Andréa Daltro – Kiuá [LP] (1988, Estúdio De Invenções)

 

Certainly, this is one of the most wanted brazilian records of the last times. A record that hides mysteries and many meanings and that gained its notoriety after the song "Kiuá" was used in the brilliant compilation called 'Outro Tempo' of Music From Memory.

 
Andreá Daltro studied popular, instrumental and erudite music for about 20 years and sings since 1971. Around 1979, the first version of 'Kiuá' was made for the percussion group of the Federal University of Bahia, using marimba, xylophone, among other percussive instruments, as well as guitar. With regency of the teacher Ernest Widmer. This presentation was made at the college rectory. 

It is at this point that Andreá Daltro has his first connection with 'Kiuá', which would later become a classic through his voice. Curiously, the music score was lost and Andréa had to sing in court, and only had three rehearsals to improve her vocal extension in the song. At that moment the score of the song "strolled" by Andrea's imagination. It was a moment of strong impact for her. She managed to sing without making a mistake, even though she had rehearsed only three times. From this moment, Andréa begins to sing contemporary songs with vocal effects, which, according to her, were very lovely and memorable experiences.

 
In 1988, Andréa decided to launch his solo record, without financial resources and independently. She took out a bank loan to realize that dream, and never had any financial returns from that record, believe me. And he decided to make a new version of 'Kiuá', with use of DX7 synth and roland 606 electronic drums,different from the previous version (Sexteto do Beco), which was more acoustic. The record was recorded in three days.

 
The group of Bahia jazz called Grupo Garagem, very influenced by the musical aesthetics of Sexteto and the importance of the group in the musical scene in the State of Bahia, plays the record along with Andrea. The group consisted of Roberto Monsalve (synths), Ivan Basto (bass), Ivan Houl (drums), Roninho (sax) and an old friend of Andreá on guitar, Mou Brasil, in addition to former musical partners Sérgio Souto and Paulo Andrade.

 
The track "Kiuá" is incredible and has been very run on dance floors from around the world. However, there are other awesome tracks in the LP: "Ponte Aérea" and "Flutuando"are just two examples. Indeed, the track "Flutuando" is instrumental in the record by Sexteto do Beco. In this solo album of Andréa this song won an excellent vocalized version.

 
Andréa released this record in December 1988 and since then had never played that repertoire live. Only one thousand copies were pressed and the record was not distributed in Brazil, it was restricted to the city of Salvador. That's why it's so hard to find. She sang 'Kiuá' for the first time, thirty years later, last Saturday at the Dekmantel festival, in São Paulo. She participated in the Maria Rita (Stumpf) show. [SOURCE: DISCOGS]

 

 

Label: Estúdio De Invenções – EI-014 

Format: Vinyl, LP, Album 

Country: Brazil 

Released: 1988 

Style: Soul-Jazz, Experimental, Vocal Jazz, Avant-Garde Jazz, Samba Jazz

 

Tracklist:

A1 Ponte Aérea 

A2 Flutuando 

A3 A Estrela 

A4 Bolero 

B1 Odara 

B2 Só 

B3 Kiuá 

B4 Valsa Pro Sec. XXI 

 

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→ ↑ → – Venitian Rendezvous [7''] (1979, Innocent)

'Venitian Rendezvous' was a live → ↑ → project. Focused on notions of the industrialization of Muzak, the sociological radiophonics of Easy Listening and the aesthetic categorization of 'beautiful music', the project saw → ↑ → live the dream of such ideals by becoming a respectable, suited, tamed and innocuous ensemble playing suitably neutered music. In the face of Minimalism's increasing chauvinism and Punk's escalating heroicism, 'Venitian Rendezvous' was the sound of bland conservatism musicalised. It dived deep into the Muzak ethos wherein identity was denounced. For → ↑ →, Muzak's emotive/expressive lack was a populist keystone for imaging art that moved beyond humancentric foibles. 

Some of the songs were initially developed for the 'Caprice' project; other songs also appeared in the more severe Minimalism set. Live performances of 'Venitian Rendezvous' entailed the quartet dressed in sober yet colourful unstylish office worker suits-and-ties. The music was correspondingly tasteful. The only cover version was what composer Philip Brophy thought had to be the most innocuous and facile 'evergreen' at that moment in the late 70s: The Beatles' "Hey Jude". All the song titles were in Italian (courtesy of key → ↑ → members Ralph Traviato and Anthony Montemurro). The second edition of  'Venetian Rendezvous' was a repress released in May 31, 1979 in an edition of 500 with a different cover. [SOURCE: PHILIP BROPHY]

 

 

Label: Innocent – none 

Format: Vinyl, 7", 33 ⅓ RPM, EP, White Label 

Country: Australia 

Released: Apr 12, 1979 

Style: New Wave, Art Rock, Minimal, Experimental, Minimal Wave

 

Tracklist:

A1 Lampadina 

A2 Pallini 

B1 Sportelio 

B2 Canzona Di Una Notta 

 

Notes: 

There are no catalogue numbers for Innocent releases #1-5+7. This is the 1st label release according to official Innocent 1981 Catalogue: *(7" 33⅓ EP) ed:300 rel:12.4.79 

"Four songs that recreate the enigma of Muzak. Music in the seductive (sic) vein." 

 

Liner notes: 

music for anything that goes anywhere 

nothing music with nowhere to go. 

complacent and seductive production by John & Chris. 

recorded etc. February 79 

first performed Nov.78 

live performances available 

N.B. all songs are abridged.

 

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Various – 4 Alternatives [7''] (1979, Heartbeat Records)

 

'4 Alternatives' is a sampler of the late '70s Bristol scene pre-dating 'Avon Calling' featuring punk and new wave bands such The Numbers, The X-Certs, Joe Public and 48 Hours, and released on Heartbeat Records, an independent label started in 1978, focusing mainly on promoting bands from the Bristol area. This release exists with laminated sleeve and also with matt sleeve finish.

 

 

Label: Heartbeat Records – PULSE 4 

Format: Vinyl, 7", EP, 45 RPM

Country: UK 

Released: Jun 1979 

Style: New Wave, Punk Rock

 

Tracklist:

A1 The Numbers – Alternative Suicide 2:55 

A2 The X-Certs – Blue Movies 3:19 

B1 Joe Public – Hotel Rooms 2:02 

B2 48 Hours – Back To Ireland 3:44

 

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Jon Rose – 'Featurisms' The Relative Violin [Cass] (1985, Fringe Benefit Records)

Jonathan Anthony Rose (born 19 February 1951) is an Australian violinist, cellist, composer, and multimedia artist. Rose's work is centered in the experimental music known as free improvisation, where he has created large environmental multimedia works, built experimental musical instruments, and improvised violin concertos with accompanying orchestra. He has been described by Tony Mitchell as "undoubtedly the most exploratory, imaginative and iconoclastic violin player who has lived in Australia". [SOURCE: WIKIPEDIA]

 

Label: Fringe Benefit Records – FBR 52 

Format: Cassette, Album 

Country: Australia 

Released: 1985 

Style: Experimental, Free Improvisation 

 

Tracklist:

A The Relative Violin (Side A) 47:01 

B The Relative Violin (Side B) 46:46 

 

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Zeni Geva – Skullfuck Live [Cass] (1988, Nux Organization)

One of Japan's more eccentric and intriguing extreme music exports of the late '80s and '90s, self-professed "progressive hardcore trio" Zeni Geva (their name derives from an ancient Japanese word for "money" and a corruption of the German "gewalt," or violence) forcibly fused elements of heavy metal, hardcore, industrial music, noise rock, and the avant-garde, gaining no small underground recognition in the process. 

Having already made a name for himself via several experimental outfits (Absolut Null Punkt, YBO2) and collaborations with Merzbow earlier in the decade, vocalist, guitarist, and programmer K.K. Null (real name Kazuyuki Kishino) founded Zeni Geva in 1987, calling on guitarist Fumiyoshi Suzuki and drummer Ikuo Taketani to join him on debut album 'How to Kill', released on Null's own NUX Organization label. Said album also featured a short-lived vocalist named Elle who was replaced by bassist Bunsho Nishikawa come 1988's amusingly named 'Vast Impotenz' cassette EP, but he too would be gone by the release of 1990's watershed 'Maximum Money Monster' LP, which brought industrial discipline to Zeni Geva's savage sonic outbursts while introducing new guitarist Mitsuru Tabata (ex-Boredoms) and drummer Tatsuya Yoshida, briefly borrowed from Ruins. [SOURCE: ALLMUSIC]

 

 

Label: Nux Organization – NUX-14 

Format: Cassette, Album 

Country: Japan 

Released: 1988 

Style: Noise Rock 

 

Tracklist:

A1 War Pig 6:11 

A2 Dead Car, Sun Crash 5:51 

A3 Slum King 9:05 

B1 Godkill 11:41 

B2 Dead Car, Sun Crash 6:50 

 

Notes:

Recorded live at 

A) N.Y. Antiknock '88 Jan 16 

B) Loft '88 Jan 18 

 

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The Young Lions – Small World [Cass] (1982, Amphibious Records)

 

Avant garde post punk band formed in 1979 in Amsterdam. Started as a trio (Rob Scholte -drums, Ronald Heiloo -piano/electric piano and Tim Benjamin -guitar) in the basement of the Rietveld Academie in Amsterdam and they were first called The Case. The avant-rock/ post-punk of The Young Lions brought to mind the most discordant moments of Captain Beefheart, the frantic pow-wow rhythms of The Velvet Underground, the modern dance of Pere Ubu and the industrial meltdown of Throbbing Gristle. [SOURCE: RATE YOUR MUSIC]

 

 

Label: Amphibious Records – A 004 

Format: Cassette, Album, Reissue 

Country: Netherlands 

Released: 1982 

Style: New Wave, Minimal Wave, Experimental Rock

 

Tracklist:

A Untitled 

B Untitled 

 

Notes:

Recorded live at Ultra's, 22-10-80 

Re-release, April 1982 

 

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X•S•Energy – Eighteen [7"] (1978, World Records)

X.S. Energy was a fine band from Lincoln producing two singles on Dead Good Records. The first one, '18 / Jennys Alright / Horrorscope' (1978) and the second from 1979 'Use You / Imaginary'. Midtempo punk riffery with catchy chorus. Pop punkish with sung, as opposed to shouted or sneered, vocals. Worth getting. Members: Freddie Voltage (Guitar/Vocals), Max Headroom (Lead Guitar/Vocals), Nicky Teen (Bass/Vocals), and Mark Up (Drums). [SOURCE: PUNK 77]

 

 

Label: World Records – WRECK 1 

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

Country: UK 

Released: Dec 1978 

Style: Punk, Punk Rock

 

Tracklist:

A Eighteen 

B1 Jennys Alright 

B2 Horrorscope! 

 

Notes: 

3 different coloured photocopied sleeves (pink paper, green paper, yellow paper). This was later re-issued on Dead Good Records. 

 

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The Wishing Stones – New Ways [12''] (1987, Head)

The Wishing Stones were a mid/late '80's indie-rock band formed from the ashes of early Creation band The Loft. The band, led by Bill Prince, backed up by John F. Niven, Stuart 'The Bull' Garden and Andy Kerr, played an ahead-of-its-time blend of early '70s classic US rock (The Band, Creedence) and late '70's New York No Wave (Television, The Voidoids). They released 3 singles via Jeff Barrett's pre-Heavenly label, Sub Aqua. 'Wildwood', their only album, was recorded for Sub Aqua but remained unreleased for several years after the label had folded. By the time Heavenly were up and running and 'Wildwood' was released, the band had split. Bill Prince moved into journalism (GQ, Q), Andy Kerr joined the much tipped Spirea X and Stewart 'The Bull' Garden worked at Truck Festival. John Niven ran Southpaw Recordings, home of Mogwai and The Zephyrs. [SOURCE: LAST.FM]

 

 

Label: Head – Head 612 

Format: Vinyl, 12", Single 

Country: UK 

Released: Apr 24, 1987 

Style: Indie Rock, Jangle Pop

 

Tracklist:

A New Ways 

B1 Wildwood 

B2 Holed Up 

B3 House Is Not A Home 

 

Notes: 

The song "New Ways" was produced by Mayo Thompson (The Red Krayola) and was also released as a 7" single backed with "House Is Not A Home"

 

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