The Terminals ‎- Touch (1992)

Renderers' guitarist Brian Crook made the sound of the Terminals even more aggressive and anarchic. Touch (Raffmond, 1992) is a demonic and cacophonous work, particularly in the vocal parts (Stephen Cogle and Brian Crook) and in the (dissonant) keyboards parts (Mick Eldorado). Furthermore, the drummer (Peter Stapleton) has progressed to a living orgy of tribalism in the vein of Maureen Tucker (Velvet Underground).

 

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The Terminals ‎- Disease (1991)

The Terminals' second album, released on Xpressway on cassette.

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The Terminals - Live at the Tavern, Christchurch (09.04.88)

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The Terminals ‎– Little Things (1995)

Let's get to some of these requests, shall we? First up is this fantastic 1995 album from the Terminals, one of my favorite New Zealand acts; and still releasing fabulous records too! Check out 2007's 'Last Days of the Sun' if you don't believe me. Chronologically, 'Little Things' was the follow-up to 1992's 'Touch,' and both records share a kindred atmosphere: a swirling, claustrophobic maelstrom of sound led by Stephen Cogle's distinctive, warbling baritone. There's a sonic density at work in the best of the Terminals' songs; an ever-expanding wall of noise that threatens to collapse and engulf the listener in its murky cacophony. The Terminals' sound is one to get lost in, an enticing and irresistible mystery. 'Little Things' is a different beast from the 'Disconnect' EP and 'Uncoffined,' but you shouldn't let that deter you from exploring this incredible record.

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The Terminals ‎– Last Days Of The Sun (2007)

After an 11 year recording absence, The Terminals, arguably one of the most under appreciated bands in the kiwi music scene, returned with a new release... "The Last Days of The Sun". After having a steady stream of brilliant releases from the late 80's until the early 90's, it seemed that the Terminals had lost that spark by the time their last proper full-length "Little Things" came out. The main focus of Little Things seemed to be crafting sound scapes at the expense of the big hooks that made the previous album "Touch" so enjoyable. Thankfully, after 11 years of recording downtime, The Terminals are back and the results are much better than I think anyone could've imagined. Everything that was great about the old Terminals is here: The hooks, Stephen Coogle's amazing voice (sounding as confident and as assured as ever), the jangly-surf guitars, the atmosphere and the clever lyrics and word play of Brian Cook. The performances on this album are outstanding, every member of the band has matured significantly at their respective instrument. The playing feels very loose and organic and at the same time it feels very intentional. Where the Terminals of old sometimes muddied their songs with a lot of sounds, everything here is very stretched out and has a lot of room to breathe in it's sonic environment , a credit to both the performers and the production choices. It's far too early to say if this is the best Terminals album, but I can say for sure that this is the best Terminals album we could have hoped for given the circumstances.

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The Terminals - Uncoffined (1990)

Flying Nun’s recent resurgence and subsequent repressings have required a keen eye to follow where they pop up, HoZac enters the ring as the latest to offer up one of the catalog’s sorely overlooked artists. The Terminals featured members of The more acerbic Pin Group alongside members of the lesser known Victor Dimisich Band and The McGoohans. They too would eventually go down the same noisy, post-punk route as The Pin Group, but on their first two albums they maintained a sound that fell down the same jangle-pop hallways as fellow NZ stalwarts The Clean, The Chills, Able Tasmans or The Verlaines. The shift in sound seemed to stem from the departure of guitarist Ross Humphries, also of Bailter Space and The Great Unwashed, but his inclusion here marks some of the band’s more buoyant offerings.

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