The last and final release from Ildjarn (Norway), distorted and minimal, feral Black Metal. This is all the early stuff... demos, different mixes and unreleased material from 92 onwards but check the Encyclopaedia Metallum for indepth info.

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4 years in the making! Includes new tracks by Bastard Noise, Amps for Christ, Unicorn, Hierophant, Antennacle, BN/K2 and previously released tracks by Sleestak.

If you want your shit to smell sweeter than most, go check out 200mg Records now! 100% D.I.Y.

DISC 1 HERE

DISCS 2 & 3 HERE

Legendary N.Y.C Hip-Hop radio show on WKCR 89.9FM 1990 to 1998, also made infamous in the Zoo York Mixtape vid...

1. Large Professor and OC
2. Nasty Nas and Six Nine Pt. 1
3. Nasty Nas and Six Nine Pt. 2
4. Das EFX
5. Big L
6. UMCs Pt. 1
7. UMCs Pt. 2
8. Souls of Mischief and Kurious
9. Q-Tip and Mad Skillz (Skillz)
10. Method Man and Ghostface
11. Akinyele
12. Black Moon and Smif N Wessun
13. Prince Poetry ( of Organized Konfusion)
14. MC Serch and OC
15. Mobb Deep
16. Brand Nubian
17. Organized Konfusion
18. Lord Finesse
19. Mad Skillz (SKillz)
20. Mad Skillz (Skillz) Pt. 2
21. Scientifik (R.I.P)
22. Craig G
23. Common Sense (Common)

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Order From Chaos was Pete Helmkamp's band prior to the mighty Angelcorpse, and their style was raw death metal with lots of tempo changes and Helmkamp's token snarl. Some of the longer tracks like "War and Pain" and "Tenebrae" bring in a few subtly melodic/dissonant chords and lots of chugging midpaced breaks that can get really heavy, but there's plenty of speed as well as a lot of experimental sort of elements (large portions of noise textures and vocal effects in "Labyrinthine Whispers", strange piano and some spoken vocals in "Webs of Perdition", etc.). The recording is of course dated and certainly rugged, but the thick texture of the guitar tone is fucking awesome for what they're were doing.

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Last EP of rawest Japanese Black Metal band who were active from 2002 to 2006, which was recorded in early 2004. Lo-fi production, no tight playing, just blasts of noise, screams of anguish, destructive distortion!

1 Unsilent Hate Anthems [3:52]
2 Rebellions Black [2:57]
3 Vomit Upon the Burning Heaven / Black Cum Suffocation [5:20]

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XEXYZ (Rev of Tjolgtjar/Enbilulugugal)... Black Metal with borrowed samples from old Nintendo games (8-bit era, to be precise).

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(way better than the studio recorded material)

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Not as hard as it looks, still a proto-metal classic albeit with acoustic and cheese thrown in. Great album cover too by Frank Frazetta (click to enlarge?)

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Probably the band that first produced the sense of wrist energy that later propelled bands such as Mayhem to the forefront with their emergent attack of rhythmic genesis and recursion, these musicians utilize the high-speed shred of fast strummed chords to produce a fluid motion against which the counterpoint of drum rhythm and phrase transition creates a jarring but lucid transferral of energy to a different degree of power. Sawing melodic patterns create ambient classical music from their accumulation of tension from interjection of black metal-style chaotic patterns within dominant patterns reflected in an overall stream of tonal relationships that builds the foundation for each context in the meta-context of the overall contrast of dominant riff to song structure as an entirety. Brilliantly lucid, overflowing energetic lead guitar spills through harmonic space in a silvery powerburst of articulations in chaotic modulation that approaches a post-scalar method of understanding note relationships and presages the atonal developments in death metal shared by Morbid Angel and Suffocation. No praise is too high for this band - they were relentless innovators who pioneered the future of black metal rhythm and death metal structure while emphasizing the underlying compositional differences between metal music and the more rock-based aesthetic alternatives in its history. Shouted vocals approximate a more enunciative version of the speed metal style and keep a link to the cruising bass and blasting percussion of the rhythm section - A.N.U.S.

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At first glance, New York-born composer Rhys Chatham might have seemed unlikely to alter the DNA of rock. A classically trained musician, Chatham was piano tuner to Glenn Gould and La Monte Young, student of Young and Morton Subotnick, protégée of Tony Conrad, and in 1971, while still in his teens, founder of the highly influential experimental music program at the Kitchen in lower Manhattan. Nevertheless, it was Rhys Chatham who first applied multiple electric guitars to the extended-duration, overtone-drenched minimalism of the 1960s. This amalgamation -- of the intellectual experimentalism and textural sophistication of the avant-garde with the rhythmic brashness and visceral punch of punk rock -- produced a raucous, ecstatic new type of urban music that energized the downtown New York scene of the late 1970s and early 1980s, a music whose influence can be heard in the subsequent work of the many luminaries who participated in Chatham's ensembles, including Glenn Branca and members of Sonic Youth, Mars, Band of Susans and Swans.
A comprehensive 3-disc retrospective, An Angel Moves Too Fast to See includes all of Chatham's major "minimal" pieces, ranging from the thunderous "Two Gongs" (1971) and the No-Wave tumult of "Guitar Trio" (1977) to the brass-based "Massacre on MacDougal Street" (1982) and the epic, previously unreleased "An Angel Moves Too Fast to See" (1989), scored for an orchestra of 100 electric guitars.

Disc One: HERE
Two Gongs (1971)
Disc Two: HERE
Die Donnergötter (1985)
Waterloo, No. 2 (1986)
Drastic Classicism (1982)
Guitar Trio (1977)
Massacre on MacDougal Street (1982)
Disc Three: HERE
An Angel Moves Too Fast To See (1989)

Bill Tuck/P.hc speaking in an interview with punkvinyl.com...
Pillsbury Hardcore formed in the summer of 1984 out the ashes of Disinfection (my first band) & DDT (Joel Connell’s first band). The band was named by a friend, Pat Kwee, after another pal of ours (Dean Riley Stokes, who on the first gig was our guitar player) who resembled the Pillsbury Doughboy and was feverishly into hardcore, hence Pillsbury Hardcore. Our first show was a party where everybody was getting drunk, in retaliation to what we were experiencing, we borrowed instruments and called ourselves “The Straight Edge Facists/Pillsbury Hardcore”. The set consisted of a improv jams with lyrics made up on the spot and basically annoyed all the party goers (this was basically the band’s mantra until the end). This would continue for a few more parties and into our first bonafide show, which featured Scab on vox, Bob Durkee on guitar, Jon Roa on bass, and Joel Connell on drums. This lineup lasted one show and Shawn Connell was brought in on bass duties which also lasted one show when Shawn was moved to guitar and Eric Wood on bass. This lineup lasted for nearly two years and produced a demo (Poppin Fresh), a live tape (Live In 85), a appearance on Flipside Video, two 7″ records(In A Straight Edge Limbo & Horror Snores), and two compilation appearances (End the War Zone & Empty Skulls 2). Sadly the group disbanded in the summer of 1986 ( I basically wanted to get more serious and change the name, but other band members wanted to continue with what we had) After a brief break, the band minus Scab, reformed. Which produced a failed attempt at an album (which Scab contributed vocals to). The album material was not up to snuff so plans to release the L.P. were subsequently scrapped.
The band continued for another year which produced some of the tightest material the band ever produced and was the groundwork for the oncoming “Power Violence” movement. After a short U.S. tour the band called it a day.
Other members went on to form Pissed Happy Children, Shoeface, Process, End to End, & of course Man is the Bastard.

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Amanaz was formed in 1973. 3 songs are in the native language Bemba, and 9 songs in English, recorded in Kitwe, the 3rd biggest city in Zambia. Musically is goes in the same direction as Blo, The Witch and Question Mark, but this album is more mellow and stoned with amazing fuzz guitar all over which sounds like an African version of early Cream - Shadoks Music

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a yeti stompin 42 minute track of off the cuff, pure fuckin't diesel. this sort of defined Shit and Shine, you tried polishing shit?

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Great syrup-keyboard driven shoegaze-black metal.

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Although this has Shackle Me Not on the cover it only has a few tracks from it, the majority are from Hokus Pocus. Not sure but i think it was sold in skate shops around 1995 when H-Street had already stunk for a few years and i dunno how it was put to disc but it sounds like Tony Mag recorded it on his 20 Dollar Sanyo midi hi-fi tape to tape or something as crude? So fuck, we're lucky to have any of this stuff from back then man! I used to listen to this on my Walkman when i was 13, taped from the T.V. onto the small cassette player that loaded games for my ZX Spectrum!

Big thanks to Gorm (Tweaker Zine) for this, and to Chez too!

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Simply put... growling death metal vocals, fast drumming, reinforced thrashy riffs and lots of Death/Thrash ownage played at a chaotic and absurdly fast pace. Hitler himself couldn’t have been eviler than this. We have songs like “Guerrilheiro Suicida” and “Forças Terroristas” which are the epitome of Brazilian death/thrash or the title track “Campo De Exterminio” which moves at an insanely fast pace but it features a nice slowdown part and then returns to rip your head off. An honorable mention goes for the song “III Reich” which features a mandatory riff that commands you to choke a toddler and drink most of his blood and then paint a svastika on the wall with the rest of it. Some of the songs just go on and on fast-as-fuck and others feature speedy passages but frequently break into nice half-time midsections, to then refrain into the hammering speedy verses again. w-h-o-a.

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Pace fans of Fairport Convention (who may be said to have invented the genre) Steeleye were the quintessential British Folk/Rock band. A bunch of folkies who liked to rock, they brought rock instruments and sensibilities to British traditional music in a series of albums throughout the '70s which brought our musical heritage to the notice of millions of pop fans. At their best, their arrangements were wonderfully fresh and invigorating: clearly demonstrating the timelessness of the songs' subject matter. Steeleye really did play folk/rock, not just folk music with electric instruments.

(Amps For Christ fans might be into this)

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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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