26 December 2013
25 December 2013
24 December 2013
23 December 2013
22 December 2013
21 December 2013
20 December 2013
19 December 2013
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18 December 2013
17 December 2013
16 December 2013
15 December 2013
14 December 2013
12 December 2013
Liber Legis - The Book of the Law
Gothick – Nu-Had-Ra (Visions ov Liber Legis)
Gothick is a British industrial/experimental/rock band founded by Sean Woodward in 1999.
Gothick are influenced by the work of Aleister Crowley & the culture of Thelema (hence the spellling with a K). They create songs in traditional as well as ambient & soundscape formats. NU-HAD-RA is a trilogy based upon Aleister Crowley’s Liber Legis.
I - Invokation Ov Nuit, Amduscias Records AMR142, 2008.
decryption codes in comments
decryption codes in comments
Made in Darkness
Alchemikal Heirlooms ov Aiwass
Aleister's Amazing Bookcase
Templar Road
Bardo Becoming Reality
II – Evokation ov Hadit, Delta Wave Underground DWU 008, 2008.
Ride the Kundalini
Exorcist ov AL
Knowledge ov Thee Unseen Sun
Conversation ov Thee Unseen Sun
Eaiting for Thee Aeons to Fall
Snake ov Delight
III – Convokation ov Ra-HoorKhuit, Bleak Netlabel bleak014, 2008.
Aleph A’ayin Mem
Eyes ov Ra-Hoor-Khuit
I am a Hawk (Talking Revolution)
Ordeal X
Daath Cartographies
Lord of the Aeon
Thee Apocalypse Working
3-5-3
There is no Law
Babalon Beware
Abrahadabra Magick
Enjoy
NØ
I Need a Roadmap to Find the Revolution
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In the bands own words:
“The Bloody Mannequin Orchestra (BMO) was formed in the DC suburb of Bethesda sometime around 1982. It emerged, much as life did from the primordial soup, by happenstance: the original motive was nothing more than to gather in Colin's basement and make noise. Even prior to this, roots of BMO's eventual path could be found: many of the original band members would gather at Charles' house after school and rap out improvised lyrics to "Cool as Shit," which ultimately became a BMO classic, over a soundtrack provided by "Reggae Dancing," by Kool and the Gang.
Of the original group, Charles, Alex, Colin, Benjy, and Roger, perhaps only Charles, Colin and Benjy knew how to play an instrument. For perhaps a year, the band would get together on random occasions, and make tapes. Benjy didn't last long, because he listened to Yes and considered BMO to be "not music." During this time, BMO frequently invited guest stars to record on the tapes, including Brick, later immortalized in "Theme for Brick."
At some point, much to their suprise, BMO got asked to play a party at Natalie Avery's house. (She was later to be in the band Fireparty). The notion that someone would actually ask the band to play somewhere was a novel concept. The band played in the living room, and most of the guests at the party hung out outside on the lawn until they were done. Nonetheless, this was the beginning of the road to stardom for BMO.
BMO also at some point around this time released its first few songs on the Simply Suburbe compilation series by WGNS, which was then a studio consisting of limited equipment borrowed from Walt Whitman High School's audio-visual room by soundman and Fungus of Terror guitarist Geoff Turner (who also contributed some nimble guitar licks to some of the early recordings). The songs were mostly simple droning pop hooks without chord changes that would repeat and repeat for a while and then stop. Despite their simplicity, they were undeniably catchy. The band members would take turns playing different instruments, although Alex never played drums.
Sometime after this, Colin announced that his girlfriend, Sharon, was joining the band, giving BMO a permanent and capable guitarist for the first time. Sharon was a couple of years older than the other band members and actually had real experience in real bands (Chalk Circle). Lots of gigs at keg parties in the outer suburbs of Maryland and Virginia, attended by guests usually a few years older than most of the high school BMO-ers, ensued. Meanwhile, BMO was learning to write songs that had more than two chords in them, and then songs with verses and choruses, bridges and breaks. This party circuit also enabled BMO to learn to enhance its stage presence by writing set lists beforehand, rather than arguing onstage about which song to play next, as they previously had tended to do. And then, the first real gig, during "Zero Summer," 1983, at Oscar's Eye, a makeshift club above a transvestite bar in a condemned building sitting along what was then one of DC's porn strips along seething 9th Street. Other bands at this show included Nuclear Crayons, Wurmbaby, God & Co., and Man Ray.
Of the original group, Charles, Alex, Colin, Benjy, and Roger, perhaps only Charles, Colin and Benjy knew how to play an instrument. For perhaps a year, the band would get together on random occasions, and make tapes. Benjy didn't last long, because he listened to Yes and considered BMO to be "not music." During this time, BMO frequently invited guest stars to record on the tapes, including Brick, later immortalized in "Theme for Brick."
At some point, much to their suprise, BMO got asked to play a party at Natalie Avery's house. (She was later to be in the band Fireparty). The notion that someone would actually ask the band to play somewhere was a novel concept. The band played in the living room, and most of the guests at the party hung out outside on the lawn until they were done. Nonetheless, this was the beginning of the road to stardom for BMO.
BMO also at some point around this time released its first few songs on the Simply Suburbe compilation series by WGNS, which was then a studio consisting of limited equipment borrowed from Walt Whitman High School's audio-visual room by soundman and Fungus of Terror guitarist Geoff Turner (who also contributed some nimble guitar licks to some of the early recordings). The songs were mostly simple droning pop hooks without chord changes that would repeat and repeat for a while and then stop. Despite their simplicity, they were undeniably catchy. The band members would take turns playing different instruments, although Alex never played drums.
Sometime after this, Colin announced that his girlfriend, Sharon, was joining the band, giving BMO a permanent and capable guitarist for the first time. Sharon was a couple of years older than the other band members and actually had real experience in real bands (Chalk Circle). Lots of gigs at keg parties in the outer suburbs of Maryland and Virginia, attended by guests usually a few years older than most of the high school BMO-ers, ensued. Meanwhile, BMO was learning to write songs that had more than two chords in them, and then songs with verses and choruses, bridges and breaks. This party circuit also enabled BMO to learn to enhance its stage presence by writing set lists beforehand, rather than arguing onstage about which song to play next, as they previously had tended to do. And then, the first real gig, during "Zero Summer," 1983, at Oscar's Eye, a makeshift club above a transvestite bar in a condemned building sitting along what was then one of DC's porn strips along seething 9th Street. Other bands at this show included Nuclear Crayons, Wurmbaby, God & Co., and Man Ray.
Soon thereafter, BMO played dc space and the 9:30 club, and many more gigs ensued. On an amazing night of music on October 7, 1983, BMO played its first 930 gig, while across town, REM played the Ontario Theater and the Residents played the Pension Building. Over the coming months, the band played with a variety of other groups including Grand Mal, the Velvet Monkeys, Cereal Killer, Hate from Ignorance, Madhouse, and the Crippled Pilgrims. Although this was not a conscious move on the band's part, the music fit in with a thriving art-punk scene centered on dc space which included the bands listed above as well as bands like Egoslavia, 9353, and Brickhouse Burning. The scene coexisted, sometimes uneasily, with the larger, more ascetic harDCore scene.
In March 1984, the band played a now-notorious show at the 930 club with Einsturzende Neubauten. The show was marred from the start by an unprecedented blizzard which delayed even the soundcheck until 10pm. Also, Einsturzende Neubauten had asked to use BMO's instruments. Einsturzende played a wild set, which included setting the stage on fire and taking a jackhammer to the 930's famous center-stage column; but a visibly wasted Blixa also started wrecking BMO's instruments. Einsturzende fled town, claiming they had no money to pay for the damage. Moral of the story, obvious in hindsight: never lend your instruments to German industrial bands that make music by banging on things!
Another memorable BMO moment came in the spring of 1984 when the band played the talent show at their own high school, using a ruse to get in by auditioning with jazz/swing music rather than their usual pop-punk. This was a notable show both because of the size - 1,500 people, bigger than the largest number you could pack into a packed 9:30 club - and because a substantial proportion of the audience was hostile. Mayhem broke out as BMO's small gaggle of fans, including representatives of Reston-based Pudwak, rushed the stage. As the talent show organizers realized that the band was playing punk instead of what had been expected, they tried to shut the show down by lowering the hydraulic stage into the pit. The stage got stuck halfway down (one report has it that members of another band at the talent show prevented the organizers from lowering the stage) and the band wrapped up with a rousing rendition of "Cool as Shit." On a tape of the show made from within the audience, you can hear the crowd roaring in disapproval and horror at BMO's twisted music.
The band began recording at Inner Ear with money garnered from gigs, and put out its first and only record, Roadmap to Revolution in the spring of 1984. By the time the album came out, the band had already begun work on Streetlights in the Dark. Much like the Beatles who came apart while recording Let it Be, BMO's work on Streetlights in the Dark was plagued by bickering. The band broke up in summer 1984, after playing a sold-out show with the Dickies (who didn't show due to an injury), and Streetlights was released posthumously. Though little-known compared to Roadmap, and only available on cassette, some regard this as the band's best work.”
In March 1984, the band played a now-notorious show at the 930 club with Einsturzende Neubauten. The show was marred from the start by an unprecedented blizzard which delayed even the soundcheck until 10pm. Also, Einsturzende Neubauten had asked to use BMO's instruments. Einsturzende played a wild set, which included setting the stage on fire and taking a jackhammer to the 930's famous center-stage column; but a visibly wasted Blixa also started wrecking BMO's instruments. Einsturzende fled town, claiming they had no money to pay for the damage. Moral of the story, obvious in hindsight: never lend your instruments to German industrial bands that make music by banging on things!
Another memorable BMO moment came in the spring of 1984 when the band played the talent show at their own high school, using a ruse to get in by auditioning with jazz/swing music rather than their usual pop-punk. This was a notable show both because of the size - 1,500 people, bigger than the largest number you could pack into a packed 9:30 club - and because a substantial proportion of the audience was hostile. Mayhem broke out as BMO's small gaggle of fans, including representatives of Reston-based Pudwak, rushed the stage. As the talent show organizers realized that the band was playing punk instead of what had been expected, they tried to shut the show down by lowering the hydraulic stage into the pit. The stage got stuck halfway down (one report has it that members of another band at the talent show prevented the organizers from lowering the stage) and the band wrapped up with a rousing rendition of "Cool as Shit." On a tape of the show made from within the audience, you can hear the crowd roaring in disapproval and horror at BMO's twisted music.
The band began recording at Inner Ear with money garnered from gigs, and put out its first and only record, Roadmap to Revolution in the spring of 1984. By the time the album came out, the band had already begun work on Streetlights in the Dark. Much like the Beatles who came apart while recording Let it Be, BMO's work on Streetlights in the Dark was plagued by bickering. The band broke up in summer 1984, after playing a sold-out show with the Dickies (who didn't show due to an injury), and Streetlights was released posthumously. Though little-known compared to Roadmap, and only available on cassette, some regard this as the band's best work.”
Bloody Mannequin Orchestra – Roadmap to Revolution, WGNS Recordings DM 84009, 1984.
decryption code in comments
decryption code in comments
Side 1 –
Cauldron of Fright
Streets of Saigon
Children Encased
Meal at McDonalds
Ritual
Man in Glass
Side 2 –
On the Verge of Nothing
Book of Lies
The Blender
Cool as Shit
Enjoy,
NØ
10 December 2013
This Musick is Magick
Tracklist –
Five Point Star
Furfur
Psychedelick
Ascension
Running Through Invisibility
Magickgrl
A handmade EP release featuring new music & art by Jarboe, from the Mothercrow Studio.
Enjoy,
NØ
NØ
09 December 2013
Now There'll be Muggers in the Street
Somehow I let this slip by without mention. Making up for that major oversight right now. Sorry, bredda.
On Dec. 2, 2013, reggae singer Junior Murvin, best known for the 1976 hit song “Police & Thieves” died in Jamaica.
Side A –
Roots Train
Police & Thieves
Solomon
Rescue Jah Children
Tedious
Side B –
False Teachin’
Easy Task
Lucifer
Workin’ in the Cornfield
I was Appointed
Everliving; Everfaithful; Eversure.
Ras Tafari.
NØ
08 December 2013
There is a System to my Madness
System 01 – From Psychodelics to Cybernetics, Interfisch IF-SETH 026 MS, 1991.
decryption codes in comments
A-Side (over) –
Any Reality is an Opinion
From Psychodelics to Cybernetics
Paralysed Force
B-Side (this) –
Any Reality is an Opinion (instrumental)
From Psychodelics to Cybernetics (instrumental)
Know Time
System 01 – Victim 34 EP, Interfisch 01730-08, 1992.
Side I –
Victim 34
Drugs Work
Side II –
68 December 30
The Pleasure Principle
Drugs (instrumental)
(side I plays at 45rpm – side II plays at 33rpm)
System 01 – Drugs Work 2xLP, Tresor - Tresor 28, 1994.
side a –
Drugs Work
The One Mind
Take My Soul
side b –
Disembodied Voices
Bug Powder
Deadly & Addictive
side c –
Mind Sensations
Paralysed Force
side d –
You’re like Me
Family Drugs
Enjoy,
NØ
07 December 2013
Kissy Sell Out
Groove Armada (with Mutya Buena) – Songs 4 Mutya promo, Columbia 88697099882, 2007.
decryption code in comments
decryption code in comments
Tracklist –
Song 4 Mutya (A1 Panic People remix)
Song 4 Mutya (Linus Love Dub remix)
Song 4 Mutya (My Digital Enemy remix)
Song 4 Mutya (My Digital Enemy Dub remix)
Song 4 Mutya (Sunset Strippers remix)
Song 4 Mutya (Kissy Sell Out remix)
Song 4 Mutya (radio edit)
Enjoy,
NØ
Don't Forget the Vitamin B12
B12 – Electro-Soma, Artificial Intelligence 04, Warp Records WARP CD9, 1993.
decryption code in comments
decryption code in comments
Tracklist –
Soundtrack of Space
Hall of Mirrors
Mondrin
Obsessed
Bio Dimension
Basic Emotion
Metropolis
Obtuse
Debris
Telefone 529
Satori
Static Emotion
Enjoy,
NØ
Nothing at All
Rob Dougan – Furious Angels (Special Limited Edition 2CD), Reprise 48430-2, 2003.
decryption code in comments
decryption code in comments
CD 1 –
Prelude
Furious Angels
Will You Follow Me?
Left Me for Dead
I’m not Driving Anymore
Clubbed to Death (Kurayamino variation)
There’s Only Me
Instrumental
Nothing at All
Born Yesterday
Speed Me Towards Death
Drinking Song
Pause
One & the Same (coda)
exclusive track – Clubbed to Death 2
Will You Follow Me?
Furious Angels
Left Me for Dead
I’m not Driving Anymore
There’s Only Me
Instrumental (duh!)
Nothing at All
Born Yesterday
Speed Me Towards Death
One & the Same
Enjoy,
NØ
06 December 2013
In the Lap of Luxxury
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Luxxury – Rock & Roll (is Evil), Nolita 009, 2006.
decryption code in comments
Tracklist –
Drunk (Expensive mix)
Rock & Roll (is Evil)
Dirty Girls (Need Love Too)
Sable Starr
Sweet & Vicious
Sex with Rich People
I Know There’s Something Going On
(A Tragic Waste of) Perfectly Good Love
Eine Kleine Indie Rock Gesamtkunstwerk
The One You Adore
Understood (Darth Vader mix)
Girl, You’re so H.O.T.T.
Vanity Affair (It’s a Luxxury)
Your Drunk Sister
Drunk (Expensive instrumental)
bonus remix tracks –
Drunk (Expensive remix)
Drunk (Lovesick Vocoders at Night remix)
Enjoy,
NØ
05 December 2013
It's All About Exposure
Various – About Exposure, self-released, 2003.
decryption code in comments
“We
believe that music exploration has definitely been constrained by means
of property, money makin’, & fame gainin’. Therefore these
recordings are given away free. 200 copies were distributed hand by
hand. Keep copying. The cost of this project was 100€.”
Tracklist –
About Exposure
Get Rid of Your Social Beds
Worry
Remember, Summer has Changed
32 Questions Never Asked
Reve
Come on, You Fucker Stop Calling me (Names)
Gionis
World War III Aiming at Me
Entertained
We Live in War
Out of this World (Vive la Paralysie)
Μεγαλώνοντας
Man Extension Active
Εσώτερο Διάστημα
Nano
I Want a Riot to Burn my Store
Manos Felt Asleep
My Name is Thomas: tracks 1,4,7
The Night that Donna Martin Lost her Virginity: tracks 2,5,9,11-12,16-17
Rud[r]: tracks 3,6,10,13,15,18
Xpiths: tracks 8,14
(note: I translated the names of tracks 13 & 15 in the .zip file to avoid problems unpacking with WinRar or some of the others that have language issues. Don’t really seem to have that problem with 7zip [I learned my lesson as I was traveling around the world]. The file can be correctly renamed from the above list or from the ID3 info.)
Enjoy,
NØ
04 December 2013
In a State of Nervous Collapse
Magazzini Criminali – Crollo Nervoso, Italian Records TIXE 003, 1980.
decryption code in comments
Side A –
Mogadiscio 1985 / Los Angeles international Airport tre anni dopo
Side B –
Saigon luglio 1969 / Africa agosto 2001
Enjoy,
NØ
03 December 2013
The 1st Psychedelic Album
Alan Watts – This is It, MEA 1007, Sausalito, California,
1962.
decryption code in comments
Side I – (mono)
Love You
Onion Chant
Gagaku-ku
Fingernail Poem
Umdagumsubudu
Side II – (stereo)
Metamatic Ritual
The End
Enjoy,
NØ