Hello! My obsessive lo-fi-dragon ways strike again. I am in the process of rebuilding lots of old posts that feature downloads of tapes and records I’ve digitized from my collection when I couldn’t find them online anywhere else (or are of projects of my own anyway). I’ve been doing this quite a long time but I’d also done a lot of revamps of the site in the meantime so the files weren’t well organized, some files got deleted or links mangled, and so on. I’m hunting down the old posts and replacing them with new ones and reorganizing the files. You’ll see below the first batch of these has gone up today. If you come across a broken download link in an older post, most likely that post will be redone in the near future so check back. I’ll also be adding new stuff while I’m at it! Enjoy!
Scumbag punk, raw, sloppy, out-of-tune, drunk, rowdy, tossed-off, recorded live on a boombox, with lots of cover songs. Bloody toured with GG Allin, that’s important and referenced a few times. That should all give you a fair idea what most of this tape sounds like, although it starts off with a headfake consisting of karaoke covers of “Your Cheatin’ Heart” and “White Christmas”. There are a couple more karaoke tracks, and even some spoken word poetry towards the end. The covers are all uncredited, Bloody evidently expects you can identify them without the help.
There was this place in Cedar Falls we used to call The Boat House. The Boat House is actually the colloquial nickname for the North Shore Boat Club Beach House in Island Park, a little building on the river with some boat docks behind it that you could rent half of from the city for about fifty bucks during the warm parts of the year, and that was a common place to put on shows until it was badly damaged in the flooding of 2008 and torn down. Black Flag played there in ‘86. In the mid and late 1990s, guys from a local band called Thinner used to book all kinds of really cool noisy-heavy bands to come play there. Iceburn played there a bunch of times. So did this band out of Minneapolis that called themselves Behemoth, not to be confused with the metal band, in fact I think they even modified their name to Bohemiath upon getting wind that the name was also claimed by a more famous band, but I also think that was about where the band started to fizzle out. This Behemoth was a power-trio with oddly detuned instruments that played a really unique style of heavy dissonant instrumental progressive rock. Their drummer was Chad Popple, who went on to play with Wrong for a bit, followed by The Gorge Trio, which I think involved some guys from Sicbay and maybe Dazzling Killmen, and who even later may have been involved with the Iceburn Collective.
To my knowledge, Behemoth only had one release and it was this five-song cassette. By the time I got around to buying one they had run out of cover inserts for them. This tape rip is taken from my copy and this stuff rules.
Sometime in the range of ‘96 to ‘98 me and my Angry Cops bandmates (Mike Hays, now a.k.a. Pythias Braswell, and Ben Echeverria, son of an art professor at University of Northern Iowa) trekked down to Rock Island because we heard Men’s Recovery Project was playing at something called Sam’s Cavern. MRP’s set ended up lasting about 5 minutes due to a blown bass amp, but we also saw Thrones, MK-Ultra, and Race Traitor, and met some local kids who had a band called Paper Children, who immediately booked us to come play at the same venue in a couple months. All in all a very memorable night, and while there, I bought this CD from a distro box on the merch table just because it was cheap and I liked how it looked, packaged in a brown paper luch sack with the cover art stapled to it. In retrospect, it’s reminiscent of the bands whose names I’ve forgotten that my future wife Leah and I saw play at some lodge hall in Shell Rock a few years years later – sort of avant-garde screamo, very intense with great use of dissonance and extended improvisation. I don’t really know anything about this band but this EP jams pretty hard.
Something from E.F. Tapes, the birthplace of the legendary Cock ESP. A drums/guitar-or-bass duo doing some primitive noisy improvisation. Nicely crunchy lo-fi recording, lamest insert E.F. ever did. Saw these guys play an E.F. showcase at The Red Sea in Minneapolis probably not long after this came out along with Wrong and The Amputease. My girlfriend I dragged along hated the whole thing. It was awesome.
Here’s a brand new one I just digitized last week! This 1995 tape was a solo side project of Matt from Morbid Vomit. Musically, it sounds a good bit like Morbid Vomit, but with “clean” vocals and more lyrics about weed. Kid Rock gets namechecked well before he’d hit the major labels. The songs ramble on a bit but if you’re stoned enough it’s all good fun.
Among my various 1990s noise/grind cassette compilations, this is the granddaddy of them all. It includes my personal first compilation appearance though I’m not saying which track. This tape is intimately bound up with my introduction to the noise tape scene and to noisecore and grindcore besides. Everything about this tape rules and brings back memories.
The infamous Aphasia/E H I split tape. E H I was something of a “lo-fi industrial” noise project by Brian Noring of Des Moines, one of many projects on his F.D.R. Tapes label; a related zine, Friends Of The Draft Resistance, was my introduction to noise tape culture in 1993, containing an interview with Rectal Pus that prompted me to write to Jason Hodges at Chaotic Noise Productions.
E H I’s half of this is “noisier” than the other E H I tape I have from this era Under The Rails, involving more effects and tape manipulation applied to Casio sounds, and it’s a good listen.
As for Aphasia, probably the most interesting thing about it is the crazy personal history of Adam Gadahn in the years after this, what with joining Al Qaeda and all. His side of this split is more musically interesting than his earlier work Delirium: 7 Hallucinatory Interludes (the contents of which were also later put online as Music Of A Terrorist), but that’s still not saying much. Gadahn’s chief instrument here appears to be either a distortion pedal or tape saturation, in conjunction with general tedium. Where you can identify instruments, they’re employed clumsily; other parts sound like random mouth noises made into a microphone. To be fair, he was probably all of 16 when he made this stuff.