Sunday, November 1, 2020

The first release on the re-launched dadastic! sounds is
by Romanian artist 

Our first release is the project of Dan Tecucianu who lives in Bucharest, Romania. Dan is also a visual artist who creates intricate collages that are much in the manner of his music. Out of what the casual viewer or listener may first perceive as chaos, a story emerges. The stories contained on FROM FRAGMENTS OF ENDEAVOUR are told through low-tech and old-school re-assemblage of everything from classical to jazz to sacred clips of ancient cassettes, and Dan's own instrumentation. 

The songs may be based on random sounds, but those sounds are cut-up, recycled, looped, and deliberately re-assembled to create music, not just soundscapes.  This is fantastic stuff for fans of The Residents, Captain Beefheart, Throbbing Gristle, and Psychic TV...or even John Cage.
FROM FRAGMENTS OF ENDEAVOUR comes highly recommended.  We don't release anything we don't love and there's a lot to love here.  Part pathos, and part humor and Dan's own natural musical talents set Dolores Mondo Stash apart from other aural experiments.

Dolores Mondo Stash may at first sound like "ambient" music, or even found sounds, but a closer listen reveals itself to be deliberately composed songs. 
It's an all-new approach. Have a listen.  It will grow on you-perhaps even grow on you like mold.

Sunday, August 25, 2013


This five-song EP is as fresh and fun as it was when it was first recorded in the late 1980s.  It’s full of unexpected twists and turns while retaining the beat and a playful sense of joy.   rapid-I was one of the few jazz-punk bands to emerge from the West Coast during the 1980s, which makes the EP even more of a bright spot for collectors and fans of that era; It’s sort of Barney Miller crossed with James Chance, New Style pulls you into the groove and occasionally spits you back out, but never leaves you too far from getting back into the beat.  It never takes itself too seriously....this is No Wave that's on the funkier side. The music is full of percussion, sharp guitar hooks, bass-heavy bottom with a sense of precision while remaining loose and spirited.  The EP contains a full-length version of the title song and a shorter radio version that stands on its own.  This is another of the long-lost gems of Seattle proto-grunge that deserves to be heard and enjoyed.  The music was released in the mid-2010s but it's still available.  CLICK HERE!

Wednesday, February 22, 2012


New stuff. Old stuff. Paris.   Martha's Vineyard. Seattle. Jakarta. London. Portland and Buenos Aries. Rock. Funk. Folk. Garage. Wierdo. At dadastic! sounds we don’t let genre or language or location stand in the way of the music we love. Neither should you. So here are twenty turned-on hits by the original artists that cross all those boundaries. Of course their not all by the original artists. We’ve included two cover songs that completely transcend the originals. All of the songs here are favorites of ours. No internet contests, no paid inclusions no hype beyond trying to get you to pay attention and support some of these artists. Go ahead; buy a CD or download from these artists…or us.
The music on That’s Dadastic! ranges from a forgotten teenage garage band recorded almost 50 years ago to music that is not quite back from the CD plant. And how could we release a compilation without including some old pre-grunge favorites from Seattle? “on the backs of giants“ and all that stuff, as somebody said. Along with those unknown artists there’s a few well-known producers, sidemen and engineers here too; but we’ll let you figure out who those people are rather than tooting our horn. Some of the songs are so strong we didn’t mind that they were recorded with no production qualities to speak of. We’re more interested in having you a listen to a song you like and sticking around to discover some new stuff.
There’s way too much to mention and too many people to thank. That’s why we’ve set up a website to give you details, let you know where to buy songs from these artists and download bonus tracks. We’re even updating the site from time to time…news, freebies, and all kinds of glamorous stuff. Isn‘t all this mind-bending? Sure. Just so you don’t forget.

Friday, December 9, 2011

Over the decades there’s been many bands calling themselves The Fugitives. The mid-60s group from Portland may have been the first-but it didn’t stop the record pressing plant from misspelling the name on the bands first single, ‘We Gotta Run’. Though it was labeled ‘The Fugatives’ Portland Oregon kids already knew who they were. The Fugitives were a popular band on the Northwest music scene at the time. In 1965 they'd won the city's Teen Fair battle of the bands and were on their way to national prominence. Today there are barely a footnote alongside the great bands that are associated with Portland during that era, the most famous being The Kingsmen and Paul Revere and The Raiders. The Fugitives were and are every bit as good as any band working in the Northwest at the time, so it’s an honor to be able to re-introduce them to 21st century listeners. Somewhere along the way we discovered an anonymous teen journalist  writing in one of the local Portland newspapers. We thought we'd share it here since it such a step into the past!  The article:


Although the oldest member in the group is only 19, The Fugitives with Ann and Rhonda are an all-around professional group who can put on a great show to please a variety of audiences. Managed by John Hillsbury, who’s noted for his contributions to live theater in Portland, The Fugitives are winners of last year’s Teen Age Fair, winning over 96 other combos, and Rhonda (Rhonda Anderson) is a Miss Teen Talent contest winner in Long Beach California.

Band members can play anything from 4-4, hard rock to western and jazz, to formal dances. They prefer ballad rock. They have written much of their own material. A current disc “We Gotta Run” is on many jukes and is being played regularly by KGAR. The flip ballad is ‘Don’t Pretend’. On the Tork label. they are recording six new songs which were proven popular at numerous dances at which they have played.

When the group appears, a technical man, Dann Egan, travels with it to stage the show. The group is well-organized, talented, versatile and conscientious.

From March 10 to 19th The Fugitives with Ann and Rhonda will tour several cities in Canada, including Vancouver and Victoria, with even more exciting schedules coming up this summer

The group includes Bob Bentz, electric organ and sax; Mike Walker, lead guitar; Steve Evans, bass: Larry Burton, drummer; Rhonda, jet-dancer;: Ray Walker, lead singer; Ann Scott, blonde bombshell. 
Steve and Ray attend Jefferson, Rhonda goes to Marshall and Ann to Wilson. The remaining boys have graduated.

The A-Side of The Fugitives debut single is included on our compilation THAT'S DADASTIC!  Listen to 'We Gotta Run' below.


Thursday, November 10, 2011

Los Venenos Tells It All

What if Jacques Brel got ass-pounding drunk and started a fist fight with Johnny Cash? Imagine Jacques broke his good hand in that fight and ran off to Buenos Aires where he ended up homeless on the streets playing for coins to buy the cheapest rot-gut liquor he could find. If all that happened the resulting sound might be like Los Venenos.

Los Venenos was formed in 2010 by Gabriel Perez, a much nicer guy than the sound, not the band I'm describing. Perez’s original vision was supposed to be a solo project. but soon he was joined by his sister, Mariana Teo. The Perez y Teo combination worked so well that the two began making at-home demo recordings…the kind of simple, expressionistic, ham-fisted recordings that no studio recording could compete with.

“Our influences are 60s rock, country, rockabilly, old school punk, new wave, and alternative music,” Gabriel tells me.

“The idea of the band is being a bit different in comparison with other music. Our inspiration is simple things that happen in life and the things that bother us. Many people live with those situations, so we use the resource of the raw sound to express them. We like to be more direct with the lyrics“.

Maybe the lyrics sound more direct because English isn’t Perez or Teo’s first language. The lyrics are starker than Americans are used to, but they’re still poetic. Everybody knows-or should know-that the Spanish language has a profound tradition of literature and poetry.

“Our idea is a cultural exchange too. To create the feeling of music of all the world that is expressive and from the very inside of people's heart. That’s the music that e that deserves our ears. So with Los Venenos, we try to express those things that are annoying in the society…cruelty, poverty, selfishness”.

What Gabriel Perez doesn’t mention is that ultimately Los Venenos’s music is filled with a kind of desperate hopefulness.

“Mariana plays bass and sings the chorus. I play guitar, do vocals and play drums. This formation allows the music that we want to do. It’s critical music. It expresses something that is not right“.

"The name "Los Venenos" comes from a tale by Argentine author and social critic Julio Cort├ízar. The meaning is similar, but not exactly the same as the English word 'poison'. As we know, this means something bad or dangerous. Our songs are a little bit like that. They’re about things not many people want to know about. That summarizes the whole thing. People telling other people things they already know but things they don't recognize. Things that they would rather not know".

“We’d like to do live performances if it's possible. Meanwhile, we continue writing and recording songs. That what Los Venenos believes, want to do and to express“.

Los Venenos have released their first single and video of the song ‘Return’. They're also featured on the recent release THAT’S DADASTIC! The 20 song compilation includes their version of Leonard Cohen’s ‘It Seems So Long Ago, Nancy’. It/s much more raw, gutsy and powerful than the original. The duo are also recording their first full-length album, appropriately titled Males Que No Todos Conocen roughly translated; Things Nobody Knows.  It should be released in the Fall of 2020.

Friday, September 2, 2011


:ayaya" was the first digital single released in 2011 by Inframe Project from Jakarta Indonesia. It's available on the dadastic! sounds compilation album THAT'S DADASTIC!
The band was fronted by one of Asia's up and coming guitarists, Achman Ananda and
vocalist Fajri Rusani. With Mean Sibarani on bass guitar and Jessi Mates on drums.
The video was created by Dirk Prophet.

Indonesian Lyrics:

Bulan, Belum Terbelah dua
ayaya.. untuk apa, sakit hati karena cinta?
wakakakaka.. tertawa sajalah
English Translation:
The moon has not broken into pieces yet
Wakakakaka...let's just laugh
Songwriters: Fajri Rusani/Achmad Ananda
Recorded at Inframe Studio, Jakarta Indonesia

Bintang masih bercahaya
bukan akhir dunia
kalau hanya karena putus cinta

ayaya.. mau bilang apa
jika putus bercinta, yasudahlah

wakaka.. itu hal biasa
wakakakaka.. karena kita
hidup di dunia diberi cinta agar bahagia

The stars are still shining
It's not the end of the world
Just because your heart is broken

What is the heartbreak of love?
What can you say
When your heart is broken. Just get over it.

 and © Rusani/Ananda/Inframe Project 2011
Fajri Rusani / Vocal
Achmad Ananda / Guitar
Jessi Mates / Additional Drums
Mean Sibarani / Additional Bass

Producer/Engineer: Fajri Rusani / Achmad Ananda

Wednesday, January 26, 2011


IDIOT CULTURE is the latest project by reclusive Seattle guitarist Byron Duff. Byron began to make his mark in the 1980's with the band The Spectators. The band were known for jaw-dropping performances in the underground clubs that were legendary even before they spawned the emergence of what would be the 1990’s Seattle Scene. Bob Mould (Husker Du, Sugar) once called The Spectators "the best unreleased band in America". Although the band lasted no more than a year they landed opening and touring spots with the Huskers, Dead Kennedys and The Stranglers among others. Before splitting they developed a strong following that lasts to this day.

In 1986 Duff formed ’Dive’ with bassist TJ West and drummer Steve Dodge and continued into the 1990's. After Dive, Duff and drummer Steve Dodge reformed as ’Moth’. Eventually the three original Dive members-Byron Duff, T. J. West and Steve Dodge-were reconstituted and spent time writing and recording for several years out of the limelight. This trio that has emerged as Idiot Culture.

Because Byron Duff been missing from the Seattle music scene for a number of years, his re-emergence and the upcoming album has been highly anticipated among those that are familiar with his work. Duff’s sound in Idiot Culture definitely leans heavier nowadays, but the music is still a hybrid of seemingly contradictory styles. One minute the sound may seem metallic or punkish. A few bars later the melody is overtaken by jazz chords. At times the prog rock guitar suddenly transforms into a surf riff….imagine Dick Dale doing Kraut rock…if that’s possible.

The album is full of trance-like riffs and hypnotic hooks. But it’s also clear the band is also not afraid to tread into the realm of momentary unrestrained chaos just for the joy of it. There's always something unexpected to rise to frenetic levels, but the pace is leisurely enough to allow the soundscape to fully sink in. The album was recorded live in-studio analog recording and mixed by the renowned producer Jack Endino. Idiot Culture isn’t the product of, or inspired by Soundgarden, Nirvana or Mudhoney, but Endino‘s work with those bands makes him singularly qualified to understand and enhance what Idiot Culture wanted to achieve. His deft hand takes care not to detract from the original intention of the recordings. He’s allowed the sound to remain incredibly tight while allowing tones to go where they may…is that a ripped speaker cone or Duff‘s playing? Was that feedback misplaced or on purpose?

Idiot Culture uses long passages and favors guitar and bass as a way of delivering deeply into compelling sounds rather than rely on solos. This is stuff you’d listen to late at night, motionless in an altered state…or as loud as hell in the middle of a herd of buffalo. It works successively on both levels. It's all the more impressive for it’s seamless layering of guitar sounds played simultaneously. Duff has long been regarded as an extraordinary guitarist with the ability to play several parts in unison as well as abrupt effects changes. Dodge’s drumming is strong but not ham-fisted and West’s bass plods, plugs along and shines exactly where it should. The results here are extraordinary.

Click Here

Wednesday, March 10, 2010


Bill Bell's latest CD The Vicar's Son delves into traditional and contemporary Irish, Scottish and American fiddle music...but that's only a small slice of Bell's musical interests. His musical resume includes work with iconic underground pop stars, film, the avant-garde and Rai and Raga music.

Bell’s early musical influences were church hymns and Country/Western music. These influences were, according to Bell due to his father being a Southern Baptist minister and an accomplished Western songwriter and singer. Bill was also introduced to classical music and started lessons on the violin at age 12. He later lost interest to pop influences with the invasion of the British and the Beatles. Bell majored in choral composition in college and in the late 1970s but his later interests found him concentrating on electronic music, focusing on “Musique Concrete”.

“I spent years with razor blades and magnetic reel to reel tapes“ he recounts. One result was “The Sirens of Galilee” a four years-in-the-making composition of found, recorded and manipulated sounds. His influences at the time were Morton Subotnik, John Cage, Karlheinz Stockhausen and Walter Piston. Living in Los Angeles afforded Bell the opportunity to meet other electronic musicians like Bob Moog, Tom Oberheim, Serge Teherepnin and Don Buchla. Bell worked with some of their earliest synthesizer modules. Electronic music and its frontier possibilities led Bell further into a period of experimentation with microtonal, non-twelve tone composing systems. This came in handy when ten years later he met and worked with kitch icons The Del Rubio Triplets.

“While living in Long Beach I met the amazing Del Rubio Triplets at a bar/lounge on Pacific Coast Highway. At this time they were playing lounges and rest homes. It was the beginning of a long friendship and collaboration as I brought them into the pop world as an opening act for the Fibonaccis at the Masonic Temple in Long Beach in 1988. We recorded the album, “Three Gals, Three Guitars,” and their career was launched into the Hollywood underground. After the initial success of their first LP I produced “Whip It” and “Jingle Belles,” both CD releases in 1991.

During this same time period Bell also studied film composition with Earl Hagen and Jerry Goldsmith. “ I assembled a recording studio in Long Beach and recorded projects with some early Southern California bands including, the Suburban Lawns, Su Tissue and Rhino 39. Bill also contributed violin tracks to bands he says he respected; the Fibonaccis, Electric Sheep, Non Credo and Giant Ant Farm“.

  In 1992 Bill Bell contributed tracks to the film score of “Kafka” with Jeremy Irons and wrote and produced “Frightened by Nightingales,” with Josey (Josie) Cotton in 1993. His later work with Josie Cotton resulted in the co-production of another Josie (Josey) Cotton CD, the popular “Invasion of the B-Girls.”

As a matter of clarification he often used his middle name ‘Rhea’ instead of ‘Bell’ and much of his 1990s music was credited as Bill Rhea. After the completion of “Frightened by Nightingales” In 1993 and 1994 Bill began recording orchestral and mandolin tracks on an international music project with the Algerian Rai singer, Rimitti. These recordings were produced by Jean Benoit Vauxelaire in Paris, France and with Geza X in Hollywood. Other musicians contributing to the two CDs were Robert Fripp, Flea, Geza X, East Bay Ray, and the Fowler Brothers. Bill has also written and produced the mockumentary, “Mysteries in Midgetville.” He is also a member of the Intercontinental Philharmonic Orchestra and contributed multiple tracks on the 2007 release of “The Pillory,” by Jasun Martz.

Since the late 1990's Bill has concentrated on American and Celtic fiddle music, having produced two CD‘s. “Under the Dome” (2003), is a compilation of Civil War music and his latest, ‘The Vicar’s Son,’ The Vicar’s Son’ is a collection of traditional and original Scottish, Irish and Texas fiddle music. It includes folk tunes Bell has picked up on his travels in the British Isles as well as his own inspired tunes. He imbues the recordings with beauty and care, bringing in top of the line musicians Paul Burton, Eddie Young,Dan Richardson, Enrique Platas and Red Dice to provide sensitive background accompaniment.The result is warm, inviting folk music in an historical context with Bell's contemporary you can hear in the title track. This is friendly, unaffected music by an equally friendly and unaffected artist, with just enough mystery to provide an edge. Music that is presented with warmth and just a touch of slyness. According to Bill:

“I found my fiddle in a pawn shop in Lubbock Texas in November 1983. It is labelled 'Aldric' Paris France, 1828. I hope you enjoy listening to 'The Vicar's Son' which is, after all, just a fancy way of saying "Preacher's Kid".



Vicar's Son from Nickolas Duarte on Vimeo.

Saturday, March 6, 2010

Monday, February 22, 2010


In November of 2000 seven musicians who had never performed together walked into a studio in Buenos Aires to conduct an experiment. The engineer set the tape rolling and the band began to play. There was no rehearsal, no charts, no previously agreed on strategy. This project was the brainchild of Roberto Pettinato; author, social commentator, TV personality and one-time member of Sumo, the most influential rock band ever to come out of South America.

During the initial session and another the following week the players came up with ten solid tracks; all of them improvised and mostly without overdubs or mixing. The result is El Yo Saturado (I Am Saturated) by Pettinato and The Pessi-Mystics. The music is unapologetic, chaotic, beautiful anti-pop. It combines spaced-out psychedelic dirge and a free-for-all atmosphere unbounded by pop conventions. But El Yo Saturado is more than noise or intellectual meandering. It’s a solid slice of the beauty of process that satisfies as any polished product.

It was the vision of Roberto Pettinato that brought these performers together. Pettinato was already a well-know figure in the Argentinean underground, avant garde and alternative rock scene at the time of this recording. Pettinato had made his name as a journalist in the late 1970’s. He was also known as the on-again-off again saxophonist for Argentina’s most well-known alternative band Sumo.

Luca Podran the founder of Sumo was an Italian who had gravitated to London and Manchester England during the rise of post-punk. He had hang out and become friends with the likes of Ian Curtis of Joy Division, Mark E. Smith of The Fall, members of Gang of Four and A Certain Ratio. It was with this musical and cultural background that Padron found himself in Argentina to kick a heroin habit. Sumo’s mark on Argentine rock is as undeniable as it is indelible. Roberto Pettinato who was an asiring member of Argentina’s underground music scene became riends of Podran, and in 1984 Podran invited Pettinato to become part of Sumo. Pettinato remained with the band until it disintegrated with the death of Pod ran in 1987.

By then Pettinato had begun to venture into television as a late night music presenter. Pettinato continued to pursue his career as a musician by forming various groups and overseeing several experimental productions. His interest in both paid off and by the mid-90’s Pettinato began hosting a series of popular late night television shows in Argentina. His shows completely revolutionized Argentine television with their mix of music, interviews, humor and acidic political satire. Along the way Pettinato exposed his audience to artists that had largely gone unnoticed in Argentina. Artists like Van der Graff Generator, John Martyn, Nick Drake, The Velvet Underground, Ian Dury, and Joy Division with whom he had the connection to through the late Luca Prodan.

In November 2000 a chance encounter between Pettinato and Jose " Pepe" Navarro led to a discussion of how music is created. Within a couple of weeks Navarro and Pettinato set out to form an ad hoc band-The Pessi-Mystics-that included Pettinato, Navarro, Javier Saiz and Salvador “el Rojo” Agustoni. Ultimately Peter Bearish and brothers Gonzalo and Coco Rainoldi collaborated in the recordings. The resulting album would be “live” and without any rehearsal. The goal was not so much to “jam” but to spontaneously create the music even though the musicians had not rehearsed-in fact most of them had never even met-prior to the sessions there are clear shared influences in the music. Chief among them is the post-punk of Luca Prod an, the kraut rock of Holgar Czukay (Can) and contemporary psychedelia. In a departure from his normal role as saxophonist, Pettinato took on vocal duties and played guitar. The best of those experimental recordings were culled from two late night sessions. The result was ‘El Yo Saturado” (I am Saturated) .

The album was released in early 2001 to rave reviews in the Argentina press The opening track. “Joy Division (Three In The Morning) is an obvious tribute to Luca Podran and his friendship with Ian Curtis. It is as worthy of attention as any British or US single of it’s kind, but not surprisingly the song and the entire album found little attention outside South America’s limited alternative rock scene. Despite it’s critical success the album was released in a relatively small pressing, and has become highly sought-after.

This is an important, seminal work by an important group of artists. The album’s importance is punctuated by the fact that Roberto Pettinato is now one of the most recognizable figures in South America. He has gone on to become a media phemon and currently hosts the show Un Mundo Perfecto as well as publishing the popular South American rock journal La Mano. Pettinato is also the author of an account of his involvement in Argentina’s early alternative music scene as well as two books on comedy and satire.

dadastic! sounds is particularly proud to introduce ‘El Yo Saturado’ to a wider audience.



Thursday, January 21, 2010

THE GALS ARE BACK IN TOWN! In the mid-1980’s The Del Rubio Triplets became an overnight success-after 40 years of playing around the world, being chased by Abbott and Costollo, opening for Victor Borge and entertaining in every Nursing Home in Southern California! Three Gals Three Guitars made The Del Rubio Triplets household names-if your household happened to be in Hollywood-during the mid to late 1980’s The look-alike sisters went from the D- list to opening clubs from Tokyo to Brussels; they appeared with everyone from John Waters to Nathan Lane. At the height of their career Millie, Eadie and Elena were everywhere. They showed up on TV shows like Married With Children, Night Court and The Golden Girls. They did a classic turn by singing “Walkin’ In A Winter Wonderland” for Pee Wee Herman’s 1988 Christmas Special. They became the Queens of Kitsch and icons for outsiders who didn’t quite fit into the typical mold of pop glamour and pre-packaged talent. We here at dadastic! central are pleased to be able to offer the original 12” vinyl recording of the ladies’ first album. The treats on Three Gals, Three Guitars include standards like Besamo Mucho to The Neutron Dance and Walk Like an Egyptian…all performed in that inimitable Del Rubio style that made them the Queens of 80’s Kitsch. Go-go boots, hot pants, good cheer and unlikely covers by The Del Rubio Triplets make this collectors item. This LP is from the first, original 1988 vinyl pressing on Cabazon Records.

Music press kits

Friday, January 15, 2010

GIVE US SOME SLACK!  "Bigger than Breakfast is the 1988 debut album by Slack, a white funk quartet from Portland, Oregon. The album conjures an 11-song spell pulled from rap, fusion, punk, psychedelia, jazz, and croquet. Put an Oregon moontan on a skateboard, give it a dance beat and a groove so scorchin' it can dehydrate a fern bar, and you've drafted Slack. From the comedic temporary amnesia of "Brain Toast" to the tater-tot frustration of "Out to Lunch" to the gentle contemplation of "Spiders," Slack's varied stand-up attacked not only shoots to your soul, it could alter your DNA“. Bigger than Breakfast was the first LP produced by trombonist Bruce Fowler, a veteran of Captain Beefheart and Frank Zappa’s recording and performing bands. It’s a perfect antidote for those who pine for the days when alt/funk/jazz was fueled by erratic horns and clumsy lyrics instead of highly polished synthetic, soul-less sounds. Slack were indisputable masters of the kind of sweaty, alcohol-fueled live sets that often resulted in hangovers and poor choices in sex partners. Bigger Than Breakfast might not result in a trip to rehab, but it captures the essence of whiteboy funk perfectly.