Thomas Dolby (born Thomas Morgan Robertson, he took the stage name Dolby from a nickname he received as a studio recording obsessive) burst onto the music scene in 1981 at the forefront of the new wave of post-punk bands using electronic instrumentation in the UK…
Released in April 1980, the same month that friction between police and local black communities resulted in the St Pauls riot in Bristol, The Beat’s “Mirror in the Bathroom” captured perfectly the tense paranoia, as well as the personal and national disaffection of the day…
As the 1970s drew to a close, the appetite for science fiction-related material of any type and in any form (though preferably of low price) was such that its effects were visible in every field: the post-Star Wars windfall admitted all comers…
“Solo Me Muevo Por Dinero” is the work of Spanish brothers Xeno and Tucho Baladon, known collectively as Xalan. The Euro disco duo released only two 12” singles, this and 1987’s Revolution Without Solution. The acquisitive, upwardly-mobile young urban professionals who became known as Yuppies in the early 1980s made their appearance in Spain at the tail end of an explosion of popular creativity…
Electronic music pioneer Suzanne Ciani got her start in the staid musical conservatories of Wellesley College, but left for the West Coast in the late ’60s to get a Master’s at Berkeley, where she met synthesizer designer Don Buchla and began experimenting with electronic instrumentation…
As worries about the possibility of nuclear war spiked in the early 1980s, anxiety and anger began to surface in many of the arts, including British punk music. Punk had been politicized since the movement’s inception and many of those involved were, initially at least, informed by the experience of the British art schools…
1982 was the year The Future began to supplant The Past. It began with Time magazine’s claim that “Video Games Are Blitzing the World,” and ended with the home computer being made the publication’s “Machine of the Year” (allegedly bringing Steve Jobs, who coveted the title, to tears)…
By K.E. Roberts
Early in Penelope Spheeris’ 1981 documentary on the Los Angeles punk scene, she asks Eugene, a 14-year-old skinhead who talks like a Valley kid, what he likes about punk. “It’s like, it’s not bullshit,” he responds. “There’s no rock stars now, you know?” It’s to the director’s credit that the next hour and a half, elapsing with the speed and eloquence of an autobahn car crash, both proves and refutes that answer…
Our bailiwick here at We Are The Mutants is the often weird pop culture of the Cold War period. From our perspective, “Energy Warning,” the eleventh track on Scottish electronic music duo Boards of Canada’s landmark 2002 LP Geogaddi, is an artifact of a future time. But Boards of Canada’s own artistic and indeed ontological territory is the lost, forgotten, and abandoned…
Along with Atlantis, the Bermuda Triangle, and several ancient monoliths attributed to ancient astronauts in Erich von Däniken’s Chariots of the Gods? (1968), Stonehenge became a symbol of occult mystery in the 1970s…
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