Jakko – Silesia [LP] (1982, Chiswick Records)

'Silesia' was meant to introduce the wider world to guitarist, singer and songwriter Jakko M. Jakszyk, then recording simply as Jakko. Born Michael Lee Curran in London and adopted as a child by a Polish family, Jakszyk had already built a reputation on the British underground scene through his work with the cult band 64 Spoons and collaborations with keyboard player Dave Stewart. At the time he was still searching for his own musical identity, and 'Silesia' captures that moment perfectly, blending art rock, sophisticated pop, new wave and progressive influences into a record that never quite fits neatly into a single category.

 
The album was recorded after Jakko signed with Chiswick Records, one of the UK's most respected independent labels. Founded in 1975, Chiswick had earned its reputation by releasing records from pub rock, punk and new wave artists including Motörhead, The Damned and The 101'ers, while also giving opportunities to musicians who didn't fit the mainstream mould. By the early 1980s the label was broadening its catalogue, and Jakko's polished, adventurous songwriting was a natural addition, even if it stood apart from the harder-edged acts Chiswick was best known for. 

The songs on 'Silesia' are full of memorable melodies wrapped in inventive arrangements. Tracks such as "Grab What You Can", "Straining Our Eyes" and the title track combine crisp guitar work with keyboards, layered vocals and a distinctly British sense of melancholy. The sessions also featured contributions from musicians including Dave Stewart, David Jackson of Van der Graaf Generator and vocalist Amanda Parsons, adding another layer of depth and character to the recordings without taking the spotlight away from Jakko's songwriting. 

Although three singles were released to promote the album in 1982, 'Silesia' never enjoyed the exposure it deserved. Chiswick's financial difficulties limited its distribution, and the LP ended up being issued only in Germany, Italy and the Netherlands rather than receiving a full UK release. As a result, it quickly became one of those elusive records that collectors were always on the lookout for. Unlike many overlooked albums from the period, 'Silesia' has never been officially reissued on either CD or vinyl, making original pressings from those three European countries especially desirable. 

Today, 'Silesia' stands as an important early chapter in Jakko's long career. Long before joining King Crimson and becoming known to progressive rock audiences around the world, he had already demonstrated an impressive gift for combining intelligent songwriting with adventurous musicianship. The album remains one of the hidden treasures of the early 1980s British scene, revealing an artist whose talents were evident from the very beginning. 

 

Label: Chiswick Records – 0067.082 

Format: Vinyl, LP, Album 

Country: Germany 

Released: 1982 

Style: Alternative Rock, New Wave, Synth-pop, Jazz-Funk, Progressive Rock

 

Tracklist:  

A1 I'll Stand On My Own 2:52 

A2 Grab What You Can (Biez Co Mozesz) 5:13 

A3 Something In The Mirror 3:16 

A4 If It Should Be Today 4:04 

A5 Straining Our Eyes 5:06 

B1 One More Time 3:09 

B2 This Is Me 4:17 

B3 Mills And Boone 3:03 

B4 Tell Me Where To Run To 3:45 

B5 Silesia 1:19 

B6 Ingmar Bergman On The Windowsill 4:02 

 

Other versions: 

'Silesia' (LP, Album) Chiswick Records [CWKL 3021] (Italy, 1982)

'Silesia' (LP, Album) Chiswick Records [TOSS-3630] (Netherlands, 1982)

 

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Exotic Birds – Exotic Birds [12''] (1984, Saturn Records)

 

Released in 1984 on Saturn Records, 'Exotic Birds' captured a fascinating moment in the evolution of American synthpop, arriving from a scene that wasn't usually associated with drum machines and shimmering keyboards. Hailing from Cleveland, Ohio, Exotic Birds had been formed just a couple of years earlier by percussion students Andy Kubiszewski, Tom Freer and Tim Adams while studying at the Cleveland Institute of Music. Their classical training gave them a strong sense of arrangement and rhythm, but they channelled those skills into sleek, dance-oriented new wave inspired by the British synth explosion of the early eighties. Rather than simply imitating their overseas influences, they developed a polished style that blended catchy pop melodies with a distinctly Midwestern energy.

 
The 12-inch mini-album 'Exotic Birds' remains the group's defining early statement. Issued under Saturn Records, it featured seven tracks, including "I'll Never Say Goodbye," "Waiting For You (Na Na)," "Fade Away," "Take Your Chances," and the standout "No Communication," which became one of the band's signature songs. Tim Adams contributed the track "Demon Dance," while most of the material showcased Andy Kubiszewski's growing confidence as a songwriter. The record highlighted the group's ability to move comfortably between melancholic synth ballads and club-friendly electronic pop, reflecting the broad appeal of the genre during that period.

 
Saturn Records played an important role in documenting regional talent during the era, giving independent artists a chance to release professionally produced material outside the major-label system. For a band like Exotic Birds, this kind of support was essential. Although they never achieved mainstream commercial success, they built a loyal following in Ohio and beyond, opening concerts for acts such as Culture Club and Eurythmics and becoming one of Cleveland's most visible new wave exports. Their growing reputation showed that innovative electronic music wasn't confined to New York, Los Angeles or London.

 
Looking back, the album also gained additional historical interest because of what happened next. Following Tim Adams' departure, Exotic Birds went through several line-up changes, eventually welcoming a young Trent Reznor into the group during the mid-eighties. Although Reznor joined after this release and wasn't involved in its recording, his later success with Nine Inch Nails drew renewed attention to the band's earlier catalogue. Still, Exotic Birds deserves recognition on its own merits. It stands as an engaging snapshot of American synthpop before industrial music reshaped the Cleveland scene, documenting three conservatory-trained musicians enthusiastically embracing sequencers, synthesizers and the possibilities of electronic pop at a time when the genre was still finding its identity in the United States. 

 

Label: Saturn Records – SR-MLP 1300, Saturn Records – SR-MLP 1300-698 

Format: Vinyl, 12", Mini-Album, 33 ⅓ RPM 

Country: US 

Released: 1984 

Style: New Wave, Synth-pop, New Romantic

 

Tracklist: 

A1 Never Say Goodbye 3:52 

A2 Waiting For You (I Say Na Na) 5:40 

A3 No Communication 3:38 

B1 Fade Away 5:40 

B2 Take Your Chances 5:03 

B3 Demon Dance 5:30 

B4 No Communication (TV Version) 3:53 

 

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Yazoo / Sudeten Creche / Colour Me Pop – Europe In The Year Zero [12''] (1982, S/Phonograph)

 

There’s something very early-80s UK about 'Europe In The Year Zero'; a snapshot of a moment when synth-pop hadn’t fully hardened into chart formula yet and still felt like a loose network of experiments, small labels and odd collaborations. This record came out in 1982 on the tiny S/Phonograph imprint. It’s a five-track compilation 12" with two cuts by Colour Me Pop, two by Sudeten Crèche, and a crucial early track by Yazoo. Only around 8,000 copies were pressed, which already tells you the scale: this wasn’t aimed at mainstream radio, it was more like a document of a scene in motion. 

What really gives the release its weight is the Yazoo connection. They were barely getting started at the time -Vince Clarke had just left Depeche Mode and teamed up with Alison Moyet in early 1982. Their track “Goodbye 70’s” appears here in a unique version, and this EP is often considered their first official appearance on vinyl, predating the full impact of 'Upstairs at Eric’s'. So you’ve got this odd situation where a soon-to-be massive act is sitting alongside much more obscure names.

 
One of those obscure names is Sudeten Creche, who basically orbit the whole project. They formed around 1980 as a kind of conceptual, semi–art-school experiment driven by Yvette Döll and Paul Carlin. Their tracks “Are Kisses Out of Fashion?” and “Dance” land right in that minimal wave zone: cold, sparse, slightly detached. That EP is actually their debut, and it also doubles as a launchpad for Yazoo, which says a lot about how blurred the lines were between projects at the time.

 
Then there’s Colour Me Pop, a short-lived act that had previously gone under the name Watch With Mother. Their tracks (“When Sex Was Fun” and “Bikini Trauma”) bring a more playful, slightly tongue-in-cheek new wave energy, but still sit comfortably in that DIY synth scene. They never reached the visibility of Yazoo, and even compared to Sudeten Crèche they feel more like a side branch than a core node, which makes their presence here even more tied to the label’s curatorial vibe. 

S/Phonograph itself is part of that story. It wasn’t a major player; more like a small, almost one-off vehicle connected to Illuminating Music and distributed through indie channels. The EP even had a loose political angle, with references to anti-nuclear sentiment (“No Nukes” appears in the notes), which fits with the early-80s UK underground where music, art and activism often overlapped. 

Put it all together and the record feels less like a traditional release and more like a junction point. You’ve got the future chart success of Yazoo just beginning to surface, the minimal synth underground represented by Sudeten Crèche, and a fringe pop act like Colour Me Pop filling out the edges. It captures that narrow window where synth-pop hadn’t yet split into mainstream and underground lanes, and everything was still happening in the same small ecosystem.

 

 

Label: S/Phonograph – SPH1 

Format: Vinyl, 12", 45 RPM, Compilation 

Country: UK 

Released: Aug 1982 

Style: New Wave, Synth-pop, Minimal, Minimal Synth, Post-Punk 

 

Tracklist: 

A1 Colour Me Pop – When Sex Was Fun 

A2 Colour Me Pop – Bikini Trauma 

AA1 Yazoo – Goodbye 70's 

AA2 Sudeten Creche – Are Kisses Out Of Fashion? 

AA3 Sudeten Creche – Dance! 

 

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Lavvi Ebbel – Kiss Me Kate [LP] (1983, Les Disques Du Crépuscule, Ariola)

 

If you’ve stumbled across Lavvi Ebel and their album 'Kiss Me Kate', you’re probably already sensing there’s something a little different going on here. This isn’t your typical polished pop release -it leans more into a dreamy, intimate space where emotions feel unfiltered and slightly offbeat in the best way. 

 
At its core, 'Kiss Me Kate' is all about vulnerability. The album drifts between soft indie pop and lo-fi textures, with hazy synths, stripped-down guitar moments, and vocals that feel almost like whispered confessions. Lavvi Ebel’s voice carries a kind of quiet magnetism -never overpowering, but always present enough to pull you in. It’s the kind of album that feels made for late-night listening, when everything’s a bit quieter and more reflective.

 
Lyrically, there’s a strong focus on relationships -romantic, messy, nostalgic, and sometimes unresolved. Rather than telling clear-cut stories, the songs feel like snapshots or fragments of memory. One track might revolve around longing and missed chances, while another leans into the sweetness of fleeting connection. There’s an underlying theme of trying to hold onto moments that are already slipping away, which gives the whole record a bittersweet tone.

 
What really makes 'Kiss Me Kate' stand out is its atmosphere. It doesn’t rush. Songs often unfold slowly, letting moods settle in before shifting. There’s a softness to the production that makes everything feel slightly blurred, like looking at old photos or recalling something you’re not sure actually happened the way you remember it. 

 

 

Label: Les Disques Du Crépuscule – TWI 172, Ariola – 205 488 

Format: Vinyl, LP, Album 

Country: Netherlands 

Released: 1983 

Style: Synth-pop, Experimental, New Wave, Post-Punk

 

Tracklist: 

A1 Ouspenski 4:00 

A2 Kiss Me Kate 4:20 

A3 Coffee Koffie 3:18 

A4 Suffering 4:14 

B1 !Telepatia! 5:10 

B2 Full Moon 5:00 

B3 Running 3:10 

B4 Home Is Where The Heart Is 4:13 

 

Other Versions:  

'Kiss Me Kate' (LP, Album) Les Disques Du Crépuscule [TWI 172] (Belgium 1983) 

 

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L'Aventure Imaginaire – La Fin De L'Innocence [LP] (1982, Not On Label)

'La Fin de l’Innocence' is an obscure and very limited vinyl LP from the early 1980s by L’Aventure Imaginaire, a band with a French name but actually based in Germany. The record was self-released sometime between 1980 and 1982, without an official label, and only about 300 copies were pressed. Because of this extremely small run, it has become a sought-after item among collectors of underground electronic music. 

Musically, the album fits into the minimal synth and dark wave world, with touches of early synth-pop and experimental electronics. It has that raw, DIY feel typical of early ’80s European underground scenes, where artists were more focused on atmosphere and experimentation than polish or commercial appeal. 

The tracklist is full of evocative and sometimes surreal titles, ranging from romantic and melancholic pieces to more abstract, experimental ones. Songs like 'The Endless Armada of Red Frogs Is Crossing the Scottish Highlands', 'Paris Theme', 'One More Night', and the title track 'La Fin de l’Innocence' give the album a dreamlike, slightly mysterious character. 

Very little is known about the band itself, which adds to the album’s mystique. The project involved Nicole Zunker and Joachim Stender, with Stender later connected to other experimental electronic projects in Germany during the same period.

 
Overall, 'La Fin de l’Innocence' is one of those cult records that lives quietly in the background of music history -not famous, but deeply appreciated by listeners who enjoy rare, atmospheric, early electronic sounds. 

 

Label: Not On Label – RP 10217 

Format: Vinyl, LP, Limited Edition 

Country: Germany 

Released: 1982 

Style: Synth-pop, Minimal, Minimal Synth 

 

Tracklist: 

A1 The Endless Armada Of Red Frogs Is Crossing The Scottish Highlands 

A2 Pierrot And Columbine 

A3 Dance With Me (L'Espace De La Nuit) 

A4 Paris Theme A5 Cos I Love You 

A6 Athen 

B1 One More Night 

B2 The Only Sun I've Ever Seen 

B3 La Fin De L'Innocence 

B4 L'Aventure Imaginaire 

B5 Perfect Creatures 

B6 Todeskommando Im Hexenkessel 

B7 Kubistic Jungle 

 

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Brilliant – Colours [12''] (1983, Risk Records, Rough Trade)

 

Brilliant was a Brit-funk pop group, active in the British 80s nu pop scene. Formed when Killing Joke's Youth left his group and along with Ben Watkins (later, Juno Reactor) and Jimmy Cauty (later one half of The KLF) they started the group, releasing singles from 1982 to 1984. The first line up was completed with Marcus Myers and Guy Pratt, later in Icehouse. In their first four years of existence, they hosted a roster of over 30 musicians. The final line-up found them as a trio with June Montana on vocals, later a one-hit wonder dance diva with whom they released their sole album with a Stock, Aitken & Waterman production. Among their hits were James Brown's "It's A Man's World" and the 1963 hit for Skeeter Davis, "The End Of The World". 

 

Label: Risk Records – RTT 105, Rough Trade – RTT 105 

Format: Vinyl, 12", 45 RPM, Single 

Country: UK 

Released: 1983 

Style: Synth-pop, Funk 

 

Tracklist: 

A Colours 5:13 

B Colours (Monster Mix) 6:08 

 

Other Versions: 

'Colours' (12") - Nuevos Medios, Rough Trade [41089 M, 41 089] (Spain, 1984)

 

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Lavabos Iturriaga – Imágenes Del Ruido [12''] (1984, Discos Suicidas)

 

This Bilbao band emerged in 1981, before the Radical Basque Rock era. It was formed by Ana Jiménez (voice and polyphonic synthesizer), Oscar Amezaga (guitar), Javi González "Koketo" (synthesized guitar), Paco Marcilla (bass) and Roge Blasco (synthesizer). Their live appeareances showed them in white makeup and strange uniforms halfway between The Residents and Kraftwerk. Hypnotic melodies, instrumental songs, Japanese settings, songs in invented languages, collaborations with the singer of Itoiz... They were among the few who recorded videos produced for the newborn Basque television. In 1982 they recorded in the Du-Manoir Studios (France), for Discos Suicidas, the single 'China'. The following year, they were included in the LP compilation 'Sintonía Independiente', together with groups like In Extremis, Los Santos and Rufus. Having spent two years since the recording of their first single, in 1984 they recorded the EP 'Imágenes del Ruido' for Discos Suicidas, but this time without Ana. The band at that time was formed by "Koketo" (voice, guitar and drum machine), Paco Marcilla (bass), Roge Blasco (monophonic synthesizer), Oscar Amezaga (polyphonic synthesizer) and Juan Carlos Pérez collaborating on vocals. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]

 

 

Label: Discos Suicidas – DS-3 

Format: Vinyl, 12", Maxi-Single 

Country: Spain 

Released: 1984 

Style: Synth-pop, Minimal Synth

 

Tracklist: 

A Imágenes Del Ruido 

B Instantánea 

 

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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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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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Snowy Red – The Beat Is Over [LP] (1989, Antler Records)

 

Snowy Red was the one-man electronic band of the former Chainsaw bassist, Micky Mike. He started his own project under the name Snowy Red in October 80. With his new project, he wanted to prove that it was possible to self-produce a full album, despite meagre means: a few synthesizers, a 12/2 mixing panel, a 2-track reel-to-reel recorder and a few basic effects. This happened to be a successful experience: the record he released in January 1981 was pretty well received by the Belgian and foreign press. The album release was followed by a series of performances that were outside the scope of an ordinary rock gig. Micky sang alone on stage, accompanied by pre-recorded tapes and two dancers from MUDRA (Maurice Béjart's ballet school). To complete the stage set, slides were projected on one side, polaroids on the other, courtesy of photographer Stéphane Sergeant. 

Micky believed the audience came not only to listen but also to watch: he wanted the visuals to enhance their memories of the performance. At the end of the concert, a 'suicide' hung himself on stage. Nothing pretentious, just different. Micky Mike dared to do what other Belgians only fantasized about. Musically speaking, the duo Suicide was Micky Mike's strongest influence at the time. He even dedicated "Baby Tonight" to them. This avowed influence led to him being dubbed "Suicide, Belgian-style" by the audience. 

In October 1981 Snowy Red started work on the second album. The minimal austerity of the first album was still there, but warmer sounds were added by a guitar, a bass, and more confident vocals. The single 'I'm Hurt' announced the release of 'The Right To Die'. Despite its new aesthetics and a brighter spectrum, the new album was as emotionally charged as its predecessor. The album was praised by the entire Belgian press. On stage, the show became more confident as Micky now stood alone, without the dancers who had flanked him during his first performances. The album confirms the success of the experiment: concerts in England, Holland, positive review of Melody Maker and Vinyl. The new show does not have more dancers, slides and Polaroid were replaced by films in almost all performance. Snowy Red performed that year in the Ancienne Belgique (Brussels), supporting TC Matic and then toured in Britain and the Netherlands. 

With the 'Vision' LP and some tracks on the 'The Beat Is Over' LP, Snowy Red was, for a brief moment only, a band. After the Belgian New Beat boom, Snowy Red called it quits and Micky Mike disappeared, only for the band to resurface again in 2004 as a duo (with a guitarist) at the Belgian Independent Music festival. 

 

Label: Antler Records – ANT 116 

Format: Vinyl, LP, Album 

Country: Belgium 

Released: 1989 

Style: EBM, New Beat, Synth-pop

 

Tracklist:

A1 The Switch 3:06 

A2 I'm All-Right 4:30 

A3 It's So Good 4:07 

A4 A Picture 5:34 

B1 Love Machine 4:26 

B2 Don't Wanna Crawl 3:25 

B3 Sand Rain 4:36 

B4 I'm Your Driver 3:35 

 

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KeinMenscH! – Kein MenscH [7''] (1981, Tonträger 58 Hagen)

Kein MenscH was an underground band from the early 1980s from Hagen, Germany. They were also one of the first bands internationally to create new sounds with the Roland TR-808 drum computer and synthesizers such as the Korg MS-20 and Roland TB-303. The music of Kein MenscH combines garish synthesizer sounds with the innovative use of electric guitars. Alternating between punky riffs, harmonious melodies and experimental sounds, they recorded a wide variety of songs about human strengths and weaknesses and deal with the social zeitgeist. Kein MenscH's first single, produced by Tom Dokoupil (The Wirtschaftswunder), was released in 1981 on the indie label Tonträger 58. The following single 'Süchtig' was released in 1982 on the major label Virgin. Tracks by the band were released in 1981 on the Neue Deutsche Welle sampler 'Alles aus Hagen', and in the 1982 TELDEC Records Sampler 'Neue Deutsche Unterhaltungsmusik (Rock In Deutschland, Vol. III)'. [SOURCE: LAST.FM]

 

 

Label: Tonträger 58 Hagen – 58 - 002, Tonträger 58 Hagen – 58 -002, Tonträger 58 Hagen – -002 

Format: Vinyl, 7", 45 RPM 

Country: Germany 

Released: 1981 

Style: Punk, Synth-pop, New Wave, Minimal Synth, Neue Deutsche Welle

 

Tracklist:

A Kein MenscH 5:12 

B1 Wir Sind Erzogen 2:31 

B2 Du Tom 1:12 

 

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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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The Bridge – Industrial Love Dance [12''] (1984, Second Vision)

Before founding UK alternarock band Zerra One, Paul Bell released an electro single called "Love Dance" as The Bridge on the Second Vision label in 1984. It is about as close a copy of New Order's "The Beach" as you can get without being sued. This is another 12'' version that adds a 7" mix and is titled "Industrial Love Dance" as UK release. All that aside, this really is a great dance record, and if you like "The Beach" but don't necessarily want to hear it again, "Love Dance" should do quite nicely. [SOURCE: FANTOD UNDER GLASS]

 

 

Label: Second Vision – SV 12003 

Format: Vinyl, 12" 

Country: UK 

Released: 1984 

Style: Electro, Synth-pop 

 

Tracklist:

A1 Industrial Love Dance (Love Mix) 

B1 Industrial Love Dance (Industrial Mix) 

B2 Industrial Love Dance (7" Love Mix) 

 

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Zaza – Zaza [LP] (1982, Blow Up)

 

ZaZa (born June 5, 1951 as Peter La Bonté in Munich) is a German pop singer. He became known in 1982 with the song "Zauberstab", which is now considered a classic of the Neue Deutschen Welle.With it he rose in August 1982 in Germany to number 8 in the single charts. The song's lyrics, which were perceived as salacious -in the chorus ZaZa sings "wenn ich Dich kriege, zeigt dir mein Zauberstab die Liebe"("when I get you, my magic wand will show you love")- led to several radio stations banning the song from their programming. In the film "The Flambé Woman", however, the title was played. For ZaZa it remained the only big hit. The follow-up single only just made it into the charts, further successes failed to materialize. 

 
The entire records is full with unique rhythms, percussive machines which keep the club move; weird new wave with strange vocals and absurd child's synthetizers and unconventional saxophone sounds, containing some touch of Kraftwerk in the "Vorbei Ist Vorbei" track. [SOURCE: WIKIPEDIA] 

 

 

Label: Blow Up – INT 145.504 

Format: Vinyl, LP, Album, Stereo 

Country: Germany 

Released: 1982 

Style: New Wave, Electro, Synth-pop, Neue Deutsche Welle

 

Tracklist:

A1 Tango D'Elite 5:29 

A2 Caprifischer 4:47 

A3 Die Seltsame Reise (Cruise Missle) 3:58 

A4 Licht Von Kairo 6:00 

B1 Zauberstab 4:00 

B2 Dschungel Liebe 6:57 

B3 Joker 2:10 

B4 Vorbei Ist Vorbei 11:08 

 

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WAQ – Mira Por Donde [12''] (1983, MR)

Waq is one of the forgotten bands of the early 80s, formed in Madrid in 1981 by Miguel Bañuelos (vocals and synthesizers) and Antonio González (guitar, bass, drum machine and vocals). They have been labeled as naif synth-pop, making simple songs with ingenious texts backed with good bases of keyboard and guitars. 

 

In the middle of 1981 Miguel convinces his friend Antonio González to start the band, rehearsing that summer songs like "La Monja", "Smoking Rosa", and "Osa Mayor". On March 1982 they give their first show in Rock-Ola and on the following month they register their first demo in RNE. On June 1982 they recorded the videoclip of '"Ladrones de Juguetes", their most celebrated song, in the TVE show "Pista Libre". The next day Paco Martín, boss of the record label MR, called them to record his first EP.  

 

Antonio is called to the military service, so Miguel asks Guillermo Caso to take care of the guitars. On August they recorded 'Las Cebollas' on Doublewtronics. Miguel is also called to serve the country and in a permit (February 1983) they recorded "Toros Blancos" for a compilation, and another EP, 'Mira Por Donde'. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]

 

 

Label: MR – MF-600838 

Format: Vinyl, 12" 

Country: Spain 

Released: 1983 

Style: Synth-pop, Minimal 

 

Tracklist:

A1 S. I. 4:33 

A2 Nudo En La Garganta 2:41 

B1 Triturado 2:37 

B2 Lazibones Atravesando El Océano 2:31 

 

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Pink Military – Blood & Lipstick [12''] (1979, Eric's)

 

When Big in Japan disbanded Pink Military Stand Alone were formed around the nuclei of Jayne Casey and Nicky Hillon (Nicky Cool). They recorded the EP 'Buddha Waking Disney Sleeping' under that name, then settled on Pink Military. In the early 1980s the moniker was changed to Pink Industry when Jayne stopped working with Nicky Hillon. The first two tracks of this EP, "Spellbound" and "Blood & Lipstick" work the more dance-oriented side of the Post-Punk aisle. Both sport Krautrock-style grooves topped with gritty angular guitars a la Gang Of Four and are great underground/post-punk club fodder. The last two tracks "Clown Town" and "I Cry" remove the grooves and lean more to the darker experimental sounds of This Heat or Tuxedomoon. [SOURCE: RATE YOUR MUSIC]

 

 

Label: Eric's – ERICS 002, Eric's – Eric's 002 

Format: Vinyl, 12", 45 RPM 

Country: UK 

Released: 1979 

Style: New Wave, Experimental, Post-Punk, Dance-Punk, Synth-pop, Art Punk

 

Tracklist:

A1 Spellbound 

A2 Blood & Lipstick 

B1 Clown Town 

B2 I Cry 

 

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Monty Cantsin – Ahora Neoismus [LP] (1988, Maldoror Records)

Monty Cantsin is a multiple-use name that anyone can adopt, but has close ties to Neoism. Monty Cantsin was originally conceived as an "open pop star." In a philosophy anticipating that of free software and open source, anyone should perform in his name and thus contribute to and participate in his fame and achievements. In reality the name is most commonly linked nowadays to the activities of artist and musician Istvan Kantor. 

“I Am Monty Cantsin” is the unwritten anthem of the Neoists, it's a song even made to go to the barricades with it on your lips. Also in musical terms, much more accessible than what Monte Cazazza presented. After all, Monty Cantsin is intended to be an “open POP star” -so despite being colored by industrial terroir, the melody is catchy. But for a pop song, there are far too many threads here, lacking an expressive chorus, which is hardly a complaint, after all “I Am Monty Cantsin” captivates with its tangled structure, wealth of ideas and arrangements. The song even lived to see a duly artistic music video.

It's a pity that the whole album doesn't hold up to this level, because we would have a true, forgotten gem of the eighties avant-garde, capable of attracting new generations to neoism today. And so we only have an uncut diamond -which is not to say that there is nothing interesting on 'Ahora Neoismus' anymore. Immediately catching the ear are the pop culture-targeted “Every 6 Minutes” or the sample-enhanced “Love and Joy,” and even the dramatic “Headquarters,” which is perhaps the most critical of the set about the life of postmodern man. The lyrics can even be associated with the anti-consumerist ideas of “Fight Club” like “fuck off with your sofa units and strine green stripe patterns, I say never be complete, I say stop being perfect.” [SOURCE: RATE YOUR MUSIC]

 

 

Label: Maldoror Records – MC-2 

Format: Vinyl, LP, Album 

Country: US & Canada 

Released: 1988 

Style: EBM, Synth-pop, Minimal Synth

 

Tracklist:

A1 I Am Monty Cantsin 

A2 I Believe In Neoism 

A3 Every 6 Minutes 

A4 My Blood Keeps Flowing 

A5 In The Swamp Of Neoism 

B1 Mass Media 

B2 Love And Joy 

B3 Headquarters 

B4 Long Live Neoism 

B5 Gloria Victoribus 

 

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Last Man In Europe – ... A Certain Bridge [7''] (1981, Cocteau Records)

Last Man In Europe were a UK Post-Punk band from the early 1980's. They released one 7" single, 'A Certain Bridge' (1981) and then changed their name to The Last Man in Europe Corporation and released an album in 1982 ('Songs From The Ark').

 

 The raw rhythm box chug and the swooping synth fading up recalled nothing so much as the sound of 1981 on an indie budget. The rhythm loop was a close cousin to the one in The Nails “88 Lines About 44 Women.” Eventually guitar, synths, and drums came to an agreement and the groove percolated along for a few minutes without much change. The vocals on the “A Certain Bridge” had a whiff of Positive Noise in his declamatory insolence. Only two bars of a portentous descending guitar figure that marked the [brief] bridge provided any variance here. The inconclusive song lasted almost six minutes to little change in tension, though to its credit, it seemed only 4:30 long. 

 

“T.V Addict” had a similar reliance on a programmed rhythm but the guitar and bass were much more prominent here; resulting in a sound that felt a little closer to early Bauhaus without putting their boot in. The song was presumably the sequel to The Normal’s “T.V. OD.” The final track, “Complications” featured a lurching beat that was front and center; dominating the guitar and synths. But it was the perkiest song here. The berserk and tasteless synth solo at the song’s surprising coda felt like a conscious attempt at some Enoesque thrills ca. Roxy Music. But that outburst showed, finally, some signs of life with Last Man In Europe. Their reliance on canned rhythms lent their songs a sort of plodding dullness that this one finally rose above to put the boot in. 

 

On the whole, the band’s debut single was typical of its time, but with not much in the way of dynamics in their arrangement; synth freakout solo at the end of the record aside. [SOURCE: POST-PUNK MONK]

 

 

Label: Cocteau Records – COQ 2 

Format: Vinyl, 7"

Country: UK 

Released: 1981 

Style: Alternative Rock, Synth-pop, New Wave, Post-Punk, Minimal Wave

 

Tracklist:

A A Certain Bridge 

B1 T.V. Addict 

B2 Complications 

 

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Holger Hiller – Holger Hiller [7''] (1980, Warning Records)

 

Electronic experimentalist Holger Hiller departed from the band Palais Schaumburg in the early '80s and embarked on a solo career. 1983's 'Ein Bündel Fäulnis In Der Grube' established his basic approach of combining keyboard lines with assorted odd sounds, and tense, clattering percussion. 1986's 'Oben im Eck' featured Hiller exploiting new sampling technology to its fullest behind a band including vocalists Billy McKenzie and Kaori Kano, and keyboardist Izumi Kobayashi. After laying low for quite some time, save occasional mixing and editing work for artists like Depeche Mode, Hiller returned with a vengeance in the mid-'90s, issuing 'Little Present' in 1993 and following it with the 'Demixed' collection. A self-titled release followed in fall 2000. This single from 1980 is also sometimes referred to as 'Herzmuskel; an excellent electronic experimental pop recommended for fans of Tuxedomoon and Renaldo & the Loaf type stuff; favorite, "R In S/W", almost a perfect closing track [SOURCE: ALLMUSIC] 

 

Label: Warning Records – wr 004, Warning Records – WR-004 

Format: Vinyl, 7", 45 RPM 

Country: Germany 

Released: Jun 1980 

Style: Synth-pop, Experimental, Neue Deutsche Welle, Minimal Wave, Minimal Synth

 

Tracklist:

A1 Ich Kann Nicht Mehr Warten 

A2 Ein Ganz Normaler Kuss 

A3 Dingdonggefühl 

B1 Herzmuskel 

B2 R In S/W 

 

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