Staring Into The Abyss

CELEBRATE THE NEW DARK AGE

Bernard Herrmann - Gort/The Visor/The Telescope (1951)

Darkness and fear with added theremin fun.

Front 242 - Moldavia (1991)

The sound design and the way sound is organised here is pretty impeccable. Also just an iconic anthem innit.

Health - Ashamed Of Being Born (2023)

It's hard to have an affect if you're a post-industrial pop group post-1980s but this is somewhat interesting if perhaps post post-post ironic (or should I add in a few more posts). This video with its images of the cult of nerdy fandom with their infantile dress ups and mental illness deification is all about you and your identity or lack thereof and the emptiness at the heart of it all...The downer euphoria "I'm a sad boy" identity pioneered by the likes of Drake is transposed here onto a Linkin Park/NIN style jam. What's the difference anymore? Rap, psych, metal, industrial, dance pop: All this shit sounds the same...is the same. 

Pedro The Lion - Rejoice (2002)

Codeine/Low/Idaho.... Pedro has the blueprint...pulled off with particular aplomb. This is a raw non-ironic sad boy but it feels like he's reaching for something more and not just acquiescing to the abyss. 

 

Crass - White Punks On Hope (1979)

A song slagging off The Clash is always a winner with me. Also notable for astute commentary on retarded "There is only one viewpoint. It's ours and we are correct" lefty conformism and meaningless pick a team "Which side are on?" politics that still rings true today. Imagine thinking for yourself...

I get the irony of a dogmatic sloganeering band slagging off a band for being dogmatic sloganeers. 

 

"Pogo on a nazi, spit upon a jew
Vicious mindless violence that offers nothing new
Left wing violence, right wing violence, all seems much the same
Bully boys out fighting, it's just the same old game
Boring fucking politics that'll get us all shot
Left wing, right wing, you can stuff the lot"

Polvo - Every Holy Shroud (1994)

Like Pavement and Unwound tunes like this sounded nostalgic back in the 90s when they were released. I've gotta say It is surprising that I still really enjoy Polvo. In fact I think I like their stop start shenanigans, weird time signatures, modal guitars and daft surreal melancholy more now. Still acquiring the taste 30 years on. 

"Celebrate the new dark age with us
Calculate the irony with someone you can trust"

Midnight Star - Electricity

[1983]

The charms of Midnight Star..... they certainly had a fucking knack for these insidious grooves. Although this was infectious electro-funk for the future these fellas were so old school they still wore their showbiz threads instead of the trendy sneakers, leather jackets and tracksuits. It didn't really matter though coz if you were breakin' or roller skatin' this jam was electric. 

The Future - Nuclear Holocaust

The Future - Nuclear Holocaust (Vocal) [1984]

Oblivion was just a push of a button away back in the day when the cold war was raging with it's arms race and star wars programme, We understood the very real threat that we were going to be blown to bits by a nuclear bomb at any minute. Paranoid dread was real and normal to us kids at the time. 

We didn't get our Nuclear Holocaust or jet packs. It seems jet packs aren't on the horizon anymore but the future does offer us the renewed promise of the possibility of thermonuclear annihilation. Isn't it nice that our childhood dreams are being kept alive by our overlords.

The Future is an alias for Michael Johnson Jr of legendary electro-funk combo The Jonzun Crew.

The Future - Unclear Holocaust (Re-mix Version) [1984]

You may prefer the instrumental dub mix b side for your breakdancing til armageddon. 

Sandy Kerr - Thug Rock

[1982]

Sweet, smooth and sultry this funky post-disco* hip-hop jam is the business. Behold that groove, bass-line extravaganza and cowbell goodness. Everybody get out your roller-skates, it's time to partay!

*Disco often gets conveniently overlooked as a major ingredient in the formulation of hip hop. By the time it mutates into gangsta rap nobody's owning up to it as an influence. Moot point I spose.

Strafe - Set It Off

[1984]

An epic elemental electro-funk masterpiece.

When the differences between funk, electro, house and techno or even post-disco, freestyle and chart dance pop were pretty flimsy. If you added the emphasis on a particular instrument here it may have been categorised as a different sub-genre. A lot of categorisation at the time was geographical. In Australia in 1984 just starting High School it was all just called dance music. 

Set It Off's influence continued into at least the early 00s with the likes of The Neptunes ripping off this aesthetic wholesale and calling it their own. 

 

Still the future. 

Newcleus - Computer Age (Push The Button)

Newcleus - Computer Age (Push The Button) [Club Mix] - (1984) 

A lot of old school electro jamz are amazingly pertinent to today, probably more so than anything actually current in pop music. 

Some theorists say now that AI has been unleashed onto the public that we're doomed. How much more doom mongering propaganda can we take? I suspect AI was released into society to create more havoc, confusion and chaos so that more control can be exerted upon us lowlife masses. It will have you screaming for the government to fuck you harder with regards to your dwindling freedom.

Many people are under the misapprehension that science-fiction books & movies and futuristic electronic music are always cheerleading retarded technological progress but no many of these artist's artefacts have always been about warning us of these incredibly anti-human existential dangers. Enjoying Kraftwerk, John Foxx or Newcleus doesn't equate to wanting to comply with trans-humanism. 

Are we under their control, or are they under our control, or what?
Push the button
Computer age is now
Everyone must have a machine
They say it's gonna make life easier,
well, I can't stand it....
They say we should put them in control
Well, maybe next we'll give them a soul
I guess we must now think that we're gods,
While we're less men than ever
I know the Lord cannot be too glad
In fact, I'm sure he must be quite mad
To see us take His role from our lives
And give it to computers
For here we sit in our easy chairs
As our machines decide how we'll fare
Who will suffer, who will survive?
It's up to the computers
Push the button
Are we under their control, or are they under our control, or what?
Warning! Warning! Warning! Warning! Warning! Warning! Warning! Warning!
Computing
"I'm no longer in control
I can't program my machine
Now it wants to take my soul
Stop it or it will proceed!"
Why is it you're trying to give me
Programs
I'm in charge and yet you're trying to
Program
I'm metal so you think you have to
Program
But I'm a man 'cause I don't need no
Programs
Now computing...now computing...now computing...now computing...
Are we under their control, or are they under our control, or what?

Totally epic track that gets pretty cosmic at 5:40.

Bonny - Prefab Sprout

Bonny - Prefab Sprout (1985)

Impeccable.

Timeless 80s pop perfection: aged like fine wine. Paddy McAloon's idiosyncratic words and feels ensure Bonny is like nothing else. Wretched grief thoroughly captured in an authentic yet beautiful manner. 

Heartbreaking.

Rev-P - 1994 (1994)

Strangely several elements of Bonny were used here to great effect in this unusual uncanny slice of dark, damp and dubby jungle. This murky tune was created by Pete Parsons aka Voyager aka Static Substance. 

Master C & J - In The City (Devil Mix)

[1987]

Immaculate restrained minimal disco-funk of the future... There's still something rather inexplicable about certain early Chicago house tracks and In The City is no exception with its liminal unnamed vibe. Bleak lyrical content delivered via frightening vocal science intermingled with bouncy bass and exuberant drum machine hand claps signal a somewhat poignant inevitability of 80s urban living. This downcast sensibility is blanketed by warm synth tones leaving feels tilted towards elation rather than agitation, adding a disconcerting dimension. Dystopian psychedelia where danger and excitement are so entwined they're indistinguishable from each other.

Mr. Fingers - Mystery Of Love

[1985]

The enigmatical Mystery Of Love is still fresh to this day and ultimately transcendent. This is the original 1985 instrumental not the later re-recorded version with vocals that came out under the moniker Fingers Inc.

It's funny innit that years later somebody in the UK termed ambient house a sub-genre because house at its inception was already ambient and house so...

That fluid bass swirling like a kaleidoscope giving it a circular momentum, the ace cymbal work and those wistful washes of melodic synth with a euphoric tinge make this primo 80s tune-age from Chicago! 

A flowing atmospheric track like this seems more suited for driving, home listening or headphones than a sweaty dance-floor. Larry Heard created a timeless and indeed mysterious sound here.  

Chip E - Time To Jack

[1985]

More raw stripped down jackin' trax from Chicago. Appearing to be deceptively rudimentary these hypnotic, pounding yet intricate rhythms are sterling elemental beat-science. Chip E uses minimal elements from Italo-disco and electro-pop creating delirious drum machine driven damage, originating one of the finest early house tunes. 

Jesse Saunders - On And On

[1984]

Some people don't realise that house wasn't always a lame genre so here's some house before house got defined. No piano riff-age or acidic squelches here. On And On is still rudimentary and raw utilising specific disco elements but rearranged for maximum pleasure. Unhinged synth lines, primitive drum machine hand clap breaks galore and loops into the future. 

Vis-A-Vis - Obi Agye Me Dofo

[1977]

Rolling golden grooves for miles... Highlife indeed!

I haven't heard this in 15 years but I came across it on the youtubes last night... and wow it's... magnificent! Soundway compiled this tune back in the 00s on the great double cd Ghana Special: Modern Highlife, Afro-Sounds and Ghanian Blues 1968-81. This infectious track is highlife merging into afro-synth-funk and it's on another plain innit. 

If you love Nigerian synth legend William Onyeabor you are going to love what Tonny Doziz does with his synthesiser here. This is a hell of an ensemble. A crack percussion team is deployed to give you maximum rhythmic pleasure: On congas of glory George Asante, cowbell extraordinaire Alex Jubin, Danel Asare on maracas and drummer Kung-Fu Kwaku aka Shaolin Kung Fu (Gybson Papra). Held down bass-wise by Slim Yaw Manu.

... hypnotic sweet psychedelic-jazz-funk Ghanian stylee is the Vis-A-Vis highlife way. 

Robbie Dupree - Hot Rod Hearts

[1980]

When falling in love was like being on the run: It was gangster. It was heroic.

Roger's previous single Steal Away was an American top 10 smash and a number 24 hit here but this follow up didn't even crack the top 40 here in Australia but make no mistake this is one of the greatest soft rock radio anthems of all time. 

"Ten miles east of the highway
Hot sparks burnin' the night away
Two lips touchin' together
Cheek to cheek, sweatshirt to sweater"

Yes indeed he wrote and sang that line "sweatshirt to sweater" and somehow made it noble and beautiful.

Hot Rod Hearts lyrics are deceptively simple but are actually brilliantly concise. Coupled with the lightly sophisticated sound it's pop perfection innit, right up there with early Beach Boys, Chuck Berry, Phil Spector's girl groups etc. 

Home On Monday · Little River Band

[1977]

Staying in Melbourne zones... What about this west coast classic from rainy Melbourne? Expansive melodies and harmonies galore, adult sentiments, gambling themes, such bleak lonely freedom loneliness, confusing wistfulness and dreary romance. 

I had this on a tape in primary school and the emotions entwined with that immaculate arrangement were just so unusually complex it was incredibly disconcerting yet enticing for a young mind. 

It's also a phone call song like the previous post's I'd Really Like To See You Tonight but much more consummate in its execution. 

Rick Springfield - Don’t Talk To Strangers

[1982]

Here's a forgotten bit of gold that was at the intersection of soft-rock, teeny bop and yacht rock! It's our Broady-boy* Ricky and his lost classic Don't Talk To Strangers. 

I'd Really Love to See You Tonight · England Dan & John Ford Coley

[1976]

Getting more into the yacht-y end of the soft rock jamz. And boy oh boy they wrote an excellent chorus here, one of the great pop songs about laundry.

"I'm not talkin bout the linen"

It's the real name of the song innit, as stated by the song's true fans, AM radio enthusiasts and Samuel L Jackson in The Long Kiss Goodnight. Don't let Geena Davis tell you otherwise. 

There's some incredible 3D production shit goin on here... yeas.

Steve Perry - Oh Sherrie

[1984]

Hits Huge 1984: Australians of a certain age are gonna remember that various artist hits compilation and this tune was the best thing on it. I don't think Journey were all that popular here, having no top 40 hits (Don't Stop Believin' peaked at #100) but Steve Perry's debut solo single was a top 5 smash. This song is just as excellent as the first time I heard it back in high school when I was in year 7. 

The synth-y intro, the voice, the emotions, all of those emotions in that fabulous voice, the dramatic doomed from the start romance, the self-hatred, the sexual confidence, the ace succinct guitar licks and a crafty coda outro all add up to soft-rock anthem gold.

"You'd be better off alone

If I'm not who you thought I'd be

But you know that there's a fever
That you'll never find nowhere else"

This depiction of a doomed passionate tryst captures a frisson that is incredibly enticing stuff, particularly for young players.  

Eddie Money - Take Me Home Tonight/Be My Baby

[1985]

Mid 80s mash up goodness. 

This is so much more goodness than I remember. I don't recall this video at all. It's hitting the synapse jackpot though: The 80s anthemic production, the oriental synths, the daggy dad dancing, those sunnies, that, I dunno what it is, some kinda legendary fancy tracksuit top, then wait for it he pulls out and pretends to play a mini saxophone. Then that break where it's just guitar and vocals and Ronnie fucking Spector. 

Eddie and Ronnie for the win.

Also this does not get the credit it deserves. It's at least a year prior to Walk This Way so... as I said Eddie and Ronnie for the win BABY!

REO Speedwagon - Take It On the Run

[1980]

Unbelievably this wasn't a number one hit (#30) and doesn't ever feature on golden oldies radio here in Australia. It might just be the best thing they ever did though. A shonky love-life scenario entwined in large melodies in peak radio rock anthem sung by crafty songsmiths who were so uncool it was heroic! 

The  teen drama spirit of girl groups, Phil Spector and Love Me Do Beatles lived on here.

Sunset Grill · Don Henley

[1985]

I don't recall hearing this in the 80s. I mean I had the 7" single of Boys Of Summer but I'm guessing this tune wasn't a hit here in Australia (quick search reveals it only got to #98 on the charts). Anyway this is something else innit. Fretless bass, brass smothered in thick layers of synthesisers and dodgy lyrics about watching prostitutes while drinking beer. Whether it's good or bad I cannot say... or just maybe this sprawling epic is awesome.

Incredible - Future

[2017]

I really haven't given rap a crack or given a crap about rap since 2018 a year after Future's HNDRXX was issued. In 2018 albums by Migos, Young Thug and Future were in my year end list and then my love of Atlanta trap and whatever followed took a dive and waned to zero interest. After 5 or 6 years of being fully immersed in the innovative delirium of Atlanta trap and its orbiting scenes I just thought well if Thugger and Future ain't cutting it any longer what's the point? 

Future had such a great run from 2013's Monster followed by Beast Mode, 56 Nights, DS2, What A Time To Be Alive and ending with 2016's Purple Reign. He was on such a roll I thought it was never gonna end indeed this purple patch was a purple reign. However in 2016 he released the disappointing Evol then the totally bloated Project ET. Then in 2017 he dropped the double wammy of HNDRXX & Future in the same week which was just way way too much and didn't really signal the full comeback we were all hoping for. Those two solo albums should have just been condensed into the one succinct banger-fied LP with all the dross chucked in the bin.  

Anyway for some reason in the middle of the night I had the urge to listen Future's 2017 albums HNDRXX and Future again. I can honestly say I was surprised. Many of the tunes from HNDRXX in particular were exceptional and not the ho-hum death of Atlanta trap I thought they had signalled. I mean four or five tunes less and it might have been an all-timer. The vibe unexpectedly isn't anywhere near as nihilistic as the drug addled death wish that was DS2, in fact it feels rather sparkly and upbeat in comparison. The slurred wobbly meat glitch vocal science seems to be more restrained than usual or perhaps it's just been expertly refined due to further mastering of his techniques of fusing his flesh and bone vocals with the tech gimmix of the time.  

Incredible is incredible, as are the two other tracks on the LP produced by Dre Moon. I listened to this straight after listening to a mixtape of 80s rock anthems and it totally stood up in anthemic anthem-ness next to those anthems. He's reaching the same ecstatic heights here that he achieved on the 2012 hands in the air classic Turn Out The Lights.  

Dre Moon's beats here are like a sunshine pop/psych-rock opus crossed with the usual seedy luxuriance and dilapidated RnB all complimenting the low-key euphoria of Future's slurred strangely emotional delivery. The funny thing is using an array voice altering fx usually alien-izes and trivialises an artist ultimately making them a novelty but Future's performances seem to gain gravitas and pathos. You have to think that he and his producers were so advanced in the sophistication of this human/tech merger that it placed them (along with Migos and Thugger) light years ahead of everyone else. 

That eerie ambient synth line here is straight out of early 90s British ambient house. It's a love song innit. Some spellbound space-y opulence on display here. 

The Severed Arm/Messiah Of Evil - Phillan Bishop

[1972]

This avant-garde composer has just three scores to his name and what glorious works they were in the pre-Tangerine Dream/John Carpenter era of electronic scores. Who even knows if these were existing pieces or specifically arranged for these three films? I'm sure he was probably an academic connected to a university that probably had an electronic/computer music research centre but I can't be sure because I can find zero primary sources of  information on the guy. Phillan Bishop is so mysterious I'm inclined to think he never even existed except as a pseudonym. Having said that he was one of the essential pioneers in the first half of the 70s with regard to the development of synth and electronic film scoring.

The only biographical info I can find is that Bishop was born 1948 and died 1991 at 43 years of age and was the nephew of Jazz pianist Hampton Hawes. That's it!

The Severed Arm's disconcerting reverberations, clanky bloops, unsettling rudimentary synthetical signals, eerie tones, clangorous drones and archaic unearthly textures are classic mid 20th century gestures from the electro-acoustic world.

It's unbelievable that Creel Pones have never done some kind of archival release of Bishop's delightfully deranged scores.

[1973]

Youtube channel Fish Man on youtube manages to extract 4 minutes and 13 seconds of the unsettling Messiah of Evil score here in this clip. Bishop definitely achieved peak eeriness for this eerie of the eeriest movies as heard in the first three and a half eerie minutes here then in the last forty five seconds we get those absurdly heavy clanks, a masterpiece of horror sound design as is the apprehensive whirling synthetic delirium of the finale. It all perfectly matches the surreal horror of the antics in the sea-side town of Point Dune.  

 

[1975]

A swirling vortex of ominous electronics, clanks, scrapes and buzzing bleeps put through an echo chamber, discordant gothic piano and harmonica reverb-ed to oblivion, sinister chirps, off kilter synthetic bursts of sound, echoing atmospheres of malignancy and ending with spooky toy-town music box shenanigans amongst an array of blustery gusts. 

Phillan Bishop was a sublime sorcerer of scary synthetic sound: A gift to these horror film makers.