

“Tearing Flesh to Reveal Armor” C10, Split w/RU-486 (Destructive Industries) – Review by Heathen Harvest
“The Vomit Arsonist hails from the American Northeast and runs the Danvers State Recordings label. He has recently released a well-received full-length release and has many splits and shorter releases available. He has an old-school feel to his music despite being rather high-tech in setup and generally professional all the way. Recording is “in the red” and goes all the way in delivering a full-on cathartic screamout from the Vomit Arsonist. Not having the relaxing studio atmosphere in which to perfect his atmosphere, TVA comes out of the gate ferociously and does not let up for the brief duration of this release. Animalistic and raw power electronics performance that is vicious and completely unhinged. Stands up next to the great NE power electronics that has been pouring out of that region lately.”

“The Final Page.” CD-R EP (Annihilvs) Review by Crucial Blast
“Re-issued last year by Annihilvs (the dark electronics label run by Leech from Theologian/Navicon Torture Technologies), The Final Page is an Ep of pitch-black power electronics and hateful, evil industrial rumble forged in the black fire of intense emotional anguish. Kinda obvious given the label affiliation, but if you’re a fan of the blackened industrial horror and oppressive abyssal ambience of Theologian, you should definitely check out this New England based outfit.
Opener “Claustrophobia/Insignificance” is pure death-drone, oceanic waves of black distortion crashing over spikes of extreme feedback manipulation and hellish vocalizations. Under the surface, this piece borders on becoming full-on HNW, but there’s a constant assault of skull-shredding feedback drenched in reverb and monstrous distorted screams all throughout the track. The PE elements are largely stripped from the following track “White Gown”, reducing it to a monstrous static throb surrounded by faint traces of demonic screaming, spurting black static hiss and a massive bowel-shaking low end, and its followed by the even more minimal flat-line throb of “Is It Worth It?”, answering the eternal question with a blast of utterly negatory electronic despair. It ends with the sour feedback and juddering engine noise of “Infrequent & Painful”, slowly ramping up the abrasiveness and intensity with this slow-creeping power electronics abuse that slinks and slithers through savage spires of crystalline feedback and sudden eruptions of black distorted roar.  This is the sort of heavy, murderous death industrial that I’m totally addicted to. It’s taken me a while to finally start picking up Vomit Arsonist’s releases, but you can expect to see more of his stuff here at C-Blast in the near future. Highly recommended.”

“Birth Recovery” 3″ (L.White) – Review by Malignant Records
“Two new tracks from the Rhode Island beast that is The Vomit Arsonist. The first is a lengthy, 14 minute trek into depravity and subversion, starting off in a somewhat unassuming manner with a slightly distorted drone, before becoming more ragged and agitated, with a torture sample leading into a full blown attack of vocals and churning blown out frequencies. The second, much shorter track, track is pure death industrial bliss – a monolith of slowly, wavering heavy electronic dirge, buried vocals, and industrial clangor. Think Anenzephalia as your reference point on this one and you’re good to go.”

“Patience / Violence” C20 (Danvers State Recordings) – Review by Heathen Harvest
“The Vomit Arsonist (US) is a great power electronics project from Rhode Island featuring Andy Grant of Danvers State Recordings and Bereft. This release originally came out on the Mississippi based Exterminate The Brutes, but the re-release presentation in a proper jewel case is very nice. The DSR version has a nice tape-dub sound that benefits the atmosphere of this release. In a lot of ways it mirrors the Vomit Arsonist performance at Dead Audio in 2010. During that set, which was about ten minutes or so long, Andy let a low-end throbbing pulse run for a long period of time, causing a buildup of tension and atmosphere. For a minute I thought that his whole set was going to just be minimal death Industrial, and then all the sudden he turned around, yelling in a frenzy with an explosive musical accompaniment. The use of tension and release was forceful, well-planned, and perfectly executed, setting the Vomit Arsonist’s set apart from the other power electronics acts of the festival.

This tape features an a-side with a dark death industrial feel, pulsing synths and a contant, slow beating of industrial percussion. Eerie and dark, even violent sound, but ultimately “Patience” is a slow burn chiller. Andy’s power electronics reminds me a bit of the more modern horror style in its relation to the classics- he is aware of the oldies, but uses modern technology and new techniques to his advantage. Never doing a remake, VA instead treads new ground with a personal and cinematic approach to the noise and power electronics genre. Definitely recommended for fans of classics like Atrax Morgue or (early) M.B.- if you like that molasses- paced stuff then you might be really into this- it’s very much worth a listen. Similar in that way also to sludgier metal ala Eyehategod, Crowbar et al. If you have an interest in that kind of stuff, Vomit Arsonist definitely fits into that depressive feel and subdued violence. There is a sample that occurs for the opening section of “Patience” that kind of reminds me of some stuff by the group Death Squad. Both of the tracks are similar in some ways to Bereft’s recent CDr on the Bloodlust label from Chicago (and for that matter, their tape on Destructive Industries from Texas), showing Andy’s influence in that particular group since his arrival.

The b-side, “Violence” continues in a similar death industrial/doom sludge vein. I could see fans of stuff like Moss and Boris getting into this release, it has a similar all-encompassing sort of sound to it. “Violence” utilizes harsh feedback squeals and what sounds like an over-driven power line to create a rhythm that is more electronic and less percussive than on the a-side. The vocals escape like scalding steam from industrial machinery, harsh performance reminding me of early Genocide Organ. Really good stuff, definitely an enjoyable release through and through. As far as American power electronics goes, Vomit Arsonist has been doing is for a few years now and shows a steady growth and maturation as the project evolves into the future. The only complaint that I would have about this is that I wish it was a little bit lengthier… other than that it is a perfect snapshot of Andy’s work. The art looks really nice in the DSR presentation, the cover being a beautiful photo of a flower against a dark background taken by Desiree Delorge. Very interested in hearing more recent material from this project, but these two tracks are killer.”

“Patience / Violence” C20 (Danvers State Recordings) – Review by Existence Establishment
“I always wonder how much my mood effects certain reviews. Today, the churning, pummelling slow dirge of The Vomit Arsonist very much compliments my current disposition so this is bound to be a positive review. Patience/Violence is actually a reissue of the tape that was originally released in 2010 on Exterminate the Brutes – a label title that sounds counter productive to The Vomit Arsonist’s goals.  Patience features drowning toms sounding to a dark pulse with warm analog hums in the background, PE vocals barking prominently keep the track consistent throughout its duration. Not much change here but a solid base of negative sounds keep things beaten and bruised. Violence carries on the atmosphere succinctly with more doomy black noise this time. There are industrial hits instead of toms and the vocals are even more mangled. There are points where the banging subsides to reveal seething noise lurking in the background.  This is a short and colorless journey but one that is sure to reinforce your negative mood. The bleak art accompanying the cassette sets you up for the sounds well and the mood here is deep and lifeless.”


One Response to “Narcissism”

  1. I’m contacting artists that were included in Anti-Gravity Bunny’s 2010 “Boil” Mix for QRO Magazine, as you see here:

    We would like to flip this mix into a tape, as part of a charity drive at the 2011 NYC Neon Marshmallow Fest in October

    QRO is eating the cost of production of the tape, and all proceeds from suggested donations for the tape go to a TBD charity. It’s just a positive way to promote the music we love, a good charity, and QRO philanthropy.

    To be included on this tape, please email explicit permission ASAP to All contributors will receive a copy of the tape (please provide address) and be included in the promotion of the fest.

    There’s a time issue here because of the production time on the cassette. In order to make this happen, we need permissions within the next 7-14 days. The sooner the better. Thanks for your time, hope too have you involved, and keep making great music.


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