Ohne Unter Titel was an Neue Deutsche Welle and experimental band formed in Berlin. Members were Nina Hagen (vocals), Kiddy Citny, Leffy Leffringhausen (aka Lefty Flamingo, co-founder of Das Cassetten Combinat, co-owner of Combinatsstudio and musician member also of Frau Siebenrock Combo and Lemmy Und Die Schmöker), and Manon Pepita Duursma (also in Malaria!, Matador and Mutabor!). Also Known As Ohne Untertitel, O.U.T., O.U.T. Production or OUT Production, all their releases were issued by Das Cassetten Combinat, a very shortlived but influencial german cassette label, production company (O.U.T. Production), studio (Combinatsstudio) and shop from West Berlin, run mostly by Kiddy Citny and Leffy Leffringhausen in 1981, but also sometimes by other members of Ohne Unter Titel.
Label:
Das Cassetten Combinat – 0113, Das Cassetten Combinat – 81023
Format:
Cassette, C30
Country:
Germany
Released:
1981
Style:
New Wave, Experimental, Synth-pop, Minimal
Tracklist:
A1 Fremde Sprache
A2 Genius
A3 Kraft Und Mut
A4 Keine Zeit
B1 Bin Ich Denn Im Urwald
B2 Blondes Ding
B3 Sonie
B4 Fragen Über Fragen
Notes:
The catalog number is listed as "0113" on the cover. It is actually "81023".
The tracklisting on the cover is different from the actual appearance of the individual tracks. The listing here on discogs reflects the actual running order and appearing tracks.
In the driving "I Live Alone," Ann Prim's machine-gun vocal echoes a monotone Greta Garbo by way of Marlene Dietrich. The band had a powerful presence live in concert, and lots of angst that gets subdued when translated to vinyl in a studio. Good production work by Ann Prim and A. Kirby, who goes by the name of Kearney Kirby, became the trademark of these warriors. Everything is so serious with November Group -"Night Architecture" sounds and feels contrived, but that doesn't take away from its beauty. Whether Prim and Kirby were doing this as a calculated business move (which MCA recording artist The Rings appeared to be doing before them) or if these songs emerged because it was their art at the time, isn't the point. For what it is, it is very good. Where an instrumental version of "Put Your Back to It" might have been fun, actually putting an instrumental like "Night Architecture" on a disc is a bit redundant. All this techno rock seems to work well sans vocals on the dancefloor anyway -and the voice takes so long to kick in on "Heart of a Champion" that side two is very much like one long dance mix. "Heart of a Champion" is excellent, though it shows the group's limitations; of all their material it sounds the most dated. This is Devo in a very serious light. "Heart of a Champion" is "Whip It" with a longer chorus. It is the first track, "Put Your Back to It," which is the hit. This is the original long version of a song they would re-record for their A&M Records disc, 'Work That Dream'. Don Foote on vocals and bass, and Alvan Long, the drummer who appeared on the first November Group EP, left for their own group shortly after this. Although not very original, these are good sounds worth finding and dancing to again. [SOURCE: ALLMUSIC]
New Jersey native Dave Wyndorf was already a rock & roll veteran by the time he formed Monster Magnet in 1989, having cut his teeth with little-known punk band Shrapnel (also featuring future punk producer Daniel Rey on guitars) in the late '70s before retiring from music altogether. But after teaching himself guitar, Wyndorf began assembling Monster Magnet with a handful of fellow New Jersey natives, vocalist Tim Cronin, guitarist John McBain, bassist Joe Calandra, and drummer Jon Kleiman. Fusing their metal, punk, space rock, and psychedelic influences, the band developed a sludgy, feedback-heavy hard rock sound that helped them stand out from the era's burgeoning retro-rock movement -also counting The Black Crowes, White Zombie, and many others.
This is Monster Magnet's very first release only available on cassette, that they released on their own label, Cool Beans, in 1989. Essentially it is a collection of 4 track demos, with several of the songs being re-recorded for later albums. For these recordings, Monster Magnet was a three piece consisting of Dave Wyndorf, John McBain, and Tim Cronin. Their debut owes a huge debt to Hawkwind, psychedelia and drugs. They even cover Hawkwind here ("Brainstorm"). It is a noisy stew of abrasive trippy rock. Some of the vocals are questionable but, altogether, this is quite a journey for psych lovers of all stripes. [SOURCE: RATE YOUR MUSIC]
Label:
Cool Beans – none
Format:
Cassette, Limited Edition
Country:
US
Released:
1989
Style:
Space Rock, Psychedelic Rock, Stoner Rock, Jam Band, Punk Rock, Noise Rock
Tracklist:
A1 Lizard Johnny 6:44
A2 Black Wawa 3:14
A3 Eight Ball 5:23
A4 Brainstorm 5:24
A5 Freak Shop USA 4:30
B1 Tab 22:05
Notes:
This is the track listing and cover art for the second release of the tape, which includes "Freak Shop USA".
This was not on the original edition as it was recorded later for release on a Circuit 7" single.
To many the band Last Few Days is just a complete mystery or simply some group who toured with Laibach and then promptly disappeared soon afterwards. This is not particularly surprising for a band that consciously left little mark during their existence. They were a band that deliberately avoided releasing their material and kept a limit on their live performances, they also had a very low profile though it was increased briefly after the Laibach collaborations. Most people attending their concerts had little very idea who they were, simply enticed along by the ambiguous posters or simply a night out. The concerts themselves bizarrely lasting all through the night (with a mixture of music and movies), still going at 7AM and not quite easiest sort music to be listening too either. They made heavy use of megaphones, guitars often played with broken bottles, drum unrelenting and brutal, delivering rather harsh and bewildering but occasionally rhythmic apocalyptic music. The three main members of Last Few Days were Daniel Landin (aka D. Styme), Si Joyce (aka Si Gross) and Keir Wahid (aka K. Warhead and K. Fraser). They were regularly helped out by Fritz Haaman (aka Fritz Catlin) who also performed with Laibach during the joint tour, and occasionally by Sam Mills, both members of 23 Skidoo. Last Few Days returned as a pop outfit in 1990, with a core of Keir and Si.
This album was recorded live throughout Europe during 1983 and 1984. Because of the interest in Last Few Days, they sat down and waded through 100 hours of tape slimming it down to around 24 hours. On a blisteringly hot day in June 1986, K. Warhead and S. Gross from Last Few Days sat in a small box with Dave Henderson, a pile of cassettes, an equalisation unit that no-one understood and a Revox…this is the result.
Kuruki was almost a solo project, by Ghent-based musician Gerry D'Haeyer. The single 'Crocodile Tears', printed in 1981, was fun and interesting, a one hit wonder. Then followed three 12" ('Such A Liar', 'Action' and 'Souvenir, Souvenir') and 'Just A Cat' in 1983, which was recorded with Alan Gevaert and Chris Whitley of A Noh Rodeo, and a full-length album in 1984, 'TV Scape'. Gerry D'Haeyer later went on to play drums with blues musician Roland Van Campenhout.
Expectations were high for Jools Holland's solo career when he first left Squeeze in 1980. Even though Holland was theoretically only a support player in the Difford & Tilbrook-fronted band, his flair for the spotlight was obvious in Squeeze's live shows, as well as on the occasional B-side or album track in which he was featured. Throw in the swinging 'Boogie Woogie 78' EP (Holland's solo debut, made while he was with Squeeze), and it seems that everything was leading up to 'Jools Holland and the Millionaires' being an accomplished and fun full-length debut from the U.K.'s favorite piano-pounding hepcat. Unfortunately, it didn't quite work out that way. For whatever reason, Holland chose to downplay his rock & roll and boogie-woogie strengths for large portions of this record, and instead focused on creating Squeeze-style new wave pop. Not that there's anything wrong with that in theory; the problem is that in actual practice, most of the songs on 'Jools Holland and the Millionaires' lack Squeeze's pop savvy and catchy hooks. (Not to mention musicianship; while the Millionaires' lineup is perfectly adequate, the guitars and drums of Squeeze stalwarts Glenn Tilbrook and Gilson Lavis aren't easily replaced.) Further undermining the already somewhat patchy material is an uncharacteristically thin production job by Glyn Johns; the one track produced by Pete Wingfield, a romp through "Bumble Boogie," absolutely sparkles in comparison to the rest of the record. Overall, while there are a few fun songs and performances dotted throughout the LP (especially "Bumble Boogie," "Dynaflow," and "One More Time"), 'Jools Holland and the Millionaires' ultimately has to be classified as a rather disappointing release that's recommended only to Squeeze and/or Holland completists. Luckily, Holland would rebound from this and go on to create work (both as a solo artist and with a re-formed Squeeze) of a much higher caliber. [SOURCE: ALLMUSIC]
Label: I.R.S. Records – SP 70602, I.R.S. Records – 70602
Format:
Vinyl, LP, Album, Stereo
Country: US
Released: 1982
Style: Blues Rock, Pop Rock, Ska, New Wave
Tracklist:
A1 Like I Do To You
3:00
A2 Goodbye World
3:20
A3 Dynaflow
2:12
A4 Waiting Game
3:08
A5 Let Me In
2:58
A6 Driven To Drunk
4:14
B1 Bumble Boogie
2:43
B2 Pineapple Chunk
3:36
B3 One More Time
2:59
B4 Much More Hope Than Me
4:00
B5 When I'm Through
3:20
B6 Glad You've Gone
3:40
B7 First Drink Of The Day
3:03
Notes:
UK version (A&M Records – AMLH 68534
- Released: 1981) does not contain the single "Bumble Boogie".
Other Versions:
Netherlands version (A&M Records – AMLH 68534
- Released: 1981) contains the single "Bumble Boogie"
Intestinal Infestation was a short lived side project from Napalm Death and Unseen Terror members Mick Harris (drums) and Shane Embury (Bass) with Mitch Dickinson (vocals, guitar). This tape is a self-released official rehearsal/demo recorded in 1988. Mick Harris is best known as ex-Napalm Death drummer, now producing dark atmospherics. Early bands missing include Martian Brain Squeeze (two demos), Motherfuckers from Mars (with Pete Nash), and Drop Dead (with Shane Embury, Jim Whitely and Andy Whale). Founder of Possible and 416 Records.
Since 1983, Illusion Of Safety has been the ongoing project of Daniel Burke working alone and with various collaborators. They have released over 20 CDs on labels such as Complacency, Die Stadt, Experimedia, Odd Size, Silent, Soleilmoon, Staalplaat, Tesco, and Waystyx, and played over three hundred concerts in Europe and North America. IOS' work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but they are unwilling to limit their work to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance.
Daniel Burke is currently working with conventional instruments, electronic synthesis, computer composition, samples, and highly amplified handled objects. He uses improvised and composed structures containing material that confounds memory and stimulates perception. The resulting music encompasses broken sound, disturbed ambience and unfiltered beauty that collectively evokes an awareness of the ineffable.
The work activates modes of perception to facilitate direct access to the psyche, emotions, and the infinite in order to address the necessity of balance and the nature of dichotomy.
Holeist is another Dan Burke's side project, with Eric Lunde and Jeph Jerman. Eric Lunde
is an american musician and artist and also a member of Boy Dirt Car. Besides his musical releases and his artwork, he also published a book of poetry and wood-block prints entitled "LLND" (Alamut Records, 1991).
Jeph Jerman began in 1986 recording and performing under the name Hands To. Most of the early soundwork was sampler and tape loop based, though over the course of ten years it evolved into using environmental recordings with very little to no manipulation or electronic processing.
In 1996 in Seattle he embarked upon a weekly series of concerts at Anomalous Records which brought him into contact with the city's improvised music community. For the next three years he played with anyone who would have hime. During this time he began giving solo performances using only natural found objects (stones, shells, bones, driftwood, pine cones, etc), as soundmakers, a practice which continues to today. Eventually he stopped using the name Hands To.
In 1999, the Animist Orchestra was founded. The AO focuses on making music that hopefully bypasses our individual egos.
Most of his previous work could be interpreted as being 'idea-based'. He finds that most of his work nowadays is sound-based. He believes this is due to his growing interest in listening, in what happens when one listens, and his concomitant disinterest in contextualizing sound.
Label: Complacency – CPD03002
Format:
Vinyl, LP
Country: US
Released: 1989
Style: Industrial, Experimental, Ambient
Tracklist:
A1 Holeist – Soileth
A2 Holeist – 'Unsheltered'
A3 Holeist – Hazur
A4 Holeist – Stahlmesser
B1 Illusion Of Safety – 7•9•89 Chicago Laminating
B2 Illusion Of Safety – 7•17•89 Club Lower Links Chicago
B3 Illusion Of Safety – 7•22•89 Francis Ford Studio Milwaukee
Notes:
Holeist: Recorded during the Hands To..., Eric Lunde split LP sessions in the comfort of Lunde's living room on equipment provided by Dan Burke. 7-24-89. 4 track with mirage sampler, alesis drum machine.
Gaunt was a Punk band formed in Columbus, Ohio, in 1991. The band released five albums before splitting in 1998. The original lineup formed from remnants of short-lived "punkadelic" band Black Juju, and consisted of guitarist/vocalist/songwriter Jerry Wick, bassist Eric Barth (who had also been in Two Hour Trip with the Spurgeon brothers, who would soon form Greenhorn), and drummer Jeff Regensburger (later of The Patsys). Jim Weber (also of the then newly formed New Bomb Turks) soon joined on second guitar only to leave just as quickly, and following his departure guitarist/songwriter Jovan Karcic (Waybald) joined. Barth and Regensburger would also later leave (in 1995) and be replaced by a series of successors including Bret Lewis and Brett Falcon (Space Cookie, Servotron) on bass, and Nick Youngblood (Beano, The Rackets) and Sam Brown (Feversmile, V-3, New Bomb Turks, The Sun, You're So Bossy) on drums.
'Whitey The Man' is a punkish, garage and grunge type album and displays Wick's knack for penning sloppy punk pop. The
band was the first signing for the label and their album was only the
second release for Thrill Jockey. This EP has 7 songs, lasting about 18 minutes and packs a whallop. "Silly Watches" sums it up "punks dont wear silly watches" and then "Back Off" and "Salvation" sound like Mudhoney. "Whitey" is a pretty good rock instrumental, and the album's best two tracks are the final two ones, which go off to hardcore punk territory, "USA" and "Jim Motherfucker". [SOURCE: RATE YOUR MUSIC]
Label: Thrill Jockey – THRILL 002
Format:
Vinyl, LP, 10", Album
Country: US
Released: 1992
Style: Garage Rock, Lo-Fi, Punk, Rock & Roll, Indie Rock, Punk Rock
Not much known about Family Patrol Group, although there's a website with a list of gigs performed. Their commitment to power electronics conventions of the time seemed tongue-in-cheek bordering on sarcastic. They clearly figured somewhere in that whole Birmingham noise thing which also bequeathed us Final / Smear Campaign, Con-Dom, Godflesh and so on, assuming that Family Patrol Group were Colin Fisher, Mike Grant, and some dude called Greg. [SOURCE: FERRIC ARCHAEOLOGY]
Label: Not On Label – none
Format:
Cassette
Country: UK
Released: 1983
Style: Industrial, Noise, Experimental, Power Electronics
