Pedifile - Die A Violent Death (1986)

Pedifile - Die A Violent Death (Demo 1986)

Since the last post was of Desecration I thought i'd put up some Pedifile. Why?
Because apparently these bands had 'beef' back in the day. Actually, that's a crock of shit as Desecration's vocalist, Jack, tells all in issue #4 of Threatening Society.
Link Here: http://www.threateningsociety.com/4_desecration.html

Pedifile were a rough-as-shit thrash metal/crossover style band that kinda border on early death metal. An interesting sound for sure. This demo has a 'Reign In Blood' vibe to it with all the fast as fuck metal riffs at hardcore tempos. Apparently the band would get shit upon by many for having (and admittedly, overusing) little girl screams. I guess it's meant to be a Tom Araya high pitched screech but it ends up sounding a bit prepubescent, which is funny regarding the full-on trash attack Pedifile deliver. Their claim to fame is the one and only Lars Ulrich wearing one of their shirts during an MTV interview during the late 80s. Pretty cool!...or maybe not. Well, I think its cool.

'Shackle The Jackal' is like a mission statement to what these dudes are all about, fast, stop/start, tempo changing thrash metal. They aren't super talented, some riffs are fluffed, but they can surely play. The 'little girl' screams are in abundance on this track, which to be honest, can be off-putting as they aren't particularly menacing ...unless you find little girls menacing that is.

'Mortal Psychosis' has a Metallica-like clean section, but with a dissonant twist and some cool austere guitar leads to boot! It eventually builds up with some steady chugging and floats down again...only for the thrash to begin! A common theme with this demo is the mix of sloppy playing and muddy production making many parts almost unintelligible. With that said, its not too distracting, it just takes away from the punch. Around half-way through there is a meaty, mid-tempo thrash riff. Very nice!

Although it brings images of Cannibal Corpse to mind 'Pedophiliac' isn't some twisted, perverse story of child abuse. It's actually about beating-up a Pedophile as depicted on the demo cover. Overall, it's a good thrash tune but the mid section is the highlight. The band 'brings-it-down' for that riff, which is a tasteful exercise in dynamics.

'Holocaust The Hippies' has that Slayer vibe with the fast guitars and Araya styled fast shouting. The mid section, with a slightly technical riff, is pretty cool but the solo is where its at! Shreddy and harmonized!

So, a cool demo overall. The production and playing takes off the visceral punch to the gut. But you can definitely tell that there is something here. Not just generic thrash, they mix it up nicely.

Linky Link:
https://mega.co.nz/#!lcAmCIBR!v1OmOf5C6a2k1beRgMaJv7LskoK67D7MJQ4Jcss9TEU

Here's what 'Threatening Society' had to say about this demo in 1987!:
PEDIFILE is a five piece thrash metal band from Mesa, Arizona. They formed in May '86 and started off doing SLAYER and EXODUS covers, while opening for bands like ZNOWHITE and DARK ANGEL. But now, PEDIFILE is headed in an all original direction and hope to get signed soon with this demo. PEDIFILE is into heavy, technical music with heavy vocals and ear-piercing screams. All of this is displayed on the demo.

PEDIFILE "Die a Violent Death": This ain't easy, but here goes. The music on this four song tape is played really well -- good, tight, technical thrash. And most of the KREATOR-type vocals are pretty cool. But there are some extremely high shrieks that just sound out of place. Plus, I really can't get into their lyrics. It should be noted that the song "Pediophiliac" delivers an anti-child molestation message. So do their t-shirts, which depict a child molester being beat up by a bunch of thrashers. Overall, this demo is slightly above average. Interesting. The tape costs $4, lyrics included. For $6 you get the tape and a PEDIFILE t-shirt, which Chris informed me LARS ULRICH of METALLICA wore on MTV and claimed to be his favorite. [TONY]

Desecration - Damaged By Decibels Demo (1985)

Desecration - Damaged By Decibels (1985)

Tim Yo, of Maximum Rock'n'Roll, reviewed this record calling it 'death metal core' in 1986.

A strange way to categorize a band for sure. Especially when you consider the musical landscape at the time. As far as i'm aware, death metal wasn't really a defined thing. There were various out-there thrash metal and crossover acts, but death metal, as well as black metal, wasn't defined as a legit genre until the late 80s.

The intro to the opener 'It's Just Begun' has the ominous keyboard soundscape of an 80s horror movie, which leads me to thinking that Tim isn't too far wrong. But then the band thrashes out some gnarly malevolent hardcore violence. Admittedly, the lingering chords that preface the hardcore attack on 'It's Just Begun' lead one to think 'hey, it's kinda metal'. But the hardcore surely outweighs everything here. Their version of Sabbath's 'Paranoid' is a fast hardcore blast, which is pretty rad. And 'Nothing Free' follows suit in the hardcore assault. The closer 'Bureaucratic Nonsense', as you may have guessed, is manic hardcore. However, wedged in-between the frenetic blasts of noise is a rough as shit solo and a mighty riff. Definitely the best track here.

This demo is roughly recorded, the drums sound muffled, the bass is inaudible, and the file clips in places. But don't let that put you off. 'Damaged by Decibels' has a ripping guitar sound, lunatic vocals, and is a great representation of 'metal damaged' mid-80s hardcore. Their later records, 'Who's In Control' and a split with Subverse are way more produced and are also worth tracking down.

Linky Link:

https://mega.co.nz/#!ZY5yWSqR!S0AfyGL9sVGhhPJCspClq3IRGVDniWIK5T2ghvDbu0w

And here's Tim Yo's review. Taken from the great 'Kill From The Heart' website.

A four-song "death metal core band" that zips along at a frantic pace, isn't as metal as it is thrash, and avoids lame lyrics and sticks to political/social subjects. A pretty hot debut.

-Tim Yohannan (from Maximum Rocknroll #33, February 1986)

Jerry's Kids - Kill Kill Kill (1989)

Jerry's Kids - Kill Kill Kill (1989) Taang! Records

This was one of the first 'crossover' records I ever heard. And dear lord did I hate it when I was 15.

The dumb soloing, the stupid lyrics, the abandonment of the frenetic punk energy found on the 'Boston, Not L.A.' tracks. I hated everything about this record, especially 'Breathe and Fuck', Jesus wept. What a turd.

I've listened to it a few times over the years since then, each time becoming more bearable.

But what do I make of it now that i'm fond of metal? Is it even THAT metal? Well...

I'm gonna say it...this isn't metal. It's not really even 'crossover', it just doesn't chug. Sure, it has a butt full of, admittedly metal, solos. But no real metal-as-fuck riffage.

Its kinda surfy in place, its kinda rocky, and it has some metal flavoring, but to be honest, the majority of it is hardcore. So why the hell did it rub me up the wrong way for such a long time?

To be honest, I cant really put my finger on it. After listening to it a few times I actually like it.

I mean, it doesn't rip like 'Boston, Not L.A.' or 'Is This My World' but it definitely has its moments.

'Breathe and Fuck' is the first sign of slowing down, and at track three, maybe its too soon to change pace. While its nowhere near as horrendous as I remember it being, it's very long for what it is.With that said, it shows off a more experimental side to the band, which should never be discouraged.

I'd say that tracks like 'Breath and Fuck', 'Tired Eyes', 'Don't Belong' and 'Satan's Toy' show the experimental side in full motion, with Hendrix-style guitar work/wah effects, sound-clips, and longer arrangements on offer. Most of the other tracks are like a mixture of the 60s like guitar playing meshed with hardcore pace. And they mix it up pretty well, its not like a total convergence of those two approaches. Tracks like 'Bad Trip' and 'Back Off' start off with slow intros that eventually race into intense speeds. There is definitely some ripping hardcore here, it's just meshed in between more ambitious structures.

Sure, Rick doesn't sound like he's just escaped a mental asylum. The band isn't a dyed-in-wool 30 second hardcore holocaust. And they aren't as rabid in their approach. But if you take it for what it is, its not bad. Its a band expanding on their sound in an original manner. I can't say I've heard many 80s punk releases that mix punk, surf, metal, and rock, all into one cohesive record.

Would it be better if 'Satan's Toy' wasn't on the bad side of 6 minutes? would it be better if they cut down on the soloing? would it be better if they got rid of some songs? If you want a straight up hardcore record, then sure. But regarding when this record came out, 1989, Jerry's Kids were

fairly faithful to their roots while experimenting with their increased musicianship. Thumbs up.

Linky Link:

https://mega.co.nz/#!hEIH1LjD!GZcif_UyaS6jKixGu9re5KaMAhpHGaDU3YpkVr9cVhc

Here's a cool press release!

Gang Green - You Got It (1987)

Gang Green - You Got It (1987) Roadrunner Records

So, if 'Another Wasted Night' was just a full on punk record with some dubious experiments with commercial rock, what is 'You Got It'? In the year of 1987 did Gang Green go through their 'metalmorphosis' like many of their peers?

The short answer is: not really, but kinda in some ways. A weird answer for sure, but then again, i'm a weird guy. The thing about Gang Green is, Chris' guitar work never strays into super heavy rock ala Sabbath which SSD and DYS did. At the same time, he doesn't venture into the chugging rhythms of Metallica and Slayer which many 'crossover' bands aped. He sticks firmly in the punk rock meets AC/DC territory, and writes songs that he can sing over. And, indeed, his vocals have improved a lot since 'Another Wasted Night'. Even though the songs are much longer, all of which being in the 3-4
minute region, they don't get boring.

As expected, the soling is pumped-up ten-fold. For sure, Chris rips some tasty leads that save the record from becoming too monotonous. In 'Another Bomb' there's some clean guitars, which makes you think 'ooooooh, power ballad time', but they eventually give way to the ripping punk assault. On the metal side of things, there's the drumming. Like on '19th Hole' from 'Another Wasted Night', there is a lot of double kick work going on here, which I graciously welcome. Guitar wise, there's some tremolo picking here and there and some Maiden-esqe harmonies on 'Party With The Devil'. Other than that, there's not really any metal here.

After hearing 'Another Wasted Night' some years ago, I was put off from discovering the Gang Green back catalog in fear of hearing a complete rock/metal car crash,. Because lets be realistic, they were never going back to their highly influential speedcore attack. If anything, they were going to further their rock style.

Turns out I've been living in fear for no reason. 'You Got It' rips.

Linky Link:
https://mega.co.nz/#!YFwSGIBB!T68ezzMX0Vd18B9isTKCUnF5sgVgC1w-npagTNlz1-Y

Gang Green - Another Wasted Night (1986)

Gang Green - Another Wasted Night (1986)

When I was younger, this was another record I just never 'got' after hearing their early material. Those tracks from 'Boston, Not L.A.' ripped shit up, they were some serious fastcore violence, unparalleled until Siege decimated everything.

On this outing Gang Green opt for a mix of punk and AD/DC love. What I didn't like when I first heard this was the vocals. He's singing? UGH! What happened to the throat shredding, petulant, bratty vocals of 'Boston, Not L.A.'? Couple that with the, by comparison, snail pace, really bummed me out.

With time on my side I can appreciate 'Another Wasted Night' and take it for what it is. They evolved from their (much loved!) spastic early material to a more melodic, rocky, song-based approach.With that said, I feel like i'm selling this record short. Its still punk as fuck, in-fact, its a total punk record.This isn't a metal record, its not a 'crossover' record, its not a rock record, its a punk record that treads on hardcore territory. You've got to admire the balls, the kings of hardcore slowing it down and writing-gulp-songs? Fuck, I didn't see that one coming!

For Gang Green, the initial reception was nowhere near as brutal as SSD or DYS experienced. In some ways that surprises me considering those keyboards on 'Voice Carry'! This is probably due to Gang Green valiantly sticking to punk while injecting a raucous 'rock' approach (as opposed to 'metalling' up). Couple that with the reworking of their hardcore classic 'Have Fun' and the generally good tunes, I suppose I get it. Yeah, I get it! This is a good record! Even for a guy who doesn't drink, 'Alcohol' is a ridiculously catchy tune!

If you're expecting Gang Green to RIP.IT.UP. at warp-speed, you'll be disappointed. Once again, as with SSD and DYS, this is about the songs, not the speed.

Linky Link:
https://mega.co.nz/#!MZZjzIBS!uO0zTHcth-pfhJBCS7pRiBKsf3g21tPo2qGkKvPe0i0

DYS - 1985 LP

DYS - 1985 LP/ 'Fire & Ice'

How does one follow up from SSD's 'How We Rock'?
With another controversial Boston punk release, obviously!

To preface this review, check out the Dave Smalley interview with 'Dissonance Radio' that covers
the Boston Crew, DYS, 'going metal', the infamous'salamander', Dag Nasty, straight-edge, politics, Down By Law, and artistic growth. http://dissonance.libsyn.com/7_15_08_dave_smalley

DYS were part of the 'Boston Crew', a bunch of straight-edge mostaphios who were allegedly violent to those who didn't agree with their politics. I can't comment with any authority as I wasn't even born then. What I can say with confidence is that DYS put out a seminal record 'Brotherhood' that stands ground as one of the best hardcore records ever, heck, best punk records ever, actually...one of the best records ever.

By the mid eighties many-a-punk band started 'evolving', this usually meant adding guitar soloing, placing melody and songwriting over brutality, and favoring dynamics over sheer speed. Naturally, many people branded this direction as 'metal'. This has always bugged me, why can't you become better at your instrument within the punk lexicon? Why does learning how to play different rhythms and techniques have to be considered 'metal'? Especially for 'hardcore' bands, do you know how boring it would be to write the same stuff for 5+ years? As much as I love it, it doesn't leave any obvious routes to take for expanding.When people criticize hardcore bands for branching out, testing out new rhythms and approaches, it weirds me out.

I've seen people call this self-titled, aka 'Fire & Ice', a 'Master Of Puppets' rip-off (the hell, seriously? 'Master...' came out in 86'), a terrible metal record, a sell-out, a 'hard rock' record, and a betrayal. It makes you wonder what goes on in some people heads, it really does.

I'm just gonna put it out there, Dave Smalley sounds great. Unlike SSD, in which Springa kept his guttural shouts, Dave shows off an impressive range, all but abandoning his shout. I can see why this would be seen as 'metal', or sell-out, but who cares if the songs are good? Not only is Smalley's range good, his tone is great, very much reminiscent of his Dag Nasty work. Due to the vocals, and some of the guitar work, this record reminds me of 80s 'emo' but with a lot more chugging and solos. Which, at least for me, is a good thing. Much like 'How We Rock' the rhythm guitar work is pretty much heavy hardcore, but unlike 'How We Rock', the guitar solos are tasteful and keep in minor keys.

So lets tackle this beast, track by track:
As the opening track, 'Late Night' has a lot to prove for the 'new and improved' DYS. While being one of the shortest tracks, 'Late Night' condenses many of the different approaches into one song, with its shifts in tempo, guitar lead breaks and ambitious melodic vocals. Admittedly, its not the strongest song here, so don't judge the whole record by it.

'Echoes' and 'The Loner' properly show off the riffy, Sabbath-ish, elements, with some-gasp-metal riffs. If anything, these tracks are what the record is all about. Its punk, its rock, its metal, all rolled into one.

I suppose one of the biggest controversies is the ballad 'Closer Still' which is placed, slap-bang in the middle of the record. As for someone who likes ballads that build up into a heavy tune, like Metallica's 'Welcome Home (Sanitarium)', 'Closer Still' is well written, it has a nice texture to it, good dynamics, a epic solo, and features fantastic singing by Dave. As far as heavy ballads (note: not power-ballads) go, this is a really good tune.

'Which Side Am I' is a good indication of the 'metal' aspects. There is no denying that riff, that's for sure. Its a pretty long tune at around 5 minutes, with the obligatory guitar solos. I can see where the Metallica comparisons lie here, especially with the theatrical main riff. For some reason I get a 'Creeping Death' vibe from it.

'No Pain, No Gain' and 'Held Back' are straight up Boston hardcore, no doubt about that. It's strange that they are kept to the very end of the record. You'd think the hardcore tracks would be up-front. With that said, there is a good amount of solos chucked in for good measure and some stop/starts. Instead of reverting to shouting, Dave continues to sing on these decidedly more frenetic cuts.

The closer 'Graffiti' has a  real Sabbath feel to it, with the mighty groove riff looming over like
a monolith. Sure, it speeds up but soon breaks down into the swampy goodness. A good way to end this controversial release.

So how to summaries? While this is often lauded as one of the worst cases of 'going metal' in punk history, but in reality, its a good record. While it is stylistically different to 'Brotherhood', it shows a band reaching out for a bigger horizon while sticking to their roots. While the cynics may believe the hardcore tracks are there to appease their core audience, i don't think its out of hand to think that they were just evolving from being mean-ass Bostonian hardcore to something more ambitious. This isn't 'crossover' as we know it in-terms of DRI, Ludichrist, et all. Like SSD, there is a mix of punk, metal and a healthy dose of rock. This isn't about speed, its about songs.

Linky Link:
https://mega.co.nz/#!1URxAZiD!Ct19aTFjgO9JElIokgoabRPmPnEQamBUz_gFIRZjLdA

SSD - How We Rock (1984)

SSD - How We Rock (Modern Method Records 1984)

It's strange how we change over time, both as people and our tastes. Some things we enjoy when growing up may seem objectively bad when we get older. A film like 'Saw' is a good example for 'my generation'. Me and my friends watched many of the films, and at the time, we enjoyed them. Looking back on those films now...they suck. I mean, they really, really, really suck. Badly.
However, other stuff like 'Jeepers Creepers', or for music, 'Limp Bizkit', remain enjoyable, even though I am thoroughly aware of how bad they are in the grand scheme of things. People of older generations will probably see all of the after-mentioned as terrible. I suppose that nostalgia for ya.

Whats the point of this long and seemingly random introduction? Well, when I started getting into punk it was very much 'i listen to punk and reggae and that's it, fuck rock and metal'. Looking back on it now, it seems childish and silly to think like that, but i digress.

SSD are one of 'those' bands. You know, the bands that stick out like a sore thumb due to their sound, influence, and historical presence. They're the sort of band you listen to to get you into a certain style of music, but, they are somewhat 'obscure' so you get 'cool points' for knowing about them.

SSD represent all that is mean and fucked up about punk, they are the embodiment of HARDCORE.
Fast, pissed off, mean, gruff shouty vocals, pounding drums that go from menacing plods to proto-blast beats, and frenetic pummeling bass lines. SSD may not be the first hardcore band you'll hear, but they will certainly leave one of the biggest impressions. So imagine me, been listening to punk for a few years, properly in my 'punk or nuthin' stage, and I hear SSD. Naturally, I'm blown away. But then I catch wind of these 'other' records they put out, ones that never get discussed. When I sourced out and listened to 'How We Rock' I was appalled. A total 'What the fuck is this' moment. I gave a few moments of the 1985 follow-up 'Break It Up' a listen but quickly came to the conclusion that SSD 'went metal'...oooooh, shock, horror! Needless to say, I stuck to the almighty 'The Kids Will Have Their Say' and ' Get it Away', and shunned those awful 'metal' monstrosities.

Years later I started to dig metal, I started out with various punk-metal bands like Slayer,
Bathory, and Burzum and eventually got really into it. This was coupled with playing in bands,
because in suburban UK, the closest thing to playing aggressive music is joining a metal band. Although my tastes expanded, I was always into punk the most. It wasn't until very recently that I gave those two 'metal' SSD records a spin. And what do you know? they sound ruddy good!

While 'Break It Up' is overtly more 'rock/metal', 'How we Rock' is a great transition from seminal hardcore punk to hard rockin'-vaguely metal powerhouse. What I really like is that they play 'rock' rhythms while having a total hardcore vocalist. It's strange, but it works! What is also ridiculously cool is that, while 'Break It Up' is very much 'rock' guitar straight through, 'How We Rock' balances the 'rock' with some fast punk stuff as well. It's a real transitional record for them.

While the guitars lack the 'big' sound that comes from big recording budgets, this record is still meaty. What needs to be understood is that this record is like one big guitar solo, which is probably what turned me off of it years ago. I mean seriously, even when the vocals are blurting out guttural shouts you have guitars shredding everywhere. In a way, this leads to a 'samey' sort of vibe. Especially when the guitarwork repeats various ideas and techniques throughout the songs. The elements that make this record good is the rhythm section, especially the drumming, as well as the throaty vocals. Seriously, nothing has changed since 'Get It Away'.

There are quite a few tracks that straddle the whole Major/Minor feel, a very 'metal' thing to do. Usually the rhythm guitar is playing some legit heavy hardcore while the leads are expanding on the riffs via arpeggios which highlights the Major/Minor divide.Without the constant lead guitars this would be a really decent straight-up hardcore record.

While I could weigh up the more metal tracks from the punk ones, I wont, as most of the tracks straddle the lines between both worlds anyway.

'How We Rock' has inspired me to go back and listen to those dreaded 'metal' turkeys that seminal punk bands lumped out during the mid 80s. Expect to hear more opinions on this era.

Okay, okay, admittedly that album art is revolting and totally 'metal'.
Linky Link:
https://mega.co.nz/#!BYh3DZyR!JaPuOO8SmUugLifmzS-GOMUJbwnRGj8yVCbT4nOgjd8

And just for some good entertainment, here's how the record was received upon release:

Up until now SSD were one of my favorite hardcore bands. I usually enjoy when bands try to diversify their sound, however I keep asking myself "Is this the new AC/DC album?" If that doesn't make you sceptical try this one - David Spring (as he's now known) recently proclaimed at the Jerry's Kids farewell show in Boston that hardcore is dead. He also said that since SSD started the hardcore scene in Boston that they could now kill it by switching their sound to heavy metal. How egotistical! I guess maybe they think their shit doesn't stink but this album sure does. What a shame!
-Greg C. (from Task #1, March 1985)

Various thoughts that came to mind while listening: I'd like this a lot more if all the squiggly rock guitar solos were half as long / The lyrics are still good / There's "power" here, but where's the spark? / The band really likes the record / "Musicianization" (thanks, Ken Lester) will kill punk rock / This is a short album, but looong / The cover says it all (who's Alan Barile, David Spring? / This isn't fun, but would it be better at 45 RPM? / There--I did this without once saying "heavy metal."
-Tim Yohannan (from Maximum Rocknroll #18, October 1984)

Silly bastards!

Writers Block - Sabbathcore: A Punk Tribute To Black Sabbath

Snow Delay At The Frankfurt School Presents

Writers Block

Sabbathcore: A Punk Tribute To Black Sabbath

Imagine the 60s; hippies, flowers, love, euuugh!
In the 70s, when the dream died, Black Sabbath bummed everyone out with their 'downer rock', making room for music that can express the shitty aspects of life, and lets be honest, that's most of life. Some say that Sabbath created 'heavy metal', while other say they are a typical example of the varied 'post-psychedelic' 70s 'hard/heavy rock' landscape along with Led Zeppelin, Deep Purple, Dust, Mountain, Captain Beyond, Sir Lord Baltimore, Vanilla Fudge, and many others. I wont bother boring you with my opinion, as who really gives a shit, honestly?

I've been meaning to compile a bunch of punk covers of Sabbath tunes for a while but the recent 'Metalsucks Podcast', interviewing Corrosion Of Conformity, made me think. While I could just compile anything from the classic punk of The Dickies' 'Paranoid' to the crusty onslaught of Detestation's 'Children Of The Grave', I thought giving this compilation a theme would be cool.

In the C.O.C. interview they talked extensively about being a punk and liking rock and metal. For those not in the loop, C.O.C., while now being a heavy rock style band, were a hardcore punk band that became one of  the pioneers of 'crossover'. So my theme is a '80s US hardcore record', all bands being either popular or obscure 80s American punk bands.

So, why Black Sabbath you ask? why not just a general 'hard rock' covers comp?
Well, first off, Sabbath are fucking rad. Second, there is a surprising amount of Sabbath covers by punk bands. So yeah, I never claimed I was creative.

As for the comp:
The Accused rip out 'Symptom of the Universe', a tune they have covered since the early/mid 80s, while Desecration tears through 'Paranoid' in typical hardcore fashion. T.S.A. play a ridiculous shift between 'heavy riff' and fast-as-shit hardcore. Possibly the most well known band here, aside from NOFX and The Melvins, The Fartz do a great version of 'Children Of The Grave', which prepares us for Eat The Rich as they decimate one of my favorite Sabbath tunes 'Electric Funeral', much like T.S.A. they play the main riff and then speed up in an unintelligible hardcore frenzy. Another well known act, The Melvins, do an awesome version of 'Symptom Of The Universe', although all the instruments are played fantastically, the drums and vocals are of particular merit. NOFX offer a fairly disappointing version of 'Iron Man', trying to sound a bit too much like the original...without the talent. Unknown to me until recently, Corrosion Of Conformity's 'Rednekkk' is a homage/tribute to 'Symptom of the Universe'. And finally, C.I.A. end the comp with a blazing version of 'Children Of The Grave'.

Track List
1. The Accused - Symptom Of The Universe (From 'Hymns For The Deranged' 1989)
2. Desecration - Paranoid (From 'Subject To Blackout' 1986)
3. T.S.A. - Satans Pontiac (Iron Man) (From 'Subject To Blackout' 1986)
4. The Fartz - Children Of The Grave (From 'World Full Of Hate' 1981)
5. Eat The Rich - Electric Funeral (From 'I'm Buck Naked' 1984)
6. Melvins - Symptom Of The Universe (Early Demo/Mid 80s)
7. NOFX - Iron Man (From 'Mystic Radio Presents - Covers' 1985)
8. Corrosion Of Conformity - Rednekkk [Symptom Of The Universe] (From 'Eye For An Eye' 1983)
9. C.I.A. - Children Of The Grave (From 'C.I.A. LP' 1984)

Running time is around 22 mins, all tagged and whatnot.

Linky Link:
https://mega.co.nz/#!JB52RCiL!FUi_zGA08uurZWsW15Lf3adcU_iWdsmlsgsGdXI7k1Y