SUNDAY PAINTERS-SURFACE PARADISE-4TH ANNUAL REPORT, LP, 1983, AUSTRALIA

Ferocious, fascinating, claustrophobic and completely forgotten rhythm box-driven Aussie post punk cacophony that holds a mid-ground between Metal Urbain and The Instant Automatons, though less venomous then the former and less giddy than the latter. This treasure was unearthed for your edification courtesy of blog friend James Dean Brown, formerly of post-industrial beat merchants Hypnobeat, whose Huggables cassette will soon be featured here and whose latter day work as Narcotic Syntax has been issued by Perlon (more info Here )

Note: I put the wrong release date on the zip file for this, but I don't have the time to re-up it, so just know that 1983 is the accurate date for this one...


Note: it appears that this LP, alongside their first album and several singles are soon due for reissue (see note on the comment board), so the links for this have been removed.

EUGENIO MICCINI-CONCERTI DI POESIA, LP, 1983, ITALY

While many sound poetry albums may sound like a good idea in theory (especially if you've got a thing for flipped out vocalists) the reality of actually sitting with one is often as enticing as a dry hump with a hair shirt. That however is not the case here, or at least not with the jarringly odd A side (the flip side being a bit of a wash unless you get aroused by the idea of someone holding down the FF button on a cassette deck). Miccini was something like the grand old man of Visual Poetry in Italy during his life; an art practice that involved collapsing together words, figures, signs and symbols. A similar set of aesthetic collisions and elisions is in evidence here, as ancient tinny gramophones underpin increasingly hectic stereo-panned recitation en route to what sounds like armageddon in a clock making factory.

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BRUCE DITMAS-AERAY DUST, LP, 1977, USA

Following on from my post of his Yellow LP some time back, here's another wild and wooly collection from this one time fusion drummer turned avant analog keyboard maven and Joan LaBarbara associate, courtesy of Blog friend Ward, who last gifted us with the Chamberpot LP. The A side here mirrors Yellow's outwardly bound mooginess and groove splatter while the far more jazzy flip finds him in a series of enjoyable if much more idiomatically straight duets with legendary Italian jazz trumpter Enrico Rava.
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BLACK PHLEGM-MUZAK FOR ABATTOIRS, LP, 1989, UK

The name and title here really sum things up nicely, with this absolutely lost to time UK crew spewing out a murky and seasick slurry of dink beats, key quease and purgatorial atmospherics dredged up from the bowels of the UK avant garde. One of the biggest weird music collectors I ever met claimed this as a personal favorite, and while there is no accounting for taste, this certainly does manage to kick up a very specific and strangely compelling sort of malaised atmosphere.

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RONRUINS-KETSUNOANA, CD, 1998, USA/JAPAN

In which Japan's most formidable and berserk bass/drum duo dive head first into a spaghetti-tangled menage a trois with Bay Area avant string slinger and prog/punk avatar Ron Anderson of The Molecules. The corrosive chop 'n' change art spasms that ensue are both exemplary and exactly as one might expect, given the previous work of these three.

Note: links removed

FUCK UP PREVENTS POSTS 'TIL THURSDAY

Sorry...everything was planned to go up today and then I manged to lose all the texts that I'd written (along with the texts from many earlier posts) today in a technical fuck up of epic proportions. I probably won't have the time to re-write this stuff now 'til thursday rolls around. Eegads.

BRIAN SANDS-REHEATED CHOCOLATE TANGOS, 12" EP, 1979, USA

Following on from my post of this eccentric American private press art popper's Fixation LP, here's his debut EP and it's another total charmer. The whiff of R. Stevie Moore emanating off of Fixation is even more in evidence here, right down to the schtick-y asides and tape speed fuckery. Over the course of side A you'll also be treated to defocused Skip Spence-like baladeering, a Buddy Holly style rave-up and a rather Nazz-like cover of The Beatles' "Baby You're A Rich Man", though events veer substantially further askew on the flip, with the three tunes on side B taking on a very Cleveland/
Akron tinge, specifically one pitched somewhere between the Harvey Gold and Andrew Klimek singles that I've shared elsewhere.

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APOLLO-S/T, LP, 1970, FINLAND

One of the very first Finnish prog bands, Apollo was in fact the launching pad for the world renowned fusion drummer Edward Vesala, whose gorgeous work I've previously posted both under his own name and as a member of Toto Blanke's Electric Circus. Dag Erik Asbjornsen described this extraordinary acid rock/proto prog crew in Scented Garden's Of The Mind as sounding "like they're fronted by a singing moose", a description too perfect to try to top, though it only applies to the half of the album where they're in post-Cream acid pummel mode, but oh...when they are, it's sublime. If any of you out there have been hepped to Kalevala, you'd almost swear this was the same band when they're functioning off this tip; Apollo's iteration sounding as though it's being filtered though the same heavy fogbank of dope smoke that also resulted in expressions of this form like May Blitz or Peru's Tarkus. Yes. That heavy. Stomping stoned caveman shit that is just too gobsmackingly ridiculous and wonderful for words. It's also contrasted about 50/50 here with swoon-worthy orchestrated proggy prog that's very McDonald and Giles/early Crimson in tone. The tension between these poles makes for a truly epic listen.

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D-DAY-GRAPE IRIS, LP, 1986, JAPAN

Long touted as a minimal synth album of some note, this is actually more of a mixed bag of new wave moves, disarming electronic confections and the sorta Japan-specific winsome preciosity that reminds you that this was the culture that gave us Hello Kitty. It is however worth noting that the majority of the slight stuff gets front loaded here, so stick with this curio and the rewards will become ever more manifest, though the apropos of nothing sampladelic interventions on the first track ought to at least signal that something about this shebang is gonna be rewardingly off. The outre interventions really begin coming to a head with the delicious synthetic woodblock and effected vocal side A closer "Sweet Sultan", and there's more where that came from on side B, along with the one explicitly minimal synthy number here; "Dust" , a sort of Nipponese spin on Algebra Suicide. I however am more apt to opt for what follows; particularly "Ki-Ra-I", a gorgeous Woo-like heat mirage of time-suspending beatbox exotica and the limpidly beautiful pastoral electronic album closer "Float A Bort".

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LOST GRINGOS-NIPPON SAMBA, 12" EP, 1982, GERMANY

Slippery, wacky art funk innovation meets suave soundtrack-y world music kitschedelia on this debut EP from these utterly unique Neue Deutsche Welle wags. Nippon Samba, as the title would suggest is brimming with sly and irreverent winks toward world music forms, with the title track being precisely some species of Japanese Samba, albeit re-imagined ala B.E.F.'s Groove Thang. Elsewhere you'll find sly tips 'o the hat to everything from 40's Hollywood musical kitsch to turkish psychedelia. A singular marvel.

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NIMBUS-OBUS, LP, 1974, FINLAND

Following on from today's post of Apollo, here's one more long forgotten slice of Finnish underground musical magic. Finland's 70's underground music culture has been rather eclipsed in the public imagination (to the extent that it exists there at all) by the wealth of post-psychedelic activity emanating from there nowadays. Here's one more reason to cast your gaze backward and roll some heavy duty hippy meat around your assorted pleasure centers. This appears to have been this unit's only outing, but it's a corker. Nimbus' is a very distinctly Finnish sound. You can hear within it both the milky, moody atmospheric mystery of Fantasia as well as a very sizeable dose of Wigwam circa Fairyport, and given that Fairyport just so happens to be my all time favorite Finnish album, that's no small feat, methinks. That said, as is almost always the case with vocalists from these particular hinterlands when they choose to serenade us in their native tongue, the results are something of a big and awkward vowel sandwich to us non-native speakers. Don't let that hinder you from delving into this little beauty though...

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NEW POSTS UP BY TUESDAY NIGHT

Sorry for the little extra wait this time, folks. Stay tuned...

YXIMALLOO-FANGS OF LUCIFER, LP, 1999 (RECORDED: 1981-1986), JAPAN

A highly amusing compendium of naif wheedle, decrepit mirth and tinker toy esoterica from this longstanding Residents-indebted Japanese operator probably best known for his collaborations with Jad Fair of Half Japanese. Fangs Of Lucifer culls together material from his early cassette culture forays, the hand hewn roughness of which gives this an almost Tori Kudo-like air of ennobled ungainliness.

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V/A-GROOVY POP SESSION, LP, 1971, FRANCE

A classic compendium from the early era of French underground music, Groovy Pop Session captures a few cornerstone units in their infancy, with Ange delivering their typically wrenching Gallic spin on the early Genesis sound and Pulsar offering a glimpse of what their epic Floydian grandeur sounded like four years before hitting the studio with the same eponymously titled track. Other notable tracks include ones by Absinthe (no idea otherwise about 'em) who turn in a powerhouse bit of spooked and Leslie cabinet-filtered psychedelia and Tac Poum Systeme, who managed a few other singles in their lifetime and here churn out the quite odd "Everybody Needs Somebody To Love". which singlemindedly grinds though a relentless 10+ minute Delay '68-style psychic noogie over which is spattered recordings of symphonies, crowd hysteria, gurgling electronics, backwards tapes and guitar fireworks.

Track listing:

1. Ange-Le Vieux De La Montagne
2. Abracadabra-Tiger
3. Pulsar-Pulsar
4. Tac Poum Systeme-Everybody Needs Somebody To Love
5. Les Moonlights-Reviens Vers Moi
6. Absinthe-Strage Life, Strange Soul

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SCHNITZLER/THOMASIUS-TOLLING TOGGLE, CD, 1991, GERMANY

With his founding memberships in both Kluster and Tangerine Dream, Conrad Schnitzler requires little in the way of introduction. Here, he's collaborating with one of his frequent sparring partners from this period of his work, former DDR resident Jorg Thomasius, whose excellent Tomato LP is featured elsewhere on MS. This one's a follow-up on from my recent post of their three way split CD together with Propellor Island's Lars Stroschen and is a very fine example of this era of Schnitzler's explorations. Together, these two construct unsettling environments in which arctic blasts, dense electronic wedges and concatenating links of tintinnabulating clatter float and writhe over beds of moody minor key synth themes over eighteen episodes of unresolved tension, explored as an end in itself.
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TON STEINE SCHERBEN-WENN DIE NACHT AM TIEFSTEN..., 2xLP, 1975, GERMANY, NWW LIST

Fairly stunning Polit-rock mongering from these NWW listed Krautrockers who operated in the grand German tradition of Checkpoint Charlie, Floh De Cologne and Kollektiv Rote Rube. Not understanding a word of German is surely hindering a deeper appreciation of it's contents for me, though there's so much else here to revel in that you'll scarcely feel deprived, with this double album of theirs featuring perhaps their most musically advanced output extant. Some really stunning and wide ranging probings here, that cover the gamut from brusque and snarling hard-rockish bits akin to later Checkpoint Charlie to more fluidly krautrockin' material whose level of musical development and innovation sometimes warrant comparisons to Embryo and Amon Duul 2.

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V/A-THE BONE TICKLING NIGHTMARE PIG, CD, 2004, VARIOUS

Devotees of dadaist brain-scramble in the mode of Nurse With Wound and (early) Negativland are keenly advised to lend an ear to this delicately titled compilation, featuring as it does several Richard Rupenus-related projects in this mode, from his own Mixed Band Philanthropist (featured elsewhere on MS) to others that have collaborated with him under his more well known noise qua noise moniker The New Blockaders, like Anomali and Broken Penis Orchestra, both of whose contributions here take a page (and a raspberry and a dog whistle) from Rupenus' prankish audio detournements. This is not to under-sell the rest of this comp's contributors. It is in fact a pretty nice cross-section of post-industrial probings of a (largely) non-generic nature, with a few particularly choice bits here from Plethora and, especially, Cybercantautores Del Mierda, whose fevered synth freakishness is genuinely unhinged sounding. Anyone out there have any of their CDR or tape releases listed on Discogs that they'd care to share with us?

Track Listing:

1. Cybercantautores De Mierda-La Mujer Que Entretuvo Al Cruel Submarino
2. Erek Gita-Acid Momma & The Japanese Potters
3. Mixed Band Philanthropist-Le Systeme De Domination
4. Plethora-Lunacy Factor #212
5. Observe I-Recognizably Those Soulless
6. Nequaquam Vacuum-Famine Season
7. Wazu-Montana Wildhack
8. Anomali-Ovaraka Trig (Sick As A Pig)
9. Broken Penis Orchestra-Could Someone Please Turn This Off?
10. Idx1274-The Vagina
11. Koma Fuzz-Sus Scrofa
12. Anakrid-Forming Lesters House Music
13. Forms Of Things Unknown-Interrupted By Interior Design: A) Speculum (Dedicated To Marcel Duchamp) B) From Here To Parker Posy
14. Gate 33 & DKD Girl-Silk Nose Trot
15. Snma-Cranfhl

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VAS DEFERENS ORGANIZATION-NINTH WARD FOURTH WORLD LP - AVAILABLE FOR PRE-ORDER AND FREE PARTIAL DOWNLOAD NOW!

Yes, the wait is finally over folks. The first new album by Vas Deferens Organization (Eric Lumbleau, Matt Castille, Christopher Moock) under our own banner in nine years (coming on the heels of all our recent work with Ariel Pink as Shits And Giggles and Ariel Pink with Added Pizzazz) is now finally upon us. The first title out of the gate in our new 33 1/3 degree series on our Free Dope And Fucking In The Streets imprint, Ninth Ward Fourth World represents the distillation of the VDO aesthetic to a 151 proof fine science; a collapsing of the sinister, the absurd and the sublime into a reality-annihilating gravitational nexus. We've spared no expense in the creation of this remarkable and extremely limited audio artifact, with both the front and back of the jacket sporting full sized four-color hard plastic laminated panels and with eye-popping artwork laser etched into the center of the 180 gram vinyls in place of labels. This LP and all future releases in this series are limited to only 100 physical copies.

With a official release date of Nov. 13, this LP is offered on a strictly first come, first served basis and is limited to 3 copies per customer. Pre-orders are now being accepted Here

and look out for further new albums on Free Dope And Fucking In The Streets by Vas Deferens Organzation and it's satellites as well as the highly anticipated third album from avant pop auteur/one man band/ex-pitchfork scribe Dominique Leone.

To whet your appetite, you can download and check out all of side A in 320 kbps
Here

CHRISTOPHER AND VAS DEFERENS ORGANIZATION-MIASMATA, LP, 1996, USA

To accompany our share of side A of the brand new VDO LP "Ninth Ward Fourth World", it seemed apropos to also unleash this, the first of two collaborations VDO undertook with Christopher Moock (the second being the Vas Deferens Organization & Christopher-Suspension LP on Beta-Lactam Ring) prior to Messr. Moock joining VDO officially some 5 years back, casting as it does some light on how Chris and his sensibility slot into the mix. In truth though, much of this particular release could also be viewed as a Muz and Christopher collaboration, as aside from the last third of side B, I (Eric Lumbleau) am wholly absent from this one, these recordings having come together very rapidly over these course of a weekend while I was away, with Miasmata principally consisting of Matt manipulating and building out material submitted by Chris and my coming in on the end stretch and adding a cherry on top. The results sit midway between the sustained amniotic electronic probings of Matt's eponymous first Muz LP, the krautrock-indebted jamming periodically heard our collaborations with Brad Laner and a sorta swarming avant garde-ish synth-y symphonism suggestive of The Legendary Pink Dots.

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ASPHIXIATION-WHAT IS THIS THING CALLED 'DISCO'?, LP, 1980, AUSTRALIA

A side project of Australia's Philip Brophy, better known for his long running unit → ↑ → (pronounced tsk tsk tsk), this flabbergasting marvel does it's damnedest to wriggle free of tidy explanations. What's being proposed here is a species of mutated and horn-riddled avant electro-funk, but one that's being perverted in the most subtle and slippery ways imaginable, with the sonics here situated (to my ears at least) somewhere between B.E.F., Hajime Tachibana and Ralph Carney's work on Bowling Balls From Hell. 100% irresistible. Thanks go out again here to blog friend Chris, who also brought us last weeks bent Jek Dicoppe LP.

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STRUCTURE-POP MUSIC, LP, 1969, FRANCE

Flute-y and carefree jazzy prog wonderment from one of the earliest notables out of the French underground. Structure and its mastermind Bernard Wystraete anticipate a sound here that was more prevalent a few years later in France, with a distinct akin to the work of fellow scene movers Jean Cohen-Solal and Triode. You'll also find some fab exploitation psych/prog bits in the mode of Braen's Machine and Wolfgang Dauner's Rischkas' Soul, airy Brazilian Bossa overtones, and some bits (particularly on the violin and vocal-driven "Episodes") that presciently propose a sound later taken to the bank in the mid 70's by Polish fusion god Michel Urbaniak, right down to the Urszula Dudziak-like bits of effected scatting. I love it.

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TOUPIDEK LIMONADE-IL Y A DES NUITS ET DES NUITS, CD, 2000 (RECORDED: 1985), FRANCE

I've spent a fair amount of time documenting the peerless and inter-related doings of the cabal of art brut mages associated with the bands Look De Bouk, Szentendre, Rock Feller and Germain Hubert Ales, but somehow failed to get around to the remarkable iteration of this aesthetic proffered by this wonky sounding collective. The sonic universe investigated on their debut outing here (originally issued as a cassette in 1985) is fragmentary, irregularly shaped and larded with charm. Offered up in bite sized morsels, their sound at times comes very close to Pascal Comelade's toy instrument constructs, but affecting a more cockeyed posture and buttressed by wheezing clapped out carnival organ in the mode of Jo Therion from Etron Fou Leloublan.

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CONRAD SCHNITZLER/JORG THOMASIUS/LARS STROSCHEN-TONART EINS, CD, 1992, GERMANY

I've previously shared albums by both German electronic music pioneer Conrad Schnitzler and his frequent collaborator from this period, former DDR resident Jorg Thomasius. This 3-way split release pulls in dark ambient composer and associate Lars Stroschen (better known for his work under the moniker Propellor Island), who initiates the proceedings with a blast of frosty isolationist ambience and follows it up with an inversion into maximalist complexity with a writhing mangle of processed rhythms. Schnitzler's contributions here are very much in keeping with the approach of his other releases from this period, with swarms of zinging and pinging sonic hailstones whizzing around thickly churning sonic wedges while chrome-plated rhythms irregularly judder. As for Thomasius, his contributions here are rife with tension, with thickly effected and cavernously churning environments vaguely reminiscent of Mechthild Von Leusch, but which also unexpectedly (and briefly) explode into full art rock territory in the mode of The Blech.

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