Illusion Of Safety - "Violence And Geography" Tape 1987


"Since 1983 Illusion Of Safety has been the ongoing project of Daniel Burke, working alone or with various collaborators. He has released over 20 recordings on labels such as Soleilmoon, Staalplaat, and Tesco (amongst many others) and played over three hundred concerts in Europe and North America. IOS's work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but Burke is unwilling to limit the band to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance, all to facilitate the listener's direct access to their psyche, emotions, and 'the infinite' so as to address the necessity of balance and the nature of dichotomy."


Interview with Burke from "Spinal Jaundice" Issue 9 (1989)...
 
Who is Illusion of Safety?
I began working with a band called 'Dot Dot Dot' in 1984. They were a progressive rock group and we did a few performances together as Illusion Of Safety. They enjoyed the opportunity to ignore musical structures and do something experimental. Dot Dot Dot broke up, but I continued to work with Thyme Jones and Chris Block (from DDD, also members of Cheer-Accident). I also work with Mitch Enderle (he has a solo tape of industrial grind called “Dead Tech”), Spark Lunch (our disco man), Mark D. Clein (our photographer), and our newest member Jim O’Rourke (later in Sonic Youth). IOS is a revolving membership, I work with whoever is available or appropriate. Many of our pieces are individually oriented or collaborations of 2 or 3 members. Of our releases, “In 70 Countries,” “Fifteen” and the two live tapes are good examples of our ‘group’ work. Thymme, Chris and Jim are the only ‘real’ musicians in the band, but that doesn’t stop the rest of us, we all do soundwork, and I am often the one attempting the more musical structures. I do the funding, booking and most of the graphics and correspondence. Jim O’Rourke has taken over the networking thing, he has a few excellent solo tapes out and he was the founding member of the 'Elvis Messiahs'.

Can you describe the kind of music you perform?
They call it ‘industrial’, so do I, even though I can’t really define that term. It has been described as ‘the soundtrack to nightmares you don’t remember in the morning’. We do power electronics, sound collage, decomposition, ambient emotive fields, information drifts, and totalitarian pseudo-rock.

Even amidst the rough sounds of some of your music, I’ve still noticed a sort of sublime element. Would you consider this an intrinsic factor in your material?
Most of our sounds I would not consider rough, and I’m not sure what you mean by sublime. We attempt to make every piece stand out in some way, whether it’s subtle or in your face.

IOS has done a good deal of collaboration. What are some benefits you think can be achieved from by-mail tape collaborations? Or hindrances?
Working by mail allows time and space for adding elements and offers a chance to work with someone who you don’t live near. I’ve taken far too long to finish the only mail collaboration tape of IOS, with PBK, City Of Worms and John Hudak. Jim O’Rourke is also working on collaboration tapes with PBK, City Of Worms, K. Null, and others.

Do you think experimental music has experienced any homogenization in the past few years?
Most music becomes more homogenous as it gets more popular. But there will always be a wide variety of things happening in the underground.

Is IOS a touring outfit?
Yes we’ve done some traveling. We played in Pittsburgh on August 13, 1988 with Algebra Suicide and Research Defense (two Chicago bands). We did four shows in Colorado in July of 1988. We went back out west to Denver and did three shows in the San Francisco area in June 1989. We also played Milwaukee and Madison, Wisconsin a few times.

What kind of things go into one of your live shows?
Before this year it was us and our equipment. No visual elements, just a serious attempt to manipulate our equipment and produce the kind of sounds we like. Recently we’ve begun using lights/shadows, slides and video. We’ve also gone to strict improvisation over the last year. We used to do interpretations of our pieces, but found that improv is more enjoyable for all concerned. The focus of our performance remains with the kind and quality of sound produced while being able to listen to and react to each other. We have always used tapes, contact mics and synthesizers, but have gotten away from the drum and bass thing (although these will crop up from time to time). Lately we are concentrating on sampling and DX-7 work

Is the live medium an equitable one for you?
I’m not sure what the audience gets out of it, but we enjoy the contact and need to perform at least once every few months.

Is Chicago really the murder capitol of the world?
Yes, Mike. It just so happens to be. 

Are there any groups/individuals that you feel influence your recorded work?
My inspiration to do this came from seeing Throbbing Gristle’s final two performances. Most of the members of IOS listen to industrial music, but our tastes are very diverse. I’ve been listening to Slayer, Madonna, Prince, Metallica and Public Enemy lately, but this influence only shows up in the music collages. I would have to say that The Hafler Trio and Nurse With Wound (having done the most interesting post-industrial soundwork) are big influences. 

What are your thoughts on the alleged CD revolution wiping out albums?
The big money will try, after all they can make more profit on CDs. But our kind of records will be around for some time. Records in the mainstream stores are being replaced by CDs but who cares about that? I don’t own any CDs, so when I can’t get the new Slayer on CD I’ll just have someone record it on cassette for me.

What types of things do you look for in background material?
It should be disturbing, true or funny in some sick way.

You also manage the 'Complacency' mail order label. What all is happening?
We have some new releases on our label. Two split LPs. The first is Eric Lunde/Hands To. Eric used to be in Boy Dirt Car, these days he’s working on his own, and doing some great stuff. On his side, 'Tape Death Cut', he uses his erosion recording process one step further with the use of Mirage sampling, and ends the side with two beat pieces that could be Wax Trax material. Hands To is Colorado’s Jeph Jerman using sampled sounds from actual events to affect the central nervous system. Hands To’s 'Vinhilation' is quite subtle and has a nice contrast to Eric’s side. The other split is IOS (live)/Holeist. The IOS is from three live shows in July, 1989, and is mostly ambient. Holeist is a project I did with Eric Lunde and Jeph Jerman. We worked in shifts with the sampler to create some very effective and abrasive noise. IOS has just released a box set (limited edition of 150) containing two C-47 cassettes and various laminated graphic inserts. Complacency has just released a new tape, Holeist live on one side and Runzelstirn/IOS/Gurgelstock (R.I.G.) on the other. R.I.G. is a collaboration Jim and I did with R&G of Switzerland, lots of abrasive concrete with samples and DX-7. IOS is finishing up a tape of severe noise for 'Nihilistic Records' of the Netherlands, and 10 minutes of new material for a CD of Chicago experimental music coming out on Franz Liebls’ 'Priapismus Software' label in Germany. And finally we are beginning work on a new 8-track studio LP for summer 1990 release.

Cabaret Voltaire - "Methodology '74-'78 Attic Tapes" 3xCD 2003 & Peel Session 6-25-81 (Never Formally Released)

"Cabaret Voltaire were an English industrial pioneer initially composed of Stephen Mallinder, Richard H. Kirk, and Chris Watson, naming themselves after a Zurich nightclub that served as a Dada movement center in the early 1900s. Formed in Sheffield in 1973, they experimented widely with sound creation and processing. Some of these early experiments were first documented on the Industrial Records cassette '1974-1976', then later on the triple CD set 'Methodology '74/'78: The Attic Tapes'.

They eventually turned to live performance, often sharing the bill with Joy Division, eventually signing to 'Rough Trade' and achieving a degree of critical and commercial success (mostly via a morphing of their style into melancholy "dance"). Watson left the group in 1981, co-founded 'The Hafler Trio', then became a BBC sound engineer and soloist. Mallinder also recorded as a solo artist in the 1980s, collaborated with Soft Cell in the group 'Love Street', and was also a member of 'Acid Horse' with Al Jourgensen of Ministry. Cabaret Voltaire sporadically continues to this day, with Richard H. Kirk as its sole remaining member."

Bukowski - "70 Minutes In Hell" (Spoken Word) CD 1969/1977/2003

"Henry Charles Bukowski (a.k.a. Heinrich Karl Bukowski, 1920-1994) was a German-American poet, novelist, and short story writer.

His writing was influenced by the social, cultural, and economic ambiance of his home city of Los Angeles. His work addressed the ordinary lives of poor Americans, the act of writing, alcohol, relationships with women, and the drudgery of work. He wrote thousands of poems, hundreds of short stories, and six novels, eventually publishing over 60 books. The F.B.I. kept a file on him as a result of his column 'Notes of a Dirty Old Man' in the LA underground newspaper 'Open City'.

In 1986 'Time' called Bukowski a 'laureate of American lowlife'. Regarding his enduring popular appeal, Adam Kirsch of The New Yorker wrote: 'the secret of Bukowski's appeal is that he combines the confessional poet's promise of intimacy with the larger-than-life aplomb of a pulp-fiction hero'.

Since his death from Leukemia in 1994, he has been the subject of a number of critical articles and books about his life and writings, despite his work having received little attention from academics in America during his lifetime. In contrast, he enjoyed extraordinary fame in Europe, especially in Germany, the place of his birth." 

http://www.mediafire.com/file/3tangq4ya9fx01n/Bukowski_-_70_Minutes_In_Hell.zip/file

Capricorni Pneumatici - Self Titled & "Al Azif" Cassettes 1987


"Italian ambient, ritual and concrete music. Their name comes from Aleister Crowley's book
'Liber A'Ash Vel Capricorni Pneumatici (Sub Figura CCCLXX)'. The two persons involved in
the project were only known under the pseudonyms of 'Pazuzu' and 'Soda Caustica'."

"Your music is very good, truthfully, I like it better than any that has been
sent me by various groups. Both tapes are excellent." --Z'ev, November 1988

The Choice Is Mine Volume 1 Compilation Tape 1988

First in a short series of tape comps by translator, distributor of N.D./S.O.B. split flexis, and future P.E.F.E. honcho Izumi Kubo. This thing claps cheeks, with a high tensile strength of material and studio quality from the bands (except Nausea) where it should have been a vinyl release (the sequels are just as deserving). Sharp rip, H.D. scan, I made my choice, you make yours...


 

Abbildungen Variete - Self Titled Cassette 1983

"Abbildungen Variete (Variety Of Pictures) hailed from Slovenia's second largest city of Maribor in the northeastern part of the country. Little is known about them, they existed between 1982-1987 (close to the actual 'Neue Slowenische Kunst' movement pushed by Laibach), and the members were Marko Ornik, Igor Zupe, Goran Majcen, Leonard Rubins, and Branko Mirt. Besides their eponymous cassette release in '83, and a compilation LP appearance in '84 [Comp LP's existence is unverified. -S], there are no other recorded documents of the group. The self-titled cassette came out in November of 1983 in an edition of 230 copies, and for the most part is a live recording with a couple of studio tracks thrown in.

When compared to the rest of industrial scene back then, Abbildungen Variete was a rare bird, and defining them is certainly not an easy task. They had a strong smack of ritual-music, which is also present with 'Laibach' and 'Strukturne Ptice', and played a vital role in early 'Autopsia'. The pool of bands we could draw parallels to would be from that milieu: Last Few Days, Ain Soph, maybe even Het Zweet. Sound-wise it's quite diverse, a bit of sinister tribal drumming with frantic clamor, a bit of solemn ceremonial chanting and a bit of ominous funeral dirges for the banishing of the dead."
 --(Edited From An) Author Unknown

Last Few Days - '83-'86 (Split Tour Tape With Laibach, "So The Last..." Tape, "Pure Spirit And Saliva" LP)

 

"To many the band Last Few Days is a complete mystery, simply some group who toured [and collaborated] with Laibach then promptly disappeared soon afterwards. This is not particularly surprising for a band that consciously left little mark during their existence, deliberately avoiding wide release of their material, and keeping a limit on live performances.

Most people attending their concerts had very little idea who they were, simply being enticed by the ambiguous posters and general mystery. The concerts themselves lasted all night (with a mixture of music and movies), often going to 7 in the morning. They made heavy use of megaphones, guitars played with broken bottles, unrelenting and brutal drums, delivering harsh and bewildering but occasionally rhythmic apocalyptic music.

The three main members of L.F.D. were Daniel Landin, Si Joyce, and Keir Wahid. They were regularly helped out by Fritz Haaman who also performed with Laibach during the joint tour, and occasionally by Sam Mills, both members of 23 Skidoo. L.F.D. returned as a pop outfit in 1990, with a core of Keir and Si: "We started listening to Radio One, and just got more into regular music after years of extremism. We had been playing to 300 people, and didn't feel like we'd achieved much. When we did this thing in Eastern Europe, we sometimes played to 3,000 people, and that felt more real."
--Edited From Melody Maker 1-27-90

Mighty Sphincter - '84-'86 (Debut 7", "Ghost Walking" 2xEP, "The New Manson Family" LP)


“Mighty Sphincter has always been a band of lies,
that’s what you get when you create music for the criminally insane."
--Greg Hynes (Drums)

Flux Of Pink Indians - 1980 Demo & Live 10-24-81



No Class Interview 1982...

"We began by asking the band if music is a way of life for them.
 No, it’s not. We play in a band to say things that we wanna say and cos we enjoy music.

You’ve never done a radio session for John Peel have you?
We’ve never been asked to do one. There’s no point is there really? If he asked us directly maybe we’d consider it. I think the only advantage of doing one is that you almost force yourself upon people, don’t you? But I wouldn’t like to do a Peel session cos they’re too dictatorial, you have to use their producers, you have to use their engineers, you have to have it done in two days…I wouldn’t want to do one.

We then asked if they were in the Musicians’ Union.
No, fuck off. Don’t belong to any organisation. They’re a farce. They’re trying to ban synth music. I can see why they’re banning it but I just don’t agree. I think the whole philosophy of what we’ve said is that we didn’t agree with any oppression and telling people what to do. You have to be musicians anyway, don’ t you? They wouldn’t have us. They tried to say that if you used a session musician on a record you have to pay ’em £45 an hour, or something. That’s stupid cos if we wanted to use a session musician there’s no way we could afford to pay someone that amount of money. It’s the same with all big trade unions movements, you can join if you agree with what they do, but the trouble with these people is they statrt affiliating themselves, you have to be Musicians Against Abortion, which they’ve started to do, Musicians for the Falklands (laughter). 

How much influence did Elvis Presley have on your music?
Did he, personally? Indirectly he has, rock’n’roll and all that shit. I quite like him, funny enough. I got that Sun album before they stuck strings and crap on, which is a bloody good album. No, he hasn’t influenced us, anyway.  In a way he has cos you got bored with Elvis Presley so you went off and did something else. I don’t think you have any one influence. I listen to hundreds of different sorts of music and there’s special bits of each type of music I like. I try and put together the bits I like, so I suppose you’ve got thousands of influences. Then you’ve got other external influences. If you’re singing something angry you tend to fucking play angrily. No, he wasn’t a direct influence.

So, would you say your music’s aggressive?
I would say so. 

What do you base your aggression on?
Well, because if you feel very strongly that it’s wrong to eat three million animals a year; it’s very difficult to put that in a song and make it feel pleasant. It’s not a very pleasant subject. War’s not a very pleasant subject. If you feel angry about it, it comes across as being angry. There’s other things like the poem on the (Neu Smell) record. Live it ends up being angry, but in the record it’s not, is it? There’s different ways of putting things across. I think it’s very dangerous to say ‘Oh, we don’t agree with this so we’ve got to thrash it out’ cos that doesn’t half limit who you’re getting through to, like we’re very aware that it’s not good to confine yourself to one movement or one section of people. Punk really isn’t a fashion. All that it started off as was a rejection, mainly a music business rejection, if you were to be honest, like £3.50 gigs and all that sort of shit, and other bands came along and took i6t a stage further and made punk into a protest movement that as rejecting what they thought was wrong. I don’t think you have to thrash. It’s not all thrash is it? A lot of it is, some of it isn’t.

It’s a fashion now.
It’s a fashion to a lot of people, but you’d be surprised the number of people it isn’t a fashion to.  The only reason it’s become a fashion is cos the big businessmen saw that there was something there to exploit and they exploited it. If they can sell it they will sell it. You only have to look at MacDonalds. They package shit and sell it, and people eat it. That Philips advert on television, you know where they say Firrips, or something, and pretend to be Japanese. Philips’ sales have gone up about two thirds since that and everybody is absolutely staggered and it’s because they bought some crappy advert. Walls did that thing with their sausages: an advertising campaign where she only served up one sausage. It was an outrage, obscene, so they had to give you two sausages. They ran that campaign for a few months and sausage sales doubled. All these, I should think it’s mainly housewives – I know it’s a sexist thing to have said – were afraid that their husbands or families would be outraged if they served one sausage. It really is a joke.

Talking of consumerism, is your logo a marketable product?
No. It’s become one, but that’s nothing to do with us. I don’t give a shit now. I did when it first happened and T-Shirts and badges were being sold. We had thought of maybe prosecuting. We did go down and complain a few times. It’s not our fault that people buy t-shirts for £3.50 or badges for 40p. The responsibility lies with people who buy it. We made a statement on the new record saying I can appreciate why people do it because they feel so strongly about the things that we say that they wanna – in their own way – show that they support the message and feel a part of it. I respect that but it seems a pity that you have to wear a Flux Of Pink Indians t-hirt or badge. You should go out and do your own thing. Like we’ve said, a ban’s fuck all really. It’s just one way of saying something. There’s lots of other people who go and protest outside Boots cos they don’t like animals in make-up, or going to sabotage hunts cost hey don’t like hunts. I quite like it when loads of people come to our gigs and people write to you and say that you’re really great and what you’re doing is really good. That isn’t really how it should be. They should think ‘Fucking hell, that’s good, I’ll go off and do my own.’ The only way that things that we say will ever come about is if people stop following and go and do their own thing. Punk bands like Crass and The Damned, they’re a fucking farce. The whole thing is really. Not the bands, the movement is. You shouldn’t have leaders. I think it’s absurd that either us or Conflict, or Crass, or Poison Girls that are trying to put across an individual message become leaders. It just doesn’t make sense. I’m as guilty as everyone else cos I tend to follow things.

Everyone does.
Only cos they’ve been conditioned to follow. With the first single we said about vegetarianism, saying eating meat’s wrong. You only have to do something really simple like that, break one thing of the conditioning, and if people accept that eating meat’s wrong they may stop eating meat. It was wrong to have chosen one thing like that, but it works because people stop eating meat and they think ‘Fucking hell, well if that’s wrong, maybe something else is wrong, maybe all these bombs hanging over us is wrong or fucking putting people in prison is wrong, or rape’s wrong, kicking people in the head isn’t funny or masculine.’ I think it does work.

How do you judge if it works?
The only way that I can judge is the people you actually meet. On a very superficial level, I’ve met people who used to eat meat and they don’t now eat meat. People who use to relish all the shit on television, all the violence, who used to think rape was funny and that women really wanted to be fucked, that that was what they wanted. On a very superficial level, I’ve met people that I know what we’ve done’s worked. Even if we’ve only changed one person, and I know for sure that we’ve changed one person, then it was all worthwhile, cos that one person will then go away and confront people who are eating meat and sat ‘What the fuck are you doing? That was killed for you.’ That’s all we’ve done. We’ve said we think it’s wrong. We can exist. We don’t eat meat. We don’t go fucking following blindly a football team and kicking everybody else in the head. We won’t go off and fight in the Falklands. Maybe people will look at us and say ‘Maybe they’re right, I’ll think about it.’

But people blindly follow the band.
I don’t think they do blindly follow.

People might just be attracted to the aggressive music and not the message it carries.
The responsibility for that lies with us and we’re aware of it. That’s why on the (Strive To Survive) record we’ve done things that a thrash punk band shouldn’t have done. There’s some very slow stuff on the record. We did a poem on the first single, which a punk band shouldn’t have done. We did it cos it was very important to us to get across to people. On the first single we had that big broadsheet inside with all the information written. We tried that, that way one way of getting across. With the next record we’ve done it more visual. Hopefully when somebody picks up our record and it’s got all these pages inside, all these pictures, they’ll think ‘Fuck it, maybe it is a bit more than the music.’ They ought to. With Neu Smell I think it failed on various levels as people have asked us – some people, not many – what Tube Disasters meant, which we went to great length to try and explain inside the single. I think with the new record we’ve cleared up any misunderstandings on Neu Smell. It should be very clear to people what it is we’re into, or what it is we’re trying to present.

So at gigs you do get people who take the lyrical subject matter seriously, who’re not just into the music?
You get people who write and ask. You get a fair number of people just who write and ask when the next record’s coming out, can they have a badge. But you get a hell of a lot of people who say ‘Why don’t you eat meat, you shitheads. Eating meat isn’t wrong.’ And you write back to them and explain more fully why it’s wrong, why something else is wrong. We quoted a piece out of The Bible on the last record in connection with the meat eating. That upset a lot of people who agreed with what we were saying, but they were torn between their religious beliefs and...It’s not up to me to say to them God’s a farce, religion’s a farce. All we did was I wrote back and gave them several other quotes showing that there was conflicting statements within The Bible. It’s up to them to decide whether it’s right. It just makes them think, that’s the important thing. You’re conditioned just to accept. If anything, the main thing we do is get people to question that acceptance. It works on varying levels. Some people might just come to the gig, jump up and down and have a real good time and then fuck off and lay into an old woman on the way home, but a hell of a lot of people do think about it and talk to you about it after gigs and start their own bands. A measure of the punk success is the bloody fanzines, isn’t it? You don’t find millions of heavy metal fanzines. All the heavy metal fanzines tend to show heavy metal bands thrusting their fucking crotches out and bloody sexist poses, standing over women and baring their muscles. They never deal with real life issues, them bastards.

Getting back to religion, we asked them if it has affected their music.
I wouldn’t say it’s affected the music.

So why did you mention it on the Neu Smell sleeve?
One of the first things if you’re a vegetarian and you’re saying eating meat’s wrong, one of the commonest replies is that it says in The Bible you can eat it. I got so tired with that sort of response from people that I looked through The Bible and chose one quote that says you shouldn’t eat meat, and people come back to me and say ‘Fuck it, it says here you can eat meat.’ That’s the whole thing, it contradicts itself and it’s so unclear that it’s just a joke that it’s been held up as some meter of authority. I think it’s really sick, I’m almost ashamed of it to have put out a vegetarian record when two of the musicians on it weren’t vegetarian, which is a joke. After we’d done it we felt so bad that we really fucking hassled the other two and said we really can’t go on saying this when we’re not all vegetarians. We either drop it or we fucking go. We talked about it, we decided we wanted to keep it, so we decided that they’d have to leave the band.

Lastly, what does Flux Of Pink Indians mean?
A gathering of white skinned Indian sympathizers. It came about because the members who were in Flux originally felt strongly about the Indians over in America, the way they were being treated.

The End."

Merzbow - "Mechanization Takes Command" Tape 1983, "Batztoutai With Memorial Gadgets" 2xLP 1986, Collaboration With S•Core Tape 1987, "Crocidura Dsi Nezumi" Tape 1988, "Batztoutai With Material Gadgets De-Composed Works 1985-1986" 2xCD 1993, Split 7" With Smell & Quim 1996, Live CBGB's Collaboration With Alec Empire CD 1998 [And You Get A Few Scans Too!]

 
"Merzbow began as the duo of Masami Akita and Kiyoshi Mizutani, who met in high school. Their earliest music was made with tape loops and creatively recorded percussion and metal. These early methods also included what Akita referred to as 'material action', in which they would heavily amplify small sounds so as to distort them. 'Batztoutai With Memorial Gadgets' was their first LP released outside of Japan. They also started touring abroad with the help of various collaborators. First, Merzbow performed in the USSR in 1988, then toured the USA in 1990, Korea in 1991, and Europe in 1989 and 1992. During the European tour in Sept/Oct 1989, Akita could only bring simple and portable gear, this led to the harsh noise style he became best known for. Kiyoshi Mizutani left Merzbow after the 1989 European tour and continues to pursue a solo career."

Zines Hardcore Mexicanos De Los 80 - Colectivo Cambio Radical Fuerza Positiva (Numero 1 Y 2) Y Furia Y Mensaje (Numero 5)

 

Mr. Bungle - "OU818" Demo '89 (With Scans)

 

http://www.mediafire.com/file/yk3opk6k3ukzwuq/Mr_Bungle_OU818.zip/file

"Mr. Bungle was an American experimental rock band from Northern California. Known for a highly eclectic style, the group often cycled through several musical genres within the course of a single song. Many of their compositions had an unconventional structure and utilized a wide array of instruments and samples. Live shows often featured members dressing up (even hiding their identities with masks and often jumpsuits earlier in the band's career) and an array of cover songs.

Founded in Eureka California while the members were still in high school (1985), they were named after a 1950s children's educational film featured in Pee-wee Herman's 1981 HBO special. They released four demo tapes in the mid-to-late 1980s before signing to Warner Brothers and releasing three full-length studio albums between 1991 and 1999. The band toured in 1999 and 2000 to support their last album before going on hiatus, ultimately dissolving in 2004."

Morbid Angel - Live Soundboard 11-14-89 (Rock City), Split Boot 7" With Slaughter Lord '87, Rehearsal/Demos ("Evil Demos") '86-'87

 

http://www.mediafire.com/file/c6ki7wafrh0xy7w/Morbid_Angel_DemoRehLive.zip/file

Interview from Brian Pattison's (Anthropic, Glorious Times) "Chainsaw Abortions" Zine issue 2 (1990)...





 

Gess - "Suffer Damage" Demo 1983

A phat Jap slap of oldschool noisy hardcore putridity, debuting online over a decade ago (ripped from one of my '90s Nihon trades), and re-upped today for Th' Nigga Mahler...and...I guess you cheeky shits too 😛 (PAY IT FORWARD!)...

http://www.mediafire.com/file/wpi8ddzwbikhu09/GESS_-_Suffer_Damage_%252783_demo.zip/file

Alien Sex Fiend - "Curse" CD 1990

"Alien Sex Fiend were formed by Nik Wade (Nik Fiend), Christine Wade (Mrs. Fiend), David James (Yaxi Highrizer) and Johnny Freshwater (Johnny Ha-Ha) in late 1982 at the 'Batcave' club in London (where Nik worked). The band became known in the gothic scene for its dark, electronic industrial sound, heavy samples, loops, dub remixes, and manic vocals. Five of the group's LPs and twelve of their singles reached top 20 positions in the UK charts, 'Curse' Is their 7th full length studio album." [And muh fave!  --S]

http://www.mediafire.com/file/8m693vgnow55hws/Alien_Sex_Fiend_-_Curse_1990.zip/file

Suburban Filth - 20 Track Demo 1982 (Master Rip & Color Scans)

 

Chemotherapy's elder anarcho brother from England...but less rehearsed.

If you need me to tell you more, then you've never heard Chemotherapy.

Richard H. Kirk - "Disposable Half-Truths" Cassette 1980

"Disposable Half-Truths is the debut solo album by Richard H. Kirk, originally released on cassette by Industrial Records in 1980."

"Kirk first came to prominence in the 1970s as a member of the seminal industrial band Cabaret Voltaire. He maintained a career as a solo artist alongside Cabaret Voltaire until the group's dissolution in 1994. He 'reformed' the band in 2014 as the sole remaining member, performing sporadically with all new material more akin to his solo work than the output of Cabaret Voltaire's original incarnation."

http://www.mediafire.com/file/gk0m45ow8kxyd2w/Richard_H._Kirk.zip/file

Paralisis Permanente - Discography '81-'83

http://www.mediafire.com/file/wulr470gvwh6ytr/PARALISIS_PERMANENTE.zip/file

"Parálisis Permanente was a Spanish post-punk band from the 1980s, noted for being the precursors of the dark sound of the 'Movida Madrileña'.

The group was originally formed by Eduardo Benavente (guitars) and Nacho Canut (bass), both formerly from the band 'Alaska Y Los Pegamoides', along with their siblings Javier Benavente (vocals) and Johnny Canut (drums) around 1981. This line-up recorded an EP, later included on their 1995 compilation 'Singles Y Primeras Grabaciones'. After Javier left the band, Eduardo also became lead singer. Their style departed from pop and approached the wave of bands like 'Gabinete Caligari'.

In November 1981 they recorded their first EP, with the company 'Tic-Tac' from Navarra in January 1982. The EP was a split with Gabinete Caligari and included the tracks 'Autosuficiencia' and 'Tengo Un Pasajero'. A videoclip for Autosuficiencia was also released. The split was later re-released by the record company 'DRO', and also by 'Tres Cipreses' with new cover art featuring two characters from the film 'Freaks'. The bands second EP, 'Quero Ser Santa', featured four tracks and was released in early 1982, also on Tres Cipreses. Amongst the tracks were "Quiero Ser Santa" and "Un Día En Texas", based on the film 'The Texas Chain Saw Massacre'.

Shortly after their second EP, Nacho Canut quit the band and joined 'Dinarama'. Rafa Balmaseda, formerly from 'Glutamato Ye-Yé' and 'Derribos Arias' joined on bass. Ana Curra, ex Pegamoide, joined on keyboards.

In July 1982, they recorded the tracks for their first LP 'El Acto', in which they explored an even darker style of punk than their previous releases, marking the beginning of the post-punk movement in Spain. The album featured covers in Spanish for David Bowie's "Heroes" and The Stooges' 'I Wanna Be Your Dog (Quiero Ser Tu Perro)'. In spite of the independent release of the album, the band achieved success in the Spanish Music Charts.

Their last single, 'Nacidos Para Dominar', was released in 1983. Later that year Eduardo, Ana and then drummer Toti had a car crash when driving to a festival in Zaragoza. Benavente was killed in this accident and the band came to an end."

Bazooka - "Albacore" 1997 Mixtape

For Justin Relics! One of the "G.O.A.T." hard/speedcore* mixes, so fuckin' ✝GODLY✝ that N.A.S.A. should hadron-engrave it onto a gold record for one of their road trips to Andromeda (I'm kinda not joking!). I just can't sell it any harder yo...

http://www.mediafire.com/file/8w9ummosml3fbwf/Bazooka_-_Albacore.zip/file 

*And other sonic fuckery, but mostly H-A-R-D speedcore.

Aleister Crowley ‎– "The Great Beast Speaks" CD 1999 (Recorded In 1900s)

A collection of spoken word(s) by Aleister Crowley, captured on wax cylinders between 1910 and 1914, and...through magick...continuously bootlegged to LP and CD since 1986. Eternacheers to Mahler for the eternahook-ups!!!

"Aleister Crowley (1875-1947) was an English occultist, ceremonial magician, painter, poet, novelist (he was a prolific writer in general), mountaineer, and founder of the new religious movement 'Thelema'. He gained widespread notoriety during his lifetime for his social criticism, recreational drug experiments, and enthusiastic bisexuality. He was denounced in the popular press as 'The Wickedest Man In The World' and a Satanist. He has remained a highly influential figure over Western esotericism and 'counterculture'." 


😈

William S. Burroughs - "Nothing Here Now But The Recordings" LP 1981 (Industrial Records Rip)

"In 1980, Genesis P-Orridge and Peter Christopherson traveled to the New York City apartment of famed beat writer William S. Burroughs to start the daunting task of compiling his experimental sound works (which up until that point had never been heard by the general public).

During these visits, Burroughs would play back tapes of his spoken word “cut-ups”, collage field recordings, and flirtations with E.V.P. techniques. Throughout the next year, P-Orridge and Christopherson would spend countless hours editing these various sounds, which showcased Burroughs' sensitive ear and keen prowess for audio anomaly.

By the time 1981 came through, Burroughs had relocated to Lawrence Kansas to escape the violence and mania of New York City life.  It was in Lawrence that P-Orridge and Christopherson put the finishing touches on the LP that would be known as “Nothing Here Now But The Recordings”.  The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records." --Edited from Dais 2015


Anton LaVey - "The Satanic Mass" LP (CD Version) 1968/1994

"The Satanic Mass is the first released audio recording of a Satanic ritual by Church Of Satan founder Anton Szandor LaVey. Recorded in 1967, the album was originally released on LaVey's own label 'Murgenstrumm' in 1968, then officially re-released on CD (but noticeably mastered from the original vinyl) by 'Amarillo Records' in 1994. The audio features the baptism of LaVey's daughter Zeena Schreck, as well as excerpts from his then unpublished book 'The Satanic Bible', which he recites over the music of Ludwig Van Beethoven, Richard Wagner, and John Philip Sousa."

http://www.mediafire.com/file/itmzjxrne76viha/Anton_LaVey_-_The_Satanic_Mass_CD_1994.zip/file

Ruth White - "Flowers Of Evil" LP 1969

"Ruth White (1925-2013) was an American pioneer of electronic music. Her string of records in the late '60s and early '70s featured surprisingly new uses of Moog synthesizers and related equipment. In 1969 she recorded 'Flowers Of Evil', an album based on the poems of Charles Baudelaire, reciting his words over her experimental compositions. This release is well noted for its pervasively eerie and obtuse structure."

http://www.mediafire.com/file/vl5ik11wrsym99b/Ruth_White_-_Flowers_Of_Evil_LP_1969.zip/file

SA-INT - EPs 1986-1989

"SA-INT is a Finnish punk band formed in Lahti, November 1984. The lineup has varied a lot over the years, but founding members Jari Malja (a.k.a. Malja) and Juha Kuisma (a.k.a. Kuju) have been in the group the entire time. The band went on hiatus in the early '90s after changing their name to 'Insaint' (and releasing two LPs). Temporarily reactivated in 2006."

http://www.mediafire.com/file/8fugwefh8tx0tke/SA-INT_-_EPs_86-89.zip/file

Sadness - "Y" Demo 1991, "Eodipus" Demo 1992, "Ames De Marbre" CD 1993



Anti-interview with guitarist Chiva 2018 by Chris Dick...

Sadness was definitely an outlier band in the early ‘90s. What attributed to the group’s diverse approach?
We were four kids wanting to make a powerful band and to play with heart without complicating things with ego. Always playing with our hearts.

But, musically, things were a little clearer, less death metal on Ames De Marbre (compared to the Y and Eodipus demos). What was the motivation to be more adventurous or avant-garde in your approach later on?
Yes, it’s true. There were fewer groups and not many rules or etiquette. The market was good and interesting. Everything is different now. It’s too bad. For us, at that time, things were fast going. I have beautiful memories of this time.

What do you remember about the deal with Witchhunt Records? Must’ve been an exciting time.
The desire to make our music was sincere. Within our universe, in which we found ourselves with our different personalities, we were a simply a real group.

There were troubles labeling Sadness. Some simply called it doom metal, while others added modifiers like avant-garde doom. When you were writing Ames De Marbre, what, if anything was going through your minds as far as definitions or sonic borders?
You know labels. They’re for people who are lost and need a sign. Like children. We knew the image of Sadness. So, yes, we were a little doom, a little death, a little rock…we were simply music. We weren’t lost. Others were. We were not.

What music or bands did you identify with while writing Ames De Marbre?
Joy Division, Christian Death, Bathory, Metallica, W.A.S.P., Celtic Frost, Led Zeppelin, Ozzy, and many smaller bands.

The songs run together. Was the idea to have a continuous story on Ames De Marbre?
It’s true. This album follows a path, a logic. We proposed the direction, the vision, for the listener to have the emotion that they are alone with us. We would never have imagined that the group would interest people. Even less 20 years later. We were playing for our own world not necessarily for others.

The song Red Script still stands out as your most defined and fully realized song. What do you remember about doing Red Script for the full length? Things you did differently for the album version, for example.
Well, just our thing. We were progressing. Red Script was an example of this progression. It was a success on the demo, but the album version was better. It was a good track to end the album with.

Tears Of Sorrow is also quite amazing. The mid-section with the French chorus and the haunting guitar struts. What do you remember about Tears Of Sorrow?
Actually, it was Gradel (drums). The song came about gradually for the album. I worked with him on arrangements on my voice, but I found his direction interesting and creepy. Perfect for this album.

Lyrically, Ames De Marbre is quite gothic, almost Victorian. What was informing your lyric writing at the time? Gradel wrote most of them, right?
We were inspired by many dark and gothic authors from different cultures. And the result was deeply cool.

I recall both Celtic Frost and Samael had difficult times finding a studio and a producer who understood extreme music in Switzerland at the time. Did you find it equally hard to find a suitable place and person to record with? Ames De Marbre was recorded at Studio Syxty. Still sounds fucking great!
The studios were bad for metal. [Most studios] had no experience. The studios that handled metal weren’t interesting to us. Not enough life in them. It took us a long time to find Syxty.

Switzerland hasn’t been the most prolific when it comes to extreme metal, but it’s responsible for some of the most creative: Celtic Frost, Samael, Alastis, Boelzer, Schammasch, and, of course, Sadness. What do you attribute that to?
The good life here in our country [Laughs]. But I don’t know really. We see things in our own way, which is pure and powerful. We all tried to find our own identity, too. We are simply different.

Where did the cover photograph come from? It was striking in 1993. Still striking today.
Everyone talked about the cover. The vision for the cover was to transport souls. The cover photo is effective in doing just that. It’s a win if it still works.

What’s it like to listen to Ames De Marbre 25 years later? Sadness were doing things in 1993 that are now just starting to take flight, like the inclusion of post-punk and coldwave.
Listen, I see all my imperfections in my voice and with my guitar playing, but I do not know that it has something magical. Actually, this is difficult to explain. While Ames De Marbre is immortal, the new groups out there are superior. But if we had continued Sadness, we would be just as professional. That is sure. But life is life. Sadness is no more.

Now that Ames De Marbre is reissued, do you plan to do anything with Sadness? Live shows or a new album?
No. The band stays dead in its magic. Like Bathory or Celtic Frost. And it must remain so. The youth must take our place now.

No Brain Cells - Rehearsal Tape 1984

"Here's a 1984 rehearsal tape (3 different sessions) by a very obscure Lancashire, England band called NO BRAIN CELLS. Looks like they only appeared on a couple of equally obscure compilation tapes in the mid 80s. No studio recordings were ever done I think. Short songs done in the style of Disorder, Chaotic Dischord, Chaos U.K. etc. Nothing spectacular, but rare & culturally important I guess. 28 tracks in 24 minutes. Restored & mastered by Mahler Haze"

http://www.mediafire.com/file/ax9xh0papt4aljs/No_Brain_Cells_-_Rehearsal_Tape_1984.zip/file

Vulpess ("Whore") - "Discografía Completa" '82-'83

 


"Vulpes (aka Las VulpeSS) was the first Spanish all-female punk rock band, formed in Barakaldo (Greater Bilbao, Basque Country) in the summer of 1982. They became famous the following year when they appeared on TV programme 'Caja de Ritmos', performing their song "Me Gusta Ser una Zorra" ("I Like Being a Slut"). The song is a cover of The Stooges song "I Wanna Be Your Dog" with adapted Spanish lyrics. Many viewers complained about their performance, which led to a media scandal and court case.

To capitalise on the attention, the song was recorded and released as a single by 'Dos Rombos' records, which went on to sell 12,000 copies. However, legal difficulties created problems for the group on their promotional tour. The band dissolved in 1983 although they reformed briefly in 1985 to play some gigs."

And in the ripper's words...

"Relation of tracks:

Tracks 1-2 from single "Me Gusta Ser Una Zorra"
Tracks 3-13 from demo "Euskadi '82" (Demo and live)

Tracks of section of 'extra tracks' = tracks with number about covers and tracks that never released.

Some track had it poor quality of sound but these tracks line out 21 years ago and had taken off of tapes and old records that I can recopilase. These complete discography of  punk-woman (Basque country) it have cost, a lot of time and very quite work. I hope that can you appreciate this release.

By solid-dick with the biggest support of many friends and web servers. Thanks Punk's not dead!!!"

Recopilase, by solid-dick!

Wall Of Voodoo - '78/'79 Demos

http://www.mediafire.com/file/po7pnfwmgxeaxng/Wall_Of_Voodoo_-_Demos_78-79.zip/file

“There is a lotta hiss goin' on, but these are the first demos of WALL OF VOODOO. First 6 songs were done by Stan & Marc and a guy who helped carry the drum machine in 1978. The remainder were done a year later in 1979 with the whole band. The song ‘You Do Anything You Want’ would become ‘Longarm’.” - Th’ Mystery Rippa

“Wall of Voodoo was an American new wave  group from Los Angeles best known for the 1983 hit 'Mexican Radio'. They had a sound that was a fusion of synthesizer-based new wave music with the spaghetti Western soundtrack style of Ennio Morricone. The band  had its roots in 'Acme Soundtracks', a film score business started by Stan Ridgway, later the vocalist and harmonica player for Wall of Voodoo. Acme Soundtracks' office was across the street from the Hollywood punk club 'The Masque' and Ridgway was soon drawn into the emerging punk/new wave scene. Marc Moreland, guitarist for 'The Skulls', began jamming with Ridgway at the Acme Soundtracks office and the soundtrack company morphed into the band.

In 1977, with the addition of Skulls members Bruce Moreland (Marc Moreland's brother) as bassist and Chas T. Gray as keyboardist, along with Joe Nanini, who had been the drummer for 'The Bags', 'The Eyes', and 'Black Randy and the Metrosquad', the first lineup of Wall of Voodoo was born.

The group was named Wall of Voodoo before their first gig in reference to a comment made by Joe Berardi, a friend of Ridgway's and member of 'The Fibonaccis'. Berardi was listening to some of the Acme Soundtracks music Ridgway and Moreland had created in their studio. When Ridgway jokingly compared the multiple drum machine and Farfisa organ laden recordings to Phil Spector's 'Wall of Sound', Berardi commented it sounded more like a "wall of voodoo" and the name stuck."

Corporate (Revenge Of The) Whores - "Swine Courage" '82-'83 2xCDR (2009) & Useless Pieces Of Shit "Stupid Punk" '86 Demo, "Fuck Shit Up" 7" / 7" Outtakes (1987)

http://www.mediafire.com/file/c6ag30d2yi918bv/Corporate_Wh%2Ar%2As_And_UPS.zip/file

"Useless Pieces Of Shit were formed in September of 1983 out of the demise of two prominent Tucson bands: ‘The Corporate Whores’ and ‘Civil Death’. Lead singer, Lenny Mental, was the lead and main driving force behind ‘Civil Death’ one of Tucson’s most popular bands. The remaining members were made up of ex ‘Corporate Whores’ Duck Sticks (who later became known as Dr. Blood) on drums, Slug Useless on guitar, and the Sludge on bass. The Corporate Whores were Tucson’s first manic thrash hard-core band but broke up before gaining much recognition.

After U.P.S.’s first show in November of 1983, the band went through some radical changes. Sludge left the band to join ‘Conflict’ (another Tucson band), Paul Young  joined the band in December of 1983 on lead guitar (also in Civil Death with Larvae), and U.P.S. was evicted from their practice house leaving the band without rehearsal space.

After a couple of months of inactivity the band started again with Duck Sticks (Dr. Blood) moved from drums to bass and Tommy Mosh (ex-Savage Circle of New York) joining the band to fill in on drums. After a month Mosh was forced to quit the band for medical reasons and Dog Shit (ex ‘Free Cheese’ of Michigan) stepped in to fill the vacancy at the drums.

With Dog Shit on drums and Dr. Blood on bass the band was for the time solidified. Now the band went into intense practicing for the next several months playing out occasionally and going into the studio to record a five song demo tape, 'Ugly In Public'. In August of 1984 U.P.S. brought their refined set out to the public with a big show with two leading European punk bands. Shortly after this Paul Young left the band for personal reasons.

U.P.S. went on their first U.S. Tour, ‘Ugly in Public’, in the Summer of 1985. The band was well received throughout the East Coast, Southeast, & Midwest. Their unique fast, ferocious, and innovative hard-core manic thrash punk rock was well loved and was described as sounding like a wall of sonic mayhem with a dervish obstinate stage presence.

Upon return, the band went through more musical and personnel changes  with Lenny Mental and Dog Shit leaving the band and Sleepy Pieces (FT13 from El Paso, TX) taking over on vocals, Slug Useless on guitar, Dr. Blood on bass, and Rat Shit as the new drummer (Rat had auditioned for the band when Tommy Mosh left but didn’t get the job because he was only 14 years old at the time).

With this new lineup in place U.P.S. began to prepare for another tour in the fall of 1986. The ‘STUPID PUNK U.S. TOUR’, took the band through the Midwest, Northeast, down the East Coast, and back west through the South. The band produced several items to sell such as T-shirts, tapes, stickers, a comic book/lyric book, among other things. Dr. Blood also brought his tattoo machine so all the gnarly punk rockers went under the gun and got a Stupid Punk Tour Tattoo!!!

After the tour the band was forced to again make a change at lead singer. Sleepy moved back to Texas to get married and Dumpy Pieces (not his brother) was added to replace him. This new lineup was the best U.P.S. yet. U.P.S. went into the studio to record their first vinyl record. In the fall of 1987 ‘Fuck Shit Up’ a seven inch vinyl record was released. The band even performed a live music video of ‘Fuck Shit Up’ on local T.V. in Tucson. The record sold out quickly so the band went back into the studio to record a second seven inch vinyl record to be called, ‘It Is Written’.

Over the next few months the band was busy playing out in the Tucson & Phoenix areas. They did a surprise acoustic set at a trendy coffee house dressed like beatniks, several big shows in full clown makeup, and even performed part of a punk rock opera entitled, ‘Politico Voice’. Sadly though after this the band just slowly fell apart and in June of 1989 Slug moved to Seattle and Useless Pieces Of Shit were officially declared dead."

'80s Brazil Hardcore / Punk / Wave Demos

 

Extreme Noise Terror / Cock E.S.P. - Split 5" 2009 & E.N.T. / KLF "3 A.M. Eternal" 7" 1993

 

"Cock E.S.P. is a band based in Minneapolis, Minnesota. The group draws on the most extreme, subversive, and absurdist elements of both popular and experimental music. Recent endeavors have involved showcasing mistakes and equipment failures, as the band began to feel that such unintended sounds had a greater capacity for chaos and intensity than those sounds they actually wished to create. Thus, current recordings are edited to isolate and emphasize these "other" sounds, creating an intricate web of pure noise."

"John Peel brought E.N.T. to the attention of Bill Drummond of The KLF, the two acts got in touch and Drummond asked E.N.T. to re-record a version of KLF's hit single '3 A.M. Eternal', with the intention of the band performing live on 'Top Of The Pops' at Christmas. The BBC however felt that the song was inappropriate for broadcast on daytime television and thus refused to air the track, leading to the KLF boycotting the show. The single eventually saw limited edition release through 'KLF Communications' and won 'Single Of The Week' from both the NME and Melody Maker. E.N.T. also worked on the abandoned KLF album 'The Black Room', but when Drummond and co-member Jimmy Cauty announced the band's retirement, they also deleted the recordings.

The two bands were later asked to appear at the 1992 BRIT Awards, at which they caused controversy by firing blanks from machine guns into the audience, a performance that the NME listed at number 4 in their "Top 100 Rock Moments"."

Jappukoa Jakuofu Jizufesuto Pato Ni - "Suck My Dick" Tape (1987), "Sold Out" Tape (1988), "Kokoro Omnibus" (1988?), "The Indies Live Selection" LP/CD '86-'87 (1989), "Get The Punk: J-Punk & New Wave" 1972-1991 4xCD (2003)


Gil, Asbestos, Cruck, S.D.S., Crow, D.O.N.D.O.N., F.V.K., Lovezhe, Sic, Final Count, Acid, Jelly Beans, T.D.F., Gudon, K.P.S., Chicken Bowels, Googleplex, Germicide, Gaizin, Takuranke, Mensu, Kaizer, Barbara, Kyah, Warriors, D-Day, Gastunk, Angie, Yamazen & Midnight Special, Shinya Ohe, 1984, Renzi, The Pogo, Virgin Rocks, The Swankys, The Genbaku Onanies, YBO², Sodom, ZOA, Lip Cream,
and literally 80 more that I'm not typing out... 



Aburadako - "Unrl" Demo-Reh & Live 1984

 


"Aburadako formed as a typical hardcore/punk outfit in Tokyo in 1983. Hirotomo Hasagawa writes all of the lyrics and arranges most of the music by himself. Aburadako was born in the golden era of the first generation of punk in Japan, but as Aburadako progressed in age the more evolved their music became.
In 1985, Aburadako released their third album. This would be their first step away from the typical hardcore/punk sound of their peers and would progress into something much more complex and deep. Aburadako still continue strong with live shows, but rarely keep up on released material. After 1989 they only released three albums and a single."


Canniballistic Dissection - 222 Songs Demo Collection Tape '93-'94 (1994)

Grand-mal seizure of Japanese goreblurr, shit-noise, and occasional straight grind barfers. Sometimes there's drums, sometimes there's drum machines, and sometimes there's no drums at all! It's oddly inspiring in its dedication to the style, cleanly edited between tracks/sessions, and has an arguable degree of "dynamics" to the tape decks it was recorded on. It's still total diarrhea, just...a prettier shade? 

Bacteria (Pre Disembowelment) - "Septical Uproar" Demo & Rehearsal 1989, And Disembowelment 3xCD 2005



"Disembowelment (often stylized as diSEMBOWELMENT) formed in Melbourne in November 1989 out of the ashes of two-piece grind band 'Bacteria'. Featuring Renatao Gallina on guitar and vocals, Paul Mazziotta on drums, and the session help of Dean Ruprich (from the band 'Necrotomy') on bass, the band released its first demo "Mourning September" in September 1990. 

Disembowelment played a very slow form of doom with occasional bursts of great speed that relied equally on the atmospheric effects of droning guitars and constant riffing. The band was known for its atmospheric chanting, slow riffs and spiritual dark elements present in a symphonic, heavily distorted style. They are often credited as a key influence on the funeral doom movement that developed years later.

In 1991 Jason Kells joined the band on lead guitar. The song "Extracted Nails" was recorded in April 1991 at Double Tea Studios for a compilation on the German label 'Mangled Beyond Recognition'. The compilation featured Therion, God Macabre, Rottrevore, Cadaver, Crematory, Pan.Thy.Monium, Cenotaph, and Hydr Hydr. On 3-4 August 1991 the band went back to Double Tea studios to record their 2nd demo, "Deep Sensory Perception Into Aural Fate". This recording marked a big step forward in the maturity of the songwriting, performance, and overall production. The demo sparked the interest of Relapse Records, who signed them and released the "Dusk" EP in 1992 (it was an edited version of the demo, which omitted the linking piece of music between the two tracks). It also included the first recorded version of "Cerulean Transience Of All My Imagined Shores", a third track not featured on the earlier demo.

At the end of 1991 Matthew Skarajew (ex 'Sanctum', lead guitar) had joined the group on bass, and they recorded "Cerulean Transience Of All My Imagined Shores" the following year. In 1993 Disembowelment released their debut studio album, "Transcendence Into The Peripheral", which featured a slowly executed drumming style accompanied by death metal vocals, chants, and passages of dark ambience. Disembowelment split up after the album's release. Prior to breaking up, they had mentioned the possibility of a one-off live show that "would be an event, a unique concert". However it never happened. At the time they had rehearsed and prepared five cover versions for a potential EP. This featured Mazziotta on drums, Skarajew on guitars, and Gallina on vocals.

Gallina and Skarajew continued working together in the ethno-ambient act, 'Trial of the Bow', which Skarajew had initiated during his time in Disembowelment. The group released an EP, "Ornamentation", and an album, "Rite of Passage", to critical approval. From 2004 Skarajew and Mazziotta formed a grind band, 'Pulgar'. A related band, 'd.USK', formed in 2010 with original Disembowelment members Skarajew and Mazziotta, and played some of their former group's material as a live band. In late 2011 'd.USK' split and re-emerged under the name 'Inverloch'." 

Throbbing Gristle - "The First Annual Report Tape" 1975, "Thirty-Second Annual Report" CD Version 2008, "New T.G. Volume 2" Tape 1976/1982

"'The First Annual Report' is an album recorded in 1975 by industrial pioneers Throbbing Gristle. The session went unreleased for many years, as the band instead chose 'The Second Annual Report' recordings as their proper vinyl debut in 1977."

"'Thirty-Second Annual Report' comprises a recording of the group's live show at La Villette in Paris on 6th June 2008, where they performed a reinterpretation of 'Second Annual Report' to commemorate the album's 30th year of release."

("New T.G. Volume 2" was self released by the band in response to the "New T.G. Volume 1" bootleg cassette)

Nature And Organisation - "A Dozen Summers Against The World" CDEP 1994


"Nature And Organisation is the creation of British musician Michael Cashmore. The music of Nature and Organisation is characterized by a mix of acoustic, classical, and folk structures met with abrasive electronic instrumentation. He has collaborated with many artists, including David Tibet, Douglas Pearce, Steven Stapleton, Antony Hegarty, Marc Almond, and Rose McDowall. Cashmore has also been a member of Current 93 since the late 1980s, composing most of the group's music after the departure of Douglas Pearce in the 1990s." (Fave Track: "A Dozen Winters Of Loneliness")

Felt cute, wanted to brag, I dunno (1991)...

Confuse - FLACography & Swankys Live 1986


 
 

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