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 

 

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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 

 

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Mortimer – Profesión / Travoltini [7''] (1979, Chapa Discos)

By the time Mortimer released the 7" 'Profesión / Travoltini' in 1979, the Barcelona underground was still finding its identity. Just a couple of years earlier, the city's emerging alternative rock scene was built around only a handful of names: La Banda Trapera del Río, Basura, Peligro and Mortimer. It was a difficult period for independent bands, with very few opportunities to record or play regularly. In the end, only La Banda Trapera del Río managed to establish a lasting career, while the rest disappeared almost as quickly as they had appeared, leaving behind only a handful of recordings.

 
Mortimer were a power trio made up of Xavier Dalmau on guitar and vocals, Josep Llobera on bass and Iñaki Ferreter on drums. Although they were frequently grouped with the first wave of Spanish punk, their sound leaned much more toward tough, streetwise rock. There were traces of British pub rock and hard rock running through their songs, resulting in a gritty, direct style that perfectly reflected the rough neighborhoods of late-1970s Barcelona. They weren't punk in the strict musical sense, but in the years immediately following Franco's dictatorship, attitude often mattered more than labels. Their confrontational live shows and rebellious image were enough to make them part of the same movement in the eyes of audiences and the music press. 

 
That perception was reinforced by their record company. Mortimer had originally been signed by Belter, which was eager to capitalize on the growing interest in punk and presented the band as part of that new wave of dangerous, antisocial rock groups. When 'Profesión / Travoltini' appeared on Chapa Discos in 1979, it found a more natural home. Founded by producer Vicente "Mariscal" Romero and distributed through Zafiro, Chapa had become Spain's leading label for hard rock and heavy music, releasing records by artists who sat outside the mainstream but had a strong following among rock fans. 

 
The single captures both sides of Mortimer's personality. "Profesión" delivers raw, no-frills rock driven by crunchy guitars and an energetic rhythm section, while "Travoltini" reveals the band's sense of humor and willingness to poke fun at contemporary trends, all without losing their rough-edged character. The performances feel spontaneous and full of swagger, preserving the same street-level intensity that had made the trio stand out on Barcelona stages a couple of years before. 

 
Although Mortimer split up soon after and never recorded a full-length album, 'Profesión / Travoltini' remains an important document from the earliest days of Barcelona's underground rock explosion. It stands as a reminder of a brief but exciting period when the lines between punk, hard rock and pub rock were still blurred, and when attitude, energy and a healthy disregard for convention counted for far more than fitting neatly into a musical category.

 

 

Label: Chapa Discos – H-33023 

Format: Vinyl, 7", Single 

Country: Spain 

Released: 1979 

Style: Punk Rock, Prog Rock, New Wave, Rockabilly 

 

Tracklist: 

A Profesión 3:55 

B Travoltini 3:22 

 

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Lawrence & The Comfortable Society – Sleeper [7''] (1986, Not On Label)

 

'Sleeper' was the only known single by Lawrence & The Comfortable Society, a short-lived British independent band that left behind just this self-released 7-inch in 1986 before disappearing from the scene. Backed with "Headache" on the B-side, the record is a fine example of the DIY spirit that flourished across the UK during the mid-1980s, when countless groups pressed their own singles in small quantities and relied on local gigs, independent record shops and fanzines to get their music heard. As a result, original copies have become genuinely scarce and are now sought after by collectors of obscure British indie releases. 

The music sits comfortably alongside the jangly guitar pop and understated alternative rock that were beginning to emerge outside the mainstream. Rather than chasing polished production or chart ambitions, Lawrence & The Comfortable Society opted for a direct, unpretentious sound built around melodic guitars, thoughtful songwriting and an intimate vocal style. There's a homemade charm to the record that captures the atmosphere of independent British music before the explosion of the C86 scene and the wider indie-pop movement.

 

 

Label: Not On Label (Lawrence & The Comfortable Society Self-released) – LC-1 

Format: Vinyl, 7", 45 RPM, Single 

Country: UK 

Released: 1986 

Style: Indie Pop, Jangle Pop 

 

Tracklist: 

A Sleeper 

B Heartache 

 

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King Kong – Hot Dog Days [7''] (1994, Drag City)

 

Released in 1994 by Drag City, the 7" single 'Hot Dog Days' captures King Kong at a point where the Louisville group had fully established its own personality, far removed from the post-rock legacy often associated with founder Ethan Buckler. After leaving Slint shortly before that band's groundbreaking work reshaped underground rock, Buckler took a completely different path, embracing quirky indie rock filled with sharp humor, catchy melodies and an anything-goes attitude. By the mid-1990s, King Kong had become a reliable presence on the American independent circuit, building a loyal following through constant touring and a string of offbeat releases.

 
'Hot Dog Days' reflects that playful spirit perfectly. Rather than chasing the louder or more experimental trends of the era, the single leans into loose, upbeat rock songs with memorable hooks, an unpretentious garage-rock energy and Buckler's unmistakable deadpan delivery. Like much of King Kong's catalog, it balances melodic songwriting with an irreverent sense of fun, giving the music an effortless charm that made the band stand out from many of their indie-rock contemporaries. 

The record appeared on Drag City, a Chicago-based independent label that was rapidly becoming one of the most respected homes for adventurous underground artists. Throughout the 1990s, the label built its reputation by supporting musicians who followed their own creative instincts instead of commercial expectations, making it an ideal fit for King Kong's unconventional approach. While the band never reached mainstream audiences, releases such as 'Hot Dog Days' reinforced their reputation as one of the more distinctive acts to emerge from Louisville's fertile alternative music scene.  

 

Label: Drag City – DC58 

Format: Vinyl, 7", 45 RPM 

Country: US 

Released: Aug 22, 1994 

Style: Alternative Rock, Lousville Sound 

 

Tracklist:  

A Red Hot Lovin' 4:37 

B Hot Dog Days 4:12 

 

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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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Illusion Of Safety – More Altitude Than Attitude: IOS At 14,000 Feet [Cass] (1988, We Never Sleep)

Released in 1988, 'More Altitude Than Attitude: IOS At 14,000 Feet' captures Illusion Of Safety at a point where the project was already moving beyond the boundaries of the underground industrial scene. Issued on cassette by We Never Sleep Records, the release reflects the late-eighties DIY cassette culture, when experimental artists relied on small independent labels and tape trading networks to circulate music that was often too adventurous for conventional record companies. The format suited the project's raw, exploratory nature perfectly, allowing unusual sound experiments to reach a dedicated international audience. 

Illusion Of Safety began in 1983 as the brainchild of Daniel Burke, who has remained the project's central creative force while occasionally working with a rotating cast of collaborators. Rather than settling into a single genre, Burke has always embraced a broad palette of sounds, blending ambient textures, industrial noise, electro-acoustic composition, improvisation, sound collage and power electronics. His recordings frequently shift direction without warning, moving from delicate atmospheres to abrasive sonic assaults, creating music that challenges expectations while rewarding careful listening. 

By the time 'More Altitude Than Attitude: IOS At 14,000 Feet' appeared, Illusion Of Safety had already developed a distinctive approach built around manipulated recordings, electronics, found sounds and unconventional sound sources. Burke's interest in balancing beauty with chaos gives the cassette an unpredictable character, where fractured ambience, harsh noise and subtle melodic fragments coexist in constantly evolving soundscapes. Even in its earliest recordings, the project displayed the fascination with perception, memory and psychological space that would become a defining feature of later releases. 

We Never Sleep Records was one of many independent labels that helped sustain the experimental cassette underground during the 1980s. Operating outside the mainstream, the label specialized in adventurous and often difficult music, providing a home for artists working in industrial, experimental electronics and avant-garde sound. Releases like this one illustrate how important these small labels were in fostering a global network of listeners and musicians long before the internet made underground music so easily accessible.

 
Over the following decades, Illusion Of Safety continued to evolve while remaining remarkably prolific, releasing dozens of recordings through respected experimental labels and performing extensively across North America and Europe. Looking back, 'More Altitude Than Attitude: IOS At 14,000 Feet' stands as an early document of Daniel Burke's restless creative vision, preserving the fearless spirit that has kept Illusion Of Safety one of the most consistently inventive names in experimental electronic music.

 

 

Label: We Never Sleep – WNS 007 

Format: Cassette, C60 

Country: US 

Released: 1988 

Style: Industrial, Ambient, Dark Ambient 

 

Tracklist: 

A1 Power-Accident 

A2 Dark Current 

A3 Fleshbinge 

A4 Live Temple Set 

A5 The Architects Office 

B1 Untitled 

B2 Devices 

B3 Fade N Cry 

B4 Deadgirl And The Man (Version) 

B5 Toneline 5 

B6 Discipline 

 

Notes: 

Live Sound Colorado: 

+ 7-7-88, All Seasons Painting, Colorado Springs 

+ 7-8-88, The Grove, Denver 

+ 7-9-88, Penney Lane, Boulder 

+ 7-10-88, KGNU, Boulder 

 

"Discipline" is a Throbbing Gristle cover. 

 

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The Horny Toads – Wired [12''] (1989, Amplexus Records)

By the end of the 1980s, The Horny Toads had established themselves as one of the more spirited names emerging from Australia's garage rock underground. Originally formed in Brisbane before relocating to Sydney, the group brought together the raw energy of pub rock with the urgency and attitude of classic high-octane rock'n'roll. Their live reputation played a major role in building a dedicated following, and 'Wired' captured that same sense of momentum and intensity that had become their trademark on stage. 

Issued by Amplexus Records in 1989, 'Wired' found the band delivering a compact set of tough, guitar-driven songs packed with sharp riffs and driving rhythms. The label itself was part of the network of independent Australian imprints that helped document the country's thriving underground scene, providing a platform for bands operating well outside mainstream commercial expectations. The Horny Toads fitted naturally into that environment, relying on strong songs and relentless performances rather than studio gimmicks. 

The band's line-up featured Glen James and Joel James handling guitars and vocals, supported by a rhythm section that gave the material its muscular backbone. There is a directness to 'Wired' that makes it an easy record to connect with; everything feels immediate, from the punchy arrangements to the unpretentious delivery. Around this period, the group were sharing bills with other respected acts from the Australian garage circuit, further strengthening their standing within the local scene. 

A major asset of the record was the presence of Rob Younger in the producer's chair. Younger had already built an impressive reputation through his involvement with Radio Birdman and The New Christs, and his understanding of powerful, stripped-back rock recordings is evident throughout 'Wired'. Fans of those bands should definitely seek this one out, because Younger knew exactly how to produce a rock record. The result is an album that sounds forceful and focused, allowing The Horny Toads' natural energy to take centre stage without sacrificing clarity or impact. 

 

Label: Amplexus Records – AMP 001 

Format: Vinyl, 12", Mini-Album 

Country: Australia 

Released: 1989 

Style: Alternative Rock, Garage Rock, Punk Rock

 

Tracklist:  

A1 O.P. Love 

A2 Shit On A Stick 

A3 Drag 

B1 Fallen Angel 

B2 Coffee 

B3 Switch Bitch 

 

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Generic – Join The Conspiracy [Cass] (1985, Not On Label)

Released in 1985, 'Join the Conspiracy' was the first cassette by Newcastle upon Tyne hardcore outfit Generic, capturing the band at the very beginning of their short but influential run. Self-released in true DIY fashion, the tape emerged from the thriving network of punk collectives, fanzines and independent spaces that kept the British underground scene alive during the mid-1980s. Rather than waiting for label support, Generic followed the established punk ethic of doing everything themselves, from recording and distribution to artwork and accompanying printed material. 

 
Generic had formed from the ashes of earlier Tyneside punk activity, with guitarist Micky McGuinness and drummer David "Sned" S. joining forces with vocalist Michael "Wizz" Wise and bassist Terry Phipps, who would later go on to play with H.D.Q. The members were heavily involved in the local Gateshead Music Collective, and their influences stretched beyond straightforward UK punk. While the speed and intensity of American hardcore bands played a major role in shaping their sound, they were equally interested in more experimental groups such as Flipper, Swans and Sonic Youth. That combination gave Generic a style that was aggressive and urgent but also slightly more adventurous than many of their contemporaries. 

 
The cassette featured eight tracks, including "Never Forget," "Cracked," "Caught Like A Rat," "Same Again," "Coca-Killer," "Loser," "Civilised?" and "Time To Jump." Recorded in May 1985 at Desert Sounds in Felling, the sessions were completed with minimal resources and a great deal of determination. According to McGuinness, much of the material was recorded live with very little opportunity for multiple takes, preserving the raw energy of the band's live performances. The songs reflected the frustrations and political concerns of the period, tackling subjects ranging from media manipulation and social alienation to anti-drug themes and broader dissatisfaction with the state of British society under the Thatcher years.

 
Although it was a modest cassette release, 'Join the Conspiracy' received attention beyond the North East punk scene. Reviewing it in Maximum Rocknroll, Tim Yohannan described the recording as "wall-to-wall, highly produced, powerfully delivered, and tightly played stop-and-go thrash," also noting the post-punk touches in the guitar work and the inclusion of the band's mini-zine, Rancid Humanity. The review helped spread Generic's name internationally through the extensive tape-trading and fanzine networks that connected punk communities across the globe. 

 
The cassette stands as an excellent snapshot of British hardcore in 1985, a moment when bands were pushing punk into faster and more politically charged territory while remaining rooted in collective action and self-sufficiency. For Generic, 'Join the Conspiracy' marked the starting point of a career that would lead to releases such as the '...Free South Africa' EP and the split LP with Electro Hippies. Several of the songs from the tape would eventually reappear years later on the 1992 split 10-inch with Pleasant Valley Children, introducing a new generation of listeners to some of the band's earliest material. 

 
More than four decades later, 'Join the Conspiracy' still carries the spirit of mid-80s DIY hardcore: passionate, politically engaged and created by a group of friends who believed that if the mainstream wasn't interested, they could build their own alternative. That's exactly what Generic did, leaving behind a small but memorable piece of the British punk underground. 

 
 

 

Label: Not On Label (Generic Self-released) – none 

Format: Cassette, Single Sided 

Country: UK 

Released: 1985 

Style: Hardcore Punk 

 

Tracklist:  

A1 Never Forget / Cracked 

A2 Caught Like A Rat 

A3 Same Again 

A4 Coca-Killer 

A5 Loser 

A6 Civilised? 

A7 Time To Jump 

A8 From The Ashes 

 

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Fetus Productions – Fetalmania [12''] (1983, Flying Nun Records)

Released in 1983 on Flying Nun Records, 'Fetalmania' by Fetus Productions remains one of the more unconventional releases associated with New Zealand's independent music explosion of the early 1980s. Although Flying Nun would later become closely linked with the shimmering guitars and introspective songwriting of the Dunedin Sound, its early catalogue was remarkably eclectic. Experimental electronics, post-punk, performance art influences and outsider creativity all found a home on the label, and Fetus Productions fitted perfectly within that open-minded environment. 

Fetus Productions was conceived as a conceptual project rather than a traditional group. The original line-up featured Jed Town, Sarah Fort and Mike Brookfield, each bringing different creative interests into the mix. Brookfield became known for his striking and often disturbing medical illustrations, imagery that complemented the project's fascination with the unsettling and the unconventional. Away from recording, he also ran Virus, an alternative clothing outlet that became part of New Zealand's underground culture from the mid-1980s through to 2001. Jed Town later moved to London, where he earned respect within electronic music circles as producer, composer and DJ Jed Eye before eventually returning to New Zealand to compose music for local television. 

'Fetalmania' captured a period when artistic experimentation was flourishing across independent scenes worldwide. Built around synthesizers, drum machines, stark rhythms and detached vocal performances, the record explored themes of anxiety, alienation and fractured identities. Its six tracks, including "I Am A Criminal", "Utter Frustration" and "Desert Lands", reflected an approach that drew as much from conceptual art and industrial textures as it did from post-punk. Recorded at Groovex with engineer Phil Punch, the release stood apart from many of its contemporaries while sharing the same adventurous spirit that defined the era. 

Flying Nun Records, founded by Roger Shepherd in Christchurch in 1981, played a crucial role in documenting and supporting local artists working outside the mainstream. The label's willingness to embrace originality allowed vastly different acts to coexist within its catalogue. While Flying Nun is often celebrated for launching influential guitar groups, records such as 'Fetalmania' demonstrate how broad its vision really was during those formative years. 

Today, 'Fetalmania' remains a fascinating example of the more experimental side of New Zealand's independent music history. Its combination of conceptual ambition, electronic experimentation and underground aesthetics offers a glimpse into a scene where creative freedom often mattered more than commercial considerations. For anyone exploring the deeper corners of the Flying Nun catalogue, this release reveals a different facet of the label's legacy and the restless imagination that shaped New Zealand's alternative culture during the early 1980s. 

 

Label: Flying Nun Records – F.PRO 999 

Format: Vinyl, 12", 45 RPM, EP 

Country: New Zealand 

Released: Mar 1983 

Style: Experimental, Post-Punk, Darkwave, Industrial 

 

Tracklist: 

A1 I Am A Criminal 

A2 Utter Frustration 

A3 Desert Lands 

B1 Fetus Productions 

B2 State To Be In 

B3 What's Going On 

 

Other versions: 

'Fetalmania' (12", 45 RPM, Mini-Album) - Normal [NORMAL 14] (Germany, 1985) 

 

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