A1 A Love From Outer Space 4:19
A2 Snow Joke 4:06
A3 Baby Milk Snatcher 3:15
A4 The Madonna Is With Child 3:55
B1 In A Circle 4:40
B2 Miles Apart 2:57
B3 Green Hazed Daze 3:22
B4 Water 2:50
B5 Long Body 1:22
C1 Up 6:06
C2 Super Vixens 5:39
C3 Spook 3:10
D1 Crack Up 4:13
D2 And I Say 2:46
D3 Sperm Whale Trip Over 4:48
D4 Untitled 0:30
RECORD STORE DAY 2022
OPAKOWANIE: GATEFOLD / LINER NOTES
Po raz pierwszy na winylu
"embracing dub, soul and paisley pop, A.R. Kane pushed boundaries most of their contemporaries completely ignored.” - Pitchfork
“the great lost group of the 80s” - Simon Reynolds
“arguably the most criminally under-recognized band of their era” - Jason Ankeny
“some of the 80s’ most extraordinary music” - The Guardian
In the beginning there was only Black Noise.
That’s how the late music writer and art critic Greg Tate began his new liner notes for this issue of Americana. He took the scope of A.R. Kane’s musical project way back—all the way back to the origins of Black music—because the band’s musical explorations and accomplishments are just that massive, although you wouldn’t know it based on the reception they’ve had.
Rudy Tambala and Alex Ayuli, the musical minds behind A.R. Kane are “two barely legal art-damaged aristos of Malawi/ British and Nigerian descent raised in cockney-sprechen East London,” as Tate referred to them: “two dope boyz who’d telepathically claimed each other as best friends around age 8 and who, in 1986, claimed all the aforementioned hallmarks of Black Alienation, Black Rage, Black Silence, Black Noise and Black Ragga as their sonorous and luminous own.”
It’s no exaggeration to say that A.R. Kane was one of the most important bands of the late ‘80s and early ‘90s: They started the shoegaze trend, they invented dreampop, and they pushed the envelope of what the corporate suits (ok ok ok, Geoff Travis from Rough Trade and a few others, hardly THAT corporate) that repped them considered to be Black music. And yet, when it came time for the masses to rally around them—crickets.
The music industry is in an age of rediscovery—we’re all looking and listening back, unearthing overlooked masterpieces and reconsidering their importance now. It’s time for A.R. to be recognized. Here’s Tate on A.R. Kane’s resonance today:
Americana contains the arc of A.R. Kane’s revolutions and evolutions, from discordant and dissident free Black rhythmand-noise radicals to breezy chamber-dance romantics. Bold and self determined transformations which in the best and most bodacious spirits of Bessie and Billie declare ’taint nobody’s business if we doowop. This anthology captures the superfreaky derring-do of A.R. Kane as head-on full-metal jacket decimators of the false racial and genre boundaries which existed in the public and corporate lack of imagination in the ’80s. Americana tracks the transformative and liberating changes A.R. Kane wrought on not only musicians in their immediate musical environment and sphere of influence, like The Veldt and My Bloody Valentine, but dare we say on the mutable psyche of the muse music itself.
MUSICIAN QUOTES: “‘Kaning’ means going to the threshold of creation, of maximum potential where all things are possible yet uncreated, the realm of Lucifer and the Dark angels, the shoreline where angels build sandcastles in defiance of the creator, and knit our world from love and light. Just kidding. Or am I? The creation is not a billion years in the past, it is always just ahead and above, it is our near future. The question is, how much of it do we block, and how much do we allow to become. This is the level of creativity we aspired to, without having a bloody clue. But this is what drove us to make music, as ill-equipped as we were.” - Rudy Tambala in The Quietus