The 10" 'Exist' by Doof landed in 1981–82 as one of those wonderfully baffling records that seemed to exist completely outside the normal music industry. Built around the partnership of Paul Platypus and Philip Johnson, the record came out on the tiny Namedrop Records imprint and immediately carved out a place in the strange corner where post-punk, cassette culture, dadaist humour and bedroom experimentation all collided. The music drifts between half-formed pop ideas, tape manipulation, spoken passages and lo-fi fragments that sound as though they were captured in a living room with whatever equipment happened to be available. That roughness is part of its appeal, giving Exist the feeling of a private document accidentally released to the public.
Doof emerged from the fertile UK DIY underground of the early 1980s, a scene where homemade cassettes, self-published fanzines and tiny independent labels mattered far more than commercial success. Philip Johnson had already been active in cassette culture and experimental circles, while Paul Platypus was involved with several interconnected projects that floated around the anarcho-punk and DIY network. Together they created something that felt less like a conventional band and more like an ongoing art project, full of surreal ideas and deliberately skewed approaches to songwriting. Their work has often been described as dreamlike and disorienting, with tracks unfolding according to their own strange logic rather than any obvious structure.
Namedrop Records was just as unconventional as the music it released. Run by Johnson and Platypus, the label became home to a small circle of like-minded artists including Doof, Philip Johnson's solo recordings, Cold War and later Twelve Cubic Feet. The catalogue was tiny, but it captured a particular moment in British underground culture when people were pressing records in small quantities simply because they felt compelled to document what they were doing. The label's releases shared a handmade quality and a willingness to ignore the boundaries separating punk, experimental music and outsider pop.
What makes 'Exist' so fascinating decades later is how completely it reflects that environment. It doesn't sound polished, fashionable or calculated. Instead, it captures a period when independent music could still be genuinely unpredictable, when a pair of friends could assemble a collection of odd sounds, package it with a booklet and put it out into the world with no concern for commercial expectations. Records like this became cult favourites precisely because they felt so personal and uncompromising. For collectors of early DIY post-punk and cassette-culture oddities, 'Exist' remains one of the more intriguing artifacts to emerge from that scene.
Label:
Namedrop Records – NR1
Format:
Vinyl, 10", 33 ⅓ RPM
Country:
UK
Released:
Feb 1982
Style:
New Wave, Punk, Experimental, Noise, Post-Punk, Sound Collage, Industrial
That release with the absurdly long title -'Make ‘Em Pay (!): Homemade Napalm = Gasolin Or Fuel Oil + Nondetergent Soap…'- is peak late-80s/early-90s Swiss noise culture: confrontational, cryptic, and deliberately uncomfortable in both concept and presentation.
It came out in 1990 as a tiny 7-inch on the Schimpfluch label, pressed in a run of around 300 copies, which already tells you the deal: this wasn’t meant to circulate widely, it was more like an artifact passed between people already deep in that underground network. The recordings themselves were captured live in Zürich in March 1990, not in a studio, which lines up with the whole ethos -documenting actions rather than polishing “tracks.”
The project behind it, Vehikel & Gefäss (& Ventilator), was basically a collision of three key figures from that scene: Rudolf Eb.er, Joke Lanz, and Marc Zeier. These weren’t just musicians in the usual sense. Eb.er, especially, was operating in a zone that mixed ritual, performance art, and sound as a kind of psychological intervention -less “songs,” more like controlled breakdowns or confrontations staged through audio. Lanz, through his Sudden Infant work, brought in that hyper-physical, almost violent approach to sound collage and turntable abuse, while Zeier added another layer from the same experimental network.
That title isn’t a joke or edgy decoration either -it reflects a broader tendency in the scene to pull in imagery of destruction, bodily processes, and taboo subjects. The whole Schimpfluch orbit thrived on pushing listeners into uneasy territory, blurring lines between sound art, endurance performance, and what you might call anti-entertainment. The collective itself started in Zürich in 1987 as more than just a label: it was an umbrella for actions, radio broadcasts, collaborations, and a kind of shared philosophy built around extremity and critique of “safe” culture.
Within that context, this single feels less like a standalone release and more like a snapshot of a moment -one of those live “actions” frozen onto vinyl. The A/B sides are just dated fragments (like “90-03-23”), which reinforces that idea: you’re hearing documentation, not compositions in the traditional sense.
Zooming out, this sits right in that early wave of European noise and musique concrète hybrids that rejected both rock structure and academic electronic music polish. It shares DNA with stuff like early tape-collage scenes, industrial extremes, and performance art happenings where the boundary between artist and audience could get pretty thin. Schimpfluch releases in general -often in tiny editions with bizarre packaging- feel more like conceptual objects than records, and this one fits that pattern perfectly. So yeah, not an easy listen, not even trying to be one. More like a document from a scene that wanted to test how far sound -and the people listening to it- could be pushed.
Wash Your Brains is another project by Rudolf Eb.er (real name Rudolf Ebner). Rudolf Eb.er’s rites and artefacts are portals to the traumatic expanses
and abysses of human existence. Regarded as psychopomp or art-brut
shamanist, his trail of work leads deep down to -and through- the
nethermost regions of the human psyche.
Rudolf Eb.er’s research de-occults the psychic body through
psycho-physical tests and trainings. He employs and combines abreactive
and cleansing actionism with sonic rituals, psychoactive acoustics and
close-up field recordings of nature and decay, generating
audio-environments into which he plants grotesque psycho-magic rituals
and tantric exercises that trigger a nondual, higher awareness.
Rudolf Eb.er aka Runzelstirn & Gurgelstøck founded the
Schimpfluch extreme and outsider artist collective in Zürich in 1987.
Schimpfluch exponents are highly regarded for their unique and obscure
aural and visual work; their confrontational, physically demanding
performances and shock treatments remove the boundaries of the body and
open up accesses to the collective unconscious. Rudolf Eb.er lives and works in Japan.
Label:
Schimpfluch – SH 01
Format:
Vinyl, LP + Cassette, C20. All Media, Limited Edition
Country:
Switzerland
Released:
1988
Style:
Noise, Experimental, Sound Collage
Tracklist:
LP-A Wash Your Brains – Das Schuldgeständis Des Trööt (Jekröt Desto Quqg)
LP-B Wash Your Brains – Die Stammellaute Des Kn K Knarr (Jegans Desto Schnatt)
Tape-C Wash Your Brains – Stürm In Your Wund
Tape-D 4 Schizoide Musikanten – Würm In Your Schlund
Notes:
Limited edition of 150 copies.
Packaged in 9" by 12" jacket with A4 insert.
The cassette is wrapped in plastic and comes in a zip lock bag with sawdust and four cards.
The cover says: "a limited edition of suggestive records 1".
There is a small slip of paper with the cassette that says: "stürm in your wund besteht ausschliesslich aus mechanisch-akustisch manipulierter stimme" ["stürm in your wund consists exclusively of mechanically and acoustically manipulated voice"].
The assaultive New York trio Red Transistor were comprised of guitarist Rudolph Grey, drummer Mark Edmands and VON LMO (in his pre-Strazar days) on guitar, vocals, shortwave and organ. In existence from September 1977 until the following August, they performed at CBGB’s and then spent a period performing Sunday nights at Max’s Kansas City. They were an original blast of shattering, repetitive guitar with unswerving drumming that drove down the centre as the whole shebang was forced over the wall by LMO’s second guitar and/or various electronic accompaniments.
"We're Not Crazy" is a loud and noisy torrent of punk dishevelment with a hurricane of guitar and over-tracked "organ", which is a series of louded-out computer-type noises chirping in and out and on top of everything, and the title of the song shouted/screamed until the end as if trying to convince someone otherwise.
"Not Bite" is more thrashing-around punk-noise -but beware of the non-stop repetition of the one-note downstroke guitar and asylum-screamed 'NOT BITE!' by at least two members howling straight through. This will either open up a big grin on your face and have you break down the walls of your own psyche in order to scream along, or you'll get really, really... REALLY angry and dismiss it from knowledge.
This beautiful and extravagant piece of noise-history was recorded in December 1977 at Sorceror Sound, NYC. Originally due to be released in 1978, but shelved due to break-up of the band only a year after its inception. VON LMO went on to record under his own name. [SOURCE: RATE YOUR MUSIC]
Label:
Ecstatic Peace! – E# 7
Format:
Vinyl, 7", 33 ⅓ RPM
Country:
US
Released:
1990
Style:
Noise, Punk, No Wave, Noise Rock, Post-Punk, Art Punk
KK.Null (born Kazuyuki Kishino) is one of the top names in Japanese noise music and in a larger context, one of the great cult artists in experimental rock. Starting his career in the early 80's by performing guitar improvisations in the clubs and streets of Tokyo, he continued by collaborating with Merzbow for two years, and joining the bands YBO² and Absolut Null Punkt.
In 1987, he gained wider notoriety as the leader, guitarist and singer of the trio Zeni Geva, which he described as "progressive hardcore". Zeni Geva reached world-wide fame with their heavy and hypnotic sound, eventually releasing three Steve Albini-produced albums on Jello Biafra's Alternative Tentacles label.
After playing the guitar as his main instrument for some twenty years, Null has gradually moved towards a more electronic approach. These days he mostly states the "nullsonic" as his primary instrument. Nullsonic is something of a variation of Robert Fripp's 1970's instrument "frippertronics" -a combination of electric guitar and effects units, which elevated the effects to equal importance alongside the guitar. Null has gone even further by discarding the guitar altogether and making all the sounds with effects only.
In recent years, he has concentrated his efforts increasingly on his solo material.
Label:
Nux Organization – NUX-19
Format:
Cassette, Limited Edition
Country:
Japan
Released:
1989
Style:
Drone, Noise, Experimental
Tracklist:
A Sonic Erosion 37:09
B1 The Dawn Of Harsh 14:01
B2 Heavenly Assault 10:21
Notes:
Side A recorded live at 20000v, Tokyo Sept. 29 1989
It is a strange sensation reviewing the debut album of an already familiar artist. You recognize methods and sounds that are commonplace in the discography but not in the context of album. How do you react to that? The debut record of Otomo Yoshihide sets a clear standard for his off-kilter vinyl sample-based noise productions. Many of the bits and bobs used throughout this collaboration have been expanded on, cut up or reconfigured later in his career.
With 広瀬淳二 [Junji Hirose] manning the more analog noise producers,' Silanganan Ingay', meaning 'far east noise' in Tagalog, becomes a childlike exploration of sound experimentation. Nothing has a clear concept, everything is very immediate, evidenced by the fact that there were no edits, no overdubs and that everything was recorded live. This also gives the record a very peaks-and-valleys quality; the high points are very distinguishable from the low points.
With toy music boxes over screeching guitars, turntables over saxophone, a James Brown record having a crazy BDSM-based love affair with pins, needles, a saw and an autoharp, there is no shortage of entertainment, though. Again, if anything, this debut says something about the raw talent of both men in their chose auditory field. [SOURCE: RATE YOUR MUSIC]
Label:
Tanga-Tanga – R-001
Format:
Vinyl, LP
Country:
Japan
Released:
1989
Style:
Noise, Experimental, Free Improvisation, Turntable Music
Inzekt
is the noise project of Peter Schmucki, member also of the techno project Tek Jam & Inzekt
with Teddy Huber. As Inzekt he released the cassette 'Inkretion' in 1990, and the LP 'Elektrische Heilwärme' (1991), both on the Schimpfluch imprint, a label from Switzerland run by Rudolf Eber (Rudolf Eb.er).
Zajártalom was an experimental noise band from Budapest, Hungary. Active period 1986-1988, with one release.
“Our band was founded in the fall of 1986. Our first concert took place on December 6, 1986 in Petöfi Csarnok, Budapest. We want to stage a new attempt in our music. We’re trying to perform comprehensive noise music that embraces all environmental sound (noise) effects. This is not industrial music! The sound effects are basic, this is an instrumental production. Process music that is born on stage and forms a coherent whole together with background sounds. Each of our concerts are based on different songs, which is why we always make a concert that can only be heard once. It's difficult to make sense of it, but in fact there is no need to. It is impossible to listen to the ever-changing soundtrack and music at the same time.
Our goal is for the listener to perceive what is happening on stage with his senses, surrender himself to sound effects, let his mind free, because these noises are everyday, consciousness sound effects in an amplified form. Congested feelings that even in their unity, they can manifest themselves in many ways...
The band broke up in early 1988…” (Karel, Második Látás fanzine 1990).
Members:
Kalóczkai Attila (voice ), Tunner János (guitar ),
Veress János (guitar ), Apró Imre (bass ) and
Karel (drums, noise). [SOURCE: YOUTUBE]
Label:
Not On Label (Zajártalom Self-Released) – none
Not much known about Family Patrol Group, although there's a website with a list of gigs performed. Their commitment to power electronics conventions of the time seemed tongue-in-cheek bordering on sarcastic. They clearly figured somewhere in that whole Birmingham noise thing which also bequeathed us Final / Smear Campaign, Con-Dom, Godflesh and so on, assuming that Family Patrol Group were Colin Fisher, Mike Grant, and some dude called Greg. [SOURCE: FERRIC ARCHAEOLOGY]
Label: Not On Label – none
Format:
Cassette
Country: UK
Released: 1983
Style: Industrial, Noise, Experimental, Power Electronics
Gate is a free noise project of New Zealander Michael Morley, which began at the end of the 80's. Morley, who has also plays in Dead C and runs the Precious Metal label, performed the thick, sonic improvisations that are characteristic of Gate on a tour with Keiji Haino and Thurston Moore in 1994. Gate has several releases on the Table of the Elements label, including 'Monolake' (1997) and 'The Wisher Table' (1999), as well as other releases on smaller independent labels such as Go For It and Siltbreeze. [SOURCE: ALLMUSIC]
'4 In 1' is the first of a series of compilations initiated by Alain Neffe (Belgian multi-instrumentalist, responsible for the Insane Music label and member of Bene Gesserit, Cortex, Human Dance, Human Flesh, Japanese Genius, Kosmose, La Maison Du Jardinier, Ornament & Crime Arkhestra, Pol Silentblock, Pseudo Code, Sic, Subject and The Chopstick Sisters). 4 groups share one format.
Released on a variety of Belgian labels, the first compilation was this cassette '4 In 1' (1982), followed by an LP 'Four In One Vol. 2' (1982). The series was continued in 2012 with the release of a CD '4 In 1 Volume 3', a cassette '4 In 1 Vol.4' and lately a LP and CD '4 In 1 Volume 5'.
This first release was issued on Grafika Airlines, a Belgian experimental cassette label from the eighties.
GRAFIKA is the production department of Direct Impact Association (DIA), a Belgian non-profit organization and it's divided in four parts:
Grafika Airlines (cassettes & graphic products; stopped end of 1982), Grafika Discs (records; created in June 82), Grafikaset (cassettes; starting January 83) and
INSANE/GRAFIKA (cassettes compilation).
This tape features four bands: Mecanique Vegetale, a group that is an enigma -unclear if it is one man or one band; Pseudo Code, that are self-defined as playing "potlatch music", motivated more towards emotional expression than anything else and formed by Alain Neffe, Guy-Marc Hinan (one of the two men who formed the label Sub Rosa) and Xavier S.;Etat Brut, a pioneer industrial / noise band from Brussels that operated from 1979 until 1983 releasing a dozen of cassettes, various flyers and xeroxed booklets; and Human Flesh, founded in 1981 and one of the many disguises of Alain Neffe.
Nord is a Japanese noise project, originally formed in 1979 by Satoshi Katayama and Hiroshi Oikawa. This lineup released a self-titled LP on Pinakotheca in 1980. The duo split in 1983 and both members continued to use the name Nord. The group's name was derived from Louis-Ferdinand Céline's 1960 novel "Nord".Oikawa put out several releases on his L∴S∴D∴ Records, but didn't play live. He ceased activities in the late 80s.
'L∴S∴D∴' was issued in a limited edition of 200 copies. The ambiguity of the cover (is it "LSD" by Nord or "Nord" by LSD?) had a profound effect on Japanoise. A young Masonna purchased this album thinking it was a German psych rock band called LSD, so you can imagine that the shock of expecting a traditional album only added to the profound effect it would have on him. [SOURCE: RATE YOUR MUSIC]
Label: L∴S∴D∴ Records – LSDL-01
Format:
Vinyl, LP, Limited Edition
Country: Japan
Released: 1984
Style: Noise, Industrial, Drone
Tracklist:
A1 序曲
- Jokyoku (Overture)
A2 L S D
B1 L S D
B2 ザ･ゴースト･サウンズ
- Za Gōsuto Saunzu (The Ghost Sounds)
Gifted with a rhythm section that sounded like a garbage truck's exhaust backfiring and a guitarist who rarely felt the need to play chords, Australia's King Snake Roost played the kind of noise rock that let them easily fit into the roster of Amphetamine Reptile Records. They also confirmed Australia as a hotbed of blues-punk -yes, the influence of the blues can easily be discerned beneath all the garbage truck backfiring and dearth of guitar chords, and their vocalist did his best Delta-blues-scorched-black growl. Can't really claim these guys as some unjustly obscure geniuses; after all, their path had already been pretty well-trod before them (question: is Nick Cave an Australian "national hero" like Springsteen is in the States? Just wondering). Still, when you want some down n' dirty, defiantly art-free noise rock, they're a damn fine cup o' disease. Inspirational lyric (from "Trogman's Buried"): "He showed my mom his circumcision scars / Then he drowned in his own blood." [SOURCE: RATE YOUR MUSIC]
Label: Aberrant Records – 1THING
Format:
Vinyl, LP
Country: Australia
Released: Jan 25, 1989
Style: Alternative Rock, Noise, Noise Rock, Punk Blues, Grunge
Otomo Yoshihide is a Japanese composer and multi-instrumentalist. He mainly plays guitar, turntables, and electronics. He first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. He is also a pioneering figure in the EAI-scene, and is featured on important records on labels like Erstwhile Records. He has composed music for many films, television dramas, and commercials. In 2017, Otomo became the 2nd Guest Artistic Director of The Sapporo International Art Festival 2017.
With the exception of 2 tracks, this is an entirely solo album that sees Otomo experimenting with various odd instrumentation. The behemoth opening track, "Religion-4", is the first. Otomo plays the turntables, tapes, and radio on this piece. It's pretty much straight up noise music, you can hear wailing, beeping and harsh turntable scratches for the first few minutes and not many other discernable sounds, as it crashes and screeches its way throughout its early duration. Despite of the sound sources being use here you can only barely at moments make out what the hell you're hearing. A voice, a drum beat, junk noises, occasionally peek through the chaos only to disappear as fast as they entered. About 11 and a half minutes in is the most recognizable sample with loops of a monologue, which also marks things getting a bit less harsh, but still very noisy and nonsensical. Things come down in the last couple minutes of the track with the sampling becoming much more noticeable and less overwhelming, more sparse, before one final WOOOSH finishes off the track. This takes up the entire A-Side of the cassette and is an absolute trip to listen to, apocalyptic and destructive, but oddly meditative, also proving Otomo's mastership at the art of Turntable Music. A great jam that will surely please those who enjoyed Otomo's more noisy works.
Kicking off the B-Side, the "Guitar Solo Improvisation" is exactly what the name suggests. Otomo had a different technique compared to the custom made noise guitars of his work with Ground Zero or the noisy, pedal soaked arpeggios that mark his New Jazz records. Indeed, Otomo doesn't play with seemingly any effects whatsoever. Just a tight jam that emphasizes dissonance, atonality and seemingly random plucking above the noise and feedback of his latter day output. So demented in it's chaos that it would make even Derek Bailey blush. Definitely an extremely cool solo.
"Religion-3" returns with all the instruments featured on "Religion-4" but with the addition of a violin and vocals. It opens with radio tuning sounds that sound kinda like a geiger counter before the violin just gets absolutely destroyed, being abused so badly, it sounds like high pitched static. Otomo also does these weird gurgling vocals over it and there's random samples going on in the background while he breaks the poor thing. Very amusing in it's absolute cacophony and impressive that Otomo can juggle all these instruments at once.
"Sax Of A Kind + PB Radio '84", despite the name, actually does not contain any kind of saxophone. Weird name but alright. The shortest track by far, there's three credited guitarists (including Otomo) as well as a bassist, a drummer, and Otomo on "tape recordings". Also according to the liner notes, the tape recordings are sampled from a radio. Otomo sure loves his radios even when he is not playing them. This is basically just a recording of a (sadly normal) jazz cover intertwined with japanese spoken word radio. It is a cool cover and the radio does add a bit of Otomo wackiness to the otherwise normal sounding jazz.
"Religion-1" has the same instrumental lineup as "Religion-4", with the addition of a synthesizer. It's very noisy and high pitched all the way, with the radio providing an ear piercing backing for the aforementioned sci-fi noises. A curious little noise piece.
The most confusing track is probably "Religion-2", for which the only credited instruments are the tapes and "electric springs". There's basic tape loops in the background while the springs provide a metal scraping sound, kind of like the violin on "Religion-3" but with a lot more tremolo. If a violin and spring sound similar on an album then you know you have a master noise maker at hand.
The final track, "NS-500", is a full on free jazz jam that clocks in at 8 minutes, the longest on the B-side. The standard lineup of bass, drums, guitar and tenor saxophone are on display here, with the addition of Otomo playing with toys. The bass is easily the loudest thing in the mix, and it is some very solid playing indeed. The drumming is very energetic, constant rolls and fills throughout the whole thing, the guitar is for the most part random plucking similar to the earlier "Guitar Solo", and the saxophone is very Zorn-esque indeed, piercing highs and squeals that sound like a dying pig. The toys can occasionally be heard but for the most part are drowned out by the drums and noise. The closest comparison is the Ground Zero debut, but a lot noisier and with fewer instrumentation, and without the vocals of our beloved Yamatsuka Eye. Still, a great free jazz jam. For those that looked for more stuff akin to live Ground Zero however, this will definitely please your ears.
A very grainy album that shows us what the 80s sounded like with Otomo, combining a few jazz jams with straight up noise, this is probably the best we are going to get of that for a while. Until his early tapes get rereleased, this will stand as the finest document of a young and crazy Otomo who has yet to fully develop his techniques, but there is an undeniable charm to this whole tape that makes it more than a novelty and rather a very enjoyable listen. If you heard 'We Insist?', and wanted to hear what Otomo was doing years before any of that was recorded, give this album a go. It will not disappoint. [SOURCE: RATE YOUR MUSIC]
Nocturnal Emissions has been one of the best kept secrets of the industrial genre since the 1970s. Led by Nigel Ayers, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire. The band moved on to using samplers and electronic noise in their early '80s work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the '90s when they started www.earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies (they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel) and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website. [SOURCE: ALLMUSIC]
Label: Sterile Records – SR9
Format:
Vinyl, LP
Country: UK
Released: 1985
Style: Industrial, Synth-pop, Experimental, Noise
Tracklist:
A1 Metal Frames
A2 Rusting Shells
A3 In Our Time
A4 Effra Barricade
B1 Let The Bad Times Roll
B2 Tanks In Gdansk
B3 Fat Slimey Parasites
B4 Bring Power To Its Knees
B5 No Sack (The Meltdown Version)
Notes:
Side A recorded in the studios of the Emission Control during November 1984.
Side B recorded live at the Ambulance Station, London 24 November 1984.
Killdozer formed in 1983 around vocalist/bassist Michael Gerald, guitarist Bill Hobson, and his drummer brother Dan. After 1989's 'For Ladies Only' -an all-covers collection deconstructing hits ranging from Deep Purple's "Hush" to the James Gang's "Funk #49" to Don McLean's "American Pie"- Bill Hobson left the band on the eve of a European tour, and was replaced by Halo of Flies guitarist (and Amphetamine Reptile label chief) Tom Hazelmyer. Hobson later re-joined the group, but again exited in the midst of recording a never-completed LP. This single is a gorgeous, fleeting glimpse into an alternative world as Tom Hazelmyer steps in for the departing Bill Hobson and Killdozer knock two songs out of the park that combine the relentless Killdozer assault with an extra dollop of melody. The hooks here are all-consuming; Hazelmyer's low-end shredding during "Her Mothers's Sorrow" is a goddamn delight. [SOURCE: DISCOGS]
Split LP released by the Dogfood Production System
imprint, early Australian experimental label, also known as Wrong. Co-released the Severed Heads/Rhythmyx Chymx split LP and released the first Severed Heads LP.
Garry Bradbury (1960-2022) was a British-born Australian electronic musician active in Sydney's experimental music scene from 1979 to 2022.
His first significant collaboration was in 1980, along with brothers Simon and Tim Knuckey as The Wet Taxis; a band specializing in heavily treated guitar and drum machine and various tape manipulations.
In 1981, Bradbury teamed up with two other musicians, Tokyo Rose and Montgomery Smythe, to form Hiroshima Chair, another electronic outfit featuring a vast arsenal of analogue synthesizers. In 1981, they released this half a split album 'Reset', with Texan band Culturcide. They also released a live C60 cassette through Terse Tapes.
From October 1981, Bradbury teamed up with Tom Ellard's pioneering post punk / industrial band Severed Heads. This collaboration continued sporadically from 1981 to 1985.
Culturcide was a Houston-based experimental punk band, active from 1980 to 1990 and from 1993 to the present day. They were notorious for their 1986 album 'Tacky Souvenirs of Pre-Revolutionary America', which earned the band a cult following, but also several legal threats.
Label: Dogfood Production System – Dogmat#4
Format:
Vinyl, LP
Country: Australia
Released: 1981
Style: Industrial, Punk, New Wave, Noise, Synth-pop, Minimal, Synth Punk
Tracklist:
A1 Hiroshima Chair – Reset
A2 Hiroshima Chair – Spastic Antelope Bit
A3 Hiroshima Chair – Tu
A4 Hiroshima Chair – I Think That Dress Is Completely Ruined (I Really Do)
Prolific British avant-proggers Guapo have released numerous albums and EPs since forming in 1994. Despite often changing from one release to the next, or in some cases, from one song to the next, their style has maintained basic reference points including France's Magma (whom they name-checked in one album title), Japan's Ruins (with whom they recorded an album), and groups of the Rock in Opposition scene, including Present and Univers Zero. The band's lineup has undergone many changes as well, but for much of Guapo's history the core of the group consisted of drummer/percussionist David J. Smith and bassist/guitarist Matt Thompson. Other periodic full-time members during the group's first decade included bassist Rojer Macoustra (with the band from 1994-1996), bassist Pid (1996-1997), and Honkies saxophonist Caroline Kraabel (1999-2000).
Guapo self-released three EPs -'Hell Is Other People' (1995), 'Guapo Is No More' (1996), and 'Horse Walks into a Bar' (1996)- and one full-length album, 'Towers Open Fire' (1997), through their own Power Tool label before moving to the French Pandemonium imprint for a series of releases. [SOURCE: ALLMUSIC]
