MINI SCARVES - Orientiran In Pogovorljiv -(Debila Records-Slovenia-2019)

 Another great mini CD by the Slovenian Debila Records. Mini Scarves seems to be a side project of Mono Scarves and the title of this mini album is Oriented and Talkative. The music here is a blend of harsh noise with other stuff. The message of  the backcover says "Mini Scarves are the same as Mono Scarves, only smaller and with electric zithers and a tie" hence the drawing on the cover sleeve. Enjoy it.

:f)a*r^a¬w:a_y/  click me

JEWELS OF SHAME - Negative Dialects - (Wormhole World-UK-2019)

 Ever since childhood, Jewels Of Shame has been fond of machinery noises. When he was a child his dad used to take him to the factory where he worked, and JOS would sneak in engine rooms and fall asleep to the pounding sound of the machines. As he was growing up he started falling asleep to the sounds of black metal, sludge, and industrial/noise giants such as Merzbow, Maurizio Bianchi, and Throbbing Gristle. So when he first acquired a PC, he thought he might as well try out make his own sleepy music. He started making field recordings on a cheap dictaphone and of the train station, bar air conditioners, and of the basement of the Physics and Engineering departments of the university in his hometown, which he mixed on the easiest-to-use sound programs with samples from video games and accidentally conceived loops. He gradually started adding recordings of barrel banging, breathing in the microphone, meowing neighborhood cats, and later instruments, such as the guitar, accordion, piano, flute, and other ones. Being a bit of a socially awkward guy, he never published any of these tracks, apart from playing them to his punk friends, and he eventually ceased his bedroom ambient/drone/noise career in 2009, as work and studying obligations prevailed. Nobody can tell for sure what got into him and he decided to send Wormhole World his private recordings ten years later. Hopefully, he will not dig out of his vault more jewels of shame

click me 

THE STONE TAPES-Revolutions In The Head-(Attenuation Circuit-Bandcamp-Germany-2019)

 

All music by:
dAS
Edward-Ka Spel
Frans De Waard
Ninah Pixie
Philip Knight

Recorded at TeKaSky Studios in Nijmegen, Netherlands, late October 2018.
Ninah first prepared her collection of sipsi reed flutes, before bonding at the studio Crumar organ (also a Pixy!), with all it's stuttering (broken!) idiosyncrasies.....
Frans conjured textural movement by mixing multiple cassette players and I-Pad.....
dAS experimented with contact mics and sound boards, feeding his computer to his looper....
Edward conducted a ballet of custom voice samples and played software synths.....
Phil surfed the aether-static world of circuit bent radio, and powered up the analog synth armoury. The recordings were mixed by Frans, and the sound mastered for CD by Edward.Cover artwork by Phil...and much thanks to Astrid, and to Sascha.

www.ubuibi.org
www.legendarypinkdots.org
www.fransdewaard.com  

credits

released October 28, 2019

“Revolutions In The Head” represents the almost transcendental result of “Discipline In The Studio” as members of The Big City Orchestra, Legendary Pink Dots And Frans De Waard (Modelbau, Kapotte Muziek and much more) combined to create a stream of 60 minute soundtracks for a TV station in San Francisco .
If that sounds like a recipe for chaos, then think again. The concentration involved was almost terrifying, but the satisfaction displayed when that clock hit the magical 60 minute mark seemed like a glorious release.
All the music here was recorded in The Silverman’s Attic studio .
Das And Ninah of Big City Orchestra instigated the project and flew to The Netherlands for these sessions.
The first hours involved them, The Silverman and Frans while Edward Ka-Spel joined for the last part of the penultimate session and the final hour.
Edward had literally just got off the train from London, tiptoed upstairs, unpacked his keyboard and various devices, connected the wires as soundlessly as possible and found his patch in the cauldron. The “Hellos” were delayed as only 30 minutes had passed of that particular musical voyage.
When the music was over, there seemed to be a general consensus that this meeting of minds needed to be heard by a wider audience. A big thank you to Frans for the hours he spent editing to make this release possible. click me

 attenuation circuit - label for experimental music, we accept only submissions for free download releases
attenuation-circuit@web.de

1. attenuationcircuit.de
2. discogs.com
3. Facebook

FELT HAT REVIEWS

The Stone Tapes is the project of Ninah Pixie and dAS from Big City Orchestra, Edward-Ka Spel from Legendary Pink Dots, Frans De Waard and Philip Knight.
A mix of interesting and accomplished personalities can be a tricky terrain but the whole album is a gem. Starts with strong synth lead in "Trapped in the Wall" - a good start - then moving on to hauntological narrative of voices and prepared sounds with a bit of radio waves in the next track.
"Groundbyte" is pretty noisy track of sound sculpture - abstract and raw.
"Late 4 Assembly" is somewhat magical arpeggio of wonder - lightweight and sounding like a trance soundbox.
These are but a few of the tracks that open up a great album where all the participants nicely jumble up different pieces of the puzzle they create collectively.
A souvenir, a gem, something that is both rare and unique enough to be remembered more than well.

felthatreviews.blogspot.com/2019/12/revolutions-in-head-by-stone-tapes.html

TONESHIFT

This is a unique collaboration between dAS, Edward-Ka Spel, Frans De Waard, Ninah Pixie and Philip Knight calling themselves The Stone Tapes (an unlikely combo of The Big City Orchestra, Legendary Pink Dots and De Waard). I’m unsure if this is a one-off project but Revolutions In The Head sounds stunning and nu-psychedelic. It’s trips the mind with blurred voices and siphoning synths, deep breathing, transistor radio frequencies and plenty of leftfield spirit.

Tracks like Groundbyte make rings and reverberate into new modified shapes. The watery trickling like a late night shower permeates into the darkness. While some of these folks may have worked together in the past, as a unit they bring their alternate worlds into focus by finding (un)common threads. It’s sometimes switched-on, dazed but never confused, combining drone with understated industrial knob fiddling.

Snaking Down Bourbon is a drunken jam fusion, a mish-mosh of orchestral warp and aching metaphor. But wait for the sizzle of The Clock Always Stops At Zero to find its light. Between static and harmonization is the unknown, and that’s where they find themselves, in the grind, afloat. Just in time for the liquified ambient ending which is deftly haunted.

[ TJ NORRIS]
toneshift.net/2019/11/27/revolutions-in-the-head-by-the-stone-tapes/

1.	Trapped In The Wall 03:54
	2.	A Thousand Decimal Faces 06:16
	3.	Groundbyte 04:10
	4.	Late 4 Assembly 02:45
	5.	Crystal Maths 06:08
	6.	Snaking Down Bourbon 05:51
	7.	The Clock Always Stops At Zero 05:53
	8.	Ø Zone 05:03

NOISE AGAINST FASCISM-Defend Rojava-(Bandcamp-Sweden-2019)

 

Rojava, the Kurdish region of Syria, is one of two Kurdish frontlines in the war with ISIS. The region is attracting a lot of worldwide attention for the Battle for Kobane, and the Kurdish democratic system that is emerging in an otherwise chaotic country.

Rojava is made up of three cantons. Afrin Canton in the West, Kobane Canton in the center, and Cizre Canton in the East. These three cantons are working in cooperation with many local and international players to push back the Islamic State.(from The Kurdish Project )   click me

MEUS DEUS @Tattoo Circus 2k19 -(Pokora-UK-2019)

 

This is a recording of MEUS DEUS set during the Tattoo Circus AfterParty in 2019 London

Released July 13, 2019

MEUS DEUS
POKORA SOUND SYSTEM click me

MINDFRAME-Mindframe-(Self Released-Bandcamp-UK-2019)

Mindframe is a Punk band born in London in 2013.
After a new line up formed in 2015, they recorded a 5 Track EP in 2016.
A Vinyl EP with Grow Your Own Records is set to be released in 2018.
Influences include punk, hardcore and bits of ska.
 Recorded and vocals mixed in one day.......in June 2019......in the basement of the HAND IN HAND pub, Brixton (RIP) by John SLPC/SLOW FACTION.click me
 

1.	The line 03:01
	2.	Cops 02:05
	3.	Killer Nation 03:00
	4.	PTSD 03:18
	5.	Artificial Intelligence 02:43

Bs As Desorden Zine-Interview to Max Vadala-(Arte y Cultura blog-2019)

I first got the know, Max, while travelling in Mexico more than 20 years ago, at the time, if my memory doesn`t fail, Max was playing with Terror Y Miseria, and Sopra De Garron, anarcho-punk bands from Buenos Aires(Argentina).We exchanged tapes, zines, and ideas and I have already posted all of them.
Max is a very talented illustrator-comics artist, researching about his amazing art-works I did realize that there are no internet pages about it in the English language. An internet archive page about him in Spanish is here, while on his blog Bs As Desorden you can view and read his comics, graphic art, and get more info. Last year He sent me the link for the blog Arte Y Cultura where it is featured a long and interesting interview with him. I am, now republishing the same interview in English here.
Big Thanks to Seba of Arte Y Cultura blog, to Max for all his help and kindness and to XFlower PowerX (Florencia) for providing the English translation of this very good interview.
Enjoy it.
~f/a/r:a/w/a:y~
Max Vadala is an old colleague of mine who has released one of the most distinctive fanzines of the local HC/Punk scene. He is well-known for his unique style. With just having a look at one of his designs you can tell right away that it belongs to him, it has its imprint,  no shadow of a doubt. Not all zines display such an unmistakable stamp. His designs and drawings have traveled the world and the seven seas and have been imprinted on record covers, fanzines, patches, T-shirts, band logos, etc, etc…  Just a quick glance and you will get to know who is behind all this.
Max answered a few old school questions from the Argentinian Northwest, where he is currently living. He will talk about his beginnings in punk up to date.
Arte Y Cultura-I imagine your first approach to pencil and paper was when you were a child. The question is: what made you kept developing your talent years later; family background or just your sheer interest?
Max-I do not think it is related to family background. I’ve always loved drawing and it was easy-peasy for me. My drawing teacher in primary school envisioned this. He advised me not to ever stop doing it.  (He is Omar Gasparini, search for what he does, he’s very good)
My first secondary school was based on advertising drawing. It was not exactly what I was looking for - this was more technique-oriented. Finally, I was expelled for misbehavior and absenteeism. Because of that, I ended up in the Fine Arts school, which, though not ideal, over time I realized it was worth attending. (I was also expelled from there, but that’s another story!)
Arte Y Cultura-How did you first approach punk rock? Which were the first fanzines you laid your hand on? When was that?
Max-I first approached punk thanks to my neighborhood friends in Catalinas Sur/La Boca. I lived there for my first 18 years.
There I recorded my first cassettes. We were skaters-punks, HC-skinheads.
Out of this lot, a few bands arose which are now classic cult bands such as D.A.J-B.O.D-ALTERNATIVA POSITIVA, NO DEMUESTRA INTERES (in the latter three of its members were from Wilde - in the Southern area of the province, though Adrian, its frontman was from La Boca.
The first zine I remember buying was RESISTENCIA (Resistance). It visually impacted me. Shortly afterward I was at PUESTO REBELION ( Rebellion stand) buying all zines from those times.
It was ‘88/’89 I guess.
Arte Y Cultura-How did you kick off with Bs As Desorden (BA Disorder)? What message did you want to convey back then? How has it evolved, how did it finally shape its own identity, the peculiarity of your own drawings and style?
Max-We kicked off with Bs As Desorden in mid-1993 along with Pichón -just the first issue with him as he then carried on with his own fanzine called  CIVILIZACIÓN VIOLENTA (Violent Civilization).
The idea was sharing info that we had in fanzines and magazines from other countries by translating articles, spreading the word,etc.
Over time the drawings became stronger than the fanzine proper to the extent that there was very little text in the latest fanzine issues.

Until issue 6 it was basically a classic zine  (Musik / social articles/reviews-flyers). Issue 7, as far as I can remember, was a comic special -it included different artists, most of them connected to LAPICES EN LUTXA (Struggling pencils)
From that point onwards, the fanzine would only include illustrations and comics, most of my own authorship.
Arte Y Cultura-Beyond the chaotic punk aesthetics and fanzines what punk record covers or artists you discovered during your early career and who are those nowadays?
Max-There were different stages. There were some covers that caused a great impact on me and later on I found out about their authors. e.g  PUSHEAD, Misfit’s EARTH A.D  (Mad Marc Rude),  Napalm Death’s SCUM de, Acussed’s RETURN OF MARTHA SPLATTERHEAD, to name but a few. They are drawings I like even better than the bands they represent! A pic, a collage, photomontage... Dead Kennedys (Winston Smith), Crass (Gee Vaucher), the compilation PUNK & DISORDERLY 3.
There are thousands, these are the first to come to my mind.
Pencillers and artists are also several. Comics artists and painters of all time.
Since I’ve had the Internet  I’ve discovered brilliant stuff.
Everything has a direct or indirect influence on me.
* an addition:   Blogspot  by  Sombra (No hay Salida zine/ Kontra la pare’ - Uruguay) He’s been doing thorough research on artistic and punk (really not to be missed!) www.10charruas10crestas.blogspot.com
Arte Y Cultura-How many issues has Bs As Desorden released? How many shared issues have you had? Can you tell us a bit about Lápices en Lutxa (Struggling Pencils)?
Max-For the time being (winter 2019), there are 24 issues edited. There were a few shared issues along with En la Cancha Se Ven Los Pingos (The proof of the pudding is in the eating), Alto & Klaro (High & Clear), Krea Desorden (Kreate Disorder) from Ecuador and Comunidad Punk (Punk Community) from Mexico.
Lápices en Lutxa was a collective/ illustrators’ partnership (all of them based in Spain, and myself in Argentina). I suggested them we should have Lápices en Lutxa BA, as I was not “officially” part of Lápices en Lutxa Spain. Unfortunately, I couldn't manage to find committed people who would engage in the BA branch.
The idea revolved around comics with a “message”. Its goal was spreading libertarian ideas and views by means of illustrations
The group edited a very good zine called Por Amor al Arte (For the sake of Art) which I distributed here in Argentina. And they distributed issues of my zine. After a while, the collective vanished, though you can still have a look at the pieces of work on the web by some of its members such as Kalvellido, Salamanca, Manolito Rastaman. In my opinion, they are to be highlighted.

Arte Y Cultura-Has your work been plagiarized? Has anybody versioned any of your pieces? If so, have you seen any of them?
Max-I regard plagiarism, or- better worded-theft,  the use of illustrations without authorization or when seeking profit. I remember there was a shop in BA. I was asked to screenprint 10 T-shirts with the “Crazy Cat” design.  Then I learned the T-shirts had been made through sublimation printing (faster and cheaper) without my consent. The shop closed down less than a year later. He might have moved or he was cursed due to his mischief.
There are those who use my drawings for silk-screen printing and they don’t let me know. But as they are usually DIY punk projects I don’t mind at all. I know everything I publish in the zine or on the Web will be re-used sooner or later...
There are also people that send me pics of my modified drawings in tattoos, murals, sculptures, etc. That would be some sort of “ ego-booster”, as I see there are other people who enjoy creating a new version of my designs, in the same way, I do with other people’s designs.
As an example, I was sent -not a long time ago- a pic from Bariloche of a tattoo with one of my designs (HC Chapulin Colorado). Prior to this, I was asked for permission. Also, I saw that Ratos de Porao’s ( Sewage rats) singer also posted my version of Crucified by the System, but he didn’t even mention my name!  You can find anything both in the real and in the virtual world.
Arte Y Cultura-Which formats were your illustrations edited in? (Leaving aside your own-edited fanzines and books).

Max-The most exotic format was a wooden toy for very young children, crafted by a fanzine-fellow called Beto Beles - Subsuelo Insurgente zine ( Insurgent Underground zine) from Venezuela. A sculpture of the logo toy which I  designed for the Municomio (Grand Bourg/BA). Also, some skull flower crafted in metal by Kasa Noise’s punky (Paso del Rey/BA)... There are also murals/tattoos/ screenprinting stuff, other zines. I had some other proposals about animation but for now, this has failed to materialize.
Arte Y Cultura-We know this must be tough… but choose three of your drawings you regard as classic and which have your imprint.
Max-As the Punk Rock and Indian Ink’s intro goes: I consider “classic” or those that represent me the following: How do you destroy culture? With torture. Another one is Punk is no violence. Anyway, any of the pieces I’ve created over the last ten years are pretty “identifiable”.
-Punk rock and Indian ink has already been published for several years now and has been reprinted twice. Tell us a little about this first experience. Did you think it would reach so many faraway spots on the planet?
Punkrock and Tinta china have 4 re-editions ( 3 in Argentina and one in Mexico). The truth is that I never thought about editing it in book format. I imagined it as something very expensive and complicated.  It was on Ale Natural's insistence (Tren en Movimiento publisher) who persuaded me. It was a one-year work. I would go to his place by train and bicycle, I would choose the material, scan-diagram, make print tests... tedious work. That experience changed my reality as a "penciller" quite a lot. From the first book, many people began to take my work "seriously". Articles were published in several mass media. I was invited to some exhibitions abroad. I got several requests to make art cover-flyers-designs for T-shirts ... and to date, I continue working on this.
Little by little,  I started "profiting” from my drawings in exchange for my time and energy and creativity. However, even today there are people who write to me believing that I should make them drawings for FREE just because they are “also punks"... Although this kind of attitude is, luckily,  disappearing from my way.
 I always underline that I‘m not seeking $$ in exchange for my work, I also accept barter for... but most people find it harsh to get rid of the capitalist logic.
Argentinian bands are understanding that cover art is a core part of the message they convey, I calculate that if it wasn't for our critical economic scenario, more people would come to me asking for my work.
My book was the first Tren en Movimiento release (nowadays TM  is one of the most renowned alternative publishers here in Argentina). It was also my first published book!

The book reached many spots. " The book around the world" arose from that idea.  It would be an album with photos friends are sending me from all over the world. Several photos from exotic places. My favorite one is in a Nepalese village where my friend Cecy gathered several local women for the pic- Cecy is the main collaborator. She has sent pics in Malaysia, Nepal, Indonesia, Philippines, Cambodia...etc!) African lands will also appear.
Arte Y Cultura-The second edition is coming soon and the first one will be re-edited in Portugal, right? Let's talk a little bit about this, how the reedition was conceived, and how you are selecting material for this second edition.
Max- The idea is to include material from 2010 to date (vol. 1 goes from 93 to 2010, which is when we finished it). As I said before,  after the 1st book I got a lot of work on demand ( from bands mostly), so I have a lot of material!... The Portuguese edition was thought to be presented in different book-related events both in Portugal and Galicia.
Arte Y Cultura-PUNK Y DERIVADOS (Punk and byproducts) was a section that was gaining importance in the zine, and we as readers were looking forward to a new issue so that we could read the stories. How was the process and how it ends up being published in a book format?
Max-Punk y Derivados was a drawing that came out in a Spanish zine in the '90s. It depicted the evolution or different branches of punk, SxE-oi-crossover-goths-etc... I made a re-version of the punk family tree. In the following issue, I released a drawing where I ironically highlighted some punk-skinhead attitudes back then.
 In the next issue, I told a tragicomic anecdote in a 2Minutos gig. At that point that zine section became permanent: real-life stories or anecdotes related to punk experiences - as incredible as it sounds nowadays, before the Internet appeared, punks (and youngsters in general) used to meet up in the street,at corners, parks or squares. .. there I developed this "ability" or "magnet” with supernatural beings or human specimens that do not fit in ordinary social patterns.

This section, then, it became the most "expected" part by the Buenos Aires readers. When Ale Natural suggested me I should publish a book, I first thought of compiling all the stories of Punk y Derivados but he suggested starting with only one drawing. Both formats worked, text and design! Currently, there are friends translating it into English and Portuguese. We will re-edit it with both translations as soon as we can.
Arte Y Cultura-Today it’s your own imprint your “trademark”.   What new techniques have you been using, or resorting to, software, etc?  What’s your favorite drawing technique?

Max-My technique is not quite farfetched, at the beginning, I used to draw with microfibers, then I switched to the pen and Indian ink and at the moment I’m using brushes filled with water to make watercolors. I put Indian ink on them and then I scan them giving some digital retouches with photoshop like contrasting or re-assembling the elements. I try to show that they are "handmade" drawings with brushes and not with digital tools (though I don't rule out the use of digital tools in the future).
-Overall these years we’ve seen your art in several places, gigs, punk book fairs, etc. Where do you feel more comfortable in?
When I exhibit what I do, I always try to do it in the environment in which I have always moved (concerts/okupas/independent cultural centers/etc). I'm not  “famous”  and I don't have the Art contacts so I doubt very much that I'll be called from outside the punk community... "Art" is like music:  it's not about how good your stuff is but about what contacts you have or how much money you can invest to promote yourself.
 My only manager and/or press agent IS MYSELF!

Arte Y Cultura- How do you see the fanzine movement today? 5 fanzines and 5 bands to recommend?
Max-There are still some zines, as I said before. The internet has changed everything, including the zines’ world. I'll name 3 that are fundamental and unique in their style: La Ponzoña (chaotic collages, punk art full of irony and criticism), Dekadencia Humana (must be the most ancient zine in Argentina). Many insights and writings from his editor and info related to the anarcho-punk and political punk world) and  En la Cancha Se Ven Los Pingos (a typical fanzine which includes a mix of his editor's musical tastes -punk, Oi!, heavy, rock, social criticism, from a street view approach. No academic-philosophical researches. Stories about fictional characters based on the youth subcultures. These 3 zines named have their "book version"  published by Tren en Movimiento.
As for bands the ones I like the most are: Responsables no Inscriptos (RNI), Qué Risa, Los Disckolos, KrestaMurti, Tango 14, Bokasucia... all of them are still playing and active and you can listen to them on the Internet.
Arte Y Cultura-As a bonus track,  let's talk a little about your musical side, Massacre en el Autocine was the first band you had, right?   Tell us a bit about it. Your second band Acidos Populares. Tell us a little bit about this band since not all of its members live in the same city. Tell us also about the experience of your solo album.

Max-Regarding my "musical side" let me tell you that I don't feel to be a MUSICIAN or even an ARTIST, I only use this as a means of expression, both with the guitar and with the brush I do "what comes out" (which is not always as I imagine it).
The band I played in was Massacre en el Autocine, I had no musical notion but I had already read the inspiring phrase that goes as follows: "In punk rock, anyone can grab an instrument and make their own band!". Music-wise we were trying to make horror punk, I think this label didn't exist yet - 1992. Our main influences were 45 Grave/Misfits/Undead, B films, and classic horror literature (Poe-Lovecraft/etc.). The lyrics were written by Vicky (RIP), she read a lot and was very good at writing. it was a big loss, the first friend that was leaving me...
M.e.e.a became Bs.As. Desorden (same name as my zine, since we had a gig with CHIQUERO - where Esteban's brother, the guitar player in B.A. Desorden. We didn't have a name, just some rehearsals plus 5 or 6 songs). The idea was to make Oi! or punk rock 77.  There were 2 punks and 2 skinheads in the band.
Bs. Desorden lasted for less than 2 years. Nogal appeared soon afterward. It was made up of a front girl (Brenda, currently in Bloodparade). We all had diverse experiences in bands: I.D.S., Espias Secretos, Fuerza Interna, and those already named). The result of this all was quite an original punk rock band.
At the end of 1996, I joined Acidös Pöpulares, and just after that I joined  Klub 699 ( I spent 1 year there, recorded 2 songs for a compilation and left). we were already playing quite a lot with Acidös, everywhere: the capital city and Gran Buenos Aires...
Terror y Miseria was later formed.  That was the time when anarcho-punk was all the rage (1997).  Many events,  many people got together at Plaza Congreso’s fanzine fair. All Terror y Miseria members were actively engaged in the fair.

In 1997 I also joined Sopa de Garron, but we played occasionally as Panke lived in Santa Fe and me in Buenos Aires. In 2000 we traveled to Mexico for the international Enkuentro Anarkopunk and we seized the opportunity to make a mini-tour TyM/Sopa de Garrón. We played in several cities...
Back then all Pöpulares members lived in different cities, for that reason, almost spontaneously different lineups arose in different regions of Argentina.  We occasionally played with a certain lineup depending on the place we were. The lineups were as follows:  Acidos Populares (Buenos Aires), Acidos Kuatreros (Rio Iv -Cordoba/V. Mercedes -San Luis), Acidos Tucumanes (Tucuman) and there were also Acidos Jujeños (Jujuy) and Acidos Patagonicos (Trelew/Puerto Montt-Chile).  Gringo and I were part of all lineups. Also, musicians from other bands joined us: Sirvientes de Nadie (Jujuy), Kara de Perro/El Contuvernio (Tucuman) Causa de Accion/Tumba 37 (Rio Iv Cdba), Desastre Total/Old Skulls/Amnecia (Bs.As.) Que Risa (Trelew) Aversion Social/Ñankupel (Puerto Montt-Chile).) There is a new album already recorded that we hope to release in 2019. It will be called "El Exilio" and it includes some unreleased songs, others from a former BA lineup, 2 songs with the Acidös Kuatreros, and some old re-versions with the current BA lineup, with a better sound.
Thanks, Seba for your patience and for taking my work into account.
You can contact me by email at dismadre@gmail.como// FB Max Vadala or Instagram bsasdesorden

 

THE RADSTERS-Faster Than Police-(Self Released-Italy-2019)

The Radsters is a band from Naples (South Italy) playing a raw form of straight in your face speed rock mixed with a good dose of energetic punk: think Motorhead meets Turnonegro on a battleground.

Formed in 2008, connected to the squat scene of the Partneopean capital after a few line-up changes they established a very tight combo and have played many gigs in and out the Italian boot.

Their first 7inch "The Radsters" was released in 2012  followed by a full- length cd "The Wild Bunch" in 2015.

 This is their last production: a 12 inch with 8 tracks on one side while on the other we`ll find a nice screen-printed original drawing.

You can find the discography on their Bandcamp Page where you can get their music choosing your price, while you can read the last news on their FB Page.

For all of you curious to know more, a very good and in-depth interview

has been published on the webzine Son Of Flies last month. 

To complete this post I am attaching the last video.

A big Thanx to Peppe (the bass player) for providing links, pictures and related info.
If you are into fast, aggressive and powerful punk`n`roll then you` ll love The Radsters, this last 12inch is definitely a good one.
Enjoy it.
:f^a~r{a_w)a~y* 

 

UIS Label-Introduction,History and Links-(Russia-2009/2019)

.

UIS is the music union and independent label from Russia. UIS produce non-commercial post-industrial compilations and spread audio cassettes and CDs on the streets, squares and other public places around the world. (intro from their Bandcamp page)

One of the headmasters of this great label is Al-Maytatu L-Habithu, I spoke about him when I posted the fantastic tape qamat-is-saatu-unpronounceable  and for this post,  He wrote a very good compendium about their work/projects including interesting links.

Big thanks to Al-Maytatu L-Habithu for his astonishing contribution.
Enjoy this amazing label.
~f(a*r)a~w*a)y~
 

Debatable art

Is art just entertainment nowadays? When professional artists are making money creating products for entertainment it is show business. What about these so-called experimental forms of art?

Modernists (experimental) art in XX-XXI centuries is “debatable” art. We have all this noise music, 4’33’’ performances, Malevich black square. It is like a question without answers. Can be noise music? What the difference between music and noise? Is silent is music? Is it Art? Modern experimental art generates these questions. All we have is endless discussions about the purpose of art. Art raises questions but does not answer. We can say that all this experimental art stands in a nihilist position.

Early art forms (an art of Pre-Modern) are not just about entertainment. Purpose of art was to capture and convey (express) the ideas, images, feelings, and knowledge as reliable as possible. Poets created ballads about past events like wars and coronations. Painters made frescoes in cathedrals as an illustration of the Bible. Musicians were inspired by religious plots, folklore, and literature.

I think it is important to save this traditionalists message in the experimental field. Instead of producing ‘experiment’ just for ‘experiment’, and ‘noise’ just for ‘noise’.

United Information Space (UIS)

The term “information space” came to sociology and philosophy from technical disciplines.

Wiki: https://en.wikipedia.org/wiki/Information_space

“Information space is the set of concepts and relations among them held by an information system; it describes the range of possible values or meanings an entity can have under the given rules and circumstances”. (wiki)

An information space is a type of information design in which representations of information objects are situated in a principled space. In a principled space location and direction have meaning, so that mapping and navigation become possible.

— MIT Artificial Intelligence Laboratory

“Another definition (idealistic) is that the information space is the total results of the semantic activity of the humanity, "the world of names and titles", conjugated to the ontological world. Being a primary concept, the information space cannot be precisely defined and is set as a dialectical opposition to the material, physical, object space”. (wiki)

Information space surrounds us.

It is the results of the semantic activity of humanity. We can imagine it as an invisible network. It is a world of words and meanings. We are providing knowledge not just from our personal sensory experience but also via information communications. Patterns of our behaviour, our stereotypes, our thoughts are results of communication in so-called information space.

Information space can’t be viewed as an interrelated and indivisible whole. We can still see the difference between cultural levels and national characteristics of each region. But we will come to united information space in the future where all national, religious and cultural differences will disappear. (Maybe not…) Any way we can mourn the first consequences of globalization.

So “united information space” is the result of globalization, computerization and modernization. It is a futuristic idea.

 Music in information space.

Music is information. It provides the messages to attentive listeners. Will music transform into a cross-cultural form of art in upcoming united information space?

The problem of the development of rock music is blues clichés, beyond which an artist has no opportunity to go. At one time, these boundaries suspended the development of alternative rock music. Dance music (EDM) and pop music is only entertainment. And it follows the path of perfunctory development.

I think post-industrial music can be true alternative cross-cultural music, where spiritual aspects and ethnic music roots combine with high-tech innovations in sound. It is still true avant-garde modernists music – advanced guard of cross-cultural music of upcoming united information space. And we are proud to be a part of this movement.

UIS label history

The idea of UIS was born in summer 2009 and closely related with the activity of two Russian post-industrial projects [Qamat is-sa’atu] and Per Aspera.

https://soundcloud.com/qamat_is-saatu

https://soundcloud.com/per-aspera-uis

Ixes (ex-member of [Qamat is-sa’atu], now in Per Aspera) dreamed to create brand new crossover post-industrial sound, which can be cross-cultural and based on a wide range of musical influences. He wanted to remove the stylistic limits and became free in musical expression.

His post-industrial project Per Aspera has its roots in so-called "schwarze szene" and rhythmic noise, but in fact, his music is a mix of different cultural influences. It is noted for high attention to rhythm, formalism, absurd and genre eclecticism that he calls UIS (United Information Space). His interpretation of the concept of "industrial music" is, first of all, freedom of choice for the realization of ideas. And this is the basic principle by which tracks were created.
The term UIS, which can be interpreted as United Information Space, means stylistic eclecticism and complete rejection of any genre limitations. Later, during the work with the project [Qamat is-sa atu], the term UIS acquired its second value is a non-commercial distribution of music in the different countries of the world.

Me (Al-Maytatu L-Habithu) and Ixes found UIS label in 2010. We start to produce compilations in cooperation with like-minded bands to express our ideas in information space.

/2010/ First release Geomatika [UIS-01] was a non-profit compilation which was attended by five post-industrial projects from Russia. The edition was a few numbers of CD-R. It was spread out in public places of Manila and Panglao island, Philippines.

Name your price download: https://uislabel.bandcamp.com/album/geomatika-uis-01

Photo-report: http://uislabel.blogspot.ru/p/uis-01-photos.html

Free download mp3 archive: https://yadi.sk/d/agrjJBKo3F2mZm

/2013/ Abramacabra [UIS-02] was a non-profit tape release with single demo track. Per Aspera with the participation of [Qamat is-sa’atu] produced track dedicated to one of the most influential horror writer H.P.Lovecraft.

Unfortunately, we didn't finish the track in view of some problems, but anyway we published a number of demo tapes (about 15 cassettes) which were spread out in the streets of Providence, Rhode Island where Lovecraft lived and created his occult stories.

Name your price download: https://uislabel.bandcamp.com/album/abramacabra-uis-02

Photoreport: uislabel.blogspot.ru/p/uis-02-photos.html

Free download mp3 archive: yadi.sk/d/xFGL4QNICyFvd

/2013/ Koi Pond [UIS-03] was created by six industrial projects from Russia and Belorussia for distribution over the capital of South Korea - Seoul.An edition was 50 copies single-side C90. Some audiocassettes were left in public places of this city at the end of November 2013.

Name your price download: https://uislabel.bandcamp.com/album/koi-pond-uis-03

Photoreport: uislabel.blogspot.ru/p/uis-03-photos.html

Free download mp3 archive: yadi.sk/d/fDXIWxUeEkEBb

/2014/ Jamia [UIS-04] became our first concept compilation. We made it spread out in Jamaica. Jamaica is best known for every music lover as the origin of reggae and dub. The compilation was created in reggae/dub tradition where original tracks were on A side of the tapes and their psychedelic (dub) mixes on side B. Edition was 50 audiocassettes C60 and about 10 copies CD-R. The part of the issue was spread out on the streets of Kingston, Montego Bay and in other cities of Jamaica.

Name your price download: https://uislabel.bandcamp.com/album/jamia-uis-04

Photoreport: uislabel.blogspot.ru/p/uis-04-photos.html

Free download mp3 archive: yadi.sk/d/CtFRNypFQkmr3

/2014/ North Air [UIS-05] became the most integral in content and hard for distribution among all releases of UIS-community. Eight projects from Russia and Italy created dark ambient tracks, inspired by the literature of the Age of Discovery.An edition was 50 audiocassettes. Some part of the edition was left on islands of Polynesian state Samoa, where the famous writer Robert Louis Stevenson lived and worked. We dedicate this release to his immortal novel "Treasure Island".

Name your price download: https://uislabel.bandcamp.com/album/north-air-uis-05

Photoreport: uislabel.blogspot.ru/p/uis-05-photos.html

Free download mp3 archive: yadi.sk/d/9Uuv3tmdTbwBQ

/2014/ Grotesque [UIS-06] was conceived as eclectic and weird work. Compilation unites Russian and Belarusian artists of different music genres from post-industrial to experimental black metal. There were no specific idea or concept of this release. We just freaked out and had fun. The edition was 50 audiocassettes C90. Some tapes were left among the Gustov Vigeland's grotesque sculptures in Frogner Park in Oslo, Norway.

Name your price download: https://uislabel.bandcamp.com/album/grotesque-uis-06

Photoreport: uislabel.blogspot.ru/p/uis-06-photos.html

Free download mp3 archive: yadi.sk/d/xDLNoxQ-VNY2K

/2015/ मोक्ष [UIS - 07] became our masterpiece. Edition 50 tapes. It was prepared to spread out in the Balinese village Trunyan that is worldwide known for its traditional funeral rituals.

Mokṣa (Skt. मोक्ष) in Hinduism means ''breaking from chains of reincarnation and all the miseries of material existence''.

The 9 track cassette compilation is divided into 3 parts - 3 existential phases:

Side A. Phase of Life is about the the existence of a soul in the material world (tracks 1-3) 

Side B. Phase of Death is about leaving of a soul from a body shell (tracks 4-6)

Side C. Phase of Eternity is about the astral journey of a soul (tracks 7-9) (non-physical phase is not available on physical release).
 

Please check out review by Heathen Harvest Periodical (USA): goo.gl/GvhNmC  

Name your price download: https://uislabel.bandcamp.com/album/uis-07

Photo-report: uislabel.blogspot.ru/p/uis-07-photos.html
Free download mp3 archive: yadi.sk/d/rLtESLT_harZj 

/2016/ Анатомический атлас [UIS - 08] was dedicated to the works of A. Vesalius, F. Ruysch, N. Tulp and to all progressive scientists, physicians and philosophers, who affected the development of medicine in Europe's Renaissance and the Age of Enlightenment. Edition 50 tapes. Part of  it was spread out in the streets of Eindhoven - one of the oldest cities in the Netherlands.

Reviews:
© Santa Sangre (Poland): goo.gl/I9IiSA 

© Mithra! Templezine (France): goo.gl/cVb1Jb 

© Existence Establishment (USA): existest.org/ee_v3/?p=9416 

Name your price download:https://uislabel.bandcamp.com/album/uis-08

Photo-report: uislabel.blogspot.ru/p/uis-08-photos.html

Free download mp3 archive: yadi.sk/d/wOXG5AVNsdNJS 

/2017/ Аргандаб [UIS-09] brought together twelve projects from Russia, Denmark and Italy. Each participant dedicated his track to the tragic events of 1979-1989 - the war in Afghanistan. Part of the edition of 75 tapes was spread out on the streets of Kabul in 2017.

Review by Side-Line (Belgium): www.side-line.com/v-a-аргандаб-cassette-album-uis-label/ 

Buy cassette:https://uislabel.bandcamp.com/album/uis-09

Photo-report: uislabel.blogspot.com/p/uis-09-photos.html

Free download mp3 archive: https://yadi.sk/d/FE6ZYLO73LdsJu

/2018/ Ещё не время предавать [UIS-10] is about Islamic Revolution in Iran. Working with the historical background we tried to convey the feel and mood of Iranian society in 1978–1979. The compilation includes the work of nine musical projects from Russia, Germany and the UK. Edition 75 tapes. Audio cassettes were randomly circulated in Tehran and Bandar Abbas in January 2018.

Buy cassettes: https://uislabel.bandcamp.com/album/uis-10

Photo-report: uislabel.blogspot.com/p/uis-10-photos.html
Free download mp3 archive: https://yadi.sk/d/tzmNB6Av3TXxXp

Our next work will be released in summer of 2019 dedicated to 45th anniversary of Cyprus conflict. We will bring together excellent post-industrial acts from Russia, Italy, Greece and Turkey. Stay tuned for that!