"Panzerbadger Forever 2!!!"
DJ Qbert - "Wave Twisters" CD 1998
"Richard Quitevis (born October 7, 1969) known by his stage name 'DJ Qbert' or 'Qbert', is a Filipino American turntablist and composer.""Qbert started his musical career in a group called 'FM20' with Mix Master Mike and DJ Apollo in 1990. In New York City when playing a show, Crazy Legs saw them and invited them to join the Rock Steady Crew. They accepted the offer to join the crew. Going by the name 'Rock Steady DJs', they then proceeded to take the 1992 Disco Mix Club World DJ Championships (DMC) world title. Qbert was also one of the founding members of the band 'Invisibl Skratch Piklz'. Although there were other turntablist crews before the Invisibl Skratch Piklz, the Skratch Piklz were the first to apply the band concept to turntablism, layering drums, basslines, and scratch solos on top of each other."
"Qbert's solo efforts include 1994's 'Demolition Pumpkin Squeeze Musik', and 1998's 'Wave Twisters'. The latter album was created mainly with samplers and beat machines versus the turntable, and later turned into an animated feature of the same title. 2001's Wave Twisters movie was somewhat unusual in that the animators and digital artists had to invent images and movements to the pre-recorded music, as opposed to the other way around (Disney's Fantasia was made the same way)."
http://www.mediafire.com/file/c6a2wk1s5pt75kk/DJ_QBERT_Wave_Twisters.zip/file
Agony Bag - "Rabies Is A Killer" 7" 1980
http://www.mediafire.com/file/ntm8bcyccx09lgh/Agony_Bag_-_Rabies_Is_A_Killer_1980.zip/file"Agony Bag was formed in early 1976 when flautist and saxophonist Clive Jones, who had been in Black Widow from its beginning to its demise, approached the original Black Widow drummer Clive Box (better known as Bok) with the idea of forming a new band. Bok had played in both Pesky Gee! and the original Black Widow with Clive and both featured on the seminal Black Widow album, "Sacrifice".
In fact, it was Bok who had been the moving force behind Black Widow's direction and presentation, which gave rise to their infamous satanic stage show.
Agony Bag were to take this theatrical presentation a step further with the introduction of costumes and make-up for each of the band members and an outrageous stage show to further enhance the musical performance. Bruce Cluley was quickly brought in on guitar and after a couple of unsuccessful bass players, Geoff Beaven came in to complete the classic Agony Bag line-up.
Clive had already been writing material for the new band and also took up vocal duties. It was his strange and compelling songs, backed by powerful arrangements from the other members, which were to get the band quickly recognised. Another major contributory factor was, undoubtedly, Clive's wild onstage performance.
Agony Bag soon became the most talked about band in their home town of Leicester, drawing large audiences to see their incredible and exciting stage show. Agony Bag gigs were never dull with Clive leaping about the stage and even swinging from beams! Bruce was reputed to have the longest guitar lead around and would often disappear from the stage, to wander round the audience whilst still playing furiously. Geoff, complete with his blue hair and skin-tight leotard, was definitely the poser of the band, throwing shapes all over the stage; whilst all the time, Bok pushed the band along with a thunderstorm of percussion. A sight to behold!
With their growing reputation the band soon attracted attention from further afield and at a showcase gig in 1978, at the Windmill in Leicester, were first seen by their future manager from London, Mark Pollard. He immediately saw the potential of the band and contracts were signed. He took the band off the road to polish both their act and image to the professional standard required to realise that potential.
This included adding dancers Sue and Maggie to the show, upgrading their PA and lighting system and hiring a roadcrew, consisting of soundman Phil, Gez on lights and Hoppy looking after the backline. This enabled him to put a fully professional show on the road.
The band relaunched with a European tour and was particularly well received in Germany, where they built a healthy fan base and were to tour regularly over the next couple of years.
In fact it was also decided that Germany would be the place where Agony Bag's first single would be recorded and in April 1979 they entered the studio at Kamen near Dortmund to record “Rabies is a Killer” and “Never Never Land”. It is due to this German connection that one chorus of “Rabies…” was actually sung in German!
For the rest of that year Agony Bag gigged hard in the UK and on the continent and during this period Mark Pollard signed the band to Monza Records for release of the single. The record was released on the 7th March, 1980 and the band celebrated with a major gig at Buzbys in their hometown of Leicester, where they had not played for about twelve months. Their fans were surprised and delighted at the new level of professionalism that the band had reached and it is said by some, that this was one of the best gigs they ever played (well, by soundman Phil actually and he probably saw more performances by the band than anyone else!).
The band gigged hard to promote the single but unfortunately sales did not meet expectations and eventually some disillusionment crept into the ranks, culminating in Bruce leaving the band in October 1980. This was followed by Geoff quitting a month later. Clive and Bok, supported by manager Mark Pollard, regrouped and added Ian Watts on guitar and Mick Wright on bass. Mark revamped the band's image into one of its most powerful looks and Agony Bag carried on for a while longer.
But, as with other bands, it was the combination of the four original members that had made Agony Bag what it was, and that magic could not be reproduced. The band folded altogether when songwriter and frontman Clive decided to leave on the 29th November 1980.
Agony Bag was no more."
Brud Krou (Dirty Blood) - "Five More Years" CDR 2006 & "Self Defense" CDR 2009
FUCK. ING. BRU. TAL. Belarus fastcore that sounds like Infest and Siege jackhammering each other in the face with exploding grenades!!! Barbaric vocals (on the 2nd demo), archaic recordings, speed so enraged it makes you want to run away from the pit! If Slap-A-Ham, Sound Pollution, and 625 were still around, they'd be murdering each other to release this stuff!K-A-B-O-O-M!!!!!!
http://www.mediafire.com/file/s7c4jq4wrbkrgey/Brud_Krou.zip/file
Glam - 7" 2010, MLP 2012, Live (Year?)
These Spaniards blew the doors off hardcore itself when the debut 7" dropped. Epics in seconds here, with a fairly original, hyper-short, hyper-nova, but blastbeat-free style. No names were ever credited to the project, but I think it'd be a fair guess that members were comprised of the Barcelona post-d-beat scene that was making tsunami-sized waves at the time. Thoroughly awesome punk that you can still find for cheap on Discogs! "Try before you buy"...http://www.mediafire.com/file/55jdz48oa2wrx2v/Glam.zip/file
Asylum - "Is This The Price?" Demo & Comp Trax '82 & "Live At The Station" '85
Mad noise riot that predated fellow Brits Plasmid. To describe this band as "obscure" is an understatement as serious as a second heart attack (though the head of Tardis tried his best to get an authorized discography going...where it went is another matter)! The demo/comp trax are the most chaotic, kinda like Brigado Do Odio's evisceration of music, while the live set is almost generic anarcho......hmmm, "music not noise"...can't we have both?
Late P.S.: OOOOOOPPPSSS!!! The live set is an Irish band of the same name.
Hunting Lodge - "Will" LP 1983 (1992 CD Repress W/ Bonus Tracks)
"Hunting Lodge is the 80’s experimental industrial project of Lon Diehl and Richard Skott. They began in the summer of 1982 when Diehl and Skott enlisted the assistance of Karl Nordstrom (as well as his brother Thomas, who aided the band in their visual art realizations). They played their first show on September 9, 1982 at the now infamous Harrington Ballroom in Port Huron, Michigan. After that performance, they recorded and self-released the much-coveted '23 Minutes of Murder' cassette. Nordstrom left the group soon after."
"After recording another cassette titled 'Exhumed', Diehl and Skott began work on tracks that would become their first full-length album 'Will'. Drawing references from Crowley, Nietzsche, and G. Gordon Liddy, Hunting Lodge collaged together industrial percussion patterns, live recordings, early sketches, and synthesized noise into compositions which also included vocal appearances by Andreas Muller, Francisco Lopez, and Masami Akita. The final product would serve as a blueprint for later generations of industrial noise music and plant the influential seed for the large amounts of noise output that came out of Michigan in the following years." --Edited From Dais Records
Weird Little Boy - CD 1998
"Weird Little Boy is a one-off album by the band of the same name, consisting of abstract soundscapes and experimental music performed by John Zorn (alto saxophone, keyboards, samplers), Trey Spruance (guitar, drums, keyboards), William Winant (percussion), Mike Patton (drums, vocals) and Chris Cochrane (guitar). It was released in 1998 on the Japanese label 'Avant'. Weird Little Boy is regarded by fans as the best/worst thing that could have resulted from the meeting of these artists, with even the performers professing distaste for the project."Fave Track: "Lungfull Of Water"
Asmus Tietchens - "Musik An Der Grenze" Tape '82 & "Geboren Um Zu Dienen" LP '86
"Asmus Tietchens (Born: 1947) is a German composer of avant-garde music. He became interested in 'musique concrète' as a child, and in his teens started recording his own sound experiments. Tietchens has pursued "absolute music" through an almost mathematical process of rigid formal exercises (with strong ties to Karlheinz Stockhausen's early methodology). He specializes in irregular patterns of sonic abstractions that are suspended in gray drones, creating cold textural voids from external references."
Interview with Asmus Tietchens by Brian Duguid 1991
"Asmus Tietchens is one of the most well-known German musicians creating atmospheric, abstract, instrumental music. For a long time I only recognized his name out of a long list of others who I associated with the likes of Klaus Schulze, Edgar Froese, Moebius and Roedelius, and others made familiar thanks to an interest in the German "cosmic" music of the seventies. For a long time Asmus Tietchens remained nothing more than a name on a list. Gradually, however, a picture began to fall into place. There were four albums on Sky Records, starting with 1981's 'Biotop', light rhythmic and melodic synthesiser music. But also, there were a growing number of less accessible releases, like 'Formen Letzer Hausmusik' on United Dairies, or 'Notturno' on Discos Esplendor Geometrico, more abstract and more sombre instrumental pieces. Initially, these seemed to be evidence of a desire for experimentation following the earlier releases, but as time has gone on it has become increasingly clear that it was those first recordings that represented the aberration.
Tietchens' work draws on various musical genres. Classical music, electronic music (both high and low-brow), minimalism, process music and others all inform his sensibility. On 'Zwingburgen des Hedonismus', piano combines with choral and orchestral motifs courtesy of a sampling keyboard to create a classical-sounding music which has as its primary interest tonal colour. On his collaborative album with Terry Burrows from 1986, 'Watching the Burning Bride', the tracks are more rhythm-oriented, including some very mechanical, almost industrial pieces, sounding like machines churning endlessly. Others are more ambient and abstract, but just as apparently inhuman and threatening. His side of 'Face to Face Volume 1', a record shared with Die Form, mixes subdued rhythms with long drones, and dangerous clouds of ambience in a slowly developing, minimal way. Although in some releases acoustic and synthetic instruments are readily identifiable, in most of his more recent pieces this is not the case, with most of the original sound material being sufficiently processed and treated to render it unrecognisable. For the last few years he has moved away from the use of synthesisers, favouring instead an approach more reminiscent of musique concrète.
His most recent release, and his first on CD, was 'Sinkende Schwimmer' on Dutch label Barooni. This fills 41 minutes with 13 tracks, and includes some very strange material. The most obvious point of reference is academic musique concrète, with no structural development, minimal rhythm, no melody, and little in the way of conventional harmony. Instead, irregular and disassociated noises are suspended in a grey sound void to create strange and cold sound textures, some atonal, some tonal. It's an austere, unwelcoming music, full of grey tones and little else. Metal, plastic and glass are the materials that seem to resonate most strongly. For example, 'Neue Menschen', which opens proceedings, consists of subdued bouncing squalks combined with only the quietest of atmospheric effects. 'Kein Schöner Traum' appears to consist of billowing glass-like and bell-like tones, perhaps underwater, while 'Arnheimer Recycla' borrows sound material from Thomas Köner (another Barooni artist) to produce a roaring, bass-filled windy field of sound. The music generally combines loud and sometimes abrasive swathes of noise with low, sonorous murmurings. It's a mature and highly accomplished work, but for most it won't be easy listening, and it's a far cry from Tietchens' more accessible releases.
Forthcoming projects include collaborative releases with PBK and De Waard / Wollscheid / Toniutti, as well as those mentioned below. His second CD release, 'Seuchengebiete 2', on Italian label Musica Maxima Magnetica, should also be out by the time you read this. The following interview was conducted between Asmus Tietchens and Brian Duguid by post in May and June 1991.
Could you tell me something about your early musical history?
My musical history started at the time when my friends of the same age desperately tried to copy Beatles songs with their groups. It was the year 1965. I liked the Beatles, too, and - by the way - still like the old pieces. But the Beatles made perfect music. And why should I copy perfect music? I surely couldn't do it better. So I began experimenting with atonal sounds, not aiming to create psychedelic music. My first equipment in 1965 was a Revox A77, an old cheap electric guitar and a tiny Philips reverb device. Two pieces of that early times you can find on my album 'Formen Letzer Hausmusik (Hitch and Studie für Glasspiel)'. In 1972 I got a Mini Moog and continued making atonal music, but in a more advanced way due to the electronic medium. At that time (the whole 70s) I collaborated with Okko Bekker who always was (and is) friendly enough to let me record in his studio. 1978 Peter Baumann got a tape with my music by chance and co-produced my first album which was released in 1980 ('Nachtstücke'). 15 years after my musical start, my first release. Seriously spoken: That was when I felt for the first time that my music was developed enough to be released. It took 13 years before I was able to take my own music seriously.
Your music changed after you left Sky Records, becoming harsher and more abstract. What caused this change?
The four Sky albums were a brief period, a short trip into the fields of electronic pseudo-pop. I never did such things before. After two years this kind of music didn't satisfy me any longer and I returned (stylistically) to the kinds of music I played since 1965.
How is your music changing at the moment?
For about the last three years my music has become more and more a certain kind of 'musique concrète', because the basic sound sources are strictly found or self produced noises. Since about four years ago I haven't used any synth. I used a sample keyboard only twice ('Zwingburgen des Hedonismus' and 'Marches Funebres') and then mothballed it too. Keyboards of any kind can't help me make the music I imagine. The same goes for MIDI, computers and a lot of other devices which would paralyze me if I should use them seriously.
Do you wish you could release music with better packaging, on better formats, or to a wider audience?
Of course the CD is the more efficient medium compared with vinyl. But I'm not a CD fetishist. If a label can't pay for a CD production I let them of course release my stuff on vinyl, hoping that the cut and pressing will be okay.
Would you release more commercial music in order to become better known?
Wider audience? Commercial music? Better known? No. No. No. If I were to aim at one of these targets I would have to change my music radically. In no case am I willing to do that. Am I a prostitute?
Is it all an uphill struggle financially, and if so, what keeps you going?
Of course it's a financial struggle to make this music. To survive I must do jobs of nearly all kinds which have nothing to do with music. But to explore the white dots on the landscape of sounds and structures is a permanent adventure and this keeps me going that way.
What sort of music has inspired you in the past and present? How did you get into this sort of music?
I listened to so called serious Electronic Music for the first time when I was 7 years old (1954). At that time German broadcasting stations played a lot of stuff produced at the Studio für Elektronische Musik in Cologne. It was very fashionable in the mid 50s. And it fascinated but did not inspire me, because it was perfect music. It is always the same: I deeply enjoy listening to good music by other composers but never let it inspire me, because to me it doesn't make sense to follow in someone's footsteps. And then came the late 60s, groups like Cluster, Kraftwerk, Faust etc. I do not mean the shit music of the Cosmic Couriers like Tangerine Dream, Ash Ra Temple or Silly Kids who play Cosmic Music. Cluster and the others fascinated me again, and again I didn't try to copy these great and innovative groups, but always tried hard to develop my own kind of music.
Do you feel your music is only suitable for a specialist audience, or do you feel anyone could like it if given the chance to hear it?
Yes, my music is only suitable for a special audience. This has nothing to do with arrogance. I can describe my audience very precisely: people who insist on more than easy listening.
What sort of moods are you trying to create in your music?
I don't try to create moods with my music, and I don't try to tell stories, and my music doesn't carry any message except an aesthetic one (now and then). Mostly my pieces are formalistic exercises, or better, the results of formalistic exercises. Music shall be no more than itself. Absolute Music.
Who have you collaborated with in the past? How do you feel about collaboration?
I've collaborated with Terry Burrows (Watching The Burning Bride) and with Okko Bekker (E). Collaboration can be very fertile if people with similar intentions meet. Working with the two above mentioned people was a fantastic mutual fructification. It really worked. Two other collaborative results are to be released in this or the next year: with Arcane Device, with Merzbow/PGR. Another collaboration was released in May: 'Monoposto' by Tietchens and Liquidsky. I mostly like exchanging material by mail. Recycling.
You have released a huge number of records. How much of this do you feel is lasting work? Is it possible to release too much?
If the audience is still ready to purchase my albums there is no reason to reduce the quantities. Obviously there is a slowly increasing demand for my music (thank you, listeners!) and luckily I am able to satisfy this demand. Lasting works? I don't care about this question. I do not make my music for the eternity.
Have you performed live?
My music is not suitable for live performance. No - it is impossible to perform live. I would never appear in public with backing tapes or sample programs. So I confine myself to sporadic tape concerts. That means: I play tapes with completed pieces - and nothing else, no visuals (videos/films), no action, no special light effects, nothing but the pure music. That is the good tradition of the 50s when electronic music tapes have been played in light, brightly illuminated rooms to a very attentive audience.
What else do you do apart from making music?
A lot of things, but I think they should not interest the public.
Any other comments?
The most dangerous movement since Hitler and Stalin is the New Age Movement. To the hell with it."
Red - "Demo 00" (Year?) & "Golden Oath Of Allegiance" CDEP 2006 (World Member)
Japanese Crust Punk, Death Metal, Antifa Mince, Pussy Violence,
TYPHOON ROCKFALL AVALANCHE DOOMSDAY BLASTBLURR EARTHQUAKE WHIRLWIND MONGOOSE DOSS GRINDGRINDGRINDGRINDGRINDFUCKINGCORE!!!!!! CHUFFED!!!
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