Thursday, July 26, 2007
I saw this band last year while in Maine, they are a local oldschool hardcore punk band and they blew me away. I seriously loved them, this is their first EP, self released, and word is they have an LP on the way, but they never update their site so who knows whats going on. If you like political hardcore that sounds kind of like Minor Threat but faster, check it out.
This is available for download on their website (along with their demo) so if the link goes down find it here.
Best bet to get this EP is to contact the band here - firstname.lastname@example.org
Nunwhore Commando 666 is a trio cyber gore grind band which some member comes from Libido Airbag. So you can compare the same style between both band but NWC I think is more brighter than Libido Airbag. This is the recent album that contains with 17 songs in around 50 minutes. The content of NWC concerns with war-making,crime,terrorism and also sexual matter. About the music,if you ever listen to cyber gore music, NWC gives you the same feeling.
It is fast and aggressive,no more technics. It uses electronic equipment in such extreme way. Great!! The vocal I guess using vocal effect is many styles of inhuman voice; growling, screaming and vomiting.
I like this album. I think it is interesting. No more reason why I like it except you are already taste it. For you who want to join the world of cyber gore, I recommend this one.
That review is horrible but I can't find another one, I hope that English isn't his first language. I don't know why I like this album so much, its slow paced electronic grindcore that is overpacked with samples, dozens in each song. Features members of Gut. The vocals are over the top, tons of distortion but turned down so they fade into the music. Unlike most grind albums its not abrasive, the songs are long and its sort of slow and rhythmic with nice grooves giving it an industrial feel. Give it a listen.
Buy it cheap.
This was recorded in February of 1986 , only days after returning from The first Last Exit tour, Sonny went into RPM Studio in NY and cut the tracks for this, his much-acclaimed return to recording. A solo guitar album, it employs overdubbing, but true to the spirit of the people involved, its various parts are largely improvised, and most were recorded on the first take. Nicky Skopelitis should get special credit for helping Sonny get those beatiful guitar tones.
Sonny Sharrock's "Guitar" reintroduced the guitarist to the world as a solo performer. An album of overdubbed guitar performances, the tracks on the album consist of Sharrock overdubbing guitar lines (usually a rhythm and a lead part, but sometimes as many as four lines) to build songs, covering a variety of sounds and and genres, from funky blues ("Blind Willie") to aggressive psychedelic rock ("Kula-Mae") to something totally unique in the extended suite, "Princess Sonata".
Sharrock's playing is sublime-- he was a guitarist of seemingly endless inventiveness and technique-- drawing from masters of a number of genres, but synthesizing something wholly unique out of them, his playing is at times aggressive and forceful and at times delicate and beautiful.
Out of print for a long time, enjoy.
Sunday, July 15, 2007
I'll just say it up front: the title song of this album contains the best guitar solo in the history of rock music. You won't believe me, probably, because you have your own favorite solos clutched tightly to your chest, and anyway, isn't Funkadelic, well, y'know, a funk band? I salute your right to worship your own guitar gods; that's why we listen to loud music. But don't let the name of the band, or their color, or the age of this album fool you: Eddie Hazel recorded - in one take - the solo against which all other solos would be measured if he hadn't been African American. Sorry to play the race card, but it MUST be true.
The story on Maggot Brain is that George Clinton, out of his mind on Yellow Sunshine, told Hazel to play the first half of the song as if he had just heard that his own mother was dead, and then the second half as if he had found out she was alive. The result is beyond "astonishing" or "powerful" or anything else critics usually say; it's an improvised composition, of both deep blues purity and cold, hard, futuristic vision. There is a band backing it, but it fades out (reputedly because they sounded shitty next to Hazel), and it's pretty much just one man showing us what he's made of. If you've heard it, you know what I'm talking about. If you haven't, well, the record store is open and you just got paid.
The rest of the album is excellent, too, and diverse, with the soul of "Back in Our Minds" sounding great next to the Black Sabbath funk of "Super Stupid" (which contains, by the way, another stunning Eddie Hazel solo), and the Bernie Worrell organ burnout of "Hit It and Quit It." And the whole thing ends in perfect Funkadelic fashion with "Wars of Armageddon," a long-ass guitar workout featuring screaming, hilariously over-the-top crowd chanting, sound effects that make no sense (cows, farts, sirens, canned sitcom laughter), and the overall feeling that everything is coming apart. (Hey: it was Detroit in 1971.) This CD is not quite 37 minutes long, but it runs the gamut of emotions, musical styles, and points of view. And it contains the greatest guitar solo in the world.download it
This is the soundtrack to the most bizarre story in rock and roll. In 1966, five American GI's stationed in Germany decided to form a band designed to disturb people. Calling themselves The Monks, they shaved their heads, donned black robes and pounded out impossibly primitive songs like "I Hate You", "Complication" and "Shut Up". Radical stuff for audiences in the midst of Beatles' "I Want to Hold Your Hand" infatuation; predictably, their album went nowhere. This was, after all, an ocean away and a year before The Velvet Underground's first experiments with atonal noise, and a full 10 years before the punk explosion.
Three decades later, this reissue of The Monk's only album finds them still out of time, but slightly more acceptable to audiences. Only slightly - this is Very Wacky stuff. With pulsing fuzzbox bass, slashing electric banjo, tribal drums and deliberately amateur organ squeals, The Monks thumped out quasi-surf cacophony, two-chord rants, angst polkas and surprisingly catchy melodies yelped by "singer" Gary Burger with a dark, campy sense of humor.
There's nothing to these songs but raw energy and primal rhythms, with a lyric or two (at most) tossed in for emphasis, like "I hate you with a passion baby, but call me". That's all you get for 3 minutes, and that's all you need. Call them the first punks, call them angry delirious Beat poets, but any way you slice it, whether avant-garde weirdness, garage rock or vicious punk, these kids did it first. But really, it's all about the electric rhythm banjo. Where else are you going to hear that?
As far as I know this is thier complete discography, including the first first LP and two follow up EPs. They remind me of Crass and Devo long before their times, and thought of themselves as the anti-Beatles.
buy it if you want, but The Monks official website says the band doesn't make any money from this, so I wouldn't bother.
Sunday, July 8, 2007
For the uninitiated, Skullflower is one of the better-known bands that originated in the early 1980s power-electronics / noise scene, and one of the few to achieve any real recognition outside their homeland, especially in the United States (all the more remarkable in light of the fact that they have never toured outside of the UK). Unlike most of their contemporaries (such as Whitehouse, Con-Dom, Grey Wolves, etc.), they were an actual band (as opposed to one or two musicians employing a mix of instruments, synths, and tapes), and retained just enough of rock's basic structure to attract the attention of people beyond the power-electronics genre.
1st US full length release from 1993 featuring members of Whitehouse and Coil, Skullflower'S brand of feedbacking drone guitar sprawl will put you into a trance.