sabato 19 aprile 2008

welcome to the undergorund mirror of LOST IN TYME


Wednesday, December 31, 2008


Lost-In-Tyme (Main Page) : Psych - Acid - Folk - Garage.....
Lost-In-Tyme : Prog - Kraut - Classic Rock - Blues.....
Lost-In-Tyme : Alternative - Punk - New Wave.....
Lost-In-Tyme : Funk - Soul - Jazz - World.....
Lost-In-Tyme : Index/Archives Page....

Announcement :
From now on, Lost-In-Tyme will be devided into 4 different blogs depending on genre.
All new albums will be posted to the related Lost-In-Tyme blog.
We hope that you will find our effort interesting and worthy enough.

Enjoy !!!
(And Leave Comments)

mercoledì 19 marzo 2008

February-March 2008

Saturday, March 15, 2008

Pax Cecilia - 2007 - Blessed Are The Bonds

BLESSED ARE THE BONDS, our 2007 release, is now available for free download on our website, We have a few remaining physical copies we will be distributing at shows and in person, we thank everyone who requested a copy, and we hope that you continue to share our music with others...

Reviewers and other friendly web-publications:

The Muse's Muse
"The Pax Cecilia has created an album that reconfigures the possibilities of ambient, art-rock and progressive metal, making it sound beautiful, menacing and refreshingly new as they do it. Blessed are the Bonds is one of the few pieces of art that transcends definition, and transforms nothing more than twelve notes into a musical force that will reveal something different with each listen. For an album that will only cost you an hour, this is nothing short of a masterpiece."

Sputnik Music
"I haven't been stirred by an album like this in a long long time. There is a divine power boiling inside of Blessed Are the Bonds that makes it feel like the stars are aligning..."

Maelstrom Online
"Blessed are the Bonds is an album that reassures people that music is actually art. The hold this album has on your emotion is almost exquisite, as it runs the gamut from sublime to disheartening..."

Deaf Sparrow Zine
"Blessed Are the Bonds is one of those ambitious records that travels through foreign and uncharted territories, conquering all and in the end coming home triumphant..."

Metal Review
"I’ve simply run out of great things to say about this band and this album, and frankly I’m not sure there are enough words to do it justice."

"I just stood in awe of the majestic metal ambient awesomeness."
- John Stepp

Download it here :

Sunday, March 2, 2008

Deus Ex Machina - 1990 - Motorpsycho

Deus Ex Machina - 1990 - Motorpsycho

Tracks :
1 Inspiration
2 Mass Media
3 Motorpsycho
4 Unreliable
5 Even If We Lose
6 Curious
7 Chase Me
8 Deus
9 Execute *
10 Iraq'n'roll *
11 False Promises *
12 Killing My Name *
13 December *

Review :
The band's first release came as a violent punch in the stomach to the unsuspecting Greek scene of 1990. Raw and romantic at the same time, established Deus Ex Machina as one of the biggest names for the years to come until today. A true classic! Current CD includes fully remastered original album with bonus tracks of long out of print band singles, complete with extra rare, older material previously released on compilations only, plus the infamous "Execute/Iraq'n'Roll" single.

Bio :
Deus Ex Machina were formed in 1989 by Dimitris Spyropoulos and Dimitris Manthos in Athens, Greece. Spyropoulos and current drummer Yiannis Venardis were veterans of the local punk scene of the early 80s. The band eventually gained overwhelming acceptance of the alternative crowds.In the years to come, this resulted in over 500 concerts with increasing success, establishing DXM as a predominantly kicking live band in spite of their limited discography.

In the course of their history DXM have suffered several setbacks including a number of serious car accidents and repeated personnel changes. So far, not only did they persevere, but on top of every adversity, they seem to come out on a limb with added stamina each time. Nowadays, DXM are considered as one of the major established acts of the greek alternative scene. Some of the highlights of their history include their appearance in landmark anti-Bosnian war concerts in Skopje, FYROM in 1994. In 1995, at the height of the Bosnian war, they toured Serbia. Year 1996 finds them appearing in major festivals in the cause of peace in the Balkans. Year 2000 was marked, among other things, by their memorable appearances at the Biennale 2000 in Torino, Italy.

Furthermore, over the years DXM have performed in a large number of concerts promoting social consciousness, which is also reflected on the lyrics and the overall attitude of the band. More notably, in the last two years, they have appeared several benefit concerts supporting the cause of the Zapatista native insurgents of the Chiapas region in Mexico. A respectable sum has been raised for the erection of a school for Zapatista children to be completed in the year 2004. The band has already accepted an invitation to appear at the completion ceremony.

The next major step is coming with the release of their latest Signs LP/CD in February 2003. This sums up effectively the final result of the last three years of hard work and experimentation. The album was produced by accomplished producer Hardy S. Party (Giant Sand, The Style Lab) marking the opening of a new phase in the evolution of the band.

As active supporters of the peace movement, they participated in several protest activities against the war in IRAQ. Suffice to say that this last war came as if anticipated by the band's grimly prophetic "Iraq 'n' Roll". The song was written back in 1991 inspired by the then recent Gulf War.

More info about the band here :

Download or Buy

Thanks regularpaul for this one !!!

Friday, February 22, 2008

Hetch Hetchy - 1988 - Make Djibouti

Hetch Hetchy was Lynda Stipe's band (under the name Lynda Limner) after the demise of Oh-OK. Although HH existed for several years in Athens and Gainsville, GA, they released only this mLP and an LP- both on the short-lived but great Texas Hotel records (in 1991 they had recorded several tracks for a third album, that was never released). Hetch Hetchy sound rather different in their two LPs - in fact only Linda Limner/Stipe plays on both - 'Make Djibouti' can be called post-punk, dark, even gothic (as gothic can be a Michael Stipe produced album), though "Swollen" (with Hugo Largo on production) has more ethereal sound.

The album opens with the clarinet of Armistead Welford (Love Tractor, Gutterball, Sparklehorse) and then, over a thick wall of keyboards, comes the great voice of Linda. With 'Prescent' it's moving to a more Cocteau Twins territory, though the music is more unpolished. Bass-dominated and dark enough 'Sad Song' closes A-side. 'Catscan' and 'Hard on Lynda' that opens and closes the B-side are like a lengthy track interruped by the nightmarish 'Urgent'. They both have strong beat and Lynda shows her Siouxsie influences - and an impressive voice.

Although Lynda Stipe in this lengthy interview for Perfect Sounds Forever, refers to 'Swollen' -Hetch Hetchy's second (and last) release- as their best, I find Make Djibouti more interesting and adventurous. Even if 'Swollen' has much improved playing and sound, I enjoy 'Djibouti' better, because it has more edges, great ideas and atmosphere.

After Hetch Hetchy Linda Stipe formed several bands, and today plays cello in Flash To Bang Time

Here are the links: link1 or link2

Tuesday, February 12, 2008

9353 - 1985 - We Are Absolutely Sure There Is No God

More incredible paranoia pop. Rerelease of the decade (10 out of 10)
(FLEX discography of US punk & hardcore on the now oop 1993 CD reissue of "We are absolutely sure there is no god" LP)

Back in 80s, Washington DC undreground scene, was a hardcore dominated scene (remember Minor Threat and Governement Issue). There were a few bands with substantialy different sound, like the legendary Crippled Pilgrims and Hyaa!, but these were the exceptions to the rule. And ...there were 9353.

Because of the pain complain to the rain all about this insane game of what you're doing your freedom will be taken away for the rest of your days how can you regard it as only an inconvenience and if you ask him his name he won't have the right answer ask him his name he'll just leave the room ask him his name he won't have the right answer stuck in the wrong place without the right answer because of the pain complain to the rain all about this insane game inside of our minds our freedom is taken away for the rest of our days we regard it as only an inconvenience and if you ask us our names we won't have the right answer ask us our names we'll just leave the room ask us our names we won't have the right answer...

This is an exerpt from the lyrics that fill one entire side of the inner of the vinyl release (in tiny-print). I could have chosen anything from the lyrics and it would be as representative as this one: unstoppable blubbering without any obvious meaning, start or end, yet with an inner logic. With this kind of lyrics, it may be true that they have difficulty to finish their songs, as I've read in a forum.
Add to these the vocals of Bruce Merkle (who is responsible for the lyrics), which are like you have a Dan Treacy (without the accent) and Frank Zappa duet in the same song, the continuous pumping rhythm of Vance Bocknis' bass and Dan Joseph's drums, the heavily echoed but nevertheless clear sound of Jason Carmer's guitar and the music which is kinda post-punk, like a mutated Bauhaus/Gang of Four hybrid, take a look at the photo below and imagine how this band would seem to the hardcore audiences of 1984-85 Washington DC.
From the opening "Spooky Room" (as good as their famous "Famous Last Words" from To Whom It May Consume LP, to the gloomy "Bastard", to the trashed cover of "Born To be Wild" to the mocking "Viva La Sleaze" that closes the LP, there's a twisted sense in this record, yet all fall perfectly in place: there's nothing pretendious here, just four guys trying to wreck everything they can, with their music, humor and energy.

Although accused from Trouser Press as not too accomplished musicians (which I think is not at all true - especially for this album), 9353 created their own sound and made some astonishing music, VERY different from its time and place. After all, one of the good things in rock is that you don't have to know how to play any instrument to make good music - talent and imagination is enough, and 9353 had them both.

There is a widely spread rumour about the origin of their name i.e. that they "were named after the specimen number on a jar the singer stole from a medical museum. The jar contains a dead foetus in formaldehyde. The baby has one eye and a penis growing out of its forehead." Although one of the band members made clear that their name was chosen because these four numbers just sounded good, this foetus did appeared on the label of the B-side of "We Are Absolutely Sure There Is No God" - not very nice to look at.

9353 made two LPs in the eighties (To Whom It May Consume -1984 and We Are Absolutely Sure There Is No God -1985) and one in the nineties (Insult to Injury, Magically Delicious -1994). Unfortunately their two original vinyl albums, their CD re-issues of 1993 (with several bonus tracks) and their 1994 reunion CD are desperately out of print, with no sign of a future re-release.

Regarding the jacket of "We are..." LP, it was made to have two front sides. Although the CD reissue used the 'hell' cover as front, I've always prefered the 'collage' cover.

Recently Bruce Hellington (formerly Merkle) and Vance Bocknis reformed the band and they seem very active. Jason Carmer is now working as a recording engineer in San Francisco Dan Joseph (who is now a composer based in New York) in his site calls 9353 "Washington, DC's notorious Southern New Wave Metal" band.

This is from 9353's myspace page
This is where I borrowed the band promo photo from 25 years ago and this recent photo of the reformed band.

There's also a myspace page from 9353's friends, where you can listen to some more of their music.

Detailed discography here

Unfortunately Adult Swim records, the label that reissued both their LPs in 1993, seems to be inactive today. Last time I checked though 9353s releases were officialy out-of-print.

And finaly here are the links for the LP: link1 or link2

This is for my friend gomonkeygo - you should visit his New Disease blog for live recordings with very good sound quality from some of the best bands of the 80s.

Sunday, February 10, 2008

World of Pooh - 1989 - Land of Thirst

"The Yanks have colonized our subconscious" (Wim Wenders - Kings of the Road)

Any kid listening to rock music has his/her mind haunted by America, at least by its image.

I've never been to San Francisco, yet I consider it something like a promiced land, ever since I learned about Ashbury Height and Summer of Love (Yes, I know there's nothing left today, but this doesn't change a bit of the image I have). For many years I've listened carefully to any band came from there - and still do. Every now and then I find music that assures me that my little ...err obsession is not wrong at all, on the contrary it's very rewarding (the latest find is of course Wooden Shjips).

After this rather off-topic introduction, let's go on to World of Pooh, a very promising band from SF, that didn't last enough to get known, yet their few releases are objects of desire in certain circles - not only because of their rarity but for their musical value as well.

Brandan Kearney, Barbara Manning and Jay Paget were World of Pooh. Kearney said that the band existed from 1983, though Manning joined in 1986. Brandan Kearney is a major figure in San Francisco undreground/experimental circles and participated in a million bands - the most known are Caroliner, World of Pooh and Tarnation. Barbara Manning -former 28th Day- while in the WoP, released her first solo album "Lately I Keep Scissors" (with Greg Freeman on production and Kearney playing in it) which is an absolute must have, and if you don't listen to it you'll regret this huge lack in your musical education for the rest of your life. Jay Paget was a long time Thinking Fellers Local Union 282 member.

This trio soon became very hot action, due to their amazing shows in the SF clubs. In 1989 the cult Nuf Sed label released their only LP - unfortunately in very small quantities- which almost immediately went out of print. Shortly after that, the band was no more, due to Kearnan and Manning's differences. There were two more 7-inch releases after their demise and the rest of their output are contributions to numerous compilations (
To Sell Kerosene Door to Door anyone?) that are even rarer than the LP.

"Land of Thirst" never re-released, although there's a continuous demand from the fans until nowadays, and became a part of the myths and legends of the US underground. Around 2001-2002 there were discussions about a CD with all the released material of World of Pooh, but Kearney himself
put an end to the release of this project, although it had actually started to take shape. This is surely a pity, because this means that their great music will remain unheard and unknown to the unlucky people who weren't in San Francisco around 1988-89 or aren't visitors of Lost-In-Tyme!

Well, what about the music? Described as "
terse, poppy and loopy" and "nervous pop/art group" by two gyus who know what they're talking about and, besides that, they have saw them live.
I've started my hunting for "Land of Thirst" after listening to a couple of tracks (Mogra being one of them) in the radio in 1990, believing that World of Pooh was the new Barbara Manning group, and this was a psychedelized version of her "Scissors" album (which I've already had, as a huge fan of hers). When (after several years) managed to find it and listened to it from start to end, I realised that was not Barbara's new band. It's clear that Kearney had the last word to this record - even at Manning's songs - and in a way these songs (some of them already included in "Scissors") got the electrified treatment they need to earn their place in "Land Of Thirst" - not as psychedelic as I've expecting but nevertheless different, as they were performed by a band now and not from a solo artist, as in "Scissors". In fact they sound more "rockin" than the rest, just to underline the difference from the solo recordings. I'll mention that Gregg Freeman produced both records.
Not as chaotic as Thinking Fellers records, not as folk as Bedlam Rovers, more weird than X-Tall and Donner Party, I think that "Land of Thirst" is an essential record if you wanna know what kind of music was created and played in San Francisco in late 80s-early 90s. I wouldn't know if the love/hate relationship between Manning and Brendan was true or not, but "I'm On The Wrong Side", the only track they co-wrote and "Mr.Coffee-Nerves" and "Mogra" on which are both on vocals, are pure magic.

My personal favorites are the weirder tracks, but if you listen carefully to any of the 13 tracks of "Land of Thirst" you will discover a million beautiful details hidden in the background - distant voices, found sounds, tiny organs. You can discover this New Zealand "chunga-chunga" beat, made famous by the
Clean, the Bats and the Chills, you can discover the peculiar turns of the song melodies, that drive them out of the regions of pop. You can discover the psychedelic essence throughout the record. And you can discover three imaginative, talented, brilliant artists who made an exceptional record, full of songs that invite you to live with them, and believe me, it won't be a boring life.

Link1 or Link2

You can find their ultra psychedelic version of Carpenters' "Druscilla Penny" here.

sabato 19 gennaio 2008

January 2008

Monday, January 28, 2008

Ariel (Pink) Rosenberg's Thrash n' Burn (1998)

No longer available 2-CDR issue of early Ariel Pink stuff. Song sketches, noise experiments, and shades of the greatness to come. Ariel Pink's music is spectacular, but even I think this stuff is pretty much for completists only. That said, I'm sure that there are other Ariel Pink completists out there, and this post is for you guys and gals.

We Are Back !!!

First of all my apologies for no replies to your mails for invitation to our "private" blog(s)...
But I couldn't reply to all this mails and explain why we "close" this page(s) for a couple of days.

"A private blog it's not a solution, so Don't send me requests for invitations. You will not have access for some days...that's all."

We had to back-up all the info and covers for all 4 Lost-In-Tyme pages.
That give us the possibility to open a New Lost-In-Tyme if blogger take "actions" against my account.

"Please note that repeated violations to our Terms of Service may result in further remedial action taken against your Blogger account."

Let's focus to the problem.

There is someone out there (mr. Shawn Gordon & P.A.P.)
who is trying to stop the illegal downloads...from thieves like us who offering,
and thieves like you who steal the mp3's. (This is his opinion about music blogs)

As you know 90% of the albums posted in this blog(s) are oop or unavailable for purchase, and the main purpose of this blog
it's to introduce the artists/bands to you.

We never said no to someone who request from us to remove the link or a post.
(Actually we ask for them also to give us a link for a place that you can buy the album directly from the artist --If this isn't promotion then what is ?--)

Let's see what albums have been deleted recently (among others)
from mr. Shawn Gordon & his gangs :
The Chemistry Set – Sounds Like Painting (Unreleased LP)
Offered from the Artist
Roger Humphreys - 1996 - Beyond the Wall of Sleep
Offered from the Artist
The Sun Blindness - 2007 - Like Pearly Clouds
Shared with Permission
Various Artists - Maidens In The Moor Lay Vol. III
Homemade compilation - mostly oop tracks
Various Artists - 1988 - The October Country
LP Only compilation (oop)
Various Artists - Boulders
LP Only compilation (oop)
...the list it's huge...

"Look bloggers, its very simple, copyright holder entails that they have certain rights - akin to rights of privacy that you all value highly - that will trump any of the anarchist thought swirling around. There maybe bloggers that actually work w/ the labels and remove stuff when notified but when you see links deleted that get reupped only because folks missed before they received complaints, then you lose the high ground in any event."

So you trying to tell me that this files should not be re-upped ?
I can't know if a link reported from someone who had the right to do it...or from someone who haven't have something better to do in his life (Like you mr. president).

You can ask from me to delete the files and not from rapidshare.
(If you have time for only one mail...otherwise you can contact me And rapidshare)
And i will delete/remove the link(s).

It's that simple. Don't try to close Lost-In-Tyme by sending DMCA complaints.
This will bring a negative result from that you're trying to do.

If you're trying to stop me...I'll try to do the same.
A war you give, a war you'll get.

Read more about those good people here :

More Tomorrow.

Tuesday, January 15, 2008

Lost-In-Tyme It's Under Attack !!!

We have a major problem with this DMCA complaints.
Someone it's trying to close Lost-In-Tyme...
Please note
that repeated violations to our Terms of Service
may result in further remedial action
taken against your Blogger account.
So I have to close this blog(s) before that happens.
I know that it sounds hard for all (especially for me)
But this blog it's not only download links.

It's a HUGE MUSIC LIBRARY and I can't let anyone to destroy it.
I will close tomorrow all pages.
(at least 'till I found a solution for this problem)

A private blog it's not a solution, so Don't send me requests for invitations.
You will not have access for some days...that's all.

Any proposals are welcome.

Monday, January 14, 2008

The Dream Syndicate - 1982 - The Days of Wine and Roses

On the one hand, where the Dream Syndicate came from was so obvious that it almost hurt. The Velvet Underground was a clear touchstone (if not quite the original LaMonte Young ensemble the band name referred to), as were the Doors, the Byrds, and any number of blues and country traditions and more. Had they been around in the late '60s, one might have wondered whether they would have garnered much attention in comparison. But the early '80s was the band's time and place, and their fusions of all the above and more via punk-inspired energy achieved its own level of deserved attention.

Capturing the original killer Wynn/Precoda/Smith/Duck lineup performing with inspiration throughout, The Days of Wine and Roses trumps the "paisley underground" tag the band was saddled with by being a great rock record, full on. While Wynn received the lion's share of attention thanks to his ghost-of-Lou Reed vocals and frontman status, arguably it's Precoda who is the real reason to listen in. Both his rave-ups and gentler shadings are phenomenal, as a random listen of songs like "Definitely Clean" and the sweet, Smith-sung "Too Little, Too Late" show. The Smith/Duck rhythm section grooves along fairly enough, at its best on the Krautrock-inspired chug of Precoda's composition "Halloween." Highlights include the romping "Then She Remembers," with a much more direct Wynn vocal that makes for good in-your-face fun, and the mid-tempo moodout of "When You Smile," Precoda's screeching feedback playing around the mix's edges.

Concluding with the epochal title track, which builds to a frenetic climax not once but twice, The Days of Wine and Roses is a grand treat.

review by Ned Raggett , AMG

Download It Here :

Métal Urbain + Metal Boys

Métal Urbain
Métal Urbain were heavily influenced by The Clash and 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 that foreshadowed the experimental possibilities that were explored by later post-punk bands such as Big Black. 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. (Métal Urbain's single "Paris Maquis" was Rough Trade's first release.) 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 A Sex Pistols did. As a result, the band broke up by 1979, though members scattered to form such groups as Metal Boys, A Doctor Mix And The Remix, and A Desperados.

Métal Urbain - L'Age d'Or (1985)

01 Hystérie Connective
02 Ghetto
03 Clé de Contact [Original Single Mix]
04 Lady Coca Cola
05 Panik
06 Futurama
07 Paris Maquis [Original Single Mix for LP Version]
08 Pop Poubelle
09 50/50
10 Anarchie au Palace
11 E 202
12 Numero Zero
13 Colt 45 [Live in 1980 as Metal Boys]
14 Clé de Contact [Live 11/78]
15 Lady Coke [Live 11/78]
16 No Fun
17 Metal Urbain
18 Anarchie en France
19 Hystérie Connective [Mix 2]
20 Atlantis
21 Créve Salope [1982 Remix]
22 Snuff Movie [1982 Remix]
23 Ultra Violence
24 Tango Sudiste

Combines all the studio tracks from Metal Urbain's three singles, plus live material, tracks from demonstration tapes, and posthumous remixes. Being a singles band, it is difficult to imagine sitting through two LPs worth of Metal Urbain, though as a historical compendium, L'age D'or is an essential document of one of the most innovative punk rock groups. Released on compact disc and double LP by Fan Club in 1985.


Métal Urbain - Anarchy In Paris (2004)
01 Panik
02 Paris Maquis
03 Hystérie Connective
04 Lady Coca Cola
05 Clé de Contact
06 Pop Poubelle
07 Fugue for a Darkening Island
08 Ghetto Schwartz
09 Ultra Violence
10 Futurama
11 Snuff Movie
12 Numéro Zero
13 50/50
14 Atlantis
15 Anarchie au Palace
16 E 202
17 Crève Salope
18 Hystérie Connective [Early Version]
19 Colt 45
20 Train
21 Sweet Marilyn
22 Little Girl of Love
23 Tango Sudiste
24 Panik

Anarchy in Paris! is a compilation of the essential 1970s material by France's only punk band to get it — and perhaps the only real French punk band ever. Metal Urbain were the forerunners of post-punk with their nut-job blend of blasting guitars, an over-torqued synth made to sound like a drum machine, and screaming, cheap synth lines marrying everything from the Stooges to Metal Machine Music to early Roxy Music to Eno's "Baby's on Fire" to Suicide's rock craziness. The Jesus and Mary Chain claimed them as an influence, and so did Steve Albini, and Rough Trade launched its label with a Metal Urbain single, yet they remain a myth, and a little-known one at that. Little may be changed by the issue of their complete output on one CD — with lots of unreleased and alternate tracks — but the quality is here. This is still noisy, messed-up, angular, in-your-face blasting, visceral punk — and in French! There are 24 tracks here containing the singles and the band's single long-player. None of the Metal Boys or Doctor Mix & the Remix material is here, as it came after the demise of Metal Urbain. There is little to say about this music except that unlike a lot of their contemporaries, Metal Urbain sound positively timely in the 21st century and just plain timeless, period. There is no nostalgia in their sound; they come across as righteously angry and blisteringly rock & roll, while pointing the way for the bands that came after them more so than just about anybody else. Awesome and exhaustive liner notes by Franco-punk historian Jacques Amsellam are provided, with lots of cool pictures, as well as complete lineup and discographical information. Fans of Wire's Pink Flag will dig this. Fans of the Stooges and 1970s Lou Reed or the Normal will, too. Actually, anybody who claims to like punk rock, historic or current, should appreciate this, not as an historical document, but as something dangerous, beautiful, vile, and necessary. - AMG


Metal Boys
Métal Urbain was scandalously ignored within our frontiers. They were the first authentic punk band to jettison guitars and make extensive usage of synths, they were the first signing, RT001 on Rough Trade’s mythical imprint. Metal Boys is one of their ‘nom de plume’. A change that reflects a time when they faced a confused identity and recorded alongside the English performer, China.

Metal Boys - Tokio Airport (1980)
01 New Malden
02 Parlez Moi d'Argent
03 Carbone 14
04 The Pleasure
05 Cafe Sale
06 Love in Dub
07 Colt 45
08 Commando
09 Hurry Back
10 Tokio Airport
11 Un Petit Peu D'Amour
12 Hidden Track

Tokio Airport stumbles at the first hurdle: lyrics and vocals. As with a lot of post-punk, or ‘avant new-wave’, the Metal Boys’ occasional lapses into lyrical dogmatism are hardly becoming: it’s not the content/context of the lyrics, but the way they’re rendered. Large parts of Tokio Airport are rather gauche, evoking the ‘just-out-of-college’ clumsiness that hamstrung a lot of post-punk artists. You can find a similar cringe-worthiness in the Gang of Four’s well-intentioned-but-slightly-trite class struggle polemic, The Pop Group’s Nietzschean abandon, and the declamatory surface-intent politics of some of the Rough Trade label crew.

But the Metal Boys generally win out on sound. There’s something obdurate about their songs, a completely unyielding fascination with the analog sound processing and the eternal endless pulse of Teutonic technology. “Carbone 14” sounds as future-perfect, yet completely of its age, as the early works of Severed Heads, or the Human League’s The Dignity of Labour EP; in these recordings you can hear DIY tactic grappling with then-modern electronics. The Metal Boys, like their predecessors Métal Urbain, were never rigid about ‘opposing all rock’n’roll’. If their relationship with the Rough Trade label contextualized the band within the feverish non-/anti-rock action of the post-punk collective, Debris and Hurbier were never shy of throwing a monstrous riff into their songs, roughed-up through tinny, overdriven production. The Ramones meets Cabaret Voltaire? Perhaps only for a few songs, like the opening “Colt 45”, but they make for nice jolts of energy among Tokio Airport’s more ruminative instrumentals, and the side-glances at warped pop, cabaret, and various other forms.

Were the Metal Boys prescient? That depends on how you view the tributaries that have run from the late 1970s and early 1980s. Electronic/industrial exploration has been taken up again by acts like Wolf Eyes, the post-punk/disco micro-revolution is being revisited by The Rapture, the itchy guitar non-pop by Erase Errata. But the Metal Boys’ aesthetic was too combinatory to be mimicked or followed, and modern practitioners of this music are too caught up following only one path to interpolate other genres into their constructs. And even if Tokio Airport is much less than perfect, if it falls and loses its way, doesn’t manage to fully transcend its era, it still sounds like little else. - Dusted Magazine



Saturday, January 12, 2008

Various Artists - 1988 - The October Country

Between exoticism and melancholy, dream and nostalgia, autumn lights and shadows and hidden joys, The October Country is the land of delicacy, of sensibility, of elegial lyricism, but with an element of detachment and nonchalance in the appearance and fading of colours, the anxiety of not immediately perceptible things. (from Viva Los Angeles II booklet)

This record was released in July 1988 (that means almost 20 years ago!), on Native Starkman & Son, and contains 8 tracks from 4 L.A. groups. It's the same scene and same time as Viva Los Angeles II compilation, but there are some differences: while Viva LA tried to present the wider selection possible, October Country concentrated in four only bands, fairly new at the time, with a similar approach. That means that you should expect an atmospheric, passionate music, with touches of 4AD and dark wave (LA style). The concept goes beyond this: Philip Drucker is responsible for this album, as he chose the bands and he produced the tracks of it. To emphasize on the unity of the music contained here, at the back cover are only the titles of the tracks, while on the front are only the names of the bands (no mention of Philip Drucker either!). This caused a minor confusion, as in the KZSU's excellent database, a Marnie's song is credited to the Soul Brothers and vice versa.
A few words about the bands: Dark Arts are (yes! they still exist) the band of Stephanie Payne, their two tracks presented here are dark diamonds, full of passion and their great first mLP, A Long Way From Brigadoon , was posted by Mystery Poster. Autumnfair were the group of Thom Fuhrmann (Savage Republic) and Val Haller (Jayne County, Flying Lizards, Lords of the New Church), with a sound closer to 4AD than S.R. Recently Mobilization records released Autumnfair 1986-1989 CD, which contains remastered version of their sole release and other tracks. As for Marnie you can read here (and listen to "Songs Hurt Me") and, if anyone's interested, there's a lengthy feature on her first LP here where you can view some photographs of my family as well (yes! I'm shamelesly promoting my blog!). I'll add that here are early versions of "The Courtesan" (instrumental version) and "Shanghai My Heart", which later appeared in her "Songs Hurt Me" LP (the Courtesan with vocals) and are, in fact her first recordings as a solo artist. The Soul Brothers are really brothers and they were the "veterans" of the 4 bands: they had already released three cassettes before "October Country". Their output varies enough (from radio collages to SST heaviness) to forbid putting any tag on their music. The tracks compiled here remind me the Insight bands (Glorius Din, Spahn Ranch) - just another proof of the concept thing: both of them were from their "we were rhythm gods" cassette, but they re-recorded them for this album.
If you want a conclusion, this is a fine dark, melancholic and seductive record.

a1 Dark Arts - Egeria
a2 Marnie - The Courtesan
a3 Marnie - Shanghai My Heart
a4 Autumn Fair - Naomi
b1 Dark Arts - These Are Made Of Love
b2 Soul Brothers - Tuesday Morning
b3 Soul Brothers - I Buried Paul
b4 Autumn Fair - Black Spring

Link for massmirror and rapidshare

P.S. - Savage Republic will be in Greece Jan. 18 (Athens) and 19 (Thessaloniki), begining their short European tour.

Friday, January 11, 2008

Tindersticks - 1993 - Tindersticks

A thrilling, revelatory debut, Tindersticks is a chamber pop masterpiece of romantic elegance and gutter debauchery. Within the framework of a remarkably consistent and mesmerizingly dank atmosphere, the group covers a stunning amount of ground -- "Her" is a crashing flamenco number, "The Walt Blues" is a tipsy organ instrumental, and "Paco de Renaldo's Dream" is an impenetrable cinematic monologue punctuated by subdued guitars, pianos, and strings. Stuart Staples' bacchanalian songs are obsessed with fluids, both bodily ("Blood," "Jism") and otherwise ("Nectar," "Whiskey and Water," "Raindrops"); no topic is too personal or too disturbing -- "Piano Song" is frightening in its callousness, while "City Sickness" is an unflinching examination of emotional and physical desperation. Fascinatingly constructed and strikingly ambitious, Tindersticks is insidiously labyrinthine: the music speaks softly but carries tremendous weight, and its hold grows more and more unbreakable with each listen.

by Jason Ankeny , AMG

watch them live here

download it here :
part 1 ~ part 2

Thursday, January 10, 2008

Fad Gadget - 1980 - Fireside Favourites

Pedestrian-State of the Nation-Salt Lake City Sunday-Coitus Interuptus-Fireside Favourite-Newsreel-Insecticide-The Box-Arch of the Aorta

The early eighties saw the emergence of the electronic/dance phenomenon in Europe. At the forefront of this movement were four names: Cabaret Voltaire, The Human League, The Normal, and Fad Gadget (Frank Tovey). Tovey released his first single Back to Nature in 1979 and was the first signing to Daniel Millers Mute label. Miller (as The Normal) had previously put out his own composition T.V.O.D. c/w Warm Leatherette and was thinking of starting a label when he met Tovey. As Fad Gadget Tovey played solo with a drum machine and synthesizer confusing audiences at the time used to the standard rock format. Now, obviously, the scene is radically different with electronic sounds and beat boxes being the norm.

His name is quoted by Depeche Mode and Erasures Vince Clark as a major inspiration and the influence of Tovey's early experiments in electronic music can be heard in the likes of the Pet Shop Boys, New Order and all the Techno/Dance Bands of the 90s. The main characteristic of Tovey's work that distinguished him from his contempories and his followers was the quality of his lyrics. Not satisfied with singing pseudo science fiction (a la Gary Numan) or crass love songs, Tovey developed a style more akin to Dylan or Lou Reed, his black humour often confusing the punters at the time more interested in style than content.

His songs 'spoke of the diseases and fears poorly hidden from view. They spoke for and against the little man, the ubiquitous civilian bewildered by the speed of events threatening to sweep him up or leave him behind. And they spoke in a variety of voices: dead pan, severe, sardonic, satirical and, finally, disarmingly sincere....' -Biba Kopf '91

Imagewise Tovey never played the pretty pop singer role preferring to be photographed by Anton Corbin covered from head to toe in shaving foam or tarred and feathered. His stage shows have often been mad acrobatic events. Where most performers remain untouchable he would purposely goad an audience, sometimes somersaulting from the stage (before stage diving became an international sport), like a latter-day cockney version of Iggy Pop his audience passing him around above their heads before depositing him back on the stage and screaming for more.

After four critically acclaimed albums Tovey dropped the Fad Gadget tag and continued to make albums for Mute under his own name. Throughout his career he has influenced and been influenced by many styles, mixing electronics with rock, punk, folk, and dance music. This has inevitably made it hard to pin him down. His last two albums, for instance, featured an electric banjo which he had custom built for Paul Rodden a member of his previous touring band The Pyros. Tovey has continually toured Europe and has over the years built up strong fan base who flock to see his shows never knowing what to expect this time but always leaving stunned by his performance.

The mark of a talented artist is there for all to hear in the ten albums he has created. All challenging musically, all intriguing in their lyrical content. Fad Gadget has recently come out of semi-retirement and done his first performance in six years for Elektrofest 2001 at the Mean Fiddler, London. The eagerly awaited show has left people wanting more. 'It's about time electronic music comes back to something more organic, soulful and powerful, but at the same time meaningful and songorientated.' - aquaplaning, Festival de Musique Electroniques 2001Latest news is that Fad Gadget will be realising a Best of album and will support Depeche Mode on their Exiter Tour in Europe beginning September 2001.

source :

Download It Here :
Fad Gadget - 1980 - Fireside Favourites

Monday, January 7, 2008

We’re Late For Class - A Collection [2008]

A Collection (2008) We're Late For Class
One of the band members of We’re Late For Class asked me to give this album some attention, witch I do whit pleasure.

We’re Late For Class is a college band with rotating members who play a kind of music I label as Alternative, Improvising but the terms Psychedelic and Ambient also came to my mind.
And I must say that I like this album very, very much, smooth playing, very likable…

20 posts on their blog so far and the latest post is this best of album, all free downloads provided by We’re Late For Class so there is more you can get from them, all no commercial stuff and only available on the blogsphere.

A quote from their latest post; A greatest hits? Are you guys kidding? Well... sorta. It's just that with 19 posts of original, improvised music (and a Faust cover), who in their right mind is going to weed through it all to hear what we're up to? Certainly not you! So, for those curious about stoned improvisors who give away their music, here are some of our more tolerable jams.
You can read more HERE

Track list;
01 It's A Rainy Day, Sunshine Girl
02 Burden Bearers (of Aristocracy)
03 (Hand Me That) Revolutionary Coat
04 (Another) Summer of Heigel
05 Theme To John Carpenter's King Heroin
06 Blunt Force Trauma (Unit)
07 Fukhausen (Excerpt)
08 Tommy Reese's DTs (Relapse)
09 A Buoy, 40 Yards Out
10 Final Moments of Barry Cowsill (Redux 4)

Free downloads from;

Style; Alternative, Improvising

BTW. Very nice cover art…

V.A. - We’re All Normal And We Want Our Freedom

We’re All Normal And We Want Our Freedom
A Tribute To Arthur Lee & Love

Tracks :
1 Emotions – Peter Principle
(from the album : Love)
2 Willow Willow – Eggs
(from the album : Out Here)
3 Robert Montgomery – Urge Overkill
(from the album : Four Sail)
4 Message To Pretty – David Kilgour & Martin Phillipps
(from the album : Love)
5 Dream - Johnson
(from the album : Four Sail)
6 Alone Again Or - Gobblehoof
(from the album : Forever Changes)
7 Which Witch Is Witch - Hypnolovewheel
(from the album : Reel to Real)
8 Que Vida ! – Uncle Wiggly
(from the album : Da Capo)
9 Keep On Shine In – Diesel Meat
(from the album : False Start)
10 Softly To Me – The Gamma Rays
(from the album : Love)
11 She Comes in Colours – Mad Scene
(from the album : Da Capo)
12 No Matter What You Do – Love Battery
(from the album : Love)
13 Car Lights On In The Daytime Blues – The Jetty
(from the album : Out Here)
14 My Flash On You – Fly Ashtray
(from the album : Love)
15 Signed D.C. – The Deer Team
(from the album : Love)
16 Bummer In The Summer – Smack Dab
(from the album : Forever Changes)
17 I’m Down – HP Zinker
(from the album : Out Here)
18 Stand Out – Das Damen
(from the album : Out Here)
19 Between Clark And Hilldale – Teenage Fanclub
(from the album : Forever Changes)
20 Can’t Explain - Trycycle
(from the album : Love)
21 You Are Something – Television Personalities
(from the album : Out Here)

Named after a key line in Arthur Lee's "The Red Telephone" (itself a steal from the then-fashionable play Marat/Sade, also parodied by the Bonzo Dog Band in their freakout classic "We Are Normal"), the extremely uneven Love tribute We're All Normal and We Want Our Freedom at least sidesteps the common tribute band malady of songs that sound like the original versions, only not quite as good. Nearly all 21 bands on the compilation interpret Lee's songs in their own styles, a good thing since a band probably couldn't sound like Love's unique blend of hard rock and easy listening if they tried. The tracks by Teenage Fanclub, the Television Personalities, Eggs, and especially David Kilgour and Martin Phillips' sublime reading of "A Message to Pretty" are all excellent. They're not a patch on the originals, of course, but they show what can happen when a good band and an interesting cover come together.
~by Stewart Mason, All Music Guide

"Someone said that money can't buy me love, and this proves it.
This album is one of the greatest honors besides my mother Agnes Lee birthing me into the world. Here are 21 songs, written by the group Love and done by other artists, thanks to Sloan Johnson, as a tribute to my music. Thanks you all."

Sincerely yours...Love
Arthur Lee

@ 224 + covers :

Thanks luc for this one !!!

Sunday, January 6, 2008

Days Of Sorrow

Days Of Sorrow - 1984 - Remembering The Days (ep)


Days Of Sorrow - 1986 - Thousand Faces (ep)

Label: Rough Trade Germany
Catalog#: RTD 024 T
Format: Vinyl, 12"

Country: Germany
Genre: Electronic
Style: Synth-pop, Minimal

Sorry for the lack of info guys. ..couldn't find anything more.

Very good stuff anyway...

Download It Here :

Saturday, January 5, 2008

Doctors Of Madness

Doctors Of Madness were a British protopunk rock band formed in 1974 in a cellar in Brixton, south London by the composer and lead singer/guitarist Richard Strange, known as ‘Kid’ Strange. Active as a recording and touring band until late 1978, they found mainly cult level success and recognition that was not enough to sustain them, but they were later cited as a pivotal influence on the early British punk rock movement .

To provide a platform for his musical ideas and compositions analysing urban neurosis and systems of control; Strange joined forces with Urban Blitz (electric violin, baritone violectra and lead guitar) Stoner (vocals, bass guitar) and Peter DiLemma (vocals, drums) to provide the acclaimed critical link between the early 70’s progressive rock and glam rock of David Bowie and Roxy Music, and the later 70’s punk rock of the Sex Pistols and The Clash. Doctors of Madness cited Velvet Underground and writer William Burroughs as major influences on their music.

Doctors of Madness toured extensively in Great Britain and in continental Europe; gigging in France, Germany, Holland, Belgium, Luxembourg, Switzerland, Denmark and Sweden.

Doctors of Madness stage shows incorporated costumes, make-up, projected backdrop images, smoke, strobe lights and theatrical spot-lighting and also taped sound effects. Stage props were occasionally used.

Between 1975 and 1977, Doctors of Madness recorded three albums for Polydor records - ‘Late Night Movies, All Night Brainstorms’ produced by John Punter, ‘Figments of Emancipation’recorded at Abbey Road studios with producer John Leckie, and ‘Sons of Survival’.

A posthumous compilation ‘Revisionism’ was released in 1981, the band having split in late 1978.

A single, 'Bulletin' backed by 'Waiting' was released in 1977.

During 1978 the Doctors of Madness line-up briefly included singer Dave Vanian of Punk rock band The Damned, who had recently split.

source :

posted by pj

Download Them Here :

Figments Of Emancipation
Sons Of Survival

Friday, January 4, 2008

Absolute Body Control - Eat This (1980-84)

1 Clouds (3:59)
2 Melting Away (2:40)

3 Faceless (2:43)

4 Love At The First Sight (2:53)

5 Eat This (2:25)

6 A Broken Dream (3:17)

7 What Is The Disease? (3:10)

8 Arabesque (2:42)

9 Automatic (3:51)

10 Lonely This Christmas (3:54)

11 Is There An Exit? (Live) (4:27)

12 I Am Leaving (Live) (4:54)

Absolute Body Control was formed early 1980 by :
Dirk Ivens (synth and voice) and joined by Mark De Jonghe (synths)
and Veerle De Schepper (backing vocals).

After the single "Is There An Exit?", which became a local culthit, Mark left the band, but his place was already taken by Eric Van Wonterghem.
Absolute Body Control was one of the first active belgian electronic bands on stage and the next three years they appeared on many compilations worldwide. In 1984, Dirk became the founder of 'The klinik' and is active as 'Dive' and 'Sonar'. Eric has his own project 'Monolith', but is also involved in the 'Sonar' project.

Download It Here :


Thursday, January 3, 2008

The Passions

The Passions - 1980 - Michael And Miranda

The Passions were a post-punk band formed by guitarist/vocalist Barbara Gogan, bassist Claire Bidwell, drummer Richard Williams, vocalist Mitch Barker, and guitarist Clive Temperley. Prior to forming in 1978, most of the members had spent time in other groups. Most notably, Temperley was an ex-101'er, and Williams was in Prag Vec precursors the Derelicts. The Passions debuted in March of 1979 with the Needles and Pins single on Soho, which helped them gain a contract with Fiction, home of the Cure. A year passed between the release of the single and Michael and Miranda, the band's debut LP. Another single and a pair of trips to the BBC studios for recording sessions preceded the release of their highest charting song, "I'm in Love With a German Film Star," which hit number 25 on the U.K. pop chart during the winter of 1981. At some point prior to its release, Bidwell and Barker had exited (the former to join the Wall), and David Agar took over on bass.

The Passions - 1981 - Thirty Thousand Feet Over China

The band's second album, 30,000 Feet Over China, was released in August 1981. Something of a split between a compilation and a new record, the LP collected a number of previously released A-sides and added several new recordings. Temperley was out by the end of the year and was replaced by Kevin Armstrong, who had played previously with Local Heroes. The group also added a keyboard player by the name of Jeff Smith, who had played with Lene Lovich. Following another pair of singles, the LP Sanctuary saw the light of day in September of 1982. Shortly after that, the band dissolved. Gogan popped up again in 1998 when she released Made on Earth, a record made with experimentalist Hector Zazou.
~by Andy Kellman, AMG

Download Them Here :

Wednesday, January 2, 2008

Closer - 1998 - In The Market

Greek alternative/indie rock band
(very popular in Greece nowadays)

Band Members
John Ververis (guitar)
Vag (bass, vocals)
Andreas Pappas (vocals)
Andreas Ioannou (guitar)
Thanos Michailides (drums)
Vasso Nikolopoulou (violin)

Fly In The Milk (Studio II) 1996 - 7"
In The Market (Studio II) 1998 LP
Universe (Chrysalis/EMI) 1999 EP
Suddenly Comes... (Chrysalis/EMI) 2000 LP
Mystery Falls Down (Chrysalis/EMI) 2000 EP
Closer (EMI)2006 LP

Download It Here :

Alesia Cosmos - 1985 - Aeroproducts

Line up :
Marie-berthe Servier (ch)
Pascal Holtzer (gu & Sy)

Bruno De Chenerilles (gu & Sy)

French minimal /new wave

Download It Here :

Tuesday, January 1, 2008

White Glove Test - 1989 - Leap

Although part of the mid & late 80's Los Angeles music scene, (well presented in the blogland the last 15 months), White Glove Test have a different sound. Maybe that's why they seem to have sunk in oblivion : very few mentions of them, even with 2 LPs in their credit (1986's Look and 1989s Leap), two of the most notable members of the scene in the production (Philip Drucker of Savage Republic/17 Pygmies and Vitus Matare of the Last) and Beth Thompson and Courtney Davies of Fourwaycross on vocals and flute respectively. The descriptions I've found are not very helpful and vary from "punky avant psyche" to "80s alterna-rock with a sly fiddle".
The truth is that "Leap" is a bit difficult to be categorised.
Title track (a tight rocker) and 'Poignant' could be (more poppier) Slovenly's songs, while 'Between the Oars' and 'Worshipping Boys', remind me of another California band of the era, the Downsiders with their lysergic guitars. 'Lisa' with the beautiful violin of Annette Taupier shows their R.E.M. influences, while 'Moment' starts in 4AD style and continues in the R.E.M tradition. 'All and Everything' has the sound of the Brittish bands of the era, and the closing track 'Every Day' seems like a psychier Husker Du.
'Leap' ain't no masterpiece, but it sure has some wonderful moments to offer. As for White Glove Test, to tell you the truth I don't know where they intend to go, as they didn't manage to get an totally personal sound, but they surely had the potentials to do it, if they'd continued.

Their connections with Philip Drucker continue until nowadays: Jeff Brennemen and Tony Davis (as well as Dirk Doucette - a WGT member, not on Leap) are now members of 17 Pygmies (which, by the way, have a new -very 60's- record out, as "The 17th Pygmy" by the title of "Ballade Of Tristram's Last Harping")

White Glove Test- Jeff Brenneman, Ken Wait, Patrick Monnin, Tony Davis
Leap (LP, Fundamental SAVE 81, 1989) Leap/Between the Oars/The Worshipping Boys/Poignant/Lisa//Bycycle/Pandoras Song/All and Everything/Moment/Every Day
Here it is on rapidshare and massmirror

V.A. - Return of the Batcave vols 1-3 x2 CD's

V.A. - Return of the Batcave vol. 1 cd1

01 1919 - Crywolf
02 Action Pact ! - Gothic Party Time
03 Alien Sex Fiend - RIP
04 All About Eve - D For Desire
05 Ausgang - Here It Comes
06 Balaam And The Angel - Two Into One
07 Bauhaus - God In An Alcove
08 Blood And Roses - Enough Is Never Enough
09 Charge - Ugly Shadows
10 The Damned - Edward The Bear
11 Dancing Did - Bagder Boys
12 Danse Society - Hide
13 The Dark - Masque
14 Death Cult - Gods Zoo
15 Feud - Witchtrial
16 Furyo - Opera In The Air
17 Gene Loves Jezebel - So Young
18 In Excelsis - Carnival Of The Gullible
19 Leitmotiv - Architect

V.A. - Return of the Batcave vol. 1 cd2
01 Party Day - Atoms
02 Play Dead - Final Epitaph
03 Pneumania - Exhibition
04 Red Lorry Yellow Lorry - Monkey's On Juice
05 Ritual - Mind Disease
06 Rubella Ballet - Tangled Web
07 Sexbeat - Sexbeat
08 Sex Gang Children - Barbarossa
09 Skeletal Family - So Sure
10 Southern Death Cult - Moya
11 Specimen - Returning From A Journey
12 Theatre Of Hate - Black Madonna
13 Twisted Nerve - Medusa
14 UK Decay - Dresden
15 Vex - World In Action
16 Virgin Prunes - Pagan Lovesong
17 Vital Sines - Rhythm Of The Dark
18 X-ray Spex - Bondage Up Yours
19 Zero Le Creche - Last Year's Wife

Get vol. 1 Here :
Part 1 ~ Part 2 ~ Part 3

V.A. - Return of the Batcave vol. 2 cd1
01 13th Chime - Cursed
02 Actifed - Innocent
03 Altered States - Is Anyone Out There
04 Anorexic Dread - Tracey's Burning
05 Beast - Empire (1980)
06 Blitz - Acolyle
07 Bone Orchard - I'm Boned (Boneabilly Party)
08 Busaras, Dave-Id - Trapped In A Web
09 Chameleons - Tears
10 Crisis - Alienation
11 The Cult - Spanish Gold
12 The Cure - Mr. Pink Eyes
13 Daemon Preacher - Little Miss Perfect
14 Every New Dead Ghost - Visions
15 Gene Syndrome - Paper Dolls
16 The Glove - Mouth To Mouth
17 Hagar The Womb - Idolization
18 Hysteria - Tears Of Wax
19 Joy Division - Ice Age
20 Killing Joke - Follow The Leaders
21 Kindergarten - Double Standards

V.A. - Return of the Batcave vol. 2 cd2
01 Libitina - Gothic People
02 Living In Texas - Tumbling Values
03 Lost Loved Ones - Raise The Flag
04 March Violets - Lights Go Out (Peel session)
05 Marionettes - Like Christabel
06 New Model Army - Running
07 Nightmares In Wax - Black Leather
08 The Pack - Heathen
09 Panic Button - Malya Neva
10 Second Coming - I Gave You Everything
11 Siouxsie And The Banshees - Make Up The Break
12 Sisters Of Mercy - Dominion (short version)
13 Smartpils - No Good No Evil
14 Smiths - Handsome Devil
15 Spizzenergi - Amnesia
16 Tones On Tail - Christian Says
17 UK Subs - Waiting For The Man
18 The Veil - Sway
19 Vendemmian - The Passing Of Remoteness
20 Zombina And The Skeletons - Ape Man

Get vol. 2 Here :
Part 1 ~ Part 2 ~ Part 3

V.A. - Return of the Batcave vol. 3 cd1
01 Adams Family - Not Me
02 Angels In Aspic - Just Some Kind Of Groovy Mayhem
03 Ausgang-A-Go-Go - Tumbleweed
04 Basta Roc - Monument
05 Bomb Party - Harry The Babysitter
06 Brigandage - Hide And Seek
07 Car Crash Intl. - Crash
08 Cold Dance - Then And Now
09 Crawling Chaos - Sex Machine
10 Dawn After Dark - Crystal High
11 Diatribe - Stop Dancing
12 Easy Cure - Need Myself
13 The Factory - Hold Out
14 Fear Of Darkness - The Virgin Land
15 Fields Of The Nephilim - Volcane (Mr. Jealousy Has Returned)
16 The Fifteenth - She Isis
17 Flowers For Agatha - The Freedom curse
18 In Camera - Final Achievement
19 Into A Circle - Tender Skin
20 Look Back In Anger - Torment

V.A. - Return of the Batcave vol. 3 cd2
01 The Membranes - New Blood for Young Skulls
02 The Mission (UK) - Severina
03 Month Of Sundays - The Kiss of Death
04 Nervous Choir - O David
05 Paranoia - Graveyard Of hell
06 Patti Palladin - The Nuns New Clothes
07 Playground - Violence
08 Poison Girls - Bully Boys
09 Product - Cream
10 Rebel Christening - Tribal Eye
11 Screaming Dead - Paint It Black
12 Screaming Trees - Incinerator
13 Seventh Seance - The Incision
14 Andi Sex Gang with Marc Almond - The Hungry Years
15 Silent Scream - Handstands
16 Sins Of The Flesh - In The Image Of Torture
17 Stunt Kites - Betty's Lament
18 Turkey Bones And The Wild Dogs - Shake
19 Unity Station - It's Perfect
20 Zor Gabor - Tightrope

Get vol. 3 Here :
Part 1 ~ Part 2 ~ Part 3

Happy; New Year !!!