MINIMAL MAN Shroud Of Orig US LP Synth Industrial Wave

	£		22
	$		29

** RECORD COLLECTOR **

MINIMAL MAN

The Shroud Of

Original US LP released on Subterranean Records in 1981. Includes Subterranean Records insert.

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"Insecurity, isolation terror - who is the Minimal Man? Rock & Roll electronics with timely dashes of black humour"

It's too easily the case that so many artists who came out of the late-'70s punk uproar -- and those of the other parallel scenes already coalescing at that time -- aren't as readily remembered or appreciated because they couldn't be specifically pigeonholed. Such was the case with Californian Patrick Miller, aka Minimal Man, whose recorded work throughout the '80s spanned everything from white noise to calm, ambient reflections, scattered among a variety of labels.

Miller, originally a student in art and design, moved to San Francisco in the late '70s, thoroughly exploring both film and music. He soon found friends and collaborators via the Subterranean label, notably including members of Tuxedomoon, and under the Minimal Man guise -- what Miller described once as a character who had "everything against him…rather than fixing a problem the correct way, he would make up his own delusions to get by" -- he began regularly performing what one critic called "antimusic" -- aggressive keyboards, shouted vocals, and the use of tapes almost made him a one-person equivalent to Throbbing Gristle.

By the time of the first full album, The Shroud Of, the band was more or less a trio, with Miller -- who specifically preferred and encouraged a rotating rather than permanent membership with his band -- joined by flute/sax/bass player Andrew Baumer and drummer Liliam Hart, along with a slew of guests.

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Minimal Man's first album -- murky, moody, aggressive -- more than lived up to the mysterious cover art Patrick Miller created, featuring a blank-faced mask against a dark void. Audiences used to the focused precision of industrial music as it evolved in later years might find what's created here a bit unfocused -- not to mention lo-fi, with Miller's voice often sounding like it was recorded one room over. Yet in the context of such fellow travellers as Chrome and Suicide, Miller's art made perfect sense, alien and unsettled, balancing drones, cut-ups, and keyboard noises ("The Shroud" is an almost perfect example of all three) with often extreme vocals.

The punk inspirations that Miller felt translated themselves more into the lyrics than anything else, but musically things are far less straitjacketed. While Miller is clearly the dominant spirit on the album, he often sounds like a participant in something larger than himself, guesting in often increasingly manic songs. In turn, said songs are often quite short, packing in all kinds of musical psychosis in short spaces, like the two-minute-long "High Why," the near equally short clangour and stentorian crawl of "Hospital," and the pulsing moans and heavy distortion on "You Are."

The swooping drones over Andrew Baumer's ominous bassline on "Two People" are suddenly halted by a sax squeal and Miller's burst of screaming, but in contrast much of "Now I Want It All" is almost power pop of a sort, unexpectedly anthemic while still very much in keeping with the album's uneasy feeling.

Tracks Are :-

Side One

Loneliness

Two People

High Why

Hospital

Blue Step

Hatemonger

The Shroud

Side Two

Now I Want It All

The Hex Of Sex

You Are

I Don't Resist

Jungle Song

She Was A Visitor

Released on 'Subterranean Records' in 1981

Catalogue No. SUB 18

Disc is in EX+ condition

Sleeve is in EX+ condition

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CD's £2.50 FOR THE FIRST THEN 50p FOR EACH ADDITIONAL

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