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TALK ABOUT TERRY
„I’m TERRY. Oh, you know me! There are two kinds of people in this world: not TERRY, and TERRY. I’m TERRY.” So just CALL ME TERRY as the title of the new album says from the Aussie quartet TERRY. Strange, but it was founded in Mexico City in 2016 by members of different Australian bands like UV Race, Total Control or Constant Mongrel. TERRY wanna overturn the ruling class so sometimes bit angry but anyway nice. To me hard to write about TERRY because I fell in love with them from the first song I heard but I try to be unbiased so TERRY is one of the best bands of the world. I can listen to their records one after another day after day because their albums are full of exceptionally catchy punk and pop songs, every one is a hit like this from the new album:
So definitely CALL ME TERRY is the next best of all times album from the band called TERRY. It is RELEASED TODAY on UPSET THE RHYTHM (UK) and ANTI-FADE RECORDS (AUS).
Kitchen’s Floor & Black Button
Kitchen’s Floor – None Of That (Eternal Soundcheck Records / Pety Bunco ) 2022
A Pink Reason-ös Kevin által ismertem meg az ausztrál Kitchen’s Floor-t. Mondta-e vagy a fanzinjében olvastam már nem emlékszem, de tény, hogy ha a Kitchen’s Floor kerül elő mindig beugrik a Pink Reason is. Van is párhuzam a kettő között bőven. Keserűség, magány, lepusztulás, történetek a realitás és az abszurd határán, mégis sokszor kibaszott szép az egész. Meg nagyon személyes és kegyetlenül őszinte.
A Kitchen’s Floor-ban Matt Kennedy az egyetlen állandó tag, ő szerzi a dalokat és övé az egész koncepció. A koncepció fontos része az Ausztrál nagyváros Brisbane, annak is a külvárosa és egy bizonyos háza, amit Matt bérel majd’ 20 éve. A dzsentrifikáció miatt a környék drága lett, Matt háza az egyetlen, amit évtizedek óta nem újítottak fel, le is van lakva rendesen, ráadásul sok-sok házi koncert helyszíne is volt az évek során.. Az előző három nagylemezhez készült videoklipek is itt, a 116-os házban készültek: >> ‘ Left ‘ << , >> ‘116‘ << , >> ‘Bitter Defeat‘ << és az új lemez borítóján is a hátsó kert látható.
Az eddigi négy album közül ez a legsúlyosabb, mondhatnánk rá sludge-punk. Lassú, rövid, zajos dalok, de mindnek saját hangulata, karaktere van és kurvára nem válnak unalmassá a sokadik hallgatás után sem. Én például jól ráfüggtem a lemezre. Van akusztikus dal ‘Expiry’, van slágeresebb ‘Northern Fort’, de ott a ‘Blood’ c. is amire egy Brainbombs-ot kedvelő is elégedetten bólinthat. Be is linkelem >> IDE << hogyan játsszák élőben.
Még egy dalt kiemelnék ‘Before Dawn’ és nem csak azért, mert nagyon tetszik, hanem mert itt Matt Kennedy ebben duettet énekel, méghozzá egy Kata Szász nevű, vélhetően magyar, vagy magyar származású lánnyal!
teljes album >> ITT <<
bandcamp >> ITT <<
facebook >> ITT <<
spotify >> ITT <<
Black Button – Rejoice (saját kiadás) 2023
Na, ez igen! A Richmond-i Hc/Anarchopunk/noiserock csapat faszán belassult, de ugyanolyan zajos és dühös maradt, mint régebben és a kegyetlen társadalomkritika is megmaradt a szövegekben. Nekem olyan ez az új lemez, mintha a Jesus Lizard, a Laughing Hyenas, a Flipper zenéjét gyúrnánk össze és addig-addig gyúrogatnánk míg a végén valami No Wave szerűség nem lesz belőle. Mondjuk én el tudnék viselni egy szaxofont is itt-ott, csak, hogy még nagyobb legyen a káosz.
A Black Button két richmondi zenekar tagjaiból állt össze a szintipunk Teenage Cenobite-ból és a nagyonkurvafaszajó psy-noise-punk Slump-ból. Szerintem a ritmusszekció az utóbbiból jöhetett, ott volt olyan brutál a dob meg a basszus, mint most a Black Button-ban.
Ezt a Slump videót régebben napjában többször meghallgattam, nagyon odabasz. Ha feloszlottak, nagyon sajnálom… Január van, de szerintem az év végén is azt fogom mondani, hogy az év egyik legjobb lemeze.
videoklip >> ITT <<
bandcamp >> ITT <<
spotify >> ITT <<
2 idei Goodbye Boozey lemez
Wayne Pain & The Shit Stains – EP (Goodbye Boozy Records) 2023
Ez az első lemez, amit 2023-ban elém evett a fene. Így kell indítani egy új zenei évet! Mármint, hogy a hangszóróból rád kiáltják: Hey-hey Fuck You!
Kansas City borzalmai a Wayne Pain & The Shit Stains már régi ismerősök, az ez előtti Ep a Feed The Dog is nagy kedvenc, meg a zenekarból ketten is benne voltak a FAG COP-ban, ami 2012-ben olyan koncertet adott, hogy nekem az simán ilyen top5 RNR666 Buli.
Négy szám, négy igénytelen, szemét részeg hőbörgés. Érdekes, minden számról bevillan valami videóklip ötlet.
Az elsőnek ugyan The Zoo a címe, de nekem valahogy az van a fejemben, hogy bebaszott, bedrogozott surmók balhéznak a cirkuszi állatok ketrecei előtt, az állatok meg ott visonganak, rohangálnak a rácsok mögött. Az aláfestő zene meg ez a Cramps szerű lepattant genyó. A második klip már a számcím My Daddy’s Got White Thrash Friends miatt adja magát. Részeg, idősebb arcok egy kocsmában gázoskodnak, kurvára nem fogják fel, hogy manapság már nem menő csajokat fogdosni, meg dohányozni is tilos már az ilyen helyeken és magukhoz ragadják a karaokegépet! Betesznek valami szar rock ‘n’ roll számot, amiből miattuk egy fasza Butthole Surfers szerű káosz lesz.
A következő Eye Blew My Mind című szám klipjét akár saját élményem alapján is le lehetne forgatni. Egy beLSD-zett és egy hótrészeg kilép a Trafik Klub ajtaján miután felkóvályog a pincéből, a hótrészegnél basszusgitár. A környéken lomtalanítás van, kidobott kacatok mindenfelé. Persze egy idő után ráröppennek az érdekesebb kupacokra (minden érdekes). Hazaérnek. Nincs meg a basszusgitár. Vissza megkeresni. Nincs meg. A zene amúgy engem a nagyszerű detroiti Clone Defects-re emlékeztet, belőlük lett később a Human Eye.
És az utolsó a Shut The Fuck Up I’m On The Phone itt már tényleg egyszerű a képlet, tényleg kurvára idegesítő, ha telefonálás közben valaki még pofázik is hozzád.
Kenneth az énekes/gitáros amúgy meg egy kurvajó grafikus, itt van pár dolga >> ITT << másik bandája >> ITT <<
Teljes lemez >> ITT <<
Bandcamp >> ITT <<
Qinqs – Qinqs (Goodbye Boozy Records) 2023
Öt számos kislemez két sráctól, akik mindenféle jobbnál jobb ausztrál zenekarokban játszanak, mint a Ghoulies, Kitchen People, Pensioner M.S.O.L. (Jó hír, a Ghoulies szeptemberben koncertezik Budapesten a Kriptában!)
Ez más mint amit eddig hallottam ezektől a srácoktól, ez totál Country Teasers inspirálta valami. A második szám kezdése meg teljesen The Fall. De a perpignani Sonic Chicken 4 vagy a honfitárs UV Race HOMO c. albuma is beugrik és lehet hülyeség, de én hallok benne valamit a legelső Cheap Time lemezből. Nagyon fasza, ritmusos egyszerű zene, de valami csavar van benne, lehet a monotonitása miatt. Nekem ez a dance-punk. Meg az ilyenek.
Teljes lemez >> ITT <<
Három lemez a Total Punk Records-tól
New Buck Biloxi : Cellular Automaton (Total Punk) 2022
Ó, igen! Buck Biloxi (azaz Rob Craig) visszatért! Emlékszem, olyan 10 éve volt mikor szénné-szarrá hallgattam a The Spits lemezeit, mekkora öröm volt az első Buck Biloxi & The Fucks nagylemez. Ugyanaz a Ramónesz alapokon nyugvó, kibaszott fogós punk, mint a The Spits-nél, csak még minimálabban, még elbaszottabb hangzással. Na aztán pár év alatt sikerült szénné-szarrá hallgatni azt a lemezt is, meg amik ezután jelentek meg. Megmondom őszintén kicsit el is feledkeztem róluk, mikor is 2020-ban (a semmiből) a Goodbye Boozy kiadta a ‘Put You To The Gulag‘ kislemezt és fellobbant a régi láng, meg is rendeltem a 3 számos kis mocskot, de lassú voltam. Egy hét alatt elkelt mind a 200 példány.
Ennek is már két éve. És szintén a semmiből idén novemberben kijött az új nagylemez, sőt új a zenekar is. A végéről lekerült a ‘Fucks’, előre meg oda került az, hogy ‘New’. Amúgy ez az első Buck Biloxi cucc, amin nem mindent Rob Craing játszott fel, itt énekel, meg gitározik, a basszuson nem tudom ki játszik, a dobon viszont Benny Divine nyomja, aki már járt RNR666 Bulin a Natural Child-al és ismer valakit, aki személyesen ismeri Gibby-t a Butthole Surfers-ből. Hahaha!
Az új lemez nagyon-nagyon jó, csak kicsit rövid: nyolc dal, tizenhat perc. Első pár hallgatás után kedvencem a ‘New Band‘ és a ‘My Hole‘.
Engem egyáltalán nem zavar, hogy az egész sokkal jobban szól, mint ezelőtt bármikor, semmit nem vesz el a zene punkságából.
Több mellékprojekt is futott régebben, érdekes módon azok nekem többnyire nem nagyon jöttek be, kivétel a Giorgio Murderer szinti-punk cucc és a ‘Holographic Vietnam War’ album és a youtube-on lévő koncertfelvételek!!!
Egy interjúban olvastam, hogy Rob-nak nem tetszik, ha Buck Biloxi-t beteszik abba a ‘buta zene’ / ‘buta punk’ dobozba. Teljesen igaza van, ez a zene nem buta és kurvára nem buta embereknek szól igazából.
Teljes lemez >> ITT <<
Buck Biloxi & The Fucks bandcanp >> ITT <<
Total Punk Records bandcamp >> ITT <<
Alien Nose Job : Stained Glass (Total Punk / Anti Fade) 2022
Na, itt az év vége, oszt kibasszák itt nekem az év lemezét! Mintha hájjal kenegetnének, baszdmeg! Full AC / DC: a riffek, a szólók, az ének, a megszólalás, minden! Na jó, belekeveredik egy kis Rose Tattoo, meg talán némi Cosmic Psychos is itt-ott. Szóval ez az ausztrál Rock N Roll, annak is elit-krémje.
Az első dal a ‘Beatles Vs. Stones’ mán egy akkora AC-is boogie, hogy akinek ez nem tetszik az nem rocker, az is biztos!
És ilyen dumák: “The argument has no meaning and the notion always stinks/
Everybody knows the answer to the question is the Kinks.”
Na másodiktól a ‘Post Punk Poser’ -től falnak mész, az biztos! Az AC/DC és Rose Tattoo együtt szpídezik!!! És így telik el ez a kellemes fél óra a legvégéig (na jó, az utolsó két dal kicsit másabb, kicsit lazább).
A ‘RnR Rubbish Bin’-ban ez a duma is megér egy misét: “We’ve all made a point of recycling what’s been done/
Similar to the originals but sucking out all the fun.”
Az, hogy ki hozta ezt össze engem meglepett: Jake Robertson az Ausmuteants-ból, ami inkább egy punk / postpunk zenekar.
Emlékszem volt egy év, talán 2014/15 amikor a RnR undergroundban szinte minden róluk szólt. Adták ki a jobbnál jobb kis és nagylemezeket (ilyen kiadóknál, mint a Goner, Goodbye Boozy, HoZac, Red Lounge, Total Punk), turnéztak Európában és mindenki be volt szarva a koncertjeiktől, hogy mekkora póver van ezekben az akkor tényleg nagyon fiatal ausztrál srácokban.
Nálam 2022 Top5-ben benne van az fix!
Teljes album >> ITT <<
Curleys : Curleys (Total Punk) 2022
Az amcsi banda első nagylemeze, 11 dal 14 perc alatt. A srácok valahol azt írták, hogy őket aztán kurvára nem érdekli, hogy majd a lemezüket ki, melyik 80-as HC/punk lemezhez hasonlítgatja és kurvára nem kíváncsiak a kis szakértelmedre ebben a témában.
Az biztos, torzítatlan gitár még nem szólt ennyire mocskosan!
Teljes album >> ITT <<
DID AUSTRALIA HAVE OTHER MUSIC LIKE THIS?
This article is a response to a question posed to me by the wonderful giant Lavor, quarter of the indispensible cultural Budapest icon that is RNR666, from whose site you are probably reading this right now. While on tour and resting in the house of Dj Kanada Kaosz with Lavor, he asked me, very sensibly:
Unlike other „zeitgeisty“ scenes of the same period, Australia’s dark, mutant jazz-punk sound is much harder to explain in an equation as others styles of the same time :
Deep Anti-Communistic Sentiment + Deeper Love of Synthesizers
= Yugoslavian New Wave!
Pretentious Avant Garde + Immigrant Street Culture + Heroin Punk
= New York No Wave!
Mutant Koalas + Shit Beer
= Australian Dark Jazzy Punk???
…and while I wasn’t old enough to be active in the scene during the innocent and inarticulate Australian 80s, I did write a weekly column in my university paper for 2 years about the history of punk and garage in Australia, which was an extension of my final high school english project, where I was already becoming pen pals with legends of our 80s scene. I feverishly collected vinyl and fanzines from that time and was luckily coming of age in 2001, when a lot of attention was thrown towards the 70s and 80s legends of Australia’s underground rock scene for another chance at some tour money and adulation that might have eluded them the first time round. The 90s were a renaissance for Australian indie music and pushed out these mutant musicians in favour of younger grunge and alternative kids (like Fuckin’ Silverchair…), leading many of the 80s generation to either get regular jobs to support their families, or evolve into genuine pop stars such as Dave Graney, Nick Cave or Tex Perkins.
SO the short answer, for you Lavor, is FUCK YEAH! Australia’s ’78 to ’88 period is dense with amazing bands, both independent and major labels putting out kickass material all over the place. Bands gazed across the pond at what was going on in America, the UK, New Zealand and Germany and jammed it through our own interpretational meat grinder. No matter if it was 60s punk revivalists, Detroit rock or Kraut imitation bands, the Australian versions were dirtier, screamier, and stripped back to the bones. This had a lot to do with a form of music we had previously mastered: neanderthalic, psychedelic biker bluesrock, left over from the 70s „Sharpies“ movement, which acted as a brand of proto-punk.
I’ve got a few theories for this development, Lavor, that I think Hungarian and Eastern European musicians might relate to: with so few „cool“ bands actually touring to Australia in that time, musicians had to take the few key transmissions from the rest of the world and make up the rest from what they knew. A great example of this theory is the names checked by Nick Cave and Roland S. Howard about who inspired them for The Birthday Parties’ sound. While you see some totems of outsider music at that time – Pere Ubu and Captain Beefheart – they cite books, poets and films such as Flannery O’Conner, Rimbaud, Johnny Cash, Night of the Hunter, Lee Hazelwood and Morticia Adams. That combo isn’t a menu from insider hipster academia, but rather a cyanide-laced pop-culture milkshake.
The distance between towns and cities meant that the nature of Australian music had always included lots of room for peerless mutation, and pockets of scenes popped up depending on exceptional pressures and strange circumstances throughout the country.
A clear example of this is the formation of the buzzsawing Saints in Queensland (The first ever punk band to chart in the UK). They formed during the corrupt police-state regime of Premier Joh Bjelke-Petersen; who created a political climate described in Out of the Unknown: Brisbane Bands 1976-1988 as, „intolerant of anything different, …. animosity for anyone who leaves the cultural straight and narrow of beer, beach and burgers.” Many of their early gigs were shut down by police for no other reason than it was a group of kids together around guitars and amps. This gave their music a pre-Sex Pistols pissed of razor’s edge snarl. (also noted that they had the first ever UK charting punk song in history)
Likewise, Ann Arbour guitar player, future physician and military pilot Deniz Tek immigrated to Australia in 1972 ready to spark the Detroit sound authentically into a mileu of Sydney bands, most recognisably the powerhouse of Radio Birdman and later supergroup New Race with Ron Asheton and Dennis Thompson from The Stooges and MC5.
However, that doesn’t answer the meat of your question, Lavor – how did this mutant, punk-jazz-noir violence style appear in Australia?
Firstly, the jazz: the spread out nature of venues and population, as I have mentioned, meant that many punk bands had to play wherever they could find, which was often in Jazz venues, where a live music culture had already been established. Conversely, jazz musicians who were interested in more experimental forms, had to turn to punk as there was NO scene for free jazz in Australia, it was actively disavowed by jazz conservatorium leaders at the time, with gigs going to those playing „cool jazz“ or trad vibes. This marriage of highly qualified musicians playing with those who were in the punk world explains another side genre of Australian post punk, the „Little Band Scene“, which we will highlight later. Otherwise, in general, I think Australian musicians of this time, in forming their palate of sounds, heard the squawks of Coltrane, Coleman, Sun Ra, even John Zorn and thought, well, that sounds against the system and we want a piece of it.
As for the darkness, it gets personal. Other Australian art forms from the same time expose good examples of the colonial fear and violence embedded in Australia, that it was trying to gloss over during the financial boon of the 1980s, when we reached out to the rest of the world as a tourist destination. Peter Wier’s „Picnic at Hanging Rock“ is a haunting tale of the colonial stigma of modern Australia, and its failure to understand and accept the old rulers of the country, let alone the injustices against Aboriginal people that continue till this day:
Similarly, David Williamson’s „The Removalist“, among with many of his other works through the decades, exposes the machismo, abuse and patriachy in the culture of Australia, which was overlooked as „Larrikinism“. The violence and power in the bands presented in this article draw their horror from the reality of an Australian culture that includes attempted genocide, colonial penal systems, abuse. These parts of Australian history are the very essence of ghosts, who are also an essential part of Australian history and the sound of the bleakness in these songs.
That’s enough backstory. I am now gonna present a few bands that really nail this sound you have asked about, Lavor, with some of the cool live videos that luckily exist online. Enough vegetables, here’s the payoff !
VENOM P STINGER
A cult band that is outshadowed by two of its members being in the far more popular (and amazing) Dirty 3, this band is the ultimate sound in mutant Aussie jazz punk. Drummer Jim White is a total journeyman in a million amazing projects, check him out in Xylouris White recently!
THE MOODISTS
A project bound at the core by husband and wife team Dave Graney and Clare Moore, of whom both would have very successful later careers, The Moodists also shared many members of Nick Cave’s Bad Seeds and Mick Turner from the above mentioned Venom P Stinger. All that and they aren’t even the most incestuous band on this list! The Moodists took all the swampiness of The Cramps mixed with a smarmy velvet joker in the form of frontman Graney.
ESSENDON AIRPORT
An arty ironic disco post punk band associated with the Roland Barthes inspired performance group
→ ↑ →
that is also VERY recommended to check out. Better than anything I can write in one paragraph, I offer you the liner notes to a recording: „songs which combine many of the most facile and insipid kinds of music in a redeemingly dignified manner… creating new trivia out of old. All this takes place along with a kind of pedantic fetishism for small-repetition games – the music travels in circles, spirals and solid blocks of sameness and difference.”
GRONG GRONG
Utter chaos band, who had barely played when they were signed personally by Jello Biafra, before the lead singer went into a 9 month drug induced coma, only to reform some 19 years later. Just watch the docu:
The whole „Little Band“ scene.
A whole arty punk scene had gathered around Melbourne called the „Little Band“ scene. It was kind of like an anti-intellectual version of the Berlin „Echtzeitmusik“ scene perhaps, glamourised by the film DOGS IN SPACE. Again, thats a whole other article so here is a last clip, do your own research, and thanks Lavor!
Finally Scott & Charlene also came back in the corner
There are some important Aussie bands, one of them is SCOTT & CHARLENE’S WEDDING. After 3 years a new EP WHEN IN ROME, CARPE DIEM is coming. When I have listened this song from it first, I contentedly observed that yeah, perfect as always: fine indie trash pop, this time like Velvet Undeground:
SCOTT & CHARLENE’S WEEDING was started some years years before in Footscray, Melbourne by Craig Dermody (a fucking furniture removalist from Adelaide) who writes down-and-out pop songs. Anyway the band was named about a golden act of an Australian soap oper Neighbours, when Kylie Minogue and Jason Donovan got married in 1987.
Just Leaving Footsteps in The Snow
PRIMO! is a raw minimal guitar pop band from Melbourne with the two girls from one of the most amazing Australian pop bands TERRY. Their short, beautifully simple and purposeful songs reference the 40-hour working week, the city, bureaucracy, walking, a ghost and a mirage:
They are going to European tour in August. And also there will be a TERRY tour in Europe in September.
AMICI will release on 13 July on UPSET THE RYTHM RECORDS (UK)
2018 máj 25. napi mottónk:
The Bad and The Ugly
A Page you like, Primitive Calculators, changed its name to Primitive Calculators, Shit music nobody likes.
Cool as Kim Deal
I have started to gather songs for the next KILLBONOCLUB
and at the moment I have found this one from Australian
singer/songwriter COURTNEY BARNETT and started to jump
and after I almost fell from the chair when I read that Kim and Kelly Deal from Breeders contributed to her new album TELL ME HOW YOU REALLY FEEL on MILK RECORDS.
And please tell her how you really feel here.
40 Years Nihilism and Rage – The Outsiders of The Australian Underground
This year the legendary unknown raw and wild synth-punk band PRIMITIVE CALCULATORS turns into 40. They (we) celebrate it with their third album ON DRUGS.
The band started in 1978, in the same place and same time than the Birthday Party. After a single they relocated to London, in same time than the Birthday Party, and promptly broke up in 1980. But there was a post-split-up single under the name of Zye Ye Ye in England in 1981. The first album was released in 1980. It’s a live recording of a gig supporting the Boys Next Door in 1979. The Boys Next Door was renamed to Birthday Party.
In 1986 they reunited for the sake of a film and relesed an EP but there were nothing new but a remix on it. In the early 2000s they were discovered, records were reissued together with unreleased live and other recordings. Then they have reformed in 2009 at the request of Nick Cave for the first All Tommorrow’s Pary in Australia.
First studio album THE WORLD IS FUCKED was released in 2013. And now the third album finally here. It is a little bit different than the others. Heartbreak and loss also appear beside nihilism and rage at the world. Even, there is a ballad, a dark, nasty, dire dirge.
Some Strange Electro Australians
“We know that’s the main aim of the sound: to get a sound that makes you feel sick in the stomach, because it sounds so good.”
NUN plays 70s & 80s horror movie influenced cold electric body noise punk music. Since their debut album, I am a NUN fan, and I have been waiting for the next one. And now, after three years they have released a song in four versions, and I am perfectly satisfied:
Studio and live ones were recorded years before the debut album, two remixes were made by ENDERIE, techno alias of Brisbane based experimental musician Andrew McLellan, who is so without limits that his project CURED PINK also played at Melbourne International Jazz Festival, Sydney International Noise Conference and Deadshits Fest in Brisbane. Anyway there is a new ENDERIE album on PARADISE DAILY RECORDS.
KILLBONOCLUB # 4
“I would believe only in a god who could dance. And when I saw my devil I found him serious, thorough, profound, and solemn: it was the spirit of gravity – through him all things fall.”
Hello everyone. On the pic is Europ Europ, and here’s the 4th historical KILLBONOCLUB broadcast
just a colorful mix of songs from the best new records
with some notes about the songs and some quotations from German philosopher Friedrich Wilhelm Nitzsche’s work Thus Spoke Zarathustra because of Laibach’s new album is based on that book – instead of they would have made their own version of Hair.
“The creator seeks companions, not corpses – and not herds or believers either.
The creator seeks fellow-creators – those who grave new values on new law-tablets.”
punk punk punk. for the lovers of axemen, butthole surfers, fall, country teasers, fat white family. büdösök, i love 69 popgeju, csermanek ltp and this kind of shit. original sound!!! nothin fuckin remastering!!! with extra tracks, e.g:
ERRATIC (US) – from EAT HOT LEAD 1980 album reissue – Black Gladiator Records (US)
“They have something of which they are proud. What do they call it, that which makes them proud? Culture, they call it; it distinguishes them from the goatherds.”
i dont know why miranda sex garden comes to my mind, but it is totally different
BAMBOO (UK) – THE DARGON FLIES AWAY album – Upset The Rhythm (UK)
scotch psychedelic horseshit
LUSH PURR (UK) – CUCKOO WALTZ album – Song by Toad (UK)
“O Solitude! You are my home, Solitude!” “Where solitude endeth, there beginneth the market-place; and where the market-place beginneth, there beginneth also the noise of the great actors, and the buzzing of the poison-flies.”
punk blues soul rock and roll noise by lamont thomas, drummer of bassholes
OBNOX (US) – NIGGATIVE APPROACH album – 12XU (US)
good ol andre willimas, pure genius, just fine songs about fucking
ANDRE WILLIAMS (US) – DONT EVER GIVE UP purple vinyl LP – Pravda Records (US)
“The state, I call it, where all are poison-drinkers, the good and the bad: the state, where all lose themselves, the good and the bad: the state, where the slow suicide of all — is called „life.” Just see these superfluous ones! They steal the works of the inventors and the treasures of the wise. Culture, they call their theft — and everything becometh sickness and trouble unto them! Just see these superfluous ones! Sick are they always; they vomit their bile and call it a newspaper. They devour one another, and cannot even digest themselves.”
shit and shine + butthole surfers + drain. csühes said „i cant find words…”, hercule poirot said „terrible”
USA/MEXICO (US) – LAREDO album on 12XU (US) and Riot Season (UK)
new wave electro disco and other noises in the Aussie 80s
ASPHIXIATION – WHAT IS THIS THING CALLED DISCO? – 1981 album reissue – Chapter Music (AUS)
free will is a bullshit – cynic rock and roll by
CHAIN AND THE GANG (US) – THE BEST OF CRIME ROCK album – In The Red Records (US)
“Not he is great who can alter matter, but he who can alter my state of mind.”
pale pink disco queen of sweden
MOLLY NILLSON – IMAGINATIONS album – Night School Records (UK)
fine stupid primitive synth punk
11. TONY PRICE (CAN) – I PREFER COCA-COLA cassette – Burger Records (US)
little frenchy psych rock and roll, swiss, just not from the voodoo rhythm, if you are lucky enough to know roy and the devil’s motorcylcle then you know what i say
HARVEY RUSHMORE & THE OCTOPUS – A NIGHT album – A Tree In A Field (CH)
“The greatest events – they are not noisiest but our stillest hours. The world revolves, not around the inventors of new noises, but around the inventors of new values; it revolves inaudibly.”
indie pop hit song of the day
COURTNEY BARNETT (AUS) – HOW TO BOIL AN EGG 7″ – Milk! / Bedroom Suck Records (AUS)
“You say that a good cause will even sanctify war! I tell you, it is the good war that sanctifies every cause!”
hyper normalization by
IAN MARTIN (NL) – RITES OF PASSAGE 12″ EP – Goiland Elektro (NL)
punk punk punk. for the lovers of axemen, buttholesurfers, fall, country teasers, fat white family. büdösök, i love 69 popgeju, csermanek ltp and this kind of shit. with extra tracks – original sound!!! nothin fuckin remastering!!!
PUKE SPIT & GUTS (US) – EAT HOT LEAD 1980 album reissue – Black Gladiator (US)
sardinia rockers
THE RIPPERS (ITA) – A GUT FEELING album – Slovenly Recordings (US)
“Weariness that wants to reach the ultimate with one leap, with one fatal leap, a poor ignorant weariness that does not want to want any more: this created all gods and afterworlds.”
experimental industrial noise block
“The man looked up distrustfully. „If you speak the truth,” said he, „I lose nothing when I lose my life. I am not much more than an animal which has been taught to dance by blows and a few scraps of food.”
SONGS FROM THE HEART
album by EUROP EUROP (Norway) – Enfant Terrible (NL)
APROPOS OF THE WET SNOW
album by ZOSIMA (Austria) – Enfant Terrible (NL)
“Of all that is written, I love only what a person hath written with his blood. Write with blood, and thou wilt find that blood is spirit.”
the dark side of the earth
LAIBACH (Slovenia) – ALSO SPRACH ZARATHUSTRA album – Mute (UK)
“Close beside my knowledge lies my black ignorance.”
the western side of the wall
DIE TÖDLICHE DORIS (German) – „DIE TÖDLICHE DORIS” 1982 album reissue – Superior Viaduct (US)
just drum’n’organ
ARCHIE AND THE BUNKERS (US) – free song form the next album on Dirty Water Records (UK)
A date with Elvis by Giovanni Ripper
„Everybody wants the same, everybody is the same: whoever feels different goes voluntarily into a madhouse.”
and /or listen to KILLBONOCLUB # 3