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// Gold And Poison

Gold And Poison

For some reason I got inspired to check out my old wall of CDs for some "new" (old) music to listen to at the office this morning. What I found was my collection of SPK albums which span dark German Industrial to strange politically slated 80s pop.

Gold and Poison is the later but quite enjoyable. Sheer Naked Aggression is my favorite track by far and quite timely given our political climate and the US' imperial aspirations.

SPK

SPK, formed in 1978 in Sydney, Australia, was a 1980s and early 1990s industrial music and noise music act featuring Graeme Revell, who would later go on to become a successful Hollywood movie composer. The group was formed when Revell (aka Operator) met up with Stephen Hill (aka Ne/H/il). They were both working at a psychiatric hospital when they became inspired by the manifesto of the German radical Marxist group known as the Sozialistisches Patientenkollektiv (SPK).

The meaning of the SPK abbreviation is deliberately unclear; the album covers suggest several different alternatives. The most well known is Sozialistisches PatientenKollektiv, but there are also others, such as Surgical Penis Klinik, System Planning Korporation and SePuKku.

The most notable works of SPK are the early works Information Overload Unit, Leichenschrei and AutoDaFe. SPK's early music is best described as disturbing and psychologically disorienting, in line with their nihilistic, subversive philosophy. Live performances included video backing (some of which was issued in two Twin Vison videos, Despair and Two Autopsy Films), trangressive performances with animal carcasses and other usually successful attempts to make the audience very uncomfortable. The group issued radical manifestos, such as DoKuments 1 and 2, "The Post-Industrial Strategy", which appeared in RE/Search's Industrial Culture Handbook[2]. There is a clear dichotomy between early industrial SPK (1978- 83) and the more commercial music inspired by Graeme Revell. Later releases, such as Machine Age Voodoo (1984), were more synthpop-oriented than industrial. Still later, the group moved into electronic orchestral work, with the release of Zamia Lehmanni: Songs of Byzantine Flowers (1986).

— Wikipedia

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