G.R.R.L.

G.R.R.L. IFESTO

G.R.R.L. embraces Space Jam as a powerful deconstruction of the cultural fabrication of desire, as exemplified by its lackluster appeal despite shameless over-financing and over-promotion.

G.R.R.L. DEMANDS THAT SPACE JAM'S MARKETING FIRM BE PLACED IN CHARGE OF ALL CULTURAL PROCESSES, SO THAT AT ANY GIVEN MOMENT EVERYONE CAN SEE EXACTLY WHAT IS GOING ON IN SOCIETY.

G.R.R.L. concludes that some constructions of audience do not find audience, whereas other audiences emerge from the collision of multifarious constructions of audience. G.R.R.L. GETS HEAVY HANDED BY STATING THIS INCLUDES IDENTIFICATIONS OF GENDER, RACE, ETHNICITY, SEXUALITY AND CLASS.

G.R.R.L. STUMBLES FROM THIS CULTURAL WRECKAGE INTO THE RECORDING STUDIO.

G.R.R.L. adopts Space Jam's strategic intermixing of technology and nostalgia in the fabrication of new desires.

G.R.R.L. insists upon recording in many styles that emulate H.U.R. likes and dislikes, saying, "It's all M.E.E."

G.R.R.L. assures the audience that
each track is produced with 110% cyncerity.

Track Listing

1. B.O.I. 8:12

2. CHINA DOLL (KILL ALL WHO CALL ME)
Featuring Chiu-Fen Chen 3:37

3. TROLL 8:07

4. PRINCESS 6:41

5. ROLLERFREAK 4:21

6. TURTLENECK 7:07

7. GORILLA 8:58

8. FACE 5:02

9. GEW-GAW 8:12

10. ALWAYS THE BRIDESMAID 4:39

11. TRIANGLE 9:29

ABSTRACT DRUM & BASS

80's Chicago

MAINSTREAM TECHNO

Electro Breakdance

IMPROVISATIONAL LOUNGE

Minimal Techno

DEEP HOUSE

TECHXOTICA & ELECTROCYNICISM

AVAILABLE ON CD ONLY
NO FUCKING, SUCKING, LICKING, STICKING WITHOUT LATEX
RINSE YOUR WORKS WITH BLEACH AND WATER
ALL TRACKS WRITTEN AND PRODUCED BY TERRE THAEMLITZ
EXCEPT CHINA DOLL (KILL ALL WHO CALL ME) VOCALS BY CHIU-FEN CHEN,
WORDS BY C.F. CHEN AND T. THAEMLITZ, MUSIC BY T. THAEMLITZ
[p] 1997 T. THAEMLITZ (BMI), [c] 1997 COMATONSE RECORDINGS

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C.003 In the spirit of music award show recipients, G.R.R.L. would like first and foremost not to thank God for making any part of this possible. Slow moist strokes of gratitude go to an enormous and impressive list of friends, family members, colleagues, consumers, miscellaneous acquaintances and pets both living and deceased.

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*G.R.R.L. embraces Space Jam* as a powerful deconstruction of the cultural fabrication of desire, as exemplified by its lackluster appeal despite shameless over-financing and over-promotion.**
	*G.R.R.L. DEMANDS THAT SPACE JAM'S MARKETING FIRM BE PLACED IN CHARGE OF ALL CULTURAL PROCESSES, SO THAT AT ANY GIVEN MOMENT EVERYONE CAN SEE EXACTLY WHAT IS GOING ON IN SOCIETY.*

	G.R.R.L. concludes that some constructions of audience do not find audience, whereas other audiences emerge from the collision of multifarious constructions of audience.	G.R.R.L. GETS HEAVY HANDED BY STATING THIS INCLUDES IDENTIFICATIONS OF GENDER, RACE, ETHNICITY, SEXUALITY AND CLASS.

C.003	In the spirit of music award show recipients, G.R.R.L. would like first and foremost not to thank God for making any part of this possible. Slow moist strokes of gratitude go to an enormous and impressive list of friends, family members, colleagues, consumers, miscellaneous acquaintances and pets both living and deceased.