In the mid-80’s, JG Thirlwell (a/k/a Clint Ruin, a/k/a various band names including the word “Foetus,” a/k/a so many other names I’ll run out of space…) put out a couple albums under the name “Scraping Foetus Off The Wheel.” I believe those albums, “Hole” and “Nail,” were the only two full length LP’s under this particular moniker. If you are any kind of a fan of aggressive and dark music you need to seek these out.
What will you find if you do? Songs that are varied musically but lyrically are sick, depraved, abrasive, disturbing, sleazy…and very funny at times if your humor runs to dark. Perhaps you could have guessed all that from the band name.
First up was “Hole.” This album has many industrial elements – clanging percussion, driving guitars, screams, samples and lots of harsh noises. But labeling it purely as “industrial music” is selling it too short; listen closely because there is a lot more to it. There are great production touches and references to other musical styles and songs (check out the creepy organ on “Lust For Death” and the twist on the “Batman” theme song on “Sick Man”). Mr. Thirlwell also uses his voice as an instrument; from whispering to growling to straight out singing, he uses the different characters of his voice to fit the personalities of his songs.
Some of what you are in for: “I’ll Meet You In Poland Baby” seems to be a fever dream of Nazi Germany at the start of WWII. It’s chaotic and nightmarish. “Hot Horse” full of sleazy come-ons and a voice that makes everything he says sounds dirty regardless. “Sick Man” may be the diary of the singer of “Hot Horse.” Throughout this and many other songs there are lots of quick twists of a phrase (“I feel about as able as Cain”). And then there’s “Satan Place,” a hilarious SoCal beach music send up complete with Beach Boys-like backing vocals and Wipeout-grade guitar. Great, although I’m guessing you won’t find this on any feel-good surf music compilation.
While “Hole” at times has some slight orchestral touches in the production, “Nail” finds Foetus under the full influence of the Orchestral-Industrial complex. As a point of reference, at times it sound like Einsturzende Neubauten mixed with the London Philharmonic. It is tremendous.
“Nail” flows as one solid cinematic piece. It includes both a “Theme from…” and an “Overture from Pigdom Come.” It is practically bookended by two standouts. “Throne Of Agony” is the second track and is lyrically dense with both the agony of the narrator (“Stab another dagger in the back of me…”) and the aforementioned dark humor (“I’m the one who gave the sandwich to Mama Cass”). “Agony” ends with a four second track called simply “!” and it is as perfect a musical exclamation point as I can imagine. The last track is “Anything (Viva!)” and it is an epic conclusion musically and lyrically. I can imagine the second half of the song with the recurring line “I can do any goddamned thing I want” will probably played at Rollerball matches in the future.
Admittedly it may be difficult to defend some of the lyrics and images taken out of context (or maybe even in context) because they can be troubling. Aside from the examples above, you also get a song like “Di-1-9026” which seems to be from the mind of Charles Manson. Not defending Manson, not criticizing Manson, just presenting what may be going on in his brain. So clearly not for everyone, but overall I think these are two really great and creative albums.
I went to see him at the late, great club Revival in Philadelphia, where he performed “Nail” in its entirety. Going in I had no idea what to expect. The room was somewhat small for live music and the stage was set up only about a foot above floor level and was completely empty. I managed to get right next to the stage on one side. The room went dark, a light started flashing and the intro “Theme” played. I suddenly noticed someone standing literally right next to me (!) in leather jacket, mirrored shades, holding a baseball bat, staring straight ahead and guzzling a bottle of beer. It was the man himself. “Theme” ended, bottle emptied, he jumped on stage with a dramatic “Helllloooo operator…” and we were off. It was just him (and his bat) singing to a taped musical backing. Very compelling.
I spotted Lydia Lunch at the front of the stage during the show. She has occasionally collaborated with JG, but was not involved with this particular show. She was just enjoying the spectacle with the rest of us.