Distrito 5 were a group from Barcelona formed in 1979. Between 1980 and 1981 they were part of what was called the Catalan Circuit, playing in all the most famous clubs of the time, such as Zeleste, Magic, or Karma. In April 1980 they were the support band in a Iggy Pop's show and in December of the same year they playd opening for The B-52's.
During 1981 they played several shows in cities like Granollers, Manresa, Sabadell and Girona.
The band was formed by Patricia García (vocals), Pilar Morral (vocals), Sergio Ortiz (vocals), Álvaro Martínez (guitar), Javier Vidal "Vidi" (guitar), Tito Villalonga (bass) and Alberto Carreras (drums). In 1982, with the release of their first record, the 12" maxi-single 'Cafetosis / Suburbio', they enter into the national scene, and began to be invited on radio and TV music shows, as well as playing in La Noche del Rock, a festival organized at the Salón Cibeles in Barcelona in February 1982. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]
Formed in Rochester (NY) in 1986, Claude Raines only released this eponymous album before disbanding. The members of the band were Jeff Gulino (guitar), Mark Mastrella (drums), Will Young (bass) and Cedric Herrera (vocals, acoustic guitar), also the singer of Red Violet Red, the band that preceded Eleven Pond. The closest touchstones for this 1987 LP include The Church, The Chameleons, Psychedelic Furs, and The Snake Corps, but with a big guitar-driven fuzzy sound. After Claude Raines, Cedric Herrera formed the short-lived dance project Pitch Black, releasing the 12" 'Suspiria / Renee' in 1990.
Boye were a Serbian and Yugoslav rock band formed in Novi Sad in 1981. Until the late 1980s, Boye were an all-female band, but later lineups also featured male members, with drummer Biljana Babić being the only mainstay member during the band's career. Initially a part of the Yugoslav new wave scene, Boye later moved towards garage rock-influenced alternative rock. The band released four studio albums before disbanding in 2000.
The band's debut album, 'Dosta! Dosta! Dosta!' "(Enough! Enough! Enough!)" was produced by Disciplina Kičme frontman Dušan Kojić "Koja" and released by PGP-RTB in 1988. Under Kojić's influence, the band had maintained their original musical style and introduced rap vocal sections, and Kojić also played guitar on three tracks. The album featured the material written during the previous years, with the prominent songs "Mama Kivi" ("Mother Kiwi"), "Gde se možemo sresti" ("Where Could We Meet") and the title track. The cover was designed by Biljana Babić. 'Dosta! Dosta! Dosta!' was met with positive reactions by the critics, and after its release the band went on their first solo tour across Yugoslavia. [SOURCE: WIKIPEDIA]
Label: PGP RTB – 210439
Format:
Vinyl, LP, Album
Country: Yugoslavia
Released: 1988
Style: Alternative Rock, New Wave, Indie Rock, Pop Rock
Before forming Oppenheimer Analysis, Martin Lloyd did go into it with one credit in 1981, when he and David Rome of Drinking Electricity released a double A-side, featuring the jumpy, playful instrumentals “Surface Tension'' and “Connections”. They referred to their act as Analysis, making it feel very much a part of the Oppenheimer Analysis story. [SOURCE: REDDIT]
Mario Ruiz, from Barcelona and with the stage name Sorollsec, was 32 Guajar's Faragüit.
His music was made out of a rhythmic, repetitive and dronic rituality, structurally close to 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.
Their entire discography is based on cassette tapes.
After a demo recorded in 1983, in 1984 its first reference is released by the Ortega y Cassette label, titled 'Antilogia Vocevérsica', a cassette full of sonic textures, tribal atmospheres and abstract landscapes carefully prepared to offer unique sensations to the listener. In 1985, and through his own Sorollsec label, appears a new release composed by five themes, titled 'Crom 48'. [SOURCE: SONMARCHIVE]
A neat little concept this (two tracks contributed by six different groups, 2 × 6” = 12” being the vinyl format it is released on). ConSono contribute the first two tracks; “Satan’s Flute” a sombre dirge with slow dark beat and deep vocals, while “A Ritual” is almost medieval with Gregorian Chant backing meandering ‘plucked’ keyboards, huge bell sounds and deep vocals again that ends with a vocal imitation of a didgeridoo. Morthond continue the dark atmosphere with “Dwimordene", an almost chaotic, yet simplistic sampling piece, strangely musical although it seems to avoid anything other than rhythm. “The Path Of Death” is a lot less dense but still avoids conforming to strict ‘musical’ parameters. This is a soundtrack to dark and Gothic horror film; two classic works of noise. Archon Satani offer the next two; opening “Voices Of Insanity’, with a recorded judgement of 'a death by hanging’. Following neatly from the previous two tracks, not quite so dark and threatening, but no more musical. “Grief (Taste Of Death)” continues the pyre-smoke-blackened atmosphere Stygian Gothic.
Embrocation start side two with “Modus Vivendi”, the sound of swarming flies, the sound of corruption and decay. Deep, dark, threatening sound, with heavy drums beating a dirge and Death stalks the barren land. “Of Unknown Age” offers more of the same, black soundscapes with Death Drums relentless & somnolent.
Mental Destruction contribute the next two; “Metamorphosis” which is a touch more accessible, noisy and Industrial as it is, white, almost viral mass of painful sound. “... And The Fire” starts off like some obscure Throbbing Gristle piece, then jumps towards Front 242, then repeats the sequence again, folding in and out of the pain-wracked primordial haze.
Systema come up with the last two. “As We Go Astray” is an insane chaotic mess of noise and beat which defies the brain to sort it out, and perhaps the most ‘commercial’ track on the entire album, but if it ever entered the charts, it’d pollute and contaminate all those pretty flowers who seek refuge there from anything in any way ‘challenging’. “Let Me Come Inside You” closes the album with another distorted, Freak-Child of beat music, both mechanical and biological, and, perhaps closer to the truth, viral!
All in all this is an excellent album of black, bleak atmospheres. These bastard Sons of the early Industrial groups have written their own rules, and Sweden must be a cruel place to inspire the cold feelings in this album. [SOURCE: DISCOGS]
This is not your father's harp. Zeena Parkins had been a valuable player on the downtown New York scene as well as an integral member of the fascinating band Skeleton Crew (with Tom Cora and Fred Frith) for several years before releasing this, her first album as a leader. The selections are a series of solos, duos, and trios with various likeminded musicians, including Cora, Wayne Horvitz, and turntablist Christian Marclay. The general approach is consistent with the grab-bag, postmodern stance in vogue at the time, roughly based in a rockish improv aesthetic and moving outward from there. Parkins' harp has an aggressive, sometimes stinging quality; in a sense, she plays it as though it's an electric guitar, making few concessions to its more delicate ancestry. Fans of Elliott Sharp's work from around the same period will find a likeminded stance here, with a similarly dark, percussive feel. She more than holds her own here, even dominating the affairs with forceful, imaginative playing. The pieces with Marclay work especially well, his vinyl selections blending seamlessly with her rich plucking. The duo with percussionist Samm Bennett is also very successful, coming within a few miles of sounding -almost- like some warped attempt at pop. The songs are all on the short side and one eventually has the desire to hear Parkins stretch out more and even to play in more structured surroundings. But on its own merits, 'Something Out There' is an enjoyable debut and gives a good early picture of this all too undervalued member of the contemporary improvising field. [SOURCE: ALLMUSIC]
Label: No Man's Land – NML 8712
Format:
Vinyl, LP, Album
Country: Germany
Released: 1987
Style: Avantgarde, Free Improvisation, Avant-Prog
Tracklist:
A1 Firebrat
2:58
A2 Night Light
2:57
A3 Without Words
2:19
A4 Little Hip Haw 2:36
A5 Mother Tongue
2:08
A6 Cornered
3:32
A7 Southern Exposure
3:51
B1 Incident In A Department Store
3:00
B2 Flavor Of Green Tea Over Rice 3:54
B3 Left-Handed Walk
2:24
B4 The World As I Found It
3:03
B5 Fly Loo
2:09
B6 Sidereal Messenger
3:11
B7 Appointment In Samarkind
3:03
Notes:
Recorded and mixed February 1986 to January 1987 at Noise New York, except tracks A3 & B3 recorded live at Roulette.
Submastering at Synesthetics.
Yeast Culture are an 80s band who used field recordings, ambience and noise to create a special blend of soundscapes. The source of recordings mainly consisted of things they found around the islands in Puget Sound. They have a very conceptual way of composing including the recording of things such as trees and water, to live electric plasma, empty industrial sites and historical military forts. Very DIY, resourceful and aesthetically sound. [SOURCE: RATE YOUR MUSIC]
Label: Petri Supply – none
Format:
Cassette, C64
Country: US
Released: 1988
Style: Abstract, Experimental, Electroacoustic, Field Recording, Ambient, Industrial
1986 would be the year in which X Mandarina Duck released its first and only work. It was a 7-inch vinyl record entitled 'Non Stop (Sensations)', issued by Wipe Out! Records and the first release for the now historic Greek label. The single includes three songs, all written by Tommie Bouzianis, with a fast and rhythmic style, in a rock style with new wave elements. The title track stands out while the rest of the songs are not inferior. [SOURCE: ELLINIKO.GREEK-ROCK.BLOGSPOT.GR]
Label: Wipe Out! Records – W.O.R. 001, Wipe Out! Records – 001
