R.I.P.

R.I.P. were a punk band from Arrasate (Mondragón), in the Basque Country, formed in 1984 during the explosion of the Rock Radical Vasco movement. Although they emerged alongside many of the best-known Basque punk groups of the era, R.I.P. quickly developed their own identity through a raw, stripped-down sound and lyrics that reflected frustration, alienation, social conflict and life on the streets. Their songs were fast, direct and uncompromising, capturing the intensity of the mid-1980s underground scene.

 
The band's classic lineup consisted of Karlos Agirreurreta, better known as "Mahoma", on vocals, Yul Bolinaga on guitar, Eduardo Mancebo "Portu" on bass and Txerra Bolinaga on drums. Their early rehearsals and live shows earned them a strong local following before they became known throughout the Basque punk circuit, where they shared stages with many of the key names from the movement. Their concerts were loud, chaotic and energetic, matching the urgency of their recordings. 

R.I.P.'s first recordings appeared on the influential 1984 compilation 'Zona Especial Norte', which also featured several important Basque punk bands. The exposure helped establish the group beyond their hometown and led to the release of their debut EP 'No Te Muevas' in 1987. The record became a landmark of Spanish hardcore punk thanks to its aggressive pace, sharp guitar work and Mahoma's unmistakable vocal delivery. Tracks such as "Brigada Criminal," "Anti-Militar" and the title song became staples of the Basque punk scene and remain closely associated with the band's legacy. 

Their music combined the speed of hardcore with the rough edge of classic punk, avoiding polished production in favour of a live, abrasive sound. Their lyrics dealt with police repression, militarism, unemployment, drug addiction and everyday struggles, themes that reflected the climate of the Basque Country during the 1980s. 

R.I.P. remained active until 2003, when the death of vocalist Karlos "Mahoma" Agirreureta brought the band to an end. Over the years, the remaining members also passed away: guitarist Yul Bolinaga, bassist Eduardo "Portu" Mancebo and drummer Txerra Bolinaga. Despite their relatively small catalogue, R.I.P. left behind a collection of recordings that became essential listening for anyone exploring the history of Basque punk and the broader Spanish hardcore movement of the 1980s.

 

Q4U

Q4U were an Icelandic punk and new wave band from Reykjavík that emerged during the first wave of the country's underground scene in the early 1980s. The group was originally formed under the name Nýsasistur, but quickly adopted the name Q4U as they became part of the small but fast-growing punk community that was taking shape in Iceland. Inspired by the energy of British punk, their earliest line-up featured Elínborg "Ellý" Halldórsdóttir and Berglind "Linda" Garðarsdóttir on vocals, Steinþór Stefánsson on guitar, Gunnþór Sigurðsson on bass, Helgi on drums and Már on synthesizer. After a few early changes, drummer Kormákur Geirharðsson joined the band, helping to establish the line-up that first attracted attention. 

 
Q4U quickly became part of Reykjavík's lively punk circuit, sharing stages with other pioneering Icelandic bands and appearing in the landmark documentary "Rokk í Reykjavík", which captured the explosion of alternative music in the country. Around this time they recorded the cassette 'Skaf Í Dag', a rough collection of songs that reflected the raw, direct approach of their live performances. Their early material combined fast, aggressive punk with sharp social commentary, delivered through the distinctive and powerful vocals of Ellý, whose lyrics often tackled political and personal themes in Icelandic. 

 
The band went through a major transformation in 1982 after the original line-up dissolved. Ellý and Gunnþór carried on with guitarist Óðinn Guðbrandsson and keyboard player Árni Daníel Júlíusson, both connected with the band Taugadeildin. Rather than replacing their departing drummer with another musician, they adopted a Roland TR-808 drum machine, nicknamed "Elísabet II." The change pushed Q4U away from straightforward punk and into darker, synthesizer-driven post-punk and new wave territory. Their music became more atmospheric, drawing comparisons with groups such as Siouxsie and the Banshees and Xmal Deutschland while still keeping the urgency of their punk roots. 

 
This second phase produced the six-track EP 'Q1', recorded around the turn of 1982 and 1983. Songs such as "Böring" became underground favourites, and the band earned a reputation as one of Iceland's most adventurous acts of the period. They also returned to live performance with Kormákur back on drums for a series of concerts, including a support slot for Classix Nouveaux. Despite the growing recognition, internal changes and new commitments led to the group's breakup in 1983 after recording one final batch of demos. 

 
Interest in Iceland's early punk movement grew again during the mid-1990s, leading to the band's reunion. In 1997 they released 'Q2', a retrospective CD collecting the 'Q1' recordings, early demos, rehearsal tapes and previously unreleased material, giving listeners a much fuller picture of the band's brief but productive career. Q4U also returned to the stage for a series of reunion concerts and television appearances, introducing their music to a new generation of listeners. 

 
The group's legacy continued to grow through later reissues, including the expanded 'Q1 Deluxe Edition 1980–1983' released by Dark Entries Records, which helped bring their recordings to an international audience interested in obscure punk and post-punk. Q4U reunited again during the 2010s, performed at Iceland Airwaves, and eventually returned with new recordings, showing that the band's story stretched well beyond its original early-1980s lifespan. 

 

P.F. Commando

P.F. Commando were a punk band from Gävle, Sweden, formed during the first wave of Swedish punk in the late 1970s. They emerged from a local scene that was quickly developing its own identity, combining the raw energy of British punk with a distinctly Swedish attitude and sense of humor. Their songs mixed fast, straightforward punk rock with sarcastic lyrics and sharp social observations, helping them stand out among the country's early punk acts. 

 
The band's recording debut came in 1978 with the single 'Svenne Pop', a track that quickly became associated with the growing Swedish punk movement. Around the same time they also appeared on the influential compilation LP 'Nä Nu Gävlar', a release that documented several of the new punk bands emerging across Sweden. The compilation introduced P.F. Commando to a wider audience and placed them alongside other key names from the country's rapidly expanding underground scene. 

 
Their first album, 'Manipulated Mongon', arrived in 1979 and captured the group's early sound with short, energetic songs driven by fast guitars, catchy choruses and a deliberately rough production style. While rooted in classic punk, the record also reflected the band's playful side, balancing aggression with irony and an offbeat sense of humor that became part of their identity. 

 
In 1981 they released their second LP, 'Jag Är En Duva', which showed the band expanding its approach without leaving its punk foundations behind. The songwriting became a little broader while still keeping the direct, no-frills style that had defined their earlier recordings. During this period P.F. Commando remained active on the Swedish live circuit, sharing stages with many of the country's established and emerging punk bands. 

 
Although 'In a Pose' was eventually released in 1997, the material had actually been recorded back in 1979. The recordings offered a snapshot of the band during its formative years and preserved songs that had remained unheard for nearly two decades. By the time the album finally appeared, it had become an interesting document of Sweden's original punk era rather than a contemporary release. 

 
P.F. Commando split up in 1982 after several years of recording and touring, but the story did not end there. The band has reunited on various occasions for live performances, returning to festivals, club shows and special events celebrating the history of Swedish punk. Their recordings, especially 'Svenne Pop' and 'Manipulated Mongon', continue to be closely associated with the formative years of Sweden's punk scene and remain sought after by collectors of Scandinavian punk. 

 

O.K. Korral

O.K. Korral were a rockabilly band from Zarautz in the Basque Country, active between 1985 and 1989. At a time when the Basque music scene was largely associated with punk and the explosive rise of Rock Radikal Vasco, the band took a different route by blending classic American rockabilly with the energy and attitude of the local underground. Their sound soon earned the nickname "Euskalbilly," a label that reflected both their musical roots and their Basque identity. 

The group grew directly out of Humedecidos, a local punk band whose entire lineup made the move into this new project. The original formation featured Lou Olangua on vocals, Dani Ulacia on guitar, Iñaki Brakamonte on bass and Eva on drums. As the band developed, Brakamonte was replaced by Fermin Iraola on bass, while Alberto took over the drum stool from Eva. Although the musicians came from a punk background, they embraced the rhythms, twang and vintage style of rockabilly without losing the raw, straightforward spirit they had built in their previous band. 

Rather than treating rockabilly as a nostalgic exercise, O.K. Korral gave it a sharper edge, combining driving guitar work, slap-style bass lines and energetic performances with influences picked up from the Basque punk circuit. Their songs mixed traditional rockabilly elements with a fast-paced approach that fit naturally alongside the independent scene of the mid-1980s. That combination made them stand out among their contemporaries, especially in a region where punk and hardcore dominated clubs and festivals. 

During their four-year run, O.K. Korral became a familiar name in the Basque live circuit, sharing stages with bands from different corners of the local underground. Their performances helped establish the idea that rockabilly could coexist with the DIY ethos that defined so much of the era's independent music. The "Euskalbilly" tag followed them throughout their career and has remained closely associated with the band ever since, describing a style that connected American rock 'n' roll traditions with the character of the Basque scene during the second half of the 1980s. 

N.O.T.A.

N.O.T.A., short for None Of The Above, was an American hardcore punk band formed in Tulsa, Oklahoma, in the early 1980s. They emerged during the first wave of the US hardcore scene, but unlike many of the better-known bands from the East and West Coasts, N.O.T.A. developed their sound in the American Midwest, building a loyal following through relentless touring and a series of fast, aggressive releases. Their music mixed the speed and intensity of hardcore with a strong punk rock foundation, often incorporating melodic guitar leads and tightly played arrangements that gave their songs a distinctive edge.

 
The band's early line-up featured vocalist Jeff Hare, guitarist Mike Buckley, bassist Chris Moore, and drummer Jimmy Reeder, although personnel changed several times throughout the group's history. Like many hardcore bands of the era, N.O.T.A. went through a number of line-up shifts while continuing to perform and record, with each version of the band maintaining the raw energy that had become their trademark. 

N.O.T.A. quickly made an impression with their debut EP 'Moscow', released in 1982. Although the title reflected Cold War imagery common at the time, the record was less about politics than about capturing the frustration, urgency and youthful energy that defined early American hardcore. Their first full-length album, 'None Of The Above', followed in 1985 and expanded on the band's style, combining blistering tempos with more structured songwriting and memorable riffs. Tracks from these releases became underground favourites through tape trading, college radio and the growing independent punk network.

 
Throughout the mid-1980s the band toured extensively across the United States, sharing stages with many of the leading hardcore and punk acts of the period. Their live shows earned a reputation for being energetic and intense, helping them reach audiences far beyond Oklahoma. While firmly rooted in hardcore, N.O.T.A. never sounded completely confined by the genre's conventions, occasionally incorporating elements of traditional punk and hard rock into their music. 

After several years of constant activity, N.O.T.A. disbanded in 1987. Interest in the group's recordings remained strong within the hardcore underground, leading to a reunion in 1993. The reformed band returned to performing and recording with a refreshed line-up while staying faithful to the sound that had defined their early work. They remained active throughout the 1990s before bringing the band to an end in 2000. 

M.I.A.

Rescued from the brink by a well-timed move to Southern California, M.I.A. first got its start as a Las Vegas punk act by the name of The Swell. After some lineup shifts and a move to Orange County, M.I.A. was born, and tracks were recorded and the party circuit was played. The resulting demo found its way around the influential members of the punk circle, but the band came to a halt, with vocalist Mike Conley moving back to Las Vegas. In 1982, the aforementioned tracks found their way onto a split LP with New Jersey's Genocide, entitled 'Last Rites'. The buzz created by the collection, and the move back to California of Conley, resulted in the re-formation of M.I.A. By 1984, the band had scored a deal to work with Jello Biafra's Alternative Tentacles label, which would release the 'Murder in a Foreign Place' EP that year. A national tour followed, as well as some studio time and a few small release singles and 7" records. In 1985, the band released 'Notes from the Underground', and split up after a final show opening for the Dead Kennedys. Breakups be damned, M.I.A. found their way back together again in 1986 and released the LP 'After the Fact' on Flipside in 1987. An attempt at a stylistic shift would prove to be the band's undoing, and they split for good in 1988. Members Frank Daly and Mark Arnold would reappear in Big Drill Car. [SOURCE: ALLMUSIC]

 

Charles Hayward

Charles Hayward is an English drummer, composer, singer and multi-instrumentalist born in 1951 whose career has been closely tied to the evolution of British experimental music. Although he first gained attention as a drummer, his work has always stretched far beyond keeping time, combining percussion, tape manipulation, keyboards, electronics and vocals into a highly personal approach to composition. His interest in improvisation, home recording and unconventional sound experiments began at an early age, leading him into London's underground music scene during the early 1970s. 

Before establishing his own musical identity, Hayward played with several adventurous projects including Mal Dean's Amazing Band, Radar Favourites and Dolphin Logic. Around the same time he worked with Phil Manzanera in Quiet Sun, contributing to the band's acclaimed 'Mainstream' album, and also spent a short period performing with Gong. These early experiences exposed him to progressive rock, jazz fusion and free improvisation, influences that would later merge into something far less conventional. 

In 1976 Hayward joined forces with guitarist Charles Bullen and Gareth Williams to form This Heat, a trio that became one of the most influential experimental bands to emerge from the post-punk era. Working from their own Cold Storage studio in Brixton, the group developed a unique sound built from live performance, tape loops, found sounds, dub production techniques, minimalism and fragmented song structures. Their self-titled debut album and the follow-up 'Deceit' ignored the usual boundaries between rock, industrial music, avant-garde composition and electronic experimentation. Commercial success never arrived, but both records gradually became cult classics whose influence spread across post-rock, industrial, experimental electronic music and countless underground artists. 

After This Heat came to an end in 1982, Hayward continued exploring similar ideas with Camberwell Now, formed alongside Trefor Goronwy and Stephen Rickard. The group expanded the use of field recordings, tape manipulation and layered vocal arrangements while keeping a stronger emphasis on songwriting. Releases such as 'The Ghost Trade', together with the 'Meridian' and 'Greenfingers' EPs, showed Hayward refining his interest in combining experimental sound with memorable melodies and rhythmic complexity. 

Alongside his own bands, Hayward became a sought-after collaborator, appearing on recordings by The Raincoats, Everything But The Girl, Lora Logic, Coil and many others. His long-running partnership with Fred Frith and Bill Laswell in Massacre brought his drumming into a heavier and more improvisational setting, while numerous one-off projects, installations and live collaborations kept him connected to the worlds of free improvisation, contemporary composition and experimental performance. 

Hayward has also maintained a substantial solo career since the late 1980s, releasing albums that blur the lines between rock, spoken word, electronics, improvisation and abstract composition. Rather than relying on traditional song structures, many of his solo performances revolve around layered rhythms, looping vocals, live electronics and spontaneous interaction with the audience. He has also organised multidisciplinary performance events, composed music for dance, theatre and installation works, and remained an active presence in London's experimental music community for decades.

 
His drumming is immediately recognisable for its restless energy and refusal to settle into predictable patterns. Instead of treating rhythm as a supporting role, Hayward often uses the drum kit as a melodic and textural instrument, mixing sharp, driving grooves with sudden changes, odd time signatures and improvised passages. That approach, combined with his willingness to embrace tape manipulation, electronics and unconventional recording techniques, has made him a key figure for generations of musicians working across post-punk, avant-rock, industrial, experimental rock and free improvisation. 

K. Leimer

Seattle-based composer K. Leimer has been making ambient and experimental music since the mid-'70s, releasing the majority of it on his own Palace of Lights label. Inspired by the tape loop experiments of Brian Eno and the free-form cosmic explorations of Krautrock groups such as Cluster and Neu!, he began creating similar sounds at a time when interest in these forms of music was virtually unheard of in the United States. Leimer's early releases included ambient albums like 'Closed System Potentials' (1980) as well as more rhythmic works such as 'Land of Look Behind', a soundtrack to a 1982 documentary about Jamaica. Leimer also formed Savant, an avant-funk/rock collective along the lines of Material or the Golden Palominos. Following a hiatus which lasted nearly two decades, Leimer relaunched his label near the beginning of the 2000s and resumed activity. By the mid-2010s, Leimer's music began attracting more interest than it ever had during the previous decades. RVNG Intl. issued 'A Period of Review', a collection of previously unreleased works, in 2014, and Leimer continued releasing albums such as 2015's 'The Grey Catalog', in addition to remastered editions of earlier works. 

 
Kerry Leimer was born in Winnipeg, Canada, and raised in Chicago before his family settled in Seattle in 1967. Interested in Dadaist and Surrealist art as a teenager, he discovered the work of experimental musicians who were making the audio equivalent of abstract art. He began buying cheap instruments and recording equipment, and started experimenting with tape loops, textural sounds, and unusual recording techniques. Leimer appeared on early cassettes by Anode (Robert Carlberg) beginning in the mid-'70s, and his earliest releases were on Anode Productions near the end of the decade. In 1979, Leimer and his wife, Dorothy Cross, established Palace of Lights in order to help foster the growing community of experimental musicians in Seattle. Leimer's first LP, 'Closed System Potentials', was released in 1980. His second, 'Land of Look Behind', was the soundtrack to a 1982 documentary about Jamaican culture following the death of Bob Marley, and combined ambient synthesizer textures with Nyabinghi drum rhythms. Around this time, Leimer was also active with his Savant project, a collaborative studio project which explored funk, dub, and post-punk rhythms and made extensive usage of sampling, recalling Brian Eno and David Byrne's 'My Life in the Bush of Ghosts'. Savant's only full-length, 'The Neo-Realist (At Risk)', was released in 1983. 

 
Following a few more releases that year, including the serene 'Music for Land and Water' and the more rhythmic 'Imposed Order', Leimer went on hiatus from releasing music. He transitioned from analog to digital instruments and continued recording, but he didn't reactivate Palace of Lights until 2002, when he reissued several of his older albums on CD, in addition to the freshly recorded 'The Listening Room'. Several other Leimer full-lengths followed, including 2004's 'Statistical Truth' and 2010's 'Degraded Certainties', and Palace of Lights additionally released recordings by artists such as Gregory Taylor and Marc Barreca. 

 
Leimer finally began to receive a significant amount of recognition around 2014, when RVNG Intl. released 'A Period of Review (Original Recordings: 1975-1983)', a collection of previously unissued pieces. The label also released a Savant compilation titled 'Artificial Dance' in 2015. 'Recordings 1977-1980', a double-LP reissue of some of Leimer's early cassette-released material, was put out by Vinyl-on-Demand the same year. Palace of Lights continued regularly issuing Leimer albums, including 2015's 'The Grey Catalog', 2016's 'Re-enact', and several collaborations with Barreca. Additionally, First Terrace Records released Leimer's 2017 collaboration with Like a Villain, and Origin Peoples issued the Kosmische-style 'Mitteltöner' in 2018. 'Imposed Order/Imposed Absence', a remastered edition of the 1983 album paired with unreleased material recorded during Leimer's extended hiatus, was also released in 2018. The dense, politically concerned 'Irrational Overcast' was released by First Terrace in 2019. [SOURCE: ALLMUSIC] 

 

JABON

JABON is the long-running solo alias of American recording engineer, producer and experimental musician Scott Colburn. Although Colburn is widely known for his work behind the mixing desk with artists such as Animal Collective, Arcade Fire, Sun City Girls, Mudhoney and many others, JABON has always been the outlet where he explored his own ideas without commercial expectations or stylistic limits. The project began in 1984 while he was studying at Indiana University, growing out of an interest in tape manipulation, improvised performance, found sound, spoken word and experimental filmmaking.

 
The earliest JABON recordings were assembled using homemade tape loops, extended instrumental improvisations and fragments of poetry, comedy and surreal dialogue. Colburn has described spending long sessions recording himself playing drums, then overdubbing bass, guitars and electronics before editing the recordings into finished pieces. Rather than building songs in a traditional way, he treated the studio as an instrument, cutting, rearranging and reshaping performances into strange sonic collages. During the project's first decade he played only a handful of live shows, preferring to focus on recording and experimentation. 

 
JABON draws inspiration from an unusually broad range of sources. Early punk groups such as Black Flag and Greg Ginn's instrumental band Gone sat alongside the surreal pop of The Residents, the damaged psychedelic sound of Chrome, and the electronic experiments of Karlheinz Stockhausen, Morton Subotnick and Charles Ives. Tape-trading culture during the 1980s also introduced Colburn to industrial, noise and avant-garde artists including Controlled Bleeding, Negativland and Whitehouse, influences that found their way into JABON's constantly shifting mix of dark ambient textures, electronic music, absurd humour and experimental composition. 

 
Throughout the 1980s and 1990s, JABON released a steady stream of cassette and independent recordings including 'Autograft', 'Atonement', 'As Fess', 'Abode Stinesville', 'Abscission', 'Adder's Tongue', 'Ambulatory Paranoia' and 'Autoguilt'. These recordings were largely self-produced, with Colburn handling the writing, performance, recording and mixing himself. The project remained mostly underground, circulating through cassette culture, experimental music networks and small independent labels rather than the conventional music industry. 

 
After spending much of the late 1990s and early 2000s concentrating on engineering and production work, Colburn revived JABON as an active performing project in 2009. Live performances became elaborate multimedia events featuring costumes, projected films, spoken-word passages and theatrical props alongside dense layers of electronics and manipulated sound. The performances balanced eerie atmospheres with an offbeat sense of humour, a combination Colburn has described as "avant garde ambient disco comedy." Around the same period he began recording regular improvisations and expanding the catalogue with new albums and audiovisual works. 

 
As both JABON and Scott Colburn, he has continued to move freely between experimental composition, sound design, restoration work, production and live performance. His recording credits span underground rock, experimental electronics, folk, drone, world music and contemporary composition, while JABON remains the space where those influences are filtered into surreal, unpredictable recordings that combine electronic experimentation, collage techniques, ambient music, performance art and a distinctly playful sense of the absurd.

 

I, Braineater

I, Braineater was the experimental continuation of the Canadian underground project The Braineaters, a band that had already built a reputation for its offbeat mix of post-punk, art rock and homemade experimentation during the early 1980s. As the original line-up gradually dissolved, founding member Jim Cummins took control of the project, reshaping it into what became I, Braineater. The name change reflected more than a simple rebranding, marking a shift from a conventional band into a largely solo studio project driven by Cummins' increasingly adventurous ideas. 

With Cummins handling most of the instruments, songwriting and production, I, Braineater moved away from the guitar-based sound of the earlier recordings and embraced electronics, drum machines, synthesizers and tape manipulation. The music combined elements of industrial, experimental pop, minimal synth, ambient textures and quirky electronic rhythms, while still keeping the playful, unpredictable spirit that had defined The Braineaters. Rather than following commercial trends, the project explored unusual structures, surreal lyrics and a DIY recording approach that gave the releases a distinctive character. 

Jim Cummins had already been active in Toronto's independent music scene, and his work reflected the creative freedom that surrounded the city's cassette culture and small independent labels during the 1980s. I, Braineater fit comfortably alongside other artists working outside the mainstream, where inexpensive home recording equipment made it possible to experiment without the limitations of major studios. The project's recordings often sounded intentionally rough around the edges, using lo-fi production as part of the overall aesthetic rather than something to be polished away. 

Most of I, Braineater's material appeared on independent releases with limited distribution, helping the project develop a small but dedicated following among listeners interested in experimental electronics, industrial music and underground cassette culture. Although never widely known, the recordings circulated through fanzines, tape trading networks and specialist record shops, reaching audiences that appreciated unusual and challenging music. 

Across its recordings, I, Braineater constantly shifted between abstract electronic soundscapes, off-kilter pop songs, noisy collage pieces and rhythmic industrial experiments. Cummins treated the studio as an instrument in itself, layering found sounds, processed vocals and synthetic textures into music that rarely stayed in one place for long. That restless approach connected the project with the broader international DIY experimental movement of the decade, where curiosity and imagination mattered far more than polished production or commercial appeal.