LEWISITE-SITESEEING, FLEXI, 1983, JAPAN
Sweetly teetering naif rock nuttiness with an undercurrent of venom. You'll find echos here of Phew's early no-fi no wave outfit Aunt Sally and foreshadowings of everything from Deerhoof's chirp 'n' stomp and The Tenniscoats' wide eyed wobble and to the witch-broom-on-chalkboard antics of Alva.
LITHOPS-BLASMUSIK/INTENDO, 1997, GERMANY
Expertly hewn frequency spectrum strafing from Jan St. Werner of Mouse On Mars' abstract solo project. This was one of St. Werner's early solo outings and bears a ghostly trace of the washed out dubbiness heard on MOM's Iaora Tahiti.
V/A-LITTLE BANDS, 1980, AUSTRALIA
This seriously fucking wonderful Aussie underground compendium documents the scene covered in the flick Dogs In Space starring INXS' Michael Hutchence (ever think you'd see him name checked here?). Too Fat To Fit Through The Door isn't too hefty to at least go head to head with both Nick Cave and Ollie Olson on the mouthy punchdrunk blather and shambolic stumble front, while the Morpions explode in a dystopian bout of Nervous Gender-like synth punk perversity, The Take unleash clattery and raucous pissed chick post punk (UK style) and Ronnie And The Rhythm Boys belie their off-putting bar band moniker by inverting a cover of Hey Joe into a minimal synth ice cream headache.
1. Too Fat To Fit Through The Door-Flintstones Meet The Flintstones
2. Morpions-Point Black
3. The Take-Summer
4. Ronnie And The Rhythm Boys-Hey Joe
LOG-A-RHYTHMS-LOGS/COFFEE, 1981, USA
Slippery and delicious art pop formulations that fuse Amy Denio/Tone Dogs-style angular whimsy with just enough commercial new wave-slicked period posing (think The Waitresses and Wazmo Nariz) to slake my thirst for the amusingly ridiculous.
FREDRICK LONBERG-HOLM-TRIOS/SOLOS, 1990, USA
Side A's suite of sharp trio action brings together improv cellist and future Peter Brotzmann and Ken Vandermark collaborator Lonberg-Holm and one half of cassette culture vets Crawling With Tarts on drums alongside a baritone sax player who's worked with both elsewhere. Their cumulative attack is a fine thing and reminds me most of The Ex's work together with Tom Cora. The B side? Alas, solo improv ain't my bag, even when it's by the masters. Maybe it's yours?
LUCAS TROUBLE-EL VEROLO/MISS SYPHILIS, 1980, FRANCE
Following up on my 2007 post of their LP Le Roy Defigure, here's more fantastic gallic post punk mania featuring the future keyboardist for garage psych movers Vietnam Veterans and here spitting out fab invective over a round of brash and trashy art punk blare akin to the Metal Urbain/Metal Boys/Dr. Mix And The Remix continuum on the A side (despite the absence of drum machines), and edging close to early Tin Huey territory on Miss Syphilis.
LUDUS-BREAKING THE RULES/LITTLE GIRLS, 1983, UK
The sardonic and effusive art pop giddiness of Ludus is truly something to behold. An integral part of the UK post punk uprising in general (Ludus front woman Linder did graphic design for some of the most seminal UK punk sleeves including the Buzzcocks' Orgasm single) and the Manchester Hacienda scene in particular, theirs was a sound that could veer off from Caribbean-inflected new wave fun to Plastic Ono Band art scree in an eye blink, though this striking single, full of Linder's instantly recognizable collages (issued on the legendary Sordide Sentimental imprint) plays it a little closer to the vest than elsewhere, their tongue-in-cheek and pop-tastic joie de vivre here dominating over some of the more outre aspects that'd come to the fore elsewhere in their discography.
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