Rotersand [Special]

Rotersand is a German electronic music act (The name Rotersand is derived from an old offshore lighthouse in the North Sea that year in year out defies nature’s powers in solitude and dignity.), formed in September of 2002 by Gunther Gerl (Gun) and Rascal Nikov with producer Krischan Wesenberg joining shortly after. Rasc is cofounder and the creative engine of “The Fair Sex” - one of the most renowned “old school" ebm bands in Europe and the U.S.

While co-producer of the band from the early 90's on, Gun almost became an invisible member of TFS. Since then, Gun and Rasc have repeatedly joined forces in projects such as “1 am” (Music Research) and “Warm” (Tetsuo Records) and now “Rotersand”. Krischan joined Rotersand in autumn 2002. As Resident DJ of clubs like “Planet ” in Bochum and “Broadway” in Essen he released tracks and mixes on Thee Blak Label, Radikal Fear, Force Inc and React. His meaty club-background perfectly complements Rasc’s solid ebm roots and Gun’s elaborate “pop-approach”.

Prior to working in Rotersand, Rasc and Gun had collaberated together on other projects. Rotersand’s music can generally be described as futurepop but with influences from styles such as progressive trance and techno.

Releases by Rotersand have reached high positions in the German Alternative Charts, the Nordic Alternative Charts and the Dutch Alternative Charts. The band has also toured with Assemblage 23, has played at Dark City Festival and is scheduled to play Infest in 2006. They also accompanied Covenant on their Skyshaper tour, also in 2006.

[Releted links]

• Rotersand@official
• Rotersand@wiki
• Rotersand@myspace
• Rotersand@last.FM

[Video]

• Rotersand ~ Undone
• Rotersand ~ Exterminate Annihilate Destroy
• Rotersand- "Exterminate annihilate destroy" (live)
• Rotersand - World transmission
• Rotersand - Rushing at Summer Darkness Winter Edition
• Rotersand - Merging Oceans // Live in Montreal
• Rotersand @ The Metro 100406
• Rotersand- Almost Violent (LIVE St-Petersburg FL)
• Rotersand - Merging Oceans
• Rotersand at Summer Darkness 2009 (Undone)
• Rotersand - Almost Violent @ London 12th October 2008
• Rotersand live at K19 - Lost
• ROTERSAND - (Live Gothic Festival Waregem 2009)
• Rotersand - We Will Kill Them All

[Discography]

Albums
2003 - Truth Is Fanatic
2005 - Welcome To Goodbye
2007 - 1023
2009 - Random Is Resistance

EPs
2003 - Merging Oceans
2005 - Exterminate Annihilate Destroy
2006 - Dare To Live
2008 - I Cry
2009 - War On Error

Limited Edition Releases
2004 - Electronic World Transmission Pass: sensaciondeletargo.blogspot.com
2004 - Social Distortion (Limited 12" vinyl) Pass: vampi

Live
2004 - Live At Bochum Total (22 June 2007)

source:
www.bunalti.com//
wiaderko.net//
f60s.com//
solobaja.blogspot.com//
vampirlady-projekt.net//
muzicum.blogspot.com//
dark-lord-mission-electro.blogspot.com//
stars-die.blogspot.com//
sensaciondeletargo.blogspot.com//
staringapocalypse.blogspot.com//
industrialheads.blogspot.com//
discos-discoteca.blogspot.com//
muzicum.blogspot.com//
industrial-scum.blogspot.com//
imaginarydark.blogspot.com//
angelencenizas.blogspot.com//

Labels: Alternative, Dark Electro, Discography, EBM, Electro, Experimental, Indie, Industrial, Special

White Noise [Special]

White Noise is an experimental electronic music band formed in London, England in 1969 by American-born David Vorhaus, a classical bass player with a background in both physics and electronic engineering. He was initially joined by BBC Radiophonic Workshop composers Delia Derbyshire and Brian Hodgson, both ex of electronic music project Unit Delta Plus.

An Electric Storm

In 1969 White Noise released the groundbreaking album An Electric Storm on Island Records. The album was created using a variety of tape manipulation techniques, and is notable for its early use of the first British synthesizer, the EMS Synthi VCS3. Amongst many oddities, the first track on the album Love Without Sound employed sped-up tape edits of Vorhaus playing the double bass to create violin and cello sounds.

'I use voices a lot too, but not as conventional vocals. I always use a lot of voices, and if somebody having an orgasm in the background is used as part of one of the waveforms, it makes the sound more interesting, without the listener actually knowing what they're hearing.' Interview with David Vorhaus

Although not initially commercially successful for Island, it has over the years proved to be a cult classic, going on to sell hundreds of thousands of copies worldwide, namechecked by such contemporary artists as The Orb and Julian Cope, influencing contemporary acts such as Broadcast, Add N to (X), and Secret Chiefs 3.

A brief extract from An Electric Storm can be heard in the Hammer Film Productions film Dracula AD 1972.

White Noise II-III

Following the departure of Derbyshire and Hodgson, to pursue other projects, Vorhaus released a second album, the largely instrumental White Noise II - Concerto for Synthesizer on Virgin Records in 1974. Typically dark in atmosphere, it was recorded in his own studio in Camden, North London. The album further utilized the EMS VCS3, as well as prototype sequencers.

A third album, the single track 'space fantasy' White Noise III - Re-Entry was released by Pulse Records in 1980. By this time the instrumentation had expanded to include synthesizers and a drum machine.

Drummer Ermanno Ghisio Erba a.k.a Dino Ferari also contributed to therecordings. White Noise IV-V A further two albums were released, the atmospheric White Noise IV - Inferno (AMP Music) (1990), which incorporated use of samples, and White Noise V - Sound Mind (AMP Music; 2000), an experiment in what Vorhaus calls Dark Ambient: 'It means I won't be getting on Top Of The Pops, but I felt the category was broad enough that I could redefine it in ways that I couldn't redefine other genres, such as country and western - much as I'd like to! There's a lot of scope for experimentation and on one track, 'Dark Matter', anything that is recognisable is out - no harmony, not pitch, no rhythm. It's so dark, you can't even see the stars!'

Interview with David Vorhaus

White Noise currently performs regularly in the UK and Europe as a duo lineup comprising David Vorhaus and Mark Jenkins. Mark Jenkins is a London-based music journalist who has written for Melody Maker, Sounds and NME and is the author of the book and CD "Analog Synthesizers" .

[Releted links]

• White Noise@BBC
• White Noise@markjenkins
• White Noise@wiki
• White Noise@myspace
• White Noise@last.FM

[Video]

• White Noise - Here Come The Fleas
• White Noise - Firebird
• White Noise - Your Hidden Dreams
• White Noise - Love Without Sound
• White Noise - 100%
  

[Discography]

1969 - White Noise - An Electric Storm
1974 - White Noise 2 - Concerto for Synthesizer
1988 - White Noise 3 - Re-Entry
1990 - White Noise 4 - Inferno
2000 - White Noise 5 - Sound Mind
2006 - White Noise 5.5 - White Label
2006 - Eindhoven Set (special concert at the Technical University of Eindhoven, the Netherlands, May 2006.)

source:
deadpandas.blogspot.com//
vlasdance.blogspot.com//
cousin-mike.blogspot.com//
zambonisoundtracks.blogspot.com//
silveraintr.blogspot.com//
elcamaleongallego6.blogspot.com//
mutant-sounds.blogspot.com//
weescoosa.blogspot.com//

Labels: Alternative, Avant Garde, Discography, Electro, Experimental, Indie, Industrial, Noise, Special

Labels: Alternative, Avant Garde, Discography, Experimental, Gothic, Indie, Noise, Post, Punk, Special

Alien Sex Fiend [Special]

From the band's moniker alone it is apparent that Alien Sex Fiend have every intention of raising eyebrows, if not shocking completely. However, there is much more to their story than that. Since the early 1980s, the London, England, based outfit have released a slew of records which exceed the status of gimmickry. Like contemporaries the Cramps, Alien Sex Fiend have relied upon a tongue in cheek style of horror film-inspired imagery, setting them apart from a host of gothic rock bands who offer similar theatrics without a glimmer of irony.

Unlike the Cramps' blend of comic-book rockabilly, Alien Sex Fiend base their musical style on a blend of boisterous punk rock and synthesizer driven dance music, looking forward towards change rather than back. As Greg Fasolino wrote in an online article, "Darwin would have been proud of Alien Sex Fiend, a highly successful musical organism that has resisted over a dozen years worth of attempts at pigeonholing and ... have yet to stand still in any zone of space and time." Alien Sex Fiend's roots are firmly entrenched in the North London club scene that thrived in the wake of punk rock in the late 1970s. The band's Nik Fiend circulated among several bands during 1976 and 1977, including the short lived groups Demon and Demon Preacher, both of which left behind few recorded artifacts.

Fiend's penchant for the macabre antics of rock singer Alice Cooper, famous for loading his stage with snakes, guillotines, and other ghastly props, set him apart from many of his punk contemporaries, and after finding a like-minded set of cohorts, Alien Sex Fiend formed to help forge the new genre of gothic rock. Joined by his synth-playing wife Chrissie, who adopted the stage name Mrs. Fiend, Fiend rounded out the original Alien Sex Fiend lineup with apartment-mate David James/Yaxi Highriser on guitar and drummer John Freshwater/Johnny Ha-Ha. After producing a demo-tape that received good reviews in underground papers, the band was invited by Ollie Wisdom of the group Specimen to play their first live show at London's Batcave club in December of 1982. It quickly became apparent that stage performance was as vital to Alien Sex Fiend as recording music, and their display of smoke machines and zombie-like makeup played a part in the burgeoning gothic subculture. However, unlike a number of gothic acts that emerged from the same period such as Christian Death or Specimen, Alien Sex Fiend injected a campy self-awareness into their seemingly morbid proceedings, and listeners outside of the gothic lifestyle grew to appreciate the band's flair.

While becoming in-house cuit favorites at the Batcave, the group was soon invited to play larger venues, adding to their busy schedule. "The only lows were attempting to hold down day jobs and having to go to work pretending you'd had a normal evening," Nik Fiend recalled to Mick Mercer in an online article, "when in reality you've been up all night recording in Trident studios or doing a gig." Beginning a twelve year relationship with the Anagram label, the Fiends released their debut single, "Ignore the Machine" and album, Who's Been Sleeping in My Brain?, in 1983. A landmark of gothic rock, the album offers a unique array of vaguely psychedelic guitar and pulsing rhythm, topped off by the trademark vocals of Nik Fiend, who alternates between a deadpan drone and a wailing tremolo. With such highlights as "Wish I Woz a Dog" and "Wild Women," Who's Been Sleeping in My Brain? created a landscape of B-movie imagery and hallucinogenic references that usually avoided outright profanity, but was nevertheless sure to shock the conservative listener.

The prolific group continued to issue a number of singles that scored high marks within clubs and on independent charts, including "R.I.P," "Dead and Buried," and "E.S.T. (Trip to the Moon)," all released in 1984. As evidenced on that year's Acid Bath album, the Fiends had begun to move away from privileging the guitar as the hub of their music, and increasingly leaned on Mrs. Fiend's synthesizer and tape loops to provide spooky, yet danceable, electronic tracks. However, the departure of drummer Ha-Ha became a temporary setback in the band's creative trajectory. The 1985 album, Maximum Security, utilized an often monotonous sequencer in lieu of a drummer, and on the whole the record lacked the kinetic edge that fueled earlier releases. The following year saw the band's pioneering sound of dance-oriented gothic rock reach maturity with the single "I Walk the Line" and the soon to follow "It" the Album.

End of the Gothic Era

"It" the Album represented both the end of the group's initial phase and its most creative undertaking yet. Moving in directions beyond the scope of goth subculture, songs such as "Manic Depression" and "Get Into It" retained the Fiends' vision of ghastly kitsch, but delved into realms of extreme psychedelia and techno. While the band had by no means become mainstream, the band had expanded their appeal so much that Nik Fiend's idol, Alice Cooper, offered Alien Sex Fiend the opening slot on his "Nightmare Returns" tour. Working with a bigger budget and several years of experience under their belts, the Fiends' all-important onstage theatrics could then rival Cooper's. As Fasolino wrote of the tour, the band's live show had evolved into "a creature-feature cabaret with Munsterian magician Nik as ringleader, armed with his array of lethal props, and surrounded by utterly gonzo self-designed stage sets." Provoked by mounting tensions within the band, Yaxi Highriser left Alien Sex Fiend in 1987, leaving Nik and Mrs. Fiend alone at the helm. This hiatus quickly ended with the induction of new members Rat Fink, Jr., and Doctor Milton in 1988, who collectively took up the duties of keyboards, guitar, and drums.

By this point in their career, the band had largely shed its gothic musical style, as well as its pancake makeup and mascara, and had become more in step with industrial and electronica-music often dominated by aggressive beats and experimental use of new technology. While the 1988 album Another Planet made use of electronically sampled sounds on tracks like "Nightmare Zone" and the crudely punned "Sample My Sausage," the Fiends pushed the envelope even farther by setting a cut-up medley of their material to beats inspired by American techno music on the single "Haunted House," released in 1989.

Band Embraced Electronic Age

Throughout the 1990s, Alien Sex Fiend continued to break out on new fronts, grafting their dance sensibilities onto the terrain of computers and cyberspace. In 1994, the group again demonstrated their cutting-edge thinking by releasing the first ever soundtrack for a CD Rom computer game called Inferno-The Odyssey Continues. The cool, spaced-out flavor of the soundtrack prefaced the dramatic new direction Alien Sex Fiend's music took after the formation of their own label, 13th Moon Records, in 1995. Bearing almost no resemblance to the band's formative efforts save for its aesthetics of shock, the notable 1997 release Nocturnal Emissions was, in Fasolino's words, "a cybernetic jamboree, opening with 1996's groundbreaking single "Evolution," a dancefloor juggernaut full of otherworldly blips, bleeps, and bastard beats ...

Nocturnal Emissions will take you on a journey farther out than any previous trek in the band's fabled, frenetic career."In spite of the Fiends' embracing of all things electronic, Nik Fiend has continued to produce work in a much more time-honored medium-oil painting. The self-taught Fiend applied the same irreverence in his painting as in Alien Sex Fiend's music and his work has been used consistently for the group's album covers and stage backdrops. In 1996, Fiend's horrific works, dating back to 1982, were given their own exhibition at the Sussex Art Club in Brighton, England, but the singer showed no sign of conceding to art gallery decorum. "I like to challenge whatever is acceptable," Fiend told Chryste Hall in an online interview. "When I started to work with oils, the first thing I read in an art book was"do not use black," so of course I ran out and got a load of black paint!" Fiend has truly established himself as a multimedia trouble maker, and despite the release of a 1998 retrospective of Alien Sex Fiend's career to date, his journey into the bizarre seems far from over.

[Releted links]

• Alien Sex Fiend@official
• Alien Sex Fiend@wiki
• Alien Sex Fiend@myspace
• Alien Sex Fiend@last.FM
• Alien Sex Fiend@Punknet 77

[Video]

• Alien Sex Fiend - Get into it
• Alien Sex Fiend - Wish i was a Dog.
• Alien Sex Fiend - Ignore the machine [HQ]
• Alien Sex Fiend - I Walk The Line
• The Batcave and Alien Sex Fiend - Ignore the Machine
• Alien Sex Fiend - RIP
• Alien Sex Fiend - Now I'm Feeling Zombified Live 1991 DNA SF
• Alien Sex Fiend - Buggin' Me
• Alien Sex Fiend live - Smells Like Shit - 23 Nov 2007
• Alien Sex Fiend live - EST Trip to the Moon
• Alien Sex Fiend - Liquid Head in Tokyo
• Alien Sex Fiend live - Gotta Have It -23 Nov 2007
• Alien Sex Fiend live - Dead and Buried - 23 Nov 2007
• Alien Sex Fiend - ATTACK!!!
  
• Alien Sex Fiend - Braunschweig 1987

[Discography]

Albums
1983 - Who's Been Sleeping in My Brain? pass: lagrimapsicodelica
1984 - Acid Bath pass: lagrimapsicodelica
1985 - Maximum Security Pass: phantasmagoria138.blogspot.com
1986 - It - The Album
1987 - Here Cum Germs pass: lagrimapsicodelica
1988 - Another Planet pass: lagrimapsicodelica
1990 - Curse pass: lagrimapsicodelica
1992 - Open Head Surgery pass: lagrimapsicodelica
1994 - Inferno
1997 - Nocturnal Emissions pass: lagrimapsicodelica
2000 - Nocturnal Emissions (Special Edition)
2004 - Information Overload

Live albums
1985 - Liquid Head in Tokyo pass: lagrimapsicodelica
1989 - Too Much Acid? pass: lagrimapsicodelica
1993 - The Altered States of America pass: lagrimapsicodelica
2001 - Flashbacks! (Live 1995-1998) Part1 /Part2
2001 - 9-5-2008 LIVE (Bootleg)

Compilation albums
1983 - Batcave: Young Limbs & Numb Hymns Pass: phantasmagoria138.blogspot.com
1984 - Peel Sessions
1986 - The First Alien Sex Fiend Compact Disc
1987 - The Impossible Mission Mini-LP
1988 - All Our Yesterdays
1993 - The Legendary Batcave Tapes
1994 - Drive My Rocket (USA)
1995 - I'm Her Frankenstein (USA) pass: lagrimapsicodelica
1995 - The Singles 1983-1995 pass: lagrimapsicodelica
1997 - War Dance of the Alien Sex Fiend – 2CD-set Part1 / Part2 /Part3
1998 - The Batcave Masters (USA) pass: lagrimapsicodelica
1999 - Fiend at the Controls Vols 1 & 2
2001 - The Best of Alien Sex Fiend
2005 - Friend Club
2005 - The Very Best of Alien Sex Fiend pass: lagrimapsicodelica
2006 - Para-Abnormal
2008 - R.I.P. - A 12" Collection
2008 - Gothic Rock - The Ultimate Collection Part1 / Part2
2009 - Dark Circle Room's Mix Tape #3
0000 - The Vampire's Song presents: Halloween Party I Part 1 / Part 2
0000 - Gothic Metal Downloads - III Years

Singles
1982 - Evolution pass: lagrimapsicodelica
1983 - Ignore the Machine
1983 - Lips Can't Go
1984 - R.I.P. (Blue Crumb Truck)
1984 - Dead and Buried – UK #91
1984 - E.S.T. (Trip to the Moon)
1985 - I'm Doing Time in a Maximum Security Twilight Home
1985 - Ignore the Machine" (re-issue) – UK #99
1985 - Ignore the Machine Electrode Mix
1986 - I Walk the Line Pass: phantasmagoria138.blogspot.com
1986 - Smells Like...
1987 - Here Cum Germs
1987 - Hurricane Fighter Plane
1987 - Stuff the Turkey
1987 - The Impossible Mission
1988 - Batman Theme (released as Dynamic Duo)
1988 - Bun Ho!
1989 - Haunted House
1990 - Box Set of 5 Singles
1990 - Now I'm Feeling Zombified
1992 - Magic
1994 - Inferno - The Youth Mixes
1995 - Inferno - The Mixes
1996 - Evolution 12"
1996 - Evolution" CD
1996 - Evolution Remixes 12"
1997 - On a Mission Remixes 12"
1998 - Tarot Mixes 12"

source:
gothicmetaldownloads.blogspot.com//
nocualquiermusica.blogspot.com//
beno-music.blogspot.com//
under-underconnection.blogspot.com//
morcegosresistem.blogspot.com//
phantasmagoria138.blogspot.com//
the-zombiefied.blogspot.com//
darkcircleroom.blogspot.com//
www.monokrom-photos.com//
phantasmagoria138.blogspot.com//
choo-choo-mama.blogspot.com//
lagrimapsicodelica.blogspot.com//
thecryptbr.blogspot.com//
morcegosresistem.blogspot.com//
lovepainfear.blogspot.com//
elmundozombiesegunluis.blogspot.com//
deicida69.blogspot.com//
under-underconnection.blogspot.com//

Labels: Alternative, Dark Electro, Discography, EBM, Electro, Experimental, Garage, Gothic, Indie, Industrial, Noise, Punk, Special

Mike Patton [Special]

Michael Allan Patton (born January 27, 1968, in Eureka, California) is an American singer, songwriter, composer, multi-instrumentalist and video game voice actor, best known as the lead singer of the rock band Faith No More from 1988 to 1998, which recently reunited in 2009 and will be touring Europe this summer. He has also handled lead vocals for Mr. Bungle, Tomahawk, Lovage, Fantômas, The Dillinger Escape Plan, and Peeping Tom.

Patton has earned critical praise for his diverse vocals, which touch on crooning, falsetto, death growls, rapping, chanting, mouth music, beatboxing and scatting, among other techniques; critic Greg Prato writes, “Patton could very well be one of the most versatile and talented singers in rock music.”

He has many producer or co-producer credits with artists such as John Zorn, The Melvins, Melt-Banana, Kool Keith, and Björk. He co-founded Ipecac Recordings with Greg Werckman in 1999, and has run the label since.

Patton grew up in Eureka, California, where he and his friends (including long-time members Trey Spruance and Trevor Dunn) formed Mr. Bungle circa 1984. During the late 80s they recorded the cassette-only demos ”The Raging Wrath of the Easter Bunny”, ”Goddammit I Love America”, ”Bowel of Chiley” and ”OU818” (featuring tracks that would appear on their first Warner Brothers album), and earned a modest local following. Patton joined Faith No More in January 1989 and filled the vocal void left by the unreliable and recently-fired Chuck Mosely, who moved on to the band Cement. Faith No More’s The Real Thing was released later the same year. The album reached the top ten on the charts thanks largely to MTV’s heavy rotation of the Epic music video (which featured Patton in a Mr Bungle t-shirt).

In the United States, Faith No More would never again match the commercial success of ”The Real Thing” but their music continued to evolve into new and sometimes stranger areas of rock music. After three more studio albums (”Angel Dust”, ”King for a Day… Fool for a Lifetime”, and Album of the Year”) Faith No More officially disbanded in 1998.

During his time as a member of Faith No More, Patton continued to collaborate with Mr. Bungle. His success in mainstream rock and metal ultimately helped secure Mr. Bungle a record deal with Warner Bros. The band released a self-titled album (produced by John Zorn) in 1991, and the highly surreal ”Disco Volante” in 1995. Their final album was ”California”.

Patton’s other projects have included two solo albums in the Composer Series on John Zorn’s Tzadik]/label] label (”Adult Themes For Voice” in 1996 and ”Pranzo Oltranzista” in 1997). He is a member of Hemophiliac where he does voice effects along with John Zorn on saxophone and Ikue Mori on laptop electronics. This group is billed as “improvisational music from the outer reaches of madness”. He has also guested on Painkiller and Naked City recordings. He’s appeared many times on other Tzadik releases with Zorn and others.

There have also been several projects over the years that have not seen an official release, although some live bootlegs do circulate. These projects include House of Discipline (with Bob Ostertag and Otomo Yoshihide), Moonraker (with Agata Ichirou of Melt-Banana, Buckethead and DJ Eddie Def), Christian Fennesz (Fennesz) and Mike Patton, and Mike Patton & Rahzel. Patton contributed vocals to the Team Sleep song “Kool-aid Party”, but the song did not make it onto the final album. This is likely due in part to the unfinished album having been leaked very early onto the internet.

In 2007, Mike Patton played the voice of the eponymous possessive primeval force in the video game The Darkness, working alongside Kirk Acevedo, Lauren Ambrose and Dwight Schultz. He also had a minor role in Valve Corporation’s 2007 release, Portal as the voice of the Anger Sphere in the final confrontation with the insane supercomputer, GLaDOS. He has another role in the Valve title, Left 4 Dead. In October, 2007 it was announced that he would be voicing the main character in Capcom’s remake of their classic title, Bionic Commando. Mike also provided the voices of the monsters in the 2007 film I Am Legend starring Will Smith. Patton is known to be an avid video game player.

In February 2006, Mike Patton performed an operatic piece, composed by Eyvind Kang, at Teatro di Modena in Italy. Patton sang alongside vocalist Jessika Kinney, and was accompanied by the Modern Brass Ensemble, Bologna Chamber Choir, and Alberto Capelli and Walter Zanetti on electric and acoustic guitars. Of the experience, Patton remarked that it was extremely challenging to project the voice without a microphone.

In 2005, Patton signed on to compose the soundtrack for the upcoming independent movie Pinion, marking his debut scoring an American feature-length film. However, this has been held up in production and may be on the shelf permanently. His other film work includes portraying two major characters in the Steve Balderson film Firecracker. He has also expressed his desire to compose for film director David Lynch. Patton’s long-gestating Peeping Tom album was released on May 30, 2006 on his own Ipecac label. The set was pieced together by swapping song files through the mail with collaborators like Norah Jones, Kool Keith and Massive Attack, Odd Nosdam, Jel, Doseone, Bebel Gilberto, Kid Koala, and Dub Trio.

“I don’t listen to the radio, but if I did, this is what I’d want it to sound like”, Patton says of the project. “This is my version of pop music. In a way, this is an exercise for me: taking all these things I’ve learned over the years and putting them into a pop format.” Recently, Patton has worked with Björk and the beat boxer Rahzel. He is often featured on new releases, and is regarded as extremely hard working. Faith No More keyboardist Roddy Bottum remarked about Patton “caffeine is the only drug he does”, in reference to the Faith No More song Caffeine from the album ”Angel Dust”, which Patton wrote while in the middle of a sleep-deprivation experiment.

More recently Patton has lent his talents for the Derrick Scocchera short film A Perfect Place for the score/soundtrack, which out-lengths the film itself. It has been announced that in December 2008 along with Melvins, Patton will co-curate an edition of the All Tomorrow’s Parties’ Nightmare Before Christmas festival. Patton will choose half of the lineup and also perform the album The Director’s Cut in its entirety with Fantômas. Patton will also be appearing as Rikki Kixx in the Adult Swim show Metalocalypse in a special 2 part episode on August 24th.

[Releted links]

• Mike Patton@official
• Mike Patton@unofficial
• Mike Patton@wiki
• Mike Patton@myspace
• Mike Patton@last.FM
• Mike Patton@Ipecac Rec.

[Video]

• Mike Patton - Moonchild
• Faith No More - Midlife Crisis
• Faith No More - Stripsearch
• Faith No More - Evidence
• Faith No More - I Started a Joke
• Faith No More - Epic
  
• Faith No More - Everythings Ruined
• Mr. Bungle - My Ass is on Fire (LIVE!!)
• Mr. Bungle - Pink Cigarette
  
• Mr. Bungle - Goodbye Sober Day
• Mr. Bungle - Time live (Alan Parson's Project cover)
• Peeping Tom - We're not alone
  
• Peeping Tom - Desperate Situation (Live 2006)
• Peeping Tom - Mojo
• Peeping Tom - five seconds (live in cologne 2006)
• Peeping Tom - !Get Up, Punk! (Live in Austria)
• Peeping Tom - We're Not Alone
• Tomahawk - Flashback live
• Tomahawk - Captain Midnight (2003)
• Tomahawk - Mayday
• Tomahawk - God Hates A Coward
• Fantomas - Slayer Medley
• Fantômas - Godfather
• Fantomas - Simply Beautiful
  
• Fantomas - The Omen
• Fantomas - Delirium Cordia
• Fantomas - Rosemary's Baby
  
• Fantomas - Fire Walk With Me
• Fantomas - Live @ Montreaux 2005

[Discography]

Faith No More

1985 - We Care A Lot
1987 - Introduce Yourself
1989 - The Real Thing
1991 - Live at the Brixton Acadamy
1992 - Angel Dust
1995 - King For A Day Fool For A Lifetime
1997 - Album Of The Year
1998 - Who Cares A Lot (Limited Edition) - CD 1 /CD 2
2003 - This Is It The Best Of Faith No More
0000 - Fools Small Victory B-sides and Rarities 90-95

Mr. Bungle

1986 – The Raging Wrath of the Easter Bunny (demo)
1987 – Bowel of Chiley (demo)
1988 – Goddammit I Love America (demo)
1989 – OU818 (demo)
1990 – Mr Bungle Rough Mixes (Demo)
1991 – Mr. Bungle
1994 – Disco Volante Demos
1995 – Disco Volante
1999 – California
2000 – Bizarre Festival (Live)
Pass : bunalti.com

Fantômas

1998 - Diabolik Demos
1998 - Great Jewish Music: Marc Bolan
1999 - Fantômas
1999 - Amenaza_al_Mundo
2001 - An Experiment In Terror
2001 - Live In Wiesen, July 6, 2001; Austria
2001 - The Director's Cut
2002 - Millenium Monsterwork (Live)
2002 - Wanna Buy a Monkey?
2003 - Masada Anniversary Edition Vol. 3: The Unknown Masada
2004 - Delirium Cordia
2005 - Fant Mastique
2005 - Suspended Animation
2005 - Who Is It/Where Is The Line Mixes 12" Vinyl
2005 - Split with Melt-Banana

Tomahawk

2001 - Tomahawk
2003 - Mit Gas
2007 - Sun Dance - Single
2007 - Anonymous

Peeping Tom

2006 – Mojo (EP) Pass : bunalti.com
2006 – Peeping Tom Pass : bunalti.com
2007 - We're Not Alone - Single

With John Zorn

1995 - Elegy
1995 - live at Pearl Street Downstaire in Noerth Hampton, Massachusetts, USA on April 18th
1995 - Pranzo oltranzista XXX or XX or X
1998 - Weird Little Boy
1998 - live at the Slim's in San Francisco, CA, USA on Sept.15th
1999 - Taboo & Exile I or II or III
1999 - Prelapse
2000 - The Big Gundown: I or II
2001 - The Gift
2002 - Hemophiliac CD1/CD2
2002 - I.A.O. CD1/CD2
2003 - Masada Anniversary Edition Vol. 2: Voices in the Wilderness CD1/CD2
2004 - 50th Birthday Celebration Volume 6
2005 - 50th Birthday Celebration Volume 12
2005 - Naked City: The Complete Studio Recordings
2006 - The Stone: Issue One
2006 - Moonchild: Songs Without Words
2006 - Astronome
2007 - Six Litanies for Heliogabalus
2008 - The Crucible mediafire //rapidshare

source:
elotrocatalogo.blogspot.com//
tzadikology.blogspot.com//
bounguine.blogspot.com//
peacefever.blogspot.com//
afterallhewassad.blogspot.com//
zornography.blogspot.com//
alterxzone.blogspot.com//
stubbadub.com//
napusisemajmune.blogspot.com//
chilekaos.blogspot.com//
ichosemusic.blogspot.com//
stupidd.blogspot.com//
www.mp3locker.net//
soundtracksandmore.blogspot.com//
thelastdisaster.blogspot.com//
www.bunalti.com//
musickforthedead.blogspot.com//
pitchmetal.blogspot.com//
darkanus.blogspot.com//
frgk.blogspot.com//

Labels: Alternative, Avant Garde, Discography, Experimental, Garage, Grunge, Hard Core, Indie, Jazz, Noise, NU, Post, Power, Special

Amon Tobin [Special]

Amon Adonai Santos de Araujo Tobin (born 7 February 1972), better known as Amon Tobin, is a Brazilian electronic musician and DJ. He is best known for his use of sampling. Tobin is also credited with helping to create the emerging "trip hop" genre in the late 1990s. He has released seven major studio albums since 1996 under the London-based Ninja Tune record label where he is considered one of their most successful artists.

Toby debuted the moniker Cujo on the album Adventures in Foam (Ninjatune, 1996). Hip-hop is the main influence in Northstar and Sighting, but the rhythmic element (staccato beats and jazzy basslines) is always reined in to let the superimposed (and extremely artificial) sounds flow naturally. Tracks such as the fibrillating Cat People and the suave A Vida filter hip-hop so as to leave only a swampy carpet of beats, apparently for the only purpose of transforming the continuum of melodic music into a discrete pulsating grid. Languid piano notes and Brazilian polyrhythms washed away any debris of hip-hop from The Brazilianaire, the sweetest moment of the album. Ornette Coleman's bass-driven funk is another influence, and, while few tracks sound like funk, that praxis is often encountered in Cujo's songs. Whichever the method, shimmering secretions such as Traffic (the album's second standout), the torrential percussion and piano feast The Sequel, Break Charmer and Fat Ass Joint build a bridge between jazz and drum'n'bass. Even the least eventful creations, such as The Light and Paris Straitham excel at weaving eerie atmospheres (possibly transposing the art of Duan Eddy and the Ventures to the era of drum'n'bass). out of convoluted rhythms and barely hinted sounds. The closing six-minute jungle/electronica pastiche Cruzer sums up the album, pointing to a direction of eclectic beats, jazzy nuances and somber climaxes.

The singles Creatures, Mission, Chomp Samba marked further progress in his compositional technique, and led to the monumental Bricolage (Ninjatune, 1997), credited to Amon Tobin. The album title is a manifesto of sample-based collage-oriented abstract hip-hop composition, along the lines of DJ Shadow's work. Several tracks revisit the magic of the previous album, adding a slightly stronger psychedelic/oneiric quality. A loud bass line opens Stoney Street, mimicking a rhythm and blues theme. The surface of the song is a dialogue between a jazz trumpet and decadent violins, and it keeps merely looping, one voice alternating to the other, each voice merely repeating its tune. The backdrop for the song is hyper-busy drumming. A new structure arises in which the "leitmotiv" is assigned to the bass, while the other instruments simply embellish the atmosphere, although it is the other instruments that are actually laid out in the front. Easy Muffin is hypnotic and dreamy, as different weeds alternate at uttering simple melodic patterns, but never reaching the consistency of a refrain, while the drum machines erect a bush of impenetrable beats. Creatures is another highlight, a cloud of ghostly free-form noises segueing a geometric shower of piano notes over machine-gun beats, while a grotesque and languid trumpet lingers by. The hawaian guitar of Yasawas, the cool-jazz trumpet of The New York Editor, the romantic sax line of The Nasty, are all counterposed and juxtaposed to disorienting textures, and revitalized by a process of musical introspection. Each track becomes a study in counterpoint, a chamber piece for a small number of instruments that trade nuance.

In Chomp Samba it is the frantic, tribal rhythm itself to be subjected to such a treatment, and the result is a futuristic ode to primal insticts. Tobin's studies on timbre should also not be overlooked. The apparently unassuming Deficus is actually a new kind of symphony. Tobin warps the distinctive tone of an instrument to produce a new kind of instrument, and then weaves a few of them (a bee-like violin, a distorted bass, UFO-sounding flutes) into an organic flow of sound. It is, in fact, one of the most significant innovations since Beethoven added a choir to a symphony. Dream Sequence exploits that techique to lay all sorts of bridges between genres, as the tones mimick country and raga, while its essence is kosmische musik.

Needless to say, jazz fuels and dresses these compositions. However, Tobin does to jazz what Picasso did to impressionism: it uses only discrete fragments of the image to reconstruct the whole. Furthermore, it is never the only or main element. For example, the sax solo of Wires And Snakes coexists with industrial metronomic pulses and with soothing ambient waves of electronics. The jazz feeling is pervasive throughout One Small Step, and the choppy bossanova of One Day In My Garden is the only regular, hummable, linear song on the album. They are both anomalies for Tobin. With this album, Tobin unified classical, jazz, rock and dance music in a genre and style that is universal.

The concept of Permutation (Ninjatune, 1998) may not have been groundbreaking anymore, but the painstaking care with which Tobin assembled and warped snippets from archaic Big Band records of Buddy Rich and Gene Krupa was comparable to a Sistine Chapel of beat-based music. Tracks such as Like Regular Chickens (which, incidentally, references David Lynch's film "Eraserhead") or Reanimator were all about acrobatic drumming convulsions. Bridge was more explicit in quoting its sources, loud drumming and soulful melodies delivering a forceful message of both nostalgia and futurism. Switch, perhaps the most elegant piece on the album, was equally effective in recreating the vintage mood of the "jazz age". Some of the slower tracks allowed room for exotic accents (the Latin Sordid, the exotic flute line in Nightlife, the bossanova-ish Nova) and a darker atmosphere. Alas, too many tracks seem to meander pointlessly around a good idea. Even when the idea is good, as in People Like Frank (that quotes Angelo Badalamenti's soundtrack for David Lynch's "Blue Velvet") or Toys (that mimicks the cling-clang of mechanical toys), it hardly justifies six minutes of random beats. The longest one, Fast Eddie, tried to bridge the futuristic dimension (the galloping breakbeats) and the noir dimension (the slower melodic passages) but only succeeded in parading Tobin's studio skills. This time the bridge wasn't so much between jazz and drum'n'bass as between two distant ages. The subject was time, not style.

Tobin kept refining his art of sophisticated and seamless puzzles on Supermodified (Ninjatune, 2000). The intricate Get Your Snack On (funk guitar, jazz flute, soul organ, exotic saxophone, etc etc) and Golfer versus Boxer represent the equivalent of baroque art in the sampling world, and harken back to the original hyper-kinetic Cujo program. However, the rhythmic spectrum has broadened considerably from the early days: Four Ton Mantis maximizes rhythmic attack, Marine Machines toys with industrial metronomy, Precursor liquefies the beats to the point that they sound like Morton Subotnick's electronics, the seven-minute locomotive Rhino Jockey is oriented towards the raves. At the same time an introspective and somewhat obscure strain has penetrated the fabric of Tobin's music: the tenderly noir Slowly, the liquid downtempo Deo, the lazily Brazilian Saboteur. Most affecting is perhaps Chocolate Lovely, a pensive jazzy theme floating in a lattice of restrained beats.

Out From Out Where (Ninja Tune, 2002) marks another peak of creativity. Tobin's android treatment of jungle is the quintessence of the trans-cultural. Witness how he blends minimalist concerto, Chinese ballet and Middle-eastern ceremony in a tricky novelty such as Proper Hoodidge. His artsy manipulations of jungle music would be nothing new, but his dressing for Back From Space (a disorienting piano sample of Debussy's Clair de Lune and chiming bells that drowns the beat fury into the equivalent of a Christmas music-box and galactic drones), Chronic Tronic (a breathtaking beat symphony, a demented clockwork that redefines the temporal coordinate, perhaps Tobin's statement on the irrelevance of tempo), El Wraith (an exotic fantasia that runs the gamut from Japanese temple music to from intoxicated hindu processions to symphonic fanfare to dub reverbs), and Verbal (a vocal track over chunky beats in which the frantic rapper is slowly decomposed until he becomes only an alien signal, perhaps Tobin's statement on the irrelevance of the message), show his perverted genius still progressing towards ever more daring abstractions. Searchers is another peak of unbridled imagination: a chaotic crescendo of strings (two separate samples of string orchestras), drums, bells, cheeping electronics, warped lyric-less vocals and middle-eastern flute. The noisy sci-fi vignette Triple Science, with machine-gun beats worthy of grindcore, the marching robots of Rosies, the simulation of exotic dancing of Cosmo Retro Intro Outro, the atmospheric jazz shuffle of Hey Blondie, that sounds like an instrumental remix of a Pink Floyd track from Dark Side of the Moon, emanate from the same, unfocused center. The album's closer, Mighty Micro People, that dumps a gentle melodic theme inside a confused container with a piano that echoes tv-series music and the electronic simulation of a shy quavering voice, is perhaps a tribute to himself.

It appears that Tobin is carrying out several philosophical debates at once, while entertaining his audience with catchy numbers of an extra-terrestrial music hall. Tobin is debating on the meaning of music itself, on the nature of composition, on the viability of communication, on the ultimate constituents of sound. His neglect for form is a new kind of form, a form that has reduced form to the annihilation of form. The dualism of content versus form was resolved by the post-modernists as a non-issue: Tobin redefines it as a process, a process of form-abatement by which content is created, as if content and form were the same substance, and more of one means less of the other one. Tobin's music is also unique in evoking a broad range of moods, from witty amusement to sheer paranoia (and sometimes within the same track). They are all facets of the same existential experience. After the mediocre Verbal Remixes & Collaborations (NinjaTune, 2003) and the awful live dj set Solid Steel (Ninja Tune, 2004), Tobin worked on Tom Clancy's Chaos Theory: Splinter Cell 3 (Ninja Tune, 2005), the soundtrack to a videogame that recycled his cliches with an impressive lack of imagination or variety.

Tobin largely dispensed with the sampling machine and instead opted for found sounds and field recordings as the sources for The Foley Room (Ninja Tune, 2007), the first serious work since the mesmerizing Out From Out Where. The underlying technique did not produce a dramatic change in style though: it was merely a new face of the same puzzle. The imported sounds (like by the motorcycle rumble in Esther's or the water drop in Kitchen Sink or the tiger in Big Furry Head) are perfectly integrated in the overall machine to yield the trademark Tobin sound. Some of these constructions (such as Big Furry Head) create a kind of fluid instrumental music that harkens back to Brian Eno's futuristic vignettes of the 1970s. What has been lost is the drum'n'bass roots, and any ambition to fuse it with jazz. Bloodstone toys with a melancholy klezmer motif on piano and chaotic string melodies. Horsefish indulges in effects of cascading harp notes and little else.

The psychedelic reference is particularly strong. Keep Your Distance echoes the psychedelic ragas of the Sixties. The Killer's Vanilla sounds like distorted soul music that is fed to an uncontrolled freak-out (except that Tobin's freak-outs are driven by breakbeats, not guitars). Always could be a parody of garage-rock.
Having left behind drum'n'bass, allows Tobin to concentrate on what the other half of his art (the collage) but what has been lost is not trivial (his acrobatic symphonies of beats). The notable exceptions are Foley Room, a futuristic sonata for solo digital drumming, and Straight Psyche, a return to the "baroque" breakbeat harmonies of Supermodified.

Two Fingers (Paper Bag, 2009) is a collaboration between Amon Tobin and Joe Chapman, and their first album together, credited to Two Fingers.

[Releted links]

• Amon Tobin@official
• Amon Tobin@wiki
• Amon Tobin@myspace
• Amon Tobin@last.FM
• Amon Tobin@ninjatune

[Video]

• Amon Tobin - 4 ton mantis
• Amon Tobin - Traffic
• Amon Tobin - At the End of the Day
• Amon Tobin - Proper Hoodidge
• Amon Tobin - Verbal
• Amon Tobin - Deo
• Amon Tobin - El Cargo
• Amon Tobin - Slowly
• Amon Tobin - The Taxidermist
• Amon Tobin - Chocolate Lovely
  
• Eight and a Half Minutes of Amon Tobin 30 August 2009
• Amon Tobin - Foley Room
• Amon Tobin - Live @ la Maison de la Radio, Paris
• Amon Tobin - Encore (Doug Fir-Portland 5-22-07)
• Amon Tobin@Viena (05-04-2007)
• amon tobin live Rocks Off Boat Cruise 08/16/07 (New York)
• Amon Tobin - Jâbam
  

[Discography]

Albums

1996 - Adventures in Foam
1997 - Bricolage Part 1 Part 2 [FLAC] Part1/Part2/Part3
1998 - Permutation [FLAC] Part1/Part2/Part3
2000 - Supermodified
2002 - Out From Out Where
2005 - Chaos Theory - Splinter Cell 3 Soundtrack [FLAC] Part1/Part2
2007 - Foley Room Bonus Dvd : Part 1 /Part 2 /Part 3
2007 - Kitchen Sink (Remixes)
2008 - Monthly Joint & Freebie

Singles/Ep
1996 - Creatures
1997 - Chomp Samba
2002 - East To West
2005 - The Lighthouse
2006 - Taxidermia
2007 - Bloodstone
2008 - Shut Down
2008 - It's A Lovely Night
2008 - Delpher
2008 - Eight Sum

Collaborations & Live Recordings
2003 - Verbal Remixes & Collaborations [FLAC] part1/part2
2005 - Live @ Breezblock [2005-01-18]
2006 - Peeping Tom (with Mike Patton)
2007 - Live at Club A38, Budapest, Hungary (17.4.2007) main set/bonus set
2007 - Experimental, Live @ Mary Anne Hobbs [2007-11-21]
2008 - Live @ Donaufestival Krems [2008-04-27]
2009 - Foley Room Recorded (Live In Brussels
2009 - Two Fingers (Amon Tobin feat. Sway)

V/A
2008 - (Ninja Tune) - You Don't Know - Ninja Cuts (3CD) Part 1 /Part 2 /Part 3 or here
2004 - Solid Steel Presents Amon Tobin Recorded Live depositfiles.com Part 2 Part 3 Part 4 Part 5 or hotfile.com Part 2 Part 3 Part 4 Part 5

source:
wherefindit.com//
monsterfresh.com//
flacbob.blogspot.com//
kapritska.blogspot.com//
ironboblog.blogspot.com//
daddyjeffmc.blogspot.com//
90something.blogspot.com//
tabledechevet.blogspot.com//
nova-express.blogspot.com//
sunnyfullmoon.blogspot.com//
beatdoesitbetter.blogspot.com//
nocna-hudba.blogspot.com//
beatdoesitbetter.blogspot.com//
unknownsound.blogspot.com//

Labels: Alternative, Avant Garde, Dark Electro, Downtempo, Drum'n'Bass, Dubstep, Electro, Experimental, IDM, Jazz, Special

Death In June [Special]

Death in June is a post-industrial music group led by English folk musician Douglas Pearce, better known as Douglas P. The band was originally formed in Britain in 1981 as a trio, but after the other members left in 1985 to work on other projects, the group became the work of Douglas P. and various collaborators. Douglas P. now lives in Australia.

Pearce formed Death in June in 1981, along with Patrick Leagas and Tony Wakeford. Pearce and Wakeford had been members of the influential political punk band, Crisis, which formed in 1977. Crisis had gained a substantial following in the U.K. punk scene, which was getting its legs at that time. Crisis performed at rallies for Rock against Racism (RAR), and the Anti-Nazi League (ANL), organizations that neoist and Crisis/Death in June critic Stewart Home wrote were fronts for the Socialist Workers Party (SWP). Home further stated that the SWP organized a tour of Norway for Crisis and that Wakeford was a "card-carrying member of the SWP".

Death in June soon left the reticent punk scene behind and began to infuse their sound with electronics and military style drumming. Their lyrics maintained much of poetry and political urgency of the early Crisis recordings. Tracks such as "Holy Water" and "State Laughter" demonstrated an ongoing fascination with political systems. Further on, Pearce would abandon any overt interest in politics in favor of a more esoteric approach to his work. Both Leagas and Wakeford had left Death in June by 1985. Leagas, who began calling himself Patrick O-Kill, formed Sixth Comm and Wakeford, the noir-folk band, Sol Invictus. From that point until the present, Death in June has consisted solely of the work of Pearce and various like-minded collaborators.

David Tibet was a member of 23 Skidoo and formed Current 93 in 1982. After meeting Pearce at a club in 1983, Tibet began working with Death in June. Upon meeting Tibet, Pearce began to devote more of his time to various occultic disciplines that markedly affected his approach to composing music. A longtime practioner of rune magic, Pearce introduced them to Tibet. Tibet similarly had been long interested in ceremonial magick and implemented occult concepts into his early recordings with Current 93. He contributed to two of Death in June's more acclaimed LP's: The World that Summer (1986) and Brown Book (1987). He continued his work with Death in June, through 1992's apocalyptic folk LP, But, What Ends When the Symbols Shatter?. Pearce also contributed to Current 93 projects, including the pagan folk LP, Swastikas for Noddy, released in 1988.

Throughout the substantial history of Death in June, Pearce has worked with some of the more influential artists in the underground industrial, apocalyptic folk, and experimental/noise scenes. These have included David Tibet, Boyd Rice, Rose McDowall, Albin Julius, John Balance, Michael Cashmore, Simon Norris, and James Mannox. Boyd Rice contributed a spoken word piece to The Wall Of Sacrifice album. Death in June has often toured with Rice's NON. Douglas P. has expresed admiration for the writing of Friedrich Nietzsche. He's said the greatest inspirations in his life have been Yukio Mishima and Jean Genet.

Symbolism and Aesthetics

Death in June has, since its inception, used variations of the Totenkopf or Death's Head as insignia. Douglas P. has stated repeatedly that the symbol is not an endorsement of extermination camp atrocities. However, the use of the symbol, replete with its negative associations, does possess personal meaning, as does every aspect of Death in June, for Douglas P. Death in June has demonstrated an appreciation for Order and the primacy of Aesthetic Values. Great attention has been paid to packaging so that every release is as much an objet d'art as the content.

Many recordings have been pressed in limited quantities, etched with esoteric or symbolic language, and distributed to elite individuals in various underground circles. This practice has won Death in June a substantial international following. It has also ensured that their most scarce artifacts are exceedingly expensive for collectors and fans.

The Origins of the Name

Much has beenmade of the origins of the name, Death in June. It is considered to be an allusion to the Night of the Long Knives Sturmabteilung purge on June 30, 1934. Douglas P. has said that a friend said something to him and he "heard" it as "Death in June". He placed great occultic meaning on the name and subsequently applied it to his new project in 1981. Douglas P. has stated that the name does not express any single idea for him and remains multifaceted. Detractors, however, have accused Death in June of being neo-Nazi, fascist, and racist. Protests have been staged and occasional performances cancelled. Justification for the cancellations stem from strong aversions to the symbolism of Death in June coupled with an interpretation of select lyrics as containing deliberate Fascist images and tropes.

[Releted links]

• Death In June@official
• Death In June@wiki
• Death In June@myspace
• Death In June@last.FM
• Death In June@brainwashed

[Video]

• Death in June - Field
• Death in June - Little Black Angel
• Death in June - All Pigs Must Die
• Death in June - The Bunker (Rostock 1998)
• Death in June - Runes and Men (London, 1992)
• Death In June - Fall Apart (Live @ Walker Stage, New York, 2002)
• Death in June - The Rule of Thirds
• Death In June - 13 Years Of Carrion
• Death in June - Fall Apart
• Death In June - Jesus Junk and Jurisdiction
• Death In June - Giddy Giddy Carousel
• Death in June - Hollows Of Devotion
• Death in June - Daedalus Rising w/ David Tibet (London, 1992)
• Death in June - Of Runes and Men
• Death In June - We Drive East (live at the Fridge, London 1982)
• Death in June - She Said Destroy - Brest 2005
• Death In June - To Drown A Rose

[Discography]

Rapidshare
1983 The Guilty Have No Pride
1984 Burial
1985 Nada
1986 The World That Summer : 1 / 2
1987 Brown Book
1987 Oh How We Laugh
1989 The Wall of Sacrifice
1989 93 Dead Sunwheels
1989 The Corn Years
1991 The Cathedral Of Tears
1992 But, What Ends When the Symbols Shatter
1993 Something Is Coming
1995 Rose Clouds of Holocaust
1996 Death in June Presents: KAPO!
1997 DISC-riminate : 1 / 2
1998 Take Care & Control
1999 Heilige
2000 Operation Hummingbird
2001 All Pigs Must Die
2004 Alarm Agents
2005 Abandon Tracks
2006 Free Tibet
2008 The Rule of Thirds
2008 Black Angel[Live]

Filefactory
1983 The Guilty Have No Pride
1984 Burial
1985 Nada
1986 The World That Summer : 1 / 2
1987 Brown Book
1987 Oh How We Laugh
1989 The Wall of Sacrifice
1989 93 Dead Sunwheels
1989 The Corn Years
1991 The Cathedral Of Tears
1992 But, What Ends When the Symbols Shatter
1993 Something Is Coming
1995 Rose Clouds of Holocaust
1996 Death in June Presents: KAPO!
1997 DISC-riminate : 1 / 2
1998 Take Care & Control
1999 Heilige
2000 Operation Hummingbird
2001 All Pigs Must Die
2004 Alarm Agents
2005 Abandon Tracks
2006 Free Tibet
2008 The Rule of Thirds
2008 Black Angel[Live]

Depositfiles
1983 The Guilty Have No Pride
1984 Burial
1985 Nada
1986 The World That Summer : 1 / 2
1987 Brown Book
1987 Oh How We Laugh
1989 The Wall of Sacrifice
1989 93 Dead Sunwheels
1989 The Corn Years
1991 The Cathedral Of Tears
1992 But, What Ends When the Symbols Shatter
1993 Something Is Coming
1995 Rose Clouds of Holocaust
1996 Death in June Presents: KAPO!
1997 DISC-riminate : 1 / 2
1998 Take Care & Control
1999 Heilige
2000 Operation Hummingbird
2001 All Pigs Must Die
2004 Alarm Agents
2005 Abandon Tracks
2006 Free Tibet
2008 The Rule of Thirds
2008 Black Angel[Live]

Uploaded To
1983 The Guilty Have No Pride
1984 Burial
1985 Nada
1986 The World That Summer : 1 / 2
1987 Brown Book
1987 Oh How We Laugh
1989 The Wall of Sacrifice
1989 93 Dead Sunwheels
1989 The Corn Years
1991 The Cathedral Of Tears
1992 But, What Ends When the Symbols Shatter
1993 Something Is Coming
1995 Rose Clouds of Holocaust
1996 Death in June Presents: KAPO!
1997 DISC-riminate : 1 / 2
1998 Take Care & Control
1999 Heilige
2000 Operation Hummingbird
2001 All Pigs Must Die
2004 Alarm Agents
2005 Abandon Tracks
2006 Free Tibet
2008 The Rule of Thirds
2008 Black Angel[Live]

more Live showes

2005 Live at Sabala's in Portland, Oregon - USA Part 1/Part 2
2002 Live In Key Club, Los Angeles - USA
2002 Auditorium of Associação dos Bombeiros Voluntários de Colares
1998 Live in Gjuro II, Zagreb - Croatia
1997 live at Treffer, Plauen - Germany (Get some of it HERE and the rest of it HERE)
1992 Germania, Leipzig - Germany
1991 Live in Palazetto Dello Sport, Modena - Italy
1984 Live at the Electric Ballroom, London - G.B.

source:
www.bunalti.com//
humppazoid.blogspot.com//
soundtracksandmore.blogspot.com//
theebradmiller.blogspot.com//
livingthroughnoise.blogspot.com//
site2download.blogetery.com//

Labels: Alternative, Avant Garde, Dark Electro, Discography, Downtempo, EBM, Electro, Experimental, Indie, Industrial, Neo Classical, Special