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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 - D.O.A The Third And Final Report Of Throbbing Gristle ▓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 : 24 ▓ªª
ªª▓ Encoder : Lame 3.98.4 Quality : VBRkbps/44,1kHz/Joint-Stereo ▓ªª
ªª▓ Label : Industrial Records Ltd Catalog # : ITLCD002 ▓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 I.B.M. (02:41) ▓ªª
ªª▓ 02 Hit By A Rock (02:34) ▓ªª
ªª▓ 03 United (00:21) ▓ªª
ªª▓ 04 Valley Of The Shadow Of The Death (04:06) ▓ªª
ªª▓ 05 Dead On Arrival (06:09) ▓ªª
ªª▓ 06 Weeping (05:31) ▓ªª
ªª▓ 07 Hamburger Lady (04:14) ▓ªª
ªª▓ 08 Hometime (03:45) ▓ªª
ªª▓ 09 AB,7A (04:29) ▓ªª
ªª▓ 10 E-Coli (04:15) ▓ªª
ªª▓ 11 Death Threats (00:41) ▓ªª
ªª▓ 12 Walls Of Sound (02:49) ▓ªª
ªª▓ 13 Blood On The Floor (01:06) ▓ªª
ªª▓ ▓ªª
ªª▓ cd2 1978 Bonus CD ▓ªª
ªª▓ ▓ªª
ªª▓ 01 Introduction-The Crypt 1978 (01:15) ▓ªª
ªª▓ 02 It's Always the Way-Goldsmiths College, London 1978 (05:40) ▓ªª
ªª▓ 03 Industrial Muzak-The Crypt 1978 (06:24) ▓ªª
ªª▓ 04 Cabaret Voltaire-Industrial Training College Wakefield 1978 (04:04) ▓ªª
ªª▓ 05 Hamburger Lady-Goldsmiths College, London 1978 (03:53) ▓ªª
ªª▓ 06 IBM-Goldsmiths College, London 1978 (05:22) ▓ªª
ªª▓ 07 New After Cease To Exist Soundtrack LFMC 1978 (04:46) ▓ªª
ªª▓ 08 Whistling Song-The Crypt 1978 (05:36) ▓ªª
ªª▓ 09 Mother Spunk-Industrial Training College Wakefield 1978 (03:28) ▓ªª
ªª▓ 10 Five Knuckle Shuffle (06:45) ▓ªª
ªª▓ 11 We Hate You (Little Girls) (02:08) ▓ªª
ªª▓ ------------- ▓ªª
ªª▓ TOTALS : 152,1 MB / 92:02 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▓ Widely regarded as the band's finest hour, 1978's D.O.A. effortlessly surpasses Second ▓ªª
ªª▓ Annual Report both in its ballsy, forceful execution and its passionate range. If TG are ▓ªª
ªª▓ Fleetwood Mac, then D.O.A is their Rumors: the sound of a band alchemically transforming ▓ªª
ªª▓ romantic upheaval into their sharpest statement. In a proggy gambit worthy of Emerson, Lake, ▓ªª
ªª▓ and Palmer, D.O.A. explodes the idea of a unified album into a suite of collective songs ▓ªª
ªª▓ punctured by four solo pieces from each band member. Sleazy's "Valley of the Shadow of ▓ªª
ªª▓ Death" is a fetishistic fly-on-the-wall compilation of working-class men and boys talking ▓ªª
ªª▓ shit, a sonic file folder of vanished moments that are naggingly unclear (Chit chat? ▓ªª
ªª▓ Hustling?). Gen's melancholic pleading on his solo effort "Weeping" couldn't be further from ▓ªª
ªª▓ the tranquility of Cosey's idyllic "Hometime", and this polar juxtaposition flags the ▓ªª
ªª▓ album's messy personal backstory (the album was recorded after Gen and Cosey's ongoing ▓ªª
ªª▓ romance imploded, and Chris and Cosey's lifelong partnership began). But the standout solo ▓ªª
ªª▓ track is surely Chris Carter's celestial arpeggio staircase "AB/7A", a clear influence upon ▓ªª
ªª▓ the now-much-imitated Emeralds aesthetic of heart-tugging synth mandalas. ▓ªª
ªª▓ Counterbalancing these solitary excursions, the group efforts on this album are ▓ªª
ªª▓ exhilaratingly bleak: From the chemtrails of distortion on "Hit By a Rock" to the amplified ▓ªª
ªª▓ sound of early computer code stored on cassette on "I.B.M." to the final raveup of "Blood on ▓ªª
ªª▓ the Floor", it's never less than car-crash fascinating. At the center of the record is ▓ªª
ªª▓ "Hamburger Lady", a nightmarish vision of a burn victim's excruciatingly prolonged survival ▓ªª
ªª▓ in the administered world of a high-tech hospital. It's probably Throbbing Gristle's ▓ªª
ªª▓ greatest song, and it sounds tougher and more menacing than ever. The re-mastering has put a ▓ªª
ªª▓ bass-jeep-worthy oomph into the low end of the kick drum, thickened the seasick, doomy bass ▓ªª
ªª▓ dirge that, yes, throbs at its heart, and sharpened the edge of the scything central riff, a ▓ªª
ªª▓ party horn run through a custom-built effects unit called the Gristleizer. Witch-house ▓ªª
ªª▓ wishes it were this creepy, but even upside-down crosses won't save you from the horror of ▓ªª
ªª▓ everyday life. A nauseating masterpiece, and an essential recording. ▓ªª
ªª▓ ▓ªª
ªª▓ Helljoy it, buy it or D2H! ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
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