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Lots of drone albums loom in the racks, sure. But if you, listener, perceive this long-playing record as whatever drone or doom metal, is, then you, Madame Blahg, are as simple-headed as Bush Jr. doing lines while watching a hurricane on CNN. You can hear this trio feeling each other a year ago, as these A and B sides spin in '08 in your living room: a triad with cleared heads and no preconception, speaking to each other with demonic waves, while not once looking at the other's eyes or hands nor saying a word. Not bad, considering they withstood a night of broken glass with Texas mental-case bands at the club just hours before.

So why did they do this? I'll tell you why, Jimmy Somerville: because like Asia, they were a group in the heat of the moment who shat out the most bone-crunching session of glistening murk that this state has experienced since Roky and Josefus jammed some heavy-mental during a '72 rehearsal (Google it, killer bootleg).

Maybe something should be said about what it sounds like. Shit. "Having a half-hour orgasm right before a natural disaster's about to kill you, while an early Celtic Frost instrumental 7-inch plays at 16rpm?" Maybe. But this one's 33, for the record.

From their nihilistic, sheer-noise-based beginnings six-plus years ago improvising soundtracks to silent horror classics and '60s physics animations, Grey Daturas have morphed into a surreal auditory nightmare, blending dark, pulsating drones, slow, low-end sludge riffs, crushing percussion, and walls of ear-torturing noise. Three and a half years after the release of their globally acclaimed second album, Dead in the Woods, and following numerous EPs, split and collaborative releases with the likes of Yellow Swans, Monarch, Bardo Pond, and Wolf Eyes, Grey Daturas unearth their finest and most challenging work.

Between Dead in the Woods and Return to Disruption, the most obvious difference is the improved production values. Where Dead in the Woods took a modest month to complete on eight-track/quarter-inch tape, Return to Disruption spanned a lengthy eighteen months on 24-track/two-inch tape. The band once again teamed up with Melbourne-based recording engineer Neil Thomason to track and mix drums, guitars, bass, and various other sounds and objects such as contact-microphone feedback, scrap metal, hardware materials and tools, violin, saxophone, and electronics. Following three months with Thompson, the remaining fifteen months (between numerous tours of the USA, Europe, and Australia) were spent painstakingly post-producing and collaging together the original tracks from the sessions, with the final mastering touches of Pig Destroyer's Scott Hull, to what has become the vast and consistently flowing epic that is Return To Disruption.

30-second MP3 excerpts:

Beyond And Into The Ultimate
Return To Disruption
Balance Of Convenience
Answered In The Negative
Undisturbed
Demarcation Disputes / Unity
Neuralgia

If you have a recent version of iTunes software on your computer, clicking on the link immediately below should open the iTunes application and take you to that album's iTunes page-- where you can listen to samples and buy this album, or individual tracks:

Go to iTunes to browse downloads for Grey Daturas "Return To Disruption"

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