Barry first found music when he borrowed his sister's record collection when he was about eight and was hooked. When Caroline started it was a new beginning, and he listened to all the stations, but Caroline was his favourite by far. Later he became a singer in a band, then started doing discos when he was 18. He joined Caroline in 1977, touring the country with the Caroline Roadshow for 10 years, having great fun. Barry helped with tender trips and worked on the Ross Revenge in '84 and '85. ...
Manage episode 266860897 series 2744409
- Sextile — “Disco”, 2018.
Rambunctious synthpunk that absolutely gives no fucks. Level up literally any party in less than 20 seconds.
- Oomph! — “Mein Herz”, 1992.
Before they smothered their EBM aesthetic in a jockstrap of guitar rock, Oomph unleashed one of the best electro dance records — ever. Every track bangs. The drums are throwing body shots while Dero’s vocals are eating your face.
- Lassigue Bendthaus — “Render”, 1994.
The DNA of electro-industrial has many roots, but few pulse harder than LB. “Render” is a masterclass in putting the “body” into “body music” and 25 years later those fucking drums are still rolling over pretenders.
- A-Ha — “Take On Me (Extended)”, 1985.
You’re either going to turn this up or fast-forward. I respect either decision as long as you know only one is correct.
- The Arms of Someone New — “Every Seventh Wave”, 1989.
Nearly forgotten new wave act whose mishmash of releases yields a delicious blend of shoegaze, new beat and synthpop draped in the gossamer, naive optimism of late 80s / early 90s aesthetic.
- Alien Sex Fiend — “Dead and Buried”, 1984.
If one were to build a church to the Fiend, this 12″ would be the alter. The ridiculous studio effects, rhythmic chaos, guitar dirges and more goth-than-goth vocals cements this as a classic for all time.
- Revolting Cocks — “Something Wonderful”, 1990.
The soundtrack to your submission.
- The Wake — “Nazarene”, 1990.
The wall of hellnoise, the subterranean bassline, the cathedral reverb on the vocals. This gem from the 90s’ second wave of goth rock is the sound of the genre shedding its early identity crisis.
- The Foreign Resort — “Suburban Depression”, 2015.
2015’s “The American Dream” EP is one of the most inspired post-punk releases of the decade. This cut, a bleak core sample of dismal suburban consumerism and community disassociation, is fearless criticism that only grows in relevance.
- NNHMN — “Pleasure”, 2019.
NNHMN birth a throbbing, low-light meditation that is an exercise in restriction and subtlety. The beat is quiet but insistent, the wave forms undulating, the vocals soft and suggestive.
- Bob Moses — “Hands to Hold”, 2015.
Blending right in with NNHMN is Bob Moses’ stone classic of dark, emotional house that is somehow bright, dark, sweet, bitter, private and freeing at the same time.
- Two Mamarrachos — “Agosto”, 2019.
And following is some dark disco from Two Marrachos on Nein Records. It’s instrumental, yeah, but that guitar riff, wobbling bassline and liquid acid line are evoking a narrative darker than an Albert Camus novel.
- Blakk Harbor — “Gods and Goats”, 2018.
An undeservedly obscure instrumental masterpiece following in the steps of Blackfilm and others, Blakk Harbor arrange soundtrack compositions that are both menacing and somehow familiar. This is the deepest noir.
- Haujobb — “The Cage Complex”, 1996.
And then this. The masterpiece track from a masterpiece album, the song that made every electro-industrial head stop dead in their tracks, the six minutes that kicked the genre forward into its next generation.