This post was originally published on time does not rest. Enjoy:

One of Czechia’s most famous tourist attractions is the Sedlec Ossuary, located in the town Kutná Hora, about 45 miles east of the country’s capital Prague. The place is often refered to as bone church or bone chapel, and that for a reason:

The Sedlec Ossuary contains the skeletons of approx. 40.000 people (some resources say up to 70.000), whose bones have in many cases (about 10.000) been artistically arranged to form furnishings for the chapel. When you enter the small, inconspicuous portal you don’t have very much time to prepare yourself for the sight: Due to the small size of the building (it’s really just a chapel) and the fact that there are no vestibules of any kind you’re instantly faced with the first decorations, all made of human bone.

Right after the entry a short stairway leads downward. To the left and right there are two huge, probably about 5.6 ft tall chalices made of bones. Downstairs there’s the enormous chandelier, which supposedly contains at least one of every bone in the human body. Underneath there are four pinnacles, each assembled with 22 skulls. The whole chamber features various garlands of skulls and bones. READ MORE…

CVLT Nation is honored to present you a totally new song titled Filth by DEPRAVATION (from Giessen, Germany), which will be released on the band’s upcoming full-length record II: Maledictvm. The album is going to drop via Dark Omen Rec., Sälly Rec. and Life And Death Rec. in a few weeks.

DEPRAVATION‘s sound displays influences ranging from classic Clevo-Hardcore to filthy Death Metal, very dark, very angry and mercilessly heavy. Shit’s so brutal you better reserve a bed in an hospital near you, because a serious whiplash is the most harmless effect this will have. Keep your eyes peeled for this.

Bring on the Filth:

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By Rachel Hartigan Shea via National Geographic
Photograph by Charles Fréger

You’ve Always Meant So Much To Me is Thrill Jockey’s latest record to be released onto the world and it’s definitely a veritable feast for the ears. Under the pseudonym of Wrekmeister Harmonies, this music is the creation of JR Robinson and his collaboration with notable guests such as Bruce Lamont, Jef Whitehead, and Sanford Parker to name a few, all exploring different aural vistas in the shape of one 38 minute movement.

Originally this collective gathered in the Museum of Contemporary Art in Chicago to perform this meandering and avant-garde piece to a sold out crowd. Soon they congregated once again, this time in the studio belonging to none other than a certain Mr. Steve Albini, and recorded what would become You’ve Always Meant So Much To Me. Needless to say, the story is an interesting one and the music itself is even more intriguing.

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Via Dangerous Minds

Rebels: A Journey Underground is an excellent Canadian documentary history of “the counterculture” produced for television in the late 1990s and narrated by Kiefer Sutherland. It’s the work of writer/director Kevin Alexander, who did a great job with it. More people should see it. I’m happy to see that the series has been posted in full on YouTube.

The six-part series covers a wide swath of historical countercultures moving from William Blake and 1830s Parisian bohemians to mostly 20th century movements like hippie, Jazz, Beatniks, punk, and what was at the time the series was produced, the brave new world of cyberspace.

In the final episode, “Welcome to Cyberia,” I tell the story on camera of the now notorious corporate fuck-up that resulted in Disinformation receiving well over a million dollars in funding from John Malone’s TCI. This sum included $300,000 worth of marketing money—spent by yours truly in late 1996—that saw it featured on the Netscape homepage for five MONTHS. (If you’re too young to know what Netscape refers to, it was a 90s predecessor of the browser that you are using right now, so that was a very big deal. It was kind of like being on the homepage of virtually everyone who wasn’t logging on using AOL or Compuserve).

When Malone (an extreme conservative dubbed “Darth Vader” by Al Gore) saw Disinformation for the first time, his reaction, I was told by two people actually in the room, was “We paid for this anarchist bullshit? Get rid of it!”

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It’s time for another installment of Bad Tattoos…(Part I here)…I think with the number of people in this world inking their bodies with ridiculous and ugly shit, these installments could be infinite. Seriously, people must think it takes no artistic talent at all to permanently imbue their own or someone else’s skin with pigments – apparently, it doesn’t even take a steady hand. I am starting to think that there should be psych evaluations before a person can get a tattoo. Or at least a code of ethics for tattooists, like “no genitalia” or “no butt sluts”. But unfortunately or luckily for us today, no such ethics exist, so enjoy some more bad tattoos below…

It’s on today – our Philly homies Anthropic Records have just released their new comp, featuring new songs from Infiltrator, Sadgiqacea, Hivelords, Ashencult, Sunburster, Occult45, Plague Dogs, Ominous Black, +HIRS+ and Surgeon entitled ANTHROSPHERE Vol. IV. Anyone who buys a record right now will receive a free copy. Chris Grigg mastered this project and the artwork was done by Mike Wohlberg…Now it’s time for you to hear this unreal comp, because CVLT Nation has been given the honor of streaming it…So check it out ASAP!

CENTURIES from Florida is one of the few bands that dwell within the reach of Hardcore that are able to keep things highly interesting and distinct without receding too far away from the given principles of the genre. The band recently inked a deal with Southern Lord Records, so you probably might guess that CENTURIES are not exactly playing Pop Punk. Their all-go-no-slow approach shows an edge that has been immersed in frustration, angst and despair, accumulating in a dismal cloth of anger that covers all of their recorded material to date.

All this recorded output plus four new previously unreleased songs are to be found on the compilation Broken Hymns, which has been put out by This Charming Man and Halo Of Flies Records. Thus the record perfectly portrays the development CENTURIES underwent from their very first EP to the current day.

On the Creation/Extinction EP from 2010, all the trademark elements of CENTURIES’ sound are already present, but still had to be fully formed. Taking the same line as His Hero Is Gone for example, CENTURIES expressed their anger in an unaltered, pure matter, paving the way they were about to follow later on.

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AMENRA – SYNDROME – ██████ – Berlin, 5/5/13
Text & Photos by Sarah Kastrau

I’ve never been a fan of categorizing or analyzing music; to me it’s about emotions, not technique or style. I’m not good at it either, all my attempts to write a review for this show failed miserably. Words are just a crutch and they become even more useless when it comes to live shows. You’ve either been there or you haven’t. If you were there on this particular evening, I hope my photos will bring back some good memories; if you were somewhere else, they might give you a glimpse of what happened.

Bleak, depressing, anguished, tormented. All of these are adjectives that I could use to describe this next album I’m about to introduce. A blistering mix of black, drone and doom layered with some beautiful atmospheric parts, all blended perfectly that will leave you under the spell of Old Witch.

There isn’t much information about this enigmatic act floating around. All I basically know is that they’re a two member band (judging by the blurred pic featured on their Bandcamp) from the U.S.. I understand the reason for the band to remain so scretive. As far as I’m concerned, it’s not the fact that knowing exactly from where they come from that is going to change my opinion about them. What I’m really concerned about is this: how come such an enigmatic and unsigned band, coming from God knows where, releases one of the best doom albums I’ve heard this year? The music is amazing, awesome lyrics, well performed, full of rich textures and layers. I’m overwhelmed.

“Funeral Rain”, the track that opens the album, appears charged with an immense negative energy, like a dark cloud on the horizon approaching increasingly stuffed with drone noises that completely transform the landscape, darkening it and giving rise to a bleak and desolate scenario now dyed in tones of gray, dominated under a powerful doom that crawls at a snails pace. The rough voice fits perfectly in, this record, and judging by the band’s name I almost imagine it coming from the mouth of a an old mystical and sinisterly contorted figure, forgotten by time, wandering painfully through this forest made of anguish. From here, and during the next half hour we are about to lose ourseleves in the dark old forest that is “Come Come Mourning“.
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