91. DISCO INFERNO – THE 5 EPs (2011*)

Experimental, Indie / Alternative, Post rock

Disco Inferno: A Sense Of Otherness  Somehow I contrived to miss Disco Inferno. They arrived either ten years too early or ten too late, it’s hard to tell, but by the time they had established themselves, popular music’s few remaining visionaries were retreating into hibernation. 1991 proved a pivotal year. It was the year of Laughingstock and Loveless, as well as the last significant records by Public Enemy and The Young Gods. And then, suddenly, as those few flickering wicks burnt out, indie music was plunged into its Dark Ages. The air was thick with the stench of grunge and grebo – Neds Atomic Dustbin and their ugly ilk – while the nightmare of Britpop hovered vulture-like, ready to strip its rotting carcass. Britpop would become a model of retro complacency, mostly underwhelming, largely uninspired. Many of us felt queasy and headed for the dancefloor. I had a pretty good time there. The one regret I have is that I missed Disco Inferno. 

DI were, on the surface, a conventional post-punk (guitar/bass/drums) trio – Ian Crause, Paul Wilmott & Rob Whatley – with a penchant for early Joy Division and Wire. They began to suffuse those primary influences with the spirit of ’88 (AR Kane, Public Enemy, Young Gods, My Bloody Valentine), and then, following the release of their first album Open Doors Closed Windows in 1991, they stretched out into genuinely new and uncharted territory augmenting their sound with sampling technology alongside a proliferation of inspirational ideas. Crause recalls: “I had been at home with my guitar synth and sampler since late ’91. We came back in to rehearse again with the sampler and what I had written on it in about April or May ’92, not really knowing how it would all piece together as a band. We had a whole week of rehearsals booked and by the end of the week we were kind of stunned at ourselves ‘cos none of us had ever heard anything like it before, not even stuff like Public Enemy or the Young Gods. It just sounded so fucking odd…all of us were completely thrown by the noise in that room.”
A succession of spellbinding EPs followed between 1992-94, gathered together here on this 5 EPs compilation. And they are brilliant. At the time, those critics in the know wilted, quickly running out of fresh superlatives with which to embroider their reviews. Crause knew the band possessed something very special indeed, but the public wasn’t ready. And there was nobody else doing what they were doing. “Oh we were in the middle of fucking nowhere from the start of using samplers ’til we split.” Despite that, by the time Britpop hijacked the airwaves, DI were continuing to make authentically original music, uncompromising, challenging, visceral and at times breathtakingly beautiful. “When we were recording ‘DI Go Pop’ and ‘Summer’s Last Sound’, Charlie, our producer, did say he was finding it hard going as we had chosen the sounds for their narrative and not musical qualities.” Lyrically, Crause steered an uneven path from (poetically) documenting existential crises (“All the joy in my life had rotted away/I saw a vision in blue and my blues flew away/And just for a second I truly believed/Though I don’t know what in” – from ‘Second Language’) to caustic social commentary. It was often dark stuff.
“And the gulls are coming in off the coast/the smell of corpses pour from in/mass graves uncovered/must be abroad, it can’t be here/I can sense your violence, but I still don’t understand/the way the past looks dead when you’ve got the future in the palm of your hand.” And so begins ‘Summers Last Sound’ a magnificently unsettling fanfare to this most fertile of periods. 
Shrill screams undercut a naggingly insistent guitar riff on ‘A Rock To Cling To’ while ‘The Last Dance’ & ‘The Long Dance’ (from ‘The Last Dance’ EP) are poppier, more infectious, almost straying into mid-period New Order territory. But it is the more experimental tracks which sound positively scintillating. Crause has expressed his distaste for ‘Scattered Showers’ mainly due to what he regards as its lyrical deficiencies (“they really let the thing down. I was so far off the mark with it.”) but I can’t help but hear The Velvet Underground’s ‘The Murder Mystery’ being leaked through a distorted PA system at Brands Hatch. Here and elsewhere, the band utilise their Foley’s Sound Effects toolbox to its full potential, yielding extraordinary results.
Then there are the glistening guitar lines of the aforementioned ‘Second Language’, which alongside those on ‘At The End Of The Line’ recall Vini Reilly’s wonderfully inventive work with The Durutti Column. In actual fact, as Crause explains, those songs bore a more surprising influence: “The original guitar sound I had, with a lot of delay lines, was inspired by a German guy I saw on telly called Eberhardt Weber. He put his cello through massive delay lines and I was stunned by it. I liked Durutti Column what I heard, but I didn’t hear an awful lot to be honest…I realise it can sound very similar sometimes.”

There is huge variety here, a veritable smorgasbord of sonic adventurousness. Best of of all is ‘Love Stepping Out’ which sounds like Kraftwerk’s ‘Europe Endless’ playing as the wedding guests spill out into an old English churchyard. It is simultaneously naturalistic and disorientating, and crucially, entirely devoid of rock cliche. “Punching women, kicking men/Five on one, one on ten/These fuckers getting all that they deserve/It’s just tricks with mirrors/that makes them think they’re in the right.” There is so much going on here musically and lyrically, it needs a dozen listens to unmask its own face. What was the aim behind it? “To try to create a sonic environment where the real world conducts itself like music but stays psychoacoustically in situ so it feels like the world is playing itself like a composition.” Crause wrote it on his electric guitar, “but I ripped the pickup off so had to use the nylon acoustic guitar sample which came on a floppy with my sampler to replace it. That just went through a delay like the original guitar had done.” Suffice to say, like everything else on here, it is bloody magnificent.
Disco Inferno may now be considered a seminal influence on ‘post-rock’ while Crause has continued to make stunning music of his own. Despite their inability to make any commercial breakthrough, he continues to be much respected “by the same people who were well receiving the Disco Inferno records in ’92 and ’93 like Stubbs, Reynolds, Kulkarni, etc, who understood what we were doing and what I do.” And rightly so. If I missed Disco Inferno the first time round, then it has been a fascinating late discovery. Sometimes one can have the most bewilderingly thrilling time catching up. (JJ)

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39. ULTRA VIVID SCENE – ULTRA VIVID SCENE (1988)

Indie / Alternative, Shoegaze

Trying to find great, life changing music on television in the Eighties was always a bit of a struggle. As the steady supply of punk and post punk acts that sold enough to get on Top Of The Pops seemed to (with a few notable exceptions) dry up, you needed to look elsewhere. There was Whistle Test, but more often than not that sterile studio atmosphere (almost as bad as the forced enthusiasm of the Newcastle fashionistas on the Tube) failed to spur many of the bands towards anything like excitement. The Jesus and Mary Chain crackled with electricity under red and green lights playing In A Hole, despite being recorded at ten in the morning given their notoriety at the time. Contrast this with  their rather tame performance of Just Like Honey and Inside Me on The Tube ten months later. (Pete Townshend liked it though, reminded him of Buddy Holly). There was always that clip of the Smiths recording Meat Is Murder, Morrisey and Marr miming along to Nowhere Fast, Marr looking like Johnny Thunders trying to sneak his way onto the back cover of Revolver. Or what about that amazing footage of The Cramps playing The Most Exalted Potentate Of Love live at the Peppermint Lounge and shown on The Tube. These moments were taped and watched endlessly.

It probably didn’t help that TV executives seemed to be more interested in looking backwards – Sounds Of The Sixties, re-runs of Ready Steady Go. There was even The Golden Oldie Picture Show where they would create videos for old hits and shown at prime time. Where were the opportunities for the new bands to get this kind of exposure? It’s not as if the music was not being made. Sometimes you’d get great bands popping up in the most unexpected places. I remember Iggy Pop disembowling a teddy bear on No. 73, Pere Ubu appearing on Roland Rat, Strawberry Switchblade on Cheggers Plays Pop. These may not have been these bands finest hours musically, but even catching a glimpse of them was enough in pre-internet, pre-Youtube barren times. Sometimes you want something so bad you’ll grab anything.

So, towards the end of the eighties Snub TV came along and we could finally see interviews, videos and live clips of the likes of (off the top of my head) My Bloody Valentine, The Butthole Surfers, Wire, Pale Saints, Pixies, Loop, Teenage Fanclub, Ride (before releasing a record I think), Spacemen 3 etc. etc. For me, this is where Ultra Vivid Scene arrived. Cue slowed down grainy over-saturated footage of a cool looking band in a studio. Built around a prowling two note fuzz bass line, the song is called The Mercy Seat. Phhht! Don’t they know there’s already a song called that? It borrowed the template the Mary chain used for Sidewalking earlier that year. Still it drew me in, high sparkling fuzzy Fender guitars, great melody. I was a goner.

After further investigation it turned out that the band was in fact one man, a New Yorker called Kurt Ralske. Recorded in New York, UVS debut does not stray too far from those home turf giants of art rock Lou Reed and Tom Verlaine. Sung in a detached whisper, Lynn Marie #2 sounds like the song Lou Reed would write if you gave him the chords to Bonzo Goes To Bitburg, while Crash fades in just like Train Round The Bend. Blood Line is as pretty a melody as Verlaine’s Days, while the intro to How Did It Feel would not be out of place on Dreamtime or Words From The Front. He may be a guitar virtuoso but there’s no room here for long, meandering solos. There’s hardly any solos at all in fact. Everything here is designed to support the songs, from the chilly keyboards of Nausea to the One Of These Days-like slide guitars of Crash.

The album itself is full of tales of parties and beautiful cruel muses, icy Warholian goddesses (Lynn Marie, like Lou’s Caroline gets two songs named after her), uptight and strung out in equal measure.

It’s not all genuflecting at the feet of New Yorks finest though. The use of a drum machine colours the songs differently and stops them sounding like they are merely aping the Velvets or Television, and drives them closer to some imaginary crossroads where Chromes Slip It To The Android/Kinky Lover schtick meets Soft Cells kinky pop. The album opener She Screamed – could have been a hit single in more sympathetic era – is more like Metal Urbain piling into the disco on a night out. Like a lot of his contemporaries (Nick Cave, Jesus and Mary Chain, Spacemen 3) Kurt likes his Religious imagery (Whore of God, Hail Mary), and he’s not scared to cop a title from Ballard or Sartre. But most of all there is a romance and tenderness that more than balances any sleaze. This isn’t Real slows down Buzzcocks Walking Distance and adds a lyric about a B-movie sob story mystery. He saves his most heartbreaking lines for A Dream of Love

A dream of love is haunting me

a dream of love is taunting me

Misguidedly labeled shoegazing, this album deserves to be rated alongside the cream of the eras visionary dream pop like My Bloody Valentine, early AR Kane, late Spacemen 3, Mazzy Star et al. An album this good should not be languishing out of print as it currently is. (TT)