I, Braineater – Artist Poet Thief [LP] (1985, More)

 

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 

 

Tracklist: 

A1 Edge 1:29 

A2 Canada 2:21 

A3 Wrong World 3:44 

A4 1980 More 3:54 

B1 Funtime 1:24 

B2 Comeon 1:43 

B3 Sacred Cow 3:02 

B4 I Am 3:06 

B5 7teen 2:34 

 

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Kosmonautentraum – Liebesmühn [7''] (1982, Zickzack)

 

Kosmonautentraum is a music project founded in 1980 by the singer Ziggy XY (aka Michael Jarick) and drummer E.K.T. (then both at Der Moderne Man) in Hannover with a strong closeness to the genial dilletants from Berlin (Die Tödliche Doris, Einstürzende Neubauten, Sprung Aus Den Wolken, etc.). Kosmonautentraum published mostly on cassettes and on the ZickZack label, with changing accompanying musicians until the mid-1980s. Ziggy XY also published a volume of poetry titled "Der Deutsche" and published together with E.K.T. the fanzine "Heute", which contained mostly collages and fictitious concert reviews and record reviews. [SOURCE: WIKIPEDIA] 

 

 

Label: Zickzack – ZZ 41 

Format: Vinyl, 7", 45 RPM, Stereo 

Country: Germany 

Released: Jan 1982 

 

Style: New Wave, Abstract, Minimal, Post-Punk, Neue Deutsche Welle

 

Tracklist:

A Kosmonautentraum Nr. 7 3:40 

B1 Kosmonautentraum Nr. 8 2:37 

B2 Kosmonautentraum Nr. 9 0:59 

 

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Doc Wör Mirran – Odds, Sods And Dirtclods [3xLP] (1991, RRRecords, Empty Records)

The actual name "Doc Wör Mirran" was thought up by Bernard H. Worrick while he and Joseph B. Raimond lived together in San Francisco in 1982. But the real history of Doc Wör Mirran begins when Bernard H. Worrick and Joseph B. Raimond both moved to Nürnberg Germany in 1985, where Joseph B. Raimond bought an analog 8-track recording studio and began to record what has since become a huge body of recorded work. The concept of Doc Wör Mirran though from the very beginning was to combine music, graphic art, painting, sculpture, poetry and just about every other medium of art into one project.

 

The open-membership policy of Doc Wör Mirran is an important part of the Doc Wör Mirran philosophy. In the early 1990's, Bernard H. Worrick moved to Florida, taking with him an important part of the group's identity. But Doc Wör Mirran has continued onwards without Bernard. Bringing Bernard back to Germany and returning him to the Doc Wör Mirran fold has become one of the goals of the group. Although rarely playing live, Doc Wör Mirran is not averse to live concerts, although playing live is not one of the priorities of the group. Since the departure of Bernard, Doc Wör Mirran has become especially interested in collaborative efforts with other artists, both recorded and live. Recent developments with Doc Wör Mirran include the formation of a new label within MT Undertainment devoted exclusively to the recordings, literature and artwork by Doc Wör Mirran and its various members.

 

 

Label: RRRecords – RRR-WÖR, Empty Records – MT-148 

Format: 3 x Vinyl, LP Box Set 

Country: US 

Released: 1991 

Style: Abstract, Industrial, Experimental 

 

Tracklist:

A1 False Legs For The Decapod 3:13 

A2 Bennie 3:46 

A3 Initiative 3:39 

A4 April Sekt 2:50 

A5 Fuck You, Frau Kalb 2:54 

A6 Into The Sun 1:52 

B1 Misery Fiction, Misery Life 3:58 

B2 Distrusting You Forever 2:07 

Trilogy Tits 

B3 A) Bi-Anal Improvisation (Repaired Trance Version) 2:26 

B4 B) Lockerbee Rain 4:25 

B5 C) Satan Is Also Stupid 6:17 

- 

C1 The Events Of January 17, 1991 3:45 

C2 8500 Nurnberg 15:03 

D1 Slow #4 7:15 

D2 Andropovski's Nightmare 3:04 

D3 Jeandra's Eyes 8:14 

D4 Was Mach Ich Jetzt 2:58 

E1 Distrusting You Always 5:57 

E2 The Glory O.T. Sun 1:34 

E3 Henry's Secret Deformity 4:00 

E4 Top Ten Hit Material 2:52 

E5 Another Sighting Of The Great Loch Ness Titty 4:12 

F1 Beat Your Meat Manifesto 2:41 

F2 Blood And Burn 3:58 

F3 Broccolli June Harvest (Part 3) 5:10 

F4 Stop Doing The Laundry, Frank 4:25 

F5 Mythical Riches 4:13 

 

Notes:

Comes in a box in an edition of 500 copies. 

Recorded mainly at Two Car Garage Studios, Nürnberg, Germany between 1987 and 1991. Some recording was done at Lexisound Fercht and at the private studios of the participants. 

 

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32 Guájar's Fáragüit – Crom 48 [Cass] (1985, Sorollsec)

Mario Ruiz, from Barcelona and with the stage name Sorollsec, was 32 Guajar's Faragüit. His music was made out of a rhythmic, repetitive and dronic rituality, structurally close to Esplendor Geométrico and the more forceful SPK, although formally treated with less metallic sonorities and a greater number of melodic accents that distanced him from the tribal savagery of Arturo Lanz's band. Their entire discography is based on cassette tapes. 

 

After a demo recorded in 1983, in 1984 its first reference is released by the Ortega y Cassette label, titled 'Antilogia Vocevérsica', a cassette full of sonic textures, tribal atmospheres and abstract landscapes carefully prepared to offer unique sensations to the listener. In 1985, and through his own Sorollsec label, appears a new release composed by five themes, titled 'Crom 48'. [SOURCE: SONMARCHIVE]

 

 

Label: Sorollsec – SSOC2 

Format: Cassette, Album 

Country: Spain 

Released: 1985 

Style: Abstract 

 

Tracklist:

AA Extroduccio 

AB Pocker De Ausencias Digitales 

AC Filmusical Ionouisitorial 

BA Abscesible 

BB Renatal Postbek3675 

 

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Yeast Culture – Yeast Culture [Cass] (1988, Petri Supply)

Yeast Culture are an 80s band who used field recordings, ambience and noise to create a special blend of soundscapes. The source of recordings mainly consisted of things they found around the islands in Puget Sound. They have a very conceptual way of composing including the recording of things such as trees and water, to live electric plasma, empty industrial sites and historical military forts. Very DIY, resourceful and aesthetically sound. [SOURCE: RATE YOUR MUSIC]

 

 

Label: Petri Supply – none 

Format: Cassette, C64 

Country: US 

Released: 1988 

Style: Abstract, Experimental, Electroacoustic, Field Recording, Ambient, Industrial

 

Tracklist:

A1 Transplant 5:26 

A2 Dream Virus 5:09 

A3 Flagellation Of The Naked Arteries 3:15 

A4 Yegova Into Rimror 11:28 

A5 Millning 6:18 

B1 The Lotus Eaters 17:51 

B2 Self-Suspended In Gel 7:26 

B3 Revendrig 5:26 

 

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Philip Sanderson, Michael Denton – Telephone Music [Cass] (1986, Telephone Music)

Born in 1960, Philip Sanderson first began experimenting with reel to reel tape recorders and rewired ‘circuit bent’ electronic equipment in his teens. He compiled his first cassette 'Dark Cuttings' in 1977 and in 1978 formed the Snatch Tapes label releasing 'Snach Tapes 1' the first outing for Claire Thomas & Susan Vezey and Storm Bugs (a collaborative project with Steven Ball). 1980 saw the release of 'Snatch Tapes 2' and the first Storm Bugs EP entitled 'Table Matters' as well as the cassette release, 'Reprint' by Claire Thomas & Susan Vezey, and 'A Safe Substitute' by Storm Bugs. Both tapes featured the quirky British synthesizer the VCS3 as the main instrument. The following year 1981, "Bright Waves" by Thomas & Vezey was the opening track on the Cherry Red 'Perspectives And Distortion' LP and a second Storm Bugs single was released on the French L’invitation au Suicide label. 

 
In the early 1980s Sanderson collaborated with David Jackman (of Organum fame), Clip from Orior, Michael Denton, as well as recording with the chanteuse Naomi. From this came two more tape releases in the shape of '0º North' and 'Telephone Music'. 

 

'Telephone Music' was compiled by Philip Sanderson, with sleeve layout & design by Michael Denton. Between 5-10 copies were made and the tape came in three sleeves. Versions of the tracks: "Maps, Drinks & Aeroplanes", and "Spy Garden (Tale Chase)" were re-issued on the 2018 LP 'On One Of These Bends' by Philip Sanderson (Séance Centre, 11SC). "Merry Christmas Adolf" is also known as "Teal Blue & Silver". [SOURCE: SÉANCE CENTRE]

 

 

Label: Telephone Music – tel 001 

Format: Cassette, Stereo 

Country: UK 

Released: 1986 

Style: Ambient, Abstract, Electroacoustic, Minimal 

 

Tracklist: 

A1 Maps 3:21 

A2 Thief 4:20 

A3 Merry Christmas Adolf / Teal Blue & Silver 2:31 

A4 Drinks and Aeroplanes 2:34 

B1 Ups and Downs 2:36 

B2 Apostrophe S 4:21 

B3 Spy Garden 1:38 

B4 Mr Sound 3:34 

 

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Ambulatorio Segreto – Cardiotrak / Neuroconnector [Cass] (1990, Toracic Tapes)

The European avantgarde-trio Ambulatorio Segreto consisted of Stefano Barban (Italy), Miguel A. Ruiz (Spain; also active as Ventral Metaphor and Orfeon Gagarin) and Siegmar Fricke (Germany; also active as Bestattungsinstitut and Pharmakustik) -three legendary (and still very prolific) musicians who formed an integral part of the experimental tape-scene at that time. The trio that existed between 1988 and 1993 produced ten cassettes in Vicenza (Italy), Madrid (Toracic Studio, Spain) and Wilhelmshaven (Pharmakustik Studio, Germany) and took part in many cassette-compilations worldwide. Ambulatorio Segreto's musical style was never clearly defined -instead contradictory sound-elements such as emphasized beats, catchy melodies, vocal samples, strange loop-constructions and gloomy ambiences were main parameters of their work. The equipment was minimal but used in the most effective and creative way: sampling, rhythm-boxes, digital and analogue synths and multi-effectors. [SOURCE: VERLAG SYSTEM BANDCAMP]

 

Label: Toracic Tapes – TØ30 

Format: Cassette 

Country: Spain 

Released: 1990 

Style: Abstract, Electro, Industrial 

Tracklist: 

Cardiotrak 

A1 C1 

A2 C2 

A3 C3 

A4 C4 

A5 C5 

A6 C6 

Neuroconnector 

B1 N1 

B2 N2 

B3 N3 

B4 N4 

B5 N5 

B6 N6 

Notes:  

Recorded in Wilhelmshaven (West Germany) by Siegmar Fricke; Madrid (Spain) by Miguel A. Ruiz; Cavassaia (Italia) by Stefano Barban. 

Mixed in September 1990 at Toracic Studio, Madrid.

 

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Various – Zerstückelte Denkkurbeln [LP] (1988, Schimpfluch)

'Zerstückelte Denkkurbeln' is a 1988 compilation album released on the swiss Schimpfluch label, run by Rudolf Eber (Rudolf Eb.er). Includes tracks from the german band P16.D4 -whose music bordered on the industrial and on the cacophonous-, Drängende Hebelkraft, Wash Your Brains, G*Park -the musique concrète project of Marc Zeier-, and some others. This limited release comes in a two-thirds LP cover with an info-sheet and a fork stuck to it. Included is a booklet consist of 13 sheets. Limited Edition of 300.

 

 

Label: Schimpfluch – SH 02 

Format: Vinyl, LP, Compilation, Limited Edition 

Country: Switzerland 

Released: 1988 

Style: Abstract, Noise, Experimental 

 

Tracklist:

A1 P16.D4 – Essenz 

A2 4 Schizoide Musikanten – Bevor Dada Da War War Dada Da 

A3 Fam. Pigdog – Tumultous Food 

A4 Drängende Hebelkraft – Dedicated To Wilhelm Amok 

A5 Red Light District – Red Light Jimmy 

A6 P16.D4 – Azur 

A7 Hansi B. – Untitled 

A8 Aufstand Der Dilettanten – Der Apfelbaum Krümmt Sich 

A9 P16.D4 – Akzidenz 

B1 Sterea Lisa – Engel 

B2 Wash Your Brains – Runzelstirn Und Gurgelstock 

B3 G*Park – Klima 

B4 3 1/2 Stempelkissen – Vernichtungs-Gefahr 

B5 Wash Your Brains – Burgenholzer Revue 

B6 Drängende Hebelkraft – Roter Bereich 

B7 Schmachtfetzen AG – Marschmusik Für Walrösser 

B8 4 Schizoide Musikanten – Abgetakt Fliessend 

 

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Philip Brophy – Salt Saliva Sperm And Sweat [LP] (1989, Present Records)

 

Philip Brophy, born in Reservoir, Melbourne 1959 is an Australian musician, composer, sound designer, filmmaker, writer, graphic designer, educator and academic. In 1977, Brophy formed the experimental group → ↑ → -more often written (though wrongly) as Tsk Tsk Tsk or Tch Tch Tch, (pronounced tsk tsk tsk)- with Ralph Traviato, Alan Gaunt and Leigh Parkhill. Sometimes compared to Andy Warhol's Factory, the group produced experimental music (Brophy on drums or synthesiser), films, videos, and live theatrical performances exploring Brophy's aesthetic and cultural interests, often on a minimal budget.

 

Over the ten years of the group's operation it involved over sixty of Brophy's friends and acquaintances including musician David Chesworth, and visual artists Maria Kozic and Jayne Stevenson. They performed in a wide range of Australian venues including pubs, galleries, university campuses and the Clifton Hill Community Music Centre. They also performed or exhibited in Europe, including London's ICA. Brophy dissolved the group in the late 1980s, issuing a retrospective book "Made by → ↑ →", but continued to work with Kozic for some time. 

 

In 1980, he founded the Innocent Records label with fellow Melbourne musician David Chesworth. Throughout the early 1980s, Brophy wrote numerous compositions and multi-media pieces. In the late 1990s, Brophy founded the Sound Punch label, and released both solo works, and collaborations with Maria Kozic, Bill McDonald, and fellow RMIT academic Philip Samartzis. 

 

After the dissolution of → ↑ →, with whom Brophy had made numerous collaborative film and video works (including Super-8 and 16mm versions of "No Dance"), he set his ambitions on making higher budget films, and became more involved in sound design. In 1988 he made an experimental short film "Salt, Saliva, Sperm and Sweat". His first feature film, "Body Melt", was released in 1993, and was funded by the Australian Film Commission and Film Victoria. Two short films were produced in 2004, "The Sound Of Milk" and "Words In My Mouth - Voices In My Head (Anna)". [SOURCE: WIKIPEDIA]

 

 

Label: Present Records – PRE-010, Present Records – MX303123 

Format: Vinyl, LP, Album 

Country: Australia 

Released: 1989 

Style: Abstract, Experimental, Industrial

 

Tracklist: 

A1 Sensation 

A2 Sedation 

A3 Suggestion 

A4 Secretion 

A5 Suspension 

B1 Suspicion 

B2 Subjection 

B3 Seclusion 

B4 Submersion 

B5 Summation 

B6 Seduction 

 

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Yeast Culture – Rena Leicia - The Exposition Of Nothing [7''] (1988, Petri Supply)

An experimental recording group in Seattle, WA started by UW DJs at KCMU Radio in the mid-80s. Yeast Culture did a lot of field recordings around the islands in Puget Sound, and in empty buildings. They inhabited a derelict 1950s apartment building known as Main Plant where shows were held and a shop was set up to sell noise records. Early records were made here. In the late eighties they moved to a downtown warehouse space, continuing the shop and publishing more records and hosting shows. Photography and screen printing and do-it-yourself tactics were used to create record covers and more. They developed a conceptual approach to sound recording, collecting together related field recordings to create produced work. Their sound sources ranged from closely miked natural specimens such as trees and water, to live electric plasma, empty industrial sites and historical military forts. Studio techniques included musique concrete style tape manipulations, custom editing processes, and gear and environments which were designed specifically for each project. The label started by Yeast Culture is Petri Supply.

The 7" comes with a shellac 10" and are packaged in hand-printed sleeves, coming with an eight page 10"x10" handmade booklet, all of which are contained in a black envelope with attached transparency artwork and paint splotch. The recordings on the 7" were made by collaging material from 114 salvaged 10", 78 RPM records. Each of the 114 copies of 'Rena Leicia - The Exposition of Nothing' comes with one of these original 10", 78 RPM records, though they have new labels to keep the original sources mysterious. The engineer (uncredited) was Jack Endino, best known for his production work with Mudhoney, Nirvana, Tad, Soundgarden, L7, Screaming Trees, and Hot Hot Heat, among others. 

 

 

Label: Petri Supply – ABO-1 

Format: Vinyl, 7" Shellac, 10" 

Country: US 

Released: 1988 

Style: Abstract, Experimental, Noise

 

Tracklist: 

A Untitled 

B Untitled 

 

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Kapotte Muziek & Context – Verbindungen [Cass] (1989, Tonspur Tapes)

Kapotte Muziek was founded in 1984 by Frans de Waard, then living in Nijmegen, The Netherlands. Soon he was joined by Christian Nijs, who also lived in Nijmegen. They did not actually play together, though: Christian would record all the sounds at home on cassettes and give them to Frans, who would manipulate the material in different ways (pitch-change, loops, etc.). This way of working (using 'second-hand' material and recycling it endlessly) became the core of the activities of Kapotte Muziek. In 1987 Christian left the project in favour of playing rock-music in a real band. Until 1993 Frans continued the project on his own through the Kapotte Muziek By... series, inviting as many musicians as he knew to send in material to be recycled. This resulted in collaborations with groups like S.B.O.T.H.I., Merzbow, De Fabriek, Yeast Culture, Odal, Asmus Tietchens and many others. Gradually, the harsh territory of industrial music was left behind and other forms of electro-acoustic music were explored. Kapotte Muziek still exists as a studio-project of Frans de Waard. 

 
Context (real name Stefan Schwab) is a German synthesist and experimentalist that evidently showed his influence by his chosen nom-de-plume, with many tapes of Conrad Schnitzler styled industrial and melodic synthesizer music. He founded Tonspur Tapes, a cassette label, for experimental, industrial and noise recordings that was active from 1986 to mid/late 1990s.  

 

 

Label: Tonspur Tapes – TT 28 

Format: Cassette, C60 

Country: Germany 

Released: 1989 

Style: Abstract, Experimental 

 

Tracklist:

A Context – Metrohypnotics 

B Kapotte Muziek – H Zwei O 

 

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→ ↑ → – Soundtracks [LP] (1983, Present Records)

→ ↑ → (pronounced as three clicks, often written incorrectly as "Tsk Tsk Tsk" or "Tch Tch Tch") was an Australian music, art and performance group, best known for their experimental music. They formed in Melbourne in 1977 and were led by Philip Brophy. The group performed music, produced artwork, films, videos, live theatre, multi-media, and wrote literature. 

 

"Ads" was initially made for a video art exchange between Japan (Scan Gallery) and Australia (George Paton Gallery); The first version of "I You We" was made on Super 8 for "Art In The Age of Mechanical Reproduction" at the George Paton Gallery in July 1982, and was then remade in its current format for "Pirates & Mutineers" at Roslyn Oxley Gallery in May 1983. "Pop Art" was recorded for one side of a limited edition give-away single at at special night a the Crystal Ballroom in December 1979. The Sydney Theatre Company's production of "Performance 2 - Magazine" (conceived by Ralph Kerle, Tim Gooding and Philip Brophy) occurred for one night only in March 1983. The commissioned soundtrack was half original compositions and part cover versions. [SOURCE: PHILIPBROPHY.COM] 

 

Label: Present Records – PRE-003 

Format: Vinyl, LP, Album 

Country: Australia 

Released: 1983 

Style: Abstract, Experimental, Minimal Wave

 

Tracklist: 

"ADS" (Dub Versions Sept.82)  

A1(a) The Nature Of Seduction 

A1(b) The Power Of Food 

A1(c) The Industry Of Hands 

A1(d) Untitled A1(e) The Image Of People 

A1(f) The Luxury Of Speed 

A1(g) The Object Of Sex 

A2 "I You We" (Dub Version May 83) 

A3 "Pop Art" (November 79) 

"Performance 2 - 'Magazine' " (Edited Versions Feb.83) 

B1(a) Caravan 

B1(b) Sexuality 

B1(c) Tension 

B1(d) Beatnik Fashion Parade 

B1(e) What's New Pussycat 

B1(f) Ruby 

B1(g) Popcorn 

 

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Various – Vita Nova International [Cass] (1984, Vita Nova)

Vita Nova was a French Industrial / Experimental / Electronic label of the 80's that issued this compilation in 1984, comprising artists such Savage Republic, Étant Donnés, Nurse With Wound, Bruno Cossano, Deviation Social, Die Tödliche Doris, Victor Nubla and Angst. 

 

Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimalist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, primal chants and even a bit of surf guitar. 

 

Étant Donnés is an experimental/industrial duo formed in Grenoble in 1980 by brothers Eric Hurtado (born in 1959) and Marc Hurtado (born in 1962), who were originally from Rabat, Morocco. Étant Donnés have collaborated with with Genesis Breyer P-Orridge, Alan Vega, Michael Gira, Mark Cunningham, Lydia Lunch and Christophe. 

 

Nurse With Wound, often stylised as NWW, is a British experimental music project, formed in 1978 by Steven Stapleton, John Fothergill and Heman Pathak. In 1979 Heman left the group, and in 1981 it effectively became a solo project of Steven Stapleton, with a variety of assisting musicians over the years. Focusing on aesthetic ideas and philosophies that began with the Surrealist movement, Stapleton has referred to the project as a contemporary extension of Surrealism and the project has been referred to as 'purveyors of sinister whimsy to the wretched.' 

 

Deviation Social was a multi-media Industrial/Experimental 'group' that was active from 1981-1986. Monte Cazazza was an unofficial member, assisting in the two San Francisco performances. 

 

Die Tödliche Doris ("The Lethal Doris"; a pun on "tödliche Dosis" meaning lethal dose) was a performance art and music group based in West Berlin from 1980 to 1987. Founded by band members Wolfgang Müller (born 1957) and Nikolaus Utermöhlen (1958–1996) and later joined by Käthe Kruse (born 1958), Chris Dreier, Dagmar Dimitroff, and Tabea Blumenschein, the group was known for their anarchic performances and constantly changing sound, willfully attempting to move away from notions of organised music into something akin to what the Deconstructionist philosophical movement had done with writing and text. After band member Wolfgang Müller published the book "Geniale Dilletanten" ("Ingenious Dilletantes", mind the dilettante spelling) for the MERVE publishing house, which focused on French and German postmodernist/post-structuralist philosophy, critics began to apply that title to the band (along with similar artists like Frieder Butzmann, Einstürzende Neubauten, and Malaria!). 

 

Victor Nubla (Barcelona, 28 de julio de 1956-Ib., 31 de marzo de 2020) was one of the original members of the laboratory group MACROMASSA, founded in 1976, experimenting with electronic modifications of the wind instruments and voice through the advanced or unknown ways of rock, jazz, industrial music, noise or minimal. More than 40 recordings and hundreds of concerts are the product of those years. His solo work started in 1980, founding the Laboratorio de Musica Desconocida ("Unknown Music Laboratory") and working in improvisation, electronic experiments, soundscape, installations and music for cinema, video, theatre and contemporary dance. Wrote the book "La Nueva Música, Del Industrial al Tecno-Pop" with the alias of Adolfo Marín, published in 1984 by Editorial Teorema.

Angst is Erik Vloeberghs, a Belgian artist (lyrics, synthesizer) who was active in several nihilistic experimental music bands in the 80's. His writings have been extensively published in Force Mental, a magazine published by Club Moral (an Antwerp venue where numerous exhibitions, performances, concerts, lectures and film-shows were organised. Also linked with the noise band Club Moral) and which deals with 'excesses of all kinds'. He continues to work as a civil servant, responsible for the website and digital newsletter of the Belgian National Institute of Statistics. 

 

Label: Vita Nova – VN 003 

Format: Cassette, Compilation 

Country: France 

Released: 1984 

Style: Abstract, Industrial, Experimental, Noise

 

Tracklist:

A1 Savage Republic – Assembly Of The Dead 

A2 Étant Donnés – Le Sens Positif 

A3 Nurse With Wound – Cottonwood Hill 

A4 Bruno Cossano – Le Grand Supplice 

B1 Deviation Social – We Declare War 

B2 Die Tödliche Doris – 1 Kästchen - 1 Schnürchen 

B3 Victor Nubla – Tequila Mariachi 

B4 Victor Nubla – Confidencia 

B5 Victor Nubla – Tormenta 

B6 Victor Nubla – Musica Para Un Bar (2) 

B7 Angst – De Wereld Zinkt In De Afval 

B8 Angst – De Nieuwe Pastoor 

 

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Kosmonautentraum – Immer Laut Hören Nachbarn Stören [7''] (1980, Not On Label)

Kosmonautentraum is a music project founded in 1980 by the singer Ziggy XY (aka Michael Jarick) and drummer E.K.T. (then both at Der Moderne Man) in Hannover with a strong closeness to the genial dilletants from Berlin (Die Tödliche Doris, Einstürzende Neubauten, Sprung Aus Den Wolken, etc.). 

This single has three very freaked-out, experimental minimal synth tracks, mostly instrumental. The radical, futuristic, messed-up and nearly baroque synth-rape noise is interesting and actually quite pleasant and very varied. "Kosmonautentraum" is underlayed with some slow, brooding post-punk, and the rest is also very good -"Der Deutsche" ("The German") has some great, angry lyrics that really capture the obnoxious German way of life. 

The single has some cult status in Germany -apparently, many things went wrong during the pressing (low volume at the beginning, wrong label printings), and it got very negative reviews by Germany's punk pope Alfred Hilsberg. [SOURCE: RATE YOUR MUSIC] 

 

Label: Not On Label (Kosmonautentraum Self-released) – MJ 91223 

Format: Vinyl, 7" 

Country: Germany 

Released: 1980 

Style: Experimental, Abstract, Post-Punk, Minimal, Neue Deutsche Welle, Noise, Minimal Synth  

 

Tracklist:

X Kosmonautentraum 

Y1 Alltag 

Y2 Der Deutsche 

 

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Trigger B – The Great Walk [Cass] (1985, DTW)

Trigger B is a project of Duisburg-based Thomas Bosselmann. The basis of his sound is typical austere minimal synth of the time (early 1980's). However, he uses voice only sporadically, mostly in the form of unintelligible rants and wailings. In spite of the irritating voice, his atmospheric pieces are nice stuff, based on cosmic analog synths and even classical influences. [SOURCE: ENCYCLOPEDIA OF ELECTRONIC MUSIC]

 

 

Label: DTW – DTW 09 

Format: Cassette 

Country: Germany 

Released: 1985 

Style: Abstract, Ambient, Dark Ambient, Electro, Experimental, Industrial, Minimal, Minimal Techno, Techno 

 

Tracklist:

A1 Thê Grêät Wálk 3:19 

A2 Thê Mérlin 0:39 

A3 Ît's Allwáys Red Insidé 1:17 

A4 Qûêzøãlqúát1 4:37 

A5 Sòûl-Sêllêr 4:33 

A6 Ît's Èáting Me 4:04 

A7 M¥ Lîfê † 3:38 

A8 M¥ Lîfê †† 6:06 

B1 Náûtilús 4:12 

B2 Tãlkìng † 

B3 Tãlkìng †† 

B4 M¥ Réstléß Pøn¥ 3:32 

B5 Èccé Hømø 3:53 

B6 C.P.U. 3:52 

 

Notes:

Trigger-B uses: synthesizers, 2 drumcomputers, personalcomputer with sequenzer-software, 16|Mixer, delay and reverb, tapedeck. 

 

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→ ↑ → – Club Video [LP] (1985, Present Records)

 

→ ↑ → was an experimental multimedia group formed in Melbourne in 1977 by Philip Brophy. Projects included music, visual art, films, literature, and music/theatre performances. The core group included Anthony Montemurro, Ralph Traviato, Jane Stevenson (a.k.a. Jayne), Maria Kozic, Leigh Parkhill, with occasional members such as David Chesworth, and many others. → ↑ → is pronounced with three denti-alveolar clicks of the tongue, hence it is often transliterated as "Tsk Tsk Tsk" or "Tch Tch Tch". [SOURCD: DISCOGS]

 

 

Label: Present Records – PRE-005 

Format: Vinyl, LP, Album 

Country: Australia 

Released: 1985 

Style: Abstract, Experimental, Electro 

 

Tracklist:

A1 Part I ("Well ... Here I Am") 

A2 Part II ("I Don't Know Nuthin'; I Don't Hear Nuthin'; I Don't See Nuthin''|) 

A3 Part III ("Didn't Expect To See You Ridin' Shot Gun On This Run, Marshall") 

B1 Part IV ("Take It Easy, Pretty Boy; Whaddya Have Such A Sweat About?") 

B2 Part V ("Well A Boy's Best Friend Is His Mother") 

B3 Part VI ("Gimme The Works") 

 

Notes:

"Soundtrack From The → ↑ → Video" 

 

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The Loop Orchestra ‎– Suspense [LP] (1990, Endless Recordings)

 

The genesis of The Loop Orchestra occurred in the ashes of a simple two-tape-machine-no-man-band, The Nobodies, which died in a fire in 1980. From those ashes, and with a pastiche taken from the likes of Terse Tapes, home of seminal Australian Industrial outfit Severed Heads, an ashen poultice was formed to take up further and more involved household heretical experimentation, this time with reel-to-reel tape machines. This idea was subsequently expanded upon in the studio of Sydney radio station 2MBS-fm amid a group of experimental radio programmers. Two, John Blades and Richard Fielding, were using the studio equipment as an instrument, experimenting with tape machines through processes involving cutting, dissecting, rearranging and rejoining prerecorded tape, creating tape loops and playing them back. They felt a need to formalize their studio experimentation and so conceived the idea of creating a full blown machine orchestra. The intention of the Orchestra was for groups of instruments of an orthodox orchestra to be represented by reel-to-reel tape machines playing loops of the instruments' sounds. In 1983 an ensemble comprising 4 reel-to-reel machines playing slowly evolving tape-loop constructions, made its live debut playing a live-to-air performance in the studio of Sydney radio station 2MBS-fm in 1983, as The Loop Orchestra. In 1990 The Loop Orchestra released its first LP, 'Suspense'. [SOURCE: FORCED EXPOSURE] 

 

 

Label: Endless Recordings ‎– ER 002 

Format: Vinyl, LP, Numbered 

Country: Australia 

Released: 1990 

Style: Abstract, Experimental, Ambient, Musique Concrète, Tape Music

 

Tracklist:

A Suspense 20:40 

B1 Onomatopoeia 8:00 

B2 Romance (Excerpt) 14:20 

 

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Elliott Sharp ‎– Virtual Stance [LP] (1986, Dossier)

'Virtual Stance' presented some of Elliott Sharp's earliest works involving the sampler which had just begun to find its way into the downtown New York City avant scene in the mid-'80s. It's used here most often as a generator of percussive sounds derived from his homemade instruments, sometimes in tandem with a drum machine. To his credit, Sharp rarely allows the latter to fall into the static patterns so common at the time, rhythms that doubtlessly sounded cool then but, in retrospect, seem completely sterile. All of the music, composed originally as a dance score, is performed by the duo of Sharp and the then-young-and-unknown drummer Bobby Previte. The self-designed instruments sampled tend to be of the type whose strings are usually struck instead of bowed (pantar, slab, rack), so, combined with Sharp's typically atonal guitar work, the general feel of the album is percussive in nature, although the closing "Wrap It Up," full of odd, bowed-sounding tones, is ravishing. By "limiting" his palette thusly, he's able to concentratedly investigate this realm and displays evident glee in doing so. Less song-based than much of his work both prior to and after this release, 'Virtual Stance' has something of the air of science experiment but still largely succeeds on a visceral level, wedding the harsh propulsiveness of his first albums (like 'I/S/M' and 'Carbon') with the mathematically tinged explorations of works like 'Marco Polo's Argali'. It's a strong release and one that Sharp fans will certainly enjoy. [SOURCE: ALLMUSIC]

 

Label: Dossier ‎– ST 7526 

Format: Vinyl, LP, Album 

Country: Germany 

Released: 1986 

Style: Modern Classical, Abstract, Experimental, Art Rock, Experimental Rock, No Wave, Free Improvisation

 

Tracklist:

A Virtual Stance 21:18 

B1 Bean 4:14 

B2 War Mongers 4:20 

B3 Onebigone 3:45 

B4 No Remorse 2:45 

B5 Onelittleone 5:14 

B6 Wrap It Up 1:32 

 

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