#some particularly nausea-inducing lines quotes:

[nalgenewhore]

so i actually went and read that article (grazie sophia christie on the cut). its flagrantly self-obsessed - she goes on for paragraphs about how she's just one of the smart girls who got picked up by a fully-formed man (then 30 to her then 23) while passing on badly disguised barbed 'pity' onto the now 20-year-old girls.

the reason for this pity is that they're currently teaching men how to live - how to grocery shop, how to move into an apartment, how to do laundry, etc. she pities them because "statistically, they will not end up" with their current boyfriends, and the next woman will benefit from this now fully-formed man while never knowing who came before her.

for someone who incessantly proclaims their intelligence (says if her classmates AT HARVARD were supposed to be smart girls, why aren't they out here getting with older men, oh btw did you pick up that she went to harvard? her ba in literature is from harvard university?), she can't see the painful irony of her own situation. her husband (not partner, gods- can you imagine being in a partnership with your significant other?!) magically appeared to her as a fully-formed grown man, and for whatever reason she does not divulge, he is the singular statistical outlier of all men -- no woman formed him! she is not living off some poor discarded girl's unappreciated labour right now!

this sentence in her last paragraph just prove my point: "Last week, we looked back at old photos and agreed we'd given each other our respective best years." Because you, unlike all those women you pity and the women in his life you oh-so-easily forget, didn't have to grow into who you are with someone. You said it yourself "At 20, I felt daunted by the project of becoming my ideal self, couldn't imagine doing it in tandem with somone, two raw lumps of clay trying to mold one another and only sullying things worse" (emphasis added). That project still daunts her, and she never reconciled with it. She just exported that burden to someone who had already done that work and knew what kind of person he wanted, so she became that person. She's a fraud.

go fuck yourself grazie sophia christie. ig that harvard literature ba isnt worth shit if you're such a self-deceiving author whose critical eye only ever turns outward.

[doomedandstoned]

Sloth Hammer Spill Their Guts in 20-Minute Punisher “Bombed Out Of Existence”

~Doomed & Stoned Debuts~

Caustic, vile, and in your face with it. This is SLOTH HAMMER from and let me tell you they're about as filthy as it comes. I don't say that just for effect, either. I became bilious, nearing the point of nausea, when I tried auditing the band's forthcoming full-length in one sitting. It didn't help that I was in a stuffy room during the hottest part of the day and was a little off my lunch to begin with. I'm sure the band would be delighted with the outcome, regardless.

I've kept tabs on Sloth Hammer off and on over the years, hearing rumors of their Mentors-like performances -- drummers performing in the nude, frontman dressed in prison stripes, the band at large clad in ski masks. I'm damned curious about their live shows and if I wasn't so landlocked I'd show up for one of them, though whether I watched from a safe distance or lined right up to face the brutality would be a question answered in the moment.

Since 2011, the band has been documenting the "pure, unbounding misery" of the stage, self-releasing their improvised compositions here and there. Rodger Mortis has long been a fan. Believing it was high time that Sloth Hammer received broader recognition, his label Cursed Monk Records is issuing some of their most brutal filings in a compilation called 'Superbia Ira Acedia' (2019) at month's end. When Rodge asked if I’d be down for debuting it, I replied: “Anything for the cause of filthy, low-down, disgusting, good for nothing, doomed-out English sludge!” Today, Doomed & Stoned shares the album's third single, a massive 20-minute wrecking ball called "Bombed Out Of Existence."

"Subject appears to be animal," we overhear someone saying in its opening moments. "Ursine features, but ostensibly simian. Also elements of a ruminant or ovine anatomy. I can only conclude that we have been confronted by a new species, the likes of which the world has never seen." The quote is from one Dr. Matthew Chinnery, a veterinarian from the darkly comedic Brit series, The League of Gentlemen. Whether the thematic material develops from there or merely establishes it as a reference point, it's clear that some kind of extraordinary abomination of a creature is on display here.

Musically, the song unfurls its assault upon the listener like a cluster bomb, releasing a horde of ravenous insects that invade your eardrums, inducing guttural shrieks of panic as they buzz around your brain, accentuated by some fantastic chirps and glitches, damning guitar chords, and those oh-so-maniacal vocals, all laid down over a bed of irradiated fuzz.

The soft repetition of the bass motif reminded me (particularly at the 12:35 mark) of the great Saint Vitus song, "In The Asylum," which tells the story of girl forcefully treated by medical authorities, as she slowly loses her mind. That is, of course, where any similarity ends between the two bands, though "Bombed Out Of Existence" makes a fitting companion if you're curious what the asylum is like once the lights turn low.

If you traffic in the miscreantic noise of Fistula and the madness of early '90s Mr. Bungle, but have been missing the depraved sounds of Meth Drinker from your suicidal cocktail, Sloth Hammer will likely stave off those withdrawals and introduce you to a new drug entirely. Look for Superbia Ira Acedia releasing digitally and issued on CD by March 30th via Cursed Monk Records (preorder here).

Give ear...

Some Buzz

Hailing from Leeds in the UK, Sloth Hammer combine elements of Doom, Sludge, Glitch, Circuit Bending, Noise, and Grindcore to create a desperate, ravaged, seething, malevolent sound that may just be the filthiest we have ever heard. It is no wonder that the Sloth’s are right at home sharing a stage with the likes of Primitive Man, Author and Punisher, Fistula, Jucifer, Bismuth, Witchsorrow, and Owlcrusher to name just a few.

Originally a two-piece back in the early days of 2011, working in a small tree house, powered by leaves and sugary liquid. Over time, they discovered more sloths with similar mindsets to make vile, bleak, noisy, weird sounds, without preparation, and soon Sloth Hammer's visual onslaught turned into a six-piece freak show.

To this day, 8 years later, the band is as new to what might happen as the audience. This idea was transposed onto the first all live, all extemporized studio recording, which Dom at Declared Sound captured more than perfectly.

This CD is a collection of the best of the February 2018 session. Expect slow, expect fast, expect weird, expect what you wouldn't have expected.

It's Sloth Hammer Time.

Follow The Band

Get Their Music

[caveartfair]

The 2017 Whitney Biennial Is a Pitch-Perfect Survey of Art Today

Installation view of Puppies Puppies, Liberty (Liberté), 2017, at the 2017 Whitney Biennial. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

“Irony, be gone,” said the Whitney’s director Adam Weinberg this morning, as he inaugurated the 2017 Whitney Biennial—the first to take place in its Meatpacking District location.

The phrase was uttered softly, without emphasis, but the words can be seen to summarize the 78th edition of the biennial, curated by Christopher Y. Lew and Mia Locks. The duo’s show is direct and unapologetically concerned with the state of American society and the individual lives of American citizens, without being drawn into sentimentality or ever becoming too noisy or polemical to lose its impact.

A vivid example of that earnest, poignant engagement with the country’s socio-economics and identity politics can be found at the show’s very entrance, in the ground floor’s John R. Eckel, Jr. Foundation Gallery.

Installation view of Rafa Esparza, Figure Ground: Beyond the White Field, 2017, at the 2017 Whitney Biennial. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

L.A. artist Rafa Esparza’s Figure Ground: Beyond the White Field (2017), an adobe brick construction, has been installed within the dark gallery space. It evokes the rudimentary structures of agrarian civilizations, even a bare-bones, pre-modern space of worship, and it conveys both a sense of the hard realities faced by individuals of color in America, rooted in a complex, loaded history, as well as the possibility of transcendence.

Esparza created the structure collaboratively with “a group of Brown, queer-identified individuals” and with bricks and water transported from L.A.—a kind of reverse colonization from West to East, as the wall text notes.

In a gesture of community, he also invited other artists to place works within the installation. They include Beatriz Cortez, who installed a ritualistic heap of volcanic rock on the floor of the structure; Eamon Ore-Giron, whose site-specific painting on its inside wall, in gold, blue, and red, suggests a sun deity; a reconstructed artifact by Gala Porras-Kim that explores the fraught concept of cultural authenticity; and photographs from Dorian Ulises López Macías’s “Mexicano” series, large-scale, striking portraits of Mexican men, hung on the wall of the adobe. Hold your ear up to a gap in the bricks and you’ll hear a sound work by Joe Jiménez.

“Some of our bodies are always under attack” are the words I heard emanating from beyond the brick wall via a recorded male voice.

Installation view of Henry Taylor, The 4th, 2012-2017 and THE TIMES THAY AINT A CHANGING, FAST ENOUGH!, 2017, at the 2017 Whitney Biennial. Collection of the artist; courtesy Blum & Poe, Los Angeles/New York/Tokyo. Installation view of Deana Lawson, Ring Bearer, 2016, at the 20017 Whitney Biennial. Collection of the artist; courtesy Rhona Hoffman Gallery, Chicago, and Sikkema Jenkins & Co., New York. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

Esparza’s work achieves a particular pitch and tone—addressing our world head-on while also bringing poetry and transcendence to it—that carries throughout this Whitney Biennial, particularly on the sixth floor, where large-scale works by Henry Taylor and Deana Lawson share space in one of the standout galleries in the exhibition. Lawson continues her years-long project of photographing African-American individuals in intimate staged scenes that are complex, narrative, and confrontational, while Taylor renders, in monumental scale, ordinary black figures, including a man barbecuing on the side of a street.  

It’s this “humanness,” a word that co-curator Mia Locks invoked in her introductory remarks, that cuts through the gut-punch of Taylor’s portrayal of the fatal shooting of Philando Castile by a police officer in 2016. No such humanness, on the other hand, is afforded biennial visitors that don Oculus headsets for Jordan Wolfson’s nausea-inducing VR work, which transplants you to a New York street where a scene of visceral, gratuitous violence ensues while Wolfson recites a Hebrew prayer. (It’s not for the faint-hearted, nor, in the opinion of this writer, for those who prefer to avoid a cheap trick.)

Another work on view in the biennial addresses violence with just as much potency, but with the greater force of subtlety. Miniature-scale wall installations by the artist known as Puppies Puppies show what appear to be intricate metal hinges. You might find yourself leaning in, as I did, to admire their careful crafting and smooth surfaces—only to discover they are the trigger devices from dismantled guns.

There is a quiet, deeply unsettling eroticism to the readymades. Perhaps due to the associative power of Tala Madani’s nearby animation in which God gives a pornographic lesson in sex ed, the gun mechanisms appear all the more like the exposed, raw anatomy of a killing device: tiny, sensual objects of deadly intent.

Installation view of work by Kaari Upson at the 2017 Whitney Biennial. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

This blurred line between human and object resurfaces in the work of Asad Raza to lighter, more tender effect. The artist has filled an entire gallery with young trees that are scattered with leftover items from human stewards who engage with viewers to provide information about the trees and the objects at their bases. In one instance, a medical device used to measure lung capacity sits in the dirt; as a docent explains, he once fell off a building and broke nine ribs, causing him to use the device to retrain his breathing. (It’s unclear if he’s relaying the truth or a fabrication.) Likewise, the idiosyncrasies of Jessi Reaves’s and Kaari Upson’s anthropomorphic furnishings suggest the nuanced fabric of human personalities.

Our current moment, a seemingly relentless onslaught of global political tumult and offense, is one that requires these instances of reprieve or poetry—or an opportunity to delve into another world altogether, as in Sky Hopinka’s video exploration of the remote island of St. Paul, off the coast of Alaska, or Samara Golden’s extraordinarily transporting upside-down universe, a kaleidoscopic doll’s house installed in the Whitney’s windows that face out to the Hudson River.

Installation view of Samara Golden, The Meat Grinder’s Iron Clothes, 2017, at the 2017 Whitney Biennial. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

Golden’s stratified underworld is admittedly one in which there are still troubles afoot: Miniature homeless individuals appear to sleep along the edges of the Whitney’s windows, while a room resembling a laboratory or operating room includes toilets overflowing with waste—an environment seemingly neglected or abandoned in a hurry. This is a world that reflects our own hubris, but one that allows us the bird’s-eye distance to see it from the outside.

Golden’s work punctuates the fifth floor of the Whitney, which is generally noisier and more angry than the biennial’s sixth. Occupy Museums, given prominent placement at the center of the floor, anchors the space with a quote from Blackrock CEO and Trump adviser Larry Fink running along the top of its wall-scale installation, leaving no ambiguity about the organization’s concerns: “The two greatest stores of wealth internationally today [are] contemporary art [...and] apartments in Manhattan.”

A projector on another wall shows a figure of over $43 million representing the total current debt owed by artists, while screens beneath invite you to complete a questionnaire about your experience and perspective on the art world economy and the 99 percent. Nearby, Jon Kessler’s whirring, shifting kinetic sculptures made of flat screen TVs, tchotchkes, cell phones, and mannequins are disorienting meditations on climate change and mass migration; and the collective Postcommodity places viewers in the midst of footage along the U.S.-Mexico border, which spins around you to dizzying effect.

Installation view of Pope.L aka William Pope.L, Claim (Whitney Version), 2017, at the 2017 Whitney Biennial. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

All the while, the stomach-turning scent of Pope.L’s installation wafts across much of the floor. It includes almost 3000 slices of baloney, each imprinted with a portrait of “a purported Jewish person pasted at its center” and pinned to the inner and outer walls of a box-like environment. Within its chamber, a note typed by the artist in irregular font and scrawled over with a pen bemoans the racial and ethnic categorization of humans, “as if we are simply sets in a math problem.”

Our current moment also demands a radical rethinking of our society, a shake-up of everything we think we know—and Lew and Locks have not shied from including works that offer a vigorous challenge to viewpoints traditionally espoused by the left (and thus the majority of the Whitney Biennial’s audience). Take, for example, Frances Stark’s Ian F. Svenonius’s “Censorship Now” for the 2017 Whitney Biennial (2017), for which she’s hand-painted an essay by the punk musician Svenonius, “Censorship Now!!” Throwing a wrench in all that liberal creatives hold dear—namely the right to freedom of speech—Svenonius argues in favor of censoring one’s opponents.

“When the state, like a rampaging mob boss, systematically destroys its opponents (MLK, Malcolm X…), how are we to interpret their patronizing embrace of ‘the arts’?” he writes.  The cultural realm has been neutered, Svenonius says, even made complicit, in the dark operations of the state.

Installation view of Jessi Reaves, Ottoman with Parked Chairs, 2017, and Frances Stark, Ian F. Svenonius’s “Censorship Now” for the 2017 Whitney Biennial, 2017, at the 2017 Whitney Biennial. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

Stark’s piece is nonetheless a reminder of art’s ability to challenge what you know and invite you to write the world anew—a summons that echoes in Park McArthur’s empty, brown highway signage, which hangs over the Whitney’s reception desk and in the gallery behind Wolfson’s work: a blank slate for viewers to complete. It’s this kind of openness, free of dogma, that gives the viewer welcome mental space and makes the exhibition one that’s well-suited to our times. 

—Tess Thackara

Cover image: Installation view of Raúl De Nieves, beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end, 2016, at the 2017 Whitney Biennial. Collection of the artist; courtesy Company Gallery, New York. Photograph by Matthew Carasella, courtesy of the Whitney Museum of American Art.

from Artsy News

[dietpillswatchdog]

Nature’s Balance Chlorella

Chlorella is a supplement ingredient that has received increasing attention in recent years, from serious scientific investigations to fanciful and excitable speculation from supplement manufacturers. Its numerous reported benefits include lowering blood pressure, detoxifying dangerous heavy metals from the system and increasing one’s mental and physical energy. Consequently, some manufacturers have begun to make this interesting ingredient available to consumers in capsule or powder form, often as a stand-alone supplement taken to improve the user’s overall health.

Below we take an in-depth look into Nature’s Balance Chlorella, to see if this particular product is sold in a clear and consumer-friendly way.

Nature’s Balance Chlorella Pros

Capsules are suitable for vegetarians

Has generally good customer feedback

Simple and easy one-ingredient product

Nature’s Balance Chlorella Cons

Must take nine capsules per day

Product is quite expensive

No money-back guarantee

Watchdog Rejected Diet Pills

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What You Need To Know About Nature’s Balance Chlorella

Nature’s Balance Chlorella is a simple and straightforward product, offering a dose of 100% chlorella extract per capsule. Chlorella is a versatile ingredient that has been associated with a range of health benefits, some backed by scientific evidence and others not. Its most likely beneficial effects include lowering blood pressure and slightly improving the body’s immune system, making it a popular supplement and food additive (particularly in Japan).

This chlorella product is manufactured by Nature’s Balance, a small company that has been operating since 1992. When visiting the website, it’s apparent that Nature’s Balance takes particular pride in the ‘Chlorella’ line of products, making it seem like the primary product upon which the rest of their products were built.

What Are The Side Effects Of Nature’s Balance Chlorella?

The side effects of taking chlorella could include headaches, stomach cramps, nausea, diarrhoea, fatigue, bloating or gas. Nature’s Balance is incidentally upfront about the possibility of many of these side effects on their website, although they somewhat erroneously attribute these side effects to the natural ‘detoxifying’ process.

More serious allergic reactions can also take place when taking chlorella and could cause breathing problems or even anaphylaxis. Speak to your doctor immediately if you notice any of these symptoms.

How Much Does Nature’s Balance Chlorella Cost?

On the manufacturer’s website, one bottle of Nature’s Balance Chlorella (180 capsules) costs $28.35, 3 bottles costs $72.60 and 6 bottles costs $129. A tub of chlorophyll powder weighing 1 lb will cost $117.70. Shipping is quite expensive on all orders, ranging from around $10-$12 depending on the size of your order and your location in the USA.

Whilst this product may seem to be a good price, as there are 180 capsules in each bottle, the incredibly high daily recommended dose of 9 capsules means that a single bottle will last for just 20 days of use.

The prices commanded for Nature’s Balance Chlorella are actually even higher from other retailers (including Amazon), making this a rather pricy product across the board.

Our Verdict On Nature’s Balance Chlorella

Many bold claims are made about chlorella and only a few of these have any evidence to back them up. Scientific studies have shown that it can indeed lower blood pressure and raise one’s immunity (albeit only slightly). Most other claims (made by Nature’s Balance and others) that suggest that chlorella can raise energy levels, improve complexion and improve the digestive system, are generally thought to be false.

Oddly enough, the evidence gleaned from the customer reviews suggests that many people are drawn to chlorella due to its supposed ability to cleanse the body of heavy metals or chemicals. There is some evidence that it can detoxify the body of certain heavy metals; one study showed that it could increase the rate at which animals urinate out metals like cadmium from their system. We wouldn’t like to comment as to the importance of this effect, other than to note that this benefit of chlorella is hardly ever mentioned outside of alternative medicine circles. It’s entirely possible that most human bodies don’t have many heavy metals or chemicals to begin with.

As a company, Nature’s Balance does not score particularly highly. They offer no money back guarantee, they sell a simple product for a high price with high shipping costs, and they run a website which we found quite hard to navigate. In view of the high volumes of chlorella that need to be taken to see any noticeable effect, the manufacturer also recommends taking an extraordinary nine capsules a day, which would test the patience of even the most committed of consumers. Finally, what little we saw of the company’s customer service on internet forums left much to be desired.

For these reasons, we do not recommend Nature’s Balance Chlorella to our readers!

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Key Features

Ingredients

Side Effects

Testimonials

Guarantee

Where to Buy

Nature’s Balance Chlorella Review

Chlorella is a type of naturally occurring green algae/seaweed that is often taken as a supplement due to its supposed health benefits. This particular product (simply labelled ‘Chlorella’) is simple in both name and form, containing a dose of 100% chlorella in softgel or powder form.

Nature’s Balance Chlorella Facts

Manufactured by Nature’s Balance

Comes with 180 capsules per bottle

Single-ingredient supplement

The product is manufactured by Nature’s Balance, which has been in operation since 1992. Despite its many years in the business, the company still appears to be a rather small operation; its products are not particularly widely available and the company’s website design seems rather stuck in the past. Nature’s Balance can be reached by mail, email, phone and fax via their contact page on their official website.

How to Take Nature’s Balance Chlorella

Begin with one gram (3 capsules) per day and increase by 1 capsule per day up to the recommended regular usage of 3 grams (9 capsules) per day. These may be taken all at one time, or spread through the day with meals.

Nature’s Balance Chlorella Concerns:

No money back guarantee

Manufacturer recommends taking up to 9 capsules a day

Expensive supplement

What Does Nature’s Balance Chlorella Claim To Do?

The advertising copy on the Nature’s Balance website goes into great detail about the background and supposed benefits of chlorella. It highlights the fact that chlorella is an excellent source of vitamins and minerals, and talks about its reported ability to ‘detoxify’ the body of heavy metals and chemical toxins. To its credit, the company supplements this information with a large number of cited articles (although many of these are outdated or not particularly reputable).

The following section is a direct quote from the website:

Disease usually occurs in a body “out of balance”. Your body has a remarkable capacity for self-healing; if it has adequate amounts of essential nutrients. Chlorella helps you to achieve and maintain this balance by restoring many nutrients missing from today’s refined, processed foods.

Beyond the documented therapeutic effects, most users report increased energy levels, improved mental clarity, a clearer complexion, an overwhelming sense of “well-being” and a remarkable freedom from stress-induced tensions or anxiety.

Does Nature’s Balance Chlorella Work?

Chlorella has been clearly and definitely linked with a handful of effects in the scientific literature. It can reportedly improve the body’s immune system, lower the user’s blood pressure, and can increase the number of antioxidant enzymes in the body. Each of these effects has only ever been found to be minor.

Almost every other claim made by Nature’s Balance is false or unsupported by the evidence, including its claims that chlorella can be a stress reducer, energy booster, mental booster, or a means of improving one’s complexion. Perhaps unsurprisingly, it remains impossible to verify the amusingly vague claim that chlorella improve the user’s ‘sense of well-being’.

What Are The Ingredients of Nature’s Balance Chlorella?

As its name suggests, ‘Chlorella’ contains just one active ingredient, listed as 100% Pure Premium Grade Chlorella Pyrenoidosa. The ingredient quantity listed below is for 3 capsules of chlorella (remember that the manufacturer recommends that customer work themselves up to 9 a day in total).

Chlorella Pyrenoidosa: Chlorella is a naturally occurring freshwater seaweed/green algae that is said to have a number of benefits for the user’s immune system and blood pressure. It may also be supplemented due to the high numbers of vitamins and minerals that are naturally contained within it. Source: http://ift.tt/2lmeGfa

Does Nature’s Balance Chlorella Have Any Side Effects?

Nature’s Balance is open and upfront about the possible side effects of chlorella on the website, highlighting the fact that the supplement may cause headaches, stomach cramps and nausea for the first 10 days or so. The company insists that these effects are a part of the ‘detoxification’ process and will subside over time, although consumers should be aware that some studies indicate that chlorella should only be taken for a short time (2 months or less).

Other side effects could include diarrhoea, fatigue, bloating and gas. More serious allergic reactions are also not out of the question, and could cause breathing problems or even anaphylaxis. Speak to your doctor immediately if you notice any of these symptoms.

Caution: Not suitable for pregnant or breastfeeding women. Not suitable for anyone under the age of 18. Consult with a physician before purchase if you have a serious medical condition or use any medications, whether prescription or over the counter. A doctor’s advice should be sought before using this and any supplemental dietary product.

Are There Any Customer Reviews For Nature’s Balance Chlorella?

There aren’t too many reviews available for Nature’s Balance Chlorella, but those that have been left are generally positive about the product and its effects.

I have found this product to be one of the best chlorella products. I have been using it for years with great result. When I was having my mercury dental fillings removed I took a boosted couple of doses of it to make sure I was free of the mercury that may have got into my system?–?great product.

I have taken other chlorella before but this one works great. Had a lot of problems with metals in my system and this was gentle but did the job.

Something is wrong with this chlorella, I have taken other brands for years and this one makes me sick not sure why but I do live for chlorella best thing ever but this one sucks.

Does Nature’s Balance Chlorella Offer a Money-Back Guarantee?

On their website, Nature’s Balance makes no mention of their returns policy and makes no explicit offer of a money back guarantee.

Whilst speaking with customers on other internet forums, a returns policy of sorts was articulated by a company rep. According to this unofficial source, customers of Nature’s Balance can return unopened bottles within 60 days of purchase. Opened bottles and unopened boxes are not accepted or refunded by the company.

Where Can I Buy Nature’s Balance Chlorella?

Nature’s Balance Chlorella is available to purchase from the manufacturer’s website, from Amazon, and from a number of other retailers specialising in alternative medicine and health.

On the manufacturer’s website, one bottle of 180 capsules costs $28.35, 3 bottles costs $72.60 and 6 bottles costs $129. A tub of chlorophyll powder weighing 1 lb will cost $117.70. Shipping is pricey on all orders, ranging from around $10-$12 depending on the size of your order and your location in the USA.

The prices commanded for Nature’s Balance Chlorella are actually even higher from other retailers, making this a rather pricy product wherever you find it.

The post Nature’s Balance Chlorella appeared first on Diet Pills Watchdog.

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