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LP+CD
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SXM 01-2016LP
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180-gram LP in audiophile sleeve with CD. Limited edition of 500. Reissue of the hard-to-find 1987 debut album by Sex Museum, commemorating the band's 30th anniversary in 2015. Features faithfully reproduced original cover art and an insert with texts in English and Spanish. Remastered from the original sources. Supervised and produced by the band members. "Sex Museum formed in Madrid in 1985, with the desire to be the musical version of The Warriors, in the style of a street gang out of the mod scene. We were heavily musically influenced by '60s American garage, English music from the '60s and early '80s garage revival. . . . we shared everything, experiences, tastes, friends, drugs and the desire to grow with the music and open up a new hole in the world as commandos of garage rock. . . . We disconnected completely from what was happening in Spain and began to form relationships, befriend and connect with other bands from the rest of Europe and the United States, which made us to feel that we were heading down the correct path. We managed to get some songs on international compilations which also put us on the map. Our first tours of Europe prepared us to be what we were in 1987, the year in which we recorded the Fuzz Face LP. One part garage music and the other part sixties music, a musical concept and genre that almost did not exist then and that was beginning to take shape. Our musical references were bands like The Prisoners, The Tell Tale Hearts, The Sonics, The Music Machine, The Yardbirds and The Pretty Things. But our energy and spirit also made nods to The Jam, Buzzcocks, The Boys, The Bishops, The Inmates, The Vibrators, and many other bands from the end of the '70s and the beginning of the '80s. We had been in contact with some record companies, but after reviewing the possibilities we had with a few, we decided to produce the disc ourselves. It was a pretty complicated adventure, and after asking, we decided to rent the license of a label that no longer existed, Fidias, in order to release the album on our own. We got to the studio and we recorded this album in two sessions, one at night, with a drummer and a bass player, and another night a few weeks later with a different rhythm section."
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LP+CD
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SXM 02-2016LP
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180-gram LP in audiophile sleeve with CD. Limited edition of 500. Reissue of the 1989 second album by Sex Museum, commemorating the band's 30th anniversary in 2015. Features faithfully reproduced original cover art and an insert with texts in English and Spanish. Remastered from the original sources. Supervised and produced by the band members. "1988 and 1989 were exciting years of touring in Europe and constantly playing concerts. . . . During this time we met our travel companion Juan Hermida, and his label Romilar D, who seemed to understand and share our direction. Juan would become a fundamental supporter to our cause. . . . . Our influences were expanding to the '70s, from BÖC, Alice Cooper, Blue Cheer, MC5, the Stooges to Deep Purple or Pretty Things, or even a step further to the Small Faces, Humble Pie and the Who. On top of that, there were the Miracle Workers, the Nomads, the Celibate Rifles, The Fluid, Mudhoney and the return of Neil Young to the primordial ROAR. . . . The recording of the album was simple and quick, but the final product and mix brought problems, just as had happened with our previous recordings. Our sound in the studio recordings was always very clean and neat, and as much as we worked and played hard in the studio, the recordings were nowhere close to replicating our live sound in concert, which was more representative of our true sound. Sound technicians and studio engineers were always the owners of the studio, and would never push the levels so high . . . they didn't want to force anything because they were afraid to break the equipment or their reputation. Our recording and mix sessions used to be full of tension that soon led to bad feelings. At the time we were very young and not respected by engineers, and we didn't want to annoy or cause problems but we felt that we couldn't get the sound we wanted. It always amazed us how it was impossible to make the guitars louder. Independence would be the last album that we recorded with a sound engineer older than us. The decision was made and it was a good time to take a first steps towards something more visceral, which would take shape in the next decade, the '90s."
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