Vivien Goldman

A veteran of the punk, post-punk/new wave, and reggae scenes since the 1970s, Vivien Goldman is a renowned writer, musician, and educator. Through her music and her journalism, she has played a significant role in merging punk and new wave with African and Caribbean rhythms, writing about numerous styles of music, and recording with countless musicians ranging from reggae legend Prince Far I to Soft Machine co-founder Robert Wyatt. Born in London in 1954, she spent time in the '70s working for Island Records as a public relations officer for artists including Bob Marley & the Wailers. She then became a journalist, writing for British weeklies such as NME, Sounds, and Melody Maker about the emerging punk and reggae scenes, eventually covering new wave and hip-hop during the following decade. Musically, she provided backup vocals on Adrian Sherwood-produced reggae recordings, and contributed to the 1979 debut album by new wave/dub minimalists The Flying Lizards, as well as both albums by experimental collective The 49 Americans. In 1981, she released an EP titled 'Dirty Washing' on legendary New York City label 99 Records. Edited down to a 7" single, with the A-side being single, "Launderette" (co-produced by Public Image Ltd.'s John Lydon and Keith Levene), the record was released on U.K. label Window and by Virgin Records in France. That same year, Goldman published "Bob Marley, Soul Rebel - Natural Mystic", the first book ever written about the late reggae icon. 

Goldman moved to Paris for a year-and-a-half, forming duo Chantage with singer Eve Blouin. Containing more of an Afro-pop influence than Goldman's previous work, Chantage's single "It's Only Money" was released by Celluloid in 1982. Goldman spent most of the '80s writing rather than recording; her second book, published in 1984, was about Kid Creole & the Coconuts. During the '90s, she moved to Manhattan and co-wrote songs for Massive Attack and Ryuichi Sakamoto in addition to the book "The Black Chord: Visions of the Groove: Connections Between Afro-Beats, Rhythm and Blues, Hip Hop, and More". In the 2000s, she began teaching classes at New York University's Clive Davis Department of Recorded Music. With courses focused on topics such as punk, Jamaican music, and Fela Kuti, she earned the nickname "Punk Professor." She also wrote another book about Marley in 2006, this time focusing on the classic album 'Exodus'. 

By this time, "Launderette" had become a cult classic, appearing on several post-punk compilations. Gomma featured it on 2001's 'Anti NY', Chicks on Speed Records included it on their 2006 three-CD 'Girl Monster' collection, and it also appeared on Strut's 'Disco Not Disco: Post Punk, Electro & Leftfield Disco Classics 1974-1986' in 2008. Goldman sang on a 2010 remix of New York house DJ Dennis Ferrer's club hit "Hey Hey". She also wrote liner notes for several compilations and reissues, including Luaka Bop's anthology of Nigerian musician William Onyeabor and Light in the Attic's series of Lizzy Mercier Descloux reissues. In 2016, German experimental label Staubgold issued 'Resolutionary (Songs 1979-1982)', a compilation including Goldman's solo EP, Chantage's single, and both of her songs from the first Flying Lizards album. [SOURCE: ALLMUSIC] 

The Zulus

Boston, MA's The Zulus are often used to answering the trivia question, "Whatever happened to Human Sexual Response?" Zulus vocalist Larry Bangor and guitarist Rich Gilbert were founding members of Human Sexual Response, a demented post-punk group that existed from the late '70s to the early '80s. Human Sexual Response were staples of the Boston underground rock scene during the new wave era, and twisted songs such as "What Does Sex Mean to Me?" and "Jackie Onassis" were catchy and accessible enough -despite the off-the-wall lyrics- to receive some mainstream recognition. The band became a cult favorite, even appearing on the SCTV comedy program. However, Human Sexual Response's second LP, 1981's 'In a Roman Mood', disappointed fans and critics with its darker material. The group split up in 1982. Bangor, Gilbert, and drummer Malcolm Travis then formed Wild Kingdom. The band had to change its name when Mutual of Omaha, the sponsor of the Wild Kingdom TV show, threatened to sue them if they didn't. They became Gospel Birds; again, the appellation was short-lived as a music publishing company with the same name made them drop it. Finally, the group chose The Zulus. The Zulus had a louder, more straightforward rock & roll sound than Human Sexual Response; their angst-laden, guitar-heavy tunes fit well on late-'80s college radio, helping to pave the way for grunge. The Zulus were signed to Slash and released their debut album, 'Down on the Floor', in 1989. 'Down on the Floor' was produced by Bob Mould of Hüsker Dü, one of the Zulus' obvious influences. In 1992, the band broke up. Travis then joined Mould in Sugar while Gilbert and bassist Rich Cortese formed Concussion Ensemble. [SOURCE: ALLMUSIC] 

Wicked Kitchen Staff

Wicked Kitchen Staff existed in its original form during 1982-83. They were a core of 6 people, Tim on bass (plus violin on the album), Steve on drums, Finn Panton on guitar, Andrew Kort on sax, Jeremy Richardson on synth, and Russell Higgs on vocals and re-distribution of shoplifted goods among their audiences. The 1983 album 'Debbie Grills Pulls Her Socks Up', were performed by the original Wicked Kitchen Staff core of 6 people, plus added vocals from Laura and added percussion from Mick. During live performances Wicked Kitchen Staff always offered anyone from their audiences an invitation to pick up an instrument (or some object) and come on stage and join in the music making. Wicked Kitchen Staff had a reputation for distributing food and pamphlets and shoplifted gifts to their audiences. The band's founder member Russell Shaw Higgs quit the band not long after the album was released. [SOURCE: LAST.FM] 

The Honeymoon Killers

The Honeymoon Killers were a Belgian experimental rock band originally formed in 1974 by Yvon Vromman, with J.F Jones Jacob, and Gérald Fenerberg. In its first incarnation, the band played mostly in Brussels, was arrogant and funny, and performed massacres on all musical genres, from rockabilly and punk to marching band music, French chanson and free jazz. The band's original name at the time was Les Tueurs De La Lune De Miel (i.e. "The Honeymoon Killers" in French). Their first album, entitled 'Special Manubre', was produced by Marc Moulin for his short-lived Kamikaze imprint, and came out in 1977. In 1980 the Tueurs were joined by Vincent Kenis and Marc Hollander from Aksak Maboul and completed their line-up with singer Véronique Vincent. 

1981 saw the group touring through Europe. Their cover of Charles Trenet's "Route Nationale 7" quickly became a radio & TV hit single in France and Belgium. The band's second album (entitled 'Les Tueurs de la Lune de Miel' -the French title of the album being the band’s English name, and vice versa) was warmly welcomed in Germany, France, and the UK where, unusually for a band which didn't sing in English, they received excellent coverage in the press, including the NME, on the cover of which the band appeared in 1982. Live on stage, The Honeymoon Killers often used pre-recorded drum machine loops which were played from cassette, over this they put guitar, bass, drums, trashy percussion, cheap-sounding organ, with Vromman and Vincent taking turns on singing. Some of their songs were extended to 20 minutes with their own brand of dub echo effects. The group split in 1985. Yvon Vromman died in 1989. 

In the Fall of 2014, former Honeymoon Killers members Véronique Vincent and Marc Hollander completed and released the album entitled 'Ex-Futur Album' under the artist name Véronique Vincent & Aksak Maboul with The Honeymoon Killers. The album had been recorded in the early 1980s with Vincent Kenis and with contributions by the rest of the band. [SOURCE: WIKIPEDIA] 

The Tear Garden

The Tear Garden is a psychedelic/experimental/electronic band, formed by Edward Ka-Spel of The Legendary Pink Dots and cEvin Key of Skinny Puppy in 1985 after Key served as a sound engineer on tour in Canada for Ka-Spel. An EP, 'The Tear Garden', was released that same year. The pair have since released a number records with the assistance of various guest musicians. 

The Tear Garden released the album 'Tired Eyes Slowly Burning' in 1987. It featured contributions from Skinny Puppy members Dwayne Goettel, Nivek Ogre, and Dave Ogilvie. Members of The Legendary Pink Dots would henceforth contribute to Tear Garden and in 1992 they released the full-length album 'The Last Man to Fly'. Another EP, 'Sheila Liked the Rodeo', much of which was recorded during the same sessions as 'The Last Man to Fly', was released in 1993. Only a few tracks feature Ka-Spel's vocals.

With the collapse of Skinny Puppy in 1995 and cEvin's primary commitment over, he and The Tear Garden released 'To Be an Angel Blind, the Crippled Soul Divide' in 1996, followed by 'Crystal Mass' in 2000. 'Crystal Mass' marked a departure for the group, with more focus seemingly directed toward sound and production than the traditional staple, the lyrics. In 2002 a limited edition compilation of previously unreleased songs, 'Eye Spy with My Little Eye' came out on Key's Subconscious Communications label. A best of, 'For Those Who Would Walk with the Gods' is also available. 

The Tear Garden have never toured, a detail that has limited their commercial potential. The only live performance of Tear Garden material by members of both Skinny Puppy and The Legendary Pink Dots was on April 14, 1988 in Leiden, Holland and May 1, 1988 at Foyer St. Arbogast in Strasbourg France, during Skinny Puppy's 'Head Trauma' tour, for which Edward Ka-Spel was the opening solo act. At the end of Ka-Spel's set cEvin Key joined him on guitar and keyboards for a performance of the song "The Center Bullet". The Legendary Pink Dots have performed "Isis Veiled" as an almost necessary encore at every show during their last few tours.

In March 2008, after having successfully collaborated in 2007 on 'The Secret Experiment', cEvin Key made mention that Edward Ka-Spel was due to show up in Los Angeles sometime soon and that new material could possibly arise from any presumed meeting of the pair.

Early in 2017, it was announced that the group would celebrate their 30th anniversary with the release of a new album, 'The Brown Acid Caveat'. The album would be accompanied with the release of the rarities collection album 'Eye Spy Volume 2'. [SOURCE: WIKIPEDIA] 

Second Layer

Second Layer was an electronic-based outlet for The Sound's Adrian Borland and Graham Bailey. Borland supplied guitars and vocals while Bailey provided keyboards, bass, and drum programming. The full length 'World of Rubber' was issued in 1981, after two singles: 'State of Emergency' and 'Flesh as Property. Since the duo was central to The Sound's sound, their side project retained some of that feel, albeit in a slightly detached fashion that's to be expected when synths and drum machines replace more human elements. Borland's songwriting wasn't much less personal here than his writing for The Sound. [SOURCE: ALLMUSIC] 

Inhibidos Quizás?

Inhibidos Quizás? formed in mid-1983 in Valencia, under the musical influences of artists such as U2, R.E.M., Orange Juice, Magazine, The Cult or Bob Dylan. Inhibidos Quizás? practised a soft pop-rock, and their first formation was composed by Federico Segarra (guitars), Fran García (rhythm guitar and harmonica), Vicente González (vocals), Javi Soler (bass) and Gonzalo Mantarás (drums). Federico Segarra and Fran García were the only musicians in the band who had previously played in other bands, starting together in Rimbaud, and later Federico adding his guitar to Peligro Inminente.

Soon after their formation, they participated in october of 1983 in the 1st Pop-Rock Contest Valencia 83, first event of this kind offered in the city. The quintet turned out to be the winners of the contest, sharing first place with A.D.N., and taking a special mention as best lyricists among the fourteen bands that reached the final stage. After two years, Inhibidos Quizás? entered the studio to record their first album at the end of 1985, 'El Precio Del Dolor', a MiniAlbum that includes six tracks recorded by Alfonso Olcina.

 

During the following years, Federico Segarra and Fran García played in parallel with Inhibidos Quizás? in other bands that during those years sprang up in Valencia. Whereas Federico Segarra was been already sporadically involved since the end of 1983 with Jah Macetas, from 1986 onwards he played in other bands such as Las Terribles Y La Banda Fantasma, El Septimo Día or La Gran Esperanza Blanca, while Fran García was the founder of this last mentioned combo, whose excellent folk-rock has lasted until very recently. 

At the beginning of 1990 the following Inhibidos Quizás? record came out, an EP with four songs that NOSE edited in collaboration with Discos Medicinales. For this album there were two changes in the line-up: the drummer Gonzalo Mantarás left his position to José Montoro, who had previously worked in Fernando Poo, and Javi Soler, who left to be replaced by Vicente Vilana. 

In September of 1992 their next and last work came out, a three songs EP. NOSE is once again in charge of issuing it, and this time it was produced and recorded in the studio of the Revólver leader, Carlos Goñi. This was also the last NOSE (New Wave of Eastern Sounds) reference. The band broke up definitively at the beginning of 1993. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80] 

Red Violet Red

Art school student Jeff Gallea meets Lyle Wells at a New Order concert in 1984. They form the synth-pop duo Festival Of Dreams and play a few local Rochester shows. Jeff sings, programs Roland 707 drum machine beats and plays Korg Poly 61 synth bass. Lyle sings, plays Fender electric guitar and Roland Juno 60 synth. Jerry DellaPietra joins to play electric Fender bass. Jeff, Lyle and Jerry all sing lead while recording cassette demos, but feel a designated lead vocalist is needed for live shows. Jerry recommends novice singer Cedric Herrera to audition. The four unite under the new name Red Violet Red in early 1985. 

While practicing in an abandoned downtown Rochester warehouse with windows open, night club promoter Richard Kaza walks by and hears Red Violet Red's driving new-wave sound. Richard ventures to the 4th floor, listens and invites Red Violet Red to headline at the opening of the new Club Idols. Over 300 punk-rockers, new-wavers and excited music fans pack the small upstate New York venue for their first perfomance. The local crowd hears and watches Red Violet Red use their synths and drum machines mixed with guitars and layered voices for a brave modern sound. Everyone dances. This is Cedrics first band, his first gig and he is expectedly nervous. Lyle gets drunk and throws a beer bottle at the club owner. Jeff hits on Adam Ant's girlfriend then gets bounced (for the bottle Lyle threw). The party gets out of hand and the Fire Marshal shuts the club down for being over capacity. 

Red Violet Red does no future shows at Idols, but Jim Fall, co-owner of lo-fi record company Game Hen Records, hears their intense performance. After that show, Red Violet Red is encouraged to record and release an album. In the summer of 1985, sound engineer Gary Zeftig records Red Violet Red at Music America Studios where Metallica recorded their first album 'Kill Em All'. They self produce and record 8 songs on 24-track analog 2" tape. Game Hen presses two of the songs to 12" vinyl single. 300 records are released. '12 Miles Of Sky' b/w 'Candy Cane'. Each record cover is hand painted with a green photo sticker and hand numbered. A basement flood at Game Hen destroys 50 records making the original 250 records harder to collect. The song "12 Miles Of Sky" charts high on many US college radio stations. 

One year later Red Violet Red breaks up for creative differences, right before a record deal was offered. In 1986 Jeff and Lyle form the cult collector dark-wave band Eleven Pond. Cedric joins the alt-rock band Claude Raines. [SOURCE: DOMESTICA RECORDS] 

The Pantano Boas

After a previous experience as Orgullo de España, part of its components, Fina Román (bass and voice) and Pepín Carcelero (drums), along with Ignacio Vidal (guitar and voice) -who had played in some bars in the Gracia neighborhood of Barcelona alone with his guitar and eventually with the rockers Dinkremea- formed this band. Showing a more arid and distorted music than the practiced before, The Pantano Boas bet on a cross between Detroit and The Velvet Underground that gave unbeatable results on their own songs and covers. Their first full-length was 'Full Blood Crash', recorded for Tres Cipreses in 1987. In 1988 they recorded a MiniAlbum for DRO entitled 'Motorbeast'. The following year, and again with Tres Cipreses, they released 'Raw Tapes', a compilation album comprising several live covers of other artists. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80] 

Opéra De Nuit

Formed in 1982, Opéra de Nuit is a french new-wave band belonging the independant scene from early 80s, including five musicians, four from Valréas and the fifth from the Drôme department, in southeastern France. Self-taught band bringing a certain kind of will, the Opera wanders from halls to basements, from attics to caves: they multiply concerts in France and elsewhere (Paris, Lyon, Marseille, …), as well as their interviews and radio broadcasts. 

Their first EP, 'Amour Noir', is recorded in 1984. Then, 'Sourire de l’Ombre' was the second EP recorded in 1986. 'Opéra de Nuit' (LP) was set up in 1988, propelling the five musicians adventure to an concrete and sensitive form. The disc is a tumultuous invitation to the Opera’s vessel. Then and finally in 2005, the song "Ami! Amant!" will appear on 'Transmission (81-89: The French Cold Wave)', a compilation made in a tribute to the leading bands of the independent French scene (L’Enfance Eternelle, Guerre Froide, Baroque Bordello, Kas Product…). [SOURCE: VK.COM] 

Nick Nicely

Best known for the 1982 cult hit "Hilly Fields (1892)," Nick Nicely's unique mix of psychedelic rock and electronic pop influenced contemporaries such as Robyn Hitchcock and XTC's Andy Partridge and informed the work of later talents like Bevis Frond, John Maus, Ariel Pink, and Temples. Despite his potential, Nicely disappeared during the mid-'80s and much of the '90s, resurfacing later that decade and gaining acclaim during the 2000s and 2010s thanks to reissues of his old work and the release of new music. 

Born Nikolas Laurien in Greenland while his parents were on a stopover during a transatlantic flight, Nicely grew up in Hitchin and Deptford, England and became fascinated with music thanks to his brother's fondness for British radio. Even at an early age, Nicely had an affinity for eerie, intricate, and psychedelic music, ranging from Joe Meek to the Beatles to Syd Barrett-era Pink Floyd to King Crimson. By the time he was 17, he was singing at a local folk club; as the '70s went on, he found inspiration in Euro-disco, Kraftwerk, Can and Neu!, as well as LSD, which he claimed rewired his brain. 

After moving to London to play with different bands and record on his own, Nicely began working with music publisher Heath Levy. Though they intended him to work as in-house songwriter, they gave him an advance to record his songs "DCT Dreams" and "Treeline" in a proper studio based on the strength of his demos. Half angular synth pop in the vein of Tubeway Army and half the kind of trippy atmosphere that hadn't been heard since the '60s, Nicely's debut single 'DCT Dreams' was issued on his own Voxette imprint (even though labels such as 4AD and Charisma offered to release it) in 1980 in a pressing of 900. The single gained distribution in Europe and South America and reached number 32 on Holland's charts, but did little in the U.K. even when it was reissued by the German label Ariola-Hansa in early 1981. 

Nicely threw everything he had into his next single, 'Hilly Fields (1892)', selling his home studio and his other possessions to finance the six-month recording process at Alvic Studio. The results were worth it: from its "Strawberry Fields"-like titular reference to a London park to its melancholy melody and mysterious washes of sound -which included tape manipulation that sounded like turntable scratching- it updated British psychedelia so brilliantly that NME called it "the best psychedelic record made since the '60s." Released by EMI, 'Hilly Fields' also failed to get much commercial traction, but it inspired Andy Partridge to form The Dukes of Stratosphear and predicted the psychedelic revival that The Three O'Clock, Robyn Hitchcock, and others expanded on later in the '80s. 

Despite having other tracks ready to release as singles and an offer to collaborate from Trevor Horn, the increasingly perfectionistic Nicely left music for a few years; along with a creative block, funding "Hilly Fields (1892)" and the lack of any royalties from "DCT Dreams'" left him financially unable to make music the way he wanted. Other than appearing as a backing vocalist on Paul Roland's 1987 album 'A Cabinet of Curiosities', by the mid-'80s Nicely was largely silent. However, a few years later he embraced the rave/acid house scene and found commercial success by collaborating with his friend Gavin Mills as the dance music duos Psychotropic, Freefall, and Airtight. 

He began recording as Nick Nicely again in 1997, with songs such as "On the Beach" reflecting his stint as a dance producer as well as the more traditional Nicely sound. In 2004, the collection 'Psychotropia' gathered these new recordings as well as his demos from the late '70s, making it much easier to hear a remarkably consistent body of work. Acclaim from artists like Ariel Pink and John Maus poured in, leading to live dates with them in 2008. Around this time, Nicely began working on a new album and collaborated with UNKLE in 2010; meanwhile, the Nicely reissue campaign was still going strong, with Grapefruit reissuing 'Psychotropia' and Captured Tracks releasing the vinyl collection 'Elegant Daze: Songs from 1979-1986'. In 2011, Nicely's album of new material 'Lysergia' arrived on Burger Records as a limited-edition cassette. The following year, he released a new version of "Hilly Fields (1892)" as a single backed with the original version on Fruits de Mer, while Emotional Response issued the 'Wrottersley Road' EP, which remixed one of 'Lysergia's trippiest tracks, in 2013. The full-length 'Space of a Second', which reworked many of 'Lysergia's songs, arrived on Lo Records in October 2014. For 2017's 'Sleep Safari', a surreal exploration into the workings of the unconscious mind, Nicely emphasized densely layered collages of electronics and samples. [SOURCE: ALLMUSIC] 

Mariah

Mariah have long been revered in the Japanese underground rock and new wave scene via five albums which brought hefty jazz chops, avant-rock muscle, and atmospheric synthetic textures together in ways that very few of their peers managed in the 1980s with such consistency. It’s the group’s 1983 swansong, 'うたかたの日々 (Utakata No Hibi)', that holds the most myth and magic, though; a slow-rolling yet celebratory album blending kinetic polyrhythms and fourth world dreamscapes which take traditional matsuri (or shrine festival) song structures and fuse the ancient with the modern to dazzling effect. [SOURCE: TICTAIL] 

Leven Signs

Leven Signs were a duo from London composed of Maggi Turner and Peter Karkut. Their unique release was the 'Hemp Is Here' cassette published on Robert Cox’s label Unlikely in 1985, reissued in a slightly different version on Cordelia that same year with different track order, omitted and new tracks. In 1986, Alan Jenkins also included a track from this album on 'Volume 2' of his "Obscure Independent Classics" series on Cordelia. Leven Signs belong to that British breed of avant-synth/new wave experimentalism including The Flying Lizards or General Strike –i.e. bands regurgitating their ethnic, ambient, new wave, avantgarde and systems musics influences into a highly creative musical hotchpotch where each song is a sonic playground crammed with musical ideas. Thanks to a choice of synth sounds emulating acoustic instruments like percussion, organ or flute, as well as Turner’s ethereal vocals, Leven Signs’ music has a timeless quality, something further exacerbated by the many Medieval touches in melody and rhythms –some tracks indeed sound like an electronic version of Officer!‘s "Kalenda Maya". Sequencer programming, synth playing and drum machine are brilliantly taken care of by Peter Karkut, while Maggi Turner is on vocals. [SOURCE: CONTINUO'S WEBLOG] 

Furnish Time

After the brief adventure as Forats Naturals and before the convocation of the City Council of Palma for the I Pop-Rock Competition, Pere Plá and Mané Capilla would unite again with Biel Pons (as with the Forats Negres of 1981), to form one of the most influential bands of Mallorcan Pop-Rock: Furnish Time. In the initial formation were Pere Plá (voice and guitar), Biel Pons (bass and keyboards), Mane Capilla (drums), Pep Vilariño (guitar) and Juan Ga (synthesizer). In November of 1983 they entered the Maller studios under the production of Toni Fernández to record 'The Joy Of The Others', their three songs EP that they would present in February 1984 with the cover of their friend and collaborator Rafel Juan and edited by the Blau label.

This first disc was presented live as a trio since Juan Ga and Pep Vilariño left the band after the recording. In 1985 they are hired by the Madrid City Council to perform at the San Isidro festivities with The Smiths. The concert had the presence of TVE cameras to record the concert for the "Edad de Oro" show. It was their great opportunity and there they were on May 18, 1985 before a crowd that flooded the Paseo de Camoens de Madrid (200,000-300,000 people according to sources). "La Edad de Oro" would broadcast after the live concert of The Smiths an interview with Pere Pla and the last 2 songs they played that night. 

Their second record was edited by Producciones Twins label at the beginning of 1986. The album, with a cover by Miquel Barceló, had to be largely self-financed and had a very limited circulation and a poor distribution. Although they were at their best and had reached maturity as musicians, circumstances did not accompany them and they did not have the promotion they deserved. Furnish Time ended up dissolving at the end of 1987. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80] 

Konstruktivits

Konstruktivists was formed by Glenn Michael Wallis in 1982 out of the ashes of Heute. Heute were a kraut rock influenced trio using electronics as well as conventional guitars and bass. Around this time -in the late 70's/early 80's- Glenn Michael Wallis was heavily involved with Throbbing Gristle, the U.K. pioneers of "Industrial". He acted as control agent for them -which involved anything from checking out venues to acting as bouncer/heavy. 

The first Konstruktivists album 'A Dissembly' was issued in 1983. This was quickly followed by their seminal LP 'Psykho Genetika' after signing to the newly-formed Third Mind records. At this point Glenn also moonlighted as a part-time member of Whitehouse -playing live with them in several countries and participating on their LP 'Great White Death'. 

Over the next two years, two more albums followed -1984's 'Black December', and 1985's 'Glennascaul', recorded and produced by Chris Carter. Konstruktivists also played extensively both home and abroad and appeared at the UK Electronica Festival in Sheffield, September 1984. From the latter part of 1985 to 1990 there was a five year hiatus in live appearances and releases, although band continued recording. Work started on a 12" called 'Ikon' and a new album 'Jihad' but recordings were uncompleted. 'Jihad' still remains uncompleted and unreleased. 

1990 saw a resurrection of Konstruktivists, with a new line up including Joe Ahmed and Lawrence Burton and a variation in sound. They signed to World Serpent and released a CD single 'Tic Tac Toe' which was well received (especially in Europe). A new album was recorded in 1991, but it took until 1993 before 'Forbidden' was finally released. Again this suffered from poor publicity and sales -leading to Konstruktivists and World Serpent parting company, and Joe and Lawrence leaving the group. It was around this time Konstruktivists forged a link with Impulse Magazine, and before long, it's editor Mark was drafted into the group. Over the next three years a hive of activity ensued with the setting up of a new label, Jara Discs, live shows in London, Cambridge, Austria and Holland, and an intense period of recording new material. 

During 1995 the Konstruktivists line up was augmented by the sax player and percussionist Al Shiells. A number of shows with this three piece line up were performed, as well as several cassette releases of new material were issued from this line up. 1997 saw the releases of 'Persona Non Grata' -using newly available CDr technology to press and produce the CD inhouse, only a small number of copies were sold, and remained largely unavailable until the official re-release in 2014. 

In 2000 Mark relocated to Vienna, Austria, which marked the end of his involvement in the group for some time. During the next decade Konstruktivists continued variously as a duo with Al Shiells, and as a Glenn Michael Wallis' solo project. In 2009 a Konstruktivists gig in Vienna served as a reunion as Mark joined Glenn for what was intended as a one-off performance. One year later the duo performed at the Wroclaw Industrial Festival in Poland. Further shows in Vienna in 2011 and 2012 (Supporting ex Cabaret Voltaire member Stephen Mallinder's new project Wrangler) inspired the duo to start writing and recording together again. 

In 2014 the first of these new recordings were released on a limited lathe cut 7" 'Future Past Calling'. This will be followed by two new albums of material, a CD entitled 'Anarchic Arcadia' and a vinyl LP 'Destiny Drive' during 2014. [SOURCE: KONSTRUKTIVISTS.COM] 

JFK

JFK was the mid-late 1980’s project of the then teenage Anthony di Franco. JFK explored a noisy rock approach, they recorded two tapes for the Broken Flag label, they were 'Il Pach Preserve' (a split cassette with Phaeton Derniere Danse in ’87) and 'Woelf' (’88); and there was also the 'Inna Inner Amen' cassette released on Sound of Pig (’88). Those three releases are the source of the recordings featured on the compilation 'Teenage Fantasy'. He issued as well a 7” in 1992 entitled 'Sexodus'. Di Franco was involved in Ethnic Acid at the same time as JFK, and he has also been involved in Velvet Snakeskin Orchestra, Novatron and Skullflower. He is also presently involved in AX and Ramleh. Having been a key member of Ramleh since the 1990’s, Di Franco has been instrumental in their 90’s guitar and later Power Electronics work. [SOURCE: HEATHEN HARVEST] 

In Camera

Jeff Wilmott (drums and piano), Pete Moore (bass), Andrew Gray (guitar, keyboards), and David Steiner (vocals, keyboards) formed the London, England-based post-punk band In Camera in 1978. 'Final Achievement / Die Laughing' and the 'IV Songs' EP, both released on 4AD in 1980, featured a jagged, driving sound that prompted comparisons to Joy Division, Public Image Ltd., and Section 25. The band broke up in 1981 but released 'Fin', an EP of their December 1980 BBC session for John Peel, in 1982. Gray eventually joined another 4AD act, The Wolfgang Press, and remained with that band for roughly a decade. In Camera re-grouped during the early '90s and recorded a batch of new material that appeared on the compilation '13 (Lucky for Some)'. In 2015, they released a more elaborate anthology, 'Era', as a two-disc package. The compact disc edition contained all of the previously released 1980-1982 material, as well as demos, rehearsals, and live recordings from 1979-1981. The double vinyl edition contained fewer tracks. [SOURCE: ALLMUSIC] 

Hermann Kopp

Hermann Kopp (born 21 August 1954 in Stuttgart) is a German composer and musician, presently living in Barcelona, Spain. After moving to Karlsruhe in 1979 he became a member of the German electro-industrial band Keine Ahnung. In the 1980s he released two vinyl records with a sound that can be vaguely classified as electronic minimalism. In 1987 he participated in the soundtrack of the German horror film "Nekromantik", followed in 1989 by music to the movie "Der Todesking" and in 1990 to "Nekromantik 2". Unlike the early song material that tends to be intimist and voluntarily drawing on the kitsch side, his film scores create uneasy and haunting atmospheres, weaving atonal strings, slow motion rhythms, moog synthesizers and plain noise into soundtrack form. In 2007, Hermann Kopp released 'Psicofonico', abstract violin soundscapes influenced by a Spanish documentary on the Electronic Voice Phenomena. His more recent releases on the Galakthorrö label remain closer to his earlier horror scores, developing them into an individualistic, morbid musical language. [SOURCE: WIKIPEDIA] 

Gina X Performance

One of the earliest proponents of chic, detached electro-pop, Gina X Performance (born Gina Kikoine) released a number of records throughout the late '70s and early '80s. A few of her songs, especially "No GDM" (a tribute to writer/actor Quentin Crisp) and "Nice Mover", have remained popular at dance clubs and within DJ circles; as proof of her lengthy shelf life, the latter was featured on Andrew Weatherall's 'Nine O'Clock Drop', a compilation of alternative dance tracks from the first half of the '80s, in 2000. Her android-like voice recalled obscure disco singer Amanda Lear and -most significantly- fellow German Marlene Dietrich. Most of her work featured the production skills of Zeus B. Held, who included Kikoine in his early-'80s Fashion project. She also took part in a duet with Associates' Billy Mackenzie during that group's 'Perhaps' sessions, but odds are very slim that the unreleased song (a version of "The Best of You") will ever see the light of day. [SOURCE: ALLMUSIC] 

The Fast Set

‘Junction One’ by The Fast Set, namely avant-synth artist David Knight, was the first release on Axis, the label which became 4AD. The single was backed with a version of T.Rex's "Children Of The Revolution". The Fast Set's only other recorded moment was another T.Rex cover, "King Of The Rumbling Spires", which appeared on the Some Bizzare label's eponymous 1981 compilation, alongside tracks by Soft Cell and Depeche Mode. David went on to work with the Shock Headed Peters and Danielle Dax. [SOURCE: 4AD] 

Pasajeros

Band from Madrid formed around 1984 by Ángel Martos (vocals and bass), Pedro González (guitar), Javier Martos (drums, percussion) and María José Redín (keyboards). After presenting a demo to Mario Pacheco, he became interested in the group and in 1985 they recorded in Sonoland studios their only LP, a MiniAlbum for Fonomusic with the same title produced by Tomás Pacheco. They played at different venues in Madrid, including the popular Yastá and Rock-Ola. "Gritaré" was the cut included by Pasajeros in the 1986 compilation 'La General' by Fonomusic, along with Commando 9mm, TDK, Ángel y Las Güais, Misión Imposible, Ciudad Jardín, Rufus and Kiki Roxa. Ángel Martos went through Domingo y Los Cítricos to devote himself later to production tasks. María José formed a group with four other girls named Las Cinco en Punto who recorded an album with CBS, while Pedro and Javier continued playing with La Vergüenza de Brooklin. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80] 

Ensemble Pittoresque

1977, these were the heydays of punk, glam rock and the maximum comfort of Western living. The Sex Pistols, Kraftwerk, Can, Faust, Fripp & Eno, Pere Ubu and a wide variety of mainstream artists pounded the world with their personal pinnacles of artistic brilliance. These were the sale-days of endless series of poly and monophonic synthesizers, arpeggiators, sequencers, drum boxes, digi modifiers, metal distortions, big muffs, Nikkei exchange rates and inscrutable trade-in values. In the heart of The Hague, at a squatted anarchistic stronghold called “Bamboulee” Paulus Wieland and Richard Neumöller hooked up with whiz technician Ton Willekes. After they had moved to the dunes of Wassenaar, these "music crazed, angry young men", on the 12th of august 1978, founded a company called Ensemble Pittoresque. At their squatted cottage near the coast, they created sounds and scapes, which at first mostly pleased just themselves. 

However, after some public try-outs and side projects, they set their minds on an independent release of their own. From the latest ideas of about twenty hours of material, they compiled their first album, ‘For This Is Past’. At the heart of three of the recordings, “Reichsdorf Room 6”, “Building Brains” and “Auratorium” an ingenious invention of Ton Willekes allowed them to use one of four tracks to trigger the TR-808 and TB-303. This way it became possible to combine "three track tape loops" with “live” playing electronics, so only vocals and guitars had to be added during mastering. 

After a long wait, the three friends rode of to Belgium to get their firstborn home. From then on things picked up. They hooked up with distributor Boudisque and the record got airplay. Interviews added to publicity, bookings paid better money and overall live conditions improved. With bigger fees came better PA’s and publicity. To overcome a lack of dynamics on stage, Neumöller and Wieland turned to three fellow musicians: Ed Van Hoven, Marion Prinz and Biko. 

From then on, the music was backed by real live performance and many times, public response confirmed the band’s enthusiasm. The gruesome throbbing “new funk bass of precision” that Ed Van Hoven played opened new ways for Ensemble Pittoresque to explore. At home, Richard Neumöller used “the sync system” and his Sony TC-D5M to combine pre-fab tracks with several different drum patterns and triggered synths. This way the outline of new songs would be prepared in advance and the band could develop them, performing on stage. Touring the alternative clubs of Holland the group turned into a tight act and layed ground for several songs on their second album.

While the group was busy working on their second album 'Frequenz', their manager booked them for a group presentation called D-Day, in ‘Paradiso’ Amsterdam. So, on day four, in the middle of the recording sessions, the group was supposed to pack their gear, get on the bus, briefly sound check and perform, alongside two of the youngest, promising, non electronic Amsterdam live bands of that moment (one of those bands being Claw Boys Claw). They were the first act. Murphy’s law struck like clockwork. The error levels couldn’t have been more ominous. Because of one faulty connector in the sync system the whole band stood like frozen on stage. The audience became impatient and the mindset of the band hit rock bottom. Beer was thrown, the crowd smelled blood and something snapped. The reviews that followed burned Ensemble Pittoresque to the ground. After the release of ‘Frequenz’ which got pretty good reviews, they set out to promote the album at the youth centers of Holland, but something had changed. From the initial enthusiasm of the band, very little was left. Wieland, Willekes and Neumöller had drifted apart musically and couldn’t take the step to a more professional approach together anymore. The band officially split up at the end of 1984. [SOURCE: ENSEMBLE PITTORESQUE.NET] 

Das Kabinette

While students at Blackpool Art College in 1981, Dave Bracher, Craig Hemmings and Mick Hall quickly discovered their shared interest in music and old English pubs. In no time, their shared student accommodation became a clutter of instruments beneath a nest of wires and recording equipment. Later, armed with their hard-earned student grant cheques, they booked recording time at the local Sunset Sound Studios. Blending synthesizers and drum machine with guitars, Das Kabinette was born. Their second visit to the studio in 1983 produced "The Cabinet" and the remixed "Fudge It". They all have a fascination for "The Cabinet of Doctor Caligari" with its twisted tale of madness and unforgettable imagery and this was the theme we borrowed for their demo. Dave created the sleeve artwork and Craig organised the pressing of 500 vinyl singles on their own Klosette Records label. Over many months, they touted "The Cabinet" to club and radio DJs and sent copies to largely unreceptive A&R departments, yet found a friend in BBC Radio 1’s Janice Long who aired it on several occasions. On leaving college, now with full-time jobs and regular pay cheques, they continued their sporadic recording sessions at Cavalier Studios, near Manchester, until a completed album, 'Sexual Desert', emerged in 1986, but is as yet unreleased. [SOURCE: MINIMAL WAVE RECORDS] 

Care

By the time an album was released from the British duo Care, the group had been defunct for more than a decade. Care formed in Liverpool, England, in 1983. Featuring singer Paul Simpson (ex-keyboardist for The Teardrop Explodes) and guitarist Ian Broudie (of Big in Japan and Original Mirrors), Care blended Simpson's enchanting, heartbroken vocals and pensive lyrics with Broudie's shimmery riffs and gleaming synthesizers. Care's first single, "My Boyish Days", introduced the band's new wave style: sparkling keyboards, chiming guitars, and Simpson's dreamy, depressed croon. Care's next release, the lovelorn "Whatever Possessed You", sounded like the missing link between Echo & the Bunnymen and Joy Division. "Flaming Sword" landed on the British Top 50 in 1983; however, Simpson departed from Care before they could complete their 'Love Crowns and Crucifies' LP. At the time, Simpson was involved in a self-destructive relationship with a female musician who was contributing to the album. Furthermore, Broudie's taste for gleeful commercial pop scraped against Simpson's need for darker, more serious fare. Consequently, the recorded tracks for 'Love Crowns and Crucifies' were shelved. Simpson then re-formed The Wild Swans, while Broudie created The Lightning Seeds. 

In 1990, Simpson and Broudie collaborated again on The Wild Swans' second full-length, 'Space Flower', but it was a short-lived reunion. Broudie immediately began recording another Lightning Seeds LP, while Simpson disappeared from the music scene until his Skyray project in the mid-'90s. Care were on the brink of fading into obscurity; however, a cult following in Japan and the Philippines, where Care's songs were more popular than they were in England, kept the group's memory afloat. Noticing the demand for Care records on the Internet, Camden released 'Diamonds and Emeralds' in 1997, a compilation of the duo's singles, B-sides, and tracks intended for 'Love Crowns and Crucifies'. Collected without permission from either Simpson or Broudie, 'Diamonds and Emeralds' nevertheless finally presented Care's majestic work on CD. [SOURCE: ALLMUSIC]