REVOLTING COCKS - Sex-O MiXXX-O

Revolting Cock - Sex-O MiXXX-O

10 songs
47:10 minutes
/
13th Planet

Bandpage

Having your own label allows an artist to keep the artistic freedom of his music, but in the case of Al Jourgensen’s 13th Planet Records, one starts to wonder if they are not starting to mess with their fans. After the latest studio releases from Prong and Ministry, it’s now the turn of the last Revolting Cock’s CD Sex-O Olympic-O from earlier this year to be released as a remix album. This strategy gets artists to cash in twice on nearly the same product.

A short history lesson will teach us that Revolting Cocks started as a side-project my Ministry’s Al Jourgensen and the two Belgians Luc Van Acker and Richard 23 of Front 242 fame. The latter two soon left, and in the mid-Nineties, RevCo went on hiatus but came conveniently back a few years ago, just when Ministry started to split up. In the meantime, the personnel of Revolting Cocks and Ministry is nearly identical, only the musical orientation is less metal with the surviving band.

I am not familiar with the template, and therefore can’t tell if the remixers did a good job. As it turns out, Sex O-MiXXX-O makes for a highly pleasant listening experience and surprises with an astonishingly homogenous sound considering how many knob twisters had their hands on the original material. You get hard hitting industrial rock with punching dance beats throughout, creating thus a hybrid that should get rock fans to conquer the dance floors. The best interpretation comes from Skinny Puppy’s Dave “Rave” Ogilvie whose I’m Not Gay (I’m So Gay Club Mix) mixes shamelessly an anti-homophobic industrial rock hymn with incredibly blunt techno beats that betray a wicked sense of humour while retaining the original serious message. Other well known remixers featured on the album are members from Marilyn Manson, Pop Will Eat Itself, Gravity Kills, Combichrist and some more. Even founding member Luc Van Acker shows up to prove his skills on Touch Screen (Shower Strangulation Mix).

I can’t unfortunately say if the remixes add much to the original versions, but fans of danceable industrial rock should still risk an ear. I definitely prefer this strange crossovering to the brasher metal sound with which Ministry strained our ears towards the end of their career. But I still have a very ambivalent feeling towards the practice of releasing every album on the label twice.

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