King James and the Concordances – The Authorized Version

King James and the Concordances
The Authorized Version
1987 Son Sessions
Miami, Florida, USA

Al Valdes – Vocals, keyboards, guitar, drums, composer of most of the songs
Julio Rey – Vocals, guitar, bass, composer of a few less of the songs

  1. Don’t Wanna Be No Gumby
  2. Mission to Mexico
  3. Johnny’s in a Cult
  4. Peabody Went to High School
  5. Movies About Jesus
  6. Last of the Nubs
  7. The Monastery

This appears to be the original version of the tape that was re-released in 1990 with a remix of every song on side 2. Stylistically all over the place, but still fun to listen to. This was one of many bands led by Julio Rey back in the day. The j-card between the two seem to be the same except for the color, and the 1990 version added a different record label and a blurb about the side 2 remixes. The songs on this one are the same recordings as the re-release, but they sound a bit thinner here. It seems the bass was boosted a bit on the re-issue. After this tape, they also released I Do in 1990.

IDY – Richard A. Gulling

Richard A. Gulling
1989 The Furnace Room
East Canton, Ohio, USA

IDY – Keyboards, guitar, melodica, fretlees bass, voice, drum programming, drums

En Berk – Guitar on “Don’tKillPeople(it’snotanicewaytomakefriends)“
The Woodchuck – Bass, singing on “AAAhhhhCathedral”
Ley C. Gault – Keyboards, voice on “AAAhhhhCathedral”


  1. LiedTo
  2. Gulling
  3. BowlinginGary’sLittleCloset(asolemnmatter)
  4. ACS
  5. DEATH
  6. Shade1
  7. LaPazStreetReggae
  8. GracetheFormal
  9. ADeviation
  10. AAAhhhhCathedral
  11. TheOpenSun
  12. Blue7


  1. Richard’sElementaryGroove
  2. 1,532
  3. TheyBurnHouses
  4. Nasser
  5. SmokeBombinmyCoffee
  6. TenMenMarchtoFrogsboro
  7. Don’tKillPeople(it’snotanicewaytomakefriends)
  8. RiskofPoverty
  9. She’stheBestActor
  10. WalkDon’tWalk

This is a recording that floats between noise and experimental rock music. Some songs are pure noise and samples, a few are musical in structure, but a bit more “out there” than your average alt rock song. Well, “TheyBurnHouses” is an almost straight up alt rock instrumental, while “Don’tKillPeople(it’snotanicewaytomakefriends)” is pretty much grind/deathcore. Many songs seem to fall somewhere in between the two extremes, where music is recorded and then manipulated like noise music typically is (although many noise projects focus on found noises rather than creating their own music to manipulate). I’m not totally sure if I got all of the breaks between songs right when I cut this into tracks, but at least all of the music is there. I have heard a version of this on mp3 that was missing several parts, including the second half of side 2.

Graham Palmer – If the Face Fits

Graham Palmer
If the Face Fits
1984 Stride
Cheshire, England, United Kingdom

Graham Palmer – Vocals
Leszek Gasiorek – Synth
Chris Gasiorek – Synth, bass
Brian Freeney – Guitar
Paul Freeney – Drums
Justin Fisher – Drums

Side 1:

  1. Creation
  2. Pavement Gazing
  3. Firework Factory
  4. Down Where the Children Played
  5. Monkey Puzzle Tree
  6. Music as Music
  7. The Anvil
  8. Suburban Nightmare
  9. Cybernetic Alternative
  10. Masterclass
  11. Cat & Mouse
  12. The Identi-Kit People’s Revolt

Side 2:

  1. Darkened Danger
  2. Out on the Tiles
  3. ‘I was Here’
  4. The Blue-Movie Blues
  5. Two Faced
  6. Hampton Court
  7. Remix (by ‘Graham goes to Hanwell’)
  8. The Lunatic
  9. Skydrop
  10. Song of the Firebird

While this looks like a really long album, most of the tracks are under 2 minutes long – many being less than a minute. Only two barely clock in over 2 minutes. This is mostly a spoken word project. There is music underneath the words, but mostly as sound effects and ambiance. Occasionally something like “Monkey Puzzle Tree” comes blaring out with near-punk intensity… but only lasts 43 seconds. There are also songs like “Music as Music” which has a kind of… circus-like alt rock groove under the spoken words? As you can see from the song titles, the song themes are all over the place. This is from the same label that brought us acts like Face in the Crowd and Griff.

Chris Yambar – Weird Outtakes Volume One

Chris Yambar
Weird Outtakes Volume One
1989 The Furnace Room

Chris Yambar – Words, teachings, concepts, background vocals on “Newave”
Marc Plainguet – Electronic/industrial music/sounds

Terry McCabe – Vocals, background vocals on “Newave”
Joe Hudek – Lead guitar on “Newave”
Mike Talanca – Bass on “Newave”
Jim Toti – Drums, keyboards on “Newave”
Lori McCabe – Background vocals on “Newave”
Tom Eich – Background vocals on “Newave”

Side 1:

  1. Introductions
  2. 3 Piece Suit
  3. Newave
  4. Consecration & Holiness
  5. I surrender 95%

Side 2:

  1. Phone Tag (Acid House Dance Mix)
  2. Easter Eggs
  3. Abyss of Tears
  4. Building Houses

This appears to be the first version of this tape (it was re-released on Corpqii Music in 1991 with two new tracks added to each side). The sound here is an eclectic mix of music, spoken word, found samples, sermon outtakes, and other assorted weirdness. This ranges from “Newave” (a full-on song by Terry) McCabe), to songs like “Phone Tag (Acid House Dance Mix)” (a collection of phone messages played over an electronic/industrial/new wave music scape), to songs like “Easter Eggs” (an excerpt of a sermon with no music). The packaging for this version is also much more extensive than the re-issue – the cover is a full page of paper folded down to a j-card, with a lot of liner notes and a full drawing on the back. There is also a signed insert and business card packed in there as well. As far as the songs, it seems that these versions are mostly the same as the ones on the 1991 version, except those versions sounds a bit remastered.

Message Clear – Message Clear

Message Clear
Message Clear
1987 (no label)
Batavia, Illinois, USA

Side 1:

  1. Project B2
  2. Religious Man
  3. Proclamation
  4. Dikisosis

Side 2:

  1. Message Clear
  2. Hagios Pnuema
  3. Vacation
  4. Be Honest With God

This is a bit of a different tape. It’s very avant-garde and experimental, yet it still has song structure, riffs, etc. It’s like somewhere beyond alternative rock and prog rock as far as weird song structures, but still structured music that is not like any of the noise or experimental music I have written about here. For example, “Religious Man” is pretty much an all-out rocker, but still quirky and experimental. I also can’t find a list of who plays on this, but there appears to be a full band playing on this. Dan Swiegert (producer and lyric sheet) and Amy Copeland (cover art) are the only names mentioned, but no idea if they also play in the band. It could also be a one-person band by Dan or someone else that does all of the instruments. Which would be impressive, as songs like “Proclamation” do have some out-right prog rock instrumental jam breakdowns that required several people to be well-practiced in their different instruments.

Missing Information: Who played on this?

Burnt Offerings

Burnt Offerings
1987 Plan 7 Dist.
Cerritos, California, USA

Side 1:

  1. Rebellious Shadows – Fade Into Place
  2. Crazed Bunnyz – Kahuna
  3. Nutty Faith – The Uncle Sammy Show

Side 2:

  1. Sasquatch – It’s All You
  2. Mikael Futch – Like a Tiger
  3. Flavor Packet – The Forrest

This is an interesting, but brief, sampler. It appears to have unreleased tracks by Crazed Bunnyz and Nutty Faith (and possible Bing Futch). Which is weird, because I have never heard of the possibility of other tracks by these two bands being out there. As far as the other bands? Rebellious Shadows is a hard rock band that uses a drum machine, helping them fit in well on this compilation. Sasquatch is closer to the Crazed Bunnyz sound, but with a different vocal style that almost comes across as British. Flavor Packet is kind of an instrumental guitar and flute band (Bing Futch is also a member of this band as well). Back to the known bands: The Crazed Bunnyz song is classic Bunnyz – trippy guitar alt/indie electronic rock. And it is an instrumental. The Nutty Faith song is even more trippy, kind of a mixture of spoken word, indie rock, and a drama of sorts. Mikael Futch is Bing/Mike Futch, who was also part of the Crazed Bunnyz and Nutty Faith tracks. I’m not sure if this song is on any of his other tapes as I have not heard all of those yet. But it does fit in with his usual style (or range of styles, that is).

Red Rum Trance – Red Rum Trance

Red Rum Trance
Red Rum Trance
1998 (no label)

Matt Frantz – Electric guitar, fretless guitar, bass, classical guitar, synthesizer, acoustic and electric drums

Side 1:

  1. Shrill Chasm (Down Into The Rabbit Hole, Down Into The Fault Line, What It Is To Be A Chisel)
  2. Rhythmic Clawing (It Wants Out, You Can Hear It, You Can Feel It, What Is It?)
  3. What You’re Feeling?/That Scares Me (Marching Rush, What Do You Mean Creativity? I’m Just Writing Down What I’m Feeling)
  4. Creepwalking (Walk Like A Creep, Walking In Your Creep)
  5. Lungs Filling With Fluid (Lungs Still Filling, Swelling Blister, Slowly Convulsing Violin)
  6. Casting Out/Killing Witches (Pushing It Down, Burning It Back)
  7. Alpine (Acoustic Fallout, Aerial Trapeze)

Side 2:

  1. Oriental Fighting Style (Constant Attack From All Angles At Once)
  2. Lazy Guillotine (Mutating Metal In Motion)
  3. Taunt, Taunt, Jab, Jab (Dominant Monkey)
  4. Red Rabbit Staring You Down (White Rabbit Turning Red, Chaser, Down Into It)
  5. Clash Classical Crash (Confrontational Tones)
  6. Sailing Off The Edge Of The Earth (Suspended In Firmament, Clear Through, A Sea Serpent Myth)
  7. Dead Calm (Twelve Feet Deep, Warm And Translucent)
  8. Snap (A Transcription Of A Dream)

As the cassette says above, this is most of the tracks that were later released as Red Rum Trance. Red Rum Trance is Matt Franz, and this was his third solo album. I believe that Red Rum Trance was also the name of the project as well at the time it was released. All of the tracks are on BandCamp now, so you can see that for some reason, two tracks from side one (“Out of the Ashes” and “Startle-Swarming”) were left off of this tape. The sound here is experimental noise made on guitars and percussion instruments/percussive things. There are recognizable rhythms and song structures here, so it’s not completely noise, but those rhythms and structures are often very free form and mixed with noise as well. Frantz describes this as a mixture of “Industrial, Ambient, Tribal, Jazz, Oriental Folk, and Noise.” That is pretty accurate. I kind of like it.