Yeah! – Festival [LP] (1992, Music Box International)

Yeah! came together in Athens in February 1987, shortly after the end of Anti Troppau Council, the influential Greek punk/new wave group where guitarist and vocalist Yannis Drenoyannis had been involved. Drenoyannis teamed up with guitarist Vassilis Spyropoulos, known from the important Greek rock band Spyridoula, bassist and vocalist Hrysa Pantazi and drummer Takis Giannoutsos, who had previously played with Protest March. By December 1987, the core line-up of Drenoyannis, Pantazi and Giannoutsos was established, with Spyropoulos taking part in the group during 1988 and 1989. 

 
The Yeah! sound grew out of the rougher side of Greek underground rock but wasn't tied to punk alone. Garage rock, new wave, psychedelic touches and straight-ahead rock all found their way into the songs, while the band became a regular presence on the Athens live circuit and played extensively around Greece. Their live activity was particularly important in those years, with Yeah! eventually appearing as support for international names including the Ramones, Wipers and The Triffids. They also had the unusual opportunity for an underground Greek group of the period to appear in an hour-long live television performance on ET2. 

 
Their first album, 'Yeah!', appeared in 1988 through Ano Kato Records, produced by Nikos Spyropoulos, with recording handled by Christos Manolitsis. Evi Hassapidou-Watson contributed backing vocals and also sang on “The Sea”. A few years later the group returned with 'Festival', issued in 1992 by Music Box International. The recording took place at Studio Agrotikon in Thessaloniki, with Nikos Papazoglou producing and working at the studio he owned. 

 
'Festival' appeared at an interesting point for Greek alternative rock. The first generation of punk and new wave groups had already established an underground infrastructure during the 1980s, while the boundaries between punk, garage, psychedelic rock and more conventional guitar music were becoming increasingly loose. Yeah! had been around long enough to belong to that earlier generation, but their 1992 release arrived in a different musical climate, with Greek independent rock becoming increasingly visible and record companies showing more interest in local alternative acts. 

 
The label behind the release, Music Box International, was the successor to the old Music-Box company, founded by Martin Th. Gesar in 1959 and one of the earliest Greek record companies to compete directly with the major labels. Gesar sold the company in the late 1980s, after which the new owner, Andreas Kaiafas, changed its name to Music Box International, generally abbreviated as MBI. The label had a broad catalogue rather than concentrating on one particular underground style, covering Greek popular music, rock and a variety of other material. 

 
For Yeah!, 'Festival' was the second substantial document of a group that had already spent several years building its reputation through live work. After the release, the band's history continued in a less straightforward way, with periods of inactivity and changes in personnel rather than a clean, definitive ending. They later resurfaced on stage, including an appearance at the “Last Days of Rodon” events in 2005, and subsequent years brought further performances and new line-ups. 

 
Drenoyannis went on to work as a journalist, writing about subjects including cars and motorcycles, while Giannoutsos developed another public profile through radio and television. The Yeah! name itself eventually returned to the stage, with Drenoyannis and Giannoutsos remaining connected to later versions of the group. Their later activity included appearances with international artists such as Crime & the City Solution and dEUS, alongside newer material and changing personnel. 

 

 

Label: Music Box International – MBI 40491, Music Box International – M.B.I. 40491 

Format: Vinyl, LP, Mini-Album 

Country: Greece 

Released: 1992 

Style: Classic Rock, Alternative Rock 

 

Tracklist:  

A1 Little Something 3:36 

A2 I Screwed Them All Mam 4:29 

A3 Send Me To Hell 4:27 

B1 Sound Jungle Flow 3:28 

B2 Gone With The Fire 3:46 

B3 Μετά Το Καλοκαίρι 7:18 

 

DOWNLOAD HERE

Webcore – Cinematography [Cass] (1984, A Real Kavoom)

'Cinematography' was the first cassette from Webcore, a Cornwall-based psychedelic/progressive rock group that emerged in the early 1980s around the free-festival, squat and alternative gig circuit. It appeared in 1984, at a time when cassette releases were a practical way for small underground groups to get their music out without the expense of vinyl.

Webcore had formed in Cornwall in 1984, although several of the musicians had already been active elsewhere. The group centred around Mick West on vocals, Phil Pickering on bass, Paul Chousmer on keyboards and Clive Goodwin on guitar, with Colin Woolway and later Nick Van Gelder on drums, while Dan Carpenter contributed saxophone and Jackie Hannah and Karen Kay provided backing vocals. The line-up changed around the band’s relatively short existence, which is usually given as lasting until 1987. 

There was a particularly strong connection between Webcore and the emerging psychedelic/free-festival network surrounding the Ozric Tentacles. Paul Chousmer later recalled that Webcore and the Ozrics were regularly playing the same squats, benefit gigs and free festivals, and that the groups became closely associated with the early Club Dog scene. Webcore also helped establish the Alice in Wonderland events with the Ozric Tentacles, providing a link between the older free-festival culture and the psychedelic dance and electronic underground that developed later in the decade. 

The sound of 'Cinematography' belongs firmly to that early-80s British underground, where psychedelic rock was being pulled in several different directions. Webcore had the extended, exploratory feel of progressive and space rock, but there was also a more mechanical edge, with keyboards, effects, processed sounds and prominent bass giving the music a less traditionally hippie character. Contemporary descriptions of the band stress that, although they were heavily psychedelic, their arrangements could be considerably more structured and electronic than those of many of their free-festival contemporaries.

 
The tape also gives an early glimpse of the ideas that would develop further in Webcore’s later recordings. “The Feather Mask”, for example, became part of their live repertoire and was subsequently recorded again, while “Captain’s Table” would later provide the title for one of their 1987 12-inch releases. The first cassette was followed by 'The Great Unfolding' on A Real Kavoom in 1986 and 'Consider The River' on M.E.L.T. Music in 1987, before Webcore moved into the vinyl world with their self-titled LP and further 12-inch releases through Jungle Records and A Real Kavoom. 

A Real Kavoom was a small independent imprint operating from the same DIY environment, and Phil Pickering, Webcore’s bassist, was one of the people behind it. Pickering had previously played with Vane alongside Webcore drummer and keyboard player Paul Chousmer. The label had already issued material by the electronic group Goat, a project involving Pickering and former Cuddly Toys member Sean Purcell, before becoming an important outlet for the Webcore circle and related projects. Music Week reported in 1982 that Purcell had formed A Real Kavoom with Pickering and that the label was working through Jungle for distribution. 

A Real Kavoom’s catalogue was small but fairly revealing of the musical environment around Webcore. Alongside the band’s cassettes, the label issued 'My Dreams In Your Hands' by Another Green World in 1984, a project formed by Webcore members Paul Chousmer and Dan Carpenter. It also put out recordings by Phil Pickering under his Eden alias and material connected with Artistic Control. The catalogue therefore moved between psychedelic rock, experimental electronics, ambient music and the more left-field end of the early-80s underground rather than following a conventional genre line.

 
The connection with Another Green World is particularly interesting in the context of 'Cinematography'. Chousmer and Carpenter began that project around the same period, initially creating music for the early-morning chillout sessions associated with the psychedelic/free-festival circuit. Their first A Real Kavoom cassette appeared in 1984, and the project later became involved with Club Dog, the Deptford Crypt, Whirly-Gig and Return to the Source. The overlap between the two projects shows how porous the boundaries were between psychedelic rock, experimental electronics and the emerging chillout culture during the 1980s. 

Webcore remained active through the second half of the decade, eventually issuing 'Webcore' on LP in 1987 and 'Webcore Webcore' in 1988. Members also continued into other projects: Chousmer and Carpenter developed Another Green World, while Mick West, Phil Pickering and Chousmer later formed Zuvuya, whose 1990s recordings moved into ambient and electronic territory and included collaborations with Terence McKenna. Clive Goodwin also became involved with the Ozric Tentacles as a sound engineer, while drummer Nick Van Gelder, who had previously played with the Ozrics, later became associated with Jamiroquai.

 

Label: A Real Kavoom – ARC 4 

Format: Cassette, Album 

Country: UK 

Released: 1984 

Style: Psychedelic Rock, Experimental, Prog Rock, Post-Punk 

 

Tracklist: 

A1 Exit The Fear 

A2 Jack Smack 

A3 Shades Of Light 

A4 Son Of Man 

A5 Webcore Atman 

B1 Poison Without Trace 

B2 Captains Table 

B3 Edentide 

B4 The Feather Mask And This Prophet Gear 

 

DOWNLOAD HERE

The Velvet Crush / The Golden Dawn – Walking Out On Love / The Sun Never Shines [7''] (1989, Raving Pop Blast! Records)

 

The split 7" 'Walking Out On Love / The Sun Never Shines' appeared in 1989 as a limited flexi-disc packaged with the third issue of the Scottish fanzine Fine Art of Shoplifting. Released by the tiny Glasgow-based Raving Pop Blast! Records, it brought together two young bands from opposite sides of the Atlantic who were both part of the late-1980s indie pop underground. At a time when fanzines, mail-order catalogs and flexi-discs played a huge role in spreading new music, releases like this became prized snapshots of a thriving DIY scene. 

 
On the A-side, The Velvet Crush were making one of their earliest appearances on record. Paul Chastain and Ric Menck had recently moved from Chicago to Providence, Rhode Island, after several projects together including Choo Choo Train, The Springfields and Bag-O-Shells. With guitarist Jeffrey Underhill joining the lineup, they launched Velvet Crush with a slightly tougher, power pop-influenced sound that still retained their indie pop roots. Their contribution is a spirited cover of Paul Collins' "Walking Out On Love," played with ringing guitars, punchy rhythms and the melodic energy that would soon become the band's trademark. It served as an early preview of the direction they would take before signing with Bus Stop Records and later attracting wider attention through albums such as 'In the Presence of Greatness' and 'Teenage Symphonies to God'. 

 
The flip side features Glasgow's The Golden Dawn, who had already earned a reputation through a pair of acclaimed singles on Sarah Records. Formed in 1986, the group mixed jangly guitars, feedback and a slightly rough-edged approach that set them apart from many of their contemporaries in the UK indie pop scene. "The Sun Never Shines" captures that balance between shimmering melodies and a raw, almost garage-like atmosphere, fitting neatly alongside the band's Sarah releases while showing a darker, noisier edge. Several members would later continue with projects such as Christine's Cat and Besotted after The Golden Dawn came to an end. 

 
Raving Pop Blast! Records was a small independent label closely connected to the Scottish fanzine network, issuing a handful of limited releases that documented emerging guitar pop acts before many of them reached a larger audience. Rather than chasing commercial success, the label focused on introducing exciting new bands through inexpensive, collectible formats such as flexi-discs, making it part of the vibrant cassette-and-fanzine culture that linked fans and musicians across Britain and beyond during the late 1980s. 

 

 

Label: Raving Pop Blast! Records – rave 16fx 

Format: Flexi-disc, 7", 33 ⅓ RPM, Single Sided 

Country: UK 

Released: 1989 

Style: Indie Pop, Indie Rock, Power Pop 

 

Tracklist: 

A1 The Velvet Crush – Walking Out On Love 

A2 The Golden Dawn – The Sun Never Shines 

 

DOWNLOAD HERE

UA – Cantante De Opera / Maldoror [7''] (1982, Hispavox)

 

UA's only 7-inch single, 'Cantante De Opera / Maldoror', appeared in 1982 on Hispavox, capturing a brief but memorable moment in the early Spanish new wave and synth-pop scene. The project revolved around Raimundo M. Luengo, who handled vocals, keyboards and songwriting, while the recording itself featured a studio line-up including operatic singer Luna Estebaranz, keyboard player Juan Antonio García, bassist Celestino Charro and drummer Miguel Ángel Guillermo. Although UA existed as a band during its earliest live appearances, Raimundo increasingly became its driving force, eventually continuing alone under the name BIT-32 after relocating to Valladolid in the mid-1980s. 

The A-side, "Cantante De Opera", had already begun circulating as a demo before its official release and quickly attracted attention thanks to its unusual combination of cold synthesizers, mechanical rhythms and soaring operatic vocals. Earlier live versions had featured Teresa Verdera, who had studied classical singing, while the single introduced Luna Estebaranz as the soprano voice, giving the recording its distinctive theatrical atmosphere. At a time when many Spanish synth-pop groups were looking towards British electronic music, UA mixed those influences with an unexpected dose of dramatic classical singing, creating a sound that stood apart from most of their contemporaries. The song received a fair amount of radio airplay and became something of an underground favourite despite dividing opinion among critics and fellow musicians, with some praising its originality while others found its ambitious style excessive. 

The B-side, "Maldoror", revealed another side of Raimundo's writing, leaning further into dark electronics and experimental textures. Its title references "Les Chants de Maldoror", the nineteenth-century surreal and transgressive literary work by Comte de Lautréamont, fitting perfectly with the fascination many early 1980s underground artists had for avant-garde literature, performance and unconventional imagery. Together, both tracks offered a snapshot of a project that refused to fit comfortably into the commercial synth-pop mould developing in Spain at the time. 

The single arrived through Hispavox, one of Spain's most important record companies, whose catalogue during the early 1980s ranged from established pop stars to emerging acts connected with the explosion of new wave and La Movida. Alongside artists such as Alaska y Los Pegamoides, Radio Futura and other adventurous signings, the label occasionally took chances on more experimental projects like UA, even if they fell outside mainstream expectations. 

Despite the originality of 'Cantante De Opera / Maldoror', sales were modest and Hispavox soon dropped its support for the project. UA disappeared shortly afterwards, although Raimundo M. Luengo returned several years later under the original name to record the 1987 mini-LP 'España Es Un Planeta', this time with a renewed line-up that included Agustín Villafáñez, María Luisa Muñoz "May" and former Aviador Dro keyboard player Mario Gil. The 1982 single nevertheless remains the recording most closely associated with UA, standing as an unusual blend of synth-pop, theatrical performance and early industrial-tinged experimentation within the Spanish underground. 

 

Label: Hispavox – 45-2231 

Format: Vinyl, 7", 45 RPM, Single 

Country: Spain 

Released: 1982 

Style: New Wave, Synth-pop, Minimal. Movida Madrileña 

 

Tracklist:  

A Cantante De Opera 3:33 

B Maldoror 3:12 

 

DOWNLOAD HERE

The Teardrops – Final Vinyl [LP] (1980, Illuminated Records)

'Final Vinyl', released in January 1980 on Illuminated Records, was the only full-length album by Manchester's short-lived The Teardrops. By the time it appeared, the band had already gone through several line-up changes and had evolved far beyond its early punk roots. What began in 1978 as a side project for Buzzcocks bassist Steve Garvey gradually became a vehicle for a more adventurous mix of new wave, art rock, psychedelia and post-punk experimentation, making 'Final Vinyl' feel less like a straightforward debut and more like the final chapter of an already complicated story. 

The Teardrops were originally put together by Steve Garvey alongside Trevor Wain, John Key, Dave Brisbane and drummer John Donelly. Their first recordings appeared on the 'In and Out of Fashion' EP, released by Bent Records in 1978. Soon afterwards the line-up shifted dramatically with the arrival of Tony Friel and Karl Burns, both formerly of The Fall, and the band re-recorded much of the same material for the 'Leave Me No Choice' EP. A year later they released the 'Seeing Double' single, although there has always been some uncertainty over whether Garvey actually played on that recording despite being credited in some discographies. 

By the sessions for 'Final Vinyl', the group had changed once again. Trevor Wain remained while Helen Barbrook and Dave Price joined the fold, bringing fresh ideas to a record that embraced experimentation without abandoning the band's punk instincts. Several earlier songs were revisited in new forms. "Everything's O.K." was a reworking of "Teardrops and Heartaches," originally the B-side of 'Seeing Double', while "Teenage Vice" returned from the band's early EPs with a different arrangement that reflected how much their sound had developed over just a couple of years. 

The album has often been described as an overlooked late-'70s UK new wave and art rock curiosity. Instead of sticking to one style, it jumps between energetic power pop, angular post-punk, psychedelic textures and quirky pop ideas. The opening track, "Everything's O.K.," bursts out with a sharp, power-punk energy that recalls Garvey's work with Buzzcocks, while "No One Is Innocent" leans into more angular art rock territory. "Hey Count De Bok Bok" throws in funky rhythms and playful whistle effects, "Teenage Vice" and "Some People" drift into psychedelic territory, and the notorious "Fackin Kant" delivers schoolboy humour wrapped in pogo-punk attitude. The result is a messy but surprisingly creative blend of new wave, psych and arty pub rock that constantly shifts direction from one track to the next. 

Steve Garvey was already well known as the bassist of Buzzcocks, one of Manchester's defining punk bands, while Tony Friel and Karl Burns had both been part of the earliest incarnation of The Fall before joining The Teardrops. Trevor Wain played an increasingly important role as the band's line-up evolved, helping steer the material towards the more adventurous sound heard on the album. Those connections placed The Teardrops right in the middle of Manchester's fertile late-1970s underground, where punk bands were quickly branching out into stranger and more experimental territory. 

The album appeared on Illuminated Records, an independent British label that became known during the late 1970s and early 1980s for releasing adventurous post-punk, industrial, experimental and alternative music. The label's catalogue sat comfortably alongside the era's DIY ethos, giving space to artists who didn't fit neatly into commercial expectations, making it a natural home for an album as unconventional as 'Final Vinyl'. 

Not long after the album's release, The Teardrops came to an end. They contributed the song "Colours" to the Manchester compilation 'Identity Parade' in 1980, documenting another small piece of the city's thriving independent scene. Some of the musicians continued with the short-lived Bok Bok, who released the single "Come Back To Me" later that same year, while 'Final Vinyl' remained the band's only full-length statement and a snapshot of Manchester's restless post-punk creativity at the turn of the decade. 

 

Label: Illuminated Records – JAMS 2 

Format: Vinyl, LP, Album 

Country: UK 

Released: 1980 

Style: New Wave, Post-Punk 

 

Tracklist: 

A1 Everythings O.K. 

A2 No One Is Innocent 

A3 Hey Count De Bok Bok 

A4 Teenage Vice 

B1 Meet The Teardrops 

B2 Some People 

B3 Slow Glass 

B4 Fackin Kant 

B5 Time To Go 

 

DOWNLOAD HERE

The Somerville Players – Volume One [7''] (1996, Lissy's Records)

 

Released in 1996 by the small UK independent Lissy's Records, 'Volume One' was a one-off collaboration that brought together musicians from very different corners of the international underground scene. The 7-inch contains two tracks, with the first side -a cover of Faust's "Flashback Caruso"- built around a sparse mix of acoustic instruments, percussion, bass and Barbara Manning's unmistakable vocals, while the flip offers an unexpected, noisy interpretation of Black Sabbath's "Supernaut." The contrast between the two songs gives the record a distinctive identity, moving from intimate, folk-leaning textures to raw experimental rock in just a few minutes. 

 
The lineup itself makes 'Volume One' especially interesting. Barbara Manning had already established herself as a key figure in the American indie rock scene through her solo work and bands such as World of Pooh. Jason Loewenstein was best known as the bassist and songwriter in Sebadoh, bringing his trademark lo-fi sensibility to the project. Bob Fay came from the same extended circle, having played drums with Sebadoh during some of the band's most influential years. From New Zealand came Roy Montgomery, whose work with The Pin Group, Dadamah and numerous solo recordings helped define the country's atmospheric guitar underground. Completing the lineup was Anne Slinn, whose contributions tied together this unlikely international gathering. 

 
Rather than functioning as a permanent band, The Somerville Players existed as a collaborative project between friends and like-minded musicians. Their different backgrounds -American indie rock, New Zealand experimental guitar music and underground folk-inspired songwriting- created a recording that felt spontaneous rather than carefully mapped out. The performances have an informal quality, as if they were captured during a relaxed session where everyone brought their own musical vocabulary into the room. 

 
Lissy's Records was a tiny London-based independent label that specialized in limited-edition releases by artists connected to the international DIY and alternative music community. The label never operated on a large commercial scale, instead focusing on unusual collaborations and releases that sat comfortably outside the mainstream. 'Volume One' fits that approach perfectly, pairing respected underground musicians in a project that was never intended to become a long-running group but instead serves as a snapshot of a particularly fertile network of artists active during the mid-1990s. 

 

 

Label: Lissy's Records – liss eighteen 

Format: Vinyl, 7"

Country: UK 

Released: 1996 

Style: Indie Rock 

 

Tracklist: 

A Flashback Caruso 

B Supernaut 

 

Notes: 

There are (at least) 4 different color covers for this release: red, purple, beige, and green. 

 

DOWNLOAD HERE

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 

 

DOWNLOAD HERE

Plain Characters – I Am A [7''] (1977, Rouge)

 

Plain Characters emerged from the first wave of the British post-punk underground, bringing together vocalist Colin Tucker, guitarist Paul Johnstone, bassist John Hyde and drummer Tim Broughton. Formed in the UK during the late 1970s, the band mixed the nervous energy of punk with the sharper edges and melodic ideas that were beginning to shape the new wave movement. Their sound balanced angular guitars, driving rhythms and an understated sense of atmosphere, placing them somewhere between the DIY punk scene and the more experimental direction many independent bands were taking after 1977. Some of the members would later be connected with The Gadgets, another band that explored similar territory in the years that followed. 

"I Am A" was the group's debut single, backed with "Very Peculiar Julia" and issued on Rouge Records. Although the labels carry a 1977 copyright date, the exact commercial release date has long been debated among collectors, with some sources suggesting it may not have reached wider circulation until early 1979. Either way, the record captures that fascinating transition period when British punk was already branching out into something more adventurous, with bands experimenting beyond the raw three-chord template while still keeping the directness and urgency of the original movement.

 
Rouge Records was a short-lived imprint linked to the De Wolfe music publishing company rather than a conventional independent label. Only a handful of singles appeared on Rouge, making its catalogue surprisingly obscure and highly collectible. 'I Am A' is generally regarded as the label's earliest and best-known release, complete with its distinctive fold-out picture sleeve. The unusual connection between a music library publisher and an emerging post-punk band gives the single an interesting place in the history of late-1970s British independent records.

 
Plain Characters continued recording after the Rouge release, setting up their own DIY imprint, Final Solution Records, for the 1979 single 'Man In The Railings' before eventually releasing the album 'Invisible Yearnings' in 1981. Those later recordings expanded on the ideas first heard on 'I Am A', moving further into moody post-punk while retaining the crisp guitar work and melodic songwriting that had already begun to define the band's style on this early single. 

 

Label: Rouge – RMS/PC 1 

Format: Vinyl, 7", Single 

Country: UK 

Released: 1977 

Style: Post-Punk, New Wave, Art Punk 

 

Tracklist: 

A I Am A 3:44 

B Very Peculiar Julia 3:26 

 

DOWNLOAD HERE

The Orson Family – Bugles, Guitars, Amphetamines [LP] (1985, Criminal Damage Records)

 

The Orson Family's 'Bugles, Guitars, Amphetamines' arrived in 1985 on the independent British label Criminal Damage Records, capturing the band's raw stage sound at a time when the UK underground was overflowing with bands mixing rockabilly, punk, goth and garage rock. Rather than polishing their material in the studio, the album documented the group's energetic live performances, where frantic guitars, pounding rhythms and dramatic vocals gave their songs a darker edge than many of their psychobilly contemporaries. 

Despite the name, The Orson Family was not actually a family. The band came together in England around 1982 and revolved around vocalists and guitarists Vernon, Ruby and John Orson, backed by Vincent on bass and David O. on drums, who was also known as Brewster. Vernon and Ruby were a couple, engaged but never married, and the lineup was later expanded with trumpet player Kevin, better known by the nickname Elmer. Their unusual blend of psychobilly, straight rock 'n' roll and gothic rock set them apart from the growing wave of bands emerging from the British underground during the early 1980s. 

Their influences reflected that broad musical approach. The band drew inspiration from classic rock 'n' roll artists such as Hank Williams, Link Wray, Bunker Hill, Gene Vincent and Eddie Cochran, while also taking cues from Lou Reed, The Jam and The Cramps. Those references came together in a sound that mixed twanging guitars, driving rhythms, dark melodies and occasional brass arrangements without losing its raw, punk-influenced energy. 

Before 'Bugles, Guitars, Amphetamines', The Orson Family had already built a small but interesting catalogue. They debuted with a self-released three-track EP, followed by the six-track mini-LP 'The River of Desire' and the 12-inch 'No-One Waits Forever'. The live album became another snapshot of the band's brief career before they returned with the single 'The Sweetest Embrace', recorded after original vocalist Skully had left, or been dismissed from, the group. 

Criminal Damage Records was a small independent label closely associated with Britain's alternative underground during the first half of the 1980s. Its catalogue included punk, psychobilly and garage-oriented releases, making it a natural home for a band like The Orson Family, whose music comfortably crossed genre boundaries while remaining firmly rooted in the DIY spirit of the era. The label helped preserve recordings from groups operating well outside the mainstream, documenting a scene where live performances and limited-press vinyl releases were often the main way bands reached their audience. 

 

Label: Criminal Damage Records – CRI-LP-127 

Format: Vinyl, LP 

Country: UK 

Released: 1985 

Style: Rockabilly, Garage Rock 

 

Tracklist: 

A1 Crawdad Hole 

A2 You Shake My Soul 

A3 Nowhere Train 

A4 River Of Desire 

A5 Deliverance 

B1 No One Waits Forever 

B2 Big Red Gretsch 

B3 Rockin Daddy 

B4 Rockin Fool 

B5 Girl Can't Dance 

 

DOWNLOAD HERE

Naif – Atlas [2xLP] (1982, Filobus Records)

By the beginning of the 1980s, Barcelona had become a fertile meeting point for musicians working far outside the boundaries of conventional rock or jazz. Among the most active figures on that scene was Víctor Nubla, a restless composer, clarinetist and conceptual artist whose work would become closely associated with the city's experimental underground. Together with bassist and multi-instrumentalist Enric Cervera, he launched Naif, a collaborative project that brought together musicians from different backgrounds to explore free improvisation, contemporary composition, folk influences and surreal humor without worrying about stylistic labels. 

 
Released in 1982 by Filobus Records, 'Atlas' perfectly captures that adventurous spirit. Filobus was a small independent Barcelona label that specialized in experimental and avant-garde music, giving artists complete freedom to pursue ideas that fell well outside the commercial mainstream. At a time when Spain's independent scene was rapidly expanding after the political transition, the label became an important outlet for adventurous recordings that blended improvisation, electronics, jazz, contemporary classical music and sound experimentation. 

 
Although Naif revolved around Víctor Nubla and Enric Cervera, 'Atlas' was very much a collective effort. Nubla contributed clarinets, cornet, organ, paidophon, synthesizer, dulzaina, whistle and vocals, while Cervera played double bass, electric piano, synthesizer, percussion, whistle and vocals. Guitarist Albert Giménez was another key figure throughout the sessions, joined by a wide circle of collaborators including Foguete on percussion and vocals, Néstor Munt on trumpet and flugelhorn, Queca Hosta on vocals, Oriol Pons de Vall on alto saxophone, Juan José Ordinas on guitar, Claudio Zulián on piano and the intriguingly credited "spectral pianist" Conrad Setó. Together they created an album that constantly shifts in mood and instrumentation, with each musician adding another layer to its remarkably rich sound.

 
Spread across two LPs, 'Atlas' runs for roughly eighty-five minutes and is built around four extended compositions, each occupying an entire side of vinyl. Rather than presenting variations on a single idea, every piece explores its own musical territory. The opening side is the most approachable, weaving together contemporary chamber music, jazz, acoustic textures and electronic touches before gradually drifting into more abstract territory. From there the record becomes increasingly unpredictable, moving through minimalist passages, unsettling synthesizer textures, sparse percussion, buzzing brass, free-flowing saxophone improvisations and unexpected vocal interludes. Another side dives headfirst into a dense collision of fuzz guitar, trumpet, Hammond organ, percussion and uncompromising free jazz, while the closing piece slowly dissolves into looser, almost weightless structures where electronics and ethereal female vocals emerge from the increasingly spacious arrangements. 

 
Over the years, 'Atlas' has earned a reputation among collectors and fans of experimental music as one of the hidden gems of Spain's avant-garde scene, with some listeners even describing it as one of the most provocative albums of the 1980s. That reputation comes from its refusal to settle into a single style. Instead, it embraces constant change, inviting the listener through an ever-shifting landscape where contemporary composition, improvisation, electronics, folk instruments and free jazz all coexist without clear boundaries. It remains a remarkable document of Barcelona's creative underground at a time when musicians were discovering just how far they could push their ideas. 

 

 

Label: Filobus Records – FD 11 28 

Format: 2 x Vinyl, LP, Album, Limited Edition, Numbered 

Country: Spain 

Released: Oct 9, 1982 

Style: Jazz Fusion, Prog Rock, Experimental, Avant-garde Jazz, Free Improvisation, ECM Style Jazz

 

Tracklist: 

Cara Fina 

A1 Cristall 3:24 

A2 Paisatje Urba 8:33 

A3 Preludi Europeu 0:39 

A4 Dos Ciclistas 1:28 

A5 El Camp De Les Cireres 8:04 

Cara Dura 

B1 Cristall N° 2 5:29 

B2 Pirri 6:30 

B3 Nuovo Cante (At The Sanatorium) 4:58 

B4 El Mandalin 3:31 

CarAmba 

C1 Tema Lent 1:48 

C2 El Somni Dels Despertadors 1:25 

C3 Mediterrànea (La Musa Dispersica) 5:21 

C4 Al Oeste Del Eden 0:32 

C5 Un Espejo Azul 10:54 

C6 Enigmatica Providencia 0:16 

En Cara Gràcies 

D Work Zone 18:19 

 

DOWNLOAD HERE