The godspunk compilation CD series is a co-operative venture, in which all contributing bands / artistes share the cost of manufacture. Each contributor pays a fraction of the total CD manufacturing cost for each six minutes of audio contributed, gets one page in the accompanying booklet and receives a number of copies of the finished CD album. For volume seventeen, as an example, six minutes allocation cost £70 and the contributor received 40 copies of the CD. This is an effective way of working, as each band / artiste gets their music on 500 'proper' CDs (not CD-Rs) and has their music heard by the other bands' audiences without the hassle of distribution being the responsibility of one person. If you would like to be considered for inclusion on a future CD, contact Pumf by going to the 'contact' page of this website.
A compilation CD featuring twenty-one songs from seven bands / artistes. Features Howl in the Typewriter, UNIT, The Large Veiny Members, Nil by Nose, New born Nihilist, S.L.I., and Heavy Water.
"Many previous issues of godspunk tend to feature a large number of different contributors, many of whom provide tracks of brief duration. This edition features a smaller number of contributors who generally give us rather longer pieces. Does this represent an improvement? Not necessarily – although it does provide a contrast to some of those earlier compilations. The range of styles and idioms remains, of course, since this has nearly always been a constant feature of these collections, although it isn’t quite so dramatic or impressive as on previous volumes.
A compilation CD featuring twenty-three songs from nine bands / artistes: Howl in the Typewriter, UNIT, The Large Veiny Members, Nil By Nose, Higgins++, Tirikilatops, seven eves, Catholic Overspill Blame dJohn, and Spam Javelin.
20 Gold Pieces by Howl in
the Typewriter was played on Resonance 104.4FM on 30th June 2016, on Pull
The Plug. I received this message by e-mail shortly afterwards from the
"When I first held godspunk
volume sixteen in my hands on Friday 29th April 2016, a thought occurred
to me: it was a Friday when I first received copies of godspunk volume
one back in 2003. I remember I thought to myself: I wonder if we can
persuade pStan to allow us to appear on godspunk volume two. This
series of compilations has managed to continue to titillate, irritate,
intrigue, fascinate and annoy recipients of its odd mixture of music for 13
years. Ee, lad, that’s real champion. I never liked the front covers or
labels very much, despite the glorious colours – I detest clowns, you see?
I’ve always found 2 or 3 tracks I’ve really enjoyed, usually by people
utterly unknown to me. Then there were those contributions from LDB
and the taurus board which I loved . . . whatever happened to them?
Well, LDB now lives in America and is a successful author so that’s
grand. As for the taurus board, their strange fate remains shrouded
in mystery . . . yet while I regret their disappearance from the godspunk
canon, there are plenty of new artists and groups to interest me . . . but I
still detest clowns.
A compilation CD featuring twenty-one songs from nine bands / artistes. Features Howl in the Typewriter, UNIT, The Large Veiny Members, Nil By Nose, Shaun Robert, Dumb Robot Pilot, Nightclub in a Volcano, The Lampost Gullivers and The Atom Furnace.
I invariably listen to godspunk compilation in order of artist /
group, not in their actual running order (I prefer to listen to various
contributions by the same artist / group since I find this makes my review
easier to compile) a curious quality of this particular collection arises:
the continual (one might say incessant) plethora of tracks imbued with a
mechanistic, robotic, harshly electronic mien has an unfortunate
consequence. Where these tracks when heard in isolation (or, say, after a
Coldplay track – assuming anyone out there is daft enough to possess any
Coldplay tracks) sound big, bold, powerful and impressive, when clustered
together on a single disc, their impact is severely diminished. This is
unfortunate. I listened to the album again – this time with the tracks in
the order compiled by pStan – and there is a marginal improvement but not
enough to obviate my complaint: this collection, though abundant in quality,
is deficient in variety – a comment I never believed it would ever be
necessary to issue with reference to an edition of godspunk.
A compilation CD featuring thirty-five songs from nineteen bands / artistes: Howl in the Typewriter, UNIT, Dimm D3ciple, The Large Veiny Members, Nil By Nose, Shaun Robert, Bartles, Cow, Sil Pid, Ddong, Kimchi, Babobo, Tirikilatops, Baby Shit Pad, Royal Spud Hair, Benny Fitfraughd, Scraps and Peawet and The Revolutionary Army of the Nation State of Dave.
"The seasons trundle on their
inexorable course, fads, haircuts and styles of trouser come and go, but one
thing is steadfast in its surety. At some point in the calendar year there
will be another marvellous godspunk compilation. What do they put in
their tea in West Lancs? As ever Howl in the Typewriter keeps up his
one man crusade for intelligently deranged pop; the creepy Transmitting
from Earth, (with its Idiot Joy Showland casio line), Atrophy and
Spider Respects Nothing will, in time, be pillars of the rock canon
and will get him that in-depth Radio 4 interview with Melvin Bragg.
The other godspunk stalwarts, UNIT, give us a whole set of
different ideas from instrumentals like Final Fantasy that seem very
ghostly and 'not here', as if the band has somehow a hologram that they can
wheel out, to THUMPING bedroom dance tracks like Deutschland Du Warst Als
Kiond Schon Scheisse. The two tracks, Iris Watson and Mordecai
Watson, however, are gloriously messy, difficult UNIT excursions,
and the most itchy of their tracks.
Obligatory Review or How To Make Oneself Extremely Unpopular
So there we have it: for me the top 3
Now for the revelation. I noted my generally very low marks for nearly all those really short snippets and realised often this represented a reaction to the works based on their presence between longer pieces on the album (I erroneously came to regard them as interruptions rather than works in their own right) rather than for their intrinsic merits and I am aware this reveals a most unfair review . . . so I programmed my computer to play each of these pieces in succession. I recommend virtuoso players of CDs do the same. It works! At least, I didn’t find any of these pieces remotely irritating or annoying although I did find the experience somewhat dada! For me the major discovery of the set was Dumb Robot Pilot. I hope they make contributions to future godspunk collections. The work of Shaun Robert also intrigues me. Request: please can the main colour on the next godspunk be a shade of blue, green or purple? I’m hacked off with all these reds and oranges!"
Andy Martin for UNIT, 12th October 2014.
A compilation CD featuring twenty songs from nine bands / artistes: Howl in the Typewriter, UNIT, John Tree, Dimm D3ciple, The Large Veiny Members, Nil By Nose, The Melodramatic Monkey, The Flesheaters and Shaun Robert.
"In the booklet that accompanies the new
godspunk record we see a picture of multiple schoolgirl pStans (aka Howl in the
Typewriter) hanging out with Sir Margaret of Thatcher. Somehow this “obviously doctored” image brings to light the Oz trial of 1971 especially Neville and co’s jolly, consciousness raising japes. With a little reflection on our side we can see that somehow this image is a blast from another time, a sort of memento mori of how “indie/alternative shit” used to be. Not busy with trying to make everything into some platform-friendly unit of production.
A compilation CD featuring twenty-two songs from thirteen bands / artistes: Howl in the Typewriter, UNIT, Data's Cat, John Tree, Dimm D3ciple, XxiiJ, The Large Veiny Members, Nil By Nose, Stevan Barnes and The Flesheaters.
"Yet more from the
institution that is Pumf Records: volume twelve of the long running godspunk
series no less, though sad to report an LP that charts the breakup of what
constituted UNIT’s line up since 2005, which is sad because I have
a particular soft spot for the records they’ve knocked out since then –
hopefully a phoenix of sorts will soon rise out of the ashes.
"Howl In The Typewriter –
"Right, well I've decided to put pen to paper
. . . or to be more exact, finger to keyboard, write a review of godspunk
volume twelve. This review has been re-written six times, I keep listening to the tunes and reassessing them each time. I've taken a leaf out of UNIT's book, going to rate each contribution. Each score is a combination of subjective reaction moderated by how close I think they got to their objectives.
A compilation CD featuring twenty-two songs from thirteen bands / artistes: Howl in the Typewriter, UNIT, Laszlo Klemke, Data's Cat, The Johnny Lieberbaum Pops Orchestra, Dimm D3ciple, The Large Veiny Members, Kunzysteem, Nil By Nose, Englandz Glory, Spycore, The Glue Machine and The Earls of Monte Cristo.
"Where to begin? Well this, the
eleventh godspunk compilation has UNIT’s eloquent and
remarkably insightful ode to Middlesex and England’s Phil Tufnell, which
is as good an excuse as any to buy this record. In fact we could stop the
review there; such is the power of that image, but we won’t. godspunk
compilations always throw up things that just couldn’t be heard anywhere
else. This is a stage for the forgotten, the unwashed, the bunker dwellers
and the slightly deranged and as such Incendiary embraces it. No scrubbed up
types here begging for your attention. If you don’t believe me listen to
another of UNIT’s offerings on the LP, My Parents Are Dead But I
Wish It Was Me Who Had Killed Them.
thanks for the wonderful godspunk volume eleven - I listened to it
all weekend whilst doing mundane tasks like stripping layers of old
wallpaper and it was stunning, nothing sounded like anything I had heard
before which is a rare thing these days. 23 out of 10, go to the top of the
class and fall off (an old Spike Milligan joke)."
bloody clowns – I hate clowns! No, the real reason I’m irritated is
because the taurus board are absent from this edition – YOU ROTTEN
BASTARDS! Come on, own up, what’ve you done with them?
A compilation CD featuring twenty-six songs from thirteen bands / artistes: Howl in the Typewriter, UNIT, Laszlo Klemke, The Melodramatic Monkey, John Tree, Dimm D3ciple, Seven Footsteps to Satan, Nil By Nose, Cyril Bagels & the Alpaca 5, The Shend, Foxhole UK, The Red Guards and tbd.
"Time for more godspunk,
how can we mere mortals resist? And resistance should be futile, because
there are some crackers on here. I may be guessing but this is possibly the
best of the 10 thus far, what is missing in eclectic acts is made up for in
the consistently high level in terms of quality and intent. It’s as if the
bands are really going for it this time.
"Rock & Roll meant
something once . . ."
"Okay then – me (that’s
Richard Wong) & Andy Martin sat here, Saturday afternoon, 2nd July, to
review godspunk volume ten. UJ never reviews these things coz he
reckons he’d be too rude about the stuff and Luc hasn’t spoken to Andy
since December last year so who knows what’s going on? I reckon it’s coz
Andy started to collect the complete recorded works of The Lemon Kittens in
January and now I’ve heard nearly all of it as well, I reckon Luc has a
bloody good reason to feel murderous. Is that really what people used to
listen to in the 1980s? Anyway, here goes . . .
A compilation CD featuring twenty-two tracks from thirteen bands / artistes: Howl in the Typewriter, the taurus board, UNIT, Laszlo Klemke, Dimm D3ciple, The Shi-ites, The Melodramatic Monkey, Balkan’oliks, Boxhead, John Tree, Lenin's Virulent Muscle, The Death of the Enlightenment Project and Seven Footsteps to Satan.
"Ah godspunk, what would
we musical procrastinators do without you? And what’s more, volume
nine is possibly the best of all the godspunk compilations. Some inspiring
and challenging stuff is encased within (as per normal), but where this
compilation wins out is the sheer consistency of the material and the
compilation’s pace and sonic direction throughout. As seems to be the
norm, Howl in the Typewriter kicks proceedings off in lugubrious
style: this time with the paranoid stomp of Edge of the World:
(outside of John Shuttleworth’s celebrated number, is this the only
popular song with repeated mention of Dandelion & Burdock?).
Records' never ending godspunk series is now at number nine, and for that we
should all be cock-a-hoop. Showcasing the mad-bollocked bastards of the
underground is an essential job and here are another 22 tracks of
questionable sanity. A new godspunk is always a cause for celebration even
before the CD hits the tray for two reasons. Firstly, it means new Howl
in the Typewriter tracks. To this warped mind, and aside from the
legendary Dandelion Adventure, Howl is the very best of all pStan's
musical projects and things he's been involved in: not always brilliant but
always interesting, likely to challenge but often extending melodic tendrils
into your brain and the tracks here are no exception. The Edge of the
World is prime Typewriter, nice scattershot beats and farting
synth noises evoking an alien invasion of South Pier, vocals are in pStan's
"slightly more hysterical John Cooper Clarke" delivery. Ace! The
other tracks are of a similar quality, Whales even recalls Joy
Division's Atmosphere and words can't really describe Summer Baby.
Surely it's time for a new Howl album?
Records has ploughed a lonely furrow of independence and adventure for years
and this latest bargain-basement compilation continues its tradition of
shining equal light on the gloriously self-indulgent and the accidentally
nearly commercial. Run the gamut from John Tree's inspired take on The
W*y You Look T*night to Boxhead's Static and Silence".
"There’s no getting away from
the fact that Blackpool manages to house more than its fair share of nutters,
and I guess we can call Stan Batcow [or pStan as I think he likes to be
known] one of them - but in a nice self deprecating way of course, and not a
dangerous ring you up at 6am on a Sunday morning wanting to kill you kind of
way. pStan has been steadily ejecting Pumf release from Pumf HQ for donkeys
years, and every now and then our courses collide and I actually get off on
one of them. The godspunks are welcome and hidden within their myriad
depths there usually lies the odd gem waiting to be discovered.
August 1st 2010 – I (Luc Tran) went to UNIT HQ for a rehearsal and also to
do the regular review of the latest installment in the godspunk franchise
(with Andy Martin). I had to wait until the end of the Test Match between
England and Pakistan (I still can’t understand what Andy sees in this
ridiculous sport) – unfortunately Pakistan lost. To compensate, I
discovered that godspunk volume nine is up there with the very best
of the collections – it doesn’t quite match the glory of No.5 but it
must rank among the top 3.
AM – The backing tapes –
LT – You mean ‘samples’ – get with the century.
AM – As I was saying, the backing tapes are most inventive but the music is too fragmented, the changes lack logic – the result is too much like a sonic jigsaw.
LT – That dance-y bit later on is good tho. The lyrics are totally Rob Simone territory.
AM – You’d best explain that for people who aren’t familiar with him.
LT – Oh yeah, there’s still some people who haven’t heard of Resonance 104.4 FM.
AM – There are still some people, not there is still some people – plural clause.
LT – Oh shut your face. Anyway, Rob Simone presents a programme called Head Room every Monday evening on Resonance 104.4 FM. He’s been doing it since 2004 at least. Check out his website – www.robsimone.org – he interviews all these wild and wacky people like David Icke, Uri Geller and some American pensioner who spent 3 weeks living in an underground city on Venus. He also does shows that are highly critical of American foreign policy, too. Right, advert over. So what d’ya give this then? I reckon 7/10 coz it promises lots but, unusually for HITT, never quite hits the spot.
AM – Yes, 7/10 seems fair enough.
Howl In The Typewriter: Whales
AM – If you’re so concerned about being ‘with the century’ then why don’t you ask Stan to change the name of the group to Howl In The Laptop?
LT – No, it doesn’t have the same romantic ring to it. Famous authors used typewriters – any old cunt can use a laptop.
AM – But I use a laptop.
LT – Exactly. Anyway, this is all a bit wishy-washy, innit? Maybe it needs more analogue keyboards on it rather than –
AM – Oh come on, Luc, get with the century.
LT – Shut up, man, you’re not qualified.
AM – Not qual-
LT – You’ve been listening to Black Sabbath all week. Can you honestly say you’re qualified to give any opinion on anything now?
AM – Well, if you put it like that, no, I suppose not.
LT – So I’ll give this 8/10 – it’s catchy and grows on you.
AM – No, it’s too dreary – 6/10 at the most.
LT – You’re just a sad sap. Go back to your Ozzy Osbourne then.
Howl In The Typewriter: Summer Baby
LT – The vocals are mixed way too low on this – makes the piece sound clumsy and unfinished. That bass guitar sound is groovy tho.
AM – Yes, that’s similar to the sound UJ has adopted for most of our recent material.
LT – This sounds sharper and clearer than our stuff.
AM – Yes, the production on Howl tracks is generally highly professional – but I agree with you about the low volume vocals. This really irritates me, actually, despite the nice bass guitar playing. I’ll give it 4/10.
LT – You keep doing that and he won’t let us be on godspunk volume ten. But I agree, it’s a bit of a platypus this piece – I’ll give it 6/10.
AM – A platypus?
LT – Yeah – sounds as if its made up from bits and pieces that don’t quite mix properly.
Howl In The Typewriter: Ram Raiding
LT – What’s that French punk band from the 1970s that Achoi raved about?
AM – Oh yes, odd little bunch weren’t they? Mind you, so was Achoi. What the devil were they called? Paris Maquis – no, that was their single – Metal Urbain-
LT – That’s it, Metal Urbain – well, don’t you think this sounds like them? Imagine if Stan sung in French instead.
AM – Oh I see what you mean – yes, you’re quite right.
LT – I usually am these days. That’s coz I don’t listen to Black Sabbath.
AM – Look, be fair, I was under direct orders from UJ. There’s no need to be so ineffably otiose.
LT – So in-elephantine what? Oh hold on, the Whales have come back. You know, I can imagine this sung by Liam Gallagher.
AM – Liam Gallagher? You have to be . . . mind you though, now you mention it, yes, I see what you mean – my dear old thing, you really are on sparkling form tonight.
LT – That’s coz I haven’t had my IQ lowered by listening to Black Sabbath CDs. Anyway, what d’ya reckon? I’ll give this 8/10 coz its cool.
AM – No, not for me it isn’t. I’ll give it 5/10.
LT – Ozzy fan.
AM – Ha! That’s rich coming from someone who listens to punk rock.
Dimm D3ciple: The Dream
LT – They’re using my vibraphone! Right, they gain points for that straight away. Wish those vocals were clearer – I really don’t like that weird effect that’s on them. Mind you, when that dance beat comes in and it goes all 1990s on us, that’s really effective – oh bugger it, it’s over.
AM – Yes, it doesn’t hang about, does it? I’ll give it 4/10 and most of that’s for the vibraphone.
LT – No, they deserve more than that – 7/10 at least – it’s a nice, crisp sound and that dance bit in the middle kicks arse.
Dimm D3ciple: Stranded
LT – This is brilliant – punk rock lyric over Brian Eno music – this is really odd. I like it, especially those backward bits.
AM – There’s really no need for the swearing though.
LT – What? This coming from the man who wrote Employment Enjoyment.
AM – No, there was a reason for that – I attacked the gratuitous use of swearing by Channel 4 whereas this-
LT – This is an angry response to parts of our society, there’s a justification for it. Ah, there’s that rave-y type beat again – oh, it’s stopped now, just when I was enjoying it, too.
AM – Well, this doesn’t do it for me at all, musically anyway. The lyric is the best aspect of it. I’ll award it 3/10.
LT – Christ, you’ve really lost the plot. There, the beat’s returned and it grooves along nicely. It deserves 8/10 at least.
The Balkan'oliks: Tree Peva Kozol
LT – The bass guitar and the percussion are crisp and punchy – plus that’s a mighty fine strong vocal, too – this lot were good on the last godspunk as well, weren’t they?
AM – I think so but, to be honest, this piece suffers from being in the same bloody key all the way through. It needs more harmonic variety. The chap has a fine set of lungs though and the mix between vocals and instruments is excellent. I’ll give it 5/10.
LT – Only 5/10? No, it deserves more than that – I know the music’s a bit repetitive but it’s only 2 and a half minutes. No, I like this enough to give it 7/10.
The Balkan'oliks: Dicky Dicky Dick Boom
LT – Do you know, this sounds like – well, it has the same kinda feel as those reggae tracks Resonance plays every Wednesday night. Can you imagine this as a dub reggae thing?
AM – Yes, I see what you mean; it does possess that atmosphere. I tell you what, these people can certainly play – I mean, it’s rather simple but the music is crisp, clear and punchy as you said earlier. It’s a strong production but the music isn’t going anywhere is it?
LT – Well, where d’ya want it to go – Manchester?
AM – Oh come on, my little piranha fish, be reasonable. I mean, I’m waiting for something to happen but it never does. 4/10.
LT – But with that fiddle and everything, it makes the piece more interesting. No, it deserves more than that – 6/10 at least. I reckon this bunch could put together a really interesting album – maybe with a few more chords and different instruments used tho.
Lenin’s Virulent Muscle: Turf The Roads
LT – This is excellent! UJ would love this lyric. It’s really funny if you picture Vladimir Lenin singing it, too.
AM – Yes, full marks for the words . . . pity about the music. I’ll give it 4/10.
LT – But the music sort of growls quietly along in a controlled rage, it’s really effective, especially with the contrast between the high female and low male voices. This warrants 8/10.
Lenin’s Virulent Muscle: Spider Crabs
LT – Ooer – this is a bit drippy, innit?
AM – Acoustic guitar valium rock – it’s dreadful.
LT – Oh come on, be fair – the words are good and the playing’s nice and clear. At least he or she can play that acoustic guitar well.
AM – It’s still dreary to the point of being morbid – it’s horrible.
LT – Bah! May all your pies be filled with quorn for ever more!
AM – Fair enough – I’m a vegetarian anyway, have been since 1983.
LT – Really? I didn’t know that.
AM – You didn’t know I was a veg . . . how long have you known me? Since 2002, wasn’t it?
LT – Well, what about the track then?
AM – Well it is, it’s horrible. I can’t stand this kind of stuff. 2/10 and that’s for the lyric.
LT – They don’t deserve to be dismissed so easily. Mind you, the music is a bit much after a while. I’ll give it 5/10.
The Death Of The Enlightenment Project: Iblis
LT – So what’s going on here then? Ansaphone message . . . someone eating crisps down a telephone line . . . oh shit, it’s one of those tracks, all grim and grisly noises – bloody hell, the speakers are rattling.
AM – Quite right too – if our speakers are to be destroyed then let them be destroyed by something exciting, something vibrant, something that kicks serious arse – so far this is the most impressive track yet.
LT – What? You have to be joking. It’s just a repetitive noise.
AM – Just a . . ? Look, this is the first really impressive track I’ve heard so far – it’s the first piece to display any passion or originality.
LT – That’s being really unfair to Dimm, Lenin, The Balkan'oliks and-
AM – I’m simply being honest. I know The Balkan'oliks have a distinct sound of their own, granted, but their tracks tend to sound similar, to my ears anyway, whereas this piece-
LT – . . . is a repetitive noise.
AM – Jesus Christ in a tutu.
LT – Well it is, listen to it.
AM – There! They heard you – it’s suddenly changed, cut to a slaughterhouse – now we’re in Jacques Cousteau territory – camera pan to a 1920s salon!
LT – Idiot – that’s the next track. That’s what happens when you listen to a racket that deserves 1/10 and that’s just for the ansaphone message – you’re brain’s gone for a burton.
AM – My God, that’s an old phrase – I’ve not heard that for years!
LT – That’s probably coz this horrible noise is sending me back to the womb.
AM – I wonder what the derivation is of that term, ‘gone for a burton’ – it’s most odd.
LT – So was that bloody racket.
AM – Oh you’re a hard bastard at times – I’m giving it 8/10 at the very least, it’s menacing and merely needs a little more variety in the central section to merit full marks.
John Tree: The W*y You Look Ton*ght
LT – What the bloody hell is this all about then?
AM – No idea – Resonance would love this – bits and pieces – that bloody Eric Satie again.
LT – Eric Satie?
AM – Yes, hear that dreadful piano? It’s his most famous piece. Satie is the most stupid, tedious and boring composer France ever produced. The 1920s gear sounds positively ecstatic by comparison. I wonder if this is an original 1920s piece modified by 21st century computer technology or a contemporary person doing a pastiche or a homage to that era?
LT – I dunno but it’s really irritating. 2/10.
AM – You think so? Well, it is a bit ponderous but it’s also rather unusual – I’ll give it 5/10.
Boxhead: Static & Silence
LT – What’s this in – 6/4 isn’t it?
AM – Probably. Jesus, why does this have to be so repetitive? It’s a shame because this is a really nice, cool groove – it needs a vibraphone or a saxophone playing a lead melody or improvising over the top.
LT – Yeah, I agree, it sounds like a backing track to something. The drums are too loud, as well.
AM – Yes I think so, too. There, they heard us – it’s changed now.
LT – It’s still in that same key tho – I wish it’d do something different – it’s started to annoy me now.
AM – The electric piano does that to most people – I do like it even though it is a bit 1970s.
LT – Yeah, that’s what it is – film music–
AM – Absolutely! Imagine this played in the background as an angst ridden young detective in side-burns and flares searches for the missing body somewhere in the backstreets of Paris. I’ll give it 7/10.
LT – No, I can’t be that generous – 6/10.
Seven Footsteps To Satan: The Devil’s Janitor
LT – Oh yeah! All right – this is more like it. Yeah, this is the best one yet.
AM – Bedroom rave – the Chemical Brothers without the technology – but I agree with you, it is rather gear. It merits 8/10.
LT – Yeah, it has energy, a wonderful Hammer horror laugh in the middle and – what? Is that it? It’s over already? Right, well, I deduct 2 points because it’s far too short – I was really enjoying that, too. 8/10.
The Shi-ites: Dopamine Dream
LT – More acoustic guitars-
AM – Yes, acoustic guitar valium rock again – bah, this is miserable, dreary-
LT – Shut up, man, you don’t know nothing about anything. There’s a nice folky type of thing going on here.
AM – It’s perfectly horrid.
LT – That coming from the man who owns every recording Gentle Giant ever made.
AM – Your point being?
LT – Well, it proves your opinion on anything musical simply can’t be trusted at all . . . not at all.
AM – What, so you’d like to hear this again, would you?
LT – Yeah, I wouldn’t mind – it’s all right, I mean it’s nothing special but it’s a bloody sight better than that Iblis racket you raved about.
AM – I don’t care – I give it 0/10 because it’s the most irritating track I’ve heard so far and also because I know they’re capable of much better material – they recorded some far superior tracks on previous godspunks.
LT – You better hope they’re not real Shi-ites or you’ll go to work and find your office has been blown up. No, they should have 4/10 at least.
AM – See? Even after all that ingratiating waffle, you only give them 4/10.
LT – Oh shut up, man, you’re just a pussy. Worse, you’re a pussy who likes prog rock. Worse still, you’re a pussy who not only likes prog rock but you don’t even have the decency to be ashamed of it.
The Melodramatic Monkey: Giraffe & Egg
LT – Hello, it’s Stan again. Not content with sneaking onto one of our tracks, he’s crept into this one as well. He has a very distinctive voice, doesn’t he?
AM – Yes . . .
LT – Why’re ya chuckling?
AM – Because he always sounds so spiteful and feisty – always sounds as if he’s ready to insult someone – it’s a most endearing characteristic.
LT – Here, listen to this – it’s gone into a rolling juggernaut groove. This is pretty bloody good.
AM – Yes it is – an excellent bass guitar or bass keyboard sound – and there’s a xylophone!
LT – A reggae groove’s crept in now – this is brilliant!
AM – Luc, I think we’ve discovered the best track on here!
LT – Yeah, there always seems to be one, doesn’t there? I mean, one track on these compilations that’s obviously and clearly superior to all the others.
AM – Yes . . . pity it’s never one of our own works.
LT – But that’s different – we can’t judge that, can we? We’re too close to our own stuff to be able to offer a proper comment on it.
AM – No, it’s the curse of the creative artist ever to be denied the luxury of objectivity.
LT – Fair enough, I couldn’t put it better myself.
AM – No you couldn’t, because you never read books and you always have that damned I-pod stuffed in your ear like so much plastic spaghetti-
LT – Oh shut up, man, and get back to your Gentle Giant records. Anyway, I’m giving this 10/10. What d’ya reckon?
AM – Yes, certainly 9/10 – I think I’d prefer it to last a little longer.
Lazlo Klemke: The Spyral Suitcase
LT – Now, is this really some undiscovered soundtrack from the 1960s or is it Dan Whaley pretending? I reckon it’s him pretending.
AM – Why?
LT – Coz the music’s all too well produced – the bass guitar is deep, punchy and clear. The only 1960s recordings where bass guitars ever sound like that are those on Japanese pop ‘groups sounds’ records. No, this is all too clear and precise – it even sounds digital. This is someone doing a very clever recreation of 1960s spy thriller soundtracks.
AM – Well, you can always check on the net – type Lazlo Klemke into Google.
LT – Okay then, when I go home I will – of course, if you weren’t such a bloody retro-head luddite, you’d be on the internet here and we could check it out and give a more intelligent review of the piece.
AM – It has nothing to do with my hostility toward technology – I simply don’t want the authorities and the advertisers to know where to find me. I intend to remain below the radar for as long as possible.
LT – Oh well, yeah, that’s fair enough; I can understand that.
AM – Anyway, here we are again with that French detective still searching for the body-
LT – No, he’s found it from the sound of this.
AM – Good – now maybe he’ll bugger off and make his racket somewhere else.
LT – You what? D’ya mean to tell me, in all seriousness, that you don’t like this?
AM – No I don’t – I mean to say, hang it all, this kind of stuff has been done and dusted decades ago and it really wasn’t any good at the time so it’s hopelessly out of step with the contemporary scene now. It’s not relevant to what’s happening now.
LT – But does that matter? Is Bach relevant to what’s happening now?
AM – No, you can hardly make that comparison because Bach serves an entirely different function. It’s music designed-
LT – But it’s still ancient music – it might be really good, I dunno, I find Bach and all that baroque and 18th century stuff boring but if a piece of music was really good in 1966 then isn’t it just as good now? Besides, you could say UNIT is retro – if we were that 21st century then we’d be doing slow jams, R&B and grime.
AM – Oh yes, certainly, but you see I don’t believe most 1960s film music was anywhere near as exciting or dramatic as modern listeners would have us believe. Look at all those trendy Camden types who rave about The Kinks, The Small Faces and 1960s pop groups – most of it is utter drivel. What they’re doing is trying to resurrect what they perceive to be a magical era because they’re too young to have lived during it. Well, I was born in 1966 and my only abiding memory of that period is intense bigotry, ridiculous attitudes and desperate poverty. The sixties were only swinging and fab if you were one of the elite minority of trendy young things whose parents were sufficiently wealthy and indulgent to support your decadent lifestyle. If you were an ethnic minority in Britain, the 1960s were definitely not swinging, fab and groovy.
LT – Well, I can’t say much about that, can I? I was born in 1989.
AM – Good – that means you missed the 1980s, the decade that decency forget – crap fashions, crap politics and crap music. This is irritating as well. 3/10.
LT – Oh come on, it deserves far more than that. I’ll give it 7/10. Actually, if it really is an original 1960s soundtrack then it deserves 7/10 but if its people recreating that sound in the 21st century then it merits 8/10 for being so clever.
the taurus board: the hod cloppers: the first rehearsal
LT – Here we go – you can nearly always rely on Hef to deliver the goods.
AM – Yes, usually it’s worth saving the taurus board until last because his tracks generally form the one contribution to any godspunk album on which we agree.
LT – Pity about that voice toward the end tho.
AM – Really? I rather enjoy that about his pieces, those strange, daft people nattering on about this and that.
LT – But they interfere with the music – like when you try to listen to a programme on an FM radio and some other foreign station starts to butt in – that’s what it’s like. I wanna hear this without that voice.
AM – That’s a fair point actually. It’s a kicking groove though.
LT – Yeah, it’s one of his stronger efforts. Let’s play it again.
AM – Fair enough. Do you realise that when people read these reviews, we come across as real taurus board fans? ‘Oh, it’s those lads from UNIT again – well, I suppose they’ll do what they always do, save the taurus board till last and rave about it as usual.’
LT – Tough! We can’t help it if his stuff is always so good.
AM – UJ doesn’t like the taurus board much.
LT – UJ likes Metallica so his opinion is absolutely worthless. Christ, he’s even more far gone than you are.
AM – Oh, thank you very much. So does that mean you accept my love of Ornette Coleman, The Sun Ra Arkestra and Peter Brötzmann?
LT – Oh shit, yeah, I forgot about all that crap – no, I take it back – no-one’s as far gone as you are. Anyway, I’m giving this only 9/10 because of that silly voice at the end.
AM – Fair enough – but I’ll award it 10/10 despite the silly voice!
UNIT: Employment Enjoyment
LT – You know this could be a really good pop song with an excellent lyric but you had to go and spoil it with all that silly saxophone squealing in the middle.
AM – But Luc, I put that in to make the piece more adventurous and less like a normal, conventional pop song.
LT – No, you’ve already achieved that with the lyric and the splendid harmonic progression you asked me to write for the keyboards. It sounds like a bit of one of your avant garde jazz records has gate-crashed itself into our pop song.
AM – Well, yes, I see what you mean. You know, what really annoys me about this?
LT – Your vocals.
AM – Yes! How did you know?
LT – Because you always complain about your vocals – honestly, they aren’t nearly as awful as you think they are. Okay, you don’t have a very powerful voice but at least you can sing in time and in tune.
AM – I still sing like a strangled parrot.
LT – Anyway, I like this version because I prefer pStan’s voice to Richard’s in the spoken bits. I’ll only give it 7/10 because that saxophone and piano string scratching in the middle spoils it.
AM – Well, I’ll give it 8/10 because those aspects improve it!
UNIT: Minh, Binh & Vinh
LT – God, this is boring. I much prefer the version on Sons Of The Dragon.
AM – What’s the matter with this one then?
LT – It’s too much like heavy metal and it’s repetitive, all that daft twiddly lead guitar. I’m glad UJ wanted the Hammond B3 to be used, tho, that makes a big difference.
AM – Yes, your playing has definitely improved over the years – not that it was ever bad.
LT – No but sometimes I went out of time – my time-keeping was dreadful when I first joined the group. This rocks along nicely but it needs something more to make it interesting and less like some 1970s rock thing. I’ll give it 5/10 and even then I’m being generous.
AM – Well, I quite like it, especially since I’m not on it, so I’ll give it 7/10.
UNIT: Labor Callum Obducit Dolori
LT – Here we go again – this could be a really catchy instrumental like Ming Hai but Richard has to put in a bloody drum solo and it’s not even that well played.
AM – You really are dicing with death here, Luc.
LT – No, seriously, if you’re going to shove in a drum solo then you have to be able to use the drums in an interesting and inventive manner – he just bashes away like a maniac.
AM – Quietly bonkers is what you wrote.
LT – Well, I was being polite because he was in the room at the time.
AM – Who’s that on the vibraslap?
LT – That’s Richard as well. He had 5 bloody cymbals and 2 floor toms but it just sounds messy. The aeroplanes are good, tho!
AM – My favourite is your additional melody on that Casio VL Tone when the main music returns after Richard has done his Ginger Baker bit. I missed most of this when you 3 did it.
LT – Well you were reading that crazy book by Frank Key. I’ve never understood what you see in that stuff.
AM – Have you never heard his programme Hooting Yard on Resonace?
LT – A coupla times, yeah, but it’s too silly, I can’t get into it at all. I can get into this, tho. Yeah, I’m actually enjoying this now. Maybe the drum solo isn’t so bad after all. I’ll give it 7/10.
AM – This is the first time I’ve really listened to this since it was first mixed – yes, it really is one of our better tracks – 8/10.
LT – I’m glad we included this version of this track. It really is one of the best things you’ve ever written. That said, I still prefer the version with your singing.
AM – Really? My dear old thing – but UJ has a mournful, restrained character that really suits this piece. It also means that out of the 4 pieces on this album, I’m only on 1 of them!
LT – Yeah, he sings really clearly, I’ll give him that – you can hear all the words – I really enjoyed playing this – all those unconventional chord progressions. Who is McKenna anyway?
AM – He doesn’t really exist – well, no, he does exist but he’s actually an amalgam of 3 different people I’ve known over the years. The name derives from Joseph McKenna, a young Glaswegian actor who appeared in Coronation Street, the play The Slab Boys by Johnny Byrne and the episode A Little Learning by Ian McCulloch from the 1970s science fiction series Survivors. It was that latter appearance that inspired the piece – he plays Eagle, the leader of a group of children forced to fend for themselves in a post-apocalyptic society, Britain after its population has been decimated by a global plague.
LT – Well, I’m glad you watched it then since this ballad was the result. Is that the same series UJ has been watching for weeks?
AM – Yes – I showed him a couple of episodes in 2009 and he was so inspired he asked me to buy him the complete box set of all 3 series. In fact, I only vaguely remember it from when I was a boy but Andy Nunn sent me the first few episodes in 2008 and I was so amazed and impressed that I ordered the original box set of DVDs from e-bay.
LT – Well anyway, I’m giving this 10/10 because now I’ve removed that horrible saxophone and flute section, it’s perfect.
AM – Indeed? I’ll give it only 9/10 because now you’ve surgically removed the saxophone and flute section it isn’t quite so impressive or interesting! Mind you, it does work as a more conventional ballad like this and you’ve done the remix really well.
– Okay then – so how does godspunk volume nine compare with all the
A compilation CD featuring twenty-three tracks from eleven bands / artistes: Howl in the Typewriter, the taurus board, UNIT, Evil Jack McDeath, D.I.M.M., The Cockfield Two, The Shi-ites, The Melodramatic Monkey, Balkan’oliks, Boxhead and Heffalump Trap.
Batcow’s continued mapping of England’s underground lunatic fringe
reaches volume eight and brings with it the usual bunch of
anti-establishment, off their heads, jokey named,
lets-hope-they-don’t-move-in-next-door oddities. And very good it is too.
"Evil Jack McDeath: The
Sunglassed Eye - Far too long and repetitive - definitely 1981 cassette
bedroom feel to this. 5/10.
A compilation CD featuring twenty-seven tracks from seventeen bands / artistes: Howl in the Typewriter, the taurus board, UNIT, Maybe Alaska, John Tree, The Richwoods, Arkon Daraul, HRT, Dimm D3ciple, Richard, SAASSS, Upwey-hey, RooHmania, Chelsea from Essex, The Cheeky Buddhas, Ray Reagan and the RayGuns and Las Vegas Mermaids.
has been collating the godspunk series for quite a few years now but
with volume seven he’s finally pulled together a selection of people and
music that bears repeated listening and may go someway to providing a finger
post for people travelling in new directions here in credit crunch Britain
greatest set of avant garde music poets compile yet another brilliant CD
choc-full of punk & outré tunes to satisfy every taste. I fucking love Pumf,
they can’t fail. While the rock world blethers on and on, seemingly
forever driving at 3mph round that drearily existential musical roundabout
named underachievement, Pumf churn out committed, funny, intelligent
and affordable releases by the bucket-load.
"Myself and Luc
Tran listened to this CD in the order in which these tracks are reviewed
here. Most tracks we played twice before committing ourselves to any
opinions. In general, I favour avant garde and experimental soundscapes
whereas Luc is more interested in rock and pop pieces. In this manner,
perhaps the resultant review will be more balanced and indicative of the
contents – or perhaps our views will still be a load of bollocks. You
Chelsea From Essex: Deal Ear (1/10) - This hurts my ears – if Whitehouse wrote pop tunes, they’d sound like this. I don’t mind telling you this is driving me quietly bonkers. Mind you, it’s obvious a fair amount of thought and effort has gone into this. Luc says it makes him laugh – maybe it’s driven him psychotic? He gives it 2/10.
RooHmania: Thoughtless A (4/10) - Vangelis meets Tangerine Dream, God help us. Luc gives this 2/10 – well, really!
RooHmania: Thoughtless B (6/10) - Vangelis meets The Tomorrow People – this is a definite improvement – an apparently gentle new age electronic wallpaper piece but there’s an unhealthy threat of violence in the background. Luc gives this 2/10 as well – there’s no pleasing some people.
RooHmania: Thoughtless C (7/10) - Vangelis meets Tangerine Dream in the Tomorrow People laboratory – probably the best of the three – but these are at their most effective when the trio are joined together to make a continuous work. Luc gives this 6/10.
The Richwoods: Snow On The Sea, Uke Crazy Mother, Chinned (6/10) - All 3 of these otherwise delightful ukelele pieces are seriously spoiled by the O.T.T. reverb that has been plastered over them – the final piece works best, perhaps because the effects actually become part of the music – but it sounds unfinished – still, it makes a change from the electric guitars and cheesy keyboards favoured by most other groups. Luc gives this 4/10 which is bit cruel, surely?
Howl in the Typewriter: Planet Head (8/10) - It hovered between 7/10 and 8/10 – then the bagpipes kicked in – that did it! Luc only gives this 6/10 because he’s a sap.
Howl in the Typewriter: Dandelion (3/10) - Sorry, Stan, but this falls way below your normal standard – we wait for something to happen but it never does. Even Luc, who normally enjoys HITT, can only go as far as 4/10.
Howl in the Typewriter: Garden Of Eden (7/10) - Nice use of choir sample and drum track in related rhythm – closely recorded spoken vocal is oddly disturbing – on second hearing this is really rather good – especially the sentiment spoken clearly at the end with which we both agree totally. For that reason alone it deserves the 8/10 Luc awards it.
the taurus board: Starfish (8/10) - The best aspect of godspunk CDs is that there is always a taurus board track. This is the one outfit that both Luc and I agree on, i.e. we reckon they’re bloody brilliant and that anyone who disagrees with us is simply wrong. I was a raver in the 1990s so I have an excuse – Luc missed it all (he was born in 1989) so with him there’s no possible accusation of nostalgia kicking in. However, this (like all their contributions so far) is not retro – it’s rave music for the 21st century. Once again, Luc starts jiving and dancing and I have to stand up and join in. That’s the effect this outfit has on cool, groovy people. As a piece of music to hear through speakers in my home, it loses some of its effectiveness, being rather repetitive: in a club with the right vibe this would be a kicking tune! Luc awards it 9/10.
Finally, it’s over to Luc for our own group.
UNIT: Scoop Six Place Pot (6/10) - I wrote this to give UJ a hard time on bass guitar. I find punk rock really funny – it’s silly but enjoyable. The drum sound is crap, mainly because I can’t really play drums, I just fake it. The title is by Birmingham poet Andy Nunn and is something to do with betting on horse racing. I enjoyed this at the time but hearing it now, it’s a bit moronic. Andy gives it 3/10.
UNIT: Better Dead Than Red (7/10) - The music to ‘F*** Off Gordon Brown’ is used for a new lyric by Andy which I think is a bit worrying because it veers too close to the BNP manifesto for my liking. This music is brilliant, one of his best pop tunes, but those words make me cringe. Andy gives it 9/10 because he’s a right wing nutter.
UNIT: Michael’s Brothel (6/10) - The title is by UJ – we’ve been trying to persuade Michael to join UNIT for nearly 2 years – he’s a better keyboard player than I’ll ever be – and he rattled this off in one take then asked me to add electronic keyboards and a bass guitar part. UJ does okay on bass but I’m not sure this actually needs the vibes – the time keeping is a bit suspect in places too. Andy gives it 7/10.
UNIT: Eagle (10/10) - This is easily one of the very best pop songs Andy has ever written – it’s bare hard – excellent words and strange, haunting music – I like the interesting harmonies, the Wire guitar and the vocals by UJ – a version of this without the guitar and with Andy singing instead of UJ is on our latest album ‘Class War' but both Andy and I prefer this version. UJ insisted what he considered the ‘better’ version (with Andy singing) be included on the album – well, he was wrong – this is the definitive one! Andy only gives it 8/10 because he reckons the central saxophone section spoils it.
In conclusion: far more purely instrumental works on this compilation than previously – which makes a pleasant change – but this needs a couple more out and out pop or rock pieces for variety. On the whole this is still one of the best godspunks yet."
- Andy Martin (in a personal letter to pStan Batcow)
A compilation CD featuring twenty-four tracks from thirteen bands / artistes: Howl in the Typewriter, the taurus board, UNIT, The Haddenham One, Jaw-D, Bartles, John Tree, The Shi-ites, Evil Jack McDeath, Turn Leathers, The Style Pigs, DimM D3ciPLe and Elwyn Temple Meads.
"Stan Batcow’s steady
trickle of lunacy continues with Pumf’s sixth volume of godspunkyness.
After four attempts and varying degrees of success [in my opinion anyway]
Stan finally hit pay-dirt with a cracking volume five. Juxtaposing a single
noise track around the usual bunch of non-conformist popsters like the Las
Vegas Mermaids, Needle Park, Stan’s own Howl in the
Typewriter and the implausibly named Satan The Jesus Infekt’d
Needles and Blood [amongst a host of others] he managed to harness all
that ribald lunacy into a single cohesive unit that was both listenable and
for once, repeatable. If dotty pop songs coupled with the fringes of mental
health are your bag you missed out.
Gods! How good is this compilation? Pumf’s collation of all that is
weird, wonderful and uncompromising continues with godspunk volume six.
As usual there is a plethora of sounds and attitudes ranging from the
thumpingly assertive to the downright mad. Howl in the Typewriter’s
Weigh How is a fabulous indicator of things to come. The weird synths
couple with an oddly charming melody and increasingly demented vocals.
It’s poppy, amateurish and lots of fun but it’s not normal lad, I can
"A compilation CD full of real
Alternative & Underground music, they dont come finer than this! Pumf
Records put a whole new meaning to the word 'Art'. Their musicians being
given the freedom to produce interesting, amusing and avant-garde
music, at a level you'll be pushed to find elsewhere. The CD includes Howl
In The Typewriter, Elwyn Temple Meads & Evil Jack McDeath
but to name a few."
"Howl in the Typewriter: Weigh
How - It is due to tracks like this that I much prefer Howl in the
Typewriter to the Ceramic Hobs. There is a slightly 1980s synthipop
aspect to this is highly effective, not unlike Exhibit A or Twelve Cubic
Feet. Luc says it oozes with suggestions of menace but I reckon he’s just
quoting a review by someone else of a different piece entirely. 8/10.
Why Aren’t You Listening?
– The Godspunk compilations
godspunk volume five
A compilation CD featuring twenty-five tracks from fourteen bands / artistes: Howl in the Typewriter, the taurus board, UNIT, The Haddenham One, Jaw-D, Bartles, John Tree, Needle Park, Big Ron Turner, Mrs Edna Watley, Evil Jack McDeath, The Charles Napiers, Satan The Jesus Infekt'd Needles And Blood and Las Vegas Mermaids.
"At the fifth attempt Pumf
finally manage to put together a godspunk comp that is not only
eminently listenable but worth returning to not just once but several
times over your lifetime.
"godspunk is a
series of compilation CDs my friend & longtime Hob Stan Batcow's Pumf
label puts out. Released by pooling money from the contributors, its an
easy & relatively cheap way to make available stuff you've done to
lots of people who just might like it, on shiny little discs & with
the luxury of a nice package. Natty.
"This is just about
the best godspunk yet.
godspunk volume four
A compilation CD featuring twenty-one tracks from ten bands / artistes: Howl in the Typewriter, the taurus board, UNIT, Litterbug, Pilzin Sox, Yximalloo, RooHmania, Stream Angel, The Haddenham One and Lenin's Virulent Muscle. .
collection of 21 tracks from a variety of sources, combining electronica,
experimental and some poetry and talking. Samples abound on a number of
the tracks and the vast majority have strong bass and rhythm. A few are
discordant and quite disturbing and, to me anyway, grate after a while.
There are several quite dreamy tracks, and Alice Floats Away by
Pilzin Sox stands out of the crowd. In a Nutshell combines the
simple sweet tinkles of ‘The Hills are Alive with the sound of music’
with samples and industrial clanging. Litterbug has a couple of great
tracks, reminding me of the alternative noises that came out of the early
80s. Nine and a half minutes has a fantastic guitar hook and strong
bass, combined with ecstatic moanings and breathing throughout and yes it
does last 9.5 minutes and does come to a conclusion! A finer collection of
group names you’ll not find – how about Lenin’s Virulent
Muscle or Howl in the Typewriter. For sheer variety from one
track to the next, UNIT can’t be matched – spoken words, vocal
juggling, ethereal sounds and ear-ripping noises over 5 tracks. As usual I
could go on and on here when I’m writing about godspunk stuff, but
naturally everyone is going to have their own favourite style and sound.
Again just excellent".
godspunk volume three
A compilation CD featuring twenty-one tracks from twelve bands / artistes: Howl in the Typewriter, LDB, Litterbug, the taurus board, Pissed Off, Norman, Razor Dog, The Time Flies!, The Reverends, The 3 Ages of Elvis, Kate Fear & Nigel Joseph and UNIT.
it’s ‘God’s Punk’ or ‘God Spunk’ I’m not entirely sure, but
this 21 track comp contains music by the likes of The 3 Ages of Elvis,
Razor Dog, The Time Flies!, UNIT, Pissed Off,
etc, etc. Names to make even the BIGGEST indie snob scratch their head and
"(Note: Dave has
already listened to the CD but was not that interested in much of the
contributors. I've relayed his comments, however. I have already listened
to the disc through once but since I'm sat here with Achoi, who also wants
to give his review, I have the benefit of a second listen before I allow
my opinionated, biased comments to insult 75% of the bands and artists
godspunk volume two
A compilation CD featuring thirty-four (or possibly twenty-seven) tracks from ten bands / artistes: Howl in the Typewriter, LDB, the taurus board, UNIT, pinkeye, Higgins++, Pissed Off, RooHmania, Gays in the Military and Las Vegas Mermaids.
"That old post-punk
'cassette culture' is still going strong, you just have to look for it . .
. godspunk vol. 1 was one of my favourites of last year, so I was
well chuffed to be sent the latest instalment by the man like LDB.
It's a bit of a gargantuan effort this time round, with a whopping 34*
tracks by 10 bands.
"Gays In The
Military: The Aids Team - You fuckin' what, John? Atonal faggot
road rock - this I do not like. The lyrics do not sense make and the
music, while unusual and nicely recorded (especially the bass guitar) is
not really my cup of tea .. . all this handkerchief stuff and nonsense . .
. my God, this is why I have being queer! Bizarre structure - horrible
godspunk volume one
A compilation CD featuring seventeen tracks from seven bands / artistes: Howl in the Typewriter, LDB, Hebetation, Litterbug, the taurus board, Stream Angel and UNIT.
track compilation from Pumf featuring artists such as LDB, Howl
in the Typewriter, Stream Angel, UNIT, and Litterbug.
Now, Howl in the Typewriter took my breath away earlier this year,
so I was eager to hear what else Pumf were prepared to put their
name to. LDB, whilst inherently sounding uniquely home made, is,
ultimately, honest. A few years ago, several poets began to put their
words to music, be it simple beat box or cut ups, or whatever. LDB
reminds me of this, where the words become meatier. They're not songs, as
such, but poems with musical backing, if you know what I mean. the
taurus board's Ripple Effect is simply brilliant, nuff said. Litterbug
sound like early demos of The Cure! Not overly keen on UNIT, the
reason, I think, is because they're just not experimental enough. In and
amongst the likes of Stream Angel, Hebetation, LDB, Howl
and taurus, they sound relatively 'normal'! A cracking introduction
to Pumf, and to the individual acts on the label. Love to hear more
taurus, though, Ripple Effect really stands out."
"A collection of
tracks that all defy categorisation and are united by - if anything - an
obsession with sounding as original as possible. To say there are 17
tracks spread over 71 generous minutes, there are just 7 artists involved
with Howl in the Typewriter's tracks being launched by Jesus!
and its crazy dance beat bludgeoning raving good vibes; imagine the Polyphonic
Spree on sanity-bending drugs and you'll still be nowhere near . . . [Howl}
also contributes Mirrorshades, which is a much briefer, synth-based
affair of atmospherics. Most of the tracks are anchored by strong dance
beats. LDB and Deathwish come forth as sinister,
cooly dark R&B with a distinctly original twist . . . the taurus
board are the only outfit to contribute just the one track to this
compilation; entitled Ripple Effect, its hip and uppity beat is one
of the album's highlights, as is Litterbug's wicked
beat-&-guitar fusion on Delmario. Serving as a benchmark for
largely unknown underground talent, if only money-hoarders The National
Lottery would generously fund more and more small labels and help them
release more and more compilations of this inspirational nature . . . woe
to supporting so much sport, because music is far more important when it
comes to helping to further humanitarian causes, and literally changing
people's lives and attitudes. UNIT realise that 'the media sends us
all to sleep' through God Of Nothing, following straight on from
their God of Grumblers. Just like you should realise that some of
the music here is genuinely some of the most original music you will have
most likely heard in a very long time indeed. 5/5".
"Howl in the
Typewriter: Jesus! (9/10) - The 5'40" extended disco remix
inna big up The Man anthem . . . it's worth being a God Botherer jus so
you can singalongatypewriter to this marvellous piece. I would give it
10/10 if it ended at about 5'00" when the instruments fade out
leaving the voices - that was the ideal place to leave it.
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