Music between Electro and Techno. Drexciya`s Deep Sea Dwellers and Steve Moore`s Panther Moderns. On the prowl through the memories of a New York night. Through a 1980s Meat Packers. Searching for prey. Hitting The Anvil, Manhole, Mineshaft, and Hellfire Club. Dark. Subterranean. Vampiric in shadow. Black save the strobe. Dancers frozen like statues in its flashing glare. Tangled shapes in a Porno House. The crack of the Dominatrix` whip. Felix The Housecat bound, gagged. Teased near torture by Sofie Bloo.
“She tied you to a kitchen chair. She broke your throne, and she cut your hair.” And paraded about naked to the point you thought you might explode.
Leather. Rubber. Stilettos on skin. A danger of strangers. Sex the only real means of escape. Of transcendence. High-end Freaks and Hard Bodies in a room full of flesh machines. Pumping. Pounding. Giving and receiving. Synchronised. Choreographed in climax after climax. Locked in perpetual motion. Like one fucking engine. In a hardcore beyond of sexual exhaustion, disorientation, and sensory overload. Bass-lines snarl possessed to an EBM timpani. Old school analogue. The organic to this century`s digital ether. Butch boots dance to a paramilitary tattoo. Ministry. Wax Trax! 1000 Homo DJs. Jackin` off at Ron Hardy`s Music Box. Harder. Faster. Cum, ecstasy and conniption fits.
Music for Cosey`s manifesto. Where to break taboo, dehumanise yourself, is to finally be free. With nothing to fear but fear itself.
PINKLUNCH is a project dating from 2003. The first release on Trevor Jackson`s new archival label PRE-. Issued on Friday (November 24th) as a limited edition of three hundred 2x12s and five hundred CDs. Digital is available directly here.
All packages are accompanied by artwork from Tomi Ungerer`s Fornicon. 1960s counter-culture draughtsmen’s lines that borrow from Aubrey Beardsley`s grotesque to mix sex and machines.