1. Cyborg And Droids - The Extinction
2. Coneheads - Out Of Conetrol
3. Throbbing Gristle - Maggot Death - Studio + Maggot Death - Southampton
4. LOTION - Welcome To The Civilized World
5. F/i - Trauma At The Beach
6. DNA - Not Moving
7. Residents - Satisfaction
8. Rudimentary Peni - Tower Of Strength
9. The Coltranes - Distant
10. Rusted Shut - Jesus Christ Inca
11. Neutron Rats - Eczema
12. Chrome - Zombie Warfare / Can't Let You Down
Cyborgs And Droids - "The Extinction"
Off the S/T album released independently in 2015.
The somewhat ambitious release (as ambitious as mixing OG Industrial and Synth Punk can get) from the Sci-Fi obsessed Irish ensemble is a mish mash of 10 tracks - the longest being 3 and a half minutes. Wacked out synthesizers and sequencers, the occasional atonal guitar and the Lo-Fi vocals accumulate into what alot of Synth Punk bands aspire to be - The Screamers, Mark 2. C&D take themselves away from that by rebooting the genre with the overly Sci-Fi, Dystopian aesthetic and sound.
>> Bandcamp <<
>> Bandcamp <<
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Coneheads - "Out Of Conetrol"
Off the "Total Conetrol" tape released independently in 2014.
Dada-Punk? I think so. Building off the aestheticism of 80's Art Punk / Experimental groups like Devo and The Residents and using the Noise philosophy on musical distribution (i.e, extremely limited cassettes with sardonic, and usually minimalist artwork) with the clear
Lo-Fi execution of the music, The Coneheads, much like Cyborgs and Droids, are trying to invent a new musical subculture with no commercial quality by building off of noncommercial movements from the past 40 years. The extremely limited cassettes and old school aesthetic hint at a nostalgia of the Pre- Internet music underground, and they seem like they don't even want to be on the internet at all. It's a wonder anyone not from Indiana (Conehead's homestate) is even aware of them. I'd recommend downloading their tapes off the internet - most are blasts of art punk that runs under 10 minutes, and due to the nature of these releases - most Coneheads releases, despite being only released a couple years ago, sell for hundreds of dollars. Although I'm sure The Coneheads are nicely asking their live audiences to buy these tapes for $3 each.
Dada-Punk? I think so. Building off the aestheticism of 80's Art Punk / Experimental groups like Devo and The Residents and using the Noise philosophy on musical distribution (i.e, extremely limited cassettes with sardonic, and usually minimalist artwork) with the clear
Lo-Fi execution of the music, The Coneheads, much like Cyborgs and Droids, are trying to invent a new musical subculture with no commercial quality by building off of noncommercial movements from the past 40 years. The extremely limited cassettes and old school aesthetic hint at a nostalgia of the Pre- Internet music underground, and they seem like they don't even want to be on the internet at all. It's a wonder anyone not from Indiana (Conehead's homestate) is even aware of them. I'd recommend downloading their tapes off the internet - most are blasts of art punk that runs under 10 minutes, and due to the nature of these releases - most Coneheads releases, despite being only released a couple years ago, sell for hundreds of dollars. Although I'm sure The Coneheads are nicely asking their live audiences to buy these tapes for $3 each.
Throbbing Gristle - "Maggot Death - Studio + Maggot Death - Southampton"
Off the "Second Annual Report" LP released on Industrial Records in 1977.
Previously Featured on 8/9/2015 and 8/30/2015.
Well, I know I've featured TG 2 times already, and I know that they don't really need much more exposure, since they're considered legends within their scene. I just really like these 2 tracks and wanted to write about, because I have nothing better to do. The studio take of Maggot Death and it's very fitting segue into the Southampton take are genius, the blasts of Industrial energy on the studio take and the beautiful droning sound on the Southampton take is really transcendent. TG have a reputation for being hit or miss, but when they get the "hit," it's absolutely amazing. Peter "Sleazy" Christophersen usually doesn't get to show us his amazing tape collages, but in the middle to near end of the song were all the random samples are flying at you generates an awesome atmosphere. The saddest thing about TG is how neglected Sleazy was, most of TG's key tracks include his stellar tape collages.
Well, I know I've featured TG 2 times already, and I know that they don't really need much more exposure, since they're considered legends within their scene. I just really like these 2 tracks and wanted to write about, because I have nothing better to do. The studio take of Maggot Death and it's very fitting segue into the Southampton take are genius, the blasts of Industrial energy on the studio take and the beautiful droning sound on the Southampton take is really transcendent. TG have a reputation for being hit or miss, but when they get the "hit," it's absolutely amazing. Peter "Sleazy" Christophersen usually doesn't get to show us his amazing tape collages, but in the middle to near end of the song were all the random samples are flying at you generates an awesome atmosphere. The saddest thing about TG is how neglected Sleazy was, most of TG's key tracks include his stellar tape collages.
L.O.T.I.O.N - "Welcome To The Civilized World"
Off the "First Audio Document" album released independently in 2013.
Not much to say on this one since I don't know much about it, but L.O.T.I.O.N seems to be the closest thing to a contemporary for Cyborgs & Droids, but the Industrial aesthetic and the Sci-Fi fetishism (this is pretty much the sonic representation of Tetsuo: The Iron Man) is in full force here. Almost like 50's B-Movies getting thrown in a trash compactor with The Deutsch-Amerikanische Freundschaft, long story short: this is certainly not normal.
Not much to say on this one since I don't know much about it, but L.O.T.I.O.N seems to be the closest thing to a contemporary for Cyborgs & Droids, but the Industrial aesthetic and the Sci-Fi fetishism (this is pretty much the sonic representation of Tetsuo: The Iron Man) is in full force here. Almost like 50's B-Movies getting thrown in a trash compactor with The Deutsch-Amerikanische Freundschaft, long story short: this is certainly not normal.
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F/i - "Trauma At The Beach"
Off the "Space Mantra" LP released on RRRecords in 1988.
The musical ensemble simply known as "F/i" have done many things since their formation in the early 80's - industrial punk to ambient jams to what could be described as "the Dave Matthews band if they didn't suck," F/i have built up a cult base and it's not hard to see why; their way of operating, recording and executing their unique artistic vision is quite interesting; everything for over-arching themes right down to the song titles evoke a certain mood unique to them. Stuck somewhere between No Trend and Hawkwind, F/i can head in any musical direction and find a way to pull it off.
Trauma At The Beach and some other choice cuts of Space Mantra see a very bleak, disturbed form of Industrial music taking place. The song title brings some odd thoughts into the brain, and the music more so. Something so distant, yet so relatable. As it goes on, its gets more spacey, more dissonant and more outlandish. Definitely something to show your grandma.
The musical ensemble simply known as "F/i" have done many things since their formation in the early 80's - industrial punk to ambient jams to what could be described as "the Dave Matthews band if they didn't suck," F/i have built up a cult base and it's not hard to see why; their way of operating, recording and executing their unique artistic vision is quite interesting; everything for over-arching themes right down to the song titles evoke a certain mood unique to them. Stuck somewhere between No Trend and Hawkwind, F/i can head in any musical direction and find a way to pull it off.
Trauma At The Beach and some other choice cuts of Space Mantra see a very bleak, disturbed form of Industrial music taking place. The song title brings some odd thoughts into the brain, and the music more so. Something so distant, yet so relatable. As it goes on, its gets more spacey, more dissonant and more outlandish. Definitely something to show your grandma.
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DNA - "Not Moving"
Off the "DNA on DNA" compilation released on No More Records in 2004, recorded from 1977 to 1982.
I think I played DNA on a very early show but I can't remember - and I'm too lazy too look for it. This isn't Hits 1 Radio, folks. I figured while I was showing off Synth Punk and Industrial I may as well throw some No Wave on - just so everyone is (dis)pleased. Built around a seemingly simple keyboard line, Not Moving gains an unbelievable amount of propulsion, pace and energy, and instead of slowing down, it gets more disconnected and atonal. It's no wonder DNA are considered one of Outsider Music's finest acts, they sounded like no one else in 1977 - not even the other No Wave acts of the time came close. For some reason, DNA makes my headaches go away, to quote someone I saw on the internet. Another good internet comment about DNA is "this bullshit inspired me to make a band with a schizophrenic homeless dude." Joke or not, I'd like to hear that!
The Residents - "Satisfaction"
Off the "Satisfaction / Loser = Weed" single released on Ralph Records in 1976.
Insane guitar fuckery and satire from the lords of satire - The Residents take the classic Stones A-side and turn it inside out to the point that it doesn't sound like a feel good Top 40 hit, but a bleak cry for help. I'd like to think the vocals are The Residents poking fun at Mick Jagger for trying to sound like an American Bluesman, (despite being from Metropolitan Britain) but I doubt they were thinking of that, although the way the vocals are mixed is interesting, to say the least. Sounds like a 90 year old chain smoker trying to sing the song. Even the percussion sounds hellish, although you can barely hear it. All I can say is, hats off to the Residents!
Insane guitar fuckery and satire from the lords of satire - The Residents take the classic Stones A-side and turn it inside out to the point that it doesn't sound like a feel good Top 40 hit, but a bleak cry for help. I'd like to think the vocals are The Residents poking fun at Mick Jagger for trying to sound like an American Bluesman, (despite being from Metropolitan Britain) but I doubt they were thinking of that, although the way the vocals are mixed is interesting, to say the least. Sounds like a 90 year old chain smoker trying to sing the song. Even the percussion sounds hellish, although you can barely hear it. All I can say is, hats off to the Residents!
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Rudimentary Peni - "Tower Of Strength"
Off the S/T EP released on Outer Himalayan Records in 1981.
Probably the most "Cacophony"-sounding effort, although that album was 7 years down the road. RP's first EP presents 11 outsider punk blasts in around 13 minutes - and Tower Of Strength is a really awesome sounding song - Blinko's vocals, the solid basslines that follow the drums and the guitar-work are euphoric. Pure love to the UK's weirdest Punk trio.
The Coltranes - "Distant"
Off "The Cat Of Nine Tails" tape self-released in 2015.
Talk about classy! Named after John Coltrane, The Coltranes certainly aren't classy artsy jazz. As the cover indicates, they're about orgies, drugs, and being abducted by aliens. Oh, what goes on in The Coltranes studio (AKA a squat-house) must be pretty different. Anyway, The Coltranes are a more recent noise rock group, playing intense live shows and making angular Hardcore tunes, (as do many modern acts in this niche) which allows them to not only become a niche product but also to appeal to alot of people, from Mayhem fans to Deerhunter fans. Weird how that works.
Talk about classy! Named after John Coltrane, The Coltranes certainly aren't classy artsy jazz. As the cover indicates, they're about orgies, drugs, and being abducted by aliens. Oh, what goes on in The Coltranes studio (AKA a squat-house) must be pretty different. Anyway, The Coltranes are a more recent noise rock group, playing intense live shows and making angular Hardcore tunes, (as do many modern acts in this niche) which allows them to not only become a niche product but also to appeal to alot of people, from Mayhem fans to Deerhunter fans. Weird how that works.
Rusted Shut - "Jesus Christ Inca"
Off the "Rehab" album released on Emperor Jones Records in 2004.
Originally formed in 1985 with a clear influence from Noise Rock (specifically Flipper) and full on Noise music (like Ramleh's guitar generated noise music), Rusted Shut built up a reputation in their home state of Texas for being crazy, fucked up and possibly mentally ill. They never got around to releasing an album 1996, their self titled album. Before 1996 their only appearances on physical media was on 2 V/A comps. There next release was 2004's 50 minute assault now known as Rehab, which starts off strong and never lets up. Jesus Christ Inca, the first track on the album, is a no-fi blast of sound in which the guitar and drums clip and blend together and the vocals are screamed with confused hatred - which is the best way to sing a song that revolves around Genocide, (the Spanish killing and warring with the Incan people) Rusted Shut land in an awkward yet amazing place between Noise Rock and full out Noise music. This becomes abundant in the last 4 tracks on the album - recorded live sometime in the 90's, the tracks feature the guitar freaking out with insane shrieks and dissonant pedal fuckery. Good stuff, for fans of the weirder side of Noise Rock.
Originally formed in 1985 with a clear influence from Noise Rock (specifically Flipper) and full on Noise music (like Ramleh's guitar generated noise music), Rusted Shut built up a reputation in their home state of Texas for being crazy, fucked up and possibly mentally ill. They never got around to releasing an album 1996, their self titled album. Before 1996 their only appearances on physical media was on 2 V/A comps. There next release was 2004's 50 minute assault now known as Rehab, which starts off strong and never lets up. Jesus Christ Inca, the first track on the album, is a no-fi blast of sound in which the guitar and drums clip and blend together and the vocals are screamed with confused hatred - which is the best way to sing a song that revolves around Genocide, (the Spanish killing and warring with the Incan people) Rusted Shut land in an awkward yet amazing place between Noise Rock and full out Noise music. This becomes abundant in the last 4 tracks on the album - recorded live sometime in the 90's, the tracks feature the guitar freaking out with insane shrieks and dissonant pedal fuckery. Good stuff, for fans of the weirder side of Noise Rock.
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Neutron Rats - "Eczema"
Off the "Feral Dogs" EP released on Loud Punk Records in 2012.
Not much to say on this one - Neutron Rats are some pretty millennial Noise Punk with influence from Thrash and Hardcore thrown in. Easily the best track on the whole EP, Eczema can be described the way I described most noise rock - some sick feedback with a guy yelling about shit and a solid rhythm section. In case you guys couldn't tell - I have a PhD in Journalism.
Not much to say on this one - Neutron Rats are some pretty millennial Noise Punk with influence from Thrash and Hardcore thrown in. Easily the best track on the whole EP, Eczema can be described the way I described most noise rock - some sick feedback with a guy yelling about shit and a solid rhythm section. In case you guys couldn't tell - I have a PhD in Journalism.
Chrome - "Zombie Warfare / Can't Let You Down"
Off the "Half Machine Lip Moves" LP released on Siren Records in 1979.
If I was to make a list of songs that ruled it would be this and "Amateur Hour" by Sparks written down a hundred times over. I can't stress how great this track is, some awesome, spacy / psychedelic punk guitars with some industrial mixer blurps are what makes up most of the songs, and it's glorious. I'm gunna listen to this 'till I go deaf.
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