That's funky... or grimey: Either way, Donaeo wins!

What's up y'all.

Four - two in favour of Donaeo, regardless of whether or not he's grime or funk, and no matter how he spells his name.

The only thing I could find to post as a victory video is a flick of him doing "African Warrior" live at some festival. I think it was shot on a cell phone.

I'm too busy to be hip: T2 and Jodie Aysha vs. Donaeo

What's up team, sorry I've been a bad blogger (again). I told you from the outset, I have a bad track record with this sort of thing.

So, I've officially decided that I can no longer be cool, at least with regards to music. There are just too many electronic music genres for me to keep up with and I am too busy to keep track of it all. It feels like I've just gotten all caught up on Baltimore Club, only to learn that it's been supplanted by Philly Club, and Baltimore is "so 2007."

Fuck this. I don't care anymore. Next time I want to listen to some heavy bass beats, I'm going to get all 1995 on your asses and listen to some Shy FX.

As a final attempt at being up-to-date, I'm going to run a battle between two artists representing two of these genres that I just don't understand, then I'm going to watch the Phats and Small video with Chris Eubank in it.

The Main Event
In the red corner, from Leeds, England, representing bassline house, T2 AND JODIE AYSHA.

Bassline house popped up in early '07 as a response to grime, which some people felt had stopped being dance music and started working primarily as a soundtrack to gang fights. Bassline house, which is sometimes just called "bassline," is a little more uptempo than grime and about 100 per cent more friendly. So far, there's only been one major bassline club shut down over violence. Compared to grime, which averaged about one club closing a month, that's pretty solid.

Now, to be honest, I don't really get the difference between bassline house and the 2-step that I was listening to in about 2001, the same shit that was declared painfully uncool by 2003.

To illustrate my point...

This is 2-step.


This is bassline.


Can you tell the difference? I can't.

Anyway, the first commercial hit to come out of the bassline house was "Heartbroken" by T2 and Jodie Aysha. Apparently T2 is pretty much the Prime Minister of this whole bassline thing.

Here's the video.


The Opposition
In the blue corener, from London, England, representing "funky," a man who used to do grime before grime stopped being cool. DONAEO!

OK, so funky house is a house subgenre based around soulful vocals and big four-to-the-floor beats, best typified by the shit from the Hed Kandi comps. Funky, or UK funky, is a house-derived subgenre based around r & b vocals, soca-type beats, Latin percussion and UK Garage-style sub-bass. It also appeared as a response to grime being too dark, dank and angry. Confused yet? You should be.

Donaeo got his start 'round about 2003 providing choruses for grime MCs. I first became aware of him on the grime remix for The Streets "Fit But You Know It," which I'm pretty sure is also the first place I heard Tinchy Stryder. After a period of limited output -- Discogs has him doing nothing between 2005 - 2007 -- he came back with two big "funky" solo tracks, "African Warrior" and "Devil in a Blue Dress."

Also, he seems to have difficulty deciding how to spell his name. In about half his output, he's listed as "Donae'o." Further confusing matters, he also releases music under the name Bredren Steve and Mr. Fidget.

Here's the video for "Devil in a Blue Dress." Regardless of how you spell his name, the man has a hella dope hat.

As always, comment to vote, polls close on Friday.

Yes Rude Boys! The Specials Take the Three Points

The Specials win this one 6 - 1.

Here's "Gangsters" as a victory video.

No Real Good Reason: The Specials vs. The Dead Milkmen

What's up gang?

Sorry I've been out of commission for the last little while. Shit has, once again, been rather insane in the world of sports media. Add that to a two-and-a-half day jaunt to the 519 and you come up with very little time for the Interweb.

There's no real theme this week, just a battle between two bands I fucking love.

The Main Event

In the red corner, from Coventry, England, the band that single-handedly brought back ska, pork pie hats and tonic suits, THE SPECIALS!

The Specials were formed in Coventry in 1977 by Lynval Golding, Horace "Sir Horace Gentleman" Panter and Jerry Golding. Between 1977 and their 1979 debut on wax, they went through five different names. (The Automatic, The Coventry Automatic, The Special AKA The Coventry Automatic, The Special AKA and eventually, The Specials.) They also toured with The Clash before founding their own record label, 2-Tone Records, and hiring Elvis Costello to produce their debut full-length.

The band released two full-length albums, their self-title debut and 1981's More Specials, and eight hit singles, before co-frontmen Terry Hall and Neville Staple left to form Fun Boy Three with guitarist Golding. The rest of the band continued on under the old Special AKA moniker, releasing one more album, In the Studio, and two more hit singles. The Special AKA broke up in 1984.

They've reformed twice, in 1996 and again earlier this year.

This is the video for "A Message to You Rudy."



The Competition

From Philadelphia, PA, a band that walks the thinnest line, THE DEAD MILKMEN!

The Dead Milkmen were founded in 1983 by Joe "Joe Jack Talcum" Genaro. He was later joined by buddies Dean "Clean" Sabatino, Dave "Blood" Schulthise and Rodney "Anonymous" Linderman.

The band release eight studio albums, plus a gang of EPs, self-released tapes and a live album.

The Milkmen became semi-famous in 1987 thanks to a Detroit Tigers rookie names Jim Walewander, who was a huge fan. When Walewander invited the band to Tiger Stadium to watch a game and meet the team, they had the following conversation with Tigers' manager Sparky Anderson.

Sparky: "Well, hello, boys."

Rodney: "WE LOVE SATAN!"

Sparky: "Well, gotta go, boys."

The band had a brief, unsuccessful stay on Disney owned Hollywood Records in the early '90s before releasing one final independent album and breaking up in 1995.

Since the break-up of the band, Genaro has released solo material as Joe Jack Talcum and as part of Joe Butterfly with Sabatino. Sabatino also drummed with Big Mess Orchestra.

Linderman recorded several solo projects.

Dave "Blood" Schulthise left music following the break-up of the band. He briefly attended Indiana University, moved to Serbia in the middle of that country's civil war, returned to Philadelphia and started working as a janitor. He killed himself in 2004. When I found out, I was sad. For me, the death of Dave Blood was a way bigger musical tragedy than that of Kurt Cobain, but it's gross to compare things like that. Let's just say that people should have made a bigger deal out of his death than they did.

The remaining three Milkmen have reunited twice. Once in 2004 as part of a benefit in memory of Blood, and again in 2008 as part of a festival.

This is the video for their biggest, and only, hit,"Punk Rock Girl."


Comment to vote, voting closes on Friday.

GOOOOOAL! Kano beats Happy Mondays!

In a close fought, high scoring match, the lad from London overcame the hools from Manchester by a score of 3 - 2.

Here's the Kano's victory video, "Ps and Qs" off Home Sweet Home. I won't front. This video brings out my Scarborough.

Opening weekend music: Kano vs. Happy Mondays

What's up all?

So as two or three of you may know, this weekend was Opening Weekend for the English Premiership. As a fairly major soccer fan, this warms my heart tremendously. After spending the summer sleeping in until noon, I was actually kind of happy to get up on Saturday morning and watch Blackburn Rovers beat Everton while I ate my Raisin Bran.

To celebrate the return of the Prem, here's some good footballing music.

The Main Event

In the Chelsea blue corner, from East Ham, London, England, a former West Ham Youth player who once tried out for Chelsea, KAAAAANOOOOO!

Yeah, you read that last part right. Kano once tried out for Chelsea. Thankfully, the Lions didn't like the cut of our man Kane's jib and failed to sign him on. After that crushing defeat, he did the smart thing and focused on music.

Kano first started getting noticed as part of the NASTY Crew in the early 2000s. At a 2005 Lord of the Mics, he got on stage and battled Wiley to a draw. Wiley, for those of you who don't know, pretty much invented Grime as a genre and is (arguably) responsible for finding talents like Dizzee Rascal, althought Dizzee might disagree.

Around the same time, he released his debut full-length Home Sweet Home. The album went gold in Britain, produced three hit singles ("Ps and Qs," "Typical Me" and "Nite Nite") and received a full-on bukkake party from the press.

His second album London Town, came out in 2007 and featured noticably smoother R & B edges. While I didn't like this development, apparently the British music buying public did. London Town debuted at #14 on the British pop charts.

That said, Kano has recently parted ways with 679 records. Apparently he wanted to get back to a harder sound on his next album, but the label had other ideas.

Anyway, here's the video for "Typical Me." It's about getting tossed from bars.

The Competition

In the Manchester United red corner, from Salford, Manchester, England, The HAPPY MONDAYS!

The Happy Mondays were formed 1980 by brothers Shaun and Paul Ryder and fellow delinquents Gary Whelan and Mark Day. As far as I know, none of the Mondays ever played high level soccer, but they were often described as football hooligans by the music press, so that has to count for something.

In 1987, the released their debut full-length, the improbably named Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out). Their second album, Bummed, received massive critical love and the Mondays' mix of soul, funk, indie pop and acid house became the template for the Madchester Sound.

Their third album, Pills Thrills and Bellyaches, brought them commercial success and enough money that a band that already had a gift for a substance abuse was able to fulfill their incoherent crack and heroin filled dreams. The band began to have trouble making it to gigs, or knowing where they were at any given moment, as this famous quote from Shaun Ryder proves.

"I'm not too sure where I've been, I've just got off a plane, mate. I think it was Spain or Norway or some mad place like that… in fact ask Bez."

That was after returning home from Holland in 1992.

In an attempt to get the band back on track, the minds at Factory Records sent them to the Barbados to record their fourth album Yes, Please! Instead of focusing on music, the band sold their gear, and later their clothes, for cocaine. The massive cost overruns from the Yes, Please! recording sessions wound up bankrupting the label. The band broke up shortly afterwards.

This is the video for "Step On," off of Pills, Thrills.



As always, votes are due by Friday at Midnight. Comment to vote.

Yeah, Sorry About That aka Comeback Videos: The Kinks vs. LL Cool J

Hey all, sorry I haven't been blogging in the last month.

To be honest, I got distracted by soccer. I was producing a daily soccer round up show during Euro 2008. I also kept holding out hope that the Turkish miracle would end with Tuncay Sanli lifting a trophy, but alas.

To celebrate my triumphant return, I figured some comeback videos would be in order.

The Contest

In the blue corner, from Queens, New York, don't call it a comeback, he's been here for years, LL COOOOOL J.

LL Cool J released his first album, Radio, when he was 17 years-old. As much as we all like to knock LL for being kind of soft in 2008, in 1985, Radio was considered a heavy-ass album. It was one of the first hip-hop albums to use pop song structure in hip-hop, contained the first hip-hop ballad and, along with other Def Jam artists like Run DMC and The Fat Boys, helped LL push old school, disco minded, "a-boogie-to-the-boogity-beat" rappers with elaborate stage shows and costume changes away from the forefront. Cool J and company dressed like kids in the hood and made albums built for boomboxes, not clubs. He was also the first rapper to appear on American Bandstand.

His next album, Bigger and Deffer, was another tight record. The first single, "I'm Bad," has the distinction of being the first rap single to contain the word "motherfucker," paving the way for thousands to follow. As a balance, it also contained what may be the sappiest ballad ever, "I Need Love."

His third album, Walking with a Panther, was heavy on ballads and pop-dance songs and very light on hood-credible songs like "Radio" and "I'm Bad." At a time when hip-hop was in the midst of two rising tides, West Coast gangsta rap and and "conscious" East Coast Native Tongues shit, the weak, poppy Panther got overlooked and dissed.

Eighteen months later, he set about trying to regain some of the fans he lost with Panther, he released Mama Said Knock You Out, featuring a totally reworked ballad-to-hard shit ratio with tracks like "The Boomin' System" and "To Da Break of Dawn," where he dissed Ice T, MC Hammer and Kool Moe Dee at the same time.

Here's the title track. You know it, you love it.



In the red corner, from London, England, with a fetish for transsexuals, The KINKS!

The Kinks were formed in London, England in 1963 by brothers Ray and Dave Davies and schoolmate Mick Avory. They took their name from their stage get-up, which consisted of leather capes and high boots (considered "kinky" in the '60s, or so I'm told.)

We in North America tend to think of them as a British Invasion band, far less important than the Stones, The Beatles and The Who, but a little more crucial than the Dave Clark Five. I would disagree, putting The Kinks ahead of all of these bands, if only because they were the inventors of what's now a great rock n' roll tradition, trashing your gear on stage.

The Kinks are also remarkable because they managed to be hugely popular in two separate time periods after a tremendous fall-off. The first period was from the early '60s through to the early '70s, bookended by the hits "You Really Got Me" and "Lola." They then spent most of the '70s making super-inaccessible rock operas.

In the late '70s, bands like The Jam and The Pretenders started to talk about The Kinks as a major influence, while Van Halen made a hit out of their cover of "You Really Got Me," allowing the Kinks to stage a comeback. They produced three hit albums between 1979 and 1984 and had their most commercially successful single ever, "Come Dancing."

In 1984, Avory and Dave Davies had it out once and for all, acknowledged that they'd been pissing each other off for over 20 years. Avory quit the band. The Davies Brothers and various plugs continued to record and tour for another 12 years, but never had another Top 40 hit.

This is the video for "Come Dancing."



If you've forgotten, comment to vote. Voting closes Friday. It's good to be back.

Ladytron are the Last Ones Standing

After several weeks of blowouts, we finally had a close contest. Ladytron edged out Felix 3 - 2 in one of our most competitive battles yet.

This is the video for "Destroy Everything You Touch," off the Witching Hour album. This video manages to make an innocent hobby like mountain climbing seem super creepy. In it, the members of Ladytron are both the mountaineers and the mountains. That's right folks, they're climbing mountains made out of their own faces. It makes the "Seventeen" video seem like a playful puppy in comparison.

Battle of the Electroclash Survivors: Felix Da Housecat vs. Ladytron

Does anyone out there remember electroclash? Is anyone, other than me, willing to admit to liking it?

If you're suffering from Selective Memory Disorder, electroclash was a musical genre that combined retro-'80s synths, house basslines, porn sleaze and musical theatre silliness. It was a big deal for about eighteen months six or so years ago. I won't front, I fell for the sound whole-heartedly. At the time, several of my friends mocked me for getting sucked in by what was clearly the millennial equivalent of novelty disco. They were right.

As with all strange musical fads, the acts with actual talent managed keep their careers going after their genre became a punchline. So while the all-style, no-substance Fischerspooner are currently unsigned and Tiga, best known for a high-irony Nelly cover, has been reduced to remixing The Killers, Ladytron and Felix Da Housecat are still producing.

The Main Event

In the red corner, from Chicago Illinois, with a tendency to get mistaken for King Britt, FELIX DA HOUSE-CAAAT!

Felix Da Housecat was never really part of the electroclash movement. He's not from New York or Montreal or Berlin, he wasn't a lame art hipster and he never really got into the silly performance art shit that Fischerspooner were all over.

While most electroclashers were making music that was nostalgic for the '80s, Felix actually made music in the '80s. He released his first single, "Phantasy Girl," in 1987. He was 15. Felix's parents were less than enthused with their son's fascination with club culture and his association with house pioneer DJ Pierre and basically forced him to give up music entirely. By 1992 he had dropped out of college, against their wishes, and returned to the Chicago club scene. He produced several club hits under multiple monikers (Aphrohead, Sharkimaxx, Thee Madkatt Courtship) and spent the back half of the '90s running Radikal Fear Records, one of house music's most productive labels.

In 2001 he released Kittenz and Thee Glitz, his most commercially successful album ever and the album that many critics blame for creating the whole electroclash sound. It's also one of my favourite albums ever. If anyone ever asked me that "five albums for a desert island" question, this would have to be included. (The other four albums would be Public Enemy's It Takes a Nation of Millions to Hold Us Back, The Descendants' Milo Goes to College, De La Soul's Stakes is High and Rancid's Let's Go.)

This is the video for "Madame Hollywood," off of Kittenz. It's a pretty strange video, which makes sense, because Felix seems like a pretty strange dude.



The Opposition

In the blue corner, from Liverpool, England, with a live show inspired by Power Point, LAY-DEE-TRON!

Ladytron was founded in 1999 by an English keyboardist, a Chinese-English industrial engineer, a Scottish ex-model and a Israeli-Bulgarian biochemist. They make fantastic albums and have one of the most underwhelming live shows I've ever seen.

In 2001 their single "Playgirl" got some solid burn in the music press, but they didn't really get noticed until they released "Seventeen" in 2002. In addition to being prominently featured in the movie Party Monster, "Seventeen" manages to deliver a scathing indictment of the modeling industry in less than 30 words. Their third album, Witching Hour, does not make my desert island all-time list, but is one of my favourite albums to come out in the last two or three years.

In defense of Ladytron's live show, I did see them directly after seeing CSS for the first time. After seeing Lovefoxx explode all over the stage, watching a bunch of nervous looking, androgynous pale people fiddle with laptops while an art movie was broadcast behind them just wasn't that impressive.

What Ladytron lacks in live dynamism, they make up for in video creepiness. Every time I watch a Ladytron video, I wind up feeling like I've been touched inappropriately. This is the video for "Seventeen." I like it because it both accurately illustrates the song's lyrics and gives you an idea of how much fun a live Ladytron set is. I dislike it because it makes me shiver a little.



As always, you should comment to vote and the polls close at midnight on Friday.

Nothing's Changed, I Still Love You, and Apparently You All Love Morrissey: The Smiths Win

A solid, but by no means definitive, win for Morrissey, Marr and the other two dudes. While The Smiths took the battle in a 5 - 2 decision, the Sisters' supporters did manage to make a strong case for The Sisters' brand of theatrical, over-the-top gothic silliness. I like it when we get a good debate going around here.

Picking a victory video here was hard. The video I really wanted to post isn't really an official "video" per se. It's actually footage of them performing "Shoplifters of the World" on the legendary British TV show Top of the Pops. At first I thought it would violate the concept of the blog, but then I figured that it's my blog and I can do pretty much whatever the fuck I want. Just so we're clear, I wouldn't put this up in a battle, but I feel like I can get away with it as a victory vid. Even though it's just straight up performance, the angles on this puppy are killer, and more importantly, Morrissey is so gay here. It's really killing it.

This was one ofThe Smiths "between albums" singles, and is also one of my favourite Smiths songs. My period of heavy Smiths fandom overlapped with a phase in my life where I was stealing a fair bit. I really liked having this song going on my headphones as I walked into Wal-Mart to stuff a bunch of shit down my pantleg.

English Bands Loved by People Who Had a Tough Time in High School: The Smiths vs. Sisters of Mercy

High school wasn't brutal torture for me.

Apart from the usual adolescent dramas and a really odd bit of Grade 11, I had a pretty good time. I went to a lot of park parties (the urban equivalent of bush parties, for those of you who didn't grow up in GTA), had a couple pretty decent teachers, managed to lose my virginity before heading off to university and had a decent supply of dope. On the other hand, I spent most of my high school career so stoned I didn't know where the fuck I was, so my memories may not be totally accurate.

That said, I did get my ass kicked a bunch of times over being "different" or "mouthy," did poorly with girls, had bad acne and greasy hair, spent the first half of my teens really skinny, then got really fat overnight. I figure that gives me as much claim to a harsh adolescence as any other middle-class white kid.

People who had a "hard time" in high school -- by which I mean most people who didn't play football but weren't gang bangers or huge ginos -- almost inevitably liked mopey English bands from the 1980s. Even when I went to school in the mid-to-late '90s, there was a strong contingent of cats who were moping around in mod-style army parkas, trying to look as disaffected as humanly possible while smoking Dunhills and John Player's Special, feeling like every word out of Morrissey's mouth was about them.

This is for them.

Before I get down to the heavy shit, I feel the need to explain my choice of bands. The Smiths are both the mopiest and Englishist of the mopey English bands. It would be hard to argue their presence here. The Sisters require a little explaining. The Cure would probably be The Smiths' natural opponents here. Morrissey and Robert Smith are one and one-a to depressed teens. And there may one day be a battle where The Smiths and The Cure go mano a mano, as much as that's possible for bands fronted by two supremely androgynous dudes. For this week, it had to be the Sisters for two reasons: one, my boy Shaan got hella excited when I mentioned the prospect of this battle and two, the video for "This Corrosion" is so above and beyond that it has to be recognized here.

The Main Event

In the Red Corner, from Hulme, Manchester, England, with disaffection factor of a sexual identity crisis, THE SMITHS!

Pretty much the entire world more or less knows the story of The Smiths. They were founded in 1982 by Steven Morrissey and Johnny Marr, they became tremendously popular in the UK and Ireland and developed an almost obsessive cult following in Canada and the US. In 1987 they broke up, in part because Marr got sick of Morrissey's obsession with '60s pop and in part because Morrissey has an ego so large he needs a fleet of tractor trailers -- or lorries, as they say in England -- to haul it around.

Here's some lesser known facts about Morrissey, which I gleaned from Wikipedia and True to You, an online Morrissey fanzine.

1) He was saved from bullying as a child because he was a pretty decent athlete, something I'm sure his hardcore fans have a hard time dealing with.

2) He was briefly the lead vocalist of Slaughter and the Dogs, which blows my mind.

3) He regularly wrote very opinionated letters to Melody Maker and New Musical Express before he was famous.

4) He's still not officially gay, which also blows my mind.

When I was in Grade 10 and 11, I loved the shit out of The Smiths. They were the only "soft sounding" band I would let interrupt a personal playlist that was dominated by Rancid, The Wu-Tang Clan and TSOL. I was impressed that there was a band who could take a song about going to the fair and make it depressing as shit. ("Rusholme Ruffians," for those of you who don't know.) The sad cow sounds in the background on "Meat is Murder" convinced me to try and go vegetarian. I failed, but at least I know the sweet tasteless taste of soy.

My absolute favourite Smiths album was, and still is, Strangeways, Here We Come. Strangeways was the only Smiths album that British music critics didn't like, and was produced when the tensions between Morrissey and Marr were at their highest. The band actually broke up before the album came out, and Morrissey apparently recorded most of the vocals in the booth by himself, after Marr et al had already laid down the instrumental tracks in another session.

This is the video for "Stop Me If You Think You've Heard This One Before." This song was only released as a single outside of the British Isles. The label felt that releasing a single that references mass murder only a couple months after the Hungerford Massacre, one of the worst mass murders in modern British history was a bad move. On one hand, I sort of think the label pussied out on this one. On the other hand, you'd have to think sales would have been pretty soft given the timing. As a result, the footage for the "Stop Me" video was also used in the British video for "I Started Something I Couldn't Finish," which was released instead of "Stop Me."

A couple more observations here. One, how is Morrissey not openly 100% gay? His bike has a wicker basket for Christ sakes. Two, guys who rock the Morrissey look look like dorks. (I know, I tried to pull this off for a bit.) Girls who rock the Morrissey look are strangely attractive.


OK, now the opposition.

In the blue corner, from Leeds, England, with a disaffection factor of being hailed as the founding father(s) of modern goth music, The SIS-TERRRS of MERRRR-CY!

The Sisters of Mercy aren't so much a band as one guy, a rotating cast of other people, and a drum machine/musical version of Dr. Who's robot dog named Doktor Avalanche and the Chorus of Vengance.

The one guy is Andrew Eldritch, lead vocalist, drum programmer and allegedly a very difficult guy. I say allegedly because I've never met the man and I don't want to get sued. He could be very nice. However, the fact that every Sisters album had a different line-up, with Eldritch and the machine Avalanche being the only points of the continuity, indicates that he might be a little hard to get along with. His legions of former bandmates have also made loud, public statements to this effect.

The Sisters were formed in 1980 and went "on strike" in 1994 after Eldritch got in a fight with the band's label over money. The "band" -- read, Eldritch and whoever else was willing to hang out with him -- starting performing again in 1996, but have yet to release an album of new material.

The Sisters are important for two reasons. One, they're credit with influencing every goth band since. Eldritch hates being called goth. He claims he was pigeonholed after experimenting with goofy clothes for a couple weeks. While that may or may not be the case, I'm pretty sure that if it wasn't for The Sisters, we wouldn't have legions of black-clad bands with electronic drums and deep, monotonous vocals. That may or may not be a good thing, depending on where you stand. I also firmly believe that Eldritch's insistence that he's not a goth makes him the gothest dude of all time. If there's one thing goths and hipsters have in common, it's that the more you deny being one, the more likely it is that you are.

Two, they were involved in one of the ugliest legal battles in rock history. Two Sisters cast-offs -- original bassist Craig Adams and former Dead or Alive member Wayne Hussey -- started gigging as The Sisterhood in the mid-80s, playing songs that had been vetoed by Eldritch. Eldritch claimed the name was too close and responded with a resounding "fuck you." He started a side-project of his own, also called The Sisterhood, and sued the hell out of everything that moved. The two sides eventually settled when Hussey and Adams changed the name of their band to The Mission, who were also hugely influential in the goth-rock scene. Spike wore a Mission t-shirt in several episodes of Degrassi.

This is the video for "This Corrosion" off the album Floodland. This song came out at the peak of The Sisters commercial success. It's rumoured to be a sort of goth diss-track aimed at Hussey and Adams. If that's the case, goths are really horrible at insulting people, because the lyrics make almost no sense. The Eldritch and the Doktor were the only official members of the band for this album, but American bassist Patricia Morrison (formerly of The Bags and The Gun Club and a co-conspirator Eldritch's version of The Sisterhood) was brought on for live performances.

This is another video where I don't want to say too much about it because it's just so out of hand. Every time I watch it I feel like I'm watching someone try and stage Cats, Les Mis and a musical adaption of Mad Max on the same stage at the same time.



For those of you who are still unclear, comment to vote. The future of democracy depends on you.