Terminal Cheesecake

Terminal Cheesecake

Terminal Cheesecake are a band formed in North and East London in 1988 , put together by Gary Boniface (formerly of The Purple Things and The Vibes) along with Russell Smith ( formerly of A.R.Kane and M.A.R.R.S) Mick Parkin and John Jobbagy (drummer from the Vibes and Purple Things)

They were the first band signed to the then fledgling Wiiija Records (which later went on to spawn Cornershop, Silverfish, Bis and many more listener-friendly indie-stalwarts). The first Cheesecake and the first Wiiija release was the 12” vinyl EP ‘Bladdersack’.

The first album ‘Johnny Townmouse’ which followed on from Bladdersack was indeed a psychedelic bad-acid trip, slab-of-noise version of Beatrix Potter’s nursery story. The band were an impure mash of all things that had gone before, pushed to the extreme. The ‘Cake’s fierce, simple grooves of noise somehow gained some mainstream BBC Radio 1 airplay - much to the bemusement of the DJ’s.

In those early days it was the norm to see Cheesecake as main support or to bands such as White Zombie, Prong etc whilst also headlining around London and beyond with bands such as Silverfish, Godflesh, God and Gallon Drunk (with whom Gary often deputised with as Maracas player) in support.

Due to the demand of the first album, a second, ‘V.C.L’ was rushed through. This featured another childhood classic; a rendition of the traditional ‘Lord Of The Dance’ (again performed as a fried-nightmare). The album’s title track ‘Valium Chicken Leg’ is a re-purposed cover version of Pink Floyd’s ‘Come in number 51 you're time is up'

A 4 track John Peel B.B.C radio session followed shortly afterwards, the band had a shift in personnel, losing original rhythm section players and drafting in Joe Whitney and Gordon J Watson (who had played occasionally with the band up to this point anyway) as Drummer and Bass player respectively.

After being signed-up to Kevin Martin’s (GOD/Ice/Techno Animal/The Bug) Pathological label, the band recorded the 1990 classic ‘Angels In Pigtails’ with AR Kane main man Rudy sharing production duties with the band, which was a slight musical departure. Featuring more worldly instruments and other-worldly sounds and samples, it showed a greater depth than the fucked-up all out assault of the previous releases.

After this, the band spent some time in the wilderness, though started suffering major problems with personnel, Russell Smith departed ( and later re-appeared in Skullflower and the london based band God ) along with Joe Whitney and several part-timers, and some who shall remain anon came and went.

After more changes within the band, Gordon switching to guitar, the erstwhile Fez being drafted in on bass and the solid Paul Morris adding the beats, the band were then back in 1991 with the heavy-heavy sound of ‘Pearlesque Kings Of The Jewmost' released on World serpent Records.

Next release was the mini album ‘Gateau D’Espace’, the full length album ‘King Of All Spaceheads’ and the single ‘Oily Hotknife’. These were put out between 1993 and 1994 on the Jackass label which although was another label unable to support the band with any budgets, helped the band have a brief press flurry, including independent chart positionings, single of the week’s in Melody Maker etc. and full-page live reviews proclaiming the band to be "The Armageddon that Ministry promised, but failed to deliver, waiting on your doorstep". The album saw the band go on an all-out dub, hip-hop and beats assault. Including the blatant tracks such as ‘Oily Bud’ and ‘In The St John’s Ambulance Tent Glastonbury ‘89’ firmly defining the band’s intents and passtimes.

Furthering the direction towards an all out dub- reggae sound, TC disbanded and Watson and Boniface reappeared along with collaborator Papa Newman in new group Bud Alzir.
Band officially re-formed in 2013 with new members Neil "the fish" Francis and Dave Cochrane .


Terminal Cheesecake Discography Tracks


WIIIJLP.1., WIIIJLP1 Terminal Cheesecake Johnny Town-Mouse(LP, Album) Wiiija Records, Wiiija Records WIIIJLP.1., WIIIJLP1 UK 1988 Sell This Version
WIIIJLP 3 Terminal Cheesecake V.C.L.(LP, Album) Wiiija Records WIIIJLP 3 UK 1989 Sell This Version
Terminal Cheesecake Angels In Pigtails (Album) Pathological Records UK 1990 Sell This Version
Terminal Cheesecake Pearlesque Kings Of The Jewmost (Album) World Serpent UK 1992 Sell This Version
Terminal Cheesecake Gateau D'Espace (MiniAlbum) Jackass UK 1993 Sell This Version
Terminal Cheesecake King Of All Spaceheads (Album) Jackass UK 1994 Sell This Version
Terminal Cheesecake Cheese Brain Fondue (En Concert Á L'Embobineuse, Marseille) (Album) Artificial Head Records And Tapes US 2015 Sell This Version
Terminal Cheesecake Dandelion Sauce Of The Ancients (Album) Box Records (3) UK 2016 Sell This Version

Singles & EPs

WIIIJIT 1, wiijit 1 Terminal Cheesecake Bladdersack(12") Wiiija Records, Wiiija Records WIIIJIT 1, wiijit 1 UK 1988 Sell This Version
PIG-5 Terminal Cheesecake / God Terminal Cheesecake / God - Meathead / Car First(7", Single, Ltd) Clawfist PIG-5 UK 1990 Sell This Version
Terminal Cheesecake Unhealingwound World Serpent UK 1991 Sell This Version
JAK 5 Terminal Cheesecake Oily Hot Knife(7", Ltd) Jackass JAK 5 UK 1994 Sell This Version
HEAD 021.5 Terminal Cheesecake Ginge Le Geezer(Flexi, 7", Shape, S/Sided, Ltd) Artificial Head Records And Tapes HEAD 021.5 US 2015 Sell This Version
GOD022 Terminal Cheesecake / Anji Cheung Terminal Cheesecake / Anji Cheung - Lazy Liberace's Detached Semi / Luna Milk Orb(7", Club, Ltd) God Unknown Records GOD022 UK 2016 Sell This Version

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November 18, 2016
One of the most unsung and (of course) underrated noise-rock bands of all time. Sonic shitstorm exemplary.


April 29, 2003
Terminal Cheesecake were Britain's answer to the Butthole Surfers, only with more solid footing in beats and a more definite leaning towards sludge/grind than Gibby and company. Closely tied with the burgeoning UK dirge scene, a la Godflesh, Head Of David, Loop, they were the acid-casualty-friendly group of the bunch. But not so much so. The music at once reminds you that not only do the fellows like beats, they also like the mind-crushing drone and ambiance that is requisite for the UK scene at the time. Did I mention that their albums and CDs are too pricey for the casual collector like myself?

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