Jackdaw With Crowbar is a quirky, experimental indie band that came out of Leamington Spa in the mid-80s. They mixed punk, blues, weird homemade instruments, and a whole lot of chaotic energy. Their early gigs weren’t just music -they’d project Super 8 films while playing, so the whole thing felt like an art project as much as a concert.
'Monarchy Mayhem and Fi$hpaste' came out in 1987 as a 12-inch EP on Ron Johnson Records. It has four tracks: “The Night Albania Fell On Alabama,” “Siren,” “Crow,” and “Fourth World.” The songs jump all over the place stylistically -one track is practically shouted through a bullhorn, another leans into dub-style rhythms, and others slide into noisy, blues-punk territory. They had this really DIY vibe, to the point where early slide guitars were literally made from gate posts, which definitely adds to their raw, scrappy sound.
The EP was one of their first proper releases and helped establish their reputation in the underground UK scene as a band that didn’t sound like anyone else. Copies of the record are pretty hard to find now, and collectors hunt them down whenever they turn up.
Label:
Ron Johnson Records – ZRON24
Format:
Vinyl, 12", 45 RPM, EP
Country:
UK
Released:
1987
Style:
Alternative Rock, Dub, Indie Rock, Post-Punk
I, Braineater is basically the creative universe of Jim Cummins, a Vancouver artist who never really separated music from painting, comics, performance, or general chaos. The project started in the late ’70s, originally under the name Braineater, and it slowly evolved into the more personal “I, Braineater” identity as Cummins’s whole artistic persona took center stage. Over the years the sound shifted a lot -early stuff leaned into raw punk, but by the mid-’80s the music had morphed into an odd blend of new wave, art-rock, electronics, and post-punk attitudes. Nothing about the project was ever straightforward; it was as much about the overall aesthetic as it was about the songs.
The album 'Artist, Poet, Thief' came out in 1985, pressed privately as an LP. Compared to the earlier, scrappier records, this one feels more like a “band” album -tighter rhythms, more structured songs, and a clearer sense of direction. Even so, it still sounds like an art project that just happens to be a rock record. The music pulls from a bunch of places: post-punk moods, a bit of gothic atmosphere, flashes of punk energy, occasional psychedelic touches, and some catchy new-wave-style hooks. Side one leans into the more melodic material, while side two gets a bit rougher and more energetic.
The record’s tracklist includes songs like “Edge,” “Canada,” “Wrong World,” and “1980 More” on the first side, and “Funtime,” “Comeon,” “Sacred Cow,” “I Am,” and “7Teen” on the second. It’s the kind of album where each track feels like it was created inside its own peculiar headspace, but the whole thing hangs together because of Cummins’s distinct voice and art-punk instincts.
Culturally, 'Artist, Poet, Thief' sits in a really interesting spot. Vancouver’s underground scene in the early and mid ’80s was full of crossover between punk bands, artists, weirdos, filmmakers, and people who didn’t fit neatly anywhere, and I, Braineater embodied that mix perfectly. This record captures the moment when the project was moving beyond pure punk but still holding onto its DIY strangeness. Because of that -and because the releases were small and the band never aimed for mainstream exposure-the album ended up becoming a cult collectible over the years.
It’s one of those records that feels like a snapshot of a particular corner of the underground: experimental, theatrical, messy, charming, and totally unconcerned with commercial expectations. If you’re into oddball art-rock or punk-adjacent music that lives in its own world, it’s a fascinating listen.
Label:
More – none
Format:
Vinyl, LP, Album
Country:
Canada
Released:
1985
Style:
New Wave, Abstract, Industrial, Experimental
'Let It Breed', released in 1986, shows The Honeymoon Killers doing what they do best: making noisy, messy, blues-punk chaos that feels like it was recorded in a smoky basement at 3 a.m. The album is loud, dirty, and totally unpolished, with distorted guitars, snarling vocals, and a grimy horror-movie vibe running through the whole thing. It’s still wild and chaotic like their earlier stuff, but there’s a bit more shape to some of the songs -not enough to make it “clean,” just enough to keep it from totally falling apart.
When it came out, critics basically said, “Yep, this is noisy as hell,” but they also admitted it had a certain gritty charm. Later reviewers often compare the band’s sound here to a rougher, trashier version of groups like The Cramps or Pussy Galore, but with their own weird, scrappy edge. The album feels like the band reined in the madness just a little bit while keeping all the attitude and raw energy.
The album’s charm is in how completely unapologetic it is. It’s grimy, noisy, and aggressive on purpose, and if you’re into that kind of underground, trash-blues aesthetic, it hits the spot. But if you prefer cleaner production or more tuneful vocals, parts of it can feel like a wall of noise.
In the bigger picture of their career, 'Let It Breed' feels like a transitional moment -the band is still wild, but they’re starting to find a bit more structure without losing their edge. It stands out as a snapshot of The Honeymoon Killers doing what they do best: making loud, dirty rock that refuses to behave.
Label:
Fur Records – FUR 666
Format:
Vinyl, LP, Album
Country:
US
Released:
1986
Style:
Post-Punk, Noise Rock, Pigfuck, Garage Punk
Tracklist:
Man
A1 Power Man 3:52
A2 Injun Joe 2:41
A3 Dr. Pain 2:38
A4 Rich 'N' Famous 4:54
A5 Dip It In The Gravey 2:17
A6 Day Of The Dead 3:31
Beast
B1 Zoo Train
0:55
B2 Brain Dead Bird Brain 4:21
B3 Face Of A Beast
4:45
B4 Don Gato
3:13
B5 Godzilla
4:37
Notes:
A Side recorded at Noise New York, engineered by Kramer
B Side recorded at CBGB, engineered by Stevie McAllister
Gen Ken Montgomery is an American sound artist, composer, and mail-artist born in 1957. He is regarded as a pioneer of the cassette-culture movement and of experimental, noise, and musique concrète practices. Although he did not receive formal musical training, his curiosity and hands-on exploration led him to develop a distinctive style that incorporates cheap synthesizers and everyday objects such as refrigerators, laminators, and aquarium pumps to create unique and immersive soundscapes.
In 1989 he founded Generator Sound Art in New York City, considered the first sound-art gallery in the city and an important platform for the underground experimental scene. He also co-founded the label Generations Unlimited, which helped support the independent cassette-based experimental music movement. Montgomery began recording in 1981 under the name Gen Ken & The Equipment, producing homemade tapes, experimental albums, and sound-art projects, often released in very limited editions. In the mid-1990s he adopted the alias Egnekn for projects that were more playful or conceptual, including his well-known lamination rituals.
His artistic practice focuses on recontextualizing everyday sounds. He works with domestic appliances, ambient noise, environmental recordings, and common objects, transforming them into dense and often disorienting sonic compositions through collage, tape manipulation, electronics, and improvisation. His performances are often multichannel and immersive, sometimes presented in total darkness, inviting audiences to experience sound in a radically different and heightened way. Montgomery’s approach embraces a philosophy of anti-virtuosity, valuing spontaneity, chance, improvisation, and the direct relationship between sound, object, and listener rather than technical mastery.
In 1989 he released the album 'Beyond My Ken', issued on vinyl. This work is noted as his last major stereo release from that period and reflects his experimental ethos. The album combines field recordings, domestic sounds, electronics, and abstract noise, continuing his interest in transforming familiar auditory environments into highly unconventional and exploratory sound pieces.
His broader discography includes numerous cassette works from the early 1980s, later experimental releases, and compilations that document decades of sonic experimentation. Among these, 'Pondfloorsample' stands out as an extensive compilation covering a wide span of his work.
Beyond music, Montgomery has worked in collage, visual art, mail-art, and the creation of unique sound-object editions, always maintaining a strong DIY aesthetic. His artistic philosophy consistently challenges traditional ideas of musicality, encouraging listeners to rethink their relationship to sound, environment, and the everyday.
Label:
Discos Esplendor Geometrico – EGD 017
Format:
Vinyl, LP, Limited Edition
Country:
Spain
Released:
1989
Style:
Experimental, Musique Concrète
Tracklist:
A New Age Machines 19:56
B1 Up The Backwards Treppe Avanti 2:22
B2 A Question Of Arrival 2:13
B3 Forced Hesitation 2:21
B4 Testing Without Hypothesis 2:06
B5 Monkey In The Window 2:17
B6 Rolling On A Whisper 2:35
B7 The Missing Half Of The Langensheid Bridge 2:18
Fecal Matter was a punk rock band from Aberdeen, Washington. The group was formed in 1985 by Kurt Cobain, the future frontman of Nirvana, along with Dale Crover of the Melvins and drummer Greg Hokanson. Melvins members Buzz Osborne (also known as "King Buzzo") and Mike Dillard appeared in a later version of the band during rehearsals the following year. The band was short-lived, disbanding in 1986.
Songs from the group's sole recording session were issued as the 'Illiteracy Will Prevail' demo tape. With the exception of the song "Spank Thru", the tracks from this session remain unreleased officially. A re-recording of "Downer" was also released on the first Nirvana album, 'Bleach'. 'Illiteracy Will Prevail' is the earliest documentation of Cobain's songwriting in circulation, and helped Cobain establish himself as a composer and performer among his peers in the emerging grunge scene in Washington State.
Although the band had become inactive, Cobain continued passing around the Fecal Matter demo tape to friends and peers. His acquaintance Krist Novoselic, with whom Cobain had briefly jammed previously and had wanted to collaborate for some time, heard the tape and particularly liked the song "Spank Thru". The two agreed to form a band, which eventually became Nirvana. They began rehearsals later in 1986 for the new project, and reused the Fecal Matter songs "Downer", "Anorexorcist", and "Spank Thru". Novoselic later mentioned in the liner notes for the 'From the Muddy Banks of the Wishkah' live album that "Spank Thru" was "...the first Nirvana song" and it is perhaps the earliest known example of what would become Nirvana's signature combination of punk energy, noise, and pop melodies.
"Spank Thru" has been featured on several official Nirvana releases and was performed live numerous times early in the band's career: January 1988 during the band's first studio recording session and a second version was recorded a few months later. This second version was included on the 'Sub Pop 200' compilation released in December 1988, making it the third ever Nirvana song to be officially released. Later in 1989, "Spank Thru" was also recorded at the band's first BBC Peel Session.
"Spank Thru" holds the distinction of being the only Fecal Matter song played live after 1988. It was included on many 'Bleach'-era setlists and rarely on 'Nevermind'-era setlists.
Officially released live versions include: a 1990 live version that was included the UK "Sliver" CD single pressing and later deluxe versions of 'Bleach', a 1991 version included on the 'From the Muddy Banks of the Wishkah' live album, and the band's 1992 'Live at Reading' performance.
A video recording of a 1988 band rehearsal performance was included on the 2004 'With the Lights Out' boxed set's DVD.
The 2005 Nirvana rarities album 'Sliver: The Best of the Box' included the original "Spank Thru" recording; this is the first and only official release of any recording from 'Illiteracy Will Prevail'.
"Downer" was re-recorded by Nirvana in January 1988 during the band's first studio recording session. Although originally omitted, "Downer" was eventually added to Nirvana's 'Bleach' album starting with its 1992 reissue and was part of the 'Incesticide' compilation also released that same year.
The song "Anorexorcist", part of a nine-minute medley on the Fecal Matter demo, was on setlists of several early Nirvana shows. "Anorexorcist" was played during a 1987 performance on KAOS when the band was named Skid Row; this performance was eventually officially released on the 'With the Lights Out' boxed set.
'Illiteracy Will Prevail' remained a highly sought-after and elusive item for collectors as Nirvana rose to fame, and became notorious for forged versions being bootlegged as being the demo. [SOURCE: WIKIPEDIA]
Label:
Not On Label (Fecal Matter Self-released) – none
Format:
Cassette
Country:
US
Released:
1986
Style:
Sludge Metal, Grunge, Punk Rock, Lo-Fi, Pigfuck, Hardcore Punk, Post-Hardcore, Noise Rock
Tracklist:
A1 Sound Of Dentage 3:42
A2 Untitled 1:19
A3 Bambi Slaughter 3:25
A4 Laminated Effect 2:11
A5 Untitled 2:40
A6 Untitled 4:01
A7 Untitled 1:57
A8 Untitled 9:16
B1 Untitled 4:35
B2 Spank Thru 3:52
B3 Untitled 1:31
B4 Class Of '86 4:20
B5 Blather's Log 2:29
B6 Downer 3:04
B7 Untitled 1:41
B8 Turn Around 2:07
B9 Untitled 6:13
Notes:
Recorded on a TEAC A-2340 four-track recorder at Burien, Washington in December 1985 (according to Michael Azerrad) or Easter 1986 (according to Gillian Gaar).
Tracks A2, A5 - A8, B1, B3, B6, B7 and B9 are not indicated on the cover. Only tracks A1, A3, A4, B2, B4 and B5 are listed.
Track B8 is "Turn Around" by Devo. Nirvana later covered the song on their 1992 album 'Incesticide'.
Track B9 contains the guitar riffs to all the songs on the album.
The Execute were a Japanese hardcore punk band one of the earliest example of punk changing into hardcore punk in Japan. Formed in 1982, they took cues from diverse influences such as Japan's early punkers The SS and the galloping metal of Motörhead. They released several 7″s and appeared on a couple of classic Japanese complitions, 'Great Punk Hits' and later 'A Farewell To Arms'. They also were on a few other international compilations. All their records, including the 'Hard Core Temptation' 7″, the 'Criminal Flowers' 7″ and the 'Blunt Sleazy' 7″/12″ are excellent. There was also a cassette release in 1984 called 'Live in Hell'.
In late 1985, line up changes in the band, including Baby and later Baki forming/joining Gastunk, changed Execute's sound. Pusmort records re-released the 'Blunt Sleazy' record as a split 12″ with Germany's Inferno and there was also a legitimate discography LP called 'Save Your Money' with all their early material and some unreleased live material from 1982. The discography is long out of print (even though it’s been bootlegged recently). [SOURCE: LAST.FM]
Label:
13 Grave Release – GRAVE 3302
Format:
Vinyl, LP, Compilation
Country:
Japan
Released:
1988
Style:
Thrash, Hardcore Punk, Japanese Hardcore
Tracklist:
A1 A-Z
A2 Answer
A3 Laughin' Child
A4 M.O.P.
A5 Go To Hell
A6 Inside Of Human, Outside Of Human
A7 God Damn
A8 Aaaarrrgghhh
A9 Blood Rain
A10 Peace, Japan
A11 Final Attack
A12 Black Water
A13 Spunk Out
A14 A Will Border
B1 Criminal Flowers
B2 Slash
B3 Moron
B4 Death Like
B5 A Period
B6 513
B7 Release
B8 Go To Hell
B9 Aaaarrrgghhh
B10 Mormonism
B11 Peace, Japan
B12 Dead Or Alive
Notes:
Track A7:
The title "God Damn" is not printed on jacket.
Track A1 to A10: Taken from The Execute - 'Execute' flexi.
Track A11 to A14: Taken from 2nd EP The Execute - 'Hard Core Temptation'.
Track B1 to B3: Taken from 3rd EP The Execute - 'Criminal Flowers'.
Track B4 to B12: Previously unreleased tracks, recorded in 1982.
Track A14 "A Will Border" has a slightly edited ending, and is a few seconds shorter than the original EP version.
Later bootlegged with the title 'Spend Your Money', but the live tracks on side B are replaced with various other compilation appearances from the same era
Dojoji were an excellent New Wave and Funk group from Rotterdam that consisted of Pien Selleger and Ted Langenbach (Bass), Ron Louers (Bongos), Ferdinand Rolle (Drums), Leo Anemaet (Guitar), Trubus (Percussion), Hans Rath (Saxophone), Rudy Zinc (Synthesizer) and Fee Arnold (Vocals).
On this Cassette EP, Dojoji meets the funky jungle (Fungle) and plays lengthy pieces of energetic funk music with a new wave attitude. Dojoji released a very nice 12 Inch EP on Plexus records in 1984 and also a cassette with live recordings a year before that one. They remind of other Dutch funk wave groups with electronic touches on the Fetisj tape label like Richenel or Necronomicon, but it even has hints of the band Sukursaal.
Dojoji furthermore resembles some bands on the Cherry Red label like Rip, Rig and Panic or Medium Medium, but it's mainly fueled by the 80's New York styles in-between like James Chance's funky no-wave sounds and many of the boogie and 'break' records from old-school hip-hop. Actually Dojoji were quite unique in Holland due to the use of the synthesizer additions and the percussion elements. Nice stretched out tracks full of life one just has to dance to. It once again shows how Rotterdam was always the most New York oriented city of The Netherlands. [SOURCE: ARCHAIC INVENTIONS]
The Colours appeared in February 1980, recording and releasing the single “Dierdre is an Artist,” which was favourably reviewed in Melody Maker by Paolo Hewitt. The main members were singer, lyricist, and film technician Simon Matthews; multi-instrumentalist Brendan Beal; and, on synthesiser, Royal College of Art graduate Jean Elmes.
After recording more demos with a drum machine in autumn 1980, Richard Strange booked them twice to close Cabaret Futura at the Latin Quarter on Wardour Street, where they performed alongside Kissing The Pink, Soft Cell, Blancmange, and Richard Jobson.
In April 1981, they played at the Cabaret Futura night at Heaven.
The Colours were unusual: they played their set live in darkness while a film was projected onto a huge screen behind them, showing brightly edited images of beauty contests, NATO training films, fashion shows, and current affairs documentaries.
Paul Tickell, writing in Sounds, commented that “the spectacle of the film, with its bias towards the Cold War and the nuclear era of the 1950s, was intriguing.” A review in NME stated: “The Colours gave a passable impression of two rival radio stations competing for a single band; as the music gelled, they began to sound like a more chaotic version of Suicide.”
Many gigs followed, including three headlining shows at the Rock Garden, which described them as “exponents of sound and film, and better at it thanPink Floyd.” However, failing to secure a record deal, The Colours disbanded at the end of 1981.
After their demise, Brendan Beal released some of the earliest acid house singles and appeared on S’Express’s hit “Hey Music Lover.” Jean Elmes taught photography and visual arts at City and Islington College, and Simon Matthews published "Psychedelic Celluloid," a study of music in UK film and television.
Brilliant was a Brit-funk pop group, active in the British 80s nu pop scene. Formed when Killing Joke's Youth left his group and along with Ben Watkins (later, Juno Reactor) and Jimmy Cauty (later one half of The KLF) they started the group, releasing singles from 1982 to 1984. The first line up was completed with Marcus Myers and Guy Pratt, later in Icehouse.
In their first four years of existence, they hosted a roster of over 30 musicians. The final line-up found them as a trio with June Montana on vocals, later a one-hit wonder dance diva with whom they released their sole album with a Stock, Aitken & Waterman production. Among their hits were James Brown's "It's A Man's World" and the 1963 hit for Skeeter Davis, "The End Of The World".
After the dissolution of 1919 in 1984, former members Mark Tighe, Iean Tilleard, Steven Madden, joined drummer Stefan Khacheturian and became Another Cinema, taken under the wing of Red Rhino founder Tony Kostrzewa, this time releasing their single 'Phase One' (1984), and 'Midnight Blue Oceans' under the Altered States banner. They disbanded by 1986. [SOURCE: WIKIPEDIA]
Label:
Altered States – AST 002
Format:
Vinyl, 12", Single
Country:
UK
Released:
1985
Style:
Alternative Rock, New Wave
Tracklist:
A Midnight Blue Oceans (12 Inch Mix) 4:22
B Electric Dream States 4:40
Notes:
"Phase Two"
Other Versions:
'Midnight Blue Oceans' (7", 45 RPM, Single) - Altered States (AS 002) - UK, 1985
2 Timers were an American new wave rock group who formed in New York in late 1977. By early 1978 the group had relocated to London, England. The line-up in March 1978 was: John Warnick (vocals), George Fury (bass), Johnny Jones (rhythm guitar), Audie Willert (lead guitar) and Jim Morrison (drums, former member of Tuff Darts). Notably, their 'Now That I've Lost My Baby' single was produced by ex-Gong member Mike Howlett (OMD, Sting, Revillos, etc.), and that's probably why it also sounds very British and of it's era. They self released a second single, 'Living For The Week End' in 1979, but that was it for these guys.
Scott McIlroy (born 1971, Coventry, England), better known as Doc Scott or Nasty Habits,
is a British drum and bass DJ and producer. He originally started to DJ
at clubs and raves such as Amnesia House and The Eclipse in 1989/1990,
before appearing all over the country and in the mid 1990s played at the
seminal Metalheadz at the Blue Note nights. Goldie has called him "The King of the Rollers". His first track was 'The N.H.S. EP' released on Simon 'Bassline' Smith's label Absolute 2. From it, "Surgery (Midnite Mix)" is the one if you like frenetic, dark, and
sinister dance music, more techno than hardcore. Belgian influences with a big nod
to the early Warp and Network sound, all with the 4/4 plus breakbeat twist
that 1991 UK producers gave us.
From
there, he would record classics on labels such as Reinforced Records
and Metalheadz, such as "Here Come The Drumz / Dark Angel", "Deranged",
"VIP Drumz/Unofficial Ghost", and "Shadow Boxing" (released on his own
31 Records label). Between 2014 and 2018, he hosted the Future Beats
show on London's Origin FM. [SOURCE: WIKIPEDIA]
Label:
Absolute 2 Records – ABS 001 DJ
Format:
Vinyl, 12", 33 ⅓ RPM, EP
Country:
UK
Released:
1991
Style:
Breakbeat Hardcore, Techno, Belgian Techno, Detroit Techno
Tracklist:
A1 Surgery (Ordinary Mix) 5:26
A2 Surgery (Midday Mix) 5:29
AA1 Surgery (Midnite Mix) 5:36
AA2 Nite Nurse 4:57
Notes:
"Surgery" samples both Second Phase's "Mentasm" and 808 State's "Pacific".
"Nite Nurse" samples:
Organs from Crystal Waters - "Gypsy Woman (She's Homeless)"
This is not an out-and-out masterpiece of an early Eighties Boston / coastal New England region compilation, but it has enough goodies on it to make it worthwhile. And, equally important, the collection itself makes for another key puzzle piece in the stitched-together panorama of the time and place. The Throbbing Lobster compilations would be an example of another.
In 1984, this was probably a big opportunity for most of the
artists listed, as none of the groups except Sorry, Salem 66 and The Flies had released their own recordings to date. Most of
the bands then achieved their breakthrough just under two years later.
In this respect, therefore, it is an album with almost groundbreaking
qualities. The recording quality is also very reminiscent of lo-fi
at times. However, if you like this kind of thing, you'll be very well
served here.
[SOURCE: RATE YOUR MUSIC]
Label:
Conflict Records – CON 001, Radiobeat Records – RB 003
Format:
Vinyl, LP, Compilation
Country:
US
Released:
1984
Style:
Alternative Rock, Punk, Avantgarde, Hardcore Punk, Post-Punk, Emocore
Recorded throughout 1983 @ Radiobeat Studios, Boston except tracks A9 & B1 recorded @ Downtown Recorders and tracks B2 & B4 recorded @ Baker St. Studio.
Mastered in January 1984 @ K-Disc, Hollywood.
Includes a single-page, double-sided 8.5"x11" info sheet. Some copies additionally include individual pages for all the bands, with the exception of Deep Wound, stapled together with the info sheet to form a 10-page booklet.
'Close Calls in Texas' (1984) is an album exploring different sounds and voices, guitars, violoncello, accordion, saxophone, balloon sound, farts, drums, frog sounds and more, all of this changing throughout the album. This variety is mainly for the A side of the album; B side is mainly saxophone and accordion. Overall a good experiment.
Wally Shoup (1944-2024) was an American jazz alto saxophonist, painter, and author. Based in Seattle, Washington since 1985, Shoup was a mainstay of that city's improvised music scene. Seattle Metropolitan named him one of the 50 most influential musicians in that city's history.
LaDonna Smith is an improvisor, composer, and artist in Birmingham, Alabama. She is a violinist, violist, vocalist and musical impresario pioneering the field of free improvisation in America. Best known for her improvisation work on violin and viola and her collaborative work with avant-garde guitarist Davey Williams (1952-2019). Doug Carroll is a Bay Area electric cellist who has studied with Stockhausen, Lou Harrison and Braxton. [SOURCE: RATE YOUR MUSIC]
The Zippers were a Los Angeles-based punk/pop band from the late 1970s and early 1980s formed by Lou Cammarata (guitar, vocals, and member in the 60's and 70's of the soul bands Nicky C & The Chateaux and CRYSTAL), Danielle Faye (bass, vocals, also a member of Venus & The Razorblades), Bob Willingham (guitar, vocals) and Bill Willett (drums, vocals, also in The Imperial Dogs). They debuted in 1977 with the 7" single 'He's A Rebel / You're So Strange' on the Californian label Back Door Man Records. The A-side is a nice and punchy new wave cover penned by Gene Pitney and originally recorded by The Crystals in 1962. The B-side is too moody and epic but might appeal to anyone interested in hearing a very early example of neo-psychedelia. [SOURCE: RATE YOUR MUSIC]
The Young Ones (aka The Reputations) was a power pop/new wave group from London, England active in the late 70s (preceding the famous TV show of the same same). They are best known today both for the 1978 single "Rock n Roll Radio" released by Virgin as well as the fact that band keyboardist Wix Wickens went on to join Paul McCartney's solo band. [SOURCE: LAST.FM]
Wash Your Brains is another project by Rudolf Eb.er (real name Rudolf Ebner). Rudolf Eb.er’s rites and artefacts are portals to the traumatic expanses
and abysses of human existence. Regarded as psychopomp or art-brut
shamanist, his trail of work leads deep down to -and through- the
nethermost regions of the human psyche.
Rudolf Eb.er’s research de-occults the psychic body through
psycho-physical tests and trainings. He employs and combines abreactive
and cleansing actionism with sonic rituals, psychoactive acoustics and
close-up field recordings of nature and decay, generating
audio-environments into which he plants grotesque psycho-magic rituals
and tantric exercises that trigger a nondual, higher awareness.
Rudolf Eb.er aka Runzelstirn & Gurgelstøck founded the
Schimpfluch extreme and outsider artist collective in Zürich in 1987.
Schimpfluch exponents are highly regarded for their unique and obscure
aural and visual work; their confrontational, physically demanding
performances and shock treatments remove the boundaries of the body and
open up accesses to the collective unconscious. Rudolf Eb.er lives and works in Japan.
Label:
Schimpfluch – SH 01
Format:
Vinyl, LP + Cassette, C20. All Media, Limited Edition
Country:
Switzerland
Released:
1988
Style:
Noise, Experimental, Sound Collage
Tracklist:
LP-A Wash Your Brains – Das Schuldgeständis Des Trööt (Jekröt Desto Quqg)
LP-B Wash Your Brains – Die Stammellaute Des Kn K Knarr (Jegans Desto Schnatt)
Tape-C Wash Your Brains – Stürm In Your Wund
Tape-D 4 Schizoide Musikanten – Würm In Your Schlund
Notes:
Limited edition of 150 copies.
Packaged in 9" by 12" jacket with A4 insert.
The cassette is wrapped in plastic and comes in a zip lock bag with sawdust and four cards.
The cover says: "a limited edition of suggestive records 1".
There is a small slip of paper with the cassette that says: "stürm in your wund besteht ausschliesslich aus mechanisch-akustisch manipulierter stimme" ["stürm in your wund consists exclusively of mechanically and acoustically manipulated voice"].
