Stauropygial Records

Several compositions about 10 seconds each distributed randomly over the 90 minutes tape. Which was done manually, so that pauses are unique for each copy of the tape. However, there has been hardly more than 5 copies. For all hidden tracks and other puzzles lovers. No longer distributed, released again as business card cdr (see XX). Actually I don't even remember the exact cover, tape and box artwork of this release.

As far as the music is concerned, this is the most noisecore album of SASQ and the only one featuring traditional lineup of guitar, bass and drums, the latter being represented with empty cans. Which embodies one of the archetypical nightmares of an orthodox musician: some kind of music so awful that it is played on cans, something a musician could hardly ever do even to frighten children; another torture of the musical hell being farting in the mike, however too widely already used.

Audio

The first one in the series of joint releases with Monopolka. Professionally duplicated and packed tape. 10 minutes of bloodcurdling meowing on side A and 10 more minutes of bloodcurdling meowing mixed with noise on B. 100 copies pro-printed edition. One of the best our releases. Maybe the best one ever. Sold out.

This had been actively distributed for free before the album Instruments was released. Each e-card (aka business card, a media specific for Russia, as far as I can see) cdr contained 1 random song from the upcoming album. No copies left so please ask for the album itself.

Brutal static noise, good for listening instead of ambient. Sounds much like #1 although the noise is produced in a different way. A detailed story of its creation see in the description of the first Stauropygial release. The second side features remixes by BAD PHENG SHUI (ex TEA MAN WITH TEA GUM) and collaborations among which you'll find a ZLOJ POP cover Khlam (Lumber). No longer distributed because the master tape is slightly damaged, no more covers left and the material itself is kinda obsolete.

Encouraged by the reported success of the first SASQ album (said to have been sent somewhere to Germany to be released there) and having mastered the art of creating hell of a noise with an overloaded Soviet portable reel-to-reel recorder, I recorded this brutal minimalistic noise made with an electric shaver on side A and a collage of similar noise experiments, sometimes remixes of old unreleased tunes, on side B, some time between 2000 and 2003. As I can remember, SASQ #2 has undergone analogue mastering then with other (more professional) reel-to-reel recorder. Copied cover, no plastic box.

#2:

#4:

The first album, funny noisy hardcore with futuristic style lyrics mostly about modern transport technologies. Also includes the year 2000 EP. Being an admirer of early Anlykym's works, I had always regretted that they had not been published. For the members of the band at the time did not care for publicity at all. So I had to deal with it at my own risk, the first attempt of this kind having been unsuccessful (see II ANKYLYM «Ketchup»). This time I did care for the approval of the release and obtained some amount of funny pictures to use for the cover. For the records of 1998 and 2000 were placed on the master tape without any pause, it wasn't possible to separate them in the process of manual duplication, and so I had to release both together, though this decision might be not correct. A second reason was deficiency of short tapes (without 9 1/2 minutes the album would take 20 and otherwise 30 long minutes). However, officially I preferred to explain it by the complexity of manufacturing envelopes with 3" CDR 9 1/2 minutes (Stauropygial III). The album of 1998 was at the same time named U Volod'ki (At Volodka's, a diminutive of Vladimir) in honour of the owner of the rehearsal place, Gorbatchoff, where and with who as the sound engineer the record had been done.

Copied cover with lyrics in Russian.

Audio

Experimental punk with some exotic and folk instruments like vargan, horn or a crimped hose and ska/hardcore elements. Released as proof of concept of a 3" CDR packed like an envelope (already used many times ever since by different people elsewhere). Apparently no more than 15 copies have been distributed. The contents (4 songs recorded at Anthrop studio) later were included in the tape ANKYLYM 1998/2000 (see the next release). Although played and recorded more professionally than the year's 1998 demo, yet with loss in drive and originality inevitable for a studio session of an amateur band performing with a metronome. The mini CDR is packed in an envelope with Northern (Saamic) national ornaments. No longer available. If you’re really interested in this EP — it’s included in ANKYLYM 1998—2000 tape.

Audio

The full version of the 2001 year demo (the first one with myself as the second guitar player) plus one studio track recorded in 2002. Although both cassette and CDR exist, the latter might have been released earlier and bears no mention of Stauropygial Records (as well as the planned subtitle 29 1/2 minutes is not mentioned anywhere on the cover). Besides, there are no additional tracks on the CDR version. Most of the stuff (except 2 songs) has been included in the album Instruments (Stauropygial VII and XIV), while this tape was not approved by the band (who were not satisfied with it) and has finally become one of the most obscure Ankylym's records. To prevent it from listening it might be even sealed in an impenetrable box. No need to mention that is is no longer distributed. Supposedly little more than 5 copies of the tape have been distributed. Just 5 songs were put in the demo MK-60 in remastered versions and thus got somewhat wider circulation.

Audio

Harsh / static noise, the first release by Stauropygial records, sold out and then re-released as a split tape with BAD PHENG SHUI (Stauropygial VI). Unfortunately the source tape is damaged and this SASQ issue cannot be longer copied but maybe you can still ask from some other distributors like Arma of Perineum Productions (Lithuania) or Baris from AMA distro (Turkey). The Cover Artwork includeth Text in Tok Pisin. The recording itself represents radio noise, recorded in Kuzmolovo on 7/8 November 2002 AD. A romantic story of its creation is as follows. At the time, I was living in Kuzmolovo, a tiny town (so-called urban-type settlement) in Leningrad region, and on that very day we were celebrating the birthday of Beloff, back then Ankylym's promoter, now a famous DJ. Having discovered a terrific noise on the radio, I turned it on loud, put a tape in the recording deck and fell (literally) asleep soon (Beloff being already sleeping). Two other friends of ours present, of opposite sexes, went outside for more booze. They failed to get back in, for neither did I hear the door bell over the noise, nor could they enter the balcony door from outside, after having climbed up to the 3rd floor by the pompier ladder. They had to spend that night on Kuzmolovo streets, and so their relationship began, as became evident next morning. Whereas Beloff woke up with a horrific hangover, for which he supposed the same noise was to blame.

This release seems to be the only one where I used to record the same thing on both sides. Now I really disfavour this practice.