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Pink Milk is a dark wave/post punk band drenched in tons of reverb, making occult cinematic music inspired by the 80s..

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00:00 Vengeance
03:52 Confusion Club
06:42 Back To Hell
12:15 Burning Thirteen Holy Books
16:33 Code Of Forces
19:28 Aquarius
24:05 Under The Same Sun
27:56 Demolition
32:33 Don’t Fly So High
36:12 If There Is A Chance
40:42 Hello Minion (Kaleidoscope Version)
44:35 Violet Sex

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Cheon’s Tenderloin-based independent label Dark Entries Records has been instrumental in illuminating the richness and complexity of Cowley’s artistic legacy: over the past 15 years, the label has put out a series of reissue and archival Cowley releases replete with extensive liner notes and interviews. Join us for an evening celebrating this essential queer San Francisco artist on what would have been Cowley’s 73rd birthday.

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Q4U was born the winter of 1980-1981 in Reykjavík, inspired by the British punk movement. It’s original members were Elínborg Halldórsdóttir (Ellý) (vocals), Berglind Garðarsdóttir (Linda) (vocals), Steinþór Stefánsson (guitar), Gunnþór Sigurðsson (bass), Helgi (drums) and Már (synthesizer). Helgi and Már soon left the band and Helgi was replaced by Kormákur Geirharðsson (Kommi) on the drums. By early 1982 they self-released a full length cassette, “Skaf Í Dag” and appeared in the documentary “Rokk í Reykjavík,” which showcased the Icelandic punk scene. This version of the band ended and only two members continued on. In the summer of 1982 Ellý and Gunnþór recruited Óðinn Guðbrandsson (guitar) and Árni Daníel (synthesizer) from the band Taugadeildin. Their drummer was replaced by a Roland TR-808 drum machine they named “Elísabet II”. signaling a change in the group’s sound toward synthesizer-driven post punk. In August 1983 Q4U reinstated Kormákur to record a final set of demos and then called it quits.
This compilation collects 16 songs from 1980-1983. SIde A features the original six songs from the “Q1″ EP, plus 2 songs from the “Rokk í Reykjavík” soundtrack. Side B collects 4 demos from 1982 and 4 demos from 1983, all presented on vinyl for the first time ever. Q4U began with a stylish, aggressive punk image before experimenting with drum machines and synthesizers, which almost nobody did in Reykjavík at the time. The later sound had gothic leanings,often compared with Siouxsie and the Banshees and Xmal Deutschland. Their body of work is united by the powerful vocals of Ellý, who mostly sings in Icelandic about controversial, political experiences, much like Ari Up of The Slits.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a full color jacket using the original artwork from the “Q1″ EP. Each LP includes a double sized fold-out poster with lyrics, photos and drawings by the band plus a Q4U sticker! 30 years after their break-up Q4U are finally getting the vinyl reissue treatment they deserve, shedding a light on this pre-Riot grrrl act, more relevant today than ever.

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“Fun In The Sun” is a song from the album “xex:change” released by Dark Entries Records in June 2013.
xex were an all-synthesizer band from South River, New Jersey. They released their debut album “group: xex” in 1980 which Dark Entries reissued in 2010. “xex:change” takes a leap from where the band left off at the end of 1980. This track was originally recorded during the summer of 1981 and unreleased until now.
Vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley, CA in March 2013.

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“Turn To SIlence” is a song from the second Eleven Pond album “Assemblage” released by Dark Entries Records in July 2013. The band formed during the mid-80s in Rochester, NY, while attending art school, and were brought together by their shared love of 4AD and Factory Records. They released their debut LP “Bas Relief” in 1986, which was our first re-issue in 2009. Before breaking up in October 1987, the band recorded eight songs that would sit in abandoned storage containers for over 25 years.
This track was originally recorded during the summer of 1986 and unreleased until now.
Vinyl EQ and lacquer cut by George Horn at Fantasy Studios in Berkeley, CA in May 2013.

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“Silhouette” is a song from the debut vinyl EP by Bézier released by Dark Entries Records in August 2013. Bézier is the moniker of all-live-analog electronic wizard Robert Yang from San Francisco. Enchanted by the Cybernetic Broadcasting System (CBS), Robert started DJing as Robot Hustle, joining the Honey Soundsystem collective in 2007. Robert writes hooks, patterns and melodies in an automatic, stream of consciousness fashion. Memory and nostalgia play a big part in constructing his music.
“Ensconced” is the follow up to Bezier’s debut cassette, released in 2012 on Break-Up records. The tile relates to themes of comfort and safety as well as complacency and entrapment. Influences range from the futuristic landscape of Syd Mead to the melodic energy of Patrick Cowley and the subdued, hidden motifs of My Bloody Valentine’s “Loveless.” Bézier blends elements of Hi-NRG and dark dance to drive the mysterious underwater instrumentals of “Ensconced.” Bezier’s studio set up includes a variety of vintage Roland and Korg synthesizers as well as the Italo Disco favorite LinnDrum.

Video by Caitlin Denny
http://www.caitlindenny.com

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Taken from the xex – “Change” LP+DVD released on Dark Entries Records.
9-song xex concert from 1981, recorded at Hurrah in New York by Merrill Aldighieri.
xex were an all-synthesizer band from South River, New Jersey who recorded their debut album group:xex in 1980. Formed when a trio of high school misfits with funny names (Waw Pierogi, Thumbalina Gugielmo and Alex Zander) teamed up with some friends from Rutgers College. Performed entirely on then-state-of-the-art Arps, synths and electronic drums — no guitars anywhere — group: xex aims for the future, but comes across now like a time capsule from the deepest, darkest Reagan years. Each song burrows its way into your head with repetitive, undeniably catchy synth lines and vocal chants. “SNGA” (“Soviet Nerve Gas Attack”), “Cops” and “Delta Five” are doomy evocations of Cold War tension not far removed from very early Devo. But they were also capable of being quirky and whimsical. On “Fashion Hurts,” “Svetlana” and “St. Vitus Dance,” Waw and Thumbalina come across like a primitive B-52s, replacing the dance/party vibe with resignation and cynical humor. group: xex doesn’t sound like it’s from New Jersey. It barely sounds like it’s from Earth. However, there’s a certain residual murkiness that subliminally evokes the Central Jersey working-class suburbs.
group: xex was all but forgotten until 1998, when radio DJ Tom Smith discovered it in the WFMU music library and tracked down the band members, which lead to a CD reissue in 2004 on Smack Shire Records.

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Track List –
1. I Live In Here
2. Gathering The Forces
3. I’m Awake When I Should Be Asleep
4. Remember The Battle
5. For The Paramecium
6. Do You Dream In Color (Or Black And White)
7. Two Girls
8. Like An Animal
9. I’m Not Streetwise
10. Manger (bonus track)
11. Every Sad Night (bonus track)
12. You And The Unkown (bonus track)
13. I Stop Short (bonus track)

Living Links
Gathering The Forces

Even the most ardent fans of the early 80s post-punk underground explosion would be forgiven for never having heard Living Links. The band effortlessly combines the art-funk of Talking Heads with the threadbare melodies of Joy Division, and explored a compelling variety of ideas on their lone album Gathering The Forces. But their music didn’t make it far outside of their Baton Rouge, LA home, until now.

The obscure duo of husband and wife Hans and Margie VanBrackle released just one album and 2 singles between 1983-1985, though the pair wrote and performed live together for a longer period. However, Living Links was mostly a side project for the two singer/guitarists: Hans played guitar in punky locals US Times and Margie played & sang in the all-girl band the ParalElles.

Living Links played out locally during their heyday, occasionally with a live drummer, sometimes with a drum machine, or both. They often headlined shows over touring acts, no doubt due to Margie’s training in opera and musical theater and Hans’ ripping guitar work. But at the time, despite the impact that the Sex Pistols had on their 1978 tour through the area, “New Wave” music remained essentially an underground phenomenon.

Like the southern gothic undercurrent of contemporaries like the B-52s, R.E.M. or Atlanta’s The Brains (“Money Changes Everything”), there’s a playful feel to Living Links’ music that eschews the dour posturing of more urban post-punk fare. And where the Talking Heads remained ensconced in David Byrne’s intellectual existentialism, the duo’s music is often more fun as it bops through numbers like “I’m Not Streetwise” and “I’m Awake When I Should Be Asleep.”

RidingEasy Records’ reissue of Gathering The Forces combines the band’s full discography, the 9-song album — originally released on Skratch Records in 1985 — plus 2 7” singles (the 3-song Every Sad Night and “Manger”/“I’m Not Streetwise” single) for a comprehensive introduction to this long overlooked band. Album opener “I Live in Here” perhaps most directly echoes their Joy Division influence, with Hans’ lead vocals nodding to Ian Curtis’ cold baritone delivery, and his guitar lines referencing Bernard Sumner’s infectious single notes. But it’s not mere imitation — the chorus lifts to a soaring melody with hazy synths and Hans delivering an impassioned croon. The title track shifts the mood to a Gang Of Four style dance track replete with handclaps and funky guitar bouncing along as the duo sings the anti-war anthem, “we’re all awaiting orders.” Meanwhile, “Like an Animal” and “Two Girls” share the 60s-retro charm of the B-52s, with true earworm melodies. Elsewhere, “Every Sad Night”, from their debut 7” EP wouldn’t sound out of place next to a Young Marble Giants or other early Rough Trade release, with its stripped down instrumentation and Margie affecting a semi-British accent.

While Gathering The Forces might seem all over the map on paper, the duo pulls all of their influences together into a very cohesive whole. Listeners can hear the mood of the times that barely bubbled to the surface on college radio stations in small pockets of the country, beneath the weight of the Cougar Mellencamps, Michael Jacksons and Huey Lewises that dominated the mainstream.

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