This Dub's On-U

On-U Sound with Adrian Sherwood at the helm produced, in my opinion, the best dub outside of Jamaica. When Sherwood met Keith LeBlanc in New York in 1984, things would never be the same at On-U or in the world of dub musick.

LeBlanc met up with Skip McDonald & Doug Wimbish in 1979. McDonald & Wimbish had been part of the New York 70s disco scene in the band Wood Brass & Steel They released a self-titled album in 1976 on Turbo records that gave them a pair of minor hits, "Always There" (a Ronnie Laws cover) & "Funkanova" (an underground jazz/disco classic still enjoyed by club-goers decades later). After meeting LeBlanc, the three hooked up with the newly-formed Sugarhill Records. They soon became the label's house band, providing backing for the Sugarhill Gang, Grandmaster Flash, & Melle Mel. They were instrumental (literally) in launching 80s rap.

 As Sugarhill self-destructed (accompanied by drawn-out legal hassles over musick rights), the three musicians continued to work together on various projects. Described as one of the day’s ‘most extraordinary rhythm sections’, they moved on from Sugarhill to Tom Silverman's Tommy Boy label. There Keith LeBlanc released some solo work ("Maneuvers" & "Uh!" on the 1985 Masters Of The Beat compilation). He created the now legendary unique DMX drumbeats style by mixing it with his own special drum sound. LeBlanc’s release "Malcolm X No Sell Out" featured the cut-up words of civil rights activist Malcolm X juxtaposed against the infamous DMX drumbeat, now acknowledged as the first ever sampling record. Sugarhill had purchased some of Malcolm X’s speeches & LeBlanc got some samples from Marshall Chess. He then recorded “Malcolm X No Sell Out” at Tommy Boy, as Sugarhill was not willing to pay Malcolm’s widow royalties. In fact, Sugarhill released a version of the song, credited to the phony group Sugarhill All-Stars.

"Malcolm X No Sell Out" caught the attention of London's dub-meister extraordinare & On-U Sound label owner Adrian Sherwood. Sherwood was working on a remix of Akabu’s "Watch Yourself" for Tommy Boy. He met LeBlanc, along with Keith’s cohorts McDonald & Wimbish. This meeting spawned the radical collaboration between the British producer & the three American musicians that continues to this day. Later the four teamed up in London to begin work on a new project which they christened Tackhead/Fats Comet. Wimbish came up with the name Tackhead, which is New Jersey slang for homeboy. Fats Comet was the alter ego of Tackhead.

Tackhead is the zenith of years of experimental collaboration: LeBlanc’s beats; Sherwood’s Dub Methodology; McDonald’s distorted guitar; & Wimbish’s funky bass.

To quote Steve Barker's liner notes for the Tackhead/Fats Comet compilations Power Inc., volumes 1 & 2:
      "In short, the master plan, although never commited to either memory or paper, was for                 Tackhead to take dub/funk on a journey through leftfield and into the unknown to God knows where, and then for Fats Comet to pilot the mothership smoothly back from this alternative dimension to a safe earthly landing with sounds that you would recognise instantly without ever having heard before."

Here, collected in one place, are all the singles of FatsComet…

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BOP  BOP  

(12" on World Records & Magic Records/World Records - 1985/1988)

• Bop Bop
• Zoop Zoop

Credited: Fats Comet and The Big Sound

 DEE JAY'S DREAM

(12" on World Records - 1985/1988)

• Dee Jay's Dream
• Dee Jay's Program
• Eat the Beat

 DON'T FORGET THAT BEAT

(12" on Rough Trade Records - 1985/1987)

• Don't Forget that Beat
• Freak Out

Credited: Doug Wimbish featuring Fats Comet

 KING OF THE BEAT 

(12" on World Records - 1986, never officially released)

• King of the Beat
• (It's Time)
• Body to Burn (So Different)
• Eat the Beat (Put a Smile on Your Face)
• (Now Here Comes that Beat)

Credited: Fats Comet with DJ Cheese

 ROCKCHESTER

(12" on World Records - 1987)

• Rockchester
• O.K. Bye!

 STORMY WEATHER

(12" on Rough Trade Records/Logarhythm Records/Rough Trade Records - 1985/1986/1987)

• Stormy Weather
• Dub Storm

Enjoy,

NØ

How about Some New Electric Music?

I don’t really have to say much here, do I? The Dead C. Lotsa noise…lotsa fun.

This is from 2002 & TDC are at this point exploring sound experimentation. They start out kinda slow on “Killer”, but the resonant guitar tones keep shifting pitch with strange regularity, & analog sounding clicks & pops signal weird changes in structure. Minimalism at its most exquisite. Next,“Hush” even features some so-called ‘vocals’. Trippy. There’s radio noise, distorted guitars, free-form drumming, variable pacing, more distorto vocals. Then “Forever”, which doesn’t really last forever, only 30+ minutes, screams with bowed guitar & feedback, barrages of purest sublime noise.

I don’t really have much to say. The Dead C. If you don’t know ‘em, you might not want to start here. If you know ‘em & like ‘em, this is tastee!

 The Dead C – New Electric Music, Language Recordings – LR Three, 2002.

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Killer

Hush

Repulsion

Stand

Forever

Enjoy,

NØ

A Man with Everything Against Him

Patrick Miller, leader of underground ensemble Minimal Man, was born in Glendale, California, on 2 January 1952. He studied art at Sonoma State University, where he concentrated chiefly on silk-screening. In 1979 he moved to San Francisco & began working on experimental musick & film. Minimal Man began as a vehicle to produce soundtracks for his films. Miller also began to collaborate with a wide variety of punk, new wave & industrial musicians, including Tuxedomoon. By October Minimal Man was performing at the legendary Deaf Club & other venues around the city. As the musick blossomed, Miller became less interested in film & more interested in the music itself.

Minimal Man cut two albums of dark industrial punk rock (The Shroud Of… &  Safari ) while in San Francisco. The debut Minimal Man album The Shroud Of... was originally released by Berkeley label Subterranean Records in 1981, when the core band was a trio made up of: Miller – vocals, keyboards, & tape manipulation; Andrew Baumer – bass & saxophone & Lliam Hart (Pansy Division) - drums. Minimal Man became one of a select handful of influential groups from this era to bridge punk & industrial music. They mixed punk aggression with tape-loops & atmospheric electronics, creating a dissonant, unsettling sound described at the time as ‘antimusic’. Although usually classified as industrial punk, Minimal Mam’a musick contained elements of cold wave, art rock, post-punk, new wave, avant-garde, experimental electronics & noise.

Although the foundation of the band was Miller, Baumer, & Hart, Miller wanted the group to be more of a musical collective, so their debut record featured contributions from a myriad of artists: Hitoshi Sasaki; Stephen Wymore (Pink Section); Stefano Paolillo; Michael Belfer (Sleepers, Tuxedomoon); Steven Brown (Tuxedomoon); Michael Fox (Code of Honor) & Gary Miles. However, only their debut & Slave Lullabyes (featured here) would showcase such an array of collaborators.

Miller relocated to Europe in 1985 after the dismal response to the band here in America, settling in Brussels alongside fellow SF expats Tuxedomoon. While there, the band released four albums: Sex With God; Slave Lullabyes; Hunger is All She has Ever Known;  & Pure.

In the 1990's Miller returned to America, settling first in New York, then back to California, working as a set dresser in the movie business. He stayed in that line of work & never recorded any further music. He died at his home in Eagle Rock, California on 14th December 2003 from Hepatitis C.

 Minimal Man – Slave Lullayes, Fundamental SAVE 11, 1986. 

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Side One –

Trains

Heaven Lies

Far Away

War at Nite

The Light

Noose Gets Tight

Side Two –

I Wish

Rue du Cinema

Voice of Vacaville

Fun!

Enjoy,

NØ

Happy Beekeeper's Day - - - Psych!

Braen’s Machine was an obscure studio project of renowned Italian composer Piero Umiliani 

with the help of Morricone spaghetti-western whistler-extraordinaire & guitar wizard Alessandro Alessandroni (aka Braen).

Recorded in the SoundWorkShop studio in January 1971. It was released in a very limited issue of around 100 copies on Umiliani’s own Liuto label. This is instrumental psych featuring acid-drenched fuzz guitar, Hammond keyboards & interesting drumming. It could easily be the soundtrack to an unknown movie.

Braen’s Machine – Underground, Liuto Records LRS 0044, 1971. 

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Side A:

Flying
Imphormal
Murder
Gap
Military Police

Side B:
New Experience
Fall Out
Obstinacy
Description

Enjoy,

NØ

What a Week It's Been

The Past Seven Days were from Sheffield, England. They signed with 4AD & released this single.

 

 

I know these tracks are both available on 1997 4AD rerelease of Various Artists - Natures Mortes-Still Lives, a compilation of early 4AD bands that was originally released in Japan in 1981. I just thought that some folks might like to have the original so here it is. I liked a lot of older 4AD bands (Xmal Deutschland, The Wolfgang Press, & more). This is some early post-punk, kinda dark but not really goth, maybe more like noir. There are plenty of synthesizers, but it is not synth driven, there is plenty of scratchy guitar, sparse rhythms, & early 80s era moody vocals.

I believe this is the bands only release. After this 7”, they left left 4AD to sign with DinDisc (home of OMD & Martha & The Muffins, among others). They seem never to have had any output on that label, unfortunately. 

 

 

 The Past Seven Days – Raindance b/w So Many Others 7”, 4AD – AD102, 1981.

Side A – Raindance

Side B – So Many Others

Enjoy,

NØ

Alzheimer's & Osteoporosis & Incontinence, Oh My

Re-Upload: This delight has been re-upped on August 31, 2020 from files rescued from the apocalypse. Enjoy, NØ

Common Ailments of Maturity formed in Boston in1985 with Lawrence Dersch, Dennis Plinn, & Timothy (Ratdiet) Robert. They are most noted for their live shows which featured new member John Breglia who took over as keyboards, bass, & melody on his Chapman Stick. The Stick was popularized by Tony Levine in King Crimson.

     “Imagine creating music on a stringed instrument that is simultaneously a guitar,

       a bass, a piano, & percussion. Add unlimited electronic capabilities & forward-    

       thinking playing techniques for ultimate expression. Now, design a tuning to

       make navigation of the instrument amazingly simple, streamline the look &

       feel for optimal accessibility. This instrument already exists as the

       Chapman Stick.”

CAM released three LPs & two singles in their short life-span. The band was active until about 1992 when they released their final work, the single “Machinery Turning b/w Erosion”. They were praised by the music press, played with the best of the Boston underground, but reached a relatively small audience. This could be caused by the fact that they played a noisy, difficult, uncompromising music which was hard to pigeon-holed. It’s funk-jazz fusion blended with punk, creating a highly personal disharmonic rock ‘n’ roll.

Smoldering Lunchbox released in 1987 by Common Ailments of Maturity themselves, on their label Extremely High Quality Records (EHQ 12001). On this recording, CAM was: Timothy Ratdiet – guitar & vocals; Dennis Plinn - synthesizer; & Lawrence Dersch - drums.

The following pseudo-biography is from the records insert:

“April 30 1987
Fed up with hearing "Proud Mary" and "We've Only Just Begun" every night for twelve consecutive years, Dennis Plinn abandons his lucrative position as musical director of a Caribbean cruise ship. He moves to Boston, taking a job as piano accompanist for a strip tease act at the Naked I Cabaret in the city's notorious combat zone. Although the money isn't good, Plinn finds his new occupation spiritually uplifting.

October 1 1987
Lawrence Dersch is financially ruined, alcoholic and homeless. Once a well respected radio and television technician, his skill have become obsolete with the advent of the microchip. Desperate, Dersch turns to panhandling in Boston's subway corridors. On this evening, though, his fortune takes a turn for the better...Dersch discovers he can triple his income by beating out rhythms on the foreheads of passing commuters. Dersch becomes a local celebrity overnight.

October 21, 1987 5:45 PM
Timothy Ratdiet, importer of counterfeit Fender Stratocasters, locks up his office on the tenth floor of a dingy warehouse in Boston's Chinatown section. In a dark mood after making a hush money payment to a U.S. Department of Commerce official, Ratdiet drives his '83 Porsche 911 two blocks to the Naked I for a stiff drink and a new attitude.

October 22, 1987 2:35 AM
After a massive barroom brawl at the Naked I, Ratdiet, Plinn and Dersch find themselves sharing a cell in Boston Police District Four Headquarters. Discovering a common interest, the three while away the hours waiting for a bail bondsman by singing Lithuanian folk songs of the 18th century. Common Ailments of Maturity is born.”

Common Ailments of Maturity ‎– Smoldering Lunchbox, 

Extremely High Quality Records ‎– EHQ 12001, 1987. 

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Side One –

Smoldering Lunchbox

Carpet Bag

Mental Block

Wetness

Side Two –

Drop Dead

Stake

Trudge

Restless Hunger/ Trench

Acid Mix

Enjoy,

NØ

It's All ABout Exposure

The Night that Donna Martin Lost Her Virginity refers to an episode of the original 90210 in which Tori Spelling as Donna Martin lost… This is a Greek project with some of the same personnel that gave the world About Exposure - About Exposure. This project is Abex (ABout EXposure, get it) 2, espousing the same philosophy: 

     “We believe that music exploration has definitely been constrained by means of property, money makin’ and fame gainin’. Therefore these recordings are given away for free. 200 copies were distributed hand by hand. Keep copying. The cost of this project was 100 €, June 2003”

Instantly classic experimental, music-noir, instrumental, electro, darkcore, trip-core.

The Night that Donna Martin Lost Her Virginity – Abex 2, self-recorded, 2003.

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Tracklist:

1.

ice

i have to feed my soul

would you hold my hand (if I had a gun)

dirty summer

παρένθεση

έτσι

i don’t have a dream

one more blippy song

10

Enjoy,

NØ

Once was a Good Samaritan in Cali

I’ve posted Black Humor’s Love God, Love One Another in the past. Finally in late 2011, Superior Viaduct had the smarts to reissue this lost treasure. Well Dan Houser of Black Humor also plays guitar on this Good Samaritans 7”. Bob Pittman released a single “I Just Do/Wanderer” on Fowl Records in 1984 co-produced by Dan Houser & with lead guitar on “I Just Do” by another member of Black Humor, George Miller. Patty Costa , the vocalist here, sings Black Humor’s “Neo-Hippies”, Marc Berndt plays drums in both bands, so you get the whole Black Humor/Good Samaritans incest thing, right.

Good Samaritans are: Patty Costa – vocals; Dan Houser – guitar; Bob Pittman – guitar & vocals; John Anderson – bass; Marc Berndt – percussion; Darvin Bowen – saxophone; & Sara Tyson – backing vocals.

Good Samaritans ‎– Dotted Line b/w Nightmare Theme 7” 45, self-released, 1980.

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Side A: Dotted Line

Side B: Nightmare Theme

Enjoy,

NØ

Homme de beaucoup de chapeaux

Jean-Pierre Massiera (at board) & Bernard Torelli (right) at Antibes Studio 16

 

Jean-Pierre Massiera's name should be familiar to anyone into heavy duty psych/prog/experimental musick. Composer, arranger & producer extraordinaire, JP is a shadowy figure involved in much of France's most arcane musickal output. He had a hand in everything from Visitors's surrealist sympho-prog & Horrific Child's deranged rock to J.P.M. & Co.'s discombobulated disco & his pinnacle achievement, 1968s studio project Les Maledictus Sound (a holy grail in French underground musick).

Jean-Pierre Massiera was born in Nice. Early on he was a guitarist with two local rock bands in the sixties, Les Milords & Les Monegasques. From there he gravitated to the recording studio, becoming a noted sound engineer, involved in various ways with the French rock scene in the sixties, seventies & eighties. As early as 1966, he had opened his own eight-track studio in his home town, recording some of the pioneers of the local rock scene there such as: Les Pyranhas, with drummer André Ceccarelli, later to become a well-known jazz artist; & the female singer Jessie Joyce. In 1972, he opened his new 16-track studio at La Fontonne between Nice & Antibes, which became known as the Azurville studio (a.k.a. Antibes Studio 16).

Bernard Torelli is half-brother of Jean-Pierre. Bernard had been guitarist in numerous outfits & Jean-Pierre naturally asked Bernard to participate in planned Antibes Studio 16 ventures. Bernard accepted enthusiastically, having his own ideas for new projects & compositions.

Turn Radio On is illuminated by Torelli’s funk/rock guitar work & Massiera’s phenomenal studio wizardry. Many Antibes 16 alumni guest on this mélange of musickal marmalade. “Turn Radio On” TRO’s opening track is a perfect slice of funky 70s R&B. From there this album somehow touches on: popcorn disco; Earth, Wind, & Fire style soul/jazz fusion; syrupy orchestral dance tuneage; blaxploitation soundtrack; Village People Indian tomfoolery; pseudo-classical; & acoustical folk funk. “Radio Galaxia” offers up some twisted French cosmic Funkadelic slop while “Special Night” is all sci-fi hi-jinx. There something here for everyone to dig. Ya gotta love this OOP treasure.

Massiera-Torelli – Turn Radio On, Marcy Music – 27 12 76 002, 1976.

Side A:
Turn Radio On

Help Taxi

Whistler Program

Knock Out

Chicaccordios

Quelquepart Quelqu'un

Side B:
Radio Galaxia

Indian Duck

Concertrim

5/4 Connection

Special Night

Radioscopia

Enjoy,

NØ

Time to Come Clean

I suppose I don’t really need to go to any great lengths telling you all about The Clean. Formed in Dunedin, New Zealand by brothers David (guitar) & Hamish (drums) Kilgour. After a few line-up changes, the brothers K settled on Robert Scott as their bass player. The band was the forerunner of NZ punk. They are practically the reason why the phenomenal label Flying Nun came into existence. Their sound is unique, combining elements as divergent as surf rock, pop, dub, psychedelia, kraut rock, & punk. They influenced myriad bands such as Sonic Youth, Yo La Tengo, Pavement, Guided By Voices & many, many more.

The Clean’s Syd's Pink Wiring System is made up of material recorded in 2000 (tracks 1-9 recorded live at Sammy's, Dunedin, NZ on 13 Oct 2000 for a live Broadcast from Dunedin by KFJC 89.7 FM Foothill College, Palo Alto, CA. - 10-11 recorded live at Arc Cafe, Dunedin, NZ on 7 Nov 2000) & was released to help support the bands June 2003 US tour. The music here is chameleon-like, mesmerizing, improvisational…variations on many of their best tunes. This release is currently OOP.

 The Clean – Syd’s Pink Wiring System, Cleano Records cleano 0001, 2003.
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Tracklist:
Fish
I Wait Around
Hold on to the Rail
At the Bottom
Point That Thing Somewhere Else
Do Your Thing
Quickstep
Crazy
Side On
Stars
Jala

Enjoy,
NØ

Light, Traps & Exploding Wires

 Naux was Juan Maciel. He died on February 8,2009 after a prolonged illness. Naúx is pronounced ‘nah-ooj’, based on the reversed spelling of his first name. Naúx was a guitarist for Richard Hell’s Voidoids during the Destiny Street sessions & was a co-founder along with bassist Steve Cohen of China Shop.  China Shop has enjoyed a retrospective digital download release from Anthology Recordings, but Naúx's solo album remains a vinyl-only rarity. 

Light, Traps & Exploding Wires is a rather obscure & rare LP from the New York no wave collective named here simply Naux. This record was the second release on the Noise New York label, recorded at Noise New York studio located on 34th Street above La Polpetta (the Meatball), owned by Frank & Dwight Eaton. It has all the hallmarks of No Wave: jagged guitar lines; funky bass lines; lyrics about alienation; & an all-around artiness. It features some of the New York No Wave scene’s finest.

Richard Horowitz & Sussan Deihim would go on to release exquisite albums of synth-heavy Western/Middle Eastern fusion; Fred Maher was the original drummer in Material as well as playing with the Voidoids; Robert Quine is well-known as Richard Hell's main guitarist & for his guitar work on Matthew Sweet's "Girlfriend"; Mike Allison continues recording today under the moniker Darshan Ambient; & Steve Cohen has played with Mike & Naux in Nona Hendryx’s Zero Cool & China Shop (with a young Richard Edson) . 

Naux – Light, Traps & Exploding Wires, Noise New York NNY 002, 1982.

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Side One:

Mammoth Tarpits: Naux – guitar & synthesizer; Mike Allison – bass; Frank Eaton – synthesizer

Forget Just Once: Naux – guitars & vocals; Mike Allison – bass, Charles Wood – drums

Don’t Know Love: Naux – guitar, bass, synthesizer, & vocals; Mike Allison – guitar; Jay Dorfman -                                               Roland 808synthesized drums             

The Tiger Waits for Me: Sussan Deihim – vocals; Naux – guitar, bass, synthesizer, & vocals; Frank Eaton –                                        synthesizer; Charles Wood – drums

Too Much Sex: Naux – guitar, bass, synthesizer, & vocals; Steve Cohen – synthesizer

The Dance of Conflict: Naux – guitar, bass, & vocals; Cliff Williams – bass; Richard Horowitz – synthesizer;

                                   Douglas E Bowne – drums & congas

Side Two:

Sounds & Daughters: Naux – vocals; Kevin Fuller – guitar; Mike Allison – bass; Frank Eaton -                                           synthesizer; Steve Cohen – synthesizer; Jim Allington – drums

Transmissions: Naux – guitar, bass, synthesizer, & vocals; Richard Horowitz - synthesizer; Charles

                      Wood – drums, percussion,  Kevin Fuller – percussion

Atlantis: Naux – guitar & vocals; Mike Allison – guitar & vocals; Steve Cohen – bass; Jim

             Allington – drums & vocals,

Face to Face: Naux – guitar, synthesizer, & vocals; Robert Quine – guitar; Jim Allington – drums

World Without End: Naux – guitar, synthesizer; Brian Cullman – synthesizer; Frank Eaton – synthesizer;

                               Jim Allington – drums

Info sheet lists phantom track "Time Zones" between A6 & B1
(though this goes unexplained…it is on vinyl??? after all).

Enjoy

NØ

This Ain’t Bubblegum

I’ve wanted to post some Bazooka Joe for quite some time. Their two 7” eps Pastor of Muppets & Send in the Klowns are both great energetic political punk from 1988-1989. I saw them at a house party in West Oakland with some of the same bands on the compilation featured here today. I got to hang out with the band & the two Darryl (or Darel)s were super cool. I got a cloth patch from them that has adorned many long-gone pieces of apparel, yet the patch lives on. 

Bazooka Joe are from Myrtyle Beach, South Carolina. The band’s members were deeply involved in the punk scene in Myrtle Beach & the Carolinas, bringing some of the first touring punk acts to their area. Formed in 1987, they play throughout the South & also did three national tours before disbanding in 1991.

I knew that the Joes had re-grouped a few times in the ensuing years. I just found out that they played at the annual Rockers Reunion this past Thanksgiving, are now planning on recording some new material, & might be re-releasing their first two eps. In the hopes that it might be true, I won’t post up that material, but will give you all a taste of their sound anyhow. They have appeared on a few compilations, most notably Maximum Rock’N’Roll ‘zines They Don’t Get Paid, They Don’t Get Laid, but Boy Do They Work Hard &  Very Small Records/Too Many Records What Are You Pointing At?, the latter which I’m posting up today.

Very Small Records was a very cool Bay Area (CA) independent record label formed in 1989 by David Hayes, also co-founder & former co-owner of Lookout! Records. In 1994 Hayes changed the name to Too Many Records but then in 1997 changed it back to Very Small Records. Very confusing/ Too many names.

Bazooka Joe are: Darel Watts – vocals; Darryl (Derelict) Cook - guitar; Sean Sheely - bass; & Mark Holt – drums.

All the other bands on this comp. are excellent. I posted Econochrist here before & everyone is surely aware of Screeching Weasel & Dissent, if not the rest. I am not ignoring them or selling them short…this just happens to be about Bazooka Joe.

Various Artists - What Are You Pointing At?, Too Many Records, 1994.

Second pressing – black & white cover, black vinyl, 1770 issued in1994 on Too Many Records, which is just Very Small Records by a different name.

Decryption code in comments

Side A:

Take

Tooth Itch - Econochrist

I Wanna be a Homosexual

Kamala’s too Nice – Screeching Weasel

Die Robot Die

11:40

Rich Boy – Vapor Lock

Side B:

Peanut Butter

Punching Bag

Governmental Parasites

Chamba – Schizoid

Typical

Meathouse – Dissent

Do What You Can

Ignorance

Morals – Bazooka Joe

Outro

Enjoy,

NØ

Let Me Be Your Servant

About time I post up some punk rawk here. 

Today’s serving is the band Ludovic from São Paulo, Brasil. Ludovic formed in 2000 with: Jair Naves - vocals; Edward Square – guitar; Ezekiel Underwood – guitar; Fabio Sant’anna – bass; & Julio Santos – drums.

They began playing local house shows & hole-in-the wall ghetto clubs, strictly in the best of DIY punk tradition. Soon their notoriety grew through word-of-mouth & they were playing some of Brazil’s largest festivals.

Ludovic released a self-titled ep in 2001, then Servil(Servant) in 2004, & Idioma Morto (Dead Language) in 2006. Servil is the release that really solidified their following, showcasing their unique style while hinting at some of their probable influences (Mission of Burma & Black Flag to name two). Their sound is raw, fast & intense. At the time, this album made many Best of… lists. It also garnered the band the 2005 Independent Music Dynamite Award for ‘best album in indie rock”. While Idiomo Morto may be the bands most accomplished & polished release, Servil has a much rougher, less produced style more approaching the band’s live sound.

Ludovic – Servil, Teenage in a Box, 2004.

decryption code in comments

Tracklist:

Você Sempre Terá Alguém A Seus Pés

Teoria E Prática Na Voz De Um Veterano Ofegante

CVV

Vane, Vane, Vane

Boas Sementes, Bons Frutos

Nós, Os Milionários

Repetição Insignificante

Ombro A Ombro

Tolice

Servil

Mais Um Vexame Para A Minha Coleção

Enjoy,

NØ

Bugs Fuckin' Bunny

 

The Fatima Mansions took their name from a crumbling Rialto, Dublin housing estate. They were formed in London in 1989 by the acerbic Cathal Coughlan, who had recently emerged from the demise of Microdisney, & he teamed up with guitarist Andrias O'Gruama, bassist Hugh Bunker, drummer Nick Allum & keyboardist Zac Woolhouse.

Viva Dead Ponies was released in 1990, when TFM’s sound was transitioning from a more synthy sound to a more guitar driven style. Their musick has been described as ‘Vitriol delivered in a smooth package with a poisonous soft centre’. Cathal Coughlan’s singing is unique & he's a clever songwriter as well, with more than a touch of Scott Walker.

VDP starts off with “Angels Delight”, whose light poppy intro lulls you in, then kicks you in the head with some absolutely vicious lyrics. Then the band comes in with musick that knocks you backwards onto your angelic ass. The album continues from here, alternating between dark & darker bitter pop.  This is a high point for the edgy, assaultive Fatima Mansions.

Viva Dead Ponies was re-released under a short-lived reissue program by Kitchenware Records/Warner Music (UK) under exclusive license of Sony/BMG Music Entertainment (UK) Ltd. in the UK & Europe in 2007. It is once again out of print, but you never know about corporate greed, so you better get it while you can.

The Fatima Mansions on Viva Dead Ponies are: Cathal Coughlan - vocals & keyboards; Andrias Ó Grúam - guitar; Hugh Bunker - bass; Nick Bunker - keyboards; Nick Allum - drums & guitar; with Kenny Davis - accordion & Dame Alison Jiear - additional vocals.

The Fatima Mansions - Viva Dead Ponies, Kitchenware Records‎– KWLP 15, 1990.

 decryption code in comments

Side A:

Angel’s Delight

Concrete Block

Mr. Baby

The Door-to-Door Inspector

Start the Week

You’re a Rose

Legoland 3

Thursday

Ceausescu Flashback

Broken Radio No. 1

Concrete Block

Side B:

Look What I Stole for Us, Darling

Farewell Ontario

The White Knuckle Express

Chemical Cosh

Tima Mansio Speaks

A Pack of Lies

Viva Dead Ponies

More Smack, Vicar

The tracklist on the back cover of the album is different from the tracklisting on the record. Above is the order the songs actually appear on the record..

Enjoy,

NØ

All is Not Quiet inside Soviet France

:Zoviet*France: is a prolific ambient industrial music group formed in 1981 in Newcastle upon Tyne in Northern England. :Zoviet*France: , like The Residents, practice the theory of obscurity, never indulging in the cult of personality so prevalent in today’s culture. Unlike The Residents, who have used their anonymity as their image, :Zoviet*France: have chosen to remaim primarily anonymous. They don’t use their images on their musick or to promote said works. They believe that the musick should stand on its own. Of course in the thirty plus years that they’ve been around, certain names & photos have surfaced: including Robin Storey, who now records as Rapoon; Mark Spybey, who now records as Dead Voices on Air; Peter Jensen; Andy Eardley; Paolo Di Paolo; Lisa Hale; & Neil Ramshaw. Presently they feature Ben Ponton & Mark Warren.

They play their own personal brand of tribal/ritual musick. Their musick, consisting of droning textures set against tribal rhythms & fleeting dissonant melodies, made up of neglected sound sources: obscure radio broadcasts; toy instruments; instuments they have made themselves from found or pilfered materials; often heavily processed or looped. Over time their sound became increasingly electronic and computerised.

The packaging of their early works was extraordinary; records were released in burlap, roofing shingles, aluminium foil. Tapes in creosote-soaked muslin or ceramic boxes with bird feathers from a plutonium accident site. Their CDs have been more standardized, but occasionally included felt, decorative pins, & wood veneer.

Soviet France - A Flock Of Rotations (Rare original 1987 UK Red Rhino label 12-track vinyl LP) is housed inside a thin paper sleeve. Includes an additional heavier paper foldout sleeve with artwork by Robin Storey & Ben Ponton adorning both sides plus artist/album info on inside. "Soviet France musicians present A FLOCK OF ROTATIONS: a Congress of talking animals; a collision on the horizon…"

 Soviet France – A Flock Of Rotations, Red Rhino Records ‎– REDLP68,1987.

 decryption code in comments

Side Ring Accelerator, Collieshangie Cailin:

IO!

Drive

Skritha

Slide

Drifan

Mandrel

Side Line Accelerator, A Nest of Cocks:

Skratte

Irken

Ions Collis

Luh

Luh Windan

Dream Hole

Enjoy,

NØ

Portrait of a Sister

Here’s a kinda rare one. PhoenixHairpins is the only place listed that had this sucka, & it’s no longer available there. The Indian Feast were from Switzerland. This is the only release I can find listed anywhere for them. Released on the small Swiss label Helvete Underground. It’s kinda industrial light / post-punk musick. Coupla covers here: “Loneliest Person” by Pretty Things & “We Must Bleed” by The Germs. Not much more to say but  give it a listen. 

The Indian Feast - Portrait Of A Sister, Helvete Underground-HEND 85003, 1985.

decryption code in comments

Side A:

The Time is Now

100 Sacred Needles/ Soldiers of the Dark

S/S Traces

Side B:

We Must Bleed

Burning Cathedrals/Catechism

Loneliest Person

Enjoy,

NØ