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)