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My Life With The Thrill Kill Kult

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Most house-based dance music is either completely devoid of content or has a fairly serious political consciousness. Not so with My Life With The Thrill Kill Kult. With its schlocky mix of samples, synths, beats, Satan, and sex, the group is a hyped-up, stylized psychdelic dance troupe that revels in bad taste of all kinds. And the sheer tastlessness of their records gained a large cult following in the early '90s, culminating in their Sexplosion album and its single, "Sex on Wheels."

The Thrill Kill Kult saga began in Chicago 1987 when recently transplanted Boston musician Buzz McCoy and poet/artist/singer Groovie Mann discovered that they shared a similarly oblique view of the world inspired by tabloid headlines, B-movie ethos, sexually ambiguous decadence and sheer boredom.

It was the musing of two madmen - or two geniuses, as the case may be - which prompted the original plan to make a movie that was "really off-beat, self-indulgent, and visually shocking, a la Russ Meyer, Kenneth Anger, Polanski, Fellini, Warhol or John Waters."

The working title of the film was to be My Life With The Thrill Kill Kult and while the celluloid concept never came to fruition, the idea spawned a group in which Buzz and Groovie fused the visual and aural arts into a distinctive and inspired musical melange that would - over the years - be emulated but never replicated.

With its revolving cast of eccentric characters, patented use of samples and live instrumentation, intriguing subject matter, outrageous stage shows, and general propensity towards sensory overload, My life With The Thrill Kill Kult has - throughout the past decade and with each new project - continually reinvented its own reality, earning a somewhat mythical status in the process.

One part performance art, one part spinners of tall tales, ad two parts innovators, Thrill Kill Kult are to music what "Pulp Fiction" is to film: revolutionary, extraordinary, shocking and unforgettable.

To manifest their vision, Buzz and Groovie have always designed artwork and live productions for each of their albums in an effort to evoke the feeling of the music in the visual presentation.

And although they have yet to make their own movie, the pair ahs also found their niche in the film world through their contributions to soundtracks of Ralph Bakashi's "Cool World," Paul Verhoeven's "Showgirls," Greg Araki's "Nowhere," and the cult classic "The Crow," in which the band also made a cameo appearance.

The Kult released their first recorded offering, a self-titled EP, in March of 1988 for Chicago-based indie label Wax Trax Records. The debut album, I See Good Spirits And I See Bad Spirits, came in December of that year and was followed by two more Eps (Some Have To Dance...Some Have To Kill - 1989; Kooler Than Jesus, 1990) and two additional full lengths (Confessions of a Knife, 1990 and Sexplosion, 1991).

Sexplosion! Was re-released through Interscope the next year and yielded the Kult's first certifiable hit single, "Sex On Wheelz," (which was the cut featured in the film and on the soundtrack to "Cool World').

13 Above The Night was released in 1983 with Hit & Run Holiday, the band's acclaimed long-playing opus which told the story of a rebellious vixen named Krystal Starlust and her fatal attraction drifter named Apollo over a musical backdrop of twangin' guitars and groovin' horns, hitting the streets in 1995.

Thrill Kill Kult also enjoyed a steady string of alternative dance hits throughout their career, including "...And This Is What The Devil Does," "Kooler Than Jesus" and "A Girl Doesn't Get Killed By A Make Believe Lover...Cuz It's Hot," which featured underground punk goddess and long time Kult friend Lydia Lunch.

There are no crimes committed on A Crime For All Seasons, unless you consider the murder of musical stereotypes and conventions a felony.

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