Greetings, so we have a handful of copies left (less than 50), please email me (Jason) if you are still in need of a copy, and we can figure out the best way to get one to you: JasonNeth[at]gmail.com
Also, a digital version is available for those who are interested in getting a reader copy for Ipad/Kindle/Tablets etc…it can be found via the IBookstore, Amazon, Scribd, Goodreads, Barnes and Noble, Oyster and more.
Greetings…The second pressing of “Extremity Retained” is winding down…about 150 copies left of 1000 pressed (the sold-out first pressing was also 1000 copies). There are no plans to press more at this time, but perhaps in the future? I will have copies for sale at the Handshake Inc. table at the Maryland Death Fest coming up as well, if you are attending and still need a copy. Lastly, an Italian translation is in the works through http://www.tsunamiedizioni.com/ and will appear in 2016. Cheers!
Book Excerpt #3: Mitch Harris recalls Napalm Death’s “Harmony Corruption” tour stop in LA at the Country Club in Receda, from Section #4 [Rotting in the Van]
Did you see them on this tour [aka the US Grindcrusher Tour] in 1991?
“The show in Los Angeles on that tour was the most memorable. Napalm Death had already done a weekend in New York City before I joined the band, but this show was the first one out there, at a place called the Receda Country Club [on April 20, 1991]. I remember it as a good show, but there was some kind of a gang riot and fights, and apparently some people were stabbed and I think a few people died. There were all kinds of stage-invasions going on, and at one point this guy gets up on stage, and grabs this jug of smoke fluid for the smoke machine thinking it’s water or something. The stage tech is like, “Don’t drink that, mate!” However, he takes a big drink of it and then jumps back into the crowd. The funny thing is my parents came to that show from Las Vegas, and they couldn’t believe what the fuck just happened. In fact, everyone in the room couldn’t believe what happened.”
The second pressing wraps up and starts shipping next week, apologies for the delay. Also, the book is available for purchase through bandcamp now: http://handshakeinc.bandcamp.com/releases
BOOK EXCERPT #2: Luc Lemay (Gorguts) recalls the ‘Considered Dead’ Tour :
The first time we toured the U. S. was early 1992, with Cannibal Corpse and Atheist. We shared a van with Cannibal Corpse and we supplied the trailer, which was actually a rebuilt horse-carrying trailer. We ended up meeting them in Toronto in February, so we hooked everything up there. It was the middle of winter, unbearably cold. From there we drove to Montreal, but during the show in Montreal, some of the guys forgot their keys in the van. So while trying to open a side window on the van, we ended up breaking it. So to “fix” it, we ended up taping cardboard to the window. The next show was in New York City, which I think ended up being canceled, but on the way we kept hearing this strange noise in the back of the van. Then, after getting on the George Washington Bridge to go into the city, we got stuck and couldn’t move. So, this guy Psycho got out to look—he was a friend of Cannibal Corpse’s who I think used to work at Roadrunner—and saw that the hitch from the trailer was tearing the bumper off the van. So, we tried to call the van company from an emergency phone that was on the GW bridge. That bridge, you know, it’s not a good place to stop and take a leak or anything, and this was 9 a. m. in the morning,rush hour! Eventually another van came and we changed the trailer to the new van, but the guy didn’t check to see if the hitch was correct, so when the new van drove off with the trailer it didn’t make it a hundred feet before the trailer popped off, whipped up and ripped a hole in the back door. Then the trailer went rolling by itself into traffic, lost a wheel and ran into the barrier on the other side. Tabarnak! People say they talked about [it] on the news, but, man, that was a shitty day.
After that, the tour was great, especially when we were getting to California for the first time. I remember at one show Gene Hoglan stopped by, the guys from Autopsy, et cetera. It was just surreal, after listening to Dark Angel all my teenage years, to see him at our show, and I was writing letters with Autopsy since the late 1980s tape trading days. I even drew a cartoon impression of the band and sent it to them long before that, and when I saw Chris [Reifert], he said, “Yeah, we all live together and we have that cartoon up in our living room!” That is one of my best memories. That is what is so great about metal: just timeless camaraderie and global brotherhood, you know?
The second pressing is now underway – Thanks for making the 1st 1000 copies a success!
Still need a copy? Orders can be taken care of here.
To give you a ‘feel’ for the text…here is the first of a series of excerpts….
Dan Swanö talks about recording Dissection’s The Somberlain 
From those early sessions, the best experience was really a tie between Dissection’s The Somberlain and Opeth’s Orchid. Early on I didn’t get to work with that much talent, but later on that got a lot better. There were a lot of bands that got out of the noise of their rehearsal rooms for the first time, into kind of a proper studio, and some were just not ready. Dissection was completely different. They recorded EPs and demos before, and I was not taking their “studio virginity” like with Marduk or Katatonia. With Dissection, all of the songs were ready, and they were recorded a couple of times before, and the only song that was new at the time of the recording was the opening song Black Horizons. Jon [Nödtveidt] actually played all the guitars and bass on that one ’cause he kind of wrote it just a few days before they came to the studio. With that session I was really enjoying it, ’cause on top of being well prepared, the songs were really, really good. I remembering hearing songs like Frozen or The Somberlain, with all these fantastic guitar harmonies, and it made me think, “If I am recording bands that are this good, this is a cool thing to be doing for a living.” In this way, The Somberlain was recorded with bass, two guitars and drums at the same time. Then, as soon as we were ready, we just backed up the tape, and Jon and the other guitar player put the headphones on and overdubbed themselves one more time. So we had two guitar tracks from each player. It was the only way; there were no weird cues or click tracks. No scratch guitars were ever recorded; it was just the takes. Later I eventually got a machine where I could punch in and out, but because the drums would sometimes get into the guitar mics or the punch-ins were weird, I’d try to track the songs in one take.”