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viewing 1 To 25 of 112 items
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4LP BOX
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VOD 174LP
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Four-LP box set; limited edition (numbered). LPs titled: Dada - Jyo (Vanity Records, 1978); Morio Agata - Norimono Zukan (Vanity Records, 1980); Normal Brain - Lady Maid (1981); R.N.A. Organism - Unaffected Mixes.
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4LP BOX/7"
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VOD 167LP
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Four LP box set; includes 7"; limited edition (numbered). LPs titled: Anonym (Vanity Records, 1979), Divin (Vanity Records, 1981), Dose, Demos, and 7" Today's Thrill (Vanity Records, 1980).
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2LP
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VOD 169LP
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Double-LP compilation. LPs titled: P' and Demos. Features: Den Sei Kwan, Salaried Man Club, Onnyk, Onnyk Solo, Tozawa, and except From HMN Session.
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2LP
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VOD 170LP
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Double-LP compilation; limited edition (numbered). LPs titled: 1981 and P.F.L.P + Bonus (includes bonus remix).
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5LP BOX
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VOD 168LP
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Five LP box set; limited edition (numbered). LPs titled: R.N.A. Organism - R.N.A.O Meets P.O.P.O (Vanity Records, 1980); BGM - Back Ground Music (Vanity Records, 1980); Sympathy Nervous - Sympathy Nervous (Vanity Records, 1980); SAB - Crystallization (Vanity Records, 1978); and Vanity 7" singles: Sympathy Nervous's Polaroid by Mad Tea Party's Hide And Seek, and Perfect Mother's You'll No So Witt.
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5LP BOX
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VOD 136RE-LP
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This five-LP box release, pre dates Horology 1 and is a companion collection of experimental recordings made in late 1977/1978 period by Adi Newton prior to and during the formative period of development of Clock DVA. The box includes the original The Future recordings made by the trio of Adi Newton, Martyn Ware, and Ian Craig Marsh before The Future developed into The Human League and Clock DVA. The Future pioneered a totally electronic synthesized sound that later became synth pop that dominated the 1980s music scene. The remaining four LPs are entitled Radiophonic DVAtions 1, 2, 3, and 4, a title devised to encompass and convey the nature of the recordings which are experimental analog tape and aynthesis works inspired by early acousmatics, radiophonics, pyschotronics, and avant-garde electronics. These recordings, which are the earliest research and development of Adi Newtons work, represent the pioneering experimental recordings made at the outset of what became the industrial and electronic music wave that emerged in the late 1970s which was inspired by numerous subversive elements such as psychotronics, occult culture, and radical art movements and theories. The four Radiophonic DVAtions recordings have never been available prior to this unique and important release.
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2LP
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VOD 156LP
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Limited 2019 repress (with no certificate). Anthony & Paul was Anthony Burke and a mysterious Paul. Two Daughters were recording in Brixton around 1980-1982 and were closely connected to the Industrial Records and Throbbing Gristle gang. They recorded a debut tape called, Ladder of Souls released on their own Methane Music in 1980. Their one-and-only LP Kiss The Cloth / Gloria was released in 1981 on Anthony & Paul Records, a sub-division of United Dairies Records the label run by Stephen Stapleton of Nurse with Wound. The LP then also got reissued on United Dairies in 1987. A substantially edited version of "Return Calls - We Are" can be found on the Cherry Red compilation, Perspectives and Distortion (1982). The music and unique percussion-driven style of ambient and experimental sounds are in the vein of bands like O Yuki Conjugate -- they still hold the test of time. Anthony passed away in 2004.
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LP + 7"
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VOD 145TLA-LP
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Limited edition of 444. Includes hand-numbered certificate. Recordings 1980-1981 is a compilation featuring Those Little Aliens & This Little Alien. There are several components that would contribute to what would become Those Little Aliens & This Little Aliens and the zine/labels Flowmotion, Image 341 and Un-Ltd Abilities, all run by British DIY protagonists Ian Dobson and Gordon Hope. The first of these came with the advent of punk and especially the "Anarchy Tour" which made its much-delayed debut in their home town of Leeds in December 1976 and introduced Ian Dobson to a scene that threw him into wholeheartedly as a seventeen year old looking for something different. With the "anybody can do it" ethos in mind, he invested in a cheap electric guitar and a drum kit. As the 1-2-3 of punk became either increasingly repetitive or commercialized, the drum kit was sold and the guitar was left to gather dust until early 1978, when an unlikely meeting in a record store with an intriguing sounding album in an almost plain white sleeve would turn Dobson's preconceptions of what music should be on its head. That album, Throbbing Gristle's The Second Annual Report (IRL 001CD/LP, 1977), seemed to dispense with the ethos of "This is a chord, this is another, this is a third. Now form a band" altogether and suggested that those strange noises from a guitar were worth exploring. The advent of affordable monophonic/duophonic synths that didn't take up an entire room was also important. The recordings collected here using the Korg MS20, the Octave Cat, the legendary, but somewhat troublesome Wasp as well as the Korg SQ10 sequencer and the Boss Dr. Rhythm DR55. Recording was via a Tandberg 10x10 stereo recorder, Teac A108 Sync cassette deck through a Tensai 2030 amp, apart from the three compilation tracks which were recorded at the wonderful Colin Potter's, a 4-track studio near York. All of this would have travelled no further than a bedroom in Harehills, Leeds without the humble compact audio cassette which, via a process known as "Magnitizdat", popularized by non-government approved bands in Soviet Russia, enabled the recopying and distribution of music for a minimal outlay, usually just a blank cassette, and stamps for the return postage. This release features the aforementioned compilation tracks along with tracks from the cassette releases Incident in Moderan (1980), Variable (1980) and Synthesizer Specialist (1980).
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LP
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VOD 145RB-LP
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Limited edition of 444. Includes hand-numbered certificate. A vinyl reissue of Ron Berry's Where Dark Forces Meet, originally released on cassette in 1982. Ron became interested in electronics as a child in the mid-fifties, making radios and other electronic projects. He built my first synthesizer from a magazine article, but the performance wasn't that great so he started to modify it. Before too long he'd built a modular system of his own design. Microprocessor boards became affordable at the end of the seventies. The outcome of the experiments was a fully programmable sequencer and an electronic percussion unit. A friend of Ron's, Phil Clogg, became interested in it. The result of this was to form an electronic duo called Out of Control around 1979. It was based around two modular synthesizers, guitar, vocals and a further synthesizer and electronic percussion controlled by my unique microprocessor based sequencer. The microprocessor generated all the basic rhythmic backing control patterns for the synthesizers and electronic percussion during the whole of the gig. Phil played guitar, sang vocals plus playing a pedal board for some extra bass depth. They were one of the first bands in the UK to employ a computer for live music creation and generation. For them this was so much better than using a fixed backing on a tape recorder as some were doing. The duo was a huge turning point for Ron. After Out of Control, Ron produced his first electronic music album Where Dark Forces Meet, released on cassette on the independent Flowmotion. The album is basically a 4 track multi-track recording, with extra atmospheres and effects flown in using a couple of additional two track tape recorders. The mixing desk at the time was six channels, plus the mixers on Ron's synthesizers. From the success of this, he really wanted to develop his own solo electronic rock ambient music live, so he concentrated on expanding the sequencer to produce polyphonic control patterns and added a Godwin string synth. To date, Ron has produced fourteen albums of solo electronic music, ranging from rock to more ambient experimental styles. Ron has continued to experiment and build stuff when he could. Since then analog has largely given way to digital. He has embraced and exploited much of this technology along the way but in some respects he remained "old school" as a lot of today's highly compressed digital earplug music is not exactly to his taste.
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8LP BOX/2x7"
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VOD 145B1-LP
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Limited edition of 333. Includes hand-numbered certificate. British Cassette Culture: Recordings 1975-1984 is an 8 LP with 2x7" box set that gives a glance to some of the protagonists of the early to mid '80s tape culture in Britain with synth but also guitar-based electronic and wave artists. Records contained are: Those Little Aliens & This Little Alien (Ian Dobson and Gordon Hope) Recordings 1980-81 from Image 341, Flowmotion and Un-Ltd Abilities Label (VOD 145TLA-LP), Ron Berry Where Dark Forces Meet (1982) (VOD 145RB-LP), The Legendary Pink Dots Premonition (1982) (VOD 145LPD-LP), Stephen Cadman Big Smith Stays In Bed (1981) (VOD 145SC-LP), All The Madmen Early Tape Recordings (VOD 145ATM-LP), Carl Matthews Mirage-Tape-Years (VOD 145CM-LP), Kevin Harrison Tape Recordings 1975-1985 (VOD 145KH-LP) and Ron Crowcroft Mundane Recordings 1980-1985 (VOD 145RC-LP).
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LP
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VOD 145RC-LP
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Limited edition of 444. Includes hand-numbered certificate. Mundane Recordings 1980-1985 comprises a selection of music pieces created by Ron Crowcroft. Punk had opened possibilities for artists to explore sound structures as another means of creating, showing that original work could be produced using rudimentary technical equipment and expertise. Ron began experimenting with sound in 1979 and contributed several of these tracks to various Mail Art projects, including sending many pieces to Rod Summers of VEC Audio Editions, who released them on compilation tapes and a solo tape. Ron also contributed to galleries and alternative spaces that were open to new kinds of music. In late 1979, Ron co-founded New 7th Music, an experimental electronic and acoustic improvisation group, which met every two weeks for recording sessions at The Arun Leisure Centre in Bognor Regis, Sussex, England. New 7th Music began releasing cassettes as the national interest in home recording was gaining momentum, which received regular articles and reviews in the national music press. New 7th Music played some live shows, including a performance at The London Musicians Collective. Many musicians and friends joined the group over the years on various recording sessions and in live shows. Ron also collaborated with Andrew Blackwell, as the duo, The Modern Farmers, releasing an anonymous cassette in 1981, which combined experimental sound pieces and humorous tracks. A magazine was included with the cassette. A subsequent collaboration saw Ron sending basic vocal tracks to Robert Gillham, who then added music tracks to complete each piece, which were released as the duo, Random Valency. At the same time, Ron continued recording and releasing his own music on his Mundane Tapes label, first with Skullduggery in 1980, and his second release, I Am Normal (1981), entered the Sounds music paper "Obscurist Chart". He then released Greatest Hiss, a series of four compilation tapes comprised of various music tracks from his solo and collaborative work. Ron is a multi-media artist, who continues to create and release music. His other creative output includes drawing, painting, sculpture, photography, video, performance art, conceptual art, poetry and humor.
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LP
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VOD 145SC-LP
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Limited edition of 444. Includes hand-numbered certificate. A vinyl reissue of Stephen Cadman's Big Smith Stays In Bed, originally released on cassette in 1981. Stephen Cadman is a synthesizer player from Leeds. In late 1980, he produced and released a C60-Tape on his own Big Smith's Nose Tapes-Label. His synth music and style were in the vein of Tangerine Dream and other German electronic bands of the '70s. Ian Dobson found interest and distributed and also re-released Big Smith Stays In Bed shortly after on the Flowmotion label.
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LP + 7"
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VOD 145LPD-LP
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Limited edition of 444. Includes hand-numbered certificate. A vinyl reissue of The Legendary Pink Dots's Premonition, originally released on cassette in 1982. In the early '80s the whole concept of committing music to vinyl seemed like a noble but improbable dream. It was expensive and unless a label was offering, it was consigned to the experimental band's "bucket list". Cassette albums were another matter however. The Dots had chaotically joined the tape revolution with a couple of releases on their own Mirrordot label and after accidentally wiping one of the masters, decided it was something better left to "real" labels. Hence the band was delighted when Ian Dobson from Flowmotion approached them. Consequently Premonition was assembled; a combination of older and newer songs were placed in an extremely psychedelic collage with a rack of effects tuned and abused with the help of Pat Bermingham, who owned the In Phaze label and a small studio which used to belong to Pink Floyd's Nick Mason. Sadly, Flowmotion ran into trouble after the release and it took a few years before the Dots actually saw a copy the original album.
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LP
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VOD 145ATM-LP
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Limited edition of 444. Includes hand-numbered certificate. All The Madmen were Neale James Potts, Michael William Richardson, Christopher Paul Bailey and Richard Roger Weston-Smith from Stoke-on-Trent, UK. They called themselves minimal synthesizer-punks. All The Madmen started in 1980 as an anti-rock group, believing that the way that music was played and produced should change forever. One track called "Superior Life" made it onto the LP Cry Havoc, compiled in 1981.
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5LP BOX
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VOD 145B2-LP
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Limited edition of 333. Includes hand-numbered certificate. The Lung Function Years gives an insight into Adrian and Derek Smith's musical legacy from 1982 to 1986 focusing on their Lung Function label, solo work and side projects Half Nervous/Those Nervous Surgeons, EFF (Eject Or Fast Forward) and Click Click. In 1976, Adrian got a decent tape machine and recorded everything he ever created. From 1977 to 1980, and before starting the Lung Function Label, Adrian and Derek had the post-punk project Those Nervous Surgeons (Adrian Smith - guitar/synth/vocals; Tim Wilson - bass; Derek Smith - drums; Mark Turney - guitar) and Half Nervous (Adrian Smith - synth/vocals; Derek Smith - drums/designs/direction). In 1980, Adrian took possession of Tim Wilson's Wasp synth and Akai reel-to-reel. He worked alone and eventually asked others to help expand on the music. From 1980 to 1981, the brothers were very productive, creating the skeletons of songs which would be shaped into the music of Click Click. But before this, Adrian started to release music on cassette under the names Another View and later on as EFF. In 1981, changing their name to Click Click, they added funky experimental guitarist Rick Camp to the band and recorded "Silver Single". Their sound mutated into post punk/jagged rock. But after much turmoil in the band, they break up and the guitars and the name changed back to Half Nervous. In 1982, Adrian and Derek begin to gig as an electronic duo, their friends donated equipment and Derek acquires a set of electronic drums. Over two weeks they developed and recorded Behind Dark Glasses. It is a brash, Residents influenced collection of dark industrial electronics. At same time, Adrian Smith releases If Look Could Kill and in 1983 Another Bag Of Legs For Ya is recorded onto a borrowed Portastudio but is never officially released. Half Nervous (Jenny Prestana on viola at this time) change their name back to Click Click and record a version of "The Sack" and revisit more of Adrian's solo work as well as versions of "Natural Actions" and "The Last Chance" from Behind Dark Glasses. From 1984 to 1986, Click Click (with Jon Morris replacing Jenny's viola with another Wasp synth) are back in full flow, Adrian's solo material continues to materialize especially under the moniker EFF. Since 1986, an ever increasing collection of cassettes and hours of recorded music sit unheard in the vaults of Lung Function.
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LP
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VOD 145KH-LP
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Limited edition of 444. Includes hand-numbered certificate. Tape Recordings 1975-1985 features work from Kevin Harrison. Kevin Harrison's music is guitar orientated. But treated and mutated. Harrison is no ordinary guitar hero: his playing shimmers like light reflected on water. His work is reminiscent of a cross between Brian Eno, Michael Rother and Eric Random. While in the ambient field, it balances a lot more in the direction of contemporary electronics and a heavier sound. Nevertheless, his influences are very clear. A minimal psychedelicist at heart, Harrison's is the music of the hypnotic state, of dream and trance. Its core is an obvious affection for the work of Terry Riley, Philip Glass, Kraftwerk and The Normal tempered with an awareness of oriental rhythms and harmonies which give the elemental electronics a warmer, human touch. With Harrison's deft handling his squeaks and buzzes, his synthesized loop tables and his drum machines "Inscrutably Obvious" seems like it will prove horribly inaccessible. But once properly investigated it offers a sparklingly seductive selection of tracks wholeheartedly recommended to anybody looking for entertainment from the avant-garde. Chas de Whalley on Harrison: "No guitar heroes next 'cause it's Kevin Harrison. I could listen to his excellent stuff all night. What he does is guitar improvisations with the guitar put through lots of reel-to-reel echo units and other such things. This means he only has to fall over his guitar and it sounds good good good good. The result is similar to Fripp/Eno collaborations with layers of rejected guitar sounds. It sounds much better than I can be bothered to write it, if you're curious go and see him do his act."
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3LP BOX/7"
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VOD 145B3-LP
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Limited edition of 333. Includes hand-numbered certificate. A box-release covering the Band Of Holy Joy's cassette released artistic output from 1983 to 1986, split on 3 records. Band Of Holy Joy were formed in the summer of 1983 when Johny and Max found a synthesizer in the cellar of the squatted New Cross Gate house they were living in. They started messing about on this synth and started writing songs on it. The songs however were very messy and the discovery of an old plastic harmonium in a local junk shop only added to the chaos. They brought in Brett Turnbull to bring a sense of order to the noise they were creating. Brett brought along Martine Thoquenne with him and the noise in the cellar started becoming very interesting indeed. A person who is much forgotten but quite instrumental in what went on was George Lovell. John Jenkins, a photographer who was around the house, was persuaded to trade his camera for a mouth organ, tambourine and various other instruments. The Band Of Holy Joy, a completed entity, started to create strange sounds and songs began to emerge. Cultural interests at this time were 8 and 35mm film, Bertol Brecht stage play and the electronic disco sounds that could be heard and bought uptown. Subjects that fired their imaginations were media scare stories, prescription medications, institutional living, big cities, bad glamor and self-preservation in vulnerable situations. There was an affinity and shared living space with the constructivist outfit Test Dept who took Band Of Holy Joy out on tour with them resulting in very early performances in Manchester, Sheffield and Retford. When they returned to London they entered the studio and began to record and assemble tracks to go alongside the porta studio recordings, cut ups, and collages they were creating at home. They also played with Einsturzende Neubauten around this time. The band was interested in the emerging cassette culture of the day. The first cassette was Favourite Fairytales For Juvenile Delinquents which was released in 1983 More Favourite Fairytales was recorded on a four track portastudio which was released in 1984. The band would often make and play their own instruments as well as make their own films. A special post-punk pre-acid house, a creatively perfect time to be young and full of noise, word and image in London.
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LP
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VOD 145CM-LP
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Limited edition of 444. Includes hand-numbered certificate. Mirage-Tape-Years features music from Carl Matthews's early cassette releases. Music has always been important to Carl Matthews. Especially the German music he got into right from the start, buying albums from Virgin Records in London of bands like Cosmic Couriers, Klaus Schulze, Guru Guru and Amon Duul II. Given that his friends found his music taste a bit disturbing, Carl decided to do his own stuff to give him the freedom to do music he really loved i.e., electronic music. He bought a reel-to-reel, a Korg Polyphonic Ensemble, a Korg MS20 synthesizer and a Korg SQ10 Sequencer. All very limited compared to today's technology but good and interesting sounds could still be produced. Carl produced his first tapes and they found release on labels and distribution outlets. Some of the tracks on this album are from the very first releases Intervention 87 (1981) and Freewheel To Freedom (1981), which were more experimental and minimal incorporating guitar sounds. Other tracks off the albums Aksu (1980), East/West (1981) and Iridescence (1983).
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2LP
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VOD 142-12LP
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Limited edition of 100. Der Musikant is Rolf Schobert from South Germany. His music from the early '80s and his incredibly rare tape releases are a must-have for every serious collector and lover of minimal synth and/or NDW music. His purely minimal, straightforward powerful synth sounds in combination with his extraordinary and highly emotional vocals have a truly unique character. Rolf is also one half of famous Heute together with Georg Alfred Wittner. This limited double LP combines almost all these great tracks recorded between 1980 and 1984. Also available as part of the Bu/Bu-Musikverbreitung - Recordings 1980-1985 box (VOD 142LP).
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7LP BOX
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VOD 144LP
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Massive and comprehensive overview of Australian underground music originally released as tapes/cassettes or vinyl between the late '70s and early to mid '80s. The first two LPs, called Edge City Broadcasts are Andrew Lonsdale's (Browning Mummery) selection of rare and essential tracks representing the great variety and diversity of sounds inside the Australian underground music scene of the period. LP3 is dedicated to one side each of label recordings from the Lymph Products catalogue (The Horse He's Sick, Cerebral Haemorrhage, Kurt Volentine, Cut With The Kitchen Knife); and the home label of Browning Mummery--Boxmusik Tapes. LP4 is compiled by Garry Bradbury (former member of Severed Heads) with focus on bands, projects and collaborations that released on the famous Terse Tapes label such as Wet Taxis, Rhino Rhino, and Pissy Relay Switches. LP5 contains the split LP of Hiroshima Chair and a selection of M-Squared-Label related bands such as Systematics, Scattered Order, Ya Ya Choral, and The Makers of the Dead Travel Fast. LP6 and LP7 are fully dedicated to the earliest recordings by Tom Ellard's Severed Heads, containing the highly collectable LPs "Clean," "Ear Bitten" and the "Side 2" tape. The 7 LPs are accompanied by a large and extensive 48-page LP-sized booklet with lots of valuable information, insights and photos/scans compiled and written by David Courtney. A must-have for those who are willing to explore and dig into the universe of Australian underground music of the late '70s/early 80s.
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2LP +7"
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VOD 142-34LP
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Limited edition of 100. Heute is an ongoing minimal synth project run by Georg Alfred Wittner alias GAW and Rolf Schobert alias Der Musikant. Since the beginning of the '80s Heute have released several remarkable and outstanding tapes on their own Bu/Bu Musikverbreitung label and on other labels such as Biber Records, Schrott, Kassetto Fix and Intoleranz! The latter released their classic tape Noch ist Polen nicht verloren in 1983. This limited double LP combines almost all their great tracks recorded between 1982 and 1985. Also available as part of the Bu/Bu-Musikverbreitung - Recordings 1980-1985 box (VOD 142LP).
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4LP BOX/7"
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VOD 142LP
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Limited edition of 400. After ten years of planning and intensive artists-convincing, a dream for many collectors of minimal synth music and has become reality. A vinyl box with early-'80s audio formerly released only on super-rare and highly collectable tapes and 7"s by two of the most radical minimal synth artists from South Germany, Rolf Schobert and Georg Alfred Wittner, with their projects Heute and Der Musikant (solo project of Schobert with name variations as Der Künftige Musikant, Der Lustige Musikant, Der Ewinge Musikant). Almost four hours of greatest minimal synth-based tunes (two LPs each by Heute and Der Musikant plus a bonus Heute 7") compiled by VOD from more than ten different early-'80s tape releases, all released and distributed on their own Bu/Bu Musikverbreitung label in the early-to-mid-'80s. The label and artists released their very own style of minimal "präzisionsmusik," music as unique as minimal synth only can sound, standing the test of time, managing the path between the past and the future. Emotionally loaded, rhythmic, straightforward tracks, with superbly schizophrenic, antagonistic, and neurotic lyrics.
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LP
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VOD 096-1LP
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Limited edition of 200. Standalone edition of Lomticks of Time, the first LP from Vinyl-on-Demand's 2012 Clock DVA anthology Horology - DVAtion 78/79/80. With the blank-eyed restraint of Lomticks of Time, Vinyl-on-Demand showcases this integral component in the machinery of early industrial music. Clock DVA at once defied categorization and established the aesthetics of the new wave to come. Alongside Throbbing Gristle, Pere Ubu, and The Pop Group, Clock DVA were genuine pioneers of this most uncompromising branch of music.
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5LP BOX/7"
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VOD 141LP
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Limited edition of 500. Tone Set (Galen Herod and Greg Horn) was an Arizona minimal synth duo that existed from 1981 to 1983. Their early sound mixed analog synthesizers and gritty drum machines with tapes of found speech. This was the sound of their first release, a 1982 cassette called Cal's Ranch recorded with almost no vocals at The Center for Advanced Studies and released through the Zia record store in Tempe, AZ. In 1982, Tone Set contributed the track "Out! Out! Out!" to Placebo Records' Amuck compilation (PLA-103), which also featured Meat Puppets, and Sun City Girls (the duo also contributed a track called "Happy People" under their Happy People alias). Vocals started to become a more prominent part of their sound by the time they recorded their Calibrate EP, released in February 1983 on Pegna Records (peg one). The first side featured three pop songs -- "Life is Busy" and "Slim," both sung by Herod, and "Living In Another Land," sung by Horn. The second side of the EP came from the Cal's Ranch sessions. The duo also performed as Life Is Busy, The Art Farmers, and The Special Eds as outlets for their different types of songwriting styles, from ambient to New York Downtown-type material, with the Life Is Busy repertoire collecting their synthpop songs. A video for "Life is Busy" was produced from found footage, just like the vocals of most of their songs. It was shown on Videobeat and once on MTV's Basement Tapes, where, despite the presence of Mark Mothersbaugh (DEVO) as one of the judges, it didn't get enough votes for rotation, but it was licensed for six months on Cinemax in 1983. That year, each member began releasing solo works, leaving many previously unreleased recordings behind (62 recordings in total), which now finally find their well-deserved release on Vinyl-on-Demand. Such Heavy Conviction: Recordings 1981-1983 includes the contents of Cal's Ranch and Calibrate (plus previously unreleased songs from the Calibrate session), and additional material collected as Masters of Funk, Unreleased Classic Tone Set, The Last Tone Set, The Earliest Tone Set, The Alternate Cal's Ranch, and The Single, spread over five LPs and a 7". A must-have for serious fans and collectors of '80s minimal/synth. Several promotional videos for this box set are available at Youtube.
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2LP
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VOD 096-23-LP
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Limited edition of 200. Standalone edition of 2nd, originally released as the second and third LPs from Vinyl-on-Demand's 2012 Clock DVA anthology Horology - DVAtion 78/79/80. With the ethereal sludge of 2nd, Vinyl-on-Demand showcases this integral component in the machinery of early industrial music. Clock DVA at once defied categorization and established the aesthetics of the new wave to come. Alongside Throbbing Gristle, Pere Ubu, and The Pop Group, Clock DVA were genuine pioneers of this most uncompromising branch of music.
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