Gérard Pelletier says: "I was in Germany when I heard Kraftwerk for the first time. It was a revelation for me… and I thought "I want to make electronic music" ! A month later, I took the train to Strasbourg with the intention of buying a synthesizer and I found my first electronic machine, a Kawai made of metal and wood. It was a sound research machine, not very easy to use but I found it very powerful to create my own sounds. I began to sing with other friends of mine every Saturday night and so started the beginning of what would become Deux. In 1979, I decided to leave Germany and return to France. I found a work place in Lyon (the 2nd largest city in France). I was also working on my music every weekend but I was alone. Then one day, I met Cati Tete and I spoke with that magical girl about music the entire night. Deux was born". [SOURCE: MINIMAL WAVE RECORDS]
martes, 18 de julio de 2017
Industrial innovators Death in June emerged in 1980 from the remnants of the punk unit Crisis, reuniting singer/multi-instrumentalist Douglas Pearce and bassist Tony Wakeford; drummer Patrick Leagas completed the original lineup, which made its live debut late the following year with an opening slot for The Birthday Party. The 12" 'Heaven Street' soon followed, and in 1983 Death in June issued their first full-length effort, 'The Guilty Have No Pride'. From the outset, the group was criticized for its adoption of fascist imagery, and charges of Nazism dogged Pearce throughout his career. Upon completing the 'Burial' LP, Wakeford left the lineup to form Sol Invictus; following the release of 1985's 'Nada!', only Pearce remained, with Leagas exiting to form his own project, Sixth Comm. Beginning with the 1986 double-album 'The World That Summer', Pearce continued Death in June primarily as a solo concern, aided by a revolving group of collaborators including Current 93's David Tibet, Boyd Rice, and Coil's John Balance; the abrasive electronics and martial rhythms of early efforts gave way to an increasingly expansive sonic approach over the course of subsequent outings including 1987's 'Brown Book', 1989's 'The Wall of Sacrifice' and 1992's 'But, What Ends When the Symbols Shatter?', the latter evoking Pearce's longstanding interest in traditional European folk music. The first British act to perform in Croatia following the outbreak of Yugoslavia's civil war, Death in June documented their experiences on 1993's 'Something Is Coming'; subsequent efforts include 1995's 'Rose Clouds of Holocaust', 1997's 'Take Care and Control' and 2000's 'Operation Hummingbird'.
On 2001's, 'All Pigs Must Die', Pearce collaborated with Forseti's accordionist Andreas Ritter on half the date. 2004 saw the release of 'Alarm Agents', a recorded collaboration between Death in June & Boyd Rice. Two years later, a digital-only release entitled 'Free Tibet' was issued from the band's website -with Current 93's David Tibet on vocals. 2008's 'The Rule of Thirds' marked a return to Death in June's neo-folk sound, followed by a limited pressing of the concert recording 'Black Angel Live!'. 'Peaceful Snow/Lounge Corps', from 2010, was offered as a double-length, re-recorded collection of Death in June catalog material rearranged for only Miro Snejdr's piano and Pearce's voice -the latter album in the set was piano only. 2013's 'The Snow Bunker Tapes' was yet another repackaging of the same material, this time with Pearce on voice and acoustic guitar. 'Live at the Edge of the World' (recorded in Brest, Belarus) was a duet with drummer John Murphy (The Associates, SPK). 2015 saw the release of yet another retrospective repackaging billed as 'Death In June Presents Miro Snejdr - Best of Lounge Corps'. 'Free Tibet' was reissued in 2016, this time as a physical disc. [SOURCE: ALLMUSIC]
Publicado por Nacho Trisat en 7:19
domingo, 16 de julio de 2017
Ultratruita was a group of dark pop formed at the end of 1980 with members coming from Basura and La Truita Perfecta, and contemporary of the "Movida Madrileña". Their style, self-defined as psycho-pop, is characterized by rhythms cut to Talking Heads, new-wavish metals, use of violin and unusual lyrics. Their most stable members in its first stage were Boris Porter, Joan Garcia -Panotxa-, Jeannette Porter, Mikel and Gat. In a second stage Susana and Rafa Prieto establish as stable members. In their third stage Susana left the band entering Carlos as keyboardist. This formation remains stable until their dissolution. The demo "Herman Brut" (1980) was one of the most voted by the listeners of Radio 3. Between 1981 and 1982 they played in venues such Metro, Magic or Zeleste, and in music competitions such Don Domingo in Radio 3 and the Benidorm Festival.
Without support of critics or the record industry, Panotxa and Víctor Nubla created their own record label, Ddomèstic Records. Thus, in July 1982, accompanied by the musicians of Ultratruita, the single 'Sola / Cine de Barrio' (Ddomèstic, 1982) of Maria Lanuit is released, being one of the first works of the Catalan indie. In that same 1982 they enter the studio to record their first single 'Herman Brut / Ladrones de Pastillas' (Ddomèstic, 1982) that was the second reference of Ddomèstic. In early 1983 Gat and Jeannette left the band forming New Buildings. And in that same 1983, after a long parenthesis in Ddomèstic, came the second single 'Sangre y Arena / Frío' (Ddomèstic, 1983). During those years the shows continued. In December of 1984 they act in the TV show Estoc de Pop with the songs "Niños", "Este Pais" and "Conspiració", being 1985 year that put an end to the project, integrating Boris and Panotxa into El Hombre de Pekin. [SOURCE: WIKIPEDIA]
Publicado por Nacho Trisat en 10:18
sábado, 15 de julio de 2017
Das Damen were one of the more metallic acts in the legendary SST stable, melding '60s psychedelia and heavy acid rock with the noisy, punk-derived alternative rock typical of the label. Instead of delving into screaming white noise along the lines of labelmates Dinosaur Jr., Das Damen preferred warm, trippy, high-volume distortion. Their early material was given over to improvisational jamming, but as they developed their songwriting, they threw in more complex rhythms and time signature shifts. Taking their name from the German term for "ladies," Das Damen were formed in New York in 1984 by vocalist/guitarist Jim Walters, guitarist Alex Totino, bassist Phil Leopold Von Trapp, and drummer Lyle Hysen. The group released its six-song, self-titled debut EP in 1986 on Thurston Moore's Ecstatic Peace label; it was quickly picked up by SST, which was also Sonic Youth's label at the time.
Das Damen's first full-length for SST was 1987's 'Jupiter Eye', a highly improvisational record that nodded to the spaced-out acid jams of the late '60s and early '70s. The follow-up, 1988's 'Triskaidekaphobe', was a more structured and melodic hard rock album, but its follow-up, the 'Marshmellow Conspiracy' EP, achieved far more notoriety. One of the four tracks, "Song for Michael Jackson to $ell," was actually a straight-up cover of The Beatles' "Magical Mystery Tour", credited to the members of Das Damen to protest having to pay Jackson royalties (Jackson had just outbid Paul McCartney for the rights to The Beatles' entire catalog). Jackson's lawyers got wind of the stunt and ordered all copies of the EP (pressed on pink vinyl) removed from distributors' warehouses and destroyed. SST later reissued the EP in a three-song form, but the controversy helped spell the end of Das Damen's career with SST.
The band moved on to the Minneapolis-based Twin/Tone label and released 'Mousetrap' in 1989. Although it boasted more polished production, it failed to make any inroads at college radio. Das Damen recorded one further album, the 1990 live set 'Entertaining Friends', which was performed at CBGB's and released on the German label City Slang. In 1991, they moved to Sub Pop for a one-off single, 'High Anxiety', but subsequently disbanded. [SOURCE: ALLMUSIC]
Publicado por Nacho Trisat en 8:48
viernes, 14 de julio de 2017
The Corn Dollies were a United Kingdom indie band from London, active between 1987 and 1991. Comprising Steve Musham (vocals and guitar), Tim Sales (guitar), Steve Ridder (bass), Jack Hoser (drums), and Jono Podmore (violin), the band met in King's Cross although they all hailed from Dalston, aside from native Californian Ridder. After their first Robert Forster-produced release on the Farm label, they released several singles on Medium Cool Records. The debut, "Be Small Again" was an indie hit, reaching No. 28 on the UK Independent Chart. The follow-up, "Forever Steven", originally released on the band's own Farm Label, was produced by Robert Forster of The Go-Betweens reached No. 16. They also contributed a track to the various artist compilation 'Bananas!', an album issued to help the Football Supporters Association campaign against the ID card scheme that was being mooted by the UK Government at the time. They gained popularity throughout Europe after a tour in 1989, building a strong fanbase in Spain. When Medium Cool collapsed, they moved to Midnight Music, releasing two albums. In support of 'Wrecked', they undertook a national tour supporting Ian McCulloch, but with the album's success being limited, the band split up in 1991.[SOURCE: WIKIPEDIA]
Publicado por Nacho Trisat en 19:13
jueves, 13 de julio de 2017
Stickmen With Rayguns was an American punk rock group from Dallas, Texas. The group's name comes from a comic that Bobby Soxx (Bobby Glenn Calverley) had created called "Stick Man with Ray Gun". The Stick Man was a crazed, racist character who walked the streets of his neighborhood blasting anyone with his raygun that he thought was defiling his race or just bugged him.
They formed in 1981 after lead singer Bobby Soxx (formerly of The Teenage Queers) attended a show by guitarist Clarke Backer's previous group, Bag of Wire. Their first show was a date at the Fort Worth club Zeros in spring 1981. Because of Bobby's reputation, Clarke often had to vouch for Bobby's behavior with club managers in the early days of the band. Close friends with members of The Butthole Surfers, they often shared the stage, each opening for the other until the Surfers began to tour nationally and gain popularity. They also opened on Texas dates for punk groups such as X, Dead Kennedys, T.S.O.L., The Misfits, Bad Brains, and UK Subs. They went on hiatus in 1987 and reconvened in 1988 to write new material; their last show was in June 1988.
The group was distinguished by their raucous and aggressive musical style which featured an incredibly loud, howling guitar and a thundering distorted bass, backed up with confrontational and offensive lyrics, and correspondingly Bobby's decadent lifestyle. Stickmen With Rayguns was in many ways performance art, gleefully exploring violence and irrationality. Their sets were openly hostile or combative with the audience. They were completely unconcerned about what people thought of them. They often played unusual or intentionally irritating audio tapes prior to going on stage and sometimes experimented with annoying lighting effects if they had access to the lighting in a club. This seemingly self-destructive behavior was exaggerated whenever they played off their home turf of Dallas, often choosing to open sets out of town with songs they had never practiced.
Before the band started in 1981, Bobby Soxx was notorious for starting fights frequently, urinating on other groups during their shows, and inserting microphones into his anus before leaving the set. In fact, many of these aforementioned stage antics and others only happened once but their fame grew exponentially among the fans as time went on.
In its heyday, the group recorded little in the studio, Clarke once intentionally destroyed the master tapes from a particularly weak recording session, though a few rough mixes survived and have been reluctantly included on various releases. They never toured outside of Texas and were not well known beyond the regional punk scene. However, as interest in the early Texas punk scene increased over time, groups like Stickmen With Rayguns and The Hugh Beaumont Experience acquired a cult status among punk fans. Stickmen became better known when the Thurston Moore project, Dim Stars, covered their song "Christian Rat Attack". In 2000, guitarist Clarke Backer released 16 of their recordings on an album entitled 'Some People Deserve to Suffer'. In 2002, the album was picked up, enlarged to 23 tracks, and re-released under the duel label of Emperor Jones/Drag City; the reissue received highly positive reviews from several major press agencies and was named the No. 6 in Mojo's Best Underground Albums of 2002 list. After spending time in prison and a mental hospital, Bobby Soxx died of liver failure due to acute alcoholism on October 23, 2000.
As their notoriety has increased, both Clarke Blacker and Bob Beeman have participated in a number of in-depth interviews that have appeared online. Their 'Some People Deserve to Suffer' album has now been re-released on the band's label, We Don't Have the Time Music, and is currently available for digital download worldwide.
On Thanksgiving weekend 2014, the well known Austin, Texas record store End of an Ear released the vinyl LP 'Grave City' as their new End of an Ear label's debut record. The first pressing quickly sold out, and a second pressing was ordered in January, 2017. The second pressing has the record label reversed (white text on a black background) to differentiate the two pressings.
In September 2016 12XU held a simultaneous release of two live vinyl LP albums; 'Property of Jesus Christ' and '1,000 Lives to Die', which featured newly restored live performances recorded at two shows in 1984 and 1987. These two records give the listener rather different, but intense performances by this controversial Texas band. [SOURCE: WIKIPEDIA]
Publicado por Nacho Trisat en 19:35
miércoles, 12 de julio de 2017
As the cult of Nick Cave grows, more and more non-Australian music fans may discover The Boys Next Door and their lone album, 1979's 'Door, Door'. Singer Nick Cave, guitarist/multi-instrumentalist Mick Harvey, bassist Tracy Pew, and drummer Phil Calvert were disaffected, dissatisfied teenagers growing up in a middle-class section of Melbourne, listening to hard rockin' glam acts like The Sensational Alex Harvey Band and Alice Cooper. (It won't surprise anyone to find out that Cave was also informed by country luminaries Johnny Cash and Hank Williams.) They uprooted themselves from the "right" side of the tracks and settled down comfortably with the junkies and prostitutes in an appropriately run-down area. As the rising tide of punk began to crash on Australia's shores, the Boys' realized that this was the proper direction for their chaotic, anarchic energies, and homegrown punk heroes like The Saints and Radio Birdman greatly influenced their musical direction.
They started working their way towards the top of the musical heap, their live shows quickly becoming notorious as chaotic, noisy, and nasty affairs -characteristics the musicians would later push to the breaking point as The Boys Next Door. This sheer recklessness garnered them a following, the buzz eventually leading to a deal with Mushroom, a successful Australian independent record label. The band recorded six songs before having the good fortune of stumbling upon Rowland S. Howard, who became the band's second guitarist and author of their most popular composition, "Shivers." That song, along with three others, was recorded in later sessions that featured the revamped lineup. "Shivers" became something of an anthem among the Australian punks and was the musical centerpiece in the bleak film "Dogs in Space", concerning the sordid lives of a handful of young people in a Melbourne slum. The album that appeared, 'Door, Door', combined the two recording sessions but was not well-loved by the musicians, as they felt the results were too poppy (comparing it to any of their later releases, especially the albums 'Prayers on Fire' and 'Junkyard', one can't help but agree).
They were rapidly changing their style, anyway, as well as their name: in 1980 they released their first album as The Birthday Party, and soon hightailed it from Australia to London. [SOURCE: ALLMUSIC]
Publicado por Nacho Trisat en 19:19
martes, 11 de julio de 2017
Los Angeles punk pioneers The Bags formed in 1977. Singer Alice Armendariz and bassist Patricia Morrison first met while auditioning for Venus & the Razorblades, a group masterminded by producer/svengali Kim Fowley in the wake of his success with The Runaways. Adopting the aliases Alice Bag and Pat Bag, they recruited guitarists Craig Lee and Rob Ritter and drummer Terry Graham to round out the lineup. Per the band's name, The Bags wore grocery sacks atop their heads during their earliest gigs, although the practice ended when Germs frontman Darby Crash mounted the stage and ripped away Alice's. The Bags made their professional debut at the L.A. nightclub The Masque on September 10, 1977, emerging alongside the first wave of SoCal punk acts. The group's visceral live shows quickly became the stuff of legend, although their debut single, 'Survive', did not appear on the Dangerhouse label until late 1978. After contributing "We Don't Need the English" to Dangerhouse's 'Yes L.A.' compilation, Morrison resigned on the eve of The Bags' scheduled appearance in Penelope Spheeris' cult-classic documentary "The Decline of Western Civilization", and while the remaining members still appear in the film, their contributions were credited to the Alice Bag Band to sidestep the growing animosity between Alice and Pat. By the time "The Decline of Western Civilization" hit theaters in 1981, The Bags were no more. Morrison, Ritter, and Graham later reunited in The Gun Club, with the former subsequently relocating to London and joining latter-day editions of the seminal British punk bands The Sisters of Mercy and The Damned. As Rob Graves, Ritter also fronted the goth rock band 45 Grave before succumbing to a fatal heroin overdose in 1991, while Lee tenured in Catholic Discipline before launching a career as a writer, publishing "Hardcore California: A History of Punk and New Wave" prior to his death from AIDS. Armendariz later served as a member of Castration Squad, Cholita!, and Stay at Home Bomb. [SOURCE: ALLMUSIC]
Publicado por Nacho Trisat en 19:24
lunes, 10 de julio de 2017
Das Ding is Danny Bosten, who was active in the early 1980s releasing his music and friends’ music via his own cassette label called Tear Apart Tapes. While studying graphic design in art school, he designed all the tape covers himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, some tracks are quite addictive and danceable while others are more for at home listening enjoyment.
1981, the south of Holland: When his brother’s band decided to take a break, Danny Bosten asked if he might borrow some of their equipment. Some friends contributed synthesizers and soon, Bosten’s bedroom had become a small recording studio. Danny learned to work the machines and began recording. The results were more than passable and he decided to produce a few cassettes to sell and trade. Watching television one evening, the 1953 classic sci-fi movie "The Thing From Another World" came by on a German channel, and Danny had found a name for his project: "Das Ding (aus einer Anderen Welt)!".
At the time, it seemed that everyone was making music, or noises of some sort. This scene seemed to warrant the establishment of a full-blown cassette-label, and so Bosten, together with Johan de Koeyer, who was operating as Les Yeux Interdits, set up Tear Apart Tapes. Their first release was a split C-20 cassette featuring Das Ding and Les Yeux Interdits, and Danny, who was studying graphic design at the time, designed the artwork, cassette-sleeves and illustrations himself.
Those were the days of mail-art and tape-trades, and the mailman was soon delivering stacks of stuff- tapes, records, xeroxed fanzines and weird objects of every kind each morning. A friend arranged the release of another Das Ding tape on the Dutch STUM label, the Update Materials Foundation from Laren, to be called ‘Highly Sophisticated Technological Achievement’, or ‘H.S.T.A.’, as it was thereafter known. Over the next years, Danny made more tapes and played some gigs, in various incarnations. At the time, limited by the era’s technology, Das Ding’s music was difficult to perform, and every song had to be programmed before it could be played. With time, Danny’s interests shifted -as did popular taste- toward increasingly guitar-oriented new wave. A new project, The Cherry Orchard, became his primary musical focus, and after moving to Amsterdam, Danny spent many years producing pirate-radio shows, mixing homemade industrial music with media soundscapes.
In 2007, 433rpm, of the exhaustive music blog "No Longer Forgotten Music", posted some of his old Das Ding tapes, and Veronica Vasicka -who runs the New York based Minimal Wave label and specializes in reissues of 80s synth-wave- contacted Danny, now living in Rotterdam, to propose the release of a Das Ding album. Old tapes were uncovered, and Minimal Wave released a remastered version of "H.S.T.A." and other tracks, in 2010. A wave of renewed interest followed the record’s release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change. Suddenly, Das Ding was a ‘Dutch electro-pioneer’ and the apparent pinnacle of ‘Minimal Wave’. [SOURCE: MINIMAL WAVE RECORDS]
Publicado por Nacho Trisat en 19:26
domingo, 9 de julio de 2017
Agrimensor K was a band from San Sebastian formed in 1981 by Nacho Goberna (guitar and voices), Ignacio Valencia (voice and bass), José Manuel Gandásegui (drums) and Juan José Mourlanch (keyboards). Their name came after the influence of the novels "The Process", "The Castle" and "America" by Franz Kafka. They played dark and sinister music that culminated in their first disc, a single that DRO released in 1982, 'Principio y Fin / El Castillo', only selling 300 copies. In 1982, his song "Resurreccion Blanca" appeared in the compilation 'Navidades Radioactivas' with other bands such Siniestro Total, Derribos Arias, TNT, Glutamato Ye-yé or Seguridad Social, among others. As for shows offered, their highlight was the one starred in Rock-Ola, along with Servando Carballar's Los Iniciados and the synth-pop band from Alicante Todo Todo. After this performance, drummer José Manuel left the band and he was subtituted by a drum machine. It is already in 1983 when they recorded their second and last single, '¿Juegas al Escondite? / La Pira', again for DRO. Their music, still considered very dense today, was very far from what they would later became La Dama Se Esconde, with much more success and, consequently, popularity. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]
Publicado por Nacho Trisat en 9:32