The Sentinel

micro-blog from music lovers sharing their passion

Tag Archives: 1986

Arthur Russell – Let’s Go Swimming (Walter Gibbons Mix)

Some excellent alt-Electro moves from Arthur and Walter circa 1986. You know the drill.


Cassiber – Orphee’s Mirror/I Tried To Reach You

Two tracks from Cassiber’s 1986 album ‘Perfect Worlds’. The first one shows drummer and ReR-man Chris Cutler doing his octopus thing in amongst sampledelia and mashed up noise. The second track has singer Christoph Anders belting out a number in such an OTT fashion, it beggars belief.

Coil – Ostia (The Death Of Pasolini)

This haunting song, which is essentially a lament, seems appropriate at this point in time. Haunting, mournful folk with flecks of chamber music. Truly, albeit starkly, beautiful. This is from the bands second album, 1986’s ‘Horse Rotorvator”.

The Residents – Earth vs The Flying Saucers

Around the mid 80’s The Residents had an idea of restoring sci-fi B movies by colouring them and doing a brand new soundtrack. They even checked out an old Porno cinema in Frisco with a notion of buying it in order to screen these restorations. Like many of their early ideas (Vileness Fats is the example that leaps immediately to mind), ambition exceeded ability; or at least ‘do-ability’. The idea was scrapped (they probably would have lost interest in it anyway), and all we have to show for it is a montage of the 1956 movie ‘Earth vs the Flying Saucers’ that has had colour added and, of course, music made by the fab four themselves accompanying the montage. This ended up being released with the first edition of the Cryptic Guide To The Residents.

The The – Twilight Of A Champion

It’s been 30 years since Matt Johnson’s ‘Infected’ album, which makes many of us feel old. However, for some, ‘Infected’ had the impact that Johnson’s ‘Soul Mining’ had for others. The whole thing is a tough Pop confection; like the flip side to what Jim ‘Foetus’ Thirlwell (Johnson’s friend and labelmate at this time) was doing on albums such as ‘NAIL’. Indeed, the first minute is pure Thirlwell; all horn stabs and clattering rockabilly, before it becomes an Electro-Pop number The The style. Enjoy.

The Smiths – The Queen Is Dead

Many rate the third album by the Smiths as their best. We at The Sentinel prefer the previous two (and probably the one that came after); however, the title track is an absolute masterpiece, and is up there with their greatest numbers (imagine how crowded that space is). A track that is equally haunting and invigorating, here accompanied by a video by Derek Jarman no less.

The The – Infected

The title track from Matt Johnson’s 1986 album, which was his follow up to the much lauded ‘Soul Mining’. ‘Infected’ upped the ante re: production values, as well as energy. As far as production values went, The the decided to make a video for each song on the album, which became the ‘Infected’ film. Some Bizzare  head honcho Steve, along with Johnson, convinced CBS to advance them £350,000 to make the film. It all spun out of control when they moved filming to the Peruvian jungle; where the video for this song was filmed. ‘Infected’, like many tracks on the album, had a kind of tough pop sheen to them. The music is like a straighter, Pop-orientated version of the music currently played out by Some Bizzare label-mate and Johnson’s friend and ally Jim ‘Foetus’ Thirlwell.

The Residents – Jailhouse Rock

Today is the 39th anniversary of Elvis’ death, and we mark this occasion in true Sentinel fashion; with a cover by The Residents of one of the King’s big hits. This version was on the B-Side of their 1986 7″ single ‘This Is A Mans Mans Mans World’.

Cassiber – Dust & Ashes

Caustic, biting opener from Cassiber’s 1986 album ‘Perfect Worlds’; which is a tough, austere piece of work.

Skeleton Crew – The Hand That Bites

Another track from the band’s 1986 album ‘The Country Of Blinds’ that perfectly displays the mix of virtuosity and the raw, almost slapdash, approach that they took when it came to their music. They split after this, their second album, due to the fact that they felt it was starting to become too polished. This has a lovely push and pull due to the tension provided by the aforementioned polarities, right up until the beautiful and sublime moment at 3:29, where the piece becomes something far more expansive.

Laurence Johns

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