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Willkommen Leser, Down-Loader, Lurker und Teilnehmer alle.

It might have come to your notice that I'm not a regular poster of love and understanding, which you'll just kinda have to get used to. I will however, now and again, have bursts of creativity and if it was to please the massed hordes, who chose to visit this insignificant page, to supply some input on the direction and type of music you would like to sample (before going out and buying yourself a copy) this little communication will not have been in vain.

I will also say now that some of the outstanding music already available to sample will be reaching their 30 days without a click threshold, where by they're deleted by the host.

Many thanks for reading this far...and please feel free to interact.




Though history rarely credits the Lurkers as much more than West London's answer to the Ramones, think carefully before you assume it's a put-down. The Ramones influenced many groups, after all, but how many of them responded by taking the New Yorkers' blueprint and making it wholly their own?
Formed late in 1976 the band were one of the pioneering punk bands that played live in the first few months of the now-legendary Roxy Club in London. Their debut single "Shadow", the first release on Beggars Banquet Records, was voted by John Peel's listeners as the twelfth best track of the year in 1977's Festive Fifty.
The band’s début album, Fulham Fallout, is an astonishing accomplishment, a blur of high octane riffs and unforgettable hooks tumbling over one another without a care for manners or niceties. When the band is at its best (notably in their singles "Ain't Got a Clue," "I Don't Need to Tell Her," and "Shadow...") with production that really makes the guitar kick. It's sloppy and amateurish, but that's what makes it so great.

Fourteen tracks make up the original LP; this Captain Oi reissue adds a further dozen bonus tracks, drawn from B-sides, compilations, demos and more. "Be My Prisoner" appeared on Streets, a landmark 1977 compilation album of early UK punk bands from a variety of independent record labels.



Originally released in 1984, Cindytalk's debut album “Camouflage Heart” melded post-punk sensibility with early industrial / electronic music. Recorded at Gateway Studio in London during 1984, except "Everybody Is Christ," recorded in 1982, Gordon Sharp (originally in Edinburgh punk band, the Freeze), with David Clancy, John Byrne, and Birthday Party member Mick Harvey also appearing on the album.
Exceedingly dark, cathartic, and at times, virtually unhinged, Gordon Sharp's early-80s incarnation of Cindytalk was a dazzlingly self-indulgent gloom-fest that anticipated the industrial-rock movement years before the genre even had a name. Best known for his fine contributions to the first This Mortal Coil project, It'll End in Tears, Sharp's work in Cindytalk is far more visceral and far less ethereal than what was emanating from the 4AD label at the time. The pulverizing "It's Luxury" is lead by incisive guitar riffs that rival Big Black's chain-link fence battering. Bad Seed and Birthday Party member Mick Harvey appears to have stopped by the studio for all of two minutes to lend thudding drums to "Under Glass," which is rife with sax bleats and lumbering bass. When not dabbling in isolationist electronics ("The Ghost Never Smiles") Sharp's eerie, wailing vocals sound like they are emanating from the bottom of a well as a dull tribal beat and guitar feedback carry the song toward what feels like a free-fall into the abyss
Cindytalk don't deal in conventional forms. This is demanding music, yet infinitely reachable and rewarding, sounding unlike anyone else I can imagine, offering real invention and ignoring old, oft-trodden paths.


For a musical act, the key to transcending the "dated" label is to possess the talent for creating exceptional songs. Forget the technology Frank Tovey employed, and accept that his first two singles, "Back To Nature" and "Ricky's Hand" had the perfect elements: driving rhythm, catchy riff, and unapologetic, non-cliché lyrics. Following the two singles, Tovey expanded his studio line-up and recorded this debut album with the power team of Eric Radcliffe, John Fryer, and Daniel Miller. Although an expanded cast of characters included more traditional instrumentation such as live drums, bass, and guitar, the sound remained faithful to what was established with the first singles.
It's important to note that while it wouldn't be uncommon to hear Fad Gadget music played in a set with Human League, Kraftwerk, or Gary Numan songs, however the sound is where the similarities end. Tovey's approach was different: he didn't incorporate technology in the same way. Frank Tovey used synthesizers because he found them to be his best resources as the one-man show he started out as. Frank started making music in the closet of his flat with a modified Grundig tape recorder. Even early on his music was characterized by creative percussion and unconventional instrumentation, mostly due to Tovey’s lack of formal training on any instrument and an admitted deficit of coordination. Frank’s technique of combining found sounds with primitive drums machine loops and socially aware lyrics carved out the niche for a new style of music.
It’s sad that Frank does not get more recognition for his music. You never see his name mentioned in reviews, being compared to musicians that have clearly built on his legacy.  He never gets radio airplay, not even on the little college radio programs broadcasting from under-funded studios at 3 a.m. Nobody ever thanks him in their liner notes, nobody ever covers his songs, nobody even seems to care that he laid the foundation for what has come to be known as “Industrial” music. Yet when people hear the term “Industrial Music” today they tend to think of bands like Nine Inch Nails, Marilyn Manson and Ministry. Really these bands have nothing to do, sonically at least, with early “Industrial” bands like Throbbing Gristle. Their sound is much more indebted to Frank Tovey and the weird, dark electro-pop ditties he churned out as Fad Gadget in the early 80s.
Tovey developed the character of Fad Gadget during his live shows, using his experience as a mime and art student to create something both artistically informed and confrontational. The persona was something of an 80s version of Ziggy Stardust, with Tovey’s slim figure, dark mullet and pancake makeup visually echoing Bowie’s iconic character. During the course of a show Fad Gadget would taunt the audience, stage dive, cover himself in shaving cream, climb all over the equipment and generally cause a scene; often at the expense of his own body. Videos exist of Fad Gadget smashing himself in the face with a mic during a show and continuing on despite the blood dripping from him mouth. These antics resulted in him being largely known for giving an entertaining and in-your-face live show rather than the actual music he was playing.
Fad Gadget’s often overlooked studio albums are great founts of 80s “Industrial” goodness. His first album “Fireside Favourites” was released in 1980 and sounds like a blueprint for early Nine Inch Nails and Marilyn Manson. It’s all synthesizers and drum machines with a pinch of funky bass and Frank Tovey’s monotonous growl rounding out, what was at the time, a distinctive sound. The album lists numerous strange “instruments” in its liner notes including an ashtray, a metal chair and “extra fingers.” Yet in a time where technology was making new forms of music possible, Frank Tovey chose to keep as much control over it, keeping it as human as possible. Those who still aren't convinced only need to look at the cover for Fireside Favourites, it's not a display of technology, it is a photo of Frank singing live! Additionally, his subject matter was clearly not a grim painting of a horrific science fiction future (note that his first single was titled "Back To Nature").
Sadly, Frank Tovey died of a heart attack in April 2002, his legacy largely ignored or unknown. If you are a fan of “Industrial” do yourself a favour and look into Fad Gadget. At his best he is danceable, dark, funny and intelligent, an uncoordinated idealist with a message. He is the sadomasochistic Ziggy Stardust that never quite found an audience and never gets the credit he deserves.