GUEST REVIEW: MAMMOTH GRINDER - UNDERWORLDS

Continuing our series of metal reviews by non-metal fans, Mister Growl welcomes back guest reviewer Shane Frasier, manager of Acquired Taste Bookings and creator of the Behemoth Music Festival (a series of concerts in Upstate New York that recently reached down into Brooklyn). He has also been a member of roughly seven thousand bands, ranging from hardcore punk (Daytime Soiree) to electronic/dance music (Mr. Owl) to eccentric insanity (The Lanky Mofos and The Bumblebees). He was nice enough to accept our invitation and review the new Mammoth Grinder album, Underworlds:

“You don't need much of an active imagination to guess what kind of music Mammoth Grinder is. It'd be funny, and yes, kind of unique, for them to be a jazz quartet, but no, these guys play a thrashy version of hardcore that demands you to throw down in a pit. But fitting the bill name-wise doesn't save one from ridicule, especially in the music world. Thankfully, I have little to gripe about with their new album, Underworlds.

Mammoth Grinder is fast-paced and destructive, but they stay just out of reach of the term “brutal” to save them from being bogged down by such associations. It's the kind of music I feel a psychopath would listen to to get pumped about hunting down some moronic teens in a horror film. While it mainly stays grounded in its fast-paced hardcore roots, it does try to stray often enough to not warrant it being considered bland.

"Wraparound Eyes" and "Paragon Pusher" really emphasize what these guys are trying to do here, sporting quick beats, growling vocals, and thrash-induced riffs that never overstay their welcome (but how could they at under 3 minutes anyways?). The guitar work on these songs takes center stage, with harmonizing parts that effortlessly blend together to create a wall of cacophony so great that I'm sure somewhere, in the vast ruins of space, some universe has been torn apart.

"Barricades" and "Roperide" work at a breakdown-like pace, chugging through with a sense of dread. They feel slightly metallic in their approach, but don't stay true to their tropes. "Barricades" really takes the cake out of these two, mainly because it’s so damn catchy. I've often found it's hard to make slower paced songs more memorable, mainly because, in these genres, they're more focused on being destructive more than anything. It’s nice to be reminded there are exceptions to the rule.

"Born In A Bag" and "Breeding" bring back the speed, displaying a punk attitude in the songs. I know, thrash and hardcore are pretty close siblings to punk in the music world, but really getting them to fit together is hard work. Others like "Moral Crux" deviate from the prominent fast-paced setting, relying on its intensity and slow-paced doom to instill wonder in the audience.

Underworlds is very solid, and while nothing is really different from anything I've heard before, it doesn't matter. Mammoth Grinder has set up an album that never finds a middle ground, opting to either go fast or slow. That black or white mentality might be a turn off to some people, but that's what kept me going with it. I’ve always wanted a variety of tempos and genre influences in each song, but for some reason, Mammoth Grinder wooed me away from that mentality. It's about time someone did.”

- Shane Frasier

(Editor’s note: This album is in my list of top albums for the year. I will be releasing a Top 50 list in December. - Mister Growl)

Many thanks to Shane for covering this release, and we seem to have some momentum with THREE positive guest reviews in a row from Mister Frasier. Note to self: Send Shane all crusty grind/punk/hardcore/d-beat releases we need reviewed.

Stream Underworlds over here at Bandcamp and buy it for a well-spent $6.66:  http://mammothgrinder.bandcamp.com/

CONCERT REVIEW: CARCASS and IMMOLATION

Carcass

Saint Vitus in Brooklyn, a venue perhaps too cozy (despite being the headquarters of the New York metal scene) for titans like Carcass and Immolation. The tickets sold-out in less than ten minutes, and thanks to my buddy Ellie (whose Noothgrush back patch made her the belle o’ the ball), I was able to snag a ticket. After getting a new drink special (Storming the Castle: One Newcastle pint and a shot of Jameson Black) I perched at the front of the stage like a gargoyle.

I saw Immolation play at the Decibel Magazine Tour this past summer, but they treated the crowd to several new songs off their upcoming album, as well as “God Complex,” which they played live for the first time. Ross Dolan (vocals/bass) pre-emptively apologized in case they “fucked up.” Fucked up they didn’t. It took half a song for drummer Steve Shalaty to warm up, but once he got locked in the whole band worked together like an efficient killing machine.

Despite their fantastic performance playing song from their whole discography (though understandably leaning on Kingdom of Conspiracy), the crowd was a bit mild, except for one very vocal audience member claiming to be a fan from the “old days.” Dolan sized him up and replied, “You were born after we recorded our demo.” Closing with a new track called “All That Awaits Us,” Immolation’s new material sounds amazing, with even more drastic tempo shifts and dangerous groove mixed with their signature technicality.

Immolation

A brief intermission where I refuse to leave my spot, enjoying Slaughter of the Soul playing over the Saint Vitus speakers. I eat an obscene number of gummy dinosaurs. Then: Carcass.

“So Williamsburg, I remember when you were just called Brooklyn,” quips Jeff Walker, snarling frontman/bassist of Carcass.

I had the pleasure of interviewing Walker in the past month for Girls and Corpses Magazine, an article which will be included in their Winter Issue. Walker continued his playful antagonization of the audience by inquiring, “Are the guys from MetalSucks here?” After silence from the crowd: “Didn’t think so. They’re a bunch of poseurs.” Unfortunately he didn’t ask if Decibel Magazine staff was present, or I would have humiliated myself by raising my hand silently like I was in social studies class.

While Walker was having a blast skewering the crowd with barbed words, Bill Steer (lead guitar) was caught between smirking and grinning the whole night. Along with new members Ben Ash (guitar) and Daniel Wilding (drums), they raged through songs from Reek of Putrefaction to Surgical Steel, insisting with a smile they’re playing new stuff because their record label was present. “Wait ten years, and you’ll be calling that a classic,” Walker said after completing their most recent single, “Captive Bolt Pistol.” Kicking out greasy death’n’roll and goregrind in equal measure, the crowd barely had enough room to headbang or mosh without causing constant concussions, but what’s a little brain bruising when it’s CARCASS? Playing with a slideshow of penises plagued by venereal diseases in the background, the band members seemed to have as much fun as the crowd.

“Our last song is off the album you love to hate,” promised Walker. The song: “Keep on Rotting in the Free World” off of Swansong. That track was my first introduction to Carcass, which I heard on an Earache Records sampler when I was in junior high. I discuss this more in my Girls and Corpses piece, but my fondness for that song is undying, and it was an entirely appropriate way to end the evening. Here's the Carcass set list for the night:

Pro tip: Click to enlarge.

While Carcass are only making a few brief stops here in the states, Walker promised a “proper tour” in the Spring. That’s enough notice, so save your pennies, gorehounds.

In the meantime, buy Surgical Steel and support the return of this legendary band. While you’re at it, pick up Kingdom of Conspiracy too. Both of these albums are on my current top 40 list for the year, and come highly recommended.

Surgical Steel can be purchased from Nuclear Blast Records here: http://www.nuclearblast.de/en/label/music/band/discography/details/3075960.3025043.surgical-steel.html

And Immolation’s most recent album is waiting to punch your cerebellum here:

http://www.nuclearblast.de/en/label/music/band/about/71092.immolation.html 

REVIEW: NO FEALTY - IN THE SHADOW OF THE MONOLITH

Some band names require no exploration. Death, or Grave, for instance. Standard death metal band names obsessed with mortality. For No Fealty, a political hardcore crust/grind band from Copenhagen, I admittedly had to do a little research. It turns out “fealty” has the following definition: The fidelity, or an oath of loyalty, of a vassal or feudal tenant to their lord. So it’s safe to say that in No Fealty’s world, if you’re one of the 1% you better watch your privileged ass. Combine that with the (awesomely) disturbing cover, and there’s enough fury here to inspire god to eat his cherubs.

Leaning a bit more on the grind side of the spectrum than traditional hardcore punk, No Fealty peel through twelve tracks in about 25+ minutes on In the Shadow of the Monolith. The album title would be perfect for a classic doom album by Candlemass, but it’s just as poignant here, referencing the nearly unfathomable amount of tyranny and oppression we face (and often ignore) daily. Well, this is one album that’s impossible to ignore. Beginning with the pissed-off stomp of “Deprivation,” the album slams ahead like the first furious charge of a rioting crowd. There are plenty of surprises and enlightened moments of texture here, with the thrashy groove of “Strict Seawater Diet” and the chilling, cold-blooded sludge of “Discomposure” being especially memorable. And of course there are the burners that rage forward at a thousand miles an hour, destroying everything casting a shadow; “Animalism” bares its teeth with prominent bass work, “Savior” takes a jab at D-beat punk with Ramming Speed’s intensity, and “Rabies God” closes the album like a smear of blood on a church’s front door.

There are a few choices that don’t work for me, like the momentum-killing audio clips and spacey atmospherics of “The Emperor is Laughing (While You are Making Plans),” and a queasy bridge riff (around 2:15) in “Feed the Leviathan,” but these are minor complaints compared to the overall unruly energy and DIY, buzzsaw-guitar aesthetic the album successfully captures. When No Fealty employs gang vocals (like in “Damnant Quod Non Intelligunt” and “Deprivation”), that manic approach translates even further to a unified voice of unrest and anger. In the Shadow of the Monolith may not be totally revolutionary in style and execution, but it’s definitely the soundtrack of a rebellion. Combining the blazing speed of Weekend Nachos with the political sludgy, hardcore punk of Ravage Ritual, there’s plenty to look forward to in No Fealty’s future, even if humanity’s future doesn’t seem quite as bright.

Listen to In the Shadow of the Monolith, available now as a “name your price” download over at Bandcamp:  http://nofealty.bandcamp.com/album/in-the-shadow-of-the-monolith

And check them out on Facebook for news, including their account of their recent record release show:  https://www.facebook.com/nofealty

GUEST REVIEW: NAILS - ABANDON ALL LIFE

Continuing our series of metal reviews by non-metal fans, Mister Growl welcomes back guest reviewer Shane Frasier, Acquired Taste Booking owner and creator of the Behemoth Music Festival (a series of concerts in Upstate New York that recently reached down into Brooklyn). He has also been a member of roughly seven thousand bands, ranging from hardcore punk (Daytime Soiree) to electronic/dance music (Mr. Owl) to eccentric insanity (The Lanky Mofos and The Bumblebees). He was nice enough to accept our invitation and review Nails’ newest album Abandon All Life:

“Every now and then, I need a reminder that life isn't so boring. That something out there, maybe lurking in the shadows, is ready to kick my ass and give me a much needed wake up call. I think I may have found that special something with Nails’ album, Abandon All Life.

Nails combine their love for death metal and grindcore to make a sound I'd liken to a bunch of cannons going off. A bunch of really angry cannons being fired off by a really angry singer. With "Tyrant" and "Abandon All Life,” these guys are able to express everything and anything they need to in only a minute’s time, creating just enough havoc to ensure we don't die from its brutality. "No Surrender" continues this trend of ear-numbing madness, double bass-pedaling itself into your heart with a relentless barrage of metal and fear.

“Wide Open Wound,” which plays more like a traditional death metal song, never succumbs to its similarities, giving me a deeper sense of appreciation of Nails. It's easy to get lost among all the similarities bands possess today, although I believe it is less prevalent in the metal world, but it's nice to know these guys don't play to be like everyone else.

“Suum Cuique,” which clocks in at over 5 minutes (Whhhhhaaaatttt?), proves these guys could become an epic doom metal band at any moment. That's a testament to how much work these guys put into their sound, which, for some, may not be as noticeable as it was to me.

When I told Mr. Growl that I'd like to review something 'brutal' he sent me this. And, uh, yeah, I'd say that's an understatement. Nails are quick and relentless, like a tornado of fists to the face. The album is over before you know it, even with a song like "Suum Cuique" to end the album. If you feel the need to have your bland world rocked, I'd recommend listening to Abandon All Life today.

(Editor’s note: I would have opted for a “sharknado” of fists and dorsal fins.)

Many thanks to Shane for covering this release, and we seem to have some momentum with TWO positive guest reviews in a row. Note to self: Send Shane all crusty grind/d-beat releases we need reviewed.

Stream Abandon All Life over here at Bandcamp and buy it for a well-spent $7.99:  http://nailssl.bandcamp.com/releases

REVIEW: EXHUMED - NECROCRACY

I bought Gore Metal from a little tattoo shop that carried Relapse releases due to the success of local deathheads Skinless. I was a freshman in high school and more curious than passionate about death metal. If you know someone who’s on the fence about extreme music one of the most persuasive things you can do is have them listen to a few songs written by Matt Harvey. As a Mets fan I will clarify: The founder of Exhumed, not the All-Star pitcher/nude model of the same name.

Exhumed again triumphs over significant lineup changes, this time welcoming back past-bassist Bud Burke as a guitarist. While the supporting cast is formidable (especially Mike Hamilton, also of Deeds of Flesh), this is a horrorshow that always hinged on the performance of its founder. Always honest about the pop song structures of his blood-drenched compositions, Harvey has understands the power of a good (meat)hook. On their newest release, Necrocracy, Exhumed display the melodic tendencies of Anatomy Is Destiny, the tight songwriting of Slaughtercult and All Guts, No Glory, and the sheer brutality of Gore Metal. We hear all the time that bands are borrowing elements from their entire discography while working towards a sound that’s entirely new, and 90% of the time it’s a load of zombie shit. But Necrocracy is not zombie shit; it’s looking backwards at their history of jubilant bloodshed, then stepping forward.

Kicking off with “Coins Upon the Eyes,” Exhumed blast into their dual growl/snarl attack and deliver the first memorable chorus on the album, hinting where vocal melody might exist if this wasn’t death metal. Other memorable hooks include “Dysmorphic,” which features a Carcass-esque groove fit for a marauding gang of re-animated bikers, and “The Shape of Deaths To Come,” a slick powerhouse song that throws razor sharp At the Gates riffs into the cannibalistic fray. Fans who are particularly hungry for bile-puking grind will devour “Sickened” and “Carrion Call,” which could both chainsaw-duel classics like “Necromaniac” and “Limb From Limb” for supremacy. The album closes strongly with “The Rotting,” with riffs that carve flesh from the bone before settling into a mid-tempo prowl and fading thrash.

I even hesitate to mention this, but I also noticed how similar a few songs felt to the most intense moments of Cradle of Filth’s Midian. From the abyss-scraping growl to the higher-pitched shrieks and the muscular mid-tempo guitarwork, I was just amazed at how comparable elements can deviate due to the direction of one visionary participant (Matt Harvey/Dani Filth). That isn’t saying Exhumed will end up writing songs about mysterious pale women exploring their bloodlusts in foggy woodlands, it’s just interesting how metal can intersect and then speed away from itself.

Like always, Exhumed have a great balance of catchy and disciplined songwriting, brutal technicality, and a macabre sense of fun that continues to scratch, claw, and feast their way to the top of the death metal food chain. This album proves once again that Californian death metal is as mean and nasty as the best examples from any other location, because the constant sun makes the corpses rot faster.

Necrocracy comes out in North America on August 6th, so save your lunch money, creeps. For more info on the band (including merch and upcoming tour dates with Dying Fetus), check out their page at Relapse Records: http://www.relapse.com/label/artist/exhumed.html

And if you want to yell at me for the Cradle of Filth comparison feel free to send me angry Tweets (@MisterGrowl) or hate mails (mistergrowlblog (at) gmail (dot com)).

GUEST REVIEW: P.O.O.R. - EXTINCTION OF TRUST

Continuing our series of metal reviews by non-metal fans, Mister Growl welcomes back guest reviewer Shane Frasier, Acquired Taste Booking owner and creator of the Behemoth Music Festival (a series of concerts in Upstate New York that recently reached down into Brooklyn). He has also been a member of roughly seven thousand bands, ranging from hardcore punk (Daytime Soiree) to electronic/dance music (Mr. Owl) to eccentric insanity (The Lanky Mofos and The Bumblebees). He was nice enough to accept our invitation and review the new release from P.O.O.R. (Point of Our Resistance), their album Exttinction of Trust. With the NSA ‘bating while listening to our calls and reading our e-mails and more toxins filling our food every day it’s a perfect time to listen to this album:

“I always thought the saying, 'It's the little things in life', was bullshit. Really? Are you really content with the little things in life? If a gentle breeze whiffed by your face for a few seconds on a brutally hot summer day would you really say to yourself, 'That made my day'? No, you wouldn't, and don't lie to me, because I know who you and know where you live and will make you tell the truth. But, for the first time ever, I found myself uttering this phrase while listening to P.O.O.R's album, Extinction Of Trust.

What I am trying to say here is that you don't need to be fancy in order to deliver good music, and P.O.O.R does it well. Fitting itself somewhere between thrash, grindcore and hardcore, Extinction Of Trust passes you by quickly (Not having a song longer than 2:26), but leaves a fun, lasting impression because of the obvious joy these guys clearly had making this music.

The album is comprised of 24 tracks, each one more mosh-pit inducing than the last.  “Bastard Complex,” “Flip The Scripture” and “Your Bullshit” remain my favorite tracks on the album, delivering quick hardcore punk ditties in an otherwise growly thrash album, which, I must admit, is a welcome addition if for any other reason than I am a huge hardcore punk fan. That's not to say I don't appreciate the other songs, on the contrary, they're all great, I just have to make my loyalties clear sometimes.

Songs like a “A Man Called Disease” often wake you up to the fact that you are listening to a grindcore album, but the fact that every song is different in a way really makes you love what these guys are doing. One second “Christian Science Fiction” makes you wonder if you're listening to a metal-influenced tough-guy hardcore band then, like clockwork, a song like “Cherrorizer” smacks you in the face waking you back up to the fact that the grindcore roots of the album are back into full swing. Also, putting one of the biggest smiles on my face is the cover of “Religious Vomit,” a Dead Kennedys song. Being a huge Dead Kennedys fan, I find myself embarrassed saying that I kind of prefer P.O.O.R's version more. I think my only problem with the album is that it ends, and I know that might come across as a cliched answer, but I could care less. It's how I feel. I didn't want this album to stop playing when it did.

Overall, P.O.O.R's Extinction Of Trust totally made my day. It's a wake up call, and a welcome one at that, knowing music like this is out there. Too often are we shoveled the same genre-sticking music day in and day out, knowing full well that, somewhere out there, a diamond in the rough awaits our discovery. If you have a soul, you'll love this album. If not, you'll be crying in your bedroom by yourself, slamming your head against the wall wishing you had a soul so you could like this album.”

- Shane Frasier

(Editor’s note: I also wanted to mention that Matt Harvey from Exhumed also appears for guest vocals and solos. I will be reviewing Exhumed’s Necrocracy sometime over the next week.)

Many thanks to Shane for covering this release, and YAY we finally landed a positive review from outside of the metal community. Sure, maybe I cheated a little, knowing he was a Dead Kennedys/Minor Threat fan and hearing a lot of that influence deep in the belly of this grinding punk album, but I digress.

Stream Extinction of Trust over here at Bandcamp and buy it for a totally modest $7 to support these Californians:  http://poorgrind.bandcamp.com/album/extinction-of-trust

And follow them on Facebook for touring news and info on future releases:  https://www.facebook.com/POORGRIND

REVIEW: SPLIT - TEETHING / RAVAGE RITUAL

This nasty little 12 inch split shares the meanest cuts from two bands prepared to kick the religion right out of your keister. Teething and Ravage Ritual team up for a record that stinks like an unwashed political prisoner and bites like a cannibalistic hermit.

Teething are somewhere between the buzzsaw death grind of Napalm Death and P.O.O.R. and the growling d-beat blasts of Skitsystem. Formed in Madrid, Spain, their music is loud, fast, and storms into brawls prepared to fight dirty, taping glass and chunks of brick to its knuckles. Teething’s songs are a violent call to action that takes Tool’s passive “fuck all the [insert item(s) here]” mantra from Ænima and takes it the next rebellious step forward, like the brutal blur of anger in “Starting Fires.” This is music that fights lies with pyromania and oppression with razors. From the thundering, familiar bass drum gallop to the toxic gang-shouts of “How To Kill A Child,” Teething know how to bring a mosh pit to a boil and bust eardrums with crusty hooks and immediately recognizable hostility.

Ravage Ritual have a more varied approach, introducing elements of death metal into their charging hardcore grind that only occasionally resembles fellow Finnish band Rotten Sound. “Deadbeat” slams a Disfear-styled attack into a sludgy breakdown that feels like dragging your body across a slaughterhouse floor sticky with blackened, moldy meat and old blood. “Drown Beyond Insane” introduces metallic riffs over blastbeats before switching gears into an acidic groove tailored for possessed headbanging. Then there’s “Hymn II,” a grimy slab of street-gutter doom that sounds like it was cooked up in a basement meth lab, ending with ambient guitar work like a snarling cloud of flies descending on the masses. It’s an eerie, foreboding conclusion to the split album, and I appreciated the tempo shift as it crawled to a stop.

This is a great split from Nooirax Productions that should be sought out by fans of extreme music everywhere. Maybe you don’t share the anti-cop sentiments of Teething, maybe the slower moments in Ravage Ritual’s songs aren’t your poisoned cup of tea, but there’s no denying the passion and aggression in these songs. You get the idea that these guys mean exactly what they’re shouting, and that sort of sincerity amplifies the music even louder for me.

Check out the split album for FREE over at Bandcamp, and donate what you can if you like this album as much as I did:  http://nooirax.bandcamp.com/album/split-12

Then check out Teething over on their Facebook page:  https://www.facebook.com/teethingband

And do the same for Ravage Ritual:  https://www.facebook.com/ravageritual

VIDEO: NEW SONGS FROM GRASSROLL

Exactly one month ago I reviewed Grassroll’s EP, Gorilla Sized Social Problems. For those of you who need to clean the bong resin out of your brains to remember, they’re a promising Greek band who splices grind and sludge together into a filthy strand of infectious, groovy heaviness. I compared them to Soilent Green, and while I still see plenty of that dirty NOLA band in their sound, they have definitely expanded their attack with three new songs recently played live:

“Aggressive Minority”: Grinding hardcore punk that captures the raw energy of early Agoraphobic Nosebleed and Benümb. Annie is particularly brutal in this song, sounding a bit like Jon Parkin from Gaza as she barks to the barbed-wire riffs and blast-beats.

“All the European Capitals In One Second”: For some reason it takes about 2 minutes to prepare for this one, which is basically a 1 (maybe 1.8) second shotgun blast of noise that reminded me of Napalm Death’s “You Suffer” off of Scum.

“Blow For Job”: Stylistically, this is most similar to the songs from their EP. Battering grind collides with blackened stoner grime to form my favorite song I have heard from them yet. This song is totally vicious and makes me anticipate the two newest songs they’ve recorded (“Urban Slaves Asphyxia” and “Punished By the Martyrs”) even more. I also want to point out that the dude headbanging in the front deserves a red velvet cupcake for being 300% more metal than the rest of the crowd. He was there to rock, and Grassroll helped him achieve that. Well done, sir.

Check out Gorilla Sized Social Problems over at Bandcamp: http://grassroll.bandcamp.com/album/gorilla-sized-social-problems

And follow them on Facebook here: https://www.facebook.com/grassroll

REVIEW: CONFINE - SETTING FIRE TO THE WESTERN HEMISPHERE

Take a breath before you listen to Setting Fire to the Western Hemisphere, because it’s the last time you’ll taste air for almost eight minutes. Depending on where you live, that could be a good thing. Here in Brooklyn the air tastes like old deli meat, diesel fumes, and sun-baked dog shit.

Written and recorded in a span of four days (that probably saw black clouds raining rusty nails and suicidal stock market traders onto the roof of their UK recording compound), Confine assault listeners with a relentless blast of grinding powerviolence that strips extreme music down to the bare essentials: Loud and heavy. I’ve never seen a picture of drummer Rich Speakman, but with his gatling gun fills I’m guessing his arms and legs have bionic components. The riffs may share DNA with the dirtiest strands of punk, but Confine are to punk what salamanders are to Komodo Dragons. If this music bit you the bacteria would kill you within the hour.

While most of the album feels like the blur of a hollow-tipped bullet racing towards its target, there’s also the drum’n’vox breakdown transitioning into murky hardcore of “Perception,” the filthy sludge intro of “Abstraction,” and the queasy roar of “Formation and Transformation,” my personal favorite track that feels like it’s high on white phosphorus. But the band excels at grind, and cuts the oxygen supply while Chris Reese siphons just enough air to peel the skin from inside his throat with possessed shrieks that bring to mind Todd Jones of Nails. The only song that didn’t work for me was “Legacy,” with its jarring stop-and-start rhythm. This is still a vicious release from Witch Hunter Records, and would be perfect for a grindcore picnic with a portable stereo, accompanied by Napalm Death and Full of Hell LPs in the picnic basket. It’s officially summer here in the states now, so I hope I’m not the only one having grindcore picnics.

Listen to Setting Fire to the Western Hemisphere over on Bandcamp here:  http://confine.bandcamp.com/

And follow Confine on Facebook for news and merch:  https://www.facebook.com/confinegrind