Reptiles At Dawn – After The Plague [2x7''] (1987, New Rose Records)

 

Released in 1987 by the French label New Rose Records, the double 7-inch 'After The Plague' captured Reptiles At Dawn at a point where the band had fully emerged from the shadow of their earlier incarnation, The Henchmen. Although the musicians were originally from New Zealand, they had relocated to Sydney in search of wider opportunities and adopted the new name after discovering that another Australian group was already using The Henchmen. The lineup revolved around vocalist Tony Collins and guitarist Anthony Norman, both veterans of Auckland's underground scene through The Henchmen and, before that, the influential proto-punk outfit Dum Dum Boys. Their sound carried those roots forward, blending raw garage rock, proto-punk and hard-edged rock with a strong debt to The Stooges and the explosive energy of early Australian bands such as The Saints. 

'After The Plague' followed the band's debut album 'Naked In The Wilderness' and the 'Zenith / Borderline Ring' single, expanding on the heavy, guitar-driven approach they had been developing since leaving New Zealand. Issued as a four-song double EP rather than a conventional single, the release reflected the band's preference for extended, uncompromising material over radio-friendly formats. The songs combined thick, distorted guitars, hypnotic rhythms and Tony Collins' forceful vocals, creating a dark, swaggering sound that sat somewhere between late-'60s Detroit rock and the more aggressive edge of 1980s underground rock. Contemporary reviews compared the band to The Stooges while also noting traces of early Australian punk, highlighting the record's relentless, hypnotic feel. 

The release also marked another step in the band's relationship with New Rose Records, a label that had become an important home for garage rock, punk, roots rock and alternative artists during the 1980s. Founded in Paris in 1980, New Rose built its reputation by issuing records from American and European underground acts alongside reissues of influential rock and punk recordings. For a New Zealand-born band operating out of Sydney, securing a deal with New Rose meant reaching a much larger European audience at a time when independent labels were creating international networks for underground music.

 
The late 1980s were a productive period for Reptiles At Dawn. After 'After The Plague', the group continued working with New Rose and travelled to Europe, eventually recording the album 'Dressed In Flesh' in Paris with French drummer Gurvan Guellec joining the lineup. The band's career took them from Auckland to Sydney, London and continental Europe, reflecting the increasingly international path followed by many independent rock bands of the era as they relied on small labels, touring and word of mouth rather than mainstream commercial exposure. 

 

Label: New Rose Records – NEW 88 

Format: 2 x Vinyl, 7", Gatefold Sleeve 

Country: France 

Released: 1987 

Style: Garage Rock, Goth Rock 

 

Tracklist: 

A Walk Along The Danger 3:32 

B Penetrate The Night 5:05 

C Repulsive Glory 4:24 

D Under My Skin 3:14 

 

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We Are Going To Eat You – Four Heads Feast [Cass] (1987, 69 Tapes)

'Four Heads Feast' is one of those releases that feels like you’ve stumbled onto a moment in progress rather than a finished statement. It came out in 1987 on 69 Tapes, right when bits of the anarcho-punk scene were starting to drift into stranger, less defined territory. 

We Are Going To Eat You basically formed out of the fallout from Hagar the Womb. A few members carried over, along with a bunch of half-formed songs that hadn’t quite found their final shape yet. That’s pretty much what you hear on this cassette -older material being reworked, reshuffled, and recorded during that in-between phase around 1986. Some of these tracks never showed up anywhere else, so this tape ended up being their only home. 

It’s rough in a good way. Not messy for the sake of it, just very immediate and unfiltered. You can tell it wasn’t about making something polished or career-defining -it’s more like they hit record and captured where they were at the time. That’s part of what makes it interesting now.

 
69 Tapes, the label behind it, fits perfectly into that picture. It was a tiny DIY operation run out of the same circles as All The Madmen Records, with all the usual ingredients -small runs, hand-to-hand distribution, and a network built on gigs, zines, and word of mouth. Even the label name has that slightly cheeky, inside-joke vibe that a lot of those projects had. 

The wider setting matters a lot here too. Mid-to-late ’80s UK underground culture was deep into cassette territory. Bands weren’t waiting around for proper vinyl releases -they were dubbing tapes, trading them, selling them at shows. At the same time, scenes were starting to overlap in weird ways. Punk crowds mixed with travellers, early rave culture was creeping in, and gigs could feel pretty unpredictable. We Are Going To Eat You were right in that mix, playing shows where the energy could swing from chaotic live sets to something closer to a party. 

Not long after this, they started moving in a more structured direction, putting out records on bigger indie labels and heading toward a full album by 1990. That shift makes 'Four Heads Feast' feel even more like a snapshot of a previous phase -before things tightened up, when everything still felt loose, experimental, and a bit undefined.

 
It’s the kind of release that makes more sense the deeper you dig into that era. Not essential in the “classic album” way, but really telling if you want to understand how those scenes actually worked from the inside. 

 

Label: 69 Tapes – No. 8 

Format: Cassette, Album 

Country: UK 

Released: 1987 

Style: Post-Punk, Goth Rock 

 

Tracklist: 

Side 1 

1 Passion For Action 

2 I Want Fire 

3 No True Vision 

4 No Time To Stop 

5 Life Of Lies 

Side 2 

1 No Limits 

2 Mind Games 

3 You Never Learn 

4 We Are Going to Eat You ! 

 

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The Hook 'N' Pull Gang – Pour It Down Yer Throat / Gasoline [7''] (1987, Bitch Hog Records)

 

The Hook ’N’ Pull Gang were a short-lived indie/garage rock band from Edinburgh, Scotland who briefly surfaced in the mid-1980s UK underground scene. Like a lot of small bands from that era, they left behind only a tiny recorded footprint, but the little that exists has become a curiosity for collectors of obscure British indie singles. The group mixed raw garage-rock guitars with a surprisingly soulful vocal approach, giving their sound a slightly unusual edge compared to the jangly indie bands that were dominating the UK at the time.

 
The band reportedly grew out of a friendship between drummer and vocalist Eileen MacMullan and bassist Alan McDade, who started writing songs together before bringing guitarist Rita Blazyca into the lineup. Early press coverage described their music as loud and gritty, with a “wall of sound” guitar attack and vocals that leaned more toward soul than punk. Their songs also carried a streak of dark humour and slightly macabre imagery, something that was reflected in the band’s name. According to contemporary interviews, “Hook ’N’ Pull” was a reference to the notorious body-snatchers Burke and Hare, whose crimes in 19th-century Edinburgh became part of local folklore. 

 
Their only widely known release is the 7-inch single 'Pour It Down Yer Throat / Gasoline', which came out in 1987 on their own tiny DIY label, Bitch Hog. The record feels very much like a product of the independent cassette-and-demo culture of the time: rough around the edges, loud, and unapologetically raw. The A-side, "Pour It Down Yer Throat", is a snarling, swaggering track driven by thick guitars and a vocal performance that sits somewhere between garage rock attitude and deep soul phrasing. On the flip side, "Gasoline" leans into the band’s heavier side, with a darker, slightly more aggressive feel.

 
Around the time the single appeared, the band were starting to get a bit of attention from the UK music press and were playing occasional showcase gigs in London. Some reviewers picked up on the unusual mix of styles, describing the band as pairing big, thrashing guitar backing with vocals that sounded almost like they belonged in a soul band. Despite the early buzz, the momentum never really turned into a full breakthrough, and the group faded from view not long afterwards. 

 
Today the single survives mostly as a small oddity from the late-80s indie underground. Because it was self-released in small numbers, copies don’t turn up very often, though when they do the price usually isn’t extreme. For collectors of obscure UK garage or DIY indie records, 'Pour It Down Yer Throat / Gasoline' remains one of those fascinating little artifacts from a scene where dozens of bands briefly flared into existence, pressed a record or two, and disappeared again.

 

 

Label: Bitch Hog Records – BITCH 1 

Format: Vinyl, 7", Single 

Country: UK 

Released: 1987 

Style: Goth Rock, Punk, Indie Rock, Girl Group 

 

Tracklist: 

A Pour It Down Yer Throat 2:16 

B Gasoline 2:36

 

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Coma = コーマ – In A Coma.... [7''] (1985, ADK Records)

 

Released in 1985, 'In A Coma….' is a rare 7-inch single/EP by the Japanese underground band Coma (コーマ). Issued on the independent label ADK Records, the record stands as a small but intriguing artifact from Japan’s mid-1980s post-punk movement. Like many releases from that era’s DIY scene, it was pressed in limited quantities and circulated primarily within underground networks, which helps explain its scarcity today. 

'In A Coma….' reflects the darker, mood-driven aesthetics that defined much of the global post-punk sound during the early to mid-1980s. Contemporary commentary, including mentions in the influential punk zine Maximum Rocknroll, noted the band’s resemblance to the tense, brooding style of Killing Joke. That comparison places Coma within a lineage of bands that fused punk’s raw urgency with heavy, atmospheric guitar textures and a brooding rhythmic foundation. While reviewers at the time considered the record competent rather than groundbreaking, its sound captured the restless experimental spirit that characterized Japan’s underground rock scene.

 
The mid-1980s Japanese independent circuit was vibrant and diverse, with small labels like ADK Records documenting a range of punk and post-punk acts. Bands such as GISM, Cobra, and The Stalin are often cited as defining figures of the era, yet many lesser-known groups -Coma among them- contributed to the broader sonic landscape. These artists experimented freely, blending Western influences with local sensibilities and creating records that now serve as time capsules of a fiercely independent cultural moment.

 

Label: ADK Records – ADK-25E 

Format: Vinyl, 7", 33 ⅓ RPM, Stereo 

Country: Japan 

Released: 1985 

Style: Goth Rock, Post-Punk, Deathrock 

 

Tracklist: 

A1 Isolation 4:23 

A2 Cyinder 3:04 

B1 Coda 3:01 

B2 In A Coma.... 3:50 

 

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Moral Femenina – Moral Femenina [LP] (1985, Jaja Records)

Moral Femenina was a rock/new wave band from Tenerife, in the Canary Islands, active mainly during the first half of the 1980s. They came out of the local underground scene at a time when a lot of bands were experimenting with post-punk, pop and rock, but without much connection to the mainland Spanish industry. Moral Femenina developed a sound that felt raw and direct, very much tied to the atmosphere of the islands and the small venues where they played regularly. 

The band’s core members included Pablo Meneses on vocals and Juanjo Jorganes on guitar, with different bassists and drummers passing through over the years. Before becoming Moral Femenina, some of the musicians had played in an earlier group called Los Tumores, which helps explain their slightly edgy, alternative approach. 

Their self-titled album 'Moral Femenina' came out around 1985 and was released as a mini-LP on a local Tenerife label. It’s the only proper official record the band put out during their original run, which gives it a kind of cult status today. The album was recorded locally and has a very “of its time” feel: lean songs, punchy guitars, and lyrics that move between irony, desire and everyday tension. The cover artwork, inspired by Botticelli’s "The Birth of Venus", added a touch of art-school attitude that matched the band’s image. 

The track “Sexo” ended up being their most well-known song and is usually the one people mention first when talking about the band. Other songs on the record balance energy and moodiness, mixing straightforward rock with more reflective moments, which fits well with the post-punk and new wave spirit of the era. 

Moral Femenina never really broke out nationally, but they were well respected in the Canary Islands and are still remembered as an important part of the local 80s scene. The band eventually split up in the 1990s, though their music never completely disappeared. Over the years, recordings have circulated online and among collectors, and there have even been occasional reunions or special performances, showing that interest in the band is still very much alive. 

Today, the Moral Femenina album is often seen as a small but significant snapshot of Canary Islands alternative music in the 80s: not flashy or overproduced, but honest, local, and full of personality. 

 

Label: Jaja Records – JA-JA-8 

Format: Vinyl, LP, Album 

Country: Spain 

Released: 1985 

Style: New Wave, Post-Punk, Goth Rock, Jangle Pop 

 

Tracklist: 

A1 La Noche Es El Calor 3:24 

A2 Sexo 2:53 

A3 Electricos 3:06 

A4 Flores Olvidadas 3:03 

B1 Esperando 5:00 

B2 Los Peces En El Rio 3:13 

B3 Amor De Madre 3:57 

 

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Excentrique Noiz – Dark Crystal Day [7''] (1986, Ex Record)

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

 

Tracklist: 

A Dark Crystal Day 

B In・ Dis ・Tree 

 

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Anorexic Dread – Tracey's Burning [12''] (1984, Criminal Damage Records)

 

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] 

 

Label: Criminal Damage Records – CRI 12-114 

Format: Vinyl, 12", 45 RPM 

Country: UK 

Released: 1984 

Style: Goth Rock, Deathrock, Post-Punk, Punk 

 

Tracklist: 

A1 Tracey's Burning 

A2 Epitaph 

B Tick Tock 

 

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Underground Life – Away [7''] (1983, Suono Records)

Underground Life were formed in 1977, during the punk era, with a temporary formation of young musicians, founded by the drummer Lorenzo LaTorre. Singer Giancarlo Onorato joined the band last. In 1979 they released their first 45, 'Noncurance / Blackout!' on the Disco Ivoire label, exposed in the windows of London's Rough Trade shop as “italian punk rock”. In 1980 followed a hard-to-find tape, 'I Fiori Del Male'. After some live shows, they released the 12" 'The Cross' (1981) on Trinciato Forte Records and their first LP 'The Fox' (1982) on Suono Records. After joining the legendary I.R.A. Records labels, some more albums were released, including two tracks for the compilation 'Catalogue Issue' (1984) shared with Litfiba, Diaframma and Moda. Musically the sound of Undeground Life were between the classical new wave sounds and the minimal synth stuff. [SOURCE: LAST.FM]

 
 

 

Label: Suono Records – SR 7124 

Format: Vinyl, 7", 45 RPM 

Country: Italy 

Released: 1983 

Style: Minimal, Darkwave, Italo-Disco, Synth-pop, Post-Punk, Goth Rock

 

Tracklist:

A Away 

B Le Vol 

 

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Jus Dorange – At Night [7''] (1983, Trouble Records)

Jus Dorange was a Minimal Wave duo formed in Belgium by Dries Decocker (Durango & The Wall, The Misz, Absent Music) and Frank Decru. They only released this 7'' single on their own Trouble Records imprint.

 

 

Label: Trouble Records – J.D. 501 

Format: Vinyl, 7", Single, Stereo 

Country: Belgium 

Released: Feb 1983 

Style: Synth-pop, Goth Rock, New Wave, Coldwave

 

Tracklist:

A At Night 4:26 

B Watching (For A Cup Of Tea) 3:50 

 

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Anorexia – Untitled [7''] (1982, Slim Records)

Anorexia were a punk band from Watford, Hertfordshire, England formed in 1978. The band’s self-financed debut single in 1980/81 ‘Rapist in the Park’ became an underground hit and all three tracks off their single were frequently requested on John Peel’s Radio 1 show. The second 7” single in 1982 was an untitled 4 track EP. Lisa Sinclair joined the group on alto sax and clarinet, sounding more New Wave-y with these horns going on that makes one think they've been listening to Here & Now or other like-minded hippie band types. Julie Hadwin who later went on to guest with The Style Council, sung on the this EP, replacing Kim Glenister, who fell out with the founding members Nick Page and the Leigh brothers. The group disbanded in 1982/3 with the Leigh brothers continuing on as Johnny 7 until the mid- to late-1980s. Highlight gigs were at the Rock Garden, pubs in Hampstead and north London area, Brighton Poly, Bath Academy of Art, Rickmansworth (supporting Wilco Johnson and the Solid Senders) and Cassiobury College, Watford in 1978 where the 3-piece The Executives opened for Anorexia. Two members of The Executives went on to form Wham!.

 

 

Label: Slim Records – BRS011 

Format: Vinyl, 7", EP 

Country: UK 

Released: 1982 

Style: New Wave, Goth Rock, Post-Punk

 

Tracklist:

A1 Steven 

A2 Marching Songs 

B1 Softly Quietly Or Shout 

B2 Inanimate Objects 

 

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Breeding Ground – Tales Of Adventure [LP] (1986, Fringe Product)

Breeding Ground was formed in Toronto in 1981 and subscribed to the cold wave mould of acts like New Order's school of rhythm. Their first release was an untitled 4 song 12" EP in 1982 on Mannequin Records and featured original drummer Ken Jones. They would receive notoriety with the independent 12" single "Reunion"/"Slaughter" in 1983 on Fringe. It was quite successful at college radio stations and ended up selling out three pressings. The follow-up LP, 1986's 'Tales Of Adventure', was produced by ex-Blue Peter guitarist Chris Wardman (who later joined the band for a short period) enlisting the help of Alta Moda singer Molly Johnson and Jason Sniderman on keyboards. The record made it to No.1 on the campus charts and No.60 on CFNY's "Best 86 of '86" based on the success of the single and video for "Happy Now I Know" and spawned the hit "This Time Tomorrow", a nicely gothic but light tune, brisk jangle pop with a dark atmosphere.

 

 

Label: Fringe Product – FPL3022 

Format: Vinyl, LP, Album 

Country: Canada 

Released: 1986 

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

 

Tracklist:

A1 This Time Tomorrow 3:56 

A2 Turn To Dust 5:17 

A3 Epic 6:38 

A4 Reunion 4:45 

B1 Tales Of Adventure 5:07 

B2 Happy Now I Know 3:41 

B3 Reflections (In A Coffee Cup) 5:19 

B4 In The Sun 5:01 

 

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Yeah! – Yeah! [LP] (1988, Ano Kato Records)

When Anti Troppau Council called it a day, Yannis Drenoyannis joined guitarist Vassilis Spyropoulos (member of the band Spyridoula), bass player Hrysa Pantazi, and drummer Takis Giannoutsos, and formed Yeah!. They released the album 'Yeah!' in 1988, and 'Festival' in 1992. After the band split, Drenoyannis turned into journalism (writing articles about new cars and motorbikes). Takis Giannoutsous became a well known radio persona, after hosting a morning TV show for a while.

 

 

Label: Ano Kato Records – ANO KATO 013 

Format: Vinyl, LP, Album 

Country: Greece 

Released: 1988 

Style: Goth Rock, Post-Punk 

 

Tracklist:

A1 Horseface 4:39 

A2 Shot ThroughThe Door 2:29 

A3 The Sea 4:09 

A4 I Walked Away 3:36 

A5 Happy Spirit 4:30 

B1 No Thought No Wonder 3:10 

B2 Body Ash 2:46 

B3 High Taking 4:25 

B4 Heat 2:13 

B5 Speed 2:06 

B6 There Goes 4:17 

 

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Of A Mesh – Of A Mesh (Demo 1985) [Cass] (1985, Not On Label)

New York City's most famous dark rock band of the 1980s, Of a Mesh featured the dramatic crooning of singer Alan Dollgener duetting with Samara Lubelski's haunting violin atop a claustrophobic cobweb of sound. Formed in 1983 and disbanded in 1988, other members were Ellen Watkins (guitar, and played keyboard on one Glenn Branca piece), Gregory Kostroff (bass), Osamu (drums) and Michael Goglia (drums, member also of bands such as Ritual Tension and The Fuzztones).

Samara Lubelski is a singer, songwriter, multi instrumentalist (violinist, guitarist and bassist) improviser and engineer. She has been a member of numerous bands, besides of Of a Mesh, of The Salmon Skin, Pacer, The Sonora Pine, Hall of Fame, The Tower Recordings, Metal Mountains and Chelsea Light Moving. Lubelski is a prolific guest musician, performing (predominantly on violin and occasionally on bass) on dozens of recordings by artists such as The Fiery Furnaces, White Magic, Thurston Moore, God Is My Co-Pilot, Jackie-O Motherfucker, Sightings and MV & EE. 

 

 

Label: Not On Label (Of A Mesh Self-released) – none 

Format: Cassette, Promo 

Country: US 

Released: 1985 

Style: Goth Rock, Post-Punk, Deathrock

 

Tracklist:

A1 C.I.T. 

A2 In My Head 

A3 In A Room 

B1 Crazy House 

B2 Object D'Art 

 

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Güler – The Salt On Your Face [LP] (1987, Akzidanz)

 

Güler was a Dutch band from the Nijmegen scene that released only one album. Most of the band members previously played in other bands. Hans Hermes played in Das Wesen, Laszlo Panyigay in Mekanik Kommando and Ties van der Linden in Vice. Huub Dols, the fourth band member, would later form Ulanbator with the latter two. So you can hear a solid album, produced by Panyigay. Although the new wave in the second half of the 80s was largely taken over by the more polished New Romantic, this band has a sound that fits the early 80s.

 
The opener cuts right in. "Kiss Me" is a slightly hysterical uptempo song, which immediately makes it clear that this is not music to sit still to. In the music you can hear gothic rock influences, a bit in the direction of Bauhaus. PIL also briefly pops, which will also have to do with the somewhat drawling way of singing in this song. "The Ravens" has nice stirring rhythms, which provide a catchy drive in the song. The combination with a screeching guitar sound, including weird tomfoolery and a conjuring monotonous vocal, make it perfect to fill the dance floor with crazy dancing wave freaks. The quite dark tinged sound in "Gök" has something mysterious and could easily be placed under the heading of gothic rock. Certainly the vocals also contribute to this, they have a pinch of Eldritch (Sisters of Mercy). The drum sound of "Little Boy" was surely inspired by Joy Division's "She's Lost Control," otherwise, it looks absolutely nothing like it. Güler is definitely not a copycat. Occasionally you recognize some possible influences, which is only natural, here again Bauhaus, for example. All in all, it's a nice uplifting song.
 

"Princess Parade" also has a bit of that static drum sound á la "She's Lost Control" and a touch of Stranglers, but that will mainly be because the sound of organ distorting notes, similar to The Stranglers' 'Nice 'N' Sleazy'. Together with the freaky saxophone playing, the song takes on something chaotic, though it remains a well-organized whole. "Men and Women" stands out a bit dull compared to the rest. There is therefore quite a contrast with the song that follows, "I Threw It Out". Here a blissful fat sound is put down. Dark and ominous it sounds. Maybe the best of this record, but that remains taste and the rest is also just very different. With this song, think along the lines of Wire's "A Touching Display". Yep, this is the level and sound Güler manages to get pretty close to. What do you want to hear after the previous song? It could have been a closing track. Güler thinks otherwise and throws in another vague trip with the song "Thrilling Me". It's a bit like the eponymous closing track from The Cure's 'Pornography' album, but a little less dark. And so this fine discovery comes to an end. An unknown record of extraordinary class. [SOURCE: NEW WAVE & POST-PUNK REVIEWS]

 

 

Label: Akzidanz – AKZI 5 

Format: Vinyl, LP, Album 

Country: Netherlands 

Released: 1987 

Style: Post-Punk, Experimental. Goth Rock, Coldwave, Anatolian Rock

 

Tracklist:

A1 Kiss Me 

A2 The Ravens 

A3 Gök 

A4 Little Boy 

B1 Princess Parade 

B2 Men & Women 

B3 I Threw It Out 

B4 Thrilling Me 

 

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Faith. No Man. – Quiet In Heaven / Song Of Liberty [7''] (1983, Ministry Of Propaganda Records)

 

Faith. No Man. was formed in late 1982 by Mike "The Man" Morris, Billy Gould, Wade Worthington and Mike Bordin. The band had already been around for nearly a year, and had released a demo tape, under the original name Sharp Young Men. The name Faith. No Man. was a shortened, punctuated version of "Faith In No Man". They recorded a two-song 7" single which was released in the spring of 1983. After the songs were recorded, but before the vinyl was released, keyboardist Wade Worthington left the band and was replaced by Roddy Bottum. In the late August/September 1983 Billy, Mike and Roddy quit the band as a strike out against Mike Morris, since he was the founding member of the band and could not be kicked out. The three of them then reformed as Faith. No More. (later punctuated as Faith No More, to accentuate the fact that "The Man" (Mike Morris) was "no more" part of the band. Faith No More played their first show in early October 1983. 

 
Their only single sounds quite like the first Faith No More album. The all-pervading synth lines are already there, as the jerky, percussive drum'n'bass section and the stark and the mildly psychotic mood. On the mike Mike Morris reminds a little of Jello Biafra. Really not bad. Of course, the whole thing is even rougher than the earliest Faith No More stuff, but that ain't a bad thing. "Song of Liberty" is a real cool song with a lovely bass. [SOURCE: RATE YOUR MUSIC]

 

 

Label: Ministry Of Propaganda Records – FNM1 

Format: Vinyl, 7", 33 ⅓ RPM, 45 RPM 

Country: US 

Released: 1983 

Style: New Wave, Avantgarde, Post-Punk, Goth Rock, Coldwave

 

Tracklist:

A Quiet In Heaven 

B Song Of Liberty 

 

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In Excelsis – Creeps In The Trees [12''] (1984, In X Records)

In Excelsis was an English goth rock band formed in Luton in may 1983 by former UK Decay guitarist Steve Spon and disbanded in 1985. Other members were Errol Blythe (vocals, ex-Ritual), Mark Bond (bass) and Colin "Roxy" Rox (drums, ex-Shy Tots, later in New York City noise-rock band DUSTdevils and Jayne County & The Electric Chairs). 

 

Label: In X Records – in x 1

Format: Vinyl, 12", 45 RPM 

Country: UK 

Released: 1984 

Style: New Wave, Goth Rock 

 

Tracklist:

A One Day 3:56 

B1 Eve 3:54 

B2 Fire 3:24 

 

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Dios – Escrito En Los Cielos [12''] (1985, DRO)

 

Multitudinal group formed by Juana Izquierdo "Juana de la Cruz" (voice), Vicente Gil "Cristian Dios" (voice and keyboards), Joaquín Carretero (guitars and percussion), Fernando (bass) and Pablo Zedena (drums and percussion). Both Joaquin and Pablo came from Parabellum, and Fernando from Anti-Dogmatikss. They began with the name of Dios, with which they recorded the MiniAlbum 'Escrito en los Cielos' (DRO, 1985). All their work and, of course, the staging, had a great sacrilegious charge, clearly provocative but with a true existentialist knot.  

Already as Cristian Dios, they recorded a Mini-Lp in 1986 for Tuboescape entitled 'La Musica de las Piedras'. Two years later they released a second single for Crack Management: 'Mejor no Haber Nacido / Hey Angel'. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]

 

 

Label: DRO – 3D-115 

Format: Vinyl, 12", 45 RPM, Mini-Album 

Country: Spain 

Released: 1985 

Style: Soundtrack, New Wave, Punk, Post-Punk, Goth Rock

Tracklist: 

A1 Escrito En Los Cielos 4:31 

A2 Lluvia 3:33 

B1 El Papa Es Negro 4:12 

B2 Este Sabbath 3:19 

B3 Dinamica Vaticana 1:11
 

Notes: 

Original soundtrack from the Santiago Lapeira's movie "Escrito En Los Cielos". 

Front cover reads: "Terrible cosa es, por cierto, caer en manos del DIOS vivo" (San Pablo, Epistola de los Hebreos 100-31)
 

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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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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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