Thrasher Magazine March 1996 — Page 45
Page Text

            THE LACK OF NEW and imaginative blood in the
industrial scene has been excruciatingly apparent
for some time. The tools of the art form, drum
machines, vocoders, sequencers and the like have
created a bunch of cookie-cutter, sound-a-like
acts. Slicing through the metallic din is a welcome
surprise in the form of Sister Machine Gun's Burn.
Through innovative instrumentation and more
than a few risks, SMG stands tall with a unique,
one might even say, melodic sound. They prove
that every industrial record doesn't have to
sound like some mechanized, nightmarish B.
movie soundtrack. Frontman Chris Randall talks
about going out on a limb. -Carlos Vazquez
Why is Burn so radically different?
Our first records were kind of "in the genre," and
with this album I tried to set us apart.
[needle]
What inspired you to use horns?
I'm not exactly sure, but I do listen to a lot of soul
music, which uses a lot of horns, and I've always
wanted to do it. On the two songs which use horns,
I had just played them, using samples, and my man-
ager suggested that I use a real horn section. I have
a couple of friends in an acid jazz band, we brought
them in and it just sort of all came together.
Those two tracks really stand out.
I'm going to have a lot more of that actually. I
want to get a string quartet and full horn section
for a few tracks on the next record. I think that
using the horns is one of the things that made this
album special. It really catches people off-guard.
The rest of the record is closer to what people.
expect from us and then they get to those two
tracks and... whoal
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