GRIDLOCK - FORMLESS [2003]

"Gridlock was an experimental electronic band originally created by Mike Wells in 1994. A year later, Mike Cadoo joined up, and the duo released their first two demos, Sickness and Frozen, and soon signed to Pendragon Records in 1997. Their style was originally akin to the sound of early Skinny Puppy with less vocals and an ambient aspect not normally found in industrial. Eventually, they took on a more epic soundscape; slowly removing their traditional industrial influence and cultivating an experimental sound, combining elements of ambient, drum and bass, idm/glitch, and noise. Today, they could better be compared to Autechre due to their IDM sound, and to Panacea for their drum and bass experimentation.
On March 24, 2005, the band announced its dissolution on its website, but promised to continue making music under Wells’ and Cadoo’s respective side projects.
Mike Wells will continue the Gridlock ideology through o2, doing remixes for other artists, as well as a new O2 release. He also runs a mastering studio, Mike Wells Mastering.
Mike Cadoo works under the aliases Dryft and Bitcrush. He also runs the record label n5MD and the MP3 label en:peg digital." LAST.FM

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PUSCIFER - "C" IS FOR (PLEASE INSERT SOPHOMORIC GENITALIA REFERENCE HERE) [EP] [2009]

"Puscifer is an experimental project by Maynard James Keenan (Tool/A Perfect Circle). Puscifer is “as much a clothing line as it is a band”, and Maynard James Keenan has described it as “Simply a playground for the various voices in my head, it’s a space with no clear or discernible goals. It’s where my Id, Ego, and Anima all come together to exchange cookie recipes.”
For a long time the only released tracks were “REV 22:20”, “REV 22:20 (REV 4:20 Mix)” (remixed by Charlie Clouser) and “The Undertaker (Renholder Mix)” featured on the “Underworld - 2003”, “Saw II - 2005” and “Underworld: Evolution - 2006” soundtracks.
In October 2007 the EP ‘Don’t Shoot the Messenger’ and the album ‘”V” is for Vagina’ were released on Puscifer Entertainment. Featuring songs written by what Keenan describes as “Maynard James Keenan and a revolving door of talented people.” Some of the listed guest musicians include Danny Lohner(Renholder) Milla Jovovich, Lisa Germano, Josh Eustis, Satan, Lustmord, Jonny Polonski, Tim Alexander(Primus/Laundry), Tim Commerford, Brad Wilk, Ainjel Emme, Tom Morello, Gil Sharone, Trey Gunn and many more.
In April 2008 “V” is for Viagra was released on Puscifer Entertainment. Also in October 2008 “D” is for Dubby: The Lustmord Dub Mixes was released on Puscifer Entertainment" LAST.FM

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THROBBING GRISTLE - 20 JAZZ FUNK GREATS [1979]

"It's a break in the clouds from Throbbing Gristle's pummeling noise and a first glimpse at the continuing pop influence on the TG/PTV axis, but 20 Jazz Funk Greats still isn't best described by its title. If there is such a thing as a funky Throbbing Gristle LP, however, this could well be it. "Hot on the Heels of Love," "Still Walking" and "Six Six Sixties" add only occasional bits of distortion between the rigid sequencer lines. 20 Jazz Funk Greats is the best compromise between TG's early industrial aesthetic and the reams of industrial-dance and dark synth-pop groups that used the album as a stepping stone to crossover appeal." AMG

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WHITEHOUSE - DEDICATED TO PETER KURTEN, SADIST AND MASS SLAYER [1981]

"Aware of the new ground they broke with Erector, Whitehouse was quick to continue in a similar vein with Dedicated to Peter Kurten: Sadist and Mass Slayer. Instead of rehashing the dark meandering sounds from their previous release, they built upon that foundation with increased aggression and a better-formulated political philosophy. The barely tolerable extreme frequencies, that were quick becoming a Whitehouse trademark, are delivered like lightning bolts amidst the ten tracks on Dedicated to Peter Kurten. Evidence of the newly formulated sonic approach can be found in the reworking of previously released material, namely "The Second Coming" from Birthdeath Experience, "On Top" from Total Sex, and "Her Entry" from the Hoisting the Black Flag compilation. Each new version is ten times more aggressive and streamlined compared to the original. These new versions allow for drastic comparisons that illustrate how much the group progressed in their first two years of development. Each Whitehouse record attempts to make a unified conceptual statement, but none succeed quite like Dedicated to Peter Kurten, a record about the mind of serial killers. Each track cultivates terror in the listener by describing the impulses and thoughts of mass murders with horrid detail. Not for the faint of heart, but recommended for those interested in aggressive, shocking experimental noise." AMG

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CHROME - HALF MACHINE LIP MOVES [1979]

"With Lambdin out and Spain barely there at all, everything rapidly became a Edge/Creed show in the realm of Chrome by the time of Half Machine Lip Moves. The basic tropes having been established -- aggressive but cryptic performance and production, jump cuts between and in songs, judicious use of sampling and production craziness and an overall air of looming science fiction apocalypse and doom -- all Edge and Creed had to do was perfect it. Starting with the fragmented assault of "TV as Eyes," which rapidly descends into heavily treated conversational snippets from TV and deep, droning keyboards, Half Machine sounds like a weird broadcast from thousand of miles away where rock is treated as an exotic musical form. Creed fully gets to shine here, his pitched-up/pitched-down guitars as good an example of psychedelic assault as anything. Sprawled all over the beeps and murmurs of the songs, not to mention Edge's still self-created drumming and Iggyish vocal interjections, it makes everything sound utterly disturbed. If not as obsessed with tempo shifts and full oddity as, say, Faust, Half Machine is still pretty close to that band's level of Krautrock playfulness and explosion. Two of the relative saner numbers are practically power-pop, at least in Chrome terms. "March of the Chrome Police (A Cold Clamey Bombing)" has Edge sneering an actual vocal hook over a brisk beat, even while Creed gets progressively more fried on the guitar and rumbling echoed laughter and barks erupt in the mix. "You've Been Duplicated," meanwhile, also has something of a vocal hook, only buried under so many levels of distortion that it might as well be a malfunctioning keyboard being played among the clattering percussion and other sounds. A suitably strange cover shot of a fully head-bandaged mannequin seemingly floating in space completes the package." AMG

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ICE - UNDER THE SKIN [1993]

"Right from the opening notes, it's pretty clear who's in Ice and what they're up to. The music has the same combination of aggressive guitar, dry, steady beats, cryptic vocals, and more that made up so much of Martin and Broadrick's music in the early '90s. Even the artwork -- fetuses, guns, and mirror images -- and the length of the album (nearly a full CD's worth) all make it clear who is involved. But if there are no outright surprises on Under the Skin for those well-steeped in Martin and Broadrick and company's anti-commercial aesthetic, it's still a treat for said listeners, if not something many who weren't already fans would tolerate. God's Consumed is the best immediate comparison point for Under the Skin, though certainly Godflesh at their most distanced but vicious, as on "Pure II," also has an understandable influence. Martin's inimitable singing approach -- howled vocals then heavily and totally echoed into the oblivion -- defines the songs as much as Broadrick's blasting feedback, but credit as well to the Cochrane/Jobbagy rhythm section, who pound and grind with equally obsessive focus. Martin's sax work crops up on a number of tracks as well, his free jazz love finding some truly extreme places to hang out in. There are some moments where the band lives up to its name and chills down dramatically: "Out of Focus," which emphasizes the silence between the beats and sometimes soft (!) guitar chimes as much as the music itself, and, to a lesser extent, "Implosion," with moaning electronic howls and drones chasing more tenor sax parts around the mix. Otherwise, it's pretty much one massive grind and bash after another, manna from heaven for believers and pure torture for most everyone else." AMG

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SWANS - COP [1984]

"Crawling out of the same noisy, arty New York underground that sired Sonic Youth and Lydia Lunch, Swans created a dark, abrasive, murky, slowed-down noise rock that served as a starting point for their ruminations about alienation, depression, depravity, and the disturbing side of human nature. Singers Michael Gira and Jarboe have been the group's only constants over the years; Gira has taken the group from its early confrontational shock tactics to a more varied, mature attack. The band first appeared on record in 1982 with a self-titled EP, and these early releases document their search for the musical vocabulary to express their ideas effectively. Female singer Jarboe joined the group for 1986's Holy Money and brought a gentler, more relaxed dimension to Swans' sound. The band entered its creative peak with 1987's Children of God and the follow-up, Feel Good Now, and secured a deal with MCA through a cover of Joy Division's "Love Will Tear Us Apart," which became an indie hit in the U.K. In between releases, Gira and Jarboe recorded with their side project, Skin, an outlet for their quieter, more reflective side. Their first MCA album, The Burning World, came the closest to mainstream rock of anything they had done up to that point, and 1991's White Light From the Mouth of Infinity continued that trend. In 1995, Gira published a book, The Consumer and Other Stories, through Henry Rollins' publishing house; the book's release coincided with that of the album The Great Annihilator. " AMG

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FOLKSTORM - FOR THE LOVE OF HATE [2002]

"Folkstorm is an industrial/power electronics project of Henrik Nordvargr Björkk’s that existed until 2001. It has been reactivated several times after 2001; the latest album Folkmusik was released in 2005. Folkstorm mainly deals with the subject of war and political ideologies in its songs. " LAST.FM

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GOD - POSSESSION [1992]

"U.K. musician and writer Kevin Martin started God, one of his many musical projects, thanks to an unlikely but inspired source -- Mark E. Smith. The Fall frontman contacted Martin in 1987 to ask him for a submission for Disparate Cognescenti, a compilation Smith was then planning for release on the Cog Sinister label. Initially, Martin's main musical partner was Shane Rogan, who handled guitar while Martin concentrated on tenor sax and vocals. There was no set God lineup or even a particular musical style for the remainder of the '80s, with the two working with a variety of players while Martin's energy went in part to running London's Mule Club, where God often performed alongside bands like Napalm Death and Godflesh. Guitarist Justin Broadrick, veteran of the former and leader of the latter, soon befriended Martin, helping to produce the band's debut release, Breach Birth, a 1990 EP on Situation Two Records. Broadrick soon formally joined God as part of his regular musical partnership with Martin, which included such projects as Techno-Animal and Ice, while God themselves expanded to a more or less regular nine-person roster. Loco, God's next major release, was a live album appearing on Martin's own Pathological label in 1991, demonstrating the band's newfound focus on combining numerous free jazz inspirations from the '70s and '80s with amp-bursting heavy metal. Possession followed in 1992, the group's formal, album-length studio debut, which surprisingly turned up on Virgin Records; 1993 saw another live album, Consumed, which appeared on the likely more amenable label Sentrax. 1994 wrapped up God's existence with two more albums, the final studio effort The Anatomy of Addiction and a subsequent remix album, Appeal to Human Greed. Martin and Broadrick then pursued their other joint efforts, but God went permanently on ice. " AMG

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WOLF EYES - HUMAN ANIMAL [2006]

"Wolf Eyes began as a solo project of former Nautical Almanac member Nate Young, with Aaron Dilloway joining in 1999, and John Olson in 2000. During this time, the band also briefly relocated to New York City and at one point enlisted Andrew Wilkes-Krier, now known to the public as Andrew W.K.. The group is rumored to have released over 150 recordings in their relatively short lifespan, on labels such as Bulb Records, Troubleman Unlimited, Fusetron, and Sub Pop, as well as on Olson’s American Tapes label, Dilloway’s Hanson Records and, most recently, Mike Connelly’s Gods of Tundra label. Connelly (also of Hair Police) replaced Dilloway on tour in early 2005, due to the latter’s departure for Nepal to make arrangements for his marriage, but Dilloway still records with the original members.

Most Wolf Eyes recordings are self-released, following the DIY tradition of bands such as Smegma. Their first major release was Dread, released on the American Tapes and Hanson Records labels but distributed through Bulb Records. Other major releases include Dead Hills on Troubleman and Burned Mind on Sub Pop. Most Wolf Eyes recordings are released as either lathes, cassettes, or cd-rs.

Wolf Eyes’ first two major tours were with Sonic Youth and Andrew W.K." LAST.FM

SIMILAR/RELATED: HAIR POLICE, AARON DILLOWAY, PRURIENT, YELLOW SWANS, BLACK DICE, MOUTHUS, BURNING STAR CORE

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TECHNO ANIMAL - THE BROTHERHOOD OF THE BOMB [2001]

"Frequent collaborators Kevin Martin and Justin Broadrick (who've worked together on such projects as God and Ice) make up Techno Animal, a beat-oriented ambient group who fuse elements of dub-style production with thick, slightly paranoid melodic themes and heavily treated electronic rhythms. Although both Martin and Broadrick have their fingers in a number of different ongoing projects (most notably God with the former and Godflesh and Final with the latter), Techno Animal represents their most clearly focused and successful outlet of electronics-based composition. The pair released a debut album, Ghosts, on Martin's Pathological label in 1994, followed by a double-CD on Virgin, Re-Entry, before signing with the Rising High subsidiary Blue Angel in 1996. Techno Animal Versus Reality followed in 1998. Closely associated with other post-industrial dub and dark ambient merchants such as Mick Harris (Napalm Death, Scorn) and Bill Laswell (Automaton, Silent Recoil), both Broadrick and Martin, like Harris and Laswell, have been involved in a wide array of different recording projects ranging from monochrome ambient to death metal, industrial, and experimental jazz. Broadrick also doubles as a club DJ, and Martin works as a music journalist and critic, penning the liner notes to the celebrated Macro Dub Infection compilation and contributing regularly to new music magazines such as The Wire and Alternative Press. In 1999, the duo recorded the split-LP Symbiotics with Porter Ricks. The following year, Techno Animal signed to Matador and released The Brotherhood of the Bomb in 2001. " AMG

SIMILIAR/RELATED : SCORN, FINAL, DALEK, ICE

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FOETUS - THAW [1988]

TRACKLIST:

A1 Don't Hide It Provide It 4:29
A2 Asbestos 5:01
A3 Fin 0:37
A4 English Faggot / Nothin Man 3:38
A5 Hauss-On-Fah 5:56
B1 Fratricide Pastorale 1:59
B2 The Dipsomaniac Kiss 4:12
B3 Barbedwire Tumbleweed 3:25
B4 ¡Chingada! 3:16
B5 A Prayer for My Death 7:01

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COIL - SCATOLOGY [1984]

TRACKLIST:

A1 Ubu Noir 2:09
A2 Panic 4:18
A3 At the Heart of it All 5:12
A4 Tenderness of Wolves 4:25
A5 The Spoiler 4:09
A6 Clap 1:17
B1 Solar Lodge 5:34
B2 The Sewage-Workers Birthday Party 4:23
B3 Godhead=Deathead 5:16
B4 Cathedral in Flames 4:37

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