Welcome back to another episode of I Met The Beast. Frankie Teardrop has conjured up some autumnal delights and synth-like rarities. From the Icelandic post-punk of Q4U to a rare Factory find by Royal Family and the Poor, plan to sink deep in the genre.

Check out Frank’s blog Systems of Romance, along with his current bands Dream Affair and Revel Hotel; their latest album drops in late September. And if you are in the New York area, be sure to check out his DJ gigs for events like Shivers at the Delancey or various Wierd performances (check his FB for upcoming events – http://www.facebook.com/frankdeserto).

And of course, we always recommend you to go out and purchase music you hear from this podcast and help support the artists.

I Met The Beast – Episode 4

1. “Sigurinn” by Q4U (1996, Norður & Niður)
We’re kicking off this edition of I Met the Beast with a an explosive post-punk track from Iceland, a rare and punchy number that calls the best moments of the Banshees and Xmal Deutschland to mind.  This band was active in the early 1980s, though this track would not appear until a cd reissue in 1996.

2. “Hold Out” by The Factory (1986, Strike Back Records)

Dance-oriented yet no less incisive, this UK post-punk act released two singles in the mid-80s and were never heard from again.

3. “Tension” by Contre Jour (2011, Infrastition)

Classic coldwave sounds reborn in modern times, another fantastic new offering from the heart of France.

4. “Moans” by Parade Ground (1987, Play It Again Sam)
Belgian brothers Jean-Marc and Pierre Pauly formed Parade Ground in 1982.  With the help of some very famous friends (Colin Newman, Front 242), the band earned some underground recognition with their stellar blend of both EBM and coldwave sounds.   Dark Entries Records has just celebrated their one year anniversary with an essential one LP reissue of the band’s finest moments, including this track.

5. “A Color” by Tropic of Cancer (2011, Blackest Ever Black)

Fantastic new dark sounds from Los Angeles.  All eyes on these guys…

6. “To Life’s Reunion” by Mecano (1982, Torso)

The shining star on the Dutch Torso label, Mecano’s entire discography is near-flawless.  Not to be confused with the Spanish band of the same name, Mecano employed a distinctive post-punk style, and after a 20 year hiatus, the band has reunited for a series of shows and two celebrated releases.

7. “Light-Tight Place” by Weimar Gesang (1986, Supporti Fonografici)
Italian based Weimar Gesang are debatably the kings of Italian post-punk, with several classic tracks under their belt.  This particular track hails from their final 12’’, released in 1986.

8. “Epitaph” by A Haunted Sawmill (1988, Being Cut)

An extremely rare track plucked from The Trance Compilation, a UK Cassette with several like minded artists.  Not much info to be had on these guys, as this appears to be one of two tracks that exist from this band.

9. “Dream Affair” by Calculated X (1982, X-Tracked Records)
Deep, dark, anthemic post-punk from Tennessee.  Their first of two 12’’s, and easily the band’s finest moment.

10.  “Deep In Mines” by Phantom Limb (1982, Sublabel)

An underrated post-punk band from Belgium, Phantom Limb released one 12’’ via Sublabel, an offshoot of the infamous Torso label (Flue, Mecano, Mekanik Kommando).

11. “In Ultra-Violet” by Cinema 90 (1983, Engram Records)

Infections and spastic dance-floor smash from Seattle, performed on modded Casio keyboards.  As haunting as it is catchy, this track was originally released on the Seattle Syndrome Two compilation.

12. “Peste de Cristal” by Lucie Cries (1993, Alea Jacta Est)

One of the most aggressive bands to emerge from the French coldwave scene, Lucie Cries were a breath of fresh air amongst the dredges of 90s darkwave music.  Very underrated and not for the faint of heart.

13.  “Shackles and Chains” by Second Glance (1984, Only A Revolution)

Issued on the infamous Signal to Noise Set compilation, this track should have been a major hit.  With a chorus that both chills and entices, it’s a shame the rest of this Australian band’s output is so rare and as rumor has it, not as stellar.

14. “Drive Me Home” by Plastic Flowers (2010, Self-Released)
Dream Affair had the pleasure of playing with this Florida (now NYC)-based act, who hits all the emotional sweet spots, from fuzzed out guitars, heartfelt lyrics, and driving synths.  This particularly emotive smash will be appearing on an exclusive 7’’ from Wierd Records before the year is through…

15. “Not Afraid” by Xeno & Oaklander (2011, Wierd Records)

Waltz tempos and deep, dark synths permeate this track from the top electronic band this side of the Atlantic.   This track appears as the digital b-side of “The Staircase,” the first single from Sets & Lights, due out in October.

16.  “Blind Me” by Winter Severity Index (2010, Self-Released)

Winter Severity Index are hands down the best new band I’ve heard in ages.  Four young girls from Italy, playing powerful post-punk-  It doesn’t get much better than that, in my book.  Synth player Valentina Fanigliulo also performs as Mushy, who just issued her debut album on the always excellent Mannequin label.

17. “Time” by Dole (1984, Play It Again Sam)

An obscure new wave smash from Belgium, released on Play It Again Sam, a label notorious for releasing classic EBM records (see above).  While this track is considerably less harsh than many of their labelmates, it’s no less infectious.

18. “Something New” by Lè Travo (1985, Working Records)
Yet another Belgian band, this time playing an incisive, yet club-friendly variation on post-punk.  This track hails from their only full length LP, though a split LP was released the year before.

19. “Dawn (Im Lauf Der Zeit)” by Deca (1995, Old Europa Café)

Experimental musician Federico De Caroli has been operating under this moniker since 1986, and is still active to date.  This moody, dark ambient track was issued on a rare cassette release from 1995.

20. “Angels of TV” by Babel 17 (1990, Lively Art)
Released on the label primarily responsible for the Touching Pop movement of the late 80s (Asylum Party, Little Nemo, etc.), this track is the crème de la crème of the scene, with a chorus that sends chills down the spine.

21. “I’m Dying” by Obscure By Degrees (1981, Ka Records)

An extremely rare and top shelf synth single from the UK.  Infectious percussion, great lyrics, amazing synth melodies.  Really, the whole package.

22. “La Joie” by Epitaphe (1983, Epitaphe Records)
This French coldwave band self-released their lone 12’’, featuring members that would later form Norma Loy and Résistance, two titans of the genre.

23. “Discipline” by Royal Family and the Poor (1984- Factory Records)

One of the less-celebrated by no less stellar acts on Factory Records, plucked from their debut LP.  The band, experiencing several lineup changes over the years, is still active to date!

Echo And The Bunnymen Official Site: http://www.bunnymen.com/Test/

When seminal post-punk band Echo & the Bunnymen formed in 1978, there was a sense of urgency.  The punk explosion in the UK gave way to a crop of new bands, both visceral and atmospheric, building upon a powerful movement with a sense of style and finesse.  The Bunnymen were one of the flagship artists involved, and their first four records stand up as some of the most necessary music of the early 1980s.

It’s no surprise then, that after 30 years, the band decided to revisit their earliest works for a proper tour.  The premise was simple, to play 1980’s Crocodiles and 1981’s Heaven Up Here (in this writer’s opinion, their two best records, hands down) in their entirety.  While many of the singles from the era have been performed since the band’s reactivation in the 1990s, several deeper cuts would also be unearthed and played for the first time in ages, a real treat for the hardcore fans of the band.

After a similarly-styled set from San Francisco singer/songwriter Kelley Stoltz (a major Bunnymen devotee), the band took the stage and tore straight through Crocodiles. Note for note, each track was flawless, from the understated “Stars Are Stars” to the perfect anthemic pop of “Rescue.” The highlight of both the show and the record was the nervous shimmer of “Villiers Terrace,” which sounded just as vital as the day it was recorded. 

Speaking of vitality, I can’t seem to get enough of Heaven Up Here, the band’s sophomore record and easily their densest, darkest (and debatably, their most polarizing) work.  The band kept the energy alive into their second set, which eclipsed the first by the sheer power and passion of the songwriting and performance.  The manic energy of both “With a Hip” and the title track damn near blew the roof off of the joint, while the haunting “Over the Wall” and “All My Colours” served up a slice of dynamic tension that worked just as well as it does on the LP.  As far as my tastes are concerned, Crocodiles served as a delightful appetizer to the main course, and the Bunnymen delivered on all counts.

It was difficult to get a proper lock on the band from a visual standpoint, as they performed under a series of dim lights, bright flashes, and the constant glow of Ian McCulloch’s cigarettes.  However, the hazy stage lighting and heavy fog suited the dark, driving atmosphere of these records perfectly.  Meanwhile, the band seemed to be in good spirits throughout the show, enjoying the celebratory set and performing as if their lives depended on it.  After both records came to their conclusion, the band played encores of classic material, which included many of the band’s biggest singles, including “The Cutter,” “Bring on the Dancing Horses,” and naturally, 1984’s “The Killing Moon.”  While these songs are just as timeless as ever, they almost seemed like a crowd-pleasing afterthought to the main attraction, played solely to keep the casual fans happy.  A respectable, but slightly jarring decision, given the sonic differences of these latter day singles.  Only “Do It Clean,” a track unjustly omitted from the LP release of Crocodiles fit the bill as an encore, but it’s hard to complain about a few inappropriate tracks, considering the strength and solidarity of the performance. Either way you cut it, the Bunnymen are still in top form and this tour is not to be missed…

In an age awash in nostalgia, it’s difficult to separate the true legends from the cash grabbers. Relevance often comes into question when bands from the past return to the forefront of a scene they helped create, and in my own personal experience, it seldom goes well. However, in just two short hours, I was convinced that OMD’s second coming was not just a precious affair, but also an essential reunion.

It all began with a record. After ten years of inactivity, the original lineup of OMD reformed and began touring throughout Europe. History of Modern followed in 2010, a true bona fide classic, and for the first time since 1988, the band decided to return to the United States. Unsure of their stakes in the US market (remember, while the band had several UK singles and were considered a major force, OMD remains relatively obscure, best known for “If You Leave,” a saccharine-filled hit from the Pretty In Pink soundtrack), the band booked a show in NYC’s Webster Hall, capacity 1,400. The gig sold out in a day, prompting the band to switch venues to the significantly larger Terminal Five. The gig still sold out with time to spare.

Still, there was quite a bit of excitement and uncertainty in the air before the show. With a catalog varying between edgy, nervous synth tracks in the vein of Kraftwerk and glossy synthpop hits, I was most curious about which era the band would favor in their selections. Several friends were curious about the band’s stage performance, which was always notorious for energetic dancing and atmospheric visuals. I had already spoken with vocalist Andy McCluskey prior to the gig, and he explained that the band was unable to tote the usual light show with them this time around.

“We put this tour on sale in quite a careful and low key way. The dilemma we have now is that the shows are now in larger venues, and we’re not carrying our European production. It’s a simple, back to basics tour. Since we’ve been playing in Europe for three or four years now, we’ve developed the confidence to say ‘Hey, here we are, here you are. These are our songs.’ We haven’t got all the whistles and bells and the big lights screens and things. It’s just us, the audience, and the music, and we feel quite confident that this will be sufficient.”

After a solid opening performance from Oh Land, the lights dimmed, and OMD began with a brand new number, “New Babies, New Toys.” Followed with three essential tracks from the band’s earlier years (“Messages,” “Tesla Girls,” and “Radio Waves” respectively), the band immediately made a powerful statement. I was quick to realize that the band’s latest material sat perfectly with their classic tracks, proving that they really hadn’t missed a beat after all those years of inactivity. Not only were they in top form as performers, the new tracks felt right at home amidst a series of more well-known numbers.

“Our dilemma with History of Modern was simply: what do modernists do in a post-modern area. I feel like we’ve made a record that should sit nicely with the rest of our work.”

The setlist carried on in a similar fashion. New tracks were scattered among old chestnuts. The show played out like a greatest hits record, complete with the aforementioned “If You Leave,” a song McCluskey introduced as the song that “ruined their careers.” The set happened to favor their mid-period singles, including the shameless pop gem “So In Love” and a handful of tracks from the post-Humphreys era of the band. Other standout moments included set closer “Enola Gay” and the one-two punch of “Joan of Arc” and “Maid of Orleans,” the latter which brought the house down with a series of waltz tempos and melancholic synth lines. Even McCluskey seemed taken aback by the love and devotion in the audience, and assured the crowd that they’d be back soon enough. “We’re planning on returning in the fall, and we’ll be bringing a more interesting array of material,” McCluskey mentioned towards the end of the set, alluding to the band’s earlier, starker, and to me, more influential records.

There’s no doubt that OMD will be back soon enough, as the band’s confidence seems to have skyrocketed in the wake of this tour and with the success of their latest record. For a band never quite treated with the respect and care they deserved during their first go around, it’s refreshing to see it coming in droves.

“It’s been quite a remarkable five years, considering we had actually no aspirations that we’d ever do this again. People seem to be really responding, and even the journalists are saying nice things about us for the first time. We have already discussed what to do on the next record. There will be another album, hopefully, and we’ll be back as soon as we can. I don’t think we can afford to wait another 23 years!”

Top 10 Records

1. Swans- My Father Will Guide Me Up A Rope To The Sky (Young God Records)

The triumphant reactivation of Swans was this year’s best and most vital treat.  We would have settled for the powerful, bone crunching performances that graced select stages, but the LP proves that Gira and co. still have more to offer, issuing another classic among classics.  Swans are not dead, and for this I am very grateful.

2. Automelodi- Automelodi (Wierd)

The long-anticipated debut LP from this French Canadian artist delivered in every way imaginable, offering up 12 slices of eclectic synth perfection.  On just one disc, Automelodi explores the shameless pop genius of the New Romantics, the sleazy synths of Italo Disco, and the cold edge of the French greats.

3. Les Discrets- Septembre Et Ses Dernières Pensées (Prophecy Productions)

With very few exceptions, I’ve never been a fan of black metal’s more bombastic side, nor have I enjoyed the onslaught of modern shoegaze projects, but the combination of both sounds proves to be successful in every which way, from the wintery guitar riffs to the Gregorian vocal melodies.  Truly a beautiful record.

4. Detachments- Detachments (THISISNOTANEXIT)

Catchy, infectious synthpop harkening back to the classic sounds of Ultravox, OMD, and Gary Numan, every bit as futuristic and bleak as their influences.

5. Frank (Just Frank)- The Brutal Wave (Wierd)

Tapping into the Coldwave/Touching Pop sound of the French underground, Frank (Just Frank)’s debut LP was years in the making, and already has earned enough listens to be considered a modern day classic.

6. His Name Is Alive- The Eclipse (Silver Mountain Media Group)

This one almost slipped by me, but once again, His Name is Alive never cease to captivate and stun with their quirky, left-of-center charm.  This new LP is every bit as special and eerie as the title suggests.

7. Alcest- Écailles De Lune (Prophecy Productions)

Alcest are among the many projects of Winterhalter, a prolific French metal provocateur, and it seems as if every project taps into the shoegaze/black metal hybrid sound that drives me nuts and chills me to the bone.  Also see Peste Noire, Amesoeurs (sadly defunct), and no. 3 on this list.

8. Veil Veil Vanish- Change in the Neon Light (Metropolis)

These San Francisco-based darlings issued their full length debut in early 2010, and have since risen to the top of the post-punk revivalist scene.  The band’s incisive energy and infectious live passion translates perfectly to the recorded medium over the course of nine hard hitting tracks.

9. The Soft Moon- The Soft Moon (Captured Tracks)

Whispery, bleak vocals and driving post-punk rhythms drive the majority of the latest Captured Tracks LP.  This one took several listens to fully appreciate, but the persistence was well worth the effort.

10. Tamaryn- The Waves (Mexican Summer)

This densely hazy, sublimely captivating, and highly anticipated debut from Tamaryn combines the ethereal, desert-ridden sensuality of Mazzy Star with the powerful sounds of early darkwave greats.

Top Ten Singles And EPs

1. Further Reductions- Decidedly So 7’’ (Captured Tracks)

The official debut of this NYC duo proves to be as eclectic as their live performances.  While the B-side is moody slice of minimal synth atmosphere, the A-side delightfully channels classic Martin Dupont with its powerful, thudding beat and seductive vocals.

2. Kindest Lines- Kindest Lines CD-R (Bridgetown Records)

A brief taste of great things to come from this New Orleans based synth trio.  Cure-esque guitar lines meet mid-tempo synth grooves for a refreshing, groove driven sound.  An excellent precursor to their full length LP, due out in early 2011.

3. //Tense//- Turn It Off 7’’ (Mishka)

This two track 7’’ channels the blistering energy of D.A.F. and Front 242 on side A, playing with both male and female aggression.  The B-side is a haunting and fresh take on a Fleetwood Mac classic that seethes with tension.

4. Fan Death- A Coin for the Well 12’’ (The Pharmacy Recording Company)

Sleek, sexy disco magic from the same Canadian duo who brought you Dandi Wind.  Pounding rhythms, retro hooks, and female harmonies mix with a hint of darkness, setting this project apart from all the modern disco clones without losing a hint of that dancefloor edge.

5. White Car- White Car/No Better 12’’ (Rainbow Body Records/Hippos In Tanks)

Plucking their name from a mid-period Cabaret Voltaire track, White Car employ many of the same electronic techniques as their namesake.  While their first 12’’ set the stage for the band, with a haunting series of experimental aggressive soundscapes, this follow up explores a more vocal take on electronic body music.  Both are absolutely essential.

6. Void Vision- In 20 Years 7’’ (Blind Prophet Records)

A sublime single from this Philadelphia-based project, invoking the classic electronic ministrations of Vince Clarke and early minimal synth.  Both tracks are high-energy dancefloor masterpieces.

7. Cult of Youth- Filthy Plumage in an Open Sea 12’’ (Avant Records)

A fresh and powerful work by one of modern neofolk’s best artists, a precursor to the band’s upcoming record, due out in 2011.  Six powerful tracks comprise this EP, a must-have for fans of the genre.

8. Led Er Est/Ancien Régime- Split 12’’ (Mannequin)

Sublime split 12’’ from a fantastic modern Italian label.  The A-side features five new tracks from New York’s Led Er Est, further exploring the band’s eclectic synth influences; while the flip is a modern take on the classic post-punk sound.

9. Light Asylum- In Tension CD (Self Released)

Many moons in the making, Light Asylum’s first official release dropped just in time to qualify for this list.  Relentless synth grooves and powerful rhythm tracks make up the backdrop for one of underground music’s most intense and dynamic vocalists.  Essential for fans of Colourbox and Grace Jones.

10. Grouper- Hold/Sick 7’’ (Room40)

While I’m still reeling from 2008’s Dragging a Dead Deer Up a Hill, new efforts from Grouper’s Liz Harris have been equally devastating and entrancing; satisfying tidbits of drone perfection, holding us over until the next LP.

Reissues

1. Various Artists- Cold Waves + Minimal Electronics Vol. 1 (Angular Recording Corporation)

Absolutely essential reissue compilation, comprising some of the most perfect slices of obscure electronic music from a forgotten era.  Every single track on this 2xLP (also available with bonus digital cuts) is crucial to both newcomers and collectors alike.  Not a sleeper among the bunch!

2. The Short Wave Mystery- Down and Out in a Town of Yardsales (W|S Collective)
Virtually unheard of, this band issued one scarce 12’’ in 1985 and were never heard from again.  However, a series of cassette demos has been lovingly restored and remastered for this reissue, which is downright perfection, striking a balance between New Order-esque tracks and gloomy, unsettling vocals.

3. Those Attractive Magnets- Electromagnetic Pulse (Dark Entries)

In 1983, this UK band issued a perfect slice of minimal electronic pop, the scarce Nightlife 7’’, and promptly disappeared from the scene.  Dark Entries has contacted members of the band and collected a series of previously unreleased tracks (as well as the elusive 7’’) to form the band’s “debut” LP.  Also be sure to check out the other Dark Entries reissues, which include Eleven Pond, Nagamatzu, and Borghesia.

4. Chrisma- Chinese Restaurant/Hibernation (Medical Records)

Recorded in 1977 and 1979 respectively, this pair of LPs from Italian duo Chrisma were way ahead of their time.  Part cabaret, part proto-wave, and more, these albums are finally available on vinyl for the first time in ages.

5. Oppenheimer Analysis- New Mexico (Minimal Wave)

Originally sourced from cassette recordings dating back to 1982, this futuristic duo are among the most well known minimal synth artists in the current wake of rediscovery.  Fittingly, the band has teamed up with Minimal Wave (primarily responsible for championing the band over the years) to reissue this classic set of recordings in the digital medium, giving them the bite and punch they deserve.

6. Nine Inch Nails- Pretty Hate Machine (Universal)

A long time in the making, this debut from one of music’s most alluring greats is treated to a superior upgrade in sound and style, complete with revamped artwork and a vastly improved sonic spectrum.  Given the amount of drama surrounding this release over the years, it’s a blessing to receive this one at all.

7. Experimental Products-Tracks to Glow in the Dark/Mark Lane- When the Night is Cruel (Vinyl On Demand)

This pair of reissues arrived so close together, that it’s hard to separate them in my mind.  Both releases collect a series of previously unreleased and hard to find gems from U.S. based synth-masters for a complete aural treat.  A complementary pair or releases, exploring both dancefloor perfection and experimental energy.

8. The Cure- Disintegration (Fiction Records)

The big enchilada, the mother of all Cure releases, finally given the treatment it deserves on CD and LP.  While the extra instrumental sketches/demos disc and the fully restored version of Entreat (a live record sourced from a 1989 Wembley Arena show) are excellent additions, they pale in comparison to the supreme improvement in sound and audio quality on this landmark record.

9. Ron Hardy- Sensation 12’’ (Trax)

A lost gem from one of electronic music’s true pioneers, this track may sound a bit cheesy and dated on the outside, but is so infectious and driving, it doesn’t matter.  From the reverb-drenched soul vocals to the slightly out of tune synthesizers, every second is bliss.

10. Various Artists- Transmissions: Netherlands (Infrastition)
Known for reissuing a series of lost French coldwave recordings (with vastly improved sound), Infrastition has done it again with this collection of lost greats from the Netherlands.  Tons of essential gems here, including classic cuts from Flue, Mecano, and Ensemble Pittoresque.

Welcome to Episode 3 of I Met The Beast. As our goal is to turn you on to different genres of music, as well as provide knowledgeable resources within that genre, ZapTown is proud to bring you this exclusive podcast that unites coldwave, minimal synth, and post-punk obscurities together in one bundle.

Frank Deserto (also known by many as Frankie Teardrop) is a musician at heart and can also be found floating around the Brooklyn scene as a DJ, regularly spinning at the Wierd Records party in the East Village.

You will find him playing synths and bass for the band Revel Hotel: www.revelhotel.net. Their debut EP is out now, and the band is hard at work on a full length LP, due in early 2011.

Also, he can be found playing bass with Dream Affair: www.myspace.com/dreamaffair

If you like the music you hear on this Podcast or simply want to know more about the genre, please go visit Frank’s extensive and exquisite blog: Systems Of Romance: www.systemsofromance.com

Of course, we always recommend you to go out and purchase music you hear from this podcast and help support the artists.

I Met The Beast, Episode 3

1. Babel 17- “Come Into Hell and Murder Hate” (1990, Lively Art)
As one of the forerunners of the Touching Pop/coldwave movement (a French variant of darkwave, taking cues from both psychedelic rock and Joy Divison), Babel 17 released two absolutely essential LPs on Lively Art, kicking off the 1990s with gusto.  Like many of their labelmates, Babel 17 enjoyed relative success in Europe, but barely scratched the surface in the United States.

2. Charles De Goal- “Un Jeu D’Enfant” (1985, New Rose Records)
This track dates back to 1985, and hails from the band’s third record. Originally conceived as a solo project for Patrick Blain of C.O.M.A., the band expanded and experimented with their sound over the course of their career.  While their earlier work is far more experimental, this track (and its album counterparts) issued a new wave of popularity for the once elusive band.  The band has since reactivated, and released a new album in 2008.

3. The Bonaparte’s- “For Winter” (1986, Principe Logique)
Among the darkest and least accessible of the French coldwave greatest, The Bonaparte’s still managed to turn a few heads with their provocative imagery and style, and earned some critical reception with their second record, produced by The Cure’s Lawrence Tolhurst.

4. Screaming For Emily- “The Love” (1987, Permanent Rave Records)
Taking their cue from the synth-driven sounds of Clan of Xymox and The Cure, Screaming For Emily formed in Asbury Park, New Jersey, releasing two rare and vital American darkwave singles before disbanding.  The band reformed for a few shows and a new record in the mid-2000s.

5. Airstrip 1- “Longer to Live” (1981, Oval Records Ltd.)
While England’s Airstrip 1 adopted the gloomy post-punk sound of the era, the band still kept the fire of the punk movement alive in their hearts, straight down to Joe Strummer-esque vocals and political themes.

6. Madame Bovary- “Be My Friend (In Spite of All)” (1986, Studio Isis)
As with most obscure bands of the new wave era, there isn’t a lot to be said about Madame Bovary.  Even still, this driving French track ranks as a classic among classics.

7. B-Movie- “Institution Walls (Remix)” (1981, Deram)
Primarily known as a one-hit wonder (their essential single “Nowhere Girl” has been re-recorded and released for radio several times throughout the 1980s), this UK band issued a string of singles and left a rather prolific legacy behind.  This particular track is a remix of one of their most vital early works, plucked from the b-side of the “Remembrance Day” 12”.

8. The Names- “Nightshift” (1981, Factory Records)
While Joy Division and New Order continue to earn most of the credit in the early Factory Records days, there were dozens of essential, if but obscure acts recording under the label around the same time.  This gloomy track is a standout among the more obscure gems, including bands such as The Royal Family and the Poor, The Wake, and Shark Vegas.

9. The Factory- “Hold Out (Extended Mix)” (1986, Strike Back Records)
Another obscure gem from the inner bowels of the UK post-punk scene. This band released two singles in 1986 and haven’t been heard from since.

10.Aroma Di Amore- “Grijs Geld” (1987, Anything But Records)
This Belgian band took a rather different approach than many of their peers.  Employing a drum machine and a more aggressive approach, Aroma Di Amore were also among the most prolific bands of the era.  The results generally walked a fine line between the European coldwave movement, driving post-punk, and electronic body music.

11. Tally-Oh!- “Hit the Beast” (1984, Grey)
Mysterious Italian new wave band, who issued one 7” and were never heard from again.

12. For Against- “Stranded in Greenland” (1988, Independent Project Records)
One of the rare entries from the American scene, For Against were early players in a budding dreampop/shoegaze movement, long before it ever had a name.  Their first three releases are classics in any country, and the band are still active to date, both on the stage and in the studio.

13. Dream Affair- “405″ (unreleased )
I’ve been steering away from newer bands with this particular episode, but I can’t resist this yet-to-be-released gem from these New York post-punk revivalists, which will appear on a 7” in early 2011.  I’m also looking forward to joining these folks on stage for shows starting in December.

14. The Arms of Someone New- “Every Seventh Wave” (1988, C’est La Morte)
The best known single by this US band, a strange, but welcome entry in their otherwise ethereal/darkwave catalog.  I just discovered this gem thanks to an old chum and haven’t been able to stop listening to it…  This track is a more club-centric re-recording of the track, originally dating back to a 1984 12”.

15. Mary Goes Round- “Clouds & Clouds” (1989, Lively Art)
Let’s end this playlist the same way we began it, with one of the flagship artists on France’s Lively Art label.  Adopting a more psychedelic image, Mary Goes round also shared members with Brigade Internationale and labelmates Asylum Party.  With its haunting synth melodies and incisive guitars, this track remains one of my favorites from any era.

Welcome to Episode 2 of I Met The Beast. As our goal is to turn you on to different genres of music, as well as provide knowledgeable resources within that genre, ZapTown is proud to bring you this exclusive podcast that unites coldwave, minimal synth, and post-punk obscurities together in one bundle.

Frank Deserto (also known by many as Frankie Teardrop) is a musician at heart and can also be found floating around the Brooklyn scene as a DJ, regularly rotating for Contempt!, Exotic Birds, and Wierd Records.

You will find him playing synths and bass for the band Revel Hotel: www.revelhotel.net. Their debut EP is out now.

Also, he can be found playing synths with The Hunt: www.myspace.com/thehuntbegins

If you like the music you hear on this Podcast or simply want to know more about the genre, please go visit Frank’s extensive and exquisite blog: Systems Of Romance: www.systemsofromance.com

Of course, we always recommend you to go out and purchase music you hear from this podcast and help support the artists.

1. Bunnydrums- “Crawl” (1983, Funk Dungeon Music, Inc.)
One of the most underrated bands in North America, Philadelphia’s own Bunnydrums combined dark, driving post-punk with a tense, psychedelic atmosphere.  The band split after a New Year’s Eve performance in 1986, reforming in the new millennium for a series of local shows.

2. Abecedarians- “Ghosts” (1990, Independent Project Records)
Formed in Los Angeles, Abecedarians were one of the few non-UK acts to be signed to the infamous Factory Records, who issued their debut EP in 1985.  While the remainder of their material was issued on Caroline, this particular version of “Ghosts” hails from The Other Side of the Fence, a 2×10’’ compilation released posthumously.  Rumor has it that the band found these earlier versions far superior to their Caroline counterparts.  I’m inclined to agree.

3. Red Temple Spirits- “Soft Machine” (1989, Fundamental)
Completing a trifecta of US-based post-punk/guitar wave acts, this Los Angeles quartet dropped two nearly perfect records in the late 1980s, heavily influenced by the likes of Led Zeppelin, The Doors, and Pink Floyd.  Combining these classic rock influences with tribal post-punk rhythms, the band instantly set themselves apart from their more Deathrock-driven peers.

4. Frank (Just Frank)- “The Closet Song” (2010, Wierd Records/La Forme Lente)
One of the brightest modern bands to appear on the horizon, this French duo is slated to release their anticipated debut, The Brutal Wave, on Wierd Records in just a few short weeks.  As a teaser, the band included this particular gem on the fantastic Circuit D’Actes compilation, released on 12’’ wax by budding French label La Forme Lente.  The compilation is limited to 500 copies, so be sure to snag one as soon as possible!

5. Ian North- “Sex, Lust, You” (1982, Neo Records)
A true renaissance man, Ian North’s career dates back to the 1970s, where he played in several glam rock/power-pop outfits with past and future members of Sparks and Roxy Music.  Shifting his interest to synthesizers, he released the Rape of Orchards 12’’ in 1982.  Since then, North has remained active to date as a musician, painter, and producer.

6. Kindest Lines- “Destructive Paths” (2010, Self-Released)
Hailing from New Orleans, Kindest Lines are a budding synth act, one of the most refreshing and enticing I’ve heard in some time.  Featuring seductive female vocals, murky synth lines, trickling guitars, and chest-thumping beats, this track quickly became a favorite, appearing in nearly every DJ set of mine to date.  Be sure to keep close watch on this one…

7. U-BahnX- “Young Hearts of Europe (Essential Mega-Mix)” (1985, EMI)
This track is a true dance floor destroyer.  Hailing from Germany, U-BahnX threw out all the stops for this beat and hook ridden number.  Though countless versions of the track exist, spread across several 12 and 7’’ records, it remains their only release.

8. Nine Circles- “Twinkling Stars” (1982, VPRO)
A true lost gem of the minimal synth era, Nine Circles were a duo from the Netherlands who recorded several tracks in the early 1980s.  Until the release of a s/t collection in 1996, their material was scattered across several compilations, mostly unheard by the masses.  This track is a gem among gems, and will also making a prominent appearance on the upcoming Cold Waves and Minimal Electronics Vol. 1 compilation, a must-hear for all future synth aficionados.

9. Lustans Lakejer- “Diamanter” (1982, Stranded Rekords)
Best described as the Swedish Ultravox, Lustans Lakejer were one of the biggest bands in their home nation, responsible for dozens of killer new romantic-tinged tracks.   Like most early wave acts, the band rose from the aftermath of punk, incorporating more synthesizers as gear became more common and affordable.  This particular track appeared as a stand-alone single in 1982, collected on the killer Retronics compilation in 1999, a release that triggered the band’s reactivation.

10. Figure Study- “Lesson One” (2009, Self-Released)
An ice-cold gem of the new NYC synth scene, Figure Study has a bright future ahead of them.  The duo is currently hard at work on their debut EP, and if this track is of any indication, we’re in for a real treat.

11. Buzz- “Kennedy” (1986, Danceteria)
Hailing from the inner recesses of France, Buzz released several dance-driven 12’’ records in the mid-1980s, including this seven-minute epic.  Buzz called it quits on the dawn of a new decade, but like many of their under-appreciated peers, latter day interest has led to their resurrection.  After a self-released reissue, the band can now be found recording new material and touring in their native land.

12. Thomas Dolby- “One of Our Submarines” (1982, Venice In Peril)
Astute readers should certainly be familiar with Mr. Dolby, a true pioneer of the New Wave era.  While he’s best known as a one hit wonder with “She Blinded Me With Science,” Dolby’s debut record The Golden Age of Wireless contained several catchy classics, including this more downtrodden single.

13. Eleven Pond- “Watching Trees” (1986, Self-Released)
Moonlighting in upstate NY, Eleven Pond released one unstoppable LP in 1986, disappearing into obscurity soon after.  Considered by many to be the Holy Grail of synth music, original copies of Bas Relief sell for astronomical amounts, sought after by fans and collectors worldwide.  In 2009, budding San Francisco-based label Dark Entries contacted the band and re-released Bas Relief on vinyl, allowing this amazing track, among others to reach a brand new audience.  Testament to its greatness, this track also appears on the upcoming Cold Waves and Minimal Electronics compilation.

14. Clay Pedrini- “New Dream” (1984, Sensation)
As is the case with most Italo cuts, this particular track appears as a one-off single, issued by Sensation Records in 1984.  As it stands, it’s one of the genre’s undisputed classics, filled to the brim with catchy hooks and driving beats.

15. Led Er Est- “Lonesome Xoxo” (2010, Mannequin Mailorder)
Hot on the heels of their 2009 debut on Wierd Records, NYC’s Led Er Est have served up another series of haunting, disco-tinged tracks, due for release on Italy’s Mannequin Mailorder label.  The split 12’’, shared with Italain band Ancien Régime, is currently available for preorder on the Mannequin webpage, so be sure to snap up a copy before they’re all sold out!

16. Charles De Goal- “Radio On” (1980, New Rose Records)
It’s difficult to pin down Charles De Goal, one of greats of the early French post-punk movement.  Originally conceived as a solo project for Patrick Blain (formerly of C.O.M.A.), Charles De Goal walked a fine line between minimal synth, post-punk, experimental music, and early coldwave, often exploring each of these sounds on the same LP.  This particular track is plucked from the band’s debut record, Algorythmes.

17. The Frozen Autumn- “Is Everything Real?” (2002, Eibon Records)
As a fan of “classic” darkwave music, the 1990s were often a decade filled with cheap knock-off acts, giving in to digital technology in lieu of solid songwriting.  One of the few exceptions to this rule were The Frozen Autumn, an Italian outfit formed in 1993.  Inspired heavily by labelmates Clan of Xymox, the band has helped keep the darkwave sound alive and well in a new age.

18. Cybotron- “El Salvador” (1983, Fantasy)
This early electro outfit were primarily inspired by the likes of George Clinton and Kraftwerk, combining both funk and cold, synthesized soundscapes for a sound virtually unexplored at the time.  Heading up the Detroit electronic scene, the band’s early classics are still club staples to date, and have been instrumental in the development of house and techno music.

19. Front 242- “Take One” (1983, Red Rhino/Wax Trax)
A household name as far as EBM music is concerned, Front 242 began in 1980, and were one of the most prolific groups of the Belgian electronic scene.  Released shortly after their near-perfect debut LP Geography, this track was one of the first releases on Wax Trax records, documenting the band at their catchiest and most direct.  As with most of the band’s best material, “Take One” still sounds fresh to date.

Welcome to Episode 1 of I Met The Beast. As our goal is to turn you on to different genres of music, as well as provide knowledgeable resources within that genre, ZapTown is proud to bring you this exclusive podcast that unites coldwave, minimal synth, and post-punk obscurities together in one bundle.

Frank Deserto (also known by many as Frankie Teardrop) is a musician at heart and can also be found floating around the Brooklyn scene as a DJ, regularly rotating for Contempt!, Exotic Birds, and Wierd Records.

You will find him playing synths and bass for the band Revel Hotel: www.revelhotel.net. Their debut EP will be released in March.

Also, he can be found playing synth with The Hunt: www.myspace.com/thehuntbegins

If you like the music you hear on this Podcast or simply want to know more about the genre, please go visit Frank’s extensive and exquisite blog: Systems Of Romance: www.systemsofromance.com

Of course, we always recommend you to go out and purchase music you hear from this podcast and help support the artists. So, without further ado: I Met The Beast.

1. “CC Exit” by Led Er Est (2009, Wierd Records)
This underground NYC band’s first full length record was my favorite of last year, combining lo-fi minimal synth with icy hooks and Italo Disco rhythms.  This atmospheric instrumental sounds straight out of a John Carpenter flick, circa 1985.

2. “The Mutant Glow” by Victrola (2009, Mannequin Mailorder)
This Italian minimal synth band released one monster 12’’ in 1983, and haven’t been heard from since.  Fortunately, our friends at Mannequin dug up a series of lost Italian synth recordings, issued as the highly coveted Danza Meccanica compilation.  This is a standout among standouts.

3. “Flesh” by A Split Second (1986, Antler Records)
This Belgian EBM band features contributions from Peter Bonne, also infamous for his work under Twilight Ritual and Linear Movement.  Legend has it that this track, played at a slower speed by one creative DJ, helped kick off the New Beat movement of the late 1980s.

4. “Dance” by Twice a Man (1982, Silence Records)
Formed in 1981, this Swedish duo is still active to date, constructing ambient soundscapes using a variety of synthesized gear.  However, their 1982 debut Music For Girls is an early minimal synth masterpiece, one of the best of its kind.  Every track is absolutely killer, including this anthemic number.

5. “Fire” by Ruins (1984, Black Square Records)
Walking a fine line between Italo disco and darkwave, this track is an unstoppable dance monster, a staple of my current DJ sets.  The band split in 1992, but have since reactivated, playing several shows throughout their native country.

6. “Man Without Limits” by Lisfrank (1983, Mask Productions)
Keeping with the Italian theme, this underrated darkwave band released one 12’’ in 1982, appearing on a handful of compilations before disappearing into the ether.  This midtempo track is plucked from the killer First Relation compilation, chock full of Italian synth rarities.

7. “Gato Negro” by Further Reductions (2009, self-released)
Further Reductions are a brand new italo-inspired synth duo from the bowels of New York City.  The entire world awaits their upcoming releases on Dark Entries, Captured Tracks, and Wierd Records, just based on the strength of this track alone.  Pulsing synths and gorgeous, yet detached female vocals are a recipe for success here.

8. “Discowar” by Oto (1986, Madrigal Records)
This French band walked a fine line between incisive coldwave and dark synthpop. Not much is known about this three piece, but their 1983 track “Anyway” will be given a remastered treatment on the upcoming Cold Waves and Minimal Electronics Vol. 1 compilation, due out on Angular Records in February.

9. “Another Land” by Medio Mutante (2008, Cititrax)
A modern minimal synth classic, this band combines analog synthesizers with latin-inspired rhythms, a product of their bi-coastal location.  It’s a particular obsession of mine these days, both on the Ipod and on the turntables.

10. “Look East For Eden” by The Snake Corps (1985, Midnight Music)
Stepping outside of our minimal synth playlist for a moment, here’s a killer track from underrated UK post-punk band The Snake Corps, whose debut Flesh on Flesh seldom leaves my turntable.  The record features an aggressive, yet downtrodden sound, driven primarily by the guitar work of Tristan Garel-Funk, previously active in Sad Lovers and Giants.

11. “Nova Heart” by Spoons (1982, A&M Records)
A classic cut from a Canadian-based synthpop band, Spoons flirted with some chart success in the early 1980s with this catchy-as-sin single.  The track opened several doors for the budding band, who would go on to work with Nile Rodgers and open for The Police and Simple Minds.

12. “Give Me” by Sensitive (1985, Sensation Records)
Sensation Records were notorious for releasing countless classic Italo disco cuts, from M & G’s “When I Let You Down” to Clay Pedrini’s “New Dream.”  The label also released one of three unforgettable italo classics by this aptly named three-piece.  The original 12’’ tends to sell for over 200 euro, so keep your eyes peeled for this one!

13. “Thunder and Lightning” by Boxbury Beat (2009, Hommage Records)
This Norwegian outfit released but one 7’’ in 1985, but this particular track was unearthed for the epic Maskindans compilation, featuring two discs of Scandinavian synth work, spanning from 1980-1988.  Definitely a must-hear from start to finish!

14. “Greatful Vision” by Second Decay (1992, Subtronic Records)
This latter-day darkwave track keeps the spirit of the preceding decade alive with a commanding synth lead and a catchy chorus.  Our friends at Dark Entries have just released a limited, remastered edition of this highly coveted debut on crisp wax.  Nab it while the getting is good!

15. “Black and White” by Void Vision (2010, Blind Prophet)
Void Vision are one of the brightest rising stars in the NYC underbelly, featuring a highly energetic duo keen on vintage analog gear and ethereal hooks.  This particular track will appear as the b-side for their upcoming 7’’, which is due out on Blind Prophet in just a few short weeks.

16. “Love Changes” by Experimental Products (1984, Short Circuit Records)
Formed in Delaware and based in Philadelphia, Experimental Products were one of the few unstoppable minimal synth duos in all of these United States.  After releasing their 1982 debut, Experimental Products unleashed their masterpiece, a massive three track 12’’ that solidified their place in the minimal electronic scene.

17. “Sun Flight” by Silicon Teens (1980, Mute Records)
Many may be more familiar with Silicon Teens brainchild Daniel Miller’s work as both head of Mute Records (Depeche Mode, Cabaret Voltaire, Fad Gadget) and man behind The Normal, whose futuristic T.V.O.D./Warm Leatherette 7’’ took Britain by storm in 1978.   Whereas the majority of Miller’s Silicon Teens output featured synth versions of classic rock n’ roll tunes, this slower, more despondent tune continues Miller’s dystopian narrative.

18. “V.O.I.C.E.” by Poeme Electronique (1982, Carrere)
Poeme Electronique were an all electronic band hailing from the U.K.  While their debut A-side “The Echoes Fade” became a minor hit in their home country, the flipside painted a catchier and punchier picture of the band.  Until recently, these were the only tracks available, but our friends at Anna Logue Records have just released a 2xLP compilation of unreleased goodies, many of similar quality.  Seek it out!

19. “Fridged” by Flue (1981, Torso)
Hailing from the Netherlands, this ice-cold post-punk band issued several classic records throughout the early 1980s.  Their debut full-length, from which this track hails, was produced by Dick Polak, member of fellow Dutch band Mecano.

20. “Jakarta” by Trisomie 21 (1987, Play It Again Sam)
Trisomie 21 consists of brothers Philippe and Herve Lomprez.  Taking their name from the extra chromosome that results in Down Syndrome, this French coldwave band began in 1983, and are still highly prolific to date.  This particularly upbeat track hails from an underrated 12’’ and concludes our podcast with driving bass, oscillating synthesizers, and jagged guitars.