#PUNK ASS DOOM PROPHET

[nunc-flore]

have some concept playlists !!

chill in various moods and genres!

chill in classickal [ when music gets so good u wanna straight up eat it ]

chill in celthicc [ breeng thy begpeipe lass ]

chill in archaic [ enjoy your symposium lads ]

chill in swing [ feelin pretentious today? i got u fam ]

chill in techno [ when the world sucks. no exceptions. ]

chill in arab [ beautiful tunez from the lands of the sun ]

chill in lo-fi [ beep boop bzzt? ]

chill in medieval ballads [ smasheth thou instrumenth, brother]

chill in funk [ funk up lads]

chill in indie [ your raw tenderness starter-pack]

don’t chill in punk [ oi! oi! oi! ]

chill in 80s bops [ what is technicolor if not a digital rainbow ]

chill in norse [ Heill þú farir! heill þú aftr komir! heill þú á sinnum sér! ]

chill in soul [it’s not the waking it’s the rising // nina cried power]

chill in 70s wood-chopping jams (still a stub) [chill, man]

chill in opera [ angelic crowds chanting "he needs some milk" ]

chill in jazz (still a stub) [ sweet music playing in the dark ]

chill in 20s-to-50s music that's not jazz nor swing nor soul [dance and drink like it's the 20s y'all (please stay clear of all the nationalism and the crippling sense of collective doom, thank you) ]

chill in yeehaw [ april is the cruellest month, ain't it? ]

chill in ye olde shanty [ a-hoy captain! ]

and many more, as time goes by!

actual concept playlists

summer indie - guitar themed tracks about life and death and all that’s in between

ingenium voluntatis - r e d  y e a r n i n g  but make it existential. it starts well but something happens. probably society and its non-sense rules. 

the apocalypse and other related catastrophes, merrily told by yours truly - the world is ending and shit is going down. but is it? are you certain this is the world and not some other unnameable thing? are you already dead? is it the apocalypse you dreamed, the one you’ve been waiting for, or is it too slow-boiled? deathly, rotting acceptance of the end of times, with a hint of child-like storytelling.

gotta go FAST -  it’s 34°C. the streets are a desert. you’re 20 minutes late. run.

daydreaming on main - can we stay like this forever? lost in a neo-classical painting, full of celestial things, and symmetry, dreaming away.

dreamy drum pop - is it a dream? are you in love with a dream, in the street of some ancient, modern city, following their shadow? or are you just having a bad case of hypotension? we may never know.

an evening in beige - cruelly posh but in a classy, bitter, hollow way

ready for the lazarus pit, shaka-brah! - a collection to sell your soul to a demonic entity of your choosing to. mostly dark techno, but with a classical twist.

chillin! - or the "dude put on some good music" playlist - when you’re chilling with laid-back pals and they ask you to put on some music and you need a quick, safe, society-tolerable playlist to hit shuffle on and leave there

sweet music playing in the dark - jazz n stuff, some old gems. also, the songs quoted by Almost (Sweet Music) by Hozier.

time. - feel the flow of endless thing going by. the clock is ticking, but what the hell is time, anyway?

audiobooks!! - it’s what it says on the tin, my dudes. including: macbeth, metamorphosis, orlando, the call of cthulhu, iliade, the time machine, the tell-tale heart, the black cat, dr. jekyll and mr.hyde, pride and prejudice, black beauty, treasure island, the phantom of the opera, de profundis, frankenstein, carmilla, beowulf, dracula, the raven

fuck this, keep running - from society. from civilization. it’s just you and your ideas against the world, kid. let’s go give them hell. they will never take us alive. 

oh gee golly what a disaster - oh, this is bad. //  that's so sad alexa play this playlist

a witch in the woods - in the throat of the forest, whispered chants and incantations. it’s the voice of the survivors, the ones that escaped the pyre. hush now and dream.

till the end of the world and back - it’s ride or die. the cavalry's here and it's here to stay. 

italian oldies - italian culture. every italian i've ever met knows every single one of these by heart somehow.

:))))))) - am i happy? am i on the edge of a mental breakdown? have i gone completly insane? gee golly! who knows

stars, who am i? - did someone say existential crisis?

personal hyperuranium - my happy, serene place. when everything is too much close your eyes and listen to this. 

young punks, get off my lawn - wreaking havoc with ur gang  / girl gang.

self torment - me @ myself: why r u like this

razzle dazzle jazzle - you like jazz? 

knightess in a shining armor - heroines with swords, here’s to you

playlists inspired by stuff!

songs to be a flamboyant asshole to - swag walk. i blame anthony jantony crowley for this. 

the mad prophet - loosely inspired by friedrich nietzsche’s theories

the star traveller - laugh hard, run fast, be kind // inspired by the thirteenth doctor

getting to it, that's not the hard part. it's letting go. - i left my heart, 3 friends, and 37 gold bars in the sierra madre // inspired by Fallout New Vegas - Dead Money

pew-pew // (i'm three ounces of whoop-ass) - "Another female operative broke into my house and attacked me." "What did she want?"  "Dinner." | a killing eve playlist

les mis, les amis - those brave fellows. honestly, squad goals.

prince(ss) of verona - inspired by a theatrical performance of Romeo and Juliet, in which the prince of verona was. well. she was powerful.

can't stop, won't stop - healing boost of healthy, uplifting electro music comin your way! ispired by Overwatch’s Lúcio Correia dos Santos 

chloe eliz4bet2 price m0od - hella punk but also hella sad // inspired by chloe price, from life is strange

rachel amber mood - hey i've just met you and this is crazy but heres my number so let's burn down a forest maybe // inspired by rachel amber, from life is strange

musical journeys!

a Comedy. | a musical journey. - someone falls from grace and gets thrown into the world. lands in a forest. confused, resolves to survive at any cost. killing, stealing, partying, fleeing, living. eventually, with time, discovers a gentler, happier way to live. they still throw the best parties. doing no harm, taking no shit.

calliope bae gimme a hand wouldn't ya: a musical journey - a tale of poets: young tragedies and cursed gods; laughs and fights; transcendental roadtrips and hellhounds; parties and their aftermath.

#concept playlist #dark academia #music #playlists #good omens #killing eve #fallout new vegas #les mis #overwatch #life is strange #doctor who #bog #hozier #yearning #80s #punk #jazz #swing #funk #soul #tagamemnon #bops #florens.txt

[theterrornoise]

Music Reccs. Pt2.

“The Trilogy of the most underrated Swedish band: Breach what is your hardcore?

So to explain Breach we have to take a step back and start talking about Swedish Hardcore, cause most of you are awere of Swedish Crust or D beat, Mob 47,Anti-Cimex,Totalitar,Wolfbrigade\Wolfpack,Disfear,Skitsytem and Nasum (even if they are more on the Grind side of the thing). But in the 90′s something new was rising influenced by the new sound of Victory records and more Metal giutars, especially in Umea and Lulea (for example Refused,Fireside and Raised Fist) Breach were always the more aggressive and darkest sounding band, clear Crust inspiration and New York Hardcore at first, but with some edge to experimental vibe and in their first two ablum “Outlines” (E.P. 1994) Friction (1995) and .But in 1997 Swedish Hardcore started to change (Refused were almost collapsing under the pressure of their ambitious masterpiece Shape Of Punk To Come,Fireside started flirting with a more melodic direction and Raised Fist were the next big thing and Swedish skate\pop punk was growing in populariy with acts such Millencolin,Not Fun At All and Satanic Surfers) in this landscape Breach came out with a record that still to this day is impossible to describe “It’s Me God” an album that starts with what will set the tone for the rest of the record ground breaking guitar, sonical landscape where you wait for the next move, a voice that that strikes trough the layer of noise, an always persistent almos tribal drum. This album is not an expirience is a call to army there’s not a single secod where you know what to expect and what to ask for, song like Deadheads or Clot sounds so desperate and yet so energetic and you realize that you still have almost 30 minute of this record in front of you. The flow of this album is incredible we start seeing their first shift in a more Post-Hardcore\Post-Metal inspiration, there’s a clear Neurosis inspiration with a bit of early american metalcore some Convorge and some Unsane blend in, the desperate sound of Breach hits you with those absurde wall of sound that and those unstoppable rythmic section backed up by abrasive guitar, Presume The Forgotten take you of the road just when you start to understand how those guys think electronic noises and a stady guitar start the song, then the tribal drum and distorted guitar its you in a lo-fi mix, than the audio goes back up and it its you with this confused almost out of tempo rythm and almost thrash metal guitars, before fading into a into a melodic session and hit you up again and then,faiding again into glooming electronic noises, At this point you realize Breach don’t work only for their sound and energy but for how much they can play around with it and still leave you hooked up with fast tempo changes, dark melodies and such an imposing bass. “It’s Me God”  is the showcase of what Breach were able of doing ,in 1999 they relesed “Venom” which not only expand on the formula that breach created but challeged themselves to do more , expecially with some more decise doom oriented track like “Heroine” which take is time to grow and explode, But also fast and more frenetic track like “Murder” and “Common Day”, With song like “Diablo” and “Black Sabbath” we start seeing some attempt at instrumental tracks , the band was getting more caotich too, expecially on the bass on track like “Game of Vain” sound like “Plesuredome” and “Hell is my witness” is the final salute to the old-Breach and I say that because “Penetration” (the last track) is an admonition to the future of Breach an almost post-rock\post metal tracks. Venom was the first record to cough various attention from the critcs outside that small undergound community good reviews form Kerrang!,touring with Entombed and Neourosis and they also added another drummer for what will be their last and kinda prophetic title “Kollapse” (2002) the album starts with this kinda positive post-rock melody that kinda remainds of band like Isis the track is “Big Strong Boss” and it goes into this big and energic crescendo sorrounded with strange synth sounds in the background and the voice explode in the second track “Old Ass Player” fully embracing a metalcore attitude and a the voice distort itself all-over the track after two instrumental the more atmospheric “Sphincter Ani” and more violent and straight to the point “Alarma” we are hitted by some clean voice out-of-nowhere in “Lost Crew” a very danceble(?) and yet so deep song,before it abruptly slow down before hitting you back up with a wall of heavy metal guitar and guttural voice to remaind you that you should never joke with Breach. Then therese “Teeth Out” a full on kinda-psychedelic 9 minute instrumental masterpiece ,Before getting back in the fight with “Breathing Dust”, Mr.Marshall comes next (my favorite track on this record) delayed and bizzare almos mumbly vocals,a slow and distroted guitar that crash down into the ground followed up by some slow drums slowly growing back out of that ground,then a distroted bass go thru the mix of this record blurying evreything else then the guitars follows next building a wall of dissonant noise until the track collepse on itself leaving just the bass fuzz on the background. after that “Seven” whispered voice,tribal drums in form of bongos and beautiful guitar in clean some keybords a confused warm song in the middle of a destructive storm, “Murder Kings And Killer Queens” is the last glimpse and maybe goodbye of the violence of Breach,the album close with “Kollapse” psychadelic like “Seven” with no voice, full synth are used, that fenomenal bass fuzz comeback, some delayed and distorted voice, an pressing rythm and beautiful what assume I assume is a xylophone close the album.Breach ended there,just to reuinite 5 years later and destroyed their instruments at their final show cause they were done forever,never to be seen again (at least together).

Breach are a band that will never happen again, so much to learn from this guys, their sound their willingness to try everything out for one quest: The search of a sound, cause describing Breach trhu other band is impossible Breach were themeselves, so when you ask yourself what’s your sound ask to yourself what I’ve to do to search for that sound.

Thank you guys, if you see any errors or you have some more detail hmu.

https://www.youtube.com/watch?v=Bbhndhq1MKg&t=1258s

#breach #metalcore #Mathcore #noisecore #noise rock #post hardcore #post metal #post rock #music reccs #music recommendation #review

[slovenlyrecordings]

Last Of The Garage Punk Unknowns

If ya ain’t yet hipped ya ass to the psycho-suave sounds of Crypt Records’ THE LAST OF THE GARAGE PUNK UNKNOWNS series, here’s a set with one track from each of the 8 volumes. Are we really claiming that these are the BEST of the bunch? Well, these are the cuts that be killin’ us at the moment. Every installment is action packed with top shelf teenage scree (and detailed liner notes, label scans and photos galore), and this mix barely scratches the surface! So without further a do-do a go-go, here’s 22 minutes of live mixed, totally bugged the fuck out and rare as hell 60’S GARAGE PUNK... THE MOST RIPPING MUSIC EVER MADE! BLAST HERE:

COLLECT ‘EM ALL HERE ON LP/CD:

VOLUME 1: THE JOLLY BEGGARS “The Last Step of Doom”

VOLUME 2: THE PROPHETS OF OLD “Just can’t Wait”

VOLUME 3: THE TEMPOS “All That I Really Want”

VOLUME 4: THE JAZZMASTERS “Walkin’”

VOLUME 5: THE THUNDERBIRDS “Hey Little Girl”

VOLUME 7: THE KING’S RANSOM “Without You”

VOLUME 8: THE SAXONS “The Way of the Down”

VOLUME 6: THE STARFYRES “Captain Duseldorph”

#cryptrecords #crypt records #crypt #records #vinylrecords #vinyls #garagepunk #garage punk unknowns #Vinyl Records #recordcollection #slovenlydistro #mailorder

[giannimaldonado]

Album Of The Day: Satan Is Watching

When most people born after a certain period of time think of the genre that is “country”, and what it has morphed into in the context of this day and age, a lot of unpleasant images spring to mind. Pretty boy, clean cut, poser rednecks who’ve never seen a farm outside of their music videos, trying to pretend to be another “honest Joe” when they couldn’t be any further from such a thing, making trashy, twangy glam rock mixed with watered down trap music/EDM for white southerners who might have interesting views on those of different races, rolling around in million dollar sports cars while adopting the moniker of “working class”...is probably what your mind immediately begins to conjure up in that brain of yours.

I honestly can’t say that I blame you. Country, or, at least, MAINSTREAM country, has lost its way completely. Luke Bryan, Brad Paisley, Tim McGraw, and Blake Shelton polluted this once proud, grassroots, amazing genre with pandering, trite garbage aimed at making money off of dumb hicks in the bodies of frat boys whose trucks cost more than your own damn house.  Gone are the days when country music was filled to the brim talent, creativity, passion, and heart. Now, this “jock country” has taken its place, having thoroughly fucked country up the ass a few too many times that it has lost its way. For good, perhaps.

Underground country’s usually no better. There’s some exceptions (we’ll get to those soon), but for the most part, it, too, has gone off the rails and destroyed itself completely. It’s often just indie folk or what have you with even more acoustic guitars, though perhaps with more twang, whiny vocals that are trying (and failing) to recreate a stereotypical southern accent, a reliance on cheap gimmicks, sarcasm, and irony to carry their trash because the excrement can’t do that itself, and a musical quality that tries SO hard to imitate the great Mr. Cash, but is little more than a cheap, pale imitation that folks who wear WAY too much flannel and wire rimmed glasses will eat up like it’s the second coming of Joy Division.

No matter how you look at it, country has been thoroughly gentrified for the most part, just like many genres that were previously for a much different variety of people. Like trap music, or blues, or hardcore punk, or black metal. All of the original meaning is gone, driven out by money hungry label executives, clueless and ignorant listeners, and musicians hellbent on half-assing their way to fame and fortune.

It’s a crying shame, it really is.

But fret not, dear reader! There is still a soft, seedy underbelly of the country genre that has taken the long dead (yet forever revered and loved) sound of “outlaw shit”, as Mr. Jennings would put it so eloquently, to its most logical extreme. One that would make Nelson, Cash, Haggard, Coe, and others that might’ve been at the top of their “underground”, “anti-mainstream” game seem rather...accessible. These aforementioned artists and their peers are still greats who, in their primes, were powerhouses that made some of the greatest works the genre would ever produce. But when compared to this particular sound...they just don’t hold up as well. The rawness, the grassroots nature, the down-to-Earth (and sometimes below the Earth) attitude, the simplicity, the honesty, the bluntness, the intimacy, the melancholy...all of it gets turned way up to eleven. It’s dark, it’s mischievous, it’s harsh, it’s gritty, it’s angry, it’s bitter, it’s darkly humorous, it’s lonesome, it’s ornery, and it’s damn sure pretty fucking mean.

Call it whatever you want. “Southern gothic”, “dark country”, “death country”, “gothic country”. It doesn’t matter what name you apply to it. All that matters is that it’s country. Real fucking country. Country meant for the guttersnipes, punks, street urchins, hobos, peasants, and forlorn drifters. This ain’t pretty boy music. This isn’t nice, Christian contemporary that you can play at your local uptight establishment. These aren’t harmless tunes your the posers can get drunk and go mudding to. This is country as it was meant to be. The eptiome of the term “outlaw shit”.

There’s a plethora of wonderful bands in this scene. Sons Of Perdition, Sixteen Horsepower, whatever project Jay Munly’s got going on this time around, The Dead South, the early days of The Devil Makes Three, The Builders And The Butchers, Wovenhand, Ghoultown, Coffinshakers, The Pine Box Boys, and, of course, everyone’s favorite descendant of the Williams family tree. The third one, that is.

But all of those fall short of that truly, truly, TRULY horrific honky-tonk, old-time, folksy, backwoods atmosphere that this duo produces. One that hails from the isolated, empty thickets that lie out in rural Wisconsin. A mentally disturbed pair of “prophets of the country doom”, as they have decided to label themselves. A fine example of those who have gone completely mad, completely sad, and doing so makes them feel very glad. They revel in their craziness, and while no album sounds the same, each one is marred by a couple of recurring themes: humanity is worthy of being sent straight to the fiery depths, these boys are depressed beyond your wildest comprehension, a rebellion against both God and Satan, and a desire to document the lifestyle of society’s forgotten ones, hated ones, and feared ones.

Let me introduce you to Those Poor Bastards.

Fitting name for a couple of enigmatic, largely unknown, extremely obscure pair of men known simply as Lonesome Wyatt (impassioned orations and guitar-based melodies) and The Minister (everything else).

The Minister is completely anonymous, with no one having even seen his face, while all that’s known about Lonesome Wyatt is that he’s from Wisconsin, (probably) lives alone, and is likely of an unsound state of mind.

Why is that all important? Well, go listen to their albums, and then you’ll find out why these little intricacies are vital to the dynamic duo’s imagery, music, and cult status.

While all of their material is quite good in my opinion, today we’re going to look at my favorite album from them, and possibly my favorite album from any country artists EVER! Everyone, please proceed to throw on “Satan Is Watching.”

What you’ll first be met with Lonesome Wyatt letting out a loud, wild, manic screech that almost doesn’t sound...human. It’s not even a word. Just an unhinged howl like Lonesome Wyatt’s been possessed by some sort of demon from the pits of Hell, having taken over the “doomsday preacher boy” to spread the wicked gospel. A hell of a start to an album of any kind, let alone a country album. It’s bold, but it lets you know right off the bat that they aren’t fucking around. This is going to be a rough ride from start to finish, and you’ll be left quaking in your seat once Those Poor Bastards has pierced your mind, heart, and soul with their fiendishly unholy sound. A truly nihilistic piece of art about how this world is foul and wretched, and deserves to burn to a cinder.

But that’s just the first song.

Things only manage to get worse from there. Everything from songs about how Lonesome Wyatt’s a degenerate who revels in just how much filth and squalor he lives in, to songs (well, more like suspiciously suicidal rants) about how life is fucked and there’s just no point in living it anymore, to various “take that!” pieces towards lovers who have wronged him in times that have long since passed, presumably. Typical topics for country artists, but contorted and warped to the point where they sound like miniature horror stories being yelled and hollered by a crazy, top-hat wearing yokel than the struggles and strife that are endured by the common man/downtrodden fellow. Hell, there’s even a Johnny Cash cover! A twisted, perverted, scummy, bone-chilling, haunting, eerie take on the previously wholesome, innocent love song The Man In Black made for June. I can’t exactly look at it the same way, what with these mysterious hooligans having thoroughly butchered it.

Instrumentation is minimalist and simple. Nothing too fancy or technical here. It’s quite self-explanatory. Despite how evil it is, the rhythms are still toe-tappingly catchy. The drums, being pounded upon by the fiery hands of The Minister, provide anything from a nice, plodding beat you can stomp your feet to, all the way to a rowdy raucous of a banger that’ll have you doing some sort of line dance with the living dead. Lonesome Wyatt beats upon his acoustic guitar like it owes him money. Not even really playing it. Just smashing the strings until weird, disgruntled, odd noises come out of it. He also seems to thoroughly shatter his ability to talk without a sore throat, pushing his voice to its very limits. The bass compliments everything very well, providing a creepy, fuzzy, dirge-like texture in the background to keep the menacing tone alive and well.

All in all, while this may not “experimental”, “avant-garde”, or even “progressive”, this is certainly an album that’ll give you the heebie-jeebies, and for a country album, it is most certainly “out there”. It takes the usual country tropes, and either turns them into something out of a David Lynch movie, or subverts/plays with them to fuck with the audience and make them contort their face with confusion...and excitement. A spooky bit of acoustic noise that’ll restore your faith in country music, and remind you that there is still a small resemblance of a spark left within the dying genre.

Please, I highly recommend you check this out.

This has been another installment of “Esoteric Warfare”, and remember...

NOISE, NOT MUSIC!

#gothic country #those poor bastards