TOM FURGAS-SIX TUNES E.P., 1989, USA
This mid-80's-early 90's underground cassette network mover evidently issued this promo-only single (procured from a RRR auction) as a means of garnering label interest. As none was forthcoming, this stands as his sole vinyl outing and it's a lovely thing; the casio quirk contained herein sitting precisely mid-way between Steve Thomsen's cartoonish synth constructs and Coil's advertising jingles from their Hellraiser 10".
FURST PUCKLER UND DIE EISHEILIGEN-SCHNEEMANN ADE/NERVOS NERVOS, 1983, GERMANY
Fairly slick but enjoyable late-model Neue Deutsche Welle, the A-side with a sort of new-wave-goes-quasi-Caribbean skank to it, the B-side in more of a Radierer pop-punk mode.
THE GEEKS-DREAMLAND IN MACHINELAND/HEY WRECK, 1982, USA
Mammoth jazz-punk blurt 'n' rant fiesta in a sorta Contortions-meets-Nihilist Spasm Band stylee from this inimitable mob of older jazz improv freaks who got gobsmacked by punk's explosion and issued a handful of ferocious freakouts as a result, their fab It's Not About Notes Anymore LP is featured elsewhere on MS.
GEILE TIERE-GEILE TIERE/CHINATOWN, 1980, GERMANY
Terrific minimal synthy maneuvers from these notable Neue Deutsche Welle "Horny Animals", the eponymous A-Side in a distinctly D.A.F.-ish mode, the B-Side a species of synth-poppy faux Orientalia with a nod in the direction of Y.M.O.
THE GIRLS-THE ELEPHANT MAN/JEFFREY I HEAR U, 1979, USA
Raging synth punk blurt from this seminal Boston unit whose members would gain far more notoriety after they broke up, with synthesist Robin Amos going on to work in Cul De Sac and both Mark Dagley and (especially) George Condo going on to establish themselves in the New York visual arts world. The B-side was already issued in live form on their Reunion LP (previously posted by moi), but the A side is exclusive to this single and it's a corrosive tsunami of year zero art punk roar and Ravenstine-ian synth splat whose specific attack would be siezed upon some years later by New Zealand's The Terminals .
GLORIOUS STRANGERS-WHY DON'T YOU JOIN THE ARMY?/MEDIA, MEDIA!, 1980, USA
The product of one Wharton Tiers, esteemed NY engineer for the likes of Branca/Swans/Sonic Youth back in the day, here working alongside his wife Carol on vocals, Glorious Strangers being one of two of Wharton's period projects to feature on MS, Jim having posted the 3x7" set by his concurrent outfit Social Climbers some time back. Under the Glorious Strangers guise, he and Carol concoct smirky bon mots of demure quirk akin to Y Pants or Inflatable Boy Clams to vaguely amusing effect.
HEINER GOEBBELS-DIE LETZTE BUCHE, 1982, GERMANY
Inimitable screwiness from this polymathic paragon of the German avant garde, here working alongside his Cassiber bandmates Chris Cutler & Christoph Anders, the A-side a snazzy little Slapp-Happy-goes-electropop construct fabricated as a bed for appropriated German historical interview soundbytes of which I haven't the foggiest, while the B-side is a wonderfully diseased sounding caliope-at-16-RPM wobble.
HARVEY GOLD-EXPERIMENTS, 1977, USA
Sounding every bit the hippy he looks on the cover, this peculiar and forgotten one-off solo outing from Tin Huey member Harvey Gold picks up on some of the nascent and perhaps least outre tendencies heard on these Akron, OH post punk exemplars eponymous debut 7" E.P., here working a gently eccentric singer/songwriter-into-psych-rock vein that'll delight anyone else out there that was longing to hear more of this sort of thing wrung from Gold's plaintive pipes after encountering him in early Alice Cooper mode on said 7" E.P., something you'll catch a whiff of here as well alongside fleeting bits of everything from Glenn Phillips to Cat Stevens to Kevin Ayers off his tropical tip.
THE GOOD MISSIONARIES-VIBING UP THE SENILE WORLD...E.P., 1979, UK
This Alternative T.V./The Door And The Window related mob enact a scrappily desultory Dome-like lope over the majority of this wonderfully disjunctive E.P., a spot-on foil for Mark Perry of A.T.V.'s disconnected hectoring before pulling themselves out of the miasma for a brief paroxysm of art punk judder.
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