Stapled Shut - "Resin Heaven" Demo '92 & "L.A. Times" Demo '96 (WAV & 320 With Scans)
First demo: outright jovial discore, 2nd demo: still dissy, but hits the yard H-A-R-D with the grind-violence. Upped for the quintillionth time, ripped from Jerry Flores' masters (I have no idea why I'm still their guardian)...
In Slaughter Natives - "Insanity & Treatment" 3xCD 2011
"I know you've been making music since 1988, which is really already a long time and you joined the famous Cold Meat Industry label...
In fact, it was even earlier, I think in 1987 or yes, maybe indeed 1988. I had known Roger Karmanik for many years before that. I knew his wife since 1982 or something like that. He was working in the music industry and he asked me: you've got to release something. I thought: yeah I can do that and he said: you need to be ready. So I had to quickly finalize everything. That's how the first cassette came out.
Now it's really a legendary label...
Well, you know there was a connection between all the bands back then. In the beginning, everything was based in a small place called Linköping in Sweden, only 50.000 people lived there. It was only 2 hours of driving from Stockholm where I used to live. Most of the bands were friends, we knew each other very well. As it was a small town it was very easy to do things together.
Why did you choose to make the kind of music you are making and how did you choose the name?
Well, I had the feeling I had to come up with something. I had a master tape and was wondering what I should do with it, stick to it or do something else. I had done other styles and music before. I tried other things, but I slowly came back to the thing I had made. Somehow I kept coming back to the same thing and decided to simply go for it. It was in me and it was like it was meant to be. It just happened. When I make music it's not that I have a plan. I just make music as it comes, I don't think about selling or about record deals. And about the name, well, you can't say the name 'In Slaughter Natives' is proper English, but nobody cares. I just loved it and it felt good to do things the way I did them. I wasn't thinking about the name, it just came later. I just liked the combination of the words.
Do you have your own record studio where you can just do whatever you want, whenever you want?
Yes, I'm totally independent and can do whatever I want. This is very important for me. In the early days, it was very expensive and you needed much more material than now. Now it's so much easier, and the technology doesn't cost that much anymore. Now I have the feeling that i have too much gear to work with. Before you couldn't do much, because you needed so much equipment and it was very expensive. You had to work with the little equipment you had. I must say that saving things is much easier than before. You can just record something and leave it for a longer time and come back on it when you feel ready for it. Before, you really had to save everything and it took some time before it was all done in a proper way. Now it's so easy.
Can you tell us something about the 3xCD ‘Insanity & Treatment’? How did you come up with the idea of the 3xCD box? It captivates the atmosphere very well. Can you tell more about it?
Honestly, it was not my idea to do it. Nick, the guy from the Russian label, Infinite Fog Productions, wrote to me and asked for it. I like him, he's a nice guy."
Debut cassette:
Intense Mutilation - "Poser Sacrifice" Demo Tape 1987 & "Greatest Shits" Demo Collection 1988 (CDR Version)
More chauvinistic than G.G., more grand guignol than The Mentors,
they're mnemonic with Crab Society North...but got SIGNED!!! 😕
Impostor - "Little Hitler Illusion" Demo 1987 & "Still Not Satisfied" Demo 1990
Tonally confused Norsk thrash/Hellhammer-metal with Messiah/Mayhem
(it'd be funnier if it was Messiah Marcolin)...
Majesty - "Bestial Vomit" CD Version 2017
Live show here...
Interview With Eric By Frank Stöver 2014
Greetings Eric and welcome to Voices From The Darkside. Even though I own your debut album "Crime Against Humanity" since its origin in 1991 I gotta confess that I hardly knew anything about NAUSEA’s background before I started the research for this interview… So, maybe we can talk a little bit about the very early days as well here now?!
"Thank you and glad to be part of this interview."
From what I understood, NAUSEA rose from the ashes of the L.A. band MAJESTY, which already featured Oscar Garcia (on guitars/vocals), Carlos "Cosmo" Reveles (on bass/vocals) and yourself on drums…Was MAJESTY the first serious band for you all or have you already been playing in any bands before?
"Yes, NAUSEA was born out of the ashes of MAJESTY around 1988. Oscar and I were neighbours at that time, he had been making noise with a couple guys. One day his sister stopped by and mentioned his brother was looking for a drummer, so I gave her my number. But we actually met on the bus a few days right after that, exchanged some words…next thing you know we started messing around with riffs in my garage that he had and soon it became what was known as MAJESTY. Oscar took care of the logo, the name (after an influence band MASTER). Now “Bestial Vomit” was recorded just out of fun we had…so much time in our hands back than, no jobs or school and it seemed so easy. My father’s band would leave all their equipment in our garage so we would just start plugging mics to a small 16 channel mixer to a cassette deck and next thing you know the demo was born, back in late 1987. We where shocked to hear the quality of the recording, I myself would say it was my first mess around band. When I met Oscar he had a band with 2 names basically (UNKNOWN DEATH/DECOMPOSED). It was Death Metal, but they had no demos recorded. Shortly after they met Pete and changed the name to TERRORIZER."
Why was MAJESTY so shortlived (1985-1987)? Is NAUSEA the continuation of MAJESTY under a different name? When and why did you exactly change the bandname?
"MAJESTY pretty much wasn’t a serious band. We were just experimenting ideas over some cold beers, recording ideas down. I would say we made a switch from bestial vomit Black/Death Metal to more punkish style after listening to early "Scum" NAPALM DEATH, ENT, DOOM, HERESY…the music completely changed, lyrics, covers…pretty much everything. One day I remember Oscar came to my house and we started both talking about changing the name or pretty much starting a new band. I liked the idea and it was weird that we both agreed on naming the band after the HERESY song NAUSEA. This was around 1988."
Tell us a little bit about the two demos you recorded and released as MAJESTY in 1987 ("Bestial Vomit" and "Demo II")? Did you spread them around in a big way or was it mainly locally to get gigs and stuff?
"MAJESTY did only release one demo: “Bestial Vomit”. The so called "Demo II" are just songs under NAUSEA that somehow got leaked via tapetrade. Also that’s basically how the demo got attention in the underground, all through tapetrading. Jesse was heavily involved in trading tapes back then, so that’s pretty much how it got to people’s hands. I might have sold 3 or 4 demos for $2 back then."
Talking of live shows: have you already played many shows as MAJESTY or did that come later, after you’ve had changed the name of the band to NAUSEA?
"Honestly MAJESTY did officially play one show only. It was myself and Cosmo, 2 piece band and that was with TERRORIZER at Hoover Park."
In the early days of MAJESTY / NAUSEA Oscar already had his other band TERRORIZER going with Pete Sandoval (drums), Jesse Pintado (guitars, RIP) and Alfred "Garvey" Estrada (bass)… why was he working in two bands that musically aren’t so different from each other?
"Hmm, that would have to be answered by him but from what he would tell me, TERRORIZER was a bit more inclined towards Death Metal and he wanted a band to take it more on the D-beat/Punk side, more simple, which was what we in NAUSEA were focused on more, Drunk/Core."
Alfred was also playing in both bands (TERRORIZER and NAUSEA) in the early days, wasn’t he? Whatever happened to him, by the way?
"He did play with us here and there…See, we (NAUSEA/TERRORIZER) both would rehearse at my home at the same time, like back to back, so when Cosmo wouldn’t be around he would grab the bass and jam out with us. Then he went off for a long vacation to a Correctional Facility. We met up again and he did help us again. I am not so sure to say, but it was around 2001, we recorded “Images Of Abuse” with Garvey…he was one of our best bass players we ever had (no offense to all our homies that played and helped us out). A while after that demo and a few shows things got on the way so he departed from the band. We have not heard from him ever since, at least I haven’t."
TERRORIZER and NAUSEA even released a split demo together in 1987/1988, which got heavily bootlegged in the years to come. What was the intention behind this and how did people react on a split demo in general, which wasn’t really a common thing back then? Did one of the bands get a better response than the other or have both been received equally well from the fans?
"Well it was pretty much just to say "Hey, here is some Grindcore bands from Los Angeles." We used to practice and do shows together back in the day. I would use Pete’s drum kit and we would just switch the bass players, minus Jesse of course, so with that idea in hand is how the split came about, which I think up to today was a great thing to have done. Also remember that back in 87-89 there was zero Grindcore bands here in Los Angeles. It was just Death Metal. would say both bands got a positive feedback."
Why did TERRORIZER break up back in 1988 and did NAUSEA get more into the focus of Oscar from then on?
"I was there and seen it all happen and I really don’t feel comfortable speaking on behalf of the brothers (TERRORIZER), but Jesse left to NAPALM DEATH and Pete left to MORBID ANGEL, so pretty much Oscar was left alone back home. But it was like nothing happened to NAUSEA. We just kept going at it, we both got more focused on the band."
I honestly didn’t really understand why there’s 4 NAUSEA songs on the TERRORIZER debut album "World Downfall", that still got recorded in 1989 (‘Corporation Pull-In’, ‘Need To Live’, ‘Condemned System’ and ‘World Downfall’)… I mean, TERRORIZER had written enough songs for themselves, so weren’t they satisfied with most of them or what lead to that decision?
"They wanted to add more punkish / Grind tunes to it, so Oscar brought them over to TERRORIZER."
What did you personally think of that decision at the time? I suppose you were part of the origin of those songs, weren’t you?
"I was a bit disappointed, but it was a bit messy at least from what I had been informed back then. I was told at first it was going to be a split album, kinda like the ENT/CHAOS UK album, but towards the end Earache did not want to spend extra cash. But whatever, not sure what was really all behind that. But I thought it‘s all good, these where my brothers, so what’s the big deal I thought. And we really all got along pretty well, drank and partied together. It was like a little Grindcore family."
NAUSEA recorded quite a bunch of demos over the years, but there’s only two full length albums out ever since the band’s origin in 1987 ("Crime Against Humanity" from 1991 and "Condemned To The System" from 2014). Why do you stick to demos instead of recording full length albums for so long?
"We just wanted to do what we wanted to do, so demos was our thing. Also it kept NAUSEA low pro in the underground scene. There wasn’t many labels interested at the time, it was kinda like you had to know someone to get signed. The first album was released by this label that ripped us and many other bands."
In the meantime there’s already at least two compilations that feature old NAUSEA demos ("The Suffering Continues" and "World Struggle: Demos ’88-’92")…Are those official releases that have been created in co-operation with the band or do you consider them bootlegs?
"No these 2 albums were released under our supervision and approved by us."
What had caused the split-up of NAUSEA in 1994 and what made you return in 2001?
"We never broke up, it was just a little break we wanted to take plus it is a bit complicated sometimes to keep a band together. So, sometime in 2001 and prior to that I would occasionally phone or tell Oscar “We should get NAUSEA back in the scene, we can look for new members” here and there, and believe me, it was a bit hard for me and not easy to convince Oscar to get back into it. Had to drag him back in, until that day came he just called me and said “Hey man, let’s start rehearsing again”."
How did you get together with new members Alejandro Corredor (on bass) and Leon del Müerte (on guitar)?
"I met Alejandro through Danny Herrera. It was at a get together over some cold ones and a few lines. He was very easy going from the start, so I told him about getting NAUSEA back in the scene and if he was interested in playing bass for NAUSEA. He right away said yeah. Now Mr Leon was brought in by Alejandro. We needed a guitarist kinda urgently to do a comeback show which was MDF and there he was. I must say these 2 guys are what NAUSEA was in need of in all forms musically and easy mellow going persons. They both are excellent musicians and homies."
When did Willowtip Records offer you a record deal for the release of a new NAUSEA album and has there been any other label interest as well?
"Leon was the one who took care of reaching out to labels since he has more experience when it came to dealing with contracts and what so ever. We had 2 choices to go with and Willowtip was the one we decided to go with."
Did Willowtip live up to your expectations or have there been any problems since you worked together?
"Willowtip has been great so far."
Tell us a little bit more about the origin of the new album…when exactly did you plan to go into a studio to finally record another album and how did everything develop from there?
"Well, that had been in our minds for quite a while. We were just lazy, perhaps about searching for the right label, also with Leon and Alejandro the band seemed more steady than ever, so that had an important role in realizing a new album I would say."
The album was recorded with Sean Vahle at Architeutihis Sound in California… what made you choose this particular studio and are you satisfied with the result?
"Sean is good friends with Leon, so he suggested NAUSEA record the album at his place. We pretty much went with it. Myself, I am my own worst critic, I always think my parts could have been done better, time is my worst enemy I must say."
Besides the re-recorded version of ‘Corporation Pull-In’ (that most people probably know from the TERRORIZER debut full length) your new album "Condemned To The System" features no less than 7 songs that previously have already been released on demos between 2002 and 2006 and only 3 brand new tracks (‘Hate And Deception’, ‘Falsely Accused’ and ‘And We Suffer’)…What was the reason for you to use so many songs from your demos for the album?
"These are great songs that we never had the opportunity to record at a professional studio, so we wanted to include them and ‘Corporation Pull-In’, we wanted to record it the original NAUSEA way. Low and high vox. The rest of the new songs we just wanted to add a little teaser of what’s to come."
To me "Condemned To The System" sounds pretty much like the album that TERRORIZER should have released after "World Downfall" instead of the records that are out there now ("Darker Days Ahead" and "Hordes Of Zombies"). I mean, your new album doesn’t really have much in common anymore with the band NAUSEA that delivered "Crime Against Humanity" more than 20 years ago, which isn’t really a big surprise, but: was that intentional or did it happen by pure coincidence?
"We hear that often, the album being compared to the follow-up of "World Downfall" and that is Oscar to blame for, haha, in a good way…As far as the change of pace I must say it’s been over a decade since "Crime…" came out. "Condemned…" is what NAUSEA has developed to. "Crime…" was a mix of ideas we wanted to create back then. Also I must admit to say that with NAUSEA we have had the freedom to play and create whatever we felt like through the years. We don’t stand or believe in just one musical gender style, at least I don’t, from D-beat/Grind/Industrial/experimental to whatever fits in."
How did Matt Harvey (of EXHUMED etc.) end up doing backing vocals on ‘Corporation Pull-In’?
"It was Alejandro’s suggestion."
From what I’ve seen you’ve been playing out live very often again in your area lately, so have there been any shows that – in retrospect – you would consider as really special? Any bands you shared the stage with that you became a fan of afterwards maybe?
"Yes, finally we as NAUSEA got the opportunity to take our noise outside and around the US, but memorable shows I must say while out in Europe, great shows, very supportive fans."
NAUSEA have mainly been labeled a Grindcore act, even though I find a lot of old school Death Metal in your material as well, so what is your definition of a Grindcore band and would you say NAUSEA fits into that genre first and foremost?
"Yes, again different people have different opinions, but I must say we have zero affiliation with the Death Metal label. Our lyrics/covers have nothing to do with Death Metal music at all. I just see our music like old school don’t give a shit D-beat/Punk/Grind and I think nowadays it’s pretty hard to describe who and what is Grindcore. There is tons of bands out there. Some good, some bad."
Ok Eric, I hope I didn’t bore you to death with all these questions…Thanks a lot for taking the time. I’ll leave the last words up to you…if you have any news or merchandise available, feel free to promote that here. All the best!
"Thank you again for your interest and support in the band. We have a facebook page that keeps our fans updated with info. Also we are currently working on new material for the follow up to "Condemned To The System". Tons of luck with Voices From The Darkside, long live the old school."
Icons Of Filth - "The Mortarhate Projects" Discography CD 1995 (FLAC With Scans), "Not On Her Majesty's Service" Demo '83 (Low-Bit), Atomic Filth Comp Track, & Jay Lee 2020 Interview
"Icons of Filth started life as Mock Death in Cardiff in 1979, with Aitch (Mark Wilson) on drums, Daffy (Simon DeManuel) on guitar, Socket (Tony Watts) on bass and Fran and Tina sharing vocal duties. After a year of local performances, that band dissolved.
They reformed as Atomic Filth shortly afterwards with Socket, Daffy and Aitch from Mock Death and Stig (Andrew Sewell) on vocals. Within a year the name had been changed to Icons of Filth and Socket had left, to be replaced on bass by Ed. They recorded their demo 'Not On Her Majesty's Service' in September 1982, becoming the first release on Conflict's Mortarhate label. This was followed up with the 1983 7" 'Used, Abused, Unamused' which was released on Corpus Christi Records. Ed left after this release and was replaced by Fish (Richard Edwards). In December 1983, 'Onward Christian Soldiers' was recorded then released the following March, again on Mortarhate. After a series of performances in 1984, usually with Conflict, the 'Brain Death' 7" was released in October 1984. This was followed in April 1985 by the 'Filth & The Fury' EP, the band then went on extended hiatus.
While playing a reunion gig in Hackney on October 23rd 2004, Stig complained of feeling unwell. He died of a heart attack that night. The remnants of the group played two benefit gigs (for Stig's children) in London and Los Angeles, after which they decided to disband indefinitely. They reformed again for two performances in Cardiff to commemorate the ten year anniversary of his death, playing with his now grown son's bands."
Last Drinks - CDR (Data Disc) 2003
[PHAT PHILE ALERT! Megalodons of megs!!!]
B L O O D Y F I S T
"Greetings fuckers, Here it is. Job #8 complete - in all its glory and splendour.
Was it worth the wait? You decide. It has been stated on the website now for some time
that this job in particular would be finished and fully released by the end of June 2003.
LIES - all of it. Life is usually a lot easier if you believe only
about a third of what you read and nothing you hear.
Anyway... as you will already be aware, this CDR was released to
commemorate the final Bloody Fist gig "Last Drinks" at the seminal
Newcastle pub venue: The Hunter On Hunter Hotel. The pub stands at
417 Hunter St Newcastle, and has existed there as long as I can
remember. Beneath the Hunter's ceiling is where the Newcastle punk
scene, metal scene, indie scene and industrial hardcore scene have all
co-existed at one time or another. That very same ceiling collapsed in
early 2002 after years of insanely loud noise had shaken the shit out
of it. Insurance had refused to pay for the ceiling as an inspection
revealed that it had not been built to standard in the first place.
The ceiling incident also followed a major fire upstairs in the
accommodation area sometime during the late 90's. Over and above all
this - anyone who was a student at Newcastle University in the mid
90's or involved in the Newcastle band scene during the early to mid
90's will have their own story to tell of the Hunter.
Heres mine:
The first time I played there was with Nasenbluten back in 1993 -
10 years ago exactly. These early gigs were pre-Bloody Fist, and
usually consisted of local alternative/indie rock bands, punk bands,
and us - all usually packed onto the same bill. If you think that
sounds strange - it was.
One of the first times we performed there as Nasenbluten in late 93,
we were the opening act for some local experimental rock band that
Dave Melo was friends with. One of my most vivid memories of that
evening was looking up at the crowd whilst we were halfway through our
set, and seeing 200+ people seated on the floor with their legs crossed,
quietly observing us. No one was leaving, no one was dancing, no one
was even fucking moving. When our 60-minute set ground to a halt, there
was polite applause. This was one of our first encounters with a 'rock'
crowd, and the fuckers applauded us. We were expecting abuse, shouting,
people throwing shit at us and general malice. We were not up there
playing 'real' instruments like everyone else was doing in Newcastle
circa 1993. Oh no. We were making what must have appeared to the usual
pub crowd as a completely alienating sampled idiotic racket. If it was
really our intention to kick up some sonic dust amongst the 'rock'
crowd back at the Hunter in 1993, it well and truly backfired.
The next time we played support slot for a band at the Hunter, more
people rocked up to see us play than came to see the main act. Word had
travelled, and this culminated in Frank (the Hunter's long suffering
bar manager/booker/bouncer) eventually asking us to headline our own
show there sometime in 1994. Frank hated our music - and still does. He
had originally asked us back in 1993 if we wanted to have our own 'rap'
night. I wondered what he was on about for a minute then it clicked
that he actually thought Nasenbluten was 'rap'. You see dear reader,
back in 1993 the average Australian suburban bloke (like Frank) referred
to anything that wasn't 'rock' music as 'rap shit'. Kylie Minogue,
Public Enemy, C & C Music Factory, Front 242, Snap, Nasenbluten - all
of it 'rap shit'. Anything that could be loosely classified as music
without guitars was 'rap'. These days if it isn't rock or rap, it's
'techno shit' - but that's another .txt file.
So off we went on an occasional journey of Hunter On Hunter 'rap'
nights. Word slowly spread and we eventually met people who were
coming to the shows from outside of Newcastle. Meanwhile, Frank didn't
give two shits what we did as long as we pulled a crowd, they drank,
and we were completely gone by 4am. The shows were at their peak by
the mid 90's, with a regular turnout of 200+. The shows then became
less frequent and punter numbers began dwindling around 1997,
culminating in an embarrassing midweek show where the great Laurent Ho
from France played to a measly 25 people.
By the end of 1998, the cogs were starting to turn again and the gigs
were starting to become more frequent and better attended. By
September / October 1999, the annual Electrofringe Festival had
begun to attract enough of a big crowd to Newcastle to guarantee a
good turnout for the Hunter gigs which coincided with the festival. The
Hunter gigs held during festival time in 1999, 2000, 2001 and 2002
were all excellent, and some of the busiest times the Hunter has ever had.
Not much has really changed at the Hunter in the last 10 years. The
place still looks like a dump, the dunnies are still full of childish
graffiti, the bar reeks of stale beer and old men's farts, and Frank
still wears the same black polo shirt with 'Only At The Hunter' printed
on the back. To this day I still want one of those shirts. Someone
once described the Hunter to me as a men's urinal that sells beer.
Everyone who has been there has a 'Hunter story' to tell. If you are a
female you have probably had your arse grabbed, had your bag racked or
spewed your hole up at the Hunter. If you are a male you've probably
lost your keys, been in a fight or spewed your hole up at the Hunter -
or perhaps you've managed all of the above over the course of 4 hours.
(..and what is the past tense of 'spew' anyway? Is it 'spewed' or
'spewn'?). "Big fuckin' deal.. that type of shit happens at every pub!"
I hear you cry. Ah! But the difference is that other pubs try and
pretend that your average night on the piss shouldn't slide down into
the abyss of drunken idiocy, drinking injuries and bitter regret. At
the Hunter however there is NO PRETENSE. The sheer look of the place
screams untoward behaviour and drunken revelry from every corner, and
the Hunter On Hunter Hotel really means it, maaaan. None of your
poncy Irish pub trimmings, imported beer, spotless dunnies or
dicky-bow security here mate. No sireee. It's like getting drunk in
your mate's garage with plastic chairs, peeling paint, torn up carpet,
gaffer tape, dirty tiles, graffiti and a Nirvana covers band. Several
tossers have in recent times attempted to unsuccessfully bring a
new spin to the Hunter with their limp-wristed music nights and crap
decorations. But the Hunter is the Hunter is the Hunter is the Hunter.
And you fucking little wankers will realise that The Hunter On Hunter
is one turd that steadfastly refuses to be polished. Ever.
Unless of course - it is sold. There was much talk of the place being
sold to some Sydney people (gotta love those Sydney cunts) sometime
late 2002. Frank had informed me that the current owners were looking
at offloading the place if a good offer came along. A good offer did
come along, and the place was ready to change hands in March 2003.
Frank had told me during February that he was being given the
'mushroom' treatment (fed bullshit and kept in the dark) by the owners
in regards to the whole deal. He told me that he had worked there for
at least 15 years, and if new owners bought the place, he'd be out of
a job. 'Cunts' I thought. Being in Frank's position would suck very
hard, not knowing if your 15 year job would be there or not in two
weeks time. Frank ain't a young bloke anymore, and Newcastle ain't
exactly brimming with employment opportunities for someone his age
either. Aside from all this we could only speculate on what might
happen to the Hunter if new owners took it over. Nobody in their right
mind would buy the Hunter and leave it exactly how it was. The place
has been struggling to keep the doors open since the Newcastle band
scene died down in the late 90's. Purchases of similarly run down
Newcastle pubs had taken place around late 2002 as well, with the
Sydney pricks rolling in and refurbishing the places to look like
fucking airport departure lounges. I decided to visit one of them a
month or two after it opened in order to have an informed opinion -
research. The beers were hideously expensive and there were
wall-to-wall girls wearing those wretched denim jeans with the rubbed
down patches. The blokes all stood around with neat haircuts and tight
t-shirts mouthing the words to dance mixes of Eminem songs.
Needless to say I was outta there quick smart. I could never imagine
someone like Frank working in a place like this, and wondered what
would really happen if the Hunter turned into one of these meat markets
- or worse - under the new management.
We booked in for the final Bloody Fist show at the Hunter for Feb 21st,
2003. If we were going to give the place a good send off then this
would be the way to do it. This was also a perfect opportunity for me
to personally throw the towel in with organising gigs at the venue as
well. By this time I had been involved with almost nine years of
arranging Bloody Fist gigs at the Hunter, and I was well over it.
For 9 years we had kept a strict $2/$3 door policy, and some nights
during the 90's we even made it free entry. The upshot of all this was
that by the end of the night, after everyone had been paid, I went home
with sweet fuck all. I continued doing it this way because I enjoyed it
and most people who supported us over the years were on welfare.
We'd had some great shows, some crap ones, some funny ones and some
horrendous ones. If we could go out on a good one I'd be happy to leave
it at that. I also did not want to reach a point where the turnouts
started dwindling again, and it felt like I was flogging a dead horse.
For the night of the 21st Feb, I tried to book as many guys as possible
who were involved in Bloody Fist and the Hunter gigs throughout the
90's, and still lived in Newcastle. It turned out to be a handful -
plus Epsilon who is a major part of the new school of Fisters. Most of
the other guys had either moved away to find employment, get a life,
travel, or just simply get the fuck out of Newcastle once and for all.
We also booked the sound system from hell.
The night was a corker. Excellent turn out from all around the place,
cracking sound system, and mad support from everyone, including a lot
of old faces who we hadn't seen since the mid 90's. The proceedings
were recorded and ripped to MP3, and here they are for you to make
whatever you will of them.
As I write this it is a dark and rainy Sunday night / Monday morning in
early September 2003. The Hunter never did get sold after all. Turns
out the people who were going to buy it got cold feet at the last
minute and balked. That's not to say of course, that it won't become a
karaoke bar in 5 years time - but I couldn't give a fuck anymore. I had
my evil way with the place for 9 years. I'm happy with what took place
there and grateful for Frank & management letting us use it as a hub
for the Bloody Fist live scene for 9 years. From here on it doesn't matter
who attempts what at the Hunter, it's best days are now 100% behind it.
I walked past the place last night and looked in. The front doors were
open and the place was empty except for two crusty old blokes propping
up the bar and the same two faded pool tables that were always there.
The front window is jammed with band posters advertising upcoming gigs
to a disinterested public. Life drags on, and the glorious turd that is
the Hunter On Hunter Hotel still remains unpolished."
C'mon Guise...
"'Home Taping Is Killing Music' was the 1980s slogan of a copyright infringement campaign by the British Phonographic Industry. With the rise in cassette recorder popularity, the B.P.I. feared that the ability of private citizens to record music from the radio onto cassettes would cause a decline in record sales. The logo consisted of a Jolly Roger formed from the silhouette of a cassette.
An early proponent of home taping was Malcolm McLaren, who, post Sex Pistols, was managing the new wave band Bow Wow Wow. In 1980, they released a cassette single featuring a blank b-side so the buyer could record their own music. The band's label, EMI, dropped the group shortly afterwards. One version of the Dead Kennedys E.P. 'In God We Trust Inc.' had a blank side, printed with the message 'Home taping is killing record industry profits! We left this side blank so you can help.'
The slogan was often parodied, one example being the addendum 'and it's about time too!', used by Dutch anarcho band The Ex. Some fanzines changed the words to 'Home taping is killing the music industry, so be sure to do your part!' Just the cassette & crossbones image were displayed briefly in the 'Time Out For Fun" video by Devo, and Venom's 1982 album 'Black Metal' used the logo with the words 'Home Taping Is Killing Music; So Are Venom.'
Doomed - "Broken" 7" 1997
"As the bodies decay I feel a certain dismay about the times I pray below my altar. I smell the wretched stench of what life now has gone, into an interlude of pure black, death, doom..."
!!!💩REIFERTCORE💩!!!
Doomwatch - "The Final Hour" 7" 1986 & "The Final Demo" (Mahler's Rip) Compilation Tape 1987
Superiorly fused crossover-thrash from Pittzboig. One of the louder cult secrets of the underground speed-punk scene, surprisingly little is remembered of the group despite their eventual mainstream exposure via Relativity Records. Dawn Of The RIFFS!
Revok - "Perpetual Ruin" CDR-Demo 2003
2 men, 5 songs, 7 minutes of nicely home-produced O! G! AS! FUCK! grindcore with shout-shrieked vocals (if it wasn't for the "cleaner" singing, this could be taken as a lost Excruciating Terror session). Somebody in this one-off (😢) was in either Slavestate or Avulsion...
K.G.A. - '83-'86
NUTHIN'! No Discogs, no memory of the group from Finn-punx in their mid 50s,
totaalinen mysteeri ydin!!! As unhoned as they are unknown...
Legion Of Death - Demo/Reh #1 Nov '86
"Insanely rare rehearsal-demo by Denver's own LEGION OF DEATH, recorded in November 1986, after their 2 studio demos and about a year before their debut LP. 23 Tracks of crazy neanderthal crossover thrash in 47 minutes. They sound like Genocide (pre Repulsion) meets Confuse (Japan). Seeing as this tape is 28 years old, there was a lot of hiss present. I tried as best as i could to remove the excess tape noise without it cutting into the actual music. It sounds better than most rehearsal tapes from the 80s anyway. Get ready for some utterly nasty, brutal, raw caveman thrash/crossover." --Mahler
Kulturkampf - Complete Demos 1983 (Not Discography LP)
"In 1982 The Sub-Zeros split into two different bands. One was Societies Vultures (whose guitarist/vocalist moved to Sunderland and formed The Famous Imposters), the other band was Kulturkampf, which consisted of brothers Mark and Carl Wroe, Paul Kirkwood, and Karl Gallear. Their first gig was at a benefit supporting The Passion Killers. Karl left the band shortly before they recorded their first demo, 'The Struggle', at Street Life Studios in July 1983. Soon after, Andy Clough (formerly of The Sub-Zeros and Society's Vultures) joined as an additional guitarist. In November 1983 Kulturkampf went into Lion Studios in Leeds to record their second demo, 'The Corpse Of Bureaucracy', before splitting up. They played their last show in Nottingham with The Famous Imposters and Scum Dribblers."
Cloister Crime - "Devilish Music For An Unredeemable" Tape 1984
Antediluvian G.G.F.H. from Sweden. Sucks/Rules!!!
Solanaceae Tau - "Architektura Psychedelia" Tape 1988
"Frankfurt art collective, stringently D.I.Y. since 1986. Their anarchistic lyrics are combined with morgue-cold beats, female vocals, tape collages and occasional guitar, making a unique stand inbetween the genres of darkwave, industrial, and neo-folk."
War Ripper - "Hell Storm" 7" 2007
Rippin' war-punk from...JOEL OF TOXIC HOLOCAUST???
Like a homogenized shrapnel of Majesty, Venom on 33, and Shitlickers...
Paul Blackout - Live At Bodyhammer 2005
Illuminati N' Bass Baron of The Southern Cross!!!
Mix List...
Anthrax - Among The Living (Intro)
Bad News - Heavy Metal Farmer
Paul Blackout - Fucken Metalheads
Slacknote - Thugs (Blackout Remix)
Kemal - Fucking Hostile
Ministry - N.W.O. (Blackout Remix)
Paul Blackout - The Number
Arkon - The Robots
Paul Blackout - Revolution/Revolution V.U.P.
Paul Blackout - Bleed For The Devil
Paul Blackout - Insomniac
Overcast - Movement 1 (B.F. Remix)
Coresplittaz - Meteor
Paul Blackout - Land Whale
De-Koder - Knife (Blackout Remix)
Blood Duster - Drink Fight Fuck
Francis E. Dec (Esquire) & Boyd R. Britton - "Hero In Hell" Cassette 1985
"Francis E. Dec (1926-1996) was an American lawyer and 'outsider writer' who was best known for his typewritten diatribes that he independently mailed and published from the late 1960s onward. His works are characterized by highly accusatory and vulgar attacks on various subjects, often making use of phrases like "Mad Deadly Worldwide Communist Gangster Computer God" to slander hierarchies that he believed were engaging in electronic harassment against him. Jeffrey Sconce analyzed the written works of Francis E. Dec in his book 'The Technical Delusion: Electronics, Power, Insanity', within a chapter discussing the phenomenon of 'targeted individuals' *. In it, he states that 'his writing speaks to a feature of technical delusions that became increasingly prominent in the second half of the twentieth century. Dec's screeds are emblematic in their careening, amplified panic over imperious yet chimerical powers that seemingly are everywhere all the time and yet can never be fully confronted or understood.'"
"Among other figures interested in Dec's works were William S. Burroughs and Genesis P-Orridge; the latter used a recording of his voice on the Psychic TV album 'Ultrahouse (The L.A. Connection)'. A 1983 issue of Weirdo by Robert Crumb was based on Dec's works. Other media inspired by Dec's writings include 'Hero in Hell', a series of spoken word performances performed by former KROQ-FM DJ Boyd R. Britton in the 1980s."
* Electronic harassment, electromagnetic torture, or psychotronic torture is a conspiracy theory that government agents make use of electromagnetic radiation (such as the microwave auditory effect), radar, and surveillance techniques to transmit sounds and thoughts into people's heads, affect people's bodies, and harass people. Individuals who claim to experience this call themselves 'targeted individuals.'
Subscribe to:
Posts (Atom)