jueves, 22 de octubre de 2020
miércoles, 21 de octubre de 2020
martes, 20 de octubre de 2020
The Aural Exciters was a sort of after hours project that he started around 1980. After the sessions finished Bob used to ask many of his clients if they would play on some of his own recordings. He used a variety of these brilliant artists and musicians, earmarking anyone he could get to play. August Darnel and Andy "Coati Mundi" Hernandez from Kid Creole & the Coconuts wrote almost all the songs, helped with Adriana Kaegi from The Coconuts." The title cut "Spooks In Space" was written by Ronnie Rogers, a regular at Blank Tapes Studios. Rogers later wrote "Deputy Of Love" for Fonda Rae. Some notable musicians are James Chance from The Contortions on sax, Pat Place on guitar, Fonda Rae, Ronnie Rogers on piano, drums, vocals, and many others. [SOURCE: LAST.FM]
lunes, 19 de octubre de 2020
Finnish surf-revivalists Laika and the Cosmonauts reunited guitarist Mikko Lankinen and drummer Janne Haavisto, who previously teamed in the like-minded Pluto & the Astronauts. Adding guitarist/keyboardist Matti Pitsinki and bassist Tom Nyman, the group issued its debut album 'C'Mon Do the Laika!' in 1988; 'Surfs You Right!' followed two years later, and in 1993 Laika and the Cosmonauts resurfaced with 'Instruments of Terror'. Subsequent efforts include 1995's 'Amazing Colossal Band' and 1997's 'Absurdistan'. 'Laike Sex Machine' followed in early 2001. [SOURCE: ALLMUSIC]
jueves, 15 de octubre de 2020
miércoles, 14 de octubre de 2020
Salmon formed the first lineup of The Surrealists with Brian Henry Hooper on bass and Tony Pola on drums. He formed the band to record the album 'Hit Me with the Surreal Feel', using minimalist lo-fi approaches to recording a basic trio: recording the band live with microphones around the studio capturing the entire sound rather than one instrument per track. The band also played live around Perth in mid-1987. The album was released in October 1988.
The Surrealists did a few songs by The Scientists (particularly "Shine" from 'The Human Jukebox') and had a similar sound in that Salmon remained the leader and primary songwriter, but the feel of the music was notably different, far less tense and confrontational.
The second album 'Just Because You Can't See It ... Doesn't Mean It Isn't There' was recorded more conventionally in 1989 and released in early 1990. Comparing this album with 'The Human Jukebox', there is a similarity in songwriting but a difference in feel is readily apparent. The band's third album 'Essence' was released in 1991, followed by 'Sin Factory' in 1993, which arguably gained the most attention for the band. The sound by now was strong rock riffery, also blending their take on Blaxploitation music.
Salmon fired Tony Pola from The Surrealists in 1993, replacing him with Greg Bainbridge. Brian Hooper later left after the 'Kim Salmon and the Surrealists' album and was replaced by Stu Thomas in 1995. This new trio put out 'Ya Gotta Let Me Do My Thing' in 1997, touring Australia, Europe, and the U.S. A horn section was added to the band that included trumpet player Leon de Bruin and saxophonist Michael Redman.
In 1999, Salmon renamed the band Kim Salmon and the Business, and released one album -'Record'- in 1999. Stu Thomas remained on bass and Phil Collings was recruited on drums in 2000. In September 2006, Kim Salmon and the Surrealists 'reformed' for a show in Spain at Azkena Rock Festival. This line-up of Kim Salmon (guitar/vocal), Stu Thomas (bass) and Phil Collings (drums) also played later in Australia.
2010 marked the release of the album 'Grand Unifying Theory', the first Kim Salmon and The Surrealists record for 13 years. Line-up featured Kim Salmon (guitar/vocal/sampler), Stu Thomas (bass) and Phil Collings (drums). The band was recorded live during rehearsals. The results were sifted through by Salmon and co-producer Mike Stranges, spliced together in some cases (ala Miles Davis' 'Bitches Brew'), and made into songs. [SOURCE: WIKIPEDIA]
martes, 13 de octubre de 2020
All female Christchurch band 25 Cents were part of a vibrant, early 1980s Gladstone Tavern scene that also included The Pin Group, The Newtones, The Playthings and The Androidss.
Their sole release in 1982 was one of the early Flying Nun singles (FN009) and just 305 copies were pressed. Complete with violin, the A-side "Don’t Deceive Me" was a rare original for a band that specialised more in 60s and 70s garage and punk covers ranging from The Velvet Underground to Pere Ubu. But it’s their helter skelter version of The Sonics’ garage classic "The Witch" on the flip side that has been anthologised over the years. "Don’t Deceive Me" was finally reissued on Flying Nun’s 'Time to Go' compilation in 2011.
Lead vocalist and drummer Mary Heney went on to The Pin Group, Scorched Earth Policy and The Terminals while her sister Susan (bass) later played in The Terminals and The McGoohans. Guitarist Sandra Smith (now Cindy Roberts), the author of "Don’t Deceive Me", has recorded as Ex 25 Cents (for a 2008 EP also featuring Susan Heney) and Angel Rock. [SOURCE: AUDIOCULTURE]
jueves, 8 de octubre de 2020
Ron Lessard, head of legendary US Noise label RRRecords, cites TNB's debut 'Changez Les Blockeurs' (1982) as, 'The first true Noise record of the modern era.' Their manifesto, which accompanies their debut, proclaims, 'Blockade is resistance. It is our duty to blockade and induce others to blockade: Anti-music, anti-art, anti-books, anti-films, anti-communications. We will make anti-statements about anything and everything. We will make a point of being pointless.' Everything about TNB entails refusal. The title of their collection 'Gesamtnichtswerk' is important here. It reminds of Wagner's dream of the total art work -the Gesamtkunstwerk-, but the art is replaced by nothing.
TNB always suggested more than a band or musical project. They are bent almost as much on philosophy and literary ambitions, issuing manifestos and texts and referencing the likes of Debussy and Nietzsche. TNB never set out to be part of a self-glorifying youth movement where pompous, romanticized bullshit dies hard in an endless, capitalistic magic show. Instead, they depict the emotional tonalities of an ambivalent, ambiguous new century with no form or direction. Their musical legacy offers respite from the fraudulent herd of co-opted streamlined sounds, which masquerade as experimental.
TNB served as a major influence on legendary Noise pioneers such as Merzbow and made a lot of the ‘90s 'Noise-boom' artists look like charlatans. Their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is immeasurable. Collaborations in recent years with artists such as Sonic Youth's Thurston Moore have brought their anti-sound to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the abrasiveness of Merzbow all owe something to the anti-music of TNB. They, more than any other, define the essence of true Noise music both in art and in act. [SOURCE: THE NEW BLOCKADERS]
miércoles, 7 de octubre de 2020
martes, 6 de octubre de 2020
Toll was Gary Mundy's short lived mid-eighties project following the cessation of activities from his power electronics outfit Ramleh in 1984 believing they had achieved all that they could. Toll featured Gary Mundy, Matthew Frith, Tim Soar with guest contributions from around the globe including Tim Gane (Un-kommuniti, who'd later gain acclaim as part of Stereolab), Controlled Bleeding and Pacific 231. Toll represented a strong move away from the power electronics of Ramleh, replaced by a loosely structured song based material to free-flowing noisescapes. There's a harshness and spontaneous feel which at times throws up the dense, sludginess of sound that would be elaborated upon by the reactivated Ramleh and in Mundy's work with Skullflower. In hindsight Toll is something of the missing link between the two very different manifestations of Ramleh. It surely must have raised some eyebrows when originally in 1986. It's a less easily identifiable sound broaching harsh soundscapes, the sludge-rock type of things- with electronics! It's certainly deserving of wider exposure, especially amongst industrial archivists. [SOURCE: COMPULSIONONLINE]