various artists - The Big One / City Of L.A. Power

I was pretty annoyed with Discogs recently, and it's all my own fault.

Right before the holidays, I recieved an order on my Discogs account. It was a simple one off; a Tim Hecker CD, sold for $10, plus shipping. And, hand to God, I thought I'd shipped it. But, friends, I did not. And Discogs shut my account down. Which means I could not only sell stuff (not a huge deal), but I couldn't buy anything. Not with all this Christmas lucre in my pockets. But I took my lumps, quickly refunding the customer once I confirmed that their order was, indeed, sitting two states away in my "Out" basket. But it was only last week that Discogs lifted the ban hammer on me.

This is a long way around the block to this two-fer from Flipside Records, the label attached to the esteemed SoCal zine. This was part of my last order on Discogs, a throw-in with a couple of Infinite Zero splurges. There are some big names from early in their careers here, with Green Day and the Offspring headlining with Bad Religion. The beloved Lance Hahn provided songs from both Cringer and Monsula; he was still a bit off from J Church taking off. There's a collaboration between Melvins and Steel Pole Bath Tub, some AmRep representation from Distorted Pony and Helios Creed, and a track from Sandy Duncan's Eye, who I still think is probably the most underrated noise rock band from this era.

"The Big One / City Of L.A. Power" is missing two songs from the latter; the Paper Tulips' and TVTV$'s contributions can only be found on the 1991 single-sided vinyl. Are we missing out on something? Shoot, man, track down a copy and let me know. I just got back on Discogs.

Discogs

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various artists - Mojo Presents: Roots Of Nirvana (Distorted Sounds From The Punk Underground)

I would have thought there would be no surprises in a "Roots of Nirvana" comp. The tastes of Msr. Cobain and Novoselic are fairly well-documented at this point. So it is that you se a lot of the names and songs you'd expect to see on this sort of comp.

There are the local influences: Melvisn, Beat Happening, Green River covering the Dead Boys. My all-time fav Stooges song in an extended live version pairs nicely with Flipper's "Sex Bomb" at the tail end of the CD. There are a few bands from Kurt's legendary mixtape that he was arrested with: Big Black, Scratch Acid, Young Marble Giants, and Shonen Knife. There are a pair of tracks present that Nirvana would later cover in their Unplugged set. Meat Puppets' "Plateau" and the Vaselines' "Jesus Wants Me For A Sunbeam" both appear in their original forms.

Two songs shared here weren't on my radar until I heard them here.  Clown Alley's "On The Way Up" was on their single LP for the legendary SF thrash label Alechemy Records. Alchemy would also serve as the initial home for Melvins' "Gluey Porch Treatments", Neurosis' "Pain Of Mind", and Poison Idea's "War All The Time". "On The Way Up" makes me want to drop some coin on the 2009 expanded reissue on Southern Lord. Big Dipper's "You're Not Fancy" appeared initially on a 1987 Homestead Records comp alongside songs from Naked Raygun, Big Black, Death of Samantha, and Dinosaur (Jr); it'd also show up appended to the cassette version of their 1987 "Boo-Boo" 12". All of this would fly below my radar until discovered here. Merge reissued their pre-major label output in 2009 as part of a 3-disc CD set. And this intro is a proper appetizer. To my aging ears, I can hear a band traipsing the same sort of aural ground that would lead Nirvana to become the biggest band in the world a few years later.

Discogs

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various artists - Spin This Six

'Twas about two months ago when I shared the fifth volume in the Spin This series, and reaction seemed about as positive as I could hope for a 31-year-old alternative music sample. So here's Volume Six, or VI, as the Latin speakers at Spin put it. This one's a bit less girthy than the previous volume. But it has Archers of Loaf, Goops, and Knapsack, all of whose records populate my regular listening in this year of our Lord Twenty Twenty Five. For less punky sounds, tune in for Morphine, KMFDM, Belly, and the Wolfgang Press. Very few duds here, truth be told. And, daddio, that's all I ever want from free curated listening; something that doesn't exist to reinforce my taste, but to broaden it.

Discogs

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various artists - Love & Napalm

I picked this up at a record store on California's Central Coast over the holidays, from the guy who used to sell Mrs. Ape Mummy her teenage 7"s and weed to her uncle. I love his store; he's constantly playing stoner rock and doom metal at levels far too loud to be appropriate, and everything always smells like nag champa. He will tell tales about how old timers on the police force still ask him about his head shop. The aged masters of record stores are almost all retired or dead, but a few still keep the flame alive, and are willing to share a look at their Sabbath bootlegs should you seem "cool".

King Coffey's Trance Syndicate put this one out, headlined by the almighty Cherubs and backed capably by the likes of Ed Hall, Crust, and Drain. I'm not exactly sure why I was intimidated by a bunch of acid-soaked Texans back in 1993. When our paths have crossed since then, they've always seemed like such nice fellas; real salt of the earth.

Have a little loving clamor for your ears on Valentine's Day, whether you're solo, paired, or in a throuple.

Discogs

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various artists - The Infinite Zero Almanac: 1996 Sampler V

I ran out of time coming into today, so it's time for an easy write up. The fifth in the series of six Infinite Zero samplers; this one is one of the more comprehensive, coming as it did in the last year of the reissue label's existence. Most of these are available here on the ol' blog; just type in Inifnite Zero and expand your mind. I'm feeling the cover of this one most of all; the caricature of Rollins, flanked by the Def American and Infinite Zero logos, big, stronge fonts. It's a golden joy to behold.

While lacking the superior graphic design and the even-deeper record selection, it's no surprise that my early exposure to these drew me into an ongoing love of the Numero Group and Light in the Attic. I kind of got a kick out of watch the Grammy pre-broadcast show on YouTube tonight, seeing Numero's 90 Day Men set get a Grammy nom. It's great to see even the most obscure bands get beloved treatment, the expense of which makes a hell of a lot more sense then that double LP Chappel Roan release at $50 retail.

I'm all over the place tonight; forgive me, friends. I'm looking at a big record purge within the month, so my head isn't thinking about anything particular.

Discogs

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various artists - Masters Of Misery - Black Sabbath: An Earache Tribute

I've been saving this for a special occasion. But my brain gets sidetracked all the time by so many things, not to mention the correct spelling of "occasion", which never looks right to me, although the dictionary and spell check tell it is, indeed, correct. And, thus, this has been hanging out on various file sharing platforms for at least a couple of years.

The time for action is now. ADHD be damned.

I was all of 15, and not much of a metal fan, when this came out as a Japan-exclusive release in 1992. Curated by the extreme metal label Earache, and released by their Japanese distributor Toy's Factory, this collects the bleeding edge of what metal was in the last decade of the millenium, all performing songs by the sainted Black Sabbath. Sabbath was on a bit of an uptick, having released "Dehumanizer" earlier that year, having reunited the "Mob Rules" lineup. But at the time to most, Black Sabbath was the band Ozzy used to front, a group that was better known for inspiring bits in This Is Spinal Tap than any music they'd made in the past 10 years.

I guess my point is that Black Sabbath, a band never known as cool up to that point, was decidedly at their most uncool. And to have so many leading lights of the underground acknowledge a key influence that was at its ebb was a very awesome thing. There aren't any duds here, a testament not only to the lineup, but also to the songwriting chops of Iommi, Butler, Ward and Osbourne/Gillan.

This has been reissued and resequenced a number of time over the years, the first time in 1995. Cadaver's cover of "Sweet Leaf" got dropped, and contributions from Anal Cunt, Ultraviolence, and Iron Monkey added, reflecting Earache's contemporary roster more accurately. It wasn't for the best, in my humble opinion. This remains the definitive version of what is still my favorite Sabbath tribute.

Discogs

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various artists - PRO-CD 95.ZERO.1

My preparation for a colonoscopy prevented me from posting this Thursday; mea culpa. Here's a Friday taster for y'all.

10 songs, five artists: you know the drill. Devo, Flipper, Mississippi Fred McDowell, Alan Vega, and Alan Watts.

This makes the second of six samplers that I've posted so far. I've also posted a dozen of the 27 releases that Infinite Zero put out in its four-year history. Should I jump off the ongoing comp theme to get some more of these out these? It's not like any of it is particularly hard to find. But it is all interesting, and, hell, it should be easier to track down Iceberg Slim's album.

Discogs

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various artists - Infinite Zero Promotional CD #1

I initially had another release planned for today; you'll get that one next Monday.

But then James Chance passed away Tuesday, June 18th, and I felt like it was a good time to share this label sampler from 30 years ago. I remember finding this in the promo bin at the first record store I worked in, just a year after it came out. But it was a revelation for me, led off by the Contortions' "Design To Kill", and followed by the likes of Devo, Gang of Four, Alan Vega, and Tom Verlaine. Hell, there's a LL Cool J track here. I'm guessing it's a result of Infinite Zero being a Rick Rubin/Henry Rollins joint venture.

RIP to a real one. There ain't many of his like left.

Discogs

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various artists - I Give You The Head Of Corporate Rock And Roll Vol. I

If you're like me, and an interest in public radio intersects with a love of punk rock, then this one's for you, pally.

Recorded live on air at KPFK 90.7 in Los Angeles, "I Give You The Head Of Corporate Rock And Roll Vol. I" is a snapshot of the West Coast's edgier left of the dial bands, just as "Nevermind" was starting to really break through.to 14-year-olds like me. Not that I would have heard this, residing, as I did, on the literal side of a mountain in Moonshine Country, Virginia.

But I probably would have enjoyed this immensely in 1992. Calamity Jane, who I've written about here before, provides a cut. Long Gone John's taste is well represented, with Oiler, the Humpers, and Trash Can School all chiming in. Kyle Ryan would probably be stoked to see Anus the Menace, Bulimia Banquet, and Sandy Duncan's Eye contributing cuts. And operating at the center of this fuckin' sick Venn diagram are Distorted Pony and Mudwimin, making circus music for little monkeys like yours truly. There's even a Man Is The Bastard connection, as former PHC bandmate Bob Durkee's band Shoeface can also be found here.

L.A. seems like it probably was fun in 1992.

Discogs

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various artists - Power Flush: San Francisco, Seattle & You

The rare "two cities' scenes" compilation, spread between Seattle and San Francisco, courtesy of Broken Rekids in San Francisco, and the Emerald City's Rathouse Records. There are some strong contributions here, provided by the Gits, 7 Year Bitch, and Alcohol Funnycar from up this way, and J Church, Naked Aggression, and Bedlam Rovers from the land of the Golden Gate. There are a pair of contributions from S.F.'s Mudwimin, including a collab with Steel Pole Bath Tub. Mudwimin were one of those mysterious bands that my riot grrrlfriend had dubbed tapes of, but I had no recollection of ever hearing. 

If there's one thing that comes to mind while I was listening to this, it was, "god DAMN I'm getting old!" I'm sure I could find distro lists from Broken inside 7"s I've owned for a quarter century without even really looking. Just about every band on this list was someone whose records I priced and shelved before the year 2000. It doesn't feel that long ago, but that copyright date doesn't lie. This came out 29 years ago.

The fact that I published "Power Flush" less than 12 hours after most people consumed mass quantities of food during Thanksgiving is mere coincidence, I assure you.

Discogs

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Alan Vega - New Raceion

It's the end of the month, and I'm clearing the decks with the record that's been living in my Mediafire files for the longest time. It's time to share Alan Vega's 1993 album, "New Raceion".

At the risk of seeming like a dick, I've run out of things to say about Vega's early 90s output. I'm glad it exists; it's not anything I listen to regularly (unlike the 1st Suicide record). Here you go; "enjoy" it.

Discogs

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Alan Vega - Power On To Zero Hour

The second of four Alan Vega reissues on Infinite Zero, this has, throughout time, become probably my favorite of his solo records. Those ideas that felt less developed on "Deuce Avenue" feel fully formed on "Power On To Zero Hour". It's him, Liz Lamere, and 10 songs worth of pre-Guiliani NYC ugly beauty, all gospel organs and soft hiss and dark songs.

It's a great record for a grey Monday.

Discogs

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Alan Vega - Deuce Avenue

It's possible that it took me a long time to explore Alan Vega because this was my first exposure to him.

"Deuce Avenue" is a weird record, a melange of slithering Suicide-style synths, Vega's free-form scatting, crooning, and beatboxing, and drumming and programming by his wife Liz Lamere. Shit, there's definitely time where Vega's channeling the Bomb Squad's beats. He hadn't made a full-length since "Just A Million Dreams" in 1985, a much more accessible record by any measure. This one came out on the French label Musidisc, his home for this and his following three LPs.

Infinite Zero would reissue it in 1995 to what I have to guess was an indifferent scene, alongside Vega's next record, 1991s "Power On To Zero Hour". I was non-plussed at the time; I'd been given an Infinite Zero sampler with "Jab Gee" and "Bad Scene" on it, and, BOY HOWDY, I almost always skipped over those tracks. I just didn't get it. Now, I can listen to this, and I can draw parallels to the Providence noise scene on the early aughts, to the J.G. Thirwell catalog, to all the iconoclastic shit that finds its way onto my iPhone. It clicks with me now in a way that just couldn't happen 26 years ago.

Fun fact: the Infinite Zero reissue wraps up with the only complete version of "Wacko Warrior" by Vega, previously only available in a truncated form on a 7" that came with Sniffin' Rock #12. So completists...have at it.

Discogs

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Nico - Behind The Iron Curtain

I turned this one up at Goodwill over the weekend, and what a find it is. Here's latter-day Nico, backed by Manchester industrial/avant-garde band Faction, two of whom were previously bandmates in Ludus. While the cover says this was recorded in Warsaw, Budapest, and Prague in the fall of 1985, it was actually recorded in Rotterdam on the same tour, supporting Nico's penultimate studio album, "Camera Obscura". Dojo released the full set as a double LP set; a truncated version, which is what I found for a measly $3, came out on CD at the same time via Castle Communications.

I've barely dived into this yet, what with lots of folks doing Black Friday/Cyber Monday sales, and me needing that Region B Blu-ray of "Climax" for $10. But I'll never miss an opportunity to do a Nico imitation, so I'll be jamming this between work calls on Monday. It's the last record of her heroin years, before she got on methadone and disembarked to her final destination of Ibiza. I think it's going to be neat.

Discogs

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various artists - Feer Of Smell

I'll keep this short because I got a new 9-5 job last week (work from home, benefits, the whole nine), which means I really shouldn't be writing at 1:30 in the morning any more. I guess we'll work that one out as time goes on, right? I'd better; it's the first grown-ass-man job I've had in over three years, and I really shouldn't fuck that up.

I sometimes feel like I was born just a few years too early. I missed out on the days of No Comment, Greyhouse, Native Nod...the heyday of weirdo, outsider hardcore, in a few cases just by months. I had just started exploring things when the last issue of No Answers came out, so while I was there as Ebullition kicked off, I felt more in common with Sam & Neil's Vermiform, a label firmly on the bleeding edge of things from its first release (the "Murders Among Us." 7") to the last (the Fast Forward CD). Some bright lad with a musicology degree will someday write a book about the Vermiform discography, and its impact of independent music throughout the 90s, and I'll be the ding-a-ling queued up to buy it.

Vermiform really nailed it with its compilations, which served as great snapshots for where the edge of the map was in a given year. Their first was 1992's "Fear Of Smell". It originally was a vinyl-only release, the first pressing of which featured distinct, hand-drawn covers, which is the exact sort of quixotic, money-losing scheme that I really appreciate. The collection of bands here is incredible: Nation of Ulysses, Moss Icon, Heroin, Infest, Rorschach, Man Is The Bastard, Tit Wrench, Native Nod, 1.6 Band, Merel, Sugar Shock and Hell No. This is ugly music for angry dorks who would rather make art than shoot up a school, the soundtrack to the last days before a band from 924 Gilman would turn up on MTV.

Plus, there's prank calls, which I think is always a nice touch, and is basically impossible nowadays, unless you're a genius like Longmont Potion Castle.

Discogs

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various artists - Better Dead Than Read

Let's make this quick, as it's 2am and I've been tip-toeing around a panic attack all day.

I miss seeing AK Press tables at shows. I miss distros and Food Not Bombs and ARA tables and all the non-band-related activity that'd bubble around a hall in the 90s.

John Yates should be a lot more lauded than he is for his graphic design. Even 30 years on, his record covers remain some of my favorite design pieces of all time. Take the below: you can immediately identify that this is going to be some hard left material. His use of imagery and fonts do such a great job of communicating message. If you engage with Instagram, I highly recommend following him; he's been turning out pretty great leftist propaganda this year.

This might have been the first release on Epitaph that I made a point of purchasing. I had a mean hard on about barcodes on records and CDs in those days (thanks, Tim Yo), and most of what came out on Epitaph was more mainstream than I wanted to listen to. But this had a ton of interesting weirdo music on it (Spazz! Tribes of Neurot! Chumbawamba! The Levellers!), so I snagged a copy. Turned me onto a lot I'd otherwise never encounter. No regrets.

Discogs

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This Song Is A Mess But So Am I - Church Point, LA

I haven't thought about this record in 15 years, but I saw it between This Mortal Coil and Thomas Jefferson Slave Apartments in my iTunes, so I gave it a whirl. It helped me recall a few things about this period: I booked Freddy on a bill that included Dan Deacon's first club show in Baltimore; I got super into experimental pop after hearing this record; I'd ride my bike up Calvert St. at 3 in the morning listening to this on my last Walkman, watching the sex workers on each corner fidget and adjust themselves between propositions.

This is an unpleasant, unhappy recording that, performed live, proved to be gripping. There's so much sadness and pain here that it feels like the room got darker as I listened to it. It's also painfully honest and young, which may be why I enjoyed it as much as I did, and why I dug revisiting it. "Church Point, LA" is an interesting synthesis of industrial/EBM, pop, and emo that would be representative of that whole Not Not Fun Records scene from the early aughts. I recommend a spin.

Discogs

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What didja buy: Bandcamp Friday in June

Sniffany and the Nits (photo by Upset the Rhythm)

To be perfectly honest, I hadn't planned to buy more than one or two things this past Bandcamp Friday. Ah, the best laid plans of mice and men...

Let's start by saying something about Death Domain, the release that spurred me to action. Dark Entries, the folks behind the great Patrick Cowley reissues, pinged me with a notice that there were copies of the "Ethidium Bromide" 7" available again. I never got one of these when they were originally released back in 2009, so it seemed like a great chance to grab one. It also spurred me to grab the latest Death Domain jam, "CDC-PSA", a COVID-19 jam if I've ever heard one. No, seriously; Adam has sampled a coronavirus public service announcement and laid it on top of a tense synth-punk snare sound and bubbling keyboard. It's cool to play these three tracks back to back, if only to get a sense of the musical progression present 11 years out. Here's to a fella who I first met due to his Robocop fandom.

I also figured it was high time I picked up the latest record from Baltimore's Curse. I got to book some of Jane & Logan's early shows in Baltimore, and with their regular touring, they're friends from home that I actually get to see from time to time. "Metamorphism" is their third full-length, and first on Fake Crab Records. These folks have been making doomy synth-punk for eight years now, and, dare I say, this is a real breakout for them. This one is less of a cacophony than their previous records, but retains a lot of the slinky ooze that I've always found so appealing about them. I didn't want to make the comparison, but I've listened to this twice since picking it up, and it actually reminds me of Björk's "Homogenic", especially in Jane's vocal phrasing. I also picked up Curse's 2018 split with Cincinnati's Street Sects, for good measure. I'm glad I did; Street Sects' name has popped up around me for years, but I've never had chance to listen to them until now. Their two songs have a real Big Black meets Xiu Xiu vibe. I think I might be in love.

I've always trusted Chris and Jon from Fake Crab's taste in releases; they've put out some great releases over the years, including 2018's Bustdown tape and a pair of Eyelet records that knocked me on my ass. So I took a wag on their final 2019 release, the self-titled 7" from Tokenized. What I didn't know at the time is that this is the newly-renamed band formerly known as Joe Biden. It is little wonder that I loved these four songs. These folks have dropped some of their more PV tendencies and released a four-song EP that reminds me a lot of early Poison Idea. Do they deserve the comparison? Fuck yeah, they do. I would stan this hard if I still lived in the 410.

I wrote about Manuela Iwansson as my comeback post for "Primitive Offerings" back in April. Go back and read it to get up to speed. Go ahead, I'll wait. Night School in the UK is now hosting the digital download for her 2018 12", "Dream Lover", as well as doing mail-order for that 12". I hope this means that we'll be getting a new record this year. I stand by my earlier comparison to Pat Benatar, and add a healthy dose of Berlin. I also stand by my earlier opinion that a total of $40 for six songs across two records is a fucking INSANE price to pay, so I'll stick with digital only on these. I hate being a little crybaby about this, but it really grinds my gears.

Sticking with UK releases that I'm too cheap to buy physical copies of: I've been meaning to check out London's Static Shock Records for a minute. The team at Sorry State Records always recommend their new releases, and Iron Lung is a good US source to pick up their records. So I downloaded the new EP from Powerplant, and I did deem it most good. The marketing text is pretty spot on: this has a strong early 80s synthpunk/new wave vibe, with some damned delightful crooning on "A Spine". I mean, if you're going to wear an influence on your sleeve, Devo is a pretty good one to do so with. I'd be remiss if I didn't note that there's a cassette edition available out of Dreamland Syndicate in Warsaw; it's pricy to ship into the States, but you can always combine your order with the Powerplant LP from last year to amortize the shipping.


One of the joys of Bandcamp is discovering something you'd never otherwise discover, simply by typing in a few keywords. I've been trying to pay greater attention to what's going on in Australian punk since getting the Chats 10" a couple years back, so I picked up the demo from Perth's Gaffer. Coming from the same label as the recent Cold Meat records, I guessed (correctly) that I'd enjoy this. The music here reminds me of my favorite Damned songs, as well as Baltimore post-punk bands like the Fuses and the Miss, while the vocals are straight-up barks. This would fit right in on the early Frontier Records catalog...if they were from L.A. instead of western Australia.

I like a good gimmick. If your gimmick is to play snotty-nosed pogo punk, I'm probably going to enjoy your schtick. If you throw in "vocalist dressed as a nurse", you'll not only have my curiosity, you'll have my full attention. And so it was that I learned about Sniffany and the Nits. This Brighton group released a pair of recordings in the past six months, chock full of feminist fury headlining UK-82 revival tracks. I grabbed the earlier of the two, last December's "I Love You (...But You've Got Nits)" cassette. What can I say about this? Well, if Vice Squad had a decent sense of humor, or Crass's "Penis Envy" was less musically adventurous, maybe they would have sounded like this. I hope that these folks lean into the lo-fi aesthetic, because it all sounds very dangerous and vital coming from a blown out speaker.

Kansas City's Warm Bodies has been on their bullshit for a few years now, making what is charitably described as "weirdo jazz punk" and getting some decent word of mouth. I picked up 2019's "UFO EXTREMO'S", just for shitz and gigz, and I think it might be my favorite purchase from Bandcamp Friday. There's a ton of tape manipulation and freaking out and brain riot going on here; it's a lot for 10 minutes of recordings. I definitely feel like I smoked some Sherm during and after listening to this. I have a feeling that, live in action, these folks are all over the place in the best possible way. I just hit me, on my fifth listen: this gives me a real Wrangler Brutes/Mika Miko vibe. It's just delightfully weird and I want to hear it all the time.

I capped out my purchases for Bandcamp Friday with a little bit of Canadian screamo/skramz. I started following Middle Man Records in Indiana after they released my favorite record of 2018, Closer's "All This Will Be". It'd been on my wish list for a minute, so I picked up the second and final full-length from Toronto's La Luna. This is exactly what I'm looking for when someone tells me I should listen to a modern emotional hardcore band. Vanessa Gloux's vocals here are outstanding; powerful, right to the edge of shrieking at times. The rhythm section does its job, pushing out a throbbing low end, which guitarist Nicholas Field rides to create some really fascinating sounds. This style has always been a favorite for me, going back through La Quiete, Majority Rule, Spitboy, and Current. "Always Already" will be a mile marker for screamo for years to come.

And that's what I got. Now I'm broke. The next Bandcamp Friday is in two weeks, on June 19. Judging by this month's response, and the ongoing social awakening worldwide, I'd guess a lot more artists are going to climb on board and get music posted, tout en suite.

Cop Shoot Cop - White Noise & Suck City

It's the ol' Wednesday 2-for-1, y'all. Two great records, one low price.

I was just reading the other day that Chris Spencer (Unsane, Cutthroats 9) had a new band with a couple of the guys from Cop Shoot Cop. That led me to throw on the two C$C records I own, and wonder about their very existence. Here's a band that was a perfect example of the NYC noise/post-punk scene of the late 80s. Yet some A&R had the bright idea to sign C$C to Interscope on the heels of their second full length, which is how I heard them for the first time.

I really miss when record companies would just throw the most insane shit against the wall, just to see what stuck.

Here is Cop Shoot Cop's aforementioned second album, 1991's "White Noise", and their 1992 follow-up, the "Suck City" EP. Both records were released by UK noise merchants Big Cat Records. It's worth noting that these are their last recordings as a double-bass, no-guitar combo. It's just...intense, man. Think more Foetus, less Ministry. It's a great soundtrack to the last days of pre-Guiliani New York City.

Discogs

Click here to download.

Discogs

Click here to download.