Katerinas Magic World

Nikki and the Corvettes, a Detroit punk-pop outfit led by the candy-voiced rocker Nikki Corvette, and Romantics guitarist Peter James, they kinda invented the whole girl sounding rock n roll thing. The group plied their brand of bubblegum punk from 1977 to 1981.

They had a sound somewhere between the Go-go's and the Ramones with bubblegum teenage libido maxed out with a dose of the Shangri Las. Led by a "new wave Betty Boop," to quote one review, this power group offered sounds and sex appeal. Combining those undeniable elements of energy and enthusiasm.
Tracks
1. He's a Mover
2. You're the One
3. C'mon
4. Just What I Need
5. Boys, Boys, Boys
6. Let's Go
7. Shake It Up
8. Back Seat Love
9. I Wanna Be Your Girlfriend
10. Summertime Fun
11. Gimme Gimme
12. You Make Me Crazy
13. Young and Crazy
14. Criminal Element
15. I Gotta Move
16. Girls Like Me
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This rare electronic release contains atmospheres ala Manuel Goettsching / Gunther Schickert coupled with Cluster / Harmonia-like touches. A La Ping Pong consisted of Hardy Kukuk (synths, sequencers), Hucky Thoss (drums), Klaus Bloch (guitar, voice, synth) and Karsten Recke (electronic piano, sequencer, electronic drums).
Recorded at Studio Paradiso Feb.-Juli 1980. Mixed in September.
"Nordlaut 1 + 3" are live recordings from Spektakel '80.
Tracks
1 Fanfaren - Waidmannsheil?
2 Nordlaut 1
3 Edelweiß für ....
4 Nordlaut 3
5 Morgenstern-Abendstern
6 Zartbitter
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Der Moderne Man was a german experimental band hailing from Hannover. The band sprung form punk band "the Worst".
Arranged By, Producer - Der Moderne Man
Bass, Backing Vocals - Mattus
Drums, Piano - Claudi H.*
Guitar, Backing Vocals - E. K. T.
Lyrics By [Texte] - Ziggy XY
Music By - E. K. T. (tracks: A1 to B5)
Music By [Klavierteile] - Claudi H.*
Vocals, Synthesizer - Ziggy XY
Tracks
01. Der Unbekannte
02. Telefonlied
03. Dreizehn
04. Haarschnitt
05. Dauerlauf
06. Gib Mir Den Tod (Fortsetzung Und Schluß)
07. Licht Und Dunkelheit
08. Mitternacht
09. Farblich Gesehen
10. Heute
11. Vergesslichkeit
12. Flucht
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Despite the production's rough edges, the limited budget that fostered it, and the feeling that it sounds more like several A-sides and a couple decent B-sides thrown together than a singular body, Jeopardy is a caustic jolt of a debut that startles and fascinates. With the plaintive intro of the rhythm section, a spidery guitar, and incidental synth wobbles (which all sounds surprisingly Neu!-like), "I Can't Escape Myself" begins the album unassumingly enough until reaching the terse, one-line chorus that echoes the title of the song; suddenly, from out of the blue, all the instruments make a quick, violent, collective stab and retreat back into the following verse as singer Adrian Borland catches his breath. The reverb placed on his voice is heightened at just the right moments to exacerbate the song's claustrophobic slant. The ecstatic onward rush of "Heartland" forms the back end of a dynamic one-two opening punch, with a charging rhythm and blaring keyboards leading the way. It seems to be the spawn of XTC and U2, just as giddy as something from the former (think Go 2) and almost as anthemic as something from the latter (think Boy). Much later on, near the end, "Unwritten Law" comes along as one of the Sound's best mid-tempo mood pieces -- one of their greatest strengths. It also shows how much a simple shading of synth can affect a song, as it affects it with a melancholic smear that no other instrument could possibly provide. In all honesty, they weren't breaking any new ground here. Their influences were just as apparent as the ones donned by the other bands who inhabited similar post-punk territory. Smart journalists of the time -- meaning the ones who truly listened and were aware of the band's past -- knew well enough that the Sound belonged in the same league as the bands they were compared to and not somewhere in the bushes. Hardly coattail jockeying, the Sound were developing and growing alongside them. If you're thinking this sounds like someone's telling you that you need Jeopardy just as much as you need Kilimanjaro or Unknown Pleasures or Crocodiles, you're right again.
Tracks
1 I Can't Escape Myself 3:54
2 Heartland 3:33
3 Hour of Need 3:01
4 Words Fail Me 2:57
5 Missiles 5:26
6 Heyday 3:01
7 Jeopardy 3:37
8 Night Versus Day 3:15
9 Resistance 2:47
10 Unwritten Law 3:39
11 Desire 3:13
12 Heartland (live)
13 Brute Force (live)
14 Jeopardy (live)
15 Coldbeat (live)
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Waiting for a Miracle is a sorcerous first album, at least once it sinks in, after short-to-long phases of puzzlement, bemusement, and fascination. Its songs of romantic ruin, paranoia, and doubt are spare, inelastic, and ceaselessly on edge. Even when the songs are at their bounciest and most alluring, they have an insular and alien quality. The instruments are played with intrepid simplicity, but when they're heard as one, they sound peculiar and complex -- the results aren't unlike slow, stern spins on Pere Ubu's "The Modern Dance" and "Street Waves" -- albeit with insidious lyrical hooks that are innocuous to the eye and startling to the ear, like "This is total war, girl," "Sometimes I feel out of control," and "I can't relax 'cause I haven't done a thing and I can't do a thing 'cause I can't relax." Acting as something like a minimalist garage band with one foot in the past and the other in the future, with Andy Peake's memory-triggering organ bleats offset by structural abnormalities and twists, the band does come across as a little timid from time to time, unsure of how far to take its uniqueness, but it's only another factor that fosters the album's insistent nerviness. "Total War," a razor-sharp examination of a relationship snapping under the pressure of buried mutual contempt, threatens to stop as often as it appears to be on the verge of taking off, carries a circular arrangement, and provides no release. It was the album's "other" single, nearly as conventions-stripped as PiL's more venomous "Flowers of Romance" (released the following year). "Independence Day," on the other hand, gave the band its greatest commercial success, wrapping all the band's strengths in one concise package, from the brilliantly paced shifts between the sparse and the dense to the balance between the direct and the indirect. Apart from the barren, ominous kiss-off that is "Postcard," each of the remaining songs sound like singles, even if they never had a chance at putting the band on Top of the Pops. (This is a band that called itself "doomsteady" with a hint of seriousness, after all.) While there are crucial differences that reveal themselves after deep listening, this album can be appreciated by anyone touched by other maverick post-punk albums released the same year, such as Joy Division's Closer, Associates' The Affectionate Punch, Magazine's The Correct Use of Soap, the Sound's Jeopardy, and Simple Minds' Empires and Dance.
Tracks
1 Missing in Action
2 'Baby'
3 Independence Day
4 Waiting for a Miracle
5 Total War
6 On the Beach
7 Monkey Pilot
8 Real Story
9 Map of the World
10 Postcard
11 Home is the Range
12 We Were
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Many listeners got their first taste of the Residents on the "Dr. Demento" radio program back in late 1979 or 1980. The song was "The Laughing Song" and I never forgot how wonderfully bizarre it was.
Louisiana swamp rats who relocated to San Francisco (a good choice, given the musical tolerance the Bay Area has boasted over the years) and created a stir with never revealing their identities and making head size eyeballs famous, the Residents specialized in proto-synth programming that predated Devo and just about every cutting edge artist, with the possible exception of Can, the German experimental legends. While comedy is the main focal point of these twisted genius' work, they also experiment with sounds and textures never before attempted or replicated. In fact, "Eskimo", their biggest selling album, is somewhat serious, a five part soundscape that defies description in print.
For those not quite ready to take the plunge with "Eskimo", "The Commercial Album" is a good starting point as each selection is exactly one minute long, making up forty snippets of amazing hooks, noises, and even the occasional pretty tune. Fans of electronic music like NIN, meet your roots. Reznor could never have created his work without these pioneers. As so often is the case, some of the world's most obscure artists also act as the most influential. Laugh along, but don't forget the new ground that is constantly being broken as you listen to "The Commercial Album". Also, pick up "Duck Stab/Buster & Glen", the other Residents' masterwork.By Scott
Tracks
1. Easter Woman (1:03)
2. Perfect Love (1:03)
3. Picnic Boy (1:01)
4. End of Home (1:04)
5. Amber (1:02)
6. Japanese Watercolor (1:02)
7. Secrets (1:03)
8. Die in Terror (1:03)
9. Red Rider (1:02)
10. My Second Wife (1:02)
11. Floyd (1:03)
12. Suburban Bathers (1:04)
13. Dimples and Toes (1:03)
14. The Nameless Souls (1:04)
15. Love Leaks Out (1:04)
16. Act of Being Polite (1:03)
17. Medicine Man (1:04)
18. Tragic Bells (1:03)
19. Loss of Innocence (1:04)
20. The Simple Song (1:02)
21. Ups and Downs (1:04)
22. Possessions (1:03)
23. Give it to Someone Else (1:03)
24. Phantom (1:04)
25. Less Not More (1:03)
26. My Work is So Behind (1:04)
27. Birds in the Trees (1:04)
28. Handful of Desire (1:04)
29. Moisture (1:04)
30. Love Is... (1:03)
31. Troubled Man (1:04)
32. La La (1:04)
33. Loneliness (1:04)
34. Nice Old Man (1:04)
35. The Talk of Creatures (1:04)
36. Fingertips (1:04)
37. In Between Dreams (1:04)
38. Margaret Freeman (1:03)
39. The Coming of Crow (1:04)
40. When We Were Young (1:02)
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Jayne Casey's post-Big in Japan endeavor, Pink Military, was quickly snapped up by Virgin after critical accolades showered their 1979 single "Blood and Lipstick." Nearly a year later, and sporting a new rhythm section, Pink Military released the wonderfully moody Do Animals Believe in God?. The LP would become both their debut effort and swan song. Alternative beats which border on darkwave inform much of this set, and Casey keeps the mood sweet and melancholy, but imbues the songs with an edge that barely conceals her sharper points. This works to wonderful effect on many of the songs, but most especially on "I Cry," which crossed U.K. post-punk ethics with a smidgen of Nico and a little Rocky Horror Picture Show thrown in for kicks. "Did You See Her?," the album's lone single, keeps the vocal range low but brightens the vibe with some lighthearted synth. Elsewhere, the band continues to shine on "Back on the London Stage," as well as on the dramatic title track -- sung, incidentally, by an unidentified bandmember. Pink Military only falters when they step into the more experimental waters of "Living in a Jungle" and "War Games." Sadly, this wonderful album fared poorly, leaving Casey to regroup and redefine the band's dimension, burying Pink Military and giving birth to the new era of Pink Industry in 1982
Tracks
1 Degenerated Man
2 I Cry
3 Did You See Her
4 Wild West
5 Back on the London Stage
6 After Hiroshima
7 Living in the Jungle
8 Dreamtime
9 Wargames
10 Heaven/Hell
11 Do Animals Believe in God?
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Weird German electro/ punk band. who released only one album and a few singles. They used to be called Geile Tiere Berlin, but dropped Berlin very soon after their first release.Not much info out their on these noiseniks. It seems like they were essentially a duo, sometimes aided by a host of guests, and actually had a background in performance and media art. Obviously, they pursued a self-consciously amateurish non-musician angle, similiar to the Geniale Dilettanten movement around bands like Einstürzende Neubauten, Die Tödliche Doris and Strafe für Rebellion. Most of their stuff is only historically interesting, but this extremely creepy track with its punishing beat and pounding bassline still sounds pretty amazing.
Tracks
01. Berlin Nite (2:47)
02. Neon Herz (3:35)
03. U-Bahn (1:05)
04. Whiskeybar (4:39)
05. Johnny (2:16)
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