It’s really no great surprise that hip-hop heads are moved by no-wave. The aesthetics of late ’70s early ’80s punk tangents parallel hip-hop in many ways–the basic music structure, wayward ethos, lo-fi sounds, thick drums, and DIY approach are all obvious overlaps. With recent releases from hip-hop based imprints, and with current producers exploring the genre, it’s fitting that Stones Throw tossed their hat in the ring with this weird, dark release.  If you’re unsure, peep their Minimal Wave Podcast for a taste. It’s not for everyone, but it’s one of the most unique projects of this new year.

In fact, Minimal Wave, in this case, is both a genre and record label. Minimal Wave Records is an upstart headed by Veronica Vasicka who sought to reissue these lost North American recordings. In all cases, these songs were cassette or vinyl releases funded and distributed by the artists themselves. All these artists came and went by the time the mid-’80s arrived, but due to diligence from PB Wolf and Veronica, both of whom culled these recordings from OG tapes and records, they’re  here and remastered for curious listeners.

Though re-touched, they’re still rough around the edges and nothing is too polished or crisp. From the first track (”Way Out of Living” by Linear Movement) to the last (”The Cabinet” by Das Kabinette) you hear synthy beats made with analog equipment. These bedroom tracks thrived before the digital age and you can hear the warmth as a result. What makes these songs (and the genre) interesting  is the palpable exuberance of artists with nothing to lose. The music’s rudimentary arrangements and uptempo style grabs you—or repells you—immediately, making you know within five seconds if these songs are for you or not.

There aren’t lush moments or intricate musicianship—the 14 tracks here are straight-forward to say the least. For instance, the album’s midpoint, “Mickey, Please…” by Gesserit, is unrelenting with its swirling synths and backbeat, which repeat over and over with no real change-ups.  The vocals throughout are often droning, shouted, or unclear.  The obvious aim of the music wasn’t permanence, and as such, there’s a refreshing fleeting quality found throughout.  Other artists nobody’s heard of; Das Ding, Tara Cross, Martin Dupont, and Ohama to name a few, all bring it on their respective tracks in ways that only independent musicians can. No self-awareness, no label, no problem. The release is fun, weird, and for fans of gruff, gritty tracks. Stones Throw does it again.  Highly recommended.

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