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
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