Industrial Strength 2

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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 ©



~ 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



,

ALL THI. AND NIIDA.

indUJtrial Strength

made u[ook

maga zine





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



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.





:(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



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.



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



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





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



• - - - - { ~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



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



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



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









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



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?



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





----------



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



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



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.



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



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



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



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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