We always assumed that Denmark's Sarah's Charity must include Matthew Bower of Skullflower, or Marcia Bassett of Hototogisu, or at least someone from Heavy Winged or Double Leopards or one of those sorts of bands. They have the same sort of slow burning heaviness going on, the washed out walls of psychedelic swirl, grinding guitars, keening streaks of high end. Another one of 'those sounds' we can't ever seem to get enough of.
Ends up SC are indeed from Denmark, and do not count any American or British noise rock ringers among their members, which is just as well, as these guys can totally hold their own, and then some, whipping up a seriously dense and deliriously blown out soundscape of buzz and blur and shimmer and rrrroooaaaaar. The other cd-r we had from SC was equally guitar heavy, but here, the sound seems significantly murkier and more muted, softer even (softer being relative of course), giving it a more dreamy drone-y sound which is no bad thing at all. But fear not, this is still fierce and prickly and caustic and HEAVY, just sort of pretty too.
We only have a handful of these, it was LIMITED TO 150 COPIES (each with a hand numbered insert), and they've been waiting for a while to get reviewed and listed, so pretty sure these are long gone and out of print at the source, but while they last, we got em here...
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Another new, mysterious missive from Heavy Blosssom, the cd-r label run by Marcia Bassett of the Double Leopards and Hototogisu and Matthew Bower of Skullflower, Hototogisu, Sunroof!, Total, etc. Did lots of digging but couldn't figure out a damn thing about this Sarah's Charity outfit. There are guitars. LOTS of 'em. And we're talking the sort of guitars that sound like they are playing themselves, lit on fire, squealing and squirming, snapping at you every time you reach toward the amp and try to turn it down. Sharp and prickly, thick coruscating walls of white hot, buzzing snarling guitars. This is definitely a 'noise' record. But it's also somehow a psychedelic guitar record. By the sound of it, this could be either Bassett or Bower, just sort of going apeshit with a guitar, and about a million watts of amplification and the biggest distortion pedal in the universe. After a few minutes the distinct guitar-ness of the sound begins to blur and distort and all sorts of strange melodies and alien textures begin to emerge. For being very LOUD, and very heavy, and quite harsh, it's also strangely soothing and droney. An amazing, massive acid fried psychedelic free noise outerspace freakout. Released on Hototogisu's Heavy Blossom label. As always, SUPER LIMITED. We only got a handful. Packaged in a hand painted fold over cardstock sleeve. Be careful though when you put this in your player. The cool hand painted disc seems to dry and flake, so before you throw this in, give it a good blow or brush, and then hang on...
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We're pretty skeptical of the two man band, a lot of the time we end up wishing a bass / drums duo just had a guitarist, or that a guitar / drums duo had some more low end. There are of course exceptions: Godheadsilo, Om, Ruins, and you can now add Belgian duo Sardonis to the list. The latest blast of kick ass heaviness from MeteorCity, who are on the roll to end all rolls, recent releases from Freedom Hawk, Egypt, Leeches Of Lore, Whitebuzz, Village Of Dead Roads, Flood, Ararat, those guys are killing us! And we love it.
So Sardonis are a guitar and drums duo from Belgium, who traffic in epic, heaving, monstrous instrumental metal, equal parts classic stoner rock, old school doom and post rock/post metal or whatever you call it. Needless to say, you won't even notice the lack of bass here, the sound is MASSIVE, the low end crushing, and the riffs killer. We'll be the first to admit that instrumental rock can definitely get boring, often sounding like it's unfinished, where you're constantly expecting the vocals to kick in at any minute, but Sardonis solve that problem by crafting super catchy songs that are as much about texture and timbre and mood as they are about rhythm and riffery. Slipping from slow motion lurching crush, to wild frantic blasting, to woozy meandery drift, to full on Sabbathy dirge, this is some seriously heavy, seriously atmospheric shit, the chords not always predictable, the melodies veering of into strange directions, the band sometimes locking into totally mesmerizing trancelike jams, but just as often, exploding into bursts of in-the-red downtuned psychedelia.
It's hard to say exactly what it is about these guys, it's a little bit of everything, some sort of alchemy between the two, and their ability to conjure these songs, riffs, this tone, the overall sound, whatever it is, it fucking rules, and we find ourselves unable to stop listening. Which is always a good sign...
Great hook-filled indie rock, tight and charming, with female harmonies... If you think indie rock is at a standstill, try this. For fans of Tiger Trap and Team Dresch.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
First release from this brand new duo, made up of one part Tom Carter (Charalambides) and one part Pete Swanson (Yellow Swans), gorgeously presented as a one sided clear vinyl lp, the other side featuring silkscreened artwork from Grouper's Liz Harris, housed in a thick clear vinyl sleeve.�
Both these guys bring out the best in the other, dense tangles of chiming metallic shimmer, drifting harmonics, whirring amp buzz, keening feedback, bits of scrape and shuffle, dotted with tiny squalls of burnt psych guitars, swooshing ambience and lots of drifting space.�
The sound is murky, but vibrant, notes and chords spread into a thick slow shifting fog of fragmented melodies and wavery bits of guitar grind. On the surface, this is raw and wild, untamed and even mildly abrasive, but these guys manage to deftly smooth it all out into something downright pretty, without losing any of the raw fire or visceral immediacy.�
As with most things like this, it's also super limited...
We listed the first release from Sarin Smoke a while back. It now seems to be back ordered or our of print or for some reason unavailable, we're working on getting more back in, but in the meantime, they've returned with yet another lp only slab of dreamy, blessed out guitar explorations. The 'they' in this case being Pete Swanson from the Yellow Swans and Tom Carter from Charalambides.
This is absolute nirvana for guitardrone fanatics. Huge glowing arcs of grinding distorted guitars, massive swells of whirring low end incandescence, whispered minor key creep, creaking buzzing shimmering ambience, tinkling melodies, throbbing humid riffing, spare and spacious, contemplative and meditative, but with occasional stretches of almost straight rock riffing, and once in a while bursts of fiery psychdrone radiance.
Limited to 652 copies. Pressed on super thick 180 gram vinyl. And while they last, the first 287 lps comes with a cd (not a cd-r, an actual cd) with the same music for listening and Ipod-ing ease!!! Packaged in super heavy letter pressed sleeves with original artwork from Liz Harris of Grouper.
Saros, featuring the (amazing, need we say?) drummer from the legendary Weakling, is one of San Francisco's up and coming heavy metal outfits, playing a blend of thrash, black and speed metal that takes no prisoners live (and now, on record). Saros are all about old school rippage mixed with weird black metal epic experimentation... On their debut full-length Five Pointed Tongue you get a fierce lesson in modern metal melding, the band both galloping and trudging (depending) through five fairly long tracks (43 minutes total) that mix up blackened rasps, clean vocal melodies, some acoustic guitar, prog-rock song structures, widdly solos, and plenty of traditional Bay Area 'banging. No matter the twists and turns, in one of Saros' songs you're never far from a blast of icy riffage. And quite a beating when it comes to the drums! Requisite obscure metal nerd reference: I wonder if these guys are at all familiar with French Canadian tech metallers Obliveon? I think they'd like them.
Night Gallery 3 compilation alumni Sarumatakemitsuko (whose name might translate into something in English like "Monkey Crotch Mushroom Mituko"?? no that can't be right... we hope not!) bring us their debut full-length for Osaka's Alchemy label. They were also just on Alchemy's recently reviewed Tribute To Jojo Hiroshige, and both comp appearances whetted our appetite for this cd.
An all-female psych rock trio (vocals & guitar/guitar/bass... no drums!), Sarumatakemitsuko's album is often a haunting and beautiful thing, initally making quite effective use of eerie, lovely vocals and occasional stabs of guitar, eventually exploring chanting, fuzzed-out repetition, using slashing guitar chords percussively in lieu of drums. But it's not all downer drone-psych minimalism, as with track three "An An" the disc suddenly veers into sunny indie-pop jangle a la Maher Shalal Hash Baz or Nagisa Ni Te. Eventually things cloud over yet again, getting again all drifting and dreamy, especially on the disc's final 13 minute cut "Akai Butter", wherein emotive vocals and notes plucked out on one guitar are suspended over what builds into a droning bed of distortion...wandering, narcotic. Very nice indeed. Certainly something fans of Nagisa Ni Te, Angel 'In Heavy Syrup, Doodles, Eddie Marcon, etc. should hear!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Hot on the heels of their much revered debut Court in the Act, fresh-faced youngsters Satan have returned from the foggy English North to deliver another razor sharp slice of very regal, very classic, very BRITISH heavy metal!
Oh wait, did we mention that much revered debut actually came out 30 years ago?? That's right, it's been a LONG time coming, but Satan have reformed with their entire original line up intact (that never happens!) and have against all odds delivered one of the most potent and exhilarating heavy metal records of 2013. Life Sentence is buzzing with a youthful exuberance no one has any right to expect from a band well into its third decade - especially one that's been inactive for so long. The entire record is a blur of infectious riffs, confounding guitar leads and commanding vocals. Seeing as Satan originally emerged from the darker side of the New Wave of British Heavy Metal, fans of bands like Angel Witch, Pagan Altar and Witchfynde are obviously going to find lots here to love. But there's something about the combination of Brian Ross' deep theatrical vocals layered over the band's unique brand of eccentric, dramatic heavy metal that also brings to mind Bay Area true metal stalwarts and long time aQ faves Brocas Helm, while some of the dizzying proto-thrash riffing and occasional piercing falsetto wails recall Mercyful Fate in their prime. Otherwise though, Life Sentence is a wholly British affair. Satan's approach to heavy metal feels historical and dignified with a sense of medieval dread running throughout (not unlike their also recently reformed NWOBHM peers Hell) with songs that might not sound out of place soundtracking a dreary English countryside besieged by plague, or perhaps a lively public execution by guillotine in the local town square! The production is appropriately understated and sparse to match, striking the perfect middle ground of a nice clean sound without ever sounding too modern or polished. Highly recommended for any traditional headbangers out there who prefer their metal a little bit dark and a little bit menacing, but still addictive and catchy as hell. Get this... lest ye be judged!
C'mon, how can a record called Hard Blood Shock NOT be good? Especially when it's a collection of crazy punk rock music from the former Yugoslavia, all by this guy, a singer with the stage name of Satan Panonski (aka Ivica Culjak), who was about as alternative & subversive & punk rock as you can get, particularly in a communist dictatorship: a self-mutilating body artist, avowed homosexual, underground poet, painter, and asylum/prison inmate (he'd killed a man in a fight in self-defense and wound up in a state mental hospital for criminals for nearly a decade). Apparently, though, they'd let him out on weekends, so he could continue his punk rock career, playing live and recording several cassettes and lps with Croatia's top punk musicians.
Unfortunately for him, perhaps the only conventional thing he ever did was to join the army to fight against the Serbs when they invaded Croatia during the break up of Yugoslavia in the early '90s, that's how he died in 1992 at the age of 32, a victim of the Balkan Wars.
This lp-only release on S-S (no cd, no download) is a 'best of' this tragic Croatian punk legend, drawn from his rare late '80s/early '90s releases, transferred from original tapes. And as you might expect, it's hard, bloody, and shocking. Of the 18 tracks, only a few have titles in English, including one called "Kiss My Cock", which might give one an idea of the attitude on display. Satan Panonski's music blends snarling old school punk (a la Sex Pistols) with some ethnic Croatian folk bits and noisy, experimental weirdness. It's pretty wild and rockin'. A rager.
Included is a 16 page booklet with biographical essay, translated lyrics, drawings, photos, etc. Anyone with an interest in Eastern European punk ought to check this out.
Killer blast of garage pop surf scuzz from this Stockton California combo, that had us immediately thinking of another surf garage group we flipped over a while back, Mrs. Magician, but SW take that same sound, strip it way down, and add some fuzzy, wasted shoegaze to the proceedings, just check out opener "Freeway", which sounds like it should have been on Slumberland, lo-fi, fuzzed out, simple propulsive drumming, over spidery melodies, and some ethereal vocals that give the vibe a serious girlgroup feel. Follow up "She's Not Right" injects some Beat Happening style minimalism, with boy/girl harmonies sung by two boys, the intertwining high/low vox wrapped around some dirgey, reverb soaked riffage, and more primitive drumming. And that's pretty much how Black Eyed Kids plays out, the sound shifting from stripped down, lo-fi crunch, to lush, swirling fuzz pop. Tracks like "Reality's A Bitch" combine the two into jangle pop gems that pile on the warm swaths of distortion, multiple vocals, buzzing distorto-melodies, even some buried samples and sound effects,. There are moments that are obviously home brewed mad scientist tinkering, the band gleefully indulging in weirdo 4-track dub experiments at one point, but it somehow fits perfectly with the rest of these woozy surf pop and garage rock jams, the second half of the record heavy on 'hits', "Sun Coma" sounding a bit like Jeff The Brotherhood, a crazy catchy burst of distorto-pop radness, or the sprawling slo-mo closer "Therapy", which sound like Thee Oh Sees at 16 rpm. Fans of the current crop of garage pop should flip for these guys, file next to Ty Segall, Mikal Cronin, Thee Oh Sees, The Intelligence, Mrs. Magician, Sultan Bathery, Herzog, etc...
For whatever reason, we never really paid too much attention to Satan's Host, in the fine tradition of book cover judging, we sort of assumed they would be just another generic boring Satanic black metal band, and apparently they were at some point, and it makes sense, the band name, the cheesy (but cool) cover art, they're on Moribund, but this is maybe their 8th record or something, so we checked it out, and wow, not boring black metal, instead some strange sort of Satanic blackened power metal, led by the powerful soaring clean vocals of their original vocalist Harry "The Tyrant" Conklin, he also of the mighty Jag Panzer, and it's a pretty potent combination for sure, total epic TRUE metal vocals, nestled in some crushing, melodic, heavy as hell hybrid of classic metal and buzzing blackness, pretty tough to resist, especially if you love black metal, but tire of the raspy shrieks, or love metal, but find true metal and power metal a little to wimpy, well, then, this is for you.
And to top it off, they do an amazing/ridiculous/dumb/brilliant cover of the Beatles' "Norwegian Wood", appropriately metallized (and damn it sounds good all buzzy and blasty), but even better, they rewrote the lyrics, so now it's about burning churches, "Norwegian Wood", get it?! Anyway, some seriously melodic blackened satanic power metal heaviness that the metalheads around here have been digging like crazy, and thus comes way recommended it you're of a similar stripe...
Wow! Classic UK punk from 1977, and how! Satan's Rats came out of Evesham, Worcester, and among their claims to fame -- playing some of the earliest punk festivals -- they opened for the Sex Pistols and were so well received the audience demanded and encore (no small feat for a band playing for finnicky young punks waiting to see the genre's defining act.) This anthology, compiled by founding member / guitarist Steve Eagles includes everything the band ever recorded: six songs off their three singles and 14 demo tracks recorded between 1977 and 1979. The final four demo tracks are true gems, primitively recorded in a basement studio which had decayed so far by the time they were preserved in the digital realm they were riddled with drop outs. Damn, if there's nothing greater than those anomalies of analog recording indelibly archived in the digital world! I don't know why, but I always love hearing that. As far as the music of the Rats goes, it's just plain good old fashioned punk rock n' roll. Both the music and vocals sound a bit like Generation X, but maybe with the stick pulled out of Billy Idols ass a bit, or maybe a little like The Buzzcocks but pitched an octave or so down. On the six demos (never before released?) the band was working on in 1979 before vocalist Paul Rencher split the group (Steve Eagles went on to form The Photos aftwerwards) you can hear the Rats working towards extended rock jams -- like Ulster rockers Stiff Little Fingers -- with guitarist Eagles spreading his wings (pun maybe intended) and showing his guitar prowess. Includes repros of the original 7" sleeves, publicity photos of the group and a brief bio of all the important moments of the group's career penned by Eagles. Oh, and they do an irreverent cover of "Lady Is A Tramp"! What more can we say? Highly fucking recommended and shit!
Remember the movie 2000 Maniacs? Where tourists are lured to a small Southern town and are forced to participate in 'games' that are essentially elaborate and ultra gory (and quite inventive) excuses for extreme torture that ultimately lead to their deaths. Or howabout the sixties biker classic Easy Rider? The ultimate drugged out hippie motorcycle road movie. Or maybe the seventies British horror flick Psychomania, about psychopathic suicidal bikers who make a pact with the devil, kill themselves and return from the dead to terrorize the squares? So now, imagine some crazed, druggy, doomy, psychedelic, psychotropic, head spinning mix of all three, and Satan's Satyrs are pretty much the perfect house band. Similarly, Die Screaming is essentially the soundtrack to the above, some impossibly insane, low budget, blood drenched, exploitation-splatter Z-grade alien biker undead epic. The opening track "Thumper's Theme" is uncharacteristically upbeat, but you can almost imagine this fuzzed out organ fueled jam playing beneath the credits as a porky, leather vested biker, presumably "Thumper" rolls into town, as the townsfolk lock their doors and lower their blinds, all to the strains of fuzzed out distorto riffage, wheezing organ, tumbling toms, all a little bit surfy, infused with just a bit of sonic swagger. But it's on "Instruments Of Hellfire" where things get really good, or perhaps bad if you're one of those innocent bystanders, wild squiggly psychedelic leads over blown out Stooges-y metallic garage punk pound, plenty of wild wah wah guitars, totally tripped out, and when the vocals swoop in, totally whiney, high pitched, and echo drenched, somewhere between a young Ozzy, and a more unhinged hysterical version of Uncle Acid, and in fact, Uncle Acid fans should be ALL over this. It's like a more raw and primitive take on the same sort of seventies psychedelic hard rock, but with SS, it all sounds so much more desperate and unhinged, frantic and dangerous. Oh and then out of nowhere, in comes a barrage of bongos and hand percussion, that gives the sound a little bit of a Goat vibe, but only for like 10 seconds, and then it's right back into another, lurching, lumbering psych-doom garage rock blowout.
Apparently UK doomlords Electric Wizard are huge fans, which makes sense, as they share much of the same sonic DNA, a similar psych-doom bent, and the same obsession with exploitation movies, horror flicks from the sixties and seventies, SS's jams even more that EW's evoking rubber suited beasties, blood spurting ultra violence, greasy bikers and bodacious bikini babes, if it's possible for a 'sound' to be greasy, and filthy, dirty and caked in dried blood, well, Die Screaming is as filthy, bloody and lysergic as it gets. And stick around for the sprawling creepfest closer, the 12+ minute title track, which is a drugged out doom crawl: over a bed of whirring organs, SS unfurl a lumbering dirge, a wasted psychedelic downer rock sprawl, that explodes in the last few minutes into a final, frenzied blast of heavy-horror biker rock crush that KILLS!!!
All that, and then when you add in the blood dripping logo, and melting skull cover art, it's pretty much a guaranteed aQ Record Of The Week! YOU WILL DIE SCREAMING!!!!!!!!!!!!!!!!!!!!
Die Screaming, last year's killer album from these doomed-out, garage-rockin' dement-oids, we made a Record Of The Week, and it landed in several of our year-end top tens too, so yeah we are excited about this, the Satyrs' brand new album, and yeah, it rules!!! But, as with their previous record, it makes a weird first impression; if you haven't heard 'em before it might take a bit to get your head around - but for us, a few songs in and we were 100 percent hooked. It's just that, for a bunch who present themselves like a outlaw biker gang from some '70s, Z-grade exploito-movie shocker, they're more poppy than you might expect. They're psych and metal too, but lead-off track "Full Moon And Empty Veins" is soooo uptempo and upbeat, that it's really glammy pop we're hearing, super distorted and fuzzy, yeah, but also major key happy and bouncy. That poppiness persists in the Satyrs' speedy garage metalpunk sound as the disc spins, these high energy jams replete with fucked up freakout frenzies of solos and perhaps the Satyrs' most distinctive feature, the love 'em or hate 'em vocals - sneering, snotty singing taken to the most gnarled extreme ever. Like Ozzy after having been fed some really strange drugs, causing weird brain damaged speech impediment. Tracks like "(Won't You Be My) Gravedancer" sound like Pentagram's garage demos from the '70s given a bubblegum injection, while several others take off on way out psych-solo excursions - it's the sort of thing that when you've got it cranked, nothing could possibly be cooler.
Definitely another winner from this gang, for fans of Uncle Acid, Zig Zags, Fuzz, King Tuff, and we're just now thinking Fred Cole's pre-Dead Moon '70s band Zipper. Freakin' recommended.
Goddamn this makes us wanna see these guys live - missed 'em the last (and only?) time they were here, opening on tour for their comrades Electric Wizard, argh. It was the night before Record Store Day so we were too busy... Well hopefully they'll be back and we'll be there!
We've been trying to get the full length from these Virginia biker doom garage punks for ages now with no luck. So we were super psyched when this new single popped up, featuring Satans Satyrs teamed up with aQ pals Ohmwar. For those new to SS, the opening track is about all you need to know, starting out with a Black Flag cover, transformed into a massive blast of churning, metallic psychedelic biker doom, which quickly explodes into some snarly, swaggery metalpunk, all gristly guitars, and yowled vox, feedback galore, loose, wild and freaked out big time. The second track on the SS side is weirdly poppy, lots of jangle, almost sounding like a Kids In The Hall style theme song to some obscure cult TV show, minus the crazed tangle of blown out psych guitar squiggle, which is AMAZING. Man, we need to get that full length.
Ohmwar make a good match for SS, kicking out the classic post punk noise rock, with some fierce glass gargling vocals over some surprisingly melodic guitar lines, and sampled thunder and rain, minus the vocals, the sound would be more like Husker Du or the Nils, albeit, with a slightly more metalpunk bent, but the vox transform in into something way more aggro. The second track finds Ohmwar tackling their own Black Flag cover, "Nervous Breakdown" this time, given a sort of hyperkinetic punk pop makeover, with the cool addition of wild squiggly guitar shred and some awesomely mush mouthed vocals...
Remember that guy who used to play bass for UK psychedelic doomlords Electric Wizard? You know the one, the fellow with tattoos all over his face, and that Satanic thousand yard stare? Well he actually left EW to try his hand at something more evil, and more Satanic, which is precisely what he's come up with in Satan's Wrath, his new duo, in which he handles everything but guitar, the band's sound a combination of old school thrash, Venom-ous black metal, and classic NWOBHM-isms, which Galloping Blasphemy has in spades.
Opener, the oddly named "Leonard Rising - Night Of The Whip" is indeed a killer slab of classic galloping old school metal, right down to the shredding, dueling leads, and the chugging almost proggy outro. The second track "Between Belial And Satan" are where things get truly thrashy, after a killer doomy intro, rife with woozy psychedelic solos, the track explodes into some metal thrashing madness, that will probably have readers of the aQ list reminded of Denver thrashers Speedwolf, who are definitely drawing from the same sonic/Satanic well. Raw riffing, dive bombing leads, furious drumming, some serious retro satanic chugging and Possessed style shreddery going on, old school blackened primitivism, but with a fierce, modern production, over the course of the record SW display their influences at every turn: Venom, Bathory, Beherit, Possessed, Maiden, even Slayer, and while the classic NWOBHM-isms surface throughout, be sure and stick around for the closing track, holy shit, total classic seventies hard rock heaviness, the main riff a near rip off of Black Sabbath's "Country Girl", the only thing that keeps this from being classic seventies metal is the raspy Satanic vokills, there's some awesome harmony guitars, and a killer old school classic metal lead over a wild metallic gallop, the sound slipping into total Maiden worship constantly, we almost wish the whole record sounded like this, but at the same time, the mix of wild speed metal thrashing, and classic melodic metal make for a pretty good combo as well...
Do you ever wish classic hardcore was more, well, you know... Satanic? Well, then this is for you. A tribute/homage to legendary straight edge hardcore heroes Minor Threat, with those short/sharp paeans to punk purity reimagined as something much more sinister, transformed into blasts of blurred sonic blasphemy, but really, as usual, we were sold before we heard a single note. The original black sheep / Out Of Step cover art, here features the black sheep as an evil black ram with glowing red eyes, retitled In To Hell, with a printed sticker price of $6.66 (of course), and song titles like "Guilty Of Hating Christ" (original: "Guilty Of Being White"), "Satanic Threat", "Small God, Big Cross" (original: "Small Man, Big Mouth"), "Cursing At The Cross" (original: "Screaming At A Wall"), you get the drift.
The back cover is also adorned with a super metal looking Jesus, tongue out, flashing the devil horns, upside down cross in hand, stigmata dripping blood, what's not to love? But don't be expecting super metallized version of hardcore songs, other than the new lyrics, the sound here is straight up old school hardcore, furious and frenzied pissed off and punk as fuck, yowled vox over blasting, galloping hardcore heaviness, just way less positive, and WAY MORE EVIL! The super short album proper is filled out by a live show, with mostly the same songs, this time including ST's version of "Steppin' Stone" (which Monor Threat also famously covered), as well as some pretty hilarious stage banter, and plenty of excellent heckling!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Huge groovy Swedish stoner sludge. Warm fuzzy guitars, crashing drums and soaring vocals. On UK label Rage of Achilles.
How many reviews have you read where the influence of folks like Brian Eno, John Cage and Frank Zappa are mentioned? Lots! But it's not as often that we get to talk about someone else who had a deep influence on those very same icons. But one need look no further then the tender and melancholic piano playing of Erik Satie to find the roots and foundation for some of the most important music of the last century. This is one of the better Satie cd's to come out in recent years as the playing of Francis Poulenc is impeccable. The second half of the disc finds him playing his own compositions, and while Poulenc's pieces are beautiful in their own right, considering that it's pretty tough to follow up all of those amazing Satie pieces. Some of the prettiest, most delicate and touching pieces of music ever written. This is the sound of piano taken to higher level of majestic beauty.
More Zorn-sponsored New Jewish Music from this excellent and young downtown NYC jazz group led by 20-or-so year old Israeli expat Danny Zamir. Fans of Masada and the like, should like.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
