Thursday, August 16, 2007
01 Total Eclipse Of The Sun (First Vocal Version) (3:52)
02 Sonnenbarke (8:14)
03 Helium (3:10)
04 Total Eclipse Of The Sun (New Vocal Version) (3:52)
Their name in English literally means "Collapsing New Buildings," where "New Buildings" describes a type of architecture common in post-WWII Germany (large concrete box-style buildings) and "Collapsing" is an adjective in this context, not a verb.
1. In Flagrante Delicto - SPK
2. See You Are - Throbbing Gristle
3. Automotivation - Cabaret Voltaire
4. Solidit - Carter, Chris
5. Wahre Arbeit Wahrer Lohn - Die Krupps
6. Co Co Pina - DAF
7. Tanz Debil - Einstuerzende Neubauten
8. Cruenta Voluptas - Non
9. Oh Yeah - Can
10. Our Swimmer - Wire
11. Midget Submarines - Swell Maps
12. Shivers - Boys Next Door
13. Cruel When Complete - Dome
14. Candy Man - Gazazza, Monte
15. Thirsty Fish A/Dirty Fire - Hafler Trio
The Grey Area
Of a sudden the Beat is the All and The End of music. A good thing, too, we thought, after weighing up the con of musical harmony that has persisted through the ages. Shatter the harmony and you shatter the social structure, went the saying, and many of us were glad to see the Beat come down hard, cracking the brittle social surfaces reflected in pop's glaze. With documentary zeal, Bears best practitioners from the realms of hiphop and rap shot dance through with healthy doses of realism. And its musical practice, of stripping down to rhythm first and thereafter to rapidfire clusters of pure Beat, was both invigorating and cleansing. But like any form that goes unchallenged from within its own internal structure, the Beat has grown into a massive, monolithic force out to crush any challenge to its authority. The Beat has become the negative image of the musical utopia it once usefully shattered. In short it has evolved into Utopia's exact reverse, a totalitarian regime dedicated only to its own preservation through the elimination of all dissenting voices.
This is the 2007 Re-release
1. Strangelove - Single Version 3:47
2. Pimpf - Single Version 4:33
3. Strangelove - Maxi Mix 6:30
4. Strangelove - Midi Mix 1:38
5. Fpmip - Single Version 5:24
6. Strangelove - Blind Mix 6:35
7. Strangelove - Pain Mix 7:23
8. Agent Orange - Single Version 5:05
Depeche Mode are a band formed in 1980 in Basildon, Essex, England. The group's original lineup consisted of David Gahan (lead vocals), Martin Gore (keyboards, guitar, vocals, chief songwriter after 1981), Andrew Fletcher (keyboards) and Vince Clarke (keyboards, chief songwriter 1980–81). Vince Clarke left the band after the release of their 1981 debut album; soon replaced by Alan Wilder (lead keyboards) who played with the band from 1982 to 1995. Following Wilder's departure, Gahan, Gore, and Fletcher have continued to perform as a trio.
Depeche Mode are one of the longest-lived and most successful bands to have emerged from the New Romantic and New Wave era. As of 2006, it was estimated that Depeche Mode had sold over 91 million records (56 million albums / 35 million singles) worldwide and have had forty-four songs in the UK Singles Chart. They have had more top 40 hits in the UK without a #1 hit than any other artist.
Mick Harvey - celebrated arranger, multi-instrumentalist, producer, film soundtrack composer and co-founder of Nick Cave & the Bad Seeds and The Birthday Party - releases his second compilation of film music.
This new compilation offers music from a wide spectrum of international productions including documentaries, short films and features.
1. Two Guitars - from Lighting Fires (1994)
2. At Neville?s Gate - from Chopper (2000)
3. Cicaders - from Sparrow (1996)
4. Homecoming - from Sparrow (1996)
5. By The River - from Rien Ne Vas Plus (2005)
6. Face to Face - from Rien Ne Vas Plus (2005)
7. Reuniting - from Rien Ne Vas Plus (2005)
8. Finale - from Rien Ne Vas Plus (2005)
9. Main Theme - from Chopper (2000)
10. Three Guitars - from Lighting Fires (1994)
11. Noises/Fire - from Lighting Fires (1994)
12. Piano Theme - from Lighting Fires (1994)
13. Setting Sail - from Frank Hurley - The Man Who Made History (2004)
14. Antarctica - from Frank Hurley - The Man Who Made History (2004)
15. Things Going Wrong - from Frank Hurley - The Man Who Made History (2004)
16. The Man Who Made Pictures - from Frank Hurley - The Man Who Made History (2004)
17. In The Wars - from Frank Hurley - The Man Who Made History (2004)
18. Papua/New Guinea - from Frank Hurley - The Man Who Made History (2004)
19. Things Going Wrong Again - from Frank Hurley - The Man Who Made History (2004)
20. Back in Australia - from Frank Hurley - The Man Who Made History (2004)
21. Chimes - from Rosehill (2002)
22. End Titles - from Rosehill (2002)
23. The Stabbing - from Chopper (2000)
24. In The Bar - from Go For Gold (1997)
25. The Polish Market - from Go For Gold (1997)
26. In the Bar Again - from Go For Gold (1997)
27. The Farewell Song - (co-written and sung by Nick Cave) from Go For Gold (1997)
Since the late 1970's, Harvey has enjoyed a highly successful career as a musical collaborator with singer/songwriter Nick Cave. Through their bands The Boys Next door, the explosive The Birthday Party, the formation of Cave's Bad Seeds, right up to last year's triumphal two CD set Abattoir Blues/The lyre Of Orpheus, Harvey has provided invaluable assistance in helping realise the singer's utterly distinctive vision on record and stage.
Concurrently with his work in the Bad Seeds, over the past 21 years Mick Harvey has made time to forge his own creative path. In the mid 1980's he formed the band Crime And The City Solution, with whom he recorded six LP's until the group disbanded in 1991. Mick Harvey played drums, guitar and backing vocals on Conway Savage's eponymous first EP, then produced and played on two albums by chanteuse Anita Lane, Dirty Sings (1993) and Sex O'Clock (2001). In 1992 he produced Once Upon A Time's LP In The Blink Of An Eye and the following year, with Ed Clayton-Jones, Harvey created music for an Australian theatrical production of Nick Cave's novel, And The Ass Saw The Angel.
Harvey was a featured player with P.J. Harvey, contributing to her albums To Bring You My Love (1995) and Is This Desire? (1998). In 2002 he co-produced P.J. Harvey's Mercury Music Prize winning LP, Stories From The City, Stories From The Sea.
Together with Cave and fellow Bad Seed Blixa Bargeld, Harvey scored two John Hillcoat films, Ghosts...Of The Civil Dead (1988) and To Have And To Hold (1996). He would also release a compilation of his other film scores from the 1980's, Alta Marea and Vaterland (1993). He would later receive much critical acclaim for his scores for two Australian films, Andrew Dominik's Chopper (2000) and Paul Goldman's Australian Rules (2002) for which he won Best Original Soundtrack for Film and Television at the prestigious Australian Recording Industry Association awards (ARIAS).
In the mid 1990's Mick Harvey also produced, arranged, translated, played and sang thttp://www.blogger.com/img/gl.link.gifwo albums of songs by the great decadent French songwriter, Serge Gainsbourg - Intoxicated man (1995) and Pink Elephants (1997). These records garnered much praise, including from Gainsbourg's muse, partner and musical collaborator, Jane Birkin. Harvey believes that these previous eminent Gainsbourg records are very different from the One Man's Treasure collection. "This really feels like my first solo album... because it's so personal," opines Harvey. "If you wanted to put it in black and white, the Gainsbourg albums were more of an intellectual exercise and this is more of an emotional exercise. There isn't a lot of premeditation behind this record at all. It's meant to be very unpretentious, in a way."
1. He Said - Pump
2. Robert Rental - Double Heart
3. Liaisons Dangereuses - Mystere Dans Le Brouillard
4. Birthday Party, The - Mutiny In Heaven
5. Deutsch Amerikanische Freundschaft - Essen Dann Schlafen
6. Deutsch Amerikanische Freundschaft - Nacht Arbeit
7. Normal, The - Warm Leatherette
8. Throbbing Gristle - Hot On The Heels Of Love
9. Mark Stewart - As The Veneer Of Democracy Starts To Fade
10. NON - Embers
11. Nick Cave & The Bad Seeds - In The Ghetto
12. Einstürzende Neubauten - Krieg In Den Städten
13. Laibach - Geburt Einer Nation
14. Crime & The City Solution - Free World
15. Diamanda Galás - Sono L'Antichristo
16. Einstürzende Neubauten - Kalte Sterne
17. NON - Rise
The nervous system of an animal coordinates the activity of the muscles, monitors the organs, constructs and also stops input from the senses, and initiates actions. Prominent parts of a nervous system include neurons and nerves, which are used in coordination. All parts of the nervous system are made of nervous tissue.
1 Anglia (3:39)
2 España (3:10)
3 Anglia (Sanctus Mix) (5:07)
4 España (El Toreador Mix) (4:16)
5 Anglia (Crushed Mix) (5:15)
ANGLIA is based on and inspired by God Save the King/Queen, traditional song, earliest known version by John Bull (1562-1628). Today it is used as the national anthem of the United Kingdom, one of the two national anthems of New Zealand, the royal anthem of Canada, Australia, and the other Commonwealth Realms, as well as the royal anthem of the British Royal Family. “God Save the King (or ... Queen)” is also used as Norway's Royal (but not national) anthem entitled “Kongesangen” and sung in Norwegian. The tune is still used as the national anthem of Liechtenstein (“Oben am jungen Rhein”). There is no single authorized version of the song and contrary to popular belief “God Save the Queen” has never been officially proclaimed the national anthem of Great Britain; it has never been adopted by Royal Proclamation or Act of Parliament.
Rewritten and arranged by Laibach and Silence in 2006. Mixed by Paul Walton a.k.a. P-dub & Laibach, remixed by Peter Penko (Sanctus mix) and Damjan Bizilj aka dj Bizzy (Crushed mix).
ESPAÑA is based on and inspired by La Marcha Real (The Royal March), and by El Himno de Riego. “La Marcha Real” - Spain's national anthem - is one of the oldest in Europe and its origins are unknown. Its first mention is in a document dated 1761: the Libro de Ordenanza de los toques militares de la Infantería Española - the Spanish Infantry Book of Military Bugle Calls - by Manuel de Espinosa. The tune was entitled “La Marcha Granadera” (March of the Grenadiers); however, no composer's name was given. In 1770, King Carlos III declared the “Marcha Granadera” to be the official Honour March, thereby according it a place at public and ceremonial events. Because it was always played at public events attended by the royal family, Spaniards soon came to regard the “Marcha Granadera” as their national anthem and called it the “Marcha Real”. Under the Second Spanish Republic “El Himno de Riego” replaced “La Marcha Real” as the national anthem of Spain. At the conclusion of the Civil War dictator Francisco Franco restored “La Marcha Real” as the country's national anthem, under its old title of “La Marcha Granadera”. The current version was commissioned from Francisco Grau after the approval of the 1978 constitution. In October 1997, a Royal Decree was promulgated regulating the official use of the “Marcha Real” as the national anthem of Spain. It is one of the few national anthems in the world to have no words. But lyrics have been written and used for it in the past. One version, written by Eduardo Marquina, was used during Alfonso XIII's reign and another - written by José María Pemán - during general Franco's dictatorship; however, none of them were ever official. “El Himno de Riego” (author: Evaristo San Miguel Valledor -?-) is a song dating from the Spanish Civil War of 1820-1823 and named in honour of Colonel Rafael del Riego. It was the national anthem of Spain during the period of Trienio Liberal (1820 – 1823) and the First (1873 – 1874) and Second Spanish Republics (1931-1939).
Rewritten and arranged by Laibach and Silence in 2006. Mixed by Paul Walton a.k.a. P-dub & Laibach, remixed by iTurk (El Toreador mix).
printer made a mistake on Anglia single CD cover
This is a "cover" of the Beatles album of the same name, but does not include the title-track.
1 Get Back (4:25)
2 Two Of Us (4:05)
3 Dig A Pony (4:40)
4 I Me Mine (4:41)
5 Across The Universe (4:15)
6 Dig It (1:30)
7 I've Got A Feeling (4:30)
8 The Long And Winding Road (1:53)
9 One After 909 (3:20)
10 For You Blue (5:24)
11 Maggie Mae (Auf Der Luneburger Heide & Was Gleich Wohl Auf Erden) (3:42)
Laibach is also known for their cover versions, which are often used to subvert the original message or intention of the song - most notable being their cover version of the song "Life is Life" on the album Opus Dei, which completely changes the meaning of the original song ("Live is Life") from the original writers' (Opus, an Austrian arena rock band) intentions. Whereas the original is a feel-good reggae anthem, Laibach's subversive interpretation twists the melody into a sinister, rolling military march. The refrain is at one instance translated into German, giving an eerie example of the sensitivity of its lyrics to context.
Other notable covers include the entirety of the Beatles album Let It Be (with the exception of the title track) and their album Sympathy for the Devil which deconstructs the Rolling Stones song of the same name with seven different covers of the song. Opus Dei (itself titled apparently in reference to their cover of Opus's reggae anthem "Live is Life") features a cover of Queen's "One Vision" with the lyrics translated into German under the title Geburt einer Nation, starkly revealing the ambiguity of lines like "One race one hope/One real decision". In NATO, they also memorably rework Europe's hair metal anthem "The Final Countdown" as a Wagnerian disco epic.
Laibach recently covered the song Ohne Dich by Rammstein in a significantly altered version. It features male and female vocals (supplied by Laibach's Milan Fras and Mina Špiler from the band Melodrom), as opposed to the solo male vocals in the Rammstein version. The orchestral sound of the original has been supplemented, and in some sections replaced, by a more electronic element.
1 In The Army Now (4:32)
2 War (4:13)
3 War (Methods Of Prevention Mix) (5:42)
4 War (Ultraviolence Meets Hitman Mix) (6:17)
Laibach is the german name for the slovenian capitol Ljubljana.
Laibach is a Slovenian experimental music group, strongly associated with industrial, martial, and neo-classical. Laibach formed June 1, 1980 in Trbovlje, Slovenia. Laibach represents the music wing of the Neue Slowenische Kunst (NSK) art collective, of which it was a founding member in 1984.
Laibach's method is extremely simple, effective and horribly open to misinterpretation. First of all, they absorb the mannerisms of the enemy, adopting all the seductive trappings and symbols of state power, and then they exaggerate everything to the edge of parody... Next they turn their focus to highly charged issues — the West's fear of immigrants from Eastern Europe, the power games of the EU, the analogies between Western democracy and totalitarianism.
There are two ghost tracks, the first being the reading of a strange poem, the second an instrumental piece. A sudden loud scream anticipates them after 13 minutes from the end of track 9.
1 God And Beast (3:47)
2 Between Venus And Mars (7:04)
3 Millstones (2:13)
4 The Coming Forth (2:58)
5 The Law (5:19)
6 Lucifer, The Morning Star (3:32)
7 Out Out Out (3:30)
8 Phoenix (2:37)
9 Total War (35:35)
"In a Promethean sense, man is a God. But on an even more profound level, man is a beast. This primary contradiction has plagued mankind for millennia. Man is a God. Man is a beast. These two aspects of his personality have been waging war with one another for countless centuries; a war whose casualties are seen everywhere and recognized nowhere. But there exists, however, a long forgotten place in the soul where God and beast intersect. To go to that place is to witness the death of one world and the birth of another...join me."
1 Solitude (3:14)
2 Extract 4 (2:16)
3 Father's Day (5:44)
4 Immolation Of Man (4:32)
5 Sunset (3:38)
6 Arka (4:36)
7 Cruenta Voluptas (2:19)
8 Untitled 1 (5:16)
9 A Taste Of Blood (2:14)
10 Untitled 2 (4:56)
11 Extract 5 (2:18)
12 Extract 12 (4:12)
13 The Fountain Of Fortune (6:00)
Under the name NON, originally with second member Robert Turman, Rice has recorded several seminal noise music albums, and collaborated with experimental music/dark folk artists like Current 93, Death In June and Rose McDowall. Most of his music has been released on the Mute Records label. Rice has also collaborated with Foetus, Tony Wakeford of Sol Invictus and Michael Moynihan of Blood Axis. His later albums have often been explicitly conceptual. On Might! (1995), Rice layers portions of "Ragnar Redbeard"'s Social Darwinist harangue, Might is Right over sound beds of looped noise and manipulated frequencies. 1997's God and Beast explores the intersection in the soul of man's physical and spiritual natures over the course of an album that alternates abrasive soundscapes with passages of tranquility. In 2006 Rice returned to the studio to record raw vocal sound sources for a collaboration with Industrial percussionist/ethnomusicologist Z'ev. In addition he and long time friend Giddle Partridge are recording an album titled LOVE/LOVE-BANG/BANG!, under the band name of Giddle & Boyd. Giddle & Boyd have had much airplay in 2006 on KROQ 106.7 FM, thanks to DJ Rodney Bingenheimer being a big fan of their work together. The release date is set for early 2007.
The lyrics on this recording were taken exclusively from Might Is Right,
a work written by Ragnar Redbeard.
1 No Nirvana (Prelude) (2:11)
2 Ye Who Fall (2:58)
3 Credo (2:52)
4 Ultimatum (0:28)
5 Force (4:03)
6 Deletion (4:37)
7 Warring Atoms (3:05)
8 Evolution (0:40)
9 No Nirvana (5:05)
10 The Immolation Of Man (4:33)
11 Logic Of The Spheres (3:18)
12 Great Destroyers (1:32)
Boyd Rice is not just the most extreme artist in Mute's left-field catalogue, he's a living monument to what can happen to the American Dream if it's raised in a trailer park, weaned on The Partridge Family and The Shangri-La's and then subjected to prolonged doses of pop esoterica. An infamous prankster and scourge of the politically correct, he is as almost as famous for his enthusiastic ownership of one of the world's largest Barbie collections as he is for previous espousals of The Church Of Satan.
Boyd began his exploration into the mind-bending properties of noise in the mid '70s with the aid of a tape recorder and various loops of the aforementioned girl groups, turning bubble-gum pop into a continuous drone. This first collection, known as "The Black Album" was made toward the end of 1975 self-released in 1977 and later re-released as "Boyd Rice" by Mute in 1981. Boyd met Daniel Miller (head of Mute Records) at his first gig in the UK, where he played alongside with Throbbing Gristle, and was among the first artists to be signed on Mute. He is also famous for his 7" with treated noise loop grooves, which can be played at every speed and also off-center with extra drilled holes. The first of them, the infamous "Knive Ladder", was also his first release as NON. Boyd Rice also releases records with his own name and as Boyd Rice And Friends (with different guests), he does spoken words under the moniker The Boyd Rice Experience and a cover band of 60s' bubble-gum pop songs with the name Spell (with Rose McDowall). Various appearances on works of Blood Axis, Current 93, Death In June and others.
Wednesday, August 15, 2007
CD - Throbbing Gristle - The Taste Of TG (A Beginner's Guide To The Music Of Throbbing Gristle) (TG CD 14) UK
1 Industrial Introduction
2 Distant Dreams (Part Two)
3 Persuasion U.S.A.
4 Something Came Over Me
5 Dead On Arrival
6 Hot On The Heels Of Love
7 We Hate You (Little Girls)
9 Cabaret Voltaire (Live At Industrial Training College, Wakefield, 1st July 1978)
10 Exotic Functions
11 Zyklon B Zombie
13 Hamburger Lady
14 His Arm Was Her Leg (Live At The Factory, Manchester, 18th May 1979 - Edit)
Throbbing Gristle (formed on September 3, 1975, in London) are a British Avant-Garde group that evolved from the performance art group COUM Transmissions. They are responsible for establishing industrial music. The founding members of Throbbing Gristle were Chris Carter, Genesis P-Orridge, Cosey Fanni Tutti and Peter Christopherson (sometimes known as "Sleazy").
Their confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, gave the group a notorious reputation. However the group always maintained that their mission was to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music. Throbbing Gristle pioneered the use of pre-recorded samples, and made extensive use of special effects to produce a distinctive, highly distorted background, usually accompanied by lyrics or spoken-word performances by Genesis P-Orridge.
In 1977 they released their debut recording, The Second Annual Report. Although pressed in a limited initial run of 786 copies on the band's own Industrial Records label, it was later re-released due to high demand.
Compilation of tracks from "Second Annual Report", "D.o.A. The Third And Final Report", "20 Jazz Funk Greats" and the three 7" singles. First issued on LP by Rough Trade US in 1981.
1 Hamburger Lady (4:09)
2 Hot On The Heels Of Love (4:19)
3 Subhuman (2:54)
4 AB/7A (4:24)
5 Six Six Sixties (2:04)
6 Blood On The Floor (1:13)
7 20 Jazz Funk Greats (2:42)
8 Tiab Guls (4:17)
9 United (4:03)
10 What A Day (4:34)
11 Adrenalin (3:56)
12 Untitled (0:39)
The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time. Growing out of the extreme performance art group Coum Transmissions, TG redefined music and laid a large part of the groundwork for all electronic music that followed.
From their first performances in 1976 to their last gig in San Francisco in 1981 (recorded and released as "Mission Of Dead Souls"), they challenged and threatend so-called "normal", society - denounced from the floor of the House of Commons as "Wreckers of Civilisation" as the Coum Transmissions "Prostitution" art show in London's ICA (at which TG played their third show) came close to causing riots and set the stage for the punk revolution.
Musically, they were extreme and uncompromising, using technology to make anti-music, which redefined music for all time. Their experimentation led them to pioneer sampling and looping techniques adopted by many of those who came after.
They split in 1981, with Genesis and Peter forming Psychic TV (and Peter later forming Coil) and Chris and Cosey becoming, well, Chris & Cosey. However, they came back together 23 years later in 2004 to plan an ill-fated weekend festival, which became a one-off recording session in London when the festival fell through, releasing a limited TGNOW album of the recordings.
1 Lightning Man (7" Version)
2 Who We Are (7" Version)
3 Lightning Man (The Industry Vs The Ebb Mix)
Remix - Daniel Miller
4 Lightning Man (Barry Adamson Mix)
Nitzer Ebb (pronounced night-zer or nit-zer—the band themselves pronounce it either way) is a music group formed in 1982 by Essex schoolfriends Douglas McCarthy (vocals, synthesizer), Vaughan (Bon) Harris on synthesizers and drums, and David Gooday.
1 Shame (Radiomix) (3:22)
Remix - Flood
2 Captivate (6:21)
Remix - William Orbit
3 Backlash (6:15)
Remix - William Orbit
Sonically, Nitzer Ebb evoked the sequenced teutonic basslines and barked commands of Virgin-era DAF in their early days, and took the energy of alternative punk rock of bands like Killing Joke and Bauhaus to create a new aesthetic.
As they grew in confidence and ability, they began to develop the Nitzer Ebb 'sound' - a blend of unusual analogue trickery, minimal song structure, heavy drum beats and percussion, and Douglas Mccarthy's soulful vocals - either shouted, sung, or spoken. Their sound was captured perfectly in one of their publicity slogans from 1987 -"International Funk Aggression" - as despite being hard and heavy, their tracks were always very danceable.
Nitzer Ebb were seen as totally compromising their music, art and culture, manifesting itself as a 'Nitzer Ebb commerzial Produkt', which saw all adverts, flyers, record sleeves, letterheads, T-shirts, and other objects all sharing a collective identity that was heavily influenced by Russian Constructivist art, Italian Futurism, totalitarian imagery, and Expressionism. Long time collaborator Simon Grainger was an unofficial member of Nitzer Ebb and responsible for the austere look and feel of this visual aspect of the band, which aimed to provoke reaction, to critique, and even to poke fun at such stern stark powerful imagery. It also refelected perfectly the uncompromising style of the music.
In the short term Nitzer Ebb had a clear influence on labelmates, Depeche Mode, with both bands sharing a producer in Flood and (by virtue of his studio role) Alan Wilder, which saw a cross pollination of ideas - a harder edge given to one band and a pop sensibility brought to the other. Compare the intros of Halo and Lightning Man for a demonstration of this.
Nitzer Ebb were also a huge influence on Detroit Techno, with Derrick May publicly acknowledging this fact before the band opened last year's Detroit annual electronic music festival. A diverse range of DJs and producers, from Richie Hawtin to Tiga have also acknowledged the influence that Nitzer Ebb have had on their careers. Indeeed, their tracks (usually in their original form) are still heard across the world's more discerning dancefloors, and have been consistently listed in a wide range of DJ's Top 10s throughout the past year in the dance music magazine, Mixmag.
1 Control I'm Here (Zero Option Mix) (3:54)
2 Control I'm Here (Instrumental Club Mix) (5:32)
3 K.I.A. (4:29)
4 Control I'm Here (Hardcore Mix) (3:53)
Mastering was screwed up somehow. Track 4 (Hardcore Mix) is actually the same version as Track 1 (Zero Option Mix).
Having quietly split, the band's back catalogue began to appear in DJ sets and mix compilations, and their name would appear in interviews with house and techno producers, (which only served to highlight their enduring influence). In recognition of this development NovaMute released a remix series with three 12-inch singles between 2001 and 2004 - Shame/Join in the Chant, Control I'm Here/Let Your Body Learn, and Murderous/Control I'm Here. The remix of Let Your Body Learn was particularly fruitful as it was given a radical overhaul by French techno producer Terence Fixmer which led first to a friendship and then developed into a recording project between Fixmer and Douglas McCarthy, called simply Fixmer/McCarthy. Live performances (with just a mic and a Mac) around the world followed, which included new versions of Nitzer Ebb songs. This also led to an album released as Fixmer/McCarthy, entitled Between the Devil....
In late 2005, it was announced that McCarthy and Harris (now residing in the US, and producing/engineering for Marilyn Manson and Billy Corgan) had begun to talk about the possibility of a Nitzer Ebb reunion. 2006 saw Nitzer Ebb tour once more, enlisting the services of a female drummer, Kourtney Klein, and focusing on the more electronic phase of their career, with Mute Records finally releasing the 2 CDs set, Body of Work 1984-1997 in June 2006. A companion piece Body Rework, featuring remixes from cutting edge contemporary techno artists such as Motor, Black Strobe, the Hacker, Derrick May, and Robag Wruhme, further highlighted the interest and respect still shown for this groundbreaking, unique, and highly original electronic outfit.
Capitalizing on the success of last year's world tour, Nitzer Ebb began work on new material in Los Angeles earlier this year. A retrospective documentary is set for release later this year.
Wednesday, August 8, 2007
Drawing from the pioneering work of artists like Throbbing Gristle, Cabaret Voltaire, and Suicide, the dark avant-industrial group Skinny Puppy formed in 1982 in Vancouver, British Columbia. Originally a duo comprised of former Images in Vogue drummer cEvin Key (born Kevin Crompton) and Nivek Ogre (aka Kevin Ogilvie), Skinny Puppy followed their debut cassette, Back and Forth, with the EP Remission, the first of many recordings with producer David "Rave" Ogilvie, in 1984.
Keyboardist Wilhelm Schroeder joined the group for 1985's full-length debut, Bites, but was replaced the next year by Dwayne Goettel, whose sampling and synth work proved significant in the development of the Skinny Puppy aesthetic from ominous dance music into a distinct fusion of industrial, goth, and electronic sounds. Subsequent releases like 1986's Mind: The Perpetual Intercourse, 1987's Cleanse, Fold and Manipulate, and 1988's VIVIsectVI further honed the trio's style, as well as introducing the outspoken lyrical agenda that remained a thematic constant throughout much of the group's work.
In 1989, Ministry's Al Jourgensen added vocals, guitars, and production work to Rabies; later, he joined Ogre in the side project Pigface. Ultimately, the members' interest in pursuing similar outside projects began to unravel Skinny Puppy: in 1987, Key and Edward Ka-Spel of the Legendary Pink Dots recorded the album Their Eyes Slowly Burning under the name Tear Garden, and in 1990, he and friend Alan Nelson worked as Hilt. A major rift began splitting the band apart, and Key and Goettel often sided against Ogre, whom they felt was more interested in pursuing solo work than in keeping the trio intact; drugs had also become a serious problem, but Skinny Puppy nonetheless signed to American Recordings in 1993 and relocated to Los Angeles to begin production work.
The sessions for the album, titled The Process, proved disastrous; for the first time in nearly a decade, David Ogilvie did not oversee production duties, and the group went through several producers, including former Swan Roli Mosimann and Martin Atkins. Flooding and earthquakes further hampered the sessions, and Key was severely injured in a film shoot. After months of recording, Key and Goettel, dissatisfied with Atkins' work, absconded with the master tapes and returned to Vancouver in mid-1994 to finish production. Ogre remained in California, and later announced he was leaving Skinny Puppy to form W.E.L.T. A few months later, on August 23, 1995, Goettel was found dead of a heroin overdose in his parents' home; in his honor, Key and Ogilvie finally completed the album, and The Process was released in 1996. A multimedia history of the band, Brap: Back and Forth, Series 3 & 4, followed a few months later, while Key returned to his new project, Download. Released in 1998, Remix Dys Temper featured Skinny Puppy reworkings by Autechre, Neotropic, and Adrian Sherwood in addition to industrial groups like KMFDM and God Lives Underwater.
By 2000 the word was out that Key and Ogre had buried the hatchet, reactivated Skinny Puppy, and recording was underway. A 1994 jam between Skinny Puppy and Throbbing Gristle/Psychic TV member Genesis P-Orridge was released under the title Puppy Gristle in 2002 on Key's subCON label. The SPV label (which had long been the distributor of the band's albums in Europe) signed the band in late 2003. Skinny Puppy's Greater Wrong of the Right hit the streets in 2004 with members of Tool, Collide, and Static-X making guest appearances. It was followed in 2007 by Mythmaker.
'Prey' features the evocative vocal style and guitar talents of Bluesman Joe Richardson. Born in Southern Louisiana, Richardson spent years immersed in the murkier side of New Orleans life and offers a unique commentary on conflict, religion, incarceration and personal struggle.
Alan Wilder’s 30 years in the music industry has seen him go from studio assistant to session keyboard player, but it was his 14 years as a member of Depeche Mode where Wilder really honed his skills. Recognised by many as the dominant musical force and cited for his attention to detail in the studio, Wilder pushed the boundaries even within the restrictive climate of commercial pop. As an antidote to the demands of the Mode, his studio project Recoil was born in the mid-eighties.
Wilder's skill at blending diverse and eclectic musical styles with often controversial subjects has produced an album of complex sonic imagery and expansive dynamic range. ‘subHuman’ asks us to reach within ourselves and extract the very essence of what makes us human - and more importantly what allows us to subordinate others, sometimes with the most brutal consequences. We are all subHuman in somebody’s eyes.
A. Prey - Single Version Edit
B. Prey - Reduction Edit