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The Work: Rubber Cage
Code:6777
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These are powerful recordings of the band's most densely composed material., musically akin to another of their classics, "Slow Crimes", but honed into even more mature fashion. (The band had broken up after a tour of Japan in 1982, and reformed for this record 7 years later. In the interim, each of the musicians' talents and compositional abilities had grown by leaps and bounds). This album was a new beginning for The Work, and set them off in a slightly different direction than they had previously employed: Much of the energy of this music came from the sheer "tenseness" of the compositions; they didn't need to bludgeon the ears to get the point across. Besides collecting what could arguably be their most finely crafted songs, this disk best displays the group's unusual sense of individual soloing: The singularly-plucked cello during "Dangerfish", and the free-form piano of "Jay", both seem to be the intrinsic opposite of the musical settings they embellish. Capturing such disparate approaches sets up a dichotomy of styling throughout this exceedingly intense album, offering startling (and usually brutal) results.
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The Work: See
Code:7781
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SEE was the final The Work album to be issued during the band's lifetime. It showcased some of the very best material of their later years, and a penchant to move into a different, more mature setting. The electronic experimentation here perfectly meshes with post-punk appeals and terrorist-like energy, giving the listener plenty of reasons to be drawn-in to their psychotic world of extremes. Each instrument plays perfectly off of the others to send everything, "somewhere else", whilst somehow holding together perfectly amidst some fiendish, "white knuckler" time relations. Though the vocals on this album were more "sung" that "shrieked" (as evidenced on their earliest recordings), the instrumental parts, especially the drumming, keep the group in line with its radically apparent love for showcasing a primal approach. This has been out-of-print for a number of years, so it's great to have it back again.
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The Work: Slow Crimes
Code:6778
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Originally issued on vinyl in 1982, this music, along with that of compatriots This Heat and Unrest Work & Play, set the stage for a unique type of new British Invasion; one that seemed to absorb the complexity and slickness of Progressive Rock, whilst throwing its aesthetics to the dogs, in lieu of the energy and power of early Punk. THE WORK were amongst the first few to purposefully break their own mold in an attempt to break new ground, concomitantly creating music that seems more comfortable resting on a bed of nails than precious laurels. The drums are primal, and hold the entire band together in a polyrhythmic way that was, at the time, unheard-of in Punk music. The vocals are offered unapologetically, sometimes in semi-screams of anguish and insolence. The guitars & bass chug along, daring the listener to tap their foot in time to regain one's bearings. Over it all is the collective penchant to add experimental noise, to further a state of shock. The group worked tirelessly within these guidelines on the road for 2 years before disbanding, only to reform some seven years later, releasing two additional and equally excellent albums.
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The Work: The 4th World
Code:7782
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THE 4th WORLD is the band's long-lost, never before issued, very last album, from 1994. Succeeding "SEE" by some two years, it shares that album's aesthetics and approach - an economy of means, and superior song-writing/ playing - even when compared to their earlier albums. One wouldn't guess it was recorded live at a gig in Breisgau, because the sound is, quite honestly, superlative, and is even better than any of their studio albums. The original, mono recordings (by Volkmar Miedtke) were meticulously reprocessed into stereo years later by Udi Koomran, and the sound has really been, "opened up". The playing itself is also powerful and thoughtful. Especially important is the fact that only two of the twenty songs on this disc were released on previous albums, thus making The Work's entire catalog finally complete, and now wholly in print.
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This Heat: Deceit
Code:6985
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This Heat: Health & Efficiency (EP)
Code:6986
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This Heat: Made Available (BBC Sessions)
Code:6987
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This Heat: Repeat
Code:6988
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This Heat: This Heat ("The Blue And Yellow")
Code:5340
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Tickmayer Formatio: Wilhelm Dances MCMXCII
Code:2571
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Tickmayer, Stevan Kovacs: Repetetive Selective Removal of One Protecting Group
Code:5120
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VRIL: The Fatal Duckpond
Code:7700
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After a break of six years, Chris Cutler, Bob Drake and Lukas Simonis, now with added ingredient Pierre Omer, present the second volume of recordings by the elusive VRIL - a band who revive and update both the great institution of the guitar instrumental and the now sadly neglected practice of collective arrangement, intense rehearsal and live studio performance. Appropriate to the half century that has passed since the birth of the form, these hits dodge about, get bored easily and blend both concentration and complexity with the still indispensable traditional qualities that made the genre great: hummability, crafted sounds, nifty arrangements, ridiculous gimmicks and ensemble playing. 'Neither tribute nor parody, these enigmatic pieces are never more nor less than exactly what they are'.... wrote Lothar Preen in his Melbourne concert review....'but perfectly realised'. With film stills, misleading sleeve-notes and storyboard by the Diogenesian recluse Frank Key.
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Various Artists: ReR Quarterly Selections from Volume 2
Code:1798
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Various Artists: ReR Quarterly Volume 1 Selections
Code:1797
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Various Artists: ReR Quarterly Volume 4 Number 1
Code:1799
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Various Artists: ReR Quarterly Volume 4 Number 2
Code:1800
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Vees, Jack: The Restaurant Behind the Pier
Code:873
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Venus Handcuffs: Venus Handcuffs
Code:5346
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Referred to as "a cross between Throbbing Gristle and Nick Cave" during the band's lifetime, VENUS HANDCUFFS (Susanne Lewis and Bob Drake) got their start in the ranks of Colorado's most far-reaching band, Thinking Plague, and went on to infamy after changing their band's name to HAIL. This disk is their debut duo recording, and well-encompasses an experimental direction which, while somewhat natural for the time in America, has since been sadly overlooked by those who have followed in their wake. This is the first time this classic, experimental-rock recording has been issued on CD; the former vinyl version has been long out-of-print and hungrily sought out by collectors for years. Pain staking-ly re-mastered by Bob Drake for optimum sound quality.
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Vogt, Michael: Argonautika
Code:2583
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Vogt, Michael: Tuba Intim
Code:2577
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![Vril [Bob Drake, Lukas Simonis, Chris Cutler]: Effigies in Cork](http://www.rerusa.com/Merchant2/graphics/products/ReR/vrilThumb.jpg) |
Vril [Bob Drake, Lukas Simonis, Chris Cutler]: Effigies in Cork
Code:2367
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Weinger, Lauren: Silo
Code:1331
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Woodbury, Brian: Variety Orchestra
Code:2563
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Woof Records: Woof 7 Inches
Code:5344
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This CD comprises all four 7" releases by the British underground label, WOOF RECORDS, plus extra tracks by THE WORK and THE LOWEST NOTE. All tracks were originally released on vinyl between 1980 and 1985, but most have never before been issued on CD. This disk features a who's-who of the London art-rock scene from those years (Bill Gilonis, Mick HobbsTim Hodgkinson, Rick Wilson, Andy Bole, Trefor Goronwy, to name a few), plus the Belgian expressionist-singer, CATHERINE JAUNIAUX.
Disk Includes: GILONIS / HODGKINSON - "I Do, I Do...I Don't, I Don't" (e.p.), THE WORK - "I Hate America" ( 7") + "Houdini" (from Recommended Records Sampler), THE LOWEST NOTE - "Lowest Note on the Organ" ( 7") + "Piggy Bank" ( 7"), BILLY REBEL AND BOLE - 2 From "Ramshackle Pier", THE LOWEST NOTE - "Naiwabi" ( live recording from Ton-Zeit-Ton Festival, Basel, 1985)
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Work, The: Live In Japan
Code:5335
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Bill Gilonis / Tim Hodgkinson / Amos - Chris Cutler
By 1982 drummer Rick Wilson had left The Work to study Katakali in India, and bassist Mick Hobbs followed shortly afterwards over disagreements about what the group should be playing. The remainder of the band then asked Amos (bass) and Chris Cutler (drums) to join them for a tour of Japan that had already been scheduled before the breakup. Together with sound engineer Chris Gray, the group flew there in June to play three concerts in Tokyo and one in Osaka. The recording that became "Live in Japan" was taken at the Osaka concert, the only one on the tour that was recorded. A Japan-only release followed (on Recommended Records Japan), which has been out of print for over 20 years and is virtually impossible to find anywhere. This disc re-issues the concert for the first time, adding the extremely rare, red flexi-disc, live version of the classic, "I Hate America", as a bonus track.
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ZGA: Sub Luna Morrior
Code:877
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ZGA: The End of an Epoch
Code:876
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ZGA: Zgamoniums
Code:875
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ZNR: Barricades 3
Code:2570
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