Bunny and the Lakers
(independent) - 1979
"The most perfect noise and melody I had ever heard," is how Fifth Column's Carolyn Azar once described Bunny and the Lakers' weirdly iconoclastic Numbers. The Toronto band allegedly played just one gig before slipping this hopelessly obscure document (just 500 copies) into the shops in the late seventies.
Essentially the brainchild of Peter Morgan, who handles synths, drums and vocals on the record, the band are often lumped into the synthpunk genre. And indeed, tracks like the coldly clinical 'Cops on Parade' and the quirky instrumental 'Weekend Guests' would surely have cut a pretty sharp edge back in those post-'77 days. But elsewhere on Numbers, the jazz-funk workout 'Maid in Sweden', poorly recorded and sloppily played, sounds more like an outtake from some small-town street festival than the earnest Queen West of the time. Ditto the abrasive 'Sandy', which veers more towards no wave. Or the intense experimentalism of 'T.B. Farm (Kiss Me Now)', a frightening wall of electronic noise that would have made Faust or Throbbing Gristle proud.
And as a footnote to the Bunny and the Lakers story, future Fifth Columnist G.B. Jones joined the band for a short stint as a vocalist in 1980 - this just after the release of Numbers - before hooking up with Azar for their long and lacerating queercore ride.
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