BLOOD FROM THE SOUL: To Spite the Gland that Breeds CD PROMO 1993. Shane (Napalm Death) & Lou (Sick of it all).

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Description

Napalm Death bassist Shane Embury teams up with Sick Of It All frontman Lou Koller for this one-off album of industrialised hardcore. A unique collaboration.  Lou and Shane work great together. For the most part, BFTS doesn’t sound like Sick Of It All or Napalm Death. As much as possible anyway, considering Lou does 99% of the vocals for SOIA and Shane is the principle songwriter for ND. This is definitely quality work though. Extremely creative. Released December 20, 1993

Blood From The Soul To Spite The Gland That Breeds
Label: Earache
Catalog#: MOSH89CDPRO
Format: CD, Album, Promo
Country: UK
Released: 1993
Genre: Thrash, Industrial, Heavy Metal

SAMPLES:
www.last.fm/music/Blood+From+The+Soul/To+Spite+the+Gland+That+Breeds

1 Blood From The Soul Painted Life 4:19
2 The Image And The Helpless 2:40
3 On Fear And Prayer 4:17
4 Guinea Pig 2:52
5 Natures Hole 5:27
6 Vascular 3:22
7 To Spite 4:53
8 Suspension Of My Disbelief 3:40
9 Yet To Be Savoured 3:47
10 Blood From The Soul 5:23

Bass, Drums, Guitar, Percussion, Producer Shane Embury
Engineer, Producer Paul Johnson*
Vocals Lou Koller

Promotional Copy in a slim jewel CD case.
front cover says:
Blood From The Soul is Shane Embury (Napalm Death) & Lou Koller (Sick of it all)

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Genre: Industrial Hardcore a la Godflesh or early Fear Factory
Lyrical themes: Personal struggles
Last label: Earache Records
Side project of Shane Embury and Lou Koller after meeting in the US on tour.

Blood from the Soul was a one-off project by Sick of It All‘s Lou Koller and Napalm Death‘s Shane Embury. It was the sum of its parts, no more and no less. Koller sang, while Embury provided all other instrumentation. The result was a simple fusion of Sick of It All vocals over early-’90s Napalm Death. Well, mostly — Koller took a break from his typically gritty lyrics to explore more abstract realms: “Painted life not real/Reflections coarse and untrue/Lie beneath veils of doubt/Forced to give birth.” His vocals also underwent more reverb than usual.  Koller did well with what he was given, inflecting his signature bark with surprising expressiveness. Embury‘s dissonant drones came straight from Napalm Death‘s contemporaneous Fear, Emptiness, Despair. This album was heated up with the friction of slower speeds; “Natures Hole” was like a cyborg Black Sabbath, while “Blood from the Soul” evoked Swans‘ bleakness.