Friday, July 30, 2010

Young Marble Giants - Colossal Youth & Collected Works

There really ought to be more bands like Young Marble Giants, which doesn't mean that there ought to be more bands that sound like Young Marble Giants. They came out of the nowheresville of Cardiff, Wales; they didn't particularly have a local scene to buoy them up, or a niche to fit into. What they had was an aesthetic that was totally theirs, a sound and style that essentially had no antecedents. Play any six seconds of any YMG song and you'll know exactly who you're listening to, and probably be thunderstruck by its unsentimental beauty of tone.

In a year when everyone was trying to make a big noise-- but isn't that every year?-- YMG switched tactics, forcing their audience to lean in to hear them. It's not simply that they were quiet, although substituting a drum machine that sounded like it had a thick quilt on top of it for a human drummer was a radical move at the time. They weren't even all that quiet-- they were just in love with negative space, and their lyrics were so much about things unsaid that the space was formally appropriate. Stuart Moxham flicks at his guitar like a card-shark snapping out an ace, amplifying the impact of his pick on the strings as much as the notes themselves; his brother Philip Moxham bangs at his bass, then lets the sound decay. Alison Statton's not an affectless singer, exactly, but her chief weapon is understatement. She knows how angry Stuart's songs are, and just barely hints at that fury, in a voice that suggests someone finding the courage to say something she's needed to say for a while and has only one chance to get right.

What's sort of shocking about their sole album, actually, is how full of rage it is, and how many ways the band manages to translate that rage into something that's not the way the rock idiom usually expresses it. Colossal Youth ticks like a not-yet-exploded bomb. In theory, "Include Me Out" is a mighty garage-rocker, something the Stones or Count Five could've played with a sneer and a great big beat; the Giants strip it of virtually all its audible violence, reducing its rhythm to a muffled thump. "Credit in the Straight World" is a vicious little song about the relationship between subculture and mass culture, and it's all tension, no release, with a riff that keeps landing a half-step above where it should resolve. (The caterwauling Hole cover of it, from Live Through This, demonstrates that you could fill in all the space in Stuart Moxham's songs and still have something impressive.)

There's another space in the center of these songs, though: a pervasive sense of lost youth, toward which most of their fury is directed. "Young" and "youth" turn up in the band name and album title (both were taken from a description of a classical statue), and Statton was only 20 when they got together. But Stuart Moxham's fixation on a moment of perfection he could feel slipping away-- "Salad Days" is another song title-- is the reason it's poetically apt that the band only made one, exquisite record.

The poetic version, of course, doesn't quite fit the facts. This latest reissue-- we also reviewed the previous one-- is a 3xCD model, augmented with the other extant YMG studio recordings (and fascinating Simon Reynolds liner notes). There's not much else in the vault-- two singles (one of them instrumental), a compilation track, a five-song BBC session and a bunch of demos and rehearsal tapes originally issued in 2000 as Salad Days. Aside from the vocal single's apocalyptic fantasy "Final Day" and cryptic lament "Cakewalking", they add almost nothing of substance to the band's legacy. Colossal Youth is such a bracing artifact, even now, that it begs for context; the other two discs demonstrate that the album is really all the band had to say, and the way they said it best.

Which isn't quite true either. Statton and the Moxhams, fortunately, didn't give up music after Young Marble Giants split up, and there are worthwhile passages in all of their later discographies. (Start by hunting down Weekend's '81 Demos EP.) The five days when Colossal Youth was recorded, though, were the moment when they were sailing painfully and angrily into maturity, staring into a darkness illuminated a flicker at a time by a fire behind them that they knew couldn't last. Douglas Wolk (Pitchfork)


Young Marble Giants - Colossal Youth

Pip Proud - One Of These Days


TV Guitar

Sunday, July 25, 2010

Swoon 23 - Famous Swan Song (1995)


Swoon 23 Clean Air Clear Stars 10/11/2008 shot by Davey D

Wilting & Melting U. - Live From Austin 2006

1. Horse + Donkey
2. ST 37
3. Baby Robots
4. Warmer Milks
5. Foot Foot
6. Iron Kite
7. Cave Dweller
8. Sex Organs Of Emittance
9. Rubble


Rock 'n' Roll Nightmare (1987)

The Jesus And Mary Chain - Barbed Wire Kisses (1988)


the jesus and mary chain - don't ever change

Planet-Y - Space Station (2006)

Planet Y is the mind-boggling teaming of Papadopoulos on dg-20 Casio digital guitar and electronic beep/boop guru Charles Cohen playing the Buchla Music Easel. Space Station is a live recording of their improvisation at St. Mary's (a beautiful church in Baltimore, MD) on November 17, 2006. The result is a mix of blissed out, spacey drones and frenetic, lo-fi Electronica. Enjoy!

The Chipophone

The Mermen - A Glorious Lethal Euphoria (1995)


Friday, July 23, 2010

Sugar - Beaster (1993)

Come Around

SUGAR - Tilted

Dull Knife Mix # 1 - Ohio

1. Screamin Jay Hawkins - I Put A Spell On You , 1957
2. Albert Ayler - Ghosts , 1964
3. Granicus - Cleveland , Ohio , 1973
4. Stone Harbour - You'll Be A ... ,1974
5. Mirrors - Hands In My Pockets , 1974
6. Electric Eels - Sewercide , 1975
7. Rocket From The Tombs - Final Solution , Live , 1975
8. Devo - Buttered Beauties , Demo , 1975?
9. Vertical Slit - Bass Bow Piece , 1977
10. Pere Ubu - Life Stinks , 1978
11. Pagans - Dead End America , 1979
12.Necros - I.Q. 32, 1981
13. The Guns - I'm Not Right , 1983
14. The Mice - Not Proud Of The USA , 1985
15. My Dad Is Dead - Talk To The Weatherman , 1986
16. Thomas Jefferson Slave Apartments - Baboon's Liver , 1986
17. H-100's - Destroy Cleveland , 1995
18. Brainiac - Go Freaks Go , 1995
19. Guided By Voices - Dayton , Ohio - 19 Something And 5 , 1996
20. Integrity - Micha , 1996
21. Harriet The Spy - Cum Stomache , 1998
22. 3 Studies For A Crucirixion - Apalachian Folkhymn 3000 , 2001
23. Psychedelic Horseshit - Nothing Is New , 2006
24. Homostupids - Having A Houseguest , 2006
25. Times New Viking - Devo & Wine , 2007

Link Iz Here

Meet The Feebles Trailer

Thursday, July 22, 2010

I Can't Get It Out Of My Turn To Stone Head - Unearthed Expansive Sounds 1968-Present

TJ Hooks Rap - Song

2 Petrus featuring Ruthann Friedman - There Isn't Time

3 Mushroom (3) - Where I Belong

4 Mom's Boys - Yellow Pill

5 George Edwards Group, The - Nevada

6 Ya Ho Wa 13 - Whistling Winds

7 Rudy & The Love Slaves - Tormentors Theme

8 Simply Saucer - Baby Nova

9 Monster Magnet - Black Wawa

10 Puffy Areolas - Hold It Back

11 C.I.G.S. - Down On The Street

12 Mondo Drag - Light As A Feather

13 La Otracina - White Energy

14 Creeping Nobodies - Beltane

15 Plastic Crimewave Sound - Shifting Sands

16 Naked Death - Sex Circus Theme

17 Samara Lubelski - Snow Meadows II (Live)

18 Vashti Bunyan - I'd Like To Walk Around In Your Mind (Live)

19 Christina Carter - Laugh At A Book

20 Peter Walker - Tune On Karen Dalton's Guitar

21 Joy Poppers, The - Chewy Galoshes

22 Leslie Anne Mackenzie Sten - End Titles

Something Weird Video's World Famous Opener

Dr. John - Gris-Gris (1968)

Mama Roux

Dr. John, The Night Tripper - Zu Zu Mamou

Monday, July 19, 2010

Agitation Free - 2nd (1973)


Agitation Free - Laila Part1/2

At The Doors Of The Palace - A Public Guilt Implied Sound Sampler

1 Zu - The Last Portrait Of Him Holding A Knife In His Right Hand

2 Destructo Swarmbots - Sipping In The Fog

3 Aluk Todolo - "Symbol" (Unreleased)

4 Darsombra - Drun

5 Psychic Paramount, The - Paris, Part Two

6 Dälek / DS* / Oddateee - Son Of Concrete

7 Strotter Inst. - AN (Side A)

8 Kiss The Anus Of A Black Cat - Turning Hegel On His Head

9 Perfect Teeth - 4 AM Gauze Shroud

10 Magicicada - Mother Shipton (Excerpt)

11 Trephine - Goes To Hell, Mr. Wiggles (Part Two)

Redneck Zombies Trailer

Sunday, July 18, 2010

F/i - Out Of Space & Out Of Time (1993)

"F/I are From Milwaukee, Wisconsin, and has been around since 1981, releasing half a dozen LPs on RRRecords. The band started out as a unit elaborating on noise structures in the tradition of Throbbing Gristle or Nurse With Wound. They are also influenced by Hawkwind and Spacemen 3. In 1983 they changed their name from Surfin´ Führers, The to F/i. Richard Franecki later went on to form Vocokesh but still returning to F/i once n a while. Highly Recommended! Here


Current 93 - Nature Unveiled (1984)

Highly Recommended!

Current 93 - LAShTAL

The Jam - This Is The Modern World And All Mod Cons

Two Classic Albums

The Jam - Live On The Old Grey Whistle Test

Thursday, July 15, 2010

Humble Pie - Town And Country (1969)

Buttermilk Boy

Home And Away - Humble Pie

Texas Funk - Black Gold From The Lone Star State 1968 - 1975

1 Latin Breed I Turn You On
2 Tickled Pink Reach Out (And Give Me Your Hand)
3 Sunny & The Sunliners Get Down
4 Majestics, The Funky Chick
5 Little Jr. Jesse & His Teardrops & The Tears Funky Stuff
6 Timothy McNealy Sagittarius Black
7 Brothers Seven, The Evil Ways
8 Zapata (2) Do Your Thing (Pts. 1 & 2)
9 Groove Merchants, The There's Got To Be Someone For Me
10 Mickey & The Soul Generation Give Everybody Some
11 Road Runners Every Man For Himself
12 Vern Blair Debate Super Funk
13 Soul Ones Soul Pot
14 Little Jimmy Tyson & The Highway Robbers Who Will Be The Next Fool
15 Joe Bravo Sissy Strut
16 Booker T. Averheart Heart 'N Soul
17 James Polk & The Brothers Power Struggle
18 Bobby & The Premiers I Got The Feeling
19 Kashmere Stage Band Super Bad
20 Eddie Finley & The Cincinatti Show Band Clean Up Man
21 Fabulous Mark III, The Psycho (Pts. 1 & 2)


Heart 'N Soul-Booker T.Averheart

Saturday, July 10, 2010

Pentagram - First Daze Here Too

Relapse Records' second collection focusing on the 70's US doom band Pentagram is a sprawling 2CD set that is a continuation of 2002's First Daze Here-The Vintage Collection. If you picked up that set, you would have gotten a first glimpse of some of the rare and unreleased recordings of this seminal Virginia doom band, who twice came close to scoring a major label deal only to have them fall apart, leaving all these solid early metal songs unreleased for years. While that first set focused mostly on the heavy, doomy material, First Daze Here Too takes you to some of the other less doom metal and more straight rock material. It's still heavy and intriguing however, and shows just how talented this band was.

The first CD here contains the remainder of the original demo songs that the band recorded in 1976 at Undergound Sound Studios. All are pretty polished numbers, a mix of doomy metal and straightforward hard rock. In addition to the excellent heavy rocker "When the Screams Come", the band features in this set a great cover of the Rolling Stones classic "Under My Thumb", the punkish "Wheel of Fortune", the UFO/Free-inspired bluesy hard rock piece "Much Too Young to Know", and the catchy "Teaser".

CD 2 contains fifteen tracks in total, mostly warehouse rehearsal recordings, and there are some of so-so quality, but for the most part they sound pretty good. The material, as is most of the Pentagram catalog, is top notch. From the Captain Beyond influenced heaviness of "Virgin Death", to the Robin Trower styled wah-wah guitars of "Yes I Do", to the relentless Sabbath styled doom of "Ask No More", the three cuts that kick off disc two, there's just one hot tune after another here. Lead singer Bobby Liebling truly had a unique style, and paired with the guitar talents of Vincent McAllister (Randy Palmer and Marty Iverson also contributed some guitar to various tracks here) plus the tight rhythm section of bassist Greg Mayne and drummer Geof O'Keefe, Pentagram seemed destined for big things, but it never happened sadly. One listen to the hot guitar licks of "Man", the psychedelic blues vocal wailings of "Be Forewarned", or the brontosaurus stomp of "Everything's Turning to Night", all scream of a special talent that was never presented to the metal masses, and that's a really sad thing.

Relapse has put together a very strong presentation here, with a full booklet containing lyrics and vintage photos, plus a full essay from drummer O'Keefe who privides insight on the history of the band and the many near misses that prevented Pentagram from being huge. He also adds detailed info on each song, where they were recorded and how they came to be, including lyrical and musical inspiration.

If you have any interest at all in 70's heavy rock, doom, or blues-metal, the two Pentagram First Daze Here are a must have. Pete Pardo (Sea Of Tranquility) ~~~~~~

pentagram - wheel of fortune

Karp - Self Titled LP (1997)

Forget The Minions

Friday, July 9, 2010

Karp - Bacon Industry

The Tunnels

Great band from Austin kicking out the jams they remind me of brian johnstown massacre and bands like that really good stuff check them out. ~~~~~

The Tunnels at Psych Fest 2 - March 14th, 2009 at Radio Room in Austin, TX

Thursday, July 8, 2010

Psychic Ills - Early Violence (2006)

Highway Of Death

Psychic ills - 4AM

Pylon - Gyrate (1980)

This album is just awesome check er out folks! Highly Recommended ~~~~~

pylon-stop it (rock and roll no)

Those Were Different Times - Cleveland 1972 - 1976

Here are 29 tracks of prime Cle noise "post punk before punk happened" - the missing link between the Velvets/Stooges and the class of 1977 Tracks:
01. Annie (The Mirrors)
02. How Could I (The Mirrors)
03. You Me Love (The Mirrors)
04. Living Without You (The Mirrors)
05. Beaver Girls (The Mirrors)
06. Frustration (The Mirrors)
07. Hands In My Pockets (The Mirrors)
08. Sweet Refrain (The Mirrors)
09. I'm Going To Wyoming (The Mirrors)
10. We'll See (The Mirrors)
11. Safety Week (The Electric Eels)
12. Wreck & Roll (The Electric Eels)
13. Splitterty Splat (The Electric Eels)
14. Stucco (The Electric Eels)
15. Circus Highlights (The Men From UNCLE [Electric Eels])
16. Now (The Electric Eels)
17. You Crummy Fags (The Electric Eels)
18. Mustard (John Morton & Paul Marotta)
19. The Big "O" (Dave E. McManus)
20. No Nonsense (The Electric Eels)
21. Spinach Blasters (The Electric Eels)
22. Flapping Jets (The Electric Eels)
23. Thirtyfour (Styrenes)
24. Draw The Curtain (Styrenes)
25. Mr. Crab (Styrenes)
26. You're Trash (Styrenes)
27. Pleasure Boating (Styrenes)
28. Grey Haired Rats (Styrenes)
29. Nineteen Sixtyseven (Styrenes) LINK HERE

Mirrors - Hands in my pockets

Tuesday, July 6, 2010

Love - Forever Changes (1967)

The Daily Planet

Arthur Lee and Love - Forever Changes Concert (Alone Again Or & A House ...

Wolf Eyes - Human Animal

The cycle of tension and release is a well-worn musical ploy, but Michigan's Wolf Eyes have somehow managed to find new ideas in that technique's cracked façade. The band's best shows are an orgiastic symphony of hypnotic build-up and cathartic discharge. Every Wolf Eyes fan knows what to expect from the latter-- distorted, decaying beats, slashing noise from John Olson and Mike Connelly, and lung-killing rants from Nate Young-- and when to pump fists and jerk heads accordingly. The more abstract sections in between are trickier. Sometimes the trio's gnarled drift stops too abruptly, other times it out-meanders its welcome. But when these scientists hit on the right formula of slow-burning anticipation, the bombast that follows has the profundity of a drug-induced epiphany.

Previous Wolf Eyes records have struck that magic balance during individual songs or sides, but none have stretched it over an album's length like Human Animal. Here the group's pre-climactic swells seem coated with extra allure, such that the first three tracks can spend 15 minutes gradually gathering density without losing momentum. It's partially due to a patient restraint that makes the clanging "A Million Years" oddly quiet, similar to Sightings' shadowy retreat on Arrived in Gold; partially due to Olson's snake-charming sax (something he's perfected with his dirt-jazz trio Graveyards) on the war-torn "Rationed Rot"; and very much due to the way even a purely textural piece like "Lake of Roaches" throbs with insistent pulse, mimicking time's relentless march.

Whatever the reason, this dark, transfixing three-part suite makes the subsequent peak of the title track pretty staggering. "Rusted Mange" extends the climax with rhythms that overlap like competing fireworks. Mixed with more Young vocal screech and Olson sax whine, the piece splits the difference between didactic pound and inscrutable cacophony, delivering the promise of the preceding simmer.

The trio's tension-release loop gets lathered, rinsed, and repeated on Human Animal's final three tracks, this time in a quicker, sharper rotation. The six-minute "Leper War" detonates windy bombs over a smoldering static terrain, fading into the rippling march of "The Driller", whose deadened pound sprouts into a hummable lurch. As Young's moans rhyme with the surrounding din, the track actually becomes more like music than noise.

Which makes "Noise Not Music" a logical closer. Here instead of noise made from pure abstraction, we get music beaten until it shatters into noise, with what sounds like 100 simultaneous punk songs piled into endless climax. The song's chanted title may be a brutal manifesto, and Wolf Eyes' metronomic swing can sometimes be fascistically either/or. But Human Animal is far from black and white; it's more like its melted-face cover painting, a dripping swirl of different shades of gray. Marc Masters (Pitchfork) ~~~~~

Wolf Eyes - Human Animal