Limited Edition, Numbered, Neo-folk, Industrial, Electronic, German, Experimental, Dark Ambient, Israel; CD - Ex Used condition
Limited to 1000 hand-numbered copies. Comes in a postcard sized 12,5 cm x 16,5 cm fold out cardboard CD-packaging.
The Eastern Front (label), 2007.
Noise, Harsh, Experimental, Electronic, Abstract; CD (Mego) - Ex Used condition
Massimo's 2002 release Hello Dirty is a relentless mess of clumpy noise, Hello Dirty is destined to be sold or permanently shelved by almost all who own it. That's fine with Massimo, though, because the rest are going to crank it and throw a TV out the window at some old man walking down the street. That makes Massimo giggle. Hello Dirty can be taken one of two ways. For most listeners, it will be an awful experience. It offers little in the way of immersion, analysis or plain old bop-along enjoyment. There are no hidden textures, complex arrangements, striking ideas or catchy hooks; Massimo simply takes a dozen generic tracks and butchers them. Conventional structures pop up fairly often (one segment introduces a four to the floor house beat, another could be a riff from an eighties cock-rock band and most of the tracks have some sort of rhythmic foundation), but the abrasive digital garbage that those structures are built upon ruins any enjoyment. And that's the point. Everything here is a big “fuck you.” From the taboo imagery to the sandpaper in your ear distortion and clipping to his pornographic live shows, Massimo aims to make the listener uncomfortable. For most, this will be a huge turn-off and make everything he touches (well, almost everything - his releases for the Mego-related Fals.ch label are more welcoming but accordingly lose the power of his harsher work) unlistenable. For those who aren’t intimidated, though, Massimo is a hero and Hello Dirty is an
exhilarating treasure.
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.
Original cassette release of this Avant Free Jazz release from 1974 in Excellent used condition.
Of the handful of varying styles Santana recorded during his career, none reflects his nomadic musical exploration better than his 1974 collaborative LP with Alice Coltrane, Illuminations. The two came together very much due to Santana’s preoccupation with jazz, but both shared a common vision of expressing their spirituality through music. Coltrane’s musical path had been colored by spiritual exploration. She had explored Eastern spirituality and its music with her husband John Coltrane before carving out her own catalog of forward-thinking jazz. Santana’s own musical path also began in the San Francisco’s Mission District in the late 1960s – ground zero for free love and recreational drug use. The resulting record is as strange and fascinating as the pairing would suggest, although Illuminations fits better within Coltrane’s varied catalogue. By the mid-1970s, Coltrane had already released a number of free-form records that married avant-garde jazz, gospel, blues and devotional Hindu music. For Santana, it’s a work that was completely incomparable to anything else he had ever done. None of his previous releases hinted at the improvisational release that was to follow. Illuminations is the deepest Santana would ever delve into the world of jazz. Santana explained years later in Rolling Stone magazine, “This shit is not for me, I don’t care how enlightening it is.”
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
Industrial, Power Electronics, Noise, Power Violence, Experimental; Limited Edition Vinyl LP - Ex Used Condition
On this split the Finnish Sadio (a collaborative project between Grunt and Skin-Graft) have teamed up with the Italian Caligula031 (side project of Wertham main man Marco Deplano), and is ultimately a release which sits at the depraved and nastiest end of power electronics. Sadio take on Side A with 3 tracks of ‘basement torture’ electronics which are even less structured than those on the debut album Sophisticated Methods In Torture (…which itself was an exercise in direct aggression over detailed or meticulous studio recording).With more similarity than difference across the first two pieces Inhale the Animal Filth and Slavemarket, the result is absolutely rough, raw and ripping.Here the sound, whilst having a solid lower end, is more prominent at the mid to high spectrum with overblown and hollowed out tones, barely controlled feedback squalls and occasional barked vocals rising to the surface.The clear impression is the material has perhaps been recorded live in studio, with recording levels being max’ed out in the red, and followed with limited (if any) post production. The third and final track Innocent And Pure then shows a fair bit more restraint and opts for a slow building atmospheric cut of sweeping and fluttering mid tones and bulked out with heavier bass rumble and with the late track murky vocals being vomited somewhere off in the distance of a cavernous warehouse. Caligula031 then encompasses a voyeur’s ‘sleaze perspective’ on Side B (4 tracks and around 20 minutes of material), which thematically focus on heroin addition and the depravity of the ‘fix’ lifestyle. Needle Park – Platzspitz 1990 is the opening piece of extremely murky, idling machine clatter to set a general mood of stasis, thus leaving ample room for the forceful vocal torrent to remain prominently throughout. Following on Nothing Comes For Free is excellent for its minimalism which is constructed with two sustained but counteracting tones (…one needling texture and the other at the mid to lower end), which allows Marco’s heavily Italian accent vocals to sit front and centre within the track. Sponge of the Sidewalk follows and is framed around subdued bass rumble and dialogue sample referencing addiction, prostitution and criminality (…which appears to have been lifted from a UK talk show), while Sob Story is the final of four tracks and is another piece of hollow mid-toned textures and heavily processed vocals. Packaging is noteworthy for its simple white sleeve and sticker, which has been further ‘augmented’ with flecks, drips and spatters of real blood, while a double sided insert includes further thematic imagery.Clearly a release for those knowing exactly what they are in for, and not for the squeamish or ‘scene tourist’ types, thus with its limitation of 250 copies this would be sufficient for this nasty and no-frills release to find its intended audience. - NOISE RECEPTOR JOURNAL
Rare, Conspiracy Theory, New World Order, Illuminati, Australian, Underground, Independent; A4 Handmade Paperback Book - VG cond - has some marks on front cover, perhaps where someone has erased pencil....
This rare as shit conspiracy theory nut-job publication is chock full! 169 pages of rants, some of which are incredibly intelligent, some not so.... Try find out any information about this publication or the author/editor Steven Adams. Almost impossible. This one is for the real collectors of the obscure....
"Dante and Shakespeare divide the modern world between them. There is no third." - T. S. Eliot
"Dante's poem is, for many, the greatest single work of Western literature." - Ian Thompson.
"I love my Dante as much as the Bible. He is my spiritual food, the rest is ballast." - James Joyce.
In the middle of our life's journey, I found myself in a dark wood/Bewildered, and I knew I had lost the way: so opens Dante's Divine Comedy, "the best book literature has achieved" as Jorge Luis Borges writes.
Dante's Inferno, one of the greatest works of European literature, and "the most original and audacious treatment of the afterlife in Western literature" dazzles with its vivid and inventive storytelling and imagery. However, it contains much more than poetry and theology; it displays Dante's wide and comprehensive learning, and his deep understanding of contemporary politics and society. "All life is contained in the poem, for Dante's was an all-encompassing imagination, that interwove classical philosophy with Catholic doctrine and contemporary politics," (Ian Thompson).
The thirty-three cantos of Inferno follow Dante, as, guided by the epic poet, Virgil, he travels through the nine descending circles of a freezing Hell, until he meets Satan trapped at the bottom. The Inferno is the most gripping and engaging book of The Divine Comedy, as Dante meets those damned for forbidden love, and all manner of human vices. (The damned, amusingly, include many of Dante's enemies!) Inferno is the logical conclusion of all that is worst in human life. It is bearable only because Dante eventually emerges. The Divine Comedy was written over a period of twenty years towards the end of Dante's life. It was appreciated as a masterpiece soon after its completion, and it has captivated both readers and the Western imagination ever since. The Inferno is the most widely translated book after the Bible. This edition is translated by the celebrated poet, Henry Wadsworth Longfellow.
