Of the multitudes of recording artists which populate the various strata of the contemporary music world, very few have either the verve or tenacity in sonic metastasis as the likes of Chris Connelly.
His arc of evolving talent is quite well known to the initiated: constantly shifting gears and mutating from the earliest of days in Rigor Mortis (later to become Fini Tribe) to the infamous Revolting Cocks, or side projects like Acid Horse (with members of Caberet Voltaire) and the one-off release The Love Interest.
The hey-day of the loosely fitting term “industrial rock” had all but wound up during the late Eighties and early Nineties, through which Connelly maintained a high profile within the ranks of Ministry and then shortly after crossing over to the post-punk experimental circus called Pigface, helmed by Martin Atkins and his label Invisible Records.
In retrospect, this change would prove to be a blessing in disguise of sorts, allowing for Connelly to exhibit deeper lyricism as well as a far wider range of vocal skill more true to his own style rather than that of the atypical distortion-blistered screams of metallic mechanical rage. Murder, Inc. followed suit, bringing to light a brilliant blend of Chris’ angst-laden lounge crooning against a backdrop of Killing Joke-esque post-industrial noise rock.
To the converted, this record remains a fan favorite not quickly forgotten; when later incarnations of Pigface (without Connelly) would play the album’s title track, crowds would tend to fall into a chaotic reverie of shaking fists and shoulder-to-shoulder mosh pits.
The years post Ministry have seen Chris create a singular body of solo work. Joing the Durtro Jnana label in 2007, he released two critically acclaimed solo albums, 'The Episodes' and 'Forgiveness & Exile'. in 2008, he heard the record 'Soft Stars' by Busted Flat recording artist Lynn Jackson, which inspired him to start writing a very stripped down record which became 'Pentland Firth Howl'.