Long out of print and hard to find releases from Dutch East India Records

	Mensclub - Drug Pit - 7 Inch Record on Dutch East India Records Growing tired of the light hearted, gentle, sensitive, politically correct culture of the 90's, the members of Mensclub wanted to change all that when they got together in 1993. Favoring the likes of Grand Funk Railroad, The Stooges and The MC5, Ron (guitar/vocals), Tom (drums) and Jon (bass) pay tribute to the meat and potatoes combo of classic 70's rock and punk to share it with their Bay Area quarters of San Francisco. Upon the release three singles during the next two years of their career as well as a contribution to the Probe Records compilation "This Ain't No Melodic Punk" in 1996, Bar/None debuted their first full-length "Comin' To Take You Away" later on that year. Man's Ruin Records followed in 1997 with their second album conveniently titled "Mensclub."
	Zbigniew Karkowski - Choice Of Points For The Application Of Force - Compact Disc Zbigniew Karkowski was born in 1958 in Krakow, Poland. He studied composition at the State College of Music in Gothenburg, Sweden, aesthetics of modern music at the University of Gothenburg's Department of Musicology, and computer music at the Chalmers University of Technology. After completing his studies in Sweden, he studied sonology for a year at the Royal Conservatory of Music in Den Haag, Netherlands. During his education, he also attended many summer composition master courses arranged by Centre Acanthes in Avignon and Aix-en-Provence, France, studying with Iannis Xenakis, Olivier Messiaen, Pierre Boulez, and Georges Aperghis, among others. He works actively as a composer of both acoustic and electroacoustic music. He has written pieces for large orchestra (commissioned and performed by the Gothenburg Symphony Orchestra), plus an opera and several chamber music pieces that were performed by professional ensembles in Sweden, Poland, and Germany. He is a founding member of the electroacoustic music performance trio "Sensorband." Zbigniew has lived and worked in Tokyo, Japan for the past eight years, and is active in the underground noise scene there.
	Adam And The Ants - Peel Sessions - Cassette tape on Dutch East Records Adam & the Ants were a New Wave band during the late 1970s and early 1980s. They were one of the bands at the time that marked the transition from the 70s punk rock era to the New Wave post-punk music era. Although the band started off with a punk-influenced sound, it soon moved on to New Wave, motivated by new sources such as the drum-heavy "Burundi Beat" heard on "Dog Eat Dog".
	Babes In Toyland - The Peel Sessions - Cassette tape on Dutch East India Records Babes in Toyland is about as harsh as rock music gets -- guitarist Kat Bjelland screams and thrashes her guitar to the gut-pounding, throttling beat of bassist Maureen Herman and drummer Lori Barbero. Over their two albums and two EPs, the all-female trio offers no escape from their strongly female-oriented, but not necessarily feminist, rock. Bjelland formed Babes in Toyland in 1987 in Minneapolis, after playing around San Francisco for several years in various bands which featured, at various times, Jennifer Finch of L7 and Courtney Love of Hole. After releasing a single on Sub Pop's singles club, Babes in Toyland came to the attention of Sonic Youth, who took them on a tour of Europe. Soon, they recorded their abrasive debut, Spanking Machine, with producer Jack Endino; one more independent EP followed before they signed to Reprise. Between labels, original bassist Michelle Leon left the group.
	Christian Death - The Scriptures - Cassette tape on Dutch East India Records Guitarist Valor Kand gets even more ambitious on his second album as the lead vocalist of Christian Death; Scriptures is as much his take on comparative world religions as it is a goth rock album -- in the words of the liner notes, it's "a translation of world beliefs by Valor." It's rather grandiose and pretentious, of course, but that's often what Christian Death does best, and those are the qualities that give their music its impact. The balance provided by Rozz Williams is missed, but Scriptures is still one of the band's strongest albums without him.
	Stump - The Peel Sessions - Cassette tape on Dutch East India Records Stump were an Anglo-Irish indie/experimental/rock group featuring former Microdisney members Mick Lynch (vocals) and Rob McKahey (drums), along with Kev Hopper (bass) and Chris Salmon (guitar). They formed in London in 1983. The original vocalist was Nick Hobbs, who left early on to form The Shrubs.
	The Perfect Disaster - Heaven Scent - Cassette tape on Ducth East India Records The final Perfect Disaster album, in retrospect, could be called a predictor of the future -- at least to the extent that Josephine Wiggs and Jon Mattock would become famous working separately and together in acts like the Breeders, Spiritualized, and the Josephine Wiggs Experience. But here they were a pretty darn great rhythm section backing up the garagey snarl and crunch of Phil Parfitt and Dan Cross' guitar, and the results were some good and great neo-psych zone-outs and rave-ups. With the brilliant "Rise" starting things off, Parfitt's aggro sneer is perfectly suited to the great riff mania and blast of the music, and Heaven Scent covered both high-volume blasts and moodier, more reflective songs in equal measure. In ways it's those quieter songs, such as "Father" and "Where Will You Go With Me," which give a clear indication of the incipient Spacemen 3 family tree connections. One could almost imagine Sonic Boom singing the vocals and playing the guitars on a few of those numbers, and it's to Parfitt's credit that his own enjoyable take on a drowsily beautiful mood stands out, almost an English equivalent to what early Mazzy Star was doing at the same time. The alternating between clipped and kicky songs like "Takin' Over" (which almost sounds like a more rocked-out Go-Betweens) and "Sooner or Later" and quieter efforts like "Little Sister (If Ever Days)" (with a lovely Wiggs cello part) is a touch disconcerting. It almost sounds like two different bands at work at points, but the end results are worth the slight schizophrenia, concluding with the wonderful "It's Gonna Come to You," a slow-burn of a full-on rock epic that ranks as one of the best songs of its year. Wiggs takes a slightly buried co-lead vocal on "Wires," the one song she wrote lyrics for, otherwise adding some fine backing singing here and there throughout.
	Wanda Coleman - Black And Blue News - Cassette tape on Dutch East India Records Identifying herself as an L. A. poet, Wanda Coleman not only grew up in Los Angeles, California, but also uses that city as her primary urban setting for the raw, imagistically graphic, and politically charged poetry and short stories that she writes. Desiring to rehumanize the dehumanized, Coleman focuses upon the lives of the down and out; thus she populates her texts with working-class individuals struggling against daily indignities and social outcasts struggling simply to survive. The primary voice represented in her poems is that of the African American woman whose head is bloodied but unbowed, who is just as tough as the harsh city in which she lives.
	The Meatmen - War Of The Superbikes - Cassette tape featuring Pushead Artwork on LSR Records 1991 With Tesco Vee's Dutch Hercules proving that chugging biker metal, parodic or not, was arguably a better platform for his intentionally over-the-top attitudes toward uncoolness (i.e., anything not Tesco Vee), War of the Superbikes turned out to be the icing on the cake. If Dutch Hercules' "Wine, Wenches and Wheels" was arena rock satire to the nth degree, War of the Superbikes blurred the line even more, with not one but two Minor Threat refugees -- Lyle Preslar and Brian Baker -- embarrassing themselves with what one hopes was knowing rather than unconscious meta-metal wankery on their part. Certainly nothing else could explain the likes of the Iron Maiden sex fantasy "Pillar of Sodom" and the jaw-droppingly over-the-top flamenco pornography of "Kisses in the Sunset." That said, there's a fair amount of stuff that could easily have fit on some of the early Meatmen stuff, but in its own weird way the role model is less Meatmen and more Meat Loaf, if on much less of a budget. The title track is one of the best things on here, in a comparative sense at least -- the ridiculous lyrics rival films like Streets of Fire for narrative coherence, and Vee certainly sounds like he's having plenty of fun setting himself up as the equivalent of the Anti-Nowhere League's Animal. Meanwhile, calling a song "Abba, God and Me" -- while not trashing either Abba or God in the lyrics -- has to count as a first for Vee. The schizoid nature of the album can best be noted with the two covers on the release -- the Pagans' proto-punk rampage "What's This Shit Called Love" (complete with fake country start on Elvis' "Love Me Tender") and Nazareth's whiskey-soaked boogie "Razamanaz." Ridiculous highlight -- the goony DJ rap at the start of "Punker-Ama," at once juvenile and just plain hilarious.
	The Cure - The Peel Sessions - Cassette tape on Ducth East India Records THE PEEL SESSIONS was broadcast on December 11, 1978. An archetypal Peel Session, this December 1978 four-song set predates the Cure's first single, "Killing an Arab," included here in a faster, snottier version that drips punk attitude. The other three songs happen to be the other three really good songs from the Cure's uneven first album, THREE IMAGINARY BOYS: the obsessive "10.15 Saturday Night," the chanting, Siouxsie-like "Fire in Cairo" and that pure pop nugget "Boys Don't Cry." In true Peel Session form, the performances are crisp, unpretentious, and stripped-down. This is as good as Peel Sessions get!