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
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.
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 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.
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.
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.
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.
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 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.
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.
"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.
Tenor Conclave is an album Jazz Hard Bop released in 1956 under the label Prestige .
The original album credited Al Cohn and "Prestige All Stars", is currently assigned (commercially) to John Coltrane .Musicians:Hank Mobley , tenor saxophone;
Al Cohn , tenor saxophone;
Zoot Sims , tenor saxophone;
John Coltrane , tenor saxophone;
Red Garland , piano;
Paul Chambers , bass;
Art Taylor , battery.
Reissue of early material from Swedish martial industrial \ dark ambient masters Sophia.Compiles the three albums released originally on Cold Meat Industries- "Sigillum Militum", "Herbstwerk" and "Spite", along with EPs "Death, Dumb And Blind", "Aus Der Welt" and "The Seduction of Madness".
When it comes to decorum, Brooklyn's Au Revoir Simone makes Judith Martin look like Don Rickles. They have three voices, three keyboards, and a drum machine in their arsenal, yet each element stands out from the gleaming propulsion with razored precision, as if the band were constantly saying, "No, after you." They deliver inspirational-kitten-calendar platitudes that would make Whitney Houston blush with disarming directness, their plain yet dulcet voices arranged in fussy group harmony-- excessive melisma being, after all, simply immodest. The band's egalitarian and mutually supportive dynamic pays off on the harmonious Still Night, Still Light, their third and best album. It's feather-light electro-pop that's not to be taken lightly. As always, the music is utterly innocent of abrasion, dissonance, and chance-- everything is clamped down so tightly that the unstinting pertness seems neurotic; the insistence on letting go, moving on, and being who you are a "doth protest too much" kind of thing. You start to wonder what sort of roiling emotional bedlam all of this chipper well-being is keeping at bay. Yet the starchy sincerity keeps things merrily ambiguous, and politeness saturates the lyrics as well as the music. "Only You Can Make You Happy" feels like stumbling into the daily affirmation part of a group-therapy session, were it sung in a melting madrigal over lazily scudding synthesizers.
Crossed Out was a first wave powerviolence band from Encinitas, California, USA. They existed from early 1990 until late 1993. They played sixteen shows and released a demo, seven inch, split seven inch with Man Is The Bastard, split five inch with Dropdead, and two songs for the Son of Blleeaauurrggh compilation.
Three tracks of brooding, slow-moving harsh noise that focuses on minimal textures and feedback to create an incredible cycle of tension and release. PLAGUE MOTHER tracks evolve so skillfully that you often find yourself in the midst of a wall of noise, unaware of how you got there.
Both projects on this split bring their unique and gripping approach to the realm of heavy electronics. Winter Ritual takes a more focused, brooding approach over three movements - you don’t notice the air being taken from your lungs until the very end. Plague Mother never gives the listener the air to begin with, providing two pieces of panic and paranoia.
