Pink Lincolns (1988) Back From the Pink Room (LP)

Pink Lincolns

Back From the Pink Room


**** Recommended


Apparently raised on essential punk, from the cream of the crop of 80s HC to the beginnings in Detroit ’69, NYC ’75, London ’77…these Florida punks also blaze the way for the better side of what was coming with this debut long player from ’88.  Punk ROCK!

Dead Moon (1988) In the Graveyard (LP) Tombstone Records

Dead Moon
In the Graveyard
Tombstone Records
Produced by Fred Cole


Good Shit *****

Debut from this Clackamas outfit lead by Fred Cole, likely influenced by Greg Sage and Blue Cheer, obviously influenced by Link Wray and early Love, clearly coming out of the darker side of 1960s garage and acid rock, but making their own music their own way: rocking, raw and real.  Solid beginnings.

— winch

Fred Frith (1988) “The Technology of Tears” and Other Music For Dance and Theatre (SST 172)

Fred Frith
“The Technology of Tears” and Other Music For Dance and Theatre
SST 172


Noteworthy ***

Avant-garde rhythms from Frith, three pieces commissioned by various dance and theatre companies, most of the sounds created by Frith, with Jim Staley contributing trombone on one cut; John Zorn (sax), Tenko (voice), and Christian Marclay (turntables) assisting with the title track.

The music was obviously inspired by exotic sounds from around the globe, but Frith mixes these influences until they are barely recognizable.  He mixes electric guitars and other electronic wizardy with drums and voices, uses multitracking and back tracking to create a mostly frantic sound, cramming a lot of noises into most cuts, some space on a few.  It’s a mixed bag, but certainly has highlights for fans of avant garde.

— winch

Eugene Chadbourne with Camper Van Beethoven: Camper Van Chadbourne (LP) 1988

Eugene Chadbourne
with Camper Van Beethoven
Camper Van Chadbourne
Foundamental Music (Save 46)

Rating:*** (Noteworthy)



Singing out of key to the extreme, out of tune instruments.  Not exactly like the Residents, they approach the covers with respect and disregard, celebrating the songs I assume, and at the same time bringing out the absurd qualities in them, and in life in general.



Unlike the Residents, the political commentary is clear on the original material, covers meanwhile likely pointing out influences, King Crimson, Pink Floyd and Zappa.
— winch