Dreamy and slightly discordant synth driven pop with an edge from Perth. Like Suicide and The Screamers dp’d DEVO to ecstatic climax in a cascade ones and zeros. Beautiful, strange, and kinda seedy with a fucking well done cover of Gun Club’s “Sex Beat”.
Perth’s Gaffer (Aussie for geezer or old man) is a guitar-centric (post) punk power-house. Terse, driven, and pissed, they want us to slit our wrists, dance and spin as the blood hits the floor, scream, writhe and beg for more. Fight your boss, wake-up, and live like you give a toss.
Devastating echoed-out nature-punk from London that crush my weary, wounded heart with catchy doom-laden riffs. Short, sweet, and steeped in sorrow and spite; a witches-brew tasting of loamy soil and moss, inducing harrowing psychedelic fever-dreams of humanity’s imminent annihilation.
Am in love with their bio I nicked from their myspace:“Post punk three piece, fresh from a ritualistic naked action on Leytonstone flats witnessed by dog walkers and doggers, and involving tree loving, mud and filth in the rain. Their recently released first tape is a feminist take on wildness, plants, the earth (and its possible brutal revenge) and our place in it, and vegetables as eroticism. Members include those of Frau, Es, and Good Throb.”
A cacophony of electronic destruction, manipulated and tortured over 2 lengthy tracks. High hisses, low ghostly echoes, thrashing clashes, ear aches, migraine fuckery. They’ve all partaken in many acts of the noise realm… Wiese has dabbled in Bastard Noise, Smegma, Sissy Spacek, etc… Dilloway is a founding member of Wolf Eyes…. Turman has relations with NON and Boyd Rice. These 2 tracks are intriguing and quickly take sharp turns down a mysterious maze, it’s not just one loud blast of unintelligible frequency.
This 2020 Dark Entries re-release of the first full-length album from Australian electronic music pioneers Severed Heads brings these tracks to vinyl for the first time since their original release in 1981. The 2XLP deluxe edition includes a track that was omitted from previous reissues (“Food City”, A1) as well as a bonus disc with live performances, a cassette called “Side 3,” and the original tape loop demos for the album. Together, the collection is a fascinating look into how the band formed what would become their original industrial synth pop sound. In the album’s liner notes, head Head Tom Ellard recalls the trial and error process of throwing everything onto tape and seeing what worked. The approach makes for an exciting listen, a rush of ideas that includes varied musical influences (Ellard admits to disco and Kraftwerk, but the Throbbing Gristle early industrial sound also clearly come through), instruments they don’t know how to play (guitar, violin T7, T11, and even toy piano T9 find their way into the tracks), Ellard’s intricate tape work collages pieced together from fragments of radio broadcasts (front and center on the “The Clean Loops” T16), and the synth and sequencer work that became the foundation of their later sound. Highlights for me include the demonic voices and tessellated synth patterns on “Chiarivari” (T3) and the bizarre guitar jam “Unbreakable” (T22), but all are essential.
Gabi Luncă (born in 1938) is a Roma (or “gypsy”) Lăutari singer from Romania. She was a very charming performer and became a favorite of Romania’s communist ruler Nicolae Ceauşescu and his wife Elena. She is also known to be a committed Christian, in a place and a time where this was a difficult position to take. In the Bucharest of the 1980s there were two different worlds: Official state folklore with songs of the golden era proclaimed by Ceausescu, and lively suburban music (muzica de mahala), which at that time was played at private parties. Gabi’s voice is remembered in Romania. Her songs are the quiet, melancholic songs of passion and yearning for one’s home, mother, or sweetheart; songs to lift the weight from one’s soul. Included among Gabi Luncă’s greatest hits are: “Omul Bun n-are noroc” (The good have no luck) track 1, and “Superata sint pe lume” (I am sad in this world) track 7. Her silvery, lightly strained singing was often copied, but never equaled, although as the accordion player Victor Gore remembers, she “always sang slightly out of time”. AArbor
Dimitri (born Dimitrios Yerasimos) is a Turkish-born French music producer and DJ of Greek descent. His musical influences are rooted in 1970s funk and disco sounds that spawned contemporary house music, as well as original soundtracks from 1950s and 1960s movies such as Breakfast at Tiffany’s, La Dolce Vita and The Party, which were sampled in his album Sacrebleu. Dimitri fused these sounds with electro and block party hip hop he discovered in the 1980s. Sacre Francais the track remixed here is from the Sacrebleu album. The remixers are Bob Sinclar a/k/a The Mighty Bop and Chris the French Kiss (label boss of the Yellow label), Dim/DFP [Dimitri himself], and Konishi Yasuharu of the Pizzicato Five. Yasuharu’s track is hysterical and not to be missed! AArbor
Recorded and mixed in Lagos this album is from 1985. The record has no delineated tracks. Sunny Ade’s style is very traditional for Nigerian juju. He was adamant that Island Records which released 2 earlier, Grammy winning records, not “over Europeanise and Americanise” his music. Ade and Island parted ways – to his detriment IMHO. AArbor
This is the soundtrack to Sally Potter’s 1997 semi-autobiographical film The Tango Lesson. Sally, a filmmaker and screenwriter suffering from writer’s block, is dissatisfied with her film project, a murder mystery called Rage, which features the fashion industry. Taking a break, she travels to Paris, where she sees the dancer Pablo (Pablo Verón) performing tango. She becomes obsessed with the dance and offers Pablo a part in her film in exchange for dance lessons. The music is both traditional Argentinian tangos [tracks 5 and 17 are iconic] alongside tracks by Fred Frith which are stylistically very different. AArbor
Meandering and perverse noise-doom from Finland.
‘Judas Schindler’ [AKA Bestial Burst label-head Sami Kettunen, also of experimental black metal band Ride For Revenge and noise project Will Over Matter] handles ‘deth, deSStruction and malfunctioning power tools’ [AKA guitar and vocals]. ‘Martin Hitler King’ [real name unknown] plays ‘four extra heavy-gauge garrottes to strangle pencil necks’ [AKA bass guitar]. The power trio is completed by ‘Adolf Christ’ [AKA Pasi Markkula, the power electronics über-mensch behind Bizarre Uproar] on ‘gigatons of raging rhythmic hatexxxplosions’ [AKA drums].
Not exactly metal. No real riffs or song structure, but they still somehow manage to maintain an eccentric, diabolical groove for the duration of this single 30-minute session (divided in half for the two sides of this LP version). It takes talented musicians to make such dissonant cacophany sound so compelling for so long. Tortured lycanthropic growls, squealing feedback, frantic improvisation, raga-like hypnotic repetition and the occasional dialogue sample from the 1973 TV film ‘Satan’s School For Girls.’ An oddly compelling performance that’s more than the sum of its parts.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File