ORCHESTRE ROUGE
Yellow Laughter - (1982)

Theo Hakola, born American, arrived in Paris in 1978 and founded Orchestre Rouge. The group released their first album Yellow Laughter in 1982 (RCA) and a second one in 1983 More passion fodder. Their dark and activist lyrics were both in English and French and their discs sleeves featured Ricardo Mosmer’s paintings. The group broke up in 1984 and Theo then founded Passion Fodder. The group released five albums.

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BOSS HOG
Boss Hog - (1995)

While Jon Spencer spent much of his time in Pussy Galore trying to destroy rock & roll as fans know it, by the time he got the Jon Spencer Blues Explosion rolling, he'd come to the belated conclusion that old-school rock and R&B could be pretty cool after all, and since the history of Boss Hog — one of Spencer's seemingly infinite number of side projects — overlaps with Pussy Galore, you get to witness this transformation over the course of their recording career. While Boss Hog's first album was a nearly unlistenable morass of aural sludge, six years later, their self-titled major-label debut turns out to be a very solid album in the same rootsy grit-rock vein as the Blues Explosion's best work. If anything, Christina Martinez, Spencer's partner in crime (and spouse), is a stronger vocal presence on this record, if only because she hasn't developed quite as elaborate a shtick as Spencer — she just belts it out in a sturdy blues-punk style, unlike Spencer's often amusing but sometimes irritating collection of blues and rockabilly affectations. Boss Hog also displays a far greater willingness to get funky than JSBX; they're not ready to face the Meters in a battle of "on the one," but the best cuts here boast a more sensuous feel for groove than the prime suspects have shown in the past. In short, Boss Hog shows that somewhere down the line Spencer and Martinez learned the importance of getting a groove on, and though that groove is rough, noisy, and ill-tempered, you can still dance to it.

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THE VOLUPTUOUS HORROR OF KAREN BLACK
A National Healthcare - (1993)

The debut album by the Voluptuous Horror of Karen Black is a punkier, almost poppy, take on goth rock than their over-the-top band name suggests, closer in spirit and execution to early-'80s Damned or even early Redd Kross than the likes of, say, Christian Death. Since the album was produced by the great Andy Shernoff of Dictators fame, that's not surprising. Singer Kembra Pfahler has an appealingly bratty whine, and for the most part, the songs stick to the three-chords-in-three-minutes template, and the closer they are to that ideal, the better; songs like the overlong "Alaska," with its rambling spoken sections and irritating sing-songy chorus, are notably inferior to tight little rockers like "Dionetics," which proves that it's possible to have a catchy singalong chorus that consists primarily of the repeated phrase "that f*ckin' asshole." The Voluptuous Horror of Karen Black would never again reach the heights of this urgent fusion of camp and punk, but A National Healthcare is a good goofy time. (allmusic.com)

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PJ HARVEY
Stories From The City, Stories From The Sea - (2000)

During her career, Polly Jean Harvey has had as many incarnations as she has albums. She's gone from the Yeovil art student of her debut Dry, to Rid of Me's punk poetess to To Bring You My Love and Is This Desire?'s postmodern siren; on Stories From the City, Stories From the Sea — inspired by her stay in New York City and life in the English countryside — she's changed again. The album cover's stylish, subtly sexy image suggests what its songs confirm: PJ Harvey has grown up. Direct, vulnerable lyrics replace the allegories and metaphors of her previous work, and the album's production polishes the songs instead of obscuring them in noise or studio tricks. On the album's best tracks, such as "Kamikaze" and "This Is Love," a sexy, shouty blues-punk number that features the memorable refrain "I can't believe life is so complex/When I just want to sit here and watch you undress," Harvey sounds sensual and revitalized. The New York influences surface on the glamorous punk rock of "Big Exit" and "Good Fortune," on which Harvey channels both Chrissie Hynde's sexy tough girl and Patti Smith's ferocious yelp. Ballads like the sweetly urgent, piano and marimba-driven "One Line" and the Thom Yorke duet "This Mess We're In" avoid the painful depths of Harvey's darkest songs; "Horses in My Dreams" also reflects Harvey's new emotional balance: "I have pulled myself clear," she sighs, and we believe her. However, "We Float"'s glossy choruses veer close to Lillith Fair territory, and longtime fans can't help but miss the visceral impact of her early work, but Stories From the City, Stories From the Sea doesn't compromise her essential passion.

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INFLATABLE BOY CLAMS
Inflatable Boy Clams EP - (1981)

Inflatable Boy Clams was a short lived San Francisco based art-punk band active in the early 80s, featuring Carol Detweiler on bass, drums, organ and vocals, JoJo Planteen on bass and vocals, Judy Gittelsohn on organ, slide guitar, bass and vocals and Genvieve Boutet de Monvel on sax. They realeased one self-titled double 7" on Subterranean Records in 1981. Interesting songs with a possible influence of The Residents.

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DIAMANDA GALAS
The Divine Punishment - (1986)

The Devine Punishment is the first instalment of Galas' Masque of the Red Death trilogy around the AIDS epidemic and all the agonies and drama that it brought forth. It is the most experimental and eccentric album in the series, containing almost no repeated melodic patterns and creating a horrifying atonal experience with droning rhythms, dissonant organ effects and outrageous vocals. Galas is a classically trained artist but do not expect operatic stunts, instead she performs everything from screaming hellhounds to falsettos, cracks, whispers, growls and obsessed outrage. Each of the 2 long pieces can be divided into a number of shorter sections of which the very last one Sono L'Antichristo has to be heard to be believed. It's a demonic prayer that eradicates all other music that wants to give shape to evil. Galas impersonates AIDS itself and presents it as a curse of the antichrist. In 12 lines, repeated in a hysterical craze, she presents herself as la prova, la sanzione, la pestilenza and 9 other Italian nouns for everything that is threatening and abominable. Needless to say the lyrical content is essential to understand and appreciate this piece. It is as much a performance as it is music. Actually, this will not pass for music to many people. But the agonizing power of it is unmatched and has to be heard. (progarchives.com)

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ZOLA JESUS
The Spoils - (2009)

Zola Jesus is the musical name of Madison, WI’s Nika Roza Danilova, who crafts dark, lo-fi music dominated by her operatic vocals and keyboards. Danilova showed an interest in singing early on, buying voice lesson tapes and opera sheet music at age seven; soon after, she began working with a vocal coach for the next decade. Anxiety and the competitive nature of opera caused her to stop singing for a couple of years, but missing that form of expression spurred her to begin Zola Jesus. Inspired by high-school favorites like Diamanda Galás, Lydia Lunch, Throbbing Gristle, and the Swans, Danilova made cathartic home recordings using keyboards, drum machines, and anything else she had on hand. Her first officially released music included a couple of 2008 7"s: the Poor Sons EP on Die Stasi and Soeur Sewer on Sacred Bones. In 2009, Zola Jesus became one of the most talked and blogged-about underground artists, and her release and touring schedule reflected that: along with the full-length The Spoils, she also released the Tsar Bomba EP on Troubleman, New Amsterdam on Sacred Bones, and an untitled, limited-edition vinyl album and a split release with Burial Hex on Aurora Borealis. For her live band, she recruited her cousin Dead Luke to play synths, bassist Lindsay Mikkola, and drummer Max Elliott. Danilova also played in the group Former Ghosts, which featured Xiu Xiu’s Jamie Stewart and Freddy Ruppert. (allmusic.com)

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