themselves with the group's legacy, releasing Grind Finale (2006), a two-disc Relapse retrospective that distills their imposing back catalog into a mere 152 tracks.

Such a compendium is a boon to metal fans everywhere, but grindcore is essentially a live medium, and the preservation of one of Nasum's incendiary shows is perhaps even more of a testament to their quality than a collection of studio tracks. From the rubbery bass that concludes "Scoop" to the glorious chug of "A Welcome Breeze of Stinking Air," Talarczyk and his band will be sorely missed. (Ben Richardson)

FUCK BUTTONS

Street Horrrsing

(ATP)

Shining with glimmering keyboard lines, jagged beats, and rafts of buzz-saw distortion, Fuck Buttons' debut, Street Horrrsing, reveals a UK duo intent on digging into the fault lines previously cracked by assorted Krautrockers, sundry Rhode Island school of noisemakers, and like-minded fuck-dance-let's-make-art buddies such as Jackie-O Motherfucker.

An increasingly familiar amalgamation of sounds often found on art-space stages, true, but the three-year-old project undertaken by Andrew Hung and Benjamin John Power has come up with something akin to gold.

Combining the aggression of punk (mainlining what sound like faraway radio transmissions of anarchic outrage on "Okay, Let's Talk about Magic"), the symphonic qualities of buzz and drone ("Race to My Bedroom — Spirit Rise"), and primal rhythms kitted out with primatelike synthetic howls ("Ribs Out"), Street Horrrsing could easily — and loudly — find its own bristling spot between Lou Reed's Metal Machine Music (Buddha, 1975) and No Fun Fest, Black Dice's Beaches and Canyons (FatCat, 2002) and Load Blown (Paw Tracks, 2007). Ponder this: can noise nihilism rise above, levitating toward transcendent discord? I'll let you know if and when I get there. In the meantime, Hung and Power certainly make an effort to tap powers of transformative powers of cacophony to create an ever-deepening listen. (Chun)

FUCK BUTTONS

April 23, 8 p.m., $15

Independent

628 Divisadero, SF

www.theindependentsf.com

JASON COLLETT

Here's to Being Here

(Arts and Crafts)

Although Broken Social Scenester Jason Collett's new solo disc doesn't have the sing-along drive of 2005's Idols of Exile (Arts and Crafts), it has something that might be more sustainable in the long run: a harking back to the "live" recording sound heard when folkies first went electric. Showcasing Collett's touring band, Paso Mino, Here's to Being Here glides somewhere between electrified Neil ...