Messthetics - next volume

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From http://www.trakmarx.com/2007_01/19_mess.htm


Messthetics #103: Midlands D.I.Y. 1977-81

103 covers the Midlands scene from 1977-81. Highlights include The Prefects swaggering “Things In General”, Swell Maps’ certifiably eccentric “Camouflage Attack”, The Cravats’ uber-classic “Gordon”, The Shapes’ super-hero-worrying “Batman In The Launderette”, School Meals’ staff-baiting “Headmaster” & Domestic Bliss’ previously unreleased anthem, “Domestic Bliss”, collectively making a watertight case for Leamington Spa being the creative centre of the known universe! The package will once again include a 16-page booklet pimped to the max with sleeve scans, unseen photographs, bonus MP3s & the ubiquitous Chuck Warner penned essays!

* 1. Versatile Newts – “Newtrition”
* 2. Prefects – “Things in General”
* 3. Swell Maps – “Camouflage Attack”
* 4. The Accused – “Arrested”
* 5. Digital Dinosaurs – “Aliens in Your Skies”
* 6. Profile – “Vince”
* 7. Hardware – “Walking”
* 8. Spizzoil – “Fibre”
* 9. Famous Explorers – “Boy Detectives”
* 10. Cravats – “Gordon”
* 11. Buzz – “Life Ends”
* 12. Shapes – “Batman in the Launderette”
* 13. School Meals – “Headmaster”
* 14. Domestic Bliss – “Domestic Bliss”
* 15. Hardware – “Face the Flag”
* 16. Hawks – “Sense of Ending”
* 17. Cracked Actor – “Statues”
* 18. Lester and the Brew – “Bad Day in The City”/”Eyesight Bad”
* 19. 021 – “Robot”
* 20. Dangerous Girls – “Dangerous Girls”
* 21. Human Cabbages – “The Witch”
* 22. Cult Figures – “Zip Nolan (live)”

Messthetics Regional Series will continue in due course, with volumes in the pipeline from Wales, Scotland, Manchester/Liverpool/Lancashire, North-by-Northwest, the South Coast, the West Country & Essex/East Anglia.


So, so, so looking forward to this. The previous volumes have all taken a bit of time to grow on me but, like any good virus, they burrowed into my brain and now when someone says "I'm glad" the song starts playing.

Mr. Odd, Friday, 9 March 2007 14:37 (eighteen years ago)

Some good stuff on there, I just bought that Dangerous Girls 7" at a punk gig in Tufnell Park!

Colonel Poo, Friday, 9 March 2007 15:16 (eighteen years ago)

sounds very cool. he gave me some extra cds last time i buyed stuff cuz i said i was a dj and writer neither of which is entirely true so: BUY MESSTHETICS! HYPED2DEATH 4EVA!

artdamages, Friday, 9 March 2007 15:20 (eighteen years ago)

Be interested to see what they dig out for the Wales volume

DJ Mencap, Friday, 9 March 2007 15:41 (eighteen years ago)

I'd like to hear what they get from Wales as well: there was a small but fervent group of DIY musicians in Cardiff as evidenced by the Is The War Over? compilation. Young Marble Giants was the only band to really make it out of that scene, but from what I've been told, they were actually latecomers and relative outsiders. More info here: http://www.zblock.co.uk/.

mike a, Friday, 9 March 2007 16:38 (eighteen years ago)

Yeah, those other Z-Block tracks on volumes from the first Messthetics series (I know at least some of them were from that comp you mentioned, Mike) were great.

I was surprised by how strong volumes 101 and 102 were. Obviously, there were a lot of great tracks on the first series, but those two new ones were just super solid comps.

Tim Ellison, Friday, 9 March 2007 17:58 (eighteen years ago)

maybe now the Prefects get their due!

dan selzer, Friday, 9 March 2007 18:23 (eighteen years ago)

Anyone know anything about the Dangerous Girls?

I saw them once, playing with Here and Now and they were great, I bought the single and its tumble of words - when you surrender to the feminine gender - has a lot of elements of World Domination Enterprises. I now there's some connection with World Dom and Here and Now but not Dangerous Girls

Sandy Blair, Saturday, 10 March 2007 07:47 (eighteen years ago)

Yeah well I tried to bloody post on this thread about Dangerous Girls in the afternoon yesterday but did it work? NO! NU-ILX etc...sometimes it has the audacity to refuse to let me post for a whole afternoon. RUDE.

anyway, yes...I was going to say, about 12 hours ago that I always hoped that someday someone would give me the unreleased demos of the first Dangerous Girls never-released LP...

but nu-ILX wouldn't let me post, oh no, god forbid I should post. Try some Steve Martin and EXCYOOOOOOOOSE ME!

Bimble, Saturday, 10 March 2007 08:03 (eighteen years ago)

All I know about the Dangerous Girls is that they were from Birmingham, Moseley I think to be more specific. The Dangerous Girls single was recorded in Kempsey, which is a village just south of Worcester, where I'm from. They did a few more singles but I think they're not supposed to be as good (I haven't heard them).

Colonel Poo, Saturday, 10 March 2007 15:00 (eighteen years ago)

http://img.photobucket.com/albums/v509/jobhosle/poster.jpg

zappi, Saturday, 10 March 2007 15:55 (eighteen years ago)

Well that's interesting, Colonel Poo, I didn't know you were from over there. I haven't gotten the feeling that collecting old punk/post-punk stuff is as popular over there as it is here. Am I wrong about that?

Anyway I've found about an album's worth of Dangerous Girls material on s1sk, some of it live, and I don't know of anything in particular that I *don't* have, but I continue to dream that perhaps they have an unreleased LP somewhere gathering dust in someone's attic or something.

Bimble, Saturday, 10 March 2007 17:36 (eighteen years ago)

By "here" I meant the U.S.

Bimble, Saturday, 10 March 2007 17:42 (eighteen years ago)

I don't think collecting this type of thing is as popular here as the US, no. Often you can get these singles fairly cheap on Ebay, if it's a UK-only auction.

Colonel Poo, Saturday, 10 March 2007 17:57 (eighteen years ago)

consider the relative ease of finding thse records, most of which are from the UK, as well as the genesis of interest in this stuff in the US, care of people like Chuck Warner. There's also that distance...when I started collecting Rough Trade 7"s and similar sounds in the US, you'd never see them, but my sister went to london and picked them all up for a a buck or three...they were just more copies everywhere and probably not enough distance to be considered particularly worthwhile.

dan selzer, Saturday, 10 March 2007 19:32 (eighteen years ago)

Yeah, but when you say "most of which are from the UK" I don't understand what you mean, I was talking about stuff from that era in general, from all over the world.

Anyway I find it completely irritating that half the stuff on these new Messthetics are just repeats of stuff on the old Messthetics. I told Chuck I felt that way but he said the purpose was to reach out to a wider audience. Whatever, I don't get it.

Bimble, Saturday, 10 March 2007 22:10 (eighteen years ago)

People collecting the Homework style US stuff and people collecting the Messthetic style UK stuff don't always cross over. I'd say they usually don't at all. The US is filled with uk-philes collecting stuff that came from that particularly fertile period that while it also took place internationally, cannot be matched by the UK's output during that time. Note this quote I found online: "in 1978 Zigzag magazine listed 231 indie labels in their “Small Labels Catalogue. By 1980, this number had raised to 800"

Anyway, don't forget the the old Messthetics stuff wasn't licensed and the new stuff is. He's putting more work into these, promoting/distributing them to a much greater degree, I'm sure he isn't thinking here's more of the same stuff I can sell to the same people.

dan selzer, Saturday, 10 March 2007 22:21 (eighteen years ago)

Some of the Dangerous Girls stuff has been re-issued and is available from www.waferthin.org which is Rob Peters (the drummer)'s website where there's a page devoted to the Dangerous Girls story.

Fishman2, Sunday, 11 March 2007 00:40 (eighteen years ago)

For the love of...I love you, Fishman.

Bimble, Sunday, 11 March 2007 00:45 (eighteen years ago)

half the stuff on these new Messthetics are just repeats of stuff on the old Messthetics

Is that even close to being true? I missed some of the later volumes of the first series, but...

Tim Ellison, Sunday, 11 March 2007 00:48 (eighteen years ago)

I also was under the impression that the new Messthetics are better mastered/cleaned-up compared to the older versions. Also, because of the new approach, the volumes have a more cohesive feel. Instead of just being 'all letter R' bands, the vibe of the various communities is highlighted.

Mr. Odd, Sunday, 11 March 2007 01:24 (eighteen years ago)

better mastered, legally handled, and geographically oriented.

dan selzer, Sunday, 11 March 2007 08:39 (eighteen years ago)

Okay, but Dan, I know a guy who collects this stuff from ALL OVER THE WORLD, not just US or UK. There's a lot of stuff out there, you know? In fact, there's a few Belgian and Norwegian things that have been making me very happy lately.

Bimble, Sunday, 11 March 2007 14:35 (eighteen years ago)

I agreed and know pretty well that there is stuff from around the world and that people collect stuff from around the world...more now then ever, especially since they're exhausting the UK! But the question was regarding the relative popularity of collecting post-punk type stuff amongst US vs UK, and in the US, most of the collecting has long been primarily the UK stuff.

dan selzer, Sunday, 11 March 2007 22:18 (eighteen years ago)

three weeks pass...
in the US, most of the collecting has long been primarily the UK stuff.


Upon what are you basing that assumption? I tend to think if that were true we would have seen more Messthetics by now and less Homeworks.

I don't know about any of you folks but I'm bored silly by these new Messthetics. I wish I wasn't, but it's hard for me to even get through a whole disc without wanting to put on something else. The George Harassment thing was quite good, and Tiny Tim, but Tiny Tim was already on the last round, as are several other good songs here. And for god's sake can anyone explain to me what makes the likes of Steve Treatment or The Door & The Window track so vital? Talk about amateurish! I bet a ten year old kid could bang on some pots and pans in the kitchen and sound better than that. I just don't think Chuck has very good taste. He managed to pick like the worst A Certain Ratio track ever for the first round...and there have been cases where he has picked a bad song from a band I later grew to appreciate once I'd heard their other stuff.

Bimble, Sunday, 1 April 2007 03:31 (eighteen years ago)

And before you ask Dan, yes I like one of the Lines songs...the other one is just okay.

Bimble, Sunday, 1 April 2007 03:40 (eighteen years ago)

I'm basing my assumption on myself and everyone I know. There's some degree of homework style collecting from people who are coming out of more conventional punk collecting, like what you find at collectorscum.com , but in my experience of 10+ years of collecting, I've seen much more interest in the UK stuff in the US, except for the really big US acts like the Pere Ubus or whatever. But I am talking about US DIY vs. UK post-punk...american PUNK collecting trumps all.

dan selzer, Sunday, 1 April 2007 15:24 (eighteen years ago)

I'm a Britisher who loves US Homework stuff, so I guess I'm the mirror of this. Although I don't really have a preference between Homework & Messthetics, I love both.

I've only managed to find a couple of the original records on Homework comps so far - Rentals - I Got A Crush On You/New York 7" & Jeri Rossi - I Left My Heart But I Don't Know Where 7" (which I absolutely love).

Colonel Poo, Sunday, 1 April 2007 15:26 (eighteen years ago)

That Rentals song "New York" is great.

Bimble, Sunday, 1 April 2007 16:07 (eighteen years ago)

Steve Treatment and the Door and the Window were phenomenal.

Tim Ellison, Sunday, 1 April 2007 16:29 (eighteen years ago)

The Rentals were great, I've got the I Got A Crush on You/New York single as well. They became Jeff and Jane Hudson and put out the World Trade ep, for fans of minimal synth of the weirder kind, Ike Yard, Suicide, Group XEX etc. They have a website:

http://officialjeffandjane.com/

Being in the us, I've stumbled upon quite a few Homework releases...I've got the Social Climbers 3x7", the Standing Waves single, the Bizarros, Belle Star, the Theoretical Girls, of course, a few more, but honestly, when Homework and Messthetics started is when I stopped collecting 7"s like crazy, because I could just listen to the CDs! And though they never made Homework, a bit too produced, I proudly have all the Fans 7"s.

dan selzer, Sunday, 1 April 2007 17:17 (eighteen years ago)

one month passes...
103 looks awesome.

These things provide the same blow to the conservative Simon Reynolds post-punk canon that the Pebbles series and other things did to a Rolling Stone-style view of sixties rock and roll.

Tim Ellison, Monday, 14 May 2007 17:23 (eighteen years ago)

I just ordered 103, can't wait!

The way some folks lovethe Nuggets boxes and subsequent collections is how I feel about post-punk and top-level punk (I'm not into the Killed By Death comps). I've been tracking down lots of post-punk comps:

Totally Wired
Rip It Up And Start Again
DIY - The Rise Of Independent Music
7" Up (this is particularly
fantastic)
Rough Trade Shops: Post Punk

The Messthetics series seems like it fills in any remaining gaps. Does anyone have any other suggestions?

Mr. Odd, Monday, 14 May 2007 20:34 (eighteen years ago)

Tim...Simon's "canon" is only because he only had so much room in his book and wanted to give more indepth coverage of key artists (while mentioning others) rather then be more completist. He had a bunch of appendixes on his website to cover additional stuff.

Mr. Odd, you may want to start with the original comps...
Wanna Buy A Bridge?
Pillows and Prayers
Fruit of the Original Sin
Objectivity
Unzipping the Abstract
Hicks From the Sticks

etc..

considering how much of this stuff came out on singles, there's tons of compilations from the period covering almost every regional scene/style.

Then there was Cherry Reds "Seeds" compilations...James Kyllo's attempting to do a post-punk/power-pop/punk-rock etc Nuggets, only he did it in the late 80s.

And the first bootlegs of the DIY stuff I saw were two records called Instant Pop Classics that came out of Germany in the late 90s/early 00s...where I first heard Desperate Bicycles, Ludus, The Fakes etc.

You may also want Kilt By Death, 3 CDs of scottish punk/post-punk/diy etc.

There's more...

dan selzer, Monday, 14 May 2007 20:45 (eighteen years ago)

and Cherry Red's CD compilations...Ambition, and the El comps.

dan selzer, Monday, 14 May 2007 20:48 (eighteen years ago)

Crepuscule's From Brussel's With Love

dan selzer, Monday, 14 May 2007 20:49 (eighteen years ago)

a lot of the DIY comps, like stuff coming out of the Street Level/Fuck Off scene and manchesters Object Music stuff have been showing up on mp3 blogs, though some of it is getting legit releases.

dan selzer, Monday, 14 May 2007 20:50 (eighteen years ago)

I disagree, Dan. Aesthetically speaking, how are Talking Heads and Pere Ubu more "key" than the Homosexuals and Red Transistor? I resent the idea that those groups are "additional stuff" and I find some of the stuff covered super in-depth in the book to be kind of banal and muso-oriented.

To me, it's the same as some Rolling Stone writer doing a great essay on the significance of the Buffalo Springfield to the exculsion of groups who exuded much more passion and joy like the Seeds.

Tim Ellison, Monday, 14 May 2007 20:51 (eighteen years ago)

But the impulse that Simon's book is about, regarding post-punk...bands like the Talking Heads and Pere Ubu invented that and had the greatest impact. It's like, where did this come from? Beyond that he discussed the scenes as much he could, keeping in mind his personal tastes, for sure.

I mean, why should someone writing about Buffalo Springfield be expected to talk about the Seeds? Now what if someone wrote a book about garage rock and talked about some great band who put out great records that nobody ever heard, but DIDN'T write about the Seeds? How would that make sense?

As someone who LOVES the Homosexuals and Red Transistor, as someone who's worked with the former and talked to the later....I don't find it hard to suggest that a book about the creation of post-punk, it's influences and influence, should greatly be about the Talking Heads and Pere Ubu.

I mean, sure, Pebbles was a "blow to the canon", but there had to be a canon. Should be be talking about some band on Pebbles 15 without establishing how great the Electric Prunes or Count Five were?

Personally, I think the Homosexuals were the greatest band of all time, but if I'm reading a book about the history of Rock-n-Roll, I'm not upset and definitely not suprised they don't get a chapter!

dan selzer, Monday, 14 May 2007 21:05 (eighteen years ago)

Dan - I forgot to mention that I just got the Kilt By Death set, so many gems! Looking at the Cherry Red catalogue there are a TON of comps and it's unclear which ones are key.

I also have the reissued Avon Calling and I've downloaded a few of the myriad regional comps (I just grabbed Angst In My Pants) but frankly I was hoping the Messthetics stuff would save me the effort - I really like Chuck's choices.

I've got all the available Aussie and New Zealand comps and feel like I've got that area covered.

I guess I'll grab the reissued Brussels next, that's been mentioned more than once.

Mr. Odd, Monday, 14 May 2007 21:07 (eighteen years ago)

Fruit Of the Original Sin was really my jam. It has this rare Paul Haig track that Trevor Jackson sampled for Playgroup, it's got DNA and Arthur Russell, and most importantly, Marine's Animal In My Head, one of my all time faves, which was only available on that comp untill the Marine CD on LTM came out.

And the ReR Sampler with great stuff from Faust, This Heat, the Homosexuals, the Work, Vogel, Art Bears and all the typical rock in opposition bands. I'm not into a lot of the ReR stuff when it gets too proggy, but the sampler, with its awesome glitter glue title, was just totally classic and its where I first heard the Homosexuals.

Oberlin College's radio station had most of these comps and that's where I first heard them...

dan selzer, Monday, 14 May 2007 21:14 (eighteen years ago)

the impulse that Simon's book is about, regarding post-punk...bands like the Talking Heads and Pere Ubu invented that and had the greatest impact

They didn't invent nothin'. The Twinkeyz probably had more good songs than Pere Ubu.

Tim Ellison, Monday, 14 May 2007 22:22 (eighteen years ago)

First of all, no, they didn't.

But it's not just about songs. It's about influence.

dan selzer, Monday, 14 May 2007 22:28 (eighteen years ago)

I mean, why should someone writing about Buffalo Springfield be expected to talk about the Seeds?

Not what I said. I'm talking about conservatism in the establishment of a canon. Would you be really interested in reading an old book on sixties rock that comes from old school conservative rock crit orthodoxy whereby they had to include a big retrospective on the Bugaloo Springfield because they were so earthy and relevant and maybe you can read about Joan Baez while you're at it but you're never gonna get nothin' about Kim Fowley or Sean Bonniwell because they didn't have enough impact?

Because I'm sorry to say that's kind of how I see the Reynolds book.

Tim Ellison, Monday, 14 May 2007 22:29 (eighteen years ago)

Not if that was the only book and the only resource out there. But if someone was writing the first book discussing 60s rock, I'd want to make sure I understood the Who and the Kinks before I got a chapter about Haphash and the Coloured Coat.

dan selzer, Monday, 14 May 2007 22:39 (eighteen years ago)

Well, I wouldn't want to make sure I understood the Who and the Kinks before I understood the Seeds. Why does it matter that the Who and the Kinks sold more records? So the book can appeal to a bigger audience and sell more copies?

Tim Ellison, Monday, 14 May 2007 22:44 (eighteen years ago)

No, because for me, the fact that the Who and Kinks were heard caused certain reverberations. Much of Simon's book is about where post-punk came from and where it went, specifically the strain that lead to New Pop. It's not the only story to tell, but it's one way of looking at it, that's the narrative. The Homosexuals had very little impact. He was writing a book covering every post-punk band ever and he wasn't looking at it solely as "who wrote the best songs". I think the Homosexuals story is a great one, and just on the basis of how wonderful their music is, of course I think they deserve covering, but if I was writing about not just the birth of post-punk, but it's influence, things like Pere Ubu and Talking Heads are of much greater importance than the Homosexuals.

dan selzer, Tuesday, 15 May 2007 00:01 (eighteen years ago)

But relevance-wise, I don't know - you'd have to point me to where the significance - as far as the history of the music goes - of the Pere Ubu/Talking Heads impact is.

Tim Ellison, Tuesday, 15 May 2007 00:50 (eighteen years ago)

Serious?

just in the immediate post-punk canon,
post Pere Ubu includes PiL, Joy Division, Magazine, Bauhaus...the influence of those early Pere Ubu records on the dreary/dubby side of UK post-punk is immeasurable. By 1980 Rought Trade was re-pressing Pere Ubu singles and releasing new ones.

as far as Talking Heads...a large chunk of messthetics and things like Restricted Code or Manicured Noise, or really you can say that pretty much any jangly angsty band that came up in the last 70s/early 80s into alternative bands of the 80s owe much of their sound to the Talking Heads, and that's not even digging into stuff like Fear of Music and Remain in Light.

dan selzer, Tuesday, 15 May 2007 01:41 (eighteen years ago)

Seventies country rock owed much to the Bugaloo Springfield.

Tim Ellison, Tuesday, 15 May 2007 01:48 (eighteen years ago)

It's also where Neil Young got his start.

dan selzer, Tuesday, 15 May 2007 01:52 (eighteen years ago)

the influence of those early Pere Ubu records on the dreary/dubby side of UK post-punk is immeasurable

If it's immeasurable, I have to wonder why I can't really hear it much. I also suspect you're overstating the Talking Heads influence - can't remember ever hearing a band that sounded much like them either, but maybe I don't listen to jangly angsty bands much.

Tim Ellison, Tuesday, 15 May 2007 02:06 (eighteen years ago)

maybe.

Re: Pere Ubu...Play Heart of Darkness. How much music sounded like that in 1975/76?
Re: Talking Heads...even beyond 77 or songs like "Thank You For Sending Me an Angel" and "I'm Not In Love", templates for much of the post-punk I like, Eno's production on Fear of Music and Remain In Light, I find pretty incomparable for their time, and quite prescient.

dan selzer, Tuesday, 15 May 2007 02:27 (eighteen years ago)

The Work were a great band...at least I think that's the one I'm thinking of...no...maybe I'm thinking of a 7" by Electric Guitars called that. Never mind.

Anyway, Dan, do you know Vogel? The same Vogel I know? Do you know a song by Vogel called "Flaschenzeug"? Or are we talking about different things? That's the only track he released as far as I know, and it was from a compilation.

Bimble, Tuesday, 15 May 2007 02:41 (eighteen years ago)

Yes I know Vogel. Flaschenzeug was the song on the ReR sampler, and he released 2 singles, one came out through ReR and the other I don't recall. They're both awesome. The ReR one features Ivor Cutler. He also had several other songs recorded for an LP that were never released, but may soon be released in one format or another.

dan selzer, Tuesday, 15 May 2007 04:26 (eighteen years ago)

I have to agree with Dan here - Pere Ubu's influence was large. (And the idea that the Twinkeyz had more great songs is frighteningly off.) The 'problem' with Pere Ubu's influence is that it's more of an idea thing than a direct-homage-to-their-sound. The Pop Group, for instance, is one of those bands that tends to get cited as an influence itself, but all those guys were pretty nuts for Pere Ubu and would talk about them ad nauseam in interviews (as would occasionally similar sounding groups like the Transmitters or Glaxo Babies.) None of those bands sounded much like Pere Ubu, but the influence was clear - at least according to the bands themselves. And one could go on and on about that and all the zillions of other bands who'd claim them as a big influence. It's like the Velvets - an obvious inspiration on many bands even today, but most of the bands people would agree are Velvets-influenced don't actually sound all that much like them, it's just the aesthetic sensibility.

Having been around when all this stuff was "new" and knowing many of these bands (including Pere Ubu), I guess this debate largely exists because some strands of obviousness just aren't handed down very well. For a "serious" band like the Talking Heads (circa 1977) to so overtly use bubblegum and disco in their songs was just a massive, subversive thing that had a great sway over many bands and sounds. Prior to what we'd now call postpunk, the divide between pop music and serious music seemed unspannable to casual audiences. The fact that Pere Ubu could be artier than any "art" and more progressive than most "prog" bands enraged people - particularly because they did it with economy, humor and an astonishing pop sensibility.

The other great band in what should be a triumvirate - and criminally underrated in terms of how brilliant, original and subversive they were, was Devo. (I'm speaking in terms of American bands.) It's funny to remember how ANGRY these original and quite pop (at their core) bands used to make people.

deedeedeextrovert, Tuesday, 15 May 2007 04:28 (eighteen years ago)

Yeah, it's all very funny for me because except for a bit of Devo, I really was a UK post-punk obsessive first, then got into all kinds of weirder american stuff and only later did I really check out Talking Heads and Devo. What happens is because of the UK indie-distribution I guess, even small american releases sold really well over there. I forget the numbers but the Theoretical Girls single sold a ton. And the degree by which all these UK bands reference and name-check the earlier american releases is astounding. Like The Fire Engines going on and on about the Contortions.

dan selzer, Tuesday, 15 May 2007 04:34 (eighteen years ago)

I meant a bit of Pere Ubu.

dan selzer, Tuesday, 15 May 2007 04:35 (eighteen years ago)

For a "serious" band like the Talking Heads (circa 1977) to so overtly use bubblegum and disco in their songs was just a massive, subversive thing

I'm sorry but I find this to be huge overstatement. I'm supposed to thank Talking Heads for collapsing distinctions between the trivial and the profound when rock and roll had been doing this all along?

Tim Ellison, Tuesday, 15 May 2007 06:12 (eighteen years ago)

Anyway, if Pere Ubu were a big thing for a lot of bands, so be it. I think their place as top dogs in the canon is unfortunate in that, to me, they never did much to equal the greatness of those early singles.

Tim Ellison, Tuesday, 15 May 2007 06:17 (eighteen years ago)

(Whereas, you know, how many fucking great records did the Homosexuals - in all their guises - produce?)

So Dan, yeah, if Pere Ubu are important because of their influence, that's fine. Doesn't mean I want to read someone telling me for the umpteenth time how great Dub Housing supposedly is, though.

Tim Ellison, Tuesday, 15 May 2007 06:19 (eighteen years ago)

how's that echo chamber sound there, Tim?

Matos W.K., Tuesday, 15 May 2007 20:10 (eighteen years ago)

hi

Tim Ellison, Tuesday, 15 May 2007 20:27 (eighteen years ago)

what r u saying???

Tim Ellison, Tuesday, 15 May 2007 20:27 (eighteen years ago)

don't be cryptic with me.

Tim Ellison, Tuesday, 15 May 2007 20:35 (eighteen years ago)

the Twinkeyz had more great songs is frighteningly off.

Maybe if you're a Dub Housing fan, but I don't get the appeal of that record at all. Otherwise:

Cartoon Land >> The Modern Dance

Though the first couple Ubu singles were probably better than the two Twinkeyz singles.

Tim Ellison, Wednesday, 16 May 2007 18:36 (eighteen years ago)

But, you know, certainly not by leaps and bounds.

Tim Ellison, Wednesday, 16 May 2007 18:37 (eighteen years ago)

And I'm not making a ploy here about WHY DIDN'T HE WRITE ABOUT THE TWINKEYZ or anything. I think I've expressed my opinion about the book. I think what it comes down to, Dan, is that you probably like the Talking Heads more than I do and have heard and maybe like a bunch of bands that I've not heard much who were influenced by them so, for you, Talking Heads figure significantly in the history of the music while, for me, the idea doesn't resonate. Like I've never heard (maybe I have) Restricted Code and Manicured Noise and I don't know which jangly angsty bands you're referring to.

Tim Ellison, Wednesday, 16 May 2007 18:45 (eighteen years ago)

All of them. And I'd say it's more then the specific influence, like mentioned above of "oh, this band sounds just like the Talking Heads", but a case of large amounts of people hearing those records, being informed by them, stretching their ideas because of them, in all these different directions...the angst, the nerdiness, disco and funk, hip-hop, african music, tapes, etc etc.

Whereas the Twinkeyz were a cool and unique band with a bunch of cool songs that very few people ever heard, then or now.

And with Pere Ubu..you're totally underestimating the influence and popularity of the singles on the late 70s early 80s, not to mention the first album The Modern Dance!

dan selzer, Wednesday, 16 May 2007 19:25 (eighteen years ago)

And with Pere Ubu..you're totally underestimating the influence and popularity of the singles on the late 70s early 80s,

Dan, I love Pere Ubu as much as the next peson with great taste, but you are overstating this by somehow suggesting that Pere Ubu came out of nowhere and were a prime year zero influence. Certainly everyone from The Human League to The Cure seemed to pick up on elements, but it wasn't anything that much more that they could be getting from Hawkwind, Beefheart and the less instrumental bits of 1st/2nd album Pink Flyod.

Sandy Blair, Wednesday, 16 May 2007 20:11 (eighteen years ago)

Maybe overstating a bit...but there's also a question of timing...like Hawkwind/Beefheart/Floyd records had been around and adored by the post-punkers during those pre-punk, punk and post-punk times, but Pere Ubu, to me at least, seemed to be something more modern, and that's a key difference I think.

dan selzer, Wednesday, 16 May 2007 20:54 (eighteen years ago)

All of them.

Well, could you name some? You made a case that there were enough jangly artsy guitar bands influenced by Talking Heads show that Talking Heads' historical significance in terms of this music was great, but I'm honestly still not sure which bands you're talking about.

I agree that '75/'76 was early for the modern vibe of those early Ubu singles and am interested in your perspective that this was a big influence, but I don't personally know how much those bands you've mentioned (and others) would testify to the idea that those singles were really key. Maybe a lot of them would, but I'm sympathetic to Sandy's argument that there were lots of influences w/r/t modernism in what would become "post-punk."

Tim Ellison, Wednesday, 16 May 2007 23:41 (eighteen years ago)

enough jangly artsy guitar bands influenced by Talking Heads to show that Talking Heads' historical significance in terms of this music was great

Tim Ellison, Wednesday, 16 May 2007 23:42 (eighteen years ago)

And speaking of indie singles that were key, I recall having an argument with you about the fact that there's almost nothing about Desperate Bicycles in the book. And I think you made the claim that their influence was greater in terms of indie methodology than in musical terms, but I'd still question that. Hyped2Death releases seem to be showing how major the post-Barrett, post-Bolan thing was in post-punk.

Tim Ellison, Wednesday, 16 May 2007 23:52 (eighteen years ago)

I didn't realize there'd be a test! I'd say Orange Juice and Josef K took cues from the Talking Heads (though the latter leaned more towards Television) for starters.

Yes there were a lot of influences working in post-punk, but the Talking Heads got there first, and on a substantial label. They were getting massive press and sales and doing major tours when just about everyone else were still fidgeting about in their basement. Considering the breadth of accomplishment on the first few TH records, and the feelings and styles they explored within, I cannot imagine they wouldn't be in the very top tier of influences. I mean, Talking Heads and Pere Ubu are two bands that were of the first wave of american punk, and considering their relative artiness, should be seen as major influences in the movement towards post-punk.

But I still think you're looking at everything in this weird world where quality is all that matters. That's great, but unfortunately it doesn't tell the story. The DIY scenes that Hyped2Death cover are one aspect of post-punk, but they're not the only story, and obviously have less to do with the narrative that Simon was getting at, where punk leads to post-punk leads to new pop. Should Simon dedicate a chapter to the Thin Yoghurts? Funboy Five? Those were great songs...

dan selzer, Thursday, 17 May 2007 00:12 (eighteen years ago)

Not a test - I just didn't know whom you were talking about! And man, I don't think the fact that Orange Juice and Josef K may have taken cues from Talking Heads constitutes a significant historical impact! In your second paragraph, you're talking more abstractly and once again I don't know whom you're talking about - very top tier of influences for whom?

And I'm not saying Simon should have dedicated a chapter to Desperate Bicycles. I am saying that the narrative favored depress-o music, however, and that all the great loonies - no Adam Ant, no Spizz, no Mark Perry, no Bruno and Anton, etc., etc. - have no place in the story.

Tim Ellison, Thursday, 17 May 2007 00:59 (eighteen years ago)

Also, I didn't get a sense that "where punk leads to post-punk leads to new pop" was THE narrative of the book. I thought it was a general interest book about the genre (if you want to call it that).

Tim Ellison, Thursday, 17 May 2007 01:01 (eighteen years ago)

It seems to me that Talking Heads certainly inspired bands like A Certain Ratio, 23 Skidoo, and the Pop Group. But, the Pere Ubu influence is a little harder to trace. I can't think of any band who sound quite like them, except perhaps Clock DVA. I do agree that Ubu served as a potent example of a band getting beyond the standard three chord punk rama-lama. So in that respect they were not a direct musical influence, but more of a signpost toward post-punk.

As to the other point, I don’t know if it was Simon’s intention to establish a Post-Punk canon. I can see why the whole idea would make someone uneasy since the goal was to overturn the canon or at the least radically re-configure it by making Can or Lee Perry more important than the Beatles. But, when you’re writing the first draft on a musical era, you usually start with what was most popular or at least widely available. There are a few times in the book where he deviates from that formula, for example, several pages devoted to Factrix, but otherwise the book sticks to the tried and true. Maybe another perspective is needed since we know musical reality is always messier than the “official” history.

leavethecapital, Thursday, 17 May 2007 01:11 (eighteen years ago)

Well, intention or not, the book is this big TOME and its contents do imply a canon.

Tim Ellison, Thursday, 17 May 2007 01:19 (eighteen years ago)

Yeah, you're right it does imply a canon. I guess I have an aversion to the very idea. I'm tired, so I read your sentence as TOMB instead of TOME. Buried history and all that.

leavethecapital, Thursday, 17 May 2007 01:32 (eighteen years ago)

Well, from where I sit, any influence on Orange Juice and Josef K amounts to significant historical impact, if you're talking about the history of post-punk and the bands these artists inspired.

And I'm sorry, but it if you're going to come up with a post-punk canon...Scritti Politti, The Fall, Pop Group, Joy Division, Pere Ubu, Talking Heads etc is not a bad start. Isn't that what the canon is? The big guys? I just don't see how Simon, writing his book about post-punk when he did, should be damned for leaving stuff out. The Homosexuals are my favorite band, but it's a matter of taste. Their book will come out one day. When Simon started writing his book, there were like, 100 people in the world who knew who the Homosexuals were.

We can debate what was and wasn't included...I can easily make a case for Mark Perry, for the Homosexuals, for dozens of other artists, but it's just nitpicking. If he hadn't discussed the better known artists, I'd be burning the books. Maybe Adam Ant fell through the cracks, maybe from Simon's standpoint he's been acknowledged enough as a punk artist, or pop artist. I don't know.

leavethecapital...I don't know, the more I think about Pere Ubu, I hear their music echoing through Joy Division, PiL, Magazine...maybe I'm inventing that, who knows.

dan selzer, Thursday, 17 May 2007 01:49 (eighteen years ago)

It's not "nitpicking." I'm not saying "BAND X SHOULD HAVE HAD A WHOLE CHAPTER." I've made specific criticisms of the canon implied by the book:

1. it buys into the myths of greatness about "the big groups" too much.

2. emphasis on depress-o groups and the psychological subject matter of their songs over fun.

Tim Ellison, Thursday, 17 May 2007 02:25 (eighteen years ago)

Tim , have you published anything on your alternative canon of artists that you like better than the "big groups"?

What are some of your examples for item 2? The book includes mention of ska/pop bands like Madness who while they had their serious side were hardly depress-o. Again, what 'fun' subject bands did he leave out (and were those 'fun' bands respected or influential or written up in zines and did they have records out)?

curmudgeon, Thursday, 17 May 2007 02:54 (eighteen years ago)

No, again, the Reynolds canon feels conservative to me. The chapter on no wave focused mostly on James Chance, for example - why? Well, because Simon likes him, someone's going to say. Not necessary to point that out to me.

But, for me, that's an example of an artist, I think, being valued because of this sense of the subject matter of his/her/their music as being sociologically significant somehow when really there's nothing of much sociological interest about it. Really, what it amounts to was that he said some dumb things in his songs. I remember thinking there was romanticization of the supposedly great breaking of taboos with Throbbing Gristle and other artists going on in the book, as well. (I mean, that's why we get Factrix, too, right? Talk about an obscure group!)

But anyway, as far as no wave goes, that seems to me the reason why you get James Chance over groups that were more interesting artistically (I mean, DNA and Mars if you're only sticking to the four No New York groups).

Answering your last question, I think I mentioned a bunch of artists already. I don't see how early Adam Ant and Mark Perry and Spizzoil and the Desperate Bicycles and on and on are that obscure in terms of the scope of the book.

Tim Ellison, Thursday, 17 May 2007 04:15 (eighteen years ago)

Some responses to this interesting dialogue:

1) Simon Reynolds book may seem like an attempt to create a "canon," but - though I agree with 85% of his 'taste' - he's biased, and this shows. Ultimately, I think his book attempts to show how all these revolutionary sounds ended up creating a bombastic new form of pop with a startling psychological complexity (though admittedly, it's been a while since I read it.) It's one guy's take on a slice of history and not the definitive one (even for Reynolds himself, I suspect.) But publishers like beginnings, middles and ends, and so to create a narrative arc, Reynolds fudged a bit with reality. Most authors do.

2) As for his biases, I love the Blue Orchids getting their due. Although deeply loved by their small cadre of fans, they still had only minimal influence on anything. But who cares? I just liked reading about them. I'd have liked to read about the Homosexuals too, but greatness aside they had little impact and sold few records. You've got to leave something out, they weren't the worst choice. Mark Perry? At least on the UK side of things, nearly every band aspired to commercial success of a kind. Mark more or less eschewed the idea, subverting every little chance, making his one reasonably commercial album ("Strange Kicks") after it was far too late. The Desperate Bicycles had absolutely NO commercial influence. But it's unlikely that Scritti Politti or Young Marble Giants would have existed without their massive ideological influence. This seems adequately covered in the book, so far enough.

3) I suspect the book would have been stronger without the American stuff in there. Reynolds seems somewhat out of his league and, well, it's obviously worth a book of its own.

4) Adam Ant's relative omission is a little strange, I think. But as Dan says, it's nitpicking. I was surprised, having 'been there' and all, at how little I found to argue with - he gets it mostly right, or more right than most do at least. I never got the ZTT thing much - most of the music was daft, so his harping on that seems odd. I don't know how anyone could dismiss the Go-Betweens (though, interestingly, he acknowledges their debt to the Talking Heads), but there you go - it's a minor difference of opinion really.

5) No one took Spizz very seriously. He talked a very good game, got himself some short-lived record deals and had a knack for the odd novelty tune. But Geoff Travis wouldn't even give his records actual Rough Trade catalogue numbers! In any case, again, you've got to leave a lot out. Spizz's current relevance is much less than many of the equally obscure artists included, so what would be the point in including him over any other artist? Perhaps there's a fair argument, but I don't know what it is.

6) Pere Ubu -> Magazine, Public Image Ltd, Joy Division . . . yes, obviously!

7) History has definitely distorted the relative popularity of even these obscure artists. I'd love to know what you guys think bands like the Desperate Bicycles or the Homosexuals or Spizz actually sold.

deedeedeextrovert, Thursday, 17 May 2007 05:09 (eighteen years ago)

Spizz's current relevance is much less than many of the equally obscure artists included

Not for me. I love this record:

http://www.discogs.com/image/R-93155-1129383506.jpeg

Spizzoil track on Messthetics 103, actually.

Tim Ellison, Thursday, 17 May 2007 06:18 (eighteen years ago)

That was supposed to be gif of the Cold City EP.

Tim Ellison, Thursday, 17 May 2007 06:18 (eighteen years ago)

I have almost all the Spizz records! I'm missing Soldier Soldier. And the Spizzles LP but that's not very good.

Colonel Poo, Thursday, 17 May 2007 10:22 (eighteen years ago)

re: number 7...I think the ironic thing is, considering how different sales were then, I'd imagine the Desperate Bicycles and Homosexuals still sold more then your average indie release today. That's not saying they sold a lot, but that all evidence I've read points to a very different world back then. The Desperate Bicycles at least admit to having made their money back and/or enough money to make the next single, which would be really impressive today! I really don't remember where I got the numbers, but I remember reading how things like the Theoretical Girls single or a Delta 5 single could sell upwards of 10,000 copies. These days if a hip band sold 10,000 CDs, they'd be millionaires.

But history has definately distorted the popularity, and I feel as someone who started buying DIY and post-punk records in the early/mid 90s, and who's made some degree of effort to adjust and distort the relative popularity myself, I've been able to see this pretty clearly. I think I wrote that when I started the first Acute website in 99, I think I specifically said something like "were the Homosexuals and the Desperate Bicycles as popular as The Fall and Wire?" Point being, no, but I'm writing about the music I liked.

One obvious example of this is the Prefects. Before the CD came out, the Nightingales were remembered as a somewhat significant post-punk band from the 80s, but very few people knew about the Prefects. When we put the CD out and promoted it, while we didn't sell a ton (copies are still available people!), their name-recognition grew, and a short while after the Nightingales came to the US for their first ever shows and encountered constant US press sayiing things like "The band the Prefects became...". The guys in the band were kinda astounded that people in america were more familiar with the Prefects than the Nightingales. I wrote the press release saying they rubbed shoulders with Joy Division and Wire and whatnot and think their musical evolution showed that classic punk->post-punk change, and the material is awesome, but of course I didn't think more then a handful of people were aware of it.

They do have a song on the new Messthetics btw, hopefully it will influence everyone to buy their full CD, which is really wonderful and ranges from 2 minute '77 punk stompers to some pretty impressive post-punk skronk.

http://acuterecords.com/releases/act007_prefects.html

dan selzer, Thursday, 17 May 2007 12:39 (eighteen years ago)

"Yes there were a lot of influences working in post-punk, but the Talking Heads got there first, and on a substantial label."

i thought this would have been roxy/eno as far as being first. love is the drug bassline probably heard by more artpunks than final solution's.

scott seward, Thursday, 17 May 2007 13:30 (eighteen years ago)

i wonder how many homosexual types were turned on by my fave virgin comp:


http://www.audiophileusa.com/covers400/48369.jpg


granted, a bit late, it came out in 1978, but still, the mix of beefheart/x ray spex/reggae/out there prog is like a recipe for future mayhem.

scott seward, Thursday, 17 May 2007 13:33 (eighteen years ago)

Roxy/Eno/Bowie were obviously THE major influences, but they were still of the old guard.

dan selzer, Thursday, 17 May 2007 14:16 (eighteen years ago)

what was a bigger influence on post-punk in 1978: "Moving In Stereo" by The Cars or "Listen To The Sirens" by Tubeway Army? haha, sorry, i'm being silly. was the Cars debut a hit in the U.K.? i have no idea.

scott seward, Thursday, 17 May 2007 14:59 (eighteen years ago)

Even if it was a big new wave record...post-punk was already pretty enveloped by PiL and probably Magazine. They were already writing about the Pop Group in 78. I imagine the UK post-punk/diy thing was already moving towards more self-consciously arty territories then something like the Cars, fwiw.

dan selzer, Thursday, 17 May 2007 15:06 (eighteen years ago)

and I'm not knocking the cars, or saying being self-conciously arty is a good thing!

dan selzer, Thursday, 17 May 2007 15:06 (eighteen years ago)

I have a picture disc 7" of Just What I Needed which I got for 1 or 2 pounds, I figure there must have been a lot of them sold here for it to be so cheap. No idea really. Actually I think they were pretty unknown here until Drive came out, at least relative to the US.

Colonel Poo, Thursday, 17 May 2007 15:06 (eighteen years ago)

just wondering. and, yeah, i know postpunkartynewwave was already full steam ahead by 78.

scott seward, Thursday, 17 May 2007 15:14 (eighteen years ago)

'just what i needed' and 'my best friend's girl' were both uk top ten hits.

as for sales back then, while i have no idea what the desperate bicycles or homosexuals sold, delta 5 singles would sell upwards of 20 000 as would bands like TG. i seem to recall reading that 'where's captain kirk?' sold around 35 000 copies.

stirmonster, Thursday, 17 May 2007 15:55 (eighteen years ago)

my god, if they did that now they'd be bigger than the beatles.

dan selzer, Thursday, 17 May 2007 16:07 (eighteen years ago)

one month passes...

I only have the "Messthetics Greatest Hits" and obviously I need more. Its so good.

Marco Damiani, Thursday, 5 July 2007 07:20 (eighteen years ago)

Wow, I wish I'd seen more of this discussion when it was active.

I think of Rip It Up like an early-80s, Anglicized version of Our Band Could Be Your Life. Not comprehensive by any means, and missing a few key players, but a reasonably complete picture of how a hard-to-define scene came to be. For Simon to focus on the relative big names (most of which weren't so big here in the US) isn't revisionist, it's realistic and in line with the book's desire to tell a story. Whether post-punk should be shoved into a linear format is a subject for debate, but I'd argue that Rip It Up is more useful by focusing on Pere Ubu and The Fall rather than The Homosexuals.

Perhaps what we really need is not another new book, but a reissue of the first two Volume books - especially Volume #2: The International Discography of The New Wave. I've thumbed through my friends' copies, and it's amazing how many thousands of labels were going, most of which are completely forgotten now.

mike a, Thursday, 5 July 2007 20:06 (eighteen years ago)

This might interest you:
http://collectorscum.com/volume3/

Mr. Odd, Thursday, 5 July 2007 21:34 (eighteen years ago)

more useful by focusing on Pere Ubu and The Fall rather than The Homosexuals.

more useful to whom, though? i wonder if you mean "beginners." i suppose there are some books of this type that i liked. nicholas schaffner's british invasion book was significant for me when i was a teenager because that's where i first read about and saw pictures of syd barrett-era pink floyd, the incredible string band, and tyrannosaurus rex.

i know people will defend reynolds' affection for the music discussed in the book as genuine, but a book like psychotic reactions and carburetor dung was ultimately much more significant for me in reading what felt like genuine passion for things like the godz.

Tim Ellison, Thursday, 5 July 2007 22:20 (eighteen years ago)

and actually, in one sense, the godz aren't a good comparison because you couldn't say that they had the chops to kick butt over the buffalo springfield, but when you listen to disc one of astral glamour you can definitely say the homosexuals had the chops (not to mention spirit) to kick butt over, say, gang of four.

so, whatever that's worth...

Tim Ellison, Tuesday, 10 July 2007 02:21 (eighteen years ago)

I've just been skimming through Clinton Heylin's new book, "Babylon's Burning" and while it's not specifically about post-punk it does cover that era well. I especially liked his chapter on Manchester where he goes into more detail than Reynolds about such Mancunian precursors as the Manchester Music Collective. A musician's cooperative I knew next to nothing about. He also gives more personal insights into the lives of Mark E. Smith and Ian Curtis than Reynolds does. While it's certainly not an alternative history to Reynolds it is a good supplement.

leavethecapital, Tuesday, 10 July 2007 04:18 (eighteen years ago)

a lot of the people from the Manchester Music Collective ended up on releases on the Object Music label, one of the more interesting labels of the time.

dan selzer, Tuesday, 10 July 2007 18:06 (eighteen years ago)

I've got to hear quite a few Object Music releases thanks to Mutant Sounds. The label should be better remembered than it is.

leavethecapital, Tuesday, 10 July 2007 19:51 (eighteen years ago)

The main guy behind it had a sex change and pretty much disavowed the label. I've been talking to somebody else with hopes of doing something, but who knows.

dan selzer, Wednesday, 11 July 2007 04:26 (eighteen years ago)

There is very little about Object on the net. If you could re-issue any of it that would be wonderful.

leavethecapital, Wednesday, 11 July 2007 20:03 (eighteen years ago)

all I've found online is this:

http://www.angelfire.com/indie/object_music/object.html

dan selzer, Thursday, 12 July 2007 04:03 (eighteen years ago)

Finally managing to listen through a lot of vol. 103 and, honestly, I don't think it's at all as strong as the first two in the new series. Apart from the tracks you already know or expect to be great by Versatile Newts, Prefects, Swell Maps, and Spizzoil, the only other things I found interesting were the Accused and 021. Otherwise, there's really a lot of mediocre DIY pop-punk and English wackiness as was the case, I thought, with volumes from the original Messthetics series.

Tim Ellison, Thursday, 19 July 2007 02:33 (eighteen years ago)

three weeks pass...

Finally managing to listen through a lot of vol. 103 and, honestly, I don't think it's at all as strong as the first two in the new series.

Agreed. I think the regional focus is going to make some volumes much stronger than others simply due to having many more options to pick from.

I haven't heard much about volume 104, I don't even know what region it's supposed to cover. Chuck's looking for the debut single from God's Gift called "These Days":
"Chuck Warner of Hyped2Death has pegged them as a must-find band for his awesome archival label's Messthetics series, and with any luck, they might appear on Messthetics #104 or #105, which Chuck promises to include "substantially odder/more primitive" material than what we've enjoyed on 100-103."

I'm still digging the post-punk mine. Regarding Dan's comments:
Then there was Cherry Reds "Seeds" compilations...James Kyllo's attempting to do a post-punk/power-pop/punk-rock etc Nuggets, only he did it in the late 80s.

And the first bootlegs of the DIY stuff I saw were two records called Instant Pop Classics that came out of Germany in the late 90s/early 00s...

Neither of these series were released on CD, nor have I seen them blogged. Anyone have them available?

Mr. Odd, Wednesday, 15 August 2007 14:35 (eighteen years ago)

I have been looking for Seeds V (Electronic) for ages now. I have the other four (Pop, Rock, Art and Punk). They're definitely not on CD.

Dr.C, Wednesday, 15 August 2007 14:45 (eighteen years ago)

Ah that might explain why I've never been able to find them (Seeds comps) on Slsk.

Colonel Poo, Wednesday, 15 August 2007 14:54 (eighteen years ago)

The punk one's the worst - it's got Abrasive Wheels 'Army Life', Puncture 'Mucky Pup', Panik (what was that called?) and for some reason includes Buzzcocks 'Love You More', which seems a bit unnecessary. I can't remember what else is on there - will have to look tonight.

Dr.C, Wednesday, 15 August 2007 15:12 (eighteen years ago)

I love Mucky Pup! As you may remember since we were discussing Small Wonder at the FAP recently. Abrasive Wheels were rubbish though.

Colonel Poo, Wednesday, 15 August 2007 15:19 (eighteen years ago)

I do remember! Yes AW were utterly shite - Army Life sounds like its recorded at the bottom of a toilet. I forgot to look what's on Seeds IV last night. What's that Panik song called - it's bugging me now.

Dr.C, Thursday, 16 August 2007 11:56 (eighteen years ago)

Could it be "Murder"?

Colonel Poo, Thursday, 16 August 2007 12:27 (eighteen years ago)

I have all the Seeds comps except for "Pop" I think. Electric is what got all this started for me in the first place. Weren't there two volumes of Rock or am I confused?

I know you love comps, Mr. Odd, but lots of the tracks from these volumes as well as the Instant Pop Classics bootlegs have appeared on their own CDs and/or can be found online, legit or not. I'll try to post some tracklists, although there was some sketchy website for Instant Pop Classics which mentioned a third volume that never came out.

Chuck is working on Scotland among other regions...

dan selzer, Thursday, 16 August 2007 15:18 (eighteen years ago)

Was it the dude from that band Metabolismus that put out those Instant Pop Classics albums?

Tim Ellison, Friday, 17 August 2007 03:35 (eighteen years ago)

I don't know. Somebody in Germany I think. Is that a different band than the very mysterious Metabolist? I think I leant my copies out because somebody burned me a CD of them, so I don't have the "liner notes" any more. Here's a tracklist:

http:/✧✧✧.geocit✧✧✧.com/kb✧✧✧@rog✧✧✧.c✧✧/punk_comps_fm.html#IPC

dan selzer, Friday, 17 August 2007 04:07 (eighteen years ago)

http:/✧✧✧.geocit✧✧✧.com/kb✧✧✧@rog✧✧✧.c✧✧/punk_comps_fm.html#IPC

dan selzer, Friday, 17 August 2007 04:07 (eighteen years ago)

I'm sorry, I have no idea why that's not working. Google it. You'll also see Ceci Moss playing a bunch of tracks off it on her internet radio show, though she lists the Gynaecologists' The Red Pullover as being on it, which it wasn't, though it's my favorite song on Seeds V.

dan selzer, Friday, 17 August 2007 04:09 (eighteen years ago)

one month passes...

I found a post from Chuck about Messthetics 104. While 103 wasn't all gold, it still had lots of gems as I'm sure this will too.

-------------------------

Hi - I'm putting together a couple compilations of Welsh "D.I.Y." and indie postpunk 1977-82 along with a few of the more experimental/unusual things from the punk scene. The first volume is Messthetics #104...

Here are the bands I'm working with so far (and some of the songs where they've already been chosen)

Czechs - Suffocation
Decadent Few - There's a Place
Flying Brix
Immortal Invisibles
Sane
Discount Chiefs – In a Different Light
Crash Action Winners
Reptile Ranch - Lifeguard
What to Wear
Hugh Volk – Robot
Current Obsessions - Fish
Decadent Few - Burning Caroline
Trwynau Coch
Chromosomes
John Evans/Marlon – Underworld
Puritan Guitars - Making It…

Maybe also Boywonders, Janet & Johns, Tax Exiles, Ralph & the Ponytails, Addiction and Spitfire Boys. I'm working on contacts (please help if you can) for Autonomes, Industrial Chipmunks, Lost Boys... and I'm still curious about bands I haven't heard, including many of those mentioned in this forum [All Welsh Punk forum] (in case it helps you to figure out what I'm looking for, however, DC10s and Tunnelrunners are too close to "straight" punk. Yah, I know it's perverse to leave'em out...)

Mr. Odd, Friday, 5 October 2007 19:30 (eighteen years ago)

two months pass...

Hi all. These should be our first (or second) thing in the new year. Asterisks are never-released, ** are/were cassette-only. Oh, and the He's Dead Jim CDR is out now.

http://www.hyped2death.com/m104_book372.gif
Messthetics #104 –South Wales (v.1)
1 Czechs - Suffocation + 44 Seconds
2 Current Obsessions - Fish
3 What to Wear - The Robbery
4 Tax Exiles - (I Don't Believe in) Miracles **
5 Flying Brix - Uniform
6 Immortal Invisibles - No Zip
7 Spitfire Boys - Funtime
8 Decadent Few - There's a Place *
9 Sane - Arnold Palmer *
10 Discount Chiefs - In a Different Light
11 Table Table - Magic Moments *
12 Crash Action Winners - Hurricane Fighter Plane
13 Reptile Ranch - (Don't Give the) Lifeguard (a Second Chance)
14 Addiction - Violence
15 Boywonders - He Man
16 Hugh Volk - Talk of the Town
17 Decadent Few - Burning Caroline
18 Ralph & the Ponytails - James Bond
19 Janet & Johns - I Was a Young Man
20 What To Wear - We're the Martians Now
21 Ralph & the Ponytails - Splendid Stories
22 Discount Chiefs - Smell of Fossils *
23 Puritan Guitars - Making It
plus 6 bonus MP3s by Reptile Ranch*, Filmstars*, Tax Exiles**, Sane*, John Marlon*, and Autonomes*

http://www.hyped2death.com/m104_book372.gif
Messthetics #105 –Scotland (v.1)
1 SCROTUM POLES -Helicopter Honeymoon
2 FIRE ENGINES -New Thing in Cartons (demo)
3 35mm DREAMS -More Than This
4 EXILE -Jubilee 77
5 COMMERCIALS -Simon
6 FAKES -Sylvia Clarke
7 METROPAK -You’re a Rebel
8 TONY PILLEY -Waiting for the Man to Come *
9 VISITORS -Moth
10 ARTICLE 58 -Event to Come
11 RADIO GHOSTS -Falling Into Darkness *
12 RAPID DANCE -Hidden So Well
13 STRUTZ -Break Point
14 METROPAK -Looking
15 VERTICAL SMILES -New Clash Single **
16 ETTES -A Conversation *
17 RESTRICTED CODE -New Messiah
18 RADIO GHOSTS -My Room
19 BRILLS -Gang of One
20 RHYTHM METHOD -Insight **
21 DIRTY REDS –Bad Sex *
22 HE'S DEAD JIM -Towel on the Radiator/ Lampshade **
23 JAZZATEERS -Blue Moon Over Hawaii *
24 PAUL REEKIE -Lovers
plus 9 bonus MP3s by Scrotum Poles*, Article 58*, Friction, 35mm Dreams*, International Spys*, Vertical Smiles*, Restricted Code*, Cats Eyes*, and Commercials**

http://www.hyped2death.com/iHDJ-cvr300.gif

Sorry it's taken so long!

Chuck/hyped2death.com

Chuck Warner/Messthetics, Sunday, 16 December 2007 23:28 (eighteen years ago)

Sorry -there's no preview window for windy self-promotional messages. The first line should have read "These should be out first (or second) thing in the new year"

& here's the proper art for #105
http://www.hyped2death.com/m105_book372.gif

-C.

Chuck Warner/Messthetics, Sunday, 16 December 2007 23:33 (eighteen years ago)

i find a lot of scrappy/diy stuff from that era fascinating.

but if a band sounded like this nowadays i'd hate them, it's weird.

anyone know what i mean?

pc user, Sunday, 16 December 2007 23:54 (eighteen years ago)

Chuck you are a fucking HERO.

J0hn D., Monday, 17 December 2007 00:42 (eighteen years ago)

YAY!!!

sleeve, Monday, 17 December 2007 01:33 (eighteen years ago)

Ralph & The Ponytails are playing a show in Newport, this weekend I think, did you know that Chuck?

DJ Mencap, Monday, 17 December 2007 13:47 (eighteen years ago)

I only know the Fakes song from the old Instant Pop Classics bootleg...looking forward to this as usual.

dan selzer, Monday, 17 December 2007 16:08 (eighteen years ago)

I really should have jumped on this years ago!

"The New Clash Single" wins for sheer gall!

Mark G, Monday, 17 December 2007 16:18 (eighteen years ago)

rad

sanskrit, Monday, 17 December 2007 20:20 (eighteen years ago)

1 SCROTUM POLES -Helicopter Honeymoon
Oooh Dundees finest, I can't for the life of me remember this, but I'm sure its a fave. I remember them as kinda Dog Faced Hermansish

4 EXILE -Jubilee 77
I have this ep, its lovely, I was wittering away the other day on a thread here about them, comparing them to 2.3

6 FAKES -Sylvia Clarke
No 'factory' then? Hah! They later became ege bam yasi

7 METROPAK -You’re a Rebel
The last time I mentioned them online I had said I'd seen them live and they were a pretentious jazz punk art project - one of them emailed me to point out they once supported Angelic Upstarts and that I'd probably seen them on an off night. Haven't heard this, looking forward to it.

9 VISITORS -Moth
On the same label as The Fakes, often supported bands in Edinburgh - I loved them playing to The Ruts audience - wire -ish post punk.

10 ARTICLE 58 -Event to Come
One of them late produced Hanson and married Clare Grogan I think.

13 STRUTZ -Break Point
Is this them that later became Laughing Academy?

16 ETTES -A Conversation *
Wow, I didn't know the Ettes had any recordings, Edinburgh Girl band, played a lot with the Delmontes and The Flowers.
ver Hawaii *

24 PAUL REEKIE -Lovers
Is this the guy who was in The Thursdays but not in Boots For Dancing

A couple of classics are missing, but its pretty good selection.
The Intrinsics from Inverness, some of the Aberdeen bands (erm, can't think of any others apart from the Tools, but there were others and some of the Glasgow stuff like Fun 4.

Of course I'd have been really impressed if you'd got some things like Kirkcaldy's Nationwide or Cowdenbeath's Dancing Pigs.

Sandy Blair, Monday, 17 December 2007 21:09 (eighteen years ago)

didn't paul reekie put out an album last year? i'm sure i have it somewhere.

oh, and sandy, if you are still reading - i may have asked you this before and forgotten but do you remember / know anything about an edinburgh band called the new york pig funkers? last sighted around 1984. i saw them play in princes street once and have it in my head that they were scotland's answer to liquid liquid but that could be my memory playing tricks on me and i've never encountered anyone else who remembers them.

stirmonster, Monday, 17 December 2007 21:27 (eighteen years ago)

ps - clare grogan is married to stephen lironi. was he in article 58??

stirmonster, Monday, 17 December 2007 21:29 (eighteen years ago)

I was trying to remember why the name Stephen Lironi rang a bell so I googled him and up came the discogs page for the Fire Engines reissue. He played (additional) drums on Big Gold Dream.

dan selzer, Monday, 17 December 2007 22:00 (eighteen years ago)

three weeks pass...

Messthetics 104 (Wales) and 105 (Scotland) arrived the other day. After just one listen, 104 is similar to 103 in that it's a bit patchy with strong moments wheras 105 is really strong, similar to the London volumes with almost no duff tracks. The first dozen tracks are incredibly strong, one great post-punk gem after another.

But these things require a number of plays before they really sink in and often things that didn't strike me at first I totally dig later.

Mr. Odd, Sunday, 13 January 2008 20:13 (eighteen years ago)

one year passes...

I enjoy picking up these comps as I find em. A fun game, really.

Ned Raggett, Tuesday, 29 December 2009 03:59 (sixteen years ago)

Once upon a time, when Chuck first started making comps, he restricted himself to just putting great songs on cassettes as "buying aids" to steer people away from fixating on the Killed by Death material (which, of course, he'd mostly provided Johann in the first place). He needed to sell some stock! So every cassette was a non-stop hit-fest. Then he went to cd-rs, then to licensed cd-rs, then to the current regional cds. But the mounting restrictions of theme and rights have meant that the current batch can't be like those first cassettes. They ebb and flow a bit; I doubt that every song will appeal to any one listener. But they're increasingly valuable collections. They also sound better than they used to and are on real cds, not cd-rs, so they should hold up better. I'd like to see him tackle some labels (which I've mentioned to him). Barclay Towers anyone? And I also want a Boston art-punk double cd, greedy as I am....

Michael Train, Tuesday, 29 December 2009 04:36 (sixteen years ago)

Can you post any of the original cassette tracklistings?

Gerald McBoing-Boing, Tuesday, 29 December 2009 05:50 (sixteen years ago)

There were at least a dozen, with often 20 tracks to a side (punk rock!), so I'd drive myself crazy, but here's the most relevant one: Hyped to Death Volume 5: UK DIY [R&S]. This was the first attempt at Messthetics, though it does favor the punkish side of the sound over the weak and squiggly.

Side 1
1 Scrotum Poles — Radio Tay
2 Seize — Why?
3 Sods — Negative Positive
4 Spherical Objects — The Knot
5 Six Minute War — Camera
6 Rubella Ballet — Something to Give
7 Scritti Politti — Messthetics
8 Steppes — God's got Religion
9 Stockholm Monsters — Soft Babies
10 Reflections — 4 Countries
11 Royston — Gerald's Eyes
12 Reducers — We Are Normal
13 Record Players — 67
14 Restricted Code — From the Top
15 Czechs — Suffocation
16 Spitfire Boys — Funtime
17 Six Minute War — Giles Hall
18 Surgeons — Breaking Rocks on Riker's Island

Side 2
1 Reacta — Sus
2 Sema 4 — Up Down Around
3 Rest — Raga
4 Strutz — Break Point
5 Spunky Onions — How I Lost My Virginity
6 Sods — Moby Grope
7 Surgeons — Sid Never Did It
8 School Meals — Headmaster
9 Record Players — Don't Go Backwards
10 Scissor Fits — Aniseed Trail
11 Stereotypes — Lovers of the Future
12 Sara Goes Pop — Fleeced
13 Decadent Few — Burning Caroline
14 Stepping Talk — Common Problems
15 Scrotum Poles — Helicopter Honeymoon

Not only is every song a pretty catchy hit, they're also edited to run into each other--no dead air--which keeps the energy up. A pain if you were trying to grab one song for your own mix, though. Great car listening. Now you get the whole song, each one set apart, of great archival value, but less fun....

Some others in the series?
Volume 1 (US Punk 45s R&S--Schematics, Sins, Reactors, Recipients, Stiphnoyds, RPA, Slugs, Scream...)
Volume 4 (Powerpop 45s R&S--Scruffs, Shivvers, Screen Test, Speedies, Shy, Squares, Rockers, Regular Guys, Red Ball Jets...)
Volume 18 (US Art/experimental 45s R-U--Reversible Cords, Tanks, Sickness, Smegma, Static, Unit 3 With Venus, Tenants...)
Volume 3 (UK Punk 45s R&S--Sex Pistols [Anarchy demo], School Ties, Seize, Shapes, Razar, Squad, Riff Raff, Stoat, Squibs...)
Volume 8 (US DIY R-U--Red Asphalt, Snots, Silver Abuse, Slivers, 2x4's, Story of Failure, True Believers, Special Affects...)
Volume 13 (UK Punk/Mod--Tights, Subs, Thermometers, Stiffs, Threats, Valves, Tearjerkers, Tonight, The Stoat, TV21, UXB...)
Volume 7 (Euro Punk R&S--Rebels, Sozz, Sperma, Schund, Silver, Starshooter, Slobodans Undergang, Railbirds...)
Volume 16 (Euro Punk S&T--Toto Lotto, Trockener Kecks, Streebers, Sperma, 39 Clocks, Tømrerclaus and Boline Erfurt, Squits..)
Volume 2 (US and Canada punk R&S--Subverts, RAF, Razer, Reruns, Red Squares, Realtors, Roach Motel, Sorex, Mike Rep, Spys...)
Volume 7 (NZ and Oz 45s R-U--This is Heaven, Screaming Mee-mees, Strange Loves, Riptoids, Sunday Painters, Thought Criminals, Proud Scum, Trans 262, Scapa Flow, Slugfuckers, Shoes this High...

There were others, but these are the ones I've got. No liners, just xeroxed graphics and track listings with year, label, and geographical info.

As you may know, the various series started in "R" and "S" because that's where Chuck was in his cataloging (he used to put out sales catalogs for specific parts of the alphabet: 7"s H–Me, for example. Sometimes with geographical sections for DC, Boston, Seattle, though those got phased out over time.

Michael Train, Tuesday, 29 December 2009 22:54 (sixteen years ago)

Thanks for that, Michael - I'm going to make a playlist with whatever I've got from that tracklisting.

I wish Chuck would publish "ideal playlists" - the compilation that he'd put together ignoring rights or availability. That'd be another fun avenue for fans of this genre to pursue.

Gerald McBoing-Boing, Wednesday, 30 December 2009 03:27 (sixteen years ago)

I guess someone could do a blog along those lines, or put together a DVD-r of the top 500 UK diy vinyl....Johann mentioned once to me about a plan of his to do a 10 cd-r box of his top 100 diy 7"s--the full records, not just single songs. And a book, too. But I think he got sidetracked into hip-hop's first wave and the Big Apple Rappin' comp. Our loss. But it wouldn't be too hard to take his list from Ugly Things (plus the supplement he did in a later issue) and jam it together with Chuck's work to come up with an ultimate Messthetics.

This is not an ultimate Messthetics, but after a year or two of his tapes and cds, I made this UK cd up for a curious friend. All my faves from the time (and they're all still great), but so much has come in since then——thanks mostly to Chuck.

1, Beyond the Implode - This Atmosphere
2, Desperate Bicycles - Smokescreen
3, Animals and Men - Terraplane Fixation
4, Young Marble Giants - Include Me Out
5, Anorexia - Pets
6, Autopilot - Love is a Process
7, The Arnold - God is Walking a Tightrope Too
8, Colours - Deidre is an Artist
9, Cravats - Situations Vacant
10, Sods - Pictures of Us
11, Scritti Politti- Messthetics
12, Artery - Heinz
13, Swell Maps - Let’s Build a Car
14, Decadent Few - Burning Caroline
15, Homosexuals - My Night Out
16, Astronauts - All Night Party
17, Bloated Toads - Happy Home
18, Cracked Actor - Disco
19, Desperate Bicycles - Advice on Arrest
20, Prats - Nothing
21, Homosexuals - Technique Street
22, Reacta - Sus
23, Reducers - We are Normal
24, Spunky Onions - How I Lost My Virginity
25, Homosexuals - You are not Moving the Way you are Supposed to
26, Seize - Mistakes
27, Scrotum Poles - Helicopter Honeymoon
28, Six Minute War - Big Week
29, Thin Yoghurts - Girl on the Bus
30, Visitors - Moth
31, Cindi and the Barbi Dolls - In Silence
32, Tronics - My Baby's in a Coma

Michael Train, Wednesday, 30 December 2009 03:55 (sixteen years ago)

one year passes...

Volume #108 is out! I've only had one listen but there's lots of gems, as usual.

http://hyped2death.com/catalog/product_info.php?products_id=203

Gerald McBoing-Boing, Sunday, 15 May 2011 15:47 (fourteen years ago)

eight months pass...

#108 is excellent.

The Seeds: Pop comp is also great, has an awesome Vital Disorders track on there.

Intend to pick up most of the Messthetics bits over this year.

Yeah Yeah Bohney (Craigo Boingo), Sunday, 29 January 2012 13:16 (fourteen years ago)

four months pass...

It's been over a year, any word on #109 or the DIY women volume?

Gerald McBoing-Boing, Wednesday, 13 June 2012 20:26 (thirteen years ago)

six years pass...

Is this project over and done? Any other Messthetics-like stuff come out over the last few years?

Gerald McBoing-Boing, Thursday, 21 March 2019 03:54 (six years ago)

Surely some reissues on lp would go ok

Hinklepicker, Thursday, 21 March 2019 04:05 (six years ago)

three years pass...

This would fit in perfectly with this series:
https://www.discogs.com/master/2630834-Various-Un-Scene-Post-Punk-Birmingham-1978-1982

Frankly, I haven't seen many interesting post-punk compilations the last number of years. Perhaps the barrel is well and truly scraped?

Gerald McBoing-Boing, Thursday, 9 June 2022 13:33 (three years ago)


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