LUSTIGE MUTANTEN-UNPOP, 7" EP, 1981, GERMANY
More proactive kookiness from the Neue Deutsche Welle fringes, this one featuring oodles of unfettered chanting and spluttering vocal antics abetted by detuned jangle and bonking little cheap key embroidery.
MAAD-WAKE UP/ERHEBE, 1978, ITALY
Happy, horn-y funk fusion moves by this unit whose eponymous LP I posted long ago. To be sure, this is a rather more slick affair than their entho-inflected prog fusion foray from two years earlier. Indeed, I recall hearing somewhere that Wake Up was the theme music from some Italian TV show in the 70's. Whatever the case, this sorta thing is just effortlessly enjoyable to me.
MAIN-CODERAYS, ONE-SIDED 7", 1995, UK
The first of three one-sided singles in this batch and the first of two on the Austrian micro-imprint Syntactic, this superb 100 copy outing from former Loop member turned atmospheric electronic innovator Robert Hampson sets rotating planes of groan, drone, metallic chitter and ghosted vocalese in motion to deeply immersive and disorienting ends.
MARBLE SHEEP-UNTITLED, ONE-SIDED FLEXI, 1994 (RECORDED: 1988), JAPAN
Super primitive and murky Amon Duul worship pressed on a one-sided flexi for maximal shit-fi, this is nonetheless a fabulous first salvo from these Japanese psychonauts who'd morph over time from noise psych marginals to something more akin to The Grateful Dead (a transformation that's been documented elsewhere on MS). This earliest glimpse of their sonic evolution is pure caveman pound and mantric string repetition styled for maximum psychic noogie effect and shares some of the same spirit as early Ghost material like Sun is Tangging.
ALBERT MARCOEUR-COMPTE RENDU D'ANALYSE, 1984, FRANCE
Absolutely delirious R.I.O. innovation from this Gallic avant prog genius. With it's simultaneously minor-ish and celebratory tone, this is the recording where the link between Marcoeur's band and Sweden's Von Zamla becomes most obvious, as both Jan Garret and Denis Brely from his ensemble had had just gotten done moonlighting with Lars Hollmer's post Samla Mammas Manna ensemble.
MELODIC ENERGY COMMISSION-MELODY IS ENERGY/NIGHT RHYTHMS, 1981, CANADA
This was the group that Hawkwind's synth splatterer Del Dettmar joined upon his move to Canada, though this single stems from the period right after his departure. This single begins atypically with a sorta poppy Here And Now-like space rock stormer that's somewhat anomalous to their rest of their catalog but great fun on it's own terms, while the flip is pure acid rock manna, with sinuous layers of violin-led entwinement transforming into a kraut-y acid rock scorcher.
METABOLIST-IDENTIFY/TIZ HOZ NAM, 1980, UK
The work of this odd and edgy UK post punk crew has garnered them passing comparisons with This Heat elsewhere, though the contents of this single are rather more atypical, with Identify offering up an attack far more scrappy and no-wave splintered than on their other outings while Tiz Hoz Nam wallows around in slithering layers of narcotized guitar scrawl.
METROPHASE-IN BLACK/NEOBEAUTY/COLD REBELLION, 1979, UK
Though these songs were penned by one Steev Burgess, Metrophase's line-up renders this almost The Swell Maps in disguise, with Nikki Sudden, Epic Soundtracks and Jowe Head all involved to some extent with this outfit. Their myspace explains their work thusly: "A low budget attempt was made to marry synth, folk and indie instruments at a time of sectarian views in music when certain instruments or indeed haircuts, made you a person non-grata in the various music scenes.". The upshot is a sorta narcotized post-White Light/White Heat sense of drug disabled rock motion. It's a sound that would later reach it's nadir with Peter Stapleton-led New Zealand units like Dadamah and The Terminals and is best expressed by the tracks Neobeauty and Cold Rebellion, which are the crucial bits here to these set of ears.
TED MILTON & THE BOBONUS BEATS-POSTCARD, ONE-SIDED 7", 1995, UK
The second one-sided micro-release on the Syntactic imprint from this batch, this is a Blurt offshoot from the inimitable Ted Milton, and offers up a truly great round of lip flap over bonking rhythm boxes and accordion wheeze; the end result having a strong akin to Terry Day's work on Jean-Francois Pauvros' mid-80's albums.
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Cockamamie musical conceits are at a premium on this long lost album by this exceptionally obscure (even by Japanese underground standards) fringe unit, with the barely there ebb of incidental urban location recordings that initiates this oddity being but one in a long series of dissociative audio non sequiturs and rug-pulls. This deliberate wrong footing continues apace; their cheeky structural dislocations of commericial schlock signifiers ranging from twee synth pop to hard rock blather placing them somewhere between Virgin Vs and Picky Picnic, though it's contaminated by a shrieking Eye-like vocal attack and cross cut by apropos-of-nothing disruptions of dada or silence, right down to the baffling inclusion of a block of said silence toward the end of side B (their cover of Cage's 4:33, perhaps?) and a bonus flexi disc that consists mostly of silence, with a bit of yakking at the fore and aft. 
