Despite a relatively small recorded output and little media recognition,
were one of the most innovative artists of their era. From rather uninspired origins as a teenage
cover band, the British group evolved by leaps and bounds, moving from moody, lush pop to ambient soundscapes to taut, atmospheric experimental music; their work was so revolutionary, and so impossible to define, that noted critic
even found it necessary to invent a new subgenre -- "post-rock" -- simply to categorize their vision.
Bark Psychosis was founded in 1986 while its members were attending school in Snaresbrook, England; at the time of their formation, the average age of the group -- vocalist
Graham Sutton, bassist
John Ling, and drummer
Mark Simnott -- was just 14-years-old. Drawing inspiration everywhere from
Joy Division,
Swans, and
Sonic Youth to
Five Star and early
Level 42, the quartet only began taking music seriously after
Sutton and
Ling's graduation, and soon started composing original material. Upon signing to the tiny Cheree label, they debuted in 1988 with a flexi-disc release titled "Clawhammer."
In 1989,
Bark Psychosis resurfaced with their first proper single, "All Different Things"; the gauzy 1990 follow-up, "Nothing Feels," was an early breakthrough, a haunting, sophisticated record backed with the equally stunning "I Know." Keyboardist
Daniel Gish, a former member of
Disco Inferno, joined the band that year. Issued the following year, the
Manman EP continued their remarkable growth, reflecting
Sutton's increasingly fascination with techno and the possibilities of synthesziers, programming and sampling while setting the stage for the 1992 landmark
Scum, an ominous, 21-minute improvisational ambient masterpiece recorded live in a Stratford church.
At the peak of their powers,
Bark Psychosis entered the studio in November 1992 to begin work on
Hex, their long-awaited full-length debut. In sum, the LP took over a year to complete, forcing the group to the brink of emotional and financial collapse. Upon the record's completion, a tour was planned in support of the single "A Street Scene," but then
Ling exited.
Even as
Hex appeared to massive critical acclaim --
Reynolds' review of the album marked the first mention of the post-rock label, a tag later attached to similarly uncategorizable bands like
Tortoise --
Bark Psychosis was essentially dissolved, although one final single, the techno-inspired "Blue," was issued by the end of 1994. The group officially disbanded in 1997; two posthumous retrospectives, 1994's
Independency and 1997's
Game Over, summed up their EPs and singles. In the wake of
Bark Psychosis' demise,
Sutton and
Gish plunged fully into the realm of drum'n'bass, recording under the name
Boymerang. By the time Regal issued 1997's
Balance of the Force,
Boymerang was a solo outlet for
Sutton. In 1999,
Sutton began working on another
Bark Psychosis album, with extensive help from former
Talk Talk drummer and
Boymerang contributor
Lee Harris. That album, entitled
Codename: Dustsucker, was set for release through Fire in March of 2004.
–
Jason Ankeny, Rovi