The depressive counterpart to the manic Mantis Antler, Everybody's Unconscious drops in tempo by 10 bpm per track, starting at 90 and ending at a miserable 10 bpm. And it sounds like a nightmare: full of writhing synths, distortion, inhuman noises, and overwhelming dread. Truly bizarre and absurd industrial pop on heavy sedation. Like committing suicide all alone on Christmas Eve and slowly leaving your body, only to find that there's still no way out.

Irreparably damaged psychedelic metal and nightmarish folk music with mandolin, bells, lap harp, recorder, synths, and three vocalists. Sounds like people who have never heard music playing Black Sabbath covers with detuned instruments through broken amps.

"A bipedal humanoid rat releases a sandpaper-throated screech as most of its internal organs exit through a huge hole in its furry back. Large and small intestines launch forth in whip-like arcs, briefly straightening into perfectly even ropy lines. A massive snail-demon explodes into fragments of confetti: red, green, blue." Bizarre experimental raw black metal with synths, mandolin, and ugly industrial noise. Extremely harsh production and sound design. Cold angular riffing, strange effects processing, and broken, mournful structures. Lyrics detailing surreal warfare and death in haiku-like fragments.

Jute Gyte's sophomore release combines the dark ambient of his debut Apidya and the dense noise of his recent miniCD releases with IDM, spacey synth work, and treated ethnic percussion. Droning mechanical loops collide with mangled breakbeats, electric guitar, complex polyrhythms, eerie synthesizers, layered harsh noise outbursts, and monstrous roars before detouring into bizarre upbeat organ interludes and oppressive ambient soundscapes. A wild and varied 78+ minute epic.

The Buzzard's back with their sixth album: Mantis Antler, a collection of summery pop, industrial brutality, and uniquely Buzzardian weirdness. It's a concept album in two different ways: lyrically, it chronicles the apocalyptic return of the extradimensional "goat kings" to Earth as observed by a heart-broken, suicidal alcoholic in California, and musically, each of the 24 tracks is 10 beats per minute faster than the last, starting at 70 bpm and climaxing at 300! This is a true Buzzard epic, containing the sweetest pop bliss they've ever created paired with constantly-increasing world-ending insanity. Get it while you still exist!

Creeping vivisection-nightmare bleak ambient with obscene noise blasts. "Black Sleep" circles nowhere forever on high frequencies and dead birds, "Empty Rooms" is synthetic failed-surgery at eight beats per minute, and the title track is 30 minutes of cold mechanical deterioration that means absolutely nothing. Best listened to at maximum volume in total darkness after committing suicide. True black machine exploration.

Recorded alongside Horse Machine in the summer of 2006, Underneath Rotting is an attempt to recreate the dark atmosphere of metal without using (real) guitars. Featuring cartoon music black metal, hip-hop beats and atonal violin, Godflesh-styled industrial metal featuring riffs created with voices, mandolin and turntable doom metal, brutal death vocals over saxophone lines, lap harp industrial grindcore, disturbing Angelo-Badalamenti-meets-Burzum instrumentals, harsh noise plus blast beats, and more. Hail to the True Intense Vampires!

Horse Machine, recorded alongside Underneath Rotting over the summer of 2006, is Pumpkin Buzzard's garage rock album. Featuring live drumming on an extremely minimal set (floor tom, snare, and crash cymbal) and ridiculously unhinged performances on guitar, mandolin, violin, piano, lap harp, synths, and drums, the Buzzard tackles doom metal, strange jamming, punk, noise rock, death metal, dreamy pop, acoustic funk, and more.

Satanic Mutant Kommandoes is a blackened death grind noise doom ambient cesspool. Mutated Satan-worshipping crab-beasts wage war against pathetic Christian scum to the sound of lambs being raped by black tentacles somewhere in the endless black void of space. Anti-music to annihilate the bastard Christ.

Pumpkin Buzzard's sophomore album True Shift is a concept album written and recorded over the summer of 2005. It is a tragic and surreal journey through industrial rock, bizarre funk, ambient, prolonged psychedelic jamming, world music, hip-hop, drum and bass, after-midnight jazz, and uniquely Buzzardian darkness.

Pumpkin Buzzard's Album-a-Day Compilation consists of the band's first three albums created under the Album-a-Day guidelines. All tracks have been remastered from their original recordings (which are available free at this site). The first AAD, American Jellyfish, is full of junk percussion and detuned electric guitar used to play pop, jazz, metal, doom, and trash. For the second, Vampire Rainbow, all voices were mangled with misused Autotune, turning them into bizarre screaming synths that wail over moody radio-friendly post-grunge with electronic beats. On the third AAD, Sunshine Synthesizer, the songs are all grooving bass, electro beats, strange noise, and Filosofem-style vocals, interspersed with live improvisations full of wacky percussion and impassioned wailing.

Pumpkin Buzzard's first official release compiles material from their extremely limited and out-of-print singles, splits, and comp appearances, along with previously unreleased material. The Buzzard's unique artistic vision encompasses everything from doom metal, gabber, punk, happy hardcore, noise, hip-hop, acoustic balladry, dark ambient, bizarre a cappella, modernist piano work, and Latin pop.