Pure label has quite special meaning for me personally. 1994, having just released couple Grunt tapes, I decided to sent Ron "One animal Above The Others" tape, and received in trade Emil Beaulieau "memories" CD, with catalogue and list of items. Seeing these items were just 20usd for 3 discs, as opposed to what CD's/LP's and for example Jap import tapes generally cost, it became my ultimate top-1 source to check out bands. And why not? Even if catalogue at first (early parts always came with list of pure discs that had been releases. Along "Memories" list consist only 7 releases that were out (Aube, Sudden Infant and 5 Emil Beauliea discs + future releases listing bunch of stuff, and not all of them even came out (like Borbetomagus members solo discs)) was small, it grew rapidly. In just couple of years, you could see that it covered not only the top players of the time, but newcomers and re-issues of old stuff. Not only noise, but PE, industrial, experimental. Not only USA or Japan, but basically anywhere. Japan, France, Switzerland, Usa, UK, Germany,... Even if presentation was cheap and uniform, nothing else is. Thinking one could grab stuff of hottest jap artists (Aube, MSBR, Violent Onsen Geisha, Pain Jerk, K2, Incapacitants, etc) or old power electronics re-issues (Ramleh, Le Syndicat, Consumer Electronics, DMDN..) new power electronics (Deathpile, Murder Corporation, Söldnergeist,..) experimental humorous weirdness (R&G, Sudden Infant, Smell & Quim..), experimental sound (AMK, PBK, Pig City Orchestra,..) grim noise harshness (Chop Shop, Knurl, Dead Body Love, JTCH, etc) and it all seamlessly fits under one label name... This was really influential for my own operations as well.
I would dare to say this series molded more than one generation of newcomers in noise. It may appear quite irrelevant label at 2013, when most of bands who were new & upcoming, have quit. Some obscurities never became anything (who the hell is Fab44, Naj, 666VBN,.. etc?!). With c. 15-20 years years after stuff was published - with probably tens of thousands of new bands & releases happened after that... why bother?
I tell you why:
Every time I pick up some old Pure releases, I see exactly why it was put out. There is hardly ANY titles that could be said it lacks in quality. Due diversity, you may not like them all, but most likely is possible to see why it is great release.
Besides that, almost every title is available still in 2013. Hottest titles has been re-pressed over the years. Most unknown ones are still the original disc that came out. In times when labels are so busy making batches and move on to next, I find it very interesting that someone had probably vision, that this is not just flavor of the month or year, not the new trend to jump into, but pretty much TIMELESS noise, as good in 2013 as it was in 1995.
I don't have time right now, but thought to write some words of as many titles as I have energy to do (similar to GROSS topic or Xn topic). Feel free to write comments of label OR review individual releases.
It appears as if I'm missing one title anymore. When I look the catalogue, there is annoying moment of knowing that either 1) I have it somewhere I don't know and can't locate or 2) I don't have it. I have sold (and am still selling A LOT of pure releases. Most priced 6 euro each - hint!!), anything willing to trade me copies of:
** Le Syndicat "rectitude" CD **
ALL MUST BE ORIGINAL Pure disc cardboard packaging. I see these titles being sold for couple of euro range, but willing to trade cd for cd for any regular price discs on FA catalogue. I have the new cover versions in my mailorder, but just want the original packaging. So disc quality doesn't have to be mint.
Pure
Profile (according to discogs)
Pure was started in 1994 by RRRecords as a series of very affordable CDs by a wide range of experimental and noise musicians.
All releases were packaged in identical black & white slipcases, with a sticker on the front giving the artist and title. Most also included a fold-over insert advertising other releases in the series. The release notes were typically part of the CD artwork itself.
The series was officially stopped as of January 1, 2000. All remaining Pure CDs were repackaged by RRRecords in black sleeves with new cut-up style paper covers pasted on, unique to each release. However, the label did have one posthumous release in 2005 (LHD's "Opaque", in the original Pure packaging).
discography according to discogs:
*none Aube Purification To Numbness (Album) ◄ 1994
*none Sudden Infant Solothurn ◄ (3 versions) 1994
*none Emil Beaulieau Memories (CD) 1994
*none Emil Beaulieau Dedicated To Richard Rupenus (CD) 1997
*none Emil Beaulieau Kill The All-Noise Japanese Artists (CD) 1995
*DIDX-029401 Emil Beaulieau Dedicated To Charlie Ward (CD)
*none Emil Beaulieau Dedicated To Masami Akita (CD) 1997
*DIDX-031038 Consumer Electronics Teenage Nuremburg (CD, Album) 1995
*DIDX-031039 Ramleh We Created It, Let's Take It Over Vol I (CD) 1995
*DIDX-031040 Ramleh We Created It, Let's Take It Over Vol II (CD) 1995
*DIDX-031041 Ramleh We Created It, Let's Take It Over Vol III (CD) 1995
DIDX-031042 Evil Moisture & Macronympha The Tentacles Of The Octopus Sometimes Compete Against Each Other (CD) 1995
*none Haters, The Ordinarily Nowhere (CD) 1995
*none Incapacitants Ministry Of Foolishness ◄ (2 versions) 1995
*none Dead Body Love Maximum Dose ◄ (2 versions) 1996
*PURE 15 Runzelstirn & Gurgelstøck Dein Mund So Rot... ◄ (2 versions) 1995
*PURE 16 Phaeton Dernière Danse & Le Syndicat Théophanie À Visu (CD) 1995
*PURE 17 Knurl Nervescrap (CD) 1996
*PURE 18 Violent Onsen Geisha The Midnight Gambler ◄ (2 versions) 1996
*PURE 19 Smell & Quim Diameter Of Elvis' Colon ◄ (2 versions) 1995
*PURE 20 Chop Shop (3) plays Emil Beaulieau Red & Buried (CD) 1995
*PURE 21 Total (2) Glassy Warhead (Album) ◄ (3 versions) 1995
*PURE 22 Naj Resituation Smile (CD) 1995
*PURE 23 Zone Nord Roferon A (CD)
xxx PURE 24 Impact Test Gangwar (CD) 1995
*PURE 25 MSBR Destructive Locomotion Dedicated To Chizuo Matsumoto ◄ (2 versions) 1995
*PURE 26 Pain Jerk Trashware ◄ (2 versions) 1995
*PURE 27 FAB.44 Majik On The Moonlight (CD) 1997
*PURE 28 Rend (2) Proberta Gerber ◄ (2 versions) 1996
*PURE29 AMK Play (Album) ◄ (2 versions) 1995
*PURE 30 Le Syndicat Corrumpate (CD, Album, RE) 1995
*PURE 31 Le Syndicat Relikat & Schraguemusik (CD) 1995
xxx PURE 32 Le Syndicat Rectitude (CD, Album, RE) 1995
*PURE 33 Kiyoshi Mizutani Millstone (CD, Album) 1995
*PURE 34 Masonna Noisextra (Album) ◄ (2 versions) 1995
*PURE 35 PBK / Hands To / AMK System-Music-End (CD, Album, Comp) 1995
*PURE 36 Crawl Unit Proprietary Acoustics (CD, Album) 1996
*PURE 37 Thurston Moore Please Just Leave Me (My Paul Desmond) (CD) 1996
*PURE 38 Japanese Torture Comedy Hour 50,000 Elvis Fans Can't Be Wrong ◄ (2 versions) 1996
*PURE 39 Cock E.S.P. Greatest Dicks ◄ (2 versions) 1996
*PURE 40 K2 Molekular Terrorism (CD, Album) 1996
*PURE 41 Toy Bizarre KDI DCTB 07 (TB-D Remixes) (CD, RE) 1996
*PURE 42 Pig Shity Orgestraw* Instructions For Use (CD) 1996
*PURE 43 Murder Corporation New Crimes ◄ (2 versions) 1996
*PURE 44 DMDN Sling Trip (Comp, Album) ◄ (2 versions) 1994
*PURE 45 Merzbow Merzbow Loves Emil Beaulieau (CD) 1996
*PURE 46 666 Volt Battery Noise Audio Super-Predator ◄ (2 versions) 1997
xxx PURE 47 En Nihil Blood Dreams (CD) 1997
*PURE 48 Akala Delicate Instruction (CD) 1996
*PURE 50 TAC Out Of Context (CD) 1997
*PURE 51 Söldnergeist Terror (CD) 2001
*PURE 52 Prick Decay Mud Sound For Car Stereos ◄ (2 versions) 1995
*PURE 53 Putrefier Trace Element Syntax (CD) 1997
*PURE 54 Deathpile Ne Plus Ultra (CD, Album, Ltd) 1997
*PURE 55 R.H.Y.: Yau* :Contiguous: (CD)
none LHD Opaque (CD) 2005
I appreciate the simplicity of the packaging. Easy to post and store slipcases with little fuss. And Ron can be very generous with these in trades.
I think I only have one Pure release, which is Deathpile's "Ne Plus Ultra". It made a big impact on me as listener and later as an artist as it was one of the first power electronics albums I ever bought. I still think it's Deathpile's best work too, even better than "GR". I got it from Hospital Productions at Dom's recommendation.
Some of the first noise that I ever got was RRR Junk Noise Omnibus and Pure discs. Early 2000s someone sold a bunch of them and I managed to pick up quiet a few.
Masonna disc is a real classic with two tracks from each of his separate styles.
Ramleh discs now made redundant by 'Awake!' set, but I have a nice rare Broken Flag edition of all three wrapped in transparencies.
Consumer Electronics is classic archive material with some funny stuff too - and of course much easier to find than the RRR box.
Things like Merzbow, R&G, Total, Cock ESP, Aube were all solid releases of quality material by the artists and for a budget price.
The Thurston Moore disc is very difficult listening of high pitched feedback tones. I gave my copy to a 90s era Sonic Youth fan to confuse them. Probably the most difficult listening of all the Pure releases I've heard is the bizarre and conceptual K Mizutani album.
Great and very influential label, great idea from RRRon.
I oike them a Lot, since you can listen to the Music really cheap. Specially with some Bigger Bands it is essential to know, if you like it or not. I have a Lot of them and some are even better (in my opinion) than the "normal" releases (like Consumer Electronics, Violent Ohnsen Geisha)
This rare mispress looks like a fun thing to own - http://www.discogs.com/Chicago-Group-Portrait-CD3/release/4022485
Rend are one of the lesser known acts on the label but I remember their Pure disc as being good noise.
Aube Purification To Numbness
Is his VCO recordings. Painful at times, certainly his most noisiest sources, often even annoying oscillator sounds. I guess Pulse Resonator could be better, but when thinking Praxis Dr Bearmann LP+7" special set... or cheap priced CD... CD will be certainly worth it!
Sudden Infant Solothurn
For clueless kid like myself, hearing material what contains very physical and daily sounds of vocals, water, tape manipulations, was very unusual after hearing lots of "noise". I had no experience of musique concrete nor electro-acoustic, and SI taking some influence from such things, but approaching it from "underground noise" perspective made it very interesting.
Emil Beaulieau Memories (CD) 1994
The more simple, straight forward, one-dimensional EB recordings, with utterly powerful single sounds of rumbling noise. No multitracking, no density, just pure and raw noise sounds, often ripped from someone elses records. One with R&G record - simply possessed my ears for decades. I can't get enough of that track. Absolute classic. Is it EB's achievement or not, hah, I don't care. He made great selection of other peoples work.
Emil Beaulieau Dedicated To Richard Rupenus (CD) 1997
Emil Beaulieau Kill The All-Noise Japanese Artists (CD) 1995
Emil Beaulieau Dedicated To Charlie Ward (CD)
Emil Beaulieau Dedicated To Masami Akita (CD) 1997
All these are much more dense and busy albums. They're all minutoli records, meaning the usage of 4 arm turntable, playing other peoples noise records, malforming, looping, destroying into new noise masterpieces. If you ask me, the order of brilliance is: Masami, Rupenus, Japanese and finally Ward. Charming sound of turntable needle fucking up broken records. Sounds much more harsh and fierce than many pedal/contact mic type of records. They are not heavy by any means. Just broken and dislocated.
Consumer Electronics Teenage Nuremburg (CD, Album) 1995
As said be Hongkonggoolagong, it's very hard to buy any old CE stuff. Rare tapes or rare vinyl boxes are out there, but if you want something what ain't going to put you bankrupt, this is it. Shortwave radio old school power electronics and kids having fun.
Ramleh We Created It, Let's Take It Over Vol I (CD) 1995
Ramleh We Created It, Let's Take It Over Vol II (CD) 1995
Ramleh We Created It, Let's Take It Over Vol III (CD) 1995
As said, you may not need these if you go for AWAKE box. Their sound is thin compared to old tapes or records. Don't know why. But for me personally, highly influential releases. When I heard these, and when I got access to first delay effect... huh... fuck, delay drenched feedbacking vocals was all you could heard in Grunt for next couple of years!
Evil Moisture & Macronympha The Tentacles Of The Octopus Sometimes Compete Against Each Other (CD) 1995
Tape noise on CD. That's what it is, I think. Not loud, no brutal,... but well, it is. But its something what rather would have been regular tape release than "cd album".
Haters, The Ordinarily Nowhere (CD) 1995
My most listened noise album ever. I think this has almost everything what needs to have in noise. So many times I tried to capture atmosphere of the album, without copying or imitating it. There are two stories I have heard what it actually is. One from RRRon, one from GX. Both have mentioned they did most of the album stuff, hah.. I would guess it is most of all sounds of Haters "In shades of fire" album, but even more monolithic. If I say WALL NOISE LIKE IT SHOULD BE, believe me!
Incapacitants Ministry Of Foolishness cd
So, you got to choose, do you take Opaque, As Loud As Possible, El Shanbara Therminosis or this. Latest mentioned, should be still available easily (from Freak Animal at least! Re-issue by Segerhuva), but Ministry of Foolishness doesn't lose anything when compared to all these others which constitute the milestones of this more electronic, more heavy and dense era of Incapacitants. It is not as fierce and irritating as the early days feedback and hight pitch crackle, but you can simply sink into busy walls of electronics as if it was ambient!
more comments later...
For myself, the most notable thing about it is how brilliant it was from a business perspective.
Quote from: Zeno Marx on February 01, 2013, 11:35:55 PM
For myself, the most notable thing about it is how brilliant it was from a business perspective.
As far as I can make out the fellow makes a kind of living from a more regular second-hand-record business, and while RRR and Pure as a label didn't exactly enjoy losing money (who does?) I have serious doubts that he has made much from the experimental and noise output over the years.
Maybe it's because the very first record I ever ordered from overseas (Eugene Chadbourne 'Country Music from SE Australia') was an early RRR release, maybe it is his generosity when it comes to trade deals, and maybe I'm being too kind about the wildly variable quality of his labels' output, but I would say RRRon is one of the most positive and open-minded influences on this scene there is. Have only ever met him once very briefly, but there are very few artists or label managers who have proved themselves as bullshit-free, good-humoured and trustworthy as this gentleman.
Well, I guess there is more in good business than just making tons of money?
One could think that you minimize costs, you minimize needs of work (individual artwork, packaging, difficulties of shipping). And thinking what was usual price of CD in 1994, I think 3 for 20usd was basically price you couldn't get even one CD or LP from certain labels. It would be safe to say he moved tens of thousands of discs, which may not make any significant income compared to... ehm.. "real job", but whether these titles was moved by retail or trades, it still is probably something very different that trying to operate with tapes or LP's or even regular priced discs, which are hard to put out in such a pace due demand of attention to packaging and individual artwork, costs of making, time of making, space of storaging,
To get both known bands, and not known bands, but sell cd's in bulk, you could possibly lure people to try other discs they knew nothing about. At least I ordered things like 2 guaranteed names and pick up 3rd I knew nothing about. And then bands like Zone Nord or Rend - would you have ordered if being 12-15usd CD on main catalogue?
Probably not so urgently. I guess one of the absolute key ideas businesswise is the batch of 3. So also names with no status move better. I guess same idea is used later by many labels. Putting out batches, so all sells better, than release individual titles, when only hottest titles are ordered instantly and rest later. When option to save time, money(shipping), people grab more.
One could also mention that Groundfault and PacRec both refined the concept. Groundfault had the quite uniform design, but all new sound (no re-issues) and full color jewelbox. PacRec was unique artwork in everything, but most discs packaged in cardboardsleeves. His pricing went further, being 20usd for 3, 5usd for each additional. 5USD, sometimes for full color jewelbox regular CD release, should be very good for any customer. But for distributors, it becames very hard to carry items what should be sold for less than (for example my own releases often cost to-) manufacture.
Nothing much to add, great label!
Getting tons of Pure CDs in trade from Ron provided hours and hours of top quality noise entertainment. I can consider quite a few Pure releases among my favorite noise records.
Yeah, nothing much to add either ... was a great label. My personal favourites are the Soldnergeist and Toy Bizarre releases. I remember buying the Ramleh releases from Depth Charge shop in York and being disappointed by the lack of information and professionalism in the packaging, but then as I realised it was part of some "bargain" series I started collecting. There was a magazine called "Progress Report" that gave away copies.
I suppose RRRon is carrying on the ideal with Recycled Music tapes?
Ron said once that Recycled series is his best business idea. Considering, that this simply transforms ANY tape worth of 4 bucks. Its most of all recycled mainstream tapes, but already years ago mentioned he started to dub over dead stock of other labels noise tapes.. haha! But I guess, it hardly matters. Recycled series is, however, completely different league in terms of focus and quality. Not that there wouldn't be some good tapes, but it's more of idea in general, that whether each tape is worth having or listening...
Dead Body Love Maximum Dose ◄ (2 versions) 1996
Lets see... If the masterminds like THE RITA keeps hailing DBL as one of ultimate noise mongers, there is something unusual here. I usually preferred his "PE copycat" project Discordance, but this synth noise project harshness is without doubt very strong in deep bass rumble and oscillating harshness. While it lacks my favorite elements of physical/feedback/"body noise" - without doubt its heavy and hard.
*PURE 15 Runzelstirn & Gurgelstøck Dein Mund So Rot... ◄ (2 versions) 1995
You know what it is. When I first heard it, I was almost shocked by amount of air on disc. Meaning, first whole aspect of timing and composition was lost on me, when it seemed like guys waiting and waiting, until single hit of hammer on some rubber toy making clonk & whistle... and then waiting again. But sooner or later genius quality of disc revealed itself to me. Hard, bizarre, odd, and somewhat retarded avantgarde!
*PURE 17 Knurl Nervescrap (CD) 1996
Knurl of old times - or should I say Knurl all the time - is sold metal junk harsh noise.
*PURE 18 Violent Onsen Geisha The Midnight Gambler ◄ (2 versions) 1996
VOG was always great name if you ask me. But also very mysterious. Very difficult to get anything, and when you finally did, it wasn't really noise. Sound collages, weirdness, but ALSO noise on this disc. One of the only VOG releases you can access easy and cheap.
*PURE 20 Chop Shop (3) plays Emil Beaulieau Red & Buried (CD) 1995
Chop Shop plays EB records via his custom build speakers, creating hissy, distant, rusty and decayed sound.
*PURE 21 Total (2) Glassy Warhead (Album) ◄ (3 versions) 1995
Bower has so extensive discography, it's hard to say where exactly this goes in terms of importance? Fact is, that it remains solid guitar-drone/feedback noise + harshnoise fusion. Very rotten mid-frequency sound overall.
*PURE 25 MSBR Destructive Locomotion Dedicated To Chizuo Matsumoto 1995
May not be the best MSBR, but if you can't get "Ultimate Ambience" or "Collapseland", this ain't bad way to start. It certainly is much better than later days MSBR cdr output...
*PURE 26 Pain Jerk Trashware ◄ (2 versions) 1995
To me, this always was among absolute highlights of Pain Jerk. And therefore, absolute mandatory noise CD for anyone interested in high quality, super sharp and clear Japanese noise!
*PURE 30 Le Syndicat Corrumpate (CD, Album, RE) 1995
*PURE 31 Le Syndicat Relikat & Schraguemusik (CD) 1995
*PURE 32 Le Syndicat Rectitude (CD, Album, RE) 1995
Very good re-issues of old Le Syndicat tapes. Its been mentioned by band that tapes were dubbed by various distributors/people back then, resulting that there are very different quality tapes in circulation. And now when you think some newer Le Syndicat re-issues, I think they have boosted them to modern "clip compressing" style. Therefore, despite packaging being minimal, these CD's could be among best purchases of this stuff. Volume on CD's is quite low, but not a problem your stereo volume button wouldn't solve!
*PURE 34 Masonna Noisextra (Album) ◄ (2 versions) 1995
I know a lot of people have complimented this CD. I must say that I was quite disappointed with it back then. Not that it would be BAD, but this is 2 tracks. First is re-cut old material. Mmostly material known from Alchemy CD's, just re-edited. And the 2nd track is very flat and ultra distorted. Reminding me from the shift where the early bouncing, dynamic and exploding Masonna started to be this hissy distortion wall. Not bad, but having the older Masonna albums in collection, this simply couldn't compete with Madamoiselle..... or Noskl In Ana. But again, for price it is, it's simply very good purchase for those who don't want to pay big bucks for old rarities.
*PURE 35 PBK / Hands To / AMK System-Music-End (CD, Album, Comp) 1995
Another of Pure items I didn't care much when it came out, due not being noisy enough. But over the years, it grew. I think my review of it appears somewhere in SI forum playlist topic... Collaborations between these 3 american artists, combining good elements of each.
*PURE 37 Thurston Moore Please Just Leave Me (My Paul Desmond) (CD) 1996
Perhaps only Pure disc I genuinely disliked. And I think, according to label, the bestseller. No wonder. I thought it lacks everything I wait from guitar-noise. Genre which appears as if it would be easy, but very little of seriously good releases...
more later...
My RRRcycled tape is worth hearing (;P)...
Is that the Teenage Nuremburg CD? I have it here. I doubt it's an art edition but it looks as awful as one would expect. If anyone wants it I'll let it go for the postage cost. If no one wants it I have a very hungry bin that needs feeding.
LHD - Opaque was my first ever noise cd that I got in trade. I still blasting loud this masterpiece!
Quote from: GEWALTMONOPOL on October 09, 2014, 11:00:59 PM
Is that the Teenage Nuremburg CD? I have it here. I doubt it's an art edition but it looks as awful as one would expect. If anyone wants it I'll let it go for the postage cost. If no one wants it I have a very hungry bin that needs feeding.
I would assume what you have is bunch of xeroxes over advertizements or color papers? It's not the "special edition" but perhaps more accurately "3rd edition"?
I think there are 3 main editions of most discs:
-Original Pure cardsleeve packaging, where only stiker indicated band/release name.
-When RRR moved and address of those covers out-dated, he started to paste xeroxed art over the cardboard sleeve
-When cardboard covers/glueing jobs etc became too much, it was just bunch of xeroxes inside plastic sleeve
Besides this, some repressings was done as CDR, and some releases have been issued as artist editions.
Also depending when you bought the Pure discs, "insert" = catalogue may vary. Some of the earliest ones also list titles that was planned, but never came out. Curious details for example planned solo albums of each Borbetomagus member was listed.
Some first copies of Ramleh CD's also included printed inserts. Some sort of artist edition of Ramleh included extra CDR with odd videos of... young boys was it? hah..
Special Olympics Edition perhaps. It's in the bin now.
Zone Nord "Roferon A" is one I have often name-checked, and will do so again. On at least a few occasions I have reserved the descriptor "good grave-digging music" - but perhaps I never bothered to explain this as representing the point of the view of the shovel doing the digging. Another comparable vantage might be that of having one's head dragged through a mound of dirt, with or without body attached.
Some guy on eBay would appear to be selling 6 of the DAT masters from this series:
https://www.ebay.co.uk/itm/134399418670?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=NLFztxeeT-a&sssrc=2349624&ssuid=6vaDf6R9Te2&var=&widget_ver=artemis&media=COPY
Quote from: eraciator on January 05, 2023, 11:52:28 AM
Some guy on eBay would appear to be selling 6 of the DAT masters from this series:
My first thought was : Fake ! How one gathered these if he is not Ron ? But then i saw the 'Production Master' sticker on the tape. So they come from the factory [?] . Needs caution and questions asked to the seller. In any case, these are only for 'sick' collectors. Digital to digital, i doubt there is any audio 'upgrade' [or downgrade closest to purity, to be more accurate] compared to the CDs. Could be ? How ? -I dont know about DAT- . If these were cassettes, that would be a different discussion ... Still, out of my reach.
Back in the day, many times when you send master to factory, they were not returned unless you asked them to be returned. At your cost. When its Digital Audio Tape transformed probably via optical cables to glass master, then it is the same data. Only way DAT would be better, is if it has for example 24bit / 48 as opposed to 16/41 CD quality and the audio would have been downgraded to CD level. I would assume all these DAT has been sent to label knowing it will be CD, and bit rate and all that is CD quality. I would assume those tapes would be then purely for collector purposes.
Tempted to buy them all to keep some faggot reissue label from conflating owning the tapes with owning the rights...
Quote from: Warfare Noise on January 05, 2023, 11:19:32 PM
Tempted to buy them all to keep some faggot reissue label from conflating owning the tapes with owning the rights...
Not all heroes wear capes.
Why dont you ask a few Germans on the street if they have heard of Kluster? You might learn something.
Embarrassing.
Quote from: Theodore on January 05, 2023, 01:07:30 PM
Quote from: eraciator on January 05, 2023, 11:52:28 AM
Some guy on eBay would appear to be selling 6 of the DAT masters from this series:
How one gathered these if he is not Ron ?
RRRon had donated to them to person in difficult financial situation due medical bills who then sold them to raise money.
Quote from: FreakAnimalFinland on January 06, 2023, 09:17:54 AM
Quote from: Theodore on January 05, 2023, 01:07:30 PM
Quote from: eraciator on January 05, 2023, 11:52:28 AM
Some guy on eBay would appear to be selling 6 of the DAT masters from this series:
How one gathered these if he is not Ron ?
RRRon had donated to them to person in difficult financial situation due medical bills who then sold them to raise money.
How much were they going for? I sure hope someone got them that isn't gonna abuse them. I'm not against reissues though as long as it was done right. Reissues are very good for keeping a release alive and bringing it to more modern audiences that otherwise would have never heard it unless they were really into noise and just started buying a bunch of random stuff on discogs and enjoying it. I don't think anyone in noise is making big money off it and isn't just doing reissues to get more of it. A lot of these reissues come out on professionally made CD these days too which costs quite a bit of money and I often don't see them completely sell out everywhere for a long while. It's hard to see where any malicious intent would come from there. Unless someone just set up a label to reissue the things and didn't do so out of any interest but money and getting some fame for doing so which isn't much since noise is never going to be entirely embraced by the everyday listener of music. I think the biggest noise artist is Merzbow and is probably a good standard for the ceiling of popularity you can get with noise and who knows if it's actually doing them much financial good or they just have a lot of money as is and enjoy doing what they do so they keep it going.
Quote from: eraciator on January 05, 2023, 11:52:28 AM
Some guy on eBay would appear to be selling 6 of the DAT masters from this series:
https://www.ebay.co.uk/itm/134399418670?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=NLFztxeeT-a&sssrc=2349624&ssuid=6vaDf6R9Te2&var=&widget_ver=artemis&media=COPY
nice pictures, the closest i will ever get to an original master tape of that caliber... or anyone of you socksniffers for that matter haha
pure series discussion 10+ years ago
Perfect - my feeble eyes could not find this in my search of the forums.
Scrolling through old comments, I never realized that Thurston Moore's disc made it to PURE. I always thought it came much later in RRR's existence. I think that will be the one that comes next for me in my listening.
Returning to PURE today with the Sudden Infant disc. What a weird one between the gaps of silence, the "running water" tape sounds and non-musical turntable work. Pretty fun work that continues more towards the trend of entries like Zone Nord & Putrefier.
Long ago I did interview with Joke. Video of it was published on Sudden Infant DVDR with live footage. In that he tells "Solothurn" was originally sent to be a tape release. Therefore 2 tracks, on studio, and other live b-side with about the same material. Then months later he gets back royalties, and turns out material came out as massive CD pressing, hah.. and I recall in the interview his reaction goes "ooooohh - what have you done to my tape!!"
Quote from: k.p.g on February 27, 2025, 05:11:15 PMReturning to PURE today with the Sudden Infant disc. What a weird one between the gaps of silence, the "running water" tape sounds and non-musical turntable work. Pretty fun work that continues more towards the trend of entries like Zone Nord & Putrefier.
Will be listening to the Sudden Infant one later today, as I added it on to my order from RRR a week or so ago just because I liked the sound of the name.
I put on the Zone Nord yesterday, and I liked it. Reminiscent of some MB and the more minimal Atrax Morgue perhaps?
Quote from: Balor/SS1535 on February 27, 2025, 06:31:51 PMI put on the Zone Nord yesterday, and I liked it. Reminiscent of some MB and the more minimal Atrax Morgue perhaps?
I can see why one would think that, but I think that record exists entirely within its own zone (no pun intended). It (along with the rest of the artist's discography) has always felt like this strange anomaly within the grand scheme of 90s noise.
It makes sense that the Sudden Infant disc was supposed to be a tape, as the form of the album is pretty strange! I have always thought it sounds like the first track is more of just various recordings on tape, before it is cut into loops or a collage that are then used in the second track.
The other day I was listening to Toy Bizarre cd and it definitely deserves to be mentioned. Not harsh but not that bizarre either, plenty good though and very much 90's experimental drone / ambient. Like listening to paintings!
Have to say also that I really appreciate how the artist documents and lists the source sounds and manipulation methods for the tracks.
Quote from: k.p.g on February 27, 2025, 07:09:00 PMQuote from: Balor/SS1535 on February 27, 2025, 06:31:51 PMI put on the Zone Nord yesterday, and I liked it. Reminiscent of some MB and the more minimal Atrax Morgue perhaps?
I can see why one would think that, but I think that record exists entirely within its own zone (no pun intended). It (along with the rest of the artist's discography) has always felt like this strange anomaly within the grand scheme of 90s noise.
What else would you recommend by him? The rough similarity alone is enough for me to follow up with more.
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I liked Sudden Infant too. The first half was some ok sound collages, but I really enjoyed the live portion. Some great sounds on there!
Pretty sure I posted the shit to follow onto this forum, but possibly not. I know there was a more properly complete and edited version posted to one or another board but f'cked if I can recollect where. Anyhow, here's I think the original un-cleaned-up oldie. Please do take with requisite massive grain of salt.
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You`ve seen it all before. And should you continue reading (you fool!) you`ll see it all again. Another attempted overview of the inimitable PURE series. Here, for my own amusement, I`ve decided to subject the series to a "report card" format. No apologies for the blatant harshhead slant. Interestingly, the "A+" category contains the greatest number of entries.
A+
Zone Nord. Nearest existing sonic equivalent to getting buried alive. By a very cruel and sadistic "supreme being", naturally. This is probably what most "power electronics" units want to sound like but can`t because they`re concentrating too much on scooping out the flimsy crux of the matter rather than the rock solid sludge of the bunghole. Monstrous masses of pure, grinding grit apply a firm inexorable squeezing pressure and proceed to wring the piss-shit out of all living sensibility, though by the time the cd`s run its course you`ll begin to doubt there ever was such a thing.
naj. Picks up where The New Blockaders left off, though rather more skillfully mixed and micromanaged. Clever and painstaking analysis of the complex interplay of broken down millworks machinery, carefully ripped and shredded into its component parts. Slowly building cluster of quaking trashcan hysteria. Seemingly muffled perfunctory bellows invaded by a rabid rodent host, clambering in maddened droves through clattering clutter of scraping steel turbulence.
Chop Shop plays Emil Beaulieau. Bung-disemboweling study in controlled chaos. Bleak gnarled deeply atmospheric industrial-strength crevices filled with dirty scuzzy brittle cracked crumbling granite blocks and decaying crystallized rust-shards. Fragmented froth of chainsaw'd chunky nonfi overload careens haphazard through smothered carefully composed dental-drilled cavities. Hint of hurtful harshness threatens at every interval to puncture the dirge-ground consistency, only occasionally breaking through and forcing the earholes to itch out of habit.
Knurl. One of the earliest Knurl recordings, still ranks up there with the very best. Twisted splinters of serrated steel scrape away at frayed raw nerves, crudely shredding the brain with all the surgical precision of drunken glassblower trio with the hiccups. Massive grating dialog between the tortured soul of mad Hittite pulling at fishhook caught in the sphincter and an enraged warthog with tusked snout caught in a mangled but mobile combine harvester. Guaranteed to shave a good few years off the auricular expiration date.
RHY Yau. Guided tour through dissociative mindrot of tourette's sufferer who`s been going a bit too heavy on the shrooms. Kill or cure? Yau offers the following recipe. Plug in tape recorder, press record. Strip subject naked. Poke with electrodes. Nipple clamp car battery. Toss into tub. Turn on water. Insert tire iron via anal passage. Jam lengthy string of interconnected microphones deep, deep into bowels, throat first. Add large supply of glass shavings, rusted nail clippers, long strips of extra-sticky plastic wrap. Liberally ply with laxatives. Painstakingly extract mic`d assortment, all the while beating subject stupid with baseball bat stuck with large bent nail. Take tape recorder, dump down toilet and flush, mics and all. You`re getting there. Wackass lozeznge denture spittle dribbling shrieking howls of incandescent nasal spray. Sheer delight.
Japanese Torture Comedy Hour. JTCH really made a splash with this one, leaping from complete obscurity to noise superheroes in a single bound. Lightning charged hyper-spastic lazer-zip whip action. A supercharged orchestral arrangement of knife-sharpened razorburn. Hyper-kinetic high-end discharge, tipping hats to Monde Bruits and his DOD-ly assortment. Mostly flawless execution with near-Thirdorganesque attention to precision and detail. A harshnoise classic.
Masonna. Kind of collection, I suppose, of "greatest snippets", plus newer shit of an unvaried but dynamically delirious kidney. The snippets work rather well in sequence. The new shit offers straight up over-the-top brutality. Overall, I prefer this to the quite palatable Ejaculation Generator (Alchemy), and though the material is rather more simplistic, it is much more immediate and unforgiving for that. More raw, more unrelenting. Very little breathing room. Orgasmically sublime. Keep those frantic gasps coming fast and furious.
Pain Jerk. Two words. Fucking. Harsh. Absolutely beautiful. Words quite fail. Pain Jerk not yet at the top of his game, already delivering quite finely honed razorsharp earscorch. The puritannical earblow phase, before he got into the loop-flavored acoustic percussives and rhythmic transitional divergence. Before he got "musical". More focus on flat-out ear damage, with most of the dynamic interplay surging below the massive screeching surface. Crank that shit. Blot out the world.
A
Phaeton Derniere Danse & Le Syndicat. Huge variety and hugely entertaining masses of diverse and dynamic material converge in an unwholesome orgy of pure sonic fuckery. Disorienting in the surreal extreme. Candyfloss whiskeytrail slides slick and salacious, sucking sickeningly sampled acoustic flashes into a glittering glimmering rainbow of rumbling clinkity clanked construction and demolition, psychedelic swirls simultaneously invading and abandoning rubberized shite fetish, chicken-suited spacemonkeys clambering for crippled crankshaft.
PBK / Hands To / AMK. Closely compacted collaged collection constituted entirely of gamelan spring action motorbike ripcord pachinko turbine squeegee drainspout roulette tibetan squeezebox metal machine sewage duck-call funnel bear-trap guillotine spoked muffler regurgitant sax styrofoam penile vacuumepipe seashore weasel fornication. Mostly mellow. And yet. Conscientiously cantankerous flip flops consistently erode all semblance of prospective chillout promiscuity. The other eleven tracks are pretty good too.
Rend. Spacious flowing ambient pools funneling carefully tweaked abrasive scour, heavy on the reverb. Squeaky clean psychedelic sweeps swirl and glide while wet whitewashed whispers waver and warble to a calm and freeflowing scathe. Pristine high end peaks tremble and erupt. Low end gaseous cleansing agents billow around muted electrified shrieking, fading in and out, echoing from on high, and down again to the bubbling bumblasted base. Quite ingenious excrecution.
Macronympha / Evil Moisture. High-powered ping-pong trash compaction. Spliced crumpled crippled snippets boisterously bouncing from lubricated left brain extremity to barbecued tranny holocaust. Tentacled mechanical monstrosity with fingers and pincers in, like, way too many meatpies, clenching orifices getting a coldly calculated workout. Much more Moisture than Macro, then, perverse play of competing harshhole sensibilities flapping around slapping eachother su-su-stupid.
A-
Akala. Beautifully mixed, textured soundscrapes developing in lazy fits and lurches. Lengthy meditations which seem longer than the actual 70-minute track time suggests. These are all sounds I have encountered before, around warehousing districts or the guts of ancient oil freighters, painstakingly layered and reworked to present a grim, guttural vision of urban deterioration, acquiring mass and pressure as rasping seismic generators are leisurely pulverized beyond recognition.
Incapacitants. The wrath of several drunken thunder gods concentrated and amplified beyond redzone raging nightmare. Blissful tinnitus-inducing blisterscorch, boring with unrelenting pressure into badly damaged earholes. Not by any stretch the harshest nor best the Beatles of noise have unleashed, but still quite satisfying concentration of multi-faceted earscorch dynamics, simultaneously shifting in near-imperceptible increments over an ever widening range of raging inhuman inhumane torment.
666 volt battery noise. Swansong of this fine ultraharsh ultravoltage obsessive and easily his finest work on record. Evocative of early Pain Jerk, and every bit as punishing. Severely situated blistering pissout reflected in ultrafast seething ferocity. Doesn`t let up for an instant. And if it did, we don't like to talk about it aiight. Razorblade rotors whirl with furious abandon through slaughterhouses packed with an entire menagerie of fresh and exciting fleshmetal possibility.
Deathpile. Not the biggest power electronics fan here, but if you`re going to do it you might as well do it right, which is what has here been done. Powerfully dense looping thunderous flow. Each track a well-constructed if uneventful exploration of specific feedback laden sonic terrain, analog treadmills grinding slowly over the deservedly damaged brains of demented boiler-room bludgeoned, beefcacked n sputtering, flaccid-cocked arsedrool.
B+
Dead Body Love. DBL has always had his heart in the right place. His commitment to pure uncomplicated low end harsh overbilge has always been reassuring. This particular release is actually structured into a fairly "musical" format, something I`ve come to expect from one Goverment Alpha and few but others. Starts out with some edgy rhythmical bludgeon before exploding on track two into a more carefully developed study in concentrated earblow. A dialog between thick sludge-encrusted crunch and quite fucking harsh scorching attack, in which textures and brutality are more hinted at than actually present, kind of an inverse of the method favored by Incapacitants in their "As Loud As Possible" release. Fidelity and frequency ground down into utterly mangled jerk and shudder. Surprisingly decent.
Merzbow Loves Emil Beaulieau. Grab bag stash of randomly assorted tricks and treats. Sloppily slaughtered metal junk spew burbling bouncy electronic squiggles squeaks and creaks. Lots of attention grabbing hop-scotch spurts across heavily mined field of mortified low fidelity flatulence. Can`t put my finger on it, and probably wouldn`t want to given the devastating and disgusting depths to which the unhinged smeltering medley has been so rudely subjected.
MSBR. Steam-powered earthquake locomotion crushing thy head with heavy-handed glee. Incisive brainpan nailgun stabs pierce the rumbling fabric at random intervals, dislodging the attention long enough to get a few good headbutts in for good measure. Hisses chug and chaff at thick-skinned churn and burn. A glowering glassy-eyed grim reaper revs up an angelic armada of turbocharged combine harvesters and runs roughshod over bombed-out tarfields choked with anal mist.
Aube. About as harsh as Mr Design Theory is inclined to get. Air-raid fallout mirage and jeering conche-shell catcall. Mirrored loops expand and implode, cycling and swimming around constantly winging whine. Feedback traces drone and shiver, careening in careful tandem across busy buzzing alarm jitter, triggering unsubtle shithawk squawk, erratic, bad-tempered steam whistle, and forcibly friendly static braindrill.
B
K2. About as quiet as the Junk Metal Molester is inclined to get. Not quite as hyperactive and hurried as usual, and suffers for it. Each unevenly spliced interval of alternately acoustic and feedback-laden rustshred is given a little more time to run its course. Gong show bell bash and screeching rusted metal tension hacking at bone-dry sewage tunnels and oil barrel avalanche. Plenty of random fragmentation going on in there to keep you on edge and guessing for the duration.
Soldnergeist. Nicely composed almost darkambient sample-heavy analog grate, harsher melodramatic peaks and valleys scouring the surface with considerably more edge and impact than, say, Spur 2 - the comparably quiet "major label" debut on Artware. Nice salve for the earholes in between extended sessions with the louder PURE submissions. Rhythmic drilling skulks in the background, grows bored with the pussyfooting, catapults up front, swims and bores through bleating butchered goatherd. Steel scaffolds rapidly dismantled too late for the oncoming tsunami riptide, steel asphyxiation squelching your pathetic pleas for mercy.
Violent Onsen Geisha. "Sorry! sorry! sorry! PLese iGNORE THIS." Remind me next time to heed these warnings. The Japanese Residents with more cut-up scum novelty than you can throw a diseased rodent at. Moments of genuine spasmodic ingenuity undercut by still more idiotic moments of pure diddling. Mood music for ADD sufferers, a mish-mash souffle of broken record jizzscree and Fisher Price crate-scratch. A tad more engaged in properly assaulting the aural cavities than other VOG offerings released around the same time. I confess to having laughed out loud at more than a few intervals, but I`m easy that way.
B-
Fab.44. Competitive piles of low-end oscillation interspersed with looped extract of constipated yeti trying to force out synaptic crap. Oversexed Bin Laden impersonator drags grated aluminum siding through chunky dirtmounds full of ossified cadavers and grubby rhino clusterhump. Small hippos piddle on overloaded resistors, vomiting rhythmic prickfriction and lubricated cornsocket spunkfest.
Ramleh - Vol III. Easily the most worthwhile Ramleh on the PURE series. Rather a lot more development and conscientious arrangement of persistently pleasing perversions, as though the angry young men have settled down to a bit of more focused sullen loathing. Not that settled, though. Chaffing rust-clad pistons smashed through with badly mauled grindstone granulation. Abused and clogged circular saws wracked with infuriated bitterness and earbleed seething. No end to the savage screaming fits either.
C+
Emil Beaulieau - Kill The All-Noise Japanese Artists. I`m rating this purely on novelty value. The source material`s good. Someone had to do it. And that someone would obligingly have had to be Emil Beaulieau. Some nice screaming loops of courtesy of that great Japanese band Boring Boring Boring Boring Boring Boring Boring Boring Boring, not to mention intense flatulent belches and sandblasts from Merz Bow-Wow-Wow, and of course the reedy psychedelic whining of Nerd, did much to restore my faith in the field.
C
DMDM. Documents the gradual decay of apathetic industrial-strength machinery in various low key permutations. Slow-paced and deliberate mechanized grumbling and grinding, with mostly cosmetic development creeping through the grumpy, cratered surface. Disaffected grunts and sniffles grub in murky thumping burntout silo frieze. Groping mandibles crank the woolly cobwebs of bumbling frankensteinian procrastination. Possible grower that has yet to grow in these ill-educated holes.
Ramleh - Vol I. Worth having mostly for archival value, the shit dates back to 82/83 and sounds it. Rolling reverberant feedback underscores demented, distorted, utterly incoherent, vocal shrieking fits, of which the only words I can make out are "fistfuck". This gets repeated quite a lot, notably on the subtly titled "Fistfuck". Yup, that about sums it up. Raw, roughly hewn spewage slops out of broken fiberglass bilgepipes as tormented wriggling piglets dance and hurl.
Ramleh - Vol II. Not noticeably distinguishable from Vol I, though I kinda dig the plastic bubblepipe lazer fight featured on a track here titled "Koprolagnia". A bit more variation than Vol I, with politically pointed samples, whittled bass slumping, and distant shrieking fits sounding out from the bowels of underused milkcarton warehouses.
C-
Murder Corporation. Thick, dull, waterfall roar, all atmosphere, little substance. Airplane turbines cut in and out as squealing flocks of baby chicks are sluggishly smothered with fluffy pillows and bleak, muffled dirge. Bass-heavy dials turn thunderstorm avalanche into bubblebath mudscuffle, reducing the assembled mess into still less recognizable pith and pulp. Gurgling gopher raid, rushing over cliffs into deep, broiling pools of liquid polystyrene. Substance, in a word. Revisit warranted.
Cock ESP. Vying at times with Violent Onsen Geisha for status as the Residents of harshnoise, Cock ESP have their moments; and at least the shit`s legitimately harsh. Shit-smeared tincan sleeting tumbles into glass cylinders and fake Slurpie suckjob straw action. Waste paper baskets ripped crumpled chewn up spat out of overworked ostrich or otherwise elongated avian esophogi. Wretching wrenching quenching juicer convulsions amid peevishly protesting gearworks feedback yelp. Some "funny" samples too.
D+
K. Mizutani. I read in an interview once where Mizutani is apparently into presenting sound material in its intrinsic form. Which basically sums it up. Raw sound, of various stripes: first, thirty minutes of very intrinsic metal scraping, grinding away on concrete curbs. Next, the most hilarious free jazz piss-take on record. Interspersed with mostly dominant silence, a "dialog" of sorts: "bass" pluck, ass slap, tinpot ding. Ass slap, gravel crunch, tinpot ding. "Sax" squeal, "bass" pluck, tinpot ding. Etc. Third submission is actually palatable. Heavy duty heavy metal scraping, metal ringing tones, feedback, hum, water, nicely mixed and panned out into something I might actually listen to again someday.
These I don`t have, haven`t heard, and wouldn`t mind seeing some reviews of:
On the to-get list:
AMK.
Crawl Unit.
Emil Beaulieau - Memories.
Le Syndicat.
Putrefier.
Runzelstirn & Gurglestock.
Smell & Quim.
As yet undecided about:
Emil Beaulieau - Dedicated to Masami Akita.
Emil Beaulieau - Dedicated to Richard Rupenus.
Emil Beaulieau - Dedicated to Charlie Ward.
Big City Orchestra.
Consumer Electronics.
En Nihil.
The Haters.
Impact Test.
A.Licht/T.Shiraishi.
Thurston Moore.
Prick Decay.
Sudden Infant.
Tac.
Total.
Besides givin me a reality check on how bad my english actually is. Glossaries.
A post too good for this forum. In company of the Pain Jerk and Knurl run downs etc.
Speaking pf Knurl, Nerve was omitted?
Quote from: accidental on February 28, 2025, 07:00:27 PMSpeaking pf Knurl, Nerve was omitted?
Nervescrap is there*, but for reasons no longer recalled (the orig text file is dated 2003) titles were omitted for all but the repeat offenders (Emil Beaulieau, Ramleh).
Have since snagged pretty much all of em at this point, in the wake of the recent WCN episode lending Putrefier an earhole, or two. So lesse...Putrefier. Uh, not really big on this grading business these days but to try to remain faithful to the soddly intent, and I'm sure he meant well, uh,
Putrefier. Would likely score in the 90th percentile, just by virtue of being Putrefier, a name I will be sure to repeat ad putrefaction now that I've learned (via the Andy Bolus WCN episode) that le chap apparently ain't so much into the name. The name Putrefier, that is. Putrefier being the name that the prime instigator has not released work under for a good decade and a half, though you'd have to go back another decade and a half to get to this particular PURE entry from the project called Putrefier. Oh fer fug...let's try that again.
Putrefier. Bringing the A game as only Putrefier can. Putrefier. The smell and the taste, the
Trace, somewhat gangrenous to the putrefied palate, influenced in recent earholic reflection by comments generated on the earlier mentioned WCN Putrefier episode. Putrefier. Fat ferric clumps and clusters hacked haphazard from the freshly moldering host, hefty-sized and unwieldy in his inelegant
Element, the LR Putrefier pan in permanent dis-alignment and corpselovin it, like trying to perform a Putrefier postmortem and chew gum at the same time, only to discover halfway through that that chewy stuff ain't gum, technicolor involuntary yawnblurts frenetically gracing the Putrefier opener perhaps to evidence shared fetors with Moisture of a persuasion most Evil, like cumsoaked-chesthairs-of-deathmetal-guitarist-passed-out-on-the-bathroom-floor evil. Evil. The Putrefier shit clunks, and clunks hard, unspooling flopping faltering across a wide spectrum of stylistic careens and lurches, settling down in the six remaining Putrefier sphinct-taxers for more studied introspective nuance, ultimately lost in a Fog Rotation of Putrefier stupors, syntactic gaps to dutifully seek resolution in extended workthroughs of Female Urine And Primitive Jet Aircraft, mostly to sputter and fail, much like my
Syntax, in spectacular, and spectacularly bedraggled, Putrefier, fashion, of the first, but never ordered, order. In a word, PutreFIRE.
* Under A+, betwixt Chop Shop plays Emil Beaulieau and RHY Yau.
Quote from: HongKongGoolagong on February 02, 2013, 01:30:36 AMQuote from: Zeno Marx on February 01, 2013, 11:35:55 PMFor myself, the most notable thing about it is how brilliant it was from a business perspective.
As far as I can make out the fellow makes a kind of living from a more regular second-hand-record business, and while RRR and Pure as a label didn't exactly enjoy losing money (who does?) I have serious doubts that he has made much from the experimental and noise output over the years.
Having lived in MA for 15 years and make regular visits to RRR talking to RRRon and knowing what I know about him I'm guessing that "living" was being able to barely make ends meat for many years off his shop and label, if that.
I had these
Quote*PURE 30 Le Syndicat Corrumpate (CD, Album, RE) 1995
xxx PURE 32 Le Syndicat Rectitude (CD, Album, RE) 1995
*PURE 51 Söldnergeist Terror (CD) 2001
*PURE 55 R.H.Y.: Yau* :Contiguous: (CD)
These were what I had and they definitely were hugely influential to me and even today are releases I really enjoy.