Wednesday, 26 December 2007
Friday, 27 July 2007
Thursday, 19 July 2007
Rajoitus - Discography 1995-1998 (69 MB)
Wednesday, 11 July 2007
Blood Fire Death is the fourth album by Bathory, which continued the transition towards more epic songwriting begun on the band's previous album. It is often considered to be the first work in the Viking metal genre, and it is also considered by many fans to be Bathory's finest work. The ninth track is not included on the cassette release.
 Track listing
- "Odens Ride over Nordland" – 2:59
- "A Fine Day to Die" – 8:35
- "The Golden Walls of Heaven" – 5:22
- "Pace 'till Death" – 3:39
- "Holocaust" – 3:25
- "For All Those Who Died" – 4:57
- "Dies Irae" – 5:11
- "Blood Fire Death" – 10:28
- "Outro" – 0:58
Within the lyrics to "The Golden Walls of Heaven"  and "Dies Irae"  the first letters of each line form phrases, namely "SATAN" (repeated 8 times) and "CHRIST THE BASTARD SON OF HEAVEN," respectively.
04. The Suffering
Queens of the Stone Age (1998)
Regular John / Avon / If Only / Walkin’ on the Sidewalks / You Would Know / How to Handle a Rope / Mexicola / Hispanic Impressions / You Can’t Quit Me Baby / Give the Mule What He Wants / I Was a Teenage Hand Model
Kyuss disbanded in 1995, shortly after the release of its most popular album …And the Circus Leaves Town, but it surely wasn’t because of the members' disinterest in making music, since the key members (and main song-writers, Josh Homme and John Garcia) commenced several other projects, none of which were an obvious rehashing of Kyuss’ monolithic desert-rock. Instead, they refined it, and created a more accessible variation on the dragging and psychedelic-tinged neo-Sabbath sludge. The most fruitful consequence of their prolific work ethic were probably the Desert Sessions-series, which featured members of Kyuss and similar, connected bands (like hot rod-stoners Fu Manchu and dope-rockers Monster Magnet). Garcia became involved in bands such as Slo Burn and Unida (check out their great album Coping with the Urban Coyote (1999)), which updated stoner-rock with a more straightforward hard-rock direction, while Homme, drummer Alfredo Hernandez and bass player Nick Oliveiri started messing around with a new band that would eventually result in Queens of the Stone Age. This is where the historiography ends, as I don't consider myself the Herodotos of amateur web reviewers (really).
The self-titled firstborn of the band sounds like a logical extension of Kyuss' last album, moving further away from the massive rock of Welcome to Sky Valley, adding more melodic (ouch) elements, and an as yet unseen tightness, resulting in less epic – but easier digestible – work-outs. It was certainly something late 90's rock needed, as their no-nonsense 70's-influenced approach proved to be a fitting antidote for an excessively praised eclecticism which barely succeeded in covering up its own emptiness. "Regular John," "Avon" and "If Only," the bunch that set off the album, are excellent examples of the new combination of impressive force and a certain dose of pop-accessibility that enhances the songs' powerful appeal. Monotonous hard-rock riffs are the new trademark feature, and Homme's laconic vocals are also quite a departure from Garcia's grand yelping. He isn't much of a singer to begin with (calling him a powerhouse voice would be as ridiculous as calling Lemmy the "English nightingale"), but somehow his drugged delivery and thin sound (quite a contrast to the man's huge size) fits the full-bodied sound that more than often reminds me of Hendrix' wah wah-drenched guitar antics (Band of Gypsys-era). Another noticeable aspect of the album is Hernandez' simple but 100% bullet-proof drumming that always keeps things minimal, but also flowing and rocking. Together with Oliveiri (I presume he's the one referred to as "Carlo" in the liner notes), Hernandez makes up a great rhythm section. Oliveiri's bass – lead-heavy and deep – proudly wears the Chris Goss-stamp and provides more than just a foundation: it's rock solid. Equally impressive are the primal assault of "How to Handle a Rope" (man, that is a great one!) and the bone-crunching "Mexicola," which points to the future and is another album highlight. Slower and reminiscent of the members' previous project is "Walkin' the Sidewalks." It would have been a keeper, if it wasn't for that endlessly stretched ending (what a waste of tape). "You Would Know" is more mellow and finds the band in laidback-mode.The remaining four songs are unfortunately less impressive: "Hispanic Impressions" is a shorter (less then three minutes is short when you're dealing with these guys, who once were prone to endless space-jamming) instrumental that's quite fiery but doesn't really get anywhere. Similarly, the longer "You Can't Quit Me Baby" has a great flow to it, but ultimately, you'll be waiting for a pay-off that never comes. Finally, "Give the Mule What He Wants" ups the ante again, as it's a decent mid-tempo rocker, but it's no match for the album's first tracks, so the title remains the most noticeable aspect of it. "I Was a Teenage Hand Model" also has a great title, but during this song, the presence of weird noises, pummelling percussion and directionless noodling are confused with inspired song-writing. But, at least 2/3 of the album is really good. The combination of hypnotic rhythms and riffs on the one hand, and a relaxed jam-atmosphere on the other hand, makes for a great combination. Add to that Homme's original delivery and the album's warm sound, and you'll realize you're dealing with a prime slab of sun-baked rawk that made sure the attentive listener realized he was dealing with one of the most promising bands of the dusk of the 20th century.
Tuesday, 10 July 2007
Acursed "Livet är den längsta vägen til helvetet" (73 MB)
All I See from Denmark plays pretty dynamic and complex modern hardcore. Expect odd-meter time signatures and groovy breakdowns with moshing parts and melodic surprises here and there.
All I See "Once you've fallen in love" (33 MB)
Complete - from Denmark as well - is another great hardcore band. This shit grooves hard.
Complete "Adjusting the perpetual motion machine" (42 MB)
Monday, 9 July 2007
Friday, 29 June 2007
Thursday, 28 June 2007
Sunday, 3 June 2007
"an exquisite collection of ambient industrial songs"
we are à;GRUMH... and you are not!: http://www.divshare.com/download/825069-d86
http://sme.scarlet.be/s3/agrumh/agrindex.html - the à;GRUMH... hmmm.page
Wednesday, 30 May 2007
Tuesday, 29 May 2007
Saturday, 26 May 2007
DivShare File - schifosi_-_half_lit_world__2005_aborted_s.rar
DivShare File - schifosi_-_absentium_existence.rar
Danny Violence (vocals / guitar), Mieszko (vocals / guitar), Richard A.D. (vocals / bass), Matt von Superstar (drums)
Grindcore band formed during 1994 by guitarists Danny Violence and Mieszko, the latter of NASUM repute. The NECRONY and NASUM credited Richard A.D. handled bass. GENOCIDE SS evolved into a balls out Rock n' Roll band GENOCIDE SUPERSTARS for their third 2003 album 'Superstar Destroyer'.
DivShare File - genocide_superstars_-_superstar_destroyer.rar
Friday, 25 May 2007
For this album, the production is surprisingly great. Everything seems mixed very well, and I can hear everything on a comfortable level. The first track of this album, "May Your God Deny You," is one of the strongest tracks. It jumps right in with a killer riff behind TJ's very well-executed vocals, and doesn't stop. In the next track, Occult Machinery, we hear more of Joe's awesome drumming, with some emphasis this time on the killer double-kick action. In my opinion, the riffs in this song aren't quite as catchy as the first, but they still suit the song perfectly. Let Us Worship The Dead features the first atmospheric intro of the album. It's very creepy, and Book Of Black Earth's real black style comes through when the unaccompanied vocal intro kicks in after a few seconds. They're so rough and black that it truly makes me want to go slaughter some Christians. The only downside to this song is it's shorter-than-usual length. I think this song could be even better if they continued it into a huge epic masterpiece.
Serve The Adversary is a slower song, but still evokes a strong sense of power and emotion with crunchy riffs, and more funeral doom droning vocals than what can be heard on the previous songs. Next, however, Agents Of Destruction comes back right in with the faster style riffs as a nice refresher. Although this song is less catchy than the others, in my opinion, it's still nice to have in there as a transition out of the feeling Serve The Adversary brought on. After this breather, one of the highlights of the album comes in. In Hatred And Misery begins with some of the most epic riffage yet on the album, cluing in to the awesome song that's coming. It's the longest song on the album, and filled with tempo changes and all the elements that make Book Of Black Earth amazing. The most notable parts of this song are Joe's drumming, Jeff's bass work, and the overall atmosphere and feeling of it. The Dawn Of Industry concludes this amazing album, and begins with an epic riff similar to that of In Hatred And Misery. The vocals in this song, I think, are the best on the album. They're mixed so they're not overpowering, but sound great with the rest of the music. Also, Hank's keyboard work stands out in this track possibly a bit more than the others, and sounds great. About a minute and a half into this one, also, we're greeted with about a 30-second drum breakdown that is both impressive technically, and incredibly brutal." Metal Archives Review
|1.||May Your God Deny You||05:02|
|3.||Let Us Worship the Dead||01:41|
|4.||Serve the Adversary||05:00|
|5.||Agents of Destruction||04:14|
|6.||In Hatred and Misery||06:32|
|7.||The Dawn of Industry||03:56|
|Total playing time||29:54|
"Now this blasts, this is so damn raw, need to check I still have some skin left – screaming bloody messy road accident of a raging blasting rip crunching hardcore thrash band (and an album wrapped in a dreadfully bad hand drawn cover – so bad that it may well be perversely nostalgically good – nah,just very bad). Limited edition of 500 so it seems. Sixteen short sharp audio assaults and some beautifully raw D.I.Y violence, sixteen raw bleeding relentless tracks, all of them clocking in at around a minute each. They appear to be a two piece guitar and drums thrash-a-thon, they're from somewhereville UsofA (not big on details this bunch) they sound like they should have been playing classic hardcore thrash crossover crusty punk gigs in front of raging pits somewhere in 1983 sixth of the bill to CroMags and Larz Rocket. Hang on seems like they're from New York, met in the basement of a porn shop or something (I went surfing). They're raw, it blisters, a beautiful DIY mess that's bursting with attitude and early D.R.I meets Hellbastard aggression, I love it (you'll probably hate it), wooooooaggghhhhhhhhhhh, metal thrashing gooooooood" The Organ - issue #205
01 Battletorn - Cutthroat 00:48
02 Battletorn - Spent 01:13
03 Battletorn - Crusade 00:52
04 Battletorn - Blindsided 00:57
05 Battletorn - White Sirens 00:46
06 Battletorn - Reigns 00:29
07 Battletorn - Throne 00:45
08 Battletorn - Terminal Dawn 01:01
09 Battletorn - Beyond 00:42
10 Battletorn - Savage Pressure 01:05
11 Battletorn - Damage 00:20
12 Battletorn - Silent 00:52
13 Battletorn - Inhuman 00:41
14 Battletorn - Headbreaker 00:46
15 Battletorn - Intense Warfare 00:49
16 Battletorn - Last Attack 00:59
Total Playing Time : 13:05 min
"NICOLE 12 is the criminally underrated project of noiser Mikko Aspa, who runs under several names, including the fabulous Grunt noise unit and Kvlt Black Metal acts Clandestine Blase and Deathspell Omega. This is a great little 7" of Power electronics, broken synths and dark lyrics about perversion, deviant behavior and your sister's braces. ! woo hoo!
It's a common theme for noisers, but nobody pulls off the same level of atmosphere or deviance. Bleak, filthy, and generally damaged. Throbbing beats, walls of sound, and sexual deviant preaching over the top!!!
Check his stuff out."
|A1||In The Spotlight (2:57)|
|A2||Dozen Summers Behind (2:36)|
|B2||Nippon Lolita Substitute (1:06)|
We sounded really bad at first, then we sounded better, then we didn't want to be in a hardcore band anymore. Isn't that always the case?
For the seven years Combat was around, we only were together in a practice room, at a show or in a studio together for a total of five months. After all was said and done we had two vocalists, two bass players, five guitar players, two drummers, one apperance by Jimmy Reese, one Hammond organ player, one remote control player, one inner band fist fight, one flirtation with Latin percussion and two solid instances of Norris insulting people's dead parents in a live setting.
NO we still do not want to be on your tape comp with Ulcer, Agathocles, Unholy Grave and Capitalist Casualties. NO we don't think we sounded like Charles Bronson or The Locust. YES we have seen Sam McPheeters artwork. And most importantly, NO WE ARE NOT BACK TOGETHER.
Norris is still running art services through Steak Mtn.
Radde is in the band, Guiltmaker
Ponch is in the band, The Holy Mountain
Hamacher recently participated in voiceover duties for the recent REFUSED IS FUCKING DEAD (DVD) on Epitaph" http://www.myspace.com/combatwoundedveteranband
1 Plastic Bullets Are So '84
2 I Hope You Get Cancelled
3 I Gotta Slingshot, Wanna Get Hurt?
4 The Rise of a Thousand Prosthetic Limbs
5 What the Hell
6 Shit 3:16
7 Also Comes in Red, Orange, and Fuck You
8 Disembowelment at Room Temperature
9 Black Hair Dye, Aisle 6
10 Jane You Ignorant Slut
"This surging power-trio featuring an ex-member of Enemy Soil was formed in 2002; after a couple of demos and a compilation appearance, this is the band's first official full-length release. If the cover art conjures up visions of punk and hardcore, well, there's a good reason for that... but the hardcore approach is frequently blindsided by a serious inclination toward hyperactive grindcore, which makes for an interesting and wildly unpredictable listening experience. I'm not seriously down enough with hardcore / punk (to put it mildly) to comment much on that aspect of the band's sound, but their grind is of the soul-crushing variety, and they get bonus points for having a female bassist in a genre (either one, take your pick) notable for being testosterone-heavy. When they veer more distinctly into grind territory, they can be intensely heavy, especially during the slow parts of "Burning." The punk and grind influences are bridged by a heavy fondness for dissonance and unpredictable tempo shifts; the result is a sound that never stays the same long enough get boring. Heavy, heavy stuff, too. I'm sure their lyrics are real insightful and stuff too, but frankly, I care a whole more about the pummeling drums and grossed-out hyperspeed bass flatulence. A crushing mix of punk and grind that's worth your listening time." www.monotremata.com
Never Fail The False War No Sense Of Occasion An Ode To Those Unwed Burning Fuller's Prediction So Be It Eyes Closed
Friday, 18 May 2007
awesome looking one sided PICTURE LP : the bands this time: CEASE UPON THE CAPITOL, KHERE, LOMA PRIETA, DAMORE, HER BREATH ON GLASS, THE BIRDS ARE SPIES THEY REPORT TO THE TREES, KIAS FANSURI, JUNE PAIK, ENOCH ARDON, CAGLIOSTRO, LOUISE CYPHRE, TRAINWRECK, ARCHITECTS, A FINE BOAT THAT COFFIN, TEN AND TWO, THE WALLS YOU VE BUILT, BALBOA, ONLY FOR THE SAKE OF ACHING, BELLE EPOQUE, CATENA COLLAPSE, THE CRITIC, MANHATTAN SKYLINE, AM I DEAD YET, PETETHEPIRATESQUID, ALLEGORY OF THE CAVE, ANTITHESIS, TOWERS, FUNERAL DINER, I SPOKE, ESCAPADO, VIOLENT BREAKFAST, MONOCYCLE, ARSEMOREIRA, PYRAMIDS, SUIS LA LUNE, KURHAUS, ORBIT CINTA BENJAMIN, A DAY IN BLACK AND WHITE, SL-27, MR WILLIS OF OHIO, VON COSEL 41 bands / picture artwork done by michele/candymals
From Savannah, GA''s Baroness incredibly heavy, incredibly technical and just completely amazing. Everything from thunderous stoner riffs to full on d-beat thrash aggression. Try to imagine the fury of Tragedy and the talent of Fucking Champs and you''re getting close. A three song ep clocking in at 18 minutes and it doesn''t let up until its over. Produced by Phillip Cope of Kylesa.
1. Tower Falls
Goblin's Suspiria is tense, spooky, darkly melodic Italian progressive rock circa 1977. This mostly instrumental album has a palpable sense of dread that takes the listener for a dark and twisted ride. I mean it's just creepy, and unlike most soundtracks Susperia succeeds as music that can be enjoyed separately from the film. In other words it's not background music. The compositions are top notch, the musicians are virtuoso level and there is a lot of timbral variation. Bells, assorted percussion, marimba, guitar, drums and some spooky keys are used effectively to set a properly disturbing mood in compositions that range from the atmospheric to the odd and almost jazz-like. Unusual and interesting.
|3. Opening to the Sighs|
|6. Black Forest|
|7. Blind Concert|
|8. Death Valzer|
|9. Suspiria [Celesta and Bells]|
|10. Suspiria (Narration)|
|11. Suspiria (Intro)|
|12. Markos [Alternate Version]|
Thursday, 17 May 2007
GAYRILLA BISCUITS - THE DEMO'S 7" - SLOWGUN RECORDS
Depending on who you are you could either think that this is a funny idea, or a complete idiotic one. Being one that admitadly laughs at low-brow humor I think this is hilarious. This band re-records eight 80's hardcore classics like "Flame Still Burns", "Straight Edge", and "True Til Death" and change the lyrics to be about homosexuality. For example, the classic Bold song "Nailed to the X" becomes "Nailed in the Ass", with lines like "I'll shoot gizz in your eye until your blind." If you are into any of those old 80's bands and aren't some up-tight PC hardcore kid, you'll probably find this funny and worth hearing. The Project X parody cover is hilarious. There were only a few hundred of these pressed, I think all of them were on appropriate pink vinyl, so good luck in getting your hands on one of these masterpieces.
"Flaming Ass Still Burns"
"No Homosexual Surrender"
"Nailed in the Ass"
"Gay til Death"
"Fags Like You"
Zack "Gay la Rocha"
Dan o'Gay Mahoney
hardcore for the hardcore shouty youth crew songs about gayness.
"i mean, does it make me gay that i suck a dick?"
Wednesday, 16 May 2007
demo of Philly's finest doom titans who went on to put out a two song ep on Electric Human Project, and more recently a split LP with Japan's COFFINS on Parasitic.This demo is slightly crustier than the all-devouring vacuum that is their later work, but still essential for fans of extreme heaviness.Prepare to shit yourselves.
Otesanek is Dead.Long live Otesanek
OTESANEK DEMO 2002
Tuesday, 15 May 2007
Monday, 14 May 2007
"For those of you who don’t know, Poser Disposer features Mike and Kramer from the now legendary thrash band DFA. Since DFA has been laying low for the past little while, you’ll just have to mosh to Poser Disposer instead. Taking their previous work ethic from the DFA days and knocking it up a notch, Poser Disposer’s latest release is the “You Don’t Count” 7” ep, released on clear red vinyl.
The fact that a Saskatoon band is releasing their shit on vinyl is reason enough to get this. The guitars are lovingly technical, heavy and fast but what really hits you is the inhuman drumming. Sometimes verging on a more traditional hardcore punk sound, other times ripping it up with blast beats, drummer Stevie Morari is not only technically sound, he is one of the most entertaining people in a band you will ever see. All three members contribute to the groin-grabbingly shredding vocals, making for one of the most thrashingest records that has ever come from this town."
Saturday, 12 May 2007
"Crisis" is the final recording by these Southern California legends featuring 10 more songs of their signature style of hardcore. It's loud, fast and it rules! Recommended if you like hardcore, punk, or power-violence. Featuring members of Lifes Halt, Annihilation Time, Carry On, Shark Attack, GSMF, and about a million others.
1. Held Back
3. Live Your Life
4. Two Face
5. Public Acceptance
8. Leech In My Side
unknown kbps / MPEG
Barring three seconds of feedback, "Sleepwell Deconstructor" wastes no time in assaulting your eardrums with a wall of detuned guitars, distorted vocals and punishing blastbeats. The album barely gives you time to breath through the crushing and at times intricate riffs, politically and personally charged lyrics and lightning-fast drums on songs like "Garlic Breakfast", "Collapse And Marathon" and "[...] As Punk". The one brief respite is the Isis-like "Destructioneer Extraordinaire", which slows the pace but not the intensity. The production fits the songs like a glove...a spiked glove that is. This album is tight, loud, angry and highly recommended
"The sound of no hope.
Sickeningly heavy, lysergically slow and totally hypnotic doom with a reverberating low end that will be heard for centuries as it makes its way through the cosmos. Apocalyptic Trance Ritual Doom Music indeed. This and Unearthly Trances' Season of Seance, Science of Silence will be in a dead heat to make Hellride Music's 2003 Top Five Albums for Ritual Sacrifice at the end of the year.
The Funeral Orchestra are the last word in cult doom, preferring to compose and perform under a shroud of mystery. They don't identify themselves, and take the stage wearing only form-covering habits and eerie reflective masks. Their website says so little about them that I'm not even sure in which part of the dark recesses of Northern Europe they reside.
Out of the ten tracks here, only "Worship" falls short.... a brief funeral organ-driven piece with the sound of female weeping in the background. A little too over the top for these ears. But the rest of the album is magnificent... mostly guitar-driven hymns paying homage to the God of Slow, interspersed with oddly menacing synth and atonal vocals, with no hint of groove or breakdown.
If total, oblivion-licking doom is your thing, don't miss out on this release."