Friday, June 29, 2007

The Aggrovators, King Tubby & Bunny Lee - Bionic Dub

*and another special contribution from the Library of the Lee. Merci au Lee.

The Aggrovators, King Tubby & Bunny Lee - Bionic Dub
Label - Lagoon
Record Date - 1975-77
Style - Dub

Producer - Bunny Lee
Mixing Engineer - King Tubby

Playlist :
Dub Incorporated
Ethiopians Rock
The Night Of Sheron
The Dub Station
Special Brew
Rock By Sir Dee Scorcher
Lambs Bread Herb
Joshua Word Horn
Super Larger
Seven Million Dollar Man
Bionic Horn
Its All In The Game
Take Five
Moving Out
Dance With Me


King Tubby - Creation Dub

*2nd in the set from Lee's Library.

The Aggrovators & King Tubby - Creation Dub
Label - Lagoon
Recorded - 1973-77
Style - Dub Reggae

Producer : Bunny Lee
Mixing Engineer : King Tubby
Backing Band : The Aggrovators

Playlist :
Rasta Don't Fear Version
A King Version
Straight To Cowboy
Forward Version
Pain Version Pain Version Pain Version
Creation Dub
Natty Rhythm
Straight To Edward's Head
Collie Dub
Blessed Dub Blessed Dub
Jackson's Head
Black Superman Version
Miserable Woman
The Hardest Version
Behold Version

download zip


King Tubby - Water Dub

*1st out of 3 in this special King Tubby tribute set comes from Library of the Lee.

King Tubby - Water Dub
Label - Lagoon
Released - 197x
Style - Dub

Mount Zion Dub
Sensimilia Dub
Jah Guide Dub
Skanking Dub
Tribal War
Don't Touch Dub
Wicked Dub
Love Up Dub
Straight Dub
Narrow Dub
Firestick Dub
Water Dub


Can't find the cover art to this, so there's a pic of the mighty King Tubby in his natural element instead.

About King Tubby, from BBC website -

* He was very skinny.
* Started his musical career as a soundsystem repairman in the late 1950's.
* In 1964 he started his own sound system, Tubby's Hometown Hi-Fi.
* Discovered dub while working as a disc cutter for reggae producer Duke Reid.
* Liked to keep the studio very neat and tidy.
* He designed the circuitry for Lee Perry's legendary Black Ark studio.
* Dancehall producer King Jammy's served his sonic apprenticeship with Tubby.
* In 1989 he was shot dead outside his home. The murderer has never been brought to justice.

Niney the Observer - Space Flight Dub

Niney the Observer - Space Flight Dub
Label - Danceateria/ROIR
Released - 1989
Style - Reggae/Dub/Digital Dub

1. Space Flight Dub
2. Gone With The Wind Dub
3. Scattered Dub
4. Runaway Dub
5. Operator Dub
6. All Rounder Dub
7. Follow Up Dub
8. Treasure Dub
9. Rich And Poor Dub
10. Dungeon Dub
11. Skank Dub
12. Dream Rock Dub

Download zip

Mixed by Niney at Channel One Studios
Produced by Niney The Observer released on Danceteria / ROIR
Drums: Style Scott; Bass: Flabba Holt
Rhythm Guitar: Dwight Pickney; Rhythm & Lead Guitars: Earl "Chinna" Smith
Keyboards: Fox; Percussion: "Sticky"
Trumpet: Bobby Ellis; Trombone: Vin Gordon; Tenor Sax: Deadly Headley

I think something in the liner notes mentioned that he got the name 'Niney' due to a missing finger on one of his hands. Nice. His crazy-ass intros to each track make this album worth its weight in diamonds. Space Flight.... We're taking off to Mars!

about Niney...
Producer Niney the Observer was among the chief architects behind the classic reggae sound of the early 1970s. Born Winston Holness in Montego Bay, Jamaica in 1951, he acquired the Niney moniker when he lost a thumb in a workshop mishap; he entered the music industry during the late 1960s as a protégé of producer Bunny Lee, later working with Lee "Scratch" Perry. Upon establishing his own Observer label, Niney's first hit was the 1970 Dennis Alcapone single "Mr. Brown"; later that year he unleashed the seminal "Blood and Fire," which sold some 30,000 copies in Jamaica alone while forever earning the enmity of Bob Marley, to whose "Duppy Conqueror" the record bore more than a passing resemblance. Niney's greatest success came in partnership with singer Dennis Brown, with whom he first teamed in 1973; in the months to follow, their collaboration yielded a series of innovative smashes, among them "Westbound Train," "I Am the Conqueror," "Cassandra" and "No More Will I Roam." He also produced material for figures including Gregory Isaacs, Horace Andy, Junior Delgado and Delroy Wilson. Niney left the music business during the late 1970s, finally resurfacing in Paris around 1982; by the midddle of the decade, he had returned to Kingston to briefly work at Channel One studios. He returned to active musical duty in 1988, producing records for Andrew Tosh and Frankie Paul; projects with Little John, Yami Bolo and Baby Wayne maintained his visibility during the decade to follow. ~ Jason Ankeny, All Music Guide

Wednesday, June 27, 2007

Coil - (Unreleased?) Themes for Hellraiser

Coil - (Unreleased?) Themes for Hellraiser [The Consequences of Raising Hell]
Label - Torso/Solar Lodge
Released - 1990
Style - Industrial/Experimental/BM-Inducing Scary Shit

1 Hellraiser Theme (2:49)
2 The Hellbound Heart (2:21)
3 Box Theme (3:04)
4 No New World (3:57)
5 Attack Of The Sennapods (1:54)
6 Main Title (3:13)

download zip

***This is what got me interested in 'Industrial' to begin with. Thanks, Mr. Sam Ruddick! I think I was about 13 or 14 and my brother's best friend saw me listening to Slayer and all that... told me about this band called Coil who made the "scariest music" he'd ever heard. Sold! Upon searching for this I finally found it hidden away at either Borders Books or Orpheus Records in Georgetown. I didn't necessarily think it sounded all THAT scary but the tiny note in the margin of the cd sleeve flipped me out...

"The only group I've heard on disc whose records I've taken off because they made my bowels churn. - Clive Barker"

(*note: Now that I'm older and appreciate the vast musical landscape, one look at the release catalogue of the Torso label really really impresses me...)

(random info from -
Clive Barker and Coil were friends during the early 1980s and it's been frequently noted that he was inspired to write "Hellraiser" from some of the literature and art Coil used to collect. Naturally he wanted Coil to do the score but while initial reports claim their music was "too scary" for the film, the reality is closer to that of the Hollywood studio wanting their own chums to do the work.

Coil - Stolen and Contaminated Songs

Coil - Stolen and Contaminated Songs
Label - Threshold House
Released - 1990
Style - Experimental/Deranged/Electronic

1. As It Really Is
2. Chaos
3. Who'll Tell
4. Exploding Frogs
5. In The Lost Kingdom
6. Love's Secret Domain (demo)
7. Nasa - Arab (live)
8. Who'll Fall
9. Original Scot Song
10. Wrim-Wram-Wrom
11. Oboe Cop
12. Her Friends the Wolves
13. Dark Nova

download zip

I had bought my original version of this CD from RRRecords in Lowell, MA back in 1992. The CD that arrived in the mail included NO information or print whatsoever. The sleeve artwork was a weird black/red fractaly mirrored image where I could pick out little pieces of pentagrams and pills and angels or something. Very weird. Prior to ordering this, I had become obsessed with the Windowpane single and loved the electronic dancefloor-friendlyish studio production therein. After receiving Stolen & Contaminated, it immediately became clear that this was the strangest music I had ever heard. And I loved it. Upon first listen, I knew something sounded familiar but couldn't really figure it out - and I didn't know the background on this release as it was Stolen & Contaminated from the Love's Secret Domain album. Then I figured it out, which made it even weirder somehow. Next weird thing about this was that I went to Tower Records a few months later or maybe even a year later - and saw this album there but noticed the pattern on the CD sleeve was same style but totally different than on mine. I guess they manufactured slightly different artwork for all CDs within that first ltd batch that came out? I lent mine to somebody awhile back and he moved along with it. Sucks. So I got it again later on with even different artwork. Confusion...

(from -
Coil's long awaited limited edition release is finally available. Over 60 minutes of material evolved from the Loves Secret Domain sessions, extensively reworked and remixed with the addition of previously unreleased material. Possibly not the ambient release we were expecting but a worthwhile recording all the same. A version of Further, Back and Faster opens the album. Gone is the lyric replaeed by a weird sample over an even weirder obsessive rhythm. A strange mix of Chaostrophy, covering familiar Coil temtory is present. A new track with real percussion, ethnic singing maybe and another strange lyric of "Whose To Tell" is followed by a sort of jazz piece which puts the sex back in Coil, excellent. An early version of Loves Secret Domain is the singular vocal outing by John on the album. The track itself catches Coil in a jovial mood, providing what can be basically described as a pop song, with its deep flowing bass. Some conventional dance sounds are utilised by Coil in a couple of traeks though as John says "it's dance music for the head".

If the Tainted Love video stopped the dancing in the clubs, the track using the answering machine dialogue telling of suicide will make you stop whatever you're doing in the house. A devastating track aided by sympathetic backing music very moving and emotionally draining. From then on in like prior Coil releases nothing really flows together, lengthy disembodied pieces of music, showing their versatility. S&CS's shows Coil have more tricks up their sleeves and remains a remarkable piece of work.

(from AMG) -
Truly one of the highlights in an excellent catalog of work, Stolen and Contaminated Songs isn't even a proper "album," but a collection of outtakes from the Love's Secret Domain sessions. And what sessions they were to have such a wealth of superb material that was leftover. Showcasing Coil's diversity, the album veers from the orchestrated classicisms of "Original Chaostrophy" and "Corybantic Ennui" to the slow, mutant lounge shuffle of "Omlagus Garfungiloops" and the utter despair of "Who'll Fall?" The last track there is a highlight, a detuned guitar and phone line noises underscore a harrowing answering machine message from someone who's friend has just committed suicide. Haunting in its execution and utterly compelling. The peak of the album, and one of the band's best songs, "NASA-Arab," is placed in the middle of the album, and like the main pole in a circus tent, supports everything around it. Multiple swirling keyboard lines cross paths with a groovy bassline and the strangest syncopated drums on this planet. Close listening will bring about a trance-like state in the listener. This is a great album for people new to the magic of Coil, easier than Time Machines and better produced than Horse Rotorvator. ~ James Mason, All Music Guide

Sunday, June 24, 2007

Controlled Bleeding - Trudge [1990]

Controlled Bleeding - Trudge
Label - Wax Trax!
Released - 1990
Style - Industrial/Electronic

A1 Words (Of The Dying)
A2 Crimes Of The Body
A3 The Front
A4 The Fodder Song
B1 Kiss (The Hand Of Genocide)
B2 Healing Time
B3 Assembly
B4 Christ Said

download zip

Saturday, June 23, 2007

HR - Its About Luv [OTR LP 101]

HR - Its About Luv [OTR LP 101]
Label - Olive Tree Records (DC)
Released - 1985
Style - Reggae/Dub/Punk/Hardcore/Metal


1 Roots
2 It'll Be Alright
3 Were Gonna Get You / Heaven Forbid
4 Lets Have A Revolution
5 Who Loves You Girl ?
6 Its About Love
7 Happy Birthday My Son
8 Free Our Mind

Again taking the non-traditional route with this 'review' - The record is classic HR style, so if you don't know what that means then use your imagination. You can hear elements of Bad Brains but I think this album is more metal + weed smoking. Plus the band is a totally different lineup than BBs. I love it. Originally I had the SST tape back in high school, but lost it long ago. Found this on vinyl a few weeks ago off the Olive Tree label (original pressing! DC PO Box address on label) and it sounds just as awesome as it did to me in high school.

Here's the interview, which isn't really a record review at all but I don't give a fuck. Still in FTW mode from the Rock For Light review...

Suburban Voice Interviews Bad Brains

Probably the most unusual interview I've ever encountered in my 4 years of doing this 'zine. In a haze of marijuana smoke, surrounded by several moribund hangers-on, a dialogue with HR aka Paul Hudson aka Joseph I, dynamic vocalist for the Bad Brains. Most people know the Brains' story by now, including their explosive comeback in '85 and the recent release of their album "I Against I." HR is also involved in a band bearing his nickname and the reggae band Zion Train. The rest of the band includes Dr. Know (guitar), Darryl (bass) and HR's brother Earl on drums. What can be concluded form this interview? Beats me. Read on...

SV: What led you guys to get back together?

HR: Mostly, I and I was missing each other, still missing the vibes that we was cultivating.

SV: What's "I Against I" all about?

HR: Basically, that's about the continual battle of good against evil where you have man and man or even a man fighting against himself, even self-hatred, which we feel is going on a lot in these times and when you investigate and do research into the lyrics you can see a man saying, "him have this, him have that" but he's still not happy, even for his family and he still don't have it, like I against I. Do you see it?

SV: So how do you find this happiness?

HR: Well, you know the answer to that.

SV: I think I know the answer, but why don't you tell me, anyway. What is it for you?

HR: Each man has to find God.

SV: Are Zion Train and HR still going?

HR: Yes, Zion Train is moving forward. We've just released I and I first LP on Olive Tree Records. We're hopefully going into the studio real soon to record. The lead singer and leader of Zion Train is named Julius Selassie and he lives in Washington, DC and he's a very positive brethren and he's working very hard still for Zion Train to move forward and we really appreciate the people that are checking for I and I because it means a lot to us. We're really hoping that Zion Train can move forward in due season, just as you see I and I move forward with the Bad Brains at this present time.

SV: So does each different project serves a different function for you?

HR: Well, each project is definitely a different arrangement of ideas, but it's all one function because we all have the same goal, which is basically, simply to spread Jah message near and far.

SV: So that's your prime motivation for playing music.

HR: Yes, for everything and yes, for me.

SV: Could you tell me a little more about Rastafarianism?

HR: Rasta is not no black nothing. Rasta is a function of the heart, it's the first law. Now, we have the first nation, which is Africa and we give credit to the dynasty of the Solomon lineage so this is the only reigning diplomatic credited Christian Orthodox function today but we do not function for blackness. I and I live for humanity. A man can be any color and be a Rasta. (gives me a pamphlet on Rasta which also contains info about HR's recent police troubles).

SV: What's all this about "Joseph has recently suffered a heavy burden"?

HR: I just came out of jail after 4 months incarceration for possession of marijuana with intention to distribute, so, in Babylon, I man is a criminal and they lock I man up for this.

SV: There's a lot of anti-drug mania in the US right now.

HR: Well, I man is against drugs, too. I man is an anti-drug mania, too. But herb isn't a drug and that's where they make their mistake. Now, when we get a brave, credited politician to stand forward and tell these people that they're wasting their time and their energy and making things harder on themselves by locking up innocent victims who use herb just like they use caremelle, mullein, peppermint, golden seal and the list goes on and on and on. Nobody has to take the marijuana and put it in a machine and process it. If we was to do that, regulate it, then. But we don't do that, so how come they want to restrict I and I from smoking it. It's not true and from God, in the Bible, Genesis 2, verse 7-11, I could be mistaken, but you can see where God give man herb and vegetation and he saw that it was good and in Psalms, Jah show I and I that he give I and I herb for the service of mankind. So if we have this herb in the bible, why is there going to be a contradiction to I and I. So we're ready to suffer the penalty for marijuana to the bitter end. We love I and I herb and we will never stop smoking it, ever.

SV: What made you decide to record "Sacred Love" over the phone?

HR: I and I record "Sacred Love" through the suggestion of a producer, Ron St. Germain, who produced "I Against I." After I man's second month of incarceration, this man asked I and I if I'd be into it, so I and I say yeah. I really didn't have much to lose being in I man's position. So when I heard about it, I was a little odd, a little astounded. However, I love to sing, in jail, out of jail, it don't matter.

SV: Where do you see the Bad Brains going from here?

HR: I and I don't make no plans so I really couldn't tell the future. I only know the present and what I hope I live to do which is live to dwell another day in Jah temple. So I couldn't tell you what's going to happen. Only Jah know. I just give thanks for the people here tonight, to the youth that support I and I near and far, and I want to encourage all the youth that are just starting out in the world today, whether they be musicians or carpenters or maybe nobody, still I want to encourage them to live up and not to let people discourage them, that they do have an identity and that they are what they're going to live up and they're going to make it, regardless of what these negative ones may say to them and I want to tell them to keep moving forward. Don't fall to that temptation...

Printed in Suburban Voice #21 (1987)

**Special request a gwaan.... Sup Slobo! Peep this dude's blog for the real deal ::

Bad Brains - Rock For Light [original PVC pressing]

Bad Brains - Rock For Light [Original Pressing]
Label - PVC
Released - 1983
Style - Punk/Hardcore/Dub/Reggae


A1 Coptic Times (2:13)
A2 Attitude (1:12)
A3 We Will Not (1:40)
A4 Sailin' (1:50)
A5 Rally Round Jah Throne (4:44)
A6 Right Brigade (2:30)
A7 F.V.K. (0:48)
A8 Riot Squad (2:02)
A9 The Meek Shall Inherit The Earth (3:43)
B1 Joshua's Song (0:34)
B2 Banned In D.C. (2:05)
B3 How Low Can A Punk Get (1:56)
B4 Big Takeover (2:40)
B5 I And I Survive (5:13)
B6 Destroy Babylon (1:25)
B7 Rock For Light (1:25)
B8 At The Movies (2:20)

LEGITIMATE Review (excellent - by somebody whose been around)
ILLEGITIMATE Review (worthless, but unintentially hilarious)

I assume anyone who found my blog already knows the deal with this music and with Bad Brains specifically. So instead of doing a straight review, I'd rather review a review of the record I found recently. The review in question is from and the only good part of this review is the reviewer's name (Smooth_BM). The original review seems more like a joke than anything else, but I think the fool is actually serious (link: Points/counterpoints...

"Rock For Light is one of the most annoying albums I've heard in my life."

- Not even four sentences deep into the review, and this dude requires a proper curbstomping.

"Mr. Ocasek must not be familiar with black people and music. It's all about the bass, listen to rap, funk, reggae, R&B. The bass is drowned way into the backround, to the point if you can hear the bass, it sounds like a palm-muted guitar."

- We've now hit the fourth sentence and the nagging seedling of stupidity has blossomed into a fullgrown, stupid ignorant tree. Must kill. Or 'palm-mute' at the very least. Fuck you.

"This makes the reggae numbers abysmal, I'd rather listen to No Doubt's ska or whatever the hell people call it than this garbage."

- That comma needs to be a semi-colon or period, fuckface.

- - abysmal;
a·bys·mal –adjective
1. of or like an abyss; immeasurably deep or great.

- - - Yes, the reggae/dub explorations of Bad Brains were immeasurably deep and great. You completely lost credibility by mentioning No Doubt in a Bad Brains review. The two bands are not even slightly comparable in any context. Fuck you x2.

"I bet Lee Perry turned over in his grave when this was released, assuming he's dead, but I'm not sure."

- He didn't, because he's not, and you're an idiot. Fuck you x3, x4, and x5.

"Bad Brains' reggae/ska was mediocre for the most part, on their debut it was actually really good, but this stuff...terrible."

- IT'S NOT SKA. You are mediocre in every aspect. And most importantly - FUCK YOU x6.

"Excluding the reggae, the songs are top notch, but the production and HR ruin everything."

- What the hell are you talking about??? HR makes everything better, including Beatles songs. Fuck You x7 (lucky numba!)

"Like with the debut, there's two guitars layered in the mix. One plays rhythm, while the other handles solos (I'll just say lead for lack of a better word)"

- OK I slightly agree with you on the guitar solos. But Fuck You x8 anyways. Bad Brains are one of the few bands that can get away with the questionable guitar solos and still rock your face off. But wait - who are you to critique guitar solos on a Punk review forum? Punk was defined by its lack of musicianship and anti-hero ethos, so don't try and compare Dr. Know to Yngwie Malmsteen or Eddie Van Halen. That brings us up to FUCK YOU x9 (very unlucky! black cats hiss in your face as they walk under ladders with hats on every fucking bed in the house on Friday the 13th)

"The debut made me get up and kick ass, while listening to this makes me just sit there. The absense of the bass drains out those awesome ass-grabbingly good beats."

- You sound like an undercover raver to me. Who the hell says "ass-grabbingly good beats"??? If you want bass, pick up some 2 Live Crew and bass it up. If you think you can handle it, beat your meat to the bass-friendly Egyptian Lover. Go ahead and google some Maggotron, bitch. FUCK YOU x10!!!

The comments section for this mockery of a review was equally entertaining...

"I bet Lee Perry turned over in his grave when this was released, assuming he's dead, but I'm not sure"

He's still quite alive, actually.


I know Willie Nelson didnt start country music but what i'm saying is that he has been very important in making it what it is today. But there was another guy (still cant remember his name) who was black who was a big influence on Willie Nelson.
Posted by CallingLondon on 2002-09-26 15:46:16

no doubt most certantly was a ska band back in the day. now, i don't know what the fuck they are. perhaps "shit" is the best description.
Posted by Anonymous on Wednesday, September 25, 2002 at 7:38 PM (EDT)

The reviewer is a dumbass. Bad Brains is not annoying;the singer from nfg is annoying. the African American culture practically invented all of the music we hear nowadays except country and polka. punk is a form of expression, and lets be honest it doesn't take an exceeded amount of talent to play punk.
Posted by Anonymous on Tuesday, September 24, 2002 at 12:48 PM (EDT)

No Doubt??? What the fuck was this guy on when he reviewed it, they suck, but I wouldn't mind boning that girl.
Posted by Anonymous on Sunday, September 22, 2002 at 1:29 AM (EDT)

you sure are a fool. the reason why this record sounds so bad is because caroline fucked up and mastered it at the WRONG SPEED. which is why HR's voice is really high and the songs are too fast. stop being a poser and track down the original vinyl on PVC records from '83 and not this sad 90's reissue.
Posted by Anonymous on Monday, September 23, 2002 at 1:03 AM (EDT)

Unlike the non-offensive pop "punk" bands of today, bands like Dead Kennedys, Bad Brains, Black flag, and Minor Threat couldn't afford glossy high production- in other words, they didnt' kiss ass- their live show was what mattered and records were secondary but still great. Also, it isn't the producer's fault, it's just the old and very minimalist equipment due to budet restraints you fucking idiots. Even with this low budget it blows the shit out of all that high gloss fake music like new found glory.
Posted by Anonymous on Monday, September 23, 2002 at 1:50 PM (EDT)

***** XMP SUGGESTS EVERYONE READING THIS TO PURCHASE THE BAD BRAINS - LIVE AT CBGB'S 1982 DVD!!! Fuck what you heard... This live show at CBGB's will blow your mind! For a band not even from NYC, all black and doing *very* risky shit for the early 80s in the punk/hardcore scene - their performance was absolutely fearless. You can see the expression on peoples' faces who are in the crowd, clearly NYC locals - they start out looking unimpressed and snobby. But halfway through the gig the expression changes to bewilderment and shock - obviously! They go from breakneck hardcore to chilled-out dub with no warning whatsoever. Cop that shit.

Thursday, June 21, 2007

Cedric Im Brooks - Im Flash Forward [Dub]

Cedric Im Brooks - Im Flash Forward [Dubs]
Label - Studio 1 (JA)
Released - 1977
Style - Dub/Reggae

Tenor saxophonist Cedric "Im" Brooks is one of Jamaica's most adventuresome musicians. Born in 1943 in Kingston, Brooks has the heart of a bop jazzman beating to a reggae rhythm, and his experiments with ancient rasta nyahbinghi drum patterns has led him to fuse elements of calypso, rhumba, jazz, Afro-beat, funk, Latin, and soul into a totally unique, Sun Ra-like synthesis. His first notable recordings were done with trumpeter David Madden in the late '60s for legendary producer Coxsone Dodd. Brooks soon became a mainstay at Dodd's Studio One recording facility in Kingston, joining with fellow Jamaican jazz musicians like Ernest Ranglin, Jackie Mittoo, Roland Alphonso, and Vin Gordon to form a loose confederation of players that constituted the greatest house band in Jamaican musical history. Their various Studio One backing tracks have been versioned repeatedly and form the very backbone of the island's musical heritage. Brooks released a marvelous album called Im Flash Forward playing sax over some of these famous tracks in 1977. He teamed with nyahbinghi drummer and bandleader Count Ossie for two groundbreaking albums that fused rasta drumming with jazz overtones: Grounation and Tales of Mozambique. With his own orchestra, Brooks released The Light of Saba in 1974 and the multi-layered, big-band masterpiece United Africa in 1978. Combining traditional African and Jamaican approaches with what comes closest to free jazz, Brooks has continually given himself no limits, and his body of work is as fascinating and indispensable as any other musician on the island. ~ Steve Leggett, All Music Guide

A1 Glory To Sound
A2 Give Rasta Glory
A3 Father Forgive
A4 Walking Through
A5 Free Man
A6 Right On rasta * [hidden track]
B1 Right Time
B2 Smiley
B3 Why Can't I
B4 Idle Berg
B5 Picture On The Wall
B6 Sister Enid * [hidden track]

download zip

Ruts DC vs Mad Professor - Weak Heart 12"

Ruts DC vs Mad Professor - Weak Heart 12"
Label - Bohemian (UK)
Released - 1983
Style - Punk/Dub

Just picked this up a couple weeks ago at the local Orpheus record shop outside DC (go check them out!! on Wilson Blvd in Clarendon). If you don't know who Ruts DC are, do your homework. My first exposure to them was on ROIR's Rhythm Collision Dub album (also featuring Mad Professor). They are another one of those few special punk bands from the 70s/80s who found it natural to merge punk with dub and came out with a killer sound. This release is no exception. All 3 tracks are great, but I love 'Accusation' the best with all it's floaty backwards guitars. Can't beat Mad Professor on the mix!

The Ruts were one of a second wave of English punk bands which were inspired by the Sex Pistols, the Clash and the Damned. Although in the earlier day reggae music was often played in punk clubs while there still were only few punk records available, Ruts were one of the first bands (along with the Clash) to take direct influences from it. Ruts were also known for their straightforward, political lyrics.

The line-up was: Malcolm Owen (vocals), Paul Fox (guitar), John "Segs" Jennings (bass), and Dave Ruffy (drums). Owen died of a drug overdose in July 14, 1980, after which the group changed its name to the Ruts D.C. (D.C. = Da Capo = new beginning). Their style also changed to more dub oriented music. However, without Owen, the group's original spirit was never quite the same.

*The sleeve and label are actually bright red, but I didn't have time to scan it so I grabbed the only one I could find online and inverted the colors. All the red made it impossible to look at.

A1. Weak Heart
A2. Militant
B1. Accusation

download zip


Super Cat - Under Pressure/Version 12"

Super Cat - Under Pressure/Version
Label - Power House (JA)
Released - 1986 (?)
Style - Dancehall/Reggae

Jamaican DJ Super Cat started his career as a soundsystem / live-DJ in the 1970s, toasting under the alias of Cat-A-Rock. In 1981, he released his first single, "Mr. Walker", for Winston Riley's Techniques label. After a short term in jail, he used to be regular DJ on Killamanjaro sound, where he got the nickname "Wild Apache". With his spree of hits in the 2nd half of the 1980s he became one of the most popular DJs of Jamaica. In the beginning of the 1990s Super Cat moved to New York and signed a major deal with Columbia; several albums and singles followed. In the second half of the 1990s Super Cat seemingly sunk into oblivion; the attempt to start a comeback through the Neptunes' Star Trak Entertainment label did not work out. Yet, Super Cat remains one of the most legendary DJs in dancehall history. Due to this fact, as well as due to his over-restrictive dubplate cutting policy, Super Cat dubplates are a 100% killer tool in a soundclash if you are one of the very few lucky soundmen to own one.

A) Super Cat - Under Pressure (Version)
B) Super Cat - Under Pressure (Original)

download zip

A.R. Kane - 69 [LP] (1988)

A.R. Kane - 69
Label - Rough Trade (UK)
Released - 1988
Style - Prog Rock/Synth Rock/Indie/Ambient

(from wiki)
A.R. Kane (or A R Kane or A.R.Kane) were an experimental 1980s and 1990s British dream pop band. Their name derived from the "A" in Alex (Ayuli) and the "R" in Rudi (Tambala), the band's core multi-instrumentalist duo. The duo hailed from the East side of London. Often surrealist and usually danceable, due to its strong dub influence, the band's music is seen as a seminal influence on genres such as dream pop, trip hop, acid house, and post-rock. Their lyrics frequently dealt with such topics as water/oceans, love, colors, childhood, and dreams.

(from 4AD)
Although they spent only a brief period on 4AD, A.R. Kane had a hand in the most freakish success in the label's history. The studio-based outfit comprised East London duo Alex Ayuli and Rudi Tambala, who described their music as "dreampop". After releasing their debut EP on the One Little Indian label, they moved to 4AD in 1987 and issued the Lollita 12", which was produced by Robin Guthrie of the Cocteau Twins. Alex and Rudi then left for Rough Trade.

During their brief stint on 4AD, A.R. Kane had taken up Ivo's suggestion that they collaborate with labelmates Colourbox. The session produced a sample-heavy dance track titled "Pump Up The Volume", which was released under the name M|A|R|R|S and astounded all concerned by reaching number one in the UK charts. It remains the biggest single in 4AD's history.

A1 Crazy Blue
A2 Suicide Kiss
A3 Baby Milk Snatcher
A4 Scab
A5 Sulliday
B1 Dizzy
B2 Spermwhale Trip Over
B3 The Sun Falls Into The Sea
B4 The Madonna Is With Child
B5 Spanish Quay

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Sunday, June 17, 2007

Aggrovators Meets the Revolutionaries at Channel One Studios [Instrumental]

Aggrovators Meets the Revolutionaries at Channel One Studios [Instrumental]
Label - Third World / Culture Press
Released - 1977 / 1998
Style - Instrumental/Dub

(from Aquarius Records)
...This whole record is quite stripped down and compact -- maximum effect with minimum means. There is no recording date here, but it sounds as though it was recorded in the early seventies, evidenced by a complete lack of synth presence -- instead, good old organ and even way out of tune piano still fill the key spot. The melodic phrases are broken up nicely, sprinkled with spring reverb, tape delay and filled in with solo lines that avoid upstaging and never stray far from the austere fabric of the tunes. With the cast here it should probably not come as a surprize that this should be such a great record: Sly Dunbar, Robbie Shakespeare, Jackie Mittoo, Tommy McCook, Roland Alfonso, Skullie and more. Recorded at Channel One and at King Tubby's of course and produce by Bunny Lee. On the cover art tip, there's a nice drawing of three dred-locked rastas wielding machine guns and firing away in every direction.

1. The Revolutionaries - The Conqueror
2. The Revolutionaries - The Mighty Gorgon
3. The Revolutionaries - Bionic Man
4. The Revolutionaries - Seven Million Dollar Man
5. The Revolutionaries - Big Foot
6. The Aggrovators - Ethiopians Rock
7. The Aggrovators - The Dark Destroyer
8. The Aggrovators - Special Brew
9. The Aggrovators - Super Larger
10. The Aggrovators - Russian Stout
11. The Aggrovators - Shub-Inn

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Creation Rebel - Starship Africa

Creation Rebel - Starship Africa
Label - Hitrun / On-U Sound / Beat (Japan)
Released - 1980 / 1982
Style - Electronic/Spacey Dub

Credits: Producer - Adrian Sherwood
Notes: Originally released in 1980 by Hitrun records, rereleased in 1982 by On-U Sound.

1 Starship Africa Section 1 (5:00)
2 Starship Africa Section 2 (5:16)
3 Starship Africa Section 3 (4:33)
4 Starship Africa Section 4 (3:18)
5 Starship Africa Section 5 (0:54)
6 Space Movement Section 1 (8:52)
7 Space Movement Section 2 (4:08)
8 Space Movement Section 3 (4:14)
9 Space Movement Section 4 (4:33)

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Blackbeard - I Wah Dub [1980]

Blackbeard - I Wah Dub
Label - More Cut (UK)
Released - 1980
Style - Electro/Dub

Produced by Dennis Bovell
Recorded & Mixed at Gooseberry's Studio
Engineers : Mark Lusardi & Dennis Bovell
Mixing Engineers : Dennis Bovell

(from Rough Trade shops)
The classic dennis bovell album where he experimented with electronics; this 8 track album has been unvailable for years...

Born in Barbados in 1953, reggae guitarist Dennis Bovell (sometimes known simply as Blackbeard) was one of the key figures on the London reggae scene of the late '70s and early '80s, not only as a solo artist but also as a producer. The band Bovell co-founded in the mid-'70s, Matumbi, was one of England's first self-contained reggae bands, and also one of the best; in addition, Bovell released several albums of solo dub experiments, which often featured jazz-pop keyboardist Nick Straker and producer Tony Mansfield (Captain Sensible, New Musik), both old school chums. As Blackbeard, Bovell released Strictly Dub Wize in 1978; he quickly became involved in production work for experimental post-punkers like the Slits and the Pop Group. I Wah Dub appeared in 1980, carrying on Bovell's eclectic sensibilities...

1. Electrocharge
2. Steadie
3. Jazz
4. Reflections
5. Blaubart
6. Oohkno
7. 'Nough
8. Binoculars

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Culture - Rare & Unreleased Dub

Culture - Rare & Unreleased Dub
Label - Revolver (S. Africa)
Released - 1978 / 2003
Style - Reggae/Foundation/Dub

NOTES: Culture in Dub album with 3 extra tracks - dubs of 'Two Sevens Clash', 'Disobedient Children' and 'Forward to Africa'.

- RECORDED AT: Treasure Isle, Joe Gibbs
- Late 1970's. Excellent dub!

1. Disobedient Children Dub
2. Forward To Africa Dub
3. Everyday Love Dub
4. Skilful Dub
5. Iron Sharp Dub
6. Skilful Dub
7. Iron Sharp Dub
8. Tropical Dub Fever
9. Heavenly Dub
10. Harder Than The Rest Dub
11. Freedom Jam Dub
12. Deep Root Dub
13. Two Sevens Clash Dub

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21st Century Dub

21st Century Dub
Label - ROIR
Released - 1980 / re-released - 1991
Style - Dub

[from ROIR site]
For Fans Of: Bob Marley, On-U Sound, Mad Professor, Word Sound I Powa, Badawi, Lee Scratch Perry, Bill Laswell

An amazing but true story about an experimental dub session organized by BOB MARLEY in Jamaica in 1979!!!

In 1979 during a visit to Japan, Bob Marley met the acclaimed Japanese percussionist Pecker. Pecker, a big fan of reggae, convinced Marley to bring top Japanese musicians (mostly members of The Yellow Magic Orchestra) to Jamaica to mix it up with the cream of Jamaican reggae artists, to jam and play out in informal dub sessions at both Channel One and Tuff Gong Studios. The astounding results were released only in Japan on two separate LP's in 1980.

"Some of the best dub of all time. This complete reissue of two Japanese LP's ('Pecker Power' and 'Instant Rasta') combines the best of classic mid-70's dub (Joe Gibbs 'African Series', Pablo, Tubby styles) with the best in technological advances. Quite simply, classic." - Peter Wright (now GM of Rykodisc) 1987

1. Pecker - Mystical Cosmic Vibrations (5:24)
2. Pecker - International Orchitis (4:10)
3. Pecker - Pecker Power Part Two (1:25)
4. Pecker - Pecker Power Part One (5:07)
5. Pecker - Concrete Jungle (5:11)
6. Pecker - Militant Sniff (4:27)
7. Pecker - Jamming (4:11)
8. Pecker - Mystical Electro Harakiri (5:02)
9. Pecker - Beggar Suite Part 1 (4:54)
10. Pecker - Beggar Suite Part 2 (3:32)
11. Pecker - Beggar Suite Part 3 (2:49)
12. Pecker - Dub Jam Rock (4:50)
13. Pecker - Kylyn (6:42)
14. Pecker - Dr. Dr. Humanity (1:18)

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info 1
info 2

Tuesday, June 12, 2007

WCVT 89.7 FM Towson - Industrial Show [1990]

WCVT 89.7 FM Towson - Industrial Show [1990]

* This one tape is the only record I could find anywhere of this obscure radio show ever existing. If ANYONE reading this knows anything about WCVT or this Industrial show from Friday nights around late-80s/'90/'91 - please let me know. I'm dying to locate more recorded shows from that station, since they disappeared into thin air without warning :( RIP WCVT

When I was in 8th Grade, I went over to a neighbor’s house and asked if I could have this broken solid-state AM/FM receiver that was sitting in the garage. I took it home, took it apart, cleaned up all the connections and re-sautered ones that were loose. I put it back together, plugged it in and was ecstatic to see the soft amber backlit glow of the FM dial. After searching the FM range slowly for about 2 weeks, looking for signs of life in between the main stations - I finally came across something faint that really sounded strange. It was *just barely* picking up the signal from 89.7FM, Towson MD’s extremely indie college radio station. The call letters were WCVT - and I happened to stumble upon it late one friday night, during the weekly experimental/industrial show. I had to get better reception to figure out what the f*ck they were playing!

My brother had an old GE boombox that he gave me - looked like a piece of shit, but it worked. He said it picked up WHFS really well, so I gave it a shot. Low and behold, this thing had a ’sensitivity boost’ switch that would give a significant boost to the FM reception. I was thrilled to see that this GE boombox picked up the WCVT reception almost perfectly, if the antenna was in a very specific position. Come that next friday night, I tuned in at midnight and listened to this show in its entirety. I was in 8th Grade, and this random find had literally changed my life forever. I had already gotten into heavy metal and punk via my older brother and some local older neighborhood kids, so Industrial/experimental music logically was the next step in my progression. I was able to record ONE tape’s worth of magic from one particular week’s show; two weeks later I tuned in, and there was just white noise instead of music. I was completely crushed - but a week later the reality sank in. I desperately tried to tune in, only to become horrified at the sound of smooth jazz and adult contemporary where WCVT once was. Seemingly overnight, funding for WCVT was cut - forcing them to kill their transmitter, and also leaving opportunity for this horrible adult contemporary station to snatch up the bandwidth like an evil hermit crab.

Upon further research, I realized that their transmitter operated at a very low wattage - something like 5 kwatts. People in Baltimore had trouble tuning in to WCVT, and Towson is less than an hour away from Baltimore. Yet somehow my GE boombox picked it up clearly, and I live almost 2 hours distance from Towson. To this day, I still see this chance encounter as some weird act of divine intervention so that I could be exposed to all this insane underground music.

Just ripped the original WCVT tape yesterday, and it's got a little radio noise and skips around a little, but who cares. I dare you to find me another WCVT Towson recording anywhere online. They don't exist! The contents of my tape include music from Godflesh, Clock DVA, Motor Morons, Helios Creed, The Wolfgang Press, Throbbing Gristle, 2nd Communication (japan), The Church, Cabaret Voltaire, Bauhaus, The Cramps, A.R. Kane, Circle Jerks, D.O.A., Broken Toys and more. Plus a priceless PSA warning against the dangers of STDs.

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info - ???

Dub Syndicate - One Way System

Dub Syndicate - One Way System
Label - ROIR
Released - 1983
Style - Electronic/Dub/Other

*This one is a necessity for the real dub fanatics or any On-U Sound freaks who know what's up!

Notes: Created by Adrian Sherwood Of On-U Sound productions. This was ON-U LP 25 yet never saw release on On-U Sound and was solely licensed to ROIR instead. Later saw its release on CD by EFA/On-U Sound.

A1 Socca
A2 Overloader
A3 Drilling Equipment
A4 Drainpipe Rats
A5 Schemers
B1 Ascendent Part 4
B2 Synchronizer
B3 Independence
B4 Substyle
B5 Displaced Master
B6 Ascendent Part 6

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Prefuse 73 - The '92 vs '02 Collection

Prefuse 73 - The '92 vs '02 Collection
Label - Warp
Released - 2002
Style - Electronic/Downtempo/Hip-Hop/IDM

1 Desks.Pencils.Bottles (3:21)
2 When Irony Wears Thin (3:19)
3 It Never Entered (4:25)
4 Love You Bring (5:09)

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Prefuse 73 - Extinguished Outtakes

Prefuse 73 - Extinguished Outtakes
Label - Warp
Released - 2003
Style - IDM/Hip-Hop

Outtakes, alternate takes and beats from "One Word Extinguisher".

1 Suite For The Ways Things Change: A) Your Family, B) Your Life, C) The Most Beautiful Things, D) Your Seeds (4:44)
2 Tel Aviv's Gravel Toothbrush (1:14)
3 Pase Rock's Preestyle (0:44)
4 I Got No Time For Rearviews (1:27)
5 Dubs That Don't Match (2:16)
6 Between Man And Woman (1:34)
7 Martinique Was My Girl (0:59)
8 Culturaluhorgasm (0:16)
9 Whisper In My Ear To Tell Me You Hate Me (0:45)
10 One For The Crime Scene, A Bullet For Your Time (1:16)
11 Vikings Invade The Mediterranean But Don't Leave (1:26)
12 Diarrhea Takes Over Your Life (1:29)
13 I Can't Get My Eyes Off (0:44)
14 For Some But Not For Me (1:28)
15 Sao Paulo Arkansas (1:23)
16 Coming Into Something Better (0:30)
17 Humor Judgements (0:21)
18 Wrong Posture (0:49)
19 3 Sounds From 94 (1:05)
20 Robot Snares Got No Cadence Or Balance (3:17)
21 Key Intro 99 (1:42)
22 Drum Machine, Cello, Headwrap (6:03)
23 If They Died And They Were Yours (1:51)

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Samhain - Live 85-86

Samhain - Live 85-86
Label - E-Magine
Released - 2001
Style - Goth Rock/Punk/Metal

Tracks 1 - 10 recorded live at Danceteria, NYC, 1985.
Tracks 11 - 18 recorded live at Metro, Chicago, 1986.

1 All Hell
2 Samhain
3 The Shift
4 The Howl
5 Unholy Passion
6 All Murder, All Guts, All Fun
7 I Am Misery
8 The Hungry End
9 Horror Biz
10 He-Who-Can-Not-Be-Named
11 Black Dream
12 Death Comes Ripping
13 Mother Of Mercy
14 To Walk The Night
15 Halloween II
16 In My Grip
17 London Dungeon
18 Archangel

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Friday, June 8, 2007

Poor Paris.


Paris Hilton going back to jail
POSTED: 3:57 p.m. EDT, June 8, 2007
• NEW: Paris Hilton led from court screaming
• NEW: Judge did not "approve the defendant being released"
• Hilton served five days in jail before being let out Thursday

LOS ANGELES, California (AP) -- Screaming and crying, Paris Hilton was escorted out of a courtroom and back to jail Friday after a judge ruled that she must serve out her entire 45-day sentence behind bars rather than in her Hollywood Hills home.

"It's not right!" shouted the weeping Hilton, who violated her probation in a reckless driving case. "Mom!" she called out to her mother in the audience.

Hilton, who was brought to court in handcuffs in a sheriff's car, came into the courtroom disheveled and weeping, hair askew, sans makeup, wearing a gray fuzzy sweatshirt over slacks.

She cried throughout the hearing, her body shook constantly and she dabbed at her eyes. Several times she turned to her parents, seated behind her in the courtroom, and mouthed, "I love you."

Touching story, right?

Well let's put Crying Paris in perspective.

September 5, 2006. Paris gets denied entrance into Bungalow 8 for a private MTV VMA's afterparty. So she cries...

June 8, 2007. Paris goes to jail for a few days, gets told she's being put on house arrest for another few days, then gets called back to court where they tell her SIKE! and totally punk her for her full 45-day sentence back in actual lockdown. And she cries...

I'm crying now too, from laughing so fucking hard. Grow up, bitch. Deal with it. At least when you get out you have millions of dollars in your checking account and even after that, billions of dollars in your family inheritance. Most people in this country who are incarcerated come out and have to deal with child support, debt, no job, beef on the streets and no place to live. And they don't fucking cry about it. Please grow up.

V/A - Mind Your Release * Relapse Promo sampler

V/A - Mind Your Release [Promo Sampler]
Label - Release/Relapse Records
Released - 1997
Style - Dark Ambient/Noise/Experimental/Electronic

* was never in stores
** promo sampler for Release Your Mind compilation on Relapse

Track Listing:
1) Trial Of The Bow - Borderland
2) Amber Asylum - Dream
3) Solarus - Negative Polarity
4) Namanax - Released
5) James Plotkin - Intruder?
6) Subarachnoid Space - L.A. Makes Me Uncomfortable
7) Con-Dom - Lose Control
8) Runzelstirn And Gurglestock - Zerrhohe-Schlagpunkt (Edit)
9) Dissecting Table - Mask
10) Japanese Torture Comedy Hour - Voltage Monster
11) Haters - Burst
12) Masonna - Spark

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info - n/a

RE/SEARCH - Incredibly Strange Music Vol II [V/A]

RE/SEARCH presents - Incredibly Strange Music Volume II [V/A]
Label - Asphodel
Released - 1995
Style - Electronic/Jazz/Rock/Leftfield/Abstract/Easy Listening

Credits: Compiled By - Andrea Juno
Notes: Recordings selected from the collection of V. Vale.
This is an audio companion to the book Re/Search #15: Incredibly Strange Music Volume II.

1 Hot Butter - Skokian (2:14)
2 Bob McFadden & Dor - The Mummy (2:01)
3 The Nirvana Sitar & String Group - The Letter (1:51)
4 Lucia Pamela - Walking On The Moon (3:07)
5 Ken Nordine - Flesh (1:32)
6 Billy Mure - Chopsticks Guitar (2:28)
7 Myrtle K. Hilo - Lover's Prayer (2:37)
8 Russ Garcia & His Orchestra - Delicado (3:28)
9 Del Close & John Brent - Introduction (1:15)
10 Jean-Jacques Perrey - Gossipo Perpetuo (2:08)
11 Ken Nordine - Green (1:32)
12 Eden Ahbez - Full Moon (2:55)
13 Harry Breuer - Bumble Bee Bolero (2:11)
14 Marcy Join - The Gospel Express (1:27)
15 Les Baxter - Terror (3:17)
16 Ken Nordine - Yellow (1:32)
17 Rusty Warren - 1rst Song / Opening Monologue (3:02)

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V/A - Rise/Converge

V/A - Rise/Converge
Label - Collision Substance
Released - 2000
Style - Electronic/Experimental/Ambient/Downtempo/Noise

Notes: Compiled/Sequenced by the good buddy Kurt Gluck of Ohm Resistance.

(from Brainwashed)
Kurt Gluck explains in the rather impressive booklet for this CD that he wanted to arrange a collection of various artists that could be listened to together in one listen. It makes sense reading this after the first listen through, as it was difficult to pick out which track was which artist, or even where the track ends and the new one begins. The package is wire bound and has stiff die-cut pieces of cardboard, black pages with amber printing. The artists featured include Scorn, Tactile, Aube, Nigel Ayers, and many others. The music is dark and rich, full of dub influenced rhythms and noise influenced frequencies. The disc can serve both as backround music or for deep listening purposes, and should definitely be played in the dark.

01 Hayleck - PM (Havana 1961) (6:19)
02 SU8M3RG3D - Exothermic Sculptures (5:50)
03 OCOSI - Xes (3:43)
04 Nigel Ayers - The Abolition Of Memory (3:41)
05 Zerfallmensch - Prone (4:11)
06 Mothboy - Angelique (4:32)
07 Zenopede - Hate Couture (5:30)
08 Nos - Difetto (4:27)
09 Obsequie - Flipbeat (5:59)
10 Scorn - Stinger (6:53)
11 Aube - Muse On Thrum (4:47)
12 Tactile - Growth And Form (5:13)
13 Erem - Spirit Vacating (5:22)
14 Kanal - Ocularis (3:17)

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Thursday, June 7, 2007

Slayer - Haunting The Chapel

Slayer - Haunting The Chapel
Label - Metal Blade
Released - 1984 [re-released 1993 w/ Aggressive Perfector]
Style - Heavy/Speed/Thrash Metal

"Blackened magic infest with lust
Lucifer rules supreme
The crystal ball shows unknown fate
The last thing that's heard is the screams"

- Haunting the Chapel

(from allmusicguide)
Boasting the awesome "Chemical Warfare," a regular staple of Slayer's live shows, the Haunting the Chapel EP was a more crucial stepping stone in the legendary L.A. band's career development than many give it credit for. Issued in between the band's very promising debut and the following year's more sonically ripened Hell Awaits, Haunting the Chapel offers important clues about this transition period, which saw Slayer's rock-based song structures give way to the non-linear, genre-defining style thereafter regarded as thrash metal's signature sound. Among the uniformly solid cuts here, the enduring fan favorite "Captor of Sin" is another highlight, making this a well-recommended release for committed Slayer fans.

1 Chemical Warfare (6:04)
2 Captor Of Sin (3:31)
3 Haunting The Chapel (3:58)
4 Aggressive Perfector (3:30)

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jhno - Membrane

jhno - Membrane
Label - Delicate Ear
Released - 2000
Style - Electronic/Ambient/IDM

jhno, a.k.a. John Eichenseer, began releasing music in 1995 under his own label, Delicate Ear - including three full-length cd's (understand, KWNO, membrane), and a 12" single (Fly). He is also a member of SPOOL (with John Ridenour) and CRATER (with Scott Amendola, Nels Cline, and others).

Playing piano since age four, jhno has studied jazz, classical, electronic, and ethnic music. These elements are intertwined in his studio compositions, which stretch to connect drum&bass with gamelan, jazz with ambient, experimental with downtempo. His music has been praised by critics and listeners alike as a unique and mind-bifurcating synergy of technology and organic processes.

jhno is also well-known in the world of music software, primarily for his work with Cycling '74 on Max/MSP, Pluggo, and radiaL - a loop-based music application based on the tool he developed for laptop performance with the bands Wavelord and CRATER.

jhno wrote music for modern dance and experimental theater in Austin, Texas, in the early 1990's. He moved to San Francisco in 1994, and spent the next decade contributing to the local live jazz, ambient, and improv scenes - performing with many diverse musical groups,solo concerts and dj sets, and organizing all-night ambient listening events at the warehouse space where he lived, 964 Natoma. jhno is currently living a nomadic life in Europe.

1 Prelude (7:32)
2 Unlimited (5:31)
3 Raise And Illuminate (7:47)
4 Ska Pastora (7:53)
5 Hatch (7:15)
6 Moment Two (7:58)
7 Ovaltune (7:25)
8 Resonance (22:05)

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