ª ªªª ª ª ª ª
ª ªªª ªªªªªªªªªªªªªªª
ª ªªªªªªªªªªªªªªªªªªªªªªªªª ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ª ªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªªªªªªª
ª ªªª ª ªªªªªªªªªªªªªªªªªªªªªªªªªªª ª ªªªªªªªª
ª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªªªªªªª
ªªª ªªªªªªªªªªªªªªªªªªªªª ªªª ª ªªªªªª ª ªªªªªªªªªªª
ªªª ª ªªªªªªªªªªªªªªª ªªª ªªª ªªªªªªª ªªªªªªªªªªªªª
ªª ªªªªªªªªªªªªªªªªªªª ª ªªªªªªªªª ªªªªªªªªªªªªª
ªªª ªªªªªªªªªªªªªªªªªªªªª ª ª ª ª ªªªªª ª ªªªªªªªªªªªªªªªª ªªªªªªª
ªªªª ªªªªªªªªªªªªªªªªª ª ª ªªª ªªªªªª ª ªªª ªªªªªªªªª ªªªªªªªªª ª
ªªª ªªªªªªªªªªªªªª ªªª ª ªª ªªªªªªªªªªªªªªª ªªªªª ª ª ªªªªªªªª ªªªªªªªªªªªªª
ªª ªªªªªªªªª ªªª ª ªªª ªªª ª ªªªªªªªªªªªªª ªªªªªª ªªªªªªªªªªªªªªª
ªª ª ªªªªªªªªªªªªªªª ª ªªªªª ª ªªªªªªªªªªªªªªªªªªªªªªªªª ª ªªªªªªªªªªªªªªªªª
ªªª ªªªªªªªª ª ª ª ªªª ª ª ª ªªªªª ªªª ªªªªªªªªªªª ªªª ªªªªªªªªªªª ªªªªª
ªªªªªªª ª ªªªªªª ªª ª ª ªª ª ªª ªªªªªªªªªªªªªªªªªªªªªªª ª ªªªªªªªªªªªªªªª ªªªªªª
ªªª ªªª ªªª ª ª ª ª ª ª ªª ªªªªªªªªªªª ªªªªªªªª ª ªªªªªªªªªªªªªªªªª ªªªªªªªª
ªªª ªª ª ª ªªªªªªª ªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª ª ªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªª
ª ª ª ªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªª ªªª ª ªªªªªªªªªªªªª ª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªª ªªªª ª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªª ªªªªª ªªªªª ª ªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªª
ªªª ª ª ª ªªª ªªª ªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ª ªªªªª ª ªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªª ªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªªª
ªªªªªªªªªªªªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªª
ªªªªªªªªªªªªªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ª ªªª
ªªªªªªªªªªªªªªªªªªª ª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªª
ªªªªªªªªªªªªªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ª ªªª ª
ªªªªªªªªªªªªªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ª ª ª
ªªªªªªªªªªªªªªªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªªªªª ªªªª
ª ªªªªªªªªªªªªªªªªªªª ªªªªªªªªªªªªªªªªªªª ªªªªªªª ª
ªªªªªªªªªªªªªªªªªªªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªªª ªªª
ªªªªªªª ªªªªªªªªª ªªªªª ªªªªªªªªªªªªªªªªªªªªªªªªª ªª
ªªªªªªªªªªªªªªªªª ªªªªª ªªªªªªªªªªªªªªªªªªªªª ª ª ªª
ªªªªªªª ªªª ªªªªªªªªª ª ªªªªªªªªª ªª ª ª ª ª
ªªªªªªªªªªªªªªªªªªªªª ªª ªªª ªªª ª ªªª ª
ª ªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªª ª ªªªªªªªª ªªª ªªªªªª ªªªª ªªªª ªªª ªªª
ª ªªªªªªªªªªªªªªªªªªª ªªªªªªªªªª ªªªª ªªªªªªªªª ªªªªª ªªªª ªªªª ªªªª
ªªªªªªªªªªªªª ªªªªªªªªª ªªªªªªªªªª ªªªª ªªªªªªªªªª ªªªªª ªªªª ªªªª ªªªª
ª ªªªªªªª ªªª ªªªªªªªªªªª ªªªª ªªªª ªªªª ªªªª ªªªª ªªªª ªªªª ªªªª
ªªªªªªªª ªªªªªªªªª ª ªªªªª ªªªª ªªªª ªªª ªªªªªª ªªªª ªªªª ªªªª ªªªª ªªªªªª ªªª ªªª
ªªªªªªªªªªªªªªªªª ª ªªª ªªªª ªªªª ªªªª ªªªªªªªª ªªªª ªªªªª ªªªª ªªªªªªªª ªªªª ªªªª
ªªªªªªª ª ª ªªªªªªªªª ª ªªªª ªªªª ªªªª ªªªªªªªªª ªªªª ªªªªªªªªªªª ªªªªªªªªª ªªªª ªªªª
ªªªªªªªªª ª ª ªªªªª ªªªª ªªªª ªªªªªªªª ªªªª ªªªªª ªªªªªªªªªª ªªªª ªªªª ªªªª ªªªª
ªªªªªªªªªªªªªªªªªªª ª ªªªª ªªªª ªªª ªªªªªªªªªª ªªªªª ªªªªªªªªªª ªªªªªªªªªª ªªª ªªª
ªªªªªªªªªªªª ªªªªªªª ªªªªª ªªªª ªªªª ªªªªªªªªªª ªªªªª ªªªªª ªªªª ªªªªªªªªªªªªªª ªªªª
ªªªªªªªªªªªªª ªªªªª ªªªª ªªªª ªªªªªªªªªªªªªª ªªªªª ªªªªª ªªªªªªªªªªªªªª ªªªª ªªªª
ªªªªªªªª ªªªªªªªªª ªªªª ªªªª ªªªªªªªª ªªªªª ªªªª ªªªª ªªªª ªªªª ªªªª
ªªªªªªª ªªªªªªªªª ªªªª ªªªª ªªªªªªªª ªªª ªªªªª ªªªª ªªªª ªªªª ªªª ªªªª ªªªª
ªªªªªªªªªªªªª ªªªªªªªªªª ªªªª ªªªªªªªªª ªªªªªªªªª ªªªªª ªªªª ªªªªªªªªª ªªªª ªªªª
ªªªªªªªªªªªªª ªªªªªªªªª ªªªª ªªªªªªªª ªªªªªªªªªª ªªªªª ªªªª ªªªªªªªª ªªªª ªªªª
ªªªªªªª ªªª ªªªªªªªª ªªªª ªªªªªª ªªªªªªªªªª ªªªª ªªªªª ªªªªªª ªªªª ªªªª
ªªªªªªªªªªª
ªª ªªªªªª LOVE AND RESPECT YOUR FRIENDS AND LET YOUR ENEMIES DIE !!!
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª▓X▓ P R E S E N T S ▓X▓ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªªªªªªª
ªª▓D2H▓ªª▓ Throbbing Gristle - Greatest Hits ▓ªª▓D2H▓ªª
ªªªªªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ Ripper : D2H Army Genre : Industrial ▓ªª
ªª▓ Supplier : D2H Army Release Date : 17-12-2011 ▓ªª
ªª▓ Source : CDDA Year : 2011 ▓ªª
ªª▓ Type : Album Tracks : 20 ▓ªª
ªª▓ Encoder : Lame 3.98.4 Quality : VBRkbps/44,1kHz/Joint-Stereo ▓ªª
ªª▓ Label : Industrial Records Ltd Catalog # : IRLCD005 ▓ªª
ªª▓ Url : www.throbbing-gristle.com ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªª▓X▓ T R A C K L I S T ▓X▓ªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ Track Title Track Time ▓ªª
ªª▓ ▓ªª
ªª▓ cd1 ▓ªª
ªª▓ ▓ªª
ªª▓ 01 Hamburger Lady (04:14) ▓ªª
ªª▓ 02 Hot Onthe Heels Of Love (04:26) ▓ªª
ªª▓ 03 Subhuman (02:58) ▓ªª
ªª▓ 04 AB/7A (04:29) ▓ªª
ªª▓ 05 Six Six Sixties (02:10) ▓ªª
ªª▓ 06 Blood On The Floor (01:06) ▓ªª
ªª▓ 07 20 Jazz Funk Greats (02:49) ▓ªª
ªª▓ 08 Tiab Guls (04:23) ▓ªª
ªª▓ 09 United (04:09) ▓ªª
ªª▓ 10 What A Day (04:40) ▓ªª
ªª▓ 11 Adrenalin (04:43) ▓ªª
ªª▓ ▓ªª
ªª▓ cd2 ▓ªª
ªª▓ ▓ªª
ªª▓ 01 The Old Man Smiled (Alt Mix) (06:33) ▓ªª
ªª▓ 02 Zyklon B Zombie (03:53) ▓ªª
ªª▓ 03 Dead On Arrival (06:09) ▓ªª
ªª▓ 04 We Hate You (Little Girls) (02:13) ▓ªª
ªª▓ 05 Five Knuckle Shuffle (06:45) ▓ªª
ªª▓ 06 Discipline (Berlin) (08:28) ▓ªª
ªª▓ 07 Persuasion (06:39) ▓ªª
ªª▓ 08 AB/7A (AB/7B Mix) (04:32) ▓ªª
ªª▓ 09 Distant Dreams (Part Two) (05:28) ▓ªª
ªª▓ ------------- ▓ªª
ªª▓ TOTALS : 160,6 MB / 90:47 min ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªª▓X▓ R E L E A S E I N F O ▓X▓ªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ "Yea yea twist again better than we did last summer, laughing in the face of all rock and ▓ªª
ªª▓ roll historians collectors revivalists purists inquisition members puritans bores creeps and ▓ªª
ªª▓ not forgetting the fussy midgets with obscene hairdos." So wrote Claude Bessy in the liner ▓ªª
ªª▓ notes to Throbbing Gristle's Greatest Hits, one of the five classic Throbbing Gristle albums ▓ªª
ªª▓ Industrial Records have just reissued, over 30 years after that pre-emptive fit of snark. ▓ªª
ªª▓ Throbbing Gristle were never meant to be reliable, but here they come again, ready to be ▓ªª
ªª▓ harvested by the very culture industry they alternately solicited and spat upon so long ago. ▓ªª
ªª▓ In their first incarnation as the Death Factory, they were the house band for Coum ▓ªª
ªª▓ Transmissions, an abject performance-art troupe whose presentation of used tampons, anal ▓ªª
ªª▓ syringes, and pornography featuring band member Cosey Fanny Tutti in the ICA gallery for ▓ªª
ªª▓ their "Prostitution" show in 1976 earned them tabloid infamy and denunciations in Parliament ▓ªª
ªª▓ as "wreckers of civilization." So far, so punk. But the music of the Death Factory, soon ▓ªª
ªª▓ re-named Throbbing Gristle after a Yorkshire slang term for an erection, was a horse of a ▓ªª
ªª▓ different color: "industrial music for industrial people," a dystopian, negative form of ▓ªª
ªª▓ what the band itself called "post-psychedelic trash." ▓ªª
ªª▓ While the rest of the Class of '77 pogoed steadily, Throbbing Gristle blew hot and cold, a ▓ªª
ªª▓ passive-aggressive tug of war between the sharp and the slimy: The formal elegance of Chris ▓ªª
ªª▓ Carter's synthesizers are scrawled upon by Genesis P-Orridge's bass riffs and Cosey Fanni ▓ªª
ªª▓ Tutti's fuzz guitar freakouts, spiced with violin and dubby honks of cornet. This already ▓ªª
ªª▓ pungent stew is spiked with taped material selected by Peter "Sleazy" Christopherson-- ▓ªª
ªª▓ excerpts of everyday intimacy and true crime veritΘ-- and the arsenic tang of Genesis' ▓ªª
ªª▓ vocals, either sung in a soft sort of sprechstimme or howled into effects. On their debut, ▓ªª
ªª▓ The Second Annual Report, the music alternately chugged along like a squelchy, crude cop of ▓ªª
ªª▓ the Velvet Underground, or stretched out into malingering new age, like a syphilitic ▓ªª
ªª▓ Tangerine Dream. But they got both more virulent and more ambitious with time, upping the ▓ªª
ªª▓ hostility and dread on D.O.A, taking a kitsch detour toward mutant disco on 20 Jazz Funk ▓ªª
ªª▓ Greats, auto-cannibalizing their catalog in the live-in-the-studio ritual recording of ▓ªª
ªª▓ Heathen Earth, and reasserting a strangely forceful collection of avant garde anti-pop for a ▓ªª
ªª▓ Greatest Hits package revealingly subtitled Entertainment Through Pain, which collates their ▓ªª
ªª▓ singles output as a quiver of tense stabs at accessibility. ▓ªª
ªª▓ In time for Christmas, a revived Industrial Records has just re-released all five of these ▓ªª
ªª▓ classic albums, lovingly repackaged in deluxe gatefolded 2xCD editions. In each case, the ▓ªª
ªª▓ original album is (wisely) preserved intact on one CD, while a second CD collects period ▓ªª
ªª▓ singles, live performances, and a smattering of alternate mixes and unreleased material. ▓ªª
ªª▓ Artwork is supplemented with alternate takes from photo-sessions, and it's a jarring ▓ªª
ªª▓ experience for collector scum like myself to see and hear these goofy blooper reels and ▓ªª
ªª▓ deleted scenes, in which the avatars of colder-than-thou aesthetics stand on one foot or ▓ªª
ªª▓ giggle. Savvily recognizing the waning moment of the CD as such, there are vinyl editions of ▓ªª
ªª▓ the albums too, which faithfully reprint the original artwork at full size and format. ▓ªª
ªª▓ Given that these albums have stayed continuously in print for years through arrangements ▓ªª
ªª▓ with Fetish Records, and later Mute, one must ask: Why bother paying attention to these ▓ªª
ªª▓ reissues? In a triumphant vindication of sound over image, the real motivation for this re- ▓ªª
ªª▓ presentation of a back catalog is that all five of these five albums have been remastered by ▓ªª
ªª▓ Chris Carter himself, a labor of obsessive-compulsive love. On the face of it, the idea of ▓ªª
ªª▓ an "audiophile TG" makes for a jarring proposition: The band always seemed weirdly proud of ▓ªª
ªª▓ the dismal fidelity of its early recordings, and its stated objective was to be repellent ▓ªª
ªª▓ and un-assimilable. As an early Coum Transmisions slogan put it, "We Guarantee ▓ªª
ªª▓ Disappointment." However off-message, the immersive experience of these new versions redeems ▓ªª
ªª▓ what might sound gratuitous, or merely greedy, about this gambit. It's the audio equivalent ▓ªª
ªª▓ of a "director's cut" edition of a beloved series of seedy cult movies, something to file ▓ªª
ªª▓ between your Kenneth Anger boxset and a Hermann Nitsch coffee-table tome. ▓ªª
ªª▓ Assessed as an archival work of restoration, it's a bullseye. Simply put, the heat and noise ▓ªª
ªª▓ and grit and dirt and gristle is still there, but Chris Carter has finally put meat on the ▓ªª
ªª▓ bones. There's simply more vitality and physicality to the music, and yet it still sounds ▓ªª
ªª▓ "very TG": The harsh, brittle, and scalpel-sharp high end is preserved, but the kick drums ▓ªª
ªª▓ are heavier, the riffs hit harder, and the field recordings now produce a tactile IMAX- ▓ªª
ªª▓ theater immersion effect. But going beyond these side effects of possibly overheated fanboy ▓ªª
ªª▓ devotion, the re-introduction of Throbbing Gristle into the cultural bloodstream also offers ▓ªª
ªª▓ up a temperature-taking opportunity to assess both the entire arc of their career and the ▓ªª
ªª▓ harder question of whom it might speak to today. ▓ªª
ªª▓ ▓ªª
ªª▓ Though they are taking the piss in passing themselves off as band who had "hits," this ▓ªª
ªª▓ compilation from 1980 of 7" singles and assertive album tracks in fact does the trick ▓ªª
ªª▓ nicely: It makes a first-rate introduction to the band and offers a less torturous entryway ▓ªª
ªª▓ to their prickly, poisonous oeuvre than any particular album. The swells of "Hamburger Lady" ▓ªª
ªª▓ start us off feeling nausea, and this bumpy ride builds in force from there. You can sense ▓ªª
ªª▓ in this victory lap a kind of prΘcis of their career arc that testifies to the strange ▓ªª
ªª▓ tractor-beam effect of pop values on an experimental band. The single element from Second ▓ªª
ªª▓ Annual Report is "Tiab Guls", a backward version of "Slug Bait" that effectively censors the ▓ªª
ªª▓ bloody lyrics by upstaging them into a blur. The perkiest and most uptempo high points of ▓ªª
ªª▓ D.O.A. and 20 Jazz dominate, and the cover, a pastiche of Arthur Lyman and Martin Denny ▓ªª
ªª▓ exotica sleeves, tips its hats to the cover of 20 Jazz as well. But the real peaks are the ▓ªª
ªª▓ spiky singles "United" and "Adrenalin", fantastically complete exercises in minimalistic ▓ªª
ªª▓ synth-pop songwriting that imply an alternative universe in which Throbbing Gristle were ▓ªª
ªª▓ just a fuzzier, more dyspeptic cousin to Depeche Mode and John Foxx. ▓ªª
ªª▓ I wish there were a hidden TG album with 20 more songs like these, and it just so happens ▓ªª
ªª▓ that the bonus tracks on this CD are the most intriguing and fully formed, including ▓ªª
ªª▓ alternative mixes of "AB/7A" and "The Old Man Smiled". It is this full-speed-ahead ▓ªª
ªª▓ electronic pop aspect of TG's lineage that aligns these pioneers of industrial music with ▓ªª
ªª▓ the minimal synth, cold wave, and proto-techno revivalists of today. TG were crucial early ▓ªª
ªª▓ pioneers of an aesthetic that now cuts a broad swathe across the audio landscape, from ▓ªª
ªª▓ Martial Canterel, the Wierd Records posse, and Cold Cave, through to, arguably, lots of ▓ªª
ªª▓ recent pop and R&B production, where icy synths and stark drum patterns undergird alienated ▓ªª
ªª▓ vocals ad infinitum. ▓ªª
ªª▓ It's an unintended irony that a band so hostile to the very idea of "music" as such should ▓ªª
ªª▓ have created recordings that have become enshrined into canonical constellations, but TG's ▓ªª
ªª▓ influence has spiraled outwards as a direct result of their very unreliability and deviance. ▓ªª
ªª▓ Thanks to the weird range and high quality of their catalog, separate strands of Throbbing ▓ªª
ªª▓ Gristle's DNA are now entwined within the histories of electronic music, techno, dance ▓ªª
ªª▓ music, goth aesthetics, occult subcultures, the avant edge of indie rock, and the entirety ▓ªª
ªª▓ of the noise underground. It's a capitalist fairtytale born of hipster hindsight: The people ▓ªª
ªª▓ who tried as hard as possible to make their audiences uncomfortable turned out to have a ▓ªª
ªª▓ little bit of something for everyone. ▓ªª
ªª▓ In the wake of Sleazy's startling death in 2010, a kind of melancholic asymmetry has settled ▓ªª
ªª▓ into place: the archive as mausoleum. The band can no longer re-unite and tour, though ▓ªª
ªª▓ rumors and speculation continue to circulate about the ultimate fate of the extended ▓ªª
ªª▓ recording sessions that the band tracked in London at the ICA for an extended deconstructive ▓ªª
ªª▓ cover of the entirety of Nico's Desertshore album. In the wake of the decline of the CD and ▓ªª
ªª▓ the seemingly inevitable slide downward in fidelity as the new brigade of information ▓ªª
ªª▓ hunter-gatherers settle for the lossy, filed-shared free-for-all of torrents over the ▓ªª
ªª▓ material culture of collectables, it's a perhaps deliberately out-of-step gesture to decide ▓ªª
ªª▓ at precisely this point to remaster, repackage, and represent these Mosaic tablets of noise ▓ªª
ªª▓ into upscale commodities memorializing a vanished moment of rebellion. So much for laughing ▓ªª
ªª▓ in the face of historians, collectors, and revivalists. ▓ªª
ªª▓ Having the last laugh while seemingly anticipating this bittersweet outcome, Throbbing ▓ªª
ªª▓ Gristle still don't add up: These albums are perversely inconclusive, by turns drably ugly ▓ªª
ªª▓ and beautifully vital. However much Chris Carter has clarified their sound and stabilized ▓ªª
ªª▓ their canon, the work itself remains as profoundly self-differential as ever. To cite a ▓ªª
ªª▓ phrase the band used for its LP of the cut-ups of their icon and friend William S. ▓ªª
ªª▓ Burroughs, there is "Nothing here now but the recordings." But those recordings have a funny ▓ªª
ªª▓ way of coming to life. In 1981 in the NME, Paul Morley prophesized that "one day TG's music ▓ªª
ªª▓ will sound rich and sweet." Thanks to Chris Carter's remastering and the necromancy of ▓ªª
ªª▓ Industrial Records, that day has arrived. ▓ªª
ªª▓ ▓ªª
ªª▓ Helljoy it, buy it or D2H! ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬ªXª A B O U T ªXª¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬
¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬
¬¬ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª¬¬
¬¬ª ª¬¬
¬¬ª Do you like this release ? Support artists and buy it as we did !!! ª¬¬
¬¬ª ª¬¬
¬¬ª ª¬¬
¬¬ª Greetings to : ª¬¬
¬¬ª amok fwyh dps bcc radial cmg i8 1way ª¬¬
¬¬ª amrc berc gravewish vic qtxmp3 ª¬¬
¬¬ª__________________________________________________________________________________________________ª¬¬
¬¬ª ++++++++++++++++ ascii DNA V1.0 Generated On 2005 by D2H Army Of Immortals ----------------- ª¬¬
¬¬ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª¬¬
¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬
¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬ª¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬
¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬ª¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬
¬¬¬¬¬¬¬¬¬¬ªªªªª¬¬¬¬¬¬¬¬¬¬
¬¬¬¬¬¬ª¬¬¬¬¬¬
¬¬¬¬¬