Liquid Liquid - Liquid Liquid (1997, compilation)

Early-80s dub/post-punk/funk band on the legendary 99 Records label. Often namechecked because of the track "Cavern" from which parts were replayed by Grandmaster Flash & The Furious Five for their hit single "White Lines". Liquid Liquid were originally a much more experimental sounding band called Liquid Idiot who released one 7" before reforming as Liquid Liquid and basing their sound around a much more percussive framework. They would invite members of the audience to bring their own percussion to their gigs and at one of these, they were so impressed when Dennis Young brought a marimba that they invited him to join. They developed their own unique sound which they called 'big beat' (a term some English producers would use more than a decade later for something entirely different). Liquid Liquid still exist and worked together with DFA on new material.

Tracks:

Optimo (1983)
01. Optimo - 2:42
02. Cavern - 5:21
03. Scraper - 3:41
04. Out - 2:07

Successive Reflexes (1981)
05. Lock Groove (In) - 4:00
06. Lock Groove (Out) - 4:01
07. Push - 1:57
08. Zero Leg - 2:31
09. Eyes Sharp - 2:12

Liquid Liquid (1981)
10. Groupmegroup - 3:18
11. New Walk - 2:07
12. Lub Dupe - 1:49
13. Bell Head - 2:19
14. Rubbermiro - 3:34

Live From Berkley Square (12th March 1982)
15. Lock Groove - 4:00
16. Groupmegroup - 2:20
17. Bell Head - 1:53
18. Push - 2:49

Liquid Liquid - Liquid Liquid (1997, compilation)

Liaisons Dangereuses - Liaisons Dangereuses (1981)

Liaisons Dangereuse were formed by Beate Bartel (Mania D, Einstürzende Neubauten) andChrislo Haas (Deutsch Amerikanische Freundschaft) together with vocalist Krishna Goineau. They were part of the early 80s “Neue Deutsche Welle” scene in Germany. Liaisons Dangereuses only put out one album, which was produced by Conny Plank.

Beyond that, you can find out very little else about the group who created this influential, oft-copied, dance-floor standard because they apparently shunned the music business and promotional efforts entirely. Over the years there have been a number of “Los Nińos Del Parque” remixes and original 12” can fetch a pretty penny. Seriously, no DJ should be without it. A number of DJs from the Chicago and Detroit underground music scenes have cited the influence of this song, which also seems to have been a big inspiration for New Order, Primal Scream circa Screamadelica, as well as the so-called “electronic body music” (EBM) groups like KMFDM, Front 242 and Nitzer Ebb.

http://depositfiles.com/files/xr023gz3e

Frodo - Noites De Lisboa (1982)

Portugal's new wave. Some times more poppy, some times experimental with psychedelic dark sounds. Very interesting.

http://depositfiles.com/files/hkjc497tf

Great Buildings - Extra Epic Everything' 80-'82

Great Buildings were a power pop/new wave group formed in the early '80s by Danny Wilde (vocal/guitar), Richard Sanford (drums), Philip Solem (guitar/vocals), and Ian Ainsworth (bass/keyboard/vocals).

Great Buildings only released one album, their debut, Apart from the Crowd, in 1981, but they did wind up recording a second album toward the end of that year, an LP that featured the slightly expanded band with keyboardist Mickey Mariano. This album, called Extra Epic Everything, lay unreleased for almost three decades before Wounded Bird finally released it in 2010, fulfilling the wishes of a small, dedicated legion of power poppers who loved Apart from the Crowd along with Danny Wilde and Philip Solem’s subsequent band the Rembrandts. Listening to Extra Epic Everything years later, it’s clear why this record developed something of a cult following, being bootlegged in various forms over the years, and why it wasn’t released at the time. In its favor, the album often crackles with coiled energy, with its best moments snapping with ‘60s guitar hooks and glassy new wave synths.

Counting against it is how it’s clear that the album was made knowing that it was a last-ditch effort for the band to make it, so there are times where it’s clear that the band’s eye was on a radio playlist, whether it’s pushing the synths and rhythms a little too hard (“Your Eyes” winds up in a nowhereland between AOR and new wave), dabbling in drippy ballads, or covering “Cherry Cherry.” All these little detours -- which are never bad, just misdirected -- paradoxically wind up diluting Extra Epic Everything enough to not be especially sellable by 1981-1982 standards, but the melodic strengths of the best material do endure, which is why it’s certainly worth hearing after all these years later…and hearing more than once, too.

http://depositfiles.com/files/6fx0k4brc

Die Radierer - Eisbären & Zitronen (1981)

German punk/experimental band originally from Limburg, with their first LP. Some kind of punky electro minimal wave called Neue Deutsche Welle.

http://depositfiles.com/files/9xxpgafyb

Nervus Rex - S-T (1980)

Good new wave/power pop album from New York. For the fans of The B-52's, Blondie, Knack, Devo etc.

http://depositfiles.com/files/q63lblkwx

The 012 - Lets Get Professional (1984)

Here's one and only LP by weird lo-fi band from UK. For the fans of Pere Ubu-experimental post-punk weirdness.The band later transformed to World Domination Enterprises.

http://depositfiles.com/files/t7safbwdl

The Elektrics - State Of Shock (1981)

Second LP by US new wave / power pop band The Elektrics.
Other than the fact that they used to open up for Blondie at CBGB’s, had two albums on Capitol Records, and then faded into the void. It’s quite power-poppy, but has some nice Cars-like synth work in the background in some songs. Keyboardist Bob Drew gets more space to work his magic on this release than on their debut. "When the Night Comes Down" is a fantastic crunchy album opener. "Another Knife in My Heart," "I Just Keep Crying," "Waiting for Love," and "What I Need" are perfect pop songs with hooks aplenty. "1981 Overture" is dramatic and quirky. "Rocket Ride" and "Building Buildings" are fun romps. The most impressive track here is the moody "Pretty Plastic," a song that doesn't sound like it should fit on this album, but absolutely works (especially when it kicks into the "ba-ba-ba-ba-ba-ba" break). The only slight misstep is their cover of the Moody Blues' early classic "Go Now," which is just too new wave for its own good. With big and beefy production courtesy of Lance Quinn and Tony Bongiovi, practically every track should have been blaring out of radios all over the U.S. When this release didn't sell in significant numbers, the band was dropped from the roster and disappeared from sight.

https://depositfiles.com/files/oj27xyav1

Jost Band - W.A.S.A. (We Are Still Alive) (1980)

German Art Rock with taste of New Wave, Post Punk and many others... One and only release by Jost Band.

http://depositfiles.com/files/1fc9tua06

Charles De Goal - Algorythmes (1981)

Patrick Blain (aka Charles de Goal) began playing music around 1973 as a bass player . The music around 1974-1976 was a real bore but suddenly came the punk movement and it was a real revelation to him (especially bands like Devo, Wire, XTC, Gang of Four).He bought a drum machine, a synthesizer, and formed a band named C.O.M.A. In 1978 they released an album on Flamingo Records (later becoming “New Rose”) which was described by the critics as a cross between Devo and the Residents. Looking for a more popish approch and not succeeding in doing so, they decided to break the band. Patrick Blain decide then to continue alone, playing most of the instruments, with the help of some friends for some parts (Philippe Huart and Claude Lamamy, the 2 being former members of C.O.M.A). A name was chosen “Charles de Goal”, and the first album (Algorythmes) was issued in 1980 by the, at that time, very young label “New Rose”. Amazingly, the record did very well and even in countries such as Germany or the Netherlands. It sold around 15.000 copies. Charles de Goal never played live at that time (not until 1985). It was just a question of how recreating on stage what he played alone. A second record (Ici l’ombre) was issued in 1981 but was less well received (too dark and not very well recorded). In 1982, Charles de Goal was part of the “Danse Macabre” project which ended up in a mini-album and is now considered as a gothic must. There was a 3 years pause before releasing “3” in 1984, a much more accessible album which had lots of airplay in France A live band was formed and Charles de Goal went touring but he was never pleased with the results. Then, in 1986, came the last known album (Double Face).

http://depositfiles.com/files/4v3dn3jpq

Nervous Gender - Music From Hell (1981)

Minimal synth punk from San Francisco. Their use of heavily distorted keyboards and synthesizers made them, along with The Screamers, one of the original innovators of what is today called "electropunk", although they could equally be considered an earlyindustrial group. The group was confrontational and experimental.

http://depositfiles.com/files/ikgcol0sy

Wilko Johnson's Solid Senders - Solid Senders (1978)

Pub-rock band leads by Wilko Johnson of Dr.Feelgood. He recorded just one and only album as Solid Senders, then played with Ian Dury & the Blockheads and as The Wilko Johnson Band.
Legendary musician! So, cheack it!

http://depositfiles.com/files/38sl3rjl1

Palais Schaumburg

Similar in spirit and geography to Der Plan, Palais Schaumburg was a German post-punk/electronic-pop band that has since become known as the launching pad for the career of cult figure Holger Hiller. The Hamburg-based band debuted in 1980 with the single Rote Lichter on the ZickZack label. They released their first full-length album, the self-titled Palais Schaumburg, the following year. After its release, Hiller defected for a solo career. The band quickly got to work on the LP Lupa, which was released later in 1982 through the German branch of the Phonogram label. Rather surprisingly, the album added horns and a slight jazz fusion influence to their sound. Their third and final album, 1984's Parlez-Vouz Schaumburg? (also released through Phonogram), threw some Latin and big band touches into the mix.





Archive contains:
1981 - Palais Schaumburg LP
1982 - Lupa LP
1983 - Das Single Kabinett (12", MiniAlbum, Comp)
1983 - Hockey 7''
1984 - Parlez-Vous Schaumburg LP

Palais Schaumburg

Lew Lewis Reformer - Save The Wail (2002, compilation)

The lost legend of Pub Rock that is Lew Lewis. Founder member of Canvey Islands 'Southside Jugband' alongside Lee Brilleaux of Dr Feelgood. How more Proto-Punk can you get than that?
That very same Jugband spawned Eddie and the Hot Rods, who enticed Lew into its fold for the first two singles, then he formed The Reformer in 1977.
It gets better......In 1987 our Lew was given a seven-year jail sentence(Lucky seven eh?) for armed robbery, after holding up a post office with a fake pistol, stealing £5,000 and trying to escape on a shopping bike.
This guy walked the walk and Talked the talk......mental breakdown aside of course!
His weapon of choice was the Harmonica which he wielded like a chainsaw in the hands of Leatherface.
Again he was big in France, like most of the Pub Rock fraternity, but lost in his native land.
So, here's his entire recorded output (except the two tracks on the Hope and Anchor R&B album);and you may notice that his self-penned tunes tend to veer in the direction of Bars and Gambling as subject matter.......and why not?

Tracklist:

1 Do Just What You Want
2 Wait
3 Win Or Lose
4 High Temperature
5 Mr Bartender
6 Lucky Seven
7 Hometown Blues
8 Photo-Finish
9 Night Talk
10 Rider

Singles:

11 Boogie On The Street
12 Caravan Man
13 1-30 2-30 3-35
14 The Mood I'm In

Live 1977:

15 Watch Yourself
16 One Stop Town
17 Messin' With The Kid
18 Out For A Lark

Live 1979:

19 Shake & Fingerpop
20 Romance
21 Long Grey Mare

http://depositfiles.com/files/heuz7xqgz

The Dodgems - Anthology 1978-80

The complexity of modern politics was explored through the songs of the Dodgems, a late-'70s punk band based in Brighton, England. But their music took a more immediate approach. "We have been called political and we do have strong opinions about things," said drummer Charlie Zuber. "But we have to keep the message fairly simple because the music's so loud." Formed in 1978 as Jet-Slag,the Dodgems represented the vision of vocalist/bassist Gary Turner. Initially featuring guitarist/vocalist Doug Potter and lead guitarist/vocalist Dave Owen, the Dodgems expanded with the addition of Paul Birchall, a keyboard player they acquired through an ad. With their fiery delivery, the Dodgems burned out almost as soon as they hit the concert stage. Although they were heralded by influential British disc jockey/producer John Peel, and appeared several times on his radio show, they disbanded within a year. Turner briefly resurfaced, in 1980, with the Piranhas.

http://depositfiles.com/files/9jhg40w4l

Dr. John Cooper Clarke and Hugh Cornwell - This Time It's Personal (2016)

Dr. John Cooper Clarke and Hugh Cornwell album ‘This Time It’s Personal’ featuring classic tracks that Hugh and esteemed poet Dr. John Cooper Clarke grew up listening to, the album is the surprising duo’s first collaboration.

The fact that these two giants of punk and new wave are together on record for the first time is remarkable enough. But the album, which features ten hand-picked songs reflecting the pair's shared love of classic American and British pop they grew up with, has a knockout punchline. With not a spoken word in sight by Dr Clarke, nor a distinctive growling Cornwell vocal, This Time It's Personal’ announces John's debut, at the age of 67, as a lead vocalist, with Hugh playing all guitars and producing the album. The results are delightful.

“No one knew he could sing!” laughs Cornwell. “When you tell people they go 'You're kidding me.'”

So it is that Hugh and John are celebrating their musical education in 2016, and this time, just as they say, it really is personal. “It's going to be a complete voyage of discovery,” they agree. “These are great tunes,” says John, “and we've done our very best to respect them, and to bring them...” Hugh jumps in to complete the thought: “...back to life.”

With tracks by the likes of Lieber & Stoller, Jimmy Webb, Ricky Nelson, Richie Valens and Conway Twitty, ‘This Time It’s Personal’ sees the duo paying their respects to the music that had played such a part in their musical coming of age.

http://depositfiles.com/files/wnusd5scj

Underground Life - The Fox (1982)

This is a really great debut LP by the Italian new wave band Underground Life. Highly recommended!

http://depositfiles.com/files/l905v9cn8

June Brides - There Are Eight Million Stories (1985)

The June Brides are an English indie pop group, formed in London in 1983, by Phil Wilson and Simon Beesley of International Rescue. Influenced by Postcard-label bands such as Josef K and punk-era bands such as Buzzcocks, The Desperate Bicycles and The Television Personalities, their mix of guitar pop with viola and trumpet formed a blueprint for many of the indie pop bands that would follow.
Great classic album!

http://depositfiles.com/files/zpfhilwiv

Sudden Sway - Spacemate (12x2 LP) 1986

The band was formed in 1980 by Mike McGuire (vocals) and Steve Rolls (Guitar) after disbanding 1st generation punk band The Now. They recruited Pete Jostins (Bass), Shaun Foreman (Guitar & Keyboards) and Colin Meech (Drums), with various others contributing in their early days. They were initially influenced by bands such as A Certain Ratio and Shriekback.

Nobody understood Sudden Sway during their active period in the 1980’s, and it’s easy to see why. Heavily conceptual, always obscure, their career was marked by what seemed to be bizarrely self-defeating marketing initiatives that appeared to explode in their faces. What wasn’t apparent then, but is obvious now, is that Sudden Sway possessed an unusual prescience. During the dawn of neoliberalism, they had already seen through it, and into the incoherence that it masked.

Sudden Sway liked to portray themselves as a corporation. This was nothing new for a post-punk band of course. Public Image Limited and the British Electric Foundation adopted corporate veneers as a means of intimidatory self-aggrandisation; to project a kind of world-conquering invulnerability (however ironically).

"Space Mate" was a double album housed in a large, flimsy box that was purported to be a board game. The packaging, which seemed to be deliberately designed to inconvenience both WEA’s distributors and the record shops that sold it, came with a bewildering array of inserts, instructions, wall charts and stickers. I’ve no doubt that there are still warehouses in the south east of England that are full of them.

http://depositfiles.com/files/k12vzfaxr

Taste Of Decay – 1984-1986

Taste Of Decay, a post-punk band hailing from Harrislee, Germany is definitely worth to listen if you are a fan of post-punk / positive punk / gothic. Last known line up was Simon Pörksen (bass), Lenni Thomsen (drums), Felix Schultz (guitars) and Michael Scholz (vocals), and according to Michael Scholz’s website they have released two tapes and one 7″ EP (“Calling” EP) limited to 512 copies. Some people described their music as “Gothic” at that time, while they called it as “Cave Trash”. They got more “punkish” beat on some of their songs (listen to “Factory” for example), kinda like a mix of Play Dead, Vex and UK Decay! Existed from June 1984 to August 1986, their releases are nearly impossible to find these days I believe. But Mannequin (Label + Mailorder based in Rome, Italy) – collaborated with French label Infrastition – reissued their discography CD, released on May 28th 2010 and limited to 500 copies! Listen to the tunes, and enjoy!

http://depositfiles.com/files/gcixhmdv5

Ike Yard - 1980-82 Collected (2006)

Being the first band to be signed to Factory Records' American division, you'd have to be fairly special. Ike Yard doesn't fail in that department one bit! Ike Yard was a quartet of Stuart Argabright (ex-Futants), Kenneth Compton (who was Madonna's boyfriend for a bit and appears in her "Burnin' Up" video!), Michael Diekmann, and Fred Szymanski. Their arsenal of instruments included the standard guitar, bass, and drum kit, but those are the ONLY traditional instruments used. Each member is credited with synthesizers (Compton specifically with bass synth), and other instruments include drum machines, found percussion, syndrum, and who knows what else. Both Argabright and Compton handled vocal duties, with Argabright getting the lion's share. Sometimes considered a no wave group, and having some common ground with that scene, Ike Yard was really in a category of their own. The first six tracks here are from the NIGHT AFTER NIGHT EP, released in 1981 on Les Disques Du Crepuscule; the exception is "The Whistler", which is a session outtake. These tracks find Ike Yard in full-on post-punk mode. The bass and percussion lock into powerful grooves, aided by synth pulses and colored by swooping guitar accents. It actually comes across as an American PiL or a punkier This Heat. "Night After Night" and "Cherish" would be dark club classics in a just world, and the whole EP is impressive. Fast-forward to 1982: Ike Yard have caught Factory's attention and have the honor of becoming Factory America's first signing. Tracks 7 through 12 made up the self-titled LP (often erroneously referred to as A FACT A SECOND, which is actually the catalog number). While still a decidedly American take on post-punk, these six tracks are far more influenced by classic dub and krautrock than by any contemporary groups (except maybe the early industrial and EBM scenes). The synths have a much more pronounced role; I was fairly certain there's no guitar or bass guitar on these tracks until Stuart Argabright assured me there is. "Loss", with its insistent bass pulses and steady electronic drones, is a standout; as the track progresses, random short-wave transmissions and Argabright's monotone vocals combine for a simultaneously disturbing and catchy tune. The remaining five tracks follow a similar path, with little quirks and kinks along the way to give each tune its own identity. As a bonus, this compilation features six previously unreleased outtakes from 1980 to 1982. None of these tracks would have been out of place on the proper releases; in fact, the eerie instrumental "Wolfen" is one of their best songs! I can't recommend this enough to fans of krautrock, post-punk, no wave, etc. You shouldn't have too hard a time finding it. Argabright would go on to Black Rain, Dominatrix, and Death Comet Crew (all worth investigating), and Szymanski made some recordings as Laminar. Diekmann also ended up in Death Comet Crew. Ike Yard made a recent comeback, and now consists of Argabright, Compton, and Diekmann. To hear some of the new tracks, please visit http://www.myspace.com/ikeyard. Their MySpace also has "Loss" and "Cherish", a demo called "Sweep" and an untitled live track from '81. The latter two are not on this compilation (possibly due to time limitations?), but both are very worthwhile. The Argabright-curated NEW YORK NOISE 3 features the otherwise unreleased "A Dull Life", as well as a Dominatrix track, alongside other no wave/industrial/art funk bands from '80s New York.

http://depositfiles.com/files/p6md955p6

Five Or Six - A Thriving and Happy Land (1981)

Five or Six was a UK post-punk band, originally signed to Cherry Red Records by A&R head Mike Alway, who deemed them to be the act with the most potential from the scene he had helped create around the Snoopies club in south-west London. They combined a great pop songs with fine sense of experimentalism. The line-up was fluid, and apart from their key contribution to the best-selling compilation album Pillows & Prayers, they are perhaps most notable for the various activities of most former members.

http://depositfiles.com/files/7g7xgbxby

Ex Humans - Ανώφελη Επιβίωση LP (1984)

Ex-Humans were a punk band from Athens, Greece. They formed in 1982 (originally called Soldiers Of Anarchy) and released one album in 1984 entitled Anofeli Epiviosi (Futile Survival) on Enigma Records. They also contributed two tracks for the compilation Diataraxi Koinis Isyhias (Disruption Of Public Peace). Considered one of the greatest Greek punk bands, the music is an aggressive sounding mix of hardcore punk and post-punk. Some tracks have a heavy Rudimentary Peni / Mob vibe, with a killer bass sound that stands out in the mix.

http://depositfiles.com/files/fwxjixz78

Carmody - A Better Spider 1981-1985 (compilation, 2009)

Carmody was an Italian synthpop / minimal synth band from Torino, Italy.
The line-up consisted of Andrea Lesmo (synthesisers, tapes, bass, guitar) and Alberto Ramella (vocals) with the some help from Massimiliano Casacci (guitar - nowadays in Subsonica and running the Casasonica Studios) at the later stage of their existence.
They recorded from 1981 to 1985 and issued three incredibly rare demo tapes. In 2009, a "Best Of" compilation CD titled "A Better Spider" was issued by German label Anna Logue Records.
They were mates of Monuments and Chromagain, also following a similar musical path with predominant synthesisers and drum machines (Boss DR-55, Korg KPR-77, Roland TR-909) along with some sparse guitars here and there.

http://depositfiles.com/files/vlo1d7cdt

The Body Electric - Presentation And Reality [1983]

One of the first electronic bands in New Zealand, and hugely influential, The Body Electric were formed in 1982 by Alan Jansson, although he was credited on first releases as Alan Jimson, and Andy Drey. During their initial rehearsals, they were then joined by actor-turned-singer Garry Smith. The group's debut single, Pulsing, was picked up by radio programmers and spent 27 weeks in the charts. Not entirely indicative of their sound, the track has a novelty quality to it. Following the success of Pulsing, Andy Drey was replaced by Spines bassist Wendy Calder and the group released two more minor hits (Dreaming In A Life and Imagination) and a full length album before splitting in 1984.

http://depositfiles.com/files/uomg9k39t

Dolly Mixture - Everything and More (2010) 3CD compilation

Dolly Mixture was a British post-punk band formed in 1978 by bassist and vocalist Debsey Wykes, guitarist Rachel Bor, and drummer Hester Smith. They started out as complete amateurs (popular rumour had it that they first got involved into the music business as the then girlfriends of The Damned members, though it was only Rachel Bor and Captain Sensible who were a couple). However, they soon proved to be one of the most talented new-wave pop acts. Although they had their taste of Top 40 success as the backing vocals for the Captain Sensible's hit "Wot", as a band they remained neglected by the media and the general public alike. Near the end of their run, the group self-released a double album of demo tracks, which was re-released in 1995. The group disbanded in 1983. Debsey and Hester went on to form the band Coming Up Roses, Rachel played with the band Fruit Machine until 1999, and Debsey later collaborated with Saint Etienne and formed the band Birdie.

Dolly Mixture - Everything and More (2010) 3CD compilation

Gloria Mundi - I, Individual LP (1977), The World Is Out LP (1979), Fight Back EP (1978)

Gloria Mundi was an early punk/gothic rock band. The name comes from the Latin meaning for "the glory of the world". This could be a reference to the phrase "Sic transit gloria mundi", meaning "this is how the glory of the world passes".

The members of Gloria Mundi included Eddie Maelov (real name Eddie Francis), their male vocalist, and Sunshine Patteson (now working as Sunshine Gray), their female vocalist and keyboard player, cc played tenor saxophone. A bassist known as Ice (real name Roland Oxland, a Dagenham native who had learned his craft in a band called 'Yours' (with Stevie Shears of Ultravox and Faith Global and John Clarke of Daddio Clarke and the Macon Wailers), played on the I Individual record. When he left to form a band with Stevie Shears, he was replaced later by bassist Nigel Ross Scott. The guitarist, known as 'Beethoven', was Pete Vas, who later had limited success as a solo artist on RCA. The drummer was Mike Nicholls. Following the departure of Pete Vas, guitarist Kirby (ex-Stretch), joined the band for a period and played on the second album The Word Is Out. Following Vas's solo venture, he then went into a musical collaboration with Alasdair Murray. Collectively they were known as Bete Noire[1] and produced an unreleased EP called Langham Street in 1981.



After Gloria Mundi disbanded, Eddie Maelov and Sunshine Patteson went on to produce music for Survival Records as Eddie and Sunshine. cc contributed a memorable saxophone solo to the Ultravox song "Hiroshima Mon Amour", and Nigel Ross Scott went on to play bass with Bruce Woolley and The Camera Club and achieved his first major success with Re-Flex, a 1980s new wave pop group.

It was noted that the gothic punk band Bauhaus completely changed their music and presentation after gigging with, hearing and watching Gloria Mundi. It was also known at the time that early Ultravox and Gloria Mundi had previous connections between John Foxx and Eddie Maelov; Maelov being the principal writer as well as lead vocalist for Gloria Mundi.



Generally thought by their fans to be way ahead of their time, Gloria Mundi's stage performance was regarded as revolutionary both in its visual imagery and underlying story-themes of isolation, individuality, sexuality, meaning and aggression.

Gloria Mundi archive