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Skinny Puppy

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Skinny Puppy
Company typeBand
IndustryMusic
Founded1982 in Vancouver, Canada
FoundercEvin Key (Kevin Crompton)
Headquarters
Vancouver
,
Canada
Key people
cEvin Key, Nivek Ogre, Dwayne Goettel, Dave "Rave" Ogilvie, Bill Leeb, Mark Walk
ProductsElectro-industrial music, studio albums, live performances
ParentNettwerk (former label)

Skinny Puppy emerged as a Canadian electro-industrial ensemble originating in Vancouver in 1982, widely acknowledged as a trailblazer within the industrial rock and electro-industrial scenes. What began as a side project for cEvin Key (Kevin Crompton), while he was part of the new wave group Images in Vogue, evolved into a primary focus alongside vocalist Nivek Ogre (Kevin Ogilvie). Over the course of 13 studio albums and extensive touring, Key and Ogre remained the principal figures. Additional significant contributors included Dwayne Goettel (1986–1995), producer Dave "Rave" Ogilvie (1984–1996), Bill Leeb (1984–1986), and Mark Walk (2003–2023), with guest appearances from artists such as Al Jourgensen and Danny Carey.

After self-releasing a cassette demo in 1984, Skinny Puppy secured a contract with Vancouver’s Nettwerk label, becoming one of its flagship acts. Their sound, showcased from the debut EP Remission (1984) through to the 1992 release Last Rights, fused industrial, funk, noise, new wave, electro, and rock influences with pioneering sampling techniques. Their live performances and videos were known for their theatricality and horror motifs, often addressing themes like chemical warfare and animal cruelty. In 1993, the band parted ways with Nettwerk and producer Rave to join American Recordings, relocating to Malibu, California. Nevertheless, struggles with substance abuse and internal conflicts complicated the making of The Process (1996).

Ogre exited the group in June 1995, followed by Goettel’s death from a heroin overdose two months later. After pursuing individual projects, Key and Ogre reunited briefly for a one-time performance at the 2000 Doomsday Festival in Dresden. The band reformed in 2003 with producer Mark Walk and subsequently released The Greater Wrong of the Right (2004), Mythmaker (2007), HanDover (2011), and Weapon (2013), with the latter inspired by reports that their music was employed as a form of torture at Guantanamo Bay.

Formation and early output (1982–1985)

Skinny Puppy originated in 1982 in Vancouver, British Columbia, initially as a side venture for Kevin Crompton who was discontented with the pop-oriented direction of his band, Images in Vogue. When Images in Vogue moved to Toronto, Crompton decided to devote himself fully to Skinny Puppy. To avoid confusion between members sharing first names, Kevin Crompton and Kevin Graham Ogilvie adopted the monikers cEvin Key and Nivek Ogre respectively.

Recording sessions took place in Key’s apartment-turned-studio where the duo began crafting tracks. In 1983, aided by Images in Vogue’s engineer Dave "Rave" Ogilvie, they released the EP Back & Forth. This release marked the beginning of a long-standing collaboration with Ogilvie, who would produce the band until 1993 and briefly return in 1995. Although only 35 copies of this EP were pressed, it caught the attention of the fledgling Nettwerk label which signed Skinny Puppy later that year. Their debut live performance occurred at Vancouver’s Unovis art gallery in February 1984.

Ogre characterized Skinny Puppy as an outlet for Key’s desire to break away from Images in Vogue’s style, citing their initial track "K-9" as an exploration of existence from a dog’s perspective. The band incorporated low-budget horror film imagery into their shows as a form of shock value to challenge sanitized commercial media portrayals.

With support from Nettwerk, Skinny Puppy recorded new material at Vancouver’s Mushroom Studios and enlisted Bill Leeb (under the pseudonym Wilhelm Schroeder) on bass synthesizer and backing vocals. Their second EP, Remission, was released in December 1984. This project marked their first collaboration with artist Steven Gilmore on visual artwork. Nettwerk executive George Maniatis credited Remission with solidifying the label’s association with industrial dance music. The EP was promoted through videos for "Far Too Frail" and "Smothered Hope", with the latter becoming an underground favorite.

In 1985, they unveiled their debut full-length album Bites, co-produced by Key and Ogilvie with contributions from Tom Ellard of Australian electronic group Severed Heads. Billboard described its sound as "techno dance ... à la Kraftwerk". The album featured the underground hit "Assimilate". As Hell 'O' Death Day, Key and Ogre supported Chris & Cosey on their Canadian tour; some tracks performed during this period later appeared as bonus material on Bites, including "The Centre Bullet", which featured lyrics penned by Edward Ka-Spel.

Skinny Puppy earned recognition within underground circles due to their anti-consumerist messages and distinctive visual style while deliberately avoiding mainstream Top 40 conventions. Toronto music journalist Greg Clow recalled VJ Michael Williams introducing them as "Canada's answer to Depeche Mode".

Dwayne Goettel and stylistic evolution (1986–1987)

In 1986, Nettwerk finalized a distribution agreement with Capitol Records, allowing Skinny Puppy along with other label artists to reach a wider audience.[1] Stephen Powers, a manager at Capitol, remarked that adding bands like Skinny Puppy brought "authentic credibility" to the label within alternative and college music circles.[2] Additionally, Skinny Puppy signed with Play It Again Sam, which expanded their presence across Europe and became a vital income stream for Nettwerk.[3] Ogre later reflected in a 2007 interview that Skinny Puppy stood out as one of Capitol’s few financially successful acts during that era.[4]

In 1986, Bill Leeb left Skinny Puppy to concentrate on his own project, Front Line Assembly, citing artistic differences and a desire to pursue vocal performance.[5] His departure led to the recruitment of Alberta-born Dwayne Goettel, a classically trained musician who had previously been involved with synthpop groups such as Psyche.[1][6][7]

Goettel’s skills significantly enhanced Skinny Puppy's sound production, bringing sophisticated sampling methods that contributed to the band’s musical development.[6][8] His contributions on the 1986 album Mind: The Perpetual Intercourse were instrumental in steering the band toward their distinctive style.[9] Promotion for the album included an appearance on CBC Radio’s Brave New Waves and the release of the single "Dig It", whose music video received considerable rotation on MTV.[10][11][12]

During the tour supporting Mind: The Perpetual Intercourse, Skinny Puppy shared the stage with Severed Heads, gaining valuable industry experience despite difficulties caused by unpaid tour management.[13] In 1987, they released the singles "Stairs and Flowers" and "Chainsaw".[14] The album attracted criticism from the PMRC due to its controversial themes but was also acknowledged by Melody Maker as one of the standout albums of the year.[15][16]

Later that year, Skinny Puppy unveiled their third studio album, Cleanse Fold and Manipulate, signaling a pivotal moment where experimentation fused with creative innovation.[9] This record incorporated more politically charged subject matter, tackling topics such as the AIDS epidemic and the Vietnam War.[17] The album was supported by the single "Addiction".[18] The ensuing tour featured a notable show at Toronto’s Concert Hall, which was subsequently released as Ain't It Dead Yet? on VHS in 1989 and later on CD in 1991.[19] Also in 1987, two compilations—Bites and Remission (Capitol) and Remission & Bites (Play It Again Sam’s European edition)—collected Skinny Puppy’s early works released through Nettwerk.[20]

Continued Achievements (1988–1989)

Skinny Puppy's live performances became progressively more intricate, incorporating striking stage elements and acts characterized as "neo-dadaist shock theatre" and "grotesque". In 1988, the band embarked on their Head Trauma European tour with Edward Ka-Spel as the supporting act. Subsequently, they produced what Ogre described as their most significant critique of animal experimentation.

That same year, they unveiled their fourth studio album, VIVIsectVI, whose title cleverly fuses vivisection with Satanic themes. The record concentrated on topics such as animal vivisection and rights, while also delving into chemical warfare, environmental pollution, and illness. The lead track "Dogshit" was renamed "Censor" for its single release to enhance commercial appeal. The single "Testure", which condemned animal testing, attained number 19 on Billboard’s Hot Dance Music/Club Play chart in 1989.

Ogre intended "Testure" to be their most approachable song to disseminate their anti-vivisection stance beyond their core audience. It incorporated audio samples from the film The Plague Dogs, which tells the story of dogs escaping a research laboratory. Melody Maker recognized VIVIsectVI as one of the standout albums of 1988.

The band toured in support of the album with an early Nine Inch Nails serving as the opening act. Their live show portrayed a vivisectionist character, embodied by Ogre, gradually transforming into a tormented animal to symbolize psychological distress caused by vivisection. The stage act featured a simulated vivisection of a stuffed dog named Chud. After a performance in Cincinnati, Ogre, Key, and the tour manager were arrested for disorderly conduct when police mistook the prop for a real animal; they paid a $200 fine and were released the following day.

During this timeframe, members engaged in side ventures: Key and Goettel established The Tear Garden alongside The Legendary Pink Dots and formed Doubting Thomas for instrumental compositions. They also initiated Hilt, motivated by budget constraints from Nettwerk. Ogre collaborated with Ministry's Al Jourgensen during PTP's "Show Me Your Spine" recording sessions.

For their fifth album, Rabies (1989), Jourgensen took on production duties and contributed guitar and backing vocals. Although fans had mixed reactions, the album sold 150,000 copies and enjoyed considerable college radio play. The single "Worlock", which sampled Charles Manson singing The Beatles' "Helter Skelter", significantly elevated the band’s profile. Its video combined horror movie clips with an anti-censorship message and circulated widely both as an official promo and bootleg. Additional singles like "Tin Omen" and "Hexonxonx" received airplay on alternative radio stations. Brad Filicky of CMJ later hailed Rabies as an industrial classic.

This period also saw increasing internal tensions within Skinny Puppy, as Ogre participated in Ministry's tour for The Mind Is a Terrible Thing to Taste (1989), contributing guitar, keyboards, and vocals. He also collaborated with Ministry’s side project Revolting Cocks. Key later expressed feelings of marginalization due to Ogre’s external projects.

Too Dark Park Era (1990–1991)

Following Rabies, conflicts within the group intensified; Key and Goettel frequently opposed Ogre who appeared more invested in his solo endeavors. The band expressed dissatisfaction with Rabies, believing it strayed from Skinny Puppy's core sound; Key disapproved of Jourgensen's involvement, while Ogre labeled the album a failure created in a negative atmosphere.

Key and Goettel pursued side projects—Hilt released its debut Call the Ambulance (Before I Hurt Myself) produced by Rave; Key reunited with Bill Leeb for Cyberaktif with Goettel assisting production. Ogre declined Jourgensen’s invitation to tour with Revolting Cocks due to prior disagreements.

After completing these projects, Skinny Puppy issued their sixth studio album, Too Dark Park (1990). Goettel explained that this record aimed to redefine their sound for the new decade, enlisting Jim Cummins for cover art to refresh their visual identity.

Critics described Too Dark Park as "forceful and consistently abrasive," with Key considering it the true successor to VIVIsectVI. The album was praised for its innovative sampling techniques; Spin magazine highlighted it as a "return to the bloodbath." Singles such as "Tormentor" and "Spasmolytic"—the latter accompanied by a Jim Van Bebber-directed video—received acclaim. Billboard described "Spasmolytic" as a "delicious mind-altering affair," while Treblezine ranked it among the best underground tracks of the 1990s.

Environmental destruction was a prominent theme throughout both the album and its North American tour. Key shifted focus to drums while Goettel managed lead keyboards. Emphasizing live performance energy over backing tracks, their stage show included Ogre performing on stilts and pneumatic crutches while suspended by cables amidst graphic violent imagery sourced from films like Guinea Pig. Ogre explained this approach was designed to provoke audience reflection on staged versus actual violence through emotional reactions.

Ogre regarded this tour as a career highlight, likening performances to intense car races driven by audience anticipation of chaos.

Following the tour, Ogre briefly fronted Martin Atkins' project Pigface in 1991 alongside industrial luminaries including William Rieflin and Trent Reznor. Ogre and Reznor performed "Suck" live; Pigface’s live album also featured a cover of Too Dark Park’s "T.F.W.O." with Ogre on vocals.

In 2003, Spin magazine’s Alexander Chow identified Too Dark Park as an essential industrial release due to its complex rhythms paired with memorable choruses, cementing its status as a dance floor staple.

Last Rights Period (1992)

After finishing Too Dark Park, Skinny Puppy was commissioned by dance troupe La La La Human Steps to compose music for their 1991 production Infante C'est Destroy, joining artists such as Einstürzende Neubauten. During this time, Ogre overcame drug addiction struggles and recovered from hepatitis A, crediting Pigface members for their support.

In 1992, Skinny Puppy released their seventh studio effort, Last Rights, marking their final album under Nettwerk/Capitol Records. Recording sessions were fraught with tension; Ogre recorded vocals separately under Rave's supervision due to strained relations. He described making the album as therapeutic in confronting his substance issues.

Entertainment Weekly characterized it as an unrelenting sequence of disturbing soundscapes. It became Skinny Puppy's first entry on the Billboard 200, peaking at number 193 and reaching number 10 on the Heatseekers chart. The single "Inquisition" included alternative versions alongside b-side "LaHuman8," composed for La La La Human Steps. A second single titled "Love in Vein" remained unreleased officially but an unfinished remix surfaced on Brap: Back and Forth Series 3 & 4. The song "Killing Game" featured a music video showcasing a student dance company.

The track "Left Handshake" was excluded due to copyright complications involving a vocal sample from Timothy Leary's Turn On, Tune In, Drop Out. Despite Leary’s personal approval, rights holder Henry G. Saperstein denied clearance—a decision lamented by Key given Leary’s consent. Featuring Ogre discussing avoiding a "bad trip", it was later included on European editions of Brap: Back and Forth Series 3 & 4 and issued as a limited single titled "Track 10" during their 2000 reunion concert in Dresden.

The North American tour supporting Last Rights incorporated a storyline inspired by Ogre's struggles with addiction featuring elaborate stage props including virtual reality equipment, a tree adorned with human heads and fetuses, among other items. Key concentrated solely on live drumming while Goettel handled keyboards. At one Boston show fans invaded the stage stealing masks and props; when manager Tim Gore pursued them he was assaulted by security personnel requiring hospitalization. The implicated guard was subsequently dismissed.

The Process, Goettel's Passing & Disbandment (1993–1999)

In 1993 Skinny Puppy contributed "Ode to Groovy" for Restless Records’ compilation In Defense of Animals, though only Ogre and Rave participated despite full band credit. Ogre, Key, and Goettel signed a three-album deal with American Recordings and relocated to Malibu to record The Process, conceptualized around the 1960s cult The Process Church of The Final Judgment initially produced by Roli Mosimann. Recording sessions encountered numerous obstacles including fires, floods, and the Northridge earthquake; Mosimann was replaced by Martin Atkins whose involvement exacerbated tensions between Ogre and other members. Due to extended delays and drug problems American Recordings reduced their contract to one album.

In 1994 Key and Goettel returned to Vancouver with master tapes while Ogre remained in Los Angeles before quitting in June 1995. Two months later Goettel died from a heroin overdose.

Completed by Rave after these events, The Process was released in 1996 dedicated to Goettel's memory. It marked a stylistic shift featuring raw vocals, guitar elements, and more accessible song structures reaching number 102 on Billboard 200 while topping Heatseekers chart simultaneously. Concurrently an art/philosophy collective named The Process emerged involving Ogre alongside Genesis P-Orridge among others; P-Orridge collaborated on recordings later issued as Puppy Gristle. Key and Goettel formed Download with Mark Spybey and Phil Western exploring electronic improvisation and techno styles touring in 1996.

Earlier that year Goettel and Western released breakbeat hardcore material under moniker aDuck via Subconscious Records which evolved into Key’s label supporting his projects after Goettel’s death including continued collaborations such as The Tear Garden and platEAU; Key debuted solo work in 1998.

Ogre toured extensively with Pigface since 1991 while developing his side project WELT with Mark Walk before departing Skinny Puppy; legal complications delayed WELT releases until 2001 under ohGr name. He also toured with KMFDM releasing an album Rx alongside Martin Atkins showcasing some of his most inventive songwriting efforts during Skinny Puppy's hiatus period when compilations like Brap: Back and Forth Series 3 & 4, The Singles Collect, B-Sides Collect, and remix album remix dystemper were issued featuring contributions from artists including Autechre, Deftones, Guru, Ogre himself, and Mark Walk.

In 1999 their track “Draining Faces” appeared on soundtrack for film The Blair Witch Project.

Reunion Era: The Greater Wrong of the Right & Mythmaker (2000–2008)

Ogre and Key reunited for Skinny Puppy's first live appearance since 1992 at Doomsday Festival in August 2000 using stage designs inspired by Last Rights tour but leaving Goettel's keyboard station vacant. This performance was recorded for live album Doomsday: Back and Forth Series 5: Live in Dresden (2001). Key joined ohGr’s touring lineup in 2001; Ogre contributed vocals on Key’s solo album The Ghost of Each Room. Their first new track in years “Optimissed” was featured on the 2003 film soundtrack for Underworld.

Ogre, Key, Mark Walk plus guests including Danny Carey (Tool) and Wayne Static (Static-X) recorded ‘’The Greater Wrong of the Right’’, released in 2004 via Synthetic Symphony/SPV Records. Characterized by Key as “pseudopop,” it garnered positive reviews charting across several Billboard categories. The video for “Pro-Test” displayed an unconventional aesthetic for the band.

Following no tours supporting ‘’The Process’’, Skinny Puppy formally returned in 2004 embarking on sold-out North American/European tours; shows in Toronto/Montreal were filmed producing live DVD ‘’Greater Wrong of the Right Live’’ (2005) which included Morrison’s documentary addressing U.S.-led wars in Iraq sparking controversy including college radio boycott attempts due to anti-Bush administration messaging.

They toured Europe again in 2005 before recording ‘’Mythmaker’’ released January 2007 reaching No.4 on Independent Albums Chart but only briefly entering Billboard 200 charting lowly. Their Mythrus tour began May that year spanning North America/Europe; despite fans desiring earlier sounds Ogre emphasized creative progression moving forward.

“In Solvent See” Tour & ‘’HanDover’’ (2009–2012)

Initially planned for October 2009 release ‘’HanDover’’ faced delays caused by SPV label insolvency issues prompting “In Solvent See” tour starting October 30 regardless of album status. Subsequent announcements indicated February then further postponements before final release dates set for October 25 US / October 28 Europe in 2011 featuring artwork designed by Steven R. Gilmore achieving No.168 Billboard 200 peak along with No.9 Top Dance/Electronic Albums ranking.

Skinny Puppy performed major European festivals during summer 2010 including Germany's Amphi Festival Belgium's Waregem Gothic Festival Denmark's Recession Festival culminating in release June12/2012 live album ‘’Bootlegged, Broke And In Solvent Seas’’ documenting European tour performances.

‘’Weapon’’, Later Tours & Final Tour Announcement (2013–2023)

Announced May28/2013 ‘’Weapon’’ drew inspiration from revelations that their music had been used at Guantanamo Bay detention center for torture purposes along with events such as Fukushima disaster reflecting Ogre’s perception of humanity self-destructing like weaponry receiving generally positive critiques noting ’80s-style sound incorporating reworked early track “Solvent”. Key emphasized returning to fast-paced production reminiscent of early years.

A music video for “Illisit” preceded January2014 North American “Live Shapes For Arms” Tour beginning at Santa Ana Observatory venue early that year when Ogre invoiced U.S government $666K seeking compensation over unauthorized music use at Guantanamo widely reported across media outlets.

Later in2014 Skinny Puppy co-headlined Alliance Of Sound tour alongside VNV Nation (later replaced by Front Line Assembly), Haujobb & Youth Code renamed Eye vs Spy during North American leg.

June2015 saw performance at Amnesia Rockfest alongside Ministry & Dillinger Escape Plan followed by tours featuring Youth Code across North America(2015) & Europe(2017) under Down The SocioPath branding scaling back theatrics adding guitarist Matthew Setzer revisiting previously unperformed ‘’The Process’’ material including appearances Download Festival(France), Primavera Sound(Spain), Wave-Gotik-Treffen(Germany).

February2023 marked announcement of Final Tour coinciding with band’s40th anniversary initial dates April-May including Sick New World festival second leg November-December culminating disbandment thereafter.

Sonic Characteristics

Drawing inspiration from pioneering electronic innovators such as Suicide, SPK,Kraftwerk,Yellow Magic Orchestra,Cabaret Voltaire,Throbbing Gristle,Bauhaus,Joy Division,New Order,Depeche Mode,Fad Gadget accessed primarily through cassette culture Skinny Puppy crafted multi-layered “audio sculptures” utilizing synthesizers drum machines samplers tape loops alongside traditional instruments extensively sampling horror films clarifying or obscuring lyrical content often heavily distorted delivering stream-of-consciousness themes addressing social/political issues encompassing animal rights environmental degradation addiction suicide war privacy self-determination

Initially rooted in dark synth-pop evolving post-1986 following Goettel’s arrival into electro-industrial pioneers spanning ambient through industrial metal genres incorporating glitch/IDM elements post-Goettel

Their music described as primal yet melodic complex sonic textures early works labeled dark electro-pop moody techno outfits People magazine characterized Ogre’s vocals “incomprehensible” eclectic samples akin TV noise while Ogre himself described style more psychedelic than militaristic compared to contemporaneous industrial acts

Music Videos

Due to graphic content many videos faced restricted airplay or outright bans: “[Stairs And Flowers]” banned Canada violent imagery featuring Ogre “[Dig It]” accused pornography “[Testure]” banned following viewer poll “[Worlock]” banned MTV despite intent highlighting horror film censorship Some videos like “Killing Game”,“Pro-Test”,“Dig It” received promotional support Capitol Records TV spots circa1987

Goettel noted videos served less promotional function than touring word-of-mouth efforts

Live Shows

Renowned for theatrical concerts blending performance art improvisation Skinny Puppy incorporated elaborate props often designed by Ogre featuring cable suspensions rack-mounted nooses angle grinders mock executions political satire targeting George W Bush administration provoking promoter requests toning down theatrics blood effects

Despite lineup changes post-Goettel death core duo Ogre & Key remained supported live by drummers/guitarists Justin Bennett Morrison Matthew Setzer

Impact & Legacy

Although mainstream airplay limited Skinny Puppy achieved notable chart success North America Europe profoundly influencing industrial electronic music pioneering distinctive sound live performance styles attracting goth subculture audiences including significant female fanbase By late90s exceeding two million records sold worldwide earning gold certifications Canada for ‘’Remission’’ & ‘’Bites’’

Their influence spans numerous artists/projects: Nine Inch Nails’ Trent Reznor credits them key inspiration Grimes emerged Vancouver industrial scene citing them Youth Code’s Sara Taylor named “Worlock” highly influential Marilyn Manson Chester Bennington Moby Korn Jonathan Davis Daron Malakian(Scars On Broadway)3Teeth Foals’ Yannis Philippakis among others acknowledge Skinny Puppy impact across industrial rock metal electronic genres

Tribute albums such as ‘’Hymns Of The Worlock’’ feature various bands covering songs remix albums include contributions Josh Wink Guru KMFDM Chris Vrenna who also toured with them

Collaborations include Ogre’s work KMFDM touring vocals notable tracks remixes Mötley Crüe highlighting cross-genre reach

Their music featured across film soundtracks including ‘’Bad Influence’’,‘’An American Werewolf In Paris’’,‘’The Blair Witch Project’’,‘’Underworld’’ plus video games like ‘’Descent II’’ & ‘’LittleBigPlanet 3’’ Alternative Press recognized them among top underground inspirations spanning two decades

Side Projects

Key & Ogre maintain multiple side projects: Key’s solo albums include ‘’Music For Cats’’ & ‘’The Ghost Of Each Room’’. Doubting Thomas(Key & Goettel) focused instrumental compositions Download formed Key & Goettel produced several releases soundtrack work Jim Van Bebber’s film ‘’The Manson Family’’. Other ventures include The Tear Garden(with Edward Ka-Spel), platEAU(with Phil Western), Cyberaktif(with Goettel & Leeb), Scaremeister(Key’s film scoring alias).

Ogre leads ohGr releasing five albums since2001 formed Rx(with Martin Atkins) releasing one album ’98 toured extensively Pigface Ministry contributing vocals instrumentation across related recordings

Guantanamo Bay Torture Claims

Skinny Puppy publicly accused U.S military unauthorized use music torturing detainees Guantanamo Bay detention facility responding by invoicing Pentagon seeking compensation misuse intellectual property rights

Personnel

Final Lineup
  • Nivek Ogre – vocals,keyboards (1982–1996,2003–2023)
  • cEvin Key – guitars drums bass synthesizers (1982–1996,2003–2023)
  • Mark Walk – keyboards synthesizers guitars bass drums (2003–2023)
Former Members
  • Bill Leeb – bass synth backing vocals (1984–1986)
  • Dwayne Goettel – keyboards synthesizers guitars bass (1986–1995; deceased)
  • Dave Ogilvie – programming guitars production (1987–1988)
Touring Members

Discography

  • ’’Remission’’ (1984)
  • ’’Bites’’ (1985)
  • ’’Mind: The Perpetual Intercourse’’ (1986)
  • ’’Cleanse Fold And Manipulate’’ (1987)
  • ’’VIVIsectVI’’ (1988)
  • ’’Rabies’’ (1989)
  • ’’Too Dark Park’’ (1990)
  • ’’Last Rights’’ (1992)
  • ’’The Process’’ (1996)
  • ’’The Greater Wrong Of The Right’’ (2004)
  • ’’Mythmaker’’ (2007)
  • ’’hanDover’’ (2011)
  • ’’Weapon’’ (2013)

Videography

  • ’’Ain’t It Dead Yet?’’, live Toronto performance1987
  • ’’Video Collection(1984-1992)’’
  • ’’Brap: Back And Forth Series3&4’’
  • ’’Greater Wrong Of The Right LIVE’’, Toronto/Montreal shows plus documentary
  • Various promo-only videos including “State Aid”,“Worlock”,“Candle”,“Crucible”,“Hardset Head”,“Haze”

See also

Bibliography

  • Barclay et al., Have Not Been the Same: The CanRock Renaissance
  • Buckley et al., Rough Guide to Rock
  • Horn et al., Encyclopedia of Popular Music of the World
  • Kern, Skinny Puppy: The Illustrated Discography
  • Reed S.A., Assimilate: A Critical History of Industrial Music


Further reading

  • Interviews featured in IndustrialnatioN Magazine Issues #5, #13, and #21

External links

  1. ↑ 1.0 1.1 Cite error: Invalid <ref> tag; no text was provided for refs named Barclay p.516
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  6. ↑ 6.0 6.1 Cite error: Invalid <ref> tag; no text was provided for refs named Emusician
  7. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named SEE Magazine
  8. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named AllBio
  9. ↑ 9.0 9.1 Cite error: Invalid <ref> tag; no text was provided for refs named DiGravina
  10. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Barclay pp.31-32
  11. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named timeline
  12. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named 120 Minutes Archive
  13. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Gilmore
  14. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Kern p.77
  15. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Holland
  16. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Rocklist
  17. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Shurtluff
  18. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Kern p.78
  19. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named ExclaimEveryDog
  20. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Kern p.14
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