industrial strength 2
TRANSCRIPT
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T R A N S M IS S IO N T W O
JORDAN NOGOOD +JEFF WROBOTNIK
• n n • n •
• • • • •CONTRIBUTORS
ANDY EDMONDS DAN GRZECA JEFF TADY PAUL HURBERT JOEL SCOBEL
JEF FERSON PETREY RHONDA WOODGATE BRENT RILEY PETER SKAGGS
INDUSTRIAL STRENGTHP.O. BOX 541DE KA L B, I L. 60 1 1 5 usa
PHOTOGRAPHY
~&(~AD RATES
& V
INFORMATION
tIJ iit8
DES I G
&JaW~~PROGRAMMING
~ & J~ omf &/(tu1
rHANK YOU
Our parents »AII the people who took the time 2 write us »Everyone at O.he exception of the slicing edge »Jarld and CHEM LAB »Dan Grzeca (thverything)>>Shiverhead 4 his patience + music »Sue and
NettwerkJI.R.S.»The O.O.C. boyz »The Purple Moose Crew »Sarah Sheauburban Alert Possie»Greg "Chicago Rocker" Dunlap and John Kosareck
get a tat" Fritz »AII the homies at WSGR and WKDI »Rob Codwell »TeRIP) »Jen Cain, Allyson Jopke + Scott Manson»Rob, Matt + Jen »AII ourt NIU » Dave "the Graph Boy" Neswold »John Bergin »Paul Lenord Connie Goldman, Susan Lally and all the Vis. Commies »Francls Brooorthern Star »Ohad Giblin + The boys at Shinders »Buddahnlk.Ratnik aTerrnlnal White »Gibson, Williams, Sterling and Cadigan for inspiring uEveryone who has supported us » «Thanx
all data industria l s trength ©
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~ The road to hell is paved with good intentions."
WORD•• was conceptualized waY)l:)A8 in the summer o
The first and long forgotten Issue #1 saw print around May of '91 and now, over half a ye
• - - - - - - t WE c o n s i d e r it a s u b s t a n t ia l im pr ovement over the
i s s u e , 6y bot h vid ual and jo u r n a l ie t ic s t a n da r ds . Gr an
{ 8 }m o n t b s id long enough to im pr ove on an ything ,
for t he ext end e d b ia t u e we apologi ze.
comes issue # 2.
84 GOING ANY FURTHER WE WOULD LIKE TO
THANK ALL OF THE PEOPLE WHO WROTE
ILETTERS, SENT DEMOTAPES, AND GENERALLY
REINFORCED THE IDEA THAT WE WERE DOING
Hopefully these { TIME LAG
SOMETHING WORTHWHILE. WE REALLY HAD NO
IDEA THE 1ST I.S.SUE WAS GOING TO GO OVER.
FROM THE RESPONSE IT GENERATED WE CAN
ASSUME THAT IT WENT OVER FAIRLY WELL. AND,
WHILE WE'RE SOMEWHERE NEAR THE SUBJECT OF
DEMO TAPES, SOME OF U THAT PICKED UP ISSUE
#1 MIGHT REMEMBER IT SAID SOMETHING ABOUT
AN ISSUE #2 INDUSTRIAL SAMPLER. WELL TO PUT
IT BLUNTLY, WE COULDN'T AFFORD TO DO IT. IT
SEEMS THAT THE ROAD TO HELL IS ALSO VERY
EXPENSIVE. LOTS OF GREAT STUFF WAS SENT TO
shorten inthe future as rese
perfect nteract lve
US, BUT UNFORTUNATELY WE DIDN'T HAVE THE
RESOURCES AVAILABLE TO DO ANYTHING WITH IT. IAnti.",..".astloallon tech
HOPEFULLY WE CAN USE THE MATERIAL 4 FUTURE
I.S.SUES BUT, FOR NOW, THAT IDEA'S GOING ON
THE BACK BURNER.
*1l7e~we' r e pOd iliveyou don' t want 2 r eadanymore so we'llwra p t hif up right now.Stay tuned 4 w u e #3 wd hould ( you neverk now) have CHEMLAB,N ITZ ER EBB , and 10&of ot her neal d tuff.
GOOD BYE AND remember: - If it's
not worth doing then go home and
READ a book .------ WrobotNIK + NO
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,
ALL THI. AND NIIDA.
indUJtrial Strength
made u[ook
maga zine
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interview conducted by Joel Scobel + Nogood
WE ONLY KISS ASS 4 FUN, NOT BUSINESS.
It's somewhere between sunset and nowhere on Halloween nighChicago's Terminal white are passing the time by playing AccoladTEST DRIVE on the Macintosh. Over a chorus of agitated screa
and roaring engines a small (and confused) envoy from Industrstrength is still trying to figure out who's in the band. Luck is on o
though and Dave Pistrui, TW's vocalist and guitar player, helpstraighten everything out.
So there's Phil, me, Charlie Hustle (Jeff), II who's replaced former drMattucci, "and Adam who's just playing keyboards for us untill we can find soo permanently fill that position. We use assorted band members, II he goexplain, " but, right now the core of the band is Phil, Jeff and myself. II
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Well 1think Phil and I were just like ships passing in th night, " remarks davehance meeting with bandmate Phil Rainey. " We were playing in different ban
hrough other people and started working together. It was a match made in heae just kept up with it. We put out cassettes at first and started playing small
owns like Lawrence, Kansas and Lasalle, Illinois. Then we decided to put out a
nd naively got into the music business... d I· d haooll ft II
an rve appt y ever a er.
Happily ever after included their first e .p. Death And Love which did far better thaDave or Phil had expected . The period around Death And Love is also when White hooked up with their techn i cal coordinator , Skip Fontry. Skip, who also goenames Scottie , Flip and Scooter , directed the bands first video " Slaughter Me ." Thgenerated such a favorable response that it got Terminal White onto theRockpoo
nd the video made it to Mtv's 120 Minutes . This was the kick in the ass that t
needed and started them thinking about their next project.
That's when we did "Hamtramck," Dave explains, II a 12-inch a
own in Michigan, kind of a real life thing. We did another ontinued to work with Skip and that did real well for us. The id better than the first e.p. so after that we decided to build and. We added a drummer and some other people and put o
Worker ablbum. It had remixes of a couple songs along with ew stuff, The album so well it kind of took us to the next leve
hen we decided to do another record. That came out about ago and is called Substitution. After that we just started worki
ther things. II
One of the BIG projects that Dave worked on was acompilation for
Records called Industrial Chaos. The compilation featured fourteen Am
ndustrial bands including Terminal White. "That really kind of helped
Records ( T.W.'s label) and Terminal White's visibility," Dave says, " t
tarted to conceive our latest album, The Color Line.
Some of Terminal White's future plans include touring, releasing records ano Bellvue to chase fire trucks (don't ask). One thing that's not in the foresuture, however, is a deal with a ma jor label. "We sent some tape out,onfesses, "but the politics of major labels just bums us out so we haven't berious about it. We only kiss ass for fun, not business. .
WE JUST WANT TO HAVE FUN AND MAKE MUSIC.
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:(1): I~[elIlemwel".: I#I ~I:(!!'file]:1. lIe] :11]# I :1
echnology can be defined as "the sum of the ways in which a social group provide themsth the material objects of their civilization." When Industrial Strength talked with KMFDM
asha Konietzko technology became something of a recurring theme. With the Gulf War aerman re-unification all happening within the last year it's not surprising.
du-uial Slll'Il~lh: 11(\\\ did "\11 I )\1 ~l'I ,1:lIll'd,'
asha Konietzko: It all started like seven years ago. I did a performance project called KMhalf a year later I met En Esch. He was drumming with me in a band called Missing Found
nd from New York City. Andell we ran Into our guitaristo years ago, something likeat. So far En Esch and I were
asically doing KMFDM, re-rding stuff, doing some tours,
e small tours in Europe. Alla sudden it got pretty big.
K: No, not really. It says someupid shit about that in ouress kit. That's typical promo
epartment shit. it was just aay to try and explain to peoplehat I was doing. I was actuallyoing a lot of visual arts anden I started making sound
acks. Then I worked with
eople that did visual perfor-ances and I did my stuff for
eir performance. And then Iot into more and more denying the visual way of industrialism and I got more into what I c
eavy beat. Disordered drum machines and just shit like that.
SoKMFDM startedoutas perfor-
nce art?
S: How did you get hooked up with Wax Trax?
K: First we were on our own label, then we signed to a British label and then b
erman label. They started licensing our records to Wax Trax for the territory of the
tates. Wax Trax got in touch with us one day 'cause they had interest in signing us
10
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S: Last year the American government
ke in Germany?
S: What's a typical approach you m
SK: It depends. Mostly It's sort ofmyself, Is more efficient actually.
ort of. So when I have a bass lineust there.
SK: No. It's a little rougher andmessage, If there Is one, Is very bas
and identify with it. We find a lotwhat really amazes me. American
K: Well sure, there is an authorityomething. (In Germany) you can buy
rugs and guns and shit everywhere,range. The state In this country Is Ilk.
ot you're, just like, being persecuted.I .
ake up your mind and just wake up a t
ecause you're not. You're SUDDraS!Il •
do.
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K: It was totally the other way around.emonstrated against the Ameri-ans and against the war. Which iss stupid as everything else. It'sort of a twisted thing because theermans lived from the American'soney for 45 years' enabling them
build up one of the strongest
conomies In the world. I hated it.was In G~rmany at that time and Irned on the TV and saw demon-rators throwing stones at themerican Embassies. It so dis-usting. There were bigger prob-ms that the people had to think
bout that moment than just to be stu-
d.
S: Also, because of the war, we didn't
ear much about the re-unification of
ast and West Germany. What do the
ermans think about it?
K: Well everybody thinks it's really bad.
d not want to believe it. Now they see it and
: What do mean by "bad"?
K: Itwas very obvious that the East
as going on to make up their minds in a
utonomy that they just gained by deth
erman currency. Now West Germany
illion unemployed people which is more ... ~
eople that said itwas going to be bad.
et drunk in the streets and all that shit. And
e not our brothers and sisters because we've
d they don't trust the West Germans. And we
umb, but they are uneducated and lazy in a
socialism or communism you don't have to
on't get much money, but you get it. In the
et really, really rich. You see "I do this, I get
an't imagine that kind of lifestyle. It's not
hey don't have highways, they don't have
id, ''Well we've got to give you everything,
ave Mercedes and BMWs and color TVs
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totally not doing it.
East Germans moving to the west?
a couple of hundred refugees everyday and nobody wa're not qualified to do anything. Ifyou were a doctor
job in West Germany you'd probably end up better if yo
then you'd get paid more than an East German doctor.
If you travel the country things remind you of just
have the bullet holes. Everything is gray. In many, ma
ing water to the flats. You have it in the corridor
when 'they see just a normal West German magaz
g freak out. They see marbled tiled bathroom
it. It's a big step and they try to overcome the step i
levels get a little closer. Basically they just created
B class is.
about it over
Iraq back
doubt, they
MIiIueal!" There
Just like
13
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nt~rvi~vv
iM iL tM 4 @ iG 4 § ,i .i 4 5 51 e il1 IiII . ... I i i I I I . . iliilliilllllt;;,jllilllllliiilJason Kn
caught upwith Meat Beat's.lack
Dang..... inChicago awhile back to
his brain. It went something like
this
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• - - - - { ~t~.-t
IS: What impact has technology had on mus
JD: Technology dictates where music's goingto flow. With the invention o
the electric guitar came rock and roll. Same thing with the amplifier. how
mi Hendrix got his start. Music always follows after technology. evenona
basic level. With MIDI and sampling it's possible nowto be really free with
it
IS Has It given rise to a truly unique mUSical torrn?
JD: The only form of music close to it is really tape collages and stuff. There's ev
eople, the Dadists, they were doing that in the thirties. Burroughs was doing it with
terature. It's good to have different music styles. It's just the whole evolution of mus
Where it's going to go next is anyone's guess. Where ever it goes it's always going to ferences from the past .
D: I like the whole idea that once something's commercially available
n the publics domain. I don't see any problem with just using it. T
ther peoples problems if they don't want you to use it. It's really a
dea. Just taking something which is public domain and making it your
ece. The on'ly thing I see wrong with what can happen with this typ
music is the same thing with pop art. Warhol took a picture of Ma
Monroe, screen prints of her, and them in his work. People can loo
hat and see it not really as Warhol, but as Marilyn Monroe, an
ecomes second place. And that can happen in music. Take Public E
or instance, and just refer it to James Brown. "Rebel without a paus
asically made up of James Brown songs.
• \Nhat about sampling? \Nhere doyoustand onthe s
IS: IIVhat advantages . musically, does sampling conf'er?
JD: It's SO easy just to say what you want with
lyrics. I think it's harder to be more abstract
about it. Trying to get anidea across just by
using samples and not lyrics. I think if your
more abstrct about it. it make you think more.
Otherwise your just preaching. it's going to in
one ear and out the other . If you say something
that's going inthere. staying inthere six
months later you're suddenly realizing what it
might be about. I think it has a bigger impact
to that than just having something painfully
obvious. Picasso was a per ,fect example. That's
what he was about.C D egsq
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IS: Meat Beat seems to have evolved past performance art as an integralcomponent to just concentrating on the music itself. Why is that?
JD: We did itfor four years. W e wanted to do something else. It was just w
want to get a name fer ourselves as being a dance company or something lik
It really isn't the most impor tant thing. W e just want to present music that speak for itself. People always go for the lovvest common denominator . A'N
bracket theing and pigeonhloe them so they don't have to think about ittoo m
It's mere in literatl..Jrethat it becomes apparent. If you 11 ' Y to explain to som
what a band souns like in print ~u're going to refer to what ~u think they sou
like. Radio. you just play the music. It's up to the listener to decide what they th
of it .
" W e 'r e m o r e o f a n a g r i c u l t u r a l b a n d t h a n a n i n d u s t r i a l b t h i n k w e 'r e c l o s e r t o J e t h r o T u l l t h a n t h e F o r d M o t o r C o m
IS: VVHAT'STHERADIOSITUATION LIKEINEIVGLAIV
~/t's a totally different system over than ov
There's no such thing as college radio. There
programs designed for alternative music. I
unhealthy. There's no real radio programs. There us
the John Peel show on three nights a week. It's on
week now at one o'clock monday morning. We do
alternative music at all ove there on amed
• Last question. Why did you leall8 . Wax Trax?
JD: It was nothing to do with us. Were signed directly to Play It AgaiEurope and we were just licenced to Wax Trax over here . Then we moMute/Electra , which was good because we just met so many people wsaying that they couldn't get our records . But now it's the total opposite . Wcompromised at all.
PA GE 17 -----.{ finish
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he \Nas ,fo~1r S'fSJ'anR.T.V. shO\N Romper Room. It
remembers it vivif;lly. tou lind I, "~ve
Vancouver baes SAG ilesi~", '
record sleeves he d~ig
Manufacture. RomperiRodtn ...._ ...~I
also a bigfa~ of pialsucks," anc:1 _pe~ jall
: . • - s • • '\ '. iSRG: I think the biqqest turning point for me
. Oali stuff. It just blew me away. It't'as spthat with their hands. I ki~d of justrent from
IS, H O W dKl y ou get ;nVoIvJI.~~ the,~. u~.'·.~. ',. 1 .1 > r
SRG: I dee- jayed for a while to make mo~ey a •. .,# .,
" "IS: So what kind of music d, you listen to?
SRG: The Wolfgang Press is my favorite"th&:lnrfkind of eclectic really. I do listen to' ind
IS: How did you end updoin~~Ieevesfor
SRG: Well, I was doing sleeves for a basaw my work. Kevin came to mEito , I : >showed it to Nettwerk and I did a whqle b
. " ,IS: How much freedom. do you hive
SRG: A lot! I generally do whatever 'I \J\!j3nt.until, it was on the shell..!.S~metir:nes there
, . I.: '\ '
IS: Whats. the process you go' I:hrDuan
SAG DESIGN
ldn't even see the sleeve
do several roughs or is it based on ser
anyway, it's usually just a couple of weeks, snd to get a general idea of what they wou
I'll sit down and put elements togeaths on file, so if there's something I've been w
IS:. V\fhat about your typo!traphy'?did you start doing that'? r '
for most of your sleeves, when
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I t I",SRG: I started creating my own typeIfor Ski
completed typefaces from A-Z, £lum~rshave a Macintosh I can do my own .
• . I., t {d:
b'" ''L. YIS: How long have you een \ u.mg~( , \ ~, •!.
SRG: I've been doing' all my work M theso; it's incredible. I don't think I've 'donebou~ht it. I originallygot it because I WqSdidnt realize all of the wonderful things it could
,J .. ,. ~ :
IS: What's the most rec_entproject you've
SRG: The most recent thing would have to .bestuff I'm really happy with;, Npt so much the
~j" '. ' "
lS: Are those your fl\vofite· sleeves out. i\ ,) .r '
SRGI Actually my favori'f sieve is proba~lythe.
IS: Why that one in p~rticula~, bpcauseof tl1*""'l!Iiu~ >, • 1 "
SAG: Yeah, Iµstarted with' my .own skull in'th"mirlrllp":. ,\ > \ " .
JS: n.at's ' IOU ; ' skull ? (tone 'of sheer amazement),I' ',. •
SAG: (coun~i~9 with a w!cked,laugh j l. just asked mya friend of mlqe whose dad was a doctor to get,me.8t
creature out oftny head.tSo that took a long time, It
.everwor~edofl·, ", I' '::.' u',
IS:'Which one do yot jike the least? , '
SRG: (laughing) I won't saxI ' , ' . ', 0 " ,n't.Wa'nt,to embarrass the band. It -" t on , 'Nettwerk anyvvay.It was for. is rock " t
and roll type band. (laughs' ; IItheyonly gave,me three days t, the ,sleeveand when I saw It I jJ ~ ept ' Oh,my god.' It didn't last long DIl'tbeshelves, so I felt better about that. At
least itwasn't going to be,q jrOUrd forvery long. '
,,; .
CHRIS + COSEY LOGO
head X-rayed. Then I askedr"tt"',:n/C: so I could kind of make a
hardest sleeves I've
IS: Well that ~bout wraps it up.
:rJ1anksfor your time and goo~"I.UCk,!n the future. . , q'J! ., . '
SRG: Thank you ,l
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The day did not go as planned. We wereupposed to meet Consolidated at First
Avenue in downtown Minneapolis sometimearound three. At four when there was stili noband we started getting antsy. Five o'clock
ame and went and stili no news. We decidedo kill an hour at Taco Bell and came back at
ix to see what was up. A small crowd hadgathered outside, but the band was no whereo be found. At seven o'clock we got wordhat their bus had broken down somewheren Iowa or Nebraska, no one was really sure.
The only thing we did know was that ourchance of doing the interview wasn't good.To make things worse we couldn't even getback inside the building because the guest
st was on the bus. Over an hour later whenwe were stili trying to decide whether or notstuff like this ever happened to JasonPettigrew the bus finally arrived. The eventshat followed can only be described as
chaotic, but somehow it all ended up with usback stage with Consolidated frontman AdamSherburne.
ndustrial Strength: How's the tour going?
Consolidated: Well this is the worst drive we
made and we had vehicle problems so we'ren the middle of the Spina] Tap zone in all
phases. We're just trying to deal with it.
S: What were sales like for the last album?
really consider.
IS: Was there any change when yoNettwerkllRS.
C: There are subtle changes. IRS'snow need to be recognized. Not by
Nettwerk. So, ya know, we're fully wmachinery dealing with the contradconflict and bullshit of being on som
a major.
IS: How long do you think Consolidate
C: It could end after this record, it co
for a while. We Just try to recog
many lines we're crossing in concessions made & concessions want to make. We just try to keepwith each others needs, our familyour community needs. We're just like, not burn each other out.
IS: Do you get a lot of resistance fromindustry?
C: No. The Industry always wants t
they promote criticism and progre
we sold records, any major label happy to haveus to give the Illusion that So, onceact as a dupe for the legitimacy of anthat doesn't want any criticism.
C: We pay pay no attention to sales. I guess IS: Are you guys involved in any a
Nettwerk's satisfied. 1know It's more than the against censorshipast one.
C: Censorship is an activity we
S: So you have to satisfy Nettwerk sales wise? people deal with. What we deal wiFrancisco In terms of civic involvem
C: They have to feel satisfied. I mean I don't One group called Feminists for Anim
knowifthey'lidropusifwedon'tsatlsfythat. we support financially. A grout's just something that the band doesn't California Abortion Rights Action
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hillip and I bith work for. We supporta group
lled Omega Boys Club, which is a high at-
k youth inner city organization for young
others and sisters who are involved in
ugs, firearms, crime, whatever. (They( try
get'em through high school & get'em into
llege. So we have our work in that area cut
t, definitely.
How long have you been working with the
ys Club?
Three years. We just give them money,
use they take no city. no state and no fed
oney to get co-opted by. They just do it
emselves. They get kids who never would
t to high school, through high school. Get
m through the fuckin' bad areas, get 'emcruitment trips, get 'em shipped off to
lege. Not saying that's an ideal social
ution. But in San Francisco when you get
moved from an environment that almost
mediately, inevitably promotes your death,
tting shipped out is not a bad Idea, but I
uld have used better terms.
Do you ever have problems at your showsh people there to purposely cause trouble?
Yeah. Well, have you heard our album?
hite American Male Part 2, Those are
nheads facing off with us in the crowd at
lahassee. What we ended up putting on
e record is only a tenth of what went down
the recorded session.
Have you ever had any actual threats from
oups like that or the KKK?
We're not known enough yet, but we
ticipate them soon. If we get any more
cognition.
IS: Do you think there's going to be a re
in the next decade of civil liberties?
c: It's been well established overthe lasObviously the Reagan administration, Bush administration, has stated clearincontrovertible signalsthatthey aren't inin advancing civil rights. They aren't inte
advancing affirmative action. Theyinterested in women's rights becausefundamentalist trend towards controlling reproductive rights. I think it's already hit's been going on for twelve years. We'sort of state of peak reactionary, conspathology.
IS: Is this sort of what you getting at with
friendly fascism? This sort of inseparable link
corporate and political America?
c: Well, in a way, some of those asfascism relate to classic fascism, but and government relationships were nmapped out as they today. Now they knthey can gain from each others supportdefinition of friendly tasclsrn, even thoug hthe same kind of nationalism, milimperialism and racism as I)before
lncorporates new uses oftechnology in copeople The information complex (me
music, whatever) constantly reinforces t
quo. That's how you can do it without violence
IS: What ways can we, as consumers, do t
this?
C: We'll all just have to search out our ow
of alternative infonnation to find out who'swho, who represents the interests oand animals and who sort of caresconsideration and compassion and iden
those people. As consumers anyway, thyou do as a consumer I guess.
IS: How did you react to the way the Gulf
merchandised?
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C: It's still the same. It's another case of
constantly legitimating that which you can't
prove the legitimacy of. You Just manufacture
consent. The point Is that the merchandising
of the Gulf war Is one component of
egitimizing the whole overall character of
he American system. You can always critiquehe war, you can even critique the president,
but you can't critique the fundamental
character of the American citizen. And once
you've gotten people to say, "Well If the the
American system's designed to police the
world, then how can we critique a president
or enacting on those principals. And then,
how can we critique the military for going out
and doing the Job of policing the world. It's a
very complex system of Institutions that work
nter-wovenly to reinforce this Idea that
America is right no matter what we do.
S: You say on your album that we need to find
alternatives to war. Could you tell us what some
of those might be?
C: Sure, starting by taking out of power the
power structure. Namely men, men who, Ifhey're not involved in a war they're always
preparing for one and getting people to feel
ike you need to have one. That's a
Consolidated, sort of utopian, preface to a
solution. Not a solution, but a preface to a
solution. Take the whole warrior mentality,
as Naom Chomsky calls it, out of the power
structure. Then people start considering each
other, they consider species that can'tarticulate their own interests and they
consider the environment. We vote and we
endorse nonviolent action. We're not going
o D ..Q 1 endorse violent armed revolution if It
cotncldes with the Interests of people who
have no alternative. We would definitely say
hat men have got to start being sensitive to the
needs of those,e that they've always oOn a political level, on a social level,and a cultural level and universaInternationalize It 'cause men all overneed to control. It's not just America, Europe. It's In the east, It's everywheutopian answers, just Ideas.
IS: How long have you been doing thsessions after your shows?
c:Two full tours and we will continue t just like we talk shit about democracy aIn the press talk shit about us being toSo, in our own interests It makes sensdemocratize the club environment bypeople the mlc. And hopefully for pthink we're too preachy, it'll make sen
that If we're gonna preach for fifty mgive the mic to other people too so th
heard as well. It works really well fomusic Is essentially the same every nigit's sort of a real pop show and aftewanna make sure people get heard.
IS: Has there been an increase in audienresponse since the last album?
C : Immensely, we got tons of mail. Sowe can't return it.
IS: Yeah, we read that you've always meffort to return correspondence.
C: We did. We did up until this record. albums been released we got so muc
we just can't do it. It's impossible We wencourage any kind of thought. Hopway, two way's the best, but if it's oneIf (people) want to write us, if they wanwhat they've gotten from us that's a sm
IS: OK then, thanks a lot.
C: Our pleasure. Thanks for coming an
out. fin
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an extremely com
bum that marks ncal territory for FLConceptually the
a Gibson-esque
into the realm oaround the corne
hitching an hour through cyberspathe minds of Bill LRhys Fulber. If yknow where you'ryou'll just have to
after you've beenThe cyberpunk may be old hat,
album has the suto turn it into a reality. The ma
sounds are thicklyelectronics that cofold back into loout again like sopossibly fractal
This complex laysounds also se
common ground talbum together seamless whole.
like "Gun" and "Tactical Neural Implant, the chanic"take thisau
most recent releasefrom Front scape and fill it wLine Assembly, differs greatly beatsand stronge
from the bands previous ef- rhythms. Others sforts. It leaves the more up- upon it ever so subeat techno-pop elements of a nightmaregnaw
Gashed Senses .& Crossfire fabric of an othbehind and subdues the pleasantdream
driving sixteenth beats of Amosphere of Caustic.G.dQ.The result is WNeural Implan
em a10Ton Pressure
Fifth Colvmn Records
If you haven't picked up this
first release from Chem Labyet then take a study break,
boost somebody's car keysand head for the nearest (re-spectable) record store. 1QTon Pressure is four tracks ofIC-cold industrial psychopopspoken in the language of
twisted electronics andscreaming human computers.The music wraps itself around
heavy percussion creating asound that kicks your ass bothon and off the dance floor. Allfour songs (Filament, I Still
Bleed, Blunt Force Trauma &Black Radio) are pretty damngood. They've got interestingsamples, spastic rhythm and
neurosis inducing vocals.
Front Line Assembly
actical Neural 1m lant
hird Mind
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ways familiar, but never the
ame. "Where are we going?"
Someone smiles, "You'll find
ut."
ch
D in' To Be Jesus
Nettwerk
There's not really much to say
about Itch other than it's got to
be the worst thing I've heard
ince my cat got stuck in the
garbage disposal. The only
easons I can possibly see for
Nettwerk deciding to signhese guys is for a tax write-off
or an unexpected outbreak of
ergot. The music is reminis-
cent of the Dead Milkmen
played too fast on an old turn-
able. The vocals an ungodly
combination of whining and
moaning, the perfect compli-
mentfor lyrics like "Garlic won't
stay you and neither will the
cross/You're not of the living
dead and Dracula is not your
boss." To top it all off the al-
bum sleeve's full of really bad
artwork. Steer clear of this tur-
key. It's definitely one Itch you
don't want to scratch.
On the fringe of human exist-
ence there is a place called
Tuscon.
It is a locus of unspeakable
evil and profane haircuts pre-
sided over by an ancient sect
known only as the Users of
the Wicked Gravity. They lurk
about in the musical under-
ground spreading disease and
industrial mayhem to any who
would partake. Their chaotic
and warped reality is con-
structed from sampled bits of
old dreams, virulent lyrics lay-
ered over loops of hallucina-tions, electronics and guitars
fused together with the rem-
nants of fractured sanity. And
this is only their demo.
Code Industry
Structure
Antler Subway
Not bad, but not very original
either. Structure sounds pretty
much like any other techno-
industrial record. After a couple
of listens most of this six-song
disc even starts sounding the
same. The exception to this is
"Crimes Against the People."For some reason this song
sticks out. Perhaps because
of the guitar sample or maybe
the Iyr- ics. I don't
k now for certain,
but ifall the tracks o
~ sounded m
"Crimes ..." it wou
much stronger re
Rob Moeller
Sharkbait
Blowtorch Face-Primitech Releas
If Test Departme
Slayer did an al
gether it might
something like th
listening to so man
industrial bands ithear something
also like the fact t
don't rely on ke
and, instead, use
ments" like fuel tan
hammers, electric
and even a blow
wish more bands
use instruments liinstead of the new
most expensive sy
is worth checking
for the fact that it
ent from most of
that's out right no
Moeller
Leaether Strip
Ob·ect V
Zoth Ommog
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I actually like this. (Editors
Note: Rob hates everything.)
Heavy and annoying beats
and someone who in the
strangest way rem inds me of
Jim Thirwell on vocals make
up this disc. By throwing in
some great samples and gui-tars Leaether strip manage to
keep the listener hooked. the
ast song, "Black Gold," is the
most interesting. The music is
pretty upbeat and is combined
with hateful lyrics like, "I hope
t makes you sick/take off your
greedy handslYou fucking
prick." Stuff like that always
cheers me up. -Rob Moeller.
Excessive Force
Con uerYourHouse
WAX TRAX
Hey! What are you doing to-
day?"Nothing really. Why?"
Well I have a couple of free
hours and was thinking about
making a record."
That's a good idea. I need
some extra money."
That's about what this sounds
ike. A dumb Saturday after-
noon project. I was expecting
a lot more out of this, espe-
cially considering it's basically
a collaboration between TKK's
Buzz McCoy and Sasha from
KMFDM. As usual though, I
was dissapointed. Hearing the
same song with the same beat
from every band is starting to
get real boring. -Rob Moeller
Wiseblood
Pedal to the Metal
Big Cat Records
If you've heard Wiseblood
before, this long-awaited re-
lease is nothing like the last
three. It has a whole new and
entirely different sound that
stands apart from the rest. Roli
Mosimann and Clint Ruin have
completely abandoned theirprevious heavy industrial noise
for a more exploratory style.
The four song disc carries out
its musical variety in each
song. It ranges from a screech-
ing rap to a jazzy tempo which
has weeded its way into more
of Clint Ruin's releases of late.
At first listen i found myself
wondering if I had the right
record on the turntable, but
when the threatening, guttural
lyrics starting belting out of my
speakers, my query was an-
swered in full. It's not a disap-
pointing surprise that the duo
has changed completely; infact I found myself pleased
that they did.
- Jay Forness
Fini Tribe, R
Cocks, Ministry
bands all of whConnelly has len
sical talents to. N
Whiplash B
Connelly has bec
fledged solo artis
bum starts out
track entitled "D
a tune with abackbeat and lyr
were probably wr
bitter ex-lady-frie
album seems to g
and better with ea
with each track b
ferent from the ot
Hawk, The Butc
Killer of Beautiespiano and backgr
cals, has Connelly
lyrics in a way s
might read aloud
of poetry. With th
Connelly has est
himself as a separ
tity from his previ
sical endeavors. A
very good album.
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After some messy situations
with Circuit Records, (who reo
eased CSC's brilliant .Q .Q o ..:
umer Revolt LP) who folded
nthe midst of recording White
Noise. the band was picked
p by Big Cat Records out of
he UK...Anyone who has wit-
essed Cop Shoot Cop's live
hows can attest to the fact
hey could have won an arm-
wrestling contest with Throb-
bing Gristle hands down.
They'd probably be at a draw
with Test Dept. though.) High
and Low Bass guitars com-plete with the clamor of a real
ucked- looking percussion kit
and sounds/tape loops gener-
ated by sometimes Foetus
keyboardist Jim
Coleman ...White Noise takes
up where Consumer Reyolt
eft off; what you've got here is
a rather convincingly heavy-handed indictment of society
and how we live it, from the
bastionsof the powerful to ego-
strokes who think going to a
protest is a good way to pick
up chicks. I guarantee that
stening to this release from
CSC will make you want to goout and strangle the nearest
power-tie as quick as a bunny.
Dan Grezca
A few months ago I saw
Shiverhead perform in Milwau-
kee, his home town. I was
impressed and obtained a
copy of his first release,
Darkhouse. There are seven
tracks, all of which are pretty
good. Enjoy the Violence(with
a great Jane's Addiction
sample), Darkest Feeling, and
Dream were three of my fa-
vorites. Darkhouse doesn't
suffer from the some of the
problems that seem to occur
with other new groups-like
mimicking better knowngroups or trying to cram to
many ideas/sounds into a
song. Darkhouse is an im·
pressive first album from
Shiverhead and I am looking
forward to future releases.
(Write to: Dark House Re-
cordings/PO Box 175341MiI-waukee, WI 53217-0534) -
Joel Scobie
How to Use Machiner
Machinery
Representing the Berlin
Teknik scene, Machineryrecords sports five impressive
industrial bands (And One,
Dance or Die, Oomph, Snog,
and the Swamp Te
from Northern Con
Europe. How to U
chinery is a six so
pilation featuring a
of each bands wor
as some of the ma
background info. ing are some sho
views of each of
Machinery acts:
AND ONE - This
straight forward e
dance music and
interesting of Mac
five bands. Howevare the youngest
Machinery acts
more than likely
with time.
DANCE OR DIE
approach as And
with much better
Dance or Die capt
essence of Danindustrial and are
on the Berlin club
Their album a Q Q .1
as the soundtrack
as yet, unfinished
and contains a go
ture of songs.
OOMPH - Vicious ics and mind n
beats make Oomp
to be reckoned
They've got the sa
of intensity that ch
ized early Nitze
Heavy guitar sa
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makes their Ich Bin Du single
the strongest thing I've heard
from Machinery yet.
SNOG - The newest edition to
the Machinery label, Snog
sound something like KMFDM
circaUAIOE. TheirmixofEast-
ern and Western influencesmakes them pretty interest-
ing, but not something I'd be
excited about listening to very
often.
SWAMP TERRORISTS· The
most familiar band on the
Machinery label, the Swamp
Terrorists put out incredible
music, but with the unfortu-nate side effect of having vo-
cals that sound like McGruff
the Crime Dog. You can get
the basic gist of what they
sound like from the Rebuff!
single or any of their psuedo-
domestic releases.
Terminal White
The Color Line
White Records
TW's album The QQlQr Line is,
above all, a solid piece of work
that explores the nuances of
what we would call pop music.
It's constructed from upbeatrhythms and accessible melo-
dies with influence from all
sorts of musical genres from
azz to techno. Dave Pistrui's
vocals are at the same time
disconnected and empathetic,
like someone reflecting on past pared to the re
events from a first person per- album and has O
spective. Some of the albums to sound like Mar
stand out tracks include "This on vocals. Bes
Girl,""AngryWith Passion" and little glitch, thou
the saxophone ambient "Alley Rights is a stro
Cat." The best song by far, that sends Skinn
however, is the albums last reeling off in a dirsong and title track "The Color from the stagnan
Line." Its agitated tempo and so many bands f
pervasive dance beat make it selves stuck on.
really stand out.
Skinny Puppy
Last Ri hts
Nettwerk
Spi t
Persecution of
N.T.S. Productio
BEFORE: Saliva. l . . a S 1 Rights. the latest project useful bodily flu
to emerge from the collective variety of redeem
conscience of Skinny Puppy, ties. Spit, on t
delves farther into the forbid- hand, has none. S
den recesses of the psyche one thing, is ess
than anything they've done to digesting food. S
date. From beginning to end gives the listene
theyguidethe listener through stomach cramps.
a horrific dreamscape of bad nitely ranks as o
trips, phantasms and name- five or ten things
less horrors. Billowing toxic never want in my
clouds sweep the senses this is no exceptio
seeking a foothold deep within AFTER: Weeks la
the subconscious, nestling tokickmyselfforeve
down between desire and out- ing such thoughts
rage. With perverse delight, der the album
Skinny Puppy shatter the Persecution of Gbounds of reality and engulf first listen I me
the naked mind in waves of missed Spit as li
musical nihilism. Theonly real than a hole in the
disappointment on the album a seismic anoma
is the song "Killing Game." It's the damn thing's
way too straight-forward com- on me like some
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ampant fungus. But Spit isn't
eally the kind of music you
warm up to easily. Musically
's half industrial and two-
hirds experimental, lurking in
ome dark crevice between
hrobbing Gristle and the
works of tape collage artist
ohn Cage. So if you're look-
ng for something in the realm
f DIFFERENT, Spit may well
e worth your while.
Batz Without Flesh
No Memor
N.T.S. Productions
By the end of summer you
hould be able to get your
ands on a copy of the new
elease from Batz Without
Flesh. But, if you've never
eard them before (or heard
f them) then you'll probably
want to pick up their last al-um No Memory. The Batz
ave a unique sound that puts
hem a cut above standard
ndustrial fare. Their music has
strange allure that comes
rom a combination of ethe-
eal rhythms laced with solid
ercussion and the discordantocals of bat-man Claude
Willey. Don't be fooled though,
his is an album that appeals
olely to the darker side of
uman nature. They're ethe-
eal in a way that you'd might
ssociate with sitting alone on
an empty stretch of beach as
the tide rolls in, littering the
coastline with medical waste
and human debris.
he Final Cut
ConsumedNettwerk
Although they've been around
in one form or another since
1988, Consumed is the first
LP by The Final Cut's current
roster and their first release
for Nettwerk. Moving away
from their previously techno-oriented style TFC's newest
project combines Meat Beat
Manifesto's big-bass aesthetic
with the kind of phrenetic en-
ergy you'd expect from Nine
Inch Nails. Mix these ele-
ments together with a little help
from Chris Connelly, WilliamTucker and Skinny Puppy's
Ogre and you've got a mind
bending industrial logic-bomb
just waiting to explode across
your sensorium. This is the
kind of album that you get
lucky enough to run across
every so often. It's high en-
ergy, aggressive, thick withbeats and heavy on the bass.
Even better is the fact that
TFC has the good taste to
throw all that on the back
burner every so often to draw
you into a cool groove or two.
Then with the f
switch and the bl
eye it's right bac
of you.
Skrew
Burnin in
Drownin in FlaMetal Blade
Formed from th
nants of hardco
Angkor Wat, S
part of the new b
guitar driven in
made so populalikes of Ministry
dozen or so
projects tha
Jourgenson's b
volved with in t
few years (month
initial impressio
Skrew was kind
warm. It was decnothing to exc
original. Then
thing happened,
the tape over a
immediately tran
to an alternate
where these guy
pretty fucking Whereas the firs
the album was fa
etitious, side two
verse enough an
esting to get a
"WOW!" outta me
was a really origin
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of "Sympathy for the Devil,"
elements of hip-hop blended
nto one song and scads of
diverse sounds. I guess all
hat engineering help by Uncle
AI and his cronies paid off. So
f you see this with-in arms
each you should definitely
hink about stealing a copy.
t's worth the effort and a lis-
en.
The Wolfgang Press
ueer
4AD/Warner
Queer aptly titled makes ref-rence to the unusual, an odd
r shady sort of character.
With the past ten years and 5
LP's of original production, The
Wolfgang Press have certainly
arned the right to use the
tle.
From the beginning, rhythm
as been an integral part of
heir music. In Queer, both
hythm and melody are used
o a greater extent than be-
ore. Lacking the darker, more
inister edge of their previous
eleases, Queer strives for a
more uplifted state of mind.
he more straight forwardoulful elements of the 1988
elease Bird Wood Cage have
lso been toned down. In
ubstitution TWP have pro-
uced some incredibly funky
uitar and bass lines. Elec-
tronics are also used to a
greater extent, both drum
machine and keyboard add
an intricate layer of sound to
the album.
In contrast to their other re-
leases, Micheal Allen speaks
his vocals more often than hesings them. However, there
are occasions when he breaks
his calm composure.
The solitary nature of the
bands recording style has also
been altered. Up to 13 con-
tributing artists have added to
the complexity of the album.
Among them Throwing Musesbassist Leslie Langston, who
provides bass as well as back-
ing vocals on several tracks.
Annie Anxiety also contributes
vocals for "Birdie Song" and
"Dreams and Light."
Musical highlights of Queer
include an amazingly funky
cover of R. Newman's "Mama
Told Me Not to Come." Also
included are, "Louis XIV," a
romp through historical mon-
archy, and "Birmingham," a
Velvet Underground sample
laden song about injustice.
The strongest track on the al-
bum being the all out aggres-sive "Sucker."
When choosing between do-
mestic or import releases of
Queer, the cover photogra-
phy isn't the only difference.
The sound quality of the im-
port is considerabl
Queer is not The W
Press' most the
developed album
ever, its musical c
ity and uplifting c
are substantial e
make it one of releases of the ea
-Jefferson P. +W.
Depth Probe Pre
Bi Game Hunteu rocon
A great compilati
the Minneapolis te
dustrial scene. W
your taste is this b
it. The line up
Dada legion, Lies
rated, Tool + D
project X just to
few. Well worth a
For info write:Audiocon
54 S. Ninth St. Su
Minneapolis, MN.
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r Just Think jbuOnl~N e ed 2 9 M o
1 1 > M a k e A C o a
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D o n't W ea r F ur.1----------::--I y~ II I li k e to support t he tight a g ain st the fu r
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