He managed to crawl back on stage, using a tunnel under the main hall, to finish the show. The remainder of the tour was a write-off. Clarendon, London: Frank decided to play electronic drum with his head during the opening track, managing to gash it open in the process. Frank then went to Charing Cross Hospital. The Mudd Club, New York: Frank hung from the lighting rigging, beating his chest and making animal noises with the microphone jammed firmly into his mouth. I believe the photo below was taken after Frank re-emerged from the crawl space of the lowered ceiling.
I hope the venue had decent insurance. The single however is a different mix from the album version. It was anticipated that with an NME interview with Paul Morley, having his photo taken by Anton Corbijn , and being the subject of a whole page feature and interview in Smash Hits, that King of the Flies might be the break-through hit. It was during this time that news filtered through that Frank was working on a collaboration with Boyd Rice. I have noted it here as version I for clarity however it is listed plainly as Life on the Line.
It did chart at number 10 in the independent charts. Versions I to IV were released as b-sides and album tracks. This is one of the tracks on which you can distinctly hear Alison Moyet. IV returns us to a more conventional pop orientated mix and appears on the album Under the Flag.
I have chosen II for its plaintive, yet anthemic, feel. Appearing on the final Fad Gadget studio album, Speak to Me is a pop delight. Vocals are shared between Frank and Barbara Frost. I have had the honour of dancing to this at an indie disco.
I played it and then ran like a maniac to the dance floor. The world is rough and jagged And it tears you up, it tears you up. I was gutted on hearing the news that Fad Gadget was no more. It would be 4 years later, in , before I met someone who had a heard of Fad Gadget and b liked Fad Gadget. Perhaps most instructive is the fact that even after Nothing Records went its titular route, McMahon maintained the distinction between the industrial edges of Prick and the sunnier sides of Lucky Pierre.
But back to Prick. A huge part of what makes my favourite songs on it work is how clearly the music lines up with the emotional thrust of the lyrics, which themselves are an odd mix of naked emotion and almost coded personal reference. One of the things that has aged exceptionally poorly from the mid-nineties has been just how gosh darn seriously a lot of the pseudo-mainstream industrial took itself.
Like, I feel like everything I say is kinda facile, especially when you obviously have spent a ton of time thinking about this LP for like twenty years. I think the big takeaway I can offer from this whole exercise is that this album is a lot funner and has a lot more style than plenty of the albums it gets lumped in with. Strikes me it was around that time that Bowie really ascended into the broader Gen Y consciousness, and you heard all kinds of stuff like Placebo that was wearing the influence pretty proudly.
Great piece on an underappreciated gem! Nobody could help thinking of her recent statement: 'I am going to give up singing. I just can't imagine recording with anyone else. Supported by her family and friends, Jane ended her tour at Francofolies de la Rochelle in July by placing the mike on the floor as a symbolic gesture, her way of saying goodbye to Serge.
The idea of stopping took the strain off of her. She sought refuge in the intimacy of writing and devoted herself to what was most dear to her: her family and her humanitarian work. Boxes takes us to the seaside in Brittany, where Anna, age 50, has just moved into her new house. The rooms are filled with moving boxes containing countless possessions, countless memories.
Anna has lived many lives and her past emerges from the boxes bit by bit. When she opens them, the people who mattered in her life appear. Her parents, of course, and her children and their fathers, the dead and the living. Anna has three daughters, each from a different father. Her three men are now here and, like her parents and children, they have come to talk with her, rage against her and perhaps forgive her.
At this disorienting time in her life, with time getting shorter and shorter, Anna finds what she needs to face the past and try to look into the future. And just maybe to learn to believe in love again. On top of her many personal fights for human rights among which the liberation of Nobel Prize winner Aung San Suu Kyi, Jane has been on the road again since she has finished Jacques Rivette's new film, Around a Small Mountain, at the end of summer I don't think there is tension.
The album was followed by the home video God Is in the TV , which chronicled the band's tours in support of the album, as well as compiling all of their music videos to date. It was released on November 2, on VHS. A live album from the tour, The Last Tour on Earth , followed shortly thereafter on November 16, The live album ended with a studio outtake from Antichrist Superstar , entitled " Astonishing Panorama of the Endtimes. Unruh and Alexander Hacke. The band established a following due to their innovative instrumentation, particularly at their live shows, which, in addition to traditional instruments, featured custom instruments built from scrap metal, found objects and power tools.
Vocalist Blixa Bargeld also brought added attention by concurrently serving as long-time guitarist and backing vocalist for Nick Cave and the Bad Seeds from to Over the course of the s, the band would rise through the ranks of many established labels, such as Some Bizzare Records and Rough Trade Records , where they released albums such as Kollaps , Zeichnungen des Patienten O.
English translation: Drawings of Patient O. Fellow, future Nothing Records label-mate Raymond Watts of Pig would also frequently serve as an engineer for the band throughout the s, both in the studio and at live shows.
The band's rise through the s paved the way for a deal with Mute Records in the s, beginning with Tabula Rasa in The album marked a change in sound for the band, shifting into softer, less abrasive songwriting and featuring expanded use of electronics. The band would also release a sequel compilation, Strategies Against Architecture II , during this time. The recording of their next album, Ende Neu English translation: Ending New , would prove to be a difficult one, due to the departure of long-time members Mark Chung , who left at the outset of recording in , as well as F.
Einheit , who contributed much to the music and sound of the band and left a short time later in , amidst recording of the album. Blixa Bargeld questioned if the band would continue, stating "There was suddenly only three of us left, which makes it a bit tough. Ende Neu was completed and released on Mute Records in , with the song "Stella Marris," a duet between Bargeld and Hacke's then-wife, singer Meret Becker , garnering particular acclaim.
The band supported the album with a world tour. Trent Reznor had been a long-time fan of the band, openly citing his admiration for their music. The band, which held the copyright to their album, liked the appeal of additional major label support, as well as Reznor's enthusiasm for their body of work and agreed to a licensing deal with Nothing Records.
Bargeld recalled, "Trent Reznor is so kind to contract the band, which he always admired. The album was finally released in the U. Nothing also financed a U. Mark Rutherford. Neither of these releases were picked up for licensing by Nothing Records. By this point, much like fellow Nothing Records act 12 Rounds , the band found themselves victim to the same corporate shake-up.
I asked if that was a joke. We make a record deal, then they don't release it, so we left them. The band decided to instead allow Mute Records to handle both the European and American releases of Silence Is Sexy , with the album being released in Beginning in , the band began recording a new album, without support from a major label, relying instead upon fan support in an experiment on their website, offering exclusive audio in exchange for paid membership.
An exclusive Supporter Album No. The band would follow this template for years to come, releasing a myriad of exclusive titles to their fans. The band released the album Perpetuum Mobile in , once again returning to Mute, in part to help facilitate a world tour.
Alles wieder offen English translation: All Open Again followed in , which was self-released on the band's own Potomak label. The band continues strong to this day, having garnered much critical and commercial success. They are considered to be one of the pioneers of industrial music , despite their own apathy to such accreditation.
The band continues their formula of releasing major albums on labels, supplemented by a wealth of self-released material direct to fans. Autechre arrived at Nothing via a licensing deal with their UK label, Warp Records , as part of a package which also included Warp acts Squarepusher and Plaid being picked up by the label. Their sound was considered pioneering within the electronic music scene, with their early work rooted in techno , house , electro and hip hop , while their later efforts ventured into more experimental soundscapes.
Nightmares On Wax , Autechre. These licensing deals, in addition to Warp's highly acclaimed Artificial Intelligence series, in which Autechre participated, would help cement both Warp Records and their rosters' global presence and influence. Nothing Records became the next in this revered line of labels to collaborate with Warp, after Nothing label-mate Jack Dangers of Meat Beat Manifesto claimed to have introduced many of the Warp acts' music to Trent Reznor.
Prior to their arrival at Nothing, much of Autechre's back-catalog had seen release through Wax Trax! After the licensing deal with Wax Trax! By , Autechre had completed their fifth album, LP5. Upon being picked up by Nothing Records, Autechre's Sean Brown commented on the advantages of being on a major label, stating "It's really interesting working with him Trent Reznor.
It's a learning exercise as much as anything. I don't know what's going to happen with it being on Nothing Records. It's a long time going and it's like after that, whatever, if someone comes along and offers you a ridiculous amount of money.
It's much more than we needed, but it's like it's turned out really useful, because we've managed to get everything going. Autechre would continue to be licensed by Nothing Records until , with Nothing working in tandem with Warp to release nearly all of the duo's new material in the US during this period. In , Nothing released Autechre's Peel Session a live recording from John Peel's legendary radio show - a second session of which was released by Warp in and EP7.
Manufacturing issues prevented the hidden track 00 from inclusion on the Nothing Records edition. Also in , Autechre released the SplitRmx12 promo-only 12", which featured an Autechre cover of Neu! Autechre's time at Nothing Records would conclude when Warp Records established their own US distribution, though a deal with Caroline Distribution which has since ended , effectively ending all of Warp's licensing to Nothing.
Autechre's licensing through Wax Trax! All three of their Nothing Records releases were eventually reissued in the US under the Warp umbrella, after the Nothing deal ended. Autechre remain going strong to this day, where they continue to call Warp Records their home, having released numerous albums to critical acclaim in the years to follow, such as Confield , Draft 7.
Squarepusher , much like label-mates Autechre and Plaid , came aboard Nothing via a licensing deal with Warp. After learning bass guitar and playing in local bands in his youth, Tom began taking an interest in techno and house music in the early s.
Jenkinson said of Plug's track "Military Jazz," "This track came on and, amongst the road noise and chatter, I heard what I thought was some sort of hip-hop track being played by a band.
As the track progressed, I became more intrigued, as it sounded like they were trying to play as if it had been programmed. Then the Amen [break] came in, and I was floored; it sounded like a drummer playing breakbeats, and made me totally rethink my ideas of programming breaks.
Jenkinson's first recordings came out under his own name, with the Stereotype E. The EP did not receive the level of attention Jenkinson had hoped for, but it did catch the ear of Grant Wilson-Claridge of Rephlex Records , who contacted Tom to express his compliments.
Jenkinson went on to record a few more releases under his own name, including the Crot E. James, a. Aphex Twin. Squarepusher released the Squarepusher Plays Jenkinson signed a multi-album deal with Warp and the label would become his long-time and primary home. By , the Nothing deal had come into place and Squarepusher would receive his first licensing into the United States, after Nothing label-mate Jack Dangers of Meat Beat Manifesto claimed to have introduced his music to Trent Reznor.
The song "Come On My Selector" was also moved up to open the album, with a music video for the track directed by Chris Cunningham , which was included as a file on the Nothing edition, as an enhanced CD. Nothing did not pick up Hard Normal Daddy for release, but did pick up most of Squarepusher's output through the remainder of the s. The mini album Budakhan Mindphone followed on March 1, The Maximum Priest E. Aside from Big Loada , all of the Squarepusher releases on Nothing Records were essentially identical to the Warp editions.
Squarepusher's tenure at Nothing Records concluded when Warp Records established their own US distribution, though a deal with Caroline Distribution which later expired , effectively ending all of Warp's licensing to Nothing.
Squarepusher's licensing through Nothing Records served Jenkinson well in helping to establish his US following. By the time he began receiving direct US release via Warp, Squarepusher had become known as one of the most innovative acts in electronic music. All five of his Nothing Records releases were eventually reissued in the US under the Warp umbrella after the Nothing deal ended, though the album-length version of Big Loada remains unique to Nothing Records, with Warp opting to keep the releases in their original, EP formats.
Also in recent years, Jenkinson has launched a live band, Shobaleader One, which releases both original material and reinterpered versions of Squarepusher classics.
They have released two albums to date; d'Demonstrator and Elektrac. Plaid , alongside label-mates Autechre and Squarepusher , was part of a trio of Warp acts picked up for licensing in the United States after their label struck a deal with Nothing Records. Handley and Turner would appear on numerous albums with The Black Dog during the early s, which received critical acclaim, including Bytes , Temple of Transparent Balls , Parallel and Spanners.
The album was self-released on their Black Dog Productions imprint. Plaid released the Android EP that same year for the Clear label, before signing with Warp Records , which had previously worked with them, during their time with The Black Dog. Plaid released their debut album for Warp in , entitled Not for Threes. The album was preceded by the single Undoneson. The Nothing version removed the track "OI" off the album, while adding on "Undoneson" and "Spudink" from the Undoneson single.
Nothing released the Peel Session in the US on April 20, , which featured no audio alterations from the Warp edition. Plaid followed up with a sophomore album, Rest Proof Clockwork , the same year. The album featured a hidden track called "Face Me," featuring Alison Goldfrapp.
The Nothing Records edition was released on June 21, , featuring an identical track list to the Warp edition, including the hidden track. Plaid also announced the Booc EP in the late s, but it suffered repeated delays, before finally surfacing on Warp in It was not picked up for US release by Nothing Records.
Rest-Proof Clockwork would be Plaid's final release on Nothing Records, as Warp Records established their own US distribution in the early s, via a deal with Caroline Distribution which later expired , effectively ending all of Warp's licensing to Nothing. Warp would later reissue all three of Plaid's Nothing-released titles in the US. Plaid would go on to become known as one of Warp's most critically acclaimed and tenured acts, earning a dedicated, worldwide fanbase within the electronic scene.
Micko Westmoreland was born in in Leeds, England and had an ear for music from a very young age, learning guitar, keyboards and bass. Throughout his youth, Westmoreland would dabble in traditional instrumentation, until , when his decks and records were stolen. Using insurance money received as a result of the theft, Micko decided to purchase an Atari and synth and began his first experimentations in electronic music.
While still developing his sound, during his time in college, Westmoreland collaborated with musician Brian Eno and a host of other young artists on the "Self Storage" exhibition at Wembley. By the mids, Micko had honed his skills as an electronic producer and began recording as The Bowling Green; the name being derived from the venue on which the sport of bowls is played. The sound of The Bowling Green crossed many styles of electronica, incorporating a distinct sense of retro and nostalgia.
Micko's earliest music to reach public ears would be for his brother, Wash Westmoreland , who began as a gay porn director, though he would later transition into an acclaimed independent filmmaker. Around this time, Micko approached numerous labels and several responded with offers. Micko recalled, "So they lent me their studio and I used to go in there on Sundays and work for 23 hours and finish the mixes at about 8 in the morning, which is quite hellish really.
Micko also began working on a debut album, opting to record in a home studio, appropriately named The Spare Room, in Ladbroke Grove, West London.
The role came about by chance for Micko, as Todd Haynes had been taking residence in the home of Micko's brother, Wash Westmoreland , while shooting his film Safe. Initially auditioning for a minor part, Micko was instead cast in the pivotal role of Jack Fairy. The album contained numerous samples, including dialogue from the cult horror film, The Wicker Man.
The album's samples were left intact for the U. The Bowling Green's run on Nothing Records was limited to the release of One Pound Note , as the Blue Planet label went on hiatus shortly thereafter before eventually going defunct altogether after a brief return from to The album marked a shift in sound for Micko, with many tracks more focused on songwriting.
In addition, Spiky released three inch singles around the Fabrications album; Pre-Fabrications Vol. One , Pre-Fabrications Vol.
The album marked a significant change in sound for Westmoreland, leaving electronic music behind, in favor of a British indie rock sound. In , however, Micko released an electronic project known as Wooden Spaceship in the U. The Wooden Spaceship material, which amounted to a one-off, self-titled EP, hearkened back to the electronic nostalgia and wonky beats of his electronic roots and represented a bridge between The Bowling Green and his later, eponymous solo material.
In , Micko launched his own label, Landline Records, which released his sophomore album under his own name, entitled Yours Etc Abc. Micko continues to use Landline Records as his primary musical outlet. In the time between albums, Reznor had busied himself with numerous other projects for Nothing, such as Marilyn Manson 's Antichrist Superstar album, the Lost Highway soundtrack and Rob Halford 's 2wo project. Prior to recording the album, longtime drummer Chris Vrenna would part ways from the band, going on to launch his own project, Tweaker.
Bill Rieflin and Jerome Dillon would take over drumming duties for the album, with the latter becoming the full-time, replacement drummer for the band, until The project developed into a major undertaking, becoming a double album.
Canadian rock producer Bob Ezrin was consulted on the album's final track listing, in an effort to assemble the songs into a cohesive presentation.
Unlike the gritty angst of The Downward Spiral , The Fragile relied more of melody, ambient noise and atmospheric soundscapes. Thematically, it is a concept album dealing with Reznor's personal issues at that time, which included depression, anger and drug abuse.
The Fragile was released on CD, vinyl and cassette on September 21, and debuted at number 1 on the Billboard with sales of , units, making it the first Nine Inch Nails album to top the charts. The discs featured the bonus tracks from the vinyl, a Porter Ricks remix and an extended mix of "The Perfect Drug.
The third single from the album, " Into the Void ," was released on CD in Australia on May 9, , featuring no exclusive content. Another music video was shot and released for the song. The band embarked on a worldwide tour in support of the album, with the first leg, entitled "Fragility 1.
Interscope Records reportedly refused to fund the promotional tour, following The Fragile's lukewarm sales, which had dropped sharply after its first week of release. Reznor instead committed to fund the entire tour himself, which quickly sold out. He concluded that "the reality is, I'm broke at the end of the tour", but also added, "I will never present a show that isn't fantastic.
The North American leg of the tour, entitled "Fragility 2. Rolling Stone magazine named Fragility the best tour of Reznor and Manson had been exchanging verbal barbs in the press during this time, so the video marked a brief reconciliation with the pair, with Manson appearing in and co-directing the video. The release also includes a cover of the Gary Numan song "Metal. The band shot a music video to accompany the song, which did not feature any footage from the film.
The CD included a bonus disc of softer renditions of older songs, as well as new material, entitled Still. In , Nine Inch Nails released a vinyl reissue of the album, as well as The Fragile: Deviations 1 ; a 4-LP set assembled by Reznor and Atticus Ross , featuring instrumentals and alternate takes, alongside numerous rare and unreleased tracks from the era.
At the conclusion of The Fragile era, Trent admitted himself into rehab and began to sober up, putting Nine Inch Nails on hiatus. Their falling out would become one of the major catalysts in the eventual demise of the label. Following a peak period of activity over the course of the late s, the output of Nothing Records began to slow after Many of the smaller artists were experiencing trouble with the label, due to increasing corporate interference, as a result of numerous corporate mergers.
While Nothing artists had experienced some issues with Interscope, it wasn't until Seagram 's came into the fold that the corporate interference began to cripple the label from operating under its original vision. Seagrams acquired Polygram and merged it with Universal, after which Vivendi acquired Seagrams.
The new corporate leadership came in looking to cut costs, giving the edict to cut many smaller artists, which affected many labels, including Nothing Records. Many acts would part ways from the label during this time. Warp Records would also establish their own US distribution through Caroline Distribution , resulting in all of their Nothing Records licensed acts departing from the label.
Meanwhile during this period, Trent Reznor admitted himself into rehab and focused much of his energy into getting himself healthy. Their experiences would lead to a very public departure from the label, serving as example of the greater problems plaguing not only Nothing Records, but the greater music industry as a whole.
Their album, NakedSelf , served as something of a death knell for the label, after which only Nine Inch Nails and Marilyn Manson would continue bearing the label's name on their releases. Prior to arriving at Nothing Records, The The was an established, commercial success, with many critically acclaimed, hit albums, such as Infected , Mind Bomb and Dusk over the course of the s and early s.
After having spent the majority of their career on Epic Records , the band found themselves at creative odds with their label over the recording of The The's album Gun Sluts. They asked me if I could make it more commercial and I was outraged.
I said 'forget it,'" Johnson recalled. In spite of their creative differences, Johnson stated, "The split from them was amicable, it wasn't acrimonious. I had a very positive relationship with Epic at that time, but they became really, really pop oriented and I was thoroughly marginalized.
For the first time in eighteen years, The The were free agents, in search of a new label. Nothing Records president John A. Malm, Jr. The passion, the honesty and the nakedness of his work opened doors of possibilities in my head. It was a simple decision for me to choose Nothing Records, I feel we share many of the same beliefs and passions and already it feels like a natural home to me.
I'm feeling galvanized and extremely excited about the next few years. Although the band already had Gun Sluts completed, they opted to leave it unreleased, which is how it remains to this day.
Overall, the album was a mature, contemplative piece, released on February 29, on Nothing Records to wide critical acclaim.
A deluxe CD version was also released, featuring an expanded booklet of photography. Instead of a traditional music video to promote the album, the band filmed a trailer for the album.
The NakedSelf trailer featured several excerpts from album set to video footage, as well as interview clips with Matt Johnson. The trailer appeared on The The's website and was released as a promotional piece to press and music video outlets. However, it quietly vanished from circulation in subsequent years and has become sought-after by collectors. NakedSelf was led by the single "ShrunkenMan". However, instead of featuring remixes, Johnson recruited other musicians to record cover versions of the song, including Foetus , John Parish and DAAU.
The resulting single was titled Interpretations: Issue 1 - ShrunkenMan. The single was released on April 10, , exclusively in the UK, with no American release. The title referenced future planned volumes for other singles from the album, which would follow the same cover song format, but their struggles with the label would ultimately result in the series ending at just a single volume.
The band also embarked on their "World Tour of Tiny Spaces" in support of the album; a fourteen-month trek that would span the globe. While on tour, the band pressed self-released a single for Gun Sluts , which was a one-track single featuring the eponymous song from the unreleased album. The CD single was initially available exclusively on tour, then later through the band's website.
It was during the promotional stage of the album that Matt Johnson began to feel a heightened frustration with the lack of support from Nothing Records. They said they'd been begging the label for copies of the album and they wouldn't give them one. NPR had to beg and phone and beg and eventually got one. Then the NPR affiliate had to send someone to drive forty minutes to pick me up and take me to the station to do the interview, because the record label wouldn't do it. I've never known anything like it.
While many of the other acts on the label opted to quietly depart, or fight their battles in private, Johnson elected to make his battle very public, publishing an essay on his website called "The The Vs. The Corporate Monster. Johnson wrote in the essay:. They have a huge artist stable raped from three established major labels and two thirds has got to go, bringing it down to a trim, wealthy machine made up of just the plump ripe sellers. Millions of sales are now required to cover the increasing overheads at these labels.
Overheads increased through ludicrous executive bonus payouts, inflated expense accounts and the quest for the Porsche. The artist is put to work harder and faster, in order to feed the machine. After a 7 year lay off, I recently released NakedSelf , an album that is generally considered one of the best of my career to some of the best reviews I've ever had. I've also been on tour since November selling out shows by word of mouth across Europe and America to fantastic audience response.
Their utter dependence on the radio means that the good ship The The is abandoned as soon as the fear of no-play takes hold. They can think of no alternative and why should they when they can swiftly move on to the next act on the plank step forward Beck , whoops!
Chris Cornell. One act after another has fallen into the ocean. Being signed to the Universal conglomerate has been like being trapped on a cruise on the Mary Celeste. The lights are on but nobody's home. Johnson also took the time to credit select individuals within these corporations, who were overpowered by the merges, stating "There are many decent, hard working people in this company who wanted to work in the music business for all the right reasons, but now find their hands are tied behind their backs as they are not allowed to get behind the projects they really believe in.
Along with the essay, Johnson made a bold move at the time, by opting to give away NakedSelf for free on The The's website, on a track by track, weekly basis. He stated:. By doing so I hope more people including the bulk of my audience will finally get the chance to hear this album and hopefully support me by purchasing this CD and future releases. For me to just walk away from NakedSelf now would be like leaving a baby on a doorstep and I just can't do it.
I believe in this album too much. Plans for a second single for "TheWhisperers," made it as far as a promo single pressing. Plans were in the works for a follow-up Interpertations: Issue 2 - TheWhisperers , but these plans were scrapped.
The The then parted ways with Nothing Records. In , after their departure from Nothing Records, The The returned to their former label, Epic, with whom Johnson still had an amicable relationship, to revisit the band's back catalogue.
The performance consisted of Matt Johnson and J. Thirlwell performing tapes and loops before video projections.Recently, Digital Noise’s very own Azroth had the wonderful opportunity to speak with Kevin McMahon, the man behind Lucky Pierre and PRICK, and discuss different topics such as The Wreckard, and the upcoming PRICK tour.