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20 Years of Avant-Garde, Industrial & Electronic Music in Spain, Part 2

by Ishak

PT. 2

120:47 Entr'acte - No es deixi vestir per una màquina (From the compilation LP "Domestic Sampler UMYU", Umyu 1982)
124:09 Second Epoch of Man - Estado Natural de Comportamiento (From the compilation LP "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 retrospective LP "1979 - 1981 [Spectral Remembrance Of An Old Electric Set], Anòmia 2013)
138:00 Corbusier Design - Internada (From the LP "Pérfido Encanto", Auxilio de Cientos 1985)
140:00 Geometric Splendor - Neuridine (From the K7 "Eg1", Esplendor Geometrico Records 1981)
143:55 Anton Ignorant - Banal (from the K7 compilation "Rythmetic - Compilacion Internacional", Fusion D.E. Producciones 1986)
148:00 Hegemony - 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149:36 Macromassa - Viejo León en Paris (Unpublished, available in the Podcast "Los Hechos Pérez, Extra Material",
152:44 Javier Segura - The Modern Man (From the Lp "Nostalgia For The Human", Jaja Records 1986)
157:38 La Fura dels Baus - Ninsey City (From the Lp "Noun", Virgin 1990)
161:18 Mecanica Popular - Baku: 1922 (From the Lp "Baku: 1922", Accidental Recordings 1987)
165:14 Corbusier Design - Golpe de Amistad (From the Lp "El Alma de la Estrella", Auxilio de Cientos 1986)
168:58 Air Lines - Benelux (From the 7-inch "Landschaften / Benelux / Radiotron", Discos para Desayunar, 1983)
172:20 The Fall of the House of Usher - Insecticides (From the homonymous and self-published K7, 1984)
176:58 Logo - Contact Theory (From the compilation LP "Domestic Sampler UMYU", Umyu 1982)
179:55 Metal and AC - Data (From the 7″ "Data", Lollipop 1982).
184:42 Aviator Dro - Warsaw in Flames (From the 7″ "Nuclear, Yes", DRO 1982).
187:59 Tenth Victim - The Sign of the Cross (First Demo) (1982)
190:10 The Initiates - I am the Void (From the 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 the retrospective Lp "Hablamos de Nosotros", Elefant 2014)
200:26 Vienna Line - Island of the Sirens (Ulysses) (From the compilation LP "Non Plus Ultra 1980-1987″, Domestica 2012).
203:59 The Last Dream - Lost in the Tunnel of Time (From the 7" "The Tunnel of Time", Accidental Recordings 1982)
207:06 New Buildings - Stories for Long Rides (From the 12″ "Your Message", Klamm Records 1984).
210:17 Fanzine - Sin Complicarme [Originally on Maquetas (1982-84)] (From the Lp soundtrack of the film "El Futuro" by Luis López Carrasco, La Fonoteca 2015).
214:16 Claustrophobia - Paris Nostalgic (From the Lp "Arrebato (Música per a Vetllades D'Intriga)", Wilde Rekords 1984)
219:51 Uvegraf - Refractiva Ocular Expo No. 1 (From the compilation LP "Conspiracy", Discos Proceso Uvegraf 1986)
224:50 Terminal - Antigen Australia (From the 7″ "Antigen Australia", Sonido y Tecnica SA, 1981).

20 Years of Avant-Garde, Industrial & Electronic Music in Spain

by Ishak


The disc presentation party Abstractea compilation of strange music made in Barcelona between 1981 and 1986, which has just published Domèstica Recordswill serve as an excuse to DJ Blue and DJ GonzoThey were invited to put the soundtrack to the festival, to prepare, if not the definitive session, a very exhaustive and complete one. The research work allowed them to gather sound materials from two decades (1975-1995), moreover, they 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 summarized in: dissolution of the frontier between cultured music and popular music, incorporation of electronics to musical creation, in an arc that begins in the research laboratories and ends in domestic electronics. Coexistence of the song format with repetitive minimalist models, improvisation and abstraction. These two decades are also marked by the beginning of the crisis of the music industry, simultaneously with the proliferation of self-publishing, the consolidation of the cassette format from the moment that the duplication technology allows to make editions without leaving home, and the world xarxes for the exchange of self-produced music. As a result, groups and musicians that "did not exist" for the industry, the press and the circuits became, paradoxically, the first generation to become internationalized and the one that spread here the also strange music that was made abroad.

It is an era that can be documented from 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 since they are essentially transversal and, moreover, they were produced online, often being 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 access a "normal" diffusion). In the 80's, moreover, with the worldwide cassette network in full effervescence, 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 y Panorama de los Insectos, Fix Planet, Veterinarios del KO's, Barcelona Ficción-Romance, Alter Músiques Nativesare some of the titles of these compendiums 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 accompanying the internationalization of that kind of movement is that many of the active micro-segments were then in small cities, 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).

The domestic labels, usually created by the groups themselves to spread their music, proliferated and in our territory they did it exponentially, just like in the rest of the countries. On the other hand, these bastard musics didn't have a great access to the concert circuit in any country, but there were groups in an electronic pop scene that more or less was defending itself going through clubs and festivals. These groups adopted the production and distribution systems of the more industrial scene. It is worth noting that although the use of the same means of diffusion 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 in the sense of the means of production and the means of diffusion, but in many cases the music was not made with a political will and, on the other hand, 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 (to renew the aesthetics of popular music, to reach 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 (to paraphrase Antón Ignorant). Well, digressions apart, and taking into account precisely this period of happy coexistence and cosmopolitanism, the music that you will listen to in the session of Blue and Gonzo They were the ones that, during those years, I listened to at home and at my friends' houses, in the bars where the musicians met and in the clubs where the bands played sporadically. They were the ones we produced in our own tapes or the ones sent to us by other small bands spread all over the geography. It was these cassettes, singles and compilations that now try to recover and restore current recordings interested in a period of 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) (From the LP "Fluence", Pôle Records 1975)
6:55 Eduardo Polonio - Arsilah (From the LP "Caress the Morning", UM 1984)
9:15 Jep Nuix - Dit a dit, pas a pas (extracte) (From 2CD compilation "Alter Músiques Natives", G3G Records 1988)
12:40 Luis Delgado - The Cry of Nouronihar (From the LP "Vathek - Electronic Processes For Acoustic Instruments", Accidental Recordings 1986)
14:00 Música Esporádica (feat. Suso Saiz) - (From the LP of the same name, Grabaciones Accidentales 1985)
19:45 Orchestra of the Clouds (feat. Suso Saiz) - Coral Garbage (From the LP "El Orden Del Azar", Linterna Música 1985)
23:35 Javier Segura - Desolation (From the LP "Nostalgia De Lo Humano", Jaja Records 1985)
24:20 Bruno Command - Landler (From the LP "Muestras Sin Valor", Discos Esplendor Geometrico 1986)
26:50 Matavacas - S'oda Gargarian (From the 2CD compilation "Alter Músiques Natives", G3G Records 1991)
29:20 Oriol Graus - Oketus (Extracte) (From the compilation LP "InfArt '90", Discmedi 1990)
32:33 Luis Mesa - Hot Wheels (From the compilation LP "Conspiracy", Discos Proceso Uvegraf 1986)
33:43 Interaction - Claroscuro (From the compilation LP "Conspiración", Discos Proceso Uvegraf 1986)
37:40 Alien Mar - Obstinacy (Extracte) (From the LP "Sinfonía Translúcida", G33G Records, 1991)
40:34 Metropolitan Secret - Esparadrapo (From the compilation LP "Domestic Sampler UMYU", Umyu 1982)
44:40 Klamm - Fluide (From the Lp "Red Africa", Klamm Records 1983)
46:05 Juan Teruel García - Claustral (From the compilation LP "Conspiracy", Discos Proceso Uvegraf 1986)
49:45 Corbusier Design - Meta Metalic (From the LP "Pérfido Encanto", Auxilio de Cientos 1985)
53:04 Victor Nubla - This Is the Famous Two Cows Joke (From the compilation LP "La Zona", Discos Esplendor Geometrico, 1988)
55:50 Koniec - Bellezas (From the LP "Senza Parole", Promos 1984)
58:10 Näif - Cristall No. 2 (From the LP "Atlas", Filobus Records 1982)
63:32 Finis Africae - Radio Tarifa (From the LP of the same name, Grabaciones Accidentales 1985)
68:24 Juan Belda - Pierrot (From the homonymous LP, Accidental Recordings 1986)
72:45 Mohochemie - Silente Moho (From the 2CD compilation "Alter Músiques Natives", G3G Records 1995)
76:34 Derribos Arias - Lo Que Hay (From the Lp "En la Guia, en el Listín", Recordings Accidentals 1983)
80:15 Macromassa - Surprise (From the LP "Los Hechos Perez", G3G 1992)
85:35 Neo Zealand - Germany Mix (From the Lp "Mix Zelánea", Auxilio de Cientos 1986)
88:20 The T - Wood-Blood (From the Lp "Dark Fields", Klamm Records 1983)
92:06 Klamm - New Order (From the Lp "Red Africa", Klamm Records 1983)
93:55 Alphaville - Nietzsche (Der Geisteskrank) (From the 7″ "Nocturnal Landscapes", DRO 1982).
96:26 Zush + Three - Viruses (From the Lp "Evrugo Mental State", Accidental Recordings 1989)
98:00 Aviator Dro - Nuclear Sí (Demo Version) (1981)
101:25 The Initiates - A Quiet Weekend (1982?) (From the 2CD compilation "Druidas Quimicos", Lollipop 1999)
104:05 Pascal Comelade - Nicaragua (From the Lp "Paralelo", Parasite 1980)
106:50 Juan Belda - Ytak (From the LP of the same name, Recordings Accidentals 1986)
110:57 Derribos Arias - A Flúor (From the 12″ "A Flúor", Accidentals Recordings 1982)
116:10 Modern Art (aka Javier Segura & Juan Belda) - Ninette in New York (From the 7″ of the same name, Jaja Records 1982).