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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2689655 times)
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absurdexposition
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« Reply #7935 on: May 23, 2020, 03:45:04 PM »

Not so long ago I was listening Consumer Electronics The Weight / Hostility Blues 7” thinking mr. Best still got the skills. Fucking ripping 7”. I did not like so much previous recordings, but that 7” made me want to check something what they may having upcoming....

The 7" is good and I really liked the double LP, Airless Space that came out after (last year). Carnage Mechanics is an incredible track.
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« Reply #7936 on: May 23, 2020, 09:46:34 PM »

The Cathode Terror Secretion ‎– Spectre Of Historys Design LP - RRRecords 2009 - Haven't pulled this off the shelf in a while but as soon as the needle hit the groove I was reminded of why I loved these guys soo much. Only got to see them twice but the combination of weird, kinda-shitty PC electronics with unhinged vocals is just so good. too bad this was their last hurrah together. their 3" CD songs were powerviolence short, this LP is more akin to grindcore, i.e. just a little longer. each side flows together seamlessly. maybe I could say they're US power electronics take on mid 90s Masonna? or a more spastic precursor to Private Archive (what ever happened to them?) obviously different but I get the same kinds of feelings while listening. Surprisingly there's a lyrics sheet and even better the lyrics are fucking good. the cover art is nice and clean, reminds me of the Alex Rutterford's art for Autechre. The insert art is a mixed bag, definitely feels aged. Sci-fi vibes from both. a great LP and still available from RRR, although I will say I'll always prefer the stupid loud, super fast 3" CD the most.

Kinbakushi ‎– Construction Site Bondage tape - IOPS 2020 - I haven't listened to original Kinbakushi tape in a bit but I remembered it as a lot of screeching and drums so I was expecting more of that here. While it's certainly a part, this tape has some straight up sexy rock n roll vibes. Not so much construction site bondage as leather bar backroom fun. Or maybe that says more about me? Either way very nicely constructed on both sides, with varying amounts of drums, guitar, screech and surging DIY electronics. or at least that I hear. I don't think some Brainbombs style vocals would be too out of place either. the packaging on this is really nice and I'm sure expensive, but I appreciate that even for a c20 the extra effort is here because it's one of the things that makes the best IOPS releases stand out and stand alone.

V/A - Riddle of Lumen CD - FMN Sound Factory 1995 - I picked this up in my new quest to track down a copy of every compilation with a Solmania track. I had no real expectations since I knew none of the other artists save Otomo Yoshihide, and I only knew him by name. Solmania is the only true harsh noise but their track is balls to the wall. it starts and ends with savage screaming (more of this please) and has all the fucked up guitar noise one could want. definitely one of the better Solmania comp contributions I've heard so far. but U, Peregrini and the first Yoshihide track are pretty raucous as well. The rest is all over the place with some psych rock, spastic jazz rock and chiller "art rock" type stuff. the vibe is less PSF psych and more Boredoms or Melt-Banana influenced. Weird shit but a fun listen that I don't regret getting. for those who want to try something different, grip this one.

Clinic Of Torture ‎– Rohrstockliebe - IOPS 2020 - oh man that a-side! harsh "synth" in the mid & bass range, whistling feedback, muffled bdsm. it's "classic" COT while sounding updated from the projects first release 20 years ago (!!!). b-side is more blown out but maybe a tad melodic? This one is up there with Whip and Pierce and Slavesex as the best COT to my ears. And the bad scanning VHS image style in the booklet is perfect.

Silence Of Vacuum ‎– 6: The Rubberist - IOPS 2020 - I don't think I can say much. If you fuck with Silence of Vacuum then you know what you're getting. single-minded vacuum drone worship. the sound is closest to the first 2 tapes, but not quite as static. Again, this IOPS box with color booklet is too nice! Save yourself some money and skip an old issue or two of Atomage and get this.

V/A - Taste Of Wild West 3 CD - Wax Records 1990 - another compilation I grabbed for Solmania but with a line-up this good anyone should grab it. It alternates between Japanese psych rock heavy hitters and Alchemy Records noise masters. Every name is a big name. Sadly the Solmania track doesn't blow me away, but it's nice to hear early, solo era Solmania stuff. But the closing Hijokaidan monster track coming in at 27 minutes is soo goddamn good!! And so is the epic Angel'in Heavy Syrup track which goes from chill psych to more rocking stuff. Only one I'm not into is the Boredoms track, but I just can't seem to break into what they do. I just got this so I've only had two listens but it I feel like it's damn fine document of Japanese noise and psych in 1990. The only thing that could make it better is something with Michio Kurihara.
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« Reply #7937 on: May 23, 2020, 11:35:21 PM »

KM Toepfer - Undercut // tape on absurd exposition
algorithm / programming (?)  material... wavefolding feedbacks, cool balance between surgical and messy electronix. side a piercing and crackling, side b also, but a bit more into fuzzy harshness... not low rumbles, but treble ripping. but c'mon, how many "untitled" are there already... cook up some track titles next

JSH - Körperlich//  tribe tape
a wall of HNW! slowly evolving and constantly crunching

lots of french jazz... anything with marc ducret, mario costa, emile parisienne, peter bruun... far out cats, as mike watt would say.

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« Reply #7938 on: May 27, 2020, 06:24:02 PM »

Meat Beat Manifesto - Armed Audio Warfare CD - Run Recordings 2003 - I got this CD when I was 16, scouring my local Tower Records for anything "industrial".  I knew MBM from older sister's recommendation and The Matrix soundtrack, and the Chemical Brothers' Brother's Gonna Work It Out Mix. This blew me away when I heard it, partially because it's all over the map! You've got white guy rapping, turntablism, screeching feedback, brutal drum machines, breakbeats, sometimes all in the same track. It's fucking nuts and it does a level of genre hoping that I could only expect from the bravest artists today! I can't compare to other MBM because I've never heard another MBM release, but the mid section of this comp from I Got the Fear to (Strap Down) Give Your Body Its Freedom crushes. It's a bit dated but it goes hard as hell. 16 years later and this one still puts a big fucking smile on my face... and brings back some crazy memories. Maybe I should finally check out some other MBM records?

Thirdorgan / Diesel Guitar ‎– Futuredestroyer / Tahiti 7" - Fever Pitch Music 1995 - It's all about the Diesel Guitar side but before I gush hard let's talk Thirdorgan. Thirdorgan's track is hash but not unpleasantly so active harsh noise with lots of wandering stereo panning. No extreme shriek or crunch, just midrange abuse. Good but not mind-blowing. Having only heard Thirdorgan here and on comps I'd love to hear one of his good full-lengths which seems impossible without spending some serious money. annoying. Diesel Guitar though, oh man. I was expecting something softer and more drone-y, but this is tense and building. Or maybe narrowing? Almost like listening to an engine in a cone shaped turbine, being pushed towards the smallest point.. Not harsh sonically, but the feeling is unpleasant. And it has this very ephemeral quality that makes listening and describing like trying to explain the way a dream made you feel, long after waking or deja vu. I listened to this 7" 10 times in the last week and I still can't conjure the sounds in my head. So I'll have to listen and listen again hoping to capture the experience in my mind but failing to do so. What I mean to say is this 7" achieves the ultimate goal, it forces you to play it again and again and again.
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« Reply #7939 on: May 29, 2020, 05:44:04 PM »

不失者 ‎– 不失者 1st 2xCD - PSF 1997 - 6 years after listening to Fushitsusha for the first time, specifically track 1.3 すきにやればいい, I finally own this album. I've written several times about how I ordered this album and received The Time is Nigh instead, which through me for a loop. Since then I've been slowly buying up the '90s 不失者 albums, most of which fall closer to The Time is Nigh than this album. I've been laboring under the impression that aside from  すきにやればいい, Fushitsusha primarily offered variations of soul rending inferno. And I mean that literally, the sound of Fushitsusha is one of your or their "souls" being taken/cast/torn from the body and cast elsewhere. If I can say it without sounding completely asinine, it's metaphysical or at the very least existential music. It demands attentive listening with no other distractions.
But then there's 不失者 1st. Finally hearing the whole thing for the first time last night, I am utterly blown away by how grounded and human it all sounds. It feels much closer to true blues than black-pillar-of-light-hell-inferno. It's so easy to listen to I could imagine playing it for friends! It's absolutely amazing but it's pleasant too. Who could have thought? I guess I'm the last one in on this, so everyone else thought. And to my slight surprise track 1.3 すきにやればいい is the best of the bunch. Legitamtely sad music, but not in the mopey faux-emotional way, but true reflective sorrow as an 11 minute blues piece. I challenge you to listen and feel nothing.

I suppose it's hard to talk about Fushitusha or Keiji Haino in a way that does make you sound like a dandy fop, maybe because in my mind they epitomize "Art" in such an obvious way. But to be fair I think myself or Force Neurotic or Bloated Slutbag can wax poetic just as easily about "scum" noise easily.

Government Alpha ‎– Structural Contradiction 3xcassette - Black Horizons 2019 - the really classy design of this release is immediately noteworthy. a tall 3xcassette box, the insert gives you 7 collages in that GA style on big panels. the insert is a little big on mine so the pages are slightly warped, but thats a minor thing. Slime green tapes with only hexagon symbols to indicate which is what. music wise, and I'm no GA expert by a long shot, is lots of squiggly harshness. the first tape is probably my favorite because it feels a bit heavier and little bit sharper with dynamics. I think its Side D that just felt lazy for a bit, but picked up again. the live sets on the 3rd tape fit in well with the studio stuff and aren't overly long. it's a nice detour from the types of harsh sounds I normally listen to, as they're less shriek-y and more playful and squiggly for lack of a better word. a less hateful approach to harsh perhaps?
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« Reply #7940 on: May 29, 2020, 07:16:07 PM »

不失者 ‎– 不失者 1st 2xCD - PSF 1997 - 6 years after listening to Fushitsusha for the first time, specifically track 1.3 すきにやればいい, I finally own this album. I've written several times about how I ordered this album and received The Time is Nigh instead, which through me for a loop. Since then I've been slowly buying up the '90s 不失者 albums, most of which fall closer to The Time is Nigh than this album. I've been laboring under the impression that aside from  すきにやればいい, Fushitsusha primarily offered variations of soul rending inferno. And I mean that literally, the sound of Fushitsusha is one of your or their "souls" being taken/cast/torn from the body and cast elsewhere. If I can say it without sounding completely asinine, it's metaphysical or at the very least existential music. It demands attentive listening with no other distractions.
But then there's 不失者 1st. Finally hearing the whole thing for the first time last night, I am utterly blown away by how grounded and human it all sounds. It feels much closer to true blues than black-pillar-of-light-hell-inferno. It's so easy to listen to I could imagine playing it for friends! It's absolutely amazing but it's pleasant too. Who could have thought? I guess I'm the last one in on this, so everyone else thought. And to my slight surprise track 1.3 すきにやればいい is the best of the bunch. Legitamtely sad music, but not in the mopey faux-emotional way, but true reflective sorrow as an 11 minute blues piece. I challenge you to listen and feel nothing.

I suppose it's hard to talk about Fushitusha or Keiji Haino in a way that does make you sound like a dandy fop, maybe because in my mind they epitomize "Art" in such an obvious way. But to be fair I think myself or Force Neurotic or Bloated Slutbag can wax poetic just as easily about "scum" noise easily.

Next on my list for this evening's listening session is Fushitsusha - Purple Trap 2CD (Blast First 1995) . This is and always will be one of my favourites.
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Zeno Marx
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« Reply #7941 on: May 29, 2020, 07:24:55 PM »

There's a guy on Dime a Dozen (actually, two of them, but they seem like the same person) who uploads six live recordings every year for Haino's birthday.  User:  firusan.  Every group and kind of performance you can imagine, some pairings that never get released and are live-only.  They also go to Tokyo every year for Haino's marathon birthday shows and records them (not this year).  Really nice sounding recordings, too.  It's difficult to keep up with the listening.  Haino is in constant great motion.
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absurdexposition
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« Reply #7942 on: May 29, 2020, 08:07:12 PM »

There's a guy on Dime a Dozen (actually, two of them, but they seem like the same person) who uploads six live recordings every year for Haino's birthday.  User:  firusan.  Every group and kind of performance you can imagine, some pairings that never get released and are live-only.  They also go to Tokyo every year for Haino's marathon birthday shows and records them (not this year).  Really nice sounding recordings, too.  It's difficult to keep up with the listening.  Haino is in constant great motion.

I grabbed some of these from his last round but haven't had a chance to check them yet.

I need to get around to uploading my recording of his show here in 2018.
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« Reply #7943 on: May 29, 2020, 09:01:42 PM »

FAUSTIAN PACT - Outojen Tornien Varjoissa CD
Some Finnish black metal tonight. My wife bought this and told me I'd probably like it, and she wasn't wrong. After releasing one demo in 2010, Faustian Pact took their time and waited to February 2020 to put out their debut CD. That is some oldschool attitude right here, folks. To provide a little context to any interested outsider I have to generalize a little (though not much). Finnish metal usually means one of a few things:
1) Massive and commercially successful heavy/power metal
2) deliberately silly or ironic folk metal
3) some combination of 1) and 2)
3) Obscure, rather brutal black metal (in the tradition of Impaled Nazarene, Barathrum, Beherit and later Satanic Warmaster, Clandestine Blaze, Saturnian Mist etc).

There are also, however, the odd men out, and if I have to sort this into some Finnish metal category, that is the category where I'll put it. Stuff like Darkwoods My Betrothed and that pink album by Thy Serpent would be the first comparisons, but this is not quite like them either. In fact, it might be better to leave Finland and instead bring up mid-90's Norwegian stuff - early and/or extra-underground. This is difficult, considering the violently shrieked audibly Finnish lyrics. Even so, Outojen Tornien Varjoissa  to my ears has a lot in common with the debut album of Dimmu Borgir (I repeat, debut album), Perished's Kark, Ragnarok's Pagan Land demo, Bak De Syv Fjell's excellent From Haavardstun 7" and any number of other Lusekofta-clad svart metall bands..

The name of the game is mid- to fast paced melodic black metal, with plenty of synthesizers. The latter sound a whole lot like lined physical units from the 90's rather than VST virtual instruments, but even if the latter is at work here, it's still a nice touch to use "classic" sounds rather than bringing on the fake orchestra. Many strange musical choices, a high level of rabid aggression despite the melodies and synths, and last but not least an extremely rough production brings everything together. Boring riffing or (worse) too much polish and rational dynamics processing would have made this a far weaker experience. As it is now, it's fucking great. This is the sort of black metal I preferred back in the day, and it's very nice to hear someone still doing it.
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« Reply #7944 on: May 29, 2020, 09:36:53 PM »

There's a guy on Dime a Dozen (actually, two of them, but they seem like the same person) who uploads six live recordings every year for Haino's birthday.  User:  firusan.  Every group and kind of performance you can imagine, some pairings that never get released and are live-only.  They also go to Tokyo every year for Haino's marathon birthday shows and records them (not this year).  Really nice sounding recordings, too.  It's difficult to keep up with the listening.  Haino is in constant great motion.

I grabbed some of these from his last round but haven't had a chance to check them yet.

I need to get around to uploading my recording of his show here in 2018.
firusan's recordings give us some idea of how often Haino plays.  He plays A LOT.  Exploring with new people all the time.  I don't know if his "bands" rehearse, but in a way, he reminds me of Jerry Garcia.  Not so much in the final decade when Garcia was hooked on heroin and watching TV on a Lazyboy, but in his prime, he was playing 5-10 hours per day, squeezing 30 hours out of a day.  Haino must have an instrument in his hand every day, hours a day.  I hope someone writes an insane biography of Haino some day and also a couple hour documentary on him as well.  Artists like this fascinate the hell out of me (time squeezers).
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« Reply #7945 on: May 29, 2020, 11:28:58 PM »

There's a guy on Dime a Dozen (actually, two of them, but they seem like the same person) who uploads six live recordings every year for Haino's birthday.  User:  firusan.  Every group and kind of performance you can imagine, some pairings that never get released and are live-only.  They also go to Tokyo every year for Haino's marathon birthday shows and records them (not this year).  Really nice sounding recordings, too.  It's difficult to keep up with the listening.  Haino is in constant great motion.

I grabbed some of these from his last round but haven't had a chance to check them yet.

I need to get around to uploading my recording of his show here in 2018.
firusan's recordings give us some idea of how often Haino plays.  He plays A LOT.  Exploring with new people all the time.  I don't know if his "bands" rehearse, but in a way, he reminds me of Jerry Garcia.  Not so much in the final decade when Garcia was hooked on heroin and watching TV on a Lazyboy, but in his prime, he was playing 5-10 hours per day, squeezing 30 hours out of a day.  Haino must have an instrument in his hand every day, hours a day.  I hope someone writes an insane biography of Haino some day and also a couple hour documentary on him as well.  Artists like this fascinate the hell out of me (time squeezers).
There is a biography from a couple years back but it's in French only so far, AFAIK:

https://www.lespressesdureel.com/EN/ouvrage.php?id=5284

I've read it and it was pretty good, though not necessarily revelatory.
And I remember disagreeing with the author on his assessment of some of his records, ha.  Seemed to me like the author had sort of a bias against the albums where Haino collaborates with non-Japanese players.  Still a good read.
Now a long documentary, that would be fantastic... If Boyd Rice got four hours, Keiji Haino deserves at least that much!
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« Reply #7946 on: June 01, 2020, 05:05:45 AM »

V.A. - Someone Wake The Maid It's Time To Kill The Butcher
The Japanese / Texan (+ 1) Noise Treaty. That’s what I wanted to call it. But the title they went with is pretty okay, too. So yes, same old story. Poor bugger gets caught, again, favoring the hired help with choice slab of primo uncut um product, pays the ultimate price. Wait, hold your cleavers cause I’ve got another great title here for ya: The Hasegawan (+1) / Other Noisean Treaty. (Those seeking assistance trying to think up Real Good names for their comps are encouraged to inquire herein.)

Hasegawa certainly dominates the first side, though he’s got several different names. The first name,  Hiroshi Hasegawa, plumbs the depths of Hades, an odd title given the project’s tendency to reach for the heavens but not so odd once the atypically erratic- if firmly gripped- herking and jerking starts to sever skull from spine. At a key juncture, voice-ignited lightning-scathe blasts straight through psych-tinged reverb hiss, like Darth Vader taking a very painful shit around lightsaber stuffed halfway home. Still the expected whitewashed tumbling blaze cycling and searing, in more or less straight line, to requisite stratospherical bliss.

The second Hasegawa, codenamed Angel Body Import, duly tries to out-Hasegawa the Hasegawa, to out-Astro the Astro Man. Do they succeed? Well, you’ll get no heresies from me. But pretty fuggin luscious lines on this sensuous sweety. Slow sultry build of reverberant whitened sheets, licking languidly through the cool echoing caress of deep sunk chromium-plated rocket chambers, heaving and swelling in massed waves of monumental roar ‘n shimmer. At their outer limits a threat to scorch the skies, but then to rein things in oh so deliciously at the brink. What a fucking tease.

Prof Hasegawa’s Psyche Class 101 continues courtesy Leecher, subtle bass-buffered softies progressively harshed and ill-controlled via ill-coherent belches of curdling grind-strangle. A rather sudden rush into some fairly nasty severities and perhaps the first inkling, if that damn maid ever shows, that that butcher is in for some seriously harsh attention. By the time all the squealing layers come into their full and ugly-mugged fruition, buckling and shuddering in filthed and furious disarray, we have admittedly taken some leave of the Hasegawa, setting things up for the +1.

This next project may have little in the specific to do with Texas or Japan, but is probably still worth remarking on. Collapsing metals clank and stammer- echoing with perhaps the faintest of nods to Hasegawa- as a forested thicket of strangulated grit-kernals crumbles about the perimeter. At choice junctures a slather-voiced scorch-bristle or two punches straight through, massed layers duly acquiring roughly contorted densities before the heaving mangleage-a-trois buckles under pressure, the junk-scrap attacks getting noticeably violent and out of hand there. Call it remarkable or just goddamn weird.

P.O.V., aka The Final Hasegawa, takes a page from the Leecher book, accelerating aggressively toward an Absolute Mass of absolutely obliterating scorchout. The requisite whitened sheets abound, lustily piling on in a full and determined clusterfuck of competing shriek and blister. This is one of them beauts where the listener is invited to attend to the arched and sweeping periphery even as more bruted incisions drill straight through the center of the skull. The perfect and all-consuming end to the Hasegawa, ‘holes left to desperately flash at their rotten limit.


Side Other Than Hasegawa’s got two Japanese projects duking it with three Texans. Texan 1st, aka Scathing delivers more of that seething, searing, scalding scorch. The shit, is hot. Actually this particular shit’s also got plenty P.O.V.-esque white-sheeted blisternment rushed into the raging scree, so at some level perhaps to suggest a perceptible deference to Hasegawa, like why mess with a good thing? But nah, the shit’s too vicious, too frenzied, drilling with too much driven intensity, deep deep into the harshwhorecore to admit but a single exceedingly fleeting moment’s consent to breath free, the ‘holes well and truly butchered, like where’s that fucking maid?

Kazehito Seki channels RHY Yau in an unhinged-out-the-fricken-gourd, or better, unhinged-in-the-fricken-gourd, burn-it-till-you-puke, squeegee twizzle. Start. Stop. Choke. Hawk. Pah-too- er, pardon me...apparently recorded live with a “Good PA” in Buffalo NY. Completely lives up to the self-stated manifesto published in the liner notes: I believe in GOD-crossed-out-MY AESTHETIC...ever panic, just play. Dude sounds like he was having a panic attack live and in the flesh, but it was probably just something stuck in his throat. For fucksake Buffalo, you people just stand there and watch? Any fucker clap and it’s time to play Fist, meet Face. The new poster boy for Vapo Cool.

Then a wee bit ‘o gentrification per the Elder Texan, flushed purple and bleating in distressed sub-ambient frieze. Observe as Richard Ramirez takes his sweet old time, flopping out the Backroom Prize and ever-so-eloquently shoving the shit home, plunging with a firm and single-minded pressure into hazy, deadened machine burial ritual: murked wheedle ‘n fizz slowly ascending through grim, electrified, steely-faced buzzing, scraping along the dense and unyielding assemblage, to resolve, finally in clustered singe-bleed of monolithic redwall.

Mo*Te’s So Fucking LSD is about as Other Noisean as you could want. There’s definitely more than just LSD in there. Starts with a straight-ahead beat before sharp uptake of gaseous bong-chambers envelopes a stuttered boiler-room clunk ‘n tremble, exhaling in uneven blurts of alternately flatulent butt-huff and choked-whistling dog-slobber. Steady gradations of singed warble-bleed punctuated with wide-panned electro-jitter and muffled dumpster thud. The dumpster thud gradually starts to dominate, distort, flatulate, briefly entertain possibility of going it harsh, nice phat ka-BLEEWY, end, like to hell with the maid, what in the fuck was that?

With flashes of Mo*Te still echoing in the brainpan, who who better to succeed than A Fail Association. Heard they were playing this at the recent stateside street protests. A little faux rhythmic drama to get the blood pumping, cut to wide-bodied pinging and keening, cut back again to the drama, rhythms getting badgered and buffeted by whittled midrift shizzle-snort. Then. Enter the maid. Nylon’d knee to the neck and the suffocations start to crowd in. Harsh, HEAVY, uncompromising, short but far from sweet, like, gurgle seriously urk man gluglughgh, it's chck-xss Hard...To fucking Brea-
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