condition (discs/box/inserts): M / NM / NM
Contents: 1x Signed certificate of authenticity + 1x Wax sealed envelope (still intact) + 2x Patches + 3x Stickers + 4x Pictures of TG + 4x Collage prints made by each member of the band specifically for this release + 3x Button badges + 1x Newsletter (history, tracklists, etc.) + 24x Live CDs.
The early material (1976-77) has TG at their most confrontational, featuring Genesis at their most vocal and theatric, making much use of shock tactics. Sonically, the group plays mostly aggressive electronic soundscapes, notably before Sleazy had fully come in to the fold, so unfortunately lacking his sample wizardry. Some of this material is really great, intense and engaging, but it lacks consistency. The instrumental sets can drag as the group doesnt seem to have quite found its footing and Gen occasionally loses purpose in their antagonistic antics. By 1978, however, they've crystallized into something truly formidable. Everything from IRCD11-IRCD15 is phenomenal, as the group transforms classics like "IBM" "Hamburger Lady" and "Walls of Sound" into monsters of industrial menace and punishing noise. You really don't get a good picture of TG's proficency as a noise group on their studio output, aside from a few brief tracks; the 1978 material pulverizes you, and is complimented well by Sleazy's morbid and hilarious samples, and a much more reserved, though no less maniacal Gen. The first couple 1979 sets reveal them working out new material that would end up on 20 Jazz Funk Greats, notably "Persuasion", "Convincing People", and "What a Day", all far rougher and more aggressive than the clean and creeping studio renditions. These take a few performances to master, but by IRCD19, they've got it down perfectly, creating a cold and dark, droning atmosphere on top of which Genesis breaths or suggests horrors, at times descending into wailing like a dying animal. This and the much-loved Factory Manchester represent a performative apex for the group; unfortunately, the remaining 4 sets seem to lose steam. Although still having their moments of brilliance, particularly with live debuts of "Subhuman" and "Something Came Over Me" these later shows grow a bit redundant and are nowhere near as consistently engaging or innovative as those preceeding.