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

 

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

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

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

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

 

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

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

Country: US 

Released: 1984 

Style: New Wave, Synth-pop, New Romantic

 

Tracklist: 

A1 Never Say Goodbye 3:52 

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

A3 No Communication 3:38 

B1 Fade Away 5:40 

B2 Take Your Chances 5:03 

B3 Demon Dance 5:30 

B4 No Communication (TV Version) 3:53 

 

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Doof – Exist [10"] (1982, Namedrop Records)

The 10" 'Exist' by Doof landed in 1981–82 as one of those wonderfully baffling records that seemed to exist completely outside the normal music industry. Built around the partnership of Paul Platypus and Philip Johnson, the record came out on the tiny Namedrop Records imprint and immediately carved out a place in the strange corner where post-punk, cassette culture, dadaist humour and bedroom experimentation all collided. The music drifts between half-formed pop ideas, tape manipulation, spoken passages and lo-fi fragments that sound as though they were captured in a living room with whatever equipment happened to be available. That roughness is part of its appeal, giving Exist the feeling of a private document accidentally released to the public. 

 
Doof emerged from the fertile UK DIY underground of the early 1980s, a scene where homemade cassettes, self-published fanzines and tiny independent labels mattered far more than commercial success. Philip Johnson had already been active in cassette culture and experimental circles, while Paul Platypus was involved with several interconnected projects that floated around the anarcho-punk and DIY network. Together they created something that felt less like a conventional band and more like an ongoing art project, full of surreal ideas and deliberately skewed approaches to songwriting. Their work has often been described as dreamlike and disorienting, with tracks unfolding according to their own strange logic rather than any obvious structure. 

 
Namedrop Records was just as unconventional as the music it released. Run by Johnson and Platypus, the label became home to a small circle of like-minded artists including Doof, Philip Johnson's solo recordings, Cold War and later Twelve Cubic Feet. The catalogue was tiny, but it captured a particular moment in British underground culture when people were pressing records in small quantities simply because they felt compelled to document what they were doing. The label's releases shared a handmade quality and a willingness to ignore the boundaries separating punk, experimental music and outsider pop.

 
What makes 'Exist' so fascinating decades later is how completely it reflects that environment. It doesn't sound polished, fashionable or calculated. Instead, it captures a period when independent music could still be genuinely unpredictable, when a pair of friends could assemble a collection of odd sounds, package it with a booklet and put it out into the world with no concern for commercial expectations. Records like this became cult favourites precisely because they felt so personal and uncompromising. For collectors of early DIY post-punk and cassette-culture oddities, 'Exist' remains one of the more intriguing artifacts to emerge from that scene.

 

 

Label: Namedrop Records – NR1 

Format: Vinyl, 10", 33 ⅓ RPM 

Country: UK 

Released: Feb 1982 

Style: New Wave, Punk, Experimental, Noise, Post-Punk, Sound Collage, Industrial 

 

Tracklist: 

A1 (Treat Me Like) The Man I Am 3:45 

A2 Brighton, Pt. 1 2:45 

A3 Nine Years Old 6:30 

B1 Brighton, Pt. 2 2:27 

B2 On It In It 5:30 

B3 (Treat Me Like) The Man I Am 5:02 

 

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