March 31, 2011

Boredoms - NYC New Music Seminar, 1993

March 30, 2011

"Extreme electronic music. Please acquire with due caution"

Whitehouse - Erector (Come Organisation, 1984)

More / +

Big thanks to The Hills of Granada for this video and the ones below!




John Trubee known as the man behind “Blind Man’s Penis,” a demented poem with lines like “Warts love my nipples because they are pink/Vomit on me baby, yeah, yeah” that was sent to a song-poem mill and turned into a deadpan country song which subsequently became an underground novelty hit. Lesser known, but far stranger, is his follow-up album. Trubee got the ball rolling by sending a fake suicide note to several associates, including L.A. Reader rock critic Matt Groening and Enigma’s Bill Hein, who agreed to meet with Trubee and negotiate a record deal. In Trubee’s words: “It was no negotiation. I wanted to do the record badly--that was obvious. It was similar to a horny teenage boy negotiating with a supermodel to lose his virginity. There is no deal--he just gets with her fast before she changes her mind. I told Bill I'd do it for no money. He set up mastering time at Capitol and I walked in … with a brown paper bag full of reel tapes and cassettes of teenage poetry rants, prank phone calls, aborted horn chart recordings from music school, and other weirdness. I had the flu and I sat with Eddie Shierer for six hours editing all this madness into an album.” What resulted was an extremely unique and, well, odd record. I came across it in a used bin shortly after it came out. It was both annoying as hell and insanely captivating, a collage of atonal avant-jazz, primitive electronic compositions, and spoken rants against stuck-up college girls and the suave men who slept with them, plus those juvenile prank calls, a revelation long before the genre became a pop cultural phenomena. If the record that was attached to the Voyager space probe had contained the sounds of all the alienated, pissed-off, shat-on people on earth, it would sound something like this. (Chas Glynn, from the book Lost in the Grooves)

Live (1983)...

You Idiots! I Don't Believe You!...

The Last Bird...


March 29, 2011

March 22, 2011


Steven Jesse Bernstein

Selected Works

from his earlier chapbooks (including Choking On Sixth, 1979)



March 17, 2011

March 16, 2011

Himmler The Mystic

From the 1991 documentary series The Occult History Of The Third Reich

The documentary contains mainly black and white as well as some color archival footage, with narration explaining the influences of alternative belief systems (occult, paganism, mysticism, etc) on the Nazi ideology and Hitler's personal philosophy. It also documents the history and development of ideas and symbols and of the eugenics movement.
In the early 20th century, the young Adolf Hitler was just one of many German-speaking people attracted by a new Germanic mythology that combined ancient legends and esoteric cosmologies with cutting-edge theories of genetic science. In the hands of the Nazis, the result was a new ideology that saw racial purity as the key to human destiny.
This was a belief-system of arcane rituals and potent symbols, with the ancient swastika appropriated for the Nazi cause. By the time of the Third Reich, Hitler and the Nazis had evolved an entirely new faith, complete with holy book, venerated relics and a priestly elite in the form of Himmler's SS. It was a religion based on obedience, power, and the cult of the leader, with Hitler himself conceived in Messianic terms. wiki

March 15, 2011

Dez era Black Flag

I don't listen to much Black Flag these days, lately the 1986 instrumental EP The Process Of Weeding Out has had a few plays and sporadically the '82 Demos but mostly i just refer to this playlist of tracks with Dez Cadena on vocals. A lot of people have their own steadfast opinion on Black Flag as to which releases, line up, vocalists they deem to be the best output; I have my preference with the recordings fronted by Dez who had more of gravelly hardcore delivery that's been imitated by Henry Rollins and influenced many others since. He replaced Chavo for a couple of years in 1980 until his voice gave way leaving Rollins to take over (at which point he switched to guitar).

Nothing special here mind you... no live recordings, just tracks from the Louie Louie 7", Six Pack EP, a couple of compilation tracks and the rest from the 1983 compilation of previously unreleased material Everything Went Black.


March 12, 2011

Sonic The Warhol

Brian DeGraw - Sonic The Warhol OST (Brown Sounds, 2005)

Solo recording from Brian DeGraw of Gang Gang Dance which was made as a score to Oliver Payne & Nick Relph's film Sonic The Warhol.

The Social Registry

March 10, 2011

Butthole Surfers - BBQ Pope (1982)

UK Late 80's Fast 'N Heavy!

HERESY - Trapped In A Scene
RIPCORD - No Reason
DOOM - Exploitation
ACTIVE MINDS - Murder In The Laboratory
CONCRETE SOX - Eminent Scum
DOCTOR AND THE CRIPPENS - The Garden Centre Murders



1994 documentary directed by Todd Phillips about the life of GG Allin, a punk rock musician who died from a heroin overdose in 1993. Allin was infamous for excessive behavior (drug addiction, alcoholism, physical violence), and his stage shows became confrontational events involving indecent exposure (stripping and performing naked was one of Allin's most common rituals), onstage defecation and coprophagia, physical assault (both on and by Allin), and obscene language.

Part 2...

(Nice one Borthwick! MUSCLE!!)

Jodie Foster's Army

Untitled 12" (Placebo, 1984)

Formed in 1981, with roots in Arizona and in Southern California skateboard culture. The original members include Brian Brannon (vocals), Don "Redondo" Pendleton (guitar), Michael Cornelius (bass), and Mike "Bam-Bam" Sversvold (drums). Alan Bishop of Sun City Girls also played bass for a while. The band was pivotal in the development of the skate punk and Skate Rock scenes. Over the years, the lineup has included many bass players and drummers but the core of Brannon and Pendleton has remained constant. JFA was formed around March 1981. Pendleton, then in the band The Deez and Cornelius, then in the band Jr. Chemists, knew each other from shows around Phoenix, Arizona and from skateboarding. They began playing together after a D.O.A. concert during the band's Hardcore 81 tour. Bam-Bam later joined after meeting Pendleton at an "Industrial Dance" in Phoenix. Brian Brannon was pulled into the band by Cornelius who met him skateboarding and at punk shows. The band's name is a reference to John Hinckley, Jr.'s, attempted assassination of Ronald Reagan. Jodie Foster's Army was a song before the band took the title as their name.
The band's first show was opening for Black Flag at an Industrial Dance which was one of a series of early Phoenix punk shows. Their first song of the night was Pipetruck. Placebo Records released their debut EP "Blatant Localism" in late 1981. The band toured the west extensively and played many local shows. Their first national tour was in the summer of 1983 following the release of their first album "Valley of the Yakes".
The original bassist, Michael Cornelius, left the band in the summer of 1984 prior to the nine-week summer '84 tour. Alan Bishop of labelmates The Sun City Girls played bass until Cornelius returned for the 1986 release Nowhere Blossoms.
The band received continuing coverage in the influential skateboard magazine Thrasher during the 1980s. Brannon eventually worked on the editorial staff full-time and Pendelton and Cornelius were contributors of articles and photographs.

Vinyl rip courtesy of Hardcore Punk Reviews (RAD!)

March 09, 2011


live in St. Louis, Missouri 1987

March 01, 2011

Songs from "United States I-IV"


The music and spoken word pieces that comprise the album were actually drawn from Anderson's expansive eight hour long performance art stage production United States Live (which was performed over the course of two evenings). Drawing on disparate elements and themes, commentaries and critiques about life in America, Anderson's Big Science is at once bold, imaginative and artful. Dryly humorous and chillingly bleak. Starkly minimal and deeply moving. Playful and cerebral. Thoughtful and thought provoking. Challenging and engaging.
Keep in mind, the short audio samples here really don't do the whole work justice. This album should be experienced in one complete distraction-free listening session.