Robert – Robert The Record (Vinyl)

A dadaistic spoken-word masterpiece, not chaotic only because the insanely masterful groove of a sick rhythmic base was able to restrain the whims of an anarchically overwhelming bratty guitar, manufactured by a collective that probably never sought the inspiration in the epic Grotesque (after the gramme) because they were surely so self-absorbed, they didn’t need to look elsewhere, thus demonstrating that the same muse that inspired the mancuanian Mark E. Smith in early 80s had the gift of ubiquity, to be at the same time 20.000 miles away.
Tremendo Garaje

The history of ROBERT begins long before the band took its name, or abandoned the old name in favor of another, as they did many times before and since. Members were inconsistent too, but such was the nature of The Red House, a key place for underground music and art in Auckland and the center of their fluid collective/conglomerate known as ?FOG CITY ENTERPRISES.

Before ROBERT there was ?FOG, which began in 1984 when Roger Allen of RIOT 111 met Lindsay McKay of THE LAUGHING CRIPPLES one night at the now demolished Aurora Tavern. Inspired by a shared sense of humor, the two formed an infectious, heavy rhythm section. On guitar was Blaise Oarsman & Peter Hanneveld, who informed their noisy, groove-laden sound. Their approach was fundamentally anarchic, anti-success, and as antagonistic as it was playful.

After briefly touring as a three-piece, Sam Swan (formerly of LIFE IN THE FRIDGE EXISTS) joined in on vocals. Sam emigrated to Auckland after traversing Wellingtons vaguely nihilistic, psychedelic-influenced early punk scene and became central to ?FOGs arty, confrontational character. One night at Auckland’s Mainstreet Cabaret, she scared a group of violent skinheads away by hatching an egg on stage, utilizing fake blood as a prop. Another night, anonstage experiment with fire-breathing caused her to catch her own face on fire (she eventually made a full recovery). Her vocal style was cutting, with lyrics ranging from absurdist to sociopolitically critical. Also contributing to vocal duties are poet David Eggleton, painter Paul Linaker, and bassist Lindsay Fog.

After the release of their 7 EP in 1985 (also reissued byBunkerpop) and a national tour, ?FOG changed their name to ROBERT. Thanks to a $500 grant from the Queen Elizabeth II Arts Council of New Zealand, they were able to record a full-length LP and in 1986 they self-released ROBERT THE RECORD.

This 40th anniversary reissue on US label Bunkerpop Records includes a 16-page full color booklet of photos and an interview conducted byStuart Page (THE AXEMEN) with band members Roger Fogorelli and Lindsay Fog. Plus, a reprint of the bonus questionnaire that was included in the original release.

Tracklist:

1. Meatworks
2. Run Me Over
3. Brian
4. Scream
5. Remote Control
6. Waste Your Life
7. Godwalks
8. Supermarket
9. TiM
10. Kleensak
11. Auckland Star
12. Handbreak

Photo Red House interior, 1990, photo by Stuart Page for the Auckland Libraries 1990 Project (1990 Stuart Page/Auckland Libraries Heritage Collections 273-PAG068-02)