Interaccion were a duo of Jose Iruretagoyena and Carmen L. Fernandez de Velasco active in Madrid throughout the mid-80es. They made two self released cassettes: 'Extension de los Significados', compling works from the period 1980-83, and 'Ancestrales', compiling works of the 1984-85 period as well as a video tape called 'Luc Ero Lucis et Umbrae'. [SOURCE. DISCOGS]
A scatterbrained and perhaps drunken recording entity based on the collective talents of guitarist Joachim Pimento aka Adrian Borland (The Sound, Second Layer, Witch Trials), fuzz guitarist / keyboardist Zoe Zettner, fuzz guitarist / vocalist Lord Sulaco (aka Pete Williams), fuzz guitarist / percussionist Daiquiri J. Wright (aka Graham Pearson), fuzz guitarist Franklin Silverheels, and bassist Smoky Alvaro (yes, they apparently liked the sound of a fuzz guitar), the Honolulu Mountain Daffodils gathered occasionally throughout the late '80s and early '90s to patch together records that threw almost anything imaginable into a blender (from Kraftwerk to Tom Waits to the Ramones to Black Sabbath to Neu! and all points between). [SOURCE: ALLMUSIC]
The Girlies were one of the most popular bands doing the Brisbane pub/club scene in four short years from '86-'90.
Their first single 'Pussycat/Feelin's Gone' came out in '86 and re-released with a second print run shortly afterwards. In the proceeding years, follow ups 'Felon / Back To The City' '88 & the EP 'Common Thing' '90 were the bands only other official releases besides their version of "Tight Pants", which was included on The Stooges tribute album "Hard To Beat" in '89.
Unfortunately, lead singer Tony Brassington passed away sometime in the 90's. The ever charismatic guitarist, Mark Wilkinson, went on to perform in The Lime Spiders and The New Christs, but sadly died in late 2012.
The Girlies are best remembered by their live shows with blisteringly loud rock'n'roll that could certainly enthuse and energise an audience. [SOURCE: FACEBOOK: Brisbane Music Scene '85 - '95]
A very interesting new wave album by Florian din Transilvania, sort of reminiscent with the first Devo album. It has a very unique sound compared to its contemporaries, especially when considering that this album was released during the Communist regime in Romania. It's experimental and underground enough that the avant-teens will get extra patrician points, but not all that alienating to your friends and family. [SOURCE: RATE YOUR MUSIC]
Label:
Electrecord – ST-EDE 02917
Format:
Vinyl, LP, Album
Country:
Romania
Released:
1986
Style:
New Wave, Synth-pop, Experimental, Minimal, Post-Punk, Art Rock
The group formed in early 1980 and featured Chris Clarke (a.k.a. Chrissie Clarke) on vocals (later Placenta Sisters, Goat People), Frank Sparks on keyboards, joined by Paul Reason on guitar (also US Companion, Keep It Dark), Bernie Carroll on bass (later of Young Lions), and Mark Coleridge on drums (Glitter Band, Smokie, The Stiffs, Project 23, Glass Torpedoes, I-lands). The band developed a synth-goth style that, if not totally original, was well representative of that period, combining keyboards with Siouxsie-like vocals. Between the year 1980 and 1983 the group released three singles. A testimony of the hectic live activity of the band is their only LP ('She’ll Rape the World’ recorded live at Pickwick’s (Liverpool) on April 25th, 1984. Earlier the same year Ex Post Facto also released a Peel Session. During live appearances guest musicians were Judith Laity (cello, also Goat People, Royal Family & The Poor), Andy Warren (guitar and backing vocals, I-Lands), Karen Halewood (on keyboards, also Rebél Da Fé, Royal Family & The Poor), and Pete Chegwin (also on keyboards, Danse Macabre, Oceanic Explorers, Innervision). [SOURCE: LAST.FM]
Deception Bay were from Cambridge, Massachusetts and released music on Independent Project Records in the late 80’s and early 90’s. They sound like a gothic punk band, something like Burning Image (on Alternative Tentacles Records). [SOURCE: DARKGRAVE.COM]
Seattle's Cat Butt was known for its supergroup lineup. Its original members consisted of two parts U-Men, one part 64 Spiders, and one part Girl Trouble. They were all bands that had created a stir in the Northwest punk scene during the mid- to late '80s. With two separate lineups, Cat Butt lasted a total of two years, churning out garage rock with a hardcore attitude. They left a trail of debris stemming from their fall 1989 tour, on which their bassist vomited at GWAR's home in Richmond, VA; their singer fell in love with Superchunk bassist Laura Ballance in Chapel Hill, NC; and they discovered The Reverend Horton Heat. Ultimately, one of the incidents from the tour, which involved a van supplied by Sub Pop records, led to their release from the label. [SOURCE: ALLMUSIC]
In the Valencia of the first 80's the groups with synthesizers dominated, perhaps because of bands like Glamour. One of those bands fascinated by the new English synt-pop was Betty Troupe, a sextet born on the initiative of three renegades of rock and an attractive girl with multiple artistic virtues and remarkable command capacities. The male trio consisted of Sandro Mompó (bass), Lully Azulay (guitar) and Héctor Domingo (bass), while Flora Illueca emerged as the vocalist, composer and undisputed leader of a group that would quickly become a quintet with the addition of Marina (percussion and backing vocals) and Fabienne Cidoncha (keyboards and backing vocals).
With this attractive 'line up' Betty Troupe soon caught the attention of the multinational Ariola, which quickly put the quintet in the hands of Nacho Cano (Mecano). The result was a maxi single released by Ariola in 1983 containing the tracks "El Vinilo", "MS 20" and "Berlin". The former climbed the commercial radio charts, with a somewhat surreal lyrics and an instrumentation recharged with arrangements ranging from new romantic winks to the most glamorous hard-rock, including a very long guitar solo and multiple vocal and percussion resources. For their part, the two tracks included on the "B" side were worthy aesthetic clichés very typical of the time: a tribute to the synthesizer Korg so fashionable at the time ("MS 20") and a tribute to the world capital of modernity from Bowie's "Low" ("Berlin"). [SOURCE: POP ES 80]
As most Krautrock enthusiasts are aware of, Achim Reichel was one of Germany’s biggest pop stars in the 60s before he dived headfirst into the burgeoning psychedelic scene that turned progressive as the 70s hit, however on his debut album with A.R. & MACHINES, 'Die Grüne Raise', the songs still had a lot of pop compositional style wrapped up in extended psychedelic tripped out effects and more lingering passages that qualified them as progressive. On 'Echo', the band dropped a lot of the pop influences and instead opted for longer sonic journeys into blissful psychedelic jams that found subtle instrumental interactions slowly parade into infinity. On 'AR3', Reichel attempted to bring back more conventional song structures, perhaps missing the instant gratification of pop stardom but fell short as the band had lost their hit making mojo and watered down the Kraut aspects a wee bit too much.
On 'A.R. IV', Reichel and his Kraut crew once again revert back to the long sonic journeys that delve into long psychedelic meandering jams that carry a somewhat funky groove as the backbone. While the album was broken down into four tracks, the first three constitute the “Vita” suite that allowed a strong bass groove and overabundance of percussive drive to meander on for over twenty minutes with a series of ethereal flute and jazzy sax to give it a multidimensional feel. The electric piano and keyboard effects kept it grounded into the progressive world of psychedelia as the tracks, while technically separate actually run together seamlessly and generate an instrumental journey into total blissful escapism. While vocals are scarce, there are segments where Reichel belts out some lyrics but thankfully these passages end quickly as i find them to be the weakest link of the band’s unique musical journey.
The finale is saved for the super long twenty-three minute suite “Aqua” which consists solely of the track “Every Raindrop Longs For The Sea” that finds an extended groovy psychedelic jam sallying forth like there is no end to time. The formula is the same as side one with an energetic bass and percussion section accompanied by the driving rhythmic force with healthy doses of electric keyboard runs, blues funk guitar and the airy flutes and a constant background sound of ocean sounds including seagulls lurking in the distance. The sax also returns for the extra jazzy touch. There is a very carefree vibe to 'A.R. IV' with little or no attention paid to any sort of compositional style whatsoever. It is simply the sort of heady improvisational psychedelic jam that was common for the days. 'A.R. IV' is a massive improvement over 'AR3' as it captures the mood of the experimental sound journey that was intended. This is one that is a nice free floating escapist’s journey into the clouds.
This is the type of music that isn’t made to blow you away. This is very much an introspective journey that builds through a solid rhythmic flow that allows an atmospheric backdrop to shape shift much like clouds slowly changing shape as they roll by in the sky. 'A.R. IV' was basically a group of ten musicians getting together (granted not all at the SAME time) and trading off licks around a solid groove. While this album doesn’t have the same compositional prowess as other prog outfits of the day, there’s something very soothing about it that makes feel one with the universe. At this time Reichel was heavily into spirituality and yoga practice and that’s exactly what emanates from this long drifting odyssey in musical form. 'A.R. IV' would also find the band A.R. & MACHINES winding down as Reichel would continue as a solo artist, releasing one more psychedelic Kraut album before drifting into traditional German folk music. [SOURCE: RATE YOUR MUSIC]
Label:
Zebra – 2949 008
Format:
Vinyl, LP
Country:
Germany
Released:
1973
Style:
Krautrock, Jazz-Rock, Prog Rock, Space Rock, Psychedelic Rock, Jam Band
→ ↑ → (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. [SOURCE: WIKIPEDIA]
Label:
Innocent – none
Format:
Vinyl, 7", 33 ⅓ RPM, EP, Limited Edition
Country:
Australia
Released:
21 Sep 1979
Genre:
Rock
Style:
Art Rock, Pop Rock, Experimental
Tracklist:
A1 Nice Noise Theme
A2 Rock Song
B1 Doing Very Little
B2 One Note Song
Notes:
There are no catalogue numbers for Innocent releases #1-5+7. This is the 4th label release in a limited edition of 300. According to official Innocent 1981 catalogue: "Exposing and glorifying the structural tactics of commercial Rock music. Four songs."
