Monday, 31 December 2018

Adventures of Twizzle - Krafty Whank (1985) C60

Here's the last of my AOT tapes, potentially meaning their entire recorded works can be downloaded from this blog - unless they put out some tape I've never heard of, which I suppose is possible. I know about as much as you do where Kraft Whank is concerned as I believe we were no longer in touch by this point so I got the tape direct from Trev Ward. Jude of AOT later re-established contact, specifically writing a letter to Glenn Wallis to inform him that in allowing me to join Konstruktivists (as reported in the Empty Quarter) he had allowed an actual Nazi and former NF member into his band, for Jude didst know of my jackbooted ways from old. I was neither a Nazi nor ever a member of the NF - not even just a little bit - but it was all a PRANK you see, like in that Re/Search book. Ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho ho - oh how we didn't fucking laugh. He was very apologetic once he realised that neither Glenn nor myself had spent any time rolling around on the floor, pounding our fists against the ground with the hilarity of it all, but I found it difficult to think of Jude as anything but a massive knob after that particular jolly jape. Anyway, I believe AOT split due to Paul and Jude falling out a little while after this was recorded. Can't imagine why.

Side-splitting accusations of Nazism aside, this is probably AOT's most accomplished tape, as you will hear - mostly instrumental but quite nice and moody, and it sounds like it might have been done on a four track or something, so that's nice.

1 - Flour and Eggs (cake mix)
2 - Hoopdemidymode Cremedepritch Boogie
3 - Haunted Swing Illusion
4 - Manna (Mini)
5 - Yov Kokosh
6 - Break
7 - Twonk


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Friday, 21 December 2018

Sunken Chambers (1995) C90

I recently came across an Anschluss track on YouTube, which was interesting because that was me for about five minutes. It was a track taken from this compilation, and yet when I played the clip it turned out to be one of the other tracks from the tape. Now, having edited this thing, I can see how the confusion arose regarding where one track ends and another begins.

I know. Cool story, yeah? Feel free to retell it at dinner parties and claim it as your own.

Anyway, clearly this has already been digitised by someone else, but nevertheless here it is again with the correct titles, unless I too have fucked up, which is admittedly a possibility.

Anschluss was supposed to be a postal collaboration with the bloke who did Hoax! magazine, partially so as to focus all of his attempts to involve himself in everything I did in one place in the hope he'd leave everything else alone. The idea was that I'd build it all up from samples of his demos, but he started to send stuff which sounded like Nik Kershaw and lo, my enthusiasm didst wane; so that was the end of that, apart from the tracks on Sunken Chambers plus an unreleased tape elsewhere on this blog if you can be arsed to look for it. Apparently I was going to send it to Mindscan to see if he wanted to put it out, but I guess I never got around to it.

Sunken Chambers was the work of the excellent Kyran Lynn, CEO of Racing Room Tapes, whom I vaguely recall as having sent me a few good ones when I was reviewing stuff for Sound Projector magazine. Curiously, I also vaguely recall having been sent a Dachise CD for review in the same, although I can't remember what I made of it. Ed Pinsent was of course the editor of the Sound Projector - and still is come to think of it. Himself and Harley Richardson were in Pestrepeller with jovial, light-hearted raconteur Edwin Pouncey. I used to know Harley but fell out with him after he started posting links to climate change denial articles on my facebook page and chanting the people have spoken whenever anyone mentioned Brexit. Sigh. Another one bites the dust.

I don't know anything about the rest, except everyone has heard of Expose Your Eyes, obviously; and Ozone Bandits was Dave Hopwood. Sunken Chambers is mostly weirdy noise music, but is very good of its type and really takes hold of you after a couple of plays.

1 - Educational Resources - Start in Her Hands to Grovel at Her Feet
2 -
Expose Your Eyes - Bastard
3 -
Tim Baker - Blame the Kingdom of God
4 -
Messy - Fall Out
5 -
WYRM - Three Minutes I
6 -
Carsick - Social Club Revert
7 -
Sean Reynard - Tijuana Bastard
8 -
Anschluss - Thou Shalt Not Suffer a Shit to Live
9 -
WYRM - Three Minutes II
10 -
Tim Baker - Do You Want to be Killed or Murdered?
11 -
Expose Your Eyes - Solan
12 -
Educational Resources - Smirk at the Sitting in the Temple
13 -
Dachise - Futile Rebellious Teen Shite
14 -
Paddy Collins - Tech'no'ise
15 -
WYRM - Three Minutes III
16 -
Amy Love - Fisherman's Thread
17 -
The PamelA Mind B.and - 11-TV
18 -
Amy Love - Sonic Attack
19 -
Ed Pinsent & Harley Richardson - The Volcano
20 -
Carsick - Morning Shift
21 -
Messy - All These Colours
22 -
Ozone Bandits - Ozone Ballad
23 -
Forecastle - Norwaves
24 -
Anschluss - Reward
25 -
Mark Hadley - Evil 95 Version
26 -
Ozone Bandits - Mo'Pro re-hash : i
27 -
Messy - To-she
28 -
Expose Your Eyes - Small Masks Made Out of Spit and Paper
29 -
The PamelA Mind B.and - Okwinox
30 -
Educational Resources - Proper Grade Prolix
31 -
Noise Gate - Musique Cemente

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Friday, 14 December 2018

Network 10 (1982) C60

No proper tape cover so er... that's my artist's impression of Phil Beesley, the man behind Network 10. I haven't been able to find anything on the internet either.

Back in May 1985 I was sharing a student rabbit hutch in Leeds village, near Maidstone in Kent with a poet called Steve. Steve was hard work at times, but we sort of got on, and he let me release his Lead Shoes tape on Do Easy, my tape label. Phil Beesley was his pal from back home, possibly from school, who came to visit and stayed over the weekend. Typically, everybody liked Phil a whole lot more than they liked Steve. He was a big bloke, like a Rugby player, but fairly quiet, almost to the point of seeming shy. It also turned out that he played a shitload of instruments and recorded his own music, and this is the tape he lent me.

Anyone who saw the name Network 10 and started pulling on their army boots and camouflage pants in fevered anticipation of a good old EBM stomp and a frown whilst thinking about how Mussolini had actually had some good ideas will probably have stopped reading by this point, saving me the effort of suggesting they fuck off. Network 10 actually sound like the Dead Hedgehog band that got away, and they even have a song about a hedgehog - influence of Cabaret Voltaire and Wire conspicuously absent, softly psychedelic pub rock with a touch of early Quo, and no apparent fear of novelty records. It was the sort of thing I shouldn't really have liked, but there was something infectious about it, and Phil clearly had an ear for a tune. I know some of it skates close to the edge, notably the chorus of oh no don't do it, Percy, but fuck it - rather listen to this than whatever boring shite the Wire is banging on about this week.

Not sure about the last three tracks. I get the impression they may have been from some other demo which I simply taped on the end. Phil had initially started off recording under the name Army Sergeant (which thankfully didn't last because it sounds like Frank Sidebottom's take on industrial techno), and I have a feeling the last three tracks may actually be an Army Sergeant demo.

There were a couple of years back there where Henrietta Blues I turned up on every single here, you have to listen to this tape I did for anyone.

Wherever you are, Mr. Beesley, thanks. This was some good stuff.

1 - Invitation
2 - Henrietta Blues I
3 - Percy
4 - Jigorama
5 - 25 Too Much
6 - A Day in the Life of the Suburban Hedgehog
7 - Mediterranean Holiday
8 - Come Tomorrow
9 - Henrietta Blues II
10 - Killing Me Softly
11 - Don't Talk About Fashion
12 - Delirious

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Tuesday, 11 December 2018

Real Time 7 (1983) C90

I posted a previous volume of this series back in January, and here's another picture (as found on Discogs) of Robert Cox, the handsome fellow who compiled these tapes and recorded as Rimarimba.

Everything I said about Real Time 5 seems to apply here, pretty much, particularly regarding stonewashed jeans bands; and yet like Real Time 5, this is nevertheless a mostly decent compilation with not much fast forwarding required. Robotghost was John Grimaldi, formerly of Argent whom older boys and girls will recall had a hit with God Gave Rock and Roll to You; Len Liggins you should recall from both Real Time 5 and International Sound Communication 10; Gambit of Shame and Mex should be known to you if you've been following these blogs, and No Bounds and 18 out of 20 seem to be variant mixes of those which appeared on their classic 7" - still one of my favourite singles from that era; I've posted about Adventures of Twizzle before as I put out a tape by them on my Do Easy label, although this track was originally on Hitler's Trousers after the Blast which I'll digitise at some point within the next couple of months; I'm drawing blanks on Magnificent Everything, If All Else Fails, John Ralph, Terry Crocodile, Nine Dangerous Fish Inc., Personal Effect, Martin Barbour, and Three Damn Cheers, although for what it may be worth, If All Else Fails' Sand is probably my favourite track on this tape after the Gambit of Shame numbers; Stress you really should have heard of, being the vehicle of Alan who used to edit Adventures in Reality and Phil Clarke who produced (I think) Damn Latin zine and was (possibly) in the Stick Insects.; leaving just Rimarimba which was Robert Cox's own material, possibly occasionally involving either Smell or Quim of Smell & Quim, according to Discogs.

Dream Syndicate sounds a bit Chris Morris to me.

1 - Robotghost - Museum of Fakes
2 - Robotghost - Studio 54
3 - Len Liggins - Boxes (All I Want is a Womb with a View)
4 - Len Liggins - I Know You Know
5 - Gambit of Shame - To Hell with the Carnival
6 - Gambit of Shame - No Bounds
7 - Gambit of Shame - 18 out of 20
8 - Mex - Born to be Killed
9 - Adventures of Twizzle - On and On and On
10 - Magnificent Everything - Blue Sky North Street
11 - Magnificent Everything - Big Casino
12 - If All Else Fails - Sand
13 - If All Else Fails - Blood on Her Produce
14 - John Ralph - Star
15 - Terry Crocodile - Velvet
16 - Terry Crocodile - Dream Syndicate
17 - Nine Dangerous Fish Inc. - Shake
18 - Nine Dangerous Fish Inc. - Lobsters on the Boil
19 - Personal Effect - Tired and Emotional
20 - Martin Barbour - The Other Way
21 - Martin Barbour - Attarine Street
22 - Three Damn Cheers - Peur
23 - Stress - Nothing New
24 - Rimarimba - Steady State
25 - Rimarimba - The Melting

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Monday, 10 December 2018

Cassette Music 3 (1994) C60

Here's another hour of strange sounds from the excellent Personal Soundtracks series. Once again my information on those contributing is patchy to nonexistant, but I'm sure some of you will at least be familiar with Hex Minora, Mlehst, factor X, and Expose Your Eyes who seemed to be everywhere at one point. In fact I'm fairly sure I remember them, or possibly him, filling in for Jimmy Hill on Match of the Day.
Anyway, regardless of who you've already heard of, the thing you'll probably notice about this tape is the exceptional quality and high production values with a track list that genuinely keeps you guessing from one minute to the next - which is really what it's all about for me.
Very glad Mr. Hopwood conceded to my digitising these things - it's been great digging them out and hearing them again. Surprised no-one has yet done a boutique CD reissue of this series of compilations.

1 - Ozone Bandits - Sergio Leone
2 -
Phenomena - Skitzpphenomena
3 -
Majorana - Grateri Dentro
4 -
Hex Minora - Heresy
5 -
Mlehst - Bitter Oranges
6 -
Clitoral - Pussyshaver
7 -
Phenomena - Paramilitary
8 -
factor X - In Love w/ You
9 -
Vinci - Tribal Night
10 -
Expose Your Eyes - &#0149 &#0149 &#0149
11 -
Telepherique - Marked Faces
12 -
Ozone Bandits - Pliers in My Heart

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Friday, 7 December 2018

Chris Duncan - The Broken Crucifix II (1981) C60

While it's generally true that I've hung onto more or less everything over the years - tapes, letters, whatever - there have been occasional clear outs, possibly just for the sake of proving to myself that I could do it, and thus I no longer have cassettes by Two Daughters, Storm Bugs, or La Otra Cara De Un Jardín. I gave them a listen and apparently found them underwhelming, so I gave them away (probably to Jim MacDougall) which I would now regret were there any point in regretting that sort of thing. Amazingly though, I somehow kept hold of two tapes by Chris Duncan, both passed onto me by Glenn Wallis, so I was briefly the Jim MacDougall of Glenn Wallis. I think I kept hold of them for sarcastic reasons, because they seemed rudimentary beyond belief, and maybe there was a little bit of guilt in knowing that someone had put some effort into this work, by some definition, and yet here I was regarding it as crap. I think this general sense of disdain may have developed following a conversation in the pub with Andrew Cox, talking about the good old days of ten years earlier and the DIY tape scene. We realised that we both had tapes by Chris Duncan, and I vaguely recall Andrew suggesting that Duncan had been sending his stuff out to a lot of zines or weirdy DIY artists at one point, and it was all a bit too basic for its own good. Andrew even had some vague memory of Duncan coming up with some amusing sounding name - Duncophonics or similar - for some recording technique he had "invented" which involved something at the technological level of selotaping a toilet roll tube to the microphone. Oh how we laughed.

Nearly thirty years have passed since Andrew and I got pissed and spent an evening laughing at silly simple Chris and his crap tapes, and approaching forty since those same tapes were produced; and amazingly they still play okay, or this one does, despite the unimpressive condition of the Boots CRXII cassette on which my copy was recorded.

To briefly digress, last week I checked my Twitter feed for the first time in ages and there found a response to my sharing the link to a previous tape posted on this blog. It came from a contributor to said tape and the thrust of his argument was what the fuck have you done to our track? - it sounds shit, or words to that effect. What I'd done to his track was digitised it and shared it on this blog, pausing only to clean the cunt up a bit so as to reduce the hiss. Otherwise it sounded more or less as it had done on the tape, the tape from thirty long fucking years ago, or slightly less shit if anything. I got in touch with our man to point this out. I don't recall whether I actually suggested he travel back in time and take the issue of quality up with the person who put out the offending tape in the first place, but I feel I would have been justified in doing so. He rephrased his objection saying that there was no point giving the thing away for free because it was such terrible quality. I still don't know who I was supposedly hurting (apart from His Royal Highness, apparently), and actually, but for some wow and flutter, the track sounds fine to me; and objecting to something from an ancient tape on the grounds of it not sounding like it was taken from a CD recorded at Abbey Road and produced by Trevor fucking Horn seems overly precious to a degree suggesting that our search for the industrial Elton John is finally over, given that I'm retroactively promoting the existence of his generic hasn't been Joy Division tribute act out of the goodness of my own fucking heart and at no actual charge.

Anyway, this unpleasantness has inspired me to a greater degree of sympathy for the under-represented likes of Mr. Duncan, those of us who did what we could without a massive budget, expensive technology, or the patronage of some more famous weirdy music superstar of the day. I say us because this time around I've noticed that there's not a whole lot of difference between Chris Duncan's work and my first few dozen Do Easy tapes; and given the titles and content, I sort of suspect he and I had roughly the same influences - Throbbing Gristle and a bit of Whitehouse, but based on reading about them without actually having heard the records. Chris falls on his arse a few times on this tape, but at least he was trying, and with not a generic Joy Division bass line to be heard; and with hindsight, providing all techno-snobbery is checked at the door, I've heard much worse than The Broken Crucifix, and worse on a better budget. I still don't know anything about Chris Duncan, what happened to the first Broken Crucifix, who he is or was - not beyond this tape and The Vanishing Mother. This tape was seemingly issued as being by Congress of Paris, and by the time he recorded The Vanishing Mother he was Kris Duncan with an industrial K, and that really is all I've got.

In light of previous accusations, I'd like to point out that the wow and flutter on Sputnik seems to be a deliberate effect on Chris Duncan's part, given that the track on the other side of the tape in the same place is unaffected, and the effect is itself entirely limited to Sputnik. Aside from that, I've done nothing to this except clean it up because there was, unsurprisingly, a ton of hiss; and I did that because it's the sort of thing I do, because I give a shit. You're most welcome.

1 - Introduction
2 - Hungarian Wedding
3 - Working Brain
4 - Locked Up I
5 - Locked Up II
6 - Military Tattoo
7 - Sputnik
8 - Child Sex I
9 - Child Sex II
10 - The Broken Crucifix
11 - Pedestrian
12 - Final Program
13 - Dark Blues
14 - Lonely
15 - Hello Hello (Is There Anybody There?)

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Monday, 3 December 2018

Ceramic Hobs - Station Bar 17/6/03 (2003) C40

The photo is actually from a Mad Pride gig at the Garage in London a couple of days later, in case anyone was wondering, and I think it was probably taken by my friend Rob Colson who now writes dinosaur books for kids. The Ceramic Hobs are from Blackpool, were formed back in the eighties, and are still in existence today, albeit as a sort of tribute to themselves (well, that's how Simon made it sound to me). Someone or other - possibly the late, great Robert Dellar - described them as the last real punk band, which sort of works.

This is a live tape, obviously, but one which seemed to warrant digitisation because it's a fucking good tape, and the quality is such that it could quite easily be pressed up on vinyl without it seeming too wilful an act. I've taken the liberty of tarting it up a bit, repairing a couple of drop outs and sewing the end of side one onto the beginning of side two etc.

 There have been a million line-ups of the Ceramic Hobs, so I'm not sure which this one was beyond that Stan Batcow was a member. The songs mostly appeared on their first three studio albums, and many reappear on the excellent Black Pool Legacy compilation, which you need if you don't already have it. I think there are a few of them still knocking around. Also, seeing as Christmas is coming up and I'm sure we're all looking for something for that difficult aunt or uncle, Simon has written a couple of novellas or chapbooks or whatever you would call them, which are available from Amphetamine Sulphate and come with my sturdiest recommendation, as does the rest of the AS catalogue for what it may be worth.

1 - Knight's Move
2 - Native American Healing Chant
3 - Would You Like to Kiss Me?
4 - Atomic Clock
5 - Xanadu in Veins
6 - Amateur Cops
7 - Lone Twister
8 - Rainbow Self-Realisation Therapy
9 - Pirate Night
10 - Raven
11 - M61
12 - When I Was a Little Boy
13 - Shaolin Master

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