Even Voodoos Get the Blues

The Mutants were formed in 1998 by Veijo Keppo & Jussi Sipilä from the ashes of their previous band Isebel’s Pain. They wanted to form an instrumental band after getting tired of more than their fair share of difficult singers. They play a unique blend of 60s garage rock, surf, porn funk, & manic psychedelia. Their instrumental madness would be the perfect soundtrack for a lost Russ Meyer or Quentin Tarantino film.

After the first chaotic gigs with the usual rock instrumentation augmented by Farfisa organ, these Mutants decided they needed a bigger sound. They added saxophone & more percussion while the original punk/surf/garage style got shoved through a new funkier Parliament/Funkadelic filter. On the strength of several EPs, singles, & compilation tracks, dozens of gigs, the support of local music magazines, & the active garage rock scene of southern Finland, the band made a three-record deal with the label Spinefarm in 2003. On Spinefarm´s Ranch label, the band released the full-length albums Voodoo Blues (2003), Death Cult (2004), & Grave Groove (2007). This is their initial Ranch release.

On Voodoo Blues, The Mutants are: Veijo “Abnormal” Keppo - Farfisa organ & guitar; El Toro – guitar; Jack Europa – guitar & saxophone; Don Hesus – percussions; Kartsu “Dr Drunkenstein” a.k.a Orb Sirius – bass; & Victor Stereo – drums. Cover by Mexican master Tiki-artist Dr. Jorge Alderete.

The Mutants – Voodoo Blues, Ranch Records RANCH 11, 2003.
decryption code in comments

Tracklist –

Caligula

High Ride

Voodoo Blues

Sin Hipster

Lumbago

Stampede Caravan

Southern Far Out

Papa Simba

Move Along!

Enjoy,

NØ

Who's Afraid?

 Here are two more closely aligned yet very different creatures, while I'm still at it.

Art of Noise – Closely Closely / The Time to Hear 12’ 45, ZTT 12ZTPS01, 1984.

Side aaah! –

Closely Closely (Enough’s Enough)

Side baaah! –

Moment in Love / The Time to Hear (You’re Listening)

Art of Noise – Close-Up 12” 45, Island Records 880 681-1, 1984.

Side aaah! –

Close-Up

Side baaah! –

Close-Up (Hop)

Enjoy,
NØ

Freak Of Nature

I threatened a visitor here at NSS that’d I’d post up some Art of Noise. Well, when AON started out, a lot of folks were like, “WTF” but soon they were being sampled by a whole new bevy of bands on what seemed like a daily basis.

Now with this great remixes release, it has all come full circle. The bands & artists that were sampling AON are now paying tribute with their own unique versions. I hope you all enjoy.

Art of Noise – The FON Mixes 2x12” 45s, China Records WOL1023, 1991.
decryption code in comments

Record One _

Side One –

Instruments of Darkness (Prodigy mix)

Shades of Paranoimia (Carl Cox mix)

Roller 10 (Rhythmatic mix)

Side Two –

Yebo (Mark Gamble mix)

Back to Backbeat (Robert Gordon mix)

Dragnet & Peter Gunn Have a Day at the Races (Mark Gamble mix)

I of the Needled (Sweet Exorcist [Richard H. Kirk] mix)

Record Two –

Side Three –

L.E.F. (Mark Brydon mix)

Legs (Graham Massey mix)

Catwalk (Ground mix)

Side Four –

Ode to a O.J. (Mark Gamble mix)

Crusoe (LFO mix)

The Art of Slow Love (Youth mix)

No Sun (Mark Gamble mix)

Dance like you mean it...what's the matter???Afraid of the Art of Noise???
NØ

Twenty-two Zombies Later

Well, I haven’t spent much time staring at this screen this weekend. A buncha my friends dropped by & magically it turned into a Tiki Weekend. We’ve been keeping the Mai Tais & Zombies flowing. For a while I was DJ’ing with some style, but as the hours & drinks added up, I stuck these two CDs on random play & got to relax with everyone else. & I didn’t get any complaints, so I’m posting these here for you. Mix up some drinks & enjoy.

Two Zombies Later: Strange & Unusual Music from the Exotica Mailing List, 

Comfort Stand Recordings csr001, 2003.

decryption code in comments

CD One –

Br. Cleve & His Lush Orchestra - Shaken Not Stirred
Eric & Ryan Kilkenny - Bongo Avenger
Marble - Wah Factor 3
Philip Jackson - Nature Boy
Jeff Chenault & Andrew Izold - Exotica Revisited
Tipsy - Kitty's Daydream (Longhair mix)
Scotch & Soda (Max McMillan) - The Lonely Bull
Don Tiki - The Natives are Restless
Jack Fetterman & the In Hi-Fi Music Direction - Acapulco 2000
The Weird Lovemakers - Quiet Spillage
Skip Heller's Hot Seven - Spy Perfume
Otis Fodder - Brilliant Pillows (Many Moons)
Astroslut - Love Theme from Astroslut
Der Plan - Jungle Village
Misty Roses - Up in Flames
Künstler Treu - If Jesus Came
Sem Sinatra - Toryansay

CD Two –

Mr. Melvis - A Walk Through the Powerhouse
Weirdomusic - Fiber, Ruler of Pinakel
djfreshmoney - Whammo
Dana Countryman - Cocktails in Space
Jan Fornell - Drift
Bruce Lenkei - Moonlight Zombie Dance
Bumpenstein - Fuad Motel
Narcotic Syntax - Pingpong Voodoo
Hybe - Venom
Impro – Farid, Astronauts from Maghreb
Black Sash - You People
Mental Anguish/NOMUZIC - Blissful in Enchantro
Songs to Drink & Drive By - Walk on By
Magnus Sandberg - Island Knockin'

Bottoms Up,

NØ

It's just a Cosmic Joke

This really is a cosmic joke, but not all the musicians involved were laughing. Rolf-Ulrich Kaiser & Gille Lettman of the Kosmische Musik label arranged several acid parties in early 1973 to be held at Dieter Dierks studio in Stommein, Germany. Since 1969 Dierks Studios had  been the home of the most important Krautrock artists, first generation German rock bands, & electronic pioneers, among them Ihre Kinder, Ash Ra Tempel, Tangerine Dream, Witthüser & Westrupp, Hoelderlin, Wallenstein, Birth Control, Guru Guru, Embryo, Popol Vuh, Bröselmaschine, the politically orientated rock bands Amon Düül, & Floh de Colgne.

The musicians attending Kaiser’s acid parties were offered drugs in exchange for recording tracks. Participants included Manuel Göttsching & Klaus Schulze of Ash Ra Tempel, also Jürgen Dollase & Harald Großkopf of Wallenstein. Prior to this, all of the musicians involved had been in the Cosmic Couriers, which had played on experimental recordings by Sergius Golowin, Walter Wegmüller, & Timothy Leary.

Kaiser took the tapes from these sessions. He edited & mixed them with the help of Dierks. He then released them on his label, Kosmische Musik, complete with the musicians' pictures on the LP sleeve, without asking for their permission. Göttsching did not find out about the record release until he heard one of the records playing in a record store in Berlin & asked the record clerk what was playing.

Kaiser released five records accredited to the Cosmic Jokers in 1974. While none of the musicians were happy with the recordings, Schulze was so angry after the release of Gilles Zeitschiff that he sued Kaiser. In 1975, Kaiser was forced to discontinue & withdraw the recordings. He fled the country over the affair, abandoning his record label over the threat of impending legal problems.

Here are two of the better examples…

Cosmic Jokers – Cosmic Jokers, Kosmische Musik KM 58.008, 1974.

decryption codes in comments

Seite 1 –

Galactic Joke

Seite 2 –

Cosmic Joy

Galactic Supermarket – Galactic Supermarket, Kosmische Musik KM 58.010, 1974.

Seite 1 –

Kinder des Alls

Seite 2 –

Galactic Supermarket

with Rosi Müller,& Gille Lettmann

Enjoy this tripping Krautrock,

NØ

More Brainiacs

Back in February 2009 I posted up The Brainiacs – Drunk with Funk. I have had feelers out to all my musick scouts searching for the bands debut self-titled 7". The other day my searching paid off & I now have a copy of said 7". I’m sharing it with you here. If you enjoyed Drunk with Funk, than you’re sure to enjoy this.

The Brainiacs – Self-titled 7" EP, Mental Health Records, 1979.

Side A –

Don’t Tell Me Why

Take Me to Paris

Side B –

Suzie’s so Unsure

Stunned

Goodbye BizarroWorld,

NØ

Flash from the Past

Those of you who may have followed the Musick Around the World project might remember a slight side trip I took when I got to Italy. I was given an assignment to procure some secret documents from under Vatican City.

While the documents were briefly in my possession, I had the opportunity to photograph some of them. Most were written in code or some Latin variation, but there were some that were obviously in German. Knowing the alleged connection between the Roman Catholic Church & the Third Reich, I copied many of those in particular.

Here is one that I managed to partially translate. Check it out…

"... Vladimir T., eine Bulgarische immigrée, hatte in seinem Besitz einige deutsche Dokumente, welche die Nazi-V-7 spezielle Waffen-Programme. Die geheimen V-7-Projekte waren in der Tat eine Reihe von kreisförmigen Flugzeugs Forschungsdesigns entwickelt radikal neue Waffen-Plattformen, könnte steigen und steigen senkrecht, fliegen bei hohen Geschwindigkeiten und sehr großen Höhen mit einem neuen 'Implosion' Motor-Design zusammen mit anderen Elektrogravitationsenergieumwandlung Prinzipien Herstellung eines selbst ausreichend elektrostatisch erzeugte Kraft um die Macht. Solche Motoren wurden von AEC hergestellt (Allgemeine Elektricitäts-Gesellschaft), der große Riese von elektrischen Industrie Deutschland, für dieses Programm so früh wie 1944 Diese Stromgeräte erzeugt ihre eigene elektroSchwereFeld, die natürliche Schwerkraft der Erde neutralisiert Ergebnis, dass sie schwerelos. Another neue Motorprinzip für Helium verwendet Kraftstoff.

 

 


Es gab mindestens drei große Entwicklungen innerhalb der V-7-Programm. Es waren die Hanebu Modelle 1 bis 9, zumindest, Vril-Modelle 1 bis 7 als auch, & Beyond, dass die meisten wahrscheinlich. Dann gab es die zylindrischen Mutterschiff Trägerprojekt , das die Hanebu & Vril Handwerk im Flug transportieren. Forschung in dieser Richtung hatte sich seit Anfang 1941 durchgeführt.
 

Die Modelle waren Hanebu größeren Scheiben im Bereich von 25 bis 40 m im Durchmesser. Sie wurden von mehreren zwangsrekrutiert Energieeinheiten zusammenarbeiten, wie der AEG-System angetrieben. Diese Einheiten auch ihre eigenen Elektrogravitationsfeld , das die natürliche Schwerkraft um sie herum neutralisiert erzeugt, wodurch das Handwerk & alles was man im Wesentlichen durchgeführt schwerelos. Experimentelle Versionen dieses kreisscheibenförmigen Handwerk durchgeführt 02.59 7,5 Zentimeter Panzerabwehrkanone auf ihrer Unterseite. Fotografien von solchen Fahrzeugen wurden von Vladimir gesammelt. T., von denen einige auch im Film Dokumentarfilm erschienen. 

 
Ein Bild zeigt eine 2 1/2 Tonne Militär-LKW neben einem Hanebu 2, einem Hebekran auf der anderen Seite, und 2 Männer unter der großen Scheibe an etwas geparkt. Andere Bilder zeigten die Hanebu Modelle im Flug.

 

 

Die Vril-Modelle waren kleiner tiefer Scheiben von fast glockenförmige Konfiguration im Aussehen mit 3 halbkugelförmigen Erhebungen darunter. Sie wurden im Jahr 1943 & 1944 in Nazi-Deutschland getestet. Die Vril 3 Modelle & beyond waren weit mehr gestrafft. Sie sah eher wie gewölbte Scheiben. Diese kleinen Schiffe waren 10,5 bis 15 Meter (30 'bis 45') im Durchmesser. Sie trugen Besatzungen von 1 bis 5 Männer.

 
Der zylindrische Trägerhandwerk waren mehr als 100 'im Durchmesser. Sie konnten eine oder mehrere der Hanebu Modelle & 3 oder mehr der kleineren Vril Modelle tragen, alle intern. Sie konnten starten und diese wiederherstellen, während Handwerk im Flug.

 
Wenn das Oberkommando in Deutschland festgestellt, dass sie nicht mehr den Krieg zu gewinnen, einige der wichtigsten Führer begann das Land zu verlassen, um für ein Wiedererstarken 4. Reich vorzubereiten. Diese geheimen UFO-Programme wurden offenbar demontiert und auf neue Basen in der Antarktis an Bord deutscher U-Boote durchgeführt. Die meisten ihrer wichtigsten Wissenschaftler ging mit ihnen, was, warum wir so wenig von diesen Programmen bis jetzt gehört, kann. Die wenigen Wissenschaftler, die zurückgeblieben waren von der US-oder russischen Regierungen und setzen sich auf den Inlands Programme arbeiten abgeholt, obwohl diese US & Russisch-Programme fehlte die Organisation der deutschen Mutter Programme, die evakuiert wurden."

Zusammen mit den Dokumentarfilm, gab es mehrere Audio-Kassetten von einem angeblichen Nazi-UFO-Kommandant. Die folgende ist eine der Audio-Kassetten ... "

Here is the translation…

"...Vladimir T., a Bulgarian immigree had in his possession some German documents describing the Nazi V-7 special weapons programs. The secret V-7 projects were in fact a series of circular aircraft research designs developing radical new weapons platforms that could rise & descend vertically, fly at high speeds & very high altitudes using a new 'implosion' motor design along with other electro-gravitic energy conversion principles producing a self-sufficient electrostatically generated force for power. Such engines were manufactured by AEC (Allgemeine Elektricitäts Gesellschaft), the great electrical giant of industrial Germany, for this program as early as 1944. These power devices generated their own electro-gravity field which neutralized the Earth's natural gravity, in effect making them weightless. Another new engine principle used helium for fuel.
 
There were at least three major developments within the V-7 program. There were the Hanebu models 1 through 9, at least; Vril models 1 through 7 as well; & most likely beyond that. Then there was the cylindrical mother-ship carrier project designed to transport the Hanebu & Vril craft in flight. Research along these lines had been carried out since early in 1941.
 
The Hanebu models were larger discs ranging from 25 through 40 meters in diameter. They were powered by multiple-ganged energy units working together, like the AEG System. These units also generated their own electro-gravitic field which neutralized the natural gravity around them, thus making the craft & all it carried essentially weightless. Experimental versions of this circular disc-shaped craft carried one to three 7.5 centimeter anti-tank cannon on their underside. Photographs of such craft have been collected by Vladimir. T., some of which also appeared in the some documentary films he found.
 
One picture shows a 2 1/2 ton military truck parked beside a Hanebu 2, a lifting crane on the far side, & 2 men under the big disc working on something. Other pictures showed the Hanebu models in flight.
The Vril models were smaller deeper discs of nearly bell-shaped configuration in appearance with 3 hemispherical protuberances underneath. They were being tested in 1943 & 1944 in Nazi Germany. The Vril 3 models & beyond were far more streamlined. They looked more like domed discs. These little ships were 10.5 to 15 meters (30' to 45') in diameter. They carried crews of 1 to 5 men.
The cylindrical carrier craft were over 100' in diameter. They could carry one or more of the Hanebu models & 3 or more of the smaller Vril models, all internally. They could launch & recover these craft while in flight.
 
When the High Command in Germany concluded that they could no longer win the war, some of the key leaders began leaving the country to prepare for a resurgent 4th Reich. These secret UFO programs were apparently dismantled & carried to new bases in the Antarctic aboard German U-boats. Most of their key scientists went with them, which may be why we have heard so little of these programs up to now. The few scientists who remained behind were picked up by the U.S. or Russian governments & put to work on domestic programs, though these U.S. & Russian programs lacked the organization of the parent German programs that were evacuated. 

Along with the documentary films, there were several audio tapes from a supposed Nazi UFO Commander. The following is one of the audio tapes..."

Nazi UFO Commander – Strange Monastaries, Old Europa Café OECDR011, 2006.
decryption code in comments

Tracklist –

The Coming Race (Vril Chant)

Sacrificial War

Führer

Morfee

Mercer is My Name

Pioneer

Can you say CONSPIRACY?

NØ

Heading Off to the Old Hunting Lodge

Hunting Lodge was an industrial/experimental band formed in Port Huron, Michigan in 1981 by Lon C. Diehl – vocals, bass, drum programing, Richard Skott - guitar, & Karl Nordstrom - keyboards as a platform to experiment with harsh, dark electronic-based music. Diehl had played synth/bass with the industrial post-punk band HATE/GREY. Skott had been self-releasing guitar noise experimentations under the name Screw Machine. The two started S/M Operations for the purpose of publishing a music ‘zine. The name S/M Operations comes from the two creators former projects: Lon C Diehl was already putting out a small publication called Smarm ‘zine & Richard Skott was releasing his cassettes under the name of Screw Machine (thus the name is read Ess Emm Operations, not S & M). The two bonded over their interest in the music of Throbbing Gristle, Dome, & SPK, as well as the plethora of post-punk musical experimenters of the time. In May 82 they released a single issue of S/M Operations. By that time they were collaborating on making music together.

Their first live appearance took place in September 4, 1982 at the Harrington Ballroom inside the Harrington Hotel. The event was recorded on a portable cassette player. It would become their first cassette-only release, Harrington Ballroom. After this first live event, Karl Nordstrom left the band, although he played on several tracks on their next cassette-only release Exhumed (re-released July 2014 by Exoteque Music – check out their Facebook page for ordering info) as well as their 1983 debut LP Will.

On their next LP, 1984s Nomad Souls, the band's earlier experiments with pure noise were now being combined with strong rhythms, using synched digital delays/early samplers & tribal drums. Following a U.S. tour (October 23 – November 18) in 1984, Skott moved to San Francisco while Diehl finished up the recording of the 12" EP Tribal Warning Shot. The title track off the 12" single of the same name released by Normal Records in Germany became a minor club hit.

Their final album 8-Ball was released in 1986. It has them pushing further into traditional song structure. For the uninitiated, the compilation Necroplolis covers many of their more well known songs. For their rawer style, I recommend their early work (pre-Tribal Warning).

Hunting Lodge – Harrington Ballroom cassette, S/M Operations, 1982.
all decryption codes in comments

Side 01 –

Icepick Method

By the Blood of Others

Ecce Qui Tolis Peccatta Mundi

Sonderkommando

Four Hoursemen

Side 02 –

Astral Ball

Mrs. Hagar

Simulation/Stimulation

Gone the Way of All Flesh

Lon C. Diehl, Richard Skott, & Karl Nordstrom. Edition of 150 cassettes.

Hunting Lodge – Will, S/M Operations SM01, 1983.

Side A –

Na Vilavilairevu

We are They

Hand of God

Shugendo Gyozha / You are of Me

Side B –

Icepick Method

Sounds like a Picture

S/M Operations

Will

Banishing Dirge

Lon C Diehl, Richard Skott with Karl Nordstrom – keyboards on “Icepick Method”. Edition of 500 LPs.

Hunting Lodge – Night from Night 7”, S/M Operations SM02, 1983.

Side A –

Night from Night

Side B –

Untitled

Hunting Lodge – Nomad Souls, S/M Operations SM03, 1984.

Side A –

Nomad Souls

Beautiful Ugly

Born of Force

Side B –

The Wolf Hour

Rhythm Cage

God Loves the Rock Stars

Becoming a Commercial – Interrupting

Nomad Souls

Lon C Diehl, Richard Skott with Richard Kinnee & Steve Kish – percussion, Roselle Williams – vocals, & John Steinborn – drums. Edition of 1000 LPs.

Hunting Lodge – The Harvest cassette, Inner-X-Music XXX-16, 1985.

Side A –

Astral Ball

Tribal Warning

Is That Right

Rhythm Café

Born on Fire

Night from Night

Side B –

Voodoo Eclipse

God Loves the Rock Stars

Learn to Will

E.Q.T.P.M.

Banishing Dirge

Lon C. Diehl, Richard Skott with Karl Nordstrom – keyboards B4, & Roselle Williams – vocals A6-B2. Live performances from 1984 tour – A1-A5, B5 950 Club, Chicago; A6,B1-B2 Composite Lodge, Detroit; B3 Johnny D’s, Boston; & B4 somewhere in Kansas City.

Hunting Lodge – Tribal Warning Shot 12" EP, S/M Operations SM04, 1985.

Side A –

Tribal Warning Shot

Soul-Vac

Side B –

Commerce

Tribal Warning Shot (live)

Lon C. Diehl, Richard Skott with Helmut Robison & John Steinborn – drums, Trish Damon – vocals, & Paul Steinborn – guitar.

Hunting Lodge – 8-Ball cassette, S/M Operations SMC5, 1987.

Side A –

8-Ball

May This Meat Kill Me

Kick up Some Dust

Rip ‘N’ Tear

Dodge the Steamroller

Side B –

Dark Night of the Soul

This is Truth

Pressure Press

Broken Gardens

Hourglass

Lon C. Diehl, Richard Skott with Helmut Robison – drums.

Hunting Lodge – Carnivora! 12” EP, Permis De Construire Deutschland PPP102, 1989.

Side A –

Carnivora (pts 1 & 2)

Side B –

Born of Fire

Feedback

Night from Night

Lon C. Diehl, Richard Skott, & Helmut Robison.

Hunting Lodge – Necropolis, Dark Vinyl Records DV#17, 1993.

Tracklist –

Tribal Warning Shot (studio version)

Nomad Souls

Beautiful Ugly

Born of Fire

The Wolf Hour

Rhythm Cage

God Loves the Rock Stars

Become a Commercial-Interrupting

Nomad Souls (Never Ending version)

Tribal Warning Shot (live version)

There is also a cassette from 1983 that contains unreleased material.

Hunting Lodge – At the Lodge cassette, unreleased, 1983.

Side A –

Untitled material

Side B –

Untitled material

Here’s something I found that might be of interest to completists. It was intended as an inside joke on Radio Station WLBS & DJ Mike Halloran. In the spring of 83, using the yet to be released track from Nomad Souls "God Loves the Rock Stars", Lon put together this track. WLBS was the first 'new music/new wave/dance' station in the Detroit area. The track aired on the first edition of its Garage Tapes show that featured local Michigan acts. It features DJ Hank Williams (seriously) reading Lon's letter that accompanied the tape. It is totally hysterical & William’s delivery is well worth the listen.

Enjoy,
NØ

Onde estão os desaparecidos brasileiros?

One of the stalwarts of Adrian Sherwood’s On-U Sounds Dub revival, Prince Far I, a man to grace any style with wisdom, a chanter to quake the walls of the city, a preacher to strike fear in the weak of heart, humble in the garden & proud in the city, was shot dead in Jamaica, September 15, 1983, one year short of his 40th birthday.

It was a massive, tragic loss.

Far I was close to completing a new album on the day of his murder. It was posthumously released under its working title Umkhonto We Sizewe (Spear of the Nation). Prince Far I’s last session included the recording of a track called "Special Request" which "felt like he was saying goodbye" states Roy Cousins, lead singer of The Royals & producer of Far I’s final recordings, who had been with Prince Far I that day in the studio. Cousins continues: "The next day I went to meet Prince at the studio but Jim Brown stopped me at Randy's Record Shop and told me that Far-I had been shot last night and passed away. I was shocked and could not believe it, so I went to his home in Edgewater and found a large crowd, everyone filled with grief."

After Prince Far I was murdered, producer Adrian Sherwood became fearful of the violence in Jamaica (followed October 14, 1983 with the murder of Hugh Mundell) & lessened his focus on roots & dub. Sherwood became more interested in digital sounds. The Missing Brazilians are a one-off from yet another collective of musicians he assembled in the wake of The New Age Steppers & Singers and Players, heavily featuring the input of On-U-Sound co-founder/in-house artist Kishi Yakamoto. She provided most of the keyboards & some of the bass lines.

This inorganic release straddles the line between warped dancehall & mutant dub brimming with wild phaser effects, booming wave crunches, washes of noise, highly synthesized poly-rhythms & occasional Oriental keyboard motifs.

There are two vocal tracks: "Gentle Killers" featuring Annie Anxiety (ex-Asexuals, Crass, & countless others) & "Savanna Prance" (featuring wordless singing from On-U regular Shara Nelson, who would later provide the vocals for Massive Attack's "Unfinished Sympathy"). This album, like Voice of Authority's Very Big in America Right Now was originally slated to be released on Cherry Red, but unlike the VoA effort it was deemed too weird for them. The production also had to be scaled back a bit because the music wouldn't fit in the grooves, but the remaster restored much of the original sound of the album.

The Missing Brazilians are: Kishi Yamamoto – keyboards & bass; Adrian 'Crocodile' Sherwood – bass & effects & Adrian 'The Prisoner' Sherwood – drums with Burnell 'Bonjo I(yabinghi Noah)' Anderson – percussion; Nick Plytas – keyboards; Anthony 'Bembo' Creary – drums; Evar Wellington – bass; Charles 'Eskimo Fox' Kelly – percussion & drums plus as noted above, Annie Anxiety & Shara Nelson – vocals.

The Missing Brazilians – Warzone, On-U Sound LP34, 1984.
decryption code in comments

Side One –

Crocodiles’s Court

Gentle Killers

Frequency Feast

Quicksand Beach Party

Side Two –

Savanna Prance

Meander

Igloo Inn

Missing Brazilians

Enjoy,

NØ