AARRGGHH!!! GRANDSON OF ALL
ARSE-DESTROYING NOISECORE!!!
Disposer - 1999 Demo 1
Formerly hoarded lone release from this truly obscure noise-punk group (from Japan of course). They remind me of later Screaming Noise quite a bit, even sharing similar (though not as thin) production touches as that band's 2nd EP. Disposer is still wannabe Swankys-core, but smartly arranged for the style without any of the show-offy "look at how cooooool we are" easter eggs. Handsome schtuff that I'd enjoy far less pyrrhically if fucking tossers didn't treat it all like nuclear launch codes...http://www.mediafire.com/file/kh3sqsr31vh1qx1/Disposer_-_Demo_1_1999.zip/file
Inu - "Meshi Kuuna" LP 1981 & Live (Year? Alchemy LP?)
"Kō Machida (born 1962) is a Japanese author, punk rock singer, poet and actor. Machida formed a punk rock band called 'Inu' (dog) in 1978, for which he used the stage name 'Machida Machizō'. Inu released their first album, 'Meshi Kuuna!' in 1981. The band split shortly after the album was released. He went on to form a number of other bands, and though these subsequent projects earned reasonable critical acclaim, commercial success was limited."The band was somewhere between a sort of frantic wave and anxious pop, with a few segues into Fear's type of art student experimental territory (a trait Aburadako shared). Very catchy tunes, though I'm hard pressed to label any of it "punk". My fave track still remains "Uncle And Aunt" (track three on the studio LP).
Annihilator - "Welcome To Your Death" Demo 1985 & "Phantasmagoria" Demo 1986
"Along with Sacrifice, Voivod and Razor, Annihilator is credited as one of the 'Big 4' of Canadian thrash metal. Formed in Ottawa by Jeff Waters and John Bates in 1984, they named the band after the tank that Eddie Murphy's character rode on in the 1984 film 'Best Defense'. Waters and Bates then recruited drummer Paul Malek and bassist Dave Scott. This lineup lasted a year, producing a demo titled "Welcome To Your Death" during their time together. The demo received worldwide recognition and became highly sought after.After John Bates and Dave Scott left the band before its release, citing artistic differences and personality conflicts, Jeff Waters and drummer Paul Malek recorded another successful demo titled Phantasmagoria in 1986. This was said to be the third most traded metal cassette tape in the 1980s, behind Metallica and Megadeth's demo tapes. Waters relocated to Vancouver in 1987, where he assembled a new line-up, including drummer Ray Hartmann and former D.O.A. bassist Randy Rampage on vocals. They went on to become the highest-selling thrash metal group in Canadian history, selling more than three million albums worldwide. Waters is the only remaining original member left, and usually assembles session musicians to perform and tour with him."
MT-2 > HM-2...
DJ Cachexic - "Crazy Orange Nukes" EP 2008
"All tracks written, produced & mastered by Thomas Ponder (DJ Cachexic a.k.a. Goth Von Core). Tracks 1 and 2 are mega-experimental Industrial-Hardcore, track 3 is hard IDM made with kicks alone, and track 4 is Ambient/IDM. Track 2 was made as a 'diss-track', the lyrics were copied and pasted directly from a message sent to a friend of the producer. The sender's name will not be mentioned as Cachexic considers himself a nice guy. ^-^ " --Zeta 1 Records
Intentionally 192-kilobyte cheapcore that's...pretty sophomorish...but if we share the same mindset that even Bloody Fist wasn't built in a day, I think you'll enjoy this charming lil' digi-ep's squandered potential (Thomas 3:P.M.-Eternalled his projects in 2010 😞 ).
Graeme Revell - "The Insect Musicians" LP 1986
"Graeme Revell (born 1955) is a New Zealand musician and composer. He came to prominence in the 1980s as the leader of the industrial group SPK. Since the 1990s he has worked primarily as a film score composer. Some of his best known scores include The Crow (1994), Street Fighter (1994), Mighty Morphin Power Rangers The Movie (1995), From Dusk Till Dawn (1996), The Craft (1996), The Saint (1997), The Negotiator (1998), Bride of Chucky (1998), Titan A.E. (2000), Tomb Raider (2001), Daredevil (2003), Freddy vs. Jason (2003), and Sin City (2005). He is also known for his frequent collaborations with director David Twohy, having scored Below (2002) and the Riddick franchise. Revell has been assisted in sound design by Brian Williams, who creates dark ambient music under the name Lustmord."http://www.mediafire.com/file/h9ao2y6hfzt5z9p/Graeme_Revell_-_The_Insect_Musicians_LP_1986.zip/file
O.Y.M. / Infest - 85-86 Demos, 1987 Demo & "Slave" 12" 1988
Fat cokeheads playing H-A-R-D-C-O-R-E!!!
(O.Y.M. was Infest's drummer's first band, he then played in Deathdose with Matt Domino, which obviously morphed into the E-cogs deity we all know and blow. The rips/scans of O.Y.M.'s demos have been bobbing around for well over a decade, and came courtesy of Justin Relics. A short "bio" of his discovering the group, as well as line-ups and track titles are also included.)
Headcleaners/Huvudtvatt - Discography 81-84
Interview with Mats Nilsson 2011/2013...
Musically there is a big difference between Massmedia and Huvudtvätt, how come? Was it something to do with the move to the city of Linköping, and the discovery of new brutal bands?
Massmedia was a real band, but Huvudtvätt was initially supposed to be just my own solo project. I would call Massmedia a “raw punk” band, but over the years we mixed between styles quite a lot. Ever since I heard the Ramones in 1976, I have always been more fond of the extreme and raw side of punk, perhaps more so than some other punks. For example there was “musical differences” that lead me to quit my first band The Same, as early as January 1978, after we had played together for less than 4 months. Standard punk had already become too wimpy for my tastes. It was Per Kraft, my classmate at school in 1976, who got me into his band in the spring 1977, he was a divinely gifted musician. It was just two guys who played guitar in Per’s garage. He taught me how to play the bass. But nothing ever happened with that band, but it was the embryo of The Absolute Swine, which would form in late September 1977. Two quick name changes in its first month and finally the band settled for The Same, which is usually described as Sundsvall’s first punk band. My other band, Massmedia, broke up partly because of the same reasons. Brodde, our first singer, quit in the summer of 1979. He was too wimpy in his musical tastes, and probably already on his way into post-punk. I did not like that, and the band was “not big enough for both of us” (as Brodde once said in an interview). Massmedia ended in the autumn of 1980, when Torulf and I moved to Linköping for university. I studied the “Y-line”, i.e. Physics and Electrical Engineering, majoring in Computer Engineering, 1980-84. Massmedia had a reunion during Christmas 1980 when we (me, Torulf and Patrick) recorded two new songs for the compilation record “Andra Bränder”. Already in the early spring of 1981, I was eager to do something new in punk rock. I knew I wanted to do even more extreme punk (than the type that Massmedia played). I had heard a lot of Discharge, but also American bands like Minor Threat, Teen Idles, State of Alert and Black Flag etc. Torulf had bought some records with him from a study trip to the USA in the spring of 1981. When it was time to start “my” band, I did not know any other “studio musicians” (joke!) than Torulf (editors note: Mats’ brother) and Patrick from Massmedia. I knew what they could do so it was just natural to ask them first. We hooked up our singer Huw through our mate Janne Andersson from Uppsala. As a note by the way: In the summer of 1980 I went around Europe by train with Janne (who was an old Massmedia fan). We got to know each other pretty well and visited punks and record stores on the way, including in Germany and Holland. In England, we met Janne’s mate Andy who had started Xcentic Noise Records And Tapes in Hull, who mostly released compilation tapes.
How come you had the name Headcleaners for the foreign market and the name Huvudtvätt for the domestic Swedish market? And why this obsession with cleaning?
I had a cleaning cassette cartridge in my dorm room in Ryd (Linköping), called Head Cleaner, so when we were brainstorming band names it just happened to come up. But, we were supposed to sing in Swedish, and translated it became Huvudtvätt, which sounded cool. I’m a humorous guy who likes to joke about most things to most people. I think the theme (which was first “washing”, but then became a broader concept of “cleaning”) just happened when the music for the first record required lyrics. It came of course from the band name (and from the very first song we wrote). After that it was just too hard not to run with it…Janne in Uppsala asked us already back in 1981 if he could release us for foreign markets (in English). Sure, of course, we gladly told him. His label was to be called Malignant Massacre. And of course we had already invented the “English” band “Headcleaners” (indeed before Huvudtvätt). My brother and me are very resourceful and market-oriented people. We decided early on that we would record 8 instrumental songs in Sunsdvall. Then we laid vocals on each song in two different sessions, six Swedish and seven in English. We also had Janne (to freely) produce the English version, while “Mono Toni”, which was our producer’s alias (Moses Zero’s son, from my old stage name and Nill=Noll, and Torulf Nilsson), mixed the Swedish version in another studio (“Bastun” in Stockholm). The very first mix, in Swedish, from the Sundsvall studio is on the Xcentric Noise-cassette “Beating The Meat”. It is not the same mix later released on the EP.
How did you come in contact with Really Fast, and what do you think they did for the Swedish punk scene?
During the time in Linköping we came in contact with Patrik Jonsson who together with Staffan of Kurt I Kuvös ran Really Fast. We got along with Patrik and bought / sold / traded records with each other. Really Fast asked us if we wanted to be on the compilation (1983), which we thought sounded like fun. Some people apparently had some “problems” with the Really Fast’s hard-line unit price (“Pay More Than”), but we were also into the low budget / self-cost price. We would much rather sell more copies of a record than become rich. The Really Fast guys were also just the type of enthusiastic do-it-yourselfers who were driving Swedish punk. Admittedly, the split LP with Kurt I Kuvös (KIK) that Really Fast released in late winter 1984 was mostly made for the money, which however was only a couple thousand crowns split between us. Of course we had the urge to release more records by ourselves, but our drummer Patrik Tanner had already immigrated to the United States at that time. Patrik Jonsson arranged so that Staffan from Kurt I Kuvös helped us. Staffan was a different kind of drummer, which you can tell because there is a different sound on the LP. Overall, we think that our side on this LP is a bit like a rushed job. I definitely think that Really Fast did a lot for Swedish raw punk, but at the same time they did not have a unique role. Nor do I think that there was anyone in Sweden who was dominant in the scene, instead there were one or more persons / organizations in every Swedish medium-sized town that were driving local punkscenes and helping to make larger regional punk scenes.
Tell us a little about Janne’s label Malignant Massacre! Do you know if the label released more than the Huvudtvätt Disinfection EP, the Skitslickers EP and Anti-Cimex’s Victims of a Bomb Raid EP? Is it true that he (Janne) wrote most of the lyrics to both Huvudtvätt and Headcleaners?
Janne wrote all the lyrics for Headcleaners (in English), but I mainly (with the help of Torulf and later singers) wrote the Swedish lyrics. Janne was a serious guy, so it was more classical/anarchist punk lyrics. Malignant Massacre released just the three records. Janne paid for the first two. He did the same with Skitslickers, as Headcleaners, in other words released the record for the ‘English’ market, under the name “Shitllickers. The third record on MM, Anti Cimex’s Victims of a Bombraid, was however done by me, financed by me with Mats Bodenmalm (from Nässjö, but now living in Gothenburg) as principal. Mats was our contact with Anti Cimex. I released the record on Malignant Massacre because we did not have our own “hardcore” label. Janne was a punk rocker that I don’t think played in any band. He bought records (as a collector) and was in contact with bands, record labels and other collectors. These days I have no contact with Janne, who left punk early, but I know he still lives in Uppsala.
You released your last EP “The Infection-Grows” on Xcentric Noise Records in 1983 and the artwork was made by Pushead. However who made the artwork for the Disinfection EP?
It was one of the Janne (Malign Massacre Records) friends, Fredde from Uppsala.
How many copies were there of the split EP with Picnic Boys? There are conflicting information regarding the record.
610 copies were pressed, of which 310 had Huvudtvätt on the cover and 300 had Picnic Boys on the cover.
Did Headcleaners really have four different singers? Please would you name each of them and explain who was on what record etc.
In this case, I have not looked up the exact months and so on, but yes, we had four singers. Huw, Hasse, Lasse, and Janne. Firstly, it was Huw The Horrible in 1981. Then secondly Janne Andersson in 1982. Thirdly Hans Nilsson from Skövde in 1982-83. And finally Lars Persson in 1984. (Hans and Lars were Torulf classmates at University). Janne actually sang for Huvudtvätt / Headcleaners on our only live performance in September 1982 at Woodstock, the club in the basement of Skönsbergs Folkets Hus, in Sundsvall. It was not a successful show. Janne “who had not been in the band previously “forgot” some of the lyrics and Patrick had drunk a whole bag full of beer. We had trouble with the sound and the guitars were out of tune...but it was hilarious nonetheless. This concert is documented on video, which unfortunately has really poor sound. Therefore we mixed the film picture with the sound recorded on tape by the sound engineer Göran Tungström. This new version of the video has sadly gone missing, as well has the audio tape. A copy of the original video is still around, now transferred to a digital format. Hans sang on the three songs we did for the Really Fast compilation (and the Xcentic record. I think). Lars (and I) sang on the split with KIK.
When did you first hear d-beat, both as a drum beat and as a concept?
I have never heard of d-beat. I had to Google it and found the Wikipedia page on D-beat, which gave me a good laugh. I think this kind of genre creation just confuses (for example see all the varieties of metal these days). But I understand that the people involved want to be able to describe more precisely the style of music they play. That said I’d guess it’s “hacks” who invented terms like this. (Note on my musical background: Played the flute for many years, including in the Kommunala Musikskolans Youth Orchestra in Sundsvall, but I quit towards the end of high school. Then I started playing electrical bass guitar in the spring of my first year at college, at the age of 16.5. Self-taught with the help of Per Kraft)
What would you classify as the first Swedish rå-punk band (raw punk), and why? How do you define rå-punk (raw punk) at all? Was it a term that you used early?
Yes, of course Headcleaners were rå-punks (raw punks), but we used the expression ‘rå-punk’ (raw punk) long before 1981. Rå-punk is fast punk rock with a lot of distortion, in my opinion. Can’t remember when the term “hardcore punk” came to Sweden but we did not use it ourselves anyway. As the term ‘rå punk’ was already used during the first wave of punk, I would say that Kriminella Gitarrer must be one of the best Swedish bands of all time. In the second wave Anti-cimex was early, and of course us in Huvudtvätt. There were probably many more around the country at the same time, and a lot of bands came just after us, which means it should have been in 1982, but these other bands could easily have formed as early as 1981. We were quick to release our first record, because we were very experienced (as punk musicians) and we did not need to rehearse that much. Huvudtvätt was indeed solely formed to make records. We did not have any concerts (except the one in September 1982) or anything else to prepare for. The songs were written by me over the course of a few months, then the lyrics were later written in two days. First Torulf and I rehearsed, then we played with Tanner in Sundsvall, Sweden (during the summer break). A while before our allocated studio time we recorded our music on cassette tape and sent it down to Janne & Huw in Uppsala. The two of them with Huw’s girlfriend came up to Sundsvall in early August 1981, and then we recorded everything in two days at the KFUM-studio on 16-channels.
Why do you think that Sweden produced so many high-quality raw punk bands in the early 80’s? When the neighbouring countries to Sweden, with the exception of Finland, did not come up with many comparable classic bands?
Sweden had a big punk rock boom in 1979, following the first wave in 1977-78, with lots of new bands. The following year (1980), a lot of these bands broke-up due to different musical tastes. Some new bands then went to the extreme side, others to the so-called post-punk. Influences came mainly from American bands, and not the tough English punk bands. English punk quickly became “too fat and lazy” (as did the “Oi”-style). There was however some exceptions, of which I have to mention Discharge. Finland also had many good bands. I often made trades and bought records from Voitto “Vote” Vasko. Because I had a mailorder distro during my years in Linköping. Sweden is also more Americanised than the neighboring Nordic countries. Most in a bad way I think, but maybe this had a role in creating a second wave of punk in Sweden.
Please give some comments about the following bands and what you think they have done for the Swedish punk scene: Moderat Likvidation, Anti Cimex, Mob 47, Skitslickers and Disarm.
Anti Cimex were important to us. Not as role models, more because they were one of my favourite bands. We saw them in Linköping, Sweden (1982/1983?). Also I think they were important for Swedish Punk, which for some years spread around the world, and for other Swedish bands. That was more raw than anything we did. I think Mob 47 started a bit later, but I understand that they were important role models for many. They did not enter my world until several years later. The other bands that you mentioned I also liked even though I can’t say either of them were my favourites. I’d rather name Asta kask, because they were really funny when they came out (Note: my older sister was in charge of the Rockdepartementet radio show on Swedish Radio SRP3 with Mikael Nilsson, for some years in the early 80’s. They brought a variety of rock and punk bands, although I don’t think they ever played Huvudtvätt. Asta Kask stayed with my sister during a visit to Skara, where she lived in the 80s). Already in 1981 we felt like “punk rock veterans”, and weren’t so active because of our studies. Huvudtvätt was therefore mostly a “studio band”, which only formed (and with members only meeting) to record the records. Of course we did it because we thought it was fun, but also because we thought we knew how to do punk rock and wanted to create something of our own. We did in principle always everything ourselves (in other words truly “DIY”). Our own records were often used to trade for other records. Bands often used to trade a 7” record box (25 copies) with others. Us provincial bands could hardly expect to get a record deal (even if we want it) or we were simply too poor musicians. And I would like to point out that punk was a movement that allowed everyone the right to do whatever they wanted.
What is your reflection on the high prices on “vintage” punk records? Some of the rare releases go for several hundred dollars on eBay in the recent years!
I understand that there are collectors that are prepared to pay a lot of money for punk records. It is possible a type abuse. I guess some want to flash with their rare records. Luckily I have kept most of my hardcore records, some I have sold or rather given away to people I like. Over the years there have been some scavenger trying to get stuff out of my collection, without success. As I mentioned earlier I used to trade and sell records back in the early 80’s so I got access to a lot of records.
What happened after you stopped playing in Headcleaners? Do you still listen to punk?
I moved to Stockholm. At that time, around 1984, I went to a lot of punk concerts at that time but did not play in any bands. Today I listen to a different style of music but the DIY is still attractive. I still listen to punk and still really enjoy the early US hardcore bands.
Have there been any thoughts about a Headcleaners reunion? What are you opinion about punk bands that play reunion shows nowadays?
Headcleaners have no plans to reunite. Unfortunately it is very unlikely that it could ever happen as I live in Stockholm, Torulf in Oslo and Patrik Tanner in the United States. But I still occasionally get offers to reissue our old records, re-start the band with new members, make new songs for other bands, or even be involved in various punk bands currently active. It is an honour, but it is unlikely that anything like this will ever happen. What is more likely is a Headcleaners discography record which has been under discussion for many years now “All of Headcleaners/Huvudtvätt” or whatever it may be called. Unfortunately, I am often disappointed by reunited bands. Old and slow. Mob 47 still sounded good, or even better, when I looked them up at MySpace and their website.
You have not revealed any scandals or mayhem from your hardcore years! Anything on that?
I took Huvudtvätt quite serious and did not engage in any “mayhem”. My brother however was in Washington DC in 1981 the first time. That’s how we got all the early US hardcore records. At some time he met Jeff Nelson (the drummer of Minor Threat) or Henry Rollins ( S.O.A.), I can’t remember now. Talking about Swedish hardcore they said they liked Headcleaners but not Huvudtvätt, haha!
Illusion Of Safety - "Violence And Geography" Tape 1987
"Since 1983 Illusion Of Safety has been the ongoing project of Daniel Burke, working alone or with various collaborators. He has released over 20 recordings on labels such as Soleilmoon, Staalplaat, and Tesco (amongst many others) and played over three hundred concerts in Europe and North America. IOS's work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but Burke is unwilling to limit the band to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance, all to facilitate the listener's direct access to their psyche, emotions, and 'the infinite' so as to address the necessity of balance and the nature of dichotomy."
Interview with Burke from "Spinal Jaundice" Issue 9 (1989)...
Who is Illusion of Safety?
I began working with a band called 'Dot Dot Dot' in 1984. They were a progressive rock group and we did a few performances together as Illusion Of Safety. They enjoyed the opportunity to ignore musical structures and do something experimental. Dot Dot Dot broke up, but I continued to work with Thyme Jones and Chris Block (from DDD, also members of Cheer-Accident). I also work with Mitch Enderle (he has a solo tape of industrial grind called “Dead Tech”), Spark Lunch (our disco man), Mark D. Clein (our photographer), and our newest member Jim O’Rourke (later in Sonic Youth). IOS is a revolving membership, I work with whoever is available or appropriate. Many of our pieces are individually oriented or collaborations of 2 or 3 members. Of our releases, “In 70 Countries,” “Fifteen” and the two live tapes are good examples of our ‘group’ work. Thymme, Chris and Jim are the only ‘real’ musicians in the band, but that doesn’t stop the rest of us, we all do soundwork, and I am often the one attempting the more musical structures. I do the funding, booking and most of the graphics and correspondence. Jim O’Rourke has taken over the networking thing, he has a few excellent solo tapes out and he was the founding member of the 'Elvis Messiahs'.
Can you describe the kind of music you perform?
They call it ‘industrial’, so do I, even though I can’t really define that term. It has been described as ‘the soundtrack to nightmares you don’t remember in the morning’. We do power electronics, sound collage, decomposition, ambient emotive fields, information drifts, and totalitarian pseudo-rock.
Even amidst the rough sounds of some of your music, I’ve still noticed a sort of sublime element. Would you consider this an intrinsic factor in your material?
Most of our sounds I would not consider rough, and I’m not sure what you mean by sublime. We attempt to make every piece stand out in some way, whether it’s subtle or in your face.
IOS has done a good deal of collaboration. What are some benefits you think can be achieved from by-mail tape collaborations? Or hindrances?
Working by mail allows time and space for adding elements and offers a chance to work with someone who you don’t live near. I’ve taken far too long to finish the only mail collaboration tape of IOS, with PBK, City Of Worms and John Hudak. Jim O’Rourke is also working on collaboration tapes with PBK, City Of Worms, K. Null, and others.
Do you think experimental music has experienced any homogenization in the past few years?
Most music becomes more homogenous as it gets more popular. But there will always be a wide variety of things happening in the underground.
Is IOS a touring outfit?
Yes we’ve done some traveling. We played in Pittsburgh on August 13, 1988 with Algebra Suicide and Research Defense (two Chicago bands). We did four shows in Colorado in July of 1988. We went back out west to Denver and did three shows in the San Francisco area in June 1989. We also played Milwaukee and Madison, Wisconsin a few times.
What kind of things go into one of your live shows?
Before this year it was us and our equipment. No visual elements, just a serious attempt to manipulate our equipment and produce the kind of sounds we like. Recently we’ve begun using lights/shadows, slides and video. We’ve also gone to strict improvisation over the last year. We used to do interpretations of our pieces, but found that improv is more enjoyable for all concerned. The focus of our performance remains with the kind and quality of sound produced while being able to listen to and react to each other. We have always used tapes, contact mics and synthesizers, but have gotten away from the drum and bass thing (although these will crop up from time to time). Lately we are concentrating on sampling and DX-7 work
Is the live medium an equitable one for you?
I’m not sure what the audience gets out of it, but we enjoy the contact and need to perform at least once every few months.
Is Chicago really the murder capitol of the world?
Yes, Mike. It just so happens to be.
Are there any groups/individuals that you feel influence your recorded work?
My inspiration to do this came from seeing Throbbing Gristle’s final two performances. Most of the members of IOS listen to industrial music, but our tastes are very diverse. I’ve been listening to Slayer, Madonna, Prince, Metallica and Public Enemy lately, but this influence only shows up in the music collages. I would have to say that The Hafler Trio and Nurse With Wound (having done the most interesting post-industrial soundwork) are big influences.
What are your thoughts on the alleged CD revolution wiping out albums?
The big money will try, after all they can make more profit on CDs. But our kind of records will be around for some time. Records in the mainstream stores are being replaced by CDs but who cares about that? I don’t own any CDs, so when I can’t get the new Slayer on CD I’ll just have someone record it on cassette for me.
What types of things do you look for in background material?
It should be disturbing, true or funny in some sick way.
You also manage the 'Complacency' mail order label. What all is happening?
We have some new releases on our label. Two split LPs. The first is Eric Lunde/Hands To. Eric used to be in Boy Dirt Car, these days he’s working on his own, and doing some great stuff. On his side, 'Tape Death Cut', he uses his erosion recording process one step further with the use of Mirage sampling, and ends the side with two beat pieces that could be Wax Trax material. Hands To is Colorado’s Jeph Jerman using sampled sounds from actual events to affect the central nervous system. Hands To’s 'Vinhilation' is quite subtle and has a nice contrast to Eric’s side. The other split is IOS (live)/Holeist. The IOS is from three live shows in July, 1989, and is mostly ambient. Holeist is a project I did with Eric Lunde and Jeph Jerman. We worked in shifts with the sampler to create some very effective and abrasive noise. IOS has just released a box set (limited edition of 150) containing two C-47 cassettes and various laminated graphic inserts. Complacency has just released a new tape, Holeist live on one side and Runzelstirn/IOS/Gurgelstock (R.I.G.) on the other. R.I.G. is a collaboration Jim and I did with R&G of Switzerland, lots of abrasive concrete with samples and DX-7. IOS is finishing up a tape of severe noise for 'Nihilistic Records' of the Netherlands, and 10 minutes of new material for a CD of Chicago experimental music coming out on Franz Liebls’ 'Priapismus Software' label in Germany. And finally we are beginning work on a new 8-track studio LP for summer 1990 release.
Cabaret Voltaire - "Methodology '74-'78 Attic Tapes" 3xCD 2003 & Peel Session 6-25-81 (Never Formally Released)
"Cabaret Voltaire were an English industrial pioneer initially composed of Stephen Mallinder, Richard H. Kirk, and Chris Watson, naming themselves after a Zurich nightclub that served as a Dada movement center in the early 1900s. Formed in Sheffield in 1973, they experimented widely with sound creation and processing. Some of these early experiments were first documented on the Industrial Records cassette '1974-1976', then later on the triple CD set 'Methodology '74/'78: The Attic Tapes'.They eventually turned to live performance, often sharing the bill with Joy Division, eventually signing to 'Rough Trade' and achieving a degree of critical and commercial success (mostly via a morphing of their style into melancholy "dance"). Watson left the group in 1981, co-founded 'The Hafler Trio', then became a BBC sound engineer and soloist. Mallinder also recorded as a solo artist in the 1980s, collaborated with Soft Cell in the group 'Love Street', and was also a member of 'Acid Horse' with Al Jourgensen of Ministry. Cabaret Voltaire sporadically continues to this day, with Richard H. Kirk as its sole remaining member."
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