Coruscation by Peter Beasley: A Hidden Gem from 1987 That Still Shines
Alright, let’s talk about Coruscation, the kinda-forgotten-but-totally-worth-it album by Peter Beasley. Released in 1987 under Metalbottle Records (cool name, right?), this UK-born record blends rock and electronic vibes with a dash of prog rock smarts and electro flair. It’s not perfect, but it’s got personality—like that one friend who always shows up wearing mismatched socks but somehow pulls it off.
First off, you gotta check out “Qwerty Uiop.” Yeah, the title sounds like someone fell asleep on their keyboard, but trust me, this track is wild. It starts off all moody and synth-heavy, then BAM!—the guitars kick in, and suddenly you’re caught in this weirdly catchy spiral of proggy goodness. I think what sticks with me most is how unapologetically experimental it feels. Like, did they just throw everything into the mix and hope for the best? Spoiler alert: it worked.
Then there’s “Hunger Hill,” which comes in two versions on the album—a fully fleshed-out take and an earlier “Under Construction” demo. Honestly, both are worth your time, but the finished version has this haunting vibe that sneaks up on you. The synths pulse like a heartbeat while the guitar work dances around unpredictably. You can tell Beasley was really trying to push boundaries here, and even though it’s rough around the edges, that rawness makes it memorable.
The rest of the tracks hold their own too. “York Aspiring” gives off serious retro-futuristic vibes, like something you’d hear in a sci-fi movie from the '80s where robots learn to feel emotions. And “Nullified”? Man, that one’s just plain fun—a chaotic mashup of bleeps, bloops, and crunchy riffs that shouldn’t work together but somehow do.
Looking back, Coruscation feels like a snapshot of its time—a moment when musicians were still figuring out what electronic music could be without losing the soul of rock. Sure, some parts sound dated now, but isn’t that part of the charm? Listening to this album feels like digging through an old box of tapes in your attic and finding something unexpected.
Final thought: If Peter Beasley ever decided to re-release this album with updated production, I’d buy it in a heartbeat. But honestly, maybe it’s better left as-is—a little rough, a lot weird, and totally unforgettable. Oh, and if anyone knows why he named a song after a keyboard row, hit me up. I need answers.
