Pitchfork – Needle In A Haystack [Cass] (1988, Not On Label)

Pitchfork were part of that late-80s moment when hardcore punk was starting to burn itself out and mutate into something harsher and more experimental. They came out of Southern California, with ties to the San Diego underground, which at the time was full of small, intense bands playing short sets in garages, community halls, and all-ages spaces. The scene was very DIY, and Pitchfork fit right into that mindset -no labels, no promotion, just recording music and putting it out themselves.

 
Their 1988 cassette 'Needle in a Haystack' is the main reason anyone still talks about them. The recording is rough and unpolished, but that’s part of the appeal. The songs are fast, abrasive, and confrontational, with a sound that sits somewhere between classic hardcore and the more angular, noisy post-hardcore that would take off in the early 90s. Compared to earlier hardcore, Pitchfork’s music feels darker and less straightforward, with a sense of tension rather than just speed and aggression. 

They never toured heavily or built a national profile, which kept them firmly underground. Most people who heard them at the time probably saw them live or got the tape through word of mouth, tape trading, or local distro networks. Because of that, the band never developed a big following, but they did leave an impression on people who were paying close attention to the scene. 

Pitchfork are often mentioned in retrospect as one of those “in-between” bands -not famous, not polished, but clearly part of the shift that led from hardcore punk to post-hardcore and noise-rock. Like many bands from that era, some members later moved on to other underground or alternative projects, which helped keep their name circulating among collectors and punk historians. Today, 'Needle in a Haystack' is mostly known through rips, old zines, and Discogs listings, and the band has become a small but interesting footnote in the history of American hardcore punk. 

 

Label: Not On Label (Pitchfork Self-released) – none 

Format: Cassette 

Country: US 

Released: 1988 

Style: Hardcore Punk 

 

Tracklist: 

A1 Sucked In, Spit Out 2:57 

A2 Caretaker 1:59 

A3 Orchestra 2:09 

A4 Cut And Dry 1:30 

A5 Acoustic 2:09 

A6 Soak It In 2:12 

B1 Freedumb 3:20 

B2 Mind Over Matter 2:13 

B3 Darshana 3:21 

B4 Blazing Saddles 1:52 

B5 It's A Nice Day 3:14 

 

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Orfeon Gagarin – Halibut-Vaporub [Cass] (1990, Toracic Tapes)

Orfeón Gagarin is the experimental music project of Miguel A. Ruiz, a Spanish electronic musician who has been active since the early 1980s. He’s closely linked to Spain’s underground cassette scene and is known for releasing music through small DIY labels and his own imprint, Toracic Tapes. His sound moves between experimental electronics, industrial, noise, and abstract atmospheres, often rough, lo-fi, and intentionally strange. 

 
Over the years, Ruiz has worked under several different aliases, with Orfeón Gagarin being just one of many outlets for his ideas. This project in particular reflects his interest in unconventional structures, surreal titles, and a very hands-on, tape-culture approach to making and releasing music. 

 
'Halibut-Vaporub' is a cassette release from 1990, originally put out by the Tragic Figures label. Like much of Orfeón Gagarin’s work from that period, it was designed for the cassette format and fits perfectly into the late-80s and early-90s experimental underground. 

 
The music on 'Halibut-Vaporub' leans toward industrial and experimental electronics, with abstract textures, odd rhythms, and a raw, homemade feel. The track titles are playful and surreal, matching the offbeat character of the sounds themselves. Over time, the release has become something of a cult favorite. 

 
Overall, 'Halibut-Vaporub' works as a snapshot of Orfeón Gagarin’s early style and of a moment when underground electronic music was driven by curiosity, experimentation, and DIY spirit rather than polish or mainstream appeal. 

 

 

Label: Toracic Tapes – none 

Format: Cassette, Album, C46 

Country: Spain 

Released: 1990 

Style: Industrial, Experimental, Minimal Synth 

 

Tracklist: 

A1 Halibut-Vaporub 2:15 

A2 Theory Of Raw Fish 1:35 

A3 Take Your Shotgun! 2:20 

A4 Life Under Your Seat 2:53 

A5 Un Improbable Omnibús 2:08 

A6 El Rencor De Un Viticultor 1:33 

A7 Procreation Dance 1:42 

A8 The Nameless Mussel 1:30 

A9 Un Malvado Hipocampo 1:40 

A10 Napalm Nap 3:17 

B1 Song Of The Glittering Sons 1:27 

B2 Ultimo Ritual En Nihombashi 1:55 

B3 El Error De Un Apicultor 2:12 

B4 La Premonición De Ismael 2:00 

B5 Perseguido Por El Vudú 3:08 

B6 Hípica Y Vida Birmana 0:50 

B7 Survol Du Pole Nord 3:01 

B8 El Címbalo Presuroso 1:50 

B9 Yo, Piscicultor 2:20 

 

Other Versions: 

'Halibut-Vaporub' (Cassette, Album, C46) Tragic Figures [TFT017] (Portugal, 1990)

 

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N.O.T.A. – N.O.T.A. [LP] (1985, Rabid Cat Records)

 

N.O.T.A., which stands for None Of The Above, dropped their self-titled album in 1985 on Rabid Cat Records. They were a hardcore punk band from Tulsa, Oklahoma, and this LP is one of those rare gems from the mid-’80s US punk scene. The record came out on vinyl and packed a punch with 19 fast, thrashy tracks that mix raw hardcore energy with some surprisingly catchy riffs. 

The band themselves were around from roughly 1979 to 1987, tearing it up with high-energy shows and a bunch of EPs before splitting up (they did have a brief reunion in the ’90s). Their style is classic hardcore -fast, aggressive, politically tinged- but the album also throws in some slower, more melodic bits here and there, which makes it stand out from other hardcore acts of that era. People who heard it back then, like reviewers in Maximum Rocknroll, called it “rockin’, thrashin’, imaginative, and catchy.” 

Original pressings of the album on Rabid Cat are pretty rare today, making it a collectible for hardcore punk vinyl hunters. Before and after this LP, N.O.T.A. also put out a few EPs like 'Moscow' (1984) on Unclean Records and 'Toy Soldiers' (1984) on Rabid Cat. They also recorded demos and released other stuff later, mostly on smaller labels. 

All in all, if you’re into hardcore punk from the ’80s, this album is a solid piece of underground history -fast, raw, and a little sneaky with its catchy hooks.

 

 

Label: Rabid Cat Records – RAB-NOTA-006 

Format: Vinyl, LP, Album 

Country: US 

Released: 1985 

Style: Hardcore Punk 

 

Tracklist: 

A1 Ultra Violent 1:37 

A2 Den Of Thieves 1:03 

A3 I Should Kill You 1:30 

A4 Reckless 1:26 

A5 Takin' Away Your Rights 1:21 

A6 On The Pavement 2:50 

A7 Keeping You Out 1:14 

A8 Sick Society 1:45 

A9 Frustration 2:43 

A10 Self Destruct 1:50 

B1 Police Front 1:35 

B2 War On Wankers 2:17 

B3 Nightstick Justice 2:10 

B4 Propaganda Control 1:45 

B5 Redneck Mentality 0:42 

B6 Identity Crisis 3:11 

B7 Drugs And Sex 1:38 

B8 Cut The Shit 1:52 

B9 Summer Of 82 2:27 

 

Notes: 

Track A9 written in 1979. 

Track B3 written in 1980. 

Tracks A4, A6, A8, A10 & B4 written in 1982. 

Tracks A2, A7, B5 & B7 written in 1983. 

Tracks A5, B2 & B6 written in 1984. Tracks A1, A3, B1, B8 & B9 written in 1985. 

 

Other Versions: 

'None Of The Above' (LP, Album) Bonecrusher Records [Bone 002] Germany, 1985 

'N.O.T.A.' (Cassette, Album) Rabid Cat Records [RAB-NOT-006] US, 1985 

'None Of The Above' (LP, Album, Limited Edition, White) Bonecrusher Records [Bone 002] Germany, 1985 

 

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Moral Femenina – Moral Femenina [LP] (1985, Jaja Records)

Moral Femenina was a rock/new wave band from Tenerife, in the Canary Islands, active mainly during the first half of the 1980s. They came out of the local underground scene at a time when a lot of bands were experimenting with post-punk, pop and rock, but without much connection to the mainland Spanish industry. Moral Femenina developed a sound that felt raw and direct, very much tied to the atmosphere of the islands and the small venues where they played regularly. 

The band’s core members included Pablo Meneses on vocals and Juanjo Jorganes on guitar, with different bassists and drummers passing through over the years. Before becoming Moral Femenina, some of the musicians had played in an earlier group called Los Tumores, which helps explain their slightly edgy, alternative approach. 

Their self-titled album 'Moral Femenina' came out around 1985 and was released as a mini-LP on a local Tenerife label. It’s the only proper official record the band put out during their original run, which gives it a kind of cult status today. The album was recorded locally and has a very “of its time” feel: lean songs, punchy guitars, and lyrics that move between irony, desire and everyday tension. The cover artwork, inspired by Botticelli’s "The Birth of Venus", added a touch of art-school attitude that matched the band’s image. 

The track “Sexo” ended up being their most well-known song and is usually the one people mention first when talking about the band. Other songs on the record balance energy and moodiness, mixing straightforward rock with more reflective moments, which fits well with the post-punk and new wave spirit of the era. 

Moral Femenina never really broke out nationally, but they were well respected in the Canary Islands and are still remembered as an important part of the local 80s scene. The band eventually split up in the 1990s, though their music never completely disappeared. Over the years, recordings have circulated online and among collectors, and there have even been occasional reunions or special performances, showing that interest in the band is still very much alive. 

Today, the Moral Femenina album is often seen as a small but significant snapshot of Canary Islands alternative music in the 80s: not flashy or overproduced, but honest, local, and full of personality. 

 

Label: Jaja Records – JA-JA-8 

Format: Vinyl, LP, Album 

Country: Spain 

Released: 1985 

Style: New Wave, Post-Punk, Goth Rock, Jangle Pop 

 

Tracklist: 

A1 La Noche Es El Calor 3:24 

A2 Sexo 2:53 

A3 Electricos 3:06 

A4 Flores Olvidadas 3:03 

B1 Esperando 5:00 

B2 Los Peces En El Rio 3:13 

B3 Amor De Madre 3:57 

 

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L'Aventure Imaginaire – La Fin De L'Innocence [LP] (1982, Not On Label)

'La Fin de l’Innocence' is an obscure and very limited vinyl LP from the early 1980s by L’Aventure Imaginaire, a band with a French name but actually based in Germany. The record was self-released sometime between 1980 and 1982, without an official label, and only about 300 copies were pressed. Because of this extremely small run, it has become a sought-after item among collectors of underground electronic music. 

Musically, the album fits into the minimal synth and dark wave world, with touches of early synth-pop and experimental electronics. It has that raw, DIY feel typical of early ’80s European underground scenes, where artists were more focused on atmosphere and experimentation than polish or commercial appeal. 

The tracklist is full of evocative and sometimes surreal titles, ranging from romantic and melancholic pieces to more abstract, experimental ones. Songs like 'The Endless Armada of Red Frogs Is Crossing the Scottish Highlands', 'Paris Theme', 'One More Night', and the title track 'La Fin de l’Innocence' give the album a dreamlike, slightly mysterious character. 

Very little is known about the band itself, which adds to the album’s mystique. The project involved Nicole Zunker and Joachim Stender, with Stender later connected to other experimental electronic projects in Germany during the same period.

 
Overall, 'La Fin de l’Innocence' is one of those cult records that lives quietly in the background of music history -not famous, but deeply appreciated by listeners who enjoy rare, atmospheric, early electronic sounds. 

 

Label: Not On Label – RP 10217 

Format: Vinyl, LP, Limited Edition 

Country: Germany 

Released: 1982 

Style: Synth-pop, Minimal, Minimal Synth 

 

Tracklist: 

A1 The Endless Armada Of Red Frogs Is Crossing The Scottish Highlands 

A2 Pierrot And Columbine 

A3 Dance With Me (L'Espace De La Nuit) 

A4 Paris Theme A5 Cos I Love You 

A6 Athen 

B1 One More Night 

B2 The Only Sun I've Ever Seen 

B3 La Fin De L'Innocence 

B4 L'Aventure Imaginaire 

B5 Perfect Creatures 

B6 Todeskommando Im Hexenkessel 

B7 Kubistic Jungle 

 

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Kilgore Trout – Stick It In The Bank Man [12''] (1986, Hits $ Corruption)

 

 

 

'Stick It In The Bank Man' is a 12-inch vinyl EP released in 1986 by the British alternative/indie rock band Kilgore Trout. This was their debut release and came out in the UK on the small independent label Hits $ Corruption. Like a lot of mid-80s indie records, it had a fairly limited pressing and was never reissued, which is why it’s now a bit of a collector’s item. 

The record features four short, punchy tracks that capture the band’s raw, slightly scrappy indie sound. Alongside the title track (sometimes simply listed as “Bank”), the EP includes “Quality Control,” “English Never Listen,” and “Right Boys.” The songs are all around the two-to-three-minute mark and sit firmly in that post-punk/indie crossover style that was common in the UK underground at the time. 

Kilgore Trout were active in the mid to late 1980s and were based around Nottingham and Sheffield. The band was largely driven by Chris Trout, who wrote most of the material and often handled multiple instruments. Although they never broke into the mainstream, they picked up some attention on the indie circuit and received radio play, including support from John Peel, which helped them gain a small but loyal following. 

 

Label: Hits $ Corruption – HAC.002 

Format: Vinyl, 12" 

Country: UK 

Released: 1986 

Style: Alternative Rock, Punk, Post-Punk, Noise Rock 

 

Tracklist: 

A1 Quality Control 2:19 

A2 English Never Listen 2:34 

B1 Bank 2:25 

B2 Right Boys 2:12 

 

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Jackdaw With Crowbar – Monarchy Mayhem And Fi$hpaste [12''] (1987, Ron Johnson Records)

 

Jackdaw With Crowbar is a quirky, experimental indie band that came out of Leamington Spa in the mid-80s. They mixed punk, blues, weird homemade instruments, and a whole lot of chaotic energy. Their early gigs weren’t just music -they’d project Super 8 films while playing, so the whole thing felt like an art project as much as a concert. 

'Monarchy Mayhem and Fi$hpaste' came out in 1987 as a 12-inch EP on Ron Johnson Records. It has four tracks: “The Night Albania Fell On Alabama,” “Siren,” “Crow,” and “Fourth World.” The songs jump all over the place stylistically -one track is practically shouted through a bullhorn, another leans into dub-style rhythms, and others slide into noisy, blues-punk territory. They had this really DIY vibe, to the point where early slide guitars were literally made from gate posts, which definitely adds to their raw, scrappy sound. 

The EP was one of their first proper releases and helped establish their reputation in the underground UK scene as a band that didn’t sound like anyone else. Copies of the record are pretty hard to find now, and collectors hunt them down whenever they turn up. 

 

Label: Ron Johnson Records – ZRON24 

Format: Vinyl, 12", 45 RPM, EP 

Country: UK

Released: 1987 

Style: Alternative Rock, Dub, Indie Rock, Post-Punk

 

Tracklist: 

A1 The Night Albania Fell On Alabama 

A2 Siren 

B1 Crow 

B2 Fourth World 

 

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I, Braineater – Artist Poet Thief [LP] (1985, More)

 

I, Braineater is basically the creative universe of Jim Cummins, a Vancouver artist who never really separated music from painting, comics, performance, or general chaos. The project started in the late ’70s, originally under the name Braineater, and it slowly evolved into the more personal “I, Braineater” identity as Cummins’s whole artistic persona took center stage. Over the years the sound shifted a lot -early stuff leaned into raw punk, but by the mid-’80s the music had morphed into an odd blend of new wave, art-rock, electronics, and post-punk attitudes. Nothing about the project was ever straightforward; it was as much about the overall aesthetic as it was about the songs. 

 
The album 'Artist, Poet, Thief' came out in 1985, pressed privately as an LP. Compared to the earlier, scrappier records, this one feels more like a “band” album -tighter rhythms, more structured songs, and a clearer sense of direction. Even so, it still sounds like an art project that just happens to be a rock record. The music pulls from a bunch of places: post-punk moods, a bit of gothic atmosphere, flashes of punk energy, occasional psychedelic touches, and some catchy new-wave-style hooks. Side one leans into the more melodic material, while side two gets a bit rougher and more energetic. 

 
The record’s tracklist includes songs like “Edge,” “Canada,” “Wrong World,” and “1980 More” on the first side, and “Funtime,” “Comeon,” “Sacred Cow,” “I Am,” and “7Teen” on the second. It’s the kind of album where each track feels like it was created inside its own peculiar headspace, but the whole thing hangs together because of Cummins’s distinct voice and art-punk instincts. 

 
Culturally, 'Artist, Poet, Thief' sits in a really interesting spot. Vancouver’s underground scene in the early and mid ’80s was full of crossover between punk bands, artists, weirdos, filmmakers, and people who didn’t fit neatly anywhere, and I, Braineater embodied that mix perfectly. This record captures the moment when the project was moving beyond pure punk but still holding onto its DIY strangeness. Because of that -and because the releases were small and the band never aimed for mainstream exposure-the album ended up becoming a cult collectible over the years. 

 
It’s one of those records that feels like a snapshot of a particular corner of the underground: experimental, theatrical, messy, charming, and totally unconcerned with commercial expectations. If you’re into oddball art-rock or punk-adjacent music that lives in its own world, it’s a fascinating listen.

 

 

Label: More – none 

Format: Vinyl, LP, Album 

Country: Canada 

Released: 1985 

Style: New Wave, Abstract, Industrial, Experimental 

 

Tracklist: 

A1 Edge 1:29 

A2 Canada 2:21 

A3 Wrong World 3:44 

A4 1980 More 3:54 

B1 Funtime 1:24 

B2 Comeon 1:43 

B3 Sacred Cow 3:02 

B4 I Am 3:06 

B5 7teen 2:34 

 

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The Honeymoon Killers – Let It Breed [LP] (1986, Fur Records)

 

'Let It Breed', released in 1986, shows The Honeymoon Killers doing what they do best: making noisy, messy, blues-punk chaos that feels like it was recorded in a smoky basement at 3 a.m. The album is loud, dirty, and totally unpolished, with distorted guitars, snarling vocals, and a grimy horror-movie vibe running through the whole thing. It’s still wild and chaotic like their earlier stuff, but there’s a bit more shape to some of the songs -not enough to make it “clean,” just enough to keep it from totally falling apart. 

When it came out, critics basically said, “Yep, this is noisy as hell,” but they also admitted it had a certain gritty charm. Later reviewers often compare the band’s sound here to a rougher, trashier version of groups like The Cramps or Pussy Galore, but with their own weird, scrappy edge. The album feels like the band reined in the madness just a little bit while keeping all the attitude and raw energy.

  

The album’s charm is in how completely unapologetic it is. It’s grimy, noisy, and aggressive on purpose, and if you’re into that kind of underground, trash-blues aesthetic, it hits the spot. But if you prefer cleaner production or more tuneful vocals, parts of it can feel like a wall of noise. 

In the bigger picture of their career, 'Let It Breed' feels like a transitional moment -the band is still wild, but they’re starting to find a bit more structure without losing their edge. It stands out as a snapshot of The Honeymoon Killers doing what they do best: making loud, dirty rock that refuses to behave. 

 

Label: Fur Records – FUR 666 

Format: Vinyl, LP, Album 

Country: US 

Released: 1986 

Style: Post-Punk, Noise Rock, Pigfuck, Garage Punk 

 

Tracklist: 

Man 

A1 Power Man 3:52 

A2 Injun Joe 2:41 

A3 Dr. Pain 2:38 

A4 Rich 'N' Famous 4:54 

A5 Dip It In The Gravey 2:17 

A6 Day Of The Dead 3:31 

Beast 

B1 Zoo Train 0:55 

B2 Brain Dead Bird Brain 4:21 

B3 Face Of A Beast 4:45 

B4 Don Gato 3:13 

B5 Godzilla 4:37 

 

Notes: 

A Side recorded at Noise New York, engineered by Kramer 

B Side recorded at CBGB, engineered by Stevie McAllister 

 

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Gen Ken – Beyond My Ken [LP] (1989, Discos Esplendor Geometrico)

 

Gen Ken Montgomery is an American sound artist, composer, and mail-artist born in 1957. He is regarded as a pioneer of the cassette-culture movement and of experimental, noise, and musique concrète practices. Although he did not receive formal musical training, his curiosity and hands-on exploration led him to develop a distinctive style that incorporates cheap synthesizers and everyday objects such as refrigerators, laminators, and aquarium pumps to create unique and immersive soundscapes. 

In 1989 he founded Generator Sound Art in New York City, considered the first sound-art gallery in the city and an important platform for the underground experimental scene. He also co-founded the label Generations Unlimited, which helped support the independent cassette-based experimental music movement. Montgomery began recording in 1981 under the name Gen Ken & The Equipment, producing homemade tapes, experimental albums, and sound-art projects, often released in very limited editions. In the mid-1990s he adopted the alias Egnekn for projects that were more playful or conceptual, including his well-known lamination rituals. 

His artistic practice focuses on recontextualizing everyday sounds. He works with domestic appliances, ambient noise, environmental recordings, and common objects, transforming them into dense and often disorienting sonic compositions through collage, tape manipulation, electronics, and improvisation. His performances are often multichannel and immersive, sometimes presented in total darkness, inviting audiences to experience sound in a radically different and heightened way. Montgomery’s approach embraces a philosophy of anti-virtuosity, valuing spontaneity, chance, improvisation, and the direct relationship between sound, object, and listener rather than technical mastery. 

In 1989 he released the album 'Beyond My Ken', issued on vinyl. This work is noted as his last major stereo release from that period and reflects his experimental ethos. The album combines field recordings, domestic sounds, electronics, and abstract noise, continuing his interest in transforming familiar auditory environments into highly unconventional and exploratory sound pieces. 

His broader discography includes numerous cassette works from the early 1980s, later experimental releases, and compilations that document decades of sonic experimentation. Among these, 'Pondfloorsample' stands out as an extensive compilation covering a wide span of his work. 

Beyond music, Montgomery has worked in collage, visual art, mail-art, and the creation of unique sound-object editions, always maintaining a strong DIY aesthetic. His artistic philosophy consistently challenges traditional ideas of musicality, encouraging listeners to rethink their relationship to sound, environment, and the everyday. 

 

Label: Discos Esplendor Geometrico – EGD 017 

Format: Vinyl, LP, Limited Edition 

Country: Spain 

Released: 1989 

Style: Experimental, Musique Concrète

 

 

Tracklist: 

A New Age Machines 19:56 

B1 Up The Backwards Treppe Avanti 2:22 

B2 A Question Of Arrival 2:13 

B3 Forced Hesitation 2:21 

B4 Testing Without Hypothesis 2:06 

B5 Monkey In The Window 2:17 

B6 Rolling On A Whisper 2:35 

B7 The Missing Half Of The Langensheid Bridge 2:18 

B8 Stepping On The Red Wire Undertow 2:16 

B9 Fallout On Lietzensee 2:24 

 

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