From Discogs.com : "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 Genesis P-Orridge and Peter Christopherson forming Psychic TV (and Peter Christopherson later forming Coil) and Chris Carter and Cosey Fanni Tutti becoming Chris & Cosey. However, they came back together 23 years later in 2004 to plan an ill-fated weekend festival, which became a one-off recording session in London when the festival fell through, releasing a limited TGNOW album of the recordings."
From Allmusic.com : "After Genesis P-Orridge dissolved the seminal industrial rock outfit Throbbing Gristle, he and Gristle cohorts Peter Christopherson and Cosey Fanni Tutti, plus Geoff Rushton, formed Psychic TV in 1979 as a means of continuing their confrontational, shock-oriented approach to music and their multimedia live performances. Psychic TV draws much of its inspiration from the literary underground, including situationist philosophy, William Burroughs (a professed fan), the Marquis de Sade, and Philip K. Dick. The group also claims to be the mouthpiece for its own quasi-religious group, the Temple Ov Psychick Youth. P-Orridge has been branded a dangerous deviant in several publications, and police raided his home in 1992, seizing videos, books, and magazines following a television show concerning child abuse in which a Psychic TV performance art video was shown out of context.
As for the music itself, Psychic TV's earlier years continued in the experimental vein of Throbbing Gristle's work, encompassing melodic pop, barely listenable white noise, gentle ballads, industrial found-sound collages, spoken word pieces, and experiments with ethnic instruments and world music, all tied together by a dadaist sensibility. Force the Hand of Chance, the group's first album, was released in 1982; during the '80s, Psychic TV's prodigious output totaled over 20 albums. Much of this stemmed from a publicity stunt beginning in 1986 for which the group attempted to release one live album, each from a different nation, on the 23rd of each month for 23 months. Even though the group didn't quite achieve its goal, the 14 albums Psychic TV released in 18 months were enough to get the group into the Guinness Book of World Records. Christopherson and Rushton both left the group rather early on to form Coil, and Psychic TV has since become an open-ended collective with contributors such as Alex Fergusson, formerly of Alternative TV. Psychic TV scored a minor U.K. pop hit in 1986 with "Godstar," a tribute to Rolling Stones guitarist Brian Jones, and 1988 saw the group's first album release in America with Allegory and Self.
Beginning in 1988, P-Orridge became a pioneer on the British club and rave scene. Records from the Chicago house scene by Frankie Knuckles and Farley Jackmaster Funk made their way to London, and when P-Orridge noticed the word "acid" on one of them, he dubbed the British psychedelic variation "acid house" and began recording and experimenting with the style on Jack the Tab: Acid Tablets, Vol. 1 and Towards Thee Infinite Beat. P-Orridge has since released albums under the name Psychic TV as well as using a variety of aliases to produce "compilation" albums actually featuring all his own music. Several Psychic TV collections, as well as new material, appeared in the '90s; the best of the retrospectives are the two singles compilations Hex Sex and Godstar, and the 1999 overview Best Ov: Time's Up. New Psychic TV material took a backseat as P-Orridge's commitment to his spoken word project Thee Majesty and a new philosophy he dubbed "Pandrogeny" occupied his time. It was the latter that had him going under the knife for breast implants and enforcing the use of the pronoun s/he. PTV work began again in 2003 with two years of touring leading to studio work. A new album was delayed when Throbbing Gristle reunited for a short time, but work resumed in 2006. The finished product, Hell Is Invisible...Heaven Is Here, arrived a year later. P-Orridge's wife and bandmate, Lady Jaye Breyer P-Orridge, died of heart failure a few months after its release. A tribute to her, Mr. Alien Brain vs. the Skinwalkers, was released near the end of 2008, featuring versions of Syd Barrett's 'No Good Trying' and the Velvet Underground's 'Foggy Notion'."
"Splinter Test 1" comprises the following three albums :
A - Elipse Ov Flowers
B - Tarot Ov Abomination
C - Stained By Dead Horses
From Allmusic.com : "Break Through in Grey Room is a collection of William S. Burroughs' speeches and cut-up recordings performed and recorded between 1960 and 1976. Some are actual pieces, and others are discussions of the pieces, such as "Origin and Theory of the Tape Cut-Ups," which he read at Boulder's Naropa University in 1976. Burroughs' incredibly detached voice only sounds better with age. He seems to exist between two worlds, and he constantly jumps back and forth from the conscious to the subconscious. In fact, one can hardly tell at any time which world it is that he inhabits. The bulk of the disc is consumed by one cut-up piece entitled "K-9 Was in Combat With the Alien Mind-Screens," which Burroughs claims was the result of writing as an art form, attempting to catch up to the advanced world of collage painting. This was one of Burroughs' earlier collaborations with Ian Sommerville. The Brion Gysin piece that Burroughs uses as a sample ("Recalling All Active Agents") is a brilliantly textured two-track recording that was made at the BBC studios in 1960 utilizing the drop-in method that Burroughs speaks about. This method entails a tape recorder recording a different player whilst randomly speeding up, slowing down, reversing, and advancing the second player. What occurs is a blubbery and blurry mess of words that surprisingly creates new sentences and phrases. Here Burroughs claims, "When you cut into the present the future leaks out." Other tracks are simply found sound field recordings. One such piece, "Jojouka," features Ornette Coleman playing in the hills of Morocco, recorded in January of 1973. This is a thoroughly interesting record of all of the types of recordings in which Burroughs took part in during his 87-year life, and serves as the perfect introduction to the tape experiments of the most intriguing of all of the beat writers."
"Break Through in Grey Room" was released by Sub Rosa in 1986.
From Allmusic.com : "An obscure 1981 release that only got anything approaching mainstream notice retroactively -- after Laurie Anderson's surprise breakthrough with 1982's Big Science and its unexpected hit single, "O Superman" -- this is a double-LP set featuring one side each of contributions from Anderson, poet John Giorno, and William S. Burroughs, plus a fourth side that had three lock grooves in it; depending on where the needle was placed, you'd hear more works by one of the three participants. (The 1993 CD simply puts each participant's extras at the end of their section.) Anderson's contributions are rough-sounding early versions of minor pieces that eventually ended up in her masterwork, United States I-IV, plus an early recording of "Born, Never Asked" that's lacking in comparison to the richer-sounding remake on Big Science. Burroughs' pieces are primarily of interest to die-hard Burroughs fans, as they come mostly from the era when he was simply reworking old manuscripts, and as a poet, John Giorno makes a pretty good small-press publisher. For completists only."
Side 1 :
1. Laurie Anderson - Dr. Miller
2. Laurie Anderson - It Was Up In The Mountains
3. Laurie Anderson - Drums
4. Laurie Anderson - Closed Circuits
5. Laurie Anderson - Born, Never Asked
Side 2 :
1. John Giorno - I Don't Need It, I Don't Want It, And You Cheated Me Out Of It
2. John Giorno - Completely Attached To Delusion
Side 3 :
1. William S. Burroughs - Introducing John Stanley Hart; He Entered The Bar With The Best Intentions
2. William S. Burroughs - Twilight's Last Gleamings
3. William S. Burroughs - My Protagonist Kim Carson
4. William S. Burroughs - Salt Chunk Mary; Like Mr. Hart, Kim Has A Dark Side To His Character
5. William S. Burroughs - Progressive Education
6. William S. Burroughs - The Wild Fruits
7. William S. Burroughs - The Unworthy Vessel
Side 4 :
1. Laurie Anderson - For Electronic Dogs / Structuralist Film-Making
2. William S. Burroughs - The Name Is Clem Snide / Mr. Hart Couldn't Hear The Word Death
3. John Giorno - Excerpt From Put Your Ear To Stone & Open Your Heart To The Sky
"You're The Guy I Want To Share My Money With" was released by Giorno Poetry System in 1981.
From Allmusic.com : "After briefly entering the mainstream pop radar in 1981 with her lone hit "O Superman," Laurie Anderson enjoyed a public visibility greater than virtually any other avant-garde figure of her era. Her infrequent forays into rock aside, Anderson nevertheless remained firmly grounded within the realm of performance art, her ambitious multimedia projects encompassing not only music but also film, mime, visual projections, dance, and -- most importantly -- spoken and written language, the cornerstone of all of her work. Born in the Chicago suburb of Glen Ellyn, IL on June 5, 1947, she studied violin as a teen; relocating to New York City at age 20, she later attended Barnard College, graduating with a B.A. in art history in 1969. After earning an M.F.A. in sculpture from Columbia University in 1972, Anderson taught art history and Egyptian architecture at City College; she mounted her first public performances a year later.
By 1976, Anderson was regularly mounting performances in museums, concert halls, and art festivals throughout North America and Europe; claiming to base all of her projects on the power of words and language, her work also emphasized visual imagery and cutting-edge technology, with pieces like 1980's Born, Never Asked, written for both orchestra and electronics. A year later, Anderson recorded "O Superman" for the tiny New York label 110 Records; an 11-minute single built around electronic drones and featuring opaque lyrics half-spoken and half-sung (in a voice sometimes electronically treated); this most unlikely hit became a smash in Britain, where it reached the number two spot on the national pop charts. Warner Bros. soon signed Anderson to record a full-length LP, and in 1982,she issued Big Science, a work drawn from a much larger project, the seven-hour multi-media performance United States.
With 1984's Mister Heartbreak, Anderson produced her most overtly pop-oriented work, teaming with artists including Peter Gabriel and Adrian Belew; the end result even reached the American Top 100. That same year, she also issued United States Live, a recorded document of the complete performance spread across a five-LP set. Anderson's next project, Home of the Brave, was a concert film; a year later, she also scored the Jonathan Demme/Spalding Gray film Swimming to Cambodia. A proper studio album, Strange Angels, did not follow until 1989; the next several years were devoted to performance tours, including 1990's Empty Places, 1991's Voices from the Beyond, and 1993's Stories from the Nerve Bible. In 1994, Anderson teamed with producer Brian Eno for Bright Red, also featuring her boyfriend Lou Reed; the following year she released the LP The Ugly One with Jewels as well as Puppet Motel, a CD-R confirming her ongoing interest in the latest technology. In 2001, Anderson issued Life On A String which contained songs from her large musical theater pieces Moby Dick and Strange Angels. In 2001, two weeks after the attacks on the World Trade Center, Ms. Anderson recorded a live album at Town Hall, New York City (on its cover werre the poignant words "New York City, September 19-20, 2001." It was released as Live At Town Hall NYC in 2002. Ms. Anderson continued her appearance schedule but didn't record for another seven years when she began working on Homeland, which was released by Nonesuch in 2010."
"United States Live" was released by Warner Bros. Records in 1984, then re-released in 1991.
From Allmusic.com : "There was a backlash against Laurie Anderson in "serious" musical and artistic circles after the completely unexpected mainstream commercial success of her debut album, Big Science. (The eight-plus-minute single "O Superman" was a chart hit in England, unbelievably enough.) A fair listen to Big Science leaves the impression that jealousy must have been at the root of the reception because Big Science is in no way a commercial sellout. A thoughtful and often hilariously funny collection of songs from Anderson's work in progress, United States I-IV, Big Science works both as a preview of the larger work and on its own merits. Opening with the hypnotic art rock of "From the Air," in which an airline pilot casually mentions that he's a caveman to a cyclical melody played in unison by a three-part reeds section, and the strangely beautiful title track, which must feature the most deadpan yodeling ever, the album dispenses witty one-liners, perceptive social commentary (the subtext of the album concerns Anderson's own suburban upbringing, which she views with more of a bemused fondness than the tiresome irony that many brought to the subject), and a surprisingly impressive sense of melody for someone who was until recently a strictly visual artist. For example, the marimba and handclap-led closer, "It Tango," is downright pretty in the way the minimalistic tune interacts with Anderson's voice, which is softer and more intimate (almost sexy, in a downtown-cool sort of way) than on the rest of the album. Not everything works -- "Walking and Falling" is negligible, and the way Rufus Harley's bagpipes intentionally clash with Anderson's harsh, nasal singing and mannered phrasing in "Sweaters" will annoy those listeners who can't take either Yoko Ono or Meredith Monk -- but Big Science is a landmark release in the New York art scene of the '80s, and quite possibly the best art rock album of the decade."
"Big Science" was released by Warner Bros. Records in 1982, then re-released in 1990.
From Discogs.com : "Anne Gillis, also known as Manon Anne Gillis, is a plastician, composer and performer. Her work is surrealistic and "féminin". She composed music and performance since the eighties. She lives in Paris."
Side A :
1. The Birds Brought Water In Their Beaks Into The Temples
2. Against Nature
3. Did A Carpenter Make Her? No, No A Photographer In Sheffield
4. Catch A Fading Polaroid And Put It In Your Pocket
5. Chambre Des Cauchemars - Monsieur Zann's Final Chamber Transformation - He Left Behind Black Blood On My Ear
Side B :
1. Les Voix Emurantes Parlent Dans Les Débris De Tiffauges
2. Ray Treatment
3. De/Camuflage
4. The Madonna Lost Her Face In The Acid Bath - Les Chants De "Trois Frères"
5. Strategies Of Truth
"Kolik-San-Art" was released by Principe Logique in 1986.
From Discogs.com : "Cranioclast is a duo from Hagen, Germany, which produces various artistic endeavors, and most commonly music. Usually those two identify themselves as Soltan Karik and Sankt Klario. They have their own label called CoC and were working with a number of like-minded bands, including Kallabris, Fetisch Park and A.B.G.S."
Side A :
1. All Around The Watchtower
Side B :
1. Kerstin And Fabian Visiting The Black Lagoon
From www.cockrockdisco.com : "A collection of new sample heavy songs, strong with rock flavor, but corrupted many times over through DSp and breakcore!
One of the real challenges of a label such as this is to try to create something "new", something that tries to bundle all of our interests into one semi-coherent package. While this may not be THE answer it's seems to be on the right track. Imagine semi-equal parts electro acoustics, arena rock style guitars, lots of hard breaks, and a good measure of rump-shaking, late-seventies disco. Oh, and there's plenty of raw noise too.
Will probably be issued on vinyl- consider this a sneak peak!
Super limited!!! Made by request!"
"Belligerent Super-Vision" was released by Cock Rock Disco in 2001.
From www.cockrockdisco.com : "While this album continues to develop my interest in contextual and genre shifts, it also moves quite rapidly through many different song structures and musical developments. It's intended to be more of an album than a collection of songs, because I listen to a lot of rock albums and strive for that sort of "album experience". I also play around with some recognizable Pop tunes, like Joe Jackson's "Stepping Out", and if you really listen you can hear "I am the Walrus" in there somewhere..."
"To All Methods Which Calculate Power" was released by Cock Rock Disco in 2002.
From www.cockrockdisco.com : "This one is fucking GOOD! It features everyone that is or will be on Cock Rock Disco, that means expect releases at somepoint in the unspecified future by each of these rockers. A true cross section on musical diversity."
Tracklisting :
00:00 - 05:14 Donna Summer - "Harpsi-Prince"
05:14 - 08:24 Duran Duran Duran - "Cockly"
08:24 - 13:46 Ove Naxx - "Over Noxious Ax Grinder"
13:46 - 16:09 Xanopticon - "Grey7"
16:09 - 19:29 The Computers - selection from 36:17:32
19:29 - 21:57 Xanopticon - "Grey7"
21:57 - 24:51 Braer Rabbit - "Yeah!" (Foolproof Projects)
24:51 - 25:56 Jason Forrest - selection from Death Afterlife
25:56 - 27:18 Braer Rabbit - "Yeah!"
27:33 - 29:53 Donna Summer - "Stepping The Fuck Out!"
29:53 - 31:05 Mehmet Irdel - h0st
31:05 - 31:35 End/Speedranch - "Scrambled Eggs"
31:35 - 31:47 Jason Forrest - selection from Death Afterlife
31:47 - 34:03 End/Speedranch - Scrambled Eggs
34:03 - 37:15 Ove Naxx - "Wedding Disco"
37:15 - 37:47 manipulation
37:47 - 40:58 Xanopticon - Tinw
40:58 - 41:21 Xanopticon - Tinw (Donna Summer manipulation)
41:13 - 41:36 End/Speedranch - "Butter"
41:36 - 44:33 Mehmet Irdel - realignment
44:33 - 46:45 Dev/Null - "I am like really Evil and stuff"
46:45 - 48:36 Duran Duran Duran - "Heavy Arps D3-Remix"
48:36 - 49:17 Dev/Null - "Greg Trash Likes This One"
49:17 - 49:24 Duran Duran Duran - "Heavy Arps D3-Remix"
49:24 - 49:54 Cock Rock Disco Total Annihilation DS Frappe
49:46 - 51:57 Duran Duran Duran - "Heavy Arps D3-Remix"
"Cock Rock Disco Mix" was released by Cock Rock Disco in 2004.
From www.cockrockdisco.com : "No doubt you fell under the dark spell of Iron Maiden when you were a young teenager. Maybe you were next in line for satanic suburban child sacrifice but had fortune on your side. I remember sitting with my friend Craig in suburban South Carolina on countless afternoons while we cranked the Maiden. Craig had lots of "Eddie" T-shirts and posters. All I had was a Ratt poster because my parents thought it wasn't too evil.
There was always something really driving in the Maiden sound, something I had forgotten about until earlier this year. Listening to the records and cassettes now, I'm really impressed and inspired by the complexity, musicality and structure of the songs. While certainly no strangers to long, melodramatic finger-hammering guitar solos, Iron Maiden pushed the boundaries of showmanship with their ostentatious stage shows. Pyrotechnics, a giant rockin' Edie character and of course the huge stage props, made them pretty much the coolest band on the planet when I was 12.
So I had this idea to go back and digitally process this stuff. I started with 45 1-second samples from the "Best of the Beast" (a greatest hits) album. Most of what gets processed comes from this material. Then I digitized several whole sings from a cassette of "Live After Death" that I bought for .50 cents in a thrift store. (One particularly pretty section deals with the guitar solo from "Rhyme of the Ancient Mariner".) It's all processed with a number of programs and usually have been DSP'd several times and layered in odd ways.
It clock's in at 50:31 with 1 track.
Available in a limited edition of 100 CD-Rs."
"Death Afterlife" was released by Cock Rock Disco in 2004.
From the press release : "An immense pressure of atmospheric sound will overwhelm you! The Computers transplant Iron Maiden and Pink Floyd samples onto pockmarked pure tones and scuffed up digital resonance. The result is a particle-laden computer jam for the tasting."
The Computers were Ian Epps, Jason Forrest (aka Donna Summer) and Dan Walsh.
"36:17:32" was improvised live in Ian Epps's living room on September 8th 2001.
"36:17:32" was released by Cock Rock Disco in 2002.
From Allmusic.com : "After briefly retiring the Main name to work on other projects, Robert Hampson returned in collaboration with the Antenna Farm duo on this release, the first in a projected new series by the Staalplaat label. Initial collaborative recordings in the Netherlands were combined with other efforts in the U.K., resulting in this five-track release. Those familiar with the ultimate extremes of Hampson's work will find his efforts here a fine balance between past musical paths and new departures. He seems to have embraced the possibilities of glitch production for his relentless rhythms in much the same way as fellow heavy psych extremist Brad Laner did for Electric Company. Antenna Farm's work, being already grounded in that field, slots in nicely with the new focus here, the resulting collaborations being a fine balance between the duo's computer abuse and Hampson's drone-derived feedback treatments and alien sheets of sound. Bursts of static tones sound almost like alien transmissions from somewhere far off in the galaxy; almost animalistic tones of slurping and gulping crop up here and there among bursts of buzzing that cyclically reappear in the mix. The five tracks -- untitled but described via frequency transcriptions in the liner notes -- collectively live up to their creators' overall reputation for ignoring the easily tuneful for challenging, involving results. More organic methods of noisemaking occur -- the second track starts off with what could be a bunch of clattering pieces of wood, perhaps not. The final track provides a suitably gripping conclusion to AF_M, revisiting styles used elsewhere on the disc and adding new elements, such as a relentless echoing chime increasingly swathed in static noise."
"AF_M" was released by Brombron/Staalplaat in 2001.
From www.yoshihirohanno.com : "A noble musician/composer who practices broad creation from electronic music to acoustic movie sound track in all over the world and writes music basing on his own stance and point of view. Hanno had appeared in electro scene with huge impact of his original sound that album, which had been released as Multiphonic Ensemble from Belgian "Sub Rosa" imprint in 1997 had. This album had highly acclaimed as "giant step of electronics music" and "most important electronics album in last few years." and his existence had drawn attention of the people suddenly.
In 1998, he collaborated with Ex-Japan member for the album that was released in Japan, U.K. and USA. Also in the same year, he was commissioned to perform Maurice Ravel's "Pavane For A Dead Princess" with full orchestra of NJP (New Japan Philharmonic orchestra). He restructured the famous masterpiece and received the enthusiastic praise.
Also he released his 1st album under Yoshihiro Hanno name. This album that has universal beauty received the many compliments from artist like Jim O'Rourke, Ryuichi Sakamoto etc... Also he had entered into the world of movie in the same year and dealt with score for the film "flowers of Shanghai" that is directed by Asian movie master Hou Hsiao-Hsien. It was his first experience for doing movie's sound track and had been highly acclaimed being invited to the Cannes Film Festival as official exhibited work for its competition class. Hanno who also went to the place by himself had evaluated as "discovering of new movie sound track composer" by the local press. And he had get international fame also as composer for film score doing ones including "Platform" which is directed by film director 'Jia Zhang-ke' (Venezia Film Festival 'the NETPAC Award', Nantes Film Festival-GrandPrix, Buenos Aires Film Festsival-GrandPrix), "Cannon" which is directed by film director Isao Yukisada, "All tomorrow's parties" which is directed by film director 'Yu Likwai' (exhibited work for Cannes Film Festival) and so on.
In 1999, in his Multiphonic Ensemble alias, he released his 2nd album . The music was inspired by the masterpiece of Georges Rouault ''circus'' is the concept of whole music and filed with the joy of freedom of creation, and has a lot of energy of music born.
In 2000, he was musical director along with for the Yomiuri TV soup opera . Also, became part of Ryuichi Sakamoto's unit "CODE" which collaborated with him which was named and released a special CD and Book Set. And he had also started his own label "Cirque" same year.The original computer music which is sent through here has been getting huge acclaim from all over the world.
Since 2001, Hanno had been developing more world-wide activities basing on both Paris and Tokyo. He has been enthusiastically doing a lot of live performances at each European countries like U.K, France, Germany, Switzerland and Belgium, including taking part in "Radical Fashion" with Bjork and so on. In 2002, he had released album <9 modules. +> from Japanese brand-new electronic music imprint "PROGRESSIVE FOrM" and highly acclaimed from both domestic and foreign media.
In 2003, Hanno had released his most brilliant work (the one which Arto Lindsey who is well known in NY Avant grade scene and Joan La Barbara who is famous for vocal performance in John Cage's works also participates in.) that contains the results of all his career spending 4 years to make and it should be expressed as masterpiece from Sony. Ultimate beauty and sound of that album had get overwhelming support and made existence of his marvelous musical talent sure. And the magnificent concert which had featured Lido Ensemble that is organized by 22 musicians including the wind instrument in Tokyo had completely succeeded. And Hanno is releasing latest type of minimal electro album, which collects dynamism of Hip hop, Dub and Jazz under name of from PROGRESSIVE FOrM in 2004.The album which features female singer and African-French rapper was also released from French imprint "Logistic records" in world wide."
From Discogs.com : "1000% french underground-trash artist since 1985 in Paris. Jean Louis Costes didn't know to play any music instruments, so, one day, he choose to play Synthetizer... A mix between the american trash artist GG Allin, bad pop music, noise and... Costes Style.
He run around the world to diffuse his music, in small 'porno social' show, very trash & nude.. And of course, more people who don't know who he is, HATE... and I think it's a 'cheap' word :)
If one day, you see a promo to Costes in your town, please let's go to see... It's not Universal Music!"
"Lung Farts" was released by Costes Cassette in 1989.
