Simple and organic gloomwave/post-electro (as composed by a teenage John Carpenter) live set from the prolific and utterly mysterious "Filmmaker" (of Colombia). COOL. SHIT! http://www.mediafire.com/file/nie87s9cyv4o0tx/Filmmaker_-_Live_11-11-19.mp3
Filmmaker - Live 11-11-19
Simple and organic gloomwave/post-electro (as composed by a teenage John Carpenter) live set from the prolific and utterly mysterious "Filmmaker" (of Colombia). COOL. SHIT! http://www.mediafire.com/file/nie87s9cyv4o0tx/Filmmaker_-_Live_11-11-19.mp3
Maldoror - "Live Great American Music Hall San Francisco December 20th 2002"
Masami n' Mike tearin' shit up a few years after their CD came out...
Lord Hitler - Rehearsal March 1991 Tape
I keep thinking Hellhouse with human drums...but cheesier/shittier/more incomprehensible. Lord Hitler was quite the outlier in the former Eastern Bloc* death-thrash scene solely because they were so embarrassingly lame...which is solely why I uploaded them...http://www.mediafire.com/file/8pzulimxqgxtxu8/Lord_Hitler_1991_Demo.zip/file
*NONE of the other bands were this terrible. Still cheesy, but usually hyper-proficient at performance.
Zos Kia/Coil - "Transparent" Tape 1984
"Zos Kia was a British musical group initially formed by John Gosling along with John Balance. This trio, along with Peter Christopherson on sound, and sometimes other guests, recorded and performed several concerts in 1982 and 1983 under the name 'Zos Kia and Coil'. Some of that material was available on their debut release 'Transparent'. Balance and Christopherson soon left to concentrate on Coil full-time. All material released under the Zos Kia name alone was primarily the work of John Gosling. After retiring the Zos Kia name, Gosling went on to record with 'Sugardog' and 'Psychic TV' and to work solo as 'Sugar J' and 'Mekon'. The name "Zos Kia" is derived from the 'Zos Kia Cultus', a system of magic devised by British artist Austin Osman Spare."
Blood N' Guts Records - Labelography '97-'98
Depressingly short-lived personal label of DJ Tron, releasing his own productions as well as one EP from the owner of the equally renowned "Brutal Chud". Piss-raw psycho speedcore that loved ultraviolence more than ultra-edits...http://www.mediafire.com/file/2si1qtnkdv57gtb/Blood_N_Guts_Records.zip/file
Bedrövlers - Side Of Split Demo With Asocial 1984 & Unreleased Recording 1985
Bedrövlerz was formed half a year ago [1984]. Then the line-up was Fredda, Håkan and Micke. Håkan [‘Hocke’ Stadin] then left to start playing drums in ‘Crude S.S.’, then Micke moved to drums and they brought in Dick [‘Kerre’ Karlsson] on bass, but also Dick preferred to play in ‘Crude S.S.’. Then Markko joined on bass. (But soon they stole him too (note: joke). Current members are: Fredda Frivolt – guitar, vocals; Micke B. Drövlig – drums, ‘Markko Mörker’ [Marko Vuorinen] – bass. They have had 5 gigs, three in Hedemora, one in Norberg and one in Fagersta, but they also have some gigs planned for Stockholm and also in Helsingborg.
Over to the questions: answered by all members, the first question is to Fredda...
Tell us a bit about ‘Avlopp 69’, you were anti-‘Crass’ but what about now?
Avlopp 69’ [Sewer 69] was my first band and we were very inspired by the Oi-scene at that time and everyone in Fagersta & Norberg kept on with the anti-‘Crass’-thing, which we also went for at first but we thought about it and no one is worse than those who can’t change. I have read through most of the ‘Crass’ lyrics and several of them are damn good. The music may well be a bit monotonous at times. But after all, the lyrics are much more important. Though, it’s not possible to compare ‘Avlopp 69’ and ‘Bedrövlerz’. There are two completely different bands and ‘Bedrövlerz’ are not against ‘Crass’.
Tell us a bit about the tape you did with ‘Asocial’?
We chose to record a tape together with ‘Asocial’ because we like ‘Asocial’ and are long-time friends with them. The tape contains 22 songs (and is called How Could Hardcore Be Any Worse?) Which is a bit ironic, since many songs are fast punk and this tape is super fast. Especially ‘Asocial’. It has received very good reviews in Maximum Rock’n’Roll (USA).
What is a good lyric to you?
Good lyrics should make the listeners react, make them comfortable, get them angry, laugh or whatever. They should provoke a reaction from the listener. We find that many of today’s punk lyrics are repetitions of bands like ‘Discharge’, for example ‘Anti-Cimex’. It’s better to try to make your own original lyrics than to copy others. A good lyric often has an important and an actual message, which is often found in punk. But also bands/people like Mikael Wiehe [Swedish singer, multi-instrumentalist and composer], Bob Dylan and John Lennon write/wrote very good lyrics.
Will you release more tapes or records soon?
Yes, we will soon record an EP with ‘Fear Of War’. It should contain about 8-10 songs and it should be cheap. We will have both Swedish and English lyrics to go with it. In addition, Uproar records & tapes, that we collaborate with, will do a compilation-album after our and the ‘Crude S.S.’ EPs.
Drugs, what do you think of those?
We don’t like drugs and we also count cannabis as a drug [BED REVELERS! NEUOOOOOO! --S]. We hate the drugdealers that get rich on the misfortume of others. We don’t like alcohol when it’s abused but can tolerate it for those that can handle it, not the abusers.
What do you do in your free time (when you don’t drink beer)?
We don’t drink as much as before due to changed attitudes. In our spare time we rehearse, write lyrics, meet up with mates, think, work on 6 Pack (a fanzine), ride our skateboards, go to peace-meetings, help other bands, Micke and Markko go to school but I (Fredda) am unemployed and off to do weapons-free military duty in October.
Influences, do you have any?
Influences? We’re influenced by all kinds of punk bands with good lyrics. But we’re not that shortsighted that we pretend to be something else, because we don’t. Those who listen to our music usually think that we’re listening to American bands since we play so fast, but that’s because we get out our aggression better that way. If that would be the case, this would mean that lyrics aren’t as important as the music but that’s not the case; and for that very reason we have made some calmer songs.
Political positions?
Markko: The centre-party is the best, says mom. No, jokes aside, I’m not voting for any party. I have my thoughts and ideas, but I don’t care if they are represented by any particular party. But I think politicians lie a lot, they make big promises before the election but afterwards they say something different.
Mikael: I’m not familiar with politics so I’m not interested, the little I know is that it’s a lot of false promises of more jobs and that everything will get better.
Fredda: I don’t want to take a political stand because I have problems with all party’s political programs. There are also some good things but more are bad. I’ve got some anarchist thoughts and ideas but I don’t call myself an anarchist because it’s a label. And I don’t like labels. But in order for anarchy to work, man must first change himself.
Subterranean Kids - "Subterranean Hardcore" Demo 1985 (With Scans)
Raw Power and Wretched's Spanish lovechild. Translated "No Flag" interview (early 90s) below...
Could you introduce the new ‘Subterranean Kids’ members?
Well, since we got together again or better said: reformed, the line-up of the band at the beginning of 1990 is: ‘Damned’ [Fernando Poza Díaz] (guitar; also playing with ‘Dr. Calypso’), ‘Boliche’ [Carlos Antonio Buira Monferrer] (drums; also playing in ‘Tropel Nat’), ‘Mimo’ [Sergio Martínez Paredes] (vocals) and ‘Moncho’ [‘Moo-yoo’; Ramón Cubedo Fort]: (bass; also plays [drums] in ‘Corn Flakes’).
Do you consider this ‘Subterranean Kids’ period as a follow-up to previous periods or as something different, as a ‘new beginning’?
I think it’s a bit of both. It’s a follow-up, that is clear, and we haven’t forgotten about the experiences acquired in the first 6 years. A new beginning after a brief hiatus helps us to take things with enthusiasm and although we think to be keeping up with the ‘Subterranean Kids’ style, we believe to be new in certain things, since the new members ‘Damned’ and ‘Moncho’ bring in new aspects in comparison to the old members, and I think we should take advantage of these.
What really stimulated you for the reunion of ‘Subterranean Kids’? How did you convince ‘Mimo’ to sing again? (Red.: This info was provided by Jordi of B-Core during ‘Subterranean Kids’ gig in Sala Argentina, hence the question about ‘Mimo’. Apparently it wasn´t like that.)
Firstly, let’s have a good laugh (hahaha). Nobody convinced ‘Mimo’ to sing in the band again; it was rather him who, after the disastrous tour that we did across Europe the previous year and after splitting up, convinced us to play again with ‘Moncho’. The idea for a reunion was his; ‘Damned’ and myself were both comfortable with our respective bands: ‘L’Odi Social’ and ‘Tropel Nat’. The idea that drove us, was seeing how really dead the scene was plus also trying to find out if we could really do good things with the new line-up.
Are you still in touch with old members ‘Pep’ and Marc? What are they doing nowadays? Are they still playing music?
We meet them from time to time. ‘Pep’ [guitarist Pepe Vidal] is no longer involved in music and Marc [bassist Marc García Sastre] plays in a band called ‘Malas Influencias’ that recently recorded a demo. It’s a pity that ‘Pep’ is no longer interested in making music.
Do you think to keep on playing with ‘Damned’ and ‘Moncho’ or are you looking for more dedicated members to play in ‘Subterranean Kids’? Don’t you think that ‘Corn Flakes’or ‘L’Odi Social’ tours could be a handicap to the band?
First off: ‘L’Odi Social’ no longer exists, it’s a pity but is true. Secondly, it could take up a bit of time from the band if any member of ‘Subterranean Kids’ plays in another band but they have the right to do that and also it’s something that enriches our scene, having creative members that cooperate in different projects. Myself (‘Boliche’), I collaborate in Reptil zine, and ‘Moncho’ and ‘Damned’ have their own bands. Besides that we also have our day jobs. Of course we think about keeping on with this line-up for a long time, until we get bored.
Could you tell us about the new ‘Subterranean Kids’ songs? Will they be similar to the old songs or will you take a new direction? What about the lyrics?
‘Mimo’s lyrics could be a bit different and take a more personal point of view; music-wise I think we play fast songs as well as middle-paced songs that people who listen to ‘Subterranean Kids’ will certainly like. Next week we will also record a 6-track maxi-single for Mondo Stereo [label], a division of Semaphore, and since they do the production of it, we can expect a more powerful sound. We haven’t decided on the title yet.
Mixing my previous questions: Who’s going to write the new songs? Aren’t you afraid of having ‘Corn Flakes’ or ‘L’Odi Social’ influences in these new compositions?
One could perceive some new nuances in the music but as I said before ‘L’Odi Social’ no longer exists and ‘Moncho’ plays drums in ‘Corn Flakes’, so we don’t see it as something disadvantageous.
Will you continue working with the B-Core label? How do you value his work, regardless of you personal friendship?
B-Core [record-label from Barcelona founded by Jordi Llansamà] will probably organise a compilation with bands from Catalonia or from Spain, and it’s almost certain that there will be some music by ‘Subterranean Kids’ on it. He’s also very interested in re-releasing our very first demo Subterranean Hardcore as an LP or as a double-7”. We’ll see about that. We think he does a very good job: no-one in Spain knew about the band ‘Identity’ for example, in spite of them having members of ‘Raped Teenagers’, and thanks to the tours he organised for them and the EP he released through B-Core they got more popular over here and they’ve featured in some fanzines, which is good. We also know the musical tastes of B-Core and we think that none of his next releases is going to disappoint us, we have pretty similar tastes.
Could you tell us about your next concerts? Where do you think you’ll play? Will there be another “fucking problems tour”?
Yesterday we played in a benefit-gig in KGB, a concert-space in Barcelona, and even thought it was on a Thursday, around 300 people showed up and all hell broke loose: everybody was singing, there was non-stop slam-dancing…and of course there was big expectation towards the new songs since we haven’t played in Barcelona since March ‘91. There’s also a demonstration organised by the local neighbours each Thursday to get KGB closed down and there was such a demonstration the same day of our gig, so there were about 30 neighbours protesting with whistles in front of KGB. It was funny considering we were treated as criminals for attending a gig, really funny. We’ve some more gigs planned, like one in November in Sala Argentina in Madrid and another one in Barcelona areound that time. Touring foreign countries again – that hopefully wouldn’t be a “fucking problems tour” – could be a thought for next year, we’re eager for it.
How do you see the new wave of Catalonian bands that are coming out lately? Is it similar to the one that came about years ago or is it different? And what about the rest of Spain? How do you see the scene in general?
A few but good bands have come out; they don’t play live too often but they are there. ‘Budellam’ [HC from Barcelona] have done very well as they have produced their own EP and they have played live several times. ‘Carpe Diem’ [thrash from Barcelona] have recorded a demo, it’s being sold very well and they’ve planned some gigs. With ‘Tropel Nat’ we keep doing what we want, some people like us, some don’t, but we will record an LP in a Swiss studio in December. ‘Ktulu’ [thrash/metal from Barcelona] have also recorded a decent LP and they’ve been playing live lately. The new ‘Anarkotiks’ [HC/punk from Barcelona] repertoire is quite good and they’ll play live soon. ‘Corn Flakes’ will release their second LP soon and they’ve improved a lot, but if you don’t like their old style I doubt you’ll enjoy their new style: much more technical and improved. ‘Subterranean Kids’ will be recording a maxi-single in one or two weeks’ time. ‘Acció Directa’ [HC crossover from Barcelona], I guess will rip soon with their second LP. There’s also other bands recording soon and Tralla recs [record-label from Barcelona] is helping many bands such as ‘Alambique’ [punk from Barcelona], ‘Drogas Guais’ [HC/punk from Zaragoza], ‘Mardita Sea’ [HC/punk from Sant Andreu] I think a very good network is being formed. If you ask me if the bands that came out years ago are similar to the bands that come out nowadays: I don’t think so. The bands that played rock are still playing it and the bands that played punk/HC/metal are improving in search of an own style. In the rest of Spain there’s some new bands as ‘Nocivo’ [punk from Valencia], ‘Trip Inside’ [indie rock from Zaragoza] and many more. We’ld like to listen to new bands that appear in your zine, that come out from your area. Anyway, we think it’s good, in some places better than in other places.
If you want to add something…
Good luck with the zine, it’s really good! Thanks for your support and stay tuned for the new record!
Kyousantou - "Communist" Demo 1984 & "Ujimushi" Demo 1984 (With Scans)
Recently bootlegged L.S.D.-ish/Typhus-ish/metal-free hardcore from Japan. "Comrades" like 4th International, and orders of magnitude more normal about it than the nauseatingly deformed mutants who riot in gay-bondage-furry cosplay over here. "MAKE AMERICA GAPE AGAIN!!!"
Death In June - "Nada!" LP 1985
"Compulsion Zine" interview with Douglas P. (focusing on "Nada!")...
I've always been curious about the photographs on the sleeve of NADA! (and subsequently 93 Dead Sunwheels), where were they taken? What was the significance, if any, of the skull and daggers?
I've always been curious about the photographs on the sleeve of NADA! (and subsequently 93 Dead Sunwheels), where were they taken? What was the significance, if any, of the skull and daggers?
All the photographs for these albums were taken in Brookwood Cemetary which is an old Victorian cemetary situated just outside of London. In fact, it used to have its very own railway station when it was known as the London Necropolis whose entrance was situated almost opposite to where we recorded all of this material near Waterloo Station. It's a place I've frequented since the late 1960s when my parents used to take walks in it.
Two of the bayonets belonged to Patrick Leagas and the dagger belonged to me. Just the look of them in the photographs is great but they do also have significance. They are both aesthetic and meaningful. The skull belonged to David Tibet and I believe it is Chinese in origin. But, I may be wrong about that as there seemed to be skulls popping up from everyone in those days so it could belong to someone else. Anyway, there are different ones in different photo sessions from that period.
Two of the bayonets belonged to Patrick Leagas and the dagger belonged to me. Just the look of them in the photographs is great but they do also have significance. They are both aesthetic and meaningful. The skull belonged to David Tibet and I believe it is Chinese in origin. But, I may be wrong about that as there seemed to be skulls popping up from everyone in those days so it could belong to someone else. Anyway, there are different ones in different photo sessions from that period.
NADA! is unique in Death In June's history as it forged the talents of Patrick Leagas, Richard Butler, David Tibet and yourself. How did you approach compositions in those days? Was their a collaborative aspect or were songs written in isolation?
Patrick and Richard tended to work together at home and bring into the studio the basic backing tracks of some of the more electronically oriented songs and then we would work on the lyrics or I'd add guitar or another keyboard line etc. Tibet's contribution was really providing me/Death In June with a lot of writings that I/we could use in anyway I pleased. With the exception of 'She Said Destroy' nothing he provided was complete. I or, once Pat with 'The Torture Garden', would take a title from here or a word or sentence from there. Whatever fitted was used. Tibet came down to Alaska Studios a few times to see how things were going and shouted or growled a bit here or played a thigh bone there but wasn't involved in any of the production/mixing process. That was really Iain O'Higgins our sound engineer for many years, Pat and myself. All of my material, both acoustic and electronic, was written at home with things being added in the studio as they developed. It wasn't until we started recording all of these things that we realised that we had something pretty unique on our hands albeit a lot of the writing process for me, at least, was littered with 'peculiar' events that were pointing in the right direction.
The entire NADA!, From Torture To Conscience and Born Again period must have been quite exciting. Do you have any recurring memories / pivotal moments of the recording process or related time?
The "NADA!" period for me really began on Christmas Day, 1983 when I deliberately didn't go to dinner with Jack, my partner of the time but instead stayed at home to write a song using the lyrics Tibet had given me over the previous few months. That turned out to be 'She Said Destroy'. It was a special moment to start many special moments for the "NADA!" period. Those Yuletide holidays were put to good use by Patrick and myself who I think was writing 'The Calling' at about the same time. After we did what turned out to be our final performances with Tony Wakeford in France in early January, 1984 Patrick, Richard, Tibet and I came together for rehearsals and basically compared notes. Hearing 'The Calling', 'She Said Destroy' and 'The Torture Garden' all for the first time was very reassuring and memorable. The photo sessions were always very inspiring and special.
The Champagne breakfast by the banks of the River Thames as dawn came up over London on the morning that we completed the original album recordings was memorable. Touring "NADA!" in Italy in April 1985 was literally magical. There are many special times from those days. But, there have always been in Death In June so I don't find myself overly preoccupied with what happened nearly 20 years ago. So much has happened since.
NADA! features a formidable mixture of acoustic and electronic tracks. What were the prime influences at the time: musically philosophically, and culturally? Do you ever wonder where Death In June might have gone if the group had continued in this direction?
I think those "influences" have always been the same. The only difference is the way they are used to articulate whatever it is to be communicated/exorcised/whatever at any particular time between 1981 up to the present day in 2003. That said I have to say that I was reading a lot of stuff by The Marquis De Sade and Crowley that Tibet had given me and my first real ventures into the occult were beginning and instantly proved successful. I used to wonder what Death In June would have developed into if Pat had stuck with it but that was not to be and in retrospect probably just as well. So much was yet to come that there are definitely no regrets. Shoulda, woulda, coulda are all irrelevant aren't they!
The careers pursued by Patrick, David and yourself have been widely documented but whatever happened to Richard Butler? And wherever did he come from?
He was in Pat's original group called The Runners From '84. During the period between the actual breakup of Crisis, my first group, and the founding of Death In June with Patrick, Tony had worked with this group. So he knew Richard and as DIJ developed into something that became difficult to represent in the live arena as a 3 piece both he and Pat thought it was a good idea to rope Richard in to help with live performances. He was never an actual member of Death In June and by his own admission didn't really know what we were on about. However, he was willing to work during this period and when his time came to an end he was asked to leave. During the recording of the 'Born Again' 12-inch I was feeling uneasy about certain things so as I departed the studio I asked Pat to deal with it. Afterall, I had 'dealt' with Tony which wasn't exactly easy. I think all he has done musically since is help out with Pat during photo sessions for 6th Comm or Mother Destruction. I'm not exactly sure but, he was always good at those things. Richard had a good sensibility regarding striking the right pose.
In the intervening years Patrick has continued to record (and release) a number of these songs. Any comments you care to make?
Pat was always a perfectionist and even in DIJ he would want to do his vocal lines over and over again until he got what he thought was the very best take. I have to admit he always did so I'm not surprised he wants to re-do his songs from the Death In June days. He is probably still searching for the perfect version. I don't mind in the least!
It's been mentioned previously that NADA! is NER's biggest seller. Can you relate any reviews from the time? How did Death In June fans react to the change in musical style at the time? In retrospect how do you feel about it today?
DIJ fans obviously bought it in droves which showed what they thought of it. The Burial album had incredulously been the best selling LP up until then but NADA! zoomed off into the distance - probably never to be caught by anything else sales-figures wise again. It has time and quality on its side. And, still has! The remastering of it last year before World Serpent came up with their out of Court settlement in my case against them was an illuminating experience. I heard the album anew and it reinforced how much of it is perrenial and now even more pertinent to the Zeitgeist. When the now defunct British music paper Sounds gave it 5 question marks rather than 5 stars in their review of the record, little did they know how spot on they would be.
Anything else you care to add?
Yes, well we mustn't forget that the reason behind this interview is the recent reissue of Death In June's NADA! CD (along with Boyd Rice And Friends' Music, Martinis & Misanthropy CD/Picture disc LP) which was forced upon me after 4 years of not being able to get my hands on what was rightly mine. So, a big "thankyou" to the 3 Piggies for inadvertantly giving me the chance to reinvent the best of Death In June's/NER back catalogue during the years that they tried to destroy me/Death In June. Such business acumen is hard to find these days. And, as I write this I have just heard that NADA! has reached #7 in the South Australian album charts during our present tour of Australia and New Zealand. Being up there with the likes of Regurgitator and Pacifier makes me feel so young and contemporary!
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