ORGASMO NEGATO - Verita` Superflua - (Tasaday-Italy-1983)

 

Orgasmo Negato was a Group from Brianza, Italy. Orgasmo Negato later changed to Nulla Iperreale. In 1984, they merged with Die Form (2) to become Tasaday.(info from Discogs)  click me

 

STALAG 17/IRAH -Nè Buoni Nè Cattivi...Soltanto Incazzati[Split 7inch](Attack Punk Records-Italy-1983)

 Legendary Split 7 inch by Stalag 17 and Irah,2 anarcho-punk bands coming from the very first Italian punk scene of the early 80s.All tracks recorded in March 1983 at Studio D, Bologna. It comes in 8-page stapled booklet sleeve with info, lyrics and liner notes.Enjoy It.

:f>a(r*a^w¬a~y:  click me 

 

HIDIOUS IN STRENGHT - Nun With A Gun - (Inner-X-Musick-USA-1983)

 Hidious In Strength was an early project of John Zewizz started around 1982. The instrumentation was often a combination of synthesizer experimentation, tapes, and "found" vocals from TV.
Although Zewizz was the only studio member, the project sometimes performed live as a duo.

Inner-X-Musick: Label run by John Zewizz of Sleep Chamber.
Starting in 1979, the name of this label began as Triple-X (or sometimes XXX Organisation). Sometimes it was also called Innersleeve. The name Inner-X did not solidify as the main name for this label until around 1986.
The early cassette releases were numbered "XXX-###" and then sometime during 1984 there seems to have been a new cassette series begun numbered "XXX ###". The old series did not immediately stop; there were still "XXX-###" cassettes released in 1985. Please be aware of this and do not update any of the releases unless you have the release in hand. Also, if submitting a release please write the catalogue number as it is on the release.
Some of the cassettes do not feature catalogue numbers. In the tradition of Throbbing Gristle, Sleep Chamber attempted to record all of their live concerts and release them on cassette. Twelve of those that didn't make it onto releases in the XXX series were released in more basic packaging and were just given numbers (such as "#5"). These twelve tapes were also released together in the "Best Ov The Rest" boxset.
There also appears to have been some slight inconsistency in the numbering of vinyl releases. (all the info from Discogs) click me

UNSOUND Vol.1 N3-(Magazine-USA-1983)

 Old Magazine made in San Francisco (USA) by William Davenport and friends. In this issue articles about The Age Of Thelema,Terrible Rain, interviews to Body Rice, Gleen Branca, No Trend, Blist Blast, Joe Rees, Whitehouse + reviews of zine and music, letters, flyers and rants.

Enjoy it.

:f/a)r-a/w*a/y~ click me

 

GENOCIDE ASSOCIATION-Sonik Lobotomy Tape-(Self Released-UK-1983)

A bootleg of Genocide Association caught me by surprise. From the shit-fi perspective, this “band” was one of the most notable of the 1980s hardcore scene in England. While Genocide Association existed, the band was a joke and played live only once, unlike their brethren in musical destruction, Skumdribblurz, who seem to have played nearly every show for a while. Genocide Association were Digby Pearson, who later ran Earache Records, and Dave Smith, of the band Verbal Warning, fooling around as a studio-only project. (G.A.’s one gig was a major one at Leeds Bier Keller, on May 19, 1984, with Kalv from Heresy on bass, Tim from Skumdribblurz on guitar, and Dave and Dig on vocals, all of them together making random noise. The line-up of that gig was—get this—Black Flag, Hagar The Womb, Mau Maus, Newtown Neurotics, Rattus, Cult Maniax, Nig Heist, The Bleed, 13 Horses Legs, Chronic, Crucified By Christians, Stagnant Era, The Abused, Obesa, Genocide Association. Not that Abused, but what a gig! There’s a DVD available of the Black Flag set, mistakenly listed on the case as having been in Bradford. Also, I recall Rollins saying that the Newtown Neurotics were one of the best bands they played with in the UK.)

I first obtained a dub of their 105-song “Sonik Lobotomy” demo several years ago from a tape (err, CD-R) trader who sent it to me out of the blue. Immediately, the “music” struck me as odd. There was something familiar, and when it hit me, man, was I astonished. Genocide Association’s demo was basically a recording of what could be considered a cross between karaoke and tape-loop experimental music: they used classic hardcore tunes that had been released recently (up to October 1983) and chaotically shouted their own lyrics and nonsense over them. Terveet Kädet, Crude SS, Urban Waste, Kansan Uutiset, Impact Unit, Riistetyt, and other bands make appearances on the demo, only with crazed British dole-queue punx doing their own vocals.

Here is what Dig told my friend when I had him inquire about Genocide Association a few months ago:

Genocide Association was definitely not a real band. Your friend is one of the few who has it sussed—quite correctly—it was an amalgam of riffs from many other bands' demos, hand sampled on a tape-to-tape boombox and then shouted over with our own political lyrics, by me and Dave (Verbal Warning, local Nottingham anarcho band). It was hard work as samplers did not exist then! It was kinda a practical joke/hoax on a local friend who ran a zine, but it also served a purpose, cos it was a forerunner of exactly the kind of noise I wanted to hear—and would eventually years later release on my label.

In another e-mail, Dig explained exactly how it is that the unlikely notion of sampled, tape-loop raw hardcore managed to become something worth listening to:

Listening back I think the only reason it even worked was I had such a shitty, cheap, run-down tape-to-tape player. Every time I recorded anything it got unintentionally sped up and had extra hiss and shit added. It kinda made the edits blurry and meshed the sampled riffs together in a wall of hiss, which made it passable to listen to. . . [It] took forever to stitch each riff together to form each song simply using a shitty tape-to-tape deck. It was time-consuming as fuck, a real labour of love.

This is a letter/interview by Dig that has been
circulating on Soulseek. Oddly, some portions of
it have been blanked out. Thanks to Zach for the
contribution.

Click to Enlarge

I’ve never seen an original copy of “Sonik Lobotomy,” but the CD-R dub I got years ago did not include a tracklist. I found one later in a fanzine, which was included in an advertisement for the demo. This ad provides the artwork on one side of the bootleg 7" sleeve. Needless to say, it is virtually impossible to follow the tracklist while listening to the madness on the demo. Still, one wishes the bootlegger, who ostensibly cares about the music, had made some effort to identify the songs on the record, or at least distinguish them from those not included. It seems to me the songs on the record are mostly from the first quarter of the demo. Unlike as reported in some distro listings for this EP, the entire demo does not appear on the vinyl. But some of the songs recur with different lyrics, which is unsurprising, as the sessions that produced the demo spanned several months.

I won’t ruin the fun of playing “name that tune” by identifying every original song on this bootleg (actually, several stumped me). But I must point out a few noteworthy songs. Unfortunately, the blank labels and useless tracklisting aren’t helping us in this endeavor. One side of the record, let’s say it’s side B (the matrices are obliterated, natch), begins with a Crude SS riff. The other side is the one to follow closely because it has the best tracks, five of which just blaze. I’m providing these for download here: Prostituted By The System, Grim Brutality, War Machine, Sonic Lobotomy, They'll Do It Again.

I believe it's worth looking at the notion of reusing already released songs. It certainly shares common characteristics with rap, a form of music that was achieving widespread recognition by 1983, as well as many avant-garde artistic practices, but I have doubts that Dig intentionally made such connections. It would be a mistake to ascribe conscious radical aesthetic intention to Genocide Assocation. Rather, they were poor punx living on the dole who could not afford to buy instruments, so they used their DIY ingenuity instead. G.A.’s use of already available music, the band's choice to deconstruct the music and reassemble it into a new piece proves wrong stereotypes about the aesthetic conservativism of hardcore. In fact, it seems to me that G.A.’s practice was deployed directly against such stereotypes. By October 1983, it was rather pervasively believed that all fast hardcore was beginning to sound the same and was increasingly unoriginal. G.A. lampooned this very notion by intentionally making generic thrash that was unoriginal and sounded the same as other bands’ songs. Over 20 years later, the “karaoke” versions are not necessarily “better” songs than the originals. Most would probably prefer to listen to Crude SS directly, but the ideas behind G.A.’s music are actually much more fresh than those behind the original tunes, which have by now been repeated endlessly (with good reason). Who would have thought that such “experimental” hardcore could actually have adhered so closely to the roots of the hardcore sound? The idea of taking something old and making it new persists across music, film, architecture, literature, and other artistic practices because it catches our attention by reminding us of the past (for better or worse) and then maintains our attention by leading us to a novel conclusion that is familiar but original. I personally am always on the lookout for punk rock that dispels familiar notions about punk history, and this G.A. bootleg fits this category quite nicely. It may sound like shit, but after all these years, it’s a fresh shit indeed.

The fact that members of the current European bootleg cartel would put the band on vinyl today shows how much times—or, rather, tastes—have changed. Just a few years ago, this bootleg would have been considered by most to be a waste of vinyl. Maybe that will be its reception today, but I do believe it shows that what listeners are seeking in old punk rock is evolving. Incidentally, Dig told my friend that he considers the G.A. demo to be in the public domain, and, anyway, the original songs used to create G.A.’s “songs” were themselves stolen. So don’t feel bad about supporting a bootlegger this time around. As if…

Read more: http://shit-fi.com/Reviews/GenocideAssociation/GenocideAssociation.htm#ixzz6sfMAozkP

 (article taken from Shit-Fi.com)   click me

ESTRICNINA n2-(Fanzine-Spain-1983)

Number 2 of this legendary Spanish fanzine created by a bunch of independent writers/researchers under the coordination of  Rafa Katecagas between Madrid, Valencia and Barcelona.

In this issue interviews to Inter-Terror, Jello Biafra, D.D.A.A., Monaguillosh, Pedro Almodovar, John Cale, Fernando Marquez and articles about Lydia Lunch, Alan Vega, Rock and Nihilism, Ceremonia and Simple Minds + rants, graphic works, old pics, news and music reviews.

All type-written and with an old-school cut and paste graphic layout this is an incredible document of the exciting underground press from the early 80s.
Enjoy it if you can read the Spanish language. 
:f*a¬r~a{w:a~y_ click me

 

PEDAGO PARTY-L`Arte Della Rivoluzione-(Self Released-Italy-1983)

First demo by this very original band from Piacenza(Northern Italy)! Although they have been associated with the HC punk movement, Pedago party plays music that crosses various styles touching the post-punk, the goth rock and the punk.

I have already posted their second demo In Sorgere released in 1987.

They formed in 1983 and disbanded in 1991. They have been very close to the anarchist movement during all their life. A sort of biography is here.

Enjoy it.

:f(a*r:a_w)a:y~

click me 

 

Ptôse ‎– Hand-made Electronics (1980-83)-(Ptôse Production Présente -France-1983)

 

Ptôse was ae Expérimental synth-pop & minimal electronics group from Niort (France), which was active from 1979 to 1987. 

A Discogs page about them is here. 

Enjoy it.

:f(a*r~a)w_a(y*

click me 

Tracklist

A1	The Baby's Song
A2	Ouch !
A3	Fernsehapparat / T.V.
A4	Here Come The Spotnics
B1	Ptôse
B2	Seigneur Des Mouches
B3	Boule (Live Avril 80)
B4	Effritt

v.a.-Mail Music Project by Nicola Frangione Collective Work-(Armadio Officina Audio Editions-Italy-1983)

In the spirit of the Mail Art movement of the 1980s comes the Mail Music project. Collecting 47 sound art samples sent in from around the world, Nicola Frangione compiles them together in a pastiche manner similar to the Distruct LP compiled by P16.D4. Each side is one continuous track and the individual sound submissions which are approximately 1 - 1.5 minutes long, overlap giving the impression of collage work. This was a time when DIY was flourishing and the result is captured beautifully here. Only a few of the artists are well known: Maurizio Bianchi, Vittore Baroni, P16.D4, Masami Akita, Naif Orchestra. But don't let that put you off. This is one of the best compilations in the vein of whacked / experimental music to come out of the 1980s. In a numbered, limited edition of 1000, this LP is very hard to find today.(from Mutant Sounds blog)click me

Accrediti

• Compiled By, Edited By, Artwork By [Graphics Cover] – Nicola Frangione
• Mastered By [Master Realization] – Valter B. Neri
• Painting [Cover Painting] – Mario Canali

Note

Limited and numbered edition of 1000 copies.

The tracks overlap and make up one continuous piece on each side.

A1	–Maurizio Bianchi	Untitled	1:08
A2	–Sergio Cena	Untitled	0:48
A3	–Arrigo Lora-Totino	Untitled	1:32
A4	–Ubaldo Giacomucci	Untitled	0:51
A5	–Enzo Rosamilia	Untitled	1:02
A6	–Vittore Baroni	Untitled	0:57
A7	–Steen Moller Rasmussen*	Untitled	0:59
A8	–Tommy Rinnstein	Untitled	1:19
A9	–Serse Luigetti	Untitled	1:08
A10	–Masami Akita	Untitled	1:19
A11	–Franco Ballabeni	Untitled	1:01
A12	–Gerald Jupitter-Larsen*	Untitled	0:57
A13	–Richard Kostelanetz	Untitled	1:39
A14	–Bellee Etienne Marge	Untitled	1:16
A15	–Paulo Bruscky	Untitled	1:14
A16	–Sergio* - Emilio Morandi	Untitled	1:15
A17	–Jesse Glass Jr.	Untitled	1:08
A18	–Sue Fishbein	Untitled	1:09
A19	–Rod Summers	Untitled	1:12
A20	–P16.D4	Untitled	1:29
A21	–Jane Fay	Untitled	1:46
A22	–Carlos Zerpa	Untitled	0:49
A23	–Luca Miti	Untitled	1:10
B1	–Bleus Guy	Untitled	1:10
B2	–Italo Mazza	Untitled	0:47
B3	–Raffaele Cuomo	Untitled	0:44
B4	–SWSW Thrght	Untitled	1:19
B5	–Cartsen Schmidt-Olsen*	Untitled	1:14
B6	–Niesporek Lutz	Untitled	0:46
B7	–Giacomo Bergamini	Untitled	0:55
B8	–Peter Paalvast	Untitled	1:27
B9	–Günther Ruch	Untitled	1:08
B10	–Emmett Walsh	Untitled	0:48
B11	–Leif Brush	Untitled	1:03
B12	–Piermario Ciani	Untitled	1:21
B13	–Reservation-Henk-Jockec	Untitled	0:54
B14	–Naif Orchestra	Untitled	1:44
B15	–Hiroko Iwata	Untitled	0:38
B16	–Giovanni Fontana	Untitled	0:58
B17	–Jaroslav Pokorny	Untitled	0:45
B18	–Ruggero Maggi	Untitled	0:39
B19	–Peter R. Meyer	Untitled	1:07
B20	–Guy Stuckens	Untitled	0:47
B21	–Klaus Peter Dencker	Untitled	0:54
B22	–José M.Pezuela Pintò	Untitled	0:53
B23	–Peeter Sepp Rock Rat	Untitled	1:19
B24	–Lon Spiegelman	Untitled	1:07

v.a.-RAPTUS-(Meccano Records-Italy-1983)

A piece of history of the Italian underground punk scene raging fully alive during the early 80s.

A bunch of very unknown bands, only very few of them kept playing and made a name in this scene... yet this is a real political statement of the very first punk explosion made of revolt as a way of surviving this oppressive society.

Meccano Recs is one of the first Italian record labels, who devotes priority attention to new musical influences, resulting in the the explosion of the punk phenomenon, from 1975 onwards.

Meccano Records is a record label founded in 1979 by Giulio Tedeschi.
Well-known artists discovered by Meccano Records are Righeira, Raw Power (2), Rough (6).
In 1985 the label changes artistic setting and name to become the Toast (2). 

Enjoy it.

:f)a~r(a*w~a)y:

click me 

 

A1	–Drull (2)	Tentacoli Di Potere
A2	–Drull (2)	Militare
A3	–Uart Punk	Anarchia In Italia
A4	–Uart Punk	Frustrazione
A5	–Wrong Boys	Massacro
A6	–UDS (2)	Ma Che Bella Società
A7	–UDS (2)	Basta
A8	–Petrolio	Italia/Italia
B1	–Wops*	Hateful Town
B2	–Wops*	Kids
B3	–Last Call (2)	Fall Of Italian Empire
B4	–Last Call (2)	Your Solution
B5	–Raw Power (2)	Raw Power
B6	–Raw Power (2)	You Are A Victim
B7	–Raptus (2)	The End