_¢‚Ǩ_ìNineteen hundred and seventy-eight was ground zero for the UK post-punk explosion. The previous few years had seen raw rock n roll claw its way back into the mass consciousness, but 78 was the year a veritable army of disconnected and discontented art students decided, en_¢‚Ǩ¬®masse mind, to pick up cheap guitars, switch on malfunctioning synthesizers and beat upon cobbled-together drumkits. From the ART COLLEGES they came, inspired by the throbbing rhythms _¢‚Ǩ¬®of PiL, The Pop Group and Pere Ubu, but also by politically-charged reggae and dub such as King Tubby, Prince Far-I and the Coxsone Sound System.
\r\nCode BMUS was just such a unit. Four too-smart-for-their-own-good lads converged in London _¢‚Ǩ¬®with an itch to join the fray. Pitched somewhere between squatterpunk art-scrabble and headier _¢‚Ǩ¬®RIO-style instrumental tangle, Code BMUS carved out their own peculiar identity in an unforgiving London music and art scene. For years they plied their trade, hauling their unconventional set-up _¢‚Ǩ‚Äú _¢‚Ǩ_ìa rhythm kit built from Indian tablas , Irish bodhr_ɬ°n, an assortment of _¢‚Ǩ¬®metal tubes and plates, snare, marching band bass drum and a miscellaneous collection of objects to hit wired up with transducer mics_¢‚Ǩ¬¶deconstructed guitar played with bottleneck, bow _¢‚Ǩ¬®and sticks on an ironing board_¢‚Ǩ¬ù _¢‚Ǩ‚Äú to all manner of clubs, converted showspaces and improvised venues.
\r\nIn 1981, Code BMUS brought their musical contraptions to Cold Storage, a meat locker that had been transformed into a recording studio by the fiercely independent and experimental postpunk trio This Heat. The resulting 12_¢‚Ǩ¬ù EP, Strike Now, There is No Cover, is a mini-masterpiece _¢‚Ǩ¬®of right angles, sharp turns and unclassifiable agitpop. With its driving bass, slashing guitar and inspired junk percussion, Code BMUS echoes contemporaries such as Cabaret Voltaire, Fire Engines, and 23 Skidoo, but Code BMUS operated in the squatter scene, rubbing elbows with _¢‚Ǩ¬®Crass and their ilk. Code BMUS politics dont come off as theory, but as the righteous anger of those who live everyday under the thumb of the powerful and corrupt. The turmoil of their daily lives comes through loud and clear, imbuing Code BMUS turbulent music with an immediacy _¢‚Ǩ¬®that cannot be faked.
\r\nKicking off a busy 2014, New York Citys Ever/Never Records brings you a faithful reissue of Code BMUS overlooked post-punk classic, Strike Now, There is No Cover; four songs of collapse and struggle that resonate loudly as ever, sounding better than ever and available as _¢‚Ǩ¬®never before.
After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.
This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).
Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.
Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.
Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).
So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.