Throbbing Gristle - Greatest Hits

Style: Industrial, Experimental.
Similar artists: Clock DVA, Psychic TV, Coil.
Recording year: Mute Records, 1990.

Throbbing Gristle and their front man Genesis P-orrrige have been creating and then confounding the pop culture dialectic since 1976. Genesis P-orridige not only invented industrial music but also founded the first independent record label to promote it. If you listen to bands such as Ministry, Nine Inch Nails, or KMFDM, you owe a hand of gratitude to Throbbing Gristle; they invented the genre.

Abrasive, aggressive, and antagonistic, Britain's Throbbing Gristle pioneered industrial music; exploring death, mutilation, fascism, and degradation amid a thunderous cacophony of mechanical noise, tape loops, extremist anti-melodies, and bludgeoning beats, the group's cultural terrorism -- the "wreckers of civilization," one tabloid called them -- raised the stakes of artistic confrontation to new heights, combating all notions of commerciality and good taste with a maniacal fervor.

Formed in London in the autumn of 1975, Throbbing Gristle consisted of vocalist/ringleader Genesis P-Orridge, his then-lover, guitarist Cosey Fanni Tutti, tape manipulator Peter "Sleazy" Christopherson, and keyboardist Chris Carter. A performance art troupe as much as a band, their early live shows -- each starting with a punch clock and running exactly 60 minutes before the power to the stage was cut -- threatened obscenity laws; during their notorious premiere gig, P-Orridge even mounted an art exhibit consisting entirely of used tampons and soiled diapers.

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 and Peter forming Psychic TV (and Peter later forming Coil) and Chris and Cosey becoming, well, 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.

Fields Of Haze... Underground for all.

Can - Ege Bamyasi

Genere: Rock/Pop.
Style: Avant Garde, Experimental.
Similar artists: Brian Eno, Tangerine Dream, Frank Zappa.
Recording year: Mute, 1972.

Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands weren't interested in exploring.

Throughout their career, Can's lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the '70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 -- "I Want More" -- they were never much more than a cult band; even critics had a hard time appreciating their music.

The follow-up to Tago Mago is only lesser in terms of being shorter; otherwise the Can collective delivers its expected musical recombination act with the usual power and ability. Liebezeit, at once minimalist and utterly funky, provides another base of key beat action for everyone to go off on -- from the buried, lengthy solos by Karoli on "Pinch" to the rhythm box/keyboard action on "Spoon." The latter song, which closes the album, is particularly fine, its sound hinting at an influence on everything from early Ultravox songs like "Hiroshima Mon Amour" to the hollower rhythms on many of Gary Numan's first efforts. Liebezeit and Czukay's groove on "One More Night," calling to mind a particularly cool nightclub at the end of the evening, shows that Stereolab didn't just take the brain-melting crunch side of Can as inspiration. The longest track, "Soup," lets the band take off on another one of its trademark lengthy rhythm explorations, though not without some tweaks to the expected sound. About four minutes in, nearly everything drops away, with Schmidt and Liebezeit doing the most prominent work; after that, it shifts into some wonderfully grating and crumbling keyboards combined with Suzuki's strange pronouncements, before ending with a series of random interjections from all the members. Playfulness abounds as much as skill: Slide whistles trade off with Suzuki on "Pinch"; squiggly keyboards end "Vitamin C"; and rollicking guitar highlights "I'm So Green." The underrated and equally intriguing sense of drift that the band brings to its recordings continues as always. "Sing Swan Song" is particularly fine, a gentle float with Schmidt's keyboards and Czukay's bass taking the fore to support Suzuki's sing-song vocal.

Fields Of Haze... Underground for all.

Cabaret Voltaire - Three Mantras

Genere: Rock/Pop.
Style: Industrial, Electronic, Experimental.
Similar artists: Coil, Skinny Puppy, Foetus.
Recording year: Mute Records, 1980.
 
 

Though they're one of the most important groups in the history of industrial and electronic music, Cabaret Voltaire are sometimes forgotten in the style's timeline — perhaps because they continued recording long after other luminaries (Throbbing Gristle, Suicide, Chrome) called it quits. Also related to the fact is that CV rarely stayed in one place for long, instead moving quickly from free-form experimentalism through arty white-boy funk and on to house music in the late '80s and electronica the following decade. The band, formed by guitarist Richard H. Kirk, bassist Stephen Mallinder, and tape manipulator Chris Watson, were influenced by the Dadaist movement (whence came their name) and as such, came closer to performance art than music during many of their early performances. After several years of recording with no contract, the group signed to the newly formed Rough Trade label in 1978 and began releasing records that alternated punk-influenced chargers with more experimental pieces incorporating tape loops and sampled effects.

It would actually be more accurate to call this album 'Two Mantras,' given that it consists of two sidelong pieces, "Eastern Mantra" and "Western Mantra," which gives the still-then-a-trio a chance to expand its avant-electronic-grunge into trancier realms. Mallinder's abstract ranting is in full effect from the start of "Eastern," talking about bodies in the streets and the like, and from there things move into a rough realm of strange art, Voltaire-style. The combination of Kirk's guitar and Mallinder's bass work here is practically that of Krautrock/motorik, Mallinder playing a steady, quietly varying series of notes while Kirk throws in a variety of crumbling squalls. His work is sometimes vaguely Arabic in flavor, which combined with the length of the song, the hollow drum machine punch driving everything along, and Watson's piercing keyboards is not merely interesting but helps to demonstrate, in a subtle way, some of the future influences on artists like Muslimgauze. The alien feeling at the core of Cabaret Voltaire remains, though, strong and strange as always. "Western Mantra" has the basic trio, plus guests on percussion and found-sound tapes, doing something far more outre. A heavily-treated vocal loop underlaid by a subtle keyboard drone starts the song, interspersed with samples of Arabic and Israeli pop music and various bell sounds — the roots for Muslimgauze in particular really show here! Kirk's crisp playing floats in some time later, stepping in and out of the mix but never predominating, while Mallinder's bass is barely detectable. The occasional bursts of low, clattering pounding, with cymbals if not with drums in the background, combined with the continuing series of song samples, Arabic wind instruments and snippets recorded in a Jerusalem market, heightens the enveloping, striking feel of the piece and release as a whole.

 
 

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Fields Of Haze... Underground for all.

Virgin Prunes - Heresie

Genere: Rock / Pop

Style: Post Punk, New Wave, Alternative.

Similar Artists: Fad Gadget, PIL, Bauhaus.

Original Recording Year: Mute, 1982.

One of the more adventurous and avant-garde acts to rise out of the punk era, the Virgin Prunes formed in Dublin, Ireland in mid-1977. The group was led by the theatrical singer/songwriter Gavin Friday (born Fionan Hanvey in 1959), who as a teen fell in with a group of like-minded individuals who dubbed themselves the Lypton Village. While some of the social club's members, including a pair of youths named Paul Hewson and David Evans -- later known as Bono and the Edge -- went on to form the superstar group U2, the remaining members founded the less-commercial Virgin Prunes, taking their name from the local slang for so-called "outsiders" and "freaks," a recurring lyrical theme.

Originally comprised of Friday, vocalists Guggi (born Derek Rowen) and Dave-id (David Watson), bassist Strongman (Trevor Rowen), drummer Pod (Anthony Murphy) and guitarist Dik (Richard Evans, the Edge's brother), the Virgin Prunes baffled audiences at their outrageous first concerts, which borrowed more from the approach of performance art than the traditions of rock music. After gaining a cult audience, they issued their first single, the independently-produced "Twenty Tens," which earned them a deal with the Rough Trade label. After the departure of Pod (replaced by Haa Lacka Binttii), the Virgin Prunes released A Different Kind of Beauty, a sprawling, ambitious project made up of four interlocking chapters, released separately on the seven-inch, ten-inch, 12-inch and cassette formats.

Mary D'Nellon took over the drumming chores in time to record 1982's ...If I Die, I Die, a difficult work produced by Wire's Colin Newman which was released simultaneously with the box set Heresie, a performance-art piece which mixed studio and live recordings. In 1984 both Guggi and Dik, disenchanted with the music business, left the Virgin Prunes, prompting D'Nellon to take up the guitar and allowing Pod to return to the fold. The band then set about recording the album Sons Find Devils, which went unreleased.

When the Virgin Prunes resurfaced with 1986's The Moon Looked Down and Laughed, their music had gone through another stylistic change into melodic, ballad-driven pop, signifying Friday's increased fascination with cabaret music. He ultimately left the group in November; the liner notes of the 1987 live release The Hidden Lie contained a short statement confirming the band's break-up.

Fields Of Haze.

Balanescu Quartet - Possessed

Género: Contemporary Music

Artistas similares: Kronos Quartet, David Byrne, John Lurie.

Año de grabación: Mute Records, 1992.

Alexander Bălănescu, hijo de Ion y Similica, es un violinista rumano y fundador del Bălănescu Quartet.

Empezó a recibir clases de violín a los seis años y debutó como violinista a los nueve. Su familia consiguió un visado para salir de Rumanía, entonces era un régimen comunista, con el que abandonaron el país en 1969 y se establecieron en Israel. Allí siguió estudiando y cuando estaba a punto de cumplir la edad para hacer el servicio militar, obligatorio en Israel, su familia lo envió a Gran Bretaña. Su familia acabaría reencontrándose con él cuando su padre encontró trabajo como profesor de neurofisiología en una universidad inglesa. Más tarde, viajó a Nueva York para finalizar sus estudios en la prestigiosa Juilliard School.

Entre 1983 y 1987 perteneció al Arditti Quartet, cuyo repertorio se basa en la música contemporánea. En 1987 formó su propio cuarteto, el Balanescu Quartet, con la intención de crear un tipo de música diferente.

Compositor y virtuoso del violín, ha interpretado música clásica, folk, electrónica, jazz o pop. Artista interdisciplinar, ha colaborado con directores de cine, coreógrafos e incluso diseñadores de moda.

En este disco en particular, Balanescu hace una aproximación muy interesante a canciones clásicas del grupo alemán Kraftwerk, David Byrne y el mismo Balanescu.

Altamente recomendable !!! .

Nick Cave and The Bad Seeds - Let love in

Género: Alternative Rock singer, spoken word

Artistas similares: The The, PJ Harvey, Shane MacGowan

Año de grabación: Mute, 1994.


Después de ser pioneros del goth -The Birthday Party- dejó se existir como grupo en 1983, es entonces cuando el cantante/compositor Nick Cave formó a los -Bad Seeds-, un grupo post-punk formado por uno de los miembros originales de Birthday Party, Mick Harvey en la batería, el bajista de Magazine Barry Adamson y el guitarrista de Eisturzende Neubauten Blixa Bargeld. Con los Bad Seeds, Cave continuó explorando sus obsesiones con la religión, la muerte, el amor, Estados Unidos, y violencia con un híbrido de blues, gospel, rock y un post-punk muy artístico, aunque de una forma más convencional que sus trabajos previos en Birthday Party.

Manteniendo la misma formación de -Henry's Dream-, Nick Cave y compañía hacen un gran trabajo en -Let Love In-. Comparado con Henry's Dream, Let love in presenta un trabajo más acusioso.
After goth pioneers The Birthday Party called it quits in 1983, singer/songwriter Nick Cave assembled the Bad Seeds, a post-punk supergroup featuring former Birthday Party guitarist Mick Harvey on drums, ex-Magazine bassist Barry Adamson y Eisturzende Neubauten guitarrist Blixa Bargeld. With the Bad Seeds, Cave continued to explore his obsessions with religion, death, love, America, and violence with a bizarre, sometimes self-consciously eclectic hybrid of blues, gospel, rock, and arty post-punk, although in a more subdued fashion than his work with the Birthday Party. Keeping the same line-up from Henry's Dream, Nick Cave and company turn in yet another winner with Let Love In. Compared to Henry's Dream, Let Love In is something of a more produced effort -- longtime Cave boardsman Tony Cohen oversees things, and from the first track, one can hear the subtle arrangements and carefully constructed performances.




Fields Of Haze.

Diamanda Galás with John Paul Jones - The Sporting Life

Género: Experimental Rock, Avant Garde, No Wave

Año de grabación: Mute, 1994.

Diamanda Galás es una destacada cantante de ópera, artista, compositora y pianista Greco-Norteamericana. Conocida por su experiencia con el piano, así como su distintiva voz de ópera, que tiene una amplitud de tres octavas y media. Usa frecuentemente nuevos estilos de cantar, con gemidos, gritos y glosas que le han dado un estilo muy especial. Se le ha comparado frecuentemente con Maria Callas.

En este disco en particular se hace acompañar del legendario bajista del grupo Led Zeppelin, John Paul Jones, disfrútalo.

Diamanda Galás is an outstanding Greco-North American singer of opera, artist, composer and pianist . Well-known by its experience with the piano, as well as its distinguishing voice of opera, that has a eighth amplitude of three and half octaves. She frequently uses new styles for singing, with moaned, shouts and glosses that have given a very special style. Has been compared frequently with Maria Callas.

In this record in particular it is made accompany by the legendary bass player of Led Zeppelin John Paul Jones, enjoy it.

Fields Of Haze.

Laibach - Occupied Europe NATO tour 94-95 (Limited Edition)

Género /Gender: Industrial Avant garde, No wave, Conceptual art

Artistas similares / Similar Artist: Skinny Puppy, Front 242, Coil

Año de grabación / Recording year: Mute, 1996


Laibach es un grupo industrial cuyos miembros prefieren ser reconocidos como colectivo antes que nombres individuales. Las ilustraciones que Laibach presenta a lo largo de sus trabajos son creaciones del artista John Heartfield, en el se presentan montajes fotográficos anti-Nazis.
En entrevistas sus respuestas nunca efectúan manifiestos en favor de ninguna causa política.

Formado el mismo año en que el líder yugoslavo Josip Broz Tito murió, Laibach comenzó su actividad en el año 80 en la ciudad industrial carbonera de Trbovlje, lo que hoy es Eslovenia. Tomaron su nombre de la ciudad próxima Ljubljana, nombre empleado durante la ocupación nazi. Su primera presentación fue cancelada por las autoridades por el uso polémico de símbolos, mientras que el servicio militar los mantuvo alejados de los escenarios hasta junio de 1981. Laibach hizo su primera gran presentación en Ljubljana en enero de 1982, y la colección de 'Ljubljana-Zagreb-Belgrado' captura las apariciones en público las cuales fueron grabadas y vendidas en casete durante las presentaciones. Milan Fras se integró como vocalista, y su distintivo gruñido lo convirtió en el miembro más reconocible de la banda. Una aparición en la TV yugoslava con las cabezas afeitadas y el traje militar provocó que fueran vetados por el estado por medio de una interdicción la cual les impedía efectuar presentaciones públicas, acción que no fue suspendida hasta 1987.

El concierto de 'Occupied Europe NATO' fue documentado en la caja de edición limitada CD y video en 1996.

Este es el concierto que te presentamos en esta ocasión en FOH.


Laibach is an industrial group whose members prefer to be known as a collective rather than reveal individual names. Laibach's releases featured artwork influenced by anti-Nazi photomontage artist John Heartfield, and the group's live shows portray rock concerts as absurd political rallies. In interviews their answers are wry manifestos, and they never break character. Formed the same year longtime Yugoslavian leader Marshall Josip Broz Tito died, Laibach started activity in 1980 in the industrial coal-mining town of Trbovlje in the center of what is now Slovenia. They took their name from the nearby city Ljubljana's title during Nazi occupation. Their first performance was canceled by authorities for their controversial use of symbols, and military service kept them away from performing until June of 1981. Laibach first played Ljubljana in January of 1982, and the Ljubljana-Zagreb-Beograd collection captures some the group's performances from this time from cassettes sold at shows. The Laibach/Last few days cassette from 1983 was the group's first proper release, and cassettes from labels like Staal Tapes and Skuk followed. Milan Fras joined as vocalist, and his distinctive growl and grim stare still makes him the group's most recognizable member. An appearance on Yugoslavian TV with shaved heads and military attire provoked the state to issue a ban on the name Laibach in Ljubljana that was not lifted until 1987. The NATO world tour was documented on the limited-edition CD and video box set 'Occupied Europe NATO' in 1996.

This is the concert FOH presents to you this time.




Fields of Haze.

Meat Beat Manifesto - Storm The Studio

Género: Industrial, Ambient Techno

Artistas similares: My Life With The Thrill Kill Kult, Fluke, Front 242

Año de grabación: Mute, 1989


Conocido como Meat Beat o MBM es un grupo de música electrónica formado en 1987 en Swindon, Inglaterra (lugar de origen también del grupo XTC, quienes los apoyaron en sus inicios) por Jack Dangers y Jonny Stephens.

'Storm the Studio' es la primera producción del grupo realizada en 1989 con la compañía norteamericana -Wax Trax Records- la cual los posicionó como un grupo de performance industrial al momento de ser grabados por ese sello.

Por votación de los amables asistentes al sitio, es algo diferente a lo que hemos subido a Fields of Haze.

Claudio, si no conoces a este grupo, es de la línea que te agrada.


Known as Meat Beat or MBM is an electronic music group formed in 1987 in Swindon, England (place of origin also of group XTC, they supported them in their beginnings) by Jack Dangers and Jonny Stephens.

' Storm the Studio' it's his first production realised in 1989 with the North American company - Wax Trax Records. The work positioned them as a group of industrial performance at the time of being recorded by that seal.

We add this record because the voting of the assistants to the site, here is something different from which we have normally in Fields of Haze.





Fields of Haze.

Nick Cave and The Bad Seeds - The firstborn is dead

Género: Alternative rock, Spoken word

Artistas similares: The the, PJ harvey, Peter murphy



Músico australiano, Nicholas Edward Cave nació el 22 de septiembre de 1957 en Warracknabeal, Australia. Su fama se debe, en mayor parte, a su banda "Nick Cave & The Bad Seeds". Con una larga andadura que comenzó a principios de los años setenta, su música se caracteriza por un tono de desolación oscuro y siniestro. A pesar de que muchos grupos musicales producen música etiquetable del mismo modo, el sonido de Nick Cave evita los recursos habituales del género, como música "fantasmagórica" afectada o distorsiones digitales. Con una importante base de guitarras eléctricas (y piano en los últimos álbumes de The Bad Seeds) y unas letras cuidadas en extremo.

'Firstborn is dead' es su seguna producción, realizada en 1985. En el primer corte 'Tupelo' se escucha una lírica muy bien combinada con los sonidos obscuros, sin pasar de lado el ambiente de cloaca auditiva producida por los -Bad Seeds-, el cual iba a ser uno de los elementos característicos del grupo a lo largo de los años. Este estilo se ve acrecentado en el track 'Black Crow King' en el que se trabaja con los coros multitonales y una guitarra muy sucia, característica en el oeste estadounidense. 'Wanted Man' es también una pieza a resaltar por el empleo del piano en tonos muy graves.

Muy buen disco para escucharlo en un día lluvioso (Como los que imperan hoy día en México, capital).

http://www.4shared.com/file/115228314/b3800aef/Nick_Cave_and_the_Bad_Seeds-The_Firstborn_Is_Dead.html

Fields Of Haze

Throbbing Gristle - The Third And Final Report

Género: Experimental Rock, Industrial

Artistas similares: Cabaret voltaire, Suicide, Laibach



Throbbing Gristle es una banda británica de música experimental e industrial que evolucionó del grupo performance COUM Trnasmissions. Los miembros fundadores de Throbbing Gristle fueron Chris Carter, Genesis P-Orridge, Cosey Fanni Tutti y Peter Christopherson.

Sus presentaciones en vivo, altamente confrontacionales, solían usar imágenes perturbadoras (incluyendo pornografía y fotos de campos de concentración nazi, dándole al grupo una reputación notable. Sin embargo, el grupo siempre sostuvo que su misión era retar y explorar los lados más oscuros y obsesivos de la condición humana (en vez de hacer música atractiva). Throbbing Gristle fue pionero en el uso de samples pre-grabados y uso de efectos especiales para producir un trasfondo distintivo y altamente distorsionado, usualmente acompañado por letras cantadas o habladas por Genesis P-Orridge.

En 1977 lanzaron su grabación debut, "2nd Annual Report". Aunque inicialmente solo se fabricaron 786 copias en la disquera de la banda, Industrial Records, el álbum tuvo suficiente demanda como para relanzarlo posteriormente. Throbbing Gristle se separó en 1981.

En 2006 la banda terminó la grabación de su primer álbum de estudio en casi 25 años, titulado "Part Two". (Próximamente en línea).

http://www.4shared.com/file/114993996/f4a1297a/Throbbing_Gristle_-_The_Second_Annual_Report.html


Fields of Haze.

Cabaret Voltaire - Red Mecca

Género: Experimental rock, post punk

Artistas similares: Coil, Skinny puppy, Foetus

El grupo se formó en Sheffield en 1973. Dedicados a la experimentación en la creación y el procesamiento de sonidos, parecían interesarse más en el sonido en sí mismo que en las propias canciones. Estos tempranos experimentos están documentados en una edición de tres discos compactos llamada "Methodology" (Mute, 2002). En aquella época, ofrecían algunas actuaciones en directo que atraían, generalmente, la hostilidad de las audiencias proletarias de Sheffield. En uno de estos incidentes, Mallinder fue hospitalizado con vértebra astillada después de que el público lanzara objetos contra la banda. Sin embargo, la llegada del Punk rock trajo una audiencia más tolerante y abierta al sonido electrónico e industrial que ellos hacían.

En 1978, Cabaret Voltaire firmaron con la discográfica Rough Trade Records. Con este sello editaron numerosos sencillos musicalmente experimentales que fueron muy aclamados, incluyendo "Extended Play", "Nag Nag Nag", "Three Mantras" y "3 Crepuscule Tracks", y álbumes tales como "The Voice Of America" (1980) y el aclamado "Red Mecca" (1981).

http://www.4shared.com/file/114268953/17e872ea/Cabaret_Voltaire_-_Red_Mecca__1981_.html