NME "Unholy Death" LP Bathory Venom ORIGINAL PRESSING Private Death Metal SLAYER

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53

NO INTERNATIONAL SHIPPING!!!!
Starting the sale of a private METAL COLLECTION. Over the next TEN WEEKS I will be selling 40 records per week (about) so come on back! ALL genres of metal--private pressings, rare Death, Traditional, Thrash, NWOBHM, Black, EVERYTHING. 
SHIPPING: Domestic only, no International shipping! Repeat: NO INTERNATIONAL SHIPPING. only US DOmestic. $5 will get you up to THREE records at no extra cost (Double lp's count as TWO). So bid on one, bid on THREE. Shipping includes a PRO MAILER with cardboard backing and a TRACKING NUMBER. I am an old collector, I know how to pack and ship!
 Record, insert and cover are all EXCELLENT! 1985 LSR Records 1st Press of this early DEATH/THRASH CLASSIC!!! NME's "Unholy Death" is just that==unholy death metal like HELLHAMMER, VENOM or early Bathory, Slaughter, Bulldozer and Abigail!!! AMAZING..Read on to get the scoop on this amazing lp if you dont know the story already:
Brian Llapitan (original vocalist) reunited with the band in summer 2004. Brian Llapitan also has formed a side project with Luvleggs from Mace to form a metalpunk band by the name of Gödspit.

In April 1986, Kurt was accused of killing his adoptive mother with a hatchet and scissors while on drugs. He claimed that he thought he was a robot. He wanted to open up his mother to see if she was a robot also. He was charged with second-degree murder and was sentenced to 12 years in prison. He was released early in 1994 and that was when NME's music took a change.

On March 9, 2005 original founding member Kurt Struebing was killed when he was crossing a bridge in Seattle, Washington. His car and about 3 other cars were stopped at a barricade on a swing bridge which was open letting boat traffic go through the Duwamish Waterway. Witnesses report that his car suddenly pulled out of line, burst through the stopped traffic and ran through the barricade falling 60 feet to his death. They are not sure if he was under the influence or suicidal.

Trivia: Euronymous of Mayhem was a big fan of Kurt Struebing and NME's Unholy Death album.
At the time of its release, this album represented the ultimate in raw, truly EVIL black Metal. The type of music that would send posers running and screaming back into the closet to listen to those Sheena Easton and Duran Duran albums (or slap on a Judas Priest record so they could at least PRETEND to be heavy.) But I can think of no other band at this time that was as truly malevolent and evil sounding as these guys were.

A lot of people have compared this to Venom, and certainly those comparisons are valid. Both bands share a similar songwriting style and image. NME weren’t really a speed or thrash band in the sense that, say, Bathory, Slayer and Possessed were. Rather, much like Venom and Hellhammer, they relied on a series of mid-paced, malevolent grinding riffs and allowed the overall heaviness, atmosphere and distortion to carry the sound. However, the guitar sounds on here are far darker and more corrosive and sinister than Venom ever were; its actually somewhat indescribable: eerie and heavy at the same time. The playing is none too complex, but there is more going on than just the simple riffs. The guitar has way more reverb and distortion on it than Venom or Hellhammer, and the guitarist deliberately channels the feedback to accentuate the playing. The overall effect is one of simplicity and power, getting the most power out of each single note, mimimalism at its best. And the production values are none too pretty either but that’s the point, you just don’t want them to be. The raw minimalist production actually suits this music perfectly; everything cranked up to ten. The whole thing is paradoxically beautiful in its very rawness and ugliness. 

Mentioning individual tracks on here is pointless because to be honest, I would recommend just about every single one of them. This album represents what "True Black Metal" was before it came to be irrevocably changed by the Scandanavian bands of the early 90s; before Black Metal became about tremolo-picked riffs, hypnotic drumming, cackly-shrieky vocals, and quasi-melodic chord progressions based on major/minor third intervals. Before all of that, THIS was the formula- what people would nowadays toss terms like “True” or “Cult” at, except those terms didn’t even exist back then. And with the possible exception of Hellhammer and a tiny handful of obscure bands, almost nobody captured that sonic malevolence better than these guys did on this record.