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Skinny Puppy - Last Rights (1992)
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capt.evil1
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Date :
01 Nov 2009 07:48:49
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Skinny Puppy - Last Rights (1992)
Rock/Industrial/Alternative | 1 CD | EAC | APE tracks+log+cue+art | 324 MB
Label: Nettwerk (Canada) | Catalog#: CDP 7 98037 2 | Released: 1992 | RapidShare
Rock/Industrial/Alternative | 1 CD | EAC | APE tracks+log+cue+art | 324 MB
Label: Nettwerk (Canada) | Catalog#: CDP 7 98037 2 | Released: 1992 | RapidShare
| “ | Skinny Puppy is a Canadian band, formed in Vancouver, British Columbia in 1982. Initially envisioned as an experimental side project by cEvin Key while he was in the new wave band Images In Vogue, Nivek Ogre soon joined as vocalist and Skinny Puppy evolved into a full-time project. Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. Other members have included Dwayne Goettel (1986–1995), Dave "Rave" Ogilvie (long-time associate, producer, and "unofficial" fourth member until 1995), Mark Walk (2003–present), and a number of guests, including Bill Leeb (1985–1986, under the pseudonym Wilhelm Schroeder), Al Jourgensen (1989), and many others. The group is widely considered the founders of the electro-industrial subgenre. Self-releasing their first cassette in 1984, Skinny Puppy soon signed to Vancouver label Nettwerk, anchoring its early roster. From their Nettwerk debut EP Remission in 1984 to their 1992 album Last Rights, Skinny Puppy developed into an influential band with a dedicated cult following, fusing elements of ambient, noise, new wave, electro and rock music and making innovative use of sampling. Over the course of several tours of North America and Europe in this period, they became known for theatrical, horror-themed live performances and videos, drawing attention to issues such as animal testing and chemical warfare. Last Rights, Skinny Puppy's final album before a five-year hiatus, and their second to last overall, is a hailstorm of electro-distortion ten years ahead of its time. Even while industrial pop stars like Nine Inch Nails and Ministry were strutting their way across the charts and media outlets trumpeting the industrial revolution, Dave Ogilvie and cEvin Key's ambitious production talents reached what is easily a technical peak (and, arguably, an artistic peak). "Inquisition" is the pinnacle, a heart-stopping single whose production contributed just as much to the air of menace as Ogre's vocals. Skinny Puppy even attempts a ballad on "Killing Game," with surprising success. Though the dense production occasionally masks Ogre's vocals and songwriting, Last Rights is a sonic masterpiece that undoubtedly influenced sound manipulators from Autechre to White Zombie. | ” |
Track list:
01. "Love In Vein" – 5:35
02. "Killing Game" – 3:48
03. "Knowhere?" – 4:18
04. "Mirror Saw" – 3:51
05. "Inquisition" – 5:17
06. "Scrapyard" – 3:54
07. "Riverz End" – 6:40
08. "Lust Chance" – 3:54
09. "Circustance" – 4:36
10. "Left Handshake" (see "Notes")
11. "Download" – 11:01
Group Members and Other Participants:
* Nivek Ogre (vocals)
* cEvin Key (production, various instruments)
* Dwayne Goettel (various instruments, mixing)
* Dave Ogilvie (production, mixing)
* Ken Marshall (recording, mixing)
* Anthony Valcic (editing)
* I, Braineater (cover painting)
* Martijn de Kleer (synths - uncredited)
* John Rummen (cover layout)
Notes:
01. "Love In Vein" – 5:35
02. "Killing Game" – 3:48
03. "Knowhere?" – 4:18
04. "Mirror Saw" – 3:51
05. "Inquisition" – 5:17
06. "Scrapyard" – 3:54
07. "Riverz End" – 6:40
08. "Lust Chance" – 3:54
09. "Circustance" – 4:36
10. "Left Handshake" (see "Notes")
11. "Download" – 11:01
Group Members and Other Participants:
* Nivek Ogre (vocals)
* cEvin Key (production, various instruments)
* Dwayne Goettel (various instruments, mixing)
* Dave Ogilvie (production, mixing)
* Ken Marshall (recording, mixing)
* Anthony Valcic (editing)
* I, Braineater (cover painting)
* Martijn de Kleer (synths - uncredited)
* John Rummen (cover layout)
Notes:
Track 10, "Left Handshake", was omitted from the album because the band was unable to get clearance for the Timothy Leary samples taken from Turn On, Tune In, Drop Out, a recording for recreational background settings during LSD parties. Henry Saperstein, owner of the copyright on the recordings in question, denied the band the right to use the samples (even though Leary himself did not mind). Some releases of the album have a blank track 10 where the song should be; others were mastered as if the song never existed and make "Download" track 10.
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