Electronic, Experimental, Glitch, Noise; CD - Ex Used condition
This is the second live collaboration between three masters of the game, Christian Fennesz, Jim O'Rourke and Peter Rehberg (aka Pita). The fact that The Return of FennO'Berg was constructed live on some stage while a roomful of people with a drink in their hands watched these guys at their computers has absolutely nothing to do with whether or not you'll enjoy the CD. This here is audio, folks, and on The Return of FennO'Berg, these three opt for the subtle, let the tracks build and develop at an organic pace, and allow for the intrusion of the unexpected. Brilliant, as you would expect.....
Psychedelic, Experimental, Electronic, Rock, Non-music; CDr (Carbon Records) - Ex Used condition
20+ min piece of pastoral psych smudged compositions of Joe Sorriero on guitar, manipulated through a homemade oscillator/filter with signature Scrappy Joe vocal wanderings. Some may know Joe from his full-time gig in Nod (Smells Like Records). This long sold out CDr is rare to find in the wild through fucking champion label Carbon Records.
Noise, Fat Cat, Experimental, Industrial, Electronic, Harsh, Japan; CD - Ex Used condition
Japan noise-monsters XINLISUPREME's 2002 mini LP 'Murder License', Whilst containing fleeting moments of respite, is an album preoccupied with frightening, crashing, unending noise -- the sound of industrial culture cannibalizing itself. "I Drew a Picture of My Eyes," "Sakae," "Front of You" -- these pieces build from thrumming basslines to staccato .50-caliber percussion drops, and the forlorn, fatalistic mutterings of humans being eaten by iron smelters. The opening title track is similarly distorted; however, it layers a wayward, keening synth over the chaos, suggesting The Cure's "Just Like Heaven" played backward by berserkers. Later, "I.T.D.O.O.M." discovers a lonely, flute-like instrument wallowing in a world of breezy, grimy manhole covers. The instrument repeats its simple scale as sickly sweet air swirls through sluiceways, and it's calming, to a degree. Still, it's clear the bone-shattering aural grime of Murder License's more crippling material is never far away. The album closes with "Count Down," a flawless blend of its two extremes. Fractured beats scatter like cicadas unleashed over a pounding industrial rhythm. Somewhere a melody develops, down beneath the blast doors and corrugated grating. But the machines eventually, finally burn through, silencing Murder License in peels and tears of charred shrapnel.
Australian, Experimental, Nonsense, Parody, Comedy, Synth Pop, Melbourne, Home Recorded; CD (Dual Plover) - VG Used condition
"For most of the '90s, the now defunct New Waver were one of the strangest and most entertaining bands in Melbourne - two unassuming public-servant types lurking behind cheesy synthesisers, with a singer who began most gigs naked, putting on an item of clothing after each song in a deadpan inversion of rock'n'roll behaviour. The music consisted of dinky covers of Top 40 hits with the lyrics changed to address the life of the office loser. Thus AC/DC's Jailbreak becomes Tea Break, a tale of workplace bullying around the water cooler, while the Rolling Stones' Start It Up becomes an ode to the socially stunted computer geek. This CD compiles the pick of New Waver's hilarious work. Key Track: Chadstone - in this remake of June Carter and Johnny Cash's Jackson, a suburban couple use their favourite shopping centre as a sex-life replacement." - Guy Blackman
Psychedelic, Charalambides, Avant Garde, Rock, Noise; CD on Australian 'Camera Obscura' Label - Excellent used condition
Primordial Undermind is led by ex-Crystalized Movements guitarist Eric Arn and features members of Charalambides. Active for more than a decade in different forms and in different cities, PU create a dense smattering of heat-influenced psychedelia containing oscillating whirly sounds, woven guitars and twin drumming. PU have toured and played shows with Kinski, Major Stars, Bardo Pond and Acid Mothers Temple. Leader E Arn also created the Texas Psych Fest, a sort of miniaturized version of the sporadic Terrastock festivals, of which they are two-time veterans.
Australian, Experimental, Jazz, BJ Moriszonkle, Melbourne; Self released CD - Ex Used condition
"IMPOSSIBLE" is a good word to describe this Australian hooligan jazzcore quartet with 2 amazing tenor saxophones. They are impossibly terrible in everything that they do including the cover of their album and the volume of their recording! )))
I know only a few bands with THAT fantastic powerful energy, and THE IMPOSSIBLE NO GOODS shows it so easily! Absolutely crazy guys! ))) The only defect of this album is that it lasts only 17 minutes and 24 seconds. As for the rest, it is magical )) Favorite track: THE BULLSHIT. - OLGA KIVIUS
Psych, Experimental, Noise, Rare, Avant Garde, Argentina, Rock; 2xCD set - Ex Used condition (Jewell case damaged)
The Argentinian band Reynols wasn’t widely known even before they disappeared for some 17 years. They just don’t do the kind of music that gets a band known. Reynols represent everything rock pretends to be. The band has been around since 1993, although if you ask singer and frontman Miguel Tomasin, he might tell you that the band has been around since 1967 when, at age 3, he started banging on pots and pans in his mother’s kitchen. He might say something else, too, but he’s said that in the past. Tomasin is, by any definition, the visionary of Reynols. Without him, Reynols wouldn’t be the most important band in the history of rock. Rock has certain conventions—rhythm, instrumentation—that generally don’t vary all that much. But something more important that rock has, or should have, or at least pretends to have, is attitude. Rock is about the rise of the outsider. Rock is about breaking down power structures. Rock is about believing in yourself. And in that respect, Tomasin is a veritable rock hero. The fact that Tomasin has Down’s syndrome may or may not matter; We’d have to know what kind of band he’d have if he didn’t have Down’s syndrome to say for sure, and we don’t know that. But Tomasin is a visionary and in Roberto Conlazo, Pacu Conlazo and Anla Courtis, he has a devout ensemble ready, willing and able to do his bidding. And that’s what makes Reynols the most important band in the history of rock. Tomasin’s bidding hasn’t always brought home the bacon. Past releases have included recordings of chickens and an album of dematerialized music, housed in an empty jewel case. The band has also worked with Acid Mother’s Temple, the Nihilist Spasm Band and Pauline Oliveros, and has always stayed true to his wishes. That dedication is what gives the band its strength.
Anal Cunt, Grindcore, Noise, Rare, Early, Live, Collected recordings; CD - Ex Used condition
Old Stuff, Part Two is a compilation of early material. The 1st track is actually one side of a split with the Meat Shits. The tracks are completely blur noise, with sparse riffs and a cover of a ‘Siege’ song that you may recognize from later albums by AC. If you don’t care for Anal Cunt even when they have funny song titles, then you will hate this album for sure. This is pure noise, everything sounds similar, everything is too fast for consideration, but I love everything about this album. The real treat on this album though is the live tracks, from the early days when AC would still do live acoustic performances. They actually play their material with an acoustic guitar while Tim Morse plays his typical style of blast/stop/blast/stop, for a small crowd who gives big cheers after each song. It’s funny as hell and I wish I had been there.
The Wire Magazine, V/A comp,
The Wire 20 Years 1982–2002 is a various artists compilation album. The 3-CD box set was released on Mute Records for the 20th anniversary of British music magazine The Wire The tracks were selected by the magazine's publisher and former editor, Tony Herrington. It is now out of print. Andy Gill at The Independent named it one of the ten best box sets of the year.
CD 1
The Wire - Steve Lacy
Seguita - Ennio Morricone (with Gruppo Di Improvvisazione Nuova Consonanza)
Wrong Eye - Coil
Egress (excerpt) - Hands To
Buried Dreams - David Toop and Max Eastley
Tubby's Vengeance - Vivian Jackson & King Tubby
Don't Talk (Put Your Head On My Shoulder) - Fennesz
M 5 - Derek Bailey
Cockfight - Trance In Paksabali And Kesiman - Gamelan Beleganjur - Traditional Musicians, Bali
Pygmaäen - Einsturzende Neubauten
After Rapidly Circling The Plaza (excerpt) - AMM
11,000 Volts - Mars
Breathe Deep - Cabaret Voltaire
The Death Of The Composer Was In 1962 - Tony Conrad with Faust
Vandal - Designer
Soaking Bodies In Dub - Torture
Shenshema - Fela Kuti
CD 2
Illistrum - The Art Ensemble Of Chicago
Expressway To Yr Skull - Sonic Youth
Salt - Spring Heel Jack / The Blue Series Continuum
Paper Hats - This Heat
Simple Headphone Mind - Stereolab / Nurse With Wound
Rock 'N' Roll Station - Jacques Berrocal
Ancient Ethiopia - Sun Ra & His Solar-Myth Arkestra
Jukebox Capriccio - Christian Marclay
Williams Mix - John Cage
Cathode #4: Soundcheck Version - Yoshihide Otomo
Headphones - Bjork
I (excerpt) - Pauline Oliveros
CD 3
Satan Side - Keith Hudson
Music For The Gift Part 1 - Terry Riley
Silver Smoke Of Dreams - William Burroughs (with Ian Sommerville)
Rocket USA - Suicide
4.2 - Supersilent
Vaihe (Fön)
Kebabträume - Deutsch-Amerikanische Freundschaft
Khalid Of Space Part 2 - Welcome - Larry Young
Players With Circuits - David Behrman (with Gordon Mumma)
Australian, Melbourne, Post Punk, Little Band Scene, Primitive Calculators, Rare; CD - Ex Used condition
This collection from Chapter Music brings together a selection of tracks from the Antipodean post-punk scene from the likes of The Apartments, Primitive Calculators, Fabulous Marquises as well as other colourfully-named acts, People With Chairs Up Their Noses - who feature Jim White of Dirty Three no less - and Slugfuckers. What's most surprising about this compilation is how heavily electronic elements feature. Take a listen to the eccentric bleeps and bloops of 'The Dumbwaiters' by Makers Of The Dead Travel Fast or the drum machine noodlings of Essendon Airport. On top of that you still get the bedroom guitar abrasion of any self-respecting New Wave scene: there's the skewed jangle of The Moodists' 'Gone Dead', while Voigt/465's 'Voices A Drama' is all Siouxsie & The Banshees hysteria. Best of the bunch is The Apartments' 'Help', plundering the same treasure trove of guitar riffs and classic guitar pop as The Cure. It's worth noting that this compilation has since it's release, paved the way for the more recent retrospectives on Australia's punk and garage scenes. Bloody excellent.
Black Metal, Thrash, Satanic, Metal, Perth, Australian; CD - Ex Used condition
"Thrashing Black Devil Worship" is the first demo release by BLOODLUST from Perth, Western Australia. It features four raw and gritty tracks (plus intro) of old school black thrash straight from the fiery depths of Hell. Influenced by Venom, Bathory and early Slayer.
Bloodlust's demo "Thrashing Black Devil Worship" available as a pro-duplicated CD-R in a gatefold cardboard sleeve. Artwork by James Campbell.
Electronic, Experimental, Musique Concrete, Contemporary, Classical, Melbourne, Netherlands; CD - Ex Used condition
Continuity 3 (2002) for percussion and computer uses transformations both of performing technique and of the sound itself to explore relationships between continuous and discontinuous textures and structures. The use of only three metallic sound-sources does indeed create a sense of continuity and coherence, whose converse is to be found in the constantly changing electronic refractions to which the sounds are subjected. The overall effect is of an extension of the idea of resonance, so that as the metallic bodies are struck and resonate, they in turn serve to "excite" the virtual resonating body in the computer, one which is no longer tied to rigid physical objects and natural decays. Both in its adherence to a carefully selected vocabulary of sounds produced by bodies in motion and in its sense of dramatic timing, Continuity 3 seems to continue the musique concrète tradition exemplified most memorably in the work of composers like Pierre Henry, Bernard Parmegiani, and François Bayle. The fact that it is performed in real time by a percussionist and a computer running Max/MSP is a measure of how profoundly the practice of electronic music has changed as a result of the accelerating development of digital technology. At the same time, the lessons it draws from musique concrète, a music composed with magnetic tape and razor blades, is witness to the fact that the best of that music was in no way restricted by what we can now view as rudimentary and fearsomely time-consuming methods, but has, and will no doubt continue to have, many subtle and sophisticated things to tell us about the art of sound-composition. The percussionist Timothy Phillips plays with and against the distorted images of his own sounds as if engaged in the almost subliminal interactions of chamber music.
