Cabaret Voltaire poster, designed by Neville Brody, 1980
via @johncoulthart
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📷 source: Industrial, EBM & Noise (FB)
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chris watson -- embleton rookery
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Art Spiegelman & Françoise Mouly: Raw, Volume 2, Number 3 (1991)
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Chris Watson – Weather Report.
2003 : Touch.
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Salem: I can hug him then. I have no organs.
Chris goo: hug~
joel: it still melts!
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:0 *hugs goo child*
Faz goo/Chris goo sendo meu bebê em dois segundos!
I didn't know how to make your oc but it turned out like this, until I liked the result
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# 4,057
Cabaret Voltaire: 3 Crepuscule Tracks (1981)
I’m still in the hunt for 1983′s The Crackdown. I gave it up when I found it at Northport’s Record Reserve because I didn’t want to pay $20.00 for it. What a mistake. I made up for it finding The Arm Of The Lord (1985), Drinking Gasoline (1985), and The Drain Train (1986) all on vinyl at Riverhead’s Sunday Records. But all of that didn’t fully close the wound I inflicted on myself. Lesson learned.
3 Crepuscule Tracks is another of The Cabs’ titles I’m looking to catch along with some of their other pre-Arm Of The Lord material and all the power to anyone who lean towards their Red Mecca days. That’s evident on “Sluggin’ For Jesus Pt. 1” which could’ve been included on the album. The sequel, “Pt. 2″ harkens back to their pre-Extended Play era when Richard H. Kirk, Stephen Mallinder, and Chris Watson were pushing experimental boundaries with stray sound effects, soundbytes, and tape loops to create their soundscapes of the anti-political and anti-religious. Sandwiched between the two, “Your Agent Man” is not far behind from the distant, isolated, and minimal sonic themes of their 1979 full debut The Mix-Up and also could have been consider for their inclusion. All of their released mentioned here including this one are the many reasons why Cabaret Voltaire were the masters and pioneers writing the blueprint for industrial music.
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Chris Watson messing around with the ambisonic mic rig
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