Invisible Guy recommends: 80s Post-Punk – 1980-1981 (Part I)

I’ve been through with you in the 80’s now in about six parts, four parts were about new wave and two parts were about minimal wave. Now, because of popular demand (not really), I’ve decided to unleash the post-punk monster. It will feature six different parts, whereas each one of them will concentrate on important years. I will walk you through a decade of important music, I could almost call it the golden years of post-punk. The parts will go on like this: Part I, 1980-1981. Part II, 1982. Part III, 1983-1984. Part IV, 1985. Part V, 1986-1987. And finally: Part VI, 1988-1989. Hopefully you’ll enjoy this madness, featuring (mostly) obscure or unknown bands in this sphere. New for this recommendation will be that I have different commentaries under each video, some of them are humorous and others are not. It will cover the basic aspect of each video or text. Enjoy this one.

You’re now entering Part I of the recommendation.

If you wish to continue, click on the Continue reading button.

Pete Hammond wagging like a duck back and forth on stage is excellent.

30. The Au Pairsblending the finest elements of post-punk and new wave, but staying true to the post-punk core. Consisting of the following members: Jane Munro, Lesley Woods, Paul Foad and Pete Hammond. According to myself, this band is one of the more legendary acts within the post-punk sphere. They were also featured in the DVD and event called Urgh! A Music War from 1981 (also released as a compilation), and that’ll also be where I will be showing a clip from where they play the song I’ve chosen, live. I took their album Playing With A Different Sex (1981, Human Records) which is by far the best record they’ve ever put out, even though Sense And Sensuality (1982, Kamera Records)  is pretty good too, but not really post-punk. It’s quite evidently which song I’ve chosen, but I’m going to tell ya about it! I chose Come Again because of the interesting dialogue between Lesley Woods and Pete Hammond in the end and because the baseline (played by Jane Munro) throughout is so feisty, that I’m about to burst out screaming: excellent, bravissimo, totally perfect! Hurrah!

Yes, I know, it's a re-release of their oldest single. Love like it's 1980!

29. The Marching Girls – pretty standard but catchy post-punk love. Before they formed their name was The Scavengers, but when they relocated to Melbourne they re-named themselves to The Marching Girls. It was a three-piece consisting of Brendan Perry (later on released two solo-albums), Des Hefner (also contributed to various compilations) and Johnny Cooke (Go Public, Suburban Reptiles). Since this part is mainly about 1980 and 1981, I picked their single 1 (1980, Propeller) for that reason. Their song True Love from that single is basically a song about love, if you couldn’t tell. But I like the desperation that you can hear when the singer sings, also the obligatory back-up singers work out good for this song. Otherwise, there isn’t much to be said about this song. It’s pretty standard, but it’s got catchy riffs which hold up the song together with the percussion as a whole.

Paying tribute to The Beatles in a post and punky way.

28. Features – yet another post-punk piece from Australia, but with a darker tone and more punk-ish. Interestingly enough, the single I’m about to choose is actually a cover of a Beatles-song. This band is a quartet straight out of the wild Australia, consisting of: Chris Orange (Terrorways), James Pinker (was in the legendary industrial-band SPK), Jed Town (was also a member of SPK, or is) and Karel Van Bergen (Primmers, Band Of Holy Joy). So what did these fine gentlemen have to offer? Well, they released one single and one EP in the 80’s. The one I’m taking on is the single named Perfect (1980, Propeller). Therefore, because it was fun, I picked their song Secret which is a cover of The Beatles song Do You Want To Know A Secret? I must say that they’ve certainly succeeded into turning this pop song into a fully fledged post-punk and punk mayhem, with bottles thrown and raspy riffs. Also, with the help of a somewhat humorous and screaming singer.

Almost sounds like it could be placed in a Japanese commercial?

27. Pressure – minimalistic, japanese and the words of a rambling insane post-punk person. Lets move from one island to another island, straying more and more from the mainland. Even though this one can be considered somewhat of a mainland, this japanese post-punk band consisted of Takahiro Furusawa, Hitoshi Kusonoki and Kazuhiko Mimori. At the same time we’re also moving from the vast numbers of 1980-records, to a 1981 instead. I chose their single Detekoi / Goouder (1981, Turakame Records). The song I was particularly fond of on this record must have been the Detekoi one. Mostly because it sounds like Takahiro, Hitoshi and Kazuhiko are rambling words because of their insanity, accompanied by a minimalistic sound scape in which they’ve managed to smuggle post-punk into. A good one from Japan.


Have you ever been as blue as China?

26. Blue China – choir-like post-punk from the neutral regions. Lets sway away from the islands for a moment and hit real mainland. This band is a quartet consisting of the following members: Voco Fauxpas, Derek Taylor, R. Vogel and Rudolph Dietrich (Expo, Nasal Boys). The band released two EPs and were featured on the compilation Rudolph Dietrich & Blue China ‎– Time To Leave / 1980-1988 but it’s not the record I’ve chosen. I decided to pick their first record, which is an EP called: Visitors Never Come Alone (1981, Electric Unicorn). Of course I chose the song with the same name: Visitors Never Come Alone (because I’m a sucker for choirs). A spiritually healing post-punk record with a hint of satire and a bunch of back-up singers, accompanied by a singer that has a voice that fits the premise.

"Visst fan har jag det bra, bättre kunde det ju va'!"

25. Tant Brun – swedish and catchy post-punk, delivering satire through a pop culturally correct format. Since we’ve been in the middle regions of Europe and on the edge of Oceania (not really), we’ve come to something that have been very dear for me. We’re going to the nordic regions of the hemisphere, we’ll stop by in Sweden. I don’t really know who’s behind the music, but it’s really catchy and it has a rough tone to it at the same time. They’ve only released a single and an EP, and I’ve chosen the latter one which is titled Swärje / Lördagskväll (1981, Sjöbo Påpp Records). There’s not really much to choose from, but I chose the song Swärje. Since I love the critique of Sweden and it’s society from the 80’s perspective, mostly because it’s humorous and apathetic at the same time. But the fact is that they deliver this message through a very catchy post-punk (almost punk) song, with pop-vocals. Isn’t that hilarious?

So I hope you’ve enjoyed these tips from Invisible Guy. This is the end of Part I.

Part II will be published on Thursday or Friday.


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