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Friday, March 6, 2020

Incapacitants - (2012) アルケミー箱愚か Alchemy Box Is Stupid 11xCD

 Alchemy Records ‎– 017
Part  ONE / TWO
Not to be confused with Box Is Stupid on Pica Disk from 2009 which is already on here and has zero overlap with this release.
Boxset compiling all the seminal albums on Alchemy Records by Japan's original and ultimate pure harsh noise duo of Toshiji Mikawa and Fumio Kosakai:

Repo (1989)
Feedback of N.M.S. (1991)
Fabrication (1992)
Quietus (1993)
No Progress (1994)
New Movements In CMPD (1996)
Default Standard (1999)
Live Incapacitants (2000)
73 (2007)

as well as two additional previously unreleased live recordings (Live Incapacitants 2, Kazuo Imai & Incapacitants).

Merzbow - (2019) ((VIBRA)) MMVII

Gradual Hate Records ‎– none

Merzbow - (2019) Dead Lotus

No Funeral ‎– 009

This strictly limited edition cassette release for the tiny No Funeral Records label out of Cambridge, Canada is no exception – three shortish slabs of lush carpets of chaotic static and pure noise, interspersed with recognisable almost rhythmic bass ‘beats’ and shrieking high-pitched whines, feedback, squeaks, and machine noises on side one (which form a themed whole) and a longer, layered, and shimmering assemblage that is, dare I say it, almost tuneful. ‘Spirulina Blue’ is what I would call ‘classic’ industrial music, the kind I particularly gravitated to in the late eighties/early nineties. This one still has the Merzbow trademark nuclear granulation but also includes a keening ‘melody’ weaving its way through the noise. I’m even tempted to categorise this as dark noise ambient – labels are mostly useless when it comes to this Japanese artist but in this case it fits nicely.

Merzbow - (2019) Dying Mapa Tapes 3xCD

menstrualrecordings ‎– 123 

The Dying Mapa trilogy is inspired by the Nyingmapa school of Tibetan Buddhism. Musically, the whole trilogy is made with different equipment and instruments than other recordings of the same period. It also features instruments recorded on tape and then either slowed down or played backwards.

Another remastered/reissued discs from the Merzbow (but I guess that is fair considering it was all CD-Rs). If anyone wants more of his recent releases let me know as there have been quite a couple more ;).


Recorded and mixed at Lowest Music & Arts, Tokyo April & May 5 1982
Masami Akita -Tapes, Guitar, Drum Machine,Noise, Effects, Percussions, Rhythm, Radio, TV, Electronics, Junk, Bass Guitar
Kiyoshi Mizutani -Violin, Percussion
Originally released on cassette (Aeon, USA )1983
Later released on CD as part of the ‘Merzbox’ (Extreme,Australia) 2000

Re-mastered at Munemihouse, Tokyo 2018

Merzbow - (2019) Noise Mass CD

 Room40 ‎– 108

In the late 1980s, Masami Akita’s Merzbow began to shift from being a studio project into a fully fledged performative undertaking. It was a decisive period that began opening up new possibilities for his very particular approach to sound.
Across the first half of the 1990s, Merzbow began touring extensively across Europe, the United States and also in his homeland. It was during this period that the dynamism of Merzbow exploded and the physicality of volume became a primary driver for the experiential capacity of the work.

Simultaneously, Merzbow began developing a range of self made instruments and techniques for exploiting found objects as sound sources, which he used in combination with amplifiers to create a unique spectra of noise and feedback both in the studio and live.

Noise Mass catalogues a critical period within the continuum of Merzbow. It typifies the radical approaches he developed not just through his music, but also through mastering, pushing the very medium of digital audio to its limit through extreme post-production approaches.

Of Noise Masami Akita remarks,
“This was around the time Venereology was released from Relapse and the work of Merzbow became more well known to the world. Far greater quantities of that Relapse release were pressed, and much more promotion along with it. In other words, the image of Merzbow's music as it is best known in the world today came from this time. The music of Merzbow has always been a continuum, the piece added this time to Noise Mass, the revised version of Hole, is a work utilising a voice similar in style to Venereology. Listening to both Hole and Venereology, one can appreciate how these works constitute a thread of continuity through this period.”

MSBR, Government Alpha + Notchnoi Prospect - (2000) Japanoise Action In Russia CDr

Insofar Vapor Bulk ‎– 013

The Bringer Of Everything - (2014) Rosacea CS

Depravity Label ‎– 018

Richard Youngs & Raül Refree - (2019) All Hands Around The Moment LP

Soft Abuse ‎– 095

"For their first meeting, Richard Youngs (Glasgow) and Raül Refree (Barcelona) have created a suite of stately, circular longform songs that manage to connect Tim Buckley's Happy Sad to Federico García Lorca to plainsong liturgy. The largely acoustic and quietly urgent All Hands Around The Moment finds Youngs in an impassioned and emotional space he's rarely inhabited since Sapphie, elevated by lush chamber folk/jazz compositions that incorporate piano, guitar and more, performed by both Youngs and Refree. The four pieces that build the whole of All Hands Around The Moment harness transcendence in repetition, and feature gorgeous progressive minimalism in full spectrum. Dark existential themes flow into mystic uplifting expressions of humanity, without missing a beat. In its timelessness and prescience, the realities present in All Hands Around The Moment make for a powerfully engrossing listen from top to bottom."

Nurse With Wound - (2018) Nerve Junction CD

Self-released ‎– none

Packaged in an illustrated handmade gatefold sleeve, with title on label affixed to inside front cover.
Available at the Nurse With Wound & Current 93 concert, Shepherd's Bush Empire, 13th October 2018, though NWW website claims that it was in fact unavailable. Sold also through NWW website.

Nurse with Wound & Graham Bowers - (2014) Excitotoxicity CD

Red Wharf ‎– 011

SEC_ ‎- (2013) Outflow CD

Heart & Crossbone ‎– 052

Roht - (2018) Iðnsamfélagið Og Framtíð Þess LP

Iron Lung Records ‎– 126 

Iðnsamfélagið Og Framtíð Þess which roughly translates to "Industry and its Future", is taking the oddity and isolationism of hardcore punk and industrial noise and smashing them even further together than they did on previous releases. This is the sound of a band perfecting its approach to the world. And we can't get enough. At first listen it is what seems to be a simple formula of bass, noise, drums and vocals but as you continue to listen, delicate layers of depression, life, anger, creativity, emergence and deconstruction begin to unfold until you find yourself trapped in a dystopian clamor void of hellish nothingness. Industry and its future indeed.

Roht - (2017) ROHT 7''

Iron Lung Records ‎– 089

Stomping isolationist noise punk with a raging undercurrent of industry and primitivism from Reykjavik. This new ep, their first, shows a much noisier and angrier side of what was once an industrial solo project. All sung in Icelandic.
Along with Dauðyflin, these folks are fostering a cold hardcore outsider vibe in a place that has had a rich tradition of punk/pop that's not widely known for it. A truly exciting discovery. Never under estimate the remote reaches of our community, you'll be zapped every time.

The Cowboy - (2020) ST 7''

Drunken Sailor Records ‎– 118

VA - (1985) Hard-Core Ljubljana LP

 FV Založba ‎– 002 

Originally published in 1986, Hard-Core Ljubjana is, without a doubt, one of the most powerful hardcore punk compilations released in the '80s. Showcasing the furious sounds coming out of Slovenia's capital (then part of the Socialist Federal Republic of Yugoslavia), it would catch the attention of punks worldwide with the sheer rawness of the five bands included: U.B.R., Odpadki Civilizacije, Tozibabe, Epidemija, and III. Kategorija. 25 tracks of utter punk chaos. Foldout cover.

Fugazi - (1990) 13 Songs

Dischord Records ‎– 036 

Fugazi is the most important band of the last twenty years. A bold statement but whatever, I am all about them. Defining what it meant to be underground, making the local show something that could happen at a VFW hall, being constantly politically aware, etc. Listing the advancements Fugazi brought to the music world is seriously pointless because they basically redefined what a band not associated with a major label can do. Who knows if Guy Piccitto, Ian MacKaye, Joe Lally, and Brendan Canty set out to redefine alternative rock in general" I wouldn't put it past them. As much as these four enigmas wished to be recognized simply for just their music, Fugazi has and will be much more for many individuals. Perfectly balancing the aggression of hardcore and the groove of dub, "13 Songs" was the first LP released by the D.C. quartet. By most, it's considered their best, but in reality, what Fugazi release isn't" "13 Songs" was an important note in the band's discography, due to its ability to retain enough aspects of the hardcore genre of the late '80s, to make it popular in that crowd, as well as showing the bands first attempts at experimentation.

"Waiting Room" is probably Fugazi's most well known song. Dubesque bass, punk guitar, and intertwining drums, give a backdrop for MacKaye's personal ranting which has since Minor Threat become much more eloquent in both delivery and method. "Waiting Room", "Bulldog Front", "Glue Man" and "Promises" are all Fugazi classics, and the tracks between them aren't bad either. Everything on "13 Songs" follows a similar sound, but subtle differences in the tracks help the entire album work much better than other compilations ("13 Songs" is a collaboration of the "Margin Walker" and "Fugazi" EPs). The strength of this album is actually the repetitive nature: every track seems to flow into each other because they're all cut from the same cloth. Early Fugazi was less concerned with the instrumentation, and more concerned with preaching their words. Tackling issues from battered friendships ("Promises") to taking upon the persona of a woman ("Suggestion"), MacKaye, Lally, and Piccotto were making sure their audiences were aware that although the music has become softer, the message was just as strong. Which is a perfect description of what "13 Songs" is all about: streamlining the hardcore formula through a softer, yet more emotional equation.

"13 Songs" was Fugazi's LP and while it's not the most important of their releases (that title would belong to "In on the Kill Taker"), it is certainly a great one. Progressing from the sounds of Rites of Spring, Minor Threat, and Deadline, Fugazi basically single-handedly forced an evolution in the hardcore scene with "13 Songs" (Drive Like Jehu was also an important band in this regard). Gone was the teen angst of the early '80s; Fugazi was making intelligent, artsy, but still emotive music and "13 Songs" is even their most basic release.

Godflesh - (2014) A World Lit Only By Fire

Avalanche Recordings ‎– 034

Godflesh hasn’t released an album since October 2001. Think about that. A lot has happened in the intervening 13 years, from the War on Terror to the rise and dominance of social media sites like Facebook. Is there even a space in the here and now for a group that was a pioneering industrial band? A World Lit Only By Fire, which follows an EP released earlier this year, is proof that, indeed, there might just be life in the concept yet. Combining industrial with the sludge of heavy metal and the bass-heavy throbs of post-punk, A World Lit Only By Fire is one of those records that grabs you by the throat. There’s actually a great resemblance to the metal group Prong in this outing, which is somewhat ironic considering that Godflesh once boasted two members from that outfit. However, this incarnation of the group – consider it Godflesh 2.0 – just features founding members Justin Broadrick and G. C. Green. But for just two guys, they can certainly make a considerable racket. Full of pummeling hooks and dark visions, A World Lit Only By Fire basically rewrites the rule book for industrial.

And here’s how.

You listen to the genre’s origins, and you’ll hear bands incorporating the sounds of buzz-saws, drills, presses and so on and so forth into the music. On A World Lit Only By Fire the inverse is true: the guitars, drums and bass sound like metal machinery. It’s really refreshing to hear, and a startling revelation. Broadrick and Green squeeze all of the sonic possibilities out of their instruments, and make something that is starkly terrifying, and, yet, cinematic at the same time (No surprise there, as Godflesh has appeared on movie soundtracks in the past). This is music that is all factory fuel emissions, the sort of stuff that billows out of smokestacks and pollutes the atmosphere with all of its toxicity. At times, the sound is vaguely reminiscent of fellow Britons Black Sabbath with its dark droning guitars and adherence to precise beats. However, this is no throwback: Godflesh up the ante by being less druggy and arguably more dark and sinister. That said, there is clarity to the sound, particularly in the use of cymbals, which raises this above the usual sludge rock, too. Godflesh occupy their own space in the metal and industrial community with their own signature sound that is wholly original and pleasing – if this was a band out to please, that is, and I would highly suspect that Broadrick and Green are two dudes who probably couldn’t give a you-know-what about what you think. The music simply stands tall.

There are a few other things that make Godflesh rise heads and shoulders above their peers. First of all, Broadrick has a unique vocal style. Owing something to death metal grunts, you can still make out individual snatches of words here and there, though sometimes you, the listener, might have to work at it to figure out what he’s saying. Second of all, there’s no real traditional verse-chorus-verse structure. Sometimes, such as on opening cut “New Dark Ages”, the same riff is repeated throughout the song. There are no discernible solos, either. The work of Godflesh is to build a monument in sound and their songs on A World Lit Only By Fire take on the work of modern art, just with jagged razor sharp edges that could easily cut you were you to touch them. The adherence to structure rumbles with a ferocity that is base and primal, and Godflesh hold a mirror to the world of black mire and desolation to stimulating effect. This is a record where you sit up and take notice, with a sound that feels fresh and wholly original, even if it does reference certain UK bands of yore. The uniformity of sound between the songs creates the effect that this is an album, not just a collection of material. This is a Statement with a capital S, even if that Statement’s intended purpose is to take your head, dunk it in the toilet and in the hopes that, when you emerge, you aren’t breathing.

The uniformity, though, leads to a criticism. Since the variation between these 10 tracks is subtle at best, A World Lit Only By Fire can become a wearying, draining experience. In fact, you might just say that this is an outfit that doesn’t have songs, per se, just a sound. Even if there are changes in tempo, or the riff changes, it all sounds remotely the same. That’s an asset to be sure, but also a bracing liability. Still, you can help but admit and admire that Godflesh have a Vision (again, with a capital letter), and are fiery and revitalized after an unlucky 13-year layoff between proper albums. Largely eschewing their primal and lo-fi sound for something completely fleshed out, you walk away from this disc feeling largely fulfilled and that you’ve experienced something that is truly vital. The power and heft that two men can make is incredible here, and there’s an overarching feeling of triumph, of picking up the pieces from an unexpected and painful break-up, only to come back and smash things to smithereens with their take on what metal and industrial should feel like.

A World Lit Only By Fire is revisionist industrial and the soundscapes of this brittle disc leaves you wondering what on earth just hit you. This is slowly aggressive, pealing, symphonic music for those who feel the emptiness and pain of modern living, where morons walk into you on the street because they’re too busy jacked into their smartphones, where your only “friends” exist on Facebook, and you need LinkedIn to congratulate you for a year spent working in one job in an era where employees are just meat to fill seats. This album’s title may suggest that the world is lit only by fire, but Godflesh celebrates the darkness of today to confounding effect. That’s what makes Godflesh so important, and good to have back after such a long time away. This is the real deal, and there’s no b.s. – just the truth of the painful reality of existence in the new dark ages of the world in 2014.

Eddy Current Suppression Ring - (2019) All in Good Time

Castle Face ‎– 126

Dadamah - (2010) This Is Not A Dream 2xLP

Grapefruit Records ‎– 010

"The idea of of a band being unlike any other is by now a concept so shopworn it's almost meaningless, but in Dadamah's case it was really kind of true."
- James Lien, CMJ New Music Report, Nov. 14, 1994

This Is Not a Dream is a double album collection of every song released by the legendary Dunedin, New Zealand quartet Dadamah, including the This is Not a Dream LP, and their three 7” singles and one unique compilation track. Grapefruit’s release is a thirteen song collection with the full album on one LP and all the 7” and compilation tracks on the other. Inspired by the Kranky label’s CD compilation of Dadamah’s existing catalog in 1994, this vinyl version includes two additional songs from a posthumously released 7” and it’s been sequenced and designed by the band. Before Dadamah, Peter Stapleton played in The Terminals, Vacuum and The Victor Dimisich Band as well as The Pin Group with guitarist Roy Montgomery. Singer Kim Pieters and organ/synth player Janine Stagg had never been in a band before Dadamah.
Dadamah only played live three times, devoting their efforts to four-track recording. Nevertheless, word managed to get out about the band and they were asked to contribute to the 1991 Drag City single “I Hear the Devil Calling Me” which featured twelve songs hovering around one minute each by a who’s who of the then current New Zealand underground music scene. They released their only album in 1992. Jay Hinman (currently of Dynamite Hemorrhage) noted Dadamah's solitary place in the NZ underground in his Superdope fanzine:
"Dead C. might blare and scrape, the Terminals might twist and wind, but Dadamah positively shimmer with beautifully earthy lo-fi Velvets/Ubu sound."
Limited edition singles on the Seattle-based Majora label followed the LP, earning Dadamah praise as "one of the most overwhelmingly great exponents of layer-shifting drone-on master-rock" in the Forced Exposure catalog. Roy Montgomery's soaring droning guitars were offset by Janine Stagg's stabbing organ and gurgling moog synths, and Kim Pieter's vocals ebbed and flowed, somehow evoking Patti Smith, Ian Curtis, and David Thomas simultaneously.
"Synth woosh, organ-wheez, possessed femme voice over, cavernous man-voice under, guitar and drums punch through... into where? Your dreams friend, if you let 'em."
- Bill Meyer, Pop Watch
After Dadamah, Roy Montgomery went on to form Dissolve and Hash Jar Tempo as well as maintaining his eclectic solo career which continues to feature intense collaborations like those found in Dadamah (find other Roy Montgomery titles on Grapefruit). Peter Stapleton and Kim Pieters formed Flies Inside the Sun and Peter continued his work with The Terminals and his independent label Metonymic which released tons of experimental and underground New Zealand music through 2009.

The Whiffs - (2019) Another Whiff LP

Dig! Records‎ – 009

Can you smell what The Whiffs are cookin? Hint: it’s not Phish, Meatloaf or a String Cheese Incident. Nope – Kansas City’s prodigal sons of power pop are sticking to what they know on Another Whiff, their debut full-length for Dig! Records. Since 2017’s Take A Whiff EP, the band has been busy allowing their auditory aromas to ripen with the addition of Joey Rubbish (of The Rubs) for a fuller, more robust sonic bouquet. While the band can still get it up for Stiff Records – their pop-centric punk remains in full force – the album takes detours down lonelier roads in broken-hearted ballads from the heartland; on a journey forged by pioneers like Chilton and later Westerberg, the looming legacy of Petty and the cosmic country harmonies of The Byrds before them.

In a year’s span, The Whiffs took their time recording, on and off, in their makeshift basement practice space: Electric Babyland. This pace and environs allowed the new lineup to coalesce, and get tour-tight on the road with La Luz, Bad Sports and Patsy’s Rats. The result is a unique album that is at once sprawling in direction and precise in execution, with all the sonic stank you’d expect from sweaty beer plied basement sessions. Out of the gate, “Shakin All Over” will register to all of the senses, like you’re squatting in the corner of the basement, imbibing with the band and absorbing every hit from Jake’s C&C kit (note the frivolous plug for Jake’s drum company). After untold nights into the wee hours of the morning, 14 tracks emerged as Another Whiff. Expertly recorded by Joey, mixed by Vince Lawhon and mastered by Jordan Richardson; the final package sounds like the sum of its parts, and all the beers in between. Another Whiff shirks a sell-by date and trends de jour, in favor of honest guitar driven, vocally infectious love songs for the ages.

Timeless tunes and the triple-threat of Rory, Zach and Joey’s vocals set The Whiffs apart from their peers. Three distinct songwriters with their own personal flavors, delivering three-part harmonies for a unique rotation of upbeat punk belters (“Now I Know”), achy ballads (“She”) and triumphant tearjerkers (“How Could You”) that our troubled troubadours dispense like a Greatest Hits Factory for the last half-century of all of our all-time favorites. 

Victor - (2016) ST

Self-released ‎– none

I can tell you right now that this isn't going to be a very informative description... I'm just not that familiar with the world that Victor is operating in. I can tell you that this is a synth-based project based out of Israel and that it's on Lumpy, but it's definitely one of the more abstract, least song-oriented things that Lumpy has ever released. Most of the tracks last around a minute long and while a few are up-tempo enough to remind you of classic synth-punk like the Screamers or something similar, there's a diffuse and abstract quality to these tracks as well. It's sort of like seeing a vision of the future indistinctly as a gauzy blur. It's way lo-fi and it isn't really "catchy" by any pop-based standard, but it's an interesting thing to put on and let wash over you. Definitely not for everyone, but if you want to dig deep into the Lumpy universe check this one out.

VA - (2019) 20 Years Of Experimental Music 10xCD

 Mikroton Recordings ‎– 076-85
Part One / Two

Nantes trio Formanex celebrates 20 years of activism in experimental music with a 10 CD edition full of amazing collaborations with ONsemble (contemporary music group from Nantes and Saint-Nazaire) and composers they have worked with. The box set includes early works by Formanex’s own Julien Ottavi, unique compositions created by Keith Rowe, pieces by Kasper T. Toeplitz, Ralf Wehowsky, Seth Cluett, Michael Pisaro, Radu Malfatti, as well as other giants of contemporary music from the last 50 years; such as Phill Niblock and Christian Wolff.

A rare collection of CDs, this box set represents a broad vision of experimental music from noise to electronic abstract composition, radical minimalism, contemporary and improvised music. 

VA - (2012) The Wiener Dog Comp 2xCS

Burger Records ‎– 379
This double cassette has saved the life of a little wiener dog named Popcorn! She had a growth on her belly that needed to be removed in a costly operation and thanks to the 71 bands donating unreleased tracks, M2COM for their tape duplication skills, Spot-On Sound for their mastering prowess and all of you for purchasing this benefit comp, we did it! It feels good to do good, so keep it up and let’s all be cool dogs all the time!

VA - (2016) Start Your Own Fucking Show Space 3xLP

 Famous Class ‎– 038 

For nearly a decade, Death by Audio was a recording studio, an effect pedal workshop, a music venue, and a home to musicians and artists. Oliver Ackermann (A Place to Bury Strangers) found the warehouse in 2005 and along with fellow artists in Dirty on Purpose, he started hosting concerts to help pay to build out bedrooms and studios. By 2007 DBA was hosting bands almost every night. Over 1,800 shows later, DBA announced its impending eviction with an epic final month of programming. Start Your Own Fucking Show Space tracks the last days of DBA in November 2014, a sweaty, bittersweet homecoming for many artists who began their career there.
Presented in chronological running order, Start Your Own Fucking Show Space features live recordings from 26 bands over the venue’s final month. The LP set is housed in a double gatefold jacket with printed inner sleeves listing every one of the 1,800+ shows in the venue’s history. There is a limited pressing of the compilation on clear with opaque blue & red vinyl, available while supplies last.

VA - (2016) Close to the Noise Floor- Formative UK Electronica 1975-1984 4xCD

Cherry Red ‎– 024 

Two years in the making, Close To The Noise Floor is the a 4CD (60-track) set exploring the origins of electronica in the UK.

Featuring tracks from key figures on the cassette label underground alongside early releases by future stars of the movement, this is part primitive rave, part synthesiser porn and part history lesson.

Enthralled by the mysterious electronics of Pink Floyd, Hawkwind, Gong and German Kosmische artists such as Tangerine Dream, Harmonia and Cluster, and inspired by the DIY ethos of punk, a quiet revolution took place across the UK in the late 1970s and early 1980s. The rise of the microchip and the advent of affordable synthesisers enabled countless artists for whom guitars, drums and bass had become old hat, and in grubby bedsits, unremarkable living rooms and art school halls across the British Isles, UK electronica was born. The underground, fuelled by cassette exchanges, co-operative vinyl compilations and a thriving mail order network, quickly began to stretch the boundaries of sonic experimentation.

Close To The Noise Floor explores every corner of this fascinating and often overlooked chapter in our musical history. For proto synth-pop look no further than 100% Manmade Fibre and Spoon Fazer, whilst British Standard Unit and Five Times Of Dust lay out techno templates which wouldn’t take full form until many years later. Elsewhere, the synthesiser laden ambient music of Zorch and the found sound collages of A Tent sit comfortably alongside early forays by familiar names – Blancmange, The Human League, OMD and Throbbing Gristle – in over four hours of futurist, entirely modern music.


Track Listing:

DISC ONE:
1. FIVE TIMES OF DUST – Computer Bank
2. THE KLINGONS – R.A.M.
3. CHRIS AND COSEY – Re-Education Through Labour
4. MALCOLM BROWN – Sedation Strokes
5. STORM BUGS – Little Bob Minor
6. THOMAS LEER – Tight As A Drum
7. BLANCMANGE – Holiday Camp
8. INNER CITY STATIC – Fractured Smile
9. WE BE ECHO – Sexuality
10. BOURBONESE QUALK – God With Us
11. NAGAMATZU Faith
12. O YUKI CONJUGATE – Disco Song
13. BRITISH ELECTRIC FOUNDATION – Optimum Chant
14. KEVIN HARRISON – All Night Long
15. VOICE OF AUTHORITY – Stopping And Starting

DISC TWO:
1. COLIN POTTER – I Am Your Shadow
2. BRITISH STANDARD UNIT – D’Ya Think I’m Sexy?
3. FIVE TIMES OF DUST – The Single Off The Album
4. SPÖÖN FAZER – Back To The Beginning
5. GERRY AND THE HOLOGRAMS – Gerry And The Holograms
6. THE PASSAGE – Drugface
7. JOHN FOXX – A New Kind Of Man
8. 100% MANMADE FIBRE – Green For Go
9. THOSE LITTLE ALIENS – Sentimental
10. FINAL PROGRAM – Protect And Survive
11. THE HUMAN LEAGUE – Being Boiled
12. INSTANT AUTOMATONS – New Muzak
13. CULTURAL AMNESIA – Materialistic Man
14. WORLDBACKWARDS – (Leaving Me) Now
15. ALAN BURNHAM – Music To Save The World By
16. ORCHESTRAL MANOEUVRES IN THE DARK – Almost
17. EYELESS IN GAZA – Kodak Ghosts Run Amok
18. SCHLEIMER K – Broken Vein
19. NATIVE EUROPE – The Distance From Köln

DISC THREE:
1. ZORCH – Adrenalin (Return of the Elohim Pt 1)
2. SEA OF WIRES – Robot Dance
3. RON BERRY – Sea Of Tranquility
4. MFH – Mistral
5. ADRIAN SMITH – Joe Goes To New York
6. MARK SHREEVE – Embryo (Extract)
7. EG OBLIQUE GRAPH – Triptych
8. CARL MATTHEWS – Encounter
9. PAUL NAGLE – Ynys Scaith
10. O YUKI CONJUGATE – Sedation
11. KONSTRUKTIVIST – Western Vein
12. ATTRITION – Dead Of Night (Excerpt)

DISC FOUR:
1. THROBBING GRISTLE – What A Day
2. A TENT – No Way Of Knowing
3. PORTION CONTROL – Go For The Throat
4. DC3 – Eco Beat
5. RENALDO AND THE LOAF – Dying Inside
6. BLAH BLAH BLAH – In The Army
7. LEGENDARY PINK DOTS – God Speed
8. MUSLIMGAUZE – Muslin Gauze Muslim Prayer
9. SUISSE – Live At Longborne
10. ALIEN BRAINS – Menial Disorders, Extract B2
11. STORM BUGS – Himeal (And She Blew)
12. THIRD DOOR FROM THE LEFT – In The Room
13. AL ROBERTSON – Dignity Of Labour
14. bcGilbert, gLewis, russell Mills – Mzui (Extract)

Black Leather Jesus / Hiroshi Hasegawa - (2019) Control Your Surroundings CD

Dada Drumming ‎– 061

Limp Wrist - (2017) Facades LP

Lengua Armada Discos ‎– none

Carved Cross - (2020) Severance Of Disparity In Absolute Acrimony LP

 Death Shadow Records ‎–  028

Leviathan - (2000) The First Sublevel Of Suicide CS

Devout Rcrds ‎– 008

Balam Acab - (2015) Child Death

Self-released ‎– none

FLESHLICKER - (2019) The Mauler CS

Not On Label ‎– none  FLAC

VA - (2013) Rising From the Red Sand Volumes I - V 5xLP

 Vinyl-on-demand ‎– 120 

‘Rising From The Red Sand’ was one the most comprehensive compilations of early 80’s industrial, wave and underground music, spanning a total of five cassettes, compiled by Gary Levermore for his own Third Mind Records label (which has also recently been revived). The original five tapes are now released as a 5xLP set, following several months of tracking down as many artists as possible to obtain their permission to reissue their material. Almost all were found, although nine tracks are missing from this box. ‘Rising From The Red Sand’ was both a precursor to can can be seen along the lines of the two later double LP’s 'Elephant Table Album' and 'Three Minute Symphony', but due to the vastness of the project offers a more complete insight into the musical underground of the early-mid 80’s period.‘Rising From The Red Sand’ includes the likes of Chris & Cosey, Nurse With Wound, Die Tödliche Doris, Test Dept, Attrition, Colin Potter, Muslimgauze, Ian Boddy, We Be Echo, Konstruktivists, Portion Control, Metamorphosis, Bene Gesserit, Legendary Pink Dots, P16.D4, Nocturnal Emissions, Human Flesh, Bushido, Smegma, Ptose, Kopf Kurz, Merzbow, Tone Death, Pseudo Code, Conrad Schnitzler, Cultural Amnesia, John Hurst, Section 25, Fan Tan,  Un Departement, Scram Ju Ju, Five Or Six, Sylvie & Babs, James Braddell, Onnyk, Nexda, Hula, Dave Knight, Irsol
 Liner notes are written by Frans de Waard (of the Korm Plastics label and Vital Weekly), and he writes: “Rising From The Red Sand', which I still regard as the best compilation of industrial music from that time - a five hour Encyclopedia Industrialis"    

K2 - (2019) Tekhnodrug CD

 Narcolepsia ‎– 051

Terror Cell Unit - (2014) Fear God/Hate Man CS

Crown Tapes ‎– 0.10

Terror Cell Unit - (2019) Sinners In The Hands Of An Angry God CS

Oxen ‎– 063

Terror Cell Unit / Striations - (2014) What Were You Expecting CS

Crown Tapes ‎– 0.12

Koufar - (2014) As The Phoenix Rises CS

Crown Tapes ‎– 0.11

Machismo - (2013) Turnt In Baltimore

Strange Tapes ‎– none

Machismo - (2013) Severe Disconnect CS

 Depravity Label ‎– 009

Bachir Gemayel - (2009) Resistence CDr

Zvukovina ‎– 047

Bachir Gemayel - (2010) St. Charbel 4xCS

Masonry Records ‎– 004

Aqua-Eroticum / Swallowing Bile - (2014) Split CS

Depravity Label ‎– 021

Climax Denial / No Dreams - (2016) Split CS

Depravity Label ‎– 037

Controlled Bleeding - (2007) Songs From A Sewer Of Dreams 4xLP

Vinyl-on-demand ‎– 047.B 

A box featuring unreleased music from CB's very early days to today. One side from a long lost Knees and Bones session, one side of pre-industrial music, live at CBGBs supporting Suicide 1979, one side a 25-minute live piece of ancient, very good material from 1977 (sounds like John Cage/Penderecki), one side of free jazz live improvisation with Borbetomagus, one side new total noise, etc. This is one of those very very extreme (if not most extreme) VOD releases and VOD rates it 'PG18.'

Crown Of Cerberus - (2011) Awakening CS

Anabolic Dimensions ‎– 003

Crown Of Cerberus - (2011) Strength CS

Human Ignorance ‎– 030