martes, 24 de octubre de 2017

The Bomb Party

The Bomb Party were an English rock band from Leicester. They have been described as "The Godfathers of Grebo". The band formed in the early 1980s, initially as Farm Life by Andy "Jesus" Mosquera (guitar), Peter Swaine (vocals), Steve Gerrard (guitar), Laurence Wood (sax), James Hunt (bass) and Mark Thompson (drums), who met on a fine art course at Leicester Polytechnic. They underwent lineup changes and then released one single under this name in 1982, "Susie's Party" (later covered by Yeah Yeah Noh). A second single on Dan Treacy's Whaam! label was withdrawn. In 1984 Farm Life split up, and Andy "Jesus" Mosquera (vocals), Steve Gerrard (guitar), Mark Thompson (drums) formed The Bomb Party, with Sarah Corina (bass). They took their name from a Graham Greene novel, debuting in 1985 with the 'Ray Gun EP' on the Abstract label, the new sound described as "a Molotov cocktail of hardcore grebo gothability lying somewhere between The Cramps and Bauhaus". The bandmembers themselves rejected the "grebo (music)" tag, Mosquera stating "We're not grebos and we're not bikers or any of that shit. We're experimental. We are experimentalists but we don't have to say we're political and we credit our audience with enough intelligence to suss it out for themselves".

The debut album 'Drugs' appeared in 1986. Signing to the Workers Playtime label, they released a second album, 1987's 'Liberace Rising', now featuring Leszek Rataj on guitar, preceded by a compilation of their early Abstract singles, 'The Last Supper'. A year later they signed to Normal records, releasing their most commercial record, a cover of The Archies' "Sugar Sugar" (featuring Voice Of The Beehive on backing vocals) followed in 1989 by the album 'Fish'. A final album, 'Nativity #3', appeared on Artlos in 1990, the band split up immediately after it was recorded. The band played their final gig at The Powerhaus in London on 17 December 1989. Thompson subsequently joined members of Gaye Bykers on Acid and The Janitors in the band G.R.O.W.T.H., who released the album 'For Lack Of Horses They Saddle Dogs'. Mosquera reverted to a career in fine art. Corina joined The Mekons and, later, Striplight (with Alex Mitchell of Curve). She has also recorded with Bill Carter of Screaming Blue Messiahs. [SOURCE: WIKIPEDIA

lunes, 23 de octubre de 2017

Of Cabbages And Kings

Of Cabbages and Kings is an American noise rock band from Chicago, Illinois. Its name is a quote from Lewis Carroll's "Through the Looking-Glass". The band's sound has been described as a "highly visceral attack" that is "founded on a vivid technical mastery owing little to the commonly revered tenets of speed and/or flash, instead conjuring a brutal, primal power and intensity virtually unmatched in modern music."

Formed from the ashes of the Bag People in 1985, the band's original lineup consisted of Algis Kizys (bass, vocals), Carolyn Master (guitar, keyboards, vocals) and Ted Parsons (drums, vocals). However, Kizys and Master were the core of the band, remaining the only consistent members throughout its existence. All three of their albums featured Diane Wlezien, who sang lead vocals on about half the songs with Kizys handling lead vocals on the remainder.

In 1988, Ted left to focus on his work with the band Prong and was replaced by Rich Hutchins (Live Skull, Ruin..., Lubricated Goat, etc). 'Basic Pain Basic Pleasure' was released in 1990 and is usually considered the highpoint of the band's discography, showcasing refined production and arrangements with increased musical variety. Swans drummer Vincent Signorelli joined the band to record their final album titled 'Hunter's Moon', which also featured guest appearances by Motherhead Bug vocalist David Ouimet, former drummer Ted Parsons and composer J. G. Thirlwell. Due to obligations with other bands, Of Cabbages and Kings rarely had time to tour and disbanded in the early nineties. [SOURCE: WIKIPEDIA

domingo, 22 de octubre de 2017

New Buildings

The bassist of New Buildings (Gat) used to be seen in all the concerts that fell with eyedroppers by Barcelona. Impossible to imagine then that fate would keep them the possibility of commercial success, but a wise decision of the group would dismantle the illusion of less edifying business. A declaration of rebelliousness that would begin to take shape in the days of Basura, one of the first punk groups of Barcelona. 

That uprooting lasted a couple of years, the time that goes to discover The Sex Pistols in a bucket of an Andorran store to get the Gong or Incredible String Band records. The connection of these bands of lysergic folk with the work of Pau Riba was decisive. In a record time they went from officializing the punk in Catalonia to recognize in the most restless acoustics a new toy to continue growing. La Truita Perfecta -which was its name- had an ephemeral life. The news that came about Devo, Talking Heads and Joy Division gave another bump in the style of the group. They adopted a new name: Ultratruita. It lasted two and a half years, until certain tensions with the leader of the group (Panotxa) took to Gat to cut short and to continue moving card. He took with him Jeanette, the singer. They chose the name of New Buildings in honor of Einstürzende Neubauten (translated "collapsing new buildings"), that Berlin band that in 1982 shattered the paradigms of rock from a brutal atonality and the use of materials of industrial waste like a solid alternative to the conventional. [SOURCE: MUNSTER RECORDS

sábado, 21 de octubre de 2017

Mania D.

Mania D was a Berliner new wave-underground band at the end of the seventies, beginning of the eighties. They had been part of the "Geniale Dilettanten" (Ingenious Dilettantes) movement, a merger of the new wave and post-punk scene. Bandmembers were the predecessors of the all-girls band Malaria!, of Liaisons Dangereuses, Einstürzende Neubauten, Die Krupps. Their music unified elements of free jazz with those of new wave by a distinctive saxophone sound. 

In May 1979 musicians Beate Bartel, Gudrun Gut, Eva Gossling, Bettina Köster and Karin Luner started an all- girls underground band, intending to develop a musical language not bound by tradition. 

Karin Luner had studied in the class of Professor Hoedecke at the Berlin Academy of Arts along with Salome and Middendorf among others. In 1977 she left for a foreign course of study to New York, New York where she shot “Bored”, a super 8 movie which eventually was shown in the Berliner SO 36 by Martin Kippenberger. While in New York she took drumming lessons with Fred Maher, the drummer for Lou Reed. On a 1978 visit to her hometown, Duesseldorf, Germany, she met with Eva Gossling in Carmen Knoebels underground club, Ratinger Hof. It was here that she suggested establishing an all-girls band as soon as she returned to Berlin. Eva and Karen, who was studying in Berlin, met Beate Bartel, a bassist and sound engineer, at the Wittenbergplatz subway station. They were joined at their first meeting by tenor saxophonist Bettina Köster and Gudrun Gut, the owner of a mini Moog synthesizer. During the summer of 1979 Mania D rehearsed daily in their Martin Luther Street studio. Beate Bartel named the band, whereas Karin Luner had the idea to shoot a super 8 movie to be shown at all concerts. Karin Luner created the styling for the super-8 movie, "Fashion Interlection". The outfit for the video was designed by Eisengrau, Claudia Skoda and Karin Luner. Martin Kippenberger, Volker Anding and Oswald Wiener promoted the young band with organizing concerts, and diner for free at Exil, a restaurant owned by Oswald Wiener. Their first concert outside of Berlin was in Sappened in September of ´79 in the Wuppertal Nordstadt Kollektiv Galerie.

Their recognition led to an invitation to perform in New York. On October the 24th in 1979 Mania D played on Broome Street at Arleen Schloss performance loft, A´s. The New York audience responded enthusiastically. Mania D performed at the end of November at Tier 3, without Eva Gossling, who was then living with SAMO, alias Jean-Michel Basquiat at Arleene Schloss A´s. Both experimented with music, sound and tapes. Karin Luner stayed in New York. Eva Gossling was invited by Alexander von Borsig alias Alexander Hacke and Richard Hirsch to play in the Berlin band, Blasse. In December 1979 Mania D performed with a smaller crew. In 1981 they founded the band, Malaria!, which unified elements of free jazz with those of experimental music with a distinctive saxophone sound. Bettina Köster’s especially striking singing voice characterized the band and replicated the music of Berlin in the Twenties. Gudrun Gut and Bettina Köster along with Eisengrau developed an independent fashion label and a concept store. Under this name they created their unconventional stage outfits. The legendary fog-concert occurred on January 18, 1980 at the unheated SO36 club where it was so cold that patrons could see their breath. A never-before viewed video of the event was discovered in 2010 in the archives of the video artist and filmmaker, Werner Schmiedel. Mania D was not part of the commercial oriented new German wave, which started in early 1981 after the growing success of bands like D.A.F. and Fehlfarben. [SOURCE: WIKIPEDIA

viernes, 20 de octubre de 2017

Legal Weapon

Legal Weapon are a Southern California punk band, initially composed of singer Kat Arthur and guitarist Brian Hansen (both previously of The Silencers), bassist Patricia Morrison (formerly of Bags and later of The Gun Club, The Sisters of Mercy and The Damned), drummer Charlie Vartanian and guitarist Mike R. Livingston. The band's early full-length albums 'Death of Innocence' (on which their lineup included Steve Soto and Frank Agnew of the Adolescents) and 'Your Weapon' were well received. Later efforts moved away from punk to a more hard rock sound. With her powerful voice, Kat Arthur was often called "the Janis Joplin of punk". [SOURCE: WIKIPEDIA

jueves, 19 de octubre de 2017

Kirlian Camera

Kirlian Camera is an Italy-based group mainly playing electronic dark wave music. The project was founded in Parma in 1979 by Angelo Bergamini and was a pioneering act of the Italian synthpop scene. By 1980, Bergamini had recruited singer Simona Buja, keyboardist Fabrizio Chiari and bassist Mauro Montacchini to form Kirlian Camera. Their demo cassette 'Dawn' attracted the attention of Italian Records, a popular independent label. Christmas 1981 saw the release of their debut vinyl which despite being low-budget immediately sold-out prompting a re-issued, with it finally selling more than 6000 copies. Not long after the band had constant lineup changes, Simona left but rejoins straight away then the following year, Montacchini leaves being replaced by Giorgio Vecchi. Eventually they were the first Italian group to be signed to Virgin Records.

Between 1982 and 1984, Bergamini also took part in the Italian Italo disco group Hipnosis, which won a platinum award for sales in Germany, and had a top-10 hit in several European countries and South America with their single "Pulstar". Angelo unexpectedly decides to leave the pop-music to concentrate on Kirlian Camera. During the second half of the Eighties, the sound of Kirlian Camera became gradually darker, moving away from the synth pop sound that marked some of their early releases. In 1988, Buja leaves Kirlian Camera and the band have temporary singers Bianca Hoffmann-Santos and Suzanne Reddington-Gardner who are replaced for a while by Emilia Lo Jacono. Despite this the band release a 2 CD collection called 'The Ice Curtain' with new singer, Barbara Boffelli. In 1993, they signed to German label Discordia, which licensed the self-produced album 'Todesengel, The Fall of Life'. 1995 came to see them collaborate with label mates Dive on the 'Obsession' EP and :wumpscut:. During 2000 the lineup is stabilized when talented singer/composer/writer Elena Alice Fossi joins Kirlian Camera. She is also the leader of side-projects Alice Neve Fox, Spectra*Paris and Siderartica, and co-leader in the Stalingrad project with Bergamini himself. During 2013, Kirlian Camera release 'Black Summer Choirs'. [SOURCE: WIKIPEDIA

miércoles, 18 de octubre de 2017


In the early '80s, you couldn't do much better if you were a Scottish indie pop band than to be signed to Postcard Records. Although Orange Juice and Josef K had already moved on, it was still the hippest label around and the Jazzateers must have felt lucky to be affiliated with the imprint in 1981. The quartet of vocalist Alison Gourlay, guitarist Ian Burgoyne, bassist Keith Band, and drummer Colin Auld played a style of pop lodged firmly between the jangle of Orange Juice and the sophisticated swing of bossa nova, and fit in well with the other new Postcard signing, Aztec Camera. The band played shows in cafes and other non-rock venues, recorded a series of demos (some with Edwyn Collins in the producer's chair), and recorded a version of Donna Summer's "Wasted" that was produced by the song's co-writer (with Giorgio Moroder), Pete Bellotte. Unfortunately, that last experience was a disaster and led to Gourlay's departure from the band. 

The group carried on with new vocalists Deirdre and Louise Rutkowski, quickly recording an album titled 'Lee' for the newly launched Postcard International. It was never released, Postcard was soon dissolved, and the band changed lineups again. With new singer Grahame Skinner in the fold, the band signed to Rough Trade and, amazingly enough, released a single, 'Show Me the Door', then a self-titled album in early 1983. As the album began to get some acclaim, the group did its usual bit of attempted self-sabotage, shedding Skinner (who went on to front Hipsway), adding guitarist Mick Slaven, and changing its name to Bourgie Bourgie. This move somehow served to generate more interest in the band, and Bourgie Bourgie were soon signed to MCA, where they released two singles, then recorded an album. As was the norm for the band, it was never released. 

The core of Burgoyne, Slaven, and Band gave it another shot as the Jazzateers in 1985, adding new drummer Stephen Lironi and releasing a single, 'Pressing On', on tiny Stampede Records. In another unsurprising development, they recorded an album that never saw the light of day. This ended the story of the Jazzateers until 2013 when the band re-formed around the re-release of its Rough Trade album by Creeping Bent (under the title 'Rough 46') and a show with fellow survivor Vic Godard at the Glasgow International Jazz Festival. The next year saw the release of a compilation of early demos and unreleased tracks from the Postcard era by Cherry Red titled 'Don't Let Your Son Grow Up to Be a Cowboy'. [SOURCE: ALLMUSIC

martes, 17 de octubre de 2017


Like other 1970s European electronic rock artists from Heldon to Conrad Schnitzer, Ilitch owes more to the avant-garde experiments of Stockhausen and Xenakis than to the rock and roll of Chuck Berry or even The Beatles. Ilitch came out of France, was the work of mostly one person, Thierry Müller, using unconventional guitars as well as keyboards and other electronics to create strange textures and sounds. Müller was a photographer and graphic artist from Paris who started making recordings in the early 1970s using prepared guitars, harmonium, and even using the tape recorder as another instrument. Initially he worked completely solo but by late 1975 he was being helped by Ruth Ellyeri. In 1976 his brother Patrick Müller on EMS synthisizer and treated guitar joined Ilitch, for a live performance at the Café La Manille, in Paris, and the duo also played there the following two years as well. In October and November of that year, Ilitch recorded the material for the LP 'Periodikmindtrouble', but by the time the LP was released, in 1978, the original second side was scrapped for other more recent material. This album featured abstract music that was completely instrumental and with a heavy use of electronics. Though this is considered the first Ilitch LP, in fact a year earlier Müller released 'Portraits' in an extremely limited edition of one with hand painted cover. By 1980 Ellyeri, on guitars, vocals and electronics, became more integral to the Ilitch sound, and Müller occasionally added in synth player Philippe Doray and saxophonist Patrick Dubot into Ilitch as well. They released a second LP, '10 Suicides' that year, a more varied album that included some heavily processed vocals as well as a sixteen page booklet with many of Müller’s photo-collages. The same year under the Ilitch name was released the cassette 'PTM Works' (Patrick and Thierry Müller’s works) on Eurock label, as well as the one-sided EP 'Culture', which was credited to him and the graphic designer Edouard Nono. After this Müller took a break from music for a couple years, but in 1982 he began work on a new project. The project eventually became the group Ruth (though Ruth Ellyeri wasn’t a part of it), as Müller began collaborating with many more musicians for recordings done in 1984 and 1985. Ruth’s music was far more polished and accessible, adding a quirky new wave twist to Müller’s textured guitar and synth treatments. [SOURCE: ILICHTMUSIC.COM

lunes, 16 de octubre de 2017

The Happy Family

The Happy Family were an early-1980s post punk band from Scotland, featuring Momus and members of Josef K. The band was initially formed in 1981 by Nick Currie (vocals, guitar), who had dropped out of college to form the band, Malcolm Ross (guitar), Dave Weddell (bass) of Josef K and Paul Mason. After a debut EP on 4AD Records in March 1982, they expanded to a 5-piece with the recruitment of former Josef K and Boots For Dancing drummer Ronnie Torrance, keyboard player Neill Martin. The band's debut album, 'The Man On Your Street' was issued on 4AD in November 1982 (later reissued on CD in 1992 with the EP tracks added). The band split in 1983, Currie frustrated by the indifference of 4AD towards them (although he later cited poor sales as the reason), with Currie embarking on a solo career. Some demos the band had recorded were released on a cassette album entitled 'This Business Of Living' in 1984 on the Les Temps Modernes label (later known as LTM). [SOURCE: WIKIPEDIA

domingo, 15 de octubre de 2017

Lunes De Hierro

Electronic group formed by Servando Carballar of Aviador Dro (bass, programming, voices), Juanjo Suárez, former of La Gran Curva (guitars, programming, vocals, 2nd bass), Rafa Notario, former member of Los Angeles Caídos (voice) and Marta Cervera, also from Aviador Dro (keyboards). Lunes de Hierro was one of the first musical projects that sought to bridge the gap between guitars and electronics from a punk attitude. Having the peculiarity of being a project parallel to the Aviador Dro, they opened some of their shows at that stage. Actually, the song "En Mi Hogar" would originally appear in "Triangulada", an unreleased Aviador Dro recording. In 1985, they released their first single with DRO, 'En Mi Hogar / Lunes de Hierro', which would give way to their first and only LP with songs like "Tatuaje", "Noche Brillante", "Circe", "Talismán", "Lunes de Hierro", "Salomé, Otra Vez", "Ellos", "Sorpresa Roja" and "En Mi Hogar". In 2001 Ventura Music reissued their old LP songs by introducing the bonus tracks: the T. Rex cover "Is This Love" and "Atentado Terrorista". [SOURCE: GRUPOS NACIONALES NUEVA OLA 80