Peripheral Minimal presents ‘Prophecy + Progress: UK Electronics 1978 – 1990 LP’, a thirteen-track compilation that represents the burgeoning Electronic music scene in the UK. This isn’t simply another synth pop compilation, or some nostalgic frippery, but an eclectic mix of acts that were experimenting with newly available technology at a time when the punk scene had imploded and the music press was busy coining new genres as an attempt to continue its legacy. In the bubbling underground were a myriad of experimenters recording in relative secrecy in Industrial cities like Sheffield or post-war London, at a time when the Tories came back into power and utterly altered the political landscape, and produced a generation of, ‘Thatcher’s Children’ (selfish, arrogant and materialistic). The antidote seemed to be quiet rebellion in the shape of dark and alienating soundscapes by acts that are now considered ‘pioneers’, or achieving cult status, in a new era of throwaway pop and trite ‘new wave’ impersonators. This compilation is an attempt to rekindle those heady days of experimentation and to encourage new generations to rebel and forgo the fashionable posturing that comes with anything vaguely ‘interesting’.
One of the biggest sampling innovators and the pioneer of electronic music in Eastern Europe, Max Vincent initially played in Belgrade’s Max & Intro band. “Beograd” is a lost LP album which consists of 8 previously unreleased tracks made in period 1986-1999 which Max wanted to use in a single concept album. This is ultimately an intriguing album, dark, cloudy, with unpredictable solutions and transitions between rhythm, paths, synth textures, vocals and other layers. One of the records that every fan of the 80s electronic must have.
listen1 / listen2
Discover the sex-appeal of Leeds with the trio Joe Gill, Heidi Armitage and Tim Hutton aka Zmatsutsi. They deliver on this mini-LP a mixture of s’mazing slow beats tracks, a bit like Rimini was meeting Dusseldorf in a Golf VR6. ‘Hooked Up’ is a hazy and psychedelic trip into druggy, slo-mo disco territory. Built around head-nodding drum machine rhythms, undulating arpeggio lines, trippy synthesizer motifs and breathy, poetic spoken word vocals, it’s a hugely atmospheric and enjoyable affair. There are occasional forays into more boogie-inspired territory, but even these outings tend towards the throbbing, pulsating and hypnotic. Of course, we expect little less from the inspired Macadam Mambo label, but we were still surprised by the dizzyingly high quality threshold throughout.