Lost links & Re-ups

On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

24 August 2014

Twenty-two Zombies Later





Well, I haven’t spent much time staring at this screen this weekend. A buncha my friends dropped by & magically it turned into a Tiki Weekend. We’ve been keeping the Mai Tais & Zombies flowing. For a while I was DJ’ing with some style, but as the hours & drinks added up, I stuck these two CDs on random play & got to relax with everyone else. & I didn’t get any complaints, so I’m posting these here for you. Mix up some drinks & enjoy.

Comfort Stand Recordings csr001, 2003.
decryption code in comments

CD One –

Br. Cleve & His Lush Orchestra - Shaken Not Stirred
Eric & Ryan Kilkenny - Bongo Avenger
Marble - Wah Factor 3
Philip Jackson - Nature Boy
Jeff Chenault & Andrew Izold - Exotica Revisited
Tipsy - Kitty's Daydream (Longhair mix)
Scotch & Soda (Max McMillan) - The Lonely Bull
Don Tiki - The Natives are Restless
Jack Fetterman & the In Hi-Fi Music Direction - Acapulco 2000
The Weird Lovemakers - Quiet Spillage
Skip Heller's Hot Seven - Spy Perfume
Otis Fodder - Brilliant Pillows (Many Moons)
Astroslut - Love Theme from Astroslut
Der Plan - Jungle Village
Misty Roses - Up in Flames
Künstler Treu - If Jesus Came
Sem Sinatra - Toryansay


CD Two –

Mr. Melvis - A Walk Through the Powerhouse
Weirdomusic - Fiber, Ruler of Pinakel
djfreshmoney - Whammo
Dana Countryman - Cocktails in Space
Jan Fornell - Drift
Bruce Lenkei - Moonlight Zombie Dance
Bumpenstein - Fuad Motel
Narcotic Syntax - Pingpong Voodoo
Hybe - Venom
Impro – Farid, Astronauts from Maghreb
Black Sash - You People
Mental Anguish/NOMUZIC - Blissful in Enchantro
Songs to Drink & Drive By - Walk on By
Magnus Sandberg - Island Knockin'

Bottoms Up,

23 August 2014

It's just a Cosmic Joke





This really is a cosmic joke, but not all the musicians involved were laughing. Rolf-Ulrich Kaiser & Gille Lettman of the Kosmische Musik label arranged several acid parties in early 1973 to be held at Dieter Dierks studio in Stommein, Germany. Since 1969 Dierks Studios had  been the home of the most important Krautrock artists, first generation German rock bands, & electronic pioneers, among them Ihre Kinder, Ash Ra Tempel, Tangerine Dream, Witthüser & Westrupp, Hoelderlin, Wallenstein, Birth Control, Guru Guru, Embryo, Popol Vuh, Bröselmaschine, the politically orientated rock bands Amon Düül, & Floh de Colgne.

The musicians attending Kaiser’s acid parties were offered drugs in exchange for recording tracks. Participants included Manuel Göttsching & Klaus Schulze of Ash Ra Tempel, also Jürgen Dollase & Harald Großkopf of Wallenstein. Prior to this, all of the musicians involved had been in the Cosmic Couriers, which had played on experimental recordings by Sergius Golowin, Walter Wegmüller, & Timothy Leary.

Kaiser took the tapes from these sessions. He edited & mixed them with the help of Dierks. He then released them on his label, Kosmische Musik, complete with the musicians' pictures on the LP sleeve, without asking for their permission. Göttsching did not find out about the record release until he heard one of the records playing in a record store in Berlin & asked the record clerk what was playing.




Kaiser released five records accredited to the Cosmic Jokers in 1974. While none of the musicians were happy with the recordings, Schulze was so angry after the release of Gilles Zeitschiff that he sued Kaiser. In 1975, Kaiser was forced to discontinue & withdraw the recordings. He fled the country over the affair, abandoning his record label over the threat of impending legal problems.

Here are two of the better examples…

Cosmic Jokers – Cosmic Jokers, Kosmische Musik KM 58.008, 1974.
decryption codes in comments

Seite 1 –
Galactic Joke
Seite 2 –
Cosmic Joy


Galactic Supermarket – Galactic Supermarket, Kosmische Musik KM 58.010, 1974.

Seite 1 –
Kinder des Alls
Seite 2 –
Galactic Supermarket

with Rosi Müller,& Gille Lettmann

Enjoy this tripping Krautrock,

21 August 2014

More Brainiacs





Back in February 2009 I posted up The BrainiacsDrunk with Funk. I have had feelers out to all my musick scouts searching for the bands debut self-titled 7". The other day my searching paid off & I now have a copy of said 7". I’m sharing it with you here. If you enjoyed Drunk with Funk, than you’re sure to enjoy this.

The Brainiacs – Self-titled 7" EP, Mental Health Records, 1979.

Side A –
Don’t Tell Me Why
Take Me to Paris
Side B –
Suzie’s so Unsure
Stunned

Goodbye BizarroWorld,


17 August 2014

Flash from the Past





Those of you who may have followed the Musick Around the World project might remember a slight side trip I took when I got to Italy. I was given an assignment to procure some secret documents from under Vatican City.




While the documents were briefly in my possession, I had the opportunity to photograph some of them. Most were written in code or some Latin variation, but there were some that were obviously in German. Knowing the alleged connection between the Roman Catholic Church & the Third Reich, I copied many of those in particular.

Here is one that I managed to partially translate. Check it out…

"... Vladimir T., eine Bulgarische immigrée, hatte in seinem Besitz einige deutsche Dokumente, welche die Nazi-V-7 spezielle Waffen-Programme. Die geheimen V-7-Projekte waren in der Tat eine Reihe von kreisförmigen Flugzeugs Forschungsdesigns entwickelt radikal neue Waffen-Plattformen, könnte steigen und steigen senkrecht, fliegen bei hohen Geschwindigkeiten und sehr großen Höhen mit einem neuen 'Implosion' Motor-Design zusammen mit anderen Elektrogravitationsenergieumwandlung Prinzipien Herstellung eines selbst ausreichend elektrostatisch erzeugte Kraft um die Macht. Solche Motoren wurden von AEC hergestellt (Allgemeine Elektricitäts-Gesellschaft), der große Riese von elektrischen Industrie Deutschland, für dieses Programm so früh wie 1944 Diese Stromgeräte erzeugt ihre eigene elektroSchwereFeld, die natürliche Schwerkraft der Erde neutralisiert Ergebnis, dass sie schwerelos. Another neue Motorprinzip für Helium verwendet Kraftstoff.

 
 


Es gab mindestens drei große Entwicklungen innerhalb der V-7-Programm. Es waren die Hanebu Modelle 1 bis 9, zumindest, Vril-Modelle 1 bis 7 als auch, & Beyond, dass die meisten wahrscheinlich. Dann gab es die zylindrischen Mutterschiff Trägerprojekt , das die Hanebu & Vril Handwerk im Flug transportieren. Forschung in dieser Richtung hatte sich seit Anfang 1941 durchgeführt.
 

Die Modelle waren Hanebu größeren Scheiben im Bereich von 25 bis 40 m im Durchmesser. Sie wurden von mehreren zwangsrekrutiert Energieeinheiten zusammenarbeiten, wie der AEG-System angetrieben. Diese Einheiten auch ihre eigenen Elektrogravitationsfeld , das die natürliche Schwerkraft um sie herum neutralisiert erzeugt, wodurch das Handwerk & alles was man im Wesentlichen durchgeführt schwerelos. Experimentelle Versionen dieses kreisscheibenförmigen Handwerk durchgeführt 02.59 7,5 Zentimeter Panzerabwehrkanone auf ihrer Unterseite. Fotografien von solchen Fahrzeugen wurden von Vladimir gesammelt. T., von denen einige auch im Film Dokumentarfilm erschienen



 

Ein Bild zeigt eine 2 1/2 Tonne Militär-LKW neben einem Hanebu 2, einem Hebekran auf der anderen Seite, und 2 Männer unter der großen Scheibe an etwas geparkt. Andere Bilder zeigten die Hanebu Modelle im Flug.

 

 


Die Vril-Modelle waren kleiner tiefer Scheiben von fast glockenförmige Konfiguration im Aussehen mit 3 halbkugelförmigen Erhebungen darunter. Sie wurden im Jahr 1943 & 1944 in Nazi-Deutschland getestet. Die Vril 3 Modelle & beyond waren weit mehr gestrafft. Sie sah eher wie gewölbte Scheiben. Diese kleinen Schiffe waren 10,5 bis 15 Meter (30 'bis 45') im Durchmesser. Sie trugen Besatzungen von 1 bis 5 Männer.


 
Der zylindrische Trägerhandwerk waren mehr als 100 'im Durchmesser. Sie konnten eine oder mehrere der Hanebu Modelle & 3 oder mehr der kleineren Vril Modelle tragen, alle intern. Sie konnten starten und diese wiederherstellen, während Handwerk im Flug.



 
Wenn das Oberkommando in Deutschland festgestellt, dass sie nicht mehr den Krieg zu gewinnen, einige der wichtigsten Führer begann das Land zu verlassen, um für ein Wiedererstarken 4. Reich vorzubereiten. Diese geheimen UFO-Programme wurden offenbar demontiert und auf neue Basen in der Antarktis an Bord deutscher U-Boote durchgeführt. Die meisten ihrer wichtigsten Wissenschaftler ging mit ihnen, was, warum wir so wenig von diesen Programmen bis jetzt gehört, kann. Die wenigen Wissenschaftler, die zurückgeblieben waren von der US-oder russischen Regierungen und setzen sich auf den Inlands Programme arbeiten abgeholt, obwohl diese US & Russisch-Programme fehlte die Organisation der deutschen Mutter Programme, die evakuiert wurden."


Zusammen mit den Dokumentarfilm, gab es mehrere Audio-Kassetten von einem angeblichen Nazi-UFO-Kommandant. Die folgende ist eine der Audio-Kassetten ... "




Here is the translation…
"...Vladimir T., a Bulgarian immigree had in his possession some German documents describing the Nazi V-7 special weapons programs. The secret V-7 projects were in fact a series of circular aircraft research designs developing radical new weapons platforms that could rise & descend vertically, fly at high speeds & very high altitudes using a new 'implosion' motor design along with other electro-gravitic energy conversion principles producing a self-sufficient electrostatically generated force for power. Such engines were manufactured by AEC (Allgemeine Elektricitäts Gesellschaft), the great electrical giant of industrial Germany, for this program as early as 1944. These power devices generated their own electro-gravity field which neutralized the Earth's natural gravity, in effect making them weightless. Another new engine principle used helium for fuel.
 
There were at least three major developments within the V-7 program. There were the Hanebu models 1 through 9, at least; Vril models 1 through 7 as well; & most likely beyond that. Then there was the cylindrical mother-ship carrier project designed to transport the Hanebu & Vril craft in flight. Research along these lines had been carried out since early in 1941.
 
The Hanebu models were larger discs ranging from 25 through 40 meters in diameter. They were powered by multiple-ganged energy units working together, like the AEG System. These units also generated their own electro-gravitic field which neutralized the natural gravity around them, thus making the craft & all it carried essentially weightless. Experimental versions of this circular disc-shaped craft carried one to three 7.5 centimeter anti-tank cannon on their underside. Photographs of such craft have been collected by Vladimir. T., some of which also appeared in the some documentary films he found.
 
One picture shows a 2 1/2 ton military truck parked beside a Hanebu 2, a lifting crane on the far side, & 2 men under the big disc working on something. Other pictures showed the Hanebu models in flight.
The Vril models were smaller deeper discs of nearly bell-shaped configuration in appearance with 3 hemispherical protuberances underneath. They were being tested in 1943 & 1944 in Nazi Germany. The Vril 3 models & beyond were far more streamlined. They looked more like domed discs. These little ships were 10.5 to 15 meters (30' to 45') in diameter. They carried crews of 1 to 5 men.
The cylindrical carrier craft were over 100' in diameter. They could carry one or more of the Hanebu models & 3 or more of the smaller Vril models, all internally. They could launch & recover these craft while in flight.
 
When the High Command in Germany concluded that they could no longer win the war, some of the key leaders began leaving the country to prepare for a resurgent 4th Reich. These secret UFO programs were apparently dismantled & carried to new bases in the Antarctic aboard German U-boats. Most of their key scientists went with them, which may be why we have heard so little of these programs up to now. The few scientists who remained behind were picked up by the U.S. or Russian governments & put to work on domestic programs, though these U.S. & Russian programs lacked the organization of the parent German programs that were evacuated. 

Along with the documentary films, there were several audio tapes from a supposed Nazi UFO Commander. The following is one of the audio tapes..."

Nazi UFO Commander – Strange Monastaries, Old Europa Café OECDR011, 2006.
decryption code in comments

Tracklist –
The Coming Race (Vril Chant)
Sacrificial War
Führer
Morfee
Mercer is My Name
Pioneer

Can you say CONSPIRACY?

14 August 2014

Heading Off to the Old Hunting Lodge





Hunting Lodge was an industrial/experimental band formed in Port Huron, Michigan in 1981 by Lon C. Diehl – vocals, bass, drum programing, Richard Skott - guitar, & Karl Nordstrom - keyboards as a platform to experiment with harsh, dark electronic-based music. Diehl had played synth/bass with the industrial post-punk band HATE/GREY. Skott had been self-releasing guitar noise experimentations under the name Screw Machine. The two started S/M Operations for the purpose of publishing a music ‘zine. The name S/M Operations comes from the two creators former projects: Lon C Diehl was already putting out a small publication called Smarm ‘zine & Richard Skott was releasing his cassettes under the name of Screw Machine (thus the name is read Ess Emm Operations, not S & M). The two bonded over their interest in the music of Throbbing Gristle, Dome, & SPK, as well as the plethora of post-punk musical experimenters of the time. In May 82 they released a single issue of S/M Operations. By that time they were collaborating on making music together.



Their first live appearance took place in September 4, 1982 at the Harrington Ballroom inside the Harrington Hotel. The event was recorded on a portable cassette player. It would become their first cassette-only release, Harrington Ballroom. After this first live event, Karl Nordstrom left the band, although he played on several tracks on their next cassette-only release Exhumed (re-released July 2014 by Exoteque Music – check out their Facebook page for ordering info) as well as their 1983 debut LP Will.



On their next LP, 1984s Nomad Souls, the band's earlier experiments with pure noise were now being combined with strong rhythms, using synched digital delays/early samplers & tribal drums. Following a U.S. tour (October 23 – November 18) in 1984, Skott moved to San Francisco while Diehl finished up the recording of the 12" EP Tribal Warning Shot. The title track off the 12" single of the same name released by Normal Records in Germany became a minor club hit.

Their final album 8-Ball was released in 1986. It has them pushing further into traditional song structure. For the uninitiated, the compilation Necroplolis covers many of their more well known songs. For their rawer style, I recommend their early work (pre-Tribal Warning).

Hunting Lodge – Harrington Ballroom cassette, S/M Operations, 1982.
all decryption codes in comments

Side 01 –
Icepick Method
By the Blood of Others
Ecce Qui Tolis Peccatta Mundi
Sonderkommando
Four Hoursemen

Side 02 –
Astral Ball
Mrs. Hagar
Simulation/Stimulation
Gone the Way of All Flesh
Lon C. Diehl, Richard Skott, & Karl Nordstrom. Edition of 150 cassettes.



Hunting Lodge – Will, S/M Operations SM01, 1983.

Side A –
Na Vilavilairevu
We are They
Hand of God
Shugendo Gyozha / You are of Me

Side B –
Icepick Method
Sounds like a Picture
S/M Operations
Will
Banishing Dirge

Lon C Diehl, Richard Skott with Karl Nordstrom – keyboards on “Icepick Method”. Edition of 500 LPs.




Hunting Lodge – Night from Night 7”, S/M Operations SM02, 1983.

Side A –
Night from Night
Side B –
Untitled




Hunting Lodge – Nomad Souls, S/M Operations SM03, 1984.

Side A –
Nomad Souls
Beautiful Ugly
Born of Force

Side B –
The Wolf Hour
Rhythm Cage
God Loves the Rock Stars
Becoming a Commercial – Interrupting
Nomad Souls

Lon C Diehl, Richard Skott with Richard Kinnee & Steve Kish – percussion, Roselle Williams – vocals, & John Steinborn – drums. Edition of 1000 LPs.




Hunting Lodge – The Harvest cassette, Inner-X-Music XXX-16, 1985.

Side A –
Astral Ball
Tribal Warning
Is That Right
Rhythm Café
Born on Fire
Night from Night

Side B –
Voodoo Eclipse
God Loves the Rock Stars
Learn to Will
E.Q.T.P.M.
Banishing Dirge

Lon C. Diehl, Richard Skott with Karl Nordstrom – keyboards B4, & Roselle Williams – vocals A6-B2. Live performances from 1984 tour – A1-A5, B5 950 Club, Chicago; A6,B1-B2 Composite Lodge, Detroit; B3 Johnny D’s, Boston; & B4 somewhere in Kansas City.



Hunting Lodge – Tribal Warning Shot 12" EP, S/M Operations SM04, 1985.

Side A –
Tribal Warning Shot
Soul-Vac

Side B –
Commerce
Tribal Warning Shot (live)

Lon C. Diehl, Richard Skott with Helmut Robison & John Steinborn – drums, Trish Damon – vocals, & Paul Steinborn – guitar.



Hunting Lodge – 8-Ball cassette, S/M Operations SMC5, 1987.

Side A –
8-Ball
May This Meat Kill Me
Kick up Some Dust
Rip ‘N’ Tear
Dodge the Steamroller

Side B –
Dark Night of the Soul
This is Truth
Pressure Press
Broken Gardens
Hourglass

Lon C. Diehl, Richard Skott with Helmut Robison – drums.



Hunting Lodge – Carnivora! 12” EP, Permis De Construire Deutschland PPP102, 1989.

Side A –
Carnivora (pts 1 & 2)

Side B –
Born of Fire
Feedback
Night from Night

Lon C. Diehl, Richard Skott, & Helmut Robison.



Hunting Lodge – Necropolis, Dark Vinyl Records DV#17, 1993.

Tracklist –
Tribal Warning Shot (studio version)
Nomad Souls
Beautiful Ugly
Born of Fire
The Wolf Hour
Rhythm Cage
God Loves the Rock Stars
Become a Commercial-Interrupting
Nomad Souls (Never Ending version)
Tribal Warning Shot (live version)



There is also a cassette from 1983 that contains unreleased material.

Hunting Lodge – At the Lodge cassette, unreleased, 1983.

Side A –
Untitled material
Side B –
Untitled material

Here’s something I found that might be of interest to completists. It was intended as an inside joke on Radio Station WLBS & DJ Mike Halloran. In the spring of 83, using the yet to be released track from Nomad Souls "God Loves the Rock Stars", Lon put together this track. WLBS was the first 'new music/new wave/dance' station in the Detroit area. The track aired on the first edition of its Garage Tapes show that featured local Michigan acts. It features DJ Hank Williams (seriously) reading Lon's letter that accompanied the tape. It is totally hysterical & William’s delivery is well worth the listen.

Enjoy,


10 August 2014

Onde estão os desaparecidos brasileiros?



One of the stalwarts of Adrian Sherwood’s On-U Sounds Dub revival, Prince Far I, a man to grace any style with wisdom, a chanter to quake the walls of the city, a preacher to strike fear in the weak of heart, humble in the garden & proud in the city, was shot dead in Jamaica, September 15, 1983, one year short of his 40th birthday.




It was a massive, tragic loss.

Far I was close to completing a new album on the day of his murder. It was posthumously released under its working title Umkhonto We Sizewe (Spear of the Nation). Prince Far I’s last session included the recording of a track called "Special Request" which "felt like he was saying goodbye" states Roy Cousins, lead singer of The Royals & producer of Far I’s final recordings, who had been with Prince Far I that day in the studio. Cousins continues: "The next day I went to meet Prince at the studio but Jim Brown stopped me at Randy's Record Shop and told me that Far-I had been shot last night and passed away. I was shocked and could not believe it, so I went to his home in Edgewater and found a large crowd, everyone filled with grief."

After Prince Far I was murdered, producer Adrian Sherwood became fearful of the violence in Jamaica (followed October 14, 1983 with the murder of Hugh Mundell) & lessened his focus on roots & dub. Sherwood became more interested in digital sounds. The Missing Brazilians are a one-off from yet another collective of musicians he assembled in the wake of The New Age Steppers & Singers and Players, heavily featuring the input of On-U-Sound co-founder/in-house artist Kishi Yakamoto. She provided most of the keyboards & some of the bass lines.



This inorganic release straddles the line between warped dancehall & mutant dub brimming with wild phaser effects, booming wave crunches, washes of noise, highly synthesized poly-rhythms & occasional Oriental keyboard motifs.

There are two vocal tracks: "Gentle Killers" featuring Annie Anxiety (ex-Asexuals, Crass, & countless others) & "Savanna Prance" (featuring wordless singing from On-U regular Shara Nelson, who would later provide the vocals for Massive Attack's "Unfinished Sympathy"). This album, like Voice of Authority's Very Big in America Right Now was originally slated to be released on Cherry Red, but unlike the VoA effort it was deemed too weird for them. The production also had to be scaled back a bit because the music wouldn't fit in the grooves, but the remaster restored much of the original sound of the album.

The Missing Brazilians are: Kishi Yamamoto – keyboards & bass; Adrian 'Crocodile' Sherwood – bass & effects & Adrian 'The Prisoner' Sherwood – drums with Burnell 'Bonjo I(yabinghi Noah)' Anderson – percussion; Nick Plytas – keyboards; Anthony 'Bembo' Creary – drums; Evar Wellington – bass; Charles 'Eskimo Fox' Kelly – percussion & drums plus as noted above, Annie Anxiety & Shara Nelson – vocals.

The Missing Brazilians – Warzone, On-U Sound LP34, 1984.
decryption code in comments

Side One –
Crocodiles’s Court
Gentle Killers
Frequency Feast
Quicksand Beach Party

Side Two –
Savanna Prance
Meander
Igloo Inn
Missing Brazilians

Enjoy,

09 August 2014

Come On Feel the Noise



This started out being about some Japanese angels in heavy syrup, then it took on a noisy life of its own & became much more. Away we go…



In 1989, Mineko Itakura ran into Mine Nakao at a house party in Osaka, Japan, where Hanadensha (Boredoms bass player Hira Hiyashi’s new project) played a gig for Japanese independent label Alchemy Records. The two musicians shared a love for psychedelic rock, so the following year, with the help of Alchemy chairman Jojo Hiroshigea, the all-female rock trio ensemble Angel’in Heavy Syrup formed with Mine – guitar & vocals, Mineko – bass & vocals, & Yoko Mandrake - drums.

Basically Jojo & Alchemy Records were the leaders in the Japanese noise music scene, so Angel’in Heavy Syrup, with their gracefully meditative psychedelic progressive rock style was an odd duck. They released their debut album Angel'in Heavy Syrup in 1991. Since there was a good market for their sound in the US, the album was released on Subterranean Records the following year.

Yoko was replaced by Tomoko Takaku on drums (as well as percussion & flute) with a second guitarist Fusao Toda added to augment the band’s loud fuzzy guitar-based sound before recording their second album Angel'in Heavy Syrup II in 1993. The new quartet was a smooth, united band, with a new tighter-yet-improvised, mind-expanding, heavy guitar sounds elevated by Mineko's angelic vocals. Each successive album was better than the last, but just before Angel'in Heavy Syrup IV (with Naoko Otani – drums) was released in 1999, Tomoko quit the band. Without a steady drummer, the band went into indefinite hibernation.


Angel’in Heavy Syrup – Angel’in Heavy Syrup, Subterranean Records SUB 74-2, 1992.
all decryption codes in comments
Tracklist –
S.G.E. (Space Giant Eye)
きっと逢えるよ (I’m Sure to Meet You)
僕と観光バスに乗ってみませんか (Why Don’t You Take a Sight-seeing Bus with Me)
Underground Railroad
My Dream
Crazy Blues

Angel’in Heavy Syrup – II, Alchemy Records ARCD055, 1993.
Tracklist –
Introduction I – Naked Sky High
Crazy Blues
きっと逢えるよ (Kitto Aeru Yo)
Introduction II
I Got You Babe (Sonny & Cher cover)


Angel’in Heavy Syrup – III, Alchemy Records ARCD072, 1995.
Tracklist –
Breath of Life
花と夢 (Flower & Dream)
Thirsty Land
僕だけが... (Bokudake-ga)
Water Mind


Angel’in Heavy Syrup – IV, Monotremata Records MONOCD04, 1999.
Tracklist –
First Love
Space Conquest
A Series of Water Mind ~ Rubens & the Cathedral
Voyage
Fate



& two bonus live sets…

Tracklist –
Underground Railway
S.G.E.
I Got You, Babe
I’m Sure to Meet You!
Naked Sky High
Breath of Life, part 1
Breath of Life, part 2
Breath of Life, part 3
Flower & Dream/Thirst
Introduction I
Naked Sky High reprise

58 minute set, no separate tracks or tracklist (HELP!!!)

Here the story jumps to Takushi Yamazaki. Takushi is the manager of Jojo Hiroshige's Alchemy Records  music store.




Takushi ‘Maso’ Yamazaki has been a busy Japanoise boy. He has been in, at one time or another: Acid Eater; Acid Maso Temple; Andromelos; Bustmonster; Christine 23 Onna; Eb.ersonna; Flying Testicle; Gokurakuji; Kinkakuji; Masomania; & South Saturn Delta while playing with artists as far-flung as Runzelstirn & Gurgelstock, Aube, Merzbow, Jojo, Solmania, Boris, YBO2, K.K. Null, Blixa Bargeld, & The Stars.

Takushi became interested in the idea of noise music when he first heard the sounds of destruction on television as a child. His first exposure to real Japanese noise music was in 1984 by way of Hanatarash's debut LP. Maso has stated that he was not overly impressed by the LP. Around that same time (also 1984) he discovered L.S.D., an album under the Nord moniker by Hiroshi Oikawa (Oikawa had been a member of Nord with Satoshi Katayama until 1983, when the duo split…both former members continued using the Nord name). Yamazaki’s interest in noise grew rapidly from that point onward. He began searching out & ingesting all the noise releases he could find in the underground music stores in & around Osaka.

By 1987, Maso was ready for action. He stopped listening to other noise projects altogether & concentrated on his own unique take on Noise, drawing heavily from the psychedelic music scene of the 60s & 70s while sonically little resembling these influences (Maso had always had an intense interest in films by Alexandro Jodorowski [ like The Holy Mountain, Sante Sangre, & El Topo]  & claims he wished he had worked with American musician Captain Beefheart). He began his own project Masonna [マゾンナ] (sometimes written as the acronym M.A.S.O.N.N.A. which supposedly stands for Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé or "Miss Bloody Anne, or Our Aureoled Nymphomania". It has also been claimed that the name is a pun on pop singer Madonna, being a composite of maso - Japanese for masochist & onna - Japanese for woman alluding again to the fetishistic ‘bloody Anne’. Masonna is one of the best-known Japanese noise projects, right up there with Merzbow.

Masonna’s discography is extensive. Maso released a number of limited-edition cassettes soon after starting Masonna. His first label release was the home recorded Masonna Vs. Bananarama on Vanilla records in 1989, followed shortly by the 31-minute two-song EP Shinsen Na Clitoris (Vanilla, 1990), the 31 track Mademoiselle Anne Sanglante Ou Notre Nymphomanie Aureole ( Alchemy 1993), the 33-minute single-song Super Compact Disc (Alchemy, 1995), & many, many more until he basically retired the Masonna name around 1999 (he did release the Midi Creative Shock Rock (another 31 track wonder) in 2002.

Tracklist –
Tracks 1 – 30 Untitled
Track 31 - Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé

Masonna – Super Compact Disc, Alchemy Records ARCD073, 1995.
Tracklist –
Super Compact Disc (one 33:31 minute track)


Masonna – Sonic Devil, Pinch A Loaf Productions PAL15, 1997.
Single sided 12” 45 (Side 1 clear vinyl – Side 2 drizzled paint design)
Side 1 –
8 Untitled songs


Tracklist –
14 Untitled Tracks


Yamazaki was forced to temporarily cease Masonna activities due to ill health & this allowed him to concentrate more fully on Space Machine.




Yamazaki's project Space Machine, that debuted with Cosmos from Diode Ladder Filter (Alchemy, 2001), was devoted to old-fashioned cosmic music for analog synthesizers. From around 1998 Maso had started to incorporate trippy, spacey electronic elements into Masonna performances. In order to better pursue these elements as a whole, he utilized Space Machine, his self-labeled "analog electronic cosmic sound project". For as long as he had been performing under the Masonna moniker, Yamazaki had been an ardent fan of early electronic music from the 50s & 60s. In order to research the impact that electronic sounds had upon the spiritual lineage audible in 60s US & Brit psychedelic music & also 70s Krautrock, Yamazaki began collecting analog synthesizers & vintage electronic equipment. He continuously experimented with these instruments in his home studio, & while groping towards an understanding of their scope & range, he discovered a new direction for his own music, a direction different from his noise work as Masonna.

Space Machine – Cosmos from Diode Ladder Filter, Alchemy Records ARCD132, 2001.
Tracklist –
11 Untitled tracks





However, by 1995 Maso had teamed up with guitarist Fusao Toda from Angel’in Heavy Syrup & began recording as Christine 23 Onna. The duo seemingly payed homage to 70s German electronic rock & 60s exploitation psych, a long way from Masonna’s usual noise chaos, but still a really noisy sound for their chosen influences. They released three works (1996s Space Age Batchelor Pad Psychedelic Music, 2000s Shiny Crystal Planet [a heavy blast of modern electro-noise psych with a retro edge, featuring raw electronics & guitar with breakbeat drums, dense but surprisingly varied & textured] & 2001s Acid Eater).

Christine 23 Onna – Shiny Crystal Planet, Alchemy Records ARCD119, 2000.
Tracklist –
Drive to Crystal Planet
Cosmic Jungle
Christine Hop #1
Christine Hop #2
Insect Voice
Mondo Nude Mode
Groovy Spacy ‘70
Hypnosis
Under Cover of Darkness
Pulse on Pulse
Moon Over
New Dawn on Crystal Planet

Christine 23 Onna – Acid Eater, Midi Creative CXCA1106, 2002.
Tracklist –
Fantastico
Acid Now!
The Last Hunter
Acid Eater
Planet Unknown
Space Mondo Topless
Love Galactic
Top of Spot
Wild Private
Erotopia (The Climax)




By that time Maso & Toda had started getting support with their music from Miyaji Kensaku & Akiba Shinichiro. This gave Maso a chance to expand what had been an instrumental project by adding his vocals. Their style shifted more toward noise influenced 60s garage with brutal fuzz & organ. On April 1 2005, Christine 23 Onna officially became Acid Eater (named after C23O’s last album). Acid Eater featured Takushi - vocals, synthesizers, & effects, Fusao - guitarist, Miyaji - organ & bass keyboards, & Akiba - drums.

Acid Eater - Virulent Fuzz Punk A.C.I.D., Time Bomb Records Bomb88, 2007.
Side A –
Eye
Nothing Can Bring Me Down
A.C.I.D.
Question of Temperature
Drive to C.P.
No Friend of Mine

Side B –
No! No! No!
LSD
Confessions of a Psycho Cat
Never Alone
Top of Spot
Free




Acid Eater – Dirty 7” EP, Hello from the Gutter HFTG006, 2008.
Side A –
Dirty
I Gotta Move (Kinks cover)
Side B –
Susie’s Gone – Acid Hell Mix

Acid Eater – Black Fuzz on Wheels, Time Bomb Records BOMBCD96, 2010.
Tracklist –
Yes, Motion
Oh Baby’s No
Road to Ecstasy
Well
Feel the Beat (Crime cover)
Love Has No Time (Miracle Workers cover)
Get Down
Follow Me
Searching for Love (The Tidal Waves cover)
Dirty

Enjoy,