martes, 16 de enero de 2018

Mark Shreeve

Mark Shreeve is a British electronic music composer. After initially releasing his early work on cassette through the Mirage label he went on to sign for the newly formed Jive Electro in the early eighties and released the albums 'Assassin', 'Legion' and 'Crash Head'. His last solo album to date, 'Nocturne', was released in 1995 though a live CD, 'Collide', was released in 1996 featuring Mark's live performance at EMMA in 1994. Mark has also composed the score for several feature films, recorded a number of library music CDs and achieved success as a songwriter most notably for Samantha Fox during the eighties. Mark has also worked with Chris Franke of Tangerine Dream and has had some technical association with world-class producer and modular synthesiser enthusiast/expert Ed Buller. In 1996 Mark formed the group Redshift with his brother Julian Shreeve, James Goddard and Rob Jenkins. The group have recorded several albums to date and played live in the UK and Europe including a concert at Jodrell Bank Observatory. [SOURCE: WIKIPEDIA

lunes, 15 de enero de 2018


Randall A. Wulff, better known by his stage name Lewis, and also known as Lewis Baloue and Randy Duke, is a Canadian singer and musician. He released a number of albums in the 1980s, but did not become widely known until they were re-released in 2014. Lewis recorded two albums in 1983 and 1985 ('L'Amour' and 'Romantic Times') that were mostly forgotten until a record collector discovered 'L'Amour' in an Edmonton flea market. They were both re-released by Seattle-based record label Light in the Attic in 2014. 'L'Amour' was recorded in Los Angeles in 1983. 'Romantic Times' was originally released in 1985 under the Lewis Baloue pseudonym. An original copy of the album sold on eBay in 2014 for $2,000. Two further albums -'Love Ain't No Mystery' (recorded under the Randy Duke pseudonym) and 'Hawaiian Breeze'- were also released by different record labels in 2014 and 2015 respectively. Under a different pseudonym, Lewis is also believed to have recorded a number of "very soft, religious music" albums in Vancouver in the mid-2000s which were never released. In 2014 Lewis stated that he was continuing to perform music, but that he was not interested in his earlier releases. [SOURCE: WIKIPEDIA

domingo, 14 de enero de 2018

In The Nursery

Formed in Sheffield, England by brothers Klive and Nigel Humberstone in 1981, In the Nursery explored a strange fusion of industrialized military rhythms and classical and film soundtrack music. Devoted more to the former in their early years, the band debuted in 1983 with the mini-album 'When Cherished Dreams Come True', also contributing to several compilations over the next two years. After the 1985 'Temper' EP, the group's initial lineup had evaporated, leaving only the Humberstone brothers to record their first full-length effort, 1986's 'Twins', which began to explore classical influences in greater depth. Percussionist Q and French bilingual vocalist Dolores Marguerite C were added for 1987's 'Stormhorse', which was intended to resemble the soundtrack to an imaginary film. 1988's 'Koda' continued in this vein; in 1989, Wax Trax! released a compilation of the band's early work entitled 'Counterpoint'. In 1990, In the Nursery altered its approach somewhat for the more graceful, refined 'L'Esprit', on which C's vocals played a prominent role for the first time. 'Sense' (1991) and 'Duality' (1992) were the group's most film soundtrack-like albums yet, and that direction finally culminated in an official soundtrack, 1993's 'An Ambush of Ghosts'. The 1994 concept album 'Anatomy of a Poet' followed, along with several collaborative projects under the alias Les Jumeaux. 'Scatter', an extensive retrospective, was released on the band's own ITN Corporation label in 1995; meanwhile, the track "White Robe" was licensed by Warner Bros. for "Interview with the Vampire", and the single "Hallucinations?" appeared in several different films. From 1996-1997, the group's soundtrack work has expanded, with contributions to the television series "La Femme Nikita" and a new score for the silent film 'The Cabinet of Dr. Caligari'; there have also been several more releases under the Les Jumeaux moniker. [SOURCE: ALLMUSIC

sábado, 13 de enero de 2018


If Kaka de Luxe were in Madrid the flagship band that started the so-called "Movida Madrileña", in Valencia Glamour was the prologue of what was coming in this city. They were standards of synth-pop music and, without hesitation, the band who took the first step to the movements and groups of New Romantics that would come next in the city. 

A demo from La Banda de Gaal (that's how they were named before) came to Esteban Leivas, a well-known Uruguayan producer who had just arrived from Madrid, and that very soon realized that this band had a promising future. They played a music according to what came from England, Spandau Ballet, Duran Duran, Ultravox, Visage, Japan, Soft Cell..., technified sounds disguised as romanticism and extravagant costumes, so perhaps they were ipso facto qualified as New Romantics. Before Esteban Leivas got Polydor to release a first single, it was decided to change the name of the band, with Glamour finally appointed. Moreover, this name was much more accommodating to the image of the band, rather more glamorous. The group was formed by Luis Badenes (vocals), Adolfo Barberá (guitars), Remy Carreres (bass), José Luís Macías (synthesizers and all kinds of programmed rhythms) and José Payá (drums). 

At the end of 1981, their first single, 'Imágenes', came out, an overflowing song full of rhythm and a delirious intro, which undoubtedly became an anthem in Valencia at that time. Almost entering the new year, a second and magnificent single hit the streets, consecrating "almost" definitely to the band: 'En Soledad'. By the year 1982 the first Glamour LP was released, recorded in the Doublewtronics studios of Madrid and titled as its star song, 'Imágenes'.

Given the great success ith their first work, a second album was released in mid-1983, this time recorded in August at the studios Audiofilm de Madrid and entitled 'Guarda Tus Lágrimas'. As first single appeared "Intento Olvidar", the best song in this second work. A second and last single did not take long to appear,  'Guarda Tus Lágrimas', entitled as the LP. 

This last album closes the short but brilliant career of Glamour; internal problems and other expectations in mind make the adventure come to an end. Remy Carreres and José Luís Macías, along with Lino Oviaño and Carlos Goñi, joined in Comité Cisne (before this Remy was part of the Margaret Seidler combo, Manía, and at the same time José Luís Macías also collaborated with Última Emoción). Adolfo Barberá, in addition to making his first steps as a producer, would lead the first stage of Ceremonia with José Godofredo and Javier Morant, formed Los Cangrejos at the end of the 1980s, and he even enrolled as member of Los Seres Vacios. José Payá was also member of Ceremonia and Manía, and later he would join Io and Video.

Over time, Glamour became one of the most unfairly forgotten bands on the national scene, but despite this, the quintet marked a very important musical moment in Valencia, rubbing elbows with other Spanish New Romantics of the moment (Azul y Negro, Video, Casal...). Glamour were pioneers of tecno-glam in Valencia and the first line of the New Romantic image in Spain, and they served as a mirror for other groups in Valencia. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80

viernes, 12 de enero de 2018

Esplendor Geométrico

Esplendor Geométrico are a long-running Spanish industrial group founded in 1980 by Arturo Lanz, Gabriel Riaza, and Juan Carlos Sastre, all former members of synth pop pioneers Aviador Dro. Inspired by Italian futurism as well as British industrial bands like Throbbing Gristle and Cabaret Voltaire, Esplendor Geométrico quickly established their own unique sound, pairing heavily distorted, hypnotic machine rhythms with robotic Spanish vocals. Eventually losing Riaza and Sastre and gaining Saverio Evangelista, who joined in 1990, Esplendor Geométrico's sound continued to evolve, gradually losing some of the harshness of their earlier work and incorporating Arabic influences, recalling the work of Muslimgauze. Relentlessly experimental and never coming close to the accessibility of any act signed to Wax Trax!, the band has been a significant influence on numerous rhythmic noise, IDM, and minimal synth artists. 

After forming in Madrid at the turn of the '80s, Esplendor Geométrico debuted in 1981 with the 7" 'Necrosis en la Poya' and cassette 'EG-1'. Debut LP 'El Acero del Partido / Héroe del Trabajo' arrived in 1982. Three years later, the group established their own Discos Esplendor Geométrico and released 'Comisario de la Luz / Blanco de Fuerza'. The label also released albums by Asmus Tietchens, Conrad Schnitzler, De Fabriek, and others. Esplendor Geométrico also established EGK, a short-lived sister label that reissued some of their earlier material and released two of their own live recordings and cassettes by other artists, including an early work by Francisco López. The LPs 'Kosmos Kino' and 'Mekano-Turbo' appeared by the end of the decade, and the concert recordings 'Madrid Mayo '89' and 'Live in Utrecht' were released in 1990. 

The band moved to Daft Records for 1991's Arabic-inspired 'Sheikh Aljama', and started a new label called Geometrik, debuting with the experimental compilation 'Audioscope' and 'Control Remoto 1.0', a split CD with Evangelista's project Most Significant Beat. These were followed by 1993's 'Arispejal Astisaró' on Linea Alternativa. Dutch label Staalplaat issued the double-CD compilation '1980-1982'. In 1994, the studio album 'Veritatis Splendor' and compilation '1983-1987' appeared on Geometrik. 'Nador', an album of unreleased tracks recorded during the late '80s, was issued by Daft in 1995. Another compilation, '80s Tracks', appeared on Apocalyptic Vision in 1996, while live album 'Tokyo Sin Fin' was issued by Gift and the studio album 'Balearic Rhythms' came out on Geometrik. More '80s recordings were collected on the double CD 'Tarikat' (Daft), while the new album 'Polyglophone' appeared on Geometrik. 'EN-CO-D-eSPLENDOR', featuring remixes by Coil and Chris & Cosey, was issued by Gift in 1998. 

Esplendor Geométrico began reissuing their back catalog on Geometrik, and after a few years without new material, 'Compuesto de Hierro' appeared in 2002. Numerous remixes of the group's minimal wave classic "Moscú Está Helado" were released in 2004. A more comprehensive compilation titled 'Anthology 1981-2003' appeared in 2005. An untitled box set of early recordings was issued by Vinyl-on-Demand in 2006, and the group began releasing a series of live CD-Rs that year. The CD/DVD '8 Traks & Live' was released in 2007, and Vinyl-on-Demand released another box of tracks from early cassettes, '1980-1989 | First Decade'. The studio album 'Pulsión' appeared in 2009; by the time of the album's release, Lanz was based in Beijing and Evangelista lived in Rome, but they were still actively performing and recording together. The studio albums 'Desarrollos Geométricos' (2011) and 'Ultraphoon' (2013) followed, with the compilation 'Selected Tracks, Vol. 1 1992-1998' and 'E.G. Kaidan', a collaboration with Japanese noise veterans Hijokaidan recorded live in Tokyo in 2013, appearing soon after. The double-LP compilation 'Fungus Cerebri' and studio album 'Fluida Mekaniko' both appeared near the end of 2016. [SOURCE: ALLMUSIC

jueves, 11 de enero de 2018


Heute is an art / performance / music project of Rolf Schobert (Der Künftige Mußikant) and Georg Alfred Wittner (G.A.W.) from Stuttgart Germany. Active since the early 80’s they have become a local cult live band somewhere in the DIY experimental minimal punk undergounds. They never understood themselves as a recording band, so some old tapes and videos might be existing somewhere, yes some compilation contributions too… but mainly it’s an experience to remember in case you’ve been there. They are still playing the odd show these days, so watch out. To be precise the full band name actually is: GAW und der mußikant als/in HEUTE - Präzisionsmusik but who can ever remember that… [SOURCE: GENETIC MUSIC

miércoles, 10 de enero de 2018

Play Dead

One of the lesser-known names in the incipient goth rock scene of early-'80s England, Play Dead combined both a relatively derivative combination of influences and some individual flashes of brilliance to make a low-key cult name for itself. A quartet, the band came together in late 1980 in Banbury near Oxford. After initially playing with another guitarist, one Re Vox, a lineup shuffle resulted in the final form of the group: guitarist Steve Green, singer Rob Hickson, bassist Pete Waddleston, and drummer Mark "Wiff" Smith. Early singles with Re Vox, including "TV Eye" (not The Stooges' proto-punk classic), were disdained by the band themselves, but after some label weirdness and semi-enforced withdrawal from recording, Play Dead put it all together with its classic single "Propaganda". Further singles and EPs followed, along with sessions for BBC radio and a notable tour with Sex Gang Children. Full releases continued up through 1985, but soon after a final live show late that year, Waddleston quit the band and moved to India. The rest of the band reformed as The Beastmaster Generals, but nothing surfaced outside of some demos, and Play Dead essentially ceased to be. [SOURCE: ALLMUSIC

martes, 9 de enero de 2018

The Fates

Originally scheduled for release on Halloween 1985 the privately pressed from all female post-punk/broken-folk collective The Fates sole concept LP, 'Furia', was resurrected from the ashes of the original line-up of The Fall and Velvet Underground singer Nico’s Blue Orchids backing band at the command of pioneering Manchester female punk icon Una Baines before disappearing into the annals of UK punk purgatory.

Comprising all the DIY traits and snarling attitudes of Manchester’s smartarsed punk retaliation, with haunting mechanical folk, pastoral drones and a back story that unites sleeve artist Linder Sterling (Ludus), Spider King, Martin Hannett, Tony Baines, Martin Bramah and John Cooper Clarke with the 16th Century Pendle Witches, this virtually unknown LP is a vital missing piece in Manchester’s self-help anti-pop industry. Lost in the ether, lauded by collectors and likened by Mark E. Smith to the Third Ear Band this unclassifiable arty-fact renders tags like Pagan punk utterly redundant. [SOURCE: FINDERS KEEPERS

lunes, 8 de enero de 2018

Dave Ball

David James Ball (born 3 May 1959) is an English producer and electronic musician, who has played in bands such as Soft Cell and The Grid, and collaborated with other producers including Ingo Vauk and Chris Braide. He studied at Arnold School before studying art at Leeds Polytechnic, where he met Marc Almond; they formed the synthpop duo Soft Cell in 1977, the band lasting until 1984. In 1983, while with the group, he released a solo album, 'In Strict Tempo', which featured Gavin Friday, Genesis P-Orridge and Virginia Astley. He later worked as a producer (working with The Virgin Prunes and Ornamental), remixer (working with The Pet Shop Boys and David Bowie), and recorded for film soundtracks and formed another duo, The Grid, with Richard Norris, with whom he has worked as part of Psychic TV on the Jack the Tab 'Acid Tablets Volume One' (Dave and Richard recorded the track "Meet Every Situation Head On" together as M.E.S.H.). He reunited with Almond in Soft Cell in 2001. In 2010 he formed the band Nitewreckage with Celine Hispiche, Rick Mulhall and Terry Neale. Their debut album, 'Take Your Money And Run', was released on Alaska Sounds on 6 June 2011, with the single "Solarcoaster" preceding it. The album was co-produced and mixed by Martin Rushent. [SOURCE: WIKIPEDIA

domingo, 7 de enero de 2018

Sati De Crem

Sati de Crem were a band from Madrid formed around 1984 by Máximo Barbancho (vocals), Alberto Cimarra (guitar), Alfonso Benítez (bass and choruses), Pablo Martín (drums) and Jesús Castellanos (keyboards). Later, Alberto and Jesús continue being the core of the group that is supported with the participation of Pedro del Castillo (drums) and Antonio Pérez (bass). Discographically they started with an EP released in 1984, 'Quién Puede Ser?', published by the independent Studio Group Records. In 1985 they released their second album, a MiniAlbum for Dial Discos entitled 'Encima de Una Rosa', recorded at Sonoland Studios and produced by the band. For their next album, dating from 1987, 'Ocultando', they signed for Rocco Records. In that year they were included in a compilation of the Rocco label titled 'Roccopilación 87' with artists such as Las Manos de Orlac, Comité Cisne, El Pecho de Andy, Extrema Unción, Surfin' Lungs, Falsos Piés, Ángel Petisme y Los Sin Techo y Los Dedos. The following year, they edit again with Rocco his third and last work, a MiniAlbum entitled 'Un Inmenso Placer'. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80