Robert Hollis/Christopher Swartz ‘ISO’

01 Clockwork (4:02)
02 Since The Begining Of Time (5:16)
03 Shining (4:42)
04 Faith And Reason (2:27)
05 Pedestrian (5:00)
06 The Greeting (5:00)
07 Crosstalk (3:48)
08 Lagoon (4:52)
09 Riot (3:25)
10 Out Of The Fog (3:54)

Total time 42:15
LP released by Perimeter Records, P-001, Atlanta, GA, 1986

Perimeter Records was founded by Chris Swartz and Robert Hollis in 1986. Between 1987-1993, they released annual free promotional Christmas cassettes documenting the Atlanta underground scene, as well as compilations like the 1987 ‘Nine Underground’ LP, the latter including Swans’ singer Jarboe. Most of the material published by Perimeter was apparently recorded by Doug Hughes’ Solar Wind studio in Atlanta. The duo of Chris Swartz and Robert Hollis released 3 full-length LPs in the 1980s (see discography below). Both men were trained drummers and were known locally as instrument builders. Swartz designed the instruments, some made out of PVC, like this WNYC show demonstrates with an excerpt from their 2nd LP (mp3 here, from46:45 on). Self-build instruments were probably more apparent on Music for Homebuilt Instruments, than on ISO, their first release. The latter is still infused by New Wave-y keyboards and 2-notes bass lines, though the duo cleverly stays clear from easy songwriting – vocals are recited/read, not sung, for instance. Most (but not all) percussion is played by Swartz, while synths are played by Hollis. The use of library and documentary recordings add depth to some compositions. The last 3 tracks particularly stand out on this album: #8 ‘Lagoon’ has soft and mysterious maracas and wind chimes on a background of waves breaking on a shore. #9 ‘Riot’ superposes drums, synth and demonstration recordings, not unlike Heiner Goebbel/Alfred Harth’s famous ‘Berlin, Q-Damm 12.4.81′. The last track, ‘Out of the Fog’, is a mystical conclusion with drums a la Ummagumma and long-held synth notes. Chris Swartz also played drums with King Kill 33, Pineal Ventana or Broken Symmetry, amongst others. I wish I could find a copy of Music for Homebuilt Instruments one day.

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Chris Swartz and Robert Hollis discography:

• ISO (LP), Perimeter Records, 1986
• Music for Homebuilt Instruments (LP), Perimeter Records, date?
• 11 x 2 (LP), Perimeter Records, date?

Luciano Margorani ‘Home Recording Is Killing Studios’

01 Hop-Frog! (2:52)
02 Contrattempi (1:07)
03 Man with a Million (2:23)
04 Binocolo (3:14)
05 La meccanica dei fluidi (2:06)
06 Cappelli di carta (to Charles Ives) (2:08)
07 Il mondo nuovo (1:14)
08 1919 (:50)
09 Ridens (1:11)
10 Orbiston Parva (2:49)
11 Nodi (2:03)
12 Dirigible Nobile (3:25)
13 Focke Wülf 190.D (3:22)
14 Barbara Sukowa (2:15)

Total time 31:00
LP released by AYAA, France, 1989

After the first two La 1919 albums (his duo with Piero Chianura) in 1985 and 1987, Milanese Luciano Margorani, born 1961, went on to release his first solo album, ‘Home Recording Is Killing Studios’ on French label AYAA. His solo output retains some of La 1919’s characteristics: elaborated guitar parts with drum machine and keyboards, plus extraneous noises and found sounds. Thanks to the A.D.N. label and a few others, the worlds of industrial rock and avant-rock started to mingle a little, though I’m not sure the audience of the mid-1980s was actually ready for this kind of crossover. On ‘Home Recording…’, Margorani collected poetical sketches on guitar and Casio CZ 101 he recorded in 1987. The tracks are more focused than La 1919’s and the sound more polished, closer to the Fred Frith/Henry Kaiser duos. Like the former, Margorani is able to bring new ideas and surprising twists in his guitar playing, and to keep it exciting throughout. Both Margorani and La 1919 resumed publishing discs in the 21st century with several new releases each.

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Luciano Margorani solo discography:
1989 ‘Home recording is killing studios’ LP, AYAA
2002 ‘Solo concert’ CD-R, BoZo
2003 ‘Dopotutto’ CD-R, BoZo
2004 ‘My favorite strings’ CD, Isinaz
2005 ‘ ;-)’ CD-R, BoZo
2008 ‘Pseudocanzoni’ CD, BoZo

E ‘Live’

01 PRIOR (3:36)
02 ÚAN (Malá zkouška, Nastupiste, Absolutni Trenažér) (5:32)
03 Jen vyvlíkam hlávu z kruhu (2:17)
04 Uvnitř žárovky (1:27)
05 Nevzpomenu (1:32)
06 A on zde je a krmí tĕ (2:05)
07 Jeď (2:27)
08 Ať jsi nebo nejsi mluvím s tebou (4:11)
09 U váhy (3:42)
10 Marnost (5:17)
11 Cizí vize (4:22)
12 Žnec Kosí (3:02)

Total time 39:30
LP released by Aske Globus International (aka Globus), Praha, CR, 1990

Vladimir Kokolia: voice, lyrics, dance
Josef Ostřanský: el. guitar, hi-hat
Vladimir Václavek: bass, snare drum, drum

Moravian avant-rock trio E consisted of two members of Dunaj – a band that also included Iva Bittová and Pavel Fajt – teaming up with painter and poet Vladimir Kokolia (see official website). Josef Ostřanský and Vladimir Václavek possibly wanted to escape the more formated Dunaj song format to venture into art rock and performance territory. That E liked risky configurations can be seen in the fact this disc, their first LP, was recorded live (Brno, Feb. 15th, 1990) and each member played various instruments at the same time – remember this when you hear the first track: there’s no drummer. The interplay between guitar and bass is faultless, from elaborate melodic counterpoints to noisy guitar walls. Their style displays the usual Czech trademarks, with angular, Cubist patterns and melancholic mood. Detailed information on E here.

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Out Of Standard !! France 2

01 Denier Du Culte Au carrefour des directions infinies (3:24)
02 Déficit Des Années Antérieures Idée pour 6 guitares (14:00)
03 Moly Assassins d’eau douce (4:14)
04 Die Form Oltre (3:40)
05 Aversion Sonore Entity (3:24)
06 Orient Express Théorèma (3:14)
07 Toupidek Limonade Margot ( 4:24)
08 Société des Timides à la Parade des Oiseaux Sans titre (1:31)
09 Société des Timides à la Parade des Oiseaux Décompte (2:06)

Total time 40:00
Cassette+booklet released by ADN, #CC5, Italy, 1987

Another issue in the Out Of Standard !! series from ADN Tapes (see previous post of Italy 2), this one features French bands from the post-industrial rock scene as well as a few French luminaries who happen to be personal favorites, like DDAA, La STPO and Toupidek Limonade. DDAA contributes an unusual, massive guitar trio, apparently a track from a live performance including the 3 members on guitar, each duetting with a video of prerecorded guitar parts. I’m told this was the live set up of a few performances at the time. Toupidek Limonade starts with sad, detuned piano notes before their usual mysterious guitar parts and Pataphysical vocals (a grotesque love song) take the lead. The track was added to the CD reissue of ‘Il Y A Des Nuits’ cassette, on In Poly Sons. Interestingly, both Die From and La STPO use German language in their tracks. Nice surprise from Orient Express, a band I’m unfamilar with, with a mix of decent new wave, exotic synth loop and cute female vocals. On the other hand, a few contributions do sound like some Dungeons & Dragons soundtrack to me, but this is OK. Scans of the booklet included.

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Ron Anderson ‘Fever Dream’

01 Fever Dream (4:39)
02 The Point (6:35)
03 Three Friends Remembered (1:27)
04 Eastern Blues (5:48)
05 Closed Door An Open Door (7:04)
06 Visions Of Sand And Eyes (2:33)
07 Rainwater (9:48)

Total time 37:45
LP released by Tragic Mule, NY, 1987

Ron Anderson: guitars, bass, synths, percussion, drum, programming, vocals
Ken Clare: alto & soprano saxophones
Ed Rollin: oboe, english horn, tenor saxophone
Kathy Life, Oren Bloedow, Toby Crocket: vocals

Ron Anderson lived in New York from 1982 to 1989 before relocating to San Francisco to launch his famous power trio The Molecules (see discography). In NY he played in no wave bands Rat At Rat R and Yellow Tang, while helding improvised music sessions in his Brooklyn studio. Tragic Mule was Anderson’s own label, later to release the first Molecules CD in 1991. His first solo LP, ‘Fever Dream’ can be compared to Robert Horton’s early releases (see previous post) or Marten Ingle’s Tago Mago cassette (see here). It actually sounds like a lost classic, with its highly creative use of synth and reed instruments, clever synth and drum programming, a jazz sensibility, Asian and Middle-East music hints, and guitar solos a la Fred Frith ca ‘Cheap At Half The Price’. The music has ‘avantgarde’ written all over, though with a decidedly relaxed, West Coast flavor thanks to its clear-cut guitar parts, exotic keyboard sounds and great horn section throughout.

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Davy Walklett ‘Genitalmania’

01 The Story So Far (3:36)
02 Divine Intervention Now (4:20)
03 Tales Of Cruelty (2:08)
04 Bummer (3:24)
05 The Wages Of Action (4:53)
06 Venus In Furs [Lou Reed] (4:25)
07 I Want My Fruitgums (3:56)
08 Burn Toast (2:21)
09 Fabrication Alcoolique (:37)
10 The Fat Women Jeer (1:34)
11 Macramé Chicken (2:01)
12 Not Ben Kingsleys Penis (3:03)
13 Who The Devil Are You ? (:55)
14 Two Lines Cross (1:38)
15 The Clay House Invocation (2:08)
16 He Was Hatching A Duckegg (:46)
17 The Steer He Rides (3:59)
18 Cardinal Index Point (5:52)
19 All Along The Watchtower [Bob Dylan] (2:04)
20 Locker Room Etiquette (2:11)
21 Feeling Feeling (2:58)
22 Beneath The Valley Of Hellhole (1:01)
23 Pus In Boots (1:36)

Total time 60:00
Cassette released by Jarmusic, Berlin, Germany, 1989

A while back I posted a cassette by Davy Walklett compiled for French label Underground Productions. ‘Genitalmania’ is a compilation as well, this time for Jarmusic, a Berlin label led by Joachim Reinbold. Jarmusic was active from the mid-1980s to the mid-noughties and published many British surf rock bands like Deep Freeze Mice, The Creams, Martin Newell, as well as Legendary Pink Dots or R. Stevie Moore. Some of the tracks on ‘Genitalmania’ also made their way on ‘Sacred Hymns And Twisted Blues’, but also, strangely enough, on Srdenovic albums like ‘Songs From West of the Pelvic Girdle’. In a mail correspondence, July 2009, Milovan Srdenovic explains: ‘It took a little while to pin down who I should be’. Anyway, the Walklett alias was Srdenovic’s vehicule of choice for dirty blues tunes with blunt lyrics – the latter having more to do with Bukowski than, say, Yeats. With the exception of two cover songs, tracks are all Walklett’s original compositions. The style blends early blues a la Robert Johnson/Blind Willie Johnson with a 1980s cold wave/new wave sensibility. In a way, Walklett explores a connection between early US blues and UK’s cold wave, based on simple guitar chords and minimal bass lines. The fabulous ‘Bummer’ is typical of this vein. Walklett is no averse to synth, sampler, drum machine or harmonica (on the Dylan-like sounding #17 ‘The Steer He Rides’).  Track #15 ‘The Clay House Invocation’ is credited as ‘Pre-Bubbleheads’ in the track list, a band Walklett used to play with before going solo. The logo on the front cover is the Golden Testicle Of God symbol, the label of some of Walklett’s self releseases, like the Annual Jissom compilations.

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Possibly related:
Eva Perouk >
Milovan Srdenovic > & >
Davy Walklett >
Annual Jissom 1988 >

Festival Mimi 88 ‘Scène Ouverte’

01 Pierre Bastien Solo [bass clarinet+mecanium] -   2:16
02 Tenko Ueno+Catherine Jauniaux [voice duo] -   6:41
03 Tenko Ueno+Fred Frith [voice+guitar duo] -   5:48
04 Tenko Ueno+Bruno Meillier [voice+flute duo] -   5:03
05 Amy Denio+Frank Rühl [guitar+bass duo] -   2:38
06 Fred Frith+Ferdinand Richard [guitar+bass duo] -   5:26
07 Jim Meneses+Pavel Fajt [drums duo] -   5:14
08 Pierre Bastien+Ferdinand Richard [double bass+bass guitar duo] – 3:22
09 Pavel Fajt+Fred Frith [guitar+drums duo] -   6:22
10 Klaus Wilmans+Fred Frith [double bass+guitar duo] -   10:43
11 Marius Cesarienne+Olivier Masson [voice+sax duo] -   2:00

Total time 51:40
Cassette released by Association Aide aux Musiques Innovatrices, AMK,  3001, France, 1989

This cassette documents inprovising duos taking place after the regular performances of the respective artists at the MIMI (Mouvement International des Musiques Innovatrices) Festival, Salle Jean Macé, Saint-Rémy-de-Provence, France, July 1988. It is different from the LP and k7 release of the almost same title ‘Festival Mimi 88′. Tracks on ‘Scène Ouverte-Open Stage’ are unreleased on any other format.

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Coalmine 5 ‘Døden Drømmer Livet’

01 Døden Drømmer Livet (4:53)
02 Ismaela (2:08)
03 Eurasisk Slått (4:01)
04 Bushido (3:13)
05 Tynn Luft (5:19)
06 Scratching Train To Hell (2:33)
07 Ave Maria (2:09)
08 Sampo Suru (3:59)
09 Cold Mind (2:21)
10 Hermetisk Pingvin (1:35)
11 Gjeter Med Spaltet Tunge (2:00)
12 Blyantspisserens Sorg (3:19)
13 Der Og Da (4:30)
14 The Determinal Sky (2:30)
15 Jeg Vet Hvor… Landet La (1:17)

Total time 45:30
Cassette reissue on Tragic Figure, Portugal, TF 004, 1988?-90?

Personnel:
Zetlitz: voc, voice, perc, pipes, kbds, tapes
Anacleto: bs, bouzouki, kbds, voc, pipes, perc, tapes, gtr, clarinet
Felix Filius: voice, voc, kbds, gtr, pipes, perc, bs, bouzouki etc
Ato: voice, voc, gtr, perc, pipes
Sten Thure: drums, perc, gtr, bs, voc, pipes etc
Mentalnerve The Young: bs, gtr, voc, voice, pipes, perc, kbds, balalaika etc
Mentalnerve The Very Young: gtr, mandolin, perc, voc, balalaika, bouzouki, kbds, vacuum cleaner

Norwegian band Coalmine 5 was formed in the mid-1980s, first as a duo, then as a loose collective of 5 or more participants. This cassette was their first release, with tracks recorded from 1986-88 and first published in May 1988 by The Crawling Chaos label (ref. SHiT 016), in Aust-Agder fylke, Norway – my copy is the Portuguese reissue. Crawling Chaos was founded by Dave Jørgensen and Robert Ommundsen and was the label of legendary folk-psychedelic band Famlende Forsøk (info here, here and LP here). Coalmine 5 play surrealist, psychedelic-inspired folk music with Norwegian lyrics and a wide array of diverse instruments including flutes, bouzouki and jew’s harp. A few tracks are regular songs, the rest is grotesque chorales, obscure chanting and collective madness. Track#14 ‘The Determinal Sky’ is a cabaret number and, generally speaking, the music is rather theatrical thanks to many vocalists contributing in all kinds of styles (declamatory, grotesque, hushed or obscure). Typically, Coalmine 5 composed music to a theater performance of Alfred Jarry’s King Ubu. Whether the lyrics are folk traditionals or surrealist poetry, I can’t tell, but the music itself is a mix of both. The cassette title apparently means ‘Death Dreams Life’: a trip from death to life through dreams in the surrealist tradition.

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