понедельник, 5 декабря 2016 г.

Second Layer - World of Rubber (1981) + Flesh as Property E.P. (1980) + State of Emergency E.P. (1980)




Second Layer was a side project of Adrian Borland and Graham Bailey, members of post punk band The Sound. The project was born from early punk band The Outsiders, which had both Graham and Adrian as members. Second Layer featured the voice and guitars of Adrian mixed with the bass and
pioneering electronics of Graham. The music was bleak, detached, and desolate, but very beautiful. Honest songwriting and a harsh sonic backdrop set them apart from their peers.





The band’s first two singles were released by Tortch label. The first was ‘Flesh As Property’ EP in 1979 and the second ‘State Of Emergency’ EP in 1980. By 1981 Second Layer had found a home on London-based label Cherry Red and released their debut album “World of Rubber” in November of that year. Full of hard mechanical sounds produced by Adrian’s guitars and Graham’s homemade drum machines, the album actively engages the listener. Songs are manic and twisted, pervaded with haunting subterranean atmospheres. Adrian’s anguished voice tackles lyrics that are politically charged and morbidly fixated. Metallic guitar riffs, moody basslines, and Wasp synthesizer beeps are set to the band’s cache of processed tape loops. They are a homegrown electronic garage band that sit alongside their contemporaries Joy Division, Cabaret Voltaire and Public Image Limited.

http://depositfiles.com/files/947tfxy9y

Snatch - Snatch (1983)




Abandoning New York for London, no-wave singer Judy Nylon teamed with Pat Palladin to form Snatch, ultimately making the German-inspired sound collage "R.A.F." with Brian Eno, which appeared on the B-side of his "King's Lead Hat" 45. The Snatch EP features Nylon and Palladin teaming up for a pseudo-Tom Waits blues drone called "Shopping for Clothes" and the softly electronic ballad, "Joey," as well as "Red Army," which imitates the technique and style of "R.A.F." Clever and inventive, the work has gentle strength, bitter humor and a thoroughly jaundiced worldview.

Pal Judy, which she co-produced with Adrian Sherwood, grafts Snatch's blues poetics and electronic compositional structures onto fairly straightforward rock music. The result — a moody, adeptly created and performed record suggestive of Patti Smith — smacks of modernized cocktail-lounge music (in the best tradition of that genre).

http://depositfiles.com/files/c8rihwk5k

Dark Day - Collected 1979-1982




In the mid-1970s, Robin Crutchfield moved to New York to participate in the growing conceptual and performance art movement. After several performances in galleries and alternative spaces which received critical acclaim, he broke away from the scene to pursue music. In 1979, after having formed the infamous no wave band DNA with Arto Lindsay and Ikue Mori, and recorded a single for Lust/Unlust and four tracks for the Eno-produced “No New York” album, and having gigged with DNA for nearly a year, Robin determined the band was moving in a direction counter to his own interests and left to form his own project, Dark Day.
With the aid of Nancy Arlen (Mars) and Nina Canal (The Gynecologists and Ut), he released an initial single “Hands In The Dark” b/w “Invisible Man” on Lust/Unlust, Charles Ball’s fledgling label which had already released the historic debut recordings of Lydia Lunch’s groundbreaking Teenage Jesus & The Jerks, as well as the aforementioned DNA single.
Dark Day’s first album “Exterminating Angel” followed in 1980. The band consisted of Robin, Phil Kline, and Barry Friar, but the lineup remained fluid, and at various times included Steven Brown and Peter Principle of Tuxedomoon, filmmaker Jim Jarmusch, Nina Canal and David Rosenbloom. The album’s release was followed with a promotional 12 inch “Trapped” whose b-side “The Exterminations 1-6”, six hyper-reverse mixes, remains Robin’s favorite of his early work. During this time Dark Day played live concerts in New York City at The Mudd Club, TR3, CBGB’s, Max’s Kansas City, Hurrah’s, and Trax as well as M-80, the New No Now Wave Festival in Minneapolis. A mini-tour of Europe included gigs at Leuven, Rotterdam, and Amsterdam.
After a brief shift in aesthetics, Robin reformed Dark Day as a synthetic keyboard duo with Bill Sack and recorded a second album “Window” on Plexus Records.
In the early to mid-1980’s, he wrote and published several short novelettes and did art performance readings at performance spaces like Club 57 and Joseph Papp’s Public Theater.
In 1985 he resumed Dark Day as a more or less medieval acoustic chamber ensemble composing music similar to Moondog, Penguin Cafe Orchestra and Dead Can Dance. This incarnation of the band consisted of Robin on pipe organ, Brian Bendlin on rattles, bells, and drums, Steven Cheslik-DeMeyer on cello, Shawn McQuate on recorder, and Bill Sack on hauntingly atmospheric ‘spirit guitars’. With this lineup he released a limited edition CD, “Darkest Before Dawn” in 1989.
In 1997, Dirk Ivens of Belgian label Daft Records contacted Robin to release a compilation CD of the best tracks from the early Lust/Unlust and Plexus years entitled “Dark Day: Collected 1979-1982”. Following its release, Robin went back into the studio to take up recording again. A new album of oddly rhythmic, cyclical instrumental works featuring a variety of unusual MIDI voices, was released in the fall of 1999, and was appropriately entitled, “Dark Day-Strange Clockwork”, and led to two others “Loon” and “The Happy Little Oysters”. Approach to the new work was like that of a railway conductor ticket-punching a computer-driven player piano, supplying gear-like layers of melody and rhythm with a comically sinister edge. Several years later, a 72-minute 20 track CD compilation of the best songs from these 3 discs was released under the title “r.l.crutchfield’s Dark Day-”Strange Clockwork”.

http://depositfiles.com/files/5pf7i3ynw

Mittageisen - 1981-1986 Remastered (2008)




The wild 80's in Switzerland were shaped by music of bands, which used the chance - in the upwind of the musical 'culture revolution' of Punk and New Wave. – to create new and independent music. In this extremely creative time developed mittageisen from 1981 their own individual music style and became thereby.

This double CD contains 19 digital remastered songs, 6 of them previously unreleased, from the years 1981-1986. The two CDs are available in a fold-out digipak-sleeve with the coverimage of the 1.LP and a carefully made 24-page booklet incl. bandfotos and informations about each song.

http://depositfiles.com/files/8pcs9bc52

суббота, 3 декабря 2016 г.

V/A ‎– Muziekkrant OOR Presenteert Keihard En Swingend! (Live In Paradiso)




Punk captured by the majors, EMI of them all. Perhaps the bands on this live album aren't all real punks, but it was presented at such. Recorded live in Paradiso on 12, 13 and 14 Februari 1978.



Writing credits for Sammy America's Gasphetti goes out to Sammy America (still active these days) and Henny Vrienten (later of Doe Maar). Other bands include The Nits (who just released the nineteenth album, I believe), Subway, Suzannes, WHizz Guy, Suzannes, Panic, Captain Coke, Sylph, Turf, Cilinders and The Lizards.

http://depositfiles.com/files/ml4bzq8z5

Red Rockers - Schizophrenic Circus (1984)




More new wavy romantic oriented album by the Clash-punk band from San Francisco.

http://depositfiles.com/files/b83om83ei

Frites Modern - Veel, Vet, Goor En Duur (1984)




Punk band from Amsterdam, Netherlands.

http://depositfiles.com/files/2kgcl9jhs