New Releases

Electropulse - Voices

"There's shrouds of mystery surrounding many of the minimal synth experimentalists of Australia. While we know a little (or enough) about the pioneers of the post-punk synth-driven artists like SPK and Voigt/465, there's a host of phantoms too: The Ungrateful Children, Genet Tic Toc, The Shining Path and in this case, Electropulse.
Here's what is known: Electropulse performed a handful of shows around Brisbane in 1981 - namely the 279 Club with projections by (present day Australian filmmaker) Kriv Stenders. The only article that's cropped up on the research path is that the 11th of August in the same year, the University of Queensland's newspaper, Semper had a half page overview of Brisbane's new wave scene by one of the city's most staunch music and culture critics, The Brisbane Devotee (née John Reid):
Electropulse - the face of local music in the future? Word is, they don't even know how to play (probably irrelevant) but they bash away at electronic equipment and produce 'interesting' quirks of sound. By waving a video around they get background visuals. No one sings. Is it art? Is Jackson Pollock a finger painter?
And that's really it.
As for the single itself, it was originally released during the early part of 1980 by the auspices of EMI Custom. This is what they call in collector's circles a 'private press' or more aptly, a 'vanity press.' In Australia up until 1994, this was common place - if you couldn't charm a major label or minor to put out your work - or if you didn't care to even bother with the process of doing that - you got one of the half dozen or so vinyl pressing plants to press up your 'art'."

Alain Neffe ‎– An Introduction into the Insane World of Alain Neffe

"A beautifully put together and deeply personal compilation of Alain Neffe, the pioneering Belgium New Wave/DIY enigma. Neffe is the uncrowned king of the minimal synth scene from the 80's and the man behind the legendary cassette label Insane Music, which was a platform for his own work as well as music from people like Colin Potter, Merzbow and Tara Cross. The series ran from 1981 until 1988 and became an icon in tape-culture.
Stroom instigator Ziggy Devriendt dug deep into Neffes personal back catalogue and came up with an Insane selection. For the first time, the compilation spans work from all of Neffe's different projects, such as Bene Gesserit (with his wife Nadine), Pseudo Code, Subject, Cortex and Human Flesh. The record comes with the longest liner notes you’ve ever seen, documenting every step in his career."

Series- A – Evolution ⁵ Technology 12”

"Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.
In 1987, Series-A recorded the single “Evolution ⁵ Technology” at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release."





Dark Entries



The Micrart Group: Peter Bonne Interview
| 24 February 2018

Peter Bonne is a pioneer of electro-body music and minimal wave. He is the founder of the label Micrart and of the bands Autumn, Linear Movement, Twilight Ritual and A Split-Second. Belgium Underground went to meet him..“

Source: Belgium Underground

X-Ray Audio: The Documentary
| 14 February 2018

The strange story of Soviet music on the bone. The iconic images of gramophone grooves cut onto x-rays of skulls, ribcages and bones have captured the collective imagination way beyond the music scene. Now for the first time, the complete story of the Soviet x-ray record has emerged, as told by the people who made it happen.

xray vinyl factory

Cold War Leningrad: In a culture where the recording industry was ruthlessly controlled by the state, music lovers discovered an extraordinary alternative means of reproduction: they repurposed used x-ray film as the base for records of forbidden songs. Giving blood every week to earn enough money to buy a recording lathe, one bootlegger Rudy Fuchs cuts banned music onto such discarded x-rays to be sold on street corners by shady dealers. It was ultimate act of punk resistance, a two-fingered salute to the repressive regime that gave a generation of young Soviets access to forbidden Western and Russian music, an act for which Rudy and his fellow bootleggers would pay a heavy price. The culmination of four years of research and countless trips to Russia to track down Rudy, buyer and amateur dealer Nick Markovitch and Beatles’ fanatic Kolya Vasin, this short documentary gives an evocative and intimate insight into one of the most extraordinary, untold stories of twentieth century music. Produced by The Vinyl Factory and Antique Beat, the film is part of a larger project which has seen Stephen Coates and Paul Heartfield publish a book and tour a series of live events, the next of which will take place at Rough Trade East in London on 9th March.

Source: The Vinyl Factory

Symboter - Olaf Schirm
Archive | 7 February 2018
"I am a child of the early stages of electronic music. My youth was marked by the beginnings of Tangerine Dream and appearances by Klaus Schulze, then was added Kraftwerk and finally Jean Michel Jarre and many others like, Vimal, Vangelis, Tomita, Wendy Carlos, Erdenklang, Claude Larson, Gershon Kingsley, Laurie Anderson, Rupert Hine and, and, and ... " As some of my colleagues I also had little money in the youth available and decided my instruments largely to build itself. Every now and then bought devices have been added, as you can see in the tool lists of songs. But had liked me the large modular systems, in which I had built most of my 16 to 24 years almost daily. I resorted to publications in journals and books back (Elektor Formant, BME, Tünker) and brought me the electronic knowledge help. So it began ... .the first home-built module synthesizer and sequencer (Symboter A) and a Korg MS20
symboter a musc olaf schirm
... And so we continued: here is the right the already larger DIY Module System (Symboter B) to see to the left of the Roland Jupiter 4 and digital sequencer, behind the Moog Modular system with three keyboards and ribbon controller. This system I could use in my two-year assistance and collaboration with the composer Gershon Kingsley (popcorn). My first electronic music studio I founded in 1975 in Munich.
symboter b musc olaf schirm
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Synchrotron (1982)
Hypnobeat Reboot
Archive | 5 February 2018

“Rooted in the concept of a “neo-tribal” approach; reducing electronics to the emotional, hypnotic rhythm core, James Dean Brown founded Hypnobeat in 1983. Affected by the energy and the emotional impact of polyrhythms, their live sets turned out to become machine improvisations centered around the inimitable sound of the Roland TR-808 plus a wide range of analog gear including up to six synchronized rhythm machines.“

Hypnobeat retrospect dark entries serendip lab

“Active contributors to the tape scene of the 80’s, two retrospective Hypnobeat vinyl albums are planned for release in 2014 on Serendip and Dark Entries.”

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