Floor Of The Sea
mH: Being that we're known mostly as an "electro-nic" band and opening up our "best ov" with the early "guitar goth" tracks, it's more than fitting to me that the very first lyrics on here say "The World's Turned Upside Down"... I think I nicked that line from something Shakespeare - I recall watching a program on PBS where that phrase just jumped out at me and at that time I thought it was brilliant.  The heavy break in this song was always a favourite part ov drummer John Figlarís too, as I recall...
raW: Well..this is an old one. I can't recall the last time I even thought of this song.... there was   something weird about the timing of that opening riff that always kind of threw me, don't know why but once I got it, I loved it. Cool song to play live...

Three More Times
raW: My first and last attempt at the harmonica.  Don't know what I was thinking, but, anyway it works well with the intro.
mH: Listening back to this one now, I wish we used the harmonica more, it reminds me to The The for some reason.  We got the title because as Dave (Fielding of The Chameleons) was in rehearsal with us befour entering the studio (Water Music in Hoboken) he suggested we do some part in it "3 more times" as an arrangement idea... Other         elements in the song I blatantly nicked from Wire and Mighty Lemon Drops, tho. Also - more to the voice, I think I was listening to a LOT ov Julian Cope & the Teardrop Explodes around the time I wrote this one. Dave's production ov having me pile up layers ov guitars, I think added a lot to this too.

Tender
raW: I just always loved the way we sort of "bashed" this one out...one of my favourites off Lullaby.
mH: I distinctly remember trying very hard to write something that paid tribute to Joy Division's more "Stooges" moments on Unknown Pleasures.  To a degree, I think this hits the mark (I was a Bowie/Pop/Stooges fan befour hearing JD and only happy to hear them doing a "darker" punk version ov that sound.)

Showed Me
raW: Very Red Lorry Yellow Lorry.  A great depiction of what we were listening to at that time....
mH: Yeh, to me the Lorries and New Order  were my favourite sounds at this time - the period just befour hearing "industrial,"  yet moving CS into a more dark direction based more around the voice and machines - pushing the guitar further back. The chorus and parts ov the verse were from someone I was seeing at the time calling me by the wrong name in a 1/2 asleep state one night: "Ghosts form a line now, just past me and you..."

Tall Tales
raW: At the time I think this was my fave song to play live... I remember one gig in particular (in Connecticut) this song just blew me away while we were playing it... there was like this breeze coming out of the monitors from the drum machine      cranking so hard...ahhhh memories...
mH: A very raw track, with just flat out pissed off lyrics.  I don't even recall if I was "serious" (I laugh at the end!) ... Again, with a Lorries influence, and although Figlar (and his drum kit) were long gone by this point, his "influence" was there; as he was who introduced us to The Lorries and Joy Division, too for that matter!

What Can You Do About It
raW:  I thought this would be the one to put us on the "industrial map." Mick and I were driving out to Minneapolis to do a gig at 1st Ave. with Pop Will Eat Itself and on the way, we decided to stop off in Chicago to drop a tape of this song off at Wax Trax! thinking there's no way they'll turn us down... we got there, walked in and everyone just stopped everything they were doing to stare at us like we were aliens that just invaded their living room... Anyway, needless to say they didn't sign us... probably either recorded over the tape or just chucked it in the trash...never the less...we thought it was great..i guess that's all that matters...
mH: Ah yes, our first foray into a more "disco" and European sound... I had moved on from listening to Pet Shop Boys, New Order, and Acid House to other, darker stuff on Wax Trax and Play It Again Sam, buying almost every 12" they released - I guess you could term the style as Electro New Beat... this one always reminded me to A Split Second for some reason.... and I, too thought Wax Trax! would have left a message on our answering machine by the time we returned from that PWEI gig, but...      they... didn't!

Temple of Lies
raW: Probably our most really "industrial" track.  Lots of metal on metal, live drums combined with a drum machine...fun to play live too.  I got to play keyboard instead of bass for a welcome change...
mH: Yeh, so many cool aspects to this one, the live Hi-Hat and Metal, the Karen Finley and Tim Leary samples, bizarre and disjointed (hip-hop-ish) drum programs.  I think we played this song each and every time we played at the Limelight.  By this time I was flipped out on the chaotic sound on Skinny Puppy's first LP (for me:) Cleanse Fold Manipulate, which I am proud to say I bought all by myself on a whim - I thought their name and the cover art was pretty interesting - and I asked the store clerk if he thought I'd like it (as it happens the "clerk" was none other than Bob Bert - former drummer for Sonic Youth and a fan ov my old band Mod Fun - who knew ov my current interests in electronic, noisy & dark sounds - Jesus & Mary Chain, Swans, Lorries, Sisters,...) I think he said well "it's ok, but the vocals are kind ov silly sounding" ? I bought it anyway !
vM: This was the first CS track that I ever heard. A brilliant track that reminds me of many happy times. I recall raW teaching me the synthesizer line he played live. At my first show with CS, we both played this at the same time - me on my proper Roland, and he on a small child's Yamaha. Brilliant!

Grey Day Reign
vM: This is where I enter the picture. A real crowd pleaser for many years. I think we were all sad to stop performing it, but since then we've managed to write many equally excellent songs. I've always like the orchestral sounds behind the music, lying just under the choppy  beats and bass.
raW: My personal fave off of Celebrate, I love the layers and layers of live and programmed keyboards, a good combo of goth and industrial. Great production on this one.
mH: One ov my favourites too,  we were doing this one live just befour Markus joined up (the only reason in chronological order, that  it's ultra-clean Chris Randall production sits right after my noisy as hell "Temple"!)  Markus added a new synth-string element to it that is just great - those lower held out notes that play in and out along with the most morbid chord progression I think I've ever written in the background programs.  These lyrics were very intense for me - a cathartic release that I seriously needed at that time, living in a dead-end relationship that I did not have the confidence to put an end to, or something like that!

Celebrate The Enemy
vM: I recall Mick appearing at my flat with beer (or were they wine coolers?) and saying we should work on some music.
mH: I think they were wine coolers, hence the more "refined" orchestrated sound - it was beer for the more  rough trade "Growing Stronger" writing sessions,hehe...
vM: This sort of started the collaboration method we used for the next few albums: I'd play notes on my keyboard while Mick scrolled through the     hundreds of sounds he had looking for the right one - orchestrating the whole thing, so to speak, while writing the rhythm tracks. This was created during a period of fascination for totalitarianism - or the death of it. By stealing the imagery and methodology of Communism and even Fascism, we declared ourselves the victors who took the spoils of the enemy. Hence, we celebrate them for their loss. This was also really the time we established the use of large synthesizer string-stack sounds that in some ways have become a staple of our sound.
raW: An awesome track. This was the first CS "anthem"
mH: Definitly an "Anthem" for CS, musically it is epic to me the way it keeps building up all the way till the end.  As the writer ov the lyrics, tho I have to say that they were more inspired by an interest in Socialism as a theoretical observation ala Marx.  What it reminds me to is hanging around in Philadelphia a lot where the homeless situation was totally out ov control in the early 90's, walking to eat at expensive restaurants while people lay dying a slow death on the streets just outside these estableshments.  I tried to imagine the other side ov the fence, "We are not the privileged - all these people destroying - wrecking everything in their path," and in the end verse there is a kind ov populist revolution and "the Defeated" referred to are the super rich stripped ov their superfluous possessions that seem to define their very existence, so that another may simply eat and have shelter.  Now, 10 years on from this "young and idealistic" thinking, I have to admit I can see the hypocrisy inherent in these lyrics, although my comfort is that I was (and am) at least considering these people in this light and not "blaming the victim." So ok,... here's where I step off the soapbox...
vM: You were getting a bit preachy, there, mate.

Growing Stronger
vM: Another track with quasi-totalitarian imagery. The sound is very classic industrial, with the addition of the synthesized guitar. While I believe that Mick still used the guitar on stage, it was all but gone in many of these tracks in recording. Many people, I think, misunderstood us because of this track. But itís anyway. The message was political.
raW: Another great track. I think this was our second anthem.
mH: Again, with the sociopolitical lyrics - I was obsessed with what I saw around me (perhaps trying to avoid what was within me?)  So that makes it ironic that it's called "Growing Stronger" yes?  Again, I refer to The The and a Matt Johnson lyric: "Everybody knows what's going wrong in the world - I donít even know what's going on in myself" ...  Also, ov note: this (and "Celebrate") were the tracks that got us a contract from Machinery records - which we turned down and shopped the tapes to COP and Fifth Colvmn, who also both made offers.

High And Deep
vM: Beneath was the album that really established the new Crocodile Shop sound. This track was especially strong and powerful in its classic industrial rhythm. It was also the track that I debuted with my very loud back-up vocals. Now they sound rather insane, to me. But it is still very funny. I think someone once thought I chanted "I've eaten too much." The line was "I need it too much." I think the theme here was more domination, or being dominated by something or someone.
mH: I went back to writing about (much) more    personal themes for Beneath - I was working as a techno DJ in a nightclub 3 nights a week at this point, and this one was simply written about a "bar back" co-worker to whom I developed an affection, but settled on just "getting high" with in the wee hours after work (on many occasion!)  It has an almost Morrisey-like "unrequited infatuation" theme to it I guess, but the way it's put across you'd never hear it as such.  I always thought the lyric fairly "obvious" from that standpoint, so ...sorry if I've ruined this track for anyone, heh!
raW: This was a great song for the clubs...it was always exciting to see a full dancefloor when dj's played this one...especially afterwards when people would come up to me and say how much they dig throwing themselves around to it...

Something
vM: I think I have used the sample at the beginning far too many times, but I think it sums up our     self-indulgent youth culture from the 1960s to   modern day quite nicely.
raW: Cool live tune...I always liked when the      audience sang along with the chorus.

Funeral March
vM: So sad. So very sad. This one is  still a favourite of many people. I've always liked the organ sound I played on this, combined with I think one of the nicest beats that Mick has written on the drum machine. In addition, his lyrics have always been very powerful. I also love that bell sound in the chorus. All in all, the orchestration was really quite intricate. A favourite of mine, too, then!
mH: I remember trying to do something inspired by the FLA "Intermix" side-project.  Slow and with hip-hoppish beats, yet dark.  Funny, when we first played this one for Dave at Metropolis he said he thought it was "too adult alternative" (it actually had been said that "CS has a sound that would scare small children," but I donít think that's what Dave meant!) -- months later the track must have clicked with Dave, tho as he was going to put this on the 1st "Electropolis" label sampler -- I honestly believe that the omission ov CS (entirely) from that sampler was the 1st ov many "nails in our coffin," being one ov the only bands directly "signed" to Metro during those early years, we were often left fending for  ourselves when putting together compilation appearances and remixes and live shows. To add insult to injury, I distinctly remember telling Dave I thought he should call his label compilation "Electropolis, because it's like Electro and Metro-polis combined" at a Die Krupps show at Philadelphia's Trocadero.  Oh well. Better late than never: I was able to get CS onto 2 ov the "Critical Mass" label comps and do artwork for all four!

Waiting Game
vM: The waiting game. I can't recall if this came out before or after the film "The Crying Game," but I always somehow think itís somewhat related. The anticipating string build-up before the verse actually begins, and then before the chorus, has made this one of those near-anthems.
raW: This one could've been played on top 40 radio and made us all rich..basically a great pop song..what the hell happened???
mH: Yes, I think it could've been a minor "Club Hit" at least... Wolfshiem (now) has absolutely nothing this track doesn't have (then).  Perhaps we were "ahead ov our time" or maybe it was a lack ov proper promotion as to why this did not hit very very very big... Jim Testa once told me a story about how Columbia Recordís head Mitch Miller calls Big Band leader Duke Ellington into the office to "drop" him for low numbers; Duke oh-so eloquently states to Mitch: "I thought it was my job to make the records and YOUR job to sell them!"  Anyway, by now there was also the influx ov the "Europeans" to the US Electro market on smaller labels than Metropolis to deal with; I guess these labels focused more energy on fewer bands, tho to Metro's defense... and with FLA on your label - who needs to "waste time" to develop smaller acts?  Nevertheless, this album as a whole got really really good reviews one ov which said it all I think: "If (CS) were from Europe or at least on a European label..."

Soviet
vM: I'm never quite sure what you meant by these lyrics, Mick?
mH: On the surface, it's a lyric about lashing out at someone and isolating yourself from others. In calling it "Soviet" I think it gave some good connotations to the piece: cold, again, isolated, or distant.
vM: This song has been through some very interesting developments, not the least  of which is that it was put together in the computer. At this time, we started to use my Macintosh more and more to compose. It really started to change the characteristics of the sound. But I still used to play many of the live synth-stacks live onto the tape.
mH: And that sampled Division #9 drum beat!
raW: My fave off of pain...nuff said.

In Ruins
vM: We were heavily influenced at the time by Bowie's Berlin period. I always thought this was a brilliant track by Mick that captures some of  that essence.
raW: a wonderful and splediculous soundscape.
mH: For some reason the gloom ov this track makes me remember walking around on the beach with the owner ov Out Of Line (a small German label we were working with at the time) and him pleading with me to sign CS to his label worldwide - I did not want to leave our US label, Metropolis however.  This was happening at the time ìPainî was selling allot in Europe according to him.

Same Cars Crashing
vM: At this time, we were writing a lot of things quite separately, only coming together to dub extra keyboards or lyrics on each other's tracks. I think the odd off-tune string-stack was recorded by me for this track when I was rather sick, and under the influence of Nyquil. As a result, I always think of these sessions of dubbing lines for  Mick's tracks as rather dream like.
raW: A great track that was really well produced..i don't hate it, so I must love it!
mH: One ov my favourite CS songs ever - most ov the lyrics were from a different CS song we did live for a while called "Sin-king." which we never recorded "proper" (too Dada) although we did make a short film based on it called "Sin King ;" with a mannequin we found in the basement of the club I DJ-d at for 5 years (The Roxy).  Lyrically a revelation for me, figuring out on paper many repeat offenses against myself and others in my daily life.  Eventually I stopped (Crashing the same Car, that is.)

Neimad
vM: We used copious samples from the Omen series, overlaid them over some sounds that I can honestly not recall whether they came from, all  on my computer, or from our tone-generators, or somewhere. I love the ending! It's quite a disturbing track in an enjoyable, silly horror-movie way.
mH: This was one ov the ones I wrote all on the outboard tone generators with midi and then we put all the Omen bits in there in your Mac, Markus.
vM: Aha. Thanks. I guess the past is a blur...

Horizon
vM: raW's bass line on this track was brilliant. Quite amazing!
mH: I always loved that bass part too, it reminds me to Sisters Of Mercy - while nothing else in the track really does...a good example ov combining the many different elements and influences we all had.

Erased ...Me
vM: Written entirely from "found sounds," this was our first real sample-driven song. I don't think we actually played a single instrument. This was really the moment when we turned to two distinct styles of writing. I preferred to use the computer, and Mick his traditional set-up. In many ways itís still like that. It is really  amazing, though, how the sounds from so many sources just came together.
mH: A transitional phase track ... no vocals, no live bass, no live keys... An Audio Collage with Markus and myself as "sound technicians."

Useless
mH: This track went thru 3 revisions befour it finally "clicked" - I played the bass live (raW had left the band a year befoure this) and then sampled it and looped it in the computer and the same for the vocals - sampled and tweaked in the computer with added loops and effects.  And I finally got to take spoken bits from one ov my all time favourite movies: "Necromantik"  Len9 did a nice vocoder effect on my voice for the chorus vocals.

Core
vM: A whole new way to attack sounds. Mick and I began to once again really collaborate on many tracks. This is one of my favourite CS songs. Itís overflowing with a tremendous amount of pathos. Mick's vocals and my music gel together amazingly well, especially in the chorus where it all comes together in a dramatic rush!
mH: Those keys in the intro! So grand and full to me! This was the first ov a totally new style ov collaboration Markus and I have now used over the years... In the past I was always in on the song-writing at some point befour the final "pass thru the board", this one was the first I can recall that Markus presented me with an almost finished backing track.  The only thing, in fact that I think I "added" to it was 2 or 3 more drum tracks to give it some more rhythmic "punch" and ov course the slightly morbid vocals and samples from an HBO special on the WM3 (who I still believe to be innocent victims ov a mainstream anti-goth conspiracy in their case).  I also like the sample Markus has in the intro "Can you hear the demon, Dance the demon whispers" because it sounds so evil and b-horror movie, but it's actually from the Gay comedy "In and Out" !
vM: Yes... It was very funny in the movieís context.

Getogether
L9: Everything 'old' is Dead and Gone, and now only what's new exists. I interpret it as a title of rebirth if you will.  Crocodile Shop (had) undergone significant changes over the past year or so. It seemed fitting to title the album accordingly.
mH: Len, who contributed a lot to this, his 1st  album with us; gave me a Zip with all these random loops as audio files - from his PC.  I brought them all into my Mac and strung them together into this track which we used to open our 1999 cross-country "Everything Is Dead And Gone - Live" Tour.  I think it almost harks back to my love of sixties mod-pop...

Martyr
vM: This was my drum'n'bass influenced track. I was really getting into the Metalheads sound at the time, and I thought that the aggressive nature of the breakbeats worked well with our style. There's a real driving sense to the music and it comes together with the foreboding style of the vocals. I really think that this track could stand well with any of the actual jungle and DnB tracks out there at the time.
mH: I always liked the intro loop that has a "tribal" feel to it ... I still think that one drum loop that kicks in at about 0:31 was mine - sped up and recycled from "Funeral March" off Beneath !!! Plagirism, within the band! Haha!  That "A Sea Ov Crocodiles" sample at the end always cracks me up.

Fault
vM: This one has always sounded like it should have been recorded, in 1986 or something, by Shriekback. That's not a bad thing...
mH: Who's Shriekback ?  Yes, it is very 80's, for some odd reason I thought I was taking a Hate Dept. sings Peter Gabriel style with the voice - odd since neither are big "favourites" ov mine... I mean I like them both enuff, but never actually listen much to either!  It's anyway...

Blinding
vM: That synthesizer riff is always bizarre. I think I randomly allowed the program to throw notes down when I became rather bored with the idea of actually having to write a melody. I left the melody in this track entirely to the vocals.
mH: We first recorded this track in a rush in 1997 for some German compilation who wanted a new and "exclusive" track.  We had just gotten back from the tour there and raW unceremoniously left the band a week later... leaving just Markus and I to do a show booked with Mentallo in DC.  It was a very low-point in CS history, and we did the original version far too quickly since we had nothing sitting around "in the can" at that time... this version that we re-recorded for Order+Joy is just so much better it's like a different band recorded each one!

Wahrheit
vM: The DEVO track...
mH: More like: Gary Numan refereeing KMFDM who are trying to fight Ramstien back for their sound... Also we had played shows with Project Pitchfork (who's Peter came up to talk to us first, having all our European releases at the time !) so, I think there's a bit ov their "live" influence in there too.  I thought ov the "bridge" as my homage to Celebrate The Enemy  and it's a little Tony Banks, too! Heh!

Order + Joy
mH: This was from a phrase uttered by Markus' father - it struck a chord with all ov us and was in perfect timing for our "return to EBM roots" approach to this whole cd.  The samples are from a Anthony Perkins flick "Edge Of Sanity."  The refrain at the end is my "Naff Off" to all the DJs who only play the "Hits" from the trend, who never try to develop their own crowds and just follow the pack.

Worldestroyed
vM: A real rock song, in many ways. Also very German EBM style with the synth riffs.
mH: Yep, again something about it now reminds me to Hate Dept - I wanted to do a Front 242-ish rock song with an electro edge.

Nu Ideal
vM: Another track that I really like. The galloping drum track helps to drive this one ahead, and Mick's Bowiesque chorus is quite brilliant. The piano break came to me out of nowhere. I became obsessed with the idea of adding real pianos to our music.
mH: Another one (like "Core") that Markus handed me an almost finished backing track on... this time I just EQ'd (your) "galloping" drum track to lend more rhythm to the piece.  Lyrically it's very much an analogism.

Wrong
vM: This one is brilliant. A work of inspiration, speaking none too humbly for myself. Between the music and Mick's vocals, the song came together very nicely. There is perhaps something of a controversy with the chorus. I think of it as a prayer or a pleading, but we turn to our own imperfect selves and tricks to save us, rather than looking out and up!
mH: A breakthrough track for CS, I think.  Similar to the way "Getogether" came about with Len, this one with Markus.  He constructed all these bits and Pieces that I then compiled together as one.  Then maybe we added the "big CS chords" in the chorus after that..we went back and forth on this one a bit... in the end a perfect combination - it works almost as well as my favourite ever song "True Faith" by New Order, with a little bit ov Xymox thrown in there, maybe.  We had just opened for them shortly befour this recording sessions.  As I talked to Ronney I found out I had actually seen their debut American show, almost ten years befoure this at Drum in NYC.

Generation
vM: World is really my absolute favourite CS album, where the sounds and lyrics have come together perfectly. I went into an inspiration drive shortly after the tragedy in New York that I was unfortunate to witness first hand looking downtown from my studio 20 blocks north. It was awful, and this album became my haven to retreat to and get away - to the safe world of music. So in that sense, even Mick's lyrics reflect that to me. This one is very personal.
mH: While this track was not related directly to 9/11,  it was recorded shortly after that and I have strong associations with this album and that time frame as well.  I recall calling Markus' cell phone and emailing him incessantly after I found out what had happened -- until I found out he was ok and on his way home.  I just started putting these lyrics to the backing track (again mostly finished by the time I heard it) and it seems to me now as if I imagined myself in a relationship that was falling apart and wrote from that standpoint.  It's similar to "Core" in that way: sounds ov hearts breaking.  Some couples who I have been friends with, and watching as their worlds fall apart.

Scattered
vM: Another great track (is there a bad one on World ??) I think this one really defined a different sound for me. From an orchestration point, I began to place the sounds and sequences together differently so as to really create a story musically. And I really began to experiment with new sounds but in a musical way, rather than as effects... Mick follows suit with some excellent lyrical work that just makes everything work together.
mH: These lyrics are definitely traceable to 9/11 or to any other tenuous situation when you have to just be happy to get thru it and even remain alive, still. Although Markus' backing reminded me ov some early 242 ? it's another approach I tried to take vocally after listening to a lot ov David Bowie and even He Said, to mix it up a bit.

World
vM: The crowning glory of the album, I think.  A really fantastic track that has a great bass line that always makes me want to dance. I feel that, when writing dance tracks, if I cannot be made to move in my studio, then no one will want to on the dance floor either. I really also tried to preserve the sounds from the early days of CS with the large synthesizer string stacks on the chorus portion. Itís always struck me as a rather sad song.
mH: The super-clean vocal on this was to me an extension ov "Wrong" it's the most accessible sound I think we've ever had and the most like my all time favourite band New Order.  In that sense, it finally came full circle back to the ("pre-Industrial") influences on the track "Showed Me."

All I Want
vM: I think that personally I've quite forgotten that there are sub-genres in the electronic scene, and as a result I couldn't even begin to classify the sound we are headed as anything but just electronic. I listen to everything from Puccini to French Hip Hop, from Pet Shop Boys to J-Pop to Skinny Puppy. So I really can't be sure anymore about what is an influence, either positive or negative. I think some people will be pleasantly surprised, and I don't care about those who won't like  it. Perhaps they should be more open-minded?
mH: It's true, I am now also listening to such a wide variety from all eras. This new track (and all ov what we are working on) doesn't really sound like any one specific thing to me, but rather does sound "like CS." One thing that has remained true about CS is that we've totally charted our own course never giving into any trend, or selling out to anything (and we were actually offered a few chances to, over the years.)  Call it DIY, insular, or just plain stubborn; but we are truly making music because ov a 'need' to create something outside and ov ourselves.  The emails, notes and comments that CS fans have shared with us over the years have helped fuel the fire and keep us going when things looked bleak for CS (and there have been times things were bleak!)  This collection is for anyone whoís ever been supportive: in the press, on the airwaves, as a friend or a fan, as a bandmember or a label working with CS: 
Thank you all.
 

LIVE HISTORY:
1987
05/17  Rutgers Univ  New Brunswick
05/22  Scott Hall R.U.  New Brunswick
05/30  City Gardens (WTSR-fm)  Trenton
09/10  Eastside  Wash  DC
11/21  Beat'n Path  Hoboken
12/19  Green Parrot  Neptune

1988
02/11  Maxwells  Hoboken
10/31  Cafe Poppillini  NYC
00/00  TT The Bears  Boston MA

1989
04/07  Nightshift Naugatuck  CT
04/21  Court Tavern  New Brunswick
09/23  7th Street Entry  Minneapolis
10/03  First Avenue  Minneapolis w/ PWEI

1990
06/27  The Roxy  New Brunswick
08/08  Limelight  NYC
09/26 The Roxy  New Brunswick
10/12  Chase  NYC
10/30  Limelight  NYC
12/29  Live Tonight  Hoboken

1991
04/23  The Roxy  New Brunswick
05/21  The Roxy  New Brunswick
07/30  Limelight  NYC
09/28  FastLane  Asbury Park w/NewModelArmy
12/02  The Roxy  New Brunswick

1992
02/09  City Gardens  Trenton w/ Nitzer Ebb
05/30  The Bank  NYC
07/08  Down Under  New Brunswick
09/15  Limelight  NYC
10/24  City Gardens Trenton w/KMFDM 

1993
03/28  The Roxy  New Brunswick
06/06  The Roxy  New Brunswick

1994
10/01  City Gardens  Trenton
10/09  The Batcave  NYC
12/22  The Roxy  New Brunswick
10/29  The Batcave  NYC

1995
04/07  University Of Delaware  DE
04/08  Haywire Hoboken
04/23  Asylum Philadelphia  PA
04/29  WRSU-fm New Brunswick
08/10  The Surf Club Ortley Beach
12/14  Berlin/The Roxy  New Brunswick
12/09  242 Main Burlington  VT

1996
01/30  Coney Island High  NYC
04/02  The Melody  New Brunswick
09/20  The Troc  Philadelphia  PA
11/08  The Pipeline  Newark
12/02  The Roxy  New Brunswick

1997
01/03  The Rat  Boston  MA
01/05  Middle East  Philadelphia  PA
02/21  Pipeline Newark
04/22  WPRB-fm simulcast  Princeton
04/27  Troc  Philadelphia PA w/ SMG
04/29  The Bank  NYC
05/29  Dusseldorf Germany
05/30  Erfurt Germany
05/31  Dresden Germany
06/13  180o Baltimore (cancelled)
06/14  Capitol Ballroom  Wash  DC
06/28  CBGB  NYC
09/03  The Bank  NYC w/Bile & Ramstien
09/19  CBGB  NYC
11/16  Capitol Ballroom  Wash DC w/Switchblade 
11/18  Sanctuary  Norwalk CT w/Switchblade 
11/22  Batcave  NYC  w/Switchblade Symphony
11/23  Met Cafe  Providence RI  w/Switchblade 
11/25  QE2  Albany NY w/Switchblade Symph

1998
02/07  Coney Island High  NYC  w/ The Damned
05/22  Trocadero  Philadelphia  PA  w/Numb
05/23  Pyramid  NYC w/Numb
05/24  Student Union  Troy  NY (cancelled)
05/25  Lee's Palace  Toronto  ONT w/Numb
05/26  Zaphod's  Ottawa  ONT w/Numb
05/27  FouFounesElectrique Montreal  QUE w/Numb
05/28  D'Auteuil  Old Quebec City  QUE w/Numb
05/29  Alley Cat  New Haven  CT w/Numb
05/31  Phantasy  Cleveland  OH w/Numb
06/02  Viper Room  Detroit  MI (cancelled)
08/11  Troc Philadelphia w/ Front 242 & Pitchfork
08/12  Irving Plaza  NYC w/ Front 242 & Project Pitchfork

1999
06/17  Mother  NYC
06/19  QXT  Newark
06/26  Lava Lounge  Knoxville  TN
06/28  Instant Karma  Houston  TX
06/29  Atomic Cafe  Austin  TX
07/02  Das Bunker  Long Beach  CA
07/03  Therapy  San Diego  CA
07/04  El Rey Theatre  Los Angeles  CA
07/06  Area 51 Salt Lake City  UT w/ RiB & SwitchS
07/09  1470 West  Dayton  OH
07/10  Phantasy  Cleveland  OH
07/11  Evolution  Philadelphia  PA
07/25  The Machine  Boston  MA
10/23  The Troc Philadelphia  PA w/ Clan Of Xymox

2001
03/24 Club Laga Pittsburgh  PA
07/29 Trans Com Festival  TX (cancelled)

2002
07/19  Dark Arts Festival Northampton  MA w/Cruxshadows
11/22  Club Laga  Pgh  PA w/Cruxshadows
11/23  Underground Lounge  Chicago  IL
11/24  Labyrinth  Detroit  MI
11/25  Skullys Columbus  OH
12/07  Darkrave Toronto  ONT

2003
04/12  Batcave  NYC
11/29  Conduit  Trenton

. . . 
To be continued ?