This is the material released under GMBM since 2005 or thereabout.  It's a cover of some nihilist song George Harrison wrote, and I suppose perhaps there are some rights reserved on somesuch basis but I don't claim them as my own and odds are he's not saying much on the subject either.

This is the 5MB version because Soundcloud insists that they need money to host more MBs than that.  There's also a 5MIN version that fits onto a business card CD-R.  The full version is 6:11 so you're missing out.

I don't purport to know how to play the harmonica.

Golden Midget Blasphemy Machine - Northern Song (5MB version)

Recorded many years ago, I only played this song all the way through once on bass because it made my fingers bleed too much.

Released as the first track on GMBM's 2004 album Vengeance For The Dead / The Garden Of Eden Cave

Golden Midget Blasphemy Machine - Distractions

Here's another cover song I recorded in 2004.  It was originally released by ... and Oceans under the title Debris: The Magenta Harvest: Liquid Flesh, but that's too much of a mouthful.

Golden Midget Blasphemy Machine - Debris

This is the third version I released of Meat, which was the first song with any actual structure that I recorded as GMBM (the first  ever, regardless of structure, was Cleansing).

Meat was originally released on So It Goes (2000ish), and Meat II was on A New Directive... (2001ish)

Its lyrics are an excerpt from Call Of The Wild.  I would love to rerecord the vocals, but it'd mean redoing the entire thing... again.

Golden Midget Blasphemy Machine - Meat III

Another that I would like to rerecord (I actually tried once but didn't like it and scrapped the project) but here's the way it came out years ago.

Samples from Videodrome.  A bunch of MicroKorging.  Delayed guitar, etc.

Golden Midget Blasphemy Machine - New Flesh

Kill The Astronaut, from the album by the same name, is a 37-minute piece that I recorded in a basement in West Philly in 2005. I can't upload the whole thing and I don't want to anyhow. This excerpt the 5-or-so minutes immediately prior to the other excerpt that is the very end.  It includes a lot of dialogue from the Apollo 11 mission, which seemed appropriate in many ways.  This excerpt also represents the only recording in which I played actual drums instead of programming them or omitting them.

Over the course of those 37 minutes, The Astronaut is considered both literally and metaphorically (as a dreamer, one who aspires to the incredible, one who isn't grounded in reality, etc.). The concept arose from talking over a screening of Spiderman 2, in which James Franco plays The Astronaut. The music was primarily written while watching Vanishing Point. Neither of those films are referenced directly in the lyrics or music, and I do not advocate killing James Franco.

Also: the original artwork seems to've been lost to time, so the graphic that appears here isn't quite right.

Golden Midget Blasphemy Machine - Kill The Astronaut (Mid-End Excerpt)

I was going for something like Jesu (Heart Ache era) meets Electric Wizard (think High Priestess Of Mars) with a few other influences.

Wasn't totally thrilled with how it came out, but the whole song is about 15 minutes long and the part I was most displeased with is the ending - which these two excerpts exclude.

Golden Midget Blasphemy Machine - Thrown Like Stones (Excerpt II)

Recorded in 2005.  I was going for something like Jesu (Heart Ache era) meets Electric Wizard (think High Priestess Of Mars) with a few other influences.

Wasn't totally thrilled with how it came out, but the whole song is about 15 minutes long and the part I was most displeased with is the ending - which these two excerpts exclude.

Golden Midget Blasphemy Machine - Thrown Like Stones (Excerpt I)

Kill The Astronaut, from the album by the same name, is a 37-minute piece that I recorded in a basement in West Philly in 2005. I can't upload the whole thing and I don't want to anyhow.  This excerpt includes a 911 conversation between the dispatcher and two people high on meth who eventually froze to death in Nebraska shortly before I began working on the album.

Over the course of those 37 minutes, The Astronaut is considered both literally and metaphorically (as a dreamer, one who aspires to the incredible, one who isn't grounded in reality, etc.). The concept arose from talking over a screening of Spiderman 2, in which James Franco plays The Astronaut. The music was primarily written while watching Vanishing Point. Neither of those films are referenced directly in the lyrics or music, and I do not advocate killing James Franco.

Also: the original artwork seems to've been lost to time, so the graphic that appears here isn't quite right.

Golden Midget Blasphemy Machine - Kill The Astronaut (Beginning Excerpt)

Kill The Astronaut, from the album by the same name, is a 37-minute piece that I recorded in a basement in West Philly in 2005. I can't upload the whole thing and I don't want to anyhow.  This excerpt includes snippets from Mario Savio's speech, as captured in the film Berkeley In The Sixties.

Over the course of those 37 minutes, The Astronaut is considered both literally and metaphorically (as a dreamer, one who aspires to the incredible, one who isn't grounded in reality, etc.). The concept arose from talking over a screening of Spiderman 2, in which James Franco plays The Astronaut. The music was primarily written while watching Vanishing Point. Neither of those films are referenced directly in the lyrics or music, and I do not advocate killing James Franco.

Also: the original artwork seems to've been lost to time, so the graphic that appears here isn't quite right.

Golden Midget Blasphemy Machine - Kill The Astronaut (Beginning-Mid Excerpt)

This single-sided record was released in 1970 by the Action Philadelphia Inc. organization.  It is a brief analysis of the city's then-current state of affairs with suggestions for future improvements. I am not affiliated with Action Philadelphia.

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