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2LP
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OS 005LP
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2023 repress. Third edition of 500 copies on splatter black-and-white vinyl in a gatefold sleeve. De Brassers were one of the most notorious bands in the Belgian new wave/punk history. With their no-nonsense attitude they scared the shit out of the local catholic community of Hamont. De Brassers were a local mixture of the Sex Pistols (in the lowest gear) and Joy Division (they always performed a cover version of Joy Division's "Shadowplay"), combining a criticism of bureaucracy and politics with experiences of psychological and existential tensions. The doomed sound they produced tells a lot about the dark atmosphere of the late seventies and early eighties: the fear of atomic bombs, cold war pessimism, police violence against squatters, the first cases of AIDS, and the grim years of Reagan and Thatcher. This compilation takes you back to that time. All tracks from their first 7″ En Toen Was Er Niets Meer and their self-titled 12″, plus rare and unreleased tracks taken from various live performances and the cassette Levend. If you're in for a raw slice of Belgian history let de Brassers immerse you in a cold wave of punk.
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CD
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OS 046CD
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Sought-after Belgian minimal synth finally reissued and compiled. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mold and experimented with new content matter, singular song structures and -- in many cases -- new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception. Ludo Camberlin and Karel "Bam" Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. After appearing on the first No Big Business LP (1981) with the instrumental "Fisk", A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music -- which would later be dubbed "minimal" -- was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (Korg Delta and MS20, Roland SH-2 and Jupiter IV, and Casio VL-1). Camberlin's vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience. A few months later, the band released a seven-inch single on its own ABLACO label. "Dark Trees Beyond", a quirky pop song, was coupled with "Addict Of Time", a dark and brooding spoken word piece. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of "Through With Life") showed a band on the top of their game. Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour. Short, sweet, visionary, pioneering, and highly influential. First ever compilation of one of the most colorful electronic acts of its time. CD version includes three additional tracks.
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LP
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OS 046LP
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LP version. Sought-after Belgian minimal synth finally reissued and compiled. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mold and experimented with new content matter, singular song structures and -- in many cases -- new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception. Ludo Camberlin and Karel "Bam" Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. After appearing on the first No Big Business LP (1981) with the instrumental "Fisk", A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music -- which would later be dubbed "minimal" -- was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (Korg Delta and MS20, Roland SH-2 and Jupiter IV, and Casio VL-1). Camberlin's vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience. A few months later, the band released a seven-inch single on its own ABLACO label. "Dark Trees Beyond", a quirky pop song, was coupled with "Addict Of Time", a dark and brooding spoken word piece. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of "Through With Life") showed a band on the top of their game. Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour. Short, sweet, visionary, pioneering, and highly influential. First ever compilation of one of the most colorful electronic acts of its time.
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LP
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OS 053LP
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Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. Koudvuur is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy.
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12"
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OS 051EP
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Comprehensive box-set of six LPs/EPs and Aroma Di Amore first rare 7". Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album, and in the meantime, AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Originally released in 1986.
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LP
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OS 048LP
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Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In Lauwe Oorlog (1983), Peeters exposes the core of his unrest. In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam.
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12"
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OS 050EP
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Comprehensive box-set of six LPs/EPs and Aroma Di Amore first rare 7". Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. Following "Voor De Doo", AdA goes to the Netherlands to record their next album, De Sfeer Van Grote Dagen. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. De Sfeer Van Grote Dagen is the group's most adventurous album. Originally released in 1985.
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LP
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OS 052LP
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Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. Harde Feiten was released in 1986. At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act.
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6LP BOX/7"
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OS 047-053LP
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Comprehensive box-set of six LPs/EPs and Aroma Di Amore first rare 7". Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In Lauwe Oorlog (1983), Peeters exposes the core of his unrest. In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. Encouraged by modest success in the alternative circuits, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, "Voor De Dood" remains the most popular AdA song. AdA goes to the Netherlands to record their next album, De Sfeer Van Grote Dagen. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. De Sfeer Van Grote Dagen is the group's most adventurous album. PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album, and in the meantime, AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released. At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. Harde Feiten kicks in immediately, and the group is back up to cruising speed. At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. Koudvuur is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy.
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12"
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OS 049EP
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Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, "Voor De Dood" remains the most popular AdA song. AdA goes to the Netherlands to record their next album, De Sfeer Van Grote Dagen.
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LP
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OS 006LP
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2020 repress of an in-demand Onderstroom title from 2010. "I hear noises, imaginary sounds." Reissue of Siglo XX's first tape. Recorded in April 1981 and distributed among friends and at gigs, this tape was the first product of their collaboration. And what a tape this is! Heavily influenced by the likes of Joy Division and the whole Factory scene, Belgian's finest produced a total of nine incredible dark but catchy cold wave tunes. Add to this two bonus tracks from their first demo cassette and you have an essential document of the first Siglo XX years. Remastered by Kris Delacourt. Second pressing of 500. Reverse cardboard sleeve.
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LP
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OS 045LP
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Second full-length by Bay Area musician Gabriel Ramos; Inventive darkwave with a melancholic touch. Five years after their self-titled debut in 2015, Ssleeping Desiress (OS 026LP) returns with an outstanding second album Exile House. Tapping into melancholic darkwave via 1980s British post-punk guitar worship, delicious analog synths and pulsating drums, the album unfolds like a soundtrack of city life with isolation, identity, and reconciling with one's past as central themes. Over the course of eight tracks Sleeping Desiress showcase their ability to craft "dark pop songs" that sometimes twist and turn but ultimately weave their way into your head, determined to stay there. Ramos's singular voice makes these songs shine even more, switching easily between slow introspective daydreams and upbeat anthems. Think: Glorious Din, Le Travo, and... The Cure. All songs written and recorded August 2017-January 2019 by Gabriel Ramos. Mixed and mastered by Jack Shirley at Atomic Garden Studios. Design by Atelier Brenda. Paper Collage by Gabriel Ramos.
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2LP
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OS 044LP
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Early Days maps out Nine Circles interpretation of cold wave and minimal synth. Unbelievably the tracks are mostly from a brief time period, '80-82. Alienation and uncertainty course through the double-LP, with heavy Yamaha chords, metallic machine beats, and brittle vocals. Nine Circles was formed in the early '80s by Peter van Garderen and Lidia Fiala. In 1980, there was band called Genetic Factor. This band split up when the three members got girlfriends and they started to make music together with their girls. So, at that time there were three bands living together in one house. One of the couples were Peter van Garderen and Lidia Fiala. Lidia had been writing lyrics since she was 15 years old. Nine Circles was born. Within two years they wrote about 60 songs. Also living in the house was Richard Zeilstra, who had a job at the VPRO radio, hosting a show called "Spleen" where he gave new wave bands a chance to play. He asked bands to send tapes to him and the best band would have the opportunity to play live at the radio and also got the chance to be on the Radio Nome compilation (1982). Peter and Lidia sent their tape to him and were the only ones of this house to be on the show. Richard knew their music was special. Nine Circles never played a live show, only this one concert live at the radio which is also featured on the LP. Two years later Peter and Lidia split up and Nine Circles subsequently disappeared. In 2009, Lidia's son googled her name just for fun and found a lot about the band Nine Circles. Lidia was surprised, she never knew how popular Nine Circles have been over the years. She got herself on Facebook and since then she got in touch with many people and decided Nine Circles should come back! Peter was not able to join the band these days, he has a different life and he is happy but he is supporting Lidia and likes that she enjoyed doing music again. Peter still had all the old recordings and sent Lidia a lot of the music they made back in the days. The best tracks are collected on this double-LP. Together with Per-Anders Kurenbach, Lidia continues Nine Circles. Together with Per-Anders Kurenbach, Lidia revived Nine Circles. They recorded new material (released on the album Alice) and played live until Lidia had to stop playing live for health reasons in 2016. Nevertheless, they're working on a follow-up album called Emerge which is planned to be released in 2020 and hopefully Lidia will be able to go on stage again soon.
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CD
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OS 042CD
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Onderstroom presents Box, a compilation of early material by Siglo XX. In 1978 a few friends started rehearsing and playing music together in a garage in Genk, an industrial and former mining town in Belgium. They called themselves Siglo XX. The group's name is Spanish for "Twentieth Century" and refers to a Bolivian mine named Siglo XX, where there was social unrest, so the link with the city of Genk was obvious. Genk also had to cope with social issues as unemployment, poverty and drug related problems after the closure of the coal mines. Siglo XX were Erik Dries (vocals), Antonio Palermo (guitar), Dirk Chauvaux (guitar, bass), Klaas Hoogerwaard (drums), Chris Nelis (synthesizer 1980-2), and Guido Bos (bass 1978-1984). Under the influence of the punk spirit coming from England, they wanted to make their music that expressed their feelings, emotions and views on society. Technical skills on musical instruments were only required to a lesser extent. In 1980 their debut 7" The Naked And The Death was released on their own independent label Straatlawaai Records. This single was followed by the release of a self-titled cassette in 1982. Shortly after they signed to Antler Records; this was the most important and prolific era of their existence. In the time span of a few years the band released two EPs and one mini-album: The Art Of War (1982), Answer (1983) and Dreams Of Pleasure (1983), containing 13 songs, which constitute the heart and soul of their oeuvre. Produced by label owner Roland Beelen, Siglo XX linger between cold wave, new wave and post punk. They were often named the Belgian Joy Division, which makes sense listening to their dark and gloomy sound, but they also experimented with strange sounds and incorporated these cleverly in their songs. "Listening back to the tracks such as 'The Art Of War', 'La Vie Dans La Nuit', 'Youth Sentiment', 'Autumn', 'Until A Day', and 'Endless Corridor', it still moves me and brings up memories of that exciting period in the eighties, when we were younger, living the life and listening to music that we associated with our life, our dreams, plans and expectations. That's the essence for us in the music of Siglo XX. That's the reason why these songs mean so much to us, and why they always will." --Marc Vos. Remastered by Martin Bowes, with artwork by Tone Loenders. Includes replicas of the original inserts.
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12"
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OS 039EP
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Onderstroom presents a reissue of The Art Of War, the first EP by Belgium's Siglo XX, originally released in 1982. In 1978 a few friends started rehearsing and playing music together in a garage in Genk, Belgium. They called themselves Siglo XX. Under the influence of the punk spirit coming from England, they wanted to make their music that expressed their feelings, emotions and views on society. Produced by label owner Roland Beelen, Siglo XX linger between cold wave, new wave and post punk. Includes replicas of the original inserts.
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3LP BOX
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OS 042LP
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Triple LP box set version. Onderstroom presents Box, a compilation of early material by Siglo XX. In 1978 a few friends started rehearsing and playing music together in a garage in Genk, an industrial and former mining town in Belgium. They called themselves Siglo XX. The group's name is Spanish for "Twentieth Century" and refers to a Bolivian mine named Siglo XX, where there was social unrest, so the link with the city of Genk was obvious. Genk also had to cope with social issues as unemployment, poverty and drug related problems after the closure of the coal mines. Siglo XX were Erik Dries (vocals), Antonio Palermo (guitar), Dirk Chauvaux (guitar, bass), Klaas Hoogerwaard (drums), Chris Nelis (synthesizer 1980-2), and Guido Bos (bass 1978-1984). Under the influence of the punk spirit coming from England, they wanted to make their music that expressed their feelings, emotions and views on society. Technical skills on musical instruments were only required to a lesser extent. In 1980 their debut 7" The Naked And The Death was released on their own independent label Straatlawaai Records. This single was followed by the release of a self-titled cassette in 1982. Shortly after they signed to Antler Records; this was the most important and prolific era of their existence. In the time span of a few years the band released two EPs and one mini-album: The Art Of War (1982), Answer (1983) and Dreams Of Pleasure (1983), containing 13 songs, which constitute the heart and soul of their oeuvre. Produced by label owner Roland Beelen, Siglo XX linger between cold wave, new wave and post punk. They were often named the Belgian Joy Division, which makes sense listening to their dark and gloomy sound, but they also experimented with strange sounds and incorporated these cleverly in their songs. "Listening back to the tracks such as 'The Art Of War', 'La Vie Dans La Nuit', 'Youth Sentiment', 'Autumn', 'Until A Day', and 'Endless Corridor', it still moves me and brings up memories of that exciting period in the eighties, when we were younger, living the life and listening to music that we associated with our life, our dreams, plans and expectations. That's the essence for us in the music of Siglo XX. That's the reason why these songs mean so much to us, and why they always will." --Marc Vos. Remastered by Martin Bowes, with artwork by Tone Loenders. Includes replicas of the original inserts.
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12"
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OS 041EP
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Onderstroom presents a reissue of Dreams Of Pleasure, the third EP by Belgium's Siglo XX, originally released in 1983. In 1978 a few friends started rehearsing and playing music together in a garage in Genk, Belgium. They called themselves Siglo XX. Under the influence of the punk spirit coming from England, they wanted to make their music that expressed their feelings, emotions and views on society. Produced by label owner Roland Beelen, Siglo XX linger between cold wave, new wave and post punk. Includes replicas of the original inserts.
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12"
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OS 040EP
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Onderstroom presents a reissue of Answer, the second EP by Belgium's Siglo XX, originally released in 1983. In 1978 a few friends started rehearsing and playing music together in a garage in Genk, Belgium. They called themselves Siglo XX. Under the influence of the punk spirit coming from England, they wanted to make their music that expressed their feelings, emotions and views on society. Produced by label owner Roland Beelen, Siglo XX linger between cold wave, new wave and post punk. Includes replicas of the original inserts.
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LP
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OS 036LP
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2021 restock. The first chapter of Onderstroom digging into the history of Dutch minimal synth and wave. Who needs a big, expensive recording studio with all those fancy high-tech machines that only make your weary head spin when you can do it all by yourself at home in your (teenage) bedroom? Way back in the early eighties all you really needed was an idea, quite a bit of guts and some rudimentary equipment. You could basically do whatever you wanted. The means were limited, yet the sky was unbounded. It was the time of the Cold War nuclear threat, social unrest and mass unemployment but at the same time it was an era of infinite possibilities. The future was just around the corner. A lot of music that was being produced sounded just like that: a brave new world of sound and rhythm. Music was simply put on cheap cassettes, easily duplicated, and swiftly distributed in limited quantities into the big world outside. Tracks recorded in Amsterdam, Arnhem of Heiloo ended up in unimaginable destinations such as Brisbane or Buenos Aires. Prolific international underground scenes were informed of this new wave of Dutch electronic artists by means of word of mouth, fanzines, devoted underground tape traders, and sometimes that tiny bit of luck. As their predecessors of the (in)famous Dutch East-India Company (now cult) acts such as The Actor, Ende Shneafliet, Das Ding, Störung, S.M. Nurse, Nine Circles, Beatnik Love Affair, and Van Kaye + Ignit all explored their own paths. Some went straight into oblivion, others had a brief taste of modest upper-ground success. Mind: the names presented here are but the proverbial tip of the iceberg. Some of these early tapes became much sought-after collectors' items; others gathered dust. The rest, well, is history. Now, decades upon decades later, Onderstroom digs again in history and surfaces with a selection of tracks that illustrate the rich past of electronic Holland. Call it minimal wave, synth-pop, or experimental electronics. Onderstroom call it the real Dutch treat. Features Nine Circles, Beatnik Love Affair, The Actor, Störung, Van Kaye + Ignit, S.M. Nurse, Ende Shneafliet, and Das Ding. Comes in a gatefold sleeve with metallic finishing; 180 gram vinyl.
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7"
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OS 030EP
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Two joyful minimal synth-pop pearls in the same vein as early '80s singles by Carol and Rive Gauche, first released on the compilation Walkin' After Midnight (1982). Both tracks on the 7" are delightful proof of the lively and creative music scene in Brussels during the early eighties. Occidental White was founded at same time as Kaa Antilope, the new wave band founded by Bernard Vranckx and Frédéric Walheer. The idea was to do "pop" songs inspired by Occidental White culture, the opposite to Kaa Antilope which was focused on outside inspiration. Artwork by Atelier Brenda; Edition of 300.
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LP
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OS 038LP
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Onderstroom present a reissue of Glorious Din's Closely Watched Trains, originally released in 1987. How a boy from the Sri Lankan jungle formed the greatest post-punk band you've never heard. Fronted by an intense singer with an oblique songbook and a mysterious past, Glorious Din was unlike any other group to emerge from San Francisco's '80s underground. With singer Eric Cope, the chosen persona of a Joy Division-obsessed Sri Lankan boy who travelled halfway around the world to follow his punk dream. The multifaceted nature of the '80s scene -- encompassing everything from three-chord thrash punk to garage-band pop, experimental art rock, and atonal noise -- can seem baffling to outsiders. Glorious Din mesmerizing sound instantly gets under your skin via their non-standard drum patterns, Eastern-sounding guitar melodies, a melodic bass in pole position, and a dissociative singer. The enigmatic group helped total unknowns gain recognition and were the uncommon glue linking Faith No More, the Dead Kennedys, and Michael Franti, as well as R.E.M. and the Cocteau Twins. Glorious Din's appeal was their mysteriousness: a quartet of mismatched musicians not necessarily playing their chosen instruments, with the obscure lyrics of their intense frontman near impossible to decipher. The group imploded after only three years, but their cult appeal has lasted far longer through their two albums and related material. Glorious Din's second album, Closely Watched Trains, had a very different sound from its predecessor. Eric was listening to a lot of Nick Drake, so they mixed the vocals and guitar much louder than the other instruments. Nevertheless, the album showed a growth and maturity on the band's part. Paget plays a metal dobro on some numbers, which adds a sheen of folk to the post-punk proceedings, as heard on the opener "Stilt Walkers". "1651 Map" has Cope seemingly recounting a colonial uprising or an industrial dispute over a sparse rhythm led by Paget's minimal guitar, and early number "Voices Everywhere" is here reprised as a joyous blast, the lyrics speaking of a pending arrival. Paget is well-represented with "Red Dirt", which has fantastic modulated bass from Heeschen, "Circle Star", another freedom track, and the melodious "Blood". Now exactly 30 years later, Closely Watched Trains is still a more than rewarding listen and a vivid document of the times. Cover reconstruction by Jeroen Wille. Includes booklet with interview and liner notes. Remastered by Equus. 180 gram vinyl; Edition of 1000.
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LP
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OS 037LP
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Onderstroom present a reissue of Glorious Din's Leading Stolen Horses, originally released in 1985. How a boy from the Sri Lankan jungle formed the greatest post-punk band you've never heard. Fronted by an intense singer with an oblique songbook and a mysterious past, Glorious Din was unlike any other group to emerge from San Francisco's '80s underground. With singer Eric Cope, the chosen persona of a Joy Division-obsessed Sri Lankan boy who travelled halfway around the world to follow his punk dream. The multifaceted nature of the '80s scene -- encompassing everything from three-chord thrash punk to garage-band pop, experimental art rock, and atonal noise -- can seem baffling to outsiders. Glorious Din mesmerizing sound instantly gets under your skin via their non-standard drum patterns, Eastern-sounding guitar melodies, a melodic bass in pole position, and a dissociative singer. The enigmatic group helped total unknowns gain recognition and were the uncommon glue linking Faith No More, the Dead Kennedys, and Michael Franti, as well as R.E.M. and the Cocteau Twins. Glorious Din's appeal was their mysteriousness: a quartet of mismatched musicians not necessarily playing their chosen instruments, with the obscure lyrics of their intense frontman near impossible to decipher. The group imploded after only three years, but their cult appeal has lasted far longer through their two albums and related material. Glorious Din released Leading Stolen Horses on their own Insight label in April 1985. The album stayed close to the sound they achieved live, conjuring something intense and atmospheric. The driving "Tenement Roofs" has a jagged energy, Paget's chugging guitar paralleling Herstedt's solid rhythm, as Heeschen creates slow melodic patterns that spiral upwards, and Cope sings of long hours passing in slow motion. "Pallet To The Floor" is just as striking on the album as it was in the live show, with Heeschen's bass ratcheting up the intensity. "Cello Tape", "Sixth Pillar", and "Insects" sound similarly dark; in contrast, "Arrival" wonders of nature, as experienced in his western wanderings. They take the darker moments of Joy Division as a starting point but leaving behind the industrial angst and fury for a rich and soulful melancholy that seamlessly blends first and third world cultures. One of the true lost gems of west coast gothic post punk. Cover reconstruction by Jeroen Wille. Includes booklet with interview and liner notes. Remastered by Equus. 180 gram vinyl; Edition of 1000.
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LP
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OS 032LP
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Onderstroom present a vinyl edition of Martial Canterel's Drilling Backwards, originally released on cassette in 2006. Essential recordings by the minimal synth master of the present. With the staccato surge and somber vocalizing of Deutsch Amerikanische Freundschaft, the distorted synthetic soundscapes of Dirk Ivens's eeriest work, and the industrial strength of The Young Gods, Martial Canterel's earliest outings are a bleak intellectual exercise in the dark and danceable. His music creates a cold atmosphere, and has an ominous melancholy feel to it. The emotional and sometimes dark feel of the album is everything electronic new wave music should be. It's futuristic, robotic, and at the same time, nostalgic. In 2002, Sean McBride began performing at bars, clubs and private parties in Brooklyn, New York, functioning singlehandedly as the pioneer and instigator of what would become a new movement of minimal electronic bands in the United States. Inspired both by the first wave of relatively unknown minimal electronic bands in Northern Europe (a musical genre also often referred to as "minimal synth") and the seminal industrial noise bands such as Throbbing Gristle, SPK, and Cabaret Voltaire. Since then, McBride's bleak intellectual exercises in the dark and danceable have flooded North America and Europe through the frosty airwaves paved by Pieter Schoolwerth's Wierd Records. With an inimitable minimal style merging bright, urgent melodies ornamented and punctuated by the noises of industry and McBride's sonorous, stern vocals, Martial Canterel's earlier releases -- 2011's You Today, 2007's Austerton (OS 022LP) -- have garnered both critical acclaim and a rapidly growing rabid fan base. Sean is also one half of the duo Xeno & Oaklander together with Miss Liz Wendelbo. Artwork by Ruttens-Wille; Deluxe letterpress sleeve; Insert with lyric sheet. Edition of 500.
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LP
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OS 033LP
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Onderstroom present a vinyl edition of Martial Canterel's Sister Age, originally released on cassette in 2004. Essential recordings by the minimal synth master of the present. With the staccato surge and somber vocalizing of Deutsch Amerikanische Freundschaft, the distorted synthetic soundscapes of Dirk Ivens's eeriest work, and the industrial strength of The Young Gods, Martial Canterel's earliest outings are a bleak intellectual exercise in the dark and danceable. His music creates a cold atmosphere, and has an ominous melancholy feel to it. The emotional and sometimes dark feel of the album is everything electronic new wave music should be. It's futuristic, robotic, and at the same time, nostalgic. In 2002, Sean McBride began performing at bars, clubs and private parties in Brooklyn, New York, functioning singlehandedly as the pioneer and instigator of what would become a new movement of minimal electronic bands in the United States. Inspired both by the first wave of relatively unknown minimal electronic bands in Northern Europe (a musical genre also often referred to as "minimal synth") and the seminal industrial noise bands such as Throbbing Gristle, SPK, and Cabaret Voltaire. Since then, McBride's bleak intellectual exercises in the dark and danceable have flooded North America and Europe through the frosty airwaves paved by Pieter Schoolwerth's Wierd Records. With an inimitable minimal style merging bright, urgent melodies ornamented and punctuated by the noises of industry and McBride's sonorous, stern vocals, Martial Canterel's earlier releases -- 2011's You Today, 2007's Austerton (OS 022LP) -- have garnered both critical acclaim and a rapidly growing rabid fan base. Sean is also one half of the duo Xeno & Oaklander together with Miss Liz Wendelbo. Artwork by Ruttens-Wille; Deluxe letterpress sleeve; Insert with lyric sheet. Edition of 500.
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2LP
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OS 031LP
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Belgian post punk band O Veux issue more than 40 tracks over two self-titled, archival, double vinyl compilations via Softspot Music (US) and OnderStroom Records (BE). The OnderStroom compilation, presented here, features unreleased and live recordings from 1981-1982, never before released on vinyl. The Softspot release features O Veux's complete studio recordings from 1982-1986, with additional unreleased tracks. The Flemish region of Belgium is known for its punk, post punk, and cold wave music in the 1980s, and yet a trove of bands like AA, The Cultural Decay, and Kebab came up in Flanders and self-released small runs of their own music. Another one of these un-famous bands was O Veux. In the early '80s, four unemployed guys from Hasselt, Belgium sought out raw, progressive music in order to escape the boredom of their daily lives. Heavily influenced by the Hasselt music scene, a breeding ground for left-of-center groups, the guys decided to form their own band. Despite the fact that none of them could actually play an instrument, they were committed to the fundamental belief that anyone could play if they so desired. So Rudi Reners, Marc Vandezande, Valentin Smeyers, and Ivo Geurts bought the cheapest instruments they could find and started O Veux. For fans of Mars, DNA, The Cultural Decay, and De Brassers. Comes in gatefold sleeve; Edition of 300.
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