Puzzle Punks ~ Puzzoo [1996, Time Bomb, 2006]

BombCD-83

1. Puzoo Lunch 17:02
2. Puzoout 10:28
3. Puzzub 12:45
4. ZZ-Topuzz 4:23
5. Puzz-Top 5:35
6. Puzzdozer 2:52
7. To Puzunk 5:23



Drums – Yo-Chan
Guitar, Performer [Dub-hey Guitar Playing Machine], Artwork By – Ootake
Performer [Etc.] – EYE
Recorded By – OG Hayashi

Recorded at LM [Osaka] November 16-17, 1996
Mastered at Hara Studio April 3, 2006
Artwork made in 1994

i could listen to this beautiful mess fer hours & i spoze i have. shambolic, trance-inducing spurgle n' glorp from a neon nudist colony/commune somewhere in japan, with member[s] of boredoms relentlessly kickin out the unhinged, leftfield, instrumental no wave jams, mufuggers. aged 15 years young, but somehow more fresh n' forward-thinking than anything created tomorrow. wall of skronk skraggle meets ritual, puke-eating, no neck, crash worshipy space spunk. is that an electro-jews-harp i hear? trippertronically defiant of description, 320 heady hymns later, or fuggin FLACK fer the fussy. further more

VA ~ Berlin Super 80: Music Underground West Berlin 1978 - 1984 [Crippled Dick Hot Wax, 2005] 320 kbps

CDHW 065LP

A1 Mona Mur - My Lie 1982
A2 Malaria! - Thrash Me 1983
A3 Die Tödliche Doris - Tanz Im Quadrat 1981
A4 Christiane F. - Wunderbar 1982

B1 P1/E - 49 Second Romance 1980
B2 Mono/45 UPM - Romantic Adieu 1979
B3 Sprung Aus Den Wolken - Ackam La 1982
B4 Kosmonautentraum - Stolze Menschen 1981

C1 Valie Export & Monsti Wiener - Bananen 1980
C2 Alexander Von Borsig - Hiroshima 1980
C3 DIN A Testbild - No Repeat 1980
C4 Flucht Nach Vorn - Nahost 1982
C5 Frieder Butzmann - Schmusewolle 1979

D1 Sentimentale Jugend & Einstürzende Neubauten - Wollt Ihr Die Totale Befriedigung 1980
D2 Einstürzende Neubauten - Tanz Debil 1980
D3 MDK - Berlin 1982
D4 Die Unbekannten - Radio War 1981

Limited hand-numbered edition of 1000



angsty overview of angular ndw that originally accompanied this DVD, featuring several virtuosos of Berlin's early 80s underground post punk scene who rediscovered Super 8 as a viable medium fer documenting their creative endeavours... 320 fierce blips later

Raymilland - Recordings '79-'81 [BDR, 2009] 320 kbps

01. No Good Trying - Syd Barrett 3:32
02. Climate 3:59
03. She's Got Medals - David Bowie 2:47
04. Lots/Lost 2:16
05. Overhead 3:31
06. Talk 5:15
07. Distant View 4:12
08. Talk 4:27
09. High And Wide 4:37
10. Climate II 3:47
11. Unumbered 4:47
12. Tronada 8:47



Bass - G. Black
Drums - R. Trammel
Guitar - D. Sundberg
Vocals, Synthesizer - R. Buscher



Tracks 1 to 4, 9 to 11 from demo tapes, unreleased and never commercially available
Tracks 5, 6 from rehearsal tapes, recorded live on cassette
Tracks 7, 8 from the Raymilland 7", 1980
Track 12 from the Sub-Pop #5 cassette, 1981

'Raymilland formed in the summer of 1978 in St. Louis and lasted until the fall of 1981. Although starting out playing standard punk covers by the Buzzcocks, Damned, and Ultravox, their original influences and ideas about music leaned more toward the no-wave bands of NY and the more experimental bands from the UK. Raymilland played live eight times; four in St. Louis and four in Chicago. A fifth Chicago date slotted to open for Joy Division never happened when the US tour was canceled due to the death of Ian Curtis. Raymilland released one single in 1980 on Praxis; an influential Chicago music/art magazine, had one song included on the first Sub-Pop compilation cassette, and another on a compilation cassette released by the legendary Dong Dong Tapes from the Netherlands. A self produced demo cassette to attract label interest and procure live gigs was so influential that Wax Trax Records sold bootleg copies in their Chicago retail store. Although the band was constantly recording; there were no further official releases. Almost 30 years later BDR Records persuades the band to release a collection of those recordings. The members reviewed their vast archive to assemble the definitive Raymilland collection, and the result is Recordings '79-'81.' - BDR press release

buy or cry

been loving this dankness for months & now it's your turn i guess. the caterpillar hood won't cover the head of you know you should be home in bed. 320 rips!

Stephan Eicher - Spielt Noise Boys 7" [Off Course, 1980]

A1. MiniMiniMiniMinijupe 3:05
A2. Ping Pong Lied 1:20
A3. Noise Boys Song 2:15

B1. Sweet Jane -By - Lou Reed 2:25
B2. Disco Mania 4:00



Artwork By [Umschlag], Instruments - Stephan Eicher
Recorded 16/17 September 1980 at spex Bern [Switzerland] with a simple tape recorder

driving minimal synth punk from Stephen Eicher who recorded these sessions on tape in 1980, around the same time he was playing with seminal Swiss synth-wave band Grauzone. essential for that cover of 'sweet jane' but enjoyable throughout, especially 'disco mania'

Bilders ~ Beaten Hearts LP [Flying Nun, 1982]

A1. 1,000,000 Hearts ~ Written-By - Tom Scully
A2. Moderation
A3. Bedrock Bay
A4. Same Old Story
A5. Heartbeats-A-Go-Go
A6. Blue Sand Lonely
A7. Dirty & Disgusting
A8. Alien ~ Backing Vocals, Organ - Chris Knox, Drums - Mike Dooley
A9. Accident

B1. Wanganui With A White Face
B2. Magpies ~ Written-By - Denny Glover
B3. Outer Date World
B4. Evidence
B5. Inquest
B6. Magazine
B7. Kicks
B8. Friend

Bass ~ Campbell McLay
Drums ~ Malcolm Grant
Engineer ~ Doug Hood , Terry King
Vocals, Guitar, Percussion ~ Bill Direen

Recorded at Progressive Studios and Chris Knox and Barbara Ward's living room 1982



'William Direen’s first LP release, after the 7" records Soloman’s Ball and Schwimmen in der See, this thing remains pivotal to my ears, like the Velvet Underground-White Light/White Heat or the first iteration of The Stooges - Raw Power. Pounding drums, thumping bass, propulsive guitar riffs, and exquisite lyrics, a real rock record.' ~
Michael Morley [Dead C/Gate] in Dusted Magazine

me puny pc is still sick, so here's more booty of yore from me other drive. certainly not for everyone who frequents this spot, but a recording that remains pivotal to mine ears as well [those lyrics!] & is very difficult to trace because their moniker is alternatively spelled builders & bilders & the album is both referred to as beaten hearts & beatin hearts, so choose yer own adventure. whilst feebly attempting to skore a better cover for this poétique piece [no dice] i found that recent michael morley list of influential records, quoted above. this slab gets the number #3 slot, for what it's worth. scrounged booklet skans of the cd reissue are included, but not the extra tracks, owl apologies. just the perfect lp in its original sequence, never even heard the extra bits. a 320 rip, but rather lo-fi from jump street, so crank it to eleven :)

Catalogue ~ Pénétration LP [1982]

01 - Stop Stress - Ultim Arlène
02 - Khomeiny Twist
03 - Dérisoire
04 - Pénétration
05 - Absolution
06 - Demnächst Mon Amour
07 - Orphelinat
08 - Khomeiny Twist #2
09 - The End



Gilbert Artman : drums, organ, piano
Jean-Francois Pauvros : bass, guitar, harmonica, piano, vocal
Jacques Berrocal : cornet, gong, flutes, vocal, words

rec. live April 16 & 17, 1982
at Brasserie Birseckerhof, Basel



amazing otherness from this way out improvisational supergroup of sonik experimenters. wicked fuggin good. at times kinda reminiscent of a more ramshackle [& french] Debris. seems our forefathers at mutant sounds upped this one previously at 192, but that link est mort. here it goes again at a robust (((320))) remerciements à espilos. +

Milk from Cheltenham - Triptych of Poisoners [It's War Boys] 1983 UK

01 The Man Who Cried 2:20
02 Where Is The Money To Come From? 0:56
03 Mr. Fridge 1:38
04 International Questionnaire 0:42
05 What About Air War 2:15
06 Do The Ready Can 2:07
07 Decisions 0:57
08 Snappy Fingers 2:44
09 The Plan Must Rule 1:12
10 El Toro Saldrà Cuando Suena El Clarin 6:40
11 Our Dictator 1:08
12 Invitation To Action 2:56
13 Das Elefantenkalb 4:01
14 Air - Sound - Light 1:36
15 Passport To Happiness! 1:56
16 Triptych Of Poisoners 2:18
17 Krazy Golf 2:10
18 Can A Vacuum Cleaner Really Work Quietly? 0:50
19 The Geek 3:39



Brass - Miss Blick
Cello - Sandhya E
Drums [Kettle], Percussion - Lance Hunter
Executive Producer - Emanuele Carcano
Featuring - Lepke Buchvalter , Salamander, Victorr Lounge
Piano [Grand] - Veronique
Producer - Christopher Grey , Milk From Cheltenham , Xentos Bentos
Recorded By - Chris Grey , L. Voag , Milk From Cheltenham , Peter Bullen , Thoth
Saxophone, Engineer [Dubbing] - Peter Bullen
Vocals [Vox Humana] - Susanne Browne

'Amos [aka L. Voag] of the Homosexuals released this gem on his It's War Boys label in 1983, in a limited run of a measly 300 copies. The material was recorded, mostly on a cassette recorder, between 1979-1981, and although band leader Lepke claims to have wanted Milk from Cheltenham to sound like the Beach Boys, Triptych of Poisoners is a barrage of twisted avant pop, art rock, sound collages, and experimental noise that bears some semblance to This Heat, Resident, Zoviet France & Henry Cow, but primarily explores uncharted musical waters. highly recommended'

prolly not one for the strictly global village musique lovers [too noisy & lo-fi] but we endeavour to provide a lil sumptin fer every stripe. 19 post punk passports to peppiness

Electrik Autoharp Fever

granted, this has been around for a minute but i love the song & thus i edited out a bit of the dialogue & empty spaces so i might listen to it when i'm outside working in the blistering sun. most inspirational to me on many levels hence i figured i'd share since it came on randomly again this afternoon. i done believe the place was haunted til i heard the grande ghost. r.i.p. brother Rob Tyner 1944 - 1991

أحمد عدوية Ahmad Adaweya ~ very best of [Cairo, Egypt] hits from the 70's

Literal origin of the Shaabi (Sha’bi) in Egyptian Arabic: Of the common people.

Could Adaweya, a plumber by trade in the 1970's, know that his songs with political undertones would help his popularity cross over from the common people’s Shaabi music to the popular establishment and the more socially elite? This musique, once called “City Beledy”, is what anthropologists today label “Shaabi”.

His musique is especially noteworthy for having a great percussion section. His voice has a sound unlike other singers, a very raw unrefined quality to it.

Most Shaabi singers seem to have this quality. Also, his music had an untraditional sound sometimes using a trumpet. adaweya used a blend of traditional instruments and modern instruments and sounds. He used traditional instruments such as the nai, violin, kanun, riq, large cymbals and tabla. additionally, he introduced the keyboard, saxophone, trumpet and the accordion.

This blend of the old and the new instruments is typical of the Shaabi sound.

Today everyone knows Ahmad Adaweya for his songs, lifestyle, scandals and notoriety. He’s not known for his good looks or his suave style. He’s actually rather short and heavy-set with coarse blow-dried hair and very gaudy suits. He was born in a hara [ghetto, barrio] in the mid 1940s in a working class area on the outskirts of Maadi [a district in Cairo], but he spent time on [and eventually moved to] Mohamed Ali Street [a famous district known for where performers lived and networked]. Adaweya worked as a waiter in a café where he started presenting his popular mawaweel [pl. of mawwal] or folk songs. By the end of the 1960s, he was a singer at high-class wedding celebrations. In the early 1970s, he was singing along the Pyramids Road and selling audio-cassettes of his music.

Where once he was known as a master plumber, he had now become a master of Saltana.

What exactly is Saltana? Nothing is exact in Egypt. The word evokes derogatory connotations of a drugged state. This is how people perceived Adaweya, whether he was awake or asleep. To get Saltana takes time—in performance, sometimes hours. If Tarab is ecstatic joy, then Saltana is the ecstasy of creation. Time passes, and you don’t feel it.

The performer becomes musically self-absorbed and experiences concentrated and intense musical sensations. The musician or singer will get high from music. He may also be already high on a substance such as hashish. Many cheikhs, singers, musicians and composers were known to get high in order to achieve Saltana.

In an interview from Al Ahram, the Egyptian newspaper, Adaweya says:

“I am a saltangi. Saltana is my thing—I can sing, and alternate between different maqamat [pl. of maqam—a set of musical notes with traditions defining relationships between them, certain melodic patterns and certain moods.] This is Saltana. It’s all in the maqam. Adaweya experiences this in his mawaweel. In the mawwal the lyrics can make Saltana. The creative state of Saltana can bring on Tarab—or the feeling of ecstasy.

In the interview, Adaweya says further, “I have achieved [Saltana] after a tough and tempestuous life. I have basically seen the depth of the pits when I started from the very bottom of the ladder.” Ahmed Adaweya has literally scraped the rocks with his bare hands as a plumber. “It is my singing experience in mulids [festivals for saints and holy men] and tents that founded my entire career. My own talent combined with such a life has qualified me for the equivalent of a Ph.D. in music. I never studied music, except through feeling, listening and a tough life. Many musicians have reached top academic degrees in music, but they do not have Saltana; they turn to someone like me and seek my experience in Saltana. The mawwal is my game. I sing all maqamat in the mawwal. This is history. I am a whole history. I am king of Saltana.”

An Egyptian once said of Adaweya: “Ahmed, your voice is full of suffering. It is the voice of an orphan. When you sing the mawwal, I feel so blue as to be on the verge of tears. I feel like your voice.”

The mawwal is usually sung poetry –qasida—or a narrative that can precede a song. A typical Shaabi mawwal can include the following words: “love, wine, whiskey, suffering, falling in love, allusions to different fruits, being without love, torture, meddling nosey people, drugs, anguish, complaints, oh sleepless nights, wounds, patience, oh my eye, love, poverty, shame, bad luck, tears and blood, tired of all this…” It is lyrical and one might consider it the vocal version of a taqsim—musical improvisation of one instrument that can move from one maqam to another. Ahmed Adaweya would sing the mawwal in colloquial Egyptian accompanied by a fellahi rhythm and a nai response. This use of percussion and nai during a lamenting poetic narrative of love, including sexual innuendos, and complaints of social or political conditions is what makes Adaweya’s mawaweel distinctly Shaabi.

Egyptian writer Naguib Mahfouz said of the singer: “What is so wrong with Adaweya? He is a genuine son of the people, a true offspring of the Egyptian hara."

Adaweya is the sole true influence of an entire generation of Shaabi singers such as Hassan el Asmar, Hakim, Magdi Talaat, Abdel Basset Hamouda, Hamdi Batchan, Saad el Soghayer and Shabaan Abdel Rahim.

By the late 1980s, there were three categories of Egyptian singers:

1. Those who tried to maintain their national identity with tarab-oriented traditional music.
2. Westernized singers who resorted to western musical melodies.
3. Those who supported Adaweya’s’ Shaabi musical trend.

Shaabi is always considered the music of the working class people such as Adaweya. The Egyptian media–radio and television–do not officially recognize Shaabi music as an art form. They feel it is an insult and a shame to their culture, and therefore, it has a subaltern status. Rather like how the Egyptian people do not recognize raqs sharqi [or as we often say “the Belly dance”] as a respectable art form. However, Egypt’s common people are many and numerous, urban and rural, and the Shaabi music was able to not only survive but to achieve also great success through what is known now as the cassette culture.

It’s been 40 years since Adaweya began his singing career. He has acquired true legitimacy. He has acquired fame outside his neighborhood, outside of his country, and throughout the world. He was able to finally have his songs aired along side Egypt’s favorite singers such as Om Kalsoum and Abdel Halim.
Shaabi has been with us for approximately 50 years–first as a rural and mulid-based music and then due to the audiocassette machine, it became an expanded international phenomenon. At this point in time, it seems fitting that anthropologists, musicologists and ethnologists are now giving this “new” music a category and label for the first time in it’s history! Shaabi has been granted a value with classification and notification. Shaabi music has been assured a future in whatever way it shifts and changes. Additionally, this same cassette-based record and re-record culture continues to grow and thrive in Egypt. ~ source

homely plumber turned mystic mawwal saltangi shaabi superstar. encroyable & punk as fuk. percussion is off the chain & peep those cazals he's roccan. brother adaweya's on a good one. 320k

Men's Recovery Project - Frank Talk About Humans [1995]

Vinyl Communications [VC-070, 1995]

1 Clark In My Car
2 Homo?
3 Slap On Some Pants
4 They Found My Naked Body By The River
5 All Music Is Shit To God
6 Frank Talk About Mutants
7 Problem?
8 Domestic Phone Call
9 Explanation Of Head Troubles
10 Smokin' That Magic Rock
11 Eating Contest
12 Ugly Interracial Couple
13 Frank Talk About Mutants, Also
14 Frank Talk About Mutants (Carl Cullins Remix)
15 Smokin' That Magic Rock (Zionist Remix)
16 Explanation Of Head Troubles (Empir
17 All Music Is Shit To God (Ed Powers Tribal Remix)
18 Homo? (Neighborhood Plumbing Remix)
19 Domestic Phone Call (Exhausted Engineer Remix)
20 Explanation Of Head Troubles (Children's Problem Remix)
21 Eating Contest (Parisian Remix)
22 Domestic Phone Call (Plastic Fruit Cups Remix)
23 Problem? (Owner's Remix)
24 Slap On Some Pants (Trail Mix Remix)
25 Domestic Phone Call (Special Remix)
26 All Music Is Shit To God (Fuck You Remix)
27 Domestic Phone Call (Artificial Leg Remix)
28 Frank Talk About Mutants (Marshall Glickman Remix)
29 Smokin' That Magic Rock (John Wilcox Remix)
30 All Music Is Shit To God (DNA Sequencer Failure Remix)
31 Domestic Phone Call (Inflatable Remix)
32 Slap On Some Pants (Halftime Remix)
33 Eating Contest (Emergency Remix)
34 Explanation Of Head Troubles (Empowerment Pants Remix)
35 Encompass
36 Slap On Some Pants (Trouble Remix)
37 Domestic Phone Call (Cookout Fluid Remix)
38 Homo? ("They Ain't Suing Nobody" Remix)
39 Domestic Phone Call (Negro Remix)
40 Frank Talk About Mutants (Arnold Clausen Remix)
41 Domestic Phone Call (Wankle-Rotary Engine Remix)
42 All Music Is Shit To God (Monoroid Remix)
43 Explanation Of Head Troubles (Malfunction Remix)
44 Slap On Some Pants (Waste Of Resources Remix)
45 Older Men



i grew up with this chit & it's still dope & relevant as ever. these cats are mad smart. honour the memory of vermiform, gravity & vinyl communications. support the encroyable graphique design of monoroid. 45 traques ripped at 320 for that extra mph