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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Fushitsusha – Radio Code [Cass] (1989, AQM)

Japanese guitarist, multi-instrumentalist, and vocalist Keiji Haino had been a prominent figure in the Tokyo underground since the mid-'70s before forming this incredible group that stands as one of Japan's most inventive and extraordinary and powerful groups of the era. Their work draws on noise, rock, free improvisation, and psychedelia, yet they sculpt their group sound in a fashion that their music is relative to few forms. In fact, the sound of Fushitsusha could best be described as contemporary Japanese music as some of their modalities and vigorous improvisational manner reflects the Japanese folk and traditional formulas. On the other hand, the electricity and refined indulgence of their feedback drenched albums and live concerts bares similarities to early Sonic Youth and the Swans, yet is as challenging as avant-garde improvisation. Sonny Sharrock's 'Black Woman' and Peter Brötzmann's 'Machine Gun' are good points of reference, as are Captain Beefheart, Guru Guru, or even Can. 

 
Fushitsusha is part of a continuum in Japanese avant-garde music that was developing in the '60s with noisy improvisational groups such as Group Ongaku, Taj Mahal Travellers, and, most notably, New Direction Unit, who were versed in a free-form noise dialect that went beyond the free jazz movement to higher and more unsettling places. Where Fushitsusha fit into the spectrum of rock, noise, and avant-garde could be pondered for hours. The conclusion, in most cases, could only be that they are a phenomenon of an incredibly creative force in leader Keiji Haino, who has forged some of the most magnificent avant-garde recordings of the '90s seemingly out of blood, sweat, and tears. As a solo performer, he has such an extraordinary and singular approach one could only compare him to an artist like Cecil Taylor, as his work is all-consuming, brutally passionate, and individual. 

 
Fushitsusha recorded their debut album in 1989; however, it is rumored that the group existed in various incarnations from as early as 1980. 'Radio Code' is a studio session by Keiji Haino and members of his band, Fushitsusha ("Tribe Of Outcasts", roughly translated). Often considered a "walking encyclopedia" of rock, blues, classical and other musics, Haino has developed a personal synthesis of Japanese and Western influences that is extremely rare; his work has lastingly influenced more musicians than anyone of his generation. Haino describes the general sound of Fushitsusha as a cross between blues and Gregorian chant. All lyrics are improvised in archaic Japanese, chosen equally for its sound and its nuances, and in control of these again Haino is a master. Produced by Keiji Haino and John Duncan. [SOURCE: ALLMUSIC]

 

 

Label: AQM – none 

Series: Radio Code 

Format: Cassette, C90 

Country: Netherlands 

Released: 1989 

Style: Experimental, Noise, Spoken Word

 

Tracklist: 

A Untitled 

B Untitled 

 

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Esqueletos – Radio 222 [7''] (1983, Flush! Records)

 

Esqueletos was an excellent power-pop trio from Madrid with a fleeting career and little fortune, despite having an enormous talent to elaborate masterful exercises of fast and vibrant pop. Their only released the 7" single 'Radio 222', one of the undisputed Spanish pop 'anthems' of 1983. Led by guitarist and vocalist José Battaglio, the group was formed in 1982 as RPM together with Enrique Martín (bass and backing vocals) and Miguel de las Casas (drums). 

 

Battaglio and Enrique were the authors of their repertoire; an exquisite hybrid of pop-punk influences ranging from Ramones, The Clash, The Jam and Buzzcocks. After releasing their songs through a demo, the multinational Hispavox took notice of the trio from Madrid, and asked them to change their name (RPM had already been registered by another band) to record a single with Flush Records, the "alternative" sub-label that the multinational record company had created to re-launch Radio Futura to a public already enthusiastic about the "independent" wave. 

 

 As Esqueletos they released in 1983 a 7" with "Radio 222" and "Sólo Necesito un Poco de Diversión" and "Intrusos en mi Jardín" on the B-side. "Radio 222", the title track, was already very popular due to the enthusiastic radio airplay it had received. It is a song as catchy as it is danceable, a clear "hit" that fulfilled all expectations. In addition, the two tracks included on the B-side were no less catchy, as well as displaying an overwhelming youthful energy. But, incomprehensibly, Hispavox did nothing to promote the band, which led to the discomfort of their members, who soon after decided to separate amicably to undertake new musical adventures. Thus, in 1984, José Battaglio joined La Frontera, and later dedicated to production and collaborating with groups such as Los Vengadores and Fangoria. Enrique Martín joined Las Ruedas. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80] 

 

Label: Flush! Records – 445 021 

Format: Vinyl, 7", 45 RPM 

Country: Spain 

Released: 1983 

Style: New Wave, Pop Rock, Post-Punk

 

Tracklist: 

A Radio 222 3:05 

B1 Intrusos En Mi Jardin 2:38 

B2 Solo Necesito Un Poco De Diversion 1:54 

 

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Din A Testbild – Triptychon [Cass] (1982, Not On Label)

 

Few bands of the German post punk/new wave era can lay claim to "cult" status, but Din A Testbild most certainly can. Formed in 1978 by Mark Eins and Gudrun Gut, the combo played a significant role in defining the avant-garde music of Berlin and were among the pioneers of Electroclash, long before the genre even existed. In the year they started out, Din A Testbild played at the opening of the legendary Berlin underground club S.O. 36 and in 1980 they appeared at Hamburg's first "In die Zukunft" ("Into the Future") festival, organized by Alfred Hilsberg. 'Abfall/Garbage', their first single, is emblematic of the entire West Berlin music scene from 1978–1982. The group also participated in the seminal "Geniale Dilletanten" event at the Tempodrom in Berlin (1981). Their contribution to German underground cinema and the art scene cannot be captured in a few simple words. Such is the measure of the cult and legend of Din A Testbild. 'Triptychon', a limited edition cassette of 100 copies, was recorded at Homestudio in Berlin/Friedenau' in 1982. [SOURCE: BUREAU B]

Label: Not On Label (Din A Testbild Self-released) – none 

Format: Cassette, Limited Edition 

Country: Germany 

Released: 1982 

Style: New Wave, Experimental, Neue Deutsche Welle, Minimal Synth

 

Tracklist:

A1 EXP. 

A2 Monkeys Memory 

A3 The Sky 

A4 Alimba 

A5 Smakman 

A6 Rusabel 

 

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Circle X – The Ivory Tower [4x7"] (1993, Editions Anti-Utopia)

Some bands take a while to get to where they're going, while others find it and then spend time perfecting it, not giving a care if the world notices. Circle X falls into the latter category, originally consisting of singer Tony Pinotti, singer/guitarist Bruce Witsiepe, guitarist Rik Letendre, and his brother Dave on drums. Forming in the late '70s in Louisville, KY, the quartet then relocated to New York and fell in with the no-wave crowd (Mars, DNA, and the like). The result was a constant expansion of their sound and style, incorporating everything from performance art to synths and keyboards (with Pinotti in particular anchoring the latter) in the service of their edgy, often quite listener-unfriendly material. An album, 'Prehistory', crept out in 1983 on Enigma, but aside from random performance recordings, singles, and other projects (even a book), Circle X remained strictly out of sight, out of mind even for most extreme music fans until the early '90s. At that time, following a variety of side projects and some lineup shuffling, drummer Martin Kob replaced Dave Letendre, while Rik was firmly settled on bass. This lineup released a series of singles, collected and boxed as 'The Ivory Tower' in 1993, leading to only the second full album in the group's history, 'Celestial', appearing on Matador in 1994. [SOURCE: ALLMUSIC]

 

 

Label: Editions Anti-Utopia – none 

Format: 4 x Vinyl, 7", Limited Edition, Box Set, Compilation 

Country: US 

Released: 1993 

Style: Experimental, Experimental Rock, Noise Rock, No Wave, Post-Hardcore, Post-Punk

 

Tracklist: 

1A 33/Puerto Rican Ghost (after MARS) 

1B The Pleasure Gallows 

2A Compression of the Species 

2B Fail Better 

3A Shiny Blue Orb 

3B Crooky Crain 

4A Some Things Don't Grow Back 

4B Champ Pourri 

 

Notes: 

4 white 7 inch 45 rpm records in a white box with one screenprinted mirror, one original photo and booklet. Edition of 100 plus 5 artists proofs. 

 

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Bound & Gagged – Untitled [12''] (1980, Modern Method Records)

 

Boston's Bound & Gagged were surely a hit with the polka dot and pointy shoe set. Formed in 1978 by Barbara Britto (vocals), Trude Koby (bass, saxophone), Marcia Maglione (keyboards, percussion), Deni Ozan (drums), Wendy Stone (guitar, bass) and Martha Swetzoff (guitar, bass, vocals), their ennui-tinged female vocals, Beefheart-influenced art rock instrumentation and herky jerky rhythm's ala Flying Lizards will surely satisfy those with a soft spot for this period. This 12" is a very quirky catchy discombobulated punky no wave girl extravaganza. They have really interesting rhythms and often their songs have many different unusual parts, and layers but it works. The vocals are rather coy and sarcastic and strange. It's pretty depressing to think that this is the band's entire catalog and that they never really did achieve success because this is some intriguing stuff. At the very least check out "Chains and Polymers", and "Clutter". [SOURCE: RATE YOUR MUSIC]

 

 

Label: Modern Method Records – MM 005 

Format: Vinyl, 12", 33 ⅓ RPM, EP 

Country: US 

Released: 1980 

Style: Art Rock, Punk, No Wave, Zolo, Dance-Punk

 

Tracklist: 

Side 1 

A1 Clutter 2:15 

A2 Chains And Polymers 4:02 

Side A 

B1 Attack 1:35 

B2 Roach Motel 3:15 

 

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Alternative – If They Treat You Like Shit - Act Like Manure. [LP] (1984, Corpus Christi)

Alternative, Scottish anarcho punks, first surfaced with the poppiest (and by far best) cut on 1981's execrable 'Bullshit Detector'. “Change It’, lifted from their demo, was a pretty crap song, but it had a tune and the whole LP was so miserable that even this innocuous ditty sounded good. So, having released their first recording via Crass, they spent the rest of their career being compared to them. With the addition of another vocalist (Linda 'Linger' Rotherham) they then shared a split cassette with Dirt and Reality Control ('Live 23.10.82 The Bunker'). The new band released 'If They Treat You Like Shit - Act Like Manure', an LP which is considered an anarcho punk classic. Highlights are "Where Are Your Hiroshimas?", "Till Death Do You Part", "How Many Times Sold?", "Now I Realize", and "Another Subversive Peace Song". A decently varied anarchopunk album that genre fans should dig but it welcomes outsiders too. [SOURCE: RATE YOUR MUSIC]

 

Label: Corpus Christi – Christ It's 13 

Format: Vinyl, LP 

Country: UK 

Released: 1984 

Style: Punk, Anarcho-Punk 

 

Tracklist: 

A1 Another Subversive Peace Song 

A2 Seen Through Tear Filled Eyes 

A3 Mannequin 

A4 Now I Realize 

A5 How Many Times Sold? 

A6 Love And Life 

B1 If You've Got It......Don't 

B2 Till Death Do You Part 

B3 Death Isn't So Sweet 

B4 Caroline's Carnival 

B5 Suffer In Silence 

B6 Struggling Through The Darkness 

B7 Ireland 

B8 Where Are Your Hiroshimas? 

 

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