ATV, Good Missionaries – "An Ye As Well." [Cass] (1980, Conventional Tapes)

Born out of the ashes of Alternative TV, The Good Missionaries embodied Mark Perry's new and advanced experimental-post-punk vision. Avoiding all kinds of average rock cliches, Perry got more and more deeply into an uncompromised form of music. A totally new area where his solid Punk roots were confronted by a more free, radical approach to the sound material. During their lifetime, The Good Missionaries toured and gigged with other distinctive, unconventional bands such as The Fall, The Pop Group, Crass, Scritti Politti... An infectious mix of electric noise, raw grooves, space, and resolute punk attitude. [SOURCE: FORCED EXPOSURE]

 

Label: Conventional Tapes – none 

Format: Cassette 

Country: UK 

Released: Aug 1980 

Style: Punk, Experimental, Lo-Fi
 

Tracklist: 

A1 Alternative TV – Still Life 

A2 Alternative TV – Love Lies Limp 

A3 The Good Missionaries - Strange Place This... 

A4 Alternative TV – Going Around In Circles 

A5 The Good Missionaries - The Good Missionary 

B1 Alternative TV – Action Time Vision 

B2 Alternative TV – Viva La Rock and Roll 

B3 The Good Missionaries - Leavin' with Jane Suck on My Mind 

B4 The Good Missionaries - Lost in Room 

B5 Alternative TV – Nasty Little Lonely 

B6 Alternative TV – Splittin' in 2
 

Notes: 

Queen's College, Notting Hill Gate, Early 1978 [ATV]: A1, A2, A4, B1, B2, B5, B6. 

Y. M. C. A. 5/9/79 [GM]: A3, B3. 

Empire Ballroom, Leicester Square, April or May 1979 [GM]: A5, B4. 

 

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32 Guájar's Fáragüit – Antilogia V0cevérsica [Cass] (1983, Sorollsec)

Mario Ruiz, from Barcelona and with the stage name "Sorollsec", was 32 Guajar's Faragüit. His was a rhythmic, repetitive and dronic rituality, structurally close to that of Esplendor Geométrico and the more forceful SPK, although formally treated with less metallic sonorities and a greater number of melodic accents that distanced him from the tribal savagery of Arturo Lanz's band. [SOURCE: ARCHIVO SONORO]

 

Label: Sorollsec – SSOC1 

Format: Cassette, Limited Edition, C30 

Country: Spain 

Released: 1983 

Style: Industrial
 

Tracklist: 

A1 Vox Ignorantiae / Ignorantia Vocis 4:05 

A2 Caceres Zoofilica 2:22 

A3 Siameses & Wolframo (S) 3:39 

A4 Siameses & Wolframo (W) 4:33 

B1 Transuretraxpress 5:40 

B2 Dotaciones Trisomicas 8:57
 

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Various – Young Blood [LP] (1984, Peninsula Records)

 

Compilation released in 1984 by the UK's Peninsula Records label, that released a couple of singles by new wave bands such Kudos and Bantu, one LP from the neo-prog-rock band Castanarc, and a couple of compilations: 'Out Of The Unknown' and this 'Young Blood'. Ranging styles like Punk, New Wave, Goth Rock, Darkwave, Post-Punk and Minimal Wave, and with the exception of The Enter, none of the bands here had any known output besides the songs shown in the album. The sleeve was designed by Lez Bradley, who designed also the sleeves of a pair of NWOBHM compilations from the 80's, 'Metallic Storm' and 'Metal Maniaxe' (both in 1982), the cover of the first Castanarc album 'Journey To The East' (1984) and the cover of the second álbum of the Doncaster mod band The Gents 'How It All Began' (1985).

 

 

Label: Peninsula Records – PENCV 1002 

Format: Vinyl, LP, Compilation 

Country: UK 

Released: 1984 

Style: Punk, New Wave, Goth Rock, Darkwave, Post-Punk, Minimal Wave 

Tracklist: 

A1 Colourtime – Passion Call 

A2 If – Warrior 

A3 Gettysburg Address – Dance Feat 

A4 Oh! For 1821 – Spring Comes Early 

A5 Hurt – In The Glade 

A6 Paragon – L'Esprit D'Avignon 

B1 Urutu – Neon Nightlife 

B2 The Enter – The Contract 

B3 Vincent Vevil Vald – It's A Different Kind Of Heaven 

B4 John Brown – Soldier Sailor 

B5 Turbo Chariot – Catch The Wind 

B6 Chris & Diane Jones – Look Through A Window
 

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Youth In Asia – Sex Object [Cass] (1982, Millenium Tapes)

Youth in Asia were an early 1980s UK anarcho-punk band from London. They were differentiated from many other bands within that scene by their prominent use of the synthesizer. The band's first live performance was in Brussels in December 1981. They played several gigs at squatted venues, including Crass's squat gig at Zig Zag in London, and the Wapping Autonomy Centre with other bands including The Apostles, Crass, Flux of Pink Indians, Twelve Cubic Feet, The Mob, Poison Girls, Hagar the Womb, Riot/Clone, DIRT and others. 

 

The band sang political lyrics about issues such as war, sexism and state terrorism. The band's name was a play on the word euthanasia. The initial line-up was Kay Byatt (vocals), Mark Edmondson (guitar), Wayne Preston (bass guitar), Punky Pete (drums), and Olga Ashworth (vocals/keyboards). Pete was soon replaced by Eddie on drums, and Lou, formerly of The Witches joined on rhythm guitar. In 1983, Eddie and Lou both left the band with Mick Clarke and Bernie, both previously of Windsor's Disease, replacing them. The new line-up recorded a single for Crass Records, but the band split up before it was released, with some of the members forming a new band, Decadent Few. Byatt later sang with Radical Dance Faction and The Astronauts. [SOURCE: WIKIPEDIA]

 

 

Label: Millennium Tapes – MT 001 

Format: Cassette, Album 

Country: UK 

Released: 1982 

Style: Punk, Anarcho-Punk
 

Tracklist: 

A1 C.B.S (Cash Before Sincerity) 

A2 Paper Love 

A3 Power And The Glory 

A4 They Shoot Children Don't They 

A5 Blind Reality 

B1 Victim Of Rape 

B2 How They Live 

B3 Armygigolo Time 

B4 Happy Families 

B5 Sunday Bloody Sunday 

B6 Lady Madonna
 

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Whipping Boy – Muru Muru [LP] (1984, CFY Records)

Whipping Boy was an American hardcore punk, psychedelic, and experimental-metal band from Palo Alto, California. The band was created in 1981 by lead singer Eugene Robinson and guitarist Steve Ballinger, students from Stanford University, and rounded out by the rhythm section of Sam Smoot, and David Owens, also students. Their sound featured lightning-fast melodies, tight, chunky rhythms, and violently incoherent vocals. They espoused a radically anti-government view that caught the attention of the Dead Kennedys' Jello Biafra and led to his support. They were featured on a punk compilation 'Not So Quiet on the Western Front'. Their first LP, 'The Sound of No Hands Clapping' was produced by Dead Kennedy's Bassist, Klaus Flouride. The band enjoyed moderate success, and national tours in 1982 and 1983 were capped by the release of the heavy Psych Post-Punk 'Muru Muru' in 1983, also produced by Flouride. This abrupt change in style was not welcomed by Whipping Boy's fanbase. [SOURCE: WIKIPEDIA]

 

Label: CFY Records – CFY 002 

Format: Vinyl, LP 

Country: US 

Released: 1984 

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

Tracklist: 

A1 My Day At The Lake 

A2 Vision 

A3 Walking Boss 

A4 Junkman 

A5 Myster Magi 

B1 Nevermore 

B2 Once In A Lifetime 

B3 Sunshine Nellie
 

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Viscera – Hot And Cold [Cass] (1985, Cause And Effect)

Viscera was Debbie Jaffe and Hal McGee (Dog As Master), from Indianapolis. They also ran the cassette label Cause And Effect. Deborah Jaffe is the mastermind of the industrial musical entity Master/Slave Relationship. For twenty years she has self-produced a unique brand of industrial music. In that time she's released more than ten cassettes, one vinyl LP, five compact discs and one CD-ROM with no government grants or federal funds of any sort, thus maintaining true independence of content and spirit. Hal McGee is an American experimental artist and producer, active since 1981. He is widely considered as one of the most important and seminal members of an early homemade cassettes musical movement in USA. 

 

Label: Cause And Effect – none 

Format: Cassette, Album, C30 

Country: US 

Released: 1985 

Style: Industrial, Experimental, Minimal Synth, No Wave

Tracklist: 

A1 Stupid Bright Day 

A2 Wasted And Wanted 

A3 Nation 

A4 Vertigo 

A5 No Meaning 

B1 Silent Friend 

B2 IDBM 

B3 Plague Buckets 

B4 Unjustly Accused 

B5 Hot And Cold 

Notes: 

Recorded between April 1984 and May 1985 by Jaffe and/or McGee. 

Reissued later on cassette as Dog As Master / Viscera - 'Cöffėė Splėėn & Thė Bȧrking Dög / Hot And Cold'.
 

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Ultratruita – Sangre Y Arena [7''] (1983, Ddomèstic Records)

Ultratruita was a group of dark pop formed at the end of 1980 with members coming from Basura and La Truita Perfecta. Their style, self-defined as psycho-pop, is characterized by rhythms cut to Talking Heads, new-wavish metals, use of violin and unusual lyrics. Their most stable members in its first stage were Boris Porter, Joan Garcia -Panotxa-, Jeannette Porter, Mikel and Gat. In a second stage Susana and Rafa Prieto establish as stable members. In their third stage Susana left the band entering Carlos as keyboardist. This formation remains stable until their dissolution.

 

Without support of critics or the record industry, Panotxa and Víctor Nubla created their own record label, Ddomèstic Records. Thus, in July 1982, accompanied by the musicians of Ultratruita, the single 'Sola / Cine de Barrio' (Ddomèstic, 1982) of Maria Lanuit is released, being one of the first works of the Catalan indie. In that same 1982 they enter the studio to record their first single 'Herman Brut / Ladrones de Pastillas' (Ddomèstic, 1982) that was the second reference of Ddomèstic. In early 1983 Gat and Jeannette left the band forming New Buildings. And in that same 1983, after a long parenthesis in Ddomèstic, came the second single 'Sangre y Arena / Frío' (Ddomèstic, 1983). [SOURCE: WIKIPEDIA]

 

 

Label: Ddomèstic Records – D-001 

Format: Vinyl, 7", 45 RPM, Single 

Country: Spain 

Released: 1983 

Style: New Wave, Synth-pop, Post-Punk, Goth Rock

 
Tracklist: 

A Sangre Y Arena 

B Frío
 

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The Turncoats – Motor Ball Meltbeat [12''] (1986, Noise A Noise)

The Turncoats was a British Post-Punk band that made a fuzzed-out garage rock sounding like if The Jesus and Mary Chain meet Echo and the Bunnymen, dishing up a roiling storm of ominous distortion. They released this 12" EP 'Motor Ball Meltbeat' in the Noise A Noise label in 1986 and 'The Fridge Freezer E.P.', shared with Dog Faced Hermans, Sperm Wails and Membranes, in 1987.  

 

Label: Noise A Noise – NAN 2T 

Format: Vinyl, EP, 12" 

Country: UK 

Released: 1986 

Style: Indie Rock, Post-Punk, Noise Rock
 

Tracklist: 

A1 One Breath 

A2 What's So Funny 

B1 Wishing Well 

B2 Call Her Name
 

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Skunks – Good From The Bad [7''] (1978, Eel Pie)

Skunks were a British power pop / punk group active during the late 1970s. The band formed in 1977, using the name Dole Q. In 1978, the band changed their name to Skunks and played shows opening for Buzzcocks, Police and XTC, amongst others. While opening for Generation X, Skunks were discovered by Pete Townshend, Keith Moon and Alex Harvey who brought them to Eel Pie Island Records to record a single in 1978. They also played on the John Peel show. Skunks would change their name once again to Craze when they got signed to Cobra, a division of EMI.

 

Label: Eel Pie – EPS 001 

Format: Vinyl, 7", 45 RPM, Single 

Country: UK 

Released: 1978 

Style: New Wave, Power Pop, Punk, Punk Rock, Jangle Pop

 
Tracklist: 

A Good From The Bad 

B Back Street Fighting
 

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Rapeman – Inki's Butt Crack b/w Song Number One [7''] (1989, Sub Pop)

Not a particularily inspiring set of two instrumental non-album songs by Albini's second pet project Rapeman. "Inki's Butt Crack" is just 3 minutes long, and consists almost solely of some meandering, almost folky sounding riff first played on bass, then also on guitar. Then there are some more hardhitting guitar chords, then again meandering, and the same riff played on violins at the end. Sounds like a lame version of Slint, although Rapeman at least gets credit for pushing this out in the same year as 'Tweez'. "Song Number One" sounds actually like it would be a decent fit inside 'Two Nuns and a Pack Mule', although the lack of vocals does hurt it a lot. Pretty cool bass however. [SOURCE: RATE YOUR MUSIC] 

 

Label: Sub Pop – SP40 

Series: Sub Pop Singles Club 

Format: Vinyl, 7", 45 RPM, Single, Limited Edition 

Country: US 

Released: Aug 1, 1989 

Style: Alternative Rock, Post-Hardcore, Noise Rock, Math Rock, Art Punk

Tracklist: 

A Inki's Butt Crack 3:15 

B Song Number One 2:45
 

Notes: 

10th release in the 1st volume of the Sub Pop Singles Club. 

Edition of 2500 (1500 copies issued on black vinyl). 

Labels on both sides are jokingly marked 'Time 1:00'. 

"Inki's Butt Crack" is credited on the label to (Spencer, Moore, Mascis), as in Jon Spencer, Thurston Moore, and J Mascis -but this is also a joke. 

The song is a variation on Mendelssohn's "Hebrides Overture (Fingal's Cave)".
 

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Philip Brophy – Salt Saliva Sperm And Sweat [LP] (1989, Present Records)

 

Philip Brophy, born in Reservoir, Melbourne 1959 is an Australian musician, composer, sound designer, filmmaker, writer, graphic designer, educator and academic. In 1977, Brophy formed the experimental group → ↑ → -more often written (though wrongly) as Tsk Tsk Tsk or Tch Tch Tch, (pronounced tsk tsk tsk)- with Ralph Traviato, Alan Gaunt and Leigh Parkhill. Sometimes compared to Andy Warhol's Factory, the group produced experimental music (Brophy on drums or synthesiser), films, videos, and live theatrical performances exploring Brophy's aesthetic and cultural interests, often on a minimal budget.

 

Over the ten years of the group's operation it involved over sixty of Brophy's friends and acquaintances including musician David Chesworth, and visual artists Maria Kozic and Jayne Stevenson. They performed in a wide range of Australian venues including pubs, galleries, university campuses and the Clifton Hill Community Music Centre. They also performed or exhibited in Europe, including London's ICA. Brophy dissolved the group in the late 1980s, issuing a retrospective book "Made by → ↑ →", but continued to work with Kozic for some time. 

 

In 1980, he founded the Innocent Records label with fellow Melbourne musician David Chesworth. Throughout the early 1980s, Brophy wrote numerous compositions and multi-media pieces. In the late 1990s, Brophy founded the Sound Punch label, and released both solo works, and collaborations with Maria Kozic, Bill McDonald, and fellow RMIT academic Philip Samartzis. 

 

After the dissolution of → ↑ →, with whom Brophy had made numerous collaborative film and video works (including Super-8 and 16mm versions of "No Dance"), he set his ambitions on making higher budget films, and became more involved in sound design. In 1988 he made an experimental short film "Salt, Saliva, Sperm and Sweat". His first feature film, "Body Melt", was released in 1993, and was funded by the Australian Film Commission and Film Victoria. Two short films were produced in 2004, "The Sound Of Milk" and "Words In My Mouth - Voices In My Head (Anna)". [SOURCE: WIKIPEDIA]

 

 

Label: Present Records – PRE-010, Present Records – MX303123 

Format: Vinyl, LP, Album 

Country: Australia 

Released: 1989 

Style: Abstract, Experimental, Industrial

 

Tracklist: 

A1 Sensation 

A2 Sedation 

A3 Suggestion 

A4 Secretion 

A5 Suspension 

B1 Suspicion 

B2 Subjection 

B3 Seclusion 

B4 Submersion 

B5 Summation 

B6 Seduction 

 

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Orange Disaster – Something's Got To Give [7''] (1981, Vogue)

Orange Disaster was the first incarnation of The Perfect Disaster, with Phil Parfitt joined by Ken Renny (bass), and Alison Pate (guitar). This line-up released this seven-inch on French Vogue Records -an international label founded in France in 1947-, with different songs on the B-side that in the 7" 'Something's Got To Give' released 1980 in Neuter Records, Catalogue Number OD 01. After this they changed their name to The Architects of Disaster. Parfitt and Pate were then joined by Tony Pettitt (bass), Nod Wright (drums) and Paul Wright (guitar). This line-up disbanded, having released one single. Nod Wright and Tony Pettit then left to form Fields of the Nephilim with Parfitt recruiting Grant Davidson (bass) and later John Saltwell (bass), Dan Cross (guitar), and Malcolm Catto (drums). They returned in 1984 as The Perfect Disaster. [SOURCE: WIKIPEDIA]

 

 

Label: Vogue – 101517 

Format: Vinyl, 7", Single, 45 RPM 

Country: France 

Released: 1981 

Style: New Wave, Pop Rock, Indie Rock, Post-Punk

 

Tracklist:

A Something's Got To Give 3:47 

B Keys Open Doors 5:10 

 

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No – Glory For The Shit For Brains [LP] (1987, Ultimate Records)

NO was an Australian Post-Punk and Electro-Industrial band from Melbourne formed by Ollie Olsen (vocals, sampler), Michael Sheridan (guitar), John Murphy (drums, percussion), Marie Hoy and Kevin McMahon. 

Born in Melbourne in 1958, Ollie Olsen has produced much innovative music in Australia. Ollie studied electronic music mid-70s under Felix Werder, a German composer living in Australia who had studied under Karlheinz Stockhausen. In the late 70's Ollie formed one of the first electronic bands, Whirlywirld, releasing a number of recordings on Missing Link Records. During the next ten years Ollie formed experimental outfits Hugo Klang and Orchestra of Skin and Bone, then the hard-core industrial techno band, NO. 

Michael Sheridan formed in 1983 the jazz punk outfit Great White Noise. Soon followed by an improvisation group Slaughter House 3, with Jon Rose and John Gillies. By the mid 1980s, he moved to Melbourne and formed Trans Waste with keyboardist Jamie Fielding. In the late 1980s he formed the electro-punk band NO with Ollie Olsen and Marie Hoy, and played with Michael Hutchence in band Max Q. He also joined Ollie Olsen in the outfit Eccohomo (also spelt Ecco Homo). Following he formed Dumb And The Ugly with John Murphy and David Brown. Soon after 1990, he joined Peril with Tony Buck, Otomo Yoshihide and Kato Hideki. 

John Murphy played with many artists since the early 1980s while living in both Australia and the UK, and from 2006 until his death in 2015 in Berlin. From being a member of groups such as The Associates and SPK, working extensively with artists like Death In June and Ollie Olsen, and having many solo projects, his work has covered a wide range of genres and styles. 

'Glory For The Shit For Brains' pushes the boundaries of good taste, nice and stubborn and a f*ck you attitude. Similarly here, either you think it's dregs or you see the rays of sunshine between the dark clouds.

 

 

Label: Ultimate Records – ULP-001 

Format: Vinyl, LP 

Country: Australia 

Released: 1987 

Style: Art Rock, Post-Punk, Electro-Industrial

 

Tracklist:

A1 Skin 5:12 

A2 Where Are We Going 3:29 

A3 200 Years 6:01 

A4 Dedication 5:14 

B1 Slave 7:30 

B2 Done No Wrong 3:56 

B3 Glory For The Shit For Brains 8:08 

 

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Modern Art - Cleaners From Venus – Souvenir [Cass] (1986, Color Tapes)

Modern Art was an electro/synth rock band formed by Gary Ramon in the early 1980s. The band played live only on several occasions and the project did see the release of a slew of limited cassette only releases, and two studio albums. After moving in a more psychedelic direction, Ramon disbanded Modern Art and formed Sun Dial in 1989. 

The most extensive of singer/songwriter Martin Newell's various projects, Cleaners from Venus recorded some of the finest -and most neglected- British pop/rock of the 1980s. The Cleaners' failure to find a wider audience is due at least in part to their unconventional method of distribution. After a short, bitter experience in the music business recording for a large label, Newell retreated to his home studio at the beginning of the '80s, determined not to have to play by the usual compromising music business rules. As the chief of Cleaners from Venus, he and cohorts recorded several albums on their own, and distributed them via self-produced cassettes that were chiefly available by mail. There were thousands of such acts working in this manner in the cassette underground, but most of them were either off-puttingly amateurish or forebodingly avant-garde and experimental. Cleaners from Venus were distinguished from the usual lot because they specialized in extremely witty, cheery, and compact pop songs. 

The original first released edition of this tape (1986, UK) comes with printed labels. It was released under license by Calypso Now, original by Color Tapes (catalogue number Color 19). Various cassette colors were used for the licensed release, and also the color of the paper for the cover varied (mostly grey as scanned or white). Calypso Now was a Swiss independent cassette label run by Rudi Tüscher (Hotcha) that released around 200 cassette productions from 1983 to 1988, most of them licensed from other labels. Also, these tapes were copied over the years as needed, so the actual cassette used depended on what was available on the market at the time, and the covers do not always carry mention of the Calypso Now label and practically never an order number -that was due to the punk idea ("Be there or be square"). After 1989 the label became home to Hotcha's band Pull My Daisy until 1992, where all activities stopped.

 

 

Label: Color Tapes – color 19 

Format: Cassette, C60 

Country: UK 

Released: 1986 

Style: New Wave, Synth-pop, Minimal 

 

Tracklist:

Side A: Cleaners From Venus

A1 She's Checking You Out 

A2 Johnny The Moondog 

A3 Lukewarm Lovesong

A4 Sandstorm In Paradise 

A5 Julie Profumo 

A6 Be An Idiot Pop Star 

A7 Albion's Daughter 

A8 Hand Of Stone 

Side B: Modern Art

B1 Dress Of Adventure 

B2 Quest For Gold 

B3 Beach On The Horizon 

B4 46 Botanical Species 

B5 Confrontation 

B6 Last Day Of The Sun 

B7 She Cannot Yet Be Seen 

B8 September 

 

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La 1919 Spontaneo – L'Enorme Tragedia [Cass] (1985, ADN)

  

La 1919 (aka La 1919 Spontaneo) are a Milanese avant-progressive band that first started life in September 1980. The brainchild of Luciano Margorani (born 19th July 1961, in Milano) and his friend Piero Chianura, the band have released five albums to date. Their sound is electronic-based, but still consists of traditional rock-band instruments, such as electric and bass guitar (with assistance by clarinets and saxophones on later releases). Mostly though, the band uses keyboard effects and tape looping, combined with a Fripp-ian and Frith-ian guitar sound, supplied by Margorani (much more evident on their second and third releases), with overlying electronic drums, culminating in a unique sound that flirts with jazz, no-wave, post-punk and electronica, yet is remarkably progressive rock in its basic state. From 1982 to 1983, La 1919 were part of the "Coopertiva L'Orchestra" of Milan and they eventually released their debut album 'L'Enorme Tragedia' on cassette only in 1985.

 

The way to describe the sound of the first side of this tape at first listen is a mixture of Throbbing Gristle, This Heat, and Canterbury-prog music. The first track, "Questo Caldo", with the seeming androgyny of the drums (meaning they sound both electronic and acoustic, creating a neutrality in its binary of sound), goes a good job to introducing the sound of the album. "Molto Azzardato" could be described as dark ambient mixed with a bastardization of Frippertronics. Nevertheless, it creates an interesting environment. The last part of the track, which gives us a duo of synthesizer and guitar, paints a dreary picture with the nearly-unsettling distortion of synthesizer. The third track, "Senza Tregua", has a sound that could be noted as proto-IDM. There's really nothing left to say, other than it's a great track. The beginning of "Dornier Cordaianthus" sounds Eno-esque. To the untrained ear, one would say that it would be devoid of influence, but a good example of a more accessible version of this would be Gang Of Four.

 

The B-side starts off with "L'Enorme Tragedia", with both band members' voices playing a big role for once. They eventually give way to the avant-rock style that this album seems to do so well. The tracks on this album in general feel like they're feeding off the one trick they can pull (a mixture of industrial and prog). However, the third track, "Metzengerstein", feels a little fresher as it mainly focuses on the percussion rather than guitar. Mechanic rhythm comes to mind when listening. The fourth track, "8'35", while lying about the supposed track time, gives us a more indie rock setting, something that if cleaned up would probably be on a college radio. "La Caduta" begins with a lo-lo-lo-fi cymbal playing behind a droning synthesizer. The album had a This Heat influence from it, and hearing the vocals from this track, one can definitely hear it coming through. The muffled narration, which is the formation of a short sound collage, definitely gives a new perspective to the sound. [SOURCE: RATE YOUR MUSIC]

 

 

 

Label: ADN – ADN TAPES 16, ADN – 16 

Format: Cassette, C30 

Country: Italy 

Released: 1985 

Style: Electro, Experimental, Future Jazz, Avant-Prog, Industrial

 

Tracklist: 

A1 Questo Caldo 

A2 Molto Azzardato 

A3 Senza Tregua 

A4 Dornier Cordaianthus 

B1 L'Enorme Tragedia 

B2 Il Sogno Di F.F. 

B3 Metzengerstein 

B4 8'35" 

B5 La Caduta 

 

Credits: 

Composed By, Arranged By [Improvvisato] – La 1919 Spontaneo 

Graphics [Grafica] – Piero Chianura 

Guitar [Chitarre Impreparate], Bass [Basso], Drum Machine [DDM "C.H." 110], Keyboards [Casio], Voice [Voce] – Luciano Margorani 

Keyboards [Casio MT 40, Yamaha CS 30], Drum Machine [DDM "Charles Hayward" 110, DR 55], Bass [Basso], Tape [Tapes], Voice [Voce] – Piero Chianura 

 

Notes: Recorded at home on 4-track during the harsh winter of 1984. Mixed in March 1985. 

 

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Karuna Khyal – Alomoni 1985 [LP] (1974, Voice Records)

 

Karuna Khyal's 'Alomoni 1985' is something very special - unburied treasure, indeed - thoroughly corrupted rock n' roll, steeped in ragtag R&B and crisscrossed by croaked vocal mantras and deliriously dizzy slide guitar. On the first of the albums two 20+ minute fractured tracks of rambunctious, bass-led "song," 'Alomoni 1985' invites comparisons to nothing less than a low-rent 'Faust Tapes' - less dependent upon Faust's bucolic demeanor and rigorous studio-as-instrument directive - or a particularly gone Magic Band outtake (free from the Captain's authoritarian censorship). And while Karuna Khyal is at least more deserving of the "Japanese Faust" descriptive misleadingly bestowed upon Brast Burn, even this seems bluntly dismissive of a unique, remarkably potent brand of madness. Liberally laced as it is with dated Canned Heat-isms, copious shofar-squawk harmonica riffing, grim oompah/cosmic jug-band plod, smears of visceral feedback, and truly insidious tape-work, 'Alomoni 1985' is most uncannily analogous to the early catalog of Hapshash & The Coloured Coat, which directly inspired the first communal stirrings of Krautrock. 

Heaping historical complication upon confusion, the smoking second half of 'Alomoni 1985' winds through a noisy tribal exorcism-cum-hoedown. With a bacchanalian commotion of scrappy percussion, a dozen shades of vocal damage (overtone chants, wordless mumbling, tuneless singing, raucous whoops and hollers), gusts of modulated (wind? synth?) noise, and spurts of volatile, psychedelicized improv, Karuna Khyal bursts through the free-music barrier - albeit in a stomping, stumbling Cro-Magnon fashion. No-Neck Blues Band adherents take note. Surviving lore about Karuna Khyal, however, places 'Alomoni 1985' quite a few years earlier (maybe), in Japan (maybe), with an unknown (maybe), substantially more menacing quantity either cut adrift of its contemporaneous musical timeline or orbiting decades ahead of such. But consider that such modern concerns as Ectogram, Ulan Bator, Ghost, and all aforementioned and kindred souls could have stickered their names on the cover of 'Alomoni 1985' without anyone batting an eye. It just doesnt add up, does it? 

In fact, so many questions concerning Karuna Khyal persist for any information about this enigmatic crew. 'Alomoni 1985' may lack the provenance needed to calibrate its actual historical import, but the album remains a compelling oddity -brash, bristling, baffling, and all but inexplicable. One is left wondering what might have become of Karuna Khyal, whatever year's model 'Alomoni 1985' represents. [SOURCE: RATE YOUR MUSIC]

 

 

Label: Voice Records – VO-1002 

Format: Vinyl, LP, Album, Stereo 

Country: Japan 

Released: 1974 

Style: Avantgarde, Psychedelic Rock, Experimental Rock, Krautrock, Noise Rock

 

Tracklist: 

A Untitled 24:32 

B Untitled 22:30 

 

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Jawbox – Jawbox [Cass] (1989, Not On Label)

During their eight-year existence, Jawbox developed into a top-tier post-hardcore band. While they became one of the most notable acts in Washington, D.C. shortly after their late-'80s formation, and were part of a lineage that included the likes of Minor Threat and Rites of Spring, they were favorably compared to Chicago's Big Black, Naked Raygun, and Effigies as well. Scrutinized for leaving D.C.'s beloved Dischord for a major label -they were the first to do so- Jawbox nonetheless released two excellent albums for Atlantic that surpassed their previous output. [SOURCE: ALLMUSIC] 

 

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

Format: Cassette, Promo 

Country: US 

Released: 1989 

Style: Hardcore, Punk 

 

Tracklist:

A1 Tools And Chrome 

A2 Bullet Park 

A3 Beneath The Wheel 

A4 Footbinder 

B1 Consolation 

B2 Paint Out The Light 

B3 Mother Lode 

B4 Something Must Break 

 

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Illusion Of Safety – In 70 Countries [Cass] (1989, Complacency)

Since 1983, Illusion Of Safety has been the ongoing project of Daniel Burke working alone and with various collaborators. They have released over 20 CDs on labels such as Complacency, Die Stadt, Experimedia, Odd Size, Silent, Soleilmoon, Staalplaat, Tesco, and Waystyx, and played over three hundred concerts in Europe and North America. IOS' work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but they are unwilling to limit their work to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance. Daniel Burke is currently working with conventional instruments, electronic synthesis, computer composition, samples, and highly amplified handled objects. He uses improvised and composed structures containing material that confounds memory and stimulates perception. The resulting music encompasses broken sound, disturbed ambience and unfiltered beauty that collectively evokes an awareness of the ineffable. The work activates modes of perception to facilitate direct access to the psyche, emotions, and the infinite in order to address the necessity of balance and the nature of dichotomy. 

 

 

Label: Complacency – CPC-14 

Format: Cassette, C40 

Country: US 

Released: 1989 

Style: Industrial, Experimental, Ambient, Dark Ambient, Field Recordings

 

Tracklist: 

A1 Theme From Belfast Street Riot 

A2 In 70 Countries 

A3 7-26-88 

A4 Devices To Be Used 

B1 Speed Brutality Honesty 

B2 Prisoner 819 Did A Bad Thing 

B3 Trumpet Field 

B4 You Stop It 

 

Notes: 

All sounds and recordings IOS main core: Mitch Enderle, Spark Lunch, Dan Burke, D. Klein. 

With: Jef Bek ("Theme"), Thymme Jones ("7-26-88"), Sarah Closser ("Stop It") 

 

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Heute – Logarhythmus [Cass] (1983, Bubu Musikverbreitung)

Heute is an art / performance / music project of Rolf Schobert (Der Künftige Mußikant) and musician and actor Georg Alfred Wittner (G.A.W.) from Stuttgart Germany. Active since the early 80’s they have become a local cult live band somewhere in the DIY experimental minimal punk undergounds. They never understood themselves as a recording band, so some old tapes and videos might be existing somewhere, yes some compilation contributions too. [SOURCE: GENETIC MUSIC] 

 

 

Label: Bubu Musikverbreitung – none 

Format: Cassette, Album, C46 

Country: Germany 

Released: 1983 

Style: Minimal, New Wave, Minimal Wave, Minimal Synth

 

Tracklist: 

A1 Geisterreiter 

A2 Langweile 

A3 I Love Myself 

A4 Zufall 

A5 I'm A Man 

A6 Music For Videos 

B1 Psycho 

B2 Lauf 

B3 Trauring / Lustig VI 

B4 C & A 

B5 Wanted 

B6 Rimback Im Walde 

B7 Spieling In The Rain 

 

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Greater Than One – Duty And Trust [Cass] (1991, ROIR)

Appropriately enough, the London industrial band Greater Than One was made up of two vocalists / keyboardists / programmers, Lee Newman and Michael Wells. Not as heavy as many industrial groups, and with perhaps more of a sense of humor, the duo debuted in the mid-'80s with a series of limited-edition and/or cassette-only releases, including 1987's 'All the Masters Licked Me'; their first widely distributed album was 1988's 'Dance of the Cowards'. This was in turn reissued by Wax Trax! in the U.S. in 1989 as 'London', a two-disc set featuring six extra tracks. 'G-Force' (1989) and the 'Index' EP (1991) followed before Greater Than One and Wax Trax! parted ways; the duo returned in 1992 with the cassette only release 'Duty and Trust' for ROIR, a fantastic album because it culls together some of the weirdest and most obscure tracks that Greater Than One ever produced. Very dark, moody, Gothic and industrial sounding stuff. Not at all beat oriented like most of their other material is. Perfect for late night listening. [SOURCE: ALLMUSIC]

 

 

Label: ROIR – A-200 

Format: Cassette, Compilation

Country: US 

Released: Oct 10, 1991 

Style: Ambient, Experimental, Industrial, Dark Ambient, Sound Collage

 

Tracklist:

A1 Deep Shake 7:05 

A2 Liberation 6:39 

A3 Brick Lane 2:28 

A4 The Dark Streets Of London 5:37 

A5 The Rose, The Cross & The Flag 5:45 

A6 Crisis 3:14 

B7 Trust 32:23 

 

Notes:

Tracks A1 and A2 are previously unreleased. 

Track A3 and A6 were previously released on CD album 'Dance Of The Cowards' (1988). 

Track A4 was originally released on the LP compilation 'Dry Lungs III' (1987). 

Tracks A5 and A6 were originally released on the cassette compilation 'Insomnia Vol. 2' (1988). 

Track B7 was originally released on the 12" 'Trust' (1990). 

 

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