Whilst you're waiting for GRISTLEISM to ship to the distributors in six days time, here's another packaging shot and a nice picture of Cosey cradling a lovely chrome GRISTLEISM!
UPDATE: I've just checked the state51 web store and it says my Tri-Colour Limited Edition GRISTLEISM box set is being packed...
"Genesis Breyer P-Orridge is retiring from touring in any and all bands including TG to concentrate on art, writing and music. Genesis will still consider one-off projects if they are unique, interesting or challenging. S/HE will also continue to work with Tony Conrad occasionally on violin duets and perform expanded poetry projects with Thee Majesty."
and Card of GRISTLEISMs just arrived. Very nice little badge. Not entirely sure what to do with my Card of GRISTLEISMs though...
Great programme overall, though of course there were a few "why did/didn't they include so-and-so?" type quibbles.
Welcome to a time when there where no guitars and no drums – just synthesisers. In late-Seventies Britain, musical heroes of the day were a young bunch of post-punk pioneers, obsessed by Kraftwerk, Kubrik's Clockwork Orange and British author JG Ballard. Around the country, acts like early Human League, The Normal, Cabaret Voltaire, Throbbing Gristle and Joy Division were synthesising the sound of the future against the backdrop of a bleak, concrete, high-rise Britain.
Despite their pioneering sounds, none of these acts met with much recognition until 24 May 1979, when the future of British pop finally arrived in the form of a punk who loved sci-fi and played the synthesiser. Most impressively, Gary Numan was on Top Of The Pops and, with songs like Cars and Are Friends Electric?, he ushered in the synth-pop era. As Britain shrugged off the austerity of the late Seventies and entered the Eighties, with a shift to the right, synth-pop became the new soundtrack.
As well as Numan's success, Daniel Miller's fledgling indie label, Mute, produced huge synth acts, including Depeche Mode and Yazoo. And, across the country, fringe post-punk bands such as Ultravox, Orchestral Manoeuvres in the Dark and a revamped Human League stepped out of the pages of the NME and onto the front page of Smash Hits.
Eighties progressive synth-pop became increasingly formulaic, lacking the invention of its original pioneers. However, by 1983, acts like the Pet Shop Boys and New Order would show fans that the future of electronic music lay in dance music.
The film features interviews and music from a host of artists and industry figures, including Daniel Miller, Richard H Kirk, Martin Gore, Vince Clarke, Andrew Fletcher, Philip Oakey, Martyn Ware, Gary Numan, Bernard Sumner, Alison Moyet and Neil Tenant.
Limited edition of 1000. You know how quickly these GRISTLEISM limited editions sell out, so you'd better order soon!
http://tg.greedbag.com/buy/tg-gristleism-metal-pin-badge-an/
Documentary following a generation of post-punk musicians who took the synthesiser from the experimental fringes to the centre of the pop stage.
In the late 1970s, small pockets of electronic artists including the Human League, Daniel Miller and Cabaret Volatire were inspired by Kraftwerk and JG Ballard and dreamt of the sound of the future against the backdrop of bleak, high-rise Britain.
The crossover moment came in 1979 when Gary Numan's appearance on Top of the Pops with Tubeway Army's Are Friends Electric heralded the arrival of synthpop. Four lads from Basildon known as Depeche Mode would come to own the new sound whilst post-punk bands like Ultravox, Soft Cell, OMD and Yazoo took the synth out of the pages of the NME and onto the front page of Smash Hits.
By 1983, acts like Pet Shop Boys and New Order were showing that the future of electronic music would lie in dance music.
Contributors include Philip Oakey, Vince Clarke, Martin Gore, Bernard Sumner, Gary Numan and Neil Tennant.
Phil Oakey describes how the Human League got the drum sound to Being Boiled.
Andy McCluskey breaks down the structure of Enola Gay.
John Foxx takes you on a Arp odyssey.
Klaus Schulze talks about, and demonstrates, his first synth.
Vince Clarke describes an early sampling drum machine
