An Apple A Day – Fall Of Thera


We all know the saying “An apple a day keeps the doctor away”; in the case of the Luxembourgish band An Apple A Day this could not be any more wrong, because after listening to their brand new EP Fall Of Thera I almost needed a doctor for my aching neck! Let me tell you why that is the case.

The quintet has moved away from their old deathcore style and now plays modern death metal with minor elements remaining from their roots. I’d say that it’s a mixture that is appealing to both traditional metalheads but also to the modern crowd, but you be the judge of that.

The first thing that will strike you when you start listening to the six songs is the massive sound: I’m not kidding when I say that the band doesn’t have to fear comparisons to bigger bands because what they managed to achieve on this record is just amazing. The drums have a rich, yet not over-triggered, sound and the guitars will tear your ears right off the sides of your head.

But the close to perfect sound isn’t all there is to it: the drumming, mainly the double bass, will keep you interested all throughout these twenty-four minutes with its pounding rhythms and its groove. The same goes for the guitars which feature riff after riff of goodness, and some rather interesting solos.

The forte of this whole thing, to me, are definitely the vocals though. The singer constantly switches between (really) deep growls and screeches with some occasional pig squeals and clean vocals here and there thrown in for good measure. I’d even go as far and say that this endeavor grants him access to the hall of fame of Luxembourgish metal vocalists, if there is such a thing. But apparently the band wasn’t satisfied enough by their own singer, so they decided to get Sacha from local matadors Scarred to help out on the last track.

All in all, I’m going to go out on a limb here and say that this release is probably the one Luxembourgish (metal) effort of 2012 that you absolutely have to check out. And the time and place to this is this Friday, December 21st, at Rockhal in Esch where the guys will have their release party with support from Falling Promises and Lost In Pain. For more info check out the band’s Facebook page and if you want to get in the mood for the concert, listen to the song below!

[youtube http://www.youtube.com/watch?v=V6Z0KHEvu4M]

Interview with Steven C Miller

The first Steven C Miller “movie” I have ever seen was his short film Granny which was a really good start and impressed me a lot (read my review here). After Granny I lost sight of Miller and his work. Although I heard of his TV movie Scream of the Banshee (2011) I have never seen it. At this time I fell deeply in love with trash and B-movies and wasn’t really interested in anything else but then, by accident I read about him doing a remake of the 1984 slasher classic SILENT NIGHT, DEADLY NIGHT and he immediatly got my attention again. First of all because I am a huge fan of his very unique style with high recognition value and second of all because I just started getting into the oldschool slasher movies. After I saw SILENT NIGHT for the very first time I got the chance to do an interview with director Miller. Read on to find out what it is all about.

El Gore: Hello, thank you for agreeing to an interview. For those who don’t know you yet, could you introduce yourself?

Steven C Miller: Hey no problem! Sure. I am Steven C Miller, director of the film Silent Night.

E.G.: You are a horror movie director but also a father of a daughter. What are your thoughts on nowadays, modern, really brutal/gory horror flicks and children watching them? What is your opinion on censoring movies?

SCM: I’ve always thought horror was pretty brutal and have been very careful what my daughter sees and doesn’t see. All kids are different. Some mature faster and can handle the material at an earlier age. I think it is a parent’s job to teach their children that movies are a form of entertainment and should not be looked at as reality. Because it is the parent’s job, I feel censorship is weak and movies should not be edited for society’s sake.

E.G.: How did your most recent movie,  the “remake” of Silent Night, come to be? Was it a thing you’ve always wanted to do or were you approached by a studio?

SCM: I’m a huge fan of the original, so I went after the project for a few years. It bounced around from different producers and finally ended up with Richard Saperstein. Richard happened to be at Dimension when my first film (Automaton Transfusion) was bought there. After Richard left Dimension, he took the rights to Silent Night, Deadly Night with him. He was a fan of mine and gave me a call when he got a script done. I pitched him and Shara Kay my take, then off we went.

E.G.:A question you probably can’t hear anymore but what were your experiences working with the great Malcolm McDowell (Clockwork Orange) and the wonderful Jaime King (Sin City) in Silent Night.

SCM: Both were amazing. Jaime is such a fantastic lady and always comes prepared. She loves to be as involved as she can be with the evolution of her character. It’s really great to see her get so into every emotion she has on screen. Malcolm is just a badass. He really is the nicest guy and the most professional. He gets the genre and knows how to embrace it. I love watching him work. He is an icon.

E.G.: Most of the time you can read that your flick is a remake of the 1984 Silent Night, Deadly Night but lets be honest: there is not much left besides the sadistic Santa, the title and the deer-head kill. What was your reasoning behind omitting most of the content from the original?

SCM: Well, honestly it was already like that when i got the script. But that was a huge draw for me. I didn’t want to make the same film everyone had seen or even attempt to do something that felt dated. I wanted to give the series new life and re-imagine this classic for a new audience.

E.G.: Has everything turned out exactly how you wanted it? What were the biggest challenges?

SCM: No. I think in independent film it’s close to impossible to get it exactly how you want it. We shot this film in 17 days and that was immensely challenging. The biggest would have to be the woodchipper day. I literally had 4 hours to shoot that entire chase and kill sequence. Its a massive set piece and I wanted to make sure I did it justice. Luckily I had an amazingly fast crew and great talent to keep it moving quickly!

E.G.:Before shooting, did you watch the original again?

SCM: Many times. I really do love that flick. I mostly watched Friday the 13th part 2 though. Was a huge inspiration for this film.

E.G.:I read that you wanted to do a sequel? Are there any plans yet and why do a sequel in the first place?

SCM: I would love to do a sequel. There is talk if the movie is received well and the numbers make sense. I think it would be fun to expand on the mythology and really take this Santa to a place we haven’t seen before. There is a ton of possibilities for this series and I feel it’s worth exploring.

E.G.:Silent Night had a very limited theatrical release on November 30th. Are you happy with that limited release and the fact that the movie came out on DVD pretty fast?

SCM: As a filmmaker you’re always happy your film is seeing the light of day, no matter what the size. But I will say I was disappointed because I felt the film deserved a much wider release and I thought the fans would have really turned out to see this one on the big screen.

E.G.: I noticed that you inter alia paid homage to the iconic “Garbage Day” scene from Silent Night, Deadly Night Part 2. Generally speaking, is it important to you to include such little details that only fans of the originals understand?

SCM: 100%. There are many of those in the film. Including one to the original Black Christmas. I want the fans to know I’m also a fan and I’m not trying to ruin their beloved film. Im just trying to have fun and give a new generation something different.

E.G.: The colors and the light worked really well and made this film to something really special. Was this something you put a lot of focus on or rather a natural process?

SCM: Joseph White (the DP) and I really focused on colors pretty heavily in pre-production. We wanted the film to stand out from other modern slashers and have a very vibrant feel. I love color and it is apparent in this film that I feel horror films can be shot this way and still have a great creepy atmosphere. I just love cinematic movies and that was the goal on this film.

E.G.: What can you tell us about your future projects like Motel Hell?

SCM: Motel Hell is something that has been in development hell for a while. Hopefully MGM will remember it’s there and figure out what they want to do with it. Other than that my film Under the Bed will be hitting theaters summer 2013 and I’m working on a few other things that I’m hoping get green lit very shortly!

E.G.: Anything else you would like to add?

SCM: Just to thank everyone for supporting the film and indie horror. Its because of the fans that films like this will continue to be made. Really appreciate everyone!

As usual we want to thank you for spending your time answering our questions. To all the readers: If you are into oldschool horror but are open towards modern stuff, you should absolutely give Silent Night a try. Check out the trailer below and buy the movie here.
[youtube http://www.youtube.com/watch?v=RhLw3GmHQqA]

Woe, Is Me – Genesis


As you might have guessed from last week’s review, the other band I was talking was Woe, Is Me. This week it’s time for me to throw in my two cents on their new record Genesi[s] to see if their two new singers are worthy replacements and if the band has managed to put out a good record despite its many line-up changes. Enjoy!

After a short intro followed by a song, that feels like another intro, the record kicks off with A Story To Tell, a song about the difficulties the band has faced in the past two years and how they have overcome them. It’s followed by a song which features Caleb Shomo, the singer of Attack Attack!, and deals with the struggles the band had to endure since their last record Number[s]…the next song pretty much has the same theme, and so does the rest of the eleven songs. This is the first negative thing that really stands out to me: the album focusses too much on revenge and the “we-made-it-anyways” theme is just annoying after a while.

Musically, it’s not bad in any way but it just lacks that extra spice to make it stand out among your average metalcore record. The production is very modern and almost a bit too overproduced, even for me. The second thing that left a sour taste in my mouth was the fact that the same riff seems to be used all throughout the record and makes most of it sound like one giant breakdown; only in the chorus the songs start to shine because those actually have quite catchy melodies.

At this point I’d like to take back a word from the first paragraph: the new singers are not just mere replacements; they stand their ground very well and I’m going to go ahead and say that the clean vocals are a tick better than before. Apart from the earlier mentioned guest vocals there is also an appearance by Matty Mullins of Memphis May Fire.

All in all, these thirty-one minutes ended up being a bit of a let-down for me, if it weren’t for the highly enjoyable clean vocals. However, I will not turn my back on Woe, Is Me but instead follow their progress further and hope that this record was just a slow new beginning for a bright future. You can check out the band’s Facebook page for more info and listen to the song below.

[youtube http://www.youtube.com/watch?v=GttItGw-HVo]

Crippled Black Phoenix – (Mankind) The Crafty Ape & No Sadness Or Farewell (double review)

It’s getting winter again, 2012 is coming to an end soon, and damn, I think we forgot something here. It has been a year full of stoner and metal bursts for most of the El Gore scribblers. I personally like to switch a bit into more melodic and progressive music these days, and here we are: Crippled Black Phoenix, a band I love and cheer for their 2010 release I, Vigilante, brought out an LP in the beginning of 2012 and an EP last October! What an idiot I am! Let’s go to work!

(Mankind) The Crafty Ape was released in January this year as a double LP concept album, and I must say, I didn’t like it: too interminable, not enough I, Vigilante. Ignorant me! There is way more progressive and way more Pink Floyd than ever in the work of Crippled Black Phoenix and you have to invest a bit time into it. In fact, the LP turned out to be a grower, although you have to display lots of goodwill when you’re still focused on the 2010 release, which of course is pretty unfair.

The dark and apocalyptic atmosphere continues to be omnipresent although the deepness and the drama (and post-rock elements) make way for many more progressive, psychedelic and also pop experiments. The album’s highlights are often lying between the main hooks, but they aren’t invisible in any way. Synths and samples between the songs, stringed instruments, instrumental parts and especially background choirs singing about Armageddon constitute the typical and lovely Crippled Black Phoenix sound.

Furthermore they also opened the door for more guitars (Laying Traps) and also for Daisy Chapman on the microphone, who sounds more mature than she did when singing Of A Lifetime in 2010. Some songs perfectly find their end and (even more important) their purpose, others are whirring around, not knowing where they belong. Making everything fit with each other is a huge challenge when doing such a long piece of art, a challenge that the group from Bristol sometimes fails. Nevertheless, they still know how to surprise their listeners (King Crimson says hello in Born In A Hurricane), which is an important element and a must do for long progressive outputs. Although I know (and I already wrote it) that it’s unfair to permanently compare this LP to I, Vigilante, one other thing unfortunately has to be mentioned: the vocals in general have lost a lot of energy, which is surely due to the love of experimentation. It is the progressive approach which guides the vibe through the songs this time, the symbiosis between vocals and music seemed more perfect in 2010 though, also compared to the ups and downs on this album.

(Mankind) The Crafty Ape is a very solid LP, which loses its focus sometimes and which again doesn’t reinvent the wheel (Pink Floyd is just the most obvious inspiration, there are many others, most situated in the last 40 years of progressive and rock music). Still, Crippled Black Phoenix still sound fresh and playful and they certainly aren’t just a homage band. In the end it seems that I missed something last winter.
[youtube https://www.youtube.com/watch?v=SLiR_MT6toQ]
Recommendations: The Heart Of Every Country, Get Down And Live With It, A Letter Concerning Dogheads


October 2012. Crippled Black Phoenix present a new singer besides their new EP (which is already understated considering the 50 minutes running time). Any news or reasons about the changes? Nope. The band from Bristol sometimes is as mysterious as their music is. Let the sounds do the work, not the band history. Good approach.

The opener of No Sadness Or Farewell is nothing but Crippled Black Phoenix at their best. Melodies of the Last Day combined with post rock tunes and no vocals needed at all. However, post rock by no means has become the golden thread again; the band is experimenting with very melodic, songwriting and pop parts. This sometimes arises a feeling of total relaxation and sometimes it kind of disturbs the lovers of old releases (I know, I’m getting unfair again). One way or another, John E. Vistic reveals new possibilities for the Phoenix‘s sound, although this new poppish approach now and then appears to be too theatric and sometimes even a bit kitschy when it comes to my personal taste.

Talking about Miriam Wolf, the new female vocalist, one must say that her performance on the EP is really lovely, bringing another taste of melancholy and great psychedelic parts into the whole farewell concept. Despite all the new influences, the core sound hasn’t really changed, but sometimes accepts an unjustified subordinated role. Jonestown Martin crows with a dramatic monk choir combined with experimental and synthesised vocals, followed by a typical climax joined by even a few electronic tunes. You decide whether the beginning again may be too corny, for the author this is one of the strongest moments of this release.

In the end, there’s the question about “who shall protect us from our protectors”? Who shall protect Crippled Black Phoenix from experimenting too much? Let’s hope that nobody will ever dare it. Although I still miss the deepness and greatness of 2010, this band still is worth a listen after every step they take and still one of the most underestimated post rock, progressive and experimental bands around.
[youtube https://www.youtube.com/watch?v=wTw_puqDtms]
Recommendations: How We Rock, Jonestown Martin.

So, which of the two 2012 releases is the best? They can’t be compared (standard answer, but it perfectly fits). If you ask for the author’s preference, he would choose (Mankind) The Crafty Ape.

Interview with Damien Leone

El Gore is very proud to tell you that we did an interview with the awesome director/FX artist Damien Leone. Luc just recently saw his movie: Terrifier (2011) and reviewed it on this site (check it out here). But we have to tell you that we weren’t quite satisfied and we wanted to know more about the person behind this amazing horror short. We decided to contact Damien, who immediately answered the mail and agreed on doing an interview. So be prepared for some interesting Q/A and have fun reading.

ElGore: Hello Damien. First of all I want to thank you for taking your time to answer a few questions. How are you?

Damien L. : I’m doing very well. This is my first interview so I’m very excited!

E.G.: When I first saw Terrifier I was speechless. I did some research on the director but couldn’t find any satisfying information. For all the El Gore readers who do not know you yet, can you introduce yourself?

D.L.: Wow. I’m really thrilled to hear you enjoyed it so much! I’m 28 years old and I’m from Staten Island, NY. In case you couldn’t tell from Terrifier, I’m a huge horror fan. I’ve been making short films and creating monsters since I’m about twelve years old and I’ve never stopped.

E.G.: Do you have a clown obsession or even Coulrophobia? (A/N Art the clown is the main character in The 9th Circle short, in Terrifier and in the new The 9th Cirle movie)

D.L.: No, I don’t have coulrophobia or any particular obsession  with clowns but I totally get why they’re so horrifying!  Everything about a clown is unnatural, from the way they dress to their exaggerated gestures but I think the creepiest aspect is the white face make-up. For one, you don’t know who’s really hiding behind the make-up and two, a white face is truly haunting because I think, subconsciously, it’s synonymous with death. Terrifying even without a hacksaw.

E.G. Is there a dvd release planned for Terrifier?

D.L.: There are no definitive plans yet. I made it with the intention of throwing it right on Youtube after the festival run and it’s been gaining a really awesome fanbase out there. Maybe when my upcoming feature is released on dvd, I’ll include it with the extras.

E.L.: Speaking about your new project: The 9th Circle is a full-length movie, am I right? What can you tell us about it? Any release Date?

D.L.: Yes, it will be my first full-length feature. We are still in pre-production and trying to secure funding. It’s sort of a spin-off from Terrifier but the only real correlation is the clown. I think a film like Terrifier only works as a short. It’s a simple and direct cat and mouse tale that works great in twenty minutes. To expand that into a full length would be doing it a disservice in my opinion so I’ve come up with a completely new story. As far as The 9th Circle plot, I can’t go into too many details without revealing some secrets but it does involve a trio of demons on a mission from hell and a young woman who may be the only person who can stop them.
This film has a much more intricate plot than Terrifier and a much more complex protagonist. There are also two new villains who are as sick and twisted as Art the Clown. All I can say is, fans of Terrifier will not be disappointed. There will be plenty of scares, a great story and tons of gore. I can promise you kills that you’ve never seen before. Since we’re still in pre-production, we don’t have a release date but I’m hoping to have it finished by fall of 2013.

E.G: You already did a short called The 9th Circle. How are both films related?

D.L.: Well aside from Art the clown, there is a satanic element in the short film which will be an integral part of the feature as well. That’s where the title comes into play. Other than that, there are no real similarities. I’ve basically just taken elements from both shorts and incorporated them into an entirely new idea.

E.G.: You are a special effect (makeup) artist and director, what do you like doing more. Do you see the two jobs as separated things or do you always want to do both on your (future) movies?

D.L.: That’s a great question. I look at it this way, if I’m making a super low budget film, I don’t mind doing the fx as well as directing because I’m pretty good and I won’t charge myself. But if I ever get to work on a Hollywood film, I would insist that a crew handle the fx. It’s too much work to do both and ultimately I prefer directing. It’s more rewarding, especially when it’s your own story.

E.G.: What are your influences as a director and as a special effect (makeup) artist?

D.L.: I’m influenced by so many things and so many people. I can go on and on mentioning names and films but the thrill I get when someone is emotionally affected by a film I direct or a special effect I create is what really inspires me to keep going and to keep improving.

E.G.: Gregory Nicotero or Tom Savini?

D.L.: I love Greg Nicotero. The man’s a living legend in the industry but I would be lying if I didn’t say Tom Savini is single-handedly responsible for my being in this field. When I was really young, I discovered a VHS called Scream Greats. It’s an hour documentary on Tom Savini’s fx work. Funny thing is, Greg Nicotero is in the documentary as well because he was Savini’s assistant! This was the first time I saw someone create the monsters. It blew my mind and from then on, I was experimenting with make-up and blood pumps. This led to making short films in order to showcase the make-up which ultimately led to a love of filmmaking in general.

E.G.: 1 remake, 1 perfect cast, all the money you want. What movie would it be, who would you cast and what would be your job?

D.L.: Honesty, that’s a tough one. I am not a fan of remakes at all so nothing really comes to mind but I would literally chop my finger off for the opportunity to direct the third Conan movie they’ve just announced in which Arnold will reprise the role. The original Conan the Barbarian is one of my favorite movies and fans have been dying to see this chapter in Conan’s life. The problem is, I really don’t think they’re going to capture that raw power of the original. But I could! Oh, well. I will remain cautiously optimistic.

E.G.: What is your opinion on the current idea of remaking every single cult movie? I recently read that there is a new Night of the Living Dead remake planned.

D.L.: Oh, I’m sure they are and it wouldn’t be the first, although I really do like Night ’90. Like I said before, I’m not a fan of remakes. I think this current trend is insulting and disrespectful to everyone who poured their heart and soul into the originals. These are classic films being remade. Is anything sacred? I’ve yet to see a current remake even come close to surpassing the original. It’s all about money. Bottom line. I honestly think Hollywood is at an all time low. When you look at the ratio of good films to bad it’s really disheartening.
I hear they’re already remaking American Psycho! That movie isn’t even fifteen years old! It’s a cult classic that’s still finding an audience. Give these movies a chance and the respect they deserve. As you can see, you hit a nerve.

E.G.: Is it horror you want to do all your life? Or do you also want to work on other movies or do you simply do not care?

D.L.: I wouldn’t have a problem making horror films for the rest of my life but I would love to work in many different genres. I’m a big fan of science fiction and action films. I also love movies that deal with crime and antiheros. You can be sure that anything I do will be intense, violent or insane.

E.G.: What are your plans for the future?

D.L.: Make movies! Luckily we’re in a time when filmmaking can be done for very little money and filmmakers can self distribute on the internet, so even if I don’t break into Hollywood, I’ll keep making my dreams a reality on a shoestring budget.

E.G.: What can you tell us about the equipment you use?

D.L.: Whatever the budget allows. Right now the budgets I work with are super low so we’ve been using the canon 5d & 7d. I have no problem with them and I fully embrace digital. It’s at a point now where audiences accept that HD look which is a blessing for an indie filmmaker.

E.G.: Damien Leone the movie fan: CGI or Claymation?

D.L.: I certainly appreciate the artistry that goes into claymation but CGI hands down! Even though I’m a practical fx make-up artist, I love CGI when it’s used properly. I think when you use practicals and CGI together, you get the best result. Just look at Jurassic Park. That film was made twenty years ago and the CGI mixed with Stan Winston’s animatronics look as good as ever.

E.G.: Any last words?

D.L.: Well, I want to thank you for such a terrific interview! Really great questions. I want to thank your El Gore readers and the fans of Terrifier for supporting it and leaving so many awesome comments. If you want updates on The 9th Circle, check out the Terrifier Youtube page or follow me on twitter @damienleone and @9thCircleMovie.

Thank you for the interview Damien and we wish you all the best for your future. We are looking forward to seeing The 9th Circle!

Issues – Black Diamonds


Today’s review will constitute the first part of a comparison of two different records. The reason I’m doing this is because today’s record features several ex-members of the band I’m going to review next week, mainly the two former lead singers. So, let’s start, shall we?

Issues was formed in mid 2012 and quickly decided to release an EP called Black Diamonds in order to show their fans that they’re still alive and full of inspiration. An endeavor that, in my opinion, definitely succeeded.

After an electronic-dubsteppy intro, which they could have left aside, you are treated to the absolutely phenomenal King Of Amarillo: a song that has managed to cause quite a stir in the metalcore community because it’s an open diss of the main member from the singers’ former band. It starts off heavy and switches into a chorus that is dominated by very soulful clean vocals followed by a hip-hop influenced part that, oddly enough, fits perfectly into the ensemble.

The rest of the six songs follows a similar formula but each song has its own recognition value, which is something I appreciate a lot since it is virtually impossible to get bored even after the umpteenth listening session. But the, hands-down, best song among these twenty-two minutes is the fifth one: Love. Sex. Riot.. Not only does it have a catchy as hell melody but is also enhanced by guest vocals of the Attila singer, Chris Fronzack, who adds a special flavor with his fast and brutal vocals.

On an instrumental level the album has a very modern sound to it with a couple of “aha” moments such as sporadic use of turntables. Guitar- and drumwork are rather groove orientated and complement the two singers perfectly. To round things off there is a hidden track which is as close to hip-hop as the EP gets, with guest vocals of Snow Tha Product.

All in all, I can only say that this first release by Issues is a great start and I’m excited for what they can bring to the table in the future, because the only thing that’s “bad” about Black Diamonds is the length. Be sure to check back next weekend for part two of my comparison and in the meantime, check out the band’s Facebook page and the video below.

[youtube http://www.youtube.com/watch?v=6VuPEdTg7_k]

G.I.S.M. – Detestation


I’d like to start this review by thanking Luc for introducing me to the band. I had heard of G.I.S.M. before but I am the type of guy who does not listen to mp3s. I just do not care for files on a computer. I like to buy a Cd or vinyl and sit down, read through the booklet, look at the cover, check online for information on the band/release. I like to be busy with the music, digest it and be part of it.

I first heard of the band when reading an interview with Lee Dorian on his early influences. He mentioned Sakevi being an influence on creating his vocal style for Napalm Death. This must have been sometime in the mid 90s and, like with many other Cds back then, it was just impossible to get ahold of G.I.S.M.. So I pretty much forgot about it until recently when I decided to look for more D-beat/crust/anarcho/hardcore bands similar to Discharge. Luc mentioned G.I.S.M. and sent me a youtube link to check out and I just fell in love with the weirdness of it all.

Savage, fast, weird, melodic, brutal…these and many more adjectives describe what goes on in the mere 20 minutes of the first G.I.S.M. album. To pinpoint a certain song as “typical” is impossible as they are barely 2 minutes long and differ quite a lot. Endless Blockades for the Pussyfooter and Nih Nightmare are considered classics, and rightly so, but I find those songs to be more melodic and tame when compared to A.B.C Weapons or Nuclear Armed Hogs.

The band plays somewhere between (early) Discharge and early Iron Maiden. The aggression and hardcore of D-beat mixed with the melody and solos of heavy metal, and it works perfectly.

Sakevi sings in a style close to death metal and grindcore bands that came half a decade later. Randy is an unsung guitar hero (like many Japanese guitarists) never sounding cheesy, always on the edge and ready to riff off your face or put Randy Rhoads to shame. The album cover screams grindcore!

Sadly the albums are nearly impossible to get. I paid a lot for the unique official Cd press of DETESTation and SoniCRIME Therapy. However there are quite a lot of bootlegs out there, most include the whole Detestation album and the compilation tracks. Many of those bootlegs also sell for a lot.

I would recommend getting the Detestation bootleg vinyl that is being sold on eBay for around 20 euros. That is the cheapest way to own Detestation. The only official Cd press sells for over 100 bucks on eBay, the vinyl is on eBay right now for 400 bucks. Either way, this is a must have!

[youtube http://www.youtube.com/watch?v=6BYOnhN4HoE]

PS: Yes those are Swastikas and Hitler on the cover. The band used those to shock and are not Neo-Nazis.