James George Thirlwell (a.k.a. Clint Ruin) is the main man behind industrial music experiment Foetus and the official maestro of The Venture Bros. Born from the underground "No Wave" era of the 1980s, Thirlwell is a multi-talented singer, songwriter, producer and instrumentalist who's output has largely been ignored by the mainstream, thus earning him a cult following amongst both old school and new crew hipsters and music aficionados alike. A rock 'n' roll chimera, Thirlwell's musical influences and style runs the gamut from Punk Rock to Noise Rock to Big Band to Jazz to avant-garde symphonies, all of which is reflected in his numerous projects, side-projects, and one-off collaborations. The most persistent include:
Foetus is the name of Thirlwell's traditional musical project, except when he calls it Scraping Foetus Off The Wheel, or Foetus Interruptus, or Foetus In Excelsis Corruptus Deluxe, or any other variation on the British term for an unborn mammal. Probably the most accessible of all of Thirlwell's work, most tracks on a Foetus album can be broadly defined as "industrial rock", although recent excursions have veered into the realm of cinematic instrumentals. While Jim Thirlwell isn't the only one who namedrops unborn babies in his band name, he happens to be the only one who uses the British spelling, which helps fans identify early Foetus albums despite the "band's" revolving name.
Steroid Maximus and Manorexia are Thirlwell's two solely instrumental projects, the former more straight-forward and the latter more minimalist and experimental. They were formed to offset the amount of instrumental tracks leaking their way onto Thirlwell's Foetus albums, and in the case of Manorexia, allow him to liberate his talents as a musician and composer outside normal boundaries.
Wiseblood is what Thirlwell called his collaboration with ex-Swans member and fellow No Waver Roli Mosimann. Just as Steroid Maximus and Manorexia attracted Thirlwell's orchestrated side, Wiseblood catered to his filthy, angry, perverse, Post-Punk sensibilities with a number of noisy, guitar-driven, Garage Rock-esque tunes.
And of course, there is The Venture Bros. soundtrack, which arguably infected a whole mess of new listeners with the Foetus pathogen. Aside from his personal work, J. G. Thirlwell has also worked as producer, contributor, and remixer for a number of like-minded artists, such as Nine Inch Nails, The The, Marilyn Manson, Glenn Danzig, Soft Cell, Nick Cave, Lydia Lunch, and the Kronos Quartet.For more on Big Jim Thirlwell, please visit his website, which includes his enormous discography.
J. G. Thirlwell and his music provides examples of:
AcCENT Upon the Wrong SylLABle: Self-destruction and personal decadence being common themes means many songs are sung like Thirlwell is either belligerently drunk, acting like a rock star diva, or about to flip some tables.
Cool Old Guy: Just because Jim isn't a fresh young slab of manhood anymore, doesn't mean he ain't slicker than molasses in a heatwave.
Echoing Acoustics: "How To Vibrate" sounds like it was recording in a echo chamber inside of a waterfall.
Additionally, the project used to go by a number of moniker variations per EP, such as "Scraping Foetus Off The Wheel", "Foetus Corruptus", "Foetus Uber Frisco", and so on. 1995's Gash broke the trend, and every release since then has just been credited as "Foetus".
Even the album art doesn't escape this, as a several pairs of albums have shared the same design ethic, such as Ache/Hole or Thaw/Rife.
Industrial: The easiest way to describe Foetus to an outsider, and even then, it doesn't cover every style played. He particularly hates being called "industrial".
On the other hand, Jim Thirlwell is considered by many to be the unsung godfather of the entire Industrial movement, not just for seniority, but because of the sheer amount of material the man has consistently produced since the '80s.
Intentionally Awkward Title: Every once in awhile, Thirlwell will deliberately christen one of his songs with a attention-grabbing title, like "The Only Good Christian Is A Dead Christian".
Neoclassical Punk Zydeco Rockabilly: Foetus is one of the few, legitimate candidates for being the Trope Codifier. The closest any of us poor listeners can come to, is "Instrumental Experimental Industrial Post-Punk Cinematic Avant-Garde Big Band Lounge Noise Wave".
New Sound Album: 1995's Gash was far less '80s than previous Foetus releases, possibly a by-product of being (momentarily) picked up by a major label. Later releases would see Thirlwell juxtaposing a number of different styles together instead of filling up an album with one linear style.
No Hit Wonder: Until he was commissioned to provide the music for The Venture Bros., Thirlwell and his work was a rare case of being completely underground to everyone except those who knew about him from other avenues. Didn't stop him from gaining a dedicated trust, however.
Stage Names: Jim has gone by the moniker of Clint Ruin in the past. In fact, some of his old albums were credited to multiple, non-existant artists and producers like Phillip Toss and Frank Want.
Surprisingly Gentle Song: Several across his career, less so in the beginning but increasingly common. Manorexia would qualify as a "surprisingly gentle side-project." However, with Thirlwell, "gentle" does not mean the music is any less unnerving.
Suspiciously Similar Song: "I Hate You All" is a rare exception; Originally, Thirlwell wrote the song on behalf of Buck Tick vocalist Atsushi Sakurai's first solo album, wherein Atsushi sung his own J-rock lyrics. Later, Thirlwell would re-release the song on Damp, except this time, it's Jim singing his own lines to his own song. This mash-up showcases the differences between the two versions.
Three Chords and the Truth: Thirlwell is a child of the "No Wave" movement of the 1980s, which was the Mirror Universe counterpart to the commercially driven New Wave scene. As such, much of Thirlwell's early Foetus work comes across as hot and dirty rock 'n' roll, to his uber-stylish mainstream rivals.
Word Salad Lyrics: Subverted, as many of Thirlwell's songs are stream-of-consciousness, tending to flow around tones of self-abuse, loathing, psychosis, and egomania. They end up being highly interpretive when all's said and done.
Yarling: Thirlwell's voice is a scratchier, more melodramatic variant of this.