Cum-tribute the holy ghost!
Skin Chamber - "Wound" CD 1991 (320)
Interview By Bob Gourley 1993...
Back in the early 80’s, Controlled Bleeding were one of the pioneers of dark, electronic music on this side of the Atlantic. The group’s extensive body of work encompass three distinct styles: aggressive, electronic dance music, gothic, soundtrack-like work, and harsh, wall-of-noise compositions. While Controlled Bleeding were between labels, members Paul Lemos and Chris Moriarity started Skin Chamber as a side project [H-E-A-V-I-L-Y in the vibe of early Swans. --S]. Their debut album, “Wound” came out in late 1991, and now they have followed it up with “Trial”. The following is a telephone interview conducted with Lemos about Skin Chamber.
Why did you start up the Skin Chamber side project?
Skin Chamber developed when Controlled Bleeding had left Wax Trax!. It was a tough situation for Wax Trax! and everybody involved and so the band took a rest for about 11 months – we just stopped. Chris and I have always had a very volatile relationship, from the time when we were recording "Knees And Bones" together, and I think this kind of level of frustration that started out in our early music was very much happening again at that time. We had just gotten together, playing drums and bass, no programming, no keyboards and were just playing. What started developing would become Skin Chamber. It really was just a different face. To call it Controlled Bleeding was very inappropriate and it kind of harked back to the early music that we did in purpose – it had that same kind of venting. We just had a need to do something that was completely different and much more visceral and maybe a different emotional level.
When you originally started up Skin Chamber, did you see it as a one-off or a continuing project?
Oh yeah, Skin Chamber to me is at least as dominant, maybe more so in the major market. I think Skin Chamber is something that’s new, it has no history behind it, there’s no big catalogue of obscure releases. And so it’s kind of in a way a fresh start in a whole new orientation for us. Because none of us are tech-heads, and we don’t really like computer music that much in terms of creating it, and so Skin Chamber is the way we like to work in an organic manner. I don’t know if we’ll be working with Roadrunner anymore, but we’ll certainly pursue the group.
Why don’t you think you’ll be working with Roadrunner anymore?
They dismantled a lot of the Third Mind label so Controlled Bleeding at this point will probably be label shopping, even though the last record did so well for us. They’ve just got big problems there, and I don’t think they’re going to support Skin Chamber either because they don’t really understand the music. Their main interest is metal and even though they experiment with genres outside of metal, they don’t handle them particularly well.
How would you describe the new Skin Chamber LP?
It just kind of continues where Wound left off. It’s a lot more focused than Wound. There’s not nearly the variation on the record. But I think the songs are straighter in certain ways but sonically a lot better. I think the production is a lot more interesting, and within it are certain structured frameworks; there’s a lot of experimentation going on. I’d say there’s much more experimentation than on Wound. The textural aspects of the record are much more interesting.
Do you keep the different projects completely separate or do you tend to come up with ideas and then decide which project to develop them for?
Oh, never. Controlled Bleeding can go a number of ways, it’s like Controlled Bleeding is almost three combinations. Joe and I work on semi-choral, progressive music, the Controlled Bleeding music I work on myself is generally very noisy, very experimental, and the stuff Chris and I do under Controlled Bleeding tends to be more ryhthmic-yet-melodic. Skin Chamber is a completely different entity; it’s a completely different creative process.
Do you see the two groups aimed at the same audience?
Well, I suppose. I don’t really think about audience very much when I do any kind of music. I mean Roadrunner being a metal label, even though Trial is not a fucking metal record, they’re going to market it to a metal audience. That’s the audience that they know, that’s their tried and true audience. I would say that people that are interested in any kind of noisy guitar-driven music would find Trial interesting, but I don’t know it those same people would find Controlled Bleeding interesting. I tend to think that the Controlled Bleeding audience has found Skin Chamber maybe a little difficult to deal with.
Will you be doing any live dates as Skin Chamber?
We want to, it’s just hard going from two people to the necessary six or seven people. It’s real hard to find a band for the live setting that can commit to going a month or two on the road. So it hasn’t been easy getting the thing off the ground. We did one show, and we really want to go on tour this summer. We might go out as Controlled Bleeding/Skin Chamber doing music from both, but it’s been hard getting the number of people involved that we need for a long term tour.
What is the current status of Controlled Bleeding?
As far as corporate music, we’re quite possibly going to sign with a major label or another large indie sometime in the next five to six months. We’d like to contractually be able to continue smaller, more artistic side projects.
D.O.C. (Disturbance Of Consciousness) - "Death In The Field" 1990 Demo
Polish mince pie of Lee/Bill sludge, Fear Of God's live tension,
and Agathocles at their most cabbalic. Future members of Dead Infection...
Atheus - "Soundscapes And Drones" CD 2009 (320)
Former dub-tech(nician) vacuum decays into mesa ambidrone...
Genoa - "Black Tape/Only Thrash...But Thrash!!" 1988 Demo (1991 CD Re-release)
"Chiba, Japan based thrash metal band with crossover influences ala Casbah. Active from the mid '80s to 1991. Genoa organized the series gigs called 'Thrash Live In Savagery' in the Tokyo area. Their original singer Hiroaki Tomita left the band shortly after 'Only Thrash...But Thrash!!' (aka 'Black Tape') cassette release and the second singer Akira (ex Continental Kids) joined."
Bastard Priest - Discography (320)
'86-In-'08 monkeybeat deathpunk...
Nihilistic Webzine Interview 2010...
1. BASTARD PRIEST appeared from nowhere in 2008 with the release of the first demo "Merciless insane death". I never ever heard about your band's name before, and even though Metal-archive states it was created in 2001, it seems nothing was recorded or promoted before...tell us more about the past, what happened before the release of this first demo...when was the band really created? Was BASTARD PRIEST the first name? Did you record other demos? Well, this could be seen as a long introduction ;-)
M: Well me and Inventor started talking about doing this band in 2001 or 2002. We wanted to play really hard and merciless heavy music but we didn't get around actually doing anything until 2007. I guess it depends on what you mean by "creating" a band - ideas, band name and stuff like that 2001, songs in 2007. Bastard Priest was the first name - we never thought that much about it but I guess it's kinda silly, on the other hand it sort of stands out among all the tombalizer/engraved/disnihilist-names...don't pay much attention to our name, it's the music that counts. We did a rehearsal recording in '07 that never got released - songs from that recording was on our homepage a while under the name "demo 2007" but it was never a released product of any kind.
2. This is a quite usual question, but it's not bad to ask so: How would you call your music? Is "Death metal" enough, or you have a personal way of introducing it to metal-heads? How do you generally try to "sell" your music to turn on someone's curiosity? (Maybe you ask them to read the title of your demo? Ahah)
M: It got bits and pieces of everything in it both music wise and lyrics wise but I'm not gonna be a pretentious artfag and say things that labels don't fit us and stuff like that...yeah it sounds pretty death metal right? I don't generally sell my music - things get around and people hear our stuff, if they like it -fine, if not - also fine. Perhaps someone hears Entombed, other people hear Nausea, Master, Discharge, Iggy - I don't care...it's not that important.
3. Did you already play gigs? Should BASTARD PRIEST be considered as a "real" band who regularly rehearses and plays gigs, or rather some kind of studio rehearsal / project that allows you to compose good music? Or you don't give a fuck about such kind of criterias and only wish to vomit pure fucking Death until the infernal puke is strangulating your throat from the inside?
M: No, we've never done any live shows. Right now there's no time or other band members to make live appearances possible. Bastard Priest is a two man studio project I guess, but I mean we got the songs and we would be able to play them live but for reasons that I previously stated it's not possible right now.
4. "Inventor" and "Matt Mendoza" seems to be quite obscure monikers, I never heard about them before... Are you a part of other bands/ project, or is BASTARD PRIEST the only one, or only important one (maybe)? Wasn't Mendoza some conqueror from the Spanish history?
M: No, we're only in Bastard Priest...Mendoza is a homage to Mark "The Animal" Mendoza of Twisted Sister.
5. Many bands try to play old styled Death metal and sometimes claim it's Swedish death, but sometimes they fail...sometimes because they forget the old crust/HC influence that was quite important in the music of bands like ENTOMBED (Early) or CARNAGE for example...you didn't and include quite a lot of crust and D-beats energy in the rhythms, sometimes so much that I occur to forget I'm listening to Death metal and would feel in the middle of a Crustcore LP! Ah Ah. So, don't you have some kind of quite strong roots in the HC scene? You might even have spent most of your 'Ugly music" early days in this part of extreme music scene, and turnt to the side of Death few years ago? Do you think a band can play real Swedish Death metal without these Dbeat influences? (Is it really only about the necro or obscurity, or maybe the Swedish trademark also involves some primary punch and impact targeted energies to be totally emulated?)
M: Yeah we're both raised in the Hardcorepunk scene more than the metal scene...but both of us have always attended all kinds of gigs and listened to all kinds of music. I started listening to death metal in 91 or 92 and I've never stopped really - sometimes I listen to it more, sometime less, but brutal music and fast music I've been listening to my whole life. About the punk and rock influences of "Swedish Death Metal" - I really don't know what real Swedish Death Metal is to be honest...it seems that everything and nothing is swedeath right now. I guess when people played their stuff back in the day they just were influences from everything between Autopsy and Sonic Youth...and they all strived for progression and that made the music quite special. I think that the rock n roll groove (not to be mistaken with groovy metal or any kind of rap or stuff like that) was the most important thing that I wanted to base Bastard Priest music on - you know, it has to have a certain vibe to it that make you really want you to bang your head. Punk music and hardcore got that on it's own and that stuff just came along naturally when creating the music...Cos basically we're doing hardcorepunk songs but it's death metal - it's short and really simple.
6. Sometimes your music is fucking raw and primal...It sounds like a melting of early MASTER and some SLAUGHTER (Can)! You could cover the "Incinerator" song of the latter, it wouldn't sound misplaced, and you could move more ass during gigs ahah (Maybe you know this song, at least from the NAPALM DEATH covers MCD). Hmmm, would you like to quote more influences?
M: Make way for the Incinerator! Yeah, we drew alot of influence from the Master unreleased 1985 LP, Possessed, Slaughter, Death Strike...all these early death metal bands. We listen to all the crucial stuff of course (Bathory, Venom, Celtic Frost, Possessed and so on) but also to some really hard hitting hardcorebands such as Crow, Death Side, Lip Cream, Anti Cimex, Shitlickers, Discharge, Disorder and Chaos UK. But we ripped stuff from Rolling Stones, Youth of Today, Slayer and Accept.
7. The Swedish Death metal guitar sound is great, really overdriven and ugly as a moribund fuck! How did you achieve to get this kind of production: What kind of amp/ guitar or effect pedal did you use? Where was the demo recorded and what kinds of incantations did you spell during the work to evoke the spirit of Tomas Skogsberg in this quite efficient manner?
M: Marshall Amps, just some guitar and Boss pedals...that's all you need! Recording can be heaven but most of the time it's just pure pain cos we're not really professionals...usually the turnout is pretty far from what we aimed for but I guess we had some lucky shots when we recorded.
8. According to the song titles, I guess your lyrics are about Death and brutality... Tell us about it.
M: It's the usual stuff - war, pain, gore, zombies...you know.
9. Did you have experiences with priests in your young years, or is it only a cool moniker?
M: No, one of my best friends dad is a priest - he's cool thought, albeit a bit grumpy.
10. Are you satisfied with the work of BLOOD HARVEST? How did you get in touch with him, and what was his offer? Do you know how many copies of the demo were sold at the end?
M: Yeah, Mr.R of Blood Harvest is by far the easiest guy to work with out there - I have no criticism what so ever. I think he sold 300 copies of the demo.
11. Are there already new songs in the work, or is it generally quite slow on a matter of composition? According to the quite fresh nature of your music, I'd say it didn't take too long to write these songs and you were lead by the enthusiasm in a few months (weeks?) duration...How does it work to write these songs and what is the "click" to turn the feeling on? Are you generally bestially motivated by some daily-life events, Tv-news, killer albums, alcohol, drugs, sex, or something else? I guess Inventor writes most of the music...
M: Right now I'm actually working on some new songs...nothing is done yet thought so we'll see what that turns out to be. Both me and Inventor writes the music - it's a ongoing process that involves both me and him and everything is done by both Inventor and me. As for the motivation it's 100% musical influences that gets me going...I don't watch TV and feel the urge to do death metal so to say.
12. If there are new songs, how do they sound and what should the listener expect? Are there strong differences compared to the first demo, as you might include new influences, or is it globally the same style? Have you got an idea of who will and how it will be released?
M: Just the same stuff, I don't think it changed that much...the influences are pretty much the same and the style also. Since nothing new is recorded right now I don't have anything about how and when it's gonna be released.
13. How many times did you read the killer "Swedish Death metal" book written by Daniel Ekeroth? Was it a great source of new old bands to hunt for, and did you make some great discoverings thanks to his encyclopedia side? Did it in a way change your vision of the old scene?
M: Well I read it once...It's a cool book, no doubt about it. As for the source of new band I find the internet to be outstanding...I mean there's homepages and blogs that's 100% dedicated to old metal demos and stuff like that - everything's there, you just have to look for it. As for the old scene - I don't know if I've given it that much thought, perhaps with age and time it has become a lot less "glamorous" - I think I thought that I was more big business when I was a kid.
14. If you could have played in one of the greater old Swedish death metal bands, would you have chosen ENTOMBED/ NIHILIST, GRAVE, DISMEMBER, CARNAGE or another one? And if you couldn't choose ENTOMBED, which other outfit would you choose? (Héhé)
M: I don't know - that kind of a weird question...I don't know...G-Anx perhaps.
15. Since you're from Sweden, you might have experienced nice things such as being surrounded by some kind of myths and stories about early Death metal, some kind of Swedish collective subconscious that have probably developed and kept spreading stories and myths concerning the Death metal past...How was it to hear such kind of stories when you were younger? And how did you see these bands like ENTOMBED, GRAVE or maybe DISMEMBER invade your country with their killer sounds? I think such kind of collective subconscious phenomenon might greatly influence a crowd of individuals to play music later on...
M: Well in the early 90ties it was all about these black metal dudes that kept running around killing each other and being really dangerous...I think most of the rumors was about them. As for Death Metal rumors I can't remember anything. Also when I was a kid the music seemed really technical and hard to play...shit was superfast and impossible to play almost. I still think some of the entombed riffs are impossible to grasp and their song structures are fucking ridiculous...I always loved (and always will) Nickes drumming.
16. What does Death metal mean for you?
M: Good music.
17. Do you like paper fanzines? What were you last great obscure readings and are there some names you'd like to advice to the readers? I know there are many paper fanzines in Poland...But what about Sweden? Is there also some revival concerning this way of spreading the morbidity?
M: No not that much to be honest...I get zines when dudes like you interview us and I read them but that's it. Before the Internet I read alot more zines.
18. The new wave of Swedish old school Death metal becomes stronger...At least it hasn't been that strong since years...Do you think something special could happen again, and your country might take over the world again by force with so many killer music...And should we, the listener, prepare for a new Swedish invasion from the depths of mystery?
M: Hehe, jeez, I don't know - we got some really awesome band already I we've had some the last 10 years also I think...Kaamos, Repugnant, Verminous...nowadays I think Morbus Chron, Maim and Tormented are really good.
19. What are the future plans of BASTARD PRIEST? You can tell us about the merchandising and other things...Thanx for the answers. Nauseous cheers from the grave (Ah!)
M: Make more songs and record some stuff later this spring. We got an LP at the mastering-studio right now so we're waiting for that to be done and come out. After that we'll see what happens. Thanks for the interview man! Rock Hard! -- Matt Mendoza.
Blackhouse - "Pro Life" Tape 1984, "Hope Like A Candle" Tape 1985, "Holy War" Tape 1987, "Hidden Beneath The Metal" Tape 1991
(5 Minutes After I Die: https://selfishfew.blogspot.com/2016/01/blackhouse-5-minutes-after-i-die.html)
"Blackhouse is an industrial project based in Eureka, California, formed in 1984, and cited as the first to make industrial music for the Christian market. Musically acclaimed, Blackhouse has ensued for over three decades, producing a myriad of releases in that time. Often they find themselves riding the line between artistic expression and forming a message in a way that could be accepted in the broad Christian community. One album featured a cover showing a rabbit crucified, with the thought of exposing the real meaning of Easter.
The sound that Blackhouse offered was far outside the norms of Christian music, and live performances met with resistance from both the Christian right and Neo-Nazi organizations. The Neo-Nazi groups protested the religious content, which was unusual in a genre usually known for espousing negative themes including nihilism, pornography, sadomasochism, and drug culture. The Christians took issue with Blackhouse's sound itself, again due to industrial's association with negative elements of society. After a time Blackhouse went underground, focusing on producing recorded material rather than touring."
Suck Off Death: Necromancy Demos 1-3 1986, Slayed Nekros "Noise" Demo 1988, Necrophobia Comp Tape 1989, Necrosis (Austria) Reh-Demo 2-16-90, Necrobiosis (Finland) "Consume The Lifeless Cadaver" Demo 1991, Necrolust "Christ's Excommunication" Demo 1991, Necrofilia/Necrophonie "Sein Zum Tode" Tape 1997 & "1996-2007" 10" 2007
Moar Y.A. death-grind (dichotically dumb and "sick")
VS NC-17 death-industrial (no dumb, just siiiiiick)...
Maria Zerfall - "Anthology 1983-1993" 9 x Vinyl Boxset 2020 (320 With Scans)
"The German solo project 'Maria Zerfall' [bedroom-electronics, pure-industrial, and spoken word. --S] started in 1982 by Christine Weyhreter. Her private cassette distribution was called 'Music To Turn To' and was recorded and duplicated privately on a 4-track-tape-recorder, given away to friends and people who were interested in it. Maria Zerfall is like a little philosophy, Maria means 'innocence', and Zerfall is 'decay of all material things'."
Frazz Faves: Frazzbass - Interview 2007, "Tormented By Kill" (With X-Fly) 12" 2006, "T.N.I. 2" (With Noisekick) 12" 2006, "Xtreme Core 3" (With Rotello) Mix CD 2006, "Cum With Your Pain" (With Komprex) 12" 2007, "Silence" (With Negative Network) 12" 2007, "Fuckparade 2007" Mix CD 2007, "Videogame" (With Sickest Squad) 12" 2009, "Brain Explosion" (With Exagon) 12" 2010, "Crossbreed VS Terror" (With Komprex) LP 2014
TERROR. NOISE.
EXTREEEEEEEEEEEEME!!!
Anguish - "Winds Of Death" Demo 2007, "Within The Darkness" 7" 2009, Secret Demo (No Year) 320 With Scans
Dis-metal crust-struction...
"Get the metal outta punk and put more punk into metal!"
Cadgers VS Cadaverous Clan: Demos '81 & '82
Moar literal UK82 (emotionally sung!) VS pre Riistetittys...
Earfist - "All The Way To Fucking Eindhoven" EP 2010 (320)
CLEAAAN SWEEEDE SPEEED!!! Fave Track: Mainstyle Whore
Mutation - "Malignant Existence" Demo 1991
"Mutation was the very first death metal band from Singapore and, along with Abhorer, had a fairly big impact on the extreme metal scene over there at the time. Unfortunately, the band has not stood the test of time and has fallen into obscurity, aside from the mighty Nuclear War Now! Productions releasing their previously unreleased 7” from 1992. Not only is it unfortunate, but is also surprising considering how good this demo is and the band’s historical importance in the Singaporean metal underground.
As for the demo itself, Malignant Existence is a rancid and wretched slice of death metal of the highest order. The production is raw, noisy, and caked in a thick layer of filth. The vocals are pushed to the front of the mix and have a bit of distortion and reverb added to them, but this is not to hide poor vocal abilities (*ahem, Xasthur*), as it is plainly obvious that he has a bowel-bursting, demonic growl that could definitely leave some small children in tears. These effects are just added to make the savage nature of the music even more effective, which is definitely what they have achieved here. If I had to make a comparison, I’d have to give mention to Abhorer’s ‘Rumpus of the Undead’ demo.
The guitar has an extremely thick, noisy tone, somewhat reminiscent of a lot of 80’s/early 90’s Swedish demos from bands such as Gorement and Crematory, but even more repulsive. The riffing itself can also be compared to that of the Swedish scene, but it does stand on its own. They alternate from mid-paced chugs (NOT in a “brutal ‘death metal’” slam-wigger way though), to grinding mayhem, so much to the point that at times you can’t differentiate between the different notes. Like the guitar, the bass also has a filthy tone, and it intertwines with the guitar in a nauseating manner, creating a really thick wall of down-tuned sludgy chaos. And as if the vocals, guitar, and bass weren’t enough of a mess as it is (in a good way, of course), the drums also have a layer of grime thrown on top of them, giving a noisy pulse to this death metal monstrosity.
Out of all the unfortunately short-lived death metal bands that were lost in the depths of obscurity, Mutation is one of the least deserving of it. This demo, as well as the 7”, is mandatory for everyone who likes their death metal old school, filthy and rotten. Highly recommended."
--Uncle Meat 2009
A.S.S.!!!: Anathema Finland Demo 2 1991 VS Stagnated Corpse Live Demo 1992 VS Stench Of Necropsy "Accepting The Horrible" Demo Tape 2000
Cheesy, cringey, laugh-out-loudy, teen metalhead vibes abound...BUT...they all play decently, and with cleverly revolting tones, tuning, and vocal elements (S.O.N.'s back ups win that sewer slalom,
they sound like a frog with its throat slit......I literally wanted to puke.)...
Girl Doll VS Gurenju - 1985 Flexi & "Ganjigarame" 7" 1998
The plainest of Japanese Janes (fuckable art-dirge and rock-punk)...
P/D(B) - "Foetor Ex Ore V2" Tape 1995 (320)
Three demon-princes (of Sweden) vomit black pure-industrial...
Earslaughter U.K. VS Extreme Noise Terror - Reh 1-13-87 & "Bloody Liver Burst" Demo 1986
Earslaughter owns the fuck out of their name with a sound like Asylum psychically puppeting Sore Throat. By extension, Sore Throat's tape recorder was puppeted by Asylum's, so this session may as well have never been recorded at all. E.N.T puppet themselves with all their hits (and one unreleased shit) in a hissy soundboard recording that may be a generic rehearsal instead of an official demo.
EXTREME. EAR. NOISE. SLAUGHTERROR!!!
Mania VS Tuberculosis - "Radiation Acid Clash" Demo 2011 & "Tuberculosis" Cassette-EP 2009
Ultrapunk Razacore from the impassioned impresarios of Static Silence...
Ybrid 2000-2010 (99% Discography & Live, WAV, 320, 160-215 VBR)
Goddess-Empress of symphonic industrial-hXc and cinematic ethno-DMT...
Part 1...
Part 2...
"Based in Lower Normandy, in the Bay of Mont St Michel, Sylvie Egret is better known under the pseudonym 'Ybrid' in the electronic world. After classical training at a conservatory (for guitar and piano), then guitarist in an alternative rock group, she quickly appropriates new technologies and integrates computers as a musical creation tool. She began to play live in 1999, her sound becoming radicalized over a somewhat lengthy time. She created her own label 'Ark-Aïk' in 2004. Driven by the desire not to be locked into a particular style, she develops parallel projects: in residence with the instruments of the Baschets brothers, composing soundtracks for dance and theater companies, developing a new soundtrack for Murnau's Nosferatu, or writing the 'Silencio' in collaboration with singer Camille Hamel (a.k.a. Myù-K). Then she devotes a whole year to composing the 3 acts of 'Requiem Ex Machina', an electronic opera setting up on stage an orchestra and Camille Hamel as a dramatic soprano singer. Going towards a work of film music, she launches more and more towards creations carried by the imagination.
However, although different, we find in her various compositions unifying elements such as the taste for small mischievous voices, the stretched strings sometimes flirting with classicism, feet with demonic saturations...when one casts an attentive ear at the work of Ybrid, one is as captivated, caught up by these titles with melancholic and deeply black climates. Ybrid plays the alchemist, reconciling her influences and a certain taste for dark humor. Powerful, unwarranted, angry, all driven by a taste for risk and experimentation. The titles resulting from an idiom sometimes invented or strongly influenced by ancient languages, are the perfect reflection of this ageless musical gestation, which seems to revive a pantheon of bawdy party gods, obsessed with the simple desire to move freely on the moving waters of creativity, without having to set limits or barriers. Forget the labels and put aside prejudices to plunge blank ears into this catatonic world, where specters, machines, and humans draw the contours of artistic independence. Darkly Enjoyable!"
-- Official biography by Roland Torres
Church Of Misery (Insomnia) - "Sorrows Of The Moon" Demo 1992
O.G. Steveo (Impetigo) dredges the guk of emo-doom. "If Revelation was death metal"...
Zwerg - "Do It Now" & "What Are You Doing" Demos 198? (320 With Scans)
Upbeat yet unclean, sing-songy yet shouty Japunkcore...
Plutonium / Egofix - Split 7" 1996
Motop 2 CD 1991
Amnesiacore: so good it was completely forgotten...Merzbow & Kapotte Muziek, Runzelstirn & Gurgelstock, Genocide Organ, De Fabriek, Jorg Thomasius, Mike Shannon, Maeror Tri, Wolfgang Foag, Karl F. Gerber, Wasp King, S•Core, Frak, Value Stress, L.S.D., Onomatopeia, Delta-Sleep-Inducing Peptide, Royal Flush, Anenzephalia, Alain Basso & Ilo Istatov...
Paraxism - Demo 1 1992
Fetid Finnish fuck of death. Vaguely simpler, but more nihilistic than Nihilist...
Hellsaw (Pre Agathocles) - "Exorcism Shall Fail" Demo 1986
Bill Steer H-A-T-E-D this tape. There's actually 2 more demos (with covers) entombed underneath my physical collection, and even though they're "better recorded" than this one, Jan refuses to re-release any of them...and you'll soon hear why...
Mainliner '96-'97 320 (Troop Tape, Kamikaze Tape, Psychedelic Atmosphere Beatnik Tape, Mellow Out CD, Psychedelic Polyhedron CD, Sonic CD, La Musica Tapes Volumes 1 & 2)
"Mainliner are a noise-rock [Noisier than Stupid Life!!! --S] band from Tokyo, Japan. The group was formed in 1995 by guitarist Kawabata Makoto of Acid Mothers Temple, and bassist Asahito Nanjo, with the intention of creating a new form of psychedelic music. They released four studio albums before the members went on hiatus to pursue other musical interests. Since then, they have reformed twice to record and release new material."
Hellhouse - Demo 1986 / "Burn For Peace" 7"
Some people say Gordy Mayhem (NYC) was behind this black-grind drum machine project...but it also sounds hella like Necrobutcher. Compared to my trade-tape, this is one of the best sounding shit-fi boots I've ever heard...
Kylma Sota - 2007 CDR & "10 Tracks LP" 2010
Finnish noise-crash who, for years, I thought were actual Nihonjin
doing what Nihonjin do best: clone studded niggaz down to the Planck scale...
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