Now reissued on limited edition Lp, this crucial collection of early 7" and compilation tracks from the mighty Brainbombs is available once again. The Cd version of this comp has been out of print for years, so it's good to have this stuff back in print, even if this vinyl edition is already almost sold out from distributors. Masters of politically incorrect, death-lusting garage crush, Brainbombs have long been one of our favorite bands, and these early recordings from the Swedish scumfucks are deliciously violent slabs of their messed-up, horn-splattered sludge rock that go all the way back to their origins in the late 80s. Beginning with the "Jack The Ripper Lover / No End" 7" from 1989, the band had already nailed down their mix of depraved stream-of-consciousness lyrical matter and Stooges-inspired skuzz, starting off with "Ripper"'s mock jazz that settles into one of thair patented blooze-sludge dirges and the slide guitar and horn mayhem on the angular skronk trudge of the b-side. The Anne Frank 7" from 1990 was even heavier, with doom-laden slow mo jazz-sludge, guitar noise, and slurred drunken howls coming off with Melvins-strength crush, but it wasn't until their It's A Burning Hell / No Place 7" and the subsequent Live Action At Rock All, Oslo Ep on Big Ball Records that the 'Bombs would really define their fucked-up out of tune sludgepunk sound, repetitive riffs, and those fey monotone vocals and Peter Sotos-style lyrics that would come to trademark their recordings from this point on. The live in particular is a gloriously ugly and blown out slab of pummeling, inebriated noise rock filth. The collection also has the song "Second Coming" a heaving industrial chug fest that originally appeared on the In The Shadow Of Death compilation that came out on Cold Meat Industry in 1988, and the two bonus tracks at the end are the oldest songs on here, pulled from the Unveiled compilation tape on Mechanik Cassettes from 1986; the first, "Psychout Crash Kid" is an odd percussive dirge of howling feedback and industrial tribal punk crud, and the second, "I Detta Satan's Rum", is another industrial dirge with minimal guitars, droning bass, and distant vocals, almost Swans-like, slow but propulsive, and very different from the sound that they would evolve into a few years later.