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]
A neat little concept this (two tracks contributed by six different groups, 2 × 6” = 12” being the vinyl format it is released on). ConSono contribute the first two tracks; “Satan’s Flute” a sombre dirge with slow dark beat and deep vocals, while “A Ritual” is almost medieval with Gregorian Chant backing meandering ‘plucked’ keyboards, huge bell sounds and deep vocals again that ends with a vocal imitation of a didgeridoo. Morthond continue the dark atmosphere with “Dwimordene", an almost chaotic, yet simplistic sampling piece, strangely musical although it seems to avoid anything other than rhythm. “The Path Of Death” is a lot less dense but still avoids conforming to strict ‘musical’ parameters. This is a soundtrack to dark and Gothic horror film; two classic works of noise. Archon Satani offer the next two; opening “Voices Of Insanity’, with a recorded judgement of 'a death by hanging’. Following neatly from the previous two tracks, not quite so dark and threatening, but no more musical. “Grief (Taste Of Death)” continues the pyre-smoke-blackened atmosphere Stygian Gothic.
Embrocation start side two with “Modus Vivendi”, the sound of swarming flies, the sound of corruption and decay. Deep, dark, threatening sound, with heavy drums beating a dirge and Death stalks the barren land. “Of Unknown Age” offers more of the same, black soundscapes with Death Drums relentless & somnolent.
Mental Destruction contribute the next two; “Metamorphosis” which is a touch more accessible, noisy and Industrial as it is, white, almost viral mass of painful sound. “... And The Fire” starts off like some obscure Throbbing Gristle piece, then jumps towards Front 242, then repeats the sequence again, folding in and out of the pain-wracked primordial haze.
Systema come up with the last two. “As We Go Astray” is an insane chaotic mess of noise and beat which defies the brain to sort it out, and perhaps the most ‘commercial’ track on the entire album, but if it ever entered the charts, it’d pollute and contaminate all those pretty flowers who seek refuge there from anything in any way ‘challenging’. “Let Me Come Inside You” closes the album with another distorted, Freak-Child of beat music, both mechanical and biological, and, perhaps closer to the truth, viral!
All in all this is an excellent album of black, bleak atmospheres. These bastard Sons of the early Industrial groups have written their own rules, and Sweden must be a cruel place to inspire the cold feelings in this album. [SOURCE: DISCOGS]
This is not your father's harp. Zeena Parkins had been a valuable player on the downtown New York scene as well as an integral member of the fascinating band Skeleton Crew (with Tom Cora and Fred Frith) for several years before releasing this, her first album as a leader. The selections are a series of solos, duos, and trios with various likeminded musicians, including Cora, Wayne Horvitz, and turntablist Christian Marclay. The general approach is consistent with the grab-bag, postmodern stance in vogue at the time, roughly based in a rockish improv aesthetic and moving outward from there. Parkins' harp has an aggressive, sometimes stinging quality; in a sense, she plays it as though it's an electric guitar, making few concessions to its more delicate ancestry. Fans of Elliott Sharp's work from around the same period will find a likeminded stance here, with a similarly dark, percussive feel. She more than holds her own here, even dominating the affairs with forceful, imaginative playing. The pieces with Marclay work especially well, his vinyl selections blending seamlessly with her rich plucking. The duo with percussionist Samm Bennett is also very successful, coming within a few miles of sounding -almost- like some warped attempt at pop. The songs are all on the short side and one eventually has the desire to hear Parkins stretch out more and even to play in more structured surroundings. But on its own merits, 'Something Out There' is an enjoyable debut and gives a good early picture of this all too undervalued member of the contemporary improvising field. [SOURCE: ALLMUSIC]
Label: No Man's Land – NML 8712
Format:
Vinyl, LP, Album
Country: Germany
Released: 1987
Style: Avantgarde, Free Improvisation, Avant-Prog
Tracklist:
A1 Firebrat
2:58
A2 Night Light
2:57
A3 Without Words
2:19
A4 Little Hip Haw 2:36
A5 Mother Tongue
2:08
A6 Cornered
3:32
A7 Southern Exposure
3:51
B1 Incident In A Department Store
3:00
B2 Flavor Of Green Tea Over Rice 3:54
B3 Left-Handed Walk
2:24
B4 The World As I Found It
3:03
B5 Fly Loo
2:09
B6 Sidereal Messenger
3:11
B7 Appointment In Samarkind
3:03
Notes:
Recorded and mixed February 1986 to January 1987 at Noise New York, except tracks A3 & B3 recorded live at Roulette.
Submastering at Synesthetics.
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
1986 would be the year in which X Mandarina Duck released its first and only work. It was a 7-inch vinyl record entitled 'Non Stop (Sensations)', issued by Wipe Out! Records and the first release for the now historic Greek label. The single includes three songs, all written by Tommie Bouzianis, with a fast and rhythmic style, in a rock style with new wave elements. The title track stands out while the rest of the songs are not inferior. [SOURCE: ELLINIKO.GREEK-ROCK.BLOGSPOT.GR]
Label: Wipe Out! Records – W.O.R. 001, Wipe Out! Records – 001
Wildlife Documentaries was formed in the early 80s after
the original Saints split.
Ed Kuepper and Ivor Hay returned to Australia,
Hay joined The Hitmen, and Kuepper formed Laughing Clowns.
Chris Bailey remained in the UK and set about assembling a
new version of The Saints that initially included Hay on drums
(who returned to the UK briefly).
After that, Hay formed this jazz-inspired combo
Wildlife Documentaries back in Sydney. Described as a "steel skeleton with a heart of brass"
they released this EP on M squared in June 1982.
And that was it, shame really because this band had a
wonderful sound very much in the same vein as the
Laughing Clowns. After the end of this band Ivor rejoined Bailey in The Saints
during 1985.
[SOURCE: THAT STRIPED SUNLIGHT SOUND]
Vocoder was formed in 1981 in Zaragoza. Antonio Laval and Ildefonso Olarte, young high school classmates, together with Antonio Tenas, from Radio Juventud, formed this group inspired by the "Movida Madrileña" and the synth-pop. With the incorporation of Pilar Pellicer they have a positive response of Neon Danza (Discos DRO) that leads them to record the EP 'What Happens Now' in 1984, 'Mindanao' EP in 1985 and the LP 'Vocoder' in 1987, published in several countries of South America. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]
From the clothes they sport and the cars they drive to the design of
their record jackets and the music inside -yeah, from any angle but
that of real time, The Untamed Youth are a ’60s band. In an era of drum
machines, Fairlights and Exposé, many might find the concept of a
hot rod/surf combo from Columbia, Missouri to be frivolous or downright
silly. But the fact is this hearse-driven quartet has made an LP
unrivaled in recent memory for pure dancing and drinking enjoyment.
Authentic co-production by Billy Miller and Andy Shernoff (Dictators) captures the supercharged atmosphere
created whenever the Untamed Youth fill a teen club or tavern. Why
debate the modern relevance of motorbikes, girls, guitars, Pabst Blue
Ribbon, bikinis, and Elly May Clampett? Their praises may have been sung
before, but rarely so eloquently. [SOURCE: TROUSER PRESS]
Founded by Paul Rixon (The McTells) and Gillian Elam in 1983 in Hertford, UK, Bi-Joopiter existed originally as a cassette-only recording label, though later they embraced vinyl.
Paul Rixon was also in the The Twins and Rig Veeda with
Bi-Joopiter co-founder Gillian Elam. This cassette is a bag full of songs. Exploration through feedback
and chime bells. Tunes to hum or play as loud as can be over the
trees. A trip to the stars. [SOURCE: SO TOUGH! SO CUTE! AND TOO CUTE TO PUKE]
Label: Bi-Joopiter – bijoop 010
Format:
Cassette, Album
Country: UK
Released: 1986
Style: Shoegaze, Slacker Rock, Twee Pop, C86, Indie Pop
Tracklist:
A1 Baby Comfort
A2 Everytime
A3 Oh Yeah, Oh No!
A4 Way Back Home
A5 This Child
A6 Sail The Frosty Seas
A7 Shy Girl
A8 Falling
B1 Be There
B2 Never Mention
B3 Creep
B4 Mickey Mouse
B5 Sign Of Life
B6 King Moins
B7 Kansas
B8 Life Of A Dog
B9 Away
Notes:
Cassette came in a tiny cloth bag with screen printed title and illustration. Cassette-cover is hand colored
Beat studio guru Mike Mangino (Pink Noise, The Poptards) and Chris Shepard (The Poptards) formed Smersh as an experimental big-beat techno/industrial project and began releasing cassettes in 1981. Smersh recorded improvised cuts every Monday night, released countless cassettes on their own label, Atlas King, and were featured on more compilations than you can track down. They never played live, never played the same track more than once. 'A Murder of Crows' was released on their Atlas King label in 1984. It was released after 'Hothouse Bodies in a Cool Culture', and features the tracks "Judy Mach 7" and "Hunter Killer", which were featured on a split 7" single with Penny Cillin in 1985. "Hunter Killer" is also noted for its appearance in the video game "Fucker Gamer Scum Get Stabbed" and also on the Smersh compilation LP 'The Beat From 20,000 Fathoms'. An album something between Chrome and Suicide, very hard to find only released on cassette. [SOURCE: RATE YOUR MUSIC]
