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New Speedcore Worldwide - Extratone Sampler 2 


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PRESSTERROR - SUIZIDCORE: Pissing On The Mainstream


Legs Akimbo Records is proud to present SUIZIDCORE: Pissing On The Mainstream from Germany’s PRESSTERROR.

An absolutely massive release containing no less than 28 tracks amounting to over 2 and a half hours of PRESSTERROR’s own style of Splittercore/Speedcore that he calls SUIZIDCORE!

New Mix

PRESSTERROR (MaS Booking/Legs Akimbo Records/Splatterkore Reckords/Braincore Recordings/SUIZIDCORE RECORDS)







06.09.2014 - Speedcore , Splittercore , Suizidcore , Extratone Session Part 2 (BERLIN)
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Oktober : Switzerland , UK England

15.11.2014 - Berlin bleibt Hart 20 Jahre Pet Duo
Info :

November : Italy , Berlin


Great drummers are rare. You might know one. They’re in 8 bands and have 4 solo projects, right? Once word gets out, everyone wants them, because drums and percussion are just one of those areas that you can’t bluff and what can be an endearingly shambolic approach on another instrument just won’t cut it on drums (ok, Crazy Horse aside..).

Pascal Nichols is a great drummer. He has a subtle polyrhythmic musicality that, on his excellent new album Nihilist Chakai House (on Newcastle label Discombobulate), conjures images of Don Cherry’s Organic Music Society taking on gamelan. Pascal’s style is a gently rolling thunder around the heads, bells, hats, blocks, sheets; a precise yet fluid and limber evolution of the pattern of punctuations peppering each cluster of pulses and beats. He’s amazing to watch too, face betraying a consciousness lost in patterns of casual complexity.

You may have seen Pascal as half of the great Part Wild Horses Mane On Both Sides at TUSK 2012, a set concluded by Nichols and Jones both rolling clay (he’s a ceramicist too) and you’ve probably seen or heard him live as part of another half dozen combinations. This solo record is one of the best things we’ve heard him do though, and if you’ve enjoyed the solo records of Paul Hession, Chris Corsano, Milford Graves, then this is for you. As put it: “It’s crystal clear like an ECM joint yet huffed with a sweaty Javanese energy. The bronze pots get thunked bad and vibrate, shifting units of time, Bene Gesserit style. A massive station clock weeps small brass cogs until the stutter of fudge-footed mice scramble all smeary, dazzling with dry-snare. Between times you hear the most amazing sonorous cowbell work this side of a Trouble Funk block-jam tailing off into resinous wooden bumps.”

Introducing Chúpame El Dedo, a new group formed by Eblis Álvarez (Meridian Brothers) and Pedro Ojeda (Romperayo).
Hailing from Bogotá, Colombia, Chúpame El Dedo (Suck my Finger) deconstruct and manipulate the aesthetics of grindcore and black metal by mixing it with a strong tropical flava made of salsa, cumbia & reggaeton.

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The first ever release of mythic Colombian groups Ensamble Polifónico Vallenato and Sexteto La Constelación De Colombia. A full-length album of exclusive archive recordings featuring members of the Meridian Brothers, Frente Cumbiero, Ondatrópica, Romperayo and Los Pirañas.

Bland rock and pop music took over Colombia in the 1980s. For a country with so much musical heritage this was blasphemy. Ensamble Polifonico Vallenato and Sexteto La Constelación de Colombia were two groups who, in the late 90s, fought to redress the balance.

Ensamble Polifonico Vallenato started as a joke, a parody of the bad vallenato music a bunch of University students would hear on the bus into campus. Their idea was simple: “to play whatever and see what happens”. The resultant music was as heavy as rock, as acidic as punk and as far-out as the most left-field free jazz. At the heart of it all was fiery accordion and acerbic vocals, often playing in call-and-response, just like the classic vallenatos of yore. The lyrics formed a big part of the group’s identity; they were deep, sarcastic and surrealistic, and revelled in toying with Colombian clichés.

The music soon stopped being a parody. The students began to learn more and more about Colombian folklore and their sound evolved. Soon, they ditched the accordion, replacing it with flutes from Colombia’s Caribbean coast, and renamed the group Sexteto La Constelación de Colombia. The musicians were now more mature, though no less experimental.

Both groups were rebellious, counter-cultural and added to their reputations with anarchic live shows. At the time, the reaction was mixed. To quote the group, they were “approved by a few but disapproved by a lot.” For many musicians who saw them play during their short lifespans they offered an alternative, a new form of Colombian music that was rooted in their country’s heritage but could be as innovative and experimental as any jazz or rock. A seed was sown that started a new branch of Colombian tropical music.

The band members now play in groups like Meridian Brothers, Frente Cumbiero, Ondatrópica, Romperayo and Los Pirañas, bands that have released albums and toured internationally, as well as finally won critical and public approval, while maintaining the revolutionary spirit that will ensure that the evolution of Colombian music is not ready to stop yet.