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VIVIsectVI
VIVIsectVI
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VIVIsectVI
A collage of superimposed X-ray images
Studio album by
Skinny Puppy
ReleasedSeptember 12, 1988
RecordedMid-1988
StudioMushroom Studios in Vancouver, British Columbia, Canada
GenreElectro-industrial
Length42:54 (vinyl and cassette versions)
60:56 (CD version)
LabelNettwerk
Producer
Skinny Puppy chronology
Cleanse Fold and Manipulate
(1987) 		VIVIsectVI
(1988) 		Rabies
(1989)
Singles from VIVIsectVI
  1. "Censor"
    Released: 1988
  2. "Testure"
    Released: 1989

VIVIsectVI (pronounced "vivisect six") is the fourth studio album by Canadian electro-industrial band Skinny Puppy. It was released on September 12, 1988, through Nettwerk. Despite tackling controversial topics like animal rights, chemical warfare, and environmental waste, VIVIsectVI was well-received. It spawned two singles, "Censor", which was released on the album as "Dogshit", and "Testure", which was Skinny Puppy's only song to chart on Billboard's Dance Club Songs. VIVIsectVI was followed by a theatrically involved tour with Nine Inch Nails as the opening act.

The album saw a refinement of Skinny Puppy's characteristically harsh, mechanical, and sample-heavy sound, with several critics labeling it as the band's best effort. Since its release, VIVIsectVI has garnered critical acclaim and recognition as a landmark release in industrial and electronic music.

Background

[edit]

After Skinny Puppy's first two releases on a label, Remission (1984) and Bites (1985), the band began to hone its messages and focus on social wrongs.[1] 1986's Mind: The Perpetual Intercourse saw Dwayne Goettel's introduction into the group and marked a shift in Skinny Puppy's sound from dark synth-pop to a more elaborate form of abrasive industrial music.[2][3] This evolution was furthered on 1987's Cleanse Fold and Manipulate when Skinny Puppy started to experiment with ambience and atmosphere.[4] Dave Ogilvie, who had produced some of the group's previous albums,[5] joined as a full-time member,[6] and work on VIVIsectVI began at Mushroom Studios, Vancouver in mid-1988.[6][7] The lyrical and thematic elements of the music were refined and made more of a focus on the album; whereas before the music's message was oblique, on VIVIsectVI it became more direct.[1]

Growing up, Skinny Puppy's vocalist, Nivek Ogre, believed that animal experimentation was necessary.[8] After researching the topic, he became more and more disgusted, eventually reaching the point where he was against all forms of animal testing.[8] To compound this disillusionment, in 1983, Ogre's father died and a record distribution company that was set to support one of his early projects dissolved.[9][10] In the resultant lurch, he wrote a song called "K-9" about the world seen through a dog's eyes.[10] "K-9" became the first Skinny Puppy song and appeared on the group's debut release, Back & Forth (1984).[11] As the band further developed, the idea of life from an animal's perspective continued to come to mind, and VIVIsectVI especially showcased the concept.[10][12] The album's title, VIVIsectVI, is a pun intended to associate vivisection with Satanism via the roman numerals for 666 coupled with the word "sect".[8][13][14] It is pronounced "vivisect six".[8][15]

Composition and content

[edit]

"This is our hardest album [...] There's albums in the past that may be a little more grating, but the subject matter and the intensity has been refined to a point now where we can disguise it."

—cEvin Key on VIVIsectVI's sound (1989)[16]

Musically, VIVIsectVI is an electronic industrial[17][18] album that is characterized by chaos, repetitive loops, and layers. The music, described as "manic" and "dense", presents a sonic wall that is difficult to penetrate upon initial listening.[18][19] The band emphasizes programmed drum machine loops and rhythms which are augmented by the production to sound overpoweringly mechanical.[20][21][22] On the liner notes, a message reads, "Play this music loud or not at all".[6] Ogre's vocals range from low, indiscernible moans to screams and shrieks. AllMusic writer Bradley Torreano noted that Ogre was one of the few vocalists in the industrial genre whose voice "sounded poetic amongst the noise and beats".[19] VIVIsectVI is characterized by its profusion of sounds and noises, often perceived as conflicting or cacophonous,[16] but, as Torreano writes, it never becomes overbearing.[19] Along with all the intensely overwhelming washes of noise, the album incorporates grooves and dance music moments.[17][23]

"VX Gas Attack"
"VX Gas Attack" highlights the album's industrial programming.
"Human Disease (S.K.U.M.M.)"
"Human Disease (S.K.U.M.M.)" highlights the album's heavy employment of samples.
Problems playing these files? See media help.

VIVIsectVI begins with "Dogshit", a song that would go on to become one of the album's two 12-inch singles under the title "Censor".[24] Alongside Ogre's shouted, enigmatic vocals and the loud industrial sounds, a fretless bass leads the song's groove and eventually gives way to one of the band's rare early instances of electric guitar.[6] Following that is "VX Gas Attack", which starts with a protracted newscast punctuated by stilted drum machine beats and occasional samples.[25] The rest of the song continues to criticize the employment of chemical weapons[26] and is built around a repeating percussion loop broken up with further news sound bites and occasional bass. The album's third track, "Harsh Stone White", is slow and "brooding".[19] It focuses on drug addiction, which would be the cause of Goettel's death in 1995.[27] Despite the song's gloomy atmosphere and topic, the synthesized electronics are bright and comparatively optimistic.[18] This contrast between traditionally upbeat, occasionally beautiful sounds and an oppressively industrial tone is an ongoing motif in Skinny Puppy's music, further heightened by the variety in Ogre's vocals, which go from agonized to manic often in the same song.[28]

Kevin Westenberg's photograph of the band from VIVIsectVI's liner notes. From left to right: Dwayne Goettel, Nivek Ogre and Dave Ogilvie superimposed, and cEvin Key

The album's fourth track, "Human Disease (S.K.U.M.M.)", is another song built around and dominated by artificial percussion.[28] Halfway through, the song undergoes a drastic shift from breakneck drum loops to a greater emphasis on electronics and samples. Extremely distorted guitars are employed in the latter section. The track that follows, "Who's Laughing Now", was described by AllMusic as "one of the true classic industrial songs of any era"[19] and was included on the soundtrack of the 1990 film Bad Influence.[29] "Testure", VIVIsectVI's sixth song, was the album's second and more successful single.[25] Labeled a dance music track, it features extensive use of smooth electronics and bass.[30] Even though "Testure" is a bleak track about the violation of animal rights, it acts as a sonic rest from the album's preceding and succeeding assault.[26] The closing lyrics of "Testure" include the album's title, pronounced as "vivisect six".[6] The seventh and eighth tracks, "State Aid" and "Hospital Waste", return to VIVIsectVI's harsh nature, with the former ending in the album's heaviest barrage of beats and the latter being built around a propulsive rhythm punctuated with bass and suffused with wailing, superimposed synth patches. VIVIsectVI's conclusion, "Fritter (Stella's Home)", begins as dark ambient and ends with an intense rush of machine-like drumming.[12][25]

The CD version of VIVIsectVI contains an otherwise unreleased track, "Funguss", and three additional songs that are featured on the album's singles as b-sides.[31] Cofounding member cEvin Key considered these appended songs as a cross between Skinny Puppy's style and that of some of his side projects, like Doubting Thomas.[32] A version of "Punk in Park Zoo's" is featured on VIVIsectVI's CD release, ending with a cartoonish pitch-shifting effect that is not featured on the version found on the "Censor" single.[33] "Yes He Ran", the album's longest song, and "The Second Opinion" further develop the industrial and sampling experimentation. The latter began as a live jam titled "Snub" and was later refined in studio.[34] "Funguss" closes the expanded album, ending with a distorted and downtuned guitar riff reminiscent of those found commonly in heavy metal music. Skinny Puppy's next album, Rabies (1989), would go further with that metal sound.[35] This direction proved troubling for Key; in a 1991 interview, he said, "we felt that we could come back in and really concentrate on doing a follow-up album to the last real Skinny Puppy album, which was VIVIsectVI, and that to us is Too Dark Park. Rabies was more of a departure."[36]

Samples

[edit]

Like most Skinny Puppy releases, VIVIsectVI employs a large number of samples,[17] many of which come from horror films.[11] "Testure" features several audio clips from Martin Rosen's 1982 film The Plague Dogs.[37] "Fritter (Stella's Home)" hinges on dialogue from The Tenant (1976) by Roman Polanski, and the song's name makes reference to a character from the film, Stella, played by French actress Isabelle Adjani.[37] The track concludes with a clip of Jack Nicholson's voice from The Shining (1980) by Stanley Kubrick.[37] "Who's Laughing Now" both contains and is titled after dialogue from Sam Raimi's 1987 movie Evil Dead II.[20] "The Second Opinion" includes the line "that machine has got to be destroyed" from Stuart Gordon's 1986 adaptation of H. P. Lovecraft's From Beyond, and also features the "man of the shroud" sample first used in the closing track "Epilogue" from Skinny Puppy's 1987 album, Cleanse Fold and Manipulate.[37] Politically notable, "State Aid" contains many samples from speeches by American president Ronald Reagan talking about AIDS.[37]

Themes and lyrics

[edit]

Thematically, VIVIsectVI focuses on animal rights,[38] animal experimentation,[13] the AIDS epidemic,[25] and damage to the environment.[39][40] It was the first of Skinny Puppy's albums to be outspokenly political, which would become the norm for the band.[1][41] "VX Gas Attack" denounces chemical weapons by framing the song in the Iran–Iraq War.[12][42] "Testure", a lyrically blatant song,[43] brings vivisection into the forefront.[13][25] About the album's themes, Ogre said that the point of VIVIsectVI "was to give an animal human qualities and show people how a human would react if they were in the same position."[44] He continued, saying, "Hopefully it will keep going from there. If we can get that in there, have people taking the info and responding to it, without thinking about it, that's the whole point."[44] Simon Reynolds of Melody Maker thought Skinny Puppy's approach to difficult topics (that is, facing trauma by mimicking that trauma) was the band's most intriguing quality.[28] He praised "the tension between glamourisation and vilification, sadism and empathy" found in VIVIsectVI's sound and live performances.[28]

These topic are conveyed through Ogre's guttural and cryptic vocals.[45] Though his contributions are abrasive and occasionally screamed, Ogre's work on VIVIsectVI saw him challenging himself to layer more complexity and harmonies into the music.[44] The vocals are fast-paced, distorted, and difficult to actively absorb,[12] often coming in the form of fragmented streams of consciousness.[26] Despite the lyrical obscurity and harsh delivery, the album's messages remain at the core of Ogre's efforts.[19]

Artwork

[edit]
A test shot of VIVIsectVI's cover demonstrating the involved collage process behind the artwork

Steven R. Gilmore, longtime Skinny Puppy collaborator, created the artwork for VIVIsectVI. The cover, which depicts a mangled blue hand against a black background, comprises a collage of X-ray photography.[45] Gilmore's friend who worked at the University of British Columbia provided him with a stack of X-ray images bound for disposal, and, with a makeshift light table, he made VIVIsectVI's artwork.[46] In 1988 when the artwork was created, it was common practice to use large format Hasselblad cameras to take black and white Polaroid test shots of the piece to verify exposure.[47] In 2012, Gilmore said that it was his favorite cover that he had done for the band.[45] According to Gilmore, the sleeve was designed for the gatefold format,[46] but less than a thousand of those were printed.[33] The distorted photograph of the band that appears on the liner notes was taken by Kevin Westenberg.[6]

Live performances

[edit]

"Some images are indisputable. If I'm sitting beside you and something visual comes up that makes you feel like this, it's probably making me feel the same way more than if we were sitting and having a conversation."

—Dwayne Goettel on Skinny Puppy's controversial vivisection performances (1990)[48]
Main article: Pretty Hate Machine Tour Series § VIVIsectVI Tour

VIVIsectVI was followed by a tour of North America that featured Nine Inch Nails, a band inspired by Skinny Puppy,[49][50] as the opening act.[51] Despite being a full member of the band, Ogilvie was not a part of the live performances. Instead, Skinny Puppy toured as a trio, with Ogre on vocals, Goettel on percussion, and Key performing synthesizers.[52] During live shows, Ogre portrayed a vivisectionist who in turn became the test subject.[39][53] The concerts were noted for being shocking and violent, with horrifying visuals playing in the background and Ogre acting as a madman on stage.[10][12][54]

On October 22, 1988, at Saint Andrew's Hall, Detroit, one of the band's props, Chud (a custom-made stuffed dog fixed with an armature[11][55]), was stolen by a female fan who went backstage after the concert.[31] Using information provided by another attendee, Key and Ogre managed to locate the woman's address and drive to her home.[56] After retrieving Chud from the back of a parked car,[15] Key and Ogre explained the situation to the fan's parents, who thanked them for not calling the police.[52] Additional drama with Chud occurred a day later on October 23, 1988 during a performance in Cincinnati when two[57] members of the crowd believed that the stuffed dog that Ogre was vivisecting was real and called the police.[13][16] A pair of plainclothes detectives went backstage and accosted the band without providing any identification.[14][56] Even after it became evident that no animal was harmed during the concert, the band, charged with disorderly conduct, was arrested and jailed.[52][54] After a night spent incarcerated, the band was released and fined $200.[58] According to Ogre, it was ironic to be detained for mimicking vivisection when, across the street from the concert hall (Bogart's), was a genuine animal testing laboratory.[59] He later gave an official statement on the encounter: "I find it paradoxical that the police can justify arresting us on the assumption that we mutilate and experiment on live animals for a theatrical performance when the inhuman reality is that it occurs in over 300 laboratories every day."[14]

Songs performed[31]

Release

[edit]

VIVIsectVI was released worldwide in September 1988. The first several hundred copies released in Canada were in full-color gatefold sleeves; later Canadian pressings as well as all pressings released in the United States were distributed either as non-gatefold vinyl or as CDs in jewel cases.[33] This was the first Skinny Puppy release to contain a picture of the band and was the only to list Ogilvie as an official member.[6]

The album was supported by two singles, "Censor" (titled "Dogshit" on the album) and "Testure". "Dogshit's" name change was suggested by Nettwerk but was ultimately the band's choice, coming from a decision that the single would not sell well if it had kept the original name.[8][16] "Testure", released as a single in 1989, was accompanied by a music video that depicted a man (who presumably had been abusing his pet dog) being experimented on by a group of surgeons. According to Ogre and Key, the video was pulled from airplay following an internal poll by Citytv, an associate of Canada's MuchMusic.[11] The poll came out nearly split, but, regardless, the video was ultimately banned by "the powers that be".[11] Irrespective of the video's ban, "Testure" reached number 19 on Billboards's Dance Club Songs chart.[30][60]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[19]

Upon release in 1988, VIVIsectVI was well-received but generally overshadowed by Skinny Puppy's onstage antics.[39][48][53] In his 1988 review, Mark Jenkins of the Washington Post wrote that the album contained the band's "most morose music yet" and commented that the song "Testure" was "characteristically impressionistic but lucidly visceral".[61] In 1989, Jim Aikin of Keyboard wrote, "Somehow, in the midst of the painful audio chaos, the fun comes across."[18] Since then, critical acclaim has grown, with several publications recognizing the album as important to the industrial and electronic genres. Bradley Torreano of AllMusic praised the album's variety and called it "one of their true masterpieces".[19] Another AllMusic writer, Jim Harper, believed that VIVIsectVI led to Skinny Puppy being the "originator of a new musical style."[2] See Magazine said that the album "marks a pinnacle in the band's career, at which they weren't merely peaking as musicians but also as friends," and that it was their "most focused recording".[25] Writing for LA Weekly in 2017, Brett Callwood agreed with Harper by calling the album "genre-defining" and said, "The early Puppy albums are fantastic and important, but by the fourth, 1988’s VIVIsectVI, the group had really hit their stride."[20] Callwood continued, praising the album's percussion effects as genuinely and frighteningly mechanical.[20] In 2012, Chris Morgan of Treble labeled VIVIsectVI as one of the essential industrial albums, saying that the album "is not just mean and abrasive, but vile and scabrous, giving new meaning to the term 'infectious,' when it comes to electronic music."[17] In 2021, Polish writer Jacek Szafranowicz described Skinny Puppy as at its best on VIVIsectVI.[62]

Accolades

[edit]
Year Publication Country Accolade Rank Ref.
1988 Melody Maker United Kingdom "Albums of the Year" 13 [63]
2012 Treble United States "10 Essential Industrial Albums" 5 [17]
2017 LA Weekly "10 Classic Industrial Albums" 9 [20]

Track listing

[edit]

All tracks are written by Skinny Puppy.

No.TitleSample(s)[20][25][37][64]Length
1."Dogshit" 3:55
2."VX Gas Attack"
Contains samples of:
    • Various news sound bites
5:36
3."Harsh Stone White" 4:29
4."Human Disease (S.K.U.M.M.)" 6:18
5."Who's Laughing Now?"
Contains samples of:
5:28
6."Testure"
Contains samples of:
5:06
7."State Aid"
Contains samples of:
3:54
8."Hospital Waste" 4:37
9."Fritter (Stella's Home)"
Contains samples of:
3:31
Total length:42:54
CD-only bonus tracks
No.TitleSample(s)[37][64]Length
10."Yes He Ran"
Contains samples of:
6:28
11."Punk in Park Zoo's" 2:30
12."The Second Opinion"
Contains samples of:
4:59
13."Funguss" 4:05
Total length:60:56

Personnel

[edit]

All credits adapted from VIVIsectVI liner notes[6]

Skinny Puppy

Additional personnel

  • Steven R. Gilmore – design, photography, typography
  • Greg Sykes – typesetting
  • Kevin Westenberg – photography

Charts

[edit]
Chart (1988) Peak
position
Canada Top Albums/CDs (RPM)[65] 94

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

VIVIsectVI

View on Grokipedia
from Grokipedia
VIVIsectVI (pronounced "vivisect six") is the fourth studio album by the Canadian band , released in 1988 on Nettwerk Records. The record features 10 tracks blending aggressive electronic beats, sampled audio from medical procedures and warfare footage, and distorted vocals to critique , chemical agents, and human exploitation. Songs such as "Testure" and "VX Gas Attack" employ visceral sound design, including pig squeals and effects, to evoke the brutality of and military experimentation. Renowned for its raw production and thematic intensity, the album solidified Skinny Puppy's influence in the industrial genre, earning critical acclaim for pushing sonic boundaries and raising awareness of ethical issues through music. Its cover art, a collage of superimposed X-ray images, visually reinforces the invasive themes of dissection and internal violation. The release accompanied live performances incorporating mock vivisections and animal remains to protest laboratory cruelty, amplifying the band's activist stance despite backlash from authorities and venues. This fusion of art, horror, and advocacy marked VIVIsectVI as a pivotal work in electro-industrial music, distinguishing it from contemporaries through uncompromised confrontation of societal taboos.

Background and development

Band context and prior albums


Skinny Puppy formed in Vancouver, British Columbia, Canada, in 1982, founded by multi-instrumentalist cEvin Key (Kevin Crompton) and vocalist Nivek Ogre (Kevin Ogilvie). The duo initially explored experimental electronic music, drawing from the raw energy of punk and goth scenes while incorporating noise elements and early industrial aesthetics. Their sound emerged amid the mid-1980s underground electronic landscape, influenced by pioneers such as Throbbing Gristle's confrontational dissonance and Einstürzende Neubauten's metallic percussion experiments. Signed to the independent Canadian label Nettwerk Records, Skinny Puppy quickly developed a niche following through cassette trading and local performances. The band's debut release, the Remission EP, arrived in 1984 via Nettwerk, featuring abrasive synths, distorted vocals, and rudimentary sampling that set a template for their electro-industrial style. This was followed by the full-length Bites in 1985, which expanded on those foundations with denser layers of electronic percussion and atmospheric noise, signaling a shift toward more structured compositions amid chaotic sound design. By 1986's Mind: The Perpetual Intercourse, released through Nettwerk and Capitol, Skinny Puppy demonstrated growing technical sophistication, integrating complex tape loops and field recordings to heighten thematic explorations of alienation and decay, though still rooted in lo-fi production constraints. These albums marked the band's progression from raw demos to a cohesive electro-industrial identity, fostering a cult audience in North America's alternative circuits without mainstream penetration.

Conceptual origins and influences

The conceptual framework for VIVIsectVI emerged from vocalist Nivek Ogre's deep-seated opposition to , rooted in his personal encounters with animal suffering and broader ethical concerns over laboratory experimentation on animals. Ogre's commitment originated in a formative incident at age 14 near , where he shot gophers and observed the prolonged agony of a wounded one, prompting his adoption of and lifelong aversion to practices causing unnecessary animal pain. This anti-vivisection motif drove the album's ideation as a pointed of scientific exploitation, distinguishing it from the band's earlier explorations of horror and alienation by coalescing into a unified thematic . The album title, VIVIsectVI, incorporates a pun on "vivisect" combined with "VI sect" to evoke the biblical "666," framing not merely as but as a cult-like devotion to inhumanity within institutional . Ogre's confrontational style, characterized by visceral theatricality, informed the album's to confront audiences with unfiltered depictions of , drawing from his use of graphic stage films sourced from suppressed footage of lab animals subjected to chemical and commercial testing. This approach intensified elements of dread and present in prior releases like Mind: The Perpetual Intercourse (1986), evolving toward a that highlighted vivisection's ethical horrors amid contemporaneous debates. cEvin Key's contributions emphasized technical innovation in to amplify thematic unease, building on the duo's experimental while aligning with Ogre's to underscore causal links between human and animal torment. The project's development reflected the surge in animal liberation , including direct-action groups conducting lab raids and public campaigns exposing testing practices, which paralleled the band's origins and growing . By prioritizing empirical confrontation over abstract horror, VIVIsectVI sought to catalyze awareness of vivisection's realities, with Ogre attributing the work's urgency to fears of escalating inhumanity in research contexts.

Production process

Recording sessions and locations

The principal recording sessions for VIVIsectVI took place at Mushroom Studios in , , beginning in 1987. Producer and engineer worked closely with core members , Nivek Ogre, and , capturing the bulk of the album's foundational tracks in this compact facility known for its atmospheric vibe and history with the band. These sessions emphasized an iterative, hands-on process amid the band's evolving experimentation, with Ogilvie contributing programming and engineering to refine the raw material. Under Nettwerk Records' oversight, the production stayed within modest budgetary limits typical of independent label operations at the time, relying on available studio gear without extensive external resources. Principal tracking concluded ahead of final mixing, enabling the album's completion for its September 12, 1988 release.

Technical production methods and challenges

The production of VIVIsectVI heavily featured analog synthesizers such as the Ensoniq ESQ-1 for generating harsh, dissonant tones and basslines, alongside early digital samplers including the Ensoniq Mirage for custom sound manipulation. Drum machines like the Roland TR-808 and TR-909 provided foundational percussive elements, often layered with sampled acoustic percussion from unconventional sources termed "Drumosaurs"—combinations of barrels, miscellaneous objects, and treated drums—to achieve erratic, industrial rhythms. Producer Dave Ogilvie, collaborating with cEvin Key, emphasized analog-to-digital workflows, bouncing tracks through cassette decks and multitrack recorders to introduce deliberate distortion and tape saturation, enhancing the album's abrasive texture. Vocals by were processed extensively for alienation, involving layering of screams and whispers with effects such as (at approximately 50% wet mix), chorus, and , often buried in the mix to prioritize atmospheric dissonance over clarity. Custom sampling via the handled drum sounds and integrated field recordings or excerpted audio clips, including samples, to embed thematic chaos without overpowering rhythmic structures. Key challenges arose in balancing the dense, multi-layered arrangements, where aggressive noise elements risked overwhelming programmed rhythms and synth foundations, necessitating iterative mixing at Mushroom Studios to maintain industrial edge without descending into incoherence—a process that exploited the era's hybrid analog-digital limitations for intentional sonic abrasion but demanded precise EQ and compression to preserve listenability. This approach pushed early sampling technology's fidelity boundaries, as low-resolution samplers like introduced artifacts that Ogilvie leveraged for texture, though it complicated achieving consistent dynamics across tracks.

Musical and lyrical content

Instrumentation, style, and structure

VIVIsectVI exemplifies the genre through its reliance on electronic instrumentation, including synthesizers like the Ensoniq ESQ-1 and samplers such as the , paired with drum machines including the and TR-909 for generating abrasive, high-volume rhythms. These tools produce distorted basslines, kick-heavy percussion, and atonal synth layers that prioritize sonic density over conventional melody. The album marks a shift from the relatively more structured influences in Skinny Puppy's prior releases, such as Remission (1984) and Bites (1985), toward heightened aggression by integrating (EBM) pulse-driven beats with unstructured noise bursts. Song structures deviate from pop conventions, featuring irregular forms that average 3 to 5 minutes per track, as seen in lengths like "Dogshit" at 3:55 and "VX Gas Attack" at 5:36. Tracks often employ abrupt transitions between contrasting sections—such as sudden drops in rhythm or shifts from pounding percussion to sparse synth drones—creating a disorienting flow that builds chaotically rather than resolving predictably. This approach emphasizes textural layering and rhythmic instability over repetitive hooks, fostering an atmosphere of unease through relentless, evolving sonic assaults. For instance, many compositions alternate between intense, machine-like grooves and fragmented breakdowns, with minimal melodic anchors to heighten the raw, industrial edge.

Use of samples and sonic elements

VIVIsectVI prominently features sampled found sounds as core sonic components, drawn from medical procedures, news clips, and industrial machinery to evoke the brutality of . Tracks like "Testure" incorporate manipulated audio of animal distress and surgical noises, sourced from animal rights documentation, layered to simulate horrors without direct instrumentation dominance. These elements were often legally transformative under doctrines for artistic critique, avoiding uncleared commercial excerpts while amplifying thematic dissonance. Manipulation techniques included analog tape looping for repetitive, hypnotic cycles and pitch-shifting to distort source materials into eerie, inhuman timbres, fostering an immersive, claustrophobic texture. Such processing, applied via early digital samplers and reel-to-reel decks, generated dense aural collages that blurred organic and synthetic boundaries, as evidenced in the mechanical clatter of "Kitter Lower" and the warped vocal snippets in "Who's Laughing Now." This sampling methodology extended Skinny Puppy's prior experiments but intensified for VIVIsectVI's conceptual focus, distinguishing it from peers through explicit ties to real-world auditory evidence of exploitation.

Themes, lyrics, and ideological framing

The lyrics of VIVIsectVI center on anti-vivisection as a primary motif, portraying animal experimentation as a profound moral atrocity that symbolizes broader human dehumanization and institutional cruelty. The album title itself, a portmanteau of "vivisection" and the Roman numeral VI (evoking 666), frames the practice as inherently diabolical, aligning it with themes of systemic evil. Tracks like "Testure" explicitly depict the suffering of test subjects, with lines such as "In nervous convulsion / Crouches / Infant ape / Trembling / In mothers shit / Caged eyes, tear-less / Filled with contempt," evoking visceral images of caged primates enduring clinical torment to underscore the band's condemnation of laboratory practices. This extends metaphorically to human parallels, including war ("VX Gas Attack"), drug addiction ("Worlock"), and authoritarian control, positioning vivisection not merely as animal abuse but as a microcosm of societal pathologies where authority inflicts pain under guises of progress or necessity. Vocalist Nivek Ogre's delivery amplifies this thematic intensity through stream-of-consciousness phrasing delivered in a , distorted , often rendering partially indecipherable and prioritizing raw emotional conveyance over literal accessibility. This style, described in contemporary accounts as "bleating [and] ," conveys urgency and alienation, mirroring the album's of detached scientific . The band's intent, rooted in Ogre's expressed fear of human inhumanity, channels into activist pleas against normalized experimentation, as evidenced by live improvisations chanting "Stop !" Ideologically, VIVIsectVI adopts a radical absolutist stance influenced by animal rights militancy, decrying wholesale while omitting regulated ethical standards—such as protocols and oversight bodies like institutional animal care committees—and empirical contributions to medical advancements. has verifiably enabled developments including vaccines, insulin for , and surgical techniques, eradicating diseases like and improving human survival rates through transferable biological insights. The album's one-sided rejection, echoed in claims that such yields minimal curative value, reflects an extremism akin to contemporaneous campaigns by groups like PETA, which prioritized confrontation over balanced causal assessment of trade-offs between and human health gains. This framing prioritizes moral outrage, positioning science as complicit in a "blood religion" of exploitation without engaging countervailing evidence of net societal benefits.

Artwork and presentation

Cover art design and symbolism


The cover art for VIVIsectVI was designed by Steven R. Gilmore, credited with photography, , and overall design. This artwork consists of a of superimposed images, including one of Gilmore's own integrated with additional scans sourced from friends and family. The resulting monochromatic composition adopts a stark, graphic style reminiscent of clinical medical diagrams, emphasizing themes of bodily intrusion and fragmentation. This visual approach aligns with the album's industrial aesthetic, portraying decay and violation through detached, scientific imagery that underscores the invasive reality of . The collage symbolizes the exposure of hidden internals, paralleling the lyrical focus on animal experimentation's horrors and evoking discomfort to confront ethical complacency in laboratory practices. By rendering human and abstracted anatomical elements in a clinical void, the design mirrors Skinny Puppy's advocacy against , transforming personal medical records into a provocative emblem of systemic cruelty.

Packaging and additional visuals

The original vinyl edition of VIVIsectVI utilized a gatefold sleeve, allowing the inner panels to display full lyrics for the album's tracks alongside a black-and-white band photograph featuring members Nivek Ogre, cEvin Key, and Dwayne Goettel. This layout provided direct textual access to the record's content, which incorporated anti-vivisection imagery and rhetoric through sampled phrases and Ogre's vocalizations, without supplementary inserts or promotional stickers in standard pressings. Liner notes printed on the packaging included the exhortation: "Play this music loud or not at all. As always to the green guy. To hell with any bullshit," underscoring the band's insistence on intense, uncompromised engagement with their material. Vinyl runout etchings adhered to conventional matrix numbering, such as "NTL 30021 • AI" on side A and "NTL 30021 • BI" on side B, lacking custom messages or artwork found in some other Skinny Puppy releases. The packaging's minimalist approach, prioritizing lyrics and a stark band image over ornate design, reinforced the album's thematic focus on visceral confrontation rather than consumer appeal.

Release and commercial aspects

Release details and distribution

VIVIsectVI was released on September 12, 1988, through Nettwerk Productions in , with international distribution handled by . This partnership represented Skinny Puppy's transition from independent releases on Nettwerk to wider commercial availability via a major label, enabling broader market penetration beyond North American indie circuits. The album launched in multiple physical formats, including 12-inch vinyl LP (often in gatefold sleeves for Canadian editions under catalog NTL 30021) and audio cassette. Compact disc versions followed shortly after, with U.S. pressings on Capitol (catalog CDP 7 91040 2) and variations in European releases, such as omissions of printed lyrics in some CD tray inserts to comply with regional manufacturing standards. Early vinyl editions featured standard black pressing, while international variants maintained consistent track listings without reported censorship of artwork or content across primary markets. Distribution emphasized North American and European territories initially, leveraging Capitol's network for retail placement in specialty and mainstream outlets, a shift from the band's prior Nettwerk-only indie dissemination. No digital or alternative formats were available at launch, aligning with 1980s physical media norms for the electro-industrial genre.

Promotion strategies and singles

The album's promotion centered on its provocative anti-vivisection themes, with the band conducting interviews in alternative publications to frame VIVIsectVI as a direct challenge to animal experimentation practices. Members Nivek Ogre and cEvin Key emphasized the record's socio-political intent, leveraging the era's underground press and fanzines to articulate opposition to laboratory testing without diluting the industrial sound for broader appeal. This approach prioritized building loyalty among niche audiences attuned to confrontational art over mainstream concessions, courting controversy to amplify the message through word-of-mouth in electro-industrial circles. Two singles were issued to support the campaign: "Censor," released in 1988 on Nettwerk and as a 12-inch vinyl featuring an extended mix alongside tracks like "Punk in " and "Yes He Ran." The track, originally titled "Dogshit," incorporated censored vocal elements to underscore thematic censorship critiques. "Testure" followed in 1989 as a 12-inch single on the same labels, available in formats including red clear vinyl, with runtime variants aimed at club and radio play to disseminate anti-vivisection advocacy more accessibly. These releases featured production mixes suited for alternative outlets, avoiding polished pop remixes in favor of raw, thematic extensions that reinforced the album's activist edge.

Sales figures and chart performance

VIVIsectVI achieved modest chart success primarily within , peaking at number 94 on the RPM Top Albums chart in 1988. The album did not enter the US Billboard 200, reflecting the limited mainstream penetration of releases during that era. International charting was similarly constrained, with no notable positions reported on major European or UK album charts, underscoring the genre's niche status outside dedicated alternative audiences. Sales figures for the initial release remain undocumented in , but the band's overall catalog output suggests low-volume distribution typical of independent labels like Nettwerk, with stronger demand in underground and markets rather than broad retail. Subsequent reissues, including a vinyl edition, have sustained catalog availability and collector interest without propelling renewed mainstream metrics. Barriers inherent to the abrasive, experimental style of music contributed to this pattern, prioritizing over mass-market viability.

Critical and public reception

Initial critical responses

VIVIsectVI elicited polarized reactions upon its September 12, 1988 release, with niche industrial and alternative music critics praising its sonic innovation and unflinching anti-vivisection themes while decrying its deliberate abrasiveness. Reviewers highlighted the album's expanded production, incorporating enhanced percussion, robotic bass lines, and dense sampling to evoke brutality against animals and the environment, as in tracks like "Human Disease (S.K.U.M.M.)" and "Testure." This approach was seen as a principled escalation from prior works, ironically mirroring the violence it condemned through "musical brutality." Critics in specialized outlets noted the record's boundary-pushing refusal to prioritize , opting instead for manic collages and volatile vocals that demanded repeated listens to unpack. While lauded as a refinement of electro-industrial's mechanical harshness, the lack of accessibility alienated broader audiences, who often dismissed it as impenetrable "" lacking traditional structure. Mainstream coverage remained sparse, overshadowed by the band's provocative live shows, though some acknowledged the ethical prescience in its sample-heavy indictments of scientific exploitation.

Retrospective analyses and debates

Retrospective analyses since the early 2000s have lauded VIVIsectVI for its pioneering role in music, particularly its influence on subsequent acts like , whose early tours supported Skinny Puppy's 1988 promotional run and whose debut tracks echoed the album's abrasive sampling and rhythmic intensity. User-driven platforms reflect this, with assigning an average score of 3.7 out of 5 from over 2,700 ratings, positioning it as a genre benchmark for chaotic, sample-heavy experimentation that shaped misanthropic industrial aesthetics. However, some evaluations critique the production as sonically dated, with dense layers of reverb and noise overwhelming melodic structure, rendering portions less accessible compared to the band's later refinements. Debates over the album's ideological framing center on its unyielding condemnation of , often portrayed through graphic samples and lyrics as inherent cruelty without acknowledging empirical medical advancements derived from such . For instance, the 1921 discovery of insulin by and Charles Best relied on pancreatic extractions from dogs, enabling survival for millions with and establishing a causal pathway from animal models to human therapeutics that refined management protocols. This contrasts with the album's portrayal of testing as monolithic exploitation, prompting retrospective arguments that its outrage prioritizes emotional visceral impact over causal analysis of how regulated animal studies—despite ethical costs—yielded verifiable breakthroughs like insulin purification, which reduced mortality by over 90% in the ensuing decades. Fan communities often defend VIVIsectVI as a pinnacle of raw , valuing its immersive disturbance as authentic industrial ethos, while critics and some analysts dismiss the thematic approach as juvenile , lacking nuance in equating all with gratuitous harm amid evidence of its role in 20th-century . This divide persists in post-2000 discourse, with enthusiasts on forums praising its enduring weirdness and detractors noting repetitive outrage that borders on thematic one-note execution, separate from the album's sonic innovations.

Accolades versus criticisms

VIVIsectVI earned acclaim within circles, ranking on Consequence's 2023 list of the 50 Best Industrial Albums of All Time for its focused lyrical assault on and exploitation themes. Reviewers at described it as one of Skinny Puppy's "true masterpieces," praising the dense, multi-layered soundscapes and Ogre's versatile vocal delivery that transform abrasive noise into brooding anthems like "Who's Laughing Now?" It also featured in curated selections such as LA Weekly's 10 Classic Industrial Albums and Treble Zine's essential industrial picks, underscoring its foundational status in the genre. Despite this specialized recognition, the album received no mainstream awards or Juno nominations, highlighting its limited crossover appeal beyond underground audiences. Substantive critiques targeted its heavy reliance on graphic, gore-infused imagery to depict , with some observers arguing this approach sensationalizes animal suffering for shock effect rather than advancing practical policy solutions like enhanced oversight. Detractors further contend that such unnuanced anti- advocacy overlooks regulatory frameworks—such as U.S. amendments since the 1980s—that have curtailed gratuitous cruelty while permitting ethically overseen testing essential for medical breakthroughs, including vaccines and treatments credited with saving millions of human lives. This perspective posits the album's absolutist stance may inadvertently hinder balanced discourse on causal trade-offs between and scientific necessity.

Live performances and associated events

Integration into tours and setlists

Following the September 12, 1988 release of VIVIsectVI, incorporated several album tracks as core elements of their live setlists during the supporting VIVIsectVI Tour, which spanned North American dates from October 1988 onward. Key performances included "Dogshit," "Testure," "Human Disease (S.K.U.M.M.)," "Fritter (Stella's Home)," and "One Time One Place," often forming the backbone of shows alongside selections from prior albums like Bites and Cleanse Fold and Manipulate. These tracks were adapted live through extended improvisations, featuring on-the-fly manipulation of electronics and noise layers to heighten the chaotic intensity beyond studio recordings. Into 1989 and 1990, as the band transitioned to promoting (released February 21, 1989), VIVIsectVI material retained prominence in setlists, with tracks like "Testure" and "Human Disease (S.K.U.M.M.)" frequently appearing amid evolving material. The integration emphasized continuity, as live renditions incorporated fresh samples and distortions drawn from the album's visceral production style. In the band's 2000s reformation tours, following a hiatus, select VIVIsectVI tracks demonstrated ongoing viability, occasionally reinterpreted with remixed elements to suit updated stage technology and lineup dynamics. For instance, "Human Disease (S.K.U.M.M.)" resurfaced in performances during the Final Tour era (extending into the early but rooted in 2000s comebacks), underscoring the album's adaptability for contemporary audiences. To replicate the album's sample-dense chaos, the group relied on live sampling rigs comprising samplers, sequencers, and effects units, enabling real-time triggering of layered audio elements akin to the original studio process.

Stage innovations and controversies

During the 1988 Head Trauma Tour supporting VIVIsectVI, Skinny Puppy incorporated theatrical elements simulating vivisection procedures to underscore the album's anti-animal testing themes. Performances featured frontman Nivek Ogre engaging in mock surgeries, including injections with large syringes and the extraction of fluids from his body, alongside props such as a stuffed dog named Chud subjected to simulated dissections with fake blood and entrails. These innovations extended to Ogre being restrained in a medieval-style chair, rotated upside down amid splattering blood effects, aiming to replicate the visceral horror of laboratory experiments through immersive performance art. The graphic nature of these stage tactics provoked significant backlash, culminating in legal repercussions during a , concert on October 1988. An audience member misinterpreted the mock of the stuffed prop as the killing of a real animal and alerted authorities, leading to the arrest of band members and for after police demanded the "dog" and perpetrator. Although no actual animal harm occurred and charges stemmed from , the incident highlighted how the band's shock-oriented aesthetics risked alienating observers and obscuring substantive critiques of practices, prioritizing visceral spectacle over nuanced discourse. Ethical debates arose from the performances' intensity, with some animal rights advocates offering mixed endorsement due to the band's reliance on synthetic blood and props rather than direct , while critics accused the group of that could incite unfounded panic or desensitize audiences to genuine issues. Keyboardist later reflected on the vivisection-themed shows as deliberately provocative, intended to confront viewers with unfiltered depictions of animal experimentation's brutality. Despite valid empirical foundations in documented lab abuses, the approach's extremism contributed to venue scrutiny and occasional prohibitions, underscoring tensions between artistic intent and public perception.

Legacy and broader impact

Influence on electro-industrial genre

VIVIsectVI advanced the subgenre through its integration of aggressive sampling techniques, including distorted recordings of surgical sounds and animal distress calls, layered over relentless electronic rhythms and cEvin Key's percussive programming, which emphasized rhythmic drive and sonic abrasion characteristic of the style. Released on September 12, 1988, the album's production by and producer David Ogilvie refined earlier industrial experiments into a more cohesive electronic assault, distinguishing it from the noise-focused origins of pioneers like by prioritizing danceable beats and thematic narrative unity. This approach influenced subsequent electro-industrial acts, with Nine Inch Nails founder citing Skinny Puppy's overall methodology—including the sampling density and vocal manipulations evident in VIVIsectVI—as formative to his development of industrial rock's electronic edge in the early 1990s. The album's high critical estimation within genre retrospectives, such as its placement on Melody Maker's 1988 year-end list, underscored its role in elevating 's production standards and conceptual depth, paving stylistic pathways for bands like Ministry, whose 1988 album The Land of Rape and Honey echoed similar sample-heavy aggression amid shared Wax Trax! label affiliations. By fostering a blueprint for albums that blended misanthropic themes with structured electronic compositions, VIVIsectVI contributed to the 1990s subculture's embrace of as a club-oriented evolution of , evident in its sonic echoes in acts prioritizing sampling and beat-driven intensity over pure . Its enduring stylistic DNA appears in modern groups like , which adopted comparable theatrical electronics and rhythmic propulsion, though adapted toward metal-infused aggression.

Activist repercussions and scientific counterpoints

The release of VIVIsectVI and its accompanying Head Trauma Tour in 1988 amplified Skinny Puppy's critique of , prompting onstage simulations of animal experimentation that drew intervention and arrests for in multiple cities, thereby garnering media coverage for animal rights causes. These performances, incorporating graphic imagery and props to depict lab procedures, resonated with radical activists, including those sympathetic to (ALF) tactics such as unauthorized lab intrusions and animal releases, as vocalist had referenced awareness of ALF actions like the 1985 break-in at a clinic. However, the band's approach faced criticism for endorsing confrontational extremism—such as and —over legislative advocacy, potentially alienating moderate reformers and inviting counter-protests from conservative groups opposed to the band's theatrics. Scientific assessments counter the album's absolutist opposition to animal research by highlighting empirical contributions to human and veterinary medicine, where causal links between animal models and breakthroughs are well-documented. For instance, Jonas Salk's inactivated , tested on rhesus monkeys and cultured in monkey kidney cells during the 1950s, reduced global paralytic cases by over 99% through widespread vaccination campaigns, demonstrating how such models enabled safety and efficacy validation unattainable via methods alone. Similarly, animal-derived insights facilitated antibiotics, insulin purification from canine pancreases, and cardiovascular therapies, underscoring that discontinuing would have delayed or prevented these outcomes, as complex physiological responses in whole organisms exceed current alternatives like cell cultures. Legislative responses, such as the 1985 Improved Standards for Laboratory Act amending the Welfare Act, illustrate pragmatic welfare enhancements—including mandates for exercise space for dogs, enriched environments for , and routine veterinary oversight—that mitigated without halting progress, directly challenging absolutist stances by prioritizing evidence-based . While emerging technologies like organoids and computational modeling have supplanted some procedures, they remain insufficient for systemic testing, as affirmed by regulatory bodies requiring validation for drug approvals. The album's legacy thus embodies a tension: it heightened public scrutiny of lab practices amid activist sources prone to emotive narratives over data, yet risked entrenching polarized views that undervalue reforms and validated scientific necessities, favoring abolitionist rhetoric unsubstantiated by causal analysis of net harms prevented.

Reissues, availability, and enduring relevance

Following its original 1988 release, VIVIsectVI received CD reissues by Nettwerk Records, including a 1992 Canadian edition (W2-30021) and a 2001 version, expanding accessibility beyond vinyl formats. A remastered vinyl LP reissue followed on October 25, 2019, pressed in the United States under Nettwerk (0 6700 30021 1 0), emphasizing the album's dense, manic production while aiming to restore analog fidelity. The album remains widely available digitally, with full streaming and high-resolution downloads offered on since at least the mid-2010s, supporting formats like for archival quality. It is also accessible on major platforms including , where Skinny Puppy's catalog garners consistent monthly listens. Physical copies, including the 2019 vinyl, continue distribution through specialty retailers, though some audiophiles critique reissues for deriving from digital transfers, potentially diluting the original's raw, unpolished edge compared to first pressings. VIVIsectVI's enduring relevance stems from its foundational role in electro-industrial, with fans in 2024 still ranking it among Skinny Puppy's peaks for its unrelenting intensity and thematic bite. Post-Weapon (May 28, 2013), the band's concluding studio effort amid shifting lineups and external pressures, the album sustains discourse on preservation versus modernization, underscoring efforts to balance accessibility with sonic integrity amid unofficial bootlegs that risk further degradation.

Album credits and technical data

Track listing

The standard edition of VIVIsectVI, released in 1988 by Nettwerk Records, features nine tracks with a total runtime of 42:58.
No.TitleDuration
1Dogshit3:58
2VX Gas Attack5:37
3Harsh Stone White4:29
4Human Disease (S.K.U.M.M.)6:19
5Who's Laughing Now?5:10
6Testure5:07
7State Aid3:55
8Hospital Waste3:40
9Fritter (Stella's Home)4:35
Regional variants, such as the US Capitol Records CD pressing, maintain the same core track sequence without bonus material or edits in the original runtime.

Personnel and contributions

The album VIVIsectVI credits Skinny Puppy as the primary performers and composers, consisting of Nivek Ogre on vocals and lyrics, and cEvin Key on synthesizers, guitar, bass guitar, drums, and sampling. Ogre's vocal performances incorporated distorted and processed elements, while Key's multi-instrumental work formed the core electronic and rhythmic structures, reflecting the band's hands-on approach to instrumentation without extensive external session musicians. Production and engineering were handled by and , with Ogilvie contributing to mixing and additional sonic refinements during sessions at Mushroom Studios. Lyrics were attributed to collectively, with specific inputs from , Key, and Ogilvie on select tracks, underscoring the collaborative writing process among the core team. The absence of uncredited contributors in the highlights the project's DIY ethos, where the band maintained control over creative elements. Artwork and design were overseen by Steven R. Gilmore, who handled sleeve design, photography, and typography, assisted by Barry Mah and Nancy Miki on artwork preparation, and Kevin Westenberg and Jeffrey Johnston on photography. This visual team contributed to the album's stark, thematic imagery aligning with its anti-vivisection message, without musical involvement.

Production credits and equipment

VIVIsectVI was produced and engineered by and , with the core band members— on synthesizers, guitars, bass guitars, and drums; on synthesizers and sampling; and Nivek Ogre on vocals—handling primary performances and songwriting. Mixing was conducted by , , and Chris Sheppard, emphasizing layered sampling and distorted electronics to achieve the album's raw, abrasive texture. The production relied on analog and early digital synthesizers, including Ensoniq models like the Mirage sampler for processing field recordings, television audio, and custom sound design, alongside drum machines such as the Roland TR-808 and TR-909 for propulsive rhythms. These tools enabled the dense, gritty fidelity characteristic of the record, with heavy use of sampling to integrate visceral, non-musical elements into the tracks.

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