This Swedish noisecore band's guitarist was LITERALLY a 1970s portable
radio tuned into slavic static (and NO distortion pedal!). Sieg Heil-ish dirt!!!
Genocide Lolita - 2007-2016
Thematically cringin', but sonically B-I-T-C-H-I-N' incel-with-tits-tronics...
("Fuck Equality" Here: https://selfishfew.blogspot.com/2020/10/genocide-lolita-fuck-equality-cdr-2005.html)
Autuus - "Totaalinen Autuus" Studio Demo Tape 2012
Suomi '94 in Suomi '12. (ALKOHOLI)PITOINEN PORO PUIDA!!!
Ramleh - "Awake" 8xCD 2012 Repress Of Tape Box 1985 (FLAC, 3+ Gigabytes)
https://www.mediafire.com/file/cscgsre9pr7lzpu/Ramleh_-_Awake_8xCD_2012_%25281985%2529_FLAC.zip/file
(A Return To Slavery: https://selfishfew.blogspot.com/2019/04/ramleh-return-to-slavery-lp-1983.html)
What motivations were behind Ramleh when you started out?
Ramleh began as an attack on the music at the time (1982) which we felt was masquerading as 'experimental' or 'avant-garde' because it was all unoriginal, weak, and obsessed with disco rhythms. It was also an attack on the new morality which we saw springing up (today of course it is much worse). We deliberately investigated and promoted taboo subjects as a means of keeping the doors open for freedom of expression.
Have the reasons determined the nature of your sound, its noisy structure or was the relationship between theoretical project and subsequent realization a looser one?
At the time we thought it was neccessary to match our music and imagery. The music came first and was hard and violent. This was the music we wanted to play. The imagery was deliberate also and happened to fit the music well.
Why did you shelve your project in 1984, and why was it resumed in 1986?
Ramleh was not actually halted until 1984. We stopped for two years. We stopped because we felt that it was needed to do other things in order to approach Ramleh with fresh ideas. Those ideas now seem to be there, so things have been started once more.
What are the many extra-musical influences?
The music of Ramleh is not influenced from outside sources (certainly not intentionally). The subjects dealt with are influenced by things we see, hear, read, and experience. 'Hole In The Heart' is a reaction to the death of Jean Genet, but there is no direct influence as such.
In A Return To Slavery LP there were no words. Is it a normal choice or was it a consequence of the title (because slaves are not allowed to speak)?
One side of A Return To Slavery is my good friend at Libertarian Recordings (also known as Philip Best of Consumer Electronics and Whitehouse). This side is totally instrumental, which was Philip's intention. The other side by Ramleh features four songs which were written with words, and recorded in a special mobile manner to give a feeling of space and motion. The sound and emotions present are more relevant than the actual words. The title refers to a return to the old values. The idea that the world is regressing/not progressing and also refers to medical slavery. Diseases attack us and leave us slaves to research even after death (hence the autopsy photograph on the cover).
The world turns. Backwards. Why return to the scene of past failure. Lack of new ideas. Lack of imagination forces grasphing at straws. But success can be attained through continuation of discontinued partial success. It is not wrong to look to the past. It is only wrong to mis-read it and to recreate disaster. Less is now permissable. More work is needed to retain what is still left. Celebrate and promote that which remains in order to build further towards the heights once attained. Music need not be brutal at all times. Subtlety also has it's place but we must have originality. It is said that in this day and age nothing is original. Fuck that. It is the view of those resigned to failure whose brains are incapable of anything but recycled garbage. Let the world progress one more. Soon. --Ramleh 1987
C.P.G. - 1983 Demo
"C.P.G. (Coitus Punk Group) is a punk band from Szeged, founded in 1979 by Zoltán Benkő (guitar), Antal Kis (bass), Kocsis Tibor (vocals), Zoltán Nagy (drums). They were soon joined by Ferenc Gallai. Kocsis dropped out of the team over time, and Zoltán Varga, then 15 years old, took his place. In 1981, the band moved to Budapest ( Sashalom ), and Béla Haska became the singer instead of Gallai. In 1983 they were sentenced to prison for their anti-communist, violent lyrics on charges of incitement against the community. They spent 1.5 to 2 years in prison. After their release, Benkő fled to Austria with a fake passport and then to the United States. In 1993, after the change of regime, he returned home to Hungary. A common misconception is that their name stands for 'Gypsy Destroyer' or 'Gypsy Destroyer Guard'. This may be due to the fact that many have confused them with the skinhead 'Mos-Oi' band, which was also banned."
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