INTERCHANGE : ca. begin 1984

SPK originated in Australia and after extensive movements around the globe and numerous line-ip changes now reside in London. The following interview plots there history from the early days up to the sngle Metal Dance and traces the development of their ideas and attitudes. Special thanks must be given to Graeme who did the tape in response to my list of questions which I sent even though he found my handwriting poor, my questions unorganised and my style rude in places, for which I apologise for.

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The very early SPK was made up of me, Ne/h/il, two session musicians more influenced by punk music than anything; David Virgin and Danney Rumour a bass player and a guitarist respectively. They were never really a part of SPK, they were just musicians who helped us out when we wanted that kind of thing playing.
There was also a drummer in the very early SPK called Karmel E Clastic who was also in a band called 'Point 495' which wasn't a bad band.
He was another friend who just helped us out - I don't know what happened to him.
Virgin and Ramour became, oddley enough, members of a sect called the Orange People after a brief attempt at a surf-punk band called 'Secret Secret' which didn't get anywhere - just playing the pubs in Sydney.
The reason we changed personell so much is that moving around so much it is difficult to find people who will stick with us or remain suitable.

Q: What happened to Mike Wilkins - it was strongly rumoured that he disappeared with the proceeds of "Information Overload Unit". What did happen?

A: Mike Wilkins was suggested as a member by Genesis of T.G. as a guitarist who couldn't play guitar and a bassist who could only just play bass, was just what we needed. We got on with him very well and he was in the group from late 1980 - march '81. We left to back to Australia as we had absolutely no money and we'd just done the first album on a very small budget of money that we'd saved up ourselves - it was in many ways an unsatisfactory album as it was done on a four track at home and mixed in mono on a PA (those were hte days!), and the wages in the UK were so low that we thought we'd never save up enough money to be able to do our next album properly so we went back to Australia to earn some more money to do 'Lechenschrei' properly.
I had the full intention of keeping in contact with Mike Wilkins and have him rejoin us when we got back to England a while later but for some unknown reason we failed to do so.
He had several hundred records of our 'Information Overload Unit' when we went away and he had been passing on mail from interested people.
We then didn't hear from him in a period of almost 9 months and I think I assumed that he had sold the records and made off with the money - this in fact was not true and he had kept the records for us on our return. What he is doing now I have no idea.
We had my brother with us in England at that time he was known as clean because he's a cleaning fetish he's a bacteria phobia, he was with us for a while but then decided he wanted to go back to Australia as he'd just been offered a job in a TV station over there.

Q: You say in the Industrial Records Handbook (ICH) that you worked in a mental home.

A: Yes, I worked in the Callin Pk mental hospital which is a state institution.

Q: Is this how the original SPK name came about?

A: Yes. I got progressively more depressed working in the state institution and seeing people who had been in for years who I had no ability to help - it was a kind of 'band-aid' job really - what I really was was a prison warder, stopping people from escaping, bringing drugs to put them out of their misery really, and I didn't think that helped anyone, so I decided to get out and see if I could do something to publicise the problems before they happened really; this is why I was interested in the original SPK from Hiedelburg, because that seemed to me to be an effort to do something about the situation they found themselves in.
They occupied the hospital and put out a good manifesto but unfortunately the police broke up the occupation several days later and several were killed and several arrested.
SPK is really a commemoration of that effort.

Q: How does the Art Brut movement fit into this?

A: I didn't really find out about Art Brut untill later. I found out about that from a book called 'Anti Oedupus, Capitalism and schizophrenia' by Deleuze and Guattari.
I think I read it about '76.
Basically it was an idea that schizophrenia, or the process of schizophrenia rather than the regressive schizo.. in hospitals, links up with the surrealist idea of combinations of odd things, versions of what would normally be expected, breaks and flows, and the hypothetical free-flow of desires as a creative process.
I suppose then that I decided to work specifically with music, because I'm not a good visual artist, music also seems to me to be one of the most direct means of affectng people of all classes, whereas painting is rather restricted to the borgiousee, music on the other hand seems to go across classes quite easily and unlike film or video can be assimilated many times whereas you can often only see a film or video twice before you get bored with it.
So the whole idea of madness in music is really using music as the kind of expression of problems which occur not just for mad people - the whole idea was to focus on the mind as a centre of repression; but not a paranoid idea like William Burroughs - its more a constant problem where we subtley agree or consent to go along with normallity, and everything that SPK do is an attempt to break down the the distinction between what is considered 'normal' and what is considered 'deviant'.

Q: How did you fit in as an 'outsider' and not a mental patient?

A: Ne/h/il had been a mental patient which provided quite a lot of the conceptual direction - I provided the rationale for the group and wrote quite a lot of the lyrics which brought in my ideas of non-direct political communication where things were suggested rather than made obvious, compared to say the lyrics that Crass use ours were a lot more subtle - I also changed languages a lot - I didn't like the idea of preaching a direct message, I preffered mostley to latch onto a kind of energy or expression and get the message across that way. It seemed to work quite well, although at times it did create some confusion but I think that is the price you have to pay for hoping that the audience trys to make some conceptual deduction from the things you are trying to say.

Q: What did your job in the Home teach you?

A: I suppose the main thing I learnt was that I didn't ultimately agree with the idea that there was a 'schizo-revolution' that Deleuze was suggesting there was - I think I came much more to the conclusion that by just focussing on madness rather than concentrating on the processes of both 'mad' and 'normal' people that you run into the innevitable problem of 'the outsider' because how do you deal with a problem like madness without either
a) maintaining it as an outside problem OR
b) normalising it
Or put another way; it is normality that defines 'the outsider' so if your working only on 'outsiders' then you've only got two alternatives - either you leave them outside or you bring them back to 'normallity' - thats were Freuds problem occured as he wanted to normalize people, the assumption was, that normality was the right way. Deleuze on the other hand seems to suggest that the outside is the right way after all - I don't agree with that dichotomy at all, I think the only way to break down the false dichotomy that exists between a 'normal' person and a 'mad' person is to look at the social circumstances that bring about the division in the first place and this is what I tried to do in all the work of SPK, is look at the whole kind of media and other social pressures that mark certain people as 'deviants' - either physical devients such as mongolism, epilepsey or mental deviance... ie ANY sort of non-conformist thought - the whole point about my idea of madness is that nothing is wrong in the first place, the problem is that their way of acting and their way of thinking falls outside an arbitary boundary which is set up by society, what really needs to be attacked is the arbitary boundary and why it exists at all.
The history from there goes; I left the hospital mid '79, SPK work was being done at that time but outside work entirely - I then came to England and wanted Ne/h/il to join me in England which he consistantly never got round to doing - so I ended up in France on my own just reading  - it wasn't a kind of job or anything like that - I spent my time trying to work out my ideas on a whole rangs of things from schizophrenia to apocalyptic thought, a lot of the history of music, Greek philosophy, middle ages philosophy, I was especially interested in the Christian heretics, magic, mathematics, physics... I read about 14 hours a day for a year and it was probably one of the most interesting periods of my life.
The effect it had on SPK was that I was certainly not only in the musical aspect of SPK and I'm still not, although unfortunately my life is rather dominated by SPK, I've always retained an interest in other things as well, I see a lot of films, read a lot of books and ultimately want to move into both those areas as a filmaker and a writer.
SPK specifically languished during the period June 79 to June/July '80 because I couldn't do anything on my own in Paris, I didn't have enough money for the equipment, and while I was there I progressively ran out of money so by the time I got to England in July '80 and wanted to do the first record I had to work in a hotel for six months to pay for it.

Q: When where the e.p..s done?

A: Those were done while we were in Sydney, the first one was 'No More'/'Contact'/'Germanik' - the 2nd one was 'Slogun'/'Retard'/'Mechano' both of those deleted on their own label 'Side Effects Rekords'.
A 7" was just an interesting thing to do in Australia at that time - there were very few independant records at that time - I think there were only two or three in England. (As a matter of interest one we did like very much was Metal Urbains 'Panic' - we used to do a cover version of it when we played live.)

Q: What was the media reaction?

A: In Australia one of the papers got hold of one of our singles and gave it an excellent review, which really amazed us because Australia isn't exactly known for its forward thinking in music unless you've got 20 guitarists and sound like 'The Eagles'. (The second single they didn't like very much - they accused it of having 'chipmunk' vocals - I think the poor slop that reviewed it was playing it at a fast speed because we put it out at 33 instead of 45 and I don't think he realized it.)
We didn't get any press elsewhere as in the world because I wasn't interested in it - I always had the stratagy of not having anything to do with the press - I still journalists are a waste of time in the main - there are one or two good ones but most are parasites.
The public we could never work out - because they both pelted us with beer cans and yelled for encores afterwards so we couldn't really work out their reactions - we thought it was good though - it was very, very strange for them though because they were only just getting the ideas of punk through drums and bass, and us coming on with synth and rhythm machine disorientated them a bit.
Most of the music we listened to early on was German music specifically Can, Neu!, Faust, Kraftwerk, Cluster and Metal Urbain; very little English and definately no American - though I'd a bit of a soft spot for Captain Beefheart, though I wouldn't cite him as an influence as such - the early Throbbing Gristle and Cabaret Voltaire stuff came much later - I'd been listening to the German music for 5 or 6 years before then.
I suppose Im like Steve Stapleton of Nurse With Wound in that Im a great believer in knowing what has gone before so that you can avoid coming up with the same things other people have - I hope Ive got a fairly good idea of the history of music, film and art - even though I've never studied it formally.

Q: How did you decide work with rhythm and percussion?

A: Very early on I decided most of the stuff was to be rhythmic as I'd listened to people like John Cage and decided if we were going to work in the 'rock' field which I suppose we are in  - I decided that the more conceptual, ambiant' type of thing cant be done
thing had already been done and while wanting to remain quite conceptual I didnt want to sacrifice some basic things that seemed to relate to human drives like rhythm.
I think the one thing rock music has going for it is rhythm, energy, intensity and drive which is basically all it can offer to what Cage has already done. I particually enjoy rhythmic music and think its very effective - you decide what people you want to talk to, what your gut reaction to music is and then you set out and do it.

Q: What were the role of subliminals in your work?

A: Apart from the obvious way that not all sounds can be heard, yes, we did think "we'll  put this in quietly" - I was reading quite a lot on subsonic intonation as well as psycho acoustics and it was said that subliminals work best at 5Db lower than audibility, so we deliberatly put quite a lot of the vocals and other sounds in at that level in order to go along with my earlier ideas of not 'preaching' a definate idea and content (back to the change of languages etc).
I prefer to use the voice in a 'sound' way rather than a 'lecturing' way - we had some interesting effects - I asked people what sort of things they visualised from the music and they did vary quite a lot - the main thing I found out was that by not putting in a subliminal message that had any meaning in particular we did have our desired effect in that subliminals could be used in a sort of liberating element in that hadn't they had a great  variety of different meanings for different people than one denotive meaning that would probably have occured if that word was in English and spoken perfectly audibly - no two people got the same reaction to any one track - we had some more unusual reactions but these seemed to occur live, a lot of people had a reaction of confusion and fear, it made some people ill but that was probably the effect of the overall volume, power of the sound and the visuals, one person tried to throw themselves off a building at a concert once, some people became very aggresive. Some people, most people in fact moved a very long way away from the stage and were very quiet - there wasn't any stock music applause - there was just a kind of respectfull silence.

Q: How did the contact with T.G. come about?

A: Somebody sent the first e.p. to them, a person who did an interview with them on a radio station over there. Genesis got in touch with me and offered to redo the second ep which I agreed to.

Q: Did you like the T.G. output?

A: Yes. It seemed to be quite an interesting reshuffling of the earlier German stuff, Chris Carter said he'd listened to a lot of that music but Genesis always said he'd never heard it and that T.G. were the first to do this and the first to do that which was a good hype and sucked a lot of people in.
I asked Genesis if he'd ever heard any Neu! and that if he wanted I could always give him a tape but he said he didn't want to hear it which wasn't a very interesting attitude.
However I did especially like '2nd Annual Report' but after that I think they lost their way a bit there were some things that were clever and some things that didn't work terribly well. I thought their live work was much better and really enjoyed their tapes.

Q: Hw did the U.S. tour come about?

A: Well, we decided that we were coming back to England and just as a challange to ourselves tried to arrange a tour of the U.S. completely organised by ourselves through our own friends that we'd written to.
It was a very good experiance - we actually covered our costs, bought a van and did concerts across the USA, audience reaction was varied - in most places it was good except in Arizona and Boston, some punks in Arizona took exception to our music and we had a long drawn out battele with weapons and so on but no-one was badly injured though.
Boston someone took exception to my vaguely militaristic looking dress and Machete around my middle, which was there for metal percussion, but again no-one was hurt.
The visuals at that time were a kind of practical application of J.G. Ballards "The Atrocity Exhibition" based on the idea of what is revolting and why.
We had an autopsy a whole lot of film and slides supposably carried out in the name of science, signed dutifully by the dissectors. A film of epilepsy, alls orts of visuals of venereal desease, pornography, everything considered to be disgusting mixed in with things that are discusting like warfare, instruction manuals on how to survive a nuclear holocaust, effects of anti-psychotic drugs. Just a really interesting show I suppose.
The sources were varied. We gor a lot from libary boks and we 'obtained' some from medical sources. Took some ourselves... all kinds of things. We started to move into visuals in line with our music - it was questioning what is supposed to be beautifull and what is supposed to be ugly in line with what is supposed to be decent and indecent.
We called ourelve Surgical Penis Klinik for the same reason - we were provocative, we were'nt trying to shock or be sensationalist - all we were trying to do was do something that oughtn't to be done - the whole idea of unappropriateness again, just to see why people reacted in that sort of way and to see how long it would be before people got used to that type of thing - (it didn't take long).
It doesn't really matter what the names are, it just went along with the idea of changing our psuedonyms - we wanted to be a flexible group who did a whole rangs of things and werent tied down to any one particular image, idea, way of thinking or anything else. Like Systems Planning Korporation which I found on a tape was the name of the United States chemical warfare division which was in charge of producing different chemical weapons to inflict on people. SePpuKu is a nice one as well, so we use them if we find them, a lot of the things people send to us are inappropriate like "SPK is the Rueter press agency in Sweden" or a govt dept in Sweden controlling the calculation of the cost of living index. At the moment we're just SPK and we may stay that.
We were questioning aesthetics - was there anything that could be calle beautifull?
For example the male idea of what a beautifull woman looks like has changed about 20 times in the last 80 years, no-body now thinks Mae West is beautifull - shes now a round shouldered hunchback, a short dwarf with a horrible voice but at the time she was something amazing, its just like an ambiance a media/social ambiance which defines what is nice, so in using the visuals we began to question the idea of why we found certainthings revolting, why we instinctively recoil in horror, or supposably recoil in horror, at someone having an epileptic fit, we shouldnt experience horror at someone having an an epileptic fit - why are we discusted by that - we shouldnt be- its just because its unusual really. We attempted to show the madness of the conventional idea of progress and technology for technologys sake and the whole idea of science being somehow objective as opposed to earlier
an objective truth as opposed to earlier philosophies of the spirit which I consider somehow subjective or a fantasy.
There are so many things which happen within our scientific framework which are totally foolish as they achieve no purpose - like experiments on animals which are carried out in an almost ritualistic way long after they have been proven to be useful or useless as the case may be.
For example dissections of bodies being placed in a beautifl plastic case with the name of the artist on the forhead of a baby whose face had been removed.
When we decided we were being misunderstood too much with the visual content of SPK we decided we would tone it down for a while until we were in a position to explain everything we did, and we decided that there wasn't room in SPK for him at that time, so he went off and formed Twinvision.
So far he has done a video compilation called Alchemy, despair video by SPK and videos of Deadly Doris from Berlin.

Q: What did they achieve?

A: They achieved quite a lot of things - they were misinterpreted as sensationalist which they were NOT.
We were just trying to get people to question why they found certain things revolting and why they reacted so quickly to certain things.

Q: Do you think that the effect of your visuals has been lost now?

A: I dont think the effect has been lost - what we are trying to do now is create a consolidated framework in order to make our statements.
I think what will loose its effect is the glamourised kind of violence like 'The Thing' - all the 'b' grade crap is what you'll become bored by or find laughable in the end. But the impact of a 7yr old girl with her genitals hacked off by an axe, bits of her lying on a table - you dont become blase towards that kind of thing.

Q: Are all your tracks concepts?

A: I suppose so. I always like to do things for a reason than because I've found a nice sound; we start of from an idea and fit the sounds around it rather than the other way round.
Right at the very beginning I made up a list of about seven things as a manifesto - this reached its limit at the end of last year and is changed now.
The early manifesto was along the lines of :
1: We would always use psuedonyms because I was definately against 'stars' etc - thats why there was never a definate image to what we were doing.
2: We would try and do as much as we could releasing our own records without company hype or press hype at all.
3: We would always change our style as much as possible between records - which I hope we've managed to do.
4: To aim to listen to as much music as possible and not repeat ideas previously done by others.
5: Not repeat ideas previously done by others.
Information Overload Unit was an attept to re-arrange, mainly electronic, sound differently. We arranged everything vertically, ie with lots of sounds all on top of one another, everything was happening at the same time, and we tried to increase the amount of information coming at you in a way to mirror the way information hits you in real life, and to try and show that an increase in ability to assimilate information is going to be necessary in years to come, where we'd get so much information coming at us that we couldn't use the 'old' ways of assimilating it and what we need is a new way to handle more information, in terms of volume, at the same time. Each of the tracks had an idea behind it.
MACHT SCHREHEN - is an exercise in tape and subliminals, specifically using the four types of info that we are subject to - the first is a correlation between the effects of anti-psycotic drugs which are administered to every mental patiant and the side effects of chemical warfare, which are very similar, one is considered the ultimate horror, the other regularly administered to individuals. The other is a juxtposition of a pornography tape and advertising, which was saying in the same way that the messages of hard core pornography is the same as soft core advertysing.
BERUFSVERBOT - a sound poem done in German - it doesn't really make any sense except that berufsverbot was the German Govts. policy at that time not to employ anyone with a vaguely left-wing leaning keeping every left wing person out of the beurocracy.
GROUND ZERO-INFINITY BASE - Ground Zero is the area immediately below the atomic bomb and the infinity dose is the total amount of radiation ermitted.
The piece was an effort to express in sound the feeling of being 'right underneath it'. The lyrics are mixed to a subliminal level and the piece recieved some interesting comments when first heard. Its quite a favorite.
STANHIEM TORTURKAMMER was a comparison of torture supposably carried out by the Nazis in the atrocity camps and those still carried out today in Northern Ireland by the British army and IRA, also the conditions in Stanhiem, where the Baader-Meinhof prisoners were kept for the rest of their lives where they were subject to a tote-trackt system. Their floors were silent and each cell was filled with white light and white noise, they couldn't hear the sound of their own body and it just drove them crazy.
RETARD. Similar tot he single in '79 which uses the file of a retarded person who for some unknown reason and without motive killed a young boy - the text of his trial made really interesting reading, how he had no reason, just an uncontrollable urge; and after that he was kept in a mental hospital for 45 years, when I knew him and there was no chance he'd ever be let out just in case he did it again.
CULT PRUSSIC ACID DEATH is another story from the hospital where I worked about a woman who was raped at a party and decided to abort her baby by giving her placenta a massive dose of lsd which aborted it a few hours later.
So overall about overload of information and stories of true occurances in everyday life that no-body ever gets to hear about unless you work in an institution.... the horrors of everyday life.
LECHENSCHREI litterally means 'the scream of the corpse', but is a metaphor for the whole of the western civilization in the 20th centuary where it just goes over and over screaming the same things.. Theres particular reference to the cold war, the build up of death throughout our society where death is hidden away but ever present.
Its also the corpse of the entertainment industry which squeeks occasionally but has been dead a long time and pisses around to annoy us.
It was an attempt in a more acoustic line - most of the things aren't electronic but are generated by household means such as heating up knives untill they are red hot and then throwing them into hot or boiling oil or water; you get some really over the top sounds that way; and beating on the shelves of burnt out cars, and using a lot of tape material. Most of the tape material is done by other people rather than ourselves.
The whole idea was to get away from lyrc writing altogether by using tapes of mental patiants, which I'd had for a long time. I get very tired of hearing my own voice and sounds and wanted to hear some-one elses for a change, even though by putting it together we had a great deal of influence on how it finally sounds.
The reason there are titles on the British release... I didn't want to have titles but it seemed to cause great concern amoungst people who wanted to refer to a particular track and particually radio play, as they couldn't play it cause they had to announce the track they were playing.
DEKOMPOSITIONS is another attempt, its almost completely non-electronic using percussion and vocals and makes the point of the very clean odered Western society contradicted by the kind of primitive carnage that goes on underneath it, discusting murders, repression, warfare.
This is the kind of thing that is hidden away even on the news which always ends on a happy note to make people good after hearing about the PLO shoot themselves.
Some totally insignificant thing like little Joey down in Brighton having his first swim or something like that.

Q: Why release Lechenschrei in the US and not in either Australia or UK?

A: It was recorded on our own 8-track in Sydney which is more an 8track tape deck than a studio, a lot was recorded at an abandoned brickworks on old machinary, burnt out cars and things is where I suppose the metal percussion work really started even though we'd used drills and grinders right from the beginning in '78 thats why I say its the first metal percusion album NOT the first metal percussion, I know the history and I'm very indebted to the history of metal music - not just metal - the whole idea of using machines and things - it all comes from Luggi Rossolo in the Futurist art of noise in about 1918 in Italy, through Edgar Varreses Ionosphere which starts on aeroplane engines (1931) John Cage did a piece in 1946 using bits and pieces of metal, Harry Partch is probably the greatest exponent of home-made instruments - I thoroughly reccomend listening to him, then Zev who did some performances with car springs and things, 23 Skidoo and then us I suppose with Enstandante Neubaten who similtaniously discovered the same ideas on the opposite sides of the world at roughly the same time, I'm not going to quibble over a few months but I do like E.N. though, even though I think they have a tendancy to remain the same all the time, thats the only drawback, otherwise I think they're excellent.
Anyway what happened to Lechenschrei was we recorded it on an 8-track mixed it on a 16 track studio and then released it in the United States because we had a good offer and were on the way back to England.
I suppose Thermidor came tos us and tried to convince us it was a good idea to try and open up market in America, because I think you need a release of that type of music because otherwise you wouldn't do very well over there - the idea was to come back to Europe and release it ourselves which eventually we did once we had enough money.

Q: How did Sinan become involved?

A: We had another band in Australia, a 'commercial' band just to see if we could do the commercial music. Sinan came and auditioned as a vocallist and we thought it would be very interesting for her to do some vocals for SPK which shes quite good at, being from the Peoples Republic of China she has a talent for 'ethnic' vocals.

Q: Metal Dance is a very 'discoey' track. Why?

A: There are several answers
1) I like dancing
2) I cant see anything wrong in dancing
3) Discos a good rhythm to dance to
Simple answers to a simple question.

Q: A lot of people I know think you're selling ou?

A: I think in the last 6 months we've defended ourselves against this and really... well, if your going to make snap decisions - its up to these people to be thoughtfull unto themselves and if they are going to write us off on the basis of 1 single tahts up to them.
We're not trying to 'sell' to anyone - we're trying to talk to a whole range of people and we found that we were only reaching a certain type of person and we found that we couldn't do the kind of projects we wanted to do without money; therefore were doing commercial music with our non-commercial music at the same time. There will be projects on Side Effekts financed by the commercial side of the operation which we could not have done earlier.
Also of course I dont expect everybody to like everything we do - you pick and choose - you give a group time, you dont blindly follow a group through everything it does - you take the things you want and leave the things you dont want - I dont think this crap about selling out means a damn thing.

DISCOGRAPHY.

1) No More/Kontakt/Germanik (e.p. Side Effeckts DELETED.)
2) Retard/Faktory/Slogun (e.p. Side Effekts DELETED)
3) Mekano/Slogun (45, Indistrial Records)
4) Information Overload Unit (lp Side Effekts)
5) Live at the Crypt (Sterile cassette 90 Lilford Road, London SE5)
6) Slopsik (e.p. M² Records, Sydney Australia)
7) Lechenschrei (lp Side Effekts GB or Thermidor USA)
8) Last Attempt at Paradise (cassette-Fresh Sounds, PO Box 36 LAwrence Kansas KS 66044 USA)
9) From Science To Ritual (Cassette-Viva, via Gramsci 53, 00197 Rome ITALY)
10) Auto-Da Fe (12" 45,Walter Ulbricht, Schallfolien AG, Durchschnitt 15, 2000 Hamburg 13 W Germany)
11) Dekonpositions (12" ep Side Effects)
12) Metal Dance
13) The LAst Supper (3 live tracks on Adventure in Reality comp - see reviews)
14) Despair (video contact Side Effects or Fresh Sounds for availability)

A lot more information on SPK can be obtained by reading RE/SEARCH "INDUSTRIAL CULTURE HANDBOOK" which amoung other things has a selection of SPK archives. Write to RE/SEARCH at 20 Romolo B, San Francisco CA 94133 USA for details
S.P.K. can be contacted at
68 Bonnington Square, London SW8 UK.

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