Doom / No Security – Bury The Debt Not The Dead / No Security [LP] (1989, Peaceville)

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. 

 

Label: Peaceville – VILE 11 

Format: Vinyl, LP 

Country: UK 

Released: 1989 

Style: Hardcore, Punk, Crust, D-Beat

 

Tracklist: 

Doom Side 

A1 No Thought 

A2 Black Monday 

A3 Nazi Die 

A4 Agree To Differ 

A5 War On Our Doorstep 

A6 Bury The Debt (Not The Dead) 

A7 Life In Freedom 

A8 Days Go By... 

A9 Sold Out Scene 

A10 Free Yourself 

No Security Side 

B1 Märkt För Livet 

B2 Masskontroll 

B3 Sydafrikafragan 

B4 Den Eller De 

B5 Stämplad 

B6 Trangsynt 

B7 Fegis 

 

DOWNLOAD HERE

Comic – Ojos De Cristal [7''] (1984, Epic)

The short-lived Canarian synth-pop group Comic appeared in Las Palmas de Gran Canaria in 1984, bringing together Aurea Luisa Caballero “Auri” and María José on vocals, Antonio Santos on guitar and programming, and Kaelo del Río on keyboards and programming. Their songs fitted neatly into the Spanish synth-pop climate of the mid-80s, although the lyrics were deliberately strange and often difficult to make sense of. Their musical references included contemporary Movida names such as Golpes Bajos and Radio Futura, as well as their fellow Canarians Moral Femenina. 

Comic were also very much part of the visual side of that mid-80s “modern” culture. Their carefully styled image placed them close to groups such as Betty Troupe and Video, two important names associated with the synth-pop current coming out of Valencia. Before they had a proper record, the group made a demo that included “Ojos De Cristal”, the song that would become their best-known track. 

“Ojos De Cristal” was eventually taken into the CBS orbit at a time when the label was heavily involved in promoting the new Spanish synth-pop. In 1984 Comic recorded a self-titled 12-inch maxi-single for Epic/CBS, produced by Jorge Álvarez and photographed by Javier Vallhonrat. The record contained “Ojos De Cristal”, “Güira” and “Gozos En El Astral”. Álvarez was one of the important figures behind CBS's Spanish pop output during the period, having worked with artists including Mecano and Olé Olé. 

There was also a promotional 7-inch version, with “Ojos De Cristal” backed by “Gozos En El Astral”. A separate one-sided promotional pressing of “Ojos De Cristal” also circulated. The artwork makes for an interesting variation on the maxi-single sleeve: whereas the 12-inch cover shows two members seated, the promotional single leaves the chairs empty.

 
The record appeared at a time when CBS was developing the commercial possibilities of Spanish electronic pop, following the breakthrough of acts such as Mecano and Olé Olé. Jorge Álvarez's involvement connects Comic with that production environment and with the wider effort to bring new Spanish pop and electronic sounds into the mainstream. 

Comic managed to get considerably more exposure than their extremely short existence might suggest. They opened for Alaska y Dinarama at a concert at the Canódromo in Las Palmas, received airplay on Los 40 Principales and appeared on television on El Gran Musical. “Ojos De Cristal” also made an appearance in the Los 40 chart during June 1984, placing Comic alongside several of the better-known Spanish and international pop acts of the period. 

The group split in 1985, leaving behind only a small recorded legacy. Apart from the original maxi-single and promotional pressings, an unofficial CD subsequently circulated containing “Ojos De Cristal”, “Gozos En El Astral”, an instrumental version of “Güira” and the original demo of “Ojos De Cristal”. 

Kaelo del Río was the member whose musical career continued most visibly after Comic. After moving to Madrid, he became a versatile keyboard player, arranger, musician and recording technician, working with artists including Luis Eduardo Aute, Suburbano, Cómplices, Manolo Tena, Mercedes Ferrer and Malú. His work also extended to recording and arranging for La Frontera, David de María, La Bruja Gata and Brenga Astur, among others. 

Del Río also developed a career in audiovisual music, composing for films, television shows, documentaries, theatre and advertising. His work in the recording studio and his involvement as a musician, arranger and mixer allowed him to move between pop, rock and soundtrack projects, continuing the combination of electronic instruments and studio-based production that had already been part of his work with Comic. 

 

Label: Epic – EPC A-4263 

Format: Vinyl, 7", Single 

Country: Spain 

Released: 1984 

Style: Synth-pop 

 

Tracklist: 

A Ojos De Cristal 

B Gozos En El Astral 

 

Other Versions: 

'Ojos De Cristal' (12", Maxi-Single) - Epic [EPC A 12.4263] (Spain, 1984)

 

DOWNLOAD HERE

Brume – Apocalypse At 6.AM. [Cass] (1992, Tapes For Masses)

 

The cassette 'Apocalypse At 6 A.M.' belongs to the remarkably prolific early-1990s period of Brume, the long-running project of French composer and sound artist Christian Renou. It was issued in 1992 by the Portuguese label Tapes For Masses, catalogued as TFM 003, and takes its place among a long sequence of Brume cassettes that circulated through the international cassette-culture and industrial underground. 

 
Renou had already been working with sound manipulation for more than a decade when 'Apocalypse At 6 A.M.' appeared. His first experiments went back to the late 1970s, when he was involved with a large jazz-rock group called Uria, initially providing unusual effects and noises rather than functioning as a conventional musician. He began working independently around 1981, experimenting with synthesizers, tape loops, cassette players and crude recording equipment. He eventually developed a very personal approach based on cutting, looping, layering and physically manipulating recorded sound. 

 
The name Brume emerged in 1985 with the self-released cassette 'Frikture', followed by 'Le Jour Du Cochon' and a steady flow of releases through the international mail-art and cassette networks. Renou became extremely prolific, issuing dozens of cassettes through small labels in France, Belgium, Germany, Italy, the United States and elsewhere. By the time of 'Apocalypse At 6 A.M.' he had already accumulated releases on labels such as Organic Tapes, Old Europa Cafe, Tonspur, Audiofile, Corrosive Tapes and SPH. 

 
Brume's music is difficult to reduce to a single genre, although musique concrète, industrial noise, electroacoustic experimentation and sound collage are useful starting points. Renou treated recordings almost as raw physical material, chopping them into fragments, extending them, combining unrelated noises and building dense layers from percussion, electronics, mechanical sounds and manipulated environmental recordings. Descriptions of his work from the period frequently emphasize rapid montage and collage, with the abrasive side of industrial music sitting alongside more atmospheric and textural passages. 

 
'Apocalypse At 6 A.M.' sits within an especially busy year for Renou. The 1992 discography includes several other Brume releases, among them 'I'm... I Come... I Was...' on Tonspur, the collaborative 'Lisza-Lisza' with Bovoso, 'Soulscape' with De Fabriek, and 'Sperm + Egg' with Sudden Infant. There was also 'Battery Hens Sabotage', while the following year brought releases such as 'Xeros' and further collaborations. 

 
The cassette also fits neatly into the catalogue of Tapes For Masses, a Portuguese underground label that operated in the early 1990s and concentrated on the sort of international experimental, industrial and noise material that was circulating through cassette networks at the time. The label's releases were generally small-scale affairs: another 1992 title, Telepherique's 'Music In Pictures', appeared on the same label, while De Fabriek's 'Trabbi Music' was catalogued as TFM 001 and reportedly limited to only 50 copies. The numbering gives 'Apocalypse At 6 A.M.' a particularly nice place in that tiny catalogue: De Fabriek's 'Trabbi Music' was TFM 001, a Kapotte Muziek release appeared as TFM 002, and Brume's cassette followed as TFM 003. S·Core's 'Deformation' subsequently appeared as TFM 004 in 1993.

 

These releases show how Tapes For Masses connected Portuguese cassette production with artists from the wider European industrial and experimental network. The cassette format was central to this whole scene rather than merely a cheap alternative to vinyl. Renou himself regarded cassette exchange as an important part of his development, allowing him to communicate with musicians, labels and listeners internationally while keeping production extremely flexible. He recorded some Brume material in remarkably short sessions, sometimes over a single weekend, and the sheer number of releases reflects that very DIY working method. 

 
Renou continued using the Brume name through the 1990s, with releases on labels including Staalplaat, Old Europa Cafe, Ant-Zen, Bandaged Hand Productions, Realization, Nuit et Brouillard and Intransitive. Around the turn of the millennium he began releasing more material under his own name; 'Zona Ventille' appeared in 2001, followed by further electroacoustic and musique concrète projects. Brume then went into a period of inactivity before Renou revived the project in 2008, after noticing that the musical approach he had developed under his own name was gradually returning towards the characteristic Brume aesthetic. 

 

 

Label: Tapes For Masses – TFM 003 

Format: Cassette, Limited Edition, C60 

Country: Portugal 

Released: Jun 1992 

Style: Abstract, Tribal, Experimental, Tape Music, Sound Collage 

 

Tracklist: 

A1 Untitled 5:33 

A2 Untitled 3:11 

A3 Untitled 1:25 

A4 Untitled 4:12 

A5 Untitled 1:30 

A6 Untitled 0:49 

A7 Untitled 3:49 

A8 Untitled 8:14 

B1 Untitled 3:50 

B2 Untitled 5:26 

B3 Untitled 6:43 

B4 Untitled 13:00 

 

DOWNLOAD HERE

The Anti Troppau Council – A Way Out [LP] (1986, Pegasus Records)

 

The Anti Troppau Council came together in Athens in the aftermath of Psychomafia’s split in 1984. Guitarist and singer Giannis Drenogiannis and bassist Tolis Maragos carried on together, initially joined by singer Nancy and drummer Aris Labridis, formerly of Γενιά Του Χάους (Genia Tou Haous, aka Chaos Generation). That line-up was short-lived, though, and Nancy and Labridis were soon replaced by vocalist Vasilis Tzavaras and drummer Takis Kanellos, the combination that would record 'A Way Out'. The rather unusual name came from Maragos’ interest in the 1820 Congress of Troppau, where European powers discussed suppressing revolutionary movements; the band turned the historical reference around with the deliberately provocative “Anti” prefix. 

The group quickly became part of the busy Exarchia underground circuit, playing regularly at venues such as Pigasos and Point. Pigasos was particularly important, operating as both a live venue and a meeting point for the Athens alternative scene. Their February 1985 appearance at Kyttaro was documented on the 'Live at Kyttaro' cassette, while that same year the band contributed two tracks to the 'Outsiders' compilation issued by Di Di Music. They were also sharing bills with groups including Femmes Fatales, Moist Device and Villa 21, establishing them within the loose network of Greek punk, post-punk and alternative rock groups that was developing around Athens during the mid-1980s. 

By the time they made 'A Way Out', The Anti Troppau Council had moved beyond the straightforward punk approach of their earliest material. Drenogiannis later described the band's development as moving through an initial punk phase, a period with stronger new wave elements, and finally toward the direction represented by the album. American underground groups such as Hüsker Dü, Minutemen and Wipers were particularly important reference points, alongside the post-punk sounds circulating through the Athens scene. 

'A Way Out' was recorded in 1986 at Agrotikon, the Thessaloniki studio associated with musician and producer Nikos Papazoglou, who also worked as the album's engineer. The record appeared on Pegasus Records as catalogue PEG 001 / CP 91026 and contained eleven tracks, beginning with “The Last Poet On The Road” and “The Diver” and moving through “Insanity”, “In The City” and the title track before reaching “I Believe”, “Contract With The Devil”, “Into The 7th Sky”, “Scream A Song”, “Cartoons” and “When The Saints Go...”. 

The record's stylistic range was already apparent to listeners outside Greece. Maximum Rocknroll, reviewing the LP in issue #40 in September 1986, described the group as moving between early punk rockers, psychedelic punk and slower melodic material, with changes of pace and mood across the album. That contemporary review is useful context because 'A Way Out' was reaching the international underground press at a time when very little Greek alternative music was being exported beyond the country. 

“I Believe” became the best-known track from the album and was already a highlight of the band's live set. The song is a direct tribute to Roky Erickson, with its lyrics built around the singer's fascination with the idea of Erickson arriving from outer space and the alien imagery associated with his music. “When The Saints Go...” takes the album in a completely different direction, turning the traditional gospel standard “When the Saints Go Marching In” into a short, punk-styled closing number. 

The album also has a particularly strong connection with Pegasus itself. The label was established by Petros Koutsoumbas, who was associated with the Pigasos club. According to an account by Drenogiannis, Koutsoumbas offered to finance the recording after seeing the band playing at the club, putting up 100,000 drachmas for the project. That investment resulted not only in 'A Way Out' but in the creation of Pegasus Records as an outlet for underground Greek music.

 
Pegasus subsequently became involved in documenting the wider Athens and Greek underground. In 1987 it issued 'Cicadas – An Electric Guide to the Greek Underground', featuring Anti Troppau Council alongside groups such as Villa 21, The Mushrooms, Blue Light and Human Grape. The Anti Troppau Council contributed two tracks to the compilation, “Horizons” and “Shine”. Their earlier contributions to 'Outsiders' also circulated outside the album, with “Contract With The Devil” appearing there in a different mix from the version used on 'A Way Out'.

 
The line-up continued to change after the LP. Following a June 1986 appearance at the Theatre of the Forest in Thessaloniki, Maragos was replaced on bass by Gerasimos Gatzelias. The new line-up recorded the two 'Cicadas' tracks, while the band was also working on material intended for a second album. That record never happened: tensions within the group resulted in Drenogiannis leaving before they could enter the studio. Kanellos subsequently became associated with Mode Plagal, while Drenogiannis went on to form Yeah!. Tzavaras and Maragos later joined Kostas Anagnostopoulos and Nikos Kassavetis in the short-lived Angeldrops.

 

Label: Pegasus Records – CP 91026 

Format: Vinyl, LP, Album 

Country: Greece 

Released: 1986 

Style: New Wave, Post-Punk, Garage Rock, Noise Rock 

 

Tracklist: 

A1 The Last Poet On The Road 

A2 The Diver 

A3 Insanity 

A4 In The City 

A5 A Way Out 

B1 I Believe 

B2 Contract With The Devil 

B3 Into The 7th Sky 

B4 Scream A Song 

B5 Cartoons B6 When The Saints Go... 

 

DOWNLOAD HERE

'68 Comeback – The Annex Sessions Volume One [7''] (1996, Sympathy For The Record Industry, Old Age / No Age)

 

‘68 Comeback’s 'The Annex Sessions, Volume One' is a two-song 7" single issued in 1996 by Sympathy For The Record Industry, with Old Age/No Age also credited on the release. The record appeared as SFTRI 450, and pairs “I Want My Mule Back” with “Painter Of Sadness.” A second volume followed in 1997, carrying “Whistle Bait” and “Modern Don Juan.” 

By this point, ’68 Comeback had already established itself as a particularly scruffy and energetic part of the early-’90s garage-rock revival. The group had been formed in Memphis in 1992 by Jeffrey Evans, the singer, guitarist, blues-harp player and music obsessive who had previously been involved with the Gibson Bros. Evans was the only permanent member of a constantly shifting line-up, and the original band brought together musicians from several corners of the Memphis underground, including Peggy O’Neil of the Gories, Darin Lin Wood of the Red Devils, Dan Brown of Gloryhole and Jack Taylor of Monster Truck Five. 

The idea behind ’68 Comeback was pretty direct: Evans wanted a band that could hit hard in a live setting and reproduce that rough, immediate feeling on record. The early line-up even featured three guitarists, giving the group a dense, battered rock’n’roll sound that connected the Memphis garage tradition with blues, rockabilly and primitive punk. Their first singles appeared on a string of independent labels including Sugar Ditch, Sympathy, In The Red, Sub Pop and Get Hip, while Sympathy became one of the most important homes for the group’s records during the decade. 

The personnel around the 'Annex Sessions' was somewhat different from the original line-up. For these recordings, Evans was joined by Darin Lin Wood on guitar, George Reyes on electric bass and Jeffrey Bouck on drums. The same combination was used for a number of recordings around this period, including material that eventually appeared on the 1998 album 'A Bridge Too Fuckin’ Far'. 

The two tracks on 'Volume One' fit neatly into the band’s fascination with the rougher, older side of American music. “I Want My Mule Back” and “Painter Of Sadness” are preserved as compact pieces rather than stretched-out studio productions, which makes the 7" format particularly appropriate. The sessions were part of a very productive period for Evans, with the 'Someday My Prince Will Come…' double 7" also appearing through Sympathy in 1996, alongside a steady stream of singles and the group’s earlier albums. 

Sympathy For The Record Industry, usually shortened to SFTRI, was one of the key American independent labels of the period. Based in Long Beach, California, it built an enormous catalogue around garage rock, punk, blues, noise, rockabilly and other forms of underground rock’n’roll, often releasing short runs of 7"s and EPs alongside LPs and CDs. Its catalogue around 1996 included records by artists as varied as Billy Childish, Destroy All Monsters, The Spaceshits, Los Cincos and El Vez, with ’68 Comeback appearing repeatedly in the label’s programme. 

The second label credit connects the single to Mike “Rep” Hummel’s Old Age/No Age, a particularly important piece of the Columbus, Ohio DIY underground. Hummel had developed the label out of his earlier New Age Records operation, initially using it to issue cassette-based material by musicians such as the Gibson Brothers and Tommy Jay. Through the ’80s and ’90s, Old Age/No Age became associated with the rough-edged, home-recorded side of American underground rock, and Hummel was also active as a musician, producer and engineer around Columbus. That connection makes sense in the wider ’68 Comeback story. Evans had longstanding links with musicians and labels operating outside the more polished end of the garage revival, while the group’s records regularly moved between different small labels and regional scenes. 

 

Label: Sympathy For The Record Industry – SFTRI 450, Old Age / No Age – none 

Format: Vinyl, 7" 

Country: US 

Released: 1996 

Style: Garage Rock 

 

Tracklist: 

A. I Want My Mule Back 

B. Painter Of Sadness 

 

DOWNLOAD HERE

Dan Curtin – Dream Not Of Today [12''] (1994, Peacefrog Records)

 

'Dream Not Of Today' is a four-track 12" by American producer and DJ Dan Curtin, issued by the London label Peacefrog Records in 1994 as PF 024. The record contains “Track 17”, “Spliffed”, “Wind And Water” and “One Evening At Mrs. Applebees”. 

Curtin came out of the Northeast Ohio scene, working from the Cleveland area at a time when techno was still developing outside its better-known Detroit and Chicago strongholds. He had already been producing and DJing before setting up Metamorphic Records in 1992, a label that became an outlet for his own material as well as early work from producers including Morgan Geist and Titonton Duvante. Curtin also spent time working in Detroit with Carl Craig and released material on 33 RPM Records, connecting his Cleveland background with the wider Detroit techno network. 

The Peacefrog connection was particularly important in this period. Founded in London in 1991 by Pete Hutchison and Paul Ballard, Peacefrog quickly developed into one of the UK labels closely associated with the more adventurous end of early-'90s techno. Its catalogue brought together British and American producers, with releases from artists such as Luke Slater, DBX, Stasis, Eddie “Flashin” Fowlkes and Planetary Assault Systems appearing around the same period. The label's own description traces its name to a lesser-known musical reference by The Doors and describes its original purpose as an outlet for interesting, relatively underexposed electronic music. 

'Dream Not Of Today' arrived during a particularly busy period for Curtin. His 'The Silicon Dawn' album was also released by Peacefrog in 1994, while 'Parallel / Population 2' followed later that year. 'The Silicon Dawn' was among Peacefrog's early full-length techno releases and shows the same combination of Detroit-inspired structures, melodic passages and intricate percussion that runs through Curtin's work of the period. 

The four tracks on PF 024 sit somewhere between Detroit techno, early Chicago house influence and a more individual kind of tech-funk. Contemporary descriptions of the record point to fast-moving rhythms, acidic bass lines and a distinctly funky edge, while “Wind And Water” in particular has been singled out for its combination of driving percussion and melodic elements.

 
There is also an interesting geographical angle to Curtin's music. Cleveland was hardly the obvious place to emerge as a techno production centre in the early '90s, yet Curtin developed a sound that was clearly in conversation with Detroit while retaining its own character. His records were often faster and more rhythmically restless than straightforward deep house, with complex drum programming, distorted textures and melodic material working together rather than simply following the functional conventions of club techno. 

 

Label: Peacefrog Records – PF 024 

Format: Vinyl, 12", 33 ⅓ RPM 

Country: UK 

Released: Dec 12, 1994 

Style: Acid, Deep House, Techno, Detroit Techno 

 

Tracklist: 

A1 Track 17 5:16 

A2 Spliffed 6:00 

B1 Wind And Water 6:48 

B2 One Evening At Mrs. Applebees 5:17 

 

DOWNLOAD HERE

Various – Earcom 1 [LP] (1979, Fast Product)

 

'Earcom 1' was a 12-inch compilation issued by the Edinburgh independent label Fast Product in 1979, catalogued as FAST 9A. It was the first instalment in the label’s 'Earcom' series, followed later that year by 'Earcom 2' and 'Earcom 3'. Rather than simply collecting previously released material, the record was used to introduce several newer and less established acts working around the emerging post-punk and DIY scenes. Contemporary advertising described it as a “Giant EP” featuring “24 minutes of mutant pop.”

 
The record opens with The Prats, the young Edinburgh group made up of Paul McLaughlin, David Maguire, Greg Maguire and Tom Robinson, who contribute three tracks: “Prats 2”, “Inverness” and “Bored”. Their primitive, deliberately awkward approach fitted perfectly with Fast Product’s interest in bands that could make something distinctive without conventional musical polish. The Prats had been influenced by groups such as The Slits and The Mekons, and their appearance on 'Earcom 1' was followed by a John Peel session in 1979. 

The Blank Students appear twice with “Fun At The Fair” and “Background Music”. The group came from the same loose Scottish experimental/post-punk environment that Fast Product was documenting, and their contributions sit somewhere between punk minimalism, primitive new wave and deliberately eccentric performance. John Peel played “Background Music” on his BBC Radio 1 programme in May 1979, shortly after the compilation appeared. 

Graph contribute “Drowning”, one of the more experimental pieces on the record. The group were associated with Sheffield and used electronics and treated conventional instruments in their performances. Contemporary coverage placed them alongside Cabaret Voltaire, noting their use of films and slides during live shows and describing “Drowning” as part of Fast Product’s 'Earcom 1' project. 

The remaining tracks come from The Flowers, another Scottish group who contribute “Criminal Waste” and “After Dark”. John Peel picked up both the band and the compilation very quickly, playing “Criminal Waste” in May and June 1979 and “After Dark” in July. The final track, “(My Baby Does) Good Sculptures”, is credited to Simon Bloomfield and Tim Pearce, giving the record an additional experimental element beyond the four main groups.

 
Fast Product had been established in Edinburgh in December 1977 by Bob Last, Hilary Morrison and Tim Pearce. The label's first release was The Mekons' Never Been in a Riot' single in January 1978, and its catalogue quickly expanded to include 2.3, The Human League, Gang of Four, Scars and other artists who were helping shape the transition from punk into the more fractured sounds of post-punk. 

Last and his associates approached the label as something broader than a conventional record company. Fast Product combined records with fanzines, unusual packaging, photography, graphics and deliberately unconventional promotional ideas. The label used terms such as “mutant pop” and “difficult fun” to describe its approach, while its releases reflected the DIY attitude that had developed around punk but pushed it towards electronics, experimental music, conceptual presentation and new forms of pop.

 
'Earcom 1' also fits into Fast Product's numbering system in an interesting way. FAST 8 had been the 1979 Scars single 'Adult/ery', while FAST 9A was 'Earcom 1', followed by FAST 9B for 'Earcom 2' and FAST 9C for 'Earcom 3'. The second volume featured Joy Division, Thursdays and Basczax, while the third came as a double 7-inch set. 

The physical presentation of 'Earcom 1' was also part of the project. Original copies came with a four-page booklet and an embossed circular insert, while some editions were associated with an additional pink flexi-disc featuring material by Jo Callis. The combination of unusual packaging, new groups and deliberately limited presentation was very much in keeping with Fast Product's way of treating the record as an object rather than just a carrier for songs. 

 

Label: Fast Product – Fast 9a, Fast Product – F9Ax/1, Fast Product – F9AX/2 

Series: Earcom – 1 

Format: Vinyl, LP, 45 RPM, Compilation 

Country: UK 

Released: 1979 

Style: Lo-Fi, Punk, New Wave, Minimal, Synth-pop, Experimental, Post-Punk 

 

Tracklist: 

A1 The Prats – Prats 2 2:02 

A2 The Blank Students – Fun At The Fair 2:08 

A3 Graph – Drowning 5:03 

A4 The Blank Students – Background Music 2:03 

B1 The Prats – Inverness 1:50 

B2 The Prats – Bored 1:17 

B3 The Flowers – Criminal Waste 3:47 

B4 The Flowers – After Dark 3:45 

B5 Simon Bloomfield / Tim Pearce – (My Baby Does) Good Sculptures 1:30 

 

DOWNLOAD HERE