Music review by Hildemollerknag

This album from "Second Layer" comes via some members of the Sound - remember 'Who the hell makes those missiles'? - but even better, the music has been worked outside the Sound structure and has turned out to be a very successful 'public' experiment, a characteristic feature is the full use of guitar and synth. Sounds which gel beautifully with the controlled use of a drum machine, for the results that have been successfully achieved here, it is essential that the drum machine be incorporated as a vital unit in the mix and not simply used as a time keeping metronome, 'Definition of Honour' with lines such as 'Dead medals for the dead', opens the album - a very bitter but well documented antiwar song. Further political overtones appear in 'Underneath the glows', which challenges the notion of false security within our society. However, the music is not dominated by political content, but also operates on personalized and 'love' themes, as in 'Save our souls' and 'In Bits' - these pieces seem to reach out and actively involve the listener. 'Fixation' has some dominant and memorable bass playing, while 'Japanese Headset' brings the effects of eastern torture into your living room (and lubricates), however, the outstanding piece is 'Black Flowers' which has been carefully selected to close the album, it is by far the moodiest and slowest of the pieces and lingers on, long after the music has finished.
Tracks
1. Definition of Honour
2. In Bits
3. Fixation
4. Save Our Souls
5. Distortion
6. Underneath the Glass
7. Zero
8. Japanese Headset
9. Black Flowers
10. Skylon
Listen

The Cretones were a United States, Los Angeles-based new wave and power pop group in the early 1980s. Led by singer/guitarist and former Eddie Boy Band member Mark Goldenberg (who also wrote the bulk of The Cretones' material), the group had a strong sense of melody and a lyrical wit that placed them a cut above most of their new wave peers. Other members were Peter Bernstein (bass, vocals), Steve Beers (percussion) and Steve Leonard (keyboards, vocals).

Both their albums were released on Richard Perry's Planet Records label. They had one single that charted on the Billboard Magazine Hot 100: Real Love, in the spring of 1980, which was from their first album, Thin Red Line. The song Empty Heart, from their second album Snap Snap, was their only other song to receive significant airplay on album rock stations, but it did not chart as a single.

They are perhaps best-known as the group that provided three of the songs on Linda Ronstadt's platinum-selling 1980's new wave album, Mad Love. Ronstadt's effort served to introduce and highlight Mark Goldenberg's tuneful melodies.

After the band broke up, Mark Goldenberg went on to write the song Automatic for the Pointer Sisters, which was a hit in 1984. He later toured with artists such as Peter Frampton and Chris Isaak and had moderate success as a new age instrumental artist in Japan. Since 1994, he has been lead guitarist for Jackson Browne and continues to write, play, and produce. Cretones members Steve Beers and Peter Bernstein helped produce and compose the score to the TV show 21 Jump Street. Steve Beers has been producing television ever since, while Peter Bernstein has gone on to write numerous film and TV scores
Tracks
01 Empty Heart
02 Hanging on to No One
03 Swinging Divorcee
04 Lonely Street
05 I Can't Get Over You
06 One Kiss
07 Love is Turning
08 Girls! Girls! Girls!
09 Snap! Snap!
10 Mood vertigo
Listen

Starting out as a trio called the Strutters, singer/songwriter Mark Kjeldsen along with rhythm section Bobby Irwin and Ron François re-branded themselves as the Sinceros, trading in New Wave and melodic power pop. Epic Records took notice and signed the band in the late ’70s, but not before Irwin and François were tapped to play on Lene Lovich’s New Wave classic, Stateless. After this brief detour, the Sinceros released their debut, The Sound Of Sunbathing in 1979. A single, “Take Me To Your Leader,” got a little buzz in the U.K., and the band toured heavily there and in the States with a power-pop dream line-up co-featuring 20/20 and Paul Collins’ Beat.

After picking up Don Snow as a keyboardist, the band began work on their second album in 1980, but the obviously titled 2nd Debut was shelved by Epic. Reworking the existing tracks with Elton John’s super-producer Gus Dudgeon, the redone album was finally released in 1981 as Pet Rock. It’s a lost power-pop classic and the lead single “Disappearing” (download) is one of the greatest should’ve beens of the ’80s – in a perfect world it would have been Top Ten everywhere. Pet Rock starts off with a powerful one-two punch of “Disappearing” and the album’s second single, “Memory Lane,” (download) a Squeeze-ish number that’s even better than the first single. Unfortunately, despite plenty of hard touring, Pet Rock failed to break big and the Sinceros quietly faded away. In fact, both albums have never been released on CD.

While keyboardist Don Snow replaced Paul Carrack in Squeeze (talk about a somewhat lateral promotion!), several internet sites claim that singer/songwriter Kjeldsen ended up driving a cab in the ’90s, before succumbing to AIDS a few years later. A sad fate for one of power-pop’s great songsmiths, but a fervent underground fan base and several music blogs keep his work alive
Tracks
01. Disappearing
02. Memory Lane
03. Socially
04. Down Down
05. Barcelona
06. Falling In And Out Of Love
07. Sleight Of Hand
08. Nothing Changes
09. Girl I Realise
10. As The World Turns
11. Midsong
Listen

Youth of America is the second album by the punk band Wipers. The album marks a distinctive change in the band's sound. Compared to its predecessor Is This Real?, which was composed mostly of raw, sleek and relatively traditional songs, Youth of America features much longer and complex compositions; the title track alone clocks in at over 10 minutes. This change of pace was according to Greg Sage a deliberate counter-reaction against the trend of releasing short songs, which many punk bands did at the time. The album was, according to Sage, not well-received in the United States at the time of its release, though it did fare better in Europe. Along with other records by the Wipers, Youth of America has since come to be acknowledged as an important album in the development of American underground and independent rock movements of the early 80s.
Tracks
01. No Fair - 4:25
02. Youth of America - 10:30
03. Taking Too Long - 3:05
04. Can This Be - 2:55
05. Pushing the Extreme - 3:15
06. When It's Over - 6:30
Listen

I'm So Hollow was one of the many Sheffield bands that formed in 1978. The "Hollow" sound came after several months of practice sessions in the cellar at Joe Sawicki's parents house. They played their first gig with ClockDVA in the Penthouse Club in Sheffield. Many gigs followed with bands like Vice Versa and their biggest gig at the Leeds Futurama festival in 1980, of which a clip is shown in 'Made in Sheffield'
They released their first single in 1981 and signed up with llluminated Records soon afterwards. In September, just before the release of their album 'Emotion/Sound/Motion', they decide to split up feeling they had achieved their ambitions with I'm So Hollow.
Subtle variations characterize the most interesting songs. Check "Unbroken Line", (based on a slow-motion piano pattern & horror synth effects), "Touch" (set upon a line of feedback, robotic beat & warm vocal harmonies), "Emotion/Sound/Motion" (whose first part is a moody synthscape, while the second part explodes to a suspenseful rhythm groove).
Tracks
01 Entrance
02 Which Way..?
03 Unbroken Line
04 Touch
05 Collisions
06 Excitement = Change
07 The Triangular Hour
08 Emotion / Sound / Motion
09 Nosferatu
10 Distraction
Listen

Pete Wylie's first album as/with Wah is his finest work, filled to the brim with passionate post-punk and blitzkrieg funk that holds an impressive level of focused intensity from front to back -- no doubt the result of having listened to Clash records over and over and over and over again. There's little of the Clash's melodic sensibility to be found, memorable guitar riffs might not be evident ever, but there's an infectiously blistered pace to the proceedings, if a bit overbearingly shouty and mushy mixing-wise. Wylie sing-shouts everything with ferocious vigor, giving the record a rare sense of immediacy. Wah! literally sounds like they're playing with the knowledge that there will be no tomorrow. Off to an iffy start, tribal drums and from the depths vocals on "The Wind Up" do exactly that. One gets wound up because they want the record to actually start. Maybe that was the point. After that, it refuses to let up, kicked off by the "Do It Clean"-meets-"Break on Through" of "Other Boys." An album sequenced for maximum impact, instrumental "The Seven Thousand Names of Wah!" (no kidding) sets the table for "Seven Minutes to Midnight," Wah's signature song. The instrumental serves the same purpose as Mission of Burma barnburners like "Secrets" and "All World Cowboy Romance," holding together the rest of the album's songs while upping the intensity (as if it needed upping).
1. Wind Up
2. Otherboys
3. Why'd You Imitate The Cut Out
4. Mission Impossible
5. Somesay
6. Seven Thousand Names Of Wah
7. Sleep (A Lullaby For Josie)
8. Seven Minutes To Midnight
9. Death Of Wah
Listen

A Certain Ratio's 'To Each' was their first full studio album and was produced by the legendary Martin Hannett and originally released on Factory Records in 1981.
On 'To Each' ACR mixed Funk, Dub, Percussion and Electronics to create a truly unique sound and the album was instantly hailed a classic.
Sandwiched in between their rough round the edges but excellent debut The Graveyard And The Ballroom and their best album Sextet, A Certain Ratio's first proper studio album To Each... is often unfairly maligned. It was released shortly after the suicide of Ian Curtis, and the band were immediately pounced upon for allegedly trying to step into Joy Division's shoes (and take their sizable audience with them). Bearing in mind that Joy Division comparisons plague ACR to this day, this comes as no surprise. However, listening to the album today with an open mind reveals it as something of a flawed masterpiece.

Joy Division seem to be an inescapable reference point when describing the music of A Certain Ratio. Both bands were from Manchester, both were signed to Factory Records and both played dark post-punk music. The similarities between Simon Topping's and Ian Curtis' singing voices are also unavoidable. However, To Each... is really the sound of a band branching out and finding it's own sound.

Dense and claustrophobic, it is ACR's darkest album, and there are definite hints of Joy Division within the songs, but there is also a strong industrial undercurrent to some of the tracks and the effects-heavy production combined with the ethereal, slightly alien vocals sometimes call to mind Throbbing Gristle and Coil. It is also the first album where they fully explored their Latin influences, best heard on the lengthy percussion jams 'Back To The Start' and 'Winter Hill'. However, whilst later albums would reveal a lighter, more playful side to the band, on To Each... the sound is uniformly dark and challenging.

The album's biggest flaw is undoubtedly the production. Even when compared to the demos and live tracks of The Graveyard And The Ballroom, the production sounds flat and lifeless. The bass - which is really the driving force of ACR's sound - suffers especially from this. It was recorded at E.A.R.S in New Jersey with Martin Hannett at the production desk. However, when it came the time to mix the album, after four weeks of Hannett getting the sound just right, the studio engineer zeroed the settings on the recording desk and ruined a months worth of work! Hannett had to mix the album back in England at his studio du jour, Strawberry in Stockport. According to the band the new mix never came close to the original sound intended for the album, making it one of the great "What if..." albums.

Overall, To Each... is definitely not the 5 star classic that it might have been, but it is also far from the clunky derivative stinker that it has often been made out to be. Listeners expecting a more straight-forward, bouncy punk-funk album in the style of The Graveyard And The Ballroom will most likely be left scratching their heads. Those expecting a dark, challenging, brave recording from a band not quite yet at their creative peak will be richly rewarded.by Secretlymancunian
Tracks
01 Felch 3:45
02 My Spirit 2:28
03 Forced Laugh 5:53
04 Choir 2:51
05 Back to the Start 7:49
06 The Fox 3:46
07 Loss 3:23
08 Oceans 3:30
09 Winter Hill 12:45
Listen

Roky Erickson was very much a changed man when he re-emerged on the music scene in the late '70s after a deeply troubling stay in a mental institution following an arrest for drugs in 1969. The graceful but energetic proto-psychedelia of Erickson's music with the 13th Floor Elevators was replaced by a hot-wired straight-ahead rock sound which suggested an updated version of the teenaged garage pounders Roky recorded with his early group the Spades, and the charming psychobabble of Tommy Hall's lyrics with the Elevators gave way to twisted narratives documenting Roky's obsessive enthusiasm for cheezoid horror movies of the 1950s. It wasn't until 1980 that Erickson released his first solo album, and that disc has had a rather eventful history. Stu Cook (ex-Creedence Clearwater Revival) produced the sessions over a period of two years, and the album appeared in Europe as Roky Erickson & the Aliens (released by CBS in England, making it Roky's only major-label release to date), while in America it came out as The Evil One on the San Francisco indie 415 Records. The British and American releases featured different track lineups, and each version featured songs which didn't show up on the other; to complicate matters all the more, early versions of three of the songs were released on a small-label EP in France. His band, the Aliens, are in sharp, precise form; Erickson's vocals confirm he's a blues-rock belter of the first order (even when he's raving about creatures with atom brains, two-headed dogs, or the Evil One himself), and if the songs are a bit odd lyrically (which you would expect from the titles), the tunes are clever and punchy and rock on out. While the serene and evocative folk-rock of All That May Do My Rhyme represents Roky Erickson's strongest solo work, The Evil One shows just how strong a rocker he could be — and how good a band he could put together. Great stuff, and certainly the best representation of Roky's "latter-day punk" period.
Tracks
01. Two Headed Dog (Red Temple Prayer)
02. I Think of Demons
03. Creature with the Atom Brain
04. The wind and more
05. Don't shake me Lucifer
06. Bloody hammer
07. Stand for the fire demon
08. Click your fingers applauding the play
09. If you have ghosts
10. I walked with a zombie
11. Night of the vampire
12. It's a cold night for alligators
13. Mine mine mind
14. Sputnik
15. White faces
Listen

Like the better-known Teardrop Explodes and Echo & the Bunnymen, the post-punk band Modern Eon was based in Liverpool, England. Fitting somewhere between the odd rhythms and textured turmoil of the Comsat Angels and the aggressive side of Sad Lovers and Giants, the band released only one studio LP, 1981's excellent Fiction Tales. Alix Plain (Alex Johnson) and Danny Hampson started the group in the late '70s, initially calling their band Luglo Slugs. After two more name changes, they became Modern Eon and made their recorded debut in 1978 on Street to Street: A Liverpool Album. A handful of singles for labels like Inevitable, DinDisc, and their own Eon predated Fiction Tales, which quickly -- and disappointingly -- didn't so much register on the commercial radar as it went down the drain with little notice. Prior to the recording of the album, the band's lineup changed significantly; guitarist/saxophonist Tim Lever, keyboardist/percussionist Bob Wakelin, and drummer Cliff Hewitt came in at various points to replace Ged Allen and Joey McKechnie. Aside from the overlooked status of Fiction Tales, another factor that threw a wrench into the band's progress was the injuring of drummer Hewitt's wrist. Hewitt, who resembled the Comsat Angels' Mik Glaisher with his off-kilter, toms-heavy playing, proved impossible to replace. The group went on with the tour, using tapes of Hewitt's playing to accompany them. After the tour, demos for a second album weren't completed and the band dissolved. Sans Plain, the group continued briefly as This Time Next Year, who released one record in 1982. Lever played a number of years with Dead or Alive and eventually went into producing; Hewitt became a member of Apollo 440; Wakelin worked as an artist in the video game industry and then did work for Marvel comics for well over a decade; Plain worked briefly as a solo artist under the name Che.
Tracks
01. Second Still (4:16)
02. The Grass Still Grows (3:38)
03. Playwrite (3:25)
04. Watching the Dancers (3:35)
05. Real Hymn (2:47)
06. Waiting for the Cavalry (3:08)
07. High Noon (3:29)
08. Child's Play (3:59)
09. Choreography (3:27)
10. Euthenics (3:07)
11. In a Strange Way (3:46)
12. Mechanic (4:26)
13. Second Still [7" Mix] * (2:58)
14. Special Patrol * (3:06)
15. Choreography [7" Mix] * (2:47)
16. The Look a Smack * (2:37)
17. Euthenics [7" Mix] * (2:52)
18. Waiting for the Cavalry [7" Mix] * (3:11)
19. Cardinal Signs * (3:17)
20. Child's Play [7" Mix] * (4:10)
21. Visionary * (3:27)
22. Mechanic [7" Mix] * (3:16)
Listen

Changing Hearts improves slightly on the band’s debut by opening the sound up with guitars to breathe a little freer. The compact arrangements, fast rhythms and repetitive melodies remain, but the end result is more varied and more fun. “Like Papers on a Rock” and a cover of The Beatles’ “Rain” are two of the album’s better tracks, and both show the band’s willingness to try something different. In trying to find a parallel for this music, I still struggle to get unstuck from Polyrock’s idiosyncratic sound; Wall of Voodoo mostly comes to mind. As with their debut, roughly half of the songs are instrumentals. That doesn’t cost the record the momentum you might think, though trying to distinguish between a “Slow Dogs” and “Hallways” could hurt your brain. In the field of alternative rock circa 1981, Polyrock fell on the artistic side of the fence. Their melodies are actually meticulous textures, crafted to achieve correct angles like a sonic sculpture. Presumably, that was the Glass influence at work, though the pop market was never going to accept a Glass factory the way they did Warhol’s tenants. The Heads’ success, which Polyrock might have shared, was predicated on the band’s energy as much as their strangeness. Watching David Byrne sing was like watching James Brown; you kept waiting for the guy to hit the wall and collapse. Polyrock never generated that kind of energy; perhaps they were too rigid. It’s the same reason why Utilitarianism never caught on, I suppose; it just wasn’t “sexy” enough. Changing Hearts may not be a sexy record, but it’s fundamentally sound as an amalgam of art and rock, perhaps reason enough to place Polyrock on a tiny pedestal of their own
Tracks
1. Changing Hearts
2. Love Song
3. Quiet Riot
4. Cries & Whispers
5. Mean Cow
6. In Full Circle
7. Like Papers on a Rock
8. New U.S., The
9. Slow Dogs
10. Hallways
11. Rain
Download

An assured, relatively loose follow-up to the fraught and frayed Jeopardy, From the Lion's Mouth entrenched the Sound's stature as no mere flash in the pan. It should have shot them directly between spots occupied by the like-minded Joy Division and Echo & the Bunnymen as post-punk legends, but the Fates had something else in mind, and so the quartet took their place right next to touring mates the Comsat Angels in the section marked "Deserved Better." With some semblance of a recording budget, the Sound went into the studio with talented producer Hugh Jones on board to accentuate the band's winning atmospherics. As a result, the sound is fuller, less pungent. And speaking of winning, the snake-charming opener "Winning" is like a dash of cold water in the faces of all the bands that were wallowing and withering away at the weeping well: "I was going to drown/Then I started swimming/I was going down/then I started winning." This, in a sense, exemplifies the point that the Sound were not mopes. They had their problems with life, but rather than just vent or escape from them, they confront them and ask questions and attempt to sort it all out. Most of the record has an effortless thrust to it, and only occasionally — for maximum effect — does the Sound whip out the heavy artillery. If "The Fire" sounds too bombastic and pummeling, listen closer. The bass is the lead instrument, the keyboards are just as prominent as the guitars, and it only sounds like chest beating compared to the rest of the songs. From the Lion's Mouth shifts, glides, winds, accelerates, and decelerates with all the grace and precision of an Olympic downhill skier. And what a great record it is. [The Renascent label's 2002 reissue offers spectacular sound and slyly hides the fair 1982 single "Hothouse" within the last track. Prior to his death, Adrian Borland voiced his wish to have the reissue stick to the original running order with no bonus tracks for purity's sake, so the label's (appreciated) move appears to be a sneaky way of going around it.]
Tracks
1. Winning
2. Sense Of Purpose
3. Contact The Fact
4. Skeletons
5. Judgement
6. Fatal Flaw
7. Possession
8. Fire
9. Silent Air
10. New Dark Age
Download.

Klaus Sperber (January 24, 1944 - August 6, 1983), better known as Klaus Nomi, was a German countertenor noted for his wide vocal range and an unusual, otherworldly, elven stage persona.

Nomi was known for his bizarrely theatrical live performances, heavy make-up, unusual costumes, and a highly stylized signature hairdo which flaunted a receding hairline. His songs were equally unusual, ranging from synthesizer-laden interpretations of classical music opera to covers of 1960s pop standards like Chubby Checker's "The Twist" and Lou Christie's "Lightnin' Strikes". He is perhaps best remembered by the general public as being one of David Bowie's backing singers during a 1979 performance on Saturday Night Live.[1]

Nomi was one of the first celebrities to contract AIDS. He died in 1983 at the age of 39 as a result of complications from the disease.
Tracks
01. Keys Of Life
02. Lightning Strikes
03. The Twist
04. Nomi Song
05. You Don't Own Me
06. The Cold Song
07. Wasting My Time
08, Total Eclipse
09. Nomi Chant
10. Samson And Delilah (Aria)
Download.

A superb album, with the newer, younger funk lineup (Blackbyrd McKnight, Ron Dunbar, Ron Ford, Donnie Sterling, Lige Curry, etc). This was originally scheduled to be a double album, with tracks like "Atomic Dog" and "I Angle" on it, but Warner Bros. vetoed that idea. It's tough to imagine it being stretched out that far, because the album is a very diffuse collection of styles, which might have been hard to swallow with many more songs. Instead, it's a great selection of ideas and new artists, with every track bringing its own surprises. "Electric Spanking..." is a Junie extravaganza, with Michael Hampton doing the guitar intro. Another dance track in the vein of "Knee Deep", this one examines the baby boomer generation and the things they've seen. "Electro-Cuties" is a clever, pun-filled song playing on electromagnetism and sexual attraction. Great bass playing by Jimmie Ali here. "Funk Gets Stronger I" has a great rhythm guitar line set up by future Zapp frontman Roger Troutman. It also features a nice, dirty horn riff and some great singing. It's just a very funky track, with great interplay between the guitar and basslines. "Brettino's Bounce" is a fun percussion instrumental, unique amongst Funkadelic songs. Better yet, it fits perfectly in the flow of songs, much the same way "Nappy Dugout" does on Cosmic Slop. "Funk Gets Stronger II" is a rollicking, powerful funk free-for-all. New Funkadelic Sly Stone teams up with Eddie Hazel to put together a track that wouldn't be out of place on an early Funkadelic album. George is having a great time doing his rap here, and Sly shines lyrically and musically, singing in a raspy, funky whisper. The same dirty horn riff on the first version of this song pops up again here. A snippet of the Beatles' "She Loves You" can be heard at the end of the song, sung by Funkadelic. "Shockwaves" is a bizarre reggae-funk composition by new guitar hero Blackbyrd McKnight and late-period P.Funk contributor Ron Dunbar, again with funny lyrics to back up the music. That slides into a soul-dance number, "Oh, I" that features great singing. The Funkadelic story ends with the immortal "Icka Prick", a song every bit as nasty and funny as "Mommy, What's A Funkadelic", the first song on the first album. "Icka Prick" features an unforgettable, hilariously obscene rap by George Clinton, backed by another great Hampton lick and some excellent backup singing. Similar in nature to Blowfly's outrageousness, it was certainly a pre-cursor to hardcore hip-hop's nastiness, but with a much better sense of humor. 'You ain't seen obscene yet!'...'...doing pushups with his clit'... 'graffilthy! Suck my mind!'...

The album overcomes the absence of Bernie Worrell with great performances by the young musicians. The material is fresh and fun, and lots of it is reminiscient of earlier Funkadelic material without being derivative. The album succeeds because Clinton isn't trying to milk a formula here; instead, he's allowing people to do their own thing. At its best, Funkadelic was a lab for musical experimentation, and it's alive and well on their final release.
Tracks
1. Electric Spanking Of War Babies
2. Electro-Cuties
3. Funk Gets Stronger (Part 1)
4. Brettino's Bounce
5. Funk Gets Stronger-She Loves You
6. Shockwaves
7. Oh, I
8. Icka Prick
Download.

'Die Dominas' were two old friends of mine. They are my long time friend Rosi, who also performed on some Ash Ra Tempel records (...) and Claudia Skoda for whose fashion shows I have been composing and performing most of the music since 1976. They knew KW from Düsseldorf because they often went there together for fashion fairs. Ralf H. and Karl B. wrote down two special chords for them on a piece of paper: the 'sub Domina' and the 'Domina seven' (Domina = dominant) chords. Later in Berlin they were asking me to show them how these chords sounded. So, one evening when we were doing a nice long session together in my studio, I played them these chords. I explained a little about the instruments in the studio, and they started experimenting with them, without knowing that I was already recording the session! It was really a hilarious session, and the voices sounded like we were having a party. The next day, I started re-mixing the material, and finally got three titles out of it! Claudia and Rosi were so impressed with the result they played it to Ralf and Karl. They were so taken by the recording they offered to make the cover for the album. It turned out to be a very nice cover that looked like a silhouette in black and yellow. " Manuel Göttsching.
RARE GERMAN 10" PRIVATE PRESS
BY "DIE DOMINAS" a.k.a MANUEL GÖTTSCHING, ROSI MÜLLER and CLAUDIA SKODA, RELEASED IN 1981.
CATALOGUE NUMBER: FABRIKNEU 666
ARTWORK CREATORS & DESIGNERS WERE KARL BARTOS & RALPH HUTTER OF KRAFTWERK!

FOR ELECTRONIC FANS ESPECIALLY AS ALL 3 TRACKS ARE KILLER! THE SOUND OF BERLINS BASIC CHANNEL and RHYTHM and SOUND LABELS WAS INSPIRED BY THIS RECORD.
IRecord WAS EVEN SAMPLED BY CARL CRAIG ON THE DOMINAS 12 INCH LP HE RELEASED WITH MAURIZIO BACK IN THE EARLY 1990's.
HEAVYWEIGHT DEEP ELECTRONICS WITH DIRTY FEMME VOX MOANS & GROANS!
THE 17-MINUTES-TRACK "I BIN A DOMINA" FROM THIS EP IS MANUEL GÖTTSCHING'S BEST WORK Vinyl Rip!
Tracks
1. I Bin A Domina (16:53)
2. Herr Ralfi Und Herr Karl (2:55)
3. Die Wespendomina (5:56)
Download.

Off the hook krautrock like sounds from this Australian band. unfortunately not much is known about this band except for the fact that they released 2 albums, man Coda and Nebular trajectory. Fortunately I got hold of the Man Coda album thru ebay! And in such a great state!!! here's the link so you can all enjoy wonderful weirdness!
This is completely off-the-hook abstract Australian psych-rock. Evidently self-produced by the band and never formally distributed, copies of this super-limited pressing are creeping their way across the globe. Only 500 were ever pressed. Recorded direct to digital tape by just a drummer, bassist, and guitarist, the sounds run the gamut from surging, moody, textural, and nearly beatless masterpieces like “Man Coda” and “Reality’s Way” to the tense, jazzy, and angular “The Little Prince” to the stupid ill cut “Zeitgeist,” an all-out sonic rock assault that would make Les Claypool shit in his pants. This song also has an insane drum intro. Demented genius.
Tracks
1. Realitys Way
2. Zeitgeist
3. The Little Prince
4. Man Coda
Download.