The year is 1985. A year, and specifically a decade, where synth-pop and minimal synth are thriving – all over the world. Making it a quite pleasant decade for those whom indulged themselves with music from these genres. I’m keen to mention the US as one of the more underrated bastions, delivering solid acts like Near Paris, and their one and only EP titled “Visions” that was released on Imperial Records in 1985. This group got revived through Medical Records, who in 2013 released a limited edition, self-titled LP that included never before heard tracks. A compilation, if you will. I’m primarily talking about Near Paris as an exquisite and rare exception to the more popular groups and solo-project around this time, because it’s relevant to what I’m about to bring you. But it’s also relevant in a world where re-issues and re-releases seem to be popping up here and there, like mushrooms through the ground. As I mentioned, Medical Records is simply one bastion, in a fragmented world where these record labels serve as a beacon – and perhaps also a guide to how you’re supposed to do it – when re-releasing and re-issuing records. Especially if we mention those rare gems of the past, which people haven’t really heard about until they pop up on these labels. Dark Entries Records is another one of those beacons, mostly catering to your more experimental and dark needs, as they’ve recently pumped out Lassigue Bendthaus, Crash Course In Science and Psyche – the latter being one of the more melodic exemptions.
But there are more labels out there who do these kinds of things, from every genre that you can think of, to every genre you’d never think of. Bunkerpop is one of those more unknown labels that have up until now re-released the Coïtus Int. gem from 1982, “Dead Excitement E.P.“, which I reviewed over here. They also gave the same treatment to Null and Void, putting out material by them which was recorded in 1980-1982, under the guise of “Possibilities (Discoverable Thoughts)“. Unfortunately, Bunkerpop seem to have taken a minor hiatus since then, but they might be coming back very soon – you can always speculate. Another re-issue label that I wanted to mention is Domestica, which is one of those labels that release a lot of interesting, and different stuff from the past. This Barcelonian mammoth that seem to be steaming onwards like never before, have just recently re-released Son Of Sam “The Collapse Of Ancient Funk (1984-85 A.D.).” – under the name of “The Collapse Of Ancient Funk (Vol.1)“, Little Nemo and their “Past And Future“-album, but also the Barcelonian synth-group Terminal, with their album “La Vida Es Como Un Gel”. There are many more labels that could’ve been included, but I’d like to mention them a little off-hand over here, instead: Emotional Rescue, Anna Logue Records, Infrastition Records, Avant! Records (both new and old), and many – many more. But these record labels are basically those that I’ve appreciated the most.
Well, we should continue. What we’re about to give you is an exclusive track from a forthcoming re-issue of the album “Silence Ever After” by Joy Before The Storm. This album was originally written, recorded and mixed in 1984 at High Noon Studios. Spanning in between dark wave and synth-pop, delivering both the cheesyness that I so adore, but also the seriousness and complexity that a lot of these crossover acts had, especially those that were rare – as is the case with Joy Before The Storm. Together with the independent record (and re-issue) label Atemporal Records, we’re prepared to give you the track “Quiet Past” from this album. This track is a re-mastered version of the original, and is featured on “Silence Ever After“, the re-issue that is going to be the fifth release on this record label, and that is going to be released in the very near future. You can stream this track down below and check out Atemporal Records, for more information. Joy Before The Storm was Matthew Anderson, Kevin Kaulson and Dan McKay.