Lines In Wax

THIRTEEN YEARS OF UNWANTED OPINION

Month: October 2012

Necrocannibalistic Vomitorium / Fascist Insect – Split 7″ (2009)

Necrocannibalistic Vomitorium / Fascist Insect – Split 7″ (2009)

The first thing you’ll likely notice about this EP is that the labels instruct you to rip this at 45rpm, when it clearly should be played at 33rpm. Typos aside, we have a seriously interesting mix here. Fascist Insect have a punky approach to grind, and throw a lot of different influences into the mix as well (there is even an acoustic guitar at one point). The sound is very metallic, and the vocals are very strained and impressive. It’s a bit difficult to make head or tail of their info section on the inside, but who cares. This band come strongly recommended. I will be looking out for Fascist Insect in the future. Necrocannibalistic Vomitorium earn bonus points before I’ve even started for their sexy artwork. Should a cartoon be sexually arousing? Get this EP and decide for yourself! NxVx are a gore/porn-grind spin on the good ol’school grind template. It’s pretty one dimensional and straight forward (it is grindcore after all ha ha), but it is very enjoyable. This isn’t the ground-breaking grind release of the century but it sure as hell rocks my socks off.

Tumour – Prepare to Putrefy (2006)

Tumour – Prepare to Putrefy (2006)

Hells bells I’ll say one thing; Bringer Of Gore Rex loves the dirtier underbelly of grindcore almost as much as he loves his badly pixelated cover artwork! No frills here once again, just Tumour belting out blast after blast of indecipherable watery cyber grind. almost sounding like your mother drowning in piss after stealing the original LDOH demo and adding a electronic drum track to it (before she drowned in piss). Yes, this is that ridiculous I needed to use something equally ridiculous to describe it. Sprinkle in a few bad movie samples as song intros and presto you’ve got yet another Tumour release. But it’s so deliciously fucking excellent. Why idiots like me religiously buy every new instalment of shit like this i will never know, but there is just something about it that’s so good. Maybe it’s the dirty horrible sound that is so BAD is what makes it so GOOD, does that make any sense? It’s almost like B-music. you have shitty awful crap films with huge cult followings, and this is the musical equivalent. Maybe? Maybe not. For true goregrind fans only.

Venetian Snares – Winnipeg Is A Frozen Shithole EP Vol. 2 (2005)

Venetian Snares – Winnipeg Is A Frozen Shithole EP Vol. 2 (2005)

Initially, I was puzzled to why the WIAFS album was split into 2 parts on vinyl. I could live with it, but it annoyed me nonetheless. When I espied part 2 for cheap on Discogs, I snapped it up. Little did I know until this arrived (go me for researching properly) that these two volumes are just two tracks a piece; one on each side. Man that sucks! I guess it was an easy way to release four singles off the record for DJ consumption, or something. But shit guys, call it something else, will ya! The tracks here are “Winnipeg Die Die Die Fuckers Die” and “Winnipeg as Mandatory Scat Feed”; excellent tracks in their own right but not the half an album that I was expecting. The tracks on this record seem more gabba orientated than anything. Well, when I say gabba orientated I mean that it’s the usual Venetian Snares mindfuck affair with the addition of some phat, distorted 909 kick drums. Bitch please, this is hard work! Nevertheless, I am a sucker for aural punishment and I enjoy this release, short as it is. This seems to be out on the efforts of Bang A Rang (an imprint of Peace Off records), and I’m pleased to say has full artwork printed, unlike the Planet Mu pressings of most Venetian Snares stuff. If you’ve never heard Snares, here is probably a good place to start.

Michael Gira – Songs for a Dog (2006)

Michael Gira – Songs for a Dog (2006)

This post is dedicated to Michael Gira’s dog Nina, who passed away last week. Songs for a Dog is essentially the vinyl version of what would become The Milk of M. Gira on CD. Both act as compilation albums of Gira’s self-released acoustic stuff, which is all out of print, limited edition and worth a fucking fortune. This was originally put together by a British label called Lumberton Trading Company back in 2006. It is a fairly simple affair comprising mainly of a plain cardboard sleeve with minimal art by Gira himself (co-incidentally the same front cover stamp that adorns The Milk…) and a lyrics sheet. All the Gira classics are here, be they solo tracks or borrowed ones from Swans or The Angels of Light. Stand out tracks are the ominous opener “Promise of Water”, the personal homage that is “Rose of Los Angeles” and the self-destructive depress-o-classic “God Damn the Sun”. “Purple Creek” is pretty good too, and closer “Mean Monster Mike” is just plain insane. I’m not entirely sure if this record is still in print (I got it at a stall in Roadburn Festival 2012) but if you are looking to get some of Gira’s acoustic stuff this is the cheapest you’ll find anywhere, ever. The Milk of M. Gira is still in print but unless you can catch him / Swans on tour your never going to get it at a decent price when beret wearing hipster cunts are selling them on Discogs for over sixty quid each. All the other hand-made CDs are valuing at a hundred or more, so this simple 12″ at an average of fifteen pounds is your best bet, I’d wager. I fucking love Gira but I fucking hate hipsters. What an endlessly painful situation, eh?

Alice Cooper – Poison (1989)

Alice Cooper – Poison (1989)

I picked this 3 track promo / single up dirt cheap from Kelly’s Records in Cardiff (it’s a wonder the fucking thing doesn’t skip – you’re lucky to get a playable record from that place, let me tell you!) as I’m a sucker for classic Alice Cooper and as you all know everything sounds better on vinyl. Well, most things. This sneaky 12″ spins at 45 so “Poison” and “Trash” fly by on side A; the classic single and album title track both sounding punchy and almost modern (if it wasn’t for that late 80s / early 90s snare sound!), whilst side B’s live rendition of “The Ballad of Dwight Fry” isn’t even really worth mentioning. Conclusion? Cheap as chips, and not really worth owning if you have the song in any other format, but a good purchase all the while!

Sunn O))) – White Box 2 (2006)

Sunn O))) – White Box 2 (2006)

9TH OCTOBER 2012: It is with an epic feeling of chuft-ness I unveil to you the 100th Lines in Wax blog post! What sorcery is this? I have actually stuck something out passed it’s initial conception stage! I’m rather proud of what Lines in Wax is slowly becoming, if I’m honest, so I’ll take this moment to quickly thank all you readers from around the globe for tuning in and having a gander at my website; if you’re a long time reader or just stumbling here by chance through a search engine, it matters not, for you have helped keep this site going well passed the 4000 hits mark – a humble amount but something I never considered possible. Knowing that someone, somewhere out there is actually reading this shit makes it all worth while. Thanks, and prepare yourself for more shit talking, as today’s post is more metal that a hundred million ball bearings rolling down the world’s tallest fire escape. (2020 edit: I don’t know if anyone is still reading…. haha) White Box was original released as White, a 4 x 12″ set compiling both the White1 and White2 albums. It was packaged in a White box with a hand developed photo stuck to the front, and was limited to either 450 or 500 copies; there is only contrasting information existing regarding this. Then, White was re-released in a limited run of 100 copies with alternate artwork for Sunn O)))’s European tour of 2006. This version is far superior, featuring the original White1 and White2 spread across 4 x 12″ (including a picture disc), whilst also including the Candlewolf Of The Golden Chalice EP (a Peel session) as well a live CD album entitled Live White. Phew! I have number 21/100 (sold as of 2014 – Ed, 2019). White1 in my opinion, is superior to White2. Julian Cope’s contribution to the 25 minute long epic “My Wall” pretty much envelopes the entire release, and when I think of White in any way shape or form, the phrase “meddlesome, meddlesome bells” always comes to mind. I am not sure if his “poetry” is improvised or not, because it strains to remain in structure during certain points. It adds a fresh dimension to Sunn O)))’s sound that has yet to be surpassed, even by Attila’s grandiosely epic throat singing antics. Candlewolf Ov Thee Golden Chalice is a much more necro affair, being a live recording by John Peel (R.I.P.) in the BBC Studios. Unfortunately this recording is missing what the online “Peel Session” bootlegs opens with; John Peel himself hilariously trying to describe Sunn O)))’s sound to his listeners. Imagine tuning into Radio 1 half way through Sunn O))) droning? The uninitiated would more than likely think that was nothing more than some funky sounding radio static. Also, Candlewolf plays exactly the same on both sides of the wax, which is a shame. With the insane artsy fartsyness of this package, a nice etching could easily have replaced side B. All that is left in the bottom of the box is the pathetic-in-comparison CD version of LiveWhite, and a little card which is basically a White Box Owner’s Club card. If you want, you can take it to gigs and flaunt it to other silly beret wearing hipsters. That is, if you can bring yourself to open your mint version of this record in the first place 😉

Jascha Horenstein & The London Philharmonic Orchestra – Mahler’s Symphony No. 4 (1971)

Jascha Horenstein & The London Philharmonic Orchestra – Mahler’s Symphony No. 4 (1971)

I don’t know where my interest in classical music came from, but one has to assume that it has somehow stemmed from the orchestral involvement in some metal music; either that or film soundtracks. I don’t collect or own many film soundtracks, but I guess that we are all subject to a lot of classical music without really noticing that we are listening to it as it plays along to some of our favourite movies, tv shows or even cartoons. Alongside the usual classical canon given to newbies, I was recommended Mahler as he plays “heavier”, more involving classical music than than the usual violins and trumpets shit. I don’t know the correct terms so forgive my common tongue (ha ha), as I am no more than a sheer novice when it comes to the world of classical (and no doubt shall I remain at this stage; the air of elitism and pomposity within this genre is second only to the art scene).  I began with a kindly donated copy of Mahler’s 6th, which is a lot more twisty-turney and full-on than this somehow calmer and more typical-classic 4th symphony. I won’t write much about 6 here because that will have a post all to itself, but 4 is slightly disappointing for me as it lacks the sheer madness of the 6th that i loved so much; what I hear here (ha) is well made classical music, but it fails to challenge me. No doubt it is intricately composed and a nightmare to play (conductor Jascha Horenstein worked himself into the grave conducting Mahler’s work), but it holds none of the excitement for me that 6 did. Nevertheless, I will continue to hunt down Mahler’s symphonies on 12″, as they do sound rather splendid. Yes yes, very good. A glass of port, good sir?

Bucket Full Of Teeth – IV (2005)

Bucket Full Of Teeth – IV (2005)

I always forget how much I love BFOT until I spin this one-sided nightmare. The mix of power electronics and harsh (dare I say it) post-grind really is something to behold. The electronic and noise passages range from the downright horrid and nasty through to floral and sprawling; lush soundscapes of peace acting as intermissions between the balls-to-the-wall full band pieces, which are something to behold all on their own with their genre-bending groovyness. BFOT go from sounding like Magrudergrind to Dillinger Escape Plan to Pelican in one forty second blast of hell, and before you can figure out what the fuck is going on, you’ve got harsh noise melting your face, or rich ambience lulling you into a false sense of security before the next round of perplexing ‘metal’ commences. Holy fuck. One could argue that the formula of nice/noise/nice/noise is tiring, but here it works so well; you really are kept guessing and not one single part sounds the same. I must implore you to listen to BFOT yourselves. I believe they are long split up and the record long sold out, so download that bitch and have a gander. I got this really cheap and you can still get it cheap off record collector sites such as Discogs. The original press by Level Plane was 300 on yellow (why so low?) but that was quickly followed up by 300 on a red/yellow half and half split, and then 500 on green marble. I personally think the green marble looks the best. 

Iron Monkey – Iron Monkey (1996)

Iron Monkey – Iron Monkey (1996)

It has been a long wait, but I bet a whole bunch of people are happy with Earache for finally deciding to press both Iron Monkey records onto wax for the first time ever. They are pressed from digital masters, so I wasn’t expecting the world but they actually sound absolutely fantastic. I’ve always been put off by Earache’s CD comp of all Iron Monkey shit (I’m a record-in-it’s-original-form kinda guy), so when I heard about these vinyl pressings I jumped at the chance to own each record individually. I got mine from HMV for like 3 pence.* Anyway, this is a classic of the sludge sub genre (or at least I feel it is). For me it channels the vibe and sound of Take as…era Eyehategod and makes it more direct and streamlined; more, should I say, to the point. Also those vocals sound like they have a permanent flanger effect but they are a hundred percent natural. Shit blows my mind. I love this album but for some reason I don’t feel I can talk about it in depth. Nevertheless, I am happy to final own a copy of it (coloured too!). Listen loud please. Rest in piece Mr. Morrow. *PS: I take back everything I said about HMV’s excellent vinyl prices! One day in early August nearly all of the records for sale fucking doubled in price for absolutely no reason. Fuck them!

Venetian Snares – Miss Balaton (2008)

Venetian Snares – Miss Balaton (2008)

This 12″ is absolutely massive! Every time I put it on the bass on this Planet Mu pressing literally shakes my house! This is a prime example of electronic music cut onto vinyl; I would gladly use it to put all the analogue-or-die vinyl fans in their place, that is if I was cool enough to know people who could possibly argue over that thing. I was excellently blessed with this for free by someone who was trying to get rid of Snare’s Meathole record on Discogs. They were offering this up as a bonus for the purchase. The title track is wicked awesome but my favourite is side B’s “CCUK” (one of the highlights of Aaron’s set at The Fleece in Bristol recently) which has excellent samples adorning the frantic fuckfest of breakbeats and plaster-loosening bass. Chug down some MDMA and have a little rave in your living room to this bastard!

Goldie Lookin Chain – You Knows It 1983 (2002)

Goldie Lookin Chain – You Knows It 1983 (2002)

This is the Gold Dust Gramaphonics pressing of GLC’s 2002 seemingly untitled EP. You Knows It 1983 is written on the back under the logo, so I’ve just used that as the name for now. All we have here is basically a collection of skits and old tracks, one of which would go on to appear on the 2005 record Safe As Fuck. Side a kicks off with “Roller Disco Remix”, which is just that; a remix of the track “Roller Disco”. That’s all I can say about that really (ha). “Mike Balls Unofficial Soccer Anthem” is a really shit song if I’m a honest. Side b fares a bit better, the “Nan Jam” is cute at best although it does have some amusing references, but “Monkey Love” is fucking hilarious on all accounts. An auto-tuned ode to fucking a primate? Sounds good. “Shit Yourself” reminds me of something that Start! Start! would churn out, and that can only make me smile! In all seriousness though, I wouldn’t recommend this 12″ to anyone, apart from maybe some close friends who find poo jokes hilarious.

Swans – The Seer (2012)

Swans – The Seer (2012)

I’ve been anticipating the review of this monster for a very long time; it has been nagging away at the back of my mind since I heard the album a few months ago. I almost wrote the review on the mp3 files I heard, but I pressured myself into waiting for the actual finished product, and boy am I glad that I did! The Seer is an absolute fucking monster of a record, and is by far the longest record I own at nearly 2 hours in length (I think it even outruns Bitches Brew by Miles Davis, although I could be wrong on that account so don’t quote me on that). Swans have come literally leaps and bounds from My Father… that was released in 2010; literally, unexplained progressiveness in such a short time is quite frankly mind boggling! But, that is what Swans have always done (for better or worse) and will most likely continue to do, should they ever somehow manage to figure out how to top this record for sheer ambition. I got this excellent triple LP package directly from Young God Records on pre-order, and what a fantastic package it is, almost rivaling Boris & Sunn O)))’s Altar collaboration in terms of sheer shininess (although nothing quite beats Southern Lord shininess). The entire thing folds out like a rectangular snake, each partition holding a new record full of experimental, post rock noise madness, or a poster, or a download card, or a live dvd of an entire Swans performance. To top it off, the thing is signed on the back by the man himself, Mr. Michael Gira; the ringmaster in this circus of lunacy. Swans has had it’s fair share of musicians, but it has always been about centering on Gira, and to an extent Westberg and Jarboe, but for once Gira doesn’t shadow over as the “leader” (although he is that, if you get what I’m trying to say); the band is whole; each performer is bringing an equal amount to the table here. Phil Puleo and Thor’s dual percussion attack is the defining backbone to the modern era Swans sound, and Christoph Hahn’s oft-redneck-as-fuck slide guitar is fucking awesome as fucking fuck. I now want a slide guitar. The remaining two guitarists and one bassist flesh out the monumental cacophony almost perfectly, leaving Gira’s baritone to lazily (or crazily) echo over the top of the whole lot of it almost like the icing on a rather large and weird cake. Oh, and Jarboe is back, if only for two songs. It will take you several listens to even comprehend what the actual fuck is going on here; “The Apostate” and “A Piece of the Sky” are both at the twenty minute mark, “The Seer” itself is just over thirty minutes, and “The Seer Returns” lulls on for another six, bringing the title track experience to nearly forty minutes. That’s an hour and twenty for those four tracks alone, and you got a whole bunch of other tracks to comprehend on top of that! My only irk is that with the vinyl version the track list runs in a totally different order, and that all three of the massive tracks are split onto different sides of vinyl. With “The Seer” I can understand why for quality reasons, the title track and it’s afterthought “The Seer Returns” (which is the original version of “The Seer”, for those who’ve not heard the demos on We Rose From Your Bed…) takes up a whole disc in itself. But, I cannot understand why the two twenty minuters are split; they could easily take up a side each and not have to be broken up. I could literally write on about this album for longer than it’s actual duration so I’m going to round this off now. The Seer is a maddeningly ambitious record that will, without doubt, send you through various stages of insanity whilst trying to listen to the whole thing in one go. It is set to more than likely split the Swans fan base in two (again), and if I am totally honest a record of this gargantuan length does have a few dull moments (opener “Lunacy” springs to mind) but the longer, more progressive tracks more than make up for it. Give the tracks below a chance, and if you can stomach it, download / buy and love it forever!

Anal Cunt – Picnic of Love (1998)

Anal Cunt – Picnic of Love (1998)

In my last Anal Cunt post I mention briefly that Limited Appeal Records put out some fantastic records, and this here slab of ridiculousness is a prime example. Regardless what you might think of Anal Cunt’s Picnic of Love record, the pressing itself is a labour of love; the front has whole new artwork from the original, each one is hand numbered (I have 13 out of 311), the art and text on the labels is hand done; and there is a huge printed booklet with hand written lyrics! This is DIY as fuck, if you look passed the fact that the record itself was pressed by a machine (ha ha). I have one of the absurdly rare coloured versions (numbered to 55 copies) that I scored for a small fortune on Ebay. Musically, Picnic of Love is a test of patience; somewhat unusually pleasant but equally or more so grating on the nerves as time goes on. Saying that, I wish I had manned the fuck up at 17 and made the trip to Newcastle when AxCx did a Picnic set at the first ever Blastonbury Festival. I imagine it was very entertaining live! If you don’t know the history of the Picnic record, it’s probably not the best place to start in the extensive AxCx catalogue, if I’m entirely honest. Check out the track below and play it to your lover / girlfriend / wife / object of affection; I guarantee it will get you laid.  

Sikfuk – Gore Delicious (2002)

Sikfuk – Gore Delicious (2002)

(2021 Edit: thanks to Photobucket for fucking my only picture of this release with a whopping sopping wet cunt of a watermark. There are 2 other versions of this release, the artwork on mine is posted at the bottom of this post. Fuck you Photobucket!) Welcome to Lines In Wax’s first CD post! Holy mother, I’ve sold the fuck out. It had to happen eventually; it is a dark world where every single piece of music recorded isn’t available on vinyl. The way this site has grown over the last year and continues to grow, I have no choice but to include CDs here to totally cover my music collection (you won’t believe the number of CDs I’ve left out because they are available on vinyl and I’ve yet to swap formats – it’s absolutely ridiculous!). Anyways, here’s to another dimension and era of Lines In Wax as it enters it’s second year of existence. Peace! What draws me to Sikfuk’s work is the very unique track names, and their interesting approach to the whole death metal and grindcore music scene. Seemingly mocking the vocalists of death metal bands, vocalist and guitarist Captain Shitbeard appears to have adopted guttural grunts and thought-provoking noises in lieu of actual song lyrics. Although the music is equally as technical as it is sloppy, and that it is particularly obvious that Sikfuk have indeed not opted to visit an expensive studio to record their debut album, the sound is still very sick indeed. The guitars chug and shred with ample dexterity and skill. The bass rattles and clanks with an almost elegant air. The drumming is erratic and psychotic and I feel that the percussion is what gives the record it’s pleasing sloppy feel. Nearly every single track is preceded by a seemingly random sample. Although predictable for this particular genre, the chosen clips are relatively short and very entertaining, and act as welcome breaks to the pulverizing death metal sound. My own reservation against this disc is the length of the record. Just as I begin to fully become enraptured in enjoyment of the disc, it comes to a brisk end. It’s not an extremely short record, I just feel the band could have added several extra tracks to this package instead of wasting three excellent songs on the seemingly pointless split release with Captain Shitbeard’s other band, Kretan. The sleeve on my copy of Gore Delicious appears to be a grainy digital image of a lesbian orgy, Photo-shopped to include fake blood dripping from several orifices. There is also an alternative sleeve version, which features two armless nude women sitting at a table at a high-class restaurant. The third available version of the sleeve art is a close up shot of some uninspiring gore. Maybe these versions were out on different labels? My version was pressed by United Gutteral records.  I would recommend this disc to anybody interested in a more humorous and interesting take on the quite frankly tired death metal template. Although, for anybody new to Sikfuk I would like to direct their attention to their 2006 effort, Teabagged At Birth, which has a much more polished and accessible sound, but is still as equally pleasing. Failing that, the latest drum-machine fuelled opus Shitfisted Superman is heavy as fucking fuck.