Artist: Foetus Art Terrorism Album: Gash

Year: 1994
Duration: 0:0-1

Foetus Art Terrorism's Gash: An Honest Look at a Seminal Industrial Album

Foetus Art Terrorism, the one-man music project of J.G. Thirlwell, was at the forefront of the industrial music scene in the 80s and early 90s. His 1995 album, Gash, is oftentimes cited as a classic of the genre. As a music listener and longtime fan of industrial music, I wanted to revisit Gash and give it a critical review. In this blog post, I'll be exploring the history of Foetus Art Terrorism and the industrial music genre, the best songs on Gash, the album's most notable innovations, and my overall opinion on the album.

J.G. Thirlwell began his music career in the early 80s under the name Foetus. He released a series of EPs and singles that showcased his unique blend of industrial, post-punk, and experimental music. Thirlwell was known for his harsh, abrasive sound and confrontational lyrics that addressed everything from politics to sex to the state of the music industry. His music caught the attention of other prominent musicians in the industrial scene, and he eventually began collaborating with them on various projects.

Gash was released in 1995, at a time when industrial music was at the peak of its popularity. The album is a sprawling, 19-track opus that showcases Thirlwell's diverse range of influences and talents. From the frenetic opener Clothes Hoist to the haunting ballad Someone Who Cares, Gash covers a lot of ground. What sets it apart from other industrial albums of the time is its willingness to experiment with different genres and sounds. Thirlwell incorporates elements of rock, jazz, and even country music into his compositions, creating a sound that is both familiar and entirely new.

One of the standout tracks on Gash is Verklemmt, which features a sample of the theme from the TV show I Dream of Jeannie and a catchy chorus that belies its dark subject matter. Mandelay is another highlight, featuring a guest appearance from the legendary Lydia Lunch and a stunning string arrangement that elevates the song to new heights. Stumbo, with its pounding drums and distorted vocals, is another classic Foetus Art Terrorism track that exemplifies the industrial genre.

Perhaps the most notable innovation on Gash is Thirlwell's use of live instrumentation alongside his electronic beats and samples. The album features a full band, complete with a horn section and choir, that gives the songs a depth and richness that is often lacking in other industrial music. Thirlwell's development as a composer is evident throughout the album, as he takes risks and pushes himself creatively.

While Gash is certainly an important album in the industrial music canon, it is not without its flaws. At 19 tracks, the album can feel overly long and bloated at times. Some of the songs, such as Butterfly Potion, feel like filler and don't add much to the overall narrative of the album. However, these missteps are minor in the grand scheme of things, and the album as a whole still holds up as a groundbreaking work of industrial music.

In conclusion, Foetus Art Terrorism's Gash is a seminal album in the industrial music genre that showcases J.G. Thirlwell's talent and creativity. The album's willingness to experiment with different sounds and genres, as well as its use of live instrumentation, make it stand out from other industrial albums of its time. While it is not a perfect album and can feel overly long at times, Gash is still a must-listen for anyone interested in industrial music or J.G. Thirlwell's work.