ganked fr. http://goutroy.blogspot.com/ Here's a pretty obscure EP from an LA band called Primal Danse. Although the record was marketed through Enigma Records, very little seems to be known about this record or the label (American Standard) that it's on. It seems that the drummer, Mike Hirsch, runs a skate shop these days in Southern California. Darin Bond, who played the rototoms, is also the name of one of the members of late 90s/early 2000s garage punk band Deadites (I don't know if they are actually the same person, though). This record was released on American Standard Records in 1982. The styles vary a bit: Insomnia is a midtempo mix of psychedelic and goth (similar to Red Temple Spirits or their predecessor, Ministry of Love); Johannesburg is dark new wave; Show No Emotion is more like a dancey funk-punk song. TRACKS: SHOW NO EMOTION INSOMINIA JOHANNESBURG DOWNLOAD HERE http://www.mediafire.com/?mqwwew1znrb
1. The Gimp (Sometimes) 2. Sex With Sun Ra (Part 1: Saturnalia) 3. All The Pretty Little Horses 4. Wraiths And Strays (From Montreal) 5. Teenage Lightning (10th Birthday Version) 6. Black Antlers (Where's Your Child?)
This album contains 'SIXTEEN METAPHONIC MEDITATIONS' based on the mystical text known as the Book of Formation. From the booklet: "I assume some people might take the whole 50'01'' on in one listening, but it's not really intended for that type of listening... these sixteen pieces are meditations, like, say, poems or haikus. I recommend listening to no more than four at time, and in their verse groupings, i. e. 1-4, 5-8, 9-12, 13-16."
1 The Garden (5:18) 2 Explosion im Festspielhaus (3:48) 3 Haus der Lüge (3:37) 4 Zebulon (3:52) 5 NNNAAAMMM (6:44) 6 Die Interimsliebenden (5:49) 7 Installation Nº1 (7:03) 8 Der Schacht von Babel (3:35) 9 Ich bin's (4:45) 10 Headcleaner (15:48) 11 Wüste (4:11) 12 Redukt (7:13) 13 Ende neu (8:01) 14 Salamandrina (3:32) 15 Sonnenbarke (9:20) 16 Was ist is (4:10) 17 Der Tod ist ein Dandy (6:14) 18 Letztes Biest am Himmel (4:43)
One of many incarnations of Richard D. James a.k.a. Aphex Twin
TRACKS
1.Joyrex J4 4:30 2 AFX 114 1:21 3 Cordialatron 4:44 4 Italic Eyeball 4:25 5 Pigeon Street 0:23 6 Astroblaster 5:29 7 On The Romance Tip 5:06 8 Joyrex J5 6:54 9 Fantasia 6:02 10 Humanoid Must Not Escape 5:42 11 Clayhill Dub 3:24 12 The Garden Of Linmiri 6:10 13 We Are The Music Makers (Hardcore Mix
1.Die wellen 2.Nagorny karaback 3.Weil weil weil 4.Ich hatte ein wort 5.Von wegen 6.Lets do it a dada 7.Alles wieder offen 8.Unvollstaendigkeit 9.Susej 10.Ich warte
TRACKS 1.A Certain Ratio - All Night Party 2.Au Pairs - It's Obvious 3.B.B. - Working In A Farmyard 4.DNA - Not Moving 5.Big FLAME - New Way 6.Stump - Buffalo 7.Petticoats - Steff Petticoat Normal 8.Lizzy Mercier Descloux - Torso Corso 9.Blurt - Get 10.The Flying Lizard - Money 11.Charles De Goal - Synchro 12.The Stranglers - Get A Grip On Yourself
TRACKS 1.Reflections - 4 Countries 2.Suffocation + 44 Seconds 3.Cultural Decay - Brave New World 4.Palais Schaumburg - Wir Bauen Eine Neue Stadt 5.James Chance & The Contortions - I Don't Want to be Happy 6.Josef K - It's Kinda Funny 7.Monochrome Set - Love Zombies 8.Crisis - Brükwood Hospital 9.Hobbies Of Today - Tightrope Walker 10.Diagram Brothers - Discordo 11.Milano New Wave - M.N.W.7 12.Pullovers - Spare Part Surgery
TRACKS 1.Fuzzbox - Console Me 2.Au Pairs - Inconvenience 3.Blue Orchids - Work 4.Xero - The Girls 5.Fire Engines - New Thing In Cartons 6.Hans A Plast - Monopoly 7.Happy Refugees - Hamburger Boy 8.Sonovac - Human Fly 9.Inca Babies - 16 Tons Of Fink 10.Liasons Dangereuses - Etre Assis Ou Danser 11.Liquid Liquid - Bell Head 12.Striplight - No Search, No Entry
UK sound manipulators and experimentalists Coil were formed in the aftermath of Throbbing Gristle's artistic fallout when Peter Christopherson (keyboards, programming) split from Genesis P-Orridge's Psychic TV to join John Balance (vocals, percussion) in 1982. Balance had already been recording under the name Coil. The band has gone on to include numerous other personnel, notably Clint Ruin (Foetus). However, the core members remained Balance, Christopherson and Stephen Thrower (programming, keyboards) until the early 90s.
They set their stall with a 1985 long-playing debut, Scatology. This, regarded as a work of unequalled genius in some sectors of the industrial community, used elementary electronics and primitive samples as a basis for exploring lyrical themes that included religion, sexual freedom and alchemy: "I'm obsessed with the idea of turning base matter into gold, transmuting base materials, i.e. raw sound, into something else". Housed in a black-and-white sleeve that only reinforced the hostility of some of the enclosed music, Scatology was an innovative staging post in music's post-punk revolution.
Ruin was in attendance to aid the keyboard runs, and also added horns to the follow-up, Horse Rotorvator. A less ostentatiously uncompromising audio experience, this collection saw the group supplant the more abrasive elements of its sound with classical and jazz textures, though the messages thus sweetened remained grim. Occasionally the more prominent placing of the poetry/vocals, aided by a musical background drawing from Arabic and Middle Eastern cultures, produced an uncharacteristically accessible, clean sound.
Unreleased Themes From Hellraiser contained exactly that - a series of mood instrumentals written for the film but rejected. Clive Barker's loss proved a boon to Coil fans on an often overlooked set that is among the most evocative in the band's consistently excellent discography. Although Gold Is The Metal With The Broadest Shoulders is a compilation, it is worth consideration in its own right as the versions of the songs contained (drawn from the previous albums and EPs plus compilation appearances) are often in radically different form.
The same is true of Unnatural History, which culls material from debut EP How To Destroy Angels and the band's collaboration with Current 93, as well as including a 17-minute eulogy to "male sexual energy". By the advent of Love's Secret Domain five years had passed since a studio album proper (through lack of finances rather than lack of energy), and Coil had moved with the times. Incorporating acid house beats and some of the ephemera of dance music, Love's Secret Domain was nevertheless as deeply impersonal as previous outings: "I hate people. I can only stand two or three at a time. If I see large numbers of people enjoying themselves, I automatically start having a bad time".
Despite Thrower's truculence, Balance admitted that he had been influenced by attendance at the Shoom and Confusion clubs which first imported Balearic Beat to the UK. The additional member photographed on the sleeve, meanwhile, turned out to be Otto Avery, a "mad acid kid" who didn't do anything on the record but merely turned up and asked to be credited. More substantial input came from Annie Anxiety (backing vocals) and Marc Almond (guitar - having previously added vocals to earlier Coil recordings).
By 1995 the band had signed to Nothing Records, the label run by Trent Reznor of Nine Inch Nails, releasing Backwards. This, with Thrower replaced in the central trio by Dean McCowall, saw the band retreat to earlier lyrical concerns, though they also experimented with field recordings in homage to occultist Austin Osman Spare.
In the meantime the group were being name-checked by a new breed of sonic experimentalists, leading to collaborations with Autechre, Atom Heart, Bill Laswell and Tetsu Inoue. They also worked with William Burroughs on a track included on Backwards, and provided a video to Ministry's "Just One Fix".
This new sprouting of commercial activity resulted in two other new albums - The Sound Of Music compiled Coil music written for the Derek Jarman films Blue and Journey To Avebury, along with the earlier Clive Barker recordings, while Worship The Glitch was credited to ELpH: "ELpH is when we no longer recognise our presence in the music. It's the idea of taking the dead spaces, the mistakes, and extending them".
TRACKLISTING -------------- 01. Ubu Noir 02. Panic 03. At The Heart Of It All 04. Tenderness Of Wolves 05. The Spoiler 06. Clap 07. Aqua Regis 08. Restless Day 09. Solar Lodge 10. The S.W.B.P. 11. Godhead=Deathead 12. Cathedral In Flames 13. Tainted Love Bonus Track 14. The Wheel
Since 1980, German rock band Einstürzende Neubauten—in English, "collapsing new buildings"—has been reinventing music by destroying all preconceived ideas of what music is and by redefining the beauty of sound. Their music has the undeniable ability to vibrate every particle of the listener's being, the goal being to make the listener feel absolutely alive. Besides guitars, their musical arsenal includes power drills, shopping carts, oil drums, broken glass, and sheet metal. The sounds Einstürzende Neubauten pioneered became known to a wide audience when the popular British dance band Depeche Mode used them in their 1984 hit "People Are People."
In the 1980s Einstürzende Neubauten'sfrontman.Blixa Bargeld—a former gravedigger, bartender, and theater manager who appropriated his first name from a brand of German ballpoint pen—predicted that "the entire pop culture would change while we (Einstürzende Neubauten) would remain the same, and the day would come when our 'noise' would sound like their new 'music.'" His prediction was not too far off, evidenced by the popularity in the 1990s of what has come to be known as "industrial" music. By the mid-1990s, in fact, Einstürzende Neubauten's music seemed much tamer, due in part to the "noisification" of mainstream music, and also to the natural growth and change that is part of the band's creative process.
As Bargeld told Kenneth Laddish of Mondo 2000: "When we are at our best, our sounds form sentences as surely as words, which reinforces on another level what we are trying to express. The idea of using sound, stepping away from notes—add to this the quality of what the instrument actually is: this is burning oil. Put in a certain context, you compose a sentence dealing with burning oil."
Einstürzende Neubauten started out as a four-piece ensemble comprised of Bargeld, N. U. Unruh, Beate Batel, and Grudrun Gut. For those who missed the quartet's historic first show, Bargeld sold tapes of it in his second-hand store, Eisengrau (Iron Grey). The week after Einstürzende Neubauten formed, the Berlin Kongresshalle collapsed. The band viewed this as a perfect propaganda opportunity and took it as a good omen.
Lineup Evolved Another German band, Abwärts, of which Bargeld and Unruh were fans, featured F. M. "Mufti" Einheit and Mark Chung, who both eventually became members of Einstürzende Neubauten. As a trio, Bargeld, Unruh, and Einheit released their first LP, 1981 's Kollaps. This was actually a follow-up to the previous lineup's successful single "Für den Untergang" and the "Kalte Sterne" double-pack 7-inch single. Shortly thereafter, Chung formally joined the group. In 1983 16-year-old Alexander Von Borsig, known as Alexander Hacke, who was involved with many strange musical projects and had performed with Einstürzende Neubauten sporadically, began to play with them on a more regular basis.
Soon after the release of Kollaps, Einstürzende Neubauten became favorites of the British press and in 1983 released their first album in the United Kingdom, Drawings of Patient O. T. Although some felt it lacked the primitive intensity of their first release, most felt Patient O. T. had more texture and direction. The sound seemed more stripped down but better structured. The band had torn themselves down and moved on to yet another stage of their evolution.
The following year Einstürzende Neubauten released Strategies Against Architecture on the Mute label and 2X4 on ROIR. Strategies is a compilation of five tracks from Kollaps, two from Kalte Sterne, the B-side of the "Für den Untergang" single, and previously unreleased works, some of them live. The cassette-only 2X4, contains live performances recorded in Europe from 1980-1983.
Apocalypse at Mojave In 1984 Einstürzende Neubauten began appearing at special-event "site-specific" performances. One of the more notorious of these took place in California's Mojave desert on March 4, 1984. Fans who attended the show were brought to the site on a chartered bus caravan. While refrigerators and other appliances loaded with explosives were detonated for their enjoyment, courtesy of Mark Pauline and Survival Research Laboratories, Einstürzende Neubauten filled the desert air with their music in an unforgettable symphony of apocalyptic sights and sounds.
The band's indoor shows had also become quite notorious. Fire had become a regular part of their program. But at one Los Angeles performance, an onstage fire got out of control and completely burned the props for the second half of the show. The same night, vibrations from the power drill used onstage caused plaster to fall off the ceiling and onto some record company executives who were eating dinner a floor below.
For the Record . . . Members include Blixa Bargeld, vocals; Mark Chung, bass; F. M. "Mufti" Einheit, percussion; Alexander Hacke (born Alexander von Borsig), guitar; and N. U. Unruh, percussion. Former members include Beate Batel and Grudrun Gut.
Original lineup formed in 1980; released Kollaps, Zick Zack Records, 1981; released numerous singles and albums on Monogram, Zick Zack, Some Bizzare, and Mute labels, among others; toured Europe and U.S., beginning early 1980s.
Addresses: Record company—Mute Records, 140 West 22nd St., Ste. 10A, New York, NY 10011; 345 North Maple Dr., Ste. 123, Beverly Hills, CA 90210.
Soon promoters were forced to turn down opportunities to mount Einstürzende Neubauten shows; insurance companies had begun to refuse to cover the venues at which Einstürzende Neubauten was booked. The band rectified this untenable situation by toning down the more "explosive" and uncontrollable elements of their live show. By the mid-1990s, their shows were more restrained; they needed only brandish the drill or empty water out of a gasoline can to raise the tension level and get a strong audience reaction.
Broadened Scope Displaying their creative compositional techniques by employing grand piano, bizarre dance beats, and their trademark thunder, the band released Halber Mensch in 1985. The a cappella title track sounded like part of an avant-garde opera. Then, Einstürzende Neubauten disbanded for a year. In 1987 they reformed and released Fünf auf der Nach Oben Richterskala, perhaps their quietest release, one that left many of their fans confused, waiting for the thunder that never emerged from this album. The thunder returned, however, with 1989's Haus derLüge and reappeared again on Strategien gegen Architektur II in 1991. And after yet another prolonged hiatus, 1993 saw the release of the highly acclaimed Tabula Rasa triptych, which contains the pieces "Blume" and "Wüste," originally composed for the avant-garde Canadian dance troupe La La La Human Steps.
The music of Einstürzende Neubauten has been called everything from "junk rock" to "industrial." The musicians themselves have been labeled "aural terrorists" and "musical mutants," as well as "the Kings of Industrial Rock." Bargeld has termed their efforts "hardcore New Age," while Einheit once classified them as "contemporary German folk music." Bargeld explained the philosophy behind the music to Klaus Maeck in his book Hör Mit Schmerzen! (Listen With Pain!), asserting, "Einstürzende Neubauten ... is a positive sound, possibly the most positive sound of all. Old objects, meanings, buildings and music get destroyed, all traces of the past are abandoned: only out of destruction can something really new be created.
This release features a short film directed by Peter Care, an alternate edit, an unedited sequence and three music video's. The film was made in 1981 and released on Doublevision in 1983. The soundtrack features original music by Cabaret Voltaire. Peter Care's acclaimed short film is a story of paranoia and insanity.Drama about a man's 'breakdown', which rids him of his stereotypical view of the world. Send-up of the gangster films of the 50s and 60s. Tracks 1, 2, 3, 4 and 6 features music by Richard H. Kirk, Stephen Mallinder, and Chris WatsonTrack 5 features music by Mallinder.Tracks 1, 2, 3, 4, 5 recorded and produced by Cabaret Voltaire, Western Works.Track 6 remixed by John Robie, New York. "[Hallucination Sequence] is part of the film's first rough cut... that was made before approaching Cabaret Voltaire with the idea of producing an original soundtrack... these tracks from [[Voice Of America went so well with the unedited shots... I'm still fond of the early (and longer) version"
1 Johnny Yesno (26:00) 2 Johnny Version (14:50) 3 Hallucination Sequence (2:48) 4 Invocation (7:47) 5 Loosen The Clamp (6:43) 6 Yashar (Dance Mix) (7:54) Remix - John Robie
VHS rip from very rare Doublevision tape OK quality Join with HJ Split or other.
1 Taxi Music (14:34) 2 Hallucination Sequence (4:49) 3 D.T.'s / Cold Turkey (4:10) 4 The Quarry (In The Wilderness) (5:19) 5 Title Sequence (3:35) 6 Taxi Music Dub (8:33)
... A teenaged waitress is shot. Then disappears... A beautiful society girl arrives from nowhere... A man is caught between them. Trapped in a twilight world of violence & intrigue... A journey through darkness & confusion... ...His endurance stretched to the limit. His only chance of escape jeopardized by a crazy turn of events...
This is the Mute Records re-issue, the original release was on the Doublevision label (cat# DVR 1) in 1983.
One of the most important US compilations of the early 80's,Live at the Target ,gives the exact picture of the SF underground music scene of this period.Blending punkish nowave inspirations along with electronics and experimentation this compilation features some of the top names of the period.Recorded live February 24, 1980. This show is also available as a live VHS video from Target Video.
Electronic hymns have never sounded more seductive or cooler than those on "Northern Light", COVENANT�s new masterpiece. The Swedish group serves up "pop on the rocks" with an irresistable charm based upon a combination of futurism and tradition, two seemingly contradictory elements. Covenant took over the minimalist line of electro-pop pioneers such as Kraftwerk and Human League, filtered it through the evolution of modern dance music and added full-bodied harmony and energetic beats. "We try to create a sound that is 'right here, right now' from elements of traditional pop structures and futuristic soundscapes", says Joakim Montelius, the spokesman of the band. "We make music to experience with your body, soul and mind. A kind of soundtrack to life".Throughout their career they have constantly evolved their sound, incorporating every aspect of electronic music into their unique musical universe. "Northern Light" is no exception, but "an attempt to bring out the soul of our machines". This quest has resulted in an album that speaks to everybody, not just the electro aficionados."Making music is - just like writing or film-making - basically a form of communication. We make music first and foremost for ourselves as a way of finding the heart and soul of being human. But as this search goes on and we see the reactions from our audience we find that we are not so different; we share our passions, fears and dreams with many others. The process of making music makes us complete and more open to the world we live in". Barcelona, Berlin and Helsingborg are the cities the members of COVENANT have chosen to live in. Singer and frontman Eskil Simonsson enjoys the cultural diversity of the German capital, the club scene and the vibrant energy of Berlin's musical underground. Simonsson is a self-declared music fanatic. His record player is on all the time, and when he's in Berlin he's constantly on the lookout for new electronic music. But he also likes to be able to take off to nearby Sweden to enjoy the serene beauty of the northern wilderness. Joakim Montelius moved to Barcelona "to get away from the confinement of my home town. There's a tremendous amount of creative energy down here, and so many different nationalities all contributing in their special way. You're completely surrounded by it. I like Berlin too, but I've always had a taste for the more exotic flavours. I'd rather go to Beirut for vacation than to Mallorca. And I think that the contrast between Berlin and Barcelona, tempered by our Swedish background helps building the tension necessary to create good music. Our work is - after all - the result of the push and pull of three very different personalities". Clas Nachmanson is the one that keeps up the Swedish connection. He's still based in Helsingborg, where he stubbornly keeps his job as a computer consultant. "Clas is like a catalyst", is how Montelius describes his function, "he prefers to live in the real world and he provides the input we need not to spin off uncontrollably in the studio. This is what actually brings our trinity into a wheel going forwards, instead of an introverted spiral. Eskil and I throw things into the stew; Clas tastes it and add or subtract when necessary". The three have been together since the mid-80's. When they were in school together, they were part of a series of projects interested in electronic instruments and the fun you could have with noise. "I remember when Clas came home from London with this wonderful new machine. It was a sampler, an instrument that I - at the time - had only heard rumours about. We went wild and sampled Swiss cuckoo clocks, friends trying to play the trumpet, squeaking chairs, TV commercials and toy drums. It all sounded kind of weird, but we loved it", Montelius recalls. Then the three of them moved to the university town of Lund to study chemistry, physics and the arts. They installed a small studio in Clas' bedroom and started to call themselves COVENANT.In 1993, they came out with their first album, "Dreams of a Cryotank", and "Sequencer" followed in 1996, an album that is still regarded as one of the milestone classics of the genre. Two years after that, "Europa" was released. With "United States of Mind", which appeared in 2000, the fashion-conscious suit wearers attracted more and more attention from outside of their traditional industrial and electro scene, and that was their first experiment in the world of pop music. One of the singles from this album was "Der Leiermann", a poem by 19th Century German Romantic poet Wilhelm M�ller that COVENANT put to music. "We tend to make these drastic connections between past and future, technology and history", Montelius says, "maybe as a result of our multi-disciplinary academic backgrounds". COVENANT is the result of a clash between science and the arts, which often gives rise to lengthy, heated discussions. Many of the ideas that come up in these discussions find their way into the trio's songs, which, according to Montelius, focus on two things: "The juxtaposition between the past and the future. It's so incredibly difficult to live in the present. We always end up finding our way by looking back to see what we had or looking ahead at what we want", he explains. "Loneliness is another important theme. In the end, there is only you and what you want to do with your existence. Writing songs about it is a way to handle this fundamental fact". The group's most recent album, "Northern Light", was produced by Jacob Hellner (Rammstein, Clawfinger, Fleshquartet etc.), who subtly helped the band realize their ambitious plans. This collaboration resulted in songs like the majestic opener, "Monochrome", with it�s hypnotic beat, "Bullet", an appealing hymn-like number buoyed by a powerful chorus, and "Invisible & Silent", a reflective song imbued with pensive melancholy. These are but three examples of a total of eleven musical invitations to take off for the cosmos of COVENANT, which is intense, introspective and cool all at the same time. "The new album was inspired by Eskil's adventures in Berlin, my growing impatience with small town life and dreams of leaving and - of course - our ambition to evolve as artists by trying new ways", comments Montelius, "it's introspective, reflective, somewhat melancholic, and if I can put it that way; mature. Our most soulful album so far". The "noise adventurers" have become "sound managers" whose declared goal is "to make a difference". That is an ambitious goal and one that can only be achieved by lots of hard work. "Northern Light" has never the less managed to do just that, and all you have to do is to listen to the album to realize it. The band explains the title "Northern Light" like this: "We recorded the album during the winter in Stockholm. It's a bleak, cold period with lots of snow, rain and freezing winds. The atmosphere heavy, depressing and grey. But there was a light shining in the basement were we worked on the songs - our 'Northern Light'". And it fits in a larger context too; these three inspired Scandinavians bring the Northern Light to the world.
I have the perfect Halloween soundtrack for you: Einstürzende Neubauten’s Strategies Against Architecture 80-83. These guys are the uncrowned kings of noise and experimental music. This early compilation is particularly eerie, and metallic, in the literal sense of the word. Typical “instruments” listed for each song include “hollow metal object”, “metal plates”, “scratching metal”, “air conditioning duct” and so on. What vocals are there, are, how you say… distressed? And check out a few of these Halloween-ready titles: “Tanz Debil (A Dance of Mental Illness)”, “Schmerzen Hören (Listen with Pain)”, “Draußen ist Feindlich (Outside is Hostile).” Of course, the band expanded beyond this type of music over the years. And they have put on some noteworthy live performances in their time. I have never seen them in person, but I did get to see leader Blixa Bargeld once with Nick Cave.
TRACKS
1. Tanz Debil2. Schmerzen Horen3. Mikroben4. Krieg In Den Stadten5. Zum Tier Machen6. Drauben Ist Feindlich7. Stahlversion8. Schwarz9. Negativ Nein10. Kalte Sterne11. Spaltung12. U-Haft Muzak13. Gestohlenes Band (Orf)14. Schwarz (Mutieirt)
*MANY THANKS to rho-xs.blogspot.com for use of this link and story :D
I had a hard time chosing between Technodelic and BGM i like both albums very much, ive chosen Technodelic as its a little more adventurous- specialy vocally and i think its a classic which productionwise lacks just that edge which would have completely raised it above everything else ( no chance it will ever get a full kling klang treatment), that said it sure was one of my favourite albums of 1982.
01 - Pure Jam (4:30) 02 - Neue Tanz (4:59) 03 - Stairs (4:15) 04 - Seoul Music (4:47) 05 - Light In Darkness (3:39) 06 - Taiso (4:22) 07 - Gradated Grey (5:34) 08 - Key (4:34) 09 - Prologue (2:32) 10 - Epilogue (4:22)
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million excuses as to why I have not but the simple truth is, I suck. I've
been la...
Here's a pretty obscure EP from an LA band called Primal Danse. Although the record was marketed through Enigma Records, very little seems to be known about this record or the label (American Standard) that it's on. It seems that the drummer, Mike Hirsch, runs a skate shop these days in Southern California. Darin Bond, who played the rototoms, is also the name of one of the members of late 90s/early 2000s garage punk band Deadites (I don't know if they are actually the same person, though). This record was released on American Standard Records in 1982. The styles vary a bit: Insomnia is a midtempo mix of psychedelic and goth (similar to Red Temple Spirits or their predecessor, Ministry of Love); Johannesburg is dark new wave; Show No Emotion is more like a dancey funk-punk song. TRACKS: SHOW NO EMOTION INSOMINIA JOHANNESBURG DOWNLOAD HERE http://www.mediafire.com/?mqwwew1znrb
