Originally released in 1995, Decadence is an overview of a decade Nettwerk, the Canadian label best known for housing electronic/industrial artists like Moev, Chris & Cosey, SPK and, most famously, Skinny Puppy. The limited edition, five-CD set is currently available for prices ranging from $14.99 to $105.82. However, I picked up copy number 6595 today at Soundsations in Westchester for $5.99. The low price is possibly due to the fact that the box is worn around the edges (a sign that it was once loved), but the main booklet and CDs are all in fine condition.

Packaged in a spiral-bound, cardboard-covered booklet, this is a true testament to the art of the CD release. (As I have said before, if companies took more care with packaging, MP3s wouldn't be such a threat.) The booklet is divided into five chapters, coinciding with the five discs. Each chapter represents a certain period of the label's history and consists of the following: cardstock chapter page, rice paper page with artwork, cardstock page with artwork, glossy page with text and a glossy CD sleeve.

The following is a rundown of the compilation's contents.


Skinny Puppy "Smothered Hope"

Disc One covers 1984-1987 and features an essay by Tom Harrison discussing Nettwerk's beginnings, as the Vancouver synth band Moev created the label to help further the career of both the band and other admired artists.

Skinny Puppy's track "Smothered Hope" is one of the standout pieces on this disc. Taken from the 1984 EP Remission, it is one of the band's earlier pieces and yet one of SP's strongest songs. Aside from being reaching anthem-level at industrial clubs, "Smothered Hope" lays the groundwork for what would become SP's signature style-- a mix of fucking scary and fucking awesome-- which would futher develop over the years and culminate in, according to this fan/writer, the band's greatest album, Last Rights.

Another important inclusion is "Ophelia" from the Tear Garden, which is a collaboration between cEvin Key of Skinny Puppy and Edward Ka-Spel of Legendary Pink Dots. On the Tear Garden's first album, Tired Eyes Slowly Burning, the duo perfectly melds Key's industrial background with Ka-Spel's Syd Barrett-styled vocals and moody, romantic lyrics.


Bel Canto "Shoulder to the Wheel"

Disc Two covers 1988-1990, the era when, according to an essay featured in a later chapter, the label actually started to make money. As this chapter's essay, written by label co-founder Mark Jowett, this is also the era when the label discovered some of its best-known artists. In these years, Nettwerk released Bel Canto's seminal album Birds of Passage. The single "Shoulder to the Wheel" became a goth club staple for an entire decade and singer Anneli Drecker has developed a substantial cult following in the States (she might actually be famous in her native Norway). And let's not forget that she provides the voice for "Sparks" by Royksopp. Meanwhile, a Texas artist who rave-ified hip-hop beats was picked up by the label and MC 900 Ft Jesus grew into a cult sensation. Seriously, everybody I knew in high school had at least a few tracks of his on mixed tapes. It was all very college radio of us.
The biggest discovery during this era, though, was Sarah McLachlan, who the label dudes first heard in 1987, when she was playing with a band in Halifax. What I find most interesting is that McLachlan's early stuff was actually pretty cool. Totally not soccer mom-approved mellow pop. "Vox," the piece included herein, finds McLachlan channeling her inner Sinead O'Connor. It's as sad as an Irish poet in a rainstorm and I love that.


MC 900 Ft Jesus "The City Sleeps"


With the essay for Disc Three, covering the years 1991-1993, former college radio DJ Denise Sheppard asks the label heads how groups were signed, which results in some insight as to how indie labels work and the need to keep the music on the edge while also making the roster marketable enough to actually sell records. It's a difficult balancing act, to be sure.

If anyone remembers the years of 1991-1993, you might remember how much they sucked. Recession, riots, blah blah blah. MC 900 Ft. Jesus taps into the fears of the era with "The City Sleeps." It is also important to not that this is also the era in which Nirvana trumped Guns n' Roses as Biggest Band in the World. Curiously, it was also during this time that Nettwerk brought in some of the guitar-heavy sounds of indie rock radio. However, to be fair, bands like Hilt and Mystery Machine were more of the Ride, Lush, Catherine Wheel ilk and the Hilt album came out before Nirvana's mainstream crossover. This disc also features "Inquisition" from the aforementioned Best Skinny Puppy Album Ever, Last Rights, and the nasty-but-hysterical club hit "You Suck" from Consolidated and the Yeastie Girls.


Delerium "Flowers Become Screens"

Covering 1994-1995, Disc Four features the era in which Nettwerk became a major player. Kevin Smith writes about the Nettwerk dynamic and how its business plan makes it a label to emulate. I couldn't agree more. To paraphrase, Nettwerk cultivated a small group of artists while also licensing overseas releases, ultimately building an identity for itself. Those of you who were there might also recognize this as the period when Sarah McLachlan found commercial success. Her rise to rock star status certainly helped the label, but what also says a lot about Nettwerk is that she didn't jump ship once MTV came calling.

Included in this disc is "Flowers Become Screens" from Delerium. This track hit the clubs not too long after I started going out regularly and it was a major hit with its 4AD-styled vocals and a beat just slow enough for goth dancing. Later on in the decade, Delerium (a Front Line Assembly-related project) would also crack the mainstream with some help from McLachlan, who offered her vocals on the track "Silence."


Sarah McLachlan "Full of Grace"

Disc Five, which, to be honest, is the least exciting of the pieces to this compilation, is the sound of Nettwerk settling. Clearly, McLachlan's success was a big deal for the tiny label and this review of 1995 shows the team clearly looking for the next success. There's quite a bit of slightly-melancholy indie madness on here, the most interesting of which is Autour de Lucie, a band for whom I have quite fond memories from my college years (the band's contribution is "Le Tournesol").

Nettwerk's next big hit, Barenaked Ladies, would also hit the college kid demographic, but had a decidedly different sound. Unlike many imprints, the label still runs a very successful operation today. Its artist roster (for Canada, US or UK, but not necessarily all) features, amongst others, Ladytron, Datarock, the Divine Comedy, Felix da Housecat, Ferraby Lionheart, Lisa Gerrard, Junkie XL, Kinky and, unfortunately, Sum 41. Aside from managing the heinous poseur Avril Lavigne, the label also works with Chromeo and Gogol Bordello (who I actually also adamantly dislike) and a host of others.

Nettwerk seems pretty cool about downloading, so I won't make some half-assed attempt to discourage anyone from taking that route. However, if you can find this boxed set at a reasonable price, I recommend purchasing the hard copy for both the excellent packaging and the informative essays.

I should also note that each disc opens with a multi-media track, which I have yet to try. I thought this was an unusual and forward-thinking move for 1995. The program runs on a minimum Mac 7 or Windows 3.1 (retro) and the liner notes have all sorts of advice for those who have never run a multi-media disc before.

Labels: CD Reviews, Nettwerk, Skinny Puppy, The Tear Garden