Saturday, 19 June 2010


Title: Girone Della Merda (literally 'division of the shit')
Format: Free online download from Torn Flesh Records (TFR77), a site dedicated to underground Grind, Death, Metal, Industrial, Experimental/Electronic, and Extreme Rock (Punk, Psychobilly, Glitch, Breakcore, Doom, Dark Ambient, Noise, etc.). The album is by Josef Nadek & Vulgar Disease, with Hrossharsgrani (featured on track 5) and Taklamakan
Edition: Unlimited - free download

Track Listing:

Parte I: un "ruolo metaforico orribile"
01 Josef Nadek - La Repubblica di Salò
02 Josef Nadek - La Germania è veramente vostra amica
03 Josef Nadek - Nel girone della merda
04 Josef Nadek - Ninna nanna per Benito

Parte II: è praticata in scenari sessuali
05 Josef Nadek vs. Hrossharsgrani 4.25
06 Josef Nadek vs. Taklamakan
07 Josef Nadek - Der kleine Kotnascher (Scatnibbbler)

Parte III: Scatnibbler
08 Vulgar Disease - Introduzione
09 Vulgar Disease - Primo Incontro
10 Vulgar Disease - Intermezzo
11 Vulgar Disease - Secondo Incontro
12 Vulgar Disease - Finale
13 Vulgar Disease - Grand Finale

Now here's a release that may have slipped under your radar. A free online album - check out the link at - featuring Josef Nadek ("a Tyrolean based industrial/experimental project"), Vulgar Disease (noise terrorists from Mexico) and Taklamakan (one man noise project from China) together with our Austrian heroes Hrossharsgrani. Rather like the League of Nations getting pissed on home-brew and forming an improbable musical collective, one might think...

Josef Nadek is an interesting character - described via MySpace as being "designed as a mould-infested spiritual cesspit, dedicated to compulsively explore and document various degrees of human degeneration, eradicate necrotic tissue and reflect each putrid core. Note that Josef Nadek is an utterly artificial character. Nevertheless no vile piece of filth about those in charge behind the scenes is of any significance. Josef Nadek spins his own yarn." Good, that's clear then!

What is rather unexpected, given the frankly disturbing nature of the participants (with the exception of our old friend Alex, of course) is that the collaborative track featuring Josef Nadek vs. Hrossharsgrani is far from the splatter-fest train wreck that you might have expected. Mind you, perhaps Nazgul's expectations were unduly influenced in his research for this release (visit Vulgar Disease's website at your own risk, ideally when not idly snacking on your dinner as Nazgul was...)

What you have is a underpinning throbbing rhythm with light industrial elements, overlain with a rather nice solo piano melody, occasionally discordant but fitting the song nicely. Nothing like you might imagine, although elements of the rest of the album certainly could give you a few nightmares given half a chance.

Good news though - each track can be downloaded separately from the link above, so you can choose whether to add this single song to your burgeoning Hrossharsgrani collection, or go the whole hog and download the whole album. Hurrah for the internet!

Incidentally, the album was apparently inspired by Pier Paolo Pasolini's "Salò o le 120 giornate di Sodoma" (The 120 Days of Sodom), which itself was based on the book by the Marquis de Sade, transposing the setting of the book from 18th century France to the last days of Benito Mussolini's regime in the Republic of Salò. Because of its scenes depicting intensely graphic violence, sadism, and sexual depravity, the movie was extremely controversial upon its release, and remains banned in several countries to this day. It was Pasolini's last film; he was murdered shortly before Salò was released. Although it remains a controversial film to this day, it has been praised by various film historians and critics, and while not typically considered a horror film, Salò was named the 65th scariest film ever made by the Chicago Film Critics Association in 2006.

Certainly an oddity in the Hrossharsgrani discography - to be honest, it doesn't really come across as a Hross' piece at all (either in the new or old style). If anything, it's an example of where some of Hugin's contributions to compilations or collaborations become a little hazy in terms of being in the definite style of a particular band or project, despite what the title say, and is more a simple musical contribution from this most prolific of artists to another work.

Give it a listen - what do you make of it....?

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