#mutant throbbing gristle

[disease]

THROBBING GRISTLE // UNITED REMIXED by TWO LONE SWORDSMEN [MUTANT THROBBING GRISTLE, 2004]

[burlveneer-music]

Throbbing Gristle - Mutant TG - TG remixes

[dustedmagazine]

People Skills — Hum of the Non-Engine (Digital Regress)

Hum Of The Non-Engine by People Skills

Philadelphia likes its music noisy.Bardo Pond kicked off a wave of fuzz, grime, and mixed fidelity is hazy in the early 1990s.Philly heads like Tom Lax with his Siltbreeze label champion the out-rock chaos and broken signals emanating from the “cradle of liberty.”Lax and others have sussed out most of the city’s sonic sewer dwellers including Jesse Dewlow, who records solo as People Skills.Dewlow is unique in the Philly scene in that he comes across as a downtrodden recluse, content to coax a molasses-thick gloom cocktail from his damaged implements.He’s not rockin’ out; he’s wading through a knee-deep murk.Unsure of his destination Dewlow is concentrating on the voyage, putting one unsure foot in front of the other and wending his way.

People Skills’ closest contemporary analog sound-wise is the Californian duo German Army.Both projects are relatively enigmatic.Not many people know who is behind GA, and it’s almost impossible to find a photo of Jesse Dewlow online.They also employ similar palettes: guitars, an almost monotone vocal, broken synths and samples.The primary difference is that Dewlow seems to draw influence from Gate and The Shadow Ring, whereas GA are acolytes of Throbbing Gristle and early Nocturnal Emissions.Dewlow’s oeuvre is more experimental tinkerer than it is proto-industrial stoic.

Dewlow’s Siltbreeze LP Tricephalic Head arrived in 2014 and was straightforward and song-oriented in nature as far as People Skills material goes.Subsequent releases spanned the spectrum between morose bedroom incantations and noisy, ramshackle Rube Goldberg constructions.Hum of the Non-Engine is a grab bag of these modalities, the best of all Dewlow’s personalities.There are both highly conceptual mood pieces and mutant pop gems on display.“The Library Is on Fire” is an example of the more outré side of People Skills, its intertwined layers of gurgling synths and detuned strings drifting artfully and with an off-kilter stride.Dewlow flips the script and becomes a songsmith on “Flag for Gravity.”Complete with a lumbering drum machine rhythm, the song wouldn’t be out of place on a slowcore band’s demo tape.

The short noise piece “Oval House” leads into the haunting “Thinking Back Through our Mothers,” a gloomy electroacoustic construction.Barely heard conversations bleed into an unsettling moan that feels rather uncanny when paired with the pretty melody that Dewlow layers on top.A Sentridoh-esque ditty closes out the first side of the LP, and on the flip Dewlow continues exploring the many facets of lo-fi bedroom spirit-summoning.The mood appears to lighten, which is relative when discussing People Skills’ music, but the tempo remains leisurely throughout the remainder of the album.Dewlow masterfully balances alien atmospheres with recognizable signifiers and dispatches these strange missives at a pace that makes Hum of the Non-Engine a captivating listen.His Philly noise is delivered slowly, one moody piece at a time.

Bryon Hayes

[trustatwork]

Wowhead full discography

It was about creating a distinct groove so arrangements came from weaving in and out of those linear grooves. The sequence/arpeggiator parts were all drum machine triggers that were played live. I’ve always seen rhythm at the core of what I do so I loved the layering of counter rhythms. I became very adept at pressing record then jumping onto equipment to play it – it was actually a very ‘live’ record in that sense. “I slept very little in those days,” he adds, continuing: “It was done on 8 track and very multi-tracked, so lots of recording, then bouncing, and overdubbing, to get the integrated feel of the tracks. “Pow Wow” was commissioned by the Fetish Records label, and recorded at the Cabs’ Western Works studio, where Mallinder would spend his days recording with Cabaret Voltaire, and continue on alone into night recording his debut solo material. There was a sense of new magik emerging.” We were just as interested in turning over rocks to see what lay beneath, as throwing them. There was acknowledgement of the importance of books, films, graphic art, and experimentation with all those mediums. Punk had championed a visceral, anti-intellectual approach but in truth the real characters brought so much more to the table, and what began to happen- from people like The Pop Group to Throbbing Gristle, and emerging scenes from No New York to Factory Records – is we began to embrace the art of it all. Much looser vibes were in the air and there was a much more exploratory feel. The primal caterwaul of punk was dying and lots of really significant things were emerging from the fires. “It was an interesting, and inspiring, time. Some words from Mr.Mallinder on the scene and era from which “Pow Wow” was born: This collection of mutant dub/funk/postpunk sounds just as fresh and contemporary in 2020 as it did in 1982 (note Autechre’s inclusion of standout cut “Del Sol” in a mix earlier this year), and highlights Mallinder’s crucial contributions to Cabaret Voltaire. Now expanded to a double-LP, and also released on CD/digital, it’s a definitive reissue which now includes Mallinder’s early solo discography in its entirety. This discography lists the recorded performances as a duo and individuals.A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine - focusing on old-school wave/post-punk sounds - is thrilled to present a new, deluxe reissue of “Pow Wow”, the debut 1982 solo LP from Cabaret Voltaire’s Stephen Mallinder. The Neptunes discography - The Neptunes are a two member producing group consisting of Pharrell Williams and Chad Hugo. Contents 1 Albums 2 Singles 2.1 Featured Singles 3 Guest Appeareances … Wikipedia Stories *2003: The Northise Compilation inglesoloFeatured… … Wikipediaĭa Brat discography - This is the discography of the American female rapper, Da Brat. Swizz Beatz discography - This is the discography of Swizz Beatz, an American hip hop record producer/rapper.Albumstudio*2007: One Man Band Man *2008: Life After the Party Compilations*2002: Presents G.H.E.T.T.O. Jermaine Dupri production discography - Songs produced or written by Jermaine Dupri.1992Kris Kross Totally Krossed Out * Producer of the whole album Jermaine Dupri *Singels: *02 Jump *04 Warm It Up *09 It s A Shame *10 I Missed the Bus 1993 =Kris Kross Da Bomb = *01 Intro (Produced by… … Wikipedia My Baby (Bow Wow song) - My Baby Single by Bow Wow featuring Jagged Edge from the album Unleashed Released 2003 Format CD single Recorded … WikipediaĬhris Brown discography - Chris Brown discography Brown performing in 2008 Releases ↙Studio albums … Wikipedia Background information Origin London, England … Wikipediaīow Wow - Infobox musical artist Name = Bow Wow Background = solo singer Birth name = Shad Gregory Moss Alias = Born = birth date and age|1987|03|09 Origin = Columbus, Ohio, United States Genre = Hip hop, pop rap Occupation = Rapper, actor, and record… … Wikipedia Bow Wow Wow Bow Wow Wow, 1982, West Berlin. Bow Wow Wow - Not to be confused with Bow Wow (band) or Bow Wow (rapper).

[determinate-negation]

what are some of your favorite bands/albums? i'm into electronic music and looking to expand my palette, and i respect your tastes haha

aw thank you lol! thats a really hard question i listen to a lot of music so i guess here are the main subgenres within electronic music i like

krautrock/ambient/idm/70s electronic: kraftwerk, moebius, harmonia, cluster, brian eno, susumu yokato, aphex twin, john tejada, gene on earth, yellow magic orchestra

house/techno/trance: underground resistance, dj hell, dopplereffekt, orbital, ben klock, octo octa, thomas p heckmann, drexciya, cybotron, dj t-1000, moodyman, identified patient, astral projection, phuture, planetary assault systems

industrial/ebm/synth/dark wave: cabaret voltaire, DAF, test dept, throbbing gristle, SM nurse, medio mutante, visage, depeche mode, deux, psychic tv

do u follow any record labels on bandcamp? there are a few i know that release  cool contemporary stuff and reissue old gems– dark entries, minimal wave, ostgut ton, analog africa, bureau b. oh also a specific album thats really good is african electronic music by francis bebey. damn theres a lot other stuff too but i dont want to keep rambling lmao if you wanna look at my spotify i have everything organized in genre playlists its annunakl 

[chips1977]

WARNING : I'm just an addict ... addicted to music. There are people who are born to make music, o8 thers are born to hearing. Whenever was part of this second group. Maybe it's. a habit, I gotta use, even if it 's rock, jazz or the quiet storm. Great pictures of the things I love - music, painting, books, photography, architecture, design, women, and more. I love music more than lasagna. Better to burn out than fade away. The older you get, the better life gets. But time also seems to be accelerating, the clock running too fast. So, looking at those early days, everything is very slow, stretched, and great significance. The most recent time, I spent busy with simple things.People think rock and roll is only about teenage rebellion, but why can not exist old rebel too? THE RESIDENTS is my Biggest Addiction, and,THE RED KRAYOLA, OLD TIME RELIJUN-ARRINGTON DIONYSO,R. STEVIE MOORE,SHRIMP BOAT,SMEGMA,THE SUN CITY GIRLS, LEGENDARY PINK DOTS,MINIMAL COMPACT,FRANK ZAPPA,CAPTAIN BEEFHEART,THE VELVET UNDERGROUND,THINKING FELLERS UNION LOCAL 282,THE EX,CAN,FAUST,WEEN,TELEVISION,THE MODERN LOVERS,SNAKEFINGER,MILES DAVIS,SUN RA,KRAFTWERK,ANAL MAGIC & REV. DWIGHT FRIZZELL,MICHAEL YONKERS,MOONDOG,THE WORK,RAYMOND SCOTT,THE GO-BETWEENS,SLAPPY HAPPY,ART BEARS,NAKED CITY,HENRY COW,SKELETON CREW,JOHN ZORN,FRED FRITH,THE FIBONACCIS,BONGWATER-MARK KRAMER,SHOCKABILLY,BAND OF SUSANS,THE PAINTEENS,STUMP,RENALDO AND LOAF,CERTAIN GENERAL,THE THREE JOHNS,CHROME,PRIMUS-LES CLAYPOOL,EUGENE CHADBOURNE,ESKIMO, MINUTEMEN, MISSION OF BURMA,FUGAZI,BLURT, GLAXO BABIES,THIS HEAT,THE SEA AND CAKE,SAVAGE REPUBLIC,TUXEDO MOON, XTC,U.S,MAPLE,THE PAPER CHASE,DANIEL SMITH- DANIELSON FAMILE .......  Other musical priorities are: HENRY FLYNT, THE FEELIES,PERE UBU,THE CLASH, JOY DIVISION, PROTOMARTYR, CAR SEAT HEADREST,THE BETTER-BEATLES, DARKSIDE,THE MEMBRANES, THEATRE OF HATE, NOCTURNAL PROJECTIONS,THE LINES,CARDINAL,CLEANERS FROM VENUS,THE JAZZ BUTCHER, ELVIS COSTELLO,THE MONOCHROME SET, TELEVISION PERSONALITIES, ALTERNATIVE TV, GONG,ANNIE ANXIETY, THE DEL-BYZANTEENS, WALL OF VOODOO, BUTHOLE SURFERS, RICHARD DAWSON, MAC DeMARCO,WOVEN HAND,16 HORSEPOWER, DAVID EUGENE EDWARDS,SHELLAC, SLINT-PAPA M-DAVID PAJO, LUNGFISH, OM, EARTH,THE BOOK OF KNOTS,LOUNGE LIZARDS-JOHN LURIE,ANTON FIER-GOLDEN PALOMINOS,PETER BLEGVAD,PETER HAMMILL,TOMAHWAK,FANTOMAS,MR. BUNGLE, MIKE PATTON, SUICIDE-MARTIN REV+ALAN VEGA,AARON FREEMAN,JAPAN,STEREOLAB, SPACEMEN 3, SPECTRUM, SWELL MAPS, SILVER APPES, SWELL,MORPHINE, HAWKWIND, DEVO,FLYING LIZARDS, MAGAZINE, RALPH CARNEY,ROBERT WYATT, JOHN WILKES BOOZE, KEVIN COYNE, DAEVID ALLEN, SLEEPYTIME GORILLA MUSEUM, MX-80 SOUND, SOPOR AETERNUS & The ENSEMBLE of SHADOWS, THE AUTEURS,MAN MAN, DAMIEN JURADO, DAVID DONDERO, CHAD VANGALLEN, LONG FIN KILLIE, MAGIC TRICK-TIN COHEN, CHRIS COHEN, DAVID BAZAN,VAMPIRE RODENTS, JON WAYNE, PRAM,THE OLIVIA TREMOR CONTROL, PAVEMENT, PATTI SMITH, FUGS, PEARLS BEFORE SWINE-TOM RAP, UNITED STATES OF AMERICA-JOSEPH BYRD, FAMILY, GODZ, BONZO DOG DOO DAH BAND,PENTANGLE,THE INCREDIBLE STRING BAND, SLOVENLY, CHEER- ACCIDENT, TARWATER, COIL,THROBBING GRISTLE, SHAWN LEE, CLUTCHY HOPKINS, JURYMAN AKA IAN SIMMONDS AKA WISE IN TIME+SANDALS, ZOOGZ RIFT, THE BOOKS,NEW THRILL PARADE, CHRIS KNOX , DAVID KILGOUR,THE BATS,THE CLEAN,THE PIN GROUP, CRIME CITY SOLUTION, ROWLAND S. HOWARD,TOM WAITS, VIC CHESNUTT, JOE HENRY, ALEJANDRO ESCOVEDO,THE TAPE BEATLES,THE GUN CLUB, MAGAZINE,THE DENGUE FEVER,THE PAPER CHASE,THE FIERY FURNACES,THE MICROPHONES-PHIL ELVRUM,GARY WAR,RAILROAD JERK, KARL BLACK- SOCK HEADDED PETERS-LEMON KITTENS,THE MUSIC TAPES,THE SHAGGS, BOBB TRIMBLE, FISH AND ROSES, DIABLO SWING ORCHESTRA,POP D`ELL ARTE,MLER IF DADA,TOM ZÉ, WALTER FRANCO,OS MUTANTES,CAETANO VELOSO,MILTON NASCIMENTO, ARNALDO ANTUNES,VINICIUS CANTUARIA,JORGE BEN,CAZUZA,CEREBRO ELECTRONICO,CORDEL DE FOGO ENCANTADO,ROGERIO SKYLAB,OTTO, MOMBOJÓ,CRIOULO,MAX CASTRO, METÁ METÁ, ATALHOS, ROMULO FROES,WADO,ORQUESTRA IMPERIAL, LENINE,APANHADOR SÓ,MUNDO LIVRE SA,NAÇÃO ZUMBI, ALÇEU VALENÇA,ANT- BEE, BILL FAY,RON SEXSMITH,EL GUAPO,DAVID GRUBS,TORTOISE, SAM PREKOP, GASTR DEL SOL,HENRY KAISER,HOME & GARDEN, BOB DRAKE, MY DEAD IS DEAD, AKRON FAMILY, SWANS,THESE IMMORTAL SOULS, UNREST WORK & PLAY,THE TAPE BEATLES,THIS KIND OF PUNISHMENT,SWOLLEN MONKEYS (Ralph Carney) LIARS, SNAPPED ANKLES, CAVERN ANTI-MATTER, GANG GANG DANCE, THE DAMAGE MANUAL,THE BLACK ANGELS,SCOUT NIBLET,DIE FORM,LONELADY,COP SHOOT COP,WAR ON DRUGS,THE MONKS,TIM HUEY,TRACHTENBURG FAMILY,THE TRIFFIDS,THE CRUEL SEA,THE MEKONS,THE METOD ACTORS,THE SOFT BOYS,THE MISTAKES,THE MOUNTAIN GOATS,THE NEW CREATION, BRUCE HAACK, LOREN MAZZACANE CONNORS,GLEN BRANCA,ALBERT MARCOEUR,LOS ANGELES FREE MUSIC SOCIETY, SHELLEY HIRSCH,NEW YORK GONG,THE POLYPHONIC SPREE,LYDIA LUNCH,LOVE, LUCIA PAMELA,FATIMA MIRANDA,SAFETY SCISSOR S,RICHARD HELL & VOIDOIDS, SACCHARINE TRUST, ADAM FORKNER of [[[[VVRSSNN]]] YUME BITSU, ROY MONTGOMERY,RUN ON, LOVELY LITTLE GIRLS,SAFETY SCISSORS, BRIDE OF NO NO,TONE DOGS,TREAT HER RIGHT,TRIPOD JIMMIE,LIFTER PULLER,THEY MIGHT BY GIANTS,GANG OF FOUR,THE POP GROUP, WIRE, JOSEPH K, ORANGE JUICE, RAIN PARADE, THE GREEN ON REED, THE RENDERS,SOUL COUGHING-MIKE DOUGHTY, MAZARIN, KARATE- GEOFF FARINA, SECRET STARS,THE CHURCH, BLANK DOGS, FROG EYES, JOAN OF ARC, PURE X, YUNG WU,WAKE OOLOO, SPEED THE PLOUGH, DRIVE BY TRUCKERS, CAMPER VAN BEETHOVEN, MARTIN NEWELL, ERLAND and The CARNIVAL, CRIPPLED BLACK PHOENIX,CALIFONE,RED RED MEAT, LOW, Eels, LOWER DENS,THE BLACK HEART PROCESSION, KING MISSILE, THE NOTWIST, CLINIC, QUICKSPACE,THE COMSAT ANGELS,THE ASSOCIATES, EZRA FURMAN and THE HARPOONS, EFF BARZELAY, BORN RUFIANS, FERGUS & GERONIMO, CHAIN AND THE GANG-IAN SEVENONIOUS-WEIRD WAR-THE MAKE UP,ESCAPIST,MOONFACE, DEAN BLUNT,COLLEEN,ZERO 7,THREE MILE PILOT,LIFE WITHOUT BUILDINGS, CLOUD CULT,BLACKOUT BEACH,PINBACK,ARIEL PINK,MAGIC HOUR,MAJOR STARS, MAPS & ATLASES, MEGAFAUN,MENOMENA,TAME IMPALA, AMPS FOR CHRIST,ARBOURETUM,TRUE WIDOW,NANA GRIZOL,TIMBER TIMBRE,THE, IMPOSSIBLE SHAPES,THE LOVE EVERYTHING,THE MAE SHI, DEAD SKELETONS,THE SHIPPING NEWS,NEW WET KOJAK,GIRLS AGAINTS BOYS,LES SAVY FAV,GERMAN SHEPHERDS,SILKWORM,DIANOGAH,31 KNOTS,90 DAY MEN, 17 PYGMIES,PARENTHETICAL GIRLS, GUN OUTFIT,VAMPIRE RODENTS, PUMA JAW-PINKIE MACLURE and JOHN WILLS, SLUG GUTS, DOG FACED HERMANS, GOD IS MY CO-PILOT, THE SKULL DEFEKTS, CUL de SAC, PELL MELL, FOR CARNATION, MARVIN PONTIAC, ARIEL PINK, FLAT WORMS, AMEN DUNES, IDDLES, WAXAHATCHEE, WOLF PARADE, SUN KILL MOON, NATALIE PRESS ,CHELSEA WOLFE, SHILPA RAY, INCA SILVER, IBEYI, ANGEL OLSEN,THE COMET IS COMING,SLEAFORD MODS, VAGABOND, SUUNS, MADONNATRON, BIG THIEF, FAT, SHAME, SAVAGES, ICEAGE, OMNI, PARQUET COURTS, WHITE FAMILY, LYDA HUSIK, SHARON VAN ETTEN, dEUS, MITSKI, LAUREL HALO,JULIA HOLTER, MARISSA NADLER, JOSEPHINE FOSTER,TRACY BRYANT, MALE GAZE, TY SEGALL,THEE OH SEES, TYVEK, GOAT, WAND,YUCK, THE MOONLANDINGZ, VIET CONG, OUGHT, ALLAH-LAS,THE FRESH & ONLYS, WHITE FENCE, LAURA MARLING, EMA, PHAEDRA, LHASA, FIRST AID KIT, JANE WEAVER, WYE OAK, CAROLINER AKA CAROLINER RAIBOW ... E gosto de viajar, andar de bicicleta, de comboios, de animais.... não gosto de pessoas superficiais... sem cultura.Gosto de dança, de arte o que quer que isso seja!. Não gosto da monotonia. Gosto de criticar no sentido positivo. Não gosto de sonhar em ficar rico. Gosto do “Vive cada dia como se fosse o último “. Não gosto de despedidas. Gosto de pormenores.Gosto de perfumes. Não gosto de mentir nem que me mintam, não suporto hipócritas.Gosto do mar. Não gosto de quem não acredita em nada e não se importa com nada e tem a profundidade de uma colher... Gosto de viajar, gosto de ajudar e de saber que pude ser útil a alguém em qualquer coisa. Não gosto da efemeridade da vida e da constante lembrança da proximidade da morte. Não gosto de não perceber. Não gosto de atrasos e de quem não é capaz de cumprir as suas promessas, não gosto de quem volta atrás com a sua palavra e ainda menos que voltem atrás comigo. Não gosto da cusquice.Gosto de amigos e da camaradagem, não gosto das” amizades “que se perdem por coisas que no final das contas não significam nada... Gosto de palavras e de conversas sem fim... Gosto de pessoas originais, com humor,com ideias próprias... e com classe. Não gosto de carinho quando estou nervoso.Gosto do campo. Não gosto de seguir a onda.Gosto de coisas pouco claras, mas bem esclarecidas. Gosto de dominar. Não gosto de brincar com os sentimentos dos outros.Gosto de toques e de trocas de olhar, de demonstrações de carinho e de cenas sensuais. Não gosto de ficar bêbado até dizer a verdade. Gosto da grandeza das coisas simples, e gosto de coisas complicadas mas não gosto de complicações... O comum não me atrai, gosto normalmente de coisas que passam despercebidas... Gosto de gostar e de não gostar de tudo isto e muito mais...

[bigprettygothgf]

Why would u id as a commie when places North Korea exists lol. Are u that dumb or are u just being performative on tumblr to be relatable

Rabies is the fifth studio album by Skinny Puppy. It was released on November 21, 1989 through Nettwerk. The album notably features Ministry frontman Al Jourgensen (credited as Alien Jourgensen) who performed electric guitar and vocals on several songs. The album spawned two singles, "Tin Omen" and "Worlock", the latter of which becoming one of the band's most recognizable songs. The cover art was made by longtime Skinny Puppy collaborator Steven R. Gilmore. In 1993 the CD edition was reissued by Nettwerk to correct mastering errors in the original release.[1]

Rabies was a commercial success for the band, but received mixed reviews from critics upon release, several of whom drew parallels between the record and Ministry's style, both favorably and unfavorably. A joint tour with Ministry, KMFDM, and My Life with the Thrill Kill Kult, dubbed The Mutants of Rock Tour, was planned but ultimately cancelled when Skinny Puppy ended its commitment to the project.

Recording and production[edit]

Most of the band's previous albums had been mixed and produced by the group's "fourth member" Dave "Rave" Ogilvie. For Rabies, lead singer/songwriter Nivek Ogre brought in friend and Ministry frontman, Al Jourgensen. Ogre had met Jourgensen during the recording of the PTP song "Show Me Your Spine" in 1987. Ogre later toured with Ministry (Ogre can be seen and heard on the In Case You Didn't Feel Like Showing Up video and CD) and would also go on to provide vocals for Jourgensen's side project Revolting Cocks.[2][3] The other two members of Skinny Puppy, cEvin Key (drummer) and Dwayne Goettel (keyboardist/synthesist), did not approve of Jourgensen's takeover, creating a "glacial coldness" between the band members.[4][5] A couple years following the release of Rabies, Key mentioned to Alternative Press that he believed Jourgensen's motive for assisting in the album's production was to try and break up Skinny Puppy.[5]

Much of the album had been written before Jourgensen was officially involved, though Key has mentioned that the process was influenced by the notion that Jourgensen might join them in the studio to "jam." The group took into consideration what type of music Jourgensen would be interested in making, thus writing guitar heavy material such as "Tin Omen,"[5] a song which makes reference to the Tiananmen Square protests of 1989.[6] "Fascist Jock Itch," also written with Jourgensen in mind,[5] was inspired by an incident between Ogre and a few skinheads. Ogre states that he had been approached by the skinheads who then proceeded to question him regarding his "loyalty towards communism" (prompted by a small Red star on his pants). Feeling threatened, Ogre pushed one of them away and a short scuffle ensued.[3] Other songs on the album, such as "Worlock" and "Choralone," have been described as being more "pure" to previous Skinny Puppy material.[5] The song "Hexonxonx," a song which criticizes the use of oil (written in the aftermath of the Exxon Valdez oil spill of 1989),[7] has been described as being an exemplary mixture of "twisted humor and Throbbing Gristle-like experimentation", while other entries from the album have been noted for their novel use of sampling.[8]

The song "Worlock" has been played on every tour after its conception. A Roland Harmonizer was used to create the vocoder-effect during the chorus. Samples of the song "Helter Skelter" by the Beatles are mixed with an excerpt of Charles Manson singing the song;[9] the excerpt comes from the 1973 documentary Manson.[10]

Release and promotion[edit]

The original CD release on Nettwerk (and the licensed version on Capitol) was mistakenly mastered with Dolby B noise reduction, which resulted in a muffled sound. In 1993, the album was digitally remastered and re-released on Nettwerk.[1]

Only one promotional video was produced for Rabies. The "Worlock" video was primarily a rhythmically edited string of horror movie clips featuring outtakes and clips from the band's earlier video, "Stairs and Flowers" (from the album Mind: The Perpetual Intercourse). The video, which opens with a "Rated X" graphic, was intended to be a critique of the concept of censorship in America.[3] Many of the movie clips featured in the video were from films made by controversial Italian filmmaker Dario Argento, whose work has a reputation for being heavily censored by US distributors in order to gain "R-Ratings" from the MPAA.[11] For the "Worlock" video Skinny Puppy included footage deleted from the US versions of such Argento films as Deep Red, Suspiria, Tenebrae, Phenomena, and Opera. Other films included in the music video include, The Beyond, Hellbound: Hellraiser II, Bad Taste, Dead and Buried, Luther The Geek, Henry: Portrait of a Serial Killer, From Beyond, Death Warmed Up, Eraserhead and Altered States.

Due to the graphic violence of the horror film clips used in the video, and also copyright violations, "Worlock" was subsequently banned by MTV, and did not receive any television airplay.[12] In 1992, Skinny Puppy released a compilation of their music videos, but "Worlock" was noticeably absent. According to Nettwerk, the video was omitted partially due to copyright problems and also because of concern the video would be banned by other countries which might find the video's content obscene.[citation needed] However, in recent years the video has been widely bootlegged among fans on the Internet. "Backing" videos for "Tin Omen" and "Choralone" were produced for the Too Dark Park tour in 1990, and have also been spread on the Internet.

A limited run of promotional mechanical pencils were made and sent to college (and possibly other) radio stations along with the album. Shaped like a syringe the pencils were white with black lettering "SKINNY [PUPPY]" and white on black lettering "RABIES". They were approximately 4 inches in length.

The Mutants of Rock Tour, which was to include a quadruple bill including Skinny Puppy, Ministry, KMFDM, and My Life with the Thrill Kill Kult, was to begin on December 27, 1989. However, according to Key, the tour was called off when Skinny Puppy collectively decided to pull out, citing concerns regarding the band's then uncertain situation. Key suggested a potential line of shows for the summer of 1990, but expressed little faith in any tour supporting Rabies ever happening.[13] Ogre ultimately joined Ministry's tour for The Mind Is a Terrible Thing to Taste.[14]

Critical reception

Since the album's release, reception from both critics and fans has been mixed. Alternative Press said Rabies was more of a Skinny Puppy/Ministry hybrid and was not representative of the group's best work.[5]

Tim DiGravina from Allmusic stated that Rabies was a solid release, even though he felt the band was not performing "at their peak". He goes on to praise the album's implementation of movie dialogue, particularly commending its use in the songs "Worlock", "Tin Omen", and "Rivers". DiGravina was, however, less impressed by Jourgensen's contributions, asserting that the same qualities which made The Mind Is a Terrible Thing to Taste a good album were not suitable for Rabies.[8] Trey Spencer from Sputnikmusic was less favorable, calling the record one of the group's "low points". He was critical of the album's use of simple (and sometimes "formless") song structures and claimed that the sampling brought nothing meaningful to the table. Spencer was more receptive to the song "Worlock", calling it the band's "defining moment", but concludes by saying that "the rest of the album consists of two good Industrial Metal songs, three average songs, and five songs that aren’t worth wasting your time on".[18]

Beth Fertig of The Boston Globe panned the album as "just another festering collection of noise", but pointed out the use of humor on songs such as "Fascist Jock Itch" as a positive element of the band's music.[15] Daniel Lukes of Kerrang! said that despite a "handful of undeniably classic tracks", the album comes across more as a collection of "Ministry B-sides" than a typical Skinny Puppy record.[16]

In a positive review from the Los Angeles Times, writers Jonathan Gold and David Kendrick list Rabies as an essential industrial album, calling it a "slightly atypical" offering that "also rocks a little harder".[17] This sentiment was echoed by CMJ's Brad Filicky, who called the album "a masterpiece of the industrial genre".[21] Jean Carey of the Tampa Bay Times praised the album, calling attention to the use of sampling, the song "Worlock", and Ogre's vocal work, which was compared to a "crazed Jimmy Durante". Carey concluded by saying that "Skinny Puppy's willingness to experiment and change makes [Rabies] well worth a listen".[19] Mark Jenkins of the Washington Post thought the album was less theatrical than their previous efforts, but concluded that the album's "groove is as solid as any the Puppy has ever fetched".[20]

Personnel[edit]

Nivek Ogre (vocals)

cEvin Key (production, engineering, mixing, various instruments)

Dwayne Goettel (production, engineering, mixing, various instruments)

Dave Ogilvie (production, engineering, mixing, backing vocals)

Al Jourgensen (production, engineering, mixing, guitar, additional vocals)

Greg Reely (additional engineering, special thanks)

Marc Ramaer (additional engineering, mixing)

Ken Marshall (additional engineering)

Cyan Meeks (vocals and lyrics on "Rain")

Keith Auerbach (mixing on "Fascist Jock Itch")

Jeff Newell (mixing on "Fascist Jock Itch")

[vbdbct]

⭐️ TEDDY WITH HIS INTERVIEW FROM TATTOO PUNK FANZINE 3 ⭐️ He’s covered in tattoos dedicated to his favorite bands. During the interview I asked him if he could name every band he has a tattoo for, he said it would take too much time - which was totally understandable - he has so many!  A little while later I got an email for him where he tried to type em all out. It’s an incredible amount of amazing bands and tats! Here’s what Teddy wrote:

“David Bowie, Bad Brains, Can, Fela Kuti, Bob Marley, Os Mutantes, Curtis Mayfield, Thin Lizzy, Led Zeppelin, John Coltrane, Germs, X, Black Sabbath, Creem magazine, The Cramps, Ramones, Hawkwind, Motorhead, Dr. Buzzards Original Savannah Band (my only disco tattoo), Santana, Butthole Surfers, King Crimson. Blue Oyster Cult, Big Star, Devo, Throbbing Gristle, MC5, New York Dolls, Neil Young, Slade, Love, Free, AC/DC, Black Flag, 10CC, Steely dan, Yes, Jethro Tull, Rocky Horror Picture Show, Neu!, The Clash, The Grateful Dead, The Stylistics, P.I.L., Bauhaus, Fishbone, Nirvana, The Doors, The Eagles, Joy Division, Rufus, Marvin Gaye, Michael Jackson, Pink Floyd, Crass, Joan Jett, Husker Du, Public Enemy, Traffic, The Sweet, The Faces, Electric Light Orchestra, Siouxsie and the Banshees, Kraftwerk, WAR, Iron Maiden, Alice Cooper, The Who, Misfits, Brian Eno.....Ok, that's most of them but maybe not all.”

⭐️ THANKS TEDDY! ⭐️

[thesunlounge]

Reviews 302: Georgia

Georgia, the duo of Brian Close and Justin Tripp, are seemingly at the height of their powers, having already graced 2019 with two incredible works: the mutant future rhythms and splattered fractal psychedelics of Time, released through Firecracker Recordings, and the more bucolic mysticisms, new age atmospherics, and ethno-jazz spiritualisms of Immute on Ekster (though this album is not without its own sharp corners, featuring as it does a spectacular devolution into chaotic bass music). And in a refusal to slow down, Tripp and Close have now released Side Tracks on Métron Records. As told on the label’s Bandcamp, the album finds its genesis in sample banks recorded independently by the two artists…audial snapshots ranging from ”field recordings of roosters in New Mexico to sculpted synthetic sounds,” which were then shared, manipulated, and layered into a pair of immersive and surreal sonic environments each occupying a full side of tape, with the B-side featuring a heady voice performance from multi-disciplinary artist Tauba Auerbach. As ever with Georgia, the visual aspects of Side Tracks are as arresting as the sounds, with illustrations from New York artist Gravé mesmerically layered across all facets of the cassette, obi, and case…an expressive, enigmatic, and multi-dimensional landscape echoing well the music’s abstracted fourth world textures and dream logic mutations. 

Georgia - Side Tracks (Métron Records, 2019) The A-side is given over to “Hassan”…a cubist jungle constantly in flux and blown through by granulated currents of white noise. Synthesizers quiver on the verge of orgasm and virtual string plucks generate abstracted elevator musak, with everything anchored by pads that wash in like ocean waves before fading into sudden silence. Insect mating calls proceed within breaths of static as the mind is circled around by outer-dimensional typewriter fx and cyborg approximations of doorbells and windchimes. New age starlight smears into an impressionist blur, glass-toned fusion pads squiggle through exotica patterns, and watery jazz spiritualisms flutter like clouds while bass pulses swell beneath a rain of gemstones. Mermaids sing deep sea lullabies awash in child-like curiosity and play harps constructed from spaceage crystals, with each string pluck creating ocean motion flutters. There are momentary flashes into silence and each time, as the track resumes, it has evolved into something stranger, with Tripp and Close increasingly favoring polyrhythmic harmonies, weird descending note clusters, and maddening sequential multi-layers that seem to fall over themselves. Diamond-toned melodies waver like a psychotropic mirage above flower fields made of emeralds, with abstracted angels singing through spacetime rifts. Elsewhere, we find ourselves afloat on a river made of liquified light, one that flows through hypergeometric rainforest growth, with birds chittering and monkeys laughing. Electronics mimick robotically bowed cellos or tremolo guitar psychedelics, which come together with blissed out chord riffs for some semblance of a floating groove. And near the end, insect wings beat against giant gong-like structures while instruments of glowing stone resonate within cavernous fractal chambers. 

On the B-side, “Prime Aire” comes to life on jet engine drones, atonal feedback bursts, and tectonic murmurations. Tones of metal stretch out and sickly drops of liquid hit glass surfaces…their echoes decaying across the spectrum…while pounding reverberations and aquatic contrabass shadows generate a bebop body pulse. Rainbow gases escape from sea-floor vents and then develop into ambient house chord progressions while gongs vibrate amidst the underwater sound layers. Elsewhere, sub-bass liquids reverse in time and slowly evolving polyrhythms sourced from modulating church bells intertwine with temple chants as a three note xylophone arp spreads out across the length of the keyboard. Tauba Auerbach’s anodyne phrases occasional loop…”the energy will make its way through”…all while sampled breaths cycle in time with the dream jazz narcotics. Mermaid voices are pulled towards the sky via UFO tractor beams, conch shell horns bend into currents of darkness, waves of sunlight refract through crystalline blue waters, and glitchy tambourines are sprinkled through the mix until all rhythmic elements vaporize, being eventually replaced by a mutant kick drum. We then find ourselves in some strange stretch of Throbbing Gristle-style darkness, all smeared out industrial psychedelia and cold vocal sexuality. The shadowy atmosphere are countered by warm chord blasts and synthesizers that scat like elephants and as we leave behind the corridors of galactic murk, Close and Tripp return us to their future jazz synth-bass bop and its glowing cloudforms of insterstellar gas. And as Auerbach’s intonations of “slightly hotter / slightly cooler” repeat over oceanic crystal chords and harmonious dissonances, dub delays descend from the sky like a meteor shower.

(images from my personal copy)

[disease]

TG // HAMBURGER LADY REMIXED by CARTER TUTTI [MUTANT THROBBING GRISTLE, 2004]

[psychic-readingonline]

Psychic Eye Series

Contents

English experimental video art

Aliases marvel girl

Resemble cyberpunk androids

Identify information hidden

From Book 1: Abby Cooper is a P.I., psychic intuitive. But her insight failed her when she didn't foresee the death of one of her clients-or that the lead investigator …

Tory May 11 2018 9:14 pm The movie is very faithful to the original, and this seems to be its biggest mistake. Those who have read the manga and watched the anime may find the gags under-performed in this live action version. Nothing is unexpected here.

Psychic TV (also referred to as PTV, Psychick TV, as well as several other aliases) is an english experimental video art and music group, formed by performance artist Genesis P-Orridge and video director Peter Christopherson in 1981 after the break-up of Throbbing Gristle.. Contributors to Psychic TV have included artists such as Coil, Current 93, Hafler Trio, The Cult, Soft Cell, Fred …

This has been an amazing experience for me! I have learned so much about myself and my abilities. When I signed up for the level Psychic Development for Beginners class, I wasn’t sure if I was psychic at all, much less "psychic enough." Since then I have progressed through the advanced class and am currently in a mentoring group.Because of the assignments and work we do and the interaction and …

Abby Cooper is a professional psychic intuitive who has everyone else figured out far better than she has her own life managed. She knows all too well th…

Psychic Abilities Marvel Oct 27, 2018 … This page is an overview of Psionics, or psychic powers in general. … Danielle moonstar (marvel comics); doctor Doom (Marvel Comics) … Jean Grey-Summers is a fictional superhero appearing in American comic books published by Marvel Comics.The character has been known under the aliases marvel girl, Phoenix, and Dark Phoenix.Created by writer

Psychic (Japanese: サイキック Saikikku) is a Type of monster who made their debut in The Duelist Genesis, and are used by Sayer in Yu-Gi-Oh! 5D’s. Psychic monsters often resemble cyberpunk androids, cybernetically-enhanced humans, or strange mutants, and often feature elements of cyberspace, circuit…

The Psychic Eye series is a collection of 11 fantasy books written by Victoria Laurie. The main character is a professional psychic named Abby Cooper.

Psychic Xcom The XCOM Headquarters is the main base of operations for XCOM and the player’s primary interface for managing the strategic elements of XCOM: Enemy Unknown.Nicknamed the "ant farm" by the game developers, it is here the player must manage resources, research projects, facilities and various other undertakings throughout the game. The Psi Operative is a

Psychic Abby Cooper uses her gift to solve mysteries in this series by New York Times bestselling author Victoria Laurie.

Victoria Laurie-bestselling author of Adult Mystery and Children’s Middle-grade Fantasy Adventure. She is also a world renowned professional psychic intuitive.

Vampire Psychic Reading Psychic Shield As a side effect of his healing factor, Wade Wilson/Deadpool’s (Marvel Comics) brain cells are perpetually dying and regenerating in equilibrium, rendering him nearly invulnerable to psychic and telepathic powers. Psychic Clairvoyant Definition Psychic Training Definition A psychic is a person who claims to use extrasensory perception (ESP) to identify information hidden from

Psychic Eye Series. Abby Cooper is a professional psychic intuitive who has everyone else figured out far better than she has her own life managed. She knows …

[sandpillar]

hey briar! i adore your music taste fr i was wondering if you have any favourite albums or stuff youd recommend? doesnt have to be around any specific genre, just love your taste

hope you don't mind me making this reply public. my music taste is all over the place and i have very different "phases" where i get into a specific genre/scene and it's the only thing i listen to for months... and honestly i'm not sure i can introduce you to an artist you don't already know. that said!

ruth white is a pioneer whose work i enjoy immensely. flowers of evil is darker and even more experimental than her other albums, but 7 trumps from the tarot cards and pinions comes very close. she also has an album of classical music rendered digitally called short circuits and it's so so good.

wendy carlos had a similar project, switched-on bach, that's also worth a listen! isao tomita's rendition of holst's planets suite is another early electronic masterpiece. i only really know about these because of eilish, a very good friend of mine whose music i adore, especially her latest album (it’s pay-what-you-want on bandcamp!)- her long-standing interest in the early days of synthesizers is very clearly reflected in her music.

i've only just discovered puce mary, but apparently she's a household name in industrial/noise/whatever you want to call it music. i do think ruth white influenced her - the line "when the low heavy sky presses onto you like a lid", the subdued monotone, the fractured droning... the drought, her 2018 album, definitely feels like a marriage between flowers of evil and a throbbing gristle album. insanely good. pharmakon is a similar artist with a more guttural sound, her bestial burden knocked me out. it's like musical body horror.

everyone's heard of daughters' you won't get what you want by now and for good reason! it's one of my favorite albums, ever. i can't listen to ocean song without a chill running down my spine. their 2010 self titled is also really good, but can't really get into their earlier stuff.

sliding more into rock, anything by idles is really good punk; joy as an act of resistance is what introduced me to them and i think it's a very good first impression! lunachicks are a trip and luxury problem is so so fun. my favorite rock band ever is screaming females - nothing beats marissa paternoster's songwriting, voice and guitar skills. all at once was the album of the decade for me. i'm also embarassingly into hole, though everything besides celebrity skin and live through this is a miss for me. sheena ringo is also really good! her latest album is a good entry point to her extensive career as it's a collection of new tracks and rerecordings of more classic songs.

on more electronic music, vessel, amnesia scanner and against all logic are artists i find myself coming back to, especially their albums punish honey, another life and 2017-2019, respectively. i discovered tsuzing literally today and i'm in love with 東方不敗 (undefeated east, maybe?), his 2017 album. caterina barieri is an artist i’m just now getting into, but i already really like ecstatic computation. i also like “hyperpop” types like 100 gecs, 4s4ki and dorian electra. i'm sorry.

since i've started studying japanese i've been trying to listen to more japanese musicians and i came across うたかたの日々 (utakata no hibi, days in the form of music(?)), which is this 1983 album by musician/project (information is sparse) mariah that features armenian vocals - i haven't heard anything like it. yumi matsutoya is also really good, though not as experimental, especially the dancing sun and 天国のドア (heaven's door).

on the pop side of things - rina sawayama is one of the only current pop girls i find interesting... she feels a lot like what marina & the diamonds was trying to do back in the day; she's a relative outsider to the music industry coming in fully aware of the mythology surrounding pop singers. but her approach is very different - where marina always had a wink and a nudge to let you know she wasn't really buying what she was selling, rina seems to pay genuine homage to the genre. her debut, sawayama, feels like a pilgrimage through pop and it's full of absolute bangers. it's a tragedy that the clubs closed just as it came out...

couldn't really fit these anywhere, but: fiona apple, pj harvey, carne doce, vitor ramil, infected mushroom, kate bush, lorn, genghis tron, novos baianos, naomi elizabeth, tierra whack, sophie, cocteau twins, elza soares, rammstein, huszar, sunn o))), os mutantes, roisin murphy, bedouine, sickboy, ana frango elétrico, xiu xiu... so many artists i'm either always listening to or have been listening to lately. this is huge and i probably left something out LOL i'd love to get your recommendations too!! i love your taste as well and i really enjoy listening to new music

[trevorbarre]

Early Electronic (Synth)Pop -Part the Second

After the ‘Canonical Six’, the electronic flood gates slowly began to open in 1979, the landmark British album of that year being the highly commercially successful Replicas by Tubeway Army. the second release by a duo who rapidly slimmed down to just Gary Numan himself. However influenced it was by David Bowie and Kraftwerk, Replicas remains an integrated, coherent and highly individual statement by a musician who has been unfairly maligned by the music press and fashionistas in general. The Human League followed Being Boiled and The Dignity of Labour (7″ and 12″ respectively) with their first album Reproduction, with Travelogue in 1980 and finally the massively popular, epoch-defining Dare in the following year, which cemented electronic pop in the public (and the record companies) mind as the ‘futuristic’ way forward for the music.

A duo who started off with a 1979 Factory single Electricity (first as FAC 6, and eventually released two further times), released their first full-length disc in February 1980, and Orchestral Manoeuvres in the Dark duly became far too huge to retain their brief cult status. Many other small scale (in size) groups hit pay dirt over those years of 1979 - 1982:  Ultravox, John Foxx, Visage, Soft Cell, Depeche Mode. Germany took up the Kraftwerk mantle, and increased it’s critical stock, with DAF (their debut single, the great Kebabtraume came out on Mute Records), Der Plan, Einsturzende Neubaten - these acts linked up more, however, with the more avant-garde, experimental likes  of Cabaret Voltaire and Jim Thirlwell’s various Foetus incarnations. Interestingly, these two types sometimes overlapped and integrated - for example, Cabaret Voltaire ‘softened’ their approach over time, becoming more dance-friendly, to the point of having a minor hit with 1984′s funky Sensoria. Soft Cell and Depeche Mode retained their ‘edge’ over time, but managed to be huge unit-shifters, especially the latter, who have managed to hold the respect of both pop kids and their hipper older siblings.

Books have been written about the ‘second wave industrial’ bands (the first being our 1978 series of 7-inchers described in the last blog) - Charles Neal’s very early (1987) ‘Tape Delay’, Simon Ford’s biography of Throbbing Gristle, ‘Wreckers of Civilisation’ and, to repeat, Simon Reynolds’ ‘Rip It Up and Start Again’, which covers both wings of electronic popular music suggested above, the commercial and the not-so commercial. By 1984, the concluding year of Reynolds’ narrative, the ‘electronic’ genre has split into many and various sub-’scenes’: the ‘Mutant Disco’ manifestations on the Ze label in America (WasNotWas, etc); the ‘Hidden Reverse’ bands discussed by David Keenan in his book on Coil, Current 93 and Nurse With Wound; the developments in the clubs of Chicago, New York and Detroit, that would influence the ‘leisure activities’ of hundreds of thousands of young people all over the world.

I have always held the period of 1978-1982 in particularly high affection for many personal reasons, and for the music produced in popular music over those few years. Mark E.Smith, an important contributor to this treasure trove of innovations, described a plethora of “miserable songs synthesised”, on The Fall’s 1980 album Grotesque. There is some truth in this, of course, but the incredible number of recordings 7″ format, many of the beautifully presented in picture sleeves, did put some fun into it all (even if it was at times a rather po-faced scene), and it’s great to see that the electronica of those times has a distant relative in the music and presentation (mostly through an exemplary series of 10″ and 12″ singles) of today’s William Bevan, aka Burial. Here is the true keeper of the flame. of Thomas Leer and Robert Rental and The Normal?

[mwitchipoo]

  A few months back, my friend informed me about some documentary about Wax Trax Records. For those who don’t know, Wax Trax Records was both a record store and label based in Chicago, Illinois. Before Grunge took over the U.S. during the ’90s, there was the Post-Punk strains of Industrial music.

The Industrial music genre dates back to the ’70s, pioneered along the way by bands like Throbbing Gristle. (Which I was fortunate enough to catch their reunion tour back in 2009, over at the Brooklyn Masonic Temple.) There’s different sub-genres of Industrial Music, which branches out to Noise and Experimental. Associated acts range from Skinny Puppy, Coil, Psychic TV, Test Department, Einstürzende Neubauten, Clock DVA, Fad Gadget, Nurse With Wound, Foetus, Swans, etc., etc., to more Avant-Garde stuff like Merzbow and Current 93. If you want sheer noise, you can always do Whitehouse. If your goal is to piss off your neighbors, there’s always ‘Christianity Is Stupid’ by Negativeland. By the mid-’90s, Industrial hit the mainstream with acts such as Nine Inch Nails.

Prior to bands like Nine Inch Nails, Rammstein and others, there was Wax Trax. Wax Trax hit its peak during the late ’80s and early ’90s, prior to Grunge as previously noted, and before Rave culture hit the States. Wax Trax became very popular among the Alternative music set. This led to Wax Trax nights across the country. There were tours focusing on the Wax Trax label. Back when I was a teen, I remember seeing one Wax Trax event with a band called Front Line Assembly. One of my own Wax Trax favorites was Front 242.

Fast forward to 2010. By then, both the founders of Wax Trax label had passed away due to AIDS. Julia Nash, daughter of co-founder Jim Nash discovers the label’s inventory was kept in storage in an Arkansas barn. After Jim Nash’s death, his partner in both personal and business moved back to his hometown, taking the overstock with him. When Dannie Flesher passed away, Julia Nash took it upon herself to keep the Wax Trax legacy going. After a successful Kickstarter campaign, The Industrial Accident film was released in 2017, and the soundtrack in 2018.

Thus leads to my own personal events. My friend Christine had been telling me about the upcoming film showing for months. Eventually she got me hyped up to see the documentary. Nostalgia kicked in. Couldn’t help but reminisce about the days when the label “Alternative” actually meant something. Now, I owed a few favors to Christine. After all, she hooked me up with tickets to see Television and Front 242 (first time I saw then was way back in 1988 or ’89…second time was in 2017) within the past two years. She’s done other things as well. Let’s just say she’s an awesome pal. Christine was going to be in another state during Record Day. She asked me if I could pick up the exclusive Record Day release, being sold at places like Rough Trade NYC.

First things first. Lately I’ve been attending a local Queens writing workshop. It’s something I’ve fallen in love with as of late. It’s facilitated by an amazing woman. She reminded me about F. Scott Fitzgerald while introducing me to Marcel Proust. A local paper even wrote an article about the writing class. I’m in the article photo, even though I look fat. Eh. What can you do. Actually, don’t answer that.

My immediate goal was to attend the writing class, then go down to Rough Trade. It’s been a while since I’ve been in touch with vinyl culture. Within the past ten years, vinyl has been having a cult-like resurgence. I hadn’t had a turntable since 1997. Which meant I’ve been completely out of touch with record collecting culture. Access to my own huge collection of valuable vinyl has been has been blocked, thanks to my father. Basically  lost my whole entire record collection. The only vinyl I managed to rescue are my 45’s.  There’s a few rarities among the 45s, like a Poison Girls single. That’s another story altogether, but I won’t dwell on that.

As I’m sitting in the writing class, I get this nagging feeling that my ass should be heading to Rough Trade ASAP. But I’m an old fart now; I’m no longer that 17 year old who once ripped down a large Skinny Puppy concert ad near NYU. The wheat paste was barely dried on the back when I tore it down a late Manhattan night. It was for the sole purpose of decorating my teenage bedroom walls back in Queens. Then there was that promise that I would get the Record Day exclusive for Christine, who’s done so much for me. As soon as I was pondering all of this, Christine texts me. Guilt kicks in. Need to learn how to be cold blooded. So I pull an ultimate douchebag move to all my writing workshop peers. Claiming it was an emergency, I pack up my junk, and walk out of class. In my haste I even left my Dunkin’ Donuts iced coffee behind. Well, it was an emergency.

As luck would have it, the bus heading towards Williamsburg took like, forever. Despite that a Lyft would’ve brought me there in max, fifteen to twenty minutes depending on traffic. Finally arrive at Rough Trade, jumping at the end of the line like Mark Spitz. A few people standing on the line give me harsh eye daggers. Like they want to cut a bitch.

“Is this the end of the line?” I inquire.

Nope. A Rough Trade employee informed gently that I was not at the end of the line. In fact, the line for Record Day exclusives continued…across the street…down the block…almost at the very end of the block.

Oops.

In my embarrassed Lucille Ball moment, I excused myself. That wasn’t good enough. Slinking away, I felt the judgmental glare of the others. I knew they were silently, but yet viciously accusing me of cutting the line. When I slithered to the end of the snake trail, another employee with a megaphone approaches. He’s holding a paper. The paper contains a list of all the Record Day 2019 exclusives, now exclusively sold out. He reads the list through the megaphone.

The Wax Trax soundtrack, particularly the Record Day exclusive, was one of the first to sell out. Then came all the others. Captain Beefheart exclusive was sold out. Hmmm. I would’ve gotten Captain Beefheart. Motorhead exclusive, sold out. Would’ve brought that one as well. Madonna exclusives, sold out. Hard pass on Madonna. What else? Duran Duran exclusive sold out. Hey! I still love Duran Duran. If I was still collecting vinyl, I definitely would’ve brought that one. The sold out exclusive list was long. When it was announced that even Mutant Ninja Turtles Record Day exclusive was sold out, it was time to jump ship. Yes. Even music by fictional fighting turtles was sold out.

Even if most of the Record Day exclusives seem to be reissues, it was still discerning. On one hand, it was good to see hard copy media still selling. On the other hand, not getting the Wax Trax exclusive really meant one thing, which I have yet to explain. You see, that Wax Trax Record Day exclusive had a valuable item attached. It was a much coveted item. The Record Day Wax Trax soundtrack exclusive contained two tickets. They were VIP tickets to the Wax Trax documentary screening and the Q&A that followed.  Plus a free concert by Cold Cave and Ministry who was doing strictly a late ’80s/early ’90s set, connected to the Wax Trax era. Now who wouldn’t want that? That’s what my friend Christine really wanted. That’s what I was hyped up about. Those VIP tickets.

All hope was abandoned. The consolation prize was going home to finally catch up on some much needed sleep. It was an unusually hot Spring afternoon. Global warming wasn’t kind to me, as I stood overdressed on the gentrified pavement. As I was walking towards the L subway, I hear someone call my name. Turning around, it was my friend Michael. Michael was someone I had met two years ago at a Gary Numan concert. We followed each other on Facebook. Michael and me begin a conversation. He was on his way back to Rough Trade, to get his Bauhaus Record Day exclusive signed by David J. David J’s signing wasn’t scheduled until five p.m. It’s been a long week for me, so I suggest we should sit down somewhere to continue the conversation. Michael informs me that he also had purchased the Record Day exclusives for Duran Duran, and the Wax Trax soundtrack.

We locate an OG bar, one without the stench of pretentious hipsters. It wasn’t a dive bar per say. Instead it was a well maintained watering hole, one that had been opened for decades. Only the tap was updated, featuring some IPAs, and of course, Williamsburg’s own Brooklyn Beer. Michael asked me about my birthday, which had recently passed. There were other subjects discussed. I buy him a drink because we have one thing in common. Our all time favorite band is Siouxsie and The Banshees.

As I’m fetching our drinks from the bar counter, Michael pulls a Hail Mary.

“Happy birthday” he says, giving me one half of the VIP tickets that came with the Wax Trax Record Day exclusive.

I was in shock. Asked him if he was sure, and he was. I profusely thanked him. Michael then heads over to Rough Trade for the David J signing. In pleasant disbelief, I head over to the L train. Of course I texted Christine about what happened. My assumption was she was going to be a bit miffed. Fortunately she was completely cool about the entire situation.

Monday comes around. It’s the day of the film showing, the Q&A, and the concert. I’m more psyched than ever before. Suddenly I’m 17 all over again. There was plans to meet up with Michael before heading over to the venue, which was I head over to the venue, Music Hall of Williamsburg. Gut instinct kicks in again. So I decide to hit up Williamsburg earlier than usual. Sure enough. By the time I arrive, the lines are long. There’s two lines. One for VIP tickets, one for general admission.

Two lines waiting to enter Music Hall of Williamsburg for the Wax Trax event, featuring the film, Q&A and concert. Two lines. One for VIP, which came with the Record Day soundtrack exclusive, and one for general admission. April 2019.

They let the VIPs enter the venue first. I was lucky enough to get a seat for the film showing, last seat on the left, first row. It was the only seat left. The rest was standing room only. A DJ was spinning classic Wax Trax era tunes as everyone waited for the documentary to begin. Others decide to go downstairs to the bar.

VIP ticket which came with the Record Day exclusive of Industrial Accident:The Story of Wax Trax soundtrack.

The documentary itself was quite good. It was a candid, first person look into the rise and fall of Wax Trax records. During the viewing, I got caught off guard by being a bit emotional. One thing about this film, it helped bring legitimacy to a underground phenomenon. Wax Trax and relative labels like 4AD, Play It Again Sam (later to be distributed by Wax Trax), Caroline Records, along with others, was a viable part of music during that era. The film could’ve left David Grohl out, though.

Most of the Wax Trax acts were mentioned, such as Thrill Kill Kult, Laibach, Revolting Cocks, KMFDM, Pailhead, Legendary Pink Dots (who were on Play It Again Sam) and of course, Ministry. How can one forget Ministry. Al Jourgensen and his crew played a massive part in the history of Wax Trax records. Ministry also reconstructed themselves from being a dance New Wave synth band, to the endeavor of the Twitch period, to the Industrial Metal hybrid they later became more known for. ‘Uncle Al’, as Jourgensen is now affectionately known by fans, had his fingers in many pies. As a multi-instrumentalist, he spread himself around with numerous side projects. Besides Revolting Cocks, he was involved with Lard, Acid Horse, and 1000 Homo DJs.

After the film was the Q&A.

The panel, moderated by Andy Wombell, a former employee for Wax Trax records, featured Julia Nash, her mother and former wife of Jim Nash, Jean Payne, Chris Connelly from Revolting Cocks and other bands, and Frankie Nardiello, aka Groovie from Thrill Kill Kult.

Alright, you want to hear about the concert. It was Cold Cave, then the main headliners, Ministry. Strange for me, this was my third time seeing Cold Cave live. Second time seeing Cold Cave within months. First time catching Cold Cave live in 2009, opening for NON.

Back in February or March, I saw Cold Cave live over at Brooklyn Steel. Psychic TV was supposed to open for Cold Cave, but Genesis P-Orridge hasn’t been in good health lately. Psychic TV had to cancel their slot last minute.

Cold Cave did an upbeat set. Not to be rude, but I was waiting for Ministry.

Ministry did not disappoint. Uncle Al was never,ever going to do anything before The Land of Rape and Honey era. Not anything from ‘With Sympathy’, not anything from ‘Twitch’. Probably will never touch material from those two releases for the rest of his life.

What albums he did perform: ‘The Land of Rape and Honey’, ‘Psalm 69: The Way To Succeed & The Way To Suck Eggs’, and ‘The Mind Is A Terrible Thing To Waste’.

Chris Connelly was brought on stage, performing No Devotion, a Revolting Cocks song.

The timing could’ve been more perfect. There’s a line in the song that goes “burn the temple…” Meanwhile, there was news about the fire at France’s famous Notre Dame cathedral. Afterwards they did a song from 1000 Homo DJs. Doing a cover of Black Sabbath’s ‘Supernaut’.

Overall it was a fantastic night. Christine managed to get to the show via general admission, Michael showed up later, it all worked out. Didn’t hang with either one though. I ended up being close to the front row, sans ear plugs. Not being prepared, my ears were ringing for two days after the concert. To recover, I had to forgo listening to music on my headphones during the rest of my weekly commute. Not 17 years old anymore.

  During the Ministry set, some 40 years olds decided to mosh for old time’s sake. Why was I not surprised. One old fart decided to stage dive. I’m thinking “dude, how old are you?” His body almost landed on top of me. As I quickly stepped back, his body slammed onto the floor. Nobody caught him. Guess crowd surfing wasn’t in the cards. Me and another woman who was around my age, yelled “asshole” at him, but he didn’t hear. The music was too loud. He got up, shook himself off,  heading back into the audience. The woman who jeered along with me started to complain about another woman. It was a younger lady, tattooed all over with pink hair, going nuts to the songs. Yet by the end of the Ministry set, both ladies ended up becoming friends. As I was leaving, the two generations of women exchanged Facebook info. If anything unites people, it’s music. There was good vibes all around that night. Such a brilliant event. Which was capped off with an acoustic version of ‘Everyday Is Halloween.’ If only everyday was like this.

http://www.brooklynvegan.com/ministry-played-an-all-80s90s-set-in-brooklyn-to-celebrate-wax-trax-pics-video-setlist/

My concert high continued all throughout the next day. Eventually it came crashing down Tuesday evening, while riding the R train back to Queens. Some crazy homeless man threatened to climb into everyone’s bedroom windows with the intent to kill. His reasoning was to avenge himself for not receiving any spare change on the subway.  Welcome back to reality, kiddo.

Additional Links:

https://cherryberry321.wordpress.com/

https://www.indymetalvault.com/2017/12/01/a-beginners-guide-to-wax-trax-records/

https://www.chicagoreader.com/chicago/the-new-documentary-industrial-accident-portrays-chicagos-wax-trax-records-as-a-romance-etched-in-vinyl/Content?oid=49381095

https://theknow.denverpost.com/2018/11/07/wax-trax-denver-history/200444/

https://kimsloans.wordpress.com/colorado-local/local-vinyl/wax-trax-records/

https://www.revolvermag.com/music/ministry-nin-10-things-we-learned-wax-trax-doc-industrial-accident#6-ministryfront-242-side-project-revolting-cocks-signature-sound-was-born-happy-accident

https://www.oregonmusicnews.com/wax-trax-reel-music36

https://www.chicagoreader.com/chicago/the-ballad-of-jim-and-dannie/Content?oid=888822

https://www.treblezine.com/industrial-accident-wax-trax-records-fearlessness-folly/

https://www.decibelmagazine.com/2019/04/25/live-film-review-industrial-accident-the-story-of-wax-trax-records/

https://consequenceofsound.net/2019/04/live-review-ministry-wax-trax-brooklyn/

The Wax Trax Industrial Accident A few months back, my friend informed me about some documentary about Wax Trax Records. For those who don't know, Wax Trax Records was both a record store and label based in Chicago, Illinois.

[rosesandraspberryleaves]

Throbbing Gristle - Hot On The Heels Of Love (Carl Craig Re-Version)