Released in 1992 on ERL Records, the 7-inch single 'Mosquito' introduced a loose collaboration between three musicians from the American underground: Steve Shelley, drummer for Sonic Youth, Jad Fair, the offbeat singer and guitarist behind Half Japanese, and Tim Foljahn, guitarist and songwriter associated with Two Dollar Guitar. The record, also listed as 'Down', features four tracks: “Down,” “Pretty Lil’ Thing,” “Fat Man Walks” and “Oh No, Oh Yes, Oh No.”
Shelley had become a central figure in the New York noise-rock scene through his work with Sonic Youth, joining the group in 1985. Fair had spent years developing Half Japanese's deliberately unpolished approach to songwriting, built around eccentric lyrics, unconventional melodies and a do-it-yourself attitude. Foljahn brought a different sensibility through Two Dollar Guitar, whose music drew on blues, country and stripped-down alternative rock. Their collaboration gave Mosquito room to move between these influences without sticking to a single style.
The 1992 single captures the informal, experimental side of the project, with loose arrangements, unusual vocal delivery and a homespun approach to blues and roots music. Rather than following the dense, distorted sound associated with Sonic Youth, Shelley plays within a more ramshackle setting that leaves space for Fair's peculiar vocal phrasing and Foljahn's guitar work. The band's interest in rough textures and unconventional song structures would continue across its subsequent releases.
Although Mosquito's best-known albums appeared in 1993, the ERL Records single belongs to the project's earlier phase. The group went on to release 'Oh No Not Another Mosquito My House Is Full of Them!' through Psycho-Acoustic Sounds and 'Time Was' through Smells Like Records, followed by 'Cupid's Fist' in 1994. The later material explored a similarly unpredictable mixture of alternative rock, country, blues and fragmented experimental pop.
Label:
ERL Records – ERL-009, ERL Records – ERL #009
Format:
Vinyl, 7", 45 RPM
Country:
US
Released:
1992
Style:
Indie Rock, Lo-Fi, Noise Rock, Punk Blues, Cowpunk
Released in 1985 on Titan Records, 'Surfin’ Kansas City' was the sole 7-inch single by Lawrence Lange, a New York-based project that took the familiar language of surf rock and transplanted it somewhere far removed from the Pacific coastline. The joke was built into the title: Kansas City and its Midwestern surroundings were hardly known for their surf breaks, but that geographical mismatch provided the perfect setup for a playful musical tribute. Rather than simply turning the idea into a novelty record, Lange and the accompanying musicians approached the material as a knowing pastiche, drawing on the sounds and imagery associated with instrumental surf music while keeping the performance lighthearted.
The record was built around Lawrence Lange, who handled guitar, lead vocals and backing vocals, alongside Hy Mayer on drums, Dean Vallis on bass, Dianne O’Neill on piano and Mark Smith on backing vocals. Lange’s guitar work provided the natural centre of the arrangement, while the rhythm section supplied the forward motion associated with surf and early rock ’n’ roll. The piano and vocal contributions broadened the sound beyond a strictly instrumental surf revival, giving the single a slightly offbeat character. Its references to surf culture worked as part of the musical joke, with the group leaning into the style rather than treating it as a faithful period reconstruction.
The single was recorded at Playwright Presentations Inc. in New York City and paired “Surfin’ Kansas City” with “Close Your Eyes” on the B-side. The flip offered a different side of the project, moving away from the surf-pop concept towards a melodic piano-led ballad, with a softer arrangement and an emphasis on vocal harmonies. Together, the two tracks showed how Lange could draw on different strands of American pop, from surf-inspired guitar music to the tuneful power pop that remained active in the independent scene during the 1980s.
The release appeared on Titan!, a small American label associated with the power-pop scene and its network of melodic, guitar-driven records. During the mid-1980s, labels such as Titan! helped keep the sounds of 1960s pop, British Invasion groups and early power pop in circulation, even as mainstream rock moved in other directions. “Surfin’ Kansas City” later reached a wider audience among collectors through its inclusion on 'Shake Some Action, Volume 4: USA', a compilation devoted to American power pop, mod and new wave rarities from 1975 to 1986.
The split 7-inch pairing King Snake Roost and Bloodloss brought together two Australian underground acts whose music grew out of the country's punk and post-punk scenes. Released in 1988 on Aberrant Records, the single featured versions of “School's Out” and “Nutbush City Limits”, songs originally associated with Alice Cooper and Ike & Tina Turner, respectively. Both tracks offered an opportunity to approach familiar rock material from the perspective of Australia's increasingly abrasive noise-rock underground.
Formed in Adelaide in 1985, King Snake Roost relocated to Sydney in 1987, developing a sound built around distorted guitars, raw vocals and an unruly mixture of punk, blues and noise. Guitarist Charlie Tolnay, previously a member of Adelaide punk outfit Grong Grong, was central to the group's history and also connected King Snake Roost with the wider local underground. The band released its debut album, 'From Barbarism To Christian Manhood', through Aberrant in 1987, followed by 'Things That Play Themselves' in 1988. Their music placed them alongside Australian noise-rock contemporaries such as feedtime and Lubricated Goat, while their live appearances with American groups including Big Black, Sonic Youth and Mudhoney helped connect the Australian scene with the international underground.
Bloodloss had formed in Sydney in the early 1980s, with Sharron Weatherill, Renestair E.J., Jim Selene and Martin Bland among the original members. After an early period of activity and a spell under the name Zulu Rattle, the group reformed in Adelaide in 1986. The new line-up included Charlie Tolnay on guitar, creating a direct link with King Snake Roost. Bloodloss combined post-punk abrasion with blues, jazz and primitive rock influences, and its 1988 album 'Human Skin Suit' appeared around the same time as the split single. Their changing line-ups and connections with musicians from bands such as Lubricated Goat reflected the close-knit, frequently overlapping nature of Australia's underground music community.
Aberrant Records was closely associated with this Adelaide and Sydney network, releasing records by King Snake Roost and other Australian punk and noise-rock acts. Its catalogue documented a strain of independent music that favoured rough-edged production, unconventional songwriting and uncompromising performances over mainstream polish.
Label:
Aberrant Records – Crack 1
Format:
Vinyl, 7", 45 RPM, Single
Country:
Australia
Released:
1988
Style:
Punk, Garage Rock, Noise Rock, Pigfuck
Tracklist:
A King Snake Roost – School's Out
B Bloodloss – Nutbush City Limits
Notes:
Released by Aberrant Records though there is no label logo nor any further information on the release itself.
This single was given away free with issue #22 of the Australian 'B Side' magazine/fanzine. It doesn't have a cover date but it came out in the first quarter of 1988. Copies of the single alone were also available (later) from Aberrant. As noted, there is barely any information on the labels or picture sleeve but this is rectified in the magazine which provides lineups and recording dates.
King Snake Roost track recorded Sept 6 1987 at Sound Barrier Studios, courtesy of Aberrant Records.
Bloodloss track recorded July 1987 at Soundtrack, courtest of Greasy Pop Records.
Released in 1988 on Iron Press, 'Collisions' belongs to the cassette-based side of Jim Shepard’s musical output, rooted in the underground scene of Columbus, Ohio. Shepard was best known for founding Vertical Slit in the late 1970s and later forming V-3, but his solo recordings gave him plenty of room to explore rougher, more experimental territory outside the usual band format. His approach combined abrasive guitar, feedback, unconventional song structures and lo-fi recording techniques, often blurring the line between rock music, noise and sound collage.
Iron Press was closely associated with Shepard’s independent recording activities, providing an outlet for material that circulated far from the mainstream record industry. Small-run cassettes and self-produced releases were an important part of his working method, allowing him to document ideas and experiments without the restrictions of conventional studio production. This DIY approach also connected his solo work with the wider Columbus underground, where musicians moved between punk, art-rock and experimental projects.
By the late 1980s, Shepard had spent years developing this distinctive recording style through Vertical Slit and a growing body of solo material. His subsequent work with V-3 carried many of the same elements into a band setting, combining jagged guitar playing and unconventional arrangements with a more recognisable rock framework. Shepard continued recording prolifically until his death on October 16, 1998, leaving behind a large catalogue of releases, demos and recordings that extended well beyond his better-known projects.
Label:
Iron Press – none
Format:
Cassette, Compilation
Country:
US
Released:
1988
Style:
Lo-Fi
Tracklist:
Collisions
A1 The Voice
A2 Collisions Cut-Up
A3 Union View
A4 Hostpital.. Hostpital
A5 Bedview
A6 All Dreams Must End
A7 The Elevator
A8 In The City Of Union (There Are No Trains)
Strange Rifle Range
B1 Clay Figurine
B2 Something About The Queen
B3 Bad Taste
B4 Francis Bacon
B5 Frontier Radio
B6 A Crucial Glimpse Into The Nearest Hole
B7 Havana Whore
B8 Havana Sandwich
B9 The Chinese Whores Living In Havana Beckon The Sailor Boys
B10 You're In Pieces Fighting Life
B11 The Great Collapsing Head Finale
B12 One Minute She's On
B13 Acid Bath
Notes:
Cassette came with a novella called "Collisions", the 2nd installment in the "Drapez" trilogy. Although the release is referred to as "Collisions", the tracklisting on the cover makes a distinction between "Collisions" on side A and "Strange Rifle Range" on side B.
Tracks B2-B3, B5-B11 & B13 recorded in an abondoned bomb shelter in Munich.
Formed in Wisconsin by Darren Brown during a period of inactivity for Boy Dirt Car, Impact Test provided another outlet for the industrial experiments associated with the American underground scene of the late 1980s and early 1990s. Karl J. Paloucek, also involved with Boy Dirt Car, joined Brown in the project, carrying a connection to the group’s earlier work into a different musical setting.
Released in 1992, 'Kill Kill Kill' appeared through RRRecords and Damned Ship Works, two independent imprints connected with the experimental underground. Based in Lowell, Massachusetts, RRRecords was run by Ron Lessard and had built a substantial catalogue of noise, industrial and experimental music since the 1980s, including releases by American underground artists and Japanese noise musicians. Its catalogue frequently explored the boundaries between conventional records and more unconventional sound experiments.
Damned Ship Works provided a further independent outlet for the LP, placing Impact Test within the small-label network that sustained industrial and experimental music outside the mainstream record industry. The collaboration between the two imprints reflects the distribution networks through which obscure American projects circulated their work during this period, with releases often reaching listeners through specialist shops, mail-order catalogues and connections between underground musicians.
Label:
RRRecords – RRR 083, Damned Ship Works – DS 08, RRRecords – R R R #83
Recorded and released in 1986 on Berlin’s Zorro label, 'Kaaba Kaaba Hey / Only Time Will Tell' brought together two very different sides of the German hardcore scene. Hostages Of Ayatollah came from Velbert, near Düsseldorf, and had been active since 1981, while Manson Youth were a short-lived Berlin project whose members would soon become better known through Jingo De Lunch and other groups. The record appeared at a time when the German DIY network was increasingly connecting local hardcore bands with scenes elsewhere in Europe and North America, with fanzines, mailorder catalogues, independent labels and live exchanges doing much of the work. The split was also reviewed in the November 1986 issue of Maximum Rocknroll, giving both groups some exposure outside Germany.
Hostages Of Ayatollah had settled into the Jah-Jah, Jacho, Micha and Torso line-up by 1982. Their early sound was heavily influenced by American hardcore and skate punk, but they generally worked with German lyrics and developed a fast, tightly played style that stood apart from more traditional Deutschpunk. Their '…Aha' demo appeared in 1983, followed by the 'Hallo Nachbar' EP in 1984, which helped them move from the local Velbert scene into a much wider network of shows around Germany and beyond. By the time of the split LP they were playing regularly in alternative youth centres, squats and autonomous spaces, and had become a familiar name in the German hardcore circuit.
The Hostages side of the LP was recorded during a difficult period for the band. Their momentum from the previous couple of years was beginning to run into the more mundane problems of work, training and military or civilian service, which made rehearsing and playing regularly harder. The recording was also badly affected by the mixing: guitarist Jacho later recalled that the whole album was mixed in roughly an hour and a half, and the original sound was considered so poor that the recordings were eventually remixed many years later. The material still documents the group's aggressive, thrashy approach, with Jah-Jah's vocals pushed over Jacho's guitar, Micha's bass and Torso's driving drums.
Manson Youth were a rather different proposition. They were essentially a short-lived Berlin project involving Tom Schwoll, Sepp Ehrensberger, Finne and drummer Uwe, with Canadian-born singer Yvonne Ducksworth joining the line-up. Ducksworth was already involved with Combat Not Conform, while Schwoll and Ehrensberger had connections with other Berlin punk groups. The band did not spend much time functioning as a conventional live group: much of the instrumental material was recorded before Ducksworth worked out her vocal parts from tapes, and Sepp joined around the studio sessions. Her voice became a particularly distinctive part of the recordings, moving between urgent hardcore delivery, unusual phrasing and more melodic passages.
The Manson Youth recordings are especially interesting because they sit directly between the early Berlin hardcore scene and what followed. After the split with Hostages Of Ayatollah, Ducksworth, Schwoll and Ehrensberger went on to form Jingo De Lunch in 1987 with Henning Menke and Steve Hahn. Schwoll had also been involved with Combat Not Conform, while Ehrensberger had played in Vorkriegsjugend and Zerstörte Jugend. The Manson Youth material therefore captures a brief moment just before several of these musicians moved into a more established Berlin punk and hardcore network.
Zorro Records was based in Berlin and operated very much within the independent infrastructure of the period. Contemporary Trust fanzine adverts list Zorro releases alongside records by Vorkriegsjugend and other international and German hardcore acts, with mailorder handled from Petra Ostertag's address in Berlin-Kreuzberg. The label's catalogue reflects the way small German imprints functioned as part of a wider DIY network rather than simply as conventional record companies, putting local bands onto vinyl and distributing records through fanzines, mailorder and independent shops.
The split's importance within that network is also reflected in the contemporary reception. Maximum Rocknroll described Hostages Of Ayatollah as pounding, tight and forceful, while singling out Manson Youth for their guitar work, urgent female vocals and lyrics. The record also circulated beyond Germany: it later appeared in John Peel's 1987 playlist, where "Der Spion" from the Hostages Of Ayatollah side was identified as coming from the shared LP.
The four-track 'Images Of Delusion' 7" appeared on Safari Records at the end of 1979, although some discographies and later reissues give 1980. The original UK pressing is SAP 2, with “Images Of Delusion” and “Pre Set Future” on the A-side and “Last Day On Earth” and “Plastic People In Stereo” on the B-side. The record was issued as a 33⅓ rpm 7" EP and was listed among the new British releases dated 14 December 1979.
Genocide were a short-lived British electronic/new wave group built around Greg Jung, Mark Schiller and Teoman Irmak. The available documentation is pretty sparse, but the three names are consistently associated with the record, while the songwriting credits identify Jung and Irmak on the four tracks. The sound sits in that fascinating period when punk's DIY attitude was beginning to intersect with cheap synthesizers, primitive electronic textures and increasingly detached forms of new wave. “Images Of Delusion” in particular later found a place in compilations documenting the early synth-pop period, including Cherry Red's 'Musik Music Musique – 1980: The Dawn Of Synth Pop'.
Safari Records provided an interesting home for a release like this. The London independent label had been established in 1977 by Tony Edwards, Andreas Budde and John Craig, with Edwards bringing experience from his work with Deep Purple. Safari operated across pop, punk and new wave rather than sticking to a single style, releasing records by acts such as Wayne County & The Electric Chairs, The Boys and Toyah alongside more obscure material. Its distribution initially involved Pye and later Spartan, while by 1979 the label was actively presenting itself as an independent alternative to the major-label system.
For a group with so little documented history, the four tracks on 'Images Of Delusion' are essentially the complete recorded statement of Genocide. There was no substantial catalogue to follow, making the Safari EP a particularly compact document of that late-70s British moment when synthesizers, experimental recording techniques and the stripped-down mentality of new wave were beginning to overlap.
Label:
Safari Records – SAP 2
Format:
Vinyl, 7", 33 ⅓ RPM
Country:
UK
Released:
Nov 1979
Style:
New Wave, Electro, Synth-pop, Minimal Synth
Formed in Washington, D.C. in 1988, Fidelity Jones grew out of the local Dischord circle at a point when the city’s punk scene was already moving well beyond the stripped-down hardcore sound of the early ’80s. The group was built around Tomas Squip Jones on vocals and Dug E. Bird on bass, both of whom had previously played in Beefeater. After Beefeater broke up, the two began working on a new project and became early residents of the Positive Force House, where they started playing with fellow residents Maria Jones and Jerry Busher. Maria soon left to join the Holy Rollers, and guitarist Andy Charneco came into the second line-up. Charneco had already been involved with several D.C. underground groups, including White Boy and On Beyond Zebra.
That line-up of Tomas Squip Jones, Andy Charneco, Dug E. Bird and Jerry Busher recorded 'Piltdown Lad', Fidelity Jones’ debut EP, at Inner Ear Studios in 1989. The record contains six tracks: “The Emperors’,” “He Lives,” “Where Are We Now,” “Fountain of Youth,” “Feeling the Screw” and “Force of Evil Plans.” Andy Charneco and the band handled production, while the recording took place at Inner Ear, one of the central studios in the D.C. underground network.
Musically, 'Piltdown Lad' reflects the more eclectic direction that was developing around Dischord in the second half of the ’80s. Fidelity Jones were still connected to the punk infrastructure of Washington, but their approach was less tied to the short, aggressive hardcore format associated with the label’s earliest records. Tomas Squip Jones also brought a distinctive lyrical perspective to the group; “He Lives,” for example, deals explicitly with religious themes. A contemporary Washington Post review from January 1990 described the song as more openly religious than Jones’ earlier work and also singled out “Feeling the Screw” for its Elvis Costello-style vocal approach.
The record appeared as Dischord 041 in 1989, with the label also issuing it on cassette. It was followed by the 'Venus/Destructor' single in 1990, and Fidelity Jones broke up in the spring of that year. The band also appeared on the 'State of the Union' benefit compilation, connected to Positive Force D.C., and later on '20 Years of Dischord'. Their live activity included a 1989 appearance with Fugazi and Lungfish at Positive Force’s Alternatives Festival in Washington.
The Positive Force connection is particularly relevant to the setting around 'Piltdown Lad'. Positive Force D.C. was a punk activist group that organized benefit concerts, protests and other projects, and its house became an important meeting point for musicians from the Washington scene. Dischord’s own history places Fidelity Jones among a wave of late-’80s D.C. groups that included Shudder to Think, Three, Jawbox, One Last Wish, Lungfish, Nation of Ulysses, Holy Rollers and Fugazi. This was also the period when Dischord was handling more releases than ever before and had started Dischord Direct to distribute D.C. records more widely.
Dischord Records had begun much earlier, in 1980, when Ian MacKaye and Jeff Nelson decided to document their recently disbanded group Teen Idles. The first release, 'Minor Disturbance', became Dischord #1, and the label gradually expanded into a way of documenting the Washington punk community rather than simply operating as a conventional record company. By the late ’80s, that network had broadened considerably, and 'Piltdown Lad' sits within this later period when the label was documenting a much wider range of sounds and approaches coming out of D.C.
Label:
Dischord Records – Dischord 41
Format:
Vinyl, 12"
Country:
US
Released:
1989
Style:
Hardcore Punk, Indie Rock, Post-Hardcore, Post-Punk, Funk Rock, Hard Rock, D.C. Hardcore
Formed in Christchurch around singer, songwriter and guitarist Jay Clarkson, The Expendables grew directly out of They Were Expendable, the group Clarkson had started in 1982 after her earlier involvement with The Playthings. When David Toland, Donna Sheen and Nick Strong left They Were Expendable in late 1983, Clarkson rebuilt the group with bassist Michael Kime and drummer Robert Key, shortening the name to The Expendables. This trio recorded 'In Between Gears', following the earlier 'Big Strain' EP and the 1984 single 'The Flower / Man With No Desire'.
'In Between Gears' appeared on Flying Nun in 1985 as a mini-LP, catalogue number FN029. The record contains eight tracks: “Say Cheese”, “Doesn't Matter”, “Caine”, “No Blame”, “Wrong Key”, “Cargo”, “Head For The Hills” and “Inbetween Gears”. The recordings were made at Progressive Studios in Christchurch, with “Say Cheese” recorded at The Lab in Auckland. Terry King handled the engineering, while Rex Visible and The Expendables were credited as producers.
The record belongs to a particularly active period in Christchurch's underground. By the middle of the 1980s, Flying Nun had expanded beyond its original Christchurch base and was documenting a broad network of New Zealand guitar, post-punk and experimental groups. The label's catalogue was growing quickly, linking Christchurch with Dunedin, Auckland and other local scenes and giving groups such as The Expendables a way to release music without relying on the country's larger record companies.
The Expendables were also involved in the touring network that was developing around Flying Nun. In 1984 Clarkson, Kime and Key joined The Chills, DoubleHappys and Children's Hour for the Looney Tours Roadshow, taking the groups around New Zealand. Their Christchurch activities were connected with venues such as the Gladstone, Star & Garter and Hillsborough, while Progressive Studios provided a regular recording base for musicians from the local scene.
Jay Clarkson remained the central figure through the different versions of the group. Her subsequent projects included Breathing Cage, The Containers and a solo career, making the mid-1980s Expendables period an important stage in a much longer sequence of musical projects. The line-up was already changing around the time of the record. 'In Between Gears' documents Clarkson with Michael Kime and Robert Key, while Chris Matthews later took over on drums and Anthony Nevison joined on guitar. The album therefore captures a specific three-piece version of the group during its short run in the Christchurch scene.
Flying Nun had been founded in Christchurch in 1981 by Roger Shepherd, initially concentrating on small-scale releases from local and South Island musicians. Its early records were made with limited resources, often using inexpensive studios and involving the artists closely in the artwork and production. The label remained based in Christchurch until 1988, and 'In Between Gears' comes from this formative period, when its catalogue was expanding rapidly while still maintaining close connections with the city's independent music community.
Label:
Flying Nun Records – FN029
Format:
Vinyl, LP, Album
Country:
New Zealand
Released:
May 1985
Style:
Indie Rock, New Wave, Pop Rock, Dunedin Sound, Folk Rock
The split LP 'Bury The Debt Not The Dead / No Security' brought together two bands from different corners of the late-’80s hardcore underground: Birmingham/Leeds crust pioneers Doom and Swedish kängpunk outfit No Security. Released by Peaceville Records in 1989, the album contains seventeen tracks, with ten from Doom and seven from No Security.
Doom had started out as The Subverters, with Bri Doom on guitar, Jon Pickering on bass and vocals, and Jason “Hog” Hodges on drums. Around the time Hog was replaced by Mick Harris, the drummer who would soon become known through Napalm Death, the band changed its name to Doom. They quickly became closely associated with the British crust scene around Peaceville, recording the 'War Is Big Business' demo in 1987 and the 'War Crimes (Inhuman Beings)' LP in 1988. Their fast, abrasive combination of hardcore punk, D-beat and heavier guitar work became a defining part of the developing crust sound.
By the time of this split, Doom were working with a line-up centred on Bri, Jon Pickering, Pete Nash and Stick. Bri was already preparing to leave because of personal commitments, but remained long enough to record 'Bury The Debt Not The Dead', as well as the 'Police Bastard' EP during the same period. The split therefore captures Doom at an important point in their initial run, shortly before Bri's departure in April 1989 and the line-up changes that followed.
The Doom side runs through ten short, furious tracks, beginning with “No Thought” and “Black Monday” and continuing through “Nazi Die”, “Agree To Differ”, “War On Our Doorstep”, “Bury The Debt”, “Life In Freedom”, “Days Go By...”, “Sold Out Scene” and “Free Yourself”. The material was later collected on 'Total Doom', giving these songs a much wider circulation. The recordings have a clearer and heavier character than the rougher 'War Crimes' production, while retaining the relentless D-beat attack that had become Doom's trademark. With songs such as “Nazi Die”, “Agree To Differ” and “Bury The Debt” in the set, much of the material became firmly established within the British crust and hardcore repertoire, with several of the tracks remaining part of Doom's live history.
No Security came from Eskilstuna, Sweden, where they formed in 1985. They belonged to the Swedish kängpunk current that developed around the country's hardcore and D-beat underground, alongside groups such as Rövsvett, Totalitär and Svart Snö. Their approach was raw, fast and stripped down, with Swedish-language vocals and a strong connection to the abrasive punk sound circulating through the Scandinavian tape-trading network.
The group's early line-up included vocalist Harri Mänty, guitarist Tommy “Smebbe” Smedberg, bassist Robert “Finn-Robban” Eriksson and drummer Jari “Jallo” Lehto. Mänty would later become known as a member of Kent, while Lehto went on to play in several important Swedish D-beat and hardcore groups, including Disfear, Totalitär, Krigshot and Kvoteringen. No Security had already built up a catalogue of demos before the split, while their 1988 '40-Talisterna' 7" and other recordings helped establish their place within the Swedish hardcore scene.
Their seven tracks on the LP -“Märkt För Livet”, “Masskontroll”, “Sydafrikafrågan”, “Den Eller De”, “Stämplad”, “Trångsynt” and “Fegis”- are delivered with the same raw urgency found in their earlier material. Compared with Doom's side, the Swedish lyrics and harsher Scandinavian hardcore character give the record a distinct second half, while the basic ingredients remain the same: fast tempos, distorted guitars, pounding drums and a deliberately rough punk sound.
The album appeared on Peaceville Records, the label founded by Paul “Hammy” Halmshaw. Originally developing through Peaceville Tapes, the label had become an important outlet for British anarcho-punk, hardcore and crust during the second half of the 1980s. Its catalogue included releases by Deviated Instinct, Electro Hippies, Axegrinder and Doom, with the label gradually moving towards heavier and more extreme forms of music. This split belongs to the period when Peaceville was still deeply connected to the British crust underground.
