bidhardcore.com
hardcore records on ebay — aggregated and examined
Stuart Schrader of www.Shit-Fi.com returns with a write up of the alltime classic Jezus and the Gospelfuckers demo tape. Read on!
Jezus and the Gospelfuckers’ cassette, released in 1982, offers everything the discerning punk of today could desire: over-the-top Discharge-influenced lead-driven raging hardcore, song titles like “Kill the Police” and “Live Fast Die Young,” a crucifix-ejaculating skeleton crucified on a penis as a logo, a cassette-only release of course, and, the name, oh, that name!
As is rarely the case today, the music matches the reputation (and vice versa). J&TGF were a rowdy group of nihilistic leather-jacketed misanthropes who drugged, fucked, robbed, and stabbed their way from the ho-hum closing days of the 70s punk scene into the 80s and the by-the-throat musical inferno that exploded after Stoke-on-Trent’s shot heard ‘round the world, “Realities of War.” Yes, J&TGF’s anti-everything stance may not have neatly fit in with the politically engaged Dutch punks of the late 70s, but the music they played circa 1979 was above-average snotty pogo punk. Then, they heard Discharge and their attitude found its sound. But J&TGF were no clones. They used their own rabid energy and formidable musical chops to produce a sound no other band has quite matched. It is metallic insofar as, unlike so much hardcore, it does not eschew lead guitar. In fact, the lead guitar is wild, aggressive, and nonstop. It feels less like an indulgent, boring, predictable rocknroll solo (which is what hardcore meant to decry by avoiding solos altogether) than a Gatling gun stuck on kill. The nine songs on the tape are distinct, memorable, and drenched in adrenaline (or is it amphetamine?).
As cassette-only releases from the 80s go, this one is in the mid-range of rarity. Its sheer brilliance meant that word spread quickly and the band was able to distribute a lot of copies. But it is a cassette, so probably many fewer remain in existence than if it had been a record. The original is easy to spot because it has labels stuck on it. The j-card insert is nothing fancy, with the song titles, that logo, and the member names. For around 20 years, this cassette had the distinction of being considered by the cognoscenti the best hardcore recording never to be released on vinyl. A few years back, it was reissued on vinyl (and CD) as a split with Agent Orange (reissuing their two EPs), perhaps the only band that could be considered to have topped J&TGF at their own game—except it was pretty much the same band with some new members. Agent Orange, of course, recorded a new version of J&TGF’s anthem “Kill the Police,” though I think I prefer the slowed-down barbiturate swagger of the original. Anyway, the split LP includes a booklet with cool photos and perhaps the single greatest piece of writing about hardcore punk ever, the bands’ biography. The LP also includes a couple bonus tracks by Agent Orange and Genocide Express. If the madness of seeking out original cassettes from the 80s has not yet infected your cortex, this reissue should be relatively easy to track down. But this cassette is about as close as you can get to that bygone era, and the music it contains seems to me a pretty good justification for continued fetishization of something most would today find repulsive and frightening if encountered on the backstreets.
(This eBay seller is also auctioning some other essential 80s hardcore records, including Shotgun Solution’s lone EP, which is Southern Europe’s answer to J&TGF/Agent Orange and one of the most over-the-top records ever.) [editor’s note: there are 2 copies of the Shotgun Solution 7″ on ebay right now. wtf?]
Jezus and the Gospelfuckers demo tape
Nothing on earth is more volatile and threatening than a screaming woman. I’m quite sure that this is why, when you get one with a killer voice in a hardcore band, it’s always a homerun. Right up there at the top of the heap for female fronted hc bands (and as we all know it’s a boys club here) is Brain Death from Japan and their classic Personal Affair 7″. Musically it’s all straight ahead thrash which is pretty fitting for Japan at the time (’87). Definitely reminds me a bit of a lot of the britcore bands like Heresy, Ripcord, Intense Degree, etc. but there’s plenty of bands from their native land that mined similar territory (S.O.B., Outo, Systematic Death, and many more). There might even be a little D.R.I. in the mix but I guess that’s sort of implied. The guitars have a nice broken up over driven sound, not too much treble or static-y distortion, but nice and crunchy, and the bass is clean but has a lot of body and thickness. Good crash and bang drums that sound very roomy and lively, propel the music well and sound pretty good for the time period, if a tad low in the mix on some songs.
Vocalist Sachi is really what puts things over the top though. Absolutely frantic and awesome, she spits with the same lightspeed type delivery as the rest of the instruments with very few breaks between parts. I can’t imagine songs like this were easy to sing at such a high speed. I guess it’s somewhat novel to hear a woman sing for a band that’s doing such meat and potatoes thrash and just absolutely destroy all the guttural barking male vocalists who’ve sung to the same style of music. Maybe it’s just the slightly higher pitch and different timbre that make it sound more urgent and powerful, or maybe she’s just really good at yelling. More likely it’s both of these things.
You really shouldn’t have to drop more than $20-30 on one of these and if you like paddle beats and speed with the occasional contrasting Cryptic Slaughter style breakdown or solo, you really can’t go wrong here.
…and now for a quick commercial: I’ve got some items of my own on ebay. Mostly just doubles, or stuff I picked up for trade that just sat around for a while. Have a look and do some bidding: http://search.ebay.com/_W0QQsassZtrem_two
Despite the bad description in the listing - i predict a bidding war here. Allegedly there’s 300 copies of Raped Ass with this cover, though there’s 2 variations of it, so that makes it 2 batches of 150. Given the way things are going on ebay I can’t even predict what this could sell for. The sky is honestly the limit at this point.
As for the music, this is as good as it gets for Swedish hardcore and the “d-beat” sub-genre if you ask me. It’s an obvious choice but it also delivers on every level start to finish. The most harsh shouted vocals, crunchy trebled guitars, drums awash with cymbals (Bonzo style for your rockers), and a good bass tone to hold it all together. Every song is just so well written, with great melodies balancing the brutality, superb choruses, and scrappy little guitar solos to put emphasis on certain sections. Actually I think the guitar solos might be what I love most. They sound really tinny and have a chorus effect applied to them making use of the whole fretboard as opposed to the one-note solo method employed by Discharge. It renders the songs much more righteous sounding, and anthemic, which I think can be really important for this style of punk. If you’re smashing the system you need the songs to be like a speech at a rally that fires up the crowd. They gotta really preach that gospel. Really it’s pretty rare that you can beat out the originator of your chosen style in music, but here’s Anti-Cimex, lapping Discharge and raising the bar for all subsequent entries.
you talk about the freedom
but we have no freedom
you talk about the rights
but we have no rights
this fucking system is liked a raped ass
Good luck bidders…
Judgement is my favorite Japanese hardcore band. They ain’t the most obscure, or the oldest, but for my money, they’ve got everything I’m looking for. Powerful growling vocals, huge choruses with Iron Maiden style melodies, and bulldozing double speed Discharge parts. I mean really this is the formula for hundreds of straight ahead hardcore bands from Japan. It’s an institution there. Judgement just has superior song craft to at least 90% of the competition. It’s not something you can really break down beyond that. It’s like… why is Neil Young better than a thousand and one other folky rockers that came out in the 60’s? Because he just is. He has an intangible something. He always plays the right thing at the right time (okay his mid-era lps notwithstanding). Judgement ALWAYS played the right thing at the right time.
The A-side and title track to this single, Process, has a little clean picked guitar part to prefigure the mid-paced main riff the song is built on. It’s the kind of thing that is worthy of AC/DC status; straight power through and through. So simple, so perfect. As soon as you hear it the blood in your veins starts flowing a little quicker. The searing leads that get cut over it hit all the sweetest notes while still managing to sound spontaneously delivered. It sounds like Adrian Smith shooting from the hip. That’s not an exaggeration. It’s a stone cold fact. The vocals pour out in desperation and ferocity every bit on par with singer Nori’s previous band, CRUCK, and the rhythm section is solid as a slab of granite. With basically only one riff, Process reaches the kind of heights that could rally a sports team or a battle field. It just surges with energy and power. If Hillary used this as a campaign song, she’d have got the nomination by now (just kidding we all know presidential elections are fixed). The flip side of the record, The Situation, is every bit as masterful as its counterpart. It kicks into thrash gear after a few seconds in the tradition of Deathside, Poison Arts, and so on. Guitar leads spin out of control over the chorus while back up vocals thicken up Nori’s already muscular delivery. It’s the ideal hardcore song, meeting and exceeding all of the archetypes that come with that. The tempo changes to mid paced before building up to a massive climax of angry shouts and chanting, and finally falling apart under the weight of it all. It feels over before it even started.
The problem with the Process single is its long out of print, and hard as hell to find, because it was a gig-only release. In other words, you could only purchase it at Judgement shows during the 90’s (they’re sadly defunct now). Only 1,000 or so were produced (although a lot of people think 500) and not that many made it out of Japan for obvious reasons, making this the most desirable release by the band from a collectors standpoint. It also looks really nice with a high gloss pocket sleeve, full color art, and a cool insert with a drawing by Sugi. As a bonus this copy has a sticker of the insert art too (which my copy is unfortunately missing). Seriously, if you’ve ever been curious about Japanese hardcore, and want to know about the best, Judgement couldn’t be a finer place to start. If you’re into bands like Tragedy, this is where a lot of their sound comes from. I’m pretty sure all 4 of their 7″ singles (the other three are: No Reason Why, Haunt In The Dark, and Night Brings) are easily found on mp3 blogs, and they’re all great. They also a have 4 song, cd only EP (Just Be) that while, not quite as essential, is also excellent.
The Netherland’s BGK, were one of the more well known European bands of their day. Staunchly DIY, possibly to a fault (admitting in MRR they’d rather keep prices down and lose money on tour, than raise them to break even), and incredibly idealistic and Utopian in their politcs, they still never managed to come off as obnoxious and douchey as MDC or whoever (at least to me). All that aside though, the reason I like BGK is because I find that they were exceptional song writers, especially for a straight up hardcore band, and I think this is perfectly evidenced on their debut lp Jonestown Aloha.
It’s difficult to be a tuneful and catchy hardcore band without lapsing into overwhelmingly melodic songwriting (as in: Marginal Man, or more kindly, early Husker Du) and thus losing the edge that makes hardcore HARD in the first place, but BGK has a knack for this. Pretty much every song is a hum-able, toe-tapping hit, with the kind of simple and memorable riffs you’d expect from early Minor Threat, The Stains (SST), early Raw Power, etc. Tracks like Police Crimes, Arms Race, Spray Paint, Race Riot, all have instantly hum-able moments, but never tread into territory classifiable as “poppy”. Most of the songs take a pretty basic and fast 4/4 approach to things, but there are a few moodier slow pieces like Soylent Green that still keep the underlying melody, but have a more ominous, melancholy feel. I guess all in all, it’s a clash between the “return to songs” that the original punk bands heralded, and the “noise not music” aesthetic of the initial hardcore explosion. Tuneful noise? For a band where the vocalist only shouts, it’s surprising how many parts of it get lodged into your brain never to leave.
Another day pressed for time… check out more cool looking 80s japanese compilations. why do they always look the best?
Sakevi (see gism post) put together the art for this one and it’s more of his famous collage stuff. A crucial mix of 1st gen. Japanese punk and hc.
Iconic sleeve on this one with the demonic punk rocker. Love the g-zet tracks, one of the first punk bands to really go all out in their motorhead worship which happens to sit particularly well with me. bass heavy and driving.
Systematic death just played nyc, rhode island, and portland over the weekend. I saw them in New York on Friday and they were all power and speed, just drilling through hits from this comp and their records like they hadn’t been broken up for the past 20 years.
G.I.S.M.’s “Detestation” lp is one of those records that is nearly impossible to judge in a vacuum. Its been subject to 25 solid years of mythologizing and collector worship. Its one of the few records that can still get an extreme reaction from people listening to it for the first time so long after it was first conceived. It’s one of the harshest most brutalizing rock records ever made. It’s also one of the strangest. It’s a landmark intersection point for punk, hardcore, and metal, doing its something to muddy up the gene pool of each. “Greater than the sum of its parts” is not even the half of things here. People who know G.I.S.M.’s music already know all about this, and those who don’t can’t really understand what it’s all about until hearing them.A lot of people were unknowingly exposed to G.I.S.M. for the first time via the “P.E.A.C.E.” compilation on R Radical records, where the first song from Detestation, “Endless Blockade For Pussyfooters” was given the prominent position of 2nd song on side A (right after Articles Of Faith’s “Up Against a Wall” no less). This song not only typifies everything about Detestation, but it was given visibility of the unavoidable sort in the lives of thousands of “punks” world wide. The guitars have a saturated “direct line”/”tone-knob-at-zero” sound, somewhere south of AF “United Blood”, but are played with the kind of dexterity you’d expect from Judas Priest’s K.K. Downing circa Stained Class or British Steel. There’s absolutely no concession for punk rock conventions made by guitarist Randy Uchida AT ALL. He plays speed metal riffs, he just happens to be in a raw hard core band. The rhythm session if less remarkable, is exactly what it needs to be, as much as they parallel the Rainy/Tez team of Discharge (who are certainly an influence here), they also are supporting Uchida the way Kerslake and Daisley did on Ozzy’s Blizzard of Oz. They’re the rock solid foundation. It ain’t about every member being in the spotlight, it’s about each one shining in their own way. Sometimes that means playing your bass like Micheal Anthony.Enough of that…It’s all forgotten the first time you hear the vocals, by the respected and feared, Sakevi Yokoyama. There’s dozens of tales of his insanity, of how he can kill with a look, of how he is the most feared man in Japanese punk. The Flannegan and Mcgowan times ten. Well, this is a music blog, and frankly when you hear the man’s vocals, you’ll know he’s crazy. I don’t need to recite tall tales. There’s talking, shouting, screaming, and gurgling. There’s echo, and phasing, and distortion. It’s unlike anything else from the time period, and pretty much still completely on its own as a musical statement. As far as hard core nothing even comes close in terms of unhinged mania. In metal the only thing close might be Bathory, and Quarthon was always much more 1-dimensional. When you put it all together G.I.S.M. is kind of like listening to Iron Maiden during a really bad acid trip with Discharge playing really loud in the next room. I don’t know how anyone thought to combine driving hardcore with NWOBHM and these unholy vocals, I just know it’s good. This is the original legit pressing of Detestation on Dogma label. My man on the street says you can tell by the tip-on jacket and because subsequent bootlegs removed the swastikas found in the art. Please no body get scared, this isn’t music for fascists, just music confronting them.
WARNING: If you are my parents or future (or present) employer; this posting is semi-gross for the first paragraph!
From Enslavement To Obliteration is sort of the gold standard for “shit-grind” (along with the first Carcass album). There’s literally thousands of horrible records modeled off the sound of this good one. It’s not that this is really truly shit grind, but taken out of context it’s really close. What is shit-grind? Unlike “Shit-Fi” which we apply affectionately around here, shit-grind is kind of like shit-punk in that it’s applied pejoratively. Basically if the record sounds kind of like someone recorded an episode of Diarrhea over a backing track of drums, you are probably listening to shit-grind. So much grindcore falls into this trap, and has literally nothing redemptive or interesting about it, mainly because it’s a horribly executed copy of this record, and the aforementioned, “first Carcass lp (that being “The Reek Of Putrefaction”). While it’s true that part of the reason grindcore came to exist was to annoy and gross out squares, there’s also a reason why John Peel didn’t give a fuck about Agathocles, and why he did risk his rather sizable reputation as a DJ and music critic, championing bands like Napalm, Carcass, ENT, Unseen Terror, etc. The reason of course is that this stuff is ground breaking, and considering the way it sounds, actually really catchy.
FETO is Napalm Death, on their honeymoon basically. They’ve been spending, the last 20 years trying to recapture this last bit of actual magic. Those last days of innocence and wonder, before Napalm Death became a life sentence. There’s actually a fair amount of stuff they’ve done since then that I think is good, but none came as naturally as this, and I doubt it ever will again. Their first lp, Scum is really just 2 demos, of almost 2 completely different lineups, comped together, and issued for what was presumed to maybe be “after the fact” in summer of 1987. But while some would argue it was “after the fact” as far as the band’s creative juices would extend, it turned out to be like the initial period of flirtation and infatuation, to my previously used marriage metaphor. The record got picked up by BBC radio, and by the already named John Peel (world famous DJ & record collector), who likened it to free-jazz in terms of intensity and ability to break music apart. He played the song You Suffer, which is something like 1.5 seconds 4 times in a row on the radio during that first encounter, and through persistent plugging, Scum became something of a novelty record in the UK. Though it turned a lot of people on to a new and extreme sound that had been cultivated in “the underground” it was also treated by a lot of people, like a William Hung cd. When FETO actually came out it was released to a flood of press and discussed as being the most extreme record ever, the logical end of “punk”, “hardcore” and “metal”, and all this other shit that I wasn’t really there to see, and few people remember now.
Napalm really didn’t change their attack much from Scum to FETO, but the recording process was refined, and Lee Dorrian’s voice became even more guttural and heavy. A good comparison to use would be “Ramones” to “Leave Home” (stole this from allmusic.com). There’s not really much that’s actually different about them, one is a tad cleaner, a tad more refined, but is basically just a crystalized streamlined version of the original statement. It was released to more initial fanfare, but it can never equal the kind of impact and landmark status of the original. In its’ time though the press ate it up, it was raw and bizarre and interesting after all the Morrisey and Sundays type music that was big in the indie press at that time in the UK. It’s been said that part of the appeal for music journalists of the time (aside from, or in addition to the Peel endorsement) was that Napalm Death were working class kids making a horrible ungodly racket, and it was a welcome change from all the brainy college rock that was commonly lavished with attention by the UK’s music press. Napalm were for the most part the happiest they would be for quite a while. They were cult celebrities, they were top of the heap for Earache records, and they were about to tour the world.
The next time they delivered a record (the Mentally Murdered E.P.) pretty much everything would have changed in the extreme music universe. Married life is never much like that magical honeymoon, and so they began their 20-year slog of being married to the name Napalm Death, and turning out more death metal influenced offerings every year or two, never really going back to the sound of their first 2 lps. Maybe this was something they felt had to be done. Earache was signing more pure Death Metal bands, Carcass was becoming increasingly technical, ex-member Justin Broderick’s new project Godflesh was getting ready to sludge everyone into oblivion, I assume it seemed like the natural thing for the band to do, in order to be taken seriously and stay relevant. I guess it’s a stretch to assume they should have known the only reason they were taken serious was because skill and structure were irrelevant to their music, and that as soon as those things got added they became just another metal band, although really, Utopia Banished has a lot going for it as a Death Metal/Grind hybrid album.
By 1990 the band had shed most of its members for the 3rd (or 4th depending on how you look at it) time, and had a new singer, and new guitarists, essentially becoming an entirely different band. Even with the relative triumphs of the 90’s & 00’s Napalm lineup (and really there are some), they can never escape Scum and FETO. These are the things their entire existence stands on, and these are the songs most people are waiting to hear at any of the half-full Napalm Death gigs you’ll find yourself at now. Well you probably won’t, but I do every year or two… they were really limp in Texas recently. Sorry boys, I still love you anyway.
Here’s a first pressing copy of the album on ebay. Note that it includes the bonus 7″ which was only mailed out with first pressings. It’s kind of funny that they made this because they totally could have fit another 4 songs on the album, and it totally just sounds like 4 more songs from the same album, but I understand basic marketing principles, and this gave an incentive to purchase the album right away. By the way the bonus 7″ looks to be in above average condition as it was just issued with a thin cardstock foldover cover, and is often kind of weathered.
Just a quick one today, found someone selling a very respectable Japanese HC collection with all the big names past and present. What caught my eye was 3 big time genre compilations:
Lots of cool sampler 12″s came out of Japan in the 80’s and 90’s, and I really think all three of these are cool looking on top of that. Have a look –
The doctor is out today, so here’s some quoted text from shit-fi dot com. All credit to Stuart Schrader who wrote this, and clearly knows his stuff. Back tomorrow doggs…
Gai “Extermination” (Blue Jug / Violent Party EP 001)
If Confuse invented the Kyushu noise-core sound, Gai made it a genre. Even more obviously influenced by Chaos UK, Gai set the standard: trebly guitar, tin-pan drum rolls, incomprehensible vocals, and extremely simple songs, plus a sleeve with artwork in the doodling-with-the-free-hand-while-in-a-straight-jacket style invented by Disorder. More so than Confuse, Gai hemmed closely to the UK sound, with barmy streetpunk song structures. As the band evolved into Swankys, the streetpunk influence was itself taken over by a ‘77/fun-punk influence, and the band became an odd amalgam of noise-core guitars and bouncy, silly punk. To be honest, I think Gai’s flexi is the weakest record on this list, but it is important because it defines the genre. Dozens of bands, such as Dust Noise, Screaming Noise, Donkeys, Chaos Ch, ad noisiem, have directly copied Gai and Swankys, although Gai, far more than Confuse, strike me as themselves copyists. Swankys developed their own sound, but Gai’s flexi doesn’t have much of its own character, even down to not having a clear recording, just like Disorder’s “Perdition.” (The -ion endings endemic to Kyushu ’84 were certainly a tribute to that 12″.)
The “Damaging Noise” demo is noisier and perhaps more Discharge-influenced than the flexi, aided by its neanderthal-rolling-around-in-the-cave-gutter vocals and a few killer d-beat raw punk tunes. “Break” mixes Kyushu noise-core with straight Discharge riff rip, whereas “Fallen Angel’s Balls”(I don’t think that means what they think it means) is probably the closest Gai get to the bizarre noisy guitar-work of Confuse (avec le d-beat), and, finally,“Know” is a speedy shot of Stockholm-like mangel. Definitely a prime example of parallel evolution.
The two-sided, black, blank-label flexi has two highlights to my mind: the artwork and “Blood Spit Night (for ever 76).” Looking at the sleeve, one can’t help but wonder if Gai thought Blue Jug was going to lay out for a full eight inches of noise because, obviously, part of the artwork wasn’t within the crop marks. But more likely, that’s how they wanted it. If they could fit all four band members on a scooter, they could fit the word “extermination” on the sleeve. Note the retouching, consisting of Chaos UK and Violent Party tatts. As for the back, well, it’s even more clear something was cut off, but we get the point. On to “Blood Spit Night: uncoincidentally, like Confuse’s song “Spending Loud Night,” this song has a totally different sound from the rest of the band’s oeuvre—well, until they made a career out of it as Swankys. But prior to that, “Blood Spit Night” was one of the only examples of UK snotpunk cross-pollinated with “Driller Killer”-style dental surgery. It’s a slow singalong tune that bears no resemblance to the sound of the Portland band that would take the song’s name as its own. It’s a song that’ll make for a good to pogo to dislodge some of the dirt that accumulated in your ears after rolling around on the ground during the first five tracks on the flexi.
In conclusion, the incestuous relationship between the members of Gai and other Kyushu noise-core bands remains unclear to me, and I’d love to read a well-written translation of a retelling of the history. Based on the somewhat confusing (ugh) liner notes of the Sieg Heil LP on Overthrow, Confuse taught Gai and Sieg Heil, who shared members, how to produce the classic fuzz/noise guitar sound (and showed them how to dress in proper UK LBS&A style). It seems that Gai, led by Swanky on vocals, started as Swankys and then reverted back to that name later. They received their influence from Confuse at the same time both bands, along with Sieg Heil, and presumably others like Gess and No Cut (who both went on to employ melody—The horror! The horror!), were tearing up the live houses of Fukuoka and Hakata. Confuse’s “Indignation” demo, though not the first recording (recorded in April 1984), was the shot across the bow for Japanese noise-core, as a fully realized, cohesive release of 13 songs defining a new style of music. Confuse’s “Nuclear Addicts” flexi and Gai’s flexi were recorded within a few days of each other in August and September 1984. Both flexis were preceded by Gai’s “Damaging Noise” demo, Sieg Heil’s “Nazism” demo, and the “Indignation” demo, all on Violent Party. As far as I can tell, Violent Party used two concomitant numbering schemes for their flexi and cassette releases (“Nazism” and “Nuclear Addicts” are both #2). CD and LP re-releases of both of Gai’s demos have been intermittently available in Japan. There is also a CD called “1981–1985 Violent Party,” said to include otherwise unreleased studio tracks from those years. Finally, there is the internet rumor, originating with Wedge of 9 Shocks Terror, that Gai covered Electric Eels, which, if true, could cause a rethinking of the genesis of the entire noise-core genre, but I need to hear this cover myself first. This sort of minutiae isn’t particularly interesting to most people, I assume, but many blogs and fanzines out there talk a big game when it comes to obsessing over this music, with very little new or useful information (or even writing!) available. I blame filesharing to a degree, because hopelessly obscure music is now much more widely available, but it is decontextualized and stripped of the original packaging, which tends to help situate it, with dates, thanks lists, line-ups, etc.—though shoddy bootlegs and unavailable legitimate reissues are to blame too. Anyway, all that aside, Gai’s flexi is an essential piece of any museum-quality noise-core collection, but listen to those three tracks from “Damaging Noise” first if you’ve never heard these maniacs.