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Yes, it’s true, alcohol... it happens that author music, instead of destroying genres, somehow contributes to establishing them... if you think about it, Zappa has given several insights to certain “progressive” music of the 70s (jazz-rock, for example), while the origins of hard rock lie in a development/denial of psychedelia (the quintessential “destructive,” disorganized, and anarchic genre)... let’s think about Hendrix (“author” without a doubt, certainly not just a run-of-the-mill blues-rocker): from his experiments emerged a magma, which was then coagulated and solidified by hard rock bands... a similar discussion can be made about Foetus in relation to the industrial music of the 90s, even though that album you mentioned I haven’t listened to in a long, long time, and I remember it as being a bit different from those of the early 80s... I’ll get back to it as soon as possible, so I can let you know more precisely what I think about it...

Well, what will it be? Dozens and dozens of hours of music in 60 minutes? We can do it, come on... if we got through Twin Infinitives by Royal Trux unscathed ;-)

to be retrieved these ones

@ alcool: creating a genre... what does it mean? Well, I see it a bit like in cinema, where a distinction is made between "genre cinema" (western, noir, melodrama, war, comedy, etc...) and "art cinema" (Fellini, Bergman, Rossellini, Altman, Scorsese, Resnais and so on)... obviously this is an ambiguous definition... in music, the same thing happens (with even more ambiguity): there are "genres" (hard rock, folk rock, hardcore, synth-pop, progressive, etc...), that is, musical styles that are HIGHLY codified and recognizable due to well-defined compositional and sound rules... then there are people like Zappa, Beefheart, Residents, Can, Robert Wyatt, and of course Foetus, who have proposed music that is hard to categorize (so much so that critics talk about "avant-rock")... I believe that Ministry and NIN invented a new genre, easily replicable by uninspired imitators, thanks to its essential nature (especially in the case of Ministry), a modern electro-rock made up of heavy riffs, square rhythms, and dominant electronics, which was to the 90s what hard rock from Zep and Purple was to the 70s, that is, a "paradigm"... @ Solveet: I misspoke regarding the absence of rhythmic rules for Foetus... in reality, he used a very rigorous method... I was referring more to the fact that, for example in Nail, the rhythms start sparse and slow, then accelerate like washing machines on spin cycle until a peak that coincides with the end of the track... in short: a very "flexible" concept of drum machine...

Nice Psycho! I'm saving this for the summer (the psych-raga-folk with 7 degrees Celsius outside doesn't do anything for me).

interesting discussion...for me, however, it's important to keep in mind that the so-called "industrial" has had several incarnations, ranging from the new-wave of Cabaret Voltaire, Chrome, Psychic TV, etc., to the "metal" of Ministry, NIN, etc., passing through a whole series of variations...in the middle, there’s Foetus...I believe that Foetus's proposal is industrial par excellence, conceptually before stylistically...Foetus was beyond genres and eras (although obviously influenced by more experimental new wave)...people like Reznor and Jourgensen codified a new genre (then copied by a thousand mediocre epigones), while Foetus didn’t create any genre but shattered existing ones and centrifuged them through an audacious, anarchic electronics, without rhythmic rules (far removed from the scientific "method" of NIN)...it’s hard not to be struck by the swirling accelerations that many of his tracks take...Foetus was thinking of Frank Zappa, not Cabaret Voltaire...the music of Foetus is grotesque, parodic; it is a deformed hyperbole of consumer society, the West, kitsch subculture, metropolitan nightlife, and all its distinctive signs...Thirwell's apocalypse was not just noise, miasmas, and dark post-nuclear explosion landscapes (especially these days!), but also jingles from commercials, tip-tap, doo-wop, swing, classical music quotes, orchestra...everything layered in a cauldron that intended to make all the culture (musical and otherwise) produced by the West until that moment implode on itself...fantastic voice too, at levels of Cave from Birthday Party...

From "Master Of Puppets" (including) onward, they adopted production techniques that were nothing short of questionable, which flattened the sound and undermined the compositions... for example: "Battery", the opener of MOP... try comparing it with the contemporary "Angel Of Death" by Slayer... there's no comparison... Araya and company had (have) a firepower that Metallica lost too early in their career... what a shame... they had already made the history of metal anyway (with the first two albums)...

I can say I had the honor of seeing and photographing from various angles the statue of the late Phil Lynott on a street in Dublin :-) This was a great band, one of the best and most original in the hard-rock scene... they knew how to be epic and majestic, but also visceral and populist (romantic, in the springsteen-ian sense of the term)... my favorite among their songs remains "Running Back" with that oh-la-la-la-la-la-la at the end that reminds me of their fellow countryman Van "The Man" Morrison...

Hey Kor, I've been listening to them these days...the vocals are definitely fox-core, but the instrumental parts really bring to mind noise-rock...you can tell they're second-generation riot grrrl...great recommendation :-)

@ Lukin: "after a 'heavy' evening with my friends... I was heading home and listening to this album through my headphones and the 'reverb' of 'How Does It Feel' made me unconsciously move my eyes to the right and to the left" <<< haha it happened to me with "To Here Knows When" by My Bloody Valentine :-))) I haven't looked at my shoes in a while: I should pick up this unhealthy habit again... Great review...