#the ambient noise of life at war combined with jazz

[technicolortheshow]

BOHREN & DER CLUB OF GORE

My Bloody Quarantine part 1

The last six months have been pretty shit, hey? It looks like there is no future anymore... global warming, COVID-19, Australia on fire, wars... shall I go on?

ANYWAY, we are not here to talk about a stupid government led by a buffoon with a mop in his head (ops!) but to praise one of the bands who kept me company during this bloody quarantine of mine: BOHREN & DER CLUB OF GORE. This German act, in fact, hung out with me during the several nights of insomnia, which, trust me, were devastating, loooooong and cold. Cigarettes after cigarettes, wine after wine, I thoroughly enjoyed the discography of the quartet and I thought it was time to write something about them.

Because of the slow-moving and nocturnal nature of their music, a doom jazz plenty of end-of-the-world ballads, or, in their words "unholy ambient mixture of slow jazz ballads, Black Sabbath doom and down-tuned Autopsy sounds", I happily matched their records to these apocalyptic months. Just like a dark noir by Leo Malet, or a Terry Gilliam dystopian movie, Bohren & Der Club of Gore managed to convey, over the last 25 years, a deep sense of ethical abandonment and claustrophobic imprisonment. There is no future in the music of the German band, no escape from reality, which is doomed and looped into an endless limbo. A not long time ago - which now seems AGES ago, to be honest - I went to the White Cube for the latest Kiefer’s exhibition. I believe that the combination of BCG music and Kiefer’s artworks pretty well. 

Over the last months, while listening to them, between a Medoc and a Nebbiolo, I was picturing the band in a smoky “bar at the end of the world”, channelling some kind of Tom Hillenbrant’s dystopian political setting or a Lynde Mallison’s grey cold painting. The best description, though, comes from the band website: “Dear friends of nighttime drives, remote bridges to nowhere and empty multi-storey car parks”. Club Silencio state of mind, indeed.

The ensemble has constantly been releasing high-quality records since 1994, with the first doom jazz album called MOTEL GORE - albeit the first release was a 1992 cassette filled with post-hardcore noise published under the name of Langspielkassette. MOTEL GORE is, as someone brilliantly described it “audio pointillism”. I think this similitude is accurate: the band did draw tiny dots of obscure, eerie, music on canvases of sound. “Die Fulci Nummer” drives me mad, with its spectral adagio: it’s so good it would’ve been great in the Fulci’s masterpiece Non si Sevizia un Paperino. “Cairo Keller” is charming and evocative, reminding me of a possible soundtrack for Lovecraft The Nameless City. Extra points for the brilliant reference of the cover.

in 1997 BCG published MIDNIGHT RADIO, two hours of lynchian-LA-night-driving-without-a-destination soundtrack. if it is true that its predecessor "Gore Motel" is more song-oriented, and therefore a lot easier to listen to - it’s evident that Midnight Radio is more rewarding in its own special way: it’s a journey in the darkest corner of your mind. Yes, because the journeys BCG offers are not only external but often internal. The band has developed over the years a therapeutic dialogue between the listeners and their consciousness. Jungian jazz music anyone? LET’S DEBATE!  

By the way, while writing this article, I’ve realised how difficult is to talk about BCG music without quoting several cliches - everyone always ends up referring to the same stuff:” car parks”, “night drive”, “Lynch”. But I have to admit, in this case, it’s definitely true! Listening to BCG can really inspire these topics under our skins, as trivial as it sounds! The point is: they do it better than anyone else, they have been doing this forever and they represent the top in this particular sub-genre. With the results of a cinematographic component in their music that leads to these night drive scenarios, post-modern inner state of minds. Bravo!

Let’s go back to Midnight Radio, to BGC and their discography. It’s undeniable that their music fits perfectly in the set of the SLOW TV/MUSIC/YOUTUBE movement. From The Norway train to this 1986 Canadian TV show called “NIGHT WALK” (which, by the way, looks freaking awesome), from Andy Warhol’ “SLEEP” to Kiarostami or Tarkovsky cinema, the slow movement has left an imprint to contemporary culture. Arguably, BGC, with their long holistic records, is part of the movement. Calming the listeners and bringing them into a meditative state of mind, without being mindfulness - luckily. The point is: BCG makes you think about yourselves, finding out that you are someone you should be scared of! Know yourself, fear yourself!

All that Jazz came in 2000 with the thrilling “SUNSET MISSION”, thanks to the help of saxophonist Christoph Clöser. In this record the band opened up the sound, literally letting some fresh air to enter their music, easing the claustrophobic moods of the previous albums. A hint of lounge-ness came in, due to the mellow, yet sophisticated, sax of Mr Clöser. It is still quintessential BCG, with the nihilism of the band raising up form the bass. Slow, reiterated bass lines are running through the record, giving to Sunset Mission a gloomy, hypnotic cadence. The liner notes include a quote from Matt Wagner's Grendel comic book, which reads: "Alone in the comforting darkness the creature waits. As confusion reigns on this hellish stage, the deafening grind of machinery, the odious clot of chemical waste. Still, the trail of his ultimate prey leads through this steely maze to these, the addled offspring of the modern world.

According to many people, 2002 ‘BLACK EARTH” is BCG masterpiece. I don’t know yet, as I REALLY like them all. What I can say is that Black Earth sounds a lot more accessible, with an even more developed sense of ‘lounge-ness’ which was not so evident in the previous records.  Blach Earth is a good record. Perhaps the trick here is the balanced tempo of the saxophone. Perfectly played within the songs at the right time, Christoph Clöser’ sax conveys an open jazzy sound. One of my favourite directors ever is Jean-Pierre Melville, his movies are everything I like in term of style and plot. Noir a là Dashiell Hammett, but French and without hope - give me more of this, Hollywood, please! Enough of fucking Marvel heroes, give me noir hard-boiled movies! 

Black Earth could have easily been the perfect great soundtrack for Mr Melville’s movies - especially, IHMO, Bob le flambeur. Think about it: a french man, with a cigarette in his mouth, gambling his life for a young woman, in a dirty Marseille, with the BCG slow tempo doomed jazz. yasss please, give me more. Or a glacial Alain Delon killing his lover for money.

Black Earth was followed up, in 2005, by “GEISTERFAUST”, which is considered a slower than ever version of the former album. In Ghost Fist (this is the translation) Bohren & Der Club of Gore has stripped down its sound to the bone, becoming more gentle and less aggressive without any compromise. 5 songs only, named after the 5 fingers of the hand, for an hour of dark jazz. Again, excellent quality.

I have been buying BCG on CD, I think this music on vinyl does not sound perfect UNLESS you have an extremely high-quality sound system, Like some classical music issue, where you need to hear the pianissimo of the piano and single notes, BCG music deserves a very clean medium, I would say CD is the best.

Jazz de nuit again on their seventh album “DOLORES” published in 2008. This record is pure Badalamenti, pure Lynch in the night. Within the ten songs of Dolores, the core idea of slow-music is even more highlighted, with no guitars at all on the whole album and a sedated keyboard-based mood.  In 2009 the band released a 10 minute EP called “MITLEID LADY”. it is strange, because, albeit recorded just after Dolores, it sounds way more gloomy and somehow different. It is BCG but has another level of sophistication compared to the previous record. This step further in the direction of stylistic accuracy is confirmed two years after, in 2011, with another EP, this one named “BEILEID”. The cover of the record is a reference to the famous Edward Gorey, or at least I believe. 

The record includes the cover of  "Catch My Heart" by German heavy metal band Warlock, with vocals from Mike Patton. I believe this is the only song with a singer in the entire catalogue of the band. Beileid is a cinematic mood-changer composed of pained saxophone solos, and ghostly string sections, an album that will sweep your mind away into dreamland. A must-have IHMO.

In 2013 the ensemble released “PIANO NIGHTS” probably the warmest record of the band. The Piano obviously helps a lot in making the sound softer and brighter - candle lighted rigorously. A German Gothic feast, with a touch of Teutonic expressionism - who remembers the movie The Hands Of Orlac. BCG should definitely play the soundtracks of this movie. A twisted, dark, thriller with Gothic and expressionist elements. After many years, the band introduces the 

Finally, in 2020, the band published “PATCHOULI BLUE”. A pristine, unique, summa of their work, which manages to sound similar to other releases of the band, yet unique, with something different, like a small accent. 50s noir glam, Badalamenti, German Gothic, Slow-Movement philosophy are all elements we can find in this record, but there is something else: a hint of electronic, which can possibly open new territories to the band. I am curious to see if they will become a techno ambient act in the like of Gas (joking).

Aristotle once said that the whole is greater than the sum of its parts. I guess this is the whole point in BCG’s music. The synergy the band has been consistently showing over the last 3 decades, and the constant refinement of their own skills. 

VIVA BOHREN! 

#bohren #bohren & der club of gore #gothic #german #noir #leomalet #melville #alain delone #jazz #ambient #doom jazz #angelo badalamenti #lynch #mulholland drive #gas #grendel #nightmoves #anselm kiefer #expressionism

[dustedmagazine]

Listening Post: Throbbing Gristle—Heathen Earth / Journey Through a Body / Mission of Dead Souls (Mute)

Throbbing Gristle (TG) were excessive in just about every sense of the word, so it’s hard to compose a pithy introductory blurb for the band. There’s always too much to say. But here are some of the basics:  

The band coalesced in 1975, around Genesis P-Orridge and Cosey Fanni Tutti, two lovers who had been producing aggressively transgressive performance art under the moniker COUM Transmissions. COUM came to its notorious end with an exhibition, called Prostitution, at London’s ICA. By then, P-Orridge and Tutti had already found like-minded innovators and pranksters in visual artist and sound engineer Chris Carter and designer Peter “Sleazy” Christopherson. TG made their debut as recording artists in 1978 with the “United” b/w “Zyklon B Zombie” 7”, issued on the band’s own Industrial Records label. 

But even before that, the band had assembled quite a reputation as a live act. Performances included feral electronic noises, P-Orridge’s shrieks and spectral vocals and deafening volume, often produced by equipment that Carter and the rest of the group created, like the infamous Gristlelizer. Audiences were additionally assaulted by showers of sparks, disorienting light shows and projections of disturbing images of Nazi concentration camps, porn and the aftermath of car crashes.  

TG existed as a band in two periods: from 1975 to 1981, then from 2004 to 2010. After TG broke up in 1981, P-Orridge and Sleazy formed Psychic TV; Carter and Tutti released numerous records under the title Chris and Cosey. We’ll be listening to three recently reissued records, all of which capture live recordings from the band’s initial run: Heathen Earth, initially released in 1980; A Mission of Dead Souls, originally released in 1981; Journey Through a Body, originally released in 1982. The reissues have been produced by Mute Records. Contributors to the conversation are Mason Jones, Ian Mathers, Marc Medwin, Bill Meyer, Jonathan Shaw.

Bill Meyer: If I had to come up with a pithy summation of my response to Throbbing Gristle, it would have to be, "it's complicated." I first heard the band's music a good decade before I gave one of their records a chance. I knew people who were into them around the end of their first episode, when the final records currently under consideration were first coming out. I have memories of one of those individuals playing the most brutal tracks from Heathen Earth at top volume in some sublet college apartment bedroom. Aside from a tour of Ford Motor Company's River Rouge assembly plant, it was the harshest noise I'd heard in my life, and I can't say I liked it. It would be over a decade before I gave them a chance when the first CD reissues came out.  

Listening now, after plenty of exposure to recorded noise made with the understanding that there is a genre called noise that will hold it, I have to say that the rough parts of Heathen Earth are still pretty harsh. The leering creepiness of "The World is a War Film" is still creepy. But I'm most persuaded by the combination of dub sonics and can't-win admonishments of "Don't Do As You're Told.”

Mason Jones: When I was just beginning to dip my toes into experimental music, I kept hearing about Throbbing Gristle, but despite encountering out-there albums like Master/Slave Relationship and Test Dept, it was bizarrely difficult to find anything from TG in mid-1980s Michigan. When I finally did, I had to adjust my perspective and recall that they were doing their thing in the 1970s when there was almost no precedent for it, and they encountered their share of hostility (though apparently not quite as visceral as the reactions Cabaret Voltaire generated). These albums represent some of TG's rawest work, but in the case of Heathen Earth also very likely their best. While 20 Jazz Funk Greats is certainly the band's best-crafted album, the free-form nature of Heathen Earth has a flow and atmosphere that straddles noise, ambient, and avant-garde in a rather beautiful way. Mission of Dead Souls has a raw appeal, being a live recording (and the band's final appearance), but has a very different feel from Heathen Earth, which was performed live but under more controlled and casual circumstances.  

Bill Meyer: Hostility was a big part of the TG vibe, wasn't it? The loud at any volume sounds, the resolute ugliness. Maybe it's just loose association, but I am thinking right now of a more recent performer, Neil Hamburger, who explained his work as a way to make the rest of the world feel the way he feels when he is confronted with the rest of the world.

Jonathan Shaw: I agree with Mason's points about the records' sounds — though "best crafted" and TG are an awkward fit, and I've always found 20 Jazz Funk Greats their least interesting record (that's not to assume Mason was making any particular claim about 20 JFG). Great packaging, though, and evidence of TG's overall aesthetic smarts.  

It's cool having Heathen Earth in such clear quality, my previous exposure to the record being in LP form on a beaten-up copy owned by a radio station I deejayed at in the early 1990s. It couples the improv intensities of their live act with the clarity of studio conditions. And I like the idea of the studio, with all of its tech and the attendant disposition toward producing music for a market. TG called their record label Industrial Records, with the slogan, "Industrial music for industrial people." "Industrial" has a few implications there: it's satiric, for sure, a barb at late capital's flattening of affect. But there's at least one counterweight to that meaning. TG were industrious — they made a lot of music, put on a lot of shows, and put out a lot of music by other, like minded acts. Bill's comparison to the Ford plant is on the money (as it were) in several senses. You can really feel it when "Improvisation" gets rolling, about the fourth minute. Turn that shit up. 

Bill Meyer: 20 JFG was the first of their records I could deal with —  it took me a while to develop a taste for noise that wasn't surfing on drumbeats. I still find its determined blandness interesting. But I've come to appreciate the face-melting properties of Heathen Earth. 

The slogan that Jonathan brings up points to something we haven't talked about much yet. TG was never just about music. They're a bit like William Burroughs in the way that they got their critique of conventional repression and acceptance of non-mainstream appetites right up into the mainstream's face. If I recall correctly, they were brought up in Parliament as evidence of society's decline. The content doesn't have the same shock value, but the message had an impact. 

Jonathan Shaw: Bill's right, for sure. Following the COUM show at London's ICA, MP Nicholas Fairbairn decried them as "wreckers of civilization." The reputation followed P-Orridge and Tutti into TG. And the influence of Burroughs is pervasive. P-Orridge corresponded with Burroughs when the former was in art school in the 1960s, and their friendship lasted decades. There's a good RE/Search book on the Burroughs/Gysin/TG nexus that may still be in print... 

You can hear some of Burroughs's ideas about textuality on Heathen Earth: the cut-up quality of "Still Talking," the repetition in "Don't Do As You're Told"; especially in the latter, the slogans acquire an oppressiveness. Whatever is resistant in that "do as you need" gets complicated by the repeated assertion of need. When Burroughs and P-Orridge commenced their communication, Burroughs was theorizing language as a "virus" in his famous SF trilogy. The cut-up and his experiments in sound recording and broadcast were attempts to disrupt the virus's spread. TG's stuff bears the impress of those ideas.

Marc Medwin: Great! I love the William Burroughs comparison. I hadn’t thought of that. Speaking of recontextualization via the recorded voice, I have always found “Painless Childbirth” a particularly effective ending for Heathen Earth. Is this some kind of deformed key used to waken from Joyce’s nightmare of history, or just another quasi-ironic device? I am intrigued by this idea of craft, as Mason stated it and as Bill implied it. I fairly certain, can’t really prove it, that these four articulate and savvy individuals had a pretty good idea of the nexus of media, message and recipient through which they worked, whatever myth making has ensued, and if they weren’t quite certain in 1976-77, they were in 2004. 

Mason Jones: The Burroughs connection is certainly strong, as has been mentioned -- P-Orridge has talked about the influence of Gysin's cut-ups, as "popularized" by WSB. That RE/Search book is definitely still available, though it's in short supply (at https://www.researchpubs.com/) as is the equally essential Industrial Culture Handbook, which was probably my first source of detailed information about TG and compatriots. 

This re-issue is the first time I've listened to Journey Through a Body in many years, and it's still a real oddity in the TG catalog. I listen to the eight-minute "Violencia" and find myself wondering whether it's a purposeful demonstration of boredom through violence. Seriously, listening to samples of screams and groans over piano and noise for that long takes it from disturbing to tedious remarkably quickly, and it does make me wonder whether they were clever enough students of media for that to be on purpose or just a side effect...

Marc Medwin: Agreed, not one of their finer moments. But whatever’s going on dead center (something being carved up?) is a really nice close-up recording, at least the way I hear it. Not to mention that “Medicine” is just so beautifully recorded, so atmospheric! I’m assuming they were responsible for the recordings. Do the two books in question have anything to say about that?  

Mason Jones: The band's recordings, as I recall, were done themselves, thanks to Chris Carter's electronics skills, which were also responsible for much of the band's gear and their unique sound. As Sleazy got more involved, he brought his sonic aesthetics as well, which made themselves much more known through Psychic TV and then especially with Coil. I think Journey Through a Body's recording was a unique session in Italy, but I don't find info handy right now; I seem to recall Cosey mentioning it in her book (which also puts a lot of TG's activities in an entirely different context).  

Ian Mathers: I'm sure we all have lists of bands we've been meaning to check out (sometimes for years!) and I'm particularly glad of this excuse to cross TG off of mine. I feel particularly bad about not having taken the plunge before because I'm a big fan of Peter "Sleazy" Christopherson's post-TG band Coil (the other mainstay of which, Jhonn Balance, was in the crowd for Heathen Earth, according to the original liner notes). I wondered if, as a result, I'd wind up preferring the more Coil-like parts of TG's work (jury is still out) and also whether the fact that extremity tends to age poorly would effect how I hear this stuff now. Maybe it's because I've been keeping in mind the non-sonic elements of extremity with TG's whole project (thanks in no small part to the excellent context people here have been digging here) but this still sounds pretty successfully confrontational to me now.  

I haven't had time yet for more than cursory listens, but maybe because it hasn't been discussed in as much detail here yet I've found myself gravitating most specifically to A Mission of Dead Souls, because of (not despite) its sludgy, murky, dense mix. There's a lot of pounding and howling, sometimes it sounds like the machines are dying, and sometimes (that closing "Discipline" for example) I suddenly hear what, say, Aphex Twin might have gotten out of TG. This was all industrial, sure, but not in the way that genre seems to have codified along specifically rigid aesthetic lines; it really does sound a lot of the time like a noise band trying to make techno using their existing tools, and/or vice versa, in a way that's surprisingly thrilling.  

The fact that Journey Through a Body was originally an improvised piece commissioned by Italian national radio(!) makes me wonder if it wasn't also an attempt to be as provocative as possible to their possibly very Catholic listeners... 

Jonathan Shaw: That’s well noted, Ian, and makes me think of Burroughs again, given the provocations and revulsion of and in his writing. The phrase "unpopular culture" sometimes gets used in relation to mass cultural work like Burroughs's perversions of SF paperback narrative and maybe TG, too. Marc's and Mason’s points about the band's interest in tech seem relevant here. TG made a lot of their own equipment and modified what they didn't make. I'm not enough of a gearhead to comment on that adequately, but the combination of a desire to innovate, to push music and its technological sophistication forward is a modern impulse, which functions alongside their parodic, gross-out instincts and interests. There was a lot of vomit, urine, blood, and cum in COUM's work. TG's live shows weren't as immediately disgusting, but their projection of hot-button images — Nazis and grainy blow jobs — indicates that they wanted to activate audiences' bodily responses, as well as their ears.

Bill Meyer: Given that Cosey had participated in sex work with a research frame of mind, I can't imagine that she would have missed the phenomenon that no matter what your work is, when you do it for hours at a stretch it gets boring. And given their interest in extreme human behavior I imagine they would have paid attention to the way that systematic desensitization leads to changes in perception, tolerance and interest. But you've read the book, Mason. Did it talk about that sort of thing?

Mason Jones: The books and interviews don't often provide specifics about recordings or what they were after on a particular album, although in one of the RE/search interviews Gen says that he's doing music because it offers a "platform for propaganda." I happened to notice, looking through my library, that the original pressing of Mission of Dead Souls had "A State of Third Mind" scratched into the runout groove, and they referred to the recording of Heathen Earth as having been set up like a seance, and there was certainly more than a little interest in magick and unusual phenomena at the time.  

But the interviews also include explicit discussion of not wanting to always sound the same, such as the Martin Denny piece on Journey Through a Body, and of course the exotica-type influences on 20 Jazz Funk Greats and others. So, they were certainly thinking about the process and what it meant to be a "band" and present things to the public — as if that weren't already obvious from the carefully-designed logo and aesthetic for the label, and even some wardrobe that they used at times.  

Jonathan Shaw: Some of that wardrobe follows the "industrial people" notion to uncomfortable conclusions. Very DDR, if not SS.  

There's video of them recording Heathen Earth if you want to see them in action. The video producers' "groovy" editing gets distracting at points, but the images cut into "Improvisation" give you some idea of the sort of stuff they subjected audiences to. There's a small audience in the room, as well, which I don't think I knew about; so they had people reacting, for them to react to. Still, TG seem very focused on the sounds they're making.

Mason Jones: Yes, the Heathen Earth video is great — that was an official release from Industrial Records back in the day. That performance was basically a private show to which a small number of people were invited, hence the "seance" description from the interview, and the pseudo-live setting. From what I've seen it was a more personal smaller setting than the more confrontational large-scale shows, and Heathen Earth has always felt a bit "smoother" to me, and certainly less harsh, than other live recordings of the time.  

Ian Mathers: Aren't TG the band that supposedly managed to grab some surplus military equipment that produced subsonics on a frequency known as "the brown note"?  

Mason Jones: I'm not sure about that. I do know that Survival Research Labs made a diesel-powered whistle that generates a tone at around that frequency, so perhaps that's what you're remembering? Mark ran a demo of that at the SRL warehouse way back when, but only for a few seconds in order to not cause any damage...  

Jonathan Shaw: It's interesting that the Kezar Pavilion show--their last in their first run as a band, released as Mission of Dead Souls — has so little performative shtick. No projections, no dangerous machinery, limited lightshow. It's just the music. Video of the whole set is available on Youtube. P-Orridge performs, stalking the stage, ranting and fulminating and threatening, especially in the set's closing songs.  But the rest of the band seems focused on the music, tuned in to the machinery. The more introspective quality can be heard in "Spirits Flying," which spends most of its time deferring climax. 

Bill Meyer: When I saw them on the US comeback tour, Gen was still the main visual focus. Cosey was all business when she stepped up to the mic to blow her trumpet and Sleazy and Carter did not draw attention to themselves.  

Jonathan Shaw: It's great that you got to see them, Bill. The band is all business on the video for Heathen Earth, as well, which likely suggests something about the relative demands of making their sort of music effectively. They need to be tuned into each other and their gear. I suppose what I was trying to articulate was the spareness of performance — so little visual content, as opposed to the descriptions of total sensory overload you hear in relation to their late-1970s live act. Maybe that's a mark of the distance between then and now, and what counted as multimedia complexity then as opposed to our current expectations.  

In any case, Mission... has a decidedly doom-struck vibe. None of the music we're listening to is joyful. The brief lightness in Journey's "Exotic Functions" is a sort of packaged vacation, which then descends into "Violencia." But even in the larger context of these records, Mission... is pervaded by a particular sort of dread. I don't know what was going on among the band members by that point, or what was driving them towards the dissolution of TG. It's likely that those tensions are somewhere in the mix of Mission....  

Marc Medwin: In revisiting these TG albums for our Listening Post, I was surprised that two of the three reissues under discussion—Journey Through a Body and Mission of Dead Souls—contained small fades between the tracks. I found this more intrusive on Mission…, a live album, than on Journey…, though the latter’s pieces are also largely connected. These small dropouts were present neither on earlier issues in my collection, nor on the other reissues in this current series.  

Mute was kind enough to me the actual discs for comparison to the files we reviewed. In response to my inquiries, I was told that the 2010 Chris Carter remasterings of The Second Annual Report, 20 Jazz Funk Greats and Heathen Earth were reused, though no remastering dates were given in the accompanying booklets. The other titles in the series contain no such information, though Mute informs me that Carter did the remastering at a later, though unspecified, date. The 2010 versions sound superb, and they are a definite upgrade to the early 1990s CD versions, and, pesky dropouts aside, so are the others.  

Jonathan Shaw: Thanks, Marc! We’ll leave our readers with this, from TG’s second run as a band. I’d say “happy listening,” but with TG, that’s not really the point.

#throbbing gristle #listeningpost #dusted magazine #jonathan shaw #marc medwin #bill meyer #Ian mathers #mason jones #genesis p-orridge #cosey fanni tutti #chris carter #peter christopherson #electronic #industrial #heathen earth #mission of dead souls #journey through a body