“Discovered” and first recorded in 1959 by urban folkie John Cohen, Holcomb sang in a tense, piercing, bristly high tenor that raises goose bumps; Cohen coined the phrase “high, lonesome sound” to describe the style, which makes Bill Monroe sound like Tony Bennett. Holcomb’s unflinching, unadorned banjo attack serves as a constant reminder that the instrument came here from Africa and was first played in this country almost exclusively by blacks; the rise and fall of his two-finger playing on blues like “Graveyard Blues” and “Mississippi Heavy Water Blues” works in perfect conjunction with his moaning, crying vocals. He also played his own idiosyncratic version of slide guitar (“Knife Guitar”) and even dabbled in sawing fiddle (“Rock Island Prison”) and pulsing harmonica (“Barbara Allen Blues”). Though he came to recording so late that his genre had already become pretty much carved in stone by radio and records, Holcomb’s Appalachian ballads, black blues and occasional poppish ditties seem totally uninfluenced by conventional ideas about how a song “should” be done; rather, his music represented his own singular take on the traditional style of the region where he grew up, shaped early by his own hardscrabble life and religion and pretty much untouched after that. He interprets even the most common material with the finality of a trap door slamming shut, making it unlikely you’ll ever remember the song any other way once you’ve heard his version. All of these tracks (from 1961–73) are appearing on CD for the first time; some of the later ones-he died in ’81-are not up to his best work, but it’s amazing how one voice and instrument, and sometimes just his voice alone, can fill a room, and continue to haunt it long after the music’s over.
By John Morthland
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2 c.d. anthology collection of the now out of print Table of The Elements releases, Womblife (1997), Georgia Stomps, Atlanta Struts, & Other Contemporary Dance Favorites (1998, recorded live) and the limited posthumously released suite, Hard Time Empty Bottle Blues (2003).
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This is the first of a multi-volume set of reissued singles,compilation,and unreleased tracks to be assembled and sequenced to play as full-length records. Recorded in July of 1988 during the sessions that produced Sun City Girls' most popular recording,these nine tracks represent the other half of songs which were originally prepared as a 2LP demo version of Torch of the Mystics for Placebo Records in 1989.The sequencing of all 20 tracks at the time was entirely different with the predominately instrumental tracks in this collection mixed in and around the mostly vocal tracks of what became Torch.Placebo went out of business shortly after this proposed 2LP idea was presented to them but Majora Records quickly stepped in to begin releasing most of the material.

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The general musical style of LVX NOVA UMBRA EST is perhaps best described as 'dark progressive rock': 'Dark' for its of octatonic, eastern, or otherwise largely dissonant melodic and harmonic materials;'progressive' for its frequent employment of asymmetric meters and other complex rhythmic structures as well as occasional ambient textures; and 'rock' for the bone-crushing distorted riffage and solid funk grooves which threaten to contort even the most stoic of souls in transcendental, ego-erasing musical shame and ecstasy - Lux Nova Umbra Est

Contains members of Djam Karet, Controlling Hand & MITB.

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Killer!

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Third volume in the New American Ethnic Music series, following: You Are My Everlovin' & Spindizzy. Featuring recordings from 1971 through 1978, this focuses on shorter tracks that explore the third-ear mania of looped violin playing as well as could be imagined.

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Space Machine - the end result of Yamazaki's daily inner trip explorations of music at his Space Machine Systems Studio and Masonna are like two sides of the same coin. Space Machine's concept exists at the opposite pole to Masonna' screaming noise action and extreme one-man rock band style. In Space Machine, all vocals, physical action and rock elements have been comprehensively excluded in favor of a non-rhythmic, pure
electronic sound that cannot even be considered as part of the noise genre. The sounds are created using only analog echo machines and analog synthesizers (including the EMS VSC3, Roland System 100 & 100M, PAiA 4700 Modular, Doepfer Modular, etc). There is no use whatsoever of the fuzz and distortion effects so characteristic of noise and rock's musical palette and which were heavily featured in Masonna. While the sound does have points in common with what is generally known as electronica or onkyo, what sets it firmly apart is the musics tenaciously psychedelic viewpoint. The absence of a beat signals its difference to the hedonistic physicality of trance dance music. And of course there is no connection to old synthesizer music with its whiff of religion and its leanings towards new age naturalism. However, in the fervent and endless cosmic spaces of Space Machine, in the infinite floating weave of its future retro electronic tapestry, in its mixture of the organic and inorganic we can perceive an uncanny vibration.

(from the website)

TUNA MELT

Before 'The Locust' started to smell funny

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The theremin (originally pronounced teremin), theramin or thereminvox, also known as an aetherphone is one of the earliest fully electronic musical instruments. It was invented by Russian inventor Léon Theremin in 1919 and it is unique in that it was the first musical instrument designed to be played without being touched. The controlling section generally consists of two metal antennas to sense the relative position of the player's hands. These sensors control audio oscillator(s) for frequency from one hand, and volume from the other. The electric signals from the theremin are amplified and sent to a loudspeaker. To play the theremin, the player moves his hands around the two metal antennas, which control the instrument's frequency (pitch) and amplitude (volume).
Rockmore was without peer as a performer in the early decades of the instrument's use. While many listeners have heard the theremin played poorly or used mostly as a spooky special-effects device, Rockmore used it to perform classical works. Under her control, the theremin sounded like a blend of the cello, violin and human voice.

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Boxset compilation and retrospective of one of the most important and influential British noise labels led by Gary Mundy of Ramleh. The compilation includes Sutcliffe Jugend, Consumer Electronics, Un-Kommuniti, Maurizio Bianchi, Controlled Bleeding, Ramleh, Male Rape Group (Mundy/Best), Kleistwahr, TOLL, New Blockaders, Mauthausen Orchestra, Falx Cerebri, Giancarlo Toniutti, Vortex Campaign.

(large file, 332MB)

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Genital Tomb, cassette (2006)




World Turns On Its Hinge (2007)


D-beat black metal from Dominick Fernow of Prurient.

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aka Xentos of the Homosexuals.

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Formed in Cleveland, Ohio in 1974, then broke up in 1975 and never released any records, that's until this hideous looking c.d. came along in 2002. Its made up of a practice session and some live recordings. Two of the band members went on to form Pere Ubu, the others The Dead Boys and The Saucers. David Fricke, editor of Rolling Stone, wrote, "No one else in American rock, underground or over, in 1974 and '75, was writing and playing songs this hard and graphic about being fucked over and fighting mad. No one else is doing it now."...Well dunno 'bout that Dave, but it is a pretty meaty slab of raw,heavy protopunk that you should probably hear if you already hav'nt...cos i have you see?

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After Man Is The Bastard broke up in 1996, Eric Wood and Bill Nelson teamed up with Henry Barnes (Amps For Christ) and cut these 30 collaborative tracks. Unlike many other Bastard Noise releases, there are long, poignant bouts of ambient atmospherics sandwiched between bursts of static and screaming. Caveman Electronics.

Thanks Javier!

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Sissy Spacek is a project of John Wiese(Bastard Noise) with fellow St. Louis veteran Corydon Ronnau, operating since The project started as a fairly straightforward grindcore band, with Wiese handling bass and drum machine and Ronnau doing vocals, but with Wiese’s move to Los Angeles the project quickly morphed into something entirely different. Since the distance made recording an impossibility, documents of Sissy Spacek’s music largely been the work of Wiese radically recycling the duo’s original grindcore recordings and live sets, resulting in harsh, abrasive walls with processing, manipulations, snatches of vocals, and brutal edits.

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Great Bastard Noise collaboration with Christian Renou of Brume.

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'Raw Grind Terror Madness' from Japan. This is the first L.P. plus i'm throwing in the second L.P. Inhumanity(1996), free while stocks last.

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Anciano 1995...





El Dios Queja 1995...





Nadie 1995...





Dios Injusto 1999...





La Victima Es Tu Mismo 2001...





Vasana 2007...





An Island Insane 2007...


If you don't know, Corrupted are a trio from Osaka, Japan. They play slow-motion sludge / doom and are one of the heaviest most dense bands on the planet. These are their E.P.s, apart from the splits that is. Bosh.

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Dead Moon are classic, lo-fi, fuzzed out, stripped down, blues drenched garage rock nirvana. The drums sound like garbage can lids recorded in a cave, the guitars go from scrabbly thick riffing to reverby surf rocky fuzz, to smokey blues moodiness. The songs tend to be super simple, sometimes skeletal, but the band have a serious knack for the hook and they just kick out the motherfucking jams. Fred's got a killer Bon Scott-like growl and Toody has a cool sixties girl group sort of shout, and along with drummer Andrew Loomis every track they whip up is a winner, going from sounding like kick ass classic rock, to fuzzy garage groove, to psychedelic lo-fi blues rock, to some rare lost AC/DC demo, all slathered in Stoogesy swagger and swinging Stones stomp.

(tracklist in comments)

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Strange experimental psych from Brazil...

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When the cover is removed, everything that has been held in check by junk spills out. The withdrawing addict is subject to the emotional excesses of a child or an adolescent, regardless of his actual age. And the sex drive returns in full force. Men of sixty experience wet dreams and spontaneous orgasms (an extremely unpleasant experience, aga�ant as the French say, putting the teeth on edge). Unless the reader keeps this in mind, the metamorphosis of Lee's character will appear as inexplicable or psychotic. Also bear in mind that the withdrawal syndrome is self-limiting, lasting no more than a month. And Lee has a phase of excessive drinking, which exacerbates all the worst and most dangerous aspects of the withdrawal sickness: reckless, unseemly, outrageous, maudlin�in a word, appalling�behavior. (William Burroughs, Queer)

(3 hours worth of Burroughs reading you his novel written in 1951 and a fucking bargain at just under 90mb!)

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