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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Side 1
1. "Purple Rain" (live AMA 1985) (6:36)
2. "Baby I'm A Star" (live Grammys 1985) (6:09)
3. "Sign O The Times" (live MTV VMA 1987) (5:05)
4. "Play In The Sunshine" (live MTV VMA 1987) (4:11)
Side 2
1. "Electric Chair" (live SNL 1989) (4:16)
2. "Gett Off" (live MTV VMA 1991) (6:27)
3. "Diamonds & Pearls" (live Special Olympics 1991) (5:25)
4. "Lets Go Crazy" (intro - live Special Olympics 1991) (0:55)
5. "Baby I'm A Star" (live Special Olympics 1991) (4:27)

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Side 1
1. "Purple Rain" (live AMA 1985) (6:36)
2. "Baby I'm A Star" (live Grammys 1985) (6:09)
3. "Sign O The Times" (live MTV VMA 1987) (5:05)
4. "Play In The Sunshine" (live MTV VMA 1987) (4:11)
Side 2
1. "Electric Chair" (live SNL 1989) (4:16)
2. "Gett Off" (live MTV VMA 1991) (6:27)
3. "Diamonds & Pearls" (live Special Olympics 1991) (5:25)
4. "Lets Go Crazy" (intro - live Special Olympics 1991) (0:55)
5. "Baby I'm A Star" (live Special Olympics 1991) (4:27)

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Purple Vinyl!

"Gothics” - a time before the word goth had even taken shape - believed in the do-it-yourself punk ethos that anyone could pick up an instrument. Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.

The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate intention. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.

Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past.With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus”single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.

That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaelbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.

The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

A live performance of four early works by Steve Reich: "Four Organs", "My Name Is", "Piano Phase", and "Phase Patterns." This performance marked an important moment in San Francisco Bay Area new music history with the triumphant return to the East Bay by Steve Reich, who studied at Mills College with Luciano Berio, and who performed the 1964 world premiere of Terry Riley's seminal work, “In C", at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum’s concrete interior were especially appropriate for “Four Organs”, with its long additive sustained chords over a maraca pulse. The capacity crowd occupied every conceivable area of the interior space, including walkway ramps suspended over gallery spaces. It was an electrifying evening!

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Germany
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Dark Entries flashes back to the grimy streets of New York City circa 1982 to bring us an unreleased album from cult outfit Ike Yard. Comprised of Stuart Argabright, Michael Diekmann, Kenneth Compton, and Fred Szymanski, Ike Yard sits between the sinewy proto-body music of the Neue Deutsche Welle and the shattered grooves of their No Wave peers in New York. The band’s initial run was short but blinding. They released an EP for Les Disques du Crépuscule in 1981, which was followed by their legendary self-titled LP for Factory in 1982. They disbanded within a year, frustrated by the slow pace at which the industry was able to release their increasingly challenging music. 1982 features 10 tracks which likely would have become the band’s second LP - only four of these songs have previously seen release on 2006’s 1980-82 Collected via Acute Records. Following the release of Ike Yard, they continued down their tortured path of hybrid electro-acoustic music with an arsenal of now-classic analog instruments, including the Korg MS-20 and the Roland TR-808. Skittering rhythms teeter on the verge of collapse while seasick synth warbles threaten to push us overboard. Electronic washes devolve into waves of feedback. Sneering basslines threaten dancers to move, but how can the body obey? This is dangerous music, gliding along the brink. The album features a live photo of the band by Makoto Iida and includes an insert with liner notes from Stuart Argabright. 1982 is essential for fans of post-punk and caustic electronics from Liaisons Dangereuses to Beau Wanzer.

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(Originally released in 1987, Comes with obi, Pressed on Black Viny) A masterpiece of Japanese ambient/new age music

TRACKLIST

A1. Himawari
A2. Retro no Shizuku
A3. Yasha
A4. Boufuu
A5. Reien no Madobe
B1. Kinshitsu no Shirabe
B2. Itoshi no Rei
B3. Keisetsu
B4. Ranja no Sono
B5. Koshuu

INFO

Soundtrack of the documentary program for Japanese art history, “Japan: Its Heart and Form” which was aired on NHK educational channel from 1987 to 1988. Akira Mitake worked on it, and after the dissolution of Ippudo, he produced music for the media and provided music to many artists, mainly pop music. It’s an electronic work that expresses the silence, space, romance reminiscent of Japanese spirit. The entire contents has a mysterious atmosphere, “Yasha” and “Keisetsu” are particularly captivating, evoking the beauty of Japan. Truly amazing piece left by the talent behind Masami Tsuchiya, who can be interpreted as ambient music.

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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The Beat by SPUN – West Coast Breakbeat Rave Electrofunk 1988-1994. In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix. As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores. In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

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DE - 22113 Hamburg
Germany
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