VA – Let’s Die (LP 1985)

If it’s deathrock you want, it’s deathrock you’ll get with this gruesomely attractive compilation from cult label Mystic Records fittingly titled Let’s Die. Now if you’re from the mindset that there’s a single mold from which all deathrock springs you might find yourself a bit lost trekking through these nineteen tracks. For that matter, even though most of these bands hail from the same SoCal region that spawned original deathrockers Christian Death - which is the sole band I measure anything tagged “deathrock” against, nothing here sounds much like Christian Death at all. That said… what shall one expect from this fairly obscure, lesser-known collection of cheerless rock songs? Well, really there’s quite a bit to discover - from goth to glam, hardcore to metal, punk to postpunk… it’s a great listen for anyone who likes to dabble in a mishmash of musical styles, all the while maintaining that certain sense of darkness that’s come to be one of the main identifiable characteristics of all things "deathrock." Let's Die is a lost cult classic!

Standout tracks include: “Inside” by False Confession - heavy goth rock with dark cascading organ, menacing guitar, and vocals reminiscent of Peter Murphy; “Hellhouse” by A.W.O.L – punishing, metallic gloom punk similar to some of DI’s output; “Let’s Die” by Patrick Mata – dreary, yet funky, postpunk pow wow; “Darkest Dream” by Party Doll – melodic female-fronted goth punk, like Leningrad Sandwich flirting with Super Heroines; “Kill the Dead” by Slaughterhouse 5 – loud bass-thumping trashy horror punk; “Hives” by Burning Image – like the DEVO of deathrock, essential; “Bad Brains” by The Drab – sizzling slow-mo gloom punk. Track to avoid: “Day of the Jackal” by The Stain – reminds me of NWOBHM… and I like NWOBHM, but this is just painful.

VA – Let’s Die (LP 1985)

1. False Confession - Inside
2. Subterfuge - The Noose
3. A.W.O.L. – Hellhouse
4. Patrick Mata - Let's Die
5. Thieves Cross - Slaughter Hotel
6. Party Doll - Darkest Dream
7. The White Pigs - When Bobby Comes Back from the Grave
8. The Mess - Innocent Me
9. Ill Repute - In the Night
10. Slaughterhouse 5 - Kill the Dead
11. Burning Image – Hives
12. The Drab - Bad Brains
13. Silver Chalice – Suicide
14. Samson's Army - The Edge
15. The Stain - Day of the Jackal
16. Flower Leperds – Necrology

DOT #17

FUNERAL - Self-titled (12" EP 1981)

If you’re a collector of oldschool West Coast punk, chances are that this band is somewhere on your ever-growing wantlist. And if you enjoy high-energy, all-American punk, but have yet to hear of them, you might want to take note... Funeral are a legendary punk band from Long Beach, California featuring future/former members of the Rik L Rik band, Weirdos, and Tex and the Horseheads. The band was active during the early eighties, and, with two EPs under their belt, could be considered an integral piece of the jigsaw puzzle that has since been tagged “So Cal punk”. Members included Mike Martt - guitar/vocals (Tex and the Horseheads), Matt Dorsett - guitar, John Neff - bass, and David Thum (aka Rick Vodka, Tex and the Horseheads) - drums. Their style might be best described as straight ahead punk ‘n’ roll, with earlier material having a gritty hardcore tone, and later material maintaining a more traditional approach with just a bit of a punk pop tilt.

In 1981 the band released two recordings, the first being a 3-song 7-inch EP often called Waiting For The Bomb Blast (named after the single’s A-side), followed by a 5-song self-titled 12-inch EP. Out of the two recordings available, their second, which is where the band truly demonstrate a sound all their own, is wholeheartedly my favorite. Injected with a humble dose of working-class oomph, songs like “Ant Trap”, “Will To Live” and “Bloody Hands” convincingly embody the fighting spirit of punk all the while serving up a tasty helping of apple-pie virtues. Mike’s raspy, soulful voice does a powerful job in delivering line after line in short clean blasts; and the band’s playing is spot-on with great leads, sturdy melodies, and lots of sing-a-long choruses. It's a recipe that could rouse some serious fist pumping action from the timidest of listeners. But let me warn now, there’s one track that stands out from all the rest… and its aim is to extinguish your life. “Darkness On Your Doorstep” is a doom punk gem. Yeah, that’s right… DOOM PUNK. There’s simply no other way to put it! Uber creepy and crawly, it's slow, crushing pace and deathly lyrics could easily give Sabbath, the godfathers of all things doom, a run for their sweet green money. Sure is a pity the band didn’t explore this direction a little further... however, this one track alone is reason enough to investigate all things Funeral. Enjoy!

FUNERAL - Self-titled (12" EP 1980)

1. Ant Trap
2. Will To Live
3. Outer Edge
4. Darkness On Your Doorstep
5. Bloody Hands

DOT #16

FYI... Bomp Records have since released a collection of Funeral tunes, including both the aforementioned releases as well as live and unreleased studio material… you can get that here.

MURDER THE DISTURBED - Genetic Disruption (7" EP 1979)

If you haven’t already taken note, you should know that my favorite bands are usually those that fall somewhere between the lines – whether too abrasive to be goth, too avant-garde to be punk, or just too “too” to be classified at all – these are the bands that peak my interest and motivate me to share my findings by way of this here blog. With my primary focus being postpunk, I try to select projects that allow me to indulge my fascination with all things… let me see… how did that Christian woman from Wife Swap say it? Ahhhhh yes... darrrrrrk-sided. *lifts an evil eyebrow*

So,what does that have to do with Murder The Disturbed, you ask? Well, aside from the band’s barbaric name and dreary tunes… a whole lot. Indirectly speaking anyway. Here’s a little trivia for you… Murder The Disturbed were signed to the short-lived, London-based Small Wonder Records. This is the very same label that released the debut singles, and in effect launched the careers, of some of indie music’s most legendary acts – a list that includes genre-defining artists such as Bauhaus, The Cure, and Crass, as well as lesser known artists like Patrik Fitzgerald, Cravats, Demon Preacher, and Poison Girls. Interesting enough?

Stylistically, Murder The Disturbed fit in quite well on Small Wonder’s roster. 1979’s Genetic Disruption is as worthy a debut as any – chalked full of moody minimalistic postpunk, it has a sound so primitive you might be tricked into thinking that the band were actually some obscure krautrock sensation dowsed in proto-punk voodoo. Good stuffs.

MURDER THE DISTURBED - Genetic Disruption (7" EP 1979)

1. DNA
2. Walking Corpses
3. The Ultimate System

DOT #15

Also... there's a compilation available from Cherry Red featuring the track Walking Corpses. (You'll need to scroll down a bit to find it.)

THE FREEZE – In Colour (EP 1979)

Many of us know Gordon Sharp as the man (or woman?) behind the nightmarishly atmospheric band Cindytalk. Many of us also know him for his sublime vocal performance on This Mortal Coil’s masterful debut LP “It’ll End In Tears.” But, what many of us do not know is that shortly before these two stunning achievements Gordon fronted another band, a band fixed in UK’s booming punk movement, with a reputation for being refreshingly unpredictable and cleverly daring, this band was four-piece unit called The Freeze.


The Freeze formed in 1976 and initially consisted of Gordon Sharp (vocals), David Clancy (guitar), Keith Grant (bass), and Graeme Radin (drums). (Later line-ups would see the addition of a guitarist/saxophonist/clarinetist Tony Wallis, alternate drummer/keyboardist Neil Braidwood and alternate bassist Mike Moran.) The band was active from 1976 to 1982, gigging continuously throughout their homeland of Scotland, and supporting a wide range of acts, from the likes of Sham 69 to Echo & The Bunnymen. On stage they were quite the lively bunch - with an unusually diverse spectrum of sound, glam-punk gender-bending theatrics, and a knack for random song improvisation - it was a package that often left onlookers enthusiastically scratching their heads in astonishment.

The group had two official releases – 1979’s debut 7-inch EP In Colour, and 1980’s 7-inch single Celebration, both of which were self-financed on their own A1 label. And although The Freeze would prove that they undoubtedly had both the musical talent and vision needed to propel their name into the greater new wave market, it was their eclectic and unpredictable nature that ultimately barred them from capturing proper label interest. Not to say their wasn't any interested… John Peel noticed the band and in late 1980 invited them to do their first BBC radio session, followed by another session in 1981, both of which have yet to see any official release. By 1982 Gordon had become increasingly dissatisfied with the confines of the band’s musical format, wishing to instead give focus to more experimental song structures, a desire which eventually lead him to forge a new union with fellow core-member David Clancy, move to London and change the band’s name to Cindytalk.

“mostly, i loved being in the freeze. everybody pulled their weight and we all complimented each other. i preferred the classic line-up of course (clancy, grant, radin, sharp) but neil braidwood and mike moran were excellent too. personally i'd have been happier if we'd collectively been a bit more into the edgier punk and post punk music of the time, ultimately that was what forced me to rip it up and start again with cindytalk BUT i loved the freeze and have no real regrets with it all. including walking away from duran duran, well, especially that...” –Gordon Sharp

So here it is, two parts prickly pop punk and one part foreboding postpunk, The Freeze’s crucial debut 3-track EP In Colour. Upon pressing play we are immediately thrust into the youthful power rocker “Paranoia”, which, with its aggressive yet rhythmic framework and snotty vocals, bares a certain resemblance to material by politic punksters like Cult Maniax. This is followed up by “For JPS” which has a similar style and pace, albeit more playful, with stop n’ go progression and an arsenal of bouncy guitar chords to lighten the mood. The third and final track “Pychodalek Nightmares” is my favorite of the bunch. At nearly 6 minutes long, reverberating guitar sizzles to life as Gordon reasons with paranoid illusions in a New Romantic vocal style while distant cries of a lone violin serenade the mood into a deep, peaceful freeze.

THE FREEZE – In Colour (EP 1979)

1. Paranoia
2. For JPS
3. Psychodalek Nightmares

DOT #14

Unfortunately, I've been unable to find a copy of the band's second release. Any hands?

COÏTUS INT. - Self-titled (LP, 1982)

At first glance, I recognized Coïtus Int. as a kind of ordinary, copy and paste postpunk band with nothing new or special to offer. But after further, more focused listens, I discovered that there was a greater level of artistic integrity in effect here than first realized. Like Joy Division, the base of Coitus Int.’s music is sparsely structured - featuring bass as the lead melodic instrument, jagged guitar and baritone vocals. But, it is the band’s special attention to song ornamentation that saves them from being written off as yet another JD clone, instead morphing the unit into something that approaches a stripped down, dirge-obsessed version of Bauhaus, sans the glam antics and glossy finish.

Released in 1982, Coïtus Int.’s self-titled LP is dark, depressive postpunk perfection. It’s soooo good in fact that the more I listen to it the more I want to hear it! From the low, opening rumble of the hardcore in slow-motion “Birds” to the dreary spaced-out feedback of closing track “Tourist Ghetto”, there’s just so much to savor. It’s one of those albums that’s best explored alone and without interruption as the music and voice carry the listener through the emotions of alienation and self-preservation. The vocalist takes a deep bellowing approach to his lyrics, which are never sung, but instead lazily uttered in slur - a style that matches the instrumentation well and helps to maintain the raw, depressive atmosphere. The song structures are solid and varied, with lots of playful guitar leads that bounce in and out, often building up to a nice, climatic end. Think Southern Death Cult, Joy Division, Bauhaus and you’re on the right track. The band even managed to put together an instrumental dance track… one that actually doesn’t sound like it’s missing its lyrics! And I really can’t emphasize that enough because I usually need lyrics, or at least a chorus, to keep my interest. But not here, no ma’m… I just want to dance! So do yourself a favor and check this album out… I promise you won’t be disappointed.

COÏTUS INT. - Self-titled (LP, 1982)

1. Birds
2. To Avoid The Pressure
3. The Threat
4. Shrill Screams
5. My Ideal Man
6. At The Edge Of Triumph
7. The Connection Is Obvious
8. Cat-like Movements
9. Tourist Ghetto

DOT #12

MORBID OPERA – Jesus Loves You - So Give Us Your Money! (EP, 1983)

First off, I’d like to declare that I’m a pretty much a sappy sucker for most any song featuring a decent female singer, whether it be a rowdy punk rocker, a robotic minimal waver, or sludgy doom metaller… if a chick is on vocals there’s one thing for sure - I’ve probably got both ears all up in it! Now, one evening in the midst of researching female-fronted punk bands, I ran across the smallest snippet concerning this arresting vintage wonder that calls itself Morbid Opera:

“Morbid Opera are a totally strange female outfit, mean, weird, divine.”

…Female? ...Strange?? ...Mean??? ...Weird???? ...Divine?????

*GULP* Oh god, I just had to hear them! So after a good hour of e-searching (there wasn’t much information available) I found out that the band was 75% female (3 girls, 1 guy?), from Florida, and had just one EP and some compilation tracks under their belt. And after a just a few months of e-shopping I managed to seize a copy of that one official EP entitled “Jesus Loves You – So Give Us Your Money!”

This 6-tracker enthusiastically begins with the X-like scream-shout punk rock stomp of “Liar”, only to slowly dive downward into some dark and plodding postpunk with “Private Prostitute” and “Deep End”. “One Dimensional” picks up the pace again with its chugga-chugg rhythm and some ultra-bluesy guitar riffing; while “Madness” smoothes the edges with a hypnotic beat and sullen lyrics. The final track “Sledgehammer” is sure to amuse with its funky framework and loose, careless energy. Overall there's quite a nice assortment of moods and styles on this one, making it an easy addition to most anyone’s punk/postpunk playlist. Great find!

DOT #4