Man, this rules. I understand maybe 5% of the lyrics, but I understand 100% of that ultra grooving driving synth track. The Modern Golden Era of Music Production spanned from 1978 to 1983, but we’ll allow this gem in as an honorary mention because it’s such a jammer.
There’s loads of great new music being produced these days, but I’ll send this song/video in to bat against any of it. It’s weird to me that 1987 is starting to look more like 1977, but hey, that’s what happens as you rocket down the life-road towards death.
CORRECTION: This original post said this song was released in 1987; it was actually released in 1983. I guess that makes it slightly more understandable why it looks so 70s-esque, but only by 4 years. Whatever. Song still rules and there are some seriously twizzled synth dribbs herein.
Rad! Mid-80s underground female-fronted thrash from Chicago. Rips super hard.
Gorgeous new track from my primo primero Charlie Rohrer.
Cool. Snappy, poppy hardcore, kind of reminds me of early Replacements at times. Right now I smell, look, and feel like a dumpster behind an Arby’s in Bakersfield on a shitty sunny day. Soggy cardboard, flies, the whole deal. Have a great day. You likely have experienced this life an infinite number of times and will experience it infinite more times. Oh well. So at one point I was Hitler, but I was also every person murdered in the Holocaust. Do I have any evidence of having lived previous lives? No. So why do I think it’s likely? I don’t know, just a hunch. Don’t really have a say in the matter either way, just thankful that I (try to) choose the path of good, evil is for suckers.
Hello fellow scholars, here’s another sicky recky from 1985. Thrash.
Wow, I’ve been sleeping on this my entire life. The time is now, however. This rules, it’s like Real Estate / The Jam / Gang of Four / Weakerthans (at times) 80s new-wave with super punchy drumming. Rad.
Rad. Post-post-post-post-post punk formed following the breakup of Throbbing Gristle. Like an extremely hot paella filled with noise, keyboards, tape loops, yelling, moments of melody and harmony, Krautrock, televangelism, and much more. These words were sponsored by me.
Rad. Sparse, eerily melodic bleeping synths.
In 1985, Roland introduced the Alpha Juno, an analog polyphonic synthesizer with digitally-controlled oscillators. The year prior, Roland had released the Juno-106, which featured dedicated hardware sliders for every parameter; the Alpha Juno series relegated all editing to a single “Alpha wheel,” wherein the parameter is selected with a membrane button, and the value of the parameter is changed by twirling the wheel at the top left corner of the synth:
While the switch from dedicated sliders to a single adjustment wheel made editing the Alpha Juno’s patches more cumbersome, the sound architecture in the Alpha Juno offered unique waveforms that the 106 lacked. The Alpha Juno’s preset patches included standard fare like “Piano” and “Violin,” among other recreations of typical instruments. However, one of the presets, patch number 86, was titled simply “What the,” a fitting title for a sound that truly defies comparison with any known musical device. A growling, menacing, heavily-modulated wall of noise, the patch eventually came to be known as the “Hoover sound,” due to the only sonically-similar instrument being a vacuum cleaner. It’s a swarm of angry bees, it’s a rabid electronic shriek, and it became a staple sound in early-90s electronic music. “Dominator” by Human Resource and “Mentasm” by Second Phase were both released within weeks of eachother in 1991, so it’s unclear who used it on a released recording first, but Prodigy scored their first hit “Charly” with the Hoover sound in August of the same year. It’s an interesting moment in music history: the Alpha Juno synths had been out for years, yet the pure abrasiveness of Patch 86 evaded any musical application. However, as dance music evolved, it began incorporating atonal and dissonant noises. When Human Resource, Second Phase, and Prodigy took a risk with the patch, they essentially spawned entire new sub-genres of electronic music, ranging from Gabber to hard house. Veeeehhhhuuuuhh!! (Text approximation of the “Hoover” sound)
Thank you Charlie Rohrer for sending this my way. Super creative chopped-up house.