Hastings of Malawi

Hastings of Malawi: “They recorded the album in one night in 1981 with no plan and no idea of what they were doing.”

Hastings of Malawi


Hastings of Malawi‘s Vibrant Stapler Obscures Characteristic Growth, released on Brussels experimental Sub Rose Label, is, uh, something. Best to let the music speak for itself.

From Bandcamp:

“A classic masterpiece from 1981, never re-released before. Originally 1000 copies pressed on orange/red vinyl. 120 copies were sold through Rough Trade and Virgin Records. 800 copies were bought and later destroyed by the United Dairies label, making this record even more rare.

Hastings of Malawi were Heman Pathak, David Hodes and John Grieve.

They recorded the album in one night in 1981 with no plan and no idea of what they were doing.

They played drums, clarinet, synthesizer and piano but also made use of things that they found lying around the studio – old records, cookery books, telephone directories and a telephone.

The recordings were played down the phone to randomly dialed numbers and the reactions added to the recording.

All three had been involved in the recording of the first Nurse with Wound album Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella and had contributed metal scrapings, piano, effects, clarinet and guitar during the session.

The album was released in 1981 as Vibrant Stapler Obscures Characteristic Growth by Hastings of Malawi on the Papal Products label.

The star of the record is Pat Simmons who was the voice of the UK speaking clock between 1963 and 1984.

In his book Lipstick Traces writer Greil Marcus seeks to draw a line from Dada through the Situationist International to punk rock. If this line exists then this record sits on the end of it.

The only review that the album received was from Steve Stapelton who suggested that “nobody should miss this vinyl disaster”

Good or bad are not concepts that can be applied to this recording.

The record stands firmly in opposition to the now all pervading concepts of commercialisation, celebrity culture and the commodification of creative activity.”

Cocaine Piss

Cocaine Piss: Steve Albini teams up with one of Belgium’s best bands to beef up punk for 2017

cocaine piss


Kurt Cobain once said that the only producer Nirvana could have accepted to work with was Steve Albini, because he was the only one who could give the band a great sound while keeping it natural and raw. And so it makes sense that a band like Cocaine Piss would choose to head to Chicago to work with Albini himself for their latest record, The Dancer.

Cocaine Piss perfectly epitomize the original spirit of punk; they’re loud, reckless, provocative and aren’t afraid of being hated. They come from Liége, Belgium, a city that has seen the growth of a large number of crust punk bands such as Hiatus, but they don’t seem to be influenced by dark tones or d-beat drum rhythms.

Instead, they try to retrace a certain musical primordiality that perfectly pairs up with the relentless wildness they show on the stage. It’s hard to figure out what kind of people they could be in everyday life, but every time their singer, Aurélie, grabs the microphone, she turns into a raving beast. Everything she does – consciously or unconsciously – ends up shocking the audience in an authentic yet unexpected way.

Her lyrics are savage and fun at the same time. Take “Average Romance” for example, where she mercilessly screams: “You got married sent résumés swallowed some pills still no fun!”. And it’s really hard to choose which of their songs is the most crudely realistic. Everything in Cocaine Piss is meant to shock and surprise the audience, and if you add a good amount of fun to all of that you have the perfect recipe to keep playing punk in 2017.

Cocaine Piss: Facebook Bandcamp