Chris Carter, the architect of Throbbing Gristle’s sound, lets the ripple effects do the talking on the reissues of Electronic Ambient Remixes Three.
If we must #quarantine, at least give us some post-punk. This week we are revisiting the best post-punk albums of all-time and we kick things off with Gang of Four, Public Image Ltd., Throbbing Gristle, and more.
The promised new album emerged in 2007 mashing together an EP's worth of new Throbbing Gristle, four outtakes from the band members' solo work, and two songs hanging around since their reformation in 2004.
The demon stepchild shadowing punk's footsteps in the 1970s, Throbbing Gristle, returned in this new century making the case that they had something new to say with TG Now.
In the latest component of a comprehensive reissue series, three limited-edition releases from the 2004-2007 iteration of Throbbing Gristle are back in print. We begin with Live December 2004: A Souvenir of Camber Sands.
TOPY and Genesis P-Orridge's knowing adoption of cult iconography and organizing principles quickly slid from satiric emulation to full embrace -- and we all went along with it.
The Potential of Throbbing Gristle in the Pre-Internet Era of Mail-Order Catalogues and Cassettes Was Massive
Quite literally: when Throbbing Gristle took to the recording studio their 'label', Industrial Records, would give birth to an entire genre of music.
What if Genesis Breyer P-Orridge's fascination with the acid house genre came not from magickal profiteering, but rather, as a turn of brinksmanship to counter an existential threat?
Chris Carter Creates an Overarching Etude on Experimental Electronic Music with ‘Chemistry Lessons Volume 1’
Legendary electronic artist Chris Carter returns with his first solo release in 20 years, producing an overarching etude on experimental electronic music.
Ahead of Mute's Throbbing Gristle reissues, Genesis Breyer P-Orridge connects the tactics of The Second Annual Report to he/r contemporary practice.