STUTTER-BROKEN SNAKES, LP, 1990, USA

Beyond asserting at the outset that this crucial and almost entirely overlooked art damaged mindbomb is situated squarely between Mutant Sounds approved holy grails of the outwardly bound like The Decayes and The History Of Unheard Music, it's probably best to just let this crew lay out the specifics themselves, since they do such a bang up job of it:

"Stutter started as an improvisational music collective based out of Louisville, Kentucky USA in the nihilistic days of late 1970's punk / industrial music and DIY aesthetics . influences included electro-acoustic, progressive, free jazz improvisation, electronic, psychedelic, musique concret, new music, 'krautrock' and industrial noise, as readily as Fluxus, Dada and Futurist sound art experiments and performance art . many of the founding band members had first collaborated in Louisville's underground arts collective ARF [ Artist Resistance Front ]

Studio and live performances bore out a strong rhythmical composition peppered with Beat-influenced, stream-of-consciousness lyricism, itself tagged with ready wit and complex wordplay . traditional 'rock' instrumentation was subverted through the use of tape loops, early turntablism efforts, non-musicianship, and oblique strategies . performances were often punctuated with improvisational movement, video projections, and avant guarde visual stagings."

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INFORMATICS-ACCIDENT IN PARADISE, 12" EP, 1985, AUSTRALIA

Really potent Aussie minimal synth mongering with a full bodied analog attack and a unmistakable akin to their country mates in Severed Heads (particularly circa Bad Mood Guy and Rotund For Success), evident right down to the cut up media projections that accompanied their gigs.

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HI-SPEED-ERIOKA CON ANIMAC PLANETICO, CD, 1996, JAPAN

This obscure Japanese avant prog crew pretty much lay bare their intentions with the cover art's overt tip 'o the hat to Picchio Dal Pozzo's classic R.I.O.-esque second album Abbiamo Tutti I Suoi Problemi, but the specific gravity and impact Hi-Speed achieve here really places this some poles apart from their inspiration and situates this a lot closer to the compressed and thundering avant prog attack of their 90's peers in Happy Family and P.O.N.; the more formal chamber rock arrangements here acting as springboards to more pummeling, contorted and 90's-specific articulations of avant prog praxis.

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THE HERCO PILOTS-JUMPING AT?, 2x7", 1981, NEW ZEALAND

Spare, clattery and very endearing D.I.Y. post punk action from this overlooked band of Kiwi marginals who were more apt to play under a freeway overpass than in a nightclub, with the best bits here bringing to mind a specific sub-set of left field UK early 80's activity by the likes of The Door And The Window, Glaxo Babies and, at their artiest, a bit of Unrest, Work and Play.


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CONRAD SCHNITZLER-00/106, CD, 1997, GERMANY

More of this Krautrock electronic godfather's 90's era goodness for your collective perusal here; Schnitzler's M.O. around this time having become increasingly inclusive, with his work on 00/106 unfurling a whole galaxy of multi-tiered frequency smears, tintinnabulating electroacoustic concatenations and John Duncan-like shearing greyscale static drifts.

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