Tag Archive for: throbbing gristle

Home Aged and the 18 Month Hope • COUM Transmissions

Released October 29, 2013
From the archives of notorious performance art group COUM Transmissions, Home Aged and the 18 Month Hope features interviews, poetry, and sound experiments.

“This album shows the peak and eventual end of one of the most transgressive art groups of the 20th century. The mix of sonic experiments, poetry, and interviews offers a rare public glimpse into the world of these weird artists.”

One of the Last Originals: An Interview with Genesis P-Orridge

Talking To A Real Elder.

Genesis P-Orridge talks about the creation of industrial music, William S. Burroughs, and the photographic biography Genesis P-Orridge.

“Burroughs showed Genesis his notebooks and cut-ups. And then proceeded to tell Genesis h/er mission in life: ‘Your job, Gen, is how to short-circuit control’.”

As Is • The Sulkies

Released April 5, 2013
As Is, from The Sulkies, is truly a treat, mixing incendiary queer politics with a raw, primitive industrial sound.

“The Sulkies’ debut album is a masterpiece; a noisy, punk-influenced manifesto raising the middle finger to homophobes, sexists, and anybody who stands in the way of the individual. “


US: 20:10 min • Bootleg • 1993

A transgressive, violent accompaniment to NIN’s Broken EP, The Broken Film is perhaps the most intense twenty minutes ever laid to film.

“An accompaniment to NIN’s Broken EP, the film became notorious for its rumored extreme and violent content; supposedly Trent Reznor’s label wouldn’t release it due to its transgressive nature.”

The Second Annual Report of Throbbing Gristle • Throbbing Gristle

Released November 1977

The first official release from Throbbing Gristle ushered in the Industrial Era of music. Classic Music Review.

“Far removed from the over-distorted guitars and synthesizers of Nine Inch Nails and Ministry, this is industrial music at its most primitive and primal, a collection of studio and live snippets not designed for radio play or popularity, but rather designed to strip music down to its bare essentials, to make it dangerous again.”