Review: The second album to be reissued by Mannequin and Platform 23 Records of the music from Bourbonese Qualk, Hope saw the politically active musical entity expand on their mix of music, art and politics.
Staunchly independent, doing the recording and design via their Recloose Organisation label, by 1984 the group had occupied a large disused building on the Old Kent Road, becoming the base for the band's activities as well as other creative and political activism.
Recorded at the Ambulance Station, Hope is full of unceasing drum machine rhythms, electro pulses, echoing samples and lo-fi synths matched with strummed guitars and dub bass. The accompanying drones and snarled vocals go beyond any early 80's industrial tag to be something more unique, with the uncompromising, conceptual and avant flashes showing a more experimental buzz, an awkward quasi-funk noisy nuisance.
Remastered by Rude 66, this is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge.
Review: The music of Chel White is celebrated in Automaton, a collection of mostly unreleased recordings from 1985 to 1991, by this innovative animator, film maker and visual artist.
Having studied music theory in grade school, White taught himself drumming and played in a new wave band until, in 1981, together with Dan Gediman, they formed the minimal wave duo Process Blue (Alternative Funk, 1985 / Dark Entries, 2018). Here their experimentation went way beyond playing drums.
His interest in industrial music, fostered in the late '70s and early '80s while working in factories as a way to put himself through college, informed his use of electronic instruments, tape manipulation, noise and unconventional percussion.
By 1985, as a now solo artist buoyed by newly affordable audio sampling technology, White tapped into his earlier teenage fascination with the art and films of both the Surrealist and Dada movements - in particular their disparate and fragmented imagery and sound - as a means to create striking new sonic palettes.
Science & Industry - a track largely influenced by Balinese monkey chanting and the consumer excess of American in the 1980's - is a clear example of "music collage". Photocopy Cha Cha, made for the short animation film Choreography for Copy Machine (Berlin International Film Festival, 1992 / Sundance Film Festival, 2001) moved his music into the realm of early multi-media.
Experimenting further, tracks like Liquid Shadows and Pensive provide minimalist moments, before the drone-like Dream #630 and Forest Song point to a future that included music video works (David Lynch/Thom Yorke).