The Czech group Dvouletá Fáma experienced two different periods of existence in the 1980s. Trapped in the underground, it rarely performed, recorded seldom, and on the long term had little influence. Yet, the tiny docs the group still left showcase an extremely original brand-new wave/avant-pop band employed in the same vein as Pere Ubu and After Supper, however in a Czech framework. The group were only available in 1981 when drummer Zdenek Konopásek set up himself in Prague and begun to shop around for kindred music artists. He soon fulfilled guitarist Martin Vik and vocalist Jana Machácková. They begun to rehearse with bassist Roman Stefl, among Machácková’s close friends, but he was drafted in to the Military almost immediately, as well as the group recruited Ivan Benda as his alternative. Their cooperation with lyricist Pjer Lasez was cut brief for the same cause. The music was due to a collective work. From 1981 to 1983, Dvouletá Fáma loved an active profession, playing frequently to enthusiastic viewers, primarily in Prague. Its music was match for nightclubs while keeping the avant-gardist quirkiness that described the Czech fresh wave. Things transformed in early 1983 when the Communist program intensified the repression against rock and roll music. Like a great many other performers, the group needed to proceed underground, something the bandmembers weren’t prepared for. Vik and Machácková got wedded, the latter experienced a kid and made a decision to quit performing. The group were able to record and self-release its just studio recording before it had been too past due (reissued on cassette by Dark Stage in 1993 and, inside a remastered edition, within the 2-Compact disc set Studio room 1983 & Live 1988 in 2001). Vik and Konopásek restored get in touch with in 1987 and made a decision to start a fresh project utilizing their early-’80s name. They befriended poet/acting professional Radomil Uhlír who became their vocalist/loudspeaker and an imposing frontman. Trading the mild voice of the innocent-looking lady for the manic overtones of the theatrical declaimer was destined with an influence around the music: It became darker and looser. There have been few concerts, but one in June 1988 was focused on tape and released on cassette in 1990 (reissued as the second-half of these set). Immediately after the trio was granted authorization to rehearse inside a boiler-house in the tiny city of Cernosice and drafted the boilerman, Josef “Ferda” Matousek, as their bassist. The quartet continuing to perform sometimes, moving increasingly more toward improvisation, and in 1992 transformed its name to Kvartet Doktora Konopneho (Dr. Konopny’s Quartet).