They have performed around the country at a number of festivals and are planning tours for 2007. Recently, after a massive seven year hiatus from the stage, Jared and a backing band comprised of the members of Electro-Industrial group Mindless Faith has taken Chemlab back on the road again. Working with the members of Acumen Nation, old touring guitarist Greg Lucas and Julian Beeston (Nitzer Ebb, etc), he recorded and released an album entitled "Oxidizer". Jared and Dylan recorded and toured with many seminally important musicians such William Tucker (Ministry, etc), Geno Lenardo (Filter etc), Charles Levi (My Life With The Thrill Kill Kult, etc) and Krayge Tyler (Crazytown, etc).Ĭhemlab broke up in 1997, and reformed in 2004 with Jared as the only original member. Their first album, "Burn Out At The Hydrogen Bar", recorded at famed Chicago Trax studio, is considered to be one of the top ten most influential cult Industrial records. They released only two albums and two maxi-eps as the original duo. Moving to New York City in 1990 and dubbing their drug-influenced sounds 'Angel-Dustrial', they built up a strong fanbase by touring with such artists as White Zombie, KMFDM, Nine Inch Nails, GWAR, 16Volt and Sister Machine Gun. ![]() ![]() Influenced by the pioneers of the industrial genre, such as Throbbing Gristle, Chemlab brought a rough, experimental approach to their music. in 1989 by Dylan Thomas More and Jared Louche with the help of short-time member Joe Frank. Moving to New York City in 1990 and dubbing their drug-influenced sounds 'Angel-Dustrial', they built up a strong fanbase by touring with such artists as White Zombie Read Full Bio Chemlab is a Coldwave and Industrial rock (or "Machine Rock") band formed in Washington D.C. ![]() Overall, the lyrics of Exile On Mainline paint a bleak picture of a world that is both overwhelming and indifferent, and a speaker who is struggling to find a foothold in the midst of it all.Ĭhemlab is a Coldwave and Industrial rock (or "Machine Rock") band formed in Washington D.C. The image of a scratched record jumping and skipping further reinforces the feeling of being stuck, trapped in a loop that cannot be escaped. The chorus, with its repetition of "skipping, skipping, skipping," intensifies this sensation of disorientation and dislocation. The following lines describe a sense of time passing relentlessly, like water seeping out - an image that further emphasizes the speaker's feeling of being adrift and disconnected from reality. Instead, it may be a desperate attempt to feel something, anything, in a world that seems increasingly distant and alienating. The "bite of your touch" implies that this consumption is not entirely voluntary or pleasurable. The first line "Wasting the world away at the bite of your touch" suggests that the speaker is consuming the world around them, perhaps even devouring it, but also being consumed by it. While a bit more head-bobbin’ industrial metal than they may prefer to be perceived, it sure as shit beats writing new blah-rock with misfiring artsy yearnings.The lyrics of Chemlab's song Exile On Mainline seem to be describing a state of detachment and escapism from the world. They were younger, more vital, more angry, and much more expressive back then. Not a song on this CD stands up to even the not-so-great songs on Burn Out At The Hydrogen Bar. Three of the final four tracks (excluding those zany blank tracks almost have a spark of life in them, but that’s probably only in comparison to the beating-the-dead-electric-horse previous tracks. ![]() The oh-so brilliant writing talent of one-spin-off-wonders Filter’s Geno Lenardo shines through in the complete snoozer “Pyromance.” It’s so dull, it almost makes The Crow II Soundtrack sound interesting which, of course, is impossible to do without heavy meditation. This makes God Lives Underground sound tough. It’s like Silt or Guilt, or whatever the hell that Machines of Loving Grace mid-tempo turd was. But even Broken was pretty cool, despite its leaning on tired clichés. It’s like waiting three years to have Trent release a heavy metal record. Limp rock with expansive toys used ineffectively does not an electronic pioneer make. If they’re to be billed as “tomorrow’s techno terrorists today!” or some such hogwash, you’d guess they’d be a little more, y’know, aggressive than the mid-tempo, pseudo-arty, electronically-enhanced, minimalistic pop rock on East Side Militia. You’d think after almost three years, Chemlab could come up with something a little more powerful.
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