Eurocheque

Eurocheque was a trio from Bergisch-Gladbach founded in the summer of 1980 by Martin Trapphoff and Thomas Schreiner, both previously with the Cologne punk band De Bensberger, trying to get a record deal with a German major with new band Eurocheque and other style of music. Trapphoff set up a private recording studio in his parents' home. At this time Trapphoff / Schreiner still texted in English. When the triumphal march of the NDW began at the end of 1981, Eurocheque also thought about it and from that time only texted in German. 

Dissatisfied with their own singing and lyrics, Eurocheque sought reinforcement. From 200 applicants finally Matthias Klaas was selected, who completed the band. At that time Thomas Schreiner left the band. In 1982, the first single production at Teldec -with guest musician Norbert Weidmann that became a permanent member of Eurocheque- was 'Oh Wei, Oh Wei' ("Oh knows, Oh knows"). This single contains one of the cult lyrics of the NDW.

Eurocheque continued to make music pieces and sometimes played smaller concerts. Weidmann then left in 1989 and Trapphoff / Klaas continued in twos. Three years later, guitarist Frank Wester joined Eurocheque. In 2005 Eurocheque released a new album 'Die Runde Sache' on the small label Kernkrach. [SOURCE: NEUE DEUTSCHE WELLE: SKANDAL IM INTERNET!] 

De Fabriek

De Fabriek (The Factory) hails from the Dutch City of Zwolle and original founded by Richard van Dellen and Andries D. Eker at the end of the seventies. Now the spil are Richard van Dellen, Louise Nanuru van Dellen (his wife) and Klaas Mons. Not considering themselves a regular band (for one thing, they are a label too) they present The Factory as some sort of workmen-union, and the musicians they work with as labourers. Music is created through workman tools and machinery. Throughout years they were recording with the likes of Solenoid, O.R.D.U.C., Technological Aquiver, Brume, Vivenza, Klinik, and Gen Ken Montgomery. [SOURCE: DISCOGS] 

Chandra

Chandra recorded her first EP in 1980 at age 12. Her father, artist / professor Dennis Oppenheim, was a teacher of Eugenie Diserio, whose bands played at parties at Chandra's family's loft. Eugenie was in Model Citizens, who split after doing one record produced by John Cale, and fractioned into The Dance and Polyrock, who then did an album with Philip Glass. Chandra's drummer, Fred Maher, was also a member of Material at the same time he was recording and backing The Dance and Chandra. Chandra grew up in the middle of the early 1980's New York City arts and music scene of that era and around many of the people locally involved then. 

Eugenie and The Dance wanted to do a project fronted by a child and Chandra was excited to record 4 song EP backed by one of her favorite bands, and to start playing in clubs like The Mudd Club and Danceteria while she was still a pre-teenager. She also started designing her own clothes, inspired by Eugenie Diserio's sense of fashion. 

The 12 year old girl fronting a dance band went over well in the New York arts scene with the band playing regularly in the local New Wave / Dance clubs. They also toured the northeast USA extensively, doing double bills of Chandra and The Dance. 

Chandra recorded a second unreleased EP with an all-kid band as The Chandra Dimension that was shelved until 2008 when Cantor Records released of both EPs together in a single vinyl reissue with new material as a full album, 'Transportation', in a limited pressing of 500 copies. She has gone on to do other work including music, art and performance art under her full name Chandra Oppenheim. [SOURCE: DISCOGS] 

Bloodsport

Bloodsport were a lesser-known part of Chicago's post-hardcore punk scene of the '80s, which produced bands like Naked Raygun, The Effigies, and Big Black. Following the demise of his first band Strike Under, guitarist Chris Bjorklund got together with vocalist Dave Bergeron, bassist Tom Woods, and drummer Joe Haggerty (Haggerty's brother John played guitar in Naked Raygun). Drawing from a musical palette similar to that of The Effigies (The Ruts, Killing Joke, The Stranglers, Minor Threat, etc.), Bloodsport issued their only album, 'I Am the Game', on the prominent indie label Homestead in 1985. Dave Bergeron subsequently left the band, and while they continued to play as a trio, their recording career was effectively over. In 1987, Bjorklund and Haggerty joined a revamped version of The Effigies, with Bjorklund on bass; the following year, Woods also signed on as the bassist, and Bjorklund returned to guitar. The Effigies disbanded in 1990, and Haggerty united with his brother John in the punk-pop outfit Pegboy. [SOURCE: ALLMUSIC] 

Animals & Men

In the late '70s, numerous British acts followed the same trajectory as Animals & Men: they were initially catalyzed by punk, briefly made it onto vinyl, received airplay on the John Peel show, and then disappeared, leaving few traces. In 1978, inspired by punk's sound, attitude, and look, guitarist Ralph Mitchard quit his pub rock and blues outfit, The Bad Detectives, and formed a new band with drummer Geoff Norcott and bassist Nigel House. When the members of the fledgling trio (briefly called Psychotic Reaction) found themselves unable to shake the vocal influence of Dr. Feelgood, they added a new ingredient in the form of singer Susan Wells, whom Mitchard had met at an early-1978 Wire / Adam & the Ants gig. 

Settling on the name Animals & Men -after an Adam & the Ants song- the quartet drew on influences ranging from '60s American garage rock to contemporaneous post-punk. Their first single, 'Don't Misbehave in the New Age / We Are Machines', appeared in September 1979, followed by June 1980's 'Terraplane Fixation / Shell Shock'. The band underwent a makeover after House quit and Norcott received a Royal Navy posting to Gibraltar. In their place, Mitchard and Wells eventually recruited Andy Payne (drums) and Dave Mackay (bass) and reinvented themselves as The Terraplanes, a more R&B and blues-flavored act. They released the single 'Evil Going On / It's Hip' in May 1981 and experimented with a Burundi-inspired two-drummer setup when Norcott returned from the sea in 1982. Adam Ant's plans to make Mitchard and Wells stars (he had been a pen pal over the years) came to naught and they eventually settled back into their day jobs. 

A subsequent Mitchard project, Red Hot & the Sans Culottes (think rockabilly meets the French Revolution), didn't get much further than the drawing board. In 2003, Messthetics put out 'Terraplane Fixation', an Animals & Men / Terraplanes retrospective. An expanded and repackaged compilation, 'Revel in the Static', followed in 2005. [SOURCE: ALLMUSIC] 

Bourbonese Qualk

In constant operation from 1979-2003 on the fringes of the breakcore / extreme electronics scene, Bourbonese Qualk bang in the middle of the '80s, located in a South London squat / stronghold / studio amidst the The Miner's Strike, Falklands War, Thatcherism and Anarchism. 

They've always wilfully existed on the periphery, but haven't gone unnoticed, whether on their 1985 joint "Pogrom" or their continued support for the anarchist rave and squat scene thru the '90s. And in the best sense of industrial music, it's really not all about girders and scowls -they intersect a broad spectrum of styles from funky post punk dance gear to killer proto-techno, EBM and eerie ambient atmospheres, always with a unique fidelity from their DIY set-up. [SOURCE: BOOMKAT] 

(More info on BouboneseQualk.net)

Y Create

Y Create is the solo moniker of Hessel Veldman, but was also used to refer to a changing group of musicians connected to Exart. A lot of their improvisations and compositions were recorded and several were released on the label. Apart from Veldman, musicians appearing on these sessions include Nick Nicole, Kees Beukelaar, Herman Te Loo, Jos van Ommen, Kees van Ede, Willem De Ridder, Jos Van Duijne, Peter Cornelissen and Gert-Jan Prins. [SOURCE: DISCOGS] 

(More info at djima.blogspot.com.es) 

The Wygals

New York guitar-pop combo The Wygals formed from the remnants of the short-lived art-pop unit The Individuals, founded in 1980 by Ohio-born graphics student Janet Wygal (vocals/bass). With her brother Doug on drums in addition to singer / guitarist Glenn Morrow and guitarist Jon Klages, The Individuals debuted in 1981 with the EP 'Aquamarine'; ex-dB's Gene Holder produced the session, and returned to the helm a year later for the group's first and only full-length effort, 'Fields'. After The Individuals dissolved in 1983, the Wygal siblings adopted the family's surname for their next project, with Janet switching to guitar; lead guitarist Eric Peterson also signed on, as did a seemingly endless procession of bassists including Rubber Rodeo's Doug Allen, Skunkadelic's Ilene Markwell, Let's Active's Faye Hunter, and even another Wygal, brother Jeff. Finally, Holder assumed full-time bass duties in advance of The Wygals' 1987 debut 'Passion'. After releasing the 1989 full-length 'Honyocks in the Whithersoever', The Wygals called it quits; Janet then teamed with yet another sibling, sister Tricia, to form the short-lived Splendora, issuing the Holder-produced 'In the Grass' in 1995. [SOURCE: ALLMUSIC] 

Voigt 465

Voigt/465 were an Australian post-punk band based in Sydney. They were a feature of the Sydney inner-city music-scene during the late 1970s and their music was critically acclaimed. Their sound was influenced by Krautrock and has been described by a band-member as an "unsettling mixture of song-driven rock elements and free-noise experimentation". Voigt/465 recorded an album, 'Slights Unspoken', before they disbanded in late 1979. With their self-funded recordings and determinedly uncompromising music Voigt/465 epitomised the do-it-yourself ethic of the alternative music scene of the late 1970s. 

Voigt/465 was formed in 1976 from a group of school-friends. The band was composed of Rod Pobestek (guitar), Lindsay O’Meara (bass), Phil Turnbull (synthesiser, organ and vocals), Rae Macron Cru (vocals) and Bruce Stalder (drums). They rehearsed and played sporadically during 1977. In 1978 Voigt/465 recorded four songs at Axent Studios at Kogarah, in Sydney’s southern suburbs. 

During 1978 the band performed more regularly and began to attract a following. In mid-1978 the drummer left the group and was replaced by Mark Boswell. Later that year Voigt/645 released a self-funded single made up of two of the songs they had recorded earlier that year –'State / A Secret West'. The band had a mid-week residency at the Sussex Hotel and regularly performed at other inner-city venues in Sydney. Voigt/465 also travelled to Melbourne to perform a series of gigs. Voigt/465 were highlighted as the "band of 1979" in Clinton Walker's influential book "Inner City Sound", a document of punk and post-punk music in Australia.

In 1979 the bass-player Lindsay O’Meara decided to leave the band to join Crime and the City Solution in Melbourne. With Voigt/465 on the verge of breaking up the band-members decided to record an album as a lasting document of their songs. The recordings were made at Axent studios and the album 'Slights Unspoken' was released in a limited edition in September 1979. O’Meara later returned from Melbourne and eventually joined Pel Mel. Keyboardist Phil Turnbull co-founded the band Wild West, which Rae Macron Cru also later joined. [SOURCE: WIKIPEDIA] 

Unrest Work & Play

Unrest Work & Play were a British short-lived art rock obscurity, formed by Andy Wake (drums, percussion, bass, voices) and Chris Fraser (guitars, voices). In 1984, after two EPs ('Andy & Chris' in 1982 upon Art Hole Records, and 'Sound Every Day' in 1983 upon Political Underground Records) launched, they released the first (and only one) full-length album 'Informs' via Recommended Records, one of the authority labels of RIO founded by Chris Cutler and Mick Hobbs. Andy founded The Momes (with Tim Hodkinson and Mick Hobbs) and released 'Spiralling' in 1989, and in the same year Chris published his solo work 'Archaeology', after Unrest Work & Play disbanded. [SOURCE: PROG ARCHIVES]