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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 - 20 Jazz Funk Greats ▓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 # : IRLCD003 ▓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 20 Jazz Funk Greats (02:49) ▓ªª
ªª▓ 02 Beachy Head (03:42) ▓ªª
ªª▓ 03 Still Walking (04:54) ▓ªª
ªª▓ 04 Tanith (02:16) ▓ªª
ªª▓ 05 Convincing People (04:54) ▓ªª
ªª▓ 06 Exotica (02:56) ▓ªª
ªª▓ 07 Hot On The Heels of Love (04:24) ▓ªª
ªª▓ 08 Persuasion (06:39) ▓ªª
ªª▓ 09 Walkabout (03:05) ▓ªª
ªª▓ 10 What A Day (04:40) ▓ªª
ªª▓ 11 Six Six Sixties (02:05) ▓ªª
ªª▓ ▓ªª
ªª▓ cd2 1979 Live Bonus CD ▓ªª
ªª▓ ▓ªª
ªª▓ 01 Weapon Training-The Factory 1979 (01:35) ▓ªª
ªª▓ 02 Convincing People-The Factory 1979 (06:12) ▓ªª
ªª▓ 03 They Make No Say-Northampton 1979 (05:28) ▓ªª
ªª▓ 04 Five Knuckle Shuffle-The Factory, Manchester 1979 (06:27) ▓ªª
ªª▓ 05 His Arm Was Her Leg-The Factory 1979 (03:52) ▓ªª
ªª▓ 06 See You Are-The Factory 1979 (05:46) ▓ªª
ªª▓ 07 What A Day-The Factory 1979 (06:17) ▓ªª
ªª▓ 08 Discipline - Manchester. 12'' Single A-Side (08:11) ▓ªª
ªª▓ 09 Discipline - Berlin. 12'' Single B-Side (10:47) ▓ªª
ªª▓ ------------- ▓ªª
ªª▓ TOTALS : 175,7 MB / 96:59 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▓ You could write an entire book about the sly wit and polymorphous slipperiness of 20 Jazz ▓ªª
ªª▓ Funk Greats, whose kitsch seaside holiday photo on notorious suicide spot Beachy Head tips ▓ªª
ªª▓ off the viewer to the deliberately fishy insincerity of its sonic contents. In a smash and ▓ªª
ªª▓ grab that testifies to both increased musical ambition and a relentless urge to wrongfoot ▓ªª
ªª▓ audience expectations, 20 Jazz Funk Greats finds the band waking up from D.O.A's dark night ▓ªª
ªª▓ of the soul and feeling curiously frisky. Snacking on not only the titular funk and jazz, ▓ªª
ªª▓ the band also takes touristic zig zags through exotica, rock, and disco. Like the alien ▓ªª
ªª▓ mimic in John Carpenter's sci-fi horror film "The Thing", each song seems almost persuasive ▓ªª
ªª▓ as a stab at these genres, but crucially twists itself out of alignment in a perverse ▓ªª
ªª▓ reveal. ▓ªª
ªª▓ "Hot on the Heels of Love" is a delirious slice of Moroder-esque boudoir-disco complete with ▓ªª
ªª▓ breathy vocals from Cosey and, thanks to the remastering, a floor-filling low-end thump. The ▓ªª
ªª▓ blueprint for 100% Silk's hipster-house shenanigans arguably starts here, with people who ▓ªª
ªª▓ have no business taking over the dancefloor doing it anyway, with surprisingly solid ▓ªª
ªª▓ results. An even stronger case for the critical re-thinking that mastering can achieve, ▓ªª
ªª▓ "Convincing People", which has previously struck me as a less-than-successful stab at a ▓ªª
ªª▓ cynically collapsed political anthem, now sounds suitably fist-pumping. But the standout ▓ªª
ªª▓ moment here is still "Persuasion". Handcuffed to a plodding, two-note bass figure, Gen ▓ªª
ªª▓ croons a narrative of pornographic photography sessions, which is punctured by squealing ▓ªª
ªª▓ shards of Cosey's guitar and deeply unnerving tapes of unidentifiable people in compromising ▓ªª
ªª▓ situations that seem to mingle distress, ecstasy, and pain. Tilting a repellent and yet ▓ªª
ªª▓ seductive purr against found audio fragments, it's as if the crew of "To Catch a Predator" ▓ªª
ªª▓ arrived too late to stop the Drake of "Marvins Room" from making a snuff film: once ▓ªª
ªª▓ encountered, you can't hit undo. ▓ªª
ªª▓ But as much as TG tried to deliberately "guarantee disappointment" and mutate away from any ▓ªª
ªª▓ signature, certain gestures had started to recur: "Six Six Sixties" ends this album in the ▓ªª
ªª▓ riff rock grind-mode just as "Blood on the Floor" ended D.O.A. Patterns had begun to emerge, ▓ªª
ªª▓ and the cumulative pressure of their own survival now forces the band members to work harder ▓ªª
ªª▓ to surprise themselves. It's in the pathos of their promiscuous liasons with the forbidden ▓ªª
ªª▓ territory of various forms of "real music" that this album generates a weirdly gripping ▓ªª
ªª▓ power of its own. ▓ªª
ªª▓ ▓ªª
ªª▓ Helljoy it, buy it or D2H! ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
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