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.
#CHEMLAB PYROMANCE FULL#
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. The intensity of our passion is leading us down an unpredictable path which we jokingly refer to as the "why don't we do it on the road" principle.Ĭhemlab is a Coldwave and Industrial rock (or "Machine Rock") band formed in Washington D.C. Heady and headed in the direction of soma crash-car intersection it's Called "why don't we do it on the road" or at least that's what I am told I experienced a thrilling rush when you knelt down and licked up my body. I felt that speedy booss when you bent down and licked my Boots I became electrified as I stimulated you, like a battery charged by triggering your arousal. My battery got a charge with my finger triggering Your sparkplug, We will ignite like gasoline, and with a simple switch you will be ignited with desire.
In a gasoline burn our bodies will churn with a flick of the switch you're Plugged in to the itch. I run my fingers through your hair, feeling the dampness and scent of our passionate encounter. Sink my finger in your hair, the sweat and the smell of our liquid affair, The use of the word "soma" implies a sense of numbing or escapism, as if the desire between the two is a temporary escape from reality. The final lines, "heady and headed in the direction of soma crash-car intersection it's called 'why don't we do it on the road' or at least that's what I am told," suggest that the relationship may not be sustainable, and may be headed for destruction.
The lyrics suggest that their relationship is not just physical but also tinged with a sense of danger, as if they are living on the edge in the pursuit of their mutual desires. The line "with a flick of the switch you're plugged in to the itch" implies that both partners have a similar desire for each other, and the singer feels empowered by the charge he gets from triggering his partner's pleasure. He compares their physical connection to a "gasoline burn," suggesting that their passion is volatile and prone to explosion. The lyrics describe the physical connection between two people, with the singer describing how he runs his fingers through his partner's hair and revels in the scent of their intimacy. 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."Pyromance" by Chemlab is a song about passionate and dangerous desire, likened to the thrill of playing with fire. 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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