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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
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“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
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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
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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
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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
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(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
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"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