BEAT IN ALKMAAR

Een cover van het nummer War or Hands of Time van The Masters Apprentices uit Australië, door The Madd uit Rotterdam, opgenomen op 11 december 2009 in Podium Victorie in Alkmaar.



In het voorprogramma van The Madd speelde de Westfriese formatie The La-La-Lies. De band bestaat nu ongeveer een jaar. De bandleden zijn Sander den Das op zang en gitaar, Chris Dekker op bas, Jurian Bruin op drums en Louis Inghels, gitaar. Dit is de afsluiter van hun set, een fraaie rave-up, waarvan ik de titel niet ken.

RESONANCE

Platenlabel met specialisatie als handelsmerk
Voor nieuwe ontwikkelingen in de popmuziek zijn de kleine onafhankelijke labels belangrijker dan ooit. De grote maatschappijen zijn druk bezig om hun bestaande catalogus uit te brengen op CD en hebben nauwelijks tIjd voor nieuwe projecten. Wat er aan nieuw materiaal verschijnt komt vooral van de kleine gespecialiseerde labels, die hoogstens voor de distributie samenwerken met een grote maatschappij. Hier volgt het verhaal van een label die de afgelopen tijd met interessante platen kwam. Een label overigens -en dat stemt tot nadenken- die zich vanwege de desinteresse bij de media niet meer waagt aan Nederlands product.



RESONANCE: 'Betrokkenheid maakt plaat interessanter'
Platenlabels als Sun en Chess hebben een legendarische klank in onze oren, In de jaren vijftig werd daar de basis gelegd voor de huidige popmuziek. Maar wanneer je foto's ziet van de kantoren en studio's van deze illustere maatschappijen denk je toch: is dat alles? Het pand van Sun Records bestond bijvoorbeeld uit twee kamertjes, waavon de ene dienst deed als opnamestudio en de andere als kantoor. Dagelijks werkten daar Elvis Presley, Jerry Lee Lewis, Roy Orbison, Carl Perkins en Johnnv Cash aan liedjes die wij nu kennen als klassiekers van de rock'n roll. Tijden veranderen en tegenwoordig zitten zelfs de kleine maatschappijen aardig in hun jasje. Zo betrok het onafhankelijke Boudisque (die voor Nederland Torso, Enigma en Intima voor hun rekening nemen) vorig jaar een riant drie-etage pand vlakbij het station in Amsterdam. Maar ze bestaan nog wel, die kleine illustere labels die gerund worden vanuit een zolderkamer en waar men dwars tegen de trend in een eigen gezicht probeert hoog te houden, Nederland kent er een aantal: Top Hole, Eksakt, Kelt en sinds een jaar ook Resonance.

Zolderkamer
Op een kille zondagmiddag in oktober word ik van het station in Schagen afgehaald door een tweetal dertigers die zo op het oog totaal niet bij elkaar passen, Gerard Davelaar, een vlot in het pak stekende moderne zakenman en Rory Falke, een gezellig babbelaar aan wie de ontwikkelingen in de mode van de laatste jaren onopgemerkt lijken te zijn voorbijgegaan. Wanneer we eenmaal in de met ordners, cassettebandjes, telex, fotocopieerapparaat en wasmachine (!) volgestouwde zolderkamer van Rory's eengezinswoning zijn aanbeland, blijken de rollen in werkelijkheid omgekeerd te zijn, Rory Falke is het zakelijk brein en de vlotte verkoper van Resonance, terwijl Gerard Davelaar de ietwat verlegen grafische vormgever van de platen blijkt te zijn,

Import
Het verhaal achter Resonance begint in het voorjaar van 1986 wanneer Rory weggaat bij z'n werkgever Boudisque, om samen met een vriend in Duitsland onder de naam Semaphore Records platen uit de Verenigde Staten te gaan importeren en door te verkopen aan groothandels in Europa, Rory: "We zijn toen begonnen met het importeren van met name sixties-Iabels als Vox, Bomp en Twin Tone. Per plaat halen we tussen de 250 en 1500 exemplaren naar Europa. Toen we dat na een half jaar een beetje redelijk van de grond hadden zijn we ook zelf platen uit gaan brengen van vooral Amerikaanse bands die we zelf heel leuk vonden. Daar hebben we twee labels voor opgericht: Flame Trader voor hardrock en Resonance voor sixties en rock'n roll. Ikzelf heb me vooral beziggehouden met Resonance. Daarop hebben we in een jaar tijd nu 10 lp's en een aantal single's uitgebracht."

Eigen gezicht
De filosofie achter Resonance is dat de platen van het label door de betrokkenheid van de makers ervan interessanter zijn voor de sixtiesfans dan de uitgaven vam de grote maatschappijen. Dat geldt zowel voor de repertoirekeuze als de manier waarop de hoezen ontworpen worden. Grafisch vormgever Gerard Davelaar: "Ik vind dat een label een duidelijk gezicht moet hebben, zoals bijvoorbeeld EMI of Elektra dat in de jaren zestig ook hadden. Vandaar dat de platen van Resonance een groot logo in de linker bovenkant en een witte bovenrand hebben. En door het zwarte blokje op de zijkant bij elke uitgave iets te laten opschuiven zijn de Resonance-platen duidelijk te herkennen in de platenkast. Dergelijke details zijn bij een grote maatschappij vaak niet mogelijk, terwijl ze de platen voor de fanatieke platenkoper juist interessanter maken,"


Fanzines
Voor het vinden van nieuw te contracteren bands, en de promotie van de eigen platen heeft Resonance veel contact met fanzines. Dat zijn door sixtiesfans in hun vrije tijd in elkaar gezette tijdschriften, die er soms wat amateuristisch uitzien maar die veel informatiever zijn dan de meeste gewone popbladen. Rory: "In elk land zijn er wel een paar, in Nederland heb je bijvoorbeeld Heartbeat en the Long Writer. Fanzines hebben dan wel geen hoge oplages, maar de lezers ervan zijn wel fanatieke platenkopers. Via de redacties van fanzines krijgen wij weer veel demo's doorgestuurd van bands die geschikt zijn voor ons label. Het werken via de fanzines heeft tot nu toe veel meer vruchten afgeworpen dan de normale promotiekanalen (radio en de grote Popbladen zoals Oor, Vinyl en Music Maker). Ik heb destijds onze eerste vier lp's naar Oor gestuurd, maar die platen vind je dan terug in de tweedehands-bakken van Concerto, terwijl er niets mee gedaan is. Hetzelfde geldt voor de omroepen, die ook als progressief bekend staan. Ze zijn alleen geinteresseerd in trends en de hele grote namen, Het is dan ook logisch dat de meeste mensen niet weten wat er verder te koop is. Wat dat betreft is de situatie hier veel erger dan bijvoorbeeld in België, Spanje of Italië. Die desinteresse bij de media is er ook de oorzaak van dat we tot nu toe nog geen Nederlandse bands hebben uitgebracht, terwijl er hier wel een aantal goede sixtiesbands zijn."

Ongeletterde types
Alle opnamen die tot nu toe op Resonance verschenen, zijn van Amerikaanse herkomst. Voor de ware sixtiesfans zitten daar een paar echte aanraders bij. Wie zit te wachten op een moderne kruising van the Beatles en the Who moet z'n geluk maar eens beproeven bij de lp Can't help but Shoke van the Headless Horsemen. Allemaal jatwerk, maar de plaat brengt wel je feestje op gang. Fans van Claw Boys Claw kunnen hun hart ophalen aan Random Violence van Sister Ray, waarop de Amsterdammers in de categorie 'compositie' met straatlengte worden verslagen.
Rory: "Wanneer we iets horen wat we uit willen brengen, dan krijgt de bond van ons een budget om de studio mee in te gaan. Na verloop van tijd stuurt de band ons de mastertape, foto's voor de hoes en een biografie. Tenminste, dat hoop je, want George Brigman stuurde ons een cassette en verder niks. Hij is nogal mensenschuw en wil onder geen beding foto's loten maken. De cassette hebben we toen in een studio op laten knappen en Gerard is toen aan de slag gegaan met een oude foto van Brigman die ik nog ergens had liggen. Maar meestal is het aangeleverde materiaal perfect in orde, hoewel Sister Ray nogal wat problemen had met het schrijven van hun bio. Dot zijn nogal eh ... ongeletterde types".

Klapper
Dankzij de import-activiteiten van Semaphore wordt het Resonance label in de meeste Europese landen gedistribueerd: Toch zijn de tien lp's nog niet echt lonend geweest. Rory: "zo'n label is toch vooral lange termijn werk. Heb je een keer een klapper dan gaat de rest van de catalogus ook weer lopen. Op dit moment zijn er van elk van onze uitgaven tussen de 1000 en 2500 exemplaren verkocht. Dot is niet slecht wanneer je bedenkt dot het bijna allemaal debuut-lp's waren en de promotie heel kleinschalig geweest is."

Gerard Davelaar: "Dat is toch ook te danken aan het feit dot het goede lp's zijn. Bovendien is Rory een erg goede verkoper, die de groothandels op z'n duimpje kent." De gehoopte klapper lijkt er inmiddels ook aan te komen, nu de Duitse melodieuze hardrockband Kingdom, voor een aardig bedragje door een grote maatschappij wordt overgenomen van het hardrocklabel van Rory en zijn Duitse compagnon Marcus Roeder. Bovendien staat er op de komende Resonance-release van the Baby Flies een geheide hit in de vorm van het nummer 'In this town'. Met het oog op die plaat is Rory op dit moment bezig de Nederlandse distributie van Resonance via een grote Nederlandse maatschappij te laten lopen. "Onze platen liggen nu nog niet in elke winkel in Nederland. Wanneer je een hit wilt scoren moet dat wel. Vandaar dat bijvoorbeeld Boudisque voor hun grotere producties een deal heeft met CBS."

Music Maker, jaargang 10, nr. 14 - december 1987


RESONANCE 33-8601 - VARIOUS ARTISTS - THE DEADLY SPAWN
The Deadly Spawn is an above average basic garage punk compilation with lots of fuzz guitars, fast sneers and frustrated teenage energy.
There's an earnest profusion of homage paying to the pioneers of trash'n' trash (The New York Dolls, The Stooges) with some pleasently minimalistic sixties fuzzbox guitar gratings from the era when bubblegum collided with the beginnings of psychedelica. But not all the tracks are strict sixties-six styled rockers, some of this comes off as late sixties Doors-esque (Thee Fourgiven) and even mid-seventies styled garage-thumpers (The Velvet Monkeys 'Rock Party).

..... great stuff, and puts everyone of those phoney pseudo Cramps garage comps you see out today to shame ... "
(Option, USA)

..... good stuff from The Velvet Monkeys, Monster Rock, The Skeptics (with the crazed 'Legend of the Headless Surfer', The Subterraneans and a host more ... top heavy with choice quality stuff and well worthy of recommendation ... "
(Bucketfull of Brains, UK)

..... this LP is an essential purchase, with something for everyone ...
(Freakbeat, UK)

..... a promising sampling of Stateside local indie and cassette labels ... "
(Q Magazine, UK)

RESONANCE 33-8602 - GEORGE BRIGMAN - HUMAN SCRAWL VAGABOND
The word "spaced" seems to turn up in any conversation about George Brigman & Split. A real big deal, with a few aficionados (his 1975 album "JUNGLE ROT" album is a real collectors' piece), Brigman is an aquired taste whose biggest influences are Captain Beefheart and British fuzzblues band The Groundhogs. A tribute to Tony Mc.Phee, a version of "Status People", is included on this album, Brigman's first proper European release. As a guitarist Brigman is a heady revelation. "Blowin' Smoke"
for instance, comes off like a very earthy Stooges. Brigman and his fellow guitarist Westerman reach into space uncharted even by Jimi Hendrix. From quiet, airy songs to ones with over-the-top screaming guitar feedback, the moods created by the band are as diversive as they are exciting. "Animal Dope" which closes side one, could well be an authentic sixties recording, except for the thick and rich production with upfront bassguitar, which gives it the finishing touch. The instrumentals really prove that psychedelic punkness can well lead into a complete instrumental approach without losing its thrill if the mood is right. George's guitar playing continued to mystify -especially in "Clap-Trap" a tune drenched with a screeching molten fuzzed out assault, unusual rhythms and a strange psychedelic aura. Here SPLIT's music is a strange brew of the blues, raw psychedelia and Rock 'n' Roll which can be harsh and metallic or smooth and flowing. His music surely can no longer be ignored, so if you like heavy Velvet Underground, mated with the Stooges ...... then look out for GEORGE BRIGMAN & SPLIT ....

.. the guy's a mean guitarist with plenty off flash and power ... a fine introduction, which wil! have people clamoring for more. "
(Goldmine, USA)

..... I sorta-like George best when he heists riffs I know and plows 'em into string-piles of his own invention.
(Spin, USA)


RESONANCE 33-8603 - THE SKEPTICS - SNALLYGASTER
Polished guitar rock with psychedelic touches, some surfand strong songwriting on the debut album from this band from Maryland. The band consists of: Andrew McCutcheon on vocals and guitars. Dennis Crolley on bass and and backing vocals and Stephen Blickenstaff on drums and backing vocals.

Legend has it that the Snallygaster has roamed Western Maryland since 1909. According to witnesses from Braddock Heights, the animal has a long pointed beak, razor sharp teeth, four legs armed with claws like steel, one eye in the middle of its forehead and it screeches like a locomotive whistle. As plans were being made to hunt this godevil, President Roosevelt nearly postponed an African safari to personally assist in the Snallygaster's capture. Reportedly after laying several eggs around the Middletown Valley, the Snallygaster mysteriously disappeared.



" ..... one of those post-punk modern avant-garde pop bands. Original music ... making use of many instruments and nevertheless keeping it basic. They've gat hypnotic qualities ..... if a band deserved the term Modern Psychedelic it's Viv Akauldren, a threepiece with overdubs, but beware ... don't expect old cliches ... "

RESONANCE 33-8604 - VIV AKAULDREN - OLD BAGS AND PARTY RAGS
Their music can best be described as a synthesis of various ethnic, rock and electronic idioms, all converging on one point and through one expression. For example, Phry's use of several guitar and vocal tracks on 'Life expectancy' to create a wide, ethnic, kaleidoscopic sensation and McDonalds use of keyboards on 'As you Wish' and 'NulI' to achieve a liquid, swirling sensation, are definitive of this notion . Other material ranges from personal views to general impressions, covering ecology ('Lost'), history ('Tanzil') and life and death ('Life expectancy' - 'Catabolic Blues' in a variety of styles. lt's the musie howeverthat conveys the mood and meanings here. Trance eighties psychedelia with a booming bass and ethnic touches make an excellent album. The album title refers to "Old Bags", which is a buzzword concerning Ancient wisdom and "Party Rags", which encompasses the idea of clubbing... and how it uses many of the shamanic devices for transforming consciousness (i.e. ritual garb, dancing, coloured light, alcohol and other drugs, code of ethics and music, just to name the most obvious). One of the most promising bands of the USA.

... one of those post-punk modern avant garde pop bands. Original music ... making use of many intruments and nevertheless keeping it basic. They've got hypnotic qualities ... ig a band deserves the term Modern Psychedelic it's Viv Akauldren, a threepiece with overdubs, but beware ... don't expect old cliches.(H'Artbeat, WG)

Viv Akauldren takes an eerie post gloomthrottle posture during'As you wish', while martial drums tromp behind heavily distorted guitars ... Viv Akauldren is hardly a Joy Division/Cabaret Voltaire clone, thanks largely to Viv's restraint in dwelling on the pain and boredom inherent to this plane of existence, exploring instead the metalanguage of the unknowable ... "
(Spin, USA)

RESONANCE 33-8605 - THE NOT-QUITE
Founded in 1977 and now ... almost ten years later they come up with a great moody/psychedelic album. The perfect pop record with eleven fantastic tracks. The NOT-QUITE have always done their darndest to al most single - handedly keep the spirit of Sixties/Psych/Garage music alive and weil in Connecticut - though -, unlike narrow minded purists, they preserve the attitude and the energy without skimping on either technology or guitar
power. This long - awaited album includes perennial live favorites like "You're gonna need me" and "Let her go", both with the edgy vocals obligatory to the genre and Morrie's persistent, hectic guitar; the always - welcome rendition of "Wars, or hands of Time", a different version of "Paint me in a corner" than the one on the Garage Sale cassette; Joe's surprisingly etheral "Heaven sent"; a song from Morrie's old days with local poprockers The Modern Look, the Byrds-y "I don't know how to tell you"; "Get lost girl", a bit of musical fast food, all of fifteen minutes in the making; and another quickie, "Mushroom People", which took about a third as long as the last one to write. These guys aren't a bunch of throwbacks to the Sixties; they take the best of the era and translate it into NOW ..... and have a hell of a time all the way.



..... the sound is raw, but well-produced with lols of wild lyrics, an almost constant barrage of wailing fuzz guitars, with pulsing keyboard passages and twelve-string sentiments were required ... "
(Freakbeat, UK)

" ..... fast moving it is, powerful as a speeding locomotive, able to leap tall buildings in a single bound ... I'll absolutely love it to death. A MAJOR band."
(Pulsebeat, USA)


RESONANCE 33-8706 - SISTER RAY - RANDOM VIOLENCE
With such a name you probably expect a real VELVET UNDERGROUND sound! Wrong ...! It's more into the MCS/STOOGES vein, or maybe it could be an unreleased DEVIANTS album. In any case, their Detroit sound is inventive and forceful and goes through flesh and bones. At least they prove again that the best rock is coming from places where you'd least expect it. You can fee I all the bombastic crank of '69 again, when listening to this album. Sister Ray doesn't seem nearly selfconscious enough about their proletarian retro-rock to want to shoulder such heavy cultural baggage. On Random Violence, guitarists Mark Hanley and Greg Cadman rip up the floorboards with old-fashioned Midwest moxie while Sam D'Angelo has the right idea (if not the right voice) for snarly, sneerly punk (The album contains four tracks from pre-LP singles,including the four-song 7-inch Coming to Terms). Comes with free bonus NON lp 7".

" .. their trashing, churning sound is closer to a sub-psyche revolution that's spinning off at different angles ...
(Underground, UK)



" ..... It contains sixteen cubes of hairy-eyeball style-guitar wipe and sounds about like you hoped the Dead Boys would when you'd only heard about them ... Random Violence wil! swab your ear like a big harsh Q- Tip."
(Spin, USA)

" ..... I count nine of the best songs I've heard in a year, out of 18 offered ... one of the best unknown bands in America today. "
(Pulsebeat,USA)

" ..... A record that epitomizes the virtues of Rock & Rol!: raw, noisy, youthful, grungy, yet simple and melodie as heli. Sister Ray seems to believe in in outright trad-rock assault. There's tons of Detroit-style guitar snarl, hooky sixties influenced folk rock, and, most successful!y, Ramones/ Dead Boys-like punkpop. "
(Option, USA)

" ..... absolute knockout LP from Youngstown, OH. finest. Stunning Hanley/Cadman duel guitar that soldifies the best of the last three decades into one simple distorted maul that spins each of the enclosed sixteen tracks into near anthem status. In drippy understated mainstream terms it's 'pretty essential'. "
(Forced Exposure, USA)

" ..... Crunch-rowdy guitars that stray to the edge of their tunings then dart back for an amped-up power-chord -courtesy Greg Cadman and Mark Hanley, and definitely in the old Lou Reed/Sterling Morrison tradition of axe interlock that somehow always manages to leave a few stray pieces of raggedy fabric flapping in the breeze .... Sister Ray will rock you up and down your block nonstop. "
(The Bob, USA)


RESONANCE 33-8707 - THE UNCLAIMED
A re-issue of their, long out-of-print, debut minialbum. At the time when it was first released (1983) it was almost impossible to get this mini, due to the fact that they pressed up a very small quantity only. If you already had the luck to obtain a copy, you're one of the few! This classic piece of Neo-psychedelia is now available again. Shelly himself could only grow up with The Count Five, The Syndicate of Sound and ? & the Mysterians on his turntable. For those who don't know them yet, THE UNCLAIMED are playing the Sixties or even stronger ... THEY ARE THE SIXTIES ...


Sheldon Shelley Ganz embodies the missing link between the sixties sound and the garage revival: his uncompromising music is able to compete in originality with the Chocolate Watch Band, Count Five, Music Machine, Seeds, Shadows of Knight, Standells and Syndicate of Sound without any reverential fear.
Shelley came from a well-off family; he left UCLA in 1978 and formed the Popes that became Unclaimed the next year: he was already thinking about this name… when he found out that Peter Case (of Plimsouls) knew a guy named Gurf Morlix, who had a band called the Unclaimed during the sixties in the state of New York, took this as an omen.
The Unclaimed were certainly one of the very first and most influential groups of the garage resurgence. Eventual "Long Ryder" Sid Griffin was in the original lineup along with Shelley, and a plethora of other notable musicians would also journey through the band's ranks. Their first EP was a crude but spirited ode to the sound of '66, with Griffin's "Deposition Central" a particularly interesting lysergic moment. The band would have it's black-turtleneck Music Machine look together by their next vinyl outing, a six track 12" EP entitled "Primodial Ooze Flavored Unclaimed". Ganz is firmly at center stage especially with the Seeds-ish "Walk On The Water" and the stand-out "Things In The Past". The production is a bit clearer but no less authentic, with Shelley adhering strictly to the garage band formula of fuzz and farfisa. Rich Coffee, Ray Flores and Matt Roberts gave Ganz his strongest backing to date. Ganz put together several other floating lineups of musicians (including "Yard Trauma's" Lee Joseph).
This is the re-issue of "Primodial Ooze Flavored Unclaimed" released on the Resonance label (Resonance 33-8707/1987) simply entitled "The Unclaimed". Favorites are "Things In The Past" and "Ugh". The killer track, however, is "No Apology". It's in the perfect Music Machine/Moving Sidewalks tradition with all the ingredients a classic garage song needs: cool/snotty vocals with the usual "girl-put-down" lyrics, acid-drenched guitar and a driving beat. It can't get any better than that.

... you should definitely go and buy this record tout de suite if you've even a minute interest in the spirituality and transcendent properties of grungy Rock & Roll. The whole thing ripples with the weirdly bent BEAT that powers only the best sixties nuggets, and 'Ugh' is one of the brashest, wildest ravers l've ever laid an ear on ..... "
(L.A. Weekly, USA)

... when these guys freak-out it conjures up pictures of when The Count Five and The Music Machine reverberated out of car radio's and there was every chance that The Seeds would be playing at your local dive ..... "
(Sounds, UK)

... this is an uncanny dead ringer for the coarse trashfuzz beat of The Chocolate Watch Band and sounds like it couldn't possibly have been recorded after 1966. There's that same booming echo, that sense of being in some cavernous neon grotto .. mad fairy-ground keyboards, rattlesnake tambourines, deep vibrato guitars .... can you resist ? ...
(New Musical Express, UK)

" ..... This kind of tinny pop ... held together with masking tape and enthusiasm - comes perfectly packaged in a superbly tacky sleeve with hazy freak out graphics ... pop ready for a sixties beat film. Shake.
(Underground, UK)

RESONANCE 33-8708 - THE HEADLESS HORSEMEN - CAN'T HELP BUT SHAKE
If there's one group in the over ripe Manhattan rock scene that can drive away the boring stench of mediocrity with tornado force, it's THE HEADLESS HORSEMEN.. These talented young gentlemen hail from such legendary bands as The Fuzztones and The Tryfles.There's no stopping the Horsemen as they gallop into the ears of an unsuspecting world. They all claim a united influence of such great combo's as The Who, The Kinks and The Yardbirds, so be prepared as these four Horsemen not only want your head, but also your mind, body and soul... !

From about 1984 till 1986, the major bands on the NY garage scene had no problem headlining the big places. By early 1987, however, most of those bands had dissolved, rarely played, or had relocated. Although The Headless Horsemen never got to headline the kind of venues that guitarist Elan Portnoy had with The Fuzztones, they were one of the New York scene’s top bands from about 1986 until the early 90's or so.  The Horsemen were four extremely talented musicians joining forces:  Peter Stuart was a monster on the bass; Dave Ari (who’d played a bit with his brother, Justin Love/Justin Trouble) was admirable behind the kit, Elan was a phenomenal lead guitarist, and Chris Cush was one of the best rhythm guitarists you could hope to find.

I don’t know the truth of the following story, but since she gets a co-writing credit, I’m thinking Elan’s then-girlfriend was telling me the real story behind this title. It seems she was on a subway one day, when a little boy was jumping around, despite his mom’s desperate attempts to corral him.  When the exasperated mother told him once again to stop, he replied, “But Mama, I just can’t help but shake.” The song itself begins with its signature riff chiming in. That intro was enough to set crowds into a frenzy at their live shows. The guitar solo shows that Elan was at least as good as he was in The Fuzztones. The band’s vocals also helped quite a bit here, especially when they bring it down. In essence, this was quite the dance floor favorite and you’ll likely understand that the moment you hear it.  Don’t stop with the single, get the whole debut LP, as there’s some wonderful material on it.

Elan would briefly play with his brother in The Lone Wolves, then get together with his girlfriend to form The Roamin’ Numerals.  Chris and Peter went on to form The Bitter Hearts (named, I believe, for a song Peter had written while in The Tryfles). Dave joined up with The Devil Dogs for awhile, then went on to play in a group with his wife.

... Many people have been waiting a long time for this one ... The sound promised is rockin' garage psych and that's what you get. From the opening title track, through the Elevators influenced "I see the truth", the manic R'n'B of "The same old thing" to the wild wigged out "Cellar Dweller" the pace is electric, fuzzed-up and freaked out with same superb hooks and an excellent eighties production. This is GARAGE -get it ... "
(Freakbeat,UK)


" ..... The Horsemen's gritty vocal lines and bittersweet pop-psyche makes for authentic Byrds cut and Beatles jacket music ... Alluring and remarkably embracing."
(Underground, UK)

They are capable of writing wonderful melodic pop-songs, this is the best nouveau garage record I've heard "
(Option, USA)

" ..... there's fury in these grooves and fire in the guitars to please the most fuzz-hardened noise addict ... you've got a number one, best-selling, chart-topping club fave LP ... "
(Pulsebeat, USA)

" ..... The Horsemen play only original tunes here ... A promising debut. "
(Bucketfull Of Brains, UK)

" ...... CAN'T HELP BUT SHAKE is one of the most original, most awesome, most listenabie sixties/garage influenced albums I've ever heard."
(Ratbeat, Finland)

RESONANCE 33-8709 - THE BABY FLIES - RAIN
(later released in a different cover)



























RESONANCE 33-8710 - THE C*NTS - THE FIRES OF SPRING
Yet another missing piece in everybody's record collection, though maybe just a few of us ever heard from this band at all. Well, these guys are on the road since 1978 and released some self financed seven incher's which are of course impossible to find nowadays. If you missed their singles and album, here's another chance for you. They also appeared on the Voxx compilation "Beasts from the East", for those who want to check out first how this band sound like. They show a strong Doors/Iggy Pop influence, but the overall sound is their own.


..... the album has an excellent menacing Doors/ Garage sound but each song is a very weird experience mainly due to the odd songwriting of Mike Pocius and Mickey Crnich .. an excellent Lp, tailormade for that unstable moment. "
(Freakbeat, UK)

... Just picture a head on collision between ? & The Mysterians and Iggy Pop at 100 mph. Raw Energy, haunting vocals and an attitude that's honest and fun. If there's any justice in the world The C*nts would be nationwide. A must for maniacs."
(Sound Choice, USA)

" ..... There's harsh vocals and rough sound but lots of really stylish guitar playing and lots of good songs with melodies, hooks, ideas et al .... slightly schizoid but thoroughly enjoyable. "
(Ratbeat, Finland)

RESONANCE 33-8711 - SENATOR FLUX - SHOTGUN FOR COSMO
The debut LP from SENATOR fLUX, Shotgun for Cosmo is an eclectic collection of tunes, ranging from the ice-pop of "New Age Alchemy" to the death-surf of "Black Road", through the sensitive balladry of "The Distance" to the country wisdom of "Zeno's Half Step" and finally resting in the epic tradition of "Three Rings of Ballantine" . Beneath the mosaic veneer, Shotgun for Cosmo relates the cohesive vision of a rising figure on the rock'n'roll horizon: SENATOR fLUX.

SENATOR fLUX's Medicine Cabinet:
DAVID LEVINE - Lead Vocals, Harmonica
JEFF TURNER - Lead Guitar, Keyboards, Harmonies
TIM GOLDSMITH - Bass Guitar, Harmonies
MARK BLACKWELL - Rhythm Guitar
DOUG COHEN - Drums, Harmonies


The Birth and Early Education of the Senator:
SENATOR fLUX is the love-child of David, Jeff and Tim. Best friends at Walt Whitman High School in Bethesda, Maryland, the three began developing their musical sensibility in Jeff's basement studio. Jeff and Tim had formed DR. Q., who's single "Sunday Oneday" was featured on the WGNS (We Gots No Station) compilation out of Washington D.C. and needed a harmonica player for a new tune on which they were working. Their best friend David was in town for the weekend, on vacation from Yale University where he majored in philosophy, and a collaboration was born. He happened to have lyrics which perfectly fit Jeff & Tim's timeless melodies and pulled out just the right harmonica riffs to create a monster right before their eyes. They had no choice but to form a new band. (This song appears on the album as "Nomadology").

Meanwhile, Jeff recorded two critically and commercially successful albums on the Dischord label as the singer/songwriter of GRAY MATTER, but continued jamming and penning tunes with Tim and David on the side.

Though they gigged for a while as THE HAPPY MACHINE, music making was always in the margins of their relationship. They were into the same books, the same flicks, the same bands and loved just hanging out together. It wasn't until the record deal that they understood destiny just wasn't gonna let them hack around; there was music to be made and they were the one's to do it.


Back in New Haven, David was playing with fellow Yalies Doug Cohen and Mark Blackwell as SENATOR fLUX. They recorded a couple of tunes for Some New Ruins - The Yale - New Haven Compilation. The rave reviews in OPTION and SOUND CHOICE got them noticed: they were invited to submit a demo tape to Semaphore Records, an international label out of The Netherlands and Germany. lf he was to become an international rock'n'roll star, David wanted to do it with his best friends by his side. He hopped a train down to D.C. and recorded some new tunes with Ta complete the project, David fused the best elements of his D.C. and New Haven scenes to create the philosopher's stone of rock'n'roll, the current and future SENATOR fLUX. Between the musicianship of the individual members, their mutual love and respect, the original songwriting of Jeff and David, and the technical wizardry and production skilIs of Jeff, SENATOR fLUX has been able to actualize a unique vision destined to find a niche in the hallowed halls of rock'n'roll. Thanks for being a part of it.

Tim and Jeff. Needless to say, our European friends were tickled by the new material, and paid for the full twenty-four track recording.

" ..... Whimsical and tuneful, Senator Flux attack the poppish folk-rock of the sixties from an angle that resembles late Monkees more than the cryptic mysticism of R. E. M. or the acid damage of bands like Plan 9. With country, folk and Highway 61- style Dylan references abounding, this band is fun. Jeff Turner is a full-bodied, inventive guitarist, and David Levine can write and sing ironie, deadpan lyrics with the best of them. "
(Option, USA)

RESONANCE 33-8812 - THE BLACKLIGHT CHAMELEONS - INNER MISSION
After exploding on to the local garage scene in the fall of '85, The Blacklight Chameleons were the first of the new bands to succeed in capturing a genuine element of psychedelia, while still keeping with the no-nonsense(!) edge of the wyld new garage bands that now seem to be sweeping and creeping into every corner of the nation and Europe as well. Fronted by ex-Mad Violet Dino Sorbello on guitar and vocals, and featuring ex Outta Place Andrea Mathews on drums, the quartet released their debut mini-lp currently available on Voxx Records. This record demonstrates the wide range of material penned by both Dino and their keyboardist Bill Ebauer, from bright, catchy pop tunes to garage- style classics to acid- drenched sonic voyages. 'Inner Mission', featuring a new bassist, drummer and lead singer, shows up the groups' excellent and improving songwriting and progress toward capturing the dynamic psychedelic groove. With soaring vocals and brain-tripping over and undertones their all original set is especially amazing to catch live, as they bop out their tripwave love songs and often veer sharply off into consciousness expanding sinewave constructions straight from the heart. Dig them while you can. Get it through your heads.


" ..... I can vouch for their mind-expanding properties. 'The Blacklight Chameleon Theme' is a haunting almost sinister track with plenty of fuzz, some nice keyboards and Sharon's crystal voice, while 'The Reverse' is laiden with wind chimes, Jefferson Airplane like harmonies and a dream like melody pushed along at an urgent pace with pulsing bass and firm drumming. My favourite track, ho wever, is 'Tehru', a kind of Arabic number with some superb lyrics about meditating on teardrops and an exploding consciousness.

RESONANCE 33-8813 - THE CYNICS - TWELVE FLiGHTS ÜP
The Cynics from Pittsburg, PA are the first of a new breed of garage/psych bands coming out of that city and following in the tradition of great Pennsylvania bands like The Swamp Rats and The Fantastic Dee-Jays. The Cynics sound is a combination of sixties folk-rock and sixties fuzzed-out garage sounds, th at really rock out. Kastelic writes the majority of the lyrics, while Kostelich concentrates on the music and guitar. The two kick out songs centered on truth and everyday emotions. If you like your garage fast, hard and sineere, this is the place to start.

RESONANCE 33-8814 - POPEALOPES - AN ADDER'S TALE
Here's the POPEALOPES' album, produced by RUSS TOLLMAN! Twelve songs were recorded in Davis, CA. USA, the town that brought you BLUE CHEER, TRUE WEST, GAME THEORY, THE DREAM SYNDICATE and THIN WHITE ROPE. Since POPEALOPES formation in May 1986, the songwriting has developed great versatility, while still maintaining the essential POPEALOPES' sound: a bottomless-pit groove and a haunting, evocative melody that can be both beautiful and terrifying. lt's a homespun brand of musie th at sifts through the clutter of a post-romantic existence: down avenues of dissonance and distortion, a soul wearied from folk-blues and acid-rock. They're able to musically reproduce that uneasy, intense feeling of unexplainable dread that some people pay a lot of money to achieve by intentionally taking more than the recommended dosage of various prescription and non-prescription drugs. The double guitars gently gasped and heaved together, grounded in the heavy solid beat of the drums and the heartbeat of the bass. It's a mix of a head-trip and garage band grind and it leaves you slightly on edge, but with the feeling that you actually experienced something. In sum, drummer John Nelson said: "It's just loud". '"

BAND HISTORY
I can' still remember the first time that strange sound drifted through my parted curtains. It came in poppy scented and ancient. I found myself being seduced by its presence which could be both beautiful and terrifying at the same time. The musie conjured images of an omnipotent engine with millions of gears grinding all I knew to atoms with a relentiess, throbbing groove. It could also nurture the slow, moist things that live beneath the stone and in my soul. Thus, POPEALOPES was born amid gnarled brown grapevines in the still hot air of Davis, CA., as righteous as the hammer and the axe, as deadly as an adder pie.

• STEVE DUEKER: The dark, moist, moody voice and searing guitar that creates the twisted, thorny melodies that slay the soul and leave the mind-a gaping wound.
• SEAN CROWE: The throbbing bass groove of the rhythm section that takes its pulse and venom from the heart of the adder itself.
• JOHN NELSON: The ever dangerous biomechanical punch press of percussion driving the rhythm of the POPEALOPES into seldom explored nether-regions of the human soul.
• PETER LOHSTROH: The surly, taciturn, enigmatic forger of tortured guitar harmonies and serpentine melodies that build on the corpses of the less fortunate.

POPEALOPES has performed with the likes of CAMPER VAN BEETHOVEN, OMD, THREE O'CLOCK, RED HOT CHILI PEPPERS, THE MEATPUPPETS and SAVAGE REPUBLIC, to name but a few ...

We're spending some time in a cave with a snake. No, really ...

RESONANCE 33-8815 THE BABY FLIES - RAIN
THE BABY FLIES began five years ago when farmer Wisconsin farm boy Jim Waters moved to The Big Apple (New York City), where, within days, he had already met resident New Yorker and guitarist Chris Katris through an ad in the late great East Village Eye. The band they formed was called Tiny Tribe and played "new wave style dance music" and in retrospeet "we we're awfuI" quotes band quoter Jim Waters. "We were together for about a year and then we broke up due to the fact that we could not find any good drummers (New Yark is notorious for attracting really awful musicians) and there just weren't any clubs to play in except CBGB's, but, you can only play there three times a year, it was real frustrating".


Everyone went their seperate ways for about a year and a half during which time Jim played with a Lower East Side band called Dairyland Jubilee, releasing one single called "Baby 999" on their own Foundations of the Universe label, which went absolutely nowhere! Chris had also been busy playing guitar with avant-garde poet/slumlord Copernicus and farming a David Bowie clone band who were booed off the stage at their one and only gig. At this time Jim had been warking as an assistan,t engineer at a 24 track studio, and the plan was to sneak THE BABY FLIES in at nights and on weekends to record the first album. Patricia Healy began working as a receptionist at said studio around the same time. As it turned out THE BABY FLIES needed a singer and since Pat could sing like a bird, she was asked first to join the band and secondly to marry Jim if she wanted to stay in the band. "I do ..... want to join THE BABYFLIES" said Pat and instantly a legend was born!

Influences:
The band's influences are diverse and numerous. Jim and Chris, who both came of age in the Seventies, argue constantly over who's "The Walrus", who's 'The Eggman" and is it PauI or John who's dead? They are both sure that George and Ringo passed away long ago, possibly as early as 1961. Pat, blossoming into womanhood in the Eighties, digs the sounds of today ... Dusty Springfield, The Everly's, The Shaggs. Actually, the influences are so many and some so obscure that they're difficult to pin down but, we'll try. Chris's main influences would include Genesis, King Crimson, Gentle Giant and that whole genre of British progressive artrock bands. Pat's influences include Joni Mitchell, Debbie Harry and Chrissie Hynde. Jim grew up on the Beach Boys, Black Sabbath and White Noise. So there you have it. Explains alot, eh?

The Sound:
THE BABY FLIES attempt a sound that's melodie as weil as driving with an ambiant, hypnotie feel. At the same time "we try not to fall into trends or to keep things simplistic". Tasteful layering of essential, interacting parts, "yeah, that's what we like". Jim, who engineered and produced this album (along with co-producer Chris) records and mixes various NYC bands in his spare time.

" ... slightly folk-tinged rock, dominated by the honeyed vocals of ms. Pat Waters. Beautifully constructed melodie songs like "Don't be a Stranger", "Golden" and the more majestic title track with it's cascades of multi-tracked vocals and guitarists Chris Katris' ringing chords are this bands forte, the latter outstanding. Quality stuff ... "
(Bucketfull of Brains, UK)

RESONANCE 33-8816 SISTER RAY - NO WAY TO EXPRESS
Second sonic assault from these Ohio monsters, with enough sexual complexes on parade here to keep Dr. Ruth busy into 1998. I suggest all females try to get a date with these guys fast, you'll have a great time. Aside from the two songs that keep equating sex with disease (not in the AIDS sense, figure the rest out yourself), you also get the guy who's in love with his mom, the guy who's in love with himself, the guy who won't settie for less than Miss America, the guy who warns his girl about "the creature lurking within" and then ends up raping and killing her in the woods anyway, and I'm not even counting the one where the singer keeps yelling "Bite my pud!, Bite my pud!". Along with the incredible guitar assault, the thing that made RANDOM VIOLENCE the best '87 LP from an American band was the way Sam D'Angelo unflinchingly confronted his uglier side and let us all look inside his brain without charging anything for the privilege. On NO WAY TO EXPRESS, he's hiding, retreating behind all these dickheadcharacter sketches, and while all the personas he creates here are interesting, none of them are him and none of them really teach me anything new. Granted, offering up genuine-human-being openness to a crowd of record collectors probably isn't easy or fun, but if RANDOM VIOLENCE was about alienation, this record is more like a result of it. For now, NO WAY TO EXPRESS is a very entertaining record from the band that still packs the biggest guitar wallop in all of U.S. rock, and you'd be missing out altogether if you chose not to own it. SISTER RAY play their guitars like they were weilding garlic-tipped crucifixes warding oft an entire army of vampires. There's also a synth in SISTER RAY, it isn't heard much, and it's played in an O.K manner when it's used. On RANDOM VIOLENCE they cut to the bone of failed American-Dream alienation, and while they're speaking from the perspective of restless youth, the message is universa!. In one song, they'd rather die young, and in another their friends are just doing that. SISTER RAY ask questions that they know can't be answered and then blow off steam on late vandalism sprees. Sam D'Angelo somehow manages to write most of this without ever coming off as cooler, better, or more pitiable than you - he's just calling it like he sees it. On the album, the band backs him up with the greatest Ramones-via Pagans guitar barrage you'll ever hear.

RESONANCE 33-8817 SENATOR fLUX - SPECTACLES, TESTICLES, WALLET & WATCH
What makes SENATOR fLUX one of the most awe-inspiring bands in America? It may be the crunching, orchestrated guitars; or the dashes of brass and harmonica; perhaps the poeticism of their lyrics combined with a touch of hardcore anarchy. In a way, SENATOR fLUX are reinventing garage-pop-hardcore and folk-rock all over again, and are doing a damned good job of it. Originating from New Haven, Connectieut, the Washington D.e. based SENATORS have gone through a few changes in their three-year history. All current members went to high school together in Bethesda, MD., then going to different colleges. They're now back together in D.e., doing far more than most politicians!



The chemistry of the individuals in this "cabinet" is earth shattering. DAVID LEVINE (harmonica, homs, vocals, lyricist) is a Yale philosophy major who has combined his Ivy League education with inbred sarcasm and biting wit. Working with this lyricist-extraordinaire is JEFF TURNER (guitar, vocal) who's musical degree was received from the D.C. band GRAY MATTER. Mr. Turner combines the best of 70's punk with an 80's hardcore edge to create one of the most original sounds around. The sparks really fly with the addition of JEFF NELSON (ex-MINOR THREAT) on drums. Jeff provides skull shaking drumming whether it's a straight-edged pop beat or the hardcore 5/4. Throw in TIM GOLDSMITH's wallo'-bass, and you've got a rhythm section for the hall of fame ....

Take the opportunity to hear the only likely candidate for the rock 'n' roll presidency: SENATOR fLUX!

... from fake-country, to sixties drenched trash, to your basic guitar strum brilliance, this is a great sounding, musicallly varied record... "
CASHBOX



RESONANCE 33-8818 VIV AKAULDREN - WITNESS
VIV AKAULDREN is not the name of a person; it's the name of a very special trio of Detroit based musicians. A very ODD and ENIGMATIC name indeed, but then again so's their music. NO FORMULA is applicable to VIV AKAULDREN. Their songs have a likeable EXPERIMENTAL glint, and combined with a definitive FLAIR FOR MELODY and COUNTERPOINT the music is both ENTERTAINING and CHALLENGING. VIV AKAULDREN originated in 1982, when JEFF PHRY (guitar, vocals) and KEIR McDONALD (synthesizers) along with drummer Robert Wannacott formed a band called Trancegland. Phry and McDonald developed and focused their songwriting with this lineup until 1984, when Wannacott was replaced by DEB AGOLLI on drums. Re-named VIV AKAULDREN (Phry came up with the name. The basic meaning is said to be "Holy Life") they made their debut on Easter Sunday 1985. A couple of months later they released their first album, entitled "Old Bags and Party Rags". Response to this first vinyl effort was quite favorable and already confounded many critics. In trying to pin down the musie of VIV AKAULDREN they detected Hüsker DÜ, Swans, Sonic Youth, and even early Moody Blues in there. Although some of it isn't totally off mark, with the release of their second album, 'I'lll Call You Sometime" (April 1987) it became clear that VIV AKAULOREN really are in a class of one'
Jeff Phry describes the music as based in a lot of early, so called progressive 70's music. A synthesis of various ETHNIC, ROCK, and ELECTRONIC IDIOMS all converging on one point and through one expression. And being from Detroit, yes they do have a tad of that CLASSIC DETROIT ROCK & ROLL sound.
So here's WITNESS, the third big slice of vinyl from VIV AKAULDREN. On this, the band is producing POP-TINGEO ROCK & ROLL, exploding with enthusiasm and ENERGY. The songs have a PUNK FEEL to them, full of bouncy riffs, muted harmonies, a steady churning beat, and for the most part the guitars are needle-in-the eye. With WITNESS, VIV AKAULDREN has unleashed a SONIC-ASSAULT that'll barely allow the listener to catch some breath.
WITNESS the dawn of one of America's most awesome bands.
WITNESS a vital young band that's destined to be remembered.
WITNESS the sounds of a band of whieh one critic believes that they're the only band to bridge the gap between 70's art rock and new experimental (as in Sonic Youth/Swans) without becoming totally inaccessable.
Just WITNESS, and meeting VIV AKAULDREN might become the best musical experience you've had in a long time.

RESONANCE 33-8819 PSYCHO DAISIES - SONICLY SPEAKING
Back in 1985 the PSYCHO DAISIES released an album and thoughtfully named it "Pushin' up Daisies". An odd title for what turned out to be the band's vinyl debut. Response to the album was overwhelming and critics were unanimous in their views; here was a fascinating band at work, delivering powerful, haunting and evocative rock songs(!) as if their lives depended on it. Pretty exciting and inventive as well. In trying to pigeonhole the PSYCHO OAISIES cri ties have compared them to every band
from Modern Lovers to Rolling Stones, but what it really comes down to is th at the PSYCHO DAISIES play classic rock and roll music for a world that's forgotten what it's all about. Now with their seCond slab of vinyl, SONICLY SPEAKING, further pro of comes along that the PSYCHO DAISIES are indeed very alive and kieking. This time they chose a very apt title for an album where the musie basically consists of the excess and grunge that you'd associate with history's finest rock, blown back to bits and put back together inside out. At the centre of things is JOHNNY SALTON's frenetie guitar playing, always drifted fluidly into grunged guitaf chords with juicy lead lines rooted firmly in Jimi Hendrix's psychedelic moods. While Salton is filling out the sound, MARCO PETTIT (Bass & Vox) and JOHN STIXGALWAY (Drums) are pumping with energy. On top of this is ROGER DEERINO's often sinister voice that sometimes sounds real threatening (remember Freddy Krueger?). All of this SONICLY SPEAKING of course. With this album the PSYCHO DAISIES deliver the missing link between, let's say early Dream Syndicate and Nightmare on Elm Street (all episodes!). So here we give you the PSYCHO DAISIES, this is them, now you do the pushing!

RESONANCE 33-8820 HEADLESS HORSEMEN - GOTTA BE COOL
Four brand new tracks from this amazing New Vork garage outfit. THE HEADLESS HORSEMEN emerged from the ashes ofthe NEWYORK 60's GARAGE BAND scene. The group was formed by long timed Fuzztone guitarist ELAN PORTNOY and Tryfle's mainstay bassist/singer PETER STUART. Sharing vocals with the aforementioned twosome, and playing rhythm guitar is CHRIS CUSH. Drummer DAVID ARI completes the lineup of this highly ENTERTAINING quartet.
Collectively, THE HEADLESS HORSEMEN are dedicated to the CLASSIC SOUNDS of many artists'of the past from Bo Diddley to The Flamin' Groovies, from the Burnette Bros. to The Yardbirds to The Damned and beyond. Yet the sound of the band isn't tied to one era or style moving fluidly from country-esque stompin' to pure pop to fuzz-tinged rave-ups. Loud, proud and unabashedly sticking to their own sound in an era of dones and electric homogenization, THE HEADLESS HORSEMEN look forward to making their own brand of TIMELESS OUT-OF TIME ROCK & ROLL. Put on any of these songs and you'll soon start to remember wh at FUN listening to the radio really was. WAKE UP, it's time for Rock'n'Roll and dancing again. Hey you ... ! I've gotta move right now ... '

RESONANCE 33-8921 PAGANS - STREET WHERE NOBODY LlVES
This record contains fourteen tracks worth of savage gut punch, kick-in-the-nut-bag rock. Recorded mostley in 1978, it is the one and only true Pagans album. On the other albums, rough mixes, most of them without vocal overdubs or guit ar leads were used, in short: rehearsal tapes that the band never wanted anyone to hear.

SIX AND CHANGE, (October 1977), Produced by THE PAGANS
This live to two-track was recorded in a living room in Mentor, Ohio, engineered by Tommy Mackle. ROBERT CONN was the lead singer of the band at this time and MIKE HUDSON was the guit ar player. Later re-mastered at Schneider Recording, a studio specializing in polka recordings by an engineer who kept his fingers in his ears during the session. This version is from the original master tape that was released on Neck records. WHAT'S THIS SHIT CALLED LOVE?, STREET WHERE NOBODY LIVES, (March 1978), Produced by JOHN THOMPSON
These eight track recordings were recorded and mixed at Suma Recording, Painesville, Ohio, engineered by Paul Hamann. These are alternate mixes of those previously released on Drome Records and Treehouse Records.
BOY CAN I DANCE GOOD, NOT NOW, NOWAY, I JUVENILE, I DON'T UNDERSTAND' (Halloween, 1978), Produced by DAVID THOMAS Same recording info as the tracks above. David Thomas also provided some vocals and musette. These are alternate mixes of those previously released.
DEAD END AMERICA, (Winter 1978), Produced by DAVID THOMAS
Recorded at the unbelievably primitive four track Styrene Studio. Engineered by Jamie Klimek and Paul Marotta. Later re-mixed at Suma with Paul Hamann. This is a duplicate version to that released previously.
SHE'S A CADAVER; GIVE UP, (Spring 1979), Produced by PAUL MAROTTA
These live four track recordings were made at a show on a Saturday afternoon in an empty storefront that was a promotional gig for "The Drome", a cool record store in suburban Cleveland. These tracks have never been released, and were only mixed for the first time in 1987 at Noise New York.'
EYES OF SATAN, HAVEN'T GOT THE TIME, DON'T LEAVE ME ALONE, REAL WORLD (1979), (October 1979)
Produced by JOHN THOMPSON AND PAUL MAROTTA These four track recordings were made as part of the expected first LP by the band. Tension was so high during the sessions that the band broke up (the first time), and the project was never actually finished. Mike Metoff played the organ solo on "Don't leave me alone": background vocals on "Haven't got the time" were provided by John Thompson, Ellen Zoslov and Jamie Klimek. "Don't leave me alone" is previously unreleased. The others come from alternate mixes.
The Pagans were the epitome of the down & dirty school of blatant aggro-guitars tuned into sub human keys, bad boy banter from Mike Hudson, the singer laid over the sludgefest of pounding drums and thud bass. Remember ... this is the real thing

RESONANCE 33-8922 BABY FLIES - A COLORFUL VIEW
ALLRIGHT, We know that you expect US to tell you right here what to expect from the new album by THE BABY FLIES. But believe us, trying to describe the musie of THE BABY FLIES is like hoping for some of these so-called "charity-rockers" to cut the crap and get on with the music. So we were thinking of directing you straight to THE BABY FLIES' brand new slab o'vinyl, sit back and wait for your answers, see what you've come up with. But then, that isn't what you expect us to do, now do you? We would say of course that ''A Colorful View" is an appropriate title for this album. That would hint you somewhat in the right direction, for on this, their second effort for RESONANCE, THE BABY FLIES achieve just that. With their music they create a mental picture of a colorful view, and there's no doubt in our minds that you've been there, you'lI recognize the images.
We could go on of course about the songs that start out personal and end up universal, about PAT WATERS' beautiful fragile and velvety vocals, JIM WATERS' solidly melodic writing and arranging, and CHRIS KATRIS' slightly psychedelic guitar and keyboards.

Naturally we can remind you of their debut album, last year's much acclaimed "Rain" and quote the critics on that. Like Optian, to which the album was " ... a real left-field surprise ... , the total joy of this album is its unobtrusiveness; the fact that riffs, ideas etc. don't hammer you an the head, but rathero sneak up and quietly astound you ... " And " the beauty af this album is instantly captivating", is what German magazine Howl had to say.
We could tell you about the band's influences, but apart from a definitive Revolver-era Beatles (listen to the percussion), The Mama's & The Papa's (circa their fourth album; especially on "Searching Everyday") and Pearls Before Swine (remember them?) touch, the list would be too long and obscure to mention, and it would still leave you puzzled. We could let the band speak for themselves, but they would say, "we like music with melodies ... you know, with hooks and harmonies and guitars and all that! Yes, that's right, "we're talking about Pop music" or, "we're just trying to make music that WE want to hear".
Let's face it, we could do it all. But in the end we'll just have to admit that some things are not meant to be described. Simply enjoy. So here you are ... this is the new album by THE BABY FLIES from New York, a urnique city playing music that they want to play, not what they're supposed to play! Give the record a spin, get captivated and spread the word!



RESONANCE 33-8923 THE MELTED AMERICANS - EVIL MONKEY BOWL
The four-piece New-York rockband, THE MELTED AMERICANS began playing together while still students at high-school. Throughout their high schoolyears they participated in many Battle-of-the -Bands competitions and usually emerged the winner.
In 1987, after years of gigging THE MELTED AMERICANS recorded their self-titled (and self financed) debut album for the local Mad Hatter label. The album was well-received and got a fair amount of airplay, especiallly on the college radio stations. Critics began to compliment the band on their obvious talents for CATCHY songwriting and a POPSENSIBILITY not heard since the Buzzcocks or Undertones (to name but two af Rock greatest POP bands) back in the late seventies. Critical acclaim not only resulted in a (still) growing following, but also stirred the interest of people like the organizers of the Ninth New Music Seminar (1988) in Manhattan. They reserved the band a spot at the Seminar's performance series where they were snapped up by Resonance, who backed the production of THE MELTED AMERICANS' second album (and international debut), EVIL MONKEY BOWL. On this album the band displays a definite penchant for SPRIGHTLY MELODIES what makes the songs instantly likeable and hummable. However, don't be mistaken this isn't your average run-of-the-mill chart music, although songs like "BETWEEN DREAMS" or "HOW LONG" would definitely set the charts ablaze. Sticks man FRANK DEFILIPPIS works 'up a sweat in every song and keeps the beat fa st. And while guitarist ED STANKEWICK lets loose some nicely controlled yet flowery fuzz-solos, PATRICK SWEENEY seasons the f1avor of the music by adding colorful organ (neh, FARFISA!) lines which not only counterpoint and accent the guitar, but also allows MICHAEL ROSE to play what is FAR FROM ORDINARY bass chords. Of their music, THE MELTED AMERICANS themselves say: "it could be termed a sort of PSYCHEDELIC-FOLK-PUNK". Just listen to the track "PAX REQUIEM" and hear how these Americans blow up a storm in which the aforementioned styles are melted together into a unique sound that's typical of THE MELTED AMERICANS. Now dip into the "EVIL MONKEY BOWL' and get exquisitely melted!

RESONANCE 33-8924 THE FREAKS - IN SENSURROUND
FREAKS first full-Iength album is here and not a moment too soon. With the 90's up on us, the future of Rock'n'Roll is about to explode in a citric acid supernova of heavy orange rock. While the first wave of "FREAKS' freaks" have felt the tremors from the debut EP, the world at large wil! soon be tuning into the FREAKS' earth-shattering love-sludge vibrations coming your way ...
"In Sensurround", The aptly-entitled LP is a headphone masterpiece of mindblowing proportions that will shake, rattle and roll the collective unconscious of rock with a resounding THUD!. Turn on ... Tune in .. Freak Out! Fot those who like it heavy ... your saviors are here. A cosmic journey with FREAKS is like flying through love clouds of potsmoke on The Jefferson Airplane fueled by adrenaline extracted from the MC 5, while creating the humungous roar of Blue Cheer, only to discover that this UFO was hijacked by The Butthole Surfers and crash landed into the 90's where anything goes. FREAKS' visionary soul embodies itself in the phenomenon known as heavy orange rock ... music tuned to the high energy frequencies of the brightest, loudest, most mind-melting color of them all. This hot and heavy mental sun blast sears into the very core of your being as your subconscious awakens to your own Freak Power and Rock'n'Roll like it ough to be.

RESONANCE 33-9025 SISTER RAY - TO SPITE MY FACE
Very garage sounding and catchy punkrock with touches of the Velvet Underground, Sam D'Angelo and his bass-playing brother Joe get up to their old lyrical tricks on To Spite My Face, penning obvious putdowns (Piss Off and Die), obvious grossouts (Worms, Doctor 9) and original songs that use classic titles (They recycled A Day in the Life on No Way to Express; this go-round includes One Step Beyond and 20th Century Boy). While the energetic record has blisteringly loud sound and some stupendous Hanley guitar work

RESONANCE 33-9026 MASTERS OF THE OBVIOUS - THIS CORPSE IS A WARNING
Here comes the Masters of the Obvious, Ameiica's foremost powerduo. Saying "Nay" to would-be bassists and choosing the most direct route to Rock and roll heaven by plowing straight ahead into the splatosphere with good-old-tried-and-true-everything-ols-is-new loud guitar and loud drums. Not to mention the best songs in the world, so we won't mention it.
BECK DUDLEY, eternal smiling skin basher lashes thee Knoble drum heads ans roars mightily into thee vocal microphone, daring all pretenders to stop this unholy heavenly BOOM. PAUL ANTHONY CAPORINO scrapes his hapless guitar wires, coaxing a true primal wail from his trusty PEAVY backstage amp (15 watts of MOTOBLASYT!), whilst preaching in the truest and most unfalsest tongues of the MOTOGOSPEL.

RESONANCE 33-9027 VIV AKAULDREN - VIVIAN'S FOUNTAIN
This album was recorded in Germany during their autumn 1989 tour of Europe Experimental, pop, progressive, or whatever you call it Vivian's Fountain is the album VIV have been striving for since their formation in the early 80's It s cohesive, unified and conceptual and each song has the potential to be an A side single in it's own right. Hailing from Detroit, Viv's trademark is a blend of ethnic, folk, R&B ,soul, electronic and punk, coupled perfectly with minimalist production The lyrics are breathtaking and the music is a life giving breeze from around the planet Vivian's fountain is a blistering maze of excursions, as intoxicating and vaporizing as ether. It takes time to find a way in to it's volatile current, but a treasure of diseased vision awaits. Essential and highly recommended!



RESONANCE 33-9028 13 ENGINES - BEFORE OUR TIME
The nucleus of 13 Engines was formed in 1985 when John Critchley and Mike Robbins met, when attending York University in Toronto. In the spring of 1985 they formed their first band, known as the Icons. Over the course of the next 2 years they added Jim Hughes and Grant Ethier and renamed the band in 1987 to the 13 Engines. This name was a reference to the automobile industry in Windsor, Ontario and Detroit, Michigan, which were the first two markets to embrace the band. 13 Engines is blessed with the ingredients that make succcesful college radio post punk pop. John Critchley has a striking melodic voice in the Lou Reed drone. Big trashy guitars and sweetly cynical lyrics are their trademark. Sounds magazine in the UK wrote: "13 Engines recall some of early 80's British bands like Echo and The Bunnymen and the Teardrop Explodes, which is no bad thing, but their colonial roots make their sound inescapably one the new world".


RESONANCE 33-9029 PSYCHO DAISIES - 30 MILLIGRAMS OF YOUR LOVE
Hailing from the sun capitol of America, Miami (Fl.),the Psychodaisies take bits and pieces from some of history's finest rock bands, including the Stooges, Velvet Underground, MC5 and then completely turn it inside out. This album iss their most psychedelic one. They dedicate the album to Stevie Ray Vaughn, Syd Barret and even Stiv Bators, giving you an idea what this album sounds like. These lads orginally were together since 1981 and on this one (9 years later), they use lot more guitars with a Detroit British psychedelia (circa 1969) sound. They were Florida's very own Dream Syndicate or Television, except these guys weren't shy about singing about their nasty habits. Froshnider and Salton had a true, full-on songwriting collaboration in full bloom, and their guitars weaved around each other endlessly. Marco was absolutely solid on bass, and Johnny Stix was one of the best drummers ever seen. So put on your paisley shirt, flare jeans and rose colored glasses, get some mushrooms and enjoy!


RESONANCE 33-9030 BIG BARN BURNING - TOPPING THE ORCHARD
The rawness of Husker Du meets the melodies of and guitar riffs of the Who and REM.
Big Barn Burning might give every indication of being country bumpkins, but these farmboy transplants have rock in their blood, as well. Back to the roots music crossed with some tough rock 'n roll and lots less cloying than, say, Scruffy The Cat. The likes of "Northbound By Sunset," "Clapboard White" and "Timber" feature fiery instrumentation and Matt Pelletier's rich, country-in-flected vocals. When you half expect to find seed samples inside the record sleeve, you know you have the genuine article.

RESONANCE 33-9031 THE BURNING RAIN - VISIONS
The ultimate guitar album, reminds on the early Cynics and Lyres. If no one told me, I'd swear this is a reissue of some obscure garage album circa '66-67 . From the low-rent production to the lovely green and pink cover to the nasty fuzz/organ assault, Burning Rain have totally immersed themselves in the period's musical trappings and capture that wonderfully grungy spirit. Psychedelia in the finest 13 Floor Elevators tradition.


RESONANCE33-9032 HASH PALACE - GRIT AND BARE IT
Yeah, true grit and that ain't no shit. From down Dallas-way come 4 guys to rock 'n roll their way through your soul. Metallo-garage dizbusters raising a ruckus with mean, mind-messing string-bending, rattlecan drum- ming and, yeah, it's got the attitude to match. A bit of Detroit by way of the heart of Texas. For the fans of Sub Pop, progressive 90's rock. Great driving Texas GRUNGE. Had their debut on ROCKADELIC RECORDS. This album is a European only release and our of print.

RESONANCE 33-9133 MANDRAGORA - HEAD FIRST
Mandragora is a band that hail from Brighton in England and have been performing on the UK psychedelic rock scene since the early 1980's. The band really got going towards the end of the free festival era, playing their first gig in 1983. The band were very Hawkwind influenced in the early days. While the bands material in the 80's due to it's guitar and synth driven nature was always compared favorably to Hawkwind, the band always experimented with different musical styles. It is this interest and experimentation that has lead to the band's current style and integration of many different musical styles to come up with a cocktail of it's own! Formed in 1983, the band have released 5 albums of their own, and a collaborative album with Phil Thornton. They built up a loyal following on the free festival circuit of the 1980s and '90s, and were signed to Delerium Records. In recent years Mandragora have evolved into a world music/electronic dance act featuring singers and musicians from all corners of the globe.


RESONANCE 33-9134 WONDERAMA
European collectable release on the Dutch Resonance LABEL. This album was produced by Chris Xefos of King Missile at Kramer's Noise New York and is a somewhat giddy mix of hardrock, fuzz box, skittish psychedelia, ill concieved improvisation and rhythmic rants. This band features Mark Alhadeff (known from his work with Darby Crash, Lester Bangs, guitarist Chuck Marcus (former member of the Great Scouts) proving he's an underrated guitar god, Steven Di Bernedetto (you never will hear such an abstract drummer again) and high school buddy Dave Rick (known for his work with: Yo La Tengo, Phantom Toolbooth, Bongwater and King Missile) If you're into a slavish devotion of complex bop, white boy bluez, progressive and pop punk puffery,than this one's right up yer alley.


RESONANCE 33-9135 THE MIRRORS - ANOTHER NAIL IN THE COFFIN
Formed at the beginning of the 1970's by three Lakewood High friends, the Mirrors played a brand of psychedelic pop that pre-dated Cleveland's underground rock scen.e It began in 1971, when Lakewood students Jamie Klimek (vocals guitar), Mike Weldon (drums) and Craig Bell (bass) hooked up with guitarist Jim Crook and started playing out. But they had one problem -no one to play with. By 1975, the band did some studio recordings, and then mutated into the Styrenes (a.k.a. Poli Styrene jass band) Weldon (who went on to join ex-blank-ex) posthumously put out the Mirror's only record, She Smiled Wild, a 45 released on Pere Ubu's Hearthen label in 1977. Another song, Drano in Your Veins was released in 1975 under the name Styrenes (which then included Klimek and Jim Jones, who had replaced Bell). Whereas Mirrors were rooted in rock, Styrenes pursued an entirely different strategy -loungy keyboards, free-form arrangements and dancers to accompany the group. Eventually Klimek and keyboardist Paul Marotta moved the band to New York, where they released two LPs, Girl Crazy (1981) and A Monster and a Devil (1989), a collaboration with ex-Pagans singer Mike Hudson, who delivers seedy Bukowski-like spoken word over the band's music. This album was released on Dutch label Resonance in 1991. It contains Paul Marotta, Jamie Klimek and Paul Laurence. Tracks are: Another Nail in the Coffin, Follow That Blonde, Every Day, I Think I'm Fallin, If I Swear, I Got a Need, We're on our Way Home, Penthouse Legend, And I Saw you, Halt Amphigory, Good To me, Cindy and Kathy and I've been down

RESONANCE 33-9136 ART PHAG - INSTANT VENTRILOQUISM
Second LP of these lo-fi psychosis rockarolla scum bandits; Pre-GORIES