Been 10+ years since I got Sang Phat Editor, it still makes my flesh crawl; vague nausea.
This is a fun album. It takes me back to working with PGWP and us laughing at Johnson’s groans and howls, as customers strolled the record aisles.
I actually sold my copy of Sang Phat Editor on Amazon recently because it had been digitized and left in a box a few years ago. The buyer you wonder? Henry Rollins. No kidding. He bought my copy of Acre Thrills a week later, too. I can’t help but picture him at his home reading in a comfy chair while quietly sipping a beverage, Johnson wheezing in the background.
Since my last post mentioned YMG I was reminded of this track, which I haven’t listened to in years.
"One of the quirkiest and most idiosyncratic groups to emerge from the early British new wave indie scene, Young Marble Giants (from Cardiff, Wales) were not so much new wave in sound as in strategy. They subverted conventional pop/rock methods by stripping both song construction and instrumentation to its essence. A reverberant funky bass, a shrill organ, short choppy bursts of guitar chords, a softly clicking drum machine — that was all the trio needed. The hauntingly spacious sound was made both more intimate and foreboding by Alison Statton’s coolly intoned, almost neutral vocals. The words were more important for their mood than their content. Pop minimalism of the first order, it now stands as one of the first fully formed expressions of the subgenre that would be called post-punk."
"They are self-described as being heavily influenced by Krautrock bands, Can and Neu! as well as the early 1990s electronic music artists, Aphex Twin. The origins of the band’s name come from a character in the film, The Karate Kid as well as the brand of a record player."