Heal For Unality Touhoku CD 2011
Curing tsunamis with a tsunami of noisecore, raw crust, and parasoicial clout chasing, with Death Dust Extractor, Stagnation, Isterismo, The P.O.P., Persevere, Unarm, System Fucker, Last Sentence, Raw Distractions, Asocial Terror Fabrication, Tantrum, Reject, Massgrave, D-Clone, Framtid, People, Filthy Hate, Akka, Folkeiis, Contrast Attitude, Last, Zenocide, Zyanose, Bad Dirty Hate, Proletariart, Skizophrenia, and Chaotix....
John Duncan - "Pleasure Escape" Tape 1984/1985 (With Complete Booklet Scans)
"John Duncan is a multi-media artist currently living in Bologna (Italy). His body of work includes performance art, installations, contemporary music, video art and experimental film, often involving the extensive use of sound. His music is composed mainly from shortwave radio, field recordings, and voice. He was born in Wichita, Kansas to parents of English and Scottish ancestry. He was raised with a strict Calvinist upbringing where self-reliance, hard work and the suppression of emotional suffering were considered virtues. Questioning authority was severely punished. In his teens he studied figure drawing and painting together with psychology and the physics of light. His first contact with experimental music was the Jacques Lasry LP 'Chronophagie', discovered in the record bins of the Wichita Public Library. At 19 he left for Los Angeles to attend CalArts, where he studied under Allan Kaprow.
Duncan left the United States for Tokyo in 1982, where he continued his performance work, and expanded his experiments with shortwave broadcasts and film. The music he produced in this period led to collaborations with Cosey Fanni Tutti and Chris Carter, and a number of Japanese noise music artists, including Masami Akita, Keiji Haino and Hijokaidan. His solo recordings and live concerts from this period establish him as one of the early pioneers of Japanese noise, the first non-Japanese to work in the genre. It was also here that he began to deliberately limit the exhibition of his visual art to public arenas, such as men and women's public toilets, combining graphic war images with commercial pornography to emphasize links between them (some of these stalls were frequented by men from government offices, the banking sector, and the fashion industry).
In the mid-1980s he began pirate radio and television broadcasts with portable custom-made transmitters he built himself, operating illegally from apartment block roofs in central Tokyo and an abandoned US Army hospital near Sagamihara, as well as periodic broadcasts made from his own home. Radio Code broadcasts featured the early live work of musician Keiji Haino and Butoh soloist Hisako Horikawa, which were also relayed throughout Tokyo via other pirate radio stations, particularly Radio Homerun in Shimokitazawa. Television broadcasts were transmitted from central Tokyo rooftops over the frequency assigned to NHK 1 after the station had concluded its broadcast day, limited to 12 minutes in order to avoid contact with Tokyo police."
Kotsen - "Attack Of The Savage Hoard" Demo 1985 (With Scans)
Swiss Sekunda covering an ambient Brigado Do Odio.
Menthol sherm sticks are less fucked up than this tape...
Lama - Discography, Demo, & Live 1980-1983
"Lama (Recession) is a punk rock band that was founded in Helsinki's 'Puotila' in 1977 and was active until 1983. The original line-up was Jari Kronholm, Timo Eno, Timo Peräniitty, and Jarkko Hämäläinen (Jarko was soon replaced by Jusa Ranta). Rane Raitsikka was also in the final stage of the group. Their rehearsal facilities were in Helsinki's 'Bat', and their records were released by the Johanna Company. Lama managed to release four seven-inch singles and two LPs in the 1980s, their most famous song is on the same-titled single 'Truth can be found in oatmeal'. This song ended up in a TV commercial for an oatmeal brand, but covered by a different band."
Health Hazard - 1993 Demo
Homy Hogs VS Hog Gish - "Smash Overdose" Cassette-EP 1982 & 8" Flexi 1989
"Homy Hogs was a Swedish punk band active from 1979 to 1982, and reunited on different occasions during the 80s. They are counted as true pioneers in Swedish HC together with Headcleaners, Anti Cimex, Missbrukarna, and Shitlickers. This considers their first two releases: the album 'Noje For Nekrofiler' from 1981, and the cassette-EP [an exceedingly ruptured rehearsal. --S] 'Smash Overdose' from 1982. Thereafter, the band played in a more regular punk rock style."
"Hog Gish was active from 1988 to 1993, first in Ibaraki prefecture, then in Tokyo. They played live with Rose Rose, Mad Conflux, Gil, and Idora amongst others. Their influences were One Way System, U.K. Subs, The Damned, and U.S. hardcore."
Head Of David 86-93 (Mostly 320)
"Formed in the early 1980s in The Black Country (West Midlands, UK), Head Of David was an influential alternative rock band with punk and industrial overtones. Ex-Napalm Death member Justin Broadrick played drums for the band just prior to forming Godflesh. The group split in 1991, with members moving on to play in Sweet Tooth, God, Slab, Greymachine, and more."
Discography overview, author unknown...
"Head of David started to make their musical mark with two releases in 1986, the first of them, the ‘Dogbreath‘ EP, arriving in September that year. Right behind it in October came the appropriately titled ‘LP‘ (or ‘CD‘ depending on format) which quickly climbed to #3 on the UK indie music charts. If the group were to have arrived in the current age, they would be labeled with a wide array of genre tags ranging from noise rock to post-metal. Before ’86 is over, there was a lineup change as drummer Paul Sharp is replaced by none other than Napalm Death member and future Godflesh/Jesu founder Justin Broadrick. The music crafted by Head Of David is bleak, with a deluge of overwrought guitar, bursts of rhythm machines, and half-shouted vocals. July of 1987 saw them issue ‘Shit Hits The Fan‘, a performance recorded live at the I.C.A. in London. Tailing it was another EP, one a bit more of a minimalist recording flirting with ambient textures: ‘The Saveana Mixes‘.
By most accounts, it is their 1988 release that really put them on the map, the Steve Albini produced ‘Dustbowl‘. It is somewhat a reinvention of the band, one infused with prolific amounts of Americana, while dialing back the more caustic elements of their sound. Seemingly more fluid and making use of material that is emotionally reflective, the album now receives cult-like reverence from their fans. Unfortunately, the lads were a conflicted bunch, to say the least, and by 1989, internal tensions came to a boiling point. It is quite clear that implosion seemed imminent and while they hoped to sort it out, two sessions from the group's appearances on the John Peel show are compiled and released as ‘White Elephant‘. Defections began and soon Dave Cochrane left to join God, while Justin Broadrick left to reform Godflesh. They reunited years later when Cochrane became the touring bassist for Jesu. Stephen R. Burroughs and Eric Jurenovski recruited new bassist Bipin Kumar and soldiered on for one more album, 1991’s ‘Seed State‘. The recording becomes their final release until a short-lived reunion in 2009."
Interview by "Rock A Rolla" Magazine May/June 2009...
In a year that’s already seen the unlikely return of Faith No More, The Jesus Lizard, Thorr’s Hammer and Goblin, the most surprising reunion is of industrial metal legends Head of David. Back in late 80s/early 90s, the West Midlands outfit ruled the roost, their pumelling Throbbing Gristle meets Suicide meets Sabbath combination setting the blueprint for bands like Godflesh, Fear Factory, Pitchshifter and numerous others. Frontman Stephen R Burroughs, once staunchly opposed to anything in the way of a reunion, finally succumbed, an offer from the folks behind Supersonic Festival too good to pass up and his long-term steadfast refusal eventually transforming into genuine enthusiasm.
“It’s something I swore, personally, that I’d never do” Stephen tells us of the reunion. “I swore I’d never play in this band again, however we got the offer from Supersonic – it was a good offer and it’s been 23 years since the original line up has played together, and we thought that was quite fitting so we decided to do it. Simple as that.”
So was there any particular reason he swore he would ‘never’ do it again after they split in 1991?
“No particular reason, I just went off and did other things. Dave (Cochrane, bass) and Sharp (Paul, drums) continued to play, Eric (Jurenovski, guitars) hasn’t played live – his last gig was with me in America, that was in Houston. I just didn’t wanna do it – I think bands getting back together is highly tasteless to be honest, but I’m joining the ranks of the tasteless (laughter).”
Since the band’s dissolution, the band members have variously gone on to do other things, musical and otherwise, the most high profile of course being Justin Broadrick’s Godflesh, Jesu and numerous other ventures. Dave Cochrane worked with Broadrick on a number of projects including Jesu, God, Ice and the upcoming Grey Machine, as well as The Courtesy Group and Transitional, while Eric, Sharp and Stephen all but retired from music.
“I continued to write” Stephen says. “I’ve done a lot of things you see, but nothing that’s surfaced. The last time I recorded was actually last summer for the Alan Vega tribute, the 10” singles on Black First – that’s the first time I’ve been in the studio for years”.
One of the original outfits on the industrial metal scene, the Black Country foursome were operational between 1986 and 1991 with a varying line-up, producing three albums and a handful of EPs on Mute’s Blast First label before calling it quits. Appearing at this year’s Supersonic Festival, which is fast shaping up to be a sort of Dream Comeback Festival this year (see also Thorr’s Hammer and Goblin), 2009 marks the end of an almost two decade hiatus, with the bad appearing in their original 1986 guise.
“That’s the original Head of David” Stephen confirms. “Me on vocals, Eric Jurenovski on guitar, Dave Cochrane on bass and Sharp on drums, and that’s the band that recorded (the band’s 1986 debut EP) Dogbreath.”
And what about Justin Broadrick? Was he considered for the reunion?
“Justin, he’s locked away in his studio in Wales somewhere. We did suggest that he might like to do something with us for this, but he’s a busy man and simply couldn’t come along to rehearse – he’s doing too much studio work so sadly he won’t be involved. The initial idea was to get him involved and I think he was quite keen to do it as well. He played drums when Sharp sadly had to leave – Justin took over and he played on Dustbowl, the second album.”
So how was it playing these songs for the first time in twenty years?
“It was surprisingly good fun actually. It feels very different. The good thing about it is it doesn’t feel like it’s some ‘friends reunited, let’s all be self indulgent and try and live out our past’ kind of thing. It does feel quite relevant because I think with maturity over time, in ourselves, we’ve approached it all differently and it does feel quite fresh and it’s sounding very good. I said initially: let’s rehearse, if it sounds good, if we’ve still got the same sound, we’ll do it. And we plugged in and away we went and it was really quite easy. As I say, it does sound good.” Presumably, though, energy levels aren’t quite the same as when they were all younger? “(laughter) You’re joking! No…that’s a categorical NO, and I certainly don’t shout with the same nervous energy that I used to”.
Like so many bands that would eventually prove to be influential, during their active phase Head of David were largely acknowledged only by those in the know, remaining underground while bands like Godflesh, and later on Fear Factory (who covered ‘Dog Day Sunrise’ on 1995’s Demanufacture), took this sound to a wider audience. Stephen, for one, is unperturbed by their lack of tangible popularity the first time round, nor was it ever part of the plan.
“It was never a consideration at all, and it’s something I never expected, that we’d be a big band. I do think that we were overlooked but I said at the time, back in 1986, that we’ll be more popular in 30 years time than we’ll be in a year’s time. That happens with a lot of bands, when people re-discover a band. I wasn’t expecting any fame then at all, I didn’t particularly want it either. But yeah, I think with any band it’s recognition they want more than anything, and I think that recognition started to seep through various channels, the ones you just mentioned, the rise of that genre of music, when Ministry mention us in dispatches, and lots of other bands have. So I think that’s brought our name to a few people.”
“But to be honest” he continues, “all we did at the time was we just played what we listened to and liked, we didn’t really think ‘oh, this is industrial metal’. We were certainly conscious, coming from the Black Country, the Midlands, of our heavy metal roots, with Sabbath and Led Zeppelin. But at the same time we didn’t want to be a heavy metal band – we wanted the overwhelming sound of a heavy metal band but at the same time we were listening to Throbbing Gristle, Boyd Rice and all the early industrial stuff, so it’s just a natural seepage of all those influences and that’s where the sound came from. It wasn’t necessarily concocted, it was purely instinctive.”
So with the band revving up for their performance at the upcoming Supersonic Festival in their natural surroundings of Birmingham, UK, the reunited combo are about to make their full comeback, with a swiftly widening plan to resurrect their name for a new (and for that matter old) audience.
“The back catalogue should be reissued later this year, hopefully in time for Supersonic, but I’m not sure when that’s gonna happen. As for recording new stuff, it’s now become apparent that we would like to record something – more of a continuation of what we were doing back then and put-the-record-straight kind of record. That’s what we’d like to do, something with a bit of feeling. So hopefully we will record, but we’ve got Supersonic in mind, and that’s it at the moment. There have been a few offers already to do other things, and there’s a good chance that we’ll do other things. I can only be as vague as that at the moment."
Take Your Band To Spain Vol. 1 1984-1987 Compilation
Gracias Daveed of the river!
"We want to increase the experience of reading 'Zona Especial Noise', so today we offer you a compilation of underground bands that played in Spain in the 1980s. In chronological order and with track from the albums they have released at the time. You can download it and record in a tape if you want! With: M.D.C., Razzia, Impact, Youth Brigade, B.G.K., Torpedo Moskau, Blood And Iron, Frites Modern, Negazione, Dead Lock, Ludwing Von 88, Funeral Oration, Gepopel, Lärm, No Pigs, Pandemonium, Scream, Indirekt, A.C.T.H., Gore, Oh Dev, Violent Charge, Rhythm Pigs, Kina, Dirty Joy, Les Thugs, Cheetah Chrome Motherfuckers, Colera, and Vellocet."
"Zona Especial Noise Vol.1 is a Spanish language book depicting the birth and rise of the Spanish HC punk scene in the 1980s, a killer document about a special moment in a special place! This thick book is a perfect testimony of one of the most awesome scenes in hardcore history and a must have for all true punk fans. Covers RIP, Attak, Frenopaticss, IV Reich, MG15, Anti/Dogmatikss, Tortura Sistemátika, HHH, Subterranean Kids, GRB, Ultimo Gobierno, Ruido de Rabia, Máximo Volumen, Anestesia, Acciò Directa, Soziedad Alkohólika, Estigia, Necrophiliac, El Kaso Urkijo, Violent Headache and many more! Order from www.munsterama.com!!!"
🌿🛩💰
Subscribe to:
Posts (Atom)