Throbbing Gristle

英國(guó)工業(yè)音樂(lè)的先鋒，樂(lè)隊(duì)反叛、好斗的風(fēng)格使死亡、黑暗和法西斯主義在爆雷般的機(jī)械聲中得以展示。他們反對(duì)旋律，支持強(qiáng)烈的節(jié)奏，崇尚恐怖主義。有人稱呼他們?yōu)椤拔幕１I”——用發(fā)狂的熱情實(shí)現(xiàn)自己的主張。 　　這支樂(lè)隊(duì)的頭目是主唱Genesis P-Orridge，他的情人Cosey Fanni Tutti是樂(lè)隊(duì)吉他手，特效處理是Peter“Sleazy”Christopherson，鍵盤(pán)手是Chris Carter。Throbbing Gristle早期的現(xiàn)場(chǎng)表演，總是充滿了委瑣的話語(yǔ)和下流的動(dòng)作，他們是在“嘲笑道德和法律”，更令人不解的是他們還在舞臺(tái)上放置一個(gè)記時(shí)器，將表演時(shí)間死定在60分鐘內(nèi)，時(shí)間一到，他們就立刻將舞臺(tái)的電源掐斷。在樂(lè)隊(duì)那次臭名昭著的首次公演上，主唱還用粘滿血跡的棉花團(tuán)和骯臟的尿布制作了一件藝術(shù)品陳列在了舞臺(tái)上。 　　1976年樂(lè)隊(duì)創(chuàng)建了自己的唱片品牌Industrial。同年公開(kāi)發(fā)行了他們的第一張唱片《The Best of Throbbing Gristle, Vol. 2》。1977年的唱片《2nd Annual Report》僅制作了500張拷貝，后因歌迷的要求又重新再版。 　　1980年，P-Orridge和Christopherson組建了另外的一支樂(lè)隊(duì)Psychic TV（沒(méi)太長(zhǎng)時(shí)間，Christopherson又離去組建了Coil）。Throbbing Gristle剩余的兩位成員則繼續(xù)他們的事業(yè)。 　　Throbbing Gristle樂(lè)隊(duì)的影響范圍很大，他們的很多單曲都很著名，如“United”、“Hamburger Lady”、“Death Threats” 等等。樂(lè)隊(duì)雖然解散了，但因?yàn)樗麄冊(cè)诠I(yè)音樂(lè)方面的突出成就，樂(lè)隊(duì)的影響力卻一直沒(méi)有減弱。80年代開(kāi)始，樂(lè)隊(duì)早期一系列的未發(fā)表作品相繼被出版發(fā)行。
Abrasive, aggressive, and antagonistic, Britains Throbbing Gristle pioneered industrial music; exploring death, mutilation, fascism, and degradation amid a thunderous cacophony of mechanical noise, tape loops, extremist anti-melodies, and bludgeoning beats, the groups cultural terrorism — the wreckers of civilization, one tabloid called them — raised the stakes of artistic confrontation to new heights, combating all notions of commerciality and good taste with a maniacal fervor.
Formed in London in the autumn of 1975, Throbbing Gristle consisted of vocalist/ringleader Genesis P-Orridge, his then-lover, guitarist Cosey Fanni Tutti, tape manipulator Peter Sleazy Christopherson, and keyboardist Chris Carter. A performance art troupe as much as a band, their early live shows — each starting with a punch clock and running exactly 60 minutes before the power to the stage was cut — threatened obscenity laws; during their notorious premiere gig, P-Orridge even mounted an art exhibit consisting entirely of used tampons and soiled diapers.
Upon forming their own label, Industrial, the group issued their introductory release, The Best of Throbbing Gristle, Vol. 2, in 1976. A full-length debut, The Second Annual Report of Throbbing Gristle, followed in 1977, in a pressing of only 500 copies; bowing to fan demand, the record was later reissued — cut from a master tape played backward. The 1977 underground hit United marked a tiny step toward accessibility, thanks to the inclusion of a discernible rhythm. Typically, when the track reappeared on 1978s D.O.A: The Third and Final Report, it was sped up to last all of 17 seconds; no less provocative was Hamburger Lady (inspired by the story of a burn-unit victim) or Death Threats (a compilation of murderous messages left on the groups answering machine).
20 Jazz Funk Greats, a harsh electro-pop outing, followed a year later, and after 1980s live-in-the-studio Heathen Earth, Throbbing Gristle called it quits. P-Orridge and Christopherson soon formed Psychic TV (though Christopherson split again to form Coil), while the remaining duo continued on as Chris & Cosey. As Throbbing Gristles influence swelled, a seemingly endless series of posthumous releases followed, most of them taken from live dates; among the more notable were 1981s 24 Hours of Throbbing Gristle, 1983s Once Upon a Time (Live at the Lyceum), 1998s Dimensia in Excelsis, 2001s The First Annual Report of Throbbing Gristle, and 2004s Mutant TG and TG+. Throbbing Gristle reunited during the early 2000s for performances, and released Part Two: Endless Not, their first album in 25 years, in 2007.