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Tuesday, August 21, 2012

EARTH CRISIS: Rarities


Whenever I went to re-upload this post, I realized I had come across a few more unreleased Earth Crisis songs since the gathering of the original collection I put together. I have updated this entry along with the extra songs.

As you should know by now ... Earth Crisis will forever be my favorite band for obvious reasons. Despite the fact that the band offered up a new album a mere year and a half ago, I can't seem to get enough new material. While I am by no means bored with the classics, I simply yearn for some new tracks that I don't already have memorized by heart. It got me thinking to myself, "I should dig through the crates and pull out some "unreleased" tracks from the past". In turn, I put together a mini-compilation of 10 tracks which you probably already have if you are a diehard Earth Crisis fan; but not otherwise. Here's the tracklisting...

1 - The Order That Shall Be (taken from the Ceremony Of Fire/Stones To Mark A Fire compilation put out in 1994/1995 to benefit imprisoned eco-defense warrior Rod Corronado)

2 - Sunshine Of Your Love (taken from the live album The Oath That Keeps Me Free on Victory Records from 1998 ... this is a Creem cover but they made it so fucking heavy that it might as well be their own song)

3 - Smash Or Be Smashed (taken from the live album The Oath That Keeps Me Free on Victory Records from 1998 ... never recorded in the studio)

4 - Fate Of The Neo-Gods (also taken from the live album The Oath That Keeps Me Free ... also never recorded in the studio)

5 - Standing Corpses (recently released live track from 1998 on the re-issue of Breed The Killers ... never recorded in the studio)

6 - Panic Floods (the last song recorded before disbanding in 2001 ... featured on the posthumous release, Last Of The Sane, which was otherwise a collection of cover songs)

7 - State Of Fear (bonus track from the Japanese edition of To The Death)

8 - Not One Remains (another bonus track from the Japanese edition of To The Death)

9 - Into A Sea Of Stone (bonus demo track from the deluxe edition of Neutralize The Threat)

10 - Void (another bonus demo track from the deluxe edition of Neutralize The Threat)

I am sure there are some more tracks floating around out there. If anyone has anything to share, feel free to do so. I am also including the infamous Firestorm Demo session from 1993 which you can download HERE. I know this is commonly floating around on the internet, but it is usually labeled incorrectly. This demo features 4 tracks that were never re-recorded for an official release (unless you count the 7" Seventh Dagger put out to coincide with the release of To The Death which contains two of the unreleased tracks).


DOWNLOAD MY COMPILATION

New Blog Recommendation

While I was working on getting the blog up and running again ... I was messing around with Google's new "Dashboard" which allows you to check out who follows your blog. After a few clicks, I came across the CHAOS & PAIN blog which is very well-maintained and updated. Aggro music infused with strength and fitness talk by someone who legitimately knows his shit. It might not be up your alley, but if it is ... well, it's pretty fucking awesome.

I mean, I found out about some Euro band called WORDS OF CONCRETE who wrote a song called "Power Like John Cena" ... I'm stoked.

Sunday, August 19, 2012

CREATION IS CRUCIFIXION: Discography

As previously stated, Mediafire deleted my account and I lost all my uploaded music. I'll mostly be going through and simply updating the links on my old posts. I was never really happy with my Creation Is Crucifixion discography posts, however, so I'm going to take the opportunity to revamp everything ... not to mention with a VERY seriously awesome amendment at the end. Check it.


Growing up in "the scene" around 1999-2001, I had the opportunity to see many of the local grind bands on a regular basis. It wasn't rare for me to see either Commit Suicide, Fate Of Icarus, Circle Of Dead Children, or Sadis Euphoria on any given weekend. There was one band, however, that I never had the pleasure of seeing. That band, regretfully, was Creation Is Crucifixion. I'm not sure what it was that prevented me from seeing them at first as it was the time when the early Willowtip bands were regularly playing all across the city. I know towards the end of their stint I purposely passed on seeing them once or twice due to the rumors floating that they would potentially show up to "sit on the ground and play with a computer" as opposed to grinding. I must admit that said premise wasn't exactly my cup of tea at the time but looking back I obviously regret my decision to pass on "the noise". Redemption was granted to me in the form of an impromptu, somewhat secret reunion show that I was lucky enough to witness last night. I digress.

Creation Is Crucifixion was born from the band Chapter (who I posted a discography of HERE) who were based out of Greensburg, PA. Technically the first release from Creation Is Crucifixion was a self-titled, self-released 7" of what were actually the final two recorded Chapter tracks. While said songs still jammed, the band had yet to even begin to hit their stride as a new outfit free from the constraints that may have been there as a part of Chapter.

Dethrone Or Devour was the first effort to feature the playing of Paul Nowinski, formerly of Abnegation, on guitar. The musical progression is noticed immediately on this recording as this was the first effort put to tape recorded with the intent of being released as "Creation Is Crucifixion". The inclusion of noise tracks are first heard on this release. Their first two 7" releases I just spoke of can be downloaded HERE.

The band would continue to release several split 7"s with the likes of Fate Of Icarus, Suicide Nation and Unruh (in that order). The material contained on these recordings truly commemorate the band hitting their stride. Containing only one track per release, the band ultimately decided to re-record their own material from the splits down the road and release as a limited "Re-Recorded Vinyl Splits" EP. You can download that HERE. You can also download the splits in their original, entire form below.

DOWNLOAD - Creation Is Crucifixion & Fate Of Icarus
DOWNLOAD - Creation Is Crucifixion & Suicide Nation
DOWNLOAD - Creation Is Crucifixion & Unruh

The first full length album released by the band was is in_Silico. Releasing a full length allowed for the band to fully exercise their creativity whereas the split 7" format did not. Intermittent noise pieces were found throughout the roughly 40 minutes of intensity placed on this album. A few tracks from the Dethrone Or Devour 7" were re-recorded for this album and once again, the band's continual progression can be evidenced through these songs. Originally being released by the infamous Cyberdine 243 (who would also release Luddite Clone and killtheslavemaster), the album would later be re-mastered and re-released by Scorched Earth Policy in Europe. The original version on Cyberdine 243 can be downloaded HERE while the re-mastered version on Scorched Earth Policy can be downloaded HERE.

The second album is the Automata "EP", which for whatever reason is not considered to be a full length despite the contents of 10 tracks. This release features equal parts noise and music and has a slightly more raw edge to its recording. Somewhere between the release of in_Silico and this album, guitarist Scott Mellinger would leave to join his local friends to play in Zao. Despite having written some of the tracks, his playing did not appear on the album. Willowtip Records (the label who helped release most of the band's earlier material) was in charge of this release; more than likely due to the instability of former labels, King Of The Monsters and Cyberdine 243. You can download Automate HERE.


The third and final album, Child As Audience (Where Technology And Anarchy Fuck) was to be the last "full length" release from the band. Also recognized as a split release featuring two other contributors to the Hactivist collective (Carbon Defense League and Critical Art Ensemble), these 7 tracks are split between several musical offerings paired up with a spoken word attack on the capitalist system of "education". Postulating that the education system is nothing more than a preparation for a lifetime of enslavement through the capitalist system, the three think-tanks involved with this project go to great lengths to compare this to the nature and objectives of the Jesuit sect of christianity. "Give them to me until they are twelve and they are mine for life" is the catalyst for this release, it appears. Seeking to use the re-programming of a Nintendo GameBoy system as a representative figure, this album comes with a 200 page booklet giving both full reasoning and instruction on how to do so in several different languages. If this intrigues you, I suggest you download it HERE.



Towards the VERY end of the band's tenure, they released several very rare and limited efforts which primarily focused on the noise side of the band. While I haven't been able to even track down all of these efforts myself, I HAVE acquired a split they did with a band called UUM, a "remix" album entitled Destructivist, and a release entitled "Broadcast No. 1" which was a 79 minute improvisation recorded for a local radio station in Spain; released on cassette. You can download the following below.

DOWNLOAD - Creation Is Crucifixion & UUM split
DOWNLOAD - Creation Is Crucifixion - Destructivist
DOWNLOAD - Creation Is Crucifixion - Broadcast No. 1

This used to be where the post ended. After last night, however, I am excited to say that I finally had a chance to witness the band live as they decided to perform a nearly impromptu set at the end of a show that I luckily caught wind of. I decided to film the set for everyone who was not fortunate enough to have been there or heard about it. It turned out surprisingly well for an iPhone recording (technology, eh). Nathan, their vocalist, did quite a good job at summing up responses to any and all criticism the band had faced in the past ten years and explained quite thoroughly (and succinctly) what the band was all about after all these years. Enjoy.





Site Overhaul

I decided to check on this site before I went out to This Is Hardcore Fest where I set up my distro to make sure everything was running still. Well, it wasn't. Apparently Mediafire deleted my account because some of my file names had expletives in them. Really? I spent hours on the phone with them trying to sort it out. They wouldn't help me out. It sparked a fire under my ass though. I'm currently in the process of re-uploading 3 years of work. It's going to take me a while but this site will be alive and kicking soon enough. I also came across some gems that I plan on sharing. Should be a fun couple of weeks. Spread the word once the posts start popping back up!

Wednesday, July 11, 2012

XAPHAN: New Songs



Almost immediately after announcing that Disembodied was donezo, news about Xaphan started floating around. Xaphan was set to feature both guitarists and bassist from Disembodied coupled with the drummer and vocalist of Threadbare. Couldn't think of a heavier combination myself.

Keeping in mind that Disembodied has always been one of my favorite bands largely in part due to the contributions vocally and percussive; I had high expectations of the Threadbare members set to replace said Disembodied members. As expected, they did not fail. The band has finally released two tracks for streaming.

While the band is obviously a slight departure from Disembodied ... it is NOT a departure from heavy. This obviously has slightly less "hardcore" influence and moreso that of this new wave of what I like to call "guys with beards music" ... there are still plenty of signature midwest metalcore sections and parts reminiscent of all past projects involved.

Their first show is tonight ... I wish I was there. Worth mentioning: said first show is opening for Black Breath and Enabler ... two of the few "new" bands that have gotten me excited in recent memory. If only MPLS wasn't over 10 hours away...

Want to hear two songs? Check them out ... http://www.bravewords.com/news/185302

Wednesday, May 23, 2012

FIRST BLOOD: Silence Is Betrayal


I recently had the privilege of filling in on drums for First Blood for the past five weeks. Getting to play with one of the bands who inspired and influenced me is a rare luxury. It's even rarer for me to find bands at this juncture that excite me enough to warrant wanting to go grind it out in shitty venues and sleep on wooden floors all across the deep south and midwest.

While most of the shows were good overall, there was a pretty obvious disconnect between most of the kids we were playing to and the newer material we were performing (from the album Silence Is Betrayal). Considering I've been a fan since the day the demo was released, I feel like my opinion holds merit when I say that the newer First Blood material is by far their strongest, most relevant and focused material they've ever written. There's only one thing that's a shame ... not many people have been having the opportunity to hear it.

The album was "released" on the fledgling Bullet Tooth Records which formulated as a result of the dissolution of the former hardcore powerhouse, Trustkill Records. Unfortunately for First Blood, the motivation and dedication that drove Trustkill Records to the forefront of the hardcore scene in the late 90s and early 2000s is no longer prevalent in the new label endeavor. The new album, Silence Is Betrayal, has essentially been buried. The band wasn't even able to obtain copies of the album for the headlining, full US tour in support of it.

That being said, despite the album still being "in press" ... I'm putting this album up for download. Carl has been quoted as saying that the album should be heard by any means necessary ... and if the label isn't making this a possibility for the band to distribute the album ... well then, I'm taking it upon myself to post the album for the world to hear.

While this is by no means a substitute for the full album liner notes (which are quite amazing, by the way) .. .at the very least I am hoping it will allow the band to have at least somewhat of a better reaction to the songs when they're being played out on the road. It's a shame to see someone put so much effort into the creation of an album only to have it buried for political reasons (higher profit margins on iTunes purchases as opposed to physical copies).

Do your best to track this album down and just remember ... my opinions are my own and do not reflect that of the band. Fuck off.

DOWNLOAD

Thursday, February 16, 2012

Collectives

I apologize in advance for there not being any Mp3s involved here for you. This is more of a narrative post but I feel as though it's important enough of an issue to stand side-by-side with Hatebreed re-recordings from Under The Knife.

As some of you may know, there is a long-standing venue in Pittsburgh called The Mr Roboto Project. The project has touted itself as bring a "cooperatively run" venue that's been an integral part of the DIY scene here for over a decade now. I personally served as a board member for the final 4 years of its existence in its original location from roughly 2006-2010 before it took a temporary leave of absence to search for a newer, "better" location.

The venue was my go-to spot for any show I was booking at the time and I spent more hours at the original spot than I'd probably like to admit. I had two relatively major shows coming up in the near future that I was planning on bringing to the Project that had recently re-opened in hopes of diversifying, supporting and introducing a new generation to a new Roboto location. Unfortunately, however, the venue and myself had a bit of a personal disagreement that has led me from moving both of my shows to a more "neutral" location. Allow me to digress to explain the relevance of this story.

The reason, in my mind, that Roboto was always so great was that is was simply just a room. There weren't really any established rules other than the rhetoical "no racism, sexism or homophobia" that has become commonplace in punk rock. In turn, the room was truly whatever you wanted to make it for the night. Whether you wanted it to be the spot for an intimate Bastard Noise show or an arena for the cheap-shot-mosh spectacle you were guaranteed to witness at a Stout show, Roboto was your place to go. I liked that. Just a room. No established guidelines on how a show had to play out. Just a room ... whatever you wanted to make of it for a night.

Now, this is only how I, personally, chose to view the space. Unfortunately this perception was never fully embraced by the entire hardcore community. You see, the people involved with running things during the first few years of Roboto took it upon themselves to lay out a moderately stringent "code of ethics" that they expected of others who wanted to partake in their club. They'll halfway admit to it in their own book they recently released, but will never fully incriminate themselves for the exclusiveness they portrayed in the formative years of the space. While I definitely felt this same alienation that prevented others from allowing themselves to attend the spot, I had already fallen in love with the "charter" that the venue had written up and handed out as membership packets. Despite both acknowledging and disagreeing with the overall aura of the venue, I was determined to not allow "them" to deter the fun and involvement I was planning on having with the space. While their actions most certainly were not representative of the promises they made to everyone in their charter, I'm the type of person who goes by the handbook and always assumed this membership packet would protect my rights as a member regardless of the personalities currently involved with the day-to-day operations of the space. I guess you could consider me a Roboto Constitutionalist.


Over time and largely in part to the unreciprocated respect shown by those who choose to spinkick, hardcore became accepted by Roboto. Whether it was because we continually proved that our shows were an asset as opposed to a liability or simply because all of the "founding members" had abandoned the space in favor of the bars and art galleries which became more fitting for their personalities and fan bases, hardcore was there and hardcore was what was paying the bills.

During the course of my tenure on the board of directors, I gradually fell out of love with the space. Perhaps this is the case with anything in life that becomes a duty as opposed to a hobby. God knows it became a certified hassle during the final two years of the original location's existence whenever Brian Gruetze and I were the only two members on the board of directors who ran the place or gave the slightest shit about the spot. Regardless, it was the moving process from the original location that truly pointed out a lot of the flaws, in my mind, of a cooperatively ran venture of any sort; not just The Mr Roboto Project itself.

Without going into the fine details of my discrepancies with how the move was handled, I made the decision that volunteering a large percentage of my time to project that valued message board accounts' opinions the same, if not moreso, than active, paying members of the actual venue was no longer worthwhile to me. I also grew to realize that sometimes in this world, some peoples' opinions are simply worth more than others'. HOWEVER, being the Roboto Constitutionalist that I am, I realized that treating everyone as an equal and tending to everyone's precious feelings and uneducated opinions is part of the game I signed up for as dictated by the membership packet. These are the guidelines of the cooperative and, in turn, I shall abide by them as a member of this project. My evolving (Warrior) philosophies no longer meshed with the ideals of a co-op by this time and that is why I chose to end my service as a board member with the closing of the original location.

Now, you see, I'm a firm believer of the "my house, my rules" concept. As stated above, I acknowledged that the guidelines set forth by the Mr Roboto Project membership packet were no longer coinciding with my own personal beliefs. Instead of trying to CHANGE THE RULES TO SUIT MY OWN BELIEFS, I simply allowed my seat on the board to become vacant to someone who could be more in-line with the concept of a cooperatively-ran venture. I happily demoted myself to the role of a "standard" member as opposed to member who was serving on the board of directors. I was happy with this role and chose to support in alternative ways considering the typical show being booked at the new location had zero interest to me. This history lesson brings us to current day.

I was recently asked to book two considerably notable bands amongst the hardcore scene; Terror and Shai Hulud respectively. While the new Roboto location was decidedly too small to allow me to even make my money back with a sold out crowd, I decided that I wanted to show a pledge of support to the new location which had been severely lacking in diversity up to this point in time, in my opinion.

It was sometime after I had already reserved my dates that it was decided that my personal conduct amongst "the community" was worthy of being brought up at the monthly Roboto Members Meeting. Without going into full detail, I have consciously made a handful of incendiary comments in recent past to several different groups of people who apparently care so much about the well-being of Roboto that they didn't even show up to the meeting in which they demanded to be held concerning my personal conduct and beliefs. Why I've chosen to battle with said groups is no one's business but my own. Regardless of what I said or why I said it, it was a situation that involved me as a person; nothing involving the shows I was promoting or the bands who were playing. Either way, my accessibility to the venue (which I nearly single-handedly ran for several years) was being called into question ... and the current board of directors had the audacity to actually hear these detractors out. I had already decided to move my shows the second I realized these people were being given the time of day.

I chose to attend the meeting with membership packet in hand. I asked for any board member to take the packet in an attempt to show me where it says within the Roboto charter that the promoter himself has to be in good-standing with other members (let alone non-members) in order to be eligible to book a show. After several unsuccessful attempts to manipulate and twist their own wording in their own pamphlet, it was agreed upon that an amendment would need to be made to their membership packet that would note that it is now the expectation of the venue that EVERY SINGLE MEMBER OF THE MR ROBOTO PROJECT BE A "PROPER" REPRESENTATIVE OF THE IDEALS AND GUIDELINES SET FORTH BY THE VENUE ITSELF.

Now, here is where I want you to pay close attention to my wording. While I firmly believe in the concept that if I'm living under "your" roof that I have to play by "your rules" ... I also find this to be entirely contradictory to the concept of a "collective". A collective, in my mind, is a culmination of the COLLECTIVE ideals of the members in which make up its core (and its bank account). If there was a screening process that dictated who and what was to be accepted amongst its prestigious members, then maybe they could better retain the image they want to project of themselves. Unfortunately, however, the only prerequisite for becoming a member to Roboto is a $15 (refundable, btw) investment into the club and a $10 yearly renewal fee. It says so right in the packet. Trust me, I read it.

Nowhere in the charter does it give the slightest mention to the personal character or integrity of the member him or herself. I'm not too sure when anyone decided (or voted) on what exactly the "code of ethics" for the new location should or shouldn't be ... but I know for sure there wasn't a meeting held on the subject like there was for me. Actually, I'm lying, I know EXACTLY who decided the new-found ethos of Roboto, when he did it and why he did it ... but I don't have the physical evidence to prove it so I'll keep it to myself. I only present subjects to you in this writing that I can back up with written documents. I digress.

My purpose in writing this is NOT to dissuade anyone from supporting this venue. This is my blog where I share my personal outlooks to those of you who think enough of me to take the time to read my thoughts and consider my opinion. If you see nothing contradictory with a collective having a prescribed code of conduct expected upon not only it's board of directors, but it's standard members as well ... then please, by all means, continue to support the club. If you're down with Roboto, then stay down with it. No sarcasm. Good for you and I wish you well in your future endeavors. I obviously think it's great that you can get a fully-inspected and legal venue with a working PA system for only $65. Roboto is great for what it is and I know that a large majority of those who are currently involved with the space will see nothing wrong with anything I've mentioned above. I'm sure most of you fall in line with the belief that everyone needs to feel "safe" at all times and in the rare event that you maybe DO find yourself in a slight disagreement with the practices or ethos of the venue that you are willing to just keep those thoughts to yourself for the convenience of having an awesome place to book your shows. If that's the case then I genuinely urge you to keep on keepin' on and supporting a place that I feel (obviously politics aside) to be the best venue in the city for small shows.

If you're like me, however, and feel as though you have a right to have your expectations and guidelines known to you and placed in writing (or, you know, genuinely voted upon by the members) ... then I urge you to be wary of the binding contract you are currently unknowingly entering into by becoming a member of Roboto or, apparently, even attending shows there. I'm not a fan of hidden charges when I buy things nor am I hidden expectations or agendas with organizations I've unknowingly been a part of for almost a decade.

As promised to the board of directors, I will not blindly trash the Mr Roboto Project nor try to convince others out of their support for the new location. I DO, however, have very strong opinions on the matter which is why I took 30 minutes out of my evening to bring up my concerns with the current hypocrisies I see between what is promised and what is done. Throughout my time I spent at the monthly meeting (where are the Minutes, by the way?), the one resolution we ("we" meaning the two or three reasonable board members and I) came to from my attendance was that as long as an amendment is put into place in an updated membership packet that CLEARLY states the expectations of the moral code of conduct from its members, then we're all good and on the same page and I will drop my qualms with the way the venue is currently being ran (as a concerned member). Knowing how long these changes in method typically take amongst quarreling cooperatives, I took it upon myself to write up my own suggestion in an attempt to speed up the process and to quell my beef zone. My suggestion is as follows:

"Jay Hart's Law

It is expected of any and all members of The Mr Roboto Project to be in relative good standing with not only the other members of the collective but also with those who may or may not be directly or indirectly involved with the space regardless of current involvement or location as it relates to The Mr Roboto Project. Membership privileges, such as renting the space, may be revoked at any time due to current moods, feelings or opinions of those not necessarily involved with the space irregardless of past contributions to The Mr Roboto Project by said member.

Each case is subject to review at our monthly members meetings."

Or something like that.

My only point that I choose to make through this entire writing (and ordeal in general) is that I simply want everyone to be on the same page. If the collective membership of Roboto had ever chosen to put the Jay Hart Law (or something similarly worded) up for a vote and it happened to pass, I would've accepted the fact that I was in the minority of the collective on the matter and, in turn, would not have deemed the venue to be an option for me to book my upcoming shows. It's really as simple as that. I don't expect the world to see things my way and I DEFINITELY would never expect the rules to be changed to suit my own personal likings (take a note, dickhead). I simply ask that we be honest with ourselves about what the REAL intentions of some of the board members are ... or maybe the club as a whole. I don't know which terminology to use because there has never been anything put through a vote or into writing about what the full expectancy of the members are.

Maybe they don't want to admit what they're after. Who knows?

Overall, as promised in my meeting, all I want or suggest for The Mr Roboto Project is to be up front about what they want or expect from their members. Not just their board of directors or the bands who play at their space (which ARE clearly defined in the charter) ... but for the simple folk who maybe just want to have a place for a band to play for the night or just someone wanting to attend the space to see an act they enjoy. While I personally think overall membership, attendance and diversity in shows will drop moderately if this amendment was ever put into writing (aka "admitted to"), I think the people who DO stand in line with what Roboto is about (still not sure what that is, exactly) will be much more happier with their club. Maybe those of us on the outskirts of said club will sleep easier at night knowing that we should simply take the club for what it is and just attend on occasion without any hopes or expectations that we will be accepted for who we are regardless of conflicting political or personal ideals. When everyone is operating under truthful circumstances, the world is a happier place. The only reason I'm currently butthurt is because I was given a false impression of what the place was unfortunately. Had I known I had to play patty cake with everyone in order to do what I wanted, I never would've been interested in the first place and I wouldn't have wasted so much time convincing other people that "Roboto's not like that".

I want to be clear on the fact that I have no ill-will towards Roboto as an entity. Some of the weasels who are using the venue to fulfill some personal issues they should probably talk to someone about ... yes. Roboto itself as an entity ... no.

I WOULD like to point something out in closing, however, that I think should be seriously considered by those of you who think everything I just said was total bullshit:

Path To Misery has never had our ideals censored at ANY christian venue we've ever played or by ANY christian band we've ever played with. I thought the christians were the bad guys who always wanted to silence opposing view points in fear of them overriding their own contradictory stances? That's what Roboto always told me, at least.