Regicide Bureau was a home-taping project and label from Overland, Saint Louis, Missouri created by Thomas Sutter.
By himself and together with other befriended musicians Sutter released numerous cassettes throughout the 80's and 90's. The majority of those cassettes were never for sale and could only be obtained by exchanging cassettes. The Regicide Bureau was an important force and institution within the global home-taping cassette culture which created an autonomous music infrastructure far away from the commercial music industry. Associated acts that included Tom Sutter were a.o. Next Radio, Drive!Hesaid, Regimental Anguish and Berlin Diary (with the Berlin based musician M. Finnkrieg during Sutter's time residing in Berlin).
A Rose Of Beds, In The Cross Of The Sign (nice word scramble) is a bit different than most Regicide Bureau tapes I've heard because it doesn't display the characteristic alchemical sound of electronics, synthesizers, vocals and tape collage. Instead the recording consists of four improvised pieces of electric guitar loops played by Tom Sutter technically assisted by Dave Schuey. The sound is rather minimalistic, lo-fi and hypnotic.
I just found out you can listen and download the latest 2022 release by Regicide Bureau over here on the Nostalgie De La Boue label. Tom Sutter honestly did some remarkable music over the past decades and still goes strong.
Lastly, I think some more uneasy listening and darker stuff is coming to the blog towards the end of the year because that happens to be in the pipeline at the moment. Perhaps it suits the times we are facing.
Next up on the blog is this quite mysterious project from the 90's called The PamelA Mind B.and which was created by Mark Reeve. I'm guessing that he hailed from Wales because one of the tracks was recorded live at the "Bell In" in Gwynedd. The music is quite noisy and consists of long improvised electronic soundscapes and radio cut-ups combined with other distorted sounds generated through various pedals and machines. The music is being introduced at the start of the tape as a sonic search for a so called "third shadow side" of the cassette through the exploration of its sounds, hence the title 3rd Side Experiments.
Even though a lot has been done in this particular field of music it does have a dreamlike and surrealist touch to it. It reminds me somewhat of the Canadian act Dust That Collects that was posted on the blog some time ago. The PamelA Mind B.and was featured on a tape compilation during the 90's but I'm not sure whether more material was released.
In any case another fine DIY cassette with some nice plunderphonics-bruitist-table-full-of-equipment-noise-music from the last decade of the last century.
Last year I wrote about Angst and Erik Vloeberghs in a way I can't perfect so I will let the blog-history repeat itself:
Angst was a project by Flemish writer, poet and musician Erik
Vloeberghs. He also did projects such as The Firing-Squad, Kwajongens In Bloei and
The Parts. Vloeberghs was closely related to the Antwerp based industrial and
interdisciplinary art group Club Moral. Frequently he contributed to
their art-zine/fanzine called Force Mental.
His musical subjects mostly
dealt with excess in all kind of forms adapted into musical concepts.
The whole Club Moral sphere is known to have explored the extremes of
human nature and deviant human behaviour within society, both in
cathartic experience and conceptualization, a bit in a similar way to
what industrial and power electronics groups like Whitehouse, Ramleh or Consumer Electronics
did in England. Just somewhat less uniformic in sound (noise) with more
influences from literary poetry and visual arts including performative
aspects and multimedia elements.
De Kreet (The Cry) is a cassette that was named after the famous Edvard Munch painting, also depicted on the cassette cover and was published both in Belgium and Holland in 1982. The recordings are a combination of dialogues, field-recordings, eerie noises and manipulated electronics. Vloeberghs manages to create sounds with certain tensions that invoke a feeling of possession. Gradually the music progresses and passes by the listener as if one was eavesdropping or perhaps only intercepting the sound. A feeling of discomfort, but at the same time causing high-demanding attention as if one needs to listen to catch something of importance. He realized these haunted worlds through music, but it rather feels like some sort of narrative or written text (a story) that comes alive through sound. A soundscape in its truest form.
Vloeberghs remains an obscure figure from the Flemish industrial home-taping era who deserves more attention for his works.
Ex Cathedra was a home-taping project from Overland, Saint Louis, Missouri created by Thomas Sutter. As founder of the Regicide Bureau (both a music project and a label) Sutter released numerous cassettes throughout the 80's and 90's. He was also in the projects Next Radio and Drive!Hesaid and collaborated on various occassions with Berlin based musician M. Finnkrieg.
On this third cassette by Ex Cathedra we hear two side-long pieces of electronic experimentation, surrealistic collage, layered noises and other strange phenomena. It presents a mind-scrambling sonic experience and cocktail of weird sounds revealing the pure spirit of home-taping experimentation. No music standards or external music industry interferences play a part. If anything Ex Cathedra loops mainstream media and existing music back into the trip turning and twisting around the roles of power and influences. Those expressions can be serious, but often also contain some humour and fun elements. In the second piece there is a nice fragment of Kraftwerk's Pocket Calculator to be heard for example.
Another home-taping cassette that contains nice mind-bending electronic surrealist music that frees music-as-a-formula from its confined existence.
Murilee Arraiac was an industrial, noise and home-taping project from Irvine, Orange County, California that existed between 1987 and 1991. The band was formed by Martin Murilee and a loose group of individuals that would record at a student trailer park called Irvine Meadows West that was partially squatted during the '70s as a more inclusive and freeform community that a.o. countered the expensive and constraining official student housing facilities next door. Murilee Arraiac recorded their music at one of the trailers that they used as their studio. From their website:
Murilee Arraiac consisted of any musician we could drag into our
studio at luxurious Trailer B7, located in the Irvine Meadows West RV
Park beneath the white sky of Irvine, California. All songs were
recorded on Tascam 244 or Tascam Porta 01 cassette 4-tracks (except
those recorded live at KUCI or via microcassette recorder at gigs).
Drums provided by 55-gallon oil drums and tire irons, Casio SK-1
sampling keyboard, and a Roland 707 drum machine. The key to our special
sound was the combo of a police scanner and a shortwave radio, played
through various modified distortion boxes.
The strange name of the band is explained by Murilee Martin in an article I happened to stumble on: Wishing to emulate bands like Negativland and Psychic TV, and under the influence of the Cut-Up Technique,
the name of the crypto-nihilo-surrealo band I put together in my early
20s was generated by drawing random syllables out of a hat, thus:
Murilee Arraiac.
Oscillating Knife System is a great cassette that comprises a.o. of heavily distorted radio signals with spoken word buffoonery, lo-fi electrorock, different interfering noises and lots of electronics. It's another highly obscure project belonging to the West-Coast experimental music tradition. In a way it reminds me of the pioneering noise making collective Los Angeles Free Music Society, albeit driven by individual creativity and experimentation. Actually some very cool sounds at times.
Here we have one of the last tapes by S·Core that wasn't available so far to my knowledge. S·Core was the project by Japanese industrial musician Yutaka Tanaka. He released many cassettes during the 80's of which some were released on his own Afflict label. This cassette is an exception because it was released on the Dutch De Koude Oorlog! (The Cold War!) label, a small cassette label from Den Helder that was quite industrial oriented releasing artists like Dikyl Brobojo and Szarkov.
S·Core's music is a nice example of Japanese industrial music that isn't just pure noise. Tracks vary from rhythmic analog industrial sounds in an Esplendor Geométrico (Spain) or Mesh (Australia) way to dark ambient pieces. It somehow relates a bit to Zoviet-France, early Muslimgauze or music I can recall from the amazing Vanity Records label from Japan. S·Core is not musically active anymore, but he released material until the late 90's. I'm not sure how this material ended up on this Dutch cassette label, also not sure whether he was touring in The Netherlands. In any case this is another piece of the S·Core puzzle. Specially the rhythmic tracks are quite nice. Also a good title for the times we are facing I suppose... You can find most other S·Core tapes over here.
Here's another obscurity from the Polish home-taping circuit from behind the Iron Curtain. This time it's a split-cassette between the American act Detachment created by Craig Coe from Dayton, Ohio recorded between '86 and '88 and McMarian one of Poland's great industrial home-taping acts created by Marcin Bednarski and Piotr Kalinowski from the city Kraków.
It's an interesting fact that this isn't just a Polish cassette and that the members of McMarian were somehow able to share and receive music material over the borders of the socialist state, even if the political system was in its very last stage before the collapse. The Polish home-taping scene had been created by necessity since these type of bands were unable to release their music officially, nevertheless one can see that they did have ties with the international cassette culture. Cienie, meaning shadows, is a vivid example of this mechanism, that through its "secret" distribution had much more meaning than just having a taste for particular music. It's part of an unclassifiable almost non-existing area where art opened up a place for individuals who could gain some autonomy through their marginalized practices to counter the political and cultural programming of the totalitarian regime.
I can't find much info on the Detachment project from the US, but it somehow reminds me of the minimal synth sounds of Patrick Gibson from Australia. A very nice combination of experimental sounds and rhythmic industrial minimal synth. The tracks by McMarian have an even stronger foundation in rhythmic industrial music creating loops of manipulated rhythms in combination with samples. Specially the last tracks on the tape remind me of the primitive era of Esplendor Geométrico from Spain or the early Australian industrial act Mesh.
Actually the music is quite nice, unfortunately it's buried under a thick layer of white noise. I tried to digitize this several times to get a better sound (dolby, no dolby, equalizing etc.), until I found out it will just turn out to be like this. With renaming files and cutting I've spent four hours on this tape. The opening track by Detachment also starts low in volume and then starts to peak later on. Anyway, that's one of the things with those obscure tapes from Eastern Europe from the 80's, the quality is not that high. But because of its background and totally different cultural and technical circumstances the music should be appreciated in its lo-fi nature as a testament of the underground. It actually sounds better directly from cassette, as if the music has become one with its medium.
Angst was a project by Flemish writer, poet and musician Erik
Vloeberghs (in this case in collaboration with Herbert Alkali). He also did projects such as The Firing-Squad, Kwajongens In Bloei and
The Parts. Vloeberghs was closely related to the Antwerp based industrial and
interdisciplinary art group Club Moral. Frequently he contributed to
their art-zine/fanzine called Force Mental. His musical subjects mostly
dealt with excess in all kind of forms adapted into musical concepts. The whole Club Moral sphere is known to have explored the extremes of human nature and deviant human behaviour within society, both in cathartic experience and conceptualization, a bit in a similar way to what industrial and power electronics groups like Whitehouse, Ramleh or Consumer Electronics did in England. Just somewhat less uniformic in sound (noise) with more influences from literary poetry and visual arts including performative aspects and multimedia elements.
De Witte Villa (The White Villa) is a cassette that came out both in Belgium and Holland, respectively on the Belgian Geef Appel Neem Chocolade and Dutch Kubus Kassettes cassette labels. It takes a villa as its core reference, perhaps because the music was played at a villa during an intensive stayover (since the last field recorded track is called 'In The Kitchen of The White Villa'), perhaps because Vloeberghs used it as an aristocratic concept as another point of reference in the light of deviance and excess of society in let's say a Marquis De Sade type of setting. In any case, the music starts with Italian, maybe Napolitan song, mixed through distorted radio noise. Next up is a sort of minimal home-taping Marxist 'introduction to capitalism' explaining how human production powers lead to different classes in society and that capitalist fatalism causes tragedy in the face of nature as well as alienation of the self. The tape continuously thrives upon primitive field recordings with an industrial sound approach of eeriness and noise.
Some of the music is reminiscent of Italian industrial projects like the hyper-obscure work by Stefano Tamburini or the industrial group Tasaday. The field recording aspect of home-taping taking place as an integrated part of daily life also reminds me of music primitivists like the Gefährliche Klons I posted before on the blog. De Witte Villa is another rarity of the Belgian home-taping scene that didn't fear to sonically self-investigate and integrate darker subject matters into the recordings.
This tape was kindly donated by the Y Create archive
Dust That Collects was an explorative electronic sound project by Canadian artist Ron McFarlan. McFarlan had been involved in the home-taping culture of the 80's and started his project Dust That Collects around 1990 when opening for Illusion of Safety at the Music Gallery in Toronto. A brief autobiographical summary of McFarlan's musical history can be found over at Don Campau's Living Archive.
Black Water Delirium is a nice cassette bringing together four pieces of post-industrial soundscapes of noise, mechanical sound manipulation, field recordings and drone. You can hear almost ambient psycho-acoustic atmospheres that are indeed somewhat reminiscent of Illusion of Safety, or maybe even something of the Hafler Trio, Empirical Sleeping Consort or Zoviet France (many examples obviously exist). The last 22-minute track Black Water Delirium is a nice highlight where some sort of tenniscourt sounds are being manipulated into dark aquatic and swirling depths that ultimately culminate into their own sonic deconstruction.
The sound fidelity and certain parts of the tape are still very much rooted in the cassette medium and culture. Later this type of dark ambient soundscape music transitioned almost in its entirety to CD and became very inherently clean in production, even if the music was noise. This was the first self-released cassette by Dust That Collects, maybe some other tapes will surface with the time.
PS:
We still have major issues with Zippyshare as an external file-hosting server since it is being blocked in many different countries. You can bypass it by using proxy servers though, which is what you should do. But still, where are we migrating to with the files? Any suggestions?
Here we have another (and also last) of the Exart compilations that had a country as their theme. Exart was the tape-label by Hessel Veldman aka Y Create. He used to be one of the key figures in the home-taping network of the 80's releasing and collaborating with numerous musicians. Besides the Y Create project he was in the band Gorgonzola Legs and did many collaborations with his wife Nick Nicole, Cora and fluxus artist and Dutch underground cult-figure Willem de Ridder.
De Ridder also had his Radiola Improvisatie Salon radio program which played a hugely important role for the home-taping scene in The Netherlands. The idea was that every tape that was sent to the radio show would be played without being heard in advance. A very unorthodox and adventurous approach that sometimes led to the discovery of jaw-dropping musical pearls of unknown musicians. Music From The White House Volume 2: It's A British Treat consists of different English artists (as well as an Irish one) who were mainly active in the home-taping circuit. Most of the cassette comprises of projects by Steve Hartwell who played music under many different guises like The Dead Goldfish Ensemble and The High Tech Pagoda's. Then there is Dave Arnold (a multimedia artist from Essex who used to run the Dead Happy Records label during the 80's) under his project The Starkman as well as a track of his post-punk group Turn Blue. Also Rob Baylis is present under his disguise The Detective and many other artists.
Like many of the Exart compilations the A-side shows more poppy home-taping tracks and the B-Side more sonic experiments. Other Music From the White House volumes are here and here.
Here we have another nice tape from the American cassette-culture network of the 80's by Ice Cream Blisters. A band that came from Kent, Ohio that was founded by Mike Crooker and Chris Mezzolesta and friends, they also did the home-taping label GGE in Kent. Ice Cream Blisters made a couple more tapes and were for example also featured on the Exart compilation Music From The White House: U.S.A.. Their music is quite an eclectic mix-up of many different musical genres and styles like most of the weird American bands from that time.
When Nature Fails, Art Steps In definitely fits a no future mentality having a nice punk style and attitude combined with some deranged new wave sounds and pure sound experiments. It reminds me of other American bands like The Nuclear Regulatory Commission, Blacklight Braille or Strange Fruit Abiku, ofcourse Pere Ubu that also hails from Ohio and probably also many other US bands I am overlooking now one can find in the Mutant Sounds archive. Nevertheless, Ice Cream Blisters has a signature of its own and the lengthy tape has many different musical highlights. From the demented violin infused Vivaldi to the nice lo-fi pop track Drive It Down.
I guess that the punk attitude of Ice Cream Blisters makes sense in the light of US (art-)punk in the North-Eastern and Mid-West states of the US that already had their own special punk-history since the 60's (think The Stooges and the Detroit scene etc). By the way, you can hear that a lot of effort was put in this release. Strange how they have remained so unknown, even after all the music that the blogs have been reviving for the last decade. Maybe some more of their music will surface with the time. It's really good! And not on Discogs.
"Don't be a cardboard celebrity that people pose next to. Don't live in fear of something you don't know really exists, think your own thoughts, they are worth more."
This tape was kindly donated by the Y Create archive
In 1986 about 250 cassettes were made that were distributed in the next two years. Most of them were shared in Hungary, but the foreigners also took the tapes with them in royal amounts. In 1988 the band disbanded. Somewhere in the 90's an unknown English film crew made film music out of the recording that I haven't seen or heard since. Then we reformed for a faint experiment being invited by the '92 East Festival... About 250 of the original cassette sleeves remained (the original print got lost), so with a little delay the first "official" publication survived and got published. We didn't have money to purchase the studio recording tape (it also vanished since then (without a trace), so after finishing this at home (as homework) the material only remained available on cassette. Now on the last bit of the B-Side an instrumental recording has surfaced that we didn't play at any of our concerts. A book with lyrics was made in '88, which will be republished, but as of now it doesn't go any further, thank you for the interest, jó mulatást, SZIA! (Have fun, BYE!), Budapest '96 Karel
Zajártalom means "Noise Pollution" in Hungarian and this little cassette here is an ultra rare music relic from the Budapest underground. And also of industrial music culture behind the communist iron curtain in general. I have uploaded some Hungarian industrial tapes before of bands like Art Deco, BP. Service or musician Kósa Vince. Zajártalom kind of fits a similar realm, mainly in its use of cut-up and collage, but they also move into greyer alternative noise-rock areas similar to the shamanic noise-rock punk of Vágtázo Hallotkémek or the obscure Hungarian industrial project Falatra(x).
The music is pure experimentalism with improvisation where noise and collage find each other with an added protagonistic role for dark existential poetry through lyrics. I wish I would be able to tell more about what the the lyrics say. Also the text that is recited at a certain point by a child is some of the darkest existential stuff I have heard. These are all musical examples of real subversive and deep artistic statements in need of freedom in a totalitarian country in which grey society bleakness and state censorship were shaping daily life. To get an idea of this feeling and to understand the Hungarian music underground within this bleak communist realm I recommend you to watch the 2012 documentary East Punk Memores which is uploaded online. It gives a nice view on the mentality and life back then.
This Zajártalom cassette is such a special document of that time and it's not often I stumble upon these things even when I know quite some of the underground figures of that time in Hungary. Ofcourse there was some Industrial music in the former socialist countries, but in extremely marginal forms. Czech Republic had a movement, Poland, Hungary etc. and ofcourse Yugoslavia that really birthed some iconic bands like Laibach or Borghesia. The political circumstances differed per country and in Yugoslavia there was less cultural censorship for example. Some punk and wave music from the west came out quite regularly on vinyl. Also their cinema was not overdubbed so people could much better understand and learn English and deal with all the marginal information. In Hungary it was much rather fragmented. A handful of people knew about industrial music somehow. Some tried to musically mimic that style, but some were just making noise or some detuned rock music and ended up doing industrial in hindsight.
A few examples of how Industrial music entered Hungary from what I know is the visit of some Hungarian punks to East-Berlin in the 80's. The East-Berlin punks knew about Einstürzende Neubauten, but also had more knowledge already about new wave bands like The Cure and such. Furthermore I know that Antwerp based industrial pioneers Club Moral visited the artist village Szentendre near Budapest at the beginning of the 80's where they also played live. This village birthed the legendary Hungarian art rock group A.E Bizottság for example, that was formed by a group of artists and painters.
Then later on in the first Budapest underground pubs like Fekete Lyuk (Black Hole) there were some alternative concerts. Once there was a concert of Belgian industrial band à;GRUMH, but this was already later than this release, maybe around 1989. The German Neue Deutsche Welle group Der Plan did a legendary compilation with different European bands called Fix Planet! in 1981. The album contained the first release of Esplendor Geometrico's cult song 'Moscu Está Helado' (Spain) for example, but also a track by Vágtázo Hallotkémek. Der Plan visited Budapest back then and met the band according to the sleeve notes. Anyway one never really knows how the information flow worked precisely, but these are just some examples of Industrial and underground music encounters in Hungary during the socialist times. Check out the energy of this cassette, it's pretty interesting. It's all an answer to political repression as well as self-established anti-culture as an antidote to this repression. There is a so called 'album' entitled Áldozati Énekek (Songs of Sacrifice) on the A-Side that I couldn't dissect into different tracks and a Live recording on the B-Side that doesn't sound much more live than the A-Side. A rare relic of subversive experimental music from behind the iron curtain. Marginally released on cassette in 1987, officially marginally re-released in 1996.
Music From The White House was a series of compilations on the cult home-taping label Exart from The Netherlands that was created by Hessel Veldman aka Y Create (also in Gorgonzola Legs) and his wife Nick Nicole. The compilations were made around different countries: Holland, England, France and the United States.
On Music From The White House Vol. 4: France only home-taping acts are compiled from the French 80's underground. Amongst others present is the experimental noise of Brume, the Artaud and De Sade inspired sounds of vulgarity by Suckdog affiliate Costes and the improvisation of Klimperei and La Sonorité Jaune. Furthermore there are some French lo-fi synth-punk tracks by the Dirty Husbands, Cripure S.A. and Hermaphrodisiak which all remind me of Kas Product. Lastly there is a minimal synth track by DZ Lectric and Anton Shield and some miscellaneous home-taping tracks throughout the whole compilation.
Another nice compilation from the 80's containing some better and some worse tracks that display the uncompromising home-taping spirit of the time in the context of transnational music exchange. The Exart label on which this was published functioned as one of the key cassette labels of The Netherlands in terms of home-taping distribution. Soon I will upload the Music From The White House: USA cassette as well.
This cassette was kindly donated to the blog by Hessel Veldman/Y Create.
Message:
Crazy enough, I've got Archaic Inventions mapped out for at least a whole year: if not longer. The amount of never heard material and new content is vast, mind-blowing and extends into many different musical genres. Also I am working hard on establishing the upcoming record label simultaneously with various sound-art and podcast projects. Furthermore I'm developing a live-set of my own music that will see the light this summer.
The digitization process demands time and I have to balance all these different projects. I'll try to do the best I can to keep up the consistency of the blog, but there will be moments which will demand prioritizing my attention to one of these directions. Thanks to all supporting the blog (some of you since many years)! Lots of stuff still to come! - Bence AI
The Value Of Quality is a nice early 80's DIY compilation with mostly Belgian acts that was released on the Aerosol P&P label that was run by Guy de Bièvre who was also the person behind the home-taping act One Hundred Poems From The Japanese.
Like with most Belgian tape compilations this one too has many contributions by Insane Music For Insane People protagonist Alain Neffe. On the cassette we find different minimal synth tracks by his projects Bene Gesserit, Pseudo Code, Cortex and Human Flesh. His projects have seen many reissues on a variety of labels these last years. In the past his musical output on cassettes were probably Belgium's most wide-spread home-taping sounds. I am not sure whether the tracks on here also appeared on own releases, because there is simply too much material for me to verify.
Then present on this compilation is Flemish singer and artist Claude Perwez aka Kloot Per W. Also there is an industrial noise track contributed by Angst which was a project by Flemish writer, poet and musician Erik Vloeberghs. He also had
projects such as The Firing-Squad, Kwajongens In Bloei and The Parts. He was
closely related to the Antwerp based industrial and interdisciplinary
art group Club Moral.
Furthermore present here are British home-taper Jack Marlow (possibly based in Germany back then) and the
legendary French minimal-synth and artist collective La Fondation from
Paris that consisted of many amazing music acts like Nini Raviolette,
Hugo Weris and Lefdup & Lefdup.
Speaking about A Concise History Of West-European Folk-Art the only non-European contribution on here (I think) is the Canadian punk band Zyklon B, although it might be a Belgian punk band with the same name. The rest of the contributions are undoubtedly Belgian and unknown and perhaps own projects of Guy de Bièvre.
In any case this is another nicely varied cassette relic of the Belgian industrial, minimal synth and home-taping scene! The Value of Quality of the cassette recording is fluctuating from white noise backgrounds to cleaner production, but hey it's quality stuff in the end that has a value.
Update: I see that this was uploaded a long time ago to the No Longer Forgotten Music Blog. Escaped my attention. Anyway worth it to give this some more attention and it was fun digitizing this. More stuff to come soon!
Druga Liga Prvo Kolo -Second League First Round - is an essential cornerstone compilation from post-Yugo 90's Slovenia. It compiles both Slovenian and Croatian bands that were active in the early and mid-90's in their respective underground scene. Eastern European underground bands from this time were very weird and unclassifiable, playing a combination of both unskilled punk and hyper-complex rock in opposition drenched in a healthy amount of absurdism while existing within a genuine alternative culture based on communal uplifting activisim and desperate local divertissement. Also don't forget that the decade of the 90's in former Yugoslavia and the Balkans was heavily loaded with political tensions and war sentiments that needed an explosive creative output in one way or the other.
Slovenian bands in general, also before the fall of the iron curtain and the disbanding of Yugoslavia, were always very intriguingly weird. With Laibach as main national music reference you know you're in for a blast when digging into the Slovenian musical underground. Other great alternative bands from Slovenia I can think of are Miladojka Youneed, Begnagrad, Lolita, Strelnikoff or the later Pinja Dzazna (who has those files for me!?)
The Slovenian bands on this compilation are experimental group Mamojebac (of which their whole and only existing tape from 1995 Tko Je Ovdje Kome Guzica? is present), strange punk band Absent Minded and the great avantgarde art-rock band Žoambo Žoet Workestrao. The Croatian groups present on Druga Liga are the demented HC-punk group Why Stakla (of which almost their whole cassette Daj, Dođi! from 1995 is compiled) and the free punk no jazz band from Rijeka Plod Mirže (I'm curious if more of their music exists). These bands also remind me of the Croatian band SexA.
Essential uneasy listening of post-Yugo punk-noise-insanity from the underground!
