Search Results for:

CACHE CACHE

Various Artists

Plastic Dance 2

    Ten more cuts of unacquainted and elusive synth squat-pop, angular funk, metallic jazz and fraudulent disco from the self-propelled imprints and global co-ops. This elasticised series combines rare, unknown and untravelled wax nuggets of night club punk, art school Zeuhl and quasi-political pop united by soldering irons, C-60s and sarcastic synth tones.
    The second volume in the ‘Plastic Dance’ series compiled by Andy Votel and Doug Shipton.
    Features exclusive liner notes by Andrew Weatherall.

    “The artists on ‘Plastic Dance 2’ were artists because they said they were. Listen to their work and you’ll know they were. Listen in transcendent wonderment as George Attwell creates alchemical space funk in his home studio... as a future Mock Turtle and members of The Manchester Music Collective channel Robert Calvert and Bill Nelson... as Korzynski comes on like a Jeff Mills remix of Terry Riley. Listen in the wide-eyed joy of being as Stabat Stable’s drum machine runs amok to the accompaniment of discordant organ stabs... as a future founder of 808 State channels Albert Ayler alongside a galloping synth arpeggio.” - Andrew Weatherall

    TRACK LISTING

    George Atwell - Meat Grinder
    Vibrant Thigh - Walking Away
    Stabat Stable - IIO
    Cos - Einstein
    Beach Surgeons - Chicken Skin Planet (Edit)
    Cosmic Overdose - Råttan
    Andrzej Korzynski - Zombie House
    Ti-Tho - Die Liebe Ist Ein Abenteuer
    Gerry And The Holograms - Jeep (Version)
    PragVEC - Welcome Home

    48 Chairs

    70% Paranoid

      Documenting the unlikely coupling of British free jazz bastion Lol Coxhill and the saucy synth pop don’t-wannabes known as Gerry And The Holograms, this rare incognito full-length album bridges the micro-niches of electronic jazz and punk jazz from a band formed in 1979 at an axis where DIY and new wave hadn’t quite collided. With sprinklings of post punk female vocals worthy of PragVEC and Suburban Lawns, featuring angular art rock paeans to voodoo dolls and closed-circuit TV, this privately pressed LP comes directly from the man who gave Martin Hannett some of his best ideas and wrote the ‘Blue’print for Manchester’s new musical order. Imagine if Talking Heads became Mark E Smith’s backing band for a week before being sacked for wearing a Frank Zappa t-shirt while Eric Dolphy forgot to take his headphones off… A genuine lost moment from the post punk era with progressive pop credentials from the university of Alberto Y Lost Trios Paranoias before everyone got a job at the local Factory.

      As one of the few fully formed feature length album projects of the immediate independent post punk era, the 1981 album ‘70% Paranoid’ by 48 Chairs is still often referred to as one of Manchester’s best kept secrets by many of the anti-genre’s most switched on collectors and critics. Combining the talents of the squat-pop synthesists who brought you Gerry And The Holograms with the free jazz Brit-skronk of Lol Coxhill and gelled together with vocals by female punk one-timer Fran Kershner, this seldom travelled, hand- assembled LP was both deeply underground and wildly overambitious, earning it an inverted status as a genuine ‘unknown pleasure’. Politely waiting in queue for delayed accolades to this day, ‘70% Paranoid’ was born out of a direct reaction to the short-lived journalistic cranny known as ‘new-music’ which bridged the pigeonholes of punk-rock and new-wave allowing a small wide-eyed flock to escape the coup in the process. Evading the final nails in the coffin of prog and jazz rock and dreading the reverse reverb of the New Romantic onslaught, a certain breed of overqualified underdogs, with small plates and huge Zappatites took the Manc-y manifesto of do-it-yourself and decided to do-it-your-own-way instead, with a secret hope that the book shelf was gonna collapse either

      Gerry & The Holograms

      Gerry & The Holograms

        Well documented as one of Frank Zappa’s favourite ever groups and instantly recognisable as the blueprint of 80’s Mancunian electro pop, the inflated alter egos of Gerry & The Holograms (and their unrivalled brand of conceptual sarcastic synth pop) successfully remodelled, ridiculed and redefined plugged-in punk before hitting the self-destruct button and burying the evidence under a pile of hand-mutilated microgrooves.

        Having risen from the electronic embers of Manchester’s first genuine psychedelic band, via Vertigo commissioned prog and experimental theatre, then refined through the musical mind behind the most inspired vinyl moments of Martin Hannett, John Cooper Clarke and Jilted John - the discography of Gerry & The Holograms remains unrivalled as the most idiosyncratic and enigmatic pivotal post punk artifact from the first electronic entrenchment of pop.

        A consistent inclusion on record collector wantlists, transcending both decades and musical genres, the first-and-only listenable two track record by this masked art rock studio duo, entitled ‘Meet The Dissidents’, originally appeared in record racks in 1979, selling out instantly only to be sequelised by a totally unplayable situationist-inspired follow up which was glued into its own sleeve destroying the grooves in the process (rivalling that of Peter Saville and Durutti Column’s Debordist sandpaper re-hash by at least three years).

        With a lifespan shorter than the hours on their studio bill, the band would find bedfellows amongst other incognito groups like Naffi Sandwich, The Mothmen and Blah Blah Blah within the Absurd Records stable - a daring Mancunian imprint that sat awkwardly between older and younger half-sister labels Rabid and Relentless. With a release library of mostly non-returning faceless atonal electronic punk / DIY industrial bands Absurd would spearhead and pre-empt the subsequent decades of Mancunian independent record labels that followed in the footsteps of the more commercially successful Factory Records (while also drawing comparisons with Spiral Scratch, Test Pressings, Object Music and Throbbing Gristles’ Industrial Records). Despite just one official title to their name however, the true identity behind Gerry & The Holograms would unify those sister labels and collectively play an important supporting role in Manchester’s independent music history with a story which goes back as far as most rain soaked memories can attempt to forget.

        On Thursday 2 July 2015 The Guardian Newspaper published an article with the snappy title ‘The Great Rock ’n’ Roll Swindle - 10 Classic Stolen Pop Songs From ‘Saint Louis Blues’ To ‘Blue Monday’,’ in which journalist Clinton Heylin made the claim that “If Blue Monday had a starting point, it was Gerry & The Holograms,” illustrating the vivid similarities between the two tracks.

        X Ray Pop

        Pirate! The Dark Side Of The X!

          A microkosmic domestic synth pop, pocket punk, French funk ultra rarity, originally released in 1985 as a limited edition of 100 black cassette tapes.

          As one of the most prolific and viciously self-sufficient exponents of the early 80s French DIY / domestic synth pop scene, X Ray Pop are a group who are easy to scratch the surface but almost impossible to get the bottom of. Peeping out of a warren of unexplored passages their seminal self-distributed debut singles and appearances on the genre defining ‘Alternative Funk Folie Distinguée’ compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a generation and influenced many more to follow. But beneath the trademark fluorescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contemporaries.

          Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reissue some of the band’s most underexposed sonic snapshots, many of which were distributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith’s Psyclones and The Beastie Boys championed the band as a likeminded inspiration).

          From the earliest, lower levels of the X vault Cache Cache and Pilot resurrect one of the band’s finest untraveled moments in the form of the rare tape only one-sider ‘Pirate!’ - a spontaneous long player comprised of raw, rhythm heavy electronic versions of exclusive tracks alongside heavier and darker industrial versions of tracks that would later creep into the band’s unhinged official pop discography.

          Wearing their unabashed and generally incompatible influences of Can / Devo / Brigitte Bardot / Cramps / The Residents / Kraftwerk / Captain Beefheart / PIL / Brian Eno / Robert Wyatt / Gainsbourg / MAGMA proudly on their sleeves, this long lost tape captures a one day recording session which was originally released as 100 cassettes in 1985 at a time where various outside influences and competing labels were trying to snare the band into a slower more manageable pop entity.

          This is the sound of France’s two most highly charged battery operated cabaret cosmonauts at their hardest, loosest and uninhibited, celebrating the dual-unison that can also be identified in similar two-headed freak funk outfits such as Moderne Mathermatiques, Stereolab, Elli et Jacno and most notably (and perhaps unconsciously) Silver Apples, to whom this release bears a welcome and femininised close comparison.

          Catch this album for an early glimpse of an outer-national punk funk Neo-dadaist phenomenon that may well have eluded you until now, and witness X Ray Pop at their most powerful. ‘Pirate!’ labelled by Didier himself as ‘The Dark Side OF The X’ provides a pre-curser to a forthcoming wider anthology of the group’s work alternating erratic pulsating cosmic rock with dreamy metronomic private pop via their über legendary Casio-to-cassette production line.

          Released with the full cooperation of Didier Pilot, with unrivalled access to his personal X Ray Pop vault.

          Bruno Spoerri

          Teddy Bär / Lilith

            Comprising two of the most complete bodies of work from innovative Swiss electronic jazz pioneer Bruno Spoerri this combined archival release delves into a deep vault of commercial and experimental film music revealing the vibrant versatility of the composer in collaboration with two important Swiss directors.

            Utilising vocals in both a treated / experimental form as well as in a formal song based capacity this release instantly reveals two new sides to Spoerri’s personality. The two soundtracks also reveal the natural progression of Bruno's interaction between live bands and jazz musicians working alongside industrial field recordings and concrète tape experiments (previously exemplified in his work for forklift truck manufacturer Lansing Bagnall).

            Spoerri's broad palette of electronic instruments is widely utilised within these recordings revealing Bruno's home studio as one of the early exponents of the Lyricon wind synth and various modular synthesisers developed and re-customised as part of a wider creative relationship with the creators of Buchla and Arp instruments. Both programmes span a decade of commercial work for Swiss and German advertising companies furnishing a unique Swiss culture of tangible vinyl giveaway records which punctuates the artists varied discography alongside a list that includes collaborations with musicians from German Krautrock band Can, legendary progressive jazz / electronic musicians like Klaus Weiss and Joel Vandroogenbroeck, as well as physical visual artists like Betha Sarasin. Presenting the entire previously unreleased score to Kurt Aeschbacher's experimental film 'Lilith' and a remastered version of the rare vinyl soundtrack to Rolf Lyssy's comedy 'Teddy Bär'  (including an newly excavated non-LP track) this release goes beyond the typical realms of commercial film composition including full-length cues and fully realised electronic tracks which stand up both within and outside of the context of the original, seldom seen celluloid achievements


            Latest Pre-Sales

            178 NEW ITEMS

            E-newsletter —
            Sign up
            Back to top