Untitled

Metal.

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The Wizard and The Frog

 

      I’ve been listening to a lot of doom, a broad and accessible sub-genre. Its history is intertwined with high fantasy and cosmic horror. Many bands rely on associated tropes as gimmicks, but few embrace these themes better than a frog and a wizard.       Bog Wizard’s album, From the Mire, is a recent favorite. I first chose this album because of its Seussian artwork by Alistair Stro. It depicts a lichen wizard, half-eaten by the bog in which it presumably lives.

      Panic, surrounding a popular tabletop RPG starts the album, sampling news reports. The second track, “Submission in Defiance,” consists of melodic vocal lines and fuzzy riffage. This song perfectly channels classic doom.

      The album’s third track is an ode to the mythical “Tarrasque,” a spiny, primordial beast, capable of regeneration. Slow and steady, the song progresses from haunting, layered vocals to punkish shrieking. Deep bass and fuzzy guitars fade into one another until the track mercifully ends. After a calming recovery by campfire and a stern warning from the bog, another beast emerges: “Swamp Golem.”

      This song, with its catchy riff and unique bass thump, is an immediate ear-worm. Its vocals are monstrously thick and reverberated, as if belted from a golem. After some heavy jamming, spectral vocals break to finish this memorable album.

      From the Mire is an original album, blending elements of doom, stoner and progressive metal, psychedelic rock and fantasy. It even features a didgeridoo. Every track is worth listening to, in addition to these samples of the band’s sound, particularly the instrumental, “Gnarled Cane,” and the epic, “City in the Mountain.” Reborn after 10,000 years, a kaiju-like frog emerges from his swamp. Angry at human society, he seeks to restore balance to the natural world by violent means. Stifled by military efforts, however, he takes refuge, before returning to battle. After recovering to defeat the forces of humankind, Froglord, atop his toadstool, watches a scarred planet heal.

      This story is told through the album, Amphibian Ascending, by the artwork, music and a volume of frog lore, online. Froglord, originally a one-man-band from Bristol, UK, fully embraces the character and its principles, which align with the artist’s. Often joined by and collaborating with other musicians, both live and in recordings, Froglord is just as dedicated to making music as he is to his persona.

      I admittedly chose to listen to this album because of art by Steven Yoyada. A faded background surrounds a giant frog, praised by who appear to be the cult of Froglord. The album opens with a heavy track, “Judgment,” featuring harsh vocals and sludgy riffs. This song’s lyrics recount Froglord’s awakening and judgment of modern civilization. Relevant samples detail the song and, for that matter, the album from this track on.

      For instance, the album’s third track, “Pesticide,” opens with another sample. This song is much like the first. It follows a similar structure, with more emphasis on melody and bass. It features a heavy guitar solo and, overall, delves into more extreme influences.

      The album’s title track, “Amphibian Ascending” is a head-nodder. A simple bassline and whispered vocals enter a sludgy progression. A plucking melody becomes a fuzzy breakdown, accompanied by subtle sampling to finish the song. After Froglord’s recovery and victory over the humans, he’s left with his followers and an awesome, full-length album. Amphibian Ascending is full of sludgier doom and ‘90’s groove.

      Froglord’s work is never done though. With his pious congregation, Froglord ventures into a forbidden bog, heavily guarded by an angry hermit.

      Bog Wizard vs Froglord: A Frog in the Bog is a collaborative concept between the two namesakes. Each half of this album tells of their fateful meeting from each perspective. The split features artwork by Benjamin Blåholtz, reminiscent of retro video games. A pixelated frog struggles to escape a mysterious bog, while a furious wizard raves in the background. After a long, heavy introductory track, “Reptilian Death Squad,” Bog Wizard confronts Froglord in “The Frog Lord,” featuring vocals from the mystic toad, himself. This song is intense, utilizing spacey synthesizers and dramatic instrumentality to carry one measure to the next. The lyrics are fun and aren’t too serious, considering the subject matter.

      Finally, Froglord finishes the album and his fight with Bog Wizard by urging his foe to recognize their equal power. Musically, this song is groovy, catchy and sludgy. It’s unique and theatrical, perfectly ending a fantastic battle between magical forces.

      So, the wizard and the frog, united in smoke, doom the world. Their split album, A Frog in the Bog, is promising. Each individual, respective album, From the Mire and Amphibian Ascending, is worth listening to all the way through. Playlist: “Submission in Defiance” – Bog Wizard

“Tarrasque” – Bog Wizard

“Swamp Golem” – Bog Wizard

“Judgment” – Froglord

“Pesticide” – Froglord

“Amphibian Ascending” – Froglord

“The Frog Lord (feat. Froglord)” – Bog Wizard

“The Bog Wizard (feat. Bog Wizard)” – Froglord -DefCuttlefish

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[defcuttlefish]

Sept. - Oct. '25

“Cattle Mutilation” – The Locust “Testicular Manslaughter” – Cattle Decapitation “Dead“ - Napalm Death “Long-Pig Chef and the Hairless Goat” – Cattle Decapitation “Gasping for Air“ - Autopsy “Chunk Blower” – Cattle Decapitation “Reek of Putrefaction” – Carcass “Frantic Disembowelment” – Cannibal Corpse “Humanure” – Cattle Decapitation “Scum” – Napalm Death “Bukkake Tsunami” – Cattle Decapitation “This Mortal Coil” – Carcass “Lips and Assholes” – Cattle Decapitation “Serpents of the Light” – Deicide “Entombment of a Machine” – Job for a Cowboy “The Carcass Derrick” – Cattle Decapitation “Sarcophagus” – Nile “Suspended in Coprolite” – Cattle Decapitation “Stabwound” – Necrophagist “Alone at the Landfill” – Cattle Decapitation “Deceit” – Suffocation “Condemned to Obscurity“ - Gorguts “The Gardeners of Eden” – Cattle Decapitation “Born Headless” - Cryptopsy “A Body Farm” - Cattle Decapitation “Necromania” - Exhumed “Regret & The Grave” – Cattle Decapitation “Self Defeating Prophecy” - Dystopia “Ruination” – Job for a Cowboy “A Living, Breathing Piece of Defecating Meat” – Cattle Decapitation “Cradle Robber” – Revocation “The Monolith” – Cattle Decapitation “Ohrwurm” - Cephalic Carnage “Kingdom of Tyrants” – Cattle Decapitation “Devour the Demand” - Devourment -DefCuttlefish

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Maniacs

Cattle Decapitation returns to form with another heavy, campy, creative album. Much like its first, the band’s fifth album with Metal Blade, Monolith of Inhumanity, makes the most of its unique personality. Wes Benscoter’s art, again, depicts a dystopian setting, reminiscent of a classic horror movie. This time, either ape, man or something in-between ravages a wasteland, coinciding with the album’s lyrical themes. Skipping to the third track, “A Living, Breathing Piece of Defecating Meat,” Cattle Decapitation further refines the band’s somewhat formulaic songwriting. Every part of this song fits together, if a bit chopped or disconnected at times. Such disconnection hints at the band’s roots in grindcore. Almost a title track, “The Monolith,” is another prelude, full of atmospheric and ambient noise. This track precedes the album’s finale, “Kingdom of Tyrants.” Another balladesque epic finishes the album. This track blends technical death metal and symphonic subtleties with a sort of 1990’s groove. Scrappy, nearly clean vocals lead a melodic, emotional section. Cattle Decapitation’s vocals, in particular, seem to push the envelope with each, progressive album. Monolith of Inhumanity is fast and extreme, progressive and experimental. The album is produced with distinction between each instrument without too much sterility or separation. Moreover, the band’s natural sound is emphasized. Cattle Decapitation seems to have finally found a niche and created a unique sound, developed over many years. Decade of Decapitation is certainly an interesting box set, including the band’s first five albums release by Metal Blade Records (To Serve Man, Humanure, Bloody.Bloody.Karma., The Harvest Floor and Monolith of Inhumanity). Although every album is worth hearing, some retain more replayability than others. After a few playthroughs, my personal favorite, which is likely to change with time, may be Humanure. Second in the box set’s chronological order, this album is messy, gritty and authentic. I appreciate the album’s raw sound and over-the-top presentation. This set of records is, ultimately, a retrospective catalog of the band’s early work and a harbinger of metal by Cattle Decapitation. Playlist: “Ruination” – Job for a Cowboy “A Living, Breathing Piece of Defecating Meat” – Cattle Decapitation “Cradle Robber” – Revocation “The Monolith” – Cattle Decapitation “Ohrwurm” - Cephalic Carnage “Kingdom of Tyrants” – Cattle Decapitation “Devour the Demand” - Devourment -DefCuttlefish

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Aug. - Sept. '25

“Submission in Defiance” – Bog Wizard “Tarrasque” – Bog Wizard “Swamp Golem” – Bog Wizard “Judgment” – Froglord “Pesticide” – Froglord “Amphibian Ascending” – Froglord “The Froglord” – Bog Wizard “The Bog Wizard” – Froglord “Torquemada 71” – Electric Wizard “Barbaria” – Bog Wizard “Devoid of Redemption” – Pallbearer “Miasmic Purple Smoke” – Bog Wizard “The Horned Goddess” – The Sword “The Void Beckons” – Bog Wizard “WIZARD” – Castle Rat “Career Opportunities” – Dust Lord “Dragonaut” – Sleep “Death’s Door” – Uncle Acid and the Deadbeats “Seer” – Witch “Machine Cult” – Dust Lord “Iron Effigy” – Dust Lord “Laser Witch” – Dust Lord “Forever My Queen” – Pentagram “Sabbra Cadabra” – Black Sabbath “Unmask the Spectre” – YOB “Asigmatism” – Dust Lord “Gilded Ruins “ – Dust Lord “The Bastard Son” – Monolord “Bedouin’s Vigil” – OM

-DefCuttlefish

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[defcuttlefish]

Ripe, Misanthropic

Continuing my playthrough, I listened to Cattle Decapitation’s fourth album with Metal Blade and also in the box set, Decade of Decapitation. Wes Benscoter’s dystopian art decorates this album’s cover, as humanity is corralled into a sort of slaughterhouse. Such artistic and misanthropic symbolism dominates the album. Cattle Decapitation pivots towards technical death metal on The Harvest Floor. The band’s progressive songwriting is more dynamic than it was on previous albums. I’ve thought every album by this band was its most interesting, but this one… Third track on the album, “The Gardeners of Eden,” features intricate riffs, heavy bass, meticulous drumming and unpredictable vocals. Almost too much is happening in this song. It grinds to a breakdown before speeding back up with an impressive guitar solo and a thrashy reprise. “A Body Farm” is composed of more technical death metal and grindcore with elements of black metal. Drumming is ridiculously fast. Bass and guitar keep up, adding brutal riffs and a wild guitar solo. Vocals exhibit unique pronunciation and expressive range. While this song is notably less chaotic than others by Cattle Decapitation, its simple groove and focused structure seem to emphasize the bands musicianship. The album’s title track, “The Harvest Floor,” is strange and atmospheric. This band’s use of sound effects and ambiance contributes to its originality. A haunting choir joins a faintly distorted guitar and marching drums. This brief prelude anticipates the album’s closer, “Regret & The Grave” Bass in this song’s introduction immediately commands attention. Guitar effects highlight both this song as well as the album. Crusty, melodic vocals lead a dramatic conclusion to the album. As this band’s every album’s production has improved, The Harvest Floor, is no different. It’s less muddled than previous albums. Every instrument is audible and leveled. Certain subtleties in production, in fact, contribute to the album’s unique sound. This album is just as ambitious, if not more than the band’s last. Each member of the band seems more comfortable and confident in its music. The Harvest Floor is yet another stage of Cattle Decapitation’s interesting growth. Playlist: “Condemned to Obscurity“ - Gorguts “The Gardeners of Eden” – Cattle Decapitation “Born Headless” - Cryptopsy “A Body Farm” - Cattle Decapitation “Necromania” - Exhumed “Regret & The Grave” – Cattle Decapitation “Self Defeating Prophecy” - Dystopia - DefCuttlefish https://cattledecapitation.bandcamp.com/album/the-harvest-floor

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Bullheaded Ambition

Third in the band’s catalog, released by Metal Blade, Karma.Bloody.Karma is another interesting album by Cattle Decapitation. Its cover art, by Wes Benscoter, is cartoonish compared to album covers by the same artist. Nevertheless, it evokes nostalgic feelings and tempts potential listeners with its unique design. Karma.Bloody.Karma sounds more technically adept than the band’s previous album, Humanure. Its songs are structurally complex, changing time and implementing more melodic and expressive instrumentation. Still, the band stays heavy, keeping its ambitious sound and style. As heard on tracks like “The Carcass Derrick,” Cattle Decapitation hints at certain traces of early deathcore. Chugging riffs and pounding drums combine as chunky breakdowns. This song undergoes several changes in speed and style, from blast-beaten verses to an incendiary guitar solo, ending with an ambient outro. “Suspended in Coprolite” is crammed full of thrashy riffs. This song emphasizes the progression of the band’s songwriting and instrumental tonality. Basslines are surprisingly funky. The lead guitar sounds, at times, otherworldly. “Alone at the Landfill” is a balladesque epic, abruptly alternating between grinding riffs, blast beats and more melodic death metal. The song is progressive and experimental, becoming eerily atmospheric before aggressive, again. Almost operatic vocals lead the song to a dramatic conclusion. Every album by Cattle Decapitation seems better produced than its last. Karma.Bloody.Karma is cleaner, yet just as authentic. The drums sound deep and snappy. Bass is prominently stylized. Guitar tones reach higher registries, sharply cutting through a thick mix and retaining a fuller mid-section. Most vocals are gurgled as if from the depths of a bloody toilet, mid-flush. Melodic singing carries some songs, teasing the vocalist’s range and capabilities. As the band continues to progress, both musically and in production, Cattle decapitation, again, cultivates originality and ambition. At the potential expense of cohesion, Karma.Bloody.Karma adds more technicality, groove and melody to a patchwork of grindcore, technical and brutal death metal, held together by versatile musicianship. Playlist: “Entombment of a Machine” – Job for a Cowboy “The Carcass Derrick” – Cattle Decapitation “Sarcophagus” – Nile “Suspended in Coprolite” – Cattle Decapitation “Stabwound” – Necrophagist “Alone at the Landfill” – Cattle Decapitation “Deceit” – Suffocation - DefCuttlefish https://cattledecapitation.bandcamp.com/album/karma-bloody-karma

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[defcuttlefish]

Corpse Flowers

Next in the box set, Decade of Decapitation, is another phase of this band’s evolutionary growth. Cattle Decapitation’s second album with Metal Blade, Humanure, is arguably heavier and better structured than the band’s first, To Serve Man. Its production is cleaner. Tones are full and refined. The band’s already technically complex and somewhat progressive deathgrind is enhanced by instrumental and vocal improvements. The cover art, again by Wes Benscoter, is iconic, sticking to minds like cow-pies to shoes. Alternative artwork covered the album after release. This version removed the art’s focal subject. No bull! Sharing themes with the album’s original cover, a reference is made in the title of its first track, "Scatology Domine (Intro).” Detuned, classical piano and eerie ambiance introduces this gnarly album. Keeping the introduction’s general strain, the title track, “Humanure” channels melodic death metal. This song is fast and shifty. Basslines are audible, distorted and intricate. Drums are particularly, rhythmically expressive. Cattle Decapitation kept its humor and over-the-top wordplay in tracks like “Bukkake Tsunami,” an embrace of death metal. Tremolo-picked riffs and blast beats are abound. High shrieking accents the band’s low, vomitous vocals. Imaginative lyrics, if discerned, tell a disgusting story. The grossly titled track, “Lips and Assholes,” is exemplary deathgrind. Its galloping rhythm is both chaotic and groovy. Vocals continue to expand in both range and physical execution. Each member of the band attempts to accommodate the other’s innovations to its collective style. Humanure is an ambitious album if, at times, a bit mangled, chopped and stuck together. It’s made of abrasive riffs, nearly inhuman drumming, percussive and chunky bass and experimental vocals. Cattle Decapitation deserves credit for this album’s musicianship and originality. Playlist: “Frantic Disembowelment” – Cannibal Corpse “Humanure” – Cattle Decapitation “Scum” – Napalm Death “Bukkake Tsunami” – Cattle Decapitation “This Mortal Coil” – Carcass “Lips and Assholes” – Cattle Decapitation “Serpents of the Light” – Deicide - DefCuttlefish https://cattledecapitation.bandcamp.com/album/humanure

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Bits and Pieces

There’s always metal I haven’t heard, a band or album that I haven’t listened to enough or completely ignored. I have no reason to neglect this band for as long as I have. I love morbid, surreal art, grindcore and death metal.

So, I decided to listen to Cattle Decapitation, starting with the contents of Decade of Decapitation, a box set released by Metal Blade Records in 2014. This set includes the band’s first, five, studio albums under the label. I listened to each in chronological order: To Serve Man, Humanure, Karma.Bloody.Karma, The Harvest Floor and Monolith of Inhumanity.

Cattle Decapitation’s first album with Metal Blade, To Serve Man, is campy, clever and chaotic. The cover art, by revered artist, Wes Benscoter, looks like a poster for a horror movie. The album’s title and most of the songs feature horrific references and humorous wordplay.

Musically, To Serve Man consists of bits and pieces of grindcore, death, black and thrash metal. For example, while the first track, “Testicular Manslaughter,” combines elements of early grind and classic death metal, the curiously named “Long-Pig Chef and the Hairless Goat” implements more metal. The song’s riffs are especially black and thrashy. Further, “Chunk Blower” is melodic, even somewhat symphonic, with the addition of orchestral instrumentation.

This album’s clear and concise production emulates that of rougher ‘80’s and ‘90’s grindcore with a lack of pitch-shifting and similar effects. Boosted bass and fuller drums could’ve benefited the mix. A lower-ended tone may have added more weight to heavy riffs. This album’s potential only builds anticipation for the band’s next. Considering its raw production and a more noticeable lack of down-tuned guitars, every artist on record sounds capable of innovation.

To Serve Man is an interesting album with more to dissect after every listen, and, at only a little over thirty minutes in length, it’s short enough to play through almost any time. Cattle Decapitation filled every second with grinding metal.

Playlist:

“Cattle Mutilation” – The Locust “Testicular Manslaughter” – Cattle Decapitation “Dead“ – Napalm Death “Long-Pig Chef and the Hairless Goat” – Cattle Decapitation “Gasping for Air“ – Autopsy “Chunk Blower” – Cattle Decapitation “Reek of Putrefaction” – Carcass

– DefCuttlefish https://cattledecapitation.bandcamp.com/album/to-serve-man

[defcuttlefish]

Castle Rat w/ Bask & Howling Giant Tickets | $29.21 | 1 Oct @ Eulogy, Asheville | DICE

Eulogy Presents: Castle Rat w/ Bask & Howling Giant Wed, Oct 1st, 2025 Eulogy - 10 Buxton Ave. Asheville, NC 28801 Doors 7PM || Show 8PM

[defcuttlefish]

The Wizard and Dust

Since witnessing the wizard befriend the frog, I listened to this band’s discography again. Bog Wizard didn’t disappoint. Favoring their debut album, From the Mire, I chose similar music.

Miasmic Purple Smoke, Bog Wizard’s second, studio album, is much like the band’s first. The cover art, again, by Alistair Stro, is vibrant, featuring various creatures, similar to From the Mire’s lich, made of purple smoke.

Musically, the album is slow and heavy, trippy and foreboding. At around forty minutes in length, it’s full of long, climactic tracks.

“Barbaria” is slow and groovy with an infectious bassline and low, fried vocals. The song plods along, lead by heavy riffs and a thematic progression. For over eight minutes, the band pays tribute to imagination, jamming and venting personal frustrations through fantasy.

The title track, “Miasmic Purple Smoke,” features bluesy riffs, jazzy, swing drumming and higher, much cleaner vocals. This song differs from the rest of the album, recalling early doom and implementing stylistic changes to the band’s sound.

The final track, “The Void Beckons,” returns some subtlety, gradually dragging listeners into an audible, black hole. Steady, rhythmic drums march alongside a fuzzy bass and low, distorted guitar. In fades a spacey synth, which Bog Wizard makes the most of. Simple instrumentation compounds over twelve minutes, making this the longest song on the album and a grand finale.

Seemingly more atmospheric and polished than From the Mire, production remains raw and human, yet, at the same time, it’s balanced and rich. Beyond comparisons, it possesses its own character.

Bog Wizard is at its best when the band seems to be having fun and this album sounds to have been fun to write and record. Fun is contagious and this album is certainly fun to listen to. Miasmic Purple Smoke further endears Bog Wizard as a band of interest.

Skipping ahead, I imagine the wizard, traversing a dark, dusty domain. A new threat awaits behind shadows. Alternatively, a lord of dust trespasses the wizard’s bog, angering the already mad hermit. Whichever hypothetical scenario comes to mind, Bog Wizard meets Dust Lord on a colorfully decorated split album. Its cover art is textured and busy. Marinko Milosevski’s work depicts an ethereal hand reaching from a portal for a silhouetted adventurer on horseback.

Four Tales of the Strange: Bog Wizard vs Dust Lord samples songs by both bands. Each contributes two songs to the album’s four-track total. Although the album consists of only four tracks, each one, excluding the first, is around ten minutes long.

“Career Opportunities,” Dust Lord’s second track, presents harsh tones and a monstrous riff. The song is mostly instrumental until the last, few minutes, when the band jams at a faster pace and with more melody.

True to the band’s themes, Bog Wizard’s second track, “Gelatinous Cube” is another song about a tabletop creature. It’s a heavy ear-worm, driven by a catchy riff and primal, vocal melodies. Clean guitars break distorted repetition in a calm bridge to intensified, heavier riffs.

Together, Bog Wizard and Dust Lord compliment each other’s music. Individually, each band earnestly claims space in metal with plenty of room to grow. Four Tales of the Strange merely teases these bands’ potential.

Dust Lord’s contributions to the split album merited attention. At the very least, Dust Lord deserved a deeper dissection. So, I also listened to this band’s debut album.

Dust Lord’s first, studio album, Machine Cult, is full of riff worship. Timeless melodies, vintage tones and expressive guitar solos pervade every track. The album’s organic production, loud guitars, thick bass and punchy drums give Dust Lord a gritty, metallic, “garage” sound. With retro cover art, depicting a silhouetted woman beside a motorcycle, Machine Cult is what it is.

The album’s first track, “Laser Witch,” embraces stoner and desert rock. Vocals are rasped over bluesy riffs with full bass and commanding drums. The album’s title track, “Machine Cult,” is sludgy and slow and steadies the album’s pace. This song dooms. Finally, “Iron Effigy” sounds like a song from the 1970’s. Full of feedback, low guitars and swinging rhythm, this track exemplifies the album’s sound.

Machine Cult echoes early metal and classic, psychedelic rock. As a debut, this album is full of potential. Dust Lord’s heartful riffing and unapologetic channeling of influences merit Machine Cult a replay.

Because I honestly wanted to hear more Dust Lord and can’t resist cover art, I listened to one more album. This one is decorated with comic-book style artwork.

A dystopian rogue wanders a deserted wasteland where only buzzards survive to swarm cloudless skies. Thomas Self’s cover art perfectly pairs with Dust Lord’s sophomore album, Teethcutter. This album is crustier, sludgier and more original than their first album, Machine Cult. Its sample-laden production is cleaner and louder, while sounding just as authentic as Machine Cult. The album’s title track, Teethcutter,” starts fast before wailing vocals overlay a slower, repeating riff. Epic harmony, feedback and fuzz breaks the repetition. The album’s next track, “Astigmatism,” features upbeat rock ‘n’ roll. A psychedelic guitar solo leads abrasive riffs to their final notes. “Gilded Ruins” sounds like it could’ve been written in the 1970’s or 80’s. The song is instrumentally well-composed. It alternates between classic metal and noisy sludge, gradually slowing to a heavy end.

With a second album, Dust Lord cultivated originality from old-fashioned doom, sludge and stoner rock. Teethcutter emphasizes the band’s gnarly riffs and rolling, pounding rhythm. The album is fun and doesn’t take itself too seriously.

The wizard casts a spell. Miasmic Purple Smoke engulfs listeners, compelling regular rotation. As the wizard meets a powerful foe, Four Tales of the Strange: Bog Wizard vs Dust Lord offers glimpses of each band. This album’s tracks are long, slow and heavy - excellent doom. Dust Lord takes a nostaliga trip through the band’s debut album, Machine Cult, and lands in a desert with its second, Teethcutter. Albums like these help keep metal alive and I look forward to hearing more.

Playlist:

“Torquemada 71“ - Electric Wizard “Barbaria“ - Bog Wizard “Devoid of Redemption” - Pallbearer “Miasmic Purple Smoke“ - Bog Wizard “Horned Goddess“ - The Sword “The Void Beckons“ - Bog Wizard “WIZARD” – Castle Rat “Career Opportunities” – Dust Lord “Dragonaut” - Sleep “Gelatinous Cube” – Bog Wizard “Death’s Door“ - Uncle Acid and the Deadbeats “Laser Witch“ - Dust Lord “Seer“ - Witch “Machine Cult” – Dust Lord “Forever My Queen“ - Pentagram “Iron Effigy” – Dust Lord “Sabbra Cadabra” – Black Sabbath “Astigmatism” – Dust Lord “Unmask the Spectre“ - YOB “Teethcutter” – Dust Lord “Bedouin’s Vigil” - Om “Gilded Ruins“ - Dust Lord “The Bastard Son” - Monolord

-DefCuttlefish https://bogwizard.bandcamp.com/album/miasmic-purple-smoke https://bogwizard.bandcamp.com/album/four-tales-of-the-strange-split https://dustlordpartydoom.bandcamp.com/album/machine-cult https://dustlordpartydoom.bandcamp.com/album/teethcutter-2