lunes, 24 de abril de 2017

Hagar The Womb


Hagar the Womb are an English punk rock band, originally active in the early 1980s and part of the Anarcho-punk movement. In hiatus from 1987, members went on to form We Are Going to Eat You and Melt. A 2011 compilation of their back catalogue brought all members back into contact with each other, and invitations to reform and play gigs and festivals have had Hagar The Womb gigging again since 2012. 

The band was formed in London in 1980, in the toilets of the Wapping Anarchy Centre, established by the efforts of seminal anarchist bands Crass and Poison Girls. The original line-up was all-female, reflecting the band's purpose of giving women a voice in the anarcho-punk scene: Ruth Elias (vocals), Karen Amsden (vocals), Nicola Corcoran (vocals), Janet Nassim (guitar), and Steph Cohen (bass guitar). One week after forming they played their first gig with Zounds and The Mob, with 'Scarecrow' playing drums. They soon recruited a second guitarist, 'Jon From Bromley', and a permanemt drummer, Chris Knowles, formerly of Cold War and The Boiled Eggs. Corcoran left, leaving two vocalists. The band's first demo included the track "For the Ferryman", which was released on the Mortarhate label compilation LP 'Who? What? Why? When? Where?' in 1984. Cohen was replaced by Mitch Flacko (also of The Mekons) prior to the band's first release proper. The band toured the UK punk circuit for five years, releasing two 12-inch EPs and recording a Peel Session for BBC Radio 1 on 11 February 1984. Their first EP, 'The Word of the Womb' (produced by Pete Fender and released on Conflict's Mortarhate label) was a hit on the UK Indie Chart during 1984, peaking at number six, and staying in the chart for more than five months. Elaine Reubens joined the band in time for the recording of their Peel session. The band released a second EP, 'Funnery In a Nunnery' (UK Indie No. 9) the next year, now on the Abstract label, drawing comparisons with Siouxsie & the Banshees, Delta 5 and The Slits. Flacko left, his replacement being Paul "Veg" Venables, and Julie Sorrell was brought in to replace Amsden. They continued for another year, but there were no further releases and the band split up, with Knowles, Sorrell, Venables, and Harding forming We Are Going To Eat You, who signed to Big Cat Records after their 1987 début EP and went on to release the album 'Everywhen' in 1990. They later changed their name to Melt, releasing a sole EP before splitting up.

The band's drummer, who has a degree in Philosophy and Literature, went on to become a cult DJ under the name Chris Liberator. Bassist Mitch Flacko has been playing bass in avant garde ensembles, and works as a tour manager. [SOURCE: WIKIPEDIA

domingo, 23 de abril de 2017

The Normal


A short-lived outfit whose existence is conveniently documented by a lone 1978 single, The Normal was an alias for Daniel Miller, owner of Mute Records. Through the likes of Cabaret Voltaire, Fad Gadget, and Depeche Mode, Miller's label was responsible for opening thousands of minds to the possibilites of electronic music. Despite The Normal's low profile and minimal output, their '"T.V.O.D."/"Warm Leatherette"' single added its own significant contribution to the then-new electronic pop playing field. The B-side, written in tribute to J.G. Ballard's auto-wreck fetish novel "Crash", carried relentless pulsing, clinical snapping, and detached vocal chants; it's since become a classic in the realm, having been covered by the likes of Grace Jones and Chicks on Speed. As The Normal, Miller also contributed to an experimental live EP with Robert Rental entitled 'Live at West Runton Pavilion'; Miller briefly dedicated himself to synth-pop covers of classic rock songs as the Silicon Teens as well. [SOURCE: ALLMUSIC

sábado, 22 de abril de 2017

The Teen Idles


The Teen Idles were a punk rock band formed in 1979 in Washington, DC, by Ian MacKaye (bass), Nathan Strejcek (vocals), Georgie Grindle (guitar), and Jeff Nelson (drums), all high school classmates. The band was born out of the demise of The Slinkees, which featured Grindle, Nelson, MacKaye, and vocalist Mark Sullivan, who broke up after Sullivan, a year older than the rest of the band, went to college. 

The group played various shows around DC and, in the summer of 1980, travelled to California for 2 shows, getting an eye-full of Los Angeles burgeoning hardcore scene and importing a number of the scene's traits back to DC, including slamdancing. The Teen Idles proved to be influential to many of the younger punk fans in and around Washington DC, inspiring a new wave of bands who called themselves "harDCore". 

In late 1980, the band broke up. This mainly due to tension between Grindle and Nelson. Grindle's born again Christian girlfriend disapproved of the band, causing him to question his participation, which brought him into conflict with Nelson, who was an atheist. Also adding to the mix was MacKaye's, who was the band's lyricist, dissatification with Strejeck's performances and his own desire to sing. Following their split, the band took money they had saved from their shows to issue an EP called 'Minor Disturbance' on their own Dischord Records. Grindle would drop out of the music scene altogether. Strejcek would help Nelson and MacKaye with Dischord but was soon edged out by the other two, who were dissatisfied with his work ethic, especially after he left a box of Teen Idles records sitting on top of a hot car engine, rendering them unplayable. Nelson and MacKaye formed Minor Threat after The Teen Idles split while Strejcek formed Youth Brigade. Youth Brigade was short-lived and Strejcek soon bowed out of the scene altogether while Nelson and MacKaye continue to run Dischord to this day. The two have also participated in several acts over the years (although Nelson is largely retired from performing). In 1996, in honor of Dischord's 100th release, the label issued a Teen Idles demo on vinyl. [SOURCE: DISCOGS

viernes, 21 de abril de 2017

Sirens Of 7th Avenue


London, in the middle of the Eighties, The Sirens Of 7th Avenue are polishing their rhythmic section with an echo enhancing the electro orientation of their music, a modernity's artefact for these urban musicians, no matter if they come from London, paris or NYC, this very "Metal Urbain" sound taking it all. Lost in the crowd and city's reverb, that's barely all we know regarding what became of them. [SOURCE: NEW ROSE STORY 1980-2000 4XCD BOOKLET] 

jueves, 20 de abril de 2017

Dramarama


Blending hard rock wallop, alternative rock smarts, power pop songcraft, and punk rock urgency, Dramarama was a band who seemed on the verge of a major commercial breakthrough several times during their 11-year career. Puzzlingly, it never arrived, though the band developed a potent following in their native New Jersey as well as the West Coast; their almost-hit, "Anything Anything (I'll Give You)," was cited by L.A.'s KROQ-FM, arguably America's most influential alternative rock outlet, as the most requested song in the station's history. Formed in Wayne, NJ, by vocalist and songwriter John Easdale in 1983, Dramarama self-released a single and a five-song EP before a French label commissioned a full-length album from the band, which recycled material from both previous releases. The result, 1985's 'Cinema Verite', featured "Anything Anything," which began scoring airplay after the album was picked up by Chameleon Records in the United States. The group relocated to California in time for their second LP, 'Box Office Bomb', which earned enthusiastic reviews but not significantly greater sales. As the band was completing their fourth studio album, 'Vinyl', in 1991, Chameleon Records went bankrupt, and as the band scrambled to come up with the cash to finish the project, the elusive major-label deal finally materialized when Elektra picked up the project. However, while the success of Nirvana in 1991 would seemingly have broken open radio for bands as adventurous as Dramarama, their sound was too far from grunge to capitalize on the new openness, and the band's 1993 album, 'Hi-Fi Sci-Fi', failed to make an impact outside the band's devoted cult following. Dramarama called it a day after a farewell show at Asbury Park's the Stone Pony in 1994; four years later, John Easdale returned to the music business with a solo album. The group was featured on the popular VH1 reality series Bands Reunited in 2004, prompting the collective -minus bassist Chris Carter- to reform around material originally intended for an Easdale solo record. Dramarama relased 'Everybody Dies' in 2005. [SOURCE: ALLMUSIC

miércoles, 19 de abril de 2017

Lyres


Lyres are a Boston-area garage rock band led by Jeff Conolly, founded in 1979 following the breakup of DMZ. Their most popular songs included "Don't Give It Up Now," "She Pays The Rent" and "Help You Ann". The original lineup of the band featured Conolly, Rick Coraccio (bass), Ricky Carmel (guitar), and Paul Murphy (drums). 

Former DMZ members Coraccio, Murphy, Peter Greenberg, and Mike Lewis all rejoined Connolly in Lyres at some point from 1979 to the early 2000s. The A-Bones drummer Miriam Linna, (a former drummer for The Cramps, and then A-Bones), Yo La Tengo and former Lyres bass player Mike Lewis filled-in with Lyres for a show in 1986. Stiv Bators of The Dead Boys and Lords of the New Church, and Wally Tax of The Outsiders also recorded with Lyres in the late 1980s. 

Lyres were less active in 1989, due to Conolly living in California for a brief period. After a renewed period of activity in the early 1990s, the band went through a dormant period until 1999. The band has been playing regularly during the last two years. Conolly is the one member who has been in every lineup during the large number of Lyres personnel changes. In 2009, Lyres played at the Go Sinner Go festival in Madrid and an additional date in Porto Nuovo. This line-up included a fill-in Peter Greenberg on guitar. [SOURCE: WIKIPEDIA

martes, 18 de abril de 2017

The Witch Trials


One-off project featuring Dead Kennedys' Jello Biafra & East Bay Ray, The Sound's Adrian Borland, Christian Lunch and Morgan Fisher. Only one single was released, recorded in London after DK's first European tour. 
 
Dead Kennedys mouthpiece Jello Biafra chose an unusual diversion from his main band's agitprop doings with this determinedly anonymous EP (recorded in Britain and initially released in France). The sole credit goes to engineer (and former latter-era Mott the Hoople keyboardist) Morgan Fisher, while the co-conspirators' identities remain a mystery. This may be deliberate, because Biafra's theatrical style is unmistakable. So are his lyrics, although he's not just affecting some shock horror pose to scare your mom; bigger game is afoot here. Jangling, repetitive synthesizers and guitars become the building blocks for scabrous broadsides against the faceless powers that be: "Trapped in the Playground" is a graphic sketch of environmental poisoning run amok from the viewpoint of the scarred survivors ("The elephant man poses nude in our centerfold"). "Meat Beat" is an equally grim look at sexual assault from the perpetrator's standpoint -a well-established device for Biafra to slip into the mindsets of the people that he condemns. "Humanoids From the Deep" is the standout, with Biafra gleefully reeling off the penalties of genetic manipulation, which yield the monstrous mutations referenced in the title -nearly 20 years before such topics became common daily newspaper fodder. The sparseness and throbbing synthesizers only add to the effect. "The Taser" is the ultimate horror story, where a smug cop matter-of-factly demonstrates an electric shock device's effects on hapless, unwilling suspects. Like many of Biafra's solo ventures, The Witch Trials is an acquired taste; the appreciation depends on if you enjoy a dash of subversive disturbance in your artistic diet. Still, Biafra proves every bit as clever as in his parent band -and, for fans of his hot-wired, razor-edge wordplay, the results don't get any better than this effort. [SOURCE: ALLMUSIC

lunes, 17 de abril de 2017

The Art Of Noise


Anne Dudley, Gary Langan, and Paul Morley were members of producer Trevor Horn's in-house studio band in the early '80s before they formed The Art of Noise, a techno-pop group whose music was an amalgam of studio gimmickry, tape splicing, and synthesized beats. The Art of Noise took material from a variety of sources: hip-hop, rock, jazz, R&B, traditional pop, found sounds, and noise all worked their way into the group's distinctly postmodern soundscapes. 

Dudley was the center of the group, having arranged and produced material for Frankie Goes to Hollywood, ABC, and Paul McCartney before forming The Art of Noise. The trio signed with Trevor Horn's ZTT label, releasing their first EP, 'Into Battle With the Art of Noise', in 1983. The following year, the group released the full-length '(Who's Afraid Of?) The Art of Noise!', which featured the hit single "Close (To the Edit)".


After "Close (To the Edit)," the group parted ways with Horn and ZTT, releasing 'In Visible Silence' in 1986; the album included the U.K. Top Ten hit "Peter Gunn", which featured Duane Eddy on guitar. 'Re-works of The Art of Noise', an album of remixes and live tracks, was released that same year. 'In No Sense? Nonsense!', released in 1987, saw the band experimenting with orchestras and choirs, as well as horns and rock bands. The next year, The Art of Noise released a greatest-hits collection, 'The Best of the Art of Noise', which featured their collaboration with Tom Jones on Prince's "Kiss".

'Below the Waste' (1989) captured the band experimenting with world music; it received a lukewarm critical and commercial reception. The following year, a low-key remix album directed by Killing Joke's Youth called 'The Ambient Collection' appeared. Later in the year, The Art of Noise broke up. Dudley eventually worked with Killing Joke's Jaz Coleman and Phil Collins. Horn, Dudley, and Morley reunited in 1999 for a new album, 'The Seduction of Claude Debussy'. Kevin Godley and Lol Creme were added to the lineup. [SOURCE: ALLMUSIC

domingo, 16 de abril de 2017

Abwärts


Abwärts ("Downwards") is a West German post-punk group from Hamburg. Members Mark Chung and FM Einheit would leave the group in the early 1980s to join the Berlin-based band Einstürzende Neubauten. Their best-known recordings include the single "Computerstaat" ("Computer State") (1980) and the LP's 'Amok Koma' (1980) and 'Der Westen ist Einsam' ("The West Is Lonely") (1982), the latter in particular being regarded as a classic of West German post-punk. The group is profiled along with other contemporaries in Jürgen Teipel's 2001 documentary novel "Verschwende Deine Jugend". [SOURCE: WIKIPEDIA

sábado, 15 de abril de 2017

Tackhead


A collective stretching from the early days of the hip-hop label Sugar Hill into the industrial music of the 1990s, Tackhead produced at least half-a-dozen albums under a variety of nominal heads -Keith LeBlanc, Gary Clail, and finally Tackhead. The group came together in the early '80s as the Sugar Hill house band, with guitarist Skip McDonald, bassist Doug Wimbish, and drummer Keith LeBlanc. (The trio had performed on the three best early hip-hop tunes, the Sugarhill Gang's "Rapper's Delight" and Grandmaster Flash's tracks "The Message" and "White Lines"). When McDonald, Wimbish, and LeBlanc met British dub producer Adrian Sherwood (of the On-U Sound System), they moved to England and in 1986 recorded 'Major Malfunction', a street-wise funk-rock LP with doses of Sherwood's studio trickery informing the whole. Since LeBlanc had a bit of name recognition due to his 1983 dance hit "No Sell Out", the album was released under his name. Another Brit, vocalist Gary Clail, had joined the Tackhead conglomeration by that time, and it was his name -or rather Gary Clail's Tackhead Sound System- that graced the cover of the 1987 album 'Tackhead Tape Time', on Nettwerk Records. After another collective recording on Keith LeBlanc's 1989 album 'Stranger Than Fiction', the Tackhead team finally coalesced as a stable group on 'Friendly as a Hand Grenade'. The album, also released in 1989, was the first recorded as Tackhead, and the addition of a standard vocalist (Bernard Fowler) made the group that much more stable, in image if not in sound. 'Strange Things' followed in 1990, with contributions from Melle Mel and Mick Jagger. The album appeared to be a conscious attempt at mainstream rock success (not unlike that of Living Colour), and failed. LeBlanc, Wimbish, and McDonald continued to play for On-U Sound System projects, such as Gary Clail's 1991 album 'The Emotional Hooligan'. Between 1993 and 1997, the group issued three releases containing rare tracks, B-sides, and live material through Blanc Records, titled 'Power, Inc. Volume 1', 'Power, Inc. Volume 2' and 'Power, Inc. Volume 3 (Live)'. After a long hiatus, the group briefly reunited for European and American tours in 2004. In 2006, On-U released the double disc compilation 'Tackhead Sound Crash: Slash & Mix - Adrian Sherwood', providing a thorough introduction and reappraisal of their sound. 

In 2013, the band again reunited to record 'For the Love of Money', a collection of soul and funk covers and a redo of their own single, "Stealing". The set was issued by Dude Records in January the following year. Robo Bass Hifi (German producer Markus Kammann) remixed a series of Tackhead and Fats Comet tracks. Entitled 'The Message', it was credited to all three acts and released as a limited-edition offering in mid-2016. [SOURCE: ALLMUSIC]