Review in Polish of the Storm Bugs A Safe Substitute CD re-issue on Klanggalerie. This is a loose translation.
An industrial classic from years ago.
If you follow the leads from classic industrial in the late 1970s towards earlier genres, in retrospect, you can see that psychedelia and krautrock (including kosmische musik) had the greatest influence on the birth of this genre. This can be heard perfectly in early Throbbing Gristle recordings. No wonder: after all, Genesis P-Orridge was a veteran of the hippie counterculture and was well versed in the music created at the turn of the 1960s and 1970s. Thanks to the Throbbing Gristle albums, these influences also appeared in the works of younger musicians who appeared on the British post-punk scene. Storm Bugs group was one of them. There was actually one man hiding under this name. Philip Sanderson who came to London from Medway Towns to study at Goldsmiths Collage. By chance the school had a completely modern recording studio - and the new student quickly settled in there. He invited a few friends - Steven Ball and Sarah Pomeroy to collaborate on creating songs. As their music began to take shape, Sanderson launched the Snatch Tapes cassette label - and released recordings of a trio that became known as Storm Bugs.
The band's debut release was released in 1980 - and now it returns for the first time on a CD released by the Viennese Klanggalerie label. It is a fascinating document of the early stage of industrial development. Psychedelic influences can be heard in the first four songs that make up the sixteen-minute suite: the processed voices are mixed with guitar distortions and orchestral loops ("Mesh Of Wire"). The songs based on a mechanical rhythm derived from kraut rock ("Hodge") have a more hypnotic character. On the other hand, creating music out of noise, overheard by the makers of musique concrete, enlivens the bonus compositions ("He Rose Up Again" and "333"). The sum of all these elements makes up the ravishing music: on the one hand immersed in a surreal atmosphere straight from psychedelia, and on the other - boldly attacking punk ugliness, focused on grinding loops and factory sounds. All this already has a trance nerve, which is a feeling of the later experiments of such bands as Cabaret Voltaire or SPK, which introduced industrial into the club culture in the first half of the 1980s. and fascinates.
Original Polish text here:
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