I just broke my hand and wrist so typing on this thing has become quite tedious. I will try to update this thing as often as I can tolerate, but don't expect much. Also I have been getting requests that I absolutely will not oblige. Please do not request an album by some band that you already know about and either haven't bought the record or are to lazy to search it out on the nets. That being said please don't request another album from a band I have already linked on here. If you already know about it, then just go fucking buy it. My intentions here are not to be the first one on the nets to link the leaks of all the new anticipated shit before it's released from bands you already know about. What my intentions are, is to simply share what I consider essential listening to those who may not have otherwise taken the time to check out.
Here is another one that is hit or miss, but then again Im not aiming to please anyone.
Boring old black-white miscegenation is so 20th century -- to really freak out tight-ass bigots in the '00s, somebody's gotta take the multiethnic gene-pool reconstruction worldwide. Mustachioed Gogol Bordello frontman Eugene Hutz is just the mutt to do it, and your daughter could one day be the honey he does it with. The Ukraine-born New Yorker is so smooth with the slogans -- "Think Locally, Fuck Globally" is indeed a bumper sticker whose time has come -- that even his drunken lechery feels politically astute. "Cultural revolution's just begun," Hutz announces as he swoops into Nebraska to liberate the corn-fed teen on "Sally." And with violin riffs scratching alongside electric guitars and accordions, tumbling into a cacophony while racing to keep pace with the drums, his Gypsy-punk comrades respond: Duh. With its paired chords landing deliberately on the upbeat, Eastern European two-stepping lends itself to Gogol Bordello's occasional reggae and dub fusions. In fact, Gypsy music -- simple yet amorphous, absorbent rather than assimilating -- is the ideal medium for sentiments like "Of course there is no 'us' and 'them,' but 'them,' they do not think the same," and other lines that flaunt the rootless cosmopolitanism that has always unsettled social conservatives. But this is also urban music; its sounds in giddy collision rather than thoughtful collaboration, its melodies in constant adjustment to the beat pounding through your neighbor's wall and the radio blare from down the block. As Hutz swaggers, "I am a foreigner / And I'm walking through your streets," his band exudes a mingled whiff of hot-dog-cart steam and taxi exhaust crowd sweat. It's the vibrant stench of the one place nomadic sophisticates can call home -- the city that terrifies middle-American know-nothings and Islamofascists alike. At long last, here's New York punk that genuinely stinks of New York.
Formed in 1999. The music of sgt is classic music, and the sounds of the noise, experimental, jazz, and the improvisation, etc. have mixed,It is like the technique of film music. The noise of the guitar wraps the melody that the violin plays. In addition, The base and the drum unite into one, the sound repeats development, it uplifts the person who listens, It seems to see scenery. This is by far the most beautiful piece of music I have ever heard. don't let that detour you from checking this out tough guy. maybe you can play this with your girl and I bet she's be inclined to shine that dome piece. It's hard to try to wrap this up in one neat little package but imagine a band like red sparrows or a mellow Isis that got invited to play with a band that makes the river dance music and you re getting there. my daughter said it best today and said "this is the kind of music flowers would make if they could." and I smiled at how simple but to the point a 5 year old can be.
I cant find a quality review snippet to cut and paste, so I'll try to do this album justice with my own ramblings. I post alot of things on here that I'm sure many people have already heard, or are well aware of. this blog is not for those guys. This blog is for those type of people who think Mike Patton was only the singer of Faith no More, and for those who may have heard of a band but never taken the time to check out what I consider essential listening. To me California is the quintessential Mike Pattton record. It goes everywhere any of his other output has gone only this is by for the most streamlined and accessible for new listeners. You see, Mr. Bungle is not your everyday rock band or punk band, or jazz band, or death metal band, or acopella band or etc... Mr. Bungle takes just about every imaginable musical style and somehow incorporates it into one flawless piece. some songs are soft and mellow like the first track "sweet charity" which sounds somewhere along the lines of Frank Sinatra on some sort of pharmaceutical. and then there are other efforts like "arsmorendi" that reminds me of an Italian circus house band performing on acid. and there are so many other great tracks on here like "air conditioned nightmare", " goodbye sober day" and "pink cigarette" that just makes this album so worth checking out. This is one of those albums that will remain in my top five favorites for the foreseeable future.
If you don’t know who Wesley Willis was, then you are missing out. Think of him as a bigger, fatter, crazier ODB that appealed to more white kids. If you do know who weslywillis is than you know the deal, you either love him or hate him. This isn't the usual Willis output however. In this record he is graced with the presence of a band and they are good too. Its still the same ol' ranting that you would expect and hilarious as ever, but this time its to the tune of punk meets stadium rock. Think Rollins band and you re getting close. If you are one of those people that couldn't get into his barely more than jingles, but still thought his lyrics were at least humorous should check this out and see if you like him now.
The Hope Conspiracy create a vicious atmosphere and angry mood with Death Knows Your Name. It is filled to the brim with memorable lyrics, catchy guitar hooks, and enough brute force to keep people listening and salivating to see this record preformed live. This is a highly recommended album even if you never dug The Hope Conspiracy before this album. If you claim to like hardcore, this record is for you.
DMBQ(dynamite Masters Blues Quartet), The most obvious comparison point for the band is a host of mid-’70s rockers (think Hawkwind/Deep Purple on acid... or, uh, more acid than they were already on). While the Dynamite Masters love to kick out the 4/4 jams, they have also adopted a more rugged, psychedelic take on those huge, Bonham-esque stompers. Mirroring the modern Japanese psych/rock scene’s aesthetic abandon, nearly every song on The Essential Sounds From the Far East seems moments away from falling apart completely. The rhythm section is absolutely insane; a far cry from the bombastic stability of most ’70s rock groups, it recklessly scrambles around an otherwise traditional base of psychedelic blues. On the drums, exotic temptress (read: Japanes woman) China breaks into disorienting sixteenth note fills at the drop of a dime, directing the music’s tempo and flow to shaky heights. Perhaps most notable though, is the voice of Shinji Masuko. His guttural yelps are painfully Japanese, even when trying to impersonate his American forefathers. I’m going to go out on a limb here and call his lyrical antics endearing and pretty humorous, too. Masuko only reaffirms a common belief that balls-out rock music is best heard with a grain of salt. And even if being funny isn’t DMBQ’s real intent, every time one of their killer riffs or gravity-defying drum fills blasts through my speakers, I can’t help but grin. This is the band that I feel Monotonix emulates the most.
After releasing several albums in the 90s, Harvey Milk are celebrating their own renaissance by lauding the virtues of "Life...The Best Game In Town". Spearheaded by the alternately burly and angelic vocal stylings of Milk mastermind Creston Spiers, "Life" is both tumultuous and grueling, resonating with the glorious slow-motion radiance of Total Dirge Power. They've since been joined by Thrones legend Joe Preston.
In Name and Blood is the third and strongest release from the Seattle-based six-piece. While it's not much of a stylistic deviation from previous releases, producer John Agnello gives the whole shebang a bottom-heavier sound. Atop this, front man Spencer Moody does what he does best: holler, holler, and holler some more. Keyboardist Leslie Hardy, a newer addition to the group, adds many Farfisa stabs and squiggles in classic garage-rock style. As the rest of the band holds down the fort, the hits keep on coming. The lead off track, "Press Gang," sounds monstrous and powerful and, like some of the other anthems on In Name and Blood (especially the cutting "I Drink the Wine"), there's almost a whiff of the lukewarm beer that was probably spilled on the lyric sheets during the album's recording sessions. The grisly, crime-scene theme of the packaging complements the MCD's excellently executed rock.
MEGAZILLA are a bass / drum duo from Texas that put most of the recent rudderless post-rock and stoner bands to shame with Joey Hook's nimble, tumultuous drum crashes and Corey Cottrell's stirring slacker vocals and nimble bass rifferama. "Puffy, Fuzzy Cheeks" is just ruthless, fuzz on top of fuzz, chords crackling almost to the point of total disintegration. "Grave Robbing in Texas" packs all the intensity of "Ozma"-era MELVINS. Speedier stuff like "Shanghaied" and "Gay is the New Straight" are insanely tight, crisscrossing and swerving close to the edge a la LIGHTNING BOLT. Perhaps the greatest compliment I can pay to this CD is to say that it doesn't sound like a duo band; I was convinced some sadistic power trio had attached electrodes to my brain until I checked out the liner notes. For those of you that need it me to get out on the runway with the lights, here it is: THE MELVINS and LIGHTNING BOLT are two quality bands. If you dig 'em, let MEGAZILLA kick you in the teeth for thirty minutes.
Now, I’ve said more than a few harsh words about deliberately ‘retro’ bands in the past. However, like all music fans, I’m a total sucker for some styles when played well enough. One of those styles in my case happens to be groovy, swaggering, blues-based throwback hard rock, and Amplified Heat are masters of the craft. I enjoyed the shit out of the self-titled EP they reissued through Arclight Records earlier this year, and since then the members of this act (the Ortiz brothers; Jim on guitar, Chris on drums, and Gian on bass) were involved in a knife fight that left the rhythm section with multiple stabwounds a piece. They’ve already gotten back on their feet and recorded a new full-length, which sorta gives these guys the rock version of 50 Cent’s injury-based street cred (unlike some other Texan “badasses” I could name). More impressively, they’ve outdone their already fun packed EP with another slab of foot-stomping 70s-style rock and roll. for fans of cream, the flying burrito bros, old ZZ Top, blue cheer, SRV
Heart vs. Spine is a triumph of a debut record from start to finish. Everything about this release just punishes the senses with thick, memorable songwriting nailing it all together. TDATS are a tight unit in every aspect musically, with an ability to go from lean violent attacks to expansive, lengthier dirges without losing a bit of their edge and ferocity. I think this is a band that everyone is going to be hearing a lot more about in the near future. They’ve got all the chops needed to set the underground circuit on fire. Imagine a cross of Cavity, 16, Unsane, akimbo with just a slight pinch of early Mastodon and you’ll have an approximate mental portrait of the kind of damage this act dishes out. Heart vs. Spine is highly recommended on all counts.
ABOVE aches with the pain of living in a world streaked by deception, betrayal and disgust. Lumbering rhythms occasionally rumble into Sabbathville ("X-Ray Mind" and "Lifeless Dead"). Staley nods through the sinuous confines of "Long Gone Day," coasting on a surreal Brazilian beat prodded along by Martin's vibraphone and Nalgas Sin Carne's sax solo. This hour of emotional bloodletting ends with a convoluted two-part piece: The instrumental "November Hotel" starts with a faraway tribal beat that builds up gradually as McCready's guitar eases in and unleashes a wave of effects-laden riffs that flow into a disembodied declaration of solitude called "All Alone."
Find Him And Kill Him musically are short, fast, loud, and noisy. No metal, no chugga, just blazing fast verses, thrashy blast beats, and great mid tempo mosh parts. The average song length on "Cut Them To Pieces" is forty five seconds, with the longest song on the record clocking in at a minute and five seconds. Musically, the group is akin to Infest, Charles Bronson and unit 21. I haven't been this satisfied with nine minutes and fifty-four seconds music in a long, long time.
I just got this for myself, and I couldn't wait to share. So I have no idea what it even sounds like, but I love zeni geva and am confident it will be nothing short of amazing. I had no Idea this even existed. anyways for those of you unfamiliar with zeni geva, they are a metal band from japan. they take elements from noise, to sludge, to borderline prog and have crafted a pretty unique place for themselves in this eclectic world of music. fans of Unsane, Mastodon, Neurosis and Oxbow should give these guys some attention. I will Listen to this soon and if I'm not blown away by it, Ill put a better record of theirs up. also check out 10,000 light years by them. fuck it Ill just post it later.
Some bands you just have to hear. Japan's KOENJIHYAKKEI (aka Koenji Hyakkei aka Hundred Sights of Koenji) are just such a band. Headed by vocalist / composer / drummer extraordinaire Tatsuya Yoshida (of the renowned bass and drum duo RUINS), advance listens have yielded head-scratching comments comparing KOENJIHYAKKEI's fourth album (and USA debut) "Angherr Shisspa" to Stereolab, Yes, Queen, Melt-Banana mr. bungle, sleppy time guerilla museum and "something so far off Broadway it's on the moon". All that makes the band sound indecipherable and impenetrable. Fortunately, that's not the case, there's plenty to latch onto, densely packed into the album's 50 minute running time. In the heady, heavy prog-circles, Koenji is already firmly established; renowned as the ultimate contemporary progressive rock outfit; with three albums and a live dvd released in their native Japan (and heavily exported around the world). KOENJIHYAKKEI explodes with glittery keyboard lines, speedy bass/drum workouts, emotive reed respites, and operatic female vocals that take the listener from sheer exuberance to absolute apocalypse... And all this is performed with superhuman technique in extremely catchy, complex arrangements.
I don't know much about this band. In fact Ive only recently even heard of them. I heard the track "bonehead" on the movie funny games recently and it was by far the most well placed music in a film score Ive ever seen/heard. Naked City is a jazz, noise, grind, death metal, avant-garde, punk, etc.... band with many notable musicians John Zorn being one of them. Its hard to even begin to describe this album. Imagine as the sun sets/early daughters chucked into a blender with fantomas and you'd be close. its the kinda thing you think is going on in someones head when they are doing something truly fucking disturbing.
This is the first album I got from Akimbo, and so it will be the first I share with you. The album is very heavy with stoner doom guitars and slowing tempos. Often compared to early Cave-In and Botch, with influences from the Melvins and Black Sabbath. While not vocally related at all, comparisons to math-y Hot Snakes can also be made. Heavy in guitar riffs and anti-hardcore instrumental breakdowns, expect lightning tempo shifts and dueling single note guitar ditties. Its difficult the pin the band down into a genre completely but you can count on an extreme performance that grooves like rock.
‘Sexless//No Sex’ doesn’t derogate far from the band’s tried n’ tested pattern – a lung-scorching mix of medically-themed hardcore, grind and powerviolence drawing from the likes of Crossed Out, Despise You and hatred surge – but somehow seems more keenly honed than ever before, each cruel note, every mutant roar and every ear-splitting crack of the snare where it is for a goddamn reason. From heel-digging dirge to lightspeed blasts, each of the 20 tracks drips with blistering, futility-hewn rage, the likes of ‘Cancer’ and ‘Here//Alone’ despondent to the point of utter collapse but gritting their teeth and forging on regardless, unblinking eyes fixed firmly on the finish line and the illusory respite it offers.
This CD isn't for everyone, or may it is? these guys and girl are from France and bring together many elements from various forms of aggressive music. Primarily crust, grind and hardcore. don't let that discourage you from checking these guys out. because its at such a frenzied pace that this record never has a chance to get boring. this band also shares the same members as drone band monarch, however their styles are polar opposites. Rainbow of Death are for fans of find him and kill him, alarm, mammoth grinder, hatred surge, and the like.
If you hear the name “Dub Trio” and your first reaction is “not another sublime rip off”, be prepared to be kicked squarely in the teeth. Another Sound Is Dying goes right for the throat from the very beginning, pounding a metal riff into your skull with a pissed off fervor that can only be found in . Yes, Dub Trio have their Jamaican influences, but on Another Sound they are definitely a kick-ass rock band. Each track has moments of ear splitting guitar, gut rumbling bass and, most memorably, innovative drumming that, more than anything, will bring to mind those dirty reggae riffs this band is associated with. Still, despite each player’s obvious strengths on their own instrument (huh huh), it’s the little studio magic moments that will stick with you, like on the pulsing “Funishment”, when some metallic computer noise from hell rears its head from the deep and right into your brain.If you like your music hard, heavy and truly innovative, you’ll enjoy this set.
Mike Patton does guest vocals on the only track with any.
Some music lends itself to be listened to after imbibing exotic substances. Some music demands it. Then, there is music that aurally inserts pills and potions into the listener’s body with such subtlety that one is trapped under its influence before he can even realize what is happening. Tia Carrera’s latest effort, Heaven/Hell, falls into this latter category. Carrying the listener on a three track spiritual journey, Carrera’s heaven and hell EP is wonderfully unrelenting.
Heaven/Hell remains a solid album to set the mood for summer parties and guy-only binge-a-thons. Jason Morales continues to be the closest thing to Hendrix still on this planet, and despite a few unsuccessfully lofty album concepts, his guitar work is still better than sex. Tia Carrera may take the listener to hell and back, but the journey is not at all unpleasant.
The eponymous debut from Portland, Oregon's Black Elk is a raging, frothing-at-the-mouth eruption of damaged yet majestic destructo rock, seriously heavy and seriously catchy. A creeped out conglom of carnivorous charred hardcore punk, the sludgy power of primo Pacific Northwest tarpit rawk (think Karp, Melvins, and early Soundgarden as reference points), twitchy Midwestern noise rage somewhere between Am Rep circa-1991 and a more rabid Die Kreuzen, and a goatheaded psychedelic backwoods black mass/dance party risen to a fever pitch. Produced by Mike Lastra at Smegma Studios (Earth, Thrones, Jackie-O Motherfucker).
To the one true God above:here is my prayer -not the first you've heard, but the first I wrote.(not the first, but the others were a long time ago).There are two people here, and I want you to kill them.Her - she can go quietly, by disease or a blowto the base of her neck, where her necklaces close,where her garments come together,where I used to lay my face...That's where you oughta kill her,in that particular place.Him - just fucking kill him, I don't care if it hurts.Yes I do, I want it to,fucking kill him but firstmake him cry like a woman,(no particular woman),let him hold out hope that someone or other might comethen fucking kill him
Arguably the greatest underground live band of the 1990s, the Jesus Lizard displayed all their virtues in perfect form on LIAR. The album blisters with a musical exactitude that can only come from within in a studio, but the lurching, slightly bluesy underpinnings of the tone make one feel as if they are present for the chaos. The Jesus Lizard had almost no chance of achieving stardom, but the laundry list of soon-to-be stars that borrowed wholesale from their sound (Kurt Cobain unabashedly among them) makes clear the sheer impact that LIAR, specifically, and the Jesus Lizard, in general, had on rock music in the 1990s.
What can anyone say about this ALBUM???? Definetely one of my all times favorite, the "Sweet Oblivion" by the Screaming Trees is a Mythic composition. Grunge, alternative, progressive, mature, nostalgique, hard and above all... PURE ROCK. For me, this is the best Grunge album ever (with only one competitor the "louder than love" by the soundgarden), and for sure one of the best albums in the history of rock. Enough from me.... Enjoy!!!!!
Black joe lewis is one of my favorite acts from Austin. they play an energetic, modern and upbeat version of the blues, which my be sacrilege to some, but its a great time to others. There are plenty of gritty, explicit songs about jealous, violence-prone lovers and horny-but-clueless boyfriends on the riveting debut album from Black Joe Lewis and the Honeybears, and its fierce, rich amalgam of primal blues, soul, R/B and funk feels simply incendiary. The band mines the tradition of firecracker ensembles that backed the likes of James Brown, Wilson Pickett and Sly Stone, and Lewis comes across as a soul shouter of the first degree. Forget neo-soul -- this is "Yeow! soul."
Tel Aviv'sMonotonix is essentially a garage band from Israel. But they are so much more than that. They are truly a live band, however this CD is nothing to scoff at. I cant really do this band justice with an explanation so here are some other asshole's quotes.
"Most exciting live band in rock'n'roll" - Spin"
Unlike anything you've ever witnessed." - Washington Post"
Unforgettable and thrilling chaos." - Now Toronto"
You hit my girlfriend in the head with a trash can, and as much as i love her, you were still the best fucking band I've seen in ages. don't stay away from Raleigh long, ok?" - "Siobhan", Raleigh NC
Lozen are a 2 piece(drum/bass) female band from Tacoma, Wash. They are also signed to Australian Cattle God Records. These girls draw comparison to The Melvins, jesus lizard, Megazilla, Big Business, etc... I cant say enough good things about this band.
Lebanon are an instrumental band from Isreal. Planet rubble is a great find from one of my favorite record labels, Australian Cattle God Records. These guys play a style somewhere along the lines of pelican, deerhoof, the snake trap etc...
Gre en Milk From The Planet Orange are a 3 piece from Tokyo, Japan. One of my favorite live bands, who I also highly suggest everyone see if ever given a chance. GMFTPO are primarily a prog band, however to slap a label on them would be unjust. Fusing equal parts King Crimson, Isis, DMBQ, and Acid Mothers Temple, and creating something totally unique. great album to enjoy with a bowl
the purpose of this blog is to promote music that deserves all of the attention it can get, in an era of incrisingly disposible music. If you like what I have posted please buy the cd and tell your friends to do the same. If your band or label would like me to post something please feel free to contact me. If I have posted something from your band or label and you would like it removed, please contact me and I will respectfully remove it.