synapse-tickling excellence

 

To see Howl in the Typewriter videos, please visit the official Pumf Records video channel at
 www.youtube.com/user/PumfRecords

 

Howl in the Typewriter remixes The Melodramatic Monkey and cousins

(2013)

"Itís a remix album. Shall I stop there? Had enough already? More than that, a remix album done by a bloke youíve probably not heard much about, remixing tracks that arenít (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 youíre 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 someoneís psyche, then this is for you.
As ever with Howl in the Typewriter you never know what youíre going to get. Like calypso tracks of yore, the songs are often about anything. Though thereís a mindset that hints towards darker, more brittle mental states throughout his work, itís 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. Iím 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 weíve sat through. Things calm down with the take on The Death of The Enlightenment Projectís 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 weíre 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 Pigsí 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. Dataís Catís Quank gets the freaky treatment next, the track, spaning 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 weíre done.
So, well, erm, in retrospect, very interesting Lord Dowdy. Very interesting indeed."
- Incendiary, September 2010

PUMF 714

 

 

PUMF 665

Judas Kiss - the lost songs

(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. Stanís 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 Stanís 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: (ďThereís a tortoise retreating from ambient rageĒ)Ö. Three Course Collision is also a great number, a fuzzy sing-along with bags of charm.
Stanís 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. Thereís 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 youíd guess the song to be.
The undoubted piŤce de rťsistance on Judas Kiss, though,  is Stanís 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.
Iíd get this, quite simply because I can guarantee youíll have nothing as remarkably individual as this record in your collection. Highly recommended".
- Incendiary, September 2010

"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 . . ."
- Biscuit Psychosis, July 2011

". . . ear-movies from an imaginary industrial town!"
- Lord Litter, in a personal e-mail to pStan Batcow, 1st 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 Stanís 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 Iíve had three pints and Iím 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".
- Idwal Fisher, September 2010

 

Through the Ages, Live (Evil - Vile - Veil!)

(2005)

"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

PUMF 532

 

PUMF 497

Friendship's Death

(2004)

"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

 

Greatest Hits (of someone else)

(2003)

" . . .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 [album] 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 . . ."
- War Arrow, The Sound Projector, 2002

PUMF 462

 

PUMF 406

Voltmeter Abacus

(2002)

Four live, 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.

 

Grand Theft Audio (2002)

"It's great to be able to tell all you fun seekers out there that you should go out and buy this piece of plastic because if you like any of the following - Nurse With Wound, Negativland, Future Sound of London, The Orb, Cosmonauts hail Satan and (as the press release says) 'very probably a million and seven other bands' - you will like this. Twenty-four tracks all with their own symbol so as to confuse the fuck out of people who sit around pub tables discussing this sort of crap because Mr Howl couldn't be arsed to make up names for 'em . . . but that's the smallest gripe you're going to get because this is sample heaven with dodgy bits thrown in for all those who like any of the above. If I was going to be extremely uncharitable I could say that this is an easy way to make music, but having tried it myself I now know differently. And where the hell did he get half those samples? My favourite is 'the gun is good, the penis is evil' (spoken in a deadly sotto voce alien god like stylee) which comes in late on track twenty-three (the pointy gloved finger track) but there's lots more you should seek out. Maybe invite some friends round and play spot the sample over a glass of sherry and some finger sandwiches."
- Mark Wharton, Just Glittering, 2002

"Howl [has] been at it for years through the medium of cassettes, and the odd flexidisc. And now a CD. In many ways, Stanís work highlights exactly what is wrong with the CDR glut that has all but killed the similarly independent, but otherwise quite different home cassette boom of years gone by. People just have more money now . . . The fact is that many people start, or at least started, recording music on cassette because that was what was available and affordable, and thereís nothing which stimulates invention and innovation so much as having only a minimum of equipment which barely works, because you canít afford to repair or replace it . . . Today it seems these CDR kids just donít have the background of struggle which allows them to truly develop and focus their art. One flick of a credit card and the stuff comes out of its box, is wired up and next day - wow - another teeth grindingly tedious CDR of formless pointless looped laptop wank that the world doesnít need. Howl, on the other hand, have covered the groundwork, coaxed noises from fizzling bundles of wires and, over the years, become intimately familiar with the ropes. Of course, having been at it a while, Stan has actually accumulated some half-decent equipment as well as an understanding of how to use it with a modicum of inspiration. So here at last is a CD (and a proper CD mind) from one of those Ďcassette bandsí everyone seems to get so sniffy about. As basic concepts go, vaguely techno-inspired instrumentals laden with sampled snippets of dialogue may not be what youíd call revolutionary, but this hardly matters when itís done with such originality and a finely developed sense of the bizarre. I mention techno only as the nearest available point of reference, thereís only about two or three tracks which you might dance to if you really felt so inclined. Elegantly understated tunes and superbly orchestrated samples, or other effects, carry the music here. At times it is uplifting, at others positively haunting (track 17, for example, which displays the most moving use of mains hum Iíve ever heard), in turn both scary and funny, even irritating in the case of one track which sounds like tinny music from a computer game youíd find in a chip shop about ten years ago. Sampled dialogue, particularly from film soundtrack (Iíve spotted bits of The Thing, Blade Runner, and even Zardoz) can be one fuck of a cliche in the wrong hands, which it usually is, but here it takes on the quality of a Max Ernst collage, creating a whole separate universe with its own laws and logic . . . Is this plunderphonics or something? I donít know. Actually, I donít care. Itís a cracking album and I havenít stopped playing it since it popped through my letterbox two months ago. Howl In The Typewriter have done what few have managed - released a CD which is as good as a cassette."
- War Arrow, The Sound Projector, 2002

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

"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

PUMF 378

 

PUMF 364

Forays (Mystical, Imaginary, Dreamlike, Illusory) (2001)

"The claim so often made of this or that artist as Ďdefying categorisationí 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 Ďseriousí avant-garde. It is ironic that in these times where crap and noise and hiss has become an aesthetic in itself - Stan ĎHowlí 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 Iíve 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 thereís a fair helping of old Roland boxes: TB303 (the acid house fave) and - Iím guessing TR606 drum machine (youíll recognise it when you hear it), and hearing these again, still used with invention, and still sounding fucking great, Iím beginning to suspect it wonít be long before theyíre eulogised in the same way as the Hammond organ. Likewise thereís 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 donít end up thinking Ďthatís the sub-Kraftwerk number, thatís the Minnie Ripperton numberí 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."
- War Arrow, The Sound Projector, 2002

"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

with Stream Angel (1998)

"Two thematically related pieces by artists working at least partially with each otherís source material. Stream Angelís 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, itís fairly engrossing . . . Here, like a Bash Street Kid with attention deficit syndrome, we ramble between a speak and spell machine discussing the appeal of ladiesí bosoms, a traditional Japanese interpretation of The Laughing Policemaní, and just about everything else, ever. Oh - and Oliver Hardy saying Ďhard boiled eggs and nutsí, which gets top marks, obviously. Itís 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. Iím not even sure if youíd call this music, and in fact, I donít 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."
- War Arrow, The Sound Projector, 2002

PUMF 329

 

PUMF 315

7 X 7

(1998)

(with special guests - yesmeansno; andy boot; thee shrinkwrapped genious, crayola summer & edith spon;
acidfuck; smell & quim; norman; cute horse)

"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

(1995)

"This little package is absolutely essential for the collections of serious students of underground culture . . . The cassette is one track per side, around 8/9 minutes each, and every one of this strictly limited edition is individually mixed rom 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 . . . fresh and totally unique. Curiouser and curiouser. Side 2 is G-Rave-y Train, a decent little dance groove given the HitT treatment. 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 . . . all in all, very funny, a must. (you can't live without it!)"
- M&E News, 1996

"The picture which emerges of Howl's twenty year involvement in the world of weird tapes and music . . . is of a unique and undiscovered genius . . . he does whatever he feels is most appropriate (or even inappropriate) at the time, whether this be poetry, stories, heartbreaking pop music, wails 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 . . . this is a pretty humbling experience."
- War Arrow, The Sound Projector, 2001

"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

PUMF 259

 

PUMF 245

The Not Unpleasant Smell of Horse

(1995)

"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

 

The Book of Ptath

(1993)

"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 . . . this really does sound like a partially completed film score. Much of it is visually evocative . . . 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 . . . 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."
- War Arrow, The Sound Projector, 2000

"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

PUMF 196

 

PUMF 161

Dog-turd in Shrewsbury

(1991)

"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's a certain type of individual whose creative excellence goes stratospheric when unhindered by other folks . . . 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, The The, Nine Inch Nails, Foetus, Severed Heads . . . 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."
- War Arrow, The Sound Projector, 2001

"[Life and its Reflection] - if this doesn't scare the balls off you then nothing will 'cause it really shit the life out of me. Stan must have 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."
- Steve Snelling, Skeletons Making Love, 1990

"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

 

The Very Worst of Howl in the Typewriter

(1989)

"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. 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'. The occasionally muddy quality kind of marks it out as being strictly for the hardcore fan . . . this offal tastes better than the finest banquet you'll get at many other overrated musical tables."
- War Arrow, The Sound Projector, 2000

PUMF 140

 

PUMF 98

Going down the Cat and Trifle

(1987)

"Mainly home studio songs built around guitar, bass and drum machine, with the odd bit of synth here and there. 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 . . . 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. 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. Perhaps a few more of you lot would benefit from a quick stroll down the Cat & Trifle."
- War Arrow, The Sound Projector, 2000

 

Worlds Tour - LIVE on Saturn and Jupiter

(1985)

"Even as far back as í83 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, youíd 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

PUMF 49

Would you Believe? There’s a Happening!

(1986)

"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."
- New Blood for Young Skulls, 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. He even managed to set off the fire alarms in the upstairs room"
- The Reaper, 1986

PUMF 70

 

PUMF 105

Hate and Mutilation

(1987)

 

 

PUMF 175

Love and Degradation

(1992)

"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

 

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