Leaving Trains and the "F" word album

If you want to know more about the band I suggest you go to allmusic, and read all the blah blah about who was where and when in the band etc...
It's utterly boring and informative.
When I first heard this band, it was this albums' closer: What the president meant to say. I thought it was as much fun as Giant Sand's Swerwe. In fact, I thought there was Howe Gelb on board, but no it was Falling James Moreland all the way. For years I thought they were an offshoot for Gelb's punk leanings if he ever had any, but you know, there was no internet those days and I had no access to any of the fanzines and stuff, and I got the whole picture when I finally bought this cd few years later. It's an utter fun.
Personal picks: Violent Sex, What Cissy Said, Twenty-Seven Days .
Edit: couple of years later I learned that they actually did work together, Fallin James sang lead vocal on the song Doors from Love Songs album: http://www.deezer.com/track/346352011

Well I guess I wasn't crazy after all!

buy: SST RECORDS
P.O. Box 1
Lawndale, CA 90260

Rhythm Pigs - El Paso

The all career high for this versatile and complex hc punk group. This is what rock sounds like when technically skilled hardcore musicians get together to play some more laid back stuff. Not that all of the songs are laid back and rock-ish. They put on a fine racket somwhere towards the middle with a medley of 3 ultrafast songs + a funny no 12 Mr. Rhinocerous just to remind you where they came from. But where they came to is the real deal. Starting with Spun and Exploded guitar intro, and getting stellar on Model T Ford, Rhythym Pigs shine as brightly as never before or after. Listen to this record and you will ask yourself how come these guys never made it big? They surely were good enough.

link:

http://www.sendspace.com/file/6oewr2

Available to buy via Konkkurel label in Netherlands who reissued their entire output on 3 cd's.

David Thomas & Foreigners

Release Notes:
Bay City is an album of reinvented roots-- part salty melancholic blues, part wounded sultry jazz and part jangling swamp rock. Bay City - tales from Philip Marlowe's lost nights in a town affluent and self-contented on the surface, rife with corruption and nepotism just underneath. Blood on the face of the moon. Bones buried in the hills. Double indemnity and dark visions.

On the other side of every desert is... Bay City.

David Thomas and foreigners started life at a concert staged in the middle of the Gefion fountain, in the rain, in Copenhagen in 1996. Jørgen Teller enlisted Mr Thomas along with 2 other Danish musicians, P. O. Jørgens and Per Buhl Acs. The collaboration, recorded on a farm in Denmark between 1996 and 1999, promised a hard-edged reappraisal of American music, the lingua franca of a planet drifting into strangeness. Contrary to all logic, it is a startlingly specific cultural folkwork.

Founder and lead vocalist of legendary out-rock band Pere Ubu, David Thomas has been re-writing the rules of popular music for over 25 years. Formed in Cleveland, Ohio, in 1975, Pere Ubu developed a sound which combined traditional rock elements with an array of sounds, synthesizers and of course, Thomas's unmistakable vocals. The band's first release was in 1978, titled The Modern Dance, and since then they have put out a consistent stream of fascinating, highly original albums, the latest being Pennsylvania (1998).

David Thomas, while playing a major role in Pere Ubu's development, has always explored implausible creative configurations, and seemingly arbitrary production methods. His first solo release The Sound of the Sand appeared in 1981 and has been followed by a further 9 releases. Thomas's musical/creative aesthetic is as broad ranging as it is, paradoxically, specific - underscored by an almost visionary awareness of our cultural situation. Indeed his tireless inquiries into the nature of social relations, folk traditions and contemporary culture have led him up some unlikely creative paths, soda stops along Highway 61 to the banks of the Yenisei River. Musically, Thomas's work takes in a range of influences, sometimes bluesy, rocky, folky and downright experimental, but always conceived in a unique way.

"One more David Thomas recording, one would think, only to once again end up open mouthed in front of the loudspeakers." - Rolf Jager, Intro

"Fractured, bent, steamy, lyrically gruff and introspective--kind of in the Tom Waits/Capt. Beefheart/Col. Bruce Hampton (Ret.)/Shockabilly-Chadbourne vein...you'll just have to check it out for yourself...it left me slightly crippled when it was all over." - jennyt, Tom Waits Bulletin Board

I would add that this, to me, is a perfect "room" record. It sounds like they are in a room with you because of the sound and it sure releases a different feel to your listening experience. Your room transforms into a dark and dirty hotel room somewhere in the US, it is dark and the rain is falling. Totally noir.

try:bay city

buy: amazon

Kepone by Kepone

I remember when this album came out, a friend of mine said: noise rock is dead, Kepone made a better album than Jesus Lizard (Down).
I thought it was a little overblown a statement then, and still think the same now. I'm not saying that Kepone is not a great album but it is still not in the same league. It is as good as, for example, Shot by Jesus Lizard, and that was the last album Jesus Lizard has released that I had bought, times changed and yes, it was the end of an era for me.
"Kepone" suffers a little in production department, since they sounded so much better live. I saw them play while they were touring promoting this album and the album never came close to the sheer power of their live show. It was produced by Bob Weston, and it sounds a bit muddier than what I prefer. Still, no producer can kill the quality of these songs. It is noise gospel what was introduced on this album. The song Leave Your Bones is a perfect example, and it is very similar to the acoustic Now I Truly Understand from the first Mule album.
In fact, there is so much more that these two bands have in common: they created a modern sound using their roots by updating blues/gospel with energy, and putting their hearts into powerful execution of the songs. This to me is the new take on the roots of american music. They made their past sound so fresh and exciting and gave new meaning to traditional influence in modern rock. And yes, the song sound spiritual I kid you not.
As for the rest of the tracks, they never stop to rock. As I said earlier, production stands in the way of getting it right, but listening to it really loud does help a bit.


Buy: http://www.amazon.com/Kepone/dp/B0000037OG
Try: http://www.sendspace.com/file/1z434q

Still & Raw

Welcome back Front 242!
This ep contains 7 tracks in their lp versions. Two last songs are repeated but in such a different version that it is irrelevant really.
The sound is great, as is songwriting. No wonder, this is Front 242! This is not some demo band striving for your attention, this is a genre defining band. That means that they do this stuff better than anyone.

242

Meat Beat Manifesto

Armed Audio Warfare! A perfect title for this massively punishing collection of rare and previously unreleased songs that give a glimpse into what Meat Beat Manifesto's debut album might have sounded like had its masters not been destroyed in a fire. This is what they've gathered from various sources such as SUCK EP, or Bark compilation on Sweatbox records.
Dub, industrial and hip hop collide in a mass of distortion. Better in instrumentals than in vocal tracks, this is highly entertaining stuff. The sound is dated but is still highly enjoyable and a truly entertaining record if you're into this kind of stuff.


http://www.badongo.com/file/13811421

CABS live YMCA

My first and inital contact with Cabaret Voltaire is this allmost lo-fi in it's quality release. This is by my humble opinion the most exciting period of the group. The sound is muddy and unclear but it still represents the essence of the early period in group's existance. I still enjoy it as much as I did before and it is my favorite album, as strange as it may seem.
Hope you'll like it too.

Here's a full review of the album from Julian Cope's Head Heritage site:

By 1979, The Cabs were smack-dab in the middle of their creative peak. Personally, I'm not such a fan of their post-Chris Watson phase, much as I respect and admire their contribution to acid-house and techno music. For me, though, the music produced from their seminal debut Mix-Up all the way to 1982's 2x45 remains some of the best electronica ever made, right up there with more celebrated acts such as The Human League, OMD and The Normal. The Cabs, though, remain more obscure sadly, mostly a name people have heard without hearing the music. Yet, for me, they today sound less dated, and more futuristic than 90% of their contemporaries, distilling a timeless electronica-meets-rock-meets-funk groove that I can quite easily picture future generations of humans, androids and robots swaying their hips to.

This is beyond doubt due to The Cabs relentless non-conformism and dedication to their sound. Never having had to conform to studio demands for hits and massive tours, they were able to continually push their boundaries, with saturated noise, waves of distortion, sound samples and processed rhythm patterns all being meshed together, then added to oblique lyrics that referenced Burroughs, Burgess, Dick and Ballard that all pointed to a stark dystopian future that, for all our progress as a race, has never seemed to recede or get less likely. As we face economic meltdown and the threat of ecological apocalypse, the harsh, robotic and cold sound of Cabaret Voltaire becomes more and more relevant, and oddly more and more danceable.

And what I wouldn't do to get a chance to seem them perform these songs live. Personally, I'm not that bothered that there are no unique tracks on here. No-one complains when Bob Dylan or Led Zeppelin do that. And this collection of tracks gives a near-perfect cliche of what The Cabs were doing at this time. Their motto may have been "no dancing" at one point, but here the mixture of repetitive electronic beats and sweeping analogue synth noise creates a bizarre mixture of funk and noise that can't fail to have you swaying even as your senses are assaulted. Whether this is on the insistent pounding opener "Untitled" or the industrial dance of signature tune "Nag Nag Nag", the effect is disconcerting, like hearing robots trying to tackle disco or something. Stephen Mallinder's nasty, seething vocals only add to the disquiet, as, submerged in the wall of sound, they come out more like an extra mechanical instrument than an actual voice.

But this not all about proto-dance music played by obnoxious futurists with no sense of humour. The Cabs, for all, their musical devolution and messy sense of harmonics, were not just rabble-rousers or sloppy belligerents. These fuckers could play, and they demonstrate it hear on the slower, less instantly rhythmical tracks such as "The Set up" (the jewel in this live set), "On Every Other Street" and their distorted, barely-recognizable cover of The Velvet Underground's classic "Here She Comes Now". Here, the synths and slashes of saturated guitar and bass noise compete, dipping and diving in around each other as Mallinder sneers incoherently into his mic, the whole pieces dripping with pathos, anger and barely contained violence. Live at the YMCA is intense, in a way only really rivaled by Bob Dylan's live '66 bootleg and the 30 Minutes Over Brussels EP by Suicide. Although the audience is more appreciative here than on either of those, there is a sense of menace and bile that few artists have ever looked to release as a live album. And to end the album on the experimental noisefest that is "Baader Meinhof", a tribute to or comment on the German terrorists from the 70s, took some guts, in my book.

So, whilst not confrontational -the at first quite quiet (disconcerted, maybe?) audience seems to quickly succumb to the dark charms of Cabaret Voltaire- Live at the YMCA is dark and aggressive, uncompromising and sullen like the artists themselves were. It wasn't put out to please or get you head-banging (hence the sound quality), but rather hit its audience in the gut and demonstrate the full, snarling fury of an average Cabs gig. These aren't showmen, they're fiercely anti-rock, anti-frills. But it is powerful, pulsating with suppressed energy and hidden menace. And, it is also one of the very few live albums to document the post punk period and the omnipresent anti-rock, anti-showbiz, pro-experimentation mentality that was streaking across Britain at the time. Seeing as PiL, Joy Division and Throbbing Gristle all missed the boat when it came to live albums (PiL's post-everyone except Lydon one was a disaster), thank God Cabaret Voltaire were out there letting us know the abuse they were heaping on their audiences. Who seemed to enjoy it and I bet were actually dancing.

From blog: jphimister.blogspot.com

link: http://www.sendspace.com/file/brktii

King Face - Everywhere You Look

Unmistakeably a D.C. band, with a sound that I find to be a mixture of Bad Brains and Jawbreaker with a hard rock twist, or is it Dr. Know's influence?
Ripped off a vinyl, released by Dutch Konkurrent label.
I don't know if they ever released anything for Dischord, they certainly sounded like other bands from that label. Sometimes I find this record to be disappointing, and sometimes I find myself humming along the songs, especially from the side 1, like My only sin or Read my back...
Anyway I like this kind of music and enjoy in it. I think I can call this the sound of my youth really.

King_Face
Everywhere you look ep
http://www.badongo.com/file/13317229


Also available elsewhere:
http://vinyljourney.blogspot.com/2005/01/king-face.html
http://www.wfmu.org/playlists/shows/9810

Do you listen to music when you listen to Coil?

Constant Shallowness Leads to Evil is the most extreme outing by Coil I have had the pleasure of listening to. This is really extreme stuff and is the closest to say, Merzbow, that they ever got.
I rate this and Merzbow's "Oersted" as the most challenging discs I own, which does not make them bad at all. With releases as these the way you listen to music is not a required one. You need to change the setting, change the scenario. This is not easy listening nor is it enjoyable setting; you need to concentrate hard in order to penetrate this stuff. You simply need to focus. Your reward is on its way.
Link:

http://rapidshare.com/files/155614378/Constant.zip.html

Tracks	Higher Beings Command I Am The Green Child Beige Lowest Common Abominator Freebase Chakra Tunnel Of Goats [ends at track 23]
Personnel	John Balance Peter Christopherson Simon Norris Thighpaulsandra
Label	Threshold House
Country	UK
Catalogue	ESKATON 24
Format	CD
Date	September 2000
Edition
Notes	Mistakenly shares the same catalogue number with Time Machines Live. Comes in a pink C-shell case.
Press release	This new album by Coil deals with the threat of lavishness and responds with noise. It's trial by musick. This intense density of energetic anger explores areas that Coil have threatened to open out into in the past, but rarely have pursued with such hallucinatory ferocity. 6 new pieces still fresh with blood and electronics. It is released to coincide with Coil's 2nd Royal Festival Hall concert this year; an event which Coil are calling Persistence Is All. Points of reference? Lou Reed's Metal Machine Music, Can, LaMonte Young, Flipper, Butthole Surfers, Supermarket Sweep. Composed & arranged by John Balance, Peter Christopherson & Thighpaulsandra.

Spend a Night in a Box

I think that this post has the most fun music to listen to. Just the other day I listened to Sue Jack Daniels song from this album while going to my job, and I just smiled while listening to the words. Cleaner in production than their Sub Pop outings, equally funny and enjoyable. Recommended as high as possible!

http://www.badongo.com/file/10955071

Sony Playstation 1

Lately there has been a buzz about the first generation of Sony Playstation being a terrific CD player. My brother bought one and we plugged it into his setup comprising of Harman Kardon HK610 amplifier, Avalon Acoustic speakers connected with a classic Kimber loudspeaker cable. His CD player is a classic budget Technics SL-P 170. While the Technics is siginificantly louder, it is undeniably more harsh and unnatural to the ear. Guess the buzz is true, don't believe the hype believe your ears. Try it yourself.

Pops Mohamed presents...Bushmen of the Kalahari

M.E.L.T. 2000 releases a carefully selected choice of World Music-, Jazz- and Acoustic recordings from mainly Southern Africa. The site features well known names from the beginnings of the label in early 90's but also presents new offerings from long standing recording artists like Madala Kunene, Bernard Mndaweni, Amampondo, Busi Mhlongo and Mabi Thobejane. Recent recordings and filming of new and exciting artists include L.A.P. (Live African Percussion), Castro B., Vivid Afrika, Greg Georgiades, Ashish Joshi, Della Tamin, , Thabang Tabane, Syd Kitchen, Johnny Fourie, Carlo Mombelli, Ernest Mothle & Ntombe Thongo's African Band. ELECTRIC M.E.L.T. is undertaking several new projects in conjunction with local South African- and European remixers.

Making music is the most primeval form of human expression, imbued with a mystical power to communicate at an instinctual level that transcends language and speaks directly to the soul. The San Bushmen - the indigenous people of the southern African region are Africa's oldest inhabitants, having lived in the region for approximately twenty-five thousand years. For them, music and dance are not merely creative expressions, but an integral part of their being. An essential element of the San cultural identity is their medicine dance and music, in which they use rhythm to heal both the individual and the collective. The medicine men have a supernatural potency within them called n/um that enables them to cure sickness. To activate this substance they dance and sing, creating sounds and a tempo that heats the n/um, causing it to rise up to their heads and evoke trance. Tragically, after decades of systematic marginalisation and dislocation, the modern world threatens these ancient people, their culture as hunter-gatherers, and their strange and beautiful music. The San involved in both the original Melt recordings Pops Mohamed Presents the Bushmen of the Kalahari, and the forthcoming remix projects come from an area of Namibia called the Omaheke Region, bordering with Botswana. In May 2001 four San musician Ngube, Anna,Kuela and Marcela visited England to launch the SanScape Project. Performing with Pops Mohamed and Zena Edwards, the artists were reunited after their success at the . There are over twenty different San groups distinguished by their language spread over Southern Africa. There are seven different San groups in Namibia with Ngube, Anna, and Marcela from the Noa, based in the corridor in the Omaheke Region. Kuela is from the Dcuikhoe tribe in Botswana.

http://rapidshare.com/files/109003783/Bushmen.zip.html

maximin

Charlemagne Palestine

Young God Records' release of the music of the seminal early Minimalist composer Charlemagne Palestine, as re-configured/re-iterated by David Coulter and Jean Marie Mathoul, in co-operation/collaboration with Mr. Palestine. Coulter and Mathoul have taken previously recorded works of Mr. Palestine and - with the full respect due these often transcendent and sacred works - interwoven new sounds/found-sounds, drones, and unexpected textures into an ever-shifting flow that brings new light to these deeply soulful, sonic-sculptural emanations. Re-contextualizing the pure and spiritual force of nature that Mr. Palestine’s music represents could be a risky musical undertaking, but in my opinion Coulter and Mathoul have pulled it off beautifully, inspired solely by their love and respect of the original works themselves. The mixes have an authentic, hand made sensibility, and even when electronics are occasionally introduced, retain an organic feel. The music on this CD has given me hours of listening pleasure, and I hope it provides you with a similar experience. It’s also our hope that the release of this CD will serve as a portal to the work of Mr. Palestine for those who might not already be aware of his substantial catalog of music.

- Michael Gira/Young God Records

This is quite a great CD and as an introduction to Mr.Palestine's it fits perfect.
If you like this, go and dig some more of his stuff. You'll be pleasantly surprised.

http://www.badongo.com/file/8940035

Three Cherries

SIN ROPAS

Tim Hurley: vocals, guitars, accordian, trumpet, korg, keyboards, assorted manipulations
Danni Iosello: drums, percussion, howlings, organ, korg, harmonium, rocks, jangles.

Look down when you meet Tim Hurley and you'll see him wearing his worked-in black leather shoes-all cracked at the seams and screwed together at the heel. He'll sway over you silently, commentlessly noticing them too, but never replacing them, only just adding things to the integral structure to keep them working, and to him, favorite. It's fitting then that Hurley met up with Danni Iosello over years of multi-band playing. She too had grammer-school-loved shoes, duct-taped and straps-stapled to the walk-worn heels.

Sin Ropas' music is like this also: substantial bits of essential form, the gaps and cracks filled, but never quite covered, with new, and necessarily-changing materials. This might explain why Sin Ropas' records are featured on Top 10 Alt-Country lists at the same time as they appear on "Best of Rock" lists and psychedelic music websites. Elements of all music are there, lovingly, if not permanently, stitched-together fragments that slip on and cross each other. Sin Ropas' first CD, Three Cherries (Perishable Records 2000) was received in this way:

"It's easy to imagine each of this records' eight juggernauts as a deconstructed and slightly decayed version of a conventional pop song, falling apart at the seams and unraveled at both ends...If this sounds to you like words of highest praise, you heard right" [Puncture].

"Three Cherries is unique in that it sounds both old-fashioned (in a sittin' on the porch watching the dust bowl fill itself to the brim kind of way) and new-fangled (all the parts that sound like snake charmers playing plastic horns while on mesculine) all at once" [Faster Than Sheep].

After releasing Three Cherries, Sin Ropas moved to the former-East Germany. This presented them with new bits and scraps to paste on, finally recording their second CD "Trickboxes on the Pony Line" (Sad Robot Records 2003, Konkurrent Records 2004) mostly in their apartment and The Lone Star Studio in Germany. This new CD was different, of course, from the first one: living on the raw Baltic coast changes your stamina and color, Trickboxes being heartier somehow, but still amorphous and sinewy.

http://www.sendspace.com/file/gkllxh

Pole: R

" Pole is Berlin-based producer and ~scape founder Stefan Betke. Central to the album are "Raum 1" and "Raum 2", two tracks produced in late 1996 and released by the ace Din label in 1998. R" stands for remix, but this to me is a proper album since the versions of these two "songs" sound different, and each one of these songs can be perceived as a different separate track. Maybe I'm a bit biased with this one because it was my first introduction to Pole.
Since then, I hold him to be one of my favourite artists within glitch genre. I remember, when David Byrne released his Bip Hop compilation on his own Luaka Bop label, guess who had the best song on it. In fact if my memory serves me well it was the only song I thought was any good on whole disc.

Give it a try.

http://www.sendspace.com/file/8mzwgg

kotai

Kotai is my favourite electroclash album. Nuff said. Go listen!
http://www.badongo.com/file/7204050

Go buy!!!
http://www.kompakt-mp3.net/

Cows

The Cows were a noise rock band from Minneapolis, Minnesota. The band formed in 1987 and disbanded in 1998. They were known for a unique mixture of punk rock and blues played with large amounts of noise; their music can be considered noise rock.
Some say that the group's most acclaimed album is 1992's Cunning Stunts.

The band was notorious for their raucous live performances. Acts the band have performed onstage include kicking people in the front row, spitting on the stage, throwing the microphone stand into the crowd, throwing food at the crowd, drawing on themselves, among others. Lead singer Shannon Selberg's trademark is that he has a tattoo illustrating the game Hangman on his body that reads "F_CK" and another tattoo of an anchor with the word "DAD" on top of it. One reviewer wrote about the band's shows, "I have no doubt that The Cows know how to play their instruments. What I don't understand is why they refuse to tune them."

Their singer, Shannon Selberg, has gone on with music, fronting the Heroine Sheiks.

Band members
Thor Eisentrager – Guitar (1987–1998)
Kevin Rutmanis – Bass (1987–1998)
Shannon Selberg – Vocals, Horns (1987–1998)
Freddy Votel – Drums (1995–1998)
Norm Rogers – Drums (1990–1995)
Tony Oliveri – Drums (1988–1990)
Sandris Rutmanis – Drums (1987–1988)
David van der Steen – Fifth Udder (1987–1992)

Discography
Taint Pluribus Taint Unum – Treehouse Records, 1987
Daddy Has a Tail – Amphetamine Reptile Records, 1989
Effete & Impudent Snobs – Amphetamine Reptile Records, 1990
Peacetika – Amphetamine Reptile Records, 1991
Cunning Stunts – Amphetamine Reptile Records, 1992

http://www.badongo.com/file/7203332
buy here http://www.emusic.com/album/Cows-Cunning-Stunts-MP3-Download/10590415.html
Sexy Pee Story – Amphetamine Reptile Records, 1993
Orphan's Tragedy – Amphetamine Reptile Records, 1994
Old Gold 1989-1991 – Amphetamine Reptile Records, 1995
Whorn – Amphetamine Reptile Records, 1996
Sorry in Pig Minor – Amphetamine Reptile Records, 1998

Didjits

Didjits were an American punk rock band formed in Mattoon, Illinois in 1983, comprised Rick Sims (a.k.a. Rick Didjit) on guitar/vocals, Doug Evans on bass, and Rick's brother Brad Sims on drums. Didjits was known for the aggressive guitar playing and persona of Rick Sims, who often baited the audience between songs, and took plenty of abuse for it. Moreover, the band also added odd stunts and theatrical bits to some of their stage shows, particularly when playing in Chicago and Champaign.
They released their first album in 1987 on Bam Bam Records and disbanded in 1994. Brad Sims left the band in 1992. Former Scratch Acid drummer Rey Washam filled in for the Little Miss Carriage EP, and Todd Cole eventually took over as the drummer.
The band's following solidified with the release of Hornet Pinata, which equaled, if not bettered, it's predecessors:
1987 Fizzjob (Bam Bam Records)
1988 Hey Judester [includes Fizzjob] (Touch and Go Records)
1989 Fizzjob (T&G) [re-release]
1989 Lovesicle 7" (T&G).

The album was littered with memorable riffs and careening, pile driving rhythms, and perhaps the best set of lyrics on any Didjits record. Whether it was Rick Sims telling the story of a one-legged drug dealer who stored his stash in his peg leg in "Lone Lone Ranger" ("just touch my leg/and Santa Claus'll get you high"), offering a put down in "Evel Knievel" ("it takes a better woman than you baby/to call me a slut") or the pearls of wisdom dripping from "Sweet Sweet Satan" ("c'mon let me tell you my recipe/it takes 10 tons of bullsh*t/for 10 ounces of glory"), the album is a cackling joyride. It leads off with "Killboy Powerhead", later covered by The Offspring on their Smash album, has a worthy cover of The MC5's "Call Me Animal" and sloppy bash through Jimi Hendrix's "Foxy Lady", with Doug Evans on lead vocals. The band shot a video for "Captain Ahab", an excellent midtempo song featuring some of Sims' most memorable guitar lines, which MTV refused to play due to drug references in the lyrics. Nevertheless, a clip of the video was shown on MTV's 120 Minutes show, and the clip contained some of those drug references.
I myself never saw Captain Ahab, but Sweet Sweet Satan video clip, which blew my mind right away. When somebody asks me what is rock I say Didjits.

All of the original members of the band appeared at the Touch and Go 25th anniversary celebration in Chicago, Illinois on September 9, 2006. [1] The next weekend, the band played another reunion show in Champaign. Both shows were extremely well received.
Hear them here:
http://punkoteca.blogspot.com/
http://www.somethingilearned.com/2005/08/the-didjits
buy them here:
http://www.touchandgorecords.com/bands/band.php?id=41
http://www.southern.com/southern/band/DIDJI/

Bailter Space

Bailter Space (a.k.a. Bailterspace) was an atmospheric noise rock band that formed in Christchurch, New Zealand in 1986 as Nelsh Bailter Space; they had previously recorded as The Gordons. Its members were Alister Parker (guitar, bass), John Halvorsen (bass, guitar), and Brent McLachlan (drums/percussion, samples). After releasing seven studio albums, numerous EPs/singles, and a career retrospective compilation, Bailter Space is assumed to be on hiatus or disbanded as of 2007
After several releases on Flying Nun, fledgling New York City indie label Matador Records signed them for release in the United States, in approximately 1990. Thermos was actually intended to come out on Matador, and it even has a (blank) roster spot in the official Matador discography; however, Matador never released a Bailter Space full-length until Robot World. The 1992 The Aim EP was the band's first official U.S. release. The band moved to New York City during the 1992 Robot World sessions, and would end up living there on a fairly permanent basis. The EIP EP was released, containing slightly-remixed versions of two Robot World tracks and two that would appear on the forthcoming Vortura.
I became endlessly hooked on them after seeing EIP video on MTV's 120 minutes hosted by Henry Rollins, and I never stopped being a true fan. Allthough Vortura is a more agressive and focused work, Robot World is my first love and my favourite Bailter Space album

1993 Robot World Matador/ Flying Nun - - FNCD259, OLE 50

Turntable mania 2

Nisam izdrzao i kupio sam novi gramofon...

headshell i žičice za zvučnicu u banani, da ne psujem sad ja tu

lemio i lemio kao da je to jednostavno, u stvari to se ni ne smije dirati ako niste potpuno sigurni što to radite...
prijašnji vlasnik je izgleda dosta eksperimentirao s ovim tako da sad ja moram kupiti nove jer ovo je veliko niš.

vidim da su i interkonekti stradali, ovo je naime diy opcija za jack.

ova žičica je bila malo previše puta lemljena i eto skratila se do neupotrebljivosti. baci, baci, baci,

trli brli lemljenje žičica, hiroshima mon amour.

stanton namontiran i ready to go...
ali avaj... igla ne valja i bacio ga ja van, probajmo sa dual dms 220 koji bi po rezonanciji zvučnice također lijepo sjeo na ovu ručku.

nakon što ni dual nije vrijedio suvu šlivu, odlučili smo se za priručno rješenje, krasni monacor

kako to samo krasno izgleda, dok ne kupim novu iglu za ortofon super om 10 koja mi je takodjer u banani ovo će morati zadovoljiti, i gle svira, i to dobro.

nisam nešto ali sviram ko veliki. kad narastem bit ću...zamijenjen.
Anyway ako itko ima kakvu ideju za nabavku novog headshell-a koji bi odgovarao ovoj rucki neka slobodno kaze. Ili di bi se mogle kupiti malo dulje žičice za headshell jer one koje sam našao na internertu su uglavnom za ručke s oblika i prekratke su.
hvala unaprijed.