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Bad Acid Trip/Wadge/Captain Three Leg/Gore Beyond Necropsy/Pyuria/Parade of the Lifeless/Hated Principles/Machetazo/Grossmember/N.O.Y.F.B./Violent Headache/Noisear/Pantalones Abajo Marinero/Krabathor/Autoritar/Humanextermination Project/Blood Suckers/Pissed Cunt/Drunken Orgy of Destruction/Carrion Crawler/Senor Lululalo/Ruido
v/a Where's Your Beard? C-48 comp (Mortville, 1999)...
HERE
MORE INFO/NOISE
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"Mk-Ultra believes that hardcore and punk rock will only remain vital if we keep things on a personal level. You will never see our records at Best Buy. We will never be on MTV. To us, this music is our life. We have put years of effort into this band. This is who we are. We put our personal lives on hold to do shows and record because we feel that it is important to keep this very unique form of musical expression alive. We choose not to waste our time by just rocking out on stage; we have a serious political and personal agenda that comes across in our lyrics. We consciously play in a more old school style of hardcore because that is the music that we grew up on and we want to keep it fucking alive! If you want metal, I recommend Venom or Slayer. Even though sometimes we don't have the time to do everything that we would like to do for the scene, we'll stay committed to keeping hardcore and punk political, personal, and thought provoking. And oh yeah fun."
They broke up in 2000, although the band continued donating songs to compilations for some years afterwards.
Drummer Ebro Virumbrales also played in well-known hardcore bands Charles Bronson and Los Crudos at the same time as MK-ULTRA. Singer Frank Hanney went on to form Fourteen or Fight and The O.S.S., and guitarist Jeff Jelen went on to form Punch in the Face with Ebro on vocals and VMW with Mark McCoy on vocals. Former vocalist Jeff Bachner and Jeff Jelen formed American Mosquito, which released a 7". Kirk Syrek played with Chicago's Nachtmystium and currently plays bass guitar for Sick/Tired. Original drummer Gary Cihak went on to form Government for Hire with members of Alabama's Korova.(wiki)
MK-Ultra - Statues demo (Bleeding Ear Records, 1994)...
HERE
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A fucking great band! Don't know much about them other than they released a 7 inch 'Evil Empire' on Sludge Records, had a split with Lack Of Interest, a split with Rupture and appeared on a couple of comps including 'Trapped in a Toothed Gear' and 'Son Of Bllleeeeaaauuurrrrgghhh!' (I imagine Andy of Mortville knows more?). Anyway its all here: 26 tracks of utter ruction.
Slave State Discography cd-r...
HERE
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Electro Hippies was a crust punk/thrashcore band formed in St Helens/Wigan, United Kingdom in 1985.
Though they were short-lived and underground through their career, their music influenced many future crust, hardcore punk, and grindcore bands. The band relied heavily on low bass end sounds to create their low-fi, primitively-produced music. The band strongly embraced the D.I.Y. (do it yourself) ethic which was very common among many early crust punk bands. The band's lyrics spoke heavily about animal rights and vegetarianism. A recurring lyrical theme on each LP targeted the McDonalds corporation, evidenced by the lyrics to "Run Ronald" and "Scum".
The Electro Hippies were most notable for including Jeff Walker (guitar, vocals) in their ranks. He later would join extreme metal band Carcass. When Jeff joined Carcass full time, Simon (drums) and Andy (guitar) assumed vocal duties in the band. Eventually, the band split up sometime in 1989, playing one last gig and releasing the show as their final album. (wiki)
The Peaceville Recordings (Peaceville, 1989)...
HERE
The Peel Sessions (Strange Fruit, 1987)...
HERE
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Straight outta Saarbrucken Germany, ABC DIABOLO was a frantic Hardcore band belting out full on blasts of thrash, moody guitar-driven grind, melodic bass lines, and painfully screamed lyrics. The first LP/CD "Last Intoxication of Senses" (released on Common Cause) was a sharp, straight-ahead and angry blurfest of immense proportions. Musically, their sound was reminiscent of mid 80's thrash bands, such as Die Kreuzen or Septic Death, but still sticking to their Euro/German roots (BGK and Upright Citizens). "Give Rise to Doubts" (Common Cause) has all the fast stuff like before, but also ventures into a deeper, slower sound, as well as having a bit more structure in the song writing department. The band broke up in late 1995.
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Sun City Girls - Midnight Cowboys from Ipanema C60 Cassette (Breakfast Without Meat, 1986)
Even though it was issued on cassette, you could call this Sun City Girl's third album. Mutant cover songs alternate with what Scott Colburn calls "what happens when two boys get ahold of a portable cassette recorder with weak batteries."
Side A:
1. I've Done it All/2. Fly By Night/3. Achram Slow that Speed Boat Down/4. Midnight at the Oasis/5. Gary Had Sex/6. Sweet City Woman/7. I'm Gonna Die Tomorrow/8. Who's that Lady/9. Cook Ya Homos/10. Love Train/11. Caco Demons/12. Sev Acher/13. Gum Arabic
Side B:
1. Malika/2. Radar Love/3. My Sperm/4. Brandy/5. Canadian Dave/6. Tell Me Something Good/7. Desperado/8. Me and Mrs. Jones/9. Ha Ha/10. Circus Hadam/11. Go Wild
HERE (new link)
SCG article
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Geto Boys - We Can't Be Stopped (Rap-A-Lot, 1991)
The most well-known event of Bushwick Bill's life was a shooting incident in which he lost his right eye. One night in May 1991, while depressed, drunk and suicidal, he went to his girlfriend's house and forced her to shoot him. As she refused, he threatened to harm their baby, after a struggle the gun went off piercing his eye and the bullet got stuck inside his head. He survived the accident, but lost his eye. The whole story is told in detail in the song "Ever So Clear" and there is also a visualising music video to the song. The song name is a reference to the grain alcohol Everclear he was drinking at the time of the accident. While in hospital, a picture was taken for The Geto Boys' next album We Can't Be Stopped. On the picture the two other Geto Boys Willie D and Scarface push in a gurney down a hospital hall and the bloodied swollen eye can clearly be seen. According to his MySpace page, is now a born-again Christian. He has completed a Christian rap album entitled Testimony of Redemption. Bushwick Bill stands at 3'8".
(well, im glad the little fella taunted his woman so, otherwise we wouldn't have had such a good cover)
HERE
Geto Boys - Till Death Do Us Part (Rap-A-Lot, 1993)
Willie D had fallen out with Bushwick and Mr. Scarface so theres no appearance from him on this one, instead Big Mike joined in the game. My favourite of all the Geto Boys stuff although for pure comedy value alone the earlier albums can't be beaten.
HERE
these are the Geto Boys 4th and 5th LPs, the 2nd and 3rd posted earlier are...
HERE
information
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: Anthology (Vermiform, 1998)...
All of Towel's songs are included on this disc, all 1,027 copies of which were badly hand-screened by Neil Burke in one drunken overnight session. This skimpy, shitty digipack is a fitting headstone for such a great and misunderstood band; if their own record label couldn't muster even the minimum of respectful packaging, how could TOWEL have expected anyone else to respect them?
HERE
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Traditional, straight forward Black Metal from Canada. drugged up, thrashy and caustic. line ups containing members of Axis of Advance, Ouroboros, Vehement, Revenge.
WEAPON: Violated Hejab EP (Legion Of Death, 2005)
WEAPON: Para Bhakti... Salvation EP (Full Moon, 2007)
HERE
upcoming long player : "Drakonian Paradigm" released soon by The Ajna Offensive label
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Noise Grind Power Death (625 Thrashcore, 2009)
"Blistering, primal noise/grind done by the now defunct Gulf-Coast grind-unit. Raw and punishing, how grindcore is supposed to be. Glossy metal magazines will be confused, posers decimated, and the last-will and testament of this band will live-on in infamy."
(single sided LP, 53 untitled tracks; vocals, drums and effects only)
HERE
625 Thrashcore
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Dracula Lewis "Vernasca, Valhalla" C30 (Hundebiss, 2008)
"Dracula Lewis is one of the most well hidden deep dark secret from eastern-Europe, based in Romania he spent long time traveling all over the world. Vernasca, Valhalla is the first official release and Hundebiss Records is proud to present this four tracks done with a broken mixer and two open-mic. The result is a deep listening, lo-fi aggressive electronics with weird field recordings but also a spacey melodic sweet sound who came up from this maelström."
"Everything done with a broken mixer, open mic and some effects, no loops, computers or synth were used in this session." (Hundebiss)
Nice outer space-psych-horror electronics, mostly feedback based with some wolfman-vampire cameos here and there. Really good stuff. Tape is now sold out.
Side A - 35 oct. 1916, A Letter From Transylvania
Side B - Il Mattino ha Loro In Bocca, The Magic Feature Number Twelve
HERE
HUNDEBISS
HUNDEBISS
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Gasp used elements of grindcore, power violence, psych, ambient noise, tape manipulations and down-tuned sludge to create a sound that will never be duplicated. They released records on some of the most influential punk and hardcore labels of the past decade, including Slap a Ham, Witching Hour, Clean Plate, and Deep Six.
HERE
interview with Reggie Rosales (vocals)
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Highly influential Boston Hardcore recorded in 1984, the first 6 tracks were the original demo and the final 3 were first heard on 'Cleanse The Bacteria' comp in 1985 put together and released by Pushead (Zorlac illustrator seen in many a Thrasher mag), this is also the entire discography apart from a couple of live bootlegs as they split in '85. Unorthodox in comparison to other more traditional bands in the Boston Straight-edge scene they performed their shows further afield to more appreciative crowds. Sheer ferocity, speed and jarring tempo-changes made them forerunners (along with Deep Wound) to become the first band to pioneer the traits of Grindcore and Powerviolence, perhaps only matched in might by Infest?
1. Drop Dead
2. Conform
3. Life of Hate
4. Starvation
5. Armageddon
6. Walls
7. Sad But True
8. Cold War
9. Grim Reaper
HERE
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Very little indigenous music from the former Soviet Union is known to the West. This recording, from 1988, offers a rich sampling from many of the more than 100 ethnic groups within this vast region. The record begins with passionate Lithuanian lullabies and proceeds through ancient seasonal and ceremonial village songs from southern and northern Russia and the asymmetrical dance rhythms performed by Estonian bagpipers. From the distant Mongolian frontier, the amazing art of Tuvan multiphonic "throat singing" can be heard as well as the richly harmonic male choral singing still practiced in Georgia.
HERE
(if your interested in Tuvan Throat Singing i posted an album previously Chöömej, Throat-Singing From The Center Of Asia along with tracks featured in Herzog's documentary Little Dieter Needs To Fly or is it Rescue Dawn?). An album called The Spirit of The Steppes (Throat Singing From Tuva and Beyond) can be got at Moon Musick.
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Stalin’s cultural ideologues planned to deploy the music of the Yiddish-speaking Jews of the Soviet Union as a building block for the new Soviet music, whereas the Jewish religion with its traditional way of life was damned as counter-revolutionary. The anthology “Shalom Comrade!” tells the forgotten history of Yiddish music in the Soviet Union and contains rare recordings from the archive of the ethnomusicologists Rita Ottens and Joel Rubin.
Featuring Misha Aleksandrovich, Mikhail Epelbaum, Marina Gordon, Emil Gorovets, Anna Guzik, Solomon Khromchenko, Nechama Lifshitsaite, Saul Liubimov, Solomon Mikhoels, Debora Pantofel-Nechetskaia, M. I. Rabinovich, Zinovii Shulman, Sidi Tal, and many others.
(Scans of the cd inlay booklet with lots more information inside the download folder)
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The lifestyles, philosophies, and traditions of the Navajo nation are represented by songs for herding, planting, harvesting, hunting, blessing hogans, and soothing children. The 1933 and 1940 field recordings from settlements in New Mexico and Arizona beautifully document a music largely vocal and highly melodic with relatively short song phrases repeated, divided, and combined in intriguingly complex ways.
HERE
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The archaic Abner Jay from Fitzgerald Georgia described himself as 'the last great Southern black minstrel show' and was still late in his life touring the Southern countryside in his camper converted into a portable minstrel stage. He played the long-necked, plucked string instrument we nowadays call the banjo. It's possible antecedents have existed in many forms and under many names. The commercially-manufactured, standardized form has emerged from vernacular instruments, including what 18th-century European travelers to the West Indian colonies reported as `strum-strums': long, flat-necked, skin-covered gourd bodies strung with catgut, resorted to by plantation slaves for intimate diversion as well as larger occasions of social excitement arousal. Coming from whatever precursors, the banjo occupied an important place in late-19th century black and white minstrelsy and vaudeville. Jay was once a travelling performer with the Silas Green Show, whom he joined in 1932, one of the last multifaceted road shows on record.
He had a huge repertoire of banjo and old-time songs learnt from his grandfather, who had been a slave in Washington County, Georgia. There is a long line of social and musical experience which constitutes Jay's tradition: blacks' domestic entertainment inspiring white imitations; in turn stimulating composed, sheet-music idioms for middle-class and professional performance, which then animated younger generations of black musicians. Tastes and tolerances of what constitutes acceptable public entertainment are always changing, of course, Jay was part of making idioms which may not in fact have received too much exposure in the daily pressure to captivate audiences by extrovert mannerisms. Abner was the last of the minstrel musicians. The distinction is that what we call minstrel music is complex. There are at least three different levels.
There's the first level of European Americans recognizing the creativity in the slave quarters as a component for attraction and assimilation; two, there would be the response from the African American community that would mimic the mimickers; and three, there would be a contingent of African American creative musicians who would seek to parlay that polarity--that is to say, to take the original and dynamic components of that experience, and attempt to do something with that. Abner Jay falls into that group. For over fifty years Abner was a one-man band, hambone and bone player. Except for the six string banjo he also played the old swamp style guitar, harmonica, bass drum, cymbals and sang, all at the same time. He went on to lead the WMAZ Minstrels on Macon radio from 1946-56 before going solo and touring the country in his portable Œlog cabin¹, complete with its own PA system, from where he would perform and sell cassettes and LPs. When Abner was born his dad kept the birth records on the side of the house. When the house burned down, the birth records were destroyed, and Abner was never able to find out just how old he was. Jay claims the secret for his good health was "layin' on his belly drinkin' water from that ol Swaunee River". Jay died in 1993.
"I play banjo in an old cotton-picking style - real smooth, real quiet. There's not a lot of fancy licks" Abner says.
(Biography from Anthology Recordings)
Abner Jay - Swaunee Water And Cocaine Blues (Brandie Records, 197?)...
HERE
(Mississippi Records recently released 'The True Story of Abner Jay' on vinyl, buy it from HERE)
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Compilation of the Rekonquista and Hymne tapes, previously only released on tape format.
"Although this band is from Japan their contact address is in Levallois-Perret, France. Strange I wonder why? Might it have anything to do with the fact that a lot of inspiration for the music on this tape is derived from the infamous Les Légions Noires (The Black Legions). Arkha Sva's music is certainly inspired by bands like: Mütiilation, Belketre, Vlad Tepes. The music is dirty and harsh Black Metal, mid-paced with few tempo changes, a low almost guttural scream vocals, pounding drums and a dark and hate filled atmosphere. The riffs are minimalistic and ice cold."
1. Emergence hors de l'Abîme 02:53
2. Thou Disappear 03:48
3. Chant I 01:01
4. Rekonquista 03:23
5. Chant II 00:37
6. Requiem on Their Graveth 03:35
7. Chant III 00:50
8. Nameless Rebellious 05:14
9. Odeur de la Mort 01:35
10. Hymne aux Légions Noires 04:10
11. Sublimation of the Destruktive Lust 04:56
12. Transylvania 04:10
13. The Dark Promise 03:51
HERE