Foetus Inc. - 'Sink'

Given Foetus' eternally evolving and productive career, anything like a complete career overview -- counting side projects, collaborations, and more besides -- would probably take one heck of a box set. In terms of the '80s, though, this one-disc collection more than suffices. More or less arranged to have one track go right into the next, Sink skips about merrily from 1980 to 1989 and all points between, drawing some of the amazing highlights from Thirlwell's multi-named and multi-themed career. Kicking off with the noir hell of "Bedrock" from the Foetus All-Nude Revue release of that name -- a long, sleaze-out number that mixes Tom Waits, Cab Calloway, and Foetus' own brand of aural hell -- Sink burns with a vicious, relentless energy. If anything else it makes the case that Thirlwell was the solo industrial icon of the time, but one who never got anywhere near the level of attention Trent Reznor did in the '90s -- ironic and sadly typical given the one's clear debt to the other. While a good half of the songs are familiar versions from earlier releases, there's a brace of rare or otherwise unreleased numbers, making Sink as much of interest to hardcore fans as neophytes. Happily, the quality of said rare tracks is consistently strong enough to ensure that the collection steers away from unevenness, focusing in on more quietly threatening moments as it does skullbashers. Highlights of the obscurities include the cinematic, moody instrumental collage "Lilith" and the equally chaotic but generally louder rant'n'rip "Anxiety Attack," done for Dutch radio. Add in such standouts of sheer entertaining pain as the raging "Ramrod" and "The Only Good Christian Is a Dead Christian," and about the only thing missing is a kitchen sink.

Foetus Corruptus – Rife

Following Thaw‘s release, Jim Thirlwell formed Foetus Corruptus for a 1988 European tour, documented on the double-LP authorized bootleg Rife. Borrowing Raymond Watts from the likeminded Pig, Algis Kizys (Swans), Norman Westberg (Swans), and Ted Parsons (Prong), Clint Ruin set about capturing the previously studio only incarnations, with a live band. Initially released by Thirlwell with no record label credit the album was released in three formats: a two-LP set on black vinyl, a two-LP picture disc set, and a CD. After its initial release, Jungle Records was authorized in 1988 to produce a limited edition official release of a further 2,000 albums split between the three formats. But wait for it, Jungle in their own wisdom then self-bootlegged Rife in 1996, producing 500 additional, unauthorized picture disc albums. Two years later Jungle licensed Rife to Invisible Records, who began producing additional (possibly unauthorized) CDs.

Foetus Interruptus – Thaw

Broiling up an explosive sonic smorgasbord in a free-fire zone, Foetus outdoes himself on Thaw, an album so intense that it makes the previous platters seem like knuckle-cracking tune-ups. Although the aural assaults of Foetus could never be described as commercial, on 1988's Thaw, Jim Thirlwell reaches his most accessible. His arsenal here includes automatic weapons, clanging metallic percussion, a symphony orchestra and virulent lyrics about suitably violent subject matter spewed out in a voice so shredded it would give Freddy Krueger the willies. All the traditional harsh, machine-based noise is still present, but in slightly more conventional patterns than before. For dynamic tension, Foetus suddenly drops back amid the onslaught to whisper a verse or two over acoustic piano and string bass (in one case, sitar and tabla). Opening track "Don't Hide It Provide It" rides on a mutant disco groove that many of Thirlwell's contemporaries would sell their souls to come up with, but it's something that he manages to do several times on the album. Not all of Thaw is dance worthy, and some of it is almost unlistenable -- "Asbestos" is three minutes of screeching violins -- but songs like "Barbedwire Tumbleweed" demonstrate just how far ahead of the pack Thirlwell is. Oppressive in the most rewarding fashion imaginable, Thaw — which concludes with the charming “A Prayer for My Death” — is the fantasy score to an unimaginable film no one should ever have to see. When he is on this kind of form, he's one of the best.

The Flesh Volcano – Slut 12”

The Flesh Volcano was a side project of singer Marc Almond and Clint Ruin. Their sole release was the Slut 12”EP, which was expanded to album length in a number of poor arsed CD reissues during the 90’s. However, only the first three songs on the CD reissues represent that actual pairing, being the original Flesh Volcano tracks. Initially released in February 1988 the three tracks were recorded April 1984 and September 1986.

Almond and Ruin were formerly bandmates in The Immaculate Consumptive, and although Almond is credited for lyrics and vocals; Ruin is credited for music, instruments, direction, and production. While both musicians share a fascination with the seamy side of urban life, they're not musically compatible, since Ruin favours noise and Almond favours camp. Slut is a re-edited version, with Almond’s vocals, of SFOTW’s Smut from the Ramrod 12″, or vice-versa. On side 2 the tracks are the 45 RPM versions, and in this form Bruisin Chain is a re-edited vocal version of the Foetus All-Nude Revue, Rattlesnake Insurance, and The Universal Cesspool is a vocal version of the first half of Diabolus In Musica, from the Bedrock 12” release (the second half being used on the soundtrack to Lydia Lunch’s The Gun Is Loaded video).

Flesh Volcano is essentially nothing more or less than Clint Ruin at his most industrial and clattering with Marc Almond at his most theatrically pained and howling; great if you want it, but not as earth-shattering as you might hope.

The Foetus All-Nude Revue – Bedrock

To celebrate today we have not one, but two all-nude reviews for you to consider.

One side of this record plays at 45, the other at 33. Side one features the title cut, an odd combination of bluesy, heavy metal mentality and a slight jazzy influence. A lot of the jazz flavour is provided by the use of an upright bass. Foetus’ vocals are somewhere between a sleazy Jim Dandy and a gravelliest Tom Waits, and oh does it sound slimy. Lines like “a woman’s place is on my face” are sure to endear Foetus to feminists everywhere. If side one is more “body” oriented, than side two is more directed to the brain, and is much more abstract and experimental. Here we have an instrumental suite entitled “Diabolus in Musica” which is based on the tritone (augmented fourth or diminished fifth). The tritone was banned in the medieval church because it was believed to summon Satan; those who were found to be using it were often tortured to death. This piece is at times almost industrial in its harshness, and at other moments conveys a kind of creeping slow menace.

Or;

…finally out after enormous delays, the Foetus All-Nude Revue is designed to strip yr clothes off yr bod and yr skin off yr bones. A swinging porn-epic that’s as brassily nap as Lydia’s long-ago work-out with Billy Ver Planck, this rec manifests an oink as sinister as anything Foetus’s ever done before. Like a roomful of shifty-eyed mofos eyeing yr tot in a paediatricians’ waiting room. Some nerds seem to prefer the older more-heavily-syntho-sound-Foetus, but I’ll take All-Nude any day. Its approximation of a big, big outfit makes me walk like a drunken cartoon hippo. And that’s okay.

Either way;

RECOMMENDED LISTENING CONDITIONS: BLACKNESS; OXYGEN AT LISTENERS DISCRETION; EXTREME STEREO OR HEADPHONES; LARGE VOLUME MANDATORY.

Wiseblood – Dirtdish

In the wholly fucked up world of Jim Thirlwell, the Foetus alias was given a rest while he concentrated on giving the Wiseblood project some serious attention. Originally debuting with the 12" Motorslug / Death Rape 2000 single in May '85. Possibly thought to be a one off, it wasn't until November '86 that there were rumblings in the Wiseblood camp as a second 12" single rolled off the presses. Stumbo / Someone Drowned In My Pool showed that Thirlwell could work with other like-minded individuals. Posing this time as Clint Ruin, Thirlwell and Roli Mosimann (Swans) made serious hay in the sunshine.

 

Wiseblood is an electronic noise-rock band formed by Clint Ruin, the king of deathly orchestration, the man whose music dives into the deepest reaches of the condemned soul, the composer whose arrangements play pied piper to the dark side and who once again teams up with the dark industrial trudge of long-time contemporary Roli Mosimann. The material tends toward the realm of the darkest and most sexual Foetus songs, with Mosimann’s Swans lineage showing in the slow, crushing pacing of many tracks. Thematically, Wiseblood’s lyrics centre around the misanthropic exertion of power, typically via murder, sex or assault. Dirtdish radiates a good deal more emotional force than some of Ruin’s more recent Foetus works. The songs all build on heavy, intense tribal percussion overlayed with bits of whiney distorted guitar (leads courtesy Robert Quine on Prime Gonzola and Someone Drowned In My Pool), occasional violin and Ruin’s characteristic vocal style. Dirtdish is full of Satanic religious fervour (indulge yourself with 0-0 (Where Evil Dwells) and Godbrain) that builds in an intense layered fashion that only a duo like this could pull off. In Ruin’s words, Wiseblood is violent macho American [music] made by non-Americans.

Scraping Foetus Off The Wheel – Nail

There are a couple painful things about being a Foetus fan; there’s the fact that you have to introduce Mr. Thirlwell as “the guy who writes the Venture Bros. music,” as that is literally all he might be known from. Another hard part is that his first two albums Deaf and Ache are…unique. They are not bad records at all, they just take a couple listens before it finally kicks in. The most important thing is how pretentious you might look for listening to this guy; he’s about as underground as they get. Granted, there’s a better chance of meeting a fellow Foetus fan than a Distorted Pony fan but the trouble is still there. Why do I mention the threat of looking pretentious?

Because Nail is a perfect album and every minute of it is absolute genius. That’s why. I do not make a statement like that lightly, and this is no light album. As a matter of fact, Nail is a shockingly macabre album, but always feels self-aware and holds its composure in order to avoid becoming “goth,” “post-punk,” or any terms to mark it into one category. Nail is whatever it wants to be from start to finish, and what a compelling trip it is!

Nail comes to us from J.G Thirlwell, an Australian musician and prime candidate for the “Most Competent Human Being” award. From Deaf to Thaw, Thirlwell did all the music on every one of his albums, no exceptions. It wasn’t until 1995’s Gash that he would start having guest musicians, but even then they were confined to about 4 songs before I assume Thirlwell kicked them out so he could record more pots and pans being thrown in conjunction with string orchestras. He also does his own artwork, and observing the creativity displayed on these covers, while also listening to the monstrously layered tunes, it is easy to assume that Thirlwell is a time traveller who went back to the 80s with Photoshop and FL Studio. I still have not thrown that theory out.

Absolutely spellbinding and brilliant album packed full of songs that would be “standout tracks” on any lesser album. Each song is memorable and unique, no two tracks sound at all alike, and Thirlwell’s lyrics are always humorous and brilliant while his  wonderful vocal delivery helps bring them into a new territory altogether. An absolute must listen.

You've Got Foetus On Your Breath – Wash/Slog

Is this one of the greatest singles ever released in 1985? Probably if you’re familiar with the Thirlwell / Foetus estate and its many inventive interpretations. The original version of “Wash It All Off” appears on the Wash / 333 7″ (here); this version is totally revolutionary / jaw-dropping / seizure-inducing and has been re-recorded, remixed and re-edited to within an inch of its life. Wash is a visionary track which definitely shows off Thirlwells' ability to work up a frenzy. For even more severe seizures watch this fan-made video featuring a dancing Ronald McDonald (and some graphicaccident footage). The original version of “Today I Started Slogging Again” appears on the Deaf LP; it’s also been re-recorded, remixed and re-edited and it is this version on the bonus 12″ that came with initial US releases of Hole. Though the date on the 12″ states it is copyright 1984, a Self-Immolation newsletter stated this was forthcoming in January of 1985.  Additionally, Reflex magazine’s discography stated this was released in February 1985, and the Sink discography stated it was released in February 1985 as well.

Foetus Uber Frisco - Finely Honed Machine

There doesn’t seem to be any accurate date for the release of Finely Honed Machine on the interweb. Some say 1984 but no month given, while others say Jan 1985 or March 1985 but you know what, it’s not about the release date, it’s about the music. In all of this, Finely Honed Machine is a rippling, groovy and funky single. The A side is a good killing between electro-funk and a geyser of proto-industrial sounds, a smashing hit that must have gone quite a bit in Trent Reznor's room, although the latter will have missed out on the wonderful melancholic 8 Bits sounds Thirlwell scattered here and there. Sick Minutes has nothing to do with it, since it is a tribal and elusive title, revealing the other side of Foetus, less over the top: Father Thirlwell's enchanted merry-go-round, between Current 93 and nowhere, with that voice coming out of who knows what or who repeats “unmutual” like a mantra at the end.

Foetus Art Terrorism - Calamity Crush

If You’re Gonna Get Down – Get Down And Pray

The Holland Dozier and Holland of Hardcore!  Forget disease, forget the vermin serum, and forget the wonderful wasted living on the sleaze line chic.  Forget the ‘we all have to suffer in the war on pop’ claims of the fanatics.  With the manic, drilling, stabbing sensurround of F.A.T. your fears are at an end.  What a funny, misleading acronym to be sure.  Seldom has there been a record more finely pared to the bone.  In the best, truest sense of the world FAT has a rock ‘n’ roll heart.  There are no stated tinges of satisfaction on this record – a full frontal assault on stamina and desire – just a head full of crazed dreams, wild connections, explicit and determined fantasies.  But even as he drenches himself in the style and fury lost and found at various points during the last three decades (thrashing the Memphis Flash, ‘Good Times’ rap mix splattered and tormented to submission) FAT displays a mastery of studio technique that would put any number of competitors, in any number of areas, to withering shame and envy.  He has it all down in terms of echo, impact, attack and overlay. Nothing is overplayed, everything is lethal, could be the motto here.
Source: New Musical Express 24 November 1984

Scraping Foetus Off The Wheel - Hole

As 20:00 GMT London clicks forward, Foetus Friday continues to bound along. Back in the real world of 1984 it had been a lean two years since the last release by Foetus (last week for you lucky people in the 21st Century). Hole is the first of a golden era from my point of view as this is where I was first introduced to the weird, monochrome and wonderful world of....

J.G. Thirlwell is not a household name by any means. No doubt slipping under the radar for many, the man sometimes known as Clint Ruin and Frank Want has built up quite a cult following as one of the most prolific background figures in the music business; a notable contributor, producer and remixer (having worked with Nine Inch Nails, Marc Almond, Front 242, Nick Cave, The The, Roli Mosimann, Thurston Moore, Red Hot Chili Peppers, Raymond Watts, Marilyn Manson and more) owing most of his popularity to his primary musical act, Foetus.
Cycling through several monikers over the years all involving that particular word (Foetus Interruptus, You've Got Foetus On Your Breath, Foetus Corruptus) since 1981 J.G. has concocted some of the most difficult to categorise genre-bending experiments ever put to tape, mostly centred around the abrasive sampling and drum machines typical of industrial. Third album Hole (released under Scraping Foetus Off The Wheel) is a much more refined effort, for the most part it is no less engaging for those of us with ADD.
Opening track Clothes Hoist is a frenetic bastard of a thing with many multilayered tracks of percussion, a swinging psychobilly hook to J.G's vocals and an explosion of distorted textures bringing to mind a chaotic B-grade horror movie extravaganza. It's a fun song on its own merits, but when listened to through headphones an impressive field of sound is revealed with the sheer number of parts at work somewhat awe inspiring. Lust For Death has a Mr. Bungle before there was Mr. Bungle vibe in its cheesy organs, rumbling double bass, cheap trumpet stabs and upbeat ostinatos using sounds sourced from god-knows where; the wild man howl of the man behind it all riding high on the madness eventually gelling after a few listens into a downright entertaining piece of music.
I'll Meet You In Poland Baby is unique to say the least, an A Cappella intro with meticulously timed delay effects providing an odd but ultimately satisfying arrangement as J.G. namedrops Stalin and The Versailles Treaty in a declaration of war (See you at your graveside baby, I’ll meet you in Poland baby!). Incorporating a Nazi march "stomp" as the backbeat is an intuitive move, samples of German rallies and sirens in the distance contributing to a military wartime feel whilst the added nuances of percussion and the strange vocal hooks make it a very distinct song.
Hole is an inconsistent album in many ways, however where it works it is a captivating listen. There is a manic energy to it at its best, with a lot of density to the compositions which makes for an excellent listen through a pair of nice headphones (and some weed wouldn’t hurt either). A few of the songs are subpar as a whole, but they all have their good aspects in one way or another. There is absolutely no other music on the planet quite like what J.G. Thirlwell has unleashed with Foetus, and whilst there may be better albums to start with Hole is more than enough to spark interest in investigating the pioneering industrial artist.

You’ve Got Foetus On Your Breath - Ache

As 20:00 GMT London clicks forward, Foetus Friday continues to bound along.

Although some may dismiss Jim Thirwell, aka Foetus, as a confrontational, rabble-rousing noisemaker (which he is), his eccentric and wide-ranging talent is usually overlooked; the trouble is, most listeners simply don't have the patience to find Thirwell's genius amongst the deranged sound sculptures that are his songs. Ache, Thirwell's second album (recorded under the You've Got Foetus on Your Breath pseudonym), sounds like it was recorded in the same time and place of its predecessor, Deaf, and bears exactly the same top-heavy, abrasive production stamp of that album. Seemingly a musical omnivore, Thirwell devours everything -- from swing to Krautrock -- and spits it back out in a scrap heap of sonic chaos, twisted beyond recognition. His oblique yet subversive lyrical themes don't make Ache any more palatable for the faint of heart. This is the sound of unfiltered imagination, absolutely unencumbered by notions of capitalism, commerce or accessibility. Utterly Brilliant.

Foetus Over Frisco - Custom Built For Capitalism

As 20:00 GMT London clicks forward, Foetus Friday continues to bound along.

"About as welcome as an infection in the urinary tract" takes us on a near eleven-minute ride through everything that could be recorded (the theme to Blue Peter no less) for inclusion…

Thanks to modern technology, any chump with a studio can now open up the bomb bays and drop sonic megatonnage. That’s the easy part. Nailing targets and causing serious devastation, however, is a job for professionals, and no one in modern rock wrecks shit with a sharper balance of artistic control and unmitigated power than J. G. (Jim) Thirlwell, whose unmatched skill in sculpting audio thunder into theatrical monuments of bludgeoning agility is positively Zeus-like.

Philip And His Foetus Vibrations - Tell Me, What Is The Bane Of Your Life

First Friday in September, it’s 20:00 London; the rolling road that is Jim Thirlwell has broken into 1982 with a wild (in those days’ standards) new single. Featuring You’ve Got Foetus On Your Breath with Phillip Toss, What Is The Bane Of Your Life was released as 7″ single by Self Immolation in January 1982, in a limited edition pressing of 2,000 discs. A review of the single was published in the KATA newsletter #10, sometime in 1982. It reads like this;

Well known hysterically un-funny ‘seven piece San Franciscan’ group turn to the losers way out (see Clock DVA, Throbbing Gristle, Cabaret Voltaire, Human League, etc. etc. etc….) of daaaance music maaaan.  Perhaps an attempt at subversion, but far too close to the Jacksons than is necessary my dears.  A few ingenious twists of the knife does not a true killer make. Loud derisive screams of “COMPROMISE” should follow it as you throw it out of your window.

You've Got Foetus On Your Breath – Deaf

Yes, it’s Friday, it’s 20.00 London. Week three of many and Jim Bob has progressed to a full album of noise interestingly called Deaf…So yeah, this is a re-up of the original post to try and keep this Friday timeline nonsense in check.

Recording under the moniker You've Got Foetus on Your Breath, Jim Thirwell, aka Foetus, released his first album, Deaf, in 1981. Thirwell's eccentric trademark sound, a confrontational sonic tapestry based on harshly recorded instruments, noises, samples, and voices, is firmly established on Deaf. The songs are twisted heaps of sound that sometimes resemble Frank Zappa outtakes being pummelled to death by Einstürzende Neubauten and Thirwell's scatological, antisocial lyrics only add to the bizarreness. If you've got the stomach for it, Deaf can be rewarding, but it's also a great way to clear the room at a party.

You've Got Foetus On Your Breath - Wash It All Off/333

It's Friday, 20.00 London: Presented here is the second Foetus release in the series, originally released in April 1981 with the first change of name to You've Got Foetus On Your Breath. I'm going to try and post everything I have chronologically (for those who have just left and opened Discogs) until I can't, then you at home can chime in until we all eventually have everything.

Me;- So, what do you think of it so far?

You;- Rubbish

In just 8 minutes you are assaulted first by Thirlwell’s twisted and disturbing lyrical content contained in Wash, though this is not the dance floor stomper (that’s still too come). Followed secondly by the screaming noise of 333 with indecipherable lyrics and accompanying shrill whistle, it really should be heard through decent headphones. If you’re not feeling a little unwell after, it wasn’t loud enough. 

Foetus Under Glass - Spite Your Face/OKFM

And so it begins. It’s Friday, it’s 20.00 (London). Foetus Fridays:

If I count all the James George Thirlwell releases that I have this could be a six month long weekly series, not something that I take lightly, nor something that I have tried before. Now I do not claim to have anything like the complete Foetus and assorted aliases discography because that would be silly and would take a lot longer than a paltry 24 posts. What I have to offer is a mere introduction to the world of Jim G Thirlwell.

Now with the help of Discogs;

Foetus is a main solo project and 'one-man band' of Australian polystylistic composer, multi-instrumentalist, experimental sound artist and producer J.G. Thirlwell. Jim Thirlwell conceived the basic Foetus concept when he relocated to London in 1978. He composed everything and recorded all instruments himself, handling the entire production, even drawing illustrations and designing artworks, but for each album, he would invent a new 'band' with a word 'foetus' in a deliberately profane/offensive name. The debut single, Foetus Under Glass - Spite Your Face / OKFM 7", was released in January 1981 through Thirlwell's own label Self Immolation. Soon after, Thirlwell adopted a new moniker You've Got Foetus On Your Breath, and produced a debut and sophomore full-length albums Deaf and Ache in 1981-82.

A helpful tip for virgins: It's not loud enough, turn it up. That's why you're perplexed. You'll know when it's right, you'll feel it.