Crash Worship - Triple Mania II (1994)

San Diego's Crash Worship has one of the most exciting -- and dangerous -- live shows in independent music. While the band's three drummers pound trance and industrial rhythms, other members play music, start fires, ignite fireworks and drench the audience in pig blood, water, flour and fruit. An inspired cult of fans have closely followed the group since its beginnings in 1987.

After forming the Alarma label in 1987, Crash Worship began releasing material with This. Two years later, the band recorded the album The Science of Ecstasy, an EP titled What So Ever Thy Hand Findeth - Do It with All Thine Might, and the 12-inch single "Flow." After the 1990 single "Pillar of Fire" and the LP ¡Espontaneo!, the British label Cold Spring released Crash Worship's first CD, Asesinos (1992), a collection of remixed and remastered tracks from the group's initial recordings. (The American label ROIR reissued the album with extra tracks in 1995.)

Crash Worship's present lineup finally coalesced in 1992 around drummers Markus Wolff, Simon Cheffins and Dreiky; J.A. Mattson on guitar; and "Fat" Jack Torino and JXL on vocals, Moogs and tapes. The group's first "studio" album, Triplemania II, appeared in 1994 on the Charnel Music label.

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BARKMARKET

1993 - Gimmick
1995 - Lard Room EP

Barkmarket was a rock music group formed in New York City in 1987. Personnel were singer/guitarist and main songwriter Dave Sardy, bass guitarist John Nowlin and drummer Rock Savage.

Barkmarket's music was usually loud and aggressive, touching on many styles (most prominently including heavy metal, hardcore punk and noise rock), but not resting definitely in any one genre. Critic Stewart Mason wrote that the band "can at times be frustratingly difficult to pin down, but their best work has a noisy, rattling power." There were also odd touches that demonstrated an experimental edge: the eerie banjo and tape loops on "(Radio Static)" (from Gimmick), and the nearly delta blues acoustic slide guitar on "Visible Cow" (from L. Ron).

Sardy's ragged, proto-screamo vocals usually offered bizarre lyrics that were at once evocative and absurd, and rarely without a menacing undercurrent: "I bought a handgun made out of glass/I cut a hole in the side of a wild ass" ("Visible Cow"); critic Ted Alvarez wrote,

Sardy's distended poetry often has a dark humor about it; lines like "I opened all your mail" ("Feed Me") and "I got a game/it won't take long/we'll list all our beatings in a cursory rhyme" ("How are You") add a dash of laughter to the often humorless scowl across the face of hardcore music.

In 1988, they released an independently-recorded demo tape, 1-800-GODHOUSE. They were signed to Triple X Records, who released the group's first two albums, Easy Listening and Vegas Throat; the latter featured guest work from avant-jazz guitarist Marc Ribot.

Vegas Throat attracted the interest of Rick Rubin, and Barkmarket was one of the first groups signed to Rubin's American Recordings. Vegas Throat was reissued by American, which then issued Gimmick and the Lardroom EP. During this time, they released the Peacekeeper EP on the Man's Ruin record label.

L. Ron (1996) was Barkmarket's final album. Sardy's engineering/production work was taking precedence over his own band, and the group quietly broke up in 1997. Sardy has since become an in-demand producer and mixer for many heavy rock groups (e.g., System of a Down, Marilyn Manson, Wolfmother, Helmet, Quicksand).

* Discography *
* 1-800-GODHOUSE (1988)
* Easy Listening (1989)
* Vegas Throat (1992)
* Gimmick (1993)
* Peacekeeper EP (1994)
* Lard Room EP (1995)
* L. Ron (1996)


1993 - Gimmick
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rar - 62.6mb


1995 - Lard Room EP
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rar - 20.8mb

* Any other Barkmarket albums out there, I'd love to hear them! *

FAITH NO MORE ASHES TO ASHES 1997 COMPLETE

wtf? where is Puffy?

FAITH NO MORE - CAFFEINE LIVE

Buckethead - Acoustic Shards (2007)

Acoustic recordings culled from tapes that were reportedly recorded in 1991.
Released May 31st, 2007.
Download here
mp3 - 192kbps
rar - 67mb

REPOST:
Buckethead - Pepper's Ghost (2007)

Download here
mp3 - 320kbps
rar - 75mb

John Zorn - From Silence to Sorcery (2007)

* Just released this week...Enjoy!

Three distinctive instrumental works touching upon themes of magic and mysticism. Goetia are spells and incantations for summoning demonic spirits and this colorful set of variations for solo violin draws upon the ancient alliance between the violin and the devil. Gris-Gris is a virtuosic work for thirteen tuned drums inspired by the music of Korean Shamanism, Haitian Voodoo and a scene from Howard Hawks’ classic film To Have and Have Not. It receives a spectacular performance by one of the world’s leading avant-garde percussionists—William Winant . Completing the program is one of Zorn’s most personal and elusive ensemble pieces. Scored for clavichord, three muted strings and percussion, Shibboleth is a stunning tribute to the enigmatic Jewish poet Paul Celan.

Jennifer Choi: Violin
Brad Lubman: Conductor
Lois Martin: Viola
Fred Sherry: Cello
William Winant: Drums, Percussion
Steve Drury: Clavichord

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Sons Of Freedom- s/t (1988)

For a brief, shining moment, Vancouver's Sons of Freedom (named after the nudist sect) were absolutely the loudest thing in all of Canada and their debut album featured enough volume and metallic crunch to attract the attention of Los Angeles label Slash. It wasn't precisely heavy metal, though, as it contained a lot of fierce punk snarling, in much the same manner as labelmates Faith No More did at the time. Unlike Chuck Mosley's yelping bark, however, the Sons' Jim Newton actually sang somewhat (though his voice was still the point of much debate). The first three tracks of the album are near perfect, and most of the rest of the album comes pretty darned close. One of the high watermarks of Canadian music, the album still sounds fresh and challenging today.
Probably the best album you've never heard.

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rar - 63mb

* Sorry, only have Gump on cassette...

Sword - Metalized (1986)

Sword was formed in Canada by brothers Mick Hughes (vocals) and Dan Hughes (drums), guitarist Mike Plant, and bassist Mike Larock in early 1985. Signing with local Aquarius Records, the band cut its solid, though hardly groundbreaking, debut Metalized in 1986. The band's sound was a muscular brand of classic metal with tasteful riffs and solos by Plant and infectious shout-along choruses. The band never made much headway south of the border, however, and split up soon after recording their sophomore album Sweet Dreams the following year.
* Classic metal comparable to Overkill, Iron Maiden, Judas Priest.

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Dark Angel

Dark Angel became known in thrash metal circles for their ability to deliver some of the genre's most challenging and articulate albums without ever losing touch with its core attributes of pure speed and primal aggression. And although, like many of their peers, the band's appeal would never really extend beyond the metal underground, their recorded legacy has stood the test of time much better than the bulk of their '80s thrash metal peers.

Formed in Los Angeles in 1983, Dark Angel went through countless incarnations before settling on a somewhat stable lineup featuring vocalist Don Doty, guitarists Eric Meyer and Jim Durkin, bassist Rob Yahn, and drummer Jack Schwartz. After having one of their demos, "Welcome to the Slaughterhouse," chosen for inclusion on Brian Slagel's Metal Massacre IV collection in 1985, the group proceeded to assemble their remaining demo tapes into a primitive, but enthusiastic first album called We Have Arrived, released later that year. New drummer Gene Hoglan joined the band in time to be pictured on the album sleeve, but made his performance debut on 1986's much improved Darkness Descends, released by thrash metal-friendly Combat Records, and usually viewed by fans as the band's true arrival. Bassist Yahn would depart shortly after the album's release (replaced by Mike Gonzalez), soon to be followed by original vocalist Doty at tour's end.

Unsure about their next step, the Dark Angel undertook a long hiatus before resurfacing with drummer Hoglan firmly entrenched as the band's major creative force. After drafting new vocalist Ron Rinehart, the band recorded 1989's Leave Scars -- the first of two albums which earned them the unlikely label of progressive thrash, due to the longer, more complex songs the band had begun composing. Recorded in April 1989 and released later that year, Live Scars introduced new six-stringer Brett Eriksen, who had recently replaced Durkin, and documented the group's ferocious live energy. Another extended break ensued before the recording of what is arguably their finest effort, 1991's Time Does Not Heal. Hailed by critics for the sheer creative scope of its ambitious songwriting, the album was considered the last word on technical thrash metal, but arrived at the end of thrash metal's time in the limelight and sold poorly. The departure of Rinehart soon thereafter convinced Hoglan to breakup the band, and he eventually joined Florida's Death and contributed to some of their finest albums. Relativity Records issued a collection of Dark Angel's finest moments, Decade of Chaos in 1992.

We Have Arrived (1985)

For a band that later distinguished itself for its technical proficiency, Dark Angel's arrogantly titled debut We Have Arrived is as primitive as it gets. Barely more than a full-length demo (even less than that by contemporary standards), the album collects the fledging L.A. thrashers at their garage band rawest. Besides "Welcome to the Slaughterhouse," which had given them their first exposure via Brian Slagel's Metal Massacre VI compilation, the band also belts their way through such primitive, demonically obsessed moshers as "Falling From the Skies," "Hell's on Its Knees," and the seriously dated title track (replete with piercing falsetto screams). [Reissued on CD with different cover art in 1997 by French label Axe Killer, the album will only interest serious thrash enthusiasts.]
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Darkness Descends (1986)

It took the arrival of drummer Gene Hoglan to elevate Dark Angel above the uncultivated noise fests captured on their amateurish first album, We Have Arrived; and in many ways, their follow-up 1986 release, Darkness Descends, represents the group's true debut. From the very first crushing riff of the title track, it becomes obvious that the production values and technical discipline which had eluded the band the first time around would be brought screaming into focus on this album -- still considered a minor thrash metal classic. To be fair, Dark Angel only had a few tricks at their disposal, but they execute them extremely well. The results are a number of largely one-dimensional, but surprisingly memorable headbanging classics, including "Merciless Death," "Death Is Certain, Life Is Not," and the vicious "Perish in Flames." Over eight minutes in length, "Black Prophecies" at times sounds like a forced experiment, but it's actually the group's first stab at the progressive thrash style which would characterize subsequent releases. Under Hoglan's supervision, Dark Angel would spend the next two years refining their sound to achieve just that, but for many purists, Darkness Descends remains the band's definitive thrash statement. [Reissued by Century Media in 1998 with two bonus live tracks and much improved sound quality, Darkness Descends is a worthy discovery for committed thrashers.]
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Leave Scars (1989)

After a long hiatus, L.A.'s Dark Angel resurfaced in 1989 with their most ambitious album thus far, Leave Scars -- which continued to perfect their already quite impressive musical chops, while simultaneously refining their brutal thrashing. In effect, this is the album which inaugurates their progressive thrash phase, as increasingly complex structures and frequent, unexpected time changes result in numbers of epic proportions, such as "The Promise of Agony" and the relentless title track. New vocalist Ron Rinehart quickly proves his worth, knowing exactly where to sing and where to scream, but it's monster drummer Gene Hoglan who truly has his coming-out party, as he simultaneously displays his incredible technique and reveals himself as the band's principal songwriter and lyricist and prime instigator. With the dependable six-string tag team of Eric Meyer and Jim Durkin providing a bludgeoning backdrop, the band also proves they can still keep it short and sweet on highlights "The Death of Innocence" and "Never to Rise Again." Ultimately, Leave Scars only fails to score higher marks because Dark Angel forgot to add a final, crucial ingredient to its potent recipe: melody. And sure enough, addressing this small oversight would result in their magnum opus, 1991's colossal Time Does Not Heal.
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Time Does Not Heal (1991)

Though some purists claim to prefer the unbridled ferocity of 1986's Darkness Descends, most experts would agree that Dark Angel only reached their creative peak with 1991's Time Does Not Heal -- a veritable masterpiece of thinking-man's thrash metal. An oxymoron, you say? Perhaps, but with this true colossus of a record, the thrash stalwarts provided what many consider to be the definitive statement in progressive thrash metal. Just imagine what ...And Justice for All would have sounded like if Metallica had recorded it with the attitude of Kill 'Em All, and you'll get the picture. Led by drummer, lyricist, sometime guitarist, and principal songwriter Gene Hoglan, the L.A. quintet packed more riffs (246 total, according to enthusiastic press releases of the time) into this ambitious, long-running disc, than most of their Bay Area neighbors had managed in their entire careers. Excellent tracks like "Act of Contrition" and "Psychosexuality" test the listener's endurance with their sheer length and complexity, but almost every piece is essential to the puzzle, and there is very little extra fat to speak of here. Even more significant is the album's broad lyrical scope (on par with Anthrax's best efforts), exploring such sensitive, rarely visited issues as rape ("An Ancient, Inherited Shame") and child abuse ("Time Does Not Heal"). But Hoglan also delves in the more typical subjects of the genre, like religion ("The New Priesthood"), insanity ("Pain's Invention, Madness"), and social ostracism ("Trauma and Catharsis") with an eloquence and sobriety rarely seen. And yet, despite all it's highbrow aspirations, Time Does Not Heal is first and foremost an amazingly brutal thrash metal album, its sound brought into crisp focus by Pantera and Soundgarden producer Terry Date in ways never achieved on the band's ill-recorded earlier efforts. Sadly, Time Does Not Heal arrived in record stores toward the tail end of thrash metal's brief reign and never received its fair due, turning instead into a well-kept secret for knowledgeable fans of extreme music.
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* Click here for more info & full album covers.

Rondellus - Sabbatum (2003)

“Sabbatum” is a tribute album like no other – 12 Black Sabbath classic songs played by early music band Rondellus and sung in Latin language. Can you imagine what Black Sabbath would have sounded like if Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward would have formed the band in the 14th century? Would “War Pigs” or “The Wizard” have been as powerful if played on medieval instruments like lute, fiddle and harp?
Curious? So was Rondellus, the renowned Estonian medieval music band. They took 12 Black Sabbath classics and turned them into something totally unheard. Rondellus recorded – “Sabbatum”. An amazing collection of Black Sabbath tunes played on medieval instruments and sung in Latin language. “Sabbatum” – the most unique sounding Black Sabbath tribute album.

You’ve probably heard all the Black Sabbath cover albums. Perhaps both “Nativity in Black” compilations are in your CD box right now. Great records, aren’t they? But “Sabbatum” takes a closer look at all these classic Black Sabbath songs in a way that’s never been done before. The angle is so different that you better prepare yourself for a big surprise, a positively shocking one. “Sabbatum” takes you on a trip. It acts like a time machine. In a single moment you will find yourself attending a Black Sabbath show during the 14th century. You'll be in a medieval cathedral where time stands still. Just you and thousands of fellow kings and queens, knights and ladies. And the tunes that made heavy metal – classic songs by Black Sabbath.

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mp3 - 128kbps
rar - 36mb

Arcturus - The Sham Mirrors (2002)

* Let's try something a little different today...

Over its first three albums (if you include the "remix" disc Disguised Masters), Arcturus established a pattern of radically changing its sound each time, a trend that continues with The Sham Mirrors, the band's third "official" studio album. The constant thread throughout all the group's work, and again here, comes from keyboardist/songwriter Steiner "Sverd" Johnsen, whose sinister, often carnival-esque harmonies and dramatic synth arrangements have a pretty clear stamp by now. Beyond that, though, comparisons to other Arcturus albums are difficult. For one thing, the drums and guitars are heavier and more forceful than ever before, and there is more of a traditional metal foundation on this album than on its predecessor, the bizarre, operatic La Masquerade Infernale. This much is clear from the first shuffling, triplet-based beats of the album opener, "Kinetic." But that same song also shows the band's experimental tendencies in full force, as it quickly derails into a computer-altered, blipping and bleeping interlude before settling into a soaring, smoothly sung vocal refrain reminiscent of Angel Dust-era Faith No More. The second song, "Nightmare Heaven," throws another curve, as it moves abruptly into a distorted trip-hop breakdown (with Sverd's trademark keyboard harmonies providing the dark ambience) before moving back into dramatic metal territory. The surprises continue throughout, including a guest lead vocal appearance on "Radical Cut" by Ihsahn of Emperor, whose more traditional black metal screams contrast with all the other vocals on this album. (Lead throat Garm does everything here from deep-voiced pontificating to falsettos, from spoken whispering to Mike Patton-evoking effects trickery, but he doesn't scream.) A couple of spots on this album feel overly ambitious or perhaps willfully difficult -- "Collapse Generation" feels inconclusive, especially following the disconnected, two-part "Ad Absurdum" -- but the band mostly does a fine job balancing all the unexpected twists and convoluted song structures with memorable, moving melodies (see "Kinetic" and "Star-Crossed" for prime examples). The Sham Mirrors, even more than La Masquerade Infernale, may end up going down as Arcturus' "difficult" album, but it is worth the effort, as this music is unlike anything else being made in metal (or elsewhere) at the time.

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John Zorn - Rituals (2005)

Released Feb 2005
cd time - 26:36

1. I
2. II
3. III
4. IV
5. V

Owls, Windmachines, Gravedigging and Ritual Magick, Zorn’s strange and mystical monodrama for mezzo soprano and ten instruments is presented here in a beautiful new studio recording. Composed for the Bayreuth Opera Festival in 1998, the Rituals premiere was a bit of a scandal, with the audience split down the middle…half outraged detractors, stomping out, whistling and jeering and half cheering supporters. Performed here by a stellar group of Zorn regulars and some very special guests, Rituals is opera at its virtuosic and intimate best. Five movements of magic and alchemy from the crucible of an uncompromising and unpredictable musical maverick.

Personnel:
Jennifer Choi: Violin
Stephen Drury: Piano, Harpsichord, Celeste, Organ
Brad Lubman: Conductor
Tara O'Connor: Flute, Alto Flute, Piccolo
Jim Pugliese: Percussion, Wind Machines, Water, Bull Roarers, Gravedigging, Fishing Reels, Paper, Bowls Of BBs, Bird Calls
Fred Sherry: Violincello
William Winant: Percussion, Etc.
Heather Gardner: Voice
Peter Kolkay: Bassoon, Contrabassoon
Mike Lowenstern: Clarinet, Bass Clarinet, Eb Clarinet
Kurt Muroki: Bass
Jim Pugh: Trombone

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mp3 - 320kbps
rar - 52mb

John Zorn : Mysterium (2005)

Released Nov 2005
cd time - 32:33

1. Orphée
2. Frammenti del Sappho
3. Walpurgisnacht

Three new miniature masterpieces from the alchemical crucible of John Zorn. Orphée is a lush romantic work in the French tradition of Debussy, Boulez and Jean Cocteau. Drawing inspiration from both the ancient Greek legend of Orpheus, who ventured to the Underworld to recover his lost love and Debussy’s Sonata for flute, viola and harp, this is one of Zorn’s most emotional and classical compositions, and features the Debussy trio instrumentation augmented by percussion, keyboards and the sparkling electronics of Ikue Mori. Frammenti del Sappho is a breathtakingly beautiful motet for five female voices, and speaks to and for the feminine through a language of Renaissance Minimalism. Ending the program is of course a piece touching on Witchcraft, and Zorn celebrates the Witches’ Sabbath through the dynamic medium of the string trio. Fifteen of the world’s best performers come together in this colorful and revelatory collection of Zorn compositions from 2004.

Personnel:
Lisa Bielawa: Voice
Jennifer Choi: Violin
Brad Lubman: Conductor
Lois Martin: Viola
Ikue Mori: Electronics
Tara O'Connor: Flute
Fred Sherry: Cello
Martha Cluver: Voice
Abby Fischer: Voice
Stephen Gosling: Celeste, Harpsichord
June Han: Harp
Richard O'Neill: Viola
David Shively: Percussion
Kirsten Sollek: Voice
Martha Sullivan: Voice

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mp3 - 320kbps
rar - 60mb

John Zorn - Magick (2004)

* this one is pure evil! you will love it!

Released Oct 2004
cd time - 30:08

Further explorations into the worlds of Magick and Alchemy, here featuring the long awaited premiere recording of Zorn's new string quartet. Necronomicon is a transcendent five movement work of unparalleled ensemble virtuosity and formal beauty, brilliantly played by the Crowley Quartet. Also included is an astounding piece of witchcraft and sorcery for two bass clarinets, one of the most difficult yet written for the instrument, performed with passion and precision by two of the greatest players in the world.

Personnel:
Tim Smith: Bass Clarinet
Mike Lowenstern: Bass Clarinet
Crowley Quartet
Jennifer Choi: Violin
Fred Sherry: Cello
Jesse Mills: Violin
Richard O'Neill: Viola

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Pavement

Space Ghost Cartoon w/ Pavement.

Swervedriver (x2)

Swervedriver - Raise (Remastered) (2002)

A molten hybrid of Daydream Nation-era Sonic Youth, the drill-press rhythms of the Stooges, and early Dinosaur Jr., Raise sounds like a record made by young record shop rats from the Midwest. Adding to this notion is the lyrical fascination with cars. With this in mind, it's no small wonder that the Oxford, London-based Swervedriver found a home on even the most Anglophobic turntables in the States. Through loads of effects pedals and buried vocals, the band was initially lumped in with the shoegaze scene. But with a heavier aesthetic caused by their love for the above-mentioned bands, as well as the likes of the well-named Loop and Spacemen 3, they were unique -- even with their earliest material. Oddly, Raise only contains six new songs for those who bought their excellent trio of preceding singles. The new tracks rival their greatness. Jimmy Hartridge's and Adam Franklin's guitars definitely carry a soaring, seering quality, but the record is largely bass driven, thanks to Adi Vines' thick lines (see "Pile Up" and "Sunset" for the best examples). And though buried to the point of serving merely as another instrument, Franklin's vocals sound like that of a road trip lifer, made weary by constant sun exposure on the eyes. Other than what might seem as the band trying too hard to prove themselves through complexity, there aren't many faults to be found. Though it does seem to favor texture over anything else, the somewhat murky production suits the songs well. It actually sounds dark, like green-skied, pre-tornado weather. It's not too hard to pick apart each instrument on each song, but they still sound a bit mashed together. A fantastic debut that merely hinted at the band's talents.

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rar - 62mb

Swervedriver - Mezcal Head (1993)

There are cruising records, and then there are speeding records; Mezcal Head is definitely one of the latter. Solid, dense as marble, and frighteningly well executed, Swervedriver's second album is a non-abrasive rock & roll record of the highest order. Polishing the sound of Raise and improving the songcraft to match the band's previous sense of texture, it contains all the ingredients of a favorite record to exceed the speed limit by. Adam Franklin's cool voice is no longer buried in the mix, a smart move since his range has expanded to allow for melodic hooks and deep emotion, unlike the detached quality he held on Raise and the singles that preceded it. Like a film with many well-developed characters that makes one lose both track of time and a sense of self, Mezcal Head delivers. And, just to hammer home that this isn't an album that loses its effect outside of the automobile -- after the tenth play you'll surely learn your lesson to quit running over to the stereo and increasing the volume with each successive song. Just leave it pegged.

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mp3 - 192kbps
rar - 81mb

Death Angel - Frolic Thru The Park (1988)

Death Angel's second effort, 1988's Frolic Through the Park, continued to improve on its technical thrash formula, as the band's developing musical ability began to do their ambitious songwriting some justice. "Why You Do This," "Devil's Metal," and "Confused" are prime examples of the band's intricate sound, which, unfortunately, tended to sacrifice concise hooks and melody for overblown song structures and arrangements. The only exception turns out to be the album's strongest cut, "Bored," which shows a rare sense of humor and musical restraint. Also of note is the excellent playing of guitarist Rob Cavestany, who holds everything together with his tasteful and skillful axe work.

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mp3 - 192kbps
rar - 81mb

Sonic Youth - Goo Remastered Deluxe Edition (2005)

Sonic Youth's Goo, a landmark album in the history of alternative rock, receives the Deluxe Edition treatment with digital remastering and the addition of rarities and unreleased recordings. The two-CD Goo - Deluxe Edition, expands the original 1990 album with outtakes, b-sides, rehearsal recordings, demos and the audio from a tongue-in-cheek promotion-only interview flexi disc. Sonic Youth's eighth album, Goo was the band's first to receive major label distribution, and first to find a place on Billboard's Top 100 Albums chart. Goo reached more ears than any earlier SY album, including those of Neil Young...who invited the band on tour with Crazy Horse. The demos were widely bootlegged before the band issued them via their fan club. They are heard remixed and remastered for the first time on Goo - Deluxe Edition.

* Anyone happen to have The Remastered Edition of Dirty? hfigurine@hotmail.com

Disc 1
mp3 - 192kbps
rar - 91mb

Disc 2
mp3 - 192kbps
rar - 99mb

Pavement - Crooked Rain, Crooked Rain: L.A.'s Desert Origins (2004)

Subtitled "L.A.'s Desert Origins" -- somewhat of a non sequitur since the album was recorded in New York -- this double-disc set adds 37 bonus tracks to the original 12-track album, rounding up all the stray tracks from 1994, plus a Peel Session from around the time of the album's February release and a whole bunch of previously unreleased material, including the scrapped initial sessions for the album featuring original drummer Gary Young.
For diehards, it's nice to have all this material collected on one disc, but the real appeal of the set is that second disc, which contains no less than 21 previously unreleased tunes. The first eight consist of the shelved sessions with Young, which pretty much sound like rough demos when compared to either the finished album or Slanted & Enchanted.
There may be a throwaway or two tucked away in the outtakes on the second disc, but even those have a ramshackle charm, and the entirety of Crooked Rain, Crooked Rain: L.A.'s Desert Origins is essential for any Pavement fan or any serious fan of '90s indie rock. Frankly, it just doesn't get much better than this.
Sorry too large for z-share.

Disc One

mp3 - 320kbps
rar - 114mb

Disc Two

mp3 - 320kbps
rar - 104mb

Twilight Singers - Twilight As Played By The Twilight Singers (2000)

Afghan Whigs singer Greg Dulli put together the first version of his Twilight Singers side project in New Orleans during a hiatus in his main band in 1997, then put it aside when the Whigs signed to Columbia Records and made their label debut, 1965. By the time he returned to the Twilight Singers concept, he had hooked up with the Hull, England, remix duo Fila Brazillia, and he proceeded to rethink it. The result is really two albums in one. The first four tracks and the last two adhere to Dulli's original idea, which seems to have been to trade off on vocals with Harold Chichester and Shawn Smith on folk-ambient ballads set to trip-hop beats. On these songs, the alternating singers echo some of the Band's early records, though their main inspiration seems to have been the throaty, half-spoken style of Bono on latter day U2 recordings. The middle of the album is given over to Dulli's collaborations with Fila Brazillia on more exotic dance tracks, some of which are more soundscapes than songs. (The latter recordings don't really have enough of a vocal emphasis to justify the Twilight Singers tag.) Throughout, the lyrics are dominated by images of love and death. Lead-off track "The Twilight Kid" sounds like a deathbed pronouncement to a loved one, for example, while "Love" contains the declaration, "I'd kill for you." "King Only" and "Last Temptation" extend the general subject matter to religion. But Dulli can be both vague and pretentious in his lyric writing, and when he combines it with a mannered singing style, his points seem even more belabored. Twilight As Played By the Twilight Singers works best as a mood piece and a change of pace from the more hard-rocking sound of the Afghan Whigs.

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mp3 - 160kbps
rar - 53mb

Celtic Frost - Monotheist (2006)

Celtic Frost's much anticipated 2006 comeback album, Monotheist, is everything you'd expect from the band who managed to attach the term avant-garde to ugly ol' heavy metal. It's unconventional, unpredictable, challenging to a fault, head-scratchingly weird at times, frequently brilliant, and anything but perfect.
A simplified stylistic description would have it pegged as some sort of modern gothic doom album, but simple descriptions have never really fit the bill with Celtic Frost -- whether relating to their greatest triumphs, To Mega Therion and Into the Pandemonium, or abject disasters, like the infamous Cold Lake. The inherently complex Monotheist is no different...
Celtic Frost's return should satisfy even the biggest cynics with the scope of its imagination and sheer audacity. Those qualities, as much as great music, have always represented the cornerstone of Frost's unique body of work, and Monotheist -- unrealistic listener expectations or not -- is a more than worthy addition to it.
Japanese Bonus Tracks (2) included!

Sorry...too large for z-share

mp3 - 224kbps
rar - 107mb

Death Angel - The Ultra-Violence (1987)

Though they were immediately pegged as the runts of the Bay Area thrash metal scene for barely being old enough to drive, Death Angel quickly silenced most critics with their ambitious first album, The Ultra-Violence. Technically on par with many of their older peers, the album still showed a lot of room for growth, however -- especially in the songwriting department. "Evil Priest" and "Kill As One" thrash out convincingly enough, but "Mistress of Pain" and "Voracious Souls" are the only somewhat fully realized songs on the album. And at over ten minutes, the yawn-inducing multi-part title track is the best example of the group's desperate desire to impress with quantity, instead of quality. Thankfully, the band would continue to improve, and subsequent efforts saw them gradually fulfill their promise.

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mp3 - 256kbps
rar - 81mb

Lull - Continue (1996) & Moments (1998)

Closely allied with post-industrial dub terrorists such as Bill Laswell, Techno Animal, James Plotkin, Robert Musso, and Anton Fier, Birmingham-based artist Mick Harris is something of a study in extremes. A drummer with noted death metal outfit Napalm Death through the group's late-'80s/early-'90s heyday, Harris began experimenting with monochrome ambient and dub styles toward the tail end of his association with that group. Releasing material through Earache as Scorn (his ambient dub aegis) and through Sentrax as Lull, in addition to other sporadic projects, his genre-spanning activities have done much to jar the minds, expectations, and record collections of audiences previously kept aggressively opposed. To the present, Scorn and Lull, along with John Zorn's experimental jazz-dubcore outfit Painkiller have remained Harris' primary ongoing projects, although one-off collaborations with the likes of James Plotkin, Nicholas Bullen, Bill Laswell, and Martyn Bates are common. Harris formed Scorn in 1991 in collaboration with bassist Nick Bullen, incorporating elements of ambient, industrial, dub, rock, and hip-hop. The group (though pared back to just Harris following Evanescence) have released a number of increasingly well-received full-length recordings, including the remix LP Ellipsis, which features outbound reworkings by the likes of Coil, Autechre, Laswell, and Germ. Harris' solo work as Lull focuses on darker, more "isolationist" ambient soundscapes, some of which have been reissued domestically by Laswell's now-defunct Subharmonic imprint; a move to Relapse yielded 1996's Continue and 1998's Moments.
Click titles to download.

Continue (1996)

mp3 - 192kbps - rar - 83mb
Lull is exactly what its name would seem to imply -- ambient noise with a surprisingly hypnotic effect. Consisting of a one-hour-long track that unfolds excruciatingly slowly, Continue could be the soundtrack for a '90s version of 2001: A Space Odyssey, which was equally unnerving for its vast expanses of nothingness. Where Scorn can be the horrific equivalent of a musical Freddy Krueger -- getting in your face to tell you how badly he's gonna mess you up -- Lull's approach is more subtle and seductive, soothing your nerves before slitting your throat while you sleep. Spooky stuff.

Moments (1998)

mp3 - 192kbps - rar - 90 mb
Reportedly inspired by Mick Harris' deep affection for the soundtrack to the classic David Lynch film Eraserhead, Lull's fifth full-length effort is utterly hypnotic stuff. Digitally edited from 33 separate sections to form one continuous soundscape pattern, its ebb and flow makes for transfixing listening.

Suicidal Tendencies Mega-Post

Suicidal Tendencies - Suicidal Tendencies (1983)

Review:
Fast, furious, and funny, Suicidal Tendencies' self-titled debut owed much more to hardcore punk than to the later hardcore/heavy metal hybrid they would become known for, but it's still quite possibly their best album. Mike Muir proves himself an articulate lyricist and commentator, delving into subjects like alienation, depression, and nonconformist politics with intelligence and humor. The band behind him is aggressive and speedy, but never sinks into an overly fast sonic blur. Contains the classic rant "Institutionalized."

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mp3 - 320kbps - rar - 62mb

Suicidal Tendencies - Join The Army (1987)

Review:
No one could expect 1987's Join the Army, the long-awaited follow-up to Suicidal Tendencies' quintessential self-titled debut, to live up to its predecessor, but few expected it to be this disappointing. Except for a few bright moments such as "Possessed to Skate" and "War Inside My Head," the album is badly written, badly played, and terribly produced. There could have been many reasons for this fiasco, but considering the renewed quality of the following year's How Will I Laugh Tomorrow opus, perhaps the most likely is that Join the Army was a transitional album in the transformation of the band's sound from hardcore punk to thrash metal.

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mp3 - 192kbps - rar - 46mb

Suicidal Tendencies - How Will I Laugh Tomorrow... (1990)

Review:
Suicidal Tendencies regrouped successfully for one of its best efforts, How Will I Laugh Tomorrow When I Can't Even Smile Today. The band's thrashy fusion of its hardcore roots with speed metal was fully developed by this point, and Mike Muir's social commentary and self-analysis were as ragingly compelling and by turns amusing as ever. Highlights include "Trip at the Brain," "One Too Many Times," and the title track.

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mp3 - 192kbps - rar - 70mb

Suicidal Tendencies - Lights, Camera, Revolution

Review:
After recording some definite gems in the late '80s, Suicidal Tendencies triumphantly entered the '90s with one of its best albums ever, the commanding Lights...Camera...Revolution! Not since the mid-'80s had the L.A. band sounded this confident, focused and inspired. "You Can't Bring Me Down" and the Motörhead-ish "Get Whacked" demonstrate just how much fun Suicidal can be, but most of all, the metal-oriented album is dark, angry, and troubling. The Angelenos already commanded an incredibly devoted following, and powerful offerings like "Send Me Money" (a gut-level, brutally honest attack on television evangelists), "Give It Revolution," and the dark-humored "Disco's Out, Murder's In" brought even more listeners aboard. This is a disc that no Suicidal fan should be without.

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mp3 - 320kbps - rar - 95mb

Ministry - Twelve Inch Singles (1981-1984)

Released in 1985 on TVT. Includes all of their best-known hits and great songs before they got signed by a major label (Sire). Early techno-industrial music from the early '80s.

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mp3 - 320kbps - rar - 80mb

Over The Edge Vol. 2 : Pastor Dick: Muriel's Purse Fund (1996)

Pastor Dick: Muriel's Purse Fund was the second volume in the Over the Edge series, which distilled Negativland's live performances on the radio program Over the Edge on KPFA. This album was edited together from several different broadcasts recorded between 1982 and 1986.
Originally released in 1989 by SST Records on cassette only, it was re-released in 1996 by Negativland's own label, Seeland Records, as a CD with a new edit to make room for additional recorded material, a tract-like booklet titled Pastor Dick's Flagship Faith Vol. 17 #1, and an offering envelope.
Length 73:03 - This is the re-issued cd version. :)

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mp3 - 192 kbps
rar - 100mb

Head on over to Kill Ugly Radio where you'll find Over The Edge Vol. 4: Dick Vaughn's Moribund Music From The 70's and many other delights.
AND...for even more OTE, check out My Wife Of Sennacherib Is Radiosick Queen where you'll find Vol. 3: The Weatherman!

The Residents - Not Available (1978)

This is one of the strangest and most interesting recordings in rock history, which speaks volumes coming from one of the strangest and more interesting bands in rock history. Not Available used what was referred to as "the theory of obscurity" (which called for the album to not be released until its makers literally forgot about its existence). It is said to be, questionably, the Residents' second recorded album (in 1974, only to be released in 1978 after utilizing "the theory of obscurity"). A highly underrated and forgotten achievement in the Residents' body of work, Not Available is such an incredible recording to experience that it simply and truly cannot be classified as being like another. While the Residents have experimented within the confines of rock throughout their entire careers, with the exceptions of Eskimo, The Commercial Album, and God in Three Persons, this album achieves like no other. A surreal rock opera resulting in an incredibly weird circus of sound, it is one that simply must be heard to be believed.

* Trying a new file-share service today. Lemme know if it gives you any problems. Seemed pretty simple and no wait times. hfigurine@hotmail.com

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mp3 - 320kbps
rar - 81mb

Bonus: The Residents - Freakshow Comic Book

I meant to release this w/ the Freakshow cd a few posts back but totally forgot to add it. Here it is! (no special viewer needed, each page is a jpeg image).

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rar - 17mb

Katie Jane Garside - Lost Upon The Flame

Just stumbled upon this...I don't know if it's new or maybe from an upcoming solo album. I wish!
You tell me. :)

Buckethead - Pepper's Ghost (2007)

* Bucket's greatest release to date!

Released March 1, 2007 - Length 45:15
Pepper's Ghost is the 19th full length album by Buckethead. The album features the cleaner and more structured sound that previous albums The Elephant Man's Alarm Clock and Crime Slunk Scene brought along.

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mp3 - 320kbps
rar - 99mb

Painkiller : 50th Birthday Celebration Volume Twelve

Released Sep 2005 - cd time - 43:16
Recorded Sept. 06, 2003 @ The Tonic, NY.
A powerful and breathtaking meeting of masters. With the tight rhythm section of Laswell and Drake, who have a long history working together in a variety of bands and contexts, and the empathetic insanity of Patton and Zorn, this set was as much of a surprise to the musicians as it was to the pumped up crowd that were lucky enough to hear it that night. Although billed as Painkiller, this once in a lifetime unit was really something completely different. At times hilarious, exhilarating, outrageous and transcendent, this is music only the New American Underground could create. East Coast meets West Coast meets Midwest: New York, California and Chicago come together in this twisted, funky improviser’s paradise.

Personnel:
Bill Laswell: Bass
John Zorn: Saxophone
Hamid Drake: Drums
Special Guest
Mike Patton: Voice

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mp3 - 256kbps
rar - 72mb

Painkiller - 09-05-2003 NY
Bootleg of the first of 2 nights at The Tonic.
Different setlist, same line-up. Enjoy!


mp3 - 320kbps
rar - 100mb

Negativland: Over The Edge Vol. 7: Times Zones Exchange Project (1994)

The seventh volume of Negativland's Over the Edge series, entitled Time Zones Exchange Project, marked the downfall of the former Soviet Union. The disc is edited entirely from radio broadcasts between 1989 and 1992. The focus of this double-CD set is on the fictitious Howland Island, where a time warp is created in the future to alter the Soviet Union of the past into a free-market nation. A character named C. Eliot Friday and his company Universal Media Netweb are central to the saga. Friday also owns the patent on Mertz, an imaginary drug that helps you make up your mind. Friday's goal throughout the disc is to teach the people of the Soviet Union to learn the ways of a free market, so he can exploit them in the future. More than two hours of audio collages offer mock investigative reporting about Friday, a call-in U.S./Soviet talk-radio show, and the selling of Mertz to the Soviets. This, and the other discs in the Over the Edge series, are, in the end, quality radio drama in the Orwellian tradition. The "Testwave" broadcasts on the second disc were aimed at, as the group called it, "planting the seeds of free market thinking." Testwave is the broadcast manifestation of Time Zones Exchange Project, pointing to the massive size of the U.S.S.R., which spanned 11 time zones. The collection includes 17 tracks of scattered and pieced-together audio experiments marking the historic end of the Soviet superpower. In the end, this is social commentary on the priorities of the United States. The result is a continually engaging, and often disturbing, presentation. Russian language assistance on the disc was performed by Taras Titarenenko. With the tongue-in-cheek help of "Radio Moscow," various Russian musicians, and numerous anonymous callers, the broadcasts became a landmark moment of, as the band puts it, "cultural transference." The radio programs on Time Zones Exchange Project originally aired on KPFA in Berkeley, CA, on the Over the Edge program.
see negativland.com for more info.

Disc 1 - Time Zones
mp3 - 160kbps
rar - 79mb

Disc 2 - Testwave
mp3 - 160kbps
rar - 82mb

Naked City - Radio (1993)

Naked City was a band of excellent N.Y.C.-based improvisers from the late '80s to 1993, led by avant-alto saxophonist and composer John Zorn. Unlike their self-titled debut and the second Avant release Grand Guignol, there are no cover tunes on this release, entitled Radio. Several genres and bands are skillfully evoked, however, and helpfully listed in the liner notes in order of occurrence. Jazz, surf, R&B, death metal, funk, acid rock, and serialism are grafted together in this collection, often into the same song, and the band shifts genres, tempos, and arrangements on a dime.

Supposedly, Radio was conceived as a set for a college radio program, making it a kind of "Young Person's Guide to Naked City," beginning with accessible tunes, gradually building up listener tolerance to dissonance, and finally sandbagging the listener with evil blasts of dissonant metallic noise and convincing perpetrator-and-victim screaming.

Zorn gives ace guitarist Bill Frisell and versatile keyboardist Wayne Horvitz the space to shine on this collection, and both more than meet the challenges of these pieces. Avant-garde guitarist Fred Frith takes a supporting role in the band, supplying an in-the-pocket bass that keeps the funkier tracks cooking, and the depth and range of his playing on these tunes is a consistent pleasure.

Master drummer Joey Baron alternates restraint and abandon, keeping solid time on the jazz tunes, throwing tasty fills into the funk, and laying down a muscular, punishing thrash on the metal sections. Zorn himself does a fair amount of his balloon-animal-twisting squeals and sustained shrieking blasts, but he does vary the palette. Listed also as a full band member on Radio (but not performing on every piece) is Japanese noisecore/funk screamer Yamatsuka Eye of the Boredoms (now going by Yamataka Eye). His babbling, howling, choking, and flat-out screams of terror take many of the metal performances well over the top.

* This version is from the Remastered Naked City Complete Recordings.
Zorn's own words (from tzadik.com):
"I have radically remastered this music with exacting and loving attention to every last detail. Mistakes have been corrected, balances adjusted and thanks to the latest in digital technology the music is louder, clearer, more in your face and exploding with more energy than ever before. Even if you already own all of the original discs, I strongly urge you to pick this set up and experience Naked City as it always should have sounded. " --John Zorn

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mp3 - 224kbps
rar - 92mb

Requests?

Now taking requests from this list
Limit to 2-3 items per request please.
In the comments or by email

Thanks.

The God Machine (x2)

* Another of my personal favorites. Comments appreciated.

After graduating high school in San Diego, Robin Proper-Sheppard, Jimmy Fernandez, Ron Austin, and Albert Amman formed Society Line. They recorded a six-song demo and began playing locally, developing their rough sound into a bracing mix of metallics and atmospherics. Despite the musical progress, Proper-Sheppard became increasingly restless in San Diego and opted to move to New York. The remaining members continued to play together and thought of replacing the singer/guitarist, but Proper-Sheppard returned months later to see if his ex-bandmates would be willing to join him back in New York. Amman was the only member to stay behind.

Through numerous turns of events, the trio ended up in London. Somewhere along the line, they changed their name to God Machine and played their first official gig in early 1991. After a debut EP for Eve, the band signed to Fiction and released two more EPs in 1992. The full length Scenes From the Second Storey appeared in 1993, featuring remakes of four tracks off the earlier EPs. A monstrous double record, its (un)holy racket and scope serve the band's name perfectly. A year later, GM had completed recording and mixing a follow-up LP when Fernandez fell victim to a brain tumor. Saddened and devastated, Proper-Sheppard and Austin opted to call it a day. The sessions for the fine second album, One Last Laugh in a Place of Dying, saw release in 1995. Propper-Sheppard set up the Flower Shop label, putting out records from the likes of Elevate, Ligament, and Swervedriver. He also began recording a year later as Sophia.

Scenes From The Second Storey (1993)

A band with a truly strange trajectory, the God Machine was founded in San Diego, paid their dues in New York, but only managed to kick-start their career after moving on to London, England. There, the trio signed with independent Fiction Records and released their critically acclaimed debut Scenes From the Second Storey in 1993. A sprawling, stylistically diverse effort, the album's alternative metal often drew comparisons to Jane's Addiction because of singer Robin Proper-Shepard's vocal resemblance to Perry Farrell. But the God Machine was even more experimental, using hypnotic riffs, trance-like drones, ethereal vocals, and a bevy of unconventional instruments to achieve a highly cinematic effect throughout their work. Opener "Dream Machine" (whose eerie intro dialog was coincidentally used on a Neurosis album that same year) and the mesmerizing "The Desert Song" are especially memorable, but the band stretches their wings even further on extended pieces like "Purity" and "Seven." Though quite impressive, these explorations cover so much terrain that the listener's attention can be severely tested -- especially by the bland songs contained in the album's Oreo-like creamy center, among which only the interestingly sparse "It's All Over" leaves a lasting impression. And, not surprisingly, the predictable single "She Said" -- the kind of throwaway funk metal radio fodder popular at the time -- is the album's weakest link. In the end, Scenes From the Second Storey probably could have done without all of its CD-busting 80 minutes, but all things considered, there's plenty of value for their money here.

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mp3 - 224kbps
rar - 122mb

One Last Laugh In A Place Of Dying (1995)

Sparse, desolate, haunting and beautiful. "One Last Laugh In A Place Of Dying" is a fitting epitaph to one of the most original and overlooked bands of the early ninties and to the tragically early death of bassist Jimmy Fernandez. Death and loneliness haunt the recording. It is sad and dark but avoids morbidity. It lilts and flows along on cold, crisp riffs interspersed with jagged shards of rage. "You said life could be painless, well that's not what i found." And you can hear the heartstrings snapping in anger and frustration.
For moments of cool reflection, when you just want to turn the lights off and bathe in the utter desolation of life continuing after death, i cannot recommend this album highly enough.
Thankfully there is a silver cloud to this document of woe. Robin Proper-Sheppard, the surviving half of the band formed and is still recording with his band "Sophia." Well worth checking out.

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mp3 - 192kbps
rar - 93mb