Post-Punk

Various “AK79” (Flying Nun)

2020-03-20T19:55:57+00:00March 19th, 2020|

December 2019 marks the 40 year anniversary of an important record in our lives, AK79. Within the grooves of this historical landmark compilation lies a connection to our musical whakapapa as New Zealanders and music lovers. A defining record, having captured a raw snapshot of the punk subculture in Auckland during the late 70s, this much-loved compilation is a living, breathing statement of what came before today. To mark this very special occassion, Flying Nun Records pays tribute to those ragged and rambunctious years by presenting AK79’s 40th Anniversary Edition Reissue. Featuring new liner notes written by Ripper Records’ Bryan Staff, the reissue will feature all songs ever featured on any version of AK79 for a complete look at its recorded history. About AK79: Raw, unfiltered, shambolic madness. The vision to capture the Auckland scene began with Bryan Staff (Head of Ripper Records and Radio DJ at the time) who saw reason to capture the music coming out of the local punk venues of the time such as Windsor Castle and Zwines.

Originally released by Ripper Records in December 1979, bands that featured on the original pressing included The Swingers, The Scavengers, The Primmers, Proud Scum, Toy Love and The Terrorways. The musical movement captured on record was an abrasive, empowered response to the overindulgent progressive rock and glam era of the 70s. The initial pressing, with its iconic black and white cover designed by Terence Hogan was limited to 500 copies, to be later reissued on vinyl and cassette through CBS. During the 40 years since AK79’s first release, the record took on a life of its own. Those original 500 pressings became a rare and coveted collectors item, and somewhat of an “urban myth” on the vinyl market. So the story goes, when the original master recordings of AK79 were discarded in 1982, it only created further demand for this enigmatic record. Responding to the call, an expanded version of AK79 arose, released on CD by Simon Grigg and Roger Shepherd as a joint release by Propeller Records and Flying Nun Records in 1993. This time there were some late additions, including tracks from The Suburban Reptiles, The Spelling Mistakes, The Features and The Marching Girls, along with additional tracks from the original bands on the first pressing. This particular reissue was remastered and mixed by Grigg, and came bundled with additional liner notes by Grigg, Staff and The Terrorways’ own Kerry Buchanan.

In November 2008, a bootlegged 2 LP version would come to life for a very special reunion gig in Auckland which involved The Scavengers, The Spelling Mistakes and the first performances from The Terrorways and Proud Scum since 1980 in a rare event. At the time, it was sold at the show with unreleased tracks and a 20-page booklet. Six years later, the AK79 compilation was honoured in its many forms with the IMNZ Classic Record award, presented at the Taite Music Prize ceremony. 40 years on, the spirit of the AK79 still packs a punch and the feeling captured in these recordings are as relevant as ever.

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Molchat Doma “S Krysh Nashikh Domov” (Sacred Bones)

2020-03-20T19:57:31+00:00March 19th, 2020|

When С крыш наших домов (S Krysh Nashikh Domov), the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time.

Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own.

The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

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OXZ ‎”Along Ago: 1981-1989″ (Captured Tracks)

2020-03-13T20:33:48+00:00March 5th, 2020|

The mid ’80s were an exciting time for music in Kansai (Osaka-Kyoto), Japan. There were more stages for bands to play on, more releases by independent labels and a variety of bands playing in different styles. The 80s were also a time when women’s rights in Japan, though a topic of conversation, were not widely visible in the real world. There were very few women in the underground music scene at the time, but none of them dressed like punks or dyed their hair, or outwardly showed much interest in declaring independence from the usual rules. So, in 1981, when Hikko, Mika, and Emiko (aka Chasen-maru) first appeared together as OXZ, they were intentionally shocking.

Nothing happens in a vacuum, however. It was already acceptable for young women to form bands in the safety of their high school music clubs. They generally played cover songs at school events. However, actually stepping out into the dirty world of live houses was for the adventurous and compelled. To do so in OXZ’s overtly provocative, dramatic way was unheard of. Contemporaries of Shonen Knife, OXZ were known for the intensity of their live performances. Releasing their first EP in 1984 – an 8″ EP – their catalog belies their reputation for moody, dark post-punk ahead of its time. The bass and drums dominate; the guitars are angular and spiky – punk, but with something extra. Along Ago: 1981-1989 collects the band’s entire catalog – three EPs and a single – alongside unearthed, unreleased demos.

Then, 1989, it ended as the band went their separate ways. And the name? No one seems to remember how it came about, but it should be noted that in Japan, O means acceptable and X means rejected, so maybe OXZ means “going beyond all usual standards.”

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Ceramic Hello “The Absence Of A Canary” (Ice Machine)

2020-03-13T20:34:07+00:00February 29th, 2020|

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020, debuting with this new vinyl reissue of Ceramic Hello’s 1981 minimal synth classic “The Absence Of A Canary.”

A long-time cult favourite among fans of obscure ’80s synth-pop, this LP remains highly sought-after, and is rated as one of the genre’s top 20 records ever made by Minimal Wave label head Veronica Vasicka, who calls it “a beautiful record, inside and out.”  This is our 2nd edition of the LP — it was previously reissued on Suction Records in 2002, but even that reissue is now long sold out, and the interest in this strange, utterly unique DIY time-capsule has not subsided in the least. The reissue was transferred and painstakingly remastered from perhaps the last sealed copy of the original 1981 LP in existence. We are proud to make this Canadian synth classic available again.

Ceramic Hello hailed from Burlington Ontario, about an hour outside of Toronto, and comprised of Brett Wickens, who composed and performed the more synth-pop-oriented songs on the LP, with clear nods to early-Ultravox and OMD, plus Roger Humphries, who contributed the album’s otherwordly, classically-informed synth interludes. Shortly after the 1981 release of the LP, Wickens moved to the UK to work for legendary Factory Records-associated design firm Peter Saville Associates, where he created iconic LP covers for the likes of New Order, Joy Division, and Peter Gabriel. The Absence Of A Canary’s striking cover, an eerie silver-faced enigma, was Wickens’ first LP design and has become iconic in its own right — an enduring signpost in the minimal synth underground.

The LP contains 14 songs, and is housed in a recreation of the original silver jacket, with an insert/poster + 4-page-lyric-sheet and equipment list (a reproduction – this was originally available by mailing to Ceramic Hello in 1981 – scarce few copies exist and we were finally able to obtain a scan for this new pressing!).

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Dadamah ‎”This Is Not A Dream” (Grapefruit)

2020-03-13T20:34:36+00:00February 20th, 2020|

This Is Not a Dream is a double album collection of every song released by the legendary Dunedin, New Zealand quartet Dadamah, including the This Is Not A Dream LP, and their three 7-inch singles and one unique compilation track. Grapefruit’s release is a thirteen song collection with the full album on one LP and all the 7-inch and compilation tracks on the other. Inspired by the Kranky label’s CD compilation of Dadamah’s existing catalog in 1994, this vinyl version includes two additional songs from a posthumously released 7-inch and it’s been sequenced and designed by the band. Before Dadamah, Peter Stapleton played in The Terminals, Vacuum and The Victor Dimisich Band as well as The Pin Group with guitarist Roy Montgomery. Singer Kim Pieters and organ / synth player Janine Stagg had never been in a band before Dadamah. Dadamah only played live three times, devoting their efforts to four-track recording. Nevertheless, word managed to get out about the band and they were asked to contribute to the 1991 Drag City single “I Hear the Devil Calling Me” which featured twelve songs hovering around one minute each by a who’s who of the then current New Zealand underground music scene. They released their only album in 1992. Jay Hinman (currently of Dynamite Hemorrhage) noted Dadamah’s solitary place in the NZ underground in his Superdope fanzine: “Dead C. might blare and scrape, the Terminals might twist and wind, but Dadamah positively shimmer with beautifully earthy lo-fi Velvets / Ubu sound.” Limited edition singles on the Seattle-based Majora label followed the LP, earning Dadamah praise as “one of the most overwhelmingly great exponents of layer-shifting drone-on master-rock” in the Forced Exposure catalog. Roy Montgomery’s soaring droning guitars were offset by Janine Stagg’s stabbing organ and gurgling moog synths, and Kim Pieter’s vocals ebbed and flowed, somehow evoking Patti Smith, Ian Curtis, and David Thomas simultaneously. After Dadamah, Roy Montgomery went on to form Dissolve and Hash Jar Tempo as well as maintaining his eclectic solo career which continues to feature intense collaborations like those found in Dadamah (find other Roy Montgomery titles on Grapefruit). Peter Stapleton and Kim Pieters formed Flies Inside The Sun and Stapleton continued his work with The Terminals and his independent label Metonymic which released tons of experimental and underground New Zealand music through 2009.

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Void Vision “Sour” (Mannequin)

2020-03-13T20:34:41+00:00February 7th, 2020|

2020 version; black vinyl and alternative cover. Originally released in 2014. Void Vision is a Philadelphia based solo female minimal synth/cold wave project from Shari Wallin. Already included by Rough Trade in their seminal Synth Wave compilations, the single anticipated her full-length Sub Rosa for Mannequin Records. “Sour” was featured in the acclaimed Wild Wild Country Netflix series in 2018. Music supervisor Chris Swanson about the track: “We were having a hard time finding a song for that scene, actually. We had a Future Islands track originally in that scene, I think, but I remember we were having a hard time getting the tone right… because there were objectives with regards to the narrative… we wanted a good beat, a sense of time but also conforming to the time. I think of all the songs [in WWC], the Void Vision song is the one that stands out… because it was different yet it sold the story that we were trying to tell.” Remix by Vanzetti & Sacco, aka Jos Van Galen with the Otto Kraanen, the boss of the acclaimed Bordello A Parigi from Rotterdam. Edition of 500.

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Maximum Joy “Station M.X.J.Y.” (1972)

2020-03-13T20:34:43+00:00February 7th, 2020|

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the ’70s to the ’80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year-old vocalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant burst of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style. They immediately took their place on the rosters of influential labels like Y and 99 with iconic debut single “Stretch”, as the band had clearly captured something special. Entering 1982, Kevin Evans had replaced Catsis as Maximum Joy set out to make what would be their only full length LP. Recording at Berry Street and The Lodge with producers Adrian Sherwood (On-U-Sound legend), Dave Hunt (the Flying Lizards and This Heat) and Pete Wooliscroft (Kate Bush, Talk Talk, Peter Gabriel and OMD,) the band would mix practiced grooves with imaginative improvisation. The results were absolutely jaw-dropping.

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UT “In Gut’s House” (Out)

2020-03-13T20:35:14+00:00February 7th, 2020|

Radical No Wave pioneers Ut reissue their critically acclaimed In Gut’s House album—their second studio album originally released in 1988 on Blast First Records, now fully remastered with original cover artwork, song lyrics and band photos. It made the year’s NME ‘Top 50 Albums’. Ut is a radical rock group founded by Nina Canal, Jacqui Ham and Sally Young in Dec ’78. Originating in the downtown NYC No Wave scene and inheritors of the collision between rock, free jazz and the avant-garde, they exploded the rigidity of conventional rock, constructing songs through collective improvisation, swapping instruments and rotating the role of singer / director. Migrating to London in 1981, Ut played with bands like The Fall and The Birthday Party and released music on their own label Out Records, including Live At The Venue In 1982, the Ut EP in 1984, the Confidential 12-inch in 1985 and their first studio album Conviction in 1986. Ut became a favorite of BBC’s John Peel and recorded sessions for his show in 1984, 1985 and 1987.  “In Gut’s House, from beginning to end, is a chance seized and transported?. Their vision is a total vision. Ut make unreasonably adult music, with raw complex emotions! There’s no one like them.”

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Pop Group “Y” (Mute)

2020-03-13T20:35:14+00:00February 7th, 2020|

2LP – Cut using Half Speed Mastering at Abbey Road, Plus 12″ of She is Beyond Good and Evil and Download. 11 Tracks.

Remastered 40th Anniversary version of Y – the highly influential and innovative debut album by The Pop Group, released in 1979. In the same year The Pop Group released their single She is Beyond Good and Evil / 3:38. The album was produced by reggae veteran Dennis Bovell to critical acclaim but low sales figures. Emerging in the late-’70s post-punk era, this militant gang of leftist radical politicos from Bristol specialised in a funk-driven cacophony of sound that was abrasive, strident, and ultimately very exciting. Railing against Margaret Thatcher’s tory government, the state of pop music, racism, sexism, etc., The Pop Group ushered in the early post-punk era and those who checked them out found an interesting melange of primitive rhythms and avant-garde guitar racket. Led by Mark Stewart, the pop group were unabashedly and stridently radical, and their first calling card was the classic single She is Beyond Good and Evil.

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Severed Heads “Clean” (Dark Entries)

2020-03-13T20:35:15+00:00February 5th, 2020|

Dark Entries’ first release of 2020 is a deluxe 2xLP reissue of Severed Heads’ debut 1981 album Clean. One of the longest surviving bands to emerge from the Australian post-punk independent music scene, they began in Sydney in 1979. Severed Heads is basically a nom- de-plum for Tom Ellard, who incorporates elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style.  Clean was amongst the first vinyl releases under the Dogfood Productions banner of Terse Tapes, previously a cassette-only label. For this records Tom used an array of synthesizers (Kawai 100F, Casiotone, Roland CR78+SH1+CSQ100), sequencers, tapes and occasional guitar and violin played by Garry Bradbury. Severed Heads have a language of their own, music that juxtaposes all sorts of noise, in all sorts of ways so that a structure evolves, (fragmented) melody and rhythm being almost a by-product. As one reviewer said in 1981, “It is an ugly album that you simply cannot ignore, it thuds and screeches and makes you stare just to wonder what kind of people would procure such an album.” For this deluxe reissue we’ve included a bonus disc featuring 13 songs, 5 of which have never been released before, culled from live performances, the Side 3 cassette and a Clean demo tape that only surfaced last year, plus “Food City” missing from previous reissues.  Each copy is housed in a gatefold jacket featuring black and white xeroxed artwork from the first vinyl edition. Inside the gatefold are liner notes by Tom Ellard plus photos and press clippings from the period. 25% of proceeds will be donated to the Australian Fire Relief Fund for First Nations Communities, that offers specific direct support to some of those communities with critical costs to cover expenses.

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Void Vision “Sour” (Mannequin)

2020-03-19T20:09:50+00:00January 26th, 2020|

2020 version; black vinyl and alternative cover. Originally released in 2014. Void Vision is a Philadelphia based solo female minimal synth/cold wave project from Shari Wallin. Already included by Rough Trade in their seminal Synth Wave compilations, the single anticipated her full-length Sub Rosa for Mannequin Records. “Sour” was featured in the acclaimed Wild Wild Country Netflix series in 2018. Music supervisor Chris Swanson about the track: “We were having a hard time finding a song for that scene, actually. We had a Future Islands track originally in that scene, I think, but I remember we were having a hard time getting the tone right… because there were objectives with regards to the narrative… we wanted a good beat, a sense of time but also conforming to the time. I think of all the songs [in WWC], the Void Vision song is the one that stands out… because it was different yet it sold the story that we were trying to tell.” Remix by Vanzetti & Sacco, aka Jos Van Galen with the Otto Kraanen, the boss of the acclaimed Bordello A Parigi from Rotterdam. Edition of 500.

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Fote “Fote” (Robot)

2020-01-23T21:28:09+00:00January 23rd, 2020|

Following the short-lived Truth Club with Trefor Goronwy (who later went on to work with This Heat and The Camberwell Now), Fote was formed in 1981 with the trio of Robert Haigh, Deborah Harding, and Trevor Reidy. Releasing two 12″ EPs along with one track featured on a split 7″ with Truth Club, Fote’s entire studio recordings consisted of just eight tracks. With angular constructs of post-punk, free-form improvisations, and wicked time signatures, these tracks shredded boundaries one can still hear to this day. These early foundations are also heard in much of Haigh’s later Sema compositions as well as Reidy’s motorik percussion with Nurse with Wound, Danielle Dax, and The Monochrome Set. Curiously, Harding’s vocal tensions and outright unhinged polarities in Fote sound like much of the exorcisms and brilliant psychodramas on many of Chrystal Belle Scrodd’s (Diana Rogerson) later solo albums. An absolutely essential document from the early ’80s independent British post-punk scene. Cut at 45 rpm for maximum fidelity, including all eight tracks, and featuring the original sleeve artwork by Deborah Harding.

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Pop Group “Y (4LP boxset)” (Mute)

2020-01-23T21:27:05+00:00January 23rd, 2020|

4 LP – 4×180 Gram Black Vinyl, Cut at half speed Mastering on Y plus a Live set of Y and Alien Blood, 12″ Sized Booklet. 30 Tracks

Remastered 40th Anniversary version of Y – the highly influential and innovative debut album by The Pop Group, released in 1979. In the same year The Pop Group released their single She is Beyond Good and Evil / 3:38. The album was produced by reggae veteran Dennis Bovell to critical acclaim but low sales figures. Emerging in the late-’70s post-punk era, this militant gang of leftist radical politicos from Bristol specialised in a funk-driven cacophony of sound that was abrasive, strident, and ultimately very exciting. Railing against Margaret Thatcher’s tory government, the state of pop music, racism, sexism, etc., The Pop Group ushered in the early post-punk era and those who checked them out found an interesting melange of primitive rhythms and avant-garde guitar racket. Led by Mark Stewart, the pop group were unabashedly and stridently radical, and their first calling card was the classic single She is Beyond Good and Evil.

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Tom Of England “Sex Monk Blues” (L.I.E.S.)

2020-01-09T21:46:33+00:00January 9th, 2020|

Exploring a beautiful grey area somewhere between P.I.L., Arthur Russell, and downtown New York grit of old, the storied Tom of England (Thomas Bullock) comes forth with his epic debut long player “Sex Monk Blues”.

Mr. Bullock has been in the trenches for a long time now as a member of Tonka Hi-fi in England, Wicked Sound System in San Francsico, and lastly the back room viking disco duo Rub n Tug in New York City. Somewhere during this all he made a record for Rough Trade, produced records for Map of Africa (with DJ Harvey) and The Laughing Light of Plenty and wrote a definitive book about Mezcal all whilst touring the world.

As touring grew tiresome priorites refocused and Thomas slowly pieced together the parts of what he wanted to become his debut solo album. In partnership with singer Bobbie Marie and studio engineer Chebon Littlefield we now see this come to fruition with these six tracks, futuristic, classic, danceable, and yes, unclassifiable Sex Monk Blues is what’s going on.

Sex Monk Blues Recorded in NYC by Thomas Bullock and Chebon Littlefield. All lyrics and vocals by Rene Love. All music and instruments by Thomas Bullock and Chebon Littlefield except electric bass by Ed Ruscha, saxophone by Gabe Druzzi, and kick drum on Be Me by Harvey Bassett. Mixed by Thomas Bullock and Chebon Littlefield at All Bright Electric NYC. Mastered by Josh Bonati

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Nine Circles “Early Days” (Onderstroom)

2020-03-07T06:07:50+00:00December 20th, 2019|

Early Days maps out Nine Circles interpretation of cold wave and minimal synth. Unbelievably the tracks are mostly from a brief time period, ’80-82. Alienation and uncertainty course through the double-LP, with heavy Yamaha chords, metallic machine beats, and brittle vocals. Nine Circles was formed in the early ’80s by Peter van Garderen and Lidia Fiala. In 1980, there was band called Genetic Factor. This band split up when the three members got girlfriends and they started to make music together with their girls. So, at that time there were three bands living together in one house. One of the couples were Peter van Garderen and Lidia Fiala. Lidia had been writing lyrics since she was 15 years old. Nine Circles was born. Within two years they wrote about 60 songs. Also living in the house was Richard Zeilstra, who had a job at the VPRO radio, hosting a show called “Spleen” where he gave new wave bands a chance to play. He asked bands to send tapes to him and the best band would have the opportunity to play live at the radio and also got the chance to be on the Radio Nome compilation (1982). Peter and Lidia sent their tape to him and were the only ones of this house to be on the show. Richard knew their music was special. Nine Circles never played a live show, only this one concert live at the radio which is also featured on the LP. Two years later Peter and Lidia split up and Nine Circles subsequently disappeared. In 2009, Lidia’s son googled her name just for fun and found a lot about the band Nine Circles. Lidia was surprised, she never knew how popular Nine Circles have been over the years. She got herself on Facebook and since then she got in touch with many people and decided Nine Circles should come back! Peter was not able to join the band these days, he has a different life and he is happy but he is supporting Lidia and likes that she enjoyed doing music again. Peter still had all the old recordings and sent Lidia a lot of the music they made back in the days. The best tracks are collected on this double-LP. Together with Per-Anders Kurenbach, Lidia continues Nine Circles. Together with Per-Anders Kurenbach, Lidia revived Nine Circles. They recorded new material (released on the album Alice) and played live until Lidia had to stop playing live for health reasons in 2016. Nevertheless, they’re working on a follow-up album called Emerge which is planned to be released in 2020 and hopefully Lidia will be able to go on stage again soon.

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NTsKi + 7FO “D’Ya Hear Me!” (Em)

2019-12-13T05:58:14+00:00December 13th, 2019|

In 1981, Brenda Ray / Naffi Sandwich released the sweetly yearning “D’ Ya Hear Me!” . The song is now considered a post-punk classic, and here we have a warm digi-reggae version sung by Kyoto composer/producer/vocalist NTsKI (“Natsuki”), with backing tracks performed, recorded and mixed by Osaka-based producer/guitarist 7FO ( “nana f o” ). Also on this release are a karaoke version, plus two remixes, the first a dancehall-flavoured version by Bim One Production, a Tokyo electro-reggae production duo. The second mix is from Nagoya-based electronic producer CVN, who provides a harder version. This revisioning of a much-loved classic is available on CD, 10-inch vinyl and digital.

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Vazz “Cloud Over Maroma” (Stroom)

2019-12-06T04:25:16+00:00December 6th, 2019|

Maroma was there long before the Moors. The Moors were there long before man landed on the moon half a century ago. Drum machines meant you didn’t have to take Ginger Baker our for a drink. Life takes on sublime logic. In retrospect, everything takes on a new meaning from a different perspective. The past is the future. From Glasgow to Edinburgh to Andalucia. This music is about a small journey, an aural triptych of sounds

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Gray “Shades Of…” (Ubiquity)

2019-11-29T04:00:38+00:00November 29th, 2019|

3xLP Housed in Multi-Sleeve Gatefold Jacket w/ 12″ x 12″ Booklet

Famed painter Jean Michel-Basquiat was one of the co-founders of the band Gray. This anthology features reissue of their previously limited self-release plus unreleased material, and remixes from: Todd Rundgren, Hank Shocklee, King Britt, Sal P (Liquid Liquid), Deantoni Parks, Tewz, Free The Robots, and The Gaslamp Killer, along with features from Amir Yaghmai and Kool Keith.

1979, Downtown New York, Gray was making industrial music with sound. Jean-Michel Basquiat played the guitar with a metal file, Michael Holman played masking tape and steel ball bearings, Justin Thyme abstracted the keys, as Nick Taylor played his guitar with historical restraint.

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Various Artists “Factory Communications 1978-1992” (Rhino)

2019-11-29T03:51:30+00:00November 29th, 2019|

Factory Communications: 1978-92 is a tribute to the label as well as a dedication to the founder, the late Tony Wilson. The project celebrates arguably the most important label in UK pop history, collating rare and obscure tracks from a diverse range of acts. It features 63 tracks including cuts from New Order, Joy Division, The Durutti Column, Happy Mondays, Electronic, A Certain Ratio, Section 25 and many others and includes sleeve notes written by Paul Morley.

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The Raincoats “The Raincoats” (We ThRee)

2019-11-22T03:10:45+00:00November 22nd, 2019|

Remastered from original masters. November 2019 marks the 40th Anniversary of the release of The Raincoats’ self-titled debut album. and the band plan to celebrate with a series of live performances in the UK and at Le Guess Who? Festival in Utrecht.
We ThRee version limited to 300 Copies in the US, special marble 180g vinyl, plus download code. Includes 2 limited edition prints by Gina Birch and Ana da Silva.
Kill Rock Stars version on orange vinyl.

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Girls In Synthesis “Pre/Post: A Collection 2016-18” (Own It)

2019-11-22T03:10:10+00:00November 22nd, 2019|

Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house; artwork, videos, performances and recordings are created entirely by the group and their handful of trusted collaborators, with their 3 hand-packaged vinyl E.P releases selling out in days on pre-orders.

The “Pre/Post” LP sees Girls In Synthesis compile their 3 previous E.P releases and also sees inclusion of their debut single ‘The Mound’/’Disappear’, never released before on vinyl. Experimentation has seen them transgress the punk bracket into something more original and unique while stage shows present a complete and controlled spectacle, with the group moving from playing on stage to dragging equipment into the audience, desperately trying to remove the group/audience barrier. Their explosive shows have seen them hand picked for support slots with bands as disparate as Bad Breeding, Slaves, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Wolf Alice, Warmduscher and Damo Suzuki.

The debut, self-released single saw GIS well and truly kick the doors open for what was to follow for them over the next few years. The lopsided, fuzz groove of ‘Disappear’ rubs shoulders with the bass-driven, future crowd favourite ‘The Mound’ to add up to a frantic and stripped back, stunning calling card.
Follow up E.P ‘Suburban Hell’ saw the group develop the sonic aspects of their music, with the harshness ramped up and subtle but powerful production aspects pushing songs like ‘Suburban Hell’ and ‘Phases’ into harsh, noise-punk territory.

Second E.P, ‘We Might Not Make Tomorrow’, added a slight melodic edge to the previous aural bludgeon, whilst the lyrics to songs like the title track, ‘Sentient’ and ‘Tainted’ explore deeper issues such as the threat of nuclear war, animal cruelty and the outcome of the USA presidential election.

The third E.P (the most recent and perhaps heaviest) ‘Fan The Flames’ further presses into deeper lyrical territory, with songs focusing on government neglect, anxiety and mental health issues. The production receives even further toughening up and also features the group’s first foray into spoken word in ‘Howling’, albeit with a glitchy, unmusical, harsh noise backdrop.

In total, this compilation shows a progressive and feverish work ethic and exposes the varied aspects of one of the UK’s most promising and fruitful underground punk bands.

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Cabaret Voltaire “Chance Versus Casuality” (Mute)

2019-10-31T23:39:25+00:00October 31st, 2019|

Back in ’79, when Chris Watson was still a member of Cabaret Voltaire, the industrial pioneers wrote the soundtrack for Babs Mondini’s 16mm flick, ‘Chance Versus Causality’. 40 years later the near-mythical recording finally resurfaces on Mute’s Grey Area, and is certain to send Cabs fans reeling

As the legend goes, Cabaret Voltaire’s Chris Watson, Richard H. Kirk and Stephen Mallinder mets Babs Mondini after their legendary ’79 Brussels Plan K show on a bill with Joy Division and William S. Burroughs. Babe asked the band to record a soundtrack to her upcoming film, and, without even seeing the film, or any instruction from the director, they created the soundtrack in an “ambient style”, meaning, in their own words “less rhythm, more tape” coupled with spacey, noisy FX and laced with vocals samples from other films. The results were sent as reels of tape to Holland and applied to the film, a split screen art piece given a limited release that was ultimately never seen by the band. Fast fwd 25 years and the music was returned to the band, who have finally conspired with Mute for this long-overdue 2019 vinyl edition.

The 2LP affords an unabridged gaze upon Cabaret Voltaire at their loosest and instinctive, providing a stark contrast to their driving disco-not-disco classic ’Nag Nag Nag’ and a rare snapshot of Chris Watson’s tenure, before he departed and became a preeminent field recordist for Tyne Tees TV and eventually the BBC. It’s worth focusing on Watson here, as his field recording influence is apparent right from the opening seconds’ sound of running water and throughout the soundtrack, whereas Kirk and Mallinder provide a range of percussion, strings and wind instruments that are warped, smudged and mulched in-the-mix.

If you’re a frivolous silly bugger, the soundtrack is practically worth it for the cranky, uncredited Yorkshireman decrying “There’s something bubbling up in this bastard, I don’t like it at all”, but if you’re in it for the music, mayne, you’ll be rewarded with some of the Cabs’ rawest material on record, with palmed blasts of dissonant blatz interrupting passages of wry electronics, anguished chorales, spluttering drum machines and buckling tape, all pebble-dashed with vocal samples lifted from french art flicks and radio and TV adverts and the like.

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Mekons “Fear And Whiskey” (Sin)

2019-10-31T23:38:27+00:00October 31st, 2019|

Mekons’ 1985 album Fear and Whiskey came out of a chaotic period of reinvention that followed the demise of Mekons mark one when Andy Corrigan and Mary Jenner left the band. In 1983 Tom Greenhalgh, Jon Langford, Kevin Lycett and Mark White traveled to Bridlington, a seaside town in Yorkshire’s East Riding, with engineer/button melodeon player/fiddler John Gill to record an EP for CNT Productions at KG studios. Songs were made up on the spot with percussion supplied by the Three Johns’ customized Roland 606 drum machine. Two songs from this session and the resulting English Dancing Master EP, Last Dance and No Country were later recorded for Fear and Whiskey.

*Trouble Down South (a reworking of the minimalist electronic track created by Lycett and Piers Storey for The Mekons Story from 1982) featured contributions from Dutch band The Ex and Delta Five vocalist Jacqui Callis, violinist Susie Honeyman, Chicago DJ Terry Nelson and Welsh punk vocalist Ralph Mulcahy. Greenhalgh, Langford, Lycett and Honeyman returned to Leeds the following year to record four new songs at Lion Studios using the Three John’s Sequential Circuits drum machine “Hugo”. This session produced Chivalry, Darkness and Doubt, Hard to be Human and Psycho Cupid. Along with Trouble Down South these songs made up side 1 of Fear and Whiskey. When Langford returned the band recorded the five songs that make up side 2 of Fear and Whiskey at a “secret location” in London in one afternoon. When the record was completed Greenhalgh and Langford set off to the USA with the Three Johns for a tour armed with cassette promo copies of Fear and Whiskey which they handed out to anyone who gave a sh*t; successfully seeding Fear and Whiskey throughout North America.

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Mekons “The Edge Of the World” (Sin)

2019-10-31T23:38:25+00:00October 31st, 2019|

The success of Fear and Whiskey in 1985 saw the Mekons with a stable line-up and enough money to record a new album for the first time in years. The songs on Edge of the World were written and demoed in Leeds by Tom, Jon and Kevin early in 1986 and recorded at Offbeat Studios in Kirkstall with Three Johns live Soundman Tony Bonner who had recorded parts of Fear and Whiskey the year before.

Around this time the live band was expanded further to include Rico Bell and Sally Timms who both perform lead vocal duties on Edge of the World. At one point during the recording sessions a version of the band traveled to the northeast of England to perform some live shows and procure valuable funds leaving Langford, Edmonds and Goulding in the studio cutting rhythm tracks. Martin Bomber Henderson of Keithley Gothic band the Skeletal family drummed in the live band at this time but does not appear on the album.

The album was mixed in London and was the third release on Sin Recordings of Brixton through the York based distributor Red Rhino. The day Kevin was putting the artwork together for the record cover Jon and Tom we’re flying to the states for the second Three John’s US tour. The plan was to put the names Jon, Kev and Tom on the three crosses in the foreground of the desert scene but Kevin felt uneasy about doing that and left the names off. Tom and Jon survived the transatlantic flight due to this wise action.

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Malaria! “Compiled 2” (Moabit)

2019-10-25T03:50:48+00:00October 25th, 2019|

January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project, and Susanne Kuhnke completed the line-up. Malaria! started touring intensively soon after the release of their 12″, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, and Einstürzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence, and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin. While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin — How Do You Like My New Dog? 7″ (1981), Weisses Wasser 12″ (1982), New York Passage 12″ (1982), Revisited cassette (1983), and the Emotion album (1982). At the BBC studios in London, Maida Vale, Malaria! recorded a John Peel Session. Malaria! took a break in 1984 — Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form Matador with Beate Bartel, but not before they recorded their mini-album, Beat The Distance (1985). In 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12″. Elation was followed by Cheerio (1993), which again was recorded in Berlin. Chicks on Speed did their own version of Malaria!’s song, “Kaltes Klares Wasser” in 2001, and the remix went into the German Top 10. Malaria! has been an instrumental part of Berlin music history, as recently presented at the “Zurück zum Beton” at Düsseldorf’s Kunstakademie, Kunsthalle Wien “Punk!”, “Geniale Dilletanten” Goethe Institut, and in B-Movie.

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Various Artists “Disco Not Disco” (Strut)

2019-09-13T06:31:24+00:00September 13th, 2019|

Strut Records were there first, well before DFA recorded The Rapture’s Sub Pop debut. ‘Disco Not Disco’ preceded the punk funk revolution by two years.’ Resident Advisor

Strut present a new repress of the influential first volume of ‘Disco Not Disco’ compiled by Joey Negro and Sean P as part of the label’s 20th Anniversary.

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Mekanik Kommando “Dancing Elephants” (Dark Entries)

2019-08-30T02:43:42+00:00August 30th, 2019|

Mekanik Kommando was a post punk / New Wave band from Nijmegen, the Netherlands founded in 1979 by Peter van Vliet and Laszlo Panyigay. The duo became a quartet with the addition of Simon van Vliet and Mirjam van Hout. The name Mekanik Kommando comes from the album ‘Mekanïk Destruktïw Kommandöh’ by the French progressive rock band Magma. Inspired by a DIY ethos, Kraftwerk and Magma, the band began recording songs at home using two tape recorders. Their demo cassette was discovered by Wally van Middendorp of Minny Pops and owner of Plurex Records, who booked them for a gig at Paradiso in Amsterdam. In 1981 they were asked to contribute music on a flexidisc for the first issue of newly established magazine Vinyl. In the summer of that year the band recorded their debut album ‘It Would Be Quiet In The Woods If Only A Few Birds Sing’ released on Torso. In February 1982 the band secured five days of studio time at Salisbury Sound in Dordrecht. The end result was the mini-album ‘Dancing Elephants’ released on Torso later that year. Musically, the five songs are a mix between cold wave, experimental electronic and industrial pop. The band utilized two bass guitars plus a Korg 770, KR-55 drum machine, violin, effects, metals and plastics. Lyrics explore themes of decay and morality, hypnotically spoken on top of playfully metallic sounds. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a replica of the original jacket, which features artwork by the group members, and includes a 4-page booklet with lyrics and notes designed by Eloise Leigh.

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Cold Showers “Love And Regret” (Dais)

2019-08-16T03:41:47+00:00August 16th, 2019|

Official repress of Love and Regret, the long out-of-print 2012 debut album from LA-based post punk outfit Cold Showers. Cold Showers, a unit formed in Los Angeles, CA in 2010, fuses the brash power of their shoegaze predecessors with the smoky compulsions of accessible synth pop standards. Cold Showers fits comfortably within the dusty catalog of Factory Records, if only for their modern interpretation of the romantic isolation that signified that long past era. Piston-precision rhythms and angular guitar patterns that drive along songs such as Alight and BC sit comfortably alongside the opposing raucous-tinged tracks such as I Don’t Mind and Seminary. This is the pervasive pop mode against which Cold Showers cast themselves. Versatile, memorable and romantically wistful are all common themes that listeners relate to when diving into Love and Regret.
Looking back on the past seven years and the album’s ultimate impact, Love and Regret created and solidified the band’s stark identity in a single, well crafted release. While their early singles on Art Fag and Mexican Summer introduced listeners to Cold Showers simply as a band, Love and Regret debuted the group as something to be taken more seriously. Songs that are intended to be personally unpacked with the listener’s pleasure and heartbreak as personal reminders of more innocent times.
The 2019 repress of Love and Regret in tandem with the release of Cold Shower’s third album, Motionless, and is packaged with alternative cover art, mirroring the limited hand-screened “Art Edition” the label and band released in 2016. For fans of New Order, Ultravox, The Chameleons, The Cure, Joy Division.

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Uniform & The Body “Everything That Dies Someday” (Sacred Bones)

2019-08-16T03:41:45+00:00August 16th, 2019|

On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as “the middle ground between Robyn and Corrupted, but weirder.”

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Pink Turns Blue “If Two Worlds Kiss” (Dais)

2019-07-28T19:01:03+00:00July 28th, 2019|

Founded in Cologne, Germany in 1985, Pink Turns Blue’s blend of atmospheric dark pop informed by European post-punk contemporaries and buzzing punk dissonance of Hüsker Dü (the band is named after the Zen Arcade song) immediately tapped into a new canon of sound that was foundational to the emergence of darkwave. Tom Elbern (vocals, guitars)formerly of Seltsame Zustände and Mic Jogwer (vocals, bass) were joined by Marcus Giltjes (drums), and Ruebi Walter (keyboards) and caught on through diligently pounding the club circuit and circulating their early, self-financed recordings.

Despite the commitment to their craft and initial grassroots success, securing label support proved difficult as they refused to sing in German and their sober tone lacked the shimmer of pop and optimism that executives felt formulaic to success. Still, the band persisted with the duo of Elbern and Jogwer sharing vocal duties and song credits, each informing the other’s compositions until Elbern halved the song production and left the band in 1987. Continuing to perform and record as a three piece, the band eventually found roots with FunFactory!, an independent label based in Münster whose manager, Axel Seitz, shared the band’s appreciation of the Velvet Underground and Andy Warhol’s Factory vision, urging them to forego releasing singles and focus on a full-length.  Released in 1987 and now remastered by Josh Bonati for vinyl release through Dais Records, If Two Worlds Kiss is a seminal offering to the canon of dark wave’s DNA – a fluid lesson in melody, mood, and pacing – each track continuously adding to the journey like a unique push-pin on a map of melancholy.

Defined by their dynamic song-writing, their debut added a new urgency and depth to guitar-driven gothic rock by allowing fast songs such as the lead single “Walking on Both Sides” to possess the same sullen punch and melancholy as slower anthems like “When the Hammer Comes Down”, which derives its power on the downbeat. More rhythmic variety is added through beat-driven dancefloor tracks with triumphant singalong choruses like “That Was You”, showing they could swing hard – as well as swirl… Dais Records is proud to present the first ever official reissue of this classic deathrock / darkwave masterpiece.

Limited edition vinyl is repackaged from the original art assets, in a 24 pt reverse board jacket housing a euro inner sleeve with lyrics. Including a bonus track, “A Moment Sometimes”, previously unavailable on the original release and exclusive the the Dais Records reissued vinyl edition.

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Pink Turns Blue “Meta” (Dais)

2019-07-28T19:01:03+00:00July 28th, 2019|

Recorded on the heels of their debut album, If Two World Kiss (also reissued by Dais Records) and informed by the band’s oscillating live synergy and bolstered by a boon of new equipment and texture, Pink Turns Blue’s sophomore 1988 album Meta was a conceptual leap predicated by the study of sound and exploration of it’s edges. With the same fervor that Joy Division mined deeper, darker, and less linear on Closer, Meta is a cohesive meditation on atmosphere and how every note and passage can traverse space individually, as part of a larger narrative.Singles “Touch the Skies” and “Your Master Is Calling” are the albums cornerstones; airy, steady, and driving tracks with a depth of melody and orchestration that sparked a shimmering new example of dark pop. The instrumental balance throughout the album creates a strobe light journey later echoed throughout gothic compatriots exploring minor keys and nocturnal themes.

Recorded by Jané Krizaj known for producing most of Laibach’s material, the Meta sessions took place in a basement studio located below a stadium. Then a part of Yugoslavia, the studio was located in now Slovenia and was affordable, but lacked many modern recording amenities, forcing the band to smuggle valuable equipment in exchange for recording time. Riding the excitement, cultural experience, and friendship of Laibach, born on the road and further fostered throughout the vibrant Ljubljana music scene and Croatian coast, Meta’s feel is a musical manifestation of beautiful confusion of exploring the new and unfamiliar.

Remastered and returned to its original vinyl format for the first time since 1988, Meta flexes the songwriting muscle and spirit of the band’s second iteration, informed by an entirely different set of circumstance and vocabulary. Most importantly, the album’s nine tracks evolved the band’s sound and undeniable imprint on darkwave, shaping its very vocabulary and sonic identity past Europe and into fans looking below the surface for melody and meaning.

Limited edition vinyl is repackaged from the original art assets, in a 24 pt reverse board jacket housing a euro inner sleeve with lyrics.

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Body Of Light “Time To Kill” (Dais)

2019-07-28T19:01:01+00:00July 28th, 2019|

Birthed from Arizona’s regaled Ascetic House collective, Body of Light is a dark synth-pop outfit comprised of young brothers Andrew and Alexander Jarson. What began as a vehicle for their exploration of noise and sound during their early teens has evolved into an established production over the last decade, as Body of Light continues to carve out their own style of complex, structured, and moving dancefloor electronics.

Their music is not only individually personal, but drawn from experiences shared between the two brothers and calls on elements of new wave, freestyle, goth, and techno to create timeless and singular tracks without fear of trend or passing fashion.

On their third album Time to Kill, Body of Light refines their brand of cold and driving synth pop with a bold pallet of sounds and a focus on uncharted technique and purpose. Like the pale digital stare of the modern devices surrounding our daily lives, the album weaves stories of love and obsession in an era of technical bondage and fleeting exhilaration. Written over a period of intense and profound change, Time to Kill stands as a startling reminder of how important our existence truly is. Haunting keys, swelling pads, and punching rhythms score their work as Alex Jarson presents an alluring and romantic dialogue with confident projection. The title single Time to Kill kicks off the album with a merciless signature beat, complimented by distorted sample patterns against an infectious, moving bass groove that invites you to let the memories fade. The follow up single Don’t Pretend invokes sparkling nostalgia and innocence over a dark and driving beat paired with vintage electronic movements. The haunting Dangerous, slows the pace with its pendulum-like rhythm and ominous intonation, falling between a hopeful synth pop ballad and shadowy dirge – a slow dance for the sunrise set.

Produced by Matia Simovich at Infinite Power Studios in Los Angeles and mastered by Josh Bonati, Time to Kill shines with new direction and new intention through lustrous production and innovative songwriting.

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Various Artists “The World Of Keith Haring” (Soul Jazz)

2019-07-12T19:28:33+00:00July 12th, 2019|

Soul Jazz Records release this stunning new collection featuring music influential to the artist Keith Haring. The art of Keith Haring is today one of the most recognisable of any visual artists of his generation, defining 1980s New York during an intense period when downtown artists and musicians collaborated like never before. Haring’s musical inspiration took in the punk/dance downtown sounds of clubs like The Mudd Club, underground disco at Larry Levan’s Paradise Garage, as well the early days of hip hop and electro.
Haring’s many friends included Jean-Michel Basquiat, Andy Warhol, Madonna, Fab Five Freddy, William Burroughs, Jenny Holzer, Yoko Ono, Grace Jones, Larry Levan, Futura 2000. The music here includes the work of a number of Haring’s close friends, including Jean-Michel Basquiat, Yoko Ono, Larry Levan, John Sex and George Condo (The Girls), as well as healthy dose of rare disco, early electro and New York punk / dance tracks. Physical formats feature stunning photography, extensive sleevenotes and interviews.

Drab Majesty “Modern Mirror” (DAIS)

2019-07-12T19:28:30+00:00July 12th, 2019|

Since the 2015 release of Drab Majesty’s debut Careless, and the release of the acclaimed sophomore album The Demonstration the following year, artist Deb Demure and collaborator Mona D. have firmly established themselves amongst the pantheon of dark synth-pop greats, establishing a devoted fan base worldwide with their singular hypnotic sound and mysterious, constantly-evolving presence.
Following intense and extensive touring in support of the first two albums, Drab Majesty escaped to the inspirational landscapes of Athens, Greece to channel the songs for their most ambitious album creation yet: Modern Mirror.
Blowing the dust off the antiquarian myth of Ovid’s “Narcissus”, Drab Majesty uses its premise as groundwork for a modern reinterpretation. Each song tells a piece of the story, in which the listener’s own self-identity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities. Setting the stage as a romantic saga of antiquity, “A Dialogue” asks the listener if they are truly in love amid a building wash of guitars and reverb. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like “The Other Side”, possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment.
The first single, “Ellipsis”, romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on “Long Division”, Deb’s resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in “Oxytocin”, a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence.
Modern Mirror is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems – a seemingly classic tale delivered unblinkingly through the frame of the modern world.
Produced by Josh Eustis (Telefon Tel Aviv) and mastered by Dave Cooley, with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air). Packaging and design by Juan Mendez of Jealous God/Silent Servant.

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Cortex “Spinal Injuries” (Sacred Bones)

2019-07-12T16:13:12+00:00July 12th, 2019|

“Informed by deep and enthusiastic underground music knowledge, Cortex were key in the ongoing musical narrative of Swedish punk and post-punk. The late frontman of Cortex, Freddie Wadling (1951-2016) is a legend of enormous stature in Sweden: he is revered on the level of, say, Captain Beefheartor Serge Gainsbourg, and has been a key influence for generations of Swedish artists over the past four decades. His work ranges from proto-punk to equilibrist jazz vocals, and the trajectory of his cultural life from the Swedish underground of the early 1970s to his final years as an iconic interpreter of the Swedish songbook in the mainstream has to include a discussion and the experience of what many consider his greatest album: Cortex’s debut LP Spinal Injuries.

Recorded in April 1981, released in August 1983, Spinal Injuries by Cortex stands as one of a handful of masterpieces of Scandinavian post-punk. Freddie Wadling played in bands locally in his hometown of Gothenburg starting in the mid-1960s: garage bands, jam bands, one-offs, party-bands. Wadling belonged to the generation of the culturally astute who embraced the milestones as they happened: Captain Beefheart, The Velvet Underground, Zappa, Bowie, Eno, The Stooges, Hawkwind, alongside underground lit, underground comix, and art movements outside of the mainstream at a time where you had to dig hard to find out about stuff. No internet, no media mentions, no TV or radio. All word of mouth, hepcat to hepcat.

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The Mekons “The Quality Of Mercy Is Not Strnen” (Superior Viaduct)

2019-07-05T03:20:00+00:00July 5th, 2019|

After two singles for Fast Product, Leeds art-punk collective The Mekons signed with Virgin Records in 1979. The band would have to borrow gear from their mates Gang Of Four to record their major label debut. In classic Mekons style, the album’s back cover featured a photo of Gang Of Four instead of themselves. As Simon Reynolds writes, “The Quality Of Mercy Is Not Strnen got a mixed reception at the time. Listening to it now, though, the first LP sounds more of a piece with the band’s early punk singles. What’s striking is the commonality of sound across the three key Leeds groups of that moment (Gang Of Four, Delta 5 and The Mekons). There are textural affinities in terms of scrawny abrasiveness and a general departure from rock ’n’ roll norms of singing and emoting.” With boundless energy, The Mekons net a dozen barbed takes on pop culture, art and politics. “What Are We Going To Do Tonight” stands out as a razor-sharp critique of leisure, while “Beetroot” drowns apathy in angular riffs and catchy, unmelodic chants. Clad in one of the most striking record covers of its era, The Quality Of Mercy Is Not Strnen is now available in the US for the first time. Liner notes by Simon Reynolds.

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Joy Division “Unknown Pleasures” (Warner)

2019-06-24T19:39:51+00:00June 24th, 2019|

Joy Division are celebrating 40 years since the release of their seminal 1979 LP Unknown Pleasures with a new limited edition version of the album

The limited edition LP is pressed on a bold 180g ruby red vinyl with an alternative white sleeve resembling Peter Saville‘s original design idea. A T-shirt accompanies the vinyl release to help celebrate the album as a landmark in music, fashion, art and design. Additionally, Goodhood has created a selection of accompanying products comprised of apparel, shoes, bags and accessories which will be released June 14.

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Glorious Din “Leading Stolen Horses” (B.F.E.)

2019-05-10T19:09:04+00:00May 10th, 2019|

B.F.E. Records present a reissue of Glorious Din’s Leading Stolen Horses, originally released in 1985.

“One of the true lost gems of West Coast gothic postpunk, this 1985 release was the first for the band led by Sri Lankan expat singer-songwriter Eric Cope. Taking the darker moments of Joy Division as a starting point but leaving behind the industrial angst and fury for a rich and soulful melancholy that seamlessly blends first and third world cultures, they built something else entirely with insistent tribal rhythms, atmospheric guitar work, and Eric’s ghostly and desolate vocals, all with fine recording and production.”

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End Of Data “Sahrah” (B.F.E.)

2020-03-07T06:12:58+00:00May 10th, 2019|

Official reissue of Sahrah, the excellent first mini album by End Of Data, originally released in 1984 by Divine Records (Tuxedomoon, Fra Lippo Lippi, Mecano). The record has been remastered and includes liner notes by the band. End Of Data existed in Rennes, Brittany during the early ’80s and shared members with Charles De Goal. They released only two records that are classics of minimal synth pop and new wave. “Great and rare French album. minimal synth, post punk and some art rockish hints. Would appeal to all fans of Autopilot, Kas Product, Dark Day, Sad Lovers and Giants, etc.”

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Various Artists “Plastic Dance 2: Domestic Synth Pop & Patchbay Punk Compiled by Andy Votel & Doug Shipton” (Cache Cache)

2020-03-07T05:26:12+00:00May 10th, 2019|

“… Let’s talk about the dangerous counterrevolutionaries who went out and bought a cheap synth and a rudimentary drum machine. The ones that got what ‘punk’ was really about. The democratization of art . . . Sniffing Glue said learn three chords and form a band, Throbbing Gristle said why learn any chords at all… I am an artist because I say I am. More Marcel Duchamp than Malcolm McLaren. So, sisters and brothers, who do you think led the counter-revolution? Well I’ll tell you. It was the man who stormed the Bastille and kicked the door down in the first place and he did it on the July 16th, 1977. With the help of Tommy Vance. John Lydon’s playlist that night on Vance’s show included Tim Buckley, The Creation, Augustus Pablo, Bobby Byrd, Neil Young, Lou Reed, Peter Hammill, and Can and put paid to any punk rock ‘year zero’ claims. Meanwhile, locked out of the studio, Malcolm had to listen to the counterrevolutionary manifesto being broadcast across the metropolis. Mark that date in your diaries, sisters and brothers: 16th July, the anniversary of the birth of ‘post punk’. Just over a year later in October, Lydon rammed the point home with the release of Public Image, a personal and musical manifesto in 7″ form. The music on Plastic Dance 2 is the strangely colored, distorted, and frighteningly beautiful fruit of the seeds planted on that fateful day. Lessons learned and inspiration taken from the sonic aesthetics of dub, knowing that not all disco sucked and that even jazz was allowed. Music shaped by wonky approximation and appropriation. The artists on Plastic Dance 2 were artists because they said they were. Listen to their work and you’ll know they were. Listen in transcendent wonderment as George Attwell creates alchemical space funk in his home studio… as a future Mock Turtle and members of The Manchester Music Collective channel Robert Calvert and Bill Nelson… as Korzynski comes on like a Jeff Mills remix of Terry Riley. Listen in the wide-eyed joy of being as Stabat Stable’s drum machine runs amok to the accompaniment of discordant organ stabs… as a future founder of 808 State channels Albert Ayler alongside a galloping synth arpeggio.”

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UT “Conviction” (Out)

2019-05-10T19:08:14+00:00May 10th, 2019|

Next in Ut’s reissue and remastered back catalogue series, their first studio album Conviction, originally released in 1986. This 2019 remastered reissue will include song lyrics, photos of the band and an introduction by Stewart Lee. Radical rock group Ut was founded by Nina Canal, Jacqui Ham and Sally Young in 1978. Originating in the downtown NYC No Wave scene and inheritors of the collision between rock, free jazz and the avant-garde, the band exploded the rigidity of conventional rock, constructing songs through collective improvisation, swapping instruments and rotating the role of singer / director. Migrating to London in 1981, Ut played with bands like The Fall and The Birthday Party and released music on its own label Out Records, including Live At The Venue In 1982, the Ut EP in 1984, the Confidential 12-inch in 1985 and the LP Conviction in 1986. Ut became a favourite of BBC’s John Peel and recorded sessions for his show in ’84, ’85 and ’87. Joining forces with Blast First in 1987, they released the live compilation album Early Live Life and then the highly critically acclaimed In Gut’s House in 1988, which made the year’s NME Top 50 Albums.

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Ghosts Of Dance “Walking Through Gardens” (Dark Entries)

2019-05-10T19:07:03+00:00May 10th, 2019|

We are proud to release a compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981. The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song ‘Ghosts’ by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time. Our compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. We call it melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

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The Good Missionaries “Pylons” (Color Tapes)

2019-05-10T19:07:03+00:00May 10th, 2019|

“The hipness and success of London punk-explosion photocopy fanzine Sniffin’ Glue was almost entirely due to the irreverent, pugnacious sincerity of its founder/spark-plug Mark Perry. That Perry should form a band (Alternative TV) seemed a natural progression; that it was any good at all a surprise; that it maintained a stance utterly disdainful of compromise a small miracle. The Good Missionaries emerged, phoenix-like, from the ashes of Alternative TV (ATV). They released one live album “Fire From Heaven,” before ATV founder Mark Perry left. Ex-ATV guitarist/vocalist Dave George and bassist Keith Rodway continued the band, with several line-up changes during those days. The Good Missionaries toured and gigged with such bands as The Fall, The Pop Group, Crass, Scritti Politti, Delta Five, Poison Girls, Nik Turner’s Inner City Unit and The Transmitters. Which in retrospect makes sense, as their post-punk / dub / experimental inclinations dovetails perfectly with the music those more storied bands (more successful bands) were making at the time. The Good Missionaries released several singles on their own Unnormality label, before splitting in 1982. The majority of the tracks on Pylons were recorded at Street Level Studios by Grant Showbiz, late 1979 to early 1981. They feature the second and third incarnations of the Good Missionaries, with Mark Perry playing drums on four of the tracks, alongside an appearance by ex-ATV bassist Dennis Burns.”  “Pylons should have been released in 1981—it would no doubt have featured on many lists of post-punk classic albums had that been the case. Now, nearly 40 years later, it is seeing the light of day for the first time. Influenced by the likes of PIL, The Pop Group, James Chance & The Contortions as well as The Gang of Four, it bridges the gap between the end of punk and the start of an experimental new wave era.”

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The World “Reddish” (Lumpy)

2019-05-02T22:22:10+00:00May 2nd, 2019|

Finally more from THE WORLD. The group that revived Groovy Post Punk a few years back and inspired a few dozen other Rough Trade sounding acts. Rhythm in the front seat, which would make the guitar the giant eyelashes above the headlights. That’s right they’re from Cali not Kingston. If you’re addicted to ESG or Delta 5 maybe you can ween off with The World. “The sound of yesterday, today, and tomorrow”—paraphrasing someone important.

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Durutti Column “Obey The Time” (Factory Benelux)

2019-05-02T22:16:10+00:00April 25th, 2019|

Factory Benelux presents an expanded double vinyl edition of Obey the Time, the eighth studio album by Manchester ensemble The Durutti Column. Originally released by Factory Records in 1990, just 800 copies have been pressed in coloured vinyl (purple and yellow) for Record Store Day on 13 April 2019. Largely self-produced, Obey the Time saw DC mainman Vini Reilly further develop his interest in electronic music, and even embrace house and techno stylings. “The title came screaming off the TV screen in somebody’s version of Othello and captured exactly the feel of the work in progress,” explained Tony Wilson, Durutti manager and Factory founder. “We were in the middle of the Aceeed explosion. If you lived in Manchester, you were absolutely in the middle of it. Vini even explained why house made keyboards sound so fresh. Something to do with a chord being played with 3 or 4 notes into the sampler, but then different chords being triggered by a single key stroke. Creating mathematical harmonic relationships ‘which Schoenberg had searched for but never found.’”Indeed veteran Durutti percussionist Bruce Mitchell features on just one track, Art and Freight. Meanwhile dance exploration Contra-Indications was taped with New Order programmer (and later co-manager) Andy Robinson. Released in December 1990, Obey the Time would be the last Durutti Column album on Factory before the labelled collapsed beneath a mountain of debt. Disc 2 features extracts from a previously unreleased live performance at Manchester University Whitworth Hall on 23 June 1990 (opportunistically billed as ‘The Acid Guitar’), on which Reilly and Mitchell are joined by guests Andy Connell, Liu Sola and Rob Gray.

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Kevin Harrison “Inscrutably Obvious” (Superior Viaduct)

2020-03-07T05:37:50+00:00April 11th, 2019|

Hailing from Nuneaton, England, Kevin Harrison recorded both solo and collaboratively throughout the late ’70s and early ’80s. While his early recordings would come out in hyper-limited editions or go unreleased for decades, Inscrutably Obvious remains his sole LP—a lost gem of Britain’s ’80s cassette culture and DIY bedroom aesthetics. Originally released in 1981, Inscrutably Obvious covers a lot of ground on its seventeen inscrutable tracks—from analog synth workouts to mutated disco and shimmering guitar improvisations. The album maintains a late-night vibe, filtered through a post-punk lens. Harrison clearly wears his influences on his sleeve—major debts are paid to Brian Eno, Robert Fripp and Manuel Gottsching—yet finds his own unique voice, combining quirky instrumentals and surrealist sensibilities. This first-time reissue is recommended for fans of Chris & Cosey, Cupol and The Normal. Inscrutably Obvious sounds as fresh today as it must have nearly 40 years ago.

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Devo “Smooth Noodle Maps” (Futurismo)

2019-04-05T03:01:25+00:00April 5th, 2019|

Long out of print and never reissued, this year FUTURISMO invite you to snake through the chaos with a Deluxe limited edition of DEVO’s 1990 album – Smooth Noodle Maps!

An underrated gem, Smooth Noodle Maps might oddly be the most anticipated of all DEVO’s reissues. It’s title being a direct reference to the brain was perhaps an irony to fans left underwhelmed at the time, yet over the years this album has become warmly regarded a hardcore fan favourite, especially among those who were there to witness this record mirror an end to the excessive Eighties. Whether you’re a true believer or have just come to your senses, Smooth Noodle Maps will show you the way.

Inspired by the concept of chaos theory, a theme inherent in de-evolution itself, Smooth Noodle Maps paralleled the bands own dissolution of order, yet the albums tight conceptual elements (the artwork featured animations of chaos motion developed by an actual laboratory) and arthouse pop make this a record hard not to love. Though it may have foreshadowed a hiatus for DEVO, Smooth Noodle Maps is a joyous enigma, a record demonstrating a stronghold of captivating tunes such as ‘Stuck In A Loop’ and “A Change Is Gonna Cum’, undoubtably hits in another time and space, whilst simultaneously playing off the arch humour and observation found on ’Jimmy’ and ‘Post Post-Modern Man’, all dusted with the intelligent foresight always expected of the band.

This year, FUTURISMO give every truly discerning DEVO fan the out of print release they’ve been been craving, the follow up to last years Total Devo Deluxe – a limited pressing of Smooth Noodle Maps Deluxe Deluxe. Each gatefold lp set includes 2×180g limited edition coloured vinyl in the choice of ‘Brain Drain’, ‘Postmodern Chaos’ or ‘Donut Glaze’ as well as a 2xCD gatefold digipak version. Included alongside the original album are remixes, demos and unheard tracks unearthed from the archives. The records come in a die-cut gatefold sleeve that enables an interchangeable cover, it contains a huge double sided poster with unseen pictures and new liner notes by Gerald V. Casale, plus a sheet of cut-out finger spinners.

DEVO’s Smooth Noodle Maps Deluxe is an essential addition to the collection of any spud stuck in a loop! This March it’s time to get smooth…only while stocks last!

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DEVO “Turn Around: B-sides & More 1978-1984” (Run Out Groove)

2019-04-05T03:01:25+00:00April 5th, 2019|

Devo really needs no introduction. They are one of the most iconic bands in rock history and have been releasing recordings for over 40 years. The band name comes from the concept of de-evolution: the idea that instead of continuing to evolve, mankind has actually begun to regress as evidenced by the dysfunction and herd mentality in American society.

Originally from Akron, Ohio and formed in 1973, the classic line-up consisted of two sets of brothers—the Mothersbaugh (Mark on vocals, keyboards and guitar and Bob on guitar and vocals) and the Casales (Gerald on bass, vocals and bass synth and Bob on guitar, keyboards and backing vocals) along with drummer Alan Myers.

The band achieved a #14 Billboard chart hit in 1980 with the memorable and catchy “Whip It” which was featured heavily in the early days of MTV and pushed the band into mainstream popularity. Devo became known for their music and elaborate stage performances combining kitsch science fiction themes, surrealist humor and satirical social commentary. Their off-kilter pop songs include unusual time signatures and synths that have proven very influential on subsequent new wave, industrial and alternative rock acts. It was recommendations from David Bowie and Iggy Pop that helped Devo land their recording contract with Warner Bros. in 1978.

ROG presents a brand new vinyl collection of rare B-Side tracks, many of which are making their debut on wax.

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The Fall “Bend Sinister/The Domesday Pay” (Beggar’s Banquet)

2019-03-15T03:59:01+00:00March 15th, 2019|

Beggars Arkive is excited to announce the long-awaited reissue of The Fall’s ninth studio album, Bend Sinister, originally released in 1986. This edition is titled Bend Sinister/The ‘Domesday’ Pay-Off Triad-Plus!

It was the last of three albums in a row produced by John Leckie and was named after a dystopian novel by Vladimir Nabokov.

After the universal acclaim for the previous year’s This Nation’s Saving Grace, Bend Sinister often stands in its predecessor’s shadow. It is a dark, brooding album made at the height of the group’s Beggars Banquet years and many people include this at the top of the list of favorite Fall albums.

From Bend Sinister, “Mr. Pharmacist” is a lurching installment in pop music’s ongoing conversation with drug dealers, illicit and otherwise. Actually a cover of 1960s garage-rockers the Other Half, it’s also a demonstration of how the Fall’s relatively unchanging style could bolster other people’s songs

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Above The Ruins “Songs of the Wolf” (Infinite Fog)

2019-03-15T03:58:35+00:00March 15th, 2019|

A long awaited reissue of an important album in early neofolk history, which sold out more than 20 years ago. This for sure will be interesting for those who deep in the new wave/post-punk/neo-folk music and interested in the history of genres. The album was released by World Serpent in 1995 but recorded in 1984 after Tony Wakeford left Death In June. A splendid mix of post-punk, new wave and a slightly folky sound bearing resemblance to early Death In June, Tony Wakeford’s future project Sol Invictus and Joy Division. ‘Songs Of The Wolf’ was released as a tape in 1984 and as LP in 1986, both well acclaimed and sold out immediately. This version includes two rare bonus tracks. This is a charity release, the money from sales will be donated to charities like Hunt Saboteurs, Southall Black Sisters and Animal Defense Community.

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Days Of Sorrow “Whatever Happens” (Dead Wax)

2020-03-07T06:14:47+00:00March 15th, 2019|

Considered as minimalistic, electronic, dark new wave classics, both 12″ EPs by Days Of Sorrow (1981-1987) are highly sought after nowadays. Now they have been released as a compilation album entitled ‘Whatever Happens’ which also includes two unreleased tracks from 1986, plus three more in the included digital download. All songs have been remastered. It comes as a limited, hand numbered edition of 200 black vinyl copies, housed in a matt finish sleeve with printed inner sleeve, full of band pictures and including a download code.

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Mark Stewart & the Maffia “Learning To Cope With Cowardice” (Mute)

2019-03-07T22:57:20+00:00March 7th, 2019|

Learning To Cope With Cowardice’, the debut solo album by visionary post punk iconoclast Mark Stewart, is to be given a definitive reissue alongside ‘The Lost Tapes’, a newly discovered cache of unreleased material…

“‘Learning To Cope With Cowardice’ is a vital chapter in the legacy of Mark Stewart & The Maffia, a project that would prove to be a revolutionary benchmark for many, from the innovators of the ‘Bristol Sound’ (The Wild Bunch, Smith & Mighty, Tricky, Massive Attack) through to the likes of Trent Reznor and Nine Inch Nails. Collected together this set realizes an expansive restoration of one of Stewart’s most audacious statements. As it was in the early 1980s so it is now, ‘Learning To Cope With Cowardice’ is a masterwork of mutant design and a rude awakening of extraordinary bite.

Mark Stewart himself perceives ‘The Lost Tapes’ as a document that now possesses a storied significance: “It was a real adventure discovering this forbidden history, a twisted tale of Muswell hillbillies, French pirates and a Dutch schizophrenic doctor doing psychic archaeology.” Whilst Adrian Sherwood describes these works as characteristic of a distinct primitivism: “[‘The Lost Tapes’ represent] the early childhood of the songs before Mark and me conducted frenzied, scorched earth, slash-and-burn, twenty hour mental, manic editing sessions at Crass’ studios that led to birthing the finished album.”

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Josef K “Sorry For Laughing” (LTM)

2019-03-07T22:56:46+00:00March 7th, 2019|

The first official vinyl release of Sorry For Laughing, the legendary first album by cult Scottish guitar group Josef K, recorded for Postcard Records but destined to become the greatest ‘lost album’ of the postpunk era.

Recorded at Edinburgh studio Castle Sound in November 1980, Sorry For Laughing was due to be issued as Postcard 81-1, only to be shelved after the band and label boss Alan Horne decided that the 12-song set sounded too polished. Perhaps two dozen white-label copies in unmade sleeves exist, and have sold for high prices to collectors. Josef K went on to release their second pass at a debut album, The Only Fun In Town, in July 1981, only to split after completing a promotional tour.

This remastered vinyl-only edition replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in a silver pantone), and features detailed sleeve notes on the inner bag.

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Angel Corpus Christ “The Real Angel Corpus” (Mono-Tone)

2019-02-22T03:11:12+00:00February 22nd, 2019|

Mono-Tone Records presents The Real Angel Corpus Christi, the first compilation of the full career of ANGEL CORPUS CHRIST, from 45s to major labels, from 1984 to now. Avant-garde or traditional pop auteur? There’s no one quite like ACC in the pop firmament and the sooner the world wakes up to that fact, the better. One could do worse than start with this career-long compilation, from her 1984 debut to recent stuff, mixing idiosyncratic covers and minimalist, left-field, ultra-catchy pop. The songs feature guest stars ALAN VEGA (SUICIDE), DEAN WAREHAM (LUNA, GALAXIE 500) and SONIC BOOM (SPACEMEN 3, SPECTRUM) along the way. There’s nowhere near enough accordion in rock n’ roll as I’m sure you’ll agree when you get a load of these hair-raising harmonics. Liner notes by LINDSAY HUTTON.

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Nocturnal Emissions “Spirit Flesh” (Mannequin)

2019-01-26T20:27:04+00:00January 26th, 2019|

Mannequin Records starts a series of re-presses dedicated to the legendary Nocturnal Emissions, one of the best kept secrets of the industrial genre since the 1970s. Led by Nigel Ayers and Caroline K, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle, SPK, and Cabaret Voltaire. Originally self-released in 1988 on Earthly Delights, Spiritflesh is a masterpiece and a major reference for the early drone/dark ambient minds. By the time the album came out, Nocturnal Emissions had already produced several albums of electronic music which varied from noisy to funky. Displaying his usual perversity, Nigel chose to ditch electronic dance music immediately before the acid house revolution and produce a series of utterly compelling atmospheric albums which are often referred to these days as being “ambient industrial”. Spiritflesh was the first offering by the new shape of Nocturnal Emissions. The record “came out of a long, hard thinking, a personal examination of my own motives for working within music.” Nigel Ayers played church harmonium, chime, and music box on the record, and used samples of chimpanzees, cattle, and African and European wild birds. While generally ambient, the music is not like Brian Eno’s work; it is atmospheric, but impossible to relegate to the background. “There’s always a dangerous intrusion of the real world into our music,” Ayers said. “We’re looking into the relationship between people and the environment, the kind of feedback which happens between people and locations. Underneath it all, this planet has got its own message.”

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