Description
1CD – Import
Bustin’ Out — New Wave To New Beat: The Post Punk Era 1979-1981is an often-startling picture of the no-holds-barred musical ructions which sprang up after punk’s scorched earth revolution. The music termed post-punk is well-represented in many of its diverse strains by some of its prime movers.
CompilerMike Maguirehas made a rigid stand against being pigeon-holed throughout his 30-year DJing career, spreading the message that no sound or genre should be compartmentalized.
This multi-hued set, the first in theNew Wave To New Beatseries, is a fine testimony to this ethos, encompassing anything fromGary Numan‘s austere electronic pop on “Replicas,” through23 Skidoo‘s atmospheric tribal boogie on “The Gospel Comes To New Guinea,” to the scrabbling, guitar-driven pop ofJosef K. What happens elsewhere defies blanket description, as every track charts a different musical seam which, invariably, proved highly influential.Killing Joke‘s radical, apocalyptic approach was often cited as a massive influence on anyone fromNirvanato industrial bands, but also incorporated dub reggae and New York dance music, as evidenced by 1979’s “Almost Red.”
The set also shows how later musical movements germinated in the new technology around this time, especially in the hands of electronic protagonists like formerThrobbing GristleduoChris & Cosey, who pillaged the new sampling possibilities and predated techno with their use of proto-electro pulses, as illustrated by “Heartbeat,” from their 1981 debut album. Or Belgium new beat pioneersFront 242, whose “Body To Body” sounds like a spooked house music prototype. New York was also leading the world at this time, particularly the legendary ZE label, which embodied the multi-genred melting pot of disco, punk, reggae and Latin they called “mutant disco.” The label is represented here byLizzy Mercier Descloux‘s infernal treatment ofArthur Brown‘s 1968 hit “Fire” andBill Laswell‘sMaterialwith “Bustin’ Out,” his first major dancefloor statement before going on to become a world-renowned producer. Another side of the city is presented by quintessential downtown NY post punk/no wave outfitBush Tetrasand their debut single, “Too Many Creeps,” while visionary musician-producerArthur Russellflies the wigged-out disco flag under hisLoose Jointsbanner on theLarry Levan-remixed “Is it All Over My Face.” The set also illustrates how the disparate post-punk spirit captured the rest of the world with theKraftwerkian “Cracked Mirror” from Vancouver’sMoev, Germany’sNo Morewith deadpan electronic classic “Suicide Commando” and San Francisco’s avant-punkTuxedomoon, providing one of the set’s most grippingly-complex outings.
Meanwhile, Melbourne duoDead Can DancematchLisa Gerrard‘s spooky vocals withBrendan Perry‘s subterranean atmospherics on their 1981Frontiersdemo. All perfect examples of how music had moved on since 1977’s spring clean, trampling fences like a herd of elephants during this exciting, unpredictable time. Includes extensive sleeve notes written byKris Needs, with artwork byMike Coles(Malicious Damage). Housed in special (carbon neutral) digi-packaging.
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