Great Lost Albums of the '80s

Uh-oh... this sounds pretty interesting. Is there any way to actually pick this up regularly? I mean, I'm looking for the CD, without having to sell my soul for it.

The reissue originally dropped back in 1996—you can usually find some used copies floating around for about $4 if you look hard enough. I’d suggest checking out Amazon or Half Price Books to see what's available.

Thanks.

Robert Cooper41 said:The World of Skin - 10 Songs for Another World (came out late '80s/early '90s... killer side project from Michael Gira of Swans)

Yeah, totally. That album is absolute gold, no question about it.
Gira and Jarboe are just a legendary duo, no matter how you slice it. Haven't spun this one in a minute, even though I still have the CD (some jerk once messed up the cover art—damn him—but I remember it had a three-headed dog on it).

you penetrate my eyes and you steal my memory
and each sensation burns another piece of me away
the mirrors turn to the wall reflecting what i'll be
and i'm afraid of dying
and i don't know where i've just been
so please... remember me...

If I remember right, those are the lyrics to the first track.

👍

back in our neck of the woods:

videosex-lacrimae christi

"come and lay with me... I want your body to suffer me" mmmm anja

Brenda Rodriguez17 said:mmm yeah,

I'm signing off on this one too.

When it comes to our local scene, I’m thinking Kozmetika: s/t. We seriously need a domestic electroclash revival right now!

When it comes to our local scene, Kozmetika: s/t. Domestic electroclash revival happening right now!

Wasn't that Goran Vejvoda's group?

I don't think he ever really fit the mold of those two guys who were actually part of a "band," if you know what I mean, but he definitely seemed like he had all the connections as a producer—and honestly, maybe even more than that, like the songwriter or the guy behind the whole vision and concept.

Jason Rogers said:Wait, wasn't that Goran Vejvoda's group?

"Kozmetika" was really more of a collective project that served as a revolving door for all sorts of talent—you had the painter Vlada Jovanovic, Goran Vejvoda, Sloba Konjovic (who was the music editor over at Studij B), Kosta Bunusevac, Misko "D' Boj", and even Oliver Mandic ... while they'd borrow vocals from people like Nebojsa Krstic and Srdjan Saper.
I'm fairly certain they only ever dropped a single album.

Up! 😁

Whenever people start talking about our local scene, Rex Ilusivii’s early work always comes up—and honestly, those tracks feel "lost" to me, mostly because I’m still not even sure if they were ever officially released on any physical media (and don't even get me started on his later albums; that's a different story entirely).
It was the sheer complexity of the sound that hooked me right away—that experimental approach to recording, using sampling, drum machines, and sequencers when they were still cutting-edge. Plus, there was this whole concept of "invisibility" and anonymity, all while he was incredibly prolific and constantly producing new material. It was backed by the genuine, heartfelt support from the crews over at Džuboks and Radio Novi Sad, which really made it all click for me.
I still remember the absolute lashing I took from editors back in '83 or '84 when I used to spin those tracks during my late-night slot on Radio Samobor. I had conditioned them to expect much more conventional, predictable sounds by then, so throwing something like that at them was definitely a shock to the system... 😁

Back then, Rexillusivi released that album specifically for Radio Novi Sad. On Side A, you'll find a collection of tracks he worked on alongside Massimo and Mladenovica, while Side B features a reimagined take on Erik Satie's Gnossiennes. Beyond that, there's a whole catalog of other recordings—some with those same collaborators and others with Marina Perazić—that haven't actually seen the light of day yet; they’re just sitting there, gathering dust on the shelves at Radio Novi Sad.

Is that guy still around?

The LP was titled Disillusioned.

Here’s a quick rundown of the tracks that didn't make the cut for that record:

Zla kob
Arabia (featuring Igor Perović, formerly of Jakarta)
Sex Machine (with Mladenovica)
Plavo jutro (with Perazić)

That’s what I found listed in Janjatović's encyclopedia—though, if I had to bet, I'd say there's probably more out there somewhere.

Rexillusivii passed away in a fire at his apartment in São Paulo on November 2.
At the start of the nineties, he moved to Brazil and began working under the name Suba. In what felt like such a short window of time, he managed to become one of the most sought-after and respected producers in Brazilian pop music.

AMG: Suba was a producer who played a massive role in weaving electronic textures into the fabric of the Brazilian pop sound throughout the '90s. He actually moved to Brazil back on March 15, 1990, thanks to a UNESCO scholarship. At first, he was a complete unknown, but he really carved out his own path—eventually making his mark everywhere from music and theater to dance, fashion, and even advertising. Looking back at his production credits, some truly standout albums include Tanto Tempo (Bebel Gilberto), Pierrot do Brasil (Marina Lima), Benzin (Edgard Scandurra), and Fuá na Casa de Cabral (Mestre Ambrósio). His debut solo effort, São Paulo Confessions—which hit the U.S. market via Ziriguiboom in 1999—earned significant praise from critics worldwide. It’s heartbreaking to remember that Suba's death occurred due to a fire in his São Paulo apartment on November 2, 1999. To honor everything he stood for, The Suba Institute was established to keep his memory alive.

São Paulo is a sprawling megalopolis—the largest city in South America—with nearly 19 million people calling it home. Back in 1992, it was actually the third largest city on the planet, sitting right behind Tokyo and Mexico City. Like any massive 21st-century urban center, the area surrounding São Paulo is defined by extreme contrasts: you have this ultra-modern, high-end chic existing right alongside deep, systemic poverty. On the São Paulo Confessions CD, Suba—the Yugoslavian-born Brazilian pianist, producer, and programmer—masterfully blended the sleekness of techno beats and sampled loops with traditional Brazilian musics. Before this, Suba had already played piano with legends like Hermeto Pascoal and Marcos Suzano, and had produced for major names like Marina Lima, Mestre Ambrósio, Edson Cordeiro, and Arnaldo Antunes. For São Paulo Confessions, he teamed up with percussionist João Parahyba along with vocalists Cibelle and Taciano. The inclusion of their live percussion, vocals, and various acoustic guitar melodies gives an incredible amount of soul to Suba's inventive arrangements. If I'm being honest, though, some tracks lose their magic when a standard techno dancehall bassline is thrown into the mix—that heavy, repetitive beat often drowns out the beautiful, subtle rhythms João Parahyba brings to the table. Still, there are gems on São Paulo Confessions like "Você gosta" and "Antropofagos," which both lean into those echoing street samba rhythms. Then there's the eighth track, "Sereia," which centers around what sounds like an oscillating electronic cuica. Ultimately, Suba—who tragically passed away from smoke inhalation during a fire in his São Paulo apartment and studio—was easily one of the most promising figures in modern Brazilian music. Even though his passing was a tragedy, Suba's legacy will continue through the inventive and visionary spirit of São Paulo Confessions.

The late Suba was truly just hitting his stride when that fire took him from us. As one of the most subtle and inventive producers in Brazil, his work with Bebel Gilberto helped propel him into the spotlight, and his solo album solidified his reputation. This particular collection—which isn't exclusively Suba's work but features a great deal of his touch—serves as both a testament to his immense talent and a tribute to the legacy he left behind. I find the three live duets between Suba and JP to be perhaps the most compelling parts of the record; they are these raw, adventurous explorations of sound and form that feel much more abstract than his polished studio sessions. As for the studio recordings included here—many of which are mixes handled by others—they are nothing short of glorious. The different treatments of "Felicidade" really highlight his original vision, and Cibelle's remake of "Sereia, Amor d'Água" is just a sultry, gorgeous joy to listen to. Of course, there are the tribute tracks too, and "Nightly Sins," with its spoken word samples, really stands out. Lastly, we have two studio collaborations, with "Are You Sleeping?" feeling almost ghostly in its cool, nocturnal atmosphere—it's a truly inspired piece. While many tribute albums struggle to capture the true essence of an artist, this one actually manages to do it.

mp3ce

http://www.backlab.at/kingdom/Suba.htm

And here is even more
http://suba.isallineed.net/audio.htm

dustyridge12 said:Rexillusivi released that album through NPR back in the day. Side A was packed with tracks he did alongside Massimo and Mladenovica, while Side B featured those reworkings of Gnossienes by Erik Satij. On top of that, there’s a whole mountain of other recordings—some with those same guys, others with Marina Perazic—that haven't even seen the light of day yet; they're just sitting there gathering dust on the shelves at NPR.

No, no, no, no, no, no, no...
I am talking about EARLY works... stuff like "evil fate," "day of wine and roses," the first version of "mirror" and things along those lines—I mentioned 1983/84, didn't I? By the time "Arabia" rolled around, he wasn't even playing the same style he started with. It was a total sonic shift. And don't even get me started on "Disillusioned"... that came out WAY later...
Besides, if you take a look at subin's discography, you'll see exactly what I mean when I say I'm referring to the very beginning of his career...

Alright, I see—I completely misread what you were getting at there. My mistake. Regardless, why don't you try to pull together all those titles? It would be great if we could at least have a definitive list to look back on, even if nothing else comes of it.