June 30, 2010


NERO presents:

july 1st 2010

MAXXI_Museo delle Arti del XXI Secolo , Rome

further appointments:
MIKE BONES 08 07 2010


The Story of the Wu-Tang Clan (2008)

part 2 of 8 (autoplay)

June 26, 2010

Traci Lords Loves Noise

DIE YOU STUPID FUCKING POSERS! (bUNg International, 1993)

(found on a noisecore thread, i believe it was uploaded by Andy of Mortville Noise, so thanks to him!)

I wasn't always at odds with Billy. I was never really friendly with the guy either. We wrote eachother a few times over the course of 5-6 years or so, traded a few tapes and such. He'll be the first to tell you that he wasn't my friend and that I was just some loser kid who was never able to make the transition from noisecore to other forms of music, pretending to be ultra-underground and hating anything that sold more than 500 copies. Either way, Billy was responsible for some of the funniest tapes ever recorded in the noisecore underground.

Before Razorback Records, before Lord Zillablaster and even before Pissed Off Orgasm, Billy did T.L.L.N.. I don't like all of the T.L.L.N. tapes, but the ones where he's talking shit about other people and bands are timeless. This demo, and the split with NUT SCREAMER are the best. I transferred this tape first because it's showing signs of wear and I'm afraid eventually it will get eaten. The last three tracks are garbled and the speed is slower for some reason. I anyone likes this, I'll upload the split with NUT SCREAMER, it's a little stupider even.

The formula was simple.... Do a spoken intro mocking death metal losers, talking over tapes of bands he supposedly hated, but owned for some reason, then launching into drum machine blasts while screaming "Die you mother fucker! You stupid fucking poser! Die! Die ! Die! etc....". One look at the song titles and you'll know if this is something you want to check out or not.

I've listened to this tape more than I can count, I consider it to be a noisecore classic. Everyone I've played it for loved it. I don't know if he really hated these bands, or just their fans. Billy contradicted himself a lot from tape to tape, so noone really knows but him. Either way, this is some funny shit. The cover is scanned and included in the zipped folder. Enjoy!

1. Intro / Stay True to the Scene
2. Toss Me a Beer Man
3. DEATH Started it all
4. Debut Demo Out Now!
5. Smoke Pot and Be Cool
6. True Black Metal
7. I Play in a Noise Band
8. Send Back My Stamps
9. Milwaukee Faggot Fest
10. My Girlfriend Doesn't Understand Me
11. Stay Brutal
12. Little Kid Death
13. Chrome Tapes / Glossy Cover
14. IMMOLATED Fucking Dicks
15. I've Got the Munchies
16. We're Playing a Show Tonight
17. Atmospheric Doom / Death
18. Unsigned Attitude
19. ARRGGHH, Extreme Fucking Grind!
20. Death Metal Party
21. More Swedish Shit
22. I Worship Satan
24. Send Us an Interview
25. Hanging Out at the Mall With a Bunch of Stupid Fucking Death Metal Posers


Canadian grindcore à la drum-machine

s/t EP (Regurgitated Semen Records, 1998)


June 17, 2010

O Lucky Man!

(Lindsay Anderson 1973)

next (autoplay)


June 16, 2010

The Black Atlantic

(Definitive Drexciya, 28 track compilation of classics and unreleased cuts from '92 onwards)

Drexciya - The Quest (Submerge, 1997) Discs: One | Two

L.A.M. (Life After Mutation) - Balance of Terror 12" EP (Hardwax, 1992) ...Pre-Drexiya

The majority of Drexciya's releases were in the style of harsh, dancefloor oriented Electro, punctuated with elements of retro, 1980s Detroit Techno, with occasional excursions into the Ambient and Industrial genres. Tracks are mostly centered around the TR-808 drum machine, with bass, melodies, and synth textures ebbing and flowing in time. Anecdotes suggest that Stinson and Donald recorded tracks while playing the instruments live, making use of analog equipment and sequencing methods. Drexciya combined a faceless, underground, anti-mainstream media stance with mythological, sci-fi narratives, to help heighten the dramatic effect of their music. In this aspect they were similar to artists within and close to the Detroit collective Underground Resistance.

'Drexciya fictionalize frequencies into sound pictures of unreal environments -- what Kraftwerk termed tone films -- not filled with cars, bikes or trains but rather UAOs, soundcrafts. In '93's Bubble Metropolis, Lardossan Cruiser 8-203 X prepares to dock. The tones of a hydrothermal turbine engine shift gears. They fictionalize the psychoacoustic volume of a giant submersible: 'This is Drexciyan Cruise Control Bubble 1 to Lardossan Cruiser 8 dash 203 X. Please decrease your speed to 1 point 788 point 4 kilobahn. Unknown turbine engine slows down. Thank you. Lardossan Cruiser 8 dash 203 X please use extra caution as you pass the aqua contruction site on the side of a aquabahn. I repeat: Proceed with Caution. Lardossan Cruiser 8 dash 203 X you are now cleared for docking. Have a nice stay here on Drexciya. I'm Drexciyan Cruiser Control X 205. If you have any problems let me know. Bubble Control Out.'

Drexciya Research Labs


June 08, 2010


Live at The Rathskeller, Boston MA 1985

1 Gargoyle
2 Does It Float
3 Severed Lips
4 Cats in a Bowl
5 Quest
6 Leper
7 Show Me The Way
8 Mountain Man
9 Repulsion
10 Pointless
11 Forget the Swan

June 06, 2010


Tulkinta (Sähkö, 1997)

All tracks written, produced and recorded by Mika Vainio in Turku in 1992.
Tracks 1-3 are originally released as "Kvantti" ep (Sähkö-002), tracks 4-9 unreleased and 10-13 as "Röntgen" ep (Sähkö-001)



Panasonic 12" EP (Sähkö, 1994)

Pan Sonic

June 04, 2010

Who's Really Listening?

Mark Lane started to work musically in the late 1970s. He used electronic sound to make cut-up rhythms and bought his first synthesizer - a monophonic Electro-Harmonix with two oscillators- in 1980. In 1981 he released his first disc - the 'Love is so aggravating' 3-Track 7" EP. His early music is very minimal synth-pop styled music coupled with a unique vocal style. As influences, Mark lists Kraftwerk as well as Klinik and even David Bowie, Brian Ferry and Brian Eno. In 1982, the second release came out - a blue 9" Flexi called 'The Reflection' - today a highly sought-after item. It was not before 1984/5 that Mark released his first 'long'player - the classic 'Who's really listening?' MLP. The release was followed by a tour through Europe where Mark played together with The Klinik. Through the years, Mark collaborated with many artists - Attrition, Data Bank A, De Fabriek, Hidden Agenda, Vomito Negro and even with the synthesizer-veteran Conrad Schnitzler. He also was editor of the On-Slaught Cassette Magazine from 1982 to 1985. (MetaWave)

June 03, 2010


(Mike Leigh 1983)

other parts


June 01, 2010