“I’m pretty sure the first time I heard the term Young Marble Giant was that night friend-of-a-friend Carl Johnson, wasted on alcohol and who knows what else, stepped onto a busy Seymour Street, threw his arms wide, and declared ‘I Am A Young Marble Giant’. Horns honked, tires squealed, people called him asshole, but nothing hit him. Jump ahead maybe twenty years and Carl had become an investment banker, gotten stupidly rich. Meanwhile, I’d gotten around to picking up Colossal Youth, the only album by the group known as Young Marble Giants. Call it monolithic in its subtlety, restraint, and ultimate timelessness. But worth dying for?” (Philip Random)
“Viv Akauldren were from Detroit, I think. I seem to remember hanging out with the guitar player one day, wandering the sidewalks of downtown Vancouver, mid-80s sometime. He was overwhelmed by how peaceful it all was – how safe. They were gigging in town that night. The booking agent was a friend. So I guess I was being hospitable. Anyway, it all speaks to how lost so much of that era is. So many great indie outfits coming and going, cranking out powerful stuff, leaving little or no trace. Of course, I did manage to hang onto a copy of one of Viv Akauldren’s albums – Old Bags + Party Rags – which was nicely paranoid, political, psychedelic, and entirely relevant, then and now.” (Philip Random)
The red part of the Red Guitars‘ moniker concerns more than just the colour of their stringed weapons. These guys were serious about their left-side politics which likely explains their overall lack of market penetration back in the 80s. You certainly can’t fault a song like Good Technology for lacking hooks, melody, overall sarcastic pop smarts.