Tuesday, October 30, 2007


What follows is both the final part of my campaign of Steaming Coils posts and the final word for enthusiasts of this seminal
L.A. underground project of Brad Laner and David Chrisman: a complete archival haul of all remaining unreleased Steaming Coils material spanning the full length of their career, all direct from the master tapes courtesy of Brad. From the feral teen freakishness of the pre-Steaming Coils PGM (i.e. Prostate Gland Massagers), to the gorgeous material from their abandoned fourth studio album, this is a pure goldmine of insular, hermetic art damage and warped psych pop smarts, with the full array of their musical co-conspirators present here, from the early L.A. Free Music Society-related era that included Rick Potts, Joseph Hammer and Spencer Savage to latter-day accomplices like James Grigsby and Lynn Johnston from The Motor Totemist Guild. A terminal mindfuck of herculean proportions....grab 'em all!

Get PGM (aka Steaming Coils)-PGM cassette-1984 Here

Get Songs Everyone Knows-cassette-1984-part 1 Here

Get Songs Everyone Knows-cassette-1984-part 2 Here

Get Secret Messages From The Schrodinger House-1985-part 1 Here

Get Secret Messages From The Schrodinger House-1985-part 2 Here

Get Vista Del Monte Archive-1986-part 1 Here

Get Vista Del Monte Archive-1986-part 2 Here

Get At Le Forte Four Studio-1986 Here

Get In An 8x8 Bedroom-1987-part 1 Here

Get In An 8x8 Bedroom-1987-part 2 Here

Get Tarkington Table session outtakes-1987 Here

Get Sometimes Live-1985-1988-part 1 Here

Get Sometimes Live-1985-1988-part 2 Here

Get Sometimes Live-1985-1988-part 3 Here

Get Unfinished-1989 Here


What follows is the seventh installment in my ongoing series of postings of singles from the vdoandsound archives.

Wide ranging and uneven but sometimes tremendous Neue Deutsche Welle archival document (the first of four NDW titles in today's installment) with a guitar 'n' rhythm box-centric approach to minimal synthiness thats vaguely Metal Urbain-like.

Intense and fascinating minimal synth into synth punk Neue Deutsche Welle frenzy with Dark Day overtones.

Not quite on a level with their stunning "Some Marvels Of Modern Science" LP posted by Jim a while back, this single nevertheless offers an appealing (if prototypical) burst of twitchy mutant funk inflected UK DIY post punk.

Half negligible, half astonishing, this obscure and schizophrenic Neue Deutsche Welle project suddenly veer into much more fertile and surreal waters after an generic opening gambit, Elhektrisch and Heute 20.15 Bilanz both plying a wonderfully woozy pitching and warping distension of minimal synth modalities before suddenly reverting to the land of the uninspired.
Go figure.

Excellent UK post punk DIY moves with distinct Athletico Spizz 80 overtones.

Wonderfully warped NWW-like surrealist malarky from Heemann & Flamm, here in collaboration with Frank Dommert, who's exceptional Kiefermusik LP was posted here by Jim a while back.

Nothing like the smurfy cuteness of his work with his Die Doraus Und Die Marinas, This brief first single of Neue Deutche Welle figurehead Dorau proffers pure Residential doink in top notch style.

Get part one Here

Get part two Here

Sunday, October 28, 2007


After two days of continued upload problems with Xirror, with even the files that do upload frequently coming out minus working Rapidshare links, I've chosen to revert back to Massmirror for my (Eric's) posts. Better the devil you know than the one you don't, as the cliche goes. Thus, the Nine Days Wonder and Zimmer Frei posts that originally went up via Xirror minus Rapidshare links have now been replaced with Massmirror links.


My opinion isn't in the majority on this one but for my money, the way this second album by these Krautrock maven's fuses trashy Bowie-like acid glam to the post-Zappa kraut fusion explored on their highly touted debut really kills in a way their first communique kinda fails to for me. There's more than a little Amon Duul II vibes at play here too; their song structures and (especially) the peculiar manner in which verbiage spills off of Walter Seyffer's tongue being very Chris Karrer-like at times. Under-rated in the extreme, this is one krautrock gem that warrants immediate re-discovery.

***************NEW LINK POSTED OCTOBER 2012***************

Get it here  


This stunning Italian outfit's wide-ranging remit effortlessly intermingles giddy minimal synthiness, warped art pop and post punk vitriol; their droll concoction touching upon everything from Bene Gesserit and Mathematiques Moderne to The Honeymoon Killers and late-model Cos. Alongside The Confusional Quartet, this stands as one of Italy's finest offering of the new wave era.

Get it Here


Off kilter and rather all over the place lo-fi garage band jazz fusion misadventures. One could make a case for likening this to the equally scrappy jazz rock moves of Dimthings or Iltar, but Earwax Control are both looser and more diffuse than either of those two wonders (both posted elsewhere on Mutant Sounds), making the odd thrust in the direction of funk, loosing a Zappa-like bout of spieling here and a truly lobotomized sounding folk psych nugget there, all proffered in a endearingly loose-limbed and piss-takey manner.

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A one time project of Randy Greif (whose preternatural electronic weirdness has been furnished elsewhere on this blog) in collaboration with one Mikhail Bohonus, Static Effect's narcotized and crepuscular soundscapes still contain a seed of that aberrant strain of post-Hassell fourth-world-ism to them that informed much of Greif's work of the period, but the overall thrust is more fogbound and glazed here, making this sound something like ambient music for Sleestaks.

***************NEW LINK POSTED OCTOBER 2012***************

Get it here  


Great American hippie folk-rock with certain pop and psych inflections, rekleased on Roulette label 1970.In parts reminding Pearls before Swine/Tom Rapp.Excellent!

get it here

Carles Santos-Música para las Ceremonias Olímpicas,CD,1992,Spain

Carles Santos (born July 1, 1940, in Vinaròs, Valencia, Spain) is an unclassifiable Catalan artist who began his career as a pianist and later worked in many other creative disciplines, including musical composition, filmmaking, screenwriting, acting, scenic musical shows, graphics, montage, sculpture, photography, poetry, and prose.
Carles Santos began his formal musical education at the prestigious Conservatori Superior de Música del Liceu in Barcelona. There, he received awards that gave him the opportunity to continue his studies in Paris, where worked with Jacques Fèvrier, Robert Casadesus, Magda Tagliaferro, and Marguerite Long, among others. Later he studied with Harry Datymer in Switzerland. In 1961, he began his career as a pianist, with a repertoire that included works by Béla Bartók, Arnold Schönberg, and Anton Webern. During these years, he also played the musical parts of Joan Brossa's Concert Irregular, which premiered in Barcelona and New York as part of the commemoration of the 75th birthday of Joan Miró. A grant awarded by the Juan March Foundation in 1968 allowed Santos to move to the United States, where he met and worked with a number of avant-garde artists, including John Cage.
In the late 1960s, Santos turned his attention to the production of films, and his oeuvre in this discipline eventually grew to include short films, full-length films, documentaries, and videos. Over the years, he collaborated with such directors as Pere Portabella, Jordi Cadena, and Carles Durán. His own first short film, L'Apat, premiered in 1967.
During the 1970s, Santos increasingly devoted himself to performing his own compositions, and eventually he decided to play them exclusively. His compositions are decidedly minimalistic and at the same time bear the stamp of romantic, traditional Spanish, atonal, and 12-tone music. In these years and into the 1980s, he took part in a number of important musical events, including the Festival d'Automne in Paris, the Musicalia in Milan, the International New Jazz Festival in Moers, Germany, the Biennial in San Juan, Puerto Rico, the Zürcher Theater Spektakel in Zurich, the Music Theatre Festival in London, Wintermusik '82 in Karlsruhe, Germany, and New Music America '83 in Washington, DC. In his performances, his goal was to avoid the boredom often caused in the audience by certain avant-garde music.
Exhibition I-Cervantes Berlin 'Visca el piano!' 2007In the 1980s, Santos began to design scenic musical shows, which he staged in such venues as the Sydney Opera House, the Hebbel-Theater in Berlin, and the Palau de la Música Catalana in Barcelona. His musical shows are marked by extravagance, sexual themes, and deliberate provocation, with the goal of questioning established concepts, albeit with a sense of humor. The notes to the 2006 exhibition of Santos's costumes held in Barcelona at the Museu del Tèxtil i la Indumentaria (Mariaelena Roqué desvesteix Carles Santos [Mariaelena Roqué Undresses Carles Santos]), indicate that Santos, through his shows, is expressing his loves and fears and attempting to banish his personal demons.
Santos has been commissioned to compose works for a variety of special occasions, including the opening ceremonies of the 1992 Summer Olympic Games in Barcelona and the opening of the 2001 Biennial of Arts in Valencia.
A major retrospective of Santos's works titled Visca el Piano (Long Live the Piano) was held in 2006 at the Fundació Joan Miró in Barcelona. The exhibition included videos of his scenic musical shows, graphic and photographic works, montages, and kinetic sculptures. The last category included a waltzing player piano that whirled around the exhibition hall under its own power while playing music by Bach and somehow avoiding running into the other exhibits.
From Wikipedia

Absolut masterpiece.Magic!
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The Mountain Goats -Taboo VI: The Homecoming ,tape,1991,USA

The Mountain Goats is a band led by prolific American singer-songwriter John Darnielle. Darnielle began recording in 1991, and has become known for his highly literary lyrics and, until 2002, his lo-fi recording style. Currently, when the band plays live, it comprises John Darnielle and Peter Hughes, but Darnielle has worked with a number of other musicians when recording albums under the Mountain Goats name. In 2007, drummer Jon Wurster played a portion of the Get Lonely tour.Darnielle began performing under the name The Mountain Goats (a reference to the Screaming Jay Hawkins song "Yellow Coat") in 1991 in Claremont, California, where he attended Pitzer College (class of 1995) and worked as a psychiatric nurse. Darnielle released his first album, Taboo VI: The Homecoming, on Shrimper Records. Many of his first recordings and performances featured Darnielle accompanied by members of the all-girl reggae band, The Casual Girls, who became known as The Bright Mountain Choir. One of this group's members, Rachel Ware, continued to accompany Darnielle on bass, both live and in studio until 1995.
The first five years of the Mountain Goats' career saw a prolific output of songs on cassette, vinyl and CD. These releases spanned multiple labels and countries of origin; many were unavailable to the majority of fans until recent reissues.
The focus of the Mountain Goats project was on the urgency of writing (Brown, "Sermon on the Mount", June, 1999.). If a song wasn’t recorded adequately to tape within days of being written it was often forgotten.
Darnielle graduated from Pitzer College in 1995. Most of what could be considered classic Mountain Goats conventions (boom-box recording, song series, Latin quotes, and mythological themes) were abandoned in favor of a more thematically focused and experimental sound. This period was marked by Darnielle's collaborations with other artists including Alastair Galbraith and Simon Joyner.
2002 saw the release of two Mountain Goats albums: All Hail West Texas and Tallahassee. These albums mark a distinct change in focus for the Mountain Goats project, being the first in a series of concept albums that explore aspects of The Mountain Goats' canon in depth.
All Hail West Texas featured the resurrection of Darnielle's early boom box recording for a complete album. Darnielle considers this album to be the culmination of his lo-fi recording style.
Tallahassee, recorded with a band and in a studio, explores the relationship of a couple whose lives were the subject of the song cycle known as the Alpha Series (see Alpha Series below for a full list of songs in this cycle).
Martial Arts Weekend, also released in 2002 under the band name The Extra Glenns, is a collaboration with Franklin Bruno on several previously unreleased Mountain Goats songs. Since that recording, Bruno has joined Darnielle in the studio along with bassist Peter Hughes, who is the second official member of the band and accompanies Darnielle on tour. These three musicians form what may be considered the Mountain Goats studio band.
In 2004, the Mountain Goats released We Shall All Be Healed. The album marked a couple of changes for the Mountain Goats. It was the first time Darnielle worked with producer John Vanderslice and the first album of directly autobiographical material. We Shall All Be Healed chronicles Darnielle's life with a group of friends and acquaintances addicted to methamphetamine in Portland, Oregon, though the album is set in Pomona, California.
In 2005, the Mountain Goats released their second Vanderslice-produced album, The Sunset Tree. Again autobiographical, Darnielle tackles the subject of his early childhood spent with an abusive stepfather. Darnielle had previously dealt with this subject in what he often refers to as the only autobiographical song he had written before 2004, the unreleased song "You're in Maya."
In 2006, the Mountain Goats issued Get Lonely, which was produced by Scott Solter, a man perhaps best known for his engineering work with Vanderslice on various projects, including prior Mountain Goats records. In 2007, Jon Wurster played drums on the last leg of the Get Lonely tour.
The Mountain Goats recorded a new album, tentatively due for release in early 2008, in September '07 at Prairie Sun studios. It was produced by John Vanderslice and Scott Solter. Apart from including John and Peter, this album continues the recent trend of inviting Franklin Bruno and Erik Friedlander to the studio. New guests are Jon Wurster on drums and Annie Clark from the band St. Vincent. Also of note is that Sarah and Rachel, members of the so called "Bright Mountain Choir" from past albums, will be gracing three of the studio tracks ("New Zion," "How to Embrace a Swamp Creature," and "Marduk T-Shirt Men's Room Incident"). According to some folks over on the band's official message board, John Darnielle said the new title was Heretic Pride at a recent concert at Studio B in Brooklyn, though no official announcement seems to have been made.

Taboo VI: The Homecoming is the first release by The Mountain Goats. John Darnielle had this to say of the album: "When I wrote and recorded Taboo VI, I had no idea that anyone outside of a few friends would ever hear it; neither did I hope that anyone outside of those friends would ever express any interest in it. A couple of the things on it (Going to Alaska, Eleven Bands, Solomon Revisited, the Hank Williams song) are things I'd stand by if pressed, though I wish I'd've known how to sing better back when they were recorded. While I completely understand the collector's urge, I would offer the following caveat to anyone trying to hunt down Taboo VI: it's not what you think it is. Its successor, the Hound Chronicles, represented an abrupt and total change in direction, and is the stylistic starting point for all that followed. While I can't and wouldn't disown Taboo VI, I'd like to offer this note of caution to those who like the later stuff and are trying to get their hands on my first efforts: you probably won't like it much, and if you pay an inflated price for it, you'll probably feel cheated. Having said that, if you still feel inclined to hunt it down, I do hope that you enjoy it on its own meager terms. It means well and didn't want to hurt anyone. Except for maybe that one guy. I hate that guy."
From Wikipedia also.
The first ever release by this very important and great freaked out psychedelic band.
get it here

Moira-Moira (aka Reise Nach Ixtlan) ,LP,1984,Germany

Certainly one of the more obscure bands from the vast Gunderground, Moira were a fascinating progressive fusion collective formed by veterans of the Krautrock scene including Edgar Hoffman (Embryo) and Butze Fischer (Missus Beastly, Guru Guru, Embryo). Both their albums were recorded for the Schneeball label, the record consortium setup by members of Embryo and Missus Beastly. Musically, Moira fit snugly into the label’s distinct school of fusion and are part of the German “M” scene of jazz rock groups (Morpheus, Missus Beastly, Munju).
For the debut, “Crazy Countdown”, Moira explored many of the areas that were popular at the time, including Latin-tinged jazz fusion (“Para Jofrey”, “Spain Mandala”), Eastern meditation journeys with sitar and flute (“Smile”), acoustic seriousness (“Gemini”), acid cosmic space rock (“Always Later”), lounge funk (“Mata Meme”), even post-Miles Davis intense jamming (title track). During this era, the band were clearly lead by guitarist Jorgen Kanwischer, who is credited with scoring all the compositions as well as being the sole instrumentalist on “Gemini” and “Always Later”.
Six years later the group had completely changed hands (see below for more explanation) and actually took on an older, more retro sound when absolutely no one was doing that in 1984. In an era when every band had the most tin-sounding, Casio-like, digital keyboard and every guitarist was going for the pig-squeal guitar hero motif, could a band possibly put an album out with Hammond organ, Moog and wah-wah guitar as its main ingredients? Sounding like a long lost recording from a smoky club in Hamburg, the band let loose with an unpretentious instrumental jazz rock album not found since the glory days of 1974. A truly astonishing release that beats their already excellent debut in every way. The title track opener is a side long exercise in organ, analog synth and guitar jamming with some incredible jazz drumming and a mighty fine bass player. This is followed by the short "Oase," a flute, drum and percussion piece that would not have been out of place on Yatha Sidhra’s album. Side two opens with "Kristall," a more fusion oriented piece with some dirty organ and guitar shredding. "Einsame Schatten", the only track with singing, follows with a blistering sequence that recalls the early Toto Blanke works. This track continues paradoxically with a funky jazz bit with German vocals recalling Embryo's Bad Heads and Bad Cats in their most silly mood. This section would be the album’s only misstep. The too short closer "Resume" recalls the ending of Virus’ Revelation album complete with echoed German recitation and acid guitars.
There’s been quite a bit of debate about this second album and its origins/authenticity. Anyone from Ultima Thule’s Cosmic Egg professors to Schneeball label owner/Embryo icon Christian Burchard have shrugged their shoulders and said “no idea?”. But the label clearly says Schneeball with a yellow background. The catalog number of 0025 was presumably used by polit-rockers Hammerfest on Hier Bei Uns, though careful steady shows that album was also on the Maulschnauz label, causing even more confusion. Then there was the small matter that neither album shared similar members. However there is a link: Some copies of Crazy Countdown come with a detailed Moira newsletter. The then current lineup of the band (1978) had already evolved and included one Eberhard Bronner on drums, who is in fact on Reise Nach Ixtlan.
Both are absolute must owns for the serious Krautrock fusion collector.

Tom Hayes 01-Aug-2006 For Gnosis2000.net

get this gem here


Totally obscure and wonderful Kluster-like experimental/ambient electronics recording from 1974.Planes were a duo consisting of :Gregor Curten (organ, synthesizer, guitar), Anselm Rogmans (vocals, tapes, organ, synthesizer).This LP was privately released and has not been re-issued since then.Spacey experimental electronics at it's best, included in 2 sidelong tracks!

get it here

Wednesday, October 24, 2007


The next installment in my series of Steaming Coils posts and the final one of their works to gain release, Breaded is such a unimpeachable delight, I actually ended up putting out a vinyl reissue of this album myself, the only time I've ever released the work of a party other than my own band. Extraordinary as it was, their prior release, The Tarkington Table, could be seen as something of a transitional work, the cracked art pop genius of it's songform splendors sometimes dancing an uneasy tango with interventions of loose-limbed semi-improvised jams. In many respects, Breaded seems like the culmination of Laner and Chrisman's efforts, each song locating the perfect tension between warped psychedelic song craft and wayward weirdity while at the same time highlighting what an truly affecting vocalist Chrisman can be. Each song here seems to be literally bursting at the seams with inspired structural conceits, with psychotropic stratagems lacquered onto each morsel of pop goodness here in a completely effortless and unforced fashion. Featuring guest appearances from a vast array of L.A. underground music movers (Grigsby, Johnston and Emily Hay from The Motor Totemist Guild, Don Bolles of The Germs and L.A.F.M.S. magus Tom Recchion among them), this is the product of artists in complete command of an audaciously advanced vocabulary and giddy with the realization that they're creating an album for the ages, even if no one else seemed cognizant of it at the time.

***************NEW LINK POSTED OCTOBER 2012***************

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Razor sharp Devo damaged Japanese synth pop with a frantically blipping style that also brings to mind both The Plastics and Italy's Confusional Quartet. P-Model were prime movers of the Japanese new wave and the madly fun style they innovated has informed everything from Magmoid lunatics Koenjihyakkei to the giddy contempo j-pop new wavery of The Polysics.

***************NEW LINK POSTED OCTOBER 2012***************

Get it here  


A vital and highly obscure anthology, Four French Forms culls together a thrilling array of wayward French experimentation. The most conspicuous of the four participants here is probably Luc Marianni, whose albums both as solo artist and as a member of Rock Critics have been posted here in the past. His contribution is a gorgeous conflation of overlapping and vaguely systemic abstract vocals and percolating synthetic percussion that ultimately consolidates into a web of Woo-like acoustic art pop wobbliness. X factor Zex Pitron's contribution really makes you wonder what other guises this cat operates under, as his surrealistically advanced offering is a miracle of hermetic strangeness straight out of the Ayaa label school (shades of everything from Video-Aventures to Szentendre here) and yet there's not a blip of info to be found on anything else under this moniker. The remaining two cuts are by members of NWW-listers Pataphonie, their contributions standing in stark contrast to one another; Andre Viaud superb "Les Materiaux Impressionnistes" cutting a rich and commanding Francois Bayle-like arc of electroacoustic phenomena across a 12 minute swath of the vinyl, while his former bandmate Pierre Demouron's sombre and somewhat lackluster neoclassical musings result in the only non-starter of the bunch.

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Crafty and antic Dutch R.I.O. shenanigans by a group whose unusual double trio format stacks up dual drum, bass and alto sax components and deploys them in a way that references both Downtown NY moves somewhere between the post-Etron Fou-isms of V-Effect and James Blood Ulmer's harmolodics and the whacked circus jazz escapades of Frenchmen Six Cylindres En V. Recorded live at the Moers Festival, this particular gig found them teamed with guest vocalist Greetje Bijma, whose touched-in-the-head gibbering improv gush peppers much of the proceedings here in a winning fashion.

***************NEW LINK POSTED OCTOBER 2012***************

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With a line-up featuring Boredoms' Seiichi Yamamoto, Yoshida from Ruins/Koenjihyakkei and Otomo Yoshide (among a host of other Japanese underground movers), this little known avant prog masterpiece remains for me one of the highest water marks of the 90's j-prog renaissance. Base Of Fiction frames corrosive Bondage Fruit/Happy Family-style prog convolution inside a dense forest of frenetic string section motion that alternates between the astringency of Elliott Sharp's compositions for The Solider String Quartet and richly thematic progressions that seem to take their cue from Yoshida's compositions for Koenjihyakkei. Laden with abstract cod-operatic female vocals and steeped in a miles-deep structural (il)logic apparent only to it's creators, this is brain-scrambling clusterfuck of the first order.

Get pt. 1 Here

Get pt. 2 Here

V/A:Sex & Bestiality,4xtape,1984,France

Here's one of the most legendary tape compilations ever.4 tapes of industrial/ synth/ noise/ experimental madness ,gathering the most important acts of this scene .Released in 1984 by the cult Bain Total label packaged in videotape box,it was dedicated to Mr. Genesis P. Orridge and was limited to 666 copies.For T.O.P.Y. enthousiasts note that the code number of the tape is K23!This amazing stuff could not be uploaded in just 1 part so it was divided to 8 parts!That's the reason why this is my single post for today.
A01 Haters, The An Interview (Over The phone)
A02 Psychic TV La Edad De Oro (Red Ritual Film)
A03 Étant Donnés Les 4 Frappes Sourdes
A04 Étant Donnés Ciel Terre Ciel
A05 Die Form Red Magic
A06 Die Form Passion & Supplice
A07 Masaki Eguti Entangled
A08 O Yuki Conjugate Death By Cunnilingus
B01 O Yuki Conjugate Death By Cunnilingus (End)
B02 Nox Yaweyo B03 XX Committee Slaugherhouse
B04 Sleep Chamber Victmm (Sex Mix)
B05 Stockholm Monsters Kan Kill
B06 Merzbow ZSF Product
B07 Anne Gillis Quelques Heures Maléfiques
C01 Amuzikons, The Unhealthy Lifestyle
C02 DDAA Pourquoi Un Homme Est Il Un Homme Et Un Chat Un Chat?
C03 Son Of Sam Éhonté (Shameless)
C04 Son Of Sam Nature Makes A Mistake
C05 Hypnobeat / Hydrobeast Cock Decapitation Machine
D01 Hypnobeat / Hydrobeast Cock Decapitation Machine (End)
D02 Ian Taguiev Tumescence
D03 Recloose Organisation Succubare
D04 Hartmann 1 & 2 Parts Voice - Edward Ka-Spel
D05 Asmus Tietchens Tina, Ich Liebe Sie
D06 Asmus Tietchens Humpelmann
D07 Vittore Baroni / Kibbo Kift Animal Farm
D08 Hot Bip Bestiaire
D09 Otto Kill Untitled
D10 Club Moral Piggy
E01 Michel Henritzi Blood On Stone
E02 Stigma Diaboli Sodomie Animal
E03 Smegma Jungle Orgy
E04 No Unauthorized L'Orgasme Des Cochons
E05 391 Beauty And The Bestial
E06 Blackhouse Dog
E07 Stratis Passion Behind The Veil
E08 Stratis 15 Sweet Days
F01 Franz Liebl / Necrospermie No Sexual Healing
F02 Section 25 Suck This
F03 Pacific 231 Fucking Bloody
F04 O.R.A.* S.K.E.S. (Beast Praise 1)
F05 Debt Of Nature Pig Fuck
F06 Debt Of Nature Urinalysis
F07 Der Akteur / K. Reichling Untitled
F08 Viscera Lying With The Beast
F09 Les 3 Phallus Untitled
F10 Anthon Shield Coum To Cunt
F11 Anthon Shield Snake Naked Ann
F12 Tranquil Eyes Queer Hobbies
F13 Sous-Plis Discret Untitled
G01 Surplus Stock Ladie's Day
G02 Culturcide Bestiality And Sex
G03 Big City Orchestra UB Kitty Mount
G04 Psyclones & Schlafengarten Tenderloin
G05 L'Étroit Phallus* Untitled
G06 Hymn Around The Bed
G07 Smersh Coitus Bovinicus
G08 Smersh Greasing Wheezer
G09 La Chorale Untitled
G10 Red Skull Custom Slaughtering
H01 Red Skull Custom Slaughtering (End)
H02 Vivenza Servitudes Organiques
H03 Fab Two / S. Novi & M. Augier Cathode Ray Mission (3 Parts)
H04 Zahgurim Anal Rape
H05 I.M.M. Le Lycantrope
H06 Sophie C. & Philippe F.* Thee End / 23

***************NEW LINK POSTED SEPTEMBER 2012***************

Get pt1 here 

Get pt2 here 

Tuesday, October 23, 2007

V/A: Must Be Musique,CD,1992,Germany

Great noise/experimental compilation released in 1992 by Dark Vinyl records,gathering some of the most notable artists of the scene.Dark chilling ambient noise/industrial all through.Wonderful!

1 John Watermann The Shredding Of Human Tissue (13:32)
2 Asmus Tietchens Freiband 8 (3:03)
3 Ophiolateria Mirror Of Dionysus (10:48)
4 Sigillum S Region Of Fire (6:17)
5 Trance Siege (7:30)
6 CV Massage L'Attesa (7:59)
7 Trance Evidence Of Danger (5:18)
8 Total Disease Sterile (7:20)
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V/A: Nine//Underground,LP,1987,USA

Here's one of the rarest Swans/Jarboe related releases.
"The music on this album was first broadcast on WREK's "Notes From Underground" in Atlanta, Georgia over a three year period beginning in the summer of 1982. The making of industrial/electronic and related musics in Atlanta reached a peak during 1983-1984 as the radio show and performers fed off of each other and the activity that was happening all over the world.
PVC PRECINCT developed a full and rhythmical electronic sound while PILLOWTEXANS have moved on with their alternative/accessible music. Members of CLUBFOOT and PVC PRECINCT are now performing as the electronic trio FLATBUSH. ACCIDENTS OF CULTURE, whose original sound followed from AMM, continue to create music under various groupings of musicians. JARBOE and INCEST have left Atlanta for New York. INCEST no longer performs, but JARBOE is now creating a wide range of music, from the extremity of her work on the "Dry Lungs" albums and with SWANS, to the accessibility of her pop releases. While YOUNG SCHIZOPHRENICS are still notorious in the city, output has (at least temporarily) subsided. SEQUENCE 3, who is actually the host of a local new rave radio show, continues to produce experimental music under a variety of monikers."
Notes from the back of the LP

Side one
PILLOW TEXANS-Baking Lizards
Side two
YOUNG SCHIZOPHRENICS-Podunk Earth/Biological Stimuli
Released on Perimeter Records, Atlanta, Georgia 1987
Thanks to Adam Huntley Stroupe for this gem!!
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Lindwurm -Im Windschatten,LP,1981,Germany

Excellent complex progressive kraut LP totally instrumental combining jazz,ethnic,and kraut rock elements giving an impressive result.Much use of synths and percussion,excellent complex compositions and some funky guitars creating an exotic atmosphere , but not without the typical teutonic feeling.

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Reifrock - Unter einem Hut,LP,1981,Germany

Here's one of the greatest folk prog German LPs of the late70s/early 80s.Not exactly folk with the typical meaning, combining folk and traditional instrumentation(accordeon,mantolin) with more electric/rockish elements, admittedly influenced on the one hand by Emtidi,BroselMaschine ,early Strawbs, and on the other by mid 70s Birth Control,late Grobschnicht with sime hints of the new risen NDW influence(BUT JUST AS HINT!).An excellent and underrated album imho.
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Chetarca - s.t.,LP,1975,Australia

Operating out of Melbourne in the mid-seventies, this band were a sort of Aussie equivalent to Emerson, Lake and Palmer. They only released one 45, ‘Another Day’, but it spent three weeks in the Top 100 peaking at No.75 in September 1975. No other Australian progressive album sounded like this one (which many now consider to be underrated). Musically, it is notable for no guitars - a dual keyboard assault of Andrew Vance (piano, organ) and Bruce Bryan (synthesiser) and Paul Lever's wailing harp and bluesy vocals. Side two is taken up with just one long track ‘Oceanic Suite’.
Taken from "Dreams, Fantasies and Nightmares" by Vernon Joynson, an extensive guide to Canadian / Australian / New Zealand and Latin American psych and garage music 1963 - 1976.
Not exactly of my taste but this LP is worth a listen especially for the 24 minutes long track "Oceanic Suite" ,with long complex dual synth compositions and interesting vocals, and the 8 minutes long "chetarca",with a psychotic synth solo leading to somekind of delirium.Otherwise the LP is synth driven progressive (sometimes too commercial for my taste) with blues-y vocals....Anyway,here it is for you to judge.
get it here