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艺术家：合辑、菲利普·金
标题：所有年轻机器人：廉价商店合成器流行乐 1978-1985
发行年份：2025
唱片公司：夜校唱片
流派：合成器流行乐、新浪潮
音质：MP3 320千比特每秒 / 无损音频（音轨）
总时长：01:22:34
总大小：192 / 521 MB
网站：专辑预览
曲目列表：
1. 设计乐队 - 预感（03:43）
2. 愿景乐队 - 路西法的朋友（04:05）
3. 理查德·伯恩 - 外星女孩（03:04）
4. 约翰·霍华德 - 我与你合拍（03:28）
5. 伊恩·诺斯 - 我们并不孤独（02:13）
6. 塞尔温·艾梅奇 - 未知之物（03:02）
7. 哈里·卡库利 - 我在火箭上（03:26）
8. 里奇·王尔德 - 女士想独处（03:39）
9. 比利·伦敦 - 女人（03:23）
10. 艾伦·伯纳姆 - 科幻小说（03:50）
11. 微生物乐队 - 电脑（02:40）
12. 古克-Q乐队 - 我是一台电脑（03:21）
13. 格里与全息图乐队 - 格里与全息图乐队（04:12）
14. 军阀乐队 - 终极军阀（03:30）
15. 玛丽娜斯乐队 - 来自木星的弗雷德（02:45）
16. 迪伊·杰·伯特与伊格尔 - 我是你的主人（02:41）
17. 佩塔·莉莉与迈克尔·普罗塞斯 - 我是一颗定时炸弹（03:19）
18. sole姐妹乐队 - 重要的不是你是谁而是你怎样（03:34）
19. 阿拉斯泰尔·里德尔 - 收到我的信号了吗（03:41）
20. 卡雷尔·菲亚尔卡 - 臂章（03:02）
21. 约翰·斯普林盖特 - 我的生活（04:27）
22. 白炽灯乐队 - 名人（03:22）
23. 飞盘迪斯科乐队 - 静止（04:02）
24. 梦想单位乐队 - 沧海一粟（04:11）
由菲利普·金汇编
“随后合成器流行乐兴起：那些发型糟糕的家伙们，弯腰伏在满是电线和自制音调振荡器的键盘操控设备前，发出的声音就像一群鹅在风洞里放屁。太棒了！70年代就是这样结束的：不是以一声令人毛骨悚然的巨响，而是以廉价的、合成的、令人萎靡的呜咽。”
尼克·肯特，《新音乐快递》
《所有年轻机器人：廉价商店合成器流行乐 1978-1985》是一张新合辑，记录了80年代流行音乐中具有时代定义意义的合成器声音的底层面貌。由菲利普·金（此前曾汇编《所有年轻流氓》《最佳闪光》和《胸部——廉价商店华丽迪斯科》）汇编，这里的音乐将朋克末期那些摆弄新的廉价合成器的DIY合成器爱好者，与那些崇拜加里·纽曼、赶时髦乐队和丹尼尔·米勒的静音唱片公司所开创的新音乐的职业词曲作者联系起来。
这张合辑收录了罕见的自学成才的前卫流行乐、原始-techno朋克、志在巅峰却跌落谷底的排行榜失利之作，以及备受推崇的地下合成器经典之作，描绘出一幅美妙的失败图景。合辑配有菲利普·金撰写的详尽 sleeve notes 和前所未见的图片，所有24首曲目均由RPM内部工程师西蒙·墨菲重新制作，其中许多曲目因母带丢失而从黑胶唱片中提取。
《所有年轻机器人》所讲述的故事，是在1976年朋克音乐出现后，廉价模拟合成器进入市场，以及发行网络和独立唱片公司激增所带来的新机遇。尽管受这些因素影响，全球涌现出的音乐被斥为虚假、塑料感的产物，与朋克的吉他主导革命相悖，但值得注意的是，《所有年轻机器人》中的许多音乐都是在卧室、简陋的录音室和自制设备中创作的，设备往往是借来的。在唱片公司急于从性手枪乐队、冲撞乐队（当然，两者都签约了大唱片公司）的成功中获利的时代，这些艺术家在几乎没有预算或公关团队的情况下，难以在这场新的淘金热中脱颖而出。电台和唱片公司极度渴望出现新的 Yazoo 乐队，结果证明，需求是发明之母。
当时，合成器是未来的音乐，是一种闪亮的新机器，用一根手指和一台4轨录音机就能弹出管弦乐队般的声音。在曼彻斯特前卫恶搞乐队格里与全息图乐队手中，它成了一种脉冲式的、讽刺性的武器……这是《Messthetics》经典作品中唯一用来嘲讽新浪潮时尚的乐器。在汉堡，16岁的安德烈亚斯·多劳用它创作并录制了全球热门歌曲《来自木星的弗雷德》（后来授权给静音唱片公司），由他的女同学担任 vocals。这里收录了难以找到的英语版本（当然是《来自木星的弗雷德》）。许多已经拥有辉煌职业生涯的艺术家也迷上了合成器，录制了以太空、电脑、未来，当然还有爱情为主题的合成器赞歌。曾是 Squeeze 乐队成员的哈里·卡库利，在1979年录制了一张个人专辑，其中包括令人难以置信的强力合成器流行乐佳作《我在火箭上》，可惜从未走红。同样，Neo 乐队和美国强力流行乐中坚力量 Milk ’n’ Cookies 的伊恩·诺斯买了一台 Korg MS20，用磁带机录制了《我们并不孤独》，这是一首绝对被遗忘的极简合成器流行乐经典。《我们并不孤独》还与约翰·霍华德未发行的曲目《你会看见》一起收录在2025年4月12日发行的廉价商店合成器流行乐 sampler 7”中。
合辑中还有许多首次亮相的曲目。Sole Sister 是一个神秘的三人组合，曾出现在《Scaling Triangles》合辑中，该合辑收录了女性主唱、与酷儿相关的后朋克/地下音乐，其中也包括 The Petticoats 乐队。Selwin Image 来自旧金山，成员包括最近解散的强力流行/朋克乐队 The Pushups 的成员。他们那极其 catchy 的《未知之物》充满了新浪潮能量——想想 XTC 和 Sparks 的风格，但直到现在才发行。Dream Unit 的《沧海一粟》是早期的合成器浪潮曲目，充满了快乐分裂乐队的乐器风格，此前仅在一张早已被遗忘且极其罕见的自发行 EP 中出现。Incandescent Luminaire 的《名人》掩盖了一个典型的挣扎故事：一个小镇试图在残酷的行业中立足，但这首令人兴奋的新浪漫-合成器浪潮跨界作品带有 OMD 式的忧郁，听起来十分悦耳。行为艺术家佩塔·莉莉和迈克尔·钱斯的女权主义极简浪潮曲目《我是一颗定时炸弹》是一个新发现，注定会获得新的 cult 地位。它曾以7”单曲形式发行，直到现在才重见天日。
与上述地下的、未曾成功的合成器流行乐相对的，是那些雄心勃勃、甚至有些花哨的成功尝试，它们的自信具有永恒的优雅。新泽西人比利·伦敦（真名埃德·巴斯）试图借助合成器热潮，通过大唱片公司发行了《女人》，这是一首基于《路易路易》节奏的摇摆新浪潮曲目，带有路易·里德式的低俗 vocal，随后在合成器 chorus 中爆发。这首歌反响不佳，但有这样的 chorus，你会想知道为什么？前 Glitter Band 成员约翰·斯普林盖特的《我的生活》确实史诗般宏大，绝望的和弦进行和巨大的鼓声，在曲目中至少变成了三首不同的歌曲。在你疑惑之际，歌曲又美妙地回到了主歌。
充满干冰的舞池也有不少曲目。Design 的《预感》和 Vision 的《路西法的朋友》是绝对的极简合成器 banger，深受喜爱，在这里获得了新的生命力。The Warlord 的《终极军阀》于1978年发行，是一首自制的原始 Hi NRG banger，后来由加拿大的 The Immortals 重新录制，并在俱乐部走红。一人乐队 Disco Volante 的《静止》于2012年由合成器浪潮唱片公司 Medical 重新发行，但这是它首次出现在黑胶合辑中。闭上眼睛，你可以想象 Felt 乐队的劳伦斯如果早一点拥有一些廉价的 Korg 合成器，会是什么声音。总部位于直布罗陀的三人组 The Microbes 想象一台电脑编程让人们跳舞——多么有先见之明——最终创作了一首富有推进力的机器人放克曲目，美妙的弹性贝斯在巨大的鼓机之上演奏。此前被比利时唱片公司 Stroom TV 发掘的 Dee Jay Bert & Eagle 那带有浓重欧洲口音的《我是你的主人》，以一种相当可怕的方式要求听众“来到天堂！”
《所有年轻机器人》是第一张摆脱那种认为阴郁的极简合成器和冷浪潮是合成器流行乐首次热潮唯一产物的叙事的合辑。菲利普·金和 School Daze 唱片公司描绘了一个复杂得多的世界：除了丹尼尔·米勒（他在这里制作了艾伦·伯纳姆受大卫·鲍伊《Low》影响的《科幻小说》）那严肃、粗犷的作品外，还有大量不顾一切的跟风之作、意外的主流热门、雄心勃勃的流行戏剧以及毫无进展的大唱片公司赌注。关键是，这张合辑模糊了垃圾与珍宝之间的界限。
要是这两者可以互换呢？
要是这一切都是科幻小说呢？
Artist: VA, Philip King
Title: All The Young Droids: Junkshop Synth Pop 1978-1985
Year Of Release: 2025
Label: Night School Records
Genre: Synth-pop, New Wave
Quality: Mp3 320 kbps / FLAC (tracks)
Total Time: 01:22:34
Total Size: 192 / 521 MB
WebSite: Album Preview
Tracklist:
1. Design - Premonition (03:43)
2. Vision - Lucifer's Friend (04:05)
3. Richard Bone - Alien Girl (03:04)
4. John Howard - I Tune Into You (03:28)
5. Ian North - We're Not Lonely (02:13)
6. Selwin Image - The Unknown (03:02)
7. Harry Kakouli - I'm On A Rocket (03:26)
8. Rich Wilde - The Lady Wants To Be Alone (03:39)
9. Billy London - Woman (03:23)
10. Alan Burnham - Science Fiction (03:50)
11. The Microbes - Computer (02:40)
12. The Goo-Q - I'm A Computer (03:21)
13. Gerry & The Holograms - Gerry & The Holograms (04:12)
14. The Warlord - The Ultimate Warlord (03:30)
15. Die Marinas - Fred From Jupiter (02:45)
16. Dee Jay Bert and Eagle - I Am Your Master (02:41)
17. Peta Lily & Michael Process - I Am A Timebomb (03:19)
18. Sole Sister - It's Not Who You Are But How You Are (03:34)
19. Alastair Riddell - Do You Read Me (03:41)
20. Karel Fialka - Armband (03:02)
21. John Springate - My Life (04:27)
22. Incandescent Luminaire - Famous Names (03:22)
23. Disco Volante - No Motion (04:02)
24. Dream Unit - A Drop In The Ocean (04:11)
Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.
All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records.
Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen
imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes.
The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention.
At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4 track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with already-storied careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025
.
There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now.
The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reed-style sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain.
The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man-band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure.
What if the two things are interchangeable.
What if it’s all science fiction?
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