Wednesday, December 31, 2014

See ya in 2015...

Recorded during rehearsals for the famous Fillmore East Band Of Gypsys concert 45 years (!) ago, Hendrix, Cox and Miles put down their beers for a few minutes and jammed out one of the cooler holiday medleys from the era. "Little Drummer Boy", "Silent Night" and "Auld Lang Syne" all recieve their acid rock due and Hendrix (as usual) turns what was probably an impromptu jam into a single for the ages. The 7-minute "extended mix" made available just a few years ago is the definitive version so it's the one I included. Enjoy.

Tuesday, December 30, 2014

Ole Gravy Leg

Banking a sharp 180º degree turn from last post comes a solid slab of lo-fi dirge metal from obscure Erie, PA sludgers Village Of Dead Roads. Allegedly recorded in one live take, their debut full-length trudges along like a drunken rhino; slow and repetitive yet still managing to pull off some really inspired moments. The sluggish breakdowns in "Blind Albino" (slickly overdubbed with some bad-ass obscure movie samples - Bad Lieutenant maybe?) are completely addictive and could happily go on forever. My favorite track is "Ole Gravy Leg" - a song that totally fulfilled my expectations the first time I heard it. The riffage, brutal outro breakdown... everything fits to an absolute tee. Almost a perfect song. My only complaint with Dwelling In Doubt are the way-too-many "skit" tracks of noise-ish nonsense. Just get with the fucking music motherfuckers. Enjoy.

Monday, December 29, 2014

Somethin' A Little Different...

The few and far between purveyors of this blog will probably be blindsided by the fact that I am actually a massive Bee Gees fan. Tucked in between Beck and Begging For Incest are two dozen CDs of my favorite UK-via-Queensland pop trio. I thought I'd upload two hidden treasures in their extensive discography, completely overshadowed today by the billion-selling disco era LPs which forever defined the band from the late 70's on. 1968's Idea is a somewhat psychedelic offering which finds the Gibb brothers still searching for their own sound. Some tracks sound exactly like the Beatles (to such an extent my girlfriend asked if they actually were unreleased Fab Four tracks) while others venture into Jefferson Airplane/Mamas & The Papas territory. At the end of the day though, the songs that stand out are clearly Bee Gees songs. Some readers may recognize "I Started A Joke" from Faith No More's excellent Who Cares A Lot? version - while "I've Gotta Get A Message To You" is pure Bee Gees with an epic harmony chorus straight out of their later years together. "When The Swallows Fly" and the title track are also stand outs. Which brings me to 1974's Mr. Natural. Another quirky album cover aside (the Bee Gees were the undisputed champions of awful cover concepts) - get past the sappy opener "Charade" and you will be in proto-disco heaven. Backed by the producer (Arif Mardin) and back-up band that would help jettison them into worldwide fame a few years later with Saturday Night Fever (among other LPs), the Bee Gees locked down their unique mix of funk, blues and pop with this album. Ranging from delicate ballads ("Voices" and "I Can't Let You Go") to funky R&B ("Throw A Penny" and "Mr. Natural") to dance floor classics crying for a strobe light ("Down The Road" and "Heavy Breathing") it's a great party record will easily embed itself in your annoying I-can't-stop-humming-these-songs repertoire. Shit, who am I kidding, I fucking love almost every album these guys made but these two records top 'em all. Enjoy.

1968                                                                     1974

Sunday, December 28, 2014


Not much out there about this Buffalo metalcore-ish deathcore four-piece - I'm not sure what spurred my discovery of this LP on iTunes but regardless, I went and downloaded it just the same. This record is a compilation of their two 2004 EPs The Hatred Spreads and Three Minutes Of Hate. Apparently self-released and completely obscure (were there actual CDs pressed?) it sounds well-rehearsed, well-produced and totally surprising that the band didn't seem to go anywhere. While there are moments that are token and tired, some parts are simply fucking awesome (the last 30 seconds of "Bloodlet" and "In The End" for example). And for being 10 years old, the fact that they sound even remotely pertinent today is a "win" in my book. Looks like most of the group stayed together long enough to reinvent themselves as a silly-named doom/death metal outfit called Darkapathy in 2012 who's bandcamp page got almost a minute of my fleeting attention. Enjoy.


Saturday, December 27, 2014

Support Domestic Violence

Über-Photoshopped cover aside, Eminem's first wholehearted venture into hardcore hip-hop via the persona that would soon make him famous is a cool cultural snapshot of the ripple just before the storm... somewhat like the people who saw the hidden potential in Nirvana's Bleach. The EP that would get Dr. Dre's attention and soon catapult the name Marshall Bruce Mathers into the household vernacular is not nearly as good as the Slim Shady LP that would follow two years later but is also not quite as self-aggrandizing as his major label debut. You'll recognize most of the tracks - "If I Had...",  "Just The Two Of Us" (a.k.a. "'97 Bonnie & Clyde"), "Just Don't Give A Fuck" as well as their "clean" radio edits - the real gem of this album is "Low Down, Dirty". A huge, sluggish Too $hort-esque beat backs up some of the most ridiculously twisted lyrics from Detroit's soon-to-be-favorite son. Surprising how this one escaped Dre's souped-up production. Silly skits aside, the other notable track on this one is "No One's Iller" - somewhat forgettable but featuring a bunch of guys who I think turned into D12. Nothing epic but always cool to hear proto-Eminem before he was doing fucking GMC commercials. Enjoy.

Friday, December 26, 2014

Satanic Winter

I was sold on their 2013 Anhedonia solely for the fact that they covered all 14 miserable minutes of one of my favorite Loinen songs - the inescapable "Lihaa" ("Flesh" for you non-Finnish speakers). Moscow's Thy Grave is a solid drone/sludge outfit harnessing the spirit of such wretched overlords as Otesanek and Thou with eager aplomb. They just released a couple tracks last week on a split CD with Torf (Ukraine stoners) and Sixpackgods (Finnish noise rock) but what really caught my attention was the band's amazing Talvisaatana demo from earlier this year. While the songs on the split CD are somewhat funeral doomy and not quite as bitter as I'd hoped, the demo versions are fucking awesome. Raw and underproduced - recorded on single mic, no after effects or whatever. The screaming lyrics sound a hell of a lot harsher as well. There's a live track thrown in to round it all out; fucking heavy-ass shit to wreck your brain. Check 'em out here.

Thursday, December 25, 2014

Here To Ruin Christmas...

Thirteen prophetic years to the day that their seminal Greatest Shits was released comes Cunt Sludge's rehashed abortion of an album Remasterbate. Offensive in every way possible, including their gross inability to play a fucking instrument, these tardcore losers make bands like Sockeye sound like fucking maestros. Remasterbate is a fully re-envisioned discography that spans the band's two main years of productivity (a couple old-schoolers might remember "KYFS" and "Jerkin' Off" from the early 90's) and the sweet caress of technology's pittance actually makes the band sound somewhat approachable. The lyrics are where it's at though, now or then. Making GG Allin sound like a choir boy is no small task but the 'Sludge vocal duet would make the ol' scumfucker proud. Sit back, suck on that candy cane while you go down on your underage daughter and download this shit before you kill yourself. Enjoy.

Wednesday, December 24, 2014

Deck The Balls

Who woulda thunk that the band with the most Christmas songs on my iPod was Korn. Go figure. Recorded during the 1994 Korn sessions, this unusual take on a traditional carol is no where nearly as funny as the band probably thinks it is nor as heavy as you hope it will be. I don't know who at Immortal thought this 12" single was a good idea (released 20 years ago this month!) - my best guess is someone was trying to repeat what the band managed to pull off with "Shoots And Ladders." Epic fail. Anyways, most of the song (the record offers clean and "Blatant FCC Violation" versions) features an inexplicably emotive Jonathan Davis sulking through a parody of "The Night Before Christmas" (dude, it's a holiday story, not fucking "Kill You"). Be forewarned, the lyrics are awful. Groan-inducing terrible, even for way back in '94. The tune wraps up with a quick 30 seconds of "Twist"-esque jabber over a somewhat heavier, albeit obviously freestyled outro. It sounds like the band is just phoning it in on this one, but still good for a dry smile as you spike the egg nog tomorrow. Enjoy.

Friday, December 19, 2014

I'm Gonna Strangle You...

After a long 3+ year hiatus, 2003's Murder Metal was a welcome return by the elusive Chicago serial-killer death metal trio Macabre. Back to the roots they sowed on Sinister Slaughter, each song on Metal showcases a particular rogue from the annals of criminal history, presented with glorious tongue-in-cheek aplomb. Amazingly produced, this record still holds the record for being the loudest CD in my collection. I can be playing anything at normal volume - switch CDs to this one and it's fucking blasting. As far as the music, while not quite as witty as 2000's epic Dahmer it's still got enough of a sick-ass sense of humor and ridiculously heavy riffage to destroy your brain. The Jerry Brunos "Fatal Foot Fetish" track is probably my favorite Macabre song ever; an incredible double-bass drum assault that I could simply listen to forever. As I've posited before, Nefarious is easily the best fucking drummer out there today - he routinely makes the craziest shit seem effortless. It's weird, I always picture Macabre as a bunch of guys working the blue-collar 9-to-5 at the local Midas or UPS; their co-workers completely oblivious to the fact that the long-haired guys down the hall in shipping are unbelievable musicians who have forever carved their own niche in the death metal world. Enjoy.

Tuesday, December 16, 2014

Baltimore Brutality

Saw this Baltimore-based hardcore band last weekend and I really fucking dug 'em. Crazy-ass NYHC influenced five-piece that tore up the front of the place and almost eclipsed the headliner in sheer insanity. Here's their 2013 EP for your listening pleasure, a somewhat cheesy rapcore-esque title aside the record has some great grooves, breakdowns and a general "Fuck You" attitude. Looking forward to their upcoming (within weeks as of this writing) full-length Nonstop Feeling - they played some songs off of it which absolutely killed (especially "Gravity" - fucking awesome). Keep up with the guys here and here.

Monday, December 1, 2014

Where Cold Winds Blow

I just got finished watching the 2008 documentary Until The Light Takes Us and decided to revisit a few of the albums that got the whole Black Metal Inner Circle shitstorm going. Listening to Darkthrone's seminal sophomore release I was surprised how good it sounds two decades later. A lo-fi mishmash of death and black metal, Northern Sky is far less cheesy than Burzum's debut and significantly darker than Mayhem's Deathcrush. Of course there are a few cringe-inducing vocal cues here and there but all in all a solid 40 minutes of angry bleakness. Drummer Fenriz came off as an interesting guy throughout the Light Takes Us documentary. At times defensive, at times unnecessarily aggressive and somewhat egotistical, he generally offers up a good sense of humor throughout it all; his opinions and recollections regarding this LP made for an even more interesting listen as well (evidently there is a 2CD re-release of this album with Fenriz offering that commentary on (or during?) all of the songs but this is just the basic Peaceville release). For even more in-depth material on the whole rise and fall of the Norwegian scene check out the amazing book Lords Of Chaos - essential shit. Enjoy.

Thursday, November 13, 2014

Stuck On Pussy Drive

I know I posted the Dr. Octagon quadrilogy just a few months ago but driving back from band practice tonight it struck me that I never uploaded the truest testament to Kool Keith's amazing lyrical skills (and fucked-up psyche but that's another story). Possible the most vulgar hip-hop album ever - the unbelievable Sex Style is without a doubt the finest release in Keith's prolific catalog. Doing what he does best, the ex-Ultramagnetic absolutely destroys the competition with post-modern classics like "Don't Crush It" and "Still The Best" - fucking shit that in 1997 the lukewarm hip hop world would have killed to have owned if they had the fucking balls. Fuck B.I.G. and Jay-Z, this album is the best shit to hit the CD racks since those MTV-owned poster boys pretended to sing about sunshine. Kool Keith should be a fucking billionaire. Enjoy.

Quick blogosphere shout out...

I just gotta throw it out there that my worthless non-posting drug-snorting ass has been kept alive by the amazing [shiny grey monotone]. Founded by ipecac, then Gray, now helmed by noise rock king Slander Bob... these guys know post metal (Melvins, Unsane, Bungle, etc...) and do the work way better then I ever could. The best music blog out there right now bar none. For fuck's sake the shit is posted fasted than I can read it. If you missed the first link then click here retard. Enjoy.

Friday, November 7, 2014

Green Ball Crew

One of the cooler experiences I've had in my rather dull life is knowing the guys in the Bouncing Souls - all the while my dumb ass had absolutely no idea they were in the the aforementioned seminal funky punk band. Until it was too late that is and they had hit 287 South to the bright township lights of New Brunswick. Most of the guys were two grades ahead of me and I knew of them fleetingly until I snagged a job at a local pizza shop where Brian (bass) put in work making extra cash on the side. Pete (guitarist) was one year ahead of me in school and we shared some classes - he was always a nice ass guy - I only wish I had had the slightest inkling that he played guitar. Once the above EP hit Cheap Thrills Records I had my "no shit.... really?" moment - and I never saw any of the guys again. I kept up with the band through a few of my coworkers who stayed in touch and was really into a few of their earlier CDs. I actually used to have a copy of their '89 demo as well... long gone though or I would have uploaded that. While I haven't been back to NJ or bought a new Souls album in years I am happy to hear the boys are still doing their thing. Enjoy.

Friday, October 24, 2014

Reinforcing The Stereotype

I'll admit I'm a sucker for offensive shit, especially when it comes to music. Already a guilty fan of Vaginal Jesus and (to a lesser extent) Mudoven, I figured I'd give the off-color death metal outfit Arghoslent a try. While their older material isn't much to speak of (especially the shitty demo compilation album), I did find myself digging 2008's Hornets Of The Pogrom. Typical late-90's death metal with occasional Slayer-ish thrash influences, the band has gained some notoriety thanks to their racially-tinged lyrics. I was almost quasi-digging 'em until I read the LP liner notes proudly proclaiming the record was "recorded South of the Mason Dixon line." Ugh. It's probably not surprising to readers that I'm not a fan of Virginia. Fuck the fact that I've called it my state of residence for the last long-ass thirteen years; I am a hard-headed New Englandah by birth and simply cannot get over the fucking idiotic racist stereotype that so many Southern rednecks seem to embrace as a pitiful tribute to their historical roots. If Arghoslent were more tongue-in-cheek I would be way more forgiving, the fact that living in the Old Dominion seems to give them some legitimacy just makes me bitter. I gotta move...

Monday, October 20, 2014

Old skruel

Aw c'mon it's not as bad as everyone says it is... I find it funny that half the websites offering this album up for sale or review has a CYA disclaimer warning consumers that it's a low quality recording. Are you kidding? This is GG-fucking-Allin we're talking about here, not Muse. Which of his recordings weren't low quality? While this particular compilation may be a few notches down from Murder Junkies or Carnival Of Excess, there is nothing on The Bloody Years that isn't as lo-fi as anything on Eat My Fuc or Suicide Sessions (i.e. recorded on a cassette deck). I've ranted previously about Bloody F. Mess getting the raw end of the punk rock baseball bat over the years - I actually find it cool to hear the old recordings made by an über fan of his actual idol. Absolute labors of love. People have bitched that Bloody capitalized on GG's death with the release of this material and so what? I'm sure he managed to make that extra car payment on his '88 Honda Civic with the proceeds earned from this one. Bloody was GG's pal, touring buddy and inglorious promoter through a time where GG was hardly known outside of the shitty NH suburbs. Hell, some say that it was Bloody who convinced GG to actually start shitting on stage - at his first Peoria, IL gig in 1985. GG's infamous 1986 show at "Pete's Basement" (literally, a basement in some teenager's house) is absolutely primo early Geeg and is presented here in its amazing 16-minute entirety (I'm assuming that it's "Pete" who whines through the gig that the mic GG is smashing into his face is his). I think GG was backed up by a cassette deck if I'm not mistaken - the version of "Eat My Diahreah" is one of my favorite GG tracks ever. Some of the other material is hit or miss, GG's tracks with the 1989 version of Bloody & The Skabs are OK but it's the live stuff that really kills. Wrapping it all up are some phone messages and conversations between Mssrs. Mess and Allin - I actually converted the mono files to stereo making them much easier to listen to. Funny chats between two friends - Bloody can at times be a bit overly adoring but hey, I forgive him, I woulda been too. Enjoy the history lesson.

Friday, October 17, 2014

Crushing Split

Jesus, why don't they make split CDs like these anymore? First you have an absolutely blasting assault from prolific Tokyo sludgelords Coffins. These guys have been at it since 2000 - simple downtuned heavy-as-fuck death metal... the audio equivalent of someone punching you in the face with a molten sledgehammer. "Acid Orgy" is a cover of Las Vegas blasphemers Goatlord and sounds a little hokey at times but fuck it - it is so distorted and loud you will be absolutely reeling in sludge glory. Regarding Otesanek, I cannot say enough about this defunct and sadly elusive Philly-based drone/doom/bleak-as-fuck shit band. The most miserable dirge ever recorded (putting such compadres as Khanate, Moss and Nadja to shame) - production-wise this is easily their strongest song (all wretched 20 minutes of it). Don't be fooled, they probably were actually vomiting as they recorded this one... The cover art was created by artist Steve Mullay shortly before taking his own life, and is offered in tribute to him. Enjoy.

Thursday, October 16, 2014

Laughing As People Die

Recorded in 1991, the debut cassette from these Bakersfield, CA funkers is way more akin to the shit Excel (Venice) or Limbomaniacs (San Francisco) were doing at the time than what the band eventually mutated into (especially Excel - this album is absolutely on par with Seeking Refuge). For those who've been under a rock since then, soon after Who's Laughing Now dropped, L.A.P.D. found a fresh new producer in a guy named Ross Robinson who was looking for something way heavier and harder... at the same time L.A.P.D. shitcanned their singer and hired local vocalist Jonathan Davis who sang for the quasi-heavi industrio band Sexart. Interestingly, it was Sexart's pissy sound the guys embraced and the rest is nü metal history. Yes... I'm talkin' about KORN retards! Still, the funky fun of L.A.P.D. is not lost on the ages - though it's interesting to now watch some of Korn's early documentaries (specifically Who Then Now?) and see Fieldy wax historically on his multiplatinum band when in actuality he's totally talking about L.A.P.D. coming together. Still, this record has its moments, lead vocalist Rick Morrill is no Davis but he sounds like a solid southern Cali thrasher (and even like Tony Chaba here and there - check "Don't Label Me"). The band rocks through the songs - Munky is a way better guitarist then listening to Korn would ever have you believe and there are moments they almost sound like a proto-Vision Of Disorder ("Excuse Me"). I'm not going to give them that much credit so just sit back and enjoy...

Monday, October 6, 2014

Black Vomit

Quite possibly the bleakest thing ever recorded, this brutal 6-track demo from an intentionally nameless Portugal black band will absolutely blow you away. Blistering fast black metal punctuated by endless blastbeats and genre-typical unholy screams from the Abyss, this limited CDr comes with absolutely no information whatsoever save for the DIY black cardboard sleeve it's crudely packaged in. Released by ultra-indie label Latrina Do Chifrudo ("The Horned Latrine" - ha), even they don't know where this blasphemous 30-minute aural assault came from. Compared to some of the lo-fi black metal out there the demo is surprisingly legit - real songs (shit one of them runs almost 9 minutes) and a respectable sense of intention behind the whole thing. I was predicting an unlistenable wall of harsh "black" noise on my first guarded listen and was really surprised how good it fucking was. Enjoy.

"We simply don't care about protegonism (sic), self reference, identities other shit like that. Black Metal is a tool for something greater, it is a mere process and not a way for self gratification."

Saturday, October 4, 2014


Old school rap fans take note, this LP is a definite keeper. Keepin' it on the Seattle tip comes the first hip-hop release from last post's Ever Rat Records (slyly re-monikered Ever Rap for their "urban" catalog) - the debut recording from west side auteur Chilly Uptown. Sportin' the laceless Adidas high tops and sweat hear, Chilly's I Got Rules would have been a little more at home with the late-80's hip-hop outta Hollis, Queens; comparisons with a 16-year old James Todd Smith are undeniable. The guy even raps about NYC at times, making the likeness even more so. "Seattle Rockers" is his best attempt at a Run-D.M.C. metal/rap crossover which actually rocks in a completely lo-fi way (I think he actually samples Vanilla Ice) and will easily pulls some dry smile sat your next house party. Of course there is the token "dirty" rap - the ridiculously titled "Big'z The Way I See It" is a 3-minute showcase of Chilly's extolling his massive genitalia and telling anyone offended to fuck off. The silly "I Got A Love Jones" is his best attempt at a "I Need Love"-esque ballad, and is an absolute riot. The only arguable downside, while unintentionally funny, are the subpar skills of Chilly's DJ. Samples are just a little bit off, fading out kinda at the wrong time, not really in synch with the beat... you just gotta hear it to appreciate it. And shit, it still sounds better than anything Rap-A-Lot was doing at the time. Uptown's career, although predominantly local, stayed strong for the years ahead. He would follow this LP up with the more gangster-ish (albeit equally obscure) This Is My Method in 1991.

Friday, October 3, 2014

Ever Rat

Solid cassette-only release from the sadly defunct Ever Rat Records based out of the Seattle, WA area. A cool snapshot of 1989-era GG Allin (unintentionally humorous botched song titles aside), the side A recording with the Disappointments is the real treat on the album - GG drunkenly slurring his way through a 6-minute rendition of "Jesus And Mothers Cunt" absolutely kills. Side B showcases the one and only gig by GG and his "Expose Yourself To Kids" back-up band the AIDS Brigade (featuring future Murder Junkie Merle Allin/Pearl Murder). Years later this show would actually make it onto DVD (it's the one where the band is playing in drag) but this version actually sounds a little better then the shitty VHS sourced for the DVD. Knowing now that the band was in drag explains why GG intentionally changed the song lyrics ("Cock On The Loose" becomes "Cunt On The Loose," etc. etc.) which always escaped me back in the day. The "I Hate My Audience Interview" isn't quite that - it's a recording lifted from GG's infamous appearance on Chicago's WLUP radio morning show. The sound guy dropped some choice snippets of GG over a loop of AC/DC's "T.N.T." to create an outro jingle for the show. You can hear the full version (and whole interview) somewhere on here.

Wednesday, October 1, 2014

Super Wet Cheese

An absolutely astounding compilation from the sadly defunt and clinically insane Tokyo jazz grinders - this epic 45-track retrospect spans a multitude of obscure 7-inches, unreleased rehearsals and long sold-out compilation LPs. Released on Obliteration Records (conveniently owned by C.S.S.O. vocalist Narutoshi Sekine) the CD focuses on the band's material through the mid-to-late 90's. Amazing stuff, some of the songs sound straight out of Meat Shits school while others are ridiculously competent avant-garde grindcore bordering on the complexity of the math metal genre that would surface years later. Somewhat unfairly compared to such goregrind bands as Regurgitate and fellow countrymen Catasexual Urge Motivation, C.S.S.O. easily outshines the competition with their musical skills and absolutely original approach to grind metal. Of course, my favorite material by the band will always be their "Diversion Of Former Customary Trite Composition" EP (which I've already posted on this blog) - an amazing eleven minutes of madness in their coolest surf-music-esque style (very similar to the stuff on their split 7" w/ Dead Infection as well).  As far as C.S.S.O.'s dozens of other releases, I fully recommend their two legitimate LPs - Nagrö Läuxes VIII and Are You Excrements? Both absolutely worth the money you'll shell out for 'em on Ebay.

Tuesday, September 30, 2014

Suicidal Ad-Rock

Digging deep into the mid-90's Grand Royal archives comes a vinyl-only oddity featuring Beastie Boy Adam "Adrock" Horovitz and original Suicidal Tendencies drummer Amery Smith. Between the many B-movie/TV show samples are a bunch of two-minute tracks of Horovitz tinkering with his vintage synthesizer while Smith gets some exercise with a slew of repetitive breakbeats. There are no real vocals per se, just a bunch of silly samples here and there - usually repeating the song title. BS 2000 is best described as a proto version of what Crystal Method and the electronic genre were priming to develop over the next few years. While a good number of the songs are instantly forgettable, there are some real diamonds in the rough. "Baby" is a cool-ass fucking track and deserves to be sampled somewhere by someone. "Copsucker" (which could have easily fit in on the Beastie's Mix-Up instrumental LP) and the weirdly dark "Thrift King" are personal faves. Smith proficiently showcases the jazzy versatility he brought to the best hardcore album of all time and Adrock seems to be having a blast figuring out what his Casio SA-35 keyboard can do. Of course the record has a tough time standing up to the current electronic stuff out there today and most of this could be mimicked today by a 10-year old on his iPad but what can ya do. Enjoy.

Monday, September 29, 2014

Wednesday Pissing

I got an email from the one-man mastermind behind Finland's Kes-Kusta asking me to pimp his latest release, the 20-song political statement against current Prime Minister Alexander Stubb. Entitled Kiitos, the record is little more than news samples pitted against frying pan-esque drums and über-distorted guitar/vocals. What kept me listening for more than twenty seconds was the subtly ambient track 3 - shades of Corrupted's brilliant "El Mundo" (though thankfully only a sixth as long). For those who are into political noisecore à la RU 486 you will surely find something to like - check out Bleak Bliss for similar sounding stuff.

Wednesday, September 10, 2014

You Guys Hungry?

Here is the famous "lost" record by producer extraordinaire Dick Urine (a.k.a. Richard Yorun) whose claim to fame was producing the early records by a young and confused New Hampshire punker named GG Allin with his band the Scumfucs. After Yorun was killed in a mysterious motorcycle accident in 1987, GG (along with Black & Blue Records owner Peter Yarmouth) unearthed a bunch of forgotten recordings by the deceased producer. Evidently the guy spent the time recording his own music while sitting around in rented studios waiting for his bands to show up. Assembling a motley crew of musicians (including such Rhode Island legends as Jimmy V. Hendricks and Billy "Gee" Goodman on guitar), Yorun recorded nearly a dozen "solo" tracks through the years. GG himself wasn't above contributing some drums to the sessions but don't expect too much - the most all Geeg did was program a tinny drum machine. So how does it all sound? Well, at best it's a strange, snarky slab of lounge music toilet rock. It's not as offensive as some of the song titles may lead you to believe and kinda comes off sounding like a bastard (and less funny) version of "Weird" Al Yankovic. The music is terribly digital - overdubbed guitars straight through the effects processor on top of a drum machine. Yorun fancied himself a crooner and really sings his heart out - unfortunately his vocals can get a trite annoying. The lyrics may raise a dry smile but aren't all that funny, especially if you were expecting some GG-esque filth. Of course the whole record is a tongue-in-cheek excuse for a producer to be the musician he always wanted to be - when someone credits himself as "Vocals & Triangle" you should know what you're in for. There was talk of making a scratch and sniff cover, thankfully it didn't come to that. Enjoy.

Sunday, September 7, 2014

Post D

It seems fitting that my 500th post would feature no other than GG Allin since I've blogged more about him than anyone else (Anal Cunt coming in a close second). For today's lesson we have a spirited interview conducted with the Geeg over WSIA 88.9 FM Radio in Staten Island, NY. While some have claimed this interview is from late '86 it was actually recorded in early summer 1988, right after the release of Freaks, Faggots, Drunks & Junkies. GG bitches about everything from Cosloy and Homestead, Black & Blue Records, the Great Kat, Stiv Bators and pretty much the everyone else in the punk scene in general. He is absolutely hilarious (slays poor Psycho drummer Charlie Infection - pictured above) and it is so refreshing to not hear him regress to the token "my audience is my enemy" routine from his later years. GG actually laughs at some jokes and at one point halts the interview to rub his dick all over the station microphone. My favorite part is hearing him talk about the recently recorded material (which would eventually become Suicide Sessions) and how that record was originally intended to be a "GG Allin & The Scumfucs" release. His promos tacked on at the end are a riot as well. Astute 'Genocide fans may remember this interview from one of the GG comps I posted a few years ago but this is an unedited crystal clear rip. Fucking awesome.

Thursday, September 4, 2014

Razor blade included...

I don't if this technically qualifies me as weird but there have been like 3 or 4 albums I've bought in my lifetime that came with a razor blade. This 7" is one of those exalted (offhand, others include GG Allin's Illegitimate Kids cassette and one of the Abruptum albums) and is probably my favorite. As usual, this was one of the "alternatives" in a Relapse Records order that fucking blew away the token grindcore tripe I had intended to order (sorry Dead Infection). While "Sleep" is a good but not great Dystopia track; "Lifeless" and especially "Fucked Upstairs" are easily my favorite Grief songs. I like Grief but their albums tend to get a bit looooong at times (yeah, yeah I know it's doom metal...) but these songs are amazing. I played the downtuned power chords to "Fucked Upstairs" half of my senior year in college so I could bang gothy art school sluts by pretending it was my own miserable song. I guess the joke is on you bitches! Except for that HPV. Enjoy.

Wednesday, September 3, 2014

Tomahawk Slang

It must have been weird being the second fiddle in a 90's Soul Assassins band after their initial breakout album - so many of those groups had such an overwhelming personality at the forefront - the quickly secondary Garfunkels in the posse must have sucked it up with a "shut up and cash the paycheck while this lasts" mentality. Look at House Of Pain. Danny Boy doesn't even appear in half the songs on Same It As Ever Was - and the opener "Back From The Dead" is clearly Everlast's step towards a solo career. Same with Cypress Hill. Once they hit Black Sunday can you think of one Cypress song that Sen Dog has a prominent part? Yeah he says "Insane in the brain" and shit in the background a lot but to me there is a noticeably strange lack of input. Next case study we have the second Funkdoobiest album - 1995's Brothas Doobie. Benchwarmer Tomahawk Funk appears in only four of the fucking twelve songs (I'm not counting the gay-ass "interlude") on the album - twenty-fucking-five percent. I hope Son Doobie made a note of that for his royalty checks. Well, enough of my soapbox. Funkdoobiest's sophomore release is my favorite album from the band - thanks to Son Doobie's amazing skills - "XXX Funk" and "Lost In Thought" are easy faves but amazingly the underdog "Tomahawk Bang" is the highlight of the album. Man - the fattest beat and coolest groove is wasted on Tomahawk Funk (and some no-name named Sebastain Rousett - don't get me wrong, he's a fucking solid rapper but I just don't know who the fuck he is). Sorry T.F., but the first time I heard this song I sat with baited breath waiting for Son to break in with his verse. Oh well, Brothas Doobie is still an awesome fucking album and great kick back to the days I was dating a chick from Maine whose weird veggie-dog granola mom cultivated her own über-pungent hydroponic weed. Actually, I barely remember anything from those days...

Friday, August 22, 2014

This Is Revenge

Solid debut album from Bergen County, NJ. Don't get these guys confused with the Kalamazoo indie rock trio or roots rock L.A. outfit with the same name, this is straight up screaming fucking deathcore that will make you want to punch yourself or someone else in the face. While there's nothing terribly original here, the record has enough gritty vehemence that will make you forget there are bands like Carnifex and Whitechapel playing the exact same shit. There's even some 7-string Korn-esque licks here and there for the old school losers like myself. The opening of "Panty Sniffer Does Porn" is highlight of the album for me - the blast of riffage is simply awesome. The guys seem to have recently released a long-in-the-works followup EP - check out their shit here.

Wednesday, August 20, 2014

Wreck Your World

To celebrate its upcoming re-re-release on Southern Lord (you gotta check it out - 2xLP with loads of extra schwag for the über-fans) I thought I'd post the record that started it all, Excel's 1987 thrash metal debut Split Image. Being my favorite band from the late 80's Venice, CA/Suicidal Records musical rebellion much has already been written on this blog about Excel so I'll try not to obtusely repeat myself; needless to say such time-weary tunes as "Your Life, My Life," the title track and "Wreck Your World" are still some of my favorite songs to this day. Ever. Out of every fusion/crossover/thrash/speed metal band I've ever heard, these consistently rise to the top. I skip nearly 95% of the shit that plays via my iPod's shuffle but these will always get a full play. And not to say the rest of the album is bad at all - it's actually awesome. "The Joke's On You" is absolutely killer and I fucking love "Social Security" - especially while I was a 14-year old register jockey at the local Grand Union 25 years ago. Who knows what the newly remastered cuts will sound like, to be honest it gets no better than this weary, scratchy, well-played slab of vinyl (emblazoned with yet another incredible Michael Seiff cover to boot) which I still own to this very day. Enjoy.

Wednesday, August 13, 2014

If I Only Had A Brain

My junior year roommate fucking loved this CD-single (as well as all the other proto-techno/house bands  - al la Prodigy - that were blowing up at the time but that's another story) enough to curse me with a sort of Stockholm Syndrome opinion about it. By second semester I no longer wanted to kill myself as he blasted "Truth Is Out Of Style" through our miserable 600 square foot apartment - I actually dug it. Stumbling upon an mp3 of it the other day really uncorked a flood of memories from that great year. From Popov vodka bottle chugging marathons to gravity bongs in the fucking toilet - it was a fucking miracle I lived through it. Enjoy.

Monday, August 11, 2014

Cull /kəl/ noun: A selective slaughter of wild animals

Fucking solid first release from UK grinders Human Cull. Not sure how I stumbled upon these crazy fuckers but it was worth it. Eleven songs in eleven minutes - totally manic ass crusty grindcore in the vein of Nails or Hatefilled Vengeance-era Regurgitate. Blistering blastbeats that hit you like a Drāno enema, ultra-fast riffage and screaming galore. They've released a bunch of other shit - all just as fucking insane - check 'em out here.

Sunday, August 10, 2014


After their dissatisfaction with Imprint and Roadrunner Records (the band felt it was hastily recorded and the label mismanaged its release - a shame because I think it's a fucking amazing record), Long Island metalcore outfit Vision Of Disorder spent the end of the 90's off the major label radar. They re-recorded a bunch of tracks from their demo days and released them on indie label Go Kart Records. The result is For The Bleeders and is easily my favorite in their catalog. Recorded rough (8-track maybe?) and channeling the underground rawness of the originals, nearly every song is a keeper. I absolutely love "Adelaide" - the breakdowns in that song are simply epic. "Watch Out" and "Beneath The Green" are up there as well. V.O.D. eventually got back onto a major and released the so-so From Bliss To Devastation in 2001.

Friday, August 8, 2014

REPOST: The Funk Is Free

Five years and a month since my good pal Daniel Frouman passed on into the ether. In some weird way, I'm still in total denial that I won't get a random phone call, unexpected text, or simply bump into his lanky ass walking down Lamar Boulevard one day. I wish that were the case. I am happy to report that his memory lives on with yearly Funk Extravaganzas in his honor (featuring both a run and a concert) and on the amazing Daniel Frouman Memorial maintained by his brother. Photos and memories galore. I recently re-ripped all the cassettes of music I am privileged to have had him share with me; cleaning off as much of the tape hiss and other analog limitations as I could. I think the songs sound better than ever. While I was at it I also created a whole new slew of CD covers since I'm weirdly/annoyingly neurotic about that sort of thing so the (printable) PDFs are included with the songs. Enjoy and pass the word.

I                                                              II                                                              III

Thursday, August 7, 2014

Hated Race

What a fucking great album. I was really into Fear Factory at the time (Obsolete era) I stumbled upon this and was intrigued by the obvious aliases, especially considering you got Jello Biafra narrating the whole opening as a pseudo-Pete Wilson. Jello may thrive in the counterculture but he's not stupid enough to head down to Tiujana to cut tracks with an underground drug lord death metal band. Smelling of San Francisco, I was happy to discover fave Faith No More veteran Billy Gould and Napalm Death mainstay Shane Embury trading off bass duties in addition to Fear Factory's Herrera (drums) and Cazares (guitar). The album is low rent death metal with a cool political vibe to it and if you took Spanish in highschool you'll be able to figure the lyrics out. "Hermanos Menendez" is my favorite song by far - I want that shit played at my funeral.

Wednesday, August 6, 2014

VHS Memories...

Technology is fucking amazing. While I'm kind of a luddite in the sense that I don't own a fucking smartphone or GPS or any of that silly shit, I do put what sadly little money I have into my home theater system. Tonight I watched the recently released HD of Cannibal Holocaust and I simply cannot get over it. I have watched this film probably 100 times - and it's never been in the same format. Starting with my first 50th-generation Venezuelan bootleg in 1988 (which looked like it was filmed through a paper towel) to the limited 25th Anniversary box set which was until now the pinnacle; I've purchased nearly every iteration of this cannibal epic without even thinking twice. The new Blu-Ray is fucking amazing. I can't help but actually stand in front of the fucking TV while it's playing. Shit that was a blur of off-whites is now a clear, crisp hut in the corner, or discarded turtle carcass. In a nutshell - I fucking love Cannibal Holocaust and seeing it in a more beautiful format than the few folks who saw it in 1979 makes me feel oddly priviledged. Here's the uncut soundtrack from Deodato regular Riz Ortolani, a beautiful synthesizer symphony which stands alone as the most haunting soundtrack to an Italian horror movie in history. Enjoy.

Tuesday, August 5, 2014

Packin' Horse Dick

Oh boy, here we go again. Jesus, how many posts on this two-bit blog have started with that sentence? Too fucking many probably... Anyways, here's the hidden gem of Rap-A-Lot Record's late 80's catalog, the debut release by burgeoning Geto Boy Willie D (or "Ghetto Boy Willie Dee" depending on what set you're claimin') - a low-budget dozen-song LP that is so banally minimalistic i that it comes off as an epic of primitive genius. First off, Willie D is a terrible rapper. There, I said it. You can barely understand his strange lispy cadence and his rhymes are awful. That being said, it actually works with the dollar store back beats and sorry off-time samples (how anyone on this record had the balls to call themselves a DJ is laughable). Willie it at his peak on the fucking killer "Put The Fuckin' Gun Away" - easily the best song on the album. The absolutely austere "Bald Headed Hoes" probably influenced countless thousands of closet MC's out there who've since realized you don't need a TR808 or other fancy drum machine - pawn yourself a $5 Casio beat box and sign the record deal. D's hilarious "Fuck Me Now" and the terribly unsexy token sex rap "Kinky" will have you laughing out loud. Geto Boy fans will be pleased to hear one of the many versions of "Do It Like A G.O." (yet another two versions appear on both the Grip It! and The Geto Boys albums) and anyone hunting for the best duet in hip-hop history need look no further than this record. "I Need Some Pussy". Bolivia. Best lyrics ever.

Monday, August 4, 2014

24 Songs For Teens And Non-Teens Alike!

Waaaay back in 1987 a young 15-year old Aaron Freeman sat in his bedroom and crafted an hour-long acid trip of an album - an amazingly astute precursor to what his alter ego Gene Ween would co-create a few short years later on Ween's epic The Pod. The material for Synthetic Socks' eponymous debut was culled from two cassettes recorded over six months by the New Hope, PA native - the "best of the best" were chosen by Aaron and Teen Beat Records founder Mark Robinson. What you get is a strange amalgam of instrumental odes created on a Korg Poly-800 (my favorite being "Tree"), surprisingly humorous teenage ramblings ("Weenstock"), good ol' garage band noise ("Cops" and "Collectives"), sweet "Birthday Boy"-esque love songs, prank phone calls and KISS. From the liner notes:

"Sprouted out of deep psychological problems and blossomed into a young virgin sound just waiting to be heard. It's all recorded in my bedroom with my tape deck and whatever else I can borrow off people. Synthetic Socks consists of me, and various guest stars. This cassette has been recorded over a span of about 10 years. I'm still in high school and plan to move where the trees live."

The guest stars include future Ween brother "Mike" Melchiondo on guitar (his acoustic untitled ditty to close out Side A is probably my favorite track on the album) and Ken Everett who both played (along with Aaron) in the jam band Pine Sheep. All in all, Synthetic Socks is a welcome addition to the Ween catalog - I sleazed out a copy when Teen Beat reissued a scant 55 cassettes in 1998 and it's been the holy grail of my dusty tape collection ever since.

On a side note, I just picked up a copy of Aaron's new CD Freeman. Twenty-seven years since Synthetic Socks yet there's a strange similarity to both records. It took me a while to get over Ween's breakup (and in that weird non-involved sort of way I was siding with Deaner) but Freeman is a solid forty minutes and is much more reflective of what Ween was morphing into than Deaner's "My Own Bare Hands" type of stuff. Worth a listen.

Sunday, August 3, 2014

Dave Who?

Keepin' it on the cassette rip tip, here's a another random bootleg LP picked up by my neurotic gotta-have-everything-Metallica 15-year old self (blog disclaimer: I am 25 years past that annoying phase). Not-so-cleverly disguised as a "Metal Militia" album - astute Metallica afficionados will no doubt recognize the label's attempt to legitimize this release as something from the pre-Elektra Kill 'Em All days. To be fair, it is, albeit shitty dubs of the originals. Side A features five tracks from the No Life 'Til Leather demo recorded with infamous ex-band members Dave Mustaine (guitar, duh) and Ron McGovney on bass. Side B showcases three cuts from the somewhat more rare Ride The Lightning demo. Originally recorded in late 1983, it was the group's first recording to feature lead guitarist Kirk Hammett. Who knows what generation recording actually made it onto the vinyl, the mp3's here are ripped from a direct cassette dub of mine. Still sounds shitty but made up for simply from the rareness of the whole thing. Enjoy.

Saturday, August 2, 2014

REPOST: C(o)untless Songs!

Here are a couple new uploads of some old Anal Cunt cassettes I've had collecting dust. Their story is documented here - the new rips are significantly cleaner and much better quality. I also equalized the levels somewhat and sutured a lot of clip errors in the recording (especially the Club Baby Head show which had a ton of stop/starts). Finally, I also tightened the sequencing and added the extra 30 seconds of Incantation accidentally left on the end of tape #1 as a bonus. Enjoy.

Live 1991                                                       Split w/ Nut Screamer

Friday, August 1, 2014

Flea Market Blues

Oh man, the days I spent at the flea market off of Route 22 in Watchung during my lazy drunken high school days. Cheap, sticky back issues of Swank, a couple illegal butterfly knives and bootleg live tapes fucking galore. Amazingly, there were actual levels of bootleg legitimacy within the cardboard crates of dusty yellowed cassettes. You could find some semi-legit ones - especially if you were considering a well-known musician like Jimi Hendrix - such glossy, pro-printed boots as From This Day On and The Last Experience are familiar to even casual collectors of the guitar legend. Then there was the next level, adequate cassette copies of bootleg LPs - a cheapo xeroxed copy of The Who's Who Dunit? comes to mind but there were fucking thousands of them. Usually first generation copies on unlabeled TDK60s complete with all the pops and cracks of a shitty record player. Then there were the boxes and boxes of bootleg live shows. Utterly disorganized, barely labeled and akin to looking for a peanut in a pile of shit, these wretched excuses for music usually didn't cost more then $2 and were hardly worth the price. Case in point: a hand-scrawled copy of Suicidal Tendencies' 1984 show at the Rollerworks in Chatsworth, CA dubbed over tape #3 of some Learn French In 30 Days cassette series. The audio equivalent of trying to watch scrambled 80's cable porn, this is probably the lowest quality piece of media I've ever heard and that's saying something. Sounding like it originally was recorded with a Walkman buried in someone's pocket, this worthless tenth-generation dupe ups the ante by appearing to be dubbed by two boomboxes set across the room from one another. In short, the show is barely listenable which is a shame because it is actually a really good show and it would be something else to hear it for real. Under 20+ decibels of tape hiss the band cuts through most of its Frontier Records debut - guitarist Grant Estes and drummer Amery Smith really show off their skills, casually diverging from the traditional arrangements off the album with aplomb. Mike Muir runs around yelling like an idiot but hey, he was barely 21 at the time so easily forgiven. I ripped the download that stands before you off of that cassette and tried as much as I could to clean it up but it still sounds fucking terrible and is for ST completists only. Interestingly, the guy who originally(?) taped it tacked on the demo version of "I Saw Your Mommy" (from the 1984 Mystic Records Mystic Sampler #1 LP) at the end and its the only good-sounding thing on this. Try to enjoy a strange snapshot of L.A. skater hardcore circa '84 and don't let the hiss get ya down.

Tuesday, July 29, 2014

Still Alive... - click to visit

I know it's been a long 2 1/2 months since I updated this bitch but this summer has been a beast. It's on my "to do" list and I've been busy ripping some old cassettes again (check out updates here and here) but it'll probably be a couple weeks before my lazy ass is back to regular posting. Until then stay drunk and I will return in a few!

Monday, May 12, 2014

Octagon IV

Aaahhh... the final (?) chapter in the Dr. Octagon quadrilogy - a direct response to the hack-and-slash production of The Return Of... a year before. With original Dooom producer KutMasta Kurt back at the helm, Kool Keith resurrects his other psychotic surgeon to finally "put the clamp" on his alter ego and be done with the strange mess the Dr. Octagon character created. The introspective "R.I.P. Dr. Octagon" isn't some token hip-hop song, it's a completely pissed-off dismissal of the whole persona tinged with anger, regret and general fucking irritation at the music industry. It's direct and to the point, Keith unapologetically drops names and labels with a refreshing snicker. He's just as surprised to see the monster he created and only happy enough to kill him off - the recording of Dr. Dooom 2 must have been insanely cathartic. As far as the other music on the album, it picks up right where First Come, First Served left off, minimalist downbeats accompanying sweetly gruesome rhymes. The themes are familiar: the stalker anthem "I Followed You", murder, violence, shitty deadbeat life in the ghetto, you name it. There's a humorous intro entitled "Simon" as well, a scathing attack on American Idol and its cocksure ringleader. I'd love to see someone try to qualify next season with that...

Saturday, May 10, 2014

Octagon III

After a nearly 10-year hiatus, Dr. Octagon finally arose from the dead, albeit on an album significantly different in style and creation from the original. The project began in 2002, Kool Keith partnered with unknown producer Fanatik J, hoping to replicate the debut gold discovered with Dan "The Automator" Nakamura on Dr. Octagonecologyst years before. Unfortunately lightning did not strike twice - Keith and Fanatik split after a year due to contract disputes. The album was shelved until rights were sold to the production trio of One-Watt Sun, who completely rebuilt the album and removed any involvement Fanatik J had in its creation. By this point Kool Keith was barely involved in the project - he recorded vocals for only three songs (not ironically, the 3 best on the record) and sent in some lyric outtakes from years past - giving the producers the green light to edit them in as they found fit. The result? Well, it isn't terrible but if you expecting a cut-and-dry Dr. Octagonecologyst II you'll be disappointed. The beats are odd European-styled house grooves, not the laid back funk you'd expect from most of Keith's catalog. It works OK and there's evidently a whole back story throughout the record for those who want to decipher the lyrics line by line. My favorite track is the trippy scratch ditty "Jumpstart" which is probably the closest sounding thing to Octagon's first record. Worth a listen just because, hey, it's Kool Keith but not for much else.

Friday, May 9, 2014

Octagon II

With a Photoshop 4.0 cover like that you know you're in for something special. 32 seconds into First Come, First Served Dr. Octagon is murdered by a new nemesis, the cannibalistic serial killer Dr. Dooom. Kool Keith serves up another epic 70 minutes of fucked-up horror-laced hip-hop (it's too tripped out to simply call it "horrorcore") under a new alias. As fare as the production - it's a worthwhile attempt to replicate the sound of Dr. Octagonecologyst by new producer KutMasta Kurt. At times some of the beats sound a little thin but all in all it's solid. "Neighbors Next Door" and "Side Line" are personal faves. Enjoy.