Imprint Merch

Hailing from Detroit, MI, Never Ending Game carries on the tradition of the region's hardest bands with powerful, tough-sounding hardcore delivered with the same vitriol as local heroes Cold As Life and Pitbull.

Track Listing:

1. Evil Minds
2. Puppet
3. Just Another Day
4. God Forgives...
5. N.E.G. Jams
6. Bleeding
7. Stolen Life
8. Cemetary Dream
9. Every Day I Hate
10. 1 Of Those Nights

This is a pre-order item with an expected shipping date of mid September. Anything else purchased in the same order will not be shipping until these records are in stock and ready to ship.

2000: In Search of the Endless Sky, the anticipated new full length album from Fleshwater out September 5th on Closed Casket Activities.

Shaped across multiple studios and settings, Fleshwater tracked guitars and bass at God City Studio by Kurt Ballou with assistance from Zach Weeks, while drums were recorded by Kevin Bernstein at Mag Pie Recording Studio. Vocals were self-recorded by the band at home, before a final mix at God City Studios and a master by Nick Townsend of Infrasonic Studios. The album also features David Haik (Pianos Become The Teeth) on drums, whose session performance adds a rhythmic depth to the material.

The album follows the band’s 2022 debut We’re Not Here To Be Loved, a release that quickly gained momentum and carried them through extensive touring across the U.S., Europe, the UK, Australia, and Japan. Along the way, they shared bills with Deftones and The Mars Volta, and hit the road with acts such as Harm’s Way, Modern Color, and Ingrown—building a reputation for blending heaviness with melody in a way that is unique and nostalgic.

Leaning into both atmosphere and impact, Fleshwater pushes into new territory while keeping the emotional weight intact. It’s a step forward, but still unmistakably them.

Track Listing:

1. Drowning Song
2. Green Street
3. Jetpack
4. Last Escape
5. Be Your Best
6. Jerome Town
7. Sundown
8. Raging Storm
9. Silverine
10. Endless Sky 

Track List:

Side A
1. The Race
2. Again
3. Anxious Eyes
4. 1001
5. Destiny
6. Of More Being
7. Put Ourselves Away

Side B
8. Building
9. Two
10. Perfect
11. The News
12. Digging In The Trash
13. Wallpaper
14. Distraction

Offering fuzzy grunge-pop with doses of shimmering synths and emo angst, Ned Russin co-fronted Title Fight before halting in 2018 & Ned began playing music as Glitterer. Now a full band, Glitterer returns with Rationale combining 90s grunge, capital-R riffs a la The Stooges, & a keyboard lead that gives self-depre- cating melodrama., After relying more on synths for the entirely solo, home-recorded Glitterer LP in 2017, he involved collabora- tors on the crunchier Looking Through the Shades in 2019. This trend toward driving indie rock grit with '90s influences contin- ued on 2021's Life Is Not a Lesson and now Rationale.

Track Listing:

Side A

1. I Want To Be Invisible
2. The Same Ordinary
3. Plastic
4. Can't Feel Anything 
5. Big Winner 
6. Recollection

Side B

1. Certainty
2. It's My Turn
3. Just A Place
4. No One There 
5. My Lonely Lighting
6. Half Truth 

Tracklisting:
1. Raining in Kyoto
2. Pyramids of Salt
3. It Must Get Lonely
4. Sister Cities
5. Flowers Where Your Face Should Be
6. Heaven's Gate (Sad & Sober)
7. We Look Like Lightning
8. The Ghosts of Right Now
9. When the Blue Finally Came
10. The Orange Grove
11. The Ocean Grew Hands to Hold Me

Track List:

1. My Last Semester
2. Logan Circle
3. Everything I Own Fits In This Backpack
4. Dynamite Shovel
5. New Years With Carl Weathers
6. It's Never Sunny In South Philadelphia
7. Hostels & Brothels
8. Melrose Diner
9. This Party Sucks
10. Hey Thanks
11. Washington Square Park
12. All My Friends Are In Bar Bands

This is a pre-order item with a release date of November 14th. Anything else purchased in the same order will not be shipping until this is in stock.

In May of 1980, Mount St. Helens erupted and everyone in the Pacific Northwest was touched by its ash, its destructiveness, and its story, a shared experience that became an ash souvenir. Ash Souvenir is the collaborative album by Drowse (Kyle Bates) and Ragana (Maria and Noel), conceived in a shared sense of grief and collective memory rooted in the Pacific Northwest.

Ash Souvenir was originally commissioned by and premiered at the 2024 edition of Roadburn Festival in Tilburg, Netherlands. Afterwards, the trio recorded the album at the legendary Unknown studio in Anacortes, Washington.

Ash Souvenir confronts grief. During the writing process, Maria and Kyle were both in a painful, transitional period, moving back to the Pacific Northwest to be closer to struggling loved ones. This return home and the emotions it stirred echoed in Noel’s own inherited history. Their grandmother escaped occupied Latvia in the 1940s and began a new life in the United States, eventually spending her final 25 years in a hand-built log cabin deep in the woods outside Shelton, Washington. Surrounded by fir and aspen, she lived in quiet self-reliance, her days shaped by isolation and resilience.

The album combines Ragana’s heavy, emotionally charged metal with Drowse’s textural approach to sound. Across four long-form pieces, the trio’s voices and instruments move between stark intimacy and overwhelming intensity, culminating in a collective refrain: “there is nothing to lose.”

Ash Souvenir is a sublime experience, conjuring both the power of a devastating eruption and the eerie stillness that lingers in its wake, ashen memories drifting through night air before rejoining the earth.

Ragana have carved their niche as pioneers of the Pacific Northwestern queer black metal scene. They have released five albums since their formation in 2012, with 2023's Desolation's Flower as their first for The Flenser. Kyle Bates specializes in moody, glacial drone as Drowse, a vision that has spanned across five albums since beginning the project in 2018. His most recent, Wane into It, came out in 2022 on The Flenser, followed by a split LP in 2023 with Portland-based experimentalist Amulets.

Track List
1. In Eternal Woods Pts. 1-3
2. After Image
3. In Eternal Woods Pt. 4
4. Ash Souvenir

Deathconsciousness is available on cassette for the first time! The tape is professionally duplicated and comes housed in a black shell with a printed slipcase and j-card. 

In 2008, Have A Nice Life released their now cult classic Deathconsciousness LP to a whimper and critical non-interest. Six years after its release the band followed up with 2014′s stunner The Unnatural World, and by then Deathconsciousness had become a force of influence and fanatic obsession. Seamlessly blending shoegaze, post punk, new wave, industrial and noise with unparalleled depth and weight, the album was originally released by Enemies List Home Recordings founded by HANL members Dan and Tim. Now, longtime HANL collaborator The Flenser will re-issue Deathconsciousness with deluxe packaging, including the lengthy accompanying zine. Have A Nice Life commented, “Working with Flenser lets us keep things comfortable on our end, while also pressing enough copies to actually meet the need and not creating an artificially-inflated collector’s market, as happened with some of our past releases.”

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Besides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, Cool World is an apocalyptically bleak record. Sure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

“If I had to describe the album in one sentence,” explains Busch, “It’s hard not to borrow from Voltaire, so I won’t resist – Cool World is about the price at which we eat sugar in America.”

There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.

Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut LP. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over 40 minute runtime, God’s Country displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like. God’s Country is out via The Flenser.

In just a couple of years, Oklahoma City’s Chat Pile has made nothing short of a profound impression on the underground music discourse. Formed in the spring of 2019 by Raygun Busch (vocals), Luther Manhole (Guitar), Stin (Bass), and Captain Ron (Drums), the noise-rock quartet would release two EPs that same year, titled This Dungeon Earth and Remove Your Skin Please respectively. Spurred on by both a hearty run of live performances and a swiftly growing online fanbase, Chat Pile became a staple name among its genre contemporaries thanks to its hellish synthesis of noise rock, sludge, industrial, and mid 90’s nu-metal. In 2020, the band would sign with San Francisco underground music label, The Flenser, to put out its upcoming full length debut. That following year, Chat Pile kept its roll going, with accolades including composing the score for the indie film, Tenkiller, as well as releasing a 7” split with portrayal of guilt in the summer. Despite its creation only a couple of years ago, Chat Pile has already played alongside a number of acclaimed underground acts, including Street Sects, portrayal of guilt, Psychic Graveyard and Distorted Pony.

There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.

Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut LP. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over 40 minute runtime, God’s Country displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like. God’s Country is out via The Flenser.

In just a couple of years, Oklahoma City’s Chat Pile has made nothing short of a profound impression on the underground music discourse. Formed in the spring of 2019 by Raygun Busch (vocals), Luther Manhole (Guitar), Stin (Bass), and Captain Ron (Drums), the noise-rock quartet would release two EPs that same year, titled This Dungeon Earth and Remove Your Skin Please respectively. Spurred on by both a hearty run of live performances and a swiftly growing online fanbase, Chat Pile became a staple name among its genre contemporaries thanks to its hellish synthesis of noise rock, sludge, industrial, and mid 90’s nu-metal. In 2020, the band would sign with San Francisco underground music label, The Flenser, to put out its upcoming full length debut. That following year, Chat Pile kept its roll going, with accolades including composing the score for the indie film, Tenkiller, as well as releasing a 7” split with portrayal of guilt in the summer. Despite its creation only a couple of years ago, Chat Pile has already played alongside a number of acclaimed underground acts, including Street Sects, portrayal of guilt, Psychic Graveyard and Distorted Pony.

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Besides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, Cool World is an apocalyptically bleak record. Sure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

“If I had to describe the album in one sentence,” explains Busch, “It’s hard not to borrow from Voltaire, so I won’t resist – Cool World is about the price at which we eat sugar in America.”

Cool World will be released via The Flenser on October 11, 2024.

In 2008, Have A Nice Life released their now cult classic Deathconsciousness LP to a whimper and critical non-interest. Six years after its release the band followed up with 2014′s stunner The Unnatural World, and by then Deathconsciousness had become a force of influence and fanatic obsession. Seamlessly blending shoegaze, post punk, new wave, industrial and noise with unparalleled depth and weight, the album was originally released by Enemies List Home Recordings founded by HANL members Dan and Tim. Now, longtime HANL collaborator The Flenser will re-issue Deathconsciousness with deluxe packaging, including the lengthy accompanying zine. Have A Nice Life commented, “Working with Flenser lets us keep things comfortable on our end, while also pressing enough copies to actually meet the need and not creating an artificially-inflated collector’s market, as happened with some of our past releases.”

The Flenser’s reissue of Deathconsciousness will be accompanied by a 76-page booklet detailing the dark and forgotten history of the Antiochean cult. Blurring the lines between novella, liner notes, and academic text, the zine itself presents an engrossing narrative. The album is rhythmic, primal and expansive and is a gloomy-post-punk masterpiece; a mediation on death, loss and unrequited love. Deathconsciousness feels more fresh and engaging with every listen and has held up as a remarkable piece of art. Fans of Have A Nice Life exhibit both cultic thought and action for good reason. It is perhaps a fanbase as dark and mysterious as the Antiochean’s, the album itself revolves around. Now The Flenser is honored to rerelease Deathconsciousness a gorgeous and disarming contribution to the modern lexicon for a larger audience.