Bubonic Plague / Geneva Jacuzzi
Bubonic Plague – Dracula
Geneva Jacuzzi – Do I Sad?
Watch the unofficial version here.
11 Nov 2013
Punk aversion Pt. III
 |
| Dead Kennedys Bedtime For Democracy LP (Alternative Tentacles, 1986) |
Dead Kennedys – Chickenshit Conformist
 |
| Time To Think Where The Hell Is Andrew? 7" (Thinking Time Records, 1992) |
Time To Think – A Bunch Of Cults
 |
| Teenage PhDs Teenage PhDs 7" (Erectile, 1980) |
Teenage PhDs – Punk Rock Is Dead
More info here.
By the way, is it just me or these guys ripped off The Fall's “Various Times” intro?
5 Nov 2013
How minimal can you get? #66
Big Black
“Big Black is a one-man band; Albini wrote the songs, sang/shouted the vocals, and played all the instruments (guitar, bass and a little organ), save a few yells and atonal sax blasts contributed by friends. He also recorded and mixed the disc, designed the cover, and came up with a bizarre variety of inserts – fishhooks, scary photographs, locks of Will Tizard's hair, etc, for the first 1,500 copies. Total cost: $1,870 and a case of beer for a friend who provided a four-track recorder. Albini picked up the tab using his college financial aid money.” Jim Cress (Matter #1, January 1983)
“If a record takes more than a week to make, somebody's fucking up.” Steve Albini
Big Black – Steelworker
“Big Black is a one-man band; Albini wrote the songs, sang/shouted the vocals, and played all the instruments (guitar, bass and a little organ), save a few yells and atonal sax blasts contributed by friends. He also recorded and mixed the disc, designed the cover, and came up with a bizarre variety of inserts – fishhooks, scary photographs, locks of Will Tizard's hair, etc, for the first 1,500 copies. Total cost: $1,870 and a case of beer for a friend who provided a four-track recorder. Albini picked up the tab using his college financial aid money.” Jim Cress (Matter #1, January 1983)
“If a record takes more than a week to make, somebody's fucking up.” Steve Albini
 |
| Big Black Lungs EP (Ruthless Records, 1982) |
Big Black – Steelworker
How minimal can you get? #64
Voice Farm
“Voice Farm is a San Francisco based techno-folk duo consisting of vocalist / composer Charly Brown and sound designer Myke Reilly. Voice Farm began its musical journey around 1980. Founding members Charly Brown and Gary Miles performed in San Francisco at The Mabuhay Gardens and The Deaf Club. Patrick Miller of Minimal Man was a brief member of Voice Farm at this time. After performing twice with Patrick at The Fab Mab Gary & Charly realized it was not to be. Patrick did not believe in rehearsing or learning a 'song' per se. At any rate it was way more fun to see him live than to perform with him.” Official site
“The first Voice Farm performances were way outside of the then current trend of nihilistic punk bands with guitars. Charly and I always agreed on one thing. Stark minimalism and modernism with a subversive undertone throughout. Bauhaus inspired dancers dressed as downtown executives provided a syncronized backdrop for our live shows. The audiences were split on us as we defied the punky nihilsm of the era with our new brand of modernist art house pop. By the early 80's we had attracted a large cult following and we were being approched by nightclubs, managers, labels etc.” Myke Reilly
“This is where it all started. In a basement room lined with egg cartons, two synthesizers, a broken Farfisa organ and a beat box. Voice Farm’s first single came in a variety of handmade silkscreened covers. Red, yellow and blue. Former band-mate graphic artist Gary Miles worked his magic on these.” Official site
Voice Farm – Sleep
Listen to the 7" here.
More info here.
“Voice Farm is a San Francisco based techno-folk duo consisting of vocalist / composer Charly Brown and sound designer Myke Reilly. Voice Farm began its musical journey around 1980. Founding members Charly Brown and Gary Miles performed in San Francisco at The Mabuhay Gardens and The Deaf Club. Patrick Miller of Minimal Man was a brief member of Voice Farm at this time. After performing twice with Patrick at The Fab Mab Gary & Charly realized it was not to be. Patrick did not believe in rehearsing or learning a 'song' per se. At any rate it was way more fun to see him live than to perform with him.” Official site
 |
| Human Hands, Nervous Gender, Voice Farm @ the Hong Kong Cafe, Chinatown, Los Angeles, CA 1980 |
 |
| Voice Farm (Gary Miles, Myke Reilly, Charly Brown) |
 |
| Voice Farm Sleep/Mödern Things 7" (Optional Records, 1981) |
Voice Farm – Sleep
Listen to the 7" here.
More info here.
How minimal can you get? #63
Quite Ridiculous Nonsense
“This excellent EP comes shrouded in the sort of mystery that can cause mild bouts of arrhythmia in serious collectors. The Montreal band (?) was the brainchild of one Daniel Foley, who after all these years seems to have eluded the great algorithmists at Google. And like many of those bands that probably fed Foley's obtuse post-punk visions, the four songs here are definitely 'ideal to get rid of your unwanted visitors', as the liner notes so ominously warn us. The most obvious reference point has to be West Yorkshire's equally obscure heroes the Distributors, whose quirky, robotic base riffs and detached vocal wouldn't seem so out of place next to Foley's riveting 'General Attitude' on side one. Over on the flip, the industrial 'Identity Crisis' sounds like an outtake from Cabaret Voltaire's Rough Trade years, while the curious noodling on 'Boredom' shows that Foley might have had a chance meeting on a turntable with Nurse with Wound's early catalogue. A mint copy of this went for 160 bucks in 2012, while the band's follow-up 1986 cassette Poor Work has fetched a healthy 78 dollars, so good luck getting your hands on one of these.” Michael Panontin
“Most ace industrial wank of that rare late 70's variety. Wildly entertaining experiments in four track flatulence and transistor radio static.” Johan Kugelberg
Quite Ridiculous Nonsense – General Attitude
Listen to the whole EP here.
“This excellent EP comes shrouded in the sort of mystery that can cause mild bouts of arrhythmia in serious collectors. The Montreal band (?) was the brainchild of one Daniel Foley, who after all these years seems to have eluded the great algorithmists at Google. And like many of those bands that probably fed Foley's obtuse post-punk visions, the four songs here are definitely 'ideal to get rid of your unwanted visitors', as the liner notes so ominously warn us. The most obvious reference point has to be West Yorkshire's equally obscure heroes the Distributors, whose quirky, robotic base riffs and detached vocal wouldn't seem so out of place next to Foley's riveting 'General Attitude' on side one. Over on the flip, the industrial 'Identity Crisis' sounds like an outtake from Cabaret Voltaire's Rough Trade years, while the curious noodling on 'Boredom' shows that Foley might have had a chance meeting on a turntable with Nurse with Wound's early catalogue. A mint copy of this went for 160 bucks in 2012, while the band's follow-up 1986 cassette Poor Work has fetched a healthy 78 dollars, so good luck getting your hands on one of these.” Michael Panontin
“Most ace industrial wank of that rare late 70's variety. Wildly entertaining experiments in four track flatulence and transistor radio static.” Johan Kugelberg
 |
| Quite Ridiculous Nonsense A Failure… EP (1984) |
Quite Ridiculous Nonsense – General Attitude
Listen to the whole EP here.
2 Oct 2013
Synth to the core
Asbestos Rockpyle
“Asbestos Rockpyle did an EP and three cassettes but the 'Police State' 45 remains their magnum opus. Singer/lead guitarist/lyricist/producer Paul R.W. Clark released cassettes on his own and contributed songs to several Mystic compilations. Anatol Sucher, who wrote the music, here, moved to Santa Cruz, where he ran a spin-off cassette label Warped West, and later recorded solo and with Fizztabs, Twelve Tablets, and Noisemoustache in S.F.” Chuck Warner
“A side is sleepy punk with funny guitars (no rhythm - just solo) and a singer who has been practising a long time to sound like Joe Strummer of The Clash. B side has cheap synth drums and fuzzed voice; meant to be haunting, but it’s rather funny. Actually this is real bad but also entertaining.” Burkhard Järisch
“Now, this is weird. The punked-out guitarist on the cover doesn't exactly prepare one for the music – a unique amalgam with drum machine, synth, psychedelic guitar, and alternately sung and treated vocals. 'Bombs' is almost folky, but the uptempo flip has mucho abrasive power and plenty of appeal.” Jeff Bale
Asbestos Rockpyle – Police State
Get it here or here.
Damage
“Damage was an Orlando based synthetic hardcore band started in the early 80's and playing up until the early 90's. After inventing synthesizers, punk rock and beer, Damage went on to create the entertainment mega complex called Club Space Fish and summer vacation get-a-ways called Camp Space Fish. After being caught possessing both weapons of mass destruction and the Satan cat battle wagon, Damage was considered to be too powerful to exist and was disbanded by Captain Jack Wallace, officer Pickle Nose and the ATF. They were scattered across the country to places like Atlanta, Colorado, Brooklyn, San Francisco and Okahumpka and placed on a list forbidding the members to purchase any Peavey equipment, ICBMs or humbydoos.” Official site
“Before they were disbanded, Damage toured the country 4 or 5 times opening for some of their favorite bands including the Dead Kennedys, the Adolescents, Government Issue, Battalion of Saints, SNFU, The Angry Samoans, Flaming Lips, Alien Sex Fiend, and many others… Damage released three LPs and two 7" eps. They were punched, got arrested for disturbing the peace, drove a school bus and before the bus, a station wagon with stainless steel teeth.”
“When we played the warehouse, Regina made us the best chili. When we played the Electric Banana in Pittsburgh, Johnny Banana got sentimental and told us 'we had heart' as he spit in our ears and scared the hell out of us. When we played the Graystone in Detroit, Scary let us crash at his bar and at his apartment and took us swimming at the lake. When we played in Chicago at the Starluck and Exit clubs, we crashed in the old Touch and Go office and found leftover printouts of Meatmen 7" cover art, cartoons and a copy of 'The Joy of Sex' with crazy hippie illustrations and lots of good info. In Houston at the Axiom, we showered in the open, back stage while standing on a crate under a pipe that spilled out cold water. We followed the Adolescents to a party after the gig but stopped to get free subs with our counterfeit club cards and by the time we got to the party, it was busted because one of the Adolescents punched a local. And we met a lot of cool people.”
Damage – Radio Shack You Suck
Get it here. More info here.
Earth Dies Burning
“Rather than guitars, we used Casio VL-1s, cheap consumer monophonic synthesizers that, when hooked up to Brad’s amplifier and backed by a rough assortment of drums and broken cymbals, sounded surprisingly aggressive. Thus we became practitioners of 'synth-punk', though we did not use that term at the time. We may well have been the first teen punk band in the Los Angeles area to feature a bassoonist.”
“EDB’s songs tended to be simple, sardonic or absurdist affairs. We had a lot of songs about food. Blasphemy also clearly had an appeal for us; this was pretty safe territory for secular Jews, but it’s clear that we were disgusted by the increasing power of the Christian right ('Moral Majority' at the time) in American culture. In general we were liberal with our outrage, though our targets shifted unpredictably and sometimes incoherently. Take 'Another 6 Year Old' – just who are we sympathizing with in this song?”
“At our rehearsals, usually at Brad’s house, we might take breaks to listen to music: the Meat Puppets’ 'In a Car' EP, Trout Mask Replica, the first SPK album, Public Image Ltd, Crass. Or to eat Twinkies and Ding Dongs while watching videos: Pee Wee Herman appearing on David Letterman’s show; SCTV; or New Wave Theatre. When we wrangled an invitation to a New Wave Theatre taping, we were thrilled. Our performance never aired, its various camera angles presumably all going into storage after host Peter Ivers was tragically murdered in 1983. (What a surprise when a clip from one of the cameras surfaced a few years ago!).”
Earth Dies Burning – Pork Yogurt
Get it here. More info here.
Without a doubt, the reissue of the year. But hey, what about Thrash Dumbos and North Valley Psychic Opera now?
“Asbestos Rockpyle did an EP and three cassettes but the 'Police State' 45 remains their magnum opus. Singer/lead guitarist/lyricist/producer Paul R.W. Clark released cassettes on his own and contributed songs to several Mystic compilations. Anatol Sucher, who wrote the music, here, moved to Santa Cruz, where he ran a spin-off cassette label Warped West, and later recorded solo and with Fizztabs, Twelve Tablets, and Noisemoustache in S.F.” Chuck Warner
 | |
| Asbestos Rockpyle (Paul R.W. Clarke) with Dana DeNike. David Waldman |
 |
| Asbestos Rockpyle and No Trend @ The Ritz, Washington DC, 1983 |
 |
| Asbestos Rockpyle Bombs From Belfast/Police State 7" (Warped, 1983) |
Asbestos Rockpyle – Police State
Get it here or here.
Damage
“Damage was an Orlando based synthetic hardcore band started in the early 80's and playing up until the early 90's. After inventing synthesizers, punk rock and beer, Damage went on to create the entertainment mega complex called Club Space Fish and summer vacation get-a-ways called Camp Space Fish. After being caught possessing both weapons of mass destruction and the Satan cat battle wagon, Damage was considered to be too powerful to exist and was disbanded by Captain Jack Wallace, officer Pickle Nose and the ATF. They were scattered across the country to places like Atlanta, Colorado, Brooklyn, San Francisco and Okahumpka and placed on a list forbidding the members to purchase any Peavey equipment, ICBMs or humbydoos.” Official site
 |
| Damage @ Below Zero, mid-80s |
 |
| Damage @ The Cuban Club, 1986 |
 |
| Damage Synthology LP (Space Fish, 1986) |
Damage – Radio Shack You Suck
Get it here. More info here.
Earth Dies Burning
Earth Dies Burning was formed in 1981 in the San Fernando Valley by a group of friends ranging in age from 10 to 14: the Karlsen brothers (Jeff and Matt), Brad Laner, and the Nachmann brothers (Guy and Ron). Their success in landing gigs at the time can be traced to Brad’s precociousness (he had sat in with Vox Pop, Nervous Gender and others), Matt’s natural talent for promotion, and the extraordinary openness of the Los Angeles punk/post-punk “underground” scene at that time. It seems that only now has the time ripened, dear listener; let the sweet smell of singed terrestrial morbidity flow from the valley of the bored teenager to your ears. Remastered and on vinyl for the first time. - See more at: http://capturedtracks.com/catalog/_earth-dies-burning/ct-180-earth-dies-burning-songs-from-the-valley-of-the-bored-teenager-1981-1984-lpcd/#sthash.CKuBa9FC.dpuf
“Earth Dies Burning was formed in 1981 in the San Fernando Valley by a group of friends ranging in age from 10 to 14: the Karlsen brothers (Jeff and Matt), Brad Laner, and the Nachmann brothers (Guy and Ron). Over the years the line-up went through a few changes. Other members included Jim Goodall (aka Donki Donki Dobson), Josh Laner, Spencer Savage, Roger Silverware (aka Wilson Keppy), and Wendy Stone.
“Earth Dies Burning was formed in 1981 in the San Fernando Valley by a group of friends ranging in age from 10 to 14: the Karlsen brothers (Jeff and Matt), Brad Laner, and the Nachmann brothers (Guy and Ron). Their success in landing gigs at the time can be traced to Brad’s precociousness (he had sat in with Vox Pop, Nervous Gender and others), Matt’s natural talent for promotion, and the extraordinary openness of the Los Angeles punk/post-punk 'underground' scene at that time.” Captured Tracks
Earth Dies Burning was formed in 1981 in the San Fernando Valley by a group of friends ranging in age from 10 to 14: the Karlsen brothers (Jeff and Matt), Brad Laner, and the Nachmann brothers (Guy and Ron). Their success in landing gigs at the time can be traced to Brad’s precociousness (he had sat in with Vox Pop, Nervous Gender and others), Matt’s natural talent for promotion, and the extraordinary openness of the Los Angeles punk/post-punk “underground” scene at that time. It seems that only now has the time ripened, dear listener; let the sweet smell of singed terrestrial morbidity flow from the valley of the bored teenager to your ears. Remastered and on vinyl for the first time. - See more at: http://capturedtracks.com/catalog/_earth-dies-burning/ct-180-earth-dies-burning-songs-from-the-valley-of-the-bored-teenager-1981-1984-lpcd/#sthash.CKuBa9FC.dpuf
 |
| EDB @ Bebop Records & Fine Art, October 14, 1984 |
 |
| EDB @ C.A.S.H., March 29, 1982 (first show) |
 |
| EDB having fun @ C.A.S.H. |
 |
| Earth Dies Burning Songs From The Valley Of The Bored Teenager LP (1981–1984) (Captured Tracks, 2013) |
Earth Dies Burning – Pork Yogurt
Get it here. More info here.
Without a doubt, the reissue of the year. But hey, what about Thrash Dumbos and North Valley Psychic Opera now?
28 Sept 2013
How minimal can you get? #60–62
Fuck guitars: Bassass songs special
Jungle Nausea – Turn Off
Get it here.
Nomeansno – Nomeansno
More info here.
Slant 6 – Ladybug Superfly
Get it here.
 |
| Jungle Nausea s/t 12" (Inner Mystique Records, 1982) |
Jungle Nausea – Turn Off
Get it here.
 |
| VA All Your Ears Can Hear: Underground Music In Victoria, BC 1978–1984 2CD (AYECH International, 2007) |
Nomeansno – Nomeansno
More info here.
 |
| Slant 6 Inzombia LP (Dischord Records, 1995) |
Slant 6 – Ladybug Superfly
Get it here.
How much art can you take? Pt. I
“Art is only one letter away from fart.” Gibby Haynes
Battery Farley – Artists
Get it here.
5:15 – Fuck Art, Let's Dance
Get it here.
The Dead Milkmen – Instant Club Hit (You'll Dance To Anything)
 |
| Battery Farley Dress For Obscurity LP (Battery Farley, 1985) |
Battery Farley – Artists
Get it here.
 |
| 5:15 Fuck Art, Let's Dance 7" (Au Go Go, 1982) |
5:15 – Fuck Art, Let's Dance
Get it here.
 |
| The Dead Milkmen Bucky Fellini LP (Enigma Records, 1987) |
The Dead Milkmen – Instant Club Hit (You'll Dance To Anything)
17 Sept 2013
How minimal can you get? #57–59
Covers special
Baby Buddha – My Generation
Stephan Eicher – Sweet Jane
Soft Pink Truth – Out Of Step
Well, not really an orthodox minimal song – just a nice cover.
 |
| Baby Buddha Music For Teenage Sex LP (Posh Boy, 1981) |
Baby Buddha – My Generation
 |
| Stephan Eicher Spielt Noise Boys 7" (Off Course Records, 1980) |
Stephan Eicher – Sweet Jane
 |
| Soft Pink Truth Do You Want New Wave Or Do You Want The Soft Pink Truth? LP (Soundslike, 2004) |
Soft Pink Truth – Out Of Step
Well, not really an orthodox minimal song – just a nice cover.
28 Jul 2013
In the jingle jangle morning I'll come followin' you
23 Jul 2013
22 Jul 2013
Salem 66
Originally posted February 2, 2009
Calm song by a band that deserved to be influential and to have more recognition than they had. Who knows, maybe it's better this way, so let's keep Salem 66 as a little secret to be discovered. To post any song from their first records would be great (“Across The Sea” or “Pony Song” are true gems), but let's go for “Sleep On Flowers” from the now legendary Boston Bands That Could Be God compilation.
Salem 66 – Sleep On Flowers
“Salem 66 is like your grandmother’s favorite china: glazed smooth across the surface yet chipped and jagged around the border. Formed in Boston by Beth Kaplan and Judy Grunwald in 1982, they have evolved from artistic abstraction to accessible avant-garde.” Julia Masi
“The guitarist Judy Grunwald and the bassist Beth Kaplan write songs that use folk-rock guitar riffs and drumbeats that resolutely refuse to rock, topped with eccentric vocal harmonies that overlap and move in unexpected directions, all at steady mid-tempos. The pieces fit together to create songs that drone smoothly, determinedly and enigmatically, as if interior monologues had somehow been set to music.” Jon Pareles (NY Times)
“Beth and Judy come from different musical backgrounds. As a child, Beth
fell in love with baroque and studied a variety of instruments,
including the harpsichord. A flirtation with rock’n’roll began when she
was in the eighth grade and she heard Patti Smith’s Horses for the first time. However, she remained loyal to her harpsichord until she was 16 and taught herself to play bass guitar.” Julia Masi
“Judy grew up playing the 'Pumpkin Waltz' on the accordion. At seven, she
decided she wanted to be in a rock’n’roll band. She came by her
peculiar choice of instrument when she saw kids at a Sweet-16 party
crank out covers of Rolling Stones songs on a snare, guitar, and
accordion. She is also a self-taught musician who plays bass and
guitar.” Julia Masi
“Never having played drums before, Susan's beats are made of simple, effective, and interesting patterns; each drum is treated as a separate instrument. Beth lopes her melodious bass lines around the rhythm, sensually flexing her knees to the beat. In contrast, Judy adds a degree of dissonance with her ringing chords and droning strings. Almost an Eastern touch. In relief to the positive aggression of their music, Judy's husky voice and Beth's softer tones float vocal harmonies together, keeping the sound warm and soothing.” Marc English (Boston Rock)
“People would hear Judy play
guitar and say, 'That girl has a lot of balls, but she really sucks,'
until we got better. But if you really believe in yourself, if you
really believe you have something to say, somehow it gives you the
confidence. Nerve is a good word. Balls is another word. It gives you
that push to get up there and do it. That is a good half of what makes a
good band. A lot of people – probably most people in the world – could
write a good song. Or could play an instrument pretty well if they
learned how. But what it takes, a good half of it, is the nerve to just
push and do it. And to keep doing it, no matter what anybody says; to
believe in it.” Beth Kaplan
“We had a long, weird career. I think there was a point early on where the big break should have happened for us. It's not like we thought that if we could get onto a major label it would solve all our problems, but we got to the point where we had to make some sort of level change and, in the end, it just didn't happen.” Beth Kaplan
Salem 66 – Across The Sea
More info here.
“Really nice stuff here from Salem 66. 'Across the Sea' features some cool guitar and vocal interplay which is highlighted by a super chorus. The B-side falters in its vocals and length, but it's still strong. Play it for your Mom.” Lyle Hysen (Maximum Rocknroll #21)
Salem 66 – Pony Song
More pics here.
Calm song by a band that deserved to be influential and to have more recognition than they had. Who knows, maybe it's better this way, so let's keep Salem 66 as a little secret to be discovered. To post any song from their first records would be great (“Across The Sea” or “Pony Song” are true gems), but let's go for “Sleep On Flowers” from the now legendary Boston Bands That Could Be God compilation.
 |
| VA Bands That Could Be God LP (Conflict Records / Radiobeat Records, 1984) |
“Salem 66 is like your grandmother’s favorite china: glazed smooth across the surface yet chipped and jagged around the border. Formed in Boston by Beth Kaplan and Judy Grunwald in 1982, they have evolved from artistic abstraction to accessible avant-garde.” Julia Masi
“The guitarist Judy Grunwald and the bassist Beth Kaplan write songs that use folk-rock guitar riffs and drumbeats that resolutely refuse to rock, topped with eccentric vocal harmonies that overlap and move in unexpected directions, all at steady mid-tempos. The pieces fit together to create songs that drone smoothly, determinedly and enigmatically, as if interior monologues had somehow been set to music.” Jon Pareles (NY Times)
 |
| Salem 66 (Robert Wilson, Susan Merriam, Judy Grunwald, and Beth Kaplan), 1984. Elizabeth McCullough |
 |
| Beth Kaplan @ Chet's Last Stand, Boston, 1985. Robert Barry Francos |
“Never having played drums before, Susan's beats are made of simple, effective, and interesting patterns; each drum is treated as a separate instrument. Beth lopes her melodious bass lines around the rhythm, sensually flexing her knees to the beat. In contrast, Judy adds a degree of dissonance with her ringing chords and droning strings. Almost an Eastern touch. In relief to the positive aggression of their music, Judy's husky voice and Beth's softer tones float vocal harmonies together, keeping the sound warm and soothing.” Marc English (Boston Rock)
 |
| Salem 66 (Judy, Susan, and Beth), 1984? Rocco Cippilone |
“We had a long, weird career. I think there was a point early on where the big break should have happened for us. It's not like we thought that if we could get onto a major label it would solve all our problems, but we got to the point where we had to make some sort of level change and, in the end, it just didn't happen.” Beth Kaplan
 |
| Salem 66 Across The Sea 7" (Homestead Records, 1984) |
Salem 66 – Across The Sea
More info here.
“Really nice stuff here from Salem 66. 'Across the Sea' features some cool guitar and vocal interplay which is highlighted by a super chorus. The B-side falters in its vocals and length, but it's still strong. Play it for your Mom.” Lyle Hysen (Maximum Rocknroll #21)
 |
| Salem 66 Salem 66 12" (Homestead Records, 1984) |
Salem 66 – Pony Song
More pics here.
11 Jul 2013
3 Jul 2013
26 Jun 2013
In search of the catchiest garage-pop song ever recorded Pt. V (with keyboard instruments)
25 Jun 2013
How minimal can you get? #55
The Judy's
“Basing their name around the graphic elements and images of the 1950s that pervaded the musical movement at the time and recalled a period of naiveté and hope in the future, The Judy’s (“Possessive,” singer David Bean points out. “We didn’t want it to be plural as if we were each ‘a Judy’”) quickly envisioned a new direction for their musical exploration: a stripped down, minimalist sound that reveled in their limitations as both musicians and humans. Using everything from standard instrumentation to vacuum cleaners and pots and pans in their songs, the band created catchy pop hooks around social and political commentary/satire in a way that turned heads and demanded attention. They could simultaneously challenge, impugn and celebrate the pop culture, always aware that they not only had their own feet planted firmly in it, but helped create it.” Wasted Talent Records
“The Judy’s minimalist sound comes to its fullest realization with their six-song 12” EP The Wonderful World of Appliances. From Son of Sam killer David Berkowitz to Jacques Costeau to the Iranian hostage crisis, Wonderful World captures the popular culture and news of the times and subverts them as only The Judy’s can. Recorded and mixed in a single day, the record received extensive local club and radio play. It stayed at the top of the local independent record store sales charts for months and helped propel the band into a regional phenomenon. Available on limited vinyl and as bonus tracks on the Washarama CD.” Wasted Talent Records
The Judy's – Vacation In Tehran
Get it here.
“Basing their name around the graphic elements and images of the 1950s that pervaded the musical movement at the time and recalled a period of naiveté and hope in the future, The Judy’s (“Possessive,” singer David Bean points out. “We didn’t want it to be plural as if we were each ‘a Judy’”) quickly envisioned a new direction for their musical exploration: a stripped down, minimalist sound that reveled in their limitations as both musicians and humans. Using everything from standard instrumentation to vacuum cleaners and pots and pans in their songs, the band created catchy pop hooks around social and political commentary/satire in a way that turned heads and demanded attention. They could simultaneously challenge, impugn and celebrate the pop culture, always aware that they not only had their own feet planted firmly in it, but helped create it.” Wasted Talent Records
 |
| The Judy's |
 |
| The Judy's The Wonderful World Of Appliances EP (Wasted Talent Records, 1980) |
The Judy's – Vacation In Tehran
Get it here.
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