XEEROX
1979-1981 Recuerdo espectral de un viejo decorado eléctrico
Anòmia

-------------------------------------------------------------------------------------------------------------------------------------------------------

Por Anòmia responde un sello barcelonés con conexiones neoyorquinas que en su breve andadura ha ido sembrando esmeradas ediciones. Un cuidado catálogo donde cohabitan casetes y maxisingles, mayormente de contenido electrónico. Su otra prioridad son las grabaciones de archivo inéditas, pues no en balde la primera referencia correspondía a una triple cinta dedicada a Mars, la banda no wave de Mark Cunningham. Se suma ahora a esta serie - con llamativas previsiones en cartera-el estreno del sello en formato LP, la presente antología de Xeerox. Como sus predecesores Los Psicópatas del Norte, de los contados exponentes que el punk en su vertiente arty tuvo en Barcelona, ambos gozaron de un articulado aparato teórico y una cultura musical que les permitió rebasar con creces sus carestías, fuesen de medios o técnicas. Partiendo de la cacofonía, las dos formaciones evolucionaron en formas más estructuradas, en el caso de Xeerox conservando la una atonalidad repetitiva y tiránica, pero abierta a diversas mutaciones. Que la turbia calidad del sonido no impida apreciar la de ideas interesantes que esta gente apuntó cuando todavía no se hablaba ni de Sonic Youth, ni de noise ni de Billy Bao. Subconstruccionismo de guitarras y manipulación electrónica en esencia, empático con el krautrock y capaz de reinventar el garage-punk desde un cerebral delirio.

Gonzalo Yann. Rockdelux.

-------------------------------------------------------------------------------------------------------------------------------------------------------


Cavernaria, opaca y extrema, la atonal mole sónica que el grupo talla en su decibélica maceración guarda puntos en común con el repetitivismo de Polonio, solo que filtrado por el Metal Machine Music de Lou Reed. Una demolición sistemática que penetraba por la brecha abierta por los Psicópatas del Norte, depositando junto a Tropopausa un nuevo estrato de la escena experimental en Barcelona, si bien en dirección opuesta. Perteneciente a las sesiones de ensayo en Vilapiscina "Evasion de future", 1979, fue grabada con un cassette Philips sobre una cinta Agfa usada y retiene aquella esencia buscada por Xeerox, la del estrépito del gesto artístico que nace de la destrucción, el sublime terrorismo que suprime la conciencia y nos deja desnudos, conmocionados ante una experiencia que no es solo perturbadora sino también misteriosa.

Jaime Gonzalo. La Ciudad Secreta

-------------------------------------------------------------------------------------------------------------------------------------------------------

Unheard recordings of proto-punk madness, primordial industrial ooze, and untrained no wave expressionism! Yes, those dates in the title speak to the timeframe for Xeerox, a shortlived conglomeration of anarchist, anti-musicians, and electronic dilettantes who had some pretty solid connections (it not overlap) with the seminal spanish industrial outfit Esplendor Geométrico. One of the principle members of Xeerox was a fevererishy enthusiastic fellow named Krishna Goineau, who fled Barcelona for Germany where he went on to found Liaisons Dangereuses with Beate Bartel (Malaria) and Chris Haas (DAF). From the onset, Xeerox hoisted the ideological flag of punk but rejected much of the aesthetics of punk's rock revisionism. Their initial sound was an atonal fug of Sister Ray-isms glommed onto motorik drum-kit pulses with distantly megaphone barked vocals, presumably by Goineau. The grimy distortion which dominates the first side of untitled tracks speaks not only of the shitty cassettes that they recorded onto but also a glowing appreciation of Crass later blossoming into a full-throttle onenote minimalism prescient of the work that was just getting started by Rhys Chatham and Glenn Branca. Assuming the tracks are chronological, the second half of the record finds Xeerox really coming into their own with the monomaniacal march of metal bashed rhythms, insistent electronic blorps, weirdo tape-reverse effects, maddeningly repetitive guitar plucks that put us in the best kind of trance, and some torturous amplifier noise that would make Matthew Bower howl with respect. A pretty bloody awesome find: and a pretty bloody limited pressing of just 300 copies that comes with a nicely produced booklet of> suitably xeroxed band photos and instructive history from Xeerox's Javier Hernando.

Aquarius Records. San Francisco

-------------------------------------------------------------------------------------------------------------------------------------------------------


Now this is a fascinating album. A while back (fruitlessly) searched for some underground albums from Spain. I decided to give it another shot recently and I found this album along with a fex other gems that I might share in the future. This comp is heavily influences by the No Wave scene going on in New York at the time- It has a really weird and hypnotic quality to it thanks to its incredibly muffled and hectic guitars and great use of backmasking. In short, it's unlike any No Wave album I've heard before and I highly recommend it.

Public Embarrassment Blues

-------------------------------------------------------------------------------------------------------------------------------------------------------


Xeerox come across like Teenage Jesus playing the theme from Batman on a hand-held tape recorder

David Keenan. The Wire

-------------------------------------------------------------------------------------------------------------------------------------------------------


Oh gosh, this is so ace. The increasingly impressive Anomia label bring to the world an incredible first ever issue of Xeerox tracks, featuring the earliest known recordings of Krishna Goineau, vocalist for Liaisons Dangereuses. As regaled in the accompanying 14-page booklet of notes and photos, Xeerox formed in Barcelona when a 15 year old Krishna (calling himself Jerry Latex) met Javier Hernando at a record store called Gay&Co. The two bonded over Pere Ubu's 'Datapanik in the Year Zero' and a mutual love of Neu!, Kraftwerk and Crass, and formed Xeerox along with Germán Lázaro, Mario Almonacid, Magda Redondo, Cheity, Raul Guber and Luis Lorenzo. In the finest No Wave punk tradition they could barely play instruments, but, as evidenced on these previously unreleased recordings, they could still make a filthy f**king racket full of burned-out motorik thrust, reversed tape loops and guttural holler. The tape recordings have since degraded with a lovely metallic gritiness, but the group's vitality still burns like zinc. This is a straight essential for anyone with an interest in early, revolutionary wave music.

Boomkat