Monday, 27 July 2015

Illyana Rasputin in Pittsburgh (1988) C60


This was myself and John Jasper, the man behind the Joneses, thirty minutes of which can theoretically be found by referring to the index. I had been recording my own stuff under the name Do Easy since about 1982 or thereabouts, the problem with which was - as I began to realise - lack of quality control and the absence of any clear idea of what I was doing. Pieces of music which were obviously rubbish were taped over at source, but unless it was completely shit, I usually stuck it on a cassette in the hope of someone buying it. Additionally there was the problem that my tapes would vary wildly in style and quality from one track to the next. I couldn't decide whether I wanted to be Throbbing Gristle, Soft Cell, Karlheinz Stockhausen, or Leonard Cohen, so it probably all sounded wildly inconsistent. By the time 1988 wheeled around I fancied a fresh go at it with a new name and efforts made to ensure that successive tracks would at least sound like the work of the same person. Illyana Rasputin was a character whom I fancied from the X-Men comics, of which I was reading a ton at the time due to having very little in the way of a sex life. It sounded vaguely exotic and not even remotely industrial, so that was what I went with. This tape was recorded on and off throughout 1988 around at John's house. I and the Village, Pure Finger Point at Earth Scum, In the Ruins of Becelaere, Waterside at 12, Let the Bayonets Speak! and Groove 1889 all came from previous incarnations as Do Easy songs, or at least demos left at varying stages of completion, but half of these compositions are John's doing, and he's the reason I can still listen to any of it without wincing too hard.

The details at which I still wince are entirely mine, and time hasn't healed the wound. Because it was the eighties and I had everything Throbbing Gristle ever recorded (including the ludicrously rare private Death Factory tapes from '76, so nyer nyer nyer all you Johnny-come-lately part-timers) I spent at least some of the time exploring controversial ideas and imagery, just like every other sad fucker with a delay pedal and a copy of that Emlyn Williams book about the moors murderers. Accordingly one of these songs is named after a painting by Adolf Hitler, and another was one of Mussolini's catchphrases, to whom there are a number of additional lyrical references for the sake of flavouring one's Riesling with just a splash of urine for sake of texture. Personally I always saw the referencing of the transgressive as roughly in the tradition of the Surrealists and their like. It honestly never occurred to me that there might actually be genuine Hitler enthusiasts out there strumming acoustic guitars whilst singing about Himmler being a bit like some nice flowers, and getting away with it because industrial music fans are generally as thick as fucking pig shit. When not making daring references to bad 'uns, I was mostly singing about how I hadn't had it off in ages. Why this should have been so is obviously a mystery to me.

It actually took me a couple of years to get around to shoving this tape out under the banner of Runciter Corporation, a name stolen from a Philip K. Dick novel under which I also produced various comics and fanzines. I ran off about fifty or so copies, so far as I can tell, although I'm not sure how many of those I actually sold. The tape was also released by Carl Howard's Audiophile Tapes in the US. I'm not sure how many Carl sold, but from what I can tell by looking at his facebook page, he doesn't appear to own a yacht, so US sales may not even have hit single figures. I probably should have recorded a better tape, I suppose, although for all it's innumerable flaws, I've heard worse - even if I do say so myself. I only wish the good bits had been my fault.

Whilst I'm here, I feel I should mention Space Patrol!, Carl Howard's net radio show for which there is a facebook page to be found here, and a dedicated group here. It seems like something worth supporting, so you know what to do.





Tracks:
1 - Rorschach Love Song
2 - I and the Village

3 - Sad Fascination February 1988
4 - Pure Finger Point at Earth Scum
5 - In the Ruins of Becelaere
6 - Scavenger
7 - Waterside at 12
8 - Let the Bayonets Speak!
9 - Musik in My Gasmask
10 - Pittsburgh
11 - Groove 1889


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Monday, 20 July 2015

Enhoenta Bödlar - Ogreish Guttural Wounds (1984) LP


Vinyl album rather than cassette this week, but this one seems conspicuously absent from the internet so far as I can tell, and I haven't noticed any boutique labels fighting over the right to reissue, so here we are; and here we are because Ogreish Guttural Wounds is a lost classic in my opinion, one of the greatest (or at least weirdest) records ever to be saddled with the unfortunate label of industrial. Enhoenta Bödlar - Swedish for One-Handed Tormentor - were Uddah Buddah and X-Terminator of Ljungby, Sweden or thereabouts. As I understand it, X-Terminator operated the synth whilst Uddah Buddah handled vocals and percussion, although it may not have been quite so clear cut as that. X-Terminator later became better known as the Brighter Death Now guy, and I gather that he and Uddah Buddah may have fallen out shortly after this was recorded. Uddah Buddah was known to his mum as Lennart Eilersen, and he was the person to whom I wrote in his capacity as big cheese of Selbstmord Organización, his tape label which branched out into at least this one slab of vinyl with its photocopied cover held on by masking tape. Its apparent subsequent lack of availability may be on account of the group being so ashamed of it that they buried all the unsold copies, at least according to what Lennart Eilersen told me in one letter:

We have our 1st LP our by Enhoenta Bodlar, but that was so bad that we don't even wanna sell it anymore. The rest of the copies left are meant to be buried in cemetries.

I suppose how bad
it could have been is now the obvious question. Personally I wouldn't say it was bad at all, but it is seriously fucking odd, and it doesn't bear much comparison with many other things which have been labelled industrial. One of the greatest things about the Roland SH101 synth is, in my opinion, the arpeggio feature, or whatever the hell it's called - hold down as many keys as you like and the synth runs up and down the sequence over and over like some sort of seasick Dalek pumped full of nose-candy. It's a peculiar, disorientating sound without which Ogrish Guttural Wounds would have been a spoken word album. Aside from the afterthought of metal percussion - teatray, spoon, and metal chair leg by the sound of it, and occasionally apologetic taps on the pads of an MPC Industries Kit - this incarnation of Enhoenta Bödlar had more or less the same dynamic as Whitehouse, but for sounding nothing like them. Instead of the screeching feedback we have that weird electronic sawing noise, and instead of a man ranting about his plonker we have this disturbingly polite Derek Nimmo version of someone from the Church of Satan; or something like that. It sounds like it was recorded on a music center in somebody's front room, and yet the sheer insanity of the enterprise renders it much, much greater than the sum of its parts. Lennart Eilersen cited Monty Python as at least as big an influence as any of the usual droning suspects, which makes a lot of sense, and which probably makes this album at least as great as it is in my imagination. Seriously, if you'd rather listen to Lustmord than this, I feel sorry for your parents.

Oh... and also, I've included Antichrist Ne Telleth which comes from the Carnage in a Country Garden cassette compilation on Anal Probe (1983).


I'm Jesus Christ masturbating.
Just give me concentration, will you.
I need concentration.
I'm Jesus Christ masturbating.
Just give me your hands, will you.
Do it faster!
Do it nicer!
Do it slower!

It's good, you know
...



Tracks:
1 - Ogreish...
2 - One-Handed Tormentor

3 - We Will All Be Warm-Eaten
4 - Thee Only Way...
5 - Semene Stains
6 - Heathen Nordic Temple
7 - Thwart Thy Lethal Leprosy
8 - Mere Dewy Christian Cunt
9 - I'm Jesus Christ Masturbating
10 - Antichrist Ne Telleth

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Monday, 13 July 2015

The Joneses - Keeping Up With The Joneses (1989) C30


The Joneses were John Jasper, just one bloke with a portastudio who lived around the corner from me in Chatham, Kent. John was musically prolific, recording his own rhythmic dub material heavily influenced by Adrian Sherwood and the On-U sound under the name Regular. We also collaborated on a cassette recorded as Illyana Rasputin, and then there was all his other stuff - things which just never quite seemed to fit in anywhere else. Foremost amongst this most severely mutated material was one side of a cassette he gave me containing these fourteen tracks. The Joneses were unlike his other imaginary bands, particularly in terms of the raw force of sarcasm utilised during recording - assuming it was sarcasm, because frankly it was sometimes difficult to tell what the hell he was playing at. The Joneses most obviously rips huge streaks of piss out of the Smiths, but also seems to take sideways potshots at Mark E. Smith, the Cocteau Twins, and possibly Alan Bennett. The other side of the tape appeared to be taken up by something called Reg Varney's Mobile Coconut Shy.

John was a lovely guy but a pain in the arse, one of the least reliable, most pathologically flaky people I've ever met. He would lend me tapes of Keith LeBlanc albums and swear blind they had been recorded by a friend of his, some guy who lived in Devon. Then he was going on tour, playing bass with Wolfgang Press - really he was. He would fail to show if you arranged to meet him at the pub, or you would go around to his house and he'd pretend he wasn't home. He seemed, at times, a bit mad, and thus provided some evidence in support of that equation about the thin line dividing madness from genius, as expressed in his music. The Joneses, with all its deliberate mistakes, tape distortion, pointed crash edits, and armpit farting noises is a long way from the Barron Knights tradition of satire, comic send up and note perfect pastiche, so far in fact that it exists more or less on its own terms and as such predates Chris Morris and Blue Jam by nearly a decade.

I don't know how well this stuff will translate. Maybe you had to be there. All I know is that the Joneses still make me cry with laughter a quarter of a century later.


He sometimes likes to lie in his bedroom and remove his trousers,
But sometimes his trousers remove
him...



Tracks:
1 - Edwardian Trout Feef
2 - Reg

3 - Tossing and Turning
4 - Bending Down, Naturally
5 - Don't Eat Sausage
6 - Cor - Strewf!
7 - Night-time Biscuit Horror
8 - Walnuts
9 - Horror in the Office
10 - Spoons
11 - I 'Ad a Ake
12 - Ronnie Rowe
13 - Bedtime Cigar Interruption
14 - Fluffy Fluffy Big Pink Man

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Sunday, 5 July 2015

Index & Disclaimer

Index

Each link should take you to the blog entry from which the named item may be downloaded. Each blog entry should also feature a link which brings you back to this index.


Academy 23 - Quis Custodiet Ipsos Custodes? (1993) C90
Academy 23 - SDS... (1993) C60
Academy 23 - Live in Hackney and Chatham (1995) C90
Academy 23 - Chats Palace 4/10/96 (1996) C46
Anarchist Angels - As the Innocent Suffer... (1983) C30+
Anschluss - Fall Apart (1992) C60
Apostles - 2nd Dark Age Demo (1982) C60
Apricot Brigade - Practice September 1985... (1986) C60
Asepisis - The Glory of Punishment (1984) C60
Clench - In the Garden (1984) C46
Cloister Crime - Devilish Music... (1984) C46
Andrew Cox - Methods (1980) C46
Dada X (1992) C90 
Do Easy - The Metal Tape (1982) C60
Do Easy - The Second Metal Tape (1982) C60
Do Easy - The Fourth Metal Tape (1982) C90
Do Easy - The Sixth Metal Tape (1983) C60
Do Easy - The Ninth Metal Tape (1983) C60
Do Easy - The Twelfth Metal Tape (1983) C60  
Do Easy - The Fourteenth Metal Tape (1983) C60
Do Easy - Purifier (1986) 3C60
Do Easy - Death in a Milan Square (1984) C60 
Do Easy - The 35th Release (1985) C60
Do Easy - In the New Southern Territories (1986) C60
Do Easy - Italia 1912 (1986) C90 
Do Easy - This Can't Go On Forever (1987) C90 
Dovers - Rehearsals 1 & 2.1 (1987) C60
Dovers - Rehearsals 2.2, 3 & 4.1 (1987) C90
Dovers - Rehearsals 4.2 & 5+ (1987) C60
Dovers - Rehearsal 6 / Live Sunset Strip 23.12.87 (1987) C90
Dovers - Rehearsals 7 & 8 (1988) C90.
Dovers - Rehearsals 9 & 10 (1988) C90.
Dovers - Live Sunset Strip 27.1.88 (1988) C46.  
Dovers - Hammersmith and Chatham (1988) C90
Dovers - Adam Ant... (1991) C90
Dovers - The World of the Dovers (1991) C60 
Dovers - 8-Ball 8-Ball Martin De Sey (1991) C90
Dovers - Water Pistol Filled with Beer (1991) C90
Dovers - Nobody Never Told Me Nothing... (1992) C90+
Dovers - More of the Same Old Thing (1992) C60
Enhoenta Bödlar - Ogreish Guttural Wounds (1984) LP
Envy (1986/7) C46
factor X vs. Family of Noise (1995) C90+  
Family of Noise - New Golden Age (1992) C90
F*** F****** - Stupid (1988) C15
F*** F****** - Enjoy! (1991) C60
F*** F******* - For Our Real Fans Only! (1992) C60+ 
Fysisk Fostran - Vi Behöver Ett Odöpt Barn (1983) C60
Illyana Rasputin in Pittsburgh (1988) C60
The Joneses - Keeping Up With The Joneses (1989) C30
Khmer Rouge - Year Zero Disco (1981) C46
Konstruktivists - Forbidden BC (1991) C90
Konstruktivists - Tic Tac Toe Remixes (1991) C60  
Konstruktivists - Instrumentals (1992) C60
Manslaüghter - Sofa, So Good... So What ? (1992) C15
Manslaüghter - South of Hebburn (1993) C30
Matfield & the Pond - Paem Wyrd (1982) C90 
W.S. Murphy - ...Cream Cheese Gospel (1990) C15
My Catholic Enemy (1996) C90+
Nocturnal Emissions - The Garage 22/6/99 (1999) C90 
Post-War Busconductors - The Nightmare Begins... (1981) C60
Post-War Busconductors - Come (1982) C10 
The Product - Erotic Pink Pelicans (1985) C60
 
The Shining - Green Dragon 2/8/84 (1984) C40
621 Monosodium 621 - Torn from the Earth... (1992) C15+
Soul - Demo Tape (1986) C15
Soul Providers - Cipactli Nahuatlamatl (1998) C90  
Soul Providers - Ehecatl Calli (1998) C90
Soul Providers - Calli Yei (1998) C90 
Soul Providers - Last Tape (1999) C90
Spinning Pygmies - Spinning Pygmies I (1987) C60
Spinning Pygmies - Spinning Pygmies II (1987) C60
Spinning Pygmies - Spinning Pygmies III (1987) C90
Spinning Pygmies - Spinning Pygmies IV (1987) C60
Total Big - Rehearsals 1 & 2 (1985) C90
Total Big - Rehearsals 3 & 4 (1985) C90
Total Big - Rehearsals 5 & 6 (1986) C90  
Total Big - Rehearsals 7 & 8 (1986) C60
Total Big - Rehearsals 9 & 10 (1986) C90
Total Big - Rehearsals 11 & 12 (1986) C90
Total Big - Rehearsal 11 - Complete & Unabridged (1986) C90 
Trilogy - Tapestry (1984) C60
various - Ars Magna et Ultima (1983) C60
various - Carnage in a Country Garden (1986) C90
various - Circumcise the Foreskin of Your Heart (1983) C60
various - From Down Yondah (1984) C120
various - Moraals (1985) 2C90
various - Process (1993) C90 
various - Reflections of a Past Age (1984) C60 
various - Untitled (1984) C60 
War Drum - War Drum No. 1 (1997) C90
War Drum - War Drum No. 2 (1998) C90  
War Drum - War Drum by War Drum (1998) C90
War Drum - Fatu Hiva (2000) C90
War Drum - La Quinta Trecena (2000) C90  
War Drum - My Heart is Broken OST (2001) C60
War Drum - Final Music (2005) C60
We Be Echo - Ceza Evi (1983) C60
We Be Echo - Ceza Evi: Special Edition (1983) C60 
We Be Echo - Psychick Kontakt Specials (1985) C90  
We Be Echo - Various Obscure Recordings (1985) C60
We Be Echo - Radio Werkz II (1985) C30 


Disclaimer
This blog is maintained for the sake of sharing music from my own private collection, most of which derives from tape cassettes dating from the eighties or nineties. Most of this music was recorded either by myself, or by bands of which I was a member at the time. Some of the cassettes digitised here are simply by people I knew, or people whose work I came across and which impressed me so much as to preclude the possibility of my taping over the thing. So I suppose I own the copyright of most of the material here, but not all of it. In the case of the material for which I don't own the copyright, generally I have tried and failed to track down those responsible in order to seek permission for my sharing their material (excepting people I can't fucking stand or who can't stand me), but honestly I don't even know if some of these people are still alive. I've done what I could. This material is shared purely for the love of music, and in the hope that you too, whoever you may be, will appreciate a few lost gems. I'm not trying to cash in here, and neither should you. If I find anything I've shared here mysteriously pressed up in a wanky limited physical edition costing a fortune on eBay I will be displeased, and my wrath will be a terrible thing to behold.

...and if I've gone and shared your shit and this pisses you off, let me know and I'll take it down, mkay? Oh - and whilst we're here, please investigate my other blogs, and buy my fuckin' book!


Finally, it should be noted that, depending on what you use to play MP3s, how your computer works or whatever, these tracks will probably download in alphabetical sequence rather than the order in which they should appear as derived from the source recording. It has been suggested that I need to prefix my tracks with A1, A2, B3 and so on, but I haven't because it gets on my tits when I download other people's stuff and have to go through it editing the titles because Jonathan King never recorded a song called A7 Lad's Bums Yum Yum and it sends me into a blind rage when my PC tries to suggest that he did. Therefore I respectfully suggest that you download the shit then order it accordingly within your iTunes or whatever you use by referring to the track list provided with each blog entry.

My pleasure.

The Product - Erotic Pink Pelicans (1985) C60


The Product were two blokes with a pile of synths, drum machines, at least one guitar, and sharp flat-top haircuts of a style which was pretty popular in the Kentish town of Chatham in the mid-eighties. I think I saw them two or three times, most memorably at the Good Intent in Rochester. For a band playing what was essentially slightly angry Blancmange they were pretty incredible live, despite the stiff competition of a million rock and roll bands with actual drummers, about half of which had featured the mighty force of Billy Childish at some point or other. At least some of the Product's stage presence was probably down to the novelty of a song about fellatio (which would later be covered by both the Cure and Morrissey) and a substantial following of local fans ready to engage in the dispensation of lively and good-natured violence at the gigs. With hindsight it seems odd that a band who sounded like this should have accrued such a following of keen Special Brew enthusiasts, many of whom were conveyed to the concerts by means of scooter, but that was Kent in the 1980s for you, and it made sense at the time.

I've no idea what became of the Product, but this stuff still sounds fucking great to me even now, thirty years later.

No idea how I even got hold of this tape. I was probably drunk.



Tracks:
1 - Production Line
2 - Crash Course

3 - Chaos
4 - Love Shine
5 - If Only We Were Alone
6 - Concrete Scar
7 - Kind
8 - COBSMW
9 - Jester
10 - Pain That Exists
11 - Treasure Cave
12 - F.A.B.

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