NURSE WITH WOUND:SYLVIE LP 1981 ORGANUM-COIL-CURRENT 93

	£		37
	$		48

NURSE WITH WOUND w/THE MURRAY FONTANA ORCHESTRA

Sylvie and Babs LP

• Limited Edition
• Label              :Laylah Anti-Records 15 / Belgium 1985
• Condition        :vg+/ex(cover/vinyl)
• Gatefold Cover
• Non-DMM version

Original 1985 pressing on Laylah Anti-Records(Coil, Current 93, Laibach, 23 Skidoo, Organum, Robert Haigh), Belgium, a limited edition, ressembles Nurse with wound together with the great Murray Fontana Orchestra(=John Orr, Ritva Ross, Robert Haigh, Christine Glover, Tathata Wallis, Marc Monin, Jim Thirlwell , Edward Ka-spel , David Kenny, Peter McGee, Ross Canon, David Michael Bunting , Johnathan Stone, Paul Hurst, Flora McCrindell, Glen Michael Wallis, John Fothergill, Mary Dowd, William Bennett , Paul Donnan, Geoff Cox, Fiona Anne Burr, David Elliott, Robbie Sylvester, Sinan Leong, John Murphy, Chris Furse, Lisa Donnan, Brian Williams, Tracy Roberts, Graeme Revell, Laura Calland, Diana Rogerson , Iva Morgan, Steven Stapleton , Marlene, Andrew Cox, Dorothea Bendik, Stephen Holmes, Margaret Evers, Wilf Harris, David Jackman , Trevor Reidy, Darren Kingaby, Nikki, Geff Rushton , Karl Blake, Harpunkt Fix, Barry McCarus). Features the last ever performance of Murray Fontana, a harbinger by nature, who killed himself in the name of music by successive acts of self indulgence.
A review from the internet: "Sylvie and Babs is about as uncategorizable as any other NWW record, but it definitely has a flavor to it that’s unlike anything else with the NWW name on it.  For one thing, it’s easily the funniest record NWW ever made—that or the most flagrantly infuriating, openly designed to enrage and tickle the sensibilities of anyone no matter what their musical tastes.  At one point the “Dragnet” theme starts playing, overlaid with barnyard noises, then speeding up until it approaches incoherence, then playing backwards at twenty times normal speed, then intercutting with random blops of sound from Broadway musicals, machinery, and vocal accidents courtesy of whoever was in the studio at the time ... then ending with a massively echoed guitar note and someone murmuring, “‘Wow’? Is that all you can say to my offer for squelching?”  And that’s not even the weirdest part of the record. 
The closest ancestor to Sylvie and Babs would probably be something like Frank Zappa’s Lumpy Gravy, where bits and pieces of this and that are all stitched together using radical and anarchic tape-editing.  Some of the material in Lumpy Gravy turns up on Zappa’s other records (like the bizarro speech about the pigs and the ponies), and in the same way, a good deal of Sylvie and Babs can be heard, albeit vastly mutated, in other places in the NWW oeuvre.  A good deal of the Sylvie and Babs tapestry consists of music hijacked and mutated from other sources—a munchkin-voiced version of “Language of Love”, for instance, is part of the opening, and vastly re-arranged versions of the “Dragnet” theme and the “Hungarian Rhapsody” fill out the end of side one.  (Most of the end of side one is a re-worked version of “A Token Sylvie and Babs Chicken Ditty in Drag” found on the Nylon Coverin’ Body Smotherin’ EP released a year before.)
The album breaks down into two movements (one for each side of the original LP), the first being more dependent on looped phrases of music and the second being a little more aggressive in its cut-up style.  Everything from Stan Freberg records to “The Monster Mash” get thrown into the stewpot, but the album doesn’t depend on the listener to play Spot the Sample—most of the time even a seasoned listener would have a hard time figuring out what comes from where, if indeed it comes from anywhere at all.  The point, I guess, is not to try and unstitch the puzzle and look at the component pieces, but just to absorb it as a whole, to walk through it and let it have its effect.  If you are indifferent to it, or just bored, that’s one of the risks they seem willing to take, but for someone to remain bored through this mad attack on the senses and sensibilities is hard for me to imagine.
The central idea behind all NWW records, I guess, is surrealist sound—audio movies for the mind that draw from traditions as broad-ranging as Tristan Tzara to Krautrock, In an interview, NWW instigator Steve Stapleton talked at length about how Krautrock was a major influence on him, especially after having roadied for several such bands in the Seventies.  NWW has drifted more towards the “tone float” type material of early Kraftwerk and further from the explicitly surrealist / cut-up insanity of Sylvie and Babs, and while it’s no less interesting it’s certainly of a different flavor." (courtesy of thegline.com) Highly recommended!! 
Vinyl in excellent condition, nearly perfect, while cover would be also perfect if it didn't have 2 splits:one on top and one on bottom, so it grades vg+!! Just impossible to find in any case!! Might appeal to fans of industrial, Nurse with wound, Ora, Mimir, Mnemonists, Biota, P16 D4, Zoviet France, Hafler Trio, DDAA, De Fabriek, Whitehouse, Hastings of Malawi, John Duncan, Maurizio Bianchi, Merzbow, Aube, Hanatarash, Coil, Current 93, Organum, Boyd Rice, Borbetomagus, HNAS, Smegma, Asmus Tietchens, Giancarlo Toniutti, Werkbund, Phauss, Sutcliffe Jugend, Schimpfluch, Metgumbnerbone, experimental, New Blockaders, minimal / synth, Nocturnal Emissions, Genocide Orgam, Con Dom, Broken Flag, Come Organisation, tape collage, electronic, experimental, Stockhausen, John Cage, avant-garde, La Monte Young, Terry Riley, musique concrete, Iannis Xenakis, AMM, Ghedalia Tazartes and similar!

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Watch also for some vinyls ranging from experimental / sound poetry / fluxus with Hermann Nitsch, Dieter Roth, Gerhard Ruhm, Poesia Sonora, Takehisa Kosugi and more at my other items !