Lost links & Re-ups

On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

Slinging tuneage like some fried or otherwise soused short-order cook

18 March 2018

Dub for Dreamers

For three decades Conscious Sounds has been instrumental in releasing consistently ground-breaking roots & culture music.

Here is a collection of the label's strictly limited vinyl releases, Dubs from the Vaults. It contains exclusive unreleased cuts from the Conscious Sounds studio archives featuring little known studio collaborations like Rockers 44 & Planet Dub alongside some Conscious Sounds heavy-weights like Centry & The Music Family. All the tracks were recorded at Conscious Sounds Studios between 1992 - 1996.

decryption code in comments

tracklist -

Firing the Phasers
Patient Man
Dub for Dreamers
Spanish Horns
Revenging Centry
Fly like a Falcon
Big Mouth
Big Mouth Dub
Rewind it Again
Cradle Rock
Rememberance Dub
Bad Time Girl
2am Dub
Pizzicato Dub
The Waterhole

Tracks 1, 2, &10 - The Music Family; 3, 7, 8, & 15 - Rockers 44; 4, 11, & 14 - Planet Dub; & 5, 6, 9, 12, & 13 - Centry.


Hey, Herb

Phallus Dei - Nature Mortes, Paragoric PA23, 2001.
decryption code in comments

tracklist -

Prologue : Mesmerism
After the Night
Epilogue : Eden


10 March 2018

Big New Prinz Live(s)

I hadn't heard from Brother Jonder for quite some time. I was wondering if I'd somehow fallen off the grid, so I reached out to him. To eulogize the passing of & to commemorate the greatness of M. Mark E. Smith, Jonder has created a new blog, jonderblog. It's also in the links to the right. He's been posting up some great compilations of The Fall related materials. Go check it out.

Jonder's often chided me (goodheartedly) about not being a fan of The Fall. I don't dislike the band or MES & in fact I have at least once posted a song by Mr. Mark. Sometimes I just can't shake "Bill is Dead" if I unwittingly hear it. It's not like that melody you just can't stop whistling, it's more like the lingering dread of last nights faint nightmare. My taste (if I dare even call it that) just favors other morsels.

In homage to the revered MES & as a nod to Brother Jonder's continuing good work, I give you these bursts of The Fall...four bootlegish live recordings that might not be as well known as their Beggars Bullshit, et. al

Probably my favorite of the four recordings here is Live Various Years (hence the nod in the title of this post) because of the excellent sound quality & the fact that although the recordings are from various years, the sound is extremely cohesive, but I’m posting Backdrop first.

Backdrop is the most "The Fall album" of any of these offerings here. That's because Backdrop came into existence as a bootleg but then was officially released. It appears to be out of print nowadays. This collection of rarities consists mainly of live tracks from the early to mid 80s, including live versions of tracks from their Beggars Bullshit years as well as many other gems. "Dresden Dolls" is extremely entertaining.

The Fall - Backdrop, Pseudo Indie Label PIL05CD, 1994.
all decryption codes in comments

Marquis Cha-Cha
Bremen Nacht Run Out
Mark'll Sink Us
Lucifer over Lancashire
Hey! Luciani
U.S. 80s-90s
Guest Informant
The Man Whose Head Expanded
Dresden Dolls
Race with the Devil
Plaster on the Hands

in the city... was recorded live at The Roadhouse, Manchester over three nights from March 20 - 22, 1995. The sound quality seems excellent to these old ears. This was a stop-over during the tour immediately after the release of Cerebral Caustic. It seems to features plenty of material from CC. Cerebral Caustic might not be the band's finest effort, but only it's stronger material ends up here. There's also stuff from the 90-95 era ("Middle Class Revolt" stands out) plus some 'oldies'. This recording features a classic line-up...joining Smith are the long-standing core of Hanley/Scanlon/Wolstencroft. Karl Burns was back. Brix had made a surprising return. Finally, making her debut on this tour was Julia Nagle who, in a couple more years down the road would be the only member of this group (bar Smith) to remain.

the fall - in the city..., Artful Records ARTFULCD03, 1997.

The Joke
Deadbeat Descendant
Feeling Numb
War Glam Racket
Pearl City
Don’t Call Me Darling
Bill is Dead
Behind the Counter
Edinburgh Man
Middle Class Revolt
Gut of the Quantifier
Life Just Bounces

Live Various Years: Tracks 1-2 recorded live in New York in September 1993 (possibly at The Academy on September 17, 1993); tracks 3-6 recorded live in Munich in October 1993; tracks 7-11 recorded live at the Bierkeller, Bristol on January 18, 1997; tracks 12-14 recorded live at the Arena, Vienna on April 16, 1988.

Although this covers different tours, the songs form quite a cohesive "show". The sound quality seems like professional multi-track recording with proper mixing.  The 1993 shows are notable for Dave Bush's fantastic keyboard work. On the 1997 tracks Julia Nagle is responsible for all music outside bass & drums.

The Fall - Live Various Years 2xCD, Cog Sinister COGVP111CD, 1998.

CD1 -
Deadbeat Descendant
Big New Prinz - NYC Sept. 93
Why are People Grudgeful
Free Range
Strychnine - Munich Oct. 93
Das Vulture ans ein Nutter-wain
Spine Track
Behind the Counter
Hip Priest - Bristol Jan. 97

CD2 -
Carry Bag Man
Yes Oh Yes
US 80s-90s - Vienna April 88

Live in Cambridge was recorded live at the Corn Exchange, Cambridge on March 19, 1988.

This ties in perfectly with the second disc of Live Various. At this point in their history The Fall were arguably more of a viable, professional live act than at any other time in their career. This was recorded on the last night of a short UK tour promoting The Frenz Experiment. Most of that album appears to be featured here. "Pay Your Rates" seems thrashingly out of place amongst the more groove-oriented material.

The Fall - Live in Cambridge 1988, Cog Sinister COGVP115CD, 2000.

Shoulder Pads
2 x 4
Get a Hotel
Cab it Up
Bremen Nacht
Pay Your Rates
Hey! Luciani
Oswald Defence Lawyer
Carry Bag Man
Mr. Pharmacist (2nd half) / U.S. 80s-90s
Lucifer over Lancashire

R.I.P. Mark E. Smith...

Get a hotel,

04 March 2018

Even with Twilight as My Guide I've Crashed on Mars

I've never really shied away from the fact that I'm a big fan of The Mars Volta (I’ve actually called myself "a fan-man" & "queer for them")...TMV from here on out. I've never really explained how it all came about, but I’d like to, in the self-inflated belief that hearing my bizarre journey with TMV might spark a chord with anyone.

It all began with The Itsy Bitsy Spider.

I'd alway been a fan of ATDI & was saddened when they ceased (for a time). But after the Drive-In, I got Tremulant. "Cut That City" was ATDI becoming something else. "Concertina" is perhaps the first true TMV song. Then "Eunuch Provocateur" played & I heard strange backward masking. I spun it around. "Have Mommie or Daddie ever had to...have Mommie or Daddie ever had to spank you?" then a voice out of some crazy dream sez: "I’m very fond of this..." & goes on to recite The Itsy Bitsy Spider. I felt a flash of satori. I'll just have to keep an ear on this band.


The first full-blooded TMV came in the form of a strange tale of madness...De-Loused in the Comatorium. It tells the story of Cerpin Taxt, a man who goes into a week-long coma after attempting suicide by intentionally overdosing on a mixture of morphine & rat poison.  In his comatose state, Cerpin enters a dream world where he is put through a series of trials by the Tremulants (here we go again, layers on layers & a storybook to boot [included here]), creatures from his own mind that inspire his art. In the end, he comes out of the coma. He feels only fit for the dream world. He once more attempts suicide, this time by jumping off of a bridge, this time succeeding.

The story of Cerpin Taxt alludes to the death of El Paso, Texas artist & close friend of Cedric Bixler-Zavala...Julio Venegas (1972–1996).

I've included the essential "Drunkship" / "Eriatarka" / "Cicatriz Esp" arc & two more.


Next came Frances the Mute. I've only included "The Widow", "L'Via L'Viasquez", & "Miranda (excerpt)" here to introduce the other female members of the cast. The entire five sides of this opus are the most cohesive musickal work I know. Listen to it in its entirety for maximum enjoyment.

Frances the Mute is about a diary discovered by former TMV bandmate Jeremy Ward while he was employed as a repo man. Ward saw resemblances to his own life.  It's mainly about the search for his biological parents. Before Ward's 2003 death from an apparent overdose, he took it upon himself to finish the unknown writer's work. TMV frontman Cedric Bixler-Zavala later used the writings as a blueprint of sorts for Frances.

Frances the Mute is Cygnus' mother, L' Via's sister, & Miranda's daughter. Although possibly a deaf-mute, this could be completely metaphorical. If it is in fact literal, she may have been in the care of the Church somehow, or working for them in some capacity. In any case, she was raped by at least one priest while others looked on. Her sister L' Via was a witness to this act. She ran away. Frances bore a baby, Cygnus, who it appears was taken away from her & most likely raised in a Church-run orphanage. It seems that Frances fought the Church on this, trying to protect her baby from them, vowing they would not take him. They did. She may have threatened to go to the secular authorities with her story as a means of blackmailing them into giving her Cygnus. It appears she was killed to silence her.

Vismund Cygnus is a twenty-five year old, HIV positive, IV drug-addicted prostitute. He seems to have some deep guilt for being born male. His hatred of himself combined with his male aggression lead him to rape & murder. Cygnus takes his revenge through raping & infecting (thus effectively murdering) 25 people, becoming the very thing he most fears & despises in other men.

One of Cygnus' sexual liasons is The Widow.


Amputechture...Cedric sez. "I love the way that Rod Serling's 1970s series Night Gallery had that common thread, that it was a gallery & every painting told a different story. I guess I'd like that to be true of this album, too. The subject matter is all different, but the song do all come together in a strange way. Every song would be a different episode that kind of relates in the way that Paul Thomas Anderson's 1999 film 'Magnolia' has all these different characters who all come back together in the end."

This one blasts off with a bang, let's listen to the Vs..."Vicarious Atonement" / "Vermicide" / "Viscera Eyes". "Vermicide" is such a perfect capsule that the only minor minor complaint I've ever had was that it is much too short for a TMV song...only 4'15".


The Bedlam in Goliath...As origin stories go, this one's a doozy. While on tour, Omar Rodriguez-Lopez bought The Soothsayer, an antique talking Ouija-style board at a Jerusalem curio shop. The band used the board as a game, part of its after-show wind-down ritual. Then, according to Omar, things got strange.

Through the board, certain spirits started visiting night after night. Their communications partially inspired the lyrics & sounds TMV developed for Bedlam.

When the band went into the studio to record, chaos ensued. Rodriguez-Lopez says the messages coming through the Soothsayer board got scary. The studio flooded. There were a series of equipment malfunctions. Fearing the spirits were behind the problems, Rodriguez-Lopez says he broke & buried the board so the group could finish the album. It sounds preposterous, but spend some time with The Bedlam in Goliath. The paranormal visitations begin to seem almost plausible.

For the the Mars Landing compilation I've chosen "Agadez" & "Conjugal Burns".


Octahedron...Similar to the band's third studio album, Amputechture, the album does not contain a single unifying narrative. Vocalist Cedric Bixler-Zavala notes that the album is "not really" a concept album: "I thought it was going to be but never really got around to writing about anything in particular. Just a lot of instant song composing & regular themes that I wouldn't even want to elaborate on (kidnappings; vanishings; 'what if' scenarios about how to get Republicans out of the White House if they'd got in."

I decided to drag out the "EVIL" here: "Since We’ve Been Wrong" / "With Twilight as My Guide" / "Luciform".


Noctourniquet is a concept album centering on a character based on the mythical Greek figure Hyacinthus & the English nursery rhyme Solomon Grundy. The main character lives under The Whip Hand. His mother is The Malkin Jewel (her local stripper nom de pole). She loves to leave our poor boy alone at night while she strips. She sarcastically calls him Lapochka (li'l dear) & at the same time scares him with tales of the boogeyman Moloch.

I posted my favorites...The Malkin Jewel / Lapochka before here.

I’m including "Empty Vessels", "Imago", & "Vermalady".

With Twilight as My Guide
Drunkship of Lanterns
Cicatriz Esp
Miranda (excerpt)
Vicarious Atonement
The Widow
Since We’ve Been Wrong
Conjugal Burns
Viscera Eyes
L'Via L'Viasquez
Empty Vessels


24 February 2018

Truth or Fiction??? (but listen either way)

This whole plotline reminds me of the 1983 mystery/fantasy novel by American author George R. R. Martin. The Armageddon Rag.

The plot is something like this:

Frustrated former hippie novelist Sandy Blair becomes involved in the investigation of the brutal murder of rock promoter Jamie Lynch, whose heart had been torn from his body. Lynch, a despised rock promoter, had been found dead in a small town in Maine, the victim of a ritualistic murder.

Lynch had managed several bands, including the legendary rock group The Nazgûl (named for the evil Ringwraiths in Tolkien's The Lord of the Rings). He was found dead on the 10th anniversary of The Nazgûl's breakup, with his bloody body placed on top of the band's West Mesa, New Mexico concert poster; during that concert, Nazgûl lead singer Patrick Henry "Hobbit" Hobbins had been mysteriously murdered.

Lynch's high-profile death soon opens the door for a Nazgûl reunion tour, which slowly begins to eerily mirror the events of their original West Mesa tour. With Lynch out of the way & a disastrous act of arson threatening the remaining three members, The Nazgûl agree to go on a reunion tour, which is promoted by a rich man named Edan Morse.

The mysterious Morse may or may not had been a left-wing revolutionary in the 1970s, noted for his violent methods. Morse produces a young man who is a doppelganger for Hobbins, who Morse plans to make the lead singer of the reunited Nazgûl, despite the fact that the doppelganger's musical talents are subpar & he lacks any charisma. Interviewing the surviving members of the band while tracking down his old friends from the 1960s, Blair meditates on the meaning of the flower power generation as he crisscrosses the country. He eventually becomes the Nazgûl's press agent. He is soon swept up in the frenzy of their successful reunion tour & an oncoming supernatural convergence, whose nature he must uncover in order to solve the murders of Lynch & Hobbins. Blair comes to suspect that Morse wants to bring The Nazgûl together to perform an occult ritual that will unleash a dark supernatural power upon the world, an act of revenge against a world that has spurned the idealism of the late 1960s counterculture.


The Nazgûl...The Press release

This was one of several mysterious albums released in limited batches in Germany by the Pyramid label in the mid-70s. They were apparently sold mostly through art galleries & other unconventional retail sources. After 1974 the major labels were no longer interested in creative Krautrock, so Pyramid undertook keeping the spirit of the genre alive for another few years. The Pyramid artists & records were so unknown that when they started being reissued on CD, many people thought they were a hoax.

The Nazgûl were one of the high points, once one gets past their peculiar fixation with J.R.R. Tolkien's Lord of the Rings. Not only do the group & the track titles derive from the trilogy, but even the band members go by the names of Tolkien’s characters for their aliases. Fortunately their album, recorded in Cologne, Germany, in 1975 & 1976, has strikingly original music, just four long instrumentals of atmospheric, improvised space rock that use odd instrumentation to create sounds that are unlike much else. The tracks are all quite free-form & ambient, with lots of murky, shadowy noises to create something dark, often disturbing (in the vein of Lustmord) though predating him by a decade.

The Nazgûl - The Nazgûl, Mental Experience MENT016CD, 2018.
all decryption codes in comments

tracklist -

The Tower of Barad-Dûr
Shelob’s Lair
The Dead Marshes
Mount Doom

Hold it. Hit the brakes. Screech to a halt here, because exy commenter Michel writes:

     The Nazgûl are another of the "long-lost" (because never existent in the first place) Krautrock bands recorded by pseudonymous musos in the mid-90s who first leaked into the musicsphere on the 1996 CD compilations UNKNOWN DEUTSCHLAND. It's terrific music, but those wanting historical authenticity will have to suspend their disbelief & go along for the ride.

Then Mick wrote back:

     Fake!? I'm not so sure & I can't see how anyone can be. To counteract Michel's argument I found this:

"Pyramid was an obscure private label from Cologne in the mid-70s centered around recordings made chiefly at Dierks studio with Toby Robinson as engineer. Unbelievably obscure, it would be easy to doubt the authenticity of these, if it wasn't for Toby's involvement. I gather that the main-man behind the releases, however, was one Robin Page, a painter & sculptor friend of Toby's who also lived in Cologne. Apparently the releases were pressed up by a friend who had his own record press, they had home made covers, & were all in the region of 50 to 100 copies each. Mostly they were sold in art galleries & clubs or given away to friends, they never gained any proper retail or distribution. These releases proved that the spirit of the Krautrock underground was still alive & kicking in the mid-70s."

PYR 005 – Galactic Explorers – EPITAPH FOR VENUS (1974)
PYR 008 –
The Nazgûl – THE NAZGUL (1975/76)
PYR 009 – Cozmic Corridors – COZMIC CORRIDORS (1972/73)
PYR 0?? – Temple – TEMPLE (1975/76)
PYR 0?? – Pyramid – PYRAMID (1975)
PYR 015 – Golem – ORION AWAKES (1976)

to which Michel replied:

     Part of the pleasure of these fakes is the "Oh, but what if…?" factor. It would be so cool if these LPs had really existed. In the same way as it would be so cool if Kosmischer Laufer, an album purportedly made in support of the 1970s East German Olympic Team (but actually concocted very recently) were authentic. There is a terrific album called Impressionen '71 supposedly by a 1970s Krautrock outfit called Damenbart which is actually the work of the post-1980s avant-garde group H.N.A.S.  So the list goes on. Krautrock was a great genre but a finite number of records were made. Some people just can't resist adding to them. As for the Pyramid releases, they were recorded by musicians from the group Sundial, according to one industry insider. The man who had most to do with spinning the hoax, Toby Robinson, also went under the pseudonym "Genius P. Orridge", which shows he has a good sense of humor. Of course, as with any conspiracy theory, people can argue both sides forever, but in conclusion I would appeal to common sense: half a dozen groups, supposedly making records in editions of 100 copies or so each yet 40 years later, not ONE collector in the whole world owns an original copy of any of them? How likely is that?

Trepan following with:

     Agreed, anyone who knows German music from this era quickly recognizes how digital & anachronistic everything sounds on these "lost" Pyramid albums. Even the spelling "Cozmic" indicates a more recent provenance. Not saying these albums are entirely bad, but there are more clever post-Krautrock recreation albums out there. Damenbart's Impressionen '71 is one. It doesn't pretend to be anything other than a latter day tribute.

Here's what my research uncovered:

Over at What are some of the bigger musical "scams" of the recorded sound era? 

ΙΧΘΥΣ Blindness answered...

The Psi-Fi label:

     This label produced six "reissues" of albums by the supposedly long lost Pyramid label of Cologne, Germany. These releases are generally considered to be a hoax and it is widely believed that the albums were recorded in the mid 90s in the UK during the height of the Krautrock revival. The source for all of these recordings as well as the Unknown Deutschland compilations on Virgin is Toby Hrycek-Robinson, who had worked as an engineer in Dieter Dierks' studio.

Toby Hrycek-Robinson aka The Mad Twiddler aka Genius P. Orridge (really!) seemed to be the only thing in common between these albums by Golem, Temple,
The Nazgûl, Cozmic Corridors, Galactic Explorers and Pyramid. They're actually pretty cool overall, just obviously not from the 70s in most cases.

Over at Progarchives,  Progfan97402 wrote...

     ...the Psi-Fi label, with a controversial story behind it, as well as the label it was supposedly originally on: Pyramid, and this applies to all the other titles issued on CD by Psi-Fi. Were these titles really recorded from 1972 to 1976 or 1990s UK hoaxes? Well, at least three proven musicians have appeared on these release: Reinhold Karwatsky of Galactic Explorers was in Dzyan, Zeus B. Held of Temple was on several Birth Control albums, and Hans-Jurgen Putz of Cozmic Corridors was in Mythos for the album Dreamlab. A couple titles certainly don't sound convincing, particularly Golem's Orion Awakes with its all too clean sound and '90s sounding grunge guitars, but it could have been doctored with, and maybe even rerecorded in various places.

The Nazgûl takes on that very similar approach: forsaking any traditional song structure or melody and going for sinister soundscapes instead. Unlike Zeit, it's just a single album, so it's easier to listen to in one go. I frankly don't care if it's a hoax or not, because I was really blown away by this. If real, it's a shock that anyone was still doing this sort of stuff in 1976, as the Krautrock scene had basically moved on to electronic or prog (you won't mistake Stratosfear for Zeit, or Pyrogany X for Yeti, for example). This has much more in common with the Krautrock of 1972, and this could have been easily at home on Ohr. If it is a hoax, they really captured that spirit of 1972-era Krautrock very well, and because of that it's no wonder I enjoy it so much. This is truly a treasure worth looking for. Sure the Psi-Fi label went under quickly (those hoax rumors certainly damaged the label's reputation, and that's why it faded so quickly), but worth seeking out!

one knucklehead gushes...

    Couldn't believe Unknown Deutschland Volume 1 was even still available as it's a top choice collection of rare, I mean...sub-underground killer tracks by some of the most obscure krautrock bands ever. What exactly is krautrock? One may ask. Good question. Krautrock is like German space rock or what many call progressive or simply prog. Tangerine Dream and Can are probably the best examples that I can think of that are known or at LEAST heard of by the average music fan. The tracks here that I couldn't get enough of are Golem with "Orion Awakes", Temple, with two cuts, "Leaves Are Falling" and "Black Light" (this sounds an awful lot like some of the music in the movie Midnight Express) and the eighteen-minute Galactic Explorers epic "Lunarscape". Most of these recordings have been put out by a UK label, Psi-Fi. Well worth hunting down a copy. Plus there's also a volume 2 and 3 available.

So I’ll give you those first, then a taste of Psi-Fi...

Virgin CDOVD 468, 1996.


Orion Awakes - Golem
Leaves are Falling
Black Light - Temple
Dark Path
Niemand Versteht  - Cozmic Corridors
Interstellar Shortwave - The Astral Army
Lunarscape - Galactic Explorers
Ganz Wie Du Willst - Fuerrote

Virgin CDOVD 472, 1996.


The Message - Spirulina
Innerst - Ten to Zen
Age of Ages - Temple
The Tower of Barad-Dûr -  The Nazgûl
Godhead Dance - Golem
The Summit - Cozmic Corridors

Virgin CDOVD 473, 1996.


Feuerwerk - Neil Andersen
Ethereal Jazz - Galactic Explorers
Stellar Launch - Golem
The Dead Marshes -  The Nazgûl
No God / Astaroth - Baal
Schaudernacht - Chronos
Ship on Fire - Temple

All the bands that appear on the three volumes of The Krautrock Archives but not given their own individual releases on Psi-Fi are collected on a compilation release entitled:

Various - Cologne Curiosities: The Unknown Krautrock Underground, 1972​-​1976 2xCD
Mental Experience MENT005, 2016

Side A -
The Astral Army  - Interstellar Shortwave 4:32
Spirulina - The Message 10:24

Side B -
Chronos - Schaudernacht 6:52
Neil Andersen - Feuerwerk 7:17

Side C -
Baal - No God / Astaroth 6:40
Ten To Zen - Innerst 10:16

Side D –
Fuerrote Ganz Wie Du Willst 14:01

I have not posted this release as all the tracks can be harvested from the above three volumes, but if someone really needs it, I have it, so let me know...

Now to the remaining Psi-Fi CDs -

Cozmic Corridors - Cozmic Corridors, Psi-Fi PSCD0001, 1996.

tracklist -

The Summit
Dark Path
Niemand Versteht

tracklist -

Ethereal Jazz
Venus Rising

Golem - Orion Awakes, Psi-Fi PSCD0003, 1996.

tracklist -

Orion Awakes
Stella Launch
Godhead Dance
Jupiter & Beyond
   a. Signal
   b. Noise
   c. Rebirth
The Returning

Pyramid is (big surprise) the mystery band of the Pyramid label. Their eponymous single track album would seem to be what Toby Robinson called an attempt at a Cosmic Jokers type album. "Dawn Defender" is quite obviously mixed from many different sessions. It runs a wide range of styles, from trippy Ash Ra Tempel with echo guitars & scintillating synthesizers through to headfirst plunges into Hawkwind overdrive territory. The feel is much like what Porcupine Tree or Electric Orange have attempted, except for the authentic Mellotron textures & old analog delay techniques.

Pyramid - Pyramid, Psi-Fi PSCD0004, 1997.

tracklist -

Dawn Defender

Temple - Temple, Psi-Fi PSCD0006, 1997.

tracklist -

Leaves are Falling / Black Light
Age of Ages
Ship on Fire
Crazy Hat / Kingdom of Gabriel

As a bonus, I have included one last taste. Supposedly a lost treasure of Germany's Krautrock days, but in fact an elaborately done tribute project by the brain behind H.N.A.S. (Achim P. Li Khan) & his then girlfriend Tina Schlebusch.

They thought up a fake biography, a fake story of how these unreleased mastertapes were found in a studio in Spain by a former associate of the band. Even the artwork looks like it could have been made in 1971.

Several websites list this project as a real release from 1971 (it was recorded in 1988/89 & first released the on vinyl in 1989.)  Purportedly, Tracks 1-4: Recorded & mixed at the Großer-Space-Studio, May-Dec. 1971; Track 5: Live in Sief, 1972; & Tracks 6-8: Impressionen '71 session outtakes (unreleased).  Tracks 5-8 are bonus CD tracks, not on the original 1989 vinyl album.

H.N.A.S. (Hirsche Nicht Aufs Sofa) was founded by Achim P. Li Khan & Christoph Heemann in 1983.  H.N.A.S.'s sound experimentation started in 1984 with a series of limited cassettes made for demonstration purpose or personal use. Their first LP release was Abwassermusik in 1985 (together with German experimental band Mieses Gegonge).     

The names used for this project were: Erwin Bauer - synthesizer, organ, & guitar; Bernd Barth - synthesizer, voice, & effects; & Tina S. - voice. Bauer & Barth are both in reality Achim P. Li Khan.      

Damenbart - Impressionen '71, Psychedelic Pig PIG CD 03, 2003.

tracklist -

Innovativ Schwingungen
Blumen in Haar
Ich Bin der Wind
Space Invocation
Bring Uns den Frieden
Baum der Erkenntnis

Viel Spaß,

11 February 2018

In a Heartbeat...Death before Dishonor

I'm working on a Krautrock extravaganza, but for now, a great JA affair.

First up is an offering Jack Ruby presents The Black Foundation from one Lawrence "Jack Ruby" Lindo. Jack Ruby was a well respected Jamaican roots reggae producer, most prolific during the 70s. He is most respected for his work with Burning Spear. His studio & label work was extensively covered in the famous "Deep Roots Music" BBC documentary as well as in the movie "Rockers". Lindo died in 1989.

Jack Ruby began recording at a important junction in Reggae music history. Going were the days of sweet soulful Rock Steady; this was the start of the militant seventies. Black Power & Rasta themes were the order of the day. The reggae here is more Marcus Garvey than Martin Luther King Jr. It's more take-charge-of-your-life & fight-the-forces-that-keep-you-down than party 'til dawn. This is an essential journey through some of the greatest most militant Reggae music recorded.  This collection takes the best from the vaults of the Fox & Wolf labels, presenting many of them for the first time. This is truly a snapshot of Jack Ruby's early endeavors.

Various - Jack Ruby presents The Black Foundation, Heartbeat Records 11661-7622-2, 2000.
all decryption codes in comments

 tracklist -

Marcus Garvey - Burning Spear
Mosiah Garvey - Big Youth (previously un-released full length version)
Come Away Jah Jah Children - The Black Survivors
Hard Time - Vinnie Taylor & the Revealers (previously un-released alternate mix)
Warn the Nation - The Eagles
Death Before Dishonor - The Black Disciples (previously un-released)
African Children - The Heptones (previously un-released)
Come Running Back - The Gaylads (previously un-relesed version)
Slavery Days - Burning Spear
Every Knee Shall Bow - The Black Survivors
Free Rhodesia - The Black Disciples (previously un-released)
Decent Citizen - Prince & the Seraphim
Fire (is the Desire) - Justin Hinds & the Dominoes
Rasta Harvest - The Eagles
Youths of Tomorrow - The Gaylads (previously un-released version)
Tell Me not of Other Lands - Justin Hinds & the Dominoes (previously un-released alternate mix)
Sounds of Thunder - The Black Disciples (previous un-released)

The companion piece is the Dub slab of King Tubby / Errol Thompson - The Black Foundation in Dub,
Here King Tubby & Errol Thompson along with Sylvan Morris & Chris Wilson present their hazy, liquidus tracks using the usual disorienting echo, delay, & dropouts that the King perfected. King Tubby's dubs are always distinctive.

Special thanks to Niney the Observer, Horace "Brownie Eagle" Johnson, Chuck Foster, Leroy Jodie Pierson, & Mr. Clement Dodd

 Heartbeat Records 11661-7623-2, 2000.

tracklist -

Marcus Garvey Dub
Jah Jah Dub
Time Hard
Patient Dub
African Birthright
Running Dub
Track 20 Dub
Slavery Days Dub
Dub Upright
Dub in Time
Dub of Tomorrow
Warning Version


27 January 2018

What's that Sound Drifting from the Bleachers?

Brother Ib over at SibLINGSHOT ON THE BLEACHERS has been posting up some of his poetry as spoken word readings:

"While there may be scant few who remember, and less still who give a f@ck, it does not escape me entirely that nearly a decade has rushed by since I broke my promise to defile the bleachers with a bespoke reading or two.
     Well. The ego has shrivelled, the eagle never did land, but the idea which first began percolating down through the topsoil all those years ago to where exhibitionism lies buried continues to fester like human papilloma virus nursing a grudge deep below the skin.
     The monkey may be rusty, his performance wavering, but feed it a couple of tabs of Viagra and the organ still grinds.
     And so. This year coming, plans are afoot to resolve the unconscionable and break out the mic. The logistics remain hazy. The physics untested. But rest assured, the programme is scheduled. There will be a gnashing of teeth. Amen." Ib

His first offering in the series was prefaced thusly:

"Brothers and sisters. Siblings all. As promised earlier, SibLINGSHOT ON THE BLEACHERS is pleased to present the first instalment in a series of esoteric readings culled from these very pages and brought to life by the magic of an ailing ethos digitalis. Ably backed by Gus Ghost, this first reading is dedicated to the legacy of Joe Meek. Thank you." Ib

Now the second in the series ("The second instalment in a series of readings culled from the BLEACHERS' back pages. Please bare with me. The naked essence of the recording may drift into the red on occasion. A streaker stepping off of the benches to tango up in blue." Ib) was just Ib recting "naked" & gave me the idea of dubbing some music with his vocals. After a few feeble attempts & some SOUND advice from Brother Jonder, we came up with something at least listenable.

All this mucking about led to "MIX UP ON THE BLEACHERS!"

"Fourth instalment in this series on the BLEACHERS. In which we throw out an open invitation to all visitors: take a naked reading for a test drive, and create your very own mix. Whether you're quick on the DAW or simply a budding conjuror, there are no prerequisites beyond your enthusiasm for all things dub. All we ask is that submit your end product here for download and potential issue on a strictly limited CDR. If you would like to participate in our project, we will be hosting naked readings on the bleachers for that purpose in the coming days, in addition to selected mixes by the Ghost Men." Ib

So head over to the BLEACHERS & check out what's going on. Maybe YOU are the one to make THE PERFECT MIX.

Mixmasters Unite,

20 January 2018

Come on, Ref, Clough is Fucking Codding!

 Brother Jon has been a contributor here many times before. His posts always have high visitor & download count. They are always well received. They are always well appreciated by yours truly (gives me a break, know what I mean?). Here his latest super submission. As I most always say, "Enjoy".

As I understand it, "cod" is used as an adjective in the UK to indicate an imitation.  "Cod reggae" describes attempts to adapt the Jamaican musical style to rock, pop and punk.  "The Sad Skinhead", "Redondo Beach" and "Dreadlock Holiday" are early examples.   Punky reggae and dub have been attempted by bands from the Clash and the Ruts to the Pretenders and the Bad Brains.  The Police made a career of it. 

But the commercial zone is less interesting than the interzone, where the spatial dynamics of dub stimulated punk's appetite for sonic deconstruction.  These songs might be imitation reggae and dub, but "cod" does not mean insincere or inept.  The songs are neither thievery nor mimicry.   Something is lost in terms of authenticity, but something new is conjured in these transliterations.

This is a compilation in the spirit of 2003's "Wild Dub: Dread Meets Punk Rocker Downtown" and 2012's "Spiky Dread: Punky Reggae & Post Punk Dub".

01 SNAKEFINGER:  The Man In The Dark Sedan (1980)
02 A.MORE:  Judy Get Down (1979)
03 BILL NELSON:  Youth Of Nation On Fire (1981)
04 ELVIS COSTELLO:  B Movie (1980)
05 LONDON UNDERGROUND:  You Don't Know (1983)
06 PIGBAG:  Six Of One (1982)
07 FAMILY FODDER:  The Big Dig (1982)
08 KALAHARI SURFERS:  Township Beat (1985)
09 ANTI SOCIAL WORKERS:  Who's Watching You? (1983)
10 DIAGRAM BROTHERS:  I Didn't Get Where I Am Today By Being A Right Git (1981)
11 23 SKIDOO:  Another Baby's Face (1981)
12 SLITS:  Man Next Door (Version) (1980)
13 BASEMENT 5:  Chip Butty (1980)
14 SINGERS & PLAYERS:  Follower (1982)
15 MEDIUM MEDIUM:  Guru Maharaj Ji (1983)
16 BLACKOUTS:  Everglades (1985)
17 HOLGER CZUKAY:  Witches Multiplication Table (1981)
18 MR. PARTRIDGE:  I Sit In The Snow (1980)
19 RESIDENTS:  Love Leaks Out (1980)
20 FLYING LIZARDS:  Postscript (1995)

Eat Cod,

06 January 2018

Who Killed Jack Ruby?

Wishing you all temporal tangos, mandible mambos, beryllium blues, & bad teeth this New Year. I believe we are in for "DEEP SHIT" this year, so I'm trying to be uplifting my Self.  From deep in my soul to all...

We all've heard MC5, Velvet Underground, the Dead Boys...but how many of us are familiar with Jack Ruby? Yeah, sure, he shot patsy Oswald before that sad tool could spill the assassination beans, but who is this relatively unknown Jack Ruby?

Jack Ruby came alive in 1973 through vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, & classically-trained viola player Boris Pearlman (notorious himself as Boris Policeband...search out Stereo / Mono by Policeband elsewhere on the web...readily available & a great listen), who were later joined by bassist George Scott (of James Chance & the Contortions / 8-Eyed Spy / John Cale). The first incarnation of Jack Ruby recorded two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit & Run" & (the first song I ever heard from Jack - this shit made a great sandwich) the bizarre number entitled "Mayonnaise", based around Boris' amplified viola & primitive electronic 'beats' sequenced on Cohen's Serge synthesizer.

These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Jack now gave birth to three more anthems of arch art-punk: "Bored Stiff"; "Bad Teeth"; & "Sleep Cure" were recorded in a rapid-fire five to six hour session at Columbia Studios in May 1974. On these three song in particular we hear the Jack Ruby sound: Cohen patching musique concrete sounds through the Serge; Gray's banshee guitar playing & Hall's snotty vocals.

Fast forward two years. Cohen has left & is writing for Letterman. Hall & Gray want to reactivated Jack Ruby as a live-performing unit so they hook up with George Scott. This line-up played harder, faster, & louder than any other band in New York at that time. Their rehearsals at Matrix studios & dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray & Scott are legendary. Casa Jack Ruby was a mecca for NYC punk & No-Wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, the only original member left standing, taking over vocal duties for a couple of shows they played with Teenage Jesus & the Jerks that headlined the Fleshtones. They played one last riotous show with new vocalist Stephen Barth at Max's Kansas City, before calling it quits.

"     Hit & Run is a two-disc set (Hit - CD1 & Run - CD2) of everything (nearly...a fantastic cover of Hawkwind's "Brainstorm" is a much missed ommission - ed.) Jack Ruby recorded between 1973 & 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although forty years old still sound thrillingly-urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974—nine short tracks that play like a library record, book-ended by two longer ones—some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music—hidden for decades, now-revealed—constituting a previously-unheard secret history of the New York City music scene of the early 1970s."    Jon Savage

Jack Ruby - Hit & Run 2xCD, Saint Cecillia Knows CEC002, 2014.
all decryption codes in comments

Hit CD -
Hit & Run
Bored Stiff
Bad Teeth
Sleep Cure
Beggars Parade
Neon Rimbaud
Out of Touch
Hit & Run (‘77)
Bad Teeth (Don Fleming ‘Instant Mayhem’ remix)

Run CD -
Destroy / Lost
Beryllium Blues
Parietal Cha Cha
Lithium Serenade
Hydrogen Lullaby
Palaatine March
Sphenoid Waltz
Sodium Nocturne
Temporal Tango
Mandible Mambo
Ghost Note


31 December 2017

Let’s Get Graphic about No Wave...the Fucking Youth of Today

Just Another Asshole was a No Wave mixed media publication project launched from the Lower East Side of Manhattan from 1978 to 1987. Barbara Ess started the title in 1978 as a personal 'zine: a crudely photocopied compilation of her collages in a makeshift transparency on which the titled was painted in bright red nail polish. Ess served as editor for all seven issues of Just Another Asshole. [1]

Issues 3 & 4 were co-edited by Jane M. Sherry; issues 5 through 7 were co-edited by Glenn Branca.

Issues #1 & #2 were 'zines comprised of photocopied high-contrast cut-outs of appropriated newspaper headlines & détourned news clippings, many of them either banal or tragic happenings: fluke accidents; random murders; pedestrians killed by falling debris; television hypochondriacs; & botched suicides. Ess came up with the publication's title after reading a New York Post article about a deaf-mute boy killed by an intruder he couldn't hear: "There was a picture of the boy, and he looked so sweet. I made a color Xerox of it, and I wrote on it 'just another asshole' ", she recalled. Although the 'zine started as a response to the alienating & dehumanizing effect of media, which exploited the same images & headlines that Ess used for their shock & entertainment value, JAAsshole evolved into an exploration of  that media's potential, when used in the right hands, to foster community & collectivity among like-minded artists.

Issue #3 was a tabloid format. This issue was co-edited by Jane M. Sherry. JAAsshole put out an open call for contributions in which ''anything submitted will be accepted, no matter what, no matter by whom''. The final product included contributions from Jenny Holzer, Barbara Kruger, Carla Liss & as many as forty others. It accompanied the ''Library Show'' exhibition at Colleen Fitzgibbon's East Village gallery. [2]

Issue # 4 was a four-page spread in the February 1980 issue of Artforum. [3]

Issue #5 was a compilation anthology LP of 84 artists' &musicians' work. The LP was released with the help of White Columns. It consisted of short, experimental music & spoken word recordings, no track longer than one minute (the cover states ''77 tracks x :45 sec. x 83[sic] artists'').

Issue #6 was a paperback book. Anthologies played a major part in defining the various attitudes of downtown N.Y.C.  No Wave work. JAAsshole #6 is one of the great seminal writing compilations. Edited with Glenn Branca, this issue outlines the variety of styles & aesthetics that were developing in the early 1980s. In all, sixty artists & writers are represented, including works by: Kathy Acker; Eric Bogosian; Mitch Corber; Brian Buczak; Jenny Holzer; Cookie Mueller; Richard Prince, Joseph Nechvatal, Judy Rifka, David Rattray, Arleen Schloss; Kiki Smith; Tod Jorgenson; Lynne Tillman; Anne Turyn; Ann Rower; Reese Williams; David Wojnarowicz; & Barbara  Kruger.

Issue #7 was Thought Objects (??? - I think No Wave was done by then)? This final installment of the Just Another Asshole project was co-edited by Glenn Branca & published in 1987. This publication includes photographs by Alice Albert & others as well as essays by Rosetta Brooks, Tricia Collins & Richard Milazzo, John Hilliard, Gary Indiana, Cookie Mueller, David Rattray, Carol Squiers, Amy Taubin, & Lynne Tillman.

For this blog, for this crowd, for this here New Year, we feature for your listening scarification...Just Another Asshole #5 - The LP.

all decryption codes in comments

 Side 1 / Cut 1 –
"Eggs Benedictus" – Larry Simon
"Kojak / Wang" – Dara Birnbaum
"Untitled 2" – Carla Liss
excerpt from "Times Sq. Show Audio" – Bobby G
"Incantation" – Wharton Tiers
"True Confessions" – Carol Parkinson
"Untitled 10" – Nina Canal
"Shift" – Lee Renaldo"
"Untitled 5" – Jenny Holzer
"Sound Stroke" – Annea Lockwood

Side 1 / Cut 2 –
"The Smith-Leroy Comedy Team" – Michael Smith / A. Leroy
"Dinner Time" – Chris Nelson
"Untitled 15" – Willie Klein
"Simply Riding a Dream" – Mitch Corber
"Untitled 8" – Mark Abott
"Untitled 3" – Dan Graham
"On the Promontory" – Michael Shamberg
"Radio Song" – Anne DeMarinis
"The Fucking Youth of Today" – Thurston Moore

Side 1 / Cut 3 –
"Red Ants" – Andy Blinx / Don Hunerberg
"Calvin Klein" – Vikky Alexander
"Dear John" – John Howell
"Untitled 12" – Salvatore Principato
"Penumbra" – Nigel Rollings
"Grand Central Station" – Peggy Katz
"Highway Patrol" – Eric Bogosian
"Happy Police Horn" – Herr Lugus
"Door Stop" – Amy Taubin
excerpt from "The Machines" – Remko Scha [4]

Side 1 / Cut 4 –
"Talking Art" – Susan Russell
"Untitled" – Bill Buchen
"Well, Alice" – Verge Piersol
"Tell the Story" – David Hofstra / Lynne Tillman
"K-4" – D. Brown
"Dogs" – Sandra Seymour
"Index Circa Seventy" – Phill Niblock
"United Technology" – Barbara Kruger
"Fetish" – John Rehberger

Side 2 / Cut 1 –
"Turtles Travel Slower on Asphalt" – Paul Mcmahon / Nancy Radloff
"Dub Bums" – Bruce Tovsky
"Untitled 9" – Martha Wilson
excerpt from "Slowly I Turn, Step By Step, Inch By Inch ...." – Ned Sublette
"Faspeedelaybop" – Glenn Branca
"You Will Start Out Standing" – Gail Vachon
"Deutschland Etude" – B. Conan Piersol
"A Natural Death" – Gregory Sandow
"Dirty Tape" – Stephan Wischerth

Side 2 / Cut 2 –
"Warhead in the Forehead" – Bob George
"It's True" – Judy Rifka
"Long Song" – David Garland
"32 Bad Movies" – Mark Bingham
excerpt from "Strangers in a Strange Land" – Michael Byron
"It's Hot Love" – Glenda Hydler / Susan Fisher
"Untitled 7" – Laurie Spiegel
"Entrada" – Barbara Ess
"Untitled 6" – Kiki Smith
"Untitled 13" – Shelley Hirsh

Side 2 / Cut 3 –
"Foreign Waters" – Peter Gordon [5]
"Watch Out - Verse 5" – Arleen Schloss [6]
"Sweden - Den Mother" – Tod Jorgensen [6]
"Voices and Chambers" – David Rosenbloom
"Untitled 4" – Doug Snyder
"Floating Cinema Excerpt" – Jon Rubin
"Untitled 14" – Thomas Lawson
"Pipe Music" – Harry Spitz
excerpt from "64 Short Stories" – Rhys Chatham / David Linton
"Salutations Roma" – Isa Genzken

Side 2 / Cut 4 –
"New Sneakers" – Daile Kaplan
"Working Youth" – Kim Gordon / Miranda
"Untitled 11"– Sally A. White
"Crown of Thorns" – Joseph Nechvatal
"Friend Heart Alarm" – Steven Harvey
"Radio Off" – Sammy Marshall Harvey
"Untitled 1" – 0:51
"Evelyn McHale" – Rudolph Grey
"Die" – Richard Morrison
excerpt from "Metal and Plastic" – Z'EV

Vitin e ri të Lumtur,

[1] – In the musick world, Barbara Ess has performed & recorded post-punk music with bands since 1978, including The Static, Disband, & Y Pants. She often performed at art galleries, at the Mudd Club, & at Tier 3.

[2} – After studying abstract art at Duke University, traditional painting, printmaking, & drawing at the University of Chicago, in 1974 Jenny Holzer moved to Manhattan to participate in the Whitney Museum's independent study program where she began her initial exploration of language as art. She began her ''Truisms'', philosophical concepts in simplified phrases for everyone. These then became black script on anonymous sheets that she wheat-pasted on buildings, walls, & fences around NYC. Her pieces encouraged pedestrians to scribble messges on the posters & make verbal comments. Holzer would often stand nearby one of her posters & listen to the conversations her art started, This interaction with the art was Holzer's real goal. In 1982 for the first time, Holzer installed a large electronic sign on the Spectacolor board in Times Square. This piece was sponsored by the Public Art Fund program. The message was part of her Survival series which commented on the great pain, great delight, & great ridiculousness of living in contemporary society.

At the beginning of her art career, Barbara Kruger was intimidated to enter New York galleries due to the art scene which was an atmosphere that, to her, did not welcome "particularly independent, non-masochistic women". However, she received early support for her projects from groups such as the Public Art Fund that encouraged her to continue art making. She switched to her modern practice of collage in the early 80s.

Hot on the heels of Pussy Riot's condemnation of Russia's politicized justice system & suppression of freedom of expression, millions of young women have been caught donning balaclavas in solidarity with feminism for the first time. Echoing scenes of riot grrrl rebellion & Guerrilla Girls anonymity, certainly, the call to charter communities of supportive & creative women via music is nothing new. An apartment on the edge of Prospect Park in Brooklyn served as host to infrequent practices for DISBAND members Martha Wilson, Ilona Granet, Donna Henes, & Diane Torr (a rotating membership, which at some moments has included Barbara Kruger, Ingrid Sischy, Barbara Ess, Daile Kaplan & many others). Amongst the numerous No Wave bands in New York in the late 70s & early 80s who predicated on negation, DISBAND represented one of many new spaces for women who rejected the mainstream culture of the time.

DISBAND did not come out of any specific tradition, but instead, members made their own by blurring the lines between performance art & live music. None of the members were technically skilled in music. As Martha Wilson states in the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces, "We did play some instruments: plastic bags; newspapers; hammers; Col. Sanders' chicken buckets, bed sheets, hotel bells".

[3] – Ingrid Sischy, before becoming a photography & art critic for The New Yorker (1988), before taking the helm of Interview magazine (1989), long before becoming a contributing editor for Vanity Fair (1997) was the unlikely editor of Artforum magazine. The beloved South African native, who passed away in July, 2015 at the age of 63 from breast cancer,  became the editor for Artforum in late 1979. When the issue arrived on newsstands, it caused a great stir. It was utterly unlike any previous issue of Artforum. The contributors included the photographer William Wegman, the English conceptual artists Gilbert & George, the conceptual artist Joseph Buys, the performance artist Laurie Anderson, the editors of the radical feminist magazine Heresies, & the editors of the art journal Just Another Asshole. The whole thing had an impudent, aggressively unbuttoned, improvised yet oddly poised air. The cover of Sischy's first issue was a reproduction of the cover of the first issue of an avant-garde magazine of the forties called VVV. Sischy had borrowed the original cover from David Hare, VVV's former editor. Someone who had not come from John Szarkowski's MoMArt photography department might not have been as overjoyed as Sischy was by the cigarette burn & the spills that stained it, but she correctly gauged the surreal beauty that these ghostly traces of past life would assume when photographed, as well as the sense of quotation marks that they would help impart to the notion of a cover about a cover.

[4]  – Remko Scha - Guitar Mural 1 featuring The Machines C60, Taal Beeld Geluid, 1982. This is a recording of mechanically produced music from an installation in Corps de Garde, Groningen, Netherlands, October 1981. The Machines are a group of fan motors, electric drills, & electric sabre saws. They play electric guitars by means of rotating strings, rotating metal brushes, vibrating metal bars, & vibrating ropes. When the rotating / vibrating speeds of the motors are varied, different rhythms emerge from their interaction with the guitars. From the beginning of the 1980s until his death in November of 2015, The Machines was Remko’s band, though he never struck a note on any of their instruments during the group's lifetime. Not directly. Described on Scha's website as ''a group of electric motors who play electric guitar'', The Machines was an exercise in automated music, a hybrid of kinetic art & minimalist punk rock.

[5] – Peter Gordon - Star Jaws, Lovely Music, Ltd LML 1031, 1977. Peter Gordon & The Love of Life Orchestra; recorded & mixed by Peter Gordon with "Blue" Gene Tyranny; lyrics by Peter Gordon & Kathy Acker. Sensuous music expressed through a slick pop-rock language with simple harmony, generating a pop-classical hybrid. Saxophone solos, teenage-love lyrics, synthesizer effects, & conventional bass / drum parts mixed with quite a bit of intellect & abstraction. In addition to his own work or that with his Love of Life Orchestra, he has appeared on or composed music for albums by Laurie Anderson, Suzanne Vega, David Johansen, Elliott Murphy, The Flying Lizards, David Van Tieghem, Lawrence Weiner, and Arthur Russell.

[6] – Wednesday at A's was an on-going performance jam held in Arlene Schloss' Lower East Side loft on Broome Street. It began in 1979 & continued until 1981. During its tenure, the venue offered performance, art, & music featuring artists such as Jackie Apple, Eric Bogosian, as well as Schloss herself. Musical acts drew from the New York Punk / No-Wave scenes, featuring performers like Alan Suicide, Thurston Moore, & Glenn Branca, Flyers for Wednesday at A's were produced at Tod Jorgensen's Copy Shop on Mott Street - a nexus for what came to be known as the "New York Color Xerox School" which was an integral part of JAAsshole.  NØ