Deborah Curtis - Touching from a Distance (Ian Curtis and Joy Division)

Publisher: Faber and Faber Limited; Year: 1995; Format: Softcover book

Very recently when reviewing the Warsaw "An Ideal For Killing" LP I had mentioned that I was reading Deborah Curtis' book about her life with Ian and of course Joy Division. Since it's a short read I thought I better review it immediately before my memory lets me down and my brain's hard drive gets too overloaded with information nobody really needs to know, including myself. Back in 2007 when I moved to London from Switzerland I remember that the movie 'Control' was just about to come out and was highly anticipated by the movie and music press alike. It was then when I became more intrigued about Joy Division's history and music alike as I have to be honest but throughout the decades somehow I never caught on the hype about the band which in retrospect is a shame but then again it's never too late and it's not like I have missed some great re-union show because of the laziness on my part. A good while ago I read Jon Savage's "This Searing Light..." book about Joy Division and highly enjoyed it hence I can recommend that one if you want to get a good feel about those particular times in Manchester's music history. Deborah's book is much older than the Savage one and was recently given to me by my favorite local record store proprietor (Cheers Jerid!). In all fairness it's a great short read if you are interested in the relationship between husband and wife and really how conflicted it was from the very beginning. Of course one could say that with Ian having died the reader gets to hear just one side, but I have no doubt that Deborah did not see any reason to lie or exaggerate. To be very fair to her I did not find her tone to be condescending or unfair in any shape or form. Actually it is quite the opposite where Deborah clearly has a feeling that she and others could have helped to prevent the tragic death of Ian. What I found most fascinating about the book is Deborah's very detail oriented memory where she would remember exactly what happened on a certain day or night or what record Ian would be crazy about in the year 1975 for instance. If time travel was possible then going back to '70s Manchester would be a highly fascinating trip, albeit a depressing one in many ways. Judging from the book and how serious Ian was about music and the bands he adored it all makes sense why Joy Division sounded the way they did. One thing must be said and that is that Ian knew very early on that the band he was to front will stand apart from others and I think we all agree that Joy Division achieved that. Something I can read about over and over are those very early days of punk where a handful of people were in the know and aware that something was bubbling under the surface waiting to explode and Deborah's book gives you a really good idea as to how everything evolved in and around Manchester. Of course you also get Deborah's view about how Ian connected with Annik and eventually destroyed their marriage, and even there Deborah takes a very fair and distant approach. If you are interested in the history of Ian Curtis and Joy Division than this is a must-read, but even from an outsider point of view this is a great read about a very unique time period in music history. 

Warsaw - An Ideal For Killing LP

Label: Galaor Records (Unofficial); Year: 2002; Format: Vinyl LP

I am currently reading Deborah Curtis' "Touching from a Distance" book which was published a long time ago and was gifted to me a few days ago. More about the book when I do a review, so stay tuned. When I woke up this morning I scratched my bald head and was wondering what record I should review today as I intend to put in a shift for the blog. It then dawned on me that I have an old Warsaw bootleg LP and that it would make an ideal soundtrack to what I am reading, so here we go. As many of you will certainly know before Joy Division became known under said name they went by the name Warsaw, which in turn they took from David Bowie's 'Low' album song "Warsawa". Ian Curtis missed the first Sex Pistols gig in June of '76 but attended the second Lesser Free Trade Hall gig on July 20th of the same year. Peter Hook, Bernard Sumner and Terry Mason were also at that gig and were eager to start a band of their own. After Bernard had bumped into Ian at several local gigs they decided to recruit Ian as their singer after having placed an ad at Virgin Records. Judging by what Bernard had to say about recruiting Ian it could definitely be argued that his decision was based on pure instinct and gut feeling:

"Because I knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."

Now with a band in place Ian had finally achieved what he always wanted to be: a singer in a band that had a vision setting themselves apart from the rest. "An Ideal For Killing" is a bootleg compiling different sessions, two of which were recorded as Warsaw, and two other ones when the band had already changed their name to Joy Division. The first five tracks on the first side are also known as "The Ideal Beginning" Demo Sessions and the first four tracks on the second side ended up being the "An Ideal For Living" EP. But enough of all these nuanced details as the music is what matters the most and there isn't a single dull track to be found on this LP. Sure, the first Side (Tension-Side) sounds a bit rough but even at this very early stage of the band's career one can already detect the sheer talent of which these Manchester lads had in abundance. Without a doubt those July '77 sessions were influenced by the Sex Pistols and Johnny Thunders and the Heartbreakers but Warsaw's style had already a twist of its own setting them apart from many other '77 Punk acts with tracks like 'At a later Date' or 'You're no good for me'. The second side (Reaction Side) is where the change in style and the growth as a band become tangible and loud and clear. At the end of '77 Warsaw played the last gig under said name and most of the tracks on the second side were recorded a few weeks prior to said gig. This side is filled with absolute killer tracks including 'Ice Age' and 'Walked in Line'. As is common with bootlegs not all information is correct but at least the person behind this boot put some love into it and printed up a glossy insert. I am pretty sure that all the tracks are to be found on other records, but if you can hunt down a copy of this particular LP do yourself a favor and grab it as it's worth every penny. 

Gestapo Khazi - S/T Mini-LP

Label: Dead Beat Records; Year: 2009; Format: 12" 45RPM EP

First and foremost this is somewhat of an abnormality when it comes to my blog entries as this record was recorded and released in 2009, which for this blog seems like yesterday. It's funny how records sometimes find their way into your house as up until I had bought this 12" about a year ago I have never heard of Gestapo Khazi from Long Beach, CA unlike the label this was released on - Dead Beat Records - a true household name when it comes to solid releases by bands from around the world. As a matter of fact I used to trade with Tom from Dead Beat quite a bit during my active label/distro years so in that sense sometimes things come full circle. I found this scorcher of a record at my local record store up the road and since finding punk records there doesn't happen very often I took this one home with me, even though I don't really buy anything beyond the '90s. Still, this was well worth the few bucks as it sure as hell really is a terrific record. I presume the guys in the band were inspired by the old UK band The Blood when it comes to the band name and they without a doubt were inspired by the underground sounds of the '80s when it comes to the songs on this Mini-LP which really should have been a full length, that's just how good this is. Take the melancholy of the Wipers, throw in a heavy Jeffrey Lee Pierce vibe, and mix that in a blender with the post-punk sound of Gang Of Four and more traditional early '80s Southern California punk and voila you get Gestapo Khazi. The funny thing is that this trend seems to repeat itself throughout the years and while I haven't followed new bands actively in years, I am well aware that bands of that ilk are quite the hype in the underground scenes of 2023, hence I suggest that you kiddos seek out this record while it's still available for next to nothing as any of the songs could appear on Killed By Death # 166 to be released in the year 2030.   

Hans-A-Plast - S/T LP

Label: Re-Force Records; Year: 2005; Format: Vinyl LP

Timing is everything they say and was also the title to an album by Chris DeBurgh. But don't you worry I am not at the point in my life to review Chris DeBurgh records, at least not yet. Timing is right to review Hans-A-Plast's first LP originally released in 1979 on Lava Records. I have been meaning to pull this one from my shelves for quite some time now as the band has been mentioned so many times on my favorite German speaking podcast "Und Dann Kam Punk" that it basically begged to be reviewed. And so it happened that this week Annette Benjamin who fronted Hans-A-Plast was a guest for said podcast hence everything I wanted to ever know about the Hanover band was answered, or at least most of it (Link to podcast for German speakers at the bottom of this entry). What I found most fascinating about the interview with Annette is that she hasn't lost her wit and sense of humor one single bit. Now in her early sixties she talked about her formative years and how she ended up joining Hans-A-Plast as the last member of the original line-up. Born in Braunschweig and not far from Hanover in Northern Germany Annette had a somewhat unhappy childhood and at the sweet age of seventeen she decided to take matters into her own hands and via Amsterdam she ended up in London in 1977 where she spent several months. She was lucky enough to experience the punk rock explosion firsthand, and in early '78 she struck gold by seeing X-Ray Spex live on stage. According to Annette it was a life-changing moment in the sense that after having seen Poly Styrene on stage Annette knew what she wanted to do in her life, yep you guessed it right: she wanted to be a singer in a band. After having returned to Braunschweig fate was very much in her favor as she met Hans-A-Plast during a gig in a small venue in Hanover. Annette was singing in a different band during said gig and because Hans-A-Plast were initially a quartet with drummer Betty also taking up singing duties, the band approached Annette whether she would like to be their lead singer, and the rest is history. Things moved quickly from there onwards and in September of 1979 the band entered the studio to record their first full length. When I say that this record should be in the Top 50 of the best Punk records ever then I not only mean it, but I have reasons as to why I think so. First and foremost up to this day unfortunately too many people still think that Punk records either having been released in the UK or the United States are the non plus ultra and nothing beyond is of importance, very wrong. Secondly, punk rock took a while to develop and depending on the geographical location things might have been moving slower, but not necessarily in a less interesting way. Whereas in 1979 punk in London might have been forgotten to a degree, in Hanover that was certainly not the case. The thirteen songs on this record are all brilliant in their own way as they just scream youth and loud abrasive rock'n'roll. The three women and two men in Hans-A-Plast were simply put very gifted songwriters, capable of writing funny and edgy songs having taken clues from the '77 punk explosion as well as the more angular sounds of post-punk while backing it with socio-critical lyrics dealing with sexism or police brutality as well as issues as simple as having fuck all to do on a Friday night in 'Rock'N'Roll Freitag'. It really is not a surprise that the album sold in the thousands and was reissued as early as 1980 on Hanover's No Fun Records selling again in the thousands. The band toured extensively through Germany as well as Austria and Switzerland, and went on to release two more LPs until they split up in 1984. Spontaneously Lost Kids from Denmark came to my mind today as a comparison and I think that either band wouldn't disagree with said comparison. Do yourself a favor and get this LP, no matter which pressing. Grandiose Platte!

Link to Podcast interview with Annette (in German): https://www.audible.com/pd/Podcast/B08K56W8WJ

Paranoia - Shattered Glass LP

Label: Rot Records; Year: 1984; Format: Vinyl LP

Stoke-On-Trent in the West Midlands gifted us one of the most prolific Rock'N'Rollers ever, being the one and only Lemmy of Motorhead. But said city also gave us Paranoia, a band I assume not many are familiar with. I for one came across Paranoia around 1988 when I bought a copy of the Double-LP "The End of an Era - The Best of Rot Records". Said two-record set which I shall review here at some point is a representation as to what Rot Records released until it ceased to exist with bands like Riot Squad, English Dogs, The Varukers or Skeptix kind of representative of what the label's sound stood for. Even though at the age of eighteen I was very much into the more chaotic and fast sounds of above mentioned acts the two Paranoia tracks "Dead Man's Dreams" and "1984" really stood out to me and I instantly fell in love with the female-fronted melodic punk sound equally influenced by gothic rock and post-punk. Ever since those days back in the late '80s I set out to find a copy of the "Shattered Glass" LP released in 1984 but it would take more than twenty years to do so. In 2007 when I moved to London from Switzerland I thought I'd have a better chance finding a copy but I was proven very wrong. Even in England the band was not known, not even to some of the older Punks I had gotten to know. In 2008 I started a job for an EU Government Agency located in East London (thanks to Brexit no longer there) and one of my co-workers in the Archives was a fellow from Spain who was funny as hell and let's just say crazy at times too. One day he asked me what I liked to do in my free-time and I told him about my passion for records. He then proceeded to ask me whether there were any records I really liked to have and I told him about Paranoia's "Shattered Glass" and that they were from Stoke-On-Trent. Daniel (the co-worker) immediately googled Stoke-On-Trent's record stores and came up with some geezer's stall in Stoke. He picked up the phone and called the fella in Stoke and told him in somewhat broken English the following: "Hey, I am Daniel and calling you from London. My friend here is looking for a record by a band from your city, Paranoia. Do you know them?" Record Stall guy: "Yes mate, I do know them but that LP is rare as hell and I sure don't have a copy. Sorry mate and good luck finding one". It must have been around 2011 that I not only won my copy through eBay for about forty bucks, but pretty much at the same time found another copy for a similar price through a used record site. So, after all those years I ended up with not one but two copies and gave one to a good friend of mine in Switzerland who was after the record for a long time as well. 

So, at this point you probably ask yourself what the deal is with this LP. Paranoia came out of the remnants of Civil Defense, a band that was started by the two brothers Paul on Guitar and Phil on Drums. At some point their sister Janet or 'Jan' joined the band along her husband Mick and by 1983 changed their name from Civil Defense to Paranoia. "Shattered Glass" is a truly outstanding LP in the sense that it effortlessly combines melodic punk rock with elements of goth rock and post-punk drawing influences from bands such as Siouxsie and the Banshees, Penetration and Joy Division to name a few. The ten tracks on the LP are all winners in their own way, be it the absolutely brilliant opener "Dead Man's Dreams" the fast and furious "Graveyards from Hell" or the more subtle and tribal sounding songs such as "Vietnam", "Man in Black" or "The Gig". What you get on this LP are songs that will draw you into a post-apocalyptic world through their lyrics but will leave you with hope at the other end. At some point I will want to interview Phil and hopefully other band members about the band's past but for now I will leave you with Phil's thoughts about how they ended up on Rot Records after having reached out to him over e-mail. 

"We came to be on Rot Records when I saw an advert ‘Punk Bands Wanted’. If I remember correctly, the ad was in the classifieds of SOUNDS, the national, weekly music publication. We had just recorded a demo tape, so I just thought I’d send one to see what the feedback was.

The advert had been placed by Dunk of Rot Records and formerly of Riot Squad.

We had previously been a 6 piece band with keyboards and an additional guitarist, under the name of Civil Defence. The guitarist decided to leave the band and so his wife (keyboard player) also left. So we were now a 4 piece, changed our name to Paranoia, and had started to experiment with a different style. So sending the tape to Dunk was mainly to see what people thought about the new style and new songs, cos although we’d done lots of gigs as ‘Civil Defence’, we’d not done any gigs as Paranoia.

We got a reply from Dunk, a letter saying that he liked the demo tape and asking if he could include one or two of the tracks on a new compilation album (Wet Dreams) that was to be released by his label. Of course, we agreed, as we had still not done any gigs and would be a good opportunity for more feedback. 

The compilation was released and the feedback was awesome! We received so many letters, from all over the world, asking about the band, fanzines wanting to do interviews and people asking if there was more material/tapes available of Paranoia. It was at this point Dunk wanted us to sign up to the label, go into the studio to record an album and a single to be released on Rot Records. We signed to Rot Records, still having done no gigs as Paranoia.  Now signed to Rot Records, that changed quickly as Dunk set up gigs for us in Nottingham and London aswell as a gig we set up locally with Resistance 77, who were also on the compilation album.

Our single was getting ‘AirPlay’ on radio stations including John Peel’s BBC Radio 1 show.

I remember the day that the single was released. Dunk said he would send us a few complimentary copies of the single but we hadn’t received them yet and we couldn’t wait to hear it.  So me and my brother took a trip over to the local record shop to buy a copy of ‘Dead Man’s Dreams’ and walked up to the counter…

“Have you got a copy of Dead Man’s Dreams by Paranoia?”

“Sorry no, we’ve just sold the last copy”.

That was the only time ever I’ve had the feeling of disappointment and buzzing at the same time!"

Well folks, good news is that the LP has finally been reissued and has just very recently come out through Radiation Records from Italy. It just proves it's never too late and I can only hope that Paranoia will find a new generation of fans as they bloody deserve it! Grab a copy while they last! 

The Three Johns - Live in Chicago LP

Label: Last Time Round Records; Year: 1986; Format: Vinyl LP

I have heard of The Three Johns many times before but never had any record in my collection until I found a copy of their 1986 released Live LP for next to nothing at the record shop around the corner from my home. The band seems to always have had a core of die-hard fans, some of them without a doubt also big Mekons fans. The Three Johns started out in Leeds in 1981 consisting of Jon Langford (the Mekons) on guitar, vocalist John Hyatt and Phillip "John" Brennan on bass guitar. There was also a drum machine the band named "Hugo". I may have said this before but I am really no fan of live records but there are exceptions to the rule and this one recorded in June of 1985 at Chicago's Metro is definitely an exception as it just rocks from beginning to end. This was the band's first US release and the quality of the live recording is excellent making this a highly enjoyable record which can still be found for a few dollars reminding you of the fact that good music is not always to be found on some rare and excessively expensive records. Songs like 'AWOL', 'Death of the European' or 'The World of the Worker' to name a few are timeless classics from a time when bands such as the Three Johns were labelled as Indie Rock, something that stands for lame music mostly performed by bearded hipsters these days. Back in the '80s though Indie Rock stood for quality and The Three Johns were a talented bunch drawing influences from Post-Punk, Goth-Rock, Cow-Punk and other genres prevalent in the late '70s and early '80s. They combined their eclectic mix of different genres with intelligent and humorous lyrics, often with a political message taking a stand against Margaret Thatcher and the likes. If you want to listen to songs that are equally dark and funny and sound like a mixture between Killing Joke, Sisters of Mercy and the Cramps then check out these lads from Leeds. I shall look out for more of their releases and will post about this band again. Good stuff!

Visage - S/T LP

Label: Polydor (Germany); Year: 1980; Format: Vinyl LP

Back in 1980 I turned 10 years old and was too young to understand the complex and culturally interesting background of Visage and the emerging New Romantic scene. Music just grabbed me and when I liked something I liked it and I think my parents understood that as for some reason every Christmas and Birthday I would get a record as a gift. I come from quite a poor and working class immigrant family background hence I never had much as a kid, and what I did have I cherished endlessly. Visage somewhat unexpectedly landed a huge hit with "Fade To Grey" in 1980 and it was either that year or 1981 that my parents bought me their first LP. By that point I was a typical little kid loving AC/DC and Iron Maiden but somehow Visage got through to me and ever since I've always had an open mind for electronic music even though I never fully immersed myself in it. But, even more importantly and historically of importance is the fact that Visage very much came out of the punk rock scene with some rather intriguing connections. I think what some people might not realize is how much punk rock opened the doors for musicians and artists in general to pursue their own vision of what they wanted to create, which wasn't always just three chords. Scottish born musician Midge Ure (nee James Ure) for instance has been involved in bands since the early '70s and in 1975 landed a big hit with Slik's "Forever and Ever". With the booming punk scene at the door step Ure's Slik decided to go in a different direction and changed their name to P.V.C. 2 releasing a punk rock single on Zoom Records (to be reviewed in the future). In late '77 Ure moved to London and briefly joined Glen Matlock's Rich Kids. After having left Rich Kids but with a newly acquired Yamaha Synthesizer Ure along with former Rich Kid drummer Rusty Egan set out to find someone who would share their passion to create something different than punk rock, but not a million miles away. They found the right man in Steve Strange (RIP) who would become the singer and along with former members of Magazine Visage expanded the line-up in 1979. Visage's first single released on Radar Records was not successful but as mentioned above "Fade To Grey" now on Polydor got them the breakthrough and the rest is history as they say. With Steve Strange and Rusty Egan aka DJ Egan setting up the Blitz Club in London New Romantic took off and just like punk rock a few years prior transitioned from a subculture into the mainstream. Visage's first self-titled LP is at least in my opinion a milestone when it comes to electronic music, synth-pop, new wave or however you want to brand it. It's an album with a beginning, a middle and an end encouraging the listener to have a full listening experience which back then was the absolute norm as the way music is consumed has changed over the decades since. I sat down this morning with my coffee and listened to the album and couldn't tell you a weak song on it. The title track "Visage" starts you off and is the perfect track for a new decade enabling to see with the benefit of hindsight how well positioned Visage were on their path to Synth-Pop stardom. It truly was the sound of the future and for things to come, that much is for sure. Personally I love "The Dancer", an absolute cracker of an instrumental. It's a well executed album that doesn't sound outdated in 2023, forty-three years after its release, and that means something. 

Suburban Lawns - S/T LP

Label: Superior Viaduct: Year: 2021; Format: Vinyl LP

If someone had played me this record say back in '87 when I was thrashing to bands like Rattus, E.N.T or Inferno I am one hundred percent sure I would have just shaken my head while laughing out loud by discrediting it as cheesy new wave. New Wave it certainly is but this originally in 1981 released album on I.R.S is the kind of New Wave I have over the years come to appreciate. It's edgy, angular, punky and asks a lot of questions. I love reading about the early Southern California punk scene and I must have come across Suburban Lawns on many occasions but for some reason the band never stuck with me until I was at my local record store not too long ago and the proprietor played the record over the speakers. Now this isn't the first time I am saying that but a good record store owner knows his customers so I sure as hell like that. The songs caught my attention and I asked who that was and when I was told Suburban Lawns it clicked in the sense that I have heard the name many times but it just wasn't on my radar so to speak. Suburban Lawns started out in 1978 in Long Beach, CA and according to the excellent liner notes their earliest shows were with The Reactionaries (pre-Minutemen) as well as the Alley Cats. Their first two singles were self-released and "Gidget Goes To Hell" is worth looking up on Youtube as it's not just a great song but the video itself is something else. The band played the usual Los Angeles area underground clubs and by 1981 they have caught the attention of a bigger label leading up to this LP on I.R.S. The liner notes describe the album as "quintessential Reagan-era new wave/punk" and I couldn't agree more. No song is really like the other as the vocal duties switch back and forth between the members leading to a really varied and interesting album that never gets boring. It's clear that the band was tired of the beach and technology encroaching on life in every aspect and songs like "Computer Date" amazingly foreshadow modern day society years ahead of time. I think you're getting the picture here as this isn't your happy New Wave band playing songs to please everybody but rather a group of intellectuals taking new wave in a more sophisticated, artsy and intriguing direction. One band member, Su Tissue, has supposedly vanished completely after the band fell apart in 1983 and to this day nobody seems to know where she is. This record certainly deserves to be examined over and over as it is full of interesting details, musically as well as lyrically. Highly recommended! 

AK-47 - The Badge Means You Suck LP

Label: Splattered Records; Year: 2022; Format: Vinyl LP

AK-47 from Houston, Texas are one of those bands that many of us into obscure worldwide punk rock must have discovered through a Killed By Death compilation LP. I don't recall when I heard "The Badge Means You Suck" for the first time but it certainly has been a good while hence the band has fallen off my punk radar until a well written 2021 Texas Monthly article about the band's history and their fascinating connection to police brutality and killings from the past and present subsequently revived my interest in the band (Link to article at the end of this entry). It's only fitting that just a few days ago I visited my local record shop and found a copy of the already hard to find official reissue of the band's material collected on a Full-Length. While the two songs from the originally in 1980 released 7" are the ones many of us are after on vinyl I must say that the remaining eight songs are just as intriguing and good. The true gems on this record are the six songs that the band recorded in 1981 and put up on bandcamp in 2021 as "Singularities". These six songs previously unreleased on vinyl highlight the development of the band after the demise of their original singer and are in my opinion worth every penny spent on this LP. With the addition of Penny Smith on vocal duties it is widely believed that the band really found its style and peaked during that time. Songs like "Isaacs Social Disease" or "Brain on a Pillow" to name just two of the six take the band in all kinds of musical directions without ever losing their Art-Punk roots. Mix angular post-punk with some hard rock and new wave and you get an idea as to how those six songs sound like, and trust me you will not be disappointed. Two more songs recorded actually in recent times are to be found on this wonderful record, with one of them - Trumpelstilstkin - being proof that these Texans haven't lost their art of social commentary in the modern day and age. Get a copy of this record while you can! 

Link to the Article in Texas Monthly:

https://www.texasmonthly.com/arts-entertainment/houston-punk-bands-protest-anthem-still-resonates-forty-years-after-release/

Punishment Of Luxury - "Puppet Life", "Engine of Excess" and "Secrets" Singles

Label: Small Wonder Records; Year: 1978; Format: 45 RPM Single

What can be said about Punishment of Luxury or also known as Punilux? Well, actually quite a lot as they certainly are a highly interesting bunch hailing from the North East of England, Newcastle to be exact. When I decided to spin the three singles I have I wanted to find out more about these fellows so I naturally reached to Alex Ogg's bible 'no more heroes' only to find out that Punilux were not included in said book. Hmm, I suppose they didn't quite make the punk cut and to be honest it is understandable as Punilux were truly not a punk band per se but incorporated aspects of punk rock into their sound and look. Luckily I also own Mario Panciera's '45 Revolutions' which is an absolute goldmine for information as you intranet geeks will surely know. Punilux were formed in 1975 by two members with theatre company backgrounds. The theatrical aspect is something that is quite unique to Punilux and plays a big part of their sound and visuals. Fittingly the band released their first single 'Puppet Life' on East London's Small Wonder Records where many interesting bands found their home and an opportunity to be heard. Both of the songs on this single are pure gold with influences ranging from psychedelic rock, glam rock and 77 punk to be heard on both songs. They were referred to as theatrical punk or art punk but call it what you want they were talented and drew from different influences equally important to them. Savage Pencil reviewing the single for Sounds back in the day wrote: "This U.K. band look and sound like your worst paranoia come to life. Punilux toy and claw at your brain with a tune that won't let go, filling your sleepless nights with fevered dreams of insanity. On top of all that it's the best British single I've heard in weeks." I couldn't agree more. 

Label: United Artists Records; Year: 1979; Format: 45 RPM Single

Just like many other small and independent English bands of the time Punilux searched for a major label deal and were eventually picked up by United Artists. Originally 'Jellyfish' was supposed to be the A-Side for their first release on UA but last minute it was dropped for 'Engine of Excess'. Gary Bushell wrote for Sounds that the band was pointless, safe and something for dated people which I suppose is true coming from someone who likes to surround himself with football hooligans. But that's not the point here as in my opinion this single is just as good as the first one on Small Wonder. Both songs continue in the weird, humorous and arty tradition of theatrical punk with 'Jellyfish' being somewhat of Punilux's stand out track. A good friend of mine back in Europe used to play this a lot when DJ-ing after gigs and it is not surprising that a lot of people were turned off as it's just not everybody's cake. Back in the day the release was received lukewarm and the sales weren't all that great either. It is a shame as it just proves that no matter what decade we are talking about most people love to just give a band a certain label and sound without going too deep. Punilux were so much more than plain punk, that's for sure. 

Label: United Artists Records; Year: 1979; Format: 45 RPM Single

Punilux's second single for UA was released in 1979 as well and is an interesting one in the sense that the two songs are quite different from each other. 'Secrets' is described by Mario Panciera as a lackluster song reminiscent of early '70s Prog Rock. Sure he is not miles off with the description but in my opinion the song does grow on you and still has elements of the weird and arty craft known to Punilux. But let's not dwell too long on the A-Side as the other side offers 'Brainbomb', a smasher on a whole different level. This is a fast and furious song mixing elements of 2nd wave punk rock and the emerging sound of NWOBHM to give you an idea, just a perfect song. Punilux disbanded twice and returned to perform in 2007 when I moved to London for some time. I saw them at a small venue in London in 2008 or 09 and they sure as hell did not disappoint. This won't be the one and only Punilux entry to this blog so stay tuned and if you haven't discovered the band yet just remember it's never too late. 

The Clean - Boodle Boodle Boodle and Tally Hoe reissues

Label: Merge Records; Year: 2021: Format 12" 45RPM EP

One of the many reasons I don't post often enough on this blog is the fact that I love listening to podcasts. Besides podcasts dedicated to politics or law or other subjects causing more headaches and an upset stomach I sometimes listen to Dynamite Hemorrhage Radio which I can highly recommend as it has introduced me to many a band I was unaware of with New Zealand's The Clean being one of them. I heard a song off of this originally in 1981 released EP on one of the shows and was instantly hooked and intrigued. Luckily Merge Records reissued this rarity last year so nobody needs to fork out some serious dosh on an original on the hugely influential Flying Nun record label. All five songs on this record are killer, and I mean it man! It's hard to describe The Clean's sound as they draw from psychedelic influences to punk and post-punk with a heavy bass driven sound. I wish I had been drawn to these type of bands earlier in life as the older I get the more I appreciate the edginess and artiness of bands like the Clean. The band formed in 1978 in Dunedin, NZ and has influenced countless bands in the indie scene throughout the years. I cannot stress enough how great this record is and that you too should get a copy. Comes with a nice reproduction of the original cartoon of the EP as pictured below. 

Label: Merge Records; Year: 2021; Format: 7" Vinyl Single

Honestly I wasn't even aware of this reissue until I saw it at my local Indie Record Store so I picked it up along the above reviewed 12" EP. Tally Ho is a punky/new wavy upbeat song that kicks serious ass with Platypus being a slower song definitely more in the post-punk vein. This is a classic two song single with two killer tracks hence you can't go wrong. I will have to make some time and dig deeper into the rich catalogue of the Clean to see how the band's sound evolved over the years and whether I will be buying and reviewing more of their records. End of rant. 

Wasted Youth - I'll remember you/My friends are dead 7"

Label: Bridge House Records; Year: 1980; Format: Vinyl 7"

Let me start off by telling you that these east London blokes should not be confused with the L.A. band going by the same name. Since this is the only release I have by this band, and can't even remember how it got into my hands, I had to do a bit research in regards to the history of this band, and learned that these guys started out in post-punk 1979. Apparently the band members were previously in bands ranging from power pop to hard rock, but with Wasted Youth settled on creating an interesting mixture of dark, psychedelic sounds predating goth rock and fitting well into what is widely considered as post-punk. I especially like "My friends are dead", a goth/post-punk hit with fantastic song arrangements and good production. When it comes to the label this was released on, one could fill many pages on the history and importance of the Bridge House in the Canning Town area of east London. This place established itself as a pub, rock venue and record label at the same time, and interestingly enough also served as the stepping stone to the careers of bands such as Iron Maiden or Depeche Mode. I might as well get more of Wasted Youth's back catalog at some point as the history and the sound alike are intriguing.

Terri Hooley & Richard Sullivan:  Music - Mayhem - Good Vibrations

Publisher: Blackstaff Press; Year: 2010; Format: Book

I would assume that anybody reading this review with an interest in DIY labels and the history behind them will be familiar with Good Vibrations, and the man behind the label and the various stores associated with it, Terri Hooley. Richard Sullivan, who has been an avid follower of Terri's fortunes since he was a teenager visiting Good Vibrations store in Belfast is the co-author of this book, and with having said this, it seemed like the right choice was made in regard to Terri's co-laborator for this book, which is a fantastic account of Terri's life with all its highs and lows, and there has been many of them. Of course I personally loved Terri's memories of discovering the Undertones, Rudi and countless other great punk rock/powerpop acts of the Northern Ireland scene, but I especially enjoyed the beginning of the book and the stories of Terri as a young kid and teenager, growing up in Belfast, being a hippy, and standing up for what he believed in, something he has done throughout his entire life. Needless to say that he hasn't just made friends, and this book also talks about arson, the paramilitaries and their actions against Terri, the many different locations his shop was forced to take as a result of that, and so on. This is a great read, from cover to cover!

Specials - S/T - LP

Label: Chrysalis Records; Year: 1979; Format: Vinyl LP

Google this album and you will come up with a million and one stories in regard to the Specials and the 2-Tone label and movement. I will spare you any lengthy review here, but have to say that I have given this album a spin not too long ago, and have thoroughly enjoyed it. The Specials were maybe the 'punkiest' out of all the 2-Tone bands, and one of their members, Terry Hall, was even a member of Coventry punk outfit Squad. I shall review their 'Red Alert' single at another point, but that was just a little side note. The songs on this 14-song long-player range from upbeat to slow, but never disappoint as they combine danceable ska and rocksteady to perfection. "Too much too young" even reached No. 1 in the UK, and at one point the band shared the same management with the Clash as they were supporting them on a tour. No matter whether you're into punk, ska, rocksteady, or whatever, I think we can all agree that this is a classic album and should be found in everybody's record collection.

Paranoia - Dead Man's Dreams/Man in Black 7"

Label: Rot Records; Year: 1984; Format: Vinyl 7"

Hard to imagine how this band from Stoke-On-Trent ended up on Rot Records in the riotous early '80s, as it certainly did not fit into a roster of bands such as Riot Squad, English Dogs or the Varukers. Paranoia stand out as they sounded nothing like the aforementioned bands at all, and quite frankly could have probably become a well known act had they signed to a label that was catering to goth bands in those days. The two songs on this 7" are both outstanding goth-punk with female vocals, and anybody that is seeking out a truly underrated band should get their hands on a copy of this 7-incher. Both songs are mid-tempo with lots of hooks and melodies appealing to both, punks and goths, and I remember hearing one of the songs for the first time when I bought a copy of Rot Records' - End of an Era 2-LP compilation as the label was folding. Even in my much younger years yearning for fast and furious music I dug the wonderful sounds of Paranoia. A true gem!

UK Decay - The Black 45 EP

Label: Plastic Records; Year: 1980; Format: Vinyl EP

UK Decay are one of the best examples for a band that managed to cross from one genre to another one as they were spearheading a movement that would become to be known as goth in the early '80s. This outstanding 4-song EP released in January 1980 is still steeped deeply in their punk rock roots, but each song already hints at what was to come and was proof of the immense talent this band had/has to offer. The song arrangements are intelligent, well thought through and executed with such craftsmanship that even though over 30 years have passed since the release of this EP, these tracks stand the test of the time and have become timeless hits. This is definitely a classic, and one that can still easily be obtained so no reason to miss out here!

The Wipers - Over the Edge LP

Label: Jackpot Records
Year: 2009, Reissue
Format: Vinyl LP

The Wipers from Portland, Oregon are in many people’s books one of the best kept secrets in music history. And I can only succumb to this opinion due to the fact that Greg Sage and his men have written so many unbelievably great songs. It must therefore come as a big surprise why I have waited all these years to obtain this masterpiece of an album. Well first and foremost it was relatively hard and potentially expensive to track down the original and it wasn’t until last year it was reissued again. There might have been a German pressing on Weird System but I might be wrong here. Anyway I do remember hearing this years and years ago on tapes friends would pass around so I was familiar with many of the tracks on it but have not heard them in a long time. What can I say – each one of the songs is a killer on its own and there is not one single letdown on this album. How many albums of this quality exist? Originally released in 1983 – at a time in history where many US hardcore punk bands tried to sound as fast and pissed off as possible it was quite the opposite with the Wipers. They had the capability to turn anger and frustration into gloomy yet highly melodic anthems. Songs like “Over the edge”, “Romeo” or “This time” just to name a few, are perfect examples that a band does not have to play at a speed close to derailment in order to bring across a message. And to end this I can only recommend anyone to get their sticky fingers on a copy of this, one of the best records ever.