Here are mine questions, by the way:
* Nicole 12 & Taint – Candyman – There could just some misreading of my own on here, but my question is, how did this particular one "opened up the subject for other artists"? The "subject" has been treated since the early days of Industrial, but then again, I guess that was a reference to a much more subtle and complex approach, and specifically the bands spawned therein. One can definitely see the influence of N12 on Sick Seed's "The Most Hated Crime of Them all", whose piano-based (is there any thread on piano-noise, by the way?) evokes the deranged exploitations of Ballerina and Videostar Once Again. Artists like Climax Denial, S.T.A.B. Electronics, Striations, North Central, Strict, Caligula031 and much more have dealt with such themes, not to mention the Institute of Paraphilia Studies. Overall, this split sounds much more like a Taint release than a N12 one, albeit the first track. Reminds me of Wonderland Club's "Pageant" – huge crescendos of walls of filthy noise, distorted vocals, albeit screamed much more in the latter.
Being a documentative project, it's quite a mystery to me what the sounds might really be about..current events at the time, yes, but what exactly? I wonder why kind of conversations must the two artists have had to conceive such a release.
But not only that, the album encapsulates the general context within which the facts have spawned from, that is early 2000's Internet. Not something I have any experience with, to be frank, aside from CD-rom computer games and some other simple stuff. But it's interesting to note that it documents a certain time, which changed a lot (euphemistically speaking) 20 years since its release. The Outro talks about a site being taken down after search warrants being emited, arresting some people and taking down a community of 7.000 members (?). Thing is... how much people would frequent one, in this day and age? Get what I'm saying? Maybe it's time, in the age of AI technology and Sextornistic voyeurism for someone to explore those themes of today, which are plenty and I wouldn't like to name in detail. "The Internt is a kinda dodgy situation", as the reporter said. Wonder what Terry is about.
* MO – Anal Perversions – I figure there might be pragmatic reasons influencing the positioning of a release on the Canon, including how much it may cost nowadays, how rare it is, or even reasons concerning the circulation of a tape among few connoisseurs during the early 80's/90's that framework a classic status. And while I do like AP, I believe Bloodyminded to be a better one, but I digress, since it's my opinion. Question is: why exactly this one and not another from him?
There are seems to be a general impression that I have that, while valueing Mo's work and its influence among Noise and PE, most people on this thread consider it not being on the same level of Whitehouse, SJ, Ramleh & Con-dom. I disagree. Maybe it's also because of Pierpalo Pazzo's usage other's sounds and something I'm not quite aware about that this comes across that way, but take the first two releases for example, the s/t and 2nd Movement. Correct if I'm wrong, but I don't think there was anything quite like it back in the day. More on the side of Noise than PE (Necrofellation sounds like Bennett had an Italian son or something), but low-frequency exploitation done in a fashion that wasn't done from anyone before... maybe? I mean, Industrial has its brooding crescendo loops and all, but a release entirely based on variations of such frequencies, creating that dense atmosphere unparalled? Even BDN and the overall Death Industrial from the late 80's sounds different from it. More complex approaches have been made by the likes of BLJ, DBL and many more later. But I do believe that being made on '80/'81 makes them quite forward-oriented releases.
* The Sodality, Orgies of Crime: But why not BUP? Lyrically, for a late 80's record it goes quite far deep into penetrating (no pun intended) some subjects. Distorted children laugh ten years before Playground. Also, sound volatility and creativity which stems them away from all the PE that was being made at the time. Early WH influence is clear, but sonically it sounds different than anything I've heard during the 80's.
* WH's Birthdeath Experience: being a debut it is understandable to be here, but while I do like the first two albums, I do believe it was in Erector that Bennett managed to create an archetypical sound for the music to come in a fashion much more directed and structured. I recall a lot of interviews in which he shares the same opinion. The title track could be considered as maybe the "Black Sabbath riff" of Power Electronics. Thus, maybe it could be there?