So how did all this come about, where do they come from, and i dont mean that dreary place in London late seventies.
"Industrial Records began as an investigation. The 4 members of Throbbing Gristle wanted to investigate to what extent you could mutate and collage sound, present complex non entertaining noises to a popular culture situation and convince and convert. We wanted to re-invest Rock music with content, motivation and risk. Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.
We wanted to also investigate music as a Business phenomenon and propose models for entirely new and innovative modes of commercial operation. A parody and an improvement. Industrial Records was founded before any of thee better known of the English Independents and was at its close the 3rd largest, yet the most elusive. We wanted to make music and records more effective and relevant to our Industrial society, and we wanted to make business more efficient and creative as well. Industrial Records Limited was born. Named as the most unromantic yet appropriate title we could envisage. Big records companies produce records like cars; we are connected to a contemporary social situation, not a blues orientated past style; we work hard for what we want, we are industrious; we parody and challenge large industrial companies and their debasing ethics and depersonalisation; we work in an old factory; industrial labour is slavery, destructive, a redundant institution so we call it the Death Factory. Music From The Death Factory, from the world, from life. Records in English also mean files, documents, as collected by Government agencies, employers, schools and police forces. Our Records are a combination of files on our relationship with the world and a Newspaper without censorship.
Well, from the people with a vested interest in controlling and guiding society to follow their recommendations as to what attitudes you should have, what motivations should govern your bebaviour and what goals you should be satisfied with, you DO NOT get what you deserve. You get what you are given, and what you are given is primarily conditioning that pushes you towards blind acceptance, wasted labour, frustrated relationships and a vast sense of hopelessness. We are trained to feel we are not responsible or in control of our society and world so that we will continue to let "Leaders" look after us like parents with retarded children. Leaders are not essential, we are TAUGHT to believe we need them, that we are not able to assume responsibility for ourselves. Lies created leaders, lies perpetuate leaders, lies destroy joy and creativity and hope. There are NO LIES on these records, no one here is a leader. We assume full responsibility for ourselves. We will not be deflected from our destiny. OUR LIFE.
There is currently a trend back towards total control and safety in the record and music industry. Groups are styled, hyped and successful before they even release a record. Old outlaws and thinkers are opting for security, comfortable records that apply radical discoveries to banal musical ends. Show business and its inherited goals and justifications are triumphant again. The public is seduced and cheated by emptiness packaged alluringly in cheap tinsel. Fear is the Government once more. On this record are people who were not afraid to think, did not avoid risks. People of all ages are here, from 16 years old to 70 years old. Truth and hope have no boundaries, no set style, they are implicit most clearly in the way you choose to live. The title of the last record issued by industrial tells the rest. "Nothing here now but the recordings."
(Genesis P-Orridge from TG CD 1)
Throbbing Gristle - 20 Jazz Funk Greats (79)
Psychic TV - Force The Hand Of Chance + Themes (82)
Chris & Cosey - Songs Of Love & Lust (84)
Current 93 - Dogs Blood Rising (83)
Coil - Love's Secret Domain (90)
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Throbbing Gristle - 20 Jazz Funk Greats (79 * 66mb)
The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time. Growing out of the extreme performance art group Coum Transmissions, TG redefined music and laid a large part of the groundwork for all electronic music that followed.
From their first performances in 1976 to their last gig in San Francisco in 1981 (recorded and released as "Mission Of Dead Souls"), they challenged and threatend so-called "normal", society - denounced from the floor of the House of Commons as "Wreckers of Civilisation" as the Coum Transmissions "Prostitution" art show in London's ICA (at which TG played their third show) came close to causing riots and set the stage for the punk revolution.
Musically, they were extreme and uncompromising, using technology to make anti-music, which redefined music for all time. Their experimentation led them to pioneer sampling and looping techniques adopted by many of those who came after.
They split in 1981, with (and Peter later forming Coil) and Chris and Cosey becoming, well, Chris & Cosey. However, they came back together 23 years later in 2004.
01 - 20 Jazz Funk Greats (2:44)
02 - Beachy Head (3:37)
03 - Still Walking (4:44)
04 - Tanith (2:12)
05 - Convincing People (4:48)
06 - Exotica (2:50)
07 - Hot On The Heels Of Love (4:20)
08 - Persuasion (6:34)
09 - Walkabout (3:00)
10 - What A Day (4:35)
11 - Six Six Sixties (2:64)
Throbbing Gristle @ Base
Throbbing Gristle @ MySpace
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Psychic TV - Force The Hand Of Chance (82 * 179mb) Extended !
Psychic TV was formed with the core membership of GP-O, and Alex Fergusson in 1981. Alexander Fergusson was a member of the punk outfit Alternative TV, upon whose 1978 album Vibing Up The Senile Man (Part One) had played percussion, and contributed the latter half of the name Psychic TV .Peter Christopherson got involved in 1982 and claimed that the 'TV' component of the name was intended to focus on the visual elements of the outfit.
In the earliest live performances, Psychic TV maintained much of the noisy atmosphere as Genesis' previous band, Throbbing Gristle, although now with an increased use of exotic acoustic drums and other instruments. Psychic TV were signed to WEA Records and subsequently CBS based on the infamy of Throbbing Gristle. Their first albums Force The Hand Of Chance and Dreams Less Sweet featured high production values, catchy pop songs written by Fergusson (with barbershop quartet vocals arranged by Andrew Pearson), and sound experiments primarily created by Peter Christopherson and Geff Rushton, a.k.a. John Balance - foreshadowing the pair's later work as Coil.
The live shows continued to be improvised noise until Peter Christopherson left the group and Fergusson implemented musicians capable of improvisational pop music, known as hyperdelic, such as that featured on the singles Godstar and Roman P. This led to a series of 23 live show recordings being released, which dominated most of Psychic TV's output until 1988. Towards the end of this period Fergusson/P-Orridge completed their third proper studio album Allegory and Self: Thee Starlit Mire. It was at this point that Genesis became interested in acid house and techno. Alex Fergusson left and was replaced with techno artist Fred Gianelli. During this period they released music not only as Psychic TV, but also a variety of 'fake' names. The idea behind this was to release 'compilations' of these imaginary artists, creating a sense that a healthy acid house scene existed in the UK. The key studio albums of this period were Jack The Tab, Tekno Acid Beat and Towards the Infinite Beat, as almost all of the live shows in this period were based around the songs on these albums.
In 92 Genesis got into rough wheather thanks to a fabricated accusation of satanic abuse, he exiled to california where he got introduced to Larry Thrasher, co-founder of the experimental noise band Thessalonians. This began a new period with Psychic TV returning to its psychedelic pop roots with Thrasher co-producing the critically acclaimed Trip/Reset as well as new experimental explorations which centered around the spoken word poetry of P-orridge.
Psychic TV returned to the stage in 2003, with a concert in New York under the guise of PTV3 . 2005 saw the band return to the studio, recording their first album in over 10 years (Genesis also spent 2005 working with Throbbing Gristle on what will be their first album in over 25 years). In January 2006, the new PTV album was announced " Hell is Invisible...Heaven is Her/E", Release is expected mid 2007 .
01 - Just Drifting (3:39)
02 - Terminus (11:34)
03 - Stolen Kisses (Voc.Marc Almond) (4:28)
04 - Caresse (3:17)
05 - Guiltless (Voc.Marc Almond) (8:01)
06 - No Go Go (4:10)
07 - Ov Power (6:24)
08 - Message From The Temple (4:59)
09 - Thee Full Pack (for Bachir Attar) 13:41
10 - Catalan 7:16
11 - Just Drifting (Midnight) 3:48
12 - Bubbles 1:59
13 - Untitled 2:02
Psychic TV - Themes (84mb)
101 - Part 1, Piano and Clarinet (7:32)
102 - Part 2, 23 Tibetan human thighbones (5:55)
103 - Part 3, Cowbell, Bicycle wheels and vibes (12:01)
104 - Part 4, New Guinea pipe, large and small drum (6:03)
105 - Part 5, Piano and string machine (7:17)
106 - Part 6, Jonestown at the time of the suicides (1:45)
107 - Part 7, African initation drum and animal tusk horn (7:43)
108 - Part 8, Temple bells, gongs, cymbals and vibes (6:23)
Psychic TV @ Base
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Chris & Cosey - Songs Of Love & Lust (84 * 78mb)
When Throbbing Gristle was terminated in 1981 Chris Carter and Cosey Fanni Tutti signed to Rough Trade Records and began recording and performing as CHRIS & COSEY. From the very start they indulgently utilised electronics, sampling, rhythms and Cosey’s distinctive vocals, cornet and guitar style. In 1983 they formed their own offshoot record label Conspiracy International (aka: CTI) for their more experimental recordings and collaborative projects. CTI continues to run alongside CARTER and TUTTI’s more accessible work.
Regularly cited as one of the original forerunners of the Techno and Electronica genres CHRIS & COSEY’s name is often cited by bands and DJs as hugely influential. During the 1980s and 90s CHRIS & COSEY went on to record some of the most inventive Electronica albums, including the much sampled and remixed TRANCE album (1982), the Techno Pop classic OCTOBER-Love Song (1983) and the West Coast and Goa dance floor hit EXOTIKA (1987).
In 1992 after many gruelling tours and for both health and artistic reasons CARTER and TUTTI decided to scale down their live performances and concentrate on studio recordings. They continue to release numerous albums and solo projects through their own Conspiracy International label .In recent years CARTER and TUTTI have released two ongoing CD series: The Library Of Sound and Electronic Ambient Remixes. Their latest release is the critically acclaimed 'CABAL' CD album.
As for Cosey..she's began her career in music and art during 1969, appearing in art performances and musical improvisations in Hull until 1972.In 1973, Cosey moved to London and continued working as a performance artist representing Britain at the 9th Paris Biennale,1975 and Arte Inglese Oggi,1976. She also performed in Belgium, Germany, Holland, France, Italy, Austria, USA and Canada until 1980.
Throughout the period 1973 - 1980 Cosey was exhibiting, contributing to mail art exhibitions and performing in other group exhibitions around the world. Often working naked in her performances, Cosey went on to investigate self-image within the context of sex magazines and sex films, glamour modelling and striptease acts. Her experiences within these industries during the period 1973 - 1984 were brought into her art work as she explored the many aspects of sex as it is perceived and transacted as commercial product. She placed conventional beauty in a situation where it was subjected to simulated mutilation before a live audience. This provided a visual contrast highlighting and questioning the notion of what is presentable as 'beauty'.
In her infamous exhibition 'Prostitution' at the Institute of Contemporary Art, London, 1976Ê Cosey Fanni Tutti occupied multiple roles; artist, model, musician, and herself. Music was used in some of Cosey's performances in preference to spoken language, which she considered an obstacle to her visual presentations. She continued to explore the use of sound, scientifically, politically, commercially and as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson and Genesis P-Orridge. They broke the rules of established music and its contextual business practice, ultimately becoming successful with their own record label, Industrial Records. In 1981 Cosey immersed herself in creating music and video with partner Chris Carter under the name Chris & Cosey most recently performing and recording as Carter Tutti. Their joint musical and video collaborations, some 32 albums, have met with continuing international success.
1994 marked Cosey's re-entry into the art world since which time she has exhibited works in the UK, U.S.A., Austria, Germany, Lisbon, Japan, Spain, Portugal, Switzerland and Sweden. She now works closely with and is represented by Cabinet, London.
Her art practice takes it place alongside her continuing music work with Chris Carter and latterly the re-grouping of Throbbing Gristle.
01 - Driving Blind (6:30)
02 - Love Cuts (7:44)
03 - Walking Through Heaven (5:12)
04 - Lament (2:25)
06 - Talk To Me (5:40)
07 - Gardens Of The Pure (4:36)
08 - Raining Tears Of Blood (4:35)
09 - Chiron (4:52)
09 - Tantalize (5:09)
Chris & Cosey @ Base
CarterTutti @ MySpace
Cosey @ MySpace
Carter @ MySpace
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Current 93 - Dogs Blood Rising ( 84 * 65 mb)
Current 93 is the ongoing work of David Tibet (now known as David Michael), once a member of Psychic TV and 23 Skidoo and also the founder of Dog's Blood Order. Dog's Blood Order was David's preceding project . Current 93 began in 1982, releasing a ritualistic single in the next year called LAShTAL , much of Current 93's early work was similar to late 1970s and early 1980s industrial music: abrasive tape loops, droning synthesizer noises and Tibet's distorted, ranting vocals. This early work became influential with the goth scene. Later works found Tibet mostly casting off such trappings in favor of a more organic sound, labeled by some as "apocalyptic folk" music, occasionally featuring his sinister nursery rhyme-influenced singing and primarily acoustic folk-styled music
Though the group is really Tibet's own, a family of ever changing musicians helps out with each release. The exception to this rule, the one musician to appear on virtually all Current 93 releases, is Steven Stapleton of Nurse With Wound, and David Tibet in his turn has appeared on numerous Nurse With Wound releases. Tibet's lyrics have been fairly consistent, regardless of delivery: The earlier recordings reflect his preoccupation with death, Christ, mysticism, Aleister Crowley (Tibet borrowed the term "93 Current" from Crowley - the 93 Current being the current of Thelema or Agape), Tibetan Buddhism, Gnosticism, runes, swastikas, Noddy, The Wicker Man, and a variety of occult notions. The later to present-day period of Current 93's recordings increasingly reflect Tibet's interest in Christian mysticism . Tibet has stated that he now identifies as a Christian, meanwhile his music has shifted to a more complex and orchestrated sound
1 Christus Christus (The Shells Have Cracked) (3:05)
2 Falling Back In Fields Of Rape (14:35)
3 From Broken Cross, Locusts (6:04)
4 Raio No Terrasu (Jesus Wept) (13:53)
5 St Peters Keys All Bloody (2:22)
Current 93 @ Base
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Coil - Love's Secret Domain (90 * 98mb)
Formed in London in 1983 by John Balance as a solo side project to Psychic TV, the cross-genre, experimental music project soon developed into a full-scale musical group in 1984, when he cemented a partnership with Peter 'Sleazy' Christopherson. Christopherson had been a founder of Psychic TV and member of Throbbing Gristle. The duo worked together on a series of releases before Balance chose the name Coil, which he claimed to be inspired by the omnipresence of the coil's shape in nature. Today Coil is one of the most influential and best known industrial music groups.
The group's first official release as Coil was a 1984 EP titled How to Destroy Angels. Following the EP's success Coil produced a series of three albums, Scatology, Horse Rotorvator and Love's Secret Domain, which met with little commercial success, but were praised as innovative due to their blend of industrial music and acid house. In 1988 they began working on a series of soundtracks and released experimental music under several pseudonyms. Coil redefined their sound during this period, and by 1998 were incorporating drone sounds into their recordings. In 1999 the group gave their first performance in sixteen years, and began a series of mini-tours which would last until 2004.
Jhonn Balance (1962–2004) died tragically in an accident at his home on the 13 November 2004. For over twenty years Coil had been at the forefront of European experimentalism and electronic music. Following Jhonn Balance's death Peter Christopherson announced via their official record label website Threshold House that Coil as an entity had ceased to exist.
01 - Disco Hospital (2:17)
02 - Teenage Lightning 1 (1:48)
03 - Things Happen (4:20)
Vocals, Lyrics By - Annie Anxiety-Bandez*
04 - The Snow (6:41)
05 - Dark River (6:27)
06 - Where Even The Darkness Is Something To See (3:03)
07 - Teenage Lightning 2 (4:29)
08 - Windowpane (6:00)
09 - Further Back And Faster (7:54)
10 - Titan Arch (5:02)
Vocals - Marc Almond
11 - Chaostrophy (5:37)
12 - Lorca Not Orca (2:03)
13 - Love's Secret Domain (3:52)
Coil @ Base
Coil @ Brainwashed
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !