Holy shit!!!!! Post-PiL, post-Can, dubby disco delight! Excellent blend of percussive layers, dub synths, spacey vocal samples, & jah-min' bassline.
According to Youtube "This song became a cult classic in Los Angeles due to heavy radio airplay in the early 80's." Hmmmmm...ok...also a dance floor killa in the early 80s from all the finest djs!
Also, some quick internet searching revealed that this was also discovered by Mike Simonetti a few years ago: http://vivaitalians.blogspot.com/2006_11_01_archive.html
Re-released July 2007 by Electropolis Records as a Peter Black re-edit.
Also included on a Glimmers mix cd from November 2004.
Late 80s percussive polyrhythmic post punk from Portugal. A mildly psychedelic treat on the ears! What Gang of Four could have turned into if things hadn't gone seriously downhill. Also remixed a year ago by the Glimmers.
http://www.discogs.com/release/1000378 Proto-mutant self reflexive ultra rare but recently repressed jammin' disco track. Get it quick!
From Phonica:
"The most valuable and rarest Italo Disco 7" of all time gets a timely reissue on DJ friendly 12" vinyl for all the Disco Beardo's out there. This original of this is going for silly money - £300 plus - but what you have here is a remastered, cleaned up version of this quirky funk disco nugget that sounds as dope today as when it was released back in France in 1978. Limited to 500 copies. Pick this up while you can."
Motivational moniker of video/photo artist Lynn Goldsmith. The "first music video to use computers", whatever that means. Strong candidate for New York Noise 4, if it ever comes out. Way cooler than "Macho City".
Amazing lyrics! Trippy synths! And some rapping! Lots of change-ups throughout that keep you fully engaged! Sultry, juicy sound! Just picked this one up from juno.co.uk too! Whew!
Classic you may have heard of...with a proto house, trancey, italo sound. A classic on many big comps! Horrible video of airplanes taking off. Zanza Records.
"Out Come ZE Freaks", SAT 11/1/08, Edinburgh Castle, 950 Geary, SF. $3. Co-presented with West Add Radio (93.7)
djs:
COLE PALME (Factrix)
(image from "We're Desperate")
Also djs:
Goutroy (A Viable Commercial)
Josh Cheon (Honey Soundsystem/West Add Radio)
host: Tristes Tropiques
Halloween post punk and mutant disco dance party, screening classic art damaged no wave film "Liquid Sky". Special guest DJ appearance Cole Palme, of one of the major post punk/experimental/industrial SF bands Factrix, who alongside with Tuxedomoon and co-collaborator Monte Cazazza (who also collaborated with Throbbing Gristle) defined the SF post punk sound of the late 70s and early 80s.
Plenty of mutant disco from ZE Records, minimal european synth & cold wave, & post punk.
FACTRIX INFO (Julian Cope article):
"Alongside such artists as Monte Cazazza and Boyd Rice, the aforementioned were responsible for creating unearthly and unexpectedly vampiric blends of A Certain Ratio’s “All Night Party” 45, Throbbing Gristle’s ‘Slugbait’, Cabaret Voltaire’s canon of Krautdub, the Detroit rock-through-an-ERASERHEAD filter of Chrome, the NO NEW YORK Do-Nuthing distorto-epic that was Mars circa “Hairwaves”, the micro-orbiting dirges of 1977/78 Pere Ubu’s “My Dark Ages”/“Chinese Radiation”/”Laughing”, etc. If the EDWARD SCISSORHANDS soundtrack had been supplied by Hollywood musos using Factrix’s SCHEINTOT LP as their blueprint, it would have created a perfect snapshot of the hairbrushed post-punk twilight zone that was the 70s/80s gateway."
"Factrix just happen to be AQ faves Wolf Eyes favorite band, so much so that not only do they try to sound like them, but to this day they continue to send their industrial-doom heroes letters of gratitude and worship! … In their short lifespan from 1978 - 1982, Factrix developed a language that clearly rivaled that of their European comrades; but in many ways, Factrix owed their sound to their San Francisco roots, as they inverted the paisley pretenses of psychedelia into a grim seance of sound in which free love became sexual taboos, universal peace became soul-crushing dread, and transcendence became morbidity. This inversion of psychedelia used many of the same tools of Haight-Ashbury in composing through non-structured improvisations as well as through a steady diet of psilocybin mushrooms; but the sound came out all wrong. Factrix devolved '70s pop banalities into dissonant slabs of noise with squiggling guitar feedback and all-encompassing dirges from over-distorted basslines, with a continuous, tinny pulse from an abused drum machine. "
