Ike Yard
IKE YARD
Ike Yard
Boomkat Product Review:
Ike Yard’s minimalist NYC post-punk masterpiece arches its spiny drum machine rhythms and ghoulish sonics for a necessary reissue reminder with Superior Viaduct
Now approaching its 40th anniversary, ‘Ike Yard’ has held untold influence on successive waves of droll industrialists and rhythm-bitten electronic music makers ever since its release by Factory America in 1982. It is also known as ‘A Fact A Second’ due to the slightly confusing album artwork, but whatever it’s called, it’s a total classic in terms of stripped down, mutant machine music from the early days, harnessing drum machines, synths and guitars in a darkly rugged way that was also heard in work by SPK and Swans, but here galvanised with a singular sort of NYC cyberpunk sleaze and brutality.
Defined by the droll, icy vocals of Stuart Argabright, who would also collaborate with Rammellzee in Death Comet Crew, and drive sci-fi project Black Rain, and urged by cranky, spitting and jabbing rhythm section, on their debut - and what would for a long time be their sole - album Ike Yard sounded like a a gang of mongrel street tuffs from the future, lead by a savant cultish brainiac mumbling prophetic, drugged-up proclamations. Check out the razor-sharp stepper ‘Loss’, which made prime remix fuel for a classic Regis remix, or the possessed cyberpunk voodoo of ‘Kino’ and the straightjacketed, Suicide-al no-wave funk of ‘NCR’ and you’ll know exactly what they’re about.
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Boomkat Product Review:
Ike Yard’s minimalist NYC post-punk masterpiece arches its spiny drum machine rhythms and ghoulish sonics for a necessary reissue reminder with Superior Viaduct
Now approaching its 40th anniversary, ‘Ike Yard’ has held untold influence on successive waves of droll industrialists and rhythm-bitten electronic music makers ever since its release by Factory America in 1982. It is also known as ‘A Fact A Second’ due to the slightly confusing album artwork, but whatever it’s called, it’s a total classic in terms of stripped down, mutant machine music from the early days, harnessing drum machines, synths and guitars in a darkly rugged way that was also heard in work by SPK and Swans, but here galvanised with a singular sort of NYC cyberpunk sleaze and brutality.
Defined by the droll, icy vocals of Stuart Argabright, who would also collaborate with Rammellzee in Death Comet Crew, and drive sci-fi project Black Rain, and urged by cranky, spitting and jabbing rhythm section, on their debut - and what would for a long time be their sole - album Ike Yard sounded like a a gang of mongrel street tuffs from the future, lead by a savant cultish brainiac mumbling prophetic, drugged-up proclamations. Check out the razor-sharp stepper ‘Loss’, which made prime remix fuel for a classic Regis remix, or the possessed cyberpunk voodoo of ‘Kino’ and the straightjacketed, Suicide-al no-wave funk of ‘NCR’ and you’ll know exactly what they’re about.
Boomkat Product Review:
Ike Yard’s minimalist NYC post-punk masterpiece arches its spiny drum machine rhythms and ghoulish sonics for a necessary reissue reminder with Superior Viaduct
Now approaching its 40th anniversary, ‘Ike Yard’ has held untold influence on successive waves of droll industrialists and rhythm-bitten electronic music makers ever since its release by Factory America in 1982. It is also known as ‘A Fact A Second’ due to the slightly confusing album artwork, but whatever it’s called, it’s a total classic in terms of stripped down, mutant machine music from the early days, harnessing drum machines, synths and guitars in a darkly rugged way that was also heard in work by SPK and Swans, but here galvanised with a singular sort of NYC cyberpunk sleaze and brutality.
Defined by the droll, icy vocals of Stuart Argabright, who would also collaborate with Rammellzee in Death Comet Crew, and drive sci-fi project Black Rain, and urged by cranky, spitting and jabbing rhythm section, on their debut - and what would for a long time be their sole - album Ike Yard sounded like a a gang of mongrel street tuffs from the future, lead by a savant cultish brainiac mumbling prophetic, drugged-up proclamations. Check out the razor-sharp stepper ‘Loss’, which made prime remix fuel for a classic Regis remix, or the possessed cyberpunk voodoo of ‘Kino’ and the straightjacketed, Suicide-al no-wave funk of ‘NCR’ and you’ll know exactly what they’re about.
Boomkat Product Review:
Ike Yard’s minimalist NYC post-punk masterpiece arches its spiny drum machine rhythms and ghoulish sonics for a necessary reissue reminder with Superior Viaduct
Now approaching its 40th anniversary, ‘Ike Yard’ has held untold influence on successive waves of droll industrialists and rhythm-bitten electronic music makers ever since its release by Factory America in 1982. It is also known as ‘A Fact A Second’ due to the slightly confusing album artwork, but whatever it’s called, it’s a total classic in terms of stripped down, mutant machine music from the early days, harnessing drum machines, synths and guitars in a darkly rugged way that was also heard in work by SPK and Swans, but here galvanised with a singular sort of NYC cyberpunk sleaze and brutality.
Defined by the droll, icy vocals of Stuart Argabright, who would also collaborate with Rammellzee in Death Comet Crew, and drive sci-fi project Black Rain, and urged by cranky, spitting and jabbing rhythm section, on their debut - and what would for a long time be their sole - album Ike Yard sounded like a a gang of mongrel street tuffs from the future, lead by a savant cultish brainiac mumbling prophetic, drugged-up proclamations. Check out the razor-sharp stepper ‘Loss’, which made prime remix fuel for a classic Regis remix, or the possessed cyberpunk voodoo of ‘Kino’ and the straightjacketed, Suicide-al no-wave funk of ‘NCR’ and you’ll know exactly what they’re about.
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Boomkat Product Review:
Ike Yard’s minimalist NYC post-punk masterpiece arches its spiny drum machine rhythms and ghoulish sonics for a necessary reissue reminder with Superior Viaduct
Now approaching its 40th anniversary, ‘Ike Yard’ has held untold influence on successive waves of droll industrialists and rhythm-bitten electronic music makers ever since its release by Factory America in 1982. It is also known as ‘A Fact A Second’ due to the slightly confusing album artwork, but whatever it’s called, it’s a total classic in terms of stripped down, mutant machine music from the early days, harnessing drum machines, synths and guitars in a darkly rugged way that was also heard in work by SPK and Swans, but here galvanised with a singular sort of NYC cyberpunk sleaze and brutality.
Defined by the droll, icy vocals of Stuart Argabright, who would also collaborate with Rammellzee in Death Comet Crew, and drive sci-fi project Black Rain, and urged by cranky, spitting and jabbing rhythm section, on their debut - and what would for a long time be their sole - album Ike Yard sounded like a a gang of mongrel street tuffs from the future, lead by a savant cultish brainiac mumbling prophetic, drugged-up proclamations. Check out the razor-sharp stepper ‘Loss’, which made prime remix fuel for a classic Regis remix, or the possessed cyberpunk voodoo of ‘Kino’ and the straightjacketed, Suicide-al no-wave funk of ‘NCR’ and you’ll know exactly what they’re about.
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