BOM is a ONE-MAN-WITH-BASS-BAND by Kornél Bíró, who e.g. also was in legendary yodeling punk group Spatzen Jodler Sextett, which was a side project of Lyuhász Lyácint Bt, the freighter of industrial/noise/experimental music scene in Hungary.

Next month he is going to play in some places in Europe, including Lauter Krach (industrial – elektro – IDM – experimental – hardcore techno – ambient – noise –  powerelektro – musik klänge) festival in Germany

– When, where and why you have started the BOM project?

The first time I gave a solo concert was in 2014 on an event called „Zajkert” (Noisegarden) in my hometown Debrecen. This concert was a 13 minutes long pure improvisation. Before this I was not thinking about this project, but after the concert I knew that I want to do this. The thing I liked the most was the challenge itself, and the total freedom of creating something new. I enjoy pushing the boundaries, even my own ones.

– Your only instrument is the bass guitar, but there are many high tunes in your music. How many effects and gadgets are used by you? And what is about your strings?

I use quite a lot of pedals, for example distortions and delays, an octaver and a lot of other great gadgets, which help me make a bass sound that differs from the traditional bass guitar. My strings are normal. I use the same strings since seven years: DR Sunbeam 45-105. Because they have a brilliant treble and warm sound at the same time, but it can be quite aggressive if needed. The pots settings on my amp are unusual as well. I use a lot of treble and bass, and I cut off the middle tones.

Your guitar is a unique instrument. Could you say something about it?

I designed my guitar and a 29 year old talented friend of mine, Csaba Boldogh, made it up. The body of the instrument was made of cherry tree. It has very colourful and beautiful treble and bass tones, but no middle tones. It’s a neck-thru bass guitar with very good stability. It has a Kahler Bass Tremolo Bridge from the 80s. The pickups were made for me by Kent Armstrong. I told my friend who had built it that I needed something like a vintage instrument regarding its shape and sound. So it would be a beautiful vintage instrument with zero kilometre.

In the beginning there was just improvisation, but are there pre-written parts nowadays?

Yes, it started like that, but at the very beginning there were a few concerts that I could not manage as I expected. Especially one concert in Budapest was a negative experience for me. I had technical problems during the soundcheck, then I had some conflict with the technician. I had to start the concert right after this nerve-racking situation. I was in a very bad state of mind and after about 20 minutes of torture on stage I dropped my instrument and left. After this I decided that I will write the frames in advance. Now the written and improvisation parts are 80%-20%, but sometimes it can change.

You said that when you was listening to recordings of your shows you reckoned those horrible ones even for yourself too, and then you thought that should move toward a more listener friendly direction.  

Yes, that’s right. The last time I gave concert was in November 2015, since that I had problems with a rehearsal room. Listening to the records I made during this time I realised that there was need something else next to the bass. Since then I learned to use a drum machine and learned things about midi as well. These were unknown for me before. Besides these on live concerts I use a small analogue synthesizer and a strongly effected microphone to tell texts. I like to use distortion and delay regarding the microphone as well. In the rehearsal room I use a few other instruments and things to take samples – for example an electric organ.

In early November you are going to start your tour. Some words about it?

Last November I got an invitation for the Lauter Krach Festival III in 2016 which will be held in this November in Lauter, Germany. After this I was mailing with clubs from Germany and I organised a tour with eight stages. There will be five concerts in Germany, one-one in Austria, Hungary and Romania. I will record every concert, then I cut the best parts out on my third album. It will be released on cassette and as well as digitally.

You will get into a van with your equipments and go?

– As you say, with the difference that I will go by my 33 year old VW Golf Mk1.

There are some bands where you are in.

I am a member of a group called Lyuhász Lyácint Bt. since 1997. This year we celebrated its 25th birthday.  I am thankful for being a band member, and we do not plan to make an end of giving wonderful concerts. We give a few shows a year so it is not exacting. An another band which I founded in 2013 called Százaségő is an improvisational noise rock band. The other band members live in Budapest, so it is not an easy thing to organize a concert, and besides that everybody has their own musical project, so nowadays we don’t give concerts. I am also a member of a band called Milzenvirgil which is founded by Sándor Kaszás (guitar) from the Flexible Juice. We did just one gig so far, but it was a great experience.

Furthermore you organize a concert series called BanZaj in Debrecen. We know how very difficult to organize underground shows in any countryside town in Hungary, but your series seem well-founded.

It is true that it is not an easy task, but thanks to these events a lot of great musicians and bands can get to Debrecen. I’m sure these events won’t stop as Modem – Centre for Modern and Contemporary Arts – provides us opportunity to hold a few events per year there. Besides that there is the Felező Klub, where I also could manage a few events. And I always try to find new venues. For example the next BanZaj show will be inside a water tower on 2nd of November. It will be the first stage of my tour.

Synth wave, elektro pop, acid tracks on Dutch label

ENFANT TERRIBLE RECORDS

TWINS (US, Atlanta, Georgia) is Matt Weiner who is also known for his Featureless Ghost project and of course as the head of the DKA Records label… it’s a classic minimal elektro record but at the same time a rather modern piece of electronic music…RATHER NOT 12″ MINI LP

Zarkoff together with Ikonal from Croatia… these three tracks are from one of the infamous synth jams Zarkoff is organizing in an empty factory near Sisak in Croatia… the acid tracks featured on this EP have a throbbing beat with a clear hint to EBM… and the acid lines are both psychedelic and dark… TOXICOLOGY 12″EP

Antlers Mulm from Leipzig, Germany… recommended to fans of New Order but also of Solitude FX… melancholy, dreamy and catchy… GIVE AND TAKE 7″

The film Desire Will Set You Free paints a picture of contemporary underground Berlin. It’s based on a true story: Ezra, an American writer of Palestinian and Israeli parentage living in Berlin, spends his days clubbing, taking drugs, having pseudo-philosophical conversations and wanting to be more punk, whilst wishing he wrote more. Most of his time is spent with his privileged dark, but witty friend Catharine, who has an unsettling fetish for Nazi paraphernalia. As the two of them look for their next excitement fix, they end up in one of Berlin’s famous gay hustler bars. Almost on a dare Ezra meets Sasha, a Russian immigrant working as an escort. Ezra pulls Sasha on a journey through Berlin’s underground and queer scenes…

Of course there is a soundtrack wich was inspired by trash music films from the 70s and 80s. There Blood Orange plays a Malaria! song, Peaches did a cover of Claire Waldoff the great lesbian cabaret singer from the 1920s, and also you can find songs by Molly Nilsson, Rollin Hunt, Anni Rossi, Nina Hagen, The Prostitutes, Genesis Breyer P-Orridge

and more. Furthermore Einstuerzende Neubauten and Blixa Bargeld appear in the movie too.

The soundtrack album will be released soon by Moniker Records (US)

Bandcamp     iTunes

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American director Yoni Leyser‘s previous film, a documentary about W.S.Burroughs, also with many musicians like Sonic Youth, Iggy Pop, Laurie Anderson, Jello Biafra or Genesis Breyer P-Orridge.

In 1992 when the coach of the gothic country band Denver Gentlemen temporarily broke down David Eugene Edwards went forward with 16 Horsepower, while Slim Cessna has found his Auto Club, a christian, but apocalyptic country band. And so punk, that Jello Biafra signed them for his label Alternative Tentacles. (For what he was critizised by the dumb punk community.) But the new album ‘The Commandments According To SCAC,’ will be released soon by their own label SCACUNINCORPORATED in the US, and Glitterhouse Records in Europe.

The 7th: You Shall Not Commit Adultery

& the 4th Commandment: Remember the Sabbath day, to keep it holy

according to SLIM CESSNA’S AUTO CLUB

social criticism by Anal Blasphemy one-man-metal-band from Finnland

black death with a flavour of Finnish HC

 from the album Western Decadence on Iron Bonehead Productions

The Civil Rights struggle has gotten this treatment in particular. Its now been ossified as a series of marches and sit-ins which led to the overturning of the most glaring US racial inequalities, and which culminated in the the martyrdom of Martin Luther King Jr. With the riots following MLKs assassination, and the malaise following his death, „the movement” lost its hope, drive, and focus.

But Civil Rights was never just the monolith of angry Malcolm vs. peaceful Martin, and the history channel wants the population to forget that the „movement” was radicalized beyond what is generally understood.

In the 60’s therefore, the nation stood on the precipice of some kind of revolution. In many ways, the country experienced a civil war.

The INVADERS of Memphis were like an intellectual street gang with incredible style, who devoted themselves to justice and confronting white supremacy. A group or „gang” of organizers, they were on the front lines of the struggle in the South, and experienced extraordinary harassment, violence, and imprisonment. They conducted the last meeting with King at the Lorraine Motel before he was murdered, and yet their story is almost unknown.

THE INVADERS, a fast-moving re-telling with a funky soundtrack produced by King Khan and Jack Oblivian

Two soundtrack 7″ singles from King Khan and his band

on limited military marijuana green vinyl:

mixed and mastered by Nene Barratto (Movie Star Junkies)

Once upon a time when every German workers’ dreams came true in the German Democratic Republic, where citizens were so perfectly defended by the inner security service that every seventh one was an informer. It was so democratic that the media was totally controlled by the communist state, and any private publishing was illegal. In Karl Marx-Stadt (aka Chemnitz) there was a really underground new wave electronic experimental label klangFarBe run by Frank Bretschneider from 1985 till 1989. It published only 8 cassette releases.

A double compilation LP with AG Geige, Kriminal Tanzkapelle, Frank Bretschneider and Stein Im Brett

will be released soon by Mannequin Records (Germany)

You can download a Karl Marx-Stadt underground V/A tape from the 80s

and there is a film about AG Geige.

Bretschneider today run Raster-Noton. It is meant to be a platform – a network covering the overlapping border areas of pop, art, and science. It has been emerged from the fusion of Rastermusic, founded by Olaf Bender (AG Geige) and Bretschneider (also was in AG Geige) in 1996, and the sublabel Noton, which was run by Carsten Nicolai (aka Alva Noto). It realizes music projects, publications and installation works. The common idea behind all releases is an experimental approach – an amalgamation of sound, art, and design, which is not only apparent in the music, but also visible from the artwork and cover design. In music the label’s aesthetic focus is on rhythmic, minimal electronic music alternating between playful pop and introspection.

Albrecht Schrader den wundervollen Pop-Pianisten aus der Hansestadt Hamburg, der aber schon seit einigen Jahren in der Domstadt Köln wohnt. Leben in der Großstadt, so der Titel seiner kommenden EP spannt mühelos den Bogen von Steely Dan über Prefab Sprout bis Erobique

taken from „Leben in der Großstadt” EP out on Staatsakt March 18 2016

Influences: Serge Gainsbourg. Claudine Longet. Burt Bacharach. Henry Mancini. Blumfeld. Jane Birkin. Scott Walker. Tom Waits. Rocko Schamoni. John Lennon. The Divine Comedy. Cole Porter. Morrissey. Bob Dylan. Francoise Hardy. Harry Nilsson. Ennio Morricone. Elliott Smith. Vince Guaraldi. Claude Debussy. Prefab Sprout.

Albrecht Schrader Live
12.04. Köln, Studio 672
13.04. Hamburg, Kleiner Donner
14.04. Berlin, Monarch

BAPHOMET’S BLOOD is an Italian speed metal band. Here is the last song of their forthcoming album In Satan We Trust

Merő képtelenség, hogy egy olasz metál banda feldolgozza egy magyar hard rock együttes 1986-ban kislemezen megjelent számát, szövegét angolra fordítsa, és lemezen kiadja 2016-ban

With this a plumb nonsense has come true. Because it’s a cover of a short-lived Hungarian hard rock band Fáraó‘s song, which was released in 1986 as a single. And this was the only record of the band. I’ve asked them what is the story behind the cover.

A hogy-hogy kérdésre a banda frontembere, Halálhányásterror Viktor válaszol

Vittorio Necrovomiterror: I love Hungary and Hungarian metal scene!!!!! I am a vinyl collector and finally I’ve found the 7″ of Farao!!!! Completely obessesed by that band!!!! We release the cover in English on the new LP!!

Yes, the lyrics is translation of the original!

Szóval Vittorio annyira a szám hatása alá került, hogy a dal szövegét is lefordíttatta! A feldolgozás a banda Mi a Sátánban hiszünk című lemezén jelenik meg e hó 25-én. Kiadja a német Vas Csontfej Produkció. Meg akarod hallgatni a teljes lemezt?

In Satan We Trust will be released by Iron Bonehead Productions on January 25th. You can listen to the full album. But “If you want to listen [to] Baphomet’s Blood, buy a turntable, a bottle of Jim Beam bourbon whiskey and worship Satan!” – said Vittorio in an interview.

Most szombaton az Aurórában játszik a német Modern Pets zenekar.

Nagyon állat 77-es PUNK-ot játszanak, ha szereted a Buzcock-t, a The Kids-t, vagy az atlantai PUNK hangzást (Carbonas, Dino Boys stb.) imádni fogod ezeket a srácokat is. Magyar részről lesz még DANCE OR DIE, CIRCLE PISS és NOYCE is.

DD OWEN is Drew Owen from punk band Sick Thoughts (Goner, Slovenly, Goodbye Boozy Records) armed with keyboard, guitar and pedals. A Wizzard Sleeve and a Gary Wrong cover on his brand new single

on Windian Records‘ subscription series (US)

Also a new Sick Thoughts single on Goner Records (US)

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There was an electro-industrial band Musumeci in Torino in the 80s with some side-projects and a cassette label, Der Zeltweg.
A selection of the 1982-1984 side projects Errata-S-Corrige, Gasdehyde and Herpes-Z

on Mannequin Records (Germany)

Vrystaete is a record label founded to release free spirited music, more or less related to psychedelic, folklore and lo-fi sounds. Sub-label of electronic music publisher Enfant Terrible Records in Netherlands. New albums

Brunnen is a Dutch minimal psych folk project of Freek Kinkelaar from the very experimental pop band Beequeen. It’s sounding a bit like a lo-fi Legendary Pink Dots. He is a modern day acid troubadour telling small stories accompanied by minimal instrumentation

„I have been active in the experimental music scene since 1984, when I first started recording my battered homemade electric guitar, plugged in my 1940s tube radio system, which had been a precious gift from my grandparents. The resulting tapes featured a lot of abstract and loud noise, which I loved but the neighbours hated. (…) In the winter of 1988 long time friend Edward Kaspel of The Legendary Pink Dots asked me to fill in as support act for a live Pink Dots performance in January 1989. Since I didn’t have a clue what to do, I contacted Frans de Waard (whom I had met a few years previously) and together we formed Beequeen. This collaboration was initially based upon our mutual admiration of the ideas of German conceptual artist Joseph Beuys.”

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Two German experimental projects in one: Baldruin + Brannten Schnüre = Diamantaner Oberhof. Subtle electronic sounds are mixed with snippets of accordion melodies, even though this is contemporary folk music it sounds very pure and authentic, like obscure lo-fi field recordings, bringing to mind some of the better Fonal recordings from the past (think Kemialliset Ystävät, Paavoharju and Islaja) or a more folklore minded Kaa Antilope, this is a sort of new primitivism and nothing less as in between archaic-electronic-ambient-folk-Dada-pop music

info about the albums and snippets