C-Murder is the youngest brother of Master P, the founder and president of No Limit Records. That explains his membership in the No Limit family, the label where nepotism rules, but he's actually one of the stronger rappers on the label. He may stick to the predictable gangsta musical blueprint, but as a rapper, he had an original style and interesting wordplay that separated him from the No Limit pack.

C-Murder made his first recorded appearence as a member of Tru, a trio that also featured his brothers Master P and Silkk the Shocker. Their first album, True, was released in 1995 and was followed by Tru 2 Da Game in 1997. During that year, C-Murder appeared on a number of No Limit releases, including Master P's Ghetto D and the I'm Bout It soundtrack. In the spring of 1998, he released his solo debut, Life or Death. Bossalinie followed a year later. -- Stephen Thomas Erlewine, All-Music Guide

(Photo by: Kevin Westenberg)
Drawing from the pioneering work of artists like Throbbing Gristle, Cabaret Voltaire and Suicide, the dark avant-industrial group Skinny Puppy formed in 1982 in Vancouver, British Columbia. Originally a duo comprised of former Images in Vogue vocalist cEVIN Key (born Kevin Crompton) and Nivek Ogre (a.k.a. Kevin Ogilvie), Skinny Puppy followed their debut cassette Back and Forth with the EP Remission, the first of many recordings with producer David "Rave" Ogilvie, in 1984.

Keyboardist Wilhelm Schroeder joined the group for 1985's full-length debut Bites, but was replaced the next year by Dwayne Goettel, whose sampling and synth work proved significant in the development of the Skinny Puppy aesthetic from ominous dance music into a distinct fusion of industrial, goth and electronic sounds. Subsequent releases like 1986's Mind: The Perpetual Intercourse, 1987's Cleanse, Fold and Manipulate and 1988's VIVIsectVI further honed the trio's style, as well as introducing the outspoken lyrical agenda that remained a thematic constant throughout much of the group's work.

In 1989, Ministry's Al Jourgensen added vocals, guitars and production work to Rabies; ...    read more
-- Jason Ankeny, All-Music Guide

(For more detailed information about Skinny Puppy's history/biography) also see:

Dave's Vaguely Accurate Bio.

Disillusioned with the world of pop music, late 1982 sees Kevin Crompton wishing to leave synth band Images in Vogue in search of something new. Going under the moniker of cEvin Key, he teams up with Kevin Ogilvie (a.k.a. Nivek Ogre), to form the initial line-up of Skinny Puppy, a complete anti-thesis of his previous group. Musically, visually and psychologically challenging, Puppy were to become a mirror that reflected the horrors of today's society. In 1983 the mysterious, unknown group was signed by local label, Nettwerk.

For their first album with Nettwerk they hooked up with Images in Vogue producer Dave Ogilvie (later to be nicknamed Rave), who would play an integral part (for the most part) until their demise. In 1986, in time for the recording of Mind: The Perpetual Intercourse, came in Dwayne Goettal, who would be cEvin Key's partner until his untimely death a decade later.

Skinny Puppy would go on to record 10 full length albums and impact the music industry forever. May the old dog rest in peace...

KMFDM

it has been twelve years since kmfdm's first release "what do you know, deutschland?" and fourteen years since the inception of kmfdm on feb. 29th, 1984.

kmfdm is an acronym for : kein mehrheit für die mitleid (which loosely translated means: no pity for the majority)

as part of a 1994 "marketing campaign" (one of these redundant things only record-companies can think up) 1001 possible meanings for kmfdm were created by fans worldwide. kmfdm never fueled these efforts, but stood by, merely watching in astonishment.

however,over the past three years, after thousands of threads in various internet newsgroups,this subject has become so over-emphasized and pointless that it is now plainly annoying...!

kein mehrheit für die mitleid was founded by sascha konietzko and udo sturm, a german painter and multi-media-performer, on february 29th, 1984, in paris, france.

that day, the multi-national kunst-konspiracy "erste hilfe"(german for "first aid"), was to perform for the opening of an exhibition of young european artists at the grand palais in paris.

the audio-accompaniment was conducted by sturm (he played a fragmented arp -2600 synthesizer in feedback mode) and sascha (who treated 5 bass-guitars amplified by 5 ampeg bass-amplifiers placed in strategically significant areas of the huge turn-of-the-century steel and glass-construction) as well as four original polish coal-miners (putting their tools-of-trade to work on the buildings foundations).

shortly thereafter, back in hamburg, germany, sascha started another project with peter missing, audio-anarchist from new york city, "missing foundations". in search for a drummer en esch was found, who had recently moved from his hometown, near frankfurt, to hamburg.

en esch's and sascha's participation in missing foundations did not last, and together with englishman raymond "pig" watts, a friend of sascha's, kmfdm (the abbreviation was introduced by watts who could never pronounce the tongue-twister) picked up steam.

a cassette-album entitled "opium" was circulating thru the underground clubs and bars of hamburg,spreading the kmfdm-virus from mouth to mouth.

kmfdm's first album "what do you know, deutschland ?" was released in december 1986. it consisted of recordings made in the years 1983-1986, some of which were done before en esch joined the band ("what do you know, deutschland ?" and "the un-restrained use of excessive force"). in early 1987 kmfdm released "kickin' ass" and licensed it to skysaw records, a liverpool-based record-label.

skysaw introduced them to the artist known as brute! who re-designed the cover of "what do you know, deutschland?" for the u.k.-re-release. sascha established a relation with adrian sherwood, producer/engineer for mark stewart & the maffia, bim sherman, tackhead and many more. the subsequent 1988 release "don't blow your top" was heavily influenced by sherwood's sonic wizardry. skysaw records licensed "don't blow your top" to wax trax! records in chicago and the future of kmfdm had begun. in the late 80's, the golden days of american "industrial", kmfdm could easily establish themselves as the german contribution to a party that consisted of all the wax trax! favorites, such as ministry, revco, front 242, my life with the thrill kill kult etc.

however, more than a year went by and kmfdm had not yet set foot on american territory. the band was still touring europe under the worst conditions, opening for acts such as einstürzende neubauten, the young gods and borghesia. "uaioe" was recorded and released in early '89.

then, in the summer of '89, ministry invited kmfdm to open on their "mind is..."-tour. the tour got postponed and postponed again due to illness of a. jourgensen. finally, in mid-december kmfdm boarded a plane and arrived in chicago.

after several months of touring the u.s. with ministry, kmfdm left for europe and recorded "naive". mastertapes in hand, sascha returned to chicago in the summer 0f '90 and fortified relations with wax trax! by directly signing to the label. work on excessive force, a collaboration between sascha and buzz mccoy from tkk begun. in the fall of '90 sascha returned to germany and kmfdm kicked off a short european tour together with the thrill kill kult.

it became apparent that the future of the band lied in the u.s., not in europe and sascha consequently moved headquarters from hamburg to chicago in early '91.

the band toured the u.s. for the first time as a headliner in the spring of the same year. sascha returned to germany in the fall of '91 to record "money" with the rest of the band, still operating out of germany.

in early '92 "money" was released and en esch decided to permanently reside in the u.s. after two successful tours in the summer and fall of '92, kmfdm returned "home" to chicago to find wax trax! in bankruptcy procedures, its founder james nash suffering from a heart attack , most of the staff laid off and everything falling to pieces.

wax trax! with only two bands remaining(sister machine gun & kmfdm), was not a sightly wreckage.

kmfdm out of loyalty and commitment to wax trax!, and especially to the founders/owners jim nash and dannie flesher, resigned a new contract in the hopes that wax trax!'s life could be extended with help from outside.

new york based tvt records, snatched the remains and wax trax! never was the same again

in early '93, kmfdm commenced to record "angst" in chicago and as soon as that was done and over, remixed the "naive" album which, in its current form, had to be discontinued due to copyright issues with a sample of carl orff's 'o fortuna' which was used on the original version of the song 'liebeslied'. brute! and h-gun worked on the video for " a drug against war" and that fall "angst" got released.

sascha then left chicago for seattle and en esch moved to new orleans.

in 1994 kmfdm did the "angstfest"-tour with chemlab and sister machine gun and recorded "nihil" in seattle. 1995 saw the release of "nihil" accompanied by two tours, "beatbybeat" and "in your face". sascha returned to chicago that year to be close to his friend, wax trax! president james nash who was slowly dying of aids.

nash's death in october of '95 marked the end of an era.

kmfdm recorded "xtort" in chicago in late '95 and early '96 and sascha once again packed up and moved out west to seattle.

after spending three months in the fall of '96 producing treponem pal's album "higher" sascha gathered kmfdm and friends in seattle and the brainstorming sessions for the new album were held. recordings then proceeded via mail, e-mail and fed-ex on a modular basis. april and may kmfdm spent together again, holed up in a seattle studio finalizing their ninth full-length album "symbols !@#$%" which was released september 23rd, 1997.

from september thru december '97 kmfdm toured europe and the u.s. with pig and rammstein. in 1998, kmfdm recorded their last album "adios", to be released in early 1999. they also produced peter murphy's ep "recall" as well as music to the computergame "prey" and many remixes for various artists.

kmfdm disbanded on january 22nd, 1999.

KMFDM was one of Wax Trax's first industrial superstars, combining the corrosive scratching of their guitars with a hard, throbbing hip-hop derived beat. In the late '80s, the German trio (originally a quartet) became an underground sensation not only in America but in much of Europe; clubs became devoted to playing their style of abrasive, distorted guitar-driven dance music. KMFDM continues to be one of the major industrial bands of the '90s, with their recordings becoming even more aggressive, both musically and politically, as evidenced by releases including 1995's Nihil and Juke-Joint Jezebel as well as 1996's XTORT. A self-titled effort appeared in 1997, followed a year later by Retro. Adios was released in 1999. -- Stephen Thomas Erlewine, All-Music Guide

(Photo by: R. Kern)
After a long and semi-successful tenure as leader of scuzz-rock heroes Pussy Galore, Jon Spencer took his anti-rock vision and hooked up with guitarist Judah Bauer and drummer Russell Simins to create the scuzz-blues trio the Jon Spencer Blues Explosion. Postmodern to the core, this is an ironic name; little of what this band plays resembles standard blues. There is, however, a blues feel to what they play, meaning that in many instances they appropriate aspects of the blues (very often cliches) and incorporate them into their anarchic, noisy sound. Not part of alternarock's commercial establishment, Spencer has also managed to sharply divide critics who tend to see him as either inspired showman or mendacious con man (frankly, he's both). He is, however, gaining popularity and critical respect, and, as of this writing, seems poised for greater success.

As with Royal Trux, the other band to emerge after the breakup of Pussy Galore, the Blues Explosion's earliest recordings are virtually incomprehensible (and impossible to find). The bass-less mix is awash in distorted guitars, precious little backbeat and howled vocals. In its favor is the music's exciting, improvisatory feel; also true is that it's frequently incoherent and careless and doesn't hold up well to repeated listenings. It was with the band's 1992 self-titled release that the band began to write semi-coherent songs; Spencer adopted an imitation blues vocal style, and the band riffed wildly and crashed around him in a bluesy sort of way. It was mostly fun, but it also seemed like a bit of a put-on, and more than a little smug.

The Blues Explosion's "breakthrough" came (as it did for Royal Trux) when they began to sound like a '70s rock band. With the release of Extra Width in 1993, Spencer and Co. actually got some air time on MTV's alternarock show 120 Minutes with the video for the song "Afro." The most noticeable change was the new emphasis on tight songs, funky backbeats, and loads of catchy riffs and hooks. As for Spencer, he was now singing like a grade-Z Elvis impersonator, but in turn lost some of the condescending attitude. Live, the band was (and remains) quite a show, generating the kind of sweat and excitement that became anathema to many punk and post-punk bands. Orange, which is even more accessible than Extra Width, netted the band even more fans upon its release in 1994; 1996's Now I Got Worry and 1998's Acme were also successful. Still, there is a compelling argument to be made that despite his hip credentials, Spencer is more style than substance. Love him or loathe him (and it's easy to do both), he's a force to reckoned with. -- John Dougan, All-Music Guide

Like many late-'90s metal bands, System of a Down struck a balance between '80s underground thrash metal and metallic early-'90s alternative rockers like Jane's Addiction. Their dark, neo-gothic alternative metal earned a cult following in the wake of the popularity of such like-minded bands as Korn and the Deftones.

Vocalist Serj Tankian, guitarist Daron Malakian, bassist Shavo Odadjian and drummer John Dolmayan formed System of a Down in Southern California in the mid-'90s. They quickly earned a strong following in Los Angeles, largely based on strong word of mouth. A three-song demo began circulating through metal collectors, and their fan base soon spread throughout not only America, but Europe and New Zealand. By the end of 1997, the group had signed American, now distributed by Columbia Records. American/Columbia released the group's eponymous debut album in the summer of 1998, securing the band opening spots on the Slayer and Ozzfest tours. -- Stephen Thomas Erlewine, All-Music Guide

Brujeria

Juan Brujo - Garganta (Vocals)
Asesino - Guitarras (Guitars)
Guero Sin Fe - Bajo (Bass)
Fantasma - Bajo (Bass)
Grenudo - Bateria (Drums)
Jr. Hozicon - Director Diabolico (Diabolic Director)

We last heard for BRUJERIA two years ago when their first recording, Matando Gueros, exposed the northern part of the world to their reputation as heartless, murdering fiends, and to their disturbing style of music. Still considered legends in their native Mexico, stories continue to grow surrounding this unknown band of rebels and their twisted brand of justice.

As the time of their second album, Raza Odiada, draws near, BRUJERIA are once again at the helm of a worldwide attack on their enemies and they have been extremely busy during the past two years...

The band`s supposed involvement in the drug underworld has garnered them a lofty reputation among the drug world`s elite. BRUJERIA traveled to Colombia to mourn the death of drug magnate, Carlos Escobar, and found themselves welcomed by their South American brothers with open arms. It seems the Medellin Cartel members were quite familiar with BRUJERIA`s reputation and wanted to secure friendly relations with them. Brujo was sworn in as the new leader of the cartel, as cries of "Brujo es el nuevo patron" filled the streets of Medellin.

DEA agents in the United States are still continuing their search for members of BRUJERIA, and aftr these new developments in Colombia, they became the most wanted criminals in the department`s list. The search for them began years ago as large amounts of potent drugs found their way into the U.S., along with a trail of dead dealers. The DEA state that fifty percent of the drugs that enter this country come by way of BRUJERIA and their organization. Now, the FBI and the LAPD also want to talk to them...

Unknown sources have informed the LAPD that BRUJERIA may know something about the Simpson murders. It seems that members of BRUJERIA were offered the murder weapon in exchange for a small amount of drugs and are now selling it for $500,000. There are also pictures of the murder scene that the band supposedly have in their possession which they happily show when requested.

Authorities have tried to make a dent in BRUJERIA`s drug and immigrant smuggling business but the band have again stumped them. BRUJERIA have made new advances in drug smuggling technology. Through their undergound connections, the band have acquired their own submarines and are using them to smuggle contraband through to the U.S. The band has gotten mighty pissed due to the rising conts of immigrant and drug smuggling and are bypassing La Migra (immigration) altogether, going into business for themselves. The band have dedicated the song "La Migra" to their friends on the border, along with a promise to release an instructional video on how to start your own smuggling business.

Rumors are untrue the band were involved in the recent presidential assassinations in Mexico. It seems since they have been so vocal in their governmental resistance, word spread that they were behind the killings. BRUJERIA really don`t care about these events, in fact the only thing they were mad about was that they lost two good customers.

The band`s desire to continue creating music stems from their longing for control and power. BRUJERIA`s second effort reeks of the struggles experienced by people and the band`s preferred method of dealing with anxieties - kill them off - literally. Raza Odiada is both an homage and warning to those the band admire as well as despise.

The title track reads as a simple admonition to their brothers south of the border, exposing California Governor, Pete "Pito" Wilson as a monster with racial and paranoid views on the Mexican race. This is band`s answer to the controversial Proposition 187, describing the painful assassination of this leader for his extreme prejudice in a way only they can.

"Hermanos Menendez" pays tribute to the two brothers who slayed their parents for their million dollar fortune. BRUJERIA admires them for wanting money bad enough to snuff out whoever stands in their way. Thsi clan lives by the motto, "nada los separa de el dinero", and they feel like Lyle and Erik would fit right in with their group. So if these guys ever escape, you`ll be the first to know what happened...

And for those looking to follow in BRUJERIA`s footsteps, there`s "Consejos Del Brujo" which offers advice from the leader himself on how to break into the lucrative world of drug dealing.

Another reason why BRUJERIA wanted to record their second project, Raza Odiada, is to help fund the uprisings in Chiapas, Mexico. Sources say Commandante Marco (who is pictured on the cover), hac recieved a supply of weapons from the band. Although BRUJERIA are considered a dangerous crew, the Zapatistas see them as modern day Robin Hood`s and welcome their help. BRUJERIA`s reason for helping the rebels is simple - many must be sacrificed for the good of the community.

Many have expressed puzzlement over Roadrunner`s continued support of BRUJERIA. Although no one at the label has actually seen the band face to face (label big guy Monte Conner) was once kidnapped by the band but he never did see their faces), an unidentified Roadrunner source stated that they have reached a mutual understanding with the band. To make a long story short, Roadrunner felt it was in their best interest to maintain a friendly relationship with BRUJERIA.

So, go ahead, dive in. But remember, keep your critiques to yourself - they know who you are...

Busta Rhymes

Busta Rhymes is more than aware that there are plenty of vipers out there who want his game. For example, a recent article put forth the notion that his tremendous underground appeal might wane under the weight of his ever-expanding hold on mainstream audiences.

But Busta never flinches.

For the man who had the courage to condemn rap's whole 'keepin' it real' mantra as "Propaganda," this new challenge is but a blip on his radar screen. Rap's most incandescent visionary has always been more interested in shedding light than heat. Which is why, throughout the '90's, Busta Rhymes has managed to fuse his everyday experiences as a black man, as a son, and as a father, with much more eternal concerns. Leading him - as he says - "To contemplate the shit between the lines." Selling millions of albums by remaining true to himself.

So it's with his boldest strokes yet that he's approached his third solo album, Extinction Level Event (The Final World Front.) The 19 song disc is an apocalyptic tour de force, with Busta - who now commands the listener's attention with a rock star's ferocity - unleashing thought provoking verses one minute, and spitting out euphoric hailstones of hectic, teeth clenching rhymes the next.

E.L.E. is Busta's crowning epoch. A maelstrom of enlightened, turbulent wordplay about the impending millennium. But where other rappers have only recently immersed themselves in the year 2K, Busta has long wielded a futuristic sword about him. The day of reckoning has served as the subtext of his two smash platinum plus solo albums, 1996's The Coming, and 1997's When Disaster Strikes. But it was during Busta's tenure with the legendary Leaders Of The New School, launched in 1990, that he first explored such explosive subject matter. Many point to the Leaders second LP, 1993's T.I.M.E., as the beginning of Busta's fascination with the extinction theme.

"I've said before Leaders has always been my foundation. If you go back on my records you can see a thread. The shit I have to say, the true deep shit, can be understood on many different levels, sometimes not hitting you all at once. I feel now, I've got to create more of an effect because the clock is ticking on shit we can_t even grasp, yet."

As usual, Busta has assembled an eclectic, all-star cast to help spin his tales. He also works with the usual top-line producers, including Rashad Smith, DJ Scratch, Diamond D., and Derrick Angeletti. Among the highlights are a duet with hard rock icon Ozzy Osbourne on a remake of the classic "Iron Man," dubbed "This Means War." Says Busta about the historic summit: _He was great. I remember when I first heard the song "Iron Man." The lyrics like 'Is he live or is he dead' just affected me. The power he puts behind it. The intensity, the effect - it's the same way I approach my shit, whether I'm recording or performing. To be able to do this on E.L.E. blew me away."

Another one of the album's highlights is a duet with superstar Janet Jackson, on "What's It Gonna Be." "It was a pleasure to work with her from beginning to end," says Busta. "She couldn't have been more gracious." On the other end of the spectrum is the mayhem achieved by Busta and Mystikal (from Master P's No Limit Posse) on the raucous "Iz They Wildin Wit Us & Gettin Rowdy Wit Us." The anthemic, amped-up chant of "Rowdy Rowdy," is sure to go down as another Busta classic. Other gems are the party ax of "The Bus A Bus," the LP's ominous title cut, "Extinction Level Event (The Song Of Salvation") and the rapid fire "Gimme Some More," a showcase for Busta_s legendary vocal pyrotechnics.

The Brooklyn native (his family would later move to Long Island) first honed his outrageous style on The Leaders Of The New School's debut album, 1990's Future Without A Past. But it was his breakout rhyming ability he displayed on A Tribe Called Quest's classic "Scenario" that hinted of his solo prowess to come.

The next flash of brilliance would occur on another guest shot, this time it was his work on the remix for Craig G's "Flavor In Ya Ear." After The Leaders parted ways, Busta felt ready to pursue a solo career. But few would have guessed that 1996's platinum plus opus, The Coming would change the face of hip hop forever.

The monumental first single, "Whoo-Ha! Got You All In Check," would launch Busta on a trajectory towards superstardom. His follow up album, the 1.5 million selling When Disaster Strikes would keep him there. The success of across the board smashes such as "Put Your Hands Where My Eyes Could See," would cement Busta and his Flipmode Productions as a cultural force that would transcend the boundaries of hip hop.

Busta seized the opportunity to display his other talents by flexing his acting ability in such films as Who's The Man, Strapped, and a key role in John Singleton's Higher Learning. The hip hop star has also made several TV appearances, including a guest star spot on the Steve Harvey show this year. Amid all the extraneous activities, Busta still found time to successfully engineer his own record company, Flipmode Entertainment, and carry his coveted Flipmode Squad to the top of the charts with their first album, the gold-plus The Imperial, featuring the hit "Cha Cha Cha." The tireless entrepreneur also has unveiled his own clothing line, Bushi, which is influencing streetwear in the same way Busta's early records infiltrated the hip hop scene.

Is it difficult possessing the non-stop energy of Busta Rhymes?

"I try to pace myself," says Busta. "You get a lot of opportunities to do things, and I try to represent myself in a way that's not going to let people down, but at the same time I'm never going to do the same old shit. Flipmode has always been about flipping any expectations you may have at any given moment."

A recent illustration of that point would be Busta lending his signature voice to the new Rugrats Movie, which hit theaters in November. The rap, star, who has a son himself, plays "Reptar Wagon."

"Our audience comes from everywhere," he says. "Young, old, rich, poor. They know that hip hop gave a voice to motherfuckers who never had one. And now that we got their attention, I want to communicate the shit so that it creates the greatest impact. So that it sticks. Anything that I've ever approached, I've had one goal in mind. To dominate. And that was the definite mindset going into E.L.E."

Busta 1998 Highlights
Grammy Nomination for Best Rap Solo Performance for "Put Your Hands Where My Eyes Could See"
Soul Train Nomination for Best R&B/Soul or Rap Music Video for "Put Your Hands Where My Eyes Could See"

The most idiosyncratic personality in rap and possessor of its most recognizable delivery, a halting, ragga-inspired style with incredible complexity, inventiveness and humor, Busta Rhymes formed Leaders of the New School in 1990 and released two albums with the group before breaking out with a 1996 solo hit single, "Woo-Hah!! Got You All in Check." Born in East Flatbush, Brooklyn in 1972 of Jamaican heritage (a definite influence on his rapping style), Busta moved to Long Island in 1983 and, at Uniondale High School, met up with MCs Charlie Brown, Dinco D. and Cut Monitor Milo. Inspired by fellow Long Islanders Public Enemy and Eric B. & Rakim, the foursome united as Leaders of the New School and signed a deal with Elektra Records right out of the gate, when Busta was only seventeen years old. Much respected in the hip-hop underground for their Afrocentric philosophy and tough rapping styles, Leaders of the New School debuted in 1991 with Future Without a Past, but released only one more album, 1993's T.I.M.E., before breaking up the following year.

Out on his own for the first time, Busta Rhymes called on some friends, appearing on A Tribe Called Quest's "Scenario, " the incredible remix of Craig Mack's "Flava in Ya Ear" (also featuring Notorious B.I.G. and LL Cool J) as well as other projects with Boyz II Men, Mary J. Blige and TLC. He also appeared in the 1995 John Singleton film Higher Learning, and earned a solo contract with Elektra. Busta Rhymes' first album, The Coming, proved a huge hit; the single "Woo-Hah!! Got You All in Check" hit the Top Ten and pushed album into gold-record territory. His second album, When Disaster Strikes, debuted at number three in September 1997. E.L.E. followed a year later. -- John Bush, All-Music Guide