Blood Axis’ first album noted for featuring an interview with crazy Charles Mansun and poetry by Ezra Pound (The Voyage (Canto)).
There are two “songs” on the album that really strike me as significant. The first is track 5, Herr nun lab in Frieden (Men now live in peace) in which an excerpt from Moynihan’s interview with Charles Manson features. Manson talks about his grandfather’s realisation of the futility of war in the trenches during World War I.
The second is Absinthe (track 7) which is a tantalising taste of Moynihan’s then future collaboration with Le Joyaux de la Princesse.
Despite the album’s perceived intellectual leanings toward far right fascism, mostly due to Pound’s presence and his political beliefs and poetry by Nietzsche, Blood Axis’ Michael Moynihan has denied such a connection. During the nineties, this album, industrial, neofolk and other similar genres became synonymous with neo-nazism notably by those fearful of the rise of gothic movement following the shootings by the Trench Coat Mafia at Columbine (conservative Americans).
However, a little research will reveal that in fact Moynihan has denounced the far right stating:
” Whether they’re the Marxist/Communist/Socialist people who think that humans want to get along on a grand scale, or whether it’s the Nazis, who think that if everyone was just of the same race, they’d all get along perfectly, or the anarchists, who think everyone would love to live this way if you just took away the police. They’re all deluded. People should worry about what happens on their block. They should get along with their neighbours before they worry about the great ills of society and about telling someone who lives 200 miles away what to do.”
It helps, if, like me, you first approach the album without knowing the alleged political and philosophical subtexts within the music. Indeed, taking the supposed philosophies and politics away from the album and approaching it, like I did, as a work of art, is not a difficult thing to do. In doing so, you actually can appreciate a dark, intellectual and thought provoking selection of music combining poetry, samples from Wicker Man and aural sound paintings similar to that presented later by Blood Axis when working with Le Joyaux de la Princesse on their collaboration Absinthe.
Seen by many as Water’s two fingered salute to the band that still to this day makes him a pretty packet of royalties, Goodbye Mr Pink Floyd is a live bootleg concert compilation album recorded in Canada in 1987.
While, Pierre Moerlen’s Gong were churning out jazzy numbers and being all “normal” and long after teapots were flown about by pixies and Zero the Hero’s head floated up the vagina of a witch, Daevid Allen and chums had a bit of a break and entered a period of releasing “best of” compilations, live gig recordings and other such lazy productions.
More neoclassical caterwauling from Brendan Perry with added woeful wailing from Lisa Gerrard in this compilation of bootlegged performances from across Dead Can Dance’s “Golden Age”.
My music collection and thus Stegzy’s Music Project has more gold than Fort Knox it seems. This time it’s Swedish gold from seventies/eighties pop gods, Abba.
Another case of “Why have I got this?”. Gold Collection is essentially one of the bands many greatest hits compilations available on the market
Quite often, as is frequently the case with this project, I listen to albums and become pleasantly surprised by how many of the tracks or songs I am already familiar with.
Possibly one of the first albums I had recorded on cassette. My middle brother had this on cassette and did a copy for me on his twin tape but as home taping killed music, there was nothing after this.
This is the penultimate album from Benny and Sylvia’s Sugarplum Fairies (SPF).
Take a substantial lump of 
Go is one of those films that tried to capture the zeitgeist of the innovation created by Tarrantino’s Pulp Fiction. Three entwined stories about young people involved in a drugs deal.
Bitter sentiments from ex-Neighbours star and friend of Jason and Kylie, Natalie Imbruglia. An inherited album from the first marriage’s joint collection so it holds no special sentiment for me.
Having mentioned in passing that I happen to find the Robyn Hitchcock song Brenda’s Iron Sledge amusing, the person I mentioned it to foisted upon me a whole bunch of CDs of his work and told me that I “should” like them.
It’s 1992. School has finished. University has begun. Trudging the city streets of a rain soaked Sheffield is a tall fair haired male with a Sony Walkman. On the Walkman is a copy of this album.
Lisa Gerrard lends her voice to another Zimmer soundtrack. Honestly, if it wasn’t for her work with Dead Can Dance I’d probably have given up on Ms Gerrard’s caterwauling, although maybe that is a little harsh.
Once, while talking about the amazing film Lost Highway and its soundtrack with a former acquaintance, the conversation went like this:
Psychedelic folk and New Weird America genres with elements of Joanna Newsom and Nick Drake combine once more as Mariee Sioux returns with her second album following the success of her first album 
The soundtrack to Malcolm Maclaren’s Christmas film for Channel 4.
Compilations, it seems, are like buses. You wait for ages then two come along at once.
This is the soundtrack to the classic 1980s blockbusting movie Ghostbusters.
One of the more quirky “albums” in my collection is this compilation, a collection of recordings of the same song by a variety of artists.
Back in the very early nineties possibly very late eighties, I became obsessed with late night radio shows. Frequently, much to my mothers chagrin, I would lie in bed with my headphones on, listening to the broadcasts from a variety of radio stations.
Lo-fi brother and sister double act Meg and Jack White’s White Stripes’ fifth studio album.
Stegzy's Music Project 