![]() ![]() By the time the album came out, Nocturnal Emissions had already produced several albums of electronic music which varied from noisy to funky. Originally self-released in 1988 on Earthly Delights, Spiritflesh is a masterpiece and a major reference for the early drone/dark ambient minds. Led by Nigel Ayers and Caroline K, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle, SPK, and Cabaret Voltaire. Mannequin Records starts a series of re-presses dedicated to the legendary Nocturnal Emissions, one of the best kept secrets of the industrial genre since the 1970s. Whether by synthesizer manufacturers' musical design or through engineering limitations, the more automated a band allowed their music to become, the dancer it was likely to be." Features the classics "Suffering Stinks", "Going Under", and "No Separation". As Nigel Ayers recalls, "Popular music picked up on what we were doing 1983-1984, which helps explain why records such as Viral Shedding sound clubbier today than they did at the time, but the technology of music making locked in a seat of aesthetics in those days that shaped pop as a whole more than industrial music itself did. ![]() The result is the frustrated son of mutant disco, swimming in the same waters of Cabaret Voltaire, 23 Skidoo, Tackhead, Meat Beat Manifesto, and Hula. Nigel Ayers and Caroline K take their inaccessible best and thrown it into the melting pot with a set of pumping rhythms. Between pure noise and electronic beats, Viral Shedding is creating a twisted and percussive rhythmic urge, a funky disco sound permeated by digital industrial beats. Originally released on Illuminated Records in 1983, Viral Shedding is surely one of the most important references for the industrial/funk dance music. Mannequin Records start a series of re-presses dedicated to the legendary Nocturnal Emissions, one of the best kept secrets of the industrial genre since the 1970s. All we could do in that sort of milieu was imagine what the alternative would be like." But we were having horrible times with Thatcher. If we actually had a revolution in this country, it would be like Iraq or something, or Syria. All these old punks and hippies preaching revolution, I don't think we were really prepared to live with the consequences. But it would probably have been quite unpleasant. I was convinced there was going to be a revolution. As Nigel himself reminds, "they were buying lots of equipment at the time and seemed to have naturally acquired some skill over the years so they thought, 'Let's make some pop music.' He continues: "The Miners' Strike was on and there were riots down our street in Brixton. Classics such as "No Sacrifice" and "Never Give Up" have made this an essential album for every fan of electronic music. ![]() Songs of Love and Revolution was a big step forward for the band, having a full-color cover and turning the NE sound further towards electronic pop music. SOLAR was the last of the bunch, and was the most explicitly "message"-oriented and political. Then came a few albums that were firmly song-dominated. The first couple of albums were brooding, bleak affairs that called to mind a more sedate version of SPK. The release marked the end of a period of more "conventional" songwriting and instrument use for Nocturnal Emissions. Originally self-released in 1985 for Sterile Records, Songs of Love and Revolution is the Nocturnal Emission's most successful album ever. ![]()
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