Lydia Lunch

小簡(jiǎn)介
實(shí)驗(yàn)搖滾(experimental rock),無浪潮(no wave),噪音搖滾(noise rock),另類流行搖滾(alternative pop rock)
After leaving the seminal New York no wave outfit Teenage Jesus and the Jerks, poet/actress/vocalist Lydia Lunch (b. Lydia Koch) embarked on a solo career marked by frequent collaborations and band changes, plus an attitude of confrontational nihilism expressed in both her sound and her often violent and/or sexually oriented subject matter. Upon leaving Teenage Jesus, Lunch first formed Beirut Slump, but departed after one single. Her solo debut, 1980s Queen of Siam, proved to be one of her most acclaimed efforts, as was her next band, the funk-inflected 8 Eyed Spy. However, that band broke up due to the death of bassist George Scott, and Lunch went back out on her own. After 1982s 13.13, which featured former members of the Weirdos, Lunch began a rash of collaborations, working with the Birthday Party on the EP The Agony Is the Ecstasy, as well as Einstürzende Neubauten, Die Haut, Sort Sol, Swans Michael Gira, and members of Sonic Youth. Lunch founded her own Widowspeak label in 1985, immediately delving into spoken word with the EP The Uncensored Lydia Lunch and reissuing much of her back catalog, including a two-CD retrospective, Hysterie, in 1986. Her next collaboration was the first of several with Jim Foetus Thirlwell, who remixed a shelved project with Birthday Party members from 1982-1983; it was issued as Honeymoon in Red in 1987. The two also released the Stinkfist EP under Thirlwells Clint Ruin alias in 1989. That same year, Lunch teamed with Sonic Youth bassist Kim Gordon in Harry Crews, a one-off, all-female noise rock band, for the LP Naked in Garden Hills. Aside from an EP with ex-Birthday Party guitarist Rowland S. Howard in 1991, Shotgun Wedding, plus her acting career in underground films, Lunch has concentrated on the spoken word arena into the 90s; a three-CD retrospective of this aspect of her career, Crimes Against Nature, was issued in 1993, and Lunch has continued her activities throughout the decade. Much of her Widowspeak output was reissued by other independent labels in the mid-90s.