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Bearded vegetarian, group-sex advocate, and alleged shaman, Father Yod (a.k.a. Jim Baker) began collecting impressionable young hippies after a short apprenticeship with flower-power icon Yogi Bhajan. Yod's gang ran a successful vegetarian restaurant in Los Angeles, complete with white-robed waiters and a gift shop hawking records. Along with members of his Source Family, some 250 strong, Yod's bands Spirit of '76 and Ya Ho Wha 13 released no fewer than nine albums in the '70s. A couple more were even released after the Father died in a hang-gliding accident in 1975. Deeply inept, the Ya Ho Wha collective aped early '70s Stones, explored tribal group glop as well as grope and echoed Yod's stance on topics like kindness toward carrots & giving pot to small children. The later Source Family records also feature hefty contributions from Sky "pushin-way-way-too-hard" Saxon. Finally stylewise, all should take note (as Yod is god): naked girls lying on gold Rolls-Royces, Santa beards, white Steve Martin suits and fringed cowboy outfits with matching Indian headbands.

INFO/INTERVIEW

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Recorded in Poland on cheap and archaic Soviet Bloc technology,"My Firstborn Will Surely Be Blind" sees DEAD RAVEN CHOIR in full throttle audio assault with total disregard for all conventions of audio fidelity, with great songs of the 20th Century by artists diverse as Townes Van Zandt, Richard Thompson and Cole Porter torn limb from limb and dragged through Smolken's forest home. (A.B.)

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While most bands fantasize about war and glorify violence they have never witnessed, Damaar hail from Lebanon where war perpetually looms. Furthermore, Damaar’s devotion to metal can hardly be questioned. In order to protect themselves from retaliation by the government, they were forced to distribute their demo by mp3 rather than tape or CD. Thus in the face powerful religious zealots, Damaar persisted in pursuing its evil directives. After relocating to Australia, Damaar was able to finally send out a proper (non-mp3) master and collect artwork for the vinyl release of their demo on NWN! This assault is pure aural bestial blasphemy in the style of Black Witchery, Revenge and others. Conceptually, Damaar invoke anti-religious warfare towards all those weak and feeble-minded followers of all false gods. The band is currently inactive following its move to Australia and its future is uncertain. Nonetheless, this crushingly violent demo will ensure that Damaar is ranked prominently among the bestial legions. (NWN!)

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Same melodramatic, generic format with teenagers music but amazing skating... if your bored?

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This power trio -- stage names Zodiac Speedcreep, Ezekiel Blackouts III, and Grim Jim Gypsy -- are apparently members of such hippy-folk-drone outfits as Sunburned Hand Of The Man, Wooden Wand, and Hush Arbours. Here though they cranking it up, letting the cosmic Hawkwind howl loud and long through their instruments, burying their blues based jamming under a holy mountain of distortion and pounding cymbal crashes. (AQ)

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Aufgehoben are from England, and certainly fit in with the harsh n' heavy tradition of bands like Skullflower, God, Ramleh, and more recently, Shit And Shine, with whom they share the multiple drummers thing, though Aufgehoben manage to make do with just two of the species freaking out on their drum kits. They also utilize "bricks and metal" as well as the usual guitars and electronics. But if you had to guess, from just listening to 'em, you'd probably pick Japan as their country of origin. Again, 'cause of the sheer noisiness of this, but also 'cause of how the album's last, longest track "Jederfursich..." (26:57) is an epic, repetitively pounding psych guitar blow out (blow up?) that would have the combined forces of both Boris and Merzbow running for cover... whereas the tracks that precede it aren't quite as "rock", though no less noisy, maybe more so, in the vein of Wolf Eyes, who too might reach for the earplugs when confronted with this. (A.Q.)

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Doc Corbin Dart



INFO

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death/industrial/power electronics

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"III" does what most Depressive/Ambient/Suicidal Black Metal fails to do. It is a preview of death, as Atheism perceives it. No thoughts, no feelings, no emotions, nothing. Gravity withdraws itself and the void opens up. Allow yourself a temporary blissfull freedom and succumb yourself into nihil. All suicidal souls set for departure...

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Unbelievably grim and blown out Burzumic black metal buzz from a Korean eighth grader! Recorded over the course of a year or two and released when he was 14 years old! It's true. tUMULt has been trying to get this out for ages, and it's finally here - Aquarius Records

LINK REMOVED, GO BUY IT

Fist fucking killer hardcore, Pre MITB, first released without the extras in 1989.

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Double MC including previously unreleased demos and recordings from the first
live ceremony.
Side ABYSS:
"The Face of the Master" Demo III (tracks 1 - 7)
Side BLASPHEMY:
"Beyond" Demo IV (tracks 8 - 10)
"The Gruesome Song of Majestic Vampiric Blood" Demo V (track 11)
"Unholy Warriors" Demo VI (tracks 12 - 14)
Side CHAOS:
"Morbid Midnight" Demo VII (track 15)
Side DESECRATION:
"Eine Symphonie des Grauens" LIVE'04 (tracks 16 - 21)

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"CAVEMAN CORROSION. A Kevin Novak (T.E.F.) and Bastard Noise (Eric Wood) collaboration of pulverizing astronomical vibrations. FOUR YEARS in the making! coreleased with PITCHPHASE."

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Any individual heavily into this arcane form of music should, at the very least, be aware of Hierophant’s existence. Originally released in 2003 and limited to a mere 135 copies, The Tome became quite a sought-after item and launched Hierophant into funeral doom legend. Comprised of the band’s three demos, stretching all the way back to 1994, The Tome displays the entire career of this important band. It shows us that Hierophant’s lone member, Xathagorra Mlandroth (who moved onto Catacombs), helped bring about the formation of funeral doom with his 1994 EP, along with albums by Thergothon, Skepticism, Esoteric, and Funeral. Hierophant’s style can be best described as thick and suffocating. All of the songs are ultra slow hymns of low grumbles, sparse drums and keyboards, and practically the same chord played over and over ad nauseum. (Wayward Son)

(Not to be confused with the Caveman Electronics outfit of the same name, members being Eric Wood and Kohei Chang)

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Italian Neo-Folk (Industrial/Dark Ambient) compilation.

NEO-FOLK INFO

(Tracklist in comments)

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The first of 3 legendary Brazilian Thrash Metal compilations featuring Chakal, Sarcófago, Mutilator and Holocausto with 2 tracks from each. First released in 1986.

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Jasemine Demo Tape (Stonehenge Records,1994)



Elements Of Need / Jasemine split 7" (Kidney Room,1995)



Jasemine / Ivich split 7" (Stonehenge Records,1995)


This is pretty much everything that French Screamo band Jasemine (ex-members of Fingerprint, pre-members of Vanilla) ever did...

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Blazing fast primitve Swedish black metal in the style of Darkthrone, old Ulver, or Immortal. Blurry buzzsaw guitars, pounding blasting drums and raspy growling screams. Pure and evil and totally cult.

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Punishment and reward…Listening to “Infiltration.Downfall.Death” is at once a painful and exhilarating experience for those who can understand its purpose and appreciate its power. Those squeamish cowards for whom this album does not evoke such a strong response were simply not meant to understand it. Not since “War Cult Supremacy” has an album decimated the listener in so vile a manner as Revenge have done with this, their third full-length album. The new anthems of superiority and subjugation presented on “Infiltration.Downfall.Death” are the purest embodiment of violence recorded this decade. Within the first cacophonous seconds of ‘Death Heritage’, the listener is dragged unwittingly into the chaos. J. Read (Conqueror, Axis of Advance) and P. Helmkamp (Order From Chaos, Angelcorpse) are veterans in crafting the sound of total annihilation and have brought their songwriting and playing to a new peak of extremity with this recording. Cold, bitter, and brutal, Revenge leave nothing to chance with these songs. Every chord change and drum fill has been calculated to channel the most intense form of disgust and contempt. It is this quality of total control against a backdrop of disorder, suffering, and war that sets “Infiltration.Downfall.Death” apart from the meager output that passes for extreme metal these days. This album is not some childish attempt to rebel against politically correct society just for the sake of rebelling, nor is it rooted in a fantasy world of Satan and magick. This album is firmly rooted in reality.

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Boasting members from Born Against, Nazti Skins, and Men’s Recovery Project, Wrangler Brutes wax nostalgic for the west coast thrash/punk of Suicidal Tendencies and The Vandals, all while incorporating some common influences – Aggression and Hell Awaits era Slayer - with some uncommon ones – most notably the angular guitar style of the Magic Band’s Zoot Horn Rollo.
West Coast thrash is a genre defined by its breakneck drumming, throat punishing vocals, and sprinting guitar lines. Wrangler Brutes behave accordingly, adding bits of humor here and there with vocal cameos from ex-Circle Jerk Keith Morris, and Circus Lupus howler Chris Thomson. These moments do little to empower the music, distracting instead from the inventive guitar work - Stewart Voegtlin

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Sam McPheeters' Men's Recovery Project rose like a phantom out of the ashes of the legendary Born Against. Since their inception they have released over ten recordings on a number of different labels including Vermiform and Kill Rock Stars. The Project is epic in scope, tackling issues from Reaganite foreign policy to Naked Sailors; from an album dedicated entirely to the socio-economic realities in the Middle East to an unfathomably diverse 60 track CD; from songs less than ten seconds long, to entire short stories spoken aloud. It would be useless to try and even categorize the band beyond calling it "strange." Comical yet responsible, horrifying yet compelling, McPheeters' altered state of mind is apparent enough...

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OM went off to Israel and played for 4 hours and this is the result... two tracks that sound like they were recorded on a mobile phone. Last OM release with Chris Haikus on drums.

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Blind Baby Has Its Mothers Eyes is a huge linear album of massive slabs of intoxicating sound, which fly around the room and clog up your ears and hassle your pets as they go about their everyday business. The bass lines are as monolithic as the Rallizes have ever got, and certain places see them drop away in a non-reggae dubby-style that leaves the top end teetering like a tiny boat waiting to be swallowed by a whirlpool. In places, the lead guitar seems even more extravagantly committed to total oblivion than ever, but here Mizutani seems to have intentionally ditched the between rhythms, normally played by hi-hats and chugging guitars, in a desire to bring a post-apocalyptical Waiting For Godot-type featurelessness to his muse. It is a tremendous album - Julian Cope, Head Heritage

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Fuzzier, harder and heavier than on their self-titled debut, Los Dug Dug's hit their stride with this heavy psych monster. There's more than a touch of MC5 like energy here, but the pop hooks that made their first record sound so dated have largely been replaced. Lots of flute too, which brings an early Jethro Tull vibe into the mix as well. There's a couple of bummer mellow cuts, but on balance this is exactly how heavy/hard rock recorded in '72 should sound like. Get on the Dug tip and check 'em out. Really, a lost gem of the fuzzy, fuzzy early seventies.

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Cold Power Electronics from Germany.

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L.A.'s kings of grindcore first full length (after a shitload of comps and 7"s). Heavy and noisy and totally hilarious. From the airbrushed cocaine/Conan the Barbarian 70's-van art cover, to the ridiculous between song banter (lifted from Venom and others) to the sort-of-appropriation of metal classics and 70's am radio hits that occasionally surface between bursts of all out grind, this record fucking rules. Think Crossed Out but not as slower and sloppier, or think Man Is The Bastard with a sense of humor -AQ

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