Gothic Rock band Excentrique Noiz formed in Japan in 1982 and disbanded in 1996, founders of Noiz Record and EX Record. Members were Takashi Sekine (vocals, keyboards, drum machine), Yoshiro Osone (vocals, guitar), Shigeo Kanamori (bass), Mitsuhiro Matsuzaki (drums), Makoto Kitai (guitar, chorus), Kazumi Kurihara (effects) and Haruhisa Kondou (drums). In 1984 vocalist Yoshiro leaves, and keyboardist Takashi Sekine (also member of Nubile) then becomes the new vocalist. This is a self-released 7" recorded at Studio Showa 03/1986.
Label:
Ex Record – EXN-0001
Format:
Vinyl, 7", 45 RPM, Single
Country:
Japan
Released:
Jun 1986
Style:
New Wave, Coldwave, Minimal, Synth-pop, Post-Punk, Goth Rock
The Dogma Cats were a post-punk band from the Melbourn, Cambs area (UK) in the late 70's and early 80's, line up being Ed Harbud, Richard Sell, Richard Kenzie and Steve Penn. The band later changed its name to The Great Divide. This single was recorded at Spaceward Studios -studio based in Cambridge, UK founded in 1972 by sound engineer and producer Mike Kemp and engineer, producer and studio manager Gary Lucas-, and produced by Hugh Ashton (member of various bands in the 80's such as Skunks and Hard Corps, before focusing on more electronic based music in the 90's with Sunkings) and Mike Kemp. 'Experts' was the only record by the band, along with the cassette shared with The Dogmatic Duo 'Live At The Dogma Cafe' (Deleted Records, Leisure Sounds, Dogmatic Cafe, 1980).
Collective Horizontal formed in London by Adrian "Ada" Taylor (vocals), Igor [Simon Pearce/Paris] (keyboards, also in Take It and Blue Screaming), Keith Whitehorn (guitar) and Nag [Stephen Lee]
(bass). This is their only record, a wonderfully strange and unique thing. It's like a cross between art school UK post-punk, early Pink Floyd, and a small band of beachcombers who stumbled upon an old waterlogged accordian on the shore, picked it up to discover it still worked, and started making up songs on the spot. [SOURCE: RATE YOUR MUSIC]
Label:
Dolmen Records – none
Format:
Vinyl, 7", 45 RPM, Mono
Country:
UK
Released:
1979
Style:
New Wave, Experimental, Minimal, Post-Punk, Zolo, Experimental Rock
Brighter Death Now is the artist name under which Roger Karmanik (b. 1965 as Roger Karlsson), the founder of the Swedish record label Cold Meat Industry, releases death industrial, power electronics and dark ambient music.
Whereas early Brighter Death Now recordings tended to be largely instrumental and atmospherically oriented, present-day releases often feature screamed vocals, distorted beyond comprehension.
Throughout its history, Karmanik has kept his music's thematic elements focused on such topics as child molestation, sadism, and psychosis. 'The Great Death' trilogy and 'May All Be Dead' have become rare collectors items, and are sought after by many Brighter Death Now fans. Roger Karmanik has been active under other names such as Lille Roger (Swedish for Little Roger) and Bomb The Daynursery.
In 2009, Karmanik remixed the short films of Jason LaRay Keener as projection for live shows.
Karmanik closed down Cold Meat Industries around the beginning of 2014 as he expressed that he was suffering mentally and physically from the stress of running the label. By the end of 2014, Karmanik had fully immersed himself within the shroud of Brighter Death Now and announced the creation of his new label Familjegraven whose sole purpose is to release his own projects, including rarities, reissues, and new recordings. [SOURCE: WIKIPEDIA]
Label:
Börft Records – BÖRFT 13, Börft Records – börft 013
Format:
Cassette, Album, Limited Edition, Numbered, C60
Anorexic Dread formed in Southend in July 1983 and existed until 1985, and in that time played some fantastic local shows, such as their gig with Alien Sex Fiend at Crocs, as well as playing further afield at venues such as The Batcave, and they managed to release the 12" single 'Tracey's Burning in 1984. Influenced initially by bands like The Birthday Party, Killing Joke and The Cramps, their first line up was Phil Black on Vocals (ex-Time in Motion), Andi Schurer (ex-Convicted) on Guitar, Pat Moriarty on Keyboards and Donald Frame (ex-Occult) on Drums. Their first gig was a riotous occasion at The Zero 6 on Monday July 18th, 1983, where half the audience walked out in disbelief and disgust.
Not too long after the bands debut performance, there was a change on the guitar position and Leonard Finch joined. The band had quite a set of songs at this time, including "Tracey's Burning", "She's Beautiful and She's Mine", "Dragnet", "Tick Tock" and "Limelight". They went in to Diploma Studios to try and capture their live sound, and the result was the infamous 'Tracey's Burning' 12" as released on Criminal Damage records in 1984. Reviewed by Alan Wheeler in the Evening Echo, he had this to say "A throbbing, psychobilly, zombiepunk drum and bass beat niggle away in the mix while the guitar screetches and squeals over it. This almost unbearable tension is ironically undercut with Phil's ritualistic chant. This hypnotic horror is inflammable material of the highest order. And the Munster-like mush of the B-Side 'Tick Tock' is just about as searing and vital as you will want to get his side of the crematorium. I severely suggest you go out and buy this record. It will do you in."
In late 1984, a further line up change occurred. As Phil explained at the time "We have been operating on a skeleton crew since our guitarist Leonard de Finchy went away on tour roadying for The Cure, but now we have a new guitarist, Andy Fisher, who used to play Bass in Kronstadt Uprising." The band started to introduce more serious lyrical themes at his time, although Phil was keen to point out that "We don't want to get away from the fun element in the music. The new stuff is going to be done in a danceable way, even if the content of the lyrics is more serious."
Not long after the Batcave Show, early in 1985 on Sunday January 20th, the band played with their new line up supporting a band they greatly admired, Killing Joke, at the Queens Hotel, and following on from this recorded a new demo, containing tracks such as "Dark Night in London" which evidenced a darker, more R 'n' R direction. Sadly not too long after the recording though, the band split and went their separate ways, but "Tracey's' Burning" still appears on DJ playlists around the globe and has guaranteed the band their place in eternity. [SOURCE: SOUTHEND PUNK ROCK HISTORY]
→ ↑ → (pronounced as three clicks, often written incorrectly as "Tsk Tsk Tsk" or "Tch Tch Tch") was an Australian music, art and performance group, best known for their experimental music. They formed in Melbourne in 1977 and were led by Philip Brophy. The group performed music, produced artwork, films, videos, live theatre, multi-media, and wrote literature. The Melbourne suburb of Clifton Hill's Community Music Centre, an artist run space focused on the performance of new sound art and experimental music, was the base for Philip Brophy's project, → ↑ →. Sometimes compared to Andy Warhol's Factory collective, the group provided experimental music (Brophy on drums or synthesiser), films, videos, and live theatrical performances exploring his aesthetic and cultural interests, often on a minimal budget.
→ ↑ → were often seen as working with Roland Barthes theory of "The Death of The Author". They were primarily interested in demystifying creative practices and analysing cultural phenomenons, stripping them down to their most basic defining characteristics. Musically the group touched upon a wide range of experimental styles including minimalism, punk rock, muzak, krautrock and disco, usually with no vocalist, which frustrated countless music audiences. Although they were regularly performing and presenting music and performances in art spaces like the Clifton Hill Community Music Centre and even the National Gallery of Victoria, → ↑ → frequently played with post-punk and new wave bands, including The Boys Next Door at pubs like the Crystal Ballroom in St. Kilda to non-art audiences. 'Muzak Rock & Minimalism' is compilation of shorts for the first 3 → ↑ → EPs which were released on a compilation LP on Present records. [SOURCE: WIKIPEDIA]
With a number of legendary tracks such as "Mentasm" and "Energy Flash" to his name, New York-based DJ and producer Joey Beltram is widely acknowledged as a leading innovator in Belgian-style acid and techno. Although his roots as a DJ lie in Chicago house (he still focuses on the style when he spins at home), Beltram's relentless club tracks were high points of late-'80s/early-'90s pre-breakbeat hardcore techno, and remain on many DJs' top ten lists as genre- and period-defining examples of post-Detroit European dance music. Born and raised in Queens, Beltram began DJing at a young age, spinning New York and Chicago-style house in his bedroom before moving into production and solo work. By the age of 18, Beltram was recording for Detroit techno staple Transmat and working on tracks with Mundo Muzique and Richie Hawtin for the latter's Plus 8 imprint.
After Beltram released "Energy Flash" on Transmat in 1988, the track was also picked up by R&S, launching his music into a Belgian association which remains to this day. He followed up the reissue with a single for the label in 1992, "Mentasm," a classic of "hoover"-style techno, so-named for its blaring, vacuum-cleaner synth noises and slamming beat. The track was embraced by Belgian techno/hardbeat fans and DJs alike, catapulting Beltram to widespread acclaim. Although Beltram remains best-known for his techno work, he by no means confines himself to that style, dabbling as well in house and ambient, as evidenced by his eyebrow-raising 'Aonox' LP released by the San Francisco experimental label Visible in 1994. He was back to hard minimalistic acid with 1995's 'Places' (for Berlin's Tresor) and 1996's 'Close Grind' (released on NovaMute as Jb3). Beltram's abundant mixing skills are displayed on the Logic collection 'Joey Beltram Live' as well as 'The Sound of 2 AM' on Moonshine. [SOURCE: ALLMUSIC]
December 1980 saw the release of 'A Factory Quartet', a double album featuring tracks from The Durutti Column, Kevin Hewick, Blurt and The Royal Family And The Poor.
With a cover price of ‘five guineas’, the double LP offered a side per Factory artist.
Side One featured three tracks by The Durutti Column; Side 2 seven tracks by Kevin Hewick; Side Three, four tracks by Blurt; Side Four, three tracks by Royal Family and The Poor. The embossed sleeve featured a set of Polaroid photographs taken by Factory boss Tony Wilson.
A Factory Records hand-typed "newsletter and shareholder's analysis" told us about each artist: Royal Family and The Poor: "A remarkable S.I. influenced outfit from Liverpool who, with sing along numbers like "Vanneigem Mix", rose such comments as; "They show The Gang of Four to be the bubble gum band we always thought they were" - R. Boone".
Blurt; "Sax based dance band from Stroud - Jesus Christ Stroud! Fronted by former anarcho beat poet - reformed". The Durutti Column: "An extended piece being prepared by Vinny Reilly, Stephen Hopkins and Mr. Hannett". Kevin Hewick: "Kid comes from Leicester. Writes singles about hay-stacks
and finding needles, and apart from the FACT that he likes Sylvia Plath
and Clem Burke, he has a lot going for him. Interested in frail
specifics, yip, yip, yip".
The first thing ever released by Kevin Hawick was one side of
this double LP on Manchester's legendary Factory label. Kevin himself is
still a little scarred by the experience of Tony Wilson selecting the
tracks (all live recordings) and deciding to start Kevin's career with
the sound of him and a hippy heckler trading abuse. A uniquely honest and abrasive
exchange between performer and audience. More punk than anything a punk
group ever mustered that's for sure. As if fueled by this confrontation,
Kevin proceeds to sing his heart out in a manner that would've had Tim
Buckley raising a glass. [SOURCE: RATE YOUR MUSIC]
Label:
Factory – FACT 24
Format:
2 x Vinyl, LP, Compilation
Country:
UK
Released:
Dec 1980
Style:
New Wave, Post-Punk, Indie Rock, Avantgarde
Tracklist:
A1 The Durutti Column – For Mimi 4:42
A2 The Durutti Column – For Belgian Friends 5:35
A3 The Durutti Column – Self-portrait 4:52
B1 Kevin Hewick – Rubble 6:10
B2 Kevin Hewick – 1940 4:20
B3 Kevin Hewick – A Little Feeling 5:10
B4 Kevin Hewick – Forget 4:06
B5 Kevin Hewick – Morphia
2:37
B6 Kevin Hewick – The Enchanted Kiss 2:50
B7 Kevin Hewick – Haystack 3:02
C1 Blurt – Puppeteer 3:31
C2 Blurt – Dyslexia 7:42
C3 Blurt – Some Come 3:10
C4 Blurt – Benighted 4:45
D1 The Royal Family And The Poor – Dirge 1:17
D2 The Royal Family And The Poor – Vaneigem Mix 6:42
D3 The Royal Family And The Poor – Dirge 1:13
D4 The Royal Family And The Poor – Death Factory
6:33
D5 The Royal Family And The Poor – Dirge 1:03
D6 The Royal Family And The Poor – Rackets 6:56
Notes:
Track A1 to A3 engineered at Strawberry Studios, Stockport.
Track B1 to B3 were performed at Leeds University in May 1980 on the Sylvia Plath Comeback Tour, the rest at the Moonlight West Hampstead in April 1980.
Track C1 to C4 produced at home.
Job on track D1 to D6 carried out at Graveyard Prestwich and Strawberry, Stockport.
No copyright for the usual reasons
"Polaroid-style" gatefold sleeve and printed inner sleeves.
Track D2: TRFAP read extracts from Raoul Vaneigem's book "The Revolution Of Everyday Life" (see chapter VII.2 and 3), the last part is from Ken Knabb's "Some Clarifications", both uncredited.
The Durutti Column recordings on side A are also available on LC reissues.
The Blurt recordings on side C are also available on The Factory Recordings CD.
The Royal Family And The Poor recordings on side D are also available on 'The Project Phase 1 - The Temple Of The 13th Tribe'.
One of the founders of jazz-based free improvisation in the U.K., from 1963 to 1966 Oxley was one-third of Joseph HolbrookeTrio, a pioneering group based in Sheffield that also included guitarist Derek Bailey and then-bassist (later composer) Gavin Bryars. The group started out as a relatively conventional jazz outfit, but by 1965 it had begun playing totally improvised pieces. The group's relative isolation from other currents in British free music -drummer John Stevens' London-based Spontaneous Music Ensemble was a contemporary- purportedly helped the band develop a unique approach. After the members moved to London in 1967, Oxley became the house drummer at Ronnie Scott's, a famous mainstream jazz club. He also continued working in experimental contexts. After winning Melody Maker's reader's poll, Oxley was given the chance to record as a leader. His first album was 'The Baptised Traveler' (1969); the record reflected Oxley's steadfast interest in free improv. In 1971, with Bailey and saxophonist Evan Parker, Oxley established Incus Records, which became England's premier free jazz/improv label.
This self-titled album collects in six tracks the counterpoints between him and such European improvisational musicians as Bailey (guitars, with whom he recently released an unreleased for Tzadik, “The Advocate”), Parker (sax), Holdsworth (trumpet), Barry Guy (bass) and Howard Riley (piano) side by side with more alienated solo sorties.
A harlequin work, rather uneven and compelling, which favors dark atmospheres and a few sunny glimpses (communicated by trumpet and saxophone) in its explorations, proceeding by singletons: not as flamboyant and expansive as the collective Company, however much the same elements appear. 'Tony Oxley' plummets in the finale, hijacking on deaf and stranger scours, particularly in the fifth “South East Of Sheffield”; a scenario as fitting as ever for this music that, in its own deaf noise effects, anticipates the ‘concrete’ sounds of Stapleton and co. and thousands to come. [SOURCE: RATE YOUR MUSIC]
Label:
Incus – INCUS 8
Format:
Vinyl, LP, Album
Country:
UK
Released:
1975
Style:
Free Improvisation
Tracklist:
A1 Never Before Or Again
10:40
A2 M-W-M 6:30
A3 EIROC II
5:30
B1 East Of Sheffield 6:20
B2 South East Of Sheffield 5:40
B3 P.P.1 8:30
Notes:
Recorded over a four year period (71-75), these tracks illustrate the evolutionary development of Tony Oxley's music, and particularly his percussion vocabulary. Amplification has played a large part in this development, giving breadth to the instrument, and allowing a reconsideration of the role of percussion in relation to improvised and structured music.
Zeni Geva is a Japanese band, formed in Tokyo in 1987. They incorporate elements of prog-rock, hardcore, heavy metal and noise-rock in their music. The core members are KK. Null (who is also known for his solo works) and Mitsuru Tabata (who is mostly known for his work with Acid Mothers Temple), the rest of the line-up went thru several changes over the years. They reformed in 2007 after a long break and started to tour again in 2009, joined by Tatsuya Yoshida on drums, who was also a part of one of the early line-ups. Tabata left the band in 2012.
