An American Folk compilation

Doc Watson and David Holt - Shady Grove
Willie Nelson - Blue Skies
Elizabeth Cotten - Fox Chase
Buell Kazee - Big Foot Feller
Ramblin Jack Elliot - Pastures Of Plenty
Townes Van Zandt - Mr. Mudd and Mr. Gold
Fred Neil - I'm Gonna Run (alternate version)
The Band - King Harvest (Has Surely Come)
Michael Hurley - Robbin' Banks
Gene Clark - White Light
John Prine - Illegal Smile
Beans Hambone & El Morrow - Beans
Sandy Bull - Little Maggie
Mississippi John Hurt - Candy Man Blues
Bert Hare - I'm Dying, Mother
Henry Thomas - Old Country Stomp
Karen Dalton - Katie Cruel
Roscoe Holcomb - In the Pines
Alexander 'Skip' Spence - Books Of Moses
Leadbelly - The Gallows Pole

Matty

Rude Kid - Guest Mix BBC 1 Xtra (13-02-10)...

Joker - Tron
Newham Generals - Breakage (Casper Remix)
Rude Kid - Electric
Rude Kid - Emergency
Rude Kid - Screwdriver
General Tank & Silencer - Ghanian Fire
Rude Kid - Winter
Rude Kid & Terrah Danger - Best Caller
M Gene - You're Moving
Lil Rhino - Speakers Speak To Me
Terrah Danger - Creepy Crawler RIP
Sukh Knight - Jewel Thief

Sir Spyro - RinseFM Mix (23-04-10)...

Rude Kid - Absolute Vodka
D.O.K - Tarmak
T.R.C - OOAAEE
Mumdance - So Squalid
Skepta - UFO
Spooky - Final Lap VIP
Dafro - Crystal Meth
Artwork - Red
Agent X - Motion
Joker - Unknown

download

nasa

Stigma Diabolicum (Kyrck, 2007)

demo/rehearsal compilation from '89 - '92. Thorns perfected primitive Black Metal early on, their influence is as important in the history of Norweigian Black Metal as anything else. (The riff from "Into the Promised Land" ended up being used in Mayhems "From the Dark Past")

1-2: Trøndertun demo
3-8: Grymyrk Rehearsal cassette
9-10: Rehearsal under the previous pseudonym of 'Stigma Diabolicum'
11-13: Stigma Diabolicum demo
14-15: Rehearsal

Tracklist:
Freedom's Children - Aileen
Freedom's Children - The Homecoming
Group Bombino - Boghassa
Cabdulaahi Iman Zamir, Amin Xaaji Cusmaan & Nuur Maxamed Curuba - Siina Miiri
Chrissy Zebby Tembo & Ngozi Family - Trouble Maker
Spiritual Singers - Nzo A Dise
Amanaz - Nsunka Lwedo
Unknown - Chemirocha
Boutaiba S'ghir - Malgre Tout (Despite Everything)
Alemayno Eshintay - Love is Love
Moussa Doumbi - Yeye Mousso
S.E. Rogers - Toomus Meremereh Nor Good
Group Inerane - Kamu Talyat
Chrissy Zebby Tembo & Ngozi Family - Feeling Good
Cheb Zergui - Ana Dellali (I Cuddle Myself)
Yaseen Mohammed & Saada - Lala Mpenzi
Group Doueh - Beatte Harab
Amanaz - History of Man
Noviciat de Soeurs Missionaires de Notre-Dame d' Afrique & Four Religious Drummers - Yesu Ka Mkwebaze

HERE

Thanks go to Russell for the compilation

Impulse To Destroy (1989)

These early works capture the essence of that spirit even if the mechanics remain unrefined and in doing so gives us a window into the formative drive behind the bizarre and ironically deconstructive music. Like early Napalm Death, these songs are an extension of punk to incorporate the more facile structural vocabulary of metal, while aesthetically communicating a sense of extremity and incoherence borne of an inability to reach an audience who, while they can be taught political or moral concepts to repeat in bleating synchronicity, cannot grasp the essence of the situation because they do not take it seriously. Grindcore was a revolution against all rock music, and "Impulse to Destroy" distances the listener from that style while using the techniques of rock music to make sonic rage peaking off the scale.

That is not to say that, like grindcore two years past its formation, this music is one-dimensional -- on the contrary, what makes this and Blasphemy a hybrid of grindcore and epic, black/death metal is its ability to grasp different concepts and moods, from choleric futility to sociopathic melancholy and beyond, and unite them in a worldview in which abstract forms are harmonized across origins. In that sense, the lyrics like the music are pure psychological symbolism arising from the shape of a riff, the texture of voices, or the casual jigsaw that fits together disparate riffs into sentential meaning. From a distance, it is indistinguishable from normal grindcore, but after examination that is the last mistake an experienced listener would make with the music of Blood. A.N.U.S.

Pure diseased Légions Noires at its most foul.

Ambre Zuèrkl Vuordhrévarhtre (demo '96)

Voarmtre Zuèrkl Vuordhrévarhtre
The Dark Promise
Demzreyavbtre Belketraya
Marbatreéèpreb
Aapr Dgyarveurtre
Brearmdreb
Damae, Dzlebaeryavtreéèpreb
Verhzleyavbtreleambreb
Eepreb, Vagezaryavtre Zuèrkl
Goebtrevoryalbe
Emvandreoatr
Twilight of the Black Holocaust

s/t (1970)

His third album recorded in '69/'70. If like me you've found some of the studio albums a bit over produced and prefer the live versions of some of his songs then you might be into this one 'cos its a bit more stripped down and melancholic. This could arguably be his best album or in the mans own words... "serious songs to make the mind work".

For the Sake of the Song
Columbine
Waiting Around to Die
Don't You Take It Too Bad
Colorado Girl
Lungs
I'll Be Here in the Morning
Fare Thee Well, Miss Carousel
(Quicksilver Daydreams Of) Maria
None But the Rain

older compilation HERE

WHO?

Terry Riley - Persian Surgery Dervishes (1972)

"Recorded in two different concerts in 1971 and 1972 in Los Angeles and Paris, Persian Surgery Dervishes presents two different versions of the title track. Terry Riley, all alone with his keyboards and feed-back, improvises on a basic structure strongly influenced by the emotion and the relationship with the audience. The results are two very different versions: one, the American, very dynamic with moments that reach trance-like peaks resembling the dance of whirling dervishes. The other one, recorded in Paris, is more meditative and thoughtful, dominated by a deep sense of quietness. The music is organized in the typical minimalism vein but it is rich in emotion, an element not always present in such intensity in the music of any style. The emotion is strictly related to the high degree of improvisation we can find in Riley's music that mixes the traditions of the Western and Indian Classic Music. Persian Surgery Dervishes is also one of the milestones of the psychedelic era of the '70s."

German Oak - Nibelungenlied (1976)

Thought this might be a good follow-up to the Radio Bremen post. The heavier side of krautrock; fuzzy psych instrumentals with morose and at times goth like melodies, pretty fuckin' good stuff but to compare it to the self-titled album from '72 feels a bit like deciding which of your kids you love more so i won't bother cause they're both definitely worth having (the albums i mean, i wouldn't know about the kids). By the way 'Nibelung' or 'Niflung' was a race of dwarves in Germanic and Norse mythology.

Kraftwerk - K4: Bremen Radio 1971

"It's basically a whole CD of extended "side-long" jams in the style of the first Kraftwerk albums performed in front of a small but enthusiastic audience and broadcast on Bremen Radio in 1971. The members of Neu! really take a forward role here, with Rother's guitar driving things for most of the time and sounding quite rocking, with glimpses of his future soaring melodic sound in the extended jam passages. The guitar and drums are backed up by synth and I believe organ bass, with notable exceptions of flute taking the forefront on the great version of Ruckzack (from the first Kraftwerk LP) and is it distorted electric violin on K4? Maybe just Rother taking a violin bow to his guitar strings! Proto-Kraftwerk and proto-Neu!"

Heavy Metal Kids (07:54)
K1 (15:39)
K2 (Ruckzuck) (19:20)
K3 (15:19)
K4 (11:30)

Silvester Anfang II - Commune Cassetten