Following that eye-opening box set on Vinyl On Demand and the crucial I Don't Remember Now / I Don't Want To Talk About It and Plaster Falling reissues, Superior Viaduct give life to John Bender’s third and final album Pop Surgery, recorded in 1982 and once again demonstrating Bender as one of the most inspiring discoveries of 1980’s sprawling wave scene.
"While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.
Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style.
“I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.”
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Following that eye-opening box set on Vinyl On Demand and the crucial I Don't Remember Now / I Don't Want To Talk About It and Plaster Falling reissues, Superior Viaduct give life to John Bender’s third and final album Pop Surgery, recorded in 1982 and once again demonstrating Bender as one of the most inspiring discoveries of 1980’s sprawling wave scene.
"While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.
Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style.
“I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.”
Following that eye-opening box set on Vinyl On Demand and the crucial I Don't Remember Now / I Don't Want To Talk About It and Plaster Falling reissues, Superior Viaduct give life to John Bender’s third and final album Pop Surgery, recorded in 1982 and once again demonstrating Bender as one of the most inspiring discoveries of 1980’s sprawling wave scene.
"While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.
Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style.
“I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.”
Following that eye-opening box set on Vinyl On Demand and the crucial I Don't Remember Now / I Don't Want To Talk About It and Plaster Falling reissues, Superior Viaduct give life to John Bender’s third and final album Pop Surgery, recorded in 1982 and once again demonstrating Bender as one of the most inspiring discoveries of 1980’s sprawling wave scene.
"While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.
Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style.
“I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.”
Back in stock - This first-time standalone reissue is a must for fans of Suicide, TG’s 20 Jazz Funk Greats and early Cabaret Voltaire… Liner notes by John Bender.
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Following that eye-opening box set on Vinyl On Demand and the crucial I Don't Remember Now / I Don't Want To Talk About It and Plaster Falling reissues, Superior Viaduct give life to John Bender’s third and final album Pop Surgery, recorded in 1982 and once again demonstrating Bender as one of the most inspiring discoveries of 1980’s sprawling wave scene.
"While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.
Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style.
“I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.”