Putrefier - Cog Dominance

Early outing by Bristol-based Mark Durgan's Putrefier project is very much at home on the seminal UK industrial label Broken Flag. Swirling, mesmerising and low end-heavy (perhaps the recording), the heavy use of reverb closing out the A side is particularly interesting.

A1. Untitled
A2. Untitled
A3. Untitled
B1. Untitled
B2. Untitled

mp3, 320kbps

Johann Sebastian Bach - St. John Passion

"The arias of the St John Passion draw on operatic convention in order to convey the emotions being felt by individuals  at various points in the story. Often the instrumental accompaniment and thematic material have symbolic or pictorial significance. Sometimes the motifs are overtly pictorial, as in "Eilt, ihr angefochtnen Seelen" (CD 2, track 28), where the rushing upward scales illustrate the text's exhortation that we "hasten ... to Golgotha" ("elk nach Golgatha"). In other arias, by contrast, it is hard to describe the effect of Bach's music in words. In "Erwage, wie sein blutgefarbter Rucken" (CD 2, track 12), some listeners might interpret the dactylic (long—short—short) motifs as suggesting the rhythms of scourging, or as merely illustrating the text's exhortation that we contemplate Jesus's bloodstained back.

"[...] At the moment of Jesus's crucifixion comes one of the most poignant arias in the Passion. "Es ist vollbracht!" (CD 2, track 38) sets one of Jesus's Seven Last Words on the Cross:It is finished!" Bach's aria isolates the two contrasting meanings inherent in this utterance. The aria starts molt'adagio with a lamenting obbligato played by a viola da gamba in the key of B minor; this suggests the despair and resignation in the words "It is finished!" By contrast, the middle section of the aria interprets these words triumphantly, as indicating that Christ's work on earth is gloriously completed. Here the key turns to D major, and the voice and strings imitate the fanfares of trumpets on the words"Der Held aus Juda siegt mit Macht" ("The hero of Judah is victorious in power"). With this aria, Bach reflects a central feature of John's Gospel, which portrays Christ as glorious and victorious, even in death." (Stephen Rose. From the liner notes.)

Performers: Academy Of Ancient Music, Choir Of The AAM, Richard Egarr

1.1. Teil I: 'Herr, Unser Herrscher'
1.2. Teil I: 'Jesus Ging Mit Seinen Jüngern'
1.3. Teil I: 'Jesum Von Nazareth!'
1.4. Teil I: 'Jesus Spricht Zu Ihnen'
1.5. Teil I: 'Jesum Von Nazareth!'
1.6. Teil I: 'Jesus Antwortete'
1.7. Teil I: 'O Große Lieb'
1.8. Teil I: 'Auf Daß, Das Wort Erfüllet Würde'
1.9. Teil I: 'Dein Will Gescheh, Herr Gott, Zugleich'
1.10. Teil I: 'Die Schar Aber Und Der Oberhauptmann'
1.11. Teil I: 'Von Den Stricken Meiner Sünden'
1.12. Teil I: 'Simon Petrus Aber Folgete Jesu Nach'
1.13. Teil I: 'Ich Folge Dir Gleichfalls'
1.14. Teil I: 'Derselbige Jünger'
1.15. Teil I: 'Wer Hat Dich So Geschlagen'
1.16. Teil I: 'Und Hannas Sandte Ihn Gebunden'
1.17. Teil I: 'Bist Du Nicht Seiner Jünger Einer?'
1.18. Teil I: 'Er Leugnete Aber Und Sprach'
1.19. Teil I: 'Ach, Mein Sinn'
1.20. Teil I: 'Petrus, Der Nicht Denkt Zurück'

2.1. Teil II: 'Christus, Der Uns Selig Macht'
2.2. Teil II: 'Da Führeten Sie Jesum'
2.3. Teil II: 'Wäre Dieser Nicht Ein Übeltäter'
2.4. Teil II: 'Da Sprach Pilatus Zu Ihnen'
2.5. Teil II: 'Wir Dürfen Niemand Töten'
2.6. Teil II: 'Auf Daß Erfüllet Würde Das Wort'
2.7. Teil II: 'Ach Großer König'
2.8. Teil II: 'Da Sprach Pilatus Zu Ihm'
2.9. Teil II: 'Nicht Diesen, Sondern Barrabam!'
2.10. Teil II: 'Barrabas Aber War Ein Mörder'
2.11. Teil II: 'Betrachte, Meine Seel'
2.12. Teil II: 'Erwäge, Wie Sein Blutgefärbter Rücken'
2.13. Teil II: 'Und Die Kriegsknechte Flochten Eine Krone'
2.14. Teil II: 'Sei Gegrüßet, Lieber Jüdenkönig!'
2.15. Teil II: 'Und Gaben Ihm Backenstreiche'
2.16. Teil II: 'Kreuzige, Kreuzige!'
2.17. Teil II: 'Pilatus Sprach Zu Ihnen'
2.18. Teil II: 'Wir Haben Ein Gesetz'
2.19. Teil II: 'Da Pilatus Das Wort Hörete'
2.20. Teil II: 'Durch Dein Gefängnis, Gottes Sohn'
2.21. Teil II: 'Die Jüden Aber Schrieen Und Sprachen'
2.22. Teil II: 'Lässest Du Diesen Los'
2.23. Teil II: 'Da Pilatus Das Wort Hörete'
2.24. Teil II: 'Weg, Weg Mit Dem, Kreuzige Ihn!'
2.25. Teil II: 'Spricht Pilatus Zu Ihnen'
2.26. Teil II: 'Wir Haben Keinen König'
2.27. Teil II: 'Da Überantwortete Er Ihn'
2.28. Teil II: 'Eilt, Ihr Angefochtnen Seelen'
2.29. Teil II: 'Allda Kreuzigten Sie Ihn'
2.30. Teil II: 'Schreibe Nicht “Der Jüden König”'
2.31.  Teil II: 'Pilatus Antwortet'
2.32. Teil II: 'In Meines Herzens Grunde'
2.33. Teil II: 'Die Kriegsknechte Aber'
2.34. Teil II: 'Lasset Uns Den Nicht Zerteilen'
2.35. Teil II: 'Auf Daß Erfüllet Würde Die Schrift'
2.36. Teil II: 'Er Nahm Alles Wohl In Acht'
2.37. Teil II: 'Und Von Stund An Nahm Sie Der Jünger'
2.38. Teil II: 'Es Ist Vollbracht!'
2.39. Teil II: 'Und Neiget Das Haupt'
2.40. Teil II: 'Mein Teurer Heiland, Laß Dich Fragen'
2.41. Teil II: 'Und Der Vorhang Im Tempel Zerriß'
2.42. Teil II: 'Mein Herz, Indem Die Ganze Welt'
2.43. Teil II: 'Zerfließe, Mein Herze'
2.44. Teil II: 'Die Jüden Aber, Dieweil Es Der Rüsttag War'
2.45. Teil II: 'O Hilf, Christe, Gottes Sohn'
2.46. Teil II: 'Darnach Bat Pilatum'
2.47. Teil II: 'Ruht Wohl, Ihr Heiligen Gebeine'
2.48. Teil II: 'Ach Herr, Laß Dein Lieb Engelein'

mp3, 320kbps

Pain Jerk - Spitfire

Released in Japan on Kōhei Gomi's own AMP label in 1996 and on Harbinger Sound in the UK (as an LP with different artwork) a year later, this is a fine example of dense, diverse Japanoise. The use of repetition, clean sounds as well as distortion, delay and high pitch makes this an intense, focused listen.

A1. Low-Flying Noisecraft
A2. See-Saw Bones
B1. Untouchable Stratus
B2. Expulsion

mp3, 256kbps

Լուսինե Զաքարյան - Armenian Medieval Spiritual Music

"'Amenain Hayots Sokhag' or 'All Armenian Nightingale' Lusine Zakaryan, was born Svetlana Zakaryan, on June 1, 1937 in Akhaltsikhe, Georgian SSR." Sparsely accompanied here by organ and strings, Zakaryan soars through these traditional hymns. The effect is at once deeply familiar yet quite unlike any immediate musical parallel. 

1. Sourb-Sourb
2. Haroutian Meghedi
3. Aravot Louso
4. Ur Es Mair Im
5. Bats Mes Ter
6. Havoun Havoun
7. Khorhourd Khorin
8. Tiramayr
9. Horzham

flac, 16-bit

Alfred Schnittke - Choir Concerto; Minnesang

"The two pieces on this disc reflect the new, gentler spirit in Schnittke's music. His 'Minnesang', written in 1981, is based on twenty songs from the repertoire of the 'Minnesinger', a guild of itinerant singer-poets that flourished in thirteenth-century Germany. The texts paint a vivid picture of medieval life, and Schnittke's music pays homage to them by returning to medieval practices, particularly in its use of 'canon'. This is a musical device which creates the effect of one voice chasing another (as in 'Frere Jacques'). Despite its busy surface activity, the music achieves an effect of massive simplicity and grandeur by restricting itself to a handful of very basic chords. The piece rises in a series of waves from a single, unadorned note at the beginning to a stupendous climax, after which it returns to stillness. 

"The Choir Concerto, written in 1984-85, is in startling contrast. Whereas the 'Minnesang' decorated a few simple harmonies with a fantastic filigree of vocal lines, like the decoration on a Gothic cathedral, the Concerto summons up the Russian orthodox music of the late nineteenth century. It is based on a devotional text called the 'Book of Lamentations' by the tenth-century Armenian poet Gregory of Narek. The piece recalls Mussorgsky and Stravinsky both in its melodies, which circle obsessively round a few pitches, and in the way those melodies are often heard against a stubbornly static background. These hypnotic passages alternate with great choral outbursts, whose sudden harmonic shifts and intense subjectivism recall another type of Russian church music; that of Tchaikovsky and Rachmaninov." (Ivan Hewett. From the liner notes.)

Performers: DR KoncertKoret, Stefan Parkman

1. Minnesang
2. Choir Concerto: I. 'O Pavelitel’ Sushcheva Fsevo'
3. Choir Concerto: II. 'Sabran’ Je Pesen Sikh, Gde Kazhdyi Stikh'
4. Choir Concerto: III. 'Fsem Tem, Kto Vniknet Fsushchnast'
5. Choir Concerto: IV. 'Sej Trud, Shto Nachinal Ja Supavan’ Jem'

mp3, 320kbps

Charles Koechlin - Le Cortege d'Amphitrite

"Koechlin was a late developer as a composer and needed the inspiration of poets early on in his career. Until he felt ready to enter the 'perilous domain of chamber music' around 1911, his first period was dominated by songs and choral music, and his harmonic evolution can be traced through this medium from relatively ordinary beginnings around 1890 to the polytonality of the 1905-9 songs (Opp 28, 31 and 35) that impressed and influenced Milhaud.

"[...] In 'Le Printemps', with its light evocative trills, Koechlin maintained that it was 'a Parisian girl who was singing and it was her feelings that I sought to express', whereas Miss Ellen in Le Thé (with her elaborately decorated Chinese teacup) was a young French girl Koechlin saw on holiday in Switzerland." (Robert Orledge. From the liner notes.)

Performers: Claudette Leblanc, Boaz Sharon

1. Si Tu Le Veux, Op. 5 No. 5
2. 7 Chansons Pour Gladys, Op. 151: I. M'a Dit Amour
3. 7 Chansons Pour Gladys, Op. 151: II. Tu Croyais Le Tenir
4. 7 Chansons Pour Gladys, Op. 151: III. Prise Au Piège
5. 7 Chansons Pour Gladys, Op. 151: IV. La Naïade
6. 7 Chansons Pour Gladys, Op. 151: V. Le Cyclone
7. 7 Chansons Pour Gladys, Op. 151: VI. La Colombe
8. 7 Chansons Pour Gladys, Op. 151: VII. Fatum
9. Le Cortège d'Amphitrite, Op. 31 No. 2
10. Amphise & Melitta, Op. 31 No. 6
11. Déclin D'amour, Op. 13 No. 1
12. Aux Temps Des Fées, Op. 7 No. 4
13. Le Repas Préparé, Op. 31 No. 5
14. La Chanson Des Ingénues, Op. 22 No. 1
15. Améthyste, Op. 35 No. 2
16. Hymne À Vénus, Op. 68 No. 1
17. L'Hiver, Op. 8 No. 2
18. La Nuit, Op. 1 No. 2
19. L'Été, Op. 1 No. 5
20. L'Air, Op. 8 No. 5
21. La Lune, Op. 8 No. 4
22. Le Printemps, Op. 1 No. 4
23. Le Thé, Op. 1 No. 3

mp3, 320kbps

Bacillus - Pandeplasmodium

Pandemic themed harsh noise from the USA. In lieu of a more topical release from this still active project (two releases last year), this will be more than sufficient to churn the guts of those willing to wade in to the mire of global paranoia directly, and take pleasure in it.

A1. Global Eruption
A2. Conjunctive Genetic Exchange Of Resistance Factors
A3. Clostridial Myonecrosis
A4. Rapid Course Of Infection
A5. Increase Population, Increase Transmission Rate
B1. Rising Cause Of Death
B2. Breach Of Containment Facility
B3. Spontaneous Liquefaction
B4. Severe System Toxicity
B5. Uncontained Spread Of Fatal Microbes
B6. Outbreak Recurrence

mp3, 224kbps

Georg Philipp Telemann - 12 Fantasias

"Georg Philipp Telemann's Twelve Fantasias for Solo Flute TWV 40:2-13 are a rich source of information on the different stylistic forms, emotions and rhetoric conventions employed in Baroque music. They offer the performer the opportunity to play the operatic, orchestral and chamber-music repertoire of the time on a solo melody instrument. These theatrical miniatures form part of the canon of the Late Baroque repertoire for a melody instrument without continuo, similar to Bach's Solo pour la flute traversiere, BWV 1013, which was written at about the same time, or the same composer's partitas and sonatas for solo violin and his solo cello suites. Playing solo demands that the performer take on several different functions at the same time: that of the treble, of a continuo player, or two melody parts simultaneously, as in a trio sonata. There is no other instrument here to cover up sound and articulation, rhythm or emotion. Thus these pieces challenge the virtuoso to engage as finely and clearly as possible in a dialogue with himself, in the rhetorical sense of the word.

"[...] And indeed, Telemann does depict emotions like love, tenderness, flattery and sadness, as well as rashness, fury and despair, in the first of his 12 fantasias. It is as if he wanted to compose a kind of musical heading with the message: Look here, this is how life is! And when a kind of birdsong closes the collection, it does so on an Arcardian note. It's as if we can heard the nightingale singing at Orpheus's tomb." (Dorothee Oberlinger. From the liner notes.)

Performer: Dorothee Oberlinger

1. Fantasia No. 1 In A Major: I. Vivace
2. Fantasia No. 1 In A Major: II. Allegro
3. Fantasia No. 2 In A Minor: I. Grave
4. Fantasia No. 2 In A Minor: II. Vivace
5. Fantasia No. 2 In A Minor: III. Adagio
6. Fantasia No. 2 In A Minor: IV. Allegro
7. Fantasia No. 3 In D Minor: I. Largo. Vivace. Largo. Vivace
8. Fantasia No. 3 In D Minor: II. Allegro
9. Fantasia No. 4 In E-Flat Major: I. Andante
10. Fantasia No. 4 In E-Flat Major: II. Allegro
11. Fantasia No. 4 In E-Flat Major: III. Presto
12. Fantasia No. 5 In C Major: I. Presto. Largo. Presto. Dolce
13. Fantasia No. 5 In C Major: II. Allegro
14. Fantasia No. 5 In C Major: III. Allegro
15. Fantasia No. 6 In D Minor: I. Dolce
16. Fantasia No. 6 In D Minor: II. Allegro
17. Fantasia No. 6 In D Minor: III. Spirituoso
18. Fantasia No. 7 In F Major: I. Alla Francese
19. Fantasia No. 7 In F Major: II. Presto
20. Fantasia No. 8 In E Minor: I. Largo
21. Fantasia No. 8 In E Minor: II. Spirituoso
22. Fantasia No. 8 In E Minor: III. Allegro
23. Fantasia No. 9 In E Major: I. Affetuoso
24. Fantasia No. 9 In E Major: II. Allegro
25. Fantasia No. 9 In E Major: III. Grave
26. Fantasia No. 9 In E Major: IV. Vivace
27. Fantasia No. 10 In F-Sharp Minor: I. A Tempo Giusto
28. Fantasia No. 10 In F-Sharp Minor: II. Presto
29. Fantasia No. 10 In F-Sharp Minor: III. Moderato
30. Fantasia No. 11 In C Major: I. Allegro
31. Fantasia No. 11 In C Major: II. Adagio
32. Fantasia No. 11 In C Major: III. Vivace
33. Fantasia No. 11 In C Major: IV. Allegro

mp3, 320kbps

MNEM - For Delta Relics

Finnish death industrial project lets us sink into a moribund world of rumbling urban dread. Low drones give way to echoing drips and sinister electrical hum; growing in intensity but never leaving the mechanical, ordered process of the city.

1. Grey Lictor
2. Insula
3. The Late Nuance
4. Trilemn
5. Ancylus
6. Oryfus
7. For Delta Relics

mp3, v0

Henry Purcell - Ayres For The Theatre

"Much of the instrumental music for the Restoration theatre was incidental in that it was not part of the play itself; the groups of dances called 'first music' and 'second music' served to warn the audience that the performance was about to begin, and four more were used as interval music or 'act tunes'. Together with an overture or 'curtain tune' they made a suite of, most commonly, eight numbers. Since virtually every new play had a suite of incidental music specially composed, it is not surprising that they form a large part of the Restoration repertory of consort music. Outside the theatre most of them were played in concert versions with the overture (originally placed after the first and second music) at the beginning and the dances shuffled to provide a satisfactory sequence of mood and key. In many cases they only survive in this form, and a certain amount of guesswork is needed to match them to their plays; we have recorded The Virtuous Wife Suite in its probable order as heard in the theatre, starting with the prelude and placing the Overture fifth. 

"The publication of Henry Purcell's posthumous collected edition of theatre suites, 'A Collection of Ayres Comps'd for the Theatre', in 1697 was something of a turning-point for the genre. Prior to this, theatre suites had nearly always circulated in manuscript; as a result, many of them are lost. 'Ayres...for the Theatre' set a fashion for publishing theatre suites that lasted above a decade; it only ended when the English musical theatre itself was supplanted in public favour by Italian opera." (Peter Holman. From the liner notes.)

Performers: The Parley of Instruments, Peter Holman

1. Suite From The Play Abdelazer, Z. 570: Overture
2. Suite From The Play Abdelazer, Z. 570: Rondeau
3. Suite From The Play Abdelazer, Z. 570: Aire
4. Suite From The Play Abdelazer, Z. 570: Aire
5. Suite From The Play Abdelazer, Z. 570: Minuett
6. Suite From The Play Abdelazer, Z. 570: Aire
7. Suite From The Play Abdelazer, Z. 570: Jigg
8. Suite From The Play Abdelazer, Z. 570: Hornpipe
9. Suite From The Play Abdelazer, Z. 570: Aire
10. Overture From Timon Of Athens Z. 632/1: Overture (Grave - Canzona - Adagio - Canzona)
11. Overture From Timon Of Athens Z. 632/1: Curtain Tune
12. Suite From The Play The Gordion Knot Unty'd, Z. 597: Overture
13. Suite From The Play The Gordion Knot Unty'd, Z. 597: Aire
14. Suite From The Play The Gordion Knot Unty'd, Z. 597: Rondeau Minuett
15. Suite From The Play The Gordion Knot Unty'd, Z. 597: Aire
16. Suite From The Play The Gordion Knot Unty'd, Z. 597: Jigg
17. Suite From The Play The Gordion Knot Unty'd, Z. 597: Chacone
18. Suite From The Play The Gordion Knot Unty'd, Z. 597: Aire
19. Suite From The Play The Gordion Knot Unty'd, Z. 597: Minuett
20. Suite From The Play The Gordion Knot Unty'd, Z. 597: Overture
21. Suite From The Play Bonduca, Z. 574: Song Tune
22. Suite From The Play Bonduca, Z. 574: Song Tune
23. Suite From The Play Bonduca, Z. 574: Aire
24. Suite From The Play Bonduca, Z. 574: Hornpipe
25. Suite From The Play Bonduca, Z. 574: Aire
26. Suite From The Play Bonduca, Z. 574: Hornpipe
27. Suite From The Play Bonduca, Z. 574: Aire
28. Suite From The Play Bonduca, Z. 574: Minuett
29. Chacony In G Minor, Z. 730
30. Suite From The Play The Virtuous Wife, Z. 611: Preludio
31. Suite From The Play The Virtuous Wife, Z. 611: Hornpipe
32. Suite From The Play The Virtuous Wife, Z. 611: Minuett
33. Suite From The Play The Virtuous Wife, Z. 611: Minuett
34. Suite From The Play The Virtuous Wife, Z. 611: Overture
35. Suite From The Play The Virtuous Wife, Z. 611: Song Tune
36. Suite From The Play The Virtuous Wife, Z. 611: Slow Aire
37. Suite From The Play The Virtuous Wife, Z. 611: Aire

flac/16-bit

John Bull - Complete Works For Keyboard, Volume I

"Dr. John Bull: An English enigma. There is no doubt that Dr. John Bull (1562/3-1628), who was born in Hereford and died in Antwerp, was an extraordinary figure. A glance at the 1589 so-called Oxford portrait of the 27-or-so year old Bull confirms both the passion and the mysticism of this extraordinary English composer, whose works are being presented here in their entirety for the first time. Mystery and controversy appear to have swirled around Bull throughout his life, reflecting the turbulent political and religious times in which he lived and the passions that he inevitably aroused among supporters and detractors alike. The portrait looks quite unlike any other painting of the period: Bull stares at us with an entirely up-to-date intensity, which is quite remarkably different from depictions of other contemporary composers like William Byrd, Orlando Gibbons or Thomas Tallis. In contrast to their formalized, almost bureaucratic restraint, Bull's direct and uncompromising gaze is almost disturbing. Completing the air of mystery, the composer's image is overlaid with the symbols of the alchemist, augmenting his aura of the otherworldly, while the frame of the portrait is adorned with the following enigmatic epigram: 'The Bull by force in Field doth Raigne But Bull by Skill good will doth Gayne.'" (Peter Watchorn. From the liner notes.)

Performers: Peter Watchorn, Mahan Esfahani

1.1. Prelude, MB 117
1.2. Lord Lumley’s Pavan, MB 129a
1.3. Lord Lumley’s Galliard, MB 129b
1.4. The King’s Hunt, MB 125
1.5. My Grief, MB 139
1.6. My Selfe, MB 138
1.7. Prelude, MB 84
1.8. Walsingham, MB 85
1.9. Fantastic Pavan, MB 86a
1.10. Fantastic Galliard, MB 86b

2.1. Bonny Sweet Robin, MB 65
2.2. Why Ask You? (I), MB 62
2.3. Pavan, MB 66a
2.4. Galliard, MB 66b
2.5. Why Ask You? (II), MB 63
2.6. Melancholy Pavan, MB 67a
2.7. Melancholy Galliard, MB 67b
2.8. Why Ask You? (III), MB 64
2.9. Chromatic Pavan, MB 87a
2.10. Chromatic Galliard, MB 87b
2.11. Fantasia, MB 12
2.12. Bull’s Goodnight, MB 143

mp3, 320kbps

Genesis - Selling England By The Pound

Peter Gabriel presents an ever-relevant dystopic England for these ever troubling times. Imbued with Eliot's time removed Tiresias and as fargone from Spenser's 'Faerie Queene' as Eliot's own departed nymphs, this album proves endlessly to be more than dusty record shop prog.

A1. Dancing With The Moonlit Knight
A2. I Know What I Like (In Your Wardrobe)
A3. Firth Of Fifth
A4. More Fool Me
B1. The Battle Of Epping Forest
B2. After The Ordeal
B3. The Cinema Show
B4. Aisle Of Plenty

mp3, 320kbps

Kevin Drumm & Jason Lescalleet - Busman's Holiday

A dynamic journey through electroacoustic noise. Both Drumm and Lescalleet are leaders in their field and this shows in the delicacy, expression and mastery of distortion-as-instrument on show here.

1. The Hunt
2. Powerless
3. The Wait
4. The Push
5. Belligerence
6. Honest Toil

mp3, 320kbps

VMS Elit - Fumes

The latest from this Scandinavian motorcycle death troupe is a blistering assault of driving, surging noise. It is a rare thing to find noise that can inspire such unavoidable adrenaline even in the seasoned listener. The feeling is that of being torn, scraped and battered, rolling over asphalt and gravel at 180km/h in a diesel-fueled inferno of glorious carnage.

1. Sudden Combustion
2. Nighttime Scorcheries
3. Guzzling Refuse
4. Clot
5. Neat Cuts

mp3, 320kbps

Degenerating Finland Live DVD

"Digitally captured by various people with different quality equipment." This is extracted DVD audio of various Finnish noise musicians performing around Finland (with one show from London). Tracks are short, high intensity and to the point with few exceeding 5 minutes in length. The viscerality and sonic intensity one comes to expect from the Finnish noise/power electronics scene are on display here. The testosterone-fuelled enthusiasm of many of the audiences is great to hear. Multiple acts are label owner Mikko Aspa's projects (Pain Nail, Nihilist Commando, Grunt) as well as Finn-noise mainstays (Bizarre Uproar, Cloama, Keränen).

1. Intro
2. Bizarre Uproar - Live Helsinki 2006
3. Eleczema - Live Helsikni 2007
4. Keränen - Live Lahti 2008
5. Pain Nail - Live Helsinki 2006
6. Gelsomina - Live Helsinki 2007
7. Haare - Live Lahti 2008
8. Nihilist Commando - Live Helsinki 2006
9. Cloama - Live London 2004
10. Above Suspicion - Live Helsinki 2007
11. Squamata - Live Turku 2007
12. Grunt - Live Turku 2005

mp3, 320kbps