Poikkeus - 7" 2003

The nigga Lia reminded me of the exquisiteness of these Japanese Suomi posers' debut EP. Now, they're not stylistically bulletproof, there's just as much generic "Crasher" influence as Rice-ta-tittys piss-takes (and they laughably repurpose the language from other band's album titles), but the production and passion on this 7" is exceptional even within a scene that is already worshipped for its uncanny sonic nerdery. You won't see God with them, but you WILL see Jesus...reverb overdose and all!

http://www.mediafire.com/file/3hc6cyxzci9qo8y/Poikkeus_-_7_2003.zip

Siekiera ‎– "Nowa Aleksandria" LP 1986 (2xCD 2012) & 2xCDR Demos & Live (Bootleg, Overthrow U.S.)

  

Nowa Aleksandria 2xCD...

"Siekiera (Axe) was one of the most influential and popular hardcore/post-punk bands in Poland. Formed in 1982 under the name of 'Trafo', they changed their name to Siekiera in the autumn of 1983. There is a legend that the new name came from a guy who heard their music and compared it to an axe (as they were playing hardcore punk at that time). They finalized their line-up with Tomasz Adamski - guitar/bandleader, Tomasz Budzyński - vocals, Dariusz Malinowski - bass, and Krzysztof Grela - drums. In 1984 they played their first official show at club 'Remont' in Warsaw. They also performed at the Jarocin Festival, and they were well received by the audience. In October 1984, after a huge show with TZN Xenna and Youth Brigade, Budzynski left the group to form Armia.

Adamski revamped Siekiera with two new members: Zbigniew Musinski - drums, and Pawel Mlynarczyk - keyboards, with Malinowski now singing while still playing bass. In February 1985 they recorded eight new tracks, some of them were played on the radio. In May and June they recorded some songs for an EP and the 'Jak Punk to Punk' compilation LP. In 1985 they played again at the Jarocin festival, but the orthodox punk public didn't like their change to new wave.

In 1986 Siekiera released their only LP, Nowa Aleksandria - it is influenced mainly by Killing Joke and regarded as one of the greatest Polish albums of all time. In 1987, a new guitarist, Wieslaw Borysewicz, was recruited, and Tomasz Adamski concentrated on singing. In 1987 they also played a mini-tour with 'Variete' another Polish new wave band. Finally, in 1988 they broke up."

Exit 13 - "Disemboweling Party" Demo '89, "Eat More Crust" Demo '89, Reh Nov '89, Live Jan '90, "The Unrequited Love of Chicken Soup" 7" '90, Live Dec '91

Exit 13 loved their sewer-pitched, Ken Owen style blurrgrind...but also loved cheating on the genre with morbid forms of "jazz" overlays and '70s rock power-groove. The band enhanced this sound with MIDI technology, a gimmick that gained them immediate global attention (it was a fairly new technology at the time, and uniquely employed considering the style of music it was being fused to, so everybody fixated on that aspect first...even me). The rabidly ecological lyrics are intelligently rendered, but with the megatons of pot the band broadcasted smoking, I think they were mostly about the jams before the message. Weird, legendary, poorly recorded, GO FOR IT...

http://www.mediafire.com/file/gh450ddgyezzgz6/EXIT_13_-_Rarities_%28Selfish_Few_Blog%29.zip

Industrial Terror Squad - Discography 1995-2010

Hard erosional speedcore that mutated into equally as erosional "real" industrial power-noise. The earliest 12"s are classics in harsh techno, with a sole agenda of turning all dancefloors into moshpits of blendered gore. That formative sound parallels other old terror heavyweights like Disciples Of Annihilation, H.C.M., and even Nasenbluten (if they had a massive equipment upgrade). The later material is electrically buzzing and atomizes concrete...a bit slower with the style change to the patent leather boot scene, but still adept at pulverizing skulls with nuclear hammers. Beyond brutal EDM warfare, absorb this nigga like Calvin the Martian absorbed the rat in Life...

http://www.mediafire.com/file/iga73cfl5rgzkao/Industrial_Terror_Squad_-_1995-2010.zip

Sharkbait - "Blowtorch Face-Lift" CD 1991

Raw human tribalized alt-industrial from the Bay Area. Cleanly produced, with bullhorn vocals, jungle beats percussed by white humans, occasional guitars, sludgier pained experimentation ("Queer Boy Behind An Iron Gate" is my fave track you fuckin' homophobes), eerie vignettes, probably lots of mushrooms and LSD too. This release wears it's era gleamingly on it's sleeveless shirt, but by Bush Sr's Illuminati cape has it aged well. Modern primitives, RE/Search magazine, and Bob Dobbs...VIVA GENERACION X!!!

http://www.mediafire.com/file/zmtoz777yb99jul/Sharkbait_-_Blowtorch_Face-Lift_CD_1991.zip

Ripped Clit - "Brown Cow" 7" 1989 & "Intestine Casserole With Cheese" Demo 1988

19 minute 7" and studio demo of thrashy white trash grindcore similar to O.L.D. or Macabre's earliest output (and a special type of obscurity that'll convince you Giulio The Bastard has them on his brag list of die-hard discographies...which they aren't...yet). Professionally tight, and decently produced, but it'll be easy to hear how high school the note choices are. If I'm being extra pithy in this review it's only because the band is so easily (stupidly) satisfying.


Slab! - 3rd Peel Session March 7th 1988

The nigga Mahler continues to get no respect with his very kind shares, so here I am doing what's RIGHT! Top crusher of...noise rock? Godflesh archetype? Accidental Scorn? Slab! predated those groups, but it's no secret that Broadrick and Harris were fans of the band (Mick taped their 12"s for homies even in Napalm days). Organically groovy and methodically paced with no drum machines, zony Gira-ish vocals, and nearly grindcore-distorted bass (that dominates the songs, let alone the overall mix) take you to drug places minus the drugs. I'm not sure that this sound in general...which usually got relegated to the "industrial" bins...was really a part of ANY scene, but that only increases my own admiration and fervent curiosity! Taped off the radio by Mahler, remastered decades later by him, with Peel's one-man-greek-chorus left mostly intact. Fave track: Killer For A Country

http://www.mediafire.com/file/dbw88r8mi23ax3/SLAB_%28UK%29_John_Peel_session_%23_3.zip

C.F.D.L. / Denial - "One Finger In The..." Split Tape (Year?)

Split rehearsal tape from Crazy Fucked Up Daily Life (named for a Disorder song, with a musical emphasis on Mob 47 worship and Siege covers) and fellow countrymen Denial, who are so poorly boomboxed that their side sounds very similar to Control's output. Control? Don't remember them? "Confuse Ghost"? Yeah, forgettable of course. I ripped this for CFDL's side.

http://www.mediafire.com/file/xkauq22d0ke2w7h/CFDL_vs_DENIAL_Tape.zip

Gai - "1981 To 1985" (1985, FLAC O.G. + Insert)

You've heard the tape a million times before, it's just sourced from an original in lossless now. First wave noisecore, more jangly in the guitars than their contemporaries Confuse, but visionary nonetheless in taking the Chaos U.K. / Disorder influence to dimensions that made Thatcher's finest look incompetent in their later work. This was a rehearsal sampler, released when the band changed their name back to Swankys. There's quite a few unreleased or drastically alternate versions of tracks (including a fun cover of "Rock Around The Clock"), some of which were split up for the official discography CDs that came out around '97. Going by the terse inlay, the band seemed only semi functional for it's first few years of existence, and there's no real explanation for the back and forth on the name change, but here we are 32 years later still talking about them. That's the power of good-bad music!

Suss Law - 2015 Demo

9 songs in 10 minutes of PDX blastbeat chaos punk. I'd add "noisecore" in there, the Japanese variety, but the guitars are fairly controlled minus the occasional solo eruption. Quoting Death Dust Extractor in the foldout, but sounding more like Florida/PDX's Radiation (a.k.a.: Tattooed Cop Cocks with blastbeats), this is great hardcore in general that fuses anti-music elements with ease. Real songs, real lyrics (out there and interesting), the tracks blend a bit but the D.I.Y. production is very clear and aides the band's acoustical vibe. They've already got a short stack of vinyl and other tapes out, so start playing catch up with where it all began...

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