Presented by Modern Harmonic on double vinyl and compact disc, this collection compiles material from 7″ singles released by the Amsterdam-based Plurex label between 1978 and 1980. Aside from the two tracks by the affable, violin-equipped Jan van de Grond Groep—arguably the most conventional band on the roster—most of this material has been available digitally. Original pressings of some singles have traded hands for triple-digit sums, making this compilation a convenient way to experience all the tracks in a colorful, tangible format. It also provides context for post-punk enthusiasts outside the Netherlands who might only be familiar with Minny Pops, the deceptively unsmiling avant-electronic popsters who later recorded for Factory Records.
Founded by Minny Pops leader Wally van Middendorp and Sam Tjioe during their time with Tits, Plurex laid some of the groundwork for Ultra, a Dutch underground arts movement that included bands like The Ex. Tits inaugurated the label with the humorously transgressive rave-ups “Daddy Is My Pusher” and “We’re So Glad Elvis Is Dead.” Following that, Plurex released straightforward punk racket from Mollesters, poppier tracks by Filth, machinic post-punk jolts from Interior (reminiscent of a friendly Cabaret Voltaire), and the spare recitations of Eindhoven’s BandT + Instruments (aka Plus Instruments, before David Linton and pre-Sonic Youth Lee Ranaldo joined). Minny Pops were undoubtedly the flagship act, with convulsive, screeching, and droning tunes like “Footsteps,” the half-parodic/half-affectionate “Kojak,” and a live version of “Dolphin’s Spurt” recorded before they linked with Factory and cut the studio version with producer Martin Hannett. Another notable band, The Mumbles, hailed from the States and included future members of paisley underground group True West. They stand out on this collection and likely did in their Sacramento hometown as well, with tracks like the Blondie-esque “Poly Vinyl” and the very Television/Talking Heads-sounding “Collision.” Conversely, “Sell Jesus,” a noodly and ebullient track by Amsterdam’s Ze Popes, could be mistaken for a cover of a Project: Mersh-era Minutemen song, though it predates the existence of the San Pedro band. the Plurex roster shared more in common with various preceding and concurrent Ohio scenes in Cleveland, Akron, and Cincinnati, drawing comparisons to bands like Pere Ubu and Devo and labels like Hospital and Mustard. It’s likely no coincidence that one of Plurex’s full-length releases was by Pere Ubu leader David Thomas. This compilation not only highlights the diversity and innovation of the Plurex label but also provides a snapshot of a vibrant and influential period in underground music.
English