SEVERED HEADS Big Bigot VINYL LP Experimental Industrial Indie 1986 Ink Records
£
20
$
26
£ 20
Sold For
Jan 4, 2021
Sold Date
Dec 20, 2020
Start Date
1
Number Of Bids
Great Britain
Country Of Seller
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Description
SEVERED HEADS
COME VISIT THE BIG BIGOT
RECORD DETAILS
RARE ORIGINAL FIRST UK PRESS VINYL LP RELEASED ON THE 'INK' RECORD LABEL IN 1986.
CATALOGUE NUMBER # INK22
THE VINYL IS IN NEAR MINT CONDITION WITH A GREAT SHINE TO IT.
THE GLOSSY PICTURE SLEEVE IS IN EXCELLENT CONDITION.
PLEASE ZOOM IN ON THE PHOTOS FOR A BETTER LOOK AT THE RECORD.
A GREAT MID-80's INDUSTRIAL INDIE ALBUM
One of the longest surviving bands to emerge from the Australian post-punk independent music scene. They began in Sydney in 1979, incorporating elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. After many line-up changes featuring Garry Bradbury and psychedelic guitarist Simon Knuckey, Severed Heads was the vehicle for composer Tom Ellard‘Come Visit The Big Bigot’ was Severed Heads’ first record to be released commercially simultaneously in Australia, North America and Europe in 1986. It was a prime period for this 'industrial dance music' and Bigot was a respected album that did well from the tour they did with Skinny Puppy that same year. Quite a few people still define the band by this period. ‘Come Visit The Big Bigot’ was made on a Fostex 16 track recorder in Tom’s bedroom, employing the newly acquired AKAI S612 sampler and Roland SH-101 to create most of the drum sounds. The album signaled a new direction, flirting with the dance floor and the pop song. Presenting the Heads at their most cohesive, while retaining their distinctive musical stamp. Tom’s vocals are harmonized, slowed down, sped up, run through fuzz boxes, backwards, drum machine rolls, sampled guitars, horn sections, and voices but with a subversive rather than malevolent intention. Tape loops are more subtle and define their own space and texture.
THE BEAT 'N' SOUL
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