The Legendary Pink Dots collected cataclysms in the dark, dense drapery of this terminal kaleidoscope. The experimental group had formed in 1980 in London and moved to Amsterdam, spending the next decade exploring a progressive, industrial, electronic, post punk, ambient psychedelia. After sixteen studio albums ( Only Dreaming and Kleine Krieg in 1981; Brighter Now , Atomic Roses , Premonition , Apparition , and Basilisk in 1982; Chemical Playschool 3 & 4 and Curse in 1983; The Tower in 1984; Asylum and Prayer For Aradia in 1985; Island Of Jewels in 1986; Any Day Now in 1988; The Golden Age in 1989; and Four Days in 1990) and several live albums ( The Lovers , Dot-To-Dot , Traumstadt 3 , and Greetings 9 ) on over twenty different record labels (Mirrordot, Jarmusic, Terminal Kaleidoscope, 235, In Phaze, Art Nouveau, New Europeans, Play It Again Sam, SPV Poland, Soleilmoon, Illusion Productions, Flowmotion, Ding Dong, Third Mind, Beta-lactam Ring, Staalplaat, Big Blue, Cacciocavallo/Soleilmoon, Bain Total, Teddy Bear Music, Materiali Sonori, and Wax Trax!), their next album 'Crushed Velvet Apocalypse' added Caroline Records to the list. Produced by The Legendary Pink Dots with engineer Hanz Myre at Studio Klaverland in Utrecht, Netherlands and g lass mastered at DADC in Austria; 'Crushed Velvet Apocalypse' credits Qa'Sepel (Edward Ka-Spel) on voices and keyboards; The Silver Man (Phil Knight) on keyboards, samples, devices, and percussion; Bob Pistoor on guitars, sitar, and bass; Neils van Hoorn on flute, saxophones, and bass clarinet; and Hanz Myer on electronics, oboe, and tymphanis. The cover was done by Stephan Barbery.
Edward Ka-Spel would express: "If you look at history, the one thing that's certain is that events are accelerating. Things are changing faster and faster, like a ball rolling down a mountain. Our idea is that if things continue to accelerate at this rate, eventually we'll reach overload, cataclysm. We want to provide the relevant soundtrack to this process. Our sound is like this immense cocktail, saturated with all these elements of past music jumbled up with the absolutely modern, like sampling and synthetics. But we aren't pessimistic about this impending cataclysm. We belive that we're living through the most significant time in the history of the planet, and we should cherish the things we see and feel in these most exciting times. That's why our catchphrase is "Sing while you may!" And that's why our new album's called 'The Crushed Velvet Apocalypse' . Apocalypse can mean simply change. Its like the death card in the Tarot: it doesn't mean death, it means drastic change...I don't know if these changes are gonna be for the good or the bad. I don't pretend to be any kind of sear or visionary. I just know that all kinds of philosophies, like Nostradamus, are pointing to the 30 years up to the year 2000 as being a time of great transition. Some point towards a Golden Age after it. But there's beauty even in the darkest things. The reason why sunsets are so beautiful these days is because of all the pollution. If you look at a river that's been chocked with oil, it "is" beautiful. It's the strange twist in the tale. And I try to take all these things that are happening today, and take them to their ultimate. I don't believe in the annihilation of mankind, but I do believe in mutation. Ka-Spel says: "I never like to talk of influences, cos they tend to be subliminal rather than overt. But to be hones, those German groups are what I still listen to the most, because they just went so "far". So few bands go that far. A band like Nurse With Wound, who I really like, maybe go that far out. But I can't think of too many modern bands that try something like that, that actually deranges. The beauty of those groups is that Can sounded nothing like Faust, who sounded nothing like Amon Dull, who sounded nothing like Ashrar Temple... The diversity really puts you in all these different "worlds". It's something else! And that's why, with our music, I can't really say where it's going to go next, because there are no boundaries. The one thing I can assure you is that it will never be rock'n'roll. I can't stand rock'n'roll. I'm allergic to it. If you take the German bands as having no traditional roots in rock'n'roll or R&B, as having roots more in Stockhausen than in Chuck Berry, than we follow on from that, and are even more free-floating and rootless. I listen to stuff like Stockhausen, Penderecki, Xenakis, Ligeti, Pierre Henry, all that "avant-garde" stuff. But not from an intellectual point of view, but just to bathe in all the sounds and noises. It's totally exciting...We always dedicate albums to deviants, and I tend to like deviant music. Anyone who's a character, does something completely willful and doesn't give a damn about what other people think. There are a lot of people out there who do that, but they tend to get buried under the carpet...There's a lot of humour in the music, but a lot of people home in on the disturbing side. It's got really disturbing on this tour. People have come to hate me. A guy in Oslo kept trying to assault me. I got a letter from another guy who basically blamed me for all his problems. He'd bought all the records, and he was basically accusing me of sending him over the edge." http://legendarypinkdots.org/ "Hellowe'en"https://www.youtube.com/watch?v=Ac4zFRh1I9I VIDEO
"New Tomorrow"
https://www.youtube.com/watch?v=n393gp5-4O4 VIDEO "The Safe Way"
https://www.youtube.com/watch?v=HG0HpWPijkM VIDEO 'Crushed Velvet Apocalypse' full album:
https://legendarypinkdots1.bandcamp.com/album/the-crushed-velvet-apocalypse-2010-remaster https://www.youtube.com/playlist?list=PLlX1lj_Ahio-pRdujztjweKg2ud0yNPZl VIDEO 1. "I Love You In Your Tragic Beauty" 4:40
2. "Green Gang" 7:38
3. "Hellsville" 5:42
4. "Hellowe'en" 1:17
5. "The Safe Way" 4:31
6. "Just a Lifetime" 7:40
7. "The Death of Jack the Ripper" 5:20
8. "New Tomorrow" 9:53
9. "Princess Coldheart" 6:40
10. "The Pleasure Palace" 8:10
11. "The Collector" 5:20
12. "C.V.A." 1:15
.
Swans went burning backwards through a cosmic gothic blood promise to create this insane unconscious true love annihilation. After a decade the group had developed from a visceral industrial onslaught ( 'Filth' 'Cop' 'Holy Money' 'Greed' 'Children of God' , 'The Burning World' , 'White Light from the Mouth of Infinity' , and 'Love of Life' ) coinciding with a brief flirtation with major label Uni/MCA. The group took three years to record their next album 'The Great Annihilator' with Michael Gira on electric guitar, vocals, electric 12 string guitar, sounds, acoustic guitar, and production; Jarboe on vocals, background vocals, sounds, organ, and keyboard; Bill Rieflin on drums, percussion, sounds, and 12 string acoustic guitar; Algis Kizys on bass guitar; Norman Westberg on electric guitar; Clinton Steele on electric guitar, acoustic guitar, and drone guitar; and Ted Parsons on drums.
Gira would recount: "The new album was recorded in Chicago while we were still living in New York. That was a long disastrous process, though. We thought we had some pretty strong interest from major labels for the record, and that went on for over a year. When that didn't come through, we didn't know what we were doing. At the time, the person that was doing our business was associated with Martin Atkins at Invisible, so we just decided to put it out on his label because he was available and had good distribution ... Actually, we've recorded in a lot of different places around the world, and this just came about like most things, it seems, through inertia. We got hooked up with what was supposed to be cheap studio time there. I spent three months living inside a windowless warehouse, never going outside, drinking far too much and making fresh enemies with whomever had the bad luck to come in to work on the album or stare at me like an evil troll on display. A real fun time! Jarboe and I slept in a tent in the room next to the recording console because the warehouse was infested with mosquitoes that bred in the toxic sludge outside in nearby Cabrini Green and worked their way in through the air vents, honing in on our blood. It was like camping out, except in a subterranean cell where nothing ever changes. Most of my time was spent shuffling around comatose in the debris like a zombie, listening to the same sounds over and over, trying to remember what I was doing there - this is my impression of Chicago. But don't get me wrong, I really enjoyed myself. That's why the album sounds so great! ... I wouldn't say there is a single lyrical or thematic thread to it. There are a few references to a quasi-cosmic phenomenon, the great annihilator, I don't know if you know about that... I'm certainly no science freak but according to Stephen Hawking's theory, the ultimate black hole into which all matter, time and events get sucked into once-the universe starts reversing itself is called the great annihilator. So its like this inhaling and exhaling process of creation and destruction of the universe. To me. it was a nice image really, because I don't know much about science-l didn't even graduate from high school. It's kind of like a Buddhist concept. Actually. modern physics is veering toward Buddhism more and more. it seems, like all matter being sentient. I saw this physicist giving a lecture once about matter having intentionality. "
http://swans.pair.com/ VIDEO VIDEO VIDEO 'The Great Annihilator' full album:
VIDEO All songs by Michael Gira except "My Buried Child" (lyrics: Michael Gira, music: Michael Gira, Jarboe) and "Out" (Michael Gira, Jarboe).
1 - In
2 - I Am The Sun - 2:27
3 - She Lives! - 5:51
4 - Celebrity Lifestyle - 12:52
5 - Mother/Father - 17:02
6 - Blood Promise - 21:09
7 - Mind/Body/Light/Sound - 25:25
8 - My Buried Child - 30:18
9 - Warm - 33:17
10 - Alcohol The Seed - 38:11
11 - Killing For Company - 41:41
12 - Mother's Milk - 48:36
13 - Where Does A Body End? - 51:03
14 - Telepathy - 54:46
15 - The Great Annihilator - 1:00:57
16 - Out - 1:05:51
live 1995
https://www.youtube.com/watch?v=5LQxz7j0WwA
Nine Inch Nails hammered an industrial synth pop animosity into the hole of purist feeling for this twisted introduction. Trent Reznor is the mastermind behind the one man band: " I grew up in Pennsylvania. Back then, if you had a band, it was a covers band. That's all there was. I Learned piano when I was a kid and I eventually started getting into keyboards, but all I was doing was filling in with other bands. Not even session work. I was just joining some band for a few gigs at a bar in some town somewhere. I'd always been into computers because I was good at math, but the idea of actual 'electronic' music didn't really hit me till I bought a Moog Prodigy-that was when I was about 16 or 17. That thing just blew my mind. Initially, I thought I'd combine the math and the music. Maybe design synths or consoles or something like that. But, eventually, it dawned on me that, eventually though I was very good at calculus, J didn't actually like doing it. So, I decided to do something I did like. Music." Reznor played keyboards in The Exotic Birds before breaking out on his own. His job at Right Track Studios in Cleveland gave him access to the studio equipment where he recorded his demo 'Purist Feeling' "I heard stuff other people were recording and I always thought, 'This stuff sucks.' I thought I could do better, but for a long time I wasn't doing anything about it. I was arranging other people's music. I was playing keyboards on other people's bullshit demos. I was playing live, taking drugs and being a fucking idiot -- fooling myself that I was doing something when really I wasn't. Then when I got in that studio I realized that there's an oppurtunity here. I could make it happen... I had this romantic notion that, well, Prince did it himself, and I fully respected him for that. So I just started to do it. I was intimidated by guitars because I always liked them but couldn't play them worth shit. I thought if I could come up with a guitar part, every guitar player in the world would say that's easy, anyone can do that. And then I realized, like, who the fuck cares?"
'Pretty Hate Machine' was written, arranged, and performed by Reznor with production assistance from Adrian Sherwood, Mark "Flood" Ellis, and Keith LeBlanc. They beefed up the demos with singles 'Head Like A Hole' and 'Sin'. Sean Beavan mixed the tracks and Reznor signed with Steve Gottlieb's TeeVee Toons Records : " By the time I got my record deal with TVT to release that first album, I was the definition of ready-to-go. Man, I was prepared. I had spent days and weeks and months on these songs. Everything was there. All the drums programmed. All had to do was add some guitars and redo the vocals. The deal didn't give me much money, but I did persuade them to give me enough to come over to the UK and work with John Fryer [who produced the likes of Depeche Mode, Cocteau Twins and had long relationship with the 4AD label]. I really admired Fryer's work, but we didn't hit it off. He was into experimenting in the studio, but I'd already experimented with these songs about 3,000 times. They were as finished as they were ever going to be. My money I' d got from TVT gave me about a month in the UK, which was about two days to record and mix each song. I just wanted to get the album finished... They thought they were demos. They said, 'What you need to do is polish these up and make them sound like everything else on the radio.' Obviously, this wasn't a very comforting thing to hear when you've just recorded your first album, but I sat down and tried to really objectively listen to the songs. I felt that maybe two or three songs could benefit from another mix. Head Like A Hole was one of them and I gal another couple of grand out of TVT for a session with Keith LeBlanc in New York. He helped to program a few more drums and livened things up a bit, but what actually came out was still pretty much me and my original demos. That whole first album was me in the studio, just messing around. Trying to find an identity. Trying to find out how I wanted to sound."
'Pretty Hate Machine' peaked at seventy-five in the US and sixty-seven in the UK; but it spent one hundred and thirteen weeks on the Billboard 200 and became one of the first independent records to go platinum. Reznor recalls: "It was bigger than I'd ever dreamed. And the strange thing is that it all seems to happen in a whirlwind. You have no control over it. One day, you're over here, and the next day, you're way over here wondering what the hell is happening. I couldn't play the songs live. I didn't have a band. That's how unprepared l was ... I went from living in squalor to actually being in an OK apartment … I even got to leave the country — wow! ... There's a scene that has been flourishing for the past five years or more. Underground club oriented danceable music has been labeled industrial due to the lack of coming up with a new name. Nine Inch Nails/Industrial, Industrial/Nine Inch Nails. I'm so tired of thinking about it I can't even tell you. What was originally called industrial music was about 20 years ago Throbbing Gristle and Test Department. We have very little to do with it other than there is noise in my music and there is noise in theirs. I'm working in the context of a pop song structure whereas those bands didn't. And because someone didn't come up with a new name that separates those two somewhat unrelated genres, it tends to irritate all the old school fans waving their flags of alternativeness and obscurity. So, I'd say I've borrowed from certain styles and bands like that. Maybe I've made it more accessible. And maybe by making it more accessible it's less exclusive. I just make music that I want to make, that's interesting. That's extreme for what I want it to be extreme for and then I put it out and the media says it's this or it's that. I don't even know what I'm talking about anymore ... It was a situation where we come from a little pocket of subgenre music that a lot of people hold dear to them. The record comes out and it's embraced by those people, but then suddenly it starts to sell more records and suddenly the same album that everyone thought was cool, it's like, 'Uh-oh, now some asshole at school's wearing a T-shirt. OK, these guys suck.' Where we're coming from there's only a handful of bands in that world. I started feeling real guilty that people liked the band... I remember when we were just starting out we were opening for a couple other bands and nobody knew who the fuck we were and MTV didn't give a shit about us and radio didn't really give a shit about us. I remember the first time I looked down and I could see people singing words back at me, and it really seemed like they meant it. They're fucking yelling back at me and I'm yelling back at them and it suddenly seemed like it's starting to be worth it now. The fact that someone can relate to something that you, in an intimate moment, jotted down, just blew me away."
http://www.nin.com/ Head Like A Hole https://www.youtube.com/watch?v=nOVW938sr0k https://www.youtube.com/watch?v=ao-Sahfy7Hg Terrible Lie
http://www.dailymotion.com/video/xehmsv_nine-inch-nails-terrible-lie_music Nine Inch Nails - Terrible Lie by MisterQuiz Sin
https://www.youtube.com/watch?v=BWhrAjY6bcU Down In It
https://www.youtube.com/watch?v=QrrEo3hZABU 'Pretty Hate Machine' full album:
https://myspace.com/nin/music/album/pretty-hate-machine-19461473 VIDEO All tracks written by Trent Reznor
1. "Head Like a Hole" 4:59
2. "Terrible Lie" 4:38
3. "Down in It" 3:46
4. "Sanctified" 5:48
5. "Something I Can Never Have" 5:53
6. "Kinda I Want To" 4:34
7. "Sin" 4:05
8. "That's What I Get" 4:30
9. "The Only Time" 4:47
10. "Ringfinger" 5:42
'Purist Feeling' https://www.youtube.com/watch?v=UR26Fo1972c 1. 00:00 Slate (Intro)
2. 02:23 Sanctified
3. 08:03 Maybe Just Once
4. 13:12 The Only Time
5. 18:25 Kinda I Want To
6. 23:28 That's What I Get
7. 27:47 Purest Feeling
8. 30:47 Twist
9. 36:41 Down In It
Einstürzende Neubauten renovated lies and let there be light in the explosive industrial confusion of this atavistic avante noise fusion. The Berlin musical art collective had disbanded twice after each of their previous two albums, the thunderous 'Halber Mensch' and the more understated 'Fünf auf der nach oben offenen Richterskala' . During both breaks, lead singer Blixa Bargeld worked with Nick Cave and the Bad Seeds . Sessions for their next album, 'Haus der Lüge' ("House of Lies") were produced by Einstürzende Neubauten at Hansa Studios and featured Blixa Bargeld ("Berlin Dandy of the Apocalypse") on lead vocals and guitars; Mark Chung ("Founder of Neubauten's Publishing Empire") on bass and vocals; Alexander Hacke ("Who Plays Guitar Like an Instrument of Chaos and Feedback") on guitar and vocals; with N.U. Unruh ("The Destructive Character is Cheerful") and F.M. Einheit ("Survivalist Electronics Expert and Overwhelming Physical Presence") on percussion and vocals. The Maifestspiele section of Fiat Lux contains recordings from a May Day demonstration in Kreuzberg, Berlin on May 1, 1987. The cover art is based on a woodcut by German Renaissance artist Hans Baldung Grien. They describe themselves in the liner notes: "Theirs is a completely dis/integrated vision compounded from the personal and the socio-political, past historical crimes and present holocausts, love and hate, passion and frigidity, arid desert heat and blasts of arctic cold. Rather than blandly homgenizing irreconcilable elements, they contruct towering 'musaics'. These endlessly forming and unforming dissonant tone clusters enrich the timbral/textural ranges of music. Einstürzende Neubauten are one of those very few groups who have shattered the blue gene code governing the sturcture of Anglo-American denim rock, irrevocably alterning its DNA."
http://www.neubauten.org/ http://www.neubauten.org/haus-der-luge Feurio!
https://www.youtube.com/watch?v=_oRQh-cqJmQ Prolog/Feurio!
https://www.youtube.com/watch?v=ZAoFkYaDImY Haus Der Luge/Epilog
https://www.youtube.com/watch?v=0Ve5ceF_BiI 'Haus der Lüge' full album:
VIDEO
Prolog - 1:50 Feurio! - 6:02 Ein Stuhl In Der Hölle (A Chair In Hell) - 2:09 Haus Der Lüge (House Of Lie) - 4:00 Epilog - 0:28
Fiat Lux - 12:24 a) Fiat Lux
b) Maifestspiele (May Festivals)
c) Hirnlego (Brain Lego)
Schwindel (Deception) - 3:58 Der Kuss (The Kiss) - 3:37 bonus:
Partymucke (Party Music) - 3:52
Pop Will Eat Itself devoured everything in their path to create sixteen different flavors of hell in the sampled sonic synthesis and retrograde riffs of this grebo grab bag. The group had formed in Stourbridge, England initially as From Eden and then became Wild and Wandering before taking on the name Pop Will Eat Itself from an article in NME. They produced their debut EP 'The Poppies Say Grrr' with an indie guitar sound that featured Clint Mansell on vocals and guitar, Adam Mole on keyboards, Graham Crabb on drums, and Richard March on bass. Another EP 'Poppiecock' was compiled with 'Grrr' on 'Now For a Feast' 'Box Frenzy' "grebo" .
The Poppies got signed to major label RCA and began working on their next album with producer Flood (Mark Ellis) and a much larger studio budget. 'This Is the Day...This Is the Hour...This Is This!' became a sensation in underground circles and influenced the whole scene. The album charted at number one hundred and sixty-nine in the US and twenty-four in the UK. Clint Mansell described their sound at the time: "If you can like 'Blade Runner' and Foghorn Leghorn and Public Enemy and Hawkwind all at the same time, then you'd probably be into what we do...It's just a spontaneous thing you know what you like what you're listening to...what you write...We've never thought of putting limitations on ourselves like, as you say, 'white boys can't do this' or 'people from the midlands we can't do this or that'...It's just what we like and what inspires us...The first thing we liked was when run dmc and the beasties were in the public eye, they started using guitar stuff, which was kind of where we were at at the time, and it just kind of opened our eyes...I go through a line of old records and other people's records just playing them through quickly looking for the light bits of groove where there's light bits of sound you can get at or the beginning of records where nine times out of ten they're sparse and you can use bits; but I mean, most of the time you don't even know what the record is or it's something crap that you don't like; but there's a bit of sound which you can twist. You can distort it, play it backwards...do anything to it and make it completely unlike the original...The more obscure the record tends to be, the better...There obviously is a line, it depends on what you're trying to do, I suppose. Some people are trying to use bits of sound and put them together as a collage. Other times the bits you steal are obviously... it's a big reference to the song you used. Sometimes you have to pay royalties on the bit you used 'cause they're so blatant...depends on how blatant you are, I suppose."
http://www.popwilleatitself.net/pwei/ https://myspace.com/pweination/music/album/this-is-the-day...-8154567 'Can You Dig It?' samples We Care a Lot by Faith No More and Black Is Black by Belle Epoque. It went to number thirty-eight in the UK.
https://www.youtube.com/watch?v=36nWNAvtwrw 'Wise Up Sucker' samples Funky Drummer by James Brown. It hit forty-one in the UK.
https://www.youtube.com/watch?v=wxycYzogeys 'Def Con One' made it to number sixty-three in the UK and number thirty on the US modern rock chart. It contains samples of eleven songs: Hungry Heart by Bruce Springsteen, I Wanna Be Your Dog by The Stooges, Crazy Horses by The Osmonds, Funkytown by Lipps, Inc., Etrange No. 3 (The Twilight Zone Theme) by Marius Constant, Dancing in the Street by Martha and the Vandellas, Time to Get Ill by Beastie Boys, Right Now by The Creatures, Beat Dis by Bomb the Bass, Raising Hell by Run-DMC, and My Mike Sounds Nice by Salt-N-Pepa.
https://www.youtube.com/watch?v=v7Wm4qXC_j4 'This Is the Day...This Is the Hour...This Is This!' full album:
VIDEO 00:00 PWEI Is A Four Letter Word
01:12 Preaching To The Perverted
05:35 Wise Up Sucker
08:52 Sixteen Different Flavours Of Hell
10:19 Inject Me
14:09 Can U Dig It?
18:40 The Fuses Have Been Lit
22:42 Poison To The Mind
23:40 Def Con One
27:40 Radio P.W.E.I.
31:17 Shortwave Transmission On "Up To The Minuteman Nine"
32:20 Satellite Ecstatica
35:52 Not Now James, We're Busy
39:01 Wake Up, Time To Die
45:42 Wise Up! Sucker (12" Youth Mix)
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