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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 - The Second Annual 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 : 16-05-2012 ▓ªª
ªª▓ Source : CDDA Year : 2011 ▓ªª
ªª▓ Type : Album Tracks : 18 ▓ªª
ªª▓ Encoder : Lame 3.98.4 Quality : VBRkbps/44,1kHz/Joint-Stereo ▓ªª
ªª▓ Label : Industrial Records Ltd Catalog # : IRLCD001 ▓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 Industrial Introduction (01:04) ▓ªª
ªª▓ 02 Slug Bait, Live at the I.C.A. London (04:20) ▓ªª
ªª▓ 03 Live at Southampton (02:45) ▓ªª
ªª▓ 04 Live at Brighton (01:19) ▓ªª
ªª▓ 05 Maggot Death, Studio Recording (02:50) ▓ªª
ªª▓ 06 Live at Rat Club London (04:33) ▓ªª
ªª▓ 07 Live at Southampton (01:37) ▓ªª
ªª▓ 08 Live at Brighton (00:59) ▓ªª
ªª▓ 09 The original soundtrack of Coum Transmissions film of ''After Cease To (20:10) ▓ªª
ªª▓ Exist'' ▓ªª
ªª▓ ▓ªª
ªª▓ CD2 - 1976-1977 Bonus CD ▓ªª
ªª▓ ▓ªª
ªª▓ 01 No Two Ways-Hat Fair Winchester 1976 (04:04) ▓ªª
ªª▓ 02 Last Exit-Brighton Poly 1977 (06:12) ▓ªª
ªª▓ 03 Forced Entry-Nuffield 1977 (05:01) ▓ªª
ªª▓ 04 Tesco Disco-Rat Club, London 1977 (05:18) ▓ªª
ªª▓ 05 Feeling Critical-ArtCollege Winchester 1977 (06:30) ▓ªª
ªª▓ 06 National Affront-Nuffield 1977 (04:31) ▓ªª
ªª▓ 07 Urge To Kill-Rat Club, London 1977 (07:25) ▓ªª
ªª▓ 08 Zyklon B Zombie 7'' B Side (03:53) ▓ªª
ªª▓ 09 United 7'' A Side (04:04) ▓ªª
ªª▓ ------------- ▓ªª
ªª▓ TOTALS : 147,6 MB / 86:35 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, and which now sit upon my desk, uncanny and ▓ªª
ªª▓ accusatory, over 30 years after that pre-emptive fit of snark. Throbbing Gristle were never ▓ªª
ªª▓ meant to be reliable, but here they come again, ready to be harvested by the very culture ▓ªª
ªª▓ industry they alternately solicited and spat upon so long ago. ▓ªª
ªª▓ ▓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▓ ▓ªª
ªª▓ In time for Christmas 2011, a revived Industrial Records has just re-released all five of ▓ªª
ªª▓ these classic albums, lovingly repackaged in deluxe gatefolded 2xCD editions. In each case, ▓ªª
ªª▓ the 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. While ▓ªª
ªª▓ so far I've only checked out the vinyl for 20 Jazz, it looks drool-worthy and sounds far ▓ªª
ªª▓ stronger than any other pressing that this fussy midget has encountered. ▓ªª
ªª▓ ▓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 whose consequences I intend to ▓ªª
ªª▓ unpack, album-by-album, below. On the face of it, the idea of an "audiophile TG" makes for a ▓ªª
ªª▓ jarring proposition: The band always seemed weirdly proud of the dismal fidelity of its ▓ªª
ªª▓ early recordings, and its stated objective was to be repellent and un-assimilable. As an ▓ªª
ªª▓ early Coum Transmisions slogan put it, "We Guarantee Disappointment." However off-message, ▓ªª
ªª▓ the immersive experience of these new versions redeems what might sound gratuitous, or ▓ªª
ªª▓ merely greedy, about this gambit. It's the audio equivalent of a "director's cut" edition of ▓ªª
ªª▓ a beloved series of seedy cult movies, something to file between your Kenneth Anger boxset ▓ªª
ªª▓ and a Hermann Nitsch coffee-table tome. ▓ªª
ªª▓ ▓ªª
ªª▓ "Second Annual Report" recorded in their rehearsal space and at various grubby gigs onto a ▓ªª
ªª▓ Sony cassette recorder in a defiantly lo-fi manner in 1977, Second Annual Report makes an ▓ªª
ªª▓ oddly recalcitrant candidate for a remastering job. Music this deliberately weedy was never ▓ªª
ªª▓ going to please audiophiles, and the wags at Industrial Records know that even today this ▓ªª
ªª▓ record is a tough sell. For sheer sangfroid, it's hard to beat a press sheet that boasts, ▓ªª
ªª▓ "Contains three different versions of 'Slug Bait', a song about eating a baby." Talking ▓ªª
ªª▓ about killing people isn't necessarily interesting (hello, Foster the People), but when ▓ªª
ªª▓ someone hears Genesis P-Orridge describe a businesslike psychopath butchering a family ("I ▓ªª
ªª▓ cut his balls off with my knife (KNIFE); I make him eat them right there in front of his ▓ªª
ªª▓ pregnant wife (WIFE)"), someone still blinks and twitches a little. The creeping dread "Slug ▓ªª
ªª▓ Bait" achieves lies not in the lyrical body count but in the hiccupping repetition of ▓ªª
ªª▓ trigger words as Gen's vocal longjumps from a casual speaking voice to a garbled shriek, and ▓ªª
ªª▓ in the deliberate misfit between the vocal's desperation and the detuned pastoral synths ▓ªª
ªª▓ smeared underneath. ▓ªª
ªª▓ ▓ªª
ªª▓ It's hard to say whether this was a raising or a lowering of the bar, but the bunker ▓ªª
ªª▓ mentality of "Industrial" subculture as a power-obsessed stance of aesthetic nihilism wedded ▓ªª
ªª▓ to nasty, lo-fi noise was born on this record, leaving a bloody trail for Wolf Eyes, ▓ªª
ªª▓ Brainbombs, Prurient, and others to follow into the present moment. As if that were not ▓ªª
ªª▓ prescient enough, Second Annual Report counterbalances the bloodthirsty yang of its first ▓ªª
ªª▓ eight songs with the yin of its long, brooding final track, the gauzy, scuttling, 20-minute ▓ªª
ªª▓ soundtrack to the Coum Transmissions film "After Cease to Exist". Which is to say that, in ▓ªª
ªª▓ 1977, TG already forecasted the ongoing migration of noise dudes toward new age (take a bow, ▓ªª
ªª▓ James Ferraro), a sea-change which has been recursively washing over the underground for the ▓ªª
ªª▓ past several years. ▓ªª
ªª▓ ▓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▓ ▓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
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