AGEN - Fortschritt 12'' 1988

Hailing from Verden (Oasis in Lower Saxony), Agen were a four piece and existed from 1981 'til 1989. Members on their only 12Inch were: Thorsten (vocals/bass), Maik (guitars/vocals), Jürgen (bass/guitars), Michael (drums), released via 53 Records. First as Agen 53, they released their first fantastic Ich Wünsch Dir Für Die Zukunft Etwas Mehr Glück, Junge Welt EP on the same label with four top tunes. I first came in touch with their sound via the Keine Experimente! II compilaton, and b.t.w. this slab is a masterpiece, the band matched it brilliantly. Actually, they didn’t became much attention as the others and unfortunately much too underrated in my opinion. They are excellent musicians and far from the most political D-Punk of the early 80s, and this is exactly what I like to hear, words with depth that make you think. Yes, Agen combine their anger and views in melodic, aggressive catchy songs. Their label released 2008 a CD (Fortschritt 2.8), limited to 53 copies, with both vinyl tracks plus an unreleased song (someone have it for me?). Every now and then they do occasional reunion shows, but rarely (the last one was already twenty years ago). Top music + top band = solid record!! 🔊🔊🔊

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RIISTETYT - Nightmares In Darkness 1984

Classic and legendary Finnish hardcore punk, unbelievably rough and snotty, unmatched then as now and another personel favourite of Finnish bands: Riistetyt - Originally formed as Cadgers, the band was created 1981 and recorded one split 7" with Kaaos before changing their name, then played until 1985 and reunited in 1991 and have been active ever since. Their second album was licensed by Rock-O-Rama and I can tell you, it's overpriced these days, okay, the record is brilliant but it's crazy what some people want for it.... pure capitalism! Egal, the studio side contains songs in bloody English which work quite well. So far, Riistetyt have always been on the road in Finnish. The B-side is full with live material from the a set that they played on the aforementioned Puntala-Rock in 1983. Good sound quality and the band delivers. On this album are Lateri (vocals), Perry (guitars & bass on tracks: A1 to A8) and Piise (bass on tracks: B1 to B10), Jaska (drums on tracks: A1 to A8) and Stydy (drums on tracks: B1 to B10). The boys can be found on numerous compilations and their first album Valtion Vankina is a blast, re-upped for you, and if today would be Friday, I would say an absolutely perfect start to the weekend, but recommended even after a long, hard day's work. Let this crazy, wild & irresistible sound penetrating you!

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MÉTAL URBAIN - Les Hommes Morts Sont Dangereux 1981

 

Before I dedicate myself to football, a small, considerable sound document from the early 80s: "Dead Men Are Dangerous" is the only studio album by the French electro-punk band Métal Urbain. Formed 1976 in Paris and heavily influenced by the Clash and Sex Pistols on one hand, and on the other by an electro approach related to Metal Machine Music by Lou Reed. They relied on heavily distorted guitars and replaced the traditional rock rhythm section of bass guitar/drums with a synthesizer and drum machine, a then-unique approach that foreshadowed the experimental possibilities that were explored by later post-hardcore bands such as Big Black. They were also known for their radical image (the color scheme of albums always being a stark black, white and red), and subversive lyrics sung in French. They were met with some enthusiasm in the United Kingdom, particularly by John Peel and the Rough Trade label. (Métal Urbain's 2nd single Paris Maquis was Rough Trade's first release.). In 1977, their first single "Panik" was named "Single Of The Week" by New Musical Express. They had an enthusiastic but small audience in France, receiving little exposure. The punk rock scene was not as popular in France as it was in the United Kingdom, and they did not interest the French media as British bands like Sex Pistols did. As a result, singer Clode Panik left in December 1978, though the band continued to gig and record with Eric Debris on vocals, and also recording with spin-off bands Metal Boys, and Doctor Mix and the Remix, until 1980, when guitar players brothers Schwartz and Lüger left to form the short-lived band Desperados.

Métal Urbain had focused their efforts on singles and only produced one album during their first period of activity. However, several compilation records were released, gathering their singles with additional material such as BBC sessions and live recordings. Their electro approach was very innovative for its time, and the group are a reference point for such groups as the Jesus and Mary Chain, Bérurier Noir and the producer Steve Albini. The band reunited in 2003 to tour in the United States, and had since toured consistently in France and the rest of Europe. Métal Urbain recorded their second studio album, J'irai Chier Dans Ton Vomi, in 2006, produced by Jello Biafra in San Francisco; a follow up mini-album, Crève Salope, was issued in 2008.

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THE HENCHMEN - Lust For Glory 2000

I'm a bit through today because yesterday I've been busy until late at night and I'll be brief. "Great eighties stuff from New Zealand and this punk combo is at home in Auckland, formed 1982 (previously know as Dum Dum Boys) and active till 1985. After moving to Sydney, the band changed its name to Reptiles At Dawn to avoid conflict with The Henchmen. Underappreciated but never underproductive, the Henchmen had grit and belief. They played and recorded when and where they could, releasing We’ve Come To Play (Cadaver Records), one of the great New Zealand punk rock albums, in 1983. There are some things you don’t do without expecting some kind of menace. Like invoke the spirit of Iggy Pop. But invoke Iggy’s spirit they did and whatever pact The Henchmen signed with punk’s dark prince, it ensured the West Auckland Detroit-punk outfit were never forgotten." There is much more info about the four in the web so I don't have to add anything.

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V/A - Hicks From The Sticks 1980

One more New Wave compilation, this one with exclusively UK bands, released via Rockburgh Records. And like the previous post with sixteen decent songs that aren't boring. I would like to quote the makers' notes from the back cover because I believe that their words are still more relevant than ever:

"This record is the first of many special self-help projects designed to disturb established A&R practices in favour of provincial rock bands, also to neutralise the incredible London bias of the music press as effected by its most powerful journalists. Provincial bands have traditionally been ignored-in actuality discriminated against- but the recent reactivation of the music industry has emphasised the syndrome to the point where the imbalance has besome completely unacceptable. Demoralised by the lack of significant media support, many musicians have lost confidence, become unnecessarily self-critical, and either repeatedly re-grouped or else quit altogether.It is obvious that the majority of bands represented here would already have secured recording contracts, if instead of living in a part of the country inadequately police by 'professional' A&R personnel, they were natives of the metropolis - and knew exactly how 'media support' can be achieved. The quality of these recordings is self-evident. They will serve further to embarrass those record company executives who, since '76, have signed countless no-talents at the expense of the good guys. There is more, much more, to come." (Nigel Burnham/Des Moines, 29.2.1980) 

A nice album with versatile sounds and definitely worth the money!     

1.Move In Rhythm - AIRKRAFT

2.Sympathy (Don't Be Taken In) - EXPELAIRES

3.You're Without Sound - CLOCK DVA

4.The Human Factor - MUSIC FOR PLEASURE

5.Shangri-La - NIGHTMARES IN WAX

6.Head In The Clouds - ADA WILSON & KEEPING DARK

7.Choreography - MODERN EON

8.Them Or Me - MEDIUM MEDIUM

9.True Colours - RADIO 5

10.Where Have I Seen You? - THEY MUST BE RUSSIANS

11.After-Image - SECTION 25

12.Gimmick - ART FAILURE

13.I Don't Know - I'M SO HOLLOW

14.Hey Disco Joe - WAH! HEAT

15.Immortal In Mirrors - STRANGER THAN FICTION

16.T.V. ME - THE DISTRIBUTORS

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V/A - Just When You Thought It Was... Quiet! 1982

Before I start today with ripping a very nice New Wave compilation by Quiet Records with bands from two continents, thirteen in total and each with one song. With records like this, it's like a lottery, sometimes amazingly good, and sometimes terribly bad. This stuff belongs to the successful part. A healthy mixture of fast punkie pieces, typical wave sounds and a little experimental noises and that's exactly what I like. I can't tell who sent me the file, but it was definitely a good deed. I have to do my laundry on the side and another New Wave goodie will follow later, I hope it's as refreshing as this one.

1.Goin' Uptown - KNOX

2.State Of Mind - SEX GANG CHILDREN

3.Blood - ÞEYR

4.Troops Of Tomorrow - THE TROOPS

5.Problem Child - HANOI ROCKS

6.Rush Hour - MXYZTPLK

7.Tracks Of My Tears - HALF JAPANESE

8.Decline - HËADHUNTËRS

9.Cocaine - URBAN DOGS

10.The Fish Needs A Bike - BLURT

11.Guðfræði - VONBRIGÐI

12.Big Red Brain - METHOD ACTORS

13.Other Queues - THE PROCESS

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EBBA GRÖN - Kärlek & Uppror 1981

Second album by Ebba Grön on Mistlur and a lot more polished than the debut We're Only In It For The Drugs, but still good. The original members were Joakim Thåström ("Pimme"), Gunnar Ljungstedt ("Gurra") and Lennart Eriksson ("Fjodor"). After their second album in 1981 they were joined by a fourth member, Anders Sjöholm ("Stry Terrarie"). One of the most famous songs they recorded is a cover by the Swedish progg band "Blå Tåget", and is called "Staten & Kapitalet", a song with anarcho-syndicalist political lyrics about how the government, "Staten", and the private corporations, "Kapitalet", cooperate to control and enslave the working classes. During a party in Rågsved, a working-class suburb of Stockholm, in 1977, Thåström, Gurra and Fjodor formed a band called "The Haters". A few days later they changed the name to Ebba Grön after the codeword used by the police in Operation Leo. One of the first songs performed by Ebba Grön was the controversial "Skjut En Snut" (Shoot A Cop), which was never officially recorded. They released their first single "Antirock" on April 21, 1978. The band bought all the 500 copies themselves and sold them in the streets. After a concert at Långholmsparken, which was recorded by the national radio, they were contacted by Mistlur record label, and offered a contract and to re-release the single.

Ebba Grön started a hectic period of touring all over Sweden, during which they also released two more singles. In 1978, the time had come for their album debut "We're Only In It For The Drugs", with songs about the tough, yet boring lives of young people in the working-class suburbs. Ebba Grön also covered White Riot,a song originally performed by The Clash at some of their gigs. The lyrics and the music of Ebba Grön were always credited to the entire band, but after a while it became more obvious that it was Thåström who was the creative engine, and he would also have the most successful career after the breakup.

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NEUROTIC ARSEHOLES - ...Bis Zum Bitteren Ende 1983

Now to an important band that always inspires me and whose music is way ahead of other bands even after so many years. The music of the Neurotic Arseholes offers predominantly melodic punk with frequent changes in tempo, routine breaks, harmonious guitar solos and the varied mix of styles prove the high musical quality of the talented four. The predominantly subtle political texts are partly German, partly English. The band was founded 1979 in Minden by bassist "Zahni" and guitarist "Kurt", who were inspired by John Peel's program Rock Today. The two had already released a punk fanzine in their home area. In 1980 singer Dierk (“Zombie”) and drummer “Der Kurze” joined the founders (Der Kurze got his pseudonym because he was fourteen years old when he joined the band, and thus about four years younger than his bandmates) and their first appearance took place 1981 in a youth center in Minden. Also in 1981, the quartet received a record contract with Karl-Ulrich Walterbach's label Aggressive Rockproduktionen, whereupon three pieces were recorded in Berlin in one day and published on the essential album Soundtracks Zum Untergang 2. A year later three tracks followed on the Underground Hits compilation and in 1983 the band's first LP, ...Bis Zum Bitteren Ende, was finally released. However, after the album production the collaboration between the band and Walterbach ended, as his label, now Noise International, began to concentrate on the production of metal bands in the mid 80s.

In 1984 they therefore switched to the Hamburg label Weird System, which initially released two new tracks on the brilliant Keine Experimente! Vol.II record before the second album Angst comes in 1985. Despite enthusiastic reviews, there were differences within the band, which therefore decided to break up and gave their official farewell concert on January 25, 1986 in the AJZ Bielefeld. Only for this occasion the Paradise EP (200 copies) was produced and released via Weird System and only sold that evening.

In 1986 the third and final slab Live... All' Die Jahre came out with recordings from the band's last concerts. Individual tracks were also re-released on other samplers of the label. After the split, the members went different ways, Der Kurze founded the band The Brides with guitarist "Kurt", but they never achieved professionalism, so the project was abandoned and Shorty hired himself out as a drummer in dance music bands. Only bass player Zahni, who recently played with the Drowning Roses, achieved a certain level of reputation with this band and was part of the opening act for NOFX on a USA tour.

In 1989 the four reformed and a smaller tour which was simply titled "Just For Fun Tour" was the result that delighted many fans, including myself. During the tour, the Just Do It For Fun EP was distributed with older unreleased recordings. The busy fanzine maker Karl-Heinz Stille took care of the production of the single, the idea for this record: it's a small gratitude from them to everyone who has stood by themselves and know who they are! - Karl-Ulrich Walterbach released a new edition of the debut LP in 1989 without paying royalties to the band, this led to a lengthy legal battle between the four and Walterbach. Then it became quiet around the Arseholes. In 1998 they surprisingly returned with the Melancholia EP and a smaller tour across Germany.

Important, a bloody must have and buy immediately!!!

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AFFECTION PLACE - s/t LP 2019

I got to know the following band through the ingenious EP compilation De La Pure Came!! of Cameleon Records and I liked their song so much that I was happy to get hold of their album. Let me give you a little info from the makers: Affection Place is a group from Lyon created in late 1978 by Peter Petersen (guitar/vocals, ex-Negative), Xavier Galliot (guitar) Pierre Leca (bass) and Christian Bonnet (drums). Managed by Bernard Meyet, who later became the manager of Carte De Séjour, the group is an integral part of what is known as Lyon Capitale Du Rock. Between concerts in Lyon (Molière Hall with Marquis De Sade at the end of 1979 and Electric Callas in 1980) and tours in the region, the band opened for MAGAZINE by Howard Devoto in Lyon, Valence & Grenoble. In the aftermath the group played at the Transmusicales of Rennes in December 1980. Excerpt from the book Frenchy But Chic: "Four Lyon dandies, the last magnificent survivors of what was the capital of the new Frenchy wave. Guitar/synth, guitar, bass , drums; abstract paintings behind each musician; wrapped around each microphone a green plant from which a unique green spot emerges, aquarium atmosphere.

Affection Place sings in English and plays modern psychedelic rock, music of sharpness and a rare intelligence. Urban swing and marble riffs, the soundtrack of a Ballard novel that would have become reality. They made the first part of Cramps in Bobino in Paris on June 6, 1981 (with Modern Guy), where their set will last forty minutes without interruption, the concert of Cramps will turn madly; that of Lew Lewis in Annecy and A Certain Ratio @ the Entpe on May 12, 1981. They refused to go to Montreux, the group broke up in mid 1981 after having recorded a demo of three tracks @ the DB Studios in Rennes. Petersen will continue with Petersen Les Emotifs and Xavier Galliot founded Raison Pure. This great record was released in 300 copies with printed insert. An error slipped before printing of the insert "newspaper", it is indeed Lew Lewis and not Huey Lewis for the concert indicated in the article concerning Affection Place. (source: 45vinylvidivici) - I can only say: fantastic music!!!

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AND THE 8TH SIN IS CALLED POP! & AGITARE BENE - Split EP 1989

Now to two bands from the far north of our country, namely from Kiel and this Split EP was released via Katou Records. Side A belongs to the four gentlemen named And The Eighth Sin Is Called Pop! and the band consisted of Dany (vocals), Nico (guitars), Ollie (bass), Pommes (drums) and they released after this EP a split album with the British combo Feed Your Head in 1989 and they play fine melodic hardcore and then they disappeared into the vastness of the universe. Also musically at home in this genre were Agitare Bene, which consisted of Rose (vocals), Frentz (guitars), Amelung (bass), Pommes (drums) and they made a tape in the late Eighties and this one. Their sound is less melancholy but mercilessly good. Don't be fooled by the morbid cover, four refreshing songs that go straight into your veins. 

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