Coitus Int. - Self Titled LP (1981) + singles & other tracks

Great Dutch post-punk band Coitus Int. Their self-titled, self-released LP from 1981 has reached classic status. The music is doomy and bleak, minimalist punk. Bass-heavy (with some amazing bass lines, check out The Connection Is Obvious), with a jagged guitar sound that just kind of creeps in over the bass lines from time to time. The vocalist has a powerful voice but keeps it subdued for the most part. The Joy Division influence is obvious, but there's much more to this than just some clone band. At times it sounds like late '70s anarcho punk played at half speed. Whatever it is it begs to be heard. Over and over. The band's first 7", Dead Excitement (released in 1980 on Rock Against Records), is faster and a bit more straight forward, but with goth/wave leanings already showing. Also included here is the split tape with Local Negatives, recorded in 1982. Three tracks that follow in the footsteps of the self titled LP.

http://depositfiles.com/files/hs2gb1rtt

Vopo's - Dead Entertainment (1981)

Classic punk album by Vopo's, band which were founded 1978 in Zwolle and was one of the oldest bands from Netherlands. This is their awesome debut album, that mixed punk77 with hardcore drive.

http://depositfiles.com/files/j3b2wub7r

SVÄTSOX - Bred In The Bone, Out In The Flesh (1984)

In 1984, Svatsox made their second and final album on their home label 'Villa Zuit Moet Bluven' Records. Ruins was a little success and doesn't standing alone many years and this album has lost a bit attention in my opinion. The inescapable Dolf is again behind the knobs but the group has apparently been too influenced by new wave this time, it's kinda gothic-style and they could grow almost like tad of rock heroes. The reverb of the drums is undoubtedly mixed, the bass has little lost it's punky bite, and the songs are full with morbid echoes and I really like that sound, reminds me of the early UK post-punk wave stuff, even a trumpet has a brief appearance! - I think, this is an interesting 'romantic' album that I cannot always hear but in some moments it's okay. Svatsox broke up that same year.

http://depositfiles.com/files/qwwtd6axt

SVÄTSOX - Ruins (1982)

Ruins was released in 1982 on Platen Records. Dolf Planteydt took a subscription behind the recording console and Svatsox, like their buddies Wormer, learns quickly and well. The bass took the tape, the sound becomes thick and composed of the scale. Ferrie (or ferry, it's the same) added a trumpet to his array of two pieces, giving his hymns punk tunes that will surely Dog Faced Hermans heard. A fourth member (Roon) was also added in the credits, giving a helping hand for Heyne singing and taking care of the organ parts of it discreet! Angular bass line, noise, playing guitar scratching, sublayer noisy, it's Aural Guerilla early. Slight reverb on the drums as it was common at the time but without creating the typical new-wave sound. Ruins is a great album. Titles surly, threatening, exploded as the grandiose Hitsquad, guitar and echo on voltage, the long climb controlled by The Cartridge box. Punk binary is completed on the roadside and we take the full brunt of a truck noise-punk avant-garde enough when you look back. The band split up in 1986.

http://depositfiles.com/files/pt3e4bzdh

Fall Of Saigon - Fall Of Saigon 81-84 (2011)

The French trio Fall Of Saigon was a short-lived but important entity in the annals of French rock, and despite only releasing a single album in 1983 prior to breaking up sometime around 1984, they have apparently been rather influential in the French rock scene. Their album has long been out of print, and this 2011 reissue is in fact the first reissue made of this now 30 years old release.



This is an album that, by and large, won't be too interesting to the avid and dedicated progressive rock fan. The music explored is rather far away from progressive rock in style, original compositions and bonus material alike. But there are two good reasons for some to explore this material, disregarding fans of course. It is a band setup featuring the talents of Pascal Comelade, and this is a unit that appears to have found quite a lot of inspiration in the art rock universe for their endeavors. Fall of Saigon described itself as a band inspired by the likes of Nico & The Velvet Underground, and has been categorized as a minimalistic new wave band in terms of stylistic expression. Their new wave aspirations first and foremost revealed in opening piece Visions, a compositions that basically comes across as a stripped down version of Blondie as I experienced it. But from then on other likely sources of influence for their material are rather more intriguing. The music is stripped down and minimalistic, but both Blue Eyes and So Long are compositions that should have a familiar sound to fans of good, old The Doors. While She Leaves Me Alone, On the Beach at Fontana and (to some extent) The Swimmer are closer in sound and style to the likes of Kraftwerk. Neither of these constructions are as sophisticated or interesting as the likely influences, but to my ears the legacies of these past giants of rock are easily heard in this material: pleasant songs, and I'm not surprised that material of this kind made an impact in the early 1980's. The bonus material is, at least to some extent, more interesting however. The live recordings of material by Kraftwerk, TV Personalities and The Doors respectively do leave a bit to be desired admittedly, but the almost epic length take on The End showcases a strong composition that survives a stripped down arrangement and lacklustre recording quality both. Not that this is a surprise, as truly strong compositions are difficult to ruin. But it's the additional material credited to Fall of Saigon that warrants purchasing this album, at least if you're a fan of this act, Andalucia and I'll Never Be Back the main reasons, as this more organic and relaxed take on their style showcases a band with much more of a unique sound. If they had continued as a unit and in this direction they might have made much more of an impact than they actually did. Sha La-La-La and Let It Go are both high quality excursions as well, but these creations are closer to the singer/songwriter type of material, dream-laden melancholic wanderings with a spirited sax insert that does add a positive and vibrant tinge to the proceedings. But for a progressive rock fan this material won't be too well received, I imagine; fans of the French chanson perhaps a better audience for compositions of this particular kind.

http://depositfiles.com/files/7lgfcnp1y

The Very Things - The Bushes Scream While My Daddy Prunes LP (1984) + singles

The Very Things were a Dadaist post punk band from Redditch, Worcestershire, England, formed in 1983 and active until 1988.

When The Cravats split up in 1982, guitarist Robin Raymond (aka Robin R. Dalloway) and bassist/singer The Shend (aka Chris Shendo, born Chris Harz) formed The Very Things, recruiting drummer Gordon Disneytime (aka Robin Holland), bassist Jim Davis (guitarist with Redditch band CKV) for the first live gigs, followed by bassist Fudger O'Mad (aka Budge), who is band mate of And Also The Trees. The band also originally had a horn section of Vincent Johnson, John Graham, Robert Holland, and Paul Green. Debut single "The Gong Man" was released on Crass's label in November 1983, with "The Bushes Scream While My Daddy Prunes" following in June 1984, now signed to Reflex Records. A short film was made based on the latter for Channel 4's The Tube. The band's debut album was released in August 1984, after which the band was trimmed to the core trio. Several singles and EPs followed over the next few years, although a cover of R. Dean Taylor's "There's a Ghost In My House" was withdrawn in 1987 due to The Fall's version appearing at the same time. By 1988 the band had split up, although they had recorded enough material for an album release on One Little Indian, the Motown-influenced Motortown. The original albums, along with a collection of non-album tracks, were reissued by Fire Records in 1994.





The Very Things recorded two Peel Sessions, in 1983 and 1987, and two tracks, "The Bushes Scream While My Daddy Prunes" and "This Is Motortown" featured in the Festive Fifty.

The Shend formed a new band, Grimetime, and has since gone on to an acting career, appearing in television series including EastEnders, Red Dwarf, The Bill, and Torchwood.

The Very Things

Kirlian Camera - 1988 - The Ice Curtain (2CD compilation)

2CD retrospective of italian electronic dark wave group called Kirlian Camera.

Kirlian Camera - 1988 - The Ice Curtain (2CD compilation)

Kirlian Camera - It Doesn't Matter, Now (1983)

The debut LP by Kirlian Camera, originally released in 1983 by Angelo Bergamini and Simona Buja. This brilliant first chapter is the first official work, after the "Dawn" and “Kirlian Camera” minialbums, and presents two important singles “Communicate” and “Edges” that open to the band some TV appearances and their first success in clubs, magazines and live, confirming this band from Italy as one of the promising new bands in the new wave and dark 80's scene. A monumental album for the period, full of energy, with post-punk and modern-pop influences in the original form that would over the years become a real trademark for the band. An original sound of the band, anguished and hypnotic. A mix of several atmospheres, also very difficult to be cloned by other bands.

http://depositfiles.com/files/83pb6ph1g

Kirlian Camera - Dawn (1980)

Debut mini-album by electronic dark wave Italy-based group. It's set of romantic songs that bridged the Italian melodic tradition, the new wave and Kraftwerk.

http://depositfiles.com/files/a4ijhdpio

VA - Rock Tegen De Rollen (1981)

Dutch punkrock, new wave and ska music compilation includes tracks by The Nixe, Pin-Offs, Pink Plastic & Panties and Removers.



http://depositfiles.com/files/fgdlwjmor

VA - Dijkdoorbraak (1982)

New wave and punk compilation from Netherlands, including Winos, The Dip, Rockin' Billies, Scissors, Antidote, Watt Nouz.



http://depositfiles.com/files/a1jbgdr9a

Warning - Electric Eyes (1983)

Warning was a German duo whose music - a darkly propulsive, goth-friendly, prog-y, very German take on synth pop with psychotic, growled/moaned/whispered vocals - was simply too awesome for this world, forcing them to call it quits after Electric Eyes, the second of just two (equally phenomenal) records.

http://depositfiles.com/files/ohmw0put4

Eyeless In Gaza - Picture The Day (A Career Retrospective 1981-2016) 2CD (2016)

First ever complete career retrospective from this highly influential band collects together material from a 35 year career. Compiled and designed in collaboration with the band.

Eyeless In Gaza - Picture The Day (A Career Retrospective 1981-2016) CD1
Eyeless In Gaza - Picture The Day (A Career Retrospective 1981-2016) CD2

The Product - Alive Again (1983)

The Product were a duo from the small villages Kvistgaard and Espergaerde, in the north of Denmark. Dan Stielow Mortazavi wrote the lyrics and sang while Kenneth Neuhaus composed the music and played the instruments. They met in the Autumn of 1982 and recorded their sole album “Alive Again” over a weekend. It was self-released on cassette in 1983 and limited to 50 copies.
“Alive Again” features 11 songs recorded in two short live takes directly onto one cassette. The Product employed a basic set up of Micromoog, Roland JX-3P and TR-606 Drumatix. Nine of the songs employ only these two synthesizers and drum machine while two songs feature a guest bassist. With these three instruments they crafted melodic, icy electronic rhythms with detached vocals. They were influenced by UK post-punk bands Second Layer, This Heat, Wire, Gary Numan, Fad Gadget and most noticeably The Cure’s Pornography and Faith albums. Lyrics revolve around growing up in broken homes, alienation and romance.
Each song has been carefully remastered from the original cassette master for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original cassette cover art by Jesper Rask as well as an insert with lyrics and photos. This the first time since the original cassette issues that the music of The Product is appearing on vinyl format . “Alive Again” is a sneak peak into the world of Danish post punk bedroom cassettes.

http://depositfiles.com/files/ug4850y03

Killing Joke - The Singles Collection 1979-2012 (2013)

The collection of singles from the British post-punk band. the deluxe edition includes a third disc of rare tracks including soundtrack, demos, remixes, and limited released songs.





Killing Joke - The Singles Collection 1979-2012 CD1
Killing Joke - The Singles Collection 1979-2012 CD2
Killing Joke - The Singles Collection 1979-2012 CD3

Ceramic Hello - The Absence of a Canary (1980)

Ceramic Hello was a duo from Burlington, Ontario, formed by Brett Wickens in 1980 after leaving Spoons to start Mannequin Records. He teamed up with Roger Humphreys who added a more classical bent to the minimal synth tunes (in the mold of John Foxx and Mute Records).

Their first release was the single "Climatic Nouveaux" / "Theatre Matrix" (MAN003) in 1980. This was followed the next year by the vinyl album The Absence Of A Canary (MAN LP1), which included the single a-side. The 1000 copies have become a collector's item, so much so that in 2006 the German label Vinyl On Demand produced a two disc re-issue, named The Absence Of A Canary V1.1. The original LP has has sold on eBay for up to US$350.

The first two sides consist of the album as originally issued. Sides C and D contain instrumental demos Wickens prepared while in England for a never-issued second album (recorded between 1981 and 1984). Additionally "Theatre Matrix", one track from a Wickens solo 12" ("Between Two Frequencies") and a song from the collaboration The Partnership ("Sampling The Blast Furnace") were included. The version of Sampling The Blast Furnace that is included on The Absence Of A Canary V1.1 is an 8-track demo recorded in the demo studio run by William Orbit in London called Classic Cat, before he went on to form Torch Song and his own illustrious career. William also produced a 24-track version of the track with Andy McCluskey from OMD on vocals, which was never commercially released due to contractual issues with Virgin Records.

Currently Brett Wickens and Roger Humphreys have re-united and are working on a new album, with the working title Daisy Cutter.

Brett Wickens lives in California and is the Creative Director of the highly-influential design firm MetaDesign. Brett's design career paralleled his musical career in the 1980s when he was in partnership with Peter Saville, and designed dozens of seminal LP covers for bands such as New Order, Joy Division, Ultravox and others.

http://depositfiles.com/files/hn4fmha5y

The Pop Group - Honeymoon On Mars (2016)

In the late 1970s the Pop Group found themselves at the avant-garde end of the post-punk continuum, meshing together elements of dub, free jazz and radical politics.
Honeymoon on Mars is their fourth studio album and second studio album since their reunion in 2010.

http://depositfiles.com/files/nelaal6c8

xex - group: xex (1980)

xex were an all-synthesizer band from South River, New Jersey who recorded their debut album group:xex in 1980. Formed when a trio of high school misfits with funny names (Waw Pierogi, Thumbalina Gugielmo and Alex Zander) teamed up with some friends from Rutgers College.
Performed entirely on then-state-of-the-art Arps, synths and electronic drums – no guitars anywhere – group: xex aims for the future, but comes across now like a time capsule from the deepest, darkest Reagan years. Each song burrows its way into your head with repetitive, undeniably catchy synth lines and vocal chants. “SNGA” (“Soviet Nerve Gas Attack”), “Cops” and “Delta Five” are doomy evocations of Cold War tension not far removed from very early Devo. But they were also capable of being quirky and whimsical. On “Fashion Hurts,” “Svetlana” and “St. Vitus Dance,” Waw and Thumbalina come across like a primitive B-52s, replacing the dance/party vibe with resignation and cynical humor. group: xex doesn’t sound like it’s from New Jersey. It barely sounds like it’s from Earth. However, there’s a certain residual murkiness that subliminally evokes the Central Jersey working-class suburbs.
group: xex was all but forgotten until 1998, when radio DJ Tom Smith discovered it in the WFMU music library and tracked down the band members, which lead to a CD reissue in 2004 on Smack Shire Records. Just in time for the 30th anniversary of group:xex Dark Entries tracked down Waw Pierogi and restored the original master tapes with George Horn who remastered the tracks for vinyl at Fantasy Studios. All copies include a 16 page zine with never before seen photos, lyrics, bios, press releases as well as an original concert invitation from 1980!

http://depositfiles.com/files/wylc34pas

Q4U - Q2 1980 - 1983 (1996)

Here's a long since out of print CD, containing dozens of tracks from Icelandic post-punk band Q4U. I wish I could say it's the band's entire discography, but there are so many tracks issued on their original 12'' and K7 releases that it's hard to include them all on one disc. In fact, the few copies I've seen of their original material fetch some of the highest prices on Discogs that I've ever seen!

This CD, released in 1996 via Icelandic label Norður & Niður, collects many of the band's best tracks. You can expect, like many of the punk bands of the era, short blasts of female fronted energy, akin to the likes of X-Ray Spex and early Banshees. That said, the band's use of drum machines and synths calls the early minimal synth movement to mind. An excellent hybrid, if you will. The catalyst for this disc included the resurgence of punk and interest in the Sex Pistols reunion, as the band reunited for a few local shows upon its release, playing exclusively older materal.

The band was rather famous in their native land, thanks to an appearance in the documentary Rokk i Reykjavic. Growing popularity and involvement with other bands led to the band's first lineup shift in 1982, but not before recording dozens of leftover tracks for the Skaf I Dag K7, the band's first release. The band would reunite some months later, employing a TR-808 drum machine dubbed Elizabeth II, though no tracks were released then (several demo recordings from this era are included here). Adding a few more additional members, the band would record their debut 12'', 1982's Q1. Success from this release caused the band to drop the drum machine and focus on a more live sound, which led to opening slots for Classix Nouveaux in 1983. The band would split soon after, but not before recording a handful of tracks that would remain unreleased until this disc.

Phew, quite a mouthful there. Again, this disc does not contain the entire Q4U discography, but presents many of the band's finest moments alongside some killer unreleased material. Curiously enough, only ONE track from the Q1 12'' is missing here, not sure why it wasn't included, but definitely gives extra incentive to track down the original 12''.

http://depositfiles.com/files/g6ntcqzxc

Essendon Airport - Palimpsest (1981)

Essendon Airport was an Australian post-punk group from 1978-83 who explored experimental minimalist, electronic and funk music. Their one and only LP, released in 1981.

http://depositfiles.com/files/gix538rxu

The Accident - No Romance For You (1996, compilation)

Ripping Punk/Pop from 1979 by The Accident from Bellinghamsters (Seattle/Bellingham,WA). Snotty and fun with great fuzz-guitar and drum fills. A nice balance of punk aggression and pop fun. Includes One of the best, most classic anti-disco songs, "Kill the Bee Gees" which came out in 1979 as their sole 7'' record with "True Detective" on side B . Melodic, yet fierce, a nearly perfect punk song. The liner notes, written by drummer Mike Stein, beautifully sum up the mindset that motivated the formation of The Accident (and many other early punk bands) over 35 years ago.

http://depositfiles.com/files/6l2ubufar

Girls At Our Best - Pleasure (1981)

Featuring, oddly enough, a pre-fame Thomas Dolby here and there on keyboards, Girls at Our Best's sole album, Pleasure, is an underrated delight, tempering the sometimes harsh edge of the earliest singles to an equally passionate and entertaining approach not afraid to be calm here and there. With Harper now firmly settled into the drum seat, the quartet touched on everything from Siouxsie and the Banshees' arty edge to Gang of Four aggro-funk and full-on power pop catchiness, and did so brilliantly. Evans' voice was at its considerable best at many points, sometimes so light that it was hard to catch what was being sung, but often able to deliver her sometimes wry, sometimes sunny, but always smart sentiments just right. The hilarious rip on capitalist dreams "Waterbed Babies" and the sly "China Blue" are two particular winners. The sprightly, full-bodied music didn't lack for excitement either, and unlike the rote exercise that much of indie rock later became, there's still an exploratory, honest freshness about the arrangements. Call it the surfy leads Alan throws in here than there, the very intentional disco quotes on "Heaven," or trying out subtle tempo shifts at points for variety within a song, but there's plenty of random joy to be had, down to the guest clarinet on "Fun-City Teenagers." Excellent as it was, Pleasure didn't have the band's defining moment, the absolutely brilliant debut single "Getting Nowhere Fast," which gained posthumous fame via a cover version on the Wedding Present's debut album. Sharp, short, and perfectly catchy down to its sudden edit ending two minutes in, it's one of the highlights of turn of the '80s Brit rock.

http://depositfiles.com/files/djs5e9g73

Shoc Corridor - Experiments in Incest (1983)

Shoc Corridor are a very recent discovery of mine, and a pretty damn enjoyable listen. The band is a London based darkwave/minimal synth outfit who formed in 1982 and split only two years later, leaving behind two LPs and a handful of 12” singles. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.

Though the band had several rotating members, it was mainly a studio project, core consisting of Andy Garnham and Paul O’Carroll. Original members Nogi Prass and Chris Davis left the band after their first 12” due to visa problems. However, tracks these two recorded appeared on their first proper LP, 1983's Experiments in Incest (6 tracks long, it could be argued that it’s a mini-LP, though each track is on the long size). The band would record one more LP in 1984, but split soon after the suicide of then current bassist Paul Humphries. An anthology of the band’s material appeared on CD in 1993, but all of the band’s output seems to be very much out of print.

http://depositfiles.com/files/w4a0rjwte

Edith Nylon - Edith Nylon LP (1979) + Johnny Johnny LP (1980)

Edith Nylon is a French rock band that was active from the end of the 1970s to the beginning of the 1980s.
Certainly a part of the Punk movement, Edith Nylon was a precursor to new wave music and Les Rita Mitsouko. Edith Nylon obtained a certain level of success in its time and even opened for The Police. The singer Mylène Khaski has become a company director in Asia. Edith Nylon was one of the best new-wave french band.

Edith Nylon LP (1979)
Johnny Johnny LP (1980)

Autumn - Synthesize (compilation, 2011)

Compilation of works by Belgial minimal-synth band Autumn, formed in early 80's.

http://depositfiles.com/files/vdkun7zig

Divinyls - Desperate (1982)

The sound of early Divinyls is rock and roll with a hardened punk edge and a unique and original blend of pop and new wave. During the recording of Desperate, Divinyls managed to capture a sound as close as possible to their dynamic live performances.
Chrissy Amphlett's struggles and triumphs of cutting it in the male dominated rock scene loom large in her writing with the hit "Boys In Town" being a prime example. Aside from her toughness, grit and snear, she also expresses vulnerability in songs such as "Only Lonely" and brings the tale of an old lonely woman frighteningly alive during "Elsie". Mark McEntee from day one knew the best way to craft the bands arrangements playing the right guitar tones for Chrissy's unique vocals. Chrissy Amphlett has a powerful voice. She could put there fear in the audience with gut wrenching growls but also had a unique pop sensibility best used in the songs, "Science Fiction" and "Ring Me Up".
Desperate, in my opinion sits right up at the top with any early 80's rock/new wave recording. Many fans and Chrissy herself rate it Divinyls best album. Each song is notable in their own way. Several songs go down in OZ Rock folklore with one hard rocking cover version of Easybeats "Make You Happy". This leaves a few songs that were not as popular but well worth discovering such as "Take A Chance" and "Victoria". I loved Divinyls early raw and rocking sound before they compromised for a more commercial friendly pop/rock sound which did finally grant them international success.

http://depositfiles.com/files/hi5zvoghl

Lives Of Angels - Elevator To Eden (1983, reissue)

Lives of Angels was the brainchild of Gerald O’Connell from London, England. In 1974 he worked at CBS studios mastering recordings from tape to disc. By 1977 he joined his first band Mystery Plane, led by school mate Mark Harvey and later joined by his soon-to-be wife Catherine. Gerald branched off in 1980 forming Lives of Angels as an outlet for his own compositions. He recorded, produced and played all of the instruments on “Elevator to Eden” between 1981 and 1983, using a primitive set up of drum machines, one keyboard, guitar and a tape echo. Influenced by the Krautrock sounds of Neu! and Amon Duul II as well as US psychedelic rock, Lives of Angles crafted their own unique post-punk sound. “Elevator to Eden” was originally released in 1983 on cassette by Color Tape Records, the label started by Gary Ramon of Modern Art. Then in 1986 Fire Records remixed and re-released the album on vinyl but the band was not happy with the mixes. This reissue features the original 4-track cassette mixes of “Elevator To Eden” on vinyl for the first time ever. The LP includes 9 songs featured on the original Color Tapes release. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley directly from the original master tapes. Each LP comes with unreleased photos, original artwork and a lyrics for all songs.

http://depositfiles.com/files/63sv1jkhv

Nasmak - Silhouette (1983)

Their fourth and final album, when they were reduced to a trio. Some smooth and slick, a bit like Japan. Although it doesn't match the 3 previous records by them, it's not bad at all.

http://depositfiles.com/files/282s9c2bg

Nasmak - Duel (1983)

Third album by Dutch experimental new wave band Nasmak.

http://depositfiles.com/files/eolujmpbu

Nasmak - 4Our Clicks (1981)

Nasmak, a four piece band from Eindhoven,The Netherlands, were always moving to new structures and new sounds, but certainly on their records stayed in a rock format, later spiced with some dance music influences.

http://depositfiles.com/files/ilmxmjdhr

VA - Goth Box (4CD Box-Set, 1996)

Tracklist

1-01 –Bauhaus Boys 3:11
1-02 –The March Violets Religious As Hell 3:51
1-03 –Big Electric Cat Twisting Man 4:49
1-04 –The Wake Control 3:50
1-05 –Gitane Demone Tongue Of Fire 5:01
1-06 –Corpus Delicti Noxious (The Demon's Game) 6:13
1-07 –Fahrenheit 451 Flowers Melt Away 3:58
1-08 –The Shadow Dance Temple 5:10
1-09 –Die Form Cantique 1 6:38
1-10 –Executive Slacks God On The Tongue (Godmix) 3:01
1-11 –Advent Sleep Lookaway My Love 5:01
1-12 –Aria A Breed Of Spite 3:33
1-13 –Seraphim Shock After Dark 4:00
1-14 –Meridian Masquerade (Possession Mix) 4:12
2-01 –Play Dead The Tenant 5:39
2-02 –Alien Sex Fiend Hurricane Fighter Plane 6:47
2-03 –The New Creatures A Dark Place 5:09
2-04 –Switchblade Symphony Dissolve 4:33
2-05 –Lycia Everything Is Cold 3:31
2-06 –Two Witches The Angel Of Pain 3:20
2-07 –Usherhouse Monkey Strange 3:46
2-08 –The Rose Of Avalanche Stick In The Woods 4:02
2-09 –Bell Book & Candle (2) Below 4:34
2-10 –Eva O One In A Million 3:53
2-11 –Wreckage Devil's Little Helper (The Lucifer Mix) 3:50
2-12 –Brotherhood Of Pagans Guilty 6:02
2-13 –Apocalypse Theatre The Diseased 2:22
2-14 –Galaxxy Chamber Ascension 2:22
2-15 –Lestat ? 5:03
3-01 –The Damned Dr. Jekyll & Mr. Hyde 4:34
3-02 –Edera Vague Inklings 4:20
3-03 –The Chameleons In Shreds 3:59
3-04 –The Prophetess All I Want 5:51
3-05 –Mephisto Walz T-2000 (Kokoro) 5:08
3-06 –Love Is Colder Than Death The City In The Sea 3:09
3-07 –Kore Flower 5:53
3-08 –Inkubus Sukkubus Witch Hunt 5:19
3-09 –Malaise Walking Through The Wonderland 4:51
3-10 –James Ray And The Performance Mountain Voices (Remix) 5:04
3-11 –Ex-Voto Ressurection Mary 4:09
3-12 –Nosferatu The Haunting (Main Mix) 4:58
3-13 –Deep Red Holy You 5:11
3-14 –Skeletal Family So Sure 6:58
3-15 –Beat Mistress Tigerlilly 5:22
4-01 –David J The Enochian Angel Of The 7th Aethyr 3:25
4-02 –Christian Death The Angels (Assassin Mix) 3:51
4-03 –Aurora Sutra The Legend Of Our Origin 4:43
4-04 –The Shroud Caged Bird 3:53
4-05 –Rosetta Stone Six Before Dawn (96.6 Before Dawn) 4:45
4-06 –Death Ride 69 State Of Decay 4:06
4-07 –black tape for a blue girl Across A Thousand Blades ('96) 3:49
4-08 –Children On Stun Beginning Of The End (7" Version) 4:11
4-09 –Red Lorry Yellow Lorry Hand On Heart 3:46
4-10 –Patricia Morrison Reflection 4:33
4-11 –Kill Sister Kill Blessings 4:09
4-12 –Sofia Run Harmonies 5:05
4-13 –Drumatic Earth As In Heaven 5:08
4-14 –Die Laughing Nemesis 5:10
4-15 –The Last Dance Do You Believe In Angels 5:04
4-16 –Reverb Sleep You Can't Help It 2:56

CD1
CD2
CD3
CD4

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

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





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

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

Snatch - Snatch (1983)

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

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

http://depositfiles.com/files/c8rihwk5k

Dark Day - Collected 1979-1982

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

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

Mittageisen - 1981-1986 Remastered (2008)

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

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

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

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

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



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

http://depositfiles.com/files/ml4bzq8z5

Red Rockers - Schizophrenic Circus (1984)

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

http://depositfiles.com/files/b83om83ei