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20 Years of Avanguarda, Industrial & Electronic Music in Spain, 2nd part

by Shak

PT. 2

120:47 Entr'acte - No es deixi vestir per una màquina (From the LP compilation "Domestic Sampler UMYU", Umyu 1982)
124:09 Segunda Época del Hombre - Estado Natural de Comportamiento (From the LP compilation "Conspiración", Discos Proceso Uvegraf 1986)
125:30 Javier Segura - No Mires Atrás (From the LP "Javier Segura", Jaja Records 1983)
129:44 Vagina Dentata Organ - Chant Premier (From the CD "Un Chien Catalan", WSNS 1994)
132:40 Xeerox - Untitled 7 (From the LP retrospective "1979 - 1981 [Recuerdo Espectral De Un Viejo Decorado Eléctrico], Anòmia 2013)
138:00 Diseño Corbusier - Internada (From the LP "Pérfido Encanto", Auxilio de Cientos 1985)
140:00 Esplendor Geométrico - Neuridina (From the K7 "Eg1", Geometric Splendor Records 1981)
143:55 Anton Ignorant - Banal (From the K7 compilation "Rythmetic - International Compilation", Fusion D.E. Producciones 1986)
148:00 Hegemonia - Sherehzade (From the CD album "Arabian Nights", PSM Music 1996)
149:36 Macromassa - Viejo León en Paris (Unpublished, available in the Podcast "Los Hechos Pérez, Material Extra", archive. org)
152:44 Javier Segura - El Hombre Moderno (From Lp "Nostalgia De Lo Humano", Jaja Records 1986)
157:38 La Fura dels Baus - Ninsey City (From Lp "Noun", Virgin 1990)
161:18 Mecanica Popular - Baku: 1922 (From Lp "Baku: 1922", Accidental Recordings 1987)
165:14 Corbusier Design - Coup de Guerre (From Lp "The Soul of the Star", Hundreds' Help 1986)
168:58 Air Lines - Benelux (From 7 inch "Landschaften / Benelux / Radiotron", Breakfast Discs, 1983)
172:20 La Caida de la Casa Usher - Insecticidios (From the self-released K7, 1984)
176:58 Logo - Teoría del Contacto (From the LP compilation "Domestic Sampler UMYU", Umyu 1982)
179:55 Metal and CA - Data (From 7″ "Data", Lollipop 1982)
184:42 Aviator Dro - Warsaw on Fire (From 7″ "Nuclear, Yes", DRO 1982)
187:59 Tenth Victim - The Sign of the Cross (First Model) (1982)
190:10 The Initiates - I am the Emptiness (From Lp "The Mark of Anubis", DRO 1982)
192:49 Macromassa - I Am Not the Ornithologist (From the compilation "The Last Eccentrics", Sculptured Sounds 1994)
195:59 Oviformia Sci - Fashion Magazines (Instrumental) (1981) (From Lp retrospective "We Talk About Us", Elefant 2014)
200:26 Viennese Line - Island of Sirens (Ulysses) (From Lp compilation "Non Plus Ultra 1980-1987″, Domestica 2012)
203:59 The Last Sleep - Lost in the Tunnel of Time (From 7" "The Tunnel of Time", Accident Recordings 1982)
207:06 New Buildings - Long Journey Stories (From 12″ "Your Message", Klamm Records 1984)
210:17 Fanzine - Sin Complicarme [Originally in Maquetas (1982-84)] (From Lp soundtrack of the film "El Futuro" by Luis López Carrasco, La Fonoteca 2015)
214:16 Claustrophobia - Paris Nostalgic (From Lp "Arrebato (Música per a Vetllades D'Intriga)", Wilde Rekords 1984)
219:51 Uvegraf - Refractiva Ocular Expo N.° 1 (From LP compilation "Conspiración", Discos Proceso Uvegraf 1986)
224:50 Terminal - Antigen Australia (From 7″ "Antigen Australia", Sonido y Tecnica SA, 1981)

20 Years of Avantgarde Industrial & Electronic Music in Spain

by Shak

TWO DECADES OF EMOTIONAL STRATEGIES (text Víctor Nubla).

The presentation party of the album Abstracte, a compilation of strange music made in Barcelona between 1981 and 1986, which has just been released by Domèstica Records, served as an excuse for DJ Blue and DJ Gonzo, who were invited to provide the soundtrack to the party, to prepare, if not the definitive session, then a very exhaustive and complete one. The research work allowed them to gather sound materials from two decades(1975-1995), and they also decided to extend the field of study to the whole of Spain. The result is this three and a half hour journey through time, a fascinating journey through the musical underworld of the cities in an extremely important period, in terms of the transformation and paradigm shift that Western popular music underwent in those years. These changes can probably be summed up as: the dissolution of the frontier between cultured and popular music, the incorporation of electronics into musical creation, in an arc that begins in research laboratories and ends in domestic electronics. Coexistence of the song format with repetitive minimalist models, improvisation and abstraction. These two decades were also marked by the beginning of the crisis in the music industry, at the same time as the proliferation of self-publishing, the consolidation of the cassette format from the moment that duplication technology made it possible to make editions without leaving home, and the worldwide networks for the exchange of self-produced music. As a result, groups and musicians who "didn't exist" for the industry, the press and the circuits became, paradoxically, the first generation to go international and the one that spread here the also strange music that was made abroad.

It is an era that can be documented on the basis of singles, cassettes, compilations and, more recently, a few albums. It is important to take a moment to talk about the compilations, I think they can be useful to get a general idea of what was going on, as they are essentially transversal and, what's more, they were produced online, often as collective and internationalist works.

The production of compilation records and cassettes in Spain has been remarkable since the 1970s (partly due to the logic generated by the difficulty of certain types of music to gain access to a "normality" of diffusion). In the 1980s, moreover, with the world cassette network in full swing, these compilations could contain local music or, very often, be totally international. Necronomicon, Terra Incognita, La Zona, Domestic Sampler Umyu, Vita Nova International, Voices, Notes + Noise, Missing Children, Conspiracy, Zamizdat Trade Journal, Independent World, Loopy But Chic, Luna and Insect Panorama, Fix Planet, Veterinarios del KO's, Barcelona Ficción-Romance, Alter Músiques Natives, are some of the titles of these compilations that were so common until well into the 90s, published in Belgium, France, USA, Spain, Italy, Germany... and almost never in the capitals of these countries, because one of the phenomena associated with the internationalisation of this kind of movement is that many of the active micro-segments were then in small towns, far from the mainstream circuit. The easy access to domestic production and the universality of mail systems brought about a territorial horizontality never seen before (except in the case of mail-art, of course).

Domestic labels, usually created by the groups themselves to promote their music, proliferated and in our territory they did so exponentially, as they did in other countries. On the other hand, this kind of bastard music did not have great access to the concert circuit in any country, but there were groups in an electronic pop scene that more or less made their way through clubs and festivals. These groups adopted the production and distribution systems of the more industrial scene. It should be pointed out that although the use of the same means of dissemination and the "do-it-yourself" philosophy was something that all these groups shared, not all of them made music with the same intentions and objectives. There was a shared political attitude towards the means of production and the means of dissemination, but in many cases the music was not made with a political will, while in other cases it was.

Therefore, we can speak of a happy temporary coexistence between the forces that want to occupy the space of other forces (renewing the aesthetics of popular music, reaching the mainstream market) and the forces of chaos, which conceive a tabula rasa as an objective preferable to that of a hot pot. The only problem in proving this assertion is that here, traditionally, there is no hot pot, not even for the integrated (paraphrasing Antón Ignorant). Well, digressions aside, and bearing in mind precisely this period of happy coexistence and cosmopolitanism, the music that you will hear in the Blue and Gonzo session is the music that, during those years, I listened to at home and at my friends' houses, in the bars where we musicians met and in the clubs where the bands played sporadically. They were the ones we produced on our own cassettes or the ones sent to us by other small bands scattered all over the world. It was these cassettes, singles and compilations that now try to recover and restore current recordings interested in a period in the history of popular music in Spain that, mysteriously, has remained hidden for the following generations. An eclectic period of great artistic freedom, full of daring and uninhibited experimentation.

PT. 1

0:00 Fluence (aka Pascal Comelade) – A Few Reasons to Stay – A Few Reasons to Split (Extracte) (Del LP “Fluence”, Pôle Records 1975)
6:55 Eduardo Polonio – Arsilah (Del LP “Acaricia la Mañana”, UM 1984)
9:15 Jep Nuix – Dit a dit, pas a pas (extracte) (Del 2CD recopilatorio “Alter Músiques Natives”, G3G Records 1988)
12:40 Luís Delgado – El Llanto de Nouronihar (Del LP “Vathek – Procesos Electrónicos Para Instrumentos Acústicos”, Grabaciones Accidentales 1986)
14:00 Música Esporádica (feat. Suso Saiz) – (Del LP homónimo, Grabaciones Accidentales 1985)
19:45 Orquesta de las Nubes (feat. Suso Saiz) – Basura del Coral (Del LP “El Orden Del Azar”, Linterna Música 1985)
23:35 Javier Segura – Desolación (Del LP “Nostalgia De Lo Humano”, Jaja Records 1985)
24:20 Comando Bruno – Landler (Del LP “Muestras Sin Valor”, Discos Esplendor Geometrico 1986)
26:50 Matavacas – S’oda Gargarian (Del 2CD recopilatorio “Alter Músiques Natives”, G3G Records 1991)
29:20 Oriol Graus – Oketus (Extracte) (Del Lp recopilatorio “InfArt ’90”, Discmedi 1990)
32:33 Luís Mesa – Hot Wheels (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
33:43 Interaccion – Claroscuro (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
37:40 Alien Mar – Obstinación (Extracte) (Del LP “Sinfonía Translúcida”, G33G Records, 1991)
40:34 Secreto Metropolitano – Esparadrapo (Del LP recopilatorio “Domestic Sampler UMYU”, Umyu 1982)
44:40 Klamm – Fluide (Del Lp “África Roja”, Klamm Records 1983)
46:05 Juan Teruel García – Claustral (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
49:45 Diseño Corbusier – Meta Metalic (Del LP “Pérfido Encanto”, Auxilio de Cientos 1985)
53:04 Víctor Nubla – Este Es el Famoso Chiste de las Dos Vacas (Del LP recopilatorio “La Zona”, Discos Esplendor Geometrico, 1988)
55:50 Koniec – Bellezas (Del LP “Senza Parole”, Promos 1984)
58:10 Näif – Cristall No. 2 (Del LP “Atlas”, Filobus Records 1982)
63:32 Finis Africae – Radio Tarifa (Del LP homónimo, Grabaciones Accidentales 1985)
68:24 Juan Belda – Pierrot (Del LP homónimo, Grabaciones Accidentales 1986)
72:45 Mohochemie – Silente Moho (Del 2CD recopilatorio “Alter Músiques Natives”, G3G Records 1995)
76:34 Derribos Arias – Lo Que Hay (Del Lp “En la Guia, en el Listín”, Grabaciones Accidentales 1983)
80:15 Macromassa – Sorpresa (Del LP “Los Hechos Pérez”, G3G 1992)
85:35 Neo Zelanda – Alemania Mix (Del Lp “Mix Zelánea”, Auxilio de Cientos 1986)
88:20 La T – Wood-Blood (Del Lp “Dark Fields”, Klamm Records 1983)
92:06 Klamm – Nueva Orden (Del Lp “África Roja”, Klamm Records 1983)
93:55 Alphaville – Nietzsche (Der Geisteskrank) (Del 7″ “Paisajes Nocturnos”, DRO 1982)
96:26 Zush + Tres – Viruses (Del Lp “Evrugo Mental State”, Grabaciones Accidentales 1989)
98:00 Aviador Dro – Nuclear Sí (Versión Maqueta) (1981)
101:25 Los Iniciados – Un Fin De Semana Tranquilo (1982?) (Del 2CD recopilatorio “Druidas Quimicos”, Lollipop 1999)
104:05 Pascal Comelade – Nicaragua (Del Lp “Paralelo”, Parasite 1980)
106:50 Juan Belda – Ytak (Del LP homónimo, Grabaciones Accidentales 1986)
110:57 Derribos Arias – A Flúor (Del 12″ “A Flúor”, Grabaciones Accidentales 1982)
116:10 Arte Moderno (aka Javier Segura & Juan Belda) – Ninette en New York (Del 7″ homónimo, Jaja Records 1982)