6
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.
1
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)
3
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
5
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)
2
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
4
“Low-Fi Power Carnage” is an amazing document of raw and crunched harsh noise range and focus as it pummels over its four different tracks; each their own monster in strategy and manipulation. Dead Body Love has an uncanny ability to investigate movement within the rock bed of sound, sometimes picking apart the tones and sources with deconstruction techniques that range from ‘static drone’ to the brutal and abrasive. Thus, this release has something for every harsh head as it covers numerous areas of violence, abstraction, and even an occasional heavy driving, throbbing force that brings to mind early ‘Industrial (i.e. Broken Flag).
originally released on cassette in 1995 by Old Europa Cafe
(Militant Walls is a Canadian Noise label run by Sam McKinlay of The Rita, check out his blog... http://bakurita.blogspot.com/)
HERE
2
i wasn't planning on putting this up but thought it fairly fitting because of the Morbid tape posted earlier.
'De Mysteriis Dom Sathanas' was Mayhems first studio album recorded after vocalist Dead blew his brain out in '91 and just before Varg Vikernes known also as Count Grishnackh (Burzum) stabbed to death Øystein Aarseth known as Euronymous in '93 because Varg considered him a fake and a disgrace to the scene for supposedly wearing a pink dressing gown behind closed doors and getting off on gay porn. Anyway Attila Csihar had joined to replace Dead on vocals, you also have Varg Vikernes on bass, Euronymous on guitars of course and Hellhammer on drums. The murder happened whilst the album was in production and the parents of Euronymous asked Hellhammer to have Varg's bass removed and re-recorded but he never did, he only turned it down in the mix, it's also debatable that he altered the tracks at all. This EP here is the first release by Attila Csihar's label Season of Mist and is supposedly the versions with the original levels probably mastered from the original master tape so the sound quality is better (depending on your preference as to how you like your Black Metal to sound like!). It's only an EP because 3 tracks from the album are missing, fuck knows why the others aren't here and with such a messy discography anyway it beggers belief as to why he was sitting on these alternate mixes for 15 years? Its all just details anyway but perhaps these versions are truer to how the initial release might have sounded like if Euronymous hadn't been killed, hell knows?
Cursed in Eternity 05:07
Pagan Fears 06:18
Freezing Moon 06:20
Funeral Fog 05:48
Life Eternal 06:51
HERE
2
when i first heard this i was expecting something more along the lines of the Checker Patrol demo (HERE) that features Euronymous and Necrobutcher in their band before Mayhem or the first Darkthrone demo Land of Frost (HERE), which i fuckin love by the way, teenagers starting out thrashing away in some basement or garage just having a blast, not expecting any decent playing or wanting any really, just perving on raw youthful energy! the Morbid demo had all that and more, fuckin great early Black Metal, really atmospheric, with the obvious Death/Thrash influences of the time with some sick riffs from Uffe Cederland who went on to Entombed but Dead's vocals (this was his first band before he was in Mayhem and then infamously shooting his head off) are just amazing! this is lengendary amongst the Black Metal community and certainly nothing new but it will be to some.
My Dark Subconcious
Wings of Funeral
From the Dark
Disgusting Semla
HERE
1
This rigid, boxy death metal takes its inspiration as much from rudimentary hardcore as from the first generation of death metal, but sustains itself through a continuity of rhythm which even in interruption provides, as the title suggests, a basic sense of structure permeating all of reality. Its riffcraft deals in simplicity but in links the riffs narrate an experience much as classical guitar moves through motifs. Its primary influence is "Spiritual Healing" era death, in the choice of riff style and placement of vocal rhythm, and it echoes the choices of many early death metal bands in having hardcore-like primitive riffs over which inventive heavy metal lead guitar weaves a rhythm and harmony track. It is best to compare this to the first albums from Atrocity and Carbonized, hybridized, as it is the same mix of fragmentary primitivism and complex context that makes such albums listenable despite their grimly minimized content. This album would benefit from placing the first song later in its procession, and de-emphasizing the semi-technical melodic riffs that sometimes interrupt otherwise brilliantly rigid death metal like that of Asphyx. It is fair to say the vocals here are "bellowing," in that they reveal someone shouting with slight tone at the top of his range, thus they fade in and out suddenly with a vast effort of lungs. These cause a somewhat comic aspect to the work but on the whole, for basic riffing and that shift in expectation via interleaved phrase that makes death metal exciting, this is a forgotten classic of Swedish death metal. (ANUS)
INTERVIEW
HERE
0
(from the bands bio on their website)...
"July 2007 - Julkarn and Bastard started fooling around with the whole GRAVEYARD thing a long time ago. They had always discussed about the possibility to develope a band / side-project in order to worship and show respect toward those bands they hailed since they were teenagers like ENTOMBED, ASPHYX, DISMEMBER, SLAYER, CELTIC FROST, EDGE OF SANITY, AT THE GATES, VENOM, AUTOPSY, CARNAGE, MORBID ANGEL, GRAVE or BOLT THROWER. Both tried so many times to arrange something, but never seemed to be the right moment for it. In July 2007, Bastard and Julkarn got in contact with drummer Gusi from the band UNDERTAKER (Now called MORBID FLESH). He is such a young guy compared to Julkarn and Bastard, but fortunately has the same musical taste concerning old school tradition and how Death Metal should be.
August 2007 – On 25th August 2007, GRAVEYARD entered a dirty garage up in the hills of Castelldefels (Owned by Roberto F. Giordano, cover illustrator of every GRAVEYARD release), and composed, arranged, rehearsed and recorded the songs included on "Into The Mausoleum". After 2 days of insanity, infamy, serious hell raising and blasphemy, Bastard, Julkarn and Gusi unleashed 4 hymns of pure and unique Death Metal based on the late 80's and early 90's tradition, specially that one which used to come from Sweden.
October 2007 - "Into The Mausoleum" was finished in October 2007 at Bastard's Moontower home Studio where growls, bass lines, fx and intros were recorded and mixed in different sessions. We asked some friends to give us a helping hand so the famous Tattoo Master Roberto Giordano did an amazing album cover for us..." GRAVEYARD
1. Entrance
2. Into The Mausoleum
3. Ritual
4. One Of Them
5. King Of The Graveyard
6. Under the Shadow of Death
HERE
2
"Guru Guru's classic debut album has to be one of the definitive moments in the Krautrock chronology. It is a monster work, and one which severely assaults the consciousness with waves of desert scorched guitar lashes along with acid laced, enchantingly amorphous rhythmic pulsing. On first listen the album appears sloppy, disjointed, confused and almost incomprehensible. Further listens will reveal a well of focused, completely intentional creative drive that makes UFO one of Krautrock's most immense sonic statements. Open minded listeners, and fans of the kind of cosmic jamming that typify many of the other guitar oriented Krautrock bands, will no doubt adore the album. While lacking the up-tempo, driving fury of say, Ash Ra Tempel's debut, UFO finds Guru Guru creating hulking, downbeat walls of guitar drenched intensity. Like Black Sabbath on an orgasmic acid trip, the rhythm section shows little regard for set "beats", time signatures and the like, preferring to create bruising heaps of bass grooves and cymbal crashes, speeding up, slowing down and falling completely off the tracks as they see fit. Above this, guitarist Axel Genrich contributes layers of blistering guitar, guiding the band from climax to shivering cataclysm." (Prog Weed)
Uli Trepte - Bass, Radio
Mani Neumeier - Percussion, Special Effects
Ax Genrich - Guitar
INTERVIEW WITH MANI NEUMEIER
HERE
6
Phil Ochs - The Broadside Tapes 1 (Folkways, 1989)...
alternatively known as Broadside Ballads, Vol. 14
Phil Ochs left behind dozens of demos, primarily songs that he put down on tape at the West 104th Street Manhattan offices of Broadside magazine. These aren't really "demos" in the sense of showcasing the songs for possible recording; he was recording these so that Broadside's editors could print the lyrics. Thus, there are choruses left out, and there's a lot of noise on some of them (these were done in what was essentially a newspaper office), all in the name of getting the words down, as Ochs strums his guitar and runs through the songs in a semi-formal fashion. The material is classic Ochs, earnest and topical, yet also weirdly funny and eclectic -- doing songs not only dealing with racism and workers' rights, but also about blacklist victim John Henry Faulk and the then-current controversy surrounding a memorial to Alfred Packer, a mountain guide who was convicted of eating five people to survive in a blizzard. Some of the material is surprisingly lighthearted in its tone and execution, such as “Spaceman” and “Christine Keeler”. Among the serious songs, “Remember Me”is one of the best pieces he ever wrote. The strangest moment here is Ochs’cover, in a duet with Eric Anderson, of the Beatles’ song I Should Have Known Better recorded in 1964 at New York's Village Gate. Like most other rock & roll bands of the time, The Beatles were anathema to the folk audience, and Ochs’ willingness to do the song, even in a spirit of fun, is startling. Perhaps the most revealing performances here, however, are The Passing Of My Life and That’s The Way It’s Gonna Be which betray feelings of deep melancholy that might have hinted at the self-destructive suicidal tendencies that ultimately ended Ochs’ life. (Sir Charlie Palmer)
WIKI
HERE
6
Pärson Sound : Recordings 1967-68 (Subliminal Sounds, 2001)...
Primitive drone and minimalist rock/trance from the Swedish underground, known in a later incarnation and continuation as International Harvester and Träd, Gräs och Stenar (Trees, Grass and Stones) , and features both intricate studio recordings and orgiastic live performances. Pärson Sound never released any records in their time and that is why a very few have heard about them at all. The recordings date from 1967-1968 while the band explored unknown musical territory as well as inner- and outer space. In 1968 they were invited by Andy Warhol to play at the opening of his exhibition: 'Screens, Films, Boxes, Clouds and a Book', at the museum of Modern Art in Stockholm and also opened for the Doors. Influenced by the musical concepts of Terry Riley, Pärson Sound worked at discovering and perfecting their own unique approach towards the mixing of rock and minimalism. They created some of the most remarkable psych- trance-drone-pre-noise music-rock sounds ever recorded.
HERE
IN DEPTH INFO
3
...Grief - Come to Grief (Century Media, 1994)
"Since 1991, these Massholes have been writing songs about a distinctly New England flavor of depression and isolation. Jeff Hayward’s throat-shredding vocals often seem more hardcore than metal; indeed, almost 15 years later, it’s possible to see Grief as one of a handful of seminal NE bands who initiated the merger between hardcore and metal. However, unlike some of those bands, Grief still sounds both relevant and entertaining."
(second LP)...
Earthworm : 09:50
Hate Grows Stronger : 08:23
World Of Hurt : 05:03
I Hate You : 06:10
Ruined : 04:26
Fed Up : 06:29
Stricken : 06:00
Come To Grief : 08:11 
HERE
4
Columbian Black Thrash, utterly amazing! I read some place that this was in the record collection of Euronymous (Øystein Aarseth) of Mayhem. The first 8 tracks are the original 888 Metal LP released in 1988, this being the third re-release it comes with the "Acompáñamea la Tumba" EP, 1988 and live tracks from 1989 as bonus tracks!
(get a copy of this if you can, i don't think theres any left but keep check at Nuclear War Now! in case of a re-press!)
Reencarnación - 888 Metal (Nuclear War Now!, 2006)...
HERE
4
"This comprised brand new material produced by William Bennett (singer of Whitehouse) with djembe, doundoun, ksing-ksing, synthesiser, electronics as well as excerpts from Florian Hecker, Whitehouse, East African witchcraft, feline recordings and Ghanaian funeral field recordings."(Homerton Strangler). This has been around for a while, still it's really good so we post it. Thanks to CYRK for putting it up..
HERE
image from here, great.
17
Palace Brothers - There Is No-One What Will Take Care Of You (Drag City, 1993)...
The first album under the Palace Brothers moniker following appearances by Will Oldham on the 'Matewan' film soundtrack about an Appalachian mining community in 1987 released on Rounder. An album entitled 'Box of Chocolates:Fearful Symmetry' on which he sang on a couple of tracks released on Mad Entropic Carnaval in 1990. A 7" collaboration with Bill Callahan (Smog) 'The Sundowner:Goat Songs' EP, which featured 6 tracks and which i guess was the first official Will Oldham release then the first Palace Brothers 7":'Ohio River Boat Song' and also a track on a Drag City compilation "Hey Drag City", playing 'For The Mekons Et Al'. Its also well known that he took the photograph for the Slint:Spiderland cover with the dudes grinning in the water of some quarry lake near their home in Kentucky. (Brian McMahan and Britt Walford both of Slint were amongst the personel that played on this album). And so onward trot the little rustic songsmith clicking his heals and baring his demons to all. Please try not to bunch the Palace Music in with the flood of Alt Country/Americana melancholy tripe that followed from the late 90's to this very day, cos its not even in the same league... "O' Jesus but its SO depressing!" ...blah blah
Idle Hands Are The Devil's Playthings
Long Before
I Tried To Stay Healthy For You
The Cellar Song
(I Was Drunk At The) Pulpit
There Is No-One What Will Take Care Of You
O Lord Are You In Need?
Merida
King Me
I Had A Good Mother And Father
Riding
O Paul
HERE
Palace Brothers - s/t (Drag City, 1994)...
Second PB long player originally self-titled and later on named 'Days In The Wake'...
You Will Miss Me When I Burn
Pushkin
Come A Little Dog
I Send My Love To You
Meaulnes
No More Workhorse Blues
All Is Grace
Whither Thou Goest
(Thou Without) Partner
I Am A Cinematographer
HERE
Palace Songs - Hope (Drag City, 1994)...
Mini long-player...
Agnes, Queen Of Sorrow
Untitled
Winter Lady
Christmastime In The Mountains
All Gone, All Gone
Werner's Last Blues To Blokbuster
HERE
Palace Music - Viva Last Blues (Drag City/Palace, 1995)...
(its all about 'The Brute Choir'!)
More Brother Rides
Viva Ultra
The Brute Choir
The Mountain Low
Tonight's Decision (And Hereafter)
Work Hard/Play Hard
New Partner
Cat's Blues
We All, Us Three, Will Ride
Old Jerusalem
HERE
Palace - Arise Therefore (Drag City, 1996)...
(my personal all time favourite long-player in the Royal Stable)
Stablemate
A Sucker's Evening
Arise, Therefore
You Have Cum In Your Hair And Your Dick Is Hanging Out
Kid Of Harith
The Sun Highlights The Lack In Each
No Gold Digger
Disorder
A Group Of Women
Give Me Children
The Weaker Soldier
HERE
Palace Music - Lost Blues And Other Songs (Drag City/Palace, (1997)...
A collection of 7"s and unreleased songs...
Ohio River Boat Song
Riding (alt. version)
Valentine's Day (prev. unreleased)
Trudy Dies (alt. version)
Come In
Little Blue Eyes (Peel session 27/11/93)
Horses
Stable Will
Untitled (live at the Lounge Ax 17/11/94)
O How I Enjoy The Light
Marriage
West Palm Beach
Gulf Shores
(End Of) Travelling
Lost Blues (prev. unreleased)
HERE
1
- Ad Se Ipsum (Fog Of The Apocalypse Records, 2002)... 
German Black Metal with violent Grishnackh styled vocals but surprisingly melodic at times with early 90's leanings, really quite varied in pace from song to song with frequently prominent bass that reminds me of some French Screamo? Really good though!
"For those who care, our band-name is a tribute to the plague of the 14th century, which killed about a third of the European population. Our lyrics are about death, darkness, despair, sorrow, anger and our hate against religion and mankind. But we are not interested in spreading any kind of message. The lyrics are very personal, consisting of very individual thoughts." - PEST
HERE
1
Fucking furious sick Swedish Black Metal, stinking pissed and hate filled, pro total human annhilation. BM purism doesn't seem to matter with this, even though it ticks all my boxes, no more hiding in the woods... up to date and ready for war!
Coup De Grâce :demo MCD (RAPE, 2000)...
March Of The Drones (Eerie Art Records, 2009)...
HERE
site/reviews/info
myspace
0
Constant warlike tempo and ranting howl of rasped vocal edge on the churning cycles within these pieces, joining circular and linear in a narrative which reveals potential in nothingness by expanding the most basic riff concepts into epic levels of variation accompanied by concept expressed in lyrics and choices of points and modalities of frequent tonal reference, forming a baroque passion embedded in machine death music for the future. Deliberately similar to Blasphemy and other Canadian bands, this act have much in common with the Australian grinding black metal front as well as local bands Axis of Advance and Sacramentary Abolishment in the framing of drive in nearly constant percussion-centric surging blast of guitar and drum impact. Twisted fragments of esoteric self-convulsive melody trail off after a complementary rhythmic subdivision and briefest harmonization, forming the violent lead guitar which periodically graces these songs. Instrumentation is perfectly in balance with performance and reasonably technically adept. An overall impression to offer the listener: fast intelligent black metal based on a worldview of eternal warfare.
Conqueror - Hammer of Antichrist: History of Annihilation (Fifth Division, 2003)...
HERE
1
Make-Up - Destination: Love; LIVE! (Dischord, 1995)...
From the hashy faces and cranked guitars of the mighty Nation of Ulysses whose ethos amongst many was to never wash away the taste of a good day by brushing your teeth. The bad breath and plaque still erodes the mouth of our hero and leader of 'liberation theology' Ian Svenonius. This breed of racy music differs slighty to its hardcore predecessor, countering the capitalism of modern rock and roll with more of an emphasis on live performances and interaction between band and audience, thus incorporating and uniting the crowd or rather their 'Rhythm Hive' as fifth member. Hold true your faith and your cynicism, whilst we await this coming reckoning with glee. Beware, be armed!
HERE
