THE HOMOSEXUALS-BIGGER THAN THE NUMBER BUT MISSING THE DOT, 1979?, UK
The second single from this left field D.I.Y. art pop institution spends 2/3 of it's running time (split over a side and a half) erecting "You're Not Moving The Way You're Supposed To", a crisply tensile post punk exoskeleton garlanded with Andy Gill style guitar razor wire and about as close as this tribe of oddniks ever hewed to accepted post punk signifiers, while the purely breathtaking "Prestel" fills out the remainder with something initially akin to the naif off-the-cuff charm of The Instant Automatons only to unceremoniously deluge the proceedings with a liquid sideswipe of dissociative dream logic pop fracture that has to be heard to be believed.
THE HOUSEKEEPERS-HE'S NOT GOING TO REGISTER/SOLAR FERRIS WHEEL, 1984, USA
Impishly skewed art pop whimsy in the spirit of Tin Huey and Rick Potts from this long forgotten Chicago unit, and amusingly enough given the above, released on Homosexual Records.
H23 NUMBER TWO-MAGAZINE + 7" COMPILATION, 1990, USA
A lurid swath of sex dungeon ambiance from Sleep Chamber middlingly initiates an otherwise stellar assortment of experimental electronic weirdness from artists floating on the periphery of post-industrial culture: Kim Cascone/PGR turning in a fathoms deep drift of what would be called isolationism if it came out five years later, Floating Concrete Octopus (aka Miekal And and Liz Was, two long term fixtures and organizers of the 80's/90's marginal fringe mail art/tape culture scene) unleashing a Shaking Ray Levis-like bout of cartoonish squeak-bonk improv seemingly fashioned from slinkies and party favors and Randy Greif closing out the single in a beautifully seasick symphony of detourned fourth-world-isms and devolving vocal loops.
Sleep Chamber-No Air, No Way (Dreams On A Respirator)
Kim Cascone/PGR-The Spring Of Ruined Days
Floating Concrete Octopus-A Cliff Dweller's Escape
Randy Greif-I'm A Bat
HUGO KLANG-GRAND LIFE FOR FOOLS & IDIOTS/BEAT UP THE OLD SHACK, 1982 + WHEEL OF FAT/MOUSE RUNNER, 1982, AUSTRALIA
Nerve shattering art damage from this brilliant Australian outfit fronted by legendary post punk mover Ollie Olsen (Whirlywirld, Too Fat To Fit Through The Door, Orchestra Of Skin & Bone etc) with a sound pitched precisely between Lemon Kittens deformed hermeticism on one hand and Gallon Drunk cum Birthday Party drunkenly lurching post punk trashiness on the other.
HYBRID KIDS-D'YA THINK I'M SEXY?/CATCH A F-FALLING STAR, 1979, UK
Fissionably overdriven and definitive alternate mixes of Residential lunacy (original versions appear on "A Collection Of Classic Mutants", posted elsewhere on MS) from British mad hatter Morgen Fisher, whose work both under the guise of The Hybrid Kids and under his own identity I've covered extensively in the past.
HYBRYDS-OCTAHEDRON, ONE-SIDED 7", 1988, BELGIUM
Drivingly rhythmic and fairly potent ritual post-industrial sounds from this Belgian group's early era, taking a rather more aggressive stance here than they'd manifest on their equally excellent later work, which I've posted previously.
IDOL DEATH-NEW LESSON/STICKY DEATH, 1980, UK
A beautifully diseased sounding acid mindfuck sonically situated somewhere between The Four Plugs and Metabolist from this queasily lurching and effected-to-the-nines British outfit.
IK-FINAL FREEDOM/I-IK-I-TRIBE, 1982, UK
wonderfully ungainly and down-in-the-mouth sounding art warped British post punk action with an akin to the early era of The Shockheaded Peters (though this proceeds it) modified by a more shambolic D.I.Y. approach reminiscent of Metropak.
IM NAMEN DES VOLKES-S/T E.P., 1981, GERMANY
Stripped, frosty and engagingly rinky-dink sounding minimal synth-y Neue Deutsche Welle, with a sound pitched somewhere between Eurocheque and Keine Ahnung, though without the giddiness of the former or the beefiness of the latter.
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