Dischord Discography: Nº2

SOA - No Policy 7":

Lost in Space / Draw Blank / Girl Problems / Blackout / Gate Crashers // War Zone / Riot / Gang Fight / Public Defender / Gonna Have to Fight

1000 copies on green vinyl w/insert1000 copies on black vinyl w/insert1000 copies on black vinyl w/insert (Black Flag bars on Henry's arm, band name on labels)

Dischord 2, 1981

Lineup: Henry Garfield - vocals / Simon Jacobsen - drums / Wendel Blow - bass / Michael Hampton - guitar

Review from http://www.30underdc.com/:

I'm not terribly fond of this record. It doesn't seem right to call it "generic" since hardcore was still in its infancy, but even next to the Teen Idles, Necros, and GI this record seems inadequate. The music is rudimentary at best and Henry's limited vocal range, while fitting with the boneheaded lyrics (Public Defender: when you see a cop coming you better move quick / because he's gonna hit you with his stick / it doesn't matter what you've done / you're gonna suffer for his fun / etc.), is a real liability. I'm curious about why this stuff was released when their demo tape (excerpted on the 20 Years of Dischord box and Flex Your Head, and bootlegged on a 7" some years back) is smokin'.

Barrence Whitfield & the Savages (Mamou, 1984)

Jaleo Añejo del bueno bueno bueno. Este americano ligado a la música negra desde pequeño prepara un cisco rockanrolero que en su primer disco no tiene ni una mala. Son canciones muy cortas, pero intensísimas. Algunas me recuerdan a The A-Bones. Pasando de protocolo, Rock & Roll con todas sus RR.

http://leclubderock.blogspot.com/2008/05/barrence-whitfield-and-savages-barrence.html

Whitehouse: "Asceticists 2006" (Susan Lawly, 2006)

By now, pretty much everyone knows what to expect from a Whitehouse album, and Whitehouse seem satisfied to fully play into these expectations. Restraint and subtlety have never played a part in the project, and the Whitehouse discography seems to chart very little in the way of musical evolution in the more than two decades the group has been operating.

Despite all this, noise fans who have bothered to look beyond the old familiar accusatory barking and blistering squalls of aggravating noise may have noticed a certain level of maturity creeping into their work, along with a newfound willingness to travel outside the time-tested Whitehouse formula.

Asceticists 2006 features a now streamlined line-up that no longer includes author Peter Sotos, whose contribution to 2003's Bird Seed—a cut-up assemblage of television and documentary soundbites about sex crimes and child abuse—was one of the most harrowing and brutal tracks on an already brutal album. Pared back to the familiar duo of William Bennett and Philip Best, Whitehouse here concentrate on perfecting their formula, travelling further into the same dark, confrontational and transgressive territory they have been inhabiting for years, finding newer and ever more devastating ways to embody aggression, terror and discord. This perfection involves the introduction of a few new techniques that seem to be outside the usual bag of minimalist noise tricks, make the album's title seem disingenuous.

http://www.brainwashed.com/index.php?option=com_content&task=view&id=4760&Itemid=1

Bubble Puppy: "A Gathering of Promises" (International Artists, 1969)

Otro de tantos grandes grupos olvidados de esa genial decada para el rock y el pop que fueron los 60's. Apadrinados bajo la produccion de Ray Rush, quien habia trabajado con los 13th Floor Elevators, los Bubble Puppy sacaron su primer Lp "A Gathering of Promises" en el sello International Artists, el mismo en el que se encontraban los citados Elevators, los Red Crayola y una gran cantidad de bandas de rock psicodelico tan caracteristicos en los Estados Unidos por esa época.

El sonido del grupo en este primer album es muy cercano a grandes como los Cream, The Jimi Hendrix Expierence, los Buffalo Springfield y los Byrds, debido a su notable acercamiento al country algo bastante comun en las bandas norteamericanas. La apertura del album es excelente, con el mayor hit de la banda "Hot Smoke and Sasafrass", que llegó al puesto 14 en las listas de EE.UU. y triunfó también en Europa. Sin embargo, nunca tuvieron mayor reconocimento masivo que ese y ante la falta de apoyo del sello terminaron desapareciendo dos años después para convertirse en los Demian.

Todo el album es excelente, con un sonido muy hard rock, country y psicodélico, y llegan a ser casi progresivos con los cerca de 8 minutos de "I've Got To Reach You", otra genial canción. También destacan "Todd's Tunes", "A Gathering of Promises", "Elizabeth" y "Beggining".

El nombre de la banda viene del juego "Centrifugal Bumble-Puppy", que jugaban los niños del "Mundo Feliz" de Aldous Huxley.

Integrantes:

Rod Prince- guitarra y voz principal

Roy Cox- bajo y coros

David Fore- bateria

Todd Potter- guitarra y coros

http://www.taringa.net/posts/musica/1662093/Bubble-Puppy---A-Gathering-of-Promises-(1969).html

Stiff Records Complete Discography

It all started with this fantastic single by Nick Lowe back in August 14th 1976:


BUY 1:
Nick Lowe
A-Side: "So It Goes"
B-Side: "Heart of the City"

Recording cost: £45. Nick Lowe plays all instruments except drums (Steve Goulding).

Red Krayola: "God Bless the Red Krayola and All Who Sail With It" (International Artists, 1968)

The band's second album to see release (and the first to be released with the new "Krayola" spelling) was 1968's God Bless The Red Krayola And All Who Sail With It. God Bless presented a middle ground between Parable of Arable Land and Coconut Hotel, having veered away from the cacophonous psychedelic approach of their first album, but performing short, minimalist songs on electric guitar, bass and drums (interspersed with occasional a cappella harmonies and piano interludes) to achieve some surprisingly melodic results and even more surprisingly off-kilter lyrics.

Jarboe: "Mahakali" (The End, 2008)

JARBOE is a uniquely expressive voice—a musician, an artist, a personality. She draws from a variety of charged sources: her early exposure to snake-handling revivals in the Mississippi delta, parents who were in the FBI, her participation in a lounge act, experimental performance in gallery & live radio settings, and her 14-year career with critically acclaimed New York post-punk pioneers SWANS.

A primary objective for JARBOE is to close the gap between audience and performer via complete submission and vicarious experience through her performance. Her visceral vocals range from a shy schoolgirl to sultry seductress to downright demonic; her delivery can be at turns innocent, knowing, seductive, and vitriolic.

'Mahakali' sees JARBOE collaborating with a wide range of musicians including Phil Ansemlo (Pantera, Down), Attila Csihar (Mayhem, Sunn O)))), Colin Marston (Dysrhythmia, Behold...The Arctopus), Josh Graham (Neurosis, A Storm of Light), and many more to create an alluring and provactive listening experience that has to be heard to be believed!

http://www.theomegaorder.com/s.nl/it.A/id.21421/.f

Lagartija Nick: "Hipnosis" (Romilar-D, 1991)

Lagartija Nick es una de las bandas más interesantes que ha dado el panorama musical español durante los 90s.Originarios de Granada, Lagartija Nick se formó inicialmente por Antonio Arias (Bajo y Voz), Juan Codorniu (guitarra), Miguel Ángel Rodríguez Pareja, (guitarra) y Erik Jiménez (Batería).Tras unos singles como "No lo puedes ver", "Hipnosis" y "Déjalos Sangrar", Lagartija Nick abandonaron su Granada natal para embarcarse a una gira por todo el país.Este primer disco, es publicado por Romilar-D Records, una pequeña compañía independiente; un disco con influencias del punk (más bien post-punk) y el rock, con unas letras muy interesantes, guitarras fuertes y una voz bastante personal de Antonio Arias. Aparte de las canciones mencionadas, otras como "Disney World","El mundo desaparecido de los guantes" o "La gran depresión".Un disco que se mantuvo alto en las listas independientes del país, y por lo tanto, un buen debut que vale la pena descubrir de una de las mejores bandas españolas del panorama independiente español.

Tomado de http://elpozovina.blogspot.com/2008/01/lagartija-nick-hipnosis-1991.html

Curumin: "Japan Pop Show" (Adrenaline, 2008)

Named after a Brazilian word for “indigenous children,” hailing from Spanish and Japanese ancestry, and rhyming and scheming in Portuguese, Luciano Nakata Albuquerque has dazzled since his 2005 hybrid-funk debut “Achados e Perdidos” dropped with the help of Blackalicious’ Chief Xcel. That DJ evidently liked what he heard, and bankrolled this sophomore effort, which is easily one of hip-hop’s finest releases of 2008. That is, if you consider a mash of samba, funk, soul, rap, jazz and bossa nova to be hip-hop.

“Japan Pop Show” displays skill on every level. The dance-floor grind of “Magrela Fever” might be the best club banger of the year. The title track is a psychedelic recombination of David Axelrod and Os Mutantes’ funky genes, and the subtle spacetracking of “Mistério Stereo” is as accessible for indie heads as it is for soul old-schoolers. Curumin’s classical training on percussion and keyboards has paid off heavily, especially on the instrumental groove of “Fu Manchu” and jazz and dub explorations of “Salto No Vácuo Com Joelhada” and “Saída Bangú.” It is, literally, all good.

Taken from http://losangeles.metromix.com/music/cd_review/curumin-japan-pop-show/746776/content

Pinacoteca: Rafael - "La Disputa del Sacramento" (1509)

Interzona TV: Hawkwind - "Silver Machine" (1972)

Biblioteca: Stendhal - "Paseos por Roma" (1828-29)

Aunque Henri Beyle, Stendhal (1783-1842), debe sobre todo su celebridad como escritor a novelas de la talla de La Cartuja de Parma o Rojo y negro , dedicó también buena parte de su tiempo a la reflexión escrita sobre el amor, el arte, la belleza y la vida social y política. En estos Paseos por Roma , escritos entre 1828 y 1829 y redactados como diario ficticio con toda la libertad que la idea de paseo implica, el lector de hoy encontrará plasmada con fuerza y amor la belleza y la vida de la Roma de entonces, lugar que hoy como ayer impacta aún al visitante con la misma intensidad. La presente selección, realizada por David García López , ha prestado atención ante todo a la relación estética y sentimental de Stendhal con “la ciudad eterna”, para cuya visita –tanto física, como en la anticipación o en el recuerdo– resulta un compañero excepcional.

Frank Zappa: "Wazoo" (Vaulternative, 2007)

The big brass band that Frank Zappa briefly took on the road in 1972, just before the release of his instrumental LP The Grand Wazoo, was an army of twenty out for serious business. "Nobody sings," Zappa wrote at the time. "Nobody dances. They just play music." They didn't do it often enough. This two-CD set, the whole of a previously unissued concert in Boston, combines the complex, blaring tension of Zappa's written scores and round robins of directed improvisation, with Zappa soloing on guitar with unusual, groovin' restraint in "The Grand Wazoo (Think It Over)." "Big Swifty," from 1972's Waka/Jawaka, opens with dervish woodwinds and elephant-stampede trombones, then hits and stays in high flash-your-chops gear. There is also a half-hour of the oratorio "The Adventures of Greggery Peccary" minus vocals, a plus that emphasizes the will and imagination of Zappa's composing and the fearlessness of the hot cats under his baton.

(http://www.rollingstone.com/reviews/album/17482344/review/17489157/zappawazoo)

Sir Victor Uwaifo & his Melody Maestroes: "Ekassa. Modern Music of African Folklore" (Philips, 1971)

Sir Victor Uwaifo (born 1941; the 'Sir' is apocryphal) is a Nigerian musician, famous for his joromi music.
In addition to being one of the flashiest and hardest working Nigerian musicians of the highlife era, Sir Victor Uwaifo was almost certainly the most ingenious. Never content to follow the boilerplate of the highlife mainstream or to slavishly ape imported trends, Uwaifo built his reputation on ostentatious showmanship and the judicious mining of the legends and songs of his native Edo culture, which he repackaged as newfangled pop: modern music of African folklore.
http://combandrazor.blogspot.com/2008/01/ekassa-fever-part-2.html

Rough Trade Records: Discografía Completa

Rough Trade Records is an independent record label, based in London, England. It was started in 1978 by Geoff Travis.
Geoff Travis was traveling in North America and amassed a huge record collection as he moved from coast to coast.[1] He then shipped these records back to the UK which became the basis of the Rough Trade Shop. The label grew out of the Rough Trade Shop, founded by Travis in West London in 1976. The Label was set up in 1978 and also went into the distribution business. Distributing amongst others "Joey Parratt's" first band The Flying Brix. It became independent from the shop in 1982, then went bankrupt in 1991, ruining quite a few smaller record labels to which money was owed. Rough Trade was relaunched in 2000.
Rough Trade specialised primarily in European post-punk and other alternative rock of the late 1970s and early 1980s. In the late 1980s Rough Trade branched out by issuing an eponymous album by Lucinda Williams. Other early signings included Agitpop, The Raincoats, Young Marble Giants, The Smiths and Scritti Politti (the latter re-signed to the label in the mid 2000s). Geoff Travis later launched Blanco y Negro Records in partnership with Warner Bros. Records.
Rough Trade was an independently owned entity — a partnership between Mr. Travis, Jeanette Lee, (a former member of PiL), and minority partners, Sanctuary Records, as a part of the Zomba Music Group until June 11, 2002 when BMG bought out this business. In July 2007 Sanctuary Records then sold Rough Trade to the Beggars Group making Rough Trade independent once again [2]
Since its re-birth, Rough Trade has released albums by high-charting artists such as The Strokes, The Libertines, Babyshambles, and Belle & Sebastian. A 192-page illustrated history of Rough Trade, written by Rob Young of The Wire, was published in September 2006 by the UK-based company Black Dog Publishing.
http://en.wikipedia.org/wiki/Rough_Trade_Records


RT001:

Metal Urbain: "Paris Maquis"/"Clé de Contact" (Single 7") - Publicado en 1978.

Métal Urbain was one of the first French punk groups. And "Paris Maquis" was Rough Trade's first release.
They were heavily influenced by The Clash and The Sex Pistols on one hand, and on the other by an electro approach related to "Metal Machine Music" by Lou Reed. They relied on heavily distorted guitars and replaced the traditional rock rhythm section of bass guitar/drums with a synthesizer and drum machine, a then-unique approach.
They were also known for their radical image (the color scheme of albums always being a stark black, white and red), and subversive lyrics sung in French.
They were met with much enthusiasm in England, particularly by John Peel and the Rough Trade label. They had an enthusiastic but small audience in France, receiving little exposure. The punk rock scene was not as popular in France as it was in England, and they did not interest the French media as English bands like the Sex Pistols did. As a result, the band broke up by 1979, though members scattered to form such groups as Metal Boys, Doctor Mix and the Remix, and Desperados, as well as joining Ashpalt Jungle.
Métal Urbain had focused their efforts on singles, and only produced one album, Les hommes morts sont dangereux, during their first period of activity . However, several compilation records were released, gathering their singles with additional material such as BBC sessions and live recordings. Their electro approach was very innovative for its time, and the group are a reference point for such groups as The Jesus and Mary Chain, Bérurier Noir, and the producer Steve Albini.
http://en.wikipedia.org/wiki/M%C3%A9tal_Urbain

Interzona TV: The Pretty Things - "LSD" (1966)

Carlos Giffoni: "Adult Life" (No Fun, 2008)

Setting himself apart from so many other noise musicians operating today, Carlos Giffoni's music seems to be venturing ever closer to austere, experimental electronics, abandoning the shock tactics used by so many of his peers and instead relying on old fashioned minimalist principles and the embracing the influence of drone demigods like La Monte Young and Eliane Radigue. Giffoni's tonal onslaught begins with 'The Endless Mirror', which in its initial phases begins as a thick band of oscillations underscored by a rhythmic pulse. In the end, this rubbery, rhythmic pulsation seems to take over momentarily, only for the strictly organised disharmony of 'Comfort And Pleasure' to reassert the notion that you're listening to a proper ear-rinsing noise record. Entering into territory that's more akin to Pan Sonic's early work, 'A Son With No Father' situates subtle machine loops amongst a bed of hiss and gathering distortion, only for the mad and lurid harmonic clashes of 'This Is How You Pull The Trigger' and 'A Permanent Choice' to instil a retro sci-fi feel. Giffoni's ever-evolving portfolio seems to be heading ever closer to a kind of elctronic purism that cuts out distortion in favour of coaxing a volatile din out of overtones and clever analogue modulations. It's an approach that suits him well, feeling like a more accomplished - and as the title might intimate - more mature slant on his art. Highly recommended.

http://www.boomkat.com/item.cfm?id=139665

Nurse With Wound List: Ritual All 770

The Nurse with Wound list is a list of musicians and bands that accompanied Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979), the first album by Nurse With Wound. The list was expanded with Nurse With Wound's second album, To the Quiet Men from a Tiny Girl.
The list was compiled by the original Nurse With Wound trio of Steven Stapleton, John Fothergill, and Heman Pathak. It was intended as a homage to the obscure artists which influenced the Nurse With Wound project. It has since become a type of 'shopping list' for collectors of outsider and avant-garde music. The list only included group names, and collectors have speculated on the specific albums which would have influenced Nurse With Wound. In a 1997 interview in UK magazine The Wire, Stapleton boasted that some of the names on the list were invented, a statement absolutely refuted by John Fothergill in David Keenan's book England's Hidden Reverse, published in 2003. Keenan, having researched the matter, declares Fothergill to be correct.


http://myweb.tiscali.co.uk/ultimathule/nww/nwwlist.html



Ritual All 770: "The Songs" (Riverboat, 1967)


Alan Sondheim speaks in the liner notes:


This work is a single improvised performance in which one of the performers sings "Oratorio on the end of illusions", although, in my libretto the words were originally "Oratorio on the end of visions". A libretto of eight pages was prepared. The vocalistswere not told how to sing it. They could go backward or repeatany section if they wanted to. There was no score. The only instruction given to the instrumentalists was this: no playing behind the koto or classical guitar. I had several rehearsals with each of them, mostly individually. The session lasted through twotakes, this is the second. After the master was made, I addedreverberation and volume controlling; other than that, all of themusic heard here is from the live performance.