Lo-fi electronic music

In mid-1978, a curious spate of cultural synchronicity found "Warm Leatherette" being released at around the same time as several other lo-fi electronic singles, all put out on indie labels: Throbbing Gristle's "United", Cabatet Voltaire's Extended Play EP, Human League's "Being Boiled", Robert Rental's "Paralysis" and Thomas Leer's "Private Plane".
"There was this period when they all came out, one after the other", recalls Leer. "And it was like, 'Where are all these weird records coming from?' None of us knew each other. There was obviously something brewing."
Actually, Thomas Leer and Robert Rental did know each other. Two Scottish friends who'd moved down to London at the height of punk, Leer and Rental, like Miller, were inspired to put out their own records by the Desperate Bicycles' example.

Throbbing Gristle - United - 1978


Cabaret Voltaire - Do the Mussolini - 1978


The Human League - Being Boiled - 1978


Robert Rental - Paralysis - 1978


"Private Plane" sounded electronic, but Leer didn't actually own a synth. Instead he processed his guitar and bass using various gadgets and played Rental's stylophone (a gimmicky electronic keyboard played with a pen) through an echo effect. All these gauzy silverswirl textures gave "Private Plane" an ethereal feel perfect for its mood of remote serenity tinged with wistfulness, loosely inspired by a recent TV program about the reclusive multimillionaire Howard Hughes. Leer's fey voice is equally perfect, but owed something to contingency: he had to whisper the vocal because the recording took place at night in his one-room apartment and he didn't want to wake his girlfriend.

Thomas Leer - Private Plane - 1978

The Normal - Warm Leatherette

Working in his North London bedroom, Daniel Miller, aka the Normal, created "T.V.O.D." and "Warm Leatherette", the two sides of his self-released debut single as the Normal.
The Normal's sound was electropunk. "Warm Leatherette" especially - all harsh stabs of analog-synth distortion and dispassionately perverse lyrics about the eroticism of car accidents, via Ballard's Crash - could hardly have been further from the floridly romantic keyboard synth arpeggios of prog rock.
The single did unexpectedly well, selling thirty thousand copies, and inadvertently turned Miller into the CEO of his own record label. Mute Records was the name he'd put on the back of the single, along with his home address. Many people assumed Mute was a proper record label specializing in weird electropop. Within a week of the release of "Warm Leatherette" all kind of peculiar demo tapes started arriving in the mail.

The Normal - Warm Leatherette - 1978


The Normal - T.V.O.D. - 1978

Kraftwerk - Trans-Europe Express & Donna Summer - I Feel Love

For many of the postpunk persuasion, 1977's most significant singles weren't "White Riot" or "God Save the Queen", but "Trans-Europe Express", a metronomic, metal-on-metal threnody for the industrial era by the German band Kraftwerk, and Donna Summer's Eurodisco smash "I Feel Love", made almost entirely from synthetic sounds by producer Giorgio Moroder, an Italian based in Munich.
Kraftwerk's serene synthpop conjured glistening visions of the Neu Europa-modern, forward-looking, and pristinely postrock in the sense of having virtually no debts to American music.

Kraftwerk - Trans-Europe Express - 1977


Donna Summer - I Feel Love - 1977

Scenes from Rip It Up and Start Again - An introduction

Today I started reading Simon Reynolds' book "Rip It Up And Start Again - Post Punk 1978-1984". From the first pages I noticed that there was something missing: I had never heard the majority of the bands or songs he was talking about and therefore could only have a partial comprehension of the music the author described. That's how I had the idea to start this project, with the aim to provide readers with an useful audiovisual companion while reading the book.
Each day I will post audio and video links of the music Reynolds describes in his book, together with some quotes from "Rip It Up And Start Again". Hopefully, this will allow readers to have a better understanding of the music that is so thoroughly described in the book.