CD with 8-page booklet, limited to 300 copies. A definitive collection of 20 of the rarest ATTRITION songs...; With previously unreleased tracks, demos and alternate versions. Experiments with analogue synths, drum machines, tape loop, bass guitar and effects. Many of these tracks were released on cassette compilations at the time, and 2 of them on our very first vinyl release (a 2-track flexi disc with Adventures in reality fanzine in 82) but there were a lot of tracks that never did get released. For the last 30 years i have been carrying boxes of those cassettes around with me as i travelled around the UK (and Holland, briefly). I've spent a lot of time selecting the best and cleaning them up in my studio from the old cassette mixes, and in some cases from the original 4 track tapes. It's time to put these to bed - I hope you enjoy this little slice of our life.
Martin Bowes, Coventry, England, 2014
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This is fascinating. I'd heard the name but now I get to put some music to the doom-laden face. As a Yorkshire lad of a certain vintage I've always had a passion for the Gothic sub-culture but as age envelopes me I find much of it faintly comical. However, this lovingly compiled collection of 4 track demos, early flexidisc excerpts and altogether impossible-to-source rarities from Martin Boyes' cult Croydon-based vehicle is a genuine revelation. Attrition were initially a 3-piece comprising Boyes and brother/sister friends Julia & Ashley Niblock. That Julia went on to work with cult weirdos The Legendary Pink Dots makes perfect logical sense.
This is Gothic music but in the truest sense of the word. Welding together unhinged spidery industrialisms; moody EBM; dark, skittering electro and intoxicating, foreboding yet playful F/M vocals (that make Siouxsie and the like sound like stagy pretenders), this sprawling collection is absolutely essential to any lovers of dusty, doom-laden 80's tape culture and the experimental darkwave scene this wee gang helped spawn. Because of the limitations of the technology used, these strange songs have a raw, cracked vitality containing an alarming array of sonic invention and this near-feral reek of the unknown.
Sometimes I wonder why I bother with new music when there's wonderful stuff like this, over 30 years old that has sat in somebody's attic unheard. Music as exciting and exotic as this from the long, long days when not absolutely everybody had a studio and was making shite dance music. Forward-wind to 20....no, don't fucking bother. I'd heartily recommend this to lovers of anything from Tuxedomoon's madder moments to authentic modern practitioners such as Crossover, whilst taking in the frightening, ghostly realms of early ClockDVA and Throbbing Gristle.
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