GARDEZ DARKX
GARDEZ DARKX
Bristol Archive Records

The wheezy brass and clip-clop percussion of ‘White Rain’ is enough to tell you we’re in left-field art-rock territory, and as there’s never any map I can’t really clear things up. Stream of unconsciousness lyrics never take hold, as attractive, windblown guitar sails away, and a sax alternates between being sometimes heroic, sometimes hated. ‘Stranger’ wees itself happily, with some hideous guitar overspill from a cute enough tune which has some pushy little perky touches to go with the supreme crooning of Latif Gardez, who apparently also recorded as Mystery Slang. It’s like The Associates gone grubby and a touch muso. Is that a good thing?

‘S. M. Tiger’ gets some post-jazz tinkling going, which you did find creeping through at the start of the 80s, with the indie scene brimming over with people trying to reinvent styles other than punky fare, some rough and scary, some surprisingly mellow but irritating like Gardez Darkx. ‘Random Alligator’ is an interesting mess, the idling keyboards suggesting someone like The Doors but it mainly feels likely a drowsy early Spandau Ballet visited by some odd bluesy guitar runs, as the young Latif was apparently influenced by the late, great Rory Gallagher, not that you can tell. Doorsian similarities flood the dumpy ‘Steel Wind’ but sadly this is not the end, my friend.

‘Saints’ has a slinky feel going, but with annoying yowling vocals, but otherwise it’s less scattershot, more direct. ‘Go!’ sounds like ‘Hong Kong Garden’ meets ABC, with a kids tv audience in mind, twee but sweetly twisted while ‘Doctor Be Good’ is strangled Bowie.
‘Bandage Mechanics’ is a gnarled funk David Byrne thing too, so the influences are all over the shop although it’s all there to serve the somewhat sore songs. ‘Whirlwind Friend’ staggers boldly to a finish with all of the aforementioned sounds locked in its dusty grooves and really it’s gone before you’ve grasped what they’re after.

There were tons of bands like this back then, and I can’t say I’m surprised the name hasn’t established itself. The best I can say is that if you’re into that arty noodling there’s a lot more gravitas here than some of the jerkier blaring bands offered, but it’s not my kind of thing in any way. I was glad when it finished.

http://www.bristolarchiverecords.com/bands/Gardez_Darkx.html#tiger

by mickmercer.com

THE LONG MARCH
CUNFUOCO
Bristol Archive Records

William Waine (bass/vocals) seems the mainstay, having seen Dave Cullum (Rhythm Puppet) on guitar and even Mike Darby himself on vocals fall by the wayside, before David Simpson on guitar and the percussively powered Shane Leonard cemented the lineup, occasionally enlivened by string players Justine and Kate Dobbins, although it all occurred between 1986 and 1988 so it may have veered around for all I know. William now sings and swings with Dynamos Rhythm Aces. Snotty punk Dave suggests, “If, when you’re listening to these old tunes, you don’t like them, you can still fuck off!” Well said, that man.

‘When Reason Sleeps’ makes a fabulous impact immediately with keenly explorative vocals pushing through a lean but busy indie song, with muscular drums, and gently detonating guitar, it’s all very melodic, all very spirited. ‘Drowning’ pitches along with tumultuous despair through throttled guitar and wild vocal curves, like a darker version of Hurrah! ‘Weakness’ finds the drums escalate, the vocals drift away as a guitar vibrates cautiously and strings introduce more discretion. Whistles, percussion and drums buffet storytelling vocals in the cute ‘Black Friday’ which makes for an unusual approach, so they were inventive characters. The pattering drums, tight strings and constant vocal presence throughout ‘Themes For Dance’ seems like a bit of a mess when the melody could have been more all-embracing. ‘Risk’ is just as jumbled, with skittish strings poking against tumbling drums and feverish, bright vocals swooping madly, with plenty of gnashing energy evident, so regardless of their odd approach they carry you with them.

‘Heaven And Hell’ didn’t do much for me, as it surged along but the twirly twang of ‘My Six Miracles’ is more involving, despite the jolly guitar and tremulous vocals failing to explain what the six miracles actually were, which annoyed me. ‘Pride And Joy’ is simple agonised indie, with the more rhythmically pointy ‘Laugh Until You Cry’ doing the jostling pop thing. ‘Arena Days’ is pale but well propelled, then a live version of ‘I Am Your Ghost’ from the 1988 Ashton Court Festival maybe hints at what the website throws up, about the band loving punk and classical, because the terse delivery and sudden string moodiness creates an interesting collision. ‘Infantry’ drifts off on sorrowful strains, emoting quietly with some muted samples, before rough guitar goes off on some poisoned wrangling.

An odd indie band then, full of strange, winning elements. I don’t think I’d have followed them avidly at the time had I known about them, but they certainly had something.

(Mick Mercer – www.mickmercer.com)

http://www.3rdgenerationnation.de/ReviewsSeptember2009.htm

APARTMENT
„House Of Secrets“ CD-R
( Bristol Archive Records / BristolArchiveRecords.com , Release Date: Juli 2009 )
Dieses Trio ist mir noch bestens bekannt durch ihre grandiose erste Doppel-A-Seiten-Single „The Car“ zu Beginn des Jahres 1980. JOHN PEEL hatte sie bei sich im Programm und spielte beide Seiten, wobei ich den Track „Winter“ favorisierte. Dieser unterkuehlter Ton in der Stimme von Alan Griffiths und das dazugehoerige melancholische Gitarrenspiel machten diesen Song zu etwas ganz Grossem. Bis heute gilt „Winter“ als einer der besten Momente im PostPunk-Bereich ueberhaupt. „The Car“ hingegen ist ein schneller gradliniger PowerPop-Song, der ebenfalls von dem originellen Gitarrensound lebt. Ebenfalls auf der 15-Song-CD ist der Song „The Alternative“ vertreten, der 1979 auf dem „Avon Calling“-Sampler vertreten war. Diese drei Tracks sind natuerlich der perfekte Opener. Und insgeheim hatte ich gehofft, dass sich noch weitere Perlen dieser Art auf der CD befinden. Und tatsaechlich mit Track 4 „Distractions“ geht es in diese Richtung weiter. Man wird zwar unweigerlich an alte CURE-Songs erinnert, was aber voellig in Ordnung geht. Ein Song, der mir auf Anhieb gefaellt. Leider ist dann aber Schluss mit Lustig. Die nachfolgenden Songs werden groesstenteils von einer zu schwermuetigen Last getragen. „Shot Down“ macht den Anfang, obwohl dieser noch so halbwegs im gruenen Bereich anzusiedeln ist. Ich weiss nicht genau woran es liegt, aber ich finde einfach keinen Zugang zu diesen Songs, die wohl von einer Demo-Cassette stammen und eine erstaunlich gute Qualitaet vorzuweisen haben. Leider ist diese Aussage nicht ganz spruchreif, da es nicht eindeutig belegt ist. Demzufolge also keine brauchbaren Infos ueber die restlichen Songs zur Hand. „Distractions“ bleibt ganz klar der grosse Gewinner dieser CD!
( * * * * + )

http://www.3rdgenerationnation.de/ReviewsSeptember2009.htm

The English translation:

http://www.gothtronic.com/?page=23&reviews=5944

After the melodious ’77 punk of The Apartment, frontman Alan Griffiths and drummer Emil decided to go to the next level and team up with the new post-punk movement. As a three-piece, bassist Stuart Morgan completed the line-up, their aim was to create compelling  music with modest means. This resulted in a sound that grabbed you instantly, but never got so catchy that it would make for succesful top-40 material. Their passioned cool did however attract the attention of Radio One DJ Peter Powell and a recording session was the result. Then suddenly Phonogram offered them a contract and stardom was within reach. Emil however unexpectedly decided to leave the band which left Alan and Stuart to handle the deal. Just what happened to a likewise talented band at that time, The Comsat Angels, the major label was pushing the band to go for a poppy, radio friendly sound. Even with the help of several producers, including Associates’ Alan Rankine, the outcome was disappointing. In their original form however they were a very solid and vital band. Is Nothing Sacred compiles the complete recordings of The Escape, with the exception of “Relapse collapse”.
From shimmering to stern, the guitar play on the melodious “Eden” is diverse, the passionate vocals of Alan come out clear. Crescendos that seductively unfold add to the tension. With “Twenty four hours” that tension is turned into anxiety, delivered in well-placed doses. The piercing guitars and Alan’s dramatic voice make for a stirring track. “The retrospect” starts melancholic with low-key glistening guitar, the tense percussion however casts its shadow on the agitated chorus. “Nogo”, The Escape’s lone single, is a lost post-punk classic. Emotional, restless and grievious, it grabs you and doesn’t let go. The pronounced bass and elementary yet invigorating percussion of that single’s B-side, “I’ll pretend to kill you”, form a nice combination with the rather high-pitched yet amiable lead guitar. Again some suspenseful passages provide for additional intensity. “The difference between” features synths, a rare element in The Escape’s instrumentation. Thanks to an urgent groove this is a driving track. The resemblance to Bauhaus crops up, also because of Alan’s vocal timbre. Strident yet tuneful guitars characterize “Unknown war” and “Desolation”, a sticky bass is on the forefront on “Truth drug”. “Girl in the phone box” is remarkably subdued, although you expect it to increase in ferocity at any moment. On the swirling “Murder” that contained viciousness is unleashed. The strolling title track and the yearning, plaintive “Silent running” close this striking overview.

Takin’ the Strain (Bristol Archive, 2008 [org. released 1982])

Talisman was a multiracial British reggae band that gained quite a following around its home base in Bristol, England in the early ’80s. During this fertile time in UK reggae, acts like Aswad, Steel Pulse, UB40, Matumbi, Misty In Roots and Black Slate were making headlines, while Talisman remained more of a regional draw. Their anonymity wasn’t due to a lack of talent or quality material, though. Their sound is comparable to these more well-known groups, mixing the pop accessibility of UB40 with the UK lovers rock tradition of Matumbi and the more edgy roots of Misty In Roots or early Steel Pulse and Aswad. Takin’ the Strain features three of Talisman’s best tracks: the funky Aswad-y roots of “Ah Wah You Seh,” the harmonic yet politically biting “What a Calamity” and the quirky, digi-synth “I’m Sorry,” which incorporates video game sounds, explosions and all manner of offbeat effects. Also strong is the title track and the soulful Third World sound of “Stride On.” Really, the only misfire is “Burn the Bread,” a cringe-worthy early rap song that earns an “A” for innovation but an “F” for the resulting ear damage. Despite this bump in the road, Takin’ the Strain is a wonderful snapshot of the extremely enjoyable ’80s reggae sound. Rediscovering a group like Talisman is like finding a forgotten $20 bill in your jeans. Now, go use that $20 to buy this album, stat! Learn more at BristolArchiveRecords.com.

4/5

ESSENTIAL BOP – CHRONICLES
Bristol Archives

There’s a great press release that came with, available at the url below, which speaks of a terrible disappointment for this band. Envisaging their music bringing devoted women to see their performances the reality of massed throngs of men in thick glasses anxious to discuss neuroses must have been a trial. That said, being in the band clearly wasn’t the dominant factor of their lives as what they went on to do is far more interesting, and we learn that Nick Tufnell became a country squire, Mike Fewings is a rally driver, Dave Robinson is a ‘coastal guru’, Martin Kieman is ‘an intellectual Scouse Git’ and on the less dramatic front Steve Bush is still active musically, while Simon Tyler is ‘writing the definitive history of the Fosseway.’ Rock and Roll, ladies and gentlemen. A 21 track salute for the alternately peevish and demanding Bristol band with recordings between 1979-1981, this is another enthralling Bristol Archives release. 

‘Quotation’, ‘Death Wears Yellow Garters’ and ‘Pleasure Dome’ are all live and, interestingly, the latter is great when it’s comparatively empty, but as everything crushes in things stop working so well. ‘The Western Blues’ is lyrically pretty disturbing, which I think is the intention, ‘Mau Mau’ gets by one some bulbous bass and punchy vocals, ‘ABZ Of Love’ annoyed me deeply but a jazzier ‘The Death Of The Cool’ is delightful, archly dramatic and sleekly stylish with a cute guitar outbreak.

‘Espionage’ does that James Bond guitar thing but the keys are practically curdled, ‘Why Did You Call My Name?’ is kooky but fun, ‘Kicking The Sun Around’ grows increasingly cool as the keyboard pushes behind the sensibly controlled vocals and the lyrics have a greater discipline, making for a coherently strange pop song. ‘Cenotaph’ continues the harshly weird lyrics but with a divinely mellow melody, showing how they have the power to attract in a weird way, then we get bustled out by the live version of ‘Chronicle.’

EUROPEANS
TAKE ME TO THE CONTINENT
Bristol Archive Records

A boring cover, yes, but a band formed in 1977 who recorded this through 1978 and 1979. Vocalist Jonathan Cole also handled some guitar and synth, Steve Street played bass, James Cole was on drums and wait a minute, who’s that on main guitar? Why none other than Jon Klein who went on to Specimen, The Banshees et al. A real archive find, is what, and proof positive that labels like this who try to chronicle their own area and its history do a remarkably fine job. Please note this is not The Europeans who appeared on A&M and dressed like gymnasts because they thought that looked cool. They were total wank. This Europeans are only partly wank.‘Time’ finds vocals stretched out over leisurely bass and buzzy synth, which flutters throughout as the guitar lays low, neatly razored, all of it an interesting post-punk hotch-potch. ‘Europeans’ flickers brightly over some polite Pistolian guitar and flops happily about as a catchy New Wave item, and it was their best known moment as a single and they remind of The Original Mirrors – remember the classic ‘Dancing With The Rebels’? After this things tend to go wrong.

Review from www.mickmercer.com  May 2009

ANDY FAIRLEY
FISHFOOD vs BIRTH OF SHARON
Bristol Archive Records

This is a weird one. The first three tracks come from the Fishfood entity, formed by Howard Purse and Doug White, with former Cortinas drummer Dan Swan, and a local poet, master Fairley, and these songs came out through the local magazine The Bristol Recorder, which I’d forgotten all about! That had quite a reputation. The final songs come from a secondary line-up of locals, and it’s from these, according to the press release/info sheet, which I have every reason to believe, that have achieved something approaching legendary proportions, having coalesced over time, although you need to wait right to the end to see why.

‘Dry Ice Hot’ sounds like Talking Heads gone in a wonky post-punk direction, ‘Seventeen Eels’ could be a certified edition of Play School hosted by a cheap Captain Beefheart impersonator. With a soothing, swaying bass ‘Modern Dance Craze’ at least carries you along, with some cute guitar scratchiness, but the repetitive host annoys me intensely, but that’s poets for you.

So they split up, but this Purse character, who’d gone on to be in the posh indie crossover stink of Animal Magic found Fairley again, gathering up former Animal Magic drummer Rob Bozwell and an artist called Jim Galvin on guitar. They created the final six tracks which is where the claim for amazement lies, as it reckons they predated Portishead recent work by 25 years. I dispute this. Firstly Portishead’s latest work is crap compared to their first recordings, being a pale retread, which is why it took so long to come out, and so this would make Birth Of Sharon fifteen years ahead, at best.

In a local music scene already familiar with The Pop Group the blaring, linear angst of ‘Now’ wouldn’t have sounded unexpected, surely? I can accept that people using tape samples early on, and synth which wasn’t stodgy but incorporated naturally into a heady funked indie stew was unusual but that’s as far as it goes, because this is also like an artier form of Stump during ‘Film Titles’, with fabulous drumming.

‘The Art Of Wanking’ has a brooding bass pattern, jittery guitar splashes, and some more sheltered, ruminating vocals which suit him better than the outright mental delivery elsewhere, and there’s more stylish drumming along with a groaning base on which they tilt.
The one thing I always associate arty scenes with is bleating saxophone, and that makes an unwelcome appearance in ‘Sex Is A Language.’ This stumbles on its shuffling beat, and sounds pretty crappy, like Gang Of 4 trying to have fun. Dismal. ‘Man Made It So’ is swirlier art-jazz rumbling and mumbling with more of the same tightly corkscrewed funk guitar, lightly knitted across a scrolling bass motif and gargling, anguished vocals. On the grand slurry that is ‘Volition’ they do appear to be entering new territory, with a fierce ambient undertow and some fascinating rhythmical pulses that nobody else would have been doing back then. This one track highlights something very special. It’s just a shame the others don’t come even close. It’s also an instrumental, really, which implies Fairley wasn’t a particularly vital part?

Review at www.mickmercer.com May 2009

This curio will probably pique tainsotterly interest as an early outing by The Pop Groups’s Gareth Sager,here disguised as Hank Sinclair alongside such luminaries as Clevedon Pier (better known as Rich Beale) and Candy Horsebreath.

A ragbag of unreleased demos of variable quality (Spank Spank wanders across the speakers with the authentic sound of tape being mangled),stylistically, it’s all over the shop,incorporating slap bass,perky synth choruses and self-sabotaging titles ‘P.L.H Euro Terra 11′ (endearingly, someone has deemed this the likeliest opening hit), and the Glitter beat of ‘Dig A Hole’.

‘I Am The King’ whips up some splendid big beat funk,rather like Shriekback with a decent singer. Jammed up against MTV-friendly rock (‘Can’t Stop’) are sampling cut-ups from Sager that hint towards a future impatience with the conventions of pop.

(Kid Pensioner – Venue Magazine 24th April 2009)  

FEAR OF DARKNESS

‘PHOBIA’

(Bristol Archive Records)

Review published by http://www.mickmercer.com/pdfs/the_mick_47.pdf

I always enjoyed this band live, like a feckless brother act to the sterner, darker Music For Pleasure, and there’s evidence aplenty of their melodic qualities on this retrospective, which Mike Darby has put out (his brother Neil being in the band) during his impressive work chronicling bands form the various Bristol indie scenes. He’s even extricated part of an old gig review of mine (…. Incisively pretty, with a polished veneer of pop-rock which needs an urgent sandpapering for full effectiveness, Fear of Darkness unveil a set positively burning with possibilities; not too long, not too repetitive, soft but leanly energetic. I admired the taut control, as it included regular doses of camouflaged fire and dirt for all their lightly flashy look. I like the disclaimed lonely chuckles and would recommend you heave your enormous buttocks down to the Timebox in early October. In fact the only thing I didn’t go for was the penchant for pointy boots. That’s Shoe Business – Melody Maker, 1987) Always the puns, eh?

Anyway, the record comes steeped in 80’s stodginess, which they do try and fight their way through. ‘Lay Me Down’ catches them wielding vocals following the classy Psy Furs blueprint, and that sub-stadium cool, with guitar inserted by tweezers, sounds a little weird now, while live they were more naturally tenacious. ‘Friends Like You’ is quieter, ‘Just Another Day’ moodier, but it’s all very precise, the melodical mane tossed and imperious. ‘Not For Love Nor Money’ is thoughtful, nagging pop which saunters through its own doldrums, while ‘She Said’ sounds all grown up, and the rigidity to these studio recordings that sums up the late 80’s, also brings some Jim Kerr stateliness into the vocals.

 ‘Shut Up’ seems happy in its Duranny ‘Reflex’ pomp, ‘True’ is positively laidback, like some credible Spandau aftershock, but it’s a shame ‘So Cold’ lumbers around as there’s more heartfelt emotional woes here. ‘Talk To Me’ follows that feel, with a sombre flair, then ‘It’s My Nature’ finishes, twice, including a ‘Phobia Mix’, and it’s a gently thoughtful piece, almost fighting against itself. Retrospectives often perform a real service, and it’s good this band have their own release. They burnt out at their leisure, but did so with style. (Neil and Angela then went on to the more Indie pop stylings of Love Jungle, and are apparently working together again. She was a bit mental, so that could be

interesting too.)