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Given the enormous influence of TG on industrial music as well as other genres, the nuances appearing here are illuminating. What we start to see is a group of artists in their twenties going through an extremely exciting but chaotic period, with very different opinions about the group ideology despite the united front of the band. Among other things Cosey Fanni Tutti provides a list of songs she used for her strip shows and elaborates on her feelings about the sort of sexual coaxing described in the song "Persuasion". Yet perhaps the most worthwhile part of the book is Daniel's honest account of his own early exposure to and infatuation with TG and the sexy nihilism of industrial music in the suburban boredom of Louisville, Kentucky. He describes the powerful and conflicting emotions of attraction and revulsion to the expressions of the scene in a spot on way that really struck a cord in me and would, I'll wager, in anyone who found this music before the age of twenty. Listening to "20 Jazz Funk Greats" with Daniel's guide at hand definitely widens its horizons. You hear the band branching out and trying to reinvent themselves. Signs are here, as well, of Genesis's deepening interest in magickal practice, a development culminating in him/her recently being called the only real current master of magick by American occultist writer Jason Louv. The time just prior to TG:s explosion and resulting fertile esoteric and musical movement is well worth a closer look for any of us perverted enough to have been lured by the sounds from the Death Factory. MATTIAS HUSS |
