Se está gestando ya desde hace tiempo la siguiente idea, pero no había tenido tiempo para ponerme a ello:
- Se buscan 2 guitarras y batería (lo más difícil) para tocar el BSO de 995 desde el principio hasta el final. somos cantante y bajista. la idea es juntarnos gente con un mínimo de conocimientos musicales para sacar los temas relativamente rápido y juntarnos para hacer una mini gira tributo (no lucrativa por supuesto) por la península, no importa que seamos de distintos puntos de España.
:)
-Lastfm nuevenoventaicinco (interesados ponerse en contacto con Caba)
8/29/09
Tangled Thoughts Of Leaving - Tiny Fragments (2009)
01 - Tiny Fragments Part One
02 - Tiny Fragments Part Two
03 - Tiny Fragments Part Three
04 - The Banshee
Country: Australia
Genre: Progressive Mathrock, Industrial Cruise Ship Jazz
Label: DIY
Tangled Thoughts of Leaving's music is progressive by nature. The inclusion of sparse influences, guided by concept and fused together, is the conception of their own sound, as each musicians respective inspirations force the collective into unchartered territory.
After several years of existence and growth, mid 2007 saw Tangled Thoughts of Leaving construct themselves a purpose built, make shift creative space.
A medium sized room, dedicated to forward thinking; the birth of new sound. In that very room, what was previously theory, became reality, and so began the Process of four people leaving mediocrity behind them.
In the months of January, February and March of 2008, TToL used their creative space to record a concept, aptly titled 'Tiny Fragments'. This EP was to represent their current thought process. They gave themselves a series of themes, ideas from a previously recorded improvisation and a set amount of time. What followed was roughly 3 months of sporadic sessions, in which the 18 minute, 3 part title track was written and recorded.
With the creation of Tiny Fragments the band have demonstrated that they would rather risk potential failure than never pursue the invention of interesting art. Tiny Fragments was an experiment and is the final step before they put a short lived emphasis on live performance, then return to the studio to record their debut album.
After several years of existence and growth, mid 2007 saw Tangled Thoughts of Leaving construct themselves a purpose built, make shift creative space.
A medium sized room, dedicated to forward thinking; the birth of new sound. In that very room, what was previously theory, became reality, and so began the Process of four people leaving mediocrity behind them.
In the months of January, February and March of 2008, TToL used their creative space to record a concept, aptly titled 'Tiny Fragments'. This EP was to represent their current thought process. They gave themselves a series of themes, ideas from a previously recorded improvisation and a set amount of time. What followed was roughly 3 months of sporadic sessions, in which the 18 minute, 3 part title track was written and recorded.
With the creation of Tiny Fragments the band have demonstrated that they would rather risk potential failure than never pursue the invention of interesting art. Tiny Fragments was an experiment and is the final step before they put a short lived emphasis on live performance, then return to the studio to record their debut album.
Myspace
Web
Buy
Tiny Fragments (2009)
8/27/09
Quartier Rouge - Les Années Lumières (2009)
2. Les Feux de la Rampe
3. Le Déluge
4. Inpetto
5. Main Cramée
6. L' Heure Verte
7. Mange Le Monde
8. Accueillir Le Dauphin
9. Douche Dorée
10. Urizen
Country: France.
Genre: Noise Rock, Posthardcore, Noisecore, Mathcore.
Label: DIY.
Objet musical pas clairement identifié en approche ! Tout ce qu'on sait, c'est qu'il vient de Paris et qu'il défile telle une comète durant ses dix-neuf minutes et quelques. Non, ce n'est un pas un énième album de grind torché à la va-vite, mais un véritable concentré de folie mentale qui vomit sa violence autrement que par une simple surenchère de blasts. Ne me faites pas dire ce que je n'ai pas dit : du blast, on en trouve un peu partout, aléatoirement, ou plus précisément lorsque le gène 21 décide de faire sa plus belle démonstration de trisomie. Le malaise est ailleurs.
Ecouter QUARTIER ROUGE n'est pas facile, même sur sa faible durée. Le plus ardu consiste tout d'abord à se dépêtrer de la masse protéiforme des riffs malades, des cassures de rythme façon math-core entre lesquelles se glissent des micro-doses de stoner, quand tout ça ne vire pas à l'assaut raw black confinant à la schizophrénie totale. Jusque là c'est déjà bien assez dézingué pour permettre aux nerds de musiques expérimentales extrêmes de prendre leur pied. Eh ben attendez de jeter une oreille aux textes, en français - Cocorico ! - et à la démentielle voix de clown désabusé qui leur donne vie. Théâtrale, évoluant dans un cauchemar introspectif en permanence, elle se fait le moyen d'expression de sentiments écorchés exposés à vifs, fantasmagoriques et lugubres, et bien que l'on peine souvent à comprendre le fond des choses, le message est passé : pas de guérison prévue à l'immédiat, messieurs en profiteront pour livrer un art dérangé des plus impénétrables, aux multiples niveaux de lectures pour qui serait arrivé à entrer.
Il surnage des Années Lumière une pointe d'ironie, comme si cette entreprise là n'avait pas lieu d'exister, qu'il s'agissait d'une erreur du hardcore qui n'aurait jamais dû se produire. En tout cas, puissent les vertus chaotiques d'un tel disque contaminer le plus d'âmes fêlées possibles ! Sortie prévue chez Swarms of Nails.
Quartier Rouge´s MySpace
Buy it.
Quartier Rouge - Les Années Lumières (2009)
Ecouter QUARTIER ROUGE n'est pas facile, même sur sa faible durée. Le plus ardu consiste tout d'abord à se dépêtrer de la masse protéiforme des riffs malades, des cassures de rythme façon math-core entre lesquelles se glissent des micro-doses de stoner, quand tout ça ne vire pas à l'assaut raw black confinant à la schizophrénie totale. Jusque là c'est déjà bien assez dézingué pour permettre aux nerds de musiques expérimentales extrêmes de prendre leur pied. Eh ben attendez de jeter une oreille aux textes, en français - Cocorico ! - et à la démentielle voix de clown désabusé qui leur donne vie. Théâtrale, évoluant dans un cauchemar introspectif en permanence, elle se fait le moyen d'expression de sentiments écorchés exposés à vifs, fantasmagoriques et lugubres, et bien que l'on peine souvent à comprendre le fond des choses, le message est passé : pas de guérison prévue à l'immédiat, messieurs en profiteront pour livrer un art dérangé des plus impénétrables, aux multiples niveaux de lectures pour qui serait arrivé à entrer.
Il surnage des Années Lumière une pointe d'ironie, comme si cette entreprise là n'avait pas lieu d'exister, qu'il s'agissait d'une erreur du hardcore qui n'aurait jamais dû se produire. En tout cas, puissent les vertus chaotiques d'un tel disque contaminer le plus d'âmes fêlées possibles ! Sortie prévue chez Swarms of Nails.
Quartier Rouge´s MySpace
Buy it.
Quartier Rouge - Les Années Lumières (2009)
What we feel._.Nashi 14 Slov(2009)
01.-Удар на опережение 3:22
02.-Право выбирать 2:25
03.-Мы не забудем 2:41
04.-Нет доверия 3:03
05.-Свобода 3:40
06.-Сетевой боец (feat Flawless Victory) 1:19
07.-Наши 14 слов 2:12
08.-Победителей нет 2:31
09.-ет расизма - нет проблем (feat Distemper) 2:43
10.-Sometimes Antisocial, Always Antifascist (feat Razor Bois) 2:34
11.-Друг за друга 2009 2:10
12.-Стоять до конца (feat Moscow Death Brigade) 3:09
13.-Дрессированный пес (feat Dieta) 3:48
14.-G.N.W.P. (feat Hausvabot) 2:30
Year: 2009
Country: Russian
Genre: Hardcore
What We Feel - one of the few bands which exists on the territory of the former USSR, which does not copy popular western groups, but plays tough, acute social, daring music. Guys never wrote vague, non-committal texts. They always expressed their opinion about the things that happen in the city and country they live in the most clear way.
In the country, where defense agencies are persistently looking for extremists on the concerts, organized by youth, while true extremists are killing human rights activists at the Caucasus and journalists in downtown Moscow with perfect impunity. In the country, where fascism became a fashion for the youth, and grandchildren of veterans post up congratulations to Hitler on stadium stands and brag in internet with self-shot videos with the murders of Tajik yard cleaners. In the country, torn by crime, corruption and social inequality. In the country, where to say the truth and to struggle for justice long ago became the occupation dangerous for life and freedom.
Threats, attempts to wreck or ban the concerts, losses of close friends - during 4 years of existence, group passed trough all that. Group gained its reputation not by words, but by its deeds, behind - more than a hundred concerts in Russia, Ukraine and Belarus, three euro-tours in support of Russian antifascist movement, participation in great number of charity actions. And new album, named "Our 14 words", became a proof that group never gave up its positions, satisfied with reached achievements, but made a forward step.
Every song on this album - a nail in the coffin of all those, who thinks that hardcore became insipid and lost its fury, that it became regular entertainment for rich boys and nazi tolerant people, and that it can no longer be the instrument of direct action.
New album, released on CD and LP (starting from November) by labels Rumble Fish in Russia and ANR in Germany, laid out by group in internet for free download. Here will work the honest scheme – “download and pay as much as you think it costs”.
In the country, where defense agencies are persistently looking for extremists on the concerts, organized by youth, while true extremists are killing human rights activists at the Caucasus and journalists in downtown Moscow with perfect impunity. In the country, where fascism became a fashion for the youth, and grandchildren of veterans post up congratulations to Hitler on stadium stands and brag in internet with self-shot videos with the murders of Tajik yard cleaners. In the country, torn by crime, corruption and social inequality. In the country, where to say the truth and to struggle for justice long ago became the occupation dangerous for life and freedom.
Threats, attempts to wreck or ban the concerts, losses of close friends - during 4 years of existence, group passed trough all that. Group gained its reputation not by words, but by its deeds, behind - more than a hundred concerts in Russia, Ukraine and Belarus, three euro-tours in support of Russian antifascist movement, participation in great number of charity actions. And new album, named "Our 14 words", became a proof that group never gave up its positions, satisfied with reached achievements, but made a forward step.
Every song on this album - a nail in the coffin of all those, who thinks that hardcore became insipid and lost its fury, that it became regular entertainment for rich boys and nazi tolerant people, and that it can no longer be the instrument of direct action.
New album, released on CD and LP (starting from November) by labels Rumble Fish in Russia and ANR in Germany, laid out by group in internet for free download. Here will work the honest scheme – “download and pay as much as you think it costs”.
8/26/09
Enemies - Aplha Waves + E.P. (2008)
01. Two Lads02. A Blind Cocktail
03. Deas X 3
04. For One Night Only
05. Out Of The C
Bonus 7" ST
01 Bits of Parrots
02 Feed me Seedles
Country: Ireland
Genre: Instrumental Rock, Mathrock.
Label: Machupichu Industrias
Enemies spawned from a solo bedroom project started by guitarist Eoin Whitfield (also member of Wicklow based Kidd Blunt) and was slowly evolved into a full band lineup with the addition of Lewis Jackson, Oisin McMahon-Trench and Mark O’Brien. In April 2007, Enemies were born. The bland play a unique bled of upbeat post-rock which makes them stand out from the crowd.
Formed in April, 2007. After producing a demo for their first song, “Popular Records” signed them for their debut release, the release was called Alpha waves. Toured Ireland extensively with many bands including Cougar, Sincabeza, Papier Tigre, Blakfish & Tubelord. Secured deal with Macchu Piccu records in Japan (Toe) Toured UK to support Alpha Waves release. Toured Japan to support Alpha Waves release in Japan. Began working on debut Album.
They became “enemies” and play relaxing, hypnotic (yet large at parts) music together. They will be releasing theyre debut EP “Alpha Waves” in early March 2008.
Formed in April, 2007. After producing a demo for their first song, “Popular Records” signed them for their debut release, the release was called Alpha waves. Toured Ireland extensively with many bands including Cougar, Sincabeza, Papier Tigre, Blakfish & Tubelord. Secured deal with Macchu Piccu records in Japan (Toe) Toured UK to support Alpha Waves release. Toured Japan to support Alpha Waves release in Japan. Began working on debut Album.
They became “enemies” and play relaxing, hypnotic (yet large at parts) music together. They will be releasing theyre debut EP “Alpha Waves” in early March 2008.
Myspace
Buy it
Aplha Waves + E.P.(2008)
8/25/09
Mouse on the keys - an anxious object (2009)
1. Completed nihilism2. Spectres de mouse
3. Seiren
4. Dirty realism
5. Forgotten children
6. Unflexible grids
7. Double bind
8. Soil
9. Ouroboros
Country. Japan
Year. 2009
Genre. Post-rock, Jazz, Math-rock
Label. Machupicchu Industrias (disco creada por Toe)
Mouse on the Keys es una agrupación japonesa compuesta por Akira Kawasaki (batería,teclado,piano) Atsushi Kiyota (teclado,piano) y Daisuke Niitome(teclado,piano). A la fecha cuentan con dos trabajos, Sezession (2007) y An Anxious Object (2009).
Para los amantes de Toe.
Myspace
Last.fm
Rateyourmusic
BUY IT
Mouse on the keys - an anxious object (2009)
Mouse On The Keys - Sezession (2007)
8/24/09
La Miseria De Tu Rostro / Indexterity Split (2009)
LMDTR01 Negacion
02 19/9
03 Legitima Rareza
04 Dios de Papel / Tan Heroe como tan muerto
INDEXTERITY
05 Hysteria Caravan
06 By Porn
07 On the Cliffs
08 Fire dies Cursing
09 Madness
Label: DEADLINE RECORDINGS, Juventude Positiva, 78Life, Irregular Records.
Country: Chile / Brasil
Genre: Metalpunk, Hardcore, Metalcore.
La Miseria de tu Rostro es una banda que viene en ascenso practicamente desde sus inicios, cuando los ex intergantes de bandas emblemáticas de la escena HxC chilena ( Colapso Auditivo, Sin Apoyo, etc.) deciden crear este proyecto lanzandose al vacío con su primera edicion llamada "Un Mundo de Oscuras Intencioes" del cual provienen los temas de este Split pero masterizados, nunca dejan de recordarnos a bandas de HxC Canadiense como Saturation, IRE, Uranus, Tragedy, The Swarm, con un sonido intenso, profundo y prolijo, letras decididamente politicas encarando la realidad en la que debe co-existir LMDTR. Metal Hardcore para Punks o Metalpunk para Hardcore's, da igual.
Indexterity provienen de Brasil con un sonido ligado al Metalcore nos recuerda a Hatebreed en muchos de sus pasajes pero también al sonido caótico de Sick Terror, dejando claro que lo suyo es de alto octanaje, hardcore rudo y crudo, parece el complemento ideal para sus partners in crime del pacífico.
Krustie!
Oathbreaker - Oathbreaker Ep (2008)
01. Mindless
02. Shelter
03. Ashes
04. Downfall
05. Mirror
Country: Belgique.
Genre: Metal, Hardcore.
Label: Thirty Days Of Night Records, Holy Shit!.
Metallic Hardcore from Belgium in the vein of Rorschach, or Converge. Raspy vo
cals on top of chugging hard driving guitar work = bliss for me! Features members of No Recess
cals on top of chugging hard driving guitar work = bliss for me! Features members of No RecessOathbreaker´s MySpace
Buy it
Oathbreaker - Oathbreaker Ep (2008)
8/21/09
Nagashaki nightmare & Pedro y Juan.-.split ep
Nagasaki nightmare:01.-Nagasaki nightmare
02.-1984
03.-Mirando en mi interior
04.-Anarquia contra costreo
05.-Cascara de persona
06.-Durruti all stars
Pedro Y Juan
Pedro Y Juan01.-Aprendimos la lección
02.-Vidas desperdiciadas
03.-Enseña los dientes
04.-Orgullosxs moriréis
Genre: hardcore, punk, crust
Country: Spain
Label: Zumo de pux!!, ediciones conspiracion, la criatura sin nombre, liberacion o muerte, la haine,la revuelta, pirateo pro-presxs, difusion anarkopunx
Ep compartido entre estas dos bandas españolas de hc punk. NN tiene un sonido algo mas crust a dos voces y PYJ es hc veloz con melodía, en algo recuerdan a HHH.
Nagasaki Nightmare son andaluces y hacen harcore/crust chillón y Pedro y Juan son unos pamploneses haciendo hardcore /punk melódico. Todos los beneficios de este disco son para los compañeros anarquistas detenidos en Italia.
Drama._.creación destructiva (2007)
Cara A:
01-It´s now
02.-Nimeni nu este ilegal
Cara B:
01.-Good night
02.-Creación destructiva
Genre: punk, hardcore
Year: 2007
Country: spain
Mirando atrás, nos damos cuenta de que nunca hemos parado, todo requiere su tiempo para funcionar. Empezamos despacio, a mediados de 2003, cuando la banda anterior de Elena y Silvia se disolvió y Michelle se unió al nuevo proyecto. Michelle empezó tocando el bajo, pero pronto se convirtió en la cantante por su potente voz. La banda estuvo buscando bajista varios meses. Al final Pabló se unió a la banda en junio del 2005. Por entonces, Drama (nombre tomado de un tema de L7) ya había tocado en conciertos,por primera vez en el concierto de presentación de Clitocorezine. Grabar una demo fue nuestro deseo durante un tiempo, hasta que tuvimos la oportunidad de tocar fuera, entonces se convirtió en una necesidad. Sacamos una demo DIY con 7 temas. Durante diciembre del 2005 tuvimos la oportunidad de tocar en tres ciudades en Alemania (Berlin, Leipzig y Dresde) y también en el Ladyfest en Varsovia. Fue genial tocar allí, estamos contentas de haber formado parte de ese proyecto y aún apoyamos la organización del Ladyfest en Varsovia y en cualquier parte. En diciembre del 2006 volvimos a la carretera, en un Twingo (sí en un twingo!!!), para tocar en Zaragoza y el País Norte. Más tarde, en la primavera del 2007, cumplimos tres importantes objetivos para nosotras: tocar en el Take Back the Night, festival feminista, en Hamburgo (todo nuestor apoyo y cariño para las chicas de Hamburgo!), grabar cuatro temas en el estudio del Wero, que son parte de lo que es nuestro primer 7", y organizar otro concierto del Clitocore. Y a partir de ahora: más bolos, más canciones, más pegatinas, más camis... y más caña!
Split - Ebola & Bazooka (2009)
-Ebola01. En Busca Del Sol
02. Ahora o Nunca
03. Moctezuma. La Noche Triste
-Bazooka
04. Black Forest
05. Crazy Behaviour
06. Thundercross
Country: Spain.
Genre: Mathcore, Noisecore / Death'n'Roll, Stoner.
Label: DIY.
Ebola, Mathcore and Noisecore like as Converge and Botch. With members of Segunda Apnea.
Bazooka, Death'n'Roll and Stoner like as Entombed and Moksha.
Ebola´s MySpace
Bazzoka´s MySpace
Buy it.
Split - Ebola & Bazooka (2009)
(By Request of The Band)
8/19/09
Phogo - Hora De Buscar Lucero (2005)
01. Guerrao02. Rua Girasol
03. Cria Cuervos
04. Hippieorsomething
05. Vi A Peralta
06. Tt
07. Carnita
08. Chikin
09. V for Vendeta
10. F De Confuse
11. Forastero
12. Forastero Dub
13. Skate Polution
14. 12345678
15. Casette
16. [Bonus Track]
Country: Spain.
Genre: Punk, Pop, Hardcore, Dub.
Label: Holyrock.
Phogo .2001.palma de mallorca, de anteriores bandas como: capsule, verme arder, 72 records, fun people, dub corao, tienen editado un 7" vinilo (punkaway recs), un cd larga duracion "hora de buscar lucero" (various), y un ep cd "mangel" con 6 musicas. sus canciones se pueden escuchar y bajar en http://www.holyrook.com . (every couple of issues a record comes along that remainds me of old 
Slaampt! records label out of the late 90's Scotland. and here's another one. strange howling combination of garage moderne and an almost shoe-gazerish dream-fuzz attack. disorienting and quite original without hitting you over the about how damm clever they are, which is a neat trick. it's six tracks of psych-punk done in a simple and thoroughly contemporary style, there's even a track that plays around with a dub sound without really going for it, it's like a radio playing in the next room. they also show a marked ability to set the phasers for stun and just rock in a SWELL MAPS kind-of-way. as an added plus, they are from spain, wich is not a country with much history in this vein. i want more life, fucker.) Ryan Wells. maximun rocknroll april 2004.
Phogo´s MySpace
Slaampt! records label out of the late 90's Scotland. and here's another one. strange howling combination of garage moderne and an almost shoe-gazerish dream-fuzz attack. disorienting and quite original without hitting you over the about how damm clever they are, which is a neat trick. it's six tracks of psych-punk done in a simple and thoroughly contemporary style, there's even a track that plays around with a dub sound without really going for it, it's like a radio playing in the next room. they also show a marked ability to set the phasers for stun and just rock in a SWELL MAPS kind-of-way. as an added plus, they are from spain, wich is not a country with much history in this vein. i want more life, fucker.) Ryan Wells. maximun rocknroll april 2004.Buy it.
Phogo - Hora De Buscar Lucero (2005)
8/18/09
Tournament - Years Old (2009)
01. Walking negative man02. Intake controller
03. Washcloth
04. Something temporary
05. Smokelore
06. From the mouths of non believers
07. Snuff news
08. Good thanks you
09. Big box oopportunity
10. All this light is getting in my ears
Country: USA.
Genre: Noise Rock, Posthardcore, Sludge, Stoner.
Label: Forcefield Records.
The latest release from Forcefield Records is "Years Old", the debut full-length from New York's Tournament and the perfect follow-up to last year's killer "Swordswallower" EP. This material is perhaps coming from a little more of a "noise rock" base, loaded with absol
utely awesome, hammering basslines and bursts of quirky riffing, while the shouting/yelling vocals fall a little farther back in the mix and fight their way forth through the instrumentation. They're really able to transition effortlessly from caustic, noisy textures and surging feedback to energetic rhythms alongside more restrained riffing that flirts with darker atmospheres (check out the amazing "All This Light", which is probably the band's finest offering to date) and a little subtle melody here and there. And then there are the again unexpected little "stoner rock" runs in "Big Box Opportunity" to add yet another dimension to the band's rather diverse approach. An excellent recording certainly plays in a role in how badass the bass presence is throughout, keeping the tones warm and natural while balancing the mix so you can always hear everything that's going. Combine all of this with oddly catchy songwriting and it makes for an extremely well-focused 10 tracks in 32 minutes. I'm once more left looking forward to hearing more from these guys. Good stuff… -Aversionline-
Tournament´s MySpace
Buy it. CD / LP
Tournament - Years Old (2009)
utely awesome, hammering basslines and bursts of quirky riffing, while the shouting/yelling vocals fall a little farther back in the mix and fight their way forth through the instrumentation. They're really able to transition effortlessly from caustic, noisy textures and surging feedback to energetic rhythms alongside more restrained riffing that flirts with darker atmospheres (check out the amazing "All This Light", which is probably the band's finest offering to date) and a little subtle melody here and there. And then there are the again unexpected little "stoner rock" runs in "Big Box Opportunity" to add yet another dimension to the band's rather diverse approach. An excellent recording certainly plays in a role in how badass the bass presence is throughout, keeping the tones warm and natural while balancing the mix so you can always hear everything that's going. Combine all of this with oddly catchy songwriting and it makes for an extremely well-focused 10 tracks in 32 minutes. I'm once more left looking forward to hearing more from these guys. Good stuff… -Aversionline-Tournament´s MySpace
Buy it. CD / LP
Tournament - Years Old (2009)
8/16/09
8/14/09
Bélmez - Apariciones (2009)
01. Santa Eulàlia02. Ave
03. Navas de Tolosa
04. Ranchera
05. Canción del rincón
06. Rodeo
07. Como
08. Gracias
09. Aparición
10. Bélmez
Country: Spain.
Genre: Slowcore, Indie Rock, Folk.
Label: Acuarela.
En activo desde finales de 2004, formado por Jaime L. Pantaleon (12twelve, Ruizpantaleón), Jose Rosselló (12twelve) y Marc Anglès (Dolores, Teresa). La idea de la banda nace por el amor que sienten sus tres miembros por el folk y el rock Americano, y por discos como “Songs for a Dead Pilot” (Low), “Ghost Tropic” (Songs:Ohia) “The Withe Birch” (Codeine) o “Ho
rse histories” (Dirty Three). El resultado de horas y horas de ensayos es un sonido poderoso, limpio, caído, al borde del coma en ocasiones, y nocturno y amenazante en otras. Basado en las dinamicas de la propia ejecución y de cada instrumento, y sin ningún efecto, pedales ni distorsión. Cada nota, cada golpe y cada silencio son fundamentales. Minimalismo, e intención. Huyendo de la música intrumental y siguiendo los pasos del folk, las canciones tienen voz, y están cantadas en castellano. El resultado es algo parecido al slowcore de raíz americana, copulando con el folk español tradicional. Como si el Serrat del los 70 tocara con Slint, o como si Neil Young se tomara una tortilla de tranquilizantes y cantara en castellano. En agosto de 2007 graban su primer disco en los estudios de Paco Loco. En directo 100% y sobre cinta analógica de 2”. La mezcla la masteriza Bob Weston (Shellac) en Chicago.
Bélmez´s MySpace
Buy it
Bélmez - Apariciones (2009)
rse histories” (Dirty Three). El resultado de horas y horas de ensayos es un sonido poderoso, limpio, caído, al borde del coma en ocasiones, y nocturno y amenazante en otras. Basado en las dinamicas de la propia ejecución y de cada instrumento, y sin ningún efecto, pedales ni distorsión. Cada nota, cada golpe y cada silencio son fundamentales. Minimalismo, e intención. Huyendo de la música intrumental y siguiendo los pasos del folk, las canciones tienen voz, y están cantadas en castellano. El resultado es algo parecido al slowcore de raíz americana, copulando con el folk español tradicional. Como si el Serrat del los 70 tocara con Slint, o como si Neil Young se tomara una tortilla de tranquilizantes y cantara en castellano. En agosto de 2007 graban su primer disco en los estudios de Paco Loco. En directo 100% y sobre cinta analógica de 2”. La mezcla la masteriza Bob Weston (Shellac) en Chicago.Bélmez´s MySpace
Buy it
Bélmez - Apariciones (2009)
8/12/09
Dioz - Reset (2003)
01. Quest for the skined mouse02. Reset part 1
03. The Ben´s laden washing machine
04. Reset part 2
05. Feading cowboys
06. Reset part 3
07. Pokalandtaz
Country: France.
Genre: Jazz, Progressive Rock, Psychedelic Rock.
Label: Aïnu, Xarutad.
Dioz´s Webpage
Dioz - Reset (2003)
LAUDANUM - The Coronation (2009)
01. Procession
02. Invoke
03. In Obscura
04. Wooden Horse
05. Autumn Ghosts
06. The Last Sleep
07. Apotheosis
Country: U.S.A
Genre: Sludge, Sludgecore, Doom Metal.
Label: 20 Buck Spin
In April 2009, 20 Buck Spin released the Sacred Death split LP between Oakland s Laudanum and Stormcrow. That record featured two exclusive Laudanum tracks and led Cosmo Lee of the Invisible Oranges blog to claim Sacred Death may be the heaviest split I ve ever heard. While the band s two sludge / doom contributions clearly stood out from the pack, it is on their sophomore full-length album, The Coronation, that the band s world-eating heaviness is fully realized. Joining the husband-and-wife duo of Judd Hawk (overdriven string corrosion, ambient texture, and documentation) and Becky Hawk (battering ram and subsonic transmissions) are Greg Wilkinson (low-end frequency discharge, vocal disruption, and auditory experimentation; also of Brainoil, Pig Heart Transplant, Earhammer Studios) and the latest addition Nathan Misterek on battery acid, bellows, and blasphemy, or what most call vocals. Misterek, widely known as vocalist for the legendary Graves At Sea adds an element of occult grimness previously absent from Laudanum s corrosive noise-doom wasteland the final piece in the puzzle. On The Coronation, punishing, bruised sludge doom and bleak industrial noise experiments are fused ever more tightly together into a cohesive soundtrack for the slow collapse of modern life and culture. The intense low-frequency pummel of Wilkinson s bass rumble is itself an apparent cause for some of this collapse, such is its massive, earth-shaking power. Becky s crushing drum beats rival Dale Crover in sheer intensity and brute force; Judd s repetitive, stone-slab riffs carry the weight of the world; and Misterek s vocals, colliding with Becky s, coat the whole thing with the mournful, evil magic of life s coming oppression. This is The Coronation of the end.
Buy This
Myspace
Web Band
THE CORONATION (2009)
8/11/09
HAARP - EP II (2009)
01.- If They Were Men
02.- Durendal Foresaken
03.- Blindsight
04.- Mons Sermo Incendia
Country: NOLA, EE.UU
Genre: Sludge, Doom Metal.
Label: No Label
This quintet is all business and finds a way to splice a little bit of everything into their genre hopping sound, while staying unbelievably fucking heavy throughout. I’ve spotted everything from ultra thick death metal riffing to grueling, detuned hardcore/sludge in the band’s armada. What makes it work is the way the band presents their songs to you, like a writhing serpent on a silver platter; they slowly twist your mind into insanity with riff after riff of downer dementia and then bust you in the nose with a decisive blow of pummeling, double-bass drumming, elevated by faster guitar runs. Although you will find that in the world of Haarp, nothing moves by too fast.
The slimy, landfill dwelling riffs that intro the 9+ minute opening cut “If They Were Men” are frighteningly dissonant and drawn out; akin to a nastier, more slovenly incarnation of Crowbar. It isn’t long till the crack of the artillery rings in the distance and resident vomit master Shaun emits his fetid, belching growl; lending a feral death metal aesthetic to the band’s thunderous, neo-sludge bellow. Riffs consistently warp and fade, like a set of bad acid hallucinations that just won’t go away. Thrusting themselves into a series of speedy lurches, the music nervously tosses between death metal’s furious rage and the nauseous stench of doom left to rot beneath the desert sun! Extra props go to Haarp’s skin basher Keith for being able to effortlessly switch the beat to match the lucid ferocity of Grant and Jason’s twin guitar madness. It’d be pointless to name out every good riff in Haarp’s songs or say how they sound, as this is highly progressive stuff that piles on more changes than you can shake a nuclear bomb at. The ending is particularly memorable though with a duo of noise-rock cum metal guitar solos adding a filth-stricken, Am-Rep squeal to the pulse pounding riffage. Even bassist Ryan lays down an oozing, hyper-distorted bass lick to end the tune, which is rare these days, seeing as how the guitar usually leads and closes a good chunk of material in this vein.
Hot on the heels of “If They Were Men”, comes the crashing hooves and shattering gallop of “Durendal Forsaken”. Creeping in on the fog of night, the opening riffs are powerfully, sparse…raising an air of dread in whatever space you happen to be spinning this lethal piece of plastic in. At first there’s a surreal, almost saddening touch to the mountainous churn; the kind of churn that marries Crowbar’s world weary stomp with the snarling volume and irate vocal spew of Goatsblood. Suddenly the wind kicks up and you are standing in the middle of a raging tempest, whirling with grinding chaos. Aware that speed isn’t everything, the band slows their hurricane of death/grind riffing and stealth bomber rhythms into a swampy, gator groove…that’s almost and I mean almost; a bit bluesy. Haarp really have yet to include anything traditionally groovy in their songs up to this point, so it left a permanent impression when the “up to no good shuffle” came slinking into the room. To shake up the formula even more, the band completely leaves the rails from that point on. There’s another soul wrenching Crowbar wallow, followed by slowed down, melodic death metal tremolo picking in addition to an ending of southern Baptist riff revelations that eventually reveal their own secret, heathen slomo-sludge, alter ego…they literally throw the kitchen sink at you! Hell not just your lone kitchen sink but the neighbor’s kitchen sink, the entire line down at the local Home Depot, the stock in the warehouse…the whole shebang, baby!
Same goes for “Blindsight” whose lead-in riff is another wayward trudge down the spiraling staircase of a schizophrenic breakdown. It is one of those riffs that goes straight to your guts and rips ‘em right out, again loosely derived from the Crowbar genus for maximum, emotional impact but carved from an even harder hunk of granite. A ramshackle burst of speed bridges death metal’s howling vocal exhaust, double-kick ass whippings and relentless riffing with punk’s rhythmic two-step and doom’s burly heft. Haarp weaves in and out of all three distinct styles for the remainder of the track, kicking you in the teeth with a mucky bludgeon and then eroding the slothfulness with a tidal wave of grimy speed thrills. You’ll have no idea from which direction the band will attack next, but will feel the copper taste of blood in your mouth as Haarp gleefully rips your eyes, ears and ass wide open; making you a receiver of their audio death throes, whether you want to hear it or not! Closer, “Mons Sermo Incendia” serves to further everything enforced thus far, with equal attention paid to ravaging, metallic, hardcore/grind and swirling, quicksand doom. The whole affair is touched up with an intro teeming with melodic dissonance, tricky time changes and an absolutely timeless, forward-thinking sludge groove at the 5:24 mark, effectively rounding out another stunning track.
Can someone please give this band a record deal? Along with Thou, Haarp are putting some fresh blood in the Louisiana sludge/doom underworld and have already reached a breathtaking peak when it comes to songwriting. I’ve spun the first EP a bunch of times since it came out two years ago, but I think I’ve spun II twice as much as the first, over the course of just three weeks. When it comes to brutal, uncompromising sludge done up with a unique flair of hardcore (think Cattlepress and Bloodlet), grind and death metal, it doesn’t get any better than Haarp. This EP is a testament to a young career that is going to go far, thanks to some of the most intriguing songwriting around. Even the production on this bastard is top-notch with thick, vibrant tones exploding loud and clear, beneath a wall of the vilest distortion/volume known to man! Those of you, who didn’t get a chance to check out the prior EP, owe it to themselves to pick up a copy of this one. Miss this one and forever kick yourself in the ass, because Haarp are about as good as it gets when it comes to unique, off-putting, hate-sludge!
The slimy, landfill dwelling riffs that intro the 9+ minute opening cut “If They Were Men” are frighteningly dissonant and drawn out; akin to a nastier, more slovenly incarnation of Crowbar. It isn’t long till the crack of the artillery rings in the distance and resident vomit master Shaun emits his fetid, belching growl; lending a feral death metal aesthetic to the band’s thunderous, neo-sludge bellow. Riffs consistently warp and fade, like a set of bad acid hallucinations that just won’t go away. Thrusting themselves into a series of speedy lurches, the music nervously tosses between death metal’s furious rage and the nauseous stench of doom left to rot beneath the desert sun! Extra props go to Haarp’s skin basher Keith for being able to effortlessly switch the beat to match the lucid ferocity of Grant and Jason’s twin guitar madness. It’d be pointless to name out every good riff in Haarp’s songs or say how they sound, as this is highly progressive stuff that piles on more changes than you can shake a nuclear bomb at. The ending is particularly memorable though with a duo of noise-rock cum metal guitar solos adding a filth-stricken, Am-Rep squeal to the pulse pounding riffage. Even bassist Ryan lays down an oozing, hyper-distorted bass lick to end the tune, which is rare these days, seeing as how the guitar usually leads and closes a good chunk of material in this vein.
Hot on the heels of “If They Were Men”, comes the crashing hooves and shattering gallop of “Durendal Forsaken”. Creeping in on the fog of night, the opening riffs are powerfully, sparse…raising an air of dread in whatever space you happen to be spinning this lethal piece of plastic in. At first there’s a surreal, almost saddening touch to the mountainous churn; the kind of churn that marries Crowbar’s world weary stomp with the snarling volume and irate vocal spew of Goatsblood. Suddenly the wind kicks up and you are standing in the middle of a raging tempest, whirling with grinding chaos. Aware that speed isn’t everything, the band slows their hurricane of death/grind riffing and stealth bomber rhythms into a swampy, gator groove…that’s almost and I mean almost; a bit bluesy. Haarp really have yet to include anything traditionally groovy in their songs up to this point, so it left a permanent impression when the “up to no good shuffle” came slinking into the room. To shake up the formula even more, the band completely leaves the rails from that point on. There’s another soul wrenching Crowbar wallow, followed by slowed down, melodic death metal tremolo picking in addition to an ending of southern Baptist riff revelations that eventually reveal their own secret, heathen slomo-sludge, alter ego…they literally throw the kitchen sink at you! Hell not just your lone kitchen sink but the neighbor’s kitchen sink, the entire line down at the local Home Depot, the stock in the warehouse…the whole shebang, baby!
Same goes for “Blindsight” whose lead-in riff is another wayward trudge down the spiraling staircase of a schizophrenic breakdown. It is one of those riffs that goes straight to your guts and rips ‘em right out, again loosely derived from the Crowbar genus for maximum, emotional impact but carved from an even harder hunk of granite. A ramshackle burst of speed bridges death metal’s howling vocal exhaust, double-kick ass whippings and relentless riffing with punk’s rhythmic two-step and doom’s burly heft. Haarp weaves in and out of all three distinct styles for the remainder of the track, kicking you in the teeth with a mucky bludgeon and then eroding the slothfulness with a tidal wave of grimy speed thrills. You’ll have no idea from which direction the band will attack next, but will feel the copper taste of blood in your mouth as Haarp gleefully rips your eyes, ears and ass wide open; making you a receiver of their audio death throes, whether you want to hear it or not! Closer, “Mons Sermo Incendia” serves to further everything enforced thus far, with equal attention paid to ravaging, metallic, hardcore/grind and swirling, quicksand doom. The whole affair is touched up with an intro teeming with melodic dissonance, tricky time changes and an absolutely timeless, forward-thinking sludge groove at the 5:24 mark, effectively rounding out another stunning track.
Can someone please give this band a record deal? Along with Thou, Haarp are putting some fresh blood in the Louisiana sludge/doom underworld and have already reached a breathtaking peak when it comes to songwriting. I’ve spun the first EP a bunch of times since it came out two years ago, but I think I’ve spun II twice as much as the first, over the course of just three weeks. When it comes to brutal, uncompromising sludge done up with a unique flair of hardcore (think Cattlepress and Bloodlet), grind and death metal, it doesn’t get any better than Haarp. This EP is a testament to a young career that is going to go far, thanks to some of the most intriguing songwriting around. Even the production on this bastard is top-notch with thick, vibrant tones exploding loud and clear, beneath a wall of the vilest distortion/volume known to man! Those of you, who didn’t get a chance to check out the prior EP, owe it to themselves to pick up a copy of this one. Miss this one and forever kick yourself in the ass, because Haarp are about as good as it gets when it comes to unique, off-putting, hate-sludge!
Jay Snyder (HellrideMusic)
Myspace
Buy This!
HAARP - EP II (2009)
BONUS - Demo 2007
8/10/09
Herbie Hancock & Kraftwerk
Desde el futurismo de Marinetti, y a partir de la teoría y práctica del ruido como música propuesta por Luigi Russolo, la música y la ciencia ficción han disfrutado de una estrecha relación. Ésta ha estado vinculada a los cambios provocados por la industrialización, algo que se puede comprobar en cómo la música, sobre todo la popular, ha absorbido de manera voraz cualquier avance tecnológico que permitiera explorar nuevas formas musicales. En relación con esto, Kodwo Eshun, en su tristemente descatalogado libro More Brilliant than the Sun, dice que “la música es la forma de arte que más a fondo se ha recombinado y reconfigurado mediante la tecnología”. El progreso tecnológico ha permitido que los músicos proyecten los miedos y aspiraciones contemporáneos, empleando para ello sonidos de estudio, sonidos artificiales que nos han obl
igado a ampliar y reconfigurar nuestra definición de música, provocando en el oyente una sensación de shock futurista, por citar el título del conocido disco de Herbie Hancock.
Además, la ciencia ficción ha servido de escenario para representar problemas sociales e identidades colectivas. Aquí nos vamos a centrar en unos pocos pero interesantes e imprescindibles ejemplos de cómo la música popular ha usado la ciencia ficción como espejo de la sociedad. Uno de los primeros, y quizá uno de los más representativos, tiene que ver con la aleación de jazz y electrónica llevada a cabo a finales de los ‘60 y comienzos de los ‘70 por visionarios como George Russell, Herbie Hancock o Sun Ra. En las portadas de sus discos abundan los ovnis, los trajes espaciales o los alienígenas, mientras que la música se llena de sintetizadores con arreglos y texturas que todavía hoy sorprenden por su audacia. La finalidad era representar a los afroamericanos como una raza alienígena, una poderosa manera de reflejar su doloroso pasado y su desencantado presente en unos EE UU en los que las promesas realizadas en los ‘70 se difuminaban. La alienación y el solipsismo espacial fueron empleados también en Gran Bretaña, más o menos en la misma época, con bastante éxito por los Pink Floyd de Syd Barrett –las conexiones entre ciencia ficción y psicodelia también son abundantes, pero es algo que escapa a las intenciones de este artículo– y sobre todo por David Bowie, quien cimentó su popularidad con Space Oddity, narración de un astronauta que pierde contacto con la Tierra, para después construirse una personalidad alrededor del concepto de estrella procedente del espacio exterior en su etapa como Ziggy Stardust. En este caso, la alienación servía como metáfora de la homosexualidad y, de manera más general, de la marginación social. Mientras tanto, en Alemania, grupos como Kraftwerk o Neu llevaban a cabo su propia interpretación del optimismo tecnológico, haciendo que su música provocase, mediante el incansable motorick, que es como se llama al característico ritmo del kra
utrock practicado por estos grupos, la sensación de estar flotando y viajando en el espacio exterior hasta el infinito. A finales de los ‘70, Kraftwerk articularían una visión todavía más compleja de las relaciones entre humanos y máquinas a través de discos con títulos tan reveladores como The Man Machine o Computer World.
Hay que recordar que Kraftwerk publicó el grueso de su obra clásica cuando los sintetizadores y cajas de ritmos comenzaban a abaratarse. Este era también el momento en el que se gestaba la explosión háztelotú- mismo del punk, de modo que no es extraño que, en el período que hoy conocemos como post punk, abunden los ejemplos de música con escenarios de ciencia ficción. Eso sí, el tono es decididamente más huraño y apocalíptico, como corresponde a los albores del realismo capitalista de la era de Thatcher y Reagan. Tomemos como ejemplo Warm Leatherette / TVOD de The Normal, un single clásico cuyas canciones podrían haber sido escritas por David Cronenberg o JG Ballard. Buena prueba de ello es el disco de John Foxx Metamatic que supo proyectar las visiones de urbanismo modernista que caracterizan buena parte de la ciencia ficción musical británica. Volviendo a la música afroamericana, el pop sintético europeo tuvo su eco en Detroit, ciudad postindustrial en la que un grupo de productores como Juan Atkins, Derrick May o Kevin Saunderson proyectaron una audaz visión de futuro que tuvo un influencia determinante en mucha de la música futurista que se hizo más tarde. Así, en Inglaterra, a principios de los ‘90, surgió el Jungle fruto de esta y otras influencias. El Jungle tuvo un marcado carácter oscuro y metalizado, prueba de ello serían singles con títulos tan reveladores como Terminator de Rufige Kru (más conocido como Goldie). Quizá el momento más significativo en esta etapa es el representado por el Black Secret Technology de A Guy Called Gerald, una investigación de cómo la tecnología musical puede servir para reconectar a la diáspora negra con sus raíces culturales africanas. El rastro de esta especie de cyberpunk que fue el Jungle se puede rastrear todavía hoy en el dubstep, no en vano el primer LP de Kode9 se llama Memories of the Future, el debut de Burial está situado en un Londres futuro semisumergido. También la banda sonora de la película Hijos de los hombres incluye una buena representación de dubstep. -Diagonal-
Herbie Hancock - Future Shock (1981)Kraftwerk - Computer World (1981)
8/8/09
Pissed Jeans - King Of Jeans (2009)
01. False Jesil Part 202. Half Idiot
03. Dream Smotherer
04. Pleasure Race
05. She Is Science Fiction
06. Request For Masseuse
07. Human Upskirt
08. Lip Ring
09. Spent
10. R-Rated Movie
11. Domine Yourself
12. Goodbye (Hair)
Country: USA.
Genre: Noise Rock, Punk, Hardcore.
Label: Subpop.
Pissed Jeans are an American noise rock/grunge band from Allentown, Penns
ylvania. The band claims to derive influence from 80s hardcore punk bands - in particular Black Flag, Stickmen With Rayguns, Fang, Flipper, No Trend, Ivy Green, X, Drunks With Guns, Shattered Faith and G.R.I.M..[1] The band have released several 7"s and two LPs, and are currently signed to Sub Pop who released the band's 2007 album Hope For Men.
ylvania. The band claims to derive influence from 80s hardcore punk bands - in particular Black Flag, Stickmen With Rayguns, Fang, Flipper, No Trend, Ivy Green, X, Drunks With Guns, Shattered Faith and G.R.I.M..[1] The band have released several 7"s and two LPs, and are currently signed to Sub Pop who released the band's 2007 album Hope For Men.Pissed Jeans´s MySpace
Buy it.
Pissed Jeans - King Of Jeans (2009)
8/7/09
Hombre Malo._.The ecstasy of devastation (2009)
01.- Rolling truck (2:52)
02.-Towers fall at night (10:39)
03.-Armour (7:58)
04.-Reilly´s armies (16:01)
Year: 2009
Country: Norway
Genre: stoner, sludge, doom
Label: in my heart empire
HOMBRE MALO is a quatuor based in oslo, norway. the band became complete in september 2008 with tom (bass), nacho (vocals), lars (drums) and boris (guitar). then, we created 4 songs that we recorded by ourselves in december 2008; the same month, we played their first gig in oslo. those 4 songs appear on a limited 200 cd-rs edition released on iskremboden (norway) in february 2009 and on cd old skool kids records (russia). the lp will be released in september 2009 by in my heart empire (spain), sm records (germany) and iskremboden (norway)... some of us used to be members of ictus (spain), this thing called dying (norway), the sons of saturn (france), flashing susie (norway) and lars plays in la casa fantom (norway). the music we play is............. too loud. contact us at hombremalo@rocketmail.com
8/6/09
Zoo directo (2006)
1.Donde estais
2.En el espejo
3.Esa parte del mundo
4.Hombres de papel
5.Nuevas formas
Concierto junto a 5000 rpm y same old, esta grabado en sepia, se ve y escucha decente.
ZOO - directo
Y para los nostalgicos 995 en el tutubo
Acts of sedition & surrender.-.ep
Cara Acts of sedition
-Baby teeth
Cara surrender
-Save yourself
-No voice
Genre: crust, peacepunk
Country: Usa
Label: Penguin suit records
2 new songs from Berkeleys SURRENDER wo remind alot to old UK Peace Punk with dual Fe/male vocals and on the flip ACTS OF SEDITION from O
akland with more furious in your face US Old school hardcore punk that is really impressing how much energy they blast out being a 3 piece band. Good job! Only a few copies available!
This tasty looking little number is a local love-fest:members of both bands can usually be found pulling the strings at Gilman, flyering for shows at Thrillhouse, or getting in the way around MRR HQ. Musically they have little in common, but this record is about community. ACTS OF SEDITION keeps their crushing hardcore dark and depressing on their side, consistent with their previous output. To my ears, the anarcho punk debuted by SURRENDER on their first 7″ is laced with a hint of early-90’s DC/riot grrrl sound this time out –no bad thing. Otherwise is more of the same from the first EP: martial dynamic music and pounding drums lay the foundations for Ariel’s poetic peace-punk diatribes. I know the bands were excited about doing this and it shows. The packaging is excellent too. —Allan McNaughton, Maximum Rocknroll zine
Acts of sedition@web
Surrender@web
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