Connect with us

Hi, what are you looking for?

Features

Experience the magic of GETTING THE FEAR – an overlooked postpunk Gem that should be heard by ALL! Exclusive stream in Effect

The 1980’s UK post-punk and new wave scenes were some of the richest communities in musical history with countless top-tier bands swapping bandmates like musical chairs and creating gestalt classics that we still can’t put down. Time and time again I find yet another union of legends that briefly communed to create a sonic masterpiece, swept under the rug of time because the period was simply too vast to give the proper attention to every act. Like drawing a thought cloud, we attempt to document the connections of musicians once assumed to be disparate, linking brief collaborations or fully-fleshed projects that simply never saw the light of day. Luckily, one upshot of being inescapably globally connected these days is our ability to revise and revive history like never before, this time enlightening the nostalgic, thirsty masses to GETTING THE FEAR.

Formed in 1984 by Southern Death Cult’s Barry Jepson and David Burrows, Temple Ov Psychic Youth associate Paul ‘Bee’ Hampshire, and Fun-Da-Mental‘s Aki Haq Nawaz Qureshi, the new veterans were compelled by Thatcher’s bull-headed neoliberalism to blaze a creative friction and give voice to the dissent of their generation. Back in the days of major label mix-ups and bands lacking the proper support where it was due, the band made the joyless decision to split up before expending undue energy on an unassisted act that couldn’t be promised security.

This enigma is finally being revealed for public appreciation via DAIS Records on June 18th, combining all their unreleased tracks and demos with the added bonus of a photo gallery booklet on both LP and digital formats. The music itself is reminiscent of the era before post-punk was even referred to as such. When bands were just going at it relatively blindly, doing whatever they thought sounded best or expressed their message most precisely. Therefore, the album runs an interesting gamut from pillowy Cure-like disembodied laments to raging, tom-laden and politically driven chants. Marking the epoch is the tasteful use of saxophone and the archetypal bass chorus every new wave fan has an obligation to be in love with. As with contemporaries Danse Society and The Glove, there’s a scattered application of synth and drum machine dotting the dance floor where bootstraps and leather enjoyed their heyday cutting across the shimmer of party lights and low-laying fog.

We at Cvlt can’t wait to get our hands on a copy as this stands as another stellar release from DAIS Records.

Written By

Life, death, plants and music. Direct all bullshit to shindig109[at]gmail[dot]com

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Advertisement
Advertisement
Relapse Nothing
Dead Register

If you like this post and want to see more, help keep us going!
  

Sentient 112217
WickedWoman
Black Matter Mastering
Earsplit
Advertisement

You May Also Like

Avant Garde

Ambient industrial project DREKKA is getting ready to share the early recordings from his 1996 – 2002 era. Dais Records is releasing their LP...

Featured

CASTRATION ANXIETY by HIDE is a record that defies any sort of genre because of the power that it packs. It’s an intense, heavy as...

Featured

Interview by Jesse Feinman Choir Boy (Dais Records) is a synth-pop band that currently resides in Salt Lake City, Utah. They play a somber,...

Death Rock

The Chicago based industrial duo HIDE were formed in 2014, and have since released a series of excellent EPs and singles, building up towards...