Subtitled "The Wax Trax! Years (1987-1991)", this 13-song collection harkens back to the glory days of this Chicago-based glam/dance/industrial act. And as a tribute to Wax Trax! founding fathers Jim Nash and Dannie Flesher (R.I.P. gentlemen), it's a fitting set, keeping the group's trademark mix of horror/occult themes and kitschy glam-club disco. As it turns out, "Sinister Whisperz" is not as much a compilation as a remix, from the early "And This Is What The Devil Does" or "Do You Fear For Your Child" to the more undeniably classic aggressive club sounds of "The Days Of Swine And Roses" and "Kooler Than Jesus".
And truth be told, TKK founders Marston Daley (aka Buzz McCoy) and Groovie Mann (Frankie Nardiello) have kept just about everything as I remember. Perhaps there are some minor tweaks here and remasterings there, but these cuts are oddly similar to the original tracks. Not that it's a bad thing, but fans expecting a modern mash-up of great Chicago dance cuts apply elsewhere. As a collection of the TKK's best tracks, this one hits the spots perfectly. The only thing missing is "Sex On Wheelz", but that's a minor complaint. Cooler than jesus indeed, this one's a must-get for old-school, die-hard Wax Trax! fans like me. (Rustblade)
Wax Trax! Records co-founder Dannie Flesher passed away from complications from pneumonia this past week. He was 57.
Flesher, along with longtime partner Jim Nash (who passed away in 1995), founded Wax Trax! in the early 80's to release some of their favorite musics. Years later, this label experienced international success, and brought predominantly electronic and post-industrial acts like Ministry, Revolting Cocks, Thrill Kill Kult, Meat Beat Manifesto, Coil, Front Line Assembly, Psychic TV, KMFDM, Pig, Front 242, Chris Connelly, Controlled Bleeding, the Young Gods, Pankow, Laibach, Greater Than One, In The Nursery, Foetus, and countless others to the ears of listeners across the United States and beyond. Their influence has been heavy on such followers as Nine Inch Nails, who used the Wax Trax! sound and scene to springboard to major rock success.
Wax Trax! was the centerpiece of my teenage years, supplying the post-apocalyptic soundtrack to my angsty life, and it's something I'm proud of and will always appreciate. I spent a load of money ordering the latest Wax Trax! releases back in the pre-internet days, and I owe a large part of my musical education to Jim and Dannie's Wax Trax! legacy. May he (and Jim) rest in peace.
“Dannie was a good friend. He was a true visionary and he will be sorely missed by us and all the other artists whose lives he impacted.” -- Al Jourgensen
More info can be found here, with a more thorough eulogy by Greg Kot of the Chicago Tribune: Chicago Tribune article
And a fairly complete and exhaustive discography of Wax Trax! can be found here: Wax Trax! @ discogs.com
It's been a long road for Nashville-based industrial rock act Dessau. Centered around programmer/vocalist John Elliott, Dessau saw relative success in the form of actual MTV airplay and a club hit with 1990's "Isolation". Elliott worked alongside such genre heavyweights as Al Jourgensen and Paul Barker of Ministry, as well as famed Joy Division producer Martin Hannett, among many others. And, truth be told, these co-conspirators are a good way to describe the overall sound of Dessau. "The Truth Hurts" isn't so much a new album (the last one of those for Dessau was 1995), but a collection of unreleased sessions, alternate mixes, early vinyl cuts, and a pair of live Joy Division covers. In short, a treasure trove for fans, and a superb intro for the uninitiated. Dessau's work here moves from the brooding cover of Ministry's early synthpop gem "Revenge" (here amped up and ready to fight), to the boldly anthemic (yet catchy) "Sun", to the dubby trip-hop instrumental "Chalkline", which boasts of production by Chicago's Die Warzau team. It's hard and heavy all the way on "The Truth Hurts", with good hooks, as in the concussion-inducing dance rock leviathan, "Beijing", presented here in an unreleased mix/version. The earlier material (recorded circa 1985) is a little less angry, and more melodic, as evidenced by tracks like the almost new-wavey "Crutch Of Utility". All-in-all, a uniformly consistent collection, and hopefully a harbinger of new material for Elliott and Dessau. (WTII Records)
Who would've thought that the finest electronic-rock (aka 'industrial') album in recent years would come from an almost-forgotten duo of producers/artists who've only released 2 albums in 14 years? Chicago's Die Warzau, consisting of programmer Van Christie and vocalist Jim Marcus here unleash a torrent of classic heavy funk-laced electro-stompers with finesse and a keen socio-political conscience. 'Vinyl88' is a kind of 'best of' set, but these mostly-90's-era dancefloor greats are remixed and remade, and wow, do they smoke! Beginning with the previously download-only 'Insect', which has some of the most stunning production I've heard on a track of this nature in many a year (this one is great to work out/test speakers with), Christie and Marcus prove they have the songwriting chops as well as production skills to spare (a necessity in this genre) . I can't forget to mention that 'Insect', while being ultra-aggressive and bruisingly heavy from start to finish, has a killer melody underlying it all - a superb and effective combination. The moldy oldie 'Land Of The Free', which was written in the late 80's, is here transformed into a thunderous and fearsome dance beast, while an obscure KMFDM remix of 'All Good Girls' (surely the band's melodic tour-de-force) is welcome, and certainly a must-hear. New track 'Glare' is a pop-oriented piece with accents of trip-hop and old jazz (check the wild and scratchy vinyl brass solo in the middle). The groovy remake of 'Funkopolis' forces you to shake that booty, and 'Kleen', another new track, is one of the smartest and catchiest slices of electronic pop you're likely to hear anytime soon. 'Smackdown' (reprised from an old vinyl-only 12") includes vocals by the always classy and stylish Scot Chris Connelly (of Revolting Cocks and solo fame). And speaking of guest vocals, how about George Clinton himself on the album's closer, 'Hitler's Brain'? Die Warzau 2008, where have you been? A mammoth, massive, and unmistakeable success. (Rosehip/Pulseblack Records)
Greater Than One first caught my ear through their contribution ('The Dark Streets Of London') to the classic 1987 Placebo Records compilation, 'Dry Lungs III'. The following year, I snapped up their CD 'London' on higher profile Wax Trax! Records. The combination of politically-charged commentary, surrealist humour, and avante-electro rhythms was intelligent, and more in line with 'art-terrorism' than 'industrial rock'. Their single, 'I Don't Need God' (which even got airplay on MTV!), further evidenced that GTO were far more than 'a good beat to dance to'. Using the address listed in the 'Dry Lungs III' notes, I wrote Lee Newman and Michael Wells requesting an interview for my zine, Godsend. They very cordially responded, and sent a series of images, art collages, and their early experimental cassette, 'Kill The Pedagogue'. Normally, my zine ran an interview with one musical artist, alongside short fictional pieces. The wealth of info that Greater Than One had sent me was so overwhelmingly pertinent and interesting, I decided to dedicate an entire issue to them, re-collaging and arranging their art around the interview. This 'Greater Than One' issue was printed in a few hundred copies and distributed internationally, and was met with mostly confusion and bewilderment. I continued to follow Newman and Wells' paths for several years towards their techno and rave phase, where I lost touch. Looking back, they created some of the most strikingly original electronic sounds of their day, and unfortunately, most of this work has remained criminally out of print. Thanks to Jon Whitney for making Greater Than One's timeless music available once again.
Greater Than One - "Kill The Pedagogue" CD
This short 32-minute early cassette release (here lovingly remastered for CD and issued in a tasteful letterpress card sleeve, and limited to 500 pieces) presents some of the earliest (1985) experiments from GTO's Lee Newman and Michael Wells, and it's a very rhythmic proto-industrial vibe - tape voices, tribal beats, and surreal noise. Definitely a product of it's era, and the dark nature of this recording led to the duo's appearance on similarly-minded Graeme Revell and Brian Lustmord's Side Effects label in 1987. Also included here, in mp3 file format, is the entire 'Lay Your Penis Down' tape - a more subtle, minimalist excursion resplendent in odd beats and early tapes/sampling experiments. (Brainwashed Archives)
Greater Than One - "All The Masters Licked Me" 2xCD
This is the 1987 LP that followed 'Pedagogue', and it's a more highly-evolved and diverse set of moody post-industrial vibes, showing hints of new life amongst the ruins of the industrial culture. Most of the songs here are brief and instrumental, and highlights include 'The Rape Of Sam The Fox' - a heavy-handed, percussive cut that would fit well alongside early Laibach, and 'Kill That Parent' - a lighter, gentler, even contemplative piece with a sort of exotic feel - proving that Newman and Wells were always seeking new sounds and directions, even this early on in their careers. Other vignettes successfully create a series of moods, textures, and atmospheres, most of which border on the late-night and paranoiac. The haunting 'Psychotherapy' brings to mind Anthony Perkins, somehow, and 'Sweet Satellite' visits a far-off tribal ceremony with hand-drums and chants. 'We Hate America And American Hates Us', as well as 'We're OK' herald their heavy-sampling dialogue-oriented later work, as well as highlight the group's humour and political bend. Odd and enchanting sounds that easily double as a surreal soundtrack. Appended to this already well-stacked release is another disc, this one containing the whole of the 'Trust' cassette, which was a 2-track, 32-minute electronic soundtrack of sorts, more in line with the group's earliest post-industrial experiments. (Brainwashed Archives)
Greater Than One - "London" 2xCD + DVD
'London', originally released as a double-album in 1990, with it's intensively sampled media cutup glory, bridged the gap between GTO's industrial past and their acid house/techno future. Filled to the brim with big beats, electronic effects, and cleverly manipulated pop-culture debris, Newman and Wells make a variety of points (politically and artistically) with these heavily-danceable cuts. The MLK-sampling, hip-hop-infused 'Now Is The Time' could be seen as a call to arms, and 'Everybody's Crazy (Except Us)' brings a deft sense of humor and irony alongside the pounding beats and tribal chants. The hilarious 'Song For England' is an indictment of GTO's home country - samples of a bloke stating 'I'm deaf, I'm dumb, I'm blind' repeated to infinity alongside a steadily-building symphonic accompaniment. Truly a landmark cut, and as innovative as works by peers like Meat Beat Manifesto or Coldcut, easily. 'Techno Golden Beat' is majestic, joining dynamic orchestral samples with weird vocal splicings and clever sound manipulations. 'Peace' is a driving proto-techno piece, and 'Computer Dub' is a weird collision of media snippets and sound effects - all meshed around a dysfunctional rhythm of sorts. By the time the set gets around to what would be side 4, 'The Dark Streets Of London' brings the journey around to a shadowy, seedier underbelly of jolly ol' England. Terrific work, and definitely aging very well, thanks very much. Disc 2 contains 'Dance Of The Cowards' - a previously vinyl-only early mix/version of 'London', and appends some rare comp tracks for added value. This is a comprehensive set, indeed. The DVD includes Greater Than One's rare videos (including the 'hit' 'I Don't Need God') plus some concert/installation films. A tremendous set full of tense electronic sounds, big beat fun, and highly insightful socio-political commentary. (Brainwashed Archives)
Greater Than One - "G-Force" 3xCD
Greater Than One's final full-length release before they evolved into various pseudonyms (including acronym GTO, Tricky Disco, and Technohead), this 1989 Wax Trax! release showed Newman and Wells moving ever closer to the emerging acid house scene of the time. Armed with loads of samples from everything and anything, this set of intensely danceworthy tunes takes cues from Kraftwerk, Public Enemy, and visual artists, among others, and this mix was simultaneously bewildering (the group's surrealist, art-conscious references went far over the heads of most of their listening audience, unfortunately) and refreshing. Greater Than One's production here was thunderous and clear, allowing the space for massive orchestral/choral samples to share the atmospheres with the crushing electro-rhythms and masterful sequencing. If their political commentary/intentions are included here, they are far more submerged and sublime, yet still clever and amicably clubby. 'Why Do Men Have Nipples?' is a hilarious send-up of dating TV shows, leaving this set on a cynical but light-hearted note. The bonus discs include the entirety of the 'I Don't Need God' single, the 'Utopia' single, and the 'Index' EP (which includes the genius parody 'Metal), not to mention almost 2 hours worth of unreleased and rare tracks from the era in mp3 form. Again, Brainwashed has assembled a superlative and comprehensive set that sums up the entire recorded output of the duo under this name. Simply amazing, and well worth every penny. (Brainwashed Archives)
Compiling tons of vinyl and CD-singles from their classic Wax Trax! Records heyday (1986-1992), this set shows the German-American industrial rock group's quick progression and growth as they stormed the states on a huge tour with Ministry in their prime (1989-90). Beginning with the early raw electronic-beats of stuff like 'Don't Blow Your Top' (featured here in a superb Adrian Sherwood remix), 'Extra' follows the group into a dancier, clubby realm ('Naive', here remixed a couple of times by Chicago sleaze-disco act Thrill Kill Kult), some trippy psycho-dub ('Virus', 'M+F 244'), and finally, their now-trademark electro-rock. One of the band's definitive cuts, 'Godlike', is reprised here, and this Slayer sampling club track can still melt dancefloors while appealing to the longhairs and headbangers at the same time. Very fun. And disc 2 has even more! KMFDM have always been masters of the anthemic, and 'Go To Hell', 'Split', and 'Money' all feature this second disc, often in multiple mixes. The remastered sound here makes it all go 'boom' in the car, as well, so that's always a plus. Overall, 'Extra' is a great collection of now-unavailable mixes and versions for the hardcore KMFDM fan, and also a fitting starting point for anyone curious about this band's extensive 22-year history. (Metropolis)
I didn't ever know Chris Moriarty (who passed away March 22), but I was a huge fan of his work with respected industrial/noise act Controlled Bleeding (as well as satellite groups Skin Chamber and Body Clock). Group leader Paul Lemos, along with Moriarty and third CB member Joe Papa, played a Wax Trax! Records showcase, as I recall, in New York (their home), way back in 1989. Some of this material is their more beat-oriented, "commercial" industrial dance period, which Lemos now regrets, but really, it was pretty solid work in the same vein as Front Line Assembly or Revolting Cocks. About half of this show was also the group's more ambient, funereal music, featuring the mournful vocals of Papa. So it certainly wasn't a 'sellout', by any means. Anyhow, this show was recorded by a friend with a tape recorder, and thus the sound is not exactly CD-worthy, but still a nice document of a time long passed. And a tribute to a fallen comrade. Controlled Bleeding
Man, how the mighty have fallen. I have been a fan of Al Jourgensen's many projects since about, oh, 1987 or so. There were the best of times (the mighty 'Land of Rape and Honey', the powerful 1989/90 tour with the all-star band)..Hell, even 'Twitch' was a momentous LP for me. I kinda lost track with 'Filth Pig', 'Dark Side Of The Spoon', 'Animositisomina', et al, as Jourgensen and Barker, it seemed, had stagnated. Fast-forward to about a decade later. Barker is gone, having moved on to the fine U.S.S.A. and other ventures (including the highly-anticipated Flowering Blight). In his (sorely-missed, if you ask me) absence, Al gathered another motley group of metal-heads (and the awesome Killing Joke bassist Paul Raven, RIP brother), and bashed on Bush for 3 albums, which I thought were pretty good, really - incendiary and packed with ultra-fast thrash metal. So here it is, 2008, and Jourgensen has announced the 'end' of Ministry. This collection of covers is the supposed swan song, and man, it sucks balls. Where do I start? The rowdy rock of 'Bang A Gong' and 'Radar Love' are positively idiotic. 'Black Betty'? Pointless. 'Supernaut' is re-hashed yet again. It was cool when it was 1000 Homo DJs for Wax Trax! back in 1990 or so, but here, re-released for the fourteenth-or-so time is just plain lazy. 'Roadhouse Blues', voxed by Fear Factory mainman Burton Bell, is taken from the LAST Ministry CD (why??? It was less than a year ago!), and Jourgensen even dips into the Barker days, re-releasing their dandy cover of Dylan's 'Lay Lady Lay' again. The best here is the finale - a very Ministry-sounding 'What A Wonderful World'. The rest of the disc has guest vocals, flat production, and truth be told, most of it sounds nothing like Ministry should. Bleah. Sorry, but I think this is 12 steps back. (Thirteenth Planet) Another listen a few days later and I am amazed at how awful this one is...I am sad.
Not so much a retrospective as a rarities collection, this lengthy 14-tracker includes a wealth of unreleased pieces from this veteran Chicago industrial-metal act. Opening with the new cut 'The Wreck Of Us' (with guest vox by 16Volt mainman Eric Powell), Acumen Nation unleashes a torrent of hardbeat rock gems that don't expand the genre, but are heavy and well-enough produced to compete with the heavyweights. KMFDM frontwoman Lucia guests on 'Life's Last Breath', and the rest of the tracks are either remixes or unreleased demo versions of Acumen classics like 'Revelations Per Minute', 'Queener', or 'Gun Lover'. All-in-all, 'What The F*ck' is a solid intro to a band existing just outside the mainstream, and who've quietly produced some of the most solid heavy electro-metal of the last decade. (WTII Records)
Subtitled "The Wax Trax! Years (1987-1991)", this 13-song collection harkens back to the glory days of this Chicago-based glam/dance/industrial act. And as a tribute to Wax Trax! founding fathers Jim Nash and Dannie Flesher (R.I.P. gentlemen), it's a fitting set, keeping the group's trademark mix of horror/occult themes and kitschy glam-club disco. As it turns out, "Sinister Whisperz" is not as much a compilation as a remix, from the early "And This Is What The Devil Does" or "Do You Fear For Your Child" to the more undeniably classic aggressive club sounds of "The Days Of Swine And Roses" and "Kooler Than Jesus". 
