STEAMING COILS-COMPLETE: THE ARCHIVE

What follows is both the final part of my campaign of Steaming Coils posts and the final word for enthusiasts of this seminal
L.A. underground project of Brad Laner and David Chrisman: a complete archival haul of all remaining unreleased Steaming Coils material spanning the full length of their career, all direct from the master tapes courtesy of Brad. From the feral teen freakishness of the pre-Steaming Coils PGM (i.e. Prostate Gland Massagers), to the gorgeous material from their abandoned fourth studio album, this is a pure goldmine of insular, hermetic art damage and warped psych pop smarts, with the full array of their musical co-conspirators present here, from the early L.A. Free Music Society-related era that included Rick Potts, Joseph Hammer and Spencer Savage to latter-day accomplices like James Grigsby and Lynn Johnston from The Motor Totemist Guild. A terminal mindfuck of herculean proportions....grab 'em all!

Get PGM (aka Steaming Coils)-PGM cassette-1984 Here

Get Songs Everyone Knows-cassette-1984-part 1 Here

Get Songs Everyone Knows-cassette-1984-part 2 Here

Get Secret Messages From The Schrodinger House-1985-part 1 Here

Get Secret Messages From The Schrodinger House-1985-part 2 Here

Get Vista Del Monte Archive-1986-part 1 Here

Get Vista Del Monte Archive-1986-part 2 Here

Get At Le Forte Four Studio-1986 Here

Get In An 8x8 Bedroom-1987-part 1 Here

Get In An 8x8 Bedroom-1987-part 2 Here

Get Tarkington Table session outtakes-1987 Here

Get Sometimes Live-1985-1988-part 1 Here

Get Sometimes Live-1985-1988-part 2 Here

Get Sometimes Live-1985-1988-part 3 Here

Get Unfinished-1989 Here

ALPHABETICAL UPLOADS OF WHACKED OUT SINGLES PT. 7

What follows is the seventh installment in my ongoing series of postings of singles from the vdoandsound archives.






DEUTSCHE ANARCHISTEN TAUMELN BENOMMEN EINEN SCHRITT ZUR SEITE-S/T, 2x7" E.P.'S, 2003 (RECORDED: EARLY 80'S), GERMANY
Wide ranging and uneven but sometimes tremendous Neue Deutsche Welle archival document (the first of four NDW titles in today's installment) with a guitar 'n' rhythm box-centric approach to minimal synthiness thats vaguely Metal Urbain-like.




DEUTSCHER TANZABEND (D.U.R.)-DEUTSCHLAND BRENNT/MASCHINENMUSIK/BERICHT AUS DER BEAMTENKULTUR, 1981, GERMANY
Intense and fascinating minimal synth into synth punk Neue Deutsche Welle frenzy with Dark Day overtones.




THE DIAGRAM BROTHERS-WE ARE ALL ANIMALS/I WOULD LIKE TO LIVE IN PRISON/THERE IS NO SHOWER, 1980, UK
Not quite on a level with their stunning "Some Marvels Of Modern Science" LP posted by Jim a while back, this single nevertheless offers an appealing (if prototypical) burst of twitchy mutant funk inflected UK DIY post punk.




DISQUE OMO-WER MITTEN IM LEBEN STEHT E.P., 1981, GERMANY
Half negligible, half astonishing, this obscure and schizophrenic Neue Deutsche Welle project suddenly veer into much more fertile and surreal waters after an generic opening gambit, Elhektrisch and Heute 20.15 Bilanz both plying a wonderfully woozy pitching and warping distension of minimal synth modalities before suddenly reverting to the land of the uninspired.
Go figure.



THE DOGMA CATS-EXPERTS/CHOKE, 1980, UK
Excellent UK post punk DIY moves with distinct Athletico Spizz 80 overtones.




FRANK DOMMERT & H.N.A.S.-HUNSRUCK/RAMON DER MONSTERJUNGE, 1987, GERMANY
Wonderfully warped NWW-like surrealist malarky from Heemann & Flamm, here in collaboration with Frank Dommert, who's exceptional Kiefermusik LP was posted here by Jim a while back.




ANDREAS DORAU-DER LACHENDE PAPST, 1981, GERMANY
Nothing like the smurfy cuteness of his work with his Die Doraus Und Die Marinas, This brief first single of Neue Deutche Welle figurehead Dorau proffers pure Residential doink in top notch style.

Get part one Here

Get part two Here

XIRROR CRAP-OUTS PROMPT ANOTHER RETURN TO MASSMIRROR

After two days of continued upload problems with Xirror, with even the files that do upload frequently coming out minus working Rapidshare links, I've chosen to revert back to Massmirror for my (Eric's) posts. Better the devil you know than the one you don't, as the cliche goes. Thus, the Nine Days Wonder and Zimmer Frei posts that originally went up via Xirror minus Rapidshare links have now been replaced with Massmirror links.

NINE DAYS WONDER-WE NEVER LOST CONTROL, LP, 1973, GERMANY, NWW LIST

My opinion isn't in the majority on this one but for my money, the way this second album by these Krautrock maven's fuses trashy Bowie-like acid glam to the post-Zappa kraut fusion explored on their highly touted debut really kills in a way their first communique kinda fails to for me. There's more than a little Amon Duul II vibes at play here too; their song structures and (especially) the peculiar manner in which verbiage spills off of Walter Seyffer's tongue being very Chris Karrer-like at times. Under-rated in the extreme, this is one krautrock gem that warrants immediate re-discovery.

Get it Here

ZIMMER FREI-S/T, LP, 1981, ITALY

This stunning Italian outfit's wide-ranging remit effortlessly intermingles giddy minimal synthiness, warped art pop and post punk vitriol; their droll concoction touching upon everything from Bene Gesserit and Mathematiques Moderne to The Honeymoon Killers and late-model Cos. Alongside The Confusional Quartet, this stands as one of Italy's finest offering of the new wave era.

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EARWAX CONTROL-S/T, LP, 1984, USA

Off kilter and rather all over the place lo-fi garage band jazz fusion misadventures. One could make a case for likening this to the equally scrappy jazz rock moves of Dimthings or Iltar, but Earwax Control are both looser and more diffuse than either of those two wonders (both posted elsewhere on Mutant Sounds), making the odd thrust in the direction of funk, loosing a Zappa-like bout of spieling here and a truly lobotomized sounding folk psych nugget there, all proffered in a endearingly loose-limbed and piss-takey manner.

Get it Here

STATIC EFFECT-CERTAIN RANDOM FIRINGS, LP, 1990, USA

A one time project of Randy Greif (whose preternatural electronic weirdness has been furnished elsewhere on this blog) in collaboration with one Mikhail Bohonus, Static Effect's narcotized and crepuscular soundscapes still contain a seed of that aberrant strain of post-Hassell fourth-world-ism to them that informed much of Greif's work of the period, but the overall thrust is more fogbound and glazed here, making this sound something like ambient music for Sleestaks.

Get it Here

Morganmasondowns-st,LP,1970,USA

Great American hippie folk-rock with certain pop and psych inflections, rekleased on Roulette label 1970.In parts reminding Pearls before Swine/Tom Rapp.Excellent!

get it here

Carles Santos-Música para las Ceremonias Olímpicas,CD,1992,Spain

Carles Santos (born July 1, 1940, in Vinaròs, Valencia, Spain) is an unclassifiable Catalan artist who began his career as a pianist and later worked in many other creative disciplines, including musical composition, filmmaking, screenwriting, acting, scenic musical shows, graphics, montage, sculpture, photography, poetry, and prose.
Carles Santos began his formal musical education at the prestigious Conservatori Superior de Música del Liceu in Barcelona. There, he received awards that gave him the opportunity to continue his studies in Paris, where worked with Jacques Fèvrier, Robert Casadesus, Magda Tagliaferro, and Marguerite Long, among others. Later he studied with Harry Datymer in Switzerland. In 1961, he began his career as a pianist, with a repertoire that included works by Béla Bartók, Arnold Schönberg, and Anton Webern. During these years, he also played the musical parts of Joan Brossa's Concert Irregular, which premiered in Barcelona and New York as part of the commemoration of the 75th birthday of Joan Miró. A grant awarded by the Juan March Foundation in 1968 allowed Santos to move to the United States, where he met and worked with a number of avant-garde artists, including John Cage.
In the late 1960s, Santos turned his attention to the production of films, and his oeuvre in this discipline eventually grew to include short films, full-length films, documentaries, and videos. Over the years, he collaborated with such directors as Pere Portabella, Jordi Cadena, and Carles Durán. His own first short film, L'Apat, premiered in 1967.
During the 1970s, Santos increasingly devoted himself to performing his own compositions, and eventually he decided to play them exclusively. His compositions are decidedly minimalistic and at the same time bear the stamp of romantic, traditional Spanish, atonal, and 12-tone music. In these years and into the 1980s, he took part in a number of important musical events, including the Festival d'Automne in Paris, the Musicalia in Milan, the International New Jazz Festival in Moers, Germany, the Biennial in San Juan, Puerto Rico, the Zürcher Theater Spektakel in Zurich, the Music Theatre Festival in London, Wintermusik '82 in Karlsruhe, Germany, and New Music America '83 in Washington, DC. In his performances, his goal was to avoid the boredom often caused in the audience by certain avant-garde music.
Exhibition I-Cervantes Berlin 'Visca el piano!' 2007In the 1980s, Santos began to design scenic musical shows, which he staged in such venues as the Sydney Opera House, the Hebbel-Theater in Berlin, and the Palau de la Música Catalana in Barcelona. His musical shows are marked by extravagance, sexual themes, and deliberate provocation, with the goal of questioning established concepts, albeit with a sense of humor. The notes to the 2006 exhibition of Santos's costumes held in Barcelona at the Museu del Tèxtil i la Indumentaria (Mariaelena Roqué desvesteix Carles Santos [Mariaelena Roqué Undresses Carles Santos]), indicate that Santos, through his shows, is expressing his loves and fears and attempting to banish his personal demons.
Santos has been commissioned to compose works for a variety of special occasions, including the opening ceremonies of the 1992 Summer Olympic Games in Barcelona and the opening of the 2001 Biennial of Arts in Valencia.
A major retrospective of Santos's works titled Visca el Piano (Long Live the Piano) was held in 2006 at the Fundació Joan Miró in Barcelona. The exhibition included videos of his scenic musical shows, graphic and photographic works, montages, and kinetic sculptures. The last category included a waltzing player piano that whirled around the exhibition hall under its own power while playing music by Bach and somehow avoiding running into the other exhibits.
From Wikipedia

Absolut masterpiece.Magic!

get it here

The Mountain Goats -Taboo VI: The Homecoming ,tape,1991,USA

The Mountain Goats is a band led by prolific American singer-songwriter John Darnielle. Darnielle began recording in 1991, and has become known for his highly literary lyrics and, until 2002, his lo-fi recording style. Currently, when the band plays live, it comprises John Darnielle and Peter Hughes, but Darnielle has worked with a number of other musicians when recording albums under the Mountain Goats name. In 2007, drummer Jon Wurster played a portion of the Get Lonely tour.Darnielle began performing under the name The Mountain Goats (a reference to the Screaming Jay Hawkins song "Yellow Coat") in 1991 in Claremont, California, where he attended Pitzer College (class of 1995) and worked as a psychiatric nurse. Darnielle released his first album, Taboo VI: The Homecoming, on Shrimper Records. Many of his first recordings and performances featured Darnielle accompanied by members of the all-girl reggae band, The Casual Girls, who became known as The Bright Mountain Choir. One of this group's members, Rachel Ware, continued to accompany Darnielle on bass, both live and in studio until 1995.
The first five years of the Mountain Goats' career saw a prolific output of songs on cassette, vinyl and CD. These releases spanned multiple labels and countries of origin; many were unavailable to the majority of fans until recent reissues.
The focus of the Mountain Goats project was on the urgency of writing (Brown, "Sermon on the Mount", June, 1999.). If a song wasn’t recorded adequately to tape within days of being written it was often forgotten.
Darnielle graduated from Pitzer College in 1995. Most of what could be considered classic Mountain Goats conventions (boom-box recording, song series, Latin quotes, and mythological themes) were abandoned in favor of a more thematically focused and experimental sound. This period was marked by Darnielle's collaborations with other artists including Alastair Galbraith and Simon Joyner.
2002 saw the release of two Mountain Goats albums: All Hail West Texas and Tallahassee. These albums mark a distinct change in focus for the Mountain Goats project, being the first in a series of concept albums that explore aspects of The Mountain Goats' canon in depth.
All Hail West Texas featured the resurrection of Darnielle's early boom box recording for a complete album. Darnielle considers this album to be the culmination of his lo-fi recording style.
Tallahassee, recorded with a band and in a studio, explores the relationship of a couple whose lives were the subject of the song cycle known as the Alpha Series (see Alpha Series below for a full list of songs in this cycle).
Martial Arts Weekend, also released in 2002 under the band name The Extra Glenns, is a collaboration with Franklin Bruno on several previously unreleased Mountain Goats songs. Since that recording, Bruno has joined Darnielle in the studio along with bassist Peter Hughes, who is the second official member of the band and accompanies Darnielle on tour. These three musicians form what may be considered the Mountain Goats studio band.
In 2004, the Mountain Goats released We Shall All Be Healed. The album marked a couple of changes for the Mountain Goats. It was the first time Darnielle worked with producer John Vanderslice and the first album of directly autobiographical material. We Shall All Be Healed chronicles Darnielle's life with a group of friends and acquaintances addicted to methamphetamine in Portland, Oregon, though the album is set in Pomona, California.
In 2005, the Mountain Goats released their second Vanderslice-produced album, The Sunset Tree. Again autobiographical, Darnielle tackles the subject of his early childhood spent with an abusive stepfather. Darnielle had previously dealt with this subject in what he often refers to as the only autobiographical song he had written before 2004, the unreleased song "You're in Maya."
In 2006, the Mountain Goats issued Get Lonely, which was produced by Scott Solter, a man perhaps best known for his engineering work with Vanderslice on various projects, including prior Mountain Goats records. In 2007, Jon Wurster played drums on the last leg of the Get Lonely tour.
The Mountain Goats recorded a new album, tentatively due for release in early 2008, in September '07 at Prairie Sun studios. It was produced by John Vanderslice and Scott Solter. Apart from including John and Peter, this album continues the recent trend of inviting Franklin Bruno and Erik Friedlander to the studio. New guests are Jon Wurster on drums and Annie Clark from the band St. Vincent. Also of note is that Sarah and Rachel, members of the so called "Bright Mountain Choir" from past albums, will be gracing three of the studio tracks ("New Zion," "How to Embrace a Swamp Creature," and "Marduk T-Shirt Men's Room Incident"). According to some folks over on the band's official message board, John Darnielle said the new title was Heretic Pride at a recent concert at Studio B in Brooklyn, though no official announcement seems to have been made.

From Wikipedia

Taboo VI: The Homecoming is the first release by The Mountain Goats. John Darnielle had this to say of the album: "When I wrote and recorded Taboo VI, I had no idea that anyone outside of a few friends would ever hear it; neither did I hope that anyone outside of those friends would ever express any interest in it. A couple of the things on it (Going to Alaska, Eleven Bands, Solomon Revisited, the Hank Williams song) are things I'd stand by if pressed, though I wish I'd've known how to sing better back when they were recorded. While I completely understand the collector's urge, I would offer the following caveat to anyone trying to hunt down Taboo VI: it's not what you think it is. Its successor, the Hound Chronicles, represented an abrupt and total change in direction, and is the stylistic starting point for all that followed. While I can't and wouldn't disown Taboo VI, I'd like to offer this note of caution to those who like the later stuff and are trying to get their hands on my first efforts: you probably won't like it much, and if you pay an inflated price for it, you'll probably feel cheated. Having said that, if you still feel inclined to hunt it down, I do hope that you enjoy it on its own meager terms. It means well and didn't want to hurt anyone. Except for maybe that one guy. I hate that guy."

From Wikipedia also.

The first ever release by this very important and great freaked out psychedelic band.

get it here

Moira-Moira (aka Reise Nach Ixtlan) ,LP,1984,Germany

Certainly one of the more obscure bands from the vast Gunderground, Moira were a fascinating progressive fusion collective formed by veterans of the Krautrock scene including Edgar Hoffman (Embryo) and Butze Fischer (Missus Beastly, Guru Guru, Embryo). Both their albums were recorded for the Schneeball label, the record consortium setup by members of Embryo and Missus Beastly. Musically, Moira fit snugly into the label’s distinct school of fusion and are part of the German “M” scene of jazz rock groups (Morpheus, Missus Beastly, Munju).
For the debut, “Crazy Countdown”, Moira explored many of the areas that were popular at the time, including Latin-tinged jazz fusion (“Para Jofrey”, “Spain Mandala”), Eastern meditation journeys with sitar and flute (“Smile”), acoustic seriousness (“Gemini”), acid cosmic space rock (“Always Later”), lounge funk (“Mata Meme”), even post-Miles Davis intense jamming (title track). During this era, the band were clearly lead by guitarist Jorgen Kanwischer, who is credited with scoring all the compositions as well as being the sole instrumentalist on “Gemini” and “Always Later”.
Six years later the group had completely changed hands (see below for more explanation) and actually took on an older, more retro sound when absolutely no one was doing that in 1984. In an era when every band had the most tin-sounding, Casio-like, digital keyboard and every guitarist was going for the pig-squeal guitar hero motif, could a band possibly put an album out with Hammond organ, Moog and wah-wah guitar as its main ingredients? Sounding like a long lost recording from a smoky club in Hamburg, the band let loose with an unpretentious instrumental jazz rock album not found since the glory days of 1974. A truly astonishing release that beats their already excellent debut in every way. The title track opener is a side long exercise in organ, analog synth and guitar jamming with some incredible jazz drumming and a mighty fine bass player. This is followed by the short "Oase," a flute, drum and percussion piece that would not have been out of place on Yatha Sidhra’s album. Side two opens with "Kristall," a more fusion oriented piece with some dirty organ and guitar shredding. "Einsame Schatten", the only track with singing, follows with a blistering sequence that recalls the early Toto Blanke works. This track continues paradoxically with a funky jazz bit with German vocals recalling Embryo's Bad Heads and Bad Cats in their most silly mood. This section would be the album’s only misstep. The too short closer "Resume" recalls the ending of Virus’ Revelation album complete with echoed German recitation and acid guitars.
There’s been quite a bit of debate about this second album and its origins/authenticity. Anyone from Ultima Thule’s Cosmic Egg professors to Schneeball label owner/Embryo icon Christian Burchard have shrugged their shoulders and said “no idea?”. But the label clearly says Schneeball with a yellow background. The catalog number of 0025 was presumably used by polit-rockers Hammerfest on Hier Bei Uns, though careful steady shows that album was also on the Maulschnauz label, causing even more confusion. Then there was the small matter that neither album shared similar members. However there is a link: Some copies of Crazy Countdown come with a detailed Moira newsletter. The then current lineup of the band (1978) had already evolved and included one Eberhard Bronner on drums, who is in fact on Reise Nach Ixtlan.
Both are absolute must owns for the serious Krautrock fusion collector.

Tom Hayes 01-Aug-2006 For Gnosis2000.net

get this gem here

Planes-ST,LP,1974,Germany

Totally obscure and wonderful Kluster-like experimental/ambient electronics recording from 1974.Planes were a duo consisting of :Gregor Curten (organ, synthesizer, guitar), Anselm Rogmans (vocals, tapes, organ, synthesizer).This LP was privately released and has not been re-issued since then.Spacey experimental electronics at it's best, included in 2 sidelong tracks!

get it here

STEAMING COILS-BREADED, LP/CD, 1990 (CD)/1994 (LP) (RECORDED: 1988), USA

The next installment in my series of Steaming Coils posts and the final one of their works to gain release, Breaded is such a unimpeachable delight, I actually ended up putting out a vinyl reissue of this album myself, the only time I've ever released the work of a party other than my own band. Extraordinary as it was, their prior release, The Tarkington Table, could be seen as something of a transitional work, the cracked art pop genius of it's songform splendors sometimes dancing an uneasy tango with interventions of loose-limbed semi-improvised jams. In many respects, Breaded seems like the culmination of Laner and Chrisman's efforts, each song locating the perfect tension between warped psychedelic song craft and wayward weirdity while at the same time highlighting what an truly affecting vocalist Chrisman can be. Each song here seems to be literally bursting at the seams with inspired structural conceits, with psychotropic stratagems lacquered onto each morsel of pop goodness here in a completely effortless and unforced fashion. Featuring guest appearances from a vast array of L.A. underground music movers (Grigsby, Johnston and Emily Hay from The Motor Totemist Guild, Don Bolles of The Germs and L.A.F.M.S. magus Tom Recchion among them), this is the product of artists in complete command of an audaciously advanced vocabulary and giddy with the realization that they're creating an album for the ages, even if no one else seemed cognizant of it at the time.

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P-MODEL-IN A MODEL ROOM, LP, 1979, JAPAN

Razor sharp Devo damaged Japanese synth pop with a frantically blipping style that also brings to mind both The Plastics and Italy's Confusional Quartet. P-Model were prime movers of the Japanese new wave and the madly fun style they innovated has informed everything from Magmoid lunatics Koenjihyakkei to the giddy contempo j-pop new wavery of The Polysics.

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V.A.-FOUR FRENCH FORMS, LP, 1985, FRANCE

A vital and highly obscure anthology, Four French Forms culls together a thrilling array of wayward French experimentation. The most conspicuous of the four participants here is probably Luc Marianni, whose albums both as solo artist and as a member of Rock Critics have been posted here in the past. His contribution is a gorgeous conflation of overlapping and vaguely systemic abstract vocals and percolating synthetic percussion that ultimately consolidates into a web of Woo-like acoustic art pop wobbliness. X factor Zex Pitron's contribution really makes you wonder what other guises this cat operates under, as his surrealistically advanced offering is a miracle of hermetic strangeness straight out of the Ayaa label school (shades of everything from Video-Aventures to Szentendre here) and yet there's not a blip of info to be found on anything else under this moniker. The remaining two cuts are by members of NWW-listers Pataphonie, their contributions standing in stark contrast to one another; Andre Viaud superb "Les Materiaux Impressionnistes" cutting a rich and commanding Francois Bayle-like arc of electroacoustic phenomena across a 12 minute swath of the vinyl, while his former bandmate Pierre Demouron's sombre and somewhat lackluster neoclassical musings result in the only non-starter of the bunch.

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NOODBAND-SHIVER, LP, 1982, NETHERLANDS

Crafty and antic Dutch R.I.O. shenanigans by a group whose unusual double trio format stacks up dual drum, bass and alto sax components and deploys them in a way that references both Downtown NY moves somewhere between the post-Etron Fou-isms of V-Effect and James Blood Ulmer's harmolodics and the whacked circus jazz escapades of Frenchmen Six Cylindres En V. Recorded live at the Moers Festival, this particular gig found them teamed with guest vocalist Greetje Bijma, whose touched-in-the-head gibbering improv gush peppers much of the proceedings here in a winning fashion.

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JYOJI SAWADA-BASE OF FICTION, CD, 1994, JAPAN

With a line-up featuring Boredoms' Seiichi Yamamoto, Yoshida from Ruins/Koenjihyakkei and Otomo Yoshide (among a host of other Japanese underground movers), this little known avant prog masterpiece remains for me one of the highest water marks of the 90's j-prog renaissance. Base Of Fiction frames corrosive Bondage Fruit/Happy Family-style prog convolution inside a dense forest of frenetic string section motion that alternates between the astringency of Elliott Sharp's compositions for The Solider String Quartet and richly thematic progressions that seem to take their cue from Yoshida's compositions for Koenjihyakkei. Laden with abstract cod-operatic female vocals and steeped in a miles-deep structural (il)logic apparent only to it's creators, this is brain-scrambling clusterfuck of the first order.

Get pt. 1 Here

Get pt. 2 Here

V/A:Sex & Bestiality,4xtape,1984,France

Here's one of the most legendary tape compilations ever.4 tapes of industrial/ synth/ noise/ experimental madness ,gathering the most important acts of this scene .Released in 1984 by the cult Bain Total label packaged in videotape box,it was dedicated to Mr. Genesis P. Orridge and was limited to 666 copies.For T.O.P.Y. enthousiasts note that the code number of the tape is K23!This amazing stuff could not be uploaded in just 1 part so it was divided to 8 parts!That's the reason why this is my single post for today.

Tracklisting:
A01 Haters, The An Interview (Over The phone)
A02 Psychic TV La Edad De Oro (Red Ritual Film)
A03 Étant Donnés Les 4 Frappes Sourdes
A04 Étant Donnés Ciel Terre Ciel
A05 Die Form Red Magic
A06 Die Form Passion & Supplice
A07 Masaki Eguti Entangled
A08 O Yuki Conjugate Death By Cunnilingus
B01 O Yuki Conjugate Death By Cunnilingus (End)
B02 Nox Yaweyo B03 XX Committee Slaugherhouse
B04 Sleep Chamber Victmm (Sex Mix)
B05 Stockholm Monsters Kan Kill
B06 Merzbow ZSF Product
B07 Anne Gillis Quelques Heures Maléfiques
C01 Amuzikons, The Unhealthy Lifestyle
C02 DDAA Pourquoi Un Homme Est Il Un Homme Et Un Chat Un Chat?

C03 Son Of Sam Éhonté (Shameless)
C04 Son Of Sam Nature Makes A Mistake
C05 Hypnobeat / Hydrobeast Cock Decapitation Machine
D01 Hypnobeat / Hydrobeast Cock Decapitation Machine (End)
D02 Ian Taguiev Tumescence
D03 Recloose Organisation Succubare
D04 Hartmann 1 & 2 Parts Voice - Edward Ka-Spel
D05 Asmus Tietchens Tina, Ich Liebe Sie
D06 Asmus Tietchens Humpelmann
D07 Vittore Baroni / Kibbo Kift Animal Farm
D08 Hot Bip Bestiaire
D09 Otto Kill Untitled
D10 Club Moral Piggy
E01 Michel Henritzi Blood On Stone
E02 Stigma Diaboli Sodomie Animal
E03 Smegma Jungle Orgy
E04 No Unauthorized L'Orgasme Des Cochons
E05 391 Beauty And The Bestial
E06 Blackhouse Dog
E07 Stratis Passion Behind The Veil
E08 Stratis 15 Sweet Days
F01 Franz Liebl / Necrospermie No Sexual Healing
F02 Section 25 Suck This
F03 Pacific 231 Fucking Bloody
F04 O.R.A.* S.K.E.S. (Beast Praise 1)
F05 Debt Of Nature Pig Fuck
F06 Debt Of Nature Urinalysis
F07 Der Akteur / K. Reichling Untitled
F08 Viscera Lying With The Beast
F09 Les 3 Phallus Untitled
F10 Anthon Shield Coum To Cunt
F11 Anthon Shield Snake Naked Ann
F12 Tranquil Eyes Queer Hobbies
F13 Sous-Plis Discret Untitled
G01 Surplus Stock Ladie's Day
G02 Culturcide Bestiality And Sex
G03 Big City Orchestra UB Kitty Mount
G04 Psyclones & Schlafengarten Tenderloin
G05 L'Étroit Phallus* Untitled
G06 Hymn Around The Bed
G07 Smersh Coitus Bovinicus
G08 Smersh Greasing Wheezer
G09 La Chorale Untitled
G10 Red Skull Custom Slaughtering
H01 Red Skull Custom Slaughtering (End)
H02 Vivenza Servitudes Organiques
H03 Fab Two / S. Novi & M. Augier Cathode Ray Mission (3 Parts)
H04 Zahgurim Anal Rape
H05 I.M.M. Le Lycantrope
H06 Sophie C. & Philippe F.* Thee End / 23

get it :

here

here

here

here

here

here

here

and finally here

V/A: Must Be Musique,CD,1992,Germany

Great noise/experimental compilation released in 1992 by Dark Vinyl records,gathering some of the most notable artists of the scene.Dark chilling ambient noise/industrial all through.Wonderful!

Tracklisting:

1 John Watermann The Shredding Of Human Tissue (13:32)

2 Asmus Tietchens Freiband 8 (3:03)

3 Ophiolateria Mirror Of Dionysus (10:48)

4 Sigillum S Region Of Fire (6:17)

5 Trance Siege (7:30)

6 CV Massage L'Attesa (7:59)

7 Trance Evidence Of Danger (5:18)

8 Total Disease Sterile (7:20)

get it here

V/A: Nine//Underground,LP,1987,USA

Here's one of the rarest Swans/Jarboe related releases.
"The music on this album was first broadcast on WREK's "Notes From Underground" in Atlanta, Georgia over a three year period beginning in the summer of 1982. The making of industrial/electronic and related musics in Atlanta reached a peak during 1983-1984 as the radio show and performers fed off of each other and the activity that was happening all over the world.
PVC PRECINCT developed a full and rhythmical electronic sound while PILLOWTEXANS have moved on with their alternative/accessible music. Members of CLUBFOOT and PVC PRECINCT are now performing as the electronic trio FLATBUSH. ACCIDENTS OF CULTURE, whose original sound followed from AMM, continue to create music under various groupings of musicians. JARBOE and INCEST have left Atlanta for New York. INCEST no longer performs, but JARBOE is now creating a wide range of music, from the extremity of her work on the "Dry Lungs" albums and with SWANS, to the accessibility of her pop releases. While YOUNG SCHIZOPHRENICS are still notorious in the city, output has (at least temporarily) subsided. SEQUENCE 3, who is actually the host of a local new rave radio show, continues to produce experimental music under a variety of monikers."
Notes from the back of the LP

Tracklist:

Side one
PVC PRECINCT-White Devils
PILLOW TEXANS-Baking Lizards
CLUBFOOT-Untitled
PVC PRECINCT-Untitled
INCEST-Untitled
PVC PRECINCT-Rat Lab
Side two
JARBOE-Walls
YOUNG SCHIZOPHRENICS-Podunk Earth/Biological Stimuli
SEQUENCE 3- NLB
ACCIDENTS OF CULTURE-Untitled
349-Gun
Released on Perimeter Records, Atlanta, Georgia 1987

Thanks to Adam Huntley Stroupe for this gem!!

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Lindwurm -Im Windschatten,LP,1981,Germany

Excellent complex progressive kraut LP totally instrumental combining jazz,ethnic,and kraut rock elements giving an impressive result.Much use of synths and percussion,excellent complex compositions and some funky guitars creating an exotic atmosphere , but not without the typical teutonic feeling.

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Reifrock - Unter einem Hut,LP,1981,Germany

Here's one of the greatest folk prog German LPs of the late70s/early 80s.Not exactly folk with the typical meaning, combining folk and traditional instrumentation(accordeon,mantolin) with more electric/rockish elements, admittedly influenced on the one hand by Emtidi,BroselMaschine ,early Strawbs, and on the other by mid 70s Birth Control,late Grobschnicht with sime hints of the new risen NDW influence(BUT JUST AS HINT!).An excellent and underrated album imho.

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Chetarca - s.t.,LP,1975,Australia

Operating out of Melbourne in the mid-seventies, this band were a sort of Aussie equivalent to Emerson, Lake and Palmer. They only released one 45, ‘Another Day’, but it spent three weeks in the Top 100 peaking at No.75 in September 1975. No other Australian progressive album sounded like this one (which many now consider to be underrated). Musically, it is notable for no guitars - a dual keyboard assault of Andrew Vance (piano, organ) and Bruce Bryan (synthesiser) and Paul Lever's wailing harp and bluesy vocals. Side two is taken up with just one long track ‘Oceanic Suite’.
Taken from "Dreams, Fantasies and Nightmares" by Vernon Joynson, an extensive guide to Canadian / Australian / New Zealand and Latin American psych and garage music 1963 - 1976.
http://www.alexgitlin.com/npp/chetarca.htm

Not exactly of my taste but this LP is worth a listen especially for the 24 minutes long track "Oceanic Suite" ,with long complex dual synth compositions and interesting vocals, and the 8 minutes long "chetarca",with a psychotic synth solo leading to somekind of delirium.Otherwise the LP is synth driven progressive (sometimes too commercial for my taste) with blues-y vocals....Anyway,here it is for you to judge.

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Bram Laan-Aloft in a balloon,LP,1980,Netherlands

Very obscure Dutch composer/singer/guitarist.Released this msterpiece in 1980.Anyone can easily see his deep influnce of Peter Gabriel.This LP was 1st posted(as i found out trying to find infos in the inernet) by Prog Not Frog blog.You can find infos there...and dead links...so..

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NOT TO BE MISSED!

Antonio Sangiuliano-Take Off!,LP,1978,Italy

Considered one of the legendary Italian electronic LPs.Reminding early 70s Tangerine Dream with some more symphonic touches,this is one of the best examples of italian electronic prog in the 70s.A masterpiece!Unfortunatelly this was send via peer to peer program by a friend and i have or could find in the internet, no picture sleeve.If anyone could provide it it would be much appreciated!

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Schlappmaul -st,LP,1979,Germany

Totally obscure German psych folk LP on private Brutkasten label.Reminding me of Hölderlin,EmTiDI,Brosel Machine,with many traditional instruments,much use of violin and alternate male/female vocals and a strong medieval feeling. Wondering if their 2nd LP "Kommt tu dein..." is as good as this one....A chance for Steve and Allan (you know who) to hear this one!

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N. - Hospital Murders,tape,2004,Italy

N. is the sick death industrial /noise project of one called Davide Tozzoli.No much infos on him ,except that he is Italian.Musically he owes much to early MB sound ,combined with Atrax Morgue noisy sick soundtracks.This release differs fromall his others and it's possibly his best (well for me at least).No noise here.Just ambient soundscapes created by analog sources ,creepy voices creating really morbid atmosphere of psychosis, disease and death.It could be perfect soundtrack for a giallo movie about a sick serial killer addicted to sexual murders in hospitals.

The tape comes in vinyl box with two nice inserts and it's limited to 100 copies.. The tape itself is white with "blood" splashes and Skeletone sticker on A side. Perfect deluxe packaging from Skeletone label! Highly recommended release!

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Posts removal

Dear friends
after an e-mail by Ron Kane of the Decayes ,where he was kindly asking me to remove all the Decayes posts from the blog,i had to respect his request,so i removed them.It would be great if Ron can give us a link where someone can possibly find the Decayes releases in reasonable prices,since as far as i know they have not been re-released. Sorry Ron for posting them without permission.

ALPHABETICAL UPLOADS OF WHACKED OUT SINGLES PT. 6

What follows is the sixth installment in my ongoing series of postings of singles from the vdoandsound archives.



C.U.B.S.-S/T EP, 1981, GERMANY
A giddy and insanely fun new wave quirkfest strongly calling to mind Andy Partridge of XTC's soujourns to the land of Residential weirdity circa his "Take Away/The Lure Of Salvage" deconstruction project and XTC's Homo Safari instrumentals. Not what you'd normally expect from a Neue Deutsche Welle outfit and all the better for it.




CURRENT OBSESSIONS-S/T EP, 1982, UK
The scrappy D.I.Y. packaging doesn't really prepare one for the subtle art pop pleasures found in these grooves which take in both archly elegant Slapp Happy-isms and a certain elusive David Cunningham je ne sais quoi ala his work with General Strike.




DAG VAG & SVAGSINTA-DIMMA/NAR VARDEN SLAR TILL, 1978, SWEDEN
Intense, snarly and fascinating Swedish post punk electronic rock with distinct overtones of NWW-listers Ilitch circa "Ten Suicides".




DELIR NOIR/LYSSA HUMANA-KRATZ COLLAGEN, FLEXIDISC, EARLY 90'S, GERMANY
Completely unknown micro-press German split flexi, with Delir Noir commingling sax splatter with electronic mulch in a sorta Van Bebber/Hubweber style on the A side and Lyssa Humana offering up scramblified dada sound collage on the flip.





DELTA-DIAGRAMS OF WOMEN/MR. E. CHAOS, 1980, USA
Top notch minimal synth mega-rarity reminding me of The Corridor Des Affairs on "Diagrams Of Women" while the flip finds them in the land of Ralph Records madcap smurfiness.





DEMENTIA PRECOX-MINES/DEAD ON 2 LEGS LUNCHEONETTE, 1981, USA
A sickly brilliant (and sadly brief) single from this synth punk into minimal synth unit. The savage, vocally warped "Mines' will haunt your dreams. Their 2 rare LP's are soon to follow...




PHILIPPE DE MOUCTOURIS-47s DE ROUGE DANS UNE BIBLE NOIRE/SONG FOR GURDJIEFF/LES SALONS D'ITHAQUE, 1982, FRANCE
Warped R.I.O.-ish French art damage somewhere between the Residential Germain Hubert Ales EP I hoisted in a previous "Alphabetical Uploads..." post and Hans Reichel.




DERRIBOS ARIAS-APRENDA ALEMAN EN 7 DIAS/LILI MARLEEN, 1983, SPAIN
Rare Spanish Casio rhythm-fill minimal synthiness with a certain dumb charm on "Aprenda..." while Lili Marleen comes off a bit like a daft quarter speed take on something from Eno's Here Come The Warm Jets.

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KOMINTERN-LE BAL DU RAT MORT, LP, 1971, FRANCE, NWW LIST

One of the most legendary of French underground rock bands, Komintern were part of that post-May of '68 armada of arch
iconoclasts that first established French rock of the era as an unsurpassed force for radicalism, a lineage that would include the likes of Red Noise, Fille Qui Mousse, Martin Circus, Magma, and Moving Gelatine Plates amongst others. Komintern's particular breed of sonic malarky comes couched in a frothy effervescence and jolliness that can initially mask just how extraordinary their achievement is, at one time or another musically touching on everything from early Gong-like whimsy to chanson and from Moving Gelatine Plates-style post-Canterbury motion to Red Noise-like Dadaist piss-takery. A work of timeless genius.


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KOSMONAUTENTRAUM-LIVORNO 1956, 12" EP, 1983, GERMANY

Sounding virtually nothing like the work found on their mega-rare debut single (posted by Jim a while back), this 12" from two years on finds Kosmonautentraum plying an exemplary and prototypical breed of Neue Deutche Welle, their itchy and anxious mutant funk-inflected post punk gambits frequently tweaked out with treated vocals and trumpet splatter. Their self titled debut LP will follow shortly...

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GAMEBOYZZ ORCHESTRA PROJECT-LAJV AD HOM, CDR, 2002, POLAND

Exactly what the band name suggests and part of a host of similarly themed Gameboy projects that came on the scene around the same time (the Nanoloop compilation CD, Matt Wand's Public.exe 10" and the Klangstabil "Gioco Bambino" CD I posted a while back to name a few), this troupe feed numerous Nintendo gameboys through a nanoloop editor then tweak the results through delays and reverbs, though to their credit, the migraine-in-an-arcade aggression and mulchy grittiness of their approach causes this to successfully stand apart in tone from the other cited projects. Issued in a blink-and-you-missed-it edition of 55 copies on the Mik Musik imprint (home to the Molr Drammaz and Pathman CDR's I've posted previously), this is a real winner for those inclined to enjoy 8-bit fuckery of this sort.

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HOYRY-KONE-HYONTEISIA VOI RAKASTAA-CD, 1995, FINLAND

Idiosyncratic and uneven but sometimes brilliant R.I.O.-ish machinations from an all-over-the-map Finnish crew. I hear bits of Swedish R.I.O. ala J. Lachen, hermetic wackiness akin to their countrymen in Keuhkot, burning bits of Crimson-oid fury, jagged 90's Happy Family-like J-prog and the occasional misguided Mr. Bungle-isms here and there. Unique and perplexing.

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V/A:In The Shadow Of Death,7" e.p.,1988.Sweden

Here's one of the very first releases of the great Swedish label Cold Meat Industry(actualy the 2nd one).Released in 1988,in limited edition of 731 copies, of which 31 copies were hand-numbered. Packaged in a gate-fold sleeve.In the electronic /dark industrial vein that characterised CMI's sound all the next years.This one is creating scary hounted atmosphere for nightmarish rituals .Superb release!

Tracklisting:
A1 En Halvkokt I Folie Röda Råttor
A2 Brain Bombs Second Coming
B1 Memorandum Esthetiks Of Cruelty
B2 Enema Syringe Lymfom
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V/A:Boggler - Stars In Stor E.O ,C90 tape,1982,Germany

Multiregional compilation from Germany and Austria.Released in 1982 through Schwabenstolz Tapes.Combining NDW ,minimal synth,with the likes of Andi Arroganti,Familie Hesselbach,Duotronic Synterror ,Die Frauen Von Avignon and others this is considered one of the best underground tape compilations came from Germany during this period.

Tracklist:

a seite
01. Wolfgang Strobl & Friends ( Wien ) - Funk For Falklands

02. Andi Arroganti ( Altenkessel ) - Sprit & Zigaretten

03. Andi Arroganti ( Altenkessel ) - Ich Bin Dein Junge

04. Wut ( Gelsenkirchen ) - Angst

05. Wut ( Gelsenkirchen ) - Sperma

06. Die Seltsame Sekretarin ( Wien ) - American Man

07. How High The Moon ( Tubingen / Bernhausen ) - Etude Fόr Vorwerk & Selmer

08. Magendarmtrakt ( Wien ) - Sendestorung

09. Magendarmtrakt ( Wien ) - Dick Wer Den Regiert

10. Familie Hesselbach ( Tubingen ) - Die Wilden Kossacken Reiten Auf Der Autobahn

11. Familie Hesselbach ( Tubingen ) - Oi

12. Familie Hesselbach ( Tubingen ) - Keiner Kennt Mich

13. Dynamo Kiew ( Wien ) - Harter Schwans

14. Duotronic Synterror ( Saarbrόcken ) - Strange

15. Milch Machts Moglich ( Stockheim ) - Die Jugend Ist Total Versaut

16. Milch Machts Moglich ( Stockheim ) - MMM Song

17. Die Unertroglichen ( Saarbrόcken ) - Zerstorung
b seite
18. Safari Grunspan ( Saarbrucken ) - Donna Amella

19. Safari Grunspan ( Saarbrόcken ) - Der Fuhrer

20. Safari Grunspan ( Saarbrucken ) - Ratten

21. Son Of Heino & Die O Brothers ( Wien ) - Von Da Nach Dort(e)

22. Son Of Heino & Die O Brothers ( Wien ) - Wan Tong

23. Reinheit Des Herzens ( Koln ) - Tag X

24. Reinheit Des Herzens ( Koln ) - Deine Hand Braucht Meine Leute

25. Reinheit Des Herzens ( Koln ) - Cinema

26. Kripps ( Wien ) - Arme Kinder

27. Kripps ( Wien ) - Wien Ist Tot

28. Dino Martini & The Longlegged Girls ( Koln) - Ferien

29. Dino Martini & The Longlegged Girls ( Koln ) - Freitag

30. Dino Martini & The Longlegged Girls ( Koln ) - Ce Ca

31. Vertagte Nachte ( Wien ) - Last Rumplestilz Rock

32. Faul Ei ( Wildberg ) - Im Spielzeugland

33. Die Frauen Von Avignon ( Koln ) - Meine Liebe Mit Den Gelben Haaren

34. Here Hitos Molydan ( Weil Im Schonbuch ) - Weil Brannt ( Das Alte Wichser Nescht )

35. Here Hitos Molydan ( Weil Im Schonbuch ) - Als Ich Einmal Flachstahl War

36. Co-Mix ( Altensteig ) - Sarah In Sahara

37. Susi Und Die Strolche ( Waiblingen ) - Freut Euch des Lebens

this lengthy release was divided in 2 parts

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CITY & INDUSTRY COMPILATION LINK RE-UP

Sorry for the screw up with the initial link for this. It's now been replaced with a fresh link containing all the tracks.

STEAMING COILS-THE TARKINGTON TABLE, LP, 1987, USA

Continuing my series of Steaming Coils posts, this second dispatch from Brad Laner and Dave Chrisman's anarchic art damage crew modifies the riotous aberancy explored on their debut (posted here a few days back), pulling back the dense thicket of mutated post-Beefheart/Residents motion to reveal the wobbly pop underpinnings that only fitfully reveled themselves inside the bedlam of aural psychosis on "Never Creak". This partial recasting of their muse coincided with a reformulation of their lineup. Now pared back to a core of Laner and Chrisman, with L.A. Free Music Society patriarchs Rick Potts & Joseph Hammer (and nutter Spencer Savage) being supplanted by guest contributions from C.O.M.A. (California Outside Music Association) stalwarts James Grigsby and Lynn Johnson of The Motor Totemist Guild, this change of tack allows for the some heartbreakingly beautiful art pop nuggets to surface amidst the melee. Tracks like Intents And Purposes, 4/10 and Proposed Pink City exhibit a degree of delirious pop psych mastery that's simply breathtaking, their themes burned into my brain for eternity. These (and other) dollops of songform wonderment exist in tense balance with garrulous bursts of semi-improvised irregularity from the Motor Totemists in a way often quite distinct from the fracas generated on the their debut. A different window into a world of wonder and one that would set the stage for the poignant addled art pop perfection of their third and final release "Breaded", which will follow shortly.

THANKS TO BRAD FOR PROVIDING THE MISSING INSERT IMAGES...I NEVER EVEN KNEW AN INSERT FOR THIS EXISTED!

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V/A-CITY & INDUSTRY, LP, 1983, FRANCE

One of the more fabled library music albums, this compendium boasts a host of legendary French underground talent, most notably some 22 minutes of deeply blasted Philippe Besombes' material. Those that have encountered his less than stunning library album release of the previous year (La Guerre Des Animaux) will be in for a very pleasant surprise, as his contributions here hark back to his most potent electronic prog efforts circa the mid to late 70's (say "Libra" to "Ceci Est Cela"). Lard Free/Catalogue/Urban Sax mastermind Gilbert Artman turns in four short pieces here as well (totaling a little under 8 minutes) of lovely material squarely in the mode of Urban Sax. This 30 odd minute chunk of cosmic wonderment more than makes up for the disappointing contributions of Magma/Weidorje bassist Bernard Paganotti and Heldon drummer Francois Auger, who both pop in with a sub-par nugget of dumbo hard rock a piece as well as those of unknown quantity Philippe Laboudigue, the less said about which the better.

SORRY FOR THE INITIAL LINK SCREW-UP. HERE'S THE FULLY FUNCTIONAL REPLACEMENT LINK:

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STRANGE FRUIT ABIKU-SIN EATERS PICNIC, LP, MID-80'S, USA

This was a band whose name was tucked in the "must find" section of my collector brain for nearly 15 years before I managed to finally track down a copy of this exceedingly obscure release, as a review in an old issue of Option magazine once claimed that they sounded like "the Art Bears in a closet", a thumbnail description that seemed custom made to instill fascination in my fevered brain. Unexpectedly, their description squares not one whit with actual contents at hand. No...there's nothing remotely R.I.O. about the hermetic D.I. Y. 4-track post punk maneuvers at play here, though this is a decidedly odd kettle 'o fish nevertheless. As it happens, Strange Fruit Abiku turns out to be the first vinyl documentation of both Steve Shelley of Sonic Youth and Tim Foljahn of Two Dollar Guitar, certainly enticement enough for a certain sector of music fans out there, though there's nothing here suggestive of what would follow in either of their careers. Rather, Strange Fruit Abiku's conflation of the whacked and the dubious yokes frequently gripping de-tuned shambolic instrumental lurch and wobble of a decidedly claustrophobic cast (often cross cut with tape speed fuckery and shattered by primitive effects) to largely insipid girly vocalese in a way that practically defines the phrase chalk and cheese. As frustrating as it is revelatory, I'll leave it to you to be the judge...

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LES PROGRES II-APRES LE RETOUR, CD, 1998, FRANCE

Purchased many years back on the basis of an Igor Wakhevitch name-check in it's description (for those not in the know, one of the most devastating experimental musicians of the last century), this dazzling and regretfully obscure French electroacoustic project does indeed (at least in parts) touch upon a surreal electronic malevolence that could easily be confused with that of Wakhevitch, which is no small feat, as precious few others have ever graced this very specific and unsettling territory. At other points, Luc Ferrari Presque Rien-style location recordings co-mingle with bursts of percussion and Renaissance instruments like Cor Anglais and Hautbois in a way strongly reminiscent of Univers Zero circa "The Hard Quest". A work of remarkable depth and psychotropic potency.

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Gruppo Folk Urbano Sperimentale Divisionista-Noi E Il Mondo 4 LP box set record 2,2001,Austria

Italian project of the musician called Raffaele Cerroni,(aka Mushroom's patience,Novy Svet,Ain Soph,etc).No more infos aboyt it.Released as part of the 4LP box Noi e il mondo,featuring also:DBPIT, Novy Svet, Circus Joy.Limited to 100 copies and already sold out.Released through The Nekofutschata Musick Cabaret label.Also there's an album in the same label (Tetra) in 99 copies.All recordings are from 1983-4.A true hidden masterpiece.

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V/A:Just A Love Song,LP,1987,Italy/International

This is the very first release of the Italian label Old Europa Cafe ,featuring industrial/noise/experimental acts from all over Europe.Released in red vinyl in limited edition of 500 copies.

Tracklisting:
A1 Claustrofobia Sólo Una Canción De Amor (5:06)
A2 MCH Band Just A Love Song (2:43)
A3 Gerogerigegege, The Just A Love Song (3:36)

A4 Bene Gesserit Juste Une Chanson D'Amour (3:29)
A5 De Fabriek Gewoon Een Lief Lied (3:10)
A6 Masters Of The Napalm Death Only A Song Of Love (6:10)
B1 Vox Populi! Farat Yek Razale Echr (3:18)
B2 F:A.R. Solo Una Canzone D'Amore (3:59)
B3 Tzarina Q Cut Kun en Kaerlighedssang (2:54)
B4 Algebra Suicide Just A Love Song (2:13)
B5 Merzdow Shek Samo Ljubezenska Pesem (3:21)
B6 Crime 'O' Nautix Nur Ein Liebeslied (5:46)

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Lol Coxhill & Welfare State-s.t.,LP,1975,UK

Following Eric's post a few months ago ,here comes a Lol Coxhill LP gfrom 1975 which was result of his involvment in experimental theater groups, namely the Welfare State, for which he served as musical director. As always great easily changing moods from swinging jazzy tones to avangardish improvisations and then to military marches and back again.

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Los Jaivas-El Volantín,LP,1971,Chile

One of the most sought after long plays of Chilean music history,fetching prices of 900-1000 USD.
In 1963 the three brothers Parra (Claudius, Gabriel and Eduardo) started a group with some friends
(Eduardo "Gato/Cat" Alquinta and Mario Mutis ) called High Bass. (They took their name from their guitar amplifier (it had two knobs : 'high' and 'bass'). They gigged with a kind of tropical mix in (discotheques of) their native region of Vina del Mar and periodically in Santiago, the capitol of Chili. This happened in a time a 'new Chilean wave' came to life to express pop music under influence of rock'n roll, twist, ballads and other forms with original compositions. On the other hand there arose a neo-folk movement with simpler instrumentation and an influence from jazzy expressions stimulated by the national record industry to give this genre equally concern. Some years after that the 'Nueva Canción Chilena" ("the new Chilean song") with folkloristic elements combined with social concerns in the Andes region was another influence that led rise a different kind of folk music. One of the early groups, together with High Bass were "Los Masters" that later led to the birth of Congreso. Another rise of popularity was stimulated by the interest in The Beatles. High Bass wanted to follow its own direction and spirit adapting all kinds of influences to transform them in their own way. Also the University Reformation of '68 made everybody aware of much more what was happening everywhere, also musically and artistically it gave the openness for wider explorations. End '69 Eduardo Parra wanted to get jazz in form of improvisation and fusion techniques into the mix, but without having the right instruments they continued to adapt other elements (Caribbean,..) like also some rock flavour from the time of the Beatles, very soon becoming the unique progressive blend they stand for. Into this new spirit of grapping the new elements they changed their name (in some way they "chileanized" their name into Los Jaivas (with a transformation of their name from a "jaiba" into "jaivas", meaning "little crabs" now), deeply involved in Andean roots but also with an openness to the fitting in the whole world with the help of the Western elements. Therefore they used some electronic instruments as well as old folk instruments. Also the term "Inca-Rock" fitted with their music. Gabriel's passion remained the trumpet and the secret sounds of whistle instruments. Eduardo's interest in poetry would also be one of the underlying influences in the group's creative process.
The newly named group released "El Volantin" privately. The music on this album was almost completely derived from improvisations, and can be considered as a performance of a "happening". It was pretty wild and free. From 20 hours of work only 40 minutes were used for publication. There were only 500 albums printed. It became not so widely known because it also did not fit to what radiostations usually played. The usual rockgroups from that time explored the electroacoustic styles, and were influenced by Cream or Jimmy Hendrix and Led Zeppelin. Los Jaivas used the development of improvisation, also during the live concerts.This album was first privately released, with free, freak-out and drugged like versions of music based upon Chilean Folk fundaments and dement percussion. Not always fantastic, but with fine moments. Especially "Cacho" is worth discovering. The rest might be a bit exaggerating. Almost the complete album was totally improvised.
From:http://progressive.homestead.com/LOSJAIVAS.html
Los Jaivas are still active in Chile.

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Deception Bay-Fortune Days,10" LP,1985 + s.t.,MLP,1988,USA

Here are the 2 first releases of this great US goth meets post punk meets psych band.Recorded for Indepented Project Records label and comparisons to Savage Republic cannot be avoided.Harsh guitar sound with the needed distortion effect, bassline on the front and monotonous vocals,while the rhythm is voodoish or sometimes eastern influenced.You may think this is typical for a goth band but don't be fooled,these recordings in some parts touch greatness.

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Kostas Koukoutaras & the atziteisons- Apo pou kai pou(from where and where),LP,1974,Greece

Here's one of the rarest Greek 70's records,fetching up many hundreds of Euros in the collector's market.Kostas Koukoutaras was one of the leading figures in the rock scene of the greek town Larisa ,in the early 70s.He recorded this LP backed by the band Atziteisons(i guess they wanted to ba called Agitations in a more greekish way) and released it privately in a handful of copies only.Musically the LP is late 60's/early 70s psych/folk inspired.Unlikely other greek bands of the period, Atziteitions were much inspired of the British freakbeat/psych scene(hints of the Yardbirds influence can be found in the 3 first songs),interpreting it in a more "primitive" way,fact that is enforced by the very poor production.After the 3rd song inspirations are changing in a more artistic way ,British/French psych folk and early 70s prog/psych(Dr. Strangely Strange, some Uriah Heep influences from their quiter moments),along with US Boston sound psych,not forgetting the much similar sound to Pearls before Swine/Tom Rapp folkish psych.Concluding ,musically the album is very interesting and an excellent example of what was happening in the Greek rock scene during this period, beyondthe popish sounding known bands.Keep in mind how difficult was for greeks to attend a rockish attitude this period due to the Junta. Concerning lyrics they are much childish but not totally uninspired and of course in the spirit of the age (flower power ,hippie culture,etc).Koukoutara's excellent baritonish voice with this physical tremolo takes music off creating a wonderful atmosphere(especially for non greek speaking listeners). Very weak point is the totally uninspired sleeve of the record with this redicoulous pink satin balloon shirt appearance of Koukoutaras.With a much better sleeve (a Roger Dean-ish or Hypnosis-ish one ) this could have been one of the legends of world psych.The LP was re-released in 2006 by the greek label Anazitisi Records in a very limited edition of just 100 copies(i guess sold out right now but give it a try at the linked address).

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Paga Group - Gnosis,CD,1993,France

Following my previous post a few months ago of Bernard Paganotti's 1st solo attempt,Paga,here comes the 1993 release of Paganotti's Paga group ,Gnosis (pronounced 'guh-Noe-ziss').More
Zeuhlish Kobaïan speaking freaks here ,following the excellent tradition of Magma, Weidorje ,etc.The line up is:Bernard Paganotti: bass, vocals,Bertrand Lajudie: keyboards,Francois Laizeau: drums,Klaus Blasquiz: vocals, percussion,Eric Seva: saxophone. Magnificent album touching the edge of greatness.

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PHEW-OUR LIKENESS, LP, 1992, JAPAN/GERMANY

The last of my Phew posts (following her self titled, "View" and "Himitsu No Knife" albums), this early 90's release finds this quirky songstress and long time paragon of the Japanese avant garde re-teamed with Can drum master Jaki Leibzeit alongside a veritable supergroup of German underground contributers (specifically Crime And The City Solution's Thomas Stern, Christian Haas of DAF and Liasons Dangereuses and Alexander Hacke from P1/E) for another remarkable sojourn into outre art rock waters. With Jaki's presence strongly felt throughout, Our Likeness fuses the alternately sinuous and punchy substructure his rhythmic mastery brought to her self titled LP with the more expansive art pop attributes and deepened soundstage of her Himitsu No Knife CD three years later, often taking these traits to more aggressively odd realms than anywhere else in her discography, barring her insane debut 7" opposite Ryuichi Sakamoto. A stunner.

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KILLING TIME-BOB-CD, 1986, JAPAN

Following my post of their LP "Skip" (which I'd erroneously stated as being their debut...it's actually their second release), here's their actual debut dispatch, originally released as a three track 12" EP and subsequently reissued in 1988 as an expanded edition with five bonus tracks appended, which is where the confusion stemmed from. I nearly exhausted myself trying to find the words to frame the post-everything art rock madness present on Skip and as was the case with that gem, "Bob" (don't ask me what the deal is with their titling albums with common American names; Bill and Irene are the albums that follow suit and they'll both be appearing here shortly), this is part and parcel of that trajectory of the 80's Japanese underground that takes in Haniwa Chan/Haniwa All-Stars, Wha Ha Ha and the like and as is the case with the work of those mind-bending mavens of the weird, the sonics here bedevil any attempt at easy analysis. The Zappa cum Gentle Giant-isms that the excerpted review I'd included in my post of Skip alluded to are certainly present, as is a certain soaring upfullness (at least on the lengthy first track) that brings to mind Sven Grunberg's work in Mess, but they never last long before their perverse streak destabilizes the proceedings with dizzying disjunctions. That said, they're just as prone to tear off at a tootlingly mawkish and fruity ultra-melodic right angle and/or drift off on a tide of new-agey syrup without warning. It's an approach that 90's J-prog savants Tipographica would run for the hills with and it's a tendency thats even more pronounced here than on Skip, which largely sidestepped some of the schmaltzier tactics deployed here, though their propensity for littering their dementia with pit stops in the land of the namby makes a certain sort of sick sense once you finally start to come to grips with the uber-ludicrous ethic that underpins their aesthetic.

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ENCORE + GRANDE-TOTAL BLISS, LP, 1987, NETHERLANDS/FRANCE

Following my post of Nine Tobs' Gruffy Splurge LP, here's a closely related multinational unit pursuing a similar range of cracked and frenzied R.I.O. stratagems. Total Bliss brings together both saxophonist/clarinetist Raymund Van Santen and blustery babbling nutcase vocalist Hans Buhrs from the Nine Tobs (the Dutch half of this musical equation) alongside Frenchmen Guigou Chenevier (the legendarily idiosyncratic drum genius of Etron Fou Leloublan) and guitarist Guy Sapin, a frequent collaborator of Guigou's, working beside him on his A L'abri des Micro-climats and Le Diapason Du Pere Ubu albums. As was the case with the Tobs album I posted, Buhrs' aggressive and uncouth spewing is either a charmingly maladroit presence or a deal breaker (depending on your disposition) as his bombastic mouthiness is front and center in Encore + Grande's capricious constructs, which tumble and joust at right angles in a way that ought to make anyone enamored of Guigou's work in Etron Fou immediately prick up their ears.

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BENE GESSERIT-MUSIC FOR THE FUN OF IT, LP, 2005 (RECORDED: 1981-1985), BELGIUM

As requested and following my post of their "Fashion Is A Dirty Word" LP, here's a semi-recent archival release (which a little birdie tells me that the last available copies of can be found Here
) of material by these Belgian masters of ingenious minimal synth weirdity, the majority of which was originally published on various cassette releases and compilations and all of it suffused with an idiosyncratic musical depth that really distinguishes them from many of their minimal synth peers, something that loopy chanteuse Benedict G.'s inimitable vocal gambits (alternately erotic, petulant and nuttily nattering) really helps cement.

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KEMIALLISET YSTAVAT-NUU HA NI HAKA, 3" CDR, 2003, FINLAND

For anyone with even a tangential awareness of current Finish underground sounds, Kemialliset Ystavat's delirious sonic formulations will require little explanation. Their drugged and bleary moire-patterned universe of detuned psychedelic stumble being in many respects the formative gesture from whence sprang a thousand current lesser lights dotting the contempo freak folk landscape. Nuu Ha Ni Haka (released as part of the Jeweled Antler Library of 3" CDR's) was the first recording to follow their landmark Kellari Juniversumi, an album that brought to fruition the full depth of their cockeyed spellcasting. A wee bit less fine-tuned in it's approach, it nevertheless is deeply suffused with that sense of "otherness" that so many of their freak folk brethren aspire to but usually fall short of.

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V/A:Born Out Of Dreams,LP,1984,UK

Great compilation from 1984 ,that was released in limited to 500 copies edition featuring 12 page booklet with artwork of each of the band.Some of the most important UK experimental /industrial bands of the period featured here:

Tracklisting:
A1 Fear Of Thought Helen Lane
A2 Enrico Piva Flogging Hour In The HKA
A3 P16.D4 Koronardilatation
A4 O Yuki Conjugate E Tribal
A5 P.D. Im Rausch Der Geschwindigkeit
A6 Nurse With Wound Automating (Again)

B1 Muslimgauze Sakharov
B2 391 Gt'2
B3 New Blockaders, The Seinsart
B4 LLL The Dark Forces Have Taken Over
B5 New 7th Music Coatlicue
B6 Mixed Band Philanthropist Those Who Kissed Now Wept, Those Who Wept Now Sang

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V/A:Subterranean Psychfest,2ble tape,1995,UK

Extraordinary,excellent spaced out,freaked out,mind melting neo-psych /space rock compilation by the great Music & Elsewhere UK tape label,gathering here some of the best psych/space acts of it's time from 7 countris.Bands include:Sons of Selina,Dr.Brown,Kava Kava,Lord Litter,Alphane moon,Sosumi,,Magic Moments at Twilight,amongst others.Note that all recordings here were previously included only in tape releases of M&E tapes.Grab it and let your mind melt!

This lengthy release had to be devided in 4 parts.

get it here,here,here and here

Noise Makers Fifes -Maïkieêk ,10" mini LP,1997,Belgium/Poland

Noise-Makers Fifes, is an audio-visual collective of Marc Wroblewski and Geert Feytons,active since the mid to late 80s. They create ambient,scary darkish atmospheres using synths,tape loops,found object and live recordings.Would much appeal to fans of Organum,Mirror,Maeror Tri,Daniel Menche,etc.This 10" was relesed through the excellent Polish label,Obuh,in limited edition of 333 copies.

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Gudibrallan -Gudibrallan II,LP,1971,Sweden

Gudibrallan was the very first punk band in Sweden and that was long before the word was even invented! They had the perfect punk-rock attitude: no one could really play and some friends, or any one who felt like it, used to join them on stage. They made fun of the intellectual left wing and the government and they showed solidarity with the lowest dregs of society. They didn't exactly try to hide their opinions; they shouted them out loudly and straight on, no poetry. Gudibrallan could be one of the reasons why the Silence label was investigated by the S-PO (The Swedish CIA) for years. Gudibrallan adheres most closely to the sound of Trad Gras Och Stenar, channeling a similar mix of hippy looseness and punk attitude, albeit in a more conventional rock context with less of the locked-riff mantra jamming that Trad Gras is known for. They make up for it with faster playing and upping the energy several notches, even when they manage to blend Swedish folk music into tracks like "Visa Om Jungfrun" ." Otherwise it's deranged garage rock on the progressive side, sung in Swedish and played with reckless abandon and infectious enthusiasm.

Imho this is their best LP,much more inspired than their 1st one ,Uti vår hage, and actually one of the most beatiful of the early 70s Shedish freaked out folk(?!)-rock scene.

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Organ - Nekrofiilis,LP,1982 ,Finland

Organ, maybe the pivotal Finnish synth act, was the answer of Poko Records and Mikko Saarela to the futu (as the "futurist" synth pop was called in Finland) craze. Organ was the outcome of the creative minds of Saarela (formerly of the popular Finnish punk band Eppu Normaali) and the synthetic Argon duo -- who had already released one album, Kone kertoo -- joined together. Organ's most famous song was 'Kärpästen juhla' ("The Feast of Flies") with its anti-war theme, mocking the clichés of some traditional Finnish patriotic hymns -- Mikko Saarela's witty, humorous lyrics held some social concern in them, dealing with the rights of test animals, helping the third world countries, bureaucracy and so on, in the best punk tradition. They released this album, Nekrofiilis (POKO PÄLP 33, 1982), and some singles; 'Kundi meikkaa' ("A Guy Makes Up") being the best known of them.

From:http://www.phinnweb.org/early/synth/organ/

Great synth/proto electro from Finland with teutonic beats and the ice cold feeling ,that characterised this period. Excellent!

get it here

REPLACEMENT LINK FOR SHUB NIGGURATH-S/T TAPE POSTED

As requested, I've replaced the defective link for the self titled Shub Niggurath tape with a new, functional xirror link. It's been corrected on the original post, but you can also get it Here

Roberto Donnini-Tunedless,LP,1980,Italy

Architect, visual artist and musician, Roberto Donnini has realized some great avantgarde LPs back in the 80s and 90s, pure droning soundscapes with a complex blending of a rich instrumentations played by an enviable cast of guest musicians (including Albert Mayr, Giancarlo Cardini, Donella Del Monaco, Giancarlo Schiaffini, Andrea Centazzo, Lino Capra Vaccina). He has his own website, check out:http://www.robertodonnini.com/sito_Donnini_ENG/donnini/index_donnini.asp
This LP was released through Lynx label in 1980 ,as Galerie Schema edition,of course limited(i heard about 100 copies only).
Tunedless is contemporary music for synthesiser and electric and acoustic instruments, composed by Roberto Donnini and performed by Roberto Donnini, Stefano Fiuzzi, Jaqueline Darby, Roberto Buoni, Aldo de Bono, Mino Vis Mara, Albert Mayr
It can be performed by any kind and number of instruments or voices. Only one instruments must play ad libitum the series with the last three or four notes (right) at random, but returning always to A flat. All other instruments and voices can be well tuned or fluctuate within a very small interval above and below the notes frequency of the instrument playng ad libitum: they can't play more then five notes of the series for each performance.

From SoundOhm
Donnini has 2 further releases ,Tunedless 2 in 1987 and Fluxmar in 1992,both limited edition also ,through Lynx label.

Another contemporary music gem!

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Food and Shelter-Square Dance,LP(+),1984,USA

Time for a big one now!Totally unknown and underrated synth punk (from a very wide view)band.Food and Shelter's sole album "Square Dance," released in 1984 on Resistance Records (Marina Del Rey) came not in a cardboard sleave, but in a sheet metal one! A booklet included info and pictures , showing members Russell Jessum, Debbie Spinelli (who also played with 17 Pygmies and Cindy Lee Berryhill) and Fey Ruza. The music ranges from ear-piercing tape loop experiments to catchy "pop" tunes. Instruments used include vibes, piccolo, clarinet, horns, xylophone, marimba, and tin whistle.Overall, a great synth punk meets minimal electronics meets Residents era squeezed popish experimentation here.Very strong are the influences of the pop-ish side of LAFMS scene,early Tuxedomoon,17 Pygmies,but also Screamers ,etc.

A track that was featured in "Radio Tokyo Tapes vol.2" compilation is included here and ,as far as i know, these are their only recordings.PLEASE if anyone has morerecordings of this unique band(demos ,outakes,etc)send it!One of the best US LPs from the early 80s ,imho!

THANKS ANDREW FOR THIS GEM!

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CONTINUAL MASSMIRROR ISSUES PROVOKE MAJOR CHANGES FOR MUTANT SOUNDS

Massmirror revealed on their blog 5 days back that the reason for the continual problems with their system is due to their moving the entirety of their operations to a new service. They claim no data will be lost but also state that "The site will have random errors and downtime until this redesign is complete". No timetable is given for how long one can expect to be dealing with the fallout from this. This is obviously an untenable situation for us and has provoked much behind the scenes discussion of where we go from here. Aside from Sharebee, which we used initially but whose upload function no longer supports macs, there exist two other file spreading services that I'm aware of: Xirror and Fileberry. Fileberry is much too new on the market for me to have any real confidence in them, though xirror's been around for about as long as massmirror. I (Eric) have made the decision to opt for using Xirror's service, as reflected in today's posts. Jim, understandably feeling burnt after our unfortunate experiences with both Sharebee and Massmirror, has decided to take a wait-and-see approach to Xirror for now and so, for the time being at least will revert to using Rapidshare for his posts. You'll notice from today's posts that Xirror, aside from the inclusion of Rapidshare, offers a different set of hosts that it farms it's links out to (in their case, Filefactory, Netload.in and Uploaded.to). It is perhaps a less immediately appealing array that that offered by either Massmirror or Sharebee, but it's what we'll have to work with currently. Hope it proves to be both stable and acceptable to everyone here. In the meantime, being understandably dubious about Massmirror's assurances that no data will be lost, I'm taking no chances and am culling together all the Rapidshare links from the hundreds of Massmirror post I've made, to safeguard against the possibility of their network permanently going down. This is one situation where I'd definitely rather be safe than sorry.

STEAMING COILS-NEVER CREAK, LP, 1987, USA

Were it not for my requiring his express consent to begin posting these items, Steaming Coils would have been the very first thing I'd have chosen to post on MS, encapsulating as it does the ethos of Mutant Sounds more purely (to my mind) than almost anything else extant. Woefully overlooked both in it's day and strangely, ever since, Steaming Coils was the spectacularly demented product of the precocious teenage minds of Brad Laner (later of Savage Republic/ Medicine/ Electric Company and an old musical collaborator of my band Vas Deferens Organization), David Chrisman, Spencer Savage (aka Grashstaht Schtant) and L.A. Free Music Society mages Rick Potts and Joseph Hammer, with Savage, Potts and Hammer parting company after the era of their first LP, to be replaced by a variable roster of L.A. fringe musical talent. I've long maintained over various posts that the as-yet-unnamed mystery school that existed mid 70's to late 80's of artists who took their license to go completely mad from an immersion in the arcane universes of Beefheart and The Residents are responsible for some of the most brilliantly bent music ever created. It's a milieu that's been explored at some depth by everyone from The Blitzoids to Bomis Prendin to Shoulder Of Mutton A to The Decayes to Buxinrut, but no one has ever come close to the unholy madness that Steaming Coils would locate at this fruitful nexus. Their genius was to pinpoint and smoke out a sublime node of psych pop beauty in the interstices of such lunacy, something they take to throat-lump-inducing ends on the album's closing cover of The Monkees' Porpoise Song. That they've been relegated to obscurity for so long borders on the criminal, even more so for the fact that Steaming Coils for me represents the high water mark of the entire L.A.F.M.S. canon. This, the first salvo of a comprehensive program of posts I'll be undertaking in the coming days will hopefully go some ways toward remedying that. This post will be followed by their subsequent two LP's and, finally, a massive 8 disc post of unreleased archival material, all of which has generously been offered up by Messr. Laner to Mutant Sounds from the original master tapes.

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ESTOS NO SON PAGAGOS-DE ARTE VENANDI CUM AVIBUS, CD, 1995, NETHERLANDS

With a C.V. that stretches from membership in the Dutch experimental post punk bands Dull Schiksal and Tresspassers W to work alongside such wildly disparate musical innovators as ex-Thinking Plague/5uu's bassist Bob Drake (in AA Kismet) to collaborations with post-NDW nutter Felix Kubin (using the moniker Coolhaven) and current work alongside ex-Homosexuals and current Die Trip Computer Die mastermind Jim Whelton (ne L.Voag/Xentos et.al.), Lukas Simonis is precisely the sort of berserk musical polymath I love to champion in these quarters. Self described by him to me as "a mixture of trendy 90's dance music, free jazz, german weird 'Der Plan'-like electronics and The Residents", Estos No Son Pagagos was a one-off experiment of his, fusing his post-everything art damage techniques (as well as those of his old Dull Schiksal sparring partner Frans Friederich) to beat structures plied by house/gabber producer Robert Kroos. Though his description is largely apt, the end result, to these set of ears, is a madcap musical melange that bears notable similarities to ex-Stock, Hausen & Walkman member Andrew Sharpley's post-S,H&W projects Ae and The Mami Chan Band. Wild fun!

Get pt 1 Here

Get pt 2 Here

FOEHN-INSIDEOUT EYES, LP, 1998, UK

Foehn is the non de plume (though non de tune seems more apt) of one Debbie Parsons, ex of Third Eye Foundation. Though her subsequent CD releases would find her honing her disquieting surrealist soundscaping into more refined and vaguely Dome-like territory, this mercurial and mutable debut album nevertheless offers a rich seam of amorphous weirdity for the intrepid sonic explorer, sometimes coming close to the deformed haunted house spookiness of L.A. Free Music Society maestros Extended Organ and at other times, suggestive of some malarial backwater Randy Greif overlooked in his trawls through sonic mires. Queasy listening of a very advanced order.

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UR KAOS-S/T, LP, 1987, SWEDEN

Rife with pensive minor key tension, this starkly brooding and wonderfully pungent Swedish R.I.O. unit (requested a short while back) features J.Lach'n Jonsson and Johan Hedren in it's line-up, both of whose exceptional solo albums have been posted here in the past. This is tough and gritty stuff, bordering at times on an almost baleful post punk scabrousness and This Heat-like tone of desperation.

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V/A-FOUR WAYS OUT, LP, 1980, UK

This exceedingly rare U.K. D.I.Y. post punk compendium features contributions from four outfits, all scrappily shambolic in approach. Dislocation Dance and Mudhutters are the most well known parties here (well...for those that have been keeping up with their Messthetics in any event) and both offer up choice morsels of inchoate art addle, as do unknown quantities Rire: To Laugh, only the desultory Vision On failing to offer much to enthuse about.

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Vapaa-Tilat,2004,CD+Under The Midnight Sun,2004,CD-EP,Finland

Following Eric's posts of Vapaa's CDs here are 2 more.Both limited as always and excellent droning improvised "folk" weirdness.

get them here

V/A:Your Secret's Safe With Us,2LP,1982,UK

Definately one of the best and most important UK early 80s DIY compilations.Here are gathered the most interesting bands from UK in 1982.It is the follow up to the 1980 compilation Hicks from the Sticks.You can find here the first recordings of PULP,CHAMELEONS and I Scream Brothers who later turned to UV POP, amongst others.

Tracklisting:
A1 Celestial Fireworks Go! (2:34) ***
A2 Atom Spies Single Dance (2:42) ***
A3 I Scream Brothers Tree Growing Wrong (3:47) ***
A4 Chameleons, The Here Today (3:58)
A5 Unamerican, The Drop (3:11)
B1 Thrash! Time Will Tell (4:30)
B2 Makaton Chat The Shape Of The Song (3:40)
B3 Vets, The World In Action (3:43) ***
B4 Soul On Ice Thinking (2:03)
B5 Height Looking Through Glass (4:54)
C1 Seep Maier's Gloves Ambition (4:12) ***
C2 Pulp What Do You Say? (3:30)
C3 Indians In Moscow Indians In Moscow (3:02)
C4 Sun Yama Subterranean Homesick Blues (2:16)
C5 Fast Cakes Red Square (4:23)

D1 Sun Ya Sub Dub (Instrumental) (2:18)
D2 Blue Chips Of Asama Haruko's Lament (2:30)
D3 Pressure Pressure (4:12)
D4 Gentle Ihor Psalm 151 (3:56)

D5 Celestial Fireworks Go! (Reprise) (1:48)

The stars at the end of some tracks mean that these are my personnal favs from this compilation and some of them my personal favs ever!

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Anak Bayan-st,LP,1977,Philippines

sych legends and underground gypsy artist ANAK BAYAN. This is a white rabbit style effort with very Psychedelic leads, movements and fuzz. A classic and must be heard to be described, Pinoy rock and Jeepney Rock were the local names for this Psych rock movement.
Members of ANAK BAYAN were actually the original core musicians of the legendary Juan de la Cruz band. Drummer Edmond Fortuno's previous band D'swooners were so big in Japan and his wild drumming style really stood out from the rest that he eventually caught the attention of the Plastic Ono band who offered him a drumming stint... Unfortunately, he had to go home.
These songs are a collection of recordings that were done in 1973 and were lost for almost 4 years until the tapes resurfaced in '77. It was then mixed and released under A&W records. This is the only album this supergroup ever came out with, and all the original members, except for the sax player, have passed away.

get this gem here

Las Animas Del Cuarto Oscuro-st,LP,1988+Las Animas,LP,1990,Mexico

Greate,awesome Mexican band,although out of time when these records were released.On the first one heavily influenced by the UK early 80s scene (Cure,Sound,Echo and the Bunnymen,,etc),while in the 2nd one they mix these influences with early Dead Can Dance ones. These records are very rare nowadays and they sell for more than 200US $.Well worth ,imho.

get them here

Magma-st,LP,1981,Korea

Rare and very obscure Korean hard psych from 1981,with excellent fuzz guitar and the typical Far East vocals.Would appeal to all fans of Terry Brooks,Blue Cheer,Leafhood,etc.

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Magthea - Saxapulations,tape,1984(?),Belgium

Magthea is the male part of the Hybrids duo,who's fantastic cd "Music for rituals " was posted here by Spacefreak a while back.Magthea was involved in the early 80s in the electro band The Klinik ,and in the mid 80s he recorded his solo works,while in the years after 1986 he joined the Hybrids.The music is ambient ,not that ritualistic as in Hybrids,more reminding me Robert Rich's early works or some late 80s Psychick TV experiments to try to ply ambient music.Note that no synths were used in this recording ,just 2 saxophones and tape recordings. Differences appearing in the tracklisting and the ripping of the songs is because song 4 is devided in 4 parts and song "Soundpainting" is divided just in 2(intro and the rest).

get it here

A solution to Massmirror problems

Dear friends
whenever you have a problem with a massmirror link do the following:
1. open link in new window
2.no matter if it opens or not change the address from s1.massmirror.com or s2.massmirror.com to massmirror.com
ie:http://s2.massmirror.com/ae2371942aeef078456176b12db86b4f.html , changes to :http://massmirror.com/ae2371942aeef078456176b12db86b4f.html
that's all!

Massmirror issues again

It seems Massmirror has problems.Hope they will be fixed later today.

Caroliner Rainbow Stewed Angel Skins - I'm Armed With Quarts Of Blood,LP,1986,USA

Caroliner (formed in 1982, in San Francisco) is an Industrial Bluegrass/Experimental/Noise conceptual art Costume Rock band, dedicated to creating a fever dream of American psychedelia - utilizing bluegrass music instruments, weird effects, other-worldly pageantry, and day-glo character outfits similar to those of a "Disneyland ride with a Spike Jones and his City Slickers sense of individuality." For example, band member Puppy Whowoundup built an actual spinning heliotrope animatic cap that revolved on top of her head. Member The Brazen and Meticulous Pintle sports a spinning Brittleback wheel as a codpiece for her stringed instrument.
Jamie Rake, in Sound Choice, described Caroliner's music succinctly:
"Caroliner is the sound of atrophy, the noise of salvation and damnation's collision in a parallel dimension to purgatory, the random rumbling of the bowels of the universe turned inside out to become a semblance of music complete with lyrical vantage points so convolutedly arcane to make comprehending them impossible, save for the few gnostically inclined aspirants bent in similar psychic permutations." [1] According to the band, "Caroliner formed as a tribute band to the singing bull of the 1800s who had the same name. Influences include most and foremost The Skillet Lickers, Barrel Gordon Trio, and Dock Boggs, also making nods along the way to The Hoosier Hotshots, Spike Jones, Tiny Tim, and buckets of nails being kicked down the stairs. The Caroliner name stands alone (as seen on the cover of the organ based long play record "Toodoos"), to represent the band on most printed materials. The following "rainbow" word is only used when it is in conjunction with a line from Caroliner lyrics. The possibilities are endless: "Caroliner Rainbow Charlie Stink Creek", "Caroliner Rainbow Bowed Wart at the Turn", "Caroliner Rainbow Moth in the Waves", " Caroliner Rainbow Double Snap-Passion of Vaunted Elderly Fashion." Every 10 LPs results in a 'live' LP that sums up the next ten albums with some "songs in progress" between the live "hits"."
Doey Didduoghlbulch, a "Caroliner Rainbow Legs Tied Round the Ankles" member for the last 10 years, described the band as such:
"We are a tribute band to Caroliner the Singing Bull of the 1800s. If we were singing something from the Dampton Lice Brother's hymn book we would figure out another name. If we did a modern fuzzy hullybaloo thing, like that music you hear in a showy window shoppe, that would be a band called Fuzzy Hullybaloo Thing." Alex Ross of The New Yorker noted:
"On top of the visual extravagance, Caroliner has somehow forged an original musical style. The songs typically fuse together a grinding, relentless bass line, country-ish banjo strummings, spastic vocals ranging across several octaves, a wheezing organ drone, and screeching violin tremolos. Despite the splintered aesthetic, a lumbering grandeur gathers ...... Space does not permit a description of the lyrics, which purport to interpret the prophecies of a 19th-century Wisconsin cow." [2] Successful tours of Europe and Japan resulted in "stick to your gums" USA tours. The band is reportedly awaiting the "building of a horticulture twist spindle farm of 1844" for the next tour that will "hopefully include face roulettes", and fantastic new deformed sheep faced instrumentalists".
From Wikipedia

Claiming the solitary influence of "Caroliner — the Famous Singing Bull of the 1800's," San Francisco's Caroliner is one of America's most original and difficult musical entities. Vaguely indicated by the tag "industrial bluegrass," the vehemently indescribable band consists of futuristic Luddites in the moral center of an avant-garde for erratic minds, covering turf wider than all alternative rock combined. The wealth of material ranges from shrill musique concrète to believable theater tunes, all pointing back to cowboy songs heard on dusty Victrolas.
Behind an ever-shifting facade of pseudonyms stands the dictatorial "singer from Caroliner"; the band's only predictable element is that each hand-packaged record will be credited to "Caroliner Rainbow something of the something something," and will include a double-sided photocopied lyric sheet meant to be read along with the music.
The band's mindset is better elucidated on I'm Armed With Quarts of Blood; the album has a Grand Guignol pop-up and bits of hair, dirt and cockroaches glued to the cover. It begins with four hysterical locked grooves, which the liner notes recommend be listened to for a solid week each before pressing forth. Catchy ditties like "Corn Red Moon" and "Barrel Horses & Window Crackers" describe extreme remedies for problems of mind and farm as errant fiddles squeal and lopsided voices caterwaul. A violent and twisted euphoria of the imagination.
From Trouser Press
For me one of the milestones of modern rock experimentalism!

get it here

Craft-st,LP,1983,UK

English instrumental trio made up of brothers-William Gilmorov (KEYBOARDS) and Grant (drums), and bass player Russell Martin. Will Gilmor Mastermaynd team at the end of the 70th books of The Enid that, in fact, heard, because music for Craft followed in the footsteps of pioneers - R. J. Godfrey Almighty, that is, for a symphonic orchestra moog- oriented prog. The concept of the album deals with signs astrologically speaking. Very good material, given that it came out at a bad time for the first half of the 80's.

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Ananga Ranga - Privado ,LP,1980,Portugal

Portuguese prog rock with some definite jazz tendencies.Interesting and worthwhile addition to any prog fans collection.Very much like "french prog jazz" ZAO meets Italian ARTI MESTIERI, with lots of Sax , Moog and electric violin. Highly professional musicianship and even an oriental (indian) feel to some songs , from which the band's name is a clear source. Very strong is also the late 70's Frank Zappa influence, along with a strong impro funky style reminding me some early Funkadelic works or the 70s Miles Davis explorations in funk music.

get it here

Visit the link given here immediately!

I was planning to make some posts today but i will postpone it for some hours ,as i found this great blog and i want to give time to all off you to visit it and grab the wonderful stuff this guy posts!
Really nice work!

no longer forgotten music

PLEASE MUTANT SOUNDS FRIENDS GO THERE!YOU WON'T REGRET IT!

ALFREDO TISOCCO-KATHARSIS, LP, 1975, ITALY

This glorious modality-spanning magnum opus from Opus Avantra mastermind Tisocco was composed for a dance company and effortlessly fuses facets of the Battiato/ Pierrot Lunaire/ Stalteri Italo-kosmiche trajectory to contemporary classical strategies, agressive bursts of Henry Cow-like dischord and stunningly poignant bouts of jaunty yet emotive motion suggestive of Lucio Battisti's humanity-laden Anima Latina in a way that mere words fail to do justice to. Miles beyond what he was getting up to in Opus Avantra, this is one of the cornerstone classics of the entire scene.

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CHAPTER 24-TIN INVADERS, LP, 1988, GREECE

As the only non-Greek on board Mutant Sounds, It feels odd to be the one posting this lovely little minimal synth-into-post-punk item from their underground but...eh... someone had to. In any event, don't let the late date fool you. With it's alternately anxious, melancholic and wistful guitar-driven machinations, striking synth themes and crisply driving rhythm box, Chapter 24 should make any fan of Martin Dupont, I'm So Hollow or Scatterbrain stupidly happy.

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VIRGULE 4-DES ACCORDS D'ACCORD, LP, 1988, FRANCE

Buoyant, droll and concise little nuggets of R.I.O. goodness of a post-Etron Fou disposition from this unjustly ignored female quartet who elegantly finesse woody and/or vibes-y percussive percolations into the interstices of crisply defined bass guitar amid nimble sax and cello embellishments with periodic interventions of mellifluous vocal embroiderings that really cinch the deal.

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VAPAA-JANNITTIVAT ASIAT OLEMME JO KAUAN KERTONEET TOISILLEMME SALAISISSA KIRJEISSA, 3" CDR, 2005, FINLAND

This instantly deleted 100-copy Finnish underground treasure (which follows my post of their self titled CDR a short while back) manages to dissolve whatever distinction exists between Vapaa and Keijo And The Free Players, the line-up now being essentially identical. Whatever the case, to these ears the results are easily the finest product yet produced under either guise. Less diffuse than The Free Players and more assertively composerly than prior Vapaa missives, this unwieldily titled release dramatically reorients their modus operandi, with a degree of musical maturation and a certain elusive elan present here that edges this toward the territory of Norway's Supersilent and that'd almost qualify this for release on Rune Grammofon, if the country of origin were Norway rather than Finland. One of the current peaks of the Finnish scene.

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N.O.R.M.A.-S/T, CD, 1992, ITALY

This Italian octet's impishly whimsy-fied approach fuses R.I.O.-lite stylizations to sting quartet, film score and circus-y maneuvers by way of CD DJ scramblification in a rather theatrical fashion that gives the whole a certain Downtown NY patina. Though there's a tendency to get a mite precious here and there (their opening gambit of covering Bernard Hermann's Psycho score a case in point), much of this is quite curious and rewarding in it's own discreetly arch fashion.

Get part one Here

Get part two Here

DYSFUNCTIONAL MASSMIRROR STRIKES AGAIN

The consistently bug-ridden Massmirror is in day two of technical crap-outs with nothing able to be successfully uploaded, so my posts will commence again as soon as they get their act together. Ugh.