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Various - Industrial Chaos (U.S. Industrial Compilation) mp3 flac

  • Singer: Various
  • Album: Industrial Chaos (U.S. Industrial Compilation)
  • MP3: 1902 mb | FLAC: 1773 mb
  • Released: 1990
  • Country: US
  • Style: Industrial, EBM
  • Rating: 4.2/5
  • Votes: 507
  • Format: DTS MP2 MP4 DXD RA AUD MPC
Various - Industrial Chaos (U.S. Industrial Compilation) mp3 flac

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Listen to online Various - Chaos . On this page you can not listen to mp3 music free or download album or mp3 track to your PC, phone or tablet. All materials are provided for educational purposes. from authorized sellers. 1. Various - Stock Exchange mp3. 2. Various - ADZ mp3. 3. Various - What Do You Want? mp3. 4. Various - Shackled mp3. 5. Various - Prisoner Of The World mp3.

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В альбом вошло 12 треков. Продолжительность альбома: 01:00:28.

Скачать Various - Chaos . On this page you can listen to mp3 music free or download album or mp3 track to your PC, phone or tablet. Photo of Various - Chaos . More albums of Various: Beat Club - Live Recordings. Spirit Of The Eagle (Zimbabwe Frontline Vol. 2). Genre is Rock. This album was released on the label St. Thomas Records (catalog number STP 0051).

In Competition and Chaos, Robert W. Crandall analyzes the impact of the 1996 act on economic welfare in the United States. He also examines how the act and its antecedents have affected the major telecommunications providers, some of whom are now a threatened species, caught in a downward spiral of declining prices and substantial losses. None is assured a clear path to dominance in the drive to attract customers to an expanding array of voice, data and audio services. Although the telecom stock market collapse is now history and the survivors are investing once again, Crandall concludes that regulators failed to adapt to the chaos to which they contributed until the courts forced them to do so. Скачать (pdf, 983 Kb) Читать. Epub FB2 mobi txt RTF.

Chaos are an American punk rock band from Paterson, New Jersey, formed in 1981 from remnants of first wave punk outfits The Front Line in 1978 and The Radicals in 1979. They were one of the first American bands to play in an Oi!/street punk style. The band was originally based in Passaic and Bergen counties. The band's approach was to play music with lyrics that had an overtly right-wing prose and sense of American patriotism (albeit ironic)

With numerous minimal electronics compilations (Electronic Manifesto from I to IV) made in the past, Pedro to offer here his selected free compilation of this remastered HIV+ early harsh noises. released February 8, 2016.

Tracklist Hide Credits

1 Scott Campbell Juggernaut
Saxophone [Alto], Drums, Guitar, Mellotron, Keyboards, Vocals – S.C.*
2 Terminal White Bed
Engineer, Producer [Production Assistant] – Steve FriskKeyboards [Bass], Percussion – Phil RaineyPercussion – Mark MattucciTechnician [Technical Coordinator] – Skip "Scottie" Fontry*Vocals, Guitar, Bass – David Pistrui
3 The Dark Theater Undead 5:24
4 Warworld Vasst Waste
Written-By – Warworld
5 Lab Animals Whatever It Takes
Drums – Greg PetersonGuitar, Written-By – Richard "Tex" Newman*Vocals, Bass, Written-By – Bill McNeil*
6 Decay* Immigrant Song
Drums – B. Moore , Greg GizziGuitar – Dave ElderHarmonica – Dave RusslanderKeyboards, Electronics, Producer – David Kane Producer – Marc Mizrahi
7 Gadfly Distant Ways
Performer [Personnel] – Alan Hinkhouse, Carlos Ortega , Patrick FultonWritten-By – Gadfly
8 Blue Nimbus High Insight
Written-By, Vocals – Lee MicAllef
9 Double D Would I
Keyboards, Percussion – David Kane Vocals, Guitar, Bass – David Pistrui
10 Aural Sect Testimony
Engineer – Pete BankertPerformer [Personnel] – K. Marx, M. Space "Pweent", Max.LProducer – Greg "Itchy" McCormick*
11 Skin Horse* Black
Guitar [Lead], Rhythm Guitar, Backing Vocals – Dwayne Williams Programmed By [Additional Drum And Synth Programming] – Greg HansonWritten-By, Bass Guitar, Lead Vocals, Programmed By [Yamaha And Alesis Drum Programming] – Andre Royster
12 Static Effect Senselessly Beaten Fenceposts (Edit) 3:00
13 Jimmy Lifton Of Mystics 2:30
14 Jimmy Lifton Wired For Sound 4:23
15 Rubber Hardlife
Bass Guitar – Lou KaufmanDrums – Judy Guitar, Electronics – Otto SpaceVocals, Guitar, Keyboards – Puss E. MagnateWritten-By – John Koester


  • Compiled By – David Pistrui, Sue Summers
  • Executive-Producer – Sue Summers
  • Illustration [Cover Illustration] – M. C. Escher*


Cover illustration "Dark Alley In Alrani".

Other versions

Category Artist Title (Format) Label Category Country Year
NBCT-2 Various Industrial Chaos (U.S. Industrial Compilation) ‎(Cass, Comp, Chr) Nebula NBCT-2 US 1990
The “Industrial” tag in this case mostly refers to heavy Electronic Rock-type things, with leanings towards E.B.M. & Techno. It’s a surprisingly good CD and contains some of the most catchy music to carry the Industrial banner - fully fleshed-out songs you find yourself singing to. There’s also some excellent Experimentation going on in here.SCOTT CAMPBELL opens play with “Juggernaut” - a chrome-bright echoing drum pattern over which bass synth and deep 'n' distant vocals gradually pull along in a surprisingly catchy way - in many ways its structure reminds me of something by THE STRANGLERS slowed to half speed. It’s a fully-fleshed-out song which concludes in a cloud of sub-white noise. "Bed” by TERMINAL WHITE follows, sounding like CASSANDRA COMPLEX with BILL MEDLEY singing over the top, and it’s probably the most ‘together’ track I’ve ever heard in this scene - it could easily walk into the National Charts! “Undead” by THE DARK THEATRE follows next, described inside the booklet as an “Industrial/Egyptian/MetalRock show”, they certainly have an Industrial rhythm & beat, while the spiralling guitar remains closer to Rock, and it’s serpentine twists suggest the Eastern influence - a slow but determined track. WARWORLD offer “Vasst Waste” next a fuzzy track which almost dissolves in it’s own incandescence, but remains intact to deliver a deceptively-simplistic-sounding track. “Whatever It Takes” by the LAB ANIMALS is next a white-drums-and-bass driven track over which all manner of sounds play chase with the vocalists deep menacing rumble. It had a relentless, building sound that makes you think you’ll either have to get up and dance, or be engulfed. “Immigrant Song” by DECAY (or as the booklet has it “DAVID KANE’S DECAY OF WESTERN CIVILIZATION") ushers in on a two-note metal beat, a fairly complex structure of guitars & synths over which vocoder vox add textures. GADFLY follow this with “Distant Ways”, a neat hybrid of Gothic and Electronic Body Music with flowing guitars over ceaseless hi hat strafing - the song itself hooked me and had me hungry to hear a full-length album by these. “High Insight" by BLUE NIMBUS thunders in at 148 BPM, flying like an amorphous glass object, it’s construction defying easy unravelling, but compelling like a mild addiction. There’s guitar in there, bass 'n' keyboards, and even harmonica, all sounding blended, fused into one single wide sound. “Would I” by DOUBLE D is another catchy track vocally. Musically, it sets its sights on the far end of 7'18” and charges the full distance at a heady 150 BPM - dance to this one at your own peril. “Testimony” by AURAL SECT slow down the pace a little to give us perhaps the closest thing to E.B.M. on the entire album while the vocalists words flange up into the rafters in strange and distorted shapes. Next up is SKIN HORSE - quite a treat this - sounding faster than their alloted 110 BPM, these are two Black guys working in a field that seems to be predominantly white - and they are no novelty band - they can kick ass with magnesium light 'n' teeth-gritting dark menace combined - see separate review. “Senselessly Beaten Fenceposts” by STATIC EFFECT is perhaps the most experimental piece on this album, a drum pattern which clatters along while all manner of sounds rise and fall beside and within it. “Of Mystics”, the first of two tracks by JIMMY LIFTON is almost New Age - an Eastern flavour over a strict, yet not out of place drum pattern. Flutes float and chimes shimmer, tuned percussion twinkles and keyboards meander. “Wired For Sound”, also by JIMMY LIFTON is a much more upbeat, jumping from a slow-drifting 64 to a much harder 120 BPM. It’s strangely commercial, it’s harmonics reminding me of (I think) BILLY JOEL! However it is a moving sound with great depth and energy. Out of this awkward comparison, RUBBER offer “Hardlife” which bashes the album towards conclusion on a sound which transform between a dense end heavy, full music to a thinner sound at regular intervals. When this one moves, it goes like an express train.I somehow expected this album to be weak, or contrived, or even some surprised I haven’t seen it for sale over here. If you see a copy in your local shop, ask them to play a couple of tracks. I needn’t even tell you to buy it - I’m sure you will!Originally reviewed for Soft Watch.
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