Stauropygial Records

New recording of SASQ (Pskov, ex-Russia) and old stuff (about 3 years old) from Takashi Ohkawa (Holland). This release was an act of despair, as I had completely forgot of receiving a tape from this Polsko-Nederlandese noiser several years before, and it was really shameful to be not able to do anything with it. Actually, I remember neither circumstances of my promise to release it, nor the process of preparing my own contribution. Photo: K. Mogila. I can only make 1 more copy of this release upon special request.

A split tape with great Suomen harsh noise project. Teeth scratching on my side. Second edition: cover of the first edition was so hard to reproduce that I had to refuse many trades because of it. Now it is reissued with a simpler cover. I must add that now I consider inventing complicated handmade limited edition covers a useless waste of time in most cases.

Это вторая попытка. Обложку первого издания было настолько сложно воспроизвести, что мне приходилось обычно отказываться менять эту кассету людям, которые её просили. Поэтому выпущено второе, с упрощённой обложкой: в стандартной кассетной коробке и с картонной обложкой без всякой уже переплётной кожи. Но как её делать, я тоже забыл. Так что это крайне редкое издание, даже фото не сохранилось. Поэтому более не распространяется. Кроме того, у меня вообще сейчас нет интереса ко всяким рукотворным обложкам и лимитед эдишенам.

A conceptual Sound Work representing two different Approaches to unprofessional Noise. On side One, I try to record a Noise Improvisation with ex-Ankylym Member Alexander Byeloff. The latter has shewn a great Patience and Perseverance in trying to connect audio Inputs and Outputs. On side Two, Grigory Avrorin is making Feedback with a Guitar Jack. This is actually the same Way as on many Records and Gigs of Huren Aquarium of that Time. The Sound is however extremely loud and harsh.

Venäläisen mölytaiteen kroonikan ensimmäinen osa: vuosien 7504 - 7515 alkuperäisiä nauhoituksia yhtyeistä Alisa-Yhtye sekä Järjellistä! Hyvää! Iankaikkista!

I can make up to 4 more copies upon request.

The second album of Goosli Noise is characterized by a distinctive digital sound, resulting from a Behringer MultiFX pedal (I'm glad that it has finally broken, it's like a smartphone, a totally useless and unreliable things, and in a similar way hard to get rid of and avoid using it everywhere). I don't remember, as usual, the circumstances of the recording, the files are dated October 2007. A minimalistic design: the tape is equipped with an insert made of a postage form for telegraph money order, inscribed with GOOSLI NOISE with a hand stamp on; the tape is 12 minutes length. The only unusual thing is the green box.

An hour-long epic, representing almost complete works of St.Petersburg raw punk/hc band, from their start as russian Man Is The Bastard (in theory) to the final (as of the moment of this release) version as an Australian one-man Atari Teenage Riot (and, probably, the first Russian act to perform in Singapore after Vertinsky), wherein for a long time participated the owner of this label, recruited by the band’s leader Szarapow to provide for a Confuse-style guitar, but, as it can be clearly heard on the tape, it is achieved mostly owing to the tricks of sound engineering (see the monstruous demo of 2004, tracks 20-32 on the side А, recorded by Phil Monopolka). A bombastic edition, on the verge of megalomania (4 labels, the others being Szss, Karma Mira and Total Blam Blam) and a magazine overproduced already before its birth, and the print run of more than 200), designed in accordance with hardcore punk canons, with a huge booklet of stories from the members. By the way, the tape has a subtitle of rarities and beauties 2000—2007, but as there had been no more solo releases besides XXVII Dead don't bite, not included here, the rest automatically falls into rarities (however, I still have some unpublished live bootlegs). As a whole, the material is very versatile and exciting, pleasant to listen so that even the ends of the sides seem unexpected, despite the total length of 64 songs, many of which are replayed many times.

For me it was an intriguing experience of playing in a band, wherein I had for some time been the only composer (later some of the parts belonged to the bass players Anna Zaytseva and Mel Cooke). As a result, this period of my participation also looks the most rockish. The records without me are likely better (essentially there are two of them: the first demo from this tape (2000) and the last one, Merdre (2009, not on this tape). So the absence of musicians in a band is rather good.

The photo represents the attached multipage booklet. The print run is over, however I know where to get some original copies without booklets.

Ubiystvo Narkomany (aka Murder Junkies) this time were released on a business card CDR (a media highly specific for russia), without the ambiguous English name, and now it's not the sounds from a building site, but a solo on acoustic guitar, overloaded by a mic or maybe even pedals, not sure. For 15 years here on the site there was a mysterious phrase that the rest of the track would be published in the Internet soon. However I can't remember publishing anything more. It has appeared, that during all these years I had it stored in my files completely forgotten, and now for the sake of justice I'm putting it on gopher. The difference between the versions is just about 37 seconds though. The print run is sold out.

In my opinion, the best album of Ankylym and even one of the best albums in the whole history of rock (although it’s not really rock), at least, there’s nothing else of this kind. However, a studio recording is not the most appropriate incarnation of this alko folk slaughter madness with bayan and balalaika, and the chaotic spirit of live performance has been hardly reproduced convincingly in every case. For instance, it was really unclear, how to record the impromptu remarks in The Cows, discussing it has been also included in the album. Probably for the same reason the songs Pechkin, Borszcz, and Ryaba The Hen, performed almost in every gig, are not included at all. I didn’t care to learn my parts for the song Shizgara before the session, so the balalaika sounds there the most incoherent way, partly masked by the effects. Although by that time the acoustic trio left after the drop-off of the rhythm section had been replenished by the fourth member, Beloff (туба, арабаба), for some reasons only his bad karma took part in the recording, as stated on the cover. 20 songs in 20 minutes. A techno remix of the song The Cows as a bonus.

On the tape label, the name The Fathers Of Meat was translated into 12 languages. Besides the tape, there was a CD version (self-released by the band itself, so Stauropygial Records have nothing to do with it), in a postage envelope, only the main picture being there common with the tape cover, and with videos (among them the only surviving fragment of the legendary gig at Stirka where balalaika was first destroyed). ATTENTION! No longer distributed, reissued in 2015.

Includes two cover versions of Ministry by Saint Petersburg Alko Folk Band and Moscow sludge monsters. The idea belongs to Beloff. As far as I know, Vir' prepared exclusive stuff, while Ankylym included their usual song Stigmata (later performed almost at every gig) from the already recorded, but not yet officially published album The Fathers Of Meat, but with samples about hell's tortures added; which were probably inspired by Vir's samples from the speach of the Russian putschists in the background of their cover of Lava. 500 covers were printed by offset technology in Minsk (the total print run of the CD's being 200 or 300) — there was no digital printing on each corner yet, or maybe we didn't manage to use it, or it could be unacceptably expensive.

В.Г.Циадзе

Byt cannot be adequately translated, it's something like everyday household routine, but in my experience this concept is filled with horror. This album, from the times of my life in Sharapov’s kitchen, can be treated as both Home and Field recording. The same digital dictophone without digital output is used, with the full awfulness of its sound that can be appreciated here. R.A.Pavlov is performing here Home Duties like washing Dishes and Cloathes. It must be noted though, that there’s no principal difference between the two. Due to dictophone distortions, a vigirous, powerful and convincing noise came out, maybe a bit denser on the side B (washing?). (Clothes were washed manually at the time, at least I have myself mastered the washing machine late enough. Please refer to the upcoming second part of the project, on 2 tapes.) Eco-activists will blame this album for excessive expense of water, flowing continuously during the whole 25 minutes length.

The name was borrowed from a track by R!D!V!, yet to be released at the time. The print run is not limited as enough covers have been printed with xerox, but I’m already tired of it: there’s still no less byt in the life, unfortunately, however many copies were there.