"Armia was founded by Tomasz Budzyński, who had just left Siekiera, and two musicians from Israel - Robert Brylewski and Sławomir Gołaszewski. Their meeting at the Hybrydy club in November 1984 is assumed as the moment and place of the uprising, while the first rehearsal took place there on December 5, 1984, although the name 'Anti-Army' was chosen only in the spring of 1985. After recording demo cassettes and appearing on bootlegs, Armia made the first professional recordings in the fall of 1985 for the compilation 'Jak Punk To Punk', released the following year. The single 'Aguirre was' then released. Encouraged by their artistic success, they then recorded their first LP. During that recording, a French horn was introduced to their sound. The next work of the group, 'Legenda', was released in June 1991. The album tells in a metaphorical way about human desires and spirituality. Both the poetic texts of Tomasz Budzyński and the music enriched with clarinet, flute, and African trumpet created a unique, dreamlike and fairy-tale atmosphere. In addition, you can see a fascination with the poetry of Arthur Rimbaud, Gnosticism, medieval European chivalry and Christianity. The album brought the band great popularity, not only in the punk environment, but also in the wider rock scene. Immediately after its release, it won awards in most categories of the 'Brum' ranking , one of the most influential radio programs promoting rock music in Poland at that time."
Morbid Mag Issues 1 & 5 1987/1989
Started in Norway in 1987, moved to Sweden as editor Ronny Eide (also of the band Emptor) joined Suffer as second guitarist. Clear, well laid out graphics, and just some of the numerous write ups and interviews featuring Mayhem, Nekrodeath, Assassin, Soothsayer, Sadus, Attitude?, Thanatos, Wehrmacht, Sabbat, Casbah, Impostor, Fatal, Malevolent Creation, Skeletal Earth, Cadaver, Old Funeral, Toxodeth, Deceased, Pestilence, Macrodex, and Chaotic Plague. So who's being a hoarding bitch with the rest of the run?
Sororicide - "The Entity" CD 1991 (320)
Edited from Marcin's 2018 review...
"Anyone wonders what one of the most expensive death metal albums is like? For some reason Sororicide's 'The Entity' has become one of most expensive CDs/LPs and the prices it reached on eBay or Discogs went far beyond common sense. Some people went crazy and decided to pay big money for it, but I cannot understand why. The music on this album is nothing special and definitely it's not worth a thousand fucking bucks! Just the fact that it's rare doesn't mean it's worth that much money! I don't care what people do with their dollars, if someone wanted to show off and spend his month's wages on this album, then it's his stupidity, not mine.
But seriously, speaking of the demanded value of the original press against its music quality, I think this is an incredibly overrated album. For me it hardly deserves the praise it often receives, what confirms my theory is that words like 'classic' and 'cult' have no meaning nowadays, because they're used to describe even such mediocre and even weak records as this. For some people it's enough if the album was released in the early 90's to call it 'cult'. What bullshit. I don't want to say that 'The Entity' is a pile of useless garbage, because it's not, but it's not an album which will give you a big erection and powerful kick in the head. Sororicide sounds weak here and more like a miserable school metal band which hardly learned to play the instruments. But they try to play their death metal and you can even hear that they have some good ideas, some nice riffs, but it doesn't save the overall quality of the album.
When listening to 'The Entity" I can't help but notice rather sloppy playing from these young dudes and primitiveness of this album. Their guitar solos beg for being erased immediately. And too often it all just sounds messy and poor, especially that some riffs were meant to sound more twisted and the music is filled with tempo variations or very diverse parts. Definitely the best part of 'The Entity' is when the music is slower and surprisingly I can admit that Sororicide did come up with some pretty damn good melodic riffs. Songs like 'Frightmares' and 'Old' are the most interesting and I can say that I like them. You would not exaggerate, if you compare them to the classic Swedish death metal scene and bands like Crypt Of Kerberos and such. 'Frightmares' is surely also very influenced by early Paradise Lost, I do like how they create darker and more sorrowful atmosphere there. 'Redrum' is another very good song, but when played in faster tempos the music becomes less and less interesting and it turns out that there's a whole bunch of mediocre songs that bore me to death. Sometimes it just becomes irritating, especially with the weak, monotonous vocals. The production of 'The Entity' is also very thin and only underlines that whole primitive and uninspiring character of this record. So, as I mentioned, at best I can pick up few good songs, some great fragments...but as a whole, this album is hardly ever impressive."
Whitehouse - "Fresh Air" Interview 6-2-2005
"Whitehouse were an English band formed in 1980, largely credited for the founding (and naming) of the power electronics subgenre of industrial music. Their own name was chosen both in mock tribute to the British morality campaigner Mary Whitehouse, and in reference to a British pornographic magazine. They were known for their controversial lyrics and imagery, which portrayed sadistic sex, rape, misogyny, serial murder, eating disorders, child abuse, neo-nazi fetishism and other forms of violence and abjection. They emerged as earlier industrial acts such as Throbbing Gristle and SPK were pulling back from noise and extreme sounds and embracing relatively more conventional musical genres. In opposition to this trend, Whitehouse wanted to take these earlier groups' sounds and extreme subject matter even further, wishing to 'cut pure human states' and 'creating a sound that could bludgeon an audience into submission'. In doing so, they drew inspiration from some earlier experimental musicians, artists, and writers such as Alvin Lucier, Robert Ashley, and the Marquis de Sade.
The group's founding member and sole constant was William Bennett. He began as a guitarist for 'Essential Logic', later recording solo as 'Come' (featuring contributions from the likes of Daniel Miller and J. G. Thirlwell) before forming Whitehouse. The band began performing live in 1982, with members Andrew McKenzie (The Hafler Trio) and Steven Stapleton (Nurse With Wound). In 2009, Bennett claimed that his pre-eminent inspiration was Yoko Ono: 'Yoko's amazing music was by far the biggest influence on me, and Whitehouse, in the formative years (despite what some would have you believe)'. Philip Best joined the project in 1982 at the age of 14 after running away from home, remaining for the band's tenure. They were inactive for the second half of the 1980s, and even temporarily split. Eventually, they re-emerged with a series of albums recorded by the American audio engineer Steve Albini, who worked with them from 1990-1998, after which Bennett took over all production duties. Through the 90s the most stable line-up was Bennett, Best, and the writer Peter Sotos. Sotos left in 2002. Bennett terminated Whitehouse in 2008 to concentrate on his 'Cut Hands' project. He also has found success as an Italo disco DJ under the name 'DJ Benetti'.
The signature sonic elements on their early recordings were simple, pulverizing electronic bass tones twinned with needling high frequencies, sometimes combined with ferocious washes of white noise, with or without vocals (usually barked orders, sinister whispers, and high-pitched screams). In the early 1990s they phased out the analog equipment responsible for this sound, instead relying more heavily on computers. From 2000 they began incorporating percussive rhythms, sometimes from African instruments such as the djembe, both sampled and performed in-studio. Whitehouse were a key influence in the development of noise music as a distinct genre in Europe, Japan, the U.S., and essentially the world."
Youth Of Today - Don Fury Demo 1986 (Low-Bit Dub Rip)
"Recorded just prior to recording their first album. Super raw versions of the LP tracks, plus other bits."
"Youth of Today is an American hardcore punk band, initially active from 1985 to 1990, formed in Danbury, Connecticut by two members of the hardcore band Violent Children, Ray Cappo (vocals) and John Porcell (guitar). The group played a major role in establishing the 'Youth Crew' subculture of hardcore, both espousing and evolving the philosophies of the straight edge and vegetarian lifestyles."
XMF - "First Blast" 12" 1995 & "Situationism" 12" 1996 (320)
D.I.Y French producer who pressed two 12"s of his own kreepy killer hXc...and then disappeared.
Friend and collaborator with Lunatic Asylum...
Post Office Massacre - 1985 Demo FLAC
"The original tape recording ripped directly from the 1985 cassette along with the 2020 remaster. This proto-noisecore project predates almost everything else within the genre and is a true documentary of noise-grind's roots. Featuring Tim Morse on drums, who would later go on to form Anal Cunt with Seth Putnam. Here's an opportunity to hear where it all started."
BUT IT'S NOT "FAST"!!!
Red Tape Thrash Survey (R.T.S.) - Side Of Split Demo With Asocial 1984
11 songs in 7 minutes of bestial Swedish thrash-punk! Their only known material...
Nord - '81 LP, "LSD" LP '84, "NG Tapes" LP '84/'14, "Ego Trip" LP '85 (320)
"Nord is a Japanese electronic noise/pure industrial group formed in 1979 by Satoshi Katayama and Hiroshi Oikawa. This lineup released a self-titled LP in 1981. They split in 1983 and both members continued to use the name Nord. Oikawa put out several releases, but didn't play live. He ceased activities in the late 1980s. Katayama continued with new member Makoto Ito, then Hiroshi Hasegawa, who left in 2006, making Nord Katayama's solo project."
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