Quatermass Live Archive (1970-1971) / Bootleg Download

Every musical genre, movement, or scene, throughout history has had more than its fair share of hidden gems or so called "cult classics" popping up to the eye of those who are interested. Context around why, when or how these projects come to acquire such status really varies. as to be expected, but if one was to pinpoint a characteristic that can be found among these is the fact that usually these come to be years, sometimes decades, after its official release; and in the reals of rock music these statuses are often given to bands that would only be around for one or two albums. Of course, some of these stand out more than others, and in the world of Progressive Rock there is no doubt that Quatermass is a band that perfectly encapsulates the definition of a group that has been given the reputation of "cult classic / hidden masterpiece" within the community. 

A power trio, classic ensemble in rock, that was odd because of the fact that the lead instrument wasn't a guitar, and also there was a complete lack of guitars, but keyboards, with these serving as the cornerstone of all the compositions. The trio was made up of musicians that were not amateurs by any means (all of them in fact had a steady musical career building up before Quatermass and it would keep expanding and growing after the trio's separation), keyboard player Peter Robinson and bassist John Gustafson met drummer Mick Underwood while in the band Episode Six, where they also made connections with Deep Durple due to Ian Gillan and Roger Glover also being part of that group, alongside Underwood's previous connections to Richie Blackmore due to both being members of The Outlaws. The three of them seemed to have built a rather clear idea of the musical direction they would be heading towards to, and it all landed on a rather unusual proposition coming from the classic formula of the power trio, even considering the fact that keyboard lead groups were starting to become fairly popular back then. Their one and only album, their self titled, had a very considerable budget, and Robinson would take advantage of that by complementing their instrumentals with a very rich use of string arrangements, this showing up in some songs more than others, ending up on a very tight record that had a lot to offer. 

So then, why didn't they succeed at first? Well, even considering the context of keyboard lead trios/ensembles becoming popular back then, Quatermass wasn't what one would call, very charming to the mainstream ear. They weren't overtly experimental or avant-garde by any means, but their sound was very heavy. Lack of guitar? Who gives a damn when Gustafson's sludgy bass takes over your ears while complementing the relentless keyboards. Even the string arrangements were heavy, songs like Laughin' Tackle have violin's dragging down notes and cellos being ominous in the background, complementing the very powerful dynamic of the trio, and that essence can be found throughout the entire record. All the tracks were not slow or simple in their execution either, the rich musical backgrounds of each musician lead to the entire thing being full of very unusual dynamics, layered compositions, and various musical sections to be found within one song, rightly gaining their title of having being a very unique progressive band for the context of the early 70s. Of course, that kind of sound becoming a popular thing wasn't an impossible sight to conceive or to behold, but maybe due to the wrong time or the wrong place their proposal sadly fell under deaf ears, with the public initially being cold towards their main single and then evolving into the album not performing well on the charts. The band would split in 1971, with each member moving towards different projects, but eventually the album would get a second chance when Blackmore would cover their single "Black Sheep of the Family" with Rainbow, giving a new afterlife to the trio and the album slowly gaining attention and love, growing and growing more and more until the self titled would end up reaching a very special status in music circles. But it was too late, by 1971 Quatermass was no more, and the hopes for another album would just have to be hardly swallowed by the hoards of new fans coming into the music in the mid 70s... 

...I honestly could never fully get into the album...

It is a weird situation really. I do think that the debut is both unique and a very tight musical proposition full of personality with great attitude that floods every single track. But as a whole it definitely was a band that was still searching for an identity that was fully their own. Influences are there, and even if the band manages to give them their special touch to not feel as blatant copies, it is still fairly obvious to point towards where they were dragging inspiration from, specially with Gustafson's vocals and all the chorus parts of the shorter songs (which are the lighter parts of the record). It is not a bad thing by any means, but there are a bunch of songs on the album, specially "Post War", "Up On The Ground" and "Laughin' Tackle", that work on another level. THESE are the cornerstones, the authentic potential from the group that was promising and where the trio really let themselves loose in their creativity, where Robinson showed his real strength with both the arrangements and him serving as the foundation of their compositions, and where all three members were really able to truly showcase their best. It is not a bad album by any means, but there is a clear set of highlights that really show a glimpse at what this band could have become in the future if all things had gone their way.

And there may not have been a second album, but there are bootlegs. Listening to these live recordings makes me even more sad at the fact that they were not able to continue with the development of their sound and their ideas in a studio setting, because all that aspect of the highlights that I was mentioning a few lines ago is what floods their sets. Longwinded and overwhelming compositions and jams that are full of life and that showcase the incredible dynamic that the trio had onstage. Their chemistry? Off this world, specially in the longer pieces, with every single second being used to their advantage and even considering that all of these are very subpar audience recordings the band is loud, it is heavy, and it is relentless. This was the real potential of Quatermass, songs like Laughin' Tackle and the massive Monsters in Paradise showcase the trio in full splendor. I bring to you three bootlegs, three live recordings full of all that could have been if the band was able to keep going with this project. Even with the sound quality stumbling upon these after I listened to the able gave me a new perspective on their whole history, of why they were very popular in the underground at first but not due to their album, but due to their live shows. 

One of these recordings is from 1970, the year the album released, and you can see their focus towards the musical style that they really wanted to keep going with, as well as starting to truly develop songs like Monsters In Paradise. But both 1971 boots really just put their entire potential on a real perspective, with them really developing their strong points, their long winded pieces, with all three members on top of their game. This whole situation really makes me feel very bittersweet. Because even if I don't consider their one and only official album to be this big masterpiece or classic that every prog fan should listen to, I do have a big appreciation towards this band. Because if they had been allowed to keep going with their ideas they would have most likely ended up with a follow up that was of much higher quality than the studio recordings we were left with, their true masterpiece, full of a sound that was 100% their own. Sadly, that never came to be. Underwood would try to bring back the concept of Quatermass with Quatermass II in the late 90s, but with the absence of Gustafson and Robinson (which, let's be honest, were the real meat and bone of the group) it just wasn't the same. All three would go on to be part of different projects, playing with Roxy Music, David Bowie or different members of Deep Purple, but the sound and the ideas that came with Quatermass died with the separation of the trio. One can only wonder what could have been.

But alas, and as I was mentioning earlier, by 1971 Quatermass was no more... but these subpar recordings showcasing a very promising trio help to keep the listener intrigued and the flame of thinking "what could have been" alive for a little longer... and that's always nice to see with these little pebbles in the endless road of music history.

Quatermass Were

John Gustafson - Bass, Vocals

Peter Robinson - Keyboards

Mick Underwood - Drums

Quatermass - Stadttheater, Bern, Switzerland, 09-11-1970

1. One Blind Mice (6:58)

2. Monster In Paradise (8:10)

3. Post War, Saturday Echo (12:25)

4. Laughing Tackle (12:27)

5. Unknown (7:51)

Quatermass - Rheingoldhalle, Neckarau, West Germany, 14-03-1971

1. Monsters In Paradise (22:09)

2. Make Up Your Mind (15:07)

3. Gemini (8:22)

Quatermass - Deutschlandhalle, Berlin 03-04-1971

1. Monsters In Paradise (28:33)

2. One Blind Mice (3:30)

3. Make Up Your Mind (14:25)

4. Laughing Tackle (6:40)

5. Laughing Tackle (Cont.) (8:06)

6. Lucille (3:52)

7. Gemini (BBC Session) (5:36)

Download Here! - https://drive.google.com/drive/folders/12DsCBP-NhjJo-aBsJROn-L5v-rEiIGvL?usp=sharing

Peter Cat Recording Co. - Created Somewhere, Somehow / Bootleg Download

 

Damaged By The Sea, The Sun Plays Over Me

There was only a very brief span of time in my life where I thought of the place I was living in as a real "Home". 

It is a very eerie feeling that one. You live most of your life going from place to place and living with different people, having different experiences and emotions running through you and next to you, but most of the time you are actually conscious of being IN that place the feeling of belonging, of actually being comfortable and warm, of feeling welcomed not only by the people who are there with you, but by the atmosphere that is created when you are just alone in your room... all of that is absent. With time you learn how to cope with that weird sensation, with those odd emotions, but you never really get completely over them. That is why in those instances music is just ideal to feel something keeping you company.

But even among that, there is a very special type of music that is hard to come by. It is music that somehow manages to evoke that missing feeling that somehow, even if it is for a very brief amount of time, manages to fill that gap. Peter Cat Recording Co., a project mostly associated with the frontman Suryakant Sawhney more than any other member, are a band from New Delhi that have been around for more than a decade at this point, but have just only started to properly gather attention due to them being signed up to the Panaque label in 2018. Their first full length album with them, Bismillah, was well received by the public in general, but it was full of songs that had been part of the band's catalog for years. And if there is a thing that is so special about the band's music is the fact that despite its nature, it all somehow manages to perfectly fall in that type of hard-to-find special kind of work mentioned beforehand. 

The wonderful thing about music, or just media in general really, is that all of it is created somewhere, somehow. Sounds evident, sounds dull to say or read, but it is true, and that is such a wonderful thing. Unless one is very interested, there really is no real need to actually dive into the why, what, who, when or where of a project, specially when it is something that is able to convey all the essential things about it by itself. In the case of this band that is something that is incredibly relevant. Yeah, knowing about their influence on the new wave of original Indian artists and bands that came to be due to a need to fill the market with art that came from within the country rather than having to depend on projects made abroad, and that has been slowly rising and leaking to the rest of the world due to its creativity and variety, helps to understand their relevance, but the simple fact that they got signed into a European label gives it away subtly. Knowing about Suryakant's burning interests in expressing himself through his craft regardless of the type of medium that he chooses to do so at any giving moment and looking to do so in the most genuine way possible certainly helps to understand a lot of the mentality behind the band and their catalog, all of this complemented by going even further and looking into all of the influences that the members bring to the table, from gypsy jazz and oldschool cabaret music, noise pop and indie rock, blending it all together on a catalog that is widely varied, but that somehow manages to be full of a unique and recognizable sound and a vibrant personality. But, as they say, the music already speaks for itself, and its voice is louder and more eloquent than any other things attempting to describe it. 

It is music that doesn't really look forward to fit in between a specific time or place, let alone a particular genre, movement or aesthetic. It is music that in its barebones manages to do something truly special: getting a wide reach due to its raw and deeply personal emotions, its humanity, having it all executed on a well-crafted, passionate and genuine way.    

Whenever I listen to these recordings, and to that first version of Memory Box in particular, it is not just a matter of having a better appreciation at the evolution and variety of their songwriting, their very tight performances, or the fascinating aspect of its deceiving straightforwardness; it is mainly that, despite all of those other virtues, it is music that makes me feel welcomed into a very pleasant and memorable atmosphere, finally at a home where I can feel at ease. It evokes a feeling of belonging to that time and place, of sitting calmly as if one was hypnotized by the band performing in front of them, mesmerized by the beautiful music that is being showcased to them. It is not perfect, and it certainly is far from being among my absolute favorites, but it is something that has perfectly cemented itself as a very special thing to me. Memorable to the point where I have constantly found myself going back to it again and again throughout these last few years, and I doubt that will really change anytime soon.

I don't really know how long it will take for me to really "feel at home again", but at least I can wait. As long as I have this music keeping me company I just know the holdup isn't going to be unpleasant because I have something that is always going to be welcoming me back with open arms. And I will forever be grateful for that.

Kappa TV Music Mojo Season 3 (December 2015)

1. 1989 (3:20)
2. Clouds (3:47)
3. Clown (4:20)
4. Copulations (5:06)
5. Flies (6:16)
6. Love Demon (7:41)
7. Memory Box (6:58)
8. Namonia (5:23)
9. Nugypsy (4:51)
10. Pariquel (4:50)
11. Roses (5:19)
12. Wear Down (4:42)

Depot48 Presents Peter Cat Recording Co. (November 2017)

13. Happiness (5:10)
14. The Clown On The 22nd Floor (6:02)
15. Memory Box (8:25)

Le Mellotron, Paris, France (June 6th, 2019)

16. Floated By (4:53)
17. Remains (4:59)
18. Shit I'm Dreaming (5:36)
19. I'm Home (5:29)

Download Here! - https://drive.google.com/drive/folders/14mkI3japJTzRNTLol9wdbJ_dXkSs1yyL?usp=sharing

Les Rallizes Dénudés Live Archive (1973-1993 (?)) / Bootleg Download

 

A big one...

Les Rallizes Dénudés have been one of my absolute favorite bands for quite a few years now. Back in the good old days of early 2010, when I was a foolish and excited youngling just discovering the wonders of what the internet had to offer when it came to release/bootleg trading and blogspot deep-diving they were one of the first bands I ever came across. It was a matter of chance of course, one night I was simply continuing my newly found routine of jumping from blog to blog in search of albums or bands that looked interesting and eventually stumbled upon one particular page that had all the default elements in its layout, no sort of customization whatsoever, which was very unusual to stumble upon, that had the latest entry on the homepage talking briefly about the Rallizes' mysterious background and their evident musical legacy as an influential band in Japan, while also sharing some selected bootleg releases, five in total, what I assume were the dude's favorites, as recommendations to anyone that would be willing to give them a shot.

From that point on I was hooked, I vividly remember those original downloads, I still kept them in my possession until the external drive I used for all my old library suddenly chose to fuck off, because those albums marked a whole new world for me. Two of those boots, Live 1972 (the 2006 Over Level CD) and Eve Night 1983 (the 2007 Ignuitas CD), were somewhat underwhelming in comparison, but they still managed to present some great performances, but they paled in comparison to the rest of the beasts that were attached in the mediafire download. Two big boxsets, One More Night Tripper and Wild Trips (both boxes released by the Univive label in 2006), of varying quality blew me away from the get go, introducing me to a lot of the classic Rallizes tracks from their catalog in the form of some brutal performances, with the April 12th 1976 set becoming a huge favorite in retrospect. But the final nail in the coffin was the last album of the bunch, and the one with my favorite cover up to that point, "Le 12 Mars 1977 A Tachikawa", a fantastic 2CD experience that had some of the loudest guitar sounds I had ever listened to up to that point in my life. Of course, eventually I would come to find that the magnificent release was just a bootleg reissue of the now legendary '77 Live album, but back then it was enough to get me to become intrigued with the band. To this day I am unable to remember the name of that particular blog or the title of that particular post, but it most likely was deleted since they were also sharing a lot of official copyrighted material as well. Nevertheless, I will always be eternally grateful towards that kind stranger, because that event is something I will always look back to as something very special. 

Eventually I would try my hardest to dive deeper into the giant and intimidating catalog that was associated with their name, and in one of those particular instances, a couple of years later in february 2012, I managed to get ahold of a digital rip of the "Great White Wonder" bootleg boxset 2011 reissue by the Phoenix label that had the original edition's limited bonus CD as an integral part of its set, and that also came with the booklet and artwork scanned in high quality (something that I would come to find as being incredibly lucky), allowing me to read the initial paragraphs of the liner notes exclusive to that edition. Paragraphs that would become engraved deep into my brain and memory, being one of the most important things I've read in my journey diving into media, and cementing Les Rallizes Denúdés as one of my all time favorites:

"It’s no coincidence that enigmatic Japanese psych group Les Rallizes Denudes’s most notorious release - originally issued in is-it/isn’t-it fully-authorised form by the mysterious Univive label - is named after the legendary Bob Dylan bootleg LP issued by Trademark Of Quality in 1969. Rallizes plug into rock’s most outlaw tendencies, fetishise its most illegitimate aspects. They were punks before punk, avant rockers before avant rock, noise before Noise and their on-again/off-again career, which spanned the years 1967-1996, continues to cast a huge shadow across the psychedelic underground. Rallizes famously disdained any of the conventional trappings of a musical ‘career’, issuing only three ‘official’ CD albums all in the space of a single year, refusing interviews, hi-jacking airplanes (bassist Moriaki Wakabayashi was part of the Red Army Faction commando that stormed Japan Airlines Flight 351 in March 13, 1970) and abandoning any pretence at song-writing in favour of tearing apart ginchy 60s-retro grooves with endless flamethrower guitar solos. It’s only in retrospect that the scale of their influence, not to say the details of their biography, has become apparent.

Word of Rallizes subterranean reign only really began making it out to the west in the early-90s as the first wave of new psychedelic rock groups coming out of Tokyo’s PSF stable - Acid Mothers Temple, High Rise, Mainliner, Overhang Party, Fushitsusha, Shizuka, White Heaven - began to make it to the UK and the US, bringing with them tales of a group called Naked Rallizes that were a secret influence on the whole scene. It’s no coincidence that the first release ever readily available in the west - Oz Days Live, Live ‘77, Heavier Than A Death In The Family - were all bootlegs. Early on, guitarist/vocalist Takashi Mizutani perfected a form of samizdat recording that felt closer to the lo-fi appeal of boots than conventional studio aesthetics. The whole live-in-a-sandstorm-at-the-bottom-of-an-elevator-shaft feel of their recordings is a large part of their appeal, fully delivering on the barbaric promises of the wildest and crudest rock n roll." (Moshe Idel, Toledo, Spain, November 2010)

Absolutely Brilliant.

Rallizes have been a part of my life ever since, way before I got into noise, japanoise, or even abrasive/experimental music in general, they quickly became one of the most important bands that I ever got into, very formative when it came to getting an even bigger appreciation towards bootleg culture, as well as being one huge gateway into a lot of other artists and bands that I would come to treasure over the years (those two paragraphs were my gateway towards a lot of the groups that formed part of the Psychedelic Speed Freaks label, but specially towards Shizuka, Keiji Haino and, SPECIALLY, the Acid Mothers Temple, which over those next few months would quickly become another huge obsession of mine). Eternally grateful towards Mizutani and the multiple lineups he managed to form over the years this beast of a band was active.

And it is that gratitude which brings me here today. If one gets into the Rallizes catalog, it is easy to notice that it will most definitely become a headache to navigate for most. Most of the common bootlegs are boxsets, and a lot of the boxsets either have the same performances, only have some incomplete recordings, present the recordings they have with some headache inducing sound qualit, and some others have gained legendary statuses when it came to the community and attention surrounding them (more often than not for very good reasons). But of course, there is a lot to dive into, and just like most other bands presenting this sort of "catalog" which depends on how widely spread some bootlegs are compared to others, there is simply a lot of stuff that is hard to come by for many.  Be it for availability, the way they are tagged, or in a lot of cases, because users refuse to trade unless some ridiculous condition is met. I am of the firm belief that bootlegs should be widely available for everyone, for every fan of the band or for every newcomer that is simply interested in trying something at random, and that "trading/pay" mentality to me is something cancerous and the main reason why a lot of folk are just thrown off by the bootleg community in general. And it really shouldn't be that way.

So here I come to do my part, contributing to my own philosophy and just helping to spread interested towards these particular recordings that I bring to you today. I'm not sharing any of the big boys or widely available performances that are relatively easy to find for people interested, all of these bootlegs are the ones that I consider to be some of the hardest to track down from the band in general, mainly because they are not included in any big physical release (and if they are or it is more ofte than not under a shitty audio source or just a selection of one or two tracks of their set). I have gathered them over the years and now bring them to you, dear reader or Rallizes enthusiast, for you to enjoy and, hopefully, get mesmerized by, as I have been over the years...

暗殺者たちのこの夜があなたにとって最後の夜にならないように

Various Live / Demo (?) Recordings

Les Rallizes Dénudés - 1974-07-13 - Meiji Gakuin University

Audience Recording

1. 造花の原野 (8:29)

2. 心の内側 (10:04)

3. 黒い悲しみのロマンセ (7:41)

4. 天使 (9:58)

5. 黒い悲しみのロマンセ (4:50)

6. お前を知った (11:36)

7. The Last One (20:17)

Soundboard Recording

1. 造花の原野 (9:20)

2. 心の内側 (10:03)

3. 黒い悲しみのロマンセ (2:43)

4. 天使 (8:59)

5. 黒い悲しみのロマンセ (5:17)

6. お前を知った (11:19)

7. The Last One (19:48)

Les Rallizes Dénudés - 1975-10-01 - Adan Music Studio Session

1. 夜より深く (10:58)

2. 黒い悲しみのロマンセ (8:25)

3. 造花の原野 (6:10)

4. 白い目覚め (5:32)

5. 記憶は遠い (9:10)

6. 不明 (1:22)

Les Rallizes Dénudés - 1976-00-00 - Studio Demos, Unknown Venue 

Source 1

1. 即興 (7:06)

2. だけどおれはちがう (6:07)

3. 夜より深く (9:50)

4. Fantastique (7:00)

5. 夜、暗殺者の夜 (8:12)

6. 不明 (1:26)

7. 氷の炎 (8:58)

8. 白い目覚め (5:18)

Source 2

1. 夜、暗殺者の夜 (8:08)

2. 夜より深く (10:04)

3. 黒い悲しみのロマンセ (7:51)

4. 即興 (7:01)

5. 記憶は遠い (5:38)

6. 記憶は遠い (3:45)

7. 造花の原野 (15:51)

8. 氷の炎 (8:44)

Les Rallizes Dénudés - 1976-10-30 - Kinjo Gakuen University

Version 1

1. 夜、暗殺者の夜 (13:18)

2. 夜より深く(13:49)

3. 白い目覚め (5:47)

4. 氷の炎 (8:56)

5. The Last One (16:51)

Version 2

1. 夜、暗殺者の夜 (13:21)

2. 夜より深く (13:48)

3. 白い目覚め (6:36)

4. 氷の炎 (0:21)

5. 氷の炎 (8:35)

6. The Last One (16:53)

Les Rallizes Dénudés - 1977-07-22 - Maison Franco-Japonaise

1. 夢 (5:38)

2. 夜、暗殺者の夜 (7:30)

3. 造花の原野 (5:16)

4. 夜の収穫者たち(6:31)

5. 氷の炎 (14:05)

6. 鳥の声 (7:49)

Les Rallizes Dénudés - 1979-04-25 - Yaneura, Shibuya, Tokyo, Japan

1. 白い目覚め (4:46)

2. 氷の炎 (8:41)

3. 夜、暗殺者の夜 (10:07)

4. 夜より深く (12:46)

5. 黒い悲しみのロマンセ (12:52)

6. 鳥の声 (6:22)

7. The Last One (11:49)

Les Rallizes Dénudés - 1979-10-27 - Studio Demo Tracks, Hosei University

Version 1

1. 夜より深く(11:24)

2. 氷の炎 (12:59)

3. 鳥の声 (7:04)

4. 天使 (14:20)

5. The Last One (11:16)

Version 2

1. 夜より深く(6:30)

2. 夜より深く (4:51)

3. 夜、暗殺者の夜 (9:27)

4. 黒い花びら(15:18)

5. 氷の炎 (12:05)

6. 鳥の声 (6:17)

7. 造花の原野 (1973) (10:55)

Les Rallizes Dénudés - 1980-01-16 - Yaneura, Shibuya, Tokyo, Japan

1. 夜の収穫者たち (13:42)

2. 夜、暗殺者の夜 (12:02)

3. 白い目覚め (8:35)

4. 夜より深く(13:49)

5. 氷の炎 (14:00)

6. 記憶は遠い (14:57)

7. 夜、暗殺者の夜 (11:54)

8. 黒い悲しみのロマンセ (9:35)

9. The Last One (30:46)

Les Rallizes Dénudés - 1981-08-18 - Yaneura, Shibuya, Tokyo, Japan

Version 1

1. 造花の原野 (11:50)

2. 夜、暗殺者の夜 (17:09)

3. 黒い悲しみのロマンセ (12:57)

4. お前を知った (23:50)

5. The Last One~The Last One '60 (22:40)

Version 2

1. The Last One '60 (9:10)

2. 造花の原野 (4:15)

3. 夜、暗殺者の夜 (14:37)

4. 黒い悲しみのロマンセ (18:12)

5. お前を知った (25:03)

6. The Last One (17:04)

Les Rallizes Dénudés - 1981-12-19 - Yaneura, Shibuya, Tokyo, Japan

Version 1

1. 氷の炎 (18:45)

2. 夜、暗殺者の夜 (14:57)

3. 記憶は遠い (13:03)

4. 黒い悲しみのロマンセ (13:01)

5. 砕け散ったやさしさも (21:27)

6. 白い目覚め～Enter the Mirror (11:06)

Version 2

1. 氷の炎 (18:33)

2. 夜、暗殺者の夜 (14:45)

3. 記憶は遠い (15:05)

4. 踏みつぶされた優しさ (21:31)

5. 踏みつぶされた優しさ (21:28)

6. 白い目覚め～Enter the Mirror (11:07)

Les Rallizes Dénudés - 1982-12-18 - Hosei University

1. 夜より深く(15:45)

2. 夢割草 (8:21)

3. 夜、暗殺者の夜 (13:47)

4. 氷の炎 (20:18)

5. 氷の炎 (21:30)

6. 黒い悲しみのロマンセ (17:44)

7. 鳥の声 (11:20)

8. 造花の原野 (14:25)

Les Rallizes Dénudés - 1983-02-18 - Yaneura, Shibuya, Tokyo, Japan

1. 不明 (3:23)

2. Enter The Mirror (9:21)

3. 氷の炎 (10:44)

4. 氷の炎 (10:09)

5. 造花の原野 (7:57)

6. 恋の物語 (6:03)

7. 夜、暗殺者の夜 (6:39)

8. 夜より深く(0:30)

9. 夜より深く (14:58)

10. 鳥の声 (8:28)

11. 氷の炎 Part 2 (13:19)

Les Rallizes Dénudés - 1983-03-29 - Yaneura, Shibuya, Tokyo, Japan

1. 夜、暗殺者の夜 (10:10)

2. 造花の原野 (9:32)

3. 氷の炎 (21:03)

4. 黒い悲しみのロマンセ (11:33)

5. 黒い悲しみのロマンセ (2:39)

6. 記憶は遠い (6:48)

7. 恋の物語 (6:51)

8. 恋の物語 (5:42)

9. 鳥の声 (7:06)

10. 夜より深く(15:46)

11. The Last One (17:30)

Les Rallizes Dénudés - 1983-04-20 - Rokumeikan

1. 夜、暗殺者の夜 (12:07)

2. 記憶は遠い (11:42)

3. 造花の原野 Part 2 (12:21)

4. 氷の炎 Part 2 (12:26)

5. 氷の炎 (13:24)

6. 即興 (4:05)

7. The Last One (11:56)

Les Rallizes Dénudés - 1983-08-11 - Chicken Shack

1. 夢割草 (5:24)

2. 夜より深く(10:50)

3. 不明 (1:49)

4. Enter The Mirror (11:43)

5. The Last One (17:36)

6. 記憶は遠い (9:15)

7. 氷の炎 (13:10)

8. 夜、暗殺者の夜 (7:17)

9. 造花の原野 (7:43)

10. 黒い悲しみのロマンセ (11:47)

11. 鳥の声 (8:49)

Les Rallizes Dénudés - 1984-10-17 - Rokumeikan

1. 夜より深く(16:41)

2. 夜、暗殺者の夜 (11:05)

3. 記憶は遠い (8:20)

4. 踏みつぶされた優しさ～氷の炎 Part 2 (43:37)

5. The Last One (11:39)

Les Rallizes Dénudés - 1985-12-18 - Hosei University

1. お前を知った (13:51)

2. 夜、暗殺者の夜 (13:51)

3. 記憶は遠い (9:06)

4. 氷の炎 (33:34)

5. 造花の原野 (23:10)

6. The Last One (31:41)

Les Rallizes Dénudés - 1987-06-23 - Crocodile, Shibuya, Tokyo

1. 夜、暗殺者の夜〜Introduction (1:44)

2. 夜、暗殺者の夜 (9:36)

3. Improvisation (29:41)

4. 不明（どこにでも）(11:05)

5. Improvisation (16:33)

Les Rallizes Dénudés - 1987-09-21 - Rokumeikan

1. 導入 (0:38)

2. 鳥の声 (5:26)

3. 夜の収穫者たち (8:11)

4. 夜、暗殺者の夜 (7:42)

5. 夜の収穫者たち (3:57)

6. Enter The Mirror (7:04)

7. 造花の原野 (5:49)

8. 夢割草 (8:22)

9. The Last One (15:54)

10. 即興 (3:55)

Les Rallizes Dénudés - 1993-02-13 - Kichijoji Baus Theater 

Source 1 (Soundboard)

1. 海のように (28:37)

Source 2 (Audience)

1. 記憶は遠い (5:33)

2. 海のように (18:21)

So this Baus gig is a weird one. We know this is one of their hardest set to track down in general, mainly because over the years there have been a wide multitude of different downloads and physical boots including either a small snippet, a considerable fragment of the set, or claiming to have the entirety of the set in them, but with most of them being recordings of totally different sets from 93 or having the sources be completely different from one another. To anyone who is familiar with deep-diving into Rallizes boots these might seem like a normal situation, but this is one of those very special instances where it is really hard to actually tell if the sources are veridic or trust-worthy enough. So far the most reliable sources we have are the recordings included in both volumes of the "Disaster Sources Encyclopedia Of Rallizes" boxsets from the Ignuitas label issued in 2012, with most people only able to get their hands on the tracks included in Volume 2, but I, apparently, also happen to be in possession of a rip of Volume 1 (which I also have come to share today in this post). Since these boxsets have their masters in CD-r's, the quality isn't the best by any means, which makes up for some very unpleasant moments throughout the set (which also happens to be incomplete even when combining the recordings from both of these boxes). We know there is a Soundboard source that has the entirety of the gig preserved in good sound quality, but people that have access to it seem to not want to share it with others in general for whatever reason (sometimes having the files available in platforms like slsk but showcasing them as locked and never responding to ANY messages whatsoever interested in trading or permission to download fucking hell I despise slsk individuals a lot sometimes).

Let's get straight to the point. What I share here today are three versions of this bootleg. One is the version listed above, a boot presenting two sources that mainly focus on the now iconic Ocean jam, with the first one being sourced from a soundboard source and the second one the incomplete audience one (there also seems to be other existing versions such as the one present in the L'Historie / All Darkness bootleg, which is also clear in sound quality and lasts a bit longer). The second one is the incomplete version of the set that combines all the recordings available on both volumes of the Disaster Sources boxes. And the third one is a more modern instance of the set with a version that surfaced in 2018, attempting to remaster all the recordings available on Volume 2 of the Disaster Sources, with a bonus track from the Soundboard source that any fan would really like to get their hands on. 

If I ever manage to get ahold of that particular full soundboard source I will quickly upload it to the drive and update this post, for the convenience of Rallizes fans, but mostly for my own. Let's just hope someone is kind hearted enough to be willing to share it one of these days...

Les Rallizes Dénudés - 1993-02-13 - Kichijoji Baus Theater (Disaster Sources Version)

1. 夜、暗殺者の夜 (10:39)

2. 黒い悲しみのロマンセ (12:18)

3. 夜の収穫者たち (15:39)

4. 海のように (19:47)

5. 記憶は遠い (5:59)

6. Enter The Mirror～The Last One (32:45)

Les Rallizes Dénudés - Excerpt From A Live Recording At Baus Theater (2018, Atelier Maudite)

Disaster Sources "Volume 2" Tracks Remastered (2018)

1. 夜の収穫者たち (15:39)

2. 海のように (19:47)

3. 記憶は遠い (5:59)

4. Enter The Mirror (7:27)

5. The Last One (25:18)

Bonus Track Soundboard Source

6. 海のように (15:14)

Les Rallizes Dénudés - Club Citta February 17 1993

https://rutracker.net/forum/viewtopic.php?t=4343062

This is more of a big recommendation from my part. This is one of my favorite gigs from the Rallizes, the original sources are muddy and definitely take away from what is otherwise an amazing set from those later years, with the bass being buried or the vocals feeling very in the background, but this attempt at a remaster popped up in rutracker back in 2013 and has been the definitive document of this set for me. Truly outstanding work done with the sources, sounds very very good and definitely does justice to it in such great ways by improving most of what was wrong or felt off putting. Big recommendation from my part, has been one of my favorite bootlegs of them for the longest time now.

1.1. Night Of The Assassins (10:58)

1.2. A Distant Memory (8:44)

1.3. Strong Out Deeper Than The Night (8:38)

1.4. Now Is Forever (17:24)

1.5. White Waking (11:10)

1.6. A Voice Of Bird (4:48)

2.1. Unknown (Darkness Has Come Back) (25:44)

2.2. The Last One (38:50)

ニプリッツ＋水谷孝 - 1993-12-24 - Mushroom

This next one is a special and very odd one. It has circulated around multiple trading websites and p2p sources for a few years now, under multiple names, but more often than not it is wrongly credited as it being a gig given under the Rallizes name. In reality this was a special occasion of it being a solo Mizutani gig with him being supported by another band (the specifics of this particular lineup are not known). Solid gig all things considered, but the sound quality definitely drags all the experience down, but still, definitely one of those oddities that a fan of the Rallizes would most definitely be interested in. 

Source 1 - Mizutani gig, starts from 夜、暗殺者の夜 until The Last One

1. 水谷孝 - All (64:44)

Source 2 - Supposed full recording of the set, first three tracks were performed by the other band and the rest is the Mizutani gig

2. ニプリッツ - 裏窓 (9:49)

3. ニプリッツ - 恋のからくり(4:58)

4. ニプリッツ - 見つめ合う恋～抱きしめたい (14:42)

5. 水谷孝 - 夜、暗殺者の夜 (10:57)

6. 水谷孝 - 記憶は遠い (9:15)

7. 水谷孝 - 白い目覚め (10:57)

8. 水谷孝 - Enter The Mirror (10:37)

9. 水谷孝 - The Last One (24:16)

The Hard To Track "Disaster" Box Sets (...hopefully)

A few years ago, around 2017 or so, I was hanging around a forum and someone mentioned that they were in posession of two rare boxsets from the Rallizes, the two volumes of the Disaster Sources Encyclopedia issued by the Ignuitas label in 2012. Most folk were uninterested, but I eventually got to talking with the fella and got ahold of rips of these two boxes. Both volumes came without any scans or embedded artwork whatsoever, just a .txt that included the supposed names of each discs but no catalog number or other sort of relevant info whatsoever, which made me hesitant but I still kept them regardless. Over the years Volume 2 eventually became a little bit known in the Rallizes fan community, somewhat widespread as it was, but Volume 1 wasn't. Curious as I was I got to download Volume 2 again, this time with a cover and scans of the CD-r's themselves, and I was very pleasantly surprised to find out that the contents were the same, and that the original rips I had gotten were better in quality, so I kept those and gave them cover art. But I could never find another rip for volume 1, and neither could most of the community interested in it. The same files could eventually be found on the downloads shared by the user "enohai" on slsk, so I take that as an extra point of proof of some sort (?). Nevertheless, here I come, sharing that original download I got for the Volume 1 box, having the full hope that this is most likely the real deal, so whoever choses to give it a chance I hope gets enjoyment or consolation after all that search.

Les Rallizes Dénudés - Disaster Sources "ENCYCLOPEDIA OF RALLIZES Vol.1" (2012 / Ignuitas Box Set)

Studio & Live 1976-1984

1.1. 記憶は遠い (10:42)

1.2. 恋の物語 (4:52)

1.3. 白い目覚め (2:47)

1.4. 永遠に (6:28)

1.5. 氷の炎 (7:47)

1.6. 造花の原野 (10:20)

Live 1976-1987

2.1. 導入 (1:43)

2.2. Enter The Mirror (10:27)

2.3. 雪割草 (5:28)

2.4. 踏みつぶされた優しさ (10:59)

2.5. The Last One (12:42)

Live & Studio 1977-1981

3.1. The Last One (21:09)

3.2. 氷の炎 (10:30)

3.3. The Last One (3:52)

Rallizes Tour 1983

4.1. 氷の炎 (21:43)

4.2. 夜、暗殺者の夜 (7:07)

4.3. 造花の原野 (16:10)

5.1. 黒い悲しみのロマンセ (11:35)

5.2. 記憶は遠い (10:52)

5.3. 夜より深 (13:36)

5.4. 恋の物語 (5:38)

December 1983

6.1. 白い目覚め (8:26)

6.2. 造花の原野 (21:35)

6.3. 氷の炎 (7:13)

Festival 1987

7.1. Enter The Mirror～造花の原野 (13:11)

7.2. 黒い悲しみのロマンセ (8:48)

7.3. 夜、暗殺者の夜 (8:11)

7.4. 夜の収穫者たち (4:17)

7.5. 夢割草 (6:15)

Live 1993

8.1. 夜より深く～永遠に今が (23:46)

8.2. 記憶は遠い (8:11)

8.3. 白い目覚め (10:12)

9.1. 夜、暗殺者の夜 (8:46)

9.2. 暗黒が帰ってくる (23:29)

9.3. 鳥の声 (4:18)

10.1. The Last One (22:10)

10.2. 夜、暗殺者の夜 (10:39)

10.3. 黒い悲しみのロマンセ (12:18)

This second boxset I know even less about. I found it one day while trying to look for a particular Rallizes peformance in slsk, stumbling upon the massive archive shared by user "enohai" on the platform, and it looked interested enough for me to keep it. I have been unable to find any sort of information online, on websites or forums, regarding this particular name with this particular collection of tracks, but it is a decent enough "boxset' that I decided I would share it today, just out of convenience and just in case you want even more rallizes material to listen to. 

Les Rallizes Dénudés - Disaster Sources Studio et Live (Unknown Date / Box Set))

1973 西部講堂 & 1974 京都サーカス&サーカス

1.1. 造花の原野 (14:10)

1.2. 不明B (9:29)

1.3. お前を知った (16:38)

1.4. 不明〜氷の炎 (13:00)

1.5. The Last One (4:53)

Trip Festival Part 1

2.1. 鳥の声 (8:26)

2.2. お前を知った (14:00)

2.3. Enter The Mirror (8:22)

2.4. The Last One (23:05)

2.5. 白い目覚め (6:55)

Trip Festival Part 2

3.1. 天使 (7:58)

3.2. 氷の炎 (10:43)

3.3. 鳥の声 (10:45)

3.4. 眩暈 (7:45)

3.5. 導きの天使 (11:29)

Wild Party 1975 1005 京大西部講堂

4.1. 導入 (0:11)

4.2. 白い目覚め (6:12)

4.3. 記憶は遠い (11:12)

4.4. 黒い悲しみのロマンセ (8:48)

4.5. The Last One (9:31)

Live 1976 1217 立川社会教育会館

5.1. 白い目覚め (4:09)

5.2. 氷の炎 (13:54)

5.3. 天使 (8:37)

5.4. 導きの天使 (16:42)

5.5. 夢 (7:24)

1977 0813 獅子吼高原 第四回夕焼け祭

6.1. 黒い悲しみのロマンセ (9:36)

6.2. 夜、暗殺者の夜 (8:52)

6.3. 夜の収穫者たち (10:04)

6.4. 氷の炎 (14:36)

6.5. The Last One (24:51)

1979 Demo

7.1. 夜より深く (11:14)

7.2. 氷の炎 (12:56)

7.3. 鳥の声 (6:22)

7.4. 黒い花びら (15:03)

7.5. The Last One (12:42)

Live 1975-1977

8.1. 白い目覚め (6:43)

8.2. 記憶は遠い (8:27)

8.3. 導きの天使 (11:50)

8.4. The Last One (5:17)

8.5. 夜より深く(13:29)

Studio 1977_78_88_89

9.1. 黒い花びら (4:22)

9.2. 黒い悲しみのロマンセ (7:46)

9.3. 永遠に今が (6:44)

9.4. 氷の炎 (20:54)

9.5. 記憶は遠い (10:41)

9.6. 恋の物語 (4:43)

Studio 1977_78_80

10.1. 夜、暗殺者の夜 (8:47)

10.2. 夜、暗殺者の夜 (8:56)

10.3. 夜、暗殺者の夜 (4:19)

10.4. 夜、暗殺者の夜 (7:37)

10.5. 夜、暗殺者の夜 (7:13)

10.6. 夜、暗殺者の夜 (12:35)

Various Magazines

And finally, some assorted magazine pictures and scans that I got from user "enohai" in their massive slsk archive. They have some great pictures and are just so good to look at. In particular I come to share all of the Rallizes section from the Etcetera Issue 2 magazine, the one that came with that bonus 7" vinyl that would come to be one o the few "official" Rallizes releases (also included as a download in this post). I also happen to have a full quality scan of the entire issue if you happen to be interested in the rest, specially since it came with a lovely section dedicated for La Monte Young. The magazine itself is a blast to go through, full of some of the most iconic and beautiful pictures of Mizutani and the gang to have ever surfaced in general (all the lazy """covers""" that were used were made with pictures taken from those scans, so if you were wondering where I got them, well there is your answer). Hope you enjoy!!!

Les Rallizes Dénudés - Etcetera, Issue 2 (1996)

1. 黒い悲しみのロマンセ (7:42)

2. 永遠に今が (6:41)

AND YES. I hope you had to pleasantly sit your goofy ass throughout all this just to get to what I assume is your main, and most likely, only interest. Or maybe you didn't. REGARDLESS, from the bottom of my heart I hope the music that I have come to share with you today makes your day, week, year, decade, century... a little bit more bearable. Enjoy it!

Download Here! - 

https://drive.google.com/drive/folders/1I-iJUw8CBfNUU_LiQ5AvpVeh__C86CIm?usp=sharing

Buzzcocks - Complete BBC Sessions 77-79 / Bootleg Download

 

The legacy of the Buzzcocks is one that is really hard to argue against. It is just amazing the way this band managed to influence punk in such a way that their sound and their inspiration can be heard in a lot of bands even to this day. To the eyes of many there is simply no doubt that their run from 1977 to 1979 was truly something else, the band was on fire, booking live gig after live gig, being incredibly active in studio, and ending up delivering some of the most enjoyable and energetic music at the time. Of course, despite the uniqueness of their legendary run, it is hard to say that it was all perfect, but there is at least a concensus regarding its high quality and, what's more important, their undeniable legacy and importance in the history of modern music. Sadly, the same statement can't be used when it comes to talking about the rest of their discography.

Yeah, the band is, and will always be, known for those early albums and singles, but they still have an oddly large discography that spans over the course of decades, a discography full of new music as well as plenty of archive material constantly unvaulted in order to be showcased to the public, everything of varying quality. One could quite literally spend hours talking about each and every one of these releases, bringing out their pros and cons, discussing their relevance, or simply being baffled at the next step that Shelley (may he RIP) and company chose to take for their newest project at the time, but most of that isn't relevant at the moment. However, there is one release that falls into this category that has always been a splinter in my thoughts regarding this band, and that would be the BBC Sessions album released in 1998. 

This album was very weird for many reasons. At that point the Buzzcocks were very active, having released an album in 1996 and preparing themselves to enter recording sessions for their upcoming 1999 album, ending up in a period that was very active for their live performances in promotion of all this new material. Of course, and in very expected "legendary English musical act with new music on the plate" action, radio presentations came to be, ending up in the Buzzcocks doing plenty of these sort of performances over the course of the 90s. Promotion for this release was very vague, the CD was relatively limited and most definitely addressed towards big fans more than anything, but the contents were still not very clear up until the release of the album. Reading something as "BBC Sessions" from a band like the Buzzcocks, which had very iconic BBC presentations during that golden 70s run, one would expect mostly this sort of archive material complemented with a few sparkles of the newer recordings. However, this was not the case. Only four (technically five) of the twenty (technically twenty one) tracks on the album were of their early days, with the rest of the material being presentations done from 1993 to 1997. Essentially, there is absolutely nothing wrong with that, it technically is something that lives up to its name and description, but I guess it is something that had always bugged me in some irrational way, mainly because Buzzcocks live after the 80s has never fully clicked with me. There is no doubt that the band, with its different lineups, still tried to bring back the energy that had characterized the name for a long time, but it just was never the same. Strong instrumentals can't hit the same without strong vocals, and viceversa, and by that point Pete had just lost or gotten weaker regarding most of the qualities that made him unique as a vocalist and a frontman. It was evident that he was still trying, and there are still plenty of great little songs from the new music being written and performed at that period that one can listen to and enjoy, but as a whole the essence of Buzzcocks was almost an old memory drifting away (thankfully, it never really did, even during their last stretch of material in the mid 2010's, but you get the point).

I guess as a way to ease that splinter in my thoughts I come here to share the """proper""" BBC Sessions release, a bootleg compiling their radio performances from 1977 to 1979. They are not that great and honestly when I first stumbled upon them I ended up coming out underwhelmed in a very odd way (with the "disappointment" coming from unreasonable and made up personal expectations more than the actual quality of the recordings), but they are still a very important historical document that any Buzzcocks fan, or just any fan of punk history, should check out. There are still a lot of great moments to be appreciated from the bunch (the first two sets of Peel Session recordings being my absolute favorites of the whole thing), and as a whole it is what someone would really come to expect from a release titled "BBC Sessions" that has the Buzzcocks name attached to it. Fun, energetic, catchy, and just engaging from beginning to end, and NOT ending on an unnecessary silence just to reward the listener with a radio recording of What Do I Get from 1979 that is just odd because of its sourcing when everyone and their mother know full well that THAT particular recording has always been available in high quality. Oh well, what can you do.

At least Garvey's bass in Fast Cars will never NOT fuck insanely hard in ANY of its renditions.

Peel Session 1977-09-07

1. Fast Cars (2:16)

2. Pulse Beat (4:47)

3. What Do I Get (2:52)

Peel Session 1978-04-10

4. Noise Annoys (2:55)

5. Walking Distance (2:09)

6. Late For Train (5:13)

Peel Session 1978-10-18

7. Promises (2:31)

8. Lipstick (2:40)

9. Everybody's Happy Nowadays (2:21)

10. Sixteen Again (3:17)

Old Grey Whistle Test 1978-11-14

11. Sixteen Again (3:00)

12. Nothing Left (4:36)

Kid Jensen Session 1978-11-xx

13. Promises (2:24)

Mike Read Session 1978-11-xx

14. Lipstick (2:28)

Peel Session 1979-05-21

15. I Don't Know What To Do With My Life (2:44)

16. Mad Mad July (2:42)

17. Hollow Inside (3:48)

18. E.S.P. (3:38)

Download Here - https://drive.google.com/drive/folders/1CdthoCVZHKXuZCyd4ClrfUilNn6LR3rG?usp=sharing

Wobbler - Burg Herzberg Festival, Breitenbach am Herzberg, Germany, 29/07/2018 / Bootleg Download

 

The modern state that the world of progressive rock is currently in is most certainly a very curious one for various reasons. On the one hand prog is one of those genres that has gathered an aura of pretentiousness, one of those genres that is full to the brim with people that catalog the music as intellectual, as something that only the enlightened and smart folk would be able to truly enjoy, and full of musical acts that also seem to endorse that mindset in a lot of manners. And while this aspect of the community is very present, those statements could not be, of course, further from the truth, since that style of music isn't supposed to be enjoyed by just one type of individuals, and the amount of prog albums that are held as all-time classics in the history of rock music certainly prove that better than anything else. In the end, and as a huge prog fan myself, the only thing I would recommend more than anything else is to please further yourself as much as possible from the baffling snob-ish community in order to just explore and enjoy the music as much as possible. 

That being said, modern prog is a very interesting mixed bag regarding the musical aspects that are part of it. On the one hand you truly have acts that focus to live up to the name of the genre, "progressing" or innovating as much as they can in their own personal styles, having their own influences but not wearing them as an essential part of who they are, ending up in certainly outstanding records that captivate listeners in the best way possible. But for the most part you have the throwback acts that aim to mimic the classic acts from the 70's in all the ways possible, with the vast majority of these bands feeling uninspired, lazy, and just aimless with their work. Thankfully this is slowly starting to change more and more, and both new and old acts are starting to be more daring with their proposals, leading to the last few years in the world of prog music being very exciting and full of unique and worthwhile projects that give new life to this wonderful genre. However that is not to say that among this sea of acts imitating the classic style there weren't some groups or artists that did manage to do so on a remarkable way, bringing new life to what is old, executing ideas in the best way possible, not because they were just taking that classic style, but because they were doing so on a very unique way, grabbing from the best parts of their influences and giving birth to something completely new. And among those remarkable acts Wobbler stands as one of the most consistent and delightfully marvelous.

Wobbler don't have a relatively big discography, but for a band that has been going strong for more than two decades now, their five studio outputs make up for one of the strongest and most consistent offerings that one will be able to find in the world of modern prog. Using the same buzzwords and cliché comparisons you can make, because this is one of the few instances where those actually make sense, this band is just a jack of all trades when it comes to their influences and style of music. Chris Squire's influence in the bass, a perfect blend of Genesis and Gentle Giant's style of onstage/studio presence, ELP's elegance in the compositions but with the decency of knowing their limits in order to not overwhelm the listener by going that overboard, it all can be found on a discography full of wonderful tracks, powerful performances, and incredible musicianship. It really is a band that leaves one wondering how most of these songs would be translated to a live setting, and even though a live album from them would be an incredible offering it sadly isn't something that has taken place yet, but once again bootlegs are here to satisfy that need.

The band has had its fair share of bootlegs popping up throughout the years, but sadly none of these ended up being from a soundboard source, ending up with a lot of audience recordings of varying quality. But it's not all too bad, I've always been a big defender of audience tapes specially since a lot of my own personal favorite bootleg recordings were sourced from similar places, and there are some outstanding sets from Wobbler to take notice of being available by such means. What I share here today is one of their 2018 performances (the era that has the most bootleg recordings available for the public, and for very good reasons), my favorite one out of the bunch, since its the one with the most listenable and clean sound quality throughout the entire set, that took place during the 50th anniversary of the Burg Herzberg Festival in Germany. The festival as a whole was mostly a disappointment for most people attending it due to the huge mixed bag that were the main musical acts, but most articles and forum discussions on the matter agree that Wobbler immediately took the spotlight and almost made up for the rest of the experience. Hot right out of the release of their fourth album, "From Silence To Nowhere" (my absolute favorite out of their entire discography), one year prior, Wobbler were at full force, and this set accentuates that in the best ways. Starting off with two songs from their first album and then picking the highlights from both their new album and their previous effort "Rites At Dawn" (including both epics from the new album as well as offering wonderful extended renditions of In Orbit and specially This Past Presence), with the only lackluster aspect of this recording being the sound quality, which isn't bad, but the whole thing could benefit more from a direct soundboard source or a clearer audience tape. A close to two hour long set that ends up being mesmerizing, full of charm from the band members and their interactions with the audience, wonderfully executed, and full of remarkable musicianship that serves as further proof that Wobbler are one band that deserves all the love and recognition it gets.

But more than just a way of sharing a great set this is just a way to encourage anyone who is unaware of the band to just give them a try. They released another wonderful album in 2020 and a compilation of their first three albums in late 2021, which is certainly a more convenient way to listen to them I suppose. Supporting their bandcamp if you happen to end up liking their music would be just the best thing to do (or, you know, just fucking give them their money by buying From Silence to Nowhere, that is just a fully incredible album), seriously heavy recommendations from my part. 

Whatever you end up doing, I just hope you are having a blast doing so. Cheers!!!!

1. Clair Obscur (2:41)

2. Rubato Industry (13:52)

3. Welkom (1:06)

4. From Silence to Somewhere (22:47)

5. This Past Presence (21:23)

6. Foxlight (15:41)

7. In Orbit (16:00)

Download Here - https://drive.google.com/drive/folders/17xFwAz4cSRl0A0mRvk75R1C2-GzNANmy?usp=sharing