Bathtub Shitter - (1999) Fertilizer 7''

Ok, for starters... What about a little Bathtub Shitter backstory? When did you form? Can you introduce the band members? Did you play in other bands before (and maybe still do)?

Masato: OK, just remember We have formed in 1996, It goes back to 9 years, I met Keisuke for the first time, so hard to introduce about fluid members of this band, current member is me on vocals, Yuki Kuroki is on Bass, Daisuke Tanabe is on Guitar,and Keisuke (Sugiyama) is still doing Drums, same line up for European tour last year, so going for making 2nd full album by this line up as for my former band, only I was doing HM/HR band (Japanese Metal meets J-POP, was it like EARTHSHAKER!?) with Osho (BS former guitarist and childhood friend) when We were high school students, maybe for 4years, but not serious, I think I can not do other band anymore coz don't write my own lyric without shit, ahaha

Bathtub Shitter - (2001) One Fun 7''

How would you describe your music? Is Grindcore a fitting label for Bathtub Shitter? Which bands influenced you to start this band?

Masato: Mm...not fit, I think maybe You will feel this, BS is not only for grind core when You hear our forthcoming 2nd album, called Dance Hall Grind but We liked TERRORIZER a lot when We started this band, We were influenced by big TERRORIZER, bands from old EARACHE RECORDS and our senior SxOxB but I think BS is going our own way at next stage of grind core now, not the late "80 or the early "90, Maybe Who will call us Dance Hall Grind ahaha Live Now, Live Now, Live Now, Live Now, Live Now!
Shit Now, Shit Now, Shit Now, Shit Now, Shit Now!

Bathtub Shitter - (2002) 97+3 Shit Points 7''

What's your inside view of japanese grindcore/music scene? Do you have relationships with other bands? Some recent japanese bands seem inspired by the Bathtub Shitter sound... What do you think? What are your favorite japanese bands in activity today?

Masato: I don't know
Mm...I have no interests in Japanese grind scene anymore, don't play there long time,maybe that scene is not active...more active when We are there,I don't hear anything,only keep friendship with Kim/BLOODBATH RECORDS
I really hope They does active more...
not from grind core,I liked MELT-BANANA,SHOKI(The Damon Slayer), LIMITED EXPRESS HAS GONE and so on
now in Japan, Japanese Reggae is very craze for Kids and on street, RESPECT A SHIT! aha

Bathtub Shitter - (2002) Angels Save Us 7''

Osho always does your cover artwork... What's his inspiration for his  drawings? Is there a meaning behind his artwork? Will he continue to take care of your future covers? Did he also draw the Bathtub Shitter logo?

Masato: No! Osho was drawing in accordance with my image, We frequently had a quarrel for drawing, He was slowly, long for it, well He is one of my old friend, but left this band also living with girlfriend in out of music scene now, sometimes call with him, unfortunately He won't come back, coz not doing the drawing and guitar anymore his drawing and guitar is fitted early Bathtub Shitter's image but now our new artist, named Brendan is drawing up coming Bathtub Shitting every titles, his drawing is awesome!!!
only use Osho's drawing  that He left for two titles Early Yeah Shitting (Discography the late 1997 to the early 2000)-ALBUM Angels Save US + Mark A Muck(2EPs in 1CD)-ALBUM
I worked out logo for this band, English as Kanji (Japanese or east Asian words) 

Bathtub Shitter - (2003) Lifetime Shitlist EP 7''

When I was a very small kid, I used to take baths together with my smaller brother, one time he took a dump right into the bath water!!! Everytime I see the name Bathtub Shitter I remember this traumatic event!!!
Anyway, seriously what's the true reason behind the name Bathtub Shitter?
What message do you try to convey with your lyrics?

Masato: You have good memory aha,just remember I did it when I was kids, my mother was amazing ahaha BATHTUB SHITTER's true meaning is not shitting in bath tub, maybe Who knows...
this word was existed in my mind and lyric of my own other band that I was doing with Osho(Masashi Kadota)before I started BATHTUB SHITTER, maybe when I was 17 or 18 age old I think It was monster or my ideal naturalism on my lyric, that originally was mixed lyric of SHIT AND PEACE and BATHTUB SHITTER(not band name) SHIT AND PEACE was a part from original BATHTUB SHITTER lyric, SHIT AND PEACE has meaning of naturalism, BATHTUB SHITTER has meaning of unique idea for living
lyrics of two songs was originally in same song, BATHTUB SHITTER maybe I didn't like Japanese bands used a word of MOTHER FUCKER as European and American bands used those days, and I was looking for my own word against traditional MOTHER FUCKER, or FUCKING It's BATHTUB SHITTER and SHITTING for me to say,Okay!? We don't worship real excretions!!! ahaha, Yeah, BATHTUB SHITTING LIFE !!! ahaha

Martin Rev - (1985) Clouds Of Glory LP

"It's like someone took an unreleased Suicide record, removed the vocal tracks, and replaced them with synth oscilliations, chirps, drones and explosions." - Opium Hum
Haunting second album of minimalist analogue synth experimentation from Suicide's Martin Rev. Never before pressed to vinyl in the States. Previously available as an import on French label New Rose. A killer follow-up to his debut LP reissued in 2013 by Superior Viaduct.

Rotten - (2013) ST CS

Power Electronics Industrial Noise at 320K/s. All Dead Tapes.

Or -

1) Formerly called Rotten Rectum, they dropped the latter part off because it was deemed to be too childish and immature. Drummer Kalle Holm was found guilty of burning a historical church on May 29th, 2006 in the band's hometown Porvoo. He was originally convicted to prison for 3 years and 2 months, but the sentence was increased to 6 years 6 months by the supreme court.
2) Harcore Punk Band from Mexico
3) Grindcore from Jakarta, Indonesia. Rotten is the band formerly known as Rotten Vagina 69.
4) A Hardcore Punk band from Switzerland
 

White Medal ‎- (2014) Guthmers Hahl CS

First full length album release by Yorkshire Heathen Black Metal lone wolf; White Medal. Following on from where the "Agbrigg Beast" and "Alone As Owt" demo's left off, "Guthmers Hahl" presents a dark inward glance and shudder towards this dying world through the medium of raw and oppressive Black Metal art. Six aggressive yet somber tales of pride, culture, war, destruction, peasentry and eventual rebirth. All music and lyrics in Yorkshire dialect by George Proctor. Artwork by Lucy Johnson.

Esk - (2012) Ashdene CS

Long awaited debut demo from Lucy Johnson (Rife, Smut, Indian Lady, etc). 4 tracks of obscure and unique Black Metal from Langholm, Scotland; recalling diverse influences. From quiet to monolithic. From shy to unrelenting dark atmospheres.

Sump - (2014) Murder CS

Sump demo featuring 6 new songs that have been a feature of Sump's live sets over the past year. Dedicated to further defining Sump's taste (or lack there of) for Black Metal tinged UK82 meets Oi! Recorded on cassette 4-track for extra clarity.

Coleman Hawkins - (1960) Coleman Hawkins And His Orchestra LP

The abiding contemporaneous of Coleman Hawkins (1904-1969) became in the late Fifties something of a cliché. But cliché or not, he was a 56-year-old veteran who started in jazz 40 years earlier with Mamie Smith s Jazz Hounds, and who when he recorded these sessions more than held his own with younger jazzmen like Thad Jones and Eddie Costa. That is because Hawk was always ahead, harmonically. It was a thing of wonder, to be sure, to hear Hawkins blowing with those modernists in this relaxed set where none of the tempos rises above medium-up. All frameworks for blowing are in the familiar mould of theme-solos-outchorus, and the full session finds Hawk in great form, as if he s got all the time in the world to make his point with a succession of gorgeous solos, full of warmth and invention. Thad Jones, always an intelligent player, is clever and distinctive on open or muted horn, Eddie Costa brings his individuality to bear on vibes and piano, contributing unconventionally and excitingly, while Duvivier and Johnson display fine rapport with him, blending together in a swinging, effective rhythm section.

Donald Fagen, Walter Becker, Denny Diaz - (1978) You Gotta Walk It Like You Talk It (Or You'll Lose That Beat) LP

You Gotta Walk It Like You Talk It (Or You'll Lose That Beat) is an eight-track, 31-and-a-half-minute soundtrack to a low-budget 1970 film that features an embryonic version of Steely Dan: Donald Fagen on keyboards, Walter Becker on bass and guitar, and Denny Dias on guitar and percussion, plus John Discepolo on drums. There are only four actual songs, plus three instrumentals and a reprise of the title track. Yet the playing is suggestive of the sinuous sound that Becker and Fagen would cook up a couple of years hence in the Dan. Nevertheless, it should be sought out by hardcore fans only; there are no gems here, only some baubles.

Eddie ''Lockjaw'' Davis With Shirley Scott - (1963) Smokin' LP

Tenor-saxophonist Eddie "Lockjaw" Davis cut enough material during these two sessions to fill up four records. The seven selections included on this brief 36-minute LP which was recorded during the same period as Davis's better-known Cookbook albums) also include Jerome Richardson (switching between flute, tenor and baritone) on three of the numbers, bassist George Duvivier and drummer Arthur Edgehill. Together the group swings hard on basic originals, blues and an occasional ballad, showing why this type of accessible band was so popular during the era.

Eddie ''Lockjaw'' Davis With Shirley Scott, Jerome Richardson - (1958) The Eddie ''Lockjaw'' Davis Cookbook Vol. 1 LP

Eddie "Lockjaw" Davis and Shirley Scott set an enduring standard for tenor saxophone/ organ groups, beginning with this their first recording together. Davis' authoritative, hard swinging style came through his seasoning as a key player in the Count Basie band. Scott, an accomplished pianist, took up the organ when she joined Davis in 1955, emerging with her distinctive, driving yet subtle style virtually fully formed. The music on this 1958 date holds few surprises; it's meat and potatoes all the way, but it's made using the choicest ingredients. The barbecue sauce is applied in moderation, as the band steers closer to Basie-style swing than to overt R&B riffing. Davis and his working band -- Scott and drummer Arthur Edgehill -- are joined here by reed player Jerome Richardson and bassist George Duvivier. Richardson, playing flute on most tracks, provides a useful complement to Davis' tenor. Duvivier is indispensable in anchoring the music with a commanding walking bass. Edgehill's quick, light touch helps maintain the swinging, jazzy feel. The tracks comprise three strong Davis originals, two standards, including "But Beautiful," which ranks as a master class in ballad playing, and the CD's centerpiece, the 12-minute plus "In the Kitchen." This slow blues by Johnny Hodges has room for extended soloing all around in a performance that underlines the skill, passion and artistry that made the Davis and Scott partnership a potent and influential combination.

Erskine Hawkins - (1962) Erskine Hawkins Salutes 25 Golden Years Of Jazz Vol. 1 LP

A talented high-note trumpeter and a popular bandleader, Erskine Hawkins was nicknamed "the 20th Century Gabriel." He learned drums and trombone before switching to trumpet when he was 13. While attending the Alabama State Teachers College, he became the leader of the college band, the 'Bama State Collegians. They went to New York in 1934, became the Erskine Hawkins Orchestra, started making records in 1936, and by 1938 were quite successful.

Roger Miller - (1964) The Return Of Roger Miller LP

Allowed to hit with full power on his second album for Smash, Roger Miller presents an album made up completely of his own compositions, quite an achievement in country music circles. The songs reach way beyond the genre into stylistic realms that are difficult to pinpoint, although certain facts are beyond question. They are classic American songs which hold up alongside the best of any generation. They are also songs that appeal to children of all ages, partly due to a whimsical nature that borders on anarchy. His portrait of the "King of the Road" is packed with detail and nuance like a Vincent van Gogh painting, while other songs skip along as if they are about absolutely nothing, tongue firmly in cheek when eventually revealing the message. Like many country releases of this era, this is hardly a bargain in playing time, but Miller gets it all in, balancing the humorous and serious songs, stretching out just a touch on the more swinging numbers and packing something of six verses of gibberish into well less than two minutes of "You Can't Roller Skate in a Buffalo Herd." All praises to Miller the songwriter, but let's not forget the terrific sidemen and arrangements that make each of these recordings so special. It would have been nice if they had credited the guys at the time! One of the most unique things about this material, much of it recorded over a two-day marathon session, is that the sound almost always focuses around the leader's guitar style, which was eccentric to say the least. Scat singing was certainly not the norm in country, let alone combined with instrumental leads in the Slam Stewart tradition. Mainstay instruments of country music, such as fiddle or pedal steel, don't make much of an appearance, instead the sound is built up around doubling of acoustic and electric guitars, with a piano-heavy rhythm section holding everything in place. Small but telling touches make the tracks happen big time, the best example of which would be the finger snapping on "King of the Road," credited over the years to everyone from Miller's sidekick guitarist Thumbs Carlisle to the Lone Ranger.

Jozsef Simandy - (1960) Sings 10''

József Simándy (born Kistarcsa, September 18, 1916 - died Budapest March 4, 1997) was a Hungarian tenor with German origins. His name in Hungarian form is Simándy József, his original family name is Schulder. A student of Emilia Posszert, he joined the chorus of the Hungarian State Opera in 1940; in 1946, he made his debut as Don José in Carmen in Szeged. In 1947, he returned to the Budapest Opera, where he was the leading heroic tenor until 1984. He performed regularly in Munich as well, from 1956 until 1960. Besides heroic tenor roles, Simándy took on lyric and spinto parts as well; he was best known for his Radames, Lohengrin, and Otello. Recordings include two operas by Ferenc Erkel, Bánk bán and Hunyadi László, in both of which he sang the title role.

Unwound - (2013) 7/26/2001 LP

Unwound reunited in July of 2001 with original drummer Brandt Sandeno for a quick run through their old songs at Olympia’s Phoenix Street House. A decade removed from their post-hardcore roots, with heaps of technical proficiency to go around, the trio blazed through their debut album and a few Giant Henry cuts for a select number of Olympians, just prior to the release of their final album, Leaves Turn Inside You.

Unwound - (2014) 6/30/1999: Reykjavik, Iceland LP

In the summer of 1999, Unwound spent two months crisscrossing Europe. They began in Brussels, hit Germany, the Netherlands, and France twice each, spent a week in London and cut a Peel Session, and finally touched down in Reykjavik, Iceland, for a gig and session at RUV. The trio was on their way to recording their opus, and lingered just long enough in the past to revisit a few marquee highlights, stretching them out into droney sonatas drenched in feedback.

1000 copies of this live LP have been pressed, and those can only be purchased with a pre-order of No Energy. A handsome hand-screened jacket houses the affair, utilizing the bunny rabbit logo of noted Icelandic record store Hljómalind.

Charles Mingus - (1978) Cumbia & Jazz Fusion LP

"Music For Todo Modo", for me, reflects all too clearly its origins as film underscore, while the title piece occupying the other side of the same album (Cumbia And Jazz Fusion, Atlantic 1977) is Mingus's last great extended work. It answers his retrospective needs, and once again it forms a satisfying whole. Its opening Latin sections (doubtless as far from genuine Cumbia as most Latin jazz is from the real thing) can be related back to "The Story Of Love" , its 'straight' bebop sections are more like 50s Mingus than typical bop, and its one bit of political satire is voiced. And, to cap it all, there's a closing guest spot by the long-estranged Jimmy Knepper.