Themes From Great Cities

It might have come to your attention that I'm not a regular poster of love and understanding, which you will just have to get used to. I will however, have bursts of creativity where I move completely randomly from post to post with no rhyme or reason. I have recently posted a few singles (7 & 12”) and the odd bootleg which have been received very well by all who visit. More of the same will continue as you, dear readers, seem to be enjoying them.

Some of the rips are my own, but many more are from other blogs and I’m just sharing the wealth. If other bloggers out there wish to share the rips from my posts, please as I do, host them yourself. To combat this, the FLAC files that are over 6 months old will be replaced with MP3 files.

Finally I am happy to re-up old posts where the link has expired. Please comment in the relevant posts comments box.

Tuesday

SHADOW




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.

Wednesday

IT’S LUXURY




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.