About Court In The Act.

No albums are hosted here. All files must be deleted 24 hours after download, as they are for review and criticism purposes only - provided you follow this guideline, downloading from Court In The Act is legal as per s30(1) of the Copyright, Designs and Patents Act 1988. If any copyright holder has a problem with their material being posted here, get in touch and I will remove it. Let me know if any links are broken, I'll remove the post to prevent future annoyance, and will attempt to re-upload the file.

Comments make our work worthwhile. If you really enjoyed an album, tell us about it, we'd love to hear from you. If you hated it, tell us why.

Although music is a major part of all of our lives, we all have some form of external life. If there are periods in which no posts are added, I'm sorry, but that's how things happen. Even though I love blogging like this, sometimes I can't muster up the desire within myself to write about yet another album.

I'd like to say too that Court In The Act will never be run for personal profit. This means no advertisement, no premium schemes, and no LinkBucks. Megaupload is used because it strikes a fair balance between ease of upload and ease of download.

Wednesday, 29 August 2012

Septic Grave - Beyond The... demo [1994]

Septic Grave were a little-known Swedish death metal demo act - no significant 'members of' (they have links to Prophanity and The Embraced but nobody else), and they only released this demo and the Caput Mortuum EP. It's a shame, because this demo is really good. It has a semi-Sunlight Studios sounding production, but it doesn't really fit too many of the common features of Swedeath - it doesn't have the rapid pace of any of the scene forerunners, except for the rare use of blastbeats. Admittedly, that may be due to their relatively late appearance on the scene, allowing foreign influence to more thoroughly permeate their sound, but nonetheless, this is excellent material with great songwriting. If you're fearful of demo sound quality, don't be, because this is incredibly well mixed - each instrument can be clearly heard along with all the melodies (and I don't mean that in a gay Gothenburg manner but more in a strictly musical manner).

256 kbps


Sunday, 26 August 2012

Napalm Death - Utopia Banished [1992]

Although, strictly speaking, Napalm Death's late 80s/early 90s heyday had probably ended by the time Utopia Banished came to fruition, it's just about similar enough to Harmony Corruption to be included in that era by some - and it's a solid album. Although the riffing style is much closer to the semi-dissonant approach used in the Diatribes era, the songs themselves are much more visceral and aggressive than most of the band's late 90s output. In particular, 'Cause And Effect (Part 2)' and 'Got Time To Kill' are stunning efforts which fit well among the death/grind of the previous few years. It's also, in my eyes, Barney Greenway's best vocal performance on any Napalm Death album, although it's a narrow matter as his style changed very little over the years. Still, a recommended album.

160 kbps


Thursday, 23 August 2012

Mule Skinner - Abuse [1996]

Mule Skinner are a death/grind band from Louisiana who are not particularly famous (indeed, the only member they share with any remotely famous band is ex-vocalist Joe Caper with Righteous Pigs), but who make that sort of death/grind that just hits the spot - it's aggressive and full of blastbeats, but with enough breaks from that to give an element of variety to the album. This is their only full-length album, and before this, they had only released a demo and a single. It's excellent stuff, though, and I highly recommend it to fans of Harmony Corruption-era Napalm Death, and particularly to fans of Abuse (that's ironic)-era Wormrot, or, in fact, to any grindcore fan. Give it a pop.

VBR, v1


Monday, 20 August 2012

Re-upload: Immolation - Close To A World Below [2000]

It really is astounding how Immolation, just one year after their defining Failures For Gods, could produce such an immense follow-up. Once again leading the scene (Incantation notwithstanding), this is not an album to be missed.

Re-upload notes: Okay, I've been convinced that this is their defining moment rather than my beloved Failures For Gods, and I suppose it is a little bit idiosyncratic than their other work. Regardless, I strongly suggest you listen to both - they're both wonderful albums and some of the best music death metal has to offer.

320 kbps


Sunday, 19 August 2012

Re-upload: Discharge - Realities Of War EP [1980]

Another pre-'Hear Nothing...' Discharge release here. Discharge are pretty much the kings of hardcore punk, despite ill-advised trips to glam metal on 'Grave New World'. This EP was recorded in 3 hours, and so has a great punk vibe to it, throughout its 5 minutes.

Re-upload notes: Although it doesn't quite touch on the quality of Why or Hear Nothing See Nothing Say Nothing, Realities Of War is certainly a solid release, even by Discharge standards. It's the first studio evidence of the d-beat as far as I'm aware (their '77 demo is just straight up punk), which adds historical value to the release.

192 kbps


Saturday, 18 August 2012

Warfuck - The Weak And The Wicked [2012]

Just to prove I do actually post band submissions when I like them, Warfuck is a French grindcore band - or rather, power duo - who play music based on the more riffy side of grindcore (think Nasum and Rotten Sound rather than Discordance Axis and Human Remains). The best part of the album is by far the excellent drum work, but the riff work is catchy and solid too. If there was any justice in the world, Warfuck would be much bigger than shitty bands like Gridlink already. The one less enjoyable element of the album is the vocal approach - they sound rather sterile and compressed, which to me doesn't suit this style of grindcore - nor does the production which is a little too clean for my tastes. Still, it's a good album and I recommend it.

320 kbps (I think)

Listen to it here

Friday, 17 August 2012

Doomed - From The Crypt EP [2010]

Doomed are a Slovenian death metal band. That's the simple introduction to them. I'll continue by saying that their music is available free from Bandcamp, and that it's a mixture of the old school (particularly Morbid Angel to my ears) with a splash of new school mannerisms thrown in (don't worry, this doesn't mean Necrofaggist-wank or breakdowns). Sure, this could describe a whole bunch of bands, but what sets Doomed apart is their ability to write songs - particularly opener proper of this EP - 'Chainsaw Puzzle' - but every track is well constructed and a joy to listen to. They're changing their name to Verminate soon because (quote from their set at BoA) 'some assholes took our name', but from what I've heard of their new material, it's equally solid. Somebody should sign these guys before they start writing shit music (the three links here are just examples of what happens when death metal bands' creative juices are left to stir for too long - the reason why we want Doomed to make more music quickly!).

320 kbps


Tuesday, 14 August 2012

Bloodstock Open Air 2012: The Review

A terrible group rendition of ‘Bohemian Rhapsody’ accompanies the shuttle bus transfer from Lichfield to Catton Hall. My hand is numb and my fingers are practically lacerated from carrying a poor plastic bag filled with food and beer from the local Tesco. I need to piss. But there is nothing which can detract from the fact that in a few minutes’ time, we will be arriving at the 2012 edition of Bloodstock Open Air.

90 minutes later, the tents are up, the first beer is consumed, and we head over to the arena, which should be opening. It’s very hot. The gates open, and the carnage duly begins. We start with a brief look around the stalls – at first, CDs and t-shirts both seem rather expensive, but there are some cheaper stalls (I pick up 4 CDs over the weekend).

But anyway, to the bands. The first band of the weekend, and one of the two I see on Thursday is Saturnian. They play the same music as Dimmu Borgir, but on a lower scale. I’m not a huge Dimmu fan so naturally this doesn’t appeal to me much, but it’s a passable way to begin the weekend. I miss Marionette and Bloodshot Dawn, so the next band I see is Viking Skull. They’re much more enjoyable than Saturnian – and I should think so, they’re essentially headlining the pre-party – and their riffs and songwriting truly get the show on the road. The setlist is a little poorly ordered, as two songs are played in a row which essentially had the same riff, but it’s a headbangable set nonetheless. The night finishes with comedy from Steve Hughes, who is a decent, but not fantastic comedian (the appeal to the Bloodstock crowd clearly comes from his billing as a heavy metal comedian and the fact that he used to be in Slaughter Lord).

Friday begins on the New Blood stage with the band In Coma – the only reason why we stick around for the entire set is that they’re the only band on at the time. Their brand of core-y melodeath is dull, and the female harsh vocals are poorly done to the point of being grating. Still, they’re not as bad as the appalling Malefice on the main stage. The jump-da-fuck-up attitude is as laughable as their music, which is modern groove metal interspersed with breakdowns. If the choice weren’t between them and a symphonic power metal band, I’d be leaving at this stage.

Speaking of power metal, Freedom Call are a much more attractive proposition live than on record – they’re great fun, and although their music might not have any depth to it, this cannot spoil the ‘happy metal party’ they espouse in either drunken or broken English. The first band I’m really looking forward to of the weekend is Grand Magus, but unfortunately they’re a little disappointing – the set is good, but it really does show how the material from newest album The Hunt pales in comparison to older material. I didn’t get there at the very start, but I don’t believe they played anything from their masterpiece Iron Will either. That’s not to say they give a bad performance, mind.

After a short break for some lunch, I catch the first few minutes of Moonsorrow on the main stage, who seem live like they are on record – decent, but overlong and not involving – before going over to the Sophie Lancaster stage to watch Sweet Savage. For a band who are famous for a Metallica cover, the reformed NWOBHM band come across well, despite their material not being particularly strong and frontman Ray Haller’s insistence on talking about Metallica all the bloody time. Their newer material sounds about as good as the older, but clearly the whole set revolves around playing ‘Killing Time’, along with their closing Thin Lizzy cover.

Back to the main stage, and Iced Earth are playing. I can’t call myself a huge Iced Earth fan, but I do really enjoy Burnt Offerings and The Dark Saga, so I’m disappointed that nothing off either of these albums is played, focusing instead on last year’s Dystopia and presumably other more recent material. It’s obvious that Stu Block is a talismanic vocalist, and it’s clear that recent songs would be boring without him, although his machismo is not endearing. There’s time for a half-hour break before Sepultura, who promise a set of classic material but in fact deliver mostly Chaos AD material along with a few tracks off the abominable Roots and Kairos. It’s great when they play ‘Beneath The Remains’ and ‘Arise’, however, and although ‘new’ vocalist Derrick Green comes across like Fred Durst at times, he doesn’t detrimentally affect the old songs at all. It’s an energetic performance ruined by a god-awful setlist.

Once again, a half-hour break before the mighty Dio Disciples. The performance is a fitting tribute to the late, great Ronnie James Dio after whom the main stage is named – both Tim ‘Ripper’ Owens and Toby Jepson do a good job at sounding exactly like him, and the set visits every stage of the man’s career, from Rainbow, via Black Sabbath and his early solo classics, to the later stages of his solo career (‘Magica’, for instance). The crowd sings along and it’s the best performance of the weekend so far.

I arrive to Watain a little late after getting dinner, unfortunately missing my favourite song of theirs (‘Malfeitor’), but the melodic black metal band puts on an impressive stage display, being the first band of the weekend to use pyrotechnics – and with the darkening sky around us it works particularly well with songs like ‘Stellarvore’. Naturally, the setlist mainly rotates around Lawless Darkness and Sworn To The Dark, but those albums are there strongest material. As their set runs some way over their allotted time, I leave about 15 minutes early to catch the end of Alcest. There’s little difference between Alcest on record and Alcest live, but the atmosphere in the Sophie Lancaster tent is perfectly conducive to their brand of blackened shoegaze, and the quality of frontman Neige’s work is well apparent.

And so to the day’s headliners, the almighty Behemoth. Perhaps the least famous of the three headliners, their studio material is probably the strongest of the three, and their live performance is more than a match for it. After having to pull out of the festival previously due to a cancer scare, frontman Nergal is glad to be alive, and the night adds to the mystique of old material and the brutality of the likes of ‘Demigod’ and ‘Slaves Shall Serve’. Closing with ‘Lucifer’ is a good idea, and what appears as a fairly mundane track on Evangelion comes alive in the live setting as it brings in the night. The mix is very good, and it’s possible to pick out individual melodies and instruments during blastbeats, which is an unfortunately rare occurrence.

After a shockingly good night’s sleep, the first band of the day is Apollyon on the New Blood stage. Much better than their counterparts In Coma of the day before, their slightly death-y thrash metal wakes everyone up. They’re not a band I’d seek out to listen to, but they’re more than passable. The first band I’m really looking forward to of the day, however, is Benediction. Death metal with d-beats is a great idea, and I don’t see why more bands don’t play that style. And despite Dave Hunt’s lack of properly functioning legs at the moment, they put on a great performance, the large crowd they draw (at 11am, no less!) attesting to the quality of the Brummie veterans.

I have a brief look in at Savage Messiah, but they’re uninspired and the mix does them no favours – a generic modern thrash band playing generic modern thrash is not something I really want to waste my time on, and I don’t see why Earache Records (a fairly consistent label for those not aware) waste their time on them either. Much better, however, are Dripback – although by appearance we’d presume they were either a nu metal or ‘wigger slam’ band, they actually play a very palatable mixture of death metal, grindcore and hardcore. They use breakdowns tastefully and in extreme moderation rather than to excess, and the enthusiastic response they receive from the crowd is well deserved.

Chthonic are a fairly generic symphonic black metal band, and their fame is due to three main factors. Firstly, they’re Taiwanese; secondly, they use oriental scales and occasionally instruments in their music; and thirdly and perhaps most importantly, bassist Doris Yeh is very attractive. Still, these things can’t make up for a frankly lacklustre performance, and although their most recent album Takasago Army was a big step up in terms of quality, they still essentially embody the term ‘overrated’.

I don’t like Crowbar so I give them a miss, and there’s nothing on any of the other stages until the almighty Mayhem. After they open with ‘Deathcrush’, it’s fairly certain the set is going to be good, and although the weather is a little bit too… happy for the band to have their full effect, mixing newer stuff with classics about evenly works well, and they even pay tribute to their legacy by closing with ‘Carnage’ and the title track off the Pure Fucking Armageddon demo. A very impressive performance by one of the bands of the weekend.

Winterfylleth are very, very dull live (although I’m warming to their studio output), so after a couple of songs from their set I leave to go and see Sanctuary. Although the two new songs they play are frankly terrible, their older material is performed with the same aptitude I don’t doubt it was in their heyday. It’s a very good performance, and of course they close with the classic song ‘Battle Angels’.

Back at the Sophie Lancaster tent, and Witchsorrow put on a very good performance – they play stoner-ish doom, a style which I’d never seen live before, but their excellent riffs and atmosphere make for a great set – I’ll have to give their album a proper listen. After this one, I’ll even let them off for entitling a song ‘Breaking The Lore’ (if you don’t get that, you clearly need to go back to metal school).

The only New Blood band I’d heard before the weekend is our next stop (frankly, who gives a shit about Hatebreed?). Doomed are a hugely promising band – the From The Crypt EP is very good, and the Slovenian bunch also put on a great live show. Unfortunately very few people turn up to see them, and I don’t manage to catch one of the t-shirts they throw out, but this can’t deter either me or them. They’re changing their name soon due to problems with other bands sharing their name to Verminate, so keep an eye out.

Testament are fucking huge within thrash circles – just bordering the big 4 in terms of importance. Personally, I don’t like much of their post-80s stuff, but this is an exciting, energetic performance. The older stuff is marred a little bit by Chuck Billy’s new, inferior vocal approach, but it’s still impossible to deny the vitality of classics such as ‘Into The Pit’, ‘Practice What You Preach’ and ‘Over The Wall’. The fact that ‘Native Blood’ seems to be the only song the organizers play between bands on the main stage makes it irritating to listen to now, but Testament are Testament and that’s what Testament are.

I give Orange Goblin a miss due to being absolutely knackered, and with low expectations head over to Machine Head. Their music’s no longer attractive to my ears, and Rob Flynn gives an absolutely retarded speech about house music, generalizing fans of the genre to background music listeners, but the 13 year old in me erupts and songs like ‘Halo’ and ‘Davidian’ are not only well performed but send the crowd absolutely wild. That said, you won’t find me joining the ‘MACHINE FUCKIN’ HEAD!’-chanting idiot parade soon.

We start Sunday with Seprevation, who are a very nice surprise on the New Blood stage. They play old-school style death/thrash, and although they wear their influences literally on their sleeves with a Sepultura ‘Schizophrenia’ shirt and a Sadus cover, their music is undeniably good, and induces the only 10.30am moshpit you’re ever likely to see. After them, Kobra And The Lotus are a huge let-down. The Canadian band play trad-ish metal with female vocals, but the riffs are neither interesting nor exciting, and said female vocals are constantly shrieky and high-pitched to the extent that they begin to hurt my ears after a while.

An early lunch means that the next band I see is Flayed Disciple. Although the misogyny is not cool, the music is, and the furious headbanging in the crowd is for a reason. Their debut album Death Hammer is well worth a listen. Unfortunately they didn’t play my personal favourite ‘Ejaculate While Killing’ before I went to see Nile, who played a set filled with mainly post-Annihilation Of The Wicked material, aside from the closing brilliance of ‘Black Seeds Of Vengeance’. It must be said they put on a good show, and although their new album is somewhat disappointing, they know what their strong material is (‘Lashed To The Slave Stick’ gets played), despite the conspicuous absence of ‘Papyrus Containing The Spell To Preserve Its Possessor Against Attacks From He Who Is In The Water’.

The Black Dahlia Murder are not very good. Although they’re preferable to the other bands on at the time (Crimes Of Passion and Dream Catcher), they really don’t have much going for them aside from one strong album in Miasma, off which they play only one track. The tough-guy attitude is irritating too – I turn up to cries of ‘FUCKING BRUTAL’ and ‘It’s fist o’clock! Get those hands in the air motherfuckers!’.

On the other hand, Evile are excellent. Although their studio output has been lacklustre at most since debut Enter The Grave, it does translate well to the live arena. The crowd is wild, and tracks like ‘Cult’ and ‘Infected Nation’ become good all of a sudden. Closing with the fantastic ‘Thrasher’ (the song featured on Rock Band for which they are known) can’t be a bad idea either - the pits are insane for its duration.

Although Anvil are best known for the Spinal Tap-esque documentary about them, they actually produce fairly good NWOBHM-style music (it’s not actually NWOBHM due to them being Canadian). Certainly both ‘Mothra’ and the title track off their magnum opus Metal On Metal come across well (there’s a rather surreal guitar/vibrator solo in the middle of the former), and their recent material is surprisingly strong. Frontman Steve Kudlow seems genuinely delighted to be there, which adds a delightful whimsical element to the performance.

Paradise Lost are decent, but not great. Opening with the monumental ‘The Enemy’, their set descends into weaker mid-period material rather quickly, with only ‘As I Die’ off Shades Of God from their classic era – no rendition of ‘Gothic’ to be found. The tracks off their latest album Tragic Idol have a curious vocal element to them where Nick Holmes’ voice seems to be half an octave higher than on the record without creating dissonance.

The second-to-last band of the weekend are the incredible Anaal Nathrakh. Although I’m beyond tired at this stage, I can’t resist the pits for this one, and Nathrakh blaze through a set that is best described by the title to closer ‘Pandemonic Hyperblast’. Visiting every album on the way (including a delightful ‘Do Not Speak’ from Domine Non Es Dignus), Dave Hunt is as brilliant in his second performance of the weekend as he was in his first with Benediction. To top it off, a ‘wall of death’ forms upon the utterance of ‘We’ve been told by the organizers we’re not allowed to ask you to form a wall… (wall of death forms)… of death, wall of death, wall of death’.

The final night is headlined by the legendary Alice Cooper. Playing a set filled with classics and one new song (‘I’ll Bite Your Head Off’), his performance is spectacular as expected (despite a drum solo in the middle) – he arrives on stage dressed as a spider for ‘Black Widow’, and visits the likes of ‘I’m Eighteen’, ‘Is It My Body’, ‘Poison’ and ‘School’s Out’ on the way through to spectacular encore ‘Elected’. The arena is full of burly metalheads singing their hearts out for ‘Only Women Bleed’, and the performance is very involving despite the lack of stage talk. Undoubtedly the best performance of a fantastic weekend.


The excellent: Dio Disciples, Watain, Behemoth, Benediction, Mayhem, Witchsorrow, Doomed, Seprevation, Evile, Anvil, Anaal Nathrakh, Alice Cooper

The good: Viking Skull, Freedom Call, Grand Magus, Sweet Savage, Alcest, Apollyon, Dripback, Sanctuary, Testament, Machine Head, Flayed Disciple, Nile

The average: Moonsorrow, Iced Earth, Chthonic

The bad: In Coma, Sepultura, Savage Messiah, Winterfylleth, The Black Dahlia Murder

The dreadful: Malefice, Kobra And The Lotus

Sunday, 12 August 2012

Bedhead - 4 Song CDEP 19:10 [1994]

Here's a different kind of music and since most of you are metalheads and whatnot this is a short one, Bedhead are a slowcore group, if you don't know it slowcore is a alternative rock subgenre, it is minimalistic, melodic and  features depressive lyrics and atmosphere. In this case the music is composed of a repetitive bass, repetitive and upfront drums and some melodic guitar playing, vocals are calm and clean.This is a good EP for the genre and features a Joy Division that is great (in my opinion).


Thursday, 9 August 2012

Dog Faced Hermans - Hum of Life [1993]

Who doesn't like to hear some experimental punk from time to time? I do and if you do here's a punk release    with heavy folk and jazz influences (even some noise), something in the vein of sonic youth given that both borrow much from the No Wave movement, the difference is that Dog Faced Hermans borrow more from the Louge Lizards and James Chance than Sonic Youth. The female vocalist also plays trumpet and the guitarist viola. The is like you would expect extremely weird and experimental punk with a strong jazzy feel.
This album in particular features their standard sound and it's awesome and I don't know what else to say, just download it wont bite you.


Suara Parahiangan Group - Degung Sabilulungan - Sundanese Music of West Java; Vol 2 [1995]

So first post today is a Gamelan post.For all of you who don't know Gamelan is the classical music of Indonesia which has no relation with the western classical we all hear. This genre has a very different rhythm form and musical scale among many others, instruments used are mostly percussion instruments hand drums, cymbals and countless chromatic percussion instruments (mostly stuff that resembles xylophones, marimbas, etc...), sometimes vocals are also used, like classical music many styles exist (mostly based on region not era though).I have very few information about this release in particular, only know this is a recording of a group lead by Ujang Suryana who is a famous suling player, being the suling a kind of flute/oboe thing.
This lack of information is due to Gamelan being sacred and almost propriety of the Indonesian government so all recording of true Gamelan have to be licensed and most performances are closed to the general public. Anyways this is one more weird release I show you, but this time it is truly weird trust me, this is nothing you ever heard before (unless you know the genre already).


Wednesday, 8 August 2012

Paco de Lucía y Ramón de Algeciras - En Hispanoamerica [1969]

And another crazy album that doesn't seem to fit in here, but hey I'm alone in here I feel like going crazy over this.
This his flamenco, a Spanish genre of music that you probably see in those clubs where women with red and black dresses play castanets. But this here feature few of those stereotypes, this is a guitar driven folk album, the folk being flamenco. Paco de Lucía is the most well known guitarist of the genre, most of his work shows a impressive skill with the guitar, he plays awesomely fast in a flamenco guitar (and acoustic guitar with 12 strings and each string is more far from the others than the standard acoustic guitar) and the songs are simple but interesting.
But forget all that the main thing about this is that it's fun as hell, like the soundtrack for a "running of the bulls" (I thinks this is what its called in english) or a pistol finghting in a mexican bar in westerns.


Johnny Cash - With His Hot And Blue Guitar [1957]

Down the Rock Island Line she's a mighty good road
Rock Island Line it's a road to ride
Rock Island Line it's a mighty good road
Well if you ride you got to ride it like you finally get your ticket 
At the station for the Rock Island Line

This is the most well know country man (at least that's the perception I have) and this is his first release. A classic, "Folsom Prision Blues", "Cry!Cry!Cry" and "I Walk the Line" are widely know country songs and they are great songs, But my favourite here is the opener "Rock Island Line" and that songs represents everything Cash music was at the time: a steady rhythm section extremely simple but effective (to some similar to the sound of a train), a electric and a acoustic guitar playing a few chords per song, all standard, simple but awesome. 
The best classic country there is here. 


Swans - Filth [1983]

Blog alone for a few days.

This is Swans debut and one of the most "heavy" if not the most heavy one, in this first release Swans featured Norman Westberg for the first time Michael Gira obviously and two drummers, Jarboe was not yet in the band. The consequences of that and given that Gira was not yet using the whole folky stuff he later used never to let go completely (at least till this point) is a no wavy, noisy and repetitive as fuck release. Gira's vocals are far from melodic. For Swans fans or noisy stuff fans this might be a masterpiece for the others only a listen will tell.

Off to Bloodstock - back in a few days!

Unless somebody else posts something (Pastilhas might but I can't guarantee it) there won't be any posts for a few days, until Tuesday at the earliest, because I'm going to BOA with a few of the others (JohnRCC, randerson1893, Xylem and Demigod1993). Once again I'm looking for more people to post stuff, not because I'm struggling with it (I've got loads to re-upload/post), but because I think a higher volume would be nice. Also, I'm going to university in October and I'm unsure about whether I'll be able to post whilst there - and I don't want to see CitA die!


Persona 101

Monday, 6 August 2012

Zeni Geva - 10.000 Light Years [2001]

Today I present you Zeni Geva, a experimental metal band from Japan. They are a strange but awesome band, weird in every aspect. They are fronted by KK Null a know artist in the noise field, with the rest of the members changing frequently but all of them have some experience in the free improv, psychedelic rock or noise rock fields. And what music they create you ask, well it's a mixture of hardcore punk, doom metal, noise rock, played in a minimalism, repetitive, hypnotic and chaotic way. This record is one of my favorites it displays their style with a decent production (unlike the early releases), it's a dynamic record compared to previous ones, with a more experimental edge that other more "soft" releases they put out in the previous records. You can't go wrong with this release if you are brave, mad or stoned at least.


Re-upload: Doom - Police Bastard EP [1989]

Although it's but a few minutes long, this is my favourite release of Doom's - and considering how most of their releases are considered seminal in the crust genre, that is saying something. The title is very much linked to the police brutality that took place in the UK in the late 90s - peaceful protestors were beaten up and hassled purely for arguing a cause.

Re-upload notes: Best Doom material, this EP is among my 10 favourite records ever. If you haven't heard it, listen to it.

256 kbps


Saturday, 4 August 2012

Guilty Connector - Mother's Bloated Corpse

Well it's time to work on this blog's noise collection!

This is Guilty Connector's Mother's Bloated Corpse and frankly I just grabbed a few of his records a  selected a random one to upload here, but don't let that stop you this his a awesome release, GC his a harsh noise artist that uses handmade syths that he build himself to create all his songs. Stylistically this sounds like any japanoise artist sounds (kinda), but with a lot of metal and punk influences, and this record displays the most obvious evidence of that (apart from the motorhead shirts he use on live shows sometimes), it includes among his noise works a Black Sabbath cover... remix... well a noise thing of Symptom of the Universe. And that should be enough to sparkle your curiosity, if not... try it anyways (if you like noise that is).


P.S. Sorry for the crappy image quality of the cover.

P.P.S. I've not been posting because I lack a decent internet connection, so luckily for you (I hope) I can post stuff till the end of this month cuz I'm on vacation.

Re-upload: Doom - War Crimes: Inhuman Beings [1988]

This highly politicised record is one of the key records of the entire crust punk sound, which would in the future influence bands from an entirely different background (Darkthrone being a good example). 37 minutes of pure punk energy.

Re-upload notes: This is, along with the Police Bastard EP, the best crust record in my opinion. Unparalleled in simplistic, but great compositional capabilites, although some of Doom's later stuff would pale in comparison (World Of Shit is rather mediocre), this has stood the test of time.

320 kbps


Friday, 3 August 2012

Re-upload: Amebix - Arise! [1985]

The dawn of crust, literally. Probably just about perfected it too in the same album. Many other influential bands (for instance, Doom, Napalm Death, etc.) drew influence themselves from this. Unerringly creepy.

Re-upload notes: I really can't be bothered to write much more at this point but the above seemed so uninformative I should add to it by saying that most of the other Amebix stuff is great too (including Sonic Mass) - I just can't bring myself to like the demos and struggle a little with the Who's Your Enemy? EP. 

128 kbps


Thursday, 2 August 2012

Iced Earth - Burnt Offerings [1995]

Sorry for the long absence - I was sure I'd scheduled that Hubelyska review for a point in the interim. Huh. Anyway, this is in my eyes Iced Earth's best album - although admittedly this opinion must be qualified by the fact that I haven't yet heard Night Of The Stormrider. Regardless, this is a stunning display of semi-thrashy power metal, its highlights being 'Creator Failure' and 'Dante's Inferno' in my eyes. That said, this is one of the few albums for which I can honestly say every song is a winner - I may appear to say it rather a lot, but that's just because I post lots of good albums here, right? Anyway, if you think power metal's normally 'gay' this might be a good place to start on your road to having a second fucking think about it. Yeah. I'm a power metal tough fairy.

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