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Not Quite Strictly 1979...

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Indies 90

Back to the No Future

Cabaret Voltaire continue a series of releases on Mute with #8385 (Collected Works 1984-1985), out on 4 November 2013, more details at shop.cabaret-voltaire.net . #8385 is a six CD / four vinyl and two DVD box set.

#8385 (Collected Works 1983 - 1985) collates four of Cabaret Voltaire’s classic mid-period releases – remastered - on CD and vinyl - The Crackdown (1983), Micro-Phonies (1984), Drinking Gasoline (1985) and The Covenant, The Sword and the Arm of the Lord (1985) alongside a CD of Cabaret Voltaire’s 12” A's & B's from the period and a CD of 12 unreleased tracks entitled Earthshaker (The Lost Soundtrack).

DVD1, Cabaret Voltaire Live, collates two live shows, the Bedford Boys Club (18.08.84) and Hammersmith Palais (02.12.84) and DVD2 is the long awaited DVD release of Gasoline In Your Eye (1985), plus the four promotional videos from the time.

#8385 (Collected Works 1983 - 1985) also includes 40-page 12" booklet, notes about Earthshaker, an essay by Phil Barnes and new sleeve notes by Richard H. Kirk.

www.facebook.com/CabaretVoltaireOfficial


Cabaret Voltaire - Just Fascination

Gang of Four - To Hell with Poverty(Wanz Dover Ready for the Floor Remix)

Lucievacarme - Encore Stéphanie

The Stone Roses-Sally Cinnamon (Live At The Hacienda)

Winona (Drop Nineteens)

Roses Are Red (Demo)

Un groupe ESSENTIEL malheureusement non reconnu à ça juste valeur. Cet album est sortie milieu 90, écoutez le quasi plagia qu'a fait "Fauve"

01. Diabologum - De La Neige En Été

Waterfall - Covered by Resurrection (Glasgow based Stone Roses tribute band). 

Waterfall

Buy Now - https://pinkflag.greedbag.com/buy/nocturnal-koreans-0/

Wire’s new mini-album, Nocturnal Koreans, is striking in its diversity, the band fluently negotiating an expansive stylistic range, from immensely catchy pop to ambient introspection and beyond. Chronicling a sleepless night that Wire spent in a seedy Boston-area hotel on their 2013 US tour, the title track is the kind of charging, urgent tune that’s always been vocalist-songwriter Colin Newman’s forte. The lyrics, by bassist Graham Lewis, make this one of guitarist Matthew Simms’s favourites on the record, largely because of the associated memories: “It’s a great snapshot of touring America and when I hear or play that song, it reminds me of the many weird and wonderful times, places and people that cross your path.”

Nocturnal Koreans

 VISITORS "Poet's End" LP//  Pre-order: http://goo.gl/dKYvxo

In their brief lifetime, Edinburgh’s VISITORS popped in and disappeared like a flash. Formed in the late 1970s by brothers John and Derek McVay, school friend Colin Craigie and rotating drummers Alan Laing and Keith Wilson, the group sparked a fuse with their rightfully titled debut single, 1979’s “Electric Heat.” This instant classic caught the ear of BBC’s godhead DJ John Peel. 

Thankfully we now have Poet’s End, a VISITORS compilation which includes all previously released VISITORS singles and 4 previously unreleased tracks. Poet's End will be release on May 8th, 2016.




VISITORS - Our Glass

The Stone Roses Live @ Blackpool Empress Ballroom. 12/08/1989
Download Free From Me to you..

06 The Stone Roses - She Bangs The Drums

Red Barked Tree

Adapt

Read & Burn 01

Comet

Smash

Map Ref 41 Degrees N 93 Degrees W

A Certain Ratio - Shack up(Lost Gen Edit)

Buzzcocks - Boredom

Pale Saints - Kinky Love

Track One from the forthcoming Wire album "Change Becomes Us"

Change Becomes Us

Doubles & Trebles

Pre Order Ltd Edition

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Keep Exhaling

Adore Your island

Re-Invent Your Second Wheel

Stealth of a Stork

Time Lock Fog

Subway Sect - Derail your senses

Gang of Four - Damanged Goods

Red Barked Tree is the new album by Wire
It is released in the UK on January 10th

Please Take

Eighteen years after they called it quits as a working band, 2013 finds the original members of Medicine reunited and proudly offering a newly recorded LP on Captured Tracks. “To The Happy Few” is the sound of a highly inspired group reclaiming its creative legacy, thoroughly immersed in the practice of mixing harsh noise with obsessive melodic detail and heavily groovy rocking. Returning is the core trio of lead singer/ chanteuse Beth Thompson, guitarist / vocalist Brad Laner, and drummer Jim Goodall, the same team which created the still vital, influential and controversial LPs “Shot Forth Self Living” (1992) , “The Buried Life” (1993) and “Her Highness” (1995) as well as a stand-out appearance in the 1994 film “The Crow”.


As it happens, it’s really all the fault of Captured Tracks. In 2012 C/T pulled off the seemingly impossible and secured the rights to reissue the aforementioned two original Medicine LPs in loving and expanded fashion. This was a rather emotional moment for the original band members. So much so that upon meeting up at Brad’s home studio in May 2012 for the first time since 1995 in order to divide up the vinyl goodies and ultra-limited box sets, the trio laid down the basic track for what became the final song on the new LP. Emboldened by the natural ease with which they slipped back into Medicine mode, the trio spent the remainder of the year leisurely recording the new LP and enjoying each other’s company far removed from the stress and turmoil of their original early 90′s run. The resulting LP is not your parent’s Shoegaze record. The sonic palette and the hands, feet and mouths that utilize it may be the same, but the end result more subtly reflects the amassed life experiences and refined aesthetics of three mature artists only just now approaching the peak of their powers.

Out August 6th

Medicine // Burn It

Since their formation in London in 1976, the members of Wire have maintained and advanced a musical project which treats the creative potential of a rock band as a fluid, amorphous medium. As removed from self-conscious intellectualism as they are from the inherent conservatism of much rock music, Wire employ their unique, endlessly restless and risk-taking creativity to question every aspect of songwriting, recording and performance. They delight and disturb in equal measure, troubleshooting the circuitry of perfect pop, or patrolling the limits of focused experimentalism. In terms of working together as Wire, the group's members disbanded in 1980, reformed in 1985, disbanded in 1992 and reformed for the second time in 2000. Such sabbaticals from their career as Wire have served to sharpen the group's edge and focus, updating the tactics with which they pursue this shared project.

see more - www.pinkflag.com

Map Ref 41 Degrees N 93 Degrees W

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