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Profile GeneratorMan's Hate
Andy Xport now back recording new songs and as usual giving it all away free!, so check back later to see what new songs are up for grabs.
History:
Man's Hate was the vehicle of protest for one Andi-Xport between 1984 and 1990 (or there abouts!), The music was mainly distributed by mail on the then massive underground network of bands and artists predating the internet, Man's hate featured on many compilation albums from cassette to vinyl and released Five albums in total from which some of these tracks on "Looking back at anger" are taken, Also featured are previously unreleased material.Often described as "Steam driven protest punk" Man's Hate sang about subjects most bands would keep well clear of.With a passion and verve "Looking back at anger" recaptures the essence of Man's Hate and fires it unceremoniously into 2005 and beyond."Pin back your ears"
Man's Hate Productions
International Sound Communication Compilations 1-15
Back in the eighties Man's hate Productions released a series of compilation tapes at cost price that featured artists from around the world.
All Music styles were excepted from Industrial to Punk from Pop to Avant garde, And the only limit was there was no limit.
Nothing was rejected and every Demo tape sent in by bands a track was selected that best represented the style of the person or band.
All the compilations came with contacts that represented a huge underground alternative network of Mail Art and Music that has not been seen since.
Here are just a few of the bands featured:
Comando Bruno, Chumbawamba, Zanstones, Rattus Rexx, The Klinik, Electro Hippies, Absolute Body Control, Master/Slave Relationship, The Stupids, Lord Litter, Donald Campau, Hot Bip, Unovidual, Terry Gray, Savage Circle, Political Asylum, Magthea, Lyke Wake, Ark and the Ologists, Crawling with Tarts, No Unauthorised, Sombrero Galaxy, Schlafengarten.
"ISC Compilation Tapes came out of Peterborough, England, in the mid-'80s, and were the brainchild of ex-APF Brigade, and one-time The Peace & Freedom Band member Andi Xport.
The idea was to receive music of all shades and hues from around the world, and put it together on compilation tapes. Bands whose work was featured included Chumbawamba, Blyth Power, and Thatcher On Acid.
Xport had so many tapes sent to him - they loosely numbered 3,000 - many ended up under his bed in Peterborough, as space was compromised. ISC Tapes, standing for 'International Sound Communication', was a major starting point for a lot of bands and individuals who were struggling to get radio airplay at the time."
The Noise Collective
"The Noise Collective" was a project set up by myself to collaborate with other musicians worldwide via Air Mail, each person would record a piece of music/noise/sound and then mail it to some one else, who would then in turn use that recording and add to it, then passing it on to someone else.
The rule was that each piece had to be collaborated on by at least three artists.
The culmination of this project was a C90 cassette album entitled "Hello! Hello!
can anyone hear me?".
It featured 24 artists including: No Unauthorized, Barry Edgar Pilchar, Paul Rance, Katharsis, Crawling with Tarts, Zan Hoffman, Tom Burris to name but a few.
Most of the tracks were experimental and all the tracks were mixed to make 90 minutes of continuous sound, from out and out industrial to very calming ambient sounds.
This project had a knock on affect and other people released "Noise Collective" tapes worldwide.
Cassette Culture
(Taken from Wikipedia)
Cassette culture was in part an offshoot of the mail art movement of the 1970s and 1980s. In both the United States and the United Kingdom it owed a lot to the DIY ethic of punk. In the UK cassette culture was at its peak in what is known as the post-punk period, 1978--1984; in the US activity extended through the late 80s and into the 90s. It was largely postal-based (though there were a few retail outlets, such as Rough Trade in the UK) with the artists selling or exchanging music on compact audio cassettes via a loose network of other artists and fanzine readers.In the UK Cassette Culture was championed by marginal musicians and performers such as Storm Bugs, the insane picnic, Instant Automatons, Stripey Zebras, What is Oil?, The APF Brigade, Blyth Power, The Peace & Freedom Band, Academy 23, Cleaners From Venus, Chumbawamba, and many of the purveyors of Industrial music, e.g. Throbbing Gristle, Cabaret Voltaire, and Clock DVA . Artists self-releasing would often copy their music in exchange for "a blank tape plus self-addressed envelope". But there also existed many small 'tape labels' such as Snatch Tapes, Falling A Records, Datenverarbeitung (in Germany), Deleted Records, Fuck Off Records, ISC Compilation Tapes, New Crimes Tapes, Rasquap Products, Sterile Records and Third Mind Records that operated in opposition to the capitalistic aim of maximizing profit. There was great diversity amongst such labels, some were entirely 'bedroom based', utilising new home tape copying technologies (see below) whilst others were more organised, functioning in a similar way to more established record labels. Some also did vinyl releases, or later developed into vinyl labels. Many compilation albums were released, presenting samples of work from various artists. It was not uncommon for artists who had a vinyl contract to release on cassette compilations, or to continue to do cassette-only album releases (of live recordings, work-in-progress material, etc.) after they had started releasing records.Although larger operators made use of commercial copying services, anybody who had access to copying equipment (such as the portable tape to tape cassette players that first became common around the early 1980s) could release a tape, and publicise it in the network of fanzines and newsletters that existed around this scene. Therefore cassette culture was an ideal and very democratic method for making available music that was never likely to have mainstream appeal. Arguably, such freedom led to a large output of poor quality and self-indulgent material in the name of 'artistic creativity'. On the other hand, many found in cassette-culture music that was imaginative, challenging, beautiful, and ground breaking, standing up more than adequately beside much output released on vinyl.Cassette culture received something of a mainstream boost when acknowledged for a short while in the early 1980s in the UK by the major music press. Both the New Musical Express (NME) and Sounds, the main weekly music papers of the time, launched their own 'cassette culture' features, in which new releases would be briefly reviewed and ordering information given. Indeed even major players such as ex-Sex Pistols manager Malcolm McLaren flirted with cassette culture when he released Bow Wow Wow's first LP (Your Cassette Pet) in a tape-only format on the EMI label -- though this, as with the British Electronic Foundation's Music for Stowaways, was more a response to the newly introduced Sony Walkman, than a recognition of the cassette scene. (Stowaway was the original name for the Walkman.)However, despite these brief appearances in the mainstream, few bands involved in the UK tape scene received an audience outside of it. There were one or two minor exceptions. Stoke duo Inca Eyeball were once invited to support US indie rock band Pavement for instance.In the United States, Cassette Culture was associated with Lo-fi music, and blossomed most strongly in the Inland Empire (California) on labels like Shrimper, and in Olympia, Washington on labels like K Records. Artists such as Lou Barlow, Refrigerator, Nothing Painted Blue, The Mountain Goats, and Wckr Spgt recorded numerous albums available only on cassette throughout the late 80s and well into the 90s.
My Influences
Anarchists in the 1936 Spanish Cival War
*Dogs being used as Sharkbait/Sign the Petition to Stop it!
I am an "animal rights extremist"
