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.

Delusion of the Fury by Harry Partch

delusion

Youtube is full of material on Harry Partch and I suggest you check it all out. That's if you have some free time. And I promise to keep posting more. I have some more of his stuff but I first have some vinyl ripping to do.

Workdogs

Old (cd)

• Stimulant • Painting the Davil's Office Again • Back in the Days • Brave New Blues • Robert Kennedy Blues • The Facts of Life • Back on the Night of May 27, 1977 • Too Young to Die • Little Joe •

Old guitars: Marce Hall, Jon Spencer, Ted Horowitz, Jerry Teel tenor sax: Kurt Hoffman trumpet: Pam Fleming bariton sax: Adam Kolker organ, piano: Maicolm Riviera accordion: Andrea Parkins harmonica: Flitz Fox mandolin: Fran Powers backing vocals: Shannah Ehrhart, Leila Haddad

OLD

Sympathy For The Record Industry.

Whatever grand traditions the blues Explosion harken back to, Rob Kennedy and Scott Jarvis are their greatest living practitioners. Now, the Workdogs can play their way out of all the last remaining paper bags in America, leaving a legend on a state of the Grand Canyon, the Mississippi, and the Panama Canal. Just because the duo's adventures in music haven't pointed to much in the way of "career," don't be foolish enough to think that the Workdogs are anything less than great rock'n'roll assets. They may look a little daffy, but one glimpse into the Workdogs' eyes says they've got it all on you. Sharing the name of a dead president's brother is no cakewalk. The honorable Rob K is liable to say anything once he starts to preaching his walking-talking blues, and chances are he'll be able to figure his way out. He swears sympathetically by the most impossible of hard times, the trickiest of rhymes, and the most excusable of crimes. Looking to learn a little of the Workdogs' natural-born and hard-earned wits. Marcellus Hall of Railroad Jerk and Jon Spencer of the Blues Explosion lend guitars to hall of these ten tracks. Honeymoon Killer Jerry Teel and Velvet Monkey Malcolm Riviera also kick in. It was probably the jukebox more than anything else that kept the Workdogs down thus far. Once a bar owner could get music that didn't talk poobahs like Rob K, and Scott Jarvis were numbered. With his gift of gab. Rob K takes you wherever he's been, wherever that he had, the hospital behind the wheel of a big rig, or in the arms of a neighbor's wife. Please don't be tricked by the "harmless old cool" guise-these two are wolves in sheeps' clothes, kid. You have to listen to a man with a talking dog and $1000 of a hooker's money in his underware, and this is the first Workdogs record to really lay it down.

Workdogs - Old
link dead

Vintage Cabs!!!

Well, earlier I posted two last outings by legendary Cabaret Voltaire, now it's time for some auld stuff. Two early singles, one rare and one not so much. Vinyl ripps of course, no hiss removal, no click removal, no crackle removal. Just music.

Links:

Cabaret Voltaire - Jazz the Glass http://www.badongo.com/file/3038691

Cabaret Voltaire - Silent Command http://www.badongo.com/file/3038759

The Passage - Pindrop

The Passage's first album is unique in many ways since this one is in fact a solo record. It sounds like Suicide at times, and at times like their later output. The sound is sparce and minimal and I just loove it.
There is a nice reissue on CD with some early singles on it but is a bitch to find.
music

More Texans - this time it's the Pink Swords

http://www.myspace.com/pinkswords

Just what the other review said:it’s another hellswarm of ragged audio dust devils touching down in your ears and scrambling what’s left of your brains in short, barely controlled bursts of animal rage gone all hot and electric. This is rawknroll goddamnit!

More popular in Europe than in US, and that's how I got to know them. Eviva!

The sound of Sheffield from Zagreb

When you start reading about Suicide you find out that the equipment they used was all used, used Farfisa organ, used drum machines etc. The same was with early Cabs, they played whatever they could find and incorporated it all to their sound. Today we don't even have to do that, since there is so much free and shareware software around that you can virtually do the whole thing without or with very little money.
So we come to Narrow, an excellent Cabs inspired project, from Zagreb, Croatia. Heavily into lo-fi, they use analog used equipment and a Sony walkman. Everything is mastered onto a compact cassette due to its "sound quality". This is their first release, made on two mini cd-r's and put into a very intuitive packaging, which resembles LP's gatefold sleeve.
The music itself is a near perfect old fashioned bleepy industro dance that Cabaret Voltaire are the crowned kings of. The prime track here is: Don't talk to me 'bout love, my personal DJ-ing favourite. It gets me started in the right direction.
LInk-dedddd

ače are from France

ače are from France and are one of the best european alternative bands I've seen over the years. The sound is ritch and textured, rhythms complex and songwriting excellent. This EP is from 1998 and is issued by "images de chantz 'urbains", that's chantzurb@aol.com if you get interested in this release.
discography:
1996
Pancake Attack !
1997
Totally Inadéquat
1998
Meet Jane Doe
1999
Mawa Sekai

ače: Meet Jane Doe EP
link is dead

Weird Psychedelic America!

In this post I give you two very interesting modern psychedelic bands from USA.

First will be Texans ST37 and their album of rarities and outtakes with a silly name: I Smoked Kevin Costner's Shitty Pot, which starts with some studio drone tracks but from the track no. 3 on it is raw garage stuff with somewhat poor sound quality, but with an unbeatable charm and rough but appealing ambience.

Second is band SubArachnoid Space with their live album These Things Take Time which is a recording of their live radio appearance. Songs don't have names, but later do appear in somewhat different form on their subsequent studio albums. Sound quality is very good and the feel of a whole set is impecable. Hope you enjoy this and tell me what you think.

Mind you, this is not as elegant as, say, ambient dub or ambient drone or post rock, this is Hawkwind meets Krautrock meets garage rock meets whatever. This is spacey but in my oppinion a bit rougher on the edge than your common dub. This is Can on fuzz.

Here are some excerpts of what I found on the web and at the end ... LINKS.

Enjoy.

www.myspace.com/subarachnoidspace

SubArachnoid Space was formed in 1996, first as a trio, then almost immediately adding the second guitar role. Since then, the band has continued to explore the infinite variations of instrumental mind-expanding heavy rock and drone.

http://www.myspace.com/st37

ST 37 was formed in January 1987 as a merger of sorts between Austin cult bands Tulum and the Elegant Doormats. Bassist S.L. Telles has been active in the Texas music underground since singing with Houston teen punkers Vast Majority in '79-'80, releasing a single on Wild Dog records that has since been reissued several times, including outtakes. Telles formed the Elegant Doormats in spring 1982 with original ST 37 drummer John Foxworth (who later joined Tulum). The group endured for five years, playing with bands like the Butthole Surfers and the Reivers, and recording with legendary God of Hellfire Arthur Brown.
Guitarist Joel Crutcher and vocalist Carlton Crutcher founded Tulum in 1985, and recorded for Rabid Cat records before that label disintegrated. Jello Biafra wrote, "The bizarre side of Austin is still alive - first the Buttholes, then Scratch Acid, and now Tulum."

Press:

ST 37, long-running specialists in bubbling-mercury riffage and German-flavored trance rock... - David Fricke (Rolling Stone)--------------------------------------------------------------------------------

These Texas astronauts stuff their hash pipes to the brim and pay homage to Can, Amon Duul and Chrome...their psychedelicatessen of originals is stocked with brain-melting skree...- Fred Mills (Magnet)

Twistedly psychedelic and swirling in a cyclonic stew...one of the most infectiously woven slabs of noise- as- music released since the 60s drug boom. - Andrea 'Enthal (Alternative Press)--------------------------------------------------------------------------------Melting Euphoria and the Texan band ST 37 are the two best working psychedelic bands in America today. - Andre (Crohinga Well)

Sunburned Hand Of The Man - Magnetic Drugs

Magnetic Drugs is a very tightly constructed collection of tracks which is absorbing from start to finish. The record starts off intensely with a seriously focus swirl of noise called "the Overt Statuette," easily the most cacophonous thing that the Sunburned Hand crowd has laid down to date.
While some complain about the band's small print runs (this disc came from limited and numbered edition of 250 copies), as of this writing it was still available from online retailers Eclipse Records and Father Yod. If you have any interest in free, improvised music, take advantage of this availability while you still can. The Sunburned Hand of the Man have carved a significant and well-deserved niche for themselves within the free-music underground. Some naysayers claim that the band is more hype than substance—an examination of their released output will demonstrate that such talk is misguided and that they deserve all of they praise that they've been given. Magnetic Drugs is probably the album that grew on me. It's the most focused of the three that I own, and is the best for the introduction to the band. Now that the Uncut magazine has discovered them it will be very hard for you not to stumble upon them. Hope their music won't change in the years to come, they really are an exciting band as you are about to discover.

link is dead
And here's their tour page: http://www.ecstaticpeace.com/sunmark.html

One Dimensional Man, great noise rock from Italy

One Dimensional Man were born as a brainchild of Pierpaolo Capovilla (voice & bass) & Massimo Sartor (guitar), together with Dario Perissutti (drums). Their eponymous debut album, came out in May '97, has 13 tracks with sound closest to Touch & Go bands especially those produced by Steve Albini, violent, rhythmic and uncompromising. The album was highly praised in press that year and was perhaps the best release by Wide Records up to that date. They promoted the album up to the end of '98 playing100 concerts in Italy, Slovenia, Croatia, Chech Repblic and Slovakia. They supported Blonde Redhead, The Cows, Kepone, Fluxus, Uzeda. 1998, Massimo left the group and was replaced by Giulio Favero, young guitar player from independent Padovan scene . With Giulio, One Dimensional Man sort of shifted their sound towards a more bluesy feel.

Recorded & mixed by Massimo Sartor at Maximum Volume StudioVenice - Italy - October 1996produced by One Dimensional Man1997 Wide Records - WD025CD

Psychic TV & Monte Cazazza Live Heaven 23/12/1984

Psychic TV & Monte Cazazza Live Heaven 23/12/1984

Live in Heaven is brilliant. Recorded on December 23, 1986 in Heaven, Charning Cross, London. Released by Temple Records (Catalog TOPY 018). Although Alex Ferguson is not creditied, some sites I have read say he did perform at this show. Most likely the vocals on "I Hear Voices" is Monte Cazazza.

Parts of this release ended up on the 2003 reissue "Live In Glasgow Plus".

For the realization of this project were Psychic TV:
Dave Ball - Keyboards Dave Ball - Keyboards
Monte Cazazza -Guitar Monte Cazazza-Guitar
Hilmar Orn Hilmarsson - Keyboards Hilmar Orn Hilmarsson - Keyboards
John Gosling - Samples, Percussion John Gosling - Samples, Percussion
Mouse - Bass Guitar, Clarinet Mouse - Bass Guitar, Clarinet
Genesis P-Orridge - Repartee Genesis P-Orridge - Repartee
Paula P-Orridge - Vibes, Percussion Paula P-Orridge - Vibes, Percussion
Live Mix by Ken Thomas. Live Mix by Ken Thomas.

Track Listing; (I included the actual song titles where appropriate).

1		I Hear Voices (Protocol)
2		Thee Leg Song
3		Paradise Lost
4		Lies And Spies (I Like You)
5		Revenge On God (Unclean)
6		Stolen Lightning
7		Feet Of Broken Glass (Southern Comfort)
8		New Regeneration (Papal Breakdance)
9		Radium (Color Climax)

My original rip was from tape, but I found this one which is way better from "Because God told me to do it" blog

In joy

We're all frankies Except Some Belgians

23 Minutes in Bruxelles1980 - Evatone, 9" flexi # 828804
23 Minutes in Brussels1978Red Star/ Bronze recs, 12" # FRANKIE1

This official bootleg -quite difficult to find- exists under 2 formats, both in limited edition :12" : edited by 'Red Star Records Inc thru Bronze Rec Ltd', limited edition, 1000 copies. Comes in a white sleeve with stamp of ed. Number & with a short xerox copied insert of a typewriting-letter from the record label to the fans, dated september 8, 1978 and announcing the recordings of the 2nd LP.

23 Minutes in Brussels
(recorded at Anciennes Belgique 16/6-1978)
Ghost Rider
Rocket USA
Cheree Dance
Frankie Teardrop

It restores the ambient of a very chaotic concert in Brussels, Belgium (tour supporting bands like The Clash and Elvis Costello for a european tour) : Something began with the song Frankie Teardrop, and soon converts to a full riot, Alan Vega had even his nose broken.
Legends are built something like that no?
The Brussels' recording has also been re-issued as bonus trackof some CD-reissues, including the last (1998) one (20 years later).

"We're all frankies Except Some Belgians" (as stated on the 12" ex.)

Rare Melvins 7inch Vinyl Rips

For completists only, but not quite dissapointing. It's raw, it's slow, hard and it's pure Melvins.

Plus you get these paper dolls. Ahh those Kiss fans, they're all merchandise crazy.

1987 Leopard Geck-O 7"
----------------------

a) Oven
b) Revulsion - We Reach

NOTES:
1000 pressed on pink vinyl; 200 came with paper dolls [see folder].

1989 Slap A Ham 8" Flexi
------------------------

a) Your Blessened
b) Pronoun - Piece Me

NOTES:
2 pressings of 1000 each, hand numbered. Inside cover is different. 1st press on clear, 2nd on yellow vinyl.
"Your Blessened" was recorded on 2/4/89 at Gilman and Pronoun's "Piece Me" was recorded 2/1/86 at C/Z Records.
Noisy & monotone slow core. Live recording is only above average, but it's hard & brutal (and nothing else counts...)
More info and scans can be found here: http://www.themelvins.net/discography/singles/slapaham/index.htm

1997 Barbaraal 7"
-----------------

a) June Bug (live)
b) Noise (live)

NOTES:
Both sides are listed as untitled #1 & #2 for some reason.
Barbaraal is a 48 page comic drawn & written(in english) by Dutch artiste Barbara Stok & this issue came out in early 97 which included a live MELVINS 7" recorded in Groningen, Holland at the Vera club with full permission from the band..In the comic you can read how Barbara finds out about
the MELVINS & how her love for them grows..great stuff!

Big Black

Just another bootleg Big Black Peel Session from 1987.
Dirty and raw and I know you'll like it.

Big Black 1987 Peel Sessions (bootleg)