'splain this one to me: Renegade Soundwave

1. Cocaine Sex (Sub Aqua Overdrive Dub)
2. Biting My Nails (Bassnumb Chapter)
3. The Phantom (remix)
4. Ozone Breakdown
5. Thunder
6. Bacteria
7. Deadly
8. Transition
9. Women Respond to Bass
10. Holgertron
11. Recognise and Respond
12. Transworld Siren
13. Black Eye Boy
14. Ozone Breakdown 90 (Uprising mix)
15. Positive Mindscape

(79:54, chronological AFAIK - contains most of In Dub. Part 2, the non-dub version singles, is coming soon, although I listen to this one much more. These tracks are really astonishing even before you think about when they were produced!)

Armed Audio Warfare is the only subpar thing MBM put out. Everything else is genius.

I don't comprehend how anyone could dislike 99%, Satyricon or Subliminal Sandwich.

(another dead sheep)

Meat Beat Manifesto's initial modus operandi (when they first formed around 1986 or 1987) was to create an album "more extreme than As The Veneer..." apparently. They didn't succeed, but we did eventually get to hear bits and pieces of that work when Sweatbox released the Bark compilation with "Kneel And Buzz", which is that insane proto-Merzbow-doing-hip-hop sounding track. And the early collection Armed Audio Warfare came out in 1990, which had "Kneel And Buzz", "Mr. President", and some of the earliest bits. (Whether the original studio tapes were actually "destroyed in a fire", acc. to the liner notes, is up to you to believe.)

(Sorry, Dan, but i love Armed Audio Warfare.)

But I'm wondering if "Kray Twins" and "Cocaine Sex" were also influenced by As The Veneer as well. The biggest difference between all of them being that you just could not dance to As The Veneer, at least for more than 20 seconds, as it was the loudest most chopped up fucked up "beat"-ish album ever made.

If it wasn't for the also very raucous and Swans like Rema Rema that served as part of RSW's early history (via Ascquith), I would have been convinced.

Depends on your definition of "RSW" and "industrial". If we're talking early RSW, it's not really that far fetched. Gary Asquith's voice is very harrowing back then.. but not in the stereotypical "I'm going to sound like a DEMON on DISTORTION. ROOOOOWWRR" effect that many known industrial/dance bands use. And those beats and sounds do get very very loud at times.

The most "industrial" thing about RSW is their album covers, especially of the early singles... which are amongst the best ever.
That said, "Biting My Nails" pretty much nailed the whole "RSW = industrial" meme in the coffin, if there ever was one to begin with.
Sampling a breakbeat from KC & The Sunshine Band = not industrial, haha.

Also, I don't think anyone should be that confused about people linking RSW to industrial after listening to "Murder Music", "Space Gladiator" and "Kray Twins".

That's because it IS unfinished and incoherent.. it's a compilation. but some of my favorite individual MBM tracks ever are on this compilation... "Kneel and Buzz" being one of them. "Cutman" is great, too.. and didn't that get nicked on a Chemical Brothers mix CD back in the day?

RSW "Blue Eyed Boy" (1989)
Public Enemy "By The Time I Get To Arizona" (1991)

granted, the former only used it occasionally, whereas PE made it the consistent backdrop.

I'm not trying to argue against your points, Spencer.. I'm just giving you my side of what I (very loosely) define as industrial in this context. We're both "right". :)

Why is LFO's "Frequencies" still...

for more rsw talk, or perhaps, bring it back here.

Just wanted to continue listing the vinyl only RSW items.

(one of my faves off the 1st album i have to say)

WHEEL IT OUT! COMING THROUGH!

is it this?

http://www.discogs.com/release/221980

Maybe it's a bootleg edit? I have a bootleg I got at Rock-N-Soul, a place that is mostly hip-hop and disco/house/club classics that has Ozone Breakdown on it.

The funniest thing I got I won on eBay, it was a 7" white label advertised as "Cooking Sex". Sure enough, it says Cooking Sex on it in handwriting, and was on Rhythm King, I'm wondering if they weren't worried about sending it radio stations as Cocaine Sex or something!

I want this:

http://www.discogs.com/release/413655

and wonder if its the same version that ended up on In Dub.

Unfucking real.

I also interveiwed Danny Briottet a few years later for Alternative Press (but it never ran) and told him about it and he laughed and laughed. I know for sure there is a Layo & Bushwacka remix of I THINK "The Phantom" that came out around then because it was on Danny's mix CD. Apparently Danny and Gary Asquith haven't spoken in years either... he was pretty spiteful toward him on the phone.

Anyway, they were universally brilliant. Yes, for sure three different eras, but all of them rock the house in different ways. What about the love for the self-titled comeback single with the Serge Gainbourg shit all up in it? The more I hear "Howyadoin" the more I think I never gave it enough credit on release. That said, I do own like 4 copies of it...

that's exactly what they were worried about. my 12" has that written on it too.

In the U.S., if RSW were known here then, you would have had to change that to "Cocaine Sects", because you know drug talk is OK in the U.S. but certainly not sex!

That's an early Flaming Lips song, now, Ned. Give us a break.

Track starts off with some sort of acid track, sounds hot

https://www.youtube.com/watch?v=argUqGBkGGE

Err, my question was meant to be: Does anyone recognize this acid track?

It appears to be none of these: http://www.whosampled.com/Renegade-Soundwave/The-Phantom-%28Turntable-Scratch%29/

Remixer is credited as 'Radical Crew' (only credit on Discogs is this track)

don't know about that sample but those credits are sloppy. That track doesn't sample Area Code's Stone Fox Chase OR Cymande, or Run DMC it samples Royal House's The Chase, which is Todd Terry sampling Stone Fox Chase and Cymande and Run DMC.

Great interview with Gary Asquith here about his younger/punk days:

http://www.3ammagazine.com/3am/a-strange-elevation/

interesting stuff, definitely needs a second part re RSW and beyond ...

why oh why have these guys not yet cashed in on the late 80s/early 90s reunion groove !?

i mean seriously.

modern techno toys would mean they could perform live with little effort.

They probably don't get along. They both do stuff with versions of the name. Danny seems to do more straight modern dub type stuff, while Gary's been reissuing and reworking Rema Rema and doing stuff as Renegade Soundmachine. I really wish I was more convincing when emailing Gary going back to the myspace days about the then yet-unreleased Rema Rema stuff.

http://inflammablematerial.bigcartel.com/product/rema-rema-international-scale-7-defiant-pose-8

http://www.discogs.com/Rema-Rema-EntryExit/release/6943617

Where is Karl Bonnie?

They probably don't get along.

i realised this after a bit of research and chat ..

such a shame as they could easily pay off mortgages etc if they hit the reunion trail ..

I just reread Neuromancer for the zillionth time and was thinking about how I like to listen to certain records or bands when reading certain books/comics because it’s a perfect soundtrack and for me the soundtrack to Neuromancer is Soundclash. There’s a lot of dub in the book so RSWs take on decadent industrial digital dub pop always seemed fitting.

i interviewed renegade soundwave but i don't think the piece was very good

after a nudge, i listened to all 4 albums yesterday/today.
yeah, their stuff still hits the spot.
never got the 2cd comp though as not enough non-lp material on it.
now, a comp of their own remixes and their remixes of others would be most appreciated,
but i suspect the chances are somewhat slim.

Gary’s been busy with Rema Rema, movie coming soon. Danny did some production and remixes with Rico Conning and makes radio mixes.

blimey.
did not expect that.
nice to hear that they are still involved with various projects.