Ethnic Acid was the nom de plume of British noise musician Anthony Di Franco, who is currently a member of the legendary UK band Ramleh, and previously of Skullflower, AX, JFK and Novatron. While still a schoolboy, Anthony was carving out a singular identity as a electronic noise musician, recording for labels such as Broken Flag and Birthbiter (UK), Disciplines Productions (Italy) as well as his own JFK imprint. Obscure and arcane, this music had only previously been available to the most dedicated hardcore noise fanatics. [SOURCE: SICKNESS STILL ABOUNDS]
domingo, 18 de marzo de 2018
DC-Pöbeln (or sometimes Dagcenterpöbeln, or the shorter DC-P) was concieved in the Swedish city of Örebro by "Guggi" & "17" in the fine year of 1982 as a piece of confusing grafitti. Tommy Olson being "Guggi". As for "17", it feels like a bit of an outing to reveal his identity as he is now a famous adult oriented rock-producer with a great appetite for cholesterol, but what the heck; he was christened Johan Kugelberg by his parents. That´s the line-up really, apart from them there were no "members" as such; merely collaborators and people who happened to own synthesizers and stuff. People unlucky enough to cross their path. More a concept than a band; which is common now, but from where they came unheard of then. DC-Pöbeln played live twice, and it is symptomatic that the only person present on stage on both occassions was a rather distant relation who performed some wacko kind of rituals without ever being asked. Johan was on stage on the first event, and Tommy Olson on the other. (Oddly enough, both concerts took place in museums) And "17" is not present on the recording of 'Bettan' (though he assembled the material that appears on the b-side). Since both Tommy and Johan/"17" moved quite often across the map, recording sessions were sparse, but there were 4-5 sessions between 1983 - 1994. However, both of them made stuff with other people that appeared all over the industrial tape trading network at the time under the name, or one of the names. [SOURCE: THE X FILES]
Publicado por Nacho Trisat en 10:10
sábado, 17 de marzo de 2018
During spring of 1979 two friends got chatting about the music they were into, Neil Whitehead and Dave Taylor had been friends since 1978 when they met at college. After this discussion they decided to form a band of their own. Neil had a Korg micro preset keyboard, a Rickenbacker bass guitar, and a drum machine. Neil got to work on a couple of song's and they arranged a practice at Neil's mum's house, they practiced at least two times a week, Neil on bass and Dave on keyboard. Neil didn't like playing bass and would rather add another keyboard or synthesizer. This idea came into place when a rather bizarre meeting between Dave, Neil and a friend of Dave's, Matt Adams. They met at a secret Elvis Costello gig at the Grand Hotel New Brighton and got chatting about forming a band. Matt told them he was a keen bass player and was looking for a band, although the band were not actively seeking a bass player the idea was good so they invited Matt to the next practice. The band then set out purchasing another synthesizer and Dave bought a Roland SH09 -Chain Of Command was now complete.
The band decided they were ready for some live work and set up two practice gigs, one at a friend of Matt's house party, the other, a full dress rehearsal, at the Willaston Memorial Hall, for which the band set up a PA and issued tickets for specially invited guests, mainly friends and family. These both went down well and they were ready to go public.
Their first public performance was at Birkenhead Park Rugby Club. The gig was a hit and saw the introduction of the backing tapes, slide presentations, and pyrotechnics' that were to become Chain of Command trademarks. Their next gig was at Brady's, the famous music club in Liverpool which had previously been Eric's (it had just changed hands), probably the most influential venue of the late seventies / early eighties era. To play there was amazing; for Dave, Neil, and Matt, Eric's was a place they went at least once a week. The fact the club had been renamed did not matter, this was hallowed ground. Unfortunately the gig was soured by the theft of one of the club's microphones, for which the band had to pay after having one of their synths impounded by the management.
Two other gigs at Birkenhead YMCA, and St. Luke's Church (Wallasey) followed the latter without Matt who had left to work with another band at the time (A Sleep Secret) after some musical "differences". The band patched things up and Matt re-joined in time for their next gig which was at a local nightclub, Sir James Entertains, followed by the band's biggest ever gig at Mr Pickwicks supporting China Crisis. The band's final gig was at the Warehouse Liverpool. For the Mr Pickwicks and YMCA show's Chain of Command recruited a female singer / dancer Debbie Currie. [SOURCE: CHAINOFCOMMAND.INFO]
Publicado por Nacho Trisat en 7:29
viernes, 16 de marzo de 2018
The Blackouts were a punk rock band formed in Seattle in 1979 by singer / guitarist Erich Werner, bassist Mike Davidson, and drummer William Rieflin, who were all former members of a local punk band, The Telepaths. They were joined by Roland Barker, first on synthesizer and later on saxophone.
Following a single and EP on small local labels, Davidson was replaced by Roland's brother Paul Barker in 1981. This line-up recorded the 'Exchange of Goods' single for English label Situation Two, and relocated to Boston in 1982. There they met Al Jourgensen of Ministry, who produced their last recording, the 'Lost Soul's Club' EP for Wax Trax! Records.
The band next relocated their second time to San Francisco in 1984, and toured the East Coast with Ministry that year before breaking up. Jourgensen recruited Paul and Roland Barker and Rieflin to the line-up of Ministry, playing a major part in the transformation of Ministry from a synth-driven dance band to one of the top exponents of industrial metal. This started a long collaboration between Paul Barker and Jourgensen in Ministry, Revolting Cocks, Lard, and other projects. Rieflin released a solo album in 1999, 'Birth of a Giant', worked with KMFDM, Pigface, Ruby, Peter Murphy, and Nine Inch Nails, and was the studio and touring drummer for R.E.M.. Erich Werner went on to join the Toiling Midgets. In 2004, Olympia's K Records released 'History in Reverse', compiling the band's studio recordings. [SOURCE: WIKIPEDIA]
Publicado por Nacho Trisat en 16:23
jueves, 15 de marzo de 2018
Alternate Learning (or ALRN) was a power pop / new wave band from 1977 to 1982, based in Davis, California and fronted by Scott Miller, a singer-songwriter later known for his work as leader of the 1980s band Game Theory and 1990s band The Loud Family. Alternate Learning, which was Scott Miller's first band to record on independent recording label Rational Records, was initially formed while its original members were in high school. Miller, Jozef Becker, and Scott Gallawa began performing at Rio Americano High School under the name Alternate Learning as early as 1977.
The group's self-titled first release, a four-song 7" EP, was recorded by the three original members in Sacramento, in Miller's home recording studio. The EP was independently released on Rational Records in 1979. The band and the 'Alternate Learning' EP both became known by the abbreviation ALRN, which was prominently featured on the front cover of the debut release. Although the disc was labeled with the band's unabbreviated name, the release is most often known as the 'ALRN' EP. The first EP is also sometimes referred to as the 'Green Card' EP, based on the title of its first song.
In 1978, Miller moved the band to Davis, California, where he was attending college. Bass player Carolyn O'Rourke and keyboard player Lynn Ross joined the Davis-based band, which became regionally well known for their performances in the Sacramento area, in San Francisco, and most frequently at U.C. Davis. In 1980, Lynn Ross, Scott Gallawa and Jozef Becker left the group, with Becker citing conflicts of personality. Gallawa and Becker formed the Les-Z-Boys with Guy Kyser; Becker and Kyser went on to become founding members of Thin White Rope. Becker, who was also a member of True West, rejoined Miller as a member of Game Theory from 1989 to 1990, and later was a member of Miller's 1990s group The Loud Family.
In February 1981, drummer Eric Landers joined Alternate Learning, as did keyboard player Byl Miller (no relation to Scott Miller).The 1981 lineup of Alternate Learning recorded a full-length LP called 'Painted Windows', which was released on Rational Records. During the recording of 'Painted Windows', Miller distanced the band from the previous ALRN release, writing in a newsletter that the 1979 EP "was not made by the present Alternate Learning, but by Scott Miller with Joe Becker and Scott Gallawa (now of Les-Z-Boys)."
After recording the album, and prior to its release, the 'Painted Windows' line-up debuted in an appearance with Pylon in April 1981. They went on to perform a series of shows from April through October 1981. Although the album was released in January 1982, the band did not perform again until late February 1982. After the release of 'Painted Windows', the group's final show took place at the U.C. Davis Coffeehouse on Saturday, February 27, 1982. The trio of Scott Miller, Carolyn O'Rourke, and Byl Miller performed without a drummer, accompanied by taped percussion and effects, until they were joined onstage by drummer Gavin Blair of the X-Men for their concluding songs. Alternate Learning was officially disbanded by Miller in May 1982. Within a few months, Miller had formed his new group, Game Theory. The new band included keyboard player and backing vocalist Nancy Becker, who had previously performed on synthesizer as a "sometime" member of Alternate Learning.
In 1981, Alternate Learning members collaborated with Steve Wynn to form a trio called 15 Minutes, which released one single on Wynn's label, Down There Records. 15 Minutes consisted of Wynn on guitar and lead vocals, Caroline O'Rourke on bass, and Eric Landers on drums. Their single, "That's What You Always Say" b/w "Last Chance For You", was written and produced by Wynn, with Scott Miller engineering. The A-side, "That's What You Always Say", was later recorded by The Dream Syndicate for their 1982 album 'The Days of Wine and Roses'. Both songs by 15 Minutes appear as bonus tracks on Rhino Records' 2001 remastered CD reissue of 'The Days of Wine and Roses'. [SOURCE: WIKIPEDIA]
Publicado por Nacho Trisat en 21:18
miércoles, 14 de marzo de 2018
Released on Sire, the only Six Sed Red's release was produced by Cabaret Voltaire and features two tracks by the duo of Cindy Ecstasy (Soft Cell / Marc and the Mambas) and Rick Holliday (early B-Movie lineup). It’s as good as it gets for club-ready, sex-dripping electro, and sounds like Prince and the girls from Strawberry Switchblade decided to record a cover of “Sensoria”. [SOURCE: SYSTEMS OF ROMANCE]
Publicado por Nacho Trisat en 14:35
martes, 13 de marzo de 2018
Yximalloo is Naofumi Ishimaru alone, but he drafts a loose ensemble of players, including the core of Shigeo Ootake and Takashi Korgo (who appear on all discs), as collaborator-executors. All of his releases are on his own label, and none have seen a distributor yet (which is why you very rarely find his CDs in stores). Ishimaru works like a Japanese Jandek without the angst, like the Boredoms minus the bombast. Spiritual kin to early artpunk and especially the LAFMS, he revels in mock-ethnic music and nonsense. Lo-fi, sweet and primitive, he uses ancient drum machines, hand percussion, and electronic droplet noises, sometimes set to melodies gathered from some imaginary South Sea island where the traditional instrument is seemingly an old '80s synth. Handclaps and chanting abound, but Yximalloo has also been painted as a Japanese Half Japanese -Jad Fair himself has collaborated with Ishimaru and draws the covers several releases (gorgeous dayglo and glow-in-the-dark covers in iridescent plastic cases). Recording since 1973, he still has but one Yximalloo release in the States, 1999 retrospective LP on Old Gold. Most CDs are around 70 minutes and usually contain over 30 tracks. [SOURCE: YXIMALLOO]
Publicado por Nacho Trisat en 9:34
lunes, 12 de marzo de 2018
The excellently named experimental rock duo Wreck Small Speakers on Expensive Stereos existed from 1980 to 1986. Consisting of Michael Morley on guitar, keyboards, and vocals, and Richard Ram on bass, guitar, and vocals, the duo formed in Dunedin, New Zealand in 1980. Their experimental, drummer-less music was quite unlike anything even on the artier side of Kiwi pop; its closest comparison would be the post-Galaxie 500 mid-'90s slowcore groups like Bedhead, Low, and Codeine. In the early '80s, the music of Wreck Small Speakers on Expensive Stereos was almost entirely alien, with little precedent other than perhaps the third Velvet Underground album taken to an absurd conclusion.
The duo's first release, the EP 'River Falling Love', wasn't released until 1987. It was followed one year later by a cassette-only release called 'A Child's Guide to Wreck Small Speakers on Expensive Stereos' on the New Zealand indie Xpressway Records. Other than a single track, "Rain", on the 1986 label compilation 'Xpressway Pile-Up', that was the end of Wreck Small Speakers on Expensive Stereos. Michael Morley formed The Dead C in 1987, and later instigated the noise-rock project Body/Gate/Head. Richard Ram apparently retired from music. Responding to Morley's greater international profile with The Dead C, the Chicago indie Ajax Records released the CD 'River Falling Love' in 1993, consisting of the entirety of the similarly named EP, with selected tracks from the cassette release and the compilation track. [SOURCE: ALLMUSIC]
Publicado por Nacho Trisat en 15:19
domingo, 11 de marzo de 2018
Belgian producer Dirk Serries, aka Vidna Obmana, is a prolific composer of deep ambient and electro-acoustic music, utilizing slow, shifting electronic figures and sparse environmental recordings to construct long, minimalist, often extremely personal textural works. Taking his nom de plume from the Yugoslavian for "optical illusion" (a concept which carries much weight in his composing, as well), Serries has released material through a wide range of different labels, including Projekt, Amplexus, Extreme, Hic Sunt Leones, Syrenia, ND, and Multimood. Born and raised in Antwerp, Serries began recording experimental noise musics in the late '80s, working solo and in combination with artists such as PBK, exploring the more abrasive side of electronic composition. Beginning with the release in 1992 of 'Shadowing in Sorrow', however, (the first part of what would come to be known as Vidna's ambient 'Trilogy') Serries began moving toward an almost isolationist ambient aesthetic, exploring themes of calm, solitude, grief, and introspection in long, moving pieces which tended to chart similar ground as American space music artists such as Robert Rich, Michael Stearns, and Steve Roach (Serries has since collaborated with both Rich and Roach). The first two movements of the Trilogy -'Sorrow', as well as its follow-up 'Passage in Beauty'- were self-released by Serries in 1990 and 1991, with the third volume, 'Ending Mirage', appearing the following year on the American ND label. The album was praised as some of the finest post-classical experimental electronic music of its time, and the Stateside connection finally opened his music up to an American audience, leading also to his association with Sam Rosenthal's Projekt label (the entire 'Trilogy' was finally reissued by Projekt sister label Relic as a boxed set in 1996, with several new Vidna releases also appearing in the interim).
Although his textural recordings form the core of his output, Serries' solo and collaborative works (such as 'The Transcending Quest', 'Echoing Delight', and 'The Spiritual Bonding') have also found him pushing the minimalism of his earlier works into the Fourth World territories of artists such as Jorge Reyes, Michael Stearns, and Jon Hassell, setting lush, dreamy soundscapes in a larger, more engaging rhythmic framework (usually with contributions from percussionists Djen Ajakan Shean and Steve Roach). Still, as many compilations and retrospectives of his earlier or unreleased work have appeared in recent times so as to confuse somewhat the trajectory of his development, which at any rate seems to trade more or less equally between the freeform conceptual landscapes of his earlier Projekt, Relic, and ND works and the more structured interactivity of the Extreme and Amplexus releases. Collaborations have also increasingly occupied Serries' time, with full-length works with Steve Roach ('Well of Souls', 'The Spiritual Bonding'), Robert Rich ('The Spiritual Bonding'), Asmus Tietchens (a self-titled collaboration for Syrenia), Sam Rosenthal ('Terrace Of Memories'), and Djen Ajakan Shean ('Parallel Flaming') appearing all within the space of only a few years. Both 'Landscape in Obscurity' and 'The Shape of Solitude' followed in 1999, and in the spring of 2000 Obmana returned with 'Echo Passage' and 'Surreal Sanctuary'. 'Subterranean Collective' was issued the following year. [SOURCE: ALLMUSIC]
Publicado por Nacho Trisat en 11:35
sábado, 10 de marzo de 2018
It was early 1977, when Kevin Thorne was at college, and he found punk. It was so new, so irreverent, so vibrant, exciting, and it had him hooked. He remembers thinking that if they could do it, he could. However, he didn’t. Not until he met Throbbing Gristle and everything changed. Their sound completely enveloped him and left him wanting more. He wanted to make music like that, combined with the punk ethic. At a Throbbing Gristle / Cabaret Voltaire / Rema Rema concert in London, he met Raye Calouri. They hit it off immediately and soon after, Third Door From The Left was born. Two live events and one “studio” cassette later, Kevin Thorne left to walk his own path as We Be Echo. [SOURCE: THIRD DOOR FROM THE LEFT.COM]
Publicado por Nacho Trisat en 8:41