RhoDeo 1603 Aetix

Hello, ok so Glen Frey kicked the bucket yesterday, with hindsight he was the first artist who's work depressed me, i just hated sirrupy guitar songs, how ironic his band was a vipers nest whilst their music pretended the totally opposite. Little wonder then all that hypocrisy was so popular in the States.


Today's artist released under the various project names of Foetus, Wiseblood, Steroid Maximus, Baby Zizanie, Manorexia and others—it includes elements of 20th century classical music, noise, big band, Americana, jazz, punk rock, African and Cuban percussion, and epic/horror film soundtracks. Much of his aural output is built on a percussive, rock music-type structure, though to call it rock music would be inaccurate. His music employs elements of many genres: with an often frenzied aesthetic, his music combines percussion, strings, distortion, brass, electric guitars, electronic sounds and voice. Recurring lyrical themes include destruction, persecution, anxiety, abuse, incest, masochism, angst, self-destruction, self-abuse, lust, prejudice, murder, failure and machismo, often expressed using American colloquialism and black humour.  N'Joy

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James George Thirlwell (born 29 January 1960) – also known as Clint Ruin, Frank Want, Foetus among other names – is an Australian singer, composer, and record producer. He is known for juxtaposing a variety of different musical styles.
Thirlwell was born in Melbourne, Australia. He briefly studied Fine Art at Melbourne State College before moving to London, England in 1978, where he played with the post-punk band prag VEC and formed the first of his numerous musical projects, Foetus. In the 1980s, under the pseudonyms Clint Ruin and Frank Want, he contributed to various releases by Nurse With Wound, Marc Almond, The The and Nick Cave. He released his first 7" single, OKFM/Spite Your Face, in 1981, on his own Self-Immolation record label in his first incarnation as Foetus. Over the next few years, he would release two more singles, a 12" EP, and four full-length albums, Deaf, Ache, Hole and Nail Some Bizzare Records . After visiting the United States during a live stint with the Immaculate Consumptive (Lydia Lunch, Nick Cave and Marc Almond) Thirlwell settled in New York City, where he is still based. Since his move he has released several singles, fourteen EPs (including Stinkfist, with fellow New York artist Lydia Lunch and Thurston Moore), and seventeen full-length albums.

In addition to being a prolific artist in his own right, Thirlwell has remixed and produced numerous pieces for artists including Faith No More, Nine Inch Nails, Pantera, Jon Spencer Blues Explosion, The The, Zola Jesus and Swans. He has also done voice-over work for MTV and other entities.

Since 2000 Thirlwell has become more active as a composer, having written commissions for Bang on a Can, League of Electronic Musical Urban Robots and Kronos Quartet, and scoring the Adult Swim cartoon The Venture Bros. He also revived his primary instrumental project, Steroid Maximus, and initiated a more experimental instrumental project in Manorexia. He continues to write and perform regularly as a solo artist and with various ensembles. He is also a member of the freq_out sound art collective, and has created solo sound installations in Kaliningrad, Santarcangelo and Vienna.

Throughout the span of his career, Thirlwell has toyed with his own identity by releasing music in the guise of numerous alter egos. During the earliest phases of his recording, Thirlwell's "groups" were composed of a plethora of fictional characters: Foetus Under Glass supposedly consisted of Frank Want, Phillip Toss and two Brazilian statistics collectors; Scraping Foetus off the Wheel was claimed to be the work of Want and Clint Ruin. Furthering the confusion, Thirlwell adopted these personas outside of his own recordings; for example, Frank Want can be found on The The's Soul Mining and on releases by Orange Juice, with whom he appeared on Top of the Pops.

Thirlwell's persona of Clint Ruin was particularly notable. During the mid-1980s and early-1990s Thirlwell exclusively went by this pseudonym, even conducting interviews as Ruin. As Ruin, Thirlwell was a member of Wiseblood with Roli Mosimann and Flesh Volcano with Marc Almond. He also recorded two collaborative EPs with Lydia Lunch, and starred in and scored films of Richard Kern under the Ruin alias. Ruin is also credited on numerous releases for a variety of roles with Boss Hog, Coil, Fur Bible, Annie Hogan, Nurse With Wound, Pigface, Sonic Youth, Workdogs and others.
This practice seems to have been discontinued since 1995, and "JG Thirlwell" is credited on all subsequent musical recordings.

Thirlwell's projects.

Foetus:  From 1981's single 'OKFM' until 2013's 'Soak', most Foetus songs featured lead vocals. Though popularly known as simply "Foetus", Thirlwell released albums under diverse variations of the name, including: Foetus Art Terrorism; Foetus Über Frisco; Foetus Corruptus; Foetus In Excelsis Corruptus Deluxe; Foetus Inc.; Foetus Interruptus; Foetus Over Frisco; Foetus Under Glass; Philip and His Foetus Vibrations; Scraping Foetus Off the Wheel; The Foetus All-Nude Revue; The Foetus of Excellence; The Foetus Symphony Orchestra; and You've Got Foetus On Your Breath.
Steroid Maximus: Primary instrumental project.
Manorexia: Experimental instrumental project.
Wiseblood: Collaboration with Roli Mosimann.
Flesh Volcano: Collaboration with Marc Almond.
Baby Zizanie: Collaboration with Jim Coleman.
Hydroze Plus: Collaboration with Electronicat.
Garage Monsters: Collaboration with skater artist the P!zz. (Sympathy for the Record Industry)
The Immaculate Consumptive: Touring ensemble with Lydia Lunch, Nick Cave, and Marc Almond
The Venture Bros.: Musical score by Thirlwell.

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Recorded on the supporting European tour for Thaw in 1988, Rife is an authorized bootleg finding Jim Thirlwell backed by a band tagged Foetus Corruptus, which also includes Algis Kizys, Norman Westberg, Ted Parsons, and Raymond Watts. This is an "official bootleg" release (aka "auto-bootleg"). After the initial releases of the regular black vinyl double-LP (RIFLE 1), the double picture disc LP (RIFLEPIC 1), and the CD (RIFLECD 1) without any label involvement, Jungle Records was awarded the rights to distribute 2,000 more copies, split between the three formats.

Foetus Corruptus - Rife  (flac 512mb)

01 Fin 2:58
02 Honey I'm Home 7:47
03 The Dipsomaniac Kiss 5:51
04 English Faggot 6:12
05 Grab Yr. Ankles 6:00
06 Slut 3:25
07 A Prayer For My Death 6:26
08 ¡Chingada! 8:00
09 Hate Feeler 8:10
10 The Fudge Punch 8:02
11 Clothes Hoist 4:37
12 Private War / Anything (Viva!) 11:21

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Given Foetus' eternally evolving and productive career, anything like a complete career overview -- counting side projects, collaborations, and more besides -- would probably take one heck of a box set. In terms of the '80s, though, this one-disc collection more than suffices. More or less arranged to have one track go right into the next, Sink skips about merrily from 1980 to 1989 and all points between, drawing some of the amazing highlights from Thirlwell's multi-named and multi-themed career. Kicking off with the noir hell of "Bedrock" from the Foetus All-Nude Revue release of that name -- a long, sleaze-out number that mixes Tom Waits, Cab Calloway, and Foetus' own brand of aural hell -- Sink burns with a vicious, relentless energy. If anything else it makes the case that Thirlwell was the solo industrial icon of the time, but one who never got anywhere near the level of attention Trent Reznor did in the '90s -- ironic and sadly typical given the one's clear debt to the other. While a good half of the songs are familiar versions from earlier releases, there's a brace of rare or otherwise unreleased numbers, making Sink as much of interest to hardcore fans as neophytes. Happily, the quality of said rare tracks is consistently strong enough to ensure that the collection steers away from unevenness, focusing in on more quietly threatening moments as it does skullbashers. Highlights of the obscurities include the cinematic, moody instrumental collage "Lilith" and the equally chaotic but generally louder rant'n'rip "Anxiety Attack," done for Dutch radio. Add in such standouts of sheer entertaining pain as the raging "Ramrod" and "The Only Good Christian Is a Dead Christian," and about the only thing missing is a kitchen sink. A then complete discography, liner notes, and full lyric sheet make the whole thing total value for money.

Foetus Inc. - 'Sink' (flac 524mb)

01 The Foetus All Nude Revue - Bedrock 7:17
02 Scraping Foetus Off The Wheel - Ramrod 5:57
03 Scraping Foetus Off The Wheel - Boxhead 3:45
04 Foetus Eruptus Lilith 4:23
05 The Foetus All Nude Revue - Shut 0:56
06 The Foetus All Nude Revue - Diabolus In Musica 7:16
07 Scraping Foetus Off The Wheel - Smut 3:49
08 Foetus Über Frisco - Sick Minutes 2:23
09 The Foetus All Nude Revue - Rattlesnake Insurance 2:16
10 Foetus In Your Bed - Himmelfahrtstransport / Primordial Industry 1:47
11 Foetus Eruptus - Spit On The Griddle (The Drowning Of G. Walhof) 3:44
12 Scraping Foetus Off The Wheel - Anxiety Attack 5:10
13 Foetus Interruptus - Baphomet 1:07
14 Scraping Foetus Off The Wheel - The Only Good Christian Is A Dead Christian 3:26
15 Scraping Foetus Off The Wheel - Halo Flamin Lead 4:30
16 Foetus Under Glass - OKFM 4:33
17 Foetus Art Terrorism - Catastrophe Crunch 4:18
18 You've Got Foetus On Your Breath - Wash It All Off 4:03
19 You've Got Foetus On Your Breath - Today I Started Slogging Again 4:57
20 Foetus Art Terrorism - Calamity Crush 4:19

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This post features two collaborative 12” singles from two of NYC no-wave’s greatest. Clint Ruin and Lydia Lunch (ex-Teenage Jesus and the Jerks) dated a spell in the late eighties/early nineties, and during the scuzz-punk romance of the century, cut two 12” singles.

Memorable mainly for its dirty cover snap, Stinkfist — Lunch's first documented date with Clint Ruin — is the primally percussive end result of a convoluted and protracted recording/performance process involving Cliff Martinez (ex-Red Hot Chili Peppers), D.J. Bonebrake (X), Roli Mosimann and others. What actually made it onto vinyl is the clattering all-but-instrumental title track (plus a bonus-beats version, "Son of Stink") and the three-part "Meltdown Oratorio," a Lunch recitation and sexy moaning session over rhythmic Ruin-ous noise adventures. A party on the precipice of perdition. (Stinkfist was later combined on CD with The Crumb, her noisy squonk party with Sonic Youth guitarist Thurston Moore, Bush Tetras guitarist Pat Place, pianist Kristian Hoffman, drummer Richard Edson and sax torturer Jim Sclavunos.)

The four-song Don't Fear the Reaper contains two originals (the total overload insanity of "Clinch" and the jazzily appealing "Serpentine"), a rough'n'tumble but essentially respectful version of the titular Blue Öyster Cult hit and a demolition derby version of the Beatles' "Why Don't We Do It in the Road." Inconclusive but intermittently entertaining.

Clint Ruin and Lydia Lunch - Stinkfist-Reaper (flac  275mb)

Stinkfist
01 Stinkfist 6:57
02 Meltdown Oratorio (The Reckoning, The Crack, The Meltdown) (9:55)
03 Son Of Stink 3:47
04 The Crumb 5:39
Don't Fear The Reaper
05 Don't Fear The Reaper 5:16
06 Clinch 4:24
07 Serpentine 3:41
08 Why Don't We Do It In The Road 3:31

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