Unsung, P.V. influenced German hardcore with metallic breaks (and a bitchin' Iron Maiden cover)...
Aids - CD Discography '93-'96 (Chucker's Rips, 320 & FLAC)
"Satsugai Enka Vinyl related, extreme scum hardcore-punk band, formed in Okayama in December 1989, active until October 1995. The Crazy SKB was often a part of their live lineup and Aids performed live as "The Crazy Aids". Their last drummer Shoko is ex-Video Stalin." --Discogs
"AIDS is a Japanese punk rock band, formed in Okayama in December 1989, after appearing on 'BS Young Battle and Ikaten', they moved their base to Tokyo and joined roster of 'Kill Vinyl Chloride'. There is an anecdote that they were banned from most of the live houses in Tokyo for extreme live performances of fireworks, firecrackers, milk, mayonnaise, etc. After the live in October 1995, the group suspended its activities due to the withdrawal of the members. When THE CRAZY SKB participated and performed live, they became CRAZY-AIDS with twin vocals, and the performance was more radical than usual. In the early days of their radical live performances, they called themselves 'ultra-radical killing group AIDS', and in the latter period, they called themselves 'super opera killing group AIDS'. --Japipedia
1st single cassette (January 7, 1990)
- Free distribution at the debut live. Limited to 20 bottles [?! --S].
2nd single cassette (January 21, 1990)
- Contains two songs, "Homo Hakusho" and "Lesbian Hakusho". Limited to 5 bottles.
1st full cassette (February 11, 1990)
- Limited to 50 bottles.
2nd full cassette (July 24, 1990)
- Originally, it was planned to be limited to 100 bottles, but it ended up being 200 bottles because the planned number was exceeded just by making reservations.
3rd full cassette (March 30, 1991)
- The tape speed is about 20% slower due to a mistake during production. Limited to 100 bottles.
3rd single cassette (May 6, 1990)
- Limited to 70 bottles.
4th full cassette (August 27, 1991)
- A total of 21 songs, A-side studio recording and B-side live recording. Limited to 100 bottles.
4th single cassette (October 10, 1991)
- It was distributed free of charge at the last live in Okayama. Limited to 150 bottles.
Oishii (July 18, 1993 Killing Vinyl Chloride)
- It was released as a set with the EP 'Misokko Mochi'. Limited to 50 bottles.
Umikko Sodachi (December 1, 1994 Murder Vinyl Chloride)
- Limited to 50 bottles.
Zama Kankan Panda's Farts
- Limited free distribution foul video only on October 10, 1994. It was distributed live for free as the eighth installment in the murder cult video series, and was actually a cassette tape rather than a video.
Panda's Not Dead Ondo (1996)
I Was Asked! (April 25, 1993)
- It was distributed free of charge to the winners of rock-paper-scissors game at an event held in Fujiyama. Limited to 20 pieces [From bottles to pieces. --S].
I Want To Eat Poop! (April 10, 1992 Murder vinyl chloride)
I'm This And I'm... (April 10, 1995 Murder Vinyl Chloride)
Self-satisfaction To You (1996)
NHK All Japan Winning Rock Championship '90 BS Young Battle (August 1991)
Acquired Immune Deficiency Syndrome (September 15, 1991)
Ultimate Dissolution The Betrayal (July 25, 1992 Murder PVC)
Killing Summit '92 Great March & Deadly Poison CD Release Commemorative Gig (November 5, 1992 Killing Vinyl Chloride)
Thursday Special Laugh Video '92-'93
- The decisive moment captured by the camera-Doki! Limited to 500 bottles.
Siviilimurha (Civilian Homicide) - Discography 2001-2003
Millennium Sekunda!!! Täydellinen puhdas kaaospunk!!!
Prophecy Of Doom / Blowtorch Serenade - '88 Demo, Retrospective 1988-1991 CD 2019, CDR Demo 2000 (All 320)
T-H-E grindpagan trampcores (!!!), + Shrew's later project with Jim Whitely (!!!)...
!!!
Dorsal Atlantica - "After The End" 3xCD Discography 2014 (320)
"Dorsal Atlântica is a Brazilian thrash metal band, founded in Rio de Janeiro, in 1981. They were pioneers of the Brazilian thrash metal scene, being acknowledged as an influence to many other bands. Their first work appears on a split album with another Rio de Janeiro-based band, Metalmorphose, in 1984. Afterwards, Dorsal Atlântica released a string of studio albums from 1984 to 1998, before breaking up in 2001. Most their lyrics were written in Portuguese. Some of their work contains two versions (English/Portuguese), and four albums are fully in English."
Byrgan's write-up 2008...
Dorsal Atlantica came off a style of thrash-metal with some lashing crossover ideologies on their debut Antes do Fim. However, this release moved on in a number of ways. The music is at a more definable thrash standpoint with some varying, influencing attachments. It is self-described as more technical compared to the last, as well as shows some progressions throughout the release. Along with each song seeming to have its own personality.
Their start with the '85 split release of Ultimatum presented a band that would eventually come off a speed-heavy fix. Then switching it up on the debut to become much more aggressive and primitive sounding and siding with hardcore influences underneath. While mixing this with an overall metal standpoint and trying to keep up with some of the death-thrash bands at the time as well. I feel that they went for too many genres and were caught in the midst. That is until they found a 'mold' on this release here, while initially challenging themselves and forming clay structures on the Antes do Fim album. Dividir & Conquistar would also keep a few aspects as the last. More precisely the better aspects in my opinion and add a few more to make this a better listening experience compared to their start with Ultimatum and even Antes do Fim.
This also improved all of the instruments into a cohesive whole. For instance, the drums are a little less loud in the mix compared to Antes do Fim, but now blended much more flush. Here on Dividir & Conquistar the vocals are the loudest in the mix. The guitars and bass are equally as loud also. There are some effects layered on top of the instruments, like the necessary reverb effect. However, it doesn't hinder the production level. But rather adds to it and I think centers the instruments and makes them sound like a collective piece. Instead of each instrument actually sounding like it was recorded in different sessions. This basically places the effects on the instruments to add a consistent level.
The music started to add some major progressions compared to only a few basic renditions on the last. The guitars are constantly changing up their playing style, causing to you anticipate what is going to be thrown at you next. Although, I think they find a balance among this. It is almost like listening to an avant-garde-like thrash album for '88. Where there are a number of influences refreshingly doused and brought together, and differing from a typical thrash pathway. He is constantly using single tremolo riffs throughout the album, played sometimes in a spastic or random fashion, but quickly at that. Even when they tread done to a slower pacing he might still use this particular type of quicker riffing. Although, there are a fair amount of uniform, faster thrash moments, there are only a limited few traveling to an actual blast, but it mainly adheres to an every-other-hit, faster, expeditionary momentum. He also conjures up some catchy and simplistic regular thrash riffing with palm mutes and power chords. While on some other songs using strangely placed chords and time structures, to alternate the song into a curious moment of wanting to get to the next point, while barely wanting to escape the one your currently on.
The bass guitar is one of the great moments about Dorsal Atlantica. This was slightly louder than the guitars on Antes do Fim; probably because of the lack of EQ. However, it isn't as loud here, but still shows that they wanted it to shine with attention. Mainly it can be heard mingled with the guitars and at some other moments with more of an emphasis. Like they actually had time to mess around with the mixing board. Instead of an imagined guerilla-like, do-it-now/do-it-quick recording session. His vocals haven't exactly changed a note or deviated since the last, and are still mostly in flavored Portuguese with a gruff, villainous tone. They encompass a heavy amount of reverb. It sounds very hall-like, almost dungeon-like. They really loaded his voice up with heavy amounts, to where the condensation from his breath starts to liquify and drip, trickling down into your ears, to make you want to pond it out like sea-water at the beach. But in the end, you just can't, driving you mad, with his voice bouncing back and forth, echoing inside of your head. It also sounds combined with some delay, which makes his voice sort of thrown around. He uses a thick and deep tone with a partial shouted and roughened voice as well. Mostly it is in a half- and self-raised volume with a speedier emphasis. Which gives the reverb and delay their rightful purposes. Overlapping themselves at points. Carlos in an interview after the band broke up self-describes them as: "...even with a screaming and almost "discursive" punk vocal." The screaming part sounds off to me. Though, I can see the attitude there from a punk point of view. I think it is safe to say it was 'influenced' to a degree from some bands in this genre. But stays on a side with metal with a mostly controlled gruff.
Dorsal Atlantica have a little sense of humor with a few sections on Dividir. There is an altered deep voice between a few of the songs, saying something on its own without the rest of the music. At one point it sounds like it says, "Listen to me, what are you going to do with your life?" (in English). And is accompanied by a smaller voice that sounds like it inhaled helium and says, "I wanna fuck." Then at the very end of the last track it starts to count off ABCs in the deep voice, gets stuck on a letter, pauses, and says the letter in a dumbfounded way, as the music fades out. I can imagine this was a joke to whichever extreme-metal bands had the overtly deep demon-like voices as intros or outros on their albums at the time and before this.
The newest CD version on Encore comes with some extra bonus tracks with the album. They sound like rough rehearsals. And are split between English and Portuguese. Like 'Desunited Metal' and 'Victory' compared to 'Metal Desunido' and 'Vitória' for instance. Some of the fills and solos are altered. And his voice is definitely more higher toned as well. Which I don't like the way he vocalizes as much on the alternate versions. Because on the actual album he has that: "Gotta light?" "Stick 'em up!" "Don'tcha mess with me, buddy" voice [So he sounds like a cheesy putz? --S] that complements Dividir & Conquistar so well.
Dorsal Atlantica started out on their full length debut playing a style of primitive thrash-metal that would have some hardcore punk influences: adopting social issues, with a loud bass, brash music and shouted vocals are a reminder. Dividir & Conquistar would share some individualistic aspects of that release. The vocals, bass, and some drum patterns have similarities to each other, and without those prior influences they probably wouldn't be the same. With this second record, Dorsal didn't exactly drop everything about themselves, they just improved the other lacking pieces of theirselves, and I feel that they added exceptional levels of memorabilty expanded throughout the recording. Bringing out a greater base of stimulation and an enhanced, recollective thoroughfare. This release gives itself a progressive edge. On a moving and winding road, a road that you don't feel like you are going to drive right off the side. There are bumps, dipes and dives. These could be defined with a controlled feeling, rather than a level dropping in excitement, and safe and far from crashing. Like a multi-level roller coaster that has all of the little climaxes and gravitational pulls while raising your pulse in a composed environment. This is the trip that Dorsal takes you on with their release of Dividir & Conquistar.
Timeghoul - '92-'94 Discography 2xCD 2019 (320)
Interview with guitarist Gordon Blodgett 2009...
TIMEGHOUL are one of those death metal rarities: a band with only demo-level output that often outshines that of their more well known peers. Their brand of American-styled death metal was complex, eclectic and, most importantly, constructed on a foundation of solid songwriting and intriguing concept. Guitarist Gordon Blodgett was kind enough to speak to us about their obscure legacy.
I promised no generic questions, but since TIMEGHOUL still ranks among the obscure, a brief history would be helpful here.
The band was originally formed in 1987 by Jeff Hayden and Mike Stevens. It was originally called Doom’s Lyre, and was changed not too long after. They recruited Chad and Tony around 1990 and cut the demo Tumultuous Travelings in April 1992. Jeff wanted to go to a three-guitar attack so that he could incorporate three-guitar harmonies. At this time Mike had decided to drop out and form a Christian metal band. I grew up on the same street as T.J. and we had been playing and writing music on our guitars in his garage, but we couldn’t find anybody in 1993 that wanted to play technical thrash/death. I saw a flyer posted at the record store about Timeghoul tryouts. I followed up, tried out, made the band, and got T.J. in the band as well. Somewhere in there Chad bowed out but we continued on. We then recorded Panaramic Twilight.
Getting the second generic question out of the way: although TIMEGHOUL can be described as death metal, the eclecticism points to a greater array of musical influences. Can you describe what some of those were? What about non-musical ones?
Jeff was the main visionary here. His favorite was Atrocity’s Longing For Death, Suffocation, Immolation, Gorguts, Morgoth, Nocturnus, Malevolent Creation, stuff like that. That pretty much went for everybody in the band back then. Jeff also liked alot of experimental dark classical music from the 20th century too, as well as medieval music.
Only six tracks were officially released, but I have seen listings for live bootlegs showing more than six tracks being performed, though I have not seen the videos themselves. Is there unreleased material floating around, and is it recorded anywhere if so?
Nothing of good sound quality. There was an instrumental version of a song called “Last Laugh” that was scrapped for parts to other songs. We were also rehearsing “To Sing With Ghosts” and “Joust Of The Souls” before we disbanded, but there are only 4-track versions of the various riffs.
What comprises a “riff” in a TIMEGHOUL song? How are these presented cohesively within a song, i.e. is there a current of an idea defining each track, are the riffs composed randomly but placed in logical sequence, or is it totally random? Something else?
For Timeghoul a riff was more or less a sequence of smaller phrases that added up to a much bigger overall part of the song. Not to lose you with musician talk but Jeff was thinking like a classical composer and the riffs had the longest phrases to them — they just went on and on, and he didn’t like to come back to parts either that much, just like in classical music. As far as the format of the songs goes, I think Jeff just wrote the riffs chronologically (w/ an exception of a riff or two) as they appear in the structure.
Was TIMEGHOUL tuned to A? Some of the riffs completely bottom out.
Actually we were not really downtuned at all. We tuned to E flat because nobody else was doing it. We used active pickups and played 4th chords to beef up the sound. Back then 7-strings were barely around. I think Morbid Angel, Korn, and Dream Theater were the only ones using them. We used alot of heavy EQing. Jeff actually used super-thin strings because he said it helped him speed-pick better. And T.J. and I were on the other end of the spectrum playing are jazz-gauge strings.
I think the approach to death metal taken by TIMEGHOUL can safely be called “American” for the most part. Does this mean anything to you? What makes American music in general specifically American in your opinion?
Well, I know we didn’t sound a black metal band from Sweden. We were in talks w/ Holy Records from France and they wanted to see what we came up with next before they would sign us. When the label heard the recording of the two songs from ’94 they said we sound like an American death metal band similar to Immolation with too much grinding. It wasn’t avant-garde enough for their label. I guess so. It sounded pretty unique to me. As far as an American sound goes, I would say that maybe there’s more of a focus on groove with catchy hooks or something, like Obituary I suppose. But again we weren’t writing catchy hooks or grooving. We were musically in the world created by Jeff’s lyrics.
TIMEGHOUL’s music is quite complex, but clearly not in a contrived sense. Did TIMEGHOUL strive to make complex music, or did complex music better fit the thematic ideas behind the band?
I think Jeff developed his own style of writing melodies in a midieval way, and the rest in a frantic way that begged for strange and technical patterns. He developed the Timeghoul “Vocabulary” as we used to say.
I have seen the TIMEGHOUL lyrics described as “fantasy,” which seems true. Like all good fantasy though, some seem to be truth buried under complex metaphor. They are also very well composed. Was there any kind of meta-concept, or were they written as seperate short stories that happened to play out well as lyrics?
Jeff wrote the lyrics after the song was written. He may have had an idea or working title to the songs before the vocals were done, but that came last. Phenomenal lyric guy. I know “The Siege” has a backdrop of a castle being overtaken by the opposing army, which is metaphorical for someone going insane. I think “Rainwound” is loosely based on Greek/Norse mythology, and “Gutspawn” was based on a creature from D & D called the “Gut.” “Occurance on Mimas” was fascinating in that Mimas is an actual moon of Saturn, but it’s missing a chunk of itself. The theory was that there were evil, warring tribes on that part of the moon and an asteroid came through and knocked that part of Mimas to Earth where it all crashed into what is known today as the Himalayan Mountains. The creatures awaken from underneath and rise to the surface where they destroy the planet, before going back underground. Maybe that was metaphorical for the “underground” scene in music rising up at some point.
The “clean” vocals provide a wonderfully ethereal effect and are included with good taste. I have an old interview where Jeff Hayden mentions medieval polyphonic music as an influence on them. Was their inclusion seen as a bold move for a full-on death metal band at that point in time?
Definitely. I think Fear Factory was about the only band doing that back then. Jeff was a composer first and foremost, and he wanted harmonies everywhere, especially sandwiched between the heaviest of riffs. The songs are really progressive if you think about it. And they’re always shifting in different directions to keep it interesting.
In your experience, what works better for songwriting: democratic participation, or a more singular vision? Is there a compromise between the two? How did TIMEGHOUL typically operate?
In the band I play in now (Gate 7, what a shameless plug), we have found through trial and error that it’s best to compromise. We write everything live in the practice room, and if somebody doesn’t like it we don’t play it. As far as getting the most artistically out of a song you should probably just let an individual write the whole thing based on his/her specific vision, and then maybe the rest of the band can add their thing over the top, or make a suggestion here or there. I know when I solely write for my projects, nine times out of ten I accomplish exactly what I was going for. I can see both sides of the coin on this one.
Band members, when asked about what they were aiming to achieve, often give an answer to the effect of “Nothing — we were just four dudes playing what we loved and having fun.” This is a believable (and understandable) scenario, but not a wholly satisfying one, particularly for bands that showed greater insight. What answer would you give to this question with regard to projects with which you have been involved?
I was 18 when I joined Timeghoul in January ’94 [WTF I'm older than TIMEGHOUL???!!! --S] so I was thrilled to be in a band that heavy and that original. I learned a ton from Jeff and Tony. When I write music now the songs end up being long, and I don’t like to repeat parts too many times either. It was a great learning experience to go into the studio as well. My first taste of playing live was during this time too. I think we were proud of the songs we played and envisioned sticking around alot longer than we did.
Is music art? Is modern music art? Is there a continuum?
What is art? I look at it like that about half the time. I listen to King Crimson and stuff like that, and that music makes you think the whole time you listen to it. Then I’ll put on something on from back-in- the-day and just start jamming out and having fun. Ultimately I would say I like an approach of a band like Opeth who can give you the “art” and the “heavy” at all times.
What qualities do you seek in music?
Originality and Creativity. It seems that it’s harder and harder to find original bands anymore. Everybody sounds like “this” meets “that” and it’s pretty uninspiring. I watch the new Headbanger’s Ball and for every one video that’s good there are six that either suck, or sound like something that was done ten years ago. I try my best personally to write things that are unique and don’t sound like any one band, especially over the course of an album.
Why are some people more discerning when it comes to music (or any other complex choice) than others? Is there a more-or-less inverse linear relationship between quality/quantity?
It could be a left-brained or right-brained thing. I know people with IQs through the roof, and they seem genuinely entertained by nothing but the simplest pop music of the day. Maybe their enjoyment is that they don’t have to think about it. I get my enjoyment by listening to the structures of songs, and seeing where they go, what effects the band is using, and generally how fresh the material is at the time in which it was written. I guess I do view music as art. Others may view it as entertainment, and some may listen for the message. To each their own.
Why did TIMEGHOUL fail to achieve greater success? Do you think the band was possibly too cerebral? Too different? Or was it the just result of an oversaturated underground?
The problem back then was that nobody had any money, and the technology wasn’t there to record at home on the computer, so without some support we could never record any songs. And the labels weren’t calling us because we just weren’t out there enough for them to know who we were. Plus, we could never keep a full lineup intact. We virtually had no bass player for the final three years. Eventually Jeff and Tony had kids, T.J. moved to Florida, and I joined another band.
Has anybody shown interest in re-issuing the TIMEGHOUL material?
I will eventually post all six songs on my website (http://www.aegea-synergy.com) on the Timeghoul page (w/ kind permission from Mr. Hayden of course). I still talk to Tony and Jeff here and there. You never know — Tony lives in a home/studio with his band, and Jeff talks about writing something more ferocious and complex than ever. If we can ever find the time I would love to record some more of Jeff’s compositions. “Stay Tuned!”
Have you met with any success with AEGEA and SYNERGY?
I haven’t really marketed the music other than posting a website. It’s mainly just a hobby for me while I play in a band and live the married life. Besides, it’s hard to find a market for heavy-progressive- instrumental music (Aegea), and the other project (Synergy) is like Frank Zappa metal or something.
Was TIMEGHOUL highly revered locally? What was the response like in other parts of the US/world?
Back in the early-to-mid-90s there were hardly any any thrash and death metal bands in St. Louis. The whole grunge thing was going on and everybody thought they were born-again hippies or something. Timeghoul was always playing gigs with the same bands, like Psychopath and Immortal Corpse, but that was about it. We also opened for a show that featured headliners Obituary with Agnostic Front, Cannibal Corpse, and Malevolent Creation.
Abraham Cross VS Disdomestic Violence (Discographies)
Binary neutron-bludgeon of Japanese disnoise and experi-stench...
Outo Syojodan - Discography '88-'92 (320)
All gal performative hardcore with B-R-U-T-E vocals (released by Crazy SKB!)...
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