A Brief History of Skinny Puppy
Achieving an accurate account of the genesis of Skinny Puppy is a daunting task. Occurring almost twenty years ago, little documentation (or even clear memory) exists of the conception of what would become one of the most innovative, expressive, and unique musical entities ever. Furthermore, the band did not burst into formation in the typical tradition; but rather developed gradually as the essential elements came into place. This makes a retrospective history all the more difficult.
A few things are clear, however. Kevin Crompton, having played in bands since the age of 13, was the drummer for the Canadian synth-pop band Images In Vogue in the early ‘80s. Eventually, he found the format all too restrictive and yearned to create something without such limitations. He began to experiment with raw, caustic sounds on his own, inspired by the potentials of pushing the electronic music technology he had become familiar with in Images In Vogue to new levels. Kevin explored the concept of found sounds as the basis for music and discovered the limitless potential of treating instruments with effects such as delay. He was lashing out at the pop music he had become sick of playing in order to satisfy his edgy aesthetic by perverting the very tools which it used. As far back as ’81, Kevin had the idea for an experimental band named Skinny Puppy and even created membership cards for a few of his friends, the presumed future band members. To A Baser Nature, featured on the Back and Forth series 2 CD, was recorded by Kevin and IIV band-mate Joe Vizvary in May of ’83 as the first ‘official’ Skinny Puppy recording. Another early, pre-Ogre track was Meat Flavor. It is highly possible that other tracks from Back and Forth series 1 /2 and vol. 3 are also from this period. The name was in place, but soon the next vital component would be added, that being a vocalist.
Sometime in ’82 or ‘83 Kevin Crompton encountered Kevin Ogilvie (reportedly at a party although Ogilvie was roommates with Gary Blair Smith of IIV beginning in May of ’83). Ogilvie had not been in a band before but was an amateur author of sorts. Their recollections of their meeting differ, but both seem to agree that they ended up jamming on some music together. This eventually spilled over into improvisations at their respective apartments. Legend has it that at one point during one of these ‘brap’ sessions Crompton had to leave for an Images In Vogue practice. While he was gone, Ogilvie is said to have written the lyrics to K-9. A picture of life through the eyes of a dog, it quickly became the perfect concept for a band called Skinny Puppy, both of the members of which just happened to be animal lovers. Ogilvie now found himself permanently in the role of lead vocalist. Separating himself from both his drumming duties in Images In Vogue and his identically surnamed band-mate, Kevin Crompton donned the pseudonym cEvin Key. Ogilvie adopted the moniker Nivek Ogre, a reverse spelling of his first name and a rather menacing corruption of his last. In February of ‘84 the band made their live debut. Confusion about this event is also rampant, but it seems that the band performed at a Vancouver art gallery called Unovis. A friend named Wilhelm Schroeder was in the audience, though he would not remain there for long. While aside from Ogre’s face paint this first show was a ‘normal’ concert, on subsequent occasions Puppy quickly developed the theatric sensibility that would be their live trademark. Skinny Puppy had a need to distort the perceptions of an audience tranquilized by the all too common performances of electronic bands which were distinctly premeditated. Ogre’s sense of theatre, combined with their mutual love of horror films, made for a blood soaked performance leaving the audience questioning just what was real and what was not. Skinny Puppy would continue to create this horror theatre through every live performance in the band’s existence.
The duo had soon finished their first collection of music, Back and Forth series 1, the legendary demo tape self-produced in a run of only 35 copies in early ‘84. The tape was compiled almost entirely from their home recordings, save one track which was recorded at Mushroom studios. This session was due to the help of Dave ‘the Rave’ Ogilvie. Rave had worked on some of the Images In Vogue records and allowed for Skinny Puppy to have free studio time at Mushroom. Rave would soon become a vital part of the band’s work, co-producing their every recording after this initial session and earning the status of unofficial band member.
While only a minute number of copies were made, Back and Forth series 1 had a massive impact for the band. The tape, in part, led to the band’s signing to Nettwerk Records, a new independent label started by cEvin’s friend and fellow electronic music buff, Terry McBride. Their first EP was recorded at Mushroom and released in ’84. Their true debut, Remission features Skinny Puppy with a more refined vision than on their previous tape, yet a wider scope conceptually. The idea of life through a dog’s eyes was quickly being expanded as Ogre improved at his new skill of lyric writing. For the listeners, this EP established the sound that would become Skinny Puppy’s trademark and the foundation for all that would follow. Harsh vocals, dark synths, jumping rhythms, and dialogue samples, all processed and distorted. Skinny Puppy’s sound was in some respects a bridge between the old school industrial sound, such as that of Throbbing Gristle, with the more traditionally musical techniques of early electronic bands such as Kraftwerk. Along with a uniquely dark tone, this made for a truly innovative combination.
For a time, Skinny Puppy acted as cEvin’s expressive outlet while he continued to play in Images In Vogue. During this period, cEvin and Ogre performed as the opening act for Chris and Cosey, however they were billed as Hell ‘O’ Death Day rather than Skinny Puppy. This intended one-time project focused on the more experimental soundscape side of the duo’s music rather than the more danceable side shown by the Remission EP. It shortly became clear that this music was too good to not release. Much of it was included in the various versions of their next work, the full length Bites LP. Bites saw Skinny Puppy developing their sound further and utilizing the LP format for a greater diversity of styles. On the date of its release in ’85, cEvin quit Images In Vogue, making Skinny Puppy his full time project. It would remain so for the next ten years. Bites also featured guest appearances by Wilhelm Schroeder on bass synth. Wilhelm, better known as Bill Leeb, was a friend of the band who was enthusiastic about making music. Needing another performer to fill out their live lineup, cEvin showed him how to play bass synth and brought him onboard. Never listed as an actual member of the band on any release, Wilhelm’s input on the records was minimal, but his presence was necessary for the North American tour Skinny Puppy was about to undertake. The Bites tour saw Ogre develop his conceptual theatrics to a new level. Featuring a massive stage set, the Bites show was a carefully developed and choreographed combination of performance art and music. Audiences expecting to see a normal concert were shocked to see the lead vocalist slice his own throat and fall backwards into smoke, grinning as stage blood seemingly poured from his wound. Ogre would continue to develop these uniquely orchestrated and ever more conceptual shows for each tour the band would undertake.
Following the tour, Skinny Puppy found themselves in a state of transition as they recorded their third release, Mind: the Perpetual Intercourse. Wilhelm decided to leave the band during the making of this record, facing the prospect of a world tour which he was not interested in doing. cEvin did not need to look far for his replacement. Dwayne Goettel had performed as the keyboardist of a band which once opened for Skinny Puppy. After their initial meeting, cEvin and Dwayne jammed together, resulting in the track Antagonism. As the two formed a musical alliance, the final component of Skinny Puppy was put into place. Dwayne was a classically trained musician and brought a new level technical skill to the band. This, coupled with the introduction of new technology to the bands' arsenal, made Mind:TPI a vast musical advancement. A more lush, carefully produced record than previous, it showed Skinny Puppy developing the unparalleled sonic depth that was their trademark. The album also contained their first single, Dig It, which became an instant underground classic. With Dwayne, the band had completed the lineup that would remain for the rest of their career and their ’86 worldwide tour in support of the Mind:TPI album established Skinny Puppy’s reputation among electronic and underground music fans across the globe.
Achieving an accurate account of the genesis of Skinny Puppy is a daunting task. Occurring almost twenty years ago, little documentation (or even clear memory) exists of the conception of what would become one of the most innovative, expressive, and unique musical entities ever. Furthermore, the band did not burst into formation in the typical tradition; but rather developed gradually as the essential elements came into place. This makes a retrospective history all the more difficult.
A few things are clear, however. Kevin Crompton, having played in bands since the age of 13, was the drummer for the Canadian synth-pop band Images In Vogue in the early ‘80s. Eventually, he found the format all too restrictive and yearned to create something without such limitations. He began to experiment with raw, caustic sounds on his own, inspired by the potentials of pushing the electronic music technology he had become familiar with in Images In Vogue to new levels. Kevin explored the concept of found sounds as the basis for music and discovered the limitless potential of treating instruments with effects such as delay. He was lashing out at the pop music he had become sick of playing in order to satisfy his edgy aesthetic by perverting the very tools which it used. As far back as ’81, Kevin had the idea for an experimental band named Skinny Puppy and even created membership cards for a few of his friends, the presumed future band members. To A Baser Nature, featured on the Back and Forth series 2 CD, was recorded by Kevin and IIV band-mate Joe Vizvary in May of ’83 as the first ‘official’ Skinny Puppy recording. Another early, pre-Ogre track was Meat Flavor. It is highly possible that other tracks from Back and Forth series 1 /2 and vol. 3 are also from this period. The name was in place, but soon the next vital component would be added, that being a vocalist.
Sometime in ’82 or ‘83 Kevin Crompton encountered Kevin Ogilvie (reportedly at a party although Ogilvie was roommates with Gary Blair Smith of IIV beginning in May of ’83). Ogilvie had not been in a band before but was an amateur author of sorts. Their recollections of their meeting differ, but both seem to agree that they ended up jamming on some music together. This eventually spilled over into improvisations at their respective apartments. Legend has it that at one point during one of these ‘brap’ sessions Crompton had to leave for an Images In Vogue practice. While he was gone, Ogilvie is said to have written the lyrics to K-9. A picture of life through the eyes of a dog, it quickly became the perfect concept for a band called Skinny Puppy, both of the members of which just happened to be animal lovers. Ogilvie now found himself permanently in the role of lead vocalist. Separating himself from both his drumming duties in Images In Vogue and his identically surnamed band-mate, Kevin Crompton donned the pseudonym cEvin Key. Ogilvie adopted the moniker Nivek Ogre, a reverse spelling of his first name and a rather menacing corruption of his last. In February of ‘84 the band made their live debut. Confusion about this event is also rampant, but it seems that the band performed at a Vancouver art gallery called Unovis. A friend named Wilhelm Schroeder was in the audience, though he would not remain there for long. While aside from Ogre’s face paint this first show was a ‘normal’ concert, on subsequent occasions Puppy quickly developed the theatric sensibility that would be their live trademark. Skinny Puppy had a need to distort the perceptions of an audience tranquilized by the all too common performances of electronic bands which were distinctly premeditated. Ogre’s sense of theatre, combined with their mutual love of horror films, made for a blood soaked performance leaving the audience questioning just what was real and what was not. Skinny Puppy would continue to create this horror theatre through every live performance in the band’s existence.
The duo had soon finished their first collection of music, Back and Forth series 1, the legendary demo tape self-produced in a run of only 35 copies in early ‘84. The tape was compiled almost entirely from their home recordings, save one track which was recorded at Mushroom studios. This session was due to the help of Dave ‘the Rave’ Ogilvie. Rave had worked on some of the Images In Vogue records and allowed for Skinny Puppy to have free studio time at Mushroom. Rave would soon become a vital part of the band’s work, co-producing their every recording after this initial session and earning the status of unofficial band member.
While only a minute number of copies were made, Back and Forth series 1 had a massive impact for the band. The tape, in part, led to the band’s signing to Nettwerk Records, a new independent label started by cEvin’s friend and fellow electronic music buff, Terry McBride. Their first EP was recorded at Mushroom and released in ’84. Their true debut, Remission features Skinny Puppy with a more refined vision than on their previous tape, yet a wider scope conceptually. The idea of life through a dog’s eyes was quickly being expanded as Ogre improved at his new skill of lyric writing. For the listeners, this EP established the sound that would become Skinny Puppy’s trademark and the foundation for all that would follow. Harsh vocals, dark synths, jumping rhythms, and dialogue samples, all processed and distorted. Skinny Puppy’s sound was in some respects a bridge between the old school industrial sound, such as that of Throbbing Gristle, with the more traditionally musical techniques of early electronic bands such as Kraftwerk. Along with a uniquely dark tone, this made for a truly innovative combination.
For a time, Skinny Puppy acted as cEvin’s expressive outlet while he continued to play in Images In Vogue. During this period, cEvin and Ogre performed as the opening act for Chris and Cosey, however they were billed as Hell ‘O’ Death Day rather than Skinny Puppy. This intended one-time project focused on the more experimental soundscape side of the duo’s music rather than the more danceable side shown by the Remission EP. It shortly became clear that this music was too good to not release. Much of it was included in the various versions of their next work, the full length Bites LP. Bites saw Skinny Puppy developing their sound further and utilizing the LP format for a greater diversity of styles. On the date of its release in ’85, cEvin quit Images In Vogue, making Skinny Puppy his full time project. It would remain so for the next ten years. Bites also featured guest appearances by Wilhelm Schroeder on bass synth. Wilhelm, better known as Bill Leeb, was a friend of the band who was enthusiastic about making music. Needing another performer to fill out their live lineup, cEvin showed him how to play bass synth and brought him onboard. Never listed as an actual member of the band on any release, Wilhelm’s input on the records was minimal, but his presence was necessary for the North American tour Skinny Puppy was about to undertake. The Bites tour saw Ogre develop his conceptual theatrics to a new level. Featuring a massive stage set, the Bites show was a carefully developed and choreographed combination of performance art and music. Audiences expecting to see a normal concert were shocked to see the lead vocalist slice his own throat and fall backwards into smoke, grinning as stage blood seemingly poured from his wound. Ogre would continue to develop these uniquely orchestrated and ever more conceptual shows for each tour the band would undertake.
Following the tour, Skinny Puppy found themselves in a state of transition as they recorded their third release, Mind: the Perpetual Intercourse. Wilhelm decided to leave the band during the making of this record, facing the prospect of a world tour which he was not interested in doing. cEvin did not need to look far for his replacement. Dwayne Goettel had performed as the keyboardist of a band which once opened for Skinny Puppy. After their initial meeting, cEvin and Dwayne jammed together, resulting in the track Antagonism. As the two formed a musical alliance, the final component of Skinny Puppy was put into place. Dwayne was a classically trained musician and brought a new level technical skill to the band. This, coupled with the introduction of new technology to the bands' arsenal, made Mind:TPI a vast musical advancement. A more lush, carefully produced record than previous, it showed Skinny Puppy developing the unparalleled sonic depth that was their trademark. The album also contained their first single, Dig It, which became an instant underground classic. With Dwayne, the band had completed the lineup that would remain for the rest of their career and their ’86 worldwide tour in support of the Mind:TPI album established Skinny Puppy’s reputation among electronic and underground music fans across the globe.
