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Sonic Youth - Live in Moscow (Limited Edition Double Vinyl)

Nasze szpiony doniosły, że ukazał się niedawno limitowany, dwupłytowy winyl z koncertu Sonic Youth w Moskwie w 1989 roku. Zainteresowanych kolekcjonerów odsyłamy do linku

For the first time on the record! You have a unique opportunity to receive a restored recording of a 1989 concert in Moscow! Only 200 entries and no more! Become the owner of an entry from a limited collection, leave a request and get it first in the forefront!

Recorded live at Orlyonok concert hall, Moscow, April 12-13, 1989. 
Sonic Youth: Kim Gordon, Thurston Moore, Lee Ranaldo, Steve Shelley 
Concerts promoter and release executive producer: Igor Tonkikh / Feelee 
Recording: Alexey Goltyakov 
Production: Evgeny Gapeev 
Mastering: Aaron Mullan at Olympian Perch 
Artwork: Maksim Ivanov 
Additional artwork: Oleg Galay 
Photos: Lev Goncharov 

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The Deviants (1969)

Brytyjski zespół undergroundowy w klimatach psych- punkowych założony pod koniec lat 60-tych przez dziennikarza, wokalistę i kompozytora Micka Farrena, z dorobkiem trzech dobrych albumów z tamtego kolorowego okresu.

In the late '60s, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things. Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Not much more than amateurs when they began playing, they squeezed every last ounce of skill and imagination out of their limited instrumental and compositional resources on their debut, Ptooff!, which combined savage social commentary, overheated sexual lust, psychedelic jamming, blues riffs, and pretty acoustic ballads -- all in the space of seven songs. Their subsequent '60s albums had plenty of outrage, but not nearly as strong material as the debut. Lead singer Mick Farren recorded a solo album near the end of the decade, and went on to become a respected rock critic. He intermittently performed and recorded as a solo artist and with re-formed versions of the Deviants. Farren died in July 2013 at the age of 69 after collapsing on-stage at a Deviants show in London. (amg)
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Mothmen - Pay Attention! (1981)

Manchester post-punk act formed in 1979 by original members of the Durutti Column. They released two albums and their single "Wadada" received a Single Of The Week accolade in Sounds magazine and had some play on nighttime radio. The band split up in 1982, after which Chris Joyce and Tony Bowers drifted into Simply Red and David Rowbotham was murdered with an axe. It is hard to decide which was the worse fate. Sadly, reissues have not been forthcoming.

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Theoretical Girls - Theoretical Record (1978-1981)

Gitarzysta Glenn Branca (...) przeprowadził się do Nowego Jorku w połowie lat 70., by pracować z teatrem, ale spodobała mu się scena punkowa tworzona przez kluby CBGB i Max’s Kansas City. Połączył siły z klawiszowcem/gitarzystą Jeffreyem Lohnem, tworząc w 1977 roku Theoretical Girls, z przyszłym producentem i dźwiękowcem Sonic Youth Whartonem Tiersem na perkusji i Margaret Dewys na klawiszach. Za życia zespół wypuścił tylko jeden singiel, U.S. Millie/You Got Me (1978), ale niektóre z piosenek Branki zebrane są na Songs 77-79, natomiast utwory Lohna wydano dopiero w 2002 roku na Theoretical Album. Materiał Lohna jest zaskakująco prostolinijny, ale mocny: U.S. Millie to anomalia, z klawiszami jak u Phlipa Glassa albo Terry’ego Rileya i marszowym werblem; nastroszone zbitki Computer Dating bardziej pasują do no wave’owego wizerunku grupy. Nawet TV Song Branki z 1977 roku to czerpiący z Ramones rock zbudowany na skróconych akordach, ale You Got Me, You i Glazened Idols, wszystkie nagrane na żywo w 1978 roku, zawierają dysonujące wzory akordów, zapętlone repetycje, rozbite sygnatury czasowe i energetyczne wybuchy szczękającej gitary. Piętą achillesową grupy był wokal. Ani ten Lohna, ani Branki nie były efektowne, a wycieczki w słowo mówione tego drugiego są ewidentnie artystowskie. W 1978 roku Branca założył trio The Static, z Barbarą Ess i Christine Hahn, żeby zaprezentować więcej swoich piosenek. Ich jedyny singiel Theoretical Record, zawierający My Relationship/Don't Let Me Stop You, również można znaleźć na Songs 77-79; to perfekcyjnie wydestylowany głośny, prymitywny rock z okrutnie rozstrojonymi gitarami. (fragment książki "Muzyka. Przewodnik Krytyki Politycznej")

Over the last few years a great deal of attention has been paid to the NYC No Wave scene of the late 70s. There have been books, movies, and quite a few reissues/issues of classic and essential music. Acute Records is proud to have been involved with some essential reissues from the period, such as our first CD, containing Jeffrey Lohn’s contributions to the Theoretical Girls.

Jeffrey Lohn is an artist, composer, writer, teacher and plumber. During the genesis of the No Wave scene, he hosted late night concerts in his Soho loft, where artists like Tim Wright, Laurie Anderson and Nina Canal would gather and perform music. The No Wave scene was filled with artists, non-musicians, improvisers and composers who were being inspired by the energy and aesthetics, if not the sound, of the cresting CB’s punk scene. The raw and aggressive punk of bands like the Dead Boys were of particular interest to Lohn, who wanted to combine his “serious” compositions with the raw energy of punk rock. Finding likeminded people such as Glenn Branca (gtr, bass, vocals), Margaret Dewyss (organ, bass, vocals), and Wharton Tiers (drums, vocals), he formed the Theoretical Girls.

At the time there, were no bands on the New York City scene that better combined the accessibility of Punk, New Wave and plain old Rock and Roll with such avant-garde takes on classical composition and sheer noise. This combination made the Theoretical Girls both a cutting edge assault of noise-rock and an incredibly catchy rock band. Yet external pressures and internal politics thwarted the official public release of their music during their existence, other then a sole self-release 7″ the classic "US Millie/You Got Me," featuring one song each composed by Lohn and Branca.

Acute’s release of "Theoretical Record" collects over an hour of Jeffrey Lohn’s material. Now, for the first time in decades, his songs and sound will get the credit they are due. 

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3 Teens Kill 4 - No Motive (1983)

3 Teens Kill 4 to nowojorska grupa współtworzona od 1980 roku m. in. przez Davida Wojnarowicza, amerykańskiego malarza, fotografa, pisarza i filmowca. W 1983 roku udało się im wydać jedyną płytę "No Motive" będącą udanym eksperymentem z szerokiego pogranicza no wave, synth i post-punka.

3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band’s non-musicality.

Their debut 7-song mini-album “No Motive” was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we’ve added 3 previously unreleased bonus tracks. Doug says, “These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.”