From Library Journal
Beware of post-postmodern types name-dropping COUM and Throbbing GristleTM as the proud parents of industrial music and industrial bands like Nine Inch Nails; that's the half-assed version to expect from people who think they invented black. Here, Ford shows the patience and respect of an extragenerational fan while detailing the frenetic evolution of COUM from a hippie freak-out band to a performance art troupe to TG, an anti-rock, anti-high art missionary. Although TG's attacks on social, political, sexual, musical, and artistic mores were brave, they often bordered on the hypocriticalAe.g., TG desired intimacy with its audience but used halogen lights and P.A. barricades to alienate people at live shows. Using his interviews with Chris Carter, Peter Christopherson, Genesis P-Orridge, and Cosey Fanni Tutti, Ford convincingly defends TG on every frontAincluding its use of fascist album imageryAand proves that COUM and TG elevated civilization more than they wrecked it. A dense but enlightening work; for larger public libraries.AHeather McCormack, "Library Journal"
Copyright 1999 Reed Business Information, Inc.