Thomas Leer & Robert Rental ‎– The Bridge

Industrial Records ‎– IR0007
Vinyl, LP, Album, Stereo

Tracklist Hide Credits

A1 Attack Decay
Guitar, Vocals, Guitar [White Noise] – Rental*Percussion [Synth], Vocals, Synthesizer – Leer*Written-By – Rental*, Leer*
A2 Monochrome Day's
Guitar, Percussion [Synth], Vocals, Synthesizer – Leer*Synthesizer – Rental*Written-By – Rental*, Leer*
A3 Day Breaks, Night Heals
Guitar, Vocals – Rental*Percussion, Synthesizer – Leer*Written-By – Rental*, Leer*
A4 Connotations
Synthesizer – Rental*Synthesizer, Vocals – Leer*Written-By – Leer*
A5 Fade Away
Bass, Vocals, Synthesizer – Rental*Guitar, Synthesizer, Vocals – Leer*Written-By – Rental*, Leer*
B1 Interferon
Loops, Synthesizer, Voice – Rental*Synthesizer, Tape, Voice – Leer*Written-By – Rental*, Leer*
B2 Six A.M.
Loops, Synthesizer, Voice – Rental*Synthesizer, Tape, Voice – Leer*Written-By – Rental*, Leer*
B3 The Hard Way In & The Easy Way Out
Loops, Synthesizer, Voice – Rental*Synthesizer, Tape, Voice – Leer*Written-By – Rental*, Leer*
B4 Perpetual
Loops, Synthesizer, Voice – Rental*Synthesizer, Tape, Voice – Leer*Written-By – Rental*, Leer*

Companies, etc.


  • Lacquer Cut ByS.A.*


Recording Info.
This album was recorded at home on 8 track equipment, provided for us by Industrial Records.
It was produced in two weeks dating 18th June to 2nd July.
All blips clicks & unseemly noises were generated by refrigerators & other domestic appliances & are intrinsic to the music.
Special Thanks to Throbbing Gristle for their help & encouragement throughout.

B3 on label is mentioned as "The Hard Way In, The Easy Way Out".

Barcode and Other Identifiers

  • Matrix / Runout (Label side A): IR0007A
  • Matrix / Runout (Label side B): IR0007B
  • Matrix / Runout (Runout side A, etched): IR 0007 - A OR S.A.
  • Matrix / Runout (Runout side B, etched): IR + 0007 + B2 OR

Other Versions (5 of 6) View All


Reviews Show All 5 Reviews

Add Review



July 1, 2019

The first singles from Rental and Leer were great ... but I was underwhelmed by this album when it came out. In fact, I sold it for not much money in the '90s. Then I saw it again for what I thought was £15 a few years back ... but when I got to the counter I found my eyes had played tricks and it was £25, but I bought it anyway. I wish I hadn't, as it's a crackly pressing and I still don't rate the thing much.


July 6, 2014
edited over 5 years ago
Thomas Leer debut, totally different than later pop-wave stylings..released by Genesis P-Orridge (Throbbing Gristle,xtg,Psychick Television, etc..)on Industrial Records (also released Leather Nun ao.).

Day break Night heals was played in Afro Cosmic Disco mixes by Beppe Loda (mid-80s)!


June 2, 2012
I have always said I'd only review recordings sent to me, otherwise I'd pick the things which are my taste & ignore other, more deserving recordings. This album is a classic. It's also a favourite of mine - something which has grown familiar throughout the dozen or so years since I first bought it.
According to the enclosed info these two guys came down from Scotland, set up a Punk band in London (this was the mid-late Seventies) before actually setting off to explore more interesting fields. I remember the three singles it was 'hip' to buy - "T.V.O.D.", "Paralysis" & "Private Plane"/"International" - of which I bought the two I could find - the first one which really began MUTE RECORDS without who's existance this may not have been re-released on CD; and the third (which is credited as "My Private Plane" in the accompanying booklet). These guys were responsible for two of the three. Perhaps these are no big deal now, but back then this was a glimpse of a veiled future - synthesizers now are almost as commonplace as videos & home computers, but back then it was a big deal - there weren't that many about & certainly not at an easily attainable price, so it held a certain mystical fascination, and somehow this came out in the music. Seeing THE NORMAL & ROBERT RENTAL onstage supporting STIFF LITTLE FINGERS & ESSENTIAL LOGIC was somehow the antithesis of the Punk scene - a terminal nail in an already honed & polished coffin - they just stood there behind these anonymous boxes, occasionally glancing at the audience, now & then at each other - static - still, not jumping around or wielding 'axes' - well strange! If memory serves me right, this album came some time after - an occasionally noisy, chaotic treat from that label renouned for it's groundbreaking sounds - INDUSTRIAL RECORDS. Heard now sans years of accumulated scratches & crackles it still sounds vital, although a little rough compared with today's high-tech sounds.

On the album there were two sides - the first being a more commercial, structured selection of tracks, the second being mostly loop tapes fed through Frippertronic-like reel-to-reel set-ups. The first five are the more accessible. "Attack Decay" - a name clearly gleaned from the synths they used is built on a wobbling bass sequence, over which they improvise their words while synthetic percussion moves around in cycles - hi-hat-like sounds strictly follow the sequence while a flanged white noise splash adds various effects. "Monochrome Days", perhaps the most 'commercial' track on the album opens with floundering guitar which finds itself raging along, followed by the drum sounds & all manner of other synthetics. It's the words that make this interesting - I cannot see how this can be improvised - it's just too 'right'! The structure's simple enough, yet it's a dense, powerful track - a real scorcher. "Day Breaks, Night Heals" is built again on a fidgety sequencer pattern, another seemingly structured song It's rich with sounds which rise up through the mix - perhaps clumsily by todays standards, but the effect cannot be denied! "Connotations" is a slower, more moody thing built up on slowly stepping sequence, sustaining keyboards & various synthetic FX. Being a less skeletal thing than the last one, a more dense sound, it sounds warmer, if strangely alien n atmosphere. It nods a little towards the 'other side' - the manipulated tape sound. "Fade Away" is another raw & ragged track built on slow, stabbing sequence & stiletto guitar sound. The half-obscured voice is quite clearly improvising on this track, following the instruments which themselves seem to be reaching for new grounds. As it progresses, the sound, a churning machine wash of noise builds up in a beat-like cacophony of sound & Fx. "Interferon", the first of the 'B' side tracks comes next. This was always the side I played less often, but the CD sound has improved it no end. It rumbles in as if a sustained distant storm, before other sounds - some factory-like, some akin to distorted fairground music, some just plain weird, all wash over the top in gradually fading waves, creating an effect ranging from cold, isolated soundscapes to pictures of amorphous beauty. "Six A.M." is something akin to a Sci-Fi soundtrack - incidental music, calm, yet promising something - fear? death? the unknown! "The Hard Way In & The Easy Way Out" uses a variety of sounds - tapes, synths, muffled voicces in the background, to create a drifting, Surreal soundscape of images, many never quite in focus, others almost too obvious to notice! It's a calm, warm sound with sudden 'tics' on nervy sound. "Perpetual" closes the album, a calm, beauteous thing built on a barely discernable S & H synth sound over which haroic voices drift like colourful clouds & various sounds (electronic, guitar) create gossamer filigree patterns.

I thought it would be easy to review this album - not so! Liking something doesn't make it easy to describe. Indeed, it's defying description probably makes it more alluring to my ears. My suggestion is to buy the album & get lost for a while in triumphs of the past. This is one I would have bought had I not been sent a copy. And the reason I compare it to no-one (except FRIPP, and by association, his buddy ENO) is because all comparisons used this album as a stepping stone - all came after it! And it could just be a dead end - maybe no-one followed this sound - what a loss! If this is true, it's all the more reason to hear it.

Originally reviewed for Soft Watch.


November 15, 2002

Excellent piece, full of the tristesse which lasted over britain in the end of the 70's, beginning of the 80's. It ain't the right record to hear if you are depressive, but else it is wonderful. FYI: this was one of the last records from Industrial which could be ordered as an original copy still in the 90's through Chris & Cosey's mailorder.