Here’s…for lack of a better word…a special one. The Big Noise and the Lone Silence is the first and only release by Italian post-punk quartet A Special Night. This four-track single was released in 1986 via Cave Canem, who also released the excellent Still Life EP, the previous incarnation of Selena Moor, as well as releases by The Gift. You can expect similar sounds here – delightfully dreamy, femme-fronted post-punk in the vein of Repetition, Asmodi Bizarr, etc.
This is such a sweet spot for me, I can never get enough of this sound, personally…
A Special Night – The Big Noise and the Lone Silence 12”
1. Winter Song
2. To Find and Find
3. Kill My Love
4. The Dark
As promised, here’s Abracax, the über-rare debut 1984 studio cassette release from French coldwave/synth-punk band Réseau d’Ombres.
This is one of three cassettes the band released in 1984 to kick off their explosive career. Live cassette Ireos has been reissued by ειρκτή in 2013, while the other live cassette Eliotropium (sung primarily in English) remains to be heard, minus a track or two on Youtube. This, however, is their debut through and through – the seeds of what the band would become are already flowering into something dark and caustic. All seven tracks on this cassette were part of the band’s repertoire and appear in live form on Ireos, but it’s nice to have these studio recordings to add to the mix.
This cassette taps into early 80s cassette culture in every way – the design of the cover and additional artwork is exquisite. The tape comes housed in a plastic sleeve and comes with seven hand-printed tarot card slivers and a 7”-sized stamped orange insert. You can see additional photos of this one on Discogs.
That all said, hope y’all enjoy the music!
Réseau d’Ombres – Abracax K7
1. Mercenary
2. Passé
3. Natural Gesture
4. The Meal
5. Happy Song
6. External Life
7. Just For Fun
Ahhh, this band. This band, this band, this band. No single French coldwave band gets my blood boiling more than Réseau d’Ombres. While not romantic and wistful like many of their contemporaries (and like much of the music I tend to prefer), this French trio is downright relentless and extremely caustic, while also remaining completely and utterly danceable. If you haven’t heard them yet, stop what you’re doing right now, download this link, and get listening. You can expect some of the most hard-hitting, synth-driven, coldwave you’ve ever heard – in the vein of bands like Ausweis, Killing Joke, Suicide, Guerre Froide, early Charles De Goal, Les Provisoires, early Xmal, and of course, Bérurier Noir.
The Laval-based band was rather prolific, releasing five cassettes (one which is a live show from 1984), one 7”, one 12”, and two full-length LPs between 1983 and 1987. The live cassette Ireos has been lovingly reissued by Greek label ειρκτή back in 2014, while the other cassettes are a bit more elusive. Except one that is coming in the mail shortly, so more on that later, wink-wink.
When I get in the mood for this band, nothing else will suffice, and with things as they are these last few weeks – let’s just say they’re really hitting the spot today. With that in mind, I wanted to post freshly updated rips of the band’s vinyl-only catalogue, and by “freshly,” I mean, I digitized the two LPs and 12” single for my own personal listening over ten years ago, and just haven’t gotten around to sharing them yet. Much love to Nick from Crispy Nuggets for handling the band’s exceptional debut 7” as well, which I’ve included with his blessing. Also, check out his video restoration work on “Mirrors” as well:
Réseau d’Ombres – Sotcha LP (1985)
1 New York
2 On The Floor
3 D’Estonnie
4 Bigger
5. Return Ticket
6. Blue Horsemen
7. Square
8. Whoska Sound
9. The Gold Of Netsa
I’ve been meaning to post this for a long time now. While many may already be familiar with this classic, this is a very special LP, one that has been soothing the savage beast these last few days. I hope this updated rip does the same for you all out there in this crazy world.
And We Have Our Dreams was released in 1986 via Skylight Records, and is the lone LP by Danish project Silent Windfall, who was primarily composed of bassist Lars Ranek and singer/multi-instrumentalist Bo Vess. Pernille Bøcker provides vocals on the first and the last track as well, adding a nice bit of feminine energy to this otherwise gorgeous LP, which is a mix of minimal new wave, post-punk, and ethereal. Some touchstones include early Black Tape for a Blue Girl, Tangerine Dream/Popul Vuh, Felt, This Mortal Coil, and maybe even a little of the mellower, folkier Pink Floyd tracks from the early 70s. There are two tracks with percussion on the first side that lean more post-punk, while the second side is a gentler affair, with expansive piano passages and ambient suites.
I really adore the range and delicacy of this album, and I hope you enjoy it as well…
Silent Windfall – And We Have Our Dreams LP
1. Here I Come
2. She’ll Be My Doom
3. Clouds Are Forever
4 And We Have Our Dreams
5. White Room
6. Float Like A Boat
7. Lifeline
Kicking off 2025 here with a bit of a nostalgic post, compiling the first two 7”s and debut LP from A Popular History of Signs, who I first covered back in 2008, in the first year or so of the blog (ahh, memories). I’m sure most folks into this music have heard these releases by now, but the rips of this material I’ve heard before haven’t been great, so figured I’d give it a quick pass for posterity’s sake…
A recap of the band is certainly in order, especially for those who might be unfamiliar with them. A Popular History of Signs formed in London in 1979. Their sound mixed minimal synth and new wave textures with nervous post-punk vigor and busy percussion, at times sounding like the British answer to Talking Heads (or perhaps a more restless and aggressive Blue Nile). I’m incredibly partial to the track “Crowds” in both forms – the early 7”s mix is a minimal synth gem while the re-recorded LP version retains much of the tension of the track but trades in the skittish energy for a more synth pop sheen. The band changed lineups a handful of times throughout the 1980s, and caught the attention of Ministry’s Al Jourgensen, who remixed two of the band’s tracks for a fledgling Wax Trax label in 1985. The band released eight singles, one full-length LP, and called it a day soon after the release of 1988’s England in the Rain Mini-LP.
As for band members, drummer John Luccibello also recorded with This Parade and The Tempest, two excellent obscure post-punk/goth bands. Singer Andrew Jarman was involved with psychedelic project Strange Fruit and more recently, Southern Arts Society . Christine Isherwood, who sang on Comrades, recorded with Salt Doll and The Jealous Lovers.
Here’s the info for these two releases – hope y’all enjoy:
A Popular History of Signs – Justice Not Vengeance 7” (1980)
1. Justice Not Vengeance
2. Possession
A Popular History of Signs – Crowds 7” (1981)
1. Crowds
2. Crossing the Border
A Popular History of Signs – Comrades LP (1984)
1. Body And Soul
2. Crowds
3. Tidy
4. Halcyon Days
5. Lenin
6. October Already
7. Father And Son
8. Five Towns
9. Land Of The Free
10. Comrades
Third Circle are a name that may be familiar to some, as they’re one of the infamous Leeds bands, the same scene who brought us The March Violets, The Lorries, Three Johns, and Sisters of Mercy. While not as well known as those bands, they had a three single run on Rouska Records, also home to early Cassandra Complex and Dustdevils releases. They sound similar, to my ears, to Red Lorry Yellow Lorry, with a similar drum machine pummel and forlorn, sung/shouted vocals. However, despite the intense, mechanical drum programming, I find there to be some excellent pop songwriting on their best known track, “Last Night Was the Best Night of My Life.” With the hooks, jangly guitars, and vocal melodies, it almost reminds me of a Smiths song, buried underneath a cold, industrial, city.
Some of y’all might be familiar with this excellent track already. I can’t say I’ve heard their second and third singles, but will have to inspect them sometime in the future. It’s worth noting that Martin Kelly joined up with W.M.T.I.D. (an EBM/industrial project that formed to support Cassandra Complex), while Tim Daly, a performance poet in his own regard, was a member of Bazooka Joe, and most interestingly, was a lyrical consultant for Pink Floyd’s post-Waters album A Momentary Lapse of Reason. Wild!
Speaking of wild, here’s the details for both the 7” and 12” version of this most excellent single from 1986, both which have exclusive b-sides and different versions of the single track. The 7” version is a little janglier (note: the dip early on is a pressing flaw, present on multiplecopies) while the 12” is a little heavier/more industrial, if you will. Enjoy!
Third Circle – Last Night Was the Best Night of My Life 12”
1. Last Night Was the Best Night of My Life
2. Real Eyes
3. Silent For Too Long (live)
Third Circle – Last Night Was the Best Night of My Life 7”
1. Last Night Was the Best Night of My Life
2. The Man Who Fell Apart
Let it be known that I am a sucker for a good rickety, yet powerful post-punk/indie band, especially one with female vocals. Bands like Asmodi Bizarr, Phantom Forth, and even more indie bands like Velocity Girl and Talulah Gosh etc. are a sweet spot that I cannot pass up, not ever.
With that in mind, Scarecrow Tiggy were a four-piece band from Melbourne, Australia. The lineup originally consisted of Alex and Michael Szkutenko (bass & drums, respectively), vocalist Perri Kenrick, and guitarist Mark Johnston. This lineup of the band released two 7”s in 1990 and 1991 and contributed to several Melbourne-based compilations around that time. Soon after, the band released their lone full length album, 1993’s Ghostfish, before calling it a day. Ghostfish featured additional bass from Andrew Gunn and additional drums (and machines) by Simon Ayton, though not sure if they replaced previous members or just filled out the sound – I’ll let you know when my copy of the CD comes in the mail in a few weeks!
Until then, happy to share the band’s first two 7” recordings and the only compilation track I was able to dig up, from 1994’s The Woozy Couch Finder cassette. This compilation track was the band’s final release, whereas the rest of their compilation material dates from 1988-1994. Each of these tracks are exclusive to their respective releases, so please feel free to reach out if you own any of these compilations, or even if you have digital copies of some of them. There will be a follow-up post one of these days, and I’d personally love to hear the rest of their discography.
Without any further ado, here are these tracks. Last, but not least, much love to Matt from Kentucky Fried Wave for putting this band on my radar a few weeks ago!
This one has been a favorite from the moment I first heard it, a front-to-back excellent LP that’s all killer, no filler. As always, many thanks to Goutroy for originally ripping this LP, which was originally released in 1988 on Parabellum Records. Fem Snabba were a five piece post-punk band from Sweden whose discography consists of two LPs and three singles. Their sound is reminiscent of bands like All About Eve, Tinderbox-era Siouxsie, Asmodi Bizarr, latter-period Xmal Deutschland, a lil Cocteau Twins, and all the other great bands in this vein. A nice blend of ethereal gothic sounds, which is certainly a sweet spot around these parts…
As a bonus, I’ve included the band’s first 12” from 1986, which features different recordings of “I Ditt Land” and “Saknad” but is as equally dark and engaging as the LP.
Fem Snabba- Sinnesplats 12” (1986)
1. Vårda Ditt Skrik
2. Saknad
3. I Ditt Land
4. Sinnesplats
Fem Snabba- Pupiller LP (1988)
1. Saknad
2. Dagar Som Pupiller
3. Jord Och Stad
4. Gnistrande
5. Under
6. Kurragömma
7. Bårar Över Eld
8. Tinder
9. I Ditt Land
10. Nattfjärilen
Fresh from the needle to the internet – it’s been a while since we’ve had a bonafide minimal synth record, so here’s one from 1981 that features all the great touchstones – rickety, loud synths, some post-punk guitars, and DIY vibes through and through. Passing Smiles were a US-based project that only released this 7” to my knowledge. John Ross, pictured on the back of the sleeve, is the main musician, playing all guitars and synths, while Bill Miles played drums and Brian Leech played piano on side B. Based on this, I might go so far as to say that this was a one-man project with help from some friends…
The A-side is the “hit” so to speak, while the B-side offers a more reflective, somber mood. Both tracks are excellent and certainly touch on the frailty of existence and the balance of life and death, even going so far as to feature a biblical quote (Philippians 2:8) on the back cover.
Quick and dirty post for your Friday enjoyment… Here’s another single from Swiss label Winterschatten (also home to The Silence Cries), released in 1984. This is the five piece (or four piece with a different bassist on each track) band’s only single which comes housed in an oversized picture sleeve. The songs are sung in a mix of English and French and are equally gloomy and catchy, definitely a great single for fans of Look Back In Anger, Cry of the Innocent, Send No Flowers etc.
Enjoy!
Les Fleurs D’Hiver- Fleurs D’Hiver
1. Fleurs D’Hiver
2. Association in White
Systems of Romance was created in mid-2007 to serve as a dumping grounds for all great things coldwave, minimal synth, post-punk, synthpunk, industrial, synthpop, and various other combinations of these styles. Feel free to make requests, noodle around, and discuss all you like...
Otherwise, this blog is dedicated to showcasing material that has long since been out of print. If you are aware of any of these items being readily available from the artist or label, or take issue with these tracks being uploaded, please let me know so I can amend the post or remove the links.
