Released
1997
Label
Cold Spring
Reviewed by
Michael C. Lund
Contact
Cold Spring
87 Gloucester Ave
Delapre, Northampton
NN4 9PT, England
Visit
Last Edit/Update
22 august, 1998
Sutcliffe Jügend
WE SPIT ON THEIR GRAVES
Track Listing
1. - 13. Ripper Victims I - XIII
14. - 20. Tortures I - VII
21. Necro-Sadism
22. Whores' Endlosung
23. Menta
24. Human Disregard
25. Sex Beast
26. Hammer Death (Ripper Attack)
Released for the first time on CD by Cold Spring Records, We Spit On
Their Graves includes a remastered selection of material from Sutcliffe
Jügend's monumental -- and near unobtainable -- 10xCassette set of the same
title from 1982. Essentially the one-man project of Kevin Tomkins -- whose
credits also include a stint with the legendary noise band Whitehouse, Sutcliffe
Jügend must be considered one of the formative influences of the present noise
and harsh electronic music scene. Fifteen years after the initial appearance of the
material on this disc, it is still no less fresh or shocking, and after an extended
hiatus, it appears that Tomkins is about to emerge from the torture chamber once
more, with a new Sutcliffe Jügend CD entitled When Pornography Is No
Longer Enough on Swedish Cold Meat Industry.
We Spit On Their Graves
consists of three sequences: first, the "Ripper Victims" tracks, which
constituted one complete side on the original cassette set; second, the
"Tortures" -- another complete side on the original; and finally, a series of
six additional highlights from the rest of the tapes.
"Ripper Victims I - XIII"
is the most relentless series -- short assaults (the majority less than two minutes in
length) of screaming high frequency manipulations, static noise, and other piercing and
charged sound effects. Each track is driven by a sense of spontaneity and desperation, as
if Sutcliffe Jügend was not so much performing the music as unleashing
it, and then attempting to tame the almost elemental rage of their creations. From within
the stormy chaos of these brief exercises in sonic terror are occasionally heard the
almost completely drowned out screams and yells of a male voice, crashing against the wall
of noise -- like the last frantic commands issued by the captain of a sinking ship to his
panic-stricken crew.
The "Tortures" are
generally longer in duration, appear "more" controlled, and rely strongly on
radio manipulations, droning, grating interference, and vibrating tonalities. Whereas the
"Ripper Victims" were impressions of sudden, psychotic explosions of lethal
violence, these compositions are studies in agony of a slower and more refined nature.
Particularly powerful in this sequence is "Tortures II," with its almost melodic
stream of racing static, and echoing, high-pitched flickers that arrive in short bursts
like electric currents momentarily sending shocks through a human body. "Tortures
IV" describes the climax of the torture session -- sustained butcher-house
electronics penetrated by short hollow pulses; and then, towards the end, the sound of
human screams rip through the piece, leaving dull reverberating after-effects in their
wake. The "Tortures" sequence concludes with a brief piece of gurgling,
fragmented radio tunings, and very clear and high screeching tones of an elegiac, near
melodic quality. There is something euphoric or dreamy about this piece, as if it
represented a gruesome reality experienced through a state of near unconsciousness, or the
final living sensations of a mutilated individual fading from the world.
The closing sequence of tracks
explores similar territory as both the "Ripper Victims" and the
"Tortures." However, whereas the tracks discussed above derived much of their
power and sense of structure from the inclusion within larger thematic frameworks, these
selections appear more structured and intense in and of themselves due to their compressed
format. The majority of these pieces also feature more prominent use of vocals -- fierce
and enraged exclamations that have been dragged through an acid bath of distortion.
For those unfamiliar with this
notorious band, the words uncompromising, harsh and brutal are hardly sufficient in
describing the intensity and often downright frightening sound of this CD. This is in
short music fascinated with pain, violence and death in a manner reminiscent of Pier
Paolo Pasolini's cinematic masterpiece of cruelty -- Salo, and the writings of
such authors as De Sade, Bataille and Mishima. It is
also a great introduction to one of the pioneering bands of the electronically generated
noise scene -- one that will enthrall anyone who has ever experienced a simultaneous
sensation of beauty and chill, from scratching off the scab of a wound, and watching, as
the cherry-red trickle of blood slowly runs across the ivory field of skin.
