Bauhaus ~ Rafters, Manchester 8/20/80 posted by FRANKKUBB

TRACKS

01 dark entries
02 in the flat field
03 boys
04 telegram sam
05 a god in an alcove
06 terror couple kill colonel
07 dancing
08 stigmata martyr
09 bela lugosi's dead

YOU KNOW WHERE TO GET IT

http://sharebee.com/a9ee69b9

Rudimentary Peni ~ Death Church Demos posted by FRANKKUBB

With hindsight, the most important group to have emerged from the extremist English Punk scene may well be Rudimentary Peni. Led by a genuine obsessive, Nick Blinko, this trio (Blinko, Grant Matthews on bass and John Greville on drums) from Abbots Langley, the small town near London which produced England's only Pope, stand apart from the mass of hardcore groups not so much for the violence and brevity of their songs (which, incidentally, are hard to beat) as for the absolute essentiality of their music, their rhythmic variety and their above-average grasp of melody.

Their first two EPs are an unprecedented, full-frontal attack which few can match; Rudimentary Peni (Outer Himalayan), recorded in 1981, contains twelve tracks, each faster and more deafening than the last. In raw, violent anthems like Media Person, B-Ward and Play, Blinko speeds up Joey Ramone's `Ramalama' and Johnny Rotten's invective, deforming them with his own guttural caprices, somewhere between a werewolf in heat and a native American shaman. The Peni's refusal to waste a single second of music might hint at a certain monotony, but there is actually much more variety than one might imagine, and in songs like Teenage Time Killer and Him Hymn, it is the unusual guitar riffs which drive the harmony. Each track has a precise identity, and throughout the record, a `black' vein of esotericism continues to emerge (in Gardener, the group even attempts a kind of raga-punk).

Bio HERE

http://www.scaruffi.com/vol4/rudipeni.html


Tracks:
01. 1/4 Dead
02. Blissful Myth
03. The Psycho Squat
04. Poppycock
05. Cosmic Hearse w/ The Cloud Song
06. Vampire State Building
07. Blasphemy Squad
08. When You Are a Martian Church
09. Pig In a Blanket
10. Inside
11. Nothing but a Nightmare
12. Flesh Crucifix
13. Slimy Member
14. Love Is Not
15. Radio Schizo
16. Happy Farm
17. Alice Crucifies the Paedophiles
18. Army of Jesus
19. Dutchmen



GET IT HERE

http://www.mediafire.com/?kcw2192bckj

Kersal Massive..Whut?

Just out of sheer curiosity or extreme boredom is more like it, I was trolling around online while the guys here at home were out running errands & I happened to come across this viral video of these two British kids apparently 'free styling' and 'attempting' to rap..mind you, the style and flow was/IS complete shit (shite, in this case)...as you can see (below)








A brief background to this Viral video...these 'lads' had submitted a video of their 'skills' in an attempt to win a BMX bike in a contest as to what I dont know, however their flow is nothing short of complete 'comedic value'....closer to parody would be more accurate ;

I later came to find out last night I was watching one of those Top 50 Viral videos of all time, and THIS video of the Kersal Massive went straight to NUMBER ONE!!?!?!?!?

NUMBER FUCKING ONE???? REALLY......? WTF?

As Im sure you can see from the comments that appear on YouTube that these kids got a TON of shit, and flack for their style...Then I came across this Kersal Massive video that was remixed to a very slick Drum N Bass version...which Im reluctant to say...is really quite good...maybe the man who did this mix felt a certain need for some web redemption and slightly more forgiving that 99% of the people commenting from the original post of this viral video..Whos to say ?

He did do them a hell of a favor and remixed the hell out of this ..check it out ....

The Slits 'In The Beginning' 1997

Notes: Tracks 1-7 recorded live at Dingwalls, London 1977. Track 8 is a homerecording. Tracks 9-14 record live in Cincinatti and San Francisco in 1980. Track 15 from their last concert at hammersmith Palais in 1981.the cd is divided into a Punk Ero In Lo-Fi (Tracks 1-8) and Dub Era in High-Fi (Tracks 9-15)

1 Vindictive

2 A Boring Life

3 Slime

4 Newtown

5 Love & Romance

6 Shoplifting

7 Number One Enemy

8 Number One Enemy (Acoustic) [Vocals - Nina Hagen]

9 In The Beginning

10 Newtown

11 Man Next Door

12 Grapevine

13 Typical Girls

14 Fade Away

15 In The Beginning [Vocals - Neneh Cherry].

DOWNLOAD

http://rapidshare.com/files/136585833/TS-ITB.rar

Ride 'Nowhere' 1990

from NME 1990


Nowhere seems to hold consensus as the second-best record of the shoegaze era, and with very good reason. All of the common words, phrases, and adjectives commonly used with the short-lived subgenre fit properly here, and they're all positive, every one of them. Whir, whoosh, haze, swirl, ad nauseum -- this record holds all of these elements at their most exciting and mastered. But in the end, great pop records necessitate quality songs, which Nowhere delivers throughout. Undeniably, it's Ride's zenith -- dense, tight, hypnotic. "Seagull" serves as a dynamic opener; after a couple seconds of light feedback, bassist Steve Queralt kicks in with a rubbery, elliptical line (reminiscent of a certain Beatles song), which is soon followed by Andy Bell and Mark Gardener's guitar twists and Loz Colbert's alternately gentle and punishing drumming. After the upbeat "Kaleidoscope," the record falls into a tempo lull that initially seems impenetrable and meandering. However, patience reveals a five-song suite of sorts, full of lovely instrumental passages that are punctuated with violent jabs of manic guitars. The endlessly escalating "Polar Bear" is a high point, featuring expertly placed tom rolls from Colbert. The tempo picks up for the closing "Vapour Trail," a wistful pop song with chiming background guitars galore and mournful strings to close it out. The U.S. version was bolstered significantly with the remainder of the Fall EP ("Dreams Burn Down" having reappeared earlier in the record). "Taste" is one of their finest pure pop numbers; the moody/driving "Here and Now" rates well, and the five-minute "Nowhere" is a nasty distorto-freakout."


TRACKS
------

1. Seagull
2. Kaleidoscope
3. In a Different Place
4. Polar Bear
5. Dreams Burn Down
6. Decay
7. Paralysed
8. Vapour Trail
9. Taste
10. Here and Now
11. Nowhere






DOWNLOAD HERE

http://www.mediafire.com/?fjgognrl22z

Huggy Bear 'Rubbing The Impossible To Burst' 1992

The debut 7" from Huggy Bear released by Wiija in 1992. This was mainly sold at shows and the rough trade store. This material wasn't re-released on the 10" of early singles or anything else.

TRACKS
-------
Katholic Kunt
High Street Jupitor Super*Cone
Snail Messenger Lost
Single Bullets




DOWNLOAD HERE
http://rapidshare.com/files/123873489/rubbing_the_impossible.rar

The Horrors "The Horrors" E.P. 2009

Thanks to sexinsecret.blogspot.com for use of their link :D







Tracklist:




1. Death At The Chapel
2. Crawdaddy Simone (The Syndicats cover)
3. Sheena is a Parasite
4. Jack The Ripper (Screaming Lord Sutch cover)
5. Excellent Choice




All tracks written and composed by The Horrors, except noted.


http://rapidshare.com/files/5354195/Horrors.rar
password: bringmetheheads

Stone Roses 'What The World Is Waiting For' 1989

TRACKS

The Stone Roses - What The World Is Waiting For

01. what the world is waiting for
02. fool's gold
03. she bangs the drums (12'' mix)
04. elephant stone (12'' mix)
05. guernica
06. going down

DOWNLOAD HERE

http://rapidshare.com/files/94037803/the_stone_roses_-_what_the_world_is_waiting_for.rar

Klaxons 'Myths Of The Near Future' -2007

TRACKLISTING

1. Two Receivers
2. Atlantis to Interzone
3. Golden Skans
4. Totem on the Timeline
5. As Above, So Below
6. Isle of Her
7. Gravity's Rainbow
8. Forgotten Works
9. Magick
10. It's Not Over Yet
11. Four Horsemen of 2012




DOWNLOAD HERE

http://www.4shared.com/file/64987921/a392e4ca/Klaxons_Myths_Of_The_Near_Futu.html

The Chameleons U.K.'Script Of The Bridge' 1983

TRACKS

1. Don't Fall
2. Here Today
3. Monkeyland
4. Second Skin
5. Up The Down Escalator
6. Less Than Human
7. Pleasure and Pain
8. Thursday's Child
9. As High As You Can Go
10. A Person Isn't Safe Anywhere These Days
11. Paper Tigers
12. View From A Hill






DOWNLOAD LINK

http://www.mediafire.com/?uz3fopsmfni

The Chameleons U.K. 'Strange Times' 1986

Tracklisting:
01. Mad Jack
02. Caution
03. Tears [Original Arrangement]
04. Soul in Isolation
05. Swamp Thing
06. Time/The End of Time
07. Seriocity
08. In Answer
09. Childhood
10. I'll Remember

Bonus tracks:
11. Tears [Full Arrangement] [Single, 1986]
12. Paradiso [Tears b-side]
13. Inside Out [Tears b-side]
14. Ever After [not available on all releases and apparently otherwise unreleased]
15. John, I'm Only Dancing [David Bowie cover] [Swamp Thing b-side]
16. Tomorrow Never Knows [The Beatles cover] [Mad Jack b-side]













DOWNLOAD LINK

http://www.mediafire.com/?mwjljjwjezt

Part Chimp 'Chart Pimp' 2004

Part Chimp have been one of the most consistently interesting and persevering bands on the British underground scene in the last ten years or so. They formed in 2000 as a three piece, and although the lineup has changed slightly, their sound has been a persistently exciting and ALWAYS loud one since then. Mixing indie rock with noise and metallic elements, over three LPs they've shown themselves to be exactly the right antidote to the usual crap accent + winklepicker bleurgh that people here are supposed to like. Their best LP is probably 2005's I Am Come, which received some extreeemely good write-ups at the time of it's release, and deservedly so.

I will be posting more Part Chimp in the VERY near future, keep yer eyes peeled!



DOWNLOAD HERE

http://www.mediafire.com/?wjvaog9oozi

The Housemartins ' London 0 Hull 4 ' 1986 [FOR SCOTT :))) ]

songs

01. Happy Hour
02. Get Up Off Our Knees
03. Flag Day
04. Anxious
05. Reverends Revenge (Instrumental)
06. Sitting On A Fence
07. Sheep
08. Over There
09. Think For A Minute
10. We're Not Deep
11. Lean On Me
12. Freedom
13. I'll Be Your Shelter (Just Like A Shelter)
14. People Get Ready
15. The Mighty Ship
16. He Ain't Heavy, He's My Brother


download link here
--------------

the housemartins - london 0 hull 4.rar



HISTORY

The year is 1985, the place the beautiful north of England and more specifically Kingston Upon Hull. The already year-long miners' strike rumbles on in a country increasing polarised by Mrs Thatcher and her uncompromising take on democratic dictatorship. Jennifer Rush sits on top of the UK chart with 'Power Of Love', her paean to, erm, the power of love… Four plucky lads from East Yorkshire release their debut single 'Flag Day' and the establishment is rocked to its very foundations. Well maybe not (it made a staggering no. 124 in the pop charts), but it was a cracking record…


Early Days
Our story really begins not in Hull as most would assume, but on the Wirral, Merseyside May 9th 1962, the day that Paul Heaton the future singer and leader of first the Housemartins and later the Beautiful South was born. He was a Scouser for only 4 years as the family moved first to Sheffield (where they stayed for 10 years) and then to Chipstead, Surrey when his father promotion required a move South. An early interest in Punk led to Paul forming his first band, Tools Down, in '77 inspired by the Sex Pistols, the Jam and above all, the political stance of the Clash. Whilst at nearby Redhill technical college he met a future 'Martin in one Quentin (soon to become Norman) Cook. Impressed with his blonde quiff and attitude, Paul roped him and two other school friends into what became his second band, the Stomping Pond Frogs, following the demise of Tools Down. They earned a name for themselves after several lively busking sessions which Norman described in a recent interview as 'Dexy's Meets the Monkees'. They were soon getting local gig bookings and press attention, mixing socially aware lyrics with an ear for pop melody. As the various members dispersed at the end of their studies (Norman accepted a place at Brighton Poly to study Politics and English) however, the band folded, leaving Paul at somewhat of a loose end, having chosen not to continue his education.

In 1983, after several years of uninspiring post-college jobs, Paul decided to pursue his musical ambitions full-time. Being a true Northerner at heart, his disenchantment with Surrey and the South convinced him to returns to his roots. Instead of returning to Sheffield, fate had a different location in mind for Heato. Driving back from a holiday in Scotland via the East Coast they stopped off in Hull and despite the depressed air hanging over the city in the early 80's, Paul, his then girlfriend and two other friends from Redhill, set up shop in sunny Humberside.

'Martins Are Go!
With the location for his HQ established, phase two of the Heaton plan for world domination was set in motion when small ads announcing 'Trombonist Seeks Street Musicians' appeared around the city. He had his first reply in the shape of a tall bespectacled student by the name of Stan Cullimore. Born in Cambridge, Stan was studying Maths at the University and played in several bands including the Savannah Band Stompers, a trad jazz combo popular on Hull's burgeoning pub circuit. Something about Stan's eccentric wackiness clicked with Paul's own sharp witted sense of humour and the two soon set about writing the songs that would see them scale the dizzy heights of 4th place in the Hullpop Premiership.

The then two piece band started busking under the name The Housemartins, in and around the city centre, entertaining large crowds in the process. The name had been Paul's idea, inspired by his favourite writer, Peter Tinniswood. Birds are often used in his books as metaphors for the seasons and events. Tinniswood once described himself as 'a serious writer who has a gloomily optimistic view of life', and this seems to echo Paul's approach to songwriting.

After a year of busking and gigging the Housemartins were a fixture on the local scene, gaining exposure and a hardcore, if obsessive fanbase. They cast their net wider, playing several gigs around the country (including one in Brighton where old friend Norman Cook DJ'ed) and by June of 1984 they had a tape of their own self-penned folkpopsoul tunes, including 'Skatburg' which would eventually appear as 'Johannesburg' on the 2nd album. As a result of their left-wing leanings they were asked to play benefits for the National Union of Mineworkers and while they famously did not join Red Wedge (the tour organised by the Labour party's youth division during the '87 election) they were certainly kindred spirits.

Several high profile support slots (including the Smiths and Glaswegian popsters the Bluebells) had garnered favourable reviews, but had left the boys feeling that they needed to flesh out the 'Martins sound. The second chapter of the Housemartins story was about to unfold.

Flag Days
The first new recruit to the cause was Ted Key on bass, who signed on a temporary basis from Hull combo the Gargoyles. He was swiftly joined by fellow bandmate Hugh Whittaker on drums. After a few local gigs, the group got its first big break when they appeared on the Old Grey Whistle Test television programme. Around the same time they were also included on an obscure compilation, called Laughing All The Way To The Bank. Their contribution 'Flag Day', had aroused the interest of one John Peel, legendary DJ and tastemaker. He invited them on to his programme for their first session broadcast on 29th July 1985. They played 'Flag Day', the Smiths-esque 'Drop Down Dead' and a signature a-cappella version of Paul's gospel favourite 'Joy, Joy, Joy'.

This session along with glowing reports from fellow politpopper Billy Bragg (who had played on the same bill as the Martins on numerous occasions) resulted in independent Go Discs! (Bragg's label) signing the band for an undisclosed fee. Go! chose 'Flag Day' as the first single, no doubt influenced by John Peel's fondness for the track. Released on October 22, 1985, this angry tirade against do-gooders and the like made number 124 in the pop charts. Not a bad start considering the prevailing musical climate (that same week Jennifer Rush was at No.1 with her soft rock 'classic' 'Power Of Love'). However, the first major setback came soon after, when Ted Key announced that he wished to leave the band following a falling-out with Paul and Stan. This was not the crisis it could have been as the Housemartins were fortunate to have a ready-made replacement in Norman Cook, Paul's friend from his Redhill college days.

In February 1986, the band embarked on their first major national tour. Despite their newly signed status, this was not a lavish affair. Their finances were being stretched by the need for a quality PA and thus the 'Adopt A Housemartin' scheme was born. Little more than an excuse for the lads to get laid every night, it involved fans putting up band members on their floor, but usually ended up as a slightly more 'intimate' arrangement.

These small scale gigs did however, establish the Housemartins as a live act. The a cappella and gospel-influenced section of their set became more important whilst the fun element of earlier appearances was retained. The drum kit would often be dismantled and the individual pieces played as percussive instruments - the Housemartins live experience had become quite an event. This showmanship went hand in hand with constant self promotion. An office called The House Of Strangeness was opened, dealing with all merchandising and marketing. In this office their most famous catchphrase was born. 'The Fourth Best Band In Hull' made self deprecation into art form with T-Shirts and badges with mottos like 'The Housemartins Are Quite Good' and 'If Liking Them Is Wrong I Don't Want To Be Right'. All this brought to mind the sloganeering of one of Paul and Norman's favourite bands, the Clash, though always tempered by the boys self-effacing wit.

At the end of the tour the second single was released. 'Sheep' made number 54 in March 1986. Progress indeed, though Go Discs! had expected a top 40 placing after some heavy promotional activity including an appearance on seminal Saturday Morning Kids TV Show Wacaday.

Nevertheless, hopes were high for the 3rd single 'Happy Hour', released in June. Aided and abetted by a fantastic video with some memorable dancing from the boys, this classic pop moment sailed into the top 10, only Madonna and Wham! halting its rise to the summit. A No.3 hit single, Top Of The Pops, and 250 000 copies sold were just reward for one of the best singles of the decade but the band were never going to sit back and enjoy the success. Instead they took the opportunity to have a go at one of England's sacred cows: the royalty. In doing so they managed to alienate the tabloid press and in particular The Sun who saw them as dangerous subversives(!).

The debut album came out later in the summer to (mostly) glowing reviews. London 0 Hull 4 was the perfect summation of all their influences. From the punky polemics of 'Freedom' to the blue-eyed gospel-soul of 'Lean On Me' by way of the catchy pop of 'Sheep' and 'Happy Hour', the LP was everything the public expected and more. They responded accordingly as the album reached number 3 in the charts thwarted only by Madonna's True Blue and the sales rep's favourites Genesis' Invisible Touch. Significantly it registered stateside climbing to no.124 in the Billboard charts without them having even set foot on US soil. The album sold 500 000 copies in the UK with the total worldwide a very healthy one million.

Later in the year a re-recorded and radically reworked version of 'Think For a Minute' from London 0 Hull 4 was released. Featuring trumpet from Britjazz newcomer Guy Barker (who would also appear on The People Who Grinned… album), the track benefited from his subtle playing style and the band scored their second top 20 hit as it peaked at a respectable no. 18 in the pop charts. One of the Housemartins most overlooked and under-appreciated singles, Think For a Minute is one of Paul's best lyrical efforts. A dignified lament to the days before Thatcher's divided Britain. 'Apathy Is Happy That It Won Without A Fight'…

The year ended in spectacular fashion when Go Discs! issued their most successful single 'Caravan Of Love', in December. A cover of the Isley Jasper Isley song, the Martins tackled the soulful track in their own inimitable a cappella style in a shameless attempt to capture the coveted Christmas top spot. It was their first and only number one reaching the pinnacle for one week, deposed by the re-release of Jackie Wilson's 'Reet Petite'. In 1986, the Housemartins had reached the toppermost of the poppermost. How much longer could they stay there?

At the start of the 1987, just as the Housemartins were at their peak of popularity, they were unexpectedly nominated for, and duly won, the award for 'Best British Newcomer' at the annual Brit Awards. Thoroughly disenchanted with the whole backslapping nature of these ceremonies, the band sent a couple of minions to accept the gong (subsequently touched upon in the Beautiful South's vitriolic 'I've Come For My Award'). They were quoted in the press as having dismissed the other acts as 'a bunch of wankers' and were portrayed in the papers as arrogant troublemakers. This brush with controversy coupled with a previous campaign against the band in The Sun had a profound affect on drummer Hugh Whittaker. He had become disillusioned with celebrity and how it had dampened the 'Martins political fires. So, in the spring of '87, Hugh left the group.

The search for a new band member was undertook for the second time in less than two years. Paul again kept things 'local' and recruited fresh faced Dave Hemmingway (an old school friend of Hugh's) then drumming for Hull band The Velvetones.

With the vacancy at the drumstool filled, the boys decamped to that hotbed of rock'n'roll, Stockport, Lancashire, to record their second long player. Creative differences began to arise for the first time. Stan wanted the album to be more guitar-driven. Norman had been experimenting with loops and sequencers and wanted a more contemporary feel. Using digital technology for the first time, Paul had become obsessed with his vocals, editing individual syllables from different takes together.

Despite the inner tensions in the group (or perhaps because of), The People Who Grinned Themselves To Death is something of a triumph. Although it lacks the raw energy of the first LP, it is a polished set, full of catchy tunes delivered with Paul's by now trademark lyrical rants. Touching upon familiar themes such as the class war ('Me & The Farmer, 'We're Not Going Back') while breaking new ground with 'Build' and its subtle diatribe on the ill conceived regeneration of Britain's urban wasteland of the 1960's, the album's lyrical content is thought provoking and relevant even today.

'Five Get Over Excited' was released as the album's taster in May when it reached a slightly unsettling no.11 in the singles charts. It was followed in September by 'Me & The Farmer' which in spite of a fantastic video and another round of promotional chores, (including a memorable return to the hallowed Wacaday studios) limped to number 15 in the hit parade.

A month later the album was unleashed onto a rather indifferent public. Like the preceding singles its chart performance was disappointing, entering and then rapidly departing the album top 10. Many of their fans had felt alienated from the band as their wacky, Monkees-esque antics had been consciously toned down. Amazingly some of their teenage fans had missed the political point completely. Always was not well in the House Of Strangeness…

This downturn in commercial fortunes coincided with Paul adopting an increasingly dictatorial attitude. While he had always been the 'leader' of the group, he seemed to be ignoring Norman and Stan's views. Paul had, as he himself subsequently admitted, become a megalomaniac. Things came to a head during the shooting of the video for 'Build'. Norman told Paul in no uncertain terms that his need for control had become too much. It had all gone too far. With Paul, Stan and Norman pulling in their different directions something had to give. It was at that moment they decided to call it a day, writing 'Housemartins R.I.P.' on a nearby wall.

In typically dramatic fashion, Paul announced their decision to a shocked music world in an open letter to the NME which read thus:

'In an age of Rick Astley, Shakin' Stevens and the Pet Shop Boys quite simply they (the Housemartins) weren't good enough'.

As final farewells go this was up there with the best, in its understated way. However, Paul had done this entirely off his own bat. The split certainly came as news to Go! Discs and panic soon set in. A compromise was eventually eked out as both parties agreed to one last hurrah in the shape of a compilation entitled (in typical Housemartins style) Now That's What I Call Quite Good.

A collection of singles, B-sides, rarities and choice album cuts, the double LP was the perfect snapshot of 3 mad years. It also threw up a few interesting curios such as an excellent BBC session version of 'Freedom' (from London 0 Hull 4) and an a cappella version of the Hollies 'He Ain't Heavy' recorded (2 years before their reissue) for Gary Crowley's Capital radio show.

A new single 'There Is Always Something There To Remind Me' was released to promote the album. Taken from their final John Peel session in November 1987, this very personal song about Paul's schooldays (not the Bacharach/David hit from the 60's!) was a fitting closing chapter to the Housemartins story. Unfortunately, the buying public didn't agree and it only managed a meagre no.35 in the charts.

And that was indeed that. The Housemartins had bowed out while still at the peak of their powers. They would never embarrass themselves or their fans and, hopefully, would be remembered as the great pop band they undoubtedly were. No one before or since has managed to marry politics and pop in such a no nonsense package. Their lasting legacy, in most people's minds, will probably consist of one fantastically catchy single ('Happy Hour'), one angry bunch of songs (London 0 Hull 4) and two very famous ex-members. But their place in the British pop pantheon is assured along with that of a certain East Yorkshire town.

Adorable " Against Perfection" 1993?

download link here

http://www.mediafire.com/?jmmzal0zmyt

The Chameleons U.K. 'What Does Anything Mean? Basically (1985)

download link here

http://www.mediafire.com/?my3amwjmvju

Daisy Chainsaw "Eleventeen" 1994

Track List:
1. I Feel Insane
2. You Be My Friend
3. Dog With Sharper Teeth
4. Hope Your Dreams Come True
5. Natural Man
6. Love Your Money
7. Lovely Ugly Brutal World
8. Use Me Use You
9. Future Free
10. Pink Flower
11. Waiting for the Wolves
12. Everything Is Weird






DOWNLOAD LINK HERE.....................


DACH - ELEV.rar

The Whip "X Marks Destination" 2009

tracks.........


01 Trash
02 Frustration
03 Fire
04 Save My Soul
05 Sirens
06 Divebomb
07 Blackout
08 Muzzle #1
09 Sister Siam
10 Dubsex

The hedonistic train-wreck of a scene that was Madchester may have fizzled out since the Happy Mondays’ graceless implosion in the mid 90s and sure, many artists have picked up the pieces they left scattered about the place, taking dance beats and layering them with guitars, thereby creating a cross-over genre accessible to two previously unacquainted audiences. If that’s the case, why has the phrase 'nu-rave' only recently been coined? U.N.K.L.E and Primal Scream have been doing it for years. Just what, you cry, are Manchester’s hardest gigging band The Whip doing differently?

The most noticeable thing about first track and single ‘Trash’ is that there’s really not much to it, just a simple beat, one guitar riff and two lyrics, yet it is put together so precisely, building up to the sleazy, powerful chorus: “I wanna be trash!” that it’s pretty impossible not to dance to. Many of the songs are based around a dirty electronic sound over drum beats so simplistic that you can actually sit back and appreciate the subtle tweaks in the songs.

Any seasoned ravers will be familiar with ‘Divebomb’, a big summer clubbing anthem, which follows much the same formula, except with busy laser-gun effects. Notable exceptions to the futuristic electro blueprint stamped across the album are the sweeping, dreamy tones of ‘Frustration’ and new single ‘Sister Siam’ which are both glaring examples of the band’s invention and versatility. Final track ‘Dubsex’ is a beautifully crafted pop song, and, as with ‘Frustration’, betrays a fragile and sensitive side to this band.

It is this contrast between the more melodic dance-pop tracks on the album and the positively filthy bass lines of the remainder that makes this album shine. ‘Trash’ and ‘Fire’ ooze with a rhythmic swagger and are made of nothing more than pure, nasty, undiluted sex. Then, just as you’re getting your breath back and lighting a cigarette, the warm grooves of ‘Frustration’ and ‘Sirens’ wash over you and tip a proverbial ice bucket over your head.

So if you’re down with the nu-rave thing (and looking for more bands to assemble a new genre in your record collection), like trendy indie-pop or are partial to a bit of sexy electro, ‘X Marks Destination’ is already an essential album and a remarkable achievement for this band, even if they did find themselves in the right place at the right time.

- Pete Charles




DOWNLOAD LINK.....

http://www.mediafire.com/download.php?tyommigmlqo

Im So Hollow "Emotion Sound Emotion" 1981

tracks

Entrance,
Which Way..?
Unbroken Line,
Touch,
Collisions,

Excitement = Change,
The Triangular Hour,
Emotion / Sound / Motion,
Nosferatu,
Distraction,




DOWNLOAD LINK RIGHT HERRRRR...

http://www.megaupload.com/?d=SOXLHP3P