skátar - that EP we did and a recording from the radio session thingie

.:: A truly fresh breeze of noise-skronk-rock assault, this 5 piece band throws Captain Beefheart, Trumans Water, Polvo and various glimpses of eighties post- punk into the blender with astonishing results. Skátar was formed in 2001 and current lineup is less then one year old, it's members coming from various underground bands.

Guitarists Benni and Óli, bassist Bjössi, drummer Pétur and vocalist/keyboardist Markús always perform dressed up in white overalls (used by painters to protect their clothing), with hoods over their heads.

Be prepared for ear-splitting screechy guitar sound, often-impossible-to-follow drumming, mostly improvised, nervy vocals by Markús and an improbable mix of truly experimental music that's also fun to dance to!

***...yes, i know, how the fuck did i get these albums ???. Óli (guitar) sent me this album and Graveslime - Rougness And Toughness, some time ago directly from Iceland, thanx man !!!***

download: skátar - that EP we did and a recording from the radio session thingie

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graveslime - roughness and toughness

.:: Iceland´s Graveslime was formed out of a convertsation between three friends in a Saturday-night party, ‘till you puke-party. The reasons for forming this band were two, the first was to play a cover of Vangelis’ “Chariots of Fire” and the other one was to be in a band called Graveslime. Having played together and apart in such bands as the black metal-band Svört Verða Sólskin (Óli was kicked out of the band after vomiting on the drum-kit on a drunken spree during a show), She-Male, Skorpin Tunga, Þrír Hressir and Thundergun (featured Alli on bass, Kolli on guitar, I Adapt’s Birkir on drums and Mínus’ Bjössi on the microphone).

Building on similar foundation as Thundergun, which was heavily influenced by Iron Monkey and Eye Hate God’s feedback laden sludge and Melvins’ accuracy and tight song structures Graveslime rushed to find rehearsal-space in late 2000. As soon the right space was found in early 2001 Graveslime began practicing the first song “Punch Fucking Drunk Fuck and the Fucking Goat” and then “Chariots Of Fire” and the first show was played as an opening act for longtime friends Sofandi (the other band on Grandmothers Records). More songs were written; a few popped of them like popcorn but others were seen the light of day with the same feeling when you’re “crawling from the sewer”. What maybe differs Graveslime from afore-mentioned sludgerockers (excluding Melvins) is their very sound-layered songs who often have more melodic approach to them, f.e. Eborg Ebobleson could be a song written by Nick Drake or Elliot Smith (Kolli wrote it after hearing it in a dream one night and picked it up when he woke up).

Graveslime played shows with mostly friends’ and familiar bands in and around Reykjavík throughout 2001 and ‘till summer 2002. It was not uncommon that they mocked other Icelandic bands during their shows; they often introduced themselves as other bands or had their friends to pretend they were in known Icelandic bands. It was when Graveslime warmed up for Fucking Champs and Trans Am in Reykjavík in the fall of 2001 that they decided they had to make a record and that Tim Green (Fucking Champs, Nation of Ulysses, Young Ginns etc.) was the man for the job. After many convertsations, e-mails and phonecalls the guys decided to contact Tim and ask him if he would like to come over to Iceland and record them. The recording session wasn’t something they look back on in bliss. To begin with they had to borrow or rent almost all the equipment (a broken tape-machine, a mixing board, guitar amps, a drum kit, microphones etc.) carry it to the second floor where the studio is located. Then they had to fix what had to be fixed… yeah, we don’t wan’t to hear about the bad stuff. The good thing is that they managed to put all the hardwork on tape. The band unfortunately didn’t survive to follow this awesome record, it surely is awesome, and they played their final and loudest three shows in late August 2002. Like Big Black once wrote: “Hey, breaking up is an idea that has occurred to far too few groups. Sometimes to the wrong ones.”

ROUGHNESS AND TOUGHNESS was committed to two-inch analogue tape by Tim Green at Studio Veðurstofan, Reykjavík. Tim at his Louder Studios in San Francisco mixed it and John Golden mastered it. J.J. Golden did some additional mastering and editing. Guðlaugur Kristinn Óttarsson (a.k.a. Godkrist, The Third Ear and GKÓ), formerly of one of Iceland’s best post-punk bands Theyr and Kukl added guitars on “American Sleeper”.

What people had to say about them:

“…and they were always drunk and naked” (Tim Green – about the recording session)

“I thought they were called Graveslide.” (Nathan Means of Trans Am)

“See how muscular they are.” (Two fourteen-year-old girls at a show in Álftarmýrisskóli (a Primary School in Reykjavík)

“I need my Graveslime!” (Mark Shippy of U.S. Maple)

Graveslime were:

Alli – bass, vocals
Kolli – vocals, guitars
Óli – drums, percussion

***This album is one of those albums you'd never find in stores at least you live in iceland or you contact the band directly, as i did. I met Óli (drums, percussion) thanx to the internet and we still keep in touch. By the way, i uploaded this album in a blog called musikdesire as a contribution but it was cancelled or something some time ago...***

download: graveslime - roughness and toughness

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la perra - romance con la ira

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.:: Primus + Prog + Avant-Garde = La Perra

.:: Dúo de bajo eléctrico y batería, que hace música de cámara dentro del género del rock (Rock de Cámara). Hacen música instrumental sin grabaciones ni “sampleos”. Su música es original y propositiva, lejos de los estándares comerciales. Han grabado y producido tres CDS: La Perra (Homónimo 1998), Fricción Visual (2001) y Romance con la Ira (2006). Toma su nombre por el amor y el entendimiento que les tiene a las perras y a todos los animales. Se forma por la necesidad de interpretar un rock diferente, original.

En vivo son un dúo de bajo y batería sin utilizar ningún recurso de “sampleo” ó música grabada; son apasionados por su música y logran darnos un rock explosivo y rarísimo. Estos dos músicos están en contra de la superficialidad del rock y se dedican en cuerpo y alma a hacer del rock su arte. Elena Sánchez: Bajo eléctrico (cuatro y seis cuerdas y fretless) y kalimba. Perico (CCB): batería, batajón okonkolo y percusiones.


***Es difícil conseguir material de estos señores, pero con un poco de paciencia te puedes llevar una gran sorpresa. Por cierto, si están interesados en algún material de La Perra, indieground podría servir de vínculo... hay una cierta relación con la banda***

download: la perra - romance con la ira

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schizm - in the sleep of death

.:: Since their first backyard show in the late 96, Schizm has played every club and backyard in the greater Los Angeles area sharing the stage with such acts as Youth Brigade, Union 13, Voodoo Glow Skulls, Nerve Agents as well as international acts like 2minutos, and Tijuana No.

From their different musical backgrounds the four piece consisting of Abraham Muñoz on guitar, Rene Delatorre also on guitar, Baltazar Rodriguez (Union 13) on bass & Vocals, and Arturo Ramirez on drums, they were able to combine their talents and produce their own aggressive approach to the hardcore/punk scene. Their loyal underground following lead to the success of their first EP. "Where Is Our Savior??" that was released in 2000.

With the combination of angst written lyrics focusing on their dissatisfaction of the world around them, sung over aggressive guitar riffs and a fast and driving rhythm section, their first release seemed to hit home for a lot of fans. With help from their long time friends Union 13, Schizm was given the opportunity to open up on a northern California tour. Schizm also headed south of the border where the Mexican punk scene seemed to embrace their music and energetic live delivery.

After numerous shows and an introduction of many different musical influences, Schizm returned to the studio to begin working on their strongest release to date, "In The Sleep Of Death". With the lyrical content focusing mostly on their individual struggles and the music combining both more melodic undertones and still managing to stay as aggressive as ever, the new record is both a personal triumph as well as a bookmark to the place in life were the members stand.

With the introduction of guitarist Omar Hernandez and drummer Manuel Limon, Schizm was now ready to broaden their fan base by heading south of the border and embarking on a complete Mexico tour. .

Abraham Muñoz : Guitar, Vocals
Baltazar Rodriguez : Vocals, Bass (Union 13)(a friend of mine by the way)
Manuel Limon : Drums
Omar Hernandez : Guitar, Vocals

download: schizm - in the sleep of death

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hello everybody !!!

it's been a long time...
i know, i promised i would be back blogging and posting new albums and stuff but, believe me, work demands a lots of time.

anyway, i'll keep doing my best. i'll keep posting and re-posting as much albums as i can, ok. so please keep in touch and drop me some messages about broken links, comments or whatever you want to express.

by the way, some bloggers have been taking some links from this blog, which is ok and it helps to keep the link alive but please give this blog some credit AND please say thanx... i know, i'm always bitching about being thankful. but hey!!!, when you find a great album after a long time looking for it / or when you download an album just to find you have been wasting a lot of time with the same stupid music and this album changes your life... you feel happy about it, right? at least i feel that way when it happens to me.

so, in the future, a password will be required for all the posts, starting now (with these great albums). nothing complicated or confusing, dont worry about it.

pass: indie-ground.blogspot.com

bye for now / good luck

thanx guys !!!

neutral milk hotel - in the aeroplane over the sea

.:: Just from the opening seconds of Neutral Milk Hotel's second album, you know it's going to be special: the acoustic guitar strum is catchy beyond belief, and Jeff Magnum's intonation lends credibility even to a line like "When you were young, you were the King of Carrot Flowers."

Listening to In the Aeroplane is like stepping through Alice's looking glass; you enter a fantastic new universe that, while it doesn't always make sense logically, feels like the home you never had. --Randy Silver

Led by Jeff Magnum, In the Aeroplane over the Sea finds the Neutral Milk Hotel assemblage loosely performing a series of narratives backed by folksy acoustic guitar. But from that springboard, a quiver of instruments (horns, organs, accordions, saws, banjo, zanzithophone, etc.) are layered into a sometimes rootsy, sometimes lo-fi, and often psychedelic mix.

Contrary to most pop experimentalists, NMH songs stretch way past the two-minute mark: "Two Headed Boy" transforms from a Guided by Voices-ish romp into a New Orleans big band funeral march, "The Fool" is as catchy as anything Poi Dog Pondering ever produced, and "Holland" builds up to a crescendo of saw, Uillean pipes, a chorus of voices, and fuzzed-out guitar. Simply irresistible. --Jason Verlinde

download: neutral milk hotel - in the aeroplane over the sea

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lila downs - la sandunga

.:: Lila Downs was born in Tlaxiaco, Oaxaca, and grew up there and in Minneapolis, Minnesota. She began singing "ranchera" music at an early age, and later sang at the "fiestas" of the towns in her mountain region, la Mixteca. She sang with the band "Los Cadetes de Yodoyuxi" and later with "La Trova Serrana", a group of folk musicians from the Zapotec town of Guelatao, Oaxaca. At that time she met her musical collaborator Paul Cohen and began to create her own musical compositions.

She also studied the career of social anthropology and voice at the University of Minnesota and at the school of fine arts (Bellas Artes) in Oaxaca.

World musician Lila Downs experienced a career renaissance thanks to her contributions to the 2002 Frida movie and soundtrack . After two well-received solo albums, the Narada label has reissued Downs' dramatic debut album, La Sandunga. The singer released the album independently in 1997, and it still sparkles with the immediacy and passion of a woman completely connected to and excited by her craft.

Every song on La Sandunga, including the album's three bonus tracks, flows effortlessly into the next. It's as if the album was recorded without pause during one very creative recording session. Downs' Mixtec-Indian and American background is an obvious influence on her work. The album is peppered with lush strings and blaring horns. It's all anchored by Downs' wildly diverse vocal stylings, which even manage to spice up the oft-recorded album closer, "Besame Mucho." --Joey Guerra

.:: Lila Downs nació en Tlaxiaco Oaxaca. Creció en Tlaxiaco y en Minneapolis, Minnesota. Empezó cantando desde niña canciones rancheras, en su pueblo natal. Cantaba en las fiestas patronales con diversos grupos de la Mixteca; entre ellos, "Los Cadetes de Yodoyuxi". Cantando en "La Trova Serrana" como corista, conoció a Paul Cohen, y comenzaron a componer música juntos.

Lila Downs estudio la carrera de canto y Antropologia social en Bellas Artes y en la Universidad de Minnesota.

download: lila downs - la sandunga

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