Good bad Music for bad, bad Times!

The early Punk scene in Switzerland was not very productive, but what it produced was and is of an often astounding quality. Over the past years, I’ve been trying my best to give these mostly hard to find records some attention.
When recently I got in touch with Rolf Brunner, I first didn’t know what interesting musical background he calls his own. Best known for his and his long time friend Micha’s superb BLOODSTAR (here and here), I was puzzled to learn not only that BLOODSTAR had a much longer history than I ever knew. It’s also Rolf’s musical background that turned out to be much more interesting than I imagined. Take this cassette only release, by a fictious group called BAMBIS: A one-man tribute to the RAMONES, as well as a freaky and original Punk mashup avant la lettre. Using a drum computer, a synthesizer, guitar, Olivia Newton John and his voice, he managed to create the undoubtedly most interesting and original RAMONES interpretation of the past & curent century.

At first, you’re going to laugh, I guess. Readers of this blog might be reminded of a certain MANOWAR-smurf variation and no wonder so. But at a second listen, you’ll probably, just like me, begin to take notice of little details and a fair deal of subversion. Some bluesy guitar line bits here or some “Xanadu” there and a truly bizarre atmosphere of irritation coming along with this Punk-Disco-Blues-Industrial-Mongo bastard. My fave track would be the incredible interpretation of Pinhead. Listen to it here before downloading! Amazing!

A bit of trivia before I leave you downloading he entire BAMBIS tape: Yes, the RAMONES knew of this cassette. When they played here in Zürich in 1981, Rolf on his way home accidentally met the RAMONES who were just deboarding from a coach to enter the hotel. He handed them over a copy and drove home happily, unfortunately not knowing their reaction. I’m not sure, but I think they were rather amused.
Although released on the famous Swiss Punk label «Off Course Records» (the label’s only exclusive tape release) and printed in an edition of 100 copies, this is the first time it ever gets mentioned on the internet. Apart from that, it got a very favorable review in Sounds magazine and one not so favorable one in Spex, both upon release in 1981.
A re-release on vinyl is probable for next year. Stay tuned!

Download this pearl here as one large .zip file.

Thanks to Rolf for providing the tape!

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Switzerland’s contribution to the world of Rock’n'Roll could hardly be meeker than it is. One of the few exceptions however is CORONER, a band from Zürich and one that I unfortunately overlooked back in the days. “Death Cult” was released when Thrash Metal was the big thing, with groups like Anthrax, Overkill, Nuclear Assault or – and especially – Exodus cut a dash. Right from the start, CORONER let not raise the slightest doubt that the band had high goals.
Unable to find a singer, but with one former member (Oliver) who later joined Celtic Frost and two current ones who were part of the Celtic Frost road crew, it was only logical that Tom Warrior sang on CORONER’s first demo. His voice adds much to the quality of the tape and had he by 1985 not begun to make excessive use of his trademark “ughs” and (especially) the “heys”, it would have been a rather perfect vocal job, really. But anyway, his crystal clear and to the point singing is the kind of counterweight that makes the otherwise playful, frisky music memorable. Guitarist Tommy Vetterli was and probably is one of a kind in this genre and when I recently, upon the recommendation of Martin Ain Stricker, began to discover CORONER’s later material, I was massively intrigued by what the man is capable of doing with his instrument – without ever losing himself in the vast kindgdom of wankdom. On “Death Cult” he’s already demonstrating the shape of what was to come from him in his later career.
If you’re into technical yet thrashy and expanded Metal (both in stylistic variations as in song length) that still has a NWOBHM-esque edge now and then, this is for you.
CORONER are currently working on a reunion and quite some people here are very much looking forward to that coming to happen.
Extra thanks to Martin for lending me his tape, as I’ve sold mine long time ago. If I remember correctly, prior to this tape, some sort of promo booklet was issued or maybe came with this cassette; I’m sure somebody will fill us in.
Delete the mp3 files of “Death Cult” you have on your computer; here comes the best sounding rip you’ve heard so far. One minor change I have made: I cut out the space between the last song and the radio outro.

Spectators of Sin.mp3
Spiral Dream.mp3
Aerial Combat.mp3
The Invincible.mp3

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In late 1987, I received a letter and a rehearsal tape from a band called INFEST and shortly after, an official demo tape followed. Matt Domino, guitarist and driving force behind the band, somehow stumbled across my fanzine Megawimp and happened to like my band, Fear Of God. In early 1988, Matt told me his band INFEST wanted to record an EP and release it on their own label. Since Thomas and I had already decided that we wanted to found a record label, I asked Matt if they would like to have a license pressing of the EP on our label. He loved the idea and came up with something even better: The band could record extra material in the studio so that we could release a 12″EP. Matt’s favorite HC record was SSD’s “Kids will have their say”, so this was the format he was very much striving for. The band hit the studio in June 1988 and sent the mastertape straight away. What can I say? I was blown away! The newer rehearsal material they sent me before entering the recording studio already showed a great increase in speed and brutality and the 18 songs were no letdown. I first didn’t like some production details, like the out of tune guitar and some of the vocals (which partially had this horrible Youth Of Today-style of singing, just gruffer). But it grew on me, as I kept playing the advance tape up and down, copying excerpts to about everybody in the world – and everybody in the world went nuts. It was obvious that this record would come as a real bombshell!
The band was quick to release their version of the songs. They had designed a great looking and perfectly fitting sleeve (with some variations that appeared later on) and upon seeing the sketch for it, I wanted to use it for the 12″ too. Matt didn’t like the idea, so I looked around. There was this rather crazy guy Matthias (or Seelenlos – soulless – as he called himself) who had recently sent me photos of some art he made and I particularly liked one of the the pictures. I suggested the band to entitle the 12″ “Slave” as I had one nicely fitting picture for a sleeve by that title and they loved it. Matt asked me to do the backside and the inserts. He specifically asked me to design the backside in the style of SSD’s “Kids will have their say” 12″ and that’s what I tried. At the time, I worked for some travel agency, mostly writing texts about trekking tours in the Himalaja and other regions – without ever having been there myself or hiking at all. One day, I had the Dalai Lama on the phone (no kidding) who was a friend of my boss. The boss was out of office when the guy called so I had to tell him to call back later. That’s about as far as I ever got to spiritual enlightenment. But the good thing was, that I had access to a computer with desktop publishing software and a laserprinter, which was unusual for the time, so I could design the INFEST stuff during office hours.

The mailorder version of “Slave” came in two variations: 100 copies on yellow and 100 copies on pink vinyl. Both came with a huge poster, stickers, a Megawimp leaflet and lyric sheet.
The 200 copies sold out immediately. Personally, I preferred the yellow vinyl pressing, why I had only kept this and sold the other at some point in time. Luckily, Markus Staiger, old time friend and CEO of the now biggest Metal label in the world, “Nuclear Blast Records”, told me that he still had a pink vinyl copy somewhere and when we recently met in Zürich, he brought a little present for me. I was chuffed.

For winter 1988, Thomas, Osi (Fear Of God drummer), Roman and I had planned another trip to the U.S., which was a good opportunity to meet the INFEST guys and hand them over their copies of “Slave” in person. Unfortunately, the pressing plant was pretty slow and acting up and when we finally received the 1’000 12″ers, they all came in a fuckedup sleeve with a weird white stripe. The original photo’s ratio wasn’t suitable for a 12″ x 12″ cover, so at the printer’s the chaps decided to simply add that stripe so that the image would “fit”. We were shocked, but departure was soon, so there was nothing we could do, besides the printer didn’t accept his fault and refused to take back the covers. I felt so horrible about this, so “unprofessional” and unexperienced, that I simply told the INFEST guys that the stripe there was intentional, to make the cover look more interesting. I’m not sure whether or not they bought the story, but all in all, they were very pleased and proud when they saw “Slave”.

Mind you this would be the end of a good and nice story. Though we had a great time with the INFEST guys, including a jam session during which we (half Fear Of God and half Infest) recorded some songs (DYS and Negative Approach covers, Infest and Fear Of God songs – you’ll be hearing these one day). When we got home, the MLP was already sold out and what could be called the third wave of Hardcore (and what later would appear as post-Hardcore to me) had kicked in and INFEST were on top of it. Thomas and I slowly started to shift apart. I lost interest in the contemporary music scene more and more, while he made many new friends and found a way for him to – let me put it like that – step out of my shadow. Somewhen in the early 90s, he (or we, I dom’t recall) decided to repress “Slave”, with the cover we originally wanted to see (minus the white stripe). 1’000 copies were made and a fair (I think even more than fair, from what I remember) share was sent to the band. The INFEST guys however were not amused at all by this. We should have asked them, but to me, it simply didn’t matter so much anyway. So ever since, INFEST hated us and especially me and a lot of gossip was spread. Thomas and I went separate ways and when in the late 90s or early 00s I sent Matt Domino an email asking for a possible CD release of “Slave”, I got some nasty threats in return. Wounded vanity here and there.

So many years later, it would seem insane and sad to me that the bad aftertaste still lasts: I can’t play “Slave” and enjoy it wholeheartedly anymore, though I think some of it is timeless (like the classic, yes classic drum roll intro with which the mayhem starts off – it still gives me goosebumps all over the body!). But that’s how it is to me: Music is something so personal and intimate that it’s also fragile and futile.

Download “Slave” here in the best sounding vinyl rip you have ever heard.

And now a word of warning:
Beware of the counterfeit currently congesting the market!

A few weeks ago, a counterfeit of this record surfaced (probably coming from the UK). Personally, I find it a bit shabby to produce a counterfeit of a rare record of which a legal re-issue exists. Obviously, it’s only made to trick people, make them believe they buy an original pressing. When this appeared two weeks ago, I immediately got messages and mails, asking me if it’s a legal Off The Disk repress. Well, it is not. The timing, with the Off The Disk boxset coming out soon, might of course make it look so. Maybe that’s what the bootleggers had in mind with the release date, so with the word about the boxset going around, they could trick more people into buying the counterfeit.

Anyway, here’s how to tell the original pressing:

1. Vinyl
Original press: The outer groove etching reads: “OTD 02-A” and “OTD 02-B” (both handwritten). Also, it has the laquer cutters initials in printed characters: “R.So.” (for Rico Sonderegger, the laquer cutting master from St Gallen, Switzerland).
Counterfeit: “OTD 02 – A -” and “OTD 02 – B -”, with a big space between the catalogue number and the side initial. Misses the laquer cutter stamps!

2. Cover
Original press: Glossy cover finish. Sharp, crisp image.
Counterfeit: Matt finish. Blurry image, low contrast.

3. Insert
Original press: Black on yellow paper. Good printing quality.
Counterfeit: Black on white paper. Obviously copied.

4. Sound
I didn’t even care to play the counterfeit. It’s probably going to sound inferior, just like the Deep Six pressing had a noticeably weaker mastering, cutting job.

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I’ve been meaning to post this for a long, long time. SCENE OF THE CRIME is not only a superb collection of five of the NWOBHM smaller names, it also comes in one of my most beloved covers. A headbanger demonstrating why Metal fans often refer to the guitar as “axe”. Wonderful! And another example to prove the PMAM (“Punk-Metal-Antagonism-Myth”), by the way (emphasize the word “myth” here).

If you’re a fan of the genre (and I mean, seriously, how could you not be?), this should knock you off your feet. The standout recordings come from SAVAGE who were approaching to what was soon to become Speed or Thrash Metal with their aggressive guitar sound and relentless riffing. Dungeons & Dragons Metal comes from SPARTA and from TYRANT, whose two sonsg are so extremely good and make one wish to hear more from the lads (Pagan Altar comes to mind). PANZA DIVISION (named after the Budgie song?)have two songs, “Blitz” is pretty towel-around-the-neckish, but “The Day Delta 4 played Mars” destroys! MANITOU’s self titled song has Led Zeppelin’ish qualities (of sorts), while “Overlord” is a rocker.
One of my fave NWOBHM compilations, first heard on a cassette tape that came from Tom Warrior and was given to a mutual friend.

Download the entire, bombasticalfantastical SCENE OF THE CRIME compilation here. (.zip file)

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Extra special thanks and kisses to the donors. You guys are the buzz in the distortion.

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You may have seen the donation-button on top of the left side column: Please make use of it, if you want to keep Goodbadmusic going on for another year.

For those new to the site: This blog runs exclusively on your donations. Although you can make a quick buck with google-ads, running a website, I decided to keep this blog ad-free and completely non-profit.
Your donations are inevitable in order to finance the technical maintenance which includes the mp3 storage (of course). I do the work, supply my music collection and invest in the hardware necessary – you supply the dough once a year! Sounds fair, doesn’t it?
The annual costs have risen to 285.10$. That includes unlimited bandwidth, web space and also a much faster and more stable connection (installed two days ago; hope you noticed the fast speed!). Once the sum has been collected, the button disappears.

If you want to donate but have neither credit card nor a paypal account, please get in touch.

Your support is much appreciated!

And here’s something a lot people asked me for:

4 1/2 years of Goodbadmusic: A personal résumé

4 1/2 years of continuously working on goodbadmusic have enriched my life quite a bit. It all started in March 2006, when I signed up to blogspot and wrote the first posts. The initial idea of just writing about music without posting mp3 files didn’t last long. I first started to add selected soundfiles, before starting to post entire records. After a harddisk crash which cost me about 15’000 self made mp3 files, I thought that this would be the time to call it a day. But in the end, the daily routine of sitting in front of my records, selecting an album and ripping it, quickly turned out to be something I did not want to miss. So if I had to start digitizing again, I thought, this time I wanted to make it right from the start by using quality hardware and creating mp3 files with love and the respect I feel for the music.
There’s nothing like the original vinyl of the music you love. You may argue with technical voodoo about authenticity of sound and such, or you can just say that you fetishize the objects (vinyl, cassettes, posters, books, whatever). There’s nothing wrong with fetish. The world needs more fetish. So maybe these mp3 files heat up the desire for objects and objects of love you can never have enough of.
Here’s where I realized that I started to grow new ears, even for records I had played hundreds of times before. When you work on these songs on the computer, you sometimes hear details that have totally escaped you before.
Trying to describe what you hear or putting it into a context of choice (historical, political, social or else) only deepens this experience. I had no theory of music, or my music, before working on goodbadmusic. Of course I was aware that music somehow changes just like everything changes in history. But what is music and how does it change? Do people make music or is the music that makes the musician? Over the past few years I began to realize that it’s about high time we start to re-evaluate the way we think about the history of music. That’s what I personally take from goodbadmusic: It remains to be work in progress and a focus of contemplation. Maybe the blog also provides the outlines of a book yet to be written.
Personally, I have since written about music outside goodbadmusic here and there: Next month for instance, a fine book about the 100 years history of the Volkshaus in Zürich is being published. I somehow managed to smuggle two pages about Heavy Metal concerts in the early 80s into that book which concentrates on the Volkshaus and its role in the history of labor movement.
In an extensive chapter of a book about the 80s in Switzerland (this one will be out early 2011), my personal friend Martin Stricker (a.k.a. Martin Ain, formerly of Hellhammer and Celtic Frost) and I talk about the politics of music and culture. This book will be published in early 2011.
On a more personal level, shootings for a biographical documentary film will be starting this months. The movie is going to portray me and my relationship to music. As you can guess, I’m very excited about this project which would not exist without the blog. The movie should be finished sometime next year.

610 postings and 12’527 comments have turned goodbadmusic into something real, in all its virtuality. People from all over the world have connected through it. I have found me new friends (and many new enemies, as it seems) and when I go out, I often end up having discussions about the blog, what’s written here, with friends and sometimes with people I have never seen before. That’s a crazy experience, I tell you, and it’s touching to see that music still can have such a potential of sparking up debates, bringing people together or apart – and all that in the world of today which, unlike the world of the 1980s, is bursting of music and style and fashion and scene. In the 1980s, I remember, you had a majority of youths who were not into music and whatnot, they just were in the waiting position to become adults. Today, the dividing line between the “youth” and “adult” world is not there anymore. The kids are boring adults and the adults are often pitifully regressive in their attempt of “keeping up” or “keeping true”. In our musical setting (well …), it’s the retro chic that makes me sick (and it rhymes!), the people who see, for instance, a video of the old singer of The Fix backed up by some hired hands, singing 3 or 4 old songs in 2010 to promote the Touch & Go book – and these people would go crazy over it, saying that this is The Fix they see there on youtube, in 2010 and yeah, that it feels just like it felt back then. In fact, they believe, nothing ever changed in the past 30 years. That’s what I call The Walt Disneyfication of Hardcore.
That upcoming movie about the Boston Hardcore scene seems to be just another a-historical and embarrassing look at the phenomenon, at least that’s the impression I get, with that bizarre retro festival they had there last week and all.
On the other hand, I think that there’s a growing number of people around who criticize the identity-politics of the re-enactment scene and those wishing to milk the cow once more.

One thing that keeps making me really happy is the support and generosity of musicians from all over the world concerning the blog. Mp3 blogs operate in a, midly put, grey area by posting music and artwork and making it available for download. That’s where the donation idea for goodbadmusic comes from: By depending on the community’s support alone (with advertising I could finance the blog easily; two big Metal labels alone made me offers that would go far over the 280$ per year). It may be a symbolic gesture that’s it’s the readers who finance this blog and maybe one that comes from the old fanzine days still. But I like it.
I still believe that this blog has a positive effect on record sales. Whatever it is, you can find it online for instant download, on blogs or filesharing platforms. But many people who end up here will, that’s what I persist in saying, most likely not belong to the consumerist downloading generation.
In the past, I’ve had a handful of requests from labels and bands to take down the song files of theirs. Recently, it was Rob from AMEBIX who asked me to take down soundfiles as the band was or is re-releasing its back catalogue. I took down the files as requested, but will probably ask for permission to re-up and post some new (well, old) AMEBIX material soon. Then we had the comedy with that guy who re-released THE CHEIFS 7″ and who ordered me to take down the three song files. After a storm of indignation and intervention from ex-band members, I decided not to take down the soundfiles. The latest in this very short list of copyright-issues came from a band from Switzerland, MOTHER’S RUIN. They seem to be preparing a CD-release of sorts and seemed to be worried that the three songs I had on the blog and the depiction of the original artwork (!) could be interfering with the sales of that CD. The smaller and less interesting the band, the greater the ego is sometimes. Well, well, well. I certainly hope they will shift more than 150 copies of that CD.
On the other hand – and that’s what usually happens – I get blessings from bands, artists or labels. Latest examples that come to mind would include D.R.I.’s Kurt Brecht who generously and personally blessed the posting of the entire EP and the label who recently re-released the EP. They simply asked me to put a link to the CD. Hats off! The second example would be Garry from the incredible ABGAS. I was looking for the very hard to find 2nd 7″ of theirs and he sold me one for a bargain and supplied a lot of material for posting it – which I will, as soon as the time is right! These are just two stories out of dozens I could tell.
A third variation of the reality-effects of virtuality sets in when I promote new releases (which I do, but selectively so). In the past weeks, THE DESECRATORS have shifted some dozens of their phenomenal previously unreleased LP (last copies available – get it while you can!) due to the posting here. Same thing could be said about the upcoming OFF THE DISK boxset (last copies available!).

So here’s for another year of goodbadmusic. I’ve been going through rough times recently, both with the blog and else. I cannot guarantee you that this will go on for many more years and it certainly will stop at one point. But I hope you, the readers, will keep up making it interesting with your comments, dissent and thoughts. I also hope that especially the partner blogs (that’s how I see them at least) will keep on going strong. KBD Records, Mustard Relics, Last Days of Man, Rocket Science and many others are blogs that I check up on daily; I think, I’ve read every single word and listened to every singe song on these blogs. So should you! The links are all there and many more, on the blogroll.
And don’t forget: If you like the music, don’t just download. Don’t do it for the industry, small or big – do it for yourself. Become a fetishist and get that fucking record!

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Two bands from France on the same italian label that also brought you WRETCHED. FINAL BLAST contribute two songs. I wish I could say that I don’t like them, but I must admit that there’s a certain melancholy in these two bass driven numbers that I still find quite appealing. I remember that I used to have a demo tape by these guys as well which I think consisted of more songs from the same recording session here.
On the flip, RAPT burst off with simple, amateurish and somehow really touching Noisecore à la LÄRM. I used to play these songs up and down, down and up in the cold winter of 1985/86, before the sensation of these raw, yet democratic sounds (“here’s one chord – now form a mongo-band!”) somehow got boring and simply swept away. Two LÄRMs were enough (the third, RUIDO DE RABIA from Spain came a bit later and were a bit too dull). So I was really surprised when recently I played the RAPT side again after probably 20 years and still could remember every song.

Olivier of RAPT soon moved to New Jersey and formed PSYCHO SIN. He was a great guy to trade tapes and records with.

Final Blast: Final Blast.mp3
Final Blast: Quelque chose à dire.mp3
Rapt: Gueree chimique.mp3
Rapt: Non Le Pen.mp3
Rapt: Thrash War.mp3
Rapt: Afrique du Sud.mp3
Rapt: La Punition nécessaire.mp3

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Remember when in the 80s, MISFITS records were the key currency in trading? “Oh, you’ve got that Negative Approach 7″ for trade, what do you want for it?” – “It’s becoming really rare, let’s say it’s almost “3 Hits from Hell” or half “Beware”"

Personally, I didn’t like the pre-”Earth A.D.” MISFITS too much at first. The horror image, the rock’n'rollish music and the very melodic singing of Danzig were not Hardcore enough. “Earth A.D.” was. So when I found the “Beware” 12″ in my local record shop’s 2nd hand box, it went straight onto my trade-list. The same happened again when I found another copy.
Years later, when I had my first computer with internet connection, I stumbled upon this guy who advertised one original “Beware” copy and wanted to trade it for swiss punk singles. I’m not sure which one exactly it was, but I sent him what he wanted and a couple of weeks later I received the package with the original “Beware” 12″. This time, I knew, I would stick to it. In the meantime, I had aquired most of the MISFITS 7″s, but this 12″ is something special with its topnotch graphics and – with nothing but hits. As you know, the a-side features all the tracks from the “Bullet” 7″EP (albeit in different order) and the b-side has two of the three tracks from the “Horror Business” 7″EP, plus the incredible and previously unreleased “Last Caress” (later mutilated by Metallica).

Danzig’s vocals are simply amazing on these seven songs. He was the undisputed Elvis of Punk, with so much charisma and power in his voice. The rest of the band shrinks to mere sideplayers backing him up, methinks.

Roughly 3’000 were pressed of this 12″, originally meant to promote a UK-tour that never happened. Endless bootleg variations available. Officially re-released on some MIFISTS CD anthology, but you can’t, you simply cannot listen to these songs on CD. It sounds so false.

We are 138.mp3
Bullet.mp3
Hollywood Babylon.mp3
Attitude.mp3
Horror Business.mp3
Teenagers from Mars.mp3
Last Caress.mp3

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Forgive me for posting the 2nd CRUCIFIXION so soon, but I just couldn’t hold myself back.

A considerable step in the right direction, as I’ve already mentioned in the presentation of the first 7″: Harder, faster and catchier. The towel-around-the-neck-sim is gone here and on the faster a-side, there’s plenty of good old SAXON (“Strong Arm of the Law”-era) to be heard, including a competent and tight rhythm guitar section. The vocals are a bit Biff-y too, but technically pretty weak – which of course, this is goodbadusic here, is what we especially like. It’s that nowadays totally vanished humane factor that makes this kind of music as great as the 50s rock’n'roll singles.
Especially the b-side, “On the Run”, is the smash hit and I couldn’t get it off the old Rex turntable after buying this single from my pocket money. It was on display in the village’s only record shop’s window for a short time because the owner normally only ordered 2 or 3 of these Neat singles, so I couldn’t wait until school was over on that one day, rushing to the store (“Disco Shop”!) and getting this slab with the great skeleton cover.
When I met the HELLHAMMER guys the year after, I quickly realized that Tom (being the enormous NWOBHM lover he was) recycled all these band names and song titles for his own group. This made a lot of impression on me and gave HELHAMMER a great aura of seriousness.

Take it or leave it.mp3
On the Run.mp3

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CRUCIFIXION from Essex formed in 1979 in Essex and until the band’s goodbye in 1984, only managed to release two 7″ers, a 12″EP and a compilation appearance (on “60 Minutes Plus” Neat Cassette; not counting the postmortal ones). In a way, the jinx-fated recording career of CRUCIFIXION is prototypical for many of their fellows.
After the red hot debut 7″ (which was impossible to find outside of Great Britain, if not outside of Essex; I bought mine on Ebay after the hefty prices of the NWOBHM-trend of the 90s and early 2000s had come down), the band somehow didn’t seem to be able to keep or gain the momentum. Believe it or not, youngsters, this music was considered “aggressive” 30 years ago and thus would have had the potential to generate attention for CRUCIFIXION. Unfortunately, it took them two years to come up with a second 7″ and although that follow-up saw a major improvement in terms of production values, speed and power, had proper international distribution and was among my personal faves of the glorious Neat label acts – the band somehow just fell off the earth.

Enough for the moment. More CRUCIFIXION will follow soon. Pictured above, you see the two stickers that came with the sleeveless 7″.

The Fox.mp3
Death Sentence.mp3

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