17 Nov 2007
The Guardian's 1000 Albums to Hear Before You Die commences with (rather appropriately) Early (2002) by ACR.

"Named after a Brian Eno lyric, ACR fused jagged Wire guitars and George Clinton beats to create the now commonplace sound of punk-funk. They were too far ahead of their time to be successful, but Early compiles the 1978-85 cuts that influenced everyone from former ACR support acts Talking Heads and Madonna to, more recently, LCD Soundsystem and the Rapture."

Representing the letter 'B' we have Blurt - The Best of Blurt, Vol 1 (2003)...

"Blurt have been fronted by puppeteer-turned-eccentric-saxophonist Ted Milton since 1980 - perhaps the epitome of warped genius. His nearly tuneful squawks and lyrics shouted like a newspaper seller are as extraordinarily inspired as his song titles, which include My Mother Was a Friend of an Enemy of the People."

Cabaret Voltaire kick off the letter 'C' with 'The Original Sound of Sheffield 83/87' (2001).

"The 78/82 companion to this album traces the Cabs' pioneering Burroughs/cut-up experiments in industrial/electronic music, but this traces their equally influential but more accessible dancefloor period. The 12in mixes of their singles are sinister, cold but deliriously sensual electrothrobs a few years ahead of techno."

Still to come later this week - the letters 'D' - 'Z'.

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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

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