Invisible Guy recommends: 80s Post-Punk – 1982 (Part II)

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 II of the recommendation.

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

If you've ever heard of it, you heard it here. Post-punk ballerina.

24. Seven Ballerinas – dodgy and subliminal post-punk, which will hit your right on your emotional nerve. It’s one of those bands that only released a 7¨ and then disappeared from the public eye, I don’t really know who’s behind this alter ego. Obviously, they’re from Australia. Something I would’ve known since the first part, because of their frequency on the post-punk radar. Along with their cousins from New Zealand. Then again, what 7¨ did I choose? Their only one, of course, titled: Sometimes I Feel (1982, Jump Records). I picked the song with the same name, Sometimes I Feel, mostly because of the subliminal atmosphere and suggestive lyrics. Sometimes it’s just only about love and alienation, and this track really emphasizes those feelings and the lack of understanding. I’m also a sucker for the post-punk bass, something everyone should discover before they get too old. The entry that the melody make, in synchronization with the steadfast and pumping bass is a total heart-twister. Like when you’re having a soar throat and when you really need to swallow, this bass is that feeling. The lump that goes up and down in your throat, whilst your body is singing in agony – e.g. the singers mellow, and his sweeping – but apathetic voice.

It's for certain, that you're my general. General.

23. Certain Generalsuggestive, mellow and percussion-driven post-punk. With hints of no-wave, since they originated from that environment in New York City, they make the good decision of keeping the sound scape more post-punk oriented. The band consisted of the following members: Lupo, Marcy Saddy, Parker Dulany, Phillip Gammage and Russell Berke. Actually one of the few bands I’ve listed that have had a comeback, they got together in 2003 again and made their first recording with the all original line-up from the 80’s. So, the mini-album I’ve chosen was produced by Peter Holsapple who also lent a hand to other obscure acts of the 80’s and into the 90’s – but he also returned to this world in 2009 with albums such as his co-operation with Chris Stamey titled Here And Now and My Friend The Sun. Ok, I’ll cut to the chase and tell you which mini-album I chose. I decided to take on their debut album titled Holiday Of Love (1982, Labor). The song I picked is the self-titled one which goes by the same name: Holiday Of Love. Why do I like it? Because of the mellow tune, the background riffing and the wonderful female back-up singer. The percussion is pretty okay, not very much to say about it, it’s too bad that it looses its sting later on in the song. I’d recommend this one for the more love-thrusting and mellow post-punkers out there.

Why did the baby turn blue?

22. Virgin Pruneslegendary experimental goth, new wave and post-punk. If you don’t know who these people are, you should be ashamed of yourself. But on the other hand, if you’re not a post-punker, goth-lover or experimentalist – I’d forgive you straight away. These fellas are actually from the same city as U2 come from, namely: Dublin. Only thing that separates these two is that U2 was something that could’ve become better as they aged, whilst Virgin Prunes aged like great wine. Too bad that Bono had to fuck everything up, otherwise we would’ve had a great U2. Sometimes I wish that these two bands could’ve switched places, but I think the public wasn’t too keen on them because of their experimental sound and uniqueness – and they never will be. That’s good for the rest of us, since we’ll still have them in the underground and for ourselves. You’d need to look up who are behind this band, because I won’t tell you. After you’ve learned the 101 about them, you’re welcome back. I picked their second album which is titled …If I Die, I Die (1982, Rough Trade). This album is one of their best ones, not that their other material is bad – but this material is as great as they got. I took their song Baby Turns Blue and it’s one of my favorite songs on that album. It was hard to choose, since the other ones are great too. But it stood between Baby Turns Blue, Bau-Dachöng and Decline And Fall. Evidently, that song is the most pushy one of them. A kind of up-tempo experimental (vocally) post-punk extraordinaire. So if you slacked on the songs prior to this one, you’ll miss something if you slack on this one too. Because it’s one of the greatest.

IK! Well, what freedom can that be?

21. IK – flanged, heavy, minimalistic and melancholic post-punk. Now that you’ve been schooled in the more legendary categories, we return to the UK and another one of those obscure gems. The only thing I know is that John Brearly was the engineer for this album and that it was recorded at his studio Cargo Studios (also home to The Durutti Column and Joy Division). It’s certainly one of the more interesting post-punk that I’ve discovered, so I bet that you’d want to know which single I’m talking about? Fine. I picked their only single Final Freedom (1982, Incorporated Records). And as always, I decided to pick a song that have the same name as the album: Final Freedom. I chose it because I like the singers stop-and-go minimalism, where he almost says things instead of singing them. Like he wants to get something out and do it with emphasis on the words, so that everyone gets to know and hear it. I also like the flanged intro-riffing and the fact that they got in a pretty funky but at the same time stale post-punk feeling into a song that’s merely about three minutes long.

Nick Cave in his best setting - decadent rambling straight out of insanity.

20. The Birthday Party raw, down to earth, primitive and almost insane post-punk with some amount of punk, art rock and alt. rock included. This is also one of those bands that you need to know of if you ever enter these realms. Their second album Junkyard (1982, Missing Link) is the album that I’ve chosen this time, mostly because it’s the only album that fits into the category of 1982 and mostly because it’s got that raw edge to it that some of the post-punk lack. If you need a clue, this was the band that had the charismatic and legendary singer and song-writer Nick Cave behind the wheels of the vocals. This band was quite unique and his singing-style was too, which complimented the totally insane and psychotic sound scape. I chose the song with the same name: Junkyard (of course), because this is what I feel embody the band. The insane ranting Nick Cave in a dimension by himself, almost outlaying the premise for the rest of the band, somehow becoming in sync with each other even though it (at times) sound like they’re playing a different set whilst Nick is singing. However, this song or album is not for the faint of heart. It’s for those that have some experience in the no-wave feel and can appreciate a more experimental and edgy sound. Do check it out.

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

Part III will be published on Monday or Tuesday.


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2 thoughts on “Invisible Guy recommends: 80s Post-Punk – 1982 (Part II)

  1. Pingback: Colson Whitehead–”A Psychotronic Childhood: The B-movies did it” (New Yorker, June 4 & 11, 2012) « I Just Read About That…
  2. Pingback: Invisible Guy recommends: 80s Post-Punk – 1983-1984 (Part III) | INVISIBLE GUY

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