October 2006

Tuesday, October 10, 2006

The Snake Corps - More Than The Ocean

COMPILATION
1990Midnight MusicCHIME 1.12 CD

Vocals: Marc Lewis
Guitar: Tristan Garel-Funk
Keyboards: David Wood, Ian Gibson
Bass: Liam McGuinness, Jim Blanchard
Drums: Jon Greville

Tracks :

Colder than the Kiss
Calling YouSomething Wrong
More than the Ocean
Clint
Look East for Eden
Strangers
Crimson and Clover
I'm Not Afraid
In Flux
Colder than the Kiss
Calling You

The story...
The Snake Corps came together in 1984 following the break-up of Sad Lovers & Giants (SL&G) the previous year.Aiming for a harder-edged sound, core members Tristan Garel-Funk and Nigel Pollard advertised in the Melody Maker for the necessary musicians. After many auditions they settled on Marc Lewis and Liam McGuinness on vocals and bass respectively. This original incarnation set about establishing its own sound - recording demos of songs later to appear on the band’s albums as well as a video of Look East for Eden at Kingston Poly where Marc was a student.
After some initial success building a local following and reconnecting with many of the fans of SL&G, Nigel left the band and was replaced by Jon Greville from the three-piece Rudimentary Peni. This line up went into record the first album: Flesh on Flesh, released on Midnight Music.Tours in europe helped to build and consolidate the band's following, but at home the story was one of press and radio indifference.
Feeling a need to broaden the scope of the Snake Corps sound the band decided to add keyboards. This resulted in the return of school friend and SL&G founder member David Wood. With the addition of Jim Blanchard from label-mates The S-Haters replacing Liam on bass guitar, this line-up recorded the band's second album Smother Earth.More gigs followed but UK recognition continued to elude the Snake Corps despite growing interest from around the world; the bulk of the band's record sales going overseas.
David Wood eventually quit the band and Ian Gibson (recently having left the Mk2 version of SL&G) replaced him on keyboards.
Free of their contract with Midnight Music but with their commitment to release the next album as a one-off, this line-up went in (at their own expense) to record The 3rd Cup at Midnight-owned Berry Street Studios. With Brad Grisdale at the controls, it seemed for the first time there was a creative meeting of minds between the band and their engineer. The result was what many consider to be the Snake Corps finest album.
But behind the scenes all was not well. Continuing UK indifference to their music had left spirits at an all time low and it was feared that the album would be released into a vacuum. Then, after years of financial hardship Midnight Music went into receivership and was bought up lock stock and barrel by Cherry Red Records. The band suddenly found that all their music: back catalogue, stock and copyright was now owned by someone else. This proved too much and the Snake Corps split. It seemed that the best-of compilation Spice subsequently released by Cherry Red would probably be the band's swan-song.
Thankfullly, the finished master tapes of The 3rd Cup were already in the band's possession when Midnight went under but it was to be couple of years before the album was finally released on CD by Ophidian an off-shoot of the Oxford label Rotator.

info obtained from : snakecorps.com

innocent76's comment:

Great band ! Worthy bairn of Sad Lovers & Giants . "Clint" is one of my personal highlights of this era. Reminds me a little bit of Vietnam Veterans (especially the keyboards) ,but this is a good thing ,right ?

highly recommended ! (all of their albums actually)

Your Download-Link :

http://rapidshare.com/files/18585650/snakecorps.rar

September 2006

Saturday, September 30, 2006

Sad Lovers & Giants - Feeding The Flame

Watford, England's Sad Lovers & Giants made few headlines but some strong LPs, arguably the best of which, and certainly the most somber, is this collection. Its deftly played and arresting new wave/post-punk songs are built around Tristan Garel-Funk and David Woods' subtle evocations of mood. Singer Garce Allard's voice is at once brittle-sounding but self-assured. Both factors complement the sophisticated musical structures of songs such as "Imagination" and "Sleep (Is for Everyone)." They should be one of their generation's more celebrated discoveries, but sat out time on a label much less fashionable than, say, Factory. The intricacy of Garel-Funk's guitar on "Big Tracks Little Tracks" certainly puts them on a par with the Durutti Column. "Your Skin and Mine" has an innate grandeur that, keeping indulgence at arm's length, conveys a sense of pain and isolation that echoes Joy Division. It's an album that argues for a reappraisal of one of the '80s' best-kept secrets.

Your Download-Link

Friday, September 22, 2006

The God Machine - One Last Laugh In A Place Of Dying

Album Review - Melody Maker (17th September 1994)

Some things were never meant to be. After years of struggle against the vicissitudes of life in London and the tragic death of their bass player, The God Machine have decided to call it a day. Cathy Unsworth pays her last respect
It's hard to express feelings of loss in the printed word, still harder to pay adequate tribute to absent friends. As the title of the album suggests, "One Last Laugh In A Place Of Dying" is a more powerful testament to Jimmy Fernandez, the bassist who died in May this year at the tragically early age of 28, than any words could say.
In the space of two albums and four EPs, The God Machine reached higher, felt deeper and created more intense, eternal visions with their music than any of their contemporaries would ever have dared. This album is their peak, a thing of terrible, harrowing beauty that dips deep into the terrifying Pandora's Box of the human psyche to grapple with the raw nerve endings of existence. It brings back from the darkness in one, long howl of rage, pain and understanding the flaming torches of redemption, with a music that spans the worlds of the living and the dead. It surpasses Soundgarden's "Superunknown", Smashing Pumpkins' "Siamese Dream", even the back catalogue of Jane's Addiction, to whom they were initially compared.
"One Last Laugh ..." was recorded in Prague, and not for nothing does "The Unbearable Lightness Of Being" spring to mind. In the shadowlands of Europe TGM found the perfect surroundings for their haunted dreams, a place where secrets linger around dusty old architecture and winding streets, a place that has known the awful extremities of human evil : "Cut yourself so I can see the bleeding", is the opening line. "Tremelo Song" makes a sound like chandeliers falling, as Robin Proper-Sheppard, Jimmy Fernandez and Ron Austin turn guitar, bass and drums into one gilded eternity. You can sense the urgency and frantic release sought through the hypnotic "Painless" - "I'm sorry but that's not what I've found".

And so The God Machine move onwards through the rooms of your mind, unlocking doors where secrets fly around like ghosts. "The Devil Song" looks over its shoulders at a fork-tailed shadow moving ever closer, the clamouring of voices at its climax coming from an old, two-reel tape recorder Robin found in a junk shop in Prague.
"The Hunter" is a thing of sensual, aching beauty, a waltz with that devil in an old, forgotten ballroom, while "Evol" is the scariest evocation I've heard since Killing Joke's "Revelations" frightened the life out of my 13-year-old brain."Boy By The Roadside" is too painful to actually put into words, but the album drifts off to a beautiful piano elegy, "The Sunday Song", which sounds like the refrain from a ghostly carnival.
Three years ago, on a rainy night in King's Cross, The God Machine told me that the "Purity"EP was recorded as if it was going to be their last record. Their futures were so unsure at the time that they had to put everything into the one moment they had. "It's better to die on your feet than live on your knees", they said.

Track List :
1 The Tremolo Song 04:02
2 Mama 02:52
3 Alone 04:48
4 In Bad Dreams 03:09
5 Painless 03:58
6 The Love Song 03:55
7 The Life Song 04:41
8 The Devil Song 05:05
9 The Hunter 07:58
10 Evol 04:06
11 The Train Song 04:27
12 The Flower Song 05:41
13 Boy by the Roadside 05:50
14 The Sunday Song 08:34

Your Download-Link

Monday, September 18, 2006

The Legendary Pink Dots - 1991 - The Maria Dimension

The Legendary Pink Dots - 1991 - The Maria Dimension

Formed in London in 1980, the Legendary Pink Dots moved to Amsterdam in the middle of the decade. Members throughout the band's career have been Edward Ka-Spel (vocals, keyboards) and Phil Knight (keyboards), also known as the Silver Man, with a shifting supporting cast over the years. The Dots' music is by turns melodic pop and exotic psychedelia, with classical influences, sampling, and relentlessly dark, violent, apocalyptic lyrics. After several releases for Mirrodot and Inphaze during the early '80s, the group signed to Play It Again Sam distribution for 1985's The Lovers, and released much of their best material (1990's Crushed Velvet Apocalypse, 1991's The Maria Dimension) on the label. Even as the Legendary Pink Dots neared their two-decade anniversary, the group continued to tour Europe and America quite consistently.After releasing Your Children Placate you From Premature in spring of 2006, the band embarked on their 25th anniversary tour.

YOUR DOWNLOAD LINK :

http://rapidshare.com/files/78671931/legendary_pink_dots.rar

Sunday, September 17, 2006

Swans - 1991 - White Light from the Mouth of Infinity

Swans - 1991 - White Light from the Mouth of Infinity

MUSCIANS:
Michael Gira - voice, acoustic guitar, sounds, samples, keyboards, arrangements
Jarboe - voice, keyboards, background vocals, choral / orchestral arrangements
Christoph Hahn - acoustic and electric guitar
Clinton Steele - acoustic and electric guitar
Jenny Wade - bass guitar
Anton Fier - drums, drum programming
Nicky Skopelitis - acoustic and electric guitar, baglama, bazouki, banjo
Vincent Signorelli -percussion
Hahn Rowe - violin
Steve Burgh - mandolin, 12-string guitar
Norman Westberg - electric guitar

SONGS:
Better Than You
Power And Sacrifice
You Know Nothing
Song For Dead Time
Will We Survive
Love Will Save You
Failure
Song For The Sun
Miracle Of Love
When She Breathes
Why Are We Alive?
The Most Unfortunate Lie

Crawling out of the same noisy, arty New York underground , Swans created a dark, abrasive, murky, slowed-down noise rock that served as a starting point for their ruminations about alienation, depression, depravity, and the disturbing side of human nature. Singers Michael Gira and Jarboe have been the group's only constants over the years.

The opening track "Better Than You" almost says it all: Starting with the wail of an infant, then suddenly crashing into surging music that mixes quick, energetic drums with bells and other instruments, the song turns into a dramatic acoustic guitar/percussion piece with Gira's brooding voice and Jarboe's haunting backing; after some re-developments of the themes, it ends with a beautiful restatement of the sung section with additional guitar and bell sounds. At once incredibly destructive and astoundingly life-affirming — and worth the entire Burning World album several times over — "Better Than You" demonstrates that Swans had emerged even more powerful and artistic than before, aiming for an awesome, all-encompassing majesty in their music that the admittedly hypnotic earlier versions of the band, in their brute forcefulness, simply could not have achieved. Interestingly, a number of players from Burning World and other Bill Laswell associates participate on White Light, but hereas sole producer marshals everyone's collective efforts to heights that Laswell either was unwilling or unable to do. Also notably, Westberg is all but absent on guitar, with new arrival Clinton Steele taking the fore as the major instrumentalist after Gira and Jarboe themselves. Picking out all the highlights from such a stunning disc is practically impossible, but three of the flat-out classic marvels here are: "You Know Nothing," with its simply lovely introduction and Gira's commanding singing; "Song for Dead Time," a gentle Jarboe-sung number filled out by a simple but effective string-synth arrangement; and "Failure," carried by a buried guitar strum, Gira's Sisyphean lyric, and brief, lush choruses. Simply put, this is out and out brilliant as the clear starting point for the second half of Swans' unique career.

Your Download-Links :
http://rapidshare.com/Swans_-_White_Light.part1.rar
http://rapidshare.com/Swans_-_White_Light.part2.rar

1000 Travels of Jawaharlal

1000 Travels of Jawaharlal


1000 Travels of Jawaharlal was formed in Kita-Kyushu in the west of Japan in January 1999. Line-up was Koichiro Shimoda [Vocals, Guitar], Shinichi Iwata [Bass], Kenji Yoshida [Drum, Vocals]. This line up released a CD EP [October 1999] as well as a split CD with Minority Blues Band [November 2000]. Both records were released on the Japanese record label ImoMuShi Records, and a split with Bowfura we released ourselves [May 2000]. Among those records were released 1000 Travels of Jawaharlal had toured Japan several times. In April 2001 Kenji left the band. After half a year of looking out for a new drummer Yasuaki Nakazono was finally added in October 2001. In 2002 1000 Travels toured Japan extensively with the new line up. The band expresses the musical taste of its members. Emotive punk rock bands such as Rites Of Spring, Jawbreaker, Hüsker Dü, Leatherface were named. In early 2003 they recorded their first full length LP/CD which was released on ImoMuShi again for Japan as well as on Day After from Czech Republic for Europe. After the release of the record 1000 Travels of Jawaharlal toured Japan extensively throughout the spring, followed by a three weeks European tour with Light The Fuse And Run from the US.

(bio nicked from the band’s website =])

Discography:
demo - CT
Letter - CDS
split with Minority Blues Band - CD
split with Bowfura - CD
Owari Wa Konai - CD/LP
Light Your Way (Compilation) - CD
split with Aghast - CD
split with Aghast - 10"
split with Pear Of The West – CT

1000 Travels of Jawaharlal Owari Wa Konai

Nothing else here other than totally cheese-free, übertight, emotive and heartfelt hardcore, delivered by these jap punks. Pretty much in the vein of early DC emocore pioneers such as Rites of Spring, Dag Nasty or Ignition, with more than a passing nod to latter bands like Torches to Rome. Which means, really, really ace stuff.

Cheers! K. (curse ye all kidz!)
xxx

Band Website:
http://www.imomushi.jp/1000travelsofjawaharlal/
You can order this album and other punk/indie thingies from this really great distro:

http://www.novarecordings.net/

GRAB IT HERE PUNKER!!

posted by
curse ye all kidz!

Saturday, September 16, 2006

RADIO BIRDMAN - the essential Radio Birdman 1974-1978

Although the best-known band of the early Australian punk scene of the late '70s was the Saints, the first band to wave the punk rock flag in the land down under was Radio Birdman. Formed by Australian émigré Deniz Tek (originally from Ann Arbor, MI) and Aussie surfer-turned-vocalist Rob Younger in 1974, Radio Birdman's approach to rock & roll was rooted in the high-energy, apocalyptic guitar rant of the Stooges and MC5, sprinkled liberally with a little East Coast underground hard rock courtesy of Blue Oyster Cult. Their first EP,Burn My Eye released in 1976, was a great record and still remains a seminal chunk of Aussie punk. Loud and snotty, with Younger bellowing his guts out and Tek on a search-and-destroy mission with his guitar, this was a great debut that set the stage for the impending deluge of Aussie punk bands waiting in the wings. After the release of their debut LP,Radios Appear (the title comes from a lyric in the Blue Oyster Cult song "Dominance and Submission"), in Australia a year later, Radio Birdman seemed poised to break Aussie punk worldwide. And although the American label Sire (then the home of the Ramones) was quick to sign them and distribute Radios Appear internationally in 1978, there was a gap of three years before they released a second album, Living Eyes. During that time, dozens of other Aussie punk bands stole their thunder, and Radio Birdman split up almost immediately after Living Eyes was released. Sire never released the record outside of Australia, and Radio Birdman, who should have been the biggest band in Aussie punk, was now a highly regarded punk forefather. After the band split in 1978, various members were busy forming other bands:TEK formed the New Race with Younger,ex-Stooges guitarist Ron Asheton and ex-MC5 drummer Dennis Thompson, released a handful of solo singles and EPs, and became a surgeon;Younger started his own band, the New Christs, and produced records by the second generation of Aussie punk bands influenced by Radio Birdman, most notablythe Celibate Rifles; other Radio Birdman alumni ended up in assorted Aussie bands such as the Lime Spiders, Hoodoo Gurus, and Screaming Tribesmen. Now the grand old man of Aussie punk, Tek formed a part-time project with Celibate Rifles guitarist Kent Steedman that rocks with the same reckless abandon Radio Birdman did when they were changing the course of Australian rock forever. 2001 saw a renewal of interest in Radio Birdman thanks to an excellent compilation, The Essential Radio Birdman 1974-1978 released by Sub Pop in the States. Murder city Nights : live arrived in 2003, followed by the all-new Zeno Beach in 2006.

GET IT HERE

August 2006

Saturday, August 26, 2006

Indians In Moscow - Same

Originally a cult UK electronic indie band in the early 80s, Indians In Moscow had a No.1 indie hit in 1983 with "Naughty Miranda", followed by "Jack Pelter and his Sex-Change Chicken" and the "Big Wheel e.p.". The original band split after acrimonious management arguments just as their first album was released.

On a grim Friday evening in November 1983 the weekend is once more beginning with Channel Four's legendary Tube. Jools Holland pauses on the threshold of a public lavatory and says "...and now Indians in Moscow." Is this some hip new expression along the lines of "Once in a blue moon"? Well, no. A music video explodes onto the screen - a psychotic blonde singing a gruesome ditty about killing and eating her father to the backing of a crazed synth-punk calypso. Indians in Moscow have entered the building...
Over the next nine months this Hull band would repeatedly mug the music business, culminating in a storming gig at the Camden Palace in August 1984, before abruptly splitting up on the brink of fame and fortune. If they had continued, who knows what shape mid-to-late eighties music would have had?


Get It Here

Wednesday, August 2, 2006

16 Horsepower - Black Soul Choir (Video Clip)

16 Horsepower - Black Soul Choir
(Video Clip)

Ain’t none ever seen the face of his foe no
He ain’t made of flesh & bone
He’s the one who sits up close beside you
An when he’s there you are alone

Every man is evil yes an every man is a liar
An unashamed with the wicked tongues sing
In the black soul choir

Yes an no man ever seen the face of my lord no
Not since he left his skin
He’s the one you keep cold on the outside girl
He’s at your door let him in

O I will forgive your wrongs
Yes I am abel
An for my own I feel great shame
I would offer up a brick to the back of your head boy

If I were cain

July 2006

Saturday, July 22, 2006

MAL - 1983 - The Preacher From The Black Lagoon

MAL [= Michael A. LUCAS]

West Coast goth/psych/new wave Ca. 1983. Rare & obscure !!!
A must have !!!

I would apreciate it ,if you could find any information about this group.

Thanks in advance

RapidShare or SendSpace

Sunday, July 16, 2006

Crippled Pilgrims - 1984 - Head Down Hand Out (EP)

CRIPPLED PILGRIMS- Head Down Hand Out EP (1984)

Track List EP :

1. Black And White
2. Under The Ladder
3. People Going Nowhere
4. Out Of Hand
5. Dissolving
6. A Side He'll Never Show

This six-song EP, Crippled Pilgrims' debut release, was a little too out of sync with the mid-'80s indie scene to attract much notice. Though the group was downbeat enough to fit into the early post-punk era, there was more of an influence from flowing, classic rock-influenced guitar work and melodies than most such bands had, and few of the attributes of classic punk. There's enough lyrically nebulous indie guitar rock on here to appeal to, say, the early R.E.M. fan, or followers of some of the more guitar-based indie rock bands that arose in the South in the mid-'80s. It's also easy to see why Crippled Pilgrims never scaled the heights of R.E.M. -- the songs aren't as fully developed, inhabiting a fuzzy netherland between tense hard-rocking folk-rock and the edge of '80s guitar-grounded new wave.

Story

After being kidnapped by the savage noise troubadours Death Camp 2000 (featuring the rhythmic styling of Jay Spiegel a.k.a. the Rummager and the not yet famous thrashings of sound impresario Don Fleming), Jay Moglia's path shifted from its idyllic moorings onto an uncertain carousel of melody and mayhem. The 21-year-old Moglia took a crash course in guitar to color his vivid wordscapes and began looking for bandmates. Meanwhile, Scott Wingo sat at home drinking and wallowing in self-pitying gloom. His housemate Charles Steck had recently enlisted as bassist for Fleming's phenomenal pop combo the Velvet Monkeys - a fact that made Wingo's inability to fulfill his adolescent fantasies of rock stardom all the more agonizing.

As Moglia's embryonic attempts at song emerged, he was lucky to have the Velvet Monkeys help in fleshing them out with background noise. He lived in the room directly adjacent to the Monkeys' rehearsal space and spent many days lurking in the corner hoping for an invitation to jam. In time, whether for the good of rock or just to get him out of their ascending orbit, the Monkeys suggested that Moglia get together with Wingo for a musical chemistry check.

Scott arrived at Jay's house fully expecting to meet a circa 1982 standard-issue punk/alternative type but was instead greeted by a clean-cut young man in a green golf sweater with a stutter on his tongue and a phantom in his eye. This was Jay Moglia.

It wasn't long before the two started blending ideas. Wingo had cut his teeth in the influential DC punk band Trenchmouth, but his musical leanings were as much Beatles as Ramones, and Moglia's meandering yet forceful compositions allowed plenty of space for the outcast guitarist to sharpen his knives. Prominent among these knives was a recently acquired affinity for modal psychedelic noodling. Despite a valiant Punk/British Invasion-hardened resistance to all things Dead, a recent chance encounter with a particular ergot-derived substance combined with a well-timed Aoxomoxoa turntable spin had opened Wingo's ears and fingers to a whole new palette of six-string possibilities. The wide-open nature of Jay's pieces seemed to provide an apt canvas for somehow combining the alcoholic glee of pure hard rock with the lysergically-damaged wanderings of the not-so-distant past. (Whether this was actually achieved is an entirely separate question.)

The duo's joy in their well-meshed "sound" overshadowed more earthly concerns like song structure and length. An early Pilgrims show could easily last an hour as they whipped through their six-song set. It took bassist Mitch Parker, previously with the legendary DC punk outfit Government Issue, to bring some focus and direction to the raw strands of tune. Parker's ability to slice through musical excess coupled with his local scenester par excellence credentials quickly landed the group a slot on Fountain of Youth's compilation LP Bouncing Babies, immediately leading to the recording of their EP Head Down Hand Out (also on Fountain of Youth).


Through all of this, one central question remained unanswered: Who was the Crippled Pilgrims' drummer? The Velvet Monkey's Rummager (who shortly afterward reached heartthrob status as drummer for DC boy band HE) handled some of the crucial early gigs and sessions (including the first Inner Ear demo which yielded the Bouncing Babies track). At other times it was hard-hitting Tommy Carr of the powerful quartet Black Market Baby stepping in at the last minute to rescue the Pilgrims on show night. Ultimately, Dan Joseph, who had been with the group only two weeks before recording Head Down Hand Out, would become the drummer of record. Joseph never became an "official" member of the band due to his commitment with the progressive horror rock ensemble 9353. Though generous with his time, Joseph was reluctant to be affiliated with the Pilgrims. Jay, Scott, and Mitch's "regular guy" personas were no match for the preening charisma 9353 brought to the stage. Plus, Crippled Pilgrims' reputation for flowing melody and the occasional extended guitar solo had burdened them with a comparatively uncool reputation amid the rigid conformity of the then thriving harDCore scene. At 17 years old, Dan Joseph could certainly be excused for downplaying such a potentially credibility-busting association.

The revolving-door drummer status meant gigs for the Pilgrims were infrequent. Shortly after the release of Head Down Hand Out, Moglia, stifled by inactivity and bolstered by the EP's positive reviews and healthy college chart rankings, set out for NYC hoping to expand the group's profile and ultimately relocate the band. Unfortunately, he neglected to tell Wingo and Parker about his ambitious plans and was surprised when they didn't join him in Manhattan. Instead of extending the ranks of New York's rock elite, Jay found himself dazedly wandering the city's avenues carrying a can of blue spray paint and a cardboard "Crippled Pilgrims" stencil. Scott and Mitch were left back in DC with the proverbial question marks hanging over their heads.

Moglia eventually recovered from his spray-painted daze and began laying down tracks for an atmospheric collection of electronic folk songs under the name Geezer Park. The music was actually pressed and was poised to become the first release on Bar/None Records when Jay inexplicably pulled the plug on the project. In the meantime, Head Down Hand Out gathered momentum, garnering notable amounts of airplay in obscure and far-away markets. This came as a surprise to the group as their local DC following was less than massive. In mid-1984, with a fair number of Pilgrims' tunes never given a proper recording and Fountain of Youth pressing for a follow-up to Head Down Hand Out, Jay, Scott, and Mitch tentatively decided to revive the group.

With Jay commuting from NY to DC for gigs and recording sessions, Mitch and Scott both unwilling to abandon their relatively comfortable DC existences, and the continuing "who is our drummer" plague, the future did not bode well for the band. However, the trio (along with the drummer of the moment) managed to squeeze out a few more shows--the final being a pairing with LA's Gun Club at DC's 9:30 Club on September 7, 1984.

Recording and mixing of tracks continued sporadically throughout the fall of 1984. When Under Water was released the following spring, it was met with strong reviews and college radio airplay, but Crippled Pilgrims as a performing and recording unit were history.

In the ensuing years, Jay, Scott, and Mitch continued to make music together in various combinations and permutations. Notable among these was the full-frontal, testosterone-drenched stance of CPU (Crippled Pilgrims Unlimited), who, disappointingly, never performed beyond a few private parties. More fortunate in outreach was the crystalline rock perfection of Rambling Shadows whose initial mid-90's stirrings saw Jay and Mitch mining the urban underbelly for inspirational fuel. For reasons that remain murky, Mitch, in early 1996, abruptly quit the project, never to be seen or heard from again. The aforementioned Charles Steck (Velvet Monkeys, High-Back Chairs, Lida Husik) and Scott Wingo stepped in to salvage and retool, adding their own unique marks to the sound. This time around, the drummer was official - the multitalented Davis White (Foundation, Lorelei, Alice Despard Group among many others). Though the quartet never attained the popularity of Crippled Pilgrims, it gigged regularly in the DC area and even managed to have a couple of tunes released on obscure compilation CDs (Welcome to the Big Ring and Bumper to Bumper Hits, Vol. 2), with many other excellent tracks still awaiting release. After a five year hiatus, in early 2004, the Rambling Shadows re-emerged from the depths fully primed for yet another round of amplified truth promulgation - walking hard and thinking wrong.

The music encoded on this CD is the towering pinnacle of 1980's alt-rock. That few realized it at the time of its original release matters not a whit. What matters is that you now listen and know the glorious truths awaiting within.

Saturday, July 8, 2006

Nurse With Wound

Three videos from Nurse With Wound


Thnx Mike for those clips

http://rapidshare.de/files/24546940/nww1.rar.html
http://rapidshare.de/files/24555668/nww2.rar.html