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Charles Ball: "...there never was a Lust/Unlust Records..."
(from Revega Yahoo Group)
"Coming from a film and structuralist perspective, (Ball) was very familiar with Roland Barthes and all that kind of thing. Ball: 'The name Lust/Unlust came from this sort of reading, mostly likely a Lacan text.' (...) Ball had left to start his own production company, which is really what Lust/Unlust was, more than a label as such. Ultimately he let the artists choose the names for their labels so it looked like he had a whole stable of different record labels to his credit.
The first Lust/Unlust release was a Teenage Jesus & the Jerks single; Lydia Lunch called her sub-label Migraine. (While Robin Lee Crutchfield obviously chose Strike (it from the) Records ) (...) But (Lust/Unlust) was ultimately stymied financially by the lack of really strong local support for No Wave.
Ball appears to have been a gifted producer, like Martin Hannett, exploring the potential of the first generation of digital reverbs. Ball: 'It allowed you to do things that you could do before like flanging but go much further with it - you could actually designate a room where the reflections would suddenly become being harmonized - a pitch up above what the original was. When I tried to do a mix I tried to make sure something was changing throughout.' On (the) Mars EP, he used binaural recording, mixed to simulate the spacing of your ears. 'I also added on digital delays and reverbs so there was both the exposed physical space if you were to listen on headphones which sounds uncanily like someone’s behind you or placed somewhere in space, and then all these artificial space and unreal space added by the digital delay. Some of the guitar solos I have on that record are just really extraordinary, it would start like it seemed like you were seeing the amplifier and then suddenly you were in some kind of room or chamber that's psychological.'"
(from Simon Reynolds - Rip It Up and Start Again, p.52: The Footnotes)
Charles Ball's skillful experimental approach to sound is also reflected in the terminology to be spotted on the label stickers of every Infidelity release which denote the productions having been:
*Digitized *Randomized *Harmonized *Magnetized
Additionally, each Infidelity release has a special sound characterization which reads different for every production and is printed on the labels as well, e.g.:
Martin Rev (JMB-228): Stereo Experience
Dark Day - Exterminating Angel (JMB-229): Enigmatic Stereo
impLOG - Holland Tunnel Dive (JMB-231): Disquieting Stereo
Mars - EP (JMB-232): Biphonic
Jody Harris / Robert Quine - Escape (JMB-236): Stereochain
Jeff & Jane Hudson - World Trade (JMB-243): Cryptogenic Stereo
Jill Kroesen 7" (JMB-747): Stereo Separation
Probably this was a tongue-in-cheek reference to descriptions of novel, "revolutionary" recording techniques from 50es music labels that have been invented in the course of the vinyl sound/stereo universe expanding back then (like "Living Stereo", "New Orthophonic", "Superlaphonic Hifi", "Vitaphonic", "Telesonic Sound", "Micro Cosmic Sound", "Transistorized Stereophonic Sound", "Full Frequency", "Full Spectrum", or simply "True High Fidelity", and even "Ultra High Fidelity").