The set comes in a heavy white vinyl clamshell cassette box, which is sealed with a warning label!. The case features demon spawn artwork on the front cover, and on the back we get lines of text from the first movies tag line. And the whole thing comes in custom-made thick poly sleeve with a  two inch sticker…..it’s a  really nice looking item, that’s for sure.

Each of the three c60 tapes feature blood-red translucent shell cassettes, and are topped off with black & white tape labels which take in artwork from each of the three movies.

I won’t get too much into the theme or the plot of the films here, as one would hope that most self respecting horror movie fans should be well aware & versed in these classics of horror cinema…if not I suggest a quick search on the net, and I’m sure you’ll get up to speed quickly enough.

So lets move onto the brutal & terrify sonics inside….well each side of tape features on long, battering, intense through sometimes subtle shifting slice of walled noise.   The first tape opens with a brief sample from the original movie were Damien Thorn’s nanny hangs her self at his 5th birthday party as a tribute to her dark master. Then pretty soon the ‘wall’ comes battering in, and it’s a muddy & airless mixture of low-end rapid billowing noise, which is tipped with smaller/thinner jittering ‘n’ juddering sub-tones. By around the 2nd minute a more defined billowing roast has risen up from the ‘walls’ suffocating dense/ punishing murk, & this pushers the track forward in a even more intense manner. As the track progress Burial Ground very subtle shifts the ‘wall’s’  dense textural maelstrom, but mostly this is done at such a small layer level, that you’ll only pick out these shifts after a few plays. As it moves on the ‘wall’ seems to get more muddy, muffled & slightly slowed in it’s attack, as if Burial Ground is just degrading the whole thing down ‘n’ down.   Also as the track progresses it seems to get more seared by a thick line of static, through the intense billowing focus remains firm. Around the 19th minute we stop for another movie sample- this time it’s of a priest trying to convince Damien’s father(played by screen veteran Gregory Peck) of his sons demonic origins, and when the ‘wall’ kicks back in it’s now an ultra muddy ‘n’ widow rattling mixture of blown out billowing & muffled sub textures- which rapidly get more & more degraded. On the whole this first side of tape  is a extremely intense, airless & unforgiving slice of walled noise- I’d say it’s captivating enough, but I just wish maybe a few more interesting textures had been used, through I do enjoy the way the track moves from muddy-to- more- brutally- defined,- then- back- to- even- more- muddy- again.

Side two (or side B), opens with another sample- this time we get a burst of the dramatic score, a women’s voice saying “Tom Is that You?”, and a load of screaming. Then the ‘wall’ kicks in, and it’s brutalizing mixture of thick wind ripping billowing, which is wrapped in thinner ‘n’ grainy whipping static sub-tones. Once again the whole thing is nicely intense & unrelenting in it’s attack, but this track has a neat brooding & unsettling undercurrent about it. At around the 7th minute we get this mid-ranged endless trudging ‘n’ churning rumble add into mix, and this nicely amps up the enclosing intensity of the track more. By around the 11th minute we get rapid pummelling weaves of tone rising out of the ‘wall’, and this creates a great rattling earth quake like feel, with the whipping wind tonalities still battering the ‘walls’ structure. At the 13th minute mark we get a break for another sample- this time it’s Mr Peck reading a passage from the bible about the coming of the anti-Christ…then pretty soon the ‘wall’ kicks back in, and it’s a mixture of tense ‘n’ tight layers of piling on crusty bound noise which are weaved with this buried sort of trudging crunching random foot step like textures….these foot step elements soon die back, and we're left with a slowly muddy ‘n’ murky brutal pummelling, with a rather rewarding slow buffeting static layer rising in the tracks last seven or so mintues. In the tracks very last moments we get a rising swirl of the films dramatic sound as the ‘wall’ seems to start to slow…before the whole thing cuts out. On the whole this side is a bit more satisfying than the first, and once again damn intense.

So lets move onto side 3(or side C), and we first side of walled noise sonic tribute to Damien: Omen II- the 1978 sequel.  The side opens with another moive sample, and this time it’s more dramatic soundtrack work, and the infamous car stalling & women been attacked by birds scene. With-in a few mintues the ‘wall’ smashers in, and it's a mixture of deep juddering ‘n’ battering low-end noise, which is edged by thinner & crisp static textures. By around the 3rd minute this tearing ‘n’ battering tonality has arisen from the track, and once again things get more & more intense.  This ‘wall’ is very intense, but the textures here seem slightly cleaner & defined in their battering brutality, than the first tapes ‘walls’.  Then very oddly everything suddenly cuts out at just past the seven minute mark?!...I’m guess there must be an error with my copy of the set?( or maybe it’s meant to be like this?)...so I can’t really tell you anything more about this side…as I’ve played the rest of it, and it’s all blank .

Onto side 4 ( or side D), and once again we have another sample & this time it’s a mixture of more synth tipped orchestrated soundtrack, and panic female moans. Then we’re into the ‘wall’ which is a mix of lower-to-mid ranged constantly pummelling noise layers, which are tipped by thinner static tinged battering. This ‘wall’ (like  many of the others ‘walls’), has quite a primal/ catastrophic feel about it, and I guess this track feels like a huge battering down pour of land flooding rain storm recording in a mass of static. As the track progresses Burial Ground effectively sweeps the ‘walls’ structure with more & more battering sub-tones, and this gives one the feeling of literal been hammered into the ground by the dense downpour.  By around the 13th minute a more rapidly cluttering almost junk metal lined textured has appeared, but it’s difficult to fully define this as it some muffled, but this element nice notches up the intensity even more- the rest of the ‘wall’ plays out in a fairly fixed & unchanging manner.

So moving onto the last tape in the set, and this  one of course covers the 3rd  film in the franchise 1981’s Omen III: The Final Conflict. Side 5( or side E), opens with another  movie sample with Damien talking to his real father…err Satan( or is he talking to Christ?...anyway). Then we kick into the wall, which is a real crusty ‘n’ crumbling mid paced affair that’s built around thick layers of low-end juddering & crisp jittering static- it’s like your been engulfed by a continual land-slide of brutal tone.  As the track progress Burial Ground subtly shifts a few of the layers patterns & maybe speeds the pace up a bit, but mostly this remains fairly firm, head pummelling, and weighty in it’s attack. It’s only in it last few mintues it seems to lock down into a more rough ‘n’ ready textural tumble.  All told I  think it’s fair to say this is one of my favourite moments on this set, as the textures utilized are most addictive in their crushing presence, and the subtle shifts & slight pace changes are consistently rewarding & enjoyable.

So lastly we have side six(or side F), and once again things starts off with another movie sample, and this time it’s Damien talking to his followers. Then with-in less than a minute we’re into the ‘wall’, which is a mix of rumbling yet slightly swaying mid-to-low range noise, which has this thinner grain sweep running through it- and for some reason this ‘wall’ brings to mind a hurricane attacking a vast field of wheat, as the crops get ripped up & feed into the swirling wind tunnel of the storm.  Once again this is one of the more rewarding & consistent moments here, and I really like the way Burial Ground seems to be pulling the sub layers of noise in slightly different direction, which creates this very effective & enticing effect. For the most part the track remains fairly fixed, but as already mentioned there is a bit of subtle shifting in the layers of sub-tones. Around the 18th minute we get another thick pelting layers of chilling thick rain like static added to the ‘wall’, and fairly soon there some nice effective but subtle churns going on in the deeper parts of  the ‘wall’, which really pulls in ones attention.

The Omen is another unrelenting ‘n’ battering walled noise horror movie tribute from this La Crosse, Wisconsin based HNW project. It’s certainly very nicely presented set that would great in any wall noise collectors collection, but sonically on the whole I found the ‘walls’ rather mixed in quality going from effective- to-a little lacklustre…so this is certainly not the most consistent thing released by this scene popular project, but it does have it’s moments of greatness.