Saturday, February 21, 2009

Gate of Black Child

GHOUL prowled the streets of Tokyo. Hardcore punkers with a rough, gritty sound anchored by lead singer Masami's harsh rasp. He also sang for SQWAD and BAD LOTS, but his legacy is with GHOUL's metal tinged punk rock. Very sadly, Masami passed out on stage in 1989 and remained in a coma until he passed away in 1992. But during his short life, he and his band recorded some of the fucking best punk. Period. This remastered discography cd collects just about everything GHOUL did (the song "Judas" from A Farewell To Arms comp is missing, though. Please let me know if you have this!). I did some searching on the internet and whatever photos of the band or album scans I could find are included in this download. Oh yeah, that beautiful piano intro to "Jerusalem" is played by none other than Ms. Narumi, lead singer of GAS.

GHOUL: 1984-1989

p.s. Distort Truth Distort Minds has the vinyl rip of the Game of Death comp. Another must have.

Sunday, February 15, 2009

Creepy crawling throughout the night

MIGHTY SPHINCTER's masterwork is a supremely vicious blood banquet of sin. There is a fine line between lunatic absurdity and sadistic violence. "THE NEW MANSON FAMILY"'s little commune of superbly crafted songs straddles that line and then humps it frantically. The band's amazing technical and compositional skills moves this album's material to deep degrees of complexity and menace. Especially Doug Clark's frantically twisting guitar, which stitches these songs together with razor wire. The overall mood lurches from the drug-fueled frenzy of zombified Mansonites, to stately vampyric ballads on immortatilty and such, before finally arriving in front of some spook house at a sleazy carnival. Only those meddling zombie Mansonites have murdered the spook house's staff, taken their place, and are now torturing centerfold models. Enjoy!

MIGHTY SPHINCTER: The New Manson Family

p.s. Head over to COSMIC HEARSE for more hot

Sunday, February 8, 2009


Oppressive. Dull. Blunt. Force. The first SWANS LP just suffocates. Everything: from Gira's minimalistic and accusatory lyrics- to the death-march pound and scrap of the music- to that cover art. Teeth suspended in a total void. Chewing the weak flesh that hangs off the skeleton of the outer world. Eviscerating the pathetic inner world populated by the heart's delusional desires.