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More Howl in the Typewriter recordings can be found on every Pumf compilation album -
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Manifesto - A Universal Declaration of Indespendence by Howl in the Typewriter (PUMF 777, 2018 - click to buy)

1 Manifesto - A Universal Declaration of Indespendence

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by Smart King Dan, December 2018
This is, quite simply, a brutal album. It plies your ears with an ever-changing series of musical styles (so much so, in fact, that at times I found myself thinking that this was a compilation album of different bands and, given the list of people who contributed their vocals for the chorus sections, that's not surprising) and a message that could be incredibly negative . . . but, despite the complexity of the problem being laid out there's an underlying atmosphere of hope to the lyric. I've listened to the thing several times, and find that each listen draws me further into this netherworld, this complex alternate musical dimension. With each listen I hear things I hadn't heard before; I glean another layer of meaning from some words that had passed me by previously. With each listen I move closer to being transplanted from Planet Earth and deposited on Planet Howl. With each listen I find myself thinking that, maybe, that wouldn't be such a bad idea . . .
You need to hear this album. World leaders need to hear this album. Howl in the Typewriter for President!

 - Review by Ear of Corn #44, early 2019
"Manifesto: A Universal Declaration if Indespendece" CD - First, that's not a typo. Second, the packaging is outstanding on this release with full lyrics for the 64 minute long track! Brilliant anti-consumerism manifesto by the legendary Howl in the Typewriter. Seven years in the making and it shows. Meticulously assembled piece which meanders through a myriad styles. Brilliant stuff with a message that I absolutely can get behind. The "consume, live in debt, then die" lifestyle is disassembled and critiqued completely. Smart and incisive commentary. Howl in the Typewriter is amazing consistently and deserves your full and immediate attention.

 - Review by Node Pajomo #2.4, February 2019
"We don't fucking want / What you're trying to fucking sell / Shove it up your fucking arse / then fuck off and go to hell". So, no AM radio airplay for this one! I can't really call this punk music (well, you COULD but are choosing not to . . . -ed), but it is definitely a punk song and a great one at that. It is quite epic at over an hour long, but it is broken up by interludes from numerous guest artists doing their version of the chorus quoted above. The song explains and condemns our consumerist culture with great lyrics and more advertising samples than you can possibly imagine. Even at an hour long, it kept my interest throughout, which is saying something. The production is top notch as is the beautiful packaging and epic sixteen page lyric booklet! It is absolutely brilliant and fits nicely between Chumbawamba's "Pictures of Starving Children Sell Records" and Aus Rotten's ". . . And Now Back to Our Programming". Strongly recommended.

 - Review by Marcos Farrajota, A Batalha - Mar/Jun 2019
A malta da Pumf tem uma pancada séria pelo número 7. Então na sua 777ª edição fonográfica tinham de fazer uma «magnum opus» que é este Manifesto que demorou 7 anos a realizar e 7 meses a gravar e que se resume a isto: «We don’t fucking want what you’re trying to fucking sell, shove it up your fucking arse then fuck off and go to hell». Música de uma faixa única de 64 minutos que segue a lógica caótica das colectâneas Godspunk – criticadas nos últimos números de A Batalha. Ou seja, há de tudo um pouco sem regras estilísticas, Pop/Rock muito britânico e anasalado, paragens electrónicas, samplers iconoclastas, «ready-mades» (Negativland é roubado) e muita psicadelia. Um álbum de Prog, portanto.

 - Review by Andy Uzzell, dayzofpurpleandorange.blogspot, April 2020
 - click here to read

 - Review by Lawrence Burton, thefatoldman.blogspot, January 2019
 - click here to read

 - Review by Andy Martin, November 2018
 - click here to read

 - Review by Mark Wharton, Idwalfisher, December 2018
 - click here to read

 - Review by Mick Magic, The Magic Net, Dec 2018
 - click here to read

 - Review by Hiroshima Yeah! #166, December 2018
 - click here to read

Howl in the Typewriter remixes The Melodramatic Monkey and cousins (PUMF 714, 2013 - click to buy)

1 Funky Freedom
2 Pissing in the Coffee
3 Gobble Fez
4 Cortex = Wabbly Rat
5 Broadcast FAH
6 Day-Glo Cartoon Karate Chop
7 Howling Typewriters
8 Quank
9 Pissing in the Coffee

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by Incendiary, May 2013
It’s a remix album. Shall I stop there? Had enough already? More than that, a remix album done by a bloke you’ve probably not heard much about, remixing tracks that aren’t (and probably never will be) on Spotify or iTunes or whatever, moreover, a bloke who runs a truly underground concern dealing with way out sounds culled from the four corners of the British Isles. So remixes of originals you’re never likely to hear by a bloke you have barely heard of; a sort of squaring the circle, a ridiculous exercise if you consider a remix is something that brings new interpretations to commonplace, well known sonic artefacts. No matter. The beauty of music is that it can - if you so wish - have no strings attached. And if you like wading through the ephemera of someone’s psyche, then this is for you.
As ever with Howl in the Typewriter you never know what you’re going to get. Like calypso tracks of yore, the songs are often about anything. Though there’s a mindset that hints towards darker, more brittle mental states throughout his work, it’s fun, somehow . . .
We start with a fifteen minute smorgasbord known as Funky Freedom, originally composed by Cyril Bagels. Funky it is too, a sort of tripped out travelogue with plenty of interludes, interspersed with ridiculous interjections from all manner of instruments the sound is regularly moved around to face a blast of metal, folk or just plain daft comedy. Pissing in The Coffee (from the Melodramatic Monkey) is something else entirely: a blurting snarling thing replete with the maddest lyrics this side of Dr Seuss. I’m not sure whether the vocals slag off mice or the sexual proclivities of small town England. Maybe both.
Following that, Gobble Fez is a very scary, claustrophobic thing indeed, a cautionary tale no less, and Cortex = Wabbly Rat the musical coda to the paranoid soliloquy we’ve sat through. Things calm down with the take on The Death of The Enlightenment Project’s Broadcast FAH, another long track (topping the opener by a good two minutes) which initially draws on that Germanic sound that Reichmann and Moebius and Plank perfected on Sky records. Then we’re deep into soundscape territory with field recordings, radio edits and sequenced drum patterns all thrown into the mix. Bedroom Andriessen shaking hands with Poundland Orbital . . . somehow the DIY feel of this track adds a lot of charm.
The Style Pigs’ Day-Glo Karate Chop is a tinny, Casio-laden squawk, again full of daft bits amidships, (a sheep and heavy breathing this time) whereas Howling Typewriters is a veritable symphony of typewriter samples. And some trippy noises. Seriously. Data’s Cat’s Quank gets the freaky treatment next, the track, spanning eleven minutes, has echoes of the Trans Europe Express compilations, coming on a bit like Coldcut at times. Which is totally fine. Then we get another take on Pissing in the Coffee (a remix of a remix no less) and we’re done.
So, well, erm, in retrospect, very interesting Lord Dowdy. Very interesting indeed.


Judas Kiss - the lost songs by Howl in the Typewriter (PUMF 665, 2010 - click to buy)

1 Subject - Sanctuary
2 Like an Astronaut
3 Mediaevil
4 I am the Owl
5 More Water
6 Drifting
7 Only Falter
8 Three Course Collision
9 Nowhere Tonight
10 Reptiles A-Z
11 Adulation
12 Uninspired
13 Toast
14 Etiquette
15 Shanty
16 Sole Discharge
17 Judas Kiss

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

Sole Discharge by Howl in the Typewriter

I am the Owl by Howl in the Typewriter

Three Course Collision by Howl in the Typewriter

Uninspired by Howl in the Typewriter

Shanty by Howl in the Typewriter

 - Review by Incendiary, September 2010
The sleeve notes to this album are worth your perusal. Stan, the man behind Howl in the Typewriter, sent a number of these tracks into various record companies or promoters for inclusion on a number of interesting projects and compilations. Some were successful, some, like the track Uninspired, sent to sit proudly on a compilation of silence, or Etiquette (a track that would grace an LP based around the life of Vincent Price) were not. Now, this should give the uninitiated an idea of the world of Howl in the Typewriter. It seems to be a world where no idea, however bizarre or sensible gets overlooked. Stan’s vibe is a questing one, looking for answers in the most overlooked of places, and making quite an inspiring racket along the way.
There are some crackers on here, it must be said. Even if you sometimes wonder where Stan’s head is actually at. The opener Subject: Sanctuary is a great song: a menacing, restless argument underpinned by a fuzz bass part of some power. I also love Drifting, not only because of its drugged up sloth, but also for its great lyrics: (“There’s a tortoise retreating from ambient rage”) . . . Three Course Collision is also a great number, a fuzzy sing-along with bags of charm.
Stan’s vibe is a very personal one. No punches pulled, regardless of the sonic template. A good example is the one-two that appears early on in the LP: contrast the amicable sub/lo-fi-Fall rumble of Like An Astronaut or the batty squeaking on Mediaevil. Both are pretty personal, one dealing with a simple crush; the other, quite surprisingly, attacking the Paparazzi responsible for the death of Diana Spencer. There’s also the downright eccentric: as well as the tracks mentioned in the opening paragraph (all of which are hardly standard tracks) you can listen to the unhinged duo of I Am The Owl, and More Water. I Am The Owl splodges around amiably enough before morphing into the kaleidoscope of samples that is More Water, which is, quite frankly, off its head. Nowhere Tonight is how to blow up a car set to music. And Reptiles A-Z is exactly what you’d guess the song to be.
The undoubted pièce de résistance on Judas Kiss, though, is Stan’s take on the Boredoms LP, Soul Discharge. This is no ordinary tribute, as the whole LP has been edited in the shape of the song Sole Discharge. As well as being a feat of no little inspiration, the track itself is a master class in off-the-cuff editing, and sits up there with the Faust Tapes for me.
I’d get this, quite simply because I can guarantee you’ll have nothing as remarkably individual as this record in your collection. Highly recommended.

 - Review by Idwal Fisher, September 2010
Judas Kiss is a collection of Howl in the Typewriter recordings spanning 14 years. Most are culled from submissions to compilations that never got to see the light of day; the Vincent Price comp, the Boredoms comp and my favourite the concept album of silence to which Stan sent some silence titled Uninspired only to see it returned seeing as it was the only submission outside of the label proprietors own. For the most part though Stan’s work with HITT spans a pop punk aesthetic mixed with synth wash, high end production, vocal samples ripped from Hollywood through to police radio all coupled to a jolly hey-nonny-no I’ve had three pints and I’m fresh aesthetic. I like it for so long and then it all feels as if you're trapped in some relatives house at Christmas with your hyper ten year old cousin who wants you to play with his Tracey Island when all you want to do is nod off with the Radio Times over your head.

". . . ear-movies from an imaginary industrial town!"
 - Lord Litter, in a personal e-mail to pStan Batcow, 1st September 2010

 - Review by Biscuit Psychosis, July 2011
"Mishocarn-n Cintus Depraw Ganket"
In the review for godspunk volume nine I wished for a new Howl in the Typewriter full-length. It appears the PUMF fairy was listening because lo and behold here one is. In hope that the very same fairy is still listening I will now wish for the entire recorded works of Dandelion Adventure on CD please.
Judas Kiss (subtitled The Lost Songs) is a kind of tying up of loose ends for Howl. Various tracks here were originally released on compilation albums or were submitted to various projects that never saw the light of day. You would think that would give the album a rag-bag compilation kind of vibe right? Wrong! The amazing thing here is that this sounds like a genuine album and these tracks sound like they belong together. Funny how things work out eh?
Without question Judas Kiss is the best Howl in the Typewriter disc since 2002's classic Grand Theft Audio. Eclectic for sure but it never sounds like random bandwagon hopping. Take opener Subject - Sanctuary for instance, it comes on like a much darker, less annoying version of The Cure, 2 tracks later and you'll meet Mediaevil which is gloriously unhinged, a bit like Rudimentary Peni jamming with Pere Ubu, Only Falter comes over all post-punky and even nods to Joy Division. In between times you'll get frothy twisted pop, a harsh almost Beefheartian rumble and a few nods to the soundbite genius of Grand Theft Audio too. Howl's contribution to an aborted Boredoms tribute album Sole Discharge has to be heard to be believed.
All in all an incredibly satisfying release, the lyrics are often personal but are never grating or self-obsessed and I'd defy anyone to be unable to find something here to suit their musical taste. Following as it does in the wake of storming releases from The Def-A-Kators and Ray Reagan it prompts the question is this the golden age of PUMF records? Answers on a cardboard number 7 . . .


Through the Ages, Live (Evil - Vile - Veil!) by Howl in the Typewriter (PUMF 532, 2005 - click to buy)

1 Heeby Jeeby Insect Wriggle
2 Murmur
3 Theatrical
4 Campanile
5 Labyrinth #7
7 Twist & Shout
8 God is Dead
9 Beaten Track
10 Train Disaster over the Tay Bridge
11 Around
12 See the Neck
13 Blackpool Rap
14 Gronk
15 Vesuvius
16 Obscured
17 Twist & Shout
18 The Breakfast Song
19 Soar
20 Lobster
21 Xmas ’88
22 Kelp
23 Three Course Collision
24 Jesus!

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

"An exclusive tape of live gubbins from this underground mad genius with a bunch of mad tunes to warm you through your twilight years".
 - Umbababayeee catalogue,1999 (regarding the original release)

"I regret never having managed to see Howl in the Typewriter live - I wish I had, at least once . . . it would have been a great opportunity to walk out of an event in righteous indignation".
 - Smart King Dan


Friendship's Death by Howl in the Typewriter (PUMF 497, 2004 - click to buy)

1 Black September
2 1970 wednesday, september 9
3 1970 thursday, september 10
4 1970 friday, september 11
5 1970 sunday, september 13
6 1970 tuesday, september 15
7 1970 thursday, september 17
8 Friendship ReAnimated

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

Friendship's Death by Howl in the Typewriter

"Just thought I'd write to let you know I've listened to your latest CD more times than any other I've heard. Particularly like tracks 1,2,3 & 8. The last one is a bit episodic and gets a bit Orbitally towards the end but it has had a fair ol hammering and is danceable(!). Bit melodic for you though . . . nice one".
 - John Tree,
in a personal e-mail to pStan Batcow


Greatest Hits (of someone else) by Howl in the Typewriter (PUMF 462, 2003 - click to buy)

1 Twist & Shout
2 Chas'n'Dave dub
3 In the Mood
4 Within You Without You (interpretation)
5 Billy don't be a Hero
6 God Save the Queen
7 Twist & Shout
8 Revolution 7
9 Rockaway Beach
10 Horse
11 In the Nude, mix
12 Teachers & Critics
13 Twist & Shout

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

Chas'n'Dave dub by Howl in the Typewriter

Billly don't be a Hero by Howl in the Typewriter

God Save the Queen by Howl in the Typewriter

In the nude, mix by Howl in the Typewriter

 - Review by War Arrow, The Sound Projector #10, 2002
This seems to be Howl's own version of Bowie's Pin-Ups or Bryan Ferry's These Foolish Things. Or even Ringo's Sentimental Journey. All the tracks are covers, or at least heavily derived from other people's songs. Some have appeared on other tapes, although most are new to me. Generally speaking, I prefer Stan Batcow's original material. In The Mood and Within You Without You in particular fail to really take me anywhere. That said, he comes up with a storming version of Rockaway Beach, and a Twist And Shout slowed down to a laborious snail's pace. Also, there's a medley of Devo numbers (from their 'Jocko Homo' period) which gets full marks in all subjects. The uncanny resemblance of Stan's voice to that of Mark Mothersbaugh is enough to suggest that this is the man to call if anyone out there has ideas about a Devo tribute band. Moving on, the most weirdly inspired number here is the piece based solely upon Chas & Dave samples - some from songs by the duo I don't even recognise - respect due! All this and God Save The Queen too, and not the Sex Pistols take either. What the hell is going on in this man's head?
Stan's twisted aesthetic, particularly where sampling is concerned, actually reminds me of a more abstracted version of hip-hop producers like Irv Gotti or The Alchemist albeit on a reduced budget. This isn't the greatest Howl tape I've heard, but it shines brightly in a good few places. It's sufficient to fuel my continued praise for this oddball recording artist and to make me glad I've discovered the world of Howl in the Typewriter, particularly when I remember some of the utter fucking turkeys I've had to sit through whilst writing column.


Voltmeter Abacus by Howl in the Typewriter (PUMF 406, 2002 - click to buy)

1 Sinister
2 Chant
3 Unlistenable
4 Minimal

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

"Four live-in-the-studio, one-take recordings with no overdubs or post-production.
The track titles - Sinister, Chant, Unlistenable, Minimal - somehow do more in the way of description than any other combinations of words, however lengthy, could possibly do".
 - Smart King Dan


Grand Theft Audio by Howl in the Typewriter (PUMF 378, 2002 - click to buy)

Click for tracklist

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

track nine by Howl in the Typewriter

"This album is presented as three mini-albums on one CD, having suitable sections of silence in the correct places, to remind you to turn it off if you're not ready for more . . . what a considerate touch! On more than one occasion I found myself imagining I was listening to cassette recordings, and once got so involved that I actually left my chair to intervene in the recording process, it all having started to go horribly wrong. The packaging is truly beautiful, and if a little enigmatic, well, it's what we've come to expect. I'm prepared to state that this was the happiest 67 minutes I've ever spent in my life - and that includes taking into consideration those eight minutes behind the bike sheds with Tracey Posser in 1973".
 - Smart King Dan

"A tapestry of hope and confusion".
 - Danny Noble

 - Review by Node Pajomo, Winter 2012
A sample heavy solo project by Pumf Records main man pStan. Some of it rocks, some of it jerks, some of it slithers, but all of it is damaged and quite electronic. It's all over the place and 24 tracks long, but entertaining in small doses.

 - Review by Andy Higgins, Blackpool Rox II #5, May 2003
This release is a compilation of three mini LP's by Howl in the Typewriter. It has 24 excellent and innovative tracks nicely packaged onto one CD. A colourful collage of out takes, soundbites, backing tracks, dubs and music covering subject matters (as far as I can gather) as diverse as insects, God, nuclear war, suicide spots and drugs. I really like the yellow packaging and the fact that all the tracks are depicted in picture rather than written form. If Warp records or Aphex Twin released anything as good as this we would see the collective music press falling over one another gushing in a mutual jodrell fest / "no, you're the genius" sycophantic squirm. This is really good, if you like music you owe it to yourself to check this out . . . especially if you live in Blackpool and this is taking place in your local geography, it would be remiss of you to ignore it! Amazing. (9/10)

 - Review by War Arrow, The Sound Projector #10, 2002
 - click here to read

 - Review by Cheeses International mail order service, 2002
 - click here to read

 - Review by Modern Dance #41, 2002
 - click here to read

 - Review by Mark Wharton, Just Glittering, 2002
 - click here to read

 - Review by Mark Ritchie, Hiroshima Yeah! #149, July 2017
 - click here to read


Forays (Mystical, Imaginary, Dreamlike, Illusory) by Howl in the Typewriter (PUMF 364, 2001 - click to buy)

1 Elevator
2 Weevils
3 Fire Addict
4 1968
5 The Inside
6 Yo-Yo
7 Motorbeat
8 Cathedrals of God
9 Children of Odin
10 Online
11 Weevil

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

Elevator by Howl in the Typewriter

Fire Addict by Howl in the Typewriter

The Inside by Howl in the Typewriter

Yo-Yo by Howl in the Typewriter

Online by Howl in the Typewriter

 - Review by  War Arrow, The Sound Projector #10, 2002
The claim so often made of this or that artist as ‘defying categorisation’ is a devalued currency through overuse, but I still think Howl in the Typewriter is one of the few to whom it genuinely applies. Howl is too chirpy to be industrial; too dark and abstract to be pop; too eclectic, enthusiastic, and too reluctant to suck its cheeks in for the ‘serious’ avant-garde. It is ironic that in these times where crap and noise and hiss has become an aesthetic in itself - Stan ‘Howl’ Batcow whose adherence to the DIY ethic is borne of necessity rather than marketing strategy - languishes in undeserved obscurity.
By Forays I take this to mean experiments, although as one of the most consistent HitT collections I’ve heard, it seems to be almost begging for an independent film to soundtrack. Eleven numbers of which only one is really a song as such, fleeting comparisons are drawn with Severed Heads, John Carpenter, and even Public Enemy. But Stan has a quite distinctive language of favoured sounds and these are enough to make it pretty clear that such influences are probably in the ear of the beholder. As always there’s a fair helping of old Roland boxes: TB303 (the acid house fave) and - I’m guessing TR606 drum machine (you’ll recognise it when you hear it), and hearing these again, still used with invention, and still sounding fucking great, I’m beginning to suspect it won’t be long before they’re eulogised in the same way as the Hammond organ. Likewise there’s the odd bit of oozing squeaky synth recalling times when everything sounded like Harold Faltemeyer, although I suspect this is no Les Rhythms Digitales style ironic appropriation - Stan probably just likes the sound.
And it works. Although we get plenty of samplers at work, HitT manages to defy expectations, so you don’t end up thinking ‘that’s the sub-Kraftwerk number, that’s the Minnie Ripperton number’ and so on. My only criticism is that some places sag under the weight of their own complexity. Yo-Yo bangs like a shithouse door in a gale, but would bang more without the slightly muddy spoken bit over the top. Still, its great to hear music that positively leaps out of the stereo like this without bringing a whole suitcase full of agendas and knowingly raised eyebrows.

"Elevator is great - I love the 'childlike' tune to it - the beat doesn't pummel or punish you, it's just kind of 'there' in a nice subdued way. The Inside is excellent as well - I love that kind of 'childlike' / 'circus' feel on the melodies for both these tracks. I don't mean 'childlike' as in simple two-note jobs, I mean the quality of the tune is like a nursery rhyme. [Howl] should get a job doing music for kids' TV. Weevils is fabulous too, and no beat. Motorbeat I find interesting - lots of good textures and sounds".
 - Stream Angel


Beware The Edible Fruit – Assimilate That Lion by Stream Angel and Howl in the Typewriter (PUMF 329, 1998 - click to buy)

1 Beware the Edible Fruit
2 Assimilate that Lion

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by  War Arrow, The Sound Projector #10, 2002
Two thematically related pieces by artists working at least partially with each other’s source material. Stream Angel’s side is pretty darn basic, consisting of snippets of dialogue and snippets of music from phone calls, taped conversation, television, and so on - no layering, just an overworked pause button. For all that, it’s fairly engrossing. I understand Stream Angel (who is a him rather than a them) was once involved with semi-legendary cassette monsters Adventures of Twizzle which makes sense because they were pretty fucking nutty at times as well. Here, like a Bash Street Kid with attention deficit syndrome, we ramble between a speak and spell machine discussing the appeal of ladies’ bosoms, a traditional Japanese interpretation of 'The Laughing Policeman', and just about everything else, ever. Oh - and Oliver Hardy saying ‘hard boiled eggs and nuts’, which gets top marks, obviously. It’s like some fascinating glimpse into the mind of an English Buddy Bradley as it collapses - or perhaps explodes - in a random scatterburst of conspiracy theories, puerile gags and daytime television.
Assimilate That Lion is a little more coherent, being held together by wandering twittering loops and some layering of the sound, although the snippets of dialogue are a little less visual, a little more abstract, rendering it as a sort of Zen response to Beware The Edible Fruit. I’m not even sure if you’d call this music, and in fact, I don’t really care. Despite its flaws - which can only really be considered flaws if you expected something else - it holds your attention for the full sixty minutes and survives repeated listening without the novelty waning. This is a good example of something else that the mighty cassette still has in its favour. If this was on CD, there might have been the temptation to jazz it up a little, wipe its nose and make it put on a clean shirt, which could have easily resulted in something more readily accessible, but much less interesting. As it stands, you get the pure undiluted stuff, dodgy edits and all. It reminds me oddly of some things on the Australian label Dual Plover, except here, nothing has been lost in the transition to round shiny artefact.


7 X 7 by Howl in the Typewriter (PUMF 315, 1998 - click to buy)

1 Last Seen Carrying An Axe On Victoria Road, Cleveleys (with guests: Yesmeansno)
2 A Dislike To Anything Other Than Metal (with guest: Andy Boot)
3 Rocket Ship (with guests: Thee Shrinkwrapped Genious, Crayola Summer & Edith Spon)
4 The Seventh Revelation Of St Albert De Sandoz (with guests: Acidfuck)
5 Three Part Harmony (with guests: Smell & Quim)
6 Sound Effects (with guest: Norman)
7 Suppose They Give A Nuclear War And No-One Comes (Dedicated To The Neo-Simon Le Bon Regime) (with guests: Cute Horse)
8 Personal Messages From Yesmeansno; Andy Boot; Thee Shrinkwrapped Genious, Crayola Summer & Edith Spon; Acidfuck; Smell & Quim; Norman; Cute Horse.

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

"Liked the first track - elements of the Residents and Throbbing Gristle doing a Spam 69 cover version . . . listened to the rest of side one and can't 'dig' it - it all sounds a bit too 'bleak' for me . . . side two, Yes! Yes! This is the best so far. I love it when (it all) stretches out and goes all psychedelic Balinese - great pantomime delirium bash . . . doesn't seem to relate to the backing tape . . .nice 'drummy' noises though. I really like the concept and the unusual process."
 - Stream Angel

Memories of Nothing by Howl in the Typewriter (PUMF 259, 1995 - click to buy)

1 Blend
2 G-Rave-y Train

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by M&E News, 1996
This little package is absolutely essential for the collections of serious students of underground culture, coming from HitT, aka the eccentric Stan Batcow. The cassette is one track per side, around 8/9 minutes each, and every one of this strictly limited edition is individually mixed from the masters, so no two copies are identical! Side 1 is Blend, a quirky Cardiacesque collage of noises and twee tunes, with many weird bits and samples coming and going. Cut-ups and tape loops, lots of hiss and din, eclectic and
wacky, to say the least, and as ever, Stan's approach is fresh and totally unique. Mr.Batcow is indeed no.1 in a field of one! Side 2 is G-Rave-y Train, a decent little dance groove given the HitT treatment, made me want to wear a baseball cap backwards. Of course, your copy won't be exactly the same as mine, or anybody else's for that matter. Curiouser and curiouser. With the cassette comes a little thesis, in the form of an 8 page A6 booklet, being a tongue-in-cheek investigation into the works of the zany Stan Batcow (mad batcow disease?)! Also, there is a lovingly crafted A5 book, 36 pages plus a poster. The book's a great read, a history of HitT, press clippings, colour photos, Stan's very strange sense of humour, interviews with the man himself, various quotes about HitT from such wonderous underground luminaries such as me . . . all in all, very funny, a must. The fart of Primley's rating: *** (you can't live without it)!

 - Review by Robin Duke, Evening Gazette, early 1996
First off the mark is stalwart Stan and his Howl in the Typewriter. The one man industry and institution has notched up 11 years on the outer limits of acceptability and to celebrate the achievement, Stan has compiled Memories of Nothing, a History of Howl from 1984-1995. It comes complete with a cassette and small booklet.

 - Review by War Arrow, The Sound Projector #9, 2001
Impressive. Included here are a couple of booklets. The first Is a modest dissertation about the music of Howl in the Typewriter, which to be honest, it being largely the subjective opinion of a third party, I didn't find wildly illuminating. The second, slightly more ambitious tome is an exhaustive history of Stan Batcow's numerous works. Being autobiographical, and including reprints of various zine interviews, one might suspect Typewriter-dude of a certain maniacal egotism. If this is so, it certainly doesn't come across in the text, and such quibbles are soon forgotten once you get reading. The picture which emerges of Howl's twenty year involvement in the world of weird tapes and music, of which even the author doesn't seem to have noticed, is of a unique and undiscovered genius. I'd say one of the last great eccentrics, if it didn't sound so patronising. Accounts of Howl's sporadic and bizarre live events demonstrate this vividly. One featured taped music whilst Santa distributed presents (squeaky toys) amongst the audience. One witness insists it was the real Santa; he saw Stan shortly after the event and realised he wouldn't have had time to shave off that huge white beard. During another event, each audience member was given their own brussel sprout. Only one person declined, fleeing from the venue, thus having to be chased in order to become the lucky recipient of the aforementioned vegetable. A lot of this stuff suggests Coum Transmissions without the pierced knobs, bad-guy fixation or art school element. Much of this probably explains why Stan has remained in such relative obscurity. He does whatever he feels is most appropriate (or even inappropriate) at the time, whether this be poetry, stories, heartbreaking pop music, walls of howling noise, or brussel sprout donation. Howl in the Typewriter defies easy categorisation and saps like us usually regard such eclecticism as a sign of inconsistency. Let's face it, even the most out-there taboo smashers tend to stick to a formula. Derek Bailey doesn't do cockney knees-up. LaBradford have yet to crunk that ass up on some New Orleans bounce. Oval's Tijuana brass album is conspicuous by its non-existence. This doesn't seem to bother Stan. He just does what he wants, when he wants to do it and so annoyingly well that maxims about being a jack of all trades don't come into it.
As if to ilustrate the above, the cassette contains a ten minute excerpt from a live mix of loops and sound sources that lasted eleven and a quarter hours. The whole thing exists spread over the 77 tapes that make up this limited edition package. Therefore each copy is a unique recording. Mine is a wailing assemblage of bits and pieces, strangely reminiscent of very very early Devo, which just makes me wish I'd been at some of those Howl gigs. This is a pretty humbling experience. Read this fascinating booklet, enjoy the music, and someone for fuck's sake give this man buckets of money and make him famous. It's all very well you sitting there stroking your beard at the Beefheart retrospective in Mojo, whining about how modern music is boring. Either you ain't looking in the right places, or you have all the personality of an issue of Reader's Digest.

"Memories of Nothing is wonderful. I love rock biographies, and can easily read a book on any artist, even if I never listen to their music. The whole layout - cover, inserts, sticky photos etc. is exceptionally unique, as is the idea of the 'one-off' cassette. What comes across very strongly is . . . attempting to do things differently - 'against the grain' as it were, and I very much appreciate that in art. Reading the book brings a joy to my heart that there are other people out there who are challenging the 'norms' and formulas. It's very well written, too!"
 - Stream Angel


The Not Unpleasant Smell of Horse by Howl in the Typewriter (PUMF 245, 1995 - click to buy)

1 I am the horse
2 Slimy
3 Murder
4 Dead men
5 Chines
6 Bell
7 GoInGtHrOuGhThEmOtIoNs
8 horse
9 Xmas '88
10 Soar
11 Jaw meal terror one
12 Kelp
13 Aghast
14 What goes down must come up
15 Beaten track
16 Lobster
17 Earthdance

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

I am the Horse by Howl in the Typewriter

Jaw Meal Terror One by Howl in the Typewriter

"I Am The Horse could have been a huge hit in the 1970's - it has a great 'quality' to it (& very catchy too!) Every time I listen to it I have visions of Top of the Pops in the 70's and some archetypal cheeky Jack-the-lad, always grinning, shoulder-length hair, stripy shirt 70's dude doing the singing.
Chines is magnificent! The one thing I'm not sure about is the backing music . . . hmmmmmmm! - but I suppose it's not that important. As a concept, a 'slice of life' and a piece of social anthropology it's matchless. Perfection!"
 - Stream Angel

". . . 'I am the Horse' is one of the coolest songs I've ever heard in my 39 years on this Earth."
 - BiLLHeLm Brewer, in a personal e-mail to pStan Batcow, Jan 2018

The Book of Ptath by Howl in the Typewriter (PUMF 196, 1993 - click to buy)

1 The Return of Ptath
2 A Goddess in Chains
3 The Man from A.D. 1944
4 200,000,000 Years in the Future
5 Secrets of a Temple
6 Flight Through the Night
7 The Realm of Darkness
8 The Climber on the Cliff
9 The Citadel Palace
10 The Book of Death
11 The Ring of Power
12 The Torn Page
13 Journey of Minds
14 Triumph of the Golden Goddess
15 The River of Boiling Mud
16 The City Three
17 The Nushir of Nushirvan
18 Land of the Volcanoes
19 Battle of the Goddesses
20 The God-Chair
21 The Zard of Accadistran
22 Within the Walls of Death
23 Food of the Killer Screers
24 The Sea of Teths
25 Rendezvous in Khotahay
26 Invasion of Gonwonlane
27 The Fall of a Goddess
28 (The Return of) The Return of Ptath

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by War Arrow, The Sound Projector #8, 2000
A whole hour of keyboard instrumental based around a pulp science fiction novel, from which the tape takes its title, by A. E. van Vogt. This could be a recipe for disaster, but not so. Although clearly not recorded in Abbey Road studios with Kraftwerk members standing by, ready to lend HitT another truckload of electronic wotnots, it ain't hard to tell that a lot of effort has gone into The Book of Ptath. As the sleeve states, each track is intended to provide musical accompaniment to a chapter of the book, and it's recommended that you read said tome whilst listening to this cassette. An intriguing idea, which I may one day try to make some time for. Anyway, there's some fantastic wee fragments of ditties here, betraying an ear finely tuned to the rigours of melody, harmony, chord progression, and all that sort of thing. Even ignoring the sleeve notes, this really does sound like a partially completed film score. Much of it is visually evocative without any prompting from individual titles like The River of Boiling Mud or er . . . The Zard of Accadistran, whatever de fuck dat am be. Oddly, perhaps the tape's only failing is the inevitable result of its success - being a soundtrack album of sorts, it sometimes comes across as being a little jumpy. In its home environment soundtrack music is generally punctuated by quiet passages of speech or whatever (unless you're watching porn classic Just Married or Sylvester McCoy era Doctor Who, both of which suffer from inappropriate and continuous musical accompaniment) but of course here, these aren't provided unless a conscious effort is made by the listener. But as criticisms go, the fact that I've been fooled into treating this like a soundtrack rather than simply as a tape of music, must say a lot about its ample charms.

 - Review of A.E. Van Vogt's paperback novel 'The Book of Ptath' by War Arrow, May 2011 - the full review is included in his 2013 book "Crappy 1970s Paperbacks with Airbrushed Spacecraft on the Covers", published under his other name, Lawrence Burton)
My first encounter with The Book of Ptath was a few years back, not the actual novel, but a cassette by Howl in the Typewriter released as a soundtrack to the same. The cover blurb suggests one might like to read the novel whilst listening to the tape, and I made a mental note to that effect without really believing I'd ever get around to it. Well, I still haven't, not quite. It takes longer than sixty minutes to read the novel, but I've given the tape a few spins during the daytime whilst doing other things, and having finished the story from which it draws inspiration, I'm impressed at how well it captures the mood of the book.
Howl in the Typewriter is the vehicle of one Stan Batcow, a man who has been churning out music for almost as long as I can remember and is long overdue wider recognition for the unique furrow ploughed by his numerous diverse endeavours - everything from salsa, to peculiar pop songs about cheese, to imaginary soundtracks such as we have here. It's basic by some standards, but none the worse for having the spirit of Oliver Postgate hanging around in the background. At times it nods vaguely towards The Residents, or Severed Heads, or 1970s Open University incidental music, or Pertwee era Doctor Who, or Jim Thirlwell's Foetus records before he abandoned the Philip Glass fixation and took to growling about people named Bubba over fuzzy guitars; but above all, its distinctively true to Stan Batcow's approach to music (which becomes more apparent with each listen), and is informed by an understanding of a soundtrack being something other than just instrumental pop songs plastered arbitrarily onto a moving image. So onto the novel: I'm still finding van Vogt hard work in places /// (large review section removed here) /// Suitably odd, and if far from his best, it's still reasonably compelling; and if anyone gets any bright ideas about a film adaptation, they really need to give Stan Batcow a call.

"There's certainly a wealth of different styles, textures and 'feels' to the various tracks - diverse or eclectic as they say. One track even sounds like the spitting image of Tangerine Dream! It's hard to follow which track's which, but I think my favourites are The Book of Death and The Ring of Power. I hear lots of Casio sampler on (the album) - am I right?"
 - Stream Angel


Dog-turd in Shrewsbury by Howl in the Typewriter (PUMF 161, 1991 - click to buy)

1 Melt
2 Quagmire
3 Desire
4 Water yr. plants
5 Peter's back
6 Share
7 Funnybun
8 Brevity
9 Scared
10 Segregation
11 In the nude, mix
12 Breakdown
13 Pain
14 Koumoli Ushi
15 Touch
16 I, eye
17 Gronk (zorrad mix)
18 Greenspeak
19 Flow
20 In the mood
21 Within you without you (interpretation)
22 Another
23 Twist and shout
24 Revolution 7
25 Family

1 Concerto for a dish of frogs
    I Around
    II Twaddle
    III See the neck
    IV Heartwhole
    V Labyrinth #7
    VI Beaten track
2 Life and its reflection
    I Birth
    II Baby
    III Toddler
    IV Childhood
    V Young adult
    VI 20's - 30's
    VII Middle age
    VIII Old age
    IX Death

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

Gronk (zorrad mix) by Howl in the Typewriter

Water yr. plants by Howl in the Typewriter

In the nude, mix by Howl in the Typewriter

Quagmire by Howl in the Typewriter

Pain by Howl in the Typewriter

Koumoli Ushi by Howl in the Typewriter

 - Cover note to accompany the song Melt, used on Dead Letter Office volume two compilation album, 2003
Pumf Records have been in existence for as long as anyone can remember and are still going strong with releases by The Ceramic Hobs, Stan's other major band. It could be argued that Stan represents the last true cassette jockey in a world overrun by crappy computer ambient CDR time wasters - certainly his commitment to quality and originality (not to mention eclecticism) seems near unique within the current climate of laptop download tedium - he's even in a marching samba orchestra for Christ's sake! Of all the people on this collection, here's one you haven't yet missed out on, so do the right thing, dummies! Get with the program, yeah?

 - Review by War Arrow, The Sound Projector, 2001
Stan is kind of hard to pin down musically, but I'm beginning to see a sort of pattern. I've always been a fan of the one man band. There seems to be a certain type of individual whose creative excellence goes stratospheric when unhindered by other folks, spare-wheel bass players getting in the way trying to add a bit of an Oasis feel to the mix. I'm talking about those authors of a song so big that it just nails you down within the space of an opening bar, filling your field of vision and eclipsing anything else for the space of a few minutes. Eno (first two or three albums), The The, Nine Inch Nails, Foetus, Severed Heads - forget the odd lapses - just think of 'Third Uncle', 'Perfect Day', 'Head Like A Hole' or 'Greater Reward'. Pure joyous pop doesn't have to be musically conservative or monotonous, or thick-as-shite! Howl in the Typewriter, as I now realise, definitely ranks as highly as any of those mentioned above. Don't be put off by the curiously uninviting title, this is an astonishingly fine use of two and a half hours of anybody's time. As I've grown to expect, it's all over the place. There's a whole half hour of harrowingly noisy live material, complete with unenthusiastic commentary from audience members in the background; tape collage experiments; In The Nude which pre-empts both Jive Bunny and Fat Boy Slim; a collaboration with Yximalloo; two bizarrely chosen Beatles covers; and songs the calibre of, for example, Melt and Share which are, just . . . I dunno . . . fuck . . . I can't explain . . . sheer genius. Listening closely one notices that whilst Stan's recording set up isn't lowest common denominator, neither is it hugely extravagant so it is a testament to his skill that he achieves such synapse-tickling results. Many of the songs make use of Roland's 606 and 303 (drum machine and bass computer) and rarely have I heard the same clobber being used so extensively without any hint of repetition or overall same-iness creeping in. I could carry on like this for ages, but such a catalogue of effervescent praise would probably get embarrassing after a while, so please just take my word for it. It's all good. Just buy the fucking (excuse my French) tape, okay! C'mon! What are you waiting for? Do yourself a good thing! Buy it now!

 - Review by Steve Snelling, Skeletons Making Love, 1990
If [Life and its Reflection] doesn't scare the balls off you then nothing will 'cause it really shit the life out of me. The track in question was recorded live in Blackpool - Stan must have had a lot of balls doing this live, it's about life being a slow strangulation process and how we're born into the world to be part of a cruel machine, to be force fed false morals and values when all along we've been given the death sentence from birth. Not for the squeamish.

"Dog-turd in Shrewsbury is wonderfool / WonderBra / WonderBread. There's buckets of invisible glue there - the quality of it as an overall 'thing' transcends any 'problems' in the material itself. Not that there's anything significantly 'wrong' with the material other than some of the sound quality could be better. No, I just mean 'The Sum is Greater Than the Total of its Parts' - it's something I would gladly show / play / demonstrate to people and say 'This is a Classic Underground Project'. There's tons of great material there - how lovely to hear Water Yr. Plants again - I would say that it's my favourite Howl in the Typewriter track ever. I used to have it on a compilation . . . but, whatever happened to that tape, goodness only knows. The third guitar to appear has such an amazing sound (after the scratchy reggae guitar and the jangly guitar) - that watery sound is pure bliss to these ears. I've heard Snakefinger get equivalent noises to that.
Life and its Reflection is a truly intense experience. The ending on it is one of the best endings I've ever heard."
 - Stream Angel

 - Conversational review by G, K and L, Ablaze #8, 1992
A red C90, a grey C60, a badge, a booklet and seven posters all in 'a lovely, clippy, sealy plastic bag'. Features Water Yr. Plants, and Melt. Value for them that digs such. /// G: (taking the tape out of the bag) I feel like Quincy. / K: Who's Quincy? / G: bad television pathologist. / K: This is great, it's a great pop tune. No, honestly, it's basically one man. / G: there's no-one there to tell him to shut up. / L. There is here, though. Bring back National Service. He should get his hair cut.


The Very Worst of Howl in the Typewriter by Howl in the Typewriter (PUMF 140, 1989 - click to buy)

1 Close (instrumental)
2 Migrate
3 The Happening
4 Funnybun
5 How I Died
6 Murmur
7 Dream Question (remix)
8 Discovery (remix)
9 To Anger
10 Deceiving Snack
11 Radio Futura (version)
12 Elinapmac

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

Elinapmac by Howl in the Typewriter

 - Review by War Arrow, The Sound Projector #8, 2000
And I quote 'All tracks are . . . guaranteed crap in one way or another and therefore suitable for inclusion on this . . . compilation'. Fucking hell, Stan! Have some self-respect! Wipe your nose! Pull your socks up! Repeat to yourself 'I am British . . . I am British . . .' I'm sure it can't be as bad as the unnecessarily self-deprecating title implies.
Okay, so it's not a patch on The Book of Ptath, or even Going Down the Cat & Trifle from which half of the tracks here are taken albeit in remixed or otherwise alternate form. The only real problem that I can discern is that some of this sounds like it was rendered before Mr Batcow saw the folly of recording his ditties inside a diving bell 500 metres below sea level, with the portastudio bolted onto the outside of the structure. But then again, the more familiar I become with some of these songs, the more their finer qualities shine through the bronze-age studio murk. It's largely guitar, bass and drum machine again, but I'm beginning to notice a certain 'greater than the sum of the parts' factor. Certain guitarists, irrespective of technical prowess, are notable for having a distinct individual style, like their own musical language. I'm not even referring to the obvious examples like Snakefinger or whoever. Killing Joke, The Cravats, Devo - all benefited from guitarists with a subtly distinctive sense of timing and notation that proved difficult to confuse with anyone else's playing. It isn't just the notes, it's where they go and so on, but not really being qualified, or even sufficiently interested in the technicalities, I'll leave it there before I embarrass myself. Anyway, to get to the point, Stan Batcow seems to have his own distinctive musical language, particularly on numbers like the hopelessly catchy Close - one of those rare examples of something that can be described as 'chirpy' and 'good'.
I'm glad I heard those other two tapes before this. The occasionally muddy quality kind of marks it out as being strictly for the hardcore fan, a description which, much to my surprise, I seem to be gravitating towards. The Very Worst of Howl in the Typewriter is in hindsight, probably a reasonable title, given that even this offal tastes better than the finest banquet you'll get at many other overrated musical tables. Will no-one throw an expensive recording studio at this man and surround him with guitar-shaped swimming pools and buckets of cocaine?


Going Down the Cat & Trifle by Howl in the Typewriter (PUMF 98, 1987 - click to buy)

1 Riff
2 Gronk
3 Murmur
4 Vesuvius
5 Discovery
6 Chocolate Fly
7 Twist And Shout
8 Another Cat Is Dead
9 Campanile
10 Close
11 Demented
12 Spineless Worship
13 13 Bar Blacks
14 Migrate
15 To Anger
16 Dream Question
17 Heeby Jeeby Insect Wriggle
18 End
19 Riff

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

Close by Howl in the Typewriter

Gronk by Howl in the Typewriter

Vesuvius by Howl in the Typewriter

Campanile by Howl in the Typewriter

Chocolate Fly by Howl in the Typewriter

 - Review by War Arrow, The Sound Projector, 2000
I was drawn to this album by virtue of these being the first HitT studio recordings - the first album is often the best, it being produced before Lionel Bioplasma (or whoever) has had the chance to descend into a rut of tired cliches trading on former glories - and the title which recalls the days when the Sounds obscurist chart provided safe haven to works like Dickie Davies Eyes by The Boiled Eggs or One On The Clapometer, or whoever it was.
The first time around, Going Down The Cat & Trifle is initially unimpressive, comprising mainly home studio songs built around guitar, bass and drum machine, with the odd bit of synth here and there. There may be a few raised eyebrows during moments like the chorus of one punkier tune that seems to be saying: 'Blood, death, devastation, war, horror . . . cheese!', like this is a list which should make obvious and immediate sense to everyone. Two or three plays in however, things do start to happen. It's well recorded if a little flat sounding, but I'm beginning to wonder if this is due just to my own prejudices regarding the instrumentation. Were the recording even worse, with a dustbin lid drum kit and a few blues standards chucked in, doubtlessly it would've been hailed as a lo-fi classic by now. So on closer inspection the realisation dawns that the Batcow has a nose for some serious tunes, hooks, riffs, and all those other things that serve to negate the relevance of a lavish production sound. The tape is clearly a child of its time, when the term punky didn't automatically mean spikes, studs and a howling wall of fuzz guitar urging us to smash up the local branch of Dixons. For a start, it's musically inventive without going too haywire, well-played, nicely timed, not too loud, you can hear the words etcetera etcetera. It's enough to make me wonder what some of this would sound like re-recorded for a fancy-pants studio produced CD, and enough to induce a certain disillusionment with a cassette scene that seems almost exclusively dominated by shit-dull badly recorded improvisation, or folks disappearing up their own laptops in the name of random squeaky noises. A little more eclecticism would be nice, and a little less fear at the prospect of producing something that someone somewhere might actually enjoy. Good stuff. Perhaps a few more of you lot would benefit from a stroll down the Cat and Trifle.

 - Review by Purple Ribs and Protruding Guts, 1988
Cat & Trifle - 19 tracks of sheer mind-fuck! Totally awesome - with titles like Heeby Jeeby Insect Wriggle and Another Cat Is Dead this is hot stuff. Also a white blood-cell numbing version of Twist and Shout.

PUMF 119 was a 1987 7" flexidisc titled Bedrooms and Knobsticks, which
featured a version of the song 'Close' from Going Down the Cat & Trifle:

Close (7" unextended treemix) by Howl in the Typewriter - video by Conny Plankton

 - Review by Robin Duke, Evening Gazette, May 1988
. . . back in action with the release of a very flexidisc on his home-based Pumf Records label . . . a dangerously catchy 'Close' by Stan's Howl in the Typewriter incarnation.

 - Review by Soft Watch, 1993
[Howl in the Typewriter gives us Close] with various echoed effects heroically adding strange, even surreal aspects to this, a far more 'constructed' track - a full local group sound with a post-Punk, post New Wave feel. They have a fairly mellow sound & a catchy song here, which with decent studio production might clean up into an indie hit, although maybe Father Time has put paid to the old indie school where the likes of the Swell Maps could record 'Dresden Style' in all its ragged glory & make it a hit. Certainly worth the money, these people have a chunky charm & an old style attitude which seems sadly lost outside these small pockets of time (and after all, if you know Blackpool, you know how little the fickle concept of change means to locals). Not everyone's taste, but I enjoyed it, and maybe you will too. Oh, yes, another thing which is timeless is the endemic quality of yer Flexidisc!


Would you Believe? There’s a Happening! by Howl in the Typewriter (PUMF 70, 1986 - click to buy)

1 Spineless Origin
2 Around
3 Gronk
4 To Anger
5 Baselessness
6 Heartwhole
7 Labyrinth 7
8 Friendship
9 Ethnomethodology
10 13 Bar Blacks
11 Love Everybody
12 Staff Of Life
13 Would You Believe
14 Gronk (portion)
15 Swamp Thing
16 The Happening

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by New Blood for Young Skulls, 1986
I smile inwardly when my mind wanders off to [PUMF 70]  . . . A recording of the summer of love, which of course doesn't come close to capturing the [live] event, but it is deadly enough to leave you with the impression that you missed something very dangerous indeed, just what did happen is left lingering in the minds of the demented few.

 - Review by The Reaper, 1986
How Stan gets away with it I'm not quite sure . . . 30 minutes of total noise left the crowd staring in disbelief . . . is this art or is it bullshit? Who cares, it's good fun anyway and the smoke bomb was perfect. Remember the ones A-void used in the Rock Battle? This was the same and smelt just as bad.  He even managed to set off the fire alarms in the upstairs room . . . a crazy night soon to be released on Pumf.

 - Review by Steve Snelling, Skeletons Making Love, 1987
Howl are very unique and to be honest I find it hard to define the actual sound and motives that lay beneath HitT. I reckon it's somewhere on the borders of The Door and the Window / Throbbing Gristle, shades of the Velvets, mixed with Stan's own thoughts and ideas. To put it in a nutshell HitT are experimental punk at its best.


Worlds Tour - LIVE on Saturn and Jupiter by Howl in the Typewriter (PUMF 49, 1985 - click to buy)

1 Encounter
2 Explanation
3 Heeby Jeeby Insect Wriggle
4 Heartwhole
5 Obnoxious Interlude
6 Release
7 Commencual
8 Funky Wonderbean
9 Daddy's Car
10 Heeby Jeeby Insect Wriggle
11 Rotting Fish And Happy Hedgehogs
12 Heartwhole
13 God Is Dead
14 Scared To Clap
15 Ultimation

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by Robin Duke, Evening Gazette, November 1985
The erratic but enigmatically interesting Blackpool 'band' Howl in the Typewriter is the latest line-up to be featured on the esoteric Blackpool-based cassette-only label, Pumf Records. The sound quality is a little suspect due to all tracks being recorded live at the combo's various gigs - well, two of them anyway (Blackpool's GPO Club and Preston's Caribbean Club) during August. It's all very much an acquired taste, with tracks such as Rotting Fish and Happy Hedgehogs and God Is Dead being strictly for believers.

"Even as far back as ’83 when Howl In the Typewriter released 'Planets Tour - Live On Saturn and Venus' and the sound was little more than a post Cabaret Voltaire electro-whine over a drumbox with minimal noise manipulation, you’d still get a song like Heeby Jeeby Insect Wriggle, where the bass just starts thundering away like that Chris Squire solo in the Yessongs version of The Fish, and you get jostled out of your noise-on-a-cheap-C60 slumber and start nodding and swaying, to the consternation of your fellow commuters."
 - Laurence Burton

 - Review by Robin Duke, Evening Gazette, November 1985
BLACKPOOL-based Pumf Records have recently released their latest [album] 'Rotting Fish and Happy Hedgehogs' by Howl in the Typewriter . . . a little more esoteric. Imagine Frank Zappa and John Cage trying to peel a pickled egg on a musical saw and you are getting there. It won't cheer you up.


Love and Degradation by HITT (PUMF 175, 1992 - click to buy)

1 Love
2 Degradation

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)

 - Review by Lecithin Wash, 199?
Side one (Love) is amazingly nice with its recurrent watery / waving keyspiano loop drone dream thing - bells, sounds, voices, a special blend of affection soup. Degradation has its own recurrent theme in the form of garbled distracted gargling and choir boy / monk chant intermissions. Not as nice as side one , but I guess that's the point?

"Love is a spiral insana - stunning! Hypnotic - psychedelic - 'out-there'. Hard music to give your attention to - at some points, it's just 'there'. Great to hear Incredible Shrinking Man on Euphonium.
Degradation - once there was a Very Hungry Caterpillar. There he was, strolling along, when what should he see, but a big pile of albums from BWCD - "Yum! Yum!", he thought - "I'll munch these!". So, he did, but little did he know . . ."
 - Stream Angel

Hate and Mutilation by HITT (PUMF 105, 1987 - click to buy)


1 Hate
2 Mutilation

Click to listen to a two-minute soundbite from the album
(this consists of extracts from several tracks, interwoven to give an overall aural flavour)