2

VIEW

tloOR 1. pi\

FRI . 12 4 , SAT .& Sun.12-7

rEWy~NWU

AcKSoNVII.

oa~oEay on A s

AINEESVILL ~^r
~w000~~v

OCALA

Es"
~

A *JSS1 INll[
~

'

~~ ~ n 55 AYfoN

~$!
;(
.

y :

ORLANOo

oto
,~ ~

CAPE CANAVERAL

pEAC

SPCIALZJ q. iN a*IN4' You

N

AND

WE ' VE GO T IMPORTS AND INDEPENDENTS FRO M

ALL Tt-osE 4 T~!ER PLACES, Too! WE AL-So BUY AND SEL L USED REc oRDS . Find vs in the PROGRESSO PL-A A, j\)s~ Avenu e.- call 522.-3576 ! Sou tk of Sunrise $I vd . on NE WRITE : 901 PROGRESSO DRIVE *4, FT. LAUDERDAL, F1-IAtDA 333O

3'=d

SUBURBAN Relapse
ISSUE #6 AUGUST 198 2 EDITOR : BARRY SOLTZ (BOZ ) EDITOR in charge of DESIGN . ART . & LAYOUT : BILL PRO E TYPIST : LAURA CHRISTOPHER (who we love very much ) CONTRIBUTORS : WALTER CZ, LISA ANGEL, DAVID CAMP , C B SNYDER, H B STILLANO, PREE AMP, FRED FIOTO , MICHAEL KOENIG, JON HOPE, PAUL WHEELER, ADA M KLEIN, JON CECKA, K SNYDER, DON SCHRAGER, WORM , RICHARD (thanks! ) COVER PHOTO OF HENRY ROLLINS : DON SCHRAGE R COVER PHOTO OF NICK CAVE : BLEDDYN BUTCHE R LETTER BOMBS MAY BE SENT TO : SUBURBAN RELAPS E P . O . BOX 61090 6 N . MIAMI, FLORIDA 3316 1 0 1982 Suburban Relapse . No material may be used without consent, however consent will be gladl y given in most instances just write or phone first . DISTRIBUTION : ROUGH TRADE 326 SIXTH STREE T SAN FRANCISCO, CA . 9410 3 CONSTANT CAUS E 679 ARBOR LANE WARMINSTER, PA . 18974 This issue is dedicated to our fellow fanzin e editors everywhere, who help keep the spirit of th e music alive . Support the underground press ! Well here it is . . .only a month late . Really I do wish to apologize for the delay but I took a two week holiday in London so I'm sure you can understand . I don't want to dwell unnecessarily on my vacation and the British scene (the article s inside will speak for themselves) although I d o wish to publicly thank some people who helped mak e my vacation a success and who have helped contri . bute to this issue in one way or another eithe r _ directly or indirectly . Special thanks to my friend James Davies, who put me up for my stay an d showed me around town . Also thanks are in order t o No (of 4AD), Christine (from Rough Trade), Chri s Carr, Joly (of Better Badges), Cabaret Voltaire , Nick Cave, and Modern English . I hope you like the new format we've changed to which will ultimately give us more room in th e future for different projects and ideas . I do wis h to re-emphasize the input we need from you . We are always open to write-ups, interviews, art, reviews,

comics or whatever, so feel free to submit ma . terial . Also I might mention that the printing costs for this issue were quite large , and in orde r for us to continue we are dependent on all and an y advertising . We haven't turned a profit yet, whic h doesn't really concern us but it would be nice to "break even" once or twice . We will try to kee p our cover price as low as possible so that ever y one can afford this . One last comment I'd like to make concern s the general apathy and misguided direction in our scene, which disturbs me . A case in point is a conversation I had with the editor of an up an d coming local punk zine at the Wave disco (a trend y nitespot hangout) . The Eat were playing that nigh t at Finder's Lounge and I was on my way to see them . I asked this guy if he was going to see the Ea t and he replied that he wasn't . He then told me t o listen to the record that was playing (it was Anti Pasti- B .F .D .) and how great it was . He said h e would rather hang out and listen to records rathe r than feel obligated to see a band just becaus e they'replaying "live" music . This person had neve r seen the Eat before (the Eat happen to be Miami' s premier and foremost punk band) . How anyone can publish a local punk fanzine without ever seeing the Eat is beyond my comprehension . . . .Again, mus t I point out that this form of apathy only hinder s our scene so fuck you :!

4 ., \.\ .\ .,.\.\ . .., . /. . . . ., .

\,
" "

/ S , ' ' 4dif /

t'

T AIL: :::: :::::,?

\ ., . \\\ . .\ \ .
\\

\\ .1

. . .,V

a r

~,.

Or

$;

- - . . n "'3 .3 -~ .* .

~i

N-

\\\\\\ .\\ .\\\\\\\\\\\\\ .\ .\\\\\\\\\\\\\\\\\\\\\\ .\\\\\\-\\\\\\\\\\ \

Dear Editor , I have a comment to make concerning the editorial in your May 1982 (#5) issue of Sublapse . I agree 100% with what you said about open-mindedness towards music . It is a shame that people ar e quick to praise one style of music, then tur n around and hack another . I feel a contradiction was made . If you're asking your readers to be ope n towards different styles, how can you make such a blatant statement against syntho-pop ? Now that every journalist and their grand mother's frigidaire has proclaimed how terribl e 'Synthmusic' is, lets cut the rhetoric a tinge an d listen to it, instead of conveniently clumping i t together and tossing it off the nearest bridge . I'm not on a crusade for 'synth-pop', this goe s for all types of music . Generalizations are ba d when they are aroused in a negative context, be i t with people or music . All I'm saying is be open, don't be so quic k to put something down because of different musica l qualities . Don't always worry about what you r friends might think . . . .you've got your own mind . You might be surprised about how much you're missing . Sound familiar ? Sincerely , Grandmother's reformed frigidair e West Palm Beach, Fl . Yeah, yeah, yeah . I was waiting for someone t o pick an argument about this . I've listened t o plenty of syntho-pop music and outside of a fe w exceptions, the majority of it is boring third rate disco music . . . I mean it's not even goo d disco dance music . While we're at it, your idea o f tossing it over the bridge sounds pretty good t o me . Thanks for the suggestion . ED . Dear Suburban Relapse , I've got a simple question to ask you . Who do some of these I r.:think they are? I'm no t talking about all of them, just the ones who tal k behind your back if you don't look good in a leather jacket . Whatever happened to being an individual in thought and in dress without gettin g shit from your friends? Nowadays most of us don' t care because we're too worried about what w e should wear to the next in-crowd gathering ! If this is what some of you call stickin g together and freedom of expression, then yo u can take your 1982 fashion attitudes and shov e them up your ass 'cause WE DON'T NEED IT!! Age : if fucking important- 15 . Akro n W . Palm Beach, Fl .

Dear Suburban Relapse , Print this so certain people can read . I hang out at the Wave when nothin' better i s doing . Some punks make fun of what the so-calle d posers wear . I don't give a fuck about what the y wear . What's real funny though is how the punk s making fun are wearing leather jackets while they're talking . It's fuckin' midsummer i n Florida, you assholes! Is the new trend sweatin g to death while you look cool? Look out then cu z sprayed cardboardhair dos (you know who you are ) fall out when you sweat . While I'm at it- I go t in a fight last Saturday and my spike bracele t didn't help . Puck Leather-Fuck You Mr . Tank To p Ft . Lauderdale, Fl .

Dear Boz , I really like your 'zing, but don't like th e way you (and so many others across the world) pus h star-status upon our ambassador to the world , Jello Biafra . It sounds as if you're bowing dow n to him in your reply to his letter . This makes me start to wonder how, in our hardcore society, w e could've gone wrong to separate the fans from th e musicians by this wall known as 'stardom" . I n punk, especially in the punk society The Dead Kennedys speak of, there are no stars, no heroes ; there are just those who are really productive an d work their asses off and then there are the laz y assholes who are deemed to be second-class citi zens . And that's why democracy doesn't work!! ! Thanks for listening to me for the length of thi s page . Thanx again , Le n Idle Thoughts, B .C . Canad a I had no intention of pushing star status on Mr . Biafra in my reply to his letter . I agree tha t there should be no "stars", however that is an Ideal and things don't always work out quite lik e we would like them to . Whether Jells or anyon e else agrees or not, he has made a "name" of sort s for himself . Fortunately, Jello has used his influence to help other bands who have not recieve d quite the same attention as his band has . This i s a good thing and that's all I was trying to poin t out . To continue this further read the ANF interview elsewhere in this issue- that's the typ e of thinking that I'm deal a ainst . ED .

A .; o

.: 0.0
, :

~.,
. ..

" . .o 0 0 000 .0 0

. : . W ~_ . . .

0%0 . 0 0 .000:'. :.' .

a* .

: : .
:0 0 . 0 0

. S,X.

by Bo z One of my favorite albums of last year wa s "Mesh and Lace" by Modern English on 4AD Records . . A rich album, full of rough edges that was generaygnoreerene saes .eraes a lll id h i thtt Thi ltt bum "After the Snow" is a bit of a departure- mos t of the rough edges are gone and alot of the powe r of "Mesh and Lace" appears absent . However, "Afte r the Snow" should not be entirely dismissed, ther e are subtleties that aren't immediately apparent . If given the chance I'm sure it will grow on yo u as it has on me- There's really some excellen t material on it (I still must admit though, tha t it still doesn't match the intensity of "Mesh an d Lace") . The following interview was conducted a t the house that Modern English rent and share i n London, just a few blocks away from the offices o f their label, 4AD . Present were Robbie, vocalist ; Gary, guitar ; Michael,(Mick), bass ; and Stephen , keyboards . The only member not present was Richard , their drummer . I found all of them to be quite helpful and friendly . We discussed alot of thing s in general, for example the British and Miam i riots, Thatcher, Reagan, etc . . . Since all 4 o f the members were quite vocal throughout the inter view, rather than single out who's saying wha t individually, I've taken the liberty of lumping their individual comments together : SR- Suburba n Relapse, ME- Modern English, - designates a ne w comment from a different band member .

. :: : : :. : : . . . .

A0

0 0 0

'.

0 .0 .0

0 0

. : .

A.

..

.. .

0 . 0

01' o

6
''i
SR : Do you see and have contact with the othe r ME : Well, that's the good thing about oder n bands on your label, 4AD ? English whereas a lot of bands are relaxed an d ME : Not really . Moreso in the beginning whe n happy about what they already got, like Killing we were supporting Bauhaus or playing with th e Joke, who put out 4 or 5 albums the same . We've Birthday Party, In Camera, or even Mass . It wa s progressed . . .All the songs have got a riff going , more contacty in the beginning, but now each band which all songs have got . It's just actually how has its own little direction or ideas . : : you get them down on vinyl . We put them down wit h : ;edges on the first album, with the distorte d SR : Sometimes, or maybe moreso in the past, th e guitar, growling vocals, heavy drumming . . . . press used to refer to a 4AD sound . Would you SR : What about the 12' remix ? agree with that ? ME : We're really pleased with that song . We've ME : -I would say there was . It's all broken awa y ',never actually done anything very danceable before . from it now . It's much better than the album version . . . the . -I think it's like this-any record compan y drums are more .werful . where a bloke or a person like No likes a particular type of music, he's not putting our re SR : You've toured abroad in Europe and America . cords, or wasn't putting out records to mak e money, he was putting out records because he like d how do the audiences compare to your audiences a t home ? them . There was an overall sound but each grou p ME : I think the audiences abroad are more on t o was completely different . There was a kind o f an English band because they've been conditione d connection in that they were being pretty inven, to think that an English band is the best anyway . tive but now the bands have grown up, are a bi t *SR : Do you think that's good ? wiser . -Plus the fact when No signed all the bands :ME : I think it's sad but it's good for a band . like us, the Birthday Party, Bauhaus, etc . All of I think you break through that barrier anyway an d .give them what's good anyway . us were quite young musically, now everyone ha s Who puts up the money for your tours ? developed their own style . -It's funny watching all the bands get older , ME : No (of 4AD) puts all the money up for ever thin : . not older through age but grown up as through th e SR : What would you consider success to be fo r music . It's funny . Modern English ? -And we start to use producers . ,ME : -I think success would be like doing 6 al SR : The new LP is quite a departure from th e first . What brought this about, was it a consciou s bums when you still enjoy it . - I think alot of success is things like getshift ? ting money, and getting famous, but even that ca n ME : It wasn't a conscious shift . It was more o f fuck slot of people as well . You see it everyday . a development really, getting better musically , If you can keep things in perspective and be your vocally, and everything . self and still make money . . . . SR : Was it a commercial attempt ? - People think success is a single in the ME : No, Modern English isn't just about like th e charts but once they get that single in the chart s first album, second album, or even the third al they got to get another single in the charts and bum . We've been writing commercial songs since w e then another one . . . . started . It's just how it goes on vinyl . I mean the first album, if a producer had gotten a h old SR : When you play the new album live, how doe s the interpretation of it differ ? of it they would have come out a little more accessible . ME : It's a lot harder live . It's more exciting . SR : The first album was dark . . . .We like to create a bit of excitement . We'v e . . . .. . .

... . . ..

.0 0

g otten a lot better . . . I mean this is definitel y our best period for playing live . SR : What about airplay ? ME : Airplay's a real bastard 'cause that's s o important now . Go back to the sixties people lik e the Doors or anyone like that who p aus they're a fucking good group . It's got played It' s e finished . finished now . SR : What do you think of the British musica l press ? ME : -You have to be in the business to know wha t they're like . When I used to read them I used t o think that this was the gospel . -Things like late, they just pick out clique y little bands that the like . SR : What are your attitudes to the music business : in general ? ME : It's like any other job really, it's about commodities, products . . . . It's funny, you have t o laugh at it or otherwise it just fucks you righ t go out much . . .clubbing or anything like that . . . SR : What about fashion ? up . You can talk to anyone . Cabaret Voltaire wil l know,what it's like as . well . . . It's like you get a ME : I think fashion's really healthy if you us e bit that comes along like Haircut 100 and everyit in your own way . Like Gary, that's his own one just looks at them and everyone goes RIGH T stuff . There's lots of fashions you can follo w hut . . . we can't afford to . . . Although we loo k (laughs) and sticks them up on a pedestal and good on stage we don't really get involved i n they're given everything that can possibly be what's in what's happening here and stuff . given them for about 6 months and then they ca n take from there or whatever . SR : Would you consider the British scene overly At this point the discussion generally be came more sidetracked as things wandered on t o trendy ? different unrelated topics, so I'm going to cal l ME : We don't really involve ourselves in tha t it quits for now . slot for one we don't have the money . We don' t . TX NY

. . . ... . . . . . .. . . . . .

" ft' * 4' 0

o

,o0

TEACHING YOU THE FEA R

c((y iZc4

find it at better store s

or send $6 to C .I .A . RECORDS
1231 ASHLAND ST. HOUSTON,TEXAS 7700 8 (713) 861 . 0723

p by Boz and David cam id d ducted der ' s fFin Davi con .40h"w- llowing The oouts id interview -Chuc m plac e band, Gre g Chuckk , ~ took Fro the myself, and nCamed beach . nwer P resent Greg sort hung nry rson f Rollin t Lounge a the salki the responded only to and H enr ~-~ did and genera lly fit mostyo. 440 questi ons .

W` f

while He

al

BOZ : How do our beaches here compare to your s here is saltier . There's no Rwaves . People told me the sharks eat you if you go swimming late at night . %GREG : It's about the same kind as this . Except there's waves and it's not as warm . DAVID : Musically . Where do you expect to be in 5 years, sound-wise ? GREG : We listen to a lot of different kinds o f music . We have a lot of different influence s music-wise, and personally, you like to keep doing things that are challenging . BOZ : Anything in particular? of new songs t 0 GREG : Well- we have a whole lota new drummertha d we don't play yet 'cause we have an we're having enough difficulty getting down wha t Owe can play . We're going to be playing some ne w `stuff tonight- I think to answer that question a lot of people expect you to- they say, 'Why aren' t you the same? This song isn't like that- Wh y aren't you like you were?'And if you are like you were you keep thinking and keep challenging your %self, which is what you played initially . It was a challenge then- and if you keep doing that the n your music changes and you are the same, really . %You're sticking with what you really want to do . And the people that say you're not the same- the y stagnate ' want you toeveryone or something like that- I' m not saying says that, but alot of band s are faced with that . BOZ : Do you think there's some comformity in the Ahardcore scene ? GREG : We're trying to always make a statemen t that it doesn't matter what you're wearing . It' s 1/how you feel and how you think . feel / O DAVID : Henry, how do yousinceabout singing songs like to think our thinking is more in flux- that like "Six Pack" and stuff you've never been a big advocate of alcoholism? we're able to not come in with some philosophy and 0 HENRY : I don't drink but I'm not anti-drinking. lay out ideas, and have these be able to change a t to times . 0 BOZ : Henry, how the scene i D .C . care DAVID: How was it in the beginning? There was you # the scene in L .A.? and the Germs . . . . HENRY : In both scenes there are people . GREG : We weren't punk enough and now we're too % ~BOZ ; How does SOA differ from Black Flag? we're not don't know % HENRY : Song structures are different . Different O punk and now have anypunk enough . Iin that our . % BOZ Do you advice to us, people in the bands . SOA only had one guitar, scene is just starting? Black Flag has two . 1 I DAVID : It has been starting for the past year . BOZ : Maybe on a deeper level- an overall phiGREG : Really, it takes bands, and it helps whe n losophy . we go to places where there's not much happening :I . I think ' HENRYwasdon't knowband . both bands are good . ` in the local original music scene . It helps where SOA a real good % bandslook inspired to do things on their ownbands are ~GREG : When you asked about differences in phi% like band like us losophy, I don't think there's a BF philosophy or % comes down here,aand then that or whoever else m 00 will inspire the an SOA philosophy . That s what we re really fight- not to copy our sound--- to do something on their ing right now. That kind of thing being put on own . Henry, and us in other ways, and Henry because he I% CHUCK : You don't have to be like Bruce Spring comes from D.C ., and there's some people in D .C . 44 stee p , Led Zep, or Black Flag . who believe there's a D .C . philosophy . I would GREG : We started when we were the only peopl e and had any idea about the sound we were doing / and could relate to anything we e were doing at allthat's why it took such a long time to build up anything. A more practical thing to do is to put 00 on gigs without age limits, like here the limit isOO 19 and a lot of places where we play there isn' t much choice and we found the places withoutth e age limits getting going slot more . CHUCK : That is the biggest difference betwee n L .A . and most other places . If you paly a gi g 44 that's 21 and over you get 200 people, you play a gig that has all ages and you get more people . CHUCK : The other thing is to work real agressively to get and to keep new people happening . . . not the same people and the same bands becaus e it's only new people and new ideas that kee p things going . BOZ : You guys have played a lot of differen t places . Are there any out of the way place s in California? dCHUCK : The water

r ~

v.

11

1/.11'' . ''I%01% that have impressed you outside of the obvious ? thing that's been so big all of a sudden . Do you O CHUCK : I like the bands in Austin, Texas . think that's just a reaction against the reGREG: Some of the bands there are real good . . . ligious revival ? the Dicks, MDC moved out of there and the Bi g GREG: Those bands can find a lot of places t o V Boys are just great . play in L .A . cause they're real calm-- you ge t do you want to express of the people who are burned out They O DAVID : What do you want them to getto the aud- *slot at the Whiskey and everyone just .drinks can ience, what out of th e play their 0 music and the lyrics ? 00 drinks and watches the show . 'Oh, they got a skul l up there!' Order another drink and the club i s C CHUCK : Our feelings . feelings ? DAVID : What are your happy . . . That's a whole big category and I'm no t 1 CHUCK : Our songs are not saying you should be saying nothing good could come out of it, but some like this . It's putting our heart on the line . of the bands I find kind of boring: GREG : It's a lot more complex what we do 'caus e it involves an emotional result . You can't just A read lyrics, they're designed to be sung . Th e impact in this is what it is . % DAVID : So, Henry, do you prefer swimming pool s or streets for your skateboarding ? HENRY : Streets . DAVID : Do you like the curve or just straigh t on the street ? A HENRY : Streets and banks . Some that are real coo l ,that you can grind on real hard- alot like killing yourself . W BOZ : On SST, are there any other bands that yo u BOZ : Why do you guys thin k rwill be putting out ? GREG: Meat Puppets' album will be coming out rea l problems?with the police in shut down fast . A Worms single, an Overkill single, and the GREG : In L.A . we're really known . Like a house- / Minutemen are recording another LP pretty soon . hold word. I hall, any `DAVID Do you prefer the bands that are slightly / or just aboutmean anyone that owns aBlack Flag co p / anyone that's heard of different like the Minutemen or Saccharine Trust? and they've heard of stuff that's happened OGREG : Any bands that we like . It's not calculated /previously, they knowthe all the wildness that' s / of like Overkill, their EP's more conventional- you / associated with it and people are very afraid o f 0/think of it more in terms of punk rock- it's not it and e that causes problems with the gigs indescribable, whereas the Meat Puppets have a their .responses veryoutspknab A more wide range of sounds that's hard to pigeon- / CHUCK : We'r to what happened . When the cops go in and break hole . It kind of reflects our taste : 44heads . . . . They hate us and we hate them . We didn' t DAVID : Do you find that hardcore is stagnant, happened to us go that it gets to a point where people can only play \ wereout to do it, it up getting run because we a out of Formos there . We wound ~so fast, and they're not going into new areas? Beach . GREG : No, I wouldn't generalize that that isGREG : The mood in L .A. is very different than the thing is happening alot and I see it not kmos t places with the police- because in mos t happening slot, too. Saccharine Trust - that's areas and around L.A. the police are very milihealthy. You've got to pick and choose . There is 00 taristic . They don't talk to anyone on a one to exciting stuff happening . \ one basis, not even regular people . It's a diff DAVID : What about Horror rock and the new Satan e rent erent mood though it's the same thing .

.io

o i Zvi

12
BOZ : What about the Crawl thing you had a r' hairstyle? ~ while back- what was behind that? CHUCK : Where's Black Flag ? %CHUCK : (Laughs) The Creepy Crawl thing is based GREG : In Atlanta, some guys were saying this on shaking people up . If you shake them up enough isn't real Black Flag. It turned out then they have to let go of their prejudices to a `well, thewas a real good gig but at firstrea l it ... situation . It comes out of Manson and its someA lot of people, they try to hold onto something , 0 thing that Greg's brother Ray brought in and they've this style and they're doing 0 there's a whole lot of people around us that feed % they'v e gotthey're getting laid, getting awell a t maybe little into our band and what we do and that was one of bit his things . It's based on the idea of fear and the , ontoof attention, then they have something to hold. % and don't want Black Flag to taken from them adrenalin of fear and at the same time the empower %And they they don't want it to be come to town and %ering freedom of it . The person who's all scared have so and the person who's on top of it and riding that % definesomething a little differentthe they can' t o themselves so tightly for rest of their wave of it and that creates an element of uncerlives i t hat was the whole i > . - idea-y a of n of d everyone . there W idea d it di work We usanded n New York and / we were able to shake people out of their pre At this point we stopped the interview-- th e judices toward a band from L .A. - they wanted to us- that they had done S say they were better thanno one could do anything police were chasing everyone away from the beach , / and back into the club--some things never change `everything before us and AI suppose . new.'Obviously these guys suck and I'm going to Understand it go there and yawn And see them and tell my friends p We're fighting a war we can't win % /how they sucked'and I'm going to shake them out of % They hate us that with that element of fear . Therefore having We hate the m t%them on the edge so that they couldn't take it in the way they wanted to . Now they're on our level . We can't win % -from "Police Story" BOZ : What's the reaction been to Henry's new

13
G This is a

S
That 's right, it 's the old "Give 'em a discount to get them in the store " trick. The trick may be old but the store sure isn 't. Once you 've been in, you won 't want to shop anywhere else . Come in anytime during the months of July or August and get

ON ANYTHING IN THE STORE (Except the salesgirl! )

AV

cloth e s Are you looking for d ure ? that ct & Vaudeville an e Trash Like Character. New Nav and Sha d y like leopard bazaar and goodies checkered tops 'N Rol l

T-shirtss e Vintage cloth ing Vrnta9 ties T-shirts . hats and bow tie s . d T-sh ir t use gloves, ne w 40's and 50 's jackets Lon do n ,

Christopher Bond n Joe.J ackso. Shoc k Sara Lou socks, boots, Cl othigk i r t s and and Ba ants . Leath er e leather pants . m bandsmade Spike belts and arm e custom- e many onda y hav Op jackets by choice tbandanas . W e t umpsuits and honor credit cards, 949 .8968 . Located a Call of course!Florid a , th delectabl '5 and 1 2 we noon in g Nort h Miami Beach . 163rd S t ree t 198 t5 N E . 6 198 5 N . E

eM f s

14

Outstanding dazzling, lovel y snappy.

4" ;m . a6Yti

as

VINYL FEVE R
CUT-OUTS IMPORT S

1502 E . FLETCHER AV . (FLETCHER / 15 SO .)

T

We Buy & Sell All Types Of Music !

USED RECORDS NEW RECORDS

WE PAY CASH for quality used records!! ! Import Singles- LPs-Magazines -Cassette s PUNK- WAVE-REGGAE- SURF - R+B- INDIE U .S . LABEL S

mon- sat : noon-9pni

tip .T c

ry:

:.-3
1 ..

sun : 1pm- 5p m

y. .

te, t ...Z.-

HOME TO THE SERIOU S I#ECORO BUYER

VINYL FEVE R

971-8240

C AA CT O LT A
*

15

by Bo z On the way to Nottinghill Gate via the tube , I didn't quite know what to expect from thi s interview . I mean, this is Cabaret Voltaire, no t Black Flag- I couldn't very likely ask them wha t type of skateboard they preferred . I was brief - 1y acquainted with their new album, which ha d just been released . What impressed me the mos t was how accessible the band had become withou t compromising their original, artistic spirit . I would recommend "2 x 45" to anyone . . . well , almost === anyone` . After waiting awhile at their hotel (they . : ; ; ; ;s ;, ' were out) James and I spied them around the corner ; =,=' ' ;;' "Hey you're Cabaret V lti't? " The y ,oare, aren you then went upstairs to clean up while we waite d outside on the patio by the street . Shortl y __ ' aft erwards Stephen Mallinder ( MAL) came outsid e ' and the interittdr Kirk joined in vew sare . Richad . :''!'Irhs ~ ?'# towards the end .

frail

410 :

Tt . .
OsO O OsO

 SR : Chris left the hand, didn't he? Why dii he afterwards--in a lot of ways it's very natural , 'leave? we don't conceptualize before, all those things MAL: It's difficult to say from our position . I . , come afterwards . think he was just getting 'a little fed up- hot fed , .>k: . The flew record is quite different, more up with the things we were doing, but from the - :funky perhaps, is this a .enerai direction you're personal point of view he wanted to deve1 n this ;moving into or is this just how it worked out ? side, but he was basically an engineer as such and ;`'AL : I don't think funky's quite the right word I just think he wanted to go for something like really, I mean it's more rhythmic . We've alway s that . I mean he's probably better equipped to :sheen rhythm-orierted ; we've always been sort of answer it than I am . I mean he's got personal %consciously aware, of using it in everything we do reasons as well, but it wasn't like he hated what it's sli ghtly more refined, more direct- which is r we were doing . . . sort of the way thugs have gone the last n or ` SR : Do you have a permanent replacement for him months . It's nota conscious shift as I said, it' s y et? more of a develop ment usin drummers with us . . . . MAL : No, we're now sort of the nucleus of diehard R : Out of all your records, which-comes closes t and myself . We've been playing date : ; so far this to capturing year with our drummer, Alan .He's played on one of ; MAL : Out of what we've done that's really diffi the double 12" . We worked with another drummer as - cult . . . I don't think there's anything really, be well . ause I'm neverreally satisfied with what we've = SR : Has this caused any immediate change in the done . . . I'm always partially satisfied wit h band? some of the indivi' lual things . I mean certainl y MAL : No, 'I think . it's been a bit of a challenge some of the things we've done in the past hav e to change things, not monumentally, but to retthat certain crossover thing-- 1 think my favorite things to move off of a different tangent- and thing we've done is probably something not many we find it henPficial, really, working with drums, people have heard, which is on the Crepuscule t It gives us a more direct a pproach . compilation LP. . SR : In your recordings, are you working toward N : What about musical influences `, botn with th e an overall goal or do you treat each LP or recor d band and personally for yourself ? as an individual project ? MAL : Not . really- it's difficult,cause I've been MAL : I think we treat each thing we do as a n through so many different types of music that I individual thing- we don't have any overall pin s soak a lot of it in, but I also sort of ignore or set goal that we want to achieve"overall i n it-- not 'ignore it, really---I mean there' s music generally with each record . I think baobvious influences . I feel sort of an affinity to sically we have loose ideas of where we want t o groups like Can,and the Velvets, and people like g o, where we want: to work- we don't restrict that, and some German groups . `. .but that's really purselves, we try to give everythi .nr we're doin g at least a life of its own and just l et. thin g:; de- not what we' .re . allabout, I mean I grew up on Motown and ska velop . I think the only conceptualizin g corm- :; SR : Quite often the term 'art damage' is used i n
Ir . I\ I

refe r that MAL ; I don cate r sort musi c atti t real l us r e sort S R : MAL : mudi : sear I' m is a ;get:: som e noth SR : MAL : live fun don ' SR : MAL : SR : MAL ; f inc Eng: In bu i whe n a n. bog whe the SR : the

.1

-ww

, ., . , referencetoyou and others- what do you` think o f MAL : Yeah, our records have been coming out there , that label ? records out there, and they'v MAL : I don't like categorizing ourselves, really, we've had I think 4 other releases elsewhere, an e sold relative to the d I don't want to be an art band . . . I don't like they knew what we were like in that sense . categorization and don't like being tied to some all? sort of inaccessible thing . I like to think of ou r SR : :Any U .S . tour plans at New York this year , want music as accessible- it's just people's socialize d MAL Well, weplayed to go to Coast and we'v e 'cause we've the West attitudes to popular music that screws it up, played really . I don't think everyone can really get int o neverthere . New York . . . So we're determined t o play us really, I mean there's limits, we're not the SR : Are you under contract with Rough Trade ? sort of band everyone can like . MAL : No, we're sort of under contract per recor d SR : Do you feel conscious of your audience ? with FIT- we have a contract for every record w e MAL: Ye-7--f-Rion-'t like the idea of hambering to make . I think we do anyway . ., we're sort of abl e audiences, or doing music for audiences in tha t to do what we want-- we want our independence an sense, I mean I do music basically for myself, bu t they give us that degree of control ourselves . d I'm totally aware of audiences as well, and ther e SR : What about videos, and isn't there a film as is always some sort of compromise ; if you want t o well ? get anything over, you've got to compromise in MAL : Yeah . Well, the video side of it- we set up some way or else people have got absolutely 6 ourown video label called Double Vision, which i s nothing to latch onto. . . Albasically just going to be a video label run b y SR : Do you enjoy playing live? us and someone else . . . The forst thing out is a MAL: Yeah, yeah . I mean we don't like playing ~1i hour Cabaret Voltaire video which we're trying live a lot because if you do it slot, it takes the to sell for about fifty pounds, which is finished , fun out of it . . . . We're not snobby because we land should be out in about a month, and then we'll don't play alot, we really enjoy it . be working with other things-- bringing out a fil m SR : Didn't you recently play Japan? is "Johnny Yes MAL : Yeah, we were in Japan . . . the end of Japan . . . were talking about . . .No" which was the one yo u I'll probably be doing a SR : What was the reaction ? vid-to compilation, also . MAL : Great- it was really good . I mean we tend t SR : Is your video company going to be more find in a lot of ways that audiences outside o f music-oriented? England respond a lot more naturally to us because MAL : No, we don't want to just get into tha t in England there's sort of very much the pres s siae of it . . . not be arty in that sense, but build-up that dictates a lot of the tribalism, but a wide range of things . Video is a media in cove r itself when you go outside of England, it tends to be no t and it should be used not just for promo videos . a naive sort of reaction, but more of it not being SR : Wasn't there a aollaboratior with B .E .F . ? bogged down with whether they should like it , MAL : have been, but whether it fits into their general musical taste- - neverNo, there was supposed to they moved dow n it came off, largely because they react more naturally . here . . . they've been real busy . We hope we'll SR : Did you find that the people were aware o f still do it . I mean we were with them last night , the band and what you've . ten ? done but don't know if an thin will ever come of it , =.r .

17

ire

oft .

actually . (Richard enters . time ,to time . . 'cause , SR : What about your relationship with Throbbing ; there's only .two it'sa . bit different of us Gristle? :SR : Would you there specific CV sound ? RICHARD : I mean, TG does not exist anymore, of MAL: Not a conscious one . We don't want to do course . We've contributed to Psychic Televisionthat- we don't want to style ourselves . . . we did a piece of video for that project . . . . ,4 SR : Is there anyone today that you're fond of ? SR: How long have you been together? RICHARD : I like New Order alot and I like 23 MAL: We first started doing things about Skidoo . It's difficult to say, I mean if I sat '72-'73. . . We didn't play 'til about '75 . . . down and thought about it I could probably think SR : Would you say that the punk explosion in '7b of a lot more . . . . helped open the doors for people like yourAt this point their manager showed up and it selves who were doing different types of things? was time to make it to the show . They offered us a MAL : Yes, I think it opened people's eyes a ride in their van, which they had rented . Mal little bit into what to expect from music . . . it brought along his ghetto listene d was a lot better and but after awhile you couldn't to some reggae on the waymachine and weIn convereasier for us to play . to the Venue . RICHARD : Initially, -sation, Richard mentioned that they might be doin g get a gig unless you were a punk band . "Chain Gang" as their nex t SR : You seem to be quite prolific as far as the ' a cover version of be something to look forward to . record which will quantity of product you release . Do you consider yourselves prolific? Their performance on that night was intense an d MAL: Yeah . I mean, we've got our own studio which inspiring, both visually and musically . Blurre d - and partial images appeared on the screen over means we can sort of really develop and work in the studio quite alot which enables us to sort of 'head while a toxic blend of sound and rhyth m surged from up front . It was a captivating an d do slot of recording . We don't bring things out just for the sake of it, it's just the way we work- entertaining (I wonder how they would like that? ) we work in the studio a lot . show- one of the best shows I saw while in London . SR: Are there any plans for working with other - I'm sure any charges of inaccessibility were groups or bands-- maybe producing? easily overcome by their performance that night . MAL: Well we do work with other zroups from Cheers!

:5i;

:0; .. .

. . . . .. . . . . . . .

.~"
*

00 6'
UI

I~~~~~~ii'~ii1~ ~ sw 1__aelIi1sm s Ol 1 . . .mess . 111 ,t :~l~~ e . ...11.11 .Ial,m : .

__ . .. .~~

.1 1 ;1j 1 1811

Ui

_ --

r1 1~l---m . ..~- .~ . ..~-~:1. U.S. ~i1

WIZ sal .1 00
NIUE 1~~ 1,it, f

'I
mm

I1~ ~~~ , __ j_. 1

"111IT.1.

Ion
ISM
.I sm. moo

is ,

el

. / =via

II=

~~1~
somsimse map.

u'v

1.1 1 I .M Is g u
m

Ail

~~~~
:~~ ~

\AT

=11 .I
I by Boz The followin g interview wa s conducted with Nick Cave,lead singe r of the Birthday Party. They have a new LP out calle d "Junkyard , whic h in my opinion i s the bes t thing they've done to date . It' s the sound of a violen t drunke n brawl- the backdrop iS the jumble d rhythms tha t run through al l the songs on the album . Everything i s extreme , thi s is no t ligh t stuff- from the sound o f the scraping guitar t o Nick himself , always pushing himsel f a bit further - out of control indeed . I met Nick at Chri s Carr' s office , but first a fe w pint s were in orde r at the pub acros s the street (English bee r is excellent!) . Phil , thei r drummer , joined us as well . H e seeme d mos t interested in the girl an the cover of Sublapse #5, Lis a Nas h of th e Screaming Sneakers . . .but s o did a lot of othe r people . Anyway , after we got chased out of the pub fo r its 3 p.m. closing , we went back to th e office and got started.
=I

M -- u

20

~ . .-IN.s. 1..~~ . .~~1 . . .111. ___ .1.1 . . you ge s gne . o c s e ildnC 3'23~+w .r' 1 y Just happen to E;Q / NICK : It was Just a matter of No {of 4A D) ooming , i =nd they have a plot and th by aooidentwl think to one of our gigs- and liking 1l ' f or only one page . They're divided into 5 . tie. Through that period we had been through a lot I ategories 10 plays each . . . B Who in the band eoi&e6 up with the ideas foi of record oompanies who lust sort of listened to , our songs ? our record and asked questions like, "Is this a , ICK : Well, I'm sure depending on who you as k demo tape or what?" . / l l differs ll probay ttel :, haYabout the records you had released in 0itheyywiil l hat yodou SR Wtb NICK : Our first record was on a compilation m B : What about inspiration for your material , 1 punk and usical and non-musical ? . record of Australianand anrock back in '?7"EP . NICK :Where does the inspiration come from? Lik e then we had a single album and a 12 hat have I been reads ?(Nick points to a book ., : 1 n . Then we had another album all of which are happily in the confines of Australia and hopefully won't ~ e was carrying around,'The Marquis de Sade' ) I found to surface oaethey aren' t "Particular awa y way n the Y're just products of rather warped j J alia . . 18 y I have 1 already written and the kind of sense of =come 1 e released here two singles . . . and there's the Ifortableness that you get after writing someth4na " prayers on Tire" album and then the live album eland ~ ith Lydia Lunch and there's a new album coming M Aut, too . ake the sort of' feel you've got to do at Ia one more record to nullify the one you did b a N . How did you get involved with Lydia? 4ILi{s Apparently, so she tells us, she heard our site exouseit or whatever, or you consider i .00d enough or along the wrong track- notxar "Prayers on Fire" record and was greatly hat you were after . Consequently, I'm blopi # nthralled by it and was delirious about us to do a record to kind of react against that owing over to America . Consequently she went to ' number of our gigs, whieh, because of the nature titular record and do something else . Thenor record I would really like to do is lust rs f New York at the time or the nature of us at Nxtremely pure stylist record, that's lust an he time,I'm not quite sure- they were being ancelled or abbreviated after a couple of songs, l inoredibly kind of sad record rather than the m i' t :nd eventually she saw us and then decided we had 1if angry, aggressive, twisted type of record that ; I e've been getting out lately . . . dust somethi :ag'' certain bad seed in common . We enjoyed each ther's comp y . . .we also talked about me and her 11 rather tha.lt make people want to punch themselves , I Just make a kind of a silent thing- that would be'` ..aking a record together in America sometime in difficult for n eptember, and and we've just hind of got various 'Every how serious is us to do . . . .? your music I H : ecta we're going to do- a aided, hopefully prn I 1 NICK : I consider it to be very serious stuff . a book published of fifty plays . . . having T3 : What are the plays like? I : ,, ean it's obviously very funny but . . .it always NICK : Well they're certainly worth throwing cue seems to ma the best way to get around variou s . ,thewindo I mean they're just one page pieces a 11`orts of things is to be first funny about it , Ias far as I ' ,hich is a bit outmoded now,moon .. pornography and garbage of some description . 9~`e'ned I would lust like to do a record that is sl , 'ey're very good plays . I quite enjoyed doing eltruly depressing record like "Berlin" LoP :.. . :. . .. . not like them . The 're ust like- -- They're .manwomemsomewe gnmensm ..~ o . /1111:='me_CU'lTe a .iTis.rap mi .. . n. . ._~~. . i M /1Is
essaaellu m. . . .psi . .---

: . ow

I;

nI t 1i~iil~~i ~ I uIn Nsmin _u U.-U ._ - 1 1 ~- . n1 I It .II I melln .1mmims I l 0 . s,o ea ap.1 /~1~ 1 in i 1 .i 0 .~ siI LiLni mni 11riel ~ 1I~uU'~ .~1 ~ .ki 01 .IiOMno 1nn-/ -111` a 1u.0 1 m' -UIu .U U 111 1.=1f1ler .m 1 . 1 :f11 ~ . ~1111 ~~ . .n il l ' i u i:R1/l i~iii IEil 111L R M .~ ii . ~lii il1 IRT Ii~11 . . . .1~111 ows me

lUI~1 n ~I n ~ ...II .~~ el 41 -1! ~.;1 i 1~ 1~; . . ze m 1 14ri 1m I ds .mimm a weaua, e ~ 01 I: Cu ' I .l 11 .l n n - ui 11 m me n . .sell s n1 :i11i1~~1i 1 U sftlMlimsimalsve m ham rEllin'r r se.

n'. m1 : lull 11

.sn E

11 Iiig u a

.I lm

mit _nu

"'!i

ij ~111 ll ~

1 .!~~1~ -.

21

.I. .

.I.1i 1aIu II/1-/ . .I

ok

ke

ra ,
or
.1!
1:1

ij

U I

i:

11 r I: Ii n _ n 1n _ . " I.. -S s..II

I S

: jU i IP ` Il~.. .' ~le,~~~~111 1~ I P3 ; what about Joy Division? I#:K : I'm talking about something that's honest ~ . :~~ ~ n . )td truly. ., not lust a kind of trumped up sort ii i .U . 1 e of joke . I mean, whatever they were supposed to beIIII . I./g/ ~ n U .. .semns like . as far as I sm concerned the recordsjust r iCX : Well, I think that may be the case in cerever really cracked it .They just for me weren't e' tain areas, but I think that's probably a bit of a convincing, it was sort of blatant and over the 1 fallacy . I don't see how anyone can come into a top, and in some ways "Berlin"is like that, but recording studio and say 'That's not right' ; I you can't really kind of take it seriously . I take 11 mean it would just be an impossible thing to d o their sentiment very seriously but not the way with us . I mean, if we were to sign with a bigge r they put it across . I never really liked Joy label, millet) we're we Division that much . 11 would obviously put not against on principle,con.: certain things into the R : What are your overall goals as far as a band? . tract to do whatever we like . . . . NICK : It just goes in stages, we've never had a see yourselves as a particular goal, it's changed so often . . . . Over nI SR : Can you within the mainstream commerciall y viable band ? the last 2 years I think our group has tried t o NICK : Nell I think our group could become ,sortt perfect a type of reasoning that involved a kin d of a thrusting or destructing kind ofelement at n (sue successful due toSome sort o trickery on ou r the audience- just something that corrupts or ex- 5 behalf-- putting across what we're doing in an ex p. cites without any interest in where their energy IS citing fashion on atage, we're kind of vibrant an d goes after they've been kind of activated by it . I/ energetic, and nasty and soulful and whatever, bu t But now I'd like to portray . . . a different sort of I I I can never see our music being totally on the As I I g street or what we're trying to put across bein g 1 1 thought . thing . say-- a lot more kind of feeling sort of n understood by the masses . I think the-sort o f SE : Are you under a contract with 4AD? I I things we're trying to put across would only apply to a certain particular type of human being . 1 NICK : We are with each record . SR : Would you ever consider a deal with a major I That's not a person who is hipper than someone ' label? 1 else, but just a certain person who thinks th e way we do . . . As I said I guess we could put ou t NICK : Yeah. Sure, of course we would . I 5R : You wouldn't be against it? n a reasonably catchy single I suppose . NICK : Why would we be against it? nl SR; Is there a `typical' Birthday Party fan that a goes to your gigs ? SE : Well, some bands wind up having to comproNICK : Yeah I think at the moment there is a Wise their music and a. .rgaCh, rem

1 1 ..~~. ~..-. M ~fwr1Ili_ ...-I ree .~ z p

ii,1~ 1~ ~~1i ~1~~~~~~~~~1~11 :_'~ ~1. ~~~//~~~1~~:i1

'II

22
certain type of people coming along, but I think they're barking up the wrong tree . We're trying to put it across to them that they're barking u p the wrong tree, but they don't seem to understand . i k They seem to think that when we're agressiv e towards them it's just kind of part of the fun an d M i
part of the show and it's Just not!, And these day s when I feel agressive towards the audience it' s

r p ,y)

r
;It-01 If ''

because I truly hate them and for no other reason . SR : You're not conscious of your audience then ? NICK : Now St's becoming a kind of fashionabl e type of thing so that now I'm fairly conscious o f z people not really understanding at all, but rathe r being there . Bather because the media told them t o 'arm s . lom be there or their friends told them to be there . So that the kind of hate I used to have on stag e 1 was a kind of hate for certain particular things , 1mnoln/i but now I just simply hate the people that we're playing to . It's distracting to play to people you're not interested in entertaining anyway . SR : What about some f the L .A . horror bands like mamma Christian Death? Do you see any similarities to the Birthday Party musically ? NICK : Anyone who thinks that our particular in.. I fluenoes that we're trying to put across is Satan ism or complete evil is completely misguided . ula Something like Christian Death- that sort of stuf f 1I~ 1111 doesn't interest me in the slightest, it's SO far away from what we're all about that it's like cc he's been doing it every gig, blab blah blab paring us to ABC or something like that . I think that's quite upsetting . that sort of thing is very shallow . We're accuse d SR : Do you generally dislike touring ? of being cheap about the way we present our sho w NICK : It's one big hangover . Tours are such mono because I attack the audience, sometimes quit e sters in that they kill any inspiration that yon physically, that it's a cheap ploy to kind of get had for the music . Each time each song is sung t o attention . It offends me a great deal . I neve r a certain extent it's kind of . . .It's like kissin g want to go on stage, it's only a few minutes the same woman for a week . before we go on that I feel any desire whatsoever . SR : So what about the single you're making fo r It's only kind of seconds before and it doesn' t your girlfriend ? always happen anyway) but for some reason or othe r NICK : (Laughs .) The girl I've been kissing fo r I feel I can crack it . Far people to say our proyears . Well, it's just a song we've written ver y cess on stage is cheap and so forth insults we recently--there's a lot of things I've wanted t o because the only way we can put on a good show i s do that are outside the Birthday Party framework when every inch ofour soul and heart goes int o extra-curricular activities . In order to get he r . If it's a good show it stick s the performance to record something, or other people also, there' s out like a sore thumb . That's why it offends m e other people with a lot of talent who have not the ' because sometimes some shows we put out-- I've really lost a lot of energy and sweat over and pu t means or even the inclination . a lot into it . A lot more than I put into anything 1 If you ask them to go out to record a record they have absolutely no idea of hew to go abou t else I practically do and then you read a revie w and it would probably be impossible for them to d o about it the next week and it says,'Well, Nic k 1i it because of the bureaucracy that you have to g o Gave threw himself in the audience a :ain ho ho hum through before you can even record a record . You have to be in the position where you can say , 'Hey, listen' to your record company,'I've got someone I would like to record a record with' . Now we're in a position where that's possible . Now I' m n able to make a solo record if I wanted to- whic h 'I M I do . With the solo record that I want to make now 'ff c 3 2 I n n is in the way that I've been talking ; to make an incredibly lonely sort of record . I mean every way that I've described this record has been such a dillileW erttleln ;ftTArVI) cliche that it sounds terrible but I'm not exactl y sure how I want to do it . I think at the same time n ~ . . the Birthday Party could do that as well or better 1 1 as a group . So I would hope . . .I know Rowland i s very interested in making a record of that sort a s 1 well . Me and Howland tend to, even though we wor k m s away from each other, tend to kind of think in n Nona, men I practically the same way all the time in terms o f what we want to do . I'm very excited about the ne x same record,which is quite odd because in Australia w e were just sort of inches from breaking up . Jus t e record agai :j~l ~ 41 ! knowing that we couldn't make another we though t n Illi~I after we made " .Junkyard'- that's what about at the time because we thought we had pushe d I it as tar as we could go and we couldn't see an y .=l BI1 .Nli h~_ 1w11mEel other sort of record we could make . Now we're very n M 11 r ela n ms s OOm es enthusiastic en s 0.10 ~~wosall11 n lerEl '~~ /1l ;=rm . . .ia1 -~'~~~~ME~1IES' .etlf

L en

. .- .U, .l.uI! 1 /:0I t!Ma ! UE 1.11 ~.~ 'Li ImInoz:gemns .BEH ,/ 11,

00

x,

,i

24

12 3 000
by PREE AMP

LIVE FLORIDA REVIE W Black Flag, Saccharine Trust, Roach Motel, an d The Abuser s Finder's Lounge, Hollywood, Florid a by Michael Koeni g "This is F-L-A, FLORIDA, F(uck)-L-A " posits local denizen/fanzine hero Robert 'Ne w Order' Mascaro . I'll say too, Florida, the hom e of the skimpy clad, stands proudly as the cul tural antithesis of LA or any other major city . And they like it that way, what with detaching slogans as above pandered about even before a single hardcore note is thrashed in any loca l club . Bets go fifty-fifty whether FLA's celebrate d hot is induced by sun or burning bras . Either wa y night's sex roast was punctuated by nipple tee pees straining halter tops . As if swarthy ai r wasn't tight enough with 400 plus cramming int o S . FLA's FIRST HARDCORE EXTRAVAGANZA, the bigges t cultural event since Ponce De Leon bumped int o this peninsula, without the cool beach air cut of f by club's insulation, horny creatures of both se x hurling blatant innuendo, and drinks filled 4/ 5 ice, 1/5 mix and token spike . Lucky me, with well-preserved biker nubile s pat and Denise, at drink control headquarters, wa s fortunate to find myself caught in an ice war , opening shirts, pants, etc . pouring whole glasse s of ice (4/5 actually, after two swigs of mix) down and around all reaches of the body . By night' s end, I'd traded more ice via lust kisses, tweake d more teepees, and entered more cavities with th e abundant ice, giving me all the SEX I needed (an d could get) in too many moons . In the spite of heat and ice, the crowd presented their own duality with a curious dres s code : obligatory leather, anarchy t-shirts-- purposely ripped and safety-pinned (right on time these vogueish Floridians!), bright spandex crotc h huggers, more gold on and around more skin displays than all US mint holdings and Davi d Brenner's neck combined, multi-colored scratche s of war paint makeup get-ups, etc . Ya know, lile a Saturday Night Live. skit . New music aficionados of metro-clubs woul d be neurologically lost in this room . All this somehow worked a magical amalgamation of fun and twitter . Black Flag produce d their usual mayhem, fusing an appropriate climax , serving as well to obliterate the three prio r acts . Singer Henry Rollins kept admonishing instantly born slam dancers "Don't do that" . Evidently the three northern transplants in atten -

FUTURISK AT FINDER'S 6/24/8 2

One would think that a band with a name lik e 'Futurisk' would sound somewhat futuristic , wouldn't one? Well by the looks of the peopl e hanging out in front of the club, you'd think w e were at the Agora Ballroom waiting to see 'The Re actions' on a tuesday night . (Remember those Days? ) I mean, some chick with blue hair and a miniskirt . But, all poseurs aside, I went inside hoping to b e entertained . ' Jeremy Kolusine on synthesizer and vocals , Richard Hess on keys and Jack Howard on drums mak e up Futurisk . They started their set with an original tun e entitled 'The Plunge', a keyboard extravaganz a that definitely lacked a guitar riff here an d there . By the third song I thought these guys too k some serious drugs at a Devo concert and neve r came down . Every song sounds the same, Devo in th e beginning, Gary Numan in the middle, and Huma n League at the end . Hess' 'one-finger' playing made him soun d like an electronic component test fixture . On e asset to the trio is Jeremy's vocals, and in a futuristic tee-shirt and baggy pants he seemed t o get all the attention . Let's take 'METEORITE' fo r example (another original)- Jeremy's vocals mad e this danceable, somewhat promising tune fit tog e ther tightly, and not to mention 'ENOLA GAY' (an OMD cover-Ed .) which by the looks of the crowd had potential and again, good vocals . They proceede d on with a few more boring, spacey tunes whic h brought us up to 'ARMY NOW', the title cut of f their EP . At first we thought it was gonna be pretty good, but with Hess' professional one-finger method s he made it sound like they switche d tunes in the middle of the song . (I can see ol e Blue-hair now trying to shindig) . Anyway, Futurisk did 12 songs all togethe r with only a chosen 4 I found worthwhile and/o r danceable . The other 8 were boring, tasteles s computer ballads which were nothing to write you r friends in London about . But who knows? Maybe Hess will learn to pla y with both hands some day . Then we could all dy e our hair aqua and really rock out .

1NQne Us !
FOR INFO AND AD RATE S SUBURBAN RELASPE P 0 BOX 610906 N .MIAMI, FLORIDA 33161

dance, physically bragging their wisdom, bega n slamming and after the initial shock of what boun . . cers soon realized wasn't a fight, the rest of th e stunned mass soon closed agape mouths and joine d in . Problem being these two dildroid hulks wh o thought it MACHO TIME, in true redneck form, shoving forcefully one after another helpless shrimp sliding on their teeth . Henry did, finally, ge t through to the hulks, while Black Flag finishe d a most inspired set, spurred no doubt by naive an d enthusiastic cheers . Hell, this is 1977 in fiveyears-behind-the-times-FLA . Saccharine Trust, traveling with Black Flag throughout this tour are adding to their legions of fans, stealing and incorporating Black Flag .. ettes, their forty-five minute set criminall y snubbed by a 20-minute PA delay . Distorto energy and cleverly constructed songs promoted th e evening's only relief from steady and limited h . core drone (save Black Flag's "Damage") . Conversation with Saccharine Trust members unearthe d biased comparisons betwixt FLA and LA . Except for guitarist Joe Baiza, born in Cuba, understandably compassionate of those from the Little Havana " section of Miami, Saccharine Trust fancied th e girls, found the surf-bums more dedicated, an d generally gave herald to their West Coast enamoration . Partisan mules, deemed one Floridian . The two opening bands from Florida , Gainesville's Roach Motel and The Abusers from Hollywood performed guileless setts without a painfully conscious demeanor, plaguing the competitive miasma of big city bands . Roach Motel' s drummer was no show so Saccharine Trust drumme r Rob Holzman filled in, playing consecutive sets . Still their show was enjoyable, with their Ventur e styled raveup of "Let's Go", classics from 1977IS-today, and some interesting but forgettabl e originals . Both Florida groups dazzled the aud,_

fence with a not-so-obvious cover of Soni c Reducer", both putting vital life, breath, and primal scream to this heartwarming nugget, playin g it pathetically slow and stupidly sloppy . Openin g the show, The Abusers made their public debut . they created their own anarchy, riling and jeering crowd with middle finger extensions and expletiv e taunts . At first bewildered by onslaught of thras h explosives, by foreign guitar tonalities, everyone instinctively came alive as some girl with heft y hubs removed straps of her halter, exposing and gallavanting with Broadway footwork, nimbl y carving her way past those amused, while loosenin g and setting the tone for the evening . Yeah, al l this only in FLA . RAW If Laurie Anderson, The Residents, Devo and And y Kaufman were comic-strip artists, they'd probabl y contribute to RAW . This big, expensive (usuall y $4) comic/graphios magazine is chock full of comics, scrawls, photo-collage stories and scribblings- most of them serious-minded if not humorless . A highlight is the 16-page book-within-abook, "Maus" a retelling of artist Art Spiegel man's family's experiences in Poland before an d during WWII . All the characters are mice, pigs , cats and other animals . Issue No . 4 (the latest I've seen) has a die cut cover and a funny flexi-disc pieced togethe r with bits of Ron Reagan's speeches . This issu e costs $4 .95 . RAW can be ordered from RAW BOOKS, 27 Green e St ., NYC, N .Y . 10013 . Enclose a buck a copy fo r postage . (H .B . STILLANO )

25

\\`\\\\\\\\\\\\\\\`\\a~~~Innummm~uumuuuumuuuuumnnmm~uuuuuuumlumuuuulnnunuuuummunouuuuuunmxxuNnmmuu~nu

luuuauunnuuuuuuummumununululuuam

\\\\~`~~~~a~"`

A`e. 'I'l.

. 0 d(
C.

(.(.Q

O us-

7( ocA..b e $
ff.

et .k~ E- b t " L-f ye. o* `~'~e T1 c~ ovt "

Pack up your troubles . IIIIIIIIIIIl111111111111111111111111111111111u IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIl0111111111111111111111111111111111110111111111111011u

Oee r`g)5 o
mIiImIIIIIWIIIIIIIIIIIIIIIIIIIWIIIWIIliII1111111111111111111111111U1 O

NF y
WANT /M Y ADvicE, I 5AY LETS GET 1H E FVGK ov ? OF rt . 5At,VAOOE .

FINDER'S LOUNGE seems to be the happenin g time you read this- "Feelin'" is a real hoot and place in town at the moment- after shows wit h look for Boz on both the front AND back covers . Charlie Pickett, the Eat, and Black Flag, M .E .S . Hmmmm Open's compilation LP "The Land That is booking just about every original music band in , Time Forgot" should be out sometime in early Autown and plans to book more "name" bands soon . gust, featuring 15 bands too numerous to count . . . . It's a shame attendance for the locals has been A NEW PERSONALITY can be found on the latest casmediocre . If you're too fucking apathetic to show sette edition of SubPop (#7) . . . .THE SPANISH DOGS up, don't complain next time there's no place t o will have their new EP out soon too, entitled go (and listening to records at the disco doesn' t "Don't Sweat The Petty Things, Pet The Sweat y count, asshole) . . . . New bands are coming out o f Things" on Rasta Dog Records- need we say more? . . . the woodwork now that there's a place to play- "F " FUTURISK and RADIO BERLIN both have new EP's ou t unleashed their hardcore/heavy metal fusion there , titled "Player Piano EP" and "Dance The Youth" , creating visions of a new Dead Boys among th e respectively . . . .and last but not least, THE EAT crowd . Lead singer Flash prowls the stage, descontinue work on their album with the added motitroys radios, and other good stuff . Formerly known vation of interest from ROIR in releasing a casas Chaos, they played some dates in the early day s sette . . .Stay tuned for further details . of the Balkan anal can claim the Essentials' Pet e (PAUL WHEELER ) Moss and the Spanish Dogs' Mike Chatham among former members . Howzat for trivia? . . . . Lumpen als o made their debut opening for the Eat, featurin g former Hayhead Lori on drums, married people Lis a THE WISCONSIN SCENE and Allen on bass and guitar, and Alex singing , with occasional congas by Felipe . Charlie Picket t was heard praising Allen's slide playing, and Probably the biggest news is the upcoming everyone seemed to enjoy the rest of the band , albums by the Oil Tasters and the Violent Femme s and the closing of the Starship . The 011 Tasters too . . . THE ABUSERS opened for Black Flag and a show of their own ended with the suspended ceiling % LP will be on San Francisco's Thermidor Records . in disarray (taking cues from the Throbs, guys?) . < They've attracted a lot of attention, due in part Their EP "Fucking Haywire' may appear soon on a to the efforts of Bruce Pavitt and Sub Po p magazine, which got them mention in NME and a eo n certain "Sublapse Records" ; catchy name, huh? from their first single, "Get Out of the Bathroom ' Steve Sincere(?) took a sudden re-evaluation o f his life and cut all ties with music, leaving bot h on the Sub Pop compilation cassette . Both Oi l Tasters singles have long been sold out . The album THE ESSENTIALS and THE A .A .F . in limbo . The Essen is tentatively titled "Oil Tasters in the Wax tials are looking for another bassist and puttin g Museum' . the finishing touches on their EP (titled Fas t The Violent Femmes are an acoustic neo-rockMusic in A Slow Town") out soon on Bill Ashton' s Safety Net Records . . . .Meanwhile, Rusty Hammond , abilly and folk weirdness combo who got thei r deep in preparation for Velvet Underground Apprefirst break by happening to be playing on a stree t corner when James Honeyman-Scott, the lat e ciation Nite, said he was "scrapping the R .A .F . " guitarist of the Pretenders, walked by on th e with no solid plans for the future . And speaking of Velvets Night at Finder's, a small, but suit afternoon of the Pretenders' Milwaukee appearanc e ably appreciative crowd saw Hammond, all the Eggs last year . The Femmes ended up opening for th e (including C .P . himself), Darla Hay, Eddie O'Brien Pretenders that night, and were asked to send a Bob Rupe, Jim Johnson, and Bruce Wismer take th e demo tape to the Pretenders' management . Apparently nothing came out of that, but New York Rocke r stage to pay tribute ; a hip time was had by all . Rumors of a FUGS Appreciation night are simpl y (ugh) recently "discovered" the Femmes and wrot e that . A CCR appreciation night IS in the works , a full-page article on them . They've signed to New though . LARRY JOE MILLER'S new BAND includes "Ma d York's Shake Records . Dog' Smith on standup bass, former Cichlid/Bo b So much for good news . The Starship, for two Bobby Tak on snare drum, and James Rowe from the years the best and sometimes only place where Hayheads and Monkey Farm on guitar, a wild-boppin' rk local bands and unknown national/regional tourthe least . Larr y Jo e has f been in bands coul d . The close s be lineup, d . . fo r a re leas e o It gwil missed building that en houses June the studi o layin g l going to be torn down, but owner Kenny club was kind- hopefully soon . . . . Along with those mentioned above, expect a flood of local vinyl (maybe Baldwin was considering moving to another location and staying open . Unfortunately that is not th e even cassettes) over the next few months startin g case, due to financial problems, etc . The Starwith CHARLIE PICKETT & THE EGGS' "Live At Th e ship may have been and idea ahead of its time, bu t Button" LP finally out on Open Records- the lates t those who were ready for it may be left wit h delay had the covers getting lost in shipment, bu t little alternative . Several clubs have stepped in it should be out and available EVERYWHERE by the

to fill the void, but none are willing to take a chance on booking full-time "new wave acts . An d none allow minors (neither did the Starship) . Kenny currently drums for the Prosecutors . What else -- I have no idea what is going on in Madison, but there is a voice coming fro m Green Bay . SICK TEEN is the frenetic and funn y publication of the Very Reverend Norbert Ugly , who is also the bassist for GB's only hardcore band, Suburban Mutilation! They appear as UX B (with their old singer) on Noise magazine's compilation cassette, CHARRED REMAINS . Send mone y to Sorb at 708 St . Joseph St ., Green Bay, W I 54301 . The tape also features die Kreuzen, who until recently were Milwaukee's only source o f HC . They will be on the next of the Noise compilations, MEAT HOUSE, and a compilation LP calle d THE MASTER TAPE on the Zero Boys' Nimrod Records . Other bands have not been so lucky . Einstein's Riceboys, the Wigs, and now the X Cleavers put out their own albums, and An Attemp t (formerly the Tense Experts) are going into th e studio to do an EP, but some bands are resorting to releasing cassettes . Milwaukee's the Kingdom the Power the Glory are releasing their NOW AN D FOREVER once technical difficulties are resolved . It's an interesting mix of Young Marble Giants and Cabaret Voltaire, with KPG's own surf guitar and

percussive influences thrown in . Waukesha is making .a strong debut with the Shemps' RED CULT, a n punk EP with great packaging, the Surfing Fuhrers, the Flower Children's DOUBLE LIVE ASS HOLES and, I'm told,more to follow . Skid Magazine will hopefully be releasing a compilation o f Wisconsin bands at the end of this summer and wil l be involved in other releases . Write me for more details and addresses for the above . Fanzines : SICK TEEN, Madison's WHITE NOIS E (12 N . Franklin St . Apt . 1, Madison, WI 53703) , and Milwaukee's END OF THE WORLD (634 W . Wisconsin Ave . Suite 21, Milwaukee, WI 53203) . As fo r me, I put out SKID, and I love getting letters , so write me at 34233 S . Bayview Rd ., Oconomowoc , WI 53066 . Be sure to send money to all of thes e wags (especially me!) . With the release of the Oil Tasters and Violent Femmes albums and the Skid comp cassette , Wisconsin will hopefully get some of the attention it deserves . There are many other bands tha t I would like to see have albums out (AMA-DOT S ROOM!), and this or next year may see our stat e recognized as a viable national scene . Unti l then . . . . (Jon Hope of SKID magazine ) Late additions from Jon : Flower Children do no t have a tape called D .L .A . and White Noise mag ha s moved to D .C . or New York or someplace . . . .

27

"Liberty without socialism is exploitation : Socialism without liberty is tyranny " - Michael Bakunin

28

"RADIO FREE LIVING ROOM" TOP 30

41

"Radio Free Living Room", Miami's weekly broadcast extrava ganza of new and independent reordings, got its name from the feature in Mouth of the Rat, in which editor Dave what's-his-name used to sit around and list the songs his kid requested in the living room, * then print the list in the paper . Something like that . Nearly two years after the premiere of the radio show th :* plays stuff they don't play on the radio, the Monday night program had a special survey of its listeners . "RFLR" fans were asked to phone'or write in their all-time favorite tunes . The thirty that got the most votes were played on July 5 (the day after Independents Day, in which our nation celebrates small record labels' contributions to mankind) . It's all come full circle, because the Radio Free Living Room Chart is back in print . "Holiday in Cambodia" Dead Kennedy s "Let's Have A War" . . . .Fea r "London Calling" The Clas h "Going Underground" The Ja m "Never Say Never Romeo Voi d "God Save the Queen" Sex Pistols "Slow Death" Charlie Pickett & The Egg s The Gun Club 8. "Sex Beat" 9. "Johnny Hit & Run Paulene X "Silly Drug Songs" The Ea t 10. 4111 . "Love Will Tear Us Apart" Joy Division 12. "Pretty In Pink" Psychedelic Fur s "Mirror In The Bathroom" The Bea t 13. 14. "Sex Bomb " Flipper 15. "Too Drunk To Fuck" Dead Kennedy s 16. "If This Is Love, Can I Get My Money Back?"
41

1. . 2. 3 4. 5. 6. 7.

17 . "Once In A Lifetime" Talking Heads 18 . "Favourite Shirts" Haircut One Hundred 19 . "Atomic Shockwaves" Spanish Dog s 20 . "Marie, Marie" The Blasters 21 . "Wild In he Streets" Circle Jerk s 22 . "Rise Above" Black Fla g 23 Poverty" Gang 24 . "To Hell With Velvet Underground of Fou r . "Heroin" 25 . "She's Like Heroin To Me" The Gun Clu b 26. "Absolute Beginners" The Jam 41 27. "Take Me To The River" Talking Head s 28. "Radio, Radio" Elvis Costello and the Attraction s "Louis Quatorze" Bow Wow Wow 29. "Stray Cat Strut" Stray Cat s 30. "Radio Free Living Room" host Eric Moss thanks everyone for their . votes, and promises to do another Top 30 real soon . But he wishes there hadn't been so many votes for "Never Say Never" and "Heroin" . *Those are long songs . The show almost ran over . "Radio Free Living Room" can be heard every Monday evening at 41 r idni ht, on WLRN (FM 91 .5) . (Mailing address : Penthouse West, 141 0 NE 2nd Ave ., Miami, Fl . 33132) 41 40

Charlie Pickett & The Eggs

Z8

OW

TO

GET YOUR l Nob . S-Wlan o .erg

T" A S

RECORD

PLAYED ON

THE

RptDIO ;

,. .,aRAM DIREC.TOYt~ ~.. ,

YOVR RECORD COU SEND SERT iONSl ABEL IDE NTIF~(tN G F61T

THE NEW FOR EIGNER RELEASE " 1F POSSIaLE IN A REAL tAP OR-L"DE) `ELOPE . . .

NE VER UNDERESTIMAT e THE POWER OF PAYoLA . E xPENSIVE , SU2E ltS MAKES THOS E IT 5UT DIQECT02S SI T MUSIC TAKE NOTICE up AND

30
ANP played Finder's Lounge in Hallandale June 18 and were surprisingly appreciated by a crowd that's used to tw o extremes punk from groups like the Eat and the Abusers and syntho-pop from Radio Berlin and Futurisk (Charlie Pickett being the rare exception) . ANP is somewhere inbetween, hard-driving hut still melodic . Earlier, in the Tampa interview, Darren had told me why . "While everyone else around here was still stuck into listening to th e Sex Pistols and trying to copy the Buzzcocks or trying to copy this or that, we already had been listening to Joy Division for a year," he said . "We were more influence d by that kind of music, without trying to be punk . " During the rest of our conversation we talked about the importance of how a band looks, the music scenes in Tampa and Miami and making it big . WORM : Who does your hair ? DARREN : Some old friend of mine . His name's Ken . That' s important to me . It's a mess right now, but ou r looks are pretty important to us . WORM : Why is that? DARREN : It helps . We dress up in clothes that might b e different to some people . We just like to look good . It helps your music . I mean, come on, if a girl likes you, she's going to bring her friend s to see you . You got to be careful . I get in trouble all the time because if someone likes me and I can't . . . I'm basically monogamous . I'm not a rock 'n' roll groupie grabber or anything like that . I try to be nice to everyone even if I hat e their guts because they're paying my bills . WORM : Mow do you all dress on stage ? DARREN : We like to wear loose-fitting clothes . The firs t thing the writer for Suburban Relapse said abou t the Triple 7000 Girls is they wear makeup . See , they wear makeup like girls makeup . We don't wear girls makeup at all, but I wear makeup all the time, not just on stage . But it would be barely noticeable . A lot of people think we're gay too . I hate to disappoint them . WORM : Why do they think you're gay ? DARREN : Because of the way I act . I act that way good . You've got to build up a gay following too, I guess . WORM : How's the situation for live shows in Tampa ? DARREN : It depends on your band . We could play in rock 'n ' roll bars because we're not abusive punk . We may look a little strange, but basically we can just about play anywhere we want to without gettin g into too much trouble . But we don't like to wear ourselves thin . We don't want to play every week , every night . We try to play maybe two weekend s out of the month at the most . We'd like to make it from here, if possible . We want to go play othe r places, but we really would like to set up ou r basic residence here . I don't want to take off and just move to Boston or move to New York or move to Los Angeles 'cause even though we're different , we'd get lost in the shuffle . WORM : Would you consider going to Miami for a gig ? DARREN : We played there one time practically unannounce d at the New Wave Lounge and it was the most awfu l experience of my life . The people in Miami really irked me more than anything . People down there seem to be into this LA hardcore and they can't

Darren's musical roots go back to his father, who playe d drums for Chuck Berry and did studio work on many jaz z albums . The vocalist/guitarist/songwriter for the Tamp a band, A New Personali ty, picked up his first guitar at ag e 12, but he didn't get serious about music until a couple of years ago when he was in his first real band, th e Straight Jackets . Some may remember them because the y played at that ballroom in Hallandale before the fascist s took it over and eliminated new wave night . The Straight Jackets broke up and Darren, his brothe r Brent (on bass) and Steve (aka Fish, on drums) formed AN P a little over a year ago. In May 1981, they recorded a three-song single ("Eyes/What I Lost/Saturday"), whic h was released last August . They recorded three more song s in December and two of them are on compilation LP s "A Feeling" on Subpop #7 and "Waterfall" on the Open album of Florida ba .ds . "Why 0 Why" remains unreleased . I talked to Darren in late May at the Tampa restaurant where he works . Situated in the penthouse of a downtown bank building, the Commerce Club seemed at first an unlikely setting for the interview . Tall, wooden doors led me into a spacious dining room with plush capeting . This is where the elite businessmen of Tampa eat, I thought , not a place for a rebellious rock 'n' roller . Once I started talking to Darren, I realized he was at home here , Unlike so many Miami musicians, Darren is not a stree t kid . He's from an upper-middle-class suburban neighbor hood and co .:fortable among the three-piece suiters at his job . The music Darren makes is also not like what i s usually heard at new wave clubs in Miami that featur e live bands .

31
accept anything else . WORM : Does that mean you don't want to go back there ? DARREN : I want to play there if there's a good place to play . WORM: What's the music scene like here? DARREN : It's basically pretty good . People have good taste as far as what they listen to . There's a few people into hardcore, but if they're into hardcore they're into it totally and they still don't think that they're so LA or so tough that they can' t accept us . Our following is really conscious of English music . My biggest thing is I get so sick of playing to the same 100 or 200 people that come to the new wave bars . I like to play in the disco s and the rock bars, where you have to really reac h people . It means a lot if you can make a guy who sits there and listens to the FM radio all day long come up and say, "I really enjoyed you . " That means a lot more than someone who's just being there to be cool . WORM : You don't tr to relate closely to new wave ? DARREN : No. We're just music . I don't even know if we're music . We're just doing what we're doing . We're all punks . We're young . And we're influenced a lot just by the idea of doing what you want to . But you're not really doing what you want to when yo u go into a set bar with a set crowd and you can do anything you want to there without anybody getting mad or upset . But if you're going into, say, a rock bar where there's 200 people in AC-DC T shirts and you get off that stage and people wil l compliment you, then you've done something . They know it's different than anything they've eve r seen before . You've got to do something to reach these other people or you'll just be a cult band all your life . You're going to have a small following in Tampa. WORM : So you have higher aspirations? DARREN : Oh, yes . WORM : Where would you like to be in a few years ? DARREN : No, no . I don't know what that word means . None of us tEke acid . No matter how trendy people say it is for the Human League to be radio, the Human League being in the Top Ten excites ie more tha n anything . Soft Cell, U2 acceptance on rock radio . Being accepted on the radio is what it's all about -- without changing . WORM : Which is practically impossible . DARREN : Which is practically impossible -- right . But i t could be done . If U2 can make it on the radi o playing their kind of music when people say our music is just like there's, wouldn't we have the slight edge being the Americans ? WORM : Would you do it tomorrow if you got an offer t o make an album ? DARREN: If it was the right deal, yeah . I wouldn't be s o fussy . I'm not so worried about money . I just want to be popular . WORM: You aren't anything like Eddie O'Brien of the Eat who said in an interview that he just wants to b e in Miami and have a weekend following . That makes him ecstatic, just to have that .

DARREN : No way ever. I've gone beyond that . I'm the biggest pop star around here and I can use more .

DARREN : We'd just like to be recognized for what we are without compromising our sound . We'd like to have a little bit more national popularity, which I feel isn't too far out of reach . WORM : You're more influenced by the English bands , right? DARREN : Oh, yes . Totally . WORM : Who do you listen to? DARREN : The only American stuff I listen to is the black radio . Right now, one of my favorite bands from England is ABC . We get slagged all the time for being a ripoff of Echo and the Bunneymen or th e Teardrop Explodes or U2 or Joy Division cr Ne w Order . In fact, our music does sound almost exactly like it could be by any of those bands . That's just the way we are . All those bands are just copying old American bands like the Door s and the Velvet Underground . They're from England , so they have a slight disadvantage . Whereas, we're Americans . WORM: You consider yourself to have a psychedelic in fluence?

EDITOR'S NOTE : I don't usually like to editorialize after an interview the copy her e speaks for itself and it should be up to th e reader to make an individual judgement o r conclusion . However, I'm going to make a n exception this time and stick in my opinion . So you're "the biggest pop star around here" ? Are you kidding? I hope so cause I'd hate t o think you're serious . That's the kind o f attitude that has made people like Rod Stewar t what they are today . Fortunetly there's a few of us who can dig beyond the bullshi t rock n' roll star system that you're caugh t up in, in order to find something more credible and concrete . I'm afraid you live unde r a delusion but you're certainly entitled t o your own beliefs and values . I hope you "mak e it" cause you've d(finetly got what it take s to do so .

32
PRE-PUBESCENT PUN K

by Lisa Ange l Fucking Florida . . . .a few new bands have made their debuts recently . Some are decent and some are real ballsy types doing nothing but covers . One new band- The Abusers- just sticks its tongue out at ya . Four boys- Matt Cloutier on guitar , Andy Panik on bass, Billy Blaze on drums, an d Bobby on vocals make the band . They've been together less than a year and are influenced b y American bands- Dead Boys, Avengers, and Circl e Jerks "cough"- heavy Circle Jerks . Hearing the Abusers on tape leaves an impression- they have a couple of notable tunes such as : "Girls", "American Way", "Hippies Suck" and "Haywire" . They ma y be starting work soon on an EP, but don't expec t anything political or ultimately profound- thei r songs are about simple things like girls, homework . . . .stuff like tha t BY BOZ

rq 4eaih4W

I saw the Southern Death Cult at the Moon light Club in London . The club was packe d well over capacity and the temperature inside mus t have reached at least 100 degrees . You could tel l it was hot because slot of the punks had gone s o far as to take off their leather jackets . SDC were hot! (No pun intended .) By sheer power alone, thi s 4 member band was convincing enough, but that' s only part of the story . Their lead singer was a thrill to watch, taking the stance of an angr y Indian warrior more on that later) dancing fas t and symbolically to the aggressive music . SDC als o feature a powerful guitarist who avoids the obi ' vious, and plays interesting and sometimes intri cate leads . Try to imagine a faster and more aggressive Theatre of Hate and you will have an ide a of what they sounded like, although they don' t really sound like anyone else at the moment . Visually the band was dressed up in Indian warrio r garb which I hate to mention as it may mislea d some people into making some premature conclusions . Adam Aunt? Forget it! SDC are a nomadic tribe an d don't appear to be interested in making any fashion statements . They've also been playing a number of gigs supporting the Theatre of Hate and it's been reported that a single will be forth coming with distribution via Burning Rome Records . Watch out for more on this band, this is one ban d that definitely lives up to their name ! Kids of the Coca-Cola nation , are too doped up to realize , time is running out , Nagasaki's crying out now . from "Moya " Southern Death Cult

So far, the Abusers have played out twice . . . First time was at Finder's Lounge when they opene d for Black Flag in May . Last time was at Finder' s again on June 23 which later became literally, th e last time the Abusers played Finder's- they wer e banned for blowing the P .A . system . Shit . The manager fo the club says that it's cool to wreck and / or destroy as long as the door money covers th e damage . So if a band draws a crowd of 300 at 3 . bucks a head, they can fuck the place up to $900 .00 . No shit . . .Put that on your next mid-term! I gues s it's rational, practical, capital . . .but woul d probably be out of the Abusers' character to com P1Y I'm glad they fucked up the P .A . system . I t was great- you could either watch Bobby's fac e turning blue or just listen to the guitars an d shit . I realized then that they don't need th e "Let's demolish this place" gimmickry- they sounded the same either way . The Abusers are a typical hardcore band- the y are nit extra spectacular, deluxe, out of the ordinary or even original in style . . .But what make s them unusual or special right now is that they are locals and they are young- that means they hav e time to develop a style of their own . Maybe they'l l find another place to play . . .or maybe Finder's wil l "see" . . .either way they are worth supporting . Well , really, you don't owe them shit . But, then again, the Abusers don't owe anybod y or anyone anything either .

33

R ECOD 5
J

2809 BIRD AVE . , COCONUT GROV E MON- FRI . 1- 8 SAT -SUN 12. - 6
ph .

447 - 9 6( 0

rocky - blues - J a33 reg5ae . impor t 5 books . music pertodica( 5

Ul

00~ G

V ACE .1FOC% c@WVO1

34

CHARLIEPICKETT AND THE EGGS "LIVE AT THE BUTTON " (OPENLP)---I could have probably written this re view without ever listening to this . I suppos e I've seen the Eggs on about 30 different occasion s and for the most part they've never let me down . A pretty good track record indeed . I'll stick the m right up there with the Eat and the sadly departe d Reactions . I'll tell you what- if you get the chance, take a trip over to West Palm Beach where Charlie Pickett's an honest-to-god STAR . People actually come up to him on stage and ask him fo r his autograph and luded-out Southern white boy s with long hair play their imaginary air guitar s and jerk off just like they did when Kansas was i n town . Of course the fact that West Palm has a radio station that plays "local" music might have something to do with all of this . But back in Dania, Charlie still works a crane during the da y and he hasn't let this amazing success story go t o his head one bit- although if someone were to as k him to autograph a copy of the album I'm sure he' d be happy to oblige . So what does all this have t o do with the album I'm about to review (bet yo u thought I'd never get to it)? Nothing of cours e and that's the whole point . The album speaks for itself- if you can't tell the difference betwee n the Buzzcocks and Styx, well this is for you . It' s rock and roll . Period . We're not talking abou t trends- this is the most un-trendy album of the past 10 years . If you can't dig this then there' s something seriously wrong with you, 'cause it' s only "American folk music", as Charlie would say . How can a song called "American Travelust" be bad ? Listen to the screams in 'Feelin'" or John Salton's guitar in 'You're a Better Man Than I" i f you need further proof . My only advice at this point is to stop reading and go out and grab this don't just stop at the cool cover- pull out the record, flop it on your record player, turn up th e volume to 8, and party . (BOZ ) THE GO-BETWEENS "SEND ME A LULLABY" (ROUGH TRAD E LP)---Their debut LP . This stuff is a little different than their single with Postcard which wer e distressing, but in a light enjoyable manner . Th e LP misses some of this lightness in music and production . It's still nice record from a nice simpl e band . (C .B . SNYDER ) ECHO AND THE BUNNYMEN "BACK OF LOVE" (KOROVA 12 " EP ---The beautiful cover of this new single care fully foreshadows the music . "The Back of Love " and The Subject" both have a quick, melodic movement and feature Ian McCulloch's pained vocals , wonderfully cracking in all the appropriate places . 'Fuel', on the other hand has a smoother sound and more haunting mood . Overall, there is some similarity between this single and their earlier "Promise" single . It's a pleasure to hear from Ech o again! (JON CECKA)

RED CROSS "BORN INNOCENT" (SMOKE 7 )---Most of the fanzine reviews I've read have slagged thei r record for some reason unknown to me . I think it' s great . It's a real disjointed discordant mess and that's why I like it so much . They're sloppie r than the Velvets could ever have hoped to b e (probably not true but I figured it was a nic e gesture) . Great guitarist, too, even though h e can't play . Everything I said here is true and you can buy it and find out for yourself if you don' t believe me . (BOZ ) LYDIA LUNCH"13 .13"(SLASHLP)---This is a new/ old record released well after the act- July 1981 in this case . This is the best Lydia Lunch ever , even better than 8-Eyed Spy . The band made up of ex-Weirdos is great, I don't know how ex-Weirdo fans feel about this but . . . Psycho heartbreak music might describe things . . . 'he slits my throat and drinks my blood and says that this jus t ain't enough ." I mean this record's just full o f great utter garbage sleazo lines, so if you like d that there's more . Plus the music is incredibl y together (never one of Lydia's better qualities ) and powerful- blam :blam!blam! I'll admit, eithe r you like Lydia Lunch or you don't and certainl y alot of her shit is questionable but don't le t that discourage you . It may be cheap art but tha t doesn't mean it's'not good . (BOZ ) PETER DAYTON "LOVE AT 1ST SIGHT" (SHOOBOP 12 0 )-- Pop from (where else?) Boston . "Skintite' has a neat 60's feel but the title song has some unbelievably lame vocals . "Perfect Wave" solves tha t problem- it's an instrumental . A wimpy record . ( BOZ ) LAW AND ORDER'ANYTHING BUTTHE CRITIC'SCHOICE " (FETAL 7"EP)---More essential hardcore from D .C . This could have been on Dischord but it's not . Twelve rip 'em up songs with some great buzzsaw guitar . My only complaint is that the recording i s a little muddy ; other than that, this is prett y good . (BOZ ) BATALLION OF SAINTS "FIGHTING BOYS" (NUTRONS . 12"EP)---If the Menstrual Cycles are so determined to sound like all the current British 0 1 bands, why don't they sound like this? The B .O .S . are from San Diego and this fine EP appears to be . somewhat influenced by some of those current Bri t bands . This is good-meaty hardcore- real singalong anthem shouting music . Their guitarist is particularly excellent, although he does tend to play in a somewhat heavy metal style . Well produced and recommended . (BOZ)

BEASTIE BOYS 'POLLY WOG STEW EP" (RAT CAGE 7" EP) IN CAMERA (4AD 12" EP)---A recent release of maThe first release from Dave Parsons' (of Mouth o f teiial recorded for a BBC radio session in 1980 . the Rat fame) Rat Cage records . It looks like "The Fatal Day' is appropriately titled, i t they're off to a great start with this 8 song E P ff'being a morbid dirge that begins with a length y from NYC's Beastie Boys . This is some of the bes t instrumental passage along with razor sharp guiNYC hardcore that I've heard which ranks right u p tars that cut in and out of the tempo . The end there with Kraut's "Unemployed" EP and the Stimfeatures a desperate plea from the singer . 'Co ulators' "Loud Fast Rules" single from a couple o f ordinates" is equally discordant, a similar atyears ago . Amusing and zany, the Beasties appea r titude-- the drums are getting nearer than before . to be out for a good time, even though it can be "Apocalypse" features a strong bass funk line- a difficult to make out the lyrics . Good vocals, a tribal (not 23 Skidoo tribal) and aggressive soun d fast sinister guitarist, and what else can I add . If you like bands suc h i and the drums don't stop other than these guys and a girl have some good as the Birthday Party, Theatre of Hate, and Jo y ideas in both song and attitude . (BOZ ) Division (I'm going to have to stop dropping thei r name all the time) you'll probably like this alot . THE BLUE ORCHIDS "MONEY MOUNTAIN" (ROUGH TRADE LP ) Worthwhile, recommended, and deranged . (BOZ ) From the house of the rising sun to the Blue Orchids' Money Mountain . Manipulations of "Those old familiar feelings" . The organ works through th e X "UNDER THE BIG BLACK SUN" (ELEKTRA LP)---So her e psychedelic conventions with some new ease- it can it is, X goes "big-time"- a real sell-outright ? mesmerize, taunt and overall, challenge . I lik e Wrong . I suppose if you feel X is boring or no t the Blue Orchids because they try to be poetic . " punk" enough, then there's nothing here that' s They even draw Yeats in . There are so many brilgonna change your mind . But this is definitely X' s liant moments on the album, moments where the Blu e R third album (not a "debut" as the majors seem t o Orchids make musical traditions glimmer ."Bad Edbelieve) in that they've chosen to simply continue ucation" sounds almost folk-like . It's touching . developing their "sound" . So there's no big surThe music covers a wide variety of styles whil e prises here, (thankfully, I guess) just a littl e still maintaining a consistency that is primaril y more sophisticated production and, well, Exene has based on lyrical concerns . Worth hearing . (ADA M blond streaks in her hair now . Their songs are KLEIN ) still aces, centering on their humanistic/abstrac t lyrics, John Doe and Exene's harmonies, and Bill y Zoom's killer guitar playing . But that's always HE JAM "JUST WHO IS H 5 O'CLOCK tiERO'/ "WAR"& THE GREAT DEPRESSION POLYDOR 12")---The A-side been their strengths, so unless you're the type t o be bewildered by Exene's hair, this is pretty muc h is i s from 'The Gift , so as usual, the big attractions here are on the B-side . The Jam present a what you'd expect ; another great LP from (one of ) credible version of Edwin Starr's classic "War" , America's finest . (CZ ) updated with a dub-style mix, but hardly matchin g the original . It's here as a statement, more tha n FLIPPER "GENERIC ALBUM" (SUBTERRANEANLP)---Fuc k music, I presume . "The Great Depression" is a new Public Image, America 'As its own art damage/antione from Weller, but sounds an awful lot like th e rock band that puts up a sound so dense, wild, an d A-side . A holding action, at best . (CZ ) basically insane that one can't help but be affected (and not just to turn it off) . I'm still trying to figure out if the guitarist really know s THE CURE "PORNOGRAPHY" (FICTIONLP---I can alway s what he's playing, but it does create a kind o f count on the Cure and "Pornography" is no excep.joyous cacophony behind lyrics that go beyond simtion . "One Hundred Years" is my favorite Cure son g ple nihilism to a more meaningful outragg . The big since "The Forest"- a chilling and haunting melod y question is : can you endure 7 minutes-plus of "Se x that stays in your head for hours . The rest of th e e Bomb"? (CZ ) album continues the bleak hallucinatory images o f "Seventeen Seconds" and "Faith"- the terrain they PIGBAG "DR . HECKLE & MR . JIVE" (STIFFLP)---If you cover may be familiar but the impact is stil l a "new th I have been waiting forfor you jazz" to replaceande there . If you found "Faith" a bit cold as some did , old one, well this is . Funky, jumpy, the delicate textures here create more warmth . ' energetic, this is reasonably fresh-sounding . Bu t It's this feeling of warmth, no matter how distan t then again, so are all the "latest things" fro m it may be, that makes "Pornography" so appealin g limeyland . I'll pass on this one myself, thank you . in the first place .(BOZ ) (Cake me when they rediscover electric guitars . ) RICHARD HELL AND THE VOIDOIDS "DESTINY STREET " (RED STARLP)---What can I say?,Richard Hell i s still probably the coolest guy in NYC and Bo b Quine is God on guitar . An excellent LP that make s "Blank Generation" seem pale by comparison . Tough and full of street appeal unlike the new To m Verlaine LP, it's really great to have Richard back . I wonder if Johnny Thunders will be next . (BOZ ) REALLY RED "TEACHING YOU THE FEAR" (C .I .A .LP)-- An impressive debut . Really Red avoid cliches and it pays off . A few songs use some new instrument s (a sax, synth on 2 songs . . .) but are we allowed t o use new instruments? Really Red say yes . The arrangements are also interesting, leaving more spac e than ,host thrash . Plus there's plenty of wil d guitar ana the lyrics are above average, too (eve n a song about Nico called you guessed it . . ."Nico") . Check this band out . (BOZ) VARIOUS ARTISTS "THIS IS BOSTON . NOT L .A ." (MODER N METHOD COMPILATIONLP)---I read somewhere tha t Black Flag had the ability to "define and transcend", and that seems to be a good way to judg e ANY rdck'n'roll band . On this LP, The Freez e easily makes it ; their lyrics are THE BEST I've seen in awhile (this LP's title is one of thei r songs, a great statement on conformity among "anarchists") and they've got a great roar going o n behind them . The Proletariat doesn't have as muc h to say, but screech like the early DK's, and Gang Green puts up an impressive wall of noise, even i f it isn't coherent . Special commendations to th e F .U .'s for ' Radio UNIX USA" : "I'm a real pro musician man Been one twenty years pas t Spent 15 backing Nugen t OH BLOW IT OUT YOUR ASS : " Great stuff . (CZ)

35

6 3 T .S .O .L ."WEATHERED STATUES" (ALTERNATIVE TEN- ,

TACLES 7"EP)---People are calling this SOL s art disc . How silly can you get? Just because th e whole record isn't ' 1-2-3-4 fuck you!" I don't se e how people can get off on calling this 'art" . "Man and Machine" is the fastest tune, closer in spiri t to the Posh Boy 12" than anything else here . Th e other 3 selections are also excellent and show a more sensitive side of the band by featuring mor e developed song structures and ideas . The lyrics on "Thoughts of Yesterday" and "Word Is" are quite personal and show more "feeling" than what we'v e come to expect from T .S .O .L . Anyway, it's a grea t record from a band that's constantly changin g probably to the dismay of their more fickle fans . (BOZ ) GENE LOVES JEZEBEL (SITUATION2 12'EP)---While i n London, I saw Gene Loves Jezebel open for 2 3 Skidoo at the Venue . The audience reaction was lukewarm at best, which was too bad, 'cause I really liked them even though their on-stage manner was still a bit awkward . I rather like thi s 4 song 12", although I feel that if given the opportunity they will be capable of much more . Thi s is atmospheric music that suggests mysticism an d human frailty (or something of that sort) . The vocals (when there are vocals) are rather interesting- several voices going at once at differen t tangents-"distant" voices- I like that . Overall , the whole effect is that of a "soft" tribalism . I'd like to hear more in the future . (BOZ ) EFFIGIES "BODY BAG " / " SECURITY " (RUTHLESS7 "3-- Perhaps the most popular of the Chicago punk band s after a listen to this record it's easy to justif y their popularity . This is one of the more intelli gent and better produced punk discs I've heard i n a while . They've even printed the lyrics on the record label . "Bodybag is a real scorcher- and features some intense vocals from John . The fli p side is slower but just as good- it's built aroun d a super hot bass line that is guaranteed to knoc k you out . Support American hardeore! (BOZ )

HUSKER DU "IN A FREE LAND" (NEW ALLIANCE 7" EP)-- Great! This is the Midwest meltdown and I love it . Really thick overpowering sound and fast as hel l to boot . Almost as good as the Necros : BOZ ) SPK "THE LAST ATTEMPT AT PARADISE" (FRESH CASS ETTE---For the uninitiated SPK are from th e Throbbing Gristle school of diversity and als o share a similar psychotic slant as well . From SPKDocument 1 comes the following : "SPK is trying t o be a voice for those individuals condemned to th e slow decay of mental hospitals and chemical / electro/surgical therapy ." Let me tell you, thes e guys don't fool around . After 15 minutes the numbness sets in, your hands go cold . . . . a disturbing void is created . I can only begin to imagine wha t it must have been like seeing this live performance in person with the visuals and all . Fo r those who care, this is as chilling and scary as they come . (BOZ ) SIOUXSIEAND THE BANSHEES "FIREWORKS" (POLYDO R 12"EP)---A new Siouxsie single and I'm in love again . I guess it doesn't take much, does it ? Classy and slick (a string section . . .hmnn) 'Fire works" is still everything I hoped it would be and more (I've been hearing about this song for month s now) . It cuts deep, flowing rushes going fast an d then faster (no, not like L .A .) . . . .beautiful, optimistic and touching music . If that wasn't enough the B-side (most Siouxsie B-sides are worthwhil e contains two other tunes . On "Coal Mind" we get t o hear more from John McGeoch which is good 'caus e he wasn't real prominent on "Fireworks" . A more traditional Banshee sound here- on the other han d "We Fall" is dreamlike- a part of a thought . . . touching . I hate to go totally overboard, but thi s is my favorite band in the whole wide world an d "Fireworks" is my choice for single of the issue . Let's hope her voice holds out . (BOZ ) THE GERMS "GERMICIDE' . THE STIMULATORS "LOUD FA T RULES' (BOTH ROIR CASSETTES)---Two new release s from ROIR . The Germs tape is a live recording fro m the Whiskey from the beginning, 1977 . They suck but they know it so it's impossible to not have fun listening to this shabby band plow their wa y through "Sex Boy", "Suicide Machine", and even a cover of "Sugar Sugar" . It's worth it just to hea r Belinda of the Go-Go's introduce the band by explaining the reason she is no longer in the ban d is because "they were too dirty for me and they'r e sluts ." A great comedy album, but don't expec t "GI" . On the other hand, I found the Stimulator s tape a bit of a let down . their now imposiible t o find single of "Loud Fast Rules" was great fas t pop punk- a classic of that genre . This tape, re corded live in Raleigh, N .C . is a bit too dragge d out for me . Their heavy metal influences are quit e evident- a sludge of a sound . Still, I've heard worse and I suppose this isn't half bad, although I probably won't listen to it very often . (BOZ ) NEW ORDER "TEMPTATION" (ROUGH TRADE 12")--- More proficient than their early stab "Everything' s gone Green" . As before, New Order work under already conventional, rigid dance structures making us listen deeper for the real sentiment Of th e song- I think this record is about looking for o r acting on the 'real' things as opposed . . . and I think this justifies their methods . It's even a first-rate dance song woth their established sens e for fine production . Another distinct message fro m 'inside' . (ADAM KLEIN)

23 SKIDOO "TEARING UP THE PLANS" (FETISH 12' EP)- I used to think that 23 Skidoo was just anothe r British funk band ala the Higsons . What an idiot I was . After seeing them at the Venue I walked awa y in total awe . This is their latest piece of viny l and although the visuals from their live performance are notably absent, this still succeeds in establishing that eerie atmospheric sense of uneasiness that they create on stage . Their percussive, tribal sounds react with our more primitiv e human/animal elements . Their use of tapes, as on "Just Like Everybody" are also an important par t of their sound as well . This is what that stupid Byrne/Eno collaboration should have sounded like too bad they missed the boat entirely . (BOZ)

37
DIE KRUPPS "VOLLE KRAFT VORAUS!" (WEALP)--- A tasteful three-piece electro-group from Germany . This is just the tip of the Deutsch iceberg . Th e music is completely synthesized (minus bass) wit h vocals that range from strenuous to biting . Th e simple optimistic lyrics are representative of the pro-identity attitude incubating in a country which has had none since 1946 . This is no pop out fit brother . (C .B . SNYDER ) DEL-BYZANTEENS "LIES TO LIVE BY" . CHROME" 3RD FROM THE SUN" (BOTH DON'T FALL OFF THE MOUNTAI N LP'S)---Two American bands with releases on a British label . The Del-Byzantsens hail from New York and have some background in the NO New York / art scene . Side A is rather lightweight stuff quirky in places- sharp and well-structured songs . The other side is more tribal and rhythmic an d places less emphasis on standard song structures . The music here is darker and more demanding, mor e attention will be necessary for the listener . Actually both approaches work well for the band- a good record . On the other hand there's nothin g lightweight about Chrome, a West Coast band wh o have just released this, their sixth album . I wa s totally unaware that they've been around for s o long . The music on "3rd From the Sun" might bes t be described as futuristic grey industrial music . Overall, I like the mood created, although th e slower pace plods on for longer periods than m y attention span can handle . Let's call it cerebra l heavy metal and leave it at that . (BOZ )

Since our last issue I've been really bombarded with new records . I really do try to re view everything I get sent but at times lack o f space can be a bit of a problem . Here's a rundown (ala Flipside) on a lot of stuff we didn't hav e room for in the regular record review section . . . . short and sweet so nobody gets bored . OK? Fro m Philadelphia come NU-ESTE (Intense Intents, P .O . Box 14056, Phila .)- a modern British sound wit h New Order type influences . Not very original- a bit drab, I'd say . CONFLICT, who I saw in London (crass) have a dynamite EP . Excellent anarchis t punk- a good range of styles here . Can't say th e same for the ANTI-NOWHERE LEAGUE on "I Hate Peo p le' (WXYZ) . Total rubbish- the extreme opposit e of what all the anarchist bands are about . Th e music's fourth rate SHAM anyway . "Shell Shock " b y ERAZERHEAD (Flicknife) sounds like early Ramone s instrumentally and vocally ('I've got Shellshock . . oh yeah : " ) . I guess it depended on whether yo u like the Ramones or not . "Swalk" is the title o f MIKEY DREAD's latest . It's quite enjoyable- a goo d variety ranging from dub to soul influences . A bi t slick for my tastes, which is how I feel about th e FEAR LP (Slash) . They should have made it rawe r like the stuff on "Decline" . Regardless, thre' s still plenty of strong tunes and their sense o f humor is intact . Lots of fun- which brings us t o BONNIE HAYES and "Good Clean Fun" which is also o n Slash . It's new wave pop- pretty lame stuff . Slas h better watch it or else they're going to ruir their rep . At " east the FLESHEATERS are stil l around with "Forever Came Today" . Not as powerfu l as the first two LP's, but still worth the bucks . Chris D has a great voice but I've given up on trying to follow his band members . The ASSOCIATE S are hot on the charts in England, which I'm sure surprised a lot of people . I always thought the y were better, their LP "Sulk" disappoints . Bette r than Soft Cell and all that ilk, it's still to o lush and clean for my tastes . Which brings us t o "Spirit" (Beggars Banquet), the new BAUHAUS singl e which is great stuff . A haunting melody, and th e more subtle acoustic touches make this one of

3 their best singles yet . The other side is, incidentally, a terrific live version of "Terror Cou- S ple Kill Colonel" . While we're speaking of BAUHAU l (notice how everything flows together- pretty coo huh?) DANIEL ASH (he's from BAUHAUS) and GLE N CAMPLING have a 12" EP out on 4AD called "Tones o n Tail" . Basically it's just avant-garde electrodance music . . .does this mean that all the BAUHAUS members will be doing solo efforts? I hope not . Save your energy, guys . Got a batch of stuff from Subterranean records . . . where do I begin? A goo d place to start is "Red Spot" (LP) which is a well rounded compilation featuring such Subterranean artists as the WOUNDZ, MICRON, RESEARCH LIBRARY , and MINIMAL MAN . My favorite stuff here are 2 selections by the Animal 'things-funnier and mor e over the top than Flipper . Get this compilationit's a great mixup of art, punk, noise, and what ever else you want to throw in . "Music From Hell " by NERVOUS GENDER/BEELZEBUB YOUTH is a damage d version of "Hell Comes to Your House" . NERVOUS GENDER sound like they've been around longer than the new horror breed . In other words, this sounds for real . A good album, although side two gets a little boring . MINIMAL MAN, who were on the "Re d Spot " LP have a whole album for you ("The Shrou d Of") if you liked their other stuff. A great album for those who enjoy doing downs and acid at th e same time, but I rather like this . THE WITCH TRIALS (12" EP) features the voice of Jello Biafra . There are plenty of weird voices and synthesizers tha t go plunk . . .why did you do it, Jello? I'm still waiting for Jello to break up the Dead Kennedy s and start an anti-art band (ala Mr . Lydon) with some of the guys from Flipper and how about Cooki e from Teddi and the Frat Girls? WILMA are a 3 girl band who have out an EP also on Subterranean . Check out "Fast Fascist" cause it sounds like both the Riancoats and Shaggs . That's what I like to hear! "Off the Leash" by SOCIETY DOG (7 " ) is San

805 N.E. 125th ST. * 893-0341 l 17E0 -E68

NEW . UfEDCOLLECTAbLE J

IS 41921 '3'N 90 8

1Tl9v1110)aifn MJN

Francisco punk that's hurt by a poor mix . Not ver y exciting which is what most good punk should be . On the other hand, PRE FIX (7") play tortured sur f beat music which I will hesitantly recommend- jus t don't expect Duane Eddy . Last but not least ( ? our final Subterranean review is a single b y STEFAN WEISSER aka ZEV aka UNS aka BOZ (got a little carried away with my aka's . . . excuse me) . Anyway as soon as I figure out the correct speed t o play this nifty single on, I'll be glad to give you my review . I might add as a final note that most of the stuff on Subterranean is interesting , and while some of the things they release ar e better than others, you've got to give them credi t for putting out stuff that most Other people wouldn't touch. Certainly one of the more dedicated American independent labels! Also from th e West Coast (This is L.A . not Tampa) comes SOCIAL DISTORTION whose " 1945 " (7"EP) is a definite t o get . A great hardcore record . I wish they woul d release an LP soon . What can you say about a group called THE LAST MAN IN EUROPE CORPORATIO N who have an LP out titled "Songs From the Ark " (Situation 2)? This is Art not L .A .! A horribl e "art" record but it does look rather smart on the coffee table . . .Then there's always NEW ASIA wh o have an album called "Gates" (Situation 2) . It' s your basic progressive British art rock . . . .what else would you expect from an album with Phi l Manzanera on it? It's alright I suppose, if you like that sort of thing . Personally I'd much rather listen to the latest from the TV PERSO N ALITIES called "Three Wishes" (Wham 7") . I never grow tired of their quirky British garage pop. Another classic! As we cross the Atlantic back ho,e again there's the OUTLETS' "Best Friends " (Modern Method 7") . I hate this- Boston must have more shitty power pop bands . . .Too bad for you . Fortunately for Boston, there's bad wimpy pop fro m other parts of the country as well, like the WINDBREAKERS from Jackson, Miss . (Big Monkey 7"EP)an d from Ft. Lauderdale, THE BREATHERS (Hi Variety 7" ) who remind me of that old group Bread . Give me the INSANE whose "El Salvador" No Future 7 " ) is a reat British punk sound . They also do a cover o f g 'Chinese Rocks" . RUDIMENTARY PENI have a cool EP out on Crass records called "Farce" . They are one of the fastest British bands around . I like this alot . They have a good attitude, too . Have you , gotten a copy of the new CRASS flex ; - the clear see-through one with their Falkland Islands song ? It's free and has been mysteriously showing up i n record stores in England . CRASS deny all knowledge of this . Brilliant! It starts with some excerpts from various speeches and then the music starts- definitely CRASS indeed! Search this out! COLIN NEWMAN's back again with "We Means We Starts" (4A D 7 " ) . Not bad like most of his solo stuff but if you weren't convinced before this won't chage you r mind . MICHAEL DUKE used to be in the Insect Surfer s and he's got a single of his own out called "Elba " (WASP 7") . It's new wave music- pretty good keyboards, Mike . MYDOLLS are an all-girl band fro m Austin (CIA 7"EP) . I don't quite like this- intentionally arty- maybe it's the organ I don't like . DA, who had a pretty good single out awhile bac k have released a 12" EP called "Time Will Be Kind " (Autumn) . I liked them better when they sounde d like the Banshees which is how I feel about Altere d Images as well . Not that DA sound like Altered Images, mind you . Do you notice these reviews are a becoming more vague as we continue? OK, one mor e and that's it . I know this is sort of old but it' s a good one . I'm talking about the NECROS of cours e (Touch & Go/Dischord 7 " ) which is produced by Mr . Clean himself, Ian Mackaye . These guys are the coolest . If you like total nonsense buzzsaw thras h music don't delay cause this is what it's all about . Eight killer songs with good lyrics like "I .Q .32 1 .9. .32 I .Q .32 Midwest fuck you" . What are you waiting for? (BOZ )

39

Soundtrack s

Imports

~Romast'c

an d thensorne.,

Blues an d

Jaz z

's '15 an d

P ;, sleeves

Col lectab/e 5 Ne w Wave

Colovre Vin 1

Rhyth m elves

vo

8273 S .W. 124 Street Tel . (305)255-2800

1/2 Block East of US1 Tues . Thru Sun. 11-7

Fanzine Records Internationa l

*terda,y
~

And Today

-5 la~l<F1 , 'IZe~I T~o~ke~s~~ . ac-i-Pece U b

,eF-a1(

s 4e, ( ,eCc-amsCabac + Vol -E-ac~e

5/

Records
23

X,Ba,c) Kca -Tine. Da

T e _T. ,n
~"D .2,6

, MORE!! a MA MAN/
tea v r +-c-o
`-L

a l s, C h v- e 'P ~ c (~e-i--~ The Saws , V is i o,\/ Cl-, c- is+ a,A.- De 4 ~,Mc ecr -Fnnl s h b t e.,

5kU~L

s, Go -Be fie e- va s -1 l PPec i

,-Ti-e7
1

Li.)v~c l~

-J

a
Q
U p

youce L~F's - S
~-F I a c-y-

Se P..c,.+ o

12 ~o h e c-s

14erIf

Os . GJe. ha v

y S s, ErP 's ahs Li 1nle. also ac-cCvc ceh Celea .ses C-cmwi ke.Ce a.hc; alro.3A c. Sin a -6 'pc./

~,Sw+ P oc`k a 4 O mesq-( c

63Lj1 BIRD ROAD5 I MIAM

305-665-330
SOUL

G,4E

. . . .

NEW.MLJS~c